The design of armor was often influenced by the style of men’s clothing. From about 1510 to about 1530, in southern Germany and Austria, this trend was taken to an extreme in elaborate armor that directly imitated flamboyant puffed and slashed costume. Only the most skillful and inventive armorers could successfully re-create cut-velvet and embroidered silk in hammered and etched steel. The most renowned practitioners of this demanding style were Conrad Seusenhofer (active 1500–1517) of Innsbruck and Kolman Helmschmid (1471–1532) of Augsburg, both of whom worked for the imperial court.
The helmets of costume armors frequently included visors that were embossed to represent exaggerated human or animal masks. Such mask-visors were inspired in part by the masks worn in the traditional pre-Lenten carnivals that were popular throughout Germany.
Radiziwill Collection (in part)
Christie, Manson & Woods. Fine Armour. London: Christie, Manson & Woods, June 29, 1926. no. 40, ill.
The Metropolitan Museum of Art, Stephen V. Grancsay, and Carl Otto von Kienbusch. The Bashford Dean Collection of Arms and Armor in the Metropolitan Museum of Art. Portland, Maine: Southworth Press for the Armor and Arms Club of New York City, 1933. pp. 70–77, no. 7, pl. XV.
Thomas, Bruno. "Der Wiener Prunkharnisch des Wilhelm von Rogendorf." Das Antiquariat (1952), pp. 84–86.
Gamber, Ortwin. "Kolman Helmshmid, Ferdinand I. und das Thun'sche Skizzenbuch." Jahrbuch der Kunsthistroischen Sammlungen in Wien 71 p. 30, fig. 39.
Thomas, Bruno. "Der Turiner Prunkharnisch für Feld und Turnier B.2 des Nürnberger Patriziers Wilhelm Rieter von Boxberg: Meisterwerk von Kolman Helmschmid zu Augsburg um 1525." Jahrbuch der Kunsthistorischen Sammlungen in Wien (1977), p. 137.
Thomas, Bruno. Gesammelte Schriften Zur Historischen Waffenkunde: [überarb. Nachdr. Von 88 in Fachzeitschriften U. Einzelpublikationen Ersch. Abhandlungen Des Autors]. Vol. 2. Graz: Akademische Druck- u. Verlagsanstalt, 1977. pp. 1163–70.
La Rocca, Donald J. How to Read European Armor. New York: The Metropolitan Museum of Art, 2017. p. 68, fig. 74.