#Roman costume

[thesilicontribesman]

Roman Brooch Pins, Lancaster City Museum, Lancaster

[armthearmour]

A pair of elaborate puffed and slashed Arm Harnesses, Germany, ca. 1520, housed at the Musée de l'Armée.

[life-imitates-art-far-more]

Thomas Couture (1815-1879) "The Romans in their Decadence" (1847) Oil on canvas Located in the Musée d'Orsay, Paris, France

[loganslowdown4]

Wait-

WAIT

OMFG ROMAN

[jeannepompadour]

Códice de Trajes, costumes from the realms of Charles V, Holy Roman Emperor and King of Spain, made in Germany in mid 16th century (1540s-1550s)

Prussia

Prussia and Friesland

Schwabia and Elzach

Juelich

Frisia

Germany

German dance

[sandersontheside]

the black t shirt you can sometimes see peeking out from under Roman’s tunic was stolen from Virgil send tweet

[let-roman-bite-someone]

logan: i do not understand theatre, i think it's a waste of time. i don't get why anyone would be invested in playing a role on a stage.

also logan:

[gibsonsgirl]

it’s something that can be so personal

[ts4eve]

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[plegdoctor]

Endlessly entertained by ghosts being half in half out of costume

[hysteriafossil]

mild suggestive humor ↓ . . . .

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more funnies.... i cant be stopped

[armthearmour]

Steel Brocade: Puffed & Slashed Costume Armor

Surviving to this day in the collections of the world’s most illustrious museums are a group of three armors. These armors have much in common, but most striking is the attempts made by their armorers to render in steel a convincing portrayal of the puffed and slashed clothing fashionable to the early 16th century.

Though this fashion is synonymous with the landsknecht mercenaries who may have been responsible for popularizing it, the puffed and slashed style was enjoyed by members at all levels of society.

Portrait of Duke Henry of Saxony by Lucas Cranach the Elder, 1514, Staatliche Kunstsammlungen, Dresden.

The earliest of these three armors is housed at the Wallace Collection. Consisting only of a cuirass and arms, this armor is, at first glance, rather underwhelming when compared with the other armors in this group. Though the embossed bands styled with etched slashes embellished with gold provide the impression of a puffed and slashed doublet, the execution is all rather stiff, and lacks the impressive volume and fullness exemplified by the other armors.

It is for this reason that this armor, previously considered contemporary to the KHM and Metropolitan examples, has received relatively little attention. However, recent scholarship by Dr. Tobias Capwell suggests that this work is not, indeed, contemporary to the other examples, and is rather about ten years older, dating to ca. 1515. Dr. Capwell also considers this piece to be the work of Konrad Seusenhofer, a favored armorer of the Emperor Maximilian I.

Seen through this lens, not as a poorly executed contemporary of greater armors, but as a less developed ancestor to them, this armor takes on new life. It speaks to innovation and experimentation; an early attempt at a technique which would later be perfected.

The second in this line is the garniture of Wilhelm von Rogendorf, housed at the Kunsthistorisches Museum in Vienna.

This armor is unique for its condition, which is remarkably good. Not only does this armor retain more of its pieces than the other two, it is also accompanied by a number of “pieces of exchange,” elements which could be swapped out so the armor could be worn in the field.

Finished in 1523, as attested to by the date etched on the right shoulder strap, this armor was made for the Count Wilhelm von Rogendorf by Kolman Helmschmid and etched by Daniel Hopfer.

Wilhelm von Rogendorf himself was heir to a new, up-and-coming German noble family.

A medal showing Wilhelm von Rogendorf as a Knight of the Order of Calavatra, dated 1536, Kunsthistorisches Museum, Vienna.

Born in 1481 the second son of Kaspar von Rogendorf, Wilhelm became heir to his family’s estates when his elder brother Sigmund died in 1507, by which time Wilhelm was already a courtier at the Habsburg court. He entered into the service of King Charles I of Spain (later Emperor Charles V) no later than 1517 and was appointed Governor of Friesland. In 1522, Wilhelm accompanied Charles to Spain where he commanded a regiment of 4,000 landsknechts and was again placed in charge of a restless border territory. In 1524, he successfully captured the Fortress of Fuenterrabía from the French, which won him great praise from the Emperor. Shortly thereafter, Wilhelm was named Captain of the Imperial Bodyguard and given the governorships of Catalonia, the Cerdagne, and the Roussillon. Additionally, he was appointed to the Spanish chivalric Order of Calavatra. Wilhelm would retire from court in 1539, but would be recalled in 1541 to command Imperial troops against the Ottomans in Hungary. He would be killed later that same year at the siege of Buda by a stray cannonball.

Though Wilhelm’s armor is now displayed in its parade configuration, the surviving pieces of exchange attest to the fact that it was also an armor for combat. The cuirass is equipped with the long tassets common to the early 16th century. A pair of holes can be observed at the top of the last lame.

These holes correspond to holes at the top of the half-cuisses which accompany this armor, showing that these cuisses would be pointed to the tassets rather than worn separately.

In the rear, the cuirass is accompanied by a rump-defense, also known as a hoguine. Small turning pins near the waist allow this to be removed for combat.

Both spaulders

and gauntlets

survive. Additionally, the KHM retains the armor’s right vambrace

while the Wallace Collection holds the rerebrace and couter for the left arm.

Recently, these pieces were assembled to show what the arm harness for field as a single unit would have looked like.

This armor would also have been accompanied by a gorget, now missing, and a helmet. Frequently, this armor is displayed alongside a close-helmet, however it is more likely the armor would have been accompanied by a burgonet similar in form to this example from the KHM.

One final, unique surprise this armor holds is a hidden lance rest which is incorporated into the turned edge by the right arm. This rest folds down to allow a light lance to be braced atop it, and when folded up, is nearly invisible so as to not ruin the smooth surface of the breastplate with the prominent staples typically required for affixing a lance rest.

The third and final armor of this group is housed at the Metropolitan Museum of Art in New York City.

The least complete of these three armors, it may also be the most visually impressive. Comprised of only a backplate, hoguine, and arms, the puffs and slashes of this piece (also by Kolman Helmschmid and Daniel Hopfer) are ornately cusped. The slashed regions, displaying the gilded “fabric” beneath, and heavily etched to resemble an expensive silk brocade.

The sleeves of this armor are even more voluminous than those of the Rogendorf armor, though they are similarly articulated and provide the wearer with a surprising degree of mobility. It is thought that this armor may have been made for prominent Polish nobleman Jerzy Herkules Radziwill.

Interestingly, the hoguine of this armor is composed of two separate plates, rather than a single solid plate. Where the hoguine of the other two armors terminates in a decorative fabric border, the Met armor continues into two more articulated lames, covering the top rear of the thighs. Holes along the bottom edge suggest that this armor may have been accompanied by fully enclosing cuisses which pointed to the bottom of the fauld and hoguine.

Sources

“A Pair of Gauntlets.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/540164/.

“A Pair of Spaulders with Besagews.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/372772/.

Cranach, Lucas the Elder. “Portrait of Duke Henry of Saxony.” Staatliche Kunstsammlungen Dresden. https://skd-online-collection.skd.museum/Details/Index/246875.

Krause, Stefan. Fashion in Steel. Vienna: Kunsthistorisches Museum, 2017.

“Landsknecht Costume Armour.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/372771/.

“Left Upper Cannon and Couter.” The Wallace Collection. https://wallacelive.wallacecollection.org:443/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=60736&viewType=detailView.

“Open Burgonet.” Kunsthistorisches Museum Wien. https://www.khm.at/en/object/503346/.

“Parts of an Armour.” The Wallace Collection. https://wallacelive.wallacecollection.org:443/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=60519&viewType=detailView.

“Portions of a Costume Armor.” The Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/27790.

“Vambrace.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/372773/.

“Wilhelm von Rogendorf.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/1409642/

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[life-imitates-art-far-more]

Rembrandt (1606-1669) "Lucretia" (1644) Oil on canvas Dutch Golden Age Located in the Minneapolis Institute of Art, Minneapolis, Minnesota, United States

[summersblood]

SCREAM 3 (2000) dir. Wes Craven

[isobellaismyalterego]

[sandersontheside]

I can’t stop thinking about Remus representing jealousy and envy, in the same way Roman isn’t just creativity, he’s also ego, pride, and passion. It always felt a little lopsided to me that they were halves a whole, and yet Roman has all this extra stuff. But what if Remus has some extra stuff of his own, things that mirror Roman’s extra stuff. 

Consider the feeling you get when you work very hard on something creative, something you’re proud of, only for your work to be passed over for someone else. Consider the envy you might feel when someone else succeeds in the same area you wish you could. Even when it’s a friend, someone you care about, that feeling creeps up sometimes. Don’t you deserve the recognition just as much as they do, if not more? Or maybe, they made something better than you, and you wish it was yours. Either way, that’s envy. Wanting something someone else has. 

Alternatively, consider jealousy, in a romantic sense. The moments when your partner seems to click with someone else, or someone flirts with them, or they’re just plain spending more time with other people than you. It happens, it’s normal. But you can’t help that niggling sense of jealousy in the back of your mind, fueled by insecurity and fear of losing the one you love, that some might take what’s yours away from you. Maybe you imagine in great detail what they’re doing right now, or any number of scenarios in which they leave you or cheat on you. You know you’re being irrational, but even so it’s hard to put those thoughts to rest. 

In both cases, these aren’t wanted feelings, but they’re there anyway, a lot like intrusive thoughts (and in fact in some situations they can be a form of intrusive thought!), and they’re also both extensions of things that Roman represents. Envy and jealousy are both forms of desire tempered with ego and insecurity.

So, where Roman is pride in your work, and desire and passion for your partner, and Remus is wondering why someone else got rewarded for their work and you didn't, and the fear someone will take away the one you love.

In other words, Remus makes you green with envy.