Caravaggio - paintings of armor and edged weapons 1590s-1610

[shayde78]

The Taking of Christ; 1602

Here we can really start to see some of the detail portrayed in the representation of armor. I particularly like that the leather straps are clearly shown. The curl at the end is simply something that struck me as an extra touch of realism.

[shayde78]

The Sacrifice of Isaac; 1602/1603

I debated including this one as the knife shown is entirely simple. However, as the surviving examples we have from any historical period are those that skew toward the exceptional (and thus worth preserving through the ages), I felt it important to allow this humble tool be shown here. This may be considered a typical simple Italian shepherd's knife from the early 17th Century.

[shayde78]

The Crowning with Thorns; c. 1602/1603

Again, here is another good showing of armor. Additionally, I like that we see how one might wear their shirt with a cuirass.

[shayde78]

Here, there is not much in the way of weaponry displayed. The drawn rapier is mostly obscured. However, I included it to show the detail of the rapier frog, scabbard, and belt, as some may find that interesting.

[shayde78]

David with the Head of Goliath; c. 1606/1607

Remember when I mentioned the head of Goliath looks a bit like the painter himself? This is the first of two such renditions (see image dated 1609/1610 for the other). I'll let you judge of the likeness. As for the sword, even the fullering, the facets on the pommel, and some hints of additional decoration to the pommel are shown. This style may have been considered archaic by Caravaggio's time, and thus suitable to be used in a scene from antiquity.

[shayde78]

Judith Beheading Holofernes; date disputed (as early as 1598 - as late as 1607).

While placing this piece in time has been challenging, I chose to include it here as it fits to the later attribution. Regardless, it shows what I think is an attempt to portray an 'exotic' blade. However, such blades were frequently represented in Medieval manuscripts (see thread of images from the Nuremberg Chronicle ), and seems to have been particularly portrayed in the hands of characters from the Jewish scriptures (aka Old Testament). While you're checking out that other link, take a moment to compare the artistic differences between what could be achieved through early printing methods, and full-scale oil paintings, and the overall changes in artistic representations. The Chronicle was compiled about a century before the works shown in this thread.

Back to the blade in Judith's hand - it is beautifully rendered and, if recreated in the round, would surely be a functional knife. Once again, the fullers are clearly shown and, to me, demonstrates that the artist was well acquainted with the work of actual bladesmiths. In the other thread, Vitrix noted that such a blade resembles that used as a maker's mark in some instances. He speculated that this might represent the sword of God. As Judith is working to protect her people in this scene, perhaps that is not a coincidental choice by Caravaggio.

[shayde78]

Portrait of Alof de Wignacourt and his Page; c. 1607-1608

To me, portraiture is a true test of an artist's skill at capturing real life. Your patron is the subject, and they will want to see a faithful (ok, more likely idealized) version of themselves looking out from the canvas.

Here, we have a nearly complete suit of contemporary armor depicted. The rich decoration is well captured. Even the bit of mail at the waist/groin is apparent.

As for Alof, he was the Grand Master of the Order of St. John of Jerusalem. He made a name for himself at the battle of Malta in 1565, after which, the Turks were permanently expelled from the island. His armor certainly speaks of a man of great standing.

The page was some kid name Tom who mostly stayed in his room and played video games.

[Philip]

Originally Posted by shayde78

Judith Beheading Holofernes; date disputed (as early as 1598 - as late as 1607).

it shows what I think is an attempt to portray an 'exotic' blade. However, such blades were frequently represented in Medieval manuscripts

Back to the blade in Judith's hand - it is beautifully rendered and, if recreated in the round, would surely be a functional knife. Once again, the fullers are clearly shown and, to me, demonstrates that the artist was well acquainted with the work of actual bladesmiths. .

These cutlasses or short sabers with clipped points have a long history in Italy, having been in use for over two centuries. The painting below is San Michele ed il drago, by Antonio del Pollaiolo, ca 1466-80, in the museum of the Cathedral of Florence. An early Renaissance work, it depicts a weapon with the medieval-style "wheel" pommel but whose guard sports a rudimentary knucklebow which is the forerunner of a trend beginning early in the next century in northern Italy, from the Venetian spada da fante to the swept-hilt rapier hilts of Milan, Belluno, and other areas.

The photo is of an actual and magnificent example of one of these weapons, a coltellacio (big knife) ca. 1570, probably Brescian (Dresdner Rüstkammer, inv. no. HM VI.379, published along with above painting in Boccia/Coelho, Armi Bianche Italiane, 1975). Talk about fullers -- note the multiple rows of segmented fullers, cut as precisely as you please, a hallmark of deluxe blades of all kinds made in Brescia. A princely sword, in near perfect condition, the blade surface with intact polish (lucidatura), a painstaking process admired in the rest of Europe as well, and commonly referred to as "Milan polish".