Pieza De La Armadura De Cabeza Bevor: Plate Armour for the Chin and Lower Que Cubre La Boca Y El Mentón

Total Page:16

File Type:pdf, Size:1020Kb

Pieza De La Armadura De Cabeza Bevor: Plate Armour for the Chin and Lower Que Cubre La Boca Y El Mentón ARMOUR BILINGUAL GLOSSARY NB: The terminology can be confusing as some terms could mean different things at different times. ARMADURA SUIT OF ARMOUR, HARNESS Barbera: pieza de la armadura de cabeza Bevor: Plate armour for the chin and lower que cubre la boca y el mentón. face, sometimes including a gorget. Brazal: parte de la armadura que protege el Vambrace: Entire arm armour except for brazo hasta la muñeca. Compuesta por tres the pauldron. The entire arm defence is piezas para el brazo (guardabrazo), el codo divided into upper and lower cannons. (codal) y el avambrazo. Rerebrace: Armor shielding covering the upper arm from the elbow to the shoulder. The rerebrace is also referred to as the upper cannon. Couter: Armoured elbow guards. Vambrace: Also used to refer to the arm defence for the forearm. Camisote: cota de malla formada por un Hauberk: Sleeved shirt of mail or scale tejido de anillos de hierro en forma de reaching down to the hip or knee. camisa, generalmente con mangas y falda Habergeon: Short sleeved shirt of mail or que pudiendo llegar hasta la rodilla. scale. Celada: pieza de la armadura de cabeza con Skull: Part of a helmet that covers the top, forma semiesférica que servía para cubrir y back and sides of the head above the ears. It defender la parte superior de la cabeza y la used to incorporate a comb (ridge on the nuca. Solía incorporar una cresta para skull of a helmet that runs from front to desviar los golpes tajantes. back) to deflect blows to the top of the head. Escarcelas: elementos que caen desde la Tassets: armour for the tops of the thighs cintura para cubrir los muslos. En las that hangs from the fauld to cover the gaps armaduras ecuestres la derecha más corta between the breastplate and cuisses. In era generalmente para facilitar la montura y equestrian armours the right side tasset was porque la mayor parte de los golpes se shorter to aid in mounting and also because recibían en el lado izquierdo. most blows came from the left. Escarpe: zapato compuesto de láminas de Sabaton: Plate armour for the foot metal articuladas, que cubría el calzado consisting of lames ending in a toecap. grueso del hombre de armas desde la Sometimes called a solleret. garganta del pie hasta los dedos. Gola: elemento unido al yelmo que Gorget: Piece of armour protecting the defendía el cuello y parte del pecho. Servía throat. May be a simple collar or a more también para afirmar el yelmo sobre los elaborate design composed of several pieces hombros. covering the neck and tops of the chest and shoulders. It also served to secure the helm upon the shoulders. Greba: pieza que protege por completo la Greave: Plate armour for the leg from the pantorrilla (entera) o al menos la parte knee to the ankle, initially only covering the externa (media). front of the shin, but later made of two hinged plates encircling the lower leg. Guantelete: pieza de la armadura con que se Gauntlets: Armoured gloves for the hands, guarnecía la mano. either of mitten type or with individual fingers. Hour-glass gauntlet: Finger gauntlet (gauntlet with each finger protected by its own separate set of lames) with a large plate covering the back and sides of the hand that narrows at the wrist and flares out to form a short cuff. Hombreras: piezas que cubren y resguardan Pauldron: Laminated armour for the los hombros. shoulder extending at the front and rear to protect the armpit. Penacho: haz de plumas de color que se Plume: A large feather or cluster of feathers colocaba en el yelmo, y en la cabeza de las worn as an ornament or symbol of rank, as caballerías engalanadas para fiestas, desfiles on a helmet, or horse head, in parades, u otras solemnidades feasts and solemnities. Peto: parte que defiende el pecho y que, con Breastplate: Plate armour for the front of el espaldar, compone la coraza. the torso. Cuirass: Breastplate and backplate made to be worn together Quijote: parte que protege el muslo. Cuisse: Armour for the thighs that reached Llegaban hasta las rodillas y pendían del down to the knees. They hung from the peto mediante unas correas. breastplate by straps. Rodillera: elementos que defienden la Poleyn: Cup-shaped armour knee-guards, rodillas. often equipped with fan-plates. Visera: parte del yelmo que cubría y Visor: Part of a helmet that protects the defendía el rostro. Contaba con eyes and face, often pivoted to the skull. It perforaciones o hendiduras para permitir la had a “sight” (vision slit). Frequently the visión y generalmente era movible sobre visor contained “breaths,” holes or slits for dos botones laterales que permitían alzarla y ventilation, which also provided some extra bajarla. visibility. A movable visor could be lifted as a demonstration of good will or when there was no danger. Yelmo: es la parte de la armadura que Helm/Helmet: An all-enveloping armour resguarda la cabeza y el rostro del guerrero "hood" which enclosed and protected the entire head, face and neck, reaching almost to the shoulders. .
Recommended publications
  • Page 0 Menu Roman Armour Page 1 400BC - 400AD Worn by Roman Legionaries
    Roman Armour Chain Mail Armour Transitional Armour Plate Mail Armour Milanese Armour Gothic Armour Maximilian Armour Greenwich Armour Armour Diagrams Page 0 Menu Roman Armour Page 1 400BC - 400AD Worn by Roman Legionaries. Replaced old chain mail armour. Made up of dozens of small metal plates, and held together by leather laces. Lorica Segmentata Page 1 100AD - 400AD Worn by Roman Officers as protection for the lower legs and knees. Attached to legs by leather straps. Roman Greaves Page 1 ?BC - 400AD Used by Roman Legionaries. Handle is located behind the metal boss, which is in the centre of the shield. The boss protected the legionaries hand. Made from several wooden planks stuck together. Could be red or blue. Roman Shield Page 1 100AD - 400AD Worn by Roman Legionaries. Includes cheek pieces and neck protection. Iron helmet replaced old bronze helmet. Plume made of Hoarse hair. Roman Helmet Page 1 100AD - 400AD Soldier on left is wearing old chain mail and bronze helmet. Soldiers on right wear newer iron helmets and Lorica Segmentata. All soldiers carry shields and gladias’. Roman Legionaries Page 1 400BC - 400AD Used as primary weapon by most Roman soldiers. Was used as a thrusting weapon rather than a slashing weapon Roman Gladias Page 1 400BC - 400AD Worn by Roman Officers. Decorations depict muscles of the body. Made out of a single sheet of metal, and beaten while still hot into shape Roman Cuiruss Page 1 ?- 400AD Chain Mail Armour Page 2 400BC - 1600AD Worn by Vikings, Normans, Saxons and most other West European civilizations of the time.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Heroic Armor of the Italian Renaissnace
    30. MASKS GARNITURE OF CHARLES V Filippo Negroli and his brothers Milan, dated 1539 Steel, gold, and silver Wt. 31 lb. 3 oz. (14,490 g) RealArmeria, Patrimonio Nacional, Madrid (A 139) he Masks Garniture occupies a special place in the Negroli Toeuvre as the largest surviving armor ensemble signed by Filippo N egroli and the only example of his work to specify unequivocally the participation of two or more of his broth­ ers. The armor's appellation, "de los mascarones," derives from the grotesque masks that figure prominently in its dec­ oration, and it was coined by Valencia de Don Juan (1898) to distinguish it from the many other harnesses of Charles V in the Real Armeria. Indeed, for Valencia, none of the emperor's numerous richly embellished armors could match this one for the beauty of its decoration. As the term "garniture" implies, the harness possesses a number of exchange and reinforcing pieces that allow it to be employed, with several variations, for mounted use in the field as well as on foot. The exhibited harness is composed of the following ele­ ments: a burgonet with hinged cheekpieces and a separate, detachable buffe to close the face opening; a breastplate with two downward-overlapping waist lames and a single skirt lame supporting tassets (upper thigh defenses) of seven lames each that are divisible between the second and third lames; a backplate with two waist lames and a single culet (rump) lame; asymmetrical pauldrons (shoulder defenses) made in one with vambraces (arm defenses) and having large couters open on the inside of the elbows; articulated cuisses (lower thigh defenses) with poleyns (knees); and half­ greaves open on the inside of the leg.
    [Show full text]
  • Armour As a Symbolic Form
    Originalveröffentlichung in: Waffen-und Kostümkunde 26 (1984), Nr. 2, S. 77-96 Armour As a Symbolic Form By Zdzislaw Zygulski Jr. „It is perfectly possible to argue that some distinctive objects are made by the mind, and that these objects, while appearing to exist objectively, have only a fictional reality." E. W. Said, Orientalism, New York 1979 Somewhere in the remote past of mankind armour was born, its basic purpose being to protect the soft and vulnerable human body in combat. It is somewhat surprising that in the course of Darwinian evolution man lost his natural protective attributes, above all hair, and slowly became what is called, with some malice, ,,the naked ape". Very soon man the hunter adopted animal skins as his first dress and also as armour. The tradition of an armour of leather is very ancient and still lingers in the word ,,cuirass". Various natural substances such as hard wood, plant fibres, bones, hoofs, or even tusks were used to make the body protection more resistant, but as soon as metallurgy had been mastered metal became the supreme material for all kinds of weaponry, both offensive and defensive. Since a blow to the head was often lethal, special attention was paid to the pro­ tection of that principal part of the body: early bronze helmets of conical shape are represented in the Sume­ rian art as early as the third millennium B. C.l. The shield, a prehistoric invention, although detached from the body and movable, may also be considered as a kind of armour. In the course of centuries a great number of types of armour and innumerable actual specimens were crea­ ted.
    [Show full text]
  • England's Armor
    ENGLAND’S ARMOR: HENRY VIII’S ARMOR AND HIS WARS by James Nobukichi Ito A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art in Art History MONTANA STATE UNIVERSITY Bozeman, Montana April 2014 ©COPYRIGHT by James Nobukichi Ito 2014 All Rights Reserved ii DEDICATION I dedicate this Master’s Thesis to Donald La Rocca, Dr. Todd Larkin, and to Vaughan Judge for their support and guidance in helping me achieve my graduate goals. To Dede Taylor who gave me the Metropolitan Museum of Art Bulletin Of Arms and Men, which got me seriously interested in the topic of arms and armor as a Master’s Thesis. To my fellow graduate students; Kate Cottingham, Chelsea Higgins, Jackie Meade, and Jesine Munson. To the School of Art office staff. I dedicate the success of graduate school to my wife Stephanie, who tolerated me being away from home for these last two years researching and writing my thesis and for bringing our son Jefferson into this world while I was in graduate school. You are my greatest supporter, Stephanie. iii ACKNOWLEDGMENTS I have grown as a scholar and as a person in these last two years of graduate school and I have the art history faculty to thank for that. Todd Larkin was my committee chair and he has been my most involved mentor who pushed me to conduct active research and question all evidence of my findings to weave out any doubt that what I discovered was reliable information. He has also been an example to me as a scholar who is enthusiastic about his work and teaches in a way that keeps the class attentive and alive.
    [Show full text]
  • 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.
    [Show full text]
  • The Virtual Armory
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@WPI Worcester Polytechnic Institute Digital WPI Interactive Qualifying Projects (All Years) Interactive Qualifying Projects July 2013 The irV tual Armory Jeffrey M. Bardon Worcester Polytechnic Institute Follow this and additional works at: https://digitalcommons.wpi.edu/iqp-all Repository Citation Bardon, J. M. (2013). The Virtual Armory. Retrieved from https://digitalcommons.wpi.edu/iqp-all/2532 This Unrestricted is brought to you for free and open access by the Interactive Qualifying Projects at Digital WPI. It has been accepted for inclusion in Interactive Qualifying Projects (All Years) by an authorized administrator of Digital WPI. For more information, please contact [email protected]. 48-JLS-0069 The Virtual Armory Interactive Qualifying Project Proposal Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for graduation by _____________________________ Jeffrey Bardon June 25th 2013 Professor Jeffrey L. Forgeng. Major Advisor Keywords: Higgins Armory, Arms and Armor, QR Code 1 Abstract This project developed a QR system to provide an interactive experience at the Higgins Armory Museum. I developed a web page that gives interesting facts on a medieval European helmet. When scanned, a QR Code next to the helmet brings up a mobile- friendly web page with information on the object, randomly selected from a pool of information, and an HTML-based game involving matching Greek,
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • The Results Blunt Trauma Could Medieval Arrows Pierce Armour?
    Could medieval arrows pierce armour? The Results Blunt Trauma Medieval archers used different arrows, Long thin bodkin heads were developed Archers Mark Stretton and John Potter The later style, lozenge-shaped bodkin arrows were The buckling of the armour on arrow heads and weights of bow to in the 13th Century to pierce mail armour, shot a series of replica medieval arrows shot first. The first one hit the lower section of the impact is as significant as the undertake specific tasks. which was the standard military defence. at this replica steel breastplate from fifty breastplate (the plackart), which is double thickness. penetration of the arrow head. The arrow cut through both layers of armour (3mm A blunt trauma impact of more The heaviest bows (hardest to pull) were As plate armour developed during the yards to see how effective these arrows of steel) but bounced back out again. The large dent than 80 joules of energy to the the war bows. These could be between 14th and 15th centuries, new, heavier really were. around the point of the plackart shows the heavy human torso is usually fatal. 110 and 180lbs in draw weight. arrow types were designed to try and punch through the curved iron plates. impact of the arrow. Further holes were achieved in The arrows which pierced this both the double and single layered parts of the target. breastplate hit with around John’s English Yew bow has a 130lb Mark’s Italian Yew bow has a The breastplate was fixed to a heavy bag of dried Each hole is accompanied by a dent and in most cases 150 Joules of energy, which draw weight at 32”.
    [Show full text]
  • 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.
    [Show full text]