Plastron of armor of winged Hussar.
Heavy type, it is made of four articulated parts in wrought iron and brass.
The upper part is enriched with 23 brass rivets holding a brass band
The upper part is enriched with 23 brass rivets holding a brass band cut in festoons decorated with friezes of dots underlining the hemmed contours of the arms and the throat. Note an old restoration to the upper left loop.
The two pectoral rosettes are for the one in cut brass with geometric decorations,
The second one is made of cast bronze and decorated with the archangel Saint Michael the rider, pierced in two places, which can lead us to think either of a reuse of the period, or of a piece produced in series.
The lower part is made of three strong iron blades fixed by six strong rivets
covered with a sheet of brass, the whole is enriched with fifteen brass rosettes
Riveted. The first and the second are marked on the inside with five points, a large rivet and a brass leaf are missing on the upper right rivet.
The lower part with a slight flap towards the outside is punctuated with twelve small rivets.
A piece of metal allowing a display on rod was added later.
Height 40 cm / Width 30 cm at the top, 36 cm at the bottom.
Traces of oxidation inside, old cleaning outside.
Poland, second half of the 17th century.
This breastplate was part of the famous Polish winged hussars.
The silhouette of this unit can be recognized by the wooden back frame enriched with eagle feathers.
from which this unit takes its name.
This piece is interesting for several reasons.
The Polish hussars are the ancestors of our French hussars, King Louis XIII
Knowing the military values of these men, he had them integrated into his armies.
This weapon will remain in our armies until our days haloed by the panache of glorious feats of arms especially under the Empire with men such as General Lasalle.
The cast bronze rosette is also very interesting.
Indeed it takes the symbol of the archangel Saint Michael chasing the devil from paradise.
He is represented on horseback and we can think that the rider who wore this armor
identified with this saint in his fight.
The context in which this piece was produced lends itself perfectly to this type of allegory. Indeed, this period knew the Ottoman invasion which in addition to being a war of territory, was also a war of civilization and religion.
This piece evokes the siege of Vienna in 1683, during which the Polish cavalry, charging King in the lead, achieved a crushing victory. In his own way our soldier had in his fight of good and evil, chased the evil one of his lands, wings in the back and sword in hand.