OSPREY MASTERCLASS ANCIENT & MEDIEVAL MODELLING PETE ARMSTRONG MODELLINGCONTENTS Introduction Chapu Research & Fieldwork 1: Tools, Materials & Techniques Chapter 2: The Scottish Wars. Scotland's Heroes - William Wallace & Robert the Bruce Mititary Orders the Templars & Hospitalters Chapter 3: The Mounted Medieval Knight Chapter 4: The Hundred Years War Heraldry in Medieval England Chapter 5: The Castle Dressing the Set: Some Med coal Weapons Chapter 6:'The Kingmaker - Richard Neville, Earl of Warwick Non-military Figures in Medieval Settings Chapter 7: Anglo-Saxon England. Chapter 8: The Roman Army in North Britain, Appendix A: Suppliers. Appendix B: Model Phot Appendix C: Bibliography 100 4ABOVE A startled cavegtel - my earliest surviving model, though I think t may stil have 'Superboy’s dog’ somewhere, RIGHT ‘Richard Plantagenet, last of the English kings of England’.The author's 80mm model depicts the final moments of England's "Black Legend! ac Bosworth Field on 22 Auguse 1485. INTRODUCTION FPP bis is a book about modelling; and "although it includes a good desl of EL information abour a varicty of other relevant topies, it essentially a practical manual of techniques and modelling methods, My intention is mot to attempt to cover every aspect of this large subject exhaustively, but rather to provide a basis un which the individual modeller can build through his own modelling experience and research Many of he topics touched upon in these pages ~ such as the evolution of armour, heraldry, ancient shield designs or medieval helmer crests «are subjects which would repay remains, 6 ANCIENT AND MEDIEVAL MODELLING MASTERCLASS more extensive rescarch. In many cases they are covered in other books, se my presentation of these and other fascinating subjects is styled as a sample ‘taster’, For the modeller to follow up for himself, He will find a number of starting paints fisted in the Bibliography, My title, dncient and Medieval Modelting, far fiom being restrictive, presents a vast span of history from which ta chose subject matter, in fact it presents such a wealth of choice thar it is inevitable that 1 have left out somenne’s: favourite hobbyhorse, In realty, of course, the boundaries of any subject are only the boundaries of ones imagination, In seeking subjects trom the ancient world we can lookback as far as the Old Stone Age if we choose — Pye always had a soll spot for troglodytes since Aurora brought out a rather startled eavewoman in dire need of rescue i the eatly days of my ‘probably stil at school when Airfix produced a ‘model of the Black Prince in 1:12 scale, and Pm sure they made a Joan of Arc tao. Havas a voracious consumer of plastic kits in those days, and I mae them both in a day, they were my earliest essays in medieval modelling and, gterest in modelling. [wa iol surprisingly, they have nar survived. My perspective on history derives from an Anglo-Saxon standpuint, so 1 have always considered thar the withdrawal of the Roman Legions from Britain and the sick of Rome b; Alaric the Goth in 410 AD signified the onset of the ‘Dark Ages', and thar Duke William of Normandy's conquest of England in 1066 heralded the beginning of the ‘medieval’ centuries, The academic purist would debate thar common perception; but few would dispute that the ‘Middle Ages’ came to an end with the death in of Richard Plantagenet, last of the English kings of England, at Bosworth in 485, In Scotland the line is rather Fess clear-cut hartle it would not do for modellers of the medieval period to exclude the last great battle fought between the English and Scots nations at Flodden in 1513, In military terms the battle of Flodden could belong to the previous century: it was a medieval afterthought, fought in. the age of the Tudors. King James IV of Scotland, along with a quarter of his army and the flower of the Scots mobility, lay dead on the field af battle as niyhtfill brought the grear clash of armies to a close - surely as dramatic a conclusion to the Middle Ages as am seeking powerful subject marrer could FORM & CONTENT Kach of the following chapters has as its core an. illustrated step-by-step deseription detailing the construction of a model. My original intention was to grade the difficulties and levels of skill progressively through the chapters, but this has not always heen strictly possible. The best that can be said is that the medieval Subjects progress ftom a fairly simple project to a large and involved model which includes buildings, figures and a multitude of aceessuries, I had also intended ra fallow chronological order, but the difficulties of making this mesh with a logical progression of technical challenges defeated me; my Anglo-Saxon warrior and Roman trooper will be found in the rearguard. To prevent repetition in the text, those modelling techniques which recur in several chapters are discussed in full in the technical section of Chapter 1, and readers are referred back to this chaprer from varivus points in the text The step by step core of each chapter ix supported by relevant drawings and photographic reference material, When possible I have included the work of some of my associates who produce medieval models to ABOVE ‘The Florentine modeller Mario Venturi interprets and models the death of Richard Ill quite differently and in his own inclvidual style in this S4mm vignetce INTRODUCTION 7RIGHT ‘The Northumbrian modelter Keith Durham knows the evocative battlefield of Flodden well, and has turned to it for inspiration for this “English Biman of 1513. FAR RIGHT A dramatic ineldent unfolds in dhe castle courgyard as the Earl of Warwiek's eae trots home with an offering for his master..Taking the tine to add a detail like this can bring instant lfe to a model which may otherwise be technically exeellent but a litte ‘suff’ farther illustrate and expand on dhe subject matter of the featured project, My criteria in selecting illustrarions has been to avoid as far as possible pictures of familiar stock igures xssembled and painted! ‘straight fram the box’ I have chosen instead to illustrare models which display the creative imagination and technical expertise of their authors, ‘The great majority of the photographs andl drawings Uhat follow have been produced expecially for this book and have not been published previously, The models featured in the step-by-step sections of the book are not designed as patterns or plans (o be copied rigidly, bur serve rather as vehicles for describing modelling methods; I hape they will stimulate the reader’s imagination and provide starting points from which individual modellers can develop in their own directions. Although the book is not a guide to seratch-building figures it does advocate a creative approach (o modelling, and seeks to encourage readers 10 incorporate as much of their own craftsmanship and ideas into Ueir modelling projects as possible, T have used. commercially available figure kits accessories from my own ‘Border Miniatures’ range as the basis of most of the modelling projects; the exceptions are noted and credited. ‘The treated as the and kits are ANCIENT AND MEDIEVAL MODELLING MASTERCLASS craftsman’s raw materials, to be developed imaginatively, rather than as an end in themselves to be painted without any further © input, ‘The modelling process, by which T mean the activity before any painting creat rakes place, forms a large part of my subject matter, My themes are essentially military though T have tried to include a brief consideration of other amusing, interesting or potentially fruitful directions, To add modelling projects I have used a range of ancient and medicval settings for figures, such as a castle courtyard, Haclrian's Wall in the wilds of Northumbria, and the bateeficld. Most of the figures I have used a this enables a great deal of detail to be incorporated into the models and allows scope for thi jerest und variety to the figure 80mm size: clusion of multitude of interesting accessories, extensive groundwork and parts of buildings, even when a mounted figure is included, The finished projects are part seale-model and part three-dimensional illustration, for as well as depicting arms, armour and cost also a drumatie element present, which infuses life into the models. as exactly as possible there Pete Armstrome Keswick Futy 1999TOOLS, MATERIALS & TECHNIQUES he choice of small hand twols ~ files, | ceiskg ide, plies ate ese etc is always a marter of personal preference, and i¢ is unlikely that any two modellers’ workbenches would display the exactly same assortment, The only rule is to buy che best quality that you can afford, Cheap tools are a false economy, and will always have to be replaced sooner rarher than later; the cost of Oxo or three Chinese made tools will soon add up to more than that of one Furopean or American one, In the middle of my modelling desk are clustered the tools that are used most frequently. Mast are simple and inexpensive, and some are home made. There are very few tools that are exclusive to model making; they all have other uses, so they must be jealously guarded from predators. Cluttering drawers within easy whieh are sometimes useful; the less-ofien used lie gathering dust on shelves in the workshop, here are even tools which are never used at all, some of them mystifing puzzles which must have seemed a good idea at the time Then there are those which were presemts from rhe the broken gadgets ancl tools blunted in the last outbreak reach are tuols well-meaning, and ) 4 5 i si a7 of decorating fever; they might come in handy sometime, ‘A most useftl recent addition to my work desk is a variable speed Expo Mini-Drill, Twas, rather sceptical about its usefulness at first, bur T wouldn't be without it now. [ase it for practically all di ding and for butting and polishing work. ‘These are Hing and g powerful litle machines which — with the right safety precautions in place - can also be used to make small turned components from brass rod. To do this the Mini-Drill should be clamped firmly to rhe desk, preferably under & magnifying lamp which will not only light the work but provide essential eye protection. Short lengths of brass rod up to about 4mm in. diameter can be held in the chuck and turned to shape using various needle files. surprising how quickly previously elusive shapes can be made by this simple method. Just as individual as the selection of tools is the way in whieh they are used, Techniques ean be employed in a personal manner, and they are described here fiom that viewpoint; readers should regard this chapter aya starting It is point on which to build their own prietical experience, At several points in the fext you will note that [have recourse to my ‘scraphox’ for parts, 1/1) A selection of the small hand cools that I use most frequenely, Unfortunately | didn'e have room to inelude my favourite hacksaw and piercing saw; but readers with a fascination for pictures of saws and th like will find some exciting tool catalogues listed in Appendix A, TOOLS, MATERIALS AND TECHNIQUESHIGHT The construction of this soldered brass weather vane Is described in detail in Chapter 5.The flac brass has been cut fo shape and soldered on to a brass pole, tapered by using my Mini-Drill as an improvised lathe, The final is made from the top of a sword hile found in the scrapbox. This is really a variety uf boxes, ays and drawers where I haye amussed a yast array of bits and pieces that ‘might come in useful sometime’, There are boxes of brass rods ancl etched frets, jewellery chain, landscaping materials, balsa, plywood and card, and a whole tray of parts left over frum plastic and white metal kits Soldering has advantages over glueing: when working with metals, as it forms a strong joint instantly. The only piece of equipment needed is a 15 watt electric soldering iron, which will provide enough heat for mast jobs; however, @ The iron soldering torch ean be useful to, should have a metal stand in which ir can rest safely during a sold have an integral sponge in a tray below the holder, which is kept damp t wipe any build. You need a tin of Fluaite, which is an effective if session; these usually 1p of unwanted solder off the bi general purpose flux in paste form well suited to the uncomplicated work eleseribed here No other specialised rools are needed: only: an assortment of files, a small brass-bristled brush, and several craft knives t© use us 110 ANCIENT AND MEDIEVAL MODELLING MASTERCLASS. scrapers and to help position blobs of flux. As there are numerous references to soldering throughout this bouk it seers worthwhile ra consider the basic method in this scerion Other, more specialised applicarions will be described later as they crop up in the modelling projects, Very lov remperanire solder such as Carr's No70 is used to assemble white metal components; it melts at 70 degrees C, ur when fused with white meral it re-melts ar a +r Lemperature and so formsa very secure bond. \ solder with a higher melting point is ass, A general purpose resin-cored solder which melts at about 180 degrees C is ideal for this, and is available in handy coil form on a reel needed in cases when working with from any ironmonger. Start by practising soldering scraps of white metal together before vou embark on the castings themselves, ‘Lhe description of my methods below should give modellers. some help, but ther experience for developing skills, Be scle too, in what vou attempt — there are situations where glue is a better oprion, particularly when large flat surfaces need to be joined. Soft solders not only form joins, they also act as fillers, which can be useful when is nothing to beat hands-on working on armoured figures. Any: blemishes on the surface of the plates can be Filled with a blob of sulder which when tidied up will blend perfectly into the metal of the casting. ‘The copper soldering iron bit should be pointed for our purposes, and this means filing it to shape commercial bits always seem to be chiselended. A pointed bit will enable you t pick up tiny particles of solder of the exacr size needed, and place them precisely where needed on the work in progress. To make a joint with low temperature between components, first scrape the surfaces ra he joined back tw bright metal with a craft knife; this removes any oxydisation from the surface which might inhibir the flow of the solder and. prevent it fusing with the metal. The surfaces to he joined will need to be held firmly together belure they are soldered; however, given the low temperature involved, T usually contrive a way of positioning one part with bits of Plastilene, so thar T can hold the other part aginst i¢ with my fingers, With my free hand Tuse a knife blade to pick up some flux and place it on the join where the solder is intended to run. Just enough solder to do the job is then picked up on the bit of the iron, and placed! on the fluxed joinr, where ir will run solder two small white metaland fuse the parts together. There is unlikely to be enough heat in this operation « burn your fingers. If as is often the case, the copper hit refises to pick up the solder, then it needs cleaning first with the sponge, then lightly with a fine file, after which it should be quickly dipped in the flux, The heat should ar all rimes be applied to the solder; take care not to bring the iron in contact with the castings, ar they will melt; use a light couch, and do not ‘dwell? with the iron, In essence that is ull there is to soldering white metal together. This is a surprisingly god and method for bonding quite tiny components and ensuring a strong jain quick between parts where there is very little surface arca in contact, It can be useful to be able to solder white metal parts to brass. In such cases the brass necds to general purpose sulder such as Carr’s No.188, because. very low temperature sold directly to brass. First clean the surface of the brass at the point where the join is to he made. Apply Liluxite to this area; then eur a length of sulder from the reel, and position it cold on the Muxed surface, As we now need to work at a higher temperature than when joining white metal parts, rhe brass itse the iron to make the solder flow over the fluxed surface; heating the solder will mot be enough (0 fuse it to the brass, be ‘tinned’ first, i.e. coated with a will not adhere is now heated with ‘Once the brassis tinned in this way, the next stage is to coat it with very low temperarure solder, Clean and flux the tinned ai bringa blob of C: on the tip of the bit; as the brass is heated with the iron this will flow over the previously then 1's No.7 solder to the work applied higher-melr solder and fuse with it, “The contact surface of the whire metal parr shuuld now be cleaned, flused, and held firmly in position, Use very low temperature solder to form the join, as described above (Remember, he careful: although heat can be applied 10 the solder and to the tinned brass ‘component to fuse the joint, it is important not to apply direct heat to the white metal, or will melt.) By this method, tor instance, white metl spear heads can be soldered to brass shafts, and brass locating rods can be added 10 white metal components, Tworpart epoxy putty which I refer to popular name Milliput throughout this book — is a familiar and widely used medium of which most generically by the brand modellers will have experience. It is practically impossible to avoid u Milliput, and readers will note that it finds a wide variery of applications throughout the projects described. ‘There are grades of Milliput available, bur T have never found that any of the others offer any real advantage over the ‘standard? grade which I invariably use. When modelling figures 1 prefer to work as far as possible directly in metal. “This conters ST fine depiction of the construction of mail froma monument of «1410; the staples which fascened the ccamail to the bottom edge of ‘the baseinet are now hidden beneath the decarative border, If you are ever tempted to groan at the labour of modelling mail, imagine being the sculptor commissioned to carve this life-sized stone ffigy, TOOLS, MATERIALS AND TECHNIQUES 11ABOME Sculpture in BOmmm showing a detail of mail modelled using the method described; the manner in which the'Li-tool” has been used can be clearly seen, Despite the fact that | prefer to work directly in ‘metal, Gextures such as mail have to be added with modelling putty ~ it would be absurd not to take advantage of the versatility of ehis material some definite advantages with armoured figures, as the meral used ean be burnished to represent the surface quality of armour. Modelling putty needs to be painted ww achieve a metallic effect, and this is not always easy. However, there ure instances when there isno alten ive to its use, and modelling mail armour is such a case, Most medieval modellers will be farniliar with the mans constructed from interlocked and riveted wire rings, There are theories - holy dehated - which stem from the interpretation of medieval drawings and sculpture as suggesting that several varieties existed, such as “banded” and ‘solid’ smal However, I leave this vexed subject to the experts, my concern is representing in model er in which mail 12 ANCIENT AND MEDIEVAL MODELLING MASTERCLASS form the classic ring mail for which we have direct physical evidence. Mail shirts are heavy ~ those im the Wallace Collection in London weigh up to 1Ibs (9 kilos) - and mail will try to hang vertically at all times, Phe links are small, less than a half-inch (Wim) in diameter, so visually some shirts made of very fine Tinks appear almost to have the texture of a woollen fabric, Even so, always remember that mail does not cling to the body Unless it is lying on a horizontal surface ~ it is always trying to escape any confinement in. order to hang vertically. On an actual mail-clad arm held out parallel to the ground the linked rings along the top surface will ‘stare’ as far apart as the construction allows; down the sides. the rings will behave like water, seeking the lowest level, and unless the sleeve is very tight-fitting it will "bag? along: the bottom surface. ‘The best that ean be achieved in model form. isan impression of these tens af thousands of links; we meed a texture that serves as a visual equivalent to what we see in real life, “There are wuays of modelling tnail with fine wire wrapped round a former and cut into links (the same way Chat real mail_was produced), or simply Matened as a evil method using Millipur provides an acceptable solution, All you need is a steady hand, a and a simple, “horne-made making tool, Mine is fashioned from a simall hypodermic needle which the ver was kind enough to supply last time he fooked ar the dog. The hollow needle is « filed to shape so thar ir produces a L-shaped impression when pressed into modelling putty: A raw of these shapes is pressed into the putty horizontally, moving in one direction; then a row going the opposite way is impressed immediately underneath the first, which makes 4 series of S-shapes. The thirel row reverses direction again and similarly joins with the row above to further develop the pattern ~and so on, acl very nearly infinitum... An instance of the need to model an area of nual occurs in Chapter 3 when, in the process of repositioning a mail-clad arm, T am left with a ap that needs ro be made good. Milliput was pressed firmly into place and shaped to replace the missing section of the arm, Only when the putty begins to harden « litle should the mai maker be used to create the texture, At the painting staxe thin black paint is Flooded into the detail of the mail, but only the Milliput section will need a light touch of silver paint to match it with the metal of the casting. A later cust of varnish should serve to farther unify the arm However, a less tedious magnifier at an angle andLanger areas of mail can be built up in a similar manner, if a complete mail shirt is undertaken then waistbelts, baldries oF shicld-earrying strapy may conveniently subdivide the shirt into manageable areas which can be tackled in stages. If an arca of ‘mail is too large 10 model in one session or if the Milliput hardens before the texturing wark is finished, then a join needs to be contrived at the start of the next session. The join between the completed area und the next section is best made on the line of a vertical calurn of Hinks; it may be necessary to cut away sume of the complete work to achieve this, PAINTING An outline in this chapter of the painting methods and materials that I have used throughout the hook will save much repetition Later. Light is the first essential to consider before paints and brushes, are given any thought. Tdeally I would always work in bright daylight next toa ssindow, but in reality most of my painting is done under artificial light with the help of a magnifying lamp. Davlight simulation ‘bulbs give a cold blue light rather than the warm glow of tungsten lighting. Provided that the finished model is displayed in the same lighting conditions as these in which it was painted Tcan sec little advantage in the former, Decent brushes are essential; I go through sheaves of them - they don't last long, Tr dovesn't matter whether they are sable or synthetic, so Jong as the brushes used for fine work come to ‘a point and stay that way, and, the ones used for broader work don’t shed their hair, T use Humbrol Matt Enamels as the basis for all my painting. T supplement these with Artists Oil Colours, which Tadd to th in small amounts, ‘The oil colours are used simply to make up for deficiencies in the colour range Unt modellers’ enamels offer ‘Matt white enamel is the basis of all my colour mixing; in addition T use matt black and the primary colours = scarlet, yellow and blue, Gloss varnish is useful to give a shiny finish foyer matt paint and to seal and give depth to burnished armour; the Humbrol range metallics, gold and silver, are also invaluable. Probably the most useful vil colours which supplement the primaries are Crimson Lake, Yellow Ochre and Ultramarine, Enamels are particularly weak in carth colours, but oils make good this deficiency, providing us with Burntand Raw varieties of Umber and Sienna T always thin paints with real turpentine, which helps painr ro dry: turps substirure should never be mixed paint, as it imparts a dull, lifeless. surface ‘quality and impedes drying; it should only be used for cleaning brushes. Though T discuss relevant aspects of painting in each chaprer T have not included any step-hy-step accounts of painting figures in this book. I have assumed thar the reader is not a complete neweomer to modelling, and if he is th here are a number of books on the marker which will cell hin all he needs to know (e see Bibliography, Bil Horun's Military Modelling Masterclass). Not lave | bothered you with tedious tales of the rimes my matt paint dried with a shiny gloss finish, nor nentioned what | said when the matt varnish ‘turned white in the incised detail, (Incidentally, a remedy far the latter mishap is to bin the offending tin and buy a fresh one...)The heraldry section following Chapter 4 contains advice regarding the eorreet colours tu use for ‘gules" and the other heraldic ‘rincrures’ Transfers (decals) offer a simple way of overcoming the difficulties of painting heraldry particularly repeated images ~ on shicls, surcoats and banners. The reluctance on the part of many figure modellers to use transfers is not shatred by aircraft oF vehicle modellers, who usc them as a mratier of course, Waterslide transfirs are readily available and versatile, and modellers of all abiliries will find it useful to ABOVE Shields displaying che ccoars of arms of six famous Mth century French knights are illustrated here. The background colour has been painted on the shield in gloss finish, then a heraldic eransfer from my own range has been Used to: add the designs, TOOLS, MATERIALS AND TECHNIQUES 13.RIGHT The burnishing too! is used here to bring the metal of the casting to a bright shine to simulate the surface quality of plate armour, The areas of rail have already been buffed with a brass-bristied suede brush have a few around. ‘There are a few technical points Lo observe: In all eases the wansfers must b onder to yet the best results, ipplied toa trloss surface. This is because a mart finish is by definition rough andl uneven, absarhing light to produce the matt effect, and the transfer will not adhere to this. Quite the opposite is true of a flat reflective gloss finish; so may be necessary 10 gloss yurnish some parts uf the model before putting he transfer in place. ‘Transfers can prove reluctant ra conform ro the curved surfaces of shields and can be particularly difficult to persuade to take up the shape of the folds in a surcoat, In these cases you should resort to Transfer Softener. A boitle of this solution should pur even the most reticent of transfers in its place; simply read the instructions on the label, and use it generously, When all is in position and dry a coat of thin gloss varnish will fix the tanster permanently in place, You can then either give the transfer a coat of matt yurnish tu blend it in with the rest of the model; or you eam use it as a guide and hand-painr the design over it This not only disguises the fact thar you have used a transfer, but also allows you to change the colours and make other simple adjustments, A Title ereative brushwork cull add a heraldic difference such as 4 bardure or a label, and could crown lion ar add a second tail, From the starting point of a simple transfer there are many possibilities White anctal castings can be burnished and 14 ANCIENT AND MEDIEVAL MODELING MASTERCLASS bbufled so d the quality of plate armour or a weapon blade angthi look realistically metallic can be treated in this way, from large areas of phte armour down to sword blades, belt buckles and butions. The method is essentially simple but rather tedious; here is how you should proceed, First brush the casting over with a. soft bprass-bristled hnrush such as those sold in shoe shops for cleaning suede. This will bring the casting up toa bright shine, but will still leave ible scratch marks, Removing these is the crucial part of the operati part of Ue casting is burnished with the side of blunt needle or similar hard steel tool, which is worked over the surface af the casting with a circular motion, taking care to use a light touch to create a smooth, even, bright surface, Each separate plate of dae armour is treated in his way indivicually, king care not to remove rivets and other fine detail If the figure is in full plate armour — particularly if this is eg, highly decorated Maximilian armour of the Inte 15th century then this can seem as time-consuming a the chores of the servants whe had to polish the real thing, Reeently 1 have hoen using my Mini-Drill to experiment with ways of speeding up this process; I feel sure that my ‘new machine can he usec to burnish the plates, but as yet my results are uneven, ‘The drill works well at the brass brushing stage and is xvod for final bulling of dhe armour, but at the moment L still feel hat burnishing the plates y hand gives more control aver the process, and achieves the hest results (the surface of the metal takes on. In fact which needs to m, The armouredThe casting should naw be smooth and bright ~ in fact it may be rather too bright, Unless you are representing @ tournament or other ‘parade’ socnaria, when ‘white’ armours ‘were alten polished toa mirror finish, it nec to be toned down and finished to represent the slightly dulled surface of armour as worn on campaign. ‘hin black paint is flooded aver the casting, then wiped off, this should dull the armour slightly andl leave a residue to outline the individual plates and fittings. When this is dry the outlining can be touched up, and highlights on the armour can be polished up a little with a paper towel. ‘wo or three coats of thin varnish, slightly tinted to darken it, are used finally to finish the artnour witha deep wanslucent sheen. Areas of mail armour are easier and quicker to deal with than plate. Mail necd not be burnished as this would destroy the delicate detail, Simply brush the mail to. bright shine with a brasc-bristled brush, then flood thin black paint into the detail, When this is dry the mail is given the lightest of touches over with a finger to highlight the detail, and then varnished as deseribed above, These methods ean also he used, with ‘variation, 10 represent vellow metals such as ‘brass, bronze and copper. ‘Ihe castirigs are initially burnished to a bright shine, but then colour needs be introduced into the varnish ‘used to finish the process to achieve the effect of a rich yellow metal. ‘The key to this lies in ‘retaining a translucent surface, and in avoiding: the rather lifeless effeet which results when opaque metallic paint is used. ‘To get this ‘translucent effect a succession of light tinted layers of sarnish should be applied carefully, so as to build up a metallic shoen without quite “obscuring the underlying burnished metal. The pigments used to tint the varnish need to be as finely ground as possible, to avoid the granular surface quality associated with metallic paints, ‘Metallic printer's ink hus been used successfully din this context, as well as. various coloured drawing inks and mixtures of coloured pigment and merallie powders. Successful yellow meral sffects are more difficult to achieve than white metal, and there is a good deal of scope for experimentation in this area My concern in these pages is with figures sized from $4mm up-to 120mm; between these extremes lie a wide range of sizes and scales which offer a good deal of potential the creative modeller. The larger end of this range are more suited to vignettes, small groupings and for presentation as single figures. Generally figures below S4mm tend to belong in the realm of the AF'V enthusiast (1/35 scale or 52mm), or the wargamet, who tends to prefer 23mm and smaller, Wargames figures, particularly 25mm size, present interesting possibilities and are especially effective when used en masse to represent large formations of soldiers on the battlefield, perhaps incorporating buildings. Dioramas such as a scale model of a complete castle would similarly be brought to life by the inclusion of groups of these small figures. As to figures above 120mm, T'm sure that few modellers ‘would disagree that though they may remain models they cease to have the charm of miniatures, I have never considered that the impact of 2 model should depend upon its size, and T'm sure that all a modeller needs to say can be saidl with figures well below 120mm. Icis sensible before starting a vignette or diorama model to work our the scale for any specific groundwork items or parts of” buildings by using the size of the figures as a stirting point, For instance, « 34m represents a 6fi (1.88m) person without headgear, and this is represented as a seale by the ratio 1:34 (54x34 = 1836, i.e. near enough 188mm, giving the scale 1:34). A ‘standard scale! figure, as 1:32 scale is sometimes termed, will be $7 high. ‘Thus an 80m figure is in 1:23 scale, a Wom figure is 1:20 scale and a 120mm figure is 1:13 seale, A 150mm figure would be in 1:12 scale; this gives, n figure &F) The wire-brushing and buffing work was done with my powerful new Mini-Dril The interchangeable tools made light work of the job, and were even better ae getting mto awkward corners than my hand-held tools. TOOLS, MATERIALS AND TECHNIQUES 15FIGHT Drumeoleran Castle, a late medieval Scottish tower house in Kirkeudbrightshire, modelled as it stands today. The Lsshaped tower is a domestic fortification built on a modest scale, and proved an ideal subject to model in its entirety. A series of photographs and measurements were taken on site; these were developed into scale drawings from which the model was built | used a linear seale of Amm: lf, so I was able ‘to make the roof from sheets of 0 gauge plasticard tile rmouildings from the model rallway shop. Mast of the building was made from thin wood sections and card. The window openings are filled with brass bird-repellent frets. (Author's model) FAR RIGHT Author's scale drawing of Drumcoltran, worked up from a series of photos and measurements. The areas of stonework, particularly above windows and doors and the comer quoins, were drawn exactly then the areas between were rendered ina mare stylised manner, a linear scale of Tin = If - an easy scale to work in, and one generally used for dolls! houses, but with this scale we are moving outside the realm of the miniaturist. A useful scale to choose if) complete buildings are to be modelled is 1:72 or 4mm = Ifi, the linear seale of ‘00 gauge’ model railways; figures are 24mm in height, and a wealth of useful accessories, building parts and figures are commercially available "The simplest of several systems used by Renaissance artists for dividing the human 16 ANCIENT AND MEDIEVAL MODELLING MASTERCLASSfigure to clarify its proportions is thar devised by Vitruvius and known to us from a drawing by Leonardo da Vinci. This system divides the figure into equal parts using the head as the module, and resnlts in the classic figure of ‘eight heads’. As the accompanying drawing. shows, this provides a useful device to enable the modeller and converter to check the proportions of a miniature figure, Lf we apply this system to a 1:32 or 57mmn figure we find that the head should measure 7mm. Similarly an Simm figure’s head would measure Hmm, and that af a 120mm figure would be 15mm, With Vitruvius’ system as a tool, proportions need be less of a problem to figure modellers, ‘The proportions of horses do nut divide up quite so neatly as does the hurman figure, but the Bibliography lists an invaluable -telas of Jnimal Anazoney which provides a wealth of measured drawings of horses, dogs and other animals, LEFT A drawing fromm the author's scrapbook, after Leonardo, showing the classic proportions of the human figure, eight heads! high. TOOLS, MATERIALS AND TECHNIQUES 17FAR LIGHT A wealth of detail is captured in.a comer of Aydon Castle, fine 13th century fortified manor house in Northumberland The earefully ‘cut ashlar blocks of the battlements contrast with the more raridom stonework and inserted brick arch wich ies rustic quoins. TRE RUSH Areas of open ground such as a castle ‘courtyard need t0 be made varied and interesting, and good reference material eases the modeller’ problem. At Aydon the intimate seale of the buildings gives: appeal, Iv uhis View, though the foreground is pure English Heritage, the surface of the courtyard beyond is broken by interesting ‘undulating cobblestones and a pattern of paved paths. ‘The modest gateway proved an ideal feature ta incorporate into ‘a model, nd can be found in the inner courtyard of the castle modelled in Chapter 5. RIGHT An interesting fate medicval doorway at Naworth Casdle in Cumbria with a rare surviving iron gate or ‘yet’ ‘which stil retains enough of its board infil demonstrate how these doors wore constructed. Iron yetts were a. common feature of medieval forctied buildings om the Borders and in Scotland. The picture was taken ‘without. 4 model In mind ar the time but turned out - see CChapeer'§ -t0 ba an invaluable source of inspiration. RESEARCH & FIELDWORK istorical modelling aims to reereare in H. eee _ past in authentic detail, Though books will probably provide a main source of information, these can be supplemented by field from first hand sources, to add a more orixinal dimension to our work Britain is fortunate that a wealth of her medieval-built heritage survives; remains from earlier times are less obvious and demand a greater effort of imagination to envisage them research in th 1 they were in their heyday, but there are some carefull full-size From a modeller’s perspective a photographic record of parts of buildings and details such as doorways, windows, walling and groundwork will provide a store of information that can be used in future modelling projects, When a closely observed source is used as reference then a model will talays carry a conviction that will he lacking in ne that has simply been dreamed up. Imagination is no substitute for observation, reconstructions, Most of my recording work in the field is done ‘with w small hand-held Olympus ‘mja-1" 33mm automarie camera. My STR, with fs tripod andl asserted close-up rings and lenses, rarely leaves the studio, 1 also keep a sketchbook us a supplement to the camera, in which Fuse a sort of visual shorthand to record details, These ANCIENT AND MEDIEVAL MODELUNG MASTERCLASS rough jottings can be worked up in the studio to ‘more finished drawings while they are stil fresh in the memory. L rarely find drawing outdoors worthwhile, ssiven the British climate, so my sketchbook is mainly an indoor tool. Carved military tomb effigies are to be found in a large number of churches and cathedrals throughout England, though Scotland has not been as fortunate - many of her medieval monuments fell prey to iconaclasts in the wars of religion. ‘The knights commemorated can often he identified from the heraldry carried on their shield or surcoat, ‘Tomb efligies provide a rich source of information far the modeller; they iMustrare she development of nightly: dress in fascinating derail, from rhe [3th century to the end of our period, and are the nearest we have to portraits of the men who fought at Bannockburn and Ca Notall of these monuments are military, of ‘course; the knights are oftem accompanied in heir final rest by their richly attired ladies. ‘Though the colours have long gone from the effigies the wealth of detail in the clothing and the claborate head dress offers a source of subject matter that has rarely beem addressed” by modellers, Monuments in churches are often awkwardly positioned and may have to bephotographed in sections and supplemented. by drawings to build up a complete record. ‘There can be problems interpreting some features, and we know that sculprors sometimes omitted details - even the Black Prince's magnificent effigy in Canterbury Cathedral lacks the fastening straps on the armour, So perhaps we shouldn't be too surprised that early effigies invariably display mail-clad feet with né hint of the shoes that must have been worn heneath, or the boots thar would surely have been. worn on campaign in rainy Scotland. Details of the many military effigies in Enghind (and I doubt whether any of them have escaped being written up somewhere in some detail) can be found in the journals of various county archaeological socicties in the local collections of public libraries. Nicholas Pevsner’s guides to The Buildings of England contain details of the various monuments to be ‘found in each county. We are fortunate that in addition to the many sculptured monuments there is a similar -wealth of monumental basses in our parish FAR LEFT, [OP Drawing by the author of the monumeneal bass of Richard Fox at Arkesden, Essex; 1439.The armour though as yet without rassets, is of a highly developed form and unmistakably of talian origin. The ‘great bascinec’ is shewn here with the visor ‘omitted to reveal the knights face. TOP RIGHT ‘The visor is included in these views of a great bascinet of similar form to that of Richard Fox. This ‘ype of helmet did not articulate as fe was fastened to the shoulders, though there was room for some movement of the head inside. FARLEFT CENTRE The most striking feature of the effigy of Sir Hugh Despencer in Tewkesbury Abbey is the ‘extraordinary crest topping his hhoim, The grocesque griffin’: head rests on stylised wings which for ease of representation have been carved out of position. They ‘would have been fastened to the sides of the coronet. CUMTRE RIGHT. Sir Hugh's head reses on his ‘great helm’ obscuring some of the detail so Imade a series of hasty jotings and sketches on the spot in the dimly ic abbey and relied on these to reconstruet Sir Hugh’s crested helm Inter in the studio. U have drawn one of the wings ‘next the helm rather than in position, where it would have ‘obscured much of the detail of the crest. BCITTOM Heraldic seals, ‘though they lack colour, serve to display coats of arms, details ‘of armour and often heraldic crests which are not t0 be found elsewhere. The seal of John de St Jol, who foughe in the Scottish Wars of Edward I, displays all these features, The seal is from the Barons’ Lereer to the Pope of 1300, and Sir Jobr's winged tion crest is one of the earliest illustrations of a three-dimensional crest in medieval art (Author's drawing) RESEARCH AND FIELDWORK 19TOP RIGHT Tomb efigies of 2 knight and tad, lacer part of the 15th century. The comb was well fit by natural fight but ina cramped position that obliged ime to photograph ic in two tialves. The very individual head ‘of the effigy suggests that this smay be & portrait of the knight, He wears a collar of Ss which ‘ derives from a badge of Henry . ‘tl? oor IV and attests to his Laneastrian allegiance: later effigies of adherents of the House of York have a collar of alternating suns and roses.The knight’ crest,on ‘which bis head rests. is a ish, probably a lucy’ ar pike. The gothic-style armour with its rather old-fashioned gaunriets poines to a date in the 1460s, churches. ‘The earliest of these date from around 1300 and display the finest craftymanship; in general the qualiry of brasses declines towards the end of the 15th century. Monumental brasses can be found listed chronologically and illustrated in a single volume published by Her Majesty's Stationery Office (sce Bibliography), RIGHT Hans Trauner photographed che effigy of Oxto von Orlumunde in che chureh at ‘Himmetkron in Bavaria, The colour is probably a restoration, but provides an indication of how this wenderful polychrome ‘monument must have looked wher erected in the 13405.The construction details of the ‘cost ‘of plates’ can be seen clearly: ‘this ype of body defence was widely used in England as wal but is generally obscured on English monuments by a heraldic urease. Often underrated, the statues of famous figures of the past that furnish our urban squares and parks are worth examining. On the Continent they celebrate their heroes too; thus the imperious equestrian bronze of the Black Prince in City Square in Leeds finds a counterpart in Brittany in Dinan’s heroic starue of Bertrand du Gueselin. ‘hough both of these belong (0 the carly yeurs of this century (und, like most retruspective pieces, cannot necessarily be trusted as accurate reference tp costume and armour), they do have an artistic value for the miniaturist ‘They are, essentially, finely sculpted medieval models on the grand scale, and ye should take note of such work by our classically trained forebears, OPPOSITE CUNTRE. Effigy of effigy displays an early Konrad von Heideck: 14th representation of a bascinet ‘century miliary equipment with the camail attached by shared many common features seaples, similar to that throughout Europe, and there employed by Pilkington are striking sirilarities Jackson to: enable him to between the Bannockburn portray che Bruce's face, Note statue of Bruce and his effigy the way in which the short of €.1310 from a monastery pte defences for the chureh in Bavaria, There is no forearms fasten over an evidence of armour undergnrment. Four chains are manufacture in medieval attached to the coat-of plates Scotland, and it is probable and issue from slits in the that the knightly classes in surcoat to secure the both Scotland and England dagger, sword and helm - imported theirs from butt the purpose of the ‘Continental centres of fourth eludes me. production. Konracss (Photo Hans Trauner) 20 ANCIENT AND MEDIEVAL MODELLING MASTERCLASSRIGHT Aymer de Valence, Earl of Pembroke, drawn after Stothard by the author: Pembroke was one of the English commanders at the battle of Bannockburn, and his tomb in Westminster Abbey was erected about 1324,This remarkably Unconventional figure from the gable of his tomb displays surprisingly advanced place armour for ics tne; in particule, the baseinet with moveable visor is the earliest representation of such a Helmet. The Pembroke tomb supplied first hand information which helped the author to acsempt his own reconstruction of Robert the Bruce ae Bannockburn, FARILEL Jeanne d'Are, ta Pucelle, 141 2-311 chanced ‘upon this superb oversife-size equestrian bronze some years ago during a cycling holiday in Normandy. The girtsh figure ‘contrasts sharply with the virike muscularity of her moune (though Voltaire would have it that she was’s tavern girl of robust make’). The sculptor has dispensed with the upper part of the cuirass and introduced an erotic: note by emphasising the shape of the mail-clad breasts of his medieval babe’ Reference to large scale sculpture such as this can help ‘not only with the pose but ‘with the anatomical detail of a hhorse: sharp-eyeed readers will ‘rote the influence of the statue on the model of Robert Clifford's charger in Chapter 3. lis adsition, compare the fall of the folds in the Makt's flag with those in Warwick's banner in Chapter 6. ABOVE RIGHT The modern equestrian sculpture of “Robert the Bruce, King of Scots! was sculpted by CPilkingcon Jackson and ‘erected on the battlefield at Bannockburn near Stirling in 1965 to mark the 650ch anniversary. The Bruce’s skull was discovered in Dunfermline Abbey in 1819 and casts of this were used by the sculpeor to reconstruct the king's appearance. Though mail armour was still the knight's main defence at the beginning cf the I4uh century, by the (1330s plate had been developed as a defence for all parts of the body sts dificult to decide exactly what stage armour development had reached at 9 transitional date such as 1314, nd a good deal of speculation from fragmentary evidence went into the reconstruction af the Bruce's armour RESEARCH AND FIELDWORK 21RIGHT The result of research ‘on fona was this 80mm model of a West Highland chief of the late 1300s.The heraldic colours remain speculative for lack of evidence. believe that the padded fabric defence may have ‘been weatherproofed with pitch, but | omitted this unattractive feature AE. OAN HIGHT Effigy of Bricius ‘MacKinnon on lona. A cold, ‘windy. rasn-lashed, day-long bike ride across the island of Mull led ‘me to the Isle of lona ~ where for the frst time chat summer the sun appeared, and the efigy 6f Bricius MacKinnon that had brought me there lived up to expectation. A number of these vigorous grave slabs of late | 4th century Lords of the Isles have bbeen collected under one roof ‘on the island; the carvings still retain a wealth of detail. clearly illustrating the rather old fashioned mittary equipment of this essentially sea-borne West Highland culture. The heraldic, devices on the shield include a galley with a fag. lion,and an ‘otter pursuing a salmon within a ‘trefolled double tressure. Body armour consists of a padded and vercically quilted ‘akheton'; the characteristic West Highland sword with its lobated pommel is prominently displayed. | FAR SIGHT The earliest homogenous armour now ta be ‘seen in Britain - ie..a complete harness, not retrospectively assembled from separate parts - is this North kalian example of about 1460 in the Scote Collection in Glasgow. Late 15th century armour is rare in ‘our museums, and eariier examples are practically ‘non-existent. The tassets are missing from the Glasgow armour, but Ihave restored these in my drawing and suggested an alternative form, 22 ANCIENT AND MEDIEVAL MODELLING MASTERCLASSTHE SCOTTISH WARS Yhe modelling projects featured in Chapters 2 to 6 here progress chronologically from the early 14th century through the Hundred Years War to the time of the Wars of the Roses. My first project isa fairly simple affair, set in the time of the Seortish War of Independence which began in 1296 when Edward I of England, known as the ‘Hammer of the Scots’, attempted to subjugate his northern neighbour to his iron will The great Scottish patriot Wi hhadl some success against the English, notably at Stirling Bridge in 1207; but it was only after the death uf Edward | that the ride began to urn in tae Scots’ favour, Robert the Bruce's victory at Bannockburn in 1314 over Edward P's inept son Edward 1 was the high point of Scottish success. Warfare between the English, and the Scots continued sporadically for many years, though the War of Independence ended in 1328 when Scotland's freedom was guaranteed - if only briefly - by the youthfil Edward II] of England. THE PROJECT I decided to model knight from the time of the battle of Bannockburn in a simple setting, to include a few imteresting battlefield inst part ol accessories, and to set the figure a rather forbidding Scortish castle. The knights of this time were armed in a mixture of plate and maill armour over which a surcoal was worn, so the figure presents the challenke of a variety of different texrures and imposes the problem of painting some simple heraldrs, Pin yet a good deal our of a project such as this, and more experienced modellers should be pleased with the result too, This initial project employs simple, basic techniques in the construction both of the knight himself and of the building included as a backyround, These techniques will be used and referred to Unroughout the book, and other ways of applying the basic methods ~ as well as more advanced techniques ~ will be intruduced and described in later chapters. The choice of a nominal 8mm. scale sure that modellers new ta the perivd will affords ample scope for including alll the elements of the design in a fairly restrained space, Vigures stancling 80mm high without their headgear are taken to represent a man about six feet tall; the scale is therefore 13mm = Ift, or ronghly 1:24. This must be berne in mind when working out, cx., the size of a banner, the length of an arrow or sword blade, and when constructing any uf the accessories or parts of buildings described. ‘Though it is csvential hat a figure’s equipment and weapons are to seale and that horses are in the eorreet proportion to their riders, it can be permissible to use some license when creating the setting or background. Tn the creation of a miniature ‘work of art correct scale is only one aspect of the process: itis a useful Luol, but we need nor be its slave. We shall see what this means in practical rerms as the building of the model progresses LEFT David de Brechin had English fands in the county of Cumberland as well as in Seodland. In 1314 he fought for Edward tl at Bannockburn, where: he was taken prisoner. He changed his allegiance co the Seors, but in 1320 he was inuplicated in a plot againet King Robert and was executed at Perth THE SCOTTISH WARS 23RIGHT The first stage: the underlying plywood structure is strong and provides a solid foundation to built on, Layers of ply have been removed around the doorway, and ro make a recess above it for the heraldic panel FARRICHT The building and the groundwork are waking shape simultaneously. | have started to build up the relief detail of the door surround, the steps.and the heraldic panel above, Note the method af building up the texture of the masonry in two stages of development: an the lat of the wall the paper stones are glued in place; towards the righe the work is more advanced, Millipuc is used ro add variety, Vhere are probably as many ways of going abour making a model as there are modellers to go about it, but the logical sequence of steps set out below is my personal way of wurking, Ar the very outset Tuy to visualise the scene in my mind’s eye in as much detail as possible, so really only the creative inagination ig needled. It ean be a help to do a thumbnail sketch simply to record these ideus; however, witha three-dimensional model it is ay well to yet the acrual construction under way as soon, as possihle, and work out the design prublems im the round rather than placing too much refiance on a drawing, With this point in mind repaired 10 the workshop. Too large a hase with only one fi look decidedly undeepopralated, plywoad base fins square was selected and sawn to size, Plywood carves easily with ordinary wood chisels, and the thin glued layers make ir easy to cut the required vontours.A back panel [Wins high was also cut from ply, as the thickness of the wood would be needed when a doorway was pierced Uirough it. The wall running at right angles to the entrance can he formed from a piece of card as there are no openings in it te betray the fact, [decided thar the groundwork needed to slope away from the walls in both directions, 24 ANCIENT AND MEDIEVAL MODELUNG MASTERCLASS i Eeee——“‘=‘=‘#"EENFEA. so rhe outline of the dour was drawn im at an appropriate height on the back panel steps up to it would need adding later ‘The knight is equipped in the manner of the second decade of the Hut century, s0 though the architectural details can be carlier than this, they can’t be later, Refinemer the casrellated buildings of this time are val, especially in Seotlund, however, * doorways are the most likely feature tw be dlecorared and to display evidence uf when they were built, so care had to be exercised mot to intraduice any anachronistic details. 1 dlecided that the door should have a pointed arch since these were used in Scotland throughour the 13th century; but the size of the doorway in relation to the figure remained a problem, For some time Pa had in my photographie collection a print of a castle doorway in Scotland thar was too interesting not to use, The arch could be interpreted as a four centered one, which would date it to the 16th century, bur T thought that the true shape could safely be ignored, The main point of interest was the carving surrounding the arch, snd this seemed ra belong to an earl Ti was in fact a flight of barbaric fantasy; 1 thought it was probably a descendant off a much earlier tradition of decoration, with ils rovls were in Scorland’s Celtic past. Perhaps originally it had been rhe guardian spirit of the nu, designed ro overawe unwanted buildVisitors or ward off evil spirits? A careful assessment of the balance between artistic licence and anachronism decided mi favour of using the doorway; T' have to make the archa little more pointed, but | decided hat it could only add to the appeal of the model had! macle a note of the dimensions of the castle door on the back of the photograph, but itis really only important thar the scale of the model door convinces and relates to the knight visually, for architectural features were related 10 the human seale in the past. ‘The doorway was 1 he some distance behind the kaight, far enough away that if I were to take some liberties with the scale - in effect, to shrink ir someshar - ir would nor be noticed, T marked on the wall what 1 thought was a height thar would work for the door, then drew the door’s centre line to fix its position The base was now clamped toa workbench and carved to approximately the shape required wirh a hevel-cdged chisel; it was then offered up ro the wall section, and the two were serewed together temporarily, The relationship herween the knight and the door now needed to be established, so a locating hole was drilled in rhe base anel the knight was temporarily positioned in his setting se that the composition could be assessed from a distance ( the brass rads [had added t@ the knighr’s arms and legs allowed the kit w be pegged together at this stage), actual Several alternative holes were drilled and the figure was variously repositioned until « satisfactory composition was arrived at; the extra holes ‘would later disappear under the groundwork, ‘The knight was then removed to be assembled and painted asa separate assembly. ‘The outline of the doorway was finished off at this staye. Half of the arch was drawn on the wood, from which a tracing was made and reversed ensure Uhat the arch was symmetrical. A second outline of the doorway was drawn 10mm outside the first andl scored dceply with a cra knife; the layers of ply wore sugeessively remuyed until I had cut a nm recess, deep enough to build up the decorative moulding around the door. A small reeess wats alu marked out for a heraldic panel above the entrances, then the outline was scored and a single layer of ply removed with-a lino cutter, decided at this stage that the design of the mudel would be improved by adding more af the building at right angles to the doorway to xive a more enclosed feel to the scene. “This ‘was formed from card; as there were to be no openings its thickness was unimportant. It was reinforced rom behind with softwood, and the ‘open score mark at the corner was filled with cocktail slicks, which would carve well when the “stonework” was added. ‘The workshop stage was now complete, and the more demanding detail work could begin in the comfort of the studio. FAR LEFT The carved detail above the arch and the mouldings surrounding it are at an early stage in this detail, The paper shapes which represent the ashlar blocks below the decorative knot have been carefully cut to shape: the shapes used for the random masonry are less controlled, Note the various materials that | used to make the texture of the masonry and the surround « the heraldic panel, ABOVE The masonry is beginning to look impressive, the heraldic panel is nearing completion, and the doorway needs a door: THE SCOTTISH WARS 25ABOVE The wooden door and ies icings are displayed here to show the construction derail. The background photograph ‘was taken at Barholm Tower in Kirkcudbrightshire, and shows the doorway that inspired the model ABOVE CINIRE door is in place and work 1s underway an the decorative hinges. The moulding of the doorway is as yee unfinished, and on the right of the picture you ean see the eaekeail stick formers in place The wooden ABOVE RIGHT The modelling work complete, When | started the doorway | didn't realise that ic would ulumately prove more difficult and time-consuming than detailing and building che Ienight ~ but | derived just as much satisfaction from it as | did from the figure modelling. DETAILING THE BUILDING. A cross-section of the moulding round the duorway was drawn, from which T was able t0 ‘work our the shapes I would need to build it; nor surprisingly, these turned out to be squate, half round and round. moulding was straightforward enough. I glued a piece of 3mm square wood in the corner of the dour recess, then split a cocktail stick to form a hhalf-round section which I fixed on top of it Another cocktail stick was used as a space next to this, and the moulding was completed by gluing a length of brass rod into the angle between this and the bottom of the recess. ‘The curved section was more of a challenge. ‘The same sequence af building was followed, but the square shapes were built up with Milliput and the rounded sections w from brass rod, ‘The half-round shape was made from brass rex which was first annealed ~ ile. ooltened ly heating tua high temperature: then quenching in water - which made it easy to bend to shape round a former; Ie was then filed to the required profile and glued in place with super glue. By progressing in the door surround was carefully built up inside e made the recess.When this assembly had hardened the breaks herween the carved stones were marked out and cur with knife and files ‘The outer moulding with its grotesque carved ornamentation was built up in stages using Millipul, starting with basic shapes and progressively adding ‘The refinement. 26 ANCIENT AND MEDIEVAL MODELING MASTERCLASS: he upright section of symmetry of the outer moulding had to be despite Un positioning of the reptilian tars, and this was ensured by using simple card formers ro both maintained asymmetrical mark out and push the moulding into position (Modletlers might find it useful when checking a construction for symmetzy to hold the model Up to-a mirror, as the reflection points up any deficiencies alurmingh.) When the final ing. was complete the whole doorway was wash of dilute Millipur te unify the ent materials usedl Attention was now paid to the heraldic panel above the door, Around this I xlued a double surround of carefully mitred cocktail sticks, the outer ef which sas shaved with the grain w the necessary hal-round profile. An infill of Mitlipur between these shapes was profiled correctly; then the panel was finished, by detailing with applied paper stonework. Apart from the ashlar door surround and the heraldic panel above, the rest of the building is constructed of untfaced random masoney set in a rough mortar, so some equivalent of this needed to be added to the model, [rave always, found this type of rough stonework, where no two stones are the same, simpler to model than regularly masonry, A staine-by-stone progression was used to detail the door help of coursed surround with thephotographs of the original; this is a time consuming process, but as the doorsay is the only archirecrural feature here I thought it worthwhile to spend some time on it The bulk of the masonry needs to be represented in a more impressionistic manner A much faster method of working was now adopted: quickly tearing and cutting ‘stone’ shapes from cartridge paper, These I divided into a series of heaps that approximated roughly to the various ‘families’ of stone shape that [ noticed in the photess. Taking a section at atime and working fram twp to bottom, | liberally coated the walls with slightly diluted glue into which I positioned the paper shapes, corresponding patterns and, juxtaposirions suggested by my reference photos - these naw became sinaply a starting point for improvisation rather than for a laborious copy ax had been the case with the doorway. As cach section of paper masonry was completed it was sealed in place with a generous application of white wood glue ‘When this process was complete | added a little more varicty to the stonework by making here and there sone slightly thicker stones eur from different weights of paper. Milliput which was left over from other jobs was used before it hardened completely to enhance the surfice texture of the walls in places, by troweling it into the stonework with the side of a scalpel and then working up textures and occasional detailed stones at strategic points. with the Although many stone doorways have survived the passing cenruries, the same cannot be said of the wooden doors that onve guarded them; so I had lo some creative reconstruction in the modelling of the castle door and its fittings. Using the doorway as a guide, the shape of the door was first drawn onto a piece of card and the position of the hinges indicated on this phi. The wooden strips that make up the door boards are part of a useful range of shapes produced in a variety of woods with model shiphuilders in mind, I cut several Lengths of then shaped the top, sanded the edyes a little, and glued them direetly onto the phin, ‘The horizontal hinge straps were wlued in place on the planking: the vertical surengtheners, which ‘were cut from the ends of more of these straps, were added next along with a few extra rivets, 0 have a good supply of medieval hinges in my scrapbox you could say that the door was as good as the serapbox it came from, (The hinges could, of course, have been made to a sinapler design fiom plasticard, Alternatively a pattern could have been fabricated of an even more complex design from which a mould could then be made to produce castings.) ‘The door handle is 4 reconstruction based fon scant evidence su, as my scrapbox produced nothing of use this time, it was fabricated from to. resort board from 5mm hardwood stri T was fortunate ABOVE Stages in the ‘assembly of bracken from an exched brass freAn extensive range of plants and trees is available in this form, and ‘though construction is rather slow the end result is worthwhile ABOY *ALLEST A protruding angle of wall has been added to the right of the doorway, and the groundwork is nearing completion AROVE CENIK= Most of the masonry and the door mouldings have been painted ‘with grey interior quality -extured emulsion paine.This adds a unifying Final layer of ‘texture which will make the dry-brush work more effective, THE SCOTTISH WARS 27RIGHT Real wooden planking and miniature metal door fieuings add convincing textures to the completed doorway. The ashlar mouldings and steps have been painted a warm sandstone colour to contrast with the cooler grey of the surrounding masonry. FAR RIGHT The plan underlying the groundwork Is revealed in this view from the vwallhead.A distinct yee subtle diagonal movement across the foreground, puncwated only by ‘the steps, helps lead the eye into die composition. brass wire on a backing plare of whire metal with soldered rivet detail the door was finished by wire brushing, after which the relief was picked out in blick and a coat of thin varnish was applied overall, sbrle variations of colour were introduced into the woodwork by tinting the varnish with hints of enamel pigment, The metalwork of fone ‘The various projects described in this book will fearure a wide variery af mate ways of producing groundwork, which we Is and define as a small area of landscape, There are ny special twehniques or materials that are peculiar (0 particular periods of history groundwork is universally the same. Most models, of whatever historieal period, benefit from the inclusion of a certain amount af grounchwork, 1 intend to concentrare on aspects of the subject which the reader may not cuine across elsewhere, and on techniques that I have evolved myself Large arcas of groundwork need be broken up and enlivened with incidenr to make them interesting, and such a problem presented itself in the area in front of my castle walls, ‘The solution is to have some reference material available Lo stimulate the imagination, The photos of the actual building from which T had modelled the doorway and masonry showed only a confusion of rubble 28 AINCIENT AND MEDIEVAL MODELLING MASTERCLASS. and a tangle of undergrowth in front of the ruined tower house; so T pur these aside and resorted ta invention, ‘The elements thar made up the groundwork were arranged to give a diagonal feel to the composition, so that the landscape sloped away from the inner angle of the building and Uie rocks and grass contributed ro this subrle movement. This device, which gives a litle order to whar could otherwise be a chaotic arrangement of shapes, can be further elaborated by the tonality 9 painted, and by the positioning of accessories such as employed when the landscaps discarded weapons. T keep a stock of landseaping materials in a separate work box, and this pravided me wit cork tile to make the rocks that form rhe foundation uf part of the tower. In addition 1 used real stones from the garden, card, grass marring, and liberal quantities of Milliput and. glue. Tadded some bracken cut from an etched bass fret to give a particularly Scottish feel 10 the scene, first soldering the short etched stalk ager rod of thin brass so that 1 could 1 the delicate plants and then remove them far painting, Probably the most important stage in painting the building is the priming of the stonework with a fine textured interior masonrypaint. This helps bath to unify the dillerent materials und to blur the edges of the paper niunework realistivaly. In parts two Goats of primer were applied to achieve this end, A cerlain wnount af the primer can be applied tc appropriate parts of the groundwork t09, a1 helps ty have a finely textured base whe dry-brust Dry brush the culour onto the model requires a quick drying nediuim, and theugh L used matt enamels equally good result can be achieved with acrylie paints, | worked with a restricted range colours using only black, white and the primaries, which helped unity the colour seheine aud simpltied colour mnung Working from darks to light, dry brushed the colow vate the reliet in progressively lighter tones relief effect with a sable brush and th mur road ourlmes anst THE KNIGHT Phe kmight’s arms would be displayed on bis evidence fram contemporary seurees such as uncommonly: plain without rage of Robert de f 1306 clearly does show a heraldic gests thar the sureoar must have been blue, EFT The completed 3 of tower house. Once the camera steps back to. reveal the limited extent of the model, the likiston of reality HE SCOTTISH WARS. 29RIGHT Scottish shields and ‘weapons are displayed against the tower walls. The shield on the left belongs to Angus Og MacDonald, who led the men of Argyll and the Isles into action at Bannockburn, In the centre is a spiked and studded Highlander's shield that might have been carried by one of ‘Angus's men at thar battle. On the right is the shield of Sir James Douglas: a heart was added to these arms in the 1330s to commemorate ‘the good Sir James’, who was killed in Spain while fuliling his promise to the dying King Robert to carry his heart in battle against the Saracens.The galley on Angus’s shield and the three stars of Douglas are waterslide transfers; | have never found it easy to paint 9 series of similar geometric shapes freehand, Painting over the transfer stars improved the effect (and disguised how | painted them so accurately.) RIGHT Henry Parey’s heraldic seal, from the Barons’ Letter to Ue Pope of 1300. Henry purchased Alnwick Castle along with the barony from Anthony Bek, Bishop of Durham in 1309, and founded the fortunes of the Percy family, who were to become Earls of Northumber- fand, He fought at Bannockburn in June 1314 and his deach was reported in October the same year, possibly as a result of Injuries sustained in the battle, (Author's drawing) the same colour as the background af his shield! With regard to surcoats, there are thrce interesting monuments fram this period in Westminster Abbey, The enamelled copper effigy of William de Valence, Farl of Pembroke thas a white surcoar scartered with small shields bearing the arms of Valence, Flis san Aymer's tomb is here rao; one of the Fnglish commanders who survived Bannockburn, he displays his arms covering the surenar as an overall patrern, The fine stone tomb sculpture 30° ANCIENT AND MEDIEVAL MODELLING MASTERCLASS of Edmund ‘Crouchback’, the youngest brother of Edward 1 ‘Longshanks’, displays the arms of England with a label of France for difference on the upper part of his surcuat above the waistbelt. These cxamples will provide modell variety of ways in which heraldry can be displaved on a sureoat. Some cuats-vf-arms lend themselves readily to use as am overall pattern, others are best treated otherwise. Royalty and the great lords of the lund would most likely have displayed their arms on both shield and surcoat, but it is probable that many lesser knights wore a simple undecorated garment. T decided at the outset that the model should illustrate a particular character who took part in the Seotish wars, There is a good dcal of information readily available on the heraldry of these knights, providing us with a wide choiee of appropriate arms. Many early 4th century couts-of-arms were very simple (the simplest ofall was that of Edmund de la Brette who fought al the battle of Falkirk his army were simply ‘gules’, ie, plain red without any heraldic devices at all), ‘There were several Scottish coatsofarms which recommended their simplicity and with some indication of the themselves byaia effectiveness. Robert Bruce, later King of Scots, bore as Lord of Annandale Om a satire and chief gules’; Sir Robert Menzies bore ‘Argent, a chief gules’; and Sir James Douglas's arms were ‘Argent, on a chief azure ‘three mullets argent’ - these are all to be found illustrated! elsewhere in this book, and readers will find sore of the mysteries of heraldic terminology unravelled between Chapters + and 5. ‘The army of many English knights are known from the heraldie seals attached to the so-called Barons! Letier to the Pope of 1300 (which has survived, as it seems fortunately not to have been sent to Rome). This is just one of several sources which provide invaluable Falkirk Roll of 1298 describes the arms of 115 of the knights who fought im the batile on the English side; and the contemporary Rime of Cuerfaveroct, describing Edward I's siege of the castle in 1300, contains descriptions of the arms of over 100 of his knights, (See also under Heraldry in te Bibliography.) I decided to paint the figure as the Scottish night David de Brechin, whose arms are iven as ‘Or, three piles in point gules’ in a book of Scottish armorial seals; the: slightly information. ‘The later Balliol Roll of 1333 contained a De Brechin who may have been his son - anel filled in more detail, The arms presented me with an attractive colour scheme and heraldry, that sould be simple t0 draw on both the surcoat and shield ASSEMBLY & DETAILID ‘Whe castings were first examined and any mould marks carefully cleaned off. These marks are normally seraped away casily, though when they are exaggerated into a true ‘step? due to faulty’ mouldemaking they are unacceptable; they should be considered as reject castings and manufacturer, ‘Stepped’ mis-castinge faults across plate armour are difficult to fettle, and impossible if across an arca of mail Teut away the pog under the left foot aml drilled well up into the leg with my Expo Mini-Drill. Thro this I glued a length of one millimetre brass rod, ro locate in a hole in the plywood base, \ hole was drilled in the top of the neck and a brass rod inserted: then the helm was drilled to take this rod, to make the helm removable at this stage. F usually solder these brass pegs in place, but super-ulue can returned to the ABOVE The components of the knight are all displayed here, cleaned up and wire-brushed. The plate armour has been burnished, and brass locating rods have been soldered in place to ease assembly. Note alternative right arms with sword or axe, THE SCOTTISH WARS 31] Simple yet strikingly effective. the arms of Sir David de Brechin are painted on his shield. Work on the surcoat is at an early stage:a coat of yellow has been applied and the heraldry has been outlined in red. The same colours are echoed by the fan crest and streamers, On the right, fixed on a rod for ease of handling is an alternative dragon crest; ‘though it was a good idea swhen # made « but | haven't found a use for it yet alko he used effectively. Mrematively, if the location holes are drilled the same size as the rod, then a simple push fit will serve (the rod should be grooved down its length with a rough file before being pushed home). 1 inserted brass pegs into the arms and. the separate leg and drilled their location holes; now the main clements of the kit could be temporarily assembled without using glue. The breathing holes in the helm were drilled deeper by usinga drill bit fixed in a pin ‘chuck ~a delicate operation best performed by rotating the pin chuek in the fingers rather than by using a power tol. The ‘sights’ were cdl, and a hole was drilled to iny locating 4s for the similarly dec allow light be holes were drilled in the knight’s he dclicate rowel spur castings which would be id the nasal bar, 32. ANCIENT AND MEDIEVAL MODELING MASTERCLASS inserted later, and the right foot had a rod inserted below the toes. Roger de ‘Trumpington’s well-known memorial brass of 1298 is the only early brass to feature a helm, and it shows a retaining chain for this fixed to the waisthelt, T decided to add this feature using a piece of fine silver chain, though base metal chain of abour the right scale is available. Whatever is used the chain links need ro be flartened to look right, and I did this by gently squeezing each link in turn intoan oval shape with a pair of jeweller’s pliers, [fastened che chain to the helm with a Joop of fine brass wire which was pushed into a hole drilled in rhe back rim of the helm; ir would attach to the waist in a similar way ater stage. Brass wire can he safiened hefore bending hy annealing it: simply heat part of the wire in the flame of a tighter until it glows cherry red, then ler it cool gradually. It will then he much easier re push into shape. 1 decided ro continue improvements to the basic kit by changing the way thar the shield is held. As readers will gather from a later paragraph, the forearm should be at an angle to the back of the shield and not horizontal to it, Changing this fearure should make the pose more dynamic as well as correcting an inaccuracy. With this end in mind T removed the east derail from the back of the shield, and cur away part af the straps east on the knight's, arm so as to improve its fit against the shicld, The pal for the forearm was now remodelled in Milliput in the right position, and the shield arm was pushed into this wo assure a snuy fit before the straps were remodelled and the assembly put aside to cure. I decided to use an alternative arm for this kit which is available brandishing a battle axe, A sword hilt was discovered in the spares box, and this was fired to the empry seabbard, Before beginning the assembly work I first wire-brushed the and then burnished and polished the plate armour, As a good deal of time had been spent working on the castings the actual assembly of the Kit was both straightforward and relatively simple. The choive of luc or solder for this job is a matter of individual preference, but I Fayour a mixture of low-melt solder and super-wlue with the addition of a litle Milliput Ww help out, The sureoat ack andl right beg was fixed in place on the main eusting, then this subassembly and the other components were undercoated with thin matt white enamel, L ful not to get paint on the burnished armour, however, as this was to be varnished. (A step-by-step account of how I burnished,soldered and painted the knight, apart from. being tedious, would merely repeat my comments on these techniques in Chapter 1.) Mthough a history of the development of medieval armour has no place in these pages (but see Hibliography), a few comments will be of assistanee to modellers interested in conversion work and in adding authentic detail, Our knowledge of armour in Europe at the time of the Scottish War of Independence is derived entirely from documentary sources, seals, manuscript illustrations, all of which present us with problems of interpretation, ‘There is. scant archaeological evidence of early medieval armour, and nothing from this time has vet come to light {apart from several swords, which attest hy their fine ¢raftsmanship to the skills of early armourets), It is not until the later part of the T4th gentry that archaeological finds ~ along with a very few picees which have survived above ground: begin to appear. The knight of 1300 was still essentially the mailed warrior of preceding centuries, displaying very little plate armour other than the helm, though there does seem ty have been a hard body defence of some kind beneath the surcoat. The armour of the noble and knightly classes in Scotland is known only from contemporary seals and a few fragmentary surviving monuments, EU was no different from that of the English knights whom they fought against, and it is probably correct to say that all the Seots knights’ armour was imported from the Continent. Most Seots, however, were neither nobility nor knights; theywould have fought on foot, 11 a glimpse of these early infantrymen is afforded by Robert the Bruce's. parliament held at Scone in 1318, which outlined cheir equipment. Men worth £10 in goods were to have a sword, spear, plate gloves, and an iron hhat or bascinet; their armour was to be either a padded and quilted *akheton’, or a mail shirt ‘or ‘haubergeon’. Men worth goods to the value of a cow were to be armed with a spear or bow; no armour is mentioned, although this equipment was the minimum they were required (0 bring on campaign. It is evident from this that a good deal of imaginative reconstruction work would have to go into creating.a model of one of the men who fought alongside Wallace or Bruce, It iy argusbls, however, particularly in the case of the monuments and Lowlanders who formed the bulk of Scars armies, thar he may not have looked very different from his Enylish counterpart, (The dress of the Highland element of hese armies remains highly speculative; there is practically no contemporary evidence, and we don’t even know whether some form of kilt or plaid was worn at this time, Froissart, who seems for once 1 have been lost for words, described the appearance of Highlanders as simply Soutrageous’. We do know that the wild Celis ‘of Galloway, doubtless fortified against the English bowmen with a copious intake of liquor, fought ‘naked’ in the front ranks at the Battle of the Standard outside Northallerton in 1138; [ think chat this probably means that they fought rather than unclothed.) unarmoured ABOVE The heraldic surcoat Is shown painted before the final assembly stage. THE SCOTTISH WARS 33ABOVE LEFT AND RIGHT Two views of the completed model ‘They demonstrate the essential appeal of medieval figures in this kind of background: the grim stonewark sets off the glearn of steel and the splash of sumptuous heraldic colour Shields are one of the items that present problems to the modeller; in particular, the Appearance of the back can be difficult to reconstruct. The few medieval shields that have survived are-made of layers of thin, close-grained wood glued together in the manner of modem plywood. An outer facing of canvas or parchment is glued over this, and sometimes given a enat of gesso to prepare the surface for painting. On some shields the heraldry was modelled in low relief, though this technique was prubably seldom seen on shields of war. 34 ANCIENT AND MEDIEVAL MODELLING MASTERCLASS. ee ‘The back of the shield was covered with a fabric lining and coloured; for instance, the back of the Hlick Prince’s funerary shield in Canterbury Cathedral is painted blue. \ pad for the forearm was set at an angle behind the shield, and straps or ‘“enarmes' were provided, one each for the forearm and wrist and a third for the fingers if they were not holding the horse's reins decorated ‘guige’ round the knight's neck helped to support the weight of the shicld. ‘The rivets by which the straps were attached passed through the shield and were hidden ‘when the facing was addled A fine early 14th century stone effigy ar Goldsborough in Yorkshire reveals. some interesting details of the back of the shicld.In this ease the top half carries a padded lining, Uhieker at the top where it would be held against the upper arm and tapering to waist level. The lining appears to be of thick leather and is nailed to the back of the shield w domed studs resembling upholstery Awareness of these internal features will help. modellers to add convineing detail, particularly those who like to show battle damage to their knights’ shields. In addition a buckled and Some of the earliest heraldic crests can be seen ‘on the seals attached tthe Barons’ Terrer of 1300. Crests are unlikely to have been common on the batilefield; yet there is an instance, related by Guillkuume le Breton, of Renaud Count of Boulogne creating a sensation bywearinga whalebone eres in the form of a pair of antlers at the battle of Bouvines in 1214, ‘That both the crest and its sensational effect sere specilically described perhaps points to the probability thar they were highly uncommon. Nevertheless, for he modeller the tempration (0 add a crest to a plain helm is sometimes difficult to resist. "The most common form of crest to be seen on the Barons’ seals is the so-called fan plume. It remains uncertain what matt this was made, from - perhaps parchment or hardened leather (cuir bouilli) ~ so its recreation in miniature form is speculative, The seals obviously give ‘no clue as to colour; but it seems certain that these crests, being items of flamboyant display, ‘were indeed coloured, and the segmented outline suggests that they may have been painted in alternating colours. Several crests in the form of wyverns appear on the seals, along. with an eagle, anda lion standing between a ‘pair of vertical wings, In aedition many’ of the seals show some form of seurf flying from the liclnet; this may have developed from a lady's favour. T have been asked at times by modellers wha wanted to depict a knight without his helm exactly what was worn beneath it, Un the early 14th century a mail hood or ‘coif” was worn under the helm, and beneath this a padded ‘arming cap’. ‘The helm had its own padded lining consisting of a headband with a series of segmented supporting straps, adjustable at the crown by which the helm was supported on the knight’s head and held firm by a chinsteap, These derails are. strikingly similar to rhe system used inside a 20th century steel helmet, and sculptural evidence confirms this. Many tomb monuments employ he device of supporting the knight’s head on a crested helm laid on its side; in many cases this put the sculptor to the trouble of carving the inside of the helm and its supporting straps. A second form of arming cap had a protruding circlet of padding above the brow, presumably intended to support the heim. MODELLING A SIMPLE FAN. Thegan by making a full size outline drawing from measurements of the miniature helm, ‘Then, using illustrations of the Barons’ seals asa guice, [drew ona fan crest and adjusted it until | arrived ar the right size. The nine segments of the fan were drawn with a protractor anid extended beyond the semicircle of the erest, which turned out to be about the same diameter as a5 pence coin. I rolled outa small amount of Milliput and put it aside to harden, Later in the modelling session, when the Millipuc was about leather hard, Lused the coin as a template to cut out a semicircle, and ‘mounted it on a brass rod.’Phis was fixed over the drawing with masking rape, and the segments were drawn on with the help of the extended lines. It is difficult to decide what the segments arc; do the lines represent ineised or raised divisions, or do they indicate a colour cchunnge? When faced with a dilemma like this T always work on the part of a project that T LEFT Two ways of arranging the padding behind the shield are shown here, bath based ‘on monumental evidence. The arm is ina diagonal position behind the shield, which could be used to deliver an uppercut to an opponent in combat. THE SCOTTISH WARS 35‘APOVE Battle damage: the shield of the Scots knighe Sir Robert Menzies displays the plywood construction method beneath the damaged outer facing. RIGHT The fan crese ean be seen cut to shape on the scale working drawing which was also used to mark out che coloured segments. On the right the painted crest is mounted on the helm by means of a brass rod. The lower drawing of a seal from the Barone’ Letter shows the source | used for the crest and streamers. understand and leave what | don’t understand until later, hoping that with luck the problem ‘will take care of itself. With this axiom in mind, | carved the edge-of the erest tu shape, rounded off the top, and made a shallow file cut to indicate the segments which would later be further emphasised by painting them alternate colours. The knight's helm was drilled to take the brass locating rod of the erest; and the searf which appears prominently fying from many of the barons’ helms was now considered, ‘There were two styles of these: one wus an informal looking attachment in the shape of a lady's headscarf, the other a more formal streamer which I thought looked well with the fan crest. ‘The streamer could have been: made from Millipnr, bur | chose metal foil as being ‘more malleable allowing me to bend and adjust the streamer when it was attached ro the helm, 36 ANCIENT AND MEDIEVAL MODELLING MASTERCLASS AILETTES These curious appendages were much in vogue ar the time of our model, they have at times been variously misinterpreted by modellers. and illustrators, and their purpose has been the subject of debate, ilettes or “litle wings’ are usually depicted on monumental brasses at right angles to their tue situation on the shoulders in order for the viewer to see them from the front. ‘They were in fact laced to the points of the shoulders to be seen from the side; they were purely decorative, and their purpose was the disphy of heraldry ~ they hud no defensive function. "The latest brass in this country tw. include them is that of Sir John de Bacon at Gorelston in Suffolk, who died in 1321. In that cave the allettes, which one would expect to display his personal arms, are charged with those of St George of Eingland; Argent, a cross gules,LEFT Sir John de Clavering displays his arms on his surcoat, shield allettes and lance pennon his red and gold crest reflects the colours of the heraldry: The paternal arms of Clavering are “Quarterley or and gules,a riband sable’; these were differenced by Sir John in his father’s lifetime by a label azure! ~ the colour of the label seems to be an arbitary choice or may be due to artistic taste rather than being dictated by any system at this time. Both father and son fought at the battle of Falkirk in 1298: Sir John was taken prisoner at Bannockburn in 1314 and later released on payment ofa large THE SCOTTISH WARS 377AIGHT Helm and crest of the King of Scots from the Armorial de Gelre, (Author's drawing) RIGHT Disphyed against the wall of 3 tower are the shields of the Earl of Carrick and his elder brother Robert the Bruce, Lord of Annandale. On the right the shield bearing ‘Argent, a lion rampant azure’ has been attributed to Robert the Bruce as head of that house. Since completing this model I have discovered in the course of research that there is no evidence that the Bruce ever displayed these arms, neither: is there any reason to believe that Edward Bruce bore them diferenced by a crescent argent. These are the arms of the Yorkshire Bruces, and are the source of some confusion SCOTLAND’S HEROES WILLIAM WALLACE & ROBERT THE BRUCE cotland’s national hero, William Si. has proved elusive to illustrate convincingly, and he remains a challenge to which modellers have as. yet proved unequal. He was not of the knightly classes, and itis inappropriate to depict him as the chivalric hero knight. The well-known statue of Wallace as Guardian of Scotland erected in 1888 in Aberdeen nevertheless immortalises him in heroic pose as a 13th century knight. (Nor was Wallace a hairy bushranger with funny warpaint and late 20th century political views ~ a role in which he has lately been portrayed in a juvenile distortion of history which crossed the threshold into the realm of fantasy.) Despite fame Wallace remains a shadowy historical figure, We know nothing of huis carly life, Ghough the revent rediscovery of the seal he used as Guardian of Scotland after the battle of Stirling Bridge in 1297 seems to confirm his origins in Ayrshire in south-west Scotland, Wallace is generally - if somewhat speculatively - credited with the arms “Gules, 1 Jion rampant argent’; this is sometimes shown with a blue and white border, presumably to signify that his father was still alive - however, this is an anachronism, as no such heraldic difference existed in Wallace's time. 38 ANCIENT AND MEDIEVAL MODELLING MASTERCIASSRIGHT Arms and crest of the Lord of Annandale from the Armorial de Gelre. (Author's drawing) LET The Bruce was considered to be ‘one of the three most accomplished kaghts in Christendom’ in his day.Adrian Bay modelled this srimly purposeful Bruce at Bannockburn’; astonishingly, the model is a conversion of the Border Miniatures 80mm mounted kit of the same subject pictured above. Note the convincing treatment of the ‘muddied edge of the caparison. and a couple ofits appliquéd teecutcheons starting to come unstitched, (Photo A Bay) ABOVE ‘King Robert the Bruce at Bannockburn, 1314, painted by the author from cone of his own Border Miniatures kits. THE SCOTTISH WARS 39RIGHT The coats of arms of ‘two famous Willains’ are included here to balance this glur of Scottish heroes (0 Sir Hugh Cressingham was Edward I's treasurer and cax collector in Scotland, and ‘consequently was not popular ‘with William Wallace, Sir Hugh tad military ambitions bur was Brossly overweight, and consequently wher armed and mounted his seat was precarious, At the battle of Stirling Bridge in 1297 the obese treasurer was dragged from his horse and butchered by the Scots, who flayed hin and made his skin into parchment which Wallace used to send news of | his victory throughout Seothind (il) Sir Henry de Bohurs this the knight whom Robere the Bruce killed in single combat at the battle of Bannockburn, Henry's arms are often confused with those of his uncle, Humphrey de Bohun, Earl of Hereford, whose arms display a bend argent Henry de Bohun sifferenced his arms from the earl with a bend gules - and ‘hus breaks the essential rule of heraldry that 3 colour should nat be placed on a colour. (Author's drawings) RIGHT The Bruce is 3 recurrent theme in Adrian Bay’ work In this wall researched 54mm group the heroic Scot proves more than a match for Sir John Peynel and the downed Sinan de Montague, (Photo ABay) 40 ANCIENT AND MEDIEVAL MODELLING MASTERCLASS a) (i) King Robert has proved a more fruitful subject and several well-known modellers have produced fine models of The Bruce. He is depicted on his Great Seal of 1316 with a crowned helm and bearing the Royal Arms of Scotland on his shield, surcoat and horse trapper, The Armorial de Gelre compiled later in the 14a century illustrates the helm and crest of the King of Scots. The helm is crowned and crested by # red lion seated and brandishing a sword; the mantling bears the arms of The Bruce's Lordship of Annandale, “Or, a saltire and chiof guiles’. ‘Phese arms are to be found on the heraldic seals of the Bruces of Annandale and were the personal arms used by Robert: the Bruce. ‘The Gelre armorial shows the crest of the Lord of Annandale as a red sleeved arm ropped by a gesturing hand. Robert’s brother, the brave and impetuous. Edward Bruce, Lond of Galloway would have borne the arms of this lordship ~ ‘Azure, a lion rampant argent crowned or’ Ln 1313 he became Earl of Carrick, so at that time he may have “Argent, a ct In 1318, as i of Ireland, he was killed in battle at ‘ochart near Dundilh, He may have contrived an appropriate coat of arms as king of thar country, but no report of it has come down to us.ABOVE Beyces grizzled Danish eader was modelled using a nude Academy torso and a pair cof Verlinden hands as a starting point. The armas legs. head, cloake and shield were modelled from purty plasticard, paper, metal foil and brass ABOVE The Scots modeller Nigel Kelman scratch-built this Imposing 80mm ‘Robert the Bruce’. The hollow helm was made from thin these metal and the finely rendered ring rail ‘was fashioned from very fine coiled wire. (Photo N. Kelman) SAR LEFT “Mayhein on the Highlands'van earlier and lesserknown Scottish hero is ‘celebrated in this bartle piece by the Lanarkshire modeller Robert Bryce The details of this ledocumented encounter are scant, and one senses that legend has somewhat eneroached on historical fact inthis Wvely scene. The fight was beeween 9 marauding Danish war band and Scots Under the Earl of Sutherland, and probably took place in the rmid-I3th century. The Danes were routed by the bactkng earl, who slew their leader #1 single combat - wivlding the sevored leg of a horse! The size of the figures diminishes from 120mm to 25mm te increase the illision of depth in dhe diorama. There are 80mm figures in the middle distance, and in the background a diminutive 25mm Scots army pursues the defeated Danes BOVE RIGHT The Earl of Sutheriand, complete with his sory weapon. He started ite as 2 1201m Werden kit, which was cut up and repositioned, then remodelled with epoxy pucty. Apparently the town of Dornoch, where this diorama ‘son display has a horseshoe fon its cont of arms to commemorate this deed (Phocos R Bryce of “Merlindale') THE SCOTTISH WARS. 41THE MILITARY ORDERS TEMPLARS & HOSPITALLERS after Matthew Paris, who strew the originals between 1244 and 1259 Gi) Vex Hospitais - the banner of the Hospital. Macthew draws across formy, but in another version he drew a ‘plain cross’ It seems likely that in the Ich century the ewo types of Gross were interchangeable, (ii) Veriium Temp - the banner of che Temple. This was known -s'Beauséant’ from the old French term faucent applied to ny piebald horses. The arms of the Temple were ‘Argent, a cross ules’ this was a‘plain cross’, not a‘eross patonce’ as Is sometimes drawn. Evidence abncerning the: eats baruldeycot formed in the early 12th century after ie Temple and! Hospital isthe establishment of the Crusader kingdoms sparse and there is much in the Holy Land, From the outset the Uncertainty, Recently a friend ‘Templars, who were known originally as the sent mean interesting set of Poor Knights of Christ, were organised as Franch picture cards which warrior monks, The Order of the Llospital was illustrated the arms ofall 24 founded to care for pilgrims to the Holy Land, Grand Masters of the Order of their role extending some years later into the the Temple (see Bibliography). snititary sphere via escort duties. The fas Maser ofthe Templars eae nt 15th The arms of the Butler Earls of Ormonde decorate the vane now proudly copping the stair tower roof. lone armoured sentinel watches over the eastle approaches from the walla LEFT The brate weather vane is seen here cleaned up and ready to paint, The materials from which iis made are clearly dieeinguichable. THE CASTLE 79RIGHT A crossbow with eranequin,callet and quiver were assembled and soldered together to form an attractive roup of relaced objects. This ‘ell Ie with crossbow! was slued c0 a base, then modelled Ineo. the groundwork with Millipue. Noe the eharaeteristie shape of the furcovered quiver in which the woodenfletched crossbow bolts were carried heads upmostsand che: thick coipuslee bowstring, whipped with twine at the centre and tends. Crossbows were quite ‘often carried by horsemen. ‘There was no reco and i: was postible to relond in the saddle: even so, bowmen nearly always dismounted to fight. | DRESSING THE SET: SOME MEDIEVAL WEAPONS edieval sources show a wondrous wriety of shapes and sizes of weaponry: and those displayed around the castle courtyards in our moxtel are ‘nly a small sample of the many possiil ‘They are all made or derived from my own range of white metal oddments and accessories, ard Wegner itlustrated! a useful book irs the 1950s (ave Bibliography) which sontaine page after page of weaponsand other fascinating and curious artefacts derived from medieval sources co tempt the creative mexteller. ‘There were several varieties of medieval erosbow which differed mainly in the power ‘ofthe bows and the way in which the strings was drawn back. The simplest type, which was spatined by hata ot with & telt-hook, cin: be seen on page 77 leaning against the wall by the irom yett, Powertul steel bows first appeared in about 1970 and ingreasingly rephiced he easlier somposite bows, "Those needed mechanical device to bend the bow: either a 80 ANCIENT AND MEDIEVAL MODELLING MASTERCLASS ‘goat's foot? lever, a hand-eranked cranequin rateliet bur; or a windlass with a sec of pulleys and cords: As adwances in technology added to the power of the crossbow it became increasingly complicated and slow to reload Horwever, 2 crossbows could be shot effectively without the physical strength and years of conmuant practive denned by the longbow. In fact, because of the ease with which it handled and the-huck of recoil it wava favourite with the ladies, who preferred it for the hunt. Coude ‘hand cannons’ mounted on poles ‘were in aise daring the 14th century, and Jransdguses with ay sttached ‘serpentine’ fever combining a match-holder and a simple trigger appeared from early in the 1400s. By the 1460s quite large numbers of hand- gunners were commonplace in European armies and city militias; the army of the Dukes of Busgundy, ane of the nest professional in Europe, had equal mumbers of hand-gunners, crosshowmen and pikemen by 1473.“T All the gear yau need xo shoor a crossbow = here, the mart powerful type of 15th century sprung steel bow The pavise displays the livery colours and ragged stat badge of the Earl of Warwick: loading: the crossbow toak some time, and it was a goad idea to 46 this in safety behind the propped pavise. The windlass, ‘which hangs by its cords over the pavisse, was fitted onto the bute of the crossbow stack; hen wo hooks of the thar end af the extended cords » here out of sight behind the pavise - were engaged with the bowstring which’ was demwn, back engage the locking rut by winding the windlass handles, When modetiing this group seldared she windlass 10 the pavise, chen passed waxed threads through holes drilled either side ot th pully ‘whasle and earrisd them ever the cop of the pavise. Also note here che aiming device on the butt of the bowsteck; the thumb of the righ hand was phiced in one of the diagonal grooves so thae the cop of the kruickle served as a backsigh LEFT Two types of fedarc axe’, 4 polearin mucit favoured ‘en the Bordor and in Seotand: that on the right has been lefk unfinished to show the assembly stage. The axe-head was carved from a poweor blank then a socket was drilled in this to take spigot ‘on the brass shafe, The base of the blade was then fhetsned to the shaft with a metal reinforcement to stabilise the structure. The finished poleaxe far be agen in photographs in the next chaprer THE CASTIE 81BELOWY A tace | seh century handgun = eesandially an early rmatchlock musket fired by means of the serpentine attached to the stock, Beside the gun ean be soen 8 powder hom, 4 bag of bullets and ramrod. Quantities of spare ‘match were also carried, often rolled up inside che helmet te keep it dey. ae ABOVE A demall of one of my paintings from which the ‘silllife! group devetoped. You ah $66 a model of this little terrier inclided elsewhere, too. 82 ANCIENT AND MEDIEVAL MODELLING MASTERCLASS“THE KINGMAKER’ - RICHARD NEVILLE, EARL OF WARWICK THE PROJECT chapter, though more advanced chan that described previously, within the capabilities of the average modeller if the simple methods described here are used,The mounted knight provides a fine opportunity for a display of late 15th century heraldry, and this subject will be considered in shields, standards, banners, surcoats and eaparisons, r [= conversion work undertaken in this should be relation tw A liale research turned up a good many: illustrations of caparisoned horses in medieval ainting and sculpture as well as those on heraldic seals, This was an essential frst stage before the modelling work even began and though no single image could provide all the information | needed, | kept them to hand throughout the modelling work as they provided a stimulation rather than a model to copy directly, I needed the folds of the covering to fall in such a way as to be in harmony with the movement of the horse; and T wanted to retain the feel of the dynamism of the animal underneath the drapery, I had some phatos of Pilkington Jackson's fine statue of Robert the Bruce at Bannockburn; these demonstrated how even in a static pose a caparisoned horse ‘could retain movement and vitality The horse from the mounted kit I used was posed in a manner best suited for me to achieve these aims, and the vital movement of the animal helped to suggest the manner in which the folds in the drapery would fall. It seems unlikely that the caparison had any value as a defence against weapons in itself, and though it may be that some form of soft padded armour or even mail was present underneath I decided that, as I had no real evidence, | would not attempt to suggest this ‘So much for what had to be done; now, how 10 do it? Milliput is the best and quickest medium for conveying the movement of drapery, but it needs some sort of support while it hardens, [ cleaned up the castings of the horse halves first, scraping off the very fine ‘mould lines with a scalpel Ceven horse halves, sometimes which can be a problem for manufacturers to cast, should have no more than a vestigial mould mark). Next I soldered the armoured head and neck to the right hand horse half from the inside, Soldering horses together is. a straightforward business, as they are composed! of large, chunky castings ‘Gente om page 86) ABOVE “The Kingmaker In 1471 Warwick's shitting allegiance found him on the wrong side at the battle of Bamet. where in the confusion of the Lancastrian defeat the earl was killed before he could et ta his horse. “THE KINGMAKER’ ~ RICHARD NEVILLE, EARL OF WARWICK 83RIGHT The right hand horse assembly is half embedded in Plasclene (not Plasticene) in this view. The shape of the inside of the caparison has been built up and marked out by scribing the Plastilene.. RIGHT The front of the ‘caparison has. been modelled in Milipue over the Piastilene support: Note the turned-back front. comer, to give an impression of lightness and movernent. RIGHT The basic shape of the caparison 1s complete, YVhen this assembly has hardened it an be removed from the Phastllene support and worked to Its finished form 84 ANCIENT AND MEDIEVAL MODELLING MASTERCLASS,EFT The work of refining the caparison Is at an advanced stage; the black cireles identify blemishes that need to be filed LEF> The left hand horse half showing the detail on the Inside. LEF~ The fisted caparisen, saddlery and reins in place; the final loop of the reins will be added to the top of the rider's righe hand ac a lace stage, THE KINGMAKER’ ~ RICHARD NEVILLE, EARLOF WARWICK 85ABOVE The component parts are roughly assembled so that the fit and the appearance of the final model can be assessed 2¢ an early enough seage for minar revisions without ton much agony, Work an the knight is cil at an early stage, and the standard is stil only roughly shecched. ‘To form a support for the Millipur Fused Plastilene; [ keep a stack of this product handy, because it doesn’t stick fast to other ‘materials and generally peels off cleanly in ane piece, I warmed a quantity of this in the oven, and pressed it into a flat shape; then pushed part of the horse's neck into this, The flat side of the horse half was supported on but nat pushed into this block. 1 then built up the shape of the inside of the caparison with Plastilene ~ this would be bath a former and a support for the Milliput caparison. The other horse half was treated the same way; the preparation now finished and the madelling work could begin. wae 86 ANCIENT AND MEDIEVAL MODELLING MASTERCLASS ‘The caparison four quarters, and though I was fairly sure ar this stage where the folds in the drapery were going, I didn’t know how long it would take to complete each section, I initially mixed just enough Millipur for one of the front sections, and thumbed it firmly into place over both the yy and the Plastilene former (which proved resistant to this pressure, and retained its shape). The main folds were pressed into the soft moslelling putty using the round, tapering shape of a paintbrush handle. ‘These were generous folds, which would enable the heraldry co be drawn on later without wo many problems, A few smaller creases were modelled with a cocktail stick; the front edge was folded back on itself to suggest forward movement, and yarlous other adjustments ‘were made to the fie f the fabric, As the putty ‘begau to stiffer is was possible Wy weave ce rear exlge upwards and outwards and to adjust the bottom of the folds to further enliven the Mow of the drape ‘The remaining separate quarters of the caparison were similarly modelted and then tet ww harden, thus the basic shape uf the drapery was established, and it really only remained ta refine the roughness of the initial modelling with files and scrapers. ‘There is no need to refine the caparison to scale thickness, as this would simply result in a flimsy structure without improving the appearance uF the roel now comprised T intended Warwick to carry a standard, so his right arm needed to be repositioned to hold his aloft, preferably without havi the shape of the armoured part. 1 first cut the sleeve of the surcoat away from the main body casting at the shoulder, then drilled a locating hole for the length of annealed brass rod an which had mounted the righ arm, ‘This rod was cut su that whem pushed into its locating hole the elbow and tips of the fingers were in the right positions relative to the shoulder; it was useful to refer to the drawing of human proportions in Chapter 1 at this stage. The arm was then twisted and ‘bent on its soft brass rod ints a pasition where, ‘holding a quickly mocked-up banner, it looked right. ‘The sleeve of the sureoat was built up from Milliput, and as it hardened a blunt needle was wetted and used to madel the folds Surcoals at this time seem to have been made from quite heavy material to which the heraldry was appliqued, so it wa: modelled ‘with rather ponderaus folds to suggest this tw alterIT thought that if the knight's visor was raised he would make a more lively figure, and there was no reason for it to be down in this castle setting. Only the bevor that protected the lower part of the face and covered the Upper part of the sureoat was integral to the ‘main body casting, and this was cut away, L Was sure thar Warwick could safely dispense with in reality if must have been when no aetion was likely. (In faet its absence was not unustal, even in battle: the son of Charles the Bold of Burgundy was killed m1 when he wore the sallet without the bev, aud Ch this item, a constricting and stuffy to wea 2 by a puke thrust jes himself wax badly wounded by a sword cut when his casually-attached bevor fell off in action.) Removing the bevor from the made left the top of the cuirass and the round neck of the surcoat to be rescared with Milliput, and this confronted me with the problem of the hy Although port nninent late 15th century persenalitiess no there are its of many likeness of Richard vived Other portraits of this time show that facial hair was unfashionable, so | bore this in mind when selecting a head with an open-faced sallet from my box oF bits. After glueing it in place T detailed the visor Neville has s The “sight” opened swith a fine drill and sharp scalpet, ABOVE The Essex light Sir ‘Thomas Moncgomery of Folkborne at the hard-foughe battle of fowton, 1461, avhere he was knighted by Edward IV, David Lane made che model from the same Border MMiniacures kit that provided the starting point for my model of the Earl of Warwick "THE KINGMAKER’ ~ RICHARD NEVILLE, EARL OF WARWICK 87RIGHT. The monumental brass fir Wiliam Seapleton at Edenhall in Cumbria, dating from 1458, The open-visored sallet and short-sleeved heraleie sureomt were features which | included in my model of Neville. ‘The heraldry akernates round the surcoat and sleeves, so that aback view would reveal the position of the eings and swords reversed. The Stapleton brass is fone of the better examples of this (ype of monument in England The artistic quality of ‘monumental brasses was in decline in the second half of the 15th century. and caution should be ewareized whan interpreting these sources In this case, although the armour is othi vise well drawn, the artist has forgotten to add the articulating James of the leg armour above the knees. Sir Willam's plain lcte wie stands beside him on the monumental slab; suspect that her size reflects her relative importance rather than her stature. | have inchided her i this drain as reminder of che pastiilitieg presented by medieval ladies as ‘modelling subjects. (Aurhors drawing HIT This view shows how the arm is attached to the shoulder by a brass rod on which it articulates to allow adjustments to be made to its position. SARLRIGHT The hand and arm have beew adjusted to hold the rae shaf of the standard which flows behind the figure. ‘The surcoat sleeve has been modelled in Miliput and completes the arm aezembly, after a fot of fiddling about - this was one of thase jobs that needed three hands - I anaged to solder the small, slippery item in place with only minar burns to the fingers (I now that there provide modellers with that ‘third hand? which would be so usefial in situations like this, but re devices that offer to Tye never gor round to buying one, I usually manage to improvise my way out of these tricky positions with hits of Plastle whatever else is ro hand) T added a mail collar from Millipus; then completed the head by refining the facial 88 ANCIENT AND MEDIEVAL MODELLING MASTERCLASS: ‘features, and adding a chinstrap trom the same material, 1 considered ackling a ctest tthe hhelmet, but the visored sallet doesn’t afford this opportuni. Richard Neville the elder, the ‘Kingmaker’s’ father, was a younger son of Ralph, Earl of Westmorland. He married the heiress of ‘Thomas Montagu and became Earl of Salisbury: His paternal arms. were ‘Gules, 2 saltire argent’, which as a cadet he differenced with a ‘label compony argent and azace’, He took the Laneas for the label because his mother was 2 daughter of John of Gaunt, Duke of Lancaster, Salisbury’s son, the “Kingmaker’, married the heiress of Richard Beauchamp to become ‘| of Warwick. When his father was beheaded after the battle of Wakefield in 1460 he became Earl of Salisbury as well as Earl of Warwick, though he continued to style himself with the latter title The crests of these earldoms are illustrated oppasite Neville would have displayed on the front, an caloure of silver and blue hack and short sleeves of bis sureoat, and in four positions on his horse caparison, his personal coat-of-arms differenced from the paternal arms of Neville (while his father was still alive) with a silver and blue label, Although the heraldry was simple, the ind ‘lahel campony" had to be drawn accurately ~ and drayn eight times, too, Apart from this rather daunting prospect there were none of the design problems that ean occurwhen painting heraldry an a three-dimensional item such as a surcoat or caparison, Painting the surcoat was the most difficult part, and there is no easy formula, Hy the time f started work on the horse’s eaparison [ had evolved a system which speeded up the work, but still involved redefining the initial drawing several times, (See pp. 94 & 97.) First I drew the Inbel in blue, then added the outline of the saltire in red, Next I filled in the blue sq the white squi res on the label, followed by between these, and then filled in the outline of the saltire. Then I painted the red background, which helped tidv up the outlines, This evele was repeated three times, each time tightening up the work until an acceptable finish was achieved The paint was applied quite thinly so it took at least three coats to cover, and the red proved particularly difficult in this respect. Only a minimum amount of shading was then. LEFT The earl is bumished, primed, and positioned in the courtyard with a billman of his retinue; he is ready to paint. LEFT. Coats-of-arms and crests: Richard Beauchamp, Earl of Warwick - a whice ‘swan's head and neck. Richard Neville, Earl of Salisbury ~2 demi-geiffon, {Author's drawing from the ‘Armorial de Gelre) HE KINGMAKER’ = RICHARD NEVILLE, EARLOF WARWICK 89RGHT ‘The bowman on the wall, | had to remove some unwanted derall below the waist and refashion the area with modelling putty, At this stage repositioned the arms so that the baw, arrow and bowstring ‘would ‘work? together. The bowstring will be added at the very last minuce from waxed thread, Note that the archer has prudently taken a juz on duty wich hie, EF> The longbowman stares added to the heraldry and caparison to purposefully into the distance! accentuate the relief decided that the original sword | painted the lining of the caparison green “didn't work’ so | replaced it on to complement the predominant red of the his left hip wich a short, heavy heraldry, and this worked well, Reference to dagger: The sallet Is cut away on the right hand side t0 enable the bowstring to be drawn to the chook ar ear A chore miltary fal ies on the wallwalk behind him, randy to repal azaling partias WH needed some thought, as T wanted to retain a {get within hand-to-hand range. strong contrasting colour scheme: overall. my copy of A Kurapean Alrmortat suggested that a green lining was appropriate, as several of the knights illustrated used a compa colour scheme. The colour of Warwick's h 90 ANCIENT AND MEDIEVAL MODELLING MASTFRELASSPhece was 1 ly little choice: the colour scheme «lemanded a grey, which affarded the best contrast 10 the dominant red and white heraldry. authentic note, too; there are other instances of striking white horses belonging to great medieval leaders. At Agincourt a chron noted that Heney V had with him a ‘maynifigue destvier blanc comme le nesge’. It would seem appropriate to allow the great Farl of Warwick a similar Namboyant gesture. Warwick's grey is perhaps an cler Took as my starting point a kit sculpted by Rendal Patton for F& E Miniatures, 1 first dlispensed with his effete Italianate bow and quiver ~ quite unsuitable for a la century English longbowman,The ¢s problem when assembling a bowman, as we nated in Chapter 4, is to ensure that the arrow passes over the how at right angles to it and meets the centre of the bowstring, which in turn should be taut. It sounds simple, but to. LEFT | used 2 muted colour scheme accented only by the red hose and a glint of steel from the burnished armour. My bundied arrows again add an authentic detail to the threavening pose. Arc lovers ‘will reeognise the landseape background ae "The Milla ‘watereolour of 1494 by Albrecht Borer, The paintings of Pieter Betiogal provide another rich source of late medieval backgrounds, “THE KINGMAKER’ = RICHARD NEVILLE, EARL OF WARWICK 91RGH™ A wallequipped bilan with a visored salle, padded jack and a murderous-looking polearm. He Is.also armed with a"bollock dagger’ and a heavy, curved falchion; and to judge by his hayersack his duties will keep him out of reach of the castle htucheens all day, Bulle and painted by the author from an 8Omm Border Miniatures kit: RIGHT AND OPPOSITE The billman and. crossbowman of the castle garrison with cheir dog, phatogaphed in diferent gateways. The figures don't really lend themselves to radical conversion work, so I built and painted them ‘straight from the box’, They serve to bring incident and life to the model castleyand to Illustrate she dress and equipment of the time. Weapeins, stakes and tools leant against the wall also make an architectural setting took ‘lived in'vand yes, rm afraid i's that cat again » supremely Unimpressed by the earl’ retinue of cwo men and 2 dog, 92 ANCIENT AND MEDIEVAL MODELUNG MASTERCLASS:achieve this took a good deal of fiddling and repositioning of arms, hands and bow ~ not quite a conversion, but nearly, When the figure looked right I added a brass locating rod under the back foot so that he could stand alert on the wallhead eyeing the activity below: [thought that the face might benefit from a little more character, and an instant trick for achieving this effect is to add a moustache. Facial hair was not in vague amongst the upper ranks of society at this time, judging from contemporary portraiture; but 1 shouldn't think that archers always aped their betters in this respect. Incidentally, if you are having problems when working on a face and a moustache doesn’t solve the problem, try a beard too, With a Scottish subject you may be able to get away with a large bushy one that covers half the face. If that doesn’t work then you've got a bigger problem than you thought, 80 start again, Badges were the distinetive sign worn by the retainers, servants and dependants of a knight or lord; they were used to indicate the ownership of goods and the allegiance of men. \ knight’s retinue would adopt his badge and livery colours, not his coat-of-arms, which was, personal to him, Troops in the service of a great lord would display his livery colours and badge widely, so they became far better known and recognised than his coat-of-arms. Perhaps the earliest example of a badge in use is the sprig of broom (Latin, plavte genista) used by the Plantagenets, from which their name derived, The white boar badge of Richard TIL is well known, as are the blue boar of the Earls of Oxford, the ragged staff of Warwick, the white hart’s head of Stanley, and several others. A later, universally recognised badge is the Tudor Rose, combining the white and red roses of the previously warring factions of York and Laneaster. ABOVE The arms of the Cumbrian knight Sir Lancelot de Threlkeld are displayed on his shield and lance pennion in this group. He was a personal retainer of the Earl of Warwick, and fought at the battle of Towton in 1461 on the Yorkist side, The helmet seen here is an ‘armet’ with an additional wrapper; articulated gorget plates reinforce the vulnerable thraat area, A war hammer leans against re shield, which is of the shape associated with tournament jousting, OVERLEAF The geometric heraldry has been drawn to size and positioned securatshy, ‘even if untidlly at chis stage, (Incidentally remember that animate charges such as lions, in fact anything which right face in a particular direction, will always face towards the horse's head on both sides of a caparison) "THE KINGMAKER’ ~ RICHARD NEVILLE, EARL OF WARWICK 93.94 ANCIENT AND MEDIEVAL MODELLING MASTERCLASSBanners were square flags (though carly examples were rather longer than they were broad) which carried the coat of arms of a knight or lord; they were a statement of the lands and titles that he held. Most were about Aft Ging square (10cm), though the greater lords may have displayed larger ones perhaps up to 5ft (132em) square, Medieval flags were often stiffened, and some had a batten at least part way along the top edge to keep them always ‘on the fly’. A simpler flag for purposes of identification, was the long livery flag known as a standard, which announced the owner’s presence in person an the battlefield, In the hoist. was displayed a national cross or device, The field or *fly’ was of the owner's livery colours, on which his various badges and motto appeared. ‘These often bore no relation to the arms on the Anight’s banner, Another simpler type of standard is also known; this was a square Mag carrying a single device or badge on a coloured field, TOP LEFT The banner of Richard Neville, Earl of Wvarwicks that ‘overmighty subjeet'.This glorious mass of imagery is best deciphered in a leisurely manner, Richard Nowe’: perconal arms appear in che third quarcer,and are the arms he would have worn to identify himself in batcle - not,as modellers will be relieved to hear the entire design. The firse quarter displays the arms of the Earidam of Warwick, the second those af Salisbury. and in the fourth are the quartered arms of Clare and Despenser, CENTRE LEFT (Top) Standard of Henry Perey. Earl of Northumberland, The Cross of St George is displayed in the hoist, and the badges and motto of the Frereys on the red-over-black: livery colours of the fly. (Boctom) Standard of the Scottish Douglas family, known as'The Cavers Ensign’. The Cross of St Andrew is in the hoist and various. Douglas badges are displayed on the fy. On the reverse of the standard the lion would face the staff, but the motto fariais ‘Arriere’ would read right to left. tis thought that the standard originally had a forked tal BOTTOM LEFT Warwiek’s badges were firse drawn onto, the red background of his standard with chin white paint The flag is made from pewcer sheet: both sides were painted before the folds were pushed into place. There should be no problem with cracking of the paint surface - most paines {and particularly acrylics) are quite flexible, and will not ere even when the folds are quite tight, Obviously, experiment first with scraps of pewter and various paines - you don't want to find out the tolerance of your materials the hard way.after spending hours painting some gorgeously complex design. "THE KINGMAKER’ ~ RICHARD: NEVILLE, EARL OF WARWICK 95RIGHT Warwick's standard ‘displaying his bear and ragged staff badges. OPPOSITE "The mighty Ear! rides our’ The idea of painting the coat-of-arms eight times was a daunting prospect at the outset, and I thought | might get away with painting only one side of the horse. In the end | had to persevere and finish the job, and I think this view makes the effort worthwhile 96 ANCIENT AND MEDIEVAL MODELLING MASTERCLASS.RICHARD NEVILLE, EARL OF WARWICK 97)AGH Andy Belsey and ‘Adrian Bay collaborated to produce this extraordinary model of Brocher Cadfael’ at work in his hertarium surrounded by jars, jugs, pots, and pestles of every shape and size. Adrian made the inquisitive ‘Benedictine by sculpting a new head and arm for the Andrea model of Sean Connery in the character of the worldly-wvise Franeiscan investigator in The (Nore ofthe Rose. As an architectural modelmaker Andy has a scrapbox wall stocked ‘with domestic containers from a ‘variety of sources which he uses as props in his everyday work. These certainly came in handy for this project;l'm sure | can count at least 50 of them here NON-MILITARY FIGURES IN MEDIEVAL SETTINGS 4 figure modelling, so I was not surprised at the difficulty | encountered when 1 looked for commercially available non-military castings from the ancient and medieval worlds, I would have liked to include a medieval lady in my eastle scene in Chapter 4, bat in the scale in which I was working I could only find “glamour” figures trom the Phoenix range Although these are yery attractive and often amusing figures, I sadly decided that I couldn't find room for a *Guinevere with chastity belt” in the scene TI bad in mind. I “Yigure modelling is essentially military 98 ANCIENT AND MEDIEVAL MODELLING MASTERCLASS, Most commer fall into the mildly erotic category (sometimes even with a hint of bondage), and many cross the thin divide into the realm of fantasy V'm sure that there is no shortage of subject matter to tempt modellers to try including non-military figures. After all, in ancient and medieval times there was really no such thing asa “military’ world wholly separate from civil society, and the two interacted all the me. The problem clearly ies in the lack of figure astings and kits which might provide a viable starting, point. ally available female figuresLEFT A eraveling tinker wich his donkey tempts a medieval lady with his wares. (Model by Alice Armstrong from S4mm kits by Globe Figures) LEFT ‘Stitching the Standard! Goof Ilsley’s demure medieval lady contrasts sharply with the stark castle wall, while the: standard sounds a military note, This fa a 1:32 scale model after a Pre-Raphaelite painting by Edmund Blair Leighton, (Photo Gulllsiey) “THE KINGMAKER’ ~ RICHARD NEVILLE, EARL OF WARWICK 99RIGHT The relative plainness of the costume of most Northern European warriors in the Dark. ‘Ages, and the apparent scarcity of body armour, oblige the madeller to Focus on the helmet, shield and weapons in order to Introduce eye-catching features. This fs particularly true ‘if working in the larger scales, RIGHT The parts of Mike Blank’s kit chat | used as the basis of my model are shown here assembled with the aid of brass rods. The Viking’ helmet tras beer cut ray, FAR RIGHT The new Milliput trousers are taking shape, the tunic has been lengthened. and the position of the left leg has been altered, The shield and spear are at a more advanced stage. 100 ANGLO-SAXON ENGLAND he end of Roman administration in | Britannia and the withdrawal of most of the garrison ai the beginning of the Sth century AD marked the beginning of what we call the Dark Ages, Germanic peoples, mainly Angles, Saxons and Jutes who- were threatened by the movement of nomadic: tribes from the East, crossed the North Sea at first as raiders and later to find a new home for their families. Over centuries of steady eneroachment they pushed the once-Romanised Celtic Britons into the far west, The haphazard nature of the migration of these peoples, and the second wave of Danish migrants who followed them, led eventually to the establishment of a fragmented series of small kingdoms, In the Sth century these began to be welded together into the Kingdom of England under the impulse of Alfred’s West Saxon dynasty THE PROJECT ‘The vehicle chosen as the basis for this project isa 120mm commercial kit of a Viking warrior sculpted by the Swedish modeller Mike Blank ANCIENT AND MEDIEVAL MODELLING MASTERCLASS and produced in resin by Oakwood Studios, Thad never worked in this large stale befare, nor had I any experience of resin which added interest to the project. My aim was to convert Mike’s 9th century Vikinginto a typical 7th century Anglo-Saxon warrior, "The style of the figure’s tunic and trousers, an Anglo-Saxon as well as a Viking ~ and, for that matter, probably most other Northern, European peoples over a number of centuries, I did not intend to do any major conversion work on the figure itself, only to carry out fications that would enable him to carry the new weapons and wear the helmet which I ppkanned to fashion for him. The construction in miniature of these authentic Anglo-Saxon weapons and armour based on archaeological and literary evidence form the core of this chapter: The methods described here mm, of course, be applied to making weapons of any era, and readers should refer to them when tackling any projects suggested by earfier chapters Dark Age helmets and exceedingly rare archaeological finds; however, think it is argu armour - a precious possession goods reflects a scarcity on the attlefield. So, although my warrior is not of the highest rank, 1 decided to give him a ‘helmet. This would lend itself to being made as far as possible from metal, and it would be an fnteresting little model in its own right. 1 decided that my warrior could do without a mail shirt, for which evidence is very rarely armour are ple whether the rarity: of among, ray similar found in excavations of this period; he would have to rely on his shield for protection. Spears and shields are the most common finds in Sch and 6th century Anglo-Saxon burial grounds, followed by swords, seaxs, axes and arrows; 1 planned to make most of these and incorp them into the model. When Christianity came to these islands weapons ceased (0 be deposited with burials, so we have to rely on chance finds: to complete the later archaeological record. ire Only an outline of this stage is needed, as the real interest of this project lies in the way in which the basic figure is modified [started by cutting the plain conical helmet away with a piercing saw and discarding it Then I drilled quite deeply into the top of the legs, and glued brass locating rods in place These, when inserted into the appropriately positioned holes in the body moulding, enabled me to position the legs precisely and at the same time 10 adjust the length, The arms were glued in place with supergluc, which formed a very quick and solid bond between hands the two resin surfaces. ‘The were mounted on locating rods, then drilled to rake respectively the sp wl the shield grip, L wanted the spear to form a contrasting diagonal to the forward thrust of the Figur and the soft brass rod - now, in effect, the figure’s wrist ~ allowed me to adjust this at will. I positioned the assembled figure on a roughed-out piece of sloping groundwork Even at this early stage it was beginning to work well from most viewpoints. 1 used Millipuc as a filler and = fortunately, sinee 1 ABOVE The shield board with its transverse strucs place; the turned brass shield boss is ready to be riveted on. Note the pewter blanks for the sword, spearlead, axe and seax LEFT The shield with the handle riveted in place behind the central hole. ANGLO-SAXON ENGLAND 101RIGHT The shield board with the bass riveted in place. TAR RGH™ The boss has beer removed from the shield board to allow the first half of the sheot pewter covering to be sued on. The thin pewter sheet is soft and malleable, and can be persuaded into shape in much the same manner as the original shield’ hide covering. 102 intended to use this to build on to the figure [found that it adhered well to the resin, In lengthening the right leg and altering the angle of the lett ane I lost most of the original trousers, so 1 had to replace chem with a new ‘Millipu pair. It was only necessary to make the tunie a little longer before the figure was ready for the really interesting part of the exercise: modelling his weapons and equipment, However, it was difficult to resist adding a bit here and a bit there as the model progressed, In this way he acquired a pair of ‘turnshoes’ with ridged soles, fastenings and seams. Later I detailed the waist belt, made a decorative metal end for it, and modelled 4 leather bag to hang on the right hip. ‘The amulet which swings outward on a thong round the warrior's neck was a finishing touch which added a feeling of movement to the composition THE ANC AXON SHIELL 1 decided to make the shield from real seale wooden boards, and to construct it in much the same sequence as would have been followed by an Anglo-Saxon crafisman in the ‘6th century. Phe boards would only be visible from the rear of the shield as the front is covered with leather, I began by cutting the seven beards which made up the shield to Jength and gluing them edge to edge an a sheet of paper, I glued two struts the width of the shield at right angles to the boards, and ANCIENT AND MEDIEVAL MODELLING MASTERCLASS: weighted the assembly down to ensure that it dried flat. ‘These transverse pieces help to hold the boards in place, but are based om rather thin evidence, ‘The wooden boards do not survive in Anglo-Saxon burials, but their thickness can be deduced from the surviving metal rivets “The average thickness of the shield boards was conly 7,5mm (5/L6in), similar wo Viking shields from the Continent, this makes the use of dowels to fit the boards together improbable, & -glued butt-joint woul provide little strength, and though a lap-joint is a possibility the use ‘of horizontal members seems more probable, ‘The diameter of Anglo-Saxon shields can be inferred from surviving metal fittings and other indicators, which show that the average width was about 2 leet (lem), Although larger shields are found up to 3 feet (91.5cm) an diameter, many small ones are, surprisingly, only 12ins (30,5em) across, ‘The thin wooden shield was easily damaged in combat, and this emerges clearly from the written sources, Modellers who like to include battle damage will find inspiration in the vivid description of a shicld after a battle in the Welsh poem ¥ Gudeddin ~ “There did not come back of it as much asa hand could grip! ‘The Vikings, presumably for this reason, allowed the combatants in a duel the use of up to three shields in turn. The trom shield boss was about Jins (17.8cm) across, and T made it from brass in Unree parts. A slim 14mm brass washer servedas the flange, and [drilled four evenly spaced rivet holes around the edge.Phe ‘wall and cone’ section of the boss was turned fram 10mm round section brass in my primitively contrived lathe, ‘This was drilled to take the apex, which was formed from a crankpin fram 00 gauge loco wheel. Brass rod was inserted into the holes in the flange to act as rivets; then the completed assembly was soldered together with the torch, Teut a hole in the centre of the shield as a tight fit for the clenched fist which 1 drilled out to take the band grip ‘The iron handles were riveted in place through the shield, and most were quite short; Jong ones are sometimes found, however, and 1 chose to model one of these as it would be more visible. I annealed a short length of brass rod by heating and cooling; flattened the ends with a hammer; then drilled four holes to take the brass rivets which would secure it in place. Same work with a fine file on the flattened ends produced an approximation of the shape of the real iron handle. This assembly was then glued in place, With the help of my Mini-Drill I ground away enough brass from the inside of the shield boss to allow it to fit over the protruding fist. Next F turned my attention to the leather covering of the shield board. [ made this from sheet pewter, which T glued on to the wood in ovo halves to simulate the horizontal join hetween the two pieces of hide with which these shields were covered. The edging seems to have been leather too, and this was a problem that took several attempts 10 solve. ventually I realised that the best way was to cut a thin strip of pewter that would go right round the edge of the shield and overlap both sides, The strip wae held on the edge of a steel ruler and pushed into a gutter shape which would fic over the shield rim. I held this on «0 the top of the shield with one hand and worked it gradually inta place round the ircumference with the other, No glue as used at this stage, but when I thought the edging looked convincing I removed it carefully and then glued it back securely: in plaee. After this the fitting of the boss was a simple matter; I glued it in place, then drilled through the shield using the four rivet holes as guides, | made the rivets from pins which I cut very short and glued in place so that the shanks protruded only a fraction through the back of the shield board. There remained only the decoration of the shield to consider. About half’ of the Anglo-Saxon shields discovered display some form of tehet gcoration, ‘The most common is in the form of iron studs fastened through the shield in two pairs on either side of the boss. few silverec! or gilt bronze relief decorations have been found in the forms of either geometric lozenges or lish, birds and stylised quadrupeds, A small metal elip also turns up FAR LEFT The covering of the face of the shield is complete and the awkward edging strip has been persuaded the outer rim, Note the profile of the boss: the decorative studs flanking it, and the rivets securing it, are now formed from steel dressmaking pins. Work on the new Miliput trousers is advancing, and the spearhead is approaching its final form. co place round LEFT. The finished shield displays an iron boss decorative studs and applied fish decoration.A bronze clip covers the gap where the ends of the rim binding meet; these clips are often found in Anglo- Saxon graves and are associated with the shield, buc it is not certain that they were used in this manner ANGLO-SAXON ENGLAND 103ABOVE The tegencary hero "Beowull” was sculpted by Keith Durham armed in the manner of a 6th century Anglo-Saxon chieftain. The applied metal shield decorations are derived from artefacts excavated at Sueton Hoo and from illustrations in the Lindisfarne Gospels. Beowulfs splendid helmet is based on the Coppergate find The model was painted by the author from one Uf his onmn kits ABOVE RIGHT The pewter blanks can be seen beginning to develop into miniature weapane The leaf-shaped spearhead is roughed out and ready to be spliced to the turned brass shank. The shapes of the axe and seax are fully developed, as is the iron helmet bowl in the centre,The sivord blank is still a flat reccangle, but a brass tang has been added and the fuller has been carefully filed in. ‘occasionally, which may have fitted over the shicld rim to cover the join in the leather edging, There is some evidence to suggest that shields were often stained red, and that some may have displayed leather appliqué shapes. MODELLING THE WEAPONS ‘The construction of the axe and seax can be followed in the captioned photographs. | have rather concentrated my detailed description here on the materials and methods which | used to make the sword and. spear, as practically all other kinds of edged weapans are made in the same wa Anglo-Saxon swords were neither big nor hheavy; the archaeological evidence suggests that an average blade was about Zft Sins (7 lem) long and weighed 1'/ pounds (0,68 kilos). Blades were straight and two-edged, usually with a fuller running the whole length, Finished blades trom a limited number of proiction centres were distributed throughout Europe; the hilts, however, were mounted locally, and these provide the evidence for their place of origin, ‘The identification of a sword hilt as Anglo-Saxon, Danish or Frankish depends simply on the locality in which the majority of that particular type have come to light, and the same is true of other weapons, I started work by casting some pewter blanks from simple shapes cut in the back of old silicone rubber moulds; these blanks would become the spearhead and the blades of the other weapons, Pewter is mainly tin and is a hard but malleable metal which can still be 104 ANCIENT AND MEDIEVAL MODELUNG MASTERCLASS carved readily with simple hand tools. It does not clog files and saws so readily as docs white metal, and as it melts at a relatively high temperature it ts easily soldered. The sword blade entailed some precise ‘work; as it was the difficult one [ started work on it first, [fT could make a good job of this thought, the others would seem simple. Anglo-Saxon swords had a groove or fuller running the length of the blade, and. this presented the main problem. I fiest cleaned up the rough pewter blank in the workshop vice with a fairly coarse file until I had a more precise block with smooth surlaces. This was slightly wider and thicker than the blade that would ultimately emerge tom it, Next, working under the magnilying lamp and using 4 craft knife against a steel rule, I marked the position of the 1.5mm parallel groove on bath sides of the shiny pewter blank. I cut away the cast tang, which was in the way; then, working carefully inside the meised lines, 1 filed the ssroove the length of the blade on both sides of the block with a fairly coarse-cut round file. [marked a centreline on the narrow edge of the block and, using this and the lines whch marked the edge of the fuller as a guide, 1 bevelled the four edges of the blade, 1 had to hold the work in my fingers to do this, but fortunately the pewter was strong and showed no sign of bending. At the completion of this stage, though the bevels shoulel be cut right up to the guidelines, these should still be visible The blade was now given a taper by running a flat file along the edge, which made it necessary to restate the bevel, particularlytowards the point. I completed the work with fine files until the blade gleamed bright in the sunlight. ‘The hilt of an Anglo-Saxon sword consisted of alower guard, grip, upper guard and pommel, all of which were pierced to fit in turn on to the tang of the blade. I drilled the flat part of my blade nearest the hile to take a length of brass rod which would form the tang. Ina similar way a 6th century swordsmith would have spliced a tang into a hardened blade and welded! it in place. | decided to make the grip from real wood, so 1 glued two lengths of fine-grained miniature planking fave to face to produce the required thickness, This was then cut to length and drilled lengthways to fit che tang. Sword grips vwere oval and quite short, so that the hand fitted tight between the upper and lower guards, I made the guards from pewter scraps which [ held down with a fingernail while I cut and filed the metal to shape, This was a fiddly job, and the tiny metal ovals tended to Mick off into space exasperatingly; | spent some time onmy hands and knees during this stage of the project. ‘The oval guards were drilled centrally then a thin strip of pewter was soldered across the top of the upper one to form the basis of the pommel, ‘The component parts of the hilt were now ready to assemble onto the eang, which would make them much easier to handle and finish. I soldered the blade to the lower guard; them slotted the wooden grip inte position, and finally glued the upper guard and pommel onto the tang, The spear was the main weapon of the Anglo-Saxon warrior, ‘They were made of iron, and consisted of a blade of widely varying shape and a socket which was split so that it could be hammered to fit onto the wooden shaft. The leaf-shaped blade which | chose to model was a common form, but more exotic shapes can be made in exactly the same way, Tmade the sacket of the spear first, by filing a taper on a length of brass rad with the help of my Mini-Drill (this is explained in Chapter 1}, This was parted off and the wider end vas then drilled to tke the wooden shaft. ‘The leaf-shaped blade of the spear was sawn and filed from a pewter blank, then notched to take the brass socket,"The brass and pewter were then soldered together, Most Anglo-Saxon spear blades were of diamond cross-section, so the pewter blade was worked ‘with a series of files of increasingly fine cut to achiove this shape, Tmade the spear shaft from 4 cocktail stick, and riveted the metal socket to the shaft with a tiny brass pin. THE HELMET PROBLEM Before I could start work on the model helmet: Thad to decide on an appropriate style from the evidence available, and this is limited since only faur Anglo-Saxon helmets have ever been ABONE FAR LEFT The ‘weapons are here approaching their final form. The sword blade fas now been beveled, tapered and pointed with a series of fine files. The components of the hile are displayed here mounted an the tang, which has been removed from the blade, The pornmel at the top has not been filed to shape yet; but will locate on to the top of the tang which can be seen protruding through the oval Upper hilt guard. The square brass grip was discarded in favour of areal wooden one at this stage. The sxe head is mounted on ite brass shart, but the sides of the socket hole await the addition of the characteristic pointed projection which enables us to identity an Anglo-Saxon axe. ABOVE CENTRE & UGIT ‘The details of the scabbard, its ‘mounts and the manner in \whieh the sword is suspended from the waist belt were suggested by a variety of sources. mentioned in the Bibliography. 1 modelled the etail in Miliput.on top of the sword supplied in the kit,and after deciding to cisptay my seraveh-buitt sword separately | modified this hilt and replaced the grip with one made from wood. Its not entirely clear how Angla

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