Perimortem Trauma in King Richard III: a Skeletal Analysis
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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. -
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 -
Castle & Knight
Eye Wonder LONDON, NEW YORK, MUNICH, Contents MELBOURNE, and DELHI 4-5 What is a castle? 6-7 Early castles 8-9 Written and edited by Fleur Star A castle grows Designed by Jacqueline Gooden and Laura Roberts 10-11 Publishing manager Susan Leonard Who lived there? Managing art editor Clare Shedden Jacket designer Bob Warner 12-13 Jacket editor Carrie Love Jacket copywriter Adam Powley Food glorious food Picture researcher Liz Moore Production Luca Bazzoli 14-15 DTP Designer Almudena Díaz Consultant Christopher Gravett Time out 16-17 First published in Great Britain in 2006 by Dorling Kindersley Limited Under siege 80 Strand, London WC2R ORL A Penguin Company 18-19 2 4 6 8 10 9 7 5 3 1 Tricks of defence Copyright © 2005 Dorling Kindersley Limited, London 20-21 A CIP catalogue record for this book is available from the British Library. Lock ’em up All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted 22-23 in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior The knight written permission of the copyright owner. ISBN 1-4053-0983-0 24-25 Colour reproduction by Colourscan, Singapore Knight school Printed and bound in Italy by L.E.G.O. Discover more at www.dk.com 26-27 All wrapped up 28-29 In shining armour 30-31 Weapons of war 32-33 Joust for fun 34-35 Heraldry 36-37 The Crusades 38-39 Moorish castles 40-41 Asian castles 42-43 Towering strengths 44-45 Castles today 46-47 Glossary 48 Index and acknowledgements What is a castle? There are hundreds of amazing castles all over the world. -
The Handbook of Hazards and House Rules and Legendary Quest Are Trademarks of Loreweaver Games
Official Game Rules of Legendary Quest™ by John Kirk and Mark Chester The Handbook of Hazards and House Rules and Legendary Quest are trademarks of LoreWeaver Games. he Handbook of Hazards and House Rulesä is Copyright ã1996-2004 by LoreWeaver. All rights reserved. You may make unlimited electronic copies of this book and may print out individual copies for your own personal use; provided the work is copied in its entirety and you make no alterations to its content. You may T make limited numbers of hard copies at a printing service (no more than 5 copies at a time), provided said printing service does not otherwise act as a publishing house and provided said printing service charges fees for the copies that are commensurate with its general copying services. You may be reimbursed by the recipients of those copies for the copy fees, but may not otherwise charge those recipients any amount over this cost. In other words, if you try to sell this book for profit, we’ll sue the pants off of you. On the other hand, if you are a publishing house that wants to sell this book for profit, get a hold of us and we’ll talk turkey. (Note: If you’re one of those “publishing houses” that charges its writers for the privilege of having you publish their books, don’t even bother asking. Real publishers pay writers, not the other way around.) All characters are fictional; any resemblance to persons living or dead is purely coincidental. LoreWeaver intends to protect its interests in this game to the full extent of the law. -
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 -
Codex Martialis: Weapons of the Ancient World
Cod ex Mart ial is Weapo ns o f t he An cie nt Wor ld : Par t 2 Arm or a nd M issile Weapo ns Codex Martialis : Weapons of the A ncient World Par t II : Ar mo r an d Mi ss il e We ap on s 1 188.6.65.233 Cod ex Mart ial is Weapo ns o f t he An cie nt Wor ld : Par t 2 Arm or a nd M issile Weapo ns Codex Martialis: Weapons of the Ancient World Part 2 , Ar mor an d Missile Weapo ns Versi on 1 .6 4 Codex Ma rtia lis Copyr ig ht 2 00 8, 2 0 09 , 20 1 0, 2 01 1, 20 1 2,20 13 J ean He nri Cha nd ler 0Credits Codex Ma rtia lis W eapons of th e An ci ent Wo rld : Jean He nri Chandler Art ists: Jean He nri Cha nd ler , Reyna rd R ochon , Ram on Esteve z Proofr ead ers: Mi chael Cur l Special Thanks to: Fabri ce C og not of De Tail le et d 'Esto c for ad vice , suppor t and sporad ic fa ct-che cki ng Ian P lum b for h osting th e Co de x Martia lis we bsite an d co n tinu in g to prov id e a dvice an d suppo rt wit ho ut which I nev e r w oul d have publish ed anyt hi ng i ndepe nd ent ly. -
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. -
Late-Medieval Leather Armour from Excavations in the Netherlands
57 A poor man’s armour? Late-medieval leather armour from excavations in the Netherlands Marloes Rijkelijkhuizen and Marquita Volken Introduction The fourteenth century is known as a transitional period for armour. The shift from mail to plate armour is noticeable from effigies and historical sources. At the beginning of the fourteenth century, plates were strapped on top of mail, but during the following century, plate armour gradually replaced mail. Mann (1960, 12) suggests that metal plate armour had been developed in the thirteenth century for the shoulders, elbows and knees and that these could have also been made of leather. Depictions of knights do not necessarily indicate the materials used or the fastening methods of the armour. Effigies mostly represent high-status individuals who could differ greatly from ordinary soldiers. The armour shown on the effigies could be slightly idealised to create a positive image of the deceased and impress those who viewed the monuments, though some carvings are remarkably detailed and do contribute to an understanding of the armour shown. Other stone sculptures showing common soldiers might be more representative, although the materials used can be difficult to identify with certainty. Small details are usually not visible or were perhaps simplified to make the carving work easier. The effigies and pictures therefore can act as an indication of what medieval armour looked like, but archaeological finds are an essential contribution to our knowledge of leather armour in the late medieval period. Excavated examples are rare and often not recognised as being parts of armour. This paper aims to describe and present the first research about leather armour pieces from excavations in the Netherlands that have been found so far with the goal of contributing to knowledge and recognition of leather armour parts. -
Qarmor Available in the Known World
Playing the Game: Combat ARMOR AVAILABLE IN THEQ KNOWN WORLD The Armor on this list (a partial list, at that) is described by the ‘suit,’ in effect a complete outfit that is usually calledharness a . Armor is not that different from clothing (and indeed clothing is included on this list), in the sense that it not only has a function to protect the wearer but also reflects the style and fashions of the material Culture in which the wearer lives. It’s also simpler to describe armor as a suit or harness rather than having you buy and track each individual piece of armor that you are wearing, which can get very complicated with as many Hit Locations as there are in Artesia AKW. There is, however, a short list of individual pieces with which you can customize the harnesses listed here. The listings include a description of the outfit, its base weight, the protective value of the outfit, and its cost. Armor Type is listed in cases where the armor shapes damage; this is Mail, Scale, or Plate, and refers to the predominant armor type used. Guides should use discretion in applying Armor Type to individual hit locations; some common sense can be applied (a warrior wearing leather gloves should receive a leather Armor Type benefit when hit in the hands, regardless of the armor worn). The protective value is listed as Cut/Puncture/Impact protection. Each harness has an Overall Protective Value, but may also have Exposed body parts (with no protection), Weak Points, and Strong Points. The armor listed here is pre-manufactured munition armor – bought off the rack, so to speak. -
Medieval Arms Armor and Tactics
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 Brent Palermo Date: December 10th, 2002 Approved: --------------------------------------------- Jeffrey L. Forgeng 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.................................................................................................................pg 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 -
Explorer Trail
WORD SEARCH K T E K S U M B T A X P A N G O L I N R KGT I W R LNE M E CDG Z I SNM O S C J H D E RPA U H U N T I N G K N R EXPLORER I JVA M T TKR I TRAIL E GHI L A B A U E KEY STAGE 3 L R O Y A L W K O S Self-Guided Visit D V S W O R D L T G Teacher’s Only w w w w w w . r ROYAL PANGOLIN r o o y ARMOURIES SHIELD y a a l l a ORIENTAL KNIGHT a r r m TOURNAMENT MUSKET m o o u u r HUNTING LANCE r i i e e s WAR SWORD s . o o r r g g This trail takes in four of the main museum galleries – War and © Royal Armouries Tournament on Floors 2 & 3 plus Oriental and Hunting on Floors 4 & 5. WAR GALLERY / FLOOR 2 WAR GALLERY TREASURE HUNT All these objects can be found in the English Civil War EARLY WAR section of the War Gallery on Floor 2 . Q: Find the Corinthian helm. This helmet is the oldest item in the museum. What is it made out of? A: Bronze Q: What is it? A: Cavalry officer’s buff coat Q: What material replaced bronze for armour and weapons? Q: What is it made of? A: Leather A: Iron and steel Q: What is it? A: Cuirassier armour AGINCOURT shoulder plate Q: Find the display on the battle of Agincourt. -
Arms and Armor Surfaces: Finish and Decoration Arms and Armour Finish for HMB Kits
Arms and armor surfaces: finish and decoration Arms and armour finish for HMB kits Armour finishing is very important to the athlete’s appearance. Your perfect silhouette and geometry of each piece of the equipment should be reinforced by period and neat finishing. In this document, we will introduce period techniques for finishing and decoration for both arms and armour and warn about possible issues. Arms and armour finish for HMB kits Period arms and armour finish and decoration techniques for the period between 1360 and the XVI century include but are not limited to: ● Matte finish Appendices: Appendix I: Modern examples ● Mirror finish Appendix II: Rejected items ● Painting ● Plating ● Etching ● Bluing ● Gilding Matte finishing is the most well-spread type of armor finishing for the Western European kits starting from the age of early plate armor and throughout history. It is RECOMMENDED for all types of the XIV-XV century plate armor. Vambrace and couter, Visored bascinet, 1375-1400 Armour in the style of the 15 c. Chalcis, 14c Metropolitan museum Metropolitan museum Metropolitan museum Mirror polishing of the armour Mirror polishing for the armour was used by itself and in combination with other decoration techniques, such as etching, engraving, gilding and silvering and bluing. It is recommended for the kits not earlier than the XV century. A suit of arms with mirror polishing should be submitted for the approval as a full set. Separate elements cannot be approved. 1472 Montefeltro Altarpiece 1435 Heilspiegel Alterpiece 1480 Armour for man and horse, by Piero della Francesca by Konrad Witz Wallace collection Bluing Heat patination is a heat-treating technique, which can result in a wide spectrum of colours from straw yellow to dark blue, purple and visually black.