VV Issue 70

May 2006
Issue 70
ARANGIAN
OICE
Quarterly Magazine of the New Varangian Guard Inc
Issue 70
Varangian Voice
Contents
Author
Contents, Cover Description, Varangian Voice Policy
•
Page
1
th
Steven Lowe
2
th
Stephen Francis Wyley
4
The military equipment of Johannes Tzimiskès in the Cavusin
Paintings, Goreme, Dovecote Church: the skaplion-zaba
• European Hauberk Construction
New Varangian Guard Contact List
Dr. Raffaele D’Amato
15
Craig Sitch
19
•
What was worn under the tunic in the 11 Century
th
Chests Catalogue - 8 to 13 Century Europe
•
25
Cover
Voxtorp Chest (Sweden) from Chests Catalogue - 8th to 13th Century Europe By Stephen Francis
Wyley, Page 4.
Varangian Voice Policy
The Varangian Voice is published quarterly by the New Varangian Guard Inc. It may be distributed to members, as part of their
membership fee or by subscription, to other clubs in exchange for their quality publication, and is available to interested persons or
organisations by subscription.
All rights reserved. No part of the Varangian Voice may be reproduced or transmitted in any form, whether electronic, mechanical or
manual, in whole or part without written permission of the Editor. Copyright for all the articles appearing is reassigned to the author
of the respective article, with the exception that the Varangian Voice reserves the right to reprint articles as and when the Editor sees
fit.
It is preferred that submission be received electronically (including pictures), as this saves the Editor a considerable amount of time
re-typing or scanning. However, submissions for the publication may-be typewritten or word-processed. Articles should include the
full name and address of the author and should be received 4 weeks prior to publication date. The current typeface is Times New
Roman 12 pt and using MS Word 2003. However, any Word Processing format can be converted. Contributors should take steps to
ensure that electronic articles are virus free. Articles must include references to sources.
The views, endorsements and opinions expressed in the Varangian Voice are from the individual authors and are in no way those of
the New Varangian Guard Inc. in part or whole.
All submissions and correspondence should be directed to:
Jeremy Draper
Editor – Varangian Voice
7A Collins Avenue
EDWARDSTOWN SA 5039
E-mail:
[email protected]
From the Editor
Welcome back,
Yes, I had noticed that despite the magazine being a quarterly publication it has now been over a
year since the last publication. In that time I have managed to move to Bendigo & complete a
Graduate Diploma of Education, while my wife Amelia took a job in Melbourne. We sold the house
in Mildura. The company Amelia moved to went into liquidation. Amelia took a job with City of
Greater Dandenong to support me at University. We moved all our possessions to Melbourne. I
finished Uni and Amelia decided to go back to Uni. Amelia was accepted to University of South
Australia to do a Bachelor of Business (Valuations). We bought a house in Adelaide. I moved back
to my old job Mildura. We moved all our stuff to the house in Adelaide while I rented in Mildura.
Amelia started University and I work to support Amelia at Uni (fair’s fair!). Amelia gets pregnant. I
am now trying to find a job in Adelaide. It’s all fun and games. Anyway…I hope I am back on track
again. Sorry for the delay.
All the best
Jem
Jeremy Draper - Editor
1
Varangian Voice
Issue 70
WHAT WAS WORN UNDER THE TUNIC
IN THE 11TH CENTURY?*
By Steven Lowe
There's VERY little reliable information on 11th century hose – and no surviving artefacts. The
earliest hose from the Viking region are, as I understand it, 14th century - way later than Viking
times. So we have to use a lot of guesswork.
Certainly, the Bayeux Tapestry seems to indicate people wearing hose, as do several 11th century
Anglo-Saxon illustrations. Or maybe they're really tight trousers.
The current belief is that they were hose. But
unlike the wonderful pictorial evidence relating
to 13th century stuff (especially the
Mispronouncy Bible), there is practically
nothing showing what 11th century people wore
underneath. You just see the hose vanish under
the lower hem of the tunic.
So - did they wear braes and hose like people
did 200 years later? Can we really rely on that?
200 years is a long time.
In fact, I am coming to the belief that their hose
were much longer - perhaps were even tight
Fig. 1 - from the Golden Psalter of St Gallen, Frankish c.
800 AD
trousers after all. Some of the evidence for this is
in the Bayeux Tapestry, some I have got from the
Golden Psalter (though we have to be careful with
that one too - it's 250 years EARLIER than
Hastings) - VERY occasionally, you get to see up
people's tunics, and the hose/trousers seem to go
all the way up.
See the guy from the Bayeux Tapestry in Fig. 2 smoothing the plank with an axe. He's got his skirt
tucked into his belt, and the whole length of his leg
is shown - covered with fabric.
Fig. 2 – from the Bayeux Tapestry – Anglo-Norman c.
1080
There are quite a few people who are shown
barelegged (you can tell by the fact that you can
see their toesies!) and without exception their legs
2
Issue 70
Varangian Voice
are shown in outline only - in other words the "infill colour" is the bare surface of the linen.
There are some shown wearing shoes who also have legs only in outline, but I think that's supposed
to mean their hose/trousers/whatever are whitish. But the guy in Fig. 2 has yellow "infill" on his
legs and is wearing shoes. I take this to mean his legs are covered.
Fig. 3 – from the Bayeux Tapestry – Anglo-Norman c. 1080
Fig. 4 - David and Goliath – AngloSaxon 11th century from Harl. MS 603,
f.73, British Museum
There's also an 11th century scene with David and Goliath, in which the dead Goliath (bottom of
the picture) has been stripped of his armour and appears to be have rucked-up hose which have
fallen down his leg, and underneath he has very brief shorts, not the knee-length braies common in
the 13th century.
Whether 11th century hose had feet in them, or just stirrups at the bottom, is another question again.
We just don't know. Hell, we don't even know whether they were hose or trousers!
But those shorts Goliath is wearing are very tempting . . .
*Nothing – it was all in perfect working order!
SL
3
Varangian Voice
Issue 70
Chests Catalogue - 8th to 13th Century Europe
By Stephen Francis Wyley
Introduction.
This document grew out of a paper on “Chests, Caskets and Locks” for the Australian Medieval
Conference of 2005. It became clear to me that there was little material on the topic available in an
easily accessible form. I have attempted to catalogue the extant chest by date of production, origin,
current location and description (material, dimensions, type of construction, type of lock and
contents). Where no picture is available I have used one the replica chests I have made based on the
information available (in some cases I have not been able to create complete replica because of my
lack of skill or knowledge). In the future I hope to add to this article and in time republish it. Also
on my list to produce is a catalogue of extant caskets1 and boxes.
Stephen Wyley
15th February 2005
Acknowledgments.
Thanks to the following people for providing information: Dr. Peter Beatson, Stuart Laird, Peter
Raftos, Ian Rogers, Robert Schuster, Sandy Semple and Andrea Willet.
List of items in catalogue.
1.
Whithorn Coffin Chests (England).
2.
Oseberg Chests (Norway).
3.
Mästermyr Chest (Sweden).
4.
York Coffin Chests (England).
5.
Lejre Coffin Chest (Denmark).
6.
Voxtorp Chest (Sweden).
7.
Rydaholm Chest (Sweden).
8.
Ryssby Chest (Sweden).
9.
Gamla Uppsala Chest (Sweden).
10. 12th – 13th century Hutch Chest (England)
11. 13th century long legged hutch chest (France).
12. Hedeby Chest (Denmark).
Note: This is truly just a fraction of the number of extant chests (especially as you move forward in
time) out there but this will do for now.
Appendix 1. Metal finds associated with chests.
Appendix 2. Extant chest drawings.
1
For the purposes of these documents I have used the arbitrary figure of 50 cm to distinguish between caskets and
chests. Storage devices below 50cm are caskets or boxes, those above 50cm are chests.
4
Issue 70
Varangian Voice
1. Whithorn Coffin Chests (England)
Date
Origin
Collection details
c. 710 – 845
Whithorn
and St
Ninian.
Chest / coffin Six (rectangular prism) chest coffins were
fittings (IN32).
excavated from this site, very little wood
was found but a bounty of fittings were,
1) 32.101 – 106. including; angle irons, hinges, hasps, locks
2) 32.201 – 225
and keys. The angle irons showed a
3) 32.301
distinctive style with arms narrowing
4) 32.401 – 421
towards rounded terminals. Two of the
5) 32.501 – 513
chests (4&5) had sliding bolt locks and a
6) 32.601-2
key) for one (4) was found in the chest.
Description
Note: Twelve locks (IN33.1-12) or parts of were found in addition to those on the chest coffins.
2. Oseberg Chests (Norway)
5
Date
Origin
Collection details
Description
800 – 850 c.
Oseberg ship
burial, Oseberg,
Sem, Vestfold,
Norway.
Universitetets
Oldsaksamling,
Oslo, 149,
Wood: Oak. Dimensions: 108cm (top)
113cm (bottom)* 32cm (base) 29cm
(top)*38cm. A trapezoid six plank chest,
the ends forming the legs, decorated with
iron bands (6 – 6.5cm wide), each with
three rows of tinned nails. Long slide bolt
lock (one end is hooked and there is a
central hook for the middle hasp), closed
by three hasps with animal head
terminals. The curved lid is carved out
internally and is attached to the chest by
nine simple clamp hinges. This chest
contained tools. Contents: two lamps, a
comb and a pair of scissors.
Varangian Voice
Collection details
Issue 70
Date
Origin
800 – 850 c.
Oseberg
ship Universitetets
burial, Oseberg, Oldsaksamling,
Sem, Vestfold, Oslo, 156
Norway.
Wood: Oak. Dimension: 104cm* 36.5
(base) 28cm (top)* 41cm. Only the
bottom, two of the side pieces and the
back has been preserved. For all intensive
purposes the chest is the same as no. 149.
The lid was attached by four hinges.
Contents: some hide, cloth, and two
combs.
Date
Origin
Description
800 – 850 c.
Oseberg
ship Universitetets
burial, Oseberg, Oldsaksamling,
Sem, Vestfold, Oslo, 178,
Norway.
Collection details
Description
Wood: Oak. Dimensions: 62cm (top)
66.5cm (base)* 24cm (base) 21 (top)*
31cm. Trapezoid six plank chest, the ends
forming the legs. Simple lock into an
elongated hexagonal plate, closed by a
looped hasp. The flat lid is attached to the
chest by two hook and eye hinges.
Contents: wild apples.
Note: There were also fragments of at least three other chests in the find.
3. Mästermyr Chest (Sweden).
Date
Origin
Collection details
Description
c. 1000
Mästermyr,
Sproge parish,
Gotland,
Sweden.
Statens
Historiska
Museum,
Stockholm,
21592.
Wood: Oak. Dimensions 88cm (top)
92cm (base)* 24cm (top) 25.6
(base)*24.6cm. A trapezoid six planked
chest, the ends forming the legs. The lock
consisted of a slide bolt (one end is
hooked) locked by two hasps. The curved
lid is carved out internally and attached to
the chest by two hook and eye hinges.
The chest contained a range of tools
(metal and wood working), rivets, nails,
and metal goods (eg. bells, locks,
cauldrons).
6
Issue 70
Varangian Voice
4. York Coffin Chests (England).
Date
Origin
Collection details
Description
9th – 10th
century
York, preNorman
cemetery, Burial
76.
M438
Wood: Oak. Length: Unknown. Width:
41 – 46 cm. The lock is a double slide
lock with straight ends, used to lock two
hasps. One of the hasps is joined to the
lid by a hook and eye joint, the other is
unknown. Two (possible three) hook and
eye hinges closed the lid. The bottom rear
edge is strengthened by three corner
fittings.
Date
Origin
Collection details
Description
9th – 10th
century
York, preNorman
cemetery, Burial
105.
M1667
Wood: unknown.. Length: Unknown. A
single hasp, attached to the lid by a hook
and eye join closes the lock. The lock is a
sprung sliding bolt, where the key has to
pass a ward to lift a tumbler and thus
release the hasp. The lid is attached to the
chest by two hook and eye hinges.
Notes: Bolt M1677d may represent a
second lock from this chest. Burial 94
(M1701) has a similar lock to Burial 105.
5. Lejre Coffin Chest (Denmark).
Date
Origin
Collection details
10th Century Lejre, Denmark, ?
Grave no. 1160.
Description
Wood:
Unknown.
Dimensions:
146cm*39cm*31cm. Chest used as a
coffin. Rectangular box, no legs. Flat lid
attached by four hook and eye hinges. .
The lock is a double slide bolt (one end is
hooked), locked by two hasps. The other
metal remains indicate metal bracing.
Note: Another coffin chest was found at Forlev, Denmark (Brødsted 1936, 191-2, fig. 102).
7
Varangian Voice
Issue 70
6. Voxtorp Chest (Sweden).
Date
Origin
1200 c.
Voxtorp
church,
Småland,
Sweden.
Collection Statens
details
Historiska
Museum,
Stockholm,
4094.
Description
Wood: Pine. Length: 146cm. An iron bound and decorated (a hunting scene)
six planked rectangular chest, ends forming the legs. The flat lid is attached
by four hinges and locked by two small hasps at either end of the chest, plus
a large squarish hasp plate that appears to be lockable by a large loop
padlock or chain.
7. Rydaholm Chest (Sweden).
Date
Origin
About 1200
Rydaholm
Church,
Småland,
Sweden.
Collection Statens
details
Historiska
Museum,
Stockholm,
Sweden.
Description
Wood: ? Dimensions: ?
Six planked chest with very short legs. Three hinges attach the lid to the
chest and two hasps, in line with the outside hinges closed the lid.
Extensive iron work supports and figures decorate the exterior of the chest
(horses, people, trees ,etc.)
Very similar to the Ryssby and Voxtorp chests.
8
Issue 70
Varangian Voice
8. Ryssby Chest (Sweden).
12th century
Ryssby Church,
Småland,
Sweden.
Collection Statens
details
Historiska
Museum,
Stockholm,
Sweden
Date
Origin
Description
Wood: ? Dimensions: ?
Six planked chest with very short legs. Three hinges attach the lid to the chest and two
hasps, in line with the outside hinges closed the lid.
Extensive iron work supports and figures decorate the exterior of the chest (horses,
people, trees ,etc.)
Very similar to the Rydaholm and Voxtorp chests.
9. Gamla Uppsala Chest (Sweden).
Date
Origin
12 century
Gamla Uppsala,
Sweden
Collection
details
Description
Wood: ? Length: ?.
An iron bound dug out chest, closed by seven hasps.
12 century dug out chest from Gamla Uppsala, Sweden (Picture Source:
http://www.greydragon.org/trips/stockholm/index5.html)
9
Varangian Voice
Issue 70
10. 12th – 13th century Hutch Chest (England)
12th – 13th
century
Origin
England.
Collection Victoria
details
and Albert
Museum,
Museum
Number
W.301926.
Date
Description
Wood: Oak. Dimensions: L. 109 cm, W. 48.2 cm, H. 50.6 cm.
Hutch chest with medallion chip carving in the middle and leg panels of the
front. Cross timbers on end. Turn key lock in small rectangular lock plate.
No hasp remains on lid, some damage to lid above lock plate.
11. 13th century long legged hutch chest (France).
Date
Origin
Collection
details
Description
13th century
?
l'Oeuvre NotreDame Museum
in Strasbourg,
France.
Wood: ? Dimensions: ? ,
Long legged rectangular hutch chest with iron bracing apparent on the lid, front and
side. Hasp plate and hasp appear to have been removed in the past.
(Photo source: http://www.greydragon.org/furniture/oeuvre.html)
10
Issue 70
Varangian Voice
Undated items
12. Hedeby Chest (Denmark).
(See appendix 2 for pictures of original pieces)
Date
Viking
period
Origin
The harbour
of Hedeby,
Denmark.
Collection ?
details
Description
Wood: Oak. Dimensions: 52cm*23cm*27cm. Trapezoidal six planked chest
with curved lid (which was dug out). The lid was held on by two hinges and
locked by two hasps (one smaller than the other). The lock plate is missing
but I would suggest from the remains and the hole in the front that the lock
consisted of a simple double ended slide bolt. The chest is an unique Viking
chest because of the simple line carving on the front, back and ends, as well
as the curved bottom of the front and back pieces. Contents: a stone.
Un-dated rectangular prism chest (Sweden).
Date
Origin
Collection
details
Description
11
?
?
Statens
Historiska
Museum,
Stockholm,
Un-dated rectangular prism chest with multiple hinges and iron strapping, from
Sweden's Museum of National Antiquities (Historiska Museet). (Photo Source:
http://www.greydragon.org/trips/stockholm/index3.html.)
Varangian Voice
Issue 70
Bibliography.
Andersen, S.W., Lejre – skibssætninger, vikingegrave, Grydehøj ,Aarboger for Norik Oldkyndighod
og Historie, 1993.
Arwidsson, G. & Berg, G., The Mästermyr Find, A Viking Age Tool Chest from Gotland, Sweden,
1983.
Brøgger, A.W., Hj. Falk & Shetelig, (ed.), Osebergfundet I – III, Oslo, 1917-1928.
Cockerell, S.C., Old Testament Miniatures, A Medieval Picture Book with 283 Paintings From the
Creation to The Story of David, London.
Crumlin-Pedersen, O., Viking Age Ships and Ship building in Hedeby and Schleswig, Volume 2:
Ships and Boats of the North, Roskilde, 1997.
Davidson, H.R., Viking and Scandinavian Mythology, Hong Kong, 1982.
Delort, R., Life in the Middle Ages, London, 1973.
Dunan, M., ed., Larousse Encyclopedia of Ancient and Medieval History, London, 1967.
Hill, P., Whithorn and St. Ninian, The Excavation of a Monastic Town 1984 – 91, Sutton : Stroud,
1997.
Ottaway, P., Anglo-Scandinavian Ironwork from York, The Archaeology of York, Volume 17: The
Small finds, York Archaeological Trust, 1992.
Phillips, D., & Heywood, B., Excavations at York Minster, Volume 1., From Roman fortress to
Norman cathedral, Part 2. The Finds, London, 1995.
6.5 Iron-bound coffins and coffin fittings from the pre-Norman cemetery, by B. Kjølbye-Biddle, p.
489 – 521.
Raftos, P., Beatson, P., A Veneto-Byzantine Chest? Casket of the Blessed Juliana of Collalto,
unpublished.
Roesdahl, E. & Wilson, D.M., Eds., From Viking to Crusader, The Scandinavians and Europe 800
– 1200, Sweden, 1992.
Wilson, D.M., ed., The Northern World, The History and Heritage of Northern Europe, AD 400 –
1100, London, 1980.
Further Reading
Arbman, H., Birka I: Die Graber, Stockholm / Uppsala, 1940 – 3.
Enberg, G., Buchwald, V.F., Værktøjskisten fra Veksø. I: Nationalmuseet Arbejdsmark:62 –75.
Copenhagen, 1995.
Geake, H., Use of grave goods in the conversion period, 1988.
12
Issue 70
Varangian Voice
Grainger, G., Henig, M., A bone casket and relief plaque from Mound 3 at Sutton Hoo, Medieval
Archaelogy 27 (1983), 136 – 141.
Heinsius, E., , Ein Schnappschloss mit Pessfederriegal aus Hathabu, Berichte uber die Ausgrabungen in Haithabu, vi,
38-40, 1973.
Petersen, J., Vikinetidens redskaper (Skrifter utgitt av det Norske Videnskaps-Akademi I Olso, 2, Hist.-Folios. Klasse
1951, No. 4), Oslo, 1951.
Roesdahl, E., Otte vikingetidensgrave I Sdr. Onsild, Aarboger for nordisk Oldkyndighed og Historie
1976, 22 – 51.
Appendix 1.
Metal finds related to chests.
Source
Description
Ottaway, P.,
AngloScandinavian
Ironwork from
York, The
Archaeology of
York, Volume 17:
The Small finds,
York
Archaeological
Trust, 1992.
3371, part of a hinge with a bifurcated terminal, similar to a large hinge
(M1654) from a charnel pit XK 216, excavations of York Minster.
3386, the eye part of a “hook and eye” hinge, with a narrow neck before the
bottom round terminal, and spatula shape end for the ‘eye’ on the other end.
3480, triangular shaped ‘hook and eye’ hinge.
3495, 3496, 3497 and 3498, a variety of hasps to close chests.
3606 and 3607, sliding bolt locks with springs.
3608 , a small lock bolt with attache leaf spring and part of a suspension loop.
3654 – 3661, are a range of keys for locks with sliding bolts and springs.
Appendix 2.
Chest plans and drawings.
Hedeby Chest
13
Varangian Voice
Issue 70
Mästermyr
SW
14
Issue 70
Varangian Voice
The military equipment of Johannes Tzimiskès in the
Cavusin Paintings, Goreme, Dovecote Church: the
skaplion-zaba
By Dr. Raffaele D’Amato
Following the examination of the military equipment of Johannes Tzimiskès, as he is represented on
the famous paintings of Church of the Dovecote, Goreme, in Kappadokia, dated in about 963-969, it
is time to deal with the most difficult part of it, the defensive armour. The difficulty arises from the
bad state of preservation of the painting, luckily photographed in a excellent way by Mr. Steve
Lowe, whom once again I am in debt for the permission to use the photos he took, published on his
web-site.
At their time, the paintings of Cavusin were
very clear and detailed. Built by the local
notables to celebrate the victories of the Asian
Army of Nikephoros Phokas over the Muslims,
and to represent the triumph of the heroes of the
Kappadokia, they shown the image of a military
procession towards the victorious Emperor.
Before the Imperial loge, Johannes Tzimiskès
and Melias defiled as in a parade, joined by the
40 Martyrs of Sebaste dressed like East-Roman
officers, rising the swords in the honour of the
two cavalrymen. The painter was so detailed in
the rendering also a true portrait of the future
Emperor, then commander in chief of the Army.
The face is rather round, ornamented by a
slightly underlined light brown beard and fine
moustaches ; the cheeks are full and rosy, the
brown is wide, the nose short and fine, the eye
small and largely open, at the point that even his
blue pupil is clearly visible (fig. 1). If we
compare it with the description of Leo
Diaconus1, we see as the painter had before his
eyes the true face of Johannes: “...Concerning
his aspect, he was in this way : white face, of
healthy complexion ; the hairs were reddish and
rare on the brown ; the eyes bold and of blue
colour ; the nose minute and well proportioned ;
the beard on the upper lip was red and short cut
on the sides, on the lower lip was of good proportion...”.
Fig. 1
The same must have been for his armour. The cavalryman seems be covered, on the head and on the
shoulders, by a mail hauberk not completely visible on its lower part because covered by the red
mantle. Only the prependulia of a Imperial crown (still visible on the sides of the face) were added
in a second time, probably when Tzimiskès was elevated Emperor after the assassination of
Nikephoros Phokas (date in which also the written dedication was modified). The hauberk, known
1
Leo Diaconus, Historia, VI, 3 ;
15
Varangian Voice
Issue 70
in East-Roman sources as skaplion2, was a part of the chain-mail or coat of mail armour usually
called lorikion or zaba, a term that in the age of Nikephoros Phokas probably designated all the
parts of the armour made with iron rings. At the beginning of 7th century the Emperor Maurice
informs us that the Roman armoured cavalryman “...should have hooded coats of mails reaching to
their ankles...” i.e. that the Ζαβαι (word used to indicate the ring armour cuirasses or lorikia) were
furnished with σκαπλια. The word skaplion was still employed in the 10th century with such a
signification in the Leo the Wise Problemata3, and especially was used in the military language of
the Akritai, whose wide employment beside the regular Troops found his way exactly at the time of
the victorious campaigns of the Macedonian Dynasty4 .
That the σκαπλια were separated pieces of the chain-mail is confirmed by the passage in which
Maurice advises to deceive the enemies, during the sieges, showing a number of armoured soldiers
greater than the available : “...to do this make the men who do not have coat of mail wear the mail
hoods (skaplia) of those who do, so that from a distance it will look as though they too are wearing
mail...”.5 Examples of separated σκαπλια worn by Roman soldiers still in 11th century are visible
in the Kappadocian paintings6, in illuminated manuscripts7
and in other works of art. A complete Roman chain-mail
hauberk has been found in Bulgaria and dated about at the
12th century8.
So also Tzimiskès seems wear a separated hauberk
together with his main armour, represented by his scale
κλιβανιον. Nicolle suggests the idea that this is the only
visible part of an entire lorikion worn under the scale
armour 9: I was not able in any case to determinate the
sure presence of other parts of lorikion except this one on
the cap. At less that the small circles at the height of the
hand who held the reins of the horse are traces of the coat
of mail worn under the klibanion, split at the height of the
breast as in the similar figure of the 40 martyrs
commander in the same church10.
Fig. 2
What it is relevant to note is the kind of ring construction
represented : the rings are attached directly over a cloth or
leather background, exactly as the armour of the warrior
represented in the Sakli Kilise, always in Goreme11 (fig.
2). Substantially the armour is formed by metal rings sewn
or attached on a coat made of doubled material (skin,
leather or felted cloth). The system - as visible in many
images of the famous Tapestry in Bayeux12 - provided
tangent rings attached by sewing at the cloth of the
background, doubled and covered by silk13.
2
Du Cange, glossarium, col. 1382 ; Maurice, Strategikon, I, 2, 10ss.
Kolias, p. 43 note 52 ;
4
Alexiu, Akritika, 16 ;
5
Maurice, Strategikon, X, 1 ; the same in Leo, Problemata, X, 2, see Kolias p. 43 n. 55.
6
Yenipinar, p. 87 ;
7
Cod. Athos Esphigmenou 14, fol. 136v ; v. Treasures II 333.
8
Bulletin de l’Institut archéologique de Sophia, XVIII, 1952, p. 388 fig. 394.
9
Nicolle, Arms and Armour, p. 28 ;
10
Idem fig. 8c ;
11
Again I have to thanks Mr. Steve Lowe for the photo.
3
16
Issue 70
Varangian Voice
This system corresponds
also to the Eastern
Jazeran armour, in the
type known as bezainted
(i.e. studs on the leather)
or in the type composed
by ring mail on quilt (fig.
3-4). It is worthy to note
as the jazerant or
kazaghand - an arabic
word for this type of
oriental mail used in the
Islamic World - consisted
Fig. 3
Fig. 4
of a mail shirt, cloth lined
and covered with good-quality fabric, especially silk, sometimes coloured and patterned.
Substantially, a kind of armour expensive, but comfortable to wear and luxurious in appearance14.
The first types of such armours should have let the rings exposed and not covered : so may be we
are in front of a type which evolved in a always more fine protection. The interchange of equipment
among Muslims and Christians on the Taurus Frontier has been already widely underlined by
Nicolle15.
This kind of construction could be designated however as “zaba” in the Greek Medieval sources.
Taxiarchis Kolias shows in his book16 as the evolution of the word “zaba” in tenth century arrives
to indicate not only the complete armours made of rings, but also pieces, plates, rows or interlaces
of iron rings used for the supplementary protection of the different parts of the body, fixed to their
cloth or doubled material background, with the function of supplementary reinforcement, exactly as
in Goreme paintings.
A second possible interpretation of the cap cover could be the idea of a brocade silk covered coif, as
those used by contemporaries Banu Habib17 (who converted to Christianity in 963 AD passing on
the Roman sides) and seen in contemporary works, like the cap of the Aght’mar warrior18. The
drawing of the Thierry19 (done in a period when the fresco was better preserved) seems point to the
idea to represent a mail hood.
In the next contribution I will deal with the scale armour of the Emperor, from the same painting.
12
Viollet le Duc, p. 207 and 261.
Viollet Le Duc, p. 261, and s. fig. 3.
14
Tarassuk-Blair, p. 294.
15
Nicolle, Warriors and Weapons, III pp. 226 ff.
16
Kolias, cit. p. 66
17
Nicolle, The Armies of Islam , p. 16
18
Idem, p. 20.
19
Thierry, N., p. 175 ;
13
17
Varangian Voice
Issue 70
Bibliography:
• Alexiu, St., Ακριτικα, Τα προβληµα τηs εγκυροτηταs
του κειµενου Ε. Χρονολογηση−αποκατασταση χωριων−ερµηνευτικα, Herakleion 1979,
• Du Cange-Du Fresne, Glossarium ad scriptores mediae et infimae graecitatis, duos in tomos
digestum, Lugdunum (Lyon),1688.
• Leo Diaconus, Leonis Diaconis Caloensis Historiae libri decem, ed. C.B. Hase-Weber, Bonn,
1828;
• Dennis G.T. - Gamillscheg E., Das Strategikon des Maurikios, CFHB 17, Wien 1981;
• ΠΕΡΙ ΠΑΡΑ∆ΡΟΜΗΣ ΤΟΥ ΚΥΡΙΟΥ ΝΙΚΗΦΟΡΟΥ ΤΟΥ ΒΑΣΙΛΕΟΣ, Le traité sur la
Guérilla (De velitatione) de l’Empereur Nicéphore Phokas (963-969), Paris 1986;
• Balent, M., The Compendium of Weapons, Armour & Castles, Detroit, 1989;
• Kolias G. Taxiarchis, Byzantinische Waffen, Wien 1988;
• Nicolle, D., Arms & Armour of the Crusading era 1050-1350, II, 1999;
• Nicolle, D., Warriors and their Weapons around the Time of the Crusades, 2002;
• Pelekanidis S.M. - Christou P.C. - Muropoulou Ch. - Tsioumis S. - Kadas N., The Treasures of
Mount Athos. Illuminated Manuscripts II. The Monasteries of Iveron, St. Panteleimon,
Esphigmenou and Chilandari, Athens 1974;
• Tarassuk-Blair, Arms & Weapons, Idea Books, Arnoldo Mondadori Editore,Verona, 1979-1986;
• Thierry, La Cappadoce de l’Antiquité au Moyen Age, 2002;
• Viollet Le Duc, Encyclopédie Médiévale, Tours, 1999;
• Yenipinar H. - Seracettin S., Paintings of the Dark Church, Istanbul 1998;
Figures:
1) Photo of Iohannes Tzimiskès in the Cavusin Church;
2) Roman warrior at the Crucifixion, Saçli Kilise, Goreme, 1070 AD;
3) Example of bezainted armour, redrawn from Balent;
4) Example of studs on leather armour, redrawn from Balent;
RD
18
Issue 70
Varangian Voice
European Hauberk Construction
By Craig Sitch
This article details the pattern I have been using for the manufacture of 12th and 13th Century
European Hauberks. It can be one of the more complex patterns to follow but the results are
certainly worth the effort.
The aim of this pattern was to produce a hauberk with the characteristics so often shown in
medieval art: whether that be illumination, stone carving or tomb effigies. The basic principle is that
the hauberk begins with a circular yoke over the shoulders rather than the more commonly used 'T'
Shirt style. For a very clear representation of this see Fig 1.
Apart from purely aesthetic reasons, this was done so that the long sleeves, often with attached
mufflers (or hand protection), could be joined on with the mail running in the same direction as it
does on the body. When this is done the mail fits more snugly over the arms and allows for greater
freedom of movement.
Those who are familiar with long sleeved hauberks of ‘T’ shirt construction where the mail on the
sleeve is running the wrong way will doubtless be familiar with the way they can gape or hinder
movement.
Another great advantage to having the mail hang in the same direction on the arms as on the body is
that it makes blades less likely to catch in the rings from downward cuts, because the rings are
presented in a vertical rather then horizontal fashion.
This kind of European hauberk is most often shown with an integral coif constructed in one of two
different styles, or variations thereof. Firstly and most commonly is that consisting of an open circle
around the face See Fig 1. and another closed or filled circle at the back of the head. This circle
around the face can be tightened or loosened via a cord. See Fig 2. This cord runs through the rings
19
Varangian Voice
Issue 70
around the face and exits at the corners above the eyes. This enables the coif to be worn quite low
covering the chin only or as far up as right under the eyes. When fully loosened the coif can then be
removed very much like a hood and hung round over your back. See fig 3. This is a very
comfortable and practical arrangement giving full freedom of movement for the head and neck. It
also allows one to cool down somewhat when not engaged in combat without removing the hauberk
altogether.
A variation on this first style of coif is the wearing of an additional dome-like coif over the attached
coif. figs 4 a-c. This is most likely done with a simple close fitting dome helmet in between the two
layers of mail. This is shown very clearly in fig 4. c The integral coif with the circle around the face
is clearly visible underneath a separate coif that is running in a horizontal pattern and just covers the
area where the dome helmet is. Figs 4. a & b show the bottom edge of this dome helmet below the
second coif.
20
Issue 70
Varangian Voice
The second style of coif is one that more closely resembles the standard horizontal pattern of coif.
This joins in to the hauberk quite nicely as all the mail is running in the same direction. To facilitate
removal of the coif there was often a loose hanging panel or flap that could be laced up to the brow
level via a cord. See fig 5.
However as stated before this style is less commonly depicted in 12th & 13th C art than the one first
mentioned and also most representations of it do not show any kind of flap or cord fastening. See
fig 6. An attached coif that one cannot get out of would be most tiresome. So it is my opinion that in
cases such as these the artist has either neglected to shown such details or simply been unaware of
their necessity.
An attached coif that one cannot get out of would be most tiresome.
When working with mail I work in rows and columns of rings connected to each other by links that
I call connectors. See Fig 7. All of the rings face one way and are parallel to each other while all of
the connectors are angled the other way to the rings. The piece of mail shown in fig 7. is a 3 by 10
piece, having 3 rows of rings and 10 columns. They are all naturally joined to each other by
connectors.
21
Varangian Voice
Issue 70
To make the yoke style hauberk, start with a hollow circle of mail like the bottom edge of a coif that
is 3 by 70 rings, seven pieces of what is shown in Fig 7 joined together and both ends connected to
complete the circle. Expand this outwards at a rate of 7 rings per row. Evenly distribute the
expansions around the rows to avoid a series of radial lines that will occur if all expansions are in
the same positions. Fig 8.b shows how to divide the circular yoke section of the hauberk up into 7
segments and then distribute the expansions evenly. The diagram only shows the first 10 rows of
the yoke. Continue adding 7 expansions per row until the very corner of the shoulders is reached.
At this point you can simply add rows without the expansions as the mail is now hanging vertically
and the circle does not need to increase in diameter. If there is too much mail in the yoke this can
lead to bunching in the armpits and severe restriction of movement. Continue adding rows without
expansions to the bottom of the yoke until, when worn over the gambeson, the mail hangs down to
the point where it is level with the inside of the armpit. See Fig 8.a for a diagram of the basic
components.
Fig 8. a
Fig 8. b
Next a basic tube for the body is attached to the yoke piece. Both at the centre of the chest and
centre of the back. Each of these joins only needs to be about 20 rings across at the moment. For the
sleeves, two matching tubes can be constructed. They should not extend past the inside of the elbow
at this stage. These tubes are attached to the yoke at the outer most part of the arm for about 10
rings. The inner side of the sleeve is attached to the body tube of the hauberk for about 5 rings. To
ensure maximum freedom of movement and minimise bunching under the arms the armpit of the
hauberk should fit very snugly to the body.
This stage of assembly is one of the most critical of the entire hauberks construction. Regularly try
on the hauberk checking for freedom of movement and any possible tight patches or snags. Adjust
as necessary while trying to keep the sleeves as snug as possible to the body. To correct any
problems at this stage several things might be required. The body or arm tubes may need to be
enlarged or even reduced, likewise the yoke. During these fitting trials make sure that the body tube
is fairly long about waist level, also the arm tubes extending to about the inside of the elbows.
22
Issue 70
Varangian Voice
Once a good fit has been achieved the ‘seam’ line between the yoke and body tubes can gradually
be closed towards the arm pits. Like wise the ‘seam’ between the sleeve and the yoke can also be
closed towards the arm pits. Make sure to try on the hauberk regularly during this process. Continue
until only four small triangles are left. Front and back of each armpit. If these triangles become too
small the hauberk will tighten up at the arm pit and restrict movement severely. These remaining
triangles should be filled as best as possible. Triangular patterns in mail where all three sides of the
triangle are running in different directions are always somewhat 'messy.' See Fig 9. for a Hauberk
that still has the armpit triangles unfilled. It has also been photographed to make the join between
the yoke, body tube and arm tubes easier to see with only every second connector in place.
To permit free movement of the arms the elbow will need to be tailored. This can be achieved by
adding an extra diamond shaped panel on the outside of the arm. This is exactly the same principle
used to construct the knee of a good pair of chause and is performed in the same way. The sleeve
should be made to fit the arm in a half bent position. This way when it is straightened some of the
bunching will occur at the back of the elbow and when bent completely some at the inside. This
provides much greater freedom of movement than having all of the bunching occur inside the elbow
as will happen with a straight sleeve.
To construct this elbow section. Make a gently tapered tube that fits the forearm and extends to the
wrist. Attach it at the inside of the elbow by 5 rings. Bend the arm to a half bent position and work
out how many rings are required to be inserted at the back of the elbow. Add a strip 4 rings wide
and then fill in the resulting triangles contracting towards the inside of the sleeve.
While the body of the hauberk can taper in towards the waist it should then start to expand at the
hips and gently flair out as the skirt continues down. This will make the front and back splits sit
much squarer. And allow greater freedom of movement for the legs.
23
Varangian Voice
Issue 70
Patterns for construction of both styles of coif mentioned above and chause will be forthcoming.
Photographic Bibliography
Barber, Richard. (1980) The Reign of Chivalry, Reed.
Bouchen, Francois. 20,000 years of fashion. Harry Abrams NY.
Bull, Stephen. (1991) An Historical Guide to Arms and Armour, Studio Editions London.
Cockerell, Sydney (Introduction and Legends). Old testament miniatures, George Braziller
Evans, Joan. (1966 & 1985) The Flowering of the Middle ages, Thames and Hudson.
Hofstatter, Hans H. (1968) Art of the Late Middle ages, Harry N. abrams.
Humble, Richard. (1989) Warfare in the Middle ages, Mallard Press.
Huyghe, Rene. (1963) Larousse encyclopaedia of Byzantine and Medieval art, Paul Hamlyn.
Kendall, Alan. (1986) The Documentary History Series, Medieval Pilgrims, Wayland Publishers
London.
Koch, H.W. (1978) Medieval Warfare, Book Club associates London.
Mitchell, Sabrina. (1964) Medieval Manuscript Painting, Weidenfeld and Nicholson.
Norman, Vessy. (1971) The Medieval Soldier, Arthur Barker.
Savage, Anne. (1982-3) The Anglo Saxon Chronicles, Book Club Associates.
Shouchal, Francois. (1968) Art of the Early Middle ages, Harry Abrams.
Ward, J.O. the Middle ages, Rinewart and Winston.
Williams, Jay. (1962) Knights of the Crusades, Cassell London.
Wise, Terence. (1978) Armies of the Crusades, Osprey. (Pictorial only)
Editors of the Horizon Magazine. (1964) The Vikings, Cassel London.
Related notes
I have some thoughts on why. the rounded face of the D being on the inside of the shirt would
actually decrease the amount of wear and there fore damage to undergarments. Also the punching
process to turn the original forge welded rings into the D section would strengthen and make them
more uniform. This is attested by the fact that some were slightly over sized or composed of too
much material and there was a small excess or flash pushed outside the shape of the D section
stamp
CS
24
Varangian Voice
New Varangian Guard Contact List
NVG Inc. National Executive Committee
SECRETARY:
Cherilyn Fuhlbohm
TREASURER:
Andrea Willett
PUBLIC OFFICER:
Chris Morgan
EDITOR:
Jeremy Draper
PO Box 27, Redan, VIC, 3350 (03) 5338 8995
[email protected]
PO Box 7421, Geelong West, VIC, 3218 (03) 5229 4339
[email protected]
15 Warsaw St, North Strathfield, NSW, 2137 (02) 9739 6121
[email protected]
7A Collins Avenue, SA, 5039. (08) 8276 6459
[email protected]
-ß www.nvg.org.au ßBranches & Council of Representatives - Australia
JORTH GAR: Gold Coast, Queesland
Council Rep: Luke Payne,
33 Kinabalu Drive, Eagle Heights QLD 4271
07 55452298
[email protected]
ß www.lughrecreations.com
DUBH LINN: Geelong, Victoria
Council Rep: : Andrea Willett
PO Box 7421, Geelong West, VIC, 3218
(03) 5229 4339
[email protected]
ß www.nvg.org.au/dubhlinnweb
HODEGON: Belgrave Heights, Victoria
Council Rep: Jenny Baker
2 Lockwood Road, Belgrave Heights, Vic, 3160
(03) 9754 8690
[email protected]
ß www.geocities.com/indunna/hodegon
MIKLAGARD: Sydney, New South Wales
Council Rep: Christopher Morgan
PO Box 3003, Marrickville, NSW, 2204
(02) 9739 6121
[email protected]
ß www.users.bigpond.net.au/quarfwa/miklagard
MOUNTAINS: Blue Mountains, New South Wales
Council Rep: Kim Walker
91 Russell Ave, Valley Heights. NSW. 2777.
(02) 4751 4856
[email protected]
RUSLAND: Brisbane, Queensland
Council Rep: Patrick Urquhart
155 Yoorala Street, The Gap, Queensland, 4061
(07) 3511 0640
[email protected]
ANTIOCH: Ballarat, Victoria
Council Rep: Craig Sitch
PO Box 27, Redan, VIC, 3350
(03) 5338 8995
[email protected]
HANDAKAS: Adelaide, South Australia
Council Rep: Alex Withers
128 Smart Rd, St Agnes, SA, 5097
(08) 8265 2102
[email protected]
VIGHLA: Bendigo, Victoria
Council Rep: Kristen Pincott
5 Brodie St, Bendigo, VIC 3550
(03) 5442-7350
[email protected]
THESSALONIKA: Mildura, Victoria
Council Rep: Roy Pickton
PO Box CP333, Mildura, VIC, 3501
(03) 5021-4840
[email protected]
VLACHERNAI: Melbourne, Victoria
Council Rep: Andrew Straffon
PO Box 238, La Trobe University, Bundoora, VIC, 3086
(03) 9388-8151
[email protected]
NVG International Sister Branches
BARI: Torino, Italy - KATEPANATOS THES ITALIAS
Contact person: Raphail Argyros (Raffaele D'Amato)
Strada Antica di Pinerolo, 6/3 10060 FROSSASCO, ITALY
0039-0121-354649
[email protected] or [email protected]
CHERSON: London, UK
Contact person: Peter James
[email protected]
y
Varangian Voice