Vukodav
03-24-2012, 02:05 AM
now, some description:
http://www.mycity-military.com/imgs/113399_82355784_Srbi%20teska%20pesadija%20mid.%20X III.JPG
1: Byzantine Palace Guard (prvi s leva), late XIIth century: Byzantine troops of the early Palaeolog period seem to have revived some of the lost splendour of earlier centuries. Though basically equipped like con¬temporary European knights, their arms and armour also betrayed eastern influence. This man wears a chapel-de-fer war-hat, and extensive mail under a thickly padded gambeson. Even his shield is similar to those seen in Italy and the Crusader States, but while separate mail mittens would soon also be adopted in Italy his curved sabre is distinctly Turkish. (Sources: helmet from Peschki, Ukrainian 1100-1250, Hermitage Mus., Leningrad; Psalter, Byzantine i3th C, Benaki Mus. no. 34/3, Athens; St. Mercurius wall painting, Byzantine c. 1295, in situ Sv. Klimenta, Ohrid, Yugoslavia; wall paint¬ings, Bulgarian c. 1259, in situ Boyana Church, Sofia; Arsenal Bible from Acre, 1275—1290, Bib. Arsenal Ms. 5211, Paris.)
2: Byzantine 'murtartoi' archer, late 13th century Documentary sources confirm the importance of archers in Palaeolog armies, but they rarely appear in realistic form in art. A number of warriors are, however, shown in body armour which could represent coats-of-plates comparable to those appearing in western Europe. This man wears such armour, as well as the tall one-piece brimmed helmet, that was becoming more common in Byzantine illustration. His archery equipment naturally reflected that of neighbouring Turks and Mongols. (Sources: lamellar or scale cuirass from Kitaev, Ukrainian 12th-13th C, whereabouts unknown; arrowheads from Ras castle, Serbian I2th-i3th C, Milit. Mus., Belgrade; History of Alexander, Byzantine early i4th C, Lib. of San Giorgio di Greci, Venice; wall paintings, Byzantine (-.1265, in situ Sopocani Monastery, Yugoslavia.)
3. Serbian heavy infantryman, mid 13th century: Serbia and the western Balkans were already differing from the eastern Balkans by the 13th century. While the eastern regions were under increasing Turkish and Mongol influence Serbia was closer to Italy and southern Germany from whence so many mercenaries were recruited. Nevertheless, this man does carry a typically Balkan knobbed mace, and wears a sleeveless mail jerkin over a mail hauberk. His thickly padded coif illustrates an early phase of the Balkan pre¬occupation with protection for the throat, which might reflect the importance of archery in Balkan warfare. (Sources: i3th C helmet, Nat. Mus., Budapest; iron and bronze maces from Biskupija & Ras castle, Mus. of Croat Archaeol. & Milit. Mus. Belgrade; Guards at Holy Sepulchre, Serbian wall painting 1230-37, in situ Milesevo Monastery, Yugoslavia; Bulgarian wall painting, c. 1259, in situ Boyana Church, Sofia; Icon of St. George i3th C, Byzant. Mus. no. 89, Athens.)
4: Knight of Frankish Greece late 13th century: The arms and armour of the Crusader States in Greece showed considerable Byzantine influence. This is particularly apparent in the hardened leather greaves worn by this figure. His coat-of-arms also indicates that his family stemmed from the Crusader States in Syria. (Sources: seals of the Latin Emperors, Bib. Nat., Paris; tomb-slabs of Sofia, late i3th C, Famagusta, Cyprus; donor figure, Icon of St. Nicholas, c. 1300, Makarios Foundation, Cyprus.
http://www.mycity-military.com/imgs/113399_72667116_Srpska%20pesadija%20sred.%20XIV.JP G
Serbian infantry, mid-14th century This man is in almost all aspects identical to the heavy infantry of Italy. His separate mail-covered gauntlets may, in fact, have been a Byzantine and Balkan fashion that had spread to Italy early in the 14th century. Only his massive splinted gorget neck and shoulder protection is different. Such pieces of armour appear quite suddenly in 14th-century Balkan art, and though they are sometimes worn by infidel or alien figures in Italian illustrations they are otherwise rarely seen anywhere else except 14th century Spain. A connection may be possible via the mercenary Catalan Grand Company and Spanish-ruled southern Italy, but it is not known in what direction such hypothetical influence flowed. (Sources: helmet, perhaps of German origin, Milit. Mus., Belgrade; warrior saints, Serbian wall-paintings, 1333—1371, in situ Chapel of St. Nichola Sopocani Monast., Church Psaca, Monastery Church Decani, Church Lesnovo, Yugoslavia; Pride, carved capital, early i4th C, in situ Doge's Palace, Venice; St. George, early i4th C, wall-painting, in situ Church of Panaghia Kera, Kritsa, Crete; Hungarian manuscript, 1325-50, Pierpont Morgan Lib. M.360-11, New York.)
(sredina) Bulgarian pronoia cavalryman, mid-late 14th century The contrast between this warrior and the Serbian infantryman highlights the differing military traditions of the eastern and western Balkans. He is not only very similar to a late Byzantine warrior but his equipment and costume both show considerable Turkish or Mongol influence. This is particularly apparent in his long coat, his reliance on lamellar armour, and the bells on his spear-shaft. The collection of maces may be captured symbols of rank. (Sources: helmet from Khalkhis, Ottoman or late Byzantine, Ethnolog. Mus., Athens; maces from Stara Zagora region, I3th-i4th C, Kazanlik Mus., Bulgaria; Manasses Chronicle, Bulgarian 1344-5, Vat. Lib. Cod. Slav 2, Rome; Psalter, Bulgarian or Serbian £-.1370, Bavarian State Lib. Cod. Slav 4, Munich; wall-painting, c. 1355, in situ Zemen Monastery, Bulagaria; warrior saint Ser¬bian wall-painting, c. 1307, in situ Ch. of Our Lady of Leviska, Prizren.)
Charles Thopia(U nasoj literaturi: Karlo Topija), Albania, mid-14th century Although no picture survives of Charles Thopia, lord of Kruja and Petrala, a fine carved relief does illustrate his coat-of-arms and crest. Here his tunic, which is remarkably similar to early Ottoman court costume, is taken from a similarly-dated painting of
Peter Brajan, the Jupan or governor of a neighbouring region of Bosnia. Like the Serbian infantryman he is protected by a brimmed helmet and an even more massive gorget or bevor. (Sources: bronze-covered lead mace from Luk, Archaeol. Mus., Split; bas-relief showing armourial bearing of Charles Thopia, in situ Church of St. John Vladimir, Elbasan, Albania; Peter Brajan, Serbian wall-painting £.1335, in situ Church Karan, Yugoslavia; warrior saint wall-painting 1338—50, in situ Monastery Church, Decani, Yugoslavia; Loyal Address from City of Prato to King Robert of Naples, 1335-40, British Lib. Ms. E. IX, London; barbarian warrior in St. Martin renouncing the sword, wall-painting by Simone Martini, c. 1317, in situ Montefiore Chapel, Lower Church of St. Francis, Assisi.)
http://www.mycity-military.com/imgs/113399_56151901_Srpski%20vitez%20i%20auxiliary.JPG
l: Serbian auxiliary, 14th century
The frescoes of c. 1309-14 on which this figure is based demonstrate that 14th century Serbian equip¬ment, like 14th century Bulgarian, differed little from that of Byzantium, though the Serbs, whilst making some use of the triangular shield by then preferred in the Empire, continued to favour the almond-shaped variety. Their preferred weapon combination appears to have been lance (still often wielded overarm), sword, mace and composite bow. The fact that Serbian armoured cavalry of the 13th and 14th centuries were prepared to fight as horse-archers is confirmed bv Kantakouzenos' military
memoirs and pictures in Serbian manuscripts. Cer¬tainly the Serbs in the Nicaean army at the Battle of Pelagonia in 1259 were horse-archers.
2: Bulgarian auxiliary, c. 1345
Pictorial sources demonstrate that the similarity be¬tween Bulgarian and Byzantine equipment persisted until Bulgaria fell to the Ottoman Turks at the end of the 14th century. Bulgarian costume, however, re¬mained distinctly Balkan. The source for this figure is the Manasses Codex made for Tsar Ivan Alexander (1331—65), the illustrations of which indicate that the long gown often concealed light body-armour (Bul¬garian mail or lamellar corselets often reaching only to the waist or hips). All Bulgarian cavalrymen were customarily armed with a composite bow, though their heavy cavalry at least also carried a lance.
3: Serbian knight, 15th century
Under constant pressure from the Ottomans throughout the second half of the 14th century, Serbia began to import a growing volume of its arms from the West, in particular from Venice and Lombardy. By the 15th century better-equipped Serbs had become indistinguishable from their Italian counterparts, except in retaining a shield (probably in response to the Ottomans' dependence on archery). Ironically contingents of Serbian heavy cavalry consequently appeared in most Ottoman field armies during the first half of the 15th century, becoming famous for the effectiveness of their close-order charge . A 1,500-strong Serbian contingent even attended the siege of Constantinople in 1453.
and, thanks to guys from this forum http://www.mycity-military.com/Stari-srednji-i-novi-vek/Srednjovekovni-Srpski-vojnici.html, I literally stoled all this from their posts
Guapo
03-24-2012, 02:48 AM
Serbia had a very strong and rich Medieval kingdom and knighthood. Serbia was even deemed by western Europe as the richest monarchy in all of Europe. the French knight Bertrand de la Broquierre stated that Serbia's annual income from the gold and silver mines of Novo Brdo (near Gnjilane in Kosovo) amassed to about 200,000 Venetian ducats. The Ottomans weren't after Serbian kingdom for just a land grab, that's for sure, just like Americans wanted Kosovo because of uranium.
People in Serbia like to brag that in times of Serbian king Stefan Nemanja aristocracy were using fork and knives made of gold while in the most European courts nobility used hands. The story goes back in 1189. while Frederick I Barbarossa, on his journey to Holy land for a Third Crusade War, spent some time as a guest in a court of Stefan Nemanja in town of Nis. Even though it was signifficant meeting for Serbian royal family, details of meeting are not well known today. Except for the story that, while Barbarossa used his hands during dinner, Serbian king used fork and knife.
Medieval cuisine of Serbia:
http://palachinkablog.com/foodbuzz-24-24-24-medieval-cuisine-of/
Serbian medieval music
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Sorab
03-24-2012, 04:01 AM
The hussar concept began in Serbia, near the end of the 14th century. In the 16th century, painted wings or winged claws began to appear on cavalry shields. Wings were originally attached to the saddle and later to the back. In 1645, Col. Szczodrowski was said to have used ostrich wings. In 1500, the Polish Treasury books make reference to hussars. Early on, they were foreign mercenaries, and were called Racowie from 'Rascia' a word meaning 'of Serbia'. They came from the Serbian state of Ras.
^ Researched and Written by Margaret Odrowaz-Sypniewska, B.F.A. SOURCES: Brzezinski, Richard. Polish Armies 1569-1600. (volume 1) #184 in the Osprey Men-at-Arms Series. London: Osprey Publishing, 6, 16. Brzezinski, Richard. Polish Winged Hussar 1576-1775. Warrior Series. Oxford: Osprey Publishing Ltd., 2006. Hollins, David. Hungarian Hussars 1756-1815. Osprey Warrior Series. Oxford: Osprey Publishing, Ltd., 2003. Klucina, Petr. (Illustrations by Pavol Pevny) Armor: From Ancient To Modern Times. Reprinted by New York: Barnes & Noble Books, 1992, (by permission of Slovart Publishing Ltd, Batislava). Ostrowski, Jan K., et al. Art in Poland: Land of the Winged Horsemen 1572-1764. Baltimore: Art Services International, 1999. Wasilkowska, Anna. The Winged Horsemen. Warsaw: Wydawnictwo Interpress, 1998. Zamoyski, Adam. The Polish Way. New York: Hippocrene Books, 1996. Also see http://www.warfareeast.co.uk/main/Hunga ... sarsGusars
http://forum.vidovdan.org/viewtopic.php?f=2&t=4714
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