MEDIEVAL ARMOR Over Time
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EVA Checklist
JSC-48023 EVA Checklist Mission Operations Directorate EVA, Robotics, and Crew Systems Operations Division Generic, Rev H March 4, 2005 NOTE For STS-114 and subsequent (chronological) flights per current schedule. National Aeronautics and Space Administration Lyndon B. Johnson Space Center Houston, Texas Verify this is the correct version for the pending operation (training, simulation or flight). Electronic copies of FDF books are available. URL: http://mod.jsc.nasa.gov/do3/FDF/index.html Incorporates the following: 482#: EVA-1529 EVA-1555 EVA-1564 MULTI-1693 EVA-1530 EVA-1556 EVA-1565 MULTI-1694 EVA-1543 EVA-1557 EVA-1566 EVA-1544A EVA-1558 EVA-1567 EVA-1546 EVA-1559 EVA-1568 EVA-1551 EVA-1560 EVA-1569 EVA-1552 EVA-1561 EVA-1570(P) EVA-1553 EVA-1562 EVA-1554 EVA-1563 (P) – Partially implemented in this publication AREAS OF TECHNICAL RESPONSIBILITY Book Manager DX35/P. Boehm 281-483-5447 Task Procedures DX32/K. Shook 281-483-4474 ii EVA/ALL/GEN H EVA CHECKLIST LIST OF EFFECTIVE PAGES GENERIC 12/07/87 PCN-6 11/10/06 PCN-13 02/15/08 REV H 03/04/05 PCN-7 02/20/07 PCN-14 04/15/08 PCN-1 04/08/05 PCN-8 05/22/07 PCN-15 08/28/08 PCN-2 06/10/05 PCN-9 06/15/07 PCN-16 01/16/09 PCN-3 08/01/05 PCN-10 07/18/07 PCN-17 04/07/09 PCN-4 06/12/06 PCN-11 09/28/07 PCN-5 08/17/06 PCN-12 12/14/07 Sign Off ...................... -
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. -
From Knights' Armour to Smart Work Clothes
September 16, 2020 Suits of steel: from knights’ armour to smart work clothes From traditional metal buttons to futuristic military exoskeletons, which came to the real world from the pages of comics. From the brigandines of medieval dandies to modern fire-resistant clothing for hot work areas. Steel suits have come a long way, and despite a brief retreat caused by a “firearm”, they are again conquering the battlefields and becoming widely used in cutting-edge operations. Ancestors of skins and cotton wool The first armour that existed covered the backs of warriors. For the Germanic tribes who attacked the Roman Empire, it was not considered shameful to escape battle. They protected their chests by dodging, while covering their backs, which became vulnerable when fleeing, with thick animal skins over the shoulders. Soldiers of ancient Egypt and Greece wore multi-layer glued and quilted clothes as armour. Mexican Aztecs faced the conquistadors in quilted wadded coats a couple of fingers thick. In turn, the Spanish borrowed the idea from the Mexicans. In medieval Europe, such protective clothing was widely used up to the 16th century. The famous Caucasian felt cloak also began life as armour. Made of wool using felting technology, it was invulnerable against steel sabres , arrows and even some types of bullets. Metal armour: milestones Another ancient idea for protective clothing was borrowed from animals. The scaled skin of pangolins was widely used as armour by Indian noble warriors, the Rajputs. They began to replicate a scaly body made of copper back in ancient Mesopotamia, then they began to use brass and later steel. -
Thebaltimore Museumof Art Presents Ellenlesperance
THE BALTIMORE MUSEUM OF ART PRESENTS ELLEN LESPERANCE: VELVET FIST Members of the public invited to borrow artist-knit sweater for a personal act of courage BALTIMORE, MD (January 13, 2020)—The Baltimore Museum of Art (BMA) presents Ellen Lesperance: Velvet Fist, a solo exhibition of works by the Portland, Oregon-based artist known for paintings inspired by the attire of women activists, warriors, and cultural figures. On view January 26–June 28, 2020, the exhibition features seven works from Lesperance’s ongoing Greenham Common Women's Peace Camp series, as well as a new artist book of archival sources. Also featured is Lesperance’s participatory project, Congratulations and Celebrations, through which members of the public can borrow a hand-knit sweater depicting a labrys battle axe to perform a personal act of courage. These acts—big and small, public and private—will be documented on Instagram, with some becoming part of the exhibition “Ellen Lesperance’s vivid and masterfully rendered works have immortalized the legacy of brave women activists who recognized that creativity itself can lead to mobilizing acts of nonviolence. I am proud to recognize both her achievements and theirs in this powerful exhibition of socially engaged art,” said Christopher Bedford, BMA Dorothy Wagner Wallis Director. Ellen Lesperance: Velvet Fist is curated by BMA Associate Curator of Contemporary Art Cecilia Wichmann. The exhibition is generously supported by the Estate of Margaret Hammond Cooke. For over a decade, Ellen Lesperance has collected imagery of life at Greenham Common Women’s Peace Camp (1981– 2000), the separatist feminist camp that formed in protest of U.S. -
Basic Armouring for the New Fighter Doug Strong
Basic Armouring for the New Fighter Doug Strong As new fighters, many people are faced with the question of how to acquire a set of armour. For a substantial number of people the solution is --"I'll make it myself." Unfortunately most people don't know where to start. In this article I would like to discuss three basic things: how to set up an armouring workshop, some philosophies that are helpful for new and old armourers alike, and some basic techniques for armouring. Setting Up Your Workshop Many people shy away from making armour themselves because they think it will be more expensive to buy all of the tools necessary to make a suit than it would be to buy the suit. But this is simply not true. While the tools can be expensive they don't have to be. I built my first suit of armour in the basement of my college dorm, with a ball peen hammer which I bought at a garage sale for $1.00, a file ($.50 at the same garage sale,) a drill I borrowed from my grandfather, a sabre saw I bought for $20.00 at my local hardware store, and a piece of railroad track that I bought from a scrap yard for $5.00. I spent $28.00 on tools and borrowed a drill. I spent another $15.00 on metal and $5.00 on leather for straps. All told I spent $38.00 on my first set of armour. All of the tools are still in working order a decade later and are being used today. -
Expedition Conquistador Brochure
EXPEDITION CONQUISTADOR Traveling Exhibit Proposal The Palm Beach Museum of Natural History Minimum Requirements 500-3,500 sq. ft. (variable, based on available space) of display area 8-12 ft ceiling clearance Available for 6-8 week (or longer) periods Expedition Conquistador takes three to seven days to set up and take down Assistance by venue staff may be required to unload, set up and break down the exhibit Venue provides all set up/break down equipment, including pallet jacks, fork lift, etc. Structure of Exhibit Basic: Armored Conquistador Diorama – (3 foot soldiers or 1 mounted on horse, 120 sq. ft.) Maps and Maritime Navigation Display Weapons and Armor Display Trade in the New World Display Daily Life and Clothing Display American Indian Weaponry and material culture (contemporary 16th century) Optional: First Contact Diorama (explorers, foot soldiers, sailors, priests, American Indians) American Indian Habitation Diorama Living History Component Both the basic and optional versions of Expedition Conquistador can be adjusted via the modification of the number of displays to accommodate venues with limited exhibition space. We welcome your questions regarding “Expedition Conquistador” For additional information or to book reservations please contact Rudolph F. Pascucci The Palm Beach Museum of Natural History [email protected] (561) 729-4246 Expedition Conquistador Expedition Conquistador provides the The beginnings of European colonization in public with a vision of what life was like for the New World began a series of violent the earliest European explorers of the New changes. Cultures and technology both World as they battled to claim territory, clashed on a monumental basis. -
Constructing a Heavy-List Gambeson Tips and Techniques
Constructing a Heavy-List Gambeson Tips and Techniques Lady Magdalena von Regensburg mka Marla Berry [email protected] July 16, 2005 An Historic Overview “Mail is tough but flexible; it resists a cutting sword-stroke but needs a padded or quilted undergarment as a shock absorber against a heavy blow.”1 Quilted garments were part of soldiers’ kits in varying forms and with varying names throughout most of the SCA timeline. As early as the late Roman/early Byzantine period there is documentation for quilted or padded coats called Zabai or Kabadia.2 Illuminations from Maciejowski Bible (circa 1250) show aketons or gambesons. “These terms seem to have been interchangeable but the weight of evidence From “Jonathan and his Armor- suggests that ‘aketon’ refers to garments worn under the mail while bearer Attack the Philistines,” gambesons were worn over or instead of it...The gambeson is often from the Maciejowski Bible, referred to in contemporary accounts as being worn by the common circa 1250. soldiery and, indeed, is part of the equipment required by the Assize of Arms of 1185 of Edward I of England.”3 Extant examples from the fourteenth century include the pourpoint of Charles de Blois (d. 1364) and the late fourteenth century jupon of Charles VI. Fifteenth century documents mention arming doublets and padded jacks. These garments were worn under maille, over maille, under plate, over plate, or on their own. Some were designed to encase maille or plate. “Infantry, as laid down in the Assize of Arms of 1182, often wore one of two types of gambeson. -
An Old Turkic Statue from Borili, Ulytau Hills, Central Kazakhstan: Issues in Interpretation
THE METAL AGES AND MEDIEVAL PERIOD DOI: 10.17746/1563-0110.2018.46.1.059-065 L.N. Ermolenko1, A.I. Soloviev2, and Zh.K. Kurmankulov3 1Kemerovo State University, Krasnaya 6, Kemerovo, 650043, Russia E-mail: [email protected] 2Institute of Archaeology and Ethnography, Siberian Branch, Russian Academy of Sciences, Pr. Akademika Lavrentieva 17, Novosibirsk, 630090, Russia E-mail: [email protected] 3A.K. Margulan Institute of Archaeology, Committee of Science of the Ministry of Education and Science of the Republic of Kazakhstan, Pr. Dostyk 44, Almaty, 050010, Republic of Kazakhstan E-mail: [email protected] An Old Turkic Statue from Borili, Ulytau Hills, Central Kazakhstan: Issues in Interpretation We describe an unusual Old Turkic statue from Borili (Ulytau, Central Kazakhstan), distinguished by a peculiar position of the hands and holding an unusual object––a battle axe instead of a vessel. Stylistic features and possible prototypes among actual battle axes suggest that the statue dates to the 7th to early 8th centuries AD. The composition attests to the sculptor’s familiarity with Sogdian/Iranian art and with that of China. Several interpretations of the statue are possible. The standard version regarding Old Turkic statues erected near stone enclosures is that they represent divine chiefs––patrons of a specifi c group of the population. Certain details carved on the statue indicate an early origin of the image. It is also possible that such statues are semantically similar to those of guardians placed along the “path of the spirits” near tombs of members of the Chinese royal elite. Keywords: Old Turks, statues, Central Kazakhstan, Sogdian art, China, “path of the spirits”, bladed weapons. -
Archaeologist in the Archive. a Turning Point in the Study of Late-Medieval Helmets in Western Pomerania
FASCICULI ARCHAEOLOGIAE HISTORICAE FASC. XXXIII, PL ISSN 0860-0007 DOI 10.23858/FAH33.2020.011 ANDRZEJ JANOWSKI* ARCHAEOLOGIST IN THE ARCHIVE. A TURNING POINT IN THE STUDY OF LATE-MEDIEVAL HELMETS IN WESTERN POMERANIA Abstract: The article discusses three late-medieval head protectors from Western Pomerania, forgotten by Polish scholars after World War II. The first one is the great helm known as the Topfhelm from Dargen, the second, a bascinet with visor from Leszczyn and the last one, the jousting sallet from the collection of Szczecin masons. Knowledge about those helms is highly significant for studies of late-medieval armour in Western Pomerania. Keywords: Western Pomerania, medieval armour, great helm, bascinet, jousting sallet Received: 15.04.2020 Revised: 29.04.2020 Accepted: 27.07.2020 Citation: Janowski A. 2020. Archaeologist in the Archive. A Turning Point in the Study of Late-medieval Helmets in Western Pomerania. “Fasciculi Archaeologiae Historicae” 33, 167-174, DOI 10.23858/FAH33.2020.011 Elements of armour either in whole or in large The Great Helm from Dargen fragments belong to unique finds in the archaeology The first piece of head protection discussed here of the Middle Ages. Each more or less complete find is a find which must be known to all armour special- is considered a sensation. Western Pomeranian finds ists (Fig. 1). It is one of the best preserved and oldest are no different in this respect; new finds of this type great helms, dating back to the middle-second half of are few and far between.1 The study of primary sourc- the 13th century. -
Banners in Heraldic Art
Banners in heraldic art Magnus Backrnark Abstract The banner is very useful to heraldic art. It is a carrier of charges and colours, just like its coun terpart the shield. But where the shield can be seen as crude, heavy, flat and robust - its purpose being taking hits- the banner is brilliant, swift, full of I ife and motion. Its purpose is spiritual. It is lifted above anyone's head, above dust and confusion, for inspiration and guiding. Something of this character, I will with this article try to show by examples that the heraldic artist, if lucky, can translate in his or her work. First, we could though take a quick glance at the historical development of banners. The term banner approves, as we shall see, to a specific kind of flag, but in a wide sense of the word a banner is any ensign made of a peace of cloth, carried on a staff and with symbolic value to its owner(s). The profound nature of this innovation, which seem to be of oriental origin, makes it the mother of all kinds of flags. The etymologi cal root of the word banner is the French word banniere, derived from latin bandaria, bandum, which has German extraction, related to gothic bandwa, bandw6, 'sign'. 1 The birth of heraldry in the l2 h century Western world was preceded by centuries of use of early forms of banners, called gonfanons. From Bysantium to Normandy, everywhere in the Christian world, these ensigns usually were small rectangular lance flags with tai Is (Fig. -
The Genomic Ancestry of the Scandinavian Battle Axe Culture People and Their Relation to the Broader Corded Ware Horizon
Malmström, H., Günther, T., Svensson, E. M., Juras, A., Fraser, M., Munters, A. R., Pospieszny, Ł., Tõrv, M., Lindström, J., Götherström, A., Storå, J., & Jakobsson, M. (2019). The genomic ancestry of the Scandinavian Battle Axe Culture people and their relation to the broader Corded Ware horizon. Proceedings of the Royal Society B: Biological Sciences, 286(1912), [20191528]. https://doi.org/10.1098/rspb.2019.1528 Publisher's PDF, also known as Version of record License (if available): CC BY Link to published version (if available): 10.1098/rspb.2019.1528 Link to publication record in Explore Bristol Research PDF-document This is the final published version of the article (version of record). It first appeared online via The Royal Society at https://doi.org/10.1098/rspb.2019.1528 . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ The genomic ancestry of the Scandinavian royalsocietypublishing.org/journal/rspb Battle Axe Culture people and their relation to the broader Corded Ware horizon Research Helena Malmström1,2,†, Torsten Günther1,†, Emma M. Svensson1, Anna Juras3, Cite this article: Malmström H et al. 2019 Magdalena Fraser1,4, Arielle R. Munters1, Łukasz Pospieszny5,6, Mari Tõrv7, The genomic ancestry of the Scandinavian 8 9 10 Battle Axe Culture people and their relation to Jonathan Lindström , Anders Götherström , Jan Storå the broader Corded Ware horizon. -
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.