Arming the citizens : a crossbow distribution inventory

Like other towns in the Holy Roman Empire, Fribourg relied on its citizens to defend its walls during war. Moreso, possessing enough military equipment was essential for its inhabitants. The town itself stored a large quantity of small arms and armour in its arsenals, which had to be distributed to fighters during sieges and before military expeditions. To be able to retrieve the distributed weapons, the municipal authorities produced weapon inventories to trace the lent items. In this article, such an inventory will be presented, one which was written during the war against Savoy in 1447-1448.

Since 1440, Savoy and Fribourg (which was under Habsburgian authority) had contentious economic and diplomatic relations. The situation escalated in 1445, when Savoy closed its border to merchants from Fribourg, after 4000 florins were stolen from a papal envoy by a Habsburgian vassal. To prevent economic disaster, Fribourg prepared itself for war by raising an extraordinary tax, buying artillery, and distributing weapons to the male population. In December 1447, Fribourg attacked several Savoyan villages. However, the war turned in favour of Savoy, as they secured an alliance with Bern. Attacked on both sides, Fribourg surrendered in July 1448 and became a Savoyan subject in 1452[1].

On May 9th, 1447, a crossbow distribution took place in the town and the surrounding countryside. 443 people received – for the most part – a crossbow, with a quiver and a dozen bolts. A 12 folios long inventory was produced to keep track of each item, so that the city could retrieve them after the war. The inventory is not the only list in the main document, as the scribes wrote it after a series of other weapons and ammunition inventories. This type of documents was thus a work document, as the numerous annotations and marks show.

Fig. 1: AEF, Affaires Militaires, I-7, fol. 5r. Circles and crosses indicate that the inventory was updated later after the first writing.]

To illustrate this, the inventory’s first folio is transcribed here:

« Cy contient per escript le delyvrance de l’atilliement de messegniour de la ville de Fribor, delivree per la main de Hensly d’Englisberg et de Glaudo d’Autignie. Ordoney per messegniour le dilon apres feste Sainte Croyx en may l’an mil cccc xlvi.

o Item Jorgoz d’Englisperg ·i· arbelester por son garson riset et tot sen qui appertien mex Gorgo, ·vi· pfil, i wind.

l+ Primo Jacob d’Englisperg le Jone a· receuz ·una· dozaine de karre· bon und ein krieg winden me xii pfil guot, i totzen pfil.

o+ Item Hensly Ferwer a receuz ·i· dozaina de karre bon.

o+ Item Piero ·und· Johan Mossu hatt ·ii· tozen pfil der besten.

+ Item Jacob Fogilli hat ·i· arbrest núw mit ein krieg (i wind), ·i· totzen pfil mex ·i· wind.

o+ Item Williemoz Chaste hat ein krieg wind mex una arbelestaz, une foure et xv ·flotze per l’avoie […], i karkey.

Item Piero Perrotet hat ein krieg wind und ein arbrest.

Item Glaudo d’Autignie hat ein arbrest mit der hulft und ein krieg, ·ein· hulft totzen pfil ein kocher lidrin.

Item Williemo Stadler a· xii flotze bone.”

The crossbows – as well as firearms and armour − were preserved in the courthouse (salle de justice), situated in the city centre near St Nicholas cathedral. In 1465, this building stocked 332 crossbows, 36 maille armours, 145 helmets, 61 pairs of arm protections and 46 pairs of gauntlets. Bigger items – such as cannons – were stored in the city arsenal or on the fortifications.

Other documents preserved in Fribourg’s state archives give more insights in the citizens’ military involvement. For example, it is possible to identify the socio-economical level of some of the persons cited in the crossbow inventory, thanks to a tax book written in 1445, which gives the wealth of individual citizens. In preparation for the war against Savoy, about 3150 households were taxed (represented generally by a male member), each on 1% of their wealth. Thus, it is simple to calculate one’s total wealth. On an economical level, Fribourg’s society can be divided into three classes: a relatively large lower class (25 pounds or under of wealth, 704 households), a large middle class (25,1 to 1000 pounds of wealth, 2256 households) and a small upper class (1000,1 to 40000 pounds of wealth, 190 households). The gap between the extremes in wealth was massive, as the wealthiest citizen in Fribourg owned 1600 times more than the poorest. However, this gap was not considered during the crossbow distribution. Indeed, like citizens from the lesser classes, upper class citizens could receive military material to defend the city. For example, the donzel Jacob d’Englisberg (member of the upper class, with a wealth of 14700 pounds in 1445[2]) received bolts and a war cranequin[3]. On the other hand, Jean Gottrou (considered by the tax book as a poor household, with 25 pounds or less of wealth in 1445[4]), received a crossbow, a quiver, a dozen bolts and a belt[5].

Although Fribourg’s walls were never under siege during the war – as the town’s authorities accepted piece quickly after Bern’s alliance with Savoy –, the population was ready to defend the fortifications. Some were even nominated by the municipal authorities to man precise parts of the fortifications or the canons. Here, an example indicates that men belonging to the upper class had to defend the wall, although according to their status: Johan Pavilliar – owning 8300 pounds of wealth – was captain on one of Fribourg’s gates – the Porte des Étangs[6]. These examples show that defending the town was a concern for the whole urban community, independently of one’s wealth.


[1] Roberto Biolzi, « Avec le fer et la flamme ». La guerre entre la Savoie et Fribourg (1447/1448), Lausanne 2009, pp. 13-29.

[2] AEF, Stadtsachen, A576a, fol. 31r.

[3] AEF, Affaires Militaires, I-7, fol. 5r.: “Item Jorgoz d’Englisperg ·i· arbelester por son garson riset et tot sen qui appertien mex Gorgo, ·vi· pfil, i wind.”

[4] AEF, Stadtsachen, A576a, fol. 67v.

[5] AEF, Affaires Militaires, I-7, fol. 5v.: “Item Johan Gotrou a ·i· arbelestre à foure, ung walkrapf, ·i· karkey, ·i· dozanna de floze et ·i· boudrey.”

[6] AEF, Affaires Militaires, Places-Hôpitaux 3, fol. 2r.

Crossbow, terror and beauty: an exhibition in Berlin and its catalogue (20.09.19-08.03.20)

Before most of the early art collections, the first ‘civic’ or territorial museums were the arsenals, specialised storage buildings designed to keep, maintain and display arms and armour, as well as other objects that were seen fit to be stored there. It is no surprise to see that many arsenals eventually lost their military functions and became museums. The German Historical Museum (Deutsches Historisches Museum) is located in the former Zeughaus (arsenal) of the Brandenburg/Prussian army in Berlin, not far away from the brand new Humboldt-Forum – the museum designed to reflect the former castle of Berlin. But it is in an adjacent contemporary building, designed by the architect I.M. Pei, that the temporary exhibition “Die Armbrust – Schrecken und Schönheit / The Crossbow: Terror and Beauty” is displayed from September 20, 2019 until March 8, 2020.

The exhibition was initiated by Sven Lüken, who leads the department for military collections of the German Historical Museum. The motivation was the scientific description of objects from the museum that can be connected to the crossbow. Whereas the catalogue contains objects exclusively from the collections of the museum, the exhibition has on display, besides items of the German Historical Museum, dozens of objects from other museums or libraries (Heidelberg, Regensburg, Berlin). A visit to the exhibition is recommended particularly because of this pluralism of its displayed material culture.

Insight into the arms and armour collection of the DHM by Sven Lüken, presenting crossbows, windlasses and bolts. Youtube channel of the Deutsches Historisches Museum, September 2019.

The catalogue’s introduction by Raphael Gross and the first essay by Fritz Backhaus, respectively the director and the collection’s department director of the museum, address the paradox of the museum’s ambition – to confront Germany’s past with a critical and enlightened mind and avoid chauvinistic and nationalistic expressions – and the museum’s belongings, since at its core were arms and armour from the former Prussian Arsenal and the German Democratic Republic’s national Historical Museum. Dealing with the crossbow is nonetheless seen as a convenient way to address an exhibition of deadly weapons, and altogether question the point of these collections in a society that rejects traditional martial and violence-glorifying values attributed to them. Sven Lüken addresses the question of the collection’s provenance and history. Whereas most objects are most likely the remnants of the collections of Brandenburg castle storehouses, especially from Berlin, others found their way to the museum during the 19th century, especially with the ‘Blücher’ plunder (objects seized in Paris in 1815 that had been themselves taken by French troops in Germany or Austria) or the acquisitions of the Prussian prince Carl during the 1820’s. During the Second World War, the collections were displaced and partially seized and transferred to the USSR as war compensations: the lost (but often not destroyed) objects and artisan marks are included in the catalogue (p. 314-318 and 319-321). It is striking, though, that (unlike the windlasses) the attribution of crossbow to specific artisans or even to production centres is still uncertain, although most of them are believed to have been made in Southern Germany (Augsburg or Nuremberg). The crossbow selected for the cover of the exhibition catalogue, which may be a gift from the Southern German counts of Zollern, was however identified as the work of a member of the Kadus family which was active in different cities around Lake of Constance (one of them settled in Basel during the 1580s).

The exhibition displays several crossbows from the fifteenth to the nineteenth century, although the majority of them are early modern objects. Besides the crossbows, which were carefully restored, we can see paveses, bolts (some of them are archaeological founds from the site of a failed Hussite attack on Bernau in 1432), bolt boxes and quivers, windlasses, and a very rare spanning bank. The detailed and state-of-the-art catalogue (93 objects, p. 113-311) made by Jens Sensfelder, a technical expert, addresses also the question of the technical evolution of the crossbow and compares the objects with other collections. Jens Sensfelder is also the editor of a crossbow-related review, the Jahrblatt der Interessengemeinschaft Historische Armbrust.

Many videos and figures explaining the delicate mechanisms or the crossbows are also on display in the exhibition, as well as shooting videos (one of them re-enacting the William Tell apple shooting).
Since most of the crossbows of the museum had no direct military function, the curators saw fit to put the focus on the symbolic and martial dimensions of the crossbow, which could be seen as an erotic symbol (cf. Jacob de Gheyn) or as a memento mori. The iconographic details (hunting, classical, or Biblical scenes) are wonderfully depicted and compared in Brigitte Reineke’s contribution to the catalogue.

The crossbow remained during the early modern period a weapon for hunting and, especially, a tool for target practice, which explains the focus on shooting contests [1] , deploying not only beautiful festival books by Lienhart Flexel or Ulrich Ertel from the Stuttgart festival of 1560, but also the series of engravings of the festival of Regensburg (1586) by Peter Opel, which was himself a firearm stock-maker. It also features some objects related to shooting competitions, such as letters of invitation (Landshut, 1549 and Regensburg, 1586), the crown given after the Nuremberg contest of 1579 to the Regensburg marksmen, and the stick of the target indicator. The last part of the exhibition addresses the famous William Tell myth, especially during the 18th and 19th centuries with pocket-theatre figures, photographs and postcards.

The temporary exhibition, which could have also emphasised the revival of the crossbow in popular culture, is a satisfying achievement. It certainly raises the question of whether the collection of early modern firearms from the German Historical Museum will benefit from the same exposure one day, showing that a contextualised exhibition about martial cultures is possible.

[1] The author of this review has researched the dynamics of shooting festivals in (mostly Southern) Germany and Switzerland as a tool for civic and aristocratic diplomacy: Jean-Dominique Delle Luche, Sportliches Engagement und städtischer Wettbewerb : Schützenfeste als Ausdruck der Konkurrenz im Heiligen Römischen Reich, in Matthias Schnettger, Julia Schmidt-Funke (dir.), Neue Stadtgeschichte(n). Die Reichsstadt Frankfurt im Vergleich, Bielefeld, transcript, 2018, p. 369-398; Une association d’intérêt public : les sociétés d’arbalétriers et arquebusiers dans les villes du Saint-Empire (XVe-XVIe siècles), in Olivier Richard, Gabriel Zeilinger (dir.), La participation politique dans les villes du Rhin supérieur à la fin du Moyen Âge/Politische Partizipation in spätmittelalterlichen Städten am Oberrhein, Berlin, Schmidt (Studien des Frankreich-Zentrums der Albert-Ludwigs-Universität Freiburg, 26), 2017, p. 241-277 ; Die Schießregister und die Entwicklung der regionalen sportlichen Netzwerke der Stadt Nördlingen (1464–1585), in Jahrbuch des Historischen Vereins für Nördlingen und das Ries, vol. 35, 2017, p. 131-170. https://hal.archives-ouvertes.fr/hal-01759024

Acknowledgment: the author of this review has collaborated with the exhibition organisers and presented his research during a public conference in October 2019. His PhD dissertation, which was written in 2015 at the EHESS (Paris), addressed the topic of shooting ‘guilds’ and festivals in the Holy Roman Empire during the fifteenth and sixteenth centuries.

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