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A Kabuto decorated with Dragonfly wings, Japan, 1575-1600, housed at the Rijksmuseum.
Soooo knowing orientalism and japonism are in full feverish swing in western Europe by the time Carl Emil Doepler puts horned helmets on the performers of Wagner's Der Ring des Nibelungen, how much does it permeate his design and the public's whole-hearted adoption of the horned Norse? There exists artistic and artefactual evidence of likely ceremonial helmets with decorations ranging from horns to whole entire birbs found in western Europe Doepler would have been aware of, so it's really a question of how orientalism plays into 19th-century artistic historicism. It's the forever question of whether it's one thing interacting with another or a single trend that is variously expressed as "white" or "other" !
Good lil primer for Wagner and Doepler: https://www.researchgate.net/publication/335219184_Wagner_and_the_Trope_of_the_Horned_Helmet
Le secret de l'histoire naturelle contenant les merveilles et choses mémorables du monde, XVe siècle. Bibliothèque nationale de France, Département des Manuscrits, Français 22971 (Gaignières 92).
Le manuscrit pourrait — ou pas — être post-contact. À voir ; il ne semble traiter que de l'"ancien monde". Les questions : d'où nous vient cette images d'hommes rustres, brutaux et poilus, vêtus de peaux et armés de gourdins ? Les grecs ont leurs barbaroï, les celtes en particulier, nus et hurlants... l'idée d'un avant–après simplifie à outrance, mais comment passe-t-on de "sauvages qui ne partagent pas notre sophistication" à "peuple primitif moins avancé" ? De "moins bien que nous maintenant" à "d'un autre temps que nous, d'un temps passé" ? Ou bien ces deux énoncés s'articulent simultanément l'un dans l'autre ? Bref de quel puits Darwin tire-t-il son eau ? Ce puits, il est profond comment ?
*edit* first found the image on the v cool medieval_psychedelia insta