I immediately apologize for the chronological and semantic inconsistency of the drawings.
1.1413 Knight with the Order of the Garter on the left shin (see also Fig. 5, 6 and 12). You should pay attention to the warrior’s plates or axillary shields in Figs. 2, 5 and 12, called
in English small plates or pallets, they performed the same role as the rondels of the plastron in Fig. 3,4,6,8.
2.1420 3.1414
4.1425 5.1416
The banner belonging to King Richard II includes the sometimes used claw cross of his ancestor Edward the Confessor.
6. The necklaces worn by most of the characters indicate their affiliation with a famous prince or party, especially during the Wars of the Roses in the 15th century.
7. 1465 8. 1410,
9. 1458 10. 1473
11. 1430 12. 1425
13.1488 14.1460
15. Large bascinet, late XIV - early XV centuries.
Apparently, the characters depicted in Fig. 1 were equipped with it. 1-8 and 11-12. Pay attention to the amazing size of the elbow pads on knights 9 and 14, called wardrobes. They seem to have reached similar sizes only in England. - Most of the characters depicted on this tablet, as on the previous one, are reproduced from drawings on tombstones, made, as a rule, on copper plates with great care. Many
The complete absence of a visor is puzzling; it is assumed that in battle a cylindrical helmet was worn over the bascinet.
Although ancient tradition assures us that a helmet of this type, which can still be seen on the tombstone of Henry V in Westminster Abbey, was worn at the Battle of Agincourt in 1415, it seems to us much more plausible to depict the large bascinet in Fig. 15. Sculptors of that time, wishing to convey the facial features of the deceased, they simply removed the helmet visor, which
it was difficult to depict in perspective so that it would be understandable to the uninitiated. The grand slam, we recall, disappeared at the end of the 14th century, remaining only an attribute of tournaments.
It has become an anachronism along with the full "white armor"
1. Iron hat with bouvier, leather armor, metal elbow and knee pads. 1220
It should be noted in this figure, as well as in Figures 3, 5 and 6, that there are elements of “quasi-patchwork” chain mail.
2.1277 The strap on the warrior’s chest served to fasten the visor or the Haubert chin strap, over which a cylindrical helmet was worn.
3 and 4. 1325
5.1327
6.1330 The chain on the right shoulder served to fasten the helmet, folded behind the back.
7.1360
8. 1364
9.1384
10.1397
11.1401
12 and 13.1410
This page clearly shows the evolution of armor, which at first was limited to concubines and knee pads - they gradually covered all parts of the body.
Warriors in Fig. 1-6 are dressed in haubert, in fig. 7-13 bascinet, to which a chain mail necklace was attached on rings. In battle, the warriors in Fig. 7-11 wore a large helmet instead of a bascinet in Fig. 3-6. While other warriors wear a sword belt, the warriors shown in Fig. 7,9, 10 and 11, wear a noble war belt, which only knights had the right to wear. These precious belts first appeared in England and were in use the longest until the 1420s. In other countries they disappeared by 1400.
1. A primitive crossbow, prepared for shooting:
a) onion;
b) bridle or reins;
c) stirrup;
d) trigger nut;
c) butt
f) trigger;
g) pin or pin.
2. The action of the bowstring tension system;
a) a check;
b) block;
c) bow string;
d) trigger nut.
3. Double hook.
4. Simple hook
5. Anglo-Norman crossbowman of the 12th century:
a) a check;
b) block;
c) bow string.
The bow of the weapon was probably made from the horn of a mountain ram,
6. Using a stirrup and a belt with hooks, mid-XIII V.
7. Tension system with hooks, mid-13th century. Below is an incendiary arrow.
8. Crossbowman in full gear, late 14th century.
9 and 10. Arrows.
11. Quivers.
1. A crossbow with a winch and a block or palispaste, which was also called a pass or draw: a) pins: b) some crossbows were also equipped with a flexible horn bar, which held the arrow in place until the shot was fired.
2. Fragment of the bowstring tension system.
3 French crossbow from the late 14th century.
4. Genoese crossbowman with a paveza, a shield having the typical shape of an elongated heart, which protected the shooter, who turned away while loading the weapon.
5 English crossbow of the 15th century. The belts and ropes used to secure the paysam on the back are visible.
6. Crossbowman loading a weapon. Here is a winch of a rather primitive design, without blocks (15th century). You should pay attention to the edge of the crossbow stock in Fig. 3,4 and 5, reminiscent of the butts of modern shotguns for sport shooting.
1. Crossbow with a “doe leg”. Very similar to the rack crossbow shown in the following picture, it differs in the loading method and the position of the pins (a), located much closer to the trigger nut (b). This is the most reliable way distinguish between these two types of weapons, which have often come down to us, having lost the “doe’s leg” and the ratchet. Part (c) is just a suspension ring, not a stirrup, which is completely unnecessary for this short crossbow.
2 and 3. The action of the “doe’s foot”, also called the “goat’s foot”.
4. Simplified “goat leg” made of wood.
5. Crossbowman of the 15th century. with a crossbow with a goat leg.
6. Crossbowman under the cover of his shield, circa 1400
7-22. Crossbow arrows. In Fig. 13,20 and 21 viretons with screw fins The model in Fig. 13-Hungru, was sometimes called donden and had copper plate fins. In Fig. 20 half-days. The refrain of a French song often repeated today iqfaridondon, lafaridondai
ne comes from a soldier's song, which said: aferi dondaine (hit, hit by an arrow).
1. Crossbow with ratchet a) handle; b) gear housing; c) clue; d) ratchet; e) clamp; f) hairpin.
A crossbow with a ratchet, as well as with a “goat leg,” was almost universally known under the name kranekin. In fact, in the XIV and XV centuries. cranekin (from the Walloon crenekin - crossbow) was a cavalry crossbow tensioned using a “goat leg” or ratchet, more convenient than the tensioning system with blocks used on large crossbows and unsuitable for cavalry.
1a. Mechanism operation:
And the bowstring, stretched over the stopper (a), holds the trigger (d) in engagement with the cam (c); Figure A1 shows the trigger nut fixed in a cocked position;
B. when you press the hook (e) trigger (d), the cam (c) slides off and releases the bowstring, pushing the arrow; the trigger nut (a) then occupies a neutral position, thanks to which you can begin to tighten the bowstring again, as shown in diagram A; in Fig. B1 type of released nut.
2. Kranekiner or krenekiner of the guard of Charles the Bold in 1473
3. Large siege pavese with a semicircular cutout from the early 15th century.
4. Siege mantlet, XV century.
5. Mounted crossbowman from the ordinance company of Charles the Bold in 1473
1. A hand gun of the early 15th century, 15 cm long and 3.5 cm caliber. This type of weapon was used mainly for direct fire at the enemy advancing in closed ranks. Several of these guns, fired in volleys, proved very effective against cavalry charges.
2. 3.5 cm caliber hand cannon on a wooden support, mid-15th century. 3. A cannon from the early 15th century, and a large shield with a loophole.
4. A hand cannon mounted on a shaft like a pike. The foreign helmet of this warrior was called berruer or berruyer (berruer or German cap).
5. Last quarter of the 15th century.
6. First half of the 15th century.
7. Last quarter of XV a
8. Hand cannon with coil. The antiquity of the manuscript in which it is depicted is beyond doubt and certainly indicates important improvements in the system of reference
fire.
9. Kulevriner XV century.
10. Beginning of the 15th century.
11. Model with a mower at the end, late 15th century.
12. Ten-barreled organ cannon, 15th century.
13 and 14. Guns of the late XIV - early XV centuries. The smallest ones had a caliber of 1 cm. - Similar weapons with several barrels to increase “firepower” were very common.
15. Cavalry hatchet gun, late 14th century.
1. Tannenberg cannon, recovered in the last century from the ruins of a castle, besieged and destroyed in 1399 by the militias of Mainz and Frankfurt. This hand cannon, cast from bronze, had a length of 32 cm and a caliber of 14.5 mm. It shows what perfection the gunsmiths achieved in comparison with most of their comrades of the previous century. The illustration shows the igniter, charge, cannonball and wad.
2. Vertical igniter with recess.
3. A different type of igniter, a side one with a trough.
4. The second type of serpentine (see the first in the previous illustration), used in the middle of the 15th century. He was also called the dragon or the dog, last name through flint weapons it has reached our days.
5. The third type of serpentine with a plate covering the igniter from wind and rain, second half of the 15th century.
6. The fourth type of serpentine (Germany) with a spring trigger, a pelvis and a plate covering the pelvis from wind and rain, made in 1475. A completely new revolutionary type of weapon for this era.
7. Horse culveriner, around 1470. This primitive weapon, called petrinal or poitrinal, was used along with serpentines until the beginning of the 16th century.
7a. A part of the gun mounting, the shooter had to insert a pin to soften the recoil.
8. In the middle of the 15th century. the missing fuse was compensated for by assigning a second warrior, the “incendiator” (igniter), to the shooter “colineator” (powder maker).
9. Hand cannon of the late 15th century. Some guns, too powerful and too heavy to be fired from the shoulder, were used in this way. These guns are mistakenly considered identical
tools on a wooden stand dating from the same era.
10. Italian mercenary - mercenary in the service of the French king, late 15th century. He is armed with a "fire spear" that fires multiple cannonballs.
10a. Sectional view. This weapon was a hollow wooden cylinder tied with iron wire, inside which was placed a thin steel tube. It was filled with several complex charges, consisting of a dose of gunpowder, on which was placed a cannonball and a wad soaked in gunpowder, then four pallets of large gunpowder mixed with Greek resin, broken glass, coarse salt, saltpeter and scraps of iron; then came another charge of gunpowder, a lead core, etc., and so on until the very muzzle, through which this version of the Roman candle was lit, with the help of which they set fire to houses and haystacks, frightened horses and brought confusion to the ranks of the infantry.
1. The first known depiction of a cannon is in an English manuscript by Walter of Millimet, dated 1326. Some experts dispute this date, denying the existence at that time of a fuse, a cannon muzzle and the use of red-hot rods, contrary to the general opinion, this rod appears to us to be a wick holder, which , without a doubt, can be seen in Fig. 1a, which is an exact enlarged copy of a fragment of the original. It is sometimes believed that the warrior depicted in the manuscript is dressed in a costume that appeared after 1326, however, on the contrary, this costume had already gone out of fashion in continental Europe fifty years earlier. Note also that the armor protecting the knight's shoulders is decorated with very archaic images of a lion, and this protective armor itself was very rarely used in England. The incredible shape of the carriage proves that the illustrator had at his disposal only a brief description of the new weapon, lb. A 14th-century cannon, possibly the oldest known. This is the same type of weapon that the miniaturist tried to depict in Fig. 1.1c. The cannon shell in Fig. 1 is depicted extremely naively; such a shell, of course, could never be used. A bas-relief image on one of the tiles in Edinburgh Castle, dating from the 16th century, will help us in our attempts to reconstruct the leather bags used for incendiary shells.
1d. Incendiary arrow of the second half of the 16th century. approximately 1.50 m long. The fixed feathered part is undoubtedly designed to prevent the weight from flying off the dart before it reaches the target. (Based on the manuscript “The Art of Artillery” by Wolf von Schönftenberg, commandant of the Danzig artillery.)
2. English mortar, cast around 1346, caliber approximately 50 cm, length 1.22 m.
3. Wrought iron bombard with swivels. Swivels (a) provided better vertical aiming and absorbed much of the recoil, and were generally thought to have been invented around 1450-1470. We found this bombard with swivels fixed in the cutouts of the frame, in a miniature in one of the copies of the Book of Marco Polo, dating from about 1400, as evidenced by the costumes of the characters.
4. Wegler, early 15th century. With removable powder chamber.
4a, Section with a chamber filled with gunpowder and closed with a wooden stopper, as well as with a projectile and wad.
4b. The powder chamber is jammed in the breech.
5. Wegler with swivels and a removable box (a), its socket (b) and fixing pins (c) in the breech.
6. Breech with high cheeks from the late 15th century. with clamps (a) and thrust bearing (b).
7. Breech with hinged lock and thrust bearing (a) late 15th century.
8. Breech lock with stirrup late 15th century.
9. Ribadekin in the form of an “organ” of six cannons cast from iron and loaded from the breech, called in Germany Todlenorgel (organ of death). This weapon, which in the previous century fired only pikes, served to protect the fortified corners of the camp. 9a. A detail of the breech being open and closed with a pin plug, a system often used in multi-barreled guns.
10. German ribadekin of five barrels, loaded through the barrel, around 1450.
1. Bombard on a rocking carriage, early 15th century.
2. Giant bombard in a carriage-box, 15th century. This type of carriage was used during sieges until the first decades of the 16th century, and Guns 1 and 2 had ignition holes into which seed gunpowder was poured. This method made it possible to avoid splitting the igniter hole or significantly slowed down the process of its destruction.
3. During a siege, the artillerymen were covered with fixed mantels or, as in this case, with movable shields with loopholes. Very powerful devices were also provided to dampen the recoil of the gun. No wall could long withstand the strong shells of these huge bombards, which many today look upon sarcastically. Their mere appearance often forced entire garrisons, who were well aware of their power, to capitulate. For example, one of the walls of the Tannenberg fortress (which is being attacked in one of the previous illustrations) collapsed after two shots from the Frankfurt cannons. To the left of the gun you can see a powder scoop and a hammer of that time.
4. A carriage of two parts connected in front by a hinge, around 1450 g. The entire weight of the gun at the moment of aiming fell on the upper part of the carriage.
5. The gun is on a monolithic carriage with a jammed removable chamber. Below is a loaded camera.
6. A carriage made of two parts, connected by a hinge behind the powder chamber, around 1470. This design made it easier to aim, the main weight of the gun lay on the axis.
7. Caps with powder charges. It is generally believed that this invention was made much later, but their image is found in a manuscript from the second half of the 15th century. and Mortar. Miniaturists of the 15th century It is extremely rare that they provide a satisfactory image of the carriage. The images of mortars are especially suspicious; they seem implausible or at least incomplete. Under the influence of recoil, the gun would inevitably fly off such a “perch.” By the way, it’s funny to note that huge guns never aroused interest among these “industrial designers” - miniaturists who were completely unaware of how huge
Descendants—researchers—will attach importance to their testimonies. In reality, the mortars had to be mounted almost vertically in a massive carriage, tilted using wedges to achieve the desired firing angle.
9. Ribodekin of the mid-15th century. It can be considered as the predecessor of the modern self-propelled gun, at least its most important components: gun, armor and engine. The name of this weapon is sometimes derived from the ribod, a part used to string giant crossbows, since these weapons originally fired arrows. The account books of the city of Bruges in 1540 call this weapon a “new machine”.
1. Method of installing a cannon on a carriage at the end of the 15th century.
2. “Mons Meg” (“Margot de Mons”) on a gun carriage. Designed to punch holes in walls, the giant bombards were mounted on sturdy wheeled wooden carriages or frames and had no vertical aiming mechanism due to their enormous weight. This "Margot de Mons" shot last time in 1682, firing a blank shot to salute the Duke of York, the future King of England, James II, who had arrived in Scotland.
Giant Bombards:
A. Bourguignon bombard of the Oxy army, captured by the Swiss after the Battle of Morat in 1476. Length: 2.75 m. Weight: 2000 kg. Caliber: 36.5 cm. Core weight: 50 kg.
B. English "Michelette". Length: 3.53 m. Weight: 3500 kg. Caliber: 37cm. Core weight; 75 kg.
S. English "Michelette", Length: 3.64 m. Weight: 5500 kg. Caliber 45 cm. Core weight: 150 kg. These were, undoubtedly, the first bombards known to us. They may have been made in Flanders, but it is not known at what time, and abandoned by the British after the defeat at the fortress of Mont Saint-Michel in 1434.
D. “Mons Meg” (“Margot de Mons”), forged in Belgium by J. Cambiev 1449 and sent by Philip the Fair to King James II of Scotland in 1457. Length; 3.90 m. Weight: 6600 kg. Caliber 50 cm. Core weight: 150 kg.
E. "Dulls Griet" (Mad Margot), a gigantic bombard of the mid-15th century. Captured in 1452 during the siege of Odenard by the auxiliary army of the Bourguignons, she was returned to Ghent in 1578. Length: 5.025 m. Weight: 16,400 kg. Caliber: 64 cm. Core weight: 340 kg,
E "Cannon of Mahomet" or "Dardanelles Mahomet", a cannon cast in bronze, possibly at the expense of the Turks in 1464. In 1867, Sultan Abdul-Azis donated it to Great Britain. Length; 5.25 m. Weight: 7500 kg. Caliber 66 cm. Core weight: 360 kg.
Guns D, E, F were divided into parts at the junction of the powder chamber and the muzzle by means of levers inserted into the holes visible on many of our models. The guns shown in Fig. B and C, too badly damaged and there are no obvious traces left on them
such a device, although the English specialist Foulkes classifies them as the same type. Gun A, although not examined with due care, also appears to have bolting holes. It is unlikely that this system was used to facilitate loading the gun. It is more likely that the purpose of such a device is to facilitate the transportation of a gigantic mass by dividing it into parts.
G. Bombard-mortar, called the "Turin bombard", cast in iron, around 1420. Length: 1.44 m. Weight 1500 kg. Caliber 51 cm. Core weight: 100 kg,
N. Bombarda from Stir (Austria) first half of the 15th century. Length: 2.58 m. Weight: 7100 kg.
I. Method of making a cannon from wrought iron (Fig. A, B, C, E and H). Iron plates are placed side by side around the wooden model - like barrel staves, then red-hot iron rings are placed on them successively. Figures A to H are made to the same scale; the silhouette of a person at the bottom of the page gives an idea of their size, if we consider the average human height to be 1.70 m.
1. Light catapult on springs made of steel plates according to a drawing by Zeitblom, 15th century. 1a. Catapult shot.
2. Small trebuchet of the early 15th century. Note the four possible positions of the trigger pin. They made it possible to direct the vehicle's projectile with a certain accuracy.
3. Ribodekin of the mid-14th century, some armies lined them up in rows of several hundred. Juvenel des Ursins claims that the Duke of Burgundy had 2000 such machines in 1411. The drawing is on the same scale as Fig. 2.
4. Ballista or stone thrower, also called shaab. The Turkish stone thrower was of the same design, but less powerful and lighter. The partridges (perdros) used by the French against the Flemings at the Battle of Mons-en-Pevele in 1304 were possibly small-caliber stone throwers that threw fist-sized cannonballs. Ancient authors often confuse a large trebuchet with a ballista.
1. The bicock or bicoquette is often mixed with the large bascinet shown in the following pictures. It received very little distribution and only in France, around 1450. It opened in two, like an Easter egg, so that you could insert your head into it. The visor folded forward.
2. Large improved bascinet, 1400 g. Transitional form from bascinet to arme.
3. Large improved bascinet, 1410
4. German bicoquet, 1440. Despite the name, this is already an arme, the details and shape characteristic of an arme are visible
5. Italian arme with rings, 1430-1440. The visor has been restored. This helmet already has everything
characteristics of a real army.
6. Milanese Arme, 1450, with hidden visor hinges and reinforced front part.
7. Italian Arme, 1451
8. Arme of a unique design, 1430. The teeth significantly reduce the risk of accidental opening of the helmet, leaving a significant space free for viewing after the visor is lowered. The position of the lost visor is shown with a red line.
9. The same arme in the open position, front and rear views. You can see the gunsmith's mark, capital letter<Т>, often incorrectly attributed to Tommaso dei Negroni. It is believed that the rings served to fasten the aventail, which covered the junction of the helmet and cuirass. A helmet that follows the shape of the neck, shown in Fig. 4, 5, 6 and 8, opened in the same way as shown in Fig. 9.
1. Full German armor of the mid-15th century, including arme with a hinged chin. This armor is one of the best in design and execution. It weighs only 25 kg. Its flared, fixed leg plates ensured an excellent fit for the rider on the horse. Made exactly “to measure,” the armor tightly fit the human body, whose characteristic physical features it repeated, especially
legs, which determine the physique of every person. Here you can clearly see the bends of the large lateralis muscle - a, the rectus internalis muscle - b; sartorius muscle - c, external and internal gastrocnemius muscles - d and e, filiform muscles - f and g. This living grace of medieval armor was discussed by Stephen W. Gransay of the Metropolitan Museum of Art in New York (“Armor”), which is what makes these “hollow statues” so difficult to counterfeit.
2. Arme with Fig. 1 in profile. Top part The visor was called the “overview”, the lower part was called the “blinder”. From the combination of these two parts, mezay arose, which was used from the end of the 15th century to late XVI century, which, however, did not supplant the very old visor (see Fig. 5 and 6) until 1520.
3. Arme, shown in Fig. 1, rear view. The folding parts are attached with two hooks. Kaeka gets dressed at
open bouvier. After this, the pin(s) are removed, the system has the advantage that
the chin is closed by one element, in contrast to the old two-piece designs shown in Figs 5 and 6, as well as in Figs. 4, 5, 6 and 8 on the previous page.
4. Arme 1470 with a raised mezai of one element and with an open bouvier rotating on one hinge, just like in Fig. 1, 2 and 3.
5. Florentine Arme with a reinforced front part, circa 1490, at this time helmets were decorated with engraving and damask. 6 and 7. Armek of the end of the 15th century. The letter a denotes a rondel designed to camouflage and protect
the junction of the moving parts of the visor. An internal belt was threaded onto the bolt, with which the armor was fastened to the back of the cuirass. These helmets weigh from 3 to 4 kg, but the weight of tournament modifications, which can be distinguished at first glance, reaches 5 kg.
Invented in Italy, the barbute spread throughout Europe, where, however, it was supplemented with bouviger or
aventail, as a result of which it looked like a small bascinet without a visor. In Germany they called a barbute
"Italian salad" And now some experts call this type of helmet a salad, while others
use the term barbute. For our part, we decided to keep the name of the salad for helmets without “cheeks” and
with a wide nape, presenting also the actual salad in the exact
1. Italy, 1370
2. Italy, 1450
3. Italy, 1460
4. Barbute with nosepiece and visor, very similar to a bascinet, around 1400.
5. Italy, 1460
6. Italy, 1470
7. Italian crossbowman, 1370, wearing a barbute reminiscent of the helmet of ancient hoplites and a thick jacket,
replacing his cuirass. The small presence of Italian barbutes disappears after 1450.
8. Infantryman in barbute with rondels, well-defined bouvier and necklace, circa 1450.
the continuation will be a little later
Some models of siege engines, by the way, have a dubious design, because they were restored from engravings by artists of a later time. Gallway seems to describe all the shortcomings of these reconstructions.
Hello-HA, Great job, thank you very much
Hello-HA,thx! Very cool stuff!
1. Small bascinet with chainmail aventail.
2. Lesser basipet with aventail. 1370
3. Small bascinet with aventail and hinged mount in the shape of a lily flower, 1370
4. Bascinet with trunk visor, 1300 g,
5. Bascinet with bulbous visor, 1310
6. Bascinet with visor and neck protection, 1350
7. Bascinet with Italian visor, 1360
8. Bascinet with English visor.
9. Gunther von Scharzburg. died 1360 On his head is a bascinet with a permanent aventail. Protective armor made of leather with gilded plates
1. German bascinet with a hanging visor, in the style of an aventail, which was called Kappvizter, 1350.
2 and 3. German bascinets with a hanging visor, 1370-1380.
4. English bascinet of the same type as the previous ones, with a latch visor, 1370 g.
5. Italian bascinet from the 1390s. The dog-face visor did not have breathing holes on the left side, so as not to weaken this part of the helmet, which was most often exposed to spear blows (see Figs. 1 and 7).
6. Italian bascinet from the 1380s.
7.Italian bascinet around 1400
8. Large French bascinet with collar, 1390
9. Large French bascinet with collar necklace, 1400 g.
10. Large Italian bascinet allafrancese, 1445. The large bascinet was worn in Italy and Western Europe until 1420-1430, in England it remained in use until 1440.
11. Bertrand du Leclin, around 1380. The indomitable little Breton, “more a booter than the son of a knight,” began military career at the age of eighteen. He is armed with a long sword for foot combat. This
the sword, too long to be carried at the side, was carried suspended from the tree of the saddle. This is a new option
the ancient “brank”, which was called the Viennese or Pavia bran (from Vienna or Pavia), the knights of the heroic poems of the second half of the 13th century. they called it a “bar of pure steel” or “a bar hanging on
saddle pommel." The image follows the tombstone of Bertrand du Guesclin in Saint-Denis.
1. Mid-XIV century.
2. In a combat shirt, mid-14th century.
3. In a stitched camisole, 1370
4. In iron knee pads and breastplate, 1400 g.
5. In a quilted camisole and with a short spear-darda, 1320
6. In a linen camisole, 1425
7. In chain mail and brigantine, 1440 g,
8. In chain mail and with a small shield called bose, 1440. There was no lack of protective armor on the legs general rule, but depended only on the desire of the foot warrior.
9. Knight of the late 14th century. in armor called “crawfish”.
The Battle of Warringen (1288) is one of the most important battles in Western Europe of the 13th century, where Prince John I of Brabzent, defender of the freedoms of urban communities, defeated the German princes led by Siegfried of Westeburg, Archbishop of Cologne, who enjoyed the right to collect hated taxes in the lower reaches of the Rhine.
In addition to economic ones, the Duke of Brabant also had political goals; possession of Limburg, for which several claimants fought. Although inferior in numbers to the enemy, the army of John I was victorious due to the fact that the knightly cavalry, moving in close
formation, acted together with the foot militias of Brussels, Antwerp, Louvne, Tirlemont, Jodoin, Niyael, Liege, Cleves and Juliers.
The picture shows how Henry of Luxembourg, who claimed the inheritance of Luxembourg, whose coat of arms with a red lion he bears, throwing down his sword to fight hand-to-hand with his opponent John of Brabant, receives a mortal blow from the Brabant knight Vauthier de Bisdom. Unhappy! - the Duke said to his savior. - You killed the bravest knight in the world! The absence of horse armor on John I's horse is explained by the fact that his war horse was killed.
The consequences of this battle were significant. It was sung by all poets and especially by Jan van Heylo, who left us in his “Rhymed Chronicle” a highly colorful description of the battle. This battle, in addition to the fact that it led to the complete independence of Brabant from the Holy Roman Empire, was the first appearance on the historical stage of the Belgian people. John I now stood at the head of a powerful and respected state, which allowed
he would later unite all Belgian territories under his rule.
The hero of the Battle of Warringen died a ridiculous death at Bar-le-Duc in 1296 during a tournament.
1. Bastion made of earth and fascines. In the lower part you can see the opening of the tunnel, through which telescopic shelters extend to cover the sappers filling the ditch.
2. A sapper “cat”, also called a “grape”, with capstans to help move it. Wooden cars were most often protected from fire shells with a curtain of raw hides, but sometimes turf and even manure were used for this purpose. The use of steel sheets was a rare luxury. It is obvious that the workers turning the capstan blocks were also protected from the shots of those besieged by wooden or wicker shields.
3. Simple mine gallery.
4. Siege basket made of willow twigs.
5. Mantlet. Archers and crossbowmen played an extremely important role during the siege. Their countless arrows were supposed to prevent the besieged from building in battle formations in endangered places. Thus finding themselves the main target for the besieged, the forward riflemen
the lines were located behind light mobile shields.
6. Sharkloa, or wheeled mantlet.
7. Attack with the help of siege ladders, called “echellades”. This maneuver, sometimes carried out by major military leaders, for example du Guesclin, required exceptional speed and determination of the performers. However, he aroused almost universal indignation, even among the comrades of the famous knight, who accused him of “degrading the art of war.”
8. Chat-chastel (or chas-chastel) after an unsuccessful attempt to overcome the drawbridge at the Barbican. The people assigned to operate the ram are trying to get out from under the rubble.
9. Wall raven - a device for capturing soldiers from a ram. Another type of hook - huge and hanging on cables - was used to grab warriors by the head. Hook was called a wolf or she-wolf.
10. The machine, called a cat or a stork, was sometimes mounted on wheels. Obviously, it could only be used suddenly.
11. Ladder on a movable carriage. She was pushed forward, surrounded by large wicker mantlets. They also used sliding ladders, like those used by modern firefighters. The staircase moved apart from sections that fit into each other's grooves, etc.
12. Sapper muscle. Under its protection, sappers approached the walls, then they turned it over and the muscle served as a roof for them,
13. A breve, built hastily to patch up part of a wall that had collapsed as a result of digging. The attackers froze at the sight of this unexpected obstacle. The term bretches was originally used to refer to defensive structures and turrets in palisades; then it was used to designate a stone or wooden structure protruding to protect gates or other entrances (see plan of the castle).
14. A small chat-chastel or faucon, which was also called a crane.
15. A siege tower, called a kalancha, “flogging tower” and shas-shasto (if its base served as a shelter for sappers), or also a pig (if throwing machines were installed on it). This huge structure moved using the same devices that are shown in Fig. 2.
16. Small wall-mounted throwing machines. One of them had just thrown a barrel of flammable mixture into the besieging tower. The machines shown here were widely used in all countries. The German Zeitblom, who lived in the 15th century, left precise drawings of some of these machines, as did the anonymous illustrators of “The Pyrotechnics of Ancelot of Lorraine,” “Vulturia,” and “Notes from the East and West.” "Stories of Ancient Poets" etc. Other authors of the 15th and 16th centuries. They provide many images of similar machines based on ancient sketches, but with such fantastic details and such an obvious lack of knowledge that only isolated fragments of the original plans can be extracted from them, alas, apparently lost forever. Many images are nothing more than the figment of a fevered imagination, such as a huge wheel with blades on which are mounted the crossbows of the famous inventor, the great Leonardo da
Vinci.
A.Emali: 1. Red. 2. Purple. 3. Blue. 4. Green (or sinop, from the name of the Turkish port of Sinop, the greenness of whose trees shocked the crusaders). 5. Black (saber, from sabellispellis, a small animal that was found in abundance in the Holy Land, or from the Polish sabol, sable). 6. Orange (orange or sanguine was used only in English heraldry). The shaded rectangles show the enamel conventions used in the black and white images.
B. Metals: 1. Gold. 2. Silver.
C. Fur: 1. Ermine. 2. Anti-stoat. 3. Squirrel. 4. Anti-whiteness. 5. Anti-squirrel placed in a pillar. 6. Squirrel overturned. 7. Anti-squirrel overturned.
D. Main divisions of the shield: 1. Broken. 2. Dissected. 3. Beveled on the right. 4. Beveled on the left. 5. Quadruple. 6. Quadruple bevel. 7. Octagonal. 8. Divided into three pillars. 9. Divided into three by belts. 10. Divided into three by a sling. 11. Divided into three by a sling on the left. 12. Divided into three rafters. 13. Fork-shaped division. 14. Point. 15. Equal division. 16. Chess eight-piece. 17. Chess sixteen-piece. 18. Heraldic image of the English king Henry VI in tournament armor around 1450 from the “Armorial of the Knights of Europe and the Golden Fleece.” The artist deliberately stylized the image of his character in order to make the coat of arms easier to read. Otherwise, he would not have allowed himself to take such liberties with the important details of tournament equipment, which are shown in the pictures in the relevant sections.
Noteworthy is the toe of a knight's boot protruding from under the saddle cloth, the tip of which is lowered to avoid injury.
E. Honorary figures: 1. Chapter. 2. Foot 3. Pillar. 4. Belt 5. Right sling. 6. Left sling. 7. Right third 8. Left third. 9 Border. 10. Cross. 11. St. Andrew's Cross. 12. Rafters. 13. Forked cross. 14. Column. 15. Curb. 16. Shield in the heart. 17. Free quarter. 18. Bordered quarter. 19. Canton. 20. Cover. 21. Pyramid. 22. Overturned pyramid. 23. Pyramid overturned to the left. 24. Pyramid overturned to the right. 25. Mantel (lowered pyramid). 26. Wedge. 27. Inverted pyramid. 28. Impaled pyramid. Yellow and white color
depict metals - gold and silver. The place they occupied on the shield was unchanged, which makes it possible to distinguish such figures as the overturned (22) and inverted (27) pyramid.
F. Rebatiment and modifications of dissections (see previous page of illustrations, section D) and honorary figures (E): 1. Pillar dissection. 2. Cutting with belts. 3. Dissection with a sling on the right. 4. Dissection with a sling on the left. 5. Verger. 6. Burele. 7. Dissection with narrow bands on the right. 8. Dissection with narrow bands on the left. 9 Dissection with paired narrow belts. 10. Shingle-shaped belt division. 11. Shingle division by bands. 12. Shingle pillar division. 13. Pointed shortened pillars. 14. Three rafters. 15. Partitioning with rafters. 16. Overturned wavy rafter. 17. Shield fastened with hoops. 18. Division by rhombuses. 19 Diamond division. 20. Checkerboard division 21. Cloud belts. 22. Sharp-toothed belt. 23. Double-sided sharp-toothed belt. 24. Widely toothed belt. 25. Double-sided wide-toothed belt. 26. Double-sided wall-toothed belt 27. Wall-toothed belt. 28. Diamond belt. 29. Toothed sling. 30. Pointed pillar. 31 Truncated band. 32. Torn rafter. 33. Border. 34. Jagged border. 35. Double border. 36. Composite border. 37.Three points. 38. Three wavy belts. 39. Three gameids. 40. Capital. 41. Projecting cross. 42. Wedge cross. 43. Anchor cross. 44. Palm cross.
45. Philip the Good Duke of Burgundy, founder, first master and sovereign of the Order of the Golden Fleece. Coat of arms, four-part; in parts 1 and 4, golden lilies are scattered across the azure field, with a silver and red border (modern Burgundy); in the 2nd quarter, dissected by gold and blue bands on the right with a double - red (antique Burgundy) and black - border, there is a standing golden lion with red claws and tongue (Brabant); in the 3rd quarter, on a field of ancient Burgundy color with silver baldrics, on the right is a red lion with red claws in a golden crown (Limburg); in the heart, on top of everything, is a golden shield with a black rising lion (Flanders). 46. William of Vienna, Seigneur of Saint-Georges After the founding of the Order of the Golden Fleece in Bruges, he received the charter of a knight of the order with the second number, the first being his sovereign Coat of Arms: a golden eagle on a red field. Forming a single whole with his horse, thrusting forward the spear clutched under his arm, the medieval knight pierced the best armor. Only the advent of steel armor required the introduction of a special saddle - a troussekin - to support the knight’s back and better hold a longer and heavier spear, equipped with a specially designed “cuirass-piercing” tip
From this time on, a light and inflexible shaft, called fresnin, fresnut (arfrene, ash) or charmin (from cbgtrme, hornbeam), was used in exactly the same way as by lancers from the Napoleonic Wars to the First World War, that is, it was clamped with the elbow under the armpit during a horse attack or wielded it as a pike. The shaft of the spear gradually thickened from the tip to the middle and decreased in diameter in the place where it was held by the hand. A small steel ring, like a shield, covering the hand, appeared one century earlier, at the end of the 13th century. Too heavy, however, to be held under the armpit using the muscular strength of the hand alone, the spear was suspended from the end of the XTV on a small hook, attached first to the side of the cuirass, then on a large protrusion, first permanent, then removable, starting with
mid-15th century For a long time, this hook was called a fokr and was considered a cuirass clasp. Until now, it is sometimes confused with a support for a spear.
G. Shapes; 1. Besants. 2. Loaves. 3. Tickets. 4. Squares. 5. Rings. 6. Crescents. 7. Stars. 8. Sun shadows. 9. Comet as a pillar. 10. Cinquefoil. 11. Trefoil 12. Triple nut. 13. Pomegranate. 14. Thistle. 15. Rose. 16. Rising Lion. 17. Rising lion turned. 18. The rising lion is a coward 19. The lion or leopard is marching. 20. Leaning lions. 21. Lions opposing 22. Leopard. 23. Lion leopard 24. Eagle. 25. Eaglet. 26. Soaring birds. 27. Griffin. 28. Dragon. 29. Unicorn. 30. Horse. 31. Bear. 32. Boar. 33. Boar's head. 34. Easter lamb. 35. Bull's head. 36. Squirrel. 37. Running greyhound. 38. Bull. 39. Dolphin. 40. Shirokolobki (fish). 41. Perches leaning against each other. 42. Chimera. 43. Siren. 44. Kurti, or Moor's head. 45. Right hand. 46. Hand with a sword 47. Hands of loyalty. 48. Growing oak. 49. Orange tree. 50. Olive. 51. Tree uprooted. 52. Aquilon. 53. Blackbirds. 54. Ducks. 55. Doves. 56. Raven In addition to the 56 figures shown here, the reader will find several additional figures on the coats of arms of the Knights of the Golden Fleece, presented here.
Knights of the Golden Fleece: 57. Jean Rubes. Ermine coat of arms with a red head. The unusual crest of the helmet represents the legs in knight's greaves. 58. Rene Pot. The coat of arms is four-part; in the 1st and 4th quarters there are golden belts on an azure field (Pot); in 2 and 3 - on a chessboard black and silver field, two red belts with gold buckles and swords tied with a ribbon in a red scabbard, intertwined and lined with gold 59. Roland d'Uytkerk. In a silver field, a black cross, burdened with five gold nuts. 60. David de Brimo.
The coat of arms is four-part; in the 1st and 4th quarters on a silver field there are three red eagles with blue paws and beaks (Brimo); in the 2nd and 3rd quarters on the silver field there is a blue sash on the right (Mingoral). 61. Hugh de Lannoy. In a silver field there are three green lions in gold crowns, with red claws and tongue. The shield is surrounded by a red jagged border. His younger brother is shown as number 3 in the following picture. 62. Jean de Comm-min. In a red field with a gold border, there is a gold rafter, accompanied by three silver nuts, outlined in black.
1.Antoine de Toulongeon. The coat of arms is four-part; in the 1st and 4th quarters on a red field there are three wavy gold belts; in the 2nd and 3rd quarters there are three double narrow belts on the red field.
2. Jean de la Tremoville. In a golden field with a red border there is a red rafter, accompanied by three blue eagles with red beaks and paws.
3. Gilbert de Lannoy. In a silver field there are three green lions in golden crowns with red teeth and tongues. Shield with jagged red border.
4. Jean de Luxembourg. In a silver field there is a red lion with a double tail slanted to the right, golden claws and a crown.
5. Jean de Villiers de l'Ile-Adam. In a golden field there is a blue head, burdened with an ermine right hand with the same hanging pennon.
6. Antoine de Croix. The coat of arms is four-part; in the 1st and 4th quarters and the silver field there are three red hatchets (Renti); in the 2nd and 3rd quarters there are three red belts (Croix) on the silver field.
7. Roberde Mamin. In a blue field there is a golden lion with red claws and tongue and the same lily on his shoulder.
8. Jacques de Brimaud. In the silver field are three red eagles with blue paws and beaks, and in the heart is a red lion being born.
9. Pierre de Boffremont. Four-part; 1 and 4 parts gold and red squirrel field (Boffrsmon); in 2 and 3 there are three golden cinquefoils (Verzhi) in the red yol, on top of everything in the heart there is a red shield with three silver shields.
10. Philippe de Ternan. The checkered field is gold with a red helmet top in the form of a lady with folded hands. Created in Bruges on February 10, 1429 under the patronage of Our Lady and St. Andrew, the Order of the Golden Fleece united 31 knights, with the exception of the French, subjects of the King of France. After the death of Charles the Bold in 1477, Maximilian of Austria, the husband of Mary of Burgundy, became Grand Master. On the medallion of the order there was an image of a sword striking a flint, and the motto: “He strikes so that the light may shine” - as well as a golden fleece from the mythical tale of Phrixus, who crossed the sea on a ram with golden wool, the skin of which then hung in the temple in Colchis, from where she was kidnapped by the Argonauts.
1. Frederick, Count of Mer. Four-part coat of arms, silver in the 1st and 4th quarters on a black field double headed eagle with a golden beak and claws (Saaverdek); in the 2nd and 3rd quarters on a golden field there is a black belt (Mers).
2. Simon de Dalen. On a red field there are ten silver diamonds, the first is encumbered by a red lion cub.
3. Jean de Melun. A blue field with a gold head and seven gold bezants - three in the top row, three in the middle and one in the bottom.
4. Jacques Crevecoeur. On a red field there are three golden rafters.
5. Jean de Vergy. On a red field with a silver border are three golden cinquefoils with an empty middle.
6. Guy de Pontaille. On a red field there is a golden lion with red claws and tongue.
7. Bodo de Noyel. On a red field there are three double silver belts, divided into three with silver flaps.
8. Jean de Luxembourg, bastard of Hautbourdin. In a silver field there is a red lion with a double sloping tail, a golden crown and claws and a blue tongue, a narrow side line belt of blue color.
9. Charles of Burgundy, Count of Charolais. Large Burgundian coat of arms (see coat of arms of Philip the Fair), complemented by the eldest son's three-piece patchwork belt.
10. Thibault de Neuchâtel. On the red field there is a silver band to the right. All these knights were captains and generals, generously endowed with nobility and wealth by their sovereign. Some of them died in battle, like Jean de Villiers, Robert de Mamin and Thibault de Neuchâtel. Hugh de Lannoy, a veteran of the order, died at the age of seventy-two. The most fierce "brothers and tournament fighters" were Simon de Dalen and his famous opponent Charles of Burgundy, who opposed him with success at the age of twenty-eight. Jean de Luxembourg was beheaded by order of King Louis XI. The Knights of the Order of the Golden Fleece fought with the Flemings and Lièges, the British and the troops of the King of France, sometimes even with the Turks and Tatars.
1. Front view:
a) comb; b) pommel; c) viewing slit; d) visor; e) sidewalls; f) bouviger; g) chin pad; h) buffet or flap; i) shoulder pad; j) cuirass stop; j) belt; 1) bracer; m) elbow pad n) armor; o) forearm bracer; p) gaiter; q) plastron; d) legguard; s) pad; r) knee flap; u) knee pad; v) greave; w) plate shoe.
2. Rear view:
a) rondel arme; b) epaulères or spallieres (spellières do not overlap each other); c) the back of the cuirass; d) sacral cover; e) rear cover; f) side legguards or flankarts; g) chain mail.
3. Arme in profile. The raised visor and cutout of the bouvier are shown in red; x - place of attachment of the plume.
4. Right elbow pad, profile view.
5. Left elbow pad, profile view. This piece of armor, like the left epaulette, was more powerful for better protection of the side, which was more often exposed to blows.
6. Side view of the knee pad with flap.
This armor was based on an Italian model made around 1450, when gunsmiths reached the heights of their skill. For reference: this armor weighed about 25 kg and was designed for a person of average height (160 cm)
1. Full German equestrian armor, made in Landschug (Southern Germany) around 1480. With flutes characteristic of that time.
2. Reconstructed armor from the same time as the previous one. Sometimes attributed to the Missaglia of Milan, although various parts bear the mark of Jörg Treitz of Innsbruck and two of his fellows. The Italian style is distinguished by a less massive salad with smoother shapes. There are, however, many examples of a mixture of these two styles used by the masters of these two countries.
3. German armor of 1480, a masterpiece of the famous Helmeschild from Augsburg, who was considered a rival of Milan in the art of weapons. The German style is characterized by more pointed shapes and frequent use of copper trim.
4. Standard of the English king in the 15th century. It had the same appearance during the time of Edward III in 1339 and until the reign of Elizabeth. After Elizabeth's death in 1603, the coats of arms of Ireland and Scotland were added.
5. Standard of the Duke of Lancaster, future King Henry VII, during the Wars of the Roses.
6. Marks of gunsmiths of the 15th century; a) Jörg Treitz from Innsbruck; b) Tommaeo Missaglia from the famous dynasty of Milanese gunsmiths; c) Domenico Negroli from Milan; d) Nuremberg guarantee stamp; e) German mark. Lily does not at all speak of French origin, but, on the contrary, denotes Italian products. This armor, extremely expensive, was highly valued in France and, despite its appearance, was relatively light: the horse carried a load, including the weight of the rider, about 130 kg. For comparison: a cuirassier horse in 1914 carried a load of 128 kg.
1. German military cap of the 12th century.
2. Czech iron cap, XIII century.
3. Hat-helmet of the early 13th century.
4. Iron hat with aventail and bud-er from the late 14th century.
7. English warrior, circa 1330. Armed with an axe.
8. German foot warrior, around 1380. Wearing an iron cap with a nosepiece and a quilted jacket.
1. Hat with bouvier, 1420
2. Montauban hat. Such a hat with two viewing slits appeared at the beginning of the 15th century. in this southern French city.
3. Iron hat with riveted brim, 1450 g.
4. Iron hat, 1460
A. This helmet differs from the salad only in the correct shape of the brim.
5. A foot warrior wearing an unusually shaped iron cap, wearing a brigantine with sleeves reinforced with metal strips.
6. Soldier of the Parisian city militia around 1360 during the reign of John the Good. The largest troops
cities randomly chose the colors of shields and badges on helmets.
7. A foot warrior wearing an iron cap of the latest form and a brigantine with vertical plates. 1440
The iron cap was widespread throughout Europe during the Middle Ages. She gave excellent
protection from blows delivered by riders from top to bottom.
1. Mantle of the removed Martin, Bishop of Tours, which the Frankish kings owned from the 6th century.
2. Standard of Charlemagne, king of the Franks and Lombards. After being crowned with the imperial crown in 800, the standard became scarlet with gold cockades, blue and gold pommel and gold halves of the Latin cross.
3. Standard of Louis II the Zaika, 9th century.
4. Standard of Hugo Capeg, end of the 10th century.
5. Standard of Philip Augustus, late 12th century.
6. Oriflamme of Saint-Dsny during the reign of Saint Louis, mid-13th century.
7. Standard of John the Good, second half of the 14th century.
8. Standard of Charles VII, mid-15th century.
1. Italian knight's armor 1450. and horse armor of the same time, the oldest that has come down to us. The helmet is in the form of a bascinet, immediately preceding its transformation into
arme. This is a large Italian bascinet.
2. Swiss foot warrior in late 15th century armor with the banner of the canton of Unterwald. On his head there is a deep salad, the same as in the rice. 3, he is wearing armor, no doubt taken from a defeated enemy knight (the most common case).
Beginning with the Battle of Morgarten in 1315, the arrogant knighthood suffered terrible defeats from the peasant infantry, which became the model for European infantry.
3. Italian armor 1480
4. German armor 1480 It is easy to compare the two styles that characterize the magnificent products of these two great arms centers, which produced armor now called “Gothic”.
5. Banner of Bologna in 1380
6. Banner of Venice in the 15th century.
7. Banner of Florence in the 15th century.
8. Banner of Bern in the 15th century.
1. Destrisr or war horse.
2. A knight on a parade horse or pacer. Ambling - a gait much less tiring for the rider - was achieved by training or using the natural qualities of the horse.
3. The squire was carrying the knight’s helmet, shield and spear. He rides a russin or ronsin, a small war horse. His own helmet - a barbute - is tied behind the saddle.
4. Kutiler, riding a war horse (cursier), a type of ceremonial horse that is fast and strong. He is armed with a cutile, a weapon between a date and a sword, which was used to cut the throats of captives who refused to pay a ransom.
5. One of the six archers mounted on a horse with a cropped tail, armed with a brahemartus, descended from the eastern Cymeterra. In a slightly curved version it was called a baudelaire.
6. Servant on his horse. He is armed with a pike and a bodeler, also called a cutelas.
7. “A pacer with glasses” - a filly carrying a special cellar with provisions for the knight. The warriors rode only on horses.
8. A pack horse carrying bales of luggage.
9. Each “spear” included several foot soldiers. Here these foot soldiers are armed with anikrosh (a) and a hook (b), implements specially designed for capturing prisoners for whom the knight could ransom.
The "spear" was the main tactical combat unit of the feudal army, starting from the 10th century. In the middle of the 15th century. This unit was replaced by a more clearly structured combat unit that arose among the knightly orders.
1. Knight, head of the “spear”. He is dressed in Gothic armor of the Milanese style, weighing 35 kg, and a dagger like an anelas hangs on the tree of his saddle. The regular army also used a combat mace.
2. Page, He carried the spear of his master and was his servant, while mastering the art of war.
3. Coutilier - a squire, armed, equipped and equipped with a horse at the expense of the knight. He is armed with an iron half-spear, called a “bull tongue” or “bunch.”
4. Three horse archers, armed with bows or crossbows, sometimes culverins. They are armed with dagger amianeles (a). In fig b, the punch or piercing for the cuirass, derived from the ancient "knife of mercy", the English called it the "waste prayer". They have two-handed or “one-and-a-half-handed” swords, also called “batard”. A German “bastard sword” (c) suspended on the left side of the saddle pommel. Horse archers were forbidden to wear pointed boots -
bullets, long spurs and macherets (mantles).
Arrows:
5. Crossbowman.
6. Kulevriner.
7. Pikeman. They had swords with which infantrymen fought, called “passot”, “passot sword” or “plate”, the common property of which was an edge formed by the convergence of the cutting edges. The third soldier carries a beauce or boset - a small shield for hand-to-hand combat, also called a fist rondel.
Since 1471, this “full spear” was joined by various numbers of volunteers who wanted to master the military craft.
I continue
1. German knight of the late 12th century.
2. French knight late XII and early XIII AD.
3. Italian knight of the late 12th century. The helmet was of the simplest form; it could also be conical or pointed, with or without a nosepiece.
4. Flemish knight of the first half of the 13th century.
5. English knight second half of the 13th century. On his head, as in the previous images, he has a balaclava with a turban, forming a soft pad, sometimes called a stupa, on which the helmet was placed so as not to damage the forehead and temples.
6. French knight, around 1270 Only after the first two crusades, starting in 1189, did the red cross become exclusively a sign of the French. The British then chose a white cross, the Germans - a black one, the Italians - a yellow one, and the Belgians - a green one. This feature clearly shows the degree of disagreement between the participants in the campaigns.
1. Standard bearer Rudolf. Habsburg in 1285
2. Knight. 1360
3. Standard bearer of the imperial Count of the Rhine in 1350
4. The forearms and shins are covered with leather armor with steel plates. 1360
5. External "steel bib". 1360
6. Pay attention to the presence of steel plates on the thighs. 1370.
7. Plate armor, consisting of a steel breastplate and four chains holding the plates together. It was usually worn under a cloak. 1350
All of these armors are transitional from armor to full armor. In Germany, reinforcing chains were especially often used and for much longer than in other countries they used chain mail, produced on an industrial scale by an artisan from Murenberg named Rudolf, who made cheap rings of any size for sale.
1. Standard bearer of the Holy Roman Empire of the German nation. The knight is dressed in armor with a tetrahedral shell.
2. Standard of the cavalry of the Duke of Bavaria, around 1450. The knight wears a salad with a bouvier, which (very rare case) bears a plume and mantle, like great helmets.
3. Banner of the Saxon cavalry around 1430.
4. Banner of the Czech Republic.
5. Large banner of the Hussite cavalry
6. Banner of the Hussite foot army.
7. Hussite banner. The goose, along with the cup, was the emblem of the supporters of Jan Rus, who fought under the leadership of Jan Zizka,
8. Armor for foot combat with a barrel skirt and a square cuirass. The emphasis on the cuirass, which serves to support the spear, in this case is completely useless, we force one to assume that this armor could also be used in equestrian combat, then the skirt was replaced by a classic loinguard.
9. A foot warrior of the first half of the 15th century, wearing armor made of steel plates located one next to the other.
1. An infantryman armed with a goedetutag - Flemish for "good morning" - a nickname for a pike with a ring on the shaft, a piercing weapon as simple to make as it is effective.
2. A warrior of the city militia of Ghent, who was a member of the clothiers’ guild. This ritual gesture - “carrying a pinch of native land on your lips” - is repeatedly described before the start of the famous Battle of Courtrai. It is very likely that this ritual involved putting a piece of earth into the mouth to strengthen the vow in the face of an enemy who knew no mercy.
3. Community member from Alost.
4. Standard bearer from the butchers guild.
5. A knight fighting on foot with a shortened spear. Small cavalry
consisting of the city patriciate and nobles, is mistakenly considered the weakest and most prone to treason part of the city militias.
6. Banner of urban weavers.
7. Banner of Flanders. It was awarded to the bravest knight.
8. City banner of Ghent. The standard bearer was a knight belonging to the rentier class.
9. Banner of Ypres.
10. Crossbowman.
These warriors, along with archers, have earned the fame of great masters of their craft. It bears the coat of arms of Jean of Namur, who came to the aid of the Flemings at the Battle of Courtrai along with Jean Renesse, Guillaume Julier and Henry of Lonchin. The city militia played a decisive role starting from the XT century. The militia of Liege prevented the plans of Henry V of Germany, Count of Namur, Henry I the Blind and Count of Brabant Henry I. In turn, the militia of the Brabant cities of John I, the defender of urban freedoms, captured Limburg from the feudal princes, defenders of feudal rights. Flanders then opposed French rule and destroyed the army of Philip the Fair at Courtrai in the famous Battle of the Golden Spurs in 1302. Military significance Urban militias are sometimes overrated: lacking a uniform organization, poorly trained and insufficiently disciplined, they gained the upper hand only due to their numerical superiority. Faced with a maneuverable enemy and more or less perfect artillery, they endured crushing defeats, as the Flemings at Cassel in 1328 and during the siege of Tournai in 1340, the Lièges at Walleff in 1347, the Brabantians in 1372, the Flemings at Odenard in 1379, at Neuvel in 1381 and finally , under Ruzebek 1382, where the French army of Philip the Bold undermined the power of urban communities. The Liegeans at Auteuil in 1408, then the Ghentians near Le Havre in 1453, the Dinantians in 1466, the Liegeans near Brussels in 1467 and at Liege in 1468 paid for their terrible sacrifices last efforts protect democratic autonomy.
order
1. Knight of the “Order of the Good Death” in 1176
2. Banner of the Kingdom of Jerusalem in the 13th century
3. Knight Templar in the 13th century, with the standard of the order, called Beaucean.
4. Knight of the Holy Sepulcher in the 13th century. Like the Templars, this spiritual knightly order After the loss of Palestine, he moved to Italy.
5. Knight of the Order of the Sword, later called Livonian.
This order in 1237 was merged with the Teutonic Order and strengthened significantly.
6. Knight Teutonic Order in the 13th century
7. Knight of the Teutonic Order with the banner of the order.
Originally a white banner with a black cross, this was the banner of the order in the 14th century. - was decorated by the Grand Master with the golden Jerusalem cross and the coat of arms of the Holy Roman Empire of the German nation.
1 and 2. The sequence of pulling the string on the bow. They removed the string in reverse order,
first operation 2, then 1.
3. Shot. By pulling the bowstring, the archer “pulled” about 50 kg. English archers (shown here)
archers of the 15th century) actually hid behind stakes from the cavalry.
Shot:
A. Short distance.
B. Average distance.
C. Long distance.
The red sight line connects the archer's eye to the arrowhead. White line shows the actual flight path of the arrow. She manages to fly fifty meters before gravity affects her trajectory. At closer distances, one should aim below the target (Figure A). IN otherwise on the contrary, one should aim above the target (Fig. C). The choice of the correct aiming point was achieved only by constant exercises until the “instinctive” speed and accuracy of shooting was achieved. In addition to a direct shot, a mounted shot was used, which consisted of an arrow being fired 40-50m upward at a large angle. At the same time, it described a curved trajectory and, having flown along a steep parabola, descended almost vertically, possessing enormous penetrating force. This method made it possible to hit the enemy hiding behind shields. Originally used by the British in their fortresses in France, at the end of the 15th century this method was adopted by the French.
1. German oak, XIII century.
2. Eastern steel, XIV century.
3. Italian, XV century.
4. Italian steel, XIV century.
5. French biconvex, X century
6. French, 13th century.
7. French according to the Eastern or Turkish model, XII century.
8. Same, XTV c.
9 French XIII and XTV centuries. It is believed that this large bow replaced the English bow; it is considered more accurate and more powerful. This judgment is false: the French archer could never match his English rival.
10. Large English bow, XIV century.
Arrows:
11. XV century, 74 cm long, made on the island of Rhodes. It belongs to the passada type, with a flat triangular tip.
12. French, XV century. with removable tip. This device allowed fast recovery arrow shaft(s),
13. English, XV century. belonging to the dart type with a socket tip. A Plumage in section.
Arrowheads:
14-17. A type of arrow for cutting stirrups or trimming rigging. Tip in Fig. 14 was called the small moon, and in Fig. 15 big moon.
18. Incendiary arrow. 19-21 and 26-28. With serrated (barbele) tips. Arrows of this type were called barbilons.
29-33. Also, XV century.
22,25,35,37-40. These arrows pierced chain mail and ordinary cuirass. 31 and 38. Tips of triangular or square cross-section gave the arrow the name buzhon; they were used mainly in crossbows. Arrows with socketed tips were used until the 15th century, during which this type was gradually replaced by stalked arrows (Figs. 12,14,15,16,17,21,25,34,33 and 37).
41. Fingertip. After 1500, a three-finger model was used.
1. French archer, XV century.
1. French, X century.
2. French, 9th century
3. Italian. X in
4. Norman, XII century
5. Norman, XI century
6. Italian, XI century.
7. Spanish, XIII century.
8. German, XIII century.
9. French, XIII century.
1. French archer, XV century.
2. German archer, XIV century. A cap of the same shape could be iron.
3 French archer of the mid-15th century.
4. German Archer beginning of the XIV V.
5. English archer of the early 15th century.
6, 7. French archers of the mid-15th century.
8. White cross, which can be seen in Fig. 3 and 8, served as a distinctive sign of French soldiers from the beginning of the 14th century, when the English king Edward III dressed his troops who landed
to the continent, wearing white cloaks with a red cross on the chest and back. At the same time, the Scots adopted the white St. Andrew's cross as a distinctive sign. At first very large, gradually these crosses acquired the dimensions shown in Fig. 5.
9 and 10. Archers of the French king Charles VII (mid-15th century). Salad protected his head
with a movable (Fig. 10) or fixed (Fig. 9) visor, B the latter case To open the face, the salad was thrown back to the back of the head.
Martial arts, often called a "hard tournament", preceded or completed a group fight - a tournament in the narrow sense of the word.
1. Knight in tournament armor of the late 13th century. The spear rondel protecting the hand appeared at the same time. Equipment for the tournament was limited to replacing the spear tip with a wooden reel and shoulder guards curved forward,
2. Knight in tournament armor of the first half of the 14th century. It should be noted that the saddle is closed on both sides.
3. Knight in tournament armor of the second half of the 14th century. The helmet visor only rises a few centimeters. Apart from the saddle, the armor is no different from combat armor.
4. Knight in tournament armor of the late 15th century. wearing a special tournament helmet. The spear could reach 5 m in length,
5. German tournament armor of the late 15th century: a) attachment point for a small shield (see Fig. 6); b) a pear, allowing a small shield to slide off when struck by a spear and absorb the main force of the blow, causing the spool of the spear to slide off; c) a chain holding the “iron hand”; e, d)
spear rests.
6. Small shield and its mount, profile view (early 15th century). It was made from linden or pear wood with hardwood inlay.
7. German tournament armor of the late 15th century.
8. In the presence of a barrier, the horses were forced to gallop along a strictly defined line, and the spear struck at an angle of no more than 75", as a result of which the force of the blow was reduced by at least 25%.
9. Without a barrier, one of the horses could cross the path of the other, the collision became almost head-on, the blow of the spear, enhanced by the horse’s gait, was almost like in a real fight. Tournament without barriers, for a long time practiced in France, was devoid of rigidity and realism due to the use of special armor and spears made of light wood or hollow ones. Coats of arms of tournament fighters: 8 from left: Gordon; 8 right: Forbes 9 left: Leslie; 9 from right: Lindsay, They are all Scottish knights.
1. Tournament armor of the second half of the 15th century. This German model appeared before 1450. A sample with a hook screwed onto the right side, which served to rest the heel of the spear, which made it possible to hold the spear horizontally without much hand effort. 1a. Helmet, rear view, with a system of attachment to the “back” of the cuirass, 1b. Position of the head inside the helmet. The helmet was ventilated by opening the side windows. During the attack, the tournament participant had to lean forward with his whole body in order to see through the narrow viewing slot.
2. German tournament helmet from the late XTV century. It weighs 9.8 kg. You should pay attention to the rivets in the shape of “drops of fat” on which the tip of the spear could not catch.
3. French tournament helmet from the late 14th century.
4. English tournament helmet from the early 15th century.
5. Tournament salad. On the right is the type of decoration most often used. Undoubtedly, this type of helmet inspired the surgeon Bier and the gunsmith Marx to create the German trench helmet of the 1916 model.
6. Tournament spearheads: a) until the middle of the 15th century; c) and from the middle to the end of the 15th century. These tips were called coils.
7. Knight in tournament armor with a false shield, second half of the 15th century.
8. Detail of the helmet and false shield: a) the point of impact, which led to the splitting of the shield into 8 parts;
b) a trigger mechanism recessed in spring shock absorbers.
9. Salad with a removable visor. It should have been fixed with a fork (a). Around 1470
10. Salad with a lifting bouvier (a) reclining during a fight. A hole for attaching a cape called a mantle, or a plume of feathers.
11. A wheel that allows the salad visor to move behind the boogers at the moment of attack.
12. Detail of the wheel and clamps used for fastening during a fight.
13. A knight ready for a tournament duel, second half of the 15th century, his knees are covered with knee pads protecting his leg from hitting the barrier. The horse's eyes are closed to avoid
the slightest deviation to the side.
14. Italian (Milanese) armor for foot combat, around 1475. Because of the huge skirt, it was called a “barrel”.
Hello-HA,
I have now filled up this folder with Funken. Tomorrow after work I'll try to post the remaining materials. Today I still want to draw
1. Barbute-salade, 1350 g. Rivets are used to secure the internal gasket.
2. Infantry salad without a visor, first half of the 15th century. This helmet, like the following ones, had a strap with which it was fastened to the chin.
3. Salad with slits for eyes, cavalry helmet of the first half of the 15th century.
4. Infantry salad with a fixed visor, second half of the 15th century.
5. Salad with a fixed separate visor. French system that facilitates the forging process. Middle
XV century
6. Cavalry salad with a movable visor, 1440. A button with a spring (a) fixed the visor in the lowered position,
7. Salad with a movable visor and a movable backplate in a combat position.
8. The same helmet in the stowed position.
9. French salade with movable visor, 1450
10. Knight in armor of a transitional type from lamellar to full, 1400. The shortened salad is called “French”. A salad with a long back is called “German”.
1. Infantry salad with bouviger, 1440. The bouviger was always attached to the breastplate of the cuirass and was not part of the salad.
2. Infantry Salad, 1450
3. Infantry Salad, 1450
4. Salad with a movable visor and a fixed backplate, 1460
5. Salad with a movable visor, 1480. It should be noted that in this drawing, as well as in the previous and subsequent ones, the viewing slot is not cut out in the visor.
6. Salad with movable visor and bouvier, 1480
7. Luxurious Bolognese salad with a fixed visor, 1490. In Italy, a movable visor was called
alia teaesca (German).
8. The latest form of salad at the end of the 15th century. It's almost army. The movable visor was called a “blinder”.
9. Full Italian armor, 1435. Its weight is 25 kg.
10. Armor of Jean Pogon du Saintray, an associate of Joan of Arc, around 1435. His helmet is rather not a salad, but an iron cap with a bouvier. The salad, which replaced the bascinet, was in turn supplanted by the armais by the 16th century.
In the center is a bishop wearing a red miter.
(This page of illustrations is extracted from the book “From the Pharaohs to Louis XV. It was the first in the author’s collection, which has been enriched every year since then, and the first attempt at a broad synthesis produced by the research of L. and F. Funken. In comparison with other illustrations in the book the increased level of historical reconstruction of military costume as a result of scrupulous research is clearly visible).
1. Tribune of judges.
2. Tribunes, also called scaffolds, intended for ladies.
3. Banners of two knights who are official judges. The other two corners of the lists were decorated with the banners of the judges' squires.
4. Left: banner and large badge of the attacker (Duke of Breton); right: banner and badge of the defender (Duke of Bourbon).
5. On the left are the banners of the knights who make up the party or “regiment” of the attacker; on the right are the banners of the knights who make up the party or “regiment” of the defender.
6. An honorary knight with a cape, with the help of which he could at any time, at the request of the ladies, stop an overly violent attack and help a knight who found himself in a difficult situation.
7. Helmet of an honorary knight.
8. A knight condemned by the ladies is considered “defeated in the tournament.” Having received a good thrashing and trampled by horses, the “convict” leaves on foot.
9. Tournament participant punished for violating the rules. A fighter who hits an opponent who is left without a helmet is expelled from the tournament and is deprived of his horse and armor. On the second knight from the right on the front
in terms of a strange salad, anticipating the morion of the late 16th century. Such group battles often attracted a very large number of participants. The excitement of the fight was such that the fighters sometimes continued to fight even after the celebration was over on the way home. These are the rules of the tournament
allowed.
1a. The Duke of Brittany's King of Arms is busy organizing the tournament. He is dressed in a cloak with the coats of arms of the lord "attacker" and carries a tournament sword, as well as a list of knights and squires who must choose the four judges who choose the "defender". He's wearing knight's boots
1b. The same king of arms who received the consent of the “defender”. He carries on his left shoulder a parchment with the image of two lords - the attacker and the defender - the main characters of the tournament. In the corners are the coats of arms of the judges; at the top are the coats of arms of the knights, at the bottom are the coats of arms of the squires. Thus, it was a full-fledged poster of the competition. The King of Arms occupied the top of the pyramid of heralds. Below him sometimes, although rarely, stood a marshal. Then came the heralds, followed by the heralds' assistants.
2. The herald and on the left his assistant (applicant for the title of herald) make an announcement about the tournament and give a signal with a trumpet on behalf of the herald master. They are accompanied by three or four similar pairs. Note the folding sleeves of the trumpeter, a feature that survived into the 16th century.
3. One of the four judges with a white staff, his messenger, trumpeter and assistant wear cloaks with his coat of arms.
1. Seigneur de Grutuz in full tournament regalia. He has a classic seat, leaning forward in the stirrups, he maintains his balance by holding the handle on the pommel of the saddle. The wooden dun, called mass or masset, was a much more formidable weapon than the “released” tournament sword, which was not capable of stabbing or cutting; it was used in preliminary clashes that served as a warm-up.
2. Tournament helmet:
a) disassembled;
b) assembled,
c) with a leather stand for the coat of arms;
d) with a cardboard or wooden coat of arms. In the original manuscript, the armorial figures used in civil headdresses or crowns never had a turban, called a “tortilla”. Long fluttering ribbons (bastings) have a special cut here (compare with bastings made of two ribbons).
3. Tournament helmet of another German type of the 15th century.
4. Heavy tournament helmet connecting the bascinet with the bouvier, and a leather mantle - a type common in Flanders, Hainaut (a county in Lorraine) and Germany,
5. Mantle and sleeves (a - iron, b - leather) and several types of plate gauntlets.
6. Lightweight, ventilated cuirass, called a “barrel”. It was completely covered with a coat of arms.
We present Viollet-Duc's reconstruction, but the original manuscript shows a simpler model without curved parts, consisting of crescent-shaped plates.
7. Hurd, who protected the horse and rider’s legs in the tournament:
a) front part;
b) back.
It was completely hidden by the coat of arms. In Figure c there is a hurda bag.
Its position in figure a is shown by the red dotted line, and it can be distinguished in fig. b.
1. Chatelet or bastille. If it was a temporary structure, it was called a bastide.
2. A palisade or palisade made of logs with overhead gates.
3. List.
4. Barbican,
5. Bridgehead fortifications.
6. Main gate.
7. Drawbridge and grate.
8. Bretesh.
9. Caponiers supporting the gallery.
10. Loopholes or embrasures.
11. Crenellations or rectangular cuts made in the parapet.
12. Merlon, or part of the parapet between two embrasures; Merlons are often confused with prongs.
13. Wooden gallery, or khurdazh. Until the 15th century, wooden galleries were used.
14. Corner watchtower.
15. Curtain, or solid fortification wall.
16. This structure, often mistaken these days for a loophole, is just a prosaic latrine.
17. Poster for food delivery with a lifting ramp. Some large castles (such as Pierrefonds) were supplied in this way to avoid surprise attacks and at the same time accidental penetration by spies.
Heavy loads and animal carcasses were pulled in by a winch along runners lying in the middle of the flooring.
18. Tower with beak or buttress.
19. Mashikuli.
20. Shutters. In addition to performing protective functions, they protected archers or crossbowmen from being blinded by the sun and from the gaze of the enemy, who could be viewed completely calmly. The stone gallery should be noted: it was gradually built throughout the 14th century. replaced wooden galleries.
21. Residential buildings.
22. Donjon. Its machicolations (19) are hidden by arches resting on buttresses.
23. Watchtower or watchtower,
24. A tower with an open gorge, an upper platform open to the inside of the fortress. The enemy, who captured such a tower, found himself defenseless from the shots of the defenders,
25. Weather vane. A lord's privilege, the weather vane was also used to bear the owner's painted or carved coat of arms.
26. Flanking tower.
1. Norman donjon of the 11th century, height 28 m, side 16 m.
A. Warehouse, well and staircase. The spiral staircase rises, turning clockwise: thus, the attackers, rising in battle, had a central pillar to their right, which noticeably limited their freedom to use weapons, while the defenders, on the contrary, found themselves in a much more advantageous position, closed on the left by a column and shield, they had significant space on the right for weapons. The interested reader, by visiting the nearest castle, can verify in practice the effectiveness of this simple design solution.
B. Chapel and guard hall.
S. Main hall.
D. Bedroom.
E. A longitudinal wall that served as the last line of defense in the event of an invasion by the besiegers into one of the rooms of the donjon.
2. Round donjon from the early 13th century. 14 m at the base and 45 m high.
A. The lord's quarters.
B. Defensive floor.
C. Steep path with gallery (D) in section
3. Donjon in Coucy (beginning of the 13th century). 31 m in diameter and 54 m high,
A. The ground floor is a warehouse for equipment and food.
B. Ground floor: senior apartment.
C. Second floor - garrison room, which could number up to 1000 people
D. Third floor: open-air defensive area.
E. The hole in the well used to lift equipment from the basement storage area.
F. Double protected gallery (see separate picture).
4. The design of the donjon at Coucy with a unique screw entrance. The ramp eliminated the need for slow manual lifting mechanisms. The red dotted line shows the ground level. 4a. Detail of the spiral deck and truss support in working position with railings.
One can compare the donjon of the Norman lord - rather, the lair of a cunning savage (Fig. 1) - with the plan methodically embodied in the donjon in Fig. 3, where the smallest detail is provided and calculated. That is why in the cramped and dark dungeons of the 11th century. the feudal lord acquired the arrogance of an invincible ruler of his fortress and at the same time a deep attachment to the family and its traditions, the customs of his class. Figures 1, 2 and 3 are made on the same scale, which allows us to appreciate the gigantic dimensions of the dungeon of Enguerrand III.
1. A large drawbridge for horsemen and carts, and a drawbridge for pedestrians.
1a. Detail of the counterweight mechanism.
2: a) drawbridge; b) lift with winch and counterweights; c) gersa (grid); d) grate lifting system (see Figure 4); e) a sally deck and its walkways with manually operated counterweights. The base of most fortresses is a fairly steep climb, which is difficult on today's hikers' feet. This slope effectively cooled the ardor of the attackers and, on the contrary, increased the strength of counterattacks.
3. Balance bridge, the chains of which are beyond the range of enemy artillery. The arrows show the movement provided by a winch securely hidden in the thickness of the wall.
4. Mechanism for lifting the grille-gers: a) locking rods, locked with pins inserted into the wall, b, c) to lift the grille, the rods are disconnected and attached to the chain links (b) using hooks (c).
5. Drawbridge of classical design (XIV century) Since it provided access to the city, this structure was considered the most vulnerable spot defense, especially for fear of treason. Therefore, in the event of a siege, the guards guarding it were doomed to death without hesitation.
6. Mashikuli, loopholes for firearms (XV century).
6a. The same in section.
7. Loophole with shutters and machicolations in the form of a bay window (XIII century),
7a. A cross-sectional view of a machismo with a quatrefoil-shaped loophole.
8. Shutter with a side wall, volet or mantlet (Fig. 7).
9. Various loopholes. Cross-shaped loopholes appeared in the 14th century. and became widespread in the 15th century. On the right is a profile view: a) shooting through a loophole at a long distance; b) direct shooting at medium distances; c) shot at point blank range. In addition, the transverse cutout of the cross expanded the firing possibilities when shooting at medium distances to the right and left. In the 15th century the large loopholes that weakened the walls disappeared; the sappers actually had enough
make a dig between two embrasures so that most of the wall collapses. From that time on, narrow cruciform loopholes on the tops of towers and curtains in thinner walls became widespread, and the crossbow replaced the bow as the main small arms and was in turn supplanted by firearms.
10. Loophole modified for firing firearms.
11. Section of an embrasure with a niche and device (a) for reflecting enemy arrows. Sometimes they were made in the form of a “flight of stairs.” One should not be surprised at the height of the loopholes; some of them reached 7 m in height.
12. Another form of embrasure without a niche for smaller structures.
1. Setting up a temporary gallery in beginning of XII V.
2. Permanent stone gallery XIII It was often covered with roofing slate
3. Temporary gallery under the roof of the 13th century tower. The same simple system was used for the walls, resulting in more lightweight design than shown in Fig. 1.
4. Double or two-tier gallery from the early 13th century. The inner side is designated by the letter a, the outer side by b.
5 and 6. Collapsible gallery on the stone supports of the donjon in Coucy (XIII century): a) loophole; b) maciculi; c) shooter in the gallery loophole. In all the galleries presented in the drawings, there were holes in the floor through which stones were thrown or hot liquids were poured, etc. These were the most primitive forms of machicolations.
The winch (i) served to lower the sling, and the second winch (j) pre-tightened the springs 1 (k), the position of which is shown in the gray outline. The second winch (j) was unwound and the released springs moved apart as the sling moved into
vertical position, and the movement started in this way made it much easier to further work, carried out by winch (i). The sling and projectile were released by knocking out the pin (h) with a wooden mallet (see Fig. 2 and 3). Also mentioned: sling chute (f); trigger block J (g); trigger pin (h).
1. The core, which was also called the burden.
2. Trigger parts in open and closed positions, with block (?) and pin (b).
3. A: The machine is in the process of tensioning. B: Ready to fire. C: in the unloaded position after firing (g, h: see figure 1 and 2).
4. A large rotary crossbow on a three-wheeled carriage: a) the support on the egg-shaped thrust bearing served as a fixed axis of horizontal rotation; b) the olive wood roller served to rotate the carriage, and the wheel (c) was lowered to raise the carriage when fired; d) balancers made it possible to equalize the tension of both halves of the steel bow. Crossbows of smaller caliber were also made, tensioned using a winch. The large crossbow was a convenient and terrifying weapon due to the power of its shot: a 5 m long spear, called a garotte, flew up to 50 m with a direct shot. Extremely effective against masses of infantry and cavalry, the swing crossbow was also used against siege engines.
1. Mangonno after the shot: a) winch wheels; b) drive sides; c) auxiliary winch. The winch pulled the shooting rope (d) with the pin (e) at the end of the sling. It was a risky and painful operation because the soldiers who carried it out were exposed to enemy fire.
2. Mangonno, prepared to shoot. To operate the machine, six workers rotate the wheel (a) of the winch and, using drive blocks (b), pull back the sling (g) by means of the rope (d). Finally, the sling pocket (f) with the projectile was attached with a hook to the end of the rocker. Then the pin (e) was released and the rocker rose, driven by the counterweights (i). This movement was, to a greater or lesser extent, reinforced by the work of several people (there are sixteen of them in the figure) pulling the counterweight at the command of the “chief mechanic,” who stands to the left of the machine. In addition to cannonballs, they fired piles of stones, flammable materials and even carrion wrapped in a net. William of Brittany mixes the mangonno with the Turkish stone thrower, which is smaller and not as powerful.
3. Catapult, also called a scorpion. This device is less powerful than complex machines, but it has the great advantage that it can be made on site from available materials, with the exception of gears and cranks. In the absence of these metal parts, springs could be made from raw wood using a capstan and a simple pulley system. A rotating carriage on wheels (a) allowed horizontal aiming.
3b. Vertical sight device.
4. Small trebuchet. The Byblos was a similar type of shooting machine that fired cannonballs the size of a fist. It got its name from the Bible (small bone horn)
1. Undermining. Moving along an open trench (A, in section). Covered with a wooden deck (B, top view), the sappers had to destroy the outer courses of masonry (C) and gouge out the inner rubble backfill. This type of structures with crushed stone backfill, inherited from the late Roman Empire, existed until the 12th century, when it began to be replaced by solid stone masonry, which greatly complicated the work of sappers. The bases of the walls often had
thickenings in the form of a slope, but the special trick was often that the load-bearing structures of the upper part of the walls rested on unloading arches (D), located and reinforced and well
protected places: digging in this case became pointless. In addition, the only means against undermining was the construction of a second wall (E) behind the threatened place or, if stones were missing, wooden breaches (see illustrations relating to siege engines).
2. The completed tunnel, reinforced with spacers, was filled with armfuls of brushwood soaked in flammable materials, most often simply rendered lard. The fire ate away the supports and weakened the masonry. This method of mining gave way to the gunpowder mine only at the beginning of the 16th century.
3. Ram. To show his device, security features have been removed. It was driven and operated by eight, ten or twelve people, depending on the length of the ram. They struck it like a pendulum, which had terrible destructive power.
4. Simple trephine and arched trephine of accelerated rotation. This machine was used under the protection of canopies, wheeled towers or other shelters
1. Horizontal plan of the mine gallery:
a) wall; c) gallery; d) mine chamber; e. fasteners.
2. Sectional view of the mine gallery: a) wall; b) ditch; c) an inclined gallery in case of an unexpected counterattack by launching water; d) mine chamber; e. supports on trestles; f) palisade for protection and camouflage of work. The besiegers took advantage of the houses located close to the besieged fortress. The ready-made mine gallery was used to undermine the walls. All props at once
were knocked out, the outer part of the wall, weakened and losing support, collapsed. The debris filled the ditch, forming a slope along which the besieging columns could penetrate the fortress. The mining technique was much more complicated than digging (see previous figure) and required the use of highly qualified spice sheets, but it had the advantage of remaining invisible to the besieged. Craftsmen from Northern France and Brabant were especially skilled in mining. Many fortresses of the XII-XIV centuries. traces of such attacks still remain, in particular Carcassonne, where mine galleries that were not completely filled up were discovered.
3. Section of the offensive gallery that allowed a night invasion of the fortress: a) wall; b) ditch; c) gallery; d) compacted and reinforced ground in anticipation of an attack. This type of digging was usually used near the gate. A detachment of attackers neutralized the gate guards, raised the portcullis, lowered the drawbridge, and the main column of the besiegers burst into the fortress.
4. Sappers were discovered using bowls filled with water; the work of the sappers caused ripples on the surface of the water. Counter-mine operations were also used.
5. Iron caps, also called iron caps, chapelins or hanepirs. Sappers, miners and demolition workers preferred this type of helmet with a wide brim
1. Knight in armor of the late 14th century. in a bascinet with a sliding visor made of two parts, fixed with a push-button latch. The woven jacket and leg armor are made of leather.
2. Knight of the Ordinance of Charles VII, circa 1450, with the king's personal standard. The armor of the knight and horse are of the same Gothic type as on the previous tablet, but much more
heavier: 88 kg. This is an example of the unsuccessful struggle of armor against the first types of firearms.
Paradoxically, this elite cavalry, the first French regular army, could only carry out small-scale tasks and was poorly maneuverable. Moreover, the exorbitant price of this German armor did not allow it to be risked in particularly dangerous circumstances.
3. Knights during a campaign in equipment of the mid-15th century. The first is in reinforced brigantine and shell. On the second there is a large bascinet, the predecessor of the armet, and a ceremonial cloak trimmed
fur, called letis
4. Banner of Joan of Arc in 1430
The Virgin of Orleans did not have any knight-banneret, she had no rights to the banner, this was one of the points she was accused of during the trial. On the reverse side there is an image
Our Lady, to whom an angel offers a lily.
5. Personal standard of Louis XI
6. Banner of France under Charles VII.
7. Standard of Charles VIII.
War hammers (due to the special importance of the tip, the hammer was called the beak of a parrot, bird, falcon or raven):
1. English, 1420
2. German, second half of the 15th century.
3. German, late 15th century.
4. German, late XTV century.
5. French, second half of the 15th century.
6. French, mid-15th century.
7. Swiss, XV century,
8. French, late 15th century.
9. Hussite, XV century.
10. German, mid-15th century.
11. French, late 14th century.
12. French, mid-15th century.
13. French, XV century.
14 German, XIV-XV centuries.
15. English, end of XV century
16. French, called a mallet or sledgehammer, late 14th century.
17. French, called a pick - a mason's hammer, 1350 g
18. French, called a sledgehammer, 1440
19. Italian, 1480
20. German, XV century. The tools shown in Fig. 7, 8,13,15,16,17 and 18, were mounted on long handles and served as weapons exclusively for foot soldiers. Battle Maces:
21. English, 1470
22. German, second half of the 15th century.
23. English, 1300
24. French, mid-15th century.
25. French, late 14th century.
26. French, late 12th century.
27. English, mid-15th century.
28. German, XIV century.
29. French, early 15th century.
30. French, late 15th century.
Despite its external simplicity and small size, it was a much more formidable weapon than a spear or sword. It was extremely effective and could crush and pierce the best armor. This weapon disappeared only with the advent of the pistol.
Battle Flails:
31. German, XV a
32. Hussite, XV century. 32a. This weapon with balls studded with points was called a scorpion in Germany and England. It was also used in Flanders and northern France, where it was called a war stirrup.
32b.Set with a combat whip.
32s.Set with weights on chains
33. French, XII century.
34. German, mid-15th century.
35. French, early 15th century.
36. Hussite, XV century.
37. Swiss, XV century.
38. French, XTV century.
39. German, mid-15th century.
40. Swiss with drawbar or drawbar, XV century.
Filmmakers and artists often present us with a flail equipped with long chains, at the end of which massive weights carve impressive curves. In fact, the length of the chain never exceeded three-quarters of the length of the handle, so that the load would not hit the fighter himself on the head. The British, not without humor, called this weapon the “holy water sprinkler” (gupillon).
41. “Defended” foot warrior (covered with a shield - paveza) with a war hammer and a long dagger, 1440.
1-3. Fighting scythes of the 14th century. This simple weapon, made from the blade of a scythe, has no nationality. It served as a bladed weapon during all peasant uprisings.
Mowers:
4. Swiss, XIV century.
5 and 6. French, called assault knives, 15th century.
7. English, called the “ox language”, 15th century. Initially, the agricultural tool could not become a respectable weapon and received other names, more acceptable to those who used it, than the name of scythe or mower; these new names lost all connection with their peasant origin and did not survive the last decades of the 14th century
Guizarms:
8. French, end of the 14th century.
9. French, also called goyard, early 15th century
10. Italian, called a glaive, XV century.
11. English, called a glaive, late 15th century.
12. French, called bede or bedush, early 14th century.
13. Swiss, XIII century.
14. Swiss, end of the 15th century.
15. Swiss, mid-15th century.
16. English, second half of the 15th century.
17. Italian, mid-15th century.
18. English, second half of the 15th century
19. Swiss, end of the 15th century.
Woogie:
20. Swiss, 1300
21. Germany, mid-14th century.
22. Germany, second half of the 14th century.
23. Switzerland, second half of the 14th century.
24. France, end of the 14th century.
Obviously originating from a plowshare, the vug gradually acquired a more sophisticated form, like a battle scythe. He borrowed some structural parts of the hook and at the end of this long transformation took the form of the famous halberd, this metamorphosis, in our opinion, was completed when the tip, which included a spear, a scythe and a hook, began to be made from a single piece of metal.
Halberds:
25. French, early 15th century.
26. German, first half of the 15th century.
27. Swiss, first half of the 15th century.
28 and 29. German, mid-15th century
30. German, second half of the 15th century
31. German, end of the 15th century.
Spears and Corsecs:
32. English spear, XV century.
33. Italian spear, XV century
34. German Korean, XV century
35. Burgundy Korean, XV century
36-38. Italian corsecs, 15th century.
Corsec, or corsesque, was called a bat when its side points became jagged and rose upward (Fig. 37); a loin with side points downward was sometimes called a roncon. This weapon was the predecessor of the protazan of the following centuries, although the name protazan appeared in the 15th century in Germany for the weapon shown in Fig. 34.
Combat pitchforks:
39. Hussites, XV in 40.1450
41. German, XV century
Long Infantry Axes:
42. 1250
43.1260
44. German, late 14th century
45. German, XV century
46 and 47. Swiss, XV century
48. German, XV century
49. Scottish, XV century
50.1450 g
51. Mid-15th century
Cavalry axes:
52.1200
53.1400
54. Turkish, late 15th century
55.XV century
56. First half of the 15th century
57. Second half of the 15th century
58. 1470
59 and 60. End of the 15th century
1. Armor of a transitional type between armor and full armor, with a velvet jacket reinforced with wrought iron parts, 1400. On the right is the profile of a bascinet with a visor in the shape of a “dog muzzle” (or in German - Hutidsgugel).
2. Appearance of the cuirass plastron and the shuttlecock supporting it, the predecessor of the armor, 1420.
On the right is the profile of the original sample on which the chain mail necklace was attached.
3. Armor with a helmet called “bikaket”, 1440
4. Armor with a large bascinet, 1450
5. Armor with a salad, the visor of which resembles an arme, 1480.
6. Armor with shoulder flaps or buerfs; the puff on the fawn shoulder was larger, 1490. Arme profile with a “sparrow’s beak”, the Italians called the hundred becco dipassem. The many transitional types, as well as significant differences in detail, depending on the country, can be seen in the following illustrations.
yes, in general, these are almost all the illustrations in the book... Well, there may still be more of them (I don’t remember exactly), but you also posted a lot...
This book is very charming, but occasionally there are mistakes in it, because no one is without sin, and science does not stand still either. The Funkens dragged some things from the works of the 19th century, and there the authors sometimes fantasized in a rather sour way.
Here, on the penultimate tablet, where the guy is carrying a paveza on his back - it’s clearly fantastic, he would have gotten tired of it with this fool on his back, despite the fact that she’s of little use. The Pavezes were placed on the ground to cover the positions of the crossbowmen, rather than playing turtle with them.
But, in general, there are not many errors in the book; it’s good for familiarizing yourself with the topic.
Encyclopedia of weapons and military clothing- a fundamental French publication covering the history of the development of weapons and military clothing from ancient times to the Second World War. The well-illustrated publication makes it possible to imagine what a soldier of any army in the world of any era looked like. This unique publication has no analogues, and the work carried out by the authors is striking in the coverage of the material and the detailed accuracy of the drawings.
The book is addressed to a wide range of readers interested in the history of the army and military uniform.
List of books:
Wars on the American continent. Volume 1
The first volume is devoted to the history, uniforms and weapons of infantry and naval soldiers who took part in the wars on the American Continent in the 17th - 19th centuries.
Wars on the American continent. Volume 2
This volume of the encyclopedia is dedicated to the history, uniforms and weapons of infantry and naval soldiers who took part in the wars on the American continent in the 17th-19th centuries.
World War II 1933-1941
This volume of the encyclopedia is dedicated to the history, uniforms and weapons of infantry, cavalry, armored forces and infantry aviation of France, Germany, Austria, the USSR, Czechoslovakia, Poland and Belgium. The book covers the period from 1933 to 1941.
World War II 1939-1943
This volume of the encyclopedia is dedicated to the history, uniforms and weapons of military personnel of the armies of Great Britain, Germany, France, Italy, Finland, Norway, Croatia, Slovakia, Bohemia and Moravia, as well as the Russian legions. The book covers the period from 1939 to 1943.
World War II 1943-1945
This volume of the encyclopedia is dedicated to the history, uniforms and weapons of the military armies of the United States, Japan, China, Denmark, the Netherlands, the Balkan states, and also to the development of military construction work in the armies of France, Great Britain, Germany, the USSR and Italy in 1943-1945. Particular attention is paid to the development of artillery and the Navy.
Europe XIX century. 1814-1850
This issue is dedicated to the history, uniforms and weapons of infantry, cavalry, engineering troops and artillery of European armies in the 19th century.
Europe XIX century. 1850-1900
This volume of the encyclopedia is dedicated to the history, uniforms and weapons of infantry, cavalry, engineering and artillery soldiers of European armies in the second half of the 19th century.
Europe XVIII century Volume 1
This volume of the encyclopedia is dedicated to the history, uniforms and weapons of cavalry and artillery soldiers of France, Great Britain and Prussia, as well as other European countries (including Russia) in the 18th century.
Europe XVIII century. Volume 2
This volume of the encyclopedia is devoted to the history, uniforms and weapons of the royal retinue and infantry in France, as well as the infantry of Great Britain and Prussia in the 18th century.
Napoleonic Wars 1805-1815. Volume 1
Napoleonic Wars 1805-1815. Volume 2
This volume of the encyclopedia is dedicated to the history, uniforms and weapons of the French, British, Prussian and Spanish armies during the Napoleonic Wars.
First World War 1914-1918. Volume 1
The first volume is devoted to the history, uniforms and weapons of infantry, armored vehicles and aviation of the countries that took part in the First World War.
First World War 1914-1918. Volume 2
This volume of the encyclopedia is dedicated to the history, uniforms and weapons of the cavalry, artillery, engineering troops and navy of the countries that took part in the First World War.
Russian army of the 18th-19th centuries
This volume of the encyclopedia is dedicated to the history, uniforms and weapons of soldiers of the Russian army in the 18th century.
Russian army of the 19th - early 20th centuries
This volume of the encyclopedia is dedicated to the history, uniforms and weapons of soldiers of the Russian army from 1801 to 1917.
Middle Ages VIII-XV
This volume is dedicated to the weapons of medieval warriors. Here we talk in detail about knightly armor, types of weapons, siege equipment and much more. The book is addressed to a wide range of readers interested in the history of the army and military uniforms.
Middle Ages. Renaissance era
This volume focuses on Renaissance weaponry and details the emergence of the first European standing armies, the development of firearms, and changes in bladed weapons and armor.
Year of issue: 2002-2007
Publisher: AST, Astrel
Liliana and Fred Funken, Alexander Chernushkin
Language: Russian
Pages: 2650
Format: PDF
Size: 1.04 Gb
Year of issue: 2002-2004
Genre: Encyclopedias, military history, uniformology
Released: Russia, Moscow, AST, Astrel
Language: Russian
Description:"Encyclopedia of Arms and Military Costume" is a comprehensive French publication covering the history of the development of uniforms and weapons from ancient times to World War II. A beautifully illustrated publication will give you the opportunity to imagine what a soldier of any army of the world of any era looked like. This unique publication has no analogues, and the work carried out by the authors is striking in the coverage of the material and the detailed accuracy of the drawings.
Add. Information
01. Wars on the American continent. Volume 1: Liliana and Fred Funken. Translation: A. A. Kitaytseva ISBN: 5-17-013233-6, 5-271-04111-5 2003
02. Wars on the American continent. Volume 2: Liliana and Fred Funken. Translation: A. A. Kitaytseva ISBN: 5-17-013233-6, 5-271-04111-5 2003
03. Second World War 1933-1941. Liliana and Fred Funken Translation: A. G. Kavtaskin ISBN: 5-271-04142-5 2002
04. Second World War 1939-1943. Liliana and Fred Funken Translation: A. G. Kavtaskin ISBN: 5-271-04371-1 2002
05. Second World War 1943-1945. Liliana and Fred Funken Translation: A. G. Kavtaskin ISBN: 5-271-04523-4 2002
06. Europe XIX century. 1814-1850. Liliana and Fred Funken Translation: I. G. Galkova, O. V. Dalina ISBN: 5-271-04661-3 2002
07. Europe XIX century. 1850-1900. Liliana and Fred Funken Translation: M. Yu. Krysin ISBN: 5-17-013232-8, 5-271-040447-X 2002
08. Europe XVIII century. Volume 1. Liliana and Fred Funken Translation: A. A. Kitaytseva ISBN: 5-17-017156-0, 5-271-05909-X 2003
09. Europe XVIII century. Volume 2. Liliana and Fred Funken Translation: I. G. Galkova ISBN: 5-17-017609-0 2003
10. Napoleonic wars 1805-1815. Volume 1. Liliana and Fred Funken Translation: A. A. Kitaytseva ISBN: 5-17-012786-3, 5-271-03851-3 2003
11. Napoleonic wars 1805-1815. Volume 2. Liliana and Fred Funken Translation: A. A. Kitaytseva ISBN: 5-17-012786-3, 5-271-03851-3 2003
12. First World War 1914-1918. Volume 1. Liliana and Fred Funken Translation: A. A. Kitaytseva ISBN: 5-17-0122254-3, 5-271-04370-3 2002
13. First World War 1914-1918. Volume 2. Liliana and Fred Funken Translation: M. B. Ivanova ISBN: 5-17-0122254-3, 5-271-04370-3 2002
14. Russian army of the 18th-19th centuries. Alexander Chernushkin ISBN: 5-17-021800-1 2004
15. Russian army of the 19th - early 20th centuries Alexander Chernushkin ISBN: 5-17-025105-X 2004
16. Middle Ages VIII-XV Liliana and Fred Funken Translation: N.P. Sokolov ISBN: 5-17-014496-2 2002
17. Middle Ages. The Renaissance Liliana and Fred Funken Translation: M. B. Ivanova ISBN: 5-17-014796-1 2002
Click to close spoiler: Additional. Information
Format: PDF
Quality: Scanned pages
Sheet dimensions:~ 205x270 mm
Number of pages: 17 x ~ 154
Size: 1.04 GB
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