A burgonet and cuirass alla antica in the State Hermitage Museum, St. Petersburg. No information from label available. Photo by Sean Manning, September 2015.
Trying to interpret armour in art is not a new project. By the beginning of the sixteenth century at the latest, Italian armourers were looking at Roman coins and sculpture and paintings (and perhaps the odd scrap of bronze pulled from a tomb) and trying to decide how to give their customers their own Roman armour. In this case, the armourer looked at one of the statues of a Roman emperor wearing a form-fitting breastplate of scales with embossed decoration, and tried to imitate it with a few nods to the taste of their own day. But not all is as it seems.
The shield from Pazyryk kurgan 1. Label not legible in my photo of it. Located in The State Hermitage Museum, St. Petersburg. Photo by author, September 2015.
I recently had the opportunity to visit St. Petersburg and see some things which I had wanted to see for very many years. One of these was the shield excavated by S.I. Rudenko from the barrows at Pazyryk in the Russian part of the Altai mountains where Russia, Mongolia, Xinjiang, and Kazakhistan come together. The structure of the barrows and the local climate caused permafrost to develop beneath them, preserving some of their contents despite the intrusion of grave-robbers. Shields made in a similar way appear in Greek paintings of Persian soldiers from just over another border of the Achaemenid empire. The barrows (Russian singular kurgan) at Pazyryk are usually attributed to the fourth or third centuries BCE, but many of the objects found in them are older. To the best of my knowledge, the next surviving examples come from the siege of Dura Europos at least 500 years later (a photo is available in Nicholas Sekunda, The Persian Army, p. 21).
