Tag Archives: Weapons

Japan Samurai. Traditional Process of donning Armor.

Japan Samurai, Japanese Warriors, Plate Armor, Vibrant Undergarment, Longbow, Swordsman, Traditional Process of Donning Armor

Japan Samurai. Traditional Process of donning Armor.

Japan Samurai. Traditional Process of donning Armor.

The process of putting on a full suit of armor. Illustration by Auguste Racinet.

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Hunting crossbows of the 16th century. Renaissance era.

Hunting crossbows. 16th century weapons. Renaissance armor.

Hunting crossbows of the 16th century.

Hunting crossbows of the 16th century.

Renaissance era.

Arbalètes de chasse, du XVIe siècle. (Dessin de Calenacci d’après une photographie de Franck)

From the book: Costumes civils et militaires des Français à travers les siècles. 1883. Author: Jean Baptiste Marie Augustin Challamel. Engraver: Meunier, Jean-Baptiste. Ouvrage couronné par l’Académie francaise.

Associated to:

  1. Offensive and defensive armor and weapons.
  2. Life-size warrior figures in full armor and equipment. 
  3. Accessories firearms and offensive weapons. 16th century.
  4. German blackened steel armor. Renaissance weapons.

The shields of the Gauls. Clans in the Roman Empire.

Leather covered Highland Shield Target. Ancient Celtic shields. Gaul weapons

Above: Leather covered Highland Target. Below: Steel Target that belonged to the Earl of Mar, 1715.

Shield of Gallic, British, German and Iberian auxiliary Regiments. Clans in the Roman Empire.

The shield of the Gauls.

The shield of the Gauls, according to Strabo and Virgil, was usually long, and the Ligurians carried one of the same form. In sculpture, we perceive the Germans with an oval shaped buckler of ample dimensions. Tacitus admits it was large, but suited to the size of the bearer. Continue reading

Renaissance Armor. Closed helmet with visor. 1500-1550.

Renaissance Armor. Closed helmet with visor.

Closed helmet with visor. 1500-1550.

Renaissance Armor. Closed helmet with visor. 1500-1550.

 Europa (Provenance unknown). Yelmo cerrado, y con visera. 1500-1550.

Source: Galería del Arte Decorativo: Enciclopedia Universal de Trajes, Armas, Muebles, Arquitectura, Útiles Domésticos y Ornamentación de Todos los Tiempos. Editor: J. Aleu Fugarull, Barcelona 1824.

Spanish armor or corselet of the 16th century.

Spanish Armor, Renaissance. Corslet 16th century

Spain Armor of the sixteenth century.

Spanish armor or corselet of the sixteenth century.

Spain Renaissance. Middle armor or corslet of the sixteenth century. España. Media armadura ó corselete del siglo XVI.

Source: Galería del Arte Decorativo: Enciclopedia Universal de Trajes, Armas, Muebles, Arquitectura, Útiles Domésticos y Ornamentación de Todos los Tiempos. Editor: J. Aleu Fugarull, Barcelona 1824.

Italian Armory from Turin. 16th century.

Renaissance Breastplate chiseled. Italian Armory. 16th century.

Italian Armory from Turin. 16th century.

Italian Armory from Turin. 16th century.

Europe. Breastplate chiseled and maqueada. Sixteenth century. Armory Turin. Coraza cincelada y maqueada del siglo XVI. Armeria de Turin.

Source: Galería del Arte Decorativo: Enciclopedia Universal de Trajes, Armas, Muebles, Arquitectura, Útiles Domésticos y Ornamentación de Todos los Tiempos. Editor: J. Aleu Fugarull, Barcelona 1824.

Venetian Helmet. 17th Century

XVII Century Helmet. Venetian manufactures. Defensive weapons. Armor Baroque Soldier.

17th Century Helmet.

Venetian Helmet. XVII Century.

Venetian manufactures. Collection of the Emperor Napoleon III. Defensive weapons. Helmet. Baroque period. XVII Siècle. Fabrique Vénitienne. Collection de l’Empereur Napoleon III. Armes Défensives. Casque.

This fine show, or state-helmet has a Venetian orign and was a part of the fine collection of arms of emperor Napoleon III. Its general shape is that of the Italian sallets in the XVth. century. The crest, showing the Venice lion springing out of a fortress, and the ornaments in the form of foliages, are in gilt bronze, from a full cast. The whole ornamentation, of a very decorative effect, is put upon a ground of red velvet and ornaments stands a shell of polished steel. No withour hesitation do we give to this caque the date of the ≈√⁄th century; on might perhaps bring it back up the end of the XVth., considering, the forward state of the Italian art at this epoch. Be it as it may, it is a fine work and of a grand style, wich it is possible to produce again, tha is true, but wich may still become a teaching to many a sculptor and historical painter.

To the gilt ornaments cut more value is given from this calculated opposition, and they moeover contribute to give the richness and eclat wich are the chief meri of the object.