African cuirass?

[Panoleon]

I have bought this unusual cuirass. It is an iron cuirass with a crocodile skin lining. The skin is riveted to the cuirass with brass/copper rivets. On the front a cross made with ornamental studs. Dimensions 30 x 40 cm.
Can someone shed some light on the origins and date of this piece?

[Jim McDougall]

This is an incredibly interesting item, and in my view is likely an armor from Benin, in West Africa. These kinds of armor were worn by warriors of a kind of society known as a leopard hunting guild (in western perception). The leopard is highly feared in these regions, and typically the armor worn is a kind of cataphract style (overlapping scales) of the scaly anteater (pangolin).

However, the helmets accompanying these were often of crocodile hide, so it would seem possible that material would be used as well. It is noted that occasionally the materials might vary, and these are depicted iconographically in many figurines and art .While noted as a 'hunting' society these warriors were soldiers as well and these 'totemic ' identities of animals and reptiles seem prevalent in other West African 'societies' .

There was a 'crocodile society', whose activities like some of the other societies were pretty nefarious.

It could be this armor might have been from such a group as the 'crocodile society' as the members were believed to become crocodiles during the duration of activity.

Most armor of hides etc. in earlier times were strictly of animal material, along with magic talismans and imbuements which were foremost apotropaics.
It seems quite likely that with the advent of firearms, the addition of an iron under covering would be deemed reasonable in the latter 19th c.

So I would say, West African warriors cuirass, probably Benin, late 19th c.
The cross is a common holdover in West Africa from the Portuguese who deeply influenced the tribes. Rather than religious affectation, it was seen more in a talismanic or magic sense.

[Panoleon]

Thanks Jim, I am verry happy with your reaction.

[Kubur]

So you'll hate me, but please remember, that our forum is open to discussions. And we never know what we will get when we post an item.

This armour looks like a 1950ties or 1970ties film prop.

The forging technique doesn't look African, from the inside. The rivets don't look Africans. The leather on iron plate doesn't make any sense to me.

The bad condition is another thing, may be it was stored in a basement with a lot of humidity.

The only thing that I can see as African is the crocodile skin, or maybe an alligator's skin from Florida...

[Panoleon]

Thanks Kubur, ups and dows, thats how it goes.

[Panoleon]

Some more detail on the rivets. They look like leather rivets.
It's a well made piece for a film prop. The cuirass does show hammer marks.

[Jim McDougall]

Originally Posted by Kubur

So you'll hate me, but please remember, that our forum is open to discussions. And we never know what we will get when we post an item.

This armour looks like a 1950ties or 1970ties film prop.

The forging technique doesn't look African, from the inside. The rivets don't look Africans. The leather on iron plate doesn't make any sense to me.

The bad condition is another thing, may be it was stored in a basement with a lot of humidity.

The only thing that I can see as African is the crocodile skin, or maybe an alligator's skin from Florida...

Not at all Kubur! You have always made most astute and valuable observations here, and your suggestion is of course a viable consideration.
In looking at this most unusual item, it does not correspond in many ways to the West African armor I have described, however, as Christopher Spring notes in "African Arms & Armor", there seems to have been of course a degree of variations in styles and materials.

I think it is worthwhile to think of what sort of a movie or theatrical subject this would apply to. This sort of armor does not look 'Roman' or other classical types and surely would not be regarded as 'medieval' as the mail armor further east in Nigeria, Bornu into Chad which was actually often authentic European product.

When considering reproductions or 'props', there are certain 'nuances' which really would not be regarded as necessary to carry off the kind of allusion which such staged elements were intended for.
This pertains of course to the cross emplaced among the ornamental studding. A prop would require only normal linear studding.

Then the case of the actual 'iron' material. The use of such iron 'armor' to repel bullets was well known in a kind of 'experimental' stage in the last quarter of the 19th century. In clearly distant cases (to this African context) in Australia for example was the notorious outlaw Ned Kelly, who fashioned an elaborate suit of armor which looked almost like a theatrical robot for this very purpose. In the Civil War, there were instances of steel plates worn under clothing (usually quickly discarded for weight and discomfort).

As I had mentioned, in West Africa there were groups of warrior men (there was at least one womans as well) which were considered 'secret societies'. Much as with the Masonic situation and Freemasonry, there were often elaborate rituals, regalia and other such elements of organized protocol.

These groups were often engaged in subversive activity given the colonial occupations, as well as certain intertribal warfare. The traditions of these groups called for magically imbued armor (such as the pangolin hide or crocodile/cayman) as had been used for almost centuries.

With the modern threat of firearms becoming a key factor, why wouldnt a tribesman wear the traditional armor cleverly cloaking the bullet proof iron?
As mention, this is why I suggest late 19th century, in the period when these kinds of bullet deterrents were being tried.

In analogy, I was once researching an unusual Spanish leather armor (cuera), which defied any possible resemblance to the known rawhide jackets of the 18th century soldados. It looked more like a Roman toga with tassets and more strangely, was boiled bull hide (cuir boulli as had been used in earlier centuries in Europe for such armor).
The museum authorities insisted this had nothing to do with such armor, and was actually a 'santo' costume, figures used in Catholic churches.
This however did not explain the pragmatic process of the cuir boulli.

What I discovered was that this was a type of cuera indiginous to Santa Fe, New Mexico, and had been produced there during the Pueblo uprisings of 1690s. It had been found in a storage unit in Arizona after having been in it for decades. It was described as 'old Spanish leather armor', which of course was a stretch as it did not correspond to any such form known.

However, the break through was when an old painting (known as the Segesser) was discovered in Switzerland. The painting was by Indian artists (many Peublo were loyal to the Spaniards) from c. 1715. It was of an obscure and little known battle in Nebraska of Spaniards vs. French and Pawnee. In this, the Indian guides with the Spaniards were wearing THESE UNUSUAL CUERA!
The form had never been included in material on Spanish colonial arms as this painting, the only visual reference to it, had been sent to Switzerland by a Jesuit priest during their expulsion in 1770s. The painting was not found and recovered to New Mexico until 1980s. long after the references on Spanish arms had been produced.

Here I would submit, variations and curiosities cannot always be relegated to lesser context by absence of inclusion in references. The 'secret societies'of Africa, like these kinds of groups in many cultures etc. are often a kind of 'X factor' in studying certain types of anomalies in various fields.

[drac2k]

I am not knowledgeable in this area of collecting however I would like to make a couple of observations based on past experience.
First, the piece is well made and somewhat complex, and manufactured out of expensive materials. This armor would not be conducive for mass production for a movie prop(s), both in regards to the cost and assembly time. I have seen modern armor movie props and they are quite cheaply made.
Next, if this armor had been procured in the 1950s through the 1970s, it would have been much cheaper to obtain these pieces from a firm such as the now-defunct Bannermans which had these items en masse. I personally procured at auction several very fine authentic pieces in the 1980s(or 1990s), when a major motion picture studio deaccessioned hundreds of items.
I am only speaking from a layman's point of view and not from a scholarly knowledge of this field; plus I really like the item!

[colin henshaw]

This is an interesting and enigmatic item, thanks for posting. Was there any provenance to the piece ?

From the images, I am doubtful the cuirass was made in Africa, taking into account the style, method of construction and materials used. Although there is a possibility it was used in Africa. The brass/copper studs have a distinctive and recognizable pattern and are surely European made. The two flat round metal studs with remains of lead covering, the one one the left... is there a number "5" showing ? are they coins ? "

My feeling is there are two possibilities of origin :-

1. Its an early movie prop of the "Sword and Sandals" or "Peplum" genre. These in fact date quite far back to pre WW1 days and cuirasses in the style were popular. This is before the days of plastics, fibre-glass etc. I had a quick look at "Scipio Africanus : The Defeat of Hannibal" 1937 on YouTube. There are lots of cuirasses, although I didn't see one with crocodile hide.

2. Its a an object made up in Europe as a gift to a West African chief or potentate in the 19th century or earlier (either for his use or his bodyguards). Either a genuine breastplate or a Victorian reproduction could have been used and the croc hide covering would be deemed an appropriate touch. The crocodile being an important symbol in West Africa. Giving showy and gaudy items (such as uniforms, swords etc) to African rulers was common at the time, to facilitate the ivory and slave trade. Ridiculous as it may seem there is precedent ... when the Polynesian Omai was returned to Tahiti in the late 18th century by Captain Cook, one of the gifts he was provided with was a suit of armour !

The wet climate of coastal West Africa could account for the poor condition of the cuirass, which eventually found its way back to Europe as a curio.

Anyway, those are my hypotheses such as they are.

[colin henshaw]

A suggestion for Panoleon, if he wishes to pursue it ... collecting Movie Props (presumably old ones as well as new), is quite a popular interest and looking on the internet I see there are discussion forums like this one, dedicated to the subject. So perhaps also posting the cuirass in a suitable Movie Props forum would be useful. ( even if it only helps to prove a negative) ?

[Panoleon]

Good sugestion Colin, I'll try a movy prop forum.
I bought the cuirass in the Netherlands. It didn't came from a collection.

[Jim McDougall]

Originally Posted by colin henshaw

A suggestion for Panoleon, if he wishes to pursue it ... collecting Movie Props (presumably old ones as well as new), is quite a popular interest and looking on the internet I see there are discussion forums like this one, dedicated to the subject. So perhaps also posting the cuirass in a suitable Movie Props forum would be useful. ( even if it only helps to prove a negative) ?

Thats a great idea Colin! if nothing else to remove this persistent element from the equation. There were I understand numerous firms which produced costume elements for movie studios, the sets and larger items were quite another story.
In California, a rather curious tangent of archaeology has evolved with one foremost recollection, that of finding the remains of architecture of ancient Rome and greece from DeVille's lavish movie productions buried in the desert.

The only way I can imagine this 'armor' item ending up in the Netherlands would be from the incredibly huge volume of materials from West African and Congo regions ending up in Belgium. Some of the best references on African arms are from authors there.

[Jim McDougall]

Looking further into the 'cult' , secret society and other such organizations in Africa, it seems such traditions are well steeped into antiquity.
Apparently in Egypt, in about 3rd century AD, there were indeed cults centered around the crocodile, which was revered as sacred and divine, and much feared.
In this time, Roman soldiers occupied Egypt, and in about 1840s, certain exploration around the regions of Manfalut, on the banks of the Nile (250 mi. south of Cairo) discovered a 'cuirass' and helmet of crocodile hide which was found among mummified remains, including of crocodiles.

These pieces are displayed and identified in the British Museum, and have been radiocarbon dated too 3rd c. AD.In the description it notes, 'in many parts of Africa the crocodile is seen as a fearsome and invincible creature ' and that warriors wearing these things might be transformed in some magical way, and take on the formidable attributes of the animal.

While it seems chronologically improbable that practices and traditions such as this would remain in situ in modern tribal societies, it should be noted that numerous examples of such atavism is well represented in Africa.

The plate of illustrations of weapons (British museum) of Egypt shows the remarkable character of modern African arms (19th-20th c) compared to examples of ancient Egypt. It is known that many tribal peoples in the Sahelian and sub Saharan regions had come from very early migrations from Nilotic areas. It seems reasonable that many of these traditions and weapon forms may have diffused along with them.

The profound reverence, and fear, toward the crocodile remains in the Sudan as well, and in conversations with a man of Fur descent (Darfur) I was told that the placement of crocodile hide on the sword was quite totemic.
The kaskara (pics attached) fully clad in crocodile seems excessive in the more common applications, while the Mahdist weapons often had considerable coverage.
However, in certain respects, perhaps in these cult type regalia, this kind of dramatic application may have served well.

The African weapons shown are a Songye axe , Azande sickle saber, and trumbash , all from Congo regions.

[Jim McDougall]

Although we are discussing a cuirass from Africa, I wanted to add, at least anecdotally, a similar kind of case from here in Texas.

In the 1870s, armor and a helmet were in the Pecos desert in Texas, near the Rio Grande river by an army doctor, who said they still encased the bones of the wearer. Years later he gave these (less the bones) to anthropologist and army captain John G. Bourke (c. 1890s) . It had been presumed these items had been worn by a 16th century Spanish explorer.

In time, the front and back plate cuirass had been lost, and what remained was the 'mantle' (over shoulders) and a very strange helmet. When these items came into possession of University of Nebraska, research done revealed that Spanish explorers used no such armor, only some mail, and leather armor (curera). The helmet has no comparison to anything whatsoever.

The 'mantle' was comprised of small iron scales, attached to a cotton backing, much in imitation of 'cataphract' (=scaled) armor, and examination revealed these to be of 'bloomery' type process iron, a very old process of smelting far predating the 19th c. methods.

Basically, the 'armor' was of old components, but seemingly amalgamated with material not congruent. The suggestion was that these items might have been from an opera company or fraternal group, but no such groups existed n these regions in those times.

Naturally, those times were wrought with lore and tall tales, and my question is, why would one of these mantles have been worn over a breast and back plate? Over mail I could see, but not sheet armor. The helmet looks like a baseball cap, nothing like anything Ive seen in armor.

Just illustrating these kinds of conundrums have other counterparts.

[kronckew]

Originally Posted by Jim McDougall

...
The helmet has no comparison to anything whatsoever.

..., but not sheet armor. The helmet looks like a baseball cap, nothing like anything Ive seen in armor.

Just illustrating these kinds of conundrums have other counterparts.

Roman Coolus helmet ~200BC: Baseball cap 'Visor' is a protective neck piece. Also google 'secret helmets' worn under cloth hats. I've seen one with a circular top bit removed some place before.

[colin henshaw]

Getting closer !

[Kubur]

As Kirk could have said "nearly there"...

[Richard G]

I've been reading this thread with interest. Who would have thought it difficult to distinguish between a tribal african artifact and a movie prop?
Anyway, on a purely speculative basis, is it possible to develop one of Colin's possibilities, i.e. that it is a diplomatic gift.
Is it possible this was made in an Islamic or non-tribal African arsenal for trade with, or a gift to, the more southern tribes. I am thinking of somewhere like Khartoum\Omdurman, Bornu, Djibouti etc, which probably would have had access to European trade metalware they could incorporate.
All trade and travel in 19th Cent Africa required immense amounts of 'hongo' or bribe and this looks as if it could fit the bill.
I realise the question of why we haven't seen one before arises.
The Zanzibar nimcha is familiar to us all, but at the risk of exposing my ignorance, do we know where they were actually made? My point is there must have been manufacturing centres that we are not aware of as well as the few we do.
Regards
Richard

[Jim McDougall]

Originally Posted by Richard G

I've been reading this thread with interest. Who would have thought it difficult to distinguish between a tribal african artifact and a movie prop?
Anyway, on a purely speculative basis, is it possible to develop one of Colin's possibilities, i.e. that it is a diplomatic gift.
Is it possible this was made in an Islamic or non-tribal African arsenal for trade with, or a gift to, the more southern tribes. I am thinking of somewhere like Khartoum\Omdurman, Bornu, Djibouti etc, which probably would have had access to European trade metalware they could incorporate.
All trade and travel in 19th Cent Africa required immense amounts of 'hongo' or bribe and this looks as if it could fit the bill.
I realise the question of why we haven't seen one before arises.
The Zanzibar nimcha is familiar to us all, but at the risk of exposing my ignorance, do we know where they were actually made? My point is there must have been manufacturing centres that we are not aware of as well as the few we do.
Regards
Richard

'm with you Richard! The 'movie prop' angle is definitely a new one for these pages, perhaps the 'tourist' or 'souvenir' terms have worn thin
Your note on the bargaining items (bribes etc.) typically key in trade is well placed, and certainly the vast diffusion of arms and material culture, along with influences were carried along the equally vast trade networks of the continent.

I do appreciate the humor in the previous posts, which well illustrate the levity of the movie prop probability, though at the risk of deriding the potential tribal importance of this cuirass/armor/hide vest or whatever correctness deems the proper description.

My curiosity has compelled me to continue research into the potential instances of this interesting combination of crocodile hide and metal, and to be honest, I was looking into the possibility of Sudan much as you have suggested. In my previous post, and from research some years ago, it is well known that crocodile hide was often used on weaponry there, in various degree and application. As I had noted, apparently there was a keen intent of the imbuement of power, in a totemic sense as had been told.

In reading the literature concerning swords of Sudan, there was a mention of 'crocodile cults' (I think it was either Briggs, '65 or Reed '87) and I thought possible connection to the heavily crocodile clad kaskara I had. There was scant information on this topic back then, so I did not pursue it further.

As you have noted, there was considerable presence of metal, materials and machinery present at Khartoum, assembled by Gordon, and captured by the Mahdi in 1885. All of this became stockpiled and liberally used by the Caliph at Omdurman, and remained along with continued materials during the Anglo-Egyptian Condominium in the years following the fall (1898).

While the use of these scrap metals etc. was considerable, the use of armor, particularly the mail armor well known previously in Sudan, had waned, though its use had prevailed in trade points to the west through Chad, Bornu and Nigeria. With armor in these regions, it was mail which was favored, but not the 'full metal jacket', with hide cover.

Returning to the West African scene, I looked again toward the 'cults' , in which the most prevalent and notable was that of the "Leopard Society', which seems to have had a history of tribal tradition going back many years. However by the 19th century into early 20th, these warrior groups had become rather nefarious cults, and with apparently diverse ajendas and character.

The 'Leopard men' were one of the most notorious and criminal, and were situated in regions from Liberia and Sierra Leone into other tribal areas.
For the 'movie buffs' here, they became the topic of one of the Tarzan movies ('Tarzan and the Leopard Men' ,1935). The sensational adventure writing of the previous years gave of course much material for these themes.

In these 'societies' (which were more cults ), the members believed (contrived) to become possessed by the carnivorous animals they revered, and they committed heinous crimes while 'under the spell'.
With the 'leopard men' , they dressed as leopards using various covers of either actual hide or material simulating the animal, and designed steel claws (much like the Indian bagh nakh).

These 'shape shifting' totemic identies also included crocodiles, but the 'costuming ' in those cases remain unclear. While there are depictions of the leopard men, I am not aware of similar of 'crocodile men'. However, it would be naive, given the evidence of leopard costumes, to presume nobody devised a crocodile counterpart. Obviously the earlier crocodile vests, cuirass, armor were known and probably still around.

[fernando]

Originally Posted by Jim McDougall

... Returning to the West African scene, I looked again toward the 'cults' , in which the most prevalent and notable was that of the "Leopard Society', which seems to have had a history of tribal tradition going back many years. However by the 19th century into early 20th, these warrior groups had become rather nefarious cults, and with apparently diverse ajendas and character.
In these 'societies' (which were more cults ), the members believed (contrived) to become possessed by the carnivorous animals they revered, and they committed heinous crimes while 'under the spell'.
With the 'leopard men' , they dressed as leopards using various covers of either actual hide or material simulating the animal, and designed steel claws (much like the Indian bagh nakh). ... These 'shape shifting' totemic identies also included crocodiles, but the 'costuming ' in those cases remain unclear. While there are depictions of the leopard men, I am not aware of similar of 'crocodile men'...

Dear Jim, i followed your perspective and am now coming from the reading of a blog well detailed on the moves of these leopard men beasts; simply horrifying.
Concerning the (apparent) non existence of other wild animals 'vests', the blogger argues that:

In fact, in the underworld of African cults and sects, there were Cults devoted to Baboons and Crocodiles that acted like their totemic animals, imitating their behavior and killing as they acted in the wild. The leopard, however, was the largest and most feared of the Cults for being considered a strong animal and responsible for guiding the dead in the other world.

This could be an explanation. Yet we still see a 'missing link' between putting on an animal hide and building a metal chest cuirass covered with a portion of skin.

[fernando]

It looks as if the only depiction available of a crocodile attire is the one in exhibition at the British museum. Something worth to note is how they categorize the implement, first as a suit and, after in the text, as an " imposing armour comprising helmet and cuirass ". This is notoriously a figure of speech, as this most interesting apparatus is no armour, starting by having its opening on the center chest side. More plausible would be a priest, or equivalent, wearing this outfit in a cult cerimony; potentially acceptable that this attitude is is based on the same principle as religion; fear. I would rather use this plain term than Jim's apotropaism, for reasons connected with the vastitude of the late; thinking of Brazil, then Europe. Going deep into it, scholars even find it in (European) songs.
To say that, if crocodiles were inoffensive, they would hardly have a ranking place in local ritual stages. Whether Romans took the device with them back home, assuming that it would serve for cult rather than for trophy purposes, is for one's consideration; that not for illuminated historians.
All in all, pretending that the comparison in effect of this attire with that of the Panoleon cuirass, might well be subject to a serious judgement.
So, in my humble perspective, we may have not reached one only step towards finding what Panoleon's implement is about.

[colin henshaw]

Originally Posted by fernando

It looks as if the only depiction available of a crocodile attire is the one in exhibition at the British museum. Something worth to note is how they categorize the implement, first as a suit and, after in the text, as an " imposing armour comprising helmet and cuirass ". This is notoriously a figure of speech, as this most interesting apparatus is no armour, starting by having its opening on the center chest side. More plausible would be a priest, or equivalent, wearing this outfit in a cult cerimony; potentially acceptable that this attitude is is based on the same principle as religion; fear. I would rather use this plain term than Jim's apotropaism, for reasons connected with the vastitude of the late; thinking of Brazil, then Europe. Going deep into it, scholars even find it in (European) songs.
To say that, if crocodiles were inoffensive, they would hardly have a ranking place in local ritual stages. Whether Romans took the device with them back home, assuming that it would serve for cult rather than for trophy purposes, is for one's consideration; that not for illuminated historians.
All in all, pretending that the comparison in effect of this attire with that of the Panoleon cuirass, might well be subject to a serious judgement.
So, in my humble perspective, we may have not reached one only step towards finding what Panoleon's implement is about.

This thread is certainly proving popular ! The crocodile "armour" from Nubia is
for sure an impressive and well-known object. I have looked closely at it in the BM a number of times. Likely it is connected with the Ancient Egyptian crocodile god "Sobek" and the cult surrounding him...

However, it is not to be dismissed in this context as it may have a connection with Panoleon's cuirass ... in that it could well have provided the impetus for the design of a prop (whether for a movie or theatre production). Likewise it no doubt would be a source of inspiration for a hobbyist in the past who wanted to make a striking item either for display or "dressing up".