Infantry light cuirass

The light cuirass was designed for an infantry commander; those for lower-ranking soldiers had simpler black and white band decoration. The lance rest on the right side of the breastplate is likely a later addition. The mitten gauntlets, produced in the Nuremberg area, may not be directly relevant and, as noted by both Carpegna (di Carpegna 1969, 4) and Scalini (Scalini 2018, 136), should be dated back a few years, although it is possible that the addition occurred during the period of use. The “W” mark stamped on the back of the skullcap indicates that the piece was made by Michael Witz the Younger, who worked in Innsbruck from 1538 to 1583, and whose work can still be found in Churburg and the arsenal in Graz (Thomas, Gamber 1954, 70. 81, ns. 110–111, 119; Krenn 1987, 22). The Trapp armory in Churburg contains a similar marked light cuirass (inv. CHS 117), which has holes for the lance rest on the breastplate, suggesting that this corselet, like the one under examination, could have been used both on foot and on horseback. The codpiece, or groin protector, became popular in the mid-sixteenth century, but rather than providing protection, it served primarily as a fashion accessory, similar to civilian men's fashion at the time. The black paint distinguishing this type of corselet had aesthetic purposes and provided better protection against oxidation, allowing many armors treated this way to survive in excellent condition. Other examples comparable to this one include the corselet of Sebastian Schmid of Graz in Churburg, the one preserved in the Musée de la Porte de Hal in Brussels, and several examples in the Stibbert Museum in Florence, among which the one (inv. 162) with a similar configuration of pieces is notable.

Riccardo Franci

Entry published on 12 June 2025

Good. In some areas, the surfaces display signs of oxidation, and some darkened sections have abrasions and paint loss. The straps have frayed coverings with tears and lacerations.

The W mark can be seen on the back of the skullcap.

Collezione Odescalchi, until 1959;
Rome, Museo Nazionale di Palazzo Venezia, June 30, 1959.

Rome, Museo Nazionale di Palazzo  Venezia, Antiche armi dal sec. IX al XVIII. Già Collezione Odescalchi, May–July 1969;
Rome, Museo Nazionale di Palazzo Venezia, Belle e terribili. La collezione Odescalchi, December 18, 2002–March 23, 2003;
Rome, Museo Nazionale di Castel Sant’Angelo; Roma, Museo Nazionale di Palazzo Venezia, Armi e potere nell’Europa del Rinascimento, July 26–November 11, 2018.

Thomas Bruno, Gamber Ortwin, Die Innsbrucker Plattnerkunst, catalogo della mostra (Innsbruck, Tiroler Landesmuseum Ferdinandeum, 26 giugno-30 settembre 1954), Innsbruck 1954;
di Carpegna Nolfo (a cura di), Antiche Armi dal Sec. IX al XVIII. Già Collezione Odescalchi, catalogo della mostra (Roma, Museo Nazionale di Palazzo Venezia, maggio-luglio 1969), con schede a cura del curatore, Roma 1969, p. 4-5, n. 8;
di Carpegna Nolfo, Le armi Odescalchi, Roma 1976, pp. 4-5;
Krenn Peter, Harnisch und Helm. Landeszeughaus Graz am Steiermärkischen Landesmuseum Joanneum, Graz 1987;
Barberini Maria Giulia (a cura di), Belle e terribili. La collezione Odescalchi. Armi bianche e da fuoco, catalogo  della mostra (Roma, Museo Nazionale di Palazzo Venezia, 18 dicembre 2002-23 marzo 2003), Roma 2002, p. 10;
Scalini, in Scalini Mario (a cura di), Armi e potere nell’Europa del Rinascimento, catalogo della mostra (Roma, Museo Nazionale di Castel Sant’Angelo; Roma, Museo Nazionale di Palazzo Venezia, 26 luglio-11 novembre 2018), Cinisello Balsamo 2018, p. 136,  n. IV.13.