How late 15th to mid 16th century guns were aimed, in historic illustrations

[Jim McDougall]

As always, I am completely captivated by these wonderful illustrations, especially as they show us the dynamics of how these early firearms might have appeared in use. I very much enjoy being part of the class here in learning about these weapons, and excellent questions posed by Fernando with excellent observations and explanations by Michael, Fearn and Richard. Never having studied these firearms, it is great to have such detail brought in discussion....much better than trying to wade through technical detail in books!

From my perspective, I always enjoy looking for symbolism and clues in art, which might relate to weapons and historic perspective of the times. I hope by noting some things I have noticed it will not deviate from the course of this excellent discussion, and simply stand for reference by those who might find interest in these other perspectives.

First, I am intrigued by the allegoric theme of the artwork using the skeletons with weaponry, and other symbolic elements of the illustrations. Apparantly the theme of the dance macabre and that of the 'Dance of Death' works by Hans Holbein (the younger) in 1530-1547, and ranks of marching skeletons by Brueghel, were reflective of the allegories of death personified by animate skeletons in European art.
The terror of the deadly plagues, collectively termed 'the Black Death' in the previous century were still in the thoughts of these artists, and in noting the skeleton firing the crossbow, the allusion of death by plague was represented by being shot with arrows.
At the top of the coffin, there is a clearly marked scorpion, which apparantly in the middle ages, as 8th sign of the zodiac, 'scorpio' , represented the period of mans life which lies under the threat of death (the fall). This is but one view of the certainly more complex associations with death held by the scorpion (this one from "A Dictionary of Symbols", J.E.Cirlot, 1962,p.280) but interesting in its key placement in the painting.

It is interesting that the scorpion was a well known makers or perhaps guild marking on Italian bladed weapons from about 1530's to about 1600 (see "Armi Bianchi Italiene" Boccia & Coelho, 254,310, 447,455) which possibly referred to the deathly potential of these, much in the sense of the deadly Indian dagger 'bichwa' (=scorpions sting).

The bizarrely colorful attire of the Landsknechts has interesting note as well, as from what I understand this wild appearing clothing developed from these troops sometimes taking clothing from dead opponents, as well as items of thier own being slashed or torn in battle. These battle worn elements served as distinguishing marks of a seasoned, and presumably fierce (by the simple fact of surviving) warrior. The flamboyant colors and tattered battle clothing, sometimes even bloodied, issued psychological effect upon opponents.

It is intriguing to view these paintings as contemporary illustrations of these symbolic elements, in addition to considering the accuracy of weapon forms and components, which as noted, were often not as carefully portrayed as the detailed symbolism added by the artist.

While enjoying learning more on the firearms (such as the keen detail of noting position of the rear sight on the barrel in determining period) I just wanted to share notes on what I have taken from this wonderful art.

Thank you so much Michael! and Fearn, Richard, and Fernando for the detailed and fascinating discussion.

All the best,
Jim

[Pukka Bundook]

Jim,

Wonderful contribution!

It appears we all have roughly the same amount of arms, legs, brains, etc, yet it amazes me what some can 'see' and other's don't!
Your contribution has helped immensly to round out this discussion, and filled in many blanks.

Fernando,

I understand perfectly what you mean abot the developement of aiming and firing.
This is a very interesting subject, and I will try and look out some information I have somewhere on accuracy.

Michael,

Thanks for putting me right on the early tube sights having a 'V' hidden underneath. I thought they were a type of 'peep' sight.
What I was getting mixed up with, was the slightly later 16th century cheek-stocked target shooting matchlocks, which did have a tunnel sight of sorts, but with pin-hole replaceable apertures, just like modern peep sights.
I believe the apertures were oftn made of horn or bone, and could be slotted in with the aperture hole in a differnt location to correspond to different ranges.

Best wishes,

R.

[Matchlock]

Fernando, Jim, Richard (in alphabetic order),

Thank you all so much. You're just great.

Good night from a rainy Bavaria - and from my collection

Michael

[fernando]

Originally Posted by Matchlock

... Good night from a rainy Bavaria - and from my collection ...

Also raining in Portugal ... but no collection like yours

Fernando

[Pukka Bundook]

No rain in western canada, and no collection either!

I think my brain was frozen this morning,(-20C)
when I said the apertures were made of horn,...don't know what happened, but they were made of Copper!
However did I get copper and horn mixed up?

[Matchlock]

Richard,

Please forgive my not being fully correct in claiming that all tubular back-sights had V sights underneath. This is really only true up to the mid 16th century.

From ca. 1550 to ca. 1600, there were tubular back-sights, of both iron and brass, that were dove tailed at the end of the barrel, in the direction of the muzzle, with no V sights at all. As they detached so easily, they are often missing with only the dove tail remaining.

Michael

[Matchlock]

Scanned from the highly recommendable work by H.W. Koch, Medieval Warfare, London, Bison Books, 1978, ISBN0 86124 008 1, p. 152.