5-7th Century Byzantine Cataphract

Heavy List portrayal of a
5-7th Century Byzantine Cataphract
(Late Roman Kataphraktoi)
by
Diomedes Sebastianus
(D. Sebastian)
A Byzantine Roman of the 6th Century serving the
Court of Justinian I and Theodora in Constantinople. A
"Cataphract" (or heavily armoured horseman), I am
presently attached to the Army of Syria under
Belisarius, on its way to Egypt to reclaim Alexandria as
part of "Rome". My turn-on's include red wine, walks
along the Bosphorus, and cavalry charges that crush
the enemy's flanks. My turn-offs include schisms and
the plague.
I believe you should not sacrifice looking
good for protection. I believe you can
achieve both.
In that vein, I have attempted to portray the
dress armour of a 6th Century guard to the
Court of Constantinople, as it is believed
some aspects of their armour would have
been influenced by the more classical
Roman styles, and still be contemporary for
the period.
As much of the evidence is absent and
conjectural, I have drawn from art to inspire
much of the armour. I feel this allows me to
conform to SCA standards, and still present
a plausible stylistic representation.
Though the similarities of Byzantine
armours and styles throughout the
centuries changes little in Iconic and
other surviving artwork, the combination
of helm, greaves, and shield tie the kit to
the 5th - 7th Century.
Byzantines in the 5th to 7th
Century used several types of
armours including padded
cotes, chain maille, pieces of
scale, and lamellar plates.
Often, several types of armour
were layered to provide better
protection.
(f.1) 11th century steatite icon of St
George. Vatopedi monastery, Greece
The Sylloge Tacticorum and
Leo VI's Tactica (Byzantine
tactical manuals) both refer to
the use of mail corselets and
lamellar kilbanions being worn
together and independently.
Each row of my lamellar
kilbanion (or corsett)
has a leather strip laced
between each row of
lamelae (f.1), (f.2), (f.3).
This is not universal, in
fact it seems to be the
exception. I prefer it this
way as I find that this
makes the kilbanion a
bit stiffer than without,
yet still allows for plenty
of flexibility.
(f.2) 11th century carved
icon of St Theodore
(f.3) gambling soldiers from an 11th century gold and enamel icon of
the Crucifixion. Held in Germany
(f.5) Saint Demetrios from the
monastery of Hosias Loukas,
Greece (10th-11th Cent)
(f.4) Saint Theodore Tyro from
the monastery of Hosias Loukas,
Greece (10th-11th Cent)
(f.6) Gold Sassinid
dish, shows King
Groz (AD 459 -84)
A "Varangian Bra" (chest and shoulder
straps - possibly Persian borrowed) and
a Herakles' Knot (chest sash) exemplify
the early Byzantine look (f.1), (f.4), (f.5),
(f.6), (f.10), (f.12).
(f.7) Icon of Saint Demetriosca. 11th cent. Metropolitan
Museum of Art, New York
(f.8)Marginal from 9th Cent Byzantine Bible.
Nat., Ms. Gr. 923, f.107v, Paris
The shoulder cops are edged with
white garment leather and brass
decorative band (made from wall
mounted drapery holder), combined
with short brass ptruges made from
brass furniture terminals (mounted on
sole leather) (f.3), (f.4), (f.7) (f.13).
These short ptruges also adorn the
bottom of the kilbanion (f.3), (f.4), (f.5),
(f.7), (f.8), (f.10), (f.13).
Raymond's Quiet Press cast bronze
buckles secure the corset on the shield
side. A trauma-plate is laced inside to
protect the sternum (anachronistic).
(f.13) St Nestor fresco in the Katholikon at the
monastery of Panagia Mavriotissa, Kastoria,
Greece dated 1260
Greave by Truehearth with Raymond's Quiet Press cast
bronze buckle. Horizontal stripe theme (f.4), (f.5), (f.8), (f.10),
(f.11) added using bronze. Although the use of solid Greaves
had fallen out of favor, there is a plethora of evidence
depicting their continued use in art and sculpture.
There is also the belief that some "elite" and "parade" troops
used armour that had a more classical feel. I justify the use
of greaves with this kit, as I am a member of the guard to the
Court of Constantinople, and would be a combination of
guard and piece of decoration.
The attached knees are a convention of SCA combat and
anachronistic, or at least way out of period.
(f.11) Fourteenth century mural from a
church in Cyprus
There is some controversy about red boots throughout
Roman times. It is agreed that at different times, "red
shoes" were reserved for the Emperor.
Some research suggests that it is not just a color, but
often a COLOR and a STYLE together that was
regulated. Some pieces of wardrobe were often outlawed
at the whim of the Emperor, it seems though that this was
sporadic and not a sweeping decree that encompassed
all styles or lasted for the life of the Empire.
These are combat boots covered with garment leather.
The boots tie normally. The covers hide the laces and
secure on the side with magnetic purse claps. Cosmetic
buttons hide the clasps.
The Sylloge Tacticorum and Leo VI's Tactica both refer to
the use of splinted and manica arm and leg defense.
These Cheiropsella (vambraces) are flat stock over
leather. Garment leather strap with RQP cast bronze
buckle.
A deerskin glove padded with 1/2 inch of plastic
reinforced closed cell foam protects the hand from
transfer through the basket hilt and overlaps the
vambrace to protect the wrist, giving an unencumbered
"glove" look.
A ring over the glove hints at the opulence of the
Byzantines.
A White Mountain Armoury Roman/Sassinid Ridge
helmet in the style of Late Roman/Early Byzantine
Cavalry.
The ridge helm, believed to be assimilated from
Sassanian Persian models, appeared in quantity in the
4th century AD and was seen late into the 7th. Used in
the Middle East, Europe and Brittan, the most famous
helm of this construction is the Sutton Hoo.
This helmet replaced the Gallic style helmets for the
Romans. It consisted of two curved plates connected
by a central ridge. Cheek pieces, a neck guard, and a
nasal were normally added. Both infantry and cavalry
used the Ridge Helm. (f.14), (f.15)
(f.14) 4th Century Ridge Helm
(f.15) 4th Century gilded Roman
helmet from Helenaveen
(Deurne),Netherlands. Currently
preserved in the Rijksmuseum
voor Oudheden in Leiden
Finally, the shield completes the kit. Oval and round
shields are prevalent in both art and statuary during the
period. (f.4), (f.5), (f.7), (f.10), (f.16)
(f.16) 4th-century silver relief (6.5 x 6cm)
depicting St. Demetrius and St. George
My oval shield.
The Latin translates to "I am not dead,
therefore I am not done" and the Duchy
motto “Truth - Justice - Faith”.
My round shield
The Latin translates to "My conscience
means more to me than all speech (Cicero)"
and the Duchy motto “Truth - Justice - Faith”.
(f.10) 10th century Byzantine ivory
chest - Skutatoi wearing Varangian
Bra over lamellar. Victoria and Albert
Museum, London, UK
Additional Reading:
- Military Strategy" [translated by] (Univ. of Penn. Press, 1984)
ISBN: 0-8122-1772-1
- Walter & Walker "The Warrior Saints in Byzantine Art and
Tradition" (Ashgate Publishing 2003)
ISBN-10: 184014694X, ISBN-13: 978-1840146943
- W. Treadgold "Byzantium and It's Army 284-1081" (Stanford
Univ. Press 1995)
ISBN: 0-8047-3163-2
- G. T. Dennis "Three Byzantine Military Treatises" (Dumbarton
Oaks Research Library and Collection 1985)
ISBN-10: 0884021408, ISBN-13: 978-0884021407
- I. P. Stephenson "Romano-Byzantine Infantry Equipment"
(Tempus Publishing, Limited 2006)
ISBN-10: 0752428861, ISBN-13: 978-0752428864
- Nicolle & McBride "Romano-Byzantine Armies 4th-9th
Centuries" (Osprey Publishing 1992)
ISBN-10: 1855322242, ISBN-13: 978-1855322240
More at my websites:
Mattyds.com
WarriorsOfHistory.com
I hope I have faithfully represented the style of armour, in spite
of the necessary anachronism's necessary for fighting.
Recently I have retired this kit. Currently I am in the process of
completing a 12 century representation of Byzantine armour.