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Elling Polden
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Posted: Wed 11 Apr, 2012 4:01 pm Post subject: |
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José-Manuel Benito wrote: | From the article «The armor of Don Alvaro de Cabrera», by Stephen V. Grancsay (The Metropolitan Museum of Art Bulletin, 1952). |
Interesting.
The shield would probably be moorish influence.
It is also worth noting that he has his hand in the shield strap: The knightly heater is most commonly hung from the guige, leaving the left hand free for the reins.
Being able to ride with the shield griped might be the reason he has chosen this style.
"this [fight] looks curious, almost like a game. See, they are looking around them before they fall, to find a dry spot to fall on, or they are falling on their shields. Can you see blood on their cloths and weapons? No. This must be trickery."
-Reidar Sendeman, from King Sverre's Saga, 1201
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Johan Gemvik
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Posted: Wed 11 Apr, 2012 4:39 pm Post subject: |
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Maybe it's an Evil knight?
But seriously, a lot of infuleces were brought back from the early crusades, why not round shields? Eastern in origin doesn't mean they were never used or made in europe.
"The Dwarf sees farther than the Giant when he has the giant's shoulder to mount on" -Coleridge
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Adam Smith
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Posted: Wed 11 Apr, 2012 5:12 pm Post subject: |
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I have been following some of the discussions on this site for about eight years and have noticed that some ancient art is revered as absolute gospel while others are dismissed as artistic license or fantasy. In my opening sentence I include all effigies , tapestries , wood carvings , stone carvings, paintings, bible manuscripts, etc.
I will admit openly that I have been berated by the moderator for some of my my posts in past because they were deemed too harsh or straight forward. Long ago I thought that this site was about personal opinion as long as it was civilized but I have good reason to think other wise now.
Why are some depictions in ancient art used as absolute and accurate models for modern reconstruction?
Why are others in some cases of a similar period dismissed as fantasy?
How can we possibly conclude that all the arms and Armour in the world that have been lost forever looked just like the pieces that survive?
Do some of you believe that long ago it was unacceptable to be armed with a round shield instead of a whatever shape was "historically accurate" for that age?
If you dismiss certain depictions of history at will are you not re righting it in your own opinion?
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Elling Polden
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Posted: Wed 11 Apr, 2012 7:13 pm Post subject: |
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Adam: As a historian you can never know things for certain. However, you can find out what is likely based on the sources you have on hand.
Let us take the example at hand. We have quite a lot of sources on arms and armament in the high middle ages. Many of them are very similar. This would lead us to belive that this was the acepted image of a warrior looked. Mail armour, kite or heater shield, coif and helmet (Pointed, cervilere, kettlehat or one of the various varieties of great helm)
Then we have some anomalies, which show people in other equipment. This is remarkable, since most high medevial sources are very uniform.
Now, we have to look at what we know and try to figure out why these warriors are drawn diferently. Most commonly, they turn out to be depictions of some kind of heathen, and thus are distinguished by diferent equipment.
However, the artists have no direct experience with heathens, so they start out with the familiar figure, and add cliche features. Round shield, pointed helmet. In the late middle ages it becomes known that the heathens use single edged swords, prompting western artists to start depicting them with (often oversized) european falchions.
So it's not that the depictions are wrong. They are accurate depictions of how the drawer imagined a contemporary heathen. They are just not showing a western european knight.
In the depictions of contemporary events and actual persons, however, you do not generally see these items. Which is why the picture José-Manuel poste was so interesting.
It should also be noted that the uniformity of the sources is especially noticable in the high middle ages. In the late middle ages, you see a lot more variation in equipment, Including shields.
"this [fight] looks curious, almost like a game. See, they are looking around them before they fall, to find a dry spot to fall on, or they are falling on their shields. Can you see blood on their cloths and weapons? No. This must be trickery."
-Reidar Sendeman, from King Sverre's Saga, 1201
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Chad Arnow
myArmoury Team
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Posted: Wed 11 Apr, 2012 8:37 pm Post subject: |
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Adam Smith wrote: | I will admit openly that I have been berated by the moderator for some of my my posts in past because they were deemed too harsh or straight forward. Long ago I thought that this site was about personal opinion as long as it was civilized but I have good reason to think other wise now. |
I urge you to let bygones be bygones. We don't need to rehash a 3 year old incident, especially one blown out of proportion. If you have any more to say about this, please direct it to me privately.
Quote: | Why are some depictions in ancient art used as absolute and accurate models for modern reconstruction?
Why are others in some cases of a similar period dismissed as fantasy?
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I'm seeing this same issue. Some folks seem to love period art when it reinforces their position and shun it when it doesn't. Mainstream scholars, including museum curators, regularly reference period art to fill in gaps in written and archeological records. People much more learned than me turn to it as a resource, and I'm not willing to say I know more than they do.
Yes, you have to take some of it with a grain of salt. The ease with which helms are split in art serves to advance the story being told to a largely illiterate audience more than it serves as a reference to a helm's real defensive abilities. Yes, ancient figures are typically depicted in contemporary dress. People of that era had little time or use for archeology, so depicting people in contemporary dress is practical and helps keep things relatable to the audience. Anthropology? Not around in any meaningful way, so foreign cultures often ended up being depicted as odd variants of standard Euro patterns by the monks/artists drawing them (who likely had no firsthand knowledge of the peoples being depicted).
You'll find similar reality inflations/conflations in textual accounts. Are they to be discounted as easily as art sometimes is?
To get any sort of reasonable picture of the past, you have to combine study of art, writings, and surviving specimens. Each record is incomplete and hard to fully understand by itself. By studying them together, the picture becomes more clear. Discounting period art altogether is foolhardy, in my opinion. Use it to fill in some of the gaps in the written and archeological record. Use the archeological record and textual accounts to fill in the gaps and better explain the things we see in period art. Etc.
ChadA
http://chadarnow.com/
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José-Manuel Benito
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Posted: Thu 12 Apr, 2012 4:27 am Post subject: |
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I have to say I share the misgivings of Adam Smith. Indeed, many of us use artistic expression to reinforce our ideas when both match; and, at the same time, we reject it, as fanciful, they do not fit into our paradigm. We drag this paradox.
We have to recognize that the realities we want to reenact are much more complex than we can ever know. But I think we should not turn this topic into a discussion of the validity of the art forms, as sources of inspiration (is a theme too broad, and does not respect the wishes of the creator of this thread). I think we should try to learn about an issue at a time, now on the shields.
So, back to topic: I put a picture of a twelfth-century fresco from a Spanish chapel (San Baudelio de Berlanga, Soria) in which is depicted an old man with a spear and an adarga. I can not say that, in this case, represents someone evil, but we're seeing the short arms of a Castilian peasant when called to war ("apellido", "fonsado"…). No horse, no armour, no helmet or sword, only a shield and a spear.
Regards
NB.: I know very little about nothing; I test my limited knowledge in this forum exposing my ideas; I also speak very bad English. I have to thank other members so they learn from their contributions.
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Thomas R.
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Posted: Thu 12 Apr, 2012 1:28 pm Post subject: |
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Hmm, looks to me more like the depiction of a Saint. Don't know which ones are shown with spear and shield... could be a roman martyr?
Thomas
http://maerenundlobebaeren.tumblr.com/
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Elling Polden
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Posted: Thu 12 Apr, 2012 5:09 pm Post subject: |
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Iberia has a interesting mix of weapons and styles which differ from northwestern Europe.
It is posible that such round shields where in use there.
As far as I can see, the shield has no boss, so it would have to be a strapped shield.
I am not that familiar with the Iberian sources, though, so it is hard to say how this compares to the others.
"this [fight] looks curious, almost like a game. See, they are looking around them before they fall, to find a dry spot to fall on, or they are falling on their shields. Can you see blood on their cloths and weapons? No. This must be trickery."
-Reidar Sendeman, from King Sverre's Saga, 1201
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William P
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Posted: Thu 12 Apr, 2012 7:17 pm Post subject: |
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theres one effigyy that shows a roundshield, i have a drawing of it
in my christopher gravett book.
it says 'stothards drawing of an unusual effigy from the great malvern priory, worcestershire. the pickaxe and circular shield may denote a champion in trial by battle but equally may suggest a mkan kitted for lighter work on the welsh borders,. doesnt say what year its dated to but its in the section on the knight of the 13th century. so i assume its dated to that century.
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