The Spathology of Medieval and Renaissance Sword FormsIn the continuing effort to bring greater learning and scholarship to the serious study and practice of European weaponry, ARMA, as the premier Internet site for Medieval and Renaissance fighting arts, presents the following general definitions. This brief list is intended to aid students in study and dispel some of the many myths and misconceptions surrounding the subject. Swords from the Dark Ages to the High Middle Ages ![]() The Viking Sword ![]() ![]() Long-Swords ![]() Great-Swords ![]() Bastard Swords ![]() The familiar modern term "hand-and-a-half" was more or less coined to describe bastards swords specifically. The term "hand-and-a-half sword" is often used in reference to long-swords is not historical and is sometimes misapplied to other swords (although during the late 1500's, long after such blades fell out of favor, some German forms of this phrase are believed to have been used). While there is no evidence of the term “hand-and-a-half” having been used during the Middle Ages, either in English or other languages, it does appear in the 16th century. In his 1904 bibliography of Spanish texts, D. Enrique de Leguina gives a 1564 reference to una espada estoque de mano y media, and a 1594 reference to una espada de mano y media. In the Ragionamento, the unpublished appendix to his 1580, Traite d Escrime (“Fencing Treatise”), Giovanni Antonio Lovino describes one sword as una spada di una mano et mana et meza (literally “hand and a half sword”) which he distinguishes from the much larger spada da due mani or two-handed sword (the immense Renaissance weapon). The term spadone was used by Fiore Dei Liberi in 1410 to refer to a tapering long-sword and Camillo Agrippa in 1550 called the spadone a war sword. Later it was defined by John Florio in his 1598 Italian-English dictionary as “a long or two-hand sword.” Two-handed Swords ![]() ![]() The Claymore ![]() The Falchion ![]() Cut & Thrust Swords of the Renaissance ![]() The Back-Sword ![]() The Schiavona ![]() The Katzbalger ![]() The Rapier ![]() ![]() The Flamberge ![]() The Baroque Small Sword ![]() While it is the straight-bladed cruciform sword style that for both war and duel was perfected in Europe as no where else, curved swords were hardly unknown. Many forms were known from the ancient convex-bladed Greek kopis and Iberian falcatta, to the laengsaex curved Viking blade, as well as the short-sword/long-knife seax or scramsax. There is also the Medieval falchion and the German curved Messer, Grossmessr, and bohemian Dusask The Italians used the curved storta, the straight bladed but curved-edge braquemart and the curved badelair (baudelair, bazelair, or basilaire) as well as the short curved braquet. Finally, wide varieties of sabers, sabres, sabels, and cutlasses were used from at least the mid-1500’s. Indigenous European curved sword forms such as the Czech tesak, Polish tasak, and Russian tisak were used since at least the 7th century. ![]() Many sword types are closely identified with a particular style of hilt. Yet hilts were very often replaced on blades over time a weapon. Thus, a sword cannot be classified or categorized by whatever kind of cross, pommel, or grip it has, but by the length, form, and geometry of its blade. Hilt - The upper portion of a sword consisting of the cross-guard, handle/grip, and pommel (most Medieval swords have a straight cross or cruciform-hilt).Called the Handhabein German. In Old French the crosspiece was called helz, the grip called poing, the pommel called pom, and the handle might be bound with metal rings called mangon. Cross - The typically straight bar or "guard" of a Medieval sword, also called a "cross-guard." A Renaissance term for the straight or curved cross-guard was the quillons (possibly from an old French or Latin term for a type of reed). Fiore Dei Liberi in 1410 referred to it as the crucibus. Fillipo Vadi in the 1480s termed it the cross-guard or "crosses," Elza term. Called the Gehiltz or Gehultz in German. Called the Kreuz in Germanand Croce in Italian. Quillons: A Renaissance term for the two cross-guards (forward and back) whether straight or curved. It is likely from an old French or Latin term for a reed. On Medieval swords the cross guard may be called simply the "cross," or just the "guard." Pommel: Latin for "little apple," the counter-weight which secures the hilt to the blade and allows the hand either rest on it or grip it. Forte': A Renaissance term for the upper portion on a sword blade which has more control and strength and which does most ![]() Fuller - A shallow central-groove or channel on a blade which lightens it as well as improves strength and flex. Sometimes mistakenly called a "blood-run" or "blood-groove," it has nothing to do with blood flow, cutting power, or a blade sticking. A sword might have one, none, or several fullers running a portion of its length, on either one or both sides. Narrow deep fullers are also sometimes referred to as flukes. The opposite of a fuller is a riser, which improves rigidity. Grip - The handle of a sword, usually made of leather, wire, bone, horn, or ivory (also, a term for the method of holding the sword). Lower end - the tip portion or final quarter of blade on a sword Pommel - Latin for "little apple," the counter-weight which secures the hilt to the blade and allows the hand to either rest on it or grip it. Sometimes it includes a small rivet (capstan rivet) called a pommel nut, pommel bolt, or tang nut. On some Medieval swords the pommel may be partially or fully gripped and handled. Ricasso - The dull portion of a blade just above the hilt. It is intended for wrapping the index finger around to give greater tip control (called "fingering"). Not all sword forms had ricasso. They can be found on many Bastard-swords, most cut & thrust swords and later rapiers. Those on Two-Handed swords are sometimes called a "false-grip," and usually allow the entire second had to grip and hold on. The origin of the term is obscure. Shoulder - The corner portion of a sword separating the blade from the tang. Tang - The un-edged hidden portion or ("tongue") of a blade running through the handle and to which the pommel is attached. The place where the tang connects to the blade is called the "shoulder." A sword's tang is sometimes of a different temper than the blade itself. The origin of the term is obscure. Upper end - The hilt portion of a Medieval sword Waisted-grip - A specially shaped handle on some bastard or hand-and-a-half swords, consisting of a slightly wider middle and tapering towards the pommel. Annellet/Finger-Ring: The small loops extending toward the blade from the quillons intended to protect a finger wrapped over the guard. They developed in the middle-ages and can be found on many styles of Late-Medieval swords. They are common on Renaissance cut & thrust swords and rapiers they and also small-swords. For some time they have been incorrectly called the "pas d`ane." Compound-Hilt/Complex-Guard: A term used for the various forms of hilt found on Renaissance and some late-Medieval swords. They consist typically of finger-rings, side-rings or ports, a knuckle-bar, and counter-guard or back-guard. Swept-hilts, ring-hilts, cage-hilts, and some basket-hilts are forms of complex-guard. ![]() |
Saturday, February 9, 2013
Sword Forms
Sword Forms
Wednesday, February 6, 2013
Remnants of Abandoned Star Wars Sets in Morocco and Tunisia Reminiscent of Ancient Ruins | Feature Shoot
Remnants of Abandoned Star Wars Sets in Morocco and Tunisia Reminiscent of Ancient Ruins | Feature Shoot

Italian, New York-based photographer Rä di Martino rouses the Star Wars fan in all of us in Every World’s A Stage, a series of photos of the abandoned Hollywood sets constructed for the epic George Lucas film. Martino spent over a year traveling throughout the desert towns of Morocco and Tunisia, exploring these massive structures that stand almost like ancient ruins. Martino found the juxtaposition of these cinematic byproducts with the actual ruins existing in these towns quite fascinating—and we do too. What’s not intriguing about the remnants of an otherworldly place amidst a worldly one?





via Phaidon
Remnants of Abandoned Star Wars Sets in Morocco and Tunisia Reminiscent of Ancient Ruins
by Amanda Gorence on February 1, 2013 · 5 comments

Italian, New York-based photographer Rä di Martino rouses the Star Wars fan in all of us in Every World’s A Stage, a series of photos of the abandoned Hollywood sets constructed for the epic George Lucas film. Martino spent over a year traveling throughout the desert towns of Morocco and Tunisia, exploring these massive structures that stand almost like ancient ruins. Martino found the juxtaposition of these cinematic byproducts with the actual ruins existing in these towns quite fascinating—and we do too. What’s not intriguing about the remnants of an otherworldly place amidst a worldly one?





via Phaidon
Tuesday, February 5, 2013
People of Timbuktu save manuscripts from invaders
People of Timbuktu save manuscripts from invaders
FILE - In this Friday, Feb. 1, 2013 file photo, Abdoulaye Cisse, who lives in the Timbuktu area, holds open a book at the Hamed Baba book repository, one of the world's most precious collections of ancient manuscripts, in Timbuktu, Mali. Islamists claimed they burned most of the holy books there, and for eight days the fire alarm blared inside the repository. But because of the ingenuity of the people of Timbuktu, who hid manuscripts in millet bags, the al-Qaida-linked extremists succeeded in destroying only 5 percent of the collection. (AP Photo/Harouna Traore, File) TIMBUKTU, Mali (AP) — For eight days after the Islamists set fire to one of the world's most precious collections of ancient manuscripts, the alarm inside the building blared. It was an eerie, repetitive beeping, a cry from the innards of the injured library that echoed around the world.
The al-Qaida-linked extremists who ransacked the institute wanted to deal a final blow to Mali, whose northern half they had held for 10 months before retreating in the face of a French-led military advance. They also wanted to deal a blow to the world, especially France, whose capital houses the headquarters of UNESCO, the organization which recognized and elevated Timbuktu's monuments to its list of World Heritage sites.
So as they left, they torched the Ahmed Baba Institute of Higher Learning and Islamic Research, aiming to destroy a heritage of 30,000 manuscripts that date back to the 13th century.
"These manuscripts are our identity," said Abdoulaye Cisse, the library's acting director. "It's through these manuscripts that we have been able to reconstruct our own history, the history of Africa . People think that our history is only oral, not written. What proves that we had a written history are these documents."
The first people who spotted the column of black smoke on Jan. 23 were the residents whose homes surround the library, and they ran to tell the center's employees. The bookbinders, manuscript restorers and security guards who work for the institute broke down and cried.
Just about the only person who didn't was Cisse, the acting director, who for months had harbored a secret. Starting last year, he and a handful of associates had conspired to save the documents so crucial to this 1,000-year-old town.
In April, when the rebels preaching a radical version of Islam first rolled into this city swirling with sand, the institute was in the process of moving its collection into a new, state-of-the-art building. The fighters commandeered the new center, turning it into a dormitory for one of their units of foreign fighters, Cisse said. They didn't realize only about 2,000 manuscripts had been moved there, the bulk of the collection remaining at the old library, he said.
The Islamists came in, as they did in Afghanistan, with their own, severe interpretation of Islam, intent on rooting out what they saw as the veneration of idols instead of the pure worship of Allah. During their 10-month-rule, they eviscerated much of the identity of this storied city, starting with the mausoleums of their saints, which were reduced to rubble.
The turbaned fighters made women hide their faces and blotted out their images on billboards. They closed hair salons, banned makeup and forbade the music for which Mali is known.
Their final act before leaving was to go through the exhibition room in the institute, as well as the whitewashed laboratory used to restore the age-old parchments. They grabbed the books they found and burned them.
However, they didn't bother searching the old building, where an elderly man named Abba Alhadi has spent 40 of his 72 years on earth taking care of rare manuscripts. The illiterate old man, who walks with a cane and looks like a character from the Bible, was the perfect foil for the Islamists. They wrongly assumed that the city's European-educated elite would be the ones trying to save the manuscripts, he said.
So last August, Alhadi began stuffing the thousands of books into empty rice and millet sacks.
At night, he loaded the millet sacks onto the type of trolley used to cart boxes of vegetables to the market. He pushed them across town and piled them into a lorry and onto the backs of motorcycles, which drove them to the banks of the Niger River.
From there, they floated down to the central Malian town of Mopti in a pinasse, a narrow, canoe-like boat. Then cars drove them from Mopti, the first government-controlled town, to Mali's capital, Bamako, over 600 miles (1,000 kilometers) from here.
"I have spent my life protecting these manuscripts. This has been my life's work. And I had to come to terms with the fact that I could no longer protect them here," said Alhadi. "It hurt me deeply to see them go, but I took strength knowing that they were being sent to a safe place."
It took two weeks in all to spirit out the bulk of the collection, around 28,000 texts housed in the old building covering the subjects of theology, astronomy, geography and more.
There was nothing they could do, however, for the 2,000 documents that had already been transferred to the new library, to its exhibition and restoration rooms, and to a basement vault. Cisse took solace knowing that most of the texts in the new library had been digitized.
Even so, when his staff came to tell him about the fire, he felt a constriction in his chest.
The new library is housed inside a modern building, whose sheer walls are made to resemble the mud-walled homes of Timbuktu. Cisse braved his fear to slip through the back gate on the morning of Jan. 24.
The alarm was still screaming. The empty manuscript boxes were strewn on the ground outside in the brick courtyard. All that was left of the books was a soft, feathery ash.
Cisse then entered the library. The glass cases in the exhibit room were empty. So was the manuscript restoration lab, its white tables blanketed in dust. The manuscripts left out were gone.
But the librarian knew the bulk of the books was in a storage room in the basement. With the alarm still screaming, he walked down the flight of pitch-black stairs.
The room had been locked shut. And he was too afraid to open it, because the mayor of Timbuktu had warned residents that the retreating rebels had mined the town and booby-trapped strategic buildings.
So he waited.
On Jan. 28, a column of more than 600 French troops rolled into the city.
The same day, they came to inspect the institute. They spraypainted in pink the word "OK" in front of each room they cleared, working their way to the basement. They pummeled the locked door. When the door slapped open, Cisse felt as if his chest was about to explode.
They beamed a flashlight into the darkness. In the pools of light, he made out the little bundles of parchments sitting on the rafters. They were where they had left them nearly a year ago, in a room the Islamists had never discovered.
The director-general of UNESCO toured the damaged library this weekend, alongside French President Francois Hollande, who made a triumphant visit to Timbuktu. She described the manuscripts as a global treasure. "They are part of our world heritage," said Irina Bokova. "They are important for all of Africa, as well as for all of the world."
Cisse estimates that what was lost in the end is less than 5 percent of the Ahmed Baba collection. Which texts were burned is not yet known.
He stresses that all the manuscripts, which date back over 700 years, are irreplaceable. They are hand-written in a variety of scripts, and include ornate illustrations embedded within the text.
The collection is itself only a portion of the estimated 101,820 manuscripts stored in private libraries here, the product of the confluence of caravan routes which passed through Timbuktu and fostered an extensive trading network, including in books. Among the most valuable are the Tarikh al-Sudan and the Tarikh al-Fattash, chronicles which describe life in Timbuktu during the Songhai empire in the 16th century.
"We lost a lot of our riches. But we were also able to save a great deal of our riches, and for that I am overcome with joy," Cisse said. "These manuscripts represent who we are.... I saved these books in the name of Timbuktu first, because I am from Timbuktu. . Then I did it for my country. And also for all of humanity. Because knowledge is for all of humanity."
___
Rukmini Callimachi can be reached at www.twitter.com/rcallimachi
People of Timbuktu save manuscripts from invaders
— Feb. 4 6:59 PM EST
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By: RUKMINI CALLIMACHI (AP)
TIMBUKTU, MaliCopyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.16.7735-3.00742
The al-Qaida-linked extremists who ransacked the institute wanted to deal a final blow to Mali, whose northern half they had held for 10 months before retreating in the face of a French-led military advance. They also wanted to deal a blow to the world, especially France, whose capital houses the headquarters of UNESCO, the organization which recognized and elevated Timbuktu's monuments to its list of World Heritage sites.
So as they left, they torched the Ahmed Baba Institute of Higher Learning and Islamic Research, aiming to destroy a heritage of 30,000 manuscripts that date back to the 13th century.
"These manuscripts are our identity," said Abdoulaye Cisse, the library's acting director. "It's through these manuscripts that we have been able to reconstruct our own history, the history of Africa . People think that our history is only oral, not written. What proves that we had a written history are these documents."
The first people who spotted the column of black smoke on Jan. 23 were the residents whose homes surround the library, and they ran to tell the center's employees. The bookbinders, manuscript restorers and security guards who work for the institute broke down and cried.
Just about the only person who didn't was Cisse, the acting director, who for months had harbored a secret. Starting last year, he and a handful of associates had conspired to save the documents so crucial to this 1,000-year-old town.
In April, when the rebels preaching a radical version of Islam first rolled into this city swirling with sand, the institute was in the process of moving its collection into a new, state-of-the-art building. The fighters commandeered the new center, turning it into a dormitory for one of their units of foreign fighters, Cisse said. They didn't realize only about 2,000 manuscripts had been moved there, the bulk of the collection remaining at the old library, he said.
The Islamists came in, as they did in Afghanistan, with their own, severe interpretation of Islam, intent on rooting out what they saw as the veneration of idols instead of the pure worship of Allah. During their 10-month-rule, they eviscerated much of the identity of this storied city, starting with the mausoleums of their saints, which were reduced to rubble.
The turbaned fighters made women hide their faces and blotted out their images on billboards. They closed hair salons, banned makeup and forbade the music for which Mali is known.
Their final act before leaving was to go through the exhibition room in the institute, as well as the whitewashed laboratory used to restore the age-old parchments. They grabbed the books they found and burned them.
However, they didn't bother searching the old building, where an elderly man named Abba Alhadi has spent 40 of his 72 years on earth taking care of rare manuscripts. The illiterate old man, who walks with a cane and looks like a character from the Bible, was the perfect foil for the Islamists. They wrongly assumed that the city's European-educated elite would be the ones trying to save the manuscripts, he said.
So last August, Alhadi began stuffing the thousands of books into empty rice and millet sacks.
At night, he loaded the millet sacks onto the type of trolley used to cart boxes of vegetables to the market. He pushed them across town and piled them into a lorry and onto the backs of motorcycles, which drove them to the banks of the Niger River.
From there, they floated down to the central Malian town of Mopti in a pinasse, a narrow, canoe-like boat. Then cars drove them from Mopti, the first government-controlled town, to Mali's capital, Bamako, over 600 miles (1,000 kilometers) from here.
"I have spent my life protecting these manuscripts. This has been my life's work. And I had to come to terms with the fact that I could no longer protect them here," said Alhadi. "It hurt me deeply to see them go, but I took strength knowing that they were being sent to a safe place."
It took two weeks in all to spirit out the bulk of the collection, around 28,000 texts housed in the old building covering the subjects of theology, astronomy, geography and more.
There was nothing they could do, however, for the 2,000 documents that had already been transferred to the new library, to its exhibition and restoration rooms, and to a basement vault. Cisse took solace knowing that most of the texts in the new library had been digitized.
Even so, when his staff came to tell him about the fire, he felt a constriction in his chest.
The new library is housed inside a modern building, whose sheer walls are made to resemble the mud-walled homes of Timbuktu. Cisse braved his fear to slip through the back gate on the morning of Jan. 24.
The alarm was still screaming. The empty manuscript boxes were strewn on the ground outside in the brick courtyard. All that was left of the books was a soft, feathery ash.
Cisse then entered the library. The glass cases in the exhibit room were empty. So was the manuscript restoration lab, its white tables blanketed in dust. The manuscripts left out were gone.
But the librarian knew the bulk of the books was in a storage room in the basement. With the alarm still screaming, he walked down the flight of pitch-black stairs.
The room had been locked shut. And he was too afraid to open it, because the mayor of Timbuktu had warned residents that the retreating rebels had mined the town and booby-trapped strategic buildings.
So he waited.
On Jan. 28, a column of more than 600 French troops rolled into the city.
The same day, they came to inspect the institute. They spraypainted in pink the word "OK" in front of each room they cleared, working their way to the basement. They pummeled the locked door. When the door slapped open, Cisse felt as if his chest was about to explode.
They beamed a flashlight into the darkness. In the pools of light, he made out the little bundles of parchments sitting on the rafters. They were where they had left them nearly a year ago, in a room the Islamists had never discovered.
The director-general of UNESCO toured the damaged library this weekend, alongside French President Francois Hollande, who made a triumphant visit to Timbuktu. She described the manuscripts as a global treasure. "They are part of our world heritage," said Irina Bokova. "They are important for all of Africa, as well as for all of the world."
Cisse estimates that what was lost in the end is less than 5 percent of the Ahmed Baba collection. Which texts were burned is not yet known.
He stresses that all the manuscripts, which date back over 700 years, are irreplaceable. They are hand-written in a variety of scripts, and include ornate illustrations embedded within the text.
The collection is itself only a portion of the estimated 101,820 manuscripts stored in private libraries here, the product of the confluence of caravan routes which passed through Timbuktu and fostered an extensive trading network, including in books. Among the most valuable are the Tarikh al-Sudan and the Tarikh al-Fattash, chronicles which describe life in Timbuktu during the Songhai empire in the 16th century.
"We lost a lot of our riches. But we were also able to save a great deal of our riches, and for that I am overcome with joy," Cisse said. "These manuscripts represent who we are.... I saved these books in the name of Timbuktu first, because I am from Timbuktu. . Then I did it for my country. And also for all of humanity. Because knowledge is for all of humanity."
___
Rukmini Callimachi can be reached at www.twitter.com/rcallimachi
Is this the oldest d20 on Earth?
Is this the oldest d20 on Earth?

Romans may have used 20-Sided die almost two millennia before D&D, but people in ancient Egypt were casting icosahedra even earlier. Pictured above is a twenty-faced die dating from somewhere between 304 and 30 B.C., a timespan also known as Egypt's Ptolemaic Period.
According to The Metropolitan Museum of Art, where the gamepiece is held, the die was once held in the collection of one Reverend Chauncey Murch, who acquired it between 1883 and 1906 while conducting missionary work in Egypt.
Got a 20-sided die that predates the Ptolemaic Period? Post about it in the comments.
[The Metropolitan Museum of Art]

this is awesomedungeons and dragonsarchaeologyd°yptafricad2020 sided dieicosahedronarcheologysciencescigeometrymaths
Is this the oldest d20 on Earth?

According to The Metropolitan Museum of Art, where the gamepiece is held, the die was once held in the collection of one Reverend Chauncey Murch, who acquired it between 1883 and 1906 while conducting missionary work in Egypt.
Got a 20-sided die that predates the Ptolemaic Period? Post about it in the comments.
[The Metropolitan Museum of Art]
Monday, February 4, 2013
Dismember Orcs With Your Snazzy New $10,000 HOBBIT Sword | Badass Digest
Dismember Orcs With Your Snazzy New $10,000 HOBBIT Sword | Badass Digest
Dismember Orcs With Your Snazzy New $10,000 HOBBIT Sword

Dismember Orcs With Your Snazzy New $10,000 HOBBIT Sword
NOTE: Orcs do not exist, and living humans should never be used as substitutes. Even jerks.

Well, if the movie business ever totally implodes, at least WETA can sit comfortably knowing they can always just go into the novelty sword business, although it's difficult to imagine a scenario short of zombie apocalypse in which movies would be gone but movie swords would still be in demand.
This is WETA's replica of The Hobbit's Orcrist sword, aka "The Goblin Cleaver," aka "Biter." I'm not up on my Tolkien lore, but I believe this is the sword which belongs to Thorin, the main Dwarf in The Hobbit. If that's not specific enough, imagine the two or three dwarves that inexplicably looked like male models, Thorin is the most Gerard Butler one.
It sure looks pretty. I'm not sure exactly what separates this from being a real goddamn sword. It has a scabbard made of real fancy scabbard materials. The killing part is made out of something called "spring steel." I don't know what this is, but I find the idea of "winter steel" far more threatening.
Were you to buy one of these babies, you'd surely be the laughing stock of your neighborhood, until you started using it, I suppose. This could be the most valuable thing in your house and The Wet Bandits would probably pass it up for your iPad. I'll buy mine in a couple years when they get to be Pawn Shop priced.




This is WETA's replica of The Hobbit's Orcrist sword, aka "The Goblin Cleaver," aka "Biter." I'm not up on my Tolkien lore, but I believe this is the sword which belongs to Thorin, the main Dwarf in The Hobbit. If that's not specific enough, imagine the two or three dwarves that inexplicably looked like male models, Thorin is the most Gerard Butler one.
It sure looks pretty. I'm not sure exactly what separates this from being a real goddamn sword. It has a scabbard made of real fancy scabbard materials. The killing part is made out of something called "spring steel." I don't know what this is, but I find the idea of "winter steel" far more threatening.
Were you to buy one of these babies, you'd surely be the laughing stock of your neighborhood, until you started using it, I suppose. This could be the most valuable thing in your house and The Wet Bandits would probably pass it up for your iPad. I'll buy mine in a couple years when they get to be Pawn Shop priced.




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