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Falling buffe

A falling buffe is a type of 16th-century European armor designed to protect the lower face and throat, consisting of multiple overlapping steel lames that can be raised to form a defensive barrier or lowered and collapsed for improved visibility and breathing during combat.^[1] This innovative face defense evolved from earlier bevors and was typically attached to helmets such as burgonets or close helmets via leather straps or buckles around the helmet's neck, allowing the wearer to secure it in position while maintaining flexibility.^[2] Crafted primarily from steel, often with gilding, etching, or blackening for both functional and decorative purposes, falling buffes were produced by renowned armorers in centers like Augsburg, Germany, and Greenwich, England, during the mid-1500s.^[3] Examples include a circa 1525 piece attributed to Kolman Helmschmid, featuring collapsible segments for adjustable protection, and a 1543 close helmet with an integrated falling buffe for full facial coverage.^[1]^[4] These components were essential in field armors for nobility and military leaders, balancing robust defense against thrusts and blows with practical usability on the battlefield.^[3]

Overview

Definition and Purpose

The falling buffe is a modular component of 16th-century European plate armor designed as a face defense, consisting of multiple overlapping lames that shield the lower face, jaw, and throat.^[1] This assembly, typically attached to open-faced helmets such as the burgonet, allows the wearer to raise it for combat protection or lower it as needed.^[5] Its primary purpose is to provide targeted defense against strikes to vulnerable areas like the throat and lower face, while incorporating adjustability to facilitate breathing, enhanced visibility, and verbal communication—essential for both battlefield engagement and routine activities.^[1] Unlike fixed protective elements, the falling buffe's hinged or sliding mechanism enables quick repositioning, balancing robust safeguarding with practical usability during extended wear.^[5] This adaptability marked a key advancement over earlier rigid designs, such as the bevor, emerging amid the Renaissance evolution of plate armor in regions like Germany and Italy.^[6] In historical context, the falling buffe appeared prominently in the early 16th century as part of sophisticated armor ensembles, reflecting advancements in metallurgical craftsmanship and tactical requirements of the period.^[1] Attributed to master armorers in centers like Augsburg, it exemplified the era's emphasis on versatile protection for infantry and cavalry in an age of increasing firearm use and close-quarters combat.^[6]

Etymology and Terminology

The term "buffe" derives from Old French buffe, an onomatopoeic word rooted in "buff," evoking the sound of a blow or puff, which aptly describes a defensive plate intended to guard the face from impacts.^[7] This nomenclature reflects the piece's role as a blow-deflecting element in armor ensembles. The descriptor "falling" in "falling buffe" specifically denotes the articulated lames' ability to collapse or fold downward, allowing the wearer to lower the guard for visibility and respiration while raising it for protection.^[1] Period sources from the 16th century exhibit variations such as "falling visor" or "collapsible buffe," emphasizing the mechanism's adjustability, though these terms are used interchangeably with the primary nomenclature in English inventories and armorial descriptions.^[8] The falling buffe is terminologically distinct from the "bevor," a rigid single-plate chin defense, and the "gorget," a broader neck collar without facial extension, as it uniquely combines multi-lame articulation for lower face coverage.^[9] The term evolved in 16th-century English through adoption from French as "buffe" or "falling buffe." In French, it is simply "buffe" for face guards in helmet assemblies. Italian sources use "buffa" for similar protections.^[10] German texts refer to it as "fallender Buffe."^[1]

Historical Development

Origins from Earlier Armor

The falling buffe originated from the fixed bevor, a rigid plate designed as a throat and lower face guard that emerged in the mid-15th century as an integral component of helmets such as the bascinet and sallet.^[11] This bevor typically attached via straps or pivots to the helmet's lower edge, providing essential protection against thrusts to the vulnerable neck and jaw areas while allowing compatibility with open-faced designs prevalent in European warfare.^[5] In German examples from around 1480, the bevor was often detachable, overlapping the sallet's tail to form a modular system that balanced protection with visibility.^[11] The design drew significant influence from late medieval helmets like the armet, which introduced early modular face plates around 1450–1500 in Italy and Germany, marking a shift toward more adaptable head defenses.^[12] The armet, originating in Italy circa 1490, featured hinged cheekpieces that closed over the chin and a short pivoting visor, with a separate bevor plate buckling at the rear to reinforce the lower face and neck.^[12] These innovations in Milanese workshops emphasized articulated elements for easier donning and removal, laying the groundwork for multi-lame constructions by incorporating lightweight steel plates that could pivot or hinge independently.^[13] This evolution transitioned into the early 16th century amid advancements in plate armor fabrication and changing warfare tactics, including the rise of pike and shot infantry formations that prioritized mobility over encumbrance.^[14] Key early examples of proto-buffes appear in Milanese armor from the 1490s, such as armets with preliminary articulated lower face guards that foreshadowed the falling buffe's lames, driven by the need for versatile protection in increasingly infantry-dominated battles.^[12] By the late 15th century, these rigid be vors began incorporating hinges and overlaps, evolving from static guards into precursors of the dynamic, multi-segmented falling buffe to accommodate lighter harnesses suitable for prolonged engagements.^[9]

Evolution in the 16th Century

The falling buffe reached its peak development between approximately 1520 and 1560, particularly in the armories of Germany and Italy, where it transitioned from a simple protective element into a sophisticated, articulated face defense integrated with burgonets and close helmets.^[15] Attributed examples from this period, such as the steel falling buffe crafted by Kolman Helmschmid in Augsburg around 1525, demonstrate the innovative use of multiple sliding lames that could be lowered for improved ventilation and visibility during combat.^[1] This era marked a refinement in design, evolving from the earlier bevor to provide enhanced mobility for the wearer while maintaining throat and lower-face protection.^[15] Regional variations emerged to suit different military and cultural preferences within Europe. In the Holy Roman Empire, German workshops produced heavier, embossed falling buffes with raised ridges and intricate motifs, emphasizing durability and ornate decoration for both battlefield and ceremonial use.^[15] In contrast, French variants, such as the circa 1550 burgonet with falling buffe likely made for Henry II, featured lighter constructions adorned with mythological scenes influenced by Italian artists like Rosso Fiorentino at the Fontainebleau school, blending functionality with Renaissance aesthetics.^[16] Italian centers, notably Milan under makers like Filippo Negroli, contributed to this evolution through embossed parade armors that prioritized sculptural detail over weight, often incorporating all'antica styles.^[15] Advancements in 16th-century metallurgy facilitated these refinements, enabling the production of higher-quality steel through improved heat treatment and raw material sourcing, which allowed for thinner yet harder lames without sacrificing protective integrity.^[17] This coincided with the rise of firearms, prompting armorers to integrate falling buffes into ensembles that balanced defense against projectiles with the need for articulated mobility in pike-and-shot warfare.^[15] By the late 16th century, however, the falling buffe began to decline as full-face helmets yielded to open-faced styles like the morion and cabasset, though it persisted into the early 17th century among heavy cavalry units.^[15]

Design and Construction

Components and Lames

The falling buffe consists primarily of a central chin plate serving as the base, from which 2 to 5 overlapping horizontal lames extend upward to protect the lower face and throat.^[2] These lames are articulated to allow flexibility, with the chin plate often featuring a prow-shaped or rounded form for ergonomic fit. Additional collar lames, typically 1 to 2 in number, integrate with the neck area, providing extended protection and connecting to the overall gorget system.^[6] Constructed from steel plates, the buffe components were frequently embossed, etched, or gilded for both decorative enhancement and structural reinforcement.^[1]^[2] The lames overlap in a scaled manner, connected via sliding rivets or internal leathers to enable smooth articulation without restricting movement.^[6] Attachment to the helmet occurs through leather straps or buckles that secure around the helmet's neck guard, often supplemented by hinged hasps with swivel hooks or rectangular slots engaging studs and lugs on the helmet base.^[6]^[2] These points ensure modular integration, allowing the buffe to be worn with various helmet types such as the burgonet. Variations in lame count distinguish basic from elite examples; simpler designs feature a 3-lame configuration (chin plate plus two upper lames) for essential coverage, while more elaborate versions incorporate 5 lames (including additional gorget plates) for comprehensive defense in high-status armors.^[6]^[2] Such adaptations reflect the buffe's role in providing adjustable protection tailored to the wearer's needs.

Mechanism and Functionality

The falling buffe operates through a series of articulated steel lames that pivot on sliding rivets or hinged joints, enabling the assembly to collapse downward into a position below the chin for unobstructed access to the lower face.^[1]^[6] This deployment mechanism, often facilitated by medial leathers and side rivets, allows the lames—typically numbering three or more, including a prow-shaped upper plate—to fold compactly without detachment from the associated helmet.^[6] The locking system relies on spring-loaded studs or catches mounted on the lower lames, which snap into corresponding holes or slots on the upper components to secure the buffe in its raised position.^[6] To release, the user manually depresses the studs to disengage them, then pulls the lames downward; reversing this process—pushing the assembly upward—allows the springs to re-engage and lock the structure firmly.^[1] These sprung elements ensure reliable retention while permitting quick adjustments during use. In its raised configuration, the falling buffe provides comprehensive protection for the throat, chin, and lower face up to the cheekbones, forming a seamless barrier integrated with the helmet's bevor or gorget.^[1] When lowered, it enhances ventilation by exposing the lower face, facilitates eating and speaking without full removal of the helmet, and improves visibility for non-combat activities, balancing defense with practical mobility.^[1]^[6] Engineering innovations in the falling buffe include the precise articulation of overlapping lames via rivets and leathers, which minimizes gaps in coverage even during movement and maintains structural integrity under stress.^[6] This design exemplifies 16th-century advancements in modular armor, allowing fluid transitions between protective and open states without compromising the lame structure detailed in prior components.^[1]

Usage and Variants

Integration with Helmets

The falling buffe was primarily associated with the burgonet, an open-faced helmet popular in the 16th century, where it served as a detachable lower-face and throat guard. It attached to the burgonet via leather straps and buckles encircling the helmet's neck base, allowing the multi-lame structure to pivot upward for protection or collapse downward for visibility and ventilation.^[18]^[19] This integration complemented the burgonet's lightweight, open design by providing flexible defense without enclosing the entire face, often aligning with the helmet's hinged cheek plates for a secure fit.^[16] In close helmets, the falling buffe was incorporated as an additional pivoting element, sometimes sharing hinge points with the visor to enhance full-face coverage while maintaining adjustability. Examples include Milanese close helmets from the late 16th century, where the buffe extended the helmet's bevor-like protection downward.^[20] English Greenwich-style armors frequently featured closed burgonets with integrated falling buffes, crafted from steel and brass, which could be raised or lowered via hinged mechanisms for combat versatility.^[21] Customization of the falling buffe for helmet integration often involved adjustable leather straps to accommodate varying head sizes and ensure a snug fit against the wearer's neck. These attachments were compatible with burgonet features such as plume holders on the crest and additional cheek plates, enabling modular enhancements without compromising the helmet's balance or mobility.^[22]^[23] Regional variations in integration reflected local armor traditions: German burgonets from Augsburg, such as those attributed to Kolman Helmschmid, often featured more robustly integrated buffes with articulated lames directly hinged to the helmet bowl for seamless operation. In contrast, Italian variants, like those from Milan, emphasized open-faced designs with lighter, detachable buffes secured by cords and pins, prioritizing elegance and ease of attachment over heavy enclosure.^[1]^[24]

Military and Cultural Applications

The falling buffe, as a component of the burgonet helmet, was employed by infantry, light cavalry, and pikemen during 16th-century European conflicts, including the Italian Wars of the 1520s–1550s, where it provided essential protection for the lower face and throat against sword thrusts and lance strikes in close-quarters combat.^[25]^[16] This armor piece was particularly suited to the mixed pike-and-shot formations prevalent in these battles, allowing pikemen to form defensive squares while arquebusiers fired from the flanks or rear.^[25] Its adoption reflected the transition to more mobile infantry tactics, with examples worn by Swiss and Landsknecht mercenaries who played key roles in the wars' infantry engagements.^[26] A primary tactical advantage of the falling buffe lay in its adjustable lames, which could be quickly raised or collapsed to balance protection with visibility, ventilation, and communication—crucial for issuing commands amid the chaos of battle or for reloading firearms without fully exposing the wearer.^[27] In pike-and-shot tactics, this mechanism enabled soldiers to lower the buffe during charges for defense against melee weapons, then raise it to coordinate movements or fire volleys, enhancing the formation's effectiveness against cavalry charges.^[25] Such flexibility was vital in the fluid engagements of the Italian Wars, where rapid adjustments could mean the difference between holding a line and breaking under assault.^[15] Beyond warfare, the falling buffe served as a status symbol in parades and tournaments, where elaborately decorated versions showcased the wearer's rank and craftsmanship, often gilded or embossed for visual impact.^[16] It appears in period art and manuscripts, including tournament depictions in the Album of Tournaments and Parades in Nuremberg, illustrating its role in ceremonial spectacles that blended martial display with Renaissance pageantry.^[28] In non-combat contexts, ornate falling buffes equipped royal guards for ceremonial duties, such as processions at courts like Fontainebleau, underscoring their transition from battlefield utility to symbols of elite prestige.^[16]

Notable Examples and Legacy

Surviving Artifacts

One of the most notable surviving falling buffes is attributed to the renowned Augsburg armorer Kolman Helmschmid, dated to around 1525 and crafted in Germany. This example, constructed from steel with textile elements including wool and canvas, features multiple lames that articulate to protect the lower face and throat, allowing the buffe to drop downward for ventilation. It is preserved at the Metropolitan Museum of Art in New York.^[1] Another significant artifact is a burgonet with falling buffe, possibly made for William Herbert, 1st Earl of Pembroke, dating to the mid-16th century and of English origin. This steel piece, adorned with gilding, exemplifies the integration of the buffe with a burgonet helmet, providing modular face protection that could be lowered during combat or rest. It resides in the collection of the Art Institute of Chicago.^[3] The Worcester Art Museum holds a burgonet with falling buffe featuring a two-lame collar design, where two articulating plates pivot on the bevor and secure via spring-catches, with the upper lame edged in roped steel over a wire core. This configuration highlights a simplified variant suited for practical use, emphasizing mobility in the throat defense.^[29] A French variant, circa 1540–1550, also at the Metropolitan Museum of Art, incorporates engravings inspired by designs of Rosso Fiorentino, depicting mythological scenes such as battles between centaurs and lapiths on its gold-damascened steel surface. This elaborate piece reflects the artistic influences at the French court, blending functionality with Renaissance ornamentation.^[16] Surviving falling buffes often exhibit condition issues such as corrosion from prolonged exposure to moisture and air, which can pit the steel surfaces and weaken articulations. These artifacts are primarily housed in European and American museums, underscoring the rarity of intact 16th-century examples.

Influence on Later Armor

As full plate armor declined due to the rise of firearms, the gorget evolved into a simpler, often unarticulated collar of one or two plates that connected the helmet to the cuirass, retaining the core function of neck defense while prioritizing mobility for heavy cavalry like cuirassiers.^[30] This adaptation is evident in British and continental cuirassier ensembles from the early 1600s, where gorgets were integrated with open-faced helmets such as the pot or lobster-tailed designs, emphasizing streamlined construction.^[30] By the mid-17th century, the protective role of metal gorgets waned further, transitioning toward ornamental pieces in officer uniforms, often made of silver or gilt brass and suspended by ribbons rather than fully integrated into combat armor.^[30] This shift paralleled the replacement of articulated metal collars with fabric falling bands or ruffs in civilian and military fashion, marking the end of articulated throat protection as armor gave way to textiles around the 1660s.^[30] The design's emphasis on adjustability influenced these later fabric elements, which mimicked the ability to be raised or lowered for ventilation and visibility.^[31] The falling buffe exemplifies the pinnacle of Renaissance articulated plate engineering, showcasing precision riveting and spring mechanisms that balanced protection with usability before the dominance of gunpowder weaponry rendered such complexity obsolete.^[32] Its legacy endures in arms and armor scholarship, as detailed in seminal works like Claude Blair's European Armour (1958), which analyzes its metallurgical and functional innovations as a bridge between medieval and early modern defensive systems. In contemporary contexts, replicas of falling buffes inform historical reenactments of 16th-century battles, enabling accurate recreations of infantry and cavalry kit by groups affiliated with institutions like the Royal Armouries. Additionally, its distinctive lamed structure has inspired elements in fantasy armor designs for films and games, such as modular face guards in medieval-inspired media, though these often prioritize aesthetics over historical fidelity.^[31] Despite these insights, gaps persist in the historiography, including precise production volumes across workshops in Milan and Augsburg, and the identities of many original wearers beyond elite figures like Henry II of France.^[16] Further archival research into armorer ledgers and probate inventories could illuminate these aspects, enhancing understanding of the buffe's socioeconomic role in Renaissance Europe.^[33]

References

[1]
Attributed to Kolman Helmschmid - Falling Buffe - German, Augsburg
This type of face defense is called a falling buffe because its segments can be collapsed downward to allow for easier breathing and greater visability.
[2]
Falling Buffe – Works – Worcester Art Museum - Collections
Consists of chinplate with 2 lames above, securing on spring catches; 2 collar lames. Secures to helmet via leathers that buckle around the neck of the helmet.
[3]
Burgonet with Falling Buffe possibly from an Armor of William ...
A work made of steel, gilding, and leather ... CC0 Public Domain Designation ... Burgonet with Falling Buffe possibly from an Armor of William Herbert, Earl of ...
[4]
https://www.philamuseum.org/collection/object/71208
[5]
Armour - Medieval Warfare
The bevor was typically worn in conjunction with a sallet, and later with a burgonet, in a form known as a falling buffe. In both cases the two pieces of armour ...
[6]
Falling buffe - about 1570 | Collection Object - Royal Armouries
The composite falling buffe comprises a chin plate IV.339, a restored middle plate and a prow-shaped upper plate (IV.350), a restored middle gorget plate and an ...
[7]
[PDF] The terminology of armor in Old French - CORE
BUFFE,s.f., piece d ... cal dictionariesunder the meaning of armor. It is doubtless a special application of Old French carne meaning hinge (See this.
[8]
https://www.strongblade.com/history/helmets.html
[9]
https://great-castles.com/protection.html
[10]
Medieval Protective Armor - Great Castles
Bevor / Falling Buffe. Bevor. A single piece of plate armor that protects the chin and throat, much like a gorget that fills that gap between the helmet and ...Missing: definition | Show results with:definition
[11]
buffe - Wiktionary, the free dictionary
A falling buffe. Etymology. From Old French buffe. Pronunciation. IPA: /bʌf/. Noun. buffe (plural buffes). (historical) A piece of armor covering either the ...
[12]
Sallet and Bevor - German - The Metropolitan Museum of Art
$$12.95 deliveryThe Sallet and Bevor are German helmets from 1480, made of steel, copper alloy, and leather. The sallet is 10 1/4 in. high, and the bevor is 6 1/4 in. high.
[13]
Armet - Italian - The Metropolitan Museum of Art
An armet is a visored helmet with hinged cheekpieces, a short visor, and a rondel. It was typical for 15th-century knights, with a bevor for protection.
[14]
Bevor - Italian - The Metropolitan Museum of Art
Title: Bevor. Date: ca. 1480. Culture: Italian. Medium: Steel. Dimensions: H. 8 1/4 in. (21 cm); W. 8 in. (20.3 cm). Classification: Armor Parts-Buffes.
[15]
The Function of Armor in Medieval and Renaissance Europe
Oct 1, 2002 · During the fifteenth century, plate armor became the dominant form of protection, and by about 1500 had all but displaced mail and fabric armor ...
[16]
The Decoration of European Armor - The Metropolitan Museum of Art
Oct 1, 2003 · Burgonet with Falling Buffe, Steel, gold, French. Burgonet with ... The majority of armor used during the six or seven centuries between the fall ...Missing: definition | Show results with:definition
[17]
Burgonet with Falling Buffe - French - The Metropolitan Museum of Art
Burgonet with Falling Buffe. French. ca. 1550. On view at The Met Fifth Avenue in ... Burgonet, Filippo Negroli Italian, Steel, gold, textile, Italian, Milan.<|control11|><|separator|>
[18]
Some Aspects of the Metallurgy and Production of European Armor
Oct 18, 2016 · An overview of some of the research into the metallurgical study of armour and weapons. Including material quality and composition.
[19]
https://veteranarms.com/16th-century-Burgonet-with-Falling-Buffe-Visor-p378032360
[20]
https://www.metmuseum.org/art/collection/search/22230
[21]
Attributed to Pompeo della Cesa - Close Helmet with Falling Buffe
The helmet, attributed to Pompeo della Cesa, is from Milan, made of steel and gold, ca. 1590-95, and is 11 inches high, 8 7/8 inches wide, and 12 1/2 inches ...
[22]
Closed Burgonet with Falling Buffe - The Metropolitan Museum of Art
Title: Closed Burgonet with Falling Buffe · Date: ca. 1590 · Geography: Greenwich · Culture: British, Greenwich · Medium: Steel, brass · Dimensions: H. 16 1/2 in. ( ...
[23]
https://royalarmouries.org/collection/object/object-47849
[24]
Falling Buffe from William Somerset, 3rd Earl of Worcester's Field ...
Buffe - Falling Buffe from William Somerset, 3rd Earl of Worcester's Field Armour - 1575 ; From William Somerset, 3rd Earl of Worcester's Field Armour. From ...
[25]
Burgonet with Buffe - Italian - The Metropolitan Museum of Art
Sallet in the Shape of a ... Burgonet with Falling Buffe. ca. 1550. Armet. Stamped with the armorer's name, LIONARDO (Italian, probably active in Milan, ca.
[26]
The Burgonet -- myArmoury.com
And so, the burgonet served at every level of Renaissance military society, from the lowest infantrymen to kings, and proved especially popular for cavalry use.Missing: regional | Show results with:regional
[27]
Burgonet helmets - Outfit4Events
The burgonet helmet was common among the mercenary Swiss infantry. These were pikemen who could defend themselves against cavalry (and perhaps took helmets of ...
[28]
Closed Burgonet - Italian - The Metropolitan Museum of Art
On cavalry helmets of this type, the face defense, called a falling buffe, can be lowered in three sections for better visibility and ventilation.
[29]
Album of Tournaments and Parades in Nuremberg
This 112-sheet manuscript includes depictions of contestants equipped for various tournaments; a parade preceding a late form of tournament called a carrousel.Missing: falling buffe Albrecht
[30]
(PDF) A Practical Guide to the Care and Conservation of Metals
Aug 28, 2017 · ... corrosion products are much less. opaque to X-rays than the surviving metal core. (Figure 4.2). The corrosion products in non-ferrous. metals ...
[31]
https://resources.metmuseum.org/resources/metpublications/pdf/Wilton_Montmorency_Armor_Italian_Armor_for_Henry_VIII_The_Metropolitan_Museum_Journal_v_38_2003.pdf
[32]
[PDF] DEVELOPMENT OF THE BRITISH GORGET AS SHOWN BY ...
Gorget is a French word, it means throat. As a part of armor gar- niture, a gorget was the component that protected a fighting man's neck and throat.
[33]
[PDF] "Montmorency" Henry - The Metropolitan Museum of Art
'1 In an article published in 1964, the late J. F. Hayward identified the first of these with the "Montmorency" armor on the grounds both that it is the "only ...
[34]
[PDF] Negroli - The Metropolitan Museum of Art
Armor, p. 143. The scaly decoration of the visor has caused some scholars to consider it part of the so-called bat-wing armor of. Guidobaldo II della Rovere ...
[35]
Wallace Collection Online - The Collection | Result
The burgonet and falling buffe, the right half of the waist-plate, both pauldrons and vambraces, but with extensive repairs and restorations, and a pair of ...<|separator|>