![]() ![]() These shots help to establish the local geography more clearly than in the theatrical version. There are several newly added shots of the French village as Balian walks away from the prison.The guard of the prison ('Tim Barlow' ) then comes in to Balian's cell and releases Balian. There is a new scene of Balian looking at the sapling planted by his wife ( Nathalie Cox), coupled with a flashback of her planting it.There is a new scene where the bishop of the town ( Bill Paterson) orders Balian's brother to release Balian from prison so the blacksmith can aid him in completing the construction of the new abbey.Also, newly added dialogue with the gravedigger ( Martin Hancock) reveals that the woman being buried was married to the Priest's brother, Balian the Blacksmith ( Orlando Bloom). In the opening scene, there is a shot of the Priest ( Michael Sheen) splitting open his apple only to find that it is rotten. ![]() The primary additional scenes in the Director's Cut are: Also, there is now more graphic violence in all the battle scenes, with newly added shots of spurting blood and new close-ups of wounds being inflicted. ![]() In all, 45 minutes of new scenes have been added, with the biggest addition, as Ridley Scott acknowledges in the introduction, being the subplot of Sibylla's son. In the 15th century, the horse was protected with plate armor, the same as the knight.īarding was very close to the human armor even in decorations, delicate lines being embossed in the metal surface in the same way that the knight’s armor was treated.The 194 minute Director's Cut is a roadshow format presentation with an Overture, Intermission and Entr'acte. To prevent chafing, the plates were lined with leather or wadded with cotton. The root of the tail was protected by a tubular plate called the gardequeue. The back of the horse was protected by the crupper, made of several pieces riveted or hinged together. The breast plate could be of cuirbouilli as well. We learn that the head piece was made probably of cuirbouilli, as suggested also by the image presented here. There are also mentions of a rigid horse armor in the Windsor Roll. The caparisons first appeared on Royal seals under Edward I. Matthew Paris, when describing the Battle of Nova Croce in 1237, writes that Milan raised an army which was using iron-clad horses.Īnd an ordinance of Philip the Fair, dated 1303, required that owners of certain estates should provide at least a man-at-arms mounted on a horse wearing armor or quilted defences. The relation worked both ways, meaning that if, for some reason, the trappings were required, the churches were asked to provide them.Īs the man was in some cases defended by quilted garments, so the horse could wear a quilted trapper. When their owner died, the rich trappings were donated to churches, where they were used as altar hangings. It is doubtful that that particular model was in general use, as the horse could barely walk, let alone to trot or to gallop.Ī much lighter textile trapper was used more for display and ornament, however these garments were designed for the same purpose as the knight’s surcoat: to protect the armour from wet. Paintings executed about the year 1237 are showing a quite inconvenient trapper of chain mail. In his chronicle “Roman de Rou”, Wace is mentioning Duke William’s horse as being defended by armor, “covert de fer.” However, he wrote in the second half of the 12th century, and, as with all Medieval chroniclers, he portrayed his characters in the dress of his time.Ĭhain mail armor for horses was known as early as the Roman times, as shown on the Column of Trajan, but in the Middle Ages it does not seem to have been in common use before the 13th century.īarding developed along similar lines with the knights armor. The Bayeux tapestry does not mention any armor being used for the Normans’ horses. ![]()
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