id:			97040
accession number:	1916.695
share license status:	CC0
url:			https://clevelandart.org/art/1916.695
updated:		2023-03-03 07:01:17.430000

Rapier, c.1625–50. Federico Picinino (Italian). Steel; hilt russeted; wire grip; overall: 144.8 cm (57 in.); quillions: 22.5 cm (8 7/8 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. John L. Severance 1916.695

title:				Rapier
title in original language:	
series:				
series in original language:	
creation date:			c.1625–50
creation date earliest:		1620
creation date latest:		1655
current location:		210A Armor Court
creditline:			Gift of Mr. and Mrs. John L. Severance
copyright:			

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culture:	Italy, Milan, 17th century
technique:	steel; hilt russeted; wire grip
department:	Medieval Art
collection:	MED - Arms & Armor
type:		Arms and Armor
find spot:	
catalogue raisonne: 

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CREATORS

* Federico Picinino (Italian)  - artist

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measurements: Overall: 144.8 cm (57 in.); Quillions: 22.5 cm (8 7/8 in.)
state of the work:	
edition of the work: 	

support materials:


inscriptions:

	inscription:	on ricasso: Federico Picinino
	translation:	
	remark:		

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CURRENT EXHIBITIONS

	title:		Armor Court Reinstallation
	opening date:   1998-09-10T00:00:00
	<i>Armor Court Reinstallation</i>. The Cleveland Museum of Art (organizer).

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LEGACY EXHIBITIONS

* The Cleveland Museum of Art (09/10/1998); "Armor Court Reinstallation"

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PROVENANCE

	Frank Gair Macomber; Boston; cat. #83.
	date: 
	footnotes: 	
	citations: 	


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fun fact:


digital description:


wall description:
The rapier was a sword worn with civilian dress and used in duels. The term <em>rapier </em>derives from the 16th-century French word <em>rapière</em>, which in turn was derived from the Spanish <em>espada ropera</em>, or “dress sword.” The rapier was a light weapon with a straight double-edged and pointed blade that, with the development of the art of fencing in the 1500s and 1600s, gradually became narrower and lighter, and thus suitable for thrusts only. With the new technique of swordplay emphasizing the point of the blade, sword guards became more complex to protect the duelist’s unarmored hand. These elaborate guards were frequently decorated by various techniques—chiseling, bluing, russeting, and damascening.
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RELATED WORKS

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CITATIONS

	<em>Catalogue of Arms and Armour.</em> Vol. 2, <em>16th century. </em>[Boston, Massachusetts]: [Frank Gair Macomber], [1900-1915].
	page number: 	Mentioned and Reproduced: No. (83) 85
	url:		https://archive.org/details/CatArmsArmour2_201602/page/n337

	Gilchrist, Helen Ives. <em>A Catalogue of the Collection of Arms &amp; Armor Presented to the Cleveland Museum of Art by Mr. and Mrs. John Long Severance; 1916-1923</em>. Cleveland: The Cleveland Museum of Art, 1924.
	page number: 	Mentioned: p. 110, E56; Reproduced: Plate XXIX, E56
	url:		https://archive.org/details/SeveranceCollection1924/page/n170

	Cleveland Museum of Art, and Helen Ives Gilchrist. <em>Handbook of the Severance Collection of Arms and Armor</em>. 2d ed., 1948.
	page number: 	Reproduction: p. 39
	url:		https://archive.org/details/HandbookArmsArmor1948/page/n45

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IMAGES

web:	https://openaccess-cdn.clevelandart.org/1916.695/1916.695_web.jpg
print:	https://openaccess-cdn.clevelandart.org/1916.695/1916.695_print.jpg
full:	https://openaccess-cdn.clevelandart.org/1916.695/1916.695_full.tif