Transcript
booL reyieru
warfare in all ages. Line drawings are here used to convey the often rapid changes in style that took place at this
Der mitte lalterlicbe Reitsrscbild Historiscbe Ent tuicklung
time. Somewhat surprisingly, there is little attention devoted to heraldry per se, but that is clearly not the prime focus of the book. This first part of the book is
aon 975 bis 1350 und Anleitung zunx Bau eines k a.mp t 6t uglic b en. S b i I d e s
I(arfunkel Yerlag, 2OO2, 192 pp. rsBN 3-935676-70-4 The title of this book - Tbe Medieual Rider's Sbield' Historical Deuelopmentfrom 97 5 - 1 35 0 & Introcluction to tbe Construction of a CornbatWortby Sbield - makes the scope clear. What maybe unclear is that there is much of interest in the book even to people u.4ro do not read
Gerrnan, particularly to those interested in heraldry. There are many excellent color pictures and drawings that make this volume useful to a wide audience. The major focus is not to the heraldic community per se, but rather to the larger, seemingly ever more popular, p;roup of enthusiasts who practice some form ofrole playing and re-enactment. On the one hand this could involve painting miniature models, in which case the color of unifonns would be a prime consideration. On the other there are those who go forth, donning appropriate costumes and even weapons, to re-create past ages. The book serves both groups, but as shields cleady can be used in combat the latter group might be considered the exact target. The last chapter of the book goes into some
detail regarding the methods and materials used in making Medieval shields, giving specific instructions regarding how to accurately replicate old examples. V/hile much of this material might not be considered new, at least to serious historians and archaeologists, it presents in one place an interesting and visually appealing range of objects. To many in academic circles works that focus on reenactment are relegated to the somewhat pa'lofiizirrg class of literature written by "enthusiasts" that somehow can be taken less seriously, if they are read at all. This
would be a mistake in this case. The main importance of this work is that it gathers objects together and places them in a sequence. For orample, the importance of a show ofwell known paintings by old masters may not be in the discovery of new works. An art show may still be significant for putting ob;'ects together that were held in scattered locations. V{hen presented all together, the viewer can make observations for themselves regarding changes over time. There are so firany questions that can be solved when a picture is seen rather than simply by reading a text, particularly in the field of art history. In a similar vein the viewer can, using the pictures in this book, examine stylistic change in shields over a trong period of time. Heraldry plays a maior role here, and to one well versed in the field there is little need to consult the text perhaps beyond the captions (which are easily readable even to the most linguistically challenged individuals). The book begins with a summary of how shields are used. Although material from other cultures and periods is cited, such as Brorue ancl Iron Age cultures, Greece, and Rome, the main focus is cleady Medieval Europe. Starting in the eady Middle Ages, the shield took on a special significance, although it was clearly central for
largelytheoretical, and draws broad conclusions from the information available at hand. The author suggests that as a rule, there appears to be little difference between a cornbat, decorative, and death shield. Even very ornate shields were capable of being used in combat if one considers the methocls and materials of manufacture. However, it is likelythat even the verywealthywould use shields made of simple materials for battle. Because of problems of preservation, this information is mostly fiom representations and not the objects themselves. For most people interested in heraldry the real interest lies in the second part. The big picture, literally, starts with a shield of Arnold von Brienz (LL8O-L225). This shielcl, found in the Canton Uri, is exceptional. The colors were, as is so often the case, not as they appear today. In the Middle Ages there was a silver lion on a blue field. Now the lion appears very tarnished and the field is a very dark blue bordering on black. The lion was built up lrom layers of challq which surwives today, and then silvered. The leaf silver thatwas used has largely perished, and was placed directll'over the chzrlk modeling. The muscular form of the lion is made up from spirals and round forms. The design does not follow an anatomical pattern but is quite 'artistic. Thete is an area in the middle of the shield, on the lion, that suggests there was a shield buckle. The blue color was made fiom finely ground azurirte, which must have appeared bright when newly painted. The other side of shield today appe,rrs brown, but analysis indicates that ir was covered with a copper green coloring agent, As with other shields in this booh there is pafticular attention devoted to the form of the shield, while the heraldrv is not covered in detail. However, it is the form of the shield that is essential for understanding date, which is in turn of great interest for interpreting the heraldry. The shield form itself has a
rather pot belly, and the corners are rounded. \While
these points may date the shield to about 1300, at least according to images of shields in documens, the historical context points to an e'adier date. It appears to be a transitional form between Norman style shields and the later 3 corner type. The shield is bigger than examples
commonly encounterecl in the 14th century. From this point onwards there are large images, many in color, of the shields and drawings that elucidate the internal structure of the shield. Another shield is that the Raron or Weingarten shield, cAca 1300. The main device is an eagle that seeminglyemerges from the face of the shield. The beak, head on top of the wings, and chest are modeled in high relief and gilded, although little survives today. The
mouth of the animal is open, which is unusual for a heraldic device- It is so artistic that it has led some commentators to suggest itwas made by a goldsmith. The maker appears to have left the option of placing precious stones in the border. Interestingly, and perhaps because it is astrikingshield, ithas severalclaimants. It comesfrom Liebfrauenkirche inValeria (ob Siten) in the Swiss canton 11
of \ilallis. The exact date and purpose remains unclear' While it was originally dated 1303 and ascribed to the family of Vidomne Antoine de Rarogne. Recent research suggests that the shield belongs to the Huboldi (later
Veingarten) family. This seems more supportable because two branches ofthe house ofRaronhadtwo eagles, while the shield depicts a single eagle on a blue field. It
igbboring
milt'.
Tbe
does not receiue attention in tbe book, but it is im?ortant
is not certain that the arms of the'Weingarten family had
for btraldists (tbe design is emPbasized on tbe drau,ing at tbe exPeflse
blue field, but it is certain that the Raron family did not bear arms with a blue field. The form of the shield, with sharp corners and gentle curves. suggest that the shield coulcl date earlier than 1300. It might be a closer match to materials of the mid 13th cenrury. Sbielcl of Raron or a
rCA
tbe
reuieu'er) simplifies tbe
trap, .ts identified in tbe book. Al'
esoteric or runic utas also used on
thoukh some Jind the symbol to be of
auailable online er Breidenbacb/Breidenbacbipg. Tbe line 4 in hntf ancl zn.! the tho tu)o ttt)n ifl hue balf -' here in the tbe loutq louer ha.lf httlf, , are They aredecoratiott. TQey Lt)itb tbe decora.tiott; do rttitb thi ctrau,ing tlrant,inu - baue haue notbing notbins to clo tbi attacbilrg fue handles-to tbe otber side tLf .tbe sbield' grul for 'someutbat sirpNsingl-y ratber mar tbe ouerall- decoratiue effect,
imqortant indicaticm of date
Perhaps the strzngest shield is the Shield of the Gentleman of Welfenberg (about 1300). The central device is what may at first appear to be a florally inspired charge, or perhaps an exraterrestrial figure, but when placed into historical context it is a wolf trap. Again' somewhatsffangely, there is almostno attention devoted
to this design, while particular attention is devoted to how the shield was constructed. This is a minor draw'back from a book that admittedly was not designed primarily
for heraldists Vlhile the majorityofthe material is ftom the German speaking wodd, which has a large number of surviving shields, England has not been omitted. A good example is the shield of the Black Prince also known as Edward of Woodstock (the eldest son of king Edward III) dated before 1376. This has been cited as the best preserved of
the original Medieval shields in Britain. The lions and lilies were made from molded leather and then gilded. The quartering was made by twisted ropes. What is quite visible on the copy, and not clear on the origrnal, is that the entire field was covered with small crosses. It is certainly one of the most reproduced shields, but the original is not on display. The shield was used as part of the grave monument in Caterbury Cathedral' but it has now been replaced by a copl'. It was reproduced in the 1950's by the Tower of London. The style of shield, of a wide form, is typical of the 14th century. It is interesting to note that this shield depicts the lilies of France and the three lions of England in quarters. The book does not mention the controversy surrounding the motto Ich dien (which mayhave been inherited fromJohn of Bohemia) nor with ostrich feathers, which may have also been inherited fromJohn or perhaps from the mother of the 12
Black Prince, plillipa of Hainault. The feathers could have been a pun on the name of Ostrehans, controlled by the Counts of Ha-inault. The title the "BlackPrince," is of uncertain origin, and it does not appear that he went under this name during his lifetime. As with so many other historical figures, controversy can still be found even in the most basic details The last section of the book, devoted to replication of Medieval shields, is quite interesting. V/hile many endeavor to paint their arms on a wooden shield, few have any idea how to go about it using appropriate methods and materials. Medieval shields were made of many pieces of wood tllat were cut at angles to give a precise fonn. The wood core was covered with parchment, which served as an excellent cover to paint over. The parchment must be applied wet to the front of the shield, and it will shrink to flt. The back needs different treatment, othelwise the parchment would not fit correctly. If the parchment is applied wet to the back it will lift away from the base. Other practical tips abound, for nstance, thebase coatcanbebuiltupfromapaste ofchalk'
glutin, lime and water. The original material, however, used bone (a recipe is given on p. 171 of the book). Zinc was used to make the mixture lighter in color. This meant that only one coating of paint could be used. The author suggests that most modem materials are not well suited for use over a base of parchment, as it causes the skin to crack. However, in specialist art shops it is possible to buy the suitable materials. Somewhat as an aside, the book is published by a well
oide
known rnagazine (among Medieval hobbyists) called
IQrfunkel, which is devoted to Medieval culture. Not all
ofthe articles couldbe considered academic' as there are awide range of interests encompassed bythe periodical AIl the articles are well illustrated, but of course it is in
German. On the other hand manyacademic journals deal
with topics that are so narrow as only to be of interest to specialists. This may result in journals that contain nothing of interest for specialists in other areas. If the language issue is not a problem, there are few general magazines devoted to this period. The book is also available through the magazine's website at http:// www.karfunkel.del. In short, this book should be of great interest to those interested in heraldry as well as those with a practical interest in replication. \X/hile the full color pictures can be appreciated with limited German language skills, the text is well worth the effort. It is probably safe to assume that after reading it one will not look at a shield the same way again. Indeed, what could be more important for those with heraldic interests? -
Reuieu by Murray Eiland
Curreut Board o{ Go..eroors Distio5uished Fellows
clo00/2007
D(ECUTTIts DIRECTOR Devid Roben Wooten Cbarleston, Soutb Carolina SECRETARY John Ammons. D(
Panama City, Florida
TREASURER Joho Michael Dw1'er, JD Panama Ciry, Florida
DISTINGUISHED FELLOWS Zdenko G. Alery Bratislaua, Slouakia
John Ferguson Reigate, Surrq4 Unitee{. Kingclont Stephen Friar Sherborne. Dorset, United Kingdom Cleorg Jiger-Sunstenau
Proi Dr. Hanns
Vienna, Austria
James A. Sar.icki
@exter
Sm[
Duntfries. Virqinia
@ngrubrng
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Sornelset, England Natalie Rostislavovna Yegorov
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Colorado Sprtngs, Colorackt John Michael Dwyer, JD Panoma City, Fbrtda Michael Patrick Murphy Cbarleston, Soutb Carolina Professor Patrick Michael O'Shea, DMA Winon
