Greenwich Royal Workshop: The Buckhurst Armour
Discover the stunning armour of Thomas Sackville, Lord Buckhurst, a symbol of Elizabethan power and courtly fashion.
ReadBuckhurst Armour Full Armour of Sir Thomas Sackville (Dark Background) (1587/1589) by Jacob Halder and The Royal ArmouryThe Wallace Collection
Explore the history and design of this imposing armour was made for Thomas Sackville, Lord Buckhurst, a prominent diplomat and leading figure at the court of Queen Elizabeth I.
It was made in about 1587 at the Royal Workshops at Greenwich and is one of several armours produced for leading noblemen in the tense years leading up to the Spanish Armada.
Buckhurst Armour Full Armour of Sir Thomas Sackville (Side View) (1587/1589) by Jacob Halder and The Royal ArmouryThe Wallace Collection
Founded by Henry VIII in 1515, the Royal Workshops produced high-quality armour both for the king and favored members of the court.
Buckhurst Armour Helmet Closed (1587/1589) by Jacob HalderThe Wallace Collection
Although neither Mary I nor Elizabeth I had any need for personal armour, the Royal Workshops continued to flourish throughout the second half of the 16th century thanks to the patronage of wealthy courtiers.
Originally staffed by highly skilled German armourers, known as ‘Almains’, the workshops continued to employ European armourers throughout the 16th century.
This book of stenciled watercolour illustrations, known as the ‘Jacob’ or ‘Almain’ Album, was produced between 1557 and 1587. It documents the various armours made at the Royal Workshops under the direction of ‘Master Workman’ Jacob Halder (1576-1608).
Among its brightly coloured pages is this illustration of Lord Buckhurst’s armour (‘My Lorde Bucarte’).
Although the album shows Buckhurst’s armour coloured a reddish-brown, the real armour was originally a deep iridescent blue. This is because the artist used a cheap and readily available iron-oxide based pigment, rather than a more expensive lapis lazuli based blue.
Buckhurst Armour Helmet Open (16th Century) by Jacob HalderThe Wallace Collection
To achieve a blued finish the armourer had to evenly heat the plates to about 250 degrees centigrade. This was a highly complex process which took great skill to accomplish.
Buckhurst Armour Detail of Design 1 (20th Century) by Jacob HalderThe Wallace Collection
Although most of this finish has been lost, traces can still be found on some of the plates.
Buckhurst Armour Detail of Design 3 (1587/1589) by Jacob Halder and The Royal ArmouryThe Wallace Collection
The armour has been further embellished with etched and gilt guilloche and foliate bands on a stippled ground which would have created a vivid contrast with the deep blue of the steel.
The design was created by applying a wax resist and then bathing the plates in a weak acid. Those areas covered by the wax would remain in relief while the exposed areas were eaten away.
Buckhurst Armour Front Skirt and Tassets (1587/1589) by Jacob Halder and The Royal ArmouryThe Wallace Collection
The etched areas were then gilt by a process known as ‘mercury gilding’. This involved the application of a butter-like mercury and gold paste which was painted onto the armour
The plates were then heated; vaporising the mercury while the gold was left adhering to the metal.
Men like Buckhurst were the fashion leaders of their day. Not only is the armour beautifully decorated, it also closely emulates male clothing of the period.
In particular the breastplate evokes the exaggerated ‘peascod’ or ‘goose-belly’ doublet that was so fashionable in the late 16th century.
Buckhurst Armour Helmet Open (16th Century) by Jacob HalderThe Wallace Collection
Despite its rich, fashionable appearance, Buckhurst’s armour was designed for the battlefield.
Known as a ‘garniture’, the armour consists of interchangeable parts allowing it to be adapted for various types of combat.
This configuration shows the armour in its most complete form for use as a heavy cavalryman armed with a lance.
Buckhurst Armour Detail of Gauntlets (19th Century) by Jacob HalderThe Wallace Collection
It has been carefully designed to protect the wearer from head to toe and includes an additional bullet-proof reinforcing plate, known as a ‘plackart’, worn over the breastplate.
Buckhurst Armour Breastplate (1587/1589) by Jacob HalderThe Wallace Collection
The lance rest or ‘arrest’ fixed to the right side of the breastplate supported the lance and allowed it to be braced for impact. This simple device greatly increased the force imparted to the target.
Buckhurst Armour Armour of Sir Thomas Sackville (Vambrace) (1587/1589) by Jacob Halder and The Royal ArmouryThe Wallace Collection
The armour could also be adapted for light cavalry use by removing the reinforcing placard as well as the armour for the arms and legs. The collapsable ‘buffe’ which protected the face could also be removed.
Buckhurst Armour Opened Sabatons (21st Century) by Jacob HalderThe Wallace Collection
In this configuration the lance was discarded and instead,
the primary weapons were a pair of pistols.
Although other English courtiers also owned Greenwich-made garnitures, Buckhurst’s is one of the most compete. Remarkably the only missing pieces appear to be a pair of saddle steels.
Buckhurst Armour Stirrups (1587/1589) by Jacob Halder and The Royal ArmouryThe Wallace Collection
Importantly, the garniture is unique in retaining its matching stirrups.
Buckhurst Armour Full Armour of Sir Thomas Sackville (Dark Background) (1587/1589) by Jacob Halder and The Royal ArmouryThe Wallace Collection
Under the direction of Jacob Halder the Royal Workshops at Greenwich enjoyed a golden age. As well as Buckhurst other patrons included Elizabeth I’s favorite Robert Dudley Earl of Leicester and her champion Sir Henry Lee.
For members of her court armour was used as a visual display of their loyalty and devotion and their readiness to fight in defence of her kingdom. Explore our collection of Arms & Armour here.
