Thanks for the comments guys!
Chris, I do recall those discussions which were pretty interesting in premise but left me wanting to find more. Thats why I got started on revisiting this topic. While A.V.B. Norman did a phenomenal work in establishing time frames and categoric typology on hilts using portraiture mostly, since these were usually portraits the weapons were typically the subjects.
In the case of these varied theme paintings, it seems there was a good degree of artistic license employed, and painters typically had collections od study objects including weapons and clothing to paint from. Apparantly they often acquired prints of other artists as well, using the material in thier own context to compose thier projects.
Thats a fantastic picture of the Rembrandt museum! From what I can understand however, most, if not all of the original collection was dispersed during his bankruptcy in 1656. There are records of this inventory, and that was the reference I mentioned for the cabasset.
Rick, I didnt see that program, but know that Italian armourers produced this type of high relief armor. They did the same on breastplates and morions in this period. Given the fact that artists often acquired other artists often earlier prints, perhaps this image was used by one of Rembrandts students for this work. It is also suggested that an imitator may have tried to duplicate Rembrandt style with this.
The ear flaps really are not characteristic for cabassets as far as I know, but again, may be license recalling the lobster tail helmets popular for cavalry in Europe at the time this was painted.
The figure also appears to be wearing what is known as a mantle rather than full breast plate, and these were of the latter 16th century, but seems to me they were usually brigandine rather than plate.
I really appreciate the input, it really is an interesting subject and reminds us of the importance of art as we study these weapons and armour.
All the best,
Jim
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