#peytral

[m3dieval]

An inside look at medieval horse armour. This article has lots of good examples of surviving pieces.

[m3dieval]

Some helpful vocabulary:

Blind caparisons were a thing, but blind chamfrons were also an option:

To my knowledge blind jousting was fashionable briefly in 16th century Germany. Sometimes they would also put bells around the horses' neck so the horse could not hear what was going on either.

Pinkie wearing one of those medieval/renaissance jousting outfits for horses, with the multihued cloth covering that also covers the eyes, and the armor for the face: "I can't see."

[neonfretra]

continuation of my philipp grubauer as a horse design :3 the whole gangs here!

layers+design notes below the cut!

they are all wearing horse armor, which is incredibly funny because WHO is fitting they sheep for war

disclaimer: i dont know nothing about horse armor actually, i am heavily referencing image searches and these are aesthetic over function

to defeat the whole function of horse armor, they continue to not be able to seat a rider because HAHAHA chris barely reaches the tops of joey and grubis legs in this FORGET supporting a riders weight

the shoulder guards (a modified version of the peytral) and hip guards (the crupper) use the pattern of their blockers and pads. people were NOT joking, they sure are white across the board

the plate in front of their neck (which is the OTHER part of the modified peytral) is intended to mimic neck guards on goalie helmets. funny enough only grubi actually wears one!

the designs on said plates are the franchise logo (center) and the shoulder designs (flanking on both sides of logo) for their team!

the face plate (the chanfron) has a metal gilding on the front to mimic the cat eye cage design! there is plating underneath because a cage is NOT enough armor

still on the chanfron, the sides are extended down the face as decoration, with tentacles (chris and grubi) or wings (joey)

also decorative are loops that go around chris and joeys horns, which are, again tentacles (joey) or wings (chris)

LAST POINT ON THE CHANFRON! the colors and patterns are from their helmets but incredibly simplified because i am not accurately recreating them. they got city skylines on those man

both joey and grubi have cloth underlayers to look like jerseys

joey is in firebird visiting colors

grubi is in kraken home colors

dreidger doesnt have an underlayer because i think the wool is a sufficient barrier against friction LOL

chris is a whiteface sheep with black wool because of this post comparing driedger to a sacrificial lamb by seattlekrakenyaoi and the kraken as jellycats post by scoringchance

another name for whiteface sheep is penistone sheep. im sure well be very mature bout this one ^_^

joey is a luing cow with a curly brown coat because everyone says he has beautiful brown cow eyes

i prefered luing cows over the more popular highlander cows (the fluffy cow, also crossbred with shorthorn cows to make said luing cows) for the texture of their coat LOL

chris and joey both have netting wrapped around their horns, joeys draped between his to resemble the net

grubi is a dappled gray draft horse with a blonde mane

the horse

[metmuseum]

Breast Defense (Peytral) from a Horse Armor. 15th–17th century. Credit line: Purchase, Bashford Dean Memorial Collection, Funds from various donors, by exchange, 1999 https://www.metmuseum.org/art/collection/search/26626

[thesixthplaneteer]

Charred Saints - Godwynn Forrester

My entry for the Charred Saints event by @tzimizce!

A high whinny rang out like the call of a herald's trumpet. It comes from a white destrier streaked in red with an armored rider. Its hooves struck hard with its loping walk, making a dreadful ring with every step. The creature took heavy breaths as if its pace labored it. What was left of the barding covered little of the horse with what remained smeared and splattered with blood. Shreds and links of chainmail dangle precariously about the head and neck. The remnants of the peytral bent and dented. Tattered strips were all that remained of the flanchard. Absent was the chanfron, crinet, and crupper. Though war torn and haggard by all appearance the steed loped onward to the venue that would host Palla Grande. 

The rider sat deathly still in the saddle, proud posture, and as battle worn as his mount. Red eyes glared through the small gap between his visor and sallet, fixated on his destination and unmoving. His armor bore the same sign of battle as the barding on his horse. Blade scared, gore slick, pockmarked, and sundered. His right arm hangs limp to his side. The right gauntlet was missing to reveal blackened, cracked, and bleeding flesh underneath. Wrapped around his right wrist and hand is a chain. Most of the links had scaling indicative of being exposed to intense hate, except for a pattern of polished links. Dangling by the chain was the twisted and warped remains of a sword. Most of the blade was missing, leaving the charred hilt. The mockery rosary swayed and bounced with the pace of the horse.

There were large and small details alike to catch the eye and scrutiny. However the stand out piece of the ensemble was the tabard the rider wore. It was pristine, unbesmirched, free of stain or impurity. The pattern was split into quarters and trimmed in red. The upper left and lower right quadrants bore a forward facing stag head on a diagonal split background of dark blue and ochre. The upper right and lower left quadrants bore the symbol of the Sword of Caine in brilliant crimson on pure white. 

The clopping of the horse stopped at the entrance, in front of the gawking mob feverishly awaiting the festivities. The rider removed his helmet and let it clatter to the ground. To any applause or praise he only gave silence as he dismounted his horse and entered. Sir Godwynn Forrester has arrived.

[bladespark]

Large "fancy" Princess Luna plush

This was my "showpiece" plush for Everfree NW this year.  It sold there, very much to my delight.  She is 36" tall not counting the horn, and is made with patterned and textured minky on her mane and tail, and on the undersides of her wings and the insides of her ears.  She also has magnetic, removable shoes, a removable peytral, and a removable crown.  Probably the most elaborate pony plush I've ever made.

Posted using PostyBirb

[stellaralignment]

Does the halo thing in your pfp spin like can it always point North or is it more like thorns for self defence?

It's fully under my control and I can float/rotate it around at will. I don't have the magneto-sensitivity to make it always point north. I mostly use it for aesthetic reasons such as using it as a halo or necklace (it's flexible enough to bend and be used as a peytral), but the self defense thing does come into play because it is sharp and I have thrown it at people and embedded it in walls.

[nachosforfree]

apparently its a peytral

what even is the thing celestia and luna wear on their fronts called. is it just a pony chestplate or what

[armthearmour]

The Work of Kunz Lochner: Master Armourer

Part 1/3

Many armors from the 16th century survive, complete or near complete, but few are as resplendent as the works of eminent armor, Kunz Lochner. Born in 1510 in Nuremberg, the young Kunz was the son of an already well respected armorer whose name he shared. By 1543, the young Master Kunz would find himself in the employ of the Holy Roman Emperor Ferdinand I (r. 1556-1564), and would become the court armorer of Ferdinand’s successor Maximilian II (r. 1574-1576).

For Ferdinand, Lochner made this fabulous parade armor. Etched across the breastplate with the madonna and child, a common motif in German armors of the period, the backplate also sports the crossed staves and firesteel which marks the wearer as a member of the illustrious Order of the Golden Fleece. The helmet, though not original to the armor, has been associated with it since at least the 19th century.

For Ferdinand’s eventual successor, the future Emperor Maximilian II, there survives a near wholly complete armor, along with several other elements of the garniture, which Lochner made about 1546. This armor is not only elegantly etched, but also tastefully gilded with a pattern that repeats on all the surviving elements. Three helmets belonging to this garniture survive, a closed burgonet and two close helmets. One close helmet bears an articulated steel bib, typical of Italian styles of armor, while the other is fitted with a rotary cuff designed to integrate directly to the armor’s gorget, typical of the German design. An associated vamplate, the piece which would affix to a lance, also survives.

Also among Lochner’s German clientele were wealthy lords, such as the Duke of Saxony. At the Metropolitan Museum of Art in New York City there sits a pair of associated armors both marked 1548, one made for horse, the other for man. Etching on the peytral of the horse armor marks it as having been made for Johann Ernst, Duke of Saxony, and the associated armor for man, similarly etched, was formerly part of an extensive garniture, of which little survives. Even the breastplate and gauntlets on this beautiful armor are later restorations.

Lochner’s reputation, however, extended well beyond the bounds of the German states. He attracted the attention of other high profile clientele to the East, including Gustav I Vasa, King of Sweden (r. 1523-1560). One complete armor which Lochner made for Vasa ca. 1540 survives in the Livrustkammaren, Stockholm. Very much in the German style, the etching and gilding on this armor recall Lochner’s previous works, while the delicately embossed floral patterns provide a new, and unique twist.

Also at the Livrustkammaren, Gustav Vasa’s crowned helmet (of an armet construction) survives as well. This piece, which is also attributed to Lochner, is one of the very few and very rare crowned helmets to survive.

[crescentmoonrider]

ive recently (as in, yesterday) reached 100hrs of gameplay in FF Tactics A2 after uh. a few months of starting a new game ?

i might have a problem

anyway this is basically my main team. im half-sure ive misspelled Nyn(n)o and Lyn(n)d’s names

(the only time ill ever draw Luso’s dumb outfit is for memes. so ive put him in the peytral equipment he wears in-game and a variation of the paladin job outfit. yes his defense is disgusting)

[jorvegian-nights]

Along with the armour piece clothing sets & horse costumes that we could get, I'd be so down if they could figure out a way to rig a barding set up for our horse's (gen 3+ obvs). Like, even if it's just a chamfron and a caparison or just a highly decorative saddle pad (but make it long and "medieval"). Like I mean, they could definitely do a chamfron + peytral design similar to what they did with the marwari's ceremonial bridle....

imagine if in jarlaheim at some time a year there was a medieval festival (like renaissance faire) and there would be decorations throughout the city and some npcs would wear period costumes (thalia and mel involved in organising performances and selling clothes/accessories) and farah, conrad, and other craftspeople (preferably wearing costumes) come and have market booths there in the town square by the fountain, or along the streets, and sell medieval inspired tack for the horses. 

there would be an outdoor play about medieval jorvegian / jarlaheim history organised by thalia and mel where we would get some more lore (and it being fun to watch, esp with the acting npcs and horses wearing costumes)

there could be bardcore covers of sso songs (just one or two) being played in the festival area. the café(s) could be updated before this and there would be cozy places to sit that are decorated for the festival

maybe isebell and ydris (also in costumes) have a medieval themed magic show on the town square as well. ydris would be like “time is confusing” (that modern jorvegians r dressing up and pretending its back in time) “but a party is a party”

there could be quests relating to helping decorate or get ppl/horses in costume, for example you could be helping farah and some other npc to craft costumes for horses before the play, which also could give you tidbits of lore while talking about the props / costumes that are needed for the play

some of the clothes we could get could be armour pieces

[cma-medieval-art]

Armor for Man and Horse with Völs-Colonna Arms, c. 1575, Cleveland Museum of Art: Medieval Art

A knight depended on his horse both as a weapon and a means of defense. He therefore had to take great care to protect his charger. From the 1100s on, knights first covered their steeds in trappings of fabric and later of mail. By around 1400, full steel plate armor for horses was complete. It is possible that this armor made for both man and horse originally belonged to a "garniture", that is an armor with multiple customized exchange elements which could convert the basic suit to various field and sporting uses. With different pieces of the garniture attached, this suit could have been worn either in battle or in various games of the tournament. The total combined weight of both the man's and horse's armor is 114 pounds. The etched decoration of this armor is of a type that became fashionable in northern Italy during the late 1500s. It consists of ornamental bands of etched figures, animals, portrait busts, and armor trophies. In addition, a coat of arms is represented seven times in different places on the armor-- the center of the breastplate and blackplate, the front and back of each pauldron (shoulder defense), and the center of the peytral (horse's breastplate.) The coat of arms is that of the Colonna family quartered with another, still unidentified family. It probably belonged to an unknown member of the Völs-Colonna family from the South Tyrol, now part of northern Italy. Medium: steel

https://clevelandart.org/art/1964.88

[george-steel-armours]

Armor for Man and Horse.

Kunz Lochner (German, Nuremberg, 1510–1567).

Date: 1548, with later restorations.

Culture: German, Nuremberg.

Medium: Steel, leather, copper alloy, textile.

Dimensions: man's armor: Wt. approx. 56 lb. (25.4 kg); horse armor with saddle: Wt. 92 lb. (41.7 kg).

The Metropolitan Museum of Art.

Kunz Lochner was one of the few Nuremberg armorers of the mid-sixteenth century to achieve an international reputation. His patrons included the Holy Roman Emperor, the dukes of Saxony, and the king of Poland. This man's armor bears the mark of Nuremberg; Lochner's personal mark, a rampant lion; and the date 1548. The armor was originally part of a small garniture that included exchange elements for field and tournament use. Restorations include the cuirass and the gauntlets.

The horse armor bears only the Nuremberg mark but can be attributed to Lochner on stylistic grounds. The elaborately embossed and etched decoration of the peytral (chest defense) includes an abbreviated inscription that may be interpreted: 1548 K[rist] I[ch] T[rau] G[anz] V[nd] G[ar] H[ans] E[rnst] H[erzog] Z[u] Sachsen (1548 In Christ I trust wholly, Hans [Johann] Ernst, Duke of Saxony). Duke Johann Ernst (1521–1553) may have commissioned the horse armor for his attendance at the Diet of Augsburg, a political assembly of the German nobility called in 1548 by Charles V to deal with the crisis of the Reformation.

[aic-armor]

Peytral from a horse armor of Georg von Wolframsdorf, Christian Spor, 1475, Art Institute of Chicago: Arms, Armor, Medieval, and Renaissance

George F. Harding Collection Size: L. 66 cm (26 in.) Weight: 8 lbs. Medium: Steel and leather

https://www.artic.edu/artworks/111759/

[solaris-and-friends]

😏(To anthro princess Celestia.)

Celestia was going about her day, sitting on her throne in just her peytral, slippers, and crown. She had rather large breasts and wide hips, her legs spread just enough to show her pussy.

[parius]