Round Shield Research Articles

Two Cimmerian Steles from the North-West Black Sea Region

New finds of stone sculptures from the epoch of early nomads are quite rare. Therefore, the publication of such new sculptures of pre-Scythian times, besides, two more at once, should be of interest. Moreover, both steles were found in a very limited area of the North-Western Black Sea region and each of them has a unique iconography and a rather original repertoire of objects. The stele from Kairy village is a type of pillar-shaped sculpture. The most original image on it is a round shield with a very rich ornamental composition. The stele from Aleksandrovka belongs to the stele-slabs. This type of sculpture is possibly an intermediate link between purely phallomorphic (Cimmerian) and anthropomorphic (Scythian) sculptures. Since markers of relative chronology are columnar and slab steles – the first are early, the second – late, this may mean that in the upper reaches of the Tiligul estuary in a fairly limited area, the tradition of installing the Cimmerian sculptures persisted for quite a long time.

2024. Human Factor Considerations in Support of a Flexible IV Connector Safeguard to Prevent Central Line Associated Blood Stream Infections (CLABSI)

Abstract Background One of the sources of central line infections is contaminated and poorly disinfected IV connectors(CON). A recent study found 23% of IV-line CONs were contaminated with bacteria, despite strict infection control guidelines that include the use of alcohol-lined caps (ALC). Contamination (CONT) occurs after protective ALC has been removed in preparation for an infusion, and nurses perform their multiple tasks. These include purging air bubbles from the IV line, setting pumps, verifying medications, and keeping an eye on the patient. It is not surprising that nurses admitted that sterilization of IV CONs was not prior to 3% - 4% of infusions. Schielded IV connector Methods A flexible rounded shield extending above a standard needleless CON to protect it from CONT was designed and tested (Pat pend). A total of 4, 2 ICU Medical Inc. needleless CONs, one shielded and one unshielded, and two Komashine Inc. CONs, also one shielded and one unshielded were disinfected with 70% alcohol and their lines taped to the abdomen of 2 volunteers wearing loose shirts over the connectors. The CONs remained on the volunteers for 3 hours, in 2 sessions. All 16 CON ends were cultured on Columbia blood agar, and plates held 48 h. Readings were evaluated by statistical analysis of 16 predictions (coinflips). Results It was confirmed that the tested shielded CONs were easy to sterilize, connect to infusion lines and that there was ample space left to screw on and off alcohol caps. Colonies were absent from the protected connector ends, whereas all the unshielded ends grew several colonies. The probability of observing the projected efficacy results, 8 unshielded with subsequent bacterial growth, and eight shielded, remaining sterile, i.e. not growing bacteria is < 0.00002. The lack of contamination on the shielded ends proved that the air currents generated by the movements of the volunteers, between their skin and their skirts did not transport bacteria to the shielded connector ends. Conclusion A properly designed flexible contamination shield will prevent the proportion of line infections that are caused by human factors. Pls, submit severe adverse event reports (prolongation of hospitalization or death) caused by contemporary "defective" IV connectors to the FDA to change their faulty design. Disclosures All Authors: No reported disclosures.

Jean Mignon et les armes : le fonds bellifontain d’un armurier milanais

During the 16th century, Milan is the most important centre of production for arms and armours called all’antica, luxurious pieces inspired from the Classical world. Among these magnificent objects we identified nine pieces which can be attributed to the master MP, an unknown armourer who obviously specialised in parade sets each including a burgonet (a type of helmet), and a round shield. All these objects bear an embossed decoration of large historical and mythological scenes surrounded with borders of grotesques ornaments, the iron surface enriched with gold and silver damascening. If other Milanese armourers would mostly use Italian prints as models for their work, it seems that the master MP also owned an important collection of French prints from the School of Fontainebleau, mostly works by Jean Mignon. He used and combined these French prints in different ways in every single one of his surviving pieces, for the central scenes and the borders. Even if, not knowing the identity of MP, we cannot guess how such a set came into his possession, its case remains an exceptional and interesting early example of the spread, the reception, and the use of French prints from the School of Fontainebleau outside of France.

New Funerary Epigram from Kibyra

The Greek epigram published in this article was discovered in 2016 in modern Turkey, at Kibyra in southwest Asia Minor, during excavations under the directorship of Assoc. Prof. Şükrü Özüdoğru of the University of Burdur. Six lines preserving 3 elegiac distichs are carved on a stone that also features a relief showing a round shield with two greaves on either side. The epigram probably dates between the 1st century BCE and the 1st century CE and evokes the classical ideal of both physical and civic excellence in commemorating a man who died fighting as a citizen-soldier.

The Greek shield as a metal artifact and its reflection in the story of the Croesus’ gifts in Thebes

The article is devoted to the study of archaeological evidences and literary tradition regarding ancient Greek shields as metal artifacts or as the artifacts made by the use of metal. Presented is an attempt at interpreting the names “σάκος” (sakos) and “ἀσπίς” (aspis), by which ancient authors called the Greek shields in the Archaic and Classical Periods. New data on the dating of some artefacts let assume that a number of shields, the production technology of which goes back to the Late Bronze Age or made later (in the Geometric or Archaic Periods) may have been displayed in sanctuaries under the influence of the artifacts from the Late Bronze Age. The authors propose a version according to which Herodotus, describing the Croesus’ gifts in Thebes, uses the word “σάκος”, thereby emphasizing the uncommonness of the golden shield, its heroic antiquity and the reliability of the Amphiaraus’ shield. Archaeological parallels and the words “φαενάν [ἀσπ]ίδα” from an inscription found in Thebes suggest that it was a round shield. Thisartifact had not only a religious, but also a historical and educational function, being an article that bounds up the Thebans with their heroic past. This work is supported by the Russian Science Foundation under grant No. 18-78-10001.

The Relief on the Door of the Msho Arakelots Monastery (1134) as a Source for Studying Arms and Armour of Medieval Armenian Warriors

Byzantium’s arms and armours were researched by many historians. For that reason, the military history of the medieval Roman Empire enjoyed a dominant position in medieval historiography, with the consequence that very often the military history of small nations (under Roman influences) was written from the perspective of the Eastern Romans historians. The aim of the paper is to change this perspective and give the subject of the medieval Armenian military the attention it deserves. The idea is to perform an analysis of the relief on the Door of the Msho Arakelots monastery, where four equestrians and one infantryman are depicted, and to compare it with other Armenian, Byzantine and Muslim sources. In this relief, a spherical mace head and a sword with sleeve cross-guard are represented, suggesting many parallels with East-Roman archaeological and figurative sources. No less important is the depiction of the military trumpet because it is the first image of this object in Armenian art, which can be compared with pictures from the Madrid Skylitzes (13th c.). In addition, the only defensive weapon which is presented in this relief is a round shield with a floral ornament. There are many depictions of round shields in Armenian miniatures and reliefs from 10th–11th c. Moreover, this relief is one of the few where stirrups and the chape of a scabbard are shown. These elements represent an important piece of information because these pictures can be compared with actual archaeological East-Roman artefacts to reconstruct their real look. The conclusions are that the majority of Armenian weapons bear similarities to Byzantine ones but no less important are the Muslim influences, which have been found in some cases. Located between two civilizations (Byzantium and the Muslim Potentates), Armenians adopted the best solutions of their military technologies, creating their own culture. Moreover, thanks to this comparative analysis, further support will be given to the idea that medieval figurative sources are more or less accurate material for studying medieval military history.

Experimental generation of an adjustable ‘Multiple antennae round shield’ beam from a phase-only spatial light modulator

The structure and energy distribution of novel beam have attracted wide attention because of many potential applications. In this article, the adjustable ‘multiple antennae round shield’ beam was generated by computer-generated hologram multiplying the phase of gauss beam and Lorentz-Gauss beam with a reflection-type phase-only spatial light modulator (SLM). Contrast to those generated by amplitude spatial modulation, our experimental results were generated with high-energy efficiency for use of phase-only SLM. In addition, many novel focal patterns occurred with tunable intensity distribution. The positive correlations were investigated in number of spot extensions of ‘multiple antennae round shield’ beam and charge number m, which induces quantities of paramount applications such as atomic magnetometer and optical tweezers.

The Himyarite “knight” and Partho-Sasanian art

The Himyarite slab from Zafar contains several distinctive features shared with some Parthian and Sasanian art pieces, but its relation with Naqš-e Rostam friezes proposed by Yule and Robin does not seem convincing. 1. It shows a rider clad in long scale armor analogically to a terracotta tile from the British Mus eum (fig.9); 2. There is an infantry attendant with an axe depicted over the mount’s rump similarly to the Tang-e Sarvak frieze, where there are two foot warriors and a battle axe too (fig. 7); The horse position on Tang-e Sarvak is either standing or rearing as on discussed relief. 3. Round shield and raised right hand with a lance as on Ṭāq-e Bostān relief (fig. 12). 4. The layout of the original piece must have therefore been squarish rather than horizontally extended, with the opponent of the main figure marginalized. Therefore Himyarite artisans either followed unknown or not preserved Iranian iconographic pattern or combined the features of different canons. Yule and Robin have pointed out that simple snaffle was depicted in place of elaborate and decorative Sasanian bridle, an element usually pronounced in Sasanian art but not always clearly marked in Parthian iconography, especially in smaller objects. It cannot be however excluded that the slab rather follows a Roman tradition captured in local taste.

A Castle in the Air? The Building, Arms, Action and Incident on the Eleventh-Century ‘Castle’ Capital from Westminster Hall

The restoration of Westminster Hall in the 1830s revealed a number of eleventh-century carved capitals, one depicting, as then described, ‘an armed man assailing a castle’. Aided by archaeological evidence from Abinger (Surrey), the ‘castle’ can be convincingly interpreted as a motte-top tower, carried by earth-fast posts, open-sided below and faced above with boards painted to resemble masonry. It is the only known depiction in elevation of a type of tower that is likely, given its simplicity, to have been widely used in the eleventh and twelfth centuries. The assailant, armed with an axe, carrying a round shield and wearing a helmet with nasal, is shown climbing the tower’s external stair at the moment of being despatched or wounded by the defender’s spear. The incident, an individual action rather than a ‘siege’ as such, has many oddities, and may represent a topical event or scene from history or mythology. The story of the Trojan War is suggested as a possible source.

The Roots of Fencing from the Twelfth to the Fourteenth Centuries in the French Language Area

This article offers a partial overview on fencing, as recognized through archive records, as well as French epics and romances from the twelfth to the early fourteenth century. In the twelfth century, fencing was only attested through knightly vocabulary as a way to describe actions performed during single combats involving a combination of shield and another weapon, most commonly a sword. Fencing was progressively dissociated from the knightly arts and there were even few mentions of its use by common people. There are archive records from the thirteenth century of individuals bearing the nickname “fencer”, although there is rarely enough context to be certain that they were really practicing the art. At the end of the thirteenth century, archives and narrative fiction show an established fashion for a certain form of fencing with a short round shield, the buckler. This is clearly established in London where surviving manuscripts include many regulations on fencing, however the fashion was also spread in the continent, even though it seems to be less documented.

The Roots of Fencing from the Twelfth to the Fourteenth Centuries in the French Language Area

Abstract This article offers a partial overview on fencing, as recognized through archive records, as well as French epics and romances from the twelfth to the early fourteenth century. In the twelfth century, fencing was only attested through knightly vocabulary as a way to describe actions performed during single combats involving a combination of shield and another weapon, most commonly a sword. Fencing was progressively dissociated from the knightly arts and there were even few mentions of its use by common people. There are archive records from the thirteenth century of individuals bearing the nickname “fencer”, although there is rarely enough context to be certain that they were really practicing the art. At the end of the thirteenth century, archives and narrative fiction show an established fashion for a certain form of fencing with a short round shield, the buckler. This is clearly established in London where surviving manuscripts include many regulations on fencing, however the fashion was also spread in the continent, even though it seems to be less documented.

Se il centurione parla arabo. Arte e propaganda a Bisanzio tra X e XI secolo

This paper focuses on the mosaic of the Crucifixion in the Church of Nea Monì, Chios, providing an iconographic reading of the Centurion. As has been repeatedly pointed out, with his dark hair and his turban, the Centurion has the distinctive looks of an Arab. Although the turban is often confused with the scarf soldiers used to wear under their helmet, or else with the Jewish tallit, the centurion’s turban seems to be actually inspired by Arabic fashion, as the comparison with the Madrid Skylitzes shows well enough. Connections with eastern costume are further reinforced by the preudo-cufic ornaments embellishing the Centurion’s socks, as well as and by his round shield, which shows the same decoration as the σκουτάρια ραπτά commonly used by the Byzantine army during the Macedonian and Comnenian empire. Thus, the Centurion can be construed as an alter ego of the non-Christians who embraced the orthodox religion after acknowledging the divine identity of Christ. He conveys the same message as the Arab aristocrat depicted under the column of Saint Symeon the Elder in the Menologion of Basil II in the Vatican Library. Macedonian art, I argue, aimed to translate into images the imperial policy directed to the Arabs settled in Constantinople and on the eastern borders, who had been “byzantinized” by the power of law. Not only were they baptized and given Christian names; what is more, they also became part of Byzantine iconography, as shown by our Crucifixion scene.

Experimental-Based Redesigns for Trailing Edge Film Cooling of Gas Turbine Blades

Magnetic resonance imaging experiments have provided the three-dimensional mean concentration and three component mean velocity field for a typical trailing edge film-cooling cutback geometry built into a conventional uncambered airfoil. This geometry is typical of modern aircraft engines and includes three dimensional slot jets separated by tapered lands. Previous analysis of these data identified the critical mean flow structures that contribute to rapid mixing and low effectiveness in the fully turbulent flow. Three new trailing edge geometries were designed to modify the large scale mean flow structures responsible for surface effectiveness degradation. One modification called the Dolphin Nose attempted to weaken strong vortex flows by reducing three dimensionality near the slot breakout. This design changed the flow structure but resulted in minimal improvement in the surface effectiveness. Two other designs called the Shield and Rounded Shield changed the land planform and added an overhanging land edge while maintaining the same breakout surface. These designs substantially modified the vortex structure and improved the surface effectiveness by as much as 30%. Improvements included superior coolant uniformity on the breakout surface which reduces potential thermal stresses. The utilization of the time averaged data from combined magnetic resonance velocimetry (MRV) and concentration (MRC) experiments for designing improved trailing edge breakout film cooling is demonstrated.

From Tarporley to Dolon: The Reattribution of the Early South Italian “New York Goose Vase”

From Tarporley to Dolon: The Reattribution of the Early South Italian “New York Goose Vase”

On the Origin of Greek Cavalry Shields in the Hellenistic Period

Abstract There are two main hypotheses about the adoption of the shield by the Hellenistic cavalry. Some scholars think that the Greeks borrowed the shield from Italy via Pyrrhus’ army, others suppose that it was borrowed from the Galatians. However, the hypotheses are theoretical, without proven arguments. According to the iconography, in the Hellenistic epoch the majority of Greek mounted shield-bearers were armed with large round shields of four various kinds, and a few of them carried oblong shields. The round shield was untypical for the Celts and therefore the Greeks borrowed it not from them but from Italy. As the dates of monuments depicting the cavalrymen have not been precisely determined, one can say only that the adoption happened during the third century BC. The Graeco-Macedonian cavalry had been using oblong shields of the Celtic type since the 270s BC. However, as far as we know, this type of shield was not widespread among the Hellenistic cavalry.

Five New Drawings in the MS Junius 11: Their Iconography and Thematic Significance

THE discovery of hitherto unseen drawings by ultraviolet light in the Cagdmonian Genesis (Bodleian Library, MS Junius 11), one of the most notable illustrated Old English poems, raises intriguing questions about their iconography, dating, authorship, and relation to the poetic text. Although irrefutable evidence for precise dating and authorship cannot be presented at this time, tentative suggestions will be made on the basis of a comparison of the sketches with other drawings in the manuscript, with drawings in other tenth and early eleventh century manuscripts, and with appropriate literary, biblical, and historical evidence. Ultraviolet illumination of the lower portion of page 12 has revealed the metalpoint outline of a standing male figure with a round shield in his left hand and the fragment of a lance in his upraised right hand (Fig. 1).1 The pose, attributes, and placement of the unfinished drawing in the Genesis poem all suggest that it may have been intended to be a representation of Saint Michael combating the dragon or the devil. Although the right-hand portion of the blankspace is empty, which suggests that the composition was not completed in its preliminary stage, the artist left sufficient space for the figure of the malefactor. The pictorial tradition of Saint Michael fighting the dragon or the devil was derived from Revelations XII 7-9 and Jude V 9. According to J. J. G. Alexander, the other pictorial tradition, where Saint Michael is represented as a prince with a staff or scepter in his right hand and a globe in the other, was derived from Daniel X 13, 21 and XII 1.2 Figures in the Gerona Beatus Apocalypse (Archivo de la Catedral, A.D. 975) on folios 156v and 9.13v are comparable to the Ceedmonian Michael.3 In the upper

The Hoplite Reform and History

I have tried to analyse elsewhere the archaeological evidence for Greek armour and weapons, and their possible effects on tactics, in the critical period of the eighth and seventh centuries B.C. There, I was of necessity concerned with the monumental evidence, and did not look far beyond it. But there are historical implications which should be faced and also, I think, some further historical support for the conclusions there reached.The conclusions were briefly these. The equipment of arms and armour, which modern writers tend to group together as the ‘hoplite panoply’, was originally a motley assemblage. Certain of its components—the long iron sword and spear—were part of the equipment of most warriors of the era, and of many periods before and since. Other items resemble those used by Mycenaean warriors some five centuries earlier: these include the bronze plate-corslet, the greave and (an optional accessory) the ankle-guard. I cannot believe, with some scholars, that such advanced and costly products of the bronze-smith had been produced continuously throughout the Dark Age that followed the fall of the Mycenaean civilisation; and indeed for at least 400 years there is no evidence of any kind that they were. Rather, they were revived or readopted: the corslet apparently under the influence of the metal-working cultures of Central Europe and Italy, the greave and ankle-guard spontaneously, although the Epic tradition had never forgotten their earlier use. Other items again, the closed helmet of the type that the Greeks called Corinthian, and the large round shield with arm-band and hand-grip, were Greek variants devised as an improvement on foreign models, principally the metal open-faced helmets and round single-grip shields used by the Assyrians, Urartians and other Eastern peoples. The combination of all these elements together was an original Greek notion; as was their later association with a novel form of massed infantry tactics, the phalanx.

The Hoplite Phalanx with Special Reference to the Poems of Archilochus and Tyrtaeus

The adoption of hoplite tactics and equipment in nearly all the more important Greek lands can be roughly dated by archaeological evidence to the first half of the seventh century and in certain areas within somewhat narrower limits. The momentous change from the essentially long-range fighting of the eighth century involved a single structural alteration in the round shield slung on a telamon which was in vogue, an alteration designed to make it afford the maximum of protection to troops in close formation so long as they stood firm; in the case of flight it became a mere encumbrance and was fairly likely to be thrown away. The change consisted in the substitution for the single central hand-grip previously in use of a central arm-band of metal (πὁρπαξ), through which the bearer thrust his arm up to the elbow, and a hand-grip (ἀντιλαβἠ), at the end of the horizontal diameter and just within the rim, which he grasped with his left hand.

Numidian Horsemen on Canosa Vases

Previous articleNext article No AccessNumidian Horsemen on Canosa VasesM. RostovtzeffM. Rostovtzeff Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by American Journal of Archaeology Volume 50, Number 2April–June 1946 The journal of the Archaeological Institute of America Article DOIhttps://doi.org/10.2307/499053 Copyright © 1946 by the Archaeological Institute of America. All rights reserved.PDF download Crossref reports no articles citing this article.

The Historical Significance of the Murals in the Temple of the Warriors, Chichen Itza

According to Alfred M. Tozzer, events relating to the taking of Chichen Itza by the Toltecs are depicted in the frescoes and bas-reliefs on buildings at that site which date from the Mexican period. In a paper entitled “Maya and Toltec Figures at Chichen Itza,“ he analyzes scenes from the Temple of the Jaguars, the Monjas, the North Temple of the Ball Court, and the Northeast Colonnade with reference to the known historic conquest and interprets them as portrayals of the Mexican attacks, the submission of the Maya, and the recognition of Toltec supremacy.In his paper, Tozzer tells us that the Toltec warrior is characterized by a mosaic headdress; a breast ornament, probably also of mosaic; a back shield or dorsal mirror; decorated garters; bands below the knee; and sandals. He carries a bundle of spears and a bag in his left hand and an atlatl in his right. His left arm is protected by padding or a round shield.