Difference between revisions of "Pictures"

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(Added Armor Requirements diagram)
(Removed Heinlein pictures to "Basement")
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# Colichmarde with silver hilt, temp. Charles II.
 
# Colichmarde with silver hilt, temp. Charles II.
 
# Small sword, temp. George I.
 
# Small sword, temp. George I.
 
 
==Robert Heinlein's house in Colorado Springs==
 
 
You wouldn't think a world-famous science fiction writer would have much to do with SCA rapier, but bear with me for a moment.
 
 
In 1962, Robert Heinlein published a novel called ''Glory Road''. It was a mix of  swords-and-sorcery and science fiction. Reading--and re-reading--that book (along with some others, like ''The Lord of the Rings'' and Roger Zelazny's ''Nine Princes in Amber'' and ''Lord of Light'') was a major influence on my interest in swordplay in high school, and was a major reason why I joined the fencing club when I went to college. That, in turn, led to my joining the SCA almost as soon as I found it, and pushing for the development of rapier combat.
 
 
 
These are pictures of the house where Heinlein lived when he wrote ''Glory Road''. We took them while playing tourist in Colorado Springs over Spring Break, 2010.
 
 
<center>[[Image:Heinlein address Spring Break 2010.jpg|300px|thumb|center|The address plate.]]</center> Note that this is the same one shown at the beginning of Chapter 7 of Heinlein's ''Grumbles From the Grave''. Nice to see it's still there, almost fifty years later.
 
 
 
<center>[[Image:Heinlein House Spring Break 2010.jpg|300px|thumb|center|The house itself.]]</center> It has been modified quite a bit from the structure Robert Heinlein [http://www.google.com/books?id=XNwDAAAAMBAJ&pg=PA65&source=gbs_toc_pages_r&cad=0_1#v=onepage&q=&f=false designed] and built in the early 1950s, and it appears that further renovations are happening now. (The house was listed for sale last year, presumably the new owners are fixing it up.)
 
 
 
<center>[[Image:Heinlein yard Spring Break 2010.jpg|300px|thumb|center|The front yard.]]</center> In Chapter 7 of ''Grumbles'' Heinlein mentions doing rock work ("Project Stonehenge" and becoming a two-wheelbarrow family) and building ornamental ponds at this house. Here is the first pond, the rock work is mostly hidden in the snow.
 
 
 
<center>[[Image:Colorado Springs scenery Spring Break 2010.jpg|300px|thumb|center|Scenery just west of Heinlein's house.]]</center> It snowed off-and-on most of the day; not enough to be a driving hazard, but enough to make the place look pretty.
 
 
 
<center>[[Image:Pike's Peak Spring Break 2010.jpg|300px|thumb|center|Pike's Peak the following morning, with a fresh blanket of snow.]]</center>
 

Revision as of 12:08, 21 June 2010

Elisabethan pictures

Queen Elisabeth attends a wedding in Blackfriars.

Blackfriars.jpg

This is one of my favorite Elisabethan pictures. It's clear evidence that rapiers weren't just for street thugs or pirates. Starting at the left we have Edmund Sheffield, later Earl of Mulgrave, in pink; Thomas Howard, Lord Howard of Effingham and Lord Admiral in white; George Clifford, Earl of Cuimberland, in orange; Henry Carey, Lord Hunsdon, in a dark cloak with brown canions; an unknown knight (possibly Robert Radcliffe, Earl of Sussex--also shown below--in white); and Gilbert Talbot, Earl of Shrewsbury, in green and carrying the Sword of State. Note that all of these men are Knights of the Garter, England's most prestigious order of knighthood, as is the figure in the foreground, Edward Somerset, the Earl of Worcester.

The fellows with the polearms lining the parade route are the Gentlemen Pensioners, Her Majesty's bodyguard.


Another Elisabethan favorite, the Pelican Portrait.

Pelican portrait.PNG


Tourney Toys

Were rapiers used in tournaments? I've yet to find conclusive evidence.

Robert Radcliffe, Earl of Sussex, armed for combat at the barriers.

This is one of several pictures suggesting that rapiers might have been used in Renaissance tournaments. The original is on display at the Royal Armoury in Leeds.

There is a similar picture in the National Gallery in London. if you go here and type "Moroni knight" in the search box, it's the top image. If you click on that image and then "zoom" you get a *very* nice page that allows you to scroll across the image to get lots of details. The picture is dated 1554-58. (It's copyrighted by the National Gallery, so I can't put the image itself here, but it's well worth a look.)


Here's another suggestive image, taken from the Valois Tapestries of the early 1580s.

Valois Tapestry barrier color closeup.PNG

While the fighters are wearing rapiers, they're actually fighting with spears.

The entire tapestry can be seen here



But on the other hand, there are these sketches of Elisabethan tournaments:

Elisabethan tournament0001.jpg


Combat at the barriers. Note that the swords used do not look like rapiers. Note also the baskets of extra swords to either side. This suggests that the fighters are using wooden wasters, not steel blades.


Elisabethan tournament0003.PNG


More Elisabethan barrier combat. Note the screen in the background. It was set up to protect Her Majesty from flying splinters--another indication that the fighters were using wasters instead of metal swords. (Note also that the fighter in the foreground is fighting left-handed.)


Elisabethan tournament0002.PNG

The entire picture from which the previous image was taken. Tilt, tourney (mounted sword against sword) and barriers (spear and/or sword.) This was the standard format for Elisabethan tournaments.


Mask drape

This is a technique I've used ever since the rules were changed back in AS XIV (1979) to include covering the back of the head. Instead of a separate hood worn under my mask, I attach the hood directly to the mask. The major advantage is that once I take the mask off, my entire head is free to enjoy the balmy Ansteorran breezes. The only disadvantage of this technique is that you have to have a fairly high collar on your doublet to prevent blades from sliding under the edge of the mask drape and hitting skin.

Mask drape front and right.PNG

View of the front and right side. Note that the hood is sewn to the back edge of the mask. That means there is no fabric covering my ears or the sides and top of my head--again, slightly cooler than a hood. You can also see the strap I use to keep the mask in place.


Mask drape rear and left.PNG

View of the back and left side. Since the cloth is sewn to the inside of the mask, there is no rim of fabric to catch a blade tip as it slides by. You can also see the snap hook and D-ring I use for fastening my mask. This gives a nice, secure fit, but can be unfastened quickly and easily, even when wearing gloves.


Armor Requirements

Torso protection.PNG

A reasonably accurate (but not "official") diagram of what armor is required for various parts of the body in SCA rapier combat.


Women in duels

Here are several similar images from combat manuals of the fifteenth and sixteenth centuries. The common themes are that the male combatant has limited mobility--he's either in a hole in the ground or, in the last image, in a large bucket--and that the woman is using some sort of flail weapon. Talhoffer describes it as a 4 or 5 pound rock either in her sleeve or her veil.

Solothurner Fechtbuch 1423 a.PNG

From the Solothurner Fechtbuch (or "Fight-book) of 1423. In this instance, the man appears to be unarmed, but obviously still able to defend himself.


Talhoffer 1467.PNG

A couple of very similar images from Talhoffer's Fechtbuch of 1467. This one is described as being a duel between a husband and wife.


Talhoffer, 1459.PNG

Another image, from the 1459 edition of Talhoffer.


Unknown combat picture.PNG

A slightly different method here. Unfortunately, the website where I found this gives no indication of what it is, or where it comes from. Judging by the woman's dress, I'd guess mid-1500s.


Period Practice Weapons

This is a practice rapier belonging to Don Hans Durmast von der Wanderlust. When he bought it, the tip has a rounded point slightly wider than the blade itself--roughly the size and shape of a grape. He has since sharpened it.

Dormouse practice rapier.PNG


A main gauche and a practice main gauche on display at the Metropolitan Museum of Art in New York. Note how the practice dagger blade resembles a modern flexidagger. Judging by the hilt design, I'd say these are from around 1620.

Dagger and Practise Dagger Met.PNG


An Italian practice rapier from around 1580, on display at the Royal Armoury in Leeds. The blade has a rectangular cross-section, somewhat like a modern Italian foil. Note the pyramid-shaped button on the tip.

Italian Practice rapier.PNG


Long Rapiers

A selection of blades from Egerton Castle's "Schools and Masters of Fence." Note especially items 7 and 9, a couple of rapiers that are nearly as long as the great sword, item 5.

Here is Castle's description of the various blades:

  1. Sword, early fourteenth century, with plain cross hilt, stiff double edged blade and disk pommel.
  2. Ancient Gothic two-handed sword (attributed to Wallace.)
  3. Italian sword, end of fifteenth century, with square Venetian pommel, quillons horizontally counter-curved, and long flat blade.
  4. Braquemar, middle sixteenth century, with short broad blade, incurved quillons, imperfect pas d'ane and broad side ring.
  5. Two hander, early sixteenth century, with long blade (5' 1") and extraordinarily long quillons. Inscribed "Je pense plus." [I think more.]
  6. Elisabethan rapier, close of sixteenth century.
  7. Italian rapier , close of sixteenth century, with ringed guard and blade of prodigious length (5' 5".)
  8. Elisabethan rapier, (blade 4' 2".)
  9. Rapier with conventional bar hilt (blade 5' 1" long.)
  10. German rapier, close of sixteenth century, showing straight quillons, with side ring, pas d'ane and shells.
  11. Rapier, first years seventeenth century, with small hilt, showing an approach to the Transition shape.
  12. Italian flamboyant sword. Hilt without pas d'ane.
  13. Venetian schiavona, with Spanish blade inscribed "Un Dios, una Ley, un Rey." [One God, one Law, one King.] Date about 1570.
  14. Venetian schiavona, with Spanish blade inscribed "Viva el Rey de Espana." [Long live the King of Spain.] Date, about 1580.
  15. Venetian schiavona in its original sheath. Date about 1580.
  16. Venetian schiavona, 1590.
  17. Italian basket-hilted sword, by Andrea Ferrara.
  18. Transition rapier, early seventeenth century.
  19. Broadsword, temp. Charles I. Blade by Andrea Ferrara.
  20. Long horseman's sword (claymore) middle seventeenth century.
  21. Rapier or spadroon without pas d'ane, middle seventeenth century. Blade inscribed "Sahagum."
  22. Broadsword, latter part of seventeenth century, by Abraham Stamp, Solingen.
  23. Colichmarde with silver hilt, temp. Charles II.
  24. Small sword, temp. George I.