Regia Anglorum Authenticity Guide 2015
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Weaponry & Armor
Weaponry & Armor “Imagine walking five hundred miles over the course of two weeks, carrying an arquebus, a bardiche, a stone of grain, another stone of water, ten pounds of shot, your own armor, your tent, whatever amenities you want for yourself, and your lord’s favorite dog. In the rain. In winter. With dysentery. Alright, are you imagining that? Now imagine that as soon as you’re done with that, you need to actually fight the enemy. You have a horse, but a Senator’s nephew is riding it. You’re knee-deep in mud, and you’ve just been assigned a rookie to train. He speaks four languages, none of which are yours, and has something to prove. Now he’s drunk and arguing with your superiors, you haven’t slept in thirty hours, you’ve just discovered that the fop has broken your horse’s leg in a gopher hole, and your gun’s wheellock is broken, when just then out of the dark comes the beating of war-drums. Someone screams, and a cannonball lands in your cooking fire, where you were drying your boots. “Welcome to war. Enjoy your stay.” -Mago Straddock Dacian Volkodav You’re probably going to see a lot of combat in Song of Swords, and you’re going to want to be ready for it. This section includes everything you need to know about weapons, armor, and the cost of carrying them to battle. That includes fatigue and encumbrance. When you kit up, remember that you don’t have to wear all of your armor all of the time, nor do you need to carry everything physically on your person. -
Weaponry & Armor
Weaponry & Armor “Imagine walking five hundred miles over the course of two weeks, carrying an arquebus, a bardiche, a stone of grain, another stone of water, ten pounds of shot, your own armor, your tent, whatever amenities you want for yourself, and your lord’s favorite dog. In the rain. In winter. With dysentery. Alright, are you imagining that? Now imagine that as soon as you’re done with that, you need to actually fight the enemy. You have a horse, but a Senator’s nephew is riding it. You’re knee-deep in mud, and you’ve just been assigned a new recruit to train. He speaks four languages, none of which are yours, and has something to prove. Now he’s drunk and arguing with your superiors, you haven’t slept in thirty hours, you’ve just discovered that the fop nephew has broken your horse’s leg in a gopher hole, and your gun’s wheellock is broken, when just then out of the dark comes the beating of war-drums. Someone screams, and a cannonball lands in your cooking fire, where you were drying your boots. “Welcome to war. Enjoy your stay.” -Mago Straddock Dacian Volkodav You’re probably going to see a lot of combat in Song of Swords, and you’re going to want to be ready for it. This section includes everything you need to know about weapons, armor, and the cost of carrying them to battle. That includes fatigue and encumbrance. If you’re new to the game and want advice picking out a weapon, be sure to check the Which Weapon for Me? section below. -
Educational Charts. [Arms and Armor]
u UC-NRLF 800 *B ST 1S1 CO CO Q n . OPOIIT, OF ART EDUCATIONAL G E A H I S Table of Contents: 1 Periods, of armor, 2 Suit of armor: pts. named. Evolution of 3 Helmets. 4 Breastplates. 5 Gauntlets. 6 Shields. 7 Swords. 8 Pole Arms. 9 Guns,. 10 Crossbows. 11 Spurs. 12 Photos s h ov; i ?: how a helmet is ma d e ft 4- HALF ARMOR COMPLETE ARMOR LATE XVI CENTURY COMPLETE ARMOR XVI CENTURY MAXIMILIAN TRANSITIONAL MAIL AND PLATE EUROPEAN ARMOR AND ITS DEVELOPMENT DURING A THOUSAND YEARS FROM A.D. 650 TO 165O 650 MASHIKE MURAYAMft.DCI.. 366451 Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/educationalchartOOmetrrich S u BOWL or SKULL, timbre, scheitelstuck, COPPO, CALVA JUGULAR. JUCULAIRE. BACKENSTUCK. JUGULARE. YUGULAR VENTAIL, VENTAIL. SCHEMBART, VENTACL10 VENTALLE. [UPPER PART BECOMES VISOR] BEVOR, MENTONNIERE, KINREFF, BAVIERA, BARBOTE RONDEL, RONDELLE. SCHEIBE, ROTELLINO, LUNETA GORGET. GORGERIN, KRAGEN, GOLETTA, GORJAL NECK-GUARD garde-col, brech- RANDER, GUARDA-GOLETTA, BUFETA . PAULDRON, EPAULIERE, ACHSEL. I SPALL ACCIO, GUARDABRAZO / _ 11^4 LANCE -REST, faucre. rust- HAKEN, RESTA, RESTA DE MUELLE REREBRACE, arrie re- bras. OBERARMZEUG, BRACCIALE. BRAZAL BREASTPLATE, plas- tron. BRUST, PETTO, PETO /o^ - ELBOW-COP. CUBIT1ERE. ARMKACHEL. CUBITIERA, CODAL '' BACKPLATE. dossi- ERE. RUCKEN, SCHIENA, DOS VAMBRACE. avant- BRAS. UNTERARMROHR, BRACCIALE, BRAZAL GAUNTLET, gantelet, hand- SCHUH, GANTLET, MANOPLA LOIN-GUARD GARDE- ' REINS. GESASSREIFEN, FALDA FALDAR 'TACES BRACCONIERE, BAUCH- REIFEN. PANZIERA. FALDAR TASSET. TASSETTE, BEINTASCHEN, FIANCALE. ESCARCELA - ' FALD. BRAYETTE. STAHLMACHENUN TERSHUTZ. BRAGHETTA. BRAGADURA CUISHE. CUISSARD, DIECHLINGE, COS- CIALE, OUIJOTES KNEE-COP. -
The Terminology of Armor in Old French
1 A 1 e n-MlS|^^^PP?; The Terminology Of Amor In Old French. THE TERMINOLOGY OF ARMOR IN OLD FRENCH BY OTHO WILLIAM ALLEN A. B. University of Illinois, 1915 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN ROMANCE LANGUAGES IN THE GRADUATE SCHOOL OF THE UNIVERSITY OF ILLINOIS 1916 UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL CO oo ]J1^J % I 9 I ^ I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPER- VISION BY WtMc^j I^M^. „ ENTITLED ^h... *If?&3!£^^^ ^1 ^^Sh^o-^/ o>h, "^Y^t^C^/ BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF. hu^Ur /] CUjfo In Charge of Thesis 1 Head of Department Recommendation concurred in :* Committee on Final Examination* Required for doctor's degree but not for master's. .343139 LHUC CONTENTS Bibliography i Introduction 1 Glossary 8 Corrigenda — 79 Digitized by the Internet Archive in 2014 http://archive.org/details/terminologyofarmOOalle i BIBLIOGRAPHY I. Descriptive Works on Armor: Boeheim, Wendelin. Handbuch der Waffenkunde. Leipzig, 1890, Quicherat, J, Histoire du costume en France, Paris, 1875* Schultz, Alwin. Das hofische Leben zur Zeit der Minnesinger. Two volumes. Leipzig, 1889. Demmin, August. Die Kriegswaffen in ihren geschicht lichen Ent wicklungen von den altesten Zeiten bis auf die Gegenwart. Vierte Auflage. Leipzig, 1893. Ffoulkes, Charles. Armour and Weapons. Oxford, 1909. Gautier, Leon. La Chevalerie. Viollet-le-Duc • Dictionnaire raisonne' du mobilier frangais. Six volumes. Paris, 1874. Volumes V and VI. Ashdown, Charles Henry. Arms and Armour. New York. Ffoulkes, Charles. The Armourer and his Craft. -
Capitol Clash 2020 Armored Combat Rules and Regulations IMPORTANT
Capitol Clash 2020 Armored Combat Rules and Regulations IMPORTANT: All competitors intending to participate in the Armored Combat event must submit a photo of the armor they intend to wear for pre-approval no later than January 10, 2020. Earlier is better in case the event organizers require that you modify your armor before approval. Also note that initial pre-approval via photo does not guarantee that your armor will pass the required in-person inspection. SUMMARY OF RULES The goal of the Armored Combat tournament is to promote the accurate but safe revival of period- correct fencing in armor in a one-on-one duel, referred to in German fighting treatises as harnisfechten. Format Matches will be fought to the best of three rounds. If a fighter has more wins by the finish of Round 2, that fighter wins the match. If both fighters have tied by the end of Round 2, Round 3 will commence. -Each round will be 60 seconds of continuous action with a halt only called for special reasons (see below) -Round 1 will be fought with spears, Round 2 with longswords and Round 3 will commence with daggers. (Note that fighters are allowed to carry a dagger as a back up weapon in Round 1 and 2, but not in Round 3.) Winning a Round -A fighter who has more points at the end of the clock will win the round. -If a fighter is “shown the gate” (passes completely outside a specially marked entrance/exit), the match is stopped, and the opponent automatically wins regardless of the score. -
Longpoint 2019 Passage at Arms (Armored Combat)
Longpoint 2019 Passage at Arms (Armored Combat) Equipment Regulations, v. 1.0 IMPORTANT: All competitors intending to participate in the Longpoint 2019 Passage at Arms must submit a photo of the armor they intend to wear for pre-approval no later than March 1, 2019. Earlier is better in case the event organizers require that you modify your armor before approval. Also note that initial pre-approval via photo does not guarantee that your armor will pass the required in-person inspection. OVERVIEW The goal of the Longpoint Passage at Arms is to promote the accurate but safe revival of period-correct fencing in armor in a one-on-one duel, referred to in German fighting treatises as harnisfechten. -Participants are expected to wear historical European-styled armor contemporary, or close to contemporary, of a person of rank as seen in the time periods of the treatises that detail armored combat techniques. The armor can be styled after historical armor from approximately the late 14th century to early 16th. Despite the wide range of time period allowed, combatants should do their best to keep their own harness cohesive to a single time period and not “mix and match” elements of different eras. Ideally, armor should not have elements that would have existed more than 20 years before or after any other element on a person’s harness. (E.g. a 16th century armet should not be paired with a 14th century coat of plates) Combatants are expected to wear a complete harness suitable for fighting in the lists of judicial combat rather than one specialized for warfare or other forms of combat. -
Bangor University DOCTOR of PHILOSOPHY Image and Reality In
Bangor University DOCTOR OF PHILOSOPHY Image and Reality in Medieval Weaponry and Warfare: Wales c.1100 – c.1450 Colcough, Samantha Award date: 2015 Awarding institution: Bangor University Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 BANGOR UNIVERSITY SCHOOL OF HISTORY, WELSH HISTORY AND ARCHAEOLOGY Note: Some of the images in this digital version of the thesis have been removed due to Copyright restrictions Image and Reality in Medieval Weaponry and Warfare: Wales c.1100 – c.1450 Samantha Jane Colclough Note: Some of the images in this digital version of the thesis have been removed due to Copyright restrictions [i] Summary The established image of the art of war in medieval Wales is based on the analysis of historical documents, the majority of which have been written by foreign hands, most notably those associated with the English court. -
Armour Weapons
M m et . !Photograph by H auser ' Madnd . Armour ofPhilip II. A R M OU R WEA PONS BY W 10 C H A RLE SA FFO ULKE S W ITH A PREFACE BY V S OUN T DILLON V P A I . C , S. CU RATOR O F T H E T OW ER AR M OU R I ES OXFO R D AT TH E CLARENDO N PRESS NR Y FR OWDE M A HE , . P B I S H TO TH E U N IV E R S I TY X D U L ER . OF O FOR N D N D IN B G H N E W Y K LO O , E UR , OR TORONTO A N D M E LB OURN E 651244 5 7 3 . z , PR E FA C E WR ITE R S on Arms and Armour have approached the s ub je c t s tu de nts th e ir from many points of View , but , as all know , works s o size are generally large in , or , what is more essential , in price , th a t for many who do no t have access to large libraries it is o . imp ssible to learn much that is required Then again , the papers of the Proceedings of the various Antiquarian and Archaeological Societies are in all cases very scattered and , in some cases , unattainable , owing to their being out of print . Many writers on the subj ect have confined themselves to documentary evidence , while others have only written about such examples as have been n e . -
Part Vii. the Cyclas, Camail and Jupon " Kxights. by ALFRED C. the Number
a^onumental €ffigics in Somerset. Part vii. the cyclas, camail and jupon " kxights. BY ALFRED C. FRYER, PH.D., F.S.A. THE quarter of a century (1321-1346) which marks the Cyclas Period is probably the most picturesque in the " long history of defensive armour.^ The number of '" knights portrayed in this curious garment- either in stone, wood, or engraved on brass, during these two and a half decades are comparatively limited, and in Somerset we find only three stone ' Knights " belonging to this special class of monu- mental effigy. Experience gained in the Chain Mail Period proved that defence Avas ineffectual against pointed weapons, for even if the mail was not actually pierced limbs weie bruised and bones broken. During the time, therefore, that the cyclas was in fashion we meet with multitudinous coverings of plate, mail, and padded garments to resist lance, sword and arrow. The cyclas was evidently made of silk or some other thin material, falling easily into folds, and diftered from the Solving suicoat as it was close-fitting, laced or buttoned at the sides, reacliing to the knees behind and cut so short in front that we can trace the three protective garments beneath 1. Text-books frequently give the cyclas period as 1325 to 1335. Several ' knights " are clad, however, in the cyclas before and after that time, and the late Sir William Hope considered the correct date for this period should be 1321-1346, so as to include practically all known exaniples. 2. The cyclas was probably adopted because the surcoat was found to be an inconvenient garment. -
The Evolution of Plate Armor in Medieval Europe and Its Relation to Contemporary Weapons Development
History, Department of History Theses University of Puget Sound Year 2016 Clad In Steel: The Evolution of Plate Armor in Medieval Europe and its Relation to Contemporary Weapons Development Jason Gill [email protected] This paper is posted at Sound Ideas. http://soundideas.pugetsound.edu/history theses/21 Clad in Steel: The Evolution of Plate Armor in Medieval Europe and its Relation to Contemporary Arms Development Jason Gill History 400 Professor Douglas Sackman 1 When thinking of the Middle Ages, one of the first things that comes to mind for many is the image of the knight clad head to toe in a suit of gleaming steel plate. Indeed, the legendary plate armor worn by knights has become largely inseparable from their image and has inspired many tales throughout the centuries. But this armor was not always worn, and in fact for most of the years during which knights were a dominant force on battlefields plate was a rare sight. And no wonder, for the skill and resources which went into producing such magnificent suits of armor are difficult to comprehend. That said, it is only rarely throughout history that soldiers have gone into battle without any sort of armor, for in the chaotic environment of battle such equipment was often all that stood between a soldier and death. Thus, the history of both armor and weapons is essential to a fuller understanding of the history of war. In light of this importance, it is remarkable how little work has been done on charting the history of soldiers’ equipment in the Middle Ages. -
WFRP Equipment
Name Damage Group Traits Range (Yards) Reload Buckler d10+SB-2 Parrying Balanced, Defensive, Pummelling Dagger d10+SB-2 Ordinary Balanced, Puncturing Flail d10+SB+2 Flail 2h, Impact, Unwieldy, Fast Knuckleduster d10+SB-2 Ordinary Pummelling Great Weapon d10+SB+2 Two-Handed 2h, Impact Zweihander d10+SB+1 Two-Handed 2h, Defensive, Impact, Stances: Half-sword, Mordschlag Longsword d10+SB Two-Handed 2h, Impact, Defensive, Stance: Hand Weapon, Half-sword, Mordschlag Polearm d10+SB+1 Two-Handed 2h, Impact, Fast, Stance: Half-sword Hand Weapon d10+SB Ordinary None Improvised d10+SB-2 Ordinary None Lance d10+SB+1 Cavalry Fast, Impact, Special Main Gauche d10+SB-2 Parrying Balanced, Defensive, Puncturing Morningstar d10+SB Flail Impact, Unwieldy, Fast Staff d10+SB Ordinary 2h, Defensive, Impact, Pummelling Rapier d10+SB-1 Fencing Fast, Precise (2) Shield d10+SB-2 Ordinary Defensive (Melee & Ranged), Pummelling Spear d10+SB-1 Ordinary Fast, Stance: 2h Spear 2h d10+SB+1 2h, Fast Sword-Breaker d10+SB-2 Parrying Balanced, Special Unarmed d10+SB-3 Ordinary Special Stances Halfsword d10+SB 2h, Defensive, Armour Piercing (2), Precise (1) Mordschlag d10+SB 2h, Impact, Pummelling, Armour Piercing (1) Bola d10+1 Entangling Snare 8/16 Half Bow d10+3 Ordinary 2h 24/48 Half Crossbow d10+4 Ordinary 2h 30/60 Full Crossbow Pistol d10+2 Crossbow None 8/16 Full Elfbow d10+3 Longbow Armour Piercing, 2h 36/72 Half Improvised d10+SB-4 Ordinary None 6/- Half Javelin d10+SB-1 Ordinary None 8/16 Half Lasso n/a Entangling Snare, 2h 8/- Half Longbow d10+3 Longbow Armour -
Ffib COSTUME of the Conquistadorss 1492-1550 Iss
The costume of the conquistadors, 1492-1550 Item Type text; Thesis-Reproduction (electronic) Authors Coon, Robin Jacquelyn, 1932- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 16:02:18 Link to Item http://hdl.handle.net/10150/348400 ffiB COSTUME OF THE CONQUISTADORSs 1492-1550 iss ' ' " Oy _ , ' . ' Robin Goon A Thesis Submitted to the Faculty of the DEPiRTMENT OF DRAMA In Partial Fulfillment of the Requirements For the Degree of ■ MASTER OF ARTS v ' . In the Graduate College THE UHIFERSITI OF ARIZONA 1962 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re quirements for an advanced degree at The University of Arizona and is deposited in The University Library to be made available to bor rowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. " / /? signed i i i Q-'l ^ > i / r ^ t.