English? who wants to see that?
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English? who wants to see that?
Well, here we are begining another suit, this one is english warwick effigy, just in it's infancy, No one wants to see another one of these making of things do they?
oh, this one is spring steel.
oh, this one is spring steel.
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Wot Maggy sed; 'tis yummy.
A detail question: in a two-piece breast and plackart, how tidy does the lower edge of the breastplate need to be to work properly? The topmost pic shows a decidedly wavy cutline, which may have been straightened out in the profile shot (very helpful for teaching the rest of us the contours of a globose breast and back, btw. Many thanks.) further down. So, do we need really straight, a particular shape of curve, or does a bit of a homemade wobble really not matter a durn?
A detail question: in a two-piece breast and plackart, how tidy does the lower edge of the breastplate need to be to work properly? The topmost pic shows a decidedly wavy cutline, which may have been straightened out in the profile shot (very helpful for teaching the rest of us the contours of a globose breast and back, btw. Many thanks.) further down. So, do we need really straight, a particular shape of curve, or does a bit of a homemade wobble really not matter a durn?
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Actually, doesn't the Richard Beauchamp effigy wear armour with a lot of Italian characteristics? I recall Peter Fuller and some others thinking it might have Venitian origin, stylistically.
After all, it doesn't have the symetrical tasset layout, and the fluteing a lot of English effigies have.
German stuff? Talk about inferior! Weren't you loistening to the lectures at the Conference, Ralph? Who needs that ill tempered, soft metaled, heavy-assed sort of monstrousity.
After all, it doesn't have the symetrical tasset layout, and the fluteing a lot of English effigies have.
German stuff? Talk about inferior! Weren't you loistening to the lectures at the Conference, Ralph? Who needs that ill tempered, soft metaled, heavy-assed sort of monstrousity.
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see, I think Ugo may be right, I should just quit now.........
Let's see, since I had the baby I finished the suit, made 4 helmets(spring steel sallet, burgonet, and bascinet, then a part spring steel and mild steel bascinet with 3 visors) , parts of a large aluminum and oak church sacramental table, a large aluminum church cross, a 14" raised copper baptismal bowl, 30+ steel and silver conchos for a local sadler, dozen's and dozens of buckles and hinges and what not's, I have now started another suit, a raised spring steel hat (the skull is completed) and 3 large steel and copper speak-easies, let's see, the baby is now 11 weeks, JEEZ I best get back to work already Sleep, Sleep is for wussies....
Ok, I've got to get this suit done in a pretty quick manner so no dilly dalling this time around, wich also means I won't be able to spend as much time clicking pics and posting tons of stuff on how it's going, sorry all. I think I may be getting a nice gothic suit lined up, but we'll see how that goes, may be one of those piece at a time deals. Either way pics of that will be fun
Josh, it's all 16 and 18 for the breast and back here.
Cedri, what are these pattern things people always talk about, I'm thinking I should get some sometime
Konstantin, It doesn't have to be all clean and super straight or anything but you don't want it cutting up the customer either, when you see the originals they aren't all that charming when you look at their insides, I bet my innards aren't all that pretty either.....
Let's see, since I had the baby I finished the suit, made 4 helmets(spring steel sallet, burgonet, and bascinet, then a part spring steel and mild steel bascinet with 3 visors) , parts of a large aluminum and oak church sacramental table, a large aluminum church cross, a 14" raised copper baptismal bowl, 30+ steel and silver conchos for a local sadler, dozen's and dozens of buckles and hinges and what not's, I have now started another suit, a raised spring steel hat (the skull is completed) and 3 large steel and copper speak-easies, let's see, the baby is now 11 weeks, JEEZ I best get back to work already Sleep, Sleep is for wussies....
Ok, I've got to get this suit done in a pretty quick manner so no dilly dalling this time around, wich also means I won't be able to spend as much time clicking pics and posting tons of stuff on how it's going, sorry all. I think I may be getting a nice gothic suit lined up, but we'll see how that goes, may be one of those piece at a time deals. Either way pics of that will be fun
Josh, it's all 16 and 18 for the breast and back here.
Cedri, what are these pattern things people always talk about, I'm thinking I should get some sometime
Konstantin, It doesn't have to be all clean and super straight or anything but you don't want it cutting up the customer either, when you see the originals they aren't all that charming when you look at their insides, I bet my innards aren't all that pretty either.....
- Galfrid atte grene
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Nice!
Is this the kit we talked about? Has the schedule been moved up? You mentioned needing to finish it quickly...
-Tasha
Is this the kit we talked about? Has the schedule been moved up? You mentioned needing to finish it quickly...
-Tasha
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Back to the original question of what we would like to see. . . I would like to see some partly completed pics of the leg or arm cop fans being stretched in that particular Italian way. I am having trouble stretching mine enough to form that artistic V crossection that they should have while retaining the pronounced curve that puts them accross the inside of the joint. I have tried William Hurts coldworking tutorial on the subject and while it works fine for the weakly curved german leg fan he shows I have got to believe there is some other hot working technique for the strongly curved Italian arms such as are on the Avent armour.
I think the work is done over the edge of the anvil from the back of the piece with a cross pean or raising hammer. Still, some pics of the fan partly stretched would be helpful.
I think the work is done over the edge of the anvil from the back of the piece with a cross pean or raising hammer. Still, some pics of the fan partly stretched would be helpful.
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Mr. Capwell would call it an "Italian Export" as opposed to "English" armour (he uses "Italian Export" in a different sense than it is normally used, to signify an armour with mainly Italian features, but a few concessions to "barbarian" taste).
-Christian
BTW, I'm really looking forward to seeing your progress on this suit, Patrick.
-Christian
BTW, I'm really looking forward to seeing your progress on this suit, Patrick.
chef de chambre wrote:Actually, doesn't the Richard Beauchamp effigy wear armour with a lot of Italian characteristics? I recall Peter Fuller and some others thinking it might have Venitian origin, stylistically.
After all, it doesn't have the symetrical tasset layout, and the fluteing a lot of English effigies have.
German stuff? Talk about inferior! Weren't you loistening to the lectures at the Conference, Ralph? Who needs that ill tempered, soft metaled, heavy-assed sort of monstrousity.
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It was right under my nose AAotMK pg 114 says:
"...gilt bronze effigy of Richard Beauchamp, Earl of Warwick, c 1450 (after Stothard) The earl wears a Milanese harness, typical of those worn in the early part of the Wars of the Roses."
Patrick is your client getting a helm like the one the earl is resting his head on as well?
So does anyone know why his hands are apart like that? Was he holding a smaller helmet? or is that as close as he can get his hands together to pray?
"...gilt bronze effigy of Richard Beauchamp, Earl of Warwick, c 1450 (after Stothard) The earl wears a Milanese harness, typical of those worn in the early part of the Wars of the Roses."
Patrick is your client getting a helm like the one the earl is resting his head on as well?
So does anyone know why his hands are apart like that? Was he holding a smaller helmet? or is that as close as he can get his hands together to pray?
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