Alla tedesca — in the German fashion.
The fluting, the faceted silhouette and the long knee fans are German taste of the late fifteenth century. The armet is not — that is an Italian form, and the pairing is the sort of crossover the period was full of, when Italian workshops built alla tedesca for buyers north of the Alps. Fluted cuirass with fauld, armet with gorget plates, arms with pauldrons and couters, full legs, gauntlets and sabatons — built for one fighter, to his own measurements.
Every piece of the harness, laid out as it was finished.
Cuirass, front and back
Breast and backplate with radiating flutes and an articulated fauld — the fluting stiffens the plate as well as decorating it.
Armet — the Italian note
Visor down over an integrated gorget, head and neck fully enclosed. An Italian helmet form on a German-styled harness.
Armet in profile
The pivot and the sweep of the skull — nothing square for a weapon to catch.
Armet, opposite side
Matched pivots and rondel, with the gorget lames beneath.
Pauldrons
Layered lames over the shoulder, fluted at the edge, riding the arm as it lifts.
Legs, the pair
Cuisse, poleyn and greave — matched left and right, buckled down the outside.
Poleyn and fan
The fluted knee fan turning a blow off the side of the joint.
Leg articulation
Lames stepping down from thigh to knee so the leg still bends under load.
