DOCSLIB.ORG

Semi-Historical Arms and Armor the Following Are Some Notes About The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Semi-Historical Arms and Armor the Following Are Some Notes About The Semi-Historical Arms and Armor The following are some notes about the weapons and armor tables in D&D 5th edition, as they pertain to their relationship to modern understandings of historical arms and armor. In general, 5th edition is far more accurate to ancient and medieval sources regarding these topics than prior editions, but for the sake of balance and ease of play without the onerous restrictions of reality, there are still some expected incongruences. This article attempts to explain some particular facets about the use of arms and armor throughout our long, shared history, and to offer some suggestions (imbalanced as they may be) on how such items would have been used in particular times and places. A note on generalities: One of the best things 5th edition offers in these tables is the generalization of particular weapons and armor compared to prior editions. Is there a significant, functional difference between a half-sword, arming sword, backsword, wakizashi, tulwar, or any other various forms of predominately one-handed pokey and slashy things with 13 inch, sometimes 14 or 20 or even 30 inch blades? Well, actually yes, but that level of discrimination is often not noticeable in the granularity of the combat mechanics of most systems, and, more importantly, how modern readers often distinguish them is often anachronistic. For instance, almost all straight sword-like weapons, be it arming swords, half-swords, back swords, longswords or even great swords like claymores (but not Messers!) are referred to in ancient and medieval texts (MS I.33, Liberi, etc) as… swords. Just swords. Often when there are references to sword types by specific names (such as a bastard sword, which is often identified as a hand-and-half sword in modern reviews), it is not always clear what that name refers to and popular culture attempts to fill in the blanks. In modern archeology, arms and armor have been variously categorized by age, function, physical shape, or any number of other salient attributes. Most of it is fairly dry and boring to the uninitiated, so we’ll try to strike a balance Armor: General overview: Now and again the modern reader may ask to himself, “why would someone wear lamellar armor when lamellar is listed in this table right below and is mostly better in every single aspect?” Conversely, game designers sometimes try to ‘balance’ armor and give a disadvantaged one some aspect that is superior in some fashion. Both viewpoints skirt around the historical rationale: there are considerations when acquiring armor (is it legal to wear? Is it comfortable to wear day-to-day? Will it last me a long while? Does it make me look ridiculous in front of my peers?) completely aside from the armor’s protective function. Furthermore, some Statistics: Proficiency: if you wear armor without corresponding proficiency in that type, you suffer disadvantage on all ability checks, saving throws, and attack rolls using strength or dexterity and cannot cast spells, as per the PHB. AC: add to a base of 10. Strength: equipping armor with a strength score decreases your movement speed per round by 10 feet unless your strength is equal to or greater than that rating. Properties: varying armors have differentiating factors. DA is disadvantage. DR is damage reduction. Descriptions: Light Armor: Leather, Raw Hide or Cuir Boulli: Animal hides, either untanned (rawhide) or tanned (leather), would have likely been used as some form of armor and certainly for clothing, though very few historical examples survive as leather is biodegradable. However, it is unlikely to have been used alone as armor, without reinforcement from metal plates or mail, when those were available. Tanned, hardened leather is tougher than rawhide, but also more brittle. It has the consistency similar to a hard, plastic shell. Buff Coats, leather clothing developed in the renaissance and early modern period, is of this type of armor. Soldier wearing Buff Coat (English Civil War 1642-1651) – John Pettie Padded Jack/Gambeson: A Gambeson is a quilted, padded jacket (and sometimes trousers) typically made either of cotton (in Egypt and Asia-Minor) or of linen (particularly in medieval Europe). A similar piece of clothing, called the arming doublet or aketon, was worn underneath plate armor and became a civilian fashion in Italy during the late medieval period. Heavy armor comes fitted with an aketon or other padded material. Padded armor of this type was common across the ancient and medieval world, as it was relatively easy to produce and could protect against blades and arrows. It is known by a variety of names: aketon (medieval French, possibly on loan from Arabic), arming coat, auqueton, gambeson, hacketon, haqueton, panzari (medieval Norse, on loan from Middle Low German), vapnterya, etc. Padded armor tailored to be worn under other armor was typically 3 lbs or lighter. Soldier on far left wearing red gambeson, fol. 10r of the Morgan Bible (ca. 1250, Northern France) Brigandine: A Brigandine is a cloth garment (usually plain-woven fabric or leather) lined with steel plates riveted to the inside of layers of the fabric. Compared to most other armors, it was developed fairly recently during the late 14th century during the transitional period from mail to plate armor in Europe, and as recently as the 15th and 16th centuries in Asia. It was commonly used by Men-at-Arms, and while not as protective as Plate, it was cheaper, easier to make and repair, and offered greater mobility. Note: the D&D idea of “studded leather” likely arises from the way Brigandine sometimes looks like from the inside; the steel plates between the cloth are sometimes riveted to rounded studs, though these would be on the inside of the armor and are not the protective substance of the armor. Other armors that are more substantial than Padded but less so than metal armors (such as the famous Linothorax, a linen laminate), would have roughly the same mechanical statistics as Brigandine. Brigandine – Wendelin Boeheim, 1890 Medium Armor: Scale Armor: The earliest forms of metal (that is, typically metal, but sometimes rawhide or leather) body armor is typically of this type; separate pieces of metal (usually bronze, but occasionally iron or tin) sheets, held together by leather thongs and attached to a cloth or leather backing. Surviving examples of these armors suggest that they often consist of chest protection with vambraces and greaves, but typically not more. Scale armor was predominant on ancient battlefields in Egypt and Western Asia as early as 2500 BC, and remained in use into “classical antiquity” because it is comparatively lighter and more flexible than more rigid armor of the time and “breathes” well, making it suitable for warmer climates. Scale armor, particularly in Europe, began to fall out of favor to Mail during late antiquity. More substantial metal barding for horses in the ancient world through the early middle ages typically was of this construction (It is attested to in Shi Jing and was often used for Sassanid-era cataphracts, though the riders were usually in mail). It was easier to manufacture than later period armors, and remained in use among cultures without access to high-quality steel-working centers up until the early modern period. Mycenaean Era armor was typically scale armor, as was Scythian, Ancient Vietnamese, Republic-era Roman Lorica Squamata and Lorica Plumata, Persian “Fish”-scale armor as recounted by Herodotus, and Japanese gyorin kozane. Some forms of Muscle or Heroic Cuirass, body armor (typically of bronze) cast to fit the wearer’s torso and mimic an idealized physical form that was widespread in the 5th and 4th centuries BC, would be mechanically similar to Scale armor, even though they would typically be too cumbersome and costly for typical infantrymen. Although there is some indication it was used in combat (mostly by officers), this type of cuirass was likely reserved for formal events like military reviews or parades. Chinese scale armors were typically of a “fish-scale”-like pattern made of leather or iron strips during the Han, though they developed into the Mountain and Star Scale armors during the Tang Dynasty (618-907). Footsoldier (presumably) in scale armor. Mail Shirt/Hauberk/Byrnie: A shirt made of small metal (usually iron or bronze) rings, linked together to form a mesh. Typically credited as a Celtic invention, mail armor has been found as early as the 4th century BC in Central Europe, and spread quickly throughout Europe, Africa and Asia. Though quite labor-intensive (30,000 rings would have gone into a lorica hamata, a task that would take up to 2 months even with continual slave labor), mail armor very flexible, reliable, strong (particularly against slashing weapons), and, with good maintenance, could be used for several decades. When its weight was distributed across the body, often with the help of a heavy belt, mail could be worn for extended periods of time, and the constant friction on the rings prevented rust and corrosion. Mail armor was very common on the ancient and medieval battlefields in Europe, North Africa, and Western Asia and in ancient texts is often synonymous with “armor”. A Hauberk describes a sleeved mail shirt that typically covers up to the mid thigh; a Haubergeon usually refers to a smaller, shorter Hauberk, but historical sources sometimes used them interchangeably. Not all mail was equally made; one of the major differentiators was whether or not the mail was designed to be worn as secondary armor, below lamellar, plate, or more substantial armor; these could be quite light (the half-sleeved Wallace A1 (early 15th(?) century) weighs 9.87 lbs.). On the other hand a hauberk designed as the sole piece of protection could be much more substantial (the Kungslena hauberk (1208) weighs 33.7 lbs).
Load more

Recommended publications
  • Outdoor& Collection
    MAGNUM COLLECTION 2020 NEW OUTDOOR& COLLECTION SPRING | SUMMER 2020 early years. The CNC-milled handle picks up the shapes of the Magnum Collection 1995, while being clearly recognizable as a tactical knife, featuring Pohl‘s signature slit screws and deep finger choils. Dietmar Pohl skillfully combines old and new elements, sharing his individual shapes and lines with the collector. proudly displayed in showcases around the For the first time, we are using a solid world, offering a wide range of designs, spearpoint blade made from 5 mm thick quality materials and perfect craftsmanship. D2 in the Magnum Collection series, giving the knife the practical properties you can For the anniversary, we are very pleased that expect from a true utility knife. The knife we were able to partner once again with has a long ricasso, a pronounced fuller and Dietmar Pohl. It had been a long time since a ridged thumb rest. The combination of MAGNUM COLLECTION 2020 we had worked together. The passionate stonewash and satin finish makes the blade The Magnum Collection 2020 is special in designer and specialist for tactical knives scratch-resistant and improves its corrosion- many ways. We presented our first Magnum has designed more than 60 knives, among resistance as well. The solid full-tang build catalogue in 1990, followed three years later them the impressive Rambo Knife featured gives the Magnum Collection 2020 balance by the first model of the successful Magnum in the latest movie of the action franchise and stability, making it a reliable tool for any Collection series. This high-quality collector‘s with Sylvester Stallone.
    [Show full text]
  • Stab Resistant Body Armour
    IAN HORSFALL STAB RESISTANT BODY ARMOUR COLLEGE OF DEFENCE TECHNOLOGY SUBMITTED FOR THE AWARD OF PhD CRANFIELD UNIVERSITY ENGINEERING SYSTEMS DEPARTMENT SUBMITTED FOR THE AWARD OF PhD 1999-2000 IAN HORSFALL STAB RESISTANT BODY ARMOUR SUPERVISOR DR M. R. EDWARDS MARCH 2000 ©Cranfield University, 2000. All rights reserved. No part of this publication may be reproduced without the written permission of the copyright holder. ABSTRACT There is now a widely accepted need for stab resistant body armour for the police in the UK. However, very little research has been done on knife resistant systems and the penetration mechanics of sharp projectiles are poorly understood. This thesis explores the general background to knife attack and defence with a particular emphasis on the penetration mechanics of edged weapons. The energy and velocity that can be achieved in stabbing actions has been determined for a number of sample populations. The energy dissipated against the target was shown to be primarily the combined kinetic energy of the knife and the arm of the attacker. The compliance between the hand and the knife was shown to significantly affect the pattern of energy delivery. Flexibility and the resulting compliance of the armour was shown to have a significant effect upon the absorption of this kinetic energy. The ability of a knife to penetrate a variety of targets was studied using an instrumented drop tower. It was found that the penetration process consisted of three stages, indentation, perforation and further penetration as the knife slides through the target. Analysis of the indentation process shows that for slimmer indenters, as represented by knives, frictional forces dominate, and indentation depth becomes dependent upon the coefficient of friction between indenter and sample.
    [Show full text]
  • 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]
  • Oriental Adventures James Wyatt
    620_T12015 OrientalAdvCh1b.qxd 8/9/01 10:44 AM Page 2 ® ORIENTAL ADVENTURES JAMES WYATT EDITORS: GWENDOLYN F. M. KESTREL PLAYTESTERS: BILL E. ANDERSON, FRANK ARMENANTE, RICHARD BAKER, EIRIK BULL-HANSEN, ERIC CAGLE, BRAIN MICHELE CARTER CAMPBELL, JASON CARL, MICHELE CARTER, MAC CHAMBERS, TOM KRISTENSEN JENNIFER CLARKE WILKES, MONTE COOK , DANIEL COOPER, BRUCE R. CORDELL, LILY A. DOUGLAS, CHRISTIAN DUUS, TROY ADDITIONAL EDITING: DUANE MAXWELL D. ELLIS, ROBERT N. EMERSON, ANDREW FINCH , LEWIS A. FLEAK, HELGE FURUSETH, ROB HEINSOO, CORY J. HERNDON, MANAGING EDITOR: KIM MOHAN WILLIAM H. HEZELTINE, ROBERT HOBART, STEVE HORVATH, OLAV B. HOVET, TYLER T. HURST, RHONDA L. HUTCHESON, CREATIVE DIRECTOR: RICHARD BAKER JEFFREY IBACH, BRIAN JENKINS, GWENDOLYN F.M. KESTREL, TOM KRISTENSEN, CATIE A. MARTOLIN, DUANE MAXWELL, ART DIRECTOR: DAWN MURIN ANGEL LEIGH MCCOY, DANEEN MCDERMOTT, BRANDON H. MCKEE, ROBERT MOORE, DAVID NOONAN, SHERRY L. O’NEAL- GRAPHIC DESIGNER: CYNTHIA FLIEGE HANCOCK, TAMMY R. OVERSTREET, JOHN D. RATELIFF, RICH REDMAN, THOMAS REFSDAL, THOMAS M. REID, SEAN K COVER ARTIST: RAVEN MIMURA REYNOLDS, TIM RHOADES, MIKE SELINKER, JAMES B. SHARKEY, JR., STAN!, ED STARK, CHRISTIAN STENERUD, OWEN K.C. INTERIOR ARTISTS: MATT CAVOTTA STEPHENS, SCOTT B. THOMAS, CHERYL A. VANMATER-MINER, LARRY DIXON PHILIPS R. VANMATER-MINER, ALLEN WILKINS, PENNY WILLIAMS, SKIP WILLIAMS CRIS DORNAUS PRONUNCIATION HELP: DAVID MARTIN RON FOSTER, MOE MURAYAMA, CHRIS PASCUAL, STAN! RAVEN MIMURA ADDITIONAL THANKS: WAYNE REYNOLDS ED BOLME, ANDY HECKT, LUKE PETERSCHMIDT, REE SOESBEE, PAUL TIMM DARRELL RICHE RICHARD SARDINHA Dedication: To the people who have taught me about the cultures of Asia—Knight Biggerstaff, Paula Richman, and my father, RIAN NODDY B S David K.
    [Show full text]
  • The Late Roman Army Free
    FREE THE LATE ROMAN ARMY PDF Gabriele Esposito | 150 pages | 07 Jul 2016 | Winged Hussar Publishing | 9780996365796 | English | United States Roman army of the late Republic - Wikipedia By Steven Wills. It offers significant lessons in how not to manage the army of a great power. Cutting the retirement benefits of a small professional force in favor of smaller taxes for the elite and greater benefits for the masses served only to weaken the desire of Roman citizens to serve. When the Roman citizenry would not join in the numbers required to protect the Empire, Roman elites turned to conscription, which produced only disgruntled recruits, and mass recruitment of barbarian tribes such as the Goths, Visigoths and The Late Roman Army. These tribesmen could be paid less and did not require expansive pensions as an incentive to serve. These three mistakes in the management of the late Roman Imperial Army should serve as a powerful warning to American elites seeking inexpensive solutions to the maintenance of American military power. While some military The Late Roman Army can always be reduced, a great power that seeks very low-cost solutions does so at its own peril. The Roman Army began providing pensions to retiring soldiers during the fall of the Roman Republic in the late first century B. These promises often included financial The Late Roman Army, exemption from taxes and grants of land from captured enemy territory. Augustus reduced the Roman Army to a voluntary, professional force of approximatelyactive duty soldiers and a similar The Late Roman Army of auxiliary troops.
    [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]
  • Bibliografia
    Gladius XIII (1977), pp. 103-138 Bibliografía ISSN 0435-029X BIBLIOGRAFIA Avt objects in steel by Tul~Cvaftsmen. Introduced and compiled by M. Malchenko. Photographs by V.Pochayev and V.Stukalov. Aurora Art Publishers, Leningrad 1974, 167 pages, 102 plates, most of them in colour. Text in English and Russian. This beautiful little book with its numerous coloured illustrations of applied art from the world's famous steel centre of Tula is of interest not only to art students but has a special importance to arms and armour investigators. It deals with the 18th and 19th cent. applied art, a period in which the obiects made of steel from the Tula armourers occu~va re- markable place.' Already at the end of the 16th cent. weapon-sZths of the State here performed their work, for instance arquebuses and pistols. In 1712 the Tula Arms Factorv was founded and little bv little the dace here became the centre of Russian arms production. The well-known richlv decorated hunting weaDons had an excellent period about the middle df the 18th cent. any of the finely decorated weapons were used by the emperors. Thus gave, for instance, Catha- rina I1 them as presents to foreign princes and other persons of high rank. Particularly famous was the combination of blued steel with gold ornaments. In these manufactures other kinds of objects, however, flourished. Many kinds of applied art was made, such as seals, perfume burners, candlesticks, caskets, ink-stands and even complete furniture such as chairs. dressing" tables etc. The book illustrates a fine air of ~istols and a sporting gun from about 1790 with steel chiseling, ivory and with copper and silver incrustations.
    [Show full text]
  • Create Your Own Armour [PDF]
    Romans at Ham Hill Ham Hill is a 390 acre Country Park managed by South Somerset District Council that encompasses the largest Iron Age hill fort in Europe including a 19 roomed Roman villa and medieval settlements. Lorica squamata (scale armour) Many troops wore torso armour and there were three main types. Lorica squamata (and has been found at Ham Hill), Lorica hamata, which is made from small iron rings and Lorica segmentata, which is what you can see on the left. Lorica segmentata was worn by the Roman army from around 9BC until 2AD. An undergarment was usually worn to protect the wearer from bruising and shock and this was called a subarmalis. Roman helmet There are many designs of Roman helmet (Galea) and this one is loosely based on a design of the Imperial Gallic, a helmet that was in service to the Roman army from the late 1st century BC until the early 2nd century AD. Roman Gladius First used by the Spannish, the gladius was primarily used as a stabbing weapon. It has a v-shaped tip, which was great for finding the gaps between ribs or cartilage! Both sides were also kept razor-sharp and it was a deadly slashing weapon. Romans used the gladius in formation and always carried it in their right hand to compliment the carrying of their large shields (Scutum) in their left. It is still considered to be one of the important swords of history. Find more activities at www.southsomerset.gov.uk/childrensactivities Create your own Armour Armour keeps you protected in battles, a little bit like how face masks are helping protect our front line workers such as doctors and nurses while they confront Coronavirus.
    [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]
  • 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.
    [Show full text]
  • THE ARMOURER and HIS CRAFT from the Xith to the Xvith CENTURY by CHARLES FFOULKES, B.Litt.Oxon
    GQ>0<J> 1911 CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Cornell University Ubrary NK6606 .F43 1912 The armourer and his craft from the xith C Date iSIORAGE 3 1924 030 681 278 Overs olin a^(Mr;= :3fff=iqfPfr.g^h- r^ n .^ I aAri.^ ^ Cornell University Library XI The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030681278 THE ARMOURER AND HIS CRAFT UNIFORM WITH THIS VOLUME PASTE By A. Beresford Ryley < 'A w <1-1 K 2; < > o 2 o 2; H ffi Q 2; < w K o w u > w o o w K H H P W THE ARMOURER AND HIS CRAFT FROM THE XIth TO THE XVIth CENTURY By CHARLES FFOULKES, B.Litt.Oxon. WITH SIXTY-NINE DIAGRAMS IN THE TEXT AND THIRTY-TWO PLATES METHUEN & CO. LTD. 36 ESSEX STREET W.G. LONDON Kc tf , First Published in igi2 TO THE RIGHT HONOURABLE THE VISCOUNT DILLON, Hon. M.A. Oxon. V.P.S.A., Etc. Etc. CURATOR OF THE TOWER ARMOURIES PREFACE DO not propose, in this work, to consider the history or develop- ment of defensive armour, for this has been more or less fully I discussed in v^orks which deal with the subject from the historical side of the question. I have rather endeavoured to compile a work which will, in some measure, fill up a gap in the subject, by collecting all the records and references, especially in English documents, which relate to the actual making of armour and the regulations which con- trolled the Armourer and his Craft.
    [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]