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Corslet

A corslet (also spelled corselet) is a piece of defensive armor designed to protect the wearer's torso, typically consisting of a breastplate and backplate fastened together.^[1] The term derives from Middle French corselet, a diminutive form of cors (body), itself from Latin corpus, and entered English usage in the 1560s to describe plate armor specifically for the body.^[2] While the modern sense emphasizes its role as a cuirass or half-armor, historical corslets trace their origins to ancient warfare, with the Dendra panoply—discovered in a Mycenaean tomb and dating to the 15th century BC—representing the earliest known example of full plate body armor in Europe.^[3] Crafted from bronze plates over 1 mm thick, this artifact enabled enhanced mobility and protection against slashing attacks in close-quarters Bronze Age combat, influencing Aegean and later European armor designs for over a millennium.^[3] By the Renaissance era, particularly from the 16th century onward, the corslet had evolved into a lighter form of half-armor or three-quarter armor, often worn by infantry such as pikemen and town guards for its balance of protection and maneuverability.^[4] These later variants combined steel plates with elements like tassets or skirts to cover the upper body and thighs, reflecting advancements in metallurgy and tactical needs during early modern conflicts.

Etymology and Terminology

Origin of the Term

The term "corslet" originates from the Old French "corselet," a diminutive form of "cors," meaning "body," which traces back to the Latin "corpus."^[2] This etymological path reflects the armor's function as a protective covering for the torso, akin to a bodice or body encasement.^[4] The word entered English usage around the mid-16th century through military texts, as French terminology proliferated in European contexts during the Renaissance.^[5] The first known use of "corslet" in English appears in 1563, in Barnabe Googe's poetic work Eglogs, Epytaphes, and Sonettes, where it describes "corsletes white" as plate armor specifically for the trunk.^[1] This attestation highlights its early application to fitted defensive gear in literary depictions of armed figures. Over time, spelling variants such as "corslet" and "corselet" emerged, while the term distinguished itself from "cuirass," which derived from Old French "cuirasse" (from "cuir," meaning leather) and initially denoted leather-based torso protection before evolving to include metal variants.^[6] By the 16th century, "corslet" had solidified as referring to a tailored metal body piece, often lighter than a full cuirass.^[7] This precision in nomenclature was shaped by French military influences during the Renaissance, contributing to standardized European armor terminology amid cross-cultural exchanges in warfare and arms production.^[8] The term corslet, a diminutive form of cuirass, denotes a defensive armor piece comprising both a breastplate and a backplate to protect the torso.^[9] It differs from a breastplate, which covers only the front of the body, and from a harness, which refers to a complete suit of armor that incorporates the corslet along with additional components like pauldrons, vambraces, and greaves.^[9] This terminology emerged from shared etymological roots in Old French, where corselet (a diminutive of corps, meaning body) described a lighter torso protector as a "petit corps de cuirasse."^[9] Regional variants of the corslet reflect similar concepts of torso protection across Europe, adapted to local languages and military contexts. In German, it is known as Brustpanzer, emphasizing the breast armor's role in infantry protection.^[10] The Italian equivalent, corazza, typically indicates a rigid plate covering the chest and back, often seen in Renaissance designs.^[6] Similarly, the Spanish coraza refers to comparable torso armor, with historical usage in both mounted and foot soldier contexts.^[6] However, in 16th-century English usage, corslet particularly highlighted lighter, pikeman-specific designs, distinguishing it from heavier variants suited to other troop types.^[11] The corslet represents a partial suit focused on the torso, in contrast to the full plate armor known as a harness, which was designed for knights and provided comprehensive body coverage from head to foot.^[9] This distinction underscores the corslet's role in equipping lighter infantry, prioritizing mobility over total enclosure.^[11] Following the decline of its military application after the 17th century, the term corslet (or corselet) diverged linguistically to also describe a woman's close-fitting undergarment combining elements of a brassiere and corset by the 19th century.^[1]

Historical Development

Ancient and Classical Periods

A notable early attestation of a corslet-like torso armor appears in ancient Egypt during the 6th century BC, where linen variants were used for their lightweight protection. Herodotus describes a finely woven linen corslet dedicated by Pharaoh Amasis II (r. 570–526 BC) as a gift to the Greeks, noting its exceptional construction with threads containing up to 360 strands each, highlighting the material's role in providing mobility while defending against projectiles.^[12] These non-metallic forms predated widespread metal adoption and emphasized flexibility for infantry in hot climates. In the Aegean Bronze Age, light corselets emerged around the 16th century BC, consisting of simple bronze plates or scales attached to leather or fabric bases to enhance soldier mobility during chariot-based warfare.^[13] In ancient Greece, the concept of the corslet evolved from the Homeric "thorax," initially depicted as a protective breastplate in epic poetry, transitioning to bronze constructions by the 8th to 4th centuries BC. The Iliad portrays figures like Menelaus wearing a bronze thorax that deflected arrows, underscoring its role in close-quarters combat among hoplites.^[14] A key precursor is the Dendra panoply, dated circa 1400 BC, which featured interlocking bronze plates forming a full-body suit with primary emphasis on torso coverage for vital organ protection, allowing limited movement for close-quarters infantry combat. Recent experimental reconstructions, as of 2024, have demonstrated that the panoply allowed sufficient mobility for Bronze Age combat activities such as running and fighting with spears and swords.^[15] Archaeological evidence from this Mycenaean period confirms these as early metal precursors to later fitted designs, prioritizing durability over full articulation.^[16] Biblical accounts from the Old Testament reference corslets as essential torso armor, often made of iron or bronze scales sewn onto a backing for defense against arrows and spears. In Nehemiah 4:16, during the 5th century BC reconstruction of Jerusalem's walls, workers wore "habergeons"—translated as corslets or coats of mail—alongside shields and bows, illustrating their practical use in defensive labor amid threats. These were typically constructed from overlapping thin metal laminae on leather, providing balanced protection without excessive weight.^[17] Roman adaptations culminated in the lorica segmentata by the 1st century AD, a segmented iron corslet variant designed specifically for legionaries to cover the torso while permitting arm and shoulder flexibility during maneuvers. Composed of hinged plates fastened with leather straps, it weighed about 9–12 kg and was optimized for infantry tactics, as evidenced by finds from sites like Corbridge.^[18] This innovation marked a shift toward modular metal protection, influencing later developments while maintaining focus on core body defense.

Medieval and Early Modern Periods

During the Middle Ages, the corslet emerged in Europe as a transitional form of torso protection, evolving from the chainmail hauberk that had dominated since the early medieval period. By the 13th century, European armorers began reinforcing mail shirts with small metal plates sewn onto fabric or leather backing, creating coat-of-plates designs that offered better resistance to thrusts and slashes while maintaining flexibility.^[19] This development addressed the limitations of mail against improved edged weapons, with plate elements initially concentrated on the torso for vital organ protection. By the early 15th century, full corslets—comprising fitted breast and back plates—became standard for men-at-arms, marking the shift to articulated plate harnesses that covered the upper body comprehensively.^[19] In the Renaissance, the corslet reached its peak as a key component of three-quarter armor for infantry, particularly among pike formations. During the 16th century, German Landsknechts and English billmen commonly wore corslets including tassets to protect the thighs, allowing mobility for close-quarters combat while shielding against polearm strikes.^[20] These pieces were often part of half-armor sets, balancing protection with the need for speed in massed infantry tactics. However, the rise of firearms from the late 16th century onward led to the corslet's decline after 1600, as musket balls rendered heavy plate less effective, prompting a return to lighter buff coats or padded jacks.^[19] Key innovations enhanced the corslet's functionality during this era. In the 15th century Gothic style, prevalent in German and Burgundian workshops, fluted surfaces on breastplates deflected pike thrusts and added structural rigidity without excess weight.^[21] By the early 16th century, blackened or blued finishes became common, applying a thin oxide layer through heating or chemical treatments to resist corrosion from sweat and weather, while also reducing visibility in field use.^[22] Non-European parallels to the corslet appeared concurrently, adapting local materials and combat needs. In the Ottoman Empire, the zırh—a mail-and-plate torso ensemble—protected elite sipahi cavalry from the 15th to 17th centuries, combining riveted rings with lamellar plates for flexibility against sabers and arrows. Similarly, Japanese samurai employed the dō, a lacquered iron or leather cuirass, as the core torso defense in tosei-gusoku suits during the Muromachi (14th–16th centuries) and early Edo periods, emphasizing layered scales for arrow resistance in feudal warfare.^[23]

Design and Components

Core Elements

The core elements of a standard corslet, a form of torso armor prevalent from the late medieval to early modern periods, consist of protective plates designed to shield vital areas of the upper body while allowing for mobility in combat. The breastplate serves as the primary front defense, typically a convex plate that covers the chest and upper abdomen, providing broad anatomical coverage against thrusts and blows to the torso. This plate often features a central ridge, or medial crease, which enhances structural integrity by distributing impact forces across its surface.^[20] Complementing the breastplate is the backplate, a corresponding rear component that safeguards the spine and lower back, ensuring comprehensive protection around the wearer's trunk. The backplate is shaped to conform to the contours of the upper and mid-back, with raised edges at the neck and waist to deflect strikes, and it connects to the breastplate either via hinges on one side for adjustability or through straps on both sides for a secure enclosure.^[20] Mobility between the upper and lower body is facilitated by shoulder straps and the fauld, which link the core plates to additional armor elements such as pauldrons and tassets. Shoulder straps, usually made of leather, attach to the upper edges of the breastplate and backplate, allowing the arms to move freely while supporting the weight distribution across the shoulders. The fauld, consisting of one or more overlapping lames extending from the lower edge of the breastplate, protects the waist and hips, bridging the gap to leg defenses and preserving torso flexibility during maneuvers.^[24] To ensure a proper and adjustable fit, corslets incorporate various closure mechanisms, including buckles, laces, or sliding rivets that fasten the plates together at the shoulders, sides, and waist. These systems enable the armor to be donned and doffed efficiently while maintaining tension against the body for optimal protection. A complete corslet typically weighs between 8 and 15 kg, varying with design complexity and added components, as exemplified by an Italian half-armor corslet from around 1580 weighing approximately 10.7 kg.^[20] While core elements remained consistent, variations in these components adapted to specific eras or tactical needs without altering their fundamental protective roles.^[24]

Variations Across Cultures

In 15th-century Europe, the corslet evolved distinct regional styles reflecting tactical needs and craftsmanship traditions. The Gothic corslet, originating in southern Germany, featured fluted surfaces on the breast and back plates to enhance structural rigidity without increasing weight, providing better resistance against piercing weapons like pikes prevalent in infantry formations.^[25] This design emphasized vertical lines and angular contours for a slender silhouette, often paired with a basic breast and backplate structure. In contrast, the Milanese corslet from northern Italy adopted smoother, curved plates optimized for deflection of cavalry lances and blows, prioritizing mobility and a rounded, globular form suitable for mounted warriors.^[26] These Italian variants typically maintained the core breast/backplate base but incorporated broader, flowing lines to accommodate equestrian movement. Asian adaptations of the corslet incorporated cultural and environmental influences, blending plate with flexible elements for versatility in diverse terrains. In 16th-century Persia under the Safavid dynasty, the zirah—a mail shirt serving as the foundational layer—was overlaid with a char-aina, or "four-mirror" corslet consisting of four polished steel plates (breast, back, and two side panels) strapped together, their mirror-like bosses believed to repel evil and symbolize solar protection.^[27] This design allowed for layered defense while permitting arm mobility, often worn by elite cavalry. Similarly, in Mughal India, the char-aina provided torso protection over mail (zirah) and was used by warriors, including those on elephants, during the empire's campaigns. Colonial contexts in 17th-century America led to practical simplifications of the European corslet for frontier use. Imported British and Dutch designs were used by scouts and militia in the New England and Middle colonies, with body armor often reduced to provide greater mobility in wooded terrains during conflicts with Native American forces.^[28] These versions retained the essential breast and back plates but favored lighter construction to suit irregular warfare, diverging from the fuller European forms. Gender-specific corslets, though rare, appeared in ceremonial Italian contexts of the 16th century. Fitted breastplates evoking classical motifs were occasionally crafted for noblewomen and worn in tournaments or courtly events to symbolize status rather than combat utility. These variants adapted the standard breastplate structure with feminine contours and decorative embellishments, highlighting armor's role beyond the battlefield.

Materials and Construction

Primary Materials Used

The primary material for corslets from the 14th century onward was steel, typically medium-carbon, hardened through heat treatments such as slack-quenching or air-cooling where applied, providing good hardness and resistance to deformation under impact.^[29] In earlier periods, particularly in ancient Greece and Rome, bronze served as the dominant metal for elite torso armor due to its malleability, which allowed for forms like the bell cuirass or muscle cuirass. Bronze's alloy of copper and tin (approximately 10% tin) offered a balance of strength and workability, though it was denser (about 8.8 g/cm³ vs. 7.8 g/cm³ for iron) and more prone to corrosion than later steels.^[30] Bronze was used for high-status pieces, but iron and later steel became more common for practical legionary armor by the Roman Republic. Alloys and surface treatments further adapted these metals for functionality and aesthetics. Iron plates, sometimes used as a cheaper alternative to steel, were occasionally decorated with brass inlays for ornamental purposes, such as in Milanese parade armors.^[31] To combat rust, especially in humid climates, armorers applied bluing—a chemical oxidation process creating a protective black oxide layer—or oiled the surfaces with animal fats or oils, which sealed the metal against moisture. These treatments not only preserved the armor but also reduced glare on the battlefield.^[32] Non-metallic components complemented the metal framework for wearer comfort and added reinforcement. Leather linings, typically from cowhide, were affixed to the interior of steel or bronze plates to cushion the body against chafing and distribute weight more evenly during prolonged wear.^[33] In some 15th-century transitional designs bridging plate and fabric armors, such as brigandines or coat-of-plates, reinforcements incorporated rigid organic materials like hardened leather or bone riveted to a textile base, though metal remained predominant for full plate corslets.^[19] Regional resources significantly influenced material quality and trade. Milan emerged as a major hub for steel production in the late medieval and Renaissance periods, leveraging local iron ores and advanced furnace techniques to create high-quality steel exported across Europe for corslet fabrication.^[34] This Milanese steel's consistency and hardness set standards for European armorers, enabling lighter yet more resilient corslets.^[35] While European corslets primarily used metal, analogous protections in other cultures incorporated materials like hardened leather or lacquered bamboo.

Production Methods

The production of corslets involved intricate forging techniques to shape steel plates, which became the dominant material in later periods. Armorers heated steel ingots or blooms in coal-fired furnaces to temperatures ranging from 800°C to 1000°C, allowing the metal to become malleable for working.^[36]^[37] Once heated to a bright orange glow, the metal was hammered over anvils using specialized tools, including fullering irons or bicornes to create ridges and strengthen structural features like the central ridge on breastplates.^[38] This process often combined hot forging for initial shaping with cold hammering to harden the plates and achieve a smooth finish, ensuring the corslet's protective curvature conformed to the torso.^[38] Assembly of the corslet required precise joining of multiple plates to form the breastplate, backplate, and tassets. Plates were connected using rivets, often sliding types for flexibility at joints like the shoulders, hammered into place with rounded-face hammers and secured by peening.^[38] Heat-shrinking techniques were employed to tighten leather straps or fit components snugly, preventing movement during wear.^[38] By the 15th century, armorer guilds in regions like southern Germany, including centers near Solingen, had standardized these methods through regulated apprenticeships and quality marks, ensuring consistent craftsmanship across workshops.^[39] Customization was essential for effective protection, with armorers taking precise measurements of the wearer—often using the individual's clothing or a body mold—to create bespoke fits that allowed mobility without gaps.^[38] To verify integrity, completed corslets underwent proofing: controlled strikes from weapons like crossbows or early firearms tested the plates' resilience, with surviving pieces stamped with proof marks indicating the level of certification.^[38] The 16th century marked a shift toward mass production in specialized workshops, particularly for standardized pikeman corslets issued to infantry units. These facilities, often powered by water-driven tilt-hammers, could produce up to 20 cuirasses from a single batch of plates, enabling large-scale equipping of armies at costs around £12 per suit.^[38] This evolution prioritized uniformity over individual ornamentation, reflecting the demands of organized military campaigns.^[39]

Military Applications

Role in Infantry Tactics

In the 16th century, corslets played a central role in pike and shot infantry tactics, where pikemen equipped with this torso armor formed dense blocks to shield vulnerable musketeers from cavalry assaults and enemy infantry pushes. These formations, typically comprising 50-75% pikemen, relied on the corslet's protection to enable close-quarters "push-of-pike" engagements, where overlapping pikes created an impenetrable barrier against mounted charges while the armor safeguarded the wearer's vital organs from lances, swords, and incidental thrusts.^[40] Weighing approximately 10-15 kg, corslets struck a balance between defense and mobility, significantly lighter than full plate harnesses of 20-25 kg, which allowed pikemen to maintain formation cohesion during advances or repositioning without excessive fatigue. This weight advantage was crucial for sustaining prolonged maneuvers in large tercio-style blocks, where pikemen anchored the center while shot units fired from the flanks or intervals. Some designs incorporated subtle fluting on the breastplate to aid in glancing off enemy pike tips during melee.^[41] Corslets were commonly paired with open-faced morion helmets for head protection and occasionally small bucklers strapped to the arm, addressing the torso's exposure to underarm thrusts in the chaos of pike clashes. These combinations emphasized targeted defense against edged weapons prevalent in infantry combat, prioritizing the upper body while leaving legs unencumbered for bracing pikes against the ground.^[40] By the early 17th century, corslets declined in use as improved musketry rendered plate ineffective against point-blank fire, requiring prohibitively thick steel that compromised mobility. Armies shifted to lighter buff coats—thick oxhide jackets offering slash resistance—for pikemen, reflecting the evolving dominance of firepower over melee in linear tactics.^[42]^[43]

Notable Historical Examples

In the early 16th century, corslets saw widespread military adoption among German mercenary infantry known as Landsknechts, who were equipped with mass-issued half-armor sets including breastplates and backplates for pike formations during the Italian Wars. At the Battle of Marignano in 1515, approximately 10,000 Landsknechts in French service wore these steel corslets, typically weighing 8-10 kilograms, to protect against Swiss halberds and pikes in the dense squares of up to 1,500 men; French artillery ultimately broke the Swiss advance, leading to the capture of numerous Swiss armors by the victors. Surviving examples from the period are preserved in European museums.^[44] A prominent example of ornate Tudor-era corslet use is found in the armor garniture crafted for King Henry VIII at the Royal Armoury in Greenwich around 1540, featuring a steel breastplate and backplate with extensive gilding, etching, and embossed motifs of classical trophies and royal insignia, with the corslet components weighing approximately 12-15 kg as part of a larger field and tournament set totaling around 39 kg, emphasizing ceremonial display over battlefield utility. This piece exemplifies the shift toward parade armor in Renaissance England, where the monarch's increasingly sedentary lifestyle favored decorative elements like gold leaf and silver inlays to project power during diplomatic events such as the Field of the Cloth of Gold's aftermath. The garniture remains on view at the Tower of London, underscoring Greenwich's role as a center for innovative armor decoration.^[45]^[46] Among surviving Renaissance artifacts, a notable early 16th-century Italian breastplate in the Metropolitan Museum of Art's collection, dated to ca. 1510–15 and attributed to Milanese workshops, consists of a one-piece tempered steel plate weighing about 4 kg, adorned with etched designs including classically inspired trophies and saints for aesthetic and status appeal. This example demonstrates the period's advancements in construction, and its preservation highlights the export of Italian armor techniques across Europe.^[47]

Cultural Impact

Depictions in Art and Literature

In Homeric epics, such as the Iliad, bronze corslets are prominently featured as essential components of warriors' armor during the Trojan War, often described as gleaming and protective against spear thrusts. For instance, the text portrays heroes like Agamemnon donning intricately crafted corslets of bronze plates, emphasizing their role in heroic combat and the shine of polished metal on the battlefield.^[48] Shakespeare's Henry V (1599) evokes the image of English soldiers during the Battle of Agincourt through descriptions of besmirched and riveted gear, underscoring the gritty realism of medieval warfare.^[49] Artistic portrayals of corslets gained sophistication in the Renaissance, with Albrecht Dürer's engravings from the 1510s, such as Knight, Death, and the Devil (1513), showcasing fluted Gothic corslets on mounted knights, rendered with meticulous detail to highlight the interlocking plates and ornamental ridges typical of late medieval plate armor. Hans Holbein's portraits of Henry VIII from the 1530s emphasize royal authority through elaborate attire. Corslets held deep symbolic significance in medieval literature and art, serving as emblems of chivalry in romances like Thomas Malory's Le Morte d'Arthur (1485), where knights' armored harnesses, including corslets, represent honor, loyalty, and the burdens of knighthood in quests and tournaments. In biblical iconography within illuminated manuscripts, such as 13th-century French psalters, figures like King David or Saul appear in stylized medieval corslets, blending scriptural narratives with contemporary armor to convey divine protection and moral fortitude. The depiction of corslets evolved in 19th-century Romantic media, where painters idealized them in scenes of Napoleonic warfare; Théodore Géricault's The Wounded Cuirassier (1814) portrays a dismounted heavy cavalryman in a gleaming steel corslet, capturing the dramatic tension and heroic individualism of the era's aftermath of battle. Similarly, Édouard Detaille's works, such as Vive l'Empereur! (1891), romanticize corsleted soldiers in reenactment-like compositions, evoking nostalgia for imperial glory amid the smoke of battle.

Legacy in Modern Contexts

In contemporary historical reenactment, corslets are replicated and worn by participants in organizations such as the Society for Creative Anachronism (SCA), where they form part of 16th-century European combat kits during events like tournaments and battles, emphasizing period-appropriate protection for torso and shoulders.^[50] These reproductions allow enthusiasts to experience the mobility and defensive qualities of Renaissance infantry armor in simulated melee scenarios. Additionally, original corslets are prominently displayed in museum collections, such as the 1580 half armour (corslet) at the Royal Armouries, part of the historic armory exhibits at the Tower of London, preserving examples of Elizabethan-era craftsmanship for public education and study.^[20] In modern media, corslets appear in stylized portrayals of 16th-century warfare, as seen in the TV series The Tudors (2007–2010), where period-inspired armor, including torso-protecting pieces like corslets, is featured in jousting and battle scenes to depict Tudor military culture.^[51] Similarly, video games such as the Assassin's Creed series incorporate corslet-inspired designs for Renaissance-era guards and soldiers, drawing from 16th-century Italian and European armor styles to immerse players in historical settings.^[52] Reproduction corslets are popular among collectors and reenactors, with armorers like Steel Mastery offering custom-made versions based on late 15th- to early 16th-century designs, such as Milanese or Gothic-style cuirasses, priced typically between $500 and $2,000 depending on materials and finishing, to ensure high historical fidelity for display or use.^[53] These pieces often use cold-rolled steel of 1.0–1.2 mm thickness, with options for leather straps and polishing to match originals. Scholarly interest in corslets extends to ancient precedents, particularly archaeological studies of Mycenaean corslets like the Dendra panoply (c. 1400 BCE), where recent experiments involving modern marines testing the armor in simulated Bronze Age combat have demonstrated its effectiveness for prolonged activity, influencing concepts in contemporary body armor design by highlighting modular bronze plating for mobility and protection.^[54] These findings, published in peer-reviewed journals, underscore how ancient corslet innovations continue to inform lightweight, flexible protective gear in military research, including modern tactical vests as of 2025.^[55]

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Underarm Plate of Corselet - The Metropolitan Museum of Art
Title: Underarm Plate of Corselet · Date: 16th century · Culture: Japanese · Medium: Iron, leather, brass, textile · Dimensions: H. 13 1/2 in. (34.3 cm); W. 5 3/4 ...Missing: corslet | Show results with:corslet
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Bluing (steel) - Wikipedia
Bluing, sometimes spelled as blueing, is a passivation process in which steel is partially protected against rust using a black oxide coating.
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https://www.reddit.com/r/AskHistorians/comments/5dciyp/how_was_it_that_milan_was_able_to_manufacture_so/
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The Tube & Yoke Cuirass — The Greek Phalanx
Despite its ubiquity in ancient art, the “tube & yoke” style of Greek body armor remains mysterious and highly controversial.Missing: corslet early
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The steel of the Negroli - Academia.edu
Armour made by the Negroli family of Milan has often been described as "parade" armour. In fact, its metallurgy demonstrated that it was frequently made of ...
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How was it that Milan was able to manufacture so much plate armor ...
Nov 17, 2016 · Advances in mass production of sheet steel made (partial) plate armour for common soldiers feasible, and increasingly professional armies of ...Missing: corslet | Show results with:corslet
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Some Aspects of the Metallurgy and Production of European Armor
Oct 18, 2016 · An overview of some of the research into the metallurgical study of armour and weapons. Including material quality and composition.Missing: corslet | Show results with:corslet
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Smithcraft: the past and present of metal forging - Metinvest
Oct 27, 2021 · For steel (depending on alloy and carbon content), the temperature ranges from 800°C to 1,250°C. This is higher than the recrystallisation and ...
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the armourer and his craft - Project Gutenberg
The Armourer and His Craft from the XIth to the XVIth century by Charles Ffoulkes, B.Litt.Oxon. with sixty-nine diagrams in the text and thirty-two plates.
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Famous Makers of Arms and Armors and European Centers of ...
Oct 1, 2002 · The most important regions of armor production in Renaissance Europe were northern Italy and southern Germany, with workshops from both regions exporting their ...
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Pikeman's Armor | Cleveland Museum of Art
Pikemen formed the backbone of infantry tactics through the end of the English Civil Wars (1642–51). Since muskets alone were ineffective against cavalry ...
[44]
England - Pikeman's corselet - Royal Collection Trust
Pikeman's corselet consisting of a pot, a gorget, a breastplate, a pair of tassets and a backplate. All with a bright finish and fitted with rivets of iron ...
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Age of Armor Access Guide: The Changing Nature of Warfare
To make the steel resistant to musket or pistol balls, armor needed to become increasingly thick, and therefore heavy. This made it impractical for foot ...
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(PDF) THE SEVENTEENTH CENTURY BUFF-COAT - Academia.edu
The buff-coat emerged as a crucial body-defense garment in 17th century European cavalry. Buff-coats evolved from 16th century buff-jerkins and became prevalent ...
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The Defensive Armour of the Mycenaeans - jstor
replaced by corslets of metal or metal and perishable materials, and by greaves. The Dendra panoply of c. 1400 B.C. is the fundamental evidence (though there is.
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Dendra, Argolid (1926–1927, 1937, 1939, 1960, 1962–1963)
May 6, 2020 · Excavation history. The Swedish excavations at Dendra were initiated in 1926 when Axel W. Persson investigated a Mycenaean tholos tomb (Late ...Missing: corslet | Show results with:corslet
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Exhibition Knights & bombards, Agincourt - 1515 - Battle of Marignano
From 2015 October 7 til 2016 January 24, the musée de l'Armée presents the exhibition Knights & bombards, Agincourt - Marignano, 1415 -1515.Missing: Landsknecht corslet museums
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Case Study II, Landsknechts / Swiss in French Service
This theme with some variation is typical of the first quarter of the sixteenth century as you can see between the Marignano (1515) & Pavia (1525) images above.Missing: corslet captured museums
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Henry VIII's Field and Tournament Armour - 1540 - Royal Armouries
Made at the Greenwich Armoury, 1540. ... Close helmet, the skullpiece with low comb. One piece visor, the vision slit with central division and another on either ...Missing: corslet 1540s
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Armor Garniture, Probably of King Henry VIII of England (reigned ...
A ventral plate is found on only one other armor, made in Greenwich in 1540 for Henry VIII. This armor is believed to have been made for Henry VIII and ...Missing: corslet | Show results with:corslet
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Breastplate - Italian, Milan - The Metropolitan Museum of Art
This Italian breastplate from Milan, ca. 1510-15, features a hatched ground, classically inspired trophies, and depictions of saints, including the Christ ...
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Armor - Italian, probably Milan - The Metropolitan Museum of Art
This armor is a composite of old and new pieces. Genuine elements from an Italian garniture of about 1570 are combined with restored pieces.Missing: corslet | Show results with:corslet
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Homer (c.750 BC) - The Iliad: Book II
He was short, wore a linen corslet, but was more skilful with the spear than any other Hellene or Achaean. His troops came from Cynus, Opoeis, Calliarus, Bessa, ...
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Henry V: Entire Play - Shakespeare (MIT)
With treacherous crowns; and three corrupted men, One, Richard Earl of Cambridge, and the second, Henry Lord Scroop of Masham, and the third, Sir Thomas Grey, ...
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ice falcon armory – Medieval Reenactment
16th Century Breastplate, hown with faulds, tassets and backplate. $1,250 ... “I use their armor for SCA combat, and it's not only historically accurate ...
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I just started watching The Tudors - Great show! - Cafe Society
May 23, 2009 · The joust during the first episode was great too - the armor was very realistic for the period, something that's uncommon when it comes to ...
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Seusenhofer Armor | Assassin's Creed Wiki - Fandom
The Seusenhofer Armor was an armor set named for Konrad Seusenhofer, a famous 16th-century Austrian armourer ... Assassin's Creed Wiki is a Fandom Games Community ...Missing: corslet | Show results with:corslet
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Medieval cuirasses and breastplates | Gorget armor for sale | Steel Mastery
### Summary of 16th Century Torso Armor from Steel Mastery
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These modern soldiers put Bronze Age armor to the test–how did it ...
May 22, 2024 · Known as the Dendra armor or the Dendra panoply, it dates to the 15th century B.C. a few centuries before the Trojan War that inspired Homer ...
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Analysis of Greek prehistoric combat in full body armour based on ...
The evidence presented here that Mycenaean armour was suitable for extended use in battle enriches both our understanding of ancient Greek and Late Bronze Age ...Missing: corslets armor