TECHNIQUES OF MEDIEVAL ARMOUR REPRODUCTION & ees IC Oretat tay Ber Lops ae ea 2 Brian R. Price Foreword by David Edge + Contributions by Dr. Alan WilliamsTECHNIQUES OF MEDIEVAL ARMOUR REPRODUCTION \. The 14" CenturyTechniques of Medieval Armour Reproduction: The 14" Century by Brian R. Price Copyright © 200K) by Brian R, Price ISBN 1-58160-098-4 Printed inthe United States of America Publisher's Cataloging-in-Publication (Provided by Quality Books, Inc.) Price, Brian R. “Techniques of Medioval armour reproduction = the 4th century / by Brian R Price. ~ Ist e. pcm, Includes bibliographical referenees and inde. ISBN: [-38160-098-4 1. Armour, Mediova--Design and construction, 2. Historical Reenuetments--Equipment and supplies 3. Tournaments, Medioval-Equipment and suppl LT, UUs10.P75 2008 23441 QHID0-SoD084 Publish by Pain ess iio of Enterprises, Ine, BO. Box 1307, Boulder Colorado 30806, USA (808) 443-7250, Dincet inquires and/or orders tthe above adress. PALADIN, PALADIN PRESS, and the “horse head” design ‘re trademarks belonging to Paladin Enterprises and reistered in United States Patent and Tradematk Otic. All right reserved, Except for use in a review. no portion ofthis book may be repreduced in any form Without the express writen permission of the publisher, Neither the author nor the publisher assumes responsibility for the use or misuse of on contained in this book Visit our Web site at wow paladin-press.com Photo Credits (copyrights reserved by the following) Wade Allen, 2.6; Bibliotheque Nationale de France, §.1; Roard of Trustees ofthe Rayal Armouries: 1.2. 1.6, 110,111,644. 6.10, 6:32 17.2, 214 (top, middle), 23:3, 26.2, 29.5, 30.17 (left, 34.1; British Library, 19.2, 29.4; Charles Davis, 4.14, 6.46, 182. 23.12; Peter Finer, 2.3; Christian Fletcher. 418; Peter Fuller, 1.3, 14,4.24,6.40,11-1, 39.3, 31.1, 31.5; James Gillaspie, 11,420, 4.21, 16.1; Historical Armed Combat Association, 3.12; Tom Huguenin, 4,17; Breat Junkins, 3.4, 3.10, 3.11 (lft), 4.2, 4.3,4.13,20.Us die Kiauverts, 3.2; Kunstammlingen der Veste Choburg, 30.1; Karl Lieder, 21.3,9.1, 21-5 (eight): Robert MacPherson, 41, 4.26 ight) 301 (inset; Nathan Miller, 25.14; Steve Moffet, 3.14, 4.16; Theodore Monnich, 4.25, 52, 10.1; Musée des Beaux Arts de Chartres, 20,22; National Gallery of Prague, 3.1; Paragon Industries, 19-3; Joseph Piel, 4.19: Jessica Rechsthalfer, 4.15; Eik Schmid, 26.13- 16, 26.17-19: Schwerzerisees Landesmusetan, 314; Stadi Nureburg Stadarchi, 6.44, 22.2, 22.3, 26.3, 26.11; Aaron Toman or Wade Allen, 44,45, 46,47: Trustees ofthe British Museu, 6.33, 27.1: Trusiees of the Metropolitan Museu of Art, 1.1, 1.9, 1.42, 21.50 Universitalsbibtionick Bhriangen, 652; Robert Valentine, 4.22, 4.23. 20.8: Count von Trapp, 20.19, 29.1, 31,16, 31.17, 32.2; Wallace Collection 1, 20.1, 20.7, 33.1, 33.2; Alan Wiliams, 8.1, 82,83, 34.8.5, 86.Table of Contents Section One The Armourers -1 Chapter 1+ A Brief History of the Armourérand His-Art « 3 Chapter 2+ Armour Reproductions; ‘Armouting for Collectors and Museums + 1 Chapter 3 + Armouring for Reenacto Tournament Societies and Medieyal Feats of Arms + 23 Chapter 4+ The Modern Armourers + 37 Section Tro Tools and Supplies. so Chapter $+ The Armourer'$ Woikshop » 62 Chapter 6 - Tools + 71 Chapter 7 + Supplies for the Armoutty 4 103 Chapter @ + Concerning the Selection of Metal: Iron, ‘Steel, and “Latten” - 109°vi TECHNIQUES OF MEDIEVAL ARMOUR REPRODUCTION Section Three Techniques - 121 Chapter 9 + Steps Required for All Pieces + 123 Chapter 10 « Training the Hammer and the Eye - 127 Chapter: 11 - Conducting Research + 131 Chapter 12 - Taking Measurements - 141 Chapter 13 + Design, Patterning, and Fitting - 149 Chapter 14 + Cutting and Deburring + 137 Chapter 15 + Basic Hammerwork « 163 Chapter 16 + Enhancing Techniques « 181 Chapter 17 + Riveting and Welding - 199 Chapter 18 « Raising: The Cornerstone Technique « 213 Chapter 19 + Annealing, Heat-Treating, and Tempe 1g + 293 Chapter 20 + Engineering the Joint « 933 Chapter 21 + Latches, Catches, Hinges, and Buckles - 253 Chapeer 29 + Grinding and Polishing « 263 Chapter 23 + Decorative Enhancements + 273 Chapter 24 + Strapping and Leatherwork + 201 Chapter 98» Padding and Arming Points - 301 Chapter 26 + Weaving Mail » 317 Chapter 97 + Working in Cuirboille «329 Chapter 29 + Caring for Finished Armour + 341Contents oli Section Four Projects - 347 Chapter 29 + Armour in the 14 Century + 349 Chapter 30 + Defending the Head + 359 Chapter 31+ Defending the Body + 401 Chapter 32+ Defending the Arm + 424 Chapter 33 + Defending the Hand - 439 Chapter 34+ Defending the Leg - 457 Appendices - 473 Appendix A» The Company of Saint George + 475 Appendix B + Glossary of Technical and Medieval Terms - 479 Appendix C + Sources » 487 Appendix D + Select Bibliography - 493 Index «499This book is dedicated to Aaron Toman, aka Valerius Paencalvus, and the rest of the Valerius School armourers, without whom this book would not exist.Acknowledgments © work this ambitious is completed by a single person. In addition to the inspiration, instruction, and friendship provided by Aaron Toman, to whom this book is dedicated, I must extend my warmest gratitude to all the people who helped make the dream of this book a reality: J owe the lion’s—or in this case lioness’s—share of thanks to my loving wife Ann Marie. Without her patient encoutagement, wrestling with the children, and wading through reams of paper, the book never would have been finished, owing to the pressures of everyday life. ‘Other very special thanks must go to a number of people whose individual support for the vision proposed in the book's conception have enabled it in unique and valuable ways. To my editor at Paladin Press, Jon Ford, who saw the potential of a few lines embedded in a light proposal, and whose patience has seen the arduous course taken finally reaching an end. To Cindy Tiger and Fran Milner for their fine layout and long hours. To Dr. Alan Williams, archeometallurgist at the Wallace Collection, who contributed not only the insightful article for Chapter § but a number of keen insights regarding probable medieval working techniques. Likewise to David Edge, curator of the Wallace, whose support for the whole idea of reconstructive archeologywith respect to reenactments has created a scholarly foothold for inspired practitioners of the chivalric arts. To Stephen Howe, librarian at the Royal Armouries at Leeds, for his continued patience and research assistance, going far beyond the call of duty. To Countess Cecily von Trapp, whose correspondence, translation, and photographs provided information unavailable elsewhere, all with the noblest of courtesy and warmth, To the armourers Charles E. Davis (Mallet d'Argent), Peter Fuller (Medieval Reproductions), James Gillaspie, Wade Allen, Robert MacPherson, and Erik Schmid, all of whom selflessly contributed their own knowledge and—more importantly—images of their work, without which this book would be far less rich, To Anthony Bryant, who contributed the measurement illustrations, and John Peterson, who did some crack Photoshop work. To Debora St. James and Robert Holland, who as members of the Company of Saint George have supported this endeavor for several years through their own research into equipment of the 14" and 15 centuries. Others who helped contribute with their effort and support include Ian Eves, one-time curator of the Royal Armourers and Karen ‘Watts, now a senior curator there; Robert Carol of the Metropolitan Museum of Art; Dr. Michael Eissenhacur of Weste Coburg; Flora Madic of the Valeria Museum; the trustees of the Wallace Collection, the Royal Armouries; the Metropolitan Museum of Art; the British Library; the British Museum; the Swiss Landesmuseum; the Bibliotheque Nationale; Canterbury Cathedral; Claude Stefan, Musée des Beaux Arts de Chartre; Dr Walter J Karcheski Jt. of the Higgens Armoury; John Clements, Director of HACA; Greg Mele Director of SSI; Theodore Monnich, senior curator for the South Carolina State Museum; Karl Lieder, for the exquisite photographs taken of his collection of Valerius school armour; TECHNIQUES OF MEDIEVAL ARMOUR REPRODUCTION Admiral Steel; Peter Finer for the fine transparency; and the armourers who contributed images and encouragement for the idea—Brent Junkins (Anshelm Arms), Tom Justus (Master Eldrid Tremayne), Jessica Rechtschaffer, Joseph Piela (Lonely Mountain Forge}, Bill Radford (Chapman & Radford), ‘Tom Huguenin, Robert Valentine, Steve Moffet, and James Earley. Thanks also to the Companions of Saint George, who encouraged the idea; Robert Reece, whose armour was delayed as the book was produced and for whom much of it was made; members of the other tourney companies, who have also lent their vocal support, specifically the Company of the Star the Grand Company of the Peacocks, the ‘Tenans of Noble Folly, the Company of Saint, Michael, la Compagnie du Soleil, the ‘Company of the Argent Angel, the Company of the Swan; members of the Klauwerts for their fine photograph; and the combatants of the Society for Creative Anachronism, whose enthusiasm for competitive tournament formats has both supported the bulk of reenactment armourers and enabled them to grow and learn. Special thanks to Luke Apker, Greg. Woznak, and Ladislav Kuzela, the old crew from Thornbird Arms who helped put our work on the map, and to my parents and in-laws, who continually encouraged the work's development. Lastly, thank you to Claude Blair and Sit Guy Laking, whose works have created the foundation upon which modern research and experimentation is conducted. ‘While all of these people contributed to this book, only [ can take responsibility for the many errors that are bound to be found within. It is my hope that the existence of this work will propel others down the path of artistic pleasure that awaits a modern armouret, and it is my hope that in time their work will correct any errors propagated herein.