Armour Of The English Knight

Despite the profusion of knightly effigies created between c. 1240 and c. 1330 for tombs throughout the British Isles, these commemorative figures are relatively unknown to art historians and medievalists. Until now, their rich visual impact and significance has been relatively unexplored by scholars. In this study, Rachel Dressler examines this category of sculpture, illustrating how English military figures employ a visual language of pose, costume, and attributes to construct a masculine ideal that privileges fighting prowess, elite status, and sexual virility. Like military figures on the Continent, English effigies represent knights wearing chain mail and surcoats, and bearing shields and swords; unique to the British examples, however, is the display of an aggressive sword handling pose and dynamically crossed legs. Outwardly hyper masculine, the carved figures partake in artistic subterfuge: the lives of those memorialized did not always match proffered images, testifying to the changing function of the knight in England during the thirteenth and early fourteenth centuries. This study traces the development of English military figures, and analyzes in detail three fourteenth-century examples-those commemorating Robert I De Vere in Hatfield Broad Oak (Essex), Richard Gyvernay at Limington (Somerset), and Henry Allard in Winchelsea (Sussex). Similar in appearance, these three sculptures represent persons of distinctly different social levels: De Vere belonged to the highest aristocratic rank, where Gyvernay was a lesser county knight, and Allard was from a merchant family, raising questions about his knightly standing. Ultimately, Dressler's analysis of English knight effigies demonstrates that the masculine warrior during the late Middle Ages was frequently a constructed ideal rather than a lived experience.

The 'knight in shining armour' has become a staple figure in popular culture, and images of bloody battlefields, bustling feasting halls and courtly tournaments have been creatively interpreted many times in film and fiction. But what was the medieval knight truly like? In this fascinating title, former Senior Curator at the Royal Armouries Christopher Gravett describes how knights evolved over three centuries of English and European history, the wars they fought, their lives both in peacetime and on campaign, the weapons they fought with, the armour and clothing they wore and their fascinating code and mythology of chivalry. The text is richly illustrated with images ranging from manuscript illustrations to modern artwork reconstructions and many photographs of historic artefacts and sites.

From a "New York Times"-bestselling author and today's most admired storyteller, here is an unforgettable tale of a most miraculous love affair: a meeting of passion, wit, and true romance between a thoroughly modern woman--and a man who lived 400 years before.

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One handsome paper soldier, accompanied by historically accurate suits of armor for a German knight (ca. 1250), an Italian knight (ca. 1450), 2 others.

The 15th century was a time of change for knighthood. Knights no longer fought for their lords in return for land, since the feudal summons had long before given way to a system of contracts. Moreover, many knights now preferred the role of landowner, man-about-town or parliamentary representative. However, this was also the age of the knight in plate armour, of the battle of Agincourt and the conquests of Henry V, and of the Wars of the Roses, the bloody internecine struggle that tore medieval England apart. In this title Christopher Gravett describes the life of a 15th century knight, his equipment and experiences from his earliest days as a squire through to his experiences on the battlefields of England and France.

Maximilian I (1459–1519) skillfully crafted a public persona and personal mythology that eventually earned him the romantic sobriquet “Last Knight.” From the time he became duke of Burgundy at the age of eighteen until his death, his passion for the trappings and ideals of knighthood served his worldly ambitions, imaginative strategies, and resolute efforts to forge a legacy. A master of self-promotion, he ordered exceptional armor from the most celebrated armorers in Europe, as well as heroic autobiographical epics and lavish designs for prints. Indeed, Maximilian’s quest to secure his memory and expand his sphere of influence, despite chronic shortages of funds that left many of his most ambitious projects unfinished, was indomitable. Coinciding with the 500th anniversary of Maximilian’s death, this catalogue is the first to examine the masterworks that he commissioned, revealing how art and armor contributed to the construction of Maximilian’s identity and aspirations, and to the politics of Europe at the dawn of the Renaissance. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}