The Ten Thousand Immortals were the elite force of the Persian army of the Achaemenid Empire (c. 550-330 BCE). They formed the king's personal bodyguard and were also considered the shock troops of...
How do I decorate my 16th century hat? The ostrich feather, big voluminous plumes, in a hat is what catch your eye when you see the 16th century Germany dresses, even though many hats during that p…
Nemrut Dag - 1st century BCE
15th century (ca.1410) France (Paris) Genève, Bibliothèque de Genève Ms. fr. 190/1: Des cas des nobles hommes et femmes by Giovanni Boccaccio fol. 60r - Sardanapalus, among his wives, being informed...
Date: late 14th or early 15th century. Culture: South Netherlandish. Medium: Bronze; Quaternary copper alloy (approx. 72% copper, approx. 17% zinc,approx. 6...
Henry V and the Conquest of France 1416-1453 by Graham Turner Henry V and the Conquest of France 1416-1453 by Graham Turner Henry V and the Conquest of France 1416-1453 by Graham Turner Henry V and the Conquest of France 1416-1453 by Graham Turner German Medieval Armies by Graham Turner German…
Everything must be revolutionized.
Are you a real entrepreneur? Find out with our checklist. In addition, we show you the 8 most creative entrepreneurs in history, so you can learn from them.
In translation, the term jinn can be interpreted as ‘hidden from sight’ or ‘the hidden ones.’ In Arabic, the word jinn defines a collective number and it derives from the root jnn or gnn, which means ‘to hide’ or ‘to be hidden.’ All this implies that jinn are not necessarily spirits, but they are hidden in their status in time, in space, and in darkness.
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Buy ANY 2 prints and get a 3rd print FREE Buy ANY 3 prints and get 3 prints FREE Scroll below for details of how to get your FREE prints. Vintage Art Nouveau print – a rare late 19th Century German 'Jugendstil' reproduction art print. Bring a unique touch of German Art Nouveau style to your home or office. This beautiful print featured as a colour plate in an early edition of Jugend magazine, from the 1890s, and has been sensitively restored and optimised. The influential German weekly art magazine Jugend (Youth) was published from 1896 to 1940, and was renowned for its avant-garde style and exquisite Art Nouveau illustrations. Published in Munich by the writer Georg Hirth, the magazine featured the work of many celebrated Art Nouveau artists and is the source of the term "Jugendstil" ("Jugend-style"), the German school of Art Nouveau. Our antique art reproduction prints are printed to order on a professional grade EPSON photo printer, using archival ultra-long-life UV / fade resistant pigment inks, and printed on premium quality heavyweight textured art paper, delivering pin-sharp detail, vivid colours and exceptional image quality. AVAILABLE PRINT SIZES: A4 / 21.0 x 29.7 cm / 8.3 x 11.7 inches Original antique images have been digitally restored and optimised for outstanding reproduction quality and colour. Please note that print borders can vary depending on the dimensions of the original antique image. Most prints come with a uniform 3 mm white surround, but borders may also be adjusted (height and width) to preserve the original aspect ratio. Our prints are not to be confused with posters or mass produced images printed on cheap, low-quality paper. Buy ANY 2 prints and get a 3rd additional print FREE Buy ANY 3 prints and get 3 additional prints FREE HOW TO GET YOUR FREE EXTRA PRINTS: 1/ Place ANY 2 or 3 prints in your shopping cart. 2/ When you go to the checkout simply CLICK on ‘Add a note to RarePrintEmporium’ and add the title / s OR number of your selected free extra print / s (of the same size or smaller). EXAMPLE: ‘Henri Matisse, Seated Woman’ ‘Vintage Art Nouveau print (#011)’ ‘Katsushika Hokusai, The Great Wave Off Kanagawa’ ALTERNATIVELY (AND / 0R): CLICK on ‘CONTACT SHOP’ at the top right corner of your basket and attach a download /s - of the image /s to the message of the 3rd (4th 5th & 6th) FREE print / s (of the same size or smaller). On some mobile devices it is also possible to copy and paste a screenshot /s into messages. Please ALSO add your name. 3/ Your FREE EXTRA PRINT / S will be added to your order! OUR 3 FOR 2 AND 6 FOR 3 OFFER APPLIES TO ALL INDIVIDUAL PRINTS. SELECT YOUR PRINTS FROM ANY COLLECTION IN THE RARE PRINT EMPORIUM STORE. SHIPPING FREE UK postage, fast processing time. Orders typically delivered within 2-3 days of purchase. Overseas orders typically take 5-14 days to deliver, depending on the customs procedures of the destination country. Prints are delivered UNFRAMED. Frames to fit our popular A4 and A3 print sizes are widely available to purchase online or in craft stores. Smaller prints are shipped in stiffened envelopes. Individual larger prints are carefully rolled and shipped in a tube. Multiples of larger prints are shipped in double-stiffened A3 envelopes. PLEASE NOTE: We specialise in antique print reproductions, the originals of which can be centuries old. Please be aware that any minor imperfections noticeable on your prints derive from the original images, and not as a result of our printing processes. Some prints may seem a little grainier than an equivalent modern image; they may also show slight creases, smudges or tears that could not be removed during restoration without detracting from the original. In our opinion, these slight imperfections add to the authenticity of a print. Before buying, please check your selected prints carefully using the zoom viewing option. This should give you a good idea of what you will receive. Please note there may be slight colour or tone variations in the physical prints due to different monitor and device settings.
maertyrer: attributed to Cornelis Engebrechtsz Saint Barbara and Saint Catherine early 16th century
Мermaids - sirens - monster fish (french, circa 1450-70) Herzog August Bibliothek Wolfenbttel, Cod. Guelf. 1 Gud. lat., detail of f. 14v. Lambert of Saint-Omer, Liber floridus. 12th century. La Bte de la Mer (Tapisserie de lApocalypse). A medieval tapestry of the False Prophet,…
In Roman Egypt (30 BCE-324 CE), artists adapted naturalistic painting styles to the ancient custom of making portrait masks for mummies. The portraits were often painted while the subject was in the prime of life and were hung in the home until the person's death. This practice continued in northern Egypt well into the Early Byzantine period.
Date: late 14th–early 15th century. Geography: Ethiopia, Amhara region. Culture: Amhara peoples. Medium: Parchment (vellum), wood (acacia), tempera, ink. ...
Date: first half 14th century. Geography: Made in Tigray, Ethiopia. Culture: Ethiopian. Medium: Tempera on parchment. Dimensions: Overall: 10 15/16 x 7 1/2 ...
Date: late 14th or early 15th century. Culture: South Netherlandish. Medium: Bronze; Quaternary copper alloy (approx. 72% copper, approx. 17% zinc,approx. 6...
a Temple-theater complex discovered only at the beginning of the 2000s in Monte San Nicola, in Pietravairano of Caserta province. Lying at 410 meters high in the Sannio area, dates back to the late Roman Republican period, 2nd-1st century BC.
Old Masters specialist Jonquil O’Reilly explains how one dressed to impress in the 1500s, with the aid of portraits by Cranach and Mor offered in New York on 19 April
One hundred years ago tomorrow one of the bloodiest battles in human history began against the German Empire - the worst day in the history of the British Army
Artist: Hans Memling (Netherlandish, Seligenstadt, active by 1465–died 1494 Bruges). Date: ca. 1470. Medium: Oil on wood. Dimensions: (.626, Tommaso) over...
Explore dave5056's 293 photos on Flickr!
Henry V and the Conquest of France 1416-1453 by Graham Turner Henry V and the Conquest of France 1416-1453 by Graham Turner Henry V and the Conquest of France 1416-1453 by Graham Turner Henry V and the Conquest of France 1416-1453 by Graham Turner German Medieval Armies by Graham Turner German…
Illustrations of cooking, and eating, from a 13th-century illuminated manuscript.
*Please note that posters in the comments provide links to pages that no longer exist -- sadly! Yale at one point removed the archive of images from public view. I am sitting at my desk transported by the digital images...
Augustus, de eerste keizer van Rome, is een veel besproken figuur. Het was een man die wist hoe hij het politieke toneel moest brengen en die alle mac...
Henry V and the Conquest of France 1416-1453 by Graham Turner Henry V and the Conquest of France 1416-1453 by Graham Turner Henry V and the Conquest of France 1416-1453 by Graham Turner Henry V and the Conquest of France 1416-1453 by Graham Turner German Medieval Armies by Graham Turner German…
Explore nikidel5's 182 photos on Flickr!
http://imtw.ru/topic/48629-rimskoe-carstvo-regnum-romanum-i-rannyaya-respublika/page__st__20__p__2136198#entry2136198 1. EARLY VILLANOVAN CULTURE, 9th–8th CENTURIES BC. (1) Leader with war-chariot, Tarchuna area. The early example of a war-chariot is from grave 15 at Castel di Decima, and the warrior is reconstructed partly from grave Monterozzi 3 in the Arcatelle necropolis, Tarquinia. This contained, among other objects, a crested helmet, an antennae sword, a spearhead and a fibula. His bilobate shield, of Aegean origin, is reconstructed after the fragmentary specimen from Brolio and the miniatures from grave XXI at Pratica di Mare; it lacks the typical ornamentation of the later Orientalizing Period. Chest-protecting bronze kardiophylakes are well attested. Note also the red ‘war paint’ used on the face and limbs by some Etruscans and Latins. (2) Villanovan-Tarquinian axeman. The axeman is protected by the ‘bell-helmet’ from the Pozzo grave, Monterozzi necropolis; pairs of holes along the rim suggest the attachment of an organic-material lining, chinstrap and/or neck-guard. The oval shield is made of wood with leather covering, and has a raised wooden reinforcing rib with a central ‘boss’. The use of necklaces and bracelets was widespread, but we do not know to what degree these were associated with military or civil fashions. (3) Sardinian mercenary, Pupluna area. This mercenary, copied from the ‘Teti archer’ statuette, wears a low-profile horned leather helmet, a bronze breastplate and greaves. His main weapon is the long composite bow, made of wood, horn and sinew. Note the leather protector worn on the left forearm. 2. VILLANOVAN ARISTOCRATIC WARS, 8th–7th CENTURIES BC. 1) Villanovan aristocratic cavalryman, Felzna area, 8th century This cavalryman – partly reconstructed from grave 525, Askos Benacci, near Bologna – is protected by a crested helmet (from an example in Hamburg Museum), and has slung on his back a decorated bronze shield (example from Verucchio). His offensive weapons are a spear and the curved antennae ‘sabre’ from Bologna. Graves around Bologna have yielded a bronze prod for a horse, and a snaffle bit with chained and mobile elements with circular sections. The original terracotta horse showed a blue mane and tail, and red markings suggested tattoos or brands, perhaps with magical significance. These features are also found in other graves, e.g. the Tomba di Tori at Tarquinia. (2) Proto-Etruscan leader, Narce area, 730 BC Mainly obscured here by his cloak, the bronze armour of this senior leader, extensively decorated with repoussé work, is shaped like a ‘poncho’; it is composed of one-piece front and back plates joined by straps under the arms. According to Cowan, it was shaped for an individual with very broad shoulders and a heavily muscled chest. His helmet, of crested type over a rounded bowl, is 43cm (16.9in) high, made of two sheets of bronze fastened partly along the crest by folding one sheet over the other. (3) Villanovan leader, Tarchuna area, second half of 8th century Reconstruction of the ‘Corneto warrior’ in his full panoply, to which we have added from another grave a calotte or cap-helmet, with decoration perhaps suggesting a human face. The Corneto skeleton possibly had an early example of linen corselet (linothorax), fastened with bronze buttons and hooks. It was reinforced with a bronze shoulder piece, and a rectangular breastplate decorated with gold foil and ornamented with stamped patterns of swimming ducks, stylized lotus flowers and other details. The shoulder guard worn on the right (the side not covered by the shield), recalls one from an Achaean grave at Dendra in Argolis; it retains traces of padding, confirming that parts of metal armour were lined with organic materials for comfort. The earlier Etruscan warrior custom of painting the face red would be retained by the Romans for some special ceremonies, in reference to the red-painted statue of Jupiter Capitolinus in the statuarum praetextae ritual. 3. C ‘ORIENTALIZING PERIOD’, NORTHERN ETRURIA, 7th CENTURY BC (1) Late Villanovan leader from Verucchio area The presence of crested helmets in the Verucchio graves has led some scholars to suggest that this area was strongly colonized by Tarquinia or Veii, where such helmets were produced. The crest of this example is of painted horsehair mixed with gold threads, as attested by necropolis finds (e.g. grave Lippi 89). At this time the lords of Verucchio were armed with short iron swords in richly decorated scabbards, and ornamented axes. Leaning on his grounded spear is a shield with beautiful embossed decoration; his embossed armour is copied from the Basle Museum specimen. (2) Rachu Kakanas, Vetulonian leader, with war-chariot The grave of this named Rasenna-Etruscan dux of Vetulonia was one of the richest in military finds, including the remains of his two-horse chariot, reinforced with bronze disk phalerae of Orientalizing style. Leaning against the wheel, we show the interior of his circular bronze shield 84cm (33in) in diameter, probably manufactured in Tarquinia. His helmet has an extended hemispherical dome and a flared rim. His weapons included a richly ornamented dagger in an ivory scabbard, a spear, knives, and a trapezoidal axe. The plated belt is from examples such as those in drawings on page 27, and we have added a pair of greaves from a neighbouring grave. Note the sceptre, a symbol of command. (3) Lictor, Vetulonia The man in the lictor’s grave was probably a soldier armed with a simple sword, axe and two knifes, but bearing on his shoulder the important symbol of the fasces, so was probably a royal guard. He wears a typical padded tunic of the period, and proudly brandishes his fasces, which has a total length of 60cm (23.6in). When different armies formed war alliances, it is believed that lictors were sent to the overall commander by other leaders as a sign of their temporary subordination. 4. D ETRUSCAN EXPANSION. 6th CENTURY BC (1) Lars Porsenna, Lucumo of Clevsin, with chariot This is a reconstruction of the Etruscan king immortalized for generations of British schoolboys by Macaulay’s poem Horatius at the Bridge. While there would have been some variations in their equipment, it is likely that the heavily-armoured dynatotatoi would have had a complete panoply: here, a full Corinthian helmet with high lophos, a painted ‘bell-shaped’ cuirass, protections for the thighs, and greaves decorated with embossed lion-masks. His cloak and helmet-crest are in purple and gold, symbolizing his royal power. The chariot is based on a splendid example from Monteleone da Spoleto, decorated with bronze panels representing the myth of Achilles. (2) Rasenna hoplite of the first class, Clevsin First-class hoplites wore defences similar to the Greeks, although produced by their own armourers. This high-status warrior, copied from the Tomba della Scimmia (480 BC), has a Chalcidian helmet with Italic-style feather plumes flanking the crest. His early muscled cuirass shows red-lacquered shoulder-guards. He is otherwise protected by greaves, and by a hoplon shield decorated with a possible city blazon. His weapons are a spear and (obscured here) a curved, single-edged kopis sword. (3) Etruscan horn-player The simply-dressed hornist plays the precious specimen of a cornu now preserved in the Museo Nazionale Etrusco, Villa Giulia, Rome. This bronze horn is smaller than the later specimens of the Roman Imperial period; derived from prehistoric ox-horn instruments, it is almost circular in shape (ex aere ricurvo). The cross-brace in the middle, to help the hornist hold it steady, was not always present. 5. ETRUSCAN WARS WITH ROME, 5th CENTURY BC (1) Roman tribunus Aulus Cossus, 437 BC This officer is based on accounts by Livy and on the bone plaques from Praeneste showing Latin hoplites. He is armed with a spear and a two-edged xiphos sword, and carries a round clipeum shield. The crest and diadem of his Attic-type helmet are (hypothetically) shown here in the same colour. His leather muscled armour is copied from the Roman warrior depicted in the so-called ‘François Tomb’; it was probably moulded and hardened by the cuir-bouilli technique that would be used until the Middle Ages. (2) Tolumnius, Lucumo of Veii Livy (IV, 17-19) and Plutarch (Romulus, XVI) give us important attestations to the employment of the linothorax by an Etruscan king. Following the single combat between King Tolumnius of Veii and Aulus Cornelius Cossus in 437 BC, the former’s linen armour was dedicated at the temple of Jupiter Feretrius: ‘... Then he [Aulus] despoiled the lifeless body, and cutting off the head stuck it on his spear, and, carrying it in triumph, routed the enemy… He solemnly dedicated the spoils to Jupiter Feretrius, and hung them in his temple… Augustus Caesar …read that inscription on the linen cuirass with his own eyes.’ (3) Rasenna archer The use of the composite recurved bow (arcus sinuosus) is attested on painted plaques of the Tarquinii period; constructed of bonded wood and horn, it would have required great strength to draw. Vergil quotes the Etruscan archers using the quiver or leves gorytus (X, 168). 6. THE LAST WARS, 4th CENTURY BC. (1) Aristocratic Rasenna woman This Etruscan lady is copied from the Tomba dell’Orco frescoes, and is dressed in the common fashion of ‘Magna Graecia’: a garlanded headdress, discoid earrings, a long cloak over a pleated linen tunic, and calcei repandi on her feet. (2) Rasenna hoplite from Velzna Reconstruction of the warrior from the Settecamini tomb near Orvieto, which yielded a Montefortino-style helmet, a shield and a muscled cuirass. Archaeological fragments of Etruscan shields from graves in Perugia and Settecamini give us clear evidence for the heavy phalanx style of fighting in the 5th–4th centuries. The central position of the porpax arm-loop shows that it passed around the arm just below the elbow (see G1), with a handgrip near the rim; this was useful only in the linear ‘shield wall’ formation typical of the hoplite phalanx. (3) Rasenna hoplite from Tutere One of the most spectacular statues of warriors, the nearly life-size ‘Mars of Todi’ dated to about 350 BC, shows the employment of lamellar armour. The lamellae could be in bronze or – as suggested by their white colour in many artistic representations – of white metal, or even of an organic material such as bone. THE LATE ETRUSCANS, 3rd CENTURY (1) Rasenna mercenary, Tarchuna An inscription from Tarquinia attests to the mercenary service of one of its townsmen at Capua during the Second Punic War. This warrior is copied from the so-called ‘Amazons Sarcophagus’ from Tarquinia, on which the decoration of each corselet is individualized, reflecting real-life practice. One of the major differences between Greek and Etruscan linen corselets in the monuments is that the latter are much more often decorated with painted floral and vegetal patterns. (2) Rasenna marine, Roman fleet, Punic Wars Etruscan marines served in the Roman fleet during the Punic Wars. The urns from Volterra which represent sailors or marines of the 3rd–1st centuries show the use of conical felt caps (piloi) and padded or quilted garments, probably made of felt and wool (coactiles and centones). The sea-fighters often employed axes (secures) and long, complex polearms (drepana) to cut the rigging of enemy ships when they came together for boarding actions. (3) Aristocratic eques Marcnal Tetina; Clevsin, 225–200 BC The last period of Etruscan armour-making shows the employment of composite armours with linen, padded and scale elements. Richly elaborated ‘Hellenistic’ helmets seem to be represented, worn by warriors on Etruscan urns from Volterra dated around 200 BC. These are often of the Phrygian shape, with a forward-curling extension of the dome, decorated cheek-guards, and two feather side-plumes. LOS ETRUSCOS TARDÍOS, SIGLO III a. C. (1) Mercenario de Rasenna, Tarchuna Una inscripción de Tarquinia prueba el servicio mercenario de uno de sus habitantes en Capua durante la Segunda Guerra Púnica. Este guerrero está copiado del llamado “Sarcófago de las amazonas” de Tarquinia, en el cual la decoración de cada coselete está individualizada, reflejando la práctica en la vida real. Una de las grandes diferencias entre los coseletes de lino griegos y etruscos en los monumentos es que aquellos? están mucho más a menudo decorados con diseños pintados de flores y vegetales. (2) Infante de marina de Rasenna, flota romana, Guerras Púnicas Los infantes de marina etruscos servían en la flota romana durante las Guerras Púnicas. Las urnas de Volterra que representan marinos o infantes de marina de los siglos III a I a. C. muestran el uso de gorros de fieltro cónicos (piloi) y prendas acolchadas o rellenas, probablemente fabricadas con fieltro y lana (coactiles y centones). Los guerreros del mar a menudo empleaban hachas (secures) y armas de hasta largas y complejas (diepana) para cortar el aparejo de los barcos enemigos cuando se acercaban para los abordajes. (3) Eques aristocrático Marcnal Tetina; Clevsin, 225-200 a. C. La última etapa de la fabricación de armaduras etruscas muestra el empleo de armaduras compuestas con elementos de lino, rellenos y escamas. Cascos “helenísticos” ricamente elaborados parecen ser representados, usados por guerreros en urnas etruscas de Volterra fechadas cerca del 200 a. C. Estos a menudo son de forma frigia, con la extensión de la calota proyectándose hacia delante, decorada con carrilleras, y dos plumas laterales. ETRUSCANS IN THE ROMAN ARMY, 2nd–1st CENTURIES BC 1) Lictor Painted urns from Volterra show cornicines and lictores attending victors or magistrates; this lictor is copied from the Tomba del Convegno (Monterozzi necropolis, Tarquinia). He is wearing the toga gabina and carries an iron double-axe (bipennis). (2) Eques An unusual urn from Volterra, representing the myth of Eteocles and Polynices, shows the brothers dressed like Roman cavalrymen of the period, with Boeotian helmets fitted with the geminae pinnae of Mars, shields of popanum typology, leather armour (spolas), greaves, and short swords. (3) Centurio This Roman centurion, copied from an urn in Florence Museum, wears a pseudo-Corinthian helmet fitted with a crista transversa. His composite armour is made of leather (shoulder-guards), padded material (main corselet), and on the chest bronze scales (squamae). Note his calcei boots, and the richly varied colours of his panoply. (4) Guardsman Reconstructed from the Sarteana urn, this Roman miles wears a late Montefortino helmet found in Forum Novum. His body armour combines a bronze kardiophylax breastplate and a linothorax corselet. We have added a single left greave and the curved oblong legionary scutum of his time; his weapons are the hasta and the deadly gladius hispaniensis. (5) Magistrate The absorption of Etruria into Rome saw leading Etruscan families climbing the government hierarchy. This official, copied from the famous statue of Aule Metele, wears the toga exigua over a tunica; the latter’s purple angusticlavi, and the gold ring on his left hand, identify him as a member of the equestrian order. Hidden here, he would also be wearing high calcei boots with lingula, and fastened by corrigiae. Los etruscos en el ejército romano siglos II y I a. C. (1) Líctor Las urnas pintadas de Volterra muestran cornicines y lictores asistiendo a vencedores o magistrados; este líctor está copiado de la Tomba del Convegno (necrópolis de Monterozzi, Tarquinia). Usa la toga gabina y lleva un hacha de hierro doble (bipennis). (2) Eques Una urna rara de Volterra, que representa el mito de Eteocles y Polinices, muestra a los hermanos vestidos como jinetes romanos del periodo, con cascos beocios ajustados con las geminae pinnae de Marte, escudos de la tipología popanum, armadura de cuero (spolas), grebas, y espadas cortas. (3) Centurio Este centurión romano, copiado de una urna que está en el Museo de Florencia, usa un casco seudocorintio ajustado con una crista transversa. Su armadura compuesta está hecha de cuero (hombreras), material de relleno (coselete principal), y sobre el pecho escamas de bronce (squamae). Obsérvese sus botas de tipo calcei, y los colores ricamente variados de su panoplia. (4) Guardia Reconstruido de la urna Sarteana, este miles romano usa un casco Montefortino tardío hallado en Forum Novum. Su armadura corporal combina un peto de bronce kardiophylax y un coselete linothorax. Hemos añadido una única greba en la pierna izquierda y el escudo curvo oblongo scutum del legionario de su momento; sus armas son el hasta y el mortal gladius hispaniensis. (5) Magistrado La absorción de Etruria por Roma vio a las principales familias etruscas escalando la jerarquía del gobierno. Este oficial, copiado de la famosa estatua de Aule Metele, usa la toga exigua sobre una túnica; los angusticlavi púrpura de aquel, y el anillo de oro de su mano izquierdo, lo identifican como un miembro del orden ecuestre. Ocultos aquí, también usaría botas altas del tipo calcei con lingula, sujetas con corrigiae.
The Crusades were a major turning point in history which evoked a rapid evolution of arms and armors that persisted throughout the middle ages.
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