Nuremberg Chronicle; depictions of edged weapons from the late 15th Century

[M ELEY]

Absolutely incredible reference material from this time period, Shayde! Thank you so very much for posting it! It is not only a monstrously important volume due to its historical reference, but also an incredible work of art! I am fascinated (and, at times, shocked!) by the graphics being depicted. The army riding their horses through a sea of blood on the battlefield certainly sticks with me!

[Mel H]

Originally Posted by M ELEY

Absolutely incredible reference material from this time period, Shayde! Thank you so very much for posting it! It is not only a monstrously important volume due to its historical reference, but also an incredible work of art! I am fascinated (and, at times, shocked!) by the graphics being depicted. The army riding their horses through a sea of blood on the battlefield certainly sticks with me!

While I would agree that there is a lot of savagery included there, I think that the 'blood' is probably intended to be the Waves of the Red Sea, closing on the pursuers, after being parted by Moses.

[shayde78]

Originally Posted by Mel H

While I would agree that there is a lot of savagery included there, I think that the 'blood' is probably intended to be the Waves of the Red Sea, closing on the pursuers, after being parted by Moses.

Quite right, Mel!

[M ELEY]

Of course!! Forgot my Old Testament for a minute there!

[Ian]

Shayde78,

Excellent source material, and I agree with previous commenters that this is of important historical context. I'm wondering if someone might eventually take your pictures, crop, edit the contrast etc, rotate (as necessary), and put them up as a PDF compendium. Perhaps the owner of this site, Dr Lee Jones, might then include the PDF file on one of the static pages where they could be found easily. Just a thought.

Ian

[Philip]

Originally Posted by Mel H

While I would agree that there is a lot of savagery included there, I think that the 'blood' is probably intended to be the Waves of the Red Sea, closing on the pursuers, after being parted by Moses.

The text clarifies things, and it was quite clever of the artist to paint the Red Sea the appropriate color -- after all this work probably had a didactic purpose, to teach Bible stories in a simple and straightforward way in an era in which the level of literacy was not high. In the same way that stained glass windows in churches often presented some of the same narratives in a medium and on a scale more appropriate to large public spaces.

It's fortunate for the arms and armor researchers of later times that the medieval and Renaissance artists were in the habit of depicting Biblical characters in the style of their own eras, rather than going for an archaistic approach. Appropriate, since with the exception of ancient statues, the body of available archaeological material was much more limited than that discovered from the 18th cent. until today. Considering the contemporaneous nature of the depictions, representations in art are an invaluable help to us today in determining a chronological and ofttimes geographical context to surviving objects.

[Mel H]

Originally Posted by Philip

The text clarifies things, and it was quite clever of the artist to paint the Red Sea the appropriate color -- after all this work probably had a didactic purpose, to teach Bible stories in a simple and straightforward way in an era in which the level of literacy was not high. In the same way that stained glass windows in churches often presented some of the same narratives in a medium and on a scale more appropriate to large public spaces.

It's fortunate for the arms and armor researchers of later times that the medieval and Renaissance artists were in the habit of depicting Biblical characters in the style of their own eras, rather than going for an archaistic approach. Appropriate, since with the exception of ancient statues, the body of available archaeological material was much more limited than that discovered from the 18th cent. until today. Considering the contemporaneous nature of the depictions, representations in art are an invaluable help to us today in determining a chronological and ofttimes geographical context to surviving objects.

I learned a little German many years since and can sometimes pick my way through text, I was a little surprised at the clarity / readability of the 15th, C. 'gothic' script used in this document, when compared with the later gothic found in German books of the late 19th, C. which seems to have become deliberately over complicated with the passage of time.

[shayde78]

Thank you everyone for the positive feedback.

Apologies for the delay, and for the rotated orientation of some of the images. When I post them from my laptop, they appear right-side-up. However, when I look at this thread on my phone or tablet, the orientation is rotated.

I am entirely agreeable to Ian's suggestion, and am happy to send the images to a moderator in PDF format to be posted a single reference. Whoever would like the task, PM me and we can figure it out.

I'll post the remaining images in sets below.

Again, I am keeping these in the order that hey appear in the text. If anyone wants to pull out specific images to discuss, feel free once I'm done posting.

All told, there are about 70 images (my initial count was off as I had some duplicate pictures and some I noticed upon closer inspection were of flag poles, vs. spears, and the like).

Oh, the fifth picture of this post contains an image of fortifications outside the main gate of a city/town. I included because I'm curious what is being represented. Not quite an edged weapon...but related, right?

The ninth picture is the one with the executioner swinging a two-handed sword that may depict a blunt tip. Again, this could just be a fault in the engraving, but the fact that such swords were often rebated caused me to make note of this

The last picture of this set shows utilitarian knives of the era. In researching this image, I believe the saint (sorry, I cut off his full portrait) is one associated with leather workers and bookbinders. Often, this saint was depicted with a flayed hide, sometimes a human hide. Grisly, but such was life at this time.

[shayde78]

The martyrdom of Saints is a frequent Medieval theme. I know we don't typically discuss some of the more ghastly applications of the arms we collect, but this still has value as source material.

[shayde78]

The 9th picture of this set is an image that is used again in a picture in the next set that is identified as an 'Ottoman'. The clothing looks like Robin Hood, to me, but the sword at the waist says otherwise.

[Philip]

Originally Posted by shayde78

The martyrdom of Saints is a frequent Medieval theme. I know we don't typically discuss some of the more ghastly applications of the arms we collect, but this still has value as source material.

In the long centuries when books were scarce and literacy rates were low, pictures were an important teaching tool. The clergy could read about saints in hagiographies, their congregations absorbed a lot of the information via sermons and graphics. And we are aware that sensationalism always grabs peoples' attention!

Looking at church art in various Italian cities, I was always impressed by the fact that some martyrdoms were more frequently depicted than others, it perhaps requires inquiry as to whether the lives or achievements of those saints had particular relevance to the problems that people of the era were most concerned with. For instance, one can hardly miss paintings or sculptures of St. Sebastian shot with arrows (someone researching crossbows and their spanners can learn a bit about their development from dated artworks showing them), St. Catherine and the spiked wheel (usually shown broken to illustrate the triumph of right over wrong), St. Barbara (patroness of ordnance workers and cannoneers) holding a model of the tower in which her pagan father imprisoned her before her death).

The association between saints and their particular demises, being a theme in religious art, has affected other aspects of culture. Hence the term "Catherine wheel" as a name for a particular type of pyrotechnic device (and a number of pubs in Britain, including one in Kensington, London). And the gridiron on which St. Lawrence was roasted alive providing the groundplan for the enormous palace/mausoleum complex "El Escorial" built by the Spanish Habsburgs near Madrid.

[Philip]

Originally Posted by shayde78

Oh, the fifth picture of this post contains an image of fortifications outside the main gate of a city/town. I included because I'm curious what is being represented. Not quite an edged weapon...but related, right?

The ninth picture is the one with the executioner swinging a two-handed sword that may depict a blunt tip. Again, this could just be a fault in the engraving, but the fact that such swords were often rebated caused me to make note of this

.

The spiky things outside the gate are cavalry repellant -- chevaux-de-frise or "Friesland horses" as they became known in France. I don't know the reason why the French tied them to this particular geographic location since am not sure exactly when and where they were invented. Typically they were arranged to block mass cavalry charges, since horses are understandably shy about having their tummies poked. In this case they would work fine for impeding footsoldiers en masse, too, since they would be forced to bunch up to access the approach footpaths, making them easier targets for the defenders.

The tip of the headsman's sword does appear to be blunted, but am not sure whether this might be due to it being clipped by the margin of the picture. After all, the image of St. Lucia stabbed through the neck (appearing elsewhere) shows the sword without a point because it falls at what would be the margin.

You might be interested in checking out Donald J. LaRocca's article, "The Renaissance Spirit" in the anthology Swords and Hilt Weapons (ed. Michael Coe), p 52. A woodcut by Hans Burgkmair (1473-1531) from the biography Der Weisskunig (Emperor Maximilian I) shows the headsman about to do his work on a victim kneeling atop the scaffold, and his sword clearly has a point. The blade's contour also has a distinct taper, like Oakeshott Type XII or XIII, not the parallel-edged or subtly widening shape of the "classic" Germanic heading-sword blade (incidentally, also used in Poland and Hungary.)

[Philip]

Two pages up from the first appearance of our Ottoman friend, you can see on the left side something that at a hurried glance might appear to be a dagger, but is actually a socketed spearhead. The actual relic has been preserved in the Hofkammer at Vienna for centuries, it was once the property of the Holy Roman Emperors.

This object, by tradition, is the head of the Roman spear that pierced the side of Christ during the Crucifixion. It has been broken ages ago, and repaired with wire using an iron spike at midpoint, which is held to be one of the nails pulled out of the True Cross. I'll leave it to the experts on ancient Roman military equipment to comment on the historicity of the spearhead's design.

I have read somewhere that in some of the literature, this spearhead has been referred to as the Spear of St. Maurice. Interesting, since in the Armeria Reale di Torino is a sword that is traditionally venerated as La Spada di San Maurizio. St. Mauritius/Moritz/Maurizio was a Roman soldier who lived early in the imperial period, converting to Christianity and being martyred as a result. The sword, unfortunately, does not fit his bio since it is a far cry from a gladius or even a spatha; it is a typical north European knightly sword of late Viking type, Oakeshott Type X. Still well worth a visit if you're in town -- in remarkable condition for one of these, with scabbard and a polychromed fitted wooden case for the whole.