The Renaissance period had many characteristics that were not common with any other historical period in history. Italian scholars and artists started re-examining the use of art and sculptures and were reawakened by the ideals of Roman and Greek times Renaissance Art, The Renaissance art was distinctive in its style of paintings and sculptures.
During the first half of the 20th century, the term "bastard sword" was used regularly to refer to this type of sword, while "long sword" or "long-sword"if used at all, referred to the rapier in the context of Renaissance or Early Modern fencing.
Swords with exceptionally long hilts are found throughout the High Middle Ages, but these remain rare, and are not representative of an identifiable trend before the late 13th or early 14th century.
The longsword as a late medieval type of sword emerges in the 14th century, as a military steel weapon of the earlier phase of the Hundred Years' War. It remains identifiable as a type during the period of about to From the late 15th century, however, it is also attested as being worn and used by unarmoured soldiers or mercenaries.
Use of the two-handed Great Sword or Schlachtschwert by infantry as opposed to their use as a weapon of mounted and fully armoured knights seems to have originated with the Swiss in the 14th century.
By the second half of the 16th century, it persisted mostly as a weapon for sportive competition Schulfechtenand possibly in knightly duels.
Distinct "bastard sword" hilt types developed during the first half of the 16th century. Ewart Oakeshott distinguishes twelve different types.
By the late 16th century, early forms of the developed-hilt appear on this type of sword. Beginning aboutthe Swiss sabre schnepf in Switzerland began to replace the straight longsword, inheriting its hilt types, and the longsword had fallen out of use in Switzerland by In southern Germany, it persisted into the s, but its use also declined during the second half of the 16th century.
There are two late examples of longswords kept in the Swiss National Museum, both with vertically grooved pommels and elaborately decorated with silver inlay, and both belonging to Swiss noblemen in French service during the late 16th and early 17th century, Gugelberg von Moos and Rudolf von Schauenstein.
Morphology[ edit ] Different blade cross-sections. At the top, variants of the diamond shape.
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At the bottom, variants of the lenticular shape. The swords grouped as "longswords" for the purposes of this article are united by their being intended for two-handed use.
In terms of blade typology, they do not form a single category. In the Oakeshott typology of blade morphology, "longswords" figure as a range of sub-types of the corresponding single-handed sword types. They are primarily intended for cutting, with grips for either "hand-and-half" or two-handed use.
Type XIIa blades are broad, flat and evenly tapering, with a lenticular cross-section and a fuller running along about two thirds of the blade's length.
Type XIIIa blades are broad, with a flat lenticular cross-section, parallel edges and a fuller running along half the blade's length.
Type XVa is the classical two-handed estoc of the 14th and 15th centuries with early examples appearing from the later 13th century. These blades are strongly tapered, more narrow and slender even than the single-handed type XV variant, with a flattened diamond cross-section. Type XVIa is the classical "longsword" of the 14th and 15th centuries.
These blades are long and slowly tapering, with a flat hexagonal blade cross-section and a fuller running along one third of the blade.
They represent an optimised compromise between thrusting capability and retaining good cutting characteristics. Type XVII is a shorter-lived type, popular during the midth to early 15th century.Free Essay: A Comparison of Two Paintings from the Renaissance Period Introduction This paper will compare the themes found in the paintings “Madonna and.
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