Discover the best Notre Dame Under Armour apparel. How can you show your Fighting Irish spirit. Where to find authentic Notre Dame merchandise. What are the top-selling items for fans.
The Evolution of Notre Dame’s Partnership with Under Armour
Notre Dame’s collaboration with Under Armour has revolutionized the Fighting Irish’s athletic apparel and fan merchandise. This partnership, which began in 2014, has brought cutting-edge technology and stylish designs to Notre Dame’s iconic brand. Under Armour’s commitment to innovation has enhanced the performance of Notre Dame athletes across various sports while providing fans with high-quality gear to showcase their support.
The impact of this partnership extends beyond just clothing. It has influenced Notre Dame’s athletic culture, recruitment efforts, and overall brand image. Under Armour’s global reach has helped expand Notre Dame’s fanbase and visibility worldwide, solidifying the Fighting Irish’s position as one of the most recognizable collegiate brands in sports.
Top-Selling Notre Dame Under Armour Items for Die-Hard Fans
Are you looking to upgrade your Notre Dame wardrobe? Here are some of the most popular Under Armour items that Fighting Irish fans can’t get enough of:
- Notre Dame Fighting Irish Under Armour Alumni Performance Cotton Short Sleeve Tee
- Under Armour Notre Dame Fighting Irish Summit Crew
- Men’s Under Armour Navy Notre Dame Fighting Irish Replica Custom Jersey
- Notre Dame Fighting Irish Under Armour Core Adjustable Hat Navy
- Men’s Under Armour Kelly Green Notre Dame Fighting Irish Mascot Logo Performance Cotton T-Shirt
These items combine comfort, style, and team spirit, making them essential for game days or everyday wear. The performance fabrics used in Under Armour’s products ensure that fans stay comfortable whether they’re cheering in the stadium or watching from home.
Innovative Technologies in Notre Dame Under Armour Gear
Under Armour’s commitment to innovation is evident in the technologies incorporated into Notre Dame’s athletic and fan apparel. Some of the key technologies include:
- HeatGear: Keeps athletes cool and dry during intense workouts or hot game days
- ColdGear: Provides warmth without bulk for cold-weather games and practices
- UA Storm: Water-resistant technology that repels rain and snow while remaining breathable
- Charged Cotton: Combines the comfort of cotton with quick-drying properties
- ArmourVent: Mesh technology that maximizes breathability
These technologies not only enhance the performance of Notre Dame athletes but also provide fans with comfortable, durable, and weather-appropriate gear. The integration of these innovations into fan merchandise demonstrates Under Armour’s commitment to bringing professional-grade quality to everyday wear.
Exclusive Notre Dame Under Armour Collections
Under Armour regularly releases exclusive collections for Notre Dame fans, often tied to significant events or milestones in the university’s history. These limited-edition lines offer unique designs and commemorative items that quickly become collector’s items among die-hard Fighting Irish supporters.
Recent exclusive collections have included:
- The “Shamrock Series” collection, featuring special uniforms and fan gear for Notre Dame’s annual off-site home game
- “The Shirt” – an annual tradition where a new t-shirt design is released to unite the student body and fans
- Historic championship anniversary collections, celebrating Notre Dame’s rich football legacy
- Sport-specific collections for non-football athletic programs, highlighting the university’s success across multiple disciplines
These exclusive collections allow fans to own a piece of Notre Dame history while supporting their favorite teams in style. The limited availability of these items often leads to high demand and quick sell-outs, making them prized possessions for collectors and passionate fans alike.
Notre Dame Under Armour Apparel for Every Season
Is your wardrobe ready for year-round Fighting Irish support? Under Armour offers a wide range of Notre Dame apparel suitable for every season:
Spring and Summer Gear
- Lightweight performance t-shirts
- Breathable polo shirts
- Moisture-wicking shorts
- Adjustable caps and visors
Fall and Winter Essentials
- Insulated jackets and hoodies
- Long-sleeve performance shirts
- Fleece-lined pants and joggers
- Knit beanies and warm headwear
By offering a diverse range of seasonal apparel, Under Armour ensures that Notre Dame fans can comfortably display their team spirit throughout the year. The versatility of these products makes them suitable for various activities, from tailgating to casual everyday wear.
Notre Dame Under Armour Footwear: Performance Meets Style
Under Armour’s commitment to Notre Dame extends beyond apparel, with a range of footwear options designed for both athletic performance and casual wear. The Notre Dame-branded footwear collection includes:
- Training shoes optimized for gym workouts and cross-training
- Running shoes featuring HOVR technology for superior cushioning and energy return
- Casual sneakers and slides for everyday comfort
- Sport-specific cleats for football, baseball, and other Notre Dame athletic programs
These footwear options not only provide Notre Dame athletes with top-tier performance gear but also allow fans to literally walk in the footsteps of their favorite Fighting Irish stars. The attention to detail in design, incorporating Notre Dame’s colors and logos, makes these shoes a standout choice for fans looking to complete their game day outfits or simply show their support in their daily lives.
Customization Options for Notre Dame Under Armour Merchandise
Do you want to make your Notre Dame gear truly unique? Under Armour offers various customization options for select products, allowing fans to personalize their Fighting Irish apparel and accessories. Some popular customization choices include:
- Adding your name and favorite player’s number to replica jerseys
- Customizing hats with specific years or personal messages
- Creating team-specific gear for Notre Dame club sports or intramural teams
- Personalizing bags and backpacks with initials or short phrases
These customization options provide fans with the opportunity to create one-of-a-kind Notre Dame merchandise that reflects their personal connection to the university and its athletic programs. Whether it’s commemorating a special game, honoring a favorite player, or simply adding a personal touch, customized gear allows fans to express their Fighting Irish pride in a unique way.
Sustainable Practices in Notre Dame Under Armour Production
In recent years, Under Armour has made significant strides in implementing sustainable practices in their production processes, including for Notre Dame merchandise. This commitment to sustainability aligns with Notre Dame’s values and appeals to environmentally conscious fans. Some key initiatives include:
- Using recycled materials in select apparel and accessories
- Implementing water-saving techniques in fabric dyeing processes
- Reducing packaging waste through innovative design and materials
- Exploring biodegradable alternatives for certain product components
These sustainable practices not only reduce the environmental impact of Notre Dame Under Armour products but also resonate with a growing segment of consumers who prioritize eco-friendly options. By choosing sustainably produced Notre Dame gear, fans can support their team while also contributing to broader environmental conservation efforts.
The partnership between Notre Dame and Under Armour continues to evolve, with both entities committed to innovation, performance, and sustainability. As new technologies emerge and fan preferences change, we can expect to see even more exciting developments in Notre Dame Under Armour apparel and merchandise in the future. Whether you’re a student, alumnus, or simply a passionate supporter of the Fighting Irish, Under Armour’s extensive range of Notre Dame products offers something for everyone, allowing fans to wear their pride with style and comfort.
Under Armour Notre Dame Apparel & Gear, Notre Dame Under Armour Merchandise
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Men’s Notre Dame Under Armour Gifts & Gear, Men’s Under Armour Notre Dame Fighting Irish Apparel, Guys Under Armour Clothes
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What was lost in the translation into Russian
The musical “Notre Dame” and thousands of migrants in Europe: what was lost in the translation into Russian.
However, behind every detail of the musical, the choice of actors and every line in the songs, there is a certain idea.Love versus justice
Russian reviewers and ordinary viewers mainly discussed the love story lines of Notre Dame, especially since people liked their closeness to the plot of the novel. The main character, a gypsy dancer named Esmeralda, is desired by four men. The elderly priest Frollo is gloomy, accusing, full of hatred and passion. His pupil, the disabled young man Quasimodo, is ugly, but kind and pure in soul to the point of naivety. Frollo’s pupil (possibly also united with his younger brother) Gringoire is a cheerful, frivolous, friendly poet. And the city guard officer Chateaupier is a cynical, prudent womanizer.
The noblewoman Fleur-de-Lys competes with Esmeralda for the love of Châteaupier; out of jealousy, she seeks the execution of the dancer. Her tutor and, possibly, foster father, the leader of the gypsies, Clopin, is trying to protect and save Esmeralda (Hugo has two different characters).
In fact, we have a standard layout of a melodrama with a bias towards a female novel. It must be said that many people perceive the book based on which the musical was staged in much the same way.
Four men fall in love with Esmeralda, who has barely become a girl, and their love turns into death for her.
One of the cut scenes is a failed performance by Gringoire, where allegories act instead of human characters. But, if you look closely, the allegories have not gone away. Remember that it was Gringoire who was declared the narrator of the story from the very beginning. The whole musical is his retelling of events through who knows how many years. Unexpectedly, but it seems that what is happening on the stage is not only the story in which he once became a participant, but also his very play with allegories.
Only the allegories before us are different, not those in the novel.
Gringoire is not only a storyteller, but also an allegory of Art. What can art do when it sees injustice? Only one thing: do not be silent.
Frollo and Châtopeur symbolize two aspects of Power. The power of the dominant Idea or Morality and the power of Force. Frollo denounces, Frollo asserts, Frollo appoints the guilty. The Force takes what it wants, betrays it when it wants, and truly takes into account only the other Power. Fleur-de-lis is that part of society that is deprived of power, but has a number of privileges. These are bourgeois (especially middle-class women) who do not stick out and are sure that, in general, everyone could not stick out, not be different, if only they tried, and then they would not be punished.
As in the novel, Esmeralda is French, but now not by origin, but by birthright in the country. Clopin is no longer a Parisian thief, but a migrant, the leader of the gypsies. Perhaps the thief too.
The costumes worn by the characters on stage are, in this light, not just an abstraction or a rejection of traditional imagery. They reveal the characters to the maximum and give additional meaning to many scenes, turning the melodrama into a discussion of issues of social justice.
Why the gypsies were dressed in hoodies
There were many complaints among the audience that costumes that did not fit the historical era did not play on the atmosphere.
But these outfits should not convey the spirit of the era, they emphasize that the characters are in front of us, with all their living, hot history, first of all – allegories, symbols, Roles with a capital letter.
Chateau is clad in shining armor. On the one hand, this gives him an invulnerable image, on the other, a brilliant, radiant, literally blinding brilliance (this is very well shown in the scene where Esmeralda and Fleur-de-Lys compare their lover to the sun).
Shining armor and green rags on the characters are more than just clothes.
Frollo’s shadow, thanks to the festoons, turns into an ominous black bird.
This happens in the scene when he complains that he has become a victim of Esmeralda’s spell – while the priest’s shadow hanging over the girl clearly shows who is really the victim here and who is the predator. We see this same bird of prey when Frollo, consumed by jealousy, pursues Gringoire and when he strikes Chateaupier with a knife. Morality dresses in modest clothes, but it is only the guise of Power, and this is emphasized by the fact that Frollo later acts as a judge.
Sometimes a shadow is not needed for Frollo’s true nature to come out. In the scene of the second attack on the cathedral – the one where he shouts to the soldiers “I give you the right to trample rights!” – he opens his arms like wings, obviously, openly, defiantly turning into a bird of prey.
Gringoire’s almost ridiculous attire as the embodiment of Art tells us about nothing about his social position. A luxurious coat can be from someone else’s shoulder – or, conversely, ripped jeans and a stained shirt can be coquetry, a tribute to bohemian fashion.
Art outside the social framework.
Fleur-de-lis dress, pink, featureless in style, looks like a uniform. Pink is the standard color of Proper Femininity, there are practically no details on the dress that would tell us something about the personality of the girl, since it is reprehensible for a true woman and the most bourgeois bourgeois to “stick out” her personality, to show that she is. Fleur-de-lis is deliberately “none”.
The theme of migrants and minorities in the Russian musical turned out to be greatly smoothed out, but nevertheless an Asian played Clopin, and one of the performers of the role of Esmeralda was a gypsy.
If the Fleur-de-Lys hair is neatly styled in curls, then the French Esmeralda looks not just uncombed – disheveled.Fleur-de-lis dress reveals the body and almost merges with it in color, making the girl defenseless in appearance. Esmeralda’s dress opens or closes the body obviously where she herself wants. At the same time, it resembles Quasimodo’s brown cassock in cut and details, as if emphasizing their similar position.
Gypsy costumes are recognizable as ghetto styles.
However, both the image of the guards and the image of illegal immigrants in hoodies will be more than clear to the Frenchman. These are images of the riots on the streets of France that swept through the nineties and zero years. Hoodies – clothes of youth from Muslim ghettos. And the cry “Shelter!” – a reference to the story when, during the riots, several assimilated Arabs tried to appeal to the customs of France and ask for refuge in the temple. But the doors did not open and the youths were severely beaten right in front of them. This story was discussed by the whole country.
The Great Migration of Nations
The very first aria tells the French audience that history is not so much about past days as about ours. Presenting himself as a narrator and claiming that the action of history takes place in the era of cathedrals, Gringoire at the same time sings: “The world has entered // Into the new millennium // Man wanted to ascend to the stars … The time of cathedrals has passed.
// A crowd of barbarians // Already at the door of the city. // Let these pagans, these barbarians in. // End of the world // Predicted for the year 2000! // Predicted for the year 2000.” These lines are missing in the Russian version.
Before us is a story not only about abstract social justice. From the very first song, the theme of the next great migration of peoples is announced – mass migration from the “third world” to Europe. The musical intends to talk to us about the problems of migrants and migration, about the fears of Europeans, about the challenges of European civilization and the opening of a new era. While following the old love story, the French audience is also following the topical plot of contemporary Parisian streets.
In the Russian version Gringoire promises that “barbarians” will come and go, in the original they only come and more and more will come.
He is one of the faces of migration, along with the quite European-looking Esmeralda.The second song, a mixture of complaints and threats, presents us with migrants as they are presented in the media. “We // Strangers, // Illegals, // Homeless… We ask for shelter” and “There are more than a thousand of us // At the gates of the city // And soon there will be // Ten thousand, and then a hundred thousand. // There will be millions of us // Who will ask for // Shelter! // Shelter!” This is not yet the reality of the late nineties, these are fears, this is a premonition – which, as we now know, has come true.
But the authors are far from the position of an unambiguous perception of the new era. They, as we see from the future, give the floor not only to the fears of the layman, but also to the migrants themselves (“Condemned”), and to those who were already born in France, but remain a migrant in the eyes of the layman (aria “Gypsy”, in the Russian version – “Daughter of the Gypsies”).
They discuss the problem and causes of ghettoization in the aria “Court of Miracles” and remind that the current change of eras, from which no one knew what to expect, is not the first in history (aria “Florence”, in the Russian version – “Everything will have its hour”) . To understand the full depth of these arias, it is worth reading literal translations, since in the Russian musical the theme of migrants was significantly softened, leaving the main plot of the first plan – about love. Perhaps it seemed too sharp to the translators or director, or, on the contrary, irrelevant for Russia, because many arias and scenes refer to events from the news of distant France.
The Court of Miracles has turned from a den of thieves into an ordinary ghetto, criminalized, but populated not only by criminals, but who cares.
The hypocrisy of power
Relations of power and the question of how for every disenfranchised person can be found another social subject.
Behind the modest, dull garb of Morality (Frollo) and the sparkling armor of Strength (Chateauer) hides a consumerist attitude towards those who have no power. The authorities not only use or want to use the disenfranchised, but also transfer responsibility to them – the eternal history of mankind, when opportunities and privileges are for some, and the punishment is, if anything, the other. It is not surprising that other characters sing about Esmeralda and Quasimodo through the lips of other characters: “The one that everyone considers just a walking girl, a lost girl, sometimes seems to carry the cross of the human race” and “Have pity on poor Quasimodo, who carries all the misfortunes of the world on his back “.
Frollo uses Quasimodo to commit crimes, and it is the disabled young man who is punished (to emphasize that he is not responsible, the authors also made him mentally retarded). Frollo commits the crime himself – and they hang Esmeralda for him (to emphasize that the actions belong to the Power, and anyone else is responsible, Esmeralda and Fleur-de-Lys are made by teenage girls clearly younger than in the book – and this will not stop anyone from putting someone else’s blame on them).
Frollo tries to rape Esmeralda, she is saved by rebellious gypsies – and it is the gypsies who are punished.
In twenty years, the creators of the musical have slightly changed the concept at least twice, and in the latest version, Frollo’s costume is decorated with an elaborate pattern.
Esmeralda as a Woman loses her willingness to defend herself the moment she puts away her knife in the scene where she gives herself to Chateaupier.
Frollo reproaches the girl for destroying him with her seductiveness, calls her slutty – but it is he who is trying to rape Esmeralda, and not vice versa, it is he who is torturing her and sentences her to be hanged. And who is destroying whom?
Fleur-de-Lys asks Chateaupier to hang Esmeralda. He listens to the bride’s aria with complete indifference, and then, showing off, sings that he is returning to her. Now the bloodthirsty Fleur-de-Lys seems to be responsible for the execution – but we clearly see that the final choice is for Frollo, and this choice was made in advance, and Chateaupier cheated on the bride, and did not leave her. Both Powers are hypocritical in the musical through and through, and the power of Fleur-de-Lys, who found someone more disenfranchised than her, is illusory.
Clopin voices the law according to which Gringoire must be hanged in the Court of Miracles, but delays the execution and reminds Esmeralda that she can save the intruder.
Gringoire, in love as unrequitedly as Frollo, offers himself to Esmeralda and calmly accepts her refusal – in contrast to the scene of the rape attempt. There is always another choice, the creators of the musical say. When someone in power claims to have been forced to commit a crime, he is lying.All the hypocrisy of the Authority gathers in Frollo’s phrase addressed to the city guard: “I give you the right to trample on the right” – the sacred right of everyone to save their life outside the walls of the temple. And, although Quasimodo, having seen the death of a friend and lover, rebels, we understand that this rebellion, by and large, does not give anything. Esmeralda is dead. Clopin is dead. Quasimodo is dead. Morality has fallen. Force wins.
Just like in Hugo’s Notre Dame Cathedral, important details of which readers often forget .
Text: Lilit Mazikina
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This book tells about the history of chivalry and weapons in the Middle Ages.
Our incessant search in the museums of Europe, both the most famous and the most modest, has allowed us to significantly expand the source base, collected with great difficulty over the course of twenty-five years.
The old writings on the subject are still our most valuable guide. “Dictionary of Architecture” and “French Furniture” by Eugene-Emmanuel Viollet-le-Duc, “Costume” by Friedrich Hottenroth, “Guide for Arms and Armor Lovers” by August Demmin. The writings of a hundred years ago were the adornment of the era and aroused a keen interest in the Middle Ages, which was almost unknown before.
We are especially happy that we have the opportunity to present to our readers the quintessence of the main provisions of these works, which are practically inaccessible in our time. We are even more happy that we can offer the reader the drawings of all objects, made by these brave pioneers. Having sought out the sources they used, and following their path step by step, only a century later, we discovered with amazement how little these writings had become outdated.
How can you remain indifferent to these books, leading to amazement and admiration, they breathe such a noble spirit!
An amazing phenomenon, which is a mute testimony to the talent of their authors and the enormous work to which they have dedicated themselves. Another source of the power of these wonderful books, and of the inexhaustible curiosity they arouse, lies in the fact that these authors were excellent draughtsmen, a quality especially attractive to the less sophisticated reader. Our borrowings from the above works, limited to military chapters, have been not so much retouched as supplemented on the following pages: they form a token of gratitude to our predecessors. Some of the latest theories that we present in these two volumes are based on our own observations. They do not pretend to change the generally accepted ideas, however, offered to the attention of the interested reader, they provide an opportunity for a parallel and critical comparison, the results of which we await with keen interest.
We would like to thank our friends Eugène Leliepvre, painter of the French army, and Jacques Lesellier for the precise information which he willingly gave us.
Lillian and Fred Funken
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Sources
Among the pioneers, the palm undoubtedly belongs to the Englishman Sir Samuel Rush Meyrick (1786-1848), the founder of military archeology. In 1826 he was commissioned to reorganize the famous gallery of kings in the Tower of London, an impressive enfilade of twenty-one figures, headed by William the Conqueror … in the armor of the late 16th century! The famous Black Prince, who died in 137b, was dressed in the armor of Edward VI, made in
1552
With the enthusiasm of a neophyte and the innocence of a self-taught man, Meyrick redesigned the famous gallery, introducing “creatures” though less ridiculous than before, but also very fantastic. He managed, at least with his collecting enthusiasm, to arouse the interest of compatriots in ancient weapons and armor.
Forty years later, Meyrick’s “science” evoked only ridicule, but at least part of an excellent collection remained from him. It is now on display in the Welsh Collection, which arose from the gallery of an old pioneer who, although not a military scholar, had excellent taste.
In other countries things were even worse. In Zurich, pot-bellied cuirasses with plastrons were considered … female! In Spain, Italy and even in Germany, gross errors were made in dating.
In his work mentioned in our preface, August Demmin violently attacks the mistakes of museum curators, not sparing France, where a certain P. Lacombe
published the book “Arms and Armor” in the excellent series “Library of Curiosities”1. In this book, P.
Lacombe casually attributed to Charles the Bold, who died in 1477, the armor of the beginning of the 17th century.
1.Hachette, Paris, 1868 Carried away by his own indignation, Demmin even unfairly ascribes three extra errors to Lacombe.
2. So with Demmin. However, they date from the second half of the 16th century.
CAROLINGIAN ARMY (I)
1. Types of cavalry warriors of the Carolingian era with the imperial standard of Charlemagne.
2. Lightly armed foot soldier.
3. Archer.
4. Heavily armed foot soldier.
They are all dressed in protective armor, reminiscent of the Merovingian lorica borrowed from the Romans.
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Demmin’s Guide, now rarely cited and extremely expensive, represented a significant step forward for its time, despite the fact that it contained several erroneous conclusions generated by an excessively lively imagination and an excessive reformist passion. This work has not lost interest and is a real little treasury, since the author, being an excellent draftsman, diligently produced almost one thousand seven hundred drawings illustrating his Guide. Compared to the sixty vignettes of the ill-fated Lacombe, this was a masterpiece.
A few years later, in 1874, a real monument came out in Paris – a “French explanatory dictionary of objects” in six volumes, followed the next year by a ten-volume Dictionary of Architecture, editions abundantly and excellently illustrated by the author Eugene-Emmanuel Viollet – le Duc (1814-1879).
Few authors have been criticized more than Viollet-le-Duc, and to this day his name remains for the majority a synonym for speculation, arbitrary interpretations, and fantastic views.
In front of the massive castle in Pierrefonds, the visitor recalls the judgment of a famous archaeologist1 who wrote: “The ruins even today (in the 19th century) are an impressive complete ensemble. Viollet-le-Duc tastefully restored it in a manner that repeats, both in general and in detail, a feudal estate of the 15th century.
1. Camille Enlart. Textbook of French archeology, Volume II, p. They wear iron cuirasses, inherited from the Romans, “thorax”, the same made of leather was called “lorica”.
The general appearance of the vestments is quite Byzantine. Perhaps it reflects the artist’s place of study or homeland more than the actual “military uniform” worn in France.
3. Dragon bearer, middle of the ninth century. The dragon was carried in battle, at least in Hermania, until 1270.
4 and 5. Warriors of the Capetian era, 10th c. On the left in armor made of metal plates, on the right in armor made of leather with sewn metal plates, which was called mesh armor.
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Under the walls of Carcassonne, he can finally console himself by remembering the impartial judgment of Raymond Ritter1: “The upper parts of the inner towers, restored by Viollet-le-Duc, do not stand up to criticism, but in the towers of the outer wall, Philippe Hardy retained all the old masonry, Viollet-le-Duc could not even restore the ceiling and roof without giving scope to his imagination.”
The works of the great pioneers, which are most often cited to emphasize their mistakes, are widely used in practice today, especially by the authors of untitled works.
An amazing phenomenon: the reader is looking for information unknown to him in the book, and the critic notices only what did not matter to the author. This distrust of the works of the great predecessors makes a strong impression on unsophisticated authors seeking success with the general public. Fortunately, there are a few military archaeologists whose authority does not need such subterfuges. These include Philip Trutman, who recently wrote: “Viollet-le-Duc remains an unsurpassed connoisseur of the subject, and his detractors have no choice but to rob him” (“Archaeology”)2.
1. Raymond Ritter. Castles, donjons and fortresses, Larousse. 1953. This is a small and surprisingly informative work.
2. Some art historians have also been rehabilitated. To quote Michel Ragon (World History of Architecture and Modern Urbanism, Casterman, 1971-1972): “This ‘imitator’, as Ruskin calls him, was in fact the first great theorist of modern architecture, and was held in high esteem by all the innovators of the 20th century.
.. At the beginning of their work (they) paid more or less a real cult to Viollet-le-Duc … Gaudi in Spain and Guimard in Paris never denied his influence … It is necessary to study the buildings of the past, not in order to copy them, but in order to derive original principles.”
ARMOR AT THE BEGINNING OF THE 11TH CENTURY
1. Image of a Norman warrior, a copy of the drawing (embroidery) on the carpet from Bayo “The Tale of the Conquest”. The legs, covered with metal-plate trousers, seem incredible, since such attire causes great inconvenience to the mounted warrior. This opinion is shared by Frederick Wilkinson in his book Battle Armor. The sword inserted under the armor also restricts the movement of the legs, especially when mounting a horse.
2. Anglo-Saxon warrior with a round convex shield. The Normans and Saxons also wore armor made of round, square or oblong scales, riveted or sewn onto thick fabric or leather.
3. Norman warrior from the time of the conquest of England with the standard of William the Conqueror.
