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The Matthean Beatitudes in Their Jewish Origins A
Literary and Speech Act Analysis Studies in Biblical
Literature 1st Edition Michelle Howell Hancock Digital
Instant Download
Author(s): Michelle Howell Hancock
ISBN(s): 9781433115455, 143311545X
Edition: 1
File Details: PDF, 1.78 MB
Year: 2011
Language: english
 ADVANCE PRAISE FOR

The Matthean Beatitudes

in Their Jewish Origins
“Timothy D. Howell’s treatise undertakes a comprehensive examination of the Jewish
origins employed in the Matthean Beatitudes. He does so through the use of literary
analysis and speech act theory. While he acknowledges and interacts with the
research of others, he advances the discussion in new and innovative directions. The
result is a monograph that adds to and expands upon what others have discussed and
concluded. For this reason, I highly commend this work as being appropriate for
personal study and suitable as a college and seminary text.”
Dan Lioy, Senior Academic,
Postgraduate School,
South African Theological Seminary
The Matthean Beatitudes
in Their Jewish Origins
Studies in Biblical Literature

Hemchand Gossai
General Editor

Vol. 144

PETER LANG
New York y Washington, D.C./Baltimore y Bern
Frankfurt y Berlin y Brussels y Vienna y Oxford
 Timothy D. Howell

The Matthean Beatitudes

in Their Jewish Origins

A Literary and Speech

Act Analysis

PETER LANG
New York y Washington, D.C./Baltimore y Bern
Frankfurt y Berlin y Brussels y Vienna y Oxford
 Library of Congress Cataloging-in-Publication Data
Howell, Timothy D.
The Matthean Beatitudes in their Jewish origins:
a literary and speech act analysis / Timothy D. Howell.
p. cm. — (Studies in Biblical literature; v. 144)
Includes bibliographical references and indexes.
1. Beatitudes—Criticism, interpretation, etc.
2. Bible. N.T. Matthew V, 3–12—Criticism, interpretation, etc.
3. Speech acts (Linguistics)—Religious aspects—Christianity.
4. Christianity and other religions—Judaism.
5. Judaism—Relations—Christianity. I. Title.
BT382.H695 226.9’3066—dc22 2011013037
ISBN 978-1-4331-1545-5
ISSN 1089-0645

Bibliographic information published by Die Deutsche Nationalbibliothek.

Die Deutsche Nationalbibliothek lists this publication in the “Deutsche
Nationalbibliografie”; detailed bibliographic data is available
on the Internet at http://dnb.d-nb.de/.

The paper in this book meets the guidelines for permanence and durability
of the Committee on Production Guidelines for Book Longevity
of the Council of Library Resources.

© 2011 Peter Lang Publishing, Inc., New York

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www.peterlang.com

All rights reserved.

Reprint or reproduction, even partially, in all forms such as microfilm,
xerography, microfiche, microcard, and offset strictly prohibited.

Printed in Germany
To the memory of my grandfather, Earle G. Griffith (1896–1971),
who exemplified biblical scholarship with love for the Scriptures.

Table of Contents

Illustrations xi
Acknowledgments xiii

Chapter 1: Why Use Speech Act Theory on the Beatitudes? 1

Purpose and Rationale of Study 2
Background of Study 3
Contextual Issues 6
The Literary Nature of the Beatitudes 11
Speech Act Theory as an Exegetical Tool 14
Assumptions, Delimitations, Definitions 15
Chapter Overview 19

Chapter 2: Various Views of Jewish–Christian Identification

and Its Implications for the Matthean Community 21
Rival Movement within Judaism 22
Rebellious Movement away from Judaism 26
Remnant Movement beside Judaism 30
Evaluation of Models and Implications 33
A Dynamic Model of the Matthean Community 40

Chapter 3: Major Issues Bearing upon a Contextual Analysis

of the Beatitudes 45
The Jewish Metanarrative Used by Matthew 46
Influences of a Religious and Socio–Historical Milieu 61
viii The Matthean Beatitudes in Their Jewish Origins

The Beatitudes as a Window to the Community 84

Chapter 4: The Immediate Circumstances Surrounding

the Beatitudes 87
Semantic Observations Directing the Beatitudes 88
Structural Indicators Framing the Beatitudes 101

Chapter 5: Exegetical Analysis of the Beatitudes:

Its Contextual Meaning and Verbal Threads 117
The Meaning of makariori in the Beatitudes 119
The Rationale for Blessings: basileia tōn ouranōn 123
The Depiction of the Blessed 131
The Results of Being Blessed 148
The Core of the Blessings: dikaiosunē 156
The Inculcation of the Blessings: Matthew’s Case Study (5:11–12) 161
The Validation of Being Blessed: halas and phōs (5:13–16) 169
Translation of the Beatitudes in Life and the Text 179

Chapter 6: Literary Analysis of the Beatitudes:

Understanding What the Text Is 183
Hermeneutical Concerns in Literary Analysis 184
The Genre of the Beatitudes 194
The Poetic Pattern of the Beatitudes 209

Chapter 7: Speech Act Theory and the Beatitudes 231

The Development and Themes of Speech Act Theory 233
A Proposed Paradigmatic Model of Speech Act Theory 243
Applying the Speech Act Model to the Beatitudes 265

Chapter 8: Words as Deeds: The Beatitudes as

Paradigmatic Utterance 277
Questions Posed by the Study of the Beatitudes 277
The Beatitudes as Paradigmatic Utterance 284
Areas for Further Research 287
Table of Contents ix

Final Remarks 288

Bibliography 291
Subject Index 327
References Index 333

Illustrations

2.1 Rival Model 34

2.2 Rebellious Movement 35
2.3 Remnant Movement 36
2.4 Dynamic Model 41
4.1 Christos Rhetoric in Matthew 91
4.2 Imperatival Themes in Matthew 107
4.3 Chiastic Formation of Kingdom in Matthew 108
6.1 The Three Dimensions in Literary Analysis 193
6.2 Ascription in the Beatitudes 197
6.3 Complementary Word Pairs in the Matthean Pericope 212
6.4 Antithetic Word Pairs by Luke 213
6.5 Skeletal Arrangement of the Beatitude Pericope 223
6.6 Chiastic Arrangement of Beatitudes to Present Situation 224
6.7 Arrangement of the Matthean Addition to the Beatitudes 225
6.8 Righteousness as a Literary Motif in the Pericope 226
6.9 Chiastic Climax of Beatitudes Pericope 227
7.1 Examples of Contextual Possibilities 247
7.2 Linear View of Speech Act Communication 252
7.3 Dynamic View of Speech Act Communication 253
7.4 Perlocutionary Transaction 256
7.5 Variables in Interpreting Speech Acts in Display Texts 260
7.6 Engaging With Speech Acts 262
7.7 Bear–hunting Motif as Ritual 264
7.8 Illocutionary Force of Utterances in the Beatitudes 266
7.9 Isaianic Themes Describing the Matthean Community 268
xii The Matthean Beatitudes in Their Jewish Origins

7.10 Variables in the Speech Act of the Beatitudes 269

7.11 Process of Engaging With Speech Acts in the Beatitudes 270
7.12 Paradigm Shift with Beatitudes 272
7.13 Beatitudes as Ritual 274

Acknowledgments

T
his book is the reworking of my PhD dissertation for the South African
Theological Seminary. I could not have accomplished this study with-
out the support and direction of Dan Lioy as my advisor. He provided
me with invaluable guidance, both literarily and theologically.
I want to thank Hemchand Gossai and Peter Lang Publishing for including
my work in the Studies of Biblical Literature series. I have nothing but gratitude
to Heidi Burns who serves as the USA Executive Editor with Peter Lang. From
the start, she was an encouragement in the completion of this book.
Words fail me in expressing gratitude to my parents, Thurman Francis and
Louise Griffith Howell. Your love, guidance, and encouragement made our
family a real “Beaver Cleaver” home. Thank you for giving me a love for learn-
ing and a spiritual awakening to the Scriptures. Both of you have been demon-
strations of divine blessing and gracious living.
I have been blessed to have a wonderful brother and sister-in-law, Keith
and Cindy Howell, as well as nephews, Jason and Joshua. Your home has been
a wonderful place to visit and celebrate Christmas. I miss Beethoven!
To my cherished love, Amber Dawn, I thank you for your patience as I la-
bored on this venture. Thank you for listening to me talk incessantly over my
research and sacrificing time we could have enjoyed together.
I could never dream of life without my three children and their brother:
Michelle Elizabeth and her husband Kenneth Hancock, Christen Noel and her
husband John Thompson Jr., Timothy Matthew Blair, and their brother, Collin
Jacob Smith. The arrival of my first granddaughter, Gracie Elizabeth Thomp-
son, has been a joy I could have never imagined! My life can only be described
as blessed because of you. May all of you experience the reality of blessing to
which this study points.

CHAPTER 1
Why Use Speech Act Theory
on the Beatitudes?

F or centuries, the beauty of the Beatitudes has amazed readers with both
its literary and rhythmic quality, as well as its theological significance. It
is probably one of the most familiar pericopes, besides the Lord’s
Prayer, in the New Testament (Matt 5:3–12). The sayings attributed to Jesus by
Matthew, formed a purpose for the new community as it struggled in its in-
fancy. The new community Matthew addressed consisted primarily of Jewish
Christians at its inception, but incorporated Gentile believers over time (Beare
1981:10–11; Davies and Allison 1988:33,133–138; Harrington 1991:1–3,19;
Hagner 1993:lxiv–lxxi; Stanton 1993:124–145; Betz 1995:1–4; Barnett 1999:362;
Luomanen 2002:107–130; Skarsaune 2002:222–223; Ferguson 2003:613–615;
Carter 2004 81–89; France 2007:17–18; Lutz 2007:45–55,84–87; Turner
2008:14). Some have identified the community with a divergent Jewish sect who
came to believe in Jesus (Overman 1990:157–161; Saldarini 1994:84–90, 120–
121). The new community was none other than the Christ community with ob-
vious Jewish roots. Identity clarification was critical in the beginning of Christi-
anity. Clarifying its existence would also serve in promoting its purpose in the
domain of Hellenistic and Jewish religion.
2 The Matthean Beatitudes in Their Jewish Origins

Purpose and Rationale of Study

T
he purpose for this study is the focus on how the Beatitudes demonstrate that Mat-
thew used a literary and theological construct centered on Jewish concepts, which
were to be adopted as a paradigmatic utterance by the new community in under-
standing its existence and purpose in representing Jesus as the presence of God in the world.
There has not been a specific analysis devoted to the temple and covenant con-
cepts through speech act theory in the immediate context of the Beatitudes
within Matthean studies. The value of this undertaking will be to utilize a para-
digmatic model by which to interpret both the meaning and social context of
the Beatitudes as utterance. The objective of this study is to investigate those
verbal and literary clues that imply Jewish temple and covenant notions and
what the theological implications of God’s presence mean for the Christian
community. The goal is to ascertain whether Matthew was describing a ritualis-
tic observance or intending to create one within the new community, thereby
capitalizing on Jewish temple and covenant concepts already in place. Ulrich
Luz has emphasized that the Matthean language is “rooted in worship”
(2007:43). By utilizing speech act theory, the influence of the spoken words can
be assessed and a model for current Christian communities can be demon-
strated.
The Beatitudes demonstrate the oral process by which the Matthean theol-
ogy progressed. The pericope exhibits qualities that can best be explained
through an oral medium that resulted in a crafted text. The texts functioned,
through repetition of words and sounds, in aiding scribes for oral performances
(Horsley 2008:71–82). Eventually, these stories were written down as they had
been told within communal settings. Through oral performance, the new com-
munity displayed a theological awareness of its role in the world. What would it
mean if the Beatitudes were a composition illustrative of how the new commu-
nity saw itself and exemplified through its oral performances?
Subsidiary questions related to a speech act analysis of the Beatitudes in-
cluded the way the metanarrative of the Jewish past was replaced with new
meanings within the ideology of Jesus’ sayings. It is important to focus on Juda-
ism during the Second Temple period and how religious functions changed af-
ter the destruction of Jerusalem in 70 AD. The tensions found between Jewish
and Jewish Christian groups demonstrate pressures from Roman and Hellenis-
Why Use Speech Act Theory? 3

tic cultures. The social context influenced the Matthean pericope to a consider-
able degree. By analyzing society, the eclectic nature of Jewish cultures within
the Hellenistic and Roman period demonstrates the social emphasis upon
honor/shame, kinship, and right of assembly. By assessing how the new com-
munity developed in this cultural milieu, a greater appreciation of the challenges
faced by the new community will emerge.
What were the practical and theological intentions Matthew had in framing
the Beatitudes with Jewish concepts and metaphor? The oral nature of the Be-
atitudes can be traced within a society that was familiar to the mnemonic struc-
turing of literary compositions. How does the literary nature of the Beatitudes
reflect a composition that derived from oral presentations? Could the Beati-
tudes have been used as background for a hymn, confession of faith, Eucharis-
tic worship, or teaching tool? What clues are available to explore these and
other possibilities? The findings demonstrate a modified temple/covenant langue
that was Matthew’s intention for the new community to adopt in describing
their existence and purpose in representing Jesus as the presence of God in the
world. Speech act theory can demonstrate that the Matthean paradigm has exis-
tential value today as it did in the past through a focus on the utterances of the
Beatitudes.

Background of Study

M any ideas have been presented over the rich and varied meaning of
the Beatitudes. For introductory purposes, only four will be consid-
ered in representing the range of interpretative thought. Then, the
model offered in this study will be explored. Those approaches to the Beati-
tudes that have engaged scholars over the last century are the eschatological,
ethical, sapiential, and epitome.
With the eschatological dimension, the Beatitudes are gracious pronouncements
of God upon those who need a spiritual reversal. This serves as a bridge of
hope for the present by focusing on the certainty of the future. In addition, the
apocalyptic themes so prevalent at the time of Jesus and represented in the
Dead Sea Scrolls characterize the eschatological dimension. Albert Schweitzer
has been credited with bringing attention to this aspect of Jesus’ preaching at
the turn of the twentieth century. This dimension would also include the argu-
Other documents randomly have
different content
Beauchamp, Earl of Warwick, in S. Mary’s Church, Warwick, and the
picture of S. George by Mantegna in the Accademia, Venice.
Antonio Missaglia, Antonio was the son of Thomaso Missaglia,
Milan, circ. 1430–92. and was one of the foremost of the Milanese
Marks 24, 25, 26. armourers. As has been noticed in the
Introduction, the style of armour which was
evolved by him and his father seems to have been adopted by
German craftsmen. There are numerous records of payments and
letters connected with Antonio in the Archives of Milan from the year
1450 onwards. He worked for Galeazzo Maria Visconti and for Bona
di Savoia and after the death of the former became Ducal Armourer.
In 1456 he made armour for the Papal troops, and about this time
he enlarged the workshops of the family in the Via degli Spadari. In
1469 the Duke of Milan gave him a mill near the S. Angelo Canal. In
1470 he received a lease of iron-mines near the forest of Canzo,
near the Lago del Segrino, from the Ducal Chamber, and in 1472, in
recognition of his services to the State, he was allowed to purchase
the property.
The last entry in the Milanese Archives relating to Antonio refers
to his mines and furnaces in a letter to Bona di Savoia, April 20th,
1480. In the MSS. Lib., Trivulziano, is a report of the Venetian
Embassy which came to Milan on its way to Germany, written by
Andrea de Francesca. This report states that Antonio’s workshops
were visited and armour was seen there to the value of 1000 ducats.
He seems to have had a son Scabrino, but there are no records of
him as an armourer. Antonio died at the end of the fifteenth century
and is the last of the family who used the name of Missaglia. His
successors reverted to the family name of Negroni or Negroli. The
suit No. 3 in the Vienna Collection is stamped with his mark (Plate
II), and many helmets of the sallad type and various pieces of
armour bear a similar stamp in other armouries, such as the Wallace
Collection, the Porte de Hal, Brussels, etc. etc. The close helmet on
the “Tonlet suit” in the Tower, II, 29 (Plate X), is engraved with the
Collar of the Garter and bears the Missaglia stamp, and a suit in the
Musée d’Artillerie, G, 3, bears the same mark.
 Gasparo Mola, Mola is the only armourer whom we can
Rome, circ. 1590–1640. identify as having worked in Rome. He was
born about the year 1590 at Breglio, where his
father was an architect. He came to Milan at an early age and
worked there as a goldsmith. In 1607 he made various objects in
gold and silver for the Duke of Savoy. In the same year he was
summoned by Duke Ferdinand de Medici to Florence, where he
worked for two years. In the years 1613–14 he produced medals for
Mantua and Guastalla, and about the same time he executed work
for Carlo Emmanuele I of Savoy. He committed suicide in 1640.
Though we have no data for the theory, it seems not unlikely that it
was the studio of Mola which Breughel has represented in his picture
of Venus at the Forge of Vulcan. The ruins in the background
certainly suggest some of the buildings in Rome, which might have
been used for this purpose. There are also many medals and
examples of goldsmith’s work shown on this picture in addition to
the armour.
He was an expert in enamel-work and made richly decorated
pistols, and in 1642 produced a fine helmet and shield which are
now in the Bargello Museum, Florence.
Philippo and Jacomo Negroli, Philippo and Jacomo Negroli were sons
Milan, circ. 1521–80. of Bernardino who worked in Rome. It is
Marks 42, 43, 44. uncertain whether their father still kept
the name of Missaglia, which was used by
Antonio and Thomaso Negroni. The earliest known work by these
masters is dated 1532. For some years they were assisted by their
brother Francesco, who left them about this date and worked alone
for the Mantuan Court. Brantome and Vasari both mention Philip as
being a craftsman of very high repute. His armour was always very
costly, and Brantome states that a morion made by him would cost
40 thalers and that in sixteen years he had amassed 50,000 thalers.
He seems to have been ennobled, for Brantome calls him Seigneur
de Negroli. He had a house in the Porta Comassina, the wealthy
quarter of Milan. His work is always ornate, but does not transgress
the craft-laws to such an extent as did the armour of Peffenhauser
and Piccinino (Plate XXIX). Work by the Negrolis is to be found as
follows: In Madrid, A, 139–46; D, 13, 30, 64. Vienna, 330. Paris, G,
7, 10, 178.
Anton Peffenhauser, We have no details of the life of this
Augsburg, 1525–1603. craftsman beyond the dates of his birth and
death. He is best known as the maker of
elaborately decorated armour. The suit made for King Sebastian of
Portugal (Madrid, A, 290) is one of the most ornate suits in existence
(Plate XIV, also p. 75). His works are found as follows: Madrid, A,
290. Dresden, C, 10, 13, 15a, 20; D, 11; E, 6a, 10; G, 146. Vienna,
489, 490.
Lucio Piccinino, Lucio was the son of Antonio Piccinino, the
Milan, circ. 1590. famous sword-smith. It is uncertain whether he
actually produced armour himself or whether he
was solely concerned with the decoration. Like Peffenhauser he
delighted in lavish display of ornament without any consideration to
its fitness for armour. His work is extraordinarily minute and the
technical skill displayed is extreme. His work is only to be found at
Madrid, A, 291–4, and at Vienna, 543.
Pompeo della Chiesa, The son of a noted craftsman, Pompeo was
Milan, 1590. one of the foremost armourers in the latter years
of the sixteenth century. He was Court Armourer
to Philip III of Spain, and to the Archduke of Milan, Alessandro
Farnese. His work is found in the Armeria Reale, Turin, C, 21, 70; in
Vienna, 858, 859.
Conrad, Hans, and Jorg The brothers Conrad and Hans at different
Seusenhofer, 1470–1555. periods filled the position of Court Armourer
Marks 7, 8. to Maximilian I. Conrad was born between
the years 1450 and 1460. He was cousin to
Treytz, who produced the Weisz Künig, that chronicle of the doings
and artistic endeavours of the young Maximilian which, while it is
amusing in its sycophantic adulation of the Emperor is, at the same
time, an invaluable record of the operations of the applied arts of the
period and of costumes and armour then in fashion.
 In 1504 Conrad was appointed
Court Armourer for a period of six
years with a further agreement for a
pension of 50 fl. afterwards for life. In
the same year he received money for
enlarging his workshops, but after
much correspondence it was
deducted from his salary. The young
Emperor had theories about the
making of armour as he had about
every other art and craft, and
working in conjunction with his
armourer, and, presumably, taking
credit for his craftsman’s expert
knowledge, evolved the fluted style of
plate armour which still bears his
name. It was based upon Italian Fig. 67. Engraving on the left cuisse of
Henry VIII’s Suit, made by Conrad
models of the Gothic type which, at Seusenhofer (Tower, II, 5).
the end of the fifteenth century, was
distinguished by certain graceful flutings which Conrad and his
master elaborated till they covered the whole surface of the armour.
At this time the craftsmen of Brussels were noted experts in the
tempering of steel, and both Maximilian and Henry VIII employed
ironworkers from this city in their armouries.
Much of the raw material was drawn from Styria, and was
exported in such large quantities to England that the supply was in
danger of running short; so a monopoly was established and
exportation forbidden. This naturally raised the price, and was one of
the many causes which combined to keep up a ceaseless friction
between Maximilian, his Diet, and his armourers.
Seusenhofer favoured elaborate ornament on his armour, and this
did not please the officials who were responsible for the equipment
of the army. He was urged to produce plainer and more serviceable
work, a suggestion which Maximilian with his love of pageantry
ignored. In 1511 we find Seusenhofer complaining that Kügler, the
mine-master, was sending him inferior metal, and as he considered
that the use of it would be detrimental to the reputation of
Innsbruck as a factory of armour, he suggested that it should be
classed as Milanese. In 1511 the famous “Engraved Suit,” now in the
Tower of London, was put in hand as a present from Maximilian to
Henry VIII.
From the State Archives of Innsbruck (Jahrbuch II, reg. 1028) we
find that two cuirasses were ready for the King of England, one
gilded. There were apparently five others to be made, one of which
was to be silvered. This was probably the suit above mentioned.
The whole of the suit is covered with fine engraving representing
the stories of S. George and S. Barbara, with foliage and heraldic
badges. The designs have been engraved and a detailed description
given by Sir S. Meyrick in Archæologia, XXII.
The horse-armour is not by the same hand, for the engraving is
coarser. It may have been executed in England by German craftsmen
to match the rider’s armour (see Plates X, XII, Fig. 67).
There were ceaseless troubles over the payment and delivery of
work from the royal workshop. Sometimes Seusenhofer would retain
work for which the Emperor had pressing need till payment was
made, and on one occasion, when speedy delivery was not made,
Maximilian ordered the armourers to be placed in the forefront of
the battle, with no armour on, to show them what inconvenience
their delay was causing! It is needless to say that the armour was
delivered at once. So obsessed with the idea of his omniscience was
the Emperor that when, in the Weisz Künig, Seusenhofer suggests
some secret method of working the metal, he replies: “Arm me
according to my own wishes, for it is I and not you who will take
part in the tournament.” Again, Maximilian writes: “If you have
forgotten the art which I have taught you let me know and I will
instruct you again.”
 The date of Conrad’s death is unknown, but it was, as far as can
be ascertained, about the year 1517.
He was succeeded as Court Armourer by his younger brother
Hans, and he in turn gave place to his nephew Jorg, who produced
the suits which exist at the present day in Paris, G, 41, 117; Vienna,
283, 407. The only authentic work of Conrad is in the Tower of
London, II, 5.
Jacob Topf, We have but little information respecting Topf,
Innsbruck, 1530–90. in spite of the minute researches of the late Dr.
Wendelin Boeheim. From civic records at
Innsbruck he appears to have been one of three brothers. David, the
youngest, was in service with Archduke Ferdinand at Ambras and
died in 1594. In 1575 we find Jacob working for the Archduke at
Innsbruck. Boeheim discovered in his investigations that Topf was
absent from Germany between the years 1562 and 1575 and was
probably employed in Italy, England, and elsewhere. There are no
records of his employment in England except in a letter written by
Sir Henry Lee in 1590, where mention is made of “Master
Jacobe,”[145] who is now considered to be Topf. We have, however, a
most valuable record of work which was in all probability his in the
Almain Armourer’s Album, now in the Art Library of the Victoria and
Albert Museum.
This book consists of large drawings in ink and water-colour (17
in. by 11½ in.), thirty-one in number, which show twenty-nine suits
of armour with details of extra pieces for the joust.
On No. 14 is the signature: “These Tilte peces made by me
Jacobe,” but the name Topf does not occur in the Album.
In the year 1790 the book was in the possession of the Duchess of
Portland, at which time Pennant engraved the second suit of Robert
Dudley, Earl of Leicester, for his History of London. Strutt also
engraved the suit of George, Earl of Cumberland, in his Dresses and
Costumes (II, Plate CVLI). The library of the Duchess of Portland
was sold in 1799 and the Album disappeared till the year 1894,
when it passed into the Spitzer Collection. At the Spitzer sale it was
bought by M. Stein, of Paris, and on the advice and through the
personal efforts of Viscount Dillon, the present Curator of the Tower
Armouries, it was acquired for the nation.
Several of the drawings have been carefully reproduced by Mr.
Griggs in a book, edited by Viscount Dillon, under the title of An
Almain Armourer’s Album, and it is by the courtesy of the editor and
publisher that the accompanying illustrations are reproduced in the
present work.
The following list gives the complete series of plates in the Album
and shows which of the suits illustrated in the original are now in
existence.
Drawings Suits in Existence
(None complete in all parts.)

1. The Earle of Rutlande.

2. The Earle of Bedforde.
3. The Earle of Lesseter (1st suit).
4. The Earle of Sussex The gauntlets were in the Spitzer
Collection.
5. Duke John of ffineland Prince of
Sweden.
6. Ser William Sentle.
7. My Lorde Scrope.
8. The Earle of Lesseter (2nd suit) A portion of a suit in the Tower of
London (II, 10) is of very similar
design—evidently by the same hand.
9. My Lord Hundson.
10. Ser George Howarde.
11. My Lorde Northe.
12. The Duck of Norfocke.
13. The Earle of Woster A portion of this suit in the Tower (II,
9). At Windsor Castle a burgonet,
buffe, breast, back, placcate, gorget,
bevor, taces, lance-rest, sollerets.
14. Ser Henry Lee (1st suit).
15. Sur Cristofer Hattone (1st suit) Windsor Castle. The gorget is a
restoration (Plates XXV, XXVI).
16. The Earle of Penbrouke Wilton House.
17. Ser Cristofer Hattone (2nd suit) The suit of Prince Henry at Windsor
was copied from this and from
No.17 by W. Pickering (see Plate
XX).
18. Ser John Smithe Tower, II, 12. This suit has brassards
which are not shown in the sketch in
the Album (Plates XXVI, XXVIII).
19. Sr. Henry Lee, Mr. of tharmerie Armet in the Tower (IV, 29). Locking-
(2nd suit). gauntlet in the Hall of the
Armourers’ and Braziers’ Co.,
London (Plate XIII, Figs. 32, 68).
Burgonet, buffe, and leg-armour at
Stockholm.
20. The Earle of Cumberlande Appleby Castle.
21. Sr. Cristopher Hatton (3rd suit).
22. Mr. Macke Williams.
23. My L. Chancellor [Sir Thomas
Bromley].
24. My L. Cobbon.
25. Sir Harry Lea Mr. of the Armore Hall of the Armourers and Braziers’
(3rd suit). Company, London. On each side of
the breast in the band of engraving
are the initials A. V. (Fig. 69), which
probably stand for Anne Vavasour,
natural daughter of Sir T. Vavasour
and Lady of the Bedchamber to
Queen Elizabeth. The Nat. Dict. of
Biog. states that she was Sir Henry
Lee’s mistress.
26. My Lorde Cumpton 27. Mr. Portions of this and of the next suit
Skidmur [John Scudamor]. were formerly at Home Lacy and are
now in the Metropolitan Museum,
New York.
28. My Lorde Bucarte Wallace Collection, 435.
 29. Sr. Bale Desena.

There is also a suit at Vienna (491), made for Archduke Carl of

Steiermark, which Boeheim considered to be from Topf’s hands.
Fuller details of the above suits will be found in the reproduction
of the Album above referred to, and also in Arch. Journ., LI, 113.

Fig. 68. Gauntlet and armet of Sir Henry Lee (from the Armourer’s Album,
Victoria and Albert Museum). See also Plate XIII and Fig. 32.
Fig. 69. Rubbing of design on
breast of Sir Henry Lee’s suit,
Armourers’ Hall, London.
 F O OT N OT E S :
[143] Meister der Waffenschmiedkunst.
[144] Arch. Jour., XLVIII.
[145] See page 66.
 LIST OF ARMOURERS’ MARKS

T
he following have been taken from rubbings, drawings, and
prints, and the authorship of the marks is that given in the
several catalogues. The nationality of the armour is given first
as German, Italian, Spanish, or French; following this is the
approximate date; and lastly the Museums in which the mark is
found with the catalogue number. The Roman figures denote the
century to which the mark is ascribed.
A = Athens, Ethnological Mus.
B = Brussels, Porte de Hal.
Ber = Berlin, Zeughaus.
D = Dresden, Johanneum.
G = Geneva.
L = London, Tower.
M = Madrid, Real Armeria.
N = Nuremberg.
P = Paris, Musée d’Artillerie.
S = Stockholm, Lifrustkammer.
T = Turin, Armeria Reale.
V = Vienna, Waffensammlung.
Ven = Venice, Museo civico and Arsenale.
Armourers’ Marks.
 1. XIV. P, H, 23.
2. XV. P, H, 27.
3. XV. P, H, 41.
4. Germ., XV. P, G, I.
5. XV. P, H, 36.
6. Rotschmied, Germ. 1597. G.
7. Conrad Seusenhofer, Germ. 1518. L, II, 5.
8. Jörg Seusenhofer, Germ. 1558. V, 283, 407. P, G, 41, 117.
9. Valentine Siebenbürger, Germ. 1531–47. V, 226.
10. Germ., XV. P, H, 11.
11. Germ., XV-XVI. P, H, 42.
12. It., XVI. P, H, 55, 305.
13. It., XVI. P, H, 54.
14. Germ., XVI. P, G, 23.
15. Adrian Treytz, Germ. 1469–1517. V, 66, 1018.
16. Veit, Germ., XV-XVI. N, V.
17. Wilhelm von Worms, Germ., XVI. V, 226, 296.
18. Merate brothers, It. 1495. V, 917.
19. Germ., XV-XVI. P, G, 18.
20. F. Siebenburger, Germ., XVI. P, G, 22, 568.
21. Germ., XVI-XVII. P, H, 166. D, E, 556 (see also 97).
22. City of Augsburg, XV-XVII passim.
23. Lorenz Colman or Helmschmied, 1516. P, G, 536; V, 1005.
24. Antonio da Missaglia, It. 1492 passim (see also 36).
25. Antonio da Missaglia.
26. Antonio da Missaglia.
27. Petrajolo and Tomaso da Missaglia. 1400–68. V, 2, 3, 897; P, H, 29 (see also No. 78).
28. Germ., XVI. P, H, 158.
29. Germ., XV-XVI. P, G, 382.
30. Sigismund Wolf, Germ. 1554. P, G, 63, 64, etc.; M, A, 231.
31. It. (?), XVI. P, G, 36.
32. Germ., XVI. P, G, 147, H, 97.
33. It., XV. A (possibly a Missaglia mark, see No. 24).
34. It., XV. A.
35. It., XV. M, D, 14.
36. Antonio da Missaglia, It., XV-XVI. P, H, 29.
37. XVI. P, G, 84.
38. Matthaias Fraüenpreis, Germ. 1549–75. V, 397, 950; D, G, 39.
39. Franz Grofsschedl, Germ. 1568. V, 989; D, C, 1, 2.
40. Coloman Colman or Helmschmied, Germ. 1470–1532. V, 175; D, G, 15; M, A, 19, 59,
73, etc.
41. Lorenz Colman or Helmschmied, Germ. 1516. V, 62 (see also No. 23).
42. Philipp Negroli, It. 1530–90 } V, 330; M, A,
43. Philipp and Jacomo Negroli ” } 139–46; D, 13, 30, 64.
44. Philipp and Jacomo Negroli (?). P, G, 7, 10, 178.
45. City of Nuremberg, XV-XVII passim.
46. Kunz or Conrad Lochner, Germ. 1567. V, 334; P, G, 182, etc.; M, A, 243; S, 64.
47. Heinrich Obresch, Germ. 1590.
48. Anton Peffenhauser, Germ. 1566–95. V, 489; M, A, 290.
49. Hans Ringter, Germ. 1560. V.
50. XVI-XVII. P, G, 124.
51. Possibly the Merate brothers, It. XV-XVI. V, 60; L, VI, 28; M, A, 3.
52. Germ., XVI. V, 9.
 Armourers’ Marks.

53. Possibly the Merate brothers, It., XV-XVI. V, 948.

54. Possibly Hans Grünewalt, Germ., XV-XVI. V, 66, 995.
 55. It., XV. V, 5.
56. J. Voys, Netherland, XV-XVI. B, II, 39, 40; M, A, 11
57. XV. M, A, 4.
58. XV. M, A, 6.
59. On a mail skirt, XV-XVI. T, G, 86.
60. Peter von Speyer, Germ., 1560. Ber.
61. It., XV. Gen.
62. It., XV. Gen.
63. Germ., XV-XVI. P, H, 76.
64. It., XV. Gen.
65. Germ., XVI. V, 63.
66. It., XV-XVI. Ven. Mus. civico.
67. It., XVI. Ven. Arsenale.
68. On a sallad with Missaglia mark, It., XV. Ven. Mus. civico.
69. Germ., XVI. B, II, 101.
70. Germ., XV-XVI. V, 1022.
71. Armourers’ Company, London, XVII. L.
72. Germ., XV. D, A, 75.
73. Netherlands, XV. D, A, 75.
74. Siebenburger (?), Germ., XVI. B, II, 92.
75. It., XVI. M, A, 147.
76. Jorg Sigman, Germ., XVI. M, A, 238.
77. It, XV. A.
78. T. and P. da Missaglia, It., 1400–1468. P, H, 29; V, 2, 3; L, II, 29 (see Nos. 24–7).
79. Sigmund Rosenburger, Germ. XVI. D, C, 3, 4.
80. City of Augsburg (?), XVI. D.[146]
81. City of Augsburg (?), XVI. passim.
82. Germ., XVI. D.
83. M. Petit. Fr. XVII. P, H, 150; V, 711; M, A, 379.
84. Sp., XV. M, D, 24.
85. It., XV. A.
86. It., XV. A.
87. XVII. M, B, 11; T, C, 14.
88. XV. P, H, 141.
89. Germ., XV-XVI. L, II, 37.
90. XVI. L, III, 186.
91. Germ., XVI. L, II, 3.
92. Sp., XV. M, C, 10.
93. Sp., XV. M, C, 10.
94. It., XV. A.
95. XV. M, D, 18.
96. Germ., XV. B, II, 170.
97. Germ., XVI. B, II, 182; D, E, 556 (see also No. 21); S, on a crossbow, 143.
98. Germ., XVI. B, II, 30.
99. Germ., XVI. B, II, 3.
100. Possibly the city of Wittenburg, XVI. B, II, 4, 41.
101. Sp., XV. M, C, 10.
102. Sp., XV. M, C, 10.
103. It., XV. A.
104. Germ. XV. V.
 F O OT N OT E :
[146] A similar mark was used by the Armourers’ Company,
London, about 1640.
POLYGLOT GLOSSARY OF WORDS DEALING WITH ARMOUR AND
WEAPONS

The meanings of the words in this Glossary are given either from
comparison of various scattered entries in contemporary documents
or from the following works:—
Boeheim. Waffenkunde. 1890.
Cotgrave. Dictionarie of the French and English Tongues. 1611.
C.
Du Cange. Glossaire Français. Edit. 1879.
Florio. A Worlde of Woordes. 1598. F.
Gay. Glossaire Archéologique, A-G (never completed). 1887. G.
Harford. English Military Discipline. 1680. H.
Meyrick. Antient Armour (glossary). 1842.
Roquefort. Glossaire de la Langue Romaine. 1808. R.
Valencia. Catalogue of Real Armeria, Madrid.
Where no reference letter is given the meaning given is that
generally accepted at the present day.
The names of the different parts of the suit of plate armour are
given in English; French, German, and Italian and Spanish are given
on pp. 110, 111.
A
Abzug, Germ. the trigger of a gun.
Achsel, Germ. see pauldron.
Achselhohlscheibe, Germ. see rondel.
Achselschilde, Germ. see ailette.
Acroc, a hook or clasp.
Adargue, a heart-shaped buckler, G.
Affust, } gun-carriage.
Afut, }
Agaric, tinder used with flint-lock gun.
Agier, O.F. darts.
Aguinia, machines or engines of war.
Aguzo, It. the point of the spear.
Aiguilettes, tags at the ends of laces for fastening the various pieces of
armour.
Ailettes, wing-like pieces of plate or cuir-bouilly worn on the shoulders.
Very rare and seldom seen on monuments. XIII-XIV cent.
Aketon, see gambeson.
Alabarda, It. halberd.
Alaguès, Halaguès, O.F. soldiers of fortune, free-lances, R.
Alarica, a heavy triangular-pointed spear.
Alberc, Germ. see hauberk.
Alberia, a shield without armorial bearings.
Alborium, a bow of hazel, XI cent.
Alemèle, Fr. the lame or blade of the sword.
Alemella, It. a knife or dagger, XIV cent.
Alfange, Sp. cutlass.
Alferanna, Sp. a banner.
Algier, O.F. dart.
Allecret, a variety of half-armour, end of XVI cent.
Almarada, Sp. a stiletto or dagger.
Almayne rivet, suit of light half-armour, XVI cent.
Almete, Sp. a close, round helmet, armet.
Alzo, It. the “sight” of the firearm.
Amadue, Fr. see agaric.
Ameure, a dagger.
Amorce, priming.
Amorcoir, Fr. powder-flask.
Amussette, Fr. a breech-loading musket, XVIII cent.
Anelace, a broad-bladed dagger, early XIV cent.
Angon, a javelin used in the VI cent. The head was heavy and the top
part of the shaft thin, so that it bent on impact and thus hampered
 the stricken man, G.
Animes, a cuirass of horizontal lames, R.
Antebrachia, see vambrace.
Antela, see poitrel.
Antia, the handle of a buckler.
Anzerdecke, Germ. see barde.
Appogiar, the cantle of the saddle.
Arbalest, a crossbow.
Arbalest à cric, a heavy crossbow used in sieges.
Arbalest à cranequin, a crossbow drawn with a windlass.
Arbrier, the tiller of a crossbow.
Arcabuz, Sp. see arquebus.
Archet de fer, the moulded ring on the breech of a cannon, base-ring.
Archegaye, a staff sharpened at both ends carried by estradiots, XV
cent.
Archibuso, It. see arquebus.
Arcioni, It. the fore and aft peaks of the saddle.
Arcon, the saddle-bow.
Arescuel, the grip of a lance, R.
Arest de lance, vamplate, later the lance-rest, G.
Arganello, It. the windlass of a crossbow.
Argolets, French mounted arquebussiers, XVI-XVII cent., R.
Arma bianca, It. } sword.
Arme blanche, Fr. }
Armacudium, an indefinite weapon of offence.
Arma d’asta, It. any long-shafted weapon.
Armatoste, Sp. the windlass of a crossbow.
Armes à l’épreuve, pistol-proof armour.
Armet, a close helmet with bevor and movable visor.
Armil, see surcoat.
Armin, an ornamental hand-grip for the pike made of velvet or leather.
Arming-bonett, a padded cap worn under the helmet.
Arming-doublet, worn under the armour.
Arming-hose, long hose worn under leg-armour.
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