RadekKotecki
Member
- Joined
- Nov 23, 2023
- Messages
- 16
Reviewed product: Panzerart's FI75-018 Warrior Bishop. Second half of the 13th century
https://panzerart.pl/product/fi75-018-warrior-bishop-second-half-of-the-13th-century/
In recent months, Panzerart has released several new figures depicting medieval warriors. So far, I've had the opportunity to review one of them (FI75-010 Teutonic knight, Polish-Teutonic War, Battle of Płowce 1331). Its high quality was evident for me and it was confirmed when I began working on it. It is, then, with great satisfaction that I note the release of more figures in the series, especially since the producer is selecting genuinely interesting themes. One such example is the 13th-century warrior bishop, miniature being reviewed here (FI75-018). Warrior bishop, combining the characteristics of both knightly and clerical ranks, was not uncommon, particularly in the High Middle Ages. Choosing such a subject is indeed a commendable decision. It allows painters to tackle a fascinating yet underrepresented theme, as until now, we have had essentially only one successful figure of this kind in 75 mm scale from Romeo Models (ROM75043). Almost concurrently with the Panzerart's product, Altores Studio released a figure representing the Archbishop of Cologne/Trier around 1365 (F-75-235). However, in my opinion its stiff and unnatural pose is off-putting.
This is not the case with Panzerart’s product. Its author, Oleg Pogosyan, well-known for his ability to capture natural poses, has once again demonstrated his mastery by “freezing” the bishop in a flawless dynamic pose. This pose is very well chosen. We see the bishop in a role that medieval warrior bishops often assumed – leading by personal example and encouraging royal knights or church ministeriales to fight. In this instance, the bishop is acting in just such a manner, as indicated by the flowing elements of his tunic and the fluttering stole, and especially the crozier or cross held in his right hand rised high – sacred objects that inspired courage, a desire to fight, and sacrifice among the knights.The bishop is depicted climbing steps, implying that he is urging the knights to storm a castle or seize rooms during a fortress battle. In this case, the bishop not only commands and comforts but is also ready to engage in combat himself, wielding a mace in his left hand. The mace (in two versions) is considered suitable for prelates as it does not cause bloodshed, which was prohibited by canon law. The bishop also carries a sword at his belt, presumably to be used as a last resort if his life is in danger. Such details indicate Pogosyan’s thorough understanding of the subject.
The figure also stands up to historical accuracy for the second half of the 13th century. The bishop's body is protected by a knee-length hauberk and a coat of plates typical of the period, fastened at the back, and with a mail coif on top (similar to the 1250 statue of Saint Maurice in Magdeburg Cathedral). The bishop’s insignia are also period-appropriate: a high mitre with a round cap and a crozier of Limoges type, in this case featuring an agnus Dei.
In terms of casting quality, the figure is very high-level, just like the Teutonic knight reviewed earlier. The casts are clean and detailed. A close inspection reveals only minor flash that can be easily removed with a hobby knife or sandpaper, as well as a few air bubble marks in the resin that can be filled with putty. I found only one larger flash that will be impossible to repair, where the lower part of the coat of plates meets the mail coat, under the belt on the right side. This appears to be due to not casting this part of the coat of plates as a separate element, as was done with the rear part. However, it appears possible to hide this imperfection quite easily by pressing the coat of plates against the mail coat when heated.
The crozier’s curve, printed in 3D, is particularly impressive. The print is very precise, and the details are phenomenal. This element will be a true highlight of the figure. Painting it with a metallic paint might pose a challenge, as metallic paints tend to accumulate in recesses, obscuring fine details. It is recommended to paint it with highly diluted paint, preferably using an airbrush.
Overall, we have received another excellent miniature that demonstrates exceptionally high craftsmanship and tackles a rare but highly intriguing subject. The most interesting parts to paint will likely be the “clerical” elements of the bishop’s attire. Thirteenth-century mitres and stoles were richly decorated, hence painting them simply in white would waste the potential inherent in this figure.
https://panzerart.pl/product/fi75-018-warrior-bishop-second-half-of-the-13th-century/
In recent months, Panzerart has released several new figures depicting medieval warriors. So far, I've had the opportunity to review one of them (FI75-010 Teutonic knight, Polish-Teutonic War, Battle of Płowce 1331). Its high quality was evident for me and it was confirmed when I began working on it. It is, then, with great satisfaction that I note the release of more figures in the series, especially since the producer is selecting genuinely interesting themes. One such example is the 13th-century warrior bishop, miniature being reviewed here (FI75-018). Warrior bishop, combining the characteristics of both knightly and clerical ranks, was not uncommon, particularly in the High Middle Ages. Choosing such a subject is indeed a commendable decision. It allows painters to tackle a fascinating yet underrepresented theme, as until now, we have had essentially only one successful figure of this kind in 75 mm scale from Romeo Models (ROM75043). Almost concurrently with the Panzerart's product, Altores Studio released a figure representing the Archbishop of Cologne/Trier around 1365 (F-75-235). However, in my opinion its stiff and unnatural pose is off-putting.
This is not the case with Panzerart’s product. Its author, Oleg Pogosyan, well-known for his ability to capture natural poses, has once again demonstrated his mastery by “freezing” the bishop in a flawless dynamic pose. This pose is very well chosen. We see the bishop in a role that medieval warrior bishops often assumed – leading by personal example and encouraging royal knights or church ministeriales to fight. In this instance, the bishop is acting in just such a manner, as indicated by the flowing elements of his tunic and the fluttering stole, and especially the crozier or cross held in his right hand rised high – sacred objects that inspired courage, a desire to fight, and sacrifice among the knights.The bishop is depicted climbing steps, implying that he is urging the knights to storm a castle or seize rooms during a fortress battle. In this case, the bishop not only commands and comforts but is also ready to engage in combat himself, wielding a mace in his left hand. The mace (in two versions) is considered suitable for prelates as it does not cause bloodshed, which was prohibited by canon law. The bishop also carries a sword at his belt, presumably to be used as a last resort if his life is in danger. Such details indicate Pogosyan’s thorough understanding of the subject.
The figure also stands up to historical accuracy for the second half of the 13th century. The bishop's body is protected by a knee-length hauberk and a coat of plates typical of the period, fastened at the back, and with a mail coif on top (similar to the 1250 statue of Saint Maurice in Magdeburg Cathedral). The bishop’s insignia are also period-appropriate: a high mitre with a round cap and a crozier of Limoges type, in this case featuring an agnus Dei.
In terms of casting quality, the figure is very high-level, just like the Teutonic knight reviewed earlier. The casts are clean and detailed. A close inspection reveals only minor flash that can be easily removed with a hobby knife or sandpaper, as well as a few air bubble marks in the resin that can be filled with putty. I found only one larger flash that will be impossible to repair, where the lower part of the coat of plates meets the mail coat, under the belt on the right side. This appears to be due to not casting this part of the coat of plates as a separate element, as was done with the rear part. However, it appears possible to hide this imperfection quite easily by pressing the coat of plates against the mail coat when heated.
The crozier’s curve, printed in 3D, is particularly impressive. The print is very precise, and the details are phenomenal. This element will be a true highlight of the figure. Painting it with a metallic paint might pose a challenge, as metallic paints tend to accumulate in recesses, obscuring fine details. It is recommended to paint it with highly diluted paint, preferably using an airbrush.
Overall, we have received another excellent miniature that demonstrates exceptionally high craftsmanship and tackles a rare but highly intriguing subject. The most interesting parts to paint will likely be the “clerical” elements of the bishop’s attire. Thirteenth-century mitres and stoles were richly decorated, hence painting them simply in white would waste the potential inherent in this figure.
