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12th October 2020, 01:09 PM
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#31 |
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Member
Join Date: Nov 2013
Posts: 107
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Nice graphic. Perhaps you need to add a blind ( decorative } rivit head at the point of your red arrow to make it clear that the rivit head you see on the outside of the tail isn't the same as the one securing the leather . Except at the top and bottom of the articulated section. Although the center strap isn't strictly speaking necessary the assumption is that the springiness of the leather helped the lames to fold in an orderly fashion and not get stuck or rattle around.
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12th October 2020, 06:04 PM
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#32 | ||
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Member
Join Date: Apr 2017
Location: Sweden
Posts: 447
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Quote:
Quote:
This is great. I feel I learned so much about a hitherto neglected part of an object from my perspective. Now I know more what to look for when I next handle armour, especially Zischägge. Last edited by Victrix : 12th October 2020 at 07:13 PM. |
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12th October 2020, 07:10 PM
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#33 |
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Lead Moderator European Armoury
Join Date: Dec 2004
Location: Portugal
Posts: 8,009
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For some relaxation, let me show how an artist views a functional nasal bar.
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12th October 2020, 07:16 PM
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#34 |
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Lead Moderator European Armoury
Join Date: Dec 2004
Location: Portugal
Posts: 8,009
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And in case you don't fancy such solution, you can always opt for the hinged three bar version, like this 1640 harquebusier real thing.
(British National Army Museum) . |
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17th October 2020, 09:57 AM
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#35 |
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Member
Join Date: Apr 2017
Location: Sweden
Posts: 447
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When looking through ”Armourers’ Marks” (1959) by Dudley S Hawtrey Gyngell I noticed how armourers in Innsbruck, Austria in 16thC used their initials (one or two letters) as maker’s marks.
My helmet is marked with a Gothic ”S” on the bottom lame on the neck guard which is probably the maker’s mark from Innsbruck, Austria or elsewhere in the Tyrol. |
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