For My Lady's Heart by Laura Kinsale
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Saint Demetrios of Thessaloniki
Master of Philosophy Faculty of Arts University of Glasgow Saint Demetrios of Thessaloniki By Lena Kousouros Christie's Education London Master's Programme September 2000 ProQuest Number: 13818861 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818861 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 ^ v r r ARV- ^ [2,5 2 . 0 A b stract This thesis intends to explore the various forms the representations of Saint Demetrios took, in Thessaloniki and throughout Byzantium. The study of the image of Saint Demetrios is an endeavour of considerable length, consisting of numerous aspects. A constant issue running throughout the body of the project is the function of Saint Demetrios as patron Saint of Thessaloniki and his ever present protective image. The first paper of the thesis will focus on the transformation of the Saint’s image from courtly figure to military warrior. Links between the main text concerning Saint Demetrios, The Miracles, and the artefacts will be made and the transformation of his image will be observed on a multitude of media. -
Protective Armor Engineering Design
PROTECTIVE ARMOR ENGINEERING DESIGN PROTECTIVE ARMOR ENGINEERING DESIGN Magdi El Messiry Apple Academic Press Inc. Apple Academic Press Inc. 3333 Mistwell Crescent 1265 Goldenrod Circle NE Oakville, ON L6L 0A2 Palm Bay, Florida 32905 Canada USA USA © 2020 by Apple Academic Press, Inc. Exclusive worldwide distribution by CRC Press, a member of Taylor & Francis Group No claim to original U.S. Government works International Standard Book Number-13: 978-1-77188-787-8 (Hardcover) International Standard Book Number-13: 978-0-42905-723-6 (eBook) All rights reserved. No part of this work may be reprinted or reproduced or utilized in any form or by any electric, mechanical or other means, now known or hereafter invented, including photocopying and re- cording, or in any information storage or retrieval system, without permission in writing from the publish- er or its distributor, except in the case of brief excerpts or quotations for use in reviews or critical articles. This book contains information obtained from authentic and highly regarded sources. Reprinted material is quoted with permission and sources are indicated. Copyright for individual articles remains with the authors as indicated. A wide variety of references are listed. Reasonable efforts have been made to publish reliable data and information, but the authors, editors, and the publisher cannot assume responsibility for the validity of all materials or the consequences of their use. The authors, editors, and the publisher have attempted to trace the copyright holders of all material reproduced in this publication and apologize to copyright holders if permission to publish in this form has not been obtained. -
Combat Manual
ADRIAN EMPIRE IMPERIAL ESTATES WRIT #17 COMBAT MANUAL ADOPTED JULY 2002 LAST UPDATED DECEMBER 2019, EFFECTIVE 1 JANUARY 2020 ©Copyright 1993-2020 The Adrian Empire, Inc. All rights reserved. Adria is a registered trade name of the Adrian Empire, Inc. Anyone is welcome to point out any error or omission that they may find. Adrian Empire – IEW #17 – Combat Manual Page 2 of 35 TABLE OF CONTENTS I. GENERAL RULES AND REQUIREMENTS ....................................................... 5 A. HEALTH ......................................................................................................................................... 5 B. INHERENT DANGERS ................................................................................................................ 5 C. PROOF OF QUALIFICATION ................................................................................................... 5 D. MINIMUM AGES .......................................................................................................................... 5 E. GENERAL RULES OF COMBAT .............................................................................................. 5 1. Safety ............................................................................................................................................ 5 2. Marshals Must Be Present ............................................................................................................ 5 3. Entering the List Field ................................................................................................................. -
DOGS in MEDIEVAL ART Text and Illustrations by RIA HÖRTER
289-304 _289-304 1/27/14 4:08 PM Page 294 HISTORY Medieval illuminated chronicles, breviaries, But at the same time, pestilence, famine, endless codices, psalters and manuals include a wealth dissensions, and bloody wars made it a dark time in of texts and images in which dogs play an impor- medieval Europe. tant role. Here is the story. In the early Middle Ages, the nobility had com- plete authority over a mass of commoners. Farmers BONDSMEN, FARMERS, had to turn over most of their output to the landown- NOBILITY AND CLERGY ers, and respect their privileges, including hunting, fishing and judicial rights. Historians count the Middle Ages as between the The contrasts were huge. While commoners lived 5th and 15th centuries. The development of agricul- in miserable circumstances, the nobility and clergy ture, rise of towns, extension of markets and trade; lived in luxury. the position of bondsmen, farmers, nobility and Images of medieval dogs show an almost exclu- clergy; and the evolution of secular art from the her- sive relationship with the highly placed. Bondsmen, itage of religious art were important events during serfs and farmers had no belongings; they were these centuries. themselves someone’s possession. DOGS IN MEDIEVAL ART text and illustrations by RIA HÖRTER SOURCES The sources I referred to for this article are di- verse: handwritten manuscripts, printed books, books of hours, breviaries, bestiaries and how-to books for the medieval upper class. The Rochester Bestiary is an outstanding example of a manuscript with many pictures of dogs. It is almost unbelievable that, at the beginning of the 13th century, artists could create such a beautiful and accurate work. -
Tournament Gallery - Word Search
HERALDRY Heraldry involves using patterns pictures and colours to represent a knight. Below is an example. Q: Why do you think heraldry was important to a knight? TOURNAMENT Design and GALLERY sketch your own coat of arms KEY STAGE 3 Self-Guided Visit Student Activity Handbook w w w w w w . r r o o Name: y y a a l l a a r r School: m m o o u u r r i i Class: e e s s . o o r r g g Date: © Royal Armouries The Tournament Gallery can be found on Floors 2 and 3 of the Museum. TUDOR TOURNAMENT ARMOUR DECORATION Q: In the Tudor period the tournament was highly popular. Name and describe Find the section in the gallery that describes different ways to the different games associated with the tournament? decorate armour. Q: Name the methods used to decorate these armours A B C D E Q: Why do you think knights and nobles decorated their armour? Q: Find a piece of decorated armour in the gallery sketch it in the box below and describe why you chose it. Armours were made to protect a knight in battle or in the tournament. Q: What are the main differences between armour made to wear in battle and tournament armour? 1 © Royal Armouries © Royal Armouries 2 FIELD OF CLOTH OF GOLD KING HENRY VIII Find the painting depicting the Field of Cloth of Gold tournament. Henry VIII had some of the most impressive armours of his time. To the right of the painting of the Field of Cloth of Gold is a case displaying an armour made for Henry VIII; it was considered to be one of Q: In which year did the Field of Cloth of Gold tournament take place? the greatest armours ever made, why do you think this was? Q: On the other side of the painting is an usual armour. -
A Study in Scarlet
A Study In Scarlet Arthur Conan Doyle This text is provided to you “as-is” without any warranty. No warranties of any kind, expressed or implied, are made to you as to the text or any medium it may be on, including but not limited to warranties of merchantablity or fitness for a particular purpose. This text was formatted from various free ASCII and HTML variants. See http://sherlock-holm.esfor an electronic form of this text and additional information about it. This text comes from the collection’s version 3.1. Table of contents Part I Mr. Sherlock Holmes . 5 The Science Of Deduction . 8 The Lauriston Garden Mystery . 12 What John Rance Had To Tell. 17 Our Advertisement Brings A Visitor . 20 Tobias Gregson Shows What He Can Do. 23 Light In The Darkness . 27 Part II On The Great Alkali Plain . 35 The Flower Of Utah . 39 John Ferrier Talks With The Prophet . 42 A Flight For Life . 44 The Avenging Angels . 48 A Continuation Of The Reminiscences Of John Watson, M.D. 52 The Conclusion . 57 1 PART I. (Being a reprint from the reminiscences of John H. Watson, M.D., late of the Army Medical Department.) CHAPTER I. Mr.Sherlock Holmes n the year 1878 I took my degree of irresistibly drained. There I stayed for some time at Doctor of Medicine of the University of a private hotel in the Strand, leading a comfortless, London, and proceeded to Netley to go meaningless existence, and spending such money I through the course prescribed for sur- as I had, considerably more freely than I ought. -
The Classic Suit of Armor
Project Number: JLS 0048 The Classic Suit of Armor An Interactive Qualifying Project Report Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by _________________ Justin Mattern _________________ Gregory Labonte _________________ Christopher Parker _________________ William Aust _________________ Katrina Van de Berg Date: March 3, 2005 Approved By: ______________________ Jeffery L. Forgeng, Advisor 1 Table of Contents ABSTRACT .................................................................................................................................................. 5 INTRODUCTION ........................................................................................................................................ 6 RESEARCH ON ARMOR: ......................................................................................................................... 9 ARMOR MANUFACTURING ......................................................................................................................... 9 Armor and the Context of Production ................................................................................................... 9 Metallurgy ........................................................................................................................................... 12 Shaping Techniques ............................................................................................................................ 15 Armor Decoration -
Armour & Weapons in the Middle Ages
& I, Ube 1bome Hnttquarg Series ARMOUR AND WEAPONS IN THE MIDDLE AGES t Digitized by the Internet Archive in 2014 https://archive.org/details/armourweaponsinmashd PREFACE There are outward and visible signs that interest in armour and arms, so far from abating, is steadily growing. When- ever any examples of ancient military equipment appear n in sale-rooms a keen and eager throng of buyers invariably | assembles ; while one has only to note the earnest and ' critical visitors to museums at the present time, and to compare them with the apathetic onlookers of a few years J ago, to realize that the new generation has awakened to j j the lure of a fascinating study. Assuredly where once a single person evinced a taste for studying armour many | now are deeply interested. t The books dealing with the subject are unfortunately ' either obsolete, like the works of Meyrick, Planche, Fos- broke, Stothard, and others who flourished during the last L century, or, if recent, are beyond the means of many would-be students. My own book British and Foreign Arms and Armour is now out of print, while the monographs of I Charles ffoulkes, the Rev. Charles Boutell, and | Mr Mr Starkie Gardner are the only reasonably priced volumes j now obtainable. It seemed, therefore, desirable to issue a small handbook which, while not professing in the least to be comprehensive, would contain sufficient matter to give the young student, y the ' man in the street,' and the large and increasing number of persons who take an intelligent interest in the past just j that broad outline which would enable them to understand more exhaustive tomes upon armour and weapons, and 5 ARMOUR AND WEAPONS possibly also to satisfy those who merely wish to glean sufficient information to enable them to discern inac- curacies in brasses, effigies, etc., where the mind of the medieval workman—at all times a subject of the greatest interest—has led him to introduce features which were not in his originals, or details which he could not possibly have seen. -
The Culture of Materials and Leather Objects in Eighteenth-Century England
The Culture of Materials and Leather Objects in Eighteenth-Century England Thomas Benjamin Sykes Rusbridge Department of History A thesis submitted to the University of Birmingham for School of History and Cultures the degree of DOCTOR OF PHILOSOPHY March 2019 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This study of leather examines material culture in England, c.1670-1800. Following raw hide to leather, leather to object, and object to possessed commodity, this thesis traces the production, retail, and consumption of three representative leather objects: saddles, chairs and drinking vessels. The analysis of these three objects is principally informed by materials, and draws on inventories, advertisements, literary and technical texts, visual sources and ephemera, and other object types with which they shared consumption contexts, practices of making or decoration. This thesis argues, first, that the meanings consumers derived from materials, which informed their responses to objects, were created across the full life-cycle of a material: from production to consumption. Second, while leather exhibited principal properties which made it useful across several objects, its meanings and associations played out differently and unevenly across different object types. -
Arrows Against Linen and Leather Armour
Arrows against Linen and Leather Armour David Jones Introduction This paper describes tests that were undertaken to provide an objective assessment of the effectiveness of arrows against linen and leather armour. In 1912 Charles ffoulkes wrote: ‘An important variety of defensive armour, which has not hitherto received the notice which it deserves, is the padded and quilted armour of linen, which was always popular with the foot soldier on account of its cheapness, and was in the 13th century held in high esteem by the wealthy knight.’1 A century later, the lack of notice still remains and there have been very few systematic studies of arrows against linen or other textiles. Aldrete and Bartlett have conducted some experiments during their research into the ancient Greek linothorax, but at the time of writing details of their work have not been published2. The neglect of fabric armour may be due to the small number of historical documents or surviving examples that provide details of the construction. Even when historical sources provide information on the number of fabric layers they lack important details, such as the weight and closeness of weave, that would enable replicas to be constructed in the confidence that they performed like the originals. Because of the scarcity of surviving examples, or sufficiently detailed historical descriptions, no attempt was made in this study to recreate a particular medieval example. Rather, the aim was to understand the mechanisms of penetration by arrows of leather, multiple layers of linen, and combinations of these materials. The goal was to assess whether such armour, in thicknesses practical for battle, could ever be considered to be “arrow proof”. -
Jack Waddell MEDIEVAL ARMS, ARMOR, and TACTICS And
MEDIEVAL ARMS, ARMOR, AND TACTICS And Interactive Qualifying Project Submitted to the faculty Of the WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirements of the Degree of Bachelor or Science By Jack Waddell And 7 Brent Palermo Date: December 10th , 2002 Approved: Abstract This project examined and photographed nearly 300 examples of medieval arms and armor in the Higgins Armory collection, and documented the characteristics of armor, weapons, and their associated tactics during the middle ages (approximately 500CE to 1500CE) as well as the historical and technological background against which they were employed. 2 Acknowledgements We would like to thank the Higgins Armory Museum for providing us with access to authentic medieval artifacts and essential research tools. 3 Table of Contents 1. Abstract Vol 1, p 2 2. Acknowledgements 3 3. Table of Contents 4 4. Introduction (By Brent Palermo) 5 5. Historical background of the Middle Ages (By Jack Waddell) 6 a. History 6 b. Feudalism 35 c. War in the Middle Ages 40 d. Medieval Technology 47 6. Armor of the Middle Ages (By Jack Waddell) 55 a. Introduction 55 b. Armor for the Body 57 c. Armor for the Head 69 d. Armor for the Legs 78 e. Armor for the Arms 81 f. Shields 87 g. Snapshots of Armor Ensembles over Time 90 7. Weapons of the Middle Ages (By Brent Palermo) 100 a. Daggers 100 b. Swords 105 c. Axes 112 d. Halberds 115 e. Glaives 116 f. Bills 117 g. Maces 117 h. Morning Stars 118 i. Flails 119 j. War Hammers 120 k. -
Chivalric Materiality in Medieval Romance A
UNIVERSITY OF CALIFORNIA RIVERSIDE (Dis)arming the Middle Ages: Chivalric Materiality in Medieval Romance A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Schuyler Ejay Eastin September 2017 Dissertation Committee: Dr. Andrea Denny-Brown, Chairperson Dr. John Ganim Dr. Heidi Brayman Hackel Copyright by Schuyler Ejay Eastin 2017 The Dissertation of Schuyler Ejay Eastin is approved: Committee Chairperson University of California, Riverside Acknowledgements I would like to thank all of my dissertation committee members at the University of California, Riverside for their help and guidance throughout this project: Dr. John Ganim for his enthusiasm and encouragement, Dr. Heidi Brayman Hackel for challenging me to rethink my assumptions about literature, and especially Dr. Andrea Denny Brown, whose immense knowledge, careful guidance, and honest feedback have been absolutely invaluable. iv To Jane Bukaty who taught me to read, to Denise Eastin who first opened the wardrobe door, and to Zena Ajou, without whom this project would never have been possible. v ABSTRACT OF THE DISSERTATION (Dis)arming the Middle Ages: Chivalric Materiality in Medieval Romance by Schuyler Ejay Eastin Doctor of Philosophy, Graduate program in English University of California, Riverside, September 2017 Dr. Andrea Denny-Brown, Chairperson This dissertation studies the imagery of armor and its materiality in medieval romance, and in so doing maps the early history of one of our culture’s most powerful and sustaining cultural conceits. In medieval romance, armor is used to structure narrative; it is used to create formal aesthetic effects; it is even used as a kind of literary character, outperforming––outshining––even the beautiful maiden as the focus of the knightly quest.