View allAll Photos Tagged LEG_Guard
♫ Cupid boy, When we touch
I'm in heaven in your arms
Fire it up, The way you love
Feels like heaven in your arms
Skyrocket to Mars,Straight through to your heart
Every time we touch, I'm shootin' the stars
Cupid boy, When we touch
I'm in heaven..Cupid Boy ♫
Tune: youtu.be/PI5yx6OmiTU
On Dacio
Head - Lelutka
Body - Legacy
Face/Body Skin/Facial Hair/Hairbase - Not Found
Ears - Swallow/Codex
Arm Bands/Crown - Noche
Briefs/Toga - ERSCH
Tattoos - Speakeasy/Bolson
Leg Guards - THIRST
Wings - Blueberry
Backdrop - Foxcity
TAXI to Winterset Hollow.
/ HEAD / lel EvoX DEVON 3.1
Clef de Peau.Boris Petal [LeLUTKA]
Clef de Peau.Scruff v.3 Beige [LeLUTKA] (part of Lazlo skin)
Clef de Peau.Drago Brows BL Slashed [LeLUTKA]
Volkstone Carter Facial Hair
Volkstone Billy Hairbase - Platinum
Clef de Peau. Face Tattoo "This is" [LeLUTKA]
[Traume] Obsessed Blazers + Shirt WHITE
[Traume] Scripture Briefs + Shorts WHITE
Izzie's - White Tights
ARCHIVEFACTION_Boots&Leg Guard
BTTB fluffig bag
Pare.iPARE.MAXES
Head Tattoos: [MISTER RAZZOR] Kuniyoshi Head Tattoo /NEW@MAINSTORE
Hairbase: VOLKSTONE - Bald Hairbase
Body Tattoos: Hoodlem - Taking Risk Tattoo x /NEW@CAKE DAY
Face Piercings: Badwolf - Gunnar Piercings /NEW@ALPHA
Earrings: RichB. Antigua Earrings /NEW@ALPHA
Necklace: ARCHIVEFACTION_Core Necklace /NEW@ACCESS
Chest: L'Emporio&PL ::*Milo*::Half Chest Armor /NEW@ALPHA
Arm Brace: L'Emporio&PL ::*Rapax*::Bracer /NEW@ALPHA
Skirt: L'Emporio&PL::*Morgan*:: Skirt -Black- /NEW@ALPHA
Boots: ARCHIVEFACTION_Boots&Leg Guard_Black
Dirt: Izzie's - Dirt & Mud
Blood: Izzie's - Blood and Wounds
..or black&white on my instagram
on Ashley:
/ HEAD / lel EvoX AVALON 3.1
PUMEC - RYLEE - LELU EVO X - DEC
NOVA. Reason Hair @ Level
Clef de Peau.Brows blond (IRIS skin)
WarPaint* Glimmer eyeshadow - pitch
WarPaint* Venae - periorbital veins (faint)
*Bolson / Tattoo (Mix'Em) - Medeski
(Yummy) 20 in 1 Septum Rings
VELOUR: Ipanema Body Cleavage - Small (Cloudy)
[MANDALA]INVINCIBLE Choker/Necklace SET
-Influence-Charmant Eyelashes @ Level
ROULY :: Rouly Tights - Mesh -
TECHNOFOLK_Voltage Set
Ana Poses - Lyon 1
On Marco:
/ HEAD / lel EvoX EON 3.1
Clef de Peau.Lazlo Moon [VELOUR] @ TMD
Clef de Peau.Drago Brows BL Slashed Moon [VELOUR]
Clef de Peau.Lazlo Winter Nip v.1
Volkstone Billy Hairbase - Platinum
Volkstone Cezar Facial Hair - 05
Volkstone Eon SCAR
DAPPA - Hako Tattoo. [FRESH]
[MANDALA]TESTOSTERONE BOOST-PEARL
(Yummy) 20 in 1 Septum Rings
RichB. Gavi Earring (Dropped)
BTTB finger shirt - Black
[Traume] Scripture Briefs + Shorts BLACK
ARCHIVEFACTION_Boots&Leg Guard
ARCHIVEFACTION_KOLLAPSNEIGUNG GACHA_Shoulder Trench_01
TonkTastic - Patrol Cap M.#1
Ana Poses - Abri 1
White to pink or pale oranga carapace; reddish yellow legs with numerous spots; claws with dark wavy line markings. Commensal with branching corals. They use their claws to ward off coral predators. Lembeh Strait, North Sulawesi, Indonesia
The Gejia (Chinese: 家人 or 革家人; Hanyu pinyin: Géjiārén; also Gedou) is an ethnic group of Guizhou province, southwestern China. They are officially classified by the government as a part of the Miao, but have separate status in Guizhou. The Gejia live mainly in Qiandongnan Prefecture, in the counties of Huangping, Kaili, and Guanling. They are concentrated in the towns of Chong'an, Chong Xing, Huangpiao in Huangping and Longchang, Wanshui of Kaili. Matang is exclusively inhabited by these people. There are over 400 inhabitants in this village. The total Gejia population is approximately 50,000.
The major occupation among the Gejia people is farming. They practice slash-and-burn methods of cultivation, with rice, corn, and millet being their major crops. The women are typically focused on embroideries and batik. Their handicraft style dates back to the Qin dynasty (221–207 BCE), the first dynasty of a unified China and the group sells the items to visitors. The people are most noted for their batik products. Girls are taught the technique at a young age.
The dress code of the women has a cultural symbol, particularly signifying the warfare of their ancestors. The head dress is a representation of the Sun and the arrow, while the shoulders and back are covered with thick wools like shawls that represent shields. They cover their legs with leggings as leg guards and the clothes are made in white and red patterns, and decorated with silver ornaments.They practice animism, and make offerings to appease invisible spirits to prevent diseases, calamities and death, and to make a good harvest.
A major festival among the Gejia is Caiqing. It involves a dance called Caiqing Wu (Wu for "dance"), which is a dance of romance. It is held in the first lunar month. Gejia women wear colourful festival dresses, including batik scarves, silver necklaces, pleated skirts, aprons and leggings. There is also a lusheng festival (similar to that of Miao) held in November where the boys play a series of bamboo pipes called lusheng. They perform bird fight and antiphonal singing.
________________________________________________
∎Boots With Leg Guard
Belleza jake, Legacy M
☑ Copy Only
∎Ligne Shorts
Belleza jake, Legacy M
☑ Copy Only
________________________________________________
Fatpack is ☑Modify ☑Copy
Try demo before purchase.
A WIP / scrapped project inspired by the Bionicle collab here on Flickr some time ago. The axe was originally a table scrap from my last years Bio-Cup build and had wanted to build a character to wield it since then. I realized mid-build that I only have one of each of those leg guards, so now it looks more like he wears different pair of boots he put on in a hurry in the morning...
As I sneak around the fenced-in flock, two huge sheep rose from the distance... I thought. But since when do sheep bark?...it flashed through my head. Only then did I regnozice the two Abruzzo sheepdogs that literally flew towards me with loud barking because they thought I was an intruder. I stepped back two meters but then stopped and talked to them. Only then did they calm down, but kept a watchful eye on me. When I took a step closer, they barked again. So I stuck to their given zone because it would be easy for her to jump the fence.
Abruzzo Shepherd Dogs are herding and driving dogs and the shepherd's right hand on four legs. Guarding animals and the farm is in his blood. They were just doing their job...smile
· ▸ Shorts & Leg Guard Boots single purchase is available in:
ㅤㅤ• 4 Shorts color textures
ㅤㅤ• 4 Leg Guard Boots color textures
· ▸ Fatpack is available and comes with:
ㅤㅤ• Shorts
ㅤㅤ · 12 Main color textures
ㅤㅤ · 2 Side Part colors
ㅤㅤ• Leg Guard Boots
ㅤㅤ · 4 Leather Leg Guard color textures
ㅤㅤ · 4 Leather Boots color textures
ㅤㅤ · 4 Sole color textures
· ▸ Shorts & Leg Guard Boots is fitted for:
ㅤㅤ• Legacy Male
ㅤㅤ• Belleza Jake
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ㅤㅤｓｈｏｐ ｔｈｉｓ ａｔ ｅｑｕａｌ１０ 苛 尉 ズ ょ ド
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▸ Ｊｏｉｎ ｕｓ ｏｎ Ｆａｃｅｂｏｏｋ
ㅤㅤ
ㅤㅤhttps://www.facebook.com/equal10event
ㅤㅤ
▸ Ｊｏｉｎ ｕｓ ｏｎ Ｉｎｓｔａｇｒａｍ
ㅤㅤ
ㅤㅤhttps://www.instagram.com/equal10eventsl/
ㅤㅤ
▸ Cam sim 1
maps.secondlife.com/secondlife/equal10%20cam%20shopping/1...
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▸ Cam sim 2
maps.secondlife.com/secondlife/equal10%20cam%20shopping2/...
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▸ Main sim
circa 1978
I bought this very cheaply as a non runner
stripped the engine and overhauled it with a new crank, new bearings and seals and a rebore, ran like a dream foolishly i chucked away the excellent leg guards
my brother had it but destroyed the new engine, by failing to keep the throttle open going down a big hill
I repaired it but sold it afterwards
the idiot rides a BMW now,
but its the one bike I regret selling
Blog: infected.ynsayn-gaming.de/?p=192
Hair:
*Soonsiki~ Thoth
Piercings:
[CX] Blade Septum (Black) - The Arena
[CX] Skin Deep Collar M (Corroded & Scripted)
Tatoos:
.Identity. Body Shop - Sacred VI [Faded] - 100 Block
Neck:
MALE_Necklace [MANDALA]LEGENDARY
Shoulder:
[The Forge] Banshee Armour, Male (Black)
Bracer:
[The Forge] Iron Clad Bracer, R (Black)
Belt:
[The Forge] Arwen's Belt, Male (Black)
Kilt:
Legs:
[The Forge] Iron Clad, Leg Guards
Sandals:
[DDD] Men's Shepherd's Sandal - Left - Black
Credits:
✪ Anderson Baseball Cap by KINDEX
✪ Bruno Piercing Navel by KINDEX
✪ Klark X Briefs by KINDEX
✪ Brave Arm wrap by L'Emporio
✪ Brave Leg wrap by L'Emporio
✪ Boots & Leg Guards by ArchiveFaction
✪ Smith Shades by Deep Static
Manufacturer: Deutsche Industriewerke AG, Berlin-Spandau - Germany
Type: R-0/6
Engine: 496cc single cilinder 4-stroke
Power: 12 bhp
Speed: 105 km/h
Production time: 1928 - 1929
Production outlet: 9,000
Curb weight: 170 kg
Special:
- The R-0/6 is a re-design of the R-0/5 by Oberingenieur Martin Stolle (ex-BMW en Victoria).
- The D-Rad models had previously nicknamed "Spandau Spring Bock", which wasn't the company doing well (lousy handling of the leaf suspension forks).
- It was Martin Stolles new job to search for a solution.
- It has a three speed manual gearbox and a twelve liter petrol tank (ca. 3.5 Liter / 100km).
- Electric lights, Corbin speedometer, leg guards, bulp horn, footboards and switch operation with switching threshold value were optional.
- D-Rad did well in Gross-Berlin: In 1928 every fifth wheel was a "D-wheel" although there were up to 100 motorcycle companies in Berlin!
- In 1932 D-Rad was taken over by NSU.
And then these assholes, with bonus unused marksman 'fig. Trying to make a decently futuristic-looking SWAT officer was hard, since the only third-party folks making armor with the word SWAT slapped on them was Brickforge, and it was on a more modern-looking torso armor. I tried to balance it out with vambraces, shoulder/leg guards, and painted visors from Billy. The shoulder/leg guards are cut up bits from helmet visors. The shoulder guards are horribly flimsy, though. Gonna have to learn how to use ProCreate soon. Also had ALOT more officers than you see here in this pic. Hey, PDs are huge.
Alfred Mynn (19 January 1807 – 1 November 1861) was an English first-class cricketer during the game's "Roundarm Era". He was a genuine all-rounder, being both an attacking right-handed batsman and a formidable right arm fast bowler. Cricket writer John Woodcock ranked him as the fourth greatest cricketer of all time. Simon Wilde wrote of him: "The speed at which Mynn bowled... and his life-size personality captured the imagination of the public in a way no cricketer had before."
Mynn was born at Twisden, near Goudhurst in Kent, the fourth son of a gentleman farmer. He was a hop farmer, and was married to Sarah, in 1828. They had many children, five of his daughters survived to adulthood and Sarah Mynn outlived her husband by twenty years.
He was a very large man by any standard, bearing comparison with W. G. Grace. He was well over six feet tall and weighed more than 21 stones (294 lbs). He was known as "the Lion of Kent" and it was for Kent that most of his greatest feats occurred, though he also played a substantial number of matches for Sussex, Marylebone Cricket Club (MCC) and the All-England Eleven (AEE). His brother, Walter Mynn, was also an early cricketer with the Kent team. Mynn's first-class career was from 1832 to 1859. He played in 213 first-class matches. As a batsman he had 395 innings. He scored 4,955 runs at a batting average of 13.42 runs per innings with a highest score of 125 not out. He made only one century, scored for South v North at Leicester in 1836. As a bowler he was fast with a round arm action. With his arm never getting above shoulder height he was obliged to bowl around the wicket.
Fred Gale in "Echoes from old Cricket Fields" (Simpkin and Marshall 1871), wrote
"I must see another man who stands six-foot two, of gigantic but symmetrical figure, standing up his full height, taking six stately steps to the wicket, and bringing his arm round well below the shoulder, and sending the ball down like a flash of lightning dead on the wicket, before I can ever believe there is or has been a greater cricketer than Alfred Mynn".
Mynn suffered an ankle injury before the famous 1836 match. He batted with a runner and was unable to bowl. Leg guards had not yet been invented and as he made his hundred in the second innings his legs were badly bruised by the Northern fast bowler Sam Redgate. Mynn's captain, Lord Frederick Beauclerk sent him back to London laid out on the top of a stagecoach.
Dr Bainbridge of St Martin's Lane and Surgeon Lawrence attended him at the Angel Tavern and debated whether his leg should be amputated. When told he would lose his leg at the hip, Mynn, a sincerely religious man, asked for a few minutes to say his prayers. In those minutes the doctors decided not to operate and instead had him sent to St Bartholomew's Hospital. After two years convalescence, he fully recovered.[5]
After this injury there is some evidence that Mynn wore padding on his game leg. There is no conclusive evidence that he invented leg guards as worn by modern cricketers although there was an anecdote about WG Grace being presented with a pair of Mynn's pads and using them in a match. This story dates from Fred Gale's book "The Game of Cricket" (1887), published many years after the end of Mynn's career.
Mynn's finances were never sound. He played as an amateur and a gentleman and risked social disgrace each time he accepted money for playing. He was imprisoned several times for debts owed to John Wyatt, a money lender, in 1845. He was made bankrupt in that year. Often he was saved from his creditors by wealthy patrons who wanted him free to play in a match they had an interest in. It is possible he had extensive medical bills to settle after the injury to his leg. The situation was eased in 1847, by the award of a testimonial match at Lord's between Kent and "England". Mynn was also an enthusiastic amateur actor, appearing for the Old Stagers during Canterbury Cricket Week. He took regular minor roles from 1847 until his death. He generally played strongmen such as Hercules. In 1853 the Kentish Gazette noted his appearance as "The Grand German Water Drinker" when he imbibed "no less than 12 tumblers of water in as many half minutes."
He died suddenly at his brother Walter's house at 22 Merrick Square, Newington near Southwark, London. The cause of death was diabetes. As a member of the Leeds and Hollingbourne Volunteers, a rifle corps which was a forerunner of the Territorial Army, he was entitled to a military funeral. He is buried in Thurnham churchyard next to two of his daughters.
Legacy
The village sign of Mynn at Bearsted
William Jeffrey Prowse wrote what was to become one of the most famous pieces of cricket poetry in his memory. The first six stanzas compare Mynn with his contemporaries. The poem closes with these lines:
With his tall and stately presence, with his nobly moulded form,
His broad hand was ever open, his brave heart was ever warm;
All were proud of him, all loved him. As the changing seasons pass,
As our champion lies a-sleeping underneath the Kentish grass,
Proudly, sadly will we name him – to forget him were a sin.
Lightly lie the turf upon thee, kind and manly Alfred Mynn!
Mynn is commemorated in Bearsted Kent, where the house in which he lived, Mount Pleasant, can be found. The village sign is a depiction of him, and the local pub, The Lion of Kent, is named after him.
He is a fictional character in the historical novel Flashman's Lady. The main character Harry Flashman plays cricket with him several times.
Blog: infected.ynsayn-gaming.de/?p=192
Hair:
*Soonsiki~ Thoth
Piercings:
[CX] Blade Septum (Black) - The Arena
[CX] Skin Deep Collar M (Corroded & Scripted)
Tatoos:
.Identity. Body Shop - Sacred VI [Faded] - 100 Block
Neck:
MALE_Necklace [MANDALA]LEGENDARY
Shoulder:
[The Forge] Banshee Armour, Male (Black)
Bracer:
[The Forge] Iron Clad Bracer, R (Black)
Belt:
[The Forge] Arwen's Belt, Male (Black)
Kilt:
Legs:
[The Forge] Iron Clad, Leg Guards
Sandals:
[DDD] Men's Shepherd's Sandal - Left - Black
Texture: www.flickr.com/photos/27805557@N08/3621414632/
For Bare@Rose 5th Anniversary Photo Contest
I was so excited to learn that Bare@Rose is hosting a photo contest! Bare@Rose has always been a huge inspiration to my pictures. Since a combination of outfits is encouraged up to a limit of 5, I had so much fun experimenting with the variations!
This is reduced to 512 X 512 for the contest :) For the full image, please visit this link: oceanblackthorne.deviantart.com/art/BareRose-5th-Annivers...
I will replace this image with the larger version when the contest is over ^^
Bare@Rose Outfits used:
::: B@R ::: Cyber Kuroko
- Pants, Shoes, Arm and Leg Guards, Gloves, Left Shoulder
::: B@R ::: Ninjya Executioner
- Shirt, Prim Skirt, Right Shoulder, Large Syuriken on Back
::: B@R ::: Kabukimono
- Prim Jacket, Right Sleeve, Head Mask
::: B@R ::: Kugutsushi
- Red and Black Dolls, Jacket
::: B@R ::: Damaged White Denim
- Red Scarf
Check notes on the picture for some of the placements! ^^
Carbon fiber D.va skin with overwatch logo base.
Main inspiration pieces were the nexo knights shields and the hero factory wave 1 leg guards, the rest just followed after. Blue and red oscillating lights in cockpit, and yes, she fits inside. Got the base signed by Charlet Chung, voice actress of D.va.
Ormai siamo alla conta. Domenica si vota e, guarda guarda, in un Paese in cui nove milioni di lavoratori sono in condizioni di “disagio”, epicentro di questo rush finale di campagna elettorale diventa Oscar Giannino. Quale reato ha commesso?
Quello che commettono tanti italiani. Ricordate i posteggiatori di una volta, ora ce ne sono molti meno? Cosa ti dicevano quando lasciavi la macchina? Come ti appellavano? Ti chiamavano dottore. Così dal barbiere, quando entravi, si accomodi dottore. Ben pochi precisavano guardi non sono un dottore. No, siamo un popolo di tutti dottori. Se non lo sei non conti niente. E Giannino ha pensato bene che per farsi notare nel mondo dei media che lui ben conosceva in quanto portavoce – portaborse di Giorgio La Malfa, doveva inventare una sua collocazione. E frequentando personalità del mondo economico per conto del suo capo ha pensato di diventare lui un economista. E c’è riuscito. Ha messo insieme abiti molto eccentrici, si fa per dire, ghette sulle scarpe, un “gagà” di altri tempi, baffoni, bastone, ci manca il cilindro per cappello come dice la splendida canzone di Modugno ed sarebbe stato perfetto. E’ vero che l’abito non fa il monaco, ma può fare un economista un pò pazzoide, estroso, che si dà aria da gran signore, un liberal doc. E’ diventato così un giornalista sempre pronto a raccontare il suo passato, i suoi incontri con personalità del passato, morti ovviamente così non potevano né affermare né negare. Non è solo uno come Giannino, ce ne sono tanti che come lui vantano incontri, amicizie con personalità che sono defunte. Già che c’era, visto che la cosa rendeva, ha preso le sembianze di uno, uno qualsiasi dei tanti economisti con cui lui diceva di aver studiato e frequentato.
Una luminosa carriera. I giornali se lo contendano
Così inizia una luminosa carriera che lo porta fino a diventare quello che si chiama uno spin doctor, pensate un pò del presidente di Confindustria, Marcegaglia. E i giornali se lo contendano. Dal Foglio al Riformista, a Libero, Libero Mercato, il Sole 24 Ore, Radio 24, tutti lo vogliono. Diventa consulente di enti, banche, imprese. E lui sta al gioco. Se credono che sia un grande economista e per questo lo pagano perché deluderli? Già che c’è racconta altre imprese, la solidarietà, la beneficenza, l’assistenza ai malati terminali e simili. Insieme ai Master, alle due lauree, di cui parla poco, quasi mai “per non mettere a disagio gli interlocutori", magari poveri mortali con una sola laurea e senza master. Una puntatina anche nei convegni dei grandi economisti italiani, quasi tutti noti più per gli editoriali che scrivono sui giornali e non per gli studi scientifici, già l’economia è una scienza, cui si dedicano. Spesso insegni in qualche università, qualche ora, poi fuggi per convegni dove sei pagato per relazionare, o qualche consiglio di amministrazione dove non conti niente ma fai far bella figura all’azienda. Giannino sta al gioco di cui è inventore e capofila. Ma qualcosa gli manca. Passare da giornalista che racconta l’economia, da pluri laureato che formula ipotesi, propone progetti, a chi si propone di metterli in pratica, di decidere sulle politiche che devono essere attuate dai governi.
“Sale” in politica circondato da una corte di economisti
E imitando Mario Monti decide di “salire in politica”. Fonda un partito, presenta una lista alle elezioni, “Fare per fermare il declino” lui stesso è il candidato presidente perché, dirà poi, altri che fanno parte del comitato scientifico avevano impegni accademici. E questi altri sono, primo fra tutti, Luigi Zingales, professore presso la Chicago Booth School of business, indicata come una “scuola“ fra le più conservatrici degli Usa, impegnata a fondo nella campagna elettorale contro Obama. Zingales è anche un editorialista dell’Espresso. Nel “gruppone“ liberal, ci tiene a farlo sapere, con Giannino ci sono Alesina, editorialista del Corriere della Sera, questa volta separato da Giavazzi, De Nicola, collaboratore di Repubblica, come Michele Boldrin ed altri nomi illustri di economisti-editorialisti. Tutti insieme, appassionatamente, con Oscar. A nessuno è mai venuto il dubbio che Oscar fosse un gran fanfarone, una specie di caporal maggiore dell’economia che si trasformava di generale. Eppure di castronerie non era certo privo. Possibile che un economista vero non sappia distinguere uno falso? E’ una domanda angosciante che ti fa dire: ma nelle mani di siamo visto che editorialisti di gran fama si sono messi sull’attenti di fronte ad un qualsiasi Oscar? Con quale faccia, ora, loro, i soldatini di Giannino detteranno le loro regole? Con quale faccia spareranno cannonate contro Susanna Camusso e la Cgil?
Il ruolo di Zingales l’amico che l’ha colpito alle spalle
Ma c’è di più: Zingales ha denunciato Giannino a pochi giorni dal voto. Come ci hanno creduto loro, gli economisti eccelsi, ci hanno creduto anche un po’ di cittadini, milanesi in particolare, che non volendo votare Maroni avevano fatto salire le quotazioni dell’Oscar portando via voti al candidato di Berlusconi e della Lega. Guarda caso la denuncia di Zingales avviene proprio quando i sondaggi danno il candidato di “Fermare il declino“ in continua ascesa. Ma quando si è messo con lui Zingales non poteva subito informarsi? E perché l’ha fatto quando la candidatura ha cominciato a dar fastidio a Berlusconi. Sono stati in due a sparare al “caporale“ Giannino, Zingales e Berlusconi. Quasi simultaneamente.
acaduli_simansi
Yosif “Witcher” Sawartski
"Raised by his huntsman father, Yosif had made a name for himself in the metro as being a skilled stalker and professional mutant exterminator. As the major factions within the metro began to arise, he had served as a soldier for Polis and what would later become the Spartan Order. However, due to ideological differences, he soon went his separate way to became an independent. He most commonly operates in the unexplored southern metro tunnels, surveying abandoned stations with the hope of reestablishing new settlements in the future."
Nonna Agapova
"With her grandfather having served in the Moscow Fire Brigade and her father having been a rescue worker for the Ministry of Emergency Affairs, it might have been conceived that Nonna would have followed in their footsteps. However; as was the case with many children following the Great War, such childhood dreams would remain just that. Regardless, Nonna still wished to live up to their name; doing whatever she could to support her home station. More often than not this meant working as a "tunnel rat" and salvaging any raw materials from the tunnels that could benefit the main settlements. After being saved by Yosif, the stalker then took Nonna under his wing to train her as a protege."
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I'd mentioned these figures back in July, and finally I got my paints (mostly) cooperating again so I was able to finish painting their weapons.
These are just two of a small line of of Metro figures I have in the works. Possibly I might make a little series around it, I already have ideas in mind.
They're mostly based off the figures from a scene I'd made about two years ago:
www.flickr.com/photos/immediate_lego/27675496464/in/album...
The stalker I went for more of a beast-slayer theme to it; having a gladiator/bite-suit arm sleeve, improvised leg guard, fur pelt, heavy machine gun, as well as a few signs of past brawls with mutants. After struggling to come up with a better nickname, I decided that "Witcher" (from the Witcher series) was the best description of what the character's role is.
The protege I've been sticking with an emergency worker theme; wearing a general issue EMERCOM beret, a firefighter coat, and an emergency variant of VSR 3-TsV camouflage (how accurate that would actually be to EMERCOM workers I still have yet to figure out). I would've given her a PPM gas mask to go all out, but I can't begin to think of how to make one, so the current is just a place holder. Also debating over giving her a rain poncho or something of the sort.
The weapons I'll go into detail in a separate post.
Mommy long legs guarding her eggs.
This is the common spider at homes.
My challenge was using my smartphone with a cheap click on macro to get as sharp as I can.
A 2016 Shadow is now mind and at a good price too. Having a windshield, leg guards and fog light ordered for it.
I walk into room 11, on the 3rd floor of the Iceberg Lounge, a trail of unconscious or dead guards behind me. It wasn’t hard to find Roman’s room, the first guard I found told me. I walk into the blue walled room, everything seems to be where it should be, even the bed is neatly made. I scan the room and no one seems to be around, but then I notice smoke coming from the balcony of the room. I quietly walk towards the sliding doors and there sits a bald man in a beige suit. He holds a cigar in his hand, which he sets on the glass table beside him.
“So you finally made it, I honestly expected you sooner.” Roman says, still looking out at the harbor and the city behind it.
“Expected me?” I say.
“Oh yes, I told my men to tell you where I was and to let you beat them. You made quite a racket at the docks. You dress like you want to be some type of ninja assassin, but the way you fight makes me think you’re a nobody crook.”
“I’m not a crook, but you are, I’ve been hunting you for a while Roman, you’re not an easy man to find.”
“Don’t play the big talk on me, I’ve seen a lot of people just like you, but let me tell you one thing, your type either works for me or ends up dead. So leave while you have the opportunity.”
“I have one question for you.”
“What’s that?”
“What do you have to do with the death of Amadeus Arkham?”
“Arkham? That’s a tree I wouldn’t go barking up. There are worse people than me involved and I’d rather not see them again.”
“Like who?”
“Look, you don’t want to know, there’s a whole court of guys who control these things. They want people dead for different reasons, I did a job for them once but it wasn’t Arkham.”
“You’re lying.” I say as I pop out my wrist blades.
Roman turns around revealing his face, he has an almost silver beard and a gold eyepatch covering his left eye. I try to ram him over the balcony but he manages to jump over me, proving that he’s been trained. As he leaps over me and puts his hands on my back, pushing me to the ground. As I get up I turn to Roman and yell in anger, my adrenalin rises and I charge at him. I run at him but he quickly doges to the side, pulls a knife from my belt and cuts me across the arm. He’s a lot quicker than I imagined, and that just makes me angrier.
“You’re sloppy, you let your emotions take over, but don’t cry, it’s a rookie mistake, one a child would make.” He taunts.
I cover the cut with my hand and try to think of what to do next, Roman could be my only lead on Amadeus’ death. But before I can finish the thought Roman throws the knife into my shoulder. I scream in pain and he grabs a chair, lifts it up then bashes it over my head. Splinters of wood fly throughout the room and I fall backwards.
“I told you not to bark up this tree but you keep doing it, I’m honestly doing you a favor kid, because if they get to you you’re toast.”
He pulls the knife out of my shoulder and brings it to my neck, then he pulls off my hood and mask. He pushes the knife closer and closer to my neck, I try to push him off but it’s no use. I look to my sides and try to find something, I spot a chunk of wood that’s just out of reach, but I have no way of getting Roman off me. If I try to head butt him the knife will cut my neck and he’s got my arms pinned. I then realize my feet are free enough that I may be able to do something, so I kick his foot away and kick him right in the crotch. I get up and grab the knife out of his hand.
“It’s okay, it was a rookie mistake.” I say as I throw the knife behind me.
I grab him by the collar and pull him up to me and push my wrist blade write into his gut. I then pull the blade out and drop him to the ground. Then as I’m about to finish him off a bullet flies through the door and hits me in the leg. Guards storm into the room, all fully armed, I grab my hood and mask and run out onto the balcony. I vault over the cold metal bar of the balcony and out into the harbor, bullets fly past my head as I fall into the cold harbor, barely escaping.
Carbon fiber D.va skin with overwatch logo base.
Main inspiration pieces were the nexo knights shields and the hero factory wave 1 leg guards, the rest just followed after. Blue and red oscillating lights in cockpit, and yes, she fits inside. Got the bade signed by Charlet Chung, voice actress of D.va.
The Museum of Archaeology and Anthropology (MAA) in Cambridge, UK, houses an extensive collection of archaeological artifacts and ethnographic objects from around the world, representing diverse cultures and histories. Part of the University of Cambridge, it offers insights into human history and cultural heritage through exhibitions and research.
Japanese armour, known as "Yoroi," was made up of a combination of plates and scales that were laced together with silk cords. It often included a helmet with a face guard, shoulder protectors, chest and back plates, and arm and leg guards for full protection in battle.
Bronze (copper alloy) figure of Mars, enlivened with silver inlay. Wearing the armor of a general - an elaborate helmet, sheet metal leg guards (greaves) decorated with thunderbolts, and an embossed chest plate (cuirass) molded to the form of the body. He would originally have held a spear in his right hand, now missing, and probably a shield in his left (also missing).
Accomplished casting, this is the finest bronze figurine of Mars from Roman Britain.
Romano-British, 2nd century CE, found at Earith, Cambridgeshire.
British Museum, London (1871,0601.1)
2016 Shadow for a good price and waiting for wind shield, leg guards and fog lights. I have another one which is a 350cc Piaggio I'm keeping plus I have bout 64,000 to 65,000 miles on 2 different scooters.
A Robot/Drone I put together a week ago. I had to upload him, becourse he allways falls apart.
I first build him for marchikoma, but he looked extremely stupid with arms, so...
Danse: sure you don't want to put on some armor? those Institute lasers would cut right through you
Lizzy: I'll be fine!
Danse: I know you're fast, but I've seen heavily armored soldiers die in a synth swarm
Lizzy: you're in for a surprise, then!
Danse: well I'm not burying your corpse
Lizzy: did anyone ever tell you, you have a great personality?
Danse: no
Lizzy: there's a reason they don't
Also in the lot of six dolls/figurines were these series 1 jewel power dolls of Tamera & Fallon. Tamara lost an arm in battle before reaching me, as well as her other armband & leg guard. Her skirt was also stretched out so I had to double it up an shimmy it back on her waist. Fallon, meanwhile, only misses her second armband and comb shield. Her necklace came with her but she looks prettier without it. In addition, Fallon's mask broke on the right side and I had to put a rubber band to get it to stay on well but she's otherwise fine. Amusingly, she's errored and has a sunstone in her belt instead of her own moonstone
Tamara was the animal lover & maternal one of the trio while Fallon was the largely capable tomboyish character, usually found with the wolf pack. I liked that despite Gwen unfairly being the leader (nepotism at it's finest) both of her teammates were FAR more capable as jewel riders as it made the trio all the more interesting as a team.
Marble altar-stele with a representation of a gladiator (secutor?) in relief. The gladiator is standing on a base, advancing to the left. He wears body armor, leg guards, and a helmet with a crest; In his left hand he has a long shield, and in his right hand a short sword.
The gladiator is named by inscription Εὐρώτας. His name is inspired by the homonymous river near Sparta, which allodes to the military qualities of the Spartans
This kind of two altar-stele belong to a large group of similar monuments found at Aphrodisias. According to some scholars, such stelae are not funerary monuments, but reliefs that were assembled around an inscription of a familia of gladiators commemorating its individual members. Since none of these monuments has been found in situ, but outside of the citywWall, where they were probably used as spolia. This stele was found built into the west City Wall, in which many funerary monuments have been used as spolia. A funerary context should not be excluded
Sorce: Chaniotis A., New Inscriptions from Aphrodisias
Marble altar steele
2nd – 3rd century A.D.
Aphrodisias, Archaeological Museum
Aphrodisias, Caria, Turkey
A pikeman's helmet, breastplate, and hips/upper leg guards from about 1620 or 1630. Made of steel with brass rivets.
The helmet is likely from Flanders or Holland, and the rest of the armor is probably from Greenwich, England. European pikemen, no matter the nation, all dressed alike.
Missing is the backplate and the buff coat.
The buff coat was made of thick cowhide treated with cod oil to provide suppleness. The seams were butt joints, the interior was lined with rough linen, and the closures included laces, buttons, loops, clasps, or hook-and-eyelet. Removable sleeves were common. All buff coats had skirts attached, which protected the upper legs.
Mandukhai, Mongolian warrior queen. OOAK Inamorata art doll.
Mandukhai features Chie sculpt in Caramel resin. I covered both the Inamorata Qing sandals by me and leg guard sculpts from @ursisarna with leaf silver alloy. The body suit is by me and awesome velvet snake print fabric is from @blackmilkclothing (I modded a turtle neck dress I bought into a boat neckline one and used the leftover fabric).
*Commissioned OOAK doll and not for sale.
Salford Comic Con 2016, Anime, Manga, Cosplay, Cosplayer, Female, Black Butler, Alois Trancy, Jacket, Waist Coat, Blouse, Bow Tie, Skirt, Dress, Boots, Stockings, Buttons, Black, Purple, White, Green, Gold
Mandukhai, Mongolian warrior queen. OOAK Inamorata art doll.
Mandukhai features Chie sculpt in Caramel resin. I covered both the Inamorata Qing sandals by me and leg guard sculpts from @ursisarna with leaf silver alloy. The body suit is by me and awesome velvet snake print fabric is from @blackmilkclothing (I modded a turtle neck dress I bought into a boat neckline one and used the leftover fabric).
*Commissioned OOAK doll and not for sale.
The Wilson Sporting Goods Company is an American sports equipment manufacturer based in Chicago, Illinois. Wilson makes equipment for many sports, among them baseball, badminton, American football, basketball, fastpitch softball, golf, racquetball, soccer, squash, tennis, pickleball and volleyball.
The company owns the brands Atec, DeMarini, EvoShield, Louisville Slugger, and Luxilon to provide sports equipment and protective gear for baseball, lacrosse, softball, and tennis. The company has been a subsidiary of Finnish retailer Amer Sports since 1989.
The company traces its roots to the "Schwarzschild & Sulzberger" meatpacking company (later changed to "Sulzberger & Son's") based in New York, that operated meat packing slaughterhouses.
Sulzberger & Son's founded the "Ashland Manufacturing Company" in 1913 to use animal by-products from its slaughterhouses. It started out in 1914, making tennis racket strings, violin strings, and surgical sutures, but soon expanded into baseball shoes and tennis racquets.
In 1915, Thomas E. Wilson, former president of meatpacker Morris & Company, was appointed president by the controlling banks and renamed the company "Thomas E. Wilson Company". The company acquired the Hetzinger Knitting Mills to produce athletic uniforms and a caddie bag company which produced golf balls but soon expanded into footballs and basketballs.
In 1918, Wilson left to concentrate on the beef-packing business, changing the Sulzberger company to Wilson & Co. (which would ultimately become Iowa Beef Packers and then be taken over by Tyson Foods). The packing company continued to have control in the company until 1967 when it was sold to Ling-Temco-Vought.
Under new president Lawrence Blaine Icely, it acquired the "Chicago Sporting Goods Company" and struck a deal to supply the Chicago Cubs. It also hired Arch Turner, a leather designer who would design the leather football.
In 1922, it introduced the Ray Schalk catcher's mitt which later became the standard. It worked with Knute Rockne to introduce the double-lined leather football and first valve football and the first waist-line football pants with pads.[1] In 1925, it was renamed "Wilson-Western Sporting Goods" following a distribution agreement with "Western Sporting Goods".
After Rockne's death, the company focused on golf, introducing the R-90, a sand wedge golf club inspired by Gene Sarazen's victory in the 1932 British Open.
In 1931, it renamed itself "Wilson Sporting Goods Company". During World War II it introduced the Wilson Duke football, featuring high-quality leather, ends that were hand-sewn, lock-stitch seams, and triple lining, which was adopted as the official ball of the National Football League in 1941; this partnership between Wilson and NFL has continued since.
Horween Leather Company has supplied Wilson with pebbled cowhide since 1941 for use in the manufacture of footballs and basketballs. Wilson is Horween Leather Company's largest customer.
Wilson became the official game ball supplier of the newly-formed Basketball Association of America (BAA; the forerunner league of what would eventually become today's NBA) in 1946, this partnership would last 37 years until 1983.
After World War II, Wilson focused on tennis and signed Jack Kramer, who developed its line of Jack Kramer signed tennis rackets. L. B. Icely died in 1950, but the company continued to expand. In 1955, it acquired Ohio-Kentucky Manufacturing for making footballs.
In 1964, Wilson acquired "Wonder Products Company", which made toys and custom-molded items. The company transformed the custom-mold section to make protective equipment for American football and baseball, such as face masks for football helmets and leg guards for baseball catchers.
In 1967, the company was acquired by Ling-Temco-Vought. Only three years later, PepsiCo became Wilson's new owner. In those days, the company manufactured and commercialized the official balls of both the NBA and NFL, and provided most of the uniforms of teams in Major League Baseball (MLB) and the United States Summer Olympics teams.
In 1979, Wilson tennis balls were first used in the US Open, and still are used to this day. In 2006, the Australian Open began using Wilson tennis balls.[11] In 1985, Wilson was acquired by Westray Capital Corporation, through subsidiary WSGC Holdings. In 1989, WSGC merged with Bogey Acquisitions Company, which is affiliated with the Finnish group Amer Sports.
In May 2020, it was announced that Wilson became the NBA and WNBA's official game ball supplier, starting with the 2021 season; Wilson replaced Spalding, after the latter company's 37-year partnership with the league ended, thus returning Wilson as the game ball supplier to the NBA.
it took me a while, but I finally got around to cracking open this beauty - presenting the Tamashii Nations Saint Seiya: Andromeda Shun God Cloth - 10th Anniversary Edition figure set, which I picked up at a Flea Market for $60 CAD.
If you were around during the early 2000s, you may remember a little toy line from Bandai called Knights of the Zodiac. Much like Ultimate Muscle, Knights of the Zodiac was based on an incredibly popular Japanese property - in this case, it was known as Saint Seiya, which had been around since the mid 80s. The series revolves around the chosen warriors of the Goddess Athena, who are gifted with armour sets, or "cloths" that draw their power from various constellations. I have yet to actually watch anything from this series, Japanese or American, but I do remember watching a bit of the first American episode and noting that they censored the living crap out of it. Other than that, the only other exposure I had to the series was occasionally I'd see pictures as a kid of the one they call Dragon Shiryu, who had some admitted badass looking gear. I think the number of suits in the series could probably give MCU Iron Man a run for his money.
The main gimmick of each figure was that you'd have a generic core figure (with the head generally being the only difference), and you could gear up each figure with chromed armour pieces. The Bandai of America releases were very much based on the sets I'd seen while clomping around Market Village and Pacific Mall in Markham, as the series popularity over in Asia made it a no brainer for local import toy stores to bring it relatively cheap figures from Hong Kong and sell them here. But this was 2004 - I had already graduated from University and was working full time, well on my way to becoming a toy snob. Furthermore, it was Bandai of America.. you just knew that they'd cheap out on something just to make a buck.
So, as you can imagine with no time actually watch the series, and effectively nobody ever talking about it locally, I basically had no real reason to keep up with the property. Little did I know Saint Seiya was an ongoing thing - it never did die overseas. So much so that Bandai of Japan actually went ahead and had Tamashii Nations further refine the figure line eventually resulting in the Myth Cloth Revival line, where all the original character were rereleased as new action figures, having core bodies that weren't quite Figuarts good, but were much improved over the original toys by at the very least allowing for figures with the proper body proportions and vastly improved articulation.
Andromeda Shun, as the name implies, is a character named Shun who wields the cloth of Andromeda. According to my research, Shun is generally hesitant to use violence as a solution to matters, but when he does all sorts of wonderful things happen. Considered the strongest amongst the core five saints (known as the Bronze Saints). His character has some other deep dark secrets that I'm not going to touch on, but overall, I'm told he's one of the most popular characters in the series. The God Cloth in the title indicates that this is the most powerful form of the named Cloth, in this case the Andromeda cloth. The original appears to have been released in 2009 (this was a 2014 figure), with improvements being more accurate colouring, and the addition of an alternate shocked expression face to recreate a key scene.
With the background out of the way, lets move on the actual overview.
First off, lets talk contents. This set MSRPed for 8,250 yen back in 2014, and even if you added inflation to the price there is no way in you'd get anything even CLOSE to what you get in this box for the price. You get the core body, two expressions (neutral, shocked), two front hair pieces (one for mounting the headgear), parts to the armour (all of which is die cast metal with the exception of the collar piece, wings, headgear, along with the chest and waist cover, and the pieces on the sides of the hands), two additional bracers with metal chains (main weapons), a formed plastic chain (Thunder Wave attack effect), 3 pairs of hands specifically for use with the armour (closed fists, chain gripping fists, posing hands), and the parts to turn the armour into an Object (think really ornate armour stand, which in the case of Andromeda is a kneeling figure) including some really intricate curved chains.
The armour itself consists of :
Headgear
Collar piece
Inner upper and lower torso frame
Chest piece
Waist piece
Pauldrons
Bicep guards
Forearm guards
Hip guards (both sides)
Thigh guards
Knee guards
Lower leg guards
Wings
As the photos show if it isn't on the core figure, it's either chromed plastic or it's coloured die cast metal parts. There's not a dull/unfinished piece on this gear whatsoever.
The main figure is larger than a modern day Figuarts - yes Nat is technically slightly smaller than the average male Figuarts, but its nothing that would change this statement. Very anorexic looking, which allowed for the equipping of less bulky looking accessories. The actual mobility isn't bad, as you get toe, ankles, double jointed knees, hips with thigh swivel, limited mobility waist and mid torso, shoulders with chest collapse, bicep swivel, double jointed elbows, wrists, limited neck motion, and head articulation. The figure is also equipped with die cast clown shoes to improve balance both with and without the gear on. With the exception of the waist and torso, range of motion isn't too bad, and is definitely on par with the better offerings of 2009. Articulation of the various body parts is generally not further limited even after you equip the armour, with the sole exception being the upper body, which goes from limited movement to no movement due to the body armour harness effectively having no points of articulation whatsoever.
Equipping the armour is an incredibly painstaking activity, so much so that it took me almost 30 minutes the first time to put things on, mostly due to fear of scratching the finished surfaces. Even after realizing I had one of the leg armour pieces on backwards in my pictures, I decided that it's too much effort to put it back for a reshoot. You see, unlike the original Deluxe figures where you'd just clip on chromed plastic armour around the various limbs, this figure requires the removal of hands and legs to get the limb armour on. But, as much of a pain it is getting the parts on just right, and the limited range of motion overall, the finished product looks stunning, especially if you've got some bright lights on the figure. It's not quite Hot Toys die cast Iron Man, but it's pretty damn impressive nonetheless. As stated earlier, arms, legs, and head are generally unhindered even with the armour on.. that is to say it doesn't make it any worse. The pauldrons and hip guards have ball joints on the mounting parts to allow for more range of motion as to improve posing opportunities.
From an actual paint perspective, I honestly don't think there's much of it on the figure. There's the plastic hair, the hair, and the fleshtones. Everything else is pretty much chrome plating which looks glorious. There are some imperfections in the finish here and there, but those are rare to find. Overall, this is a one sharp looking figure. The chromed plastic parts blend in quite well due to excellent colour matching.
Build quality is picture perfect where it matters - the armour. Much like with the Hot Toys Iron Man line, the use of metal has allowed for thinner parts, which reduces the overall bulk of the figure, as well as permits for that fantastic metallic finish. Despite the general non linearity of the parts, everything fits together perfectly, which is saying a lot given how much assembly there is on this figure, and is a testament to the impressive QC that went into the manufacture of the armour parts, including the parts for Object. On the main figure, the only rough spot I could see was the finish on the waist section of the core figure wasn't great at all, but fortunately that section was effectively on the undercarriage, so it's not something that you'd normally notice. Based on my experience, joints will hold your desired pose, even with the additional weight of the die cast metal parts.
A few gripes before we adjourn. First off, by far the most annoying thing to do with this figure is to assemble Object mode. Not only do you need to keep track of the left and right parts (put on wrong the figure won't sit right), but putting the chains together is a major pain due to the small size of the connectors (both to the body and to each other) which is further exasperated by the fact if the forearms aren't lined up correctly you're going to have a hell of a time trying to actually get it right. If they (Tamashii Nations) designed the shoulders of the Object such that they would only point in one directly, why couldn't they do that with the forearms?
The second major issue I have goes back the usual gripe I have with Figuarts figures - the lack of a stand. While normally just annoying, the lack of a stand makes this figure a bit of a gamble to pose. You see, despite the giant metal clown feet, the figure can still fall over, especially when it's weighed down with all the armour pieces. Scratches is one thing, but my biggest fear is that it falls over backward, and either due to long exposure warps the plastic wings, or if you're really unlucky, falls over with a force that ends up snapping the wings. Neither of which are particularly attractive or desired, so until I can figure things out I'm leaving the Shun unarmoured.
Phew.. so there you have it. A long write up, but well worth it for a truly extraordinary action figure both from an aesthetic perspective as well as overall production values, a combination of which isn't really a thing these days unless you go one sixth scale or higher. I suspect "finishing the line", especially with my cheapness, is probably not something that is going to ever happen, but to be honest I say that about a lot of things. I guess at least I know what to look for, which is a good start.
With that said, it's off the next review, which I'm gonna flip a coin to decide on, but will be guaranteed to be less metal.
Original design by Soren Roberts. This Scrambler has modified legs for modern appearance. Equipped with Sting Beam Laser, Dual Leg Guards, and Quad-leg mobility.
Salford Comic Con 2016, Anime, Manga, Cosplay, Cosplayer, Female, Black Butler, Alois Trancy, Jacket, Waist Coat, Blouse, Bow Tie, Skirt, Dress, Boots, Stockings, Buttons, Black, Purple, White, Green, Gold
Monasterio de Poblet
El Real Monasterio de Santa María de Poblet (en catalán: Reial Monestir de Santa Maria de Poblet) o, simplemente monasterio de Poblet, es el prototipo de abadía cisterciense española.
Localizado en la comarca de la Cuenca de Barberá, en el término municipal de Vimbodí y Poblet, en Tarragona (España), el primer cenobio fue impulsado y patrocinado por Ramón Berenguer IV, conde de Barcelona, que lo entregó a los monjes bernardos de la abadía de Fontfroide en el año 1149.1 Fue panteón real de la Corona de Aragón, desde finales del siglo XIV hasta la extinción de la casa real de Aragón en el siglo XV.
Enriquecido con distintas donaciones, alcanzó su máximo esplendor en el siglo XIV, y su total decadencia y abandono en 1835 como consecuencia de la desamortización de Mendizábal. En 1930 se inició su restauración, de forma que en 1935 pudo dedicarse nuevamente la iglesia al culto, y en 1940 retornaban a su abadía algunos monjes. No todos los espacios pueden visitarse, por ser dependencias en clausura utilizadas por los cistercienses que de nuevo ocupan el monasterio.2
En 1991 fue declarado por la Unesco Patrimonio de la Humanidad. Poblet, junto con Guadalupe, El Escorial, San Millán de Yuso y San Millán de Suso son los monasterios en España que gozan de este título.3
Historia
La etimología del término Poblet deriva del latín populetum (alameda). El lugar fue siempre muy rico en vegetación y bosque de estos árboles (los álamos), lo que dio lugar a que en 1984 fuera declarado Paraje Natural de Interés Nacional, con 2100 hectáreas y 50 fuentes naturales.3
El monasterio de Poblet fue una fundación del conde de Barcelona Ramón Berenguer IV que alrededor del año 1150 donó las tierras de Populetum a la abadía francesa de Fontfroide (o Fontfreda) en el momento en que era abad Sancho I de Provenza. Fontfroide era filial de Claraval y estaba cerca de Narbona.4 Estas tierras que se ofrecieron son las situadas en la Cuenca de Barberá, en el término municipal de Vimbodí, cerca de Espluga de Francolí con las montañas de Prades como telón de fondo. El enclave tenía las condiciones recomendadas por el Císter para la fundación de un monasterio: podía estar aislado, con agua abundante y un extenso entorno para la agricultura.1 5
Con la fundación de este monasterio sumaron cuatro las grandes abadías cistercienses: Claraval (en el valle de Absinthe (Francia), la Gran Selva (en Languedoc), Fontfreda (cerca de Narbona) y Poblet. La primera comunidad se estableció bajo el mandato del abad Guerau, en 1153.3 En documentos que se conservan se data una donación de los vizcondes de Cardona dos años antes, 1151. Durante siglos fueron frecuentes las donaciones tanto de reyes como de familias de la nobleza. Gracias a estos documentos sobre las distintas donaciones y regalos se ha podido ir siguiendo el estado de las obras de construcción y el acabado de las dependencias del claustro o de los tramos de la iglesia. En un testamento de 1184 se dice que el templo estaba aún en obras; otro documento del mismo año se refiere a un donativo del rey para las luminarias del altar de Santa María, lo que hace suponer que al menos el presbiterio ya tenía culto.6
En 1340 Pedro el Ceremonioso mandó crear el panteón real y nobiliario en el que llegó a haber hasta 16 yacentes.7 La elección de sepultura iba aparejada a importantes donaciones: tierras, hombres y dinero. Además se construyeron capillas privadas como las de Urgel y Argensola. Los linajes más importantes de Cataluña se ocuparon del monasterio en gran medida: Condes de Urgel, Cervera, Cardona, Puigvert, Boixadors.8
El monasterio de Poblet había estado desde su fundación bajo la protección y el patronazgo de los reyes. Al extinguirse la Casa Real de Aragón comenzó su gran decadencia aunque algunos abades intentaran en el Renacimiento dotarlo de obras nuevas. Así el abad Caixal contrató al escultor Damián Forment para realizar el retablo de la capilla mayor en piedra (1526-1531), obra realmente excepcional cuyo coste fue tan desmesurado que provocó la sublevación de los monjes en contra de su abad a quien condenaron a reclusión perpetua con los cargos de «dilapidación y falta de observancia».9
Con los cambios políticos del siglo XIX y las guerras civiles, el monasterio se vio en proceso de decadencia. En el año 1822 se pusieron a la venta sus propiedades y los monjes fueron expulsados por los somatenes liberales que estaban en guerra contra los absolutistas. Después el monasterio quedó abandonado a su suerte y durante dos años sufrió incendios y saqueos, aunque antes se habían retirado los tesoros de joyería. En 1825, durante el decenio ominoso de Fernando VII, los monjes volvieron y trataron de restablecer el orden, restaurar los desperfectos y recuperar algo de lo robado. Pero las luchas entre liberales y absolutistas continuaban y las consecuencias fueron fatales para muchos enclaves monásticos de Cataluña. En 1833 y durante la primera guerra carlista las columnas volantes de los ejércitos fijaron su residencia en el monasterio. Violaron las tumbas quemando los ropajes que encontraron dentro en busca de oro y piedras preciosas.10 Más tarde fueron recuperados bastantes volúmenes y documentos y los restos de las tumbas fueron llevados a Tarragona para su custodia. Temiendo lo peor, los frailes jóvenes y liberales, seguidos por los más ancianos, decidieron exclaustrarse y se refugiaron en casas particulares. Sacaron del monasterio los enseres más valiosos y transportables entregándolos en custodia a particulares; casi todo se perdió. En el monasterio quedó la biblioteca, los archivos y las tumbas reales a la espera de un nuevo saqueo y profanación.11
El saqueo, los incendios y la desidia habían convertido el complejo en un lugar de ruinas olvidadas. En el año 1930 se creó el Patronato de Poblet para ayudar a recuperar las viejas piedras y obras de arte que aún quedaran. También se creó una Hermandad de Amigos del Monasterio. Con estas ayudas se pudo recuperar gran parte del edificio y en 1940 ya pudo afincarse en él un grupo de cuatro monjes cistercienses italianos.12
En la actualidad continúan habitándolo los monjes del Císter que cuidan del lugar, rezan y mantienen una pequeña huerta. Regentan además una hospedería que da cabida a doce huéspedes varones que necesiten un retiro espiritual, a cambio de lo cual reciben la limosna voluntaria que cada uno quiera dar (en muchos monasterios españoles existe este tipo de hospedería).13
Organización del monasterio
Poblet es uno de los grandes y mejores ejemplos de monasterios del Císter. El historiador general de la orden, el padre Manrique dice en su obra:14
Populetum… toto orbe christiano nulli secundum.
Desde el principio de su fundación se tuvo el propósito de que el monasterio abarcara una zona de cultivo ejemplar en que se encontraran dentro de la propiedad, granjas (las llamadas grangiae) con agua abundante como en la de La Pena y bosque para explotar como en la granja del (bosque de Castellfollit). Cada una de las granjas estaba gobernada y dirigida por un monje que a su vez estaba al frente de la familia compuesta por legos, guardas rurales, hortelanos, etc. A finales del siglo XII el monasterio era el dueño de diecisiete granjas.15
Poblet llegó a reunir todo lo necesario para su subsistencia sin tener que salir del recinto. Constituía una verdadera y completa población al estilo de Cîteaux y Claraval. Además de las dependencias obvias y primarias de cualquier monasterio, Poblet contó con enfermería, farmacia, cementerios, jardín de plantas aromáticas, molinos, panaderías, e incluso un calabozo ya que el abad tenía la potestad de un señor feudal.16
Casas, propiedades y derechos
El monasterio llegó a ser dueño de multitud de casas cistercienses en las poblaciones más importantes de la Corona de Aragón. Las filiales de mayor envergadura fueron:16
•Monasterio de Piedra en Aragón
•Monasterio de Benifasar en el municipio de Puebla de Benifasar (Castellón)
•Monasterio de la Real en Mallorca
•Priorato de San Vicente en Valencia
•Monasterio de Nazaret en Barcelona
•Tallat en el límite de Tarragona con Lérida
Extendió su jurisdicción sobre siete baronías con la inclusión de sesenta pueblos. Tenía el derecho de designar el alcalde o batlle de diez villas que dependían de él. Poseía además como gran magnate que era los señoríos de16
•Castillo y villa de Verdú
•Castillo de Monargues17
Tenían además derecho de pastoreo en las tierras reales, lo mismo que en las salinas de Cardona y en las pesquerías de Ampurias.16
El abad y los monjes
Los abades de Poblet llegaron a abarcar un poder jurisdiccional inmenso que no solo se extendía sobre sus monasterios y posesiones sino que además eran vicarios generales del Císter en los reinos de Aragón y Navarra. En las Cortes de Cataluña tenían un lugar destacado y hasta llegaron a obtener el cargo de diputado de la Generalidad. El rey Pedro IV el Ceremonioso otorgó a los abades (o en su ausencia a los monjes delegados) el privilegiado cargo de limosnero real en la Corte. Ejercían el alto honor de acompañar al rey en sus empresas y en sus batallas de conquista, siendo con frecuencia sus consejeros o sus embajadores. Pedro II otorgó el título de Notario real al monje con cargo de archivero. Tanto el abad como los monjes estaban exentos de juramento en los pleitos y juicios ya que se suponía que su palabra valía más que un juramento. Esta concesión fue una gracia que recibieron de Alfonso II. Un mandato de Jaime I de 1222 decía que en cada una de las propiedades del monasterio de Poblet se tenía derecho a enarbolar la insignia real en señal de estar bajo la protección del rey.16
Construcción del monasterio
La construcción de este monasterio cisterciense tal y como ha llegado a nuestros días comenzó aproximadamente sobre el año 1163, es decir a los diez años de su fundación, tal y como se venía haciendo siempre.a Está documentado que en este año de 1163 Arnau de Bordells hizo una donación para la construcción definitiva en piedra y el señor de Espluga Jussana, Ramón de Cervera extendió una autorización a los monjes para que pudieran18
...extraer la piedra necesaria para construir el monasterio y sus dependencias.
Los edificios del Císter tenían muy en cuenta el enclave y su entorno. Uno de los condicionantes que más se respetaba era la existencia próxima de una corriente de agua de la cual se extraían los canales necesarios que hacían pasar por el propio y definitivo complejo monástico.19 En el momento de la fundación de un monasterio cisterciense se erigían provisionalmente una serie de estancias adecuadas para la vida comunitaria en espera del gran edificio definitivo que solía construirse pasados unos diez años y a veces veinte. También podía ocurrir que existiese ya algún tipo de edificación antigua y modesta donde los monjes empezaban su andadura. Cuando se iniciaban las grandes obras en piedra, se construía deprisa una pequeña capilla que generalmente quedaba después como capilla de enfermería, y en algunos casos como en el monasterio de Poblet, tenía incluso adosado un pequeño claustro, llamado aquí claustrillo de San Esteban o de la Enfermería, nombre del santo a quien está dedicada la iglesita. La capilla de San Esteban se dedicó después a capilla funeraria. Esta construcción y su claustro constituyen el núcleo más antiguo (siglo XII) de todo el recinto.20
Mientras los monjes vivían en este núcleo descrito, se fue alzando la definitiva iglesia, entre los años 1162 y 1196.18 En 1200 estaba ya terminado el muro norte colindante con la panda sur del claustro. Tras estas obras se debió construir la primitiva sala capitular (que se transformaría años más tarde), la sacristía antigua, el locutorio y el dormitorio de monjes en el piso de arriba. A mediados del siglo XIII se hicieron ampliaciones y renovaciones tal y como se documenta en escritos conservados de donaciones y testamentos.
En 1225 y 1234 se habla de la obra del refectorio de conversos; otro documento de 1243 señala la obra del dormitorio. De esto se deduce que a mediados del siglo XIII ya estarían levantados al menos tres de los cuatro lados del claustro. Donaciones hechas en 1249 y 1250 dejan bien claro que eran para las obras del «nuevo capítulo» y ornamentación de la «sacristía nueva» y «nuevo dormitorio», es decir para sustituir o remodelar las antiguas estancias de finales del siglo XII.
El monasterio se amplió en el siglo XIV con las obras del atrio del obispo Copons, la bodega (en sustitución del dormitorio de legos) y el dormitorio de monjes jubilados. A finales de este mismo siglo se construyó el complejo del llamado palacio del rey Martín el Humano. Entre los años 1789-1792 se construyó la sacristía nueva adosada al muro sur de la iglesia y ocupando un sector de la línea de la muralla.
El complejo monástico
Todo el conjunto monástico está conformado por tres recintos bien diferenciados y comunicados entre sí por unas puertas de acceso. Pasada la actual carretera de L’Espluga de Francolí (que antaño fue el paseo de San Bernardo, propiedad de los monjes) se llega a las inmediaciones del primer recinto.21
Primer recinto
Se entra a este recinto por la Puerta de Prades; es de arco de medio punto con grandes dovelas en la parte exterior, y de arco apuntado por su cara interior. Sobre la puerta se encuentra un nicho con una imagen de la Virgen María como advocación del monasterio. Muestra también el escudete del abad Fernando de Lerín (1531-1545), la jarra con azucenas o lirios (símbolo de pureza) y las iniciales PO que se refieren a Poblet.22
En este primer recinto había un espacio donde estaban las habitaciones de los labradores, obreros, legos y demás “familia” del monasterio. El abad Guimerá (1564-1583) había mandado construir un pozo, un abrevadero y unas conducciones de agua y para constancia de su mandato se imprimió su escudo en piedra: dos fajas rojas en campo de oro. Todavía subsiste la casa del monje portero que fue edificada en tiempos del abad Fernando Lerín, cuyo escudo también se conserva.
Después de pasar una alameda se llega a la puerta de acceso al segundo recinto. Se llama Puerta Dorada haciendo alusión al chapeado de planchas de bronce que la recubrían y que fueron doradas por voluntad de Felipe II en 1564 cuando pasó la Semana Santa en este monasterio. Se construyó esta puerta bajo los prioratos de los abades Delgado y Juan Payo Coello (1480-1499) y es un ejemplo de puerta castrense. Los escudetes de estos dos abades están situados en la fachada bajo los otros escudos de mayor tamaño con las divisas de la Corona de Aragón, Sicilia y Castilla, que hacen alusión a los reyes Juan II y Fernando el Católico. La construcción de la puerta debió terminarse en 1493 para recibir en ella a los Reyes Católicos que en ese año visitaron el monasterio acompañados de sus hijos el infante Juan y las infantas Juana, Isabel y Catalina.Estas tres infantas llegaron a ser reinas de España, Portugal e Inglaterra respectivamente.22
Ante esta puerta tenía lugar la ceremonia de bienvenida a los reyes que visitaban Poblet. Se preparaban ricos reclinatorios y una vez arrodillados, el abad les daba a besar el Lignum Crucis. A continuación marchaban en procesión bajo palio, entonando el Te Deum y acompañados de su séquito y de los monjes de la comunidad. Habían entrado en el 2º recinto a través de la Puerta Dorada y en la capilla de Santa Catalina volvían a pararse para orar antes de entrar definitivamente en el recinto de la clausura.23
Junto a la puerta citada se halla la capilla de San Jorge mandada construir por Alfonso V de Aragón el Magnánimo, en acción de gracias por la victoria obtenida en la conquista de Nápoles en 1442, en tiempos del abad Conill. Se llama capilla de San Jorge pero en realidad está consagrada a la Virgen del Rosario, San Miguel Arcángel y San Jorge porque se supone que los tres fueron protectores del rey en la conquista de Nápoles. Las tres representaciones escultóricas de estos protectores estaban situadas en el desaparecido retablo de la capilla. La capilla de San Jorge es de planta cuadrada, con puerta gótica flanqueada por columnas que terminan en pináculos. La fachada ostenta los escudos reales de Alfonso V de Aragón, y de Nápoles más el escudete del abad Conill (con un conejo labrado como símbolo de su nombre) sostenido por dos tenantes. Tiene bóveda de crucería en estrella.22
Atravesando la Puerta Dorada se llega al 2º recinto.
Segundo recinto
Una vez traspasada la Puerta Dorada se llega a una gran plaza Mayor de planta irregular donde se conservan algunos vestigios de edificios antiguos. En línea recta con la puerta y al fondo, se ve la puerta de acceso al atrio de la iglesia del monasterio, abierta en la muralla que rodea el 3º recinto. Es una puerta barroca del siglo XVII que mandó edificar el duque de Cardona en 1670. Da entrada al atrio o galilea que era desde donde se entraba a la iglesia cuando la clausura era estricta. A ambos lados de la puerta están colocadas las estatuas de San Benito y San Bernardo, más la imagen de la Virgen en una hornacina. A sus costados se abrieron unos óculos con mucha ornamentación barroca y columnas salomónicas. En medio de la plaza y frente a esta puerta se alza la gran cruz en piedra del abad Guimerá del siglo XVI sobre un podio de cuatro escalones.24
Al norte de la plaza se ve una capilla muy austera que en 1251 se dedicó a santa Catalina. La mandó construir Ramón Berenguer IV y era el lugar donde oraban los visitantes de honor antes de acceder a la clausura. Durante muchos años guardó la imagen de la Virgen de los Cipreses. Se accede al interior por una puerta románica muy sencilla; está cubierta por bóveda de cañón apuntada.22
Otras edificaciones dentro de la gran plaza que en su día fueron importantes, son:
•Hospedería, hacia el sur (quedan solo vestigios).
•Palacio moderno abacial, edificio comenzado por el abad Francisco Oliver de Boteller en 1583. El corredor o galería (obra de Genover, 1732) daba directamente a la iglesia. Cuando se construyó este palacio estaba todavía en zona de huertas, fuera del recinto de clausura.
•Hospital de pobres, construido en 1207 gracias a los donativos de Bernardo de Granyena.
•Palacio antiguo abacial, donde se alojaron las damas que iban en el séquito de Isabel la Católica cuando visitó el monasterio con su familia.22
Tercer recinto
A unos metros de la puerta barroca de acceso a la iglesia se encuentra la Puerta Real (P.R. en el plano) encajonada entre dos torres, cuyo aspecto recuerda las Torres de Serranos de Valencia. Este último recinto comprende todas las estancias del monasterio propiamente dicho, es decir, lo que fue la verdadera clausura. Está rodeado por una muralla de fortificación mandada construir por Pedro IV como protección, a raíz de haber ordenado que se dedicase en la iglesia un espacio a panteón real. Su mandato dice así:
Para custodia de las osamentas de los más gloriosos reyes que jamás fueron de la Casa de Aragón.
Dirigió las obras su lugarteniente fray Guillén de Agulló (1367-1382). La muralla tiene un perímetro de 608 m por 11 de alto y 2 de espesor; consta de almenas y aspilleras, más el camino de ronda propio de una muralla. La fortificación está defendida por 12 torres de planta poligonal. Dos de ellas son las que flanquean la Puerta Real; las dos que están en las esquinas a ambos lados de esta puerta fueron torres-cárceles. La torre que está pegada a la sacristía nueva (n.º 16 en plano) lleva el nombre de torre de las Hostias y la siguiente hacia el nordeste, de los Locos. Otras son conocidas como del Prior, del Aceite, del Rincón, de las Armas, de San Esteban, del Zapatero y del Cardenal.18
La Puerta Real (P.R. en plano) es una construcción militar del siglo XIV. El hueco de la puerta es de arco de medio punto con grandes dovelas en cuya clave un ángel tenante presenta el escudo de la Corona con dos leones rampantes. A ambos lados se ven dos timbres del rey Pedro IV; en uno de ellos puede leerse en latín y con caracteres pequeños
Esta obra comenzó en tiempo de Pedro, rey de Aragón.
Por encima de la puerta están labrados los escudetes reales alternando con el del abad Guillermo Agulló (1361-1393), que fue su constructor.25
Una vez traspasada la puerta, el visitante se encuentra a su izquierda con los vestigios de lo que fueron en su día las habitaciones de conversos y donados. Hacia la derecha unas escaleras en piedra conducen al palacio del rey Martín el Humano, de principios del siglo XV (destinado a museo en la actualidad). Frente a la Puerta Real se ve el atrio o vestíbulo del claustro (n.º 15 en plano), obra del abad Copons. A la izquierda del atrio están las bodegas (n.º 14 en plano), edificio que anteriormente fue comedor de legos o conversos. Sobre esta estancia se construyó en el siglo XIV el dormitorio de monjes jubilados. En 1983 se ubicó aquí el museo del la restauración del monasterio.
A la derecha de este atrio están los lagares del siglo XIII (n.º 10 en plano) que fueron en su origen el dormitorio de legos.b El muro sur está pegado al muro norte de la iglesia. Dentro del atrio o vestíbulo se accede a la esquina de confluencia con la panda norte-oeste del claustro (n.º 8 en plano).25 y 18
Al este del recinto amurallado se encuentran las instalaciones más antiguas del siglo XII: capilla de San Esteban (n.º 1 en plano. El n.º 3 es el claustrillo de esta capilla) y enfermería (n.º 2 en plano). También se encuentran en esta zona las Cámaras Reales construidas en el siglo XIV sobre la muralla. En el ángulo nordeste se construyeron las habitaciones modernas de monjes jubilados.20
Descripción detallada
La iglesia
Desde la puerta barroca abierta en el muro oeste de la muralla se accede al atrio o galilea de la iglesia (n.º 1 en plano) que debió construirse a finales del siglo XIII lo mismo que el rosetón abierto en el muro oeste, que proporciona luz a la nave central. El atrio se cubre con bóvedas de crucería.8 Tenía dos altares, uno del siglo XVI dedicado al Santo Sepulcro que se conserva restaurado y otro ofrecido a la Virgen de los Ángeles del que no queda ningún vestigio; en su lugar hay un Calvario gótico.
Se proyectó la construcción de la iglesia durante los reinados de Ramón Berenguer IV y Alfonso II de Aragón, en estilo románico, en tiempos del abad Hugo, hacia 1166.
Tiene planta basilical con tres naves y crucero; las dos laterales son bastante más estrechas que la central. La nave norte (adosada al claustro) (n.º 3 en plano) es románica con bóveda de crucería; la nave central (n.º 2 en plano) es también románica pero su bóveda es de cañón apuntado; la nave sur es gótica, reconstruida por el abad Copons hacia 1330, al mismo tiempo que mandó abrir las siete capillas (n.º 4 en plano); también es de tiempo de este abad el gran cimborrio gótico, octogonal y de grandes ventanales, que fue restaurado entre 1979 y 1981. Alrededor del presbiterio discurre la girola (n.º 7 en plano) a la que se abren cinco capillas radiales. Las dos absidales de las esquinas tienen comunicación con el crucero (n.º 5 en plano).18 26
Se conserva en el presbiterio la mesa de altar antigua que consiste en una gran piedra apoyada en cuatro pares de columnas románicas.27 El edificio actual guarda en su interior dos grandes tesoros: el retablo renacentista de Damián Forment y los sepulcros reales (n.º 6 en plano).
Retablo de Damián Forment
Retablo renacentista en alabastro de traza arquitectónica, obra de Damián Forment que lo ejecutó entre 1527-1529 a instancias del abad Pedro Caixal durante el reinado de Carlos I.28 El retablo fue colocado antes de la fecha prevista en el contrato. El escultor fue cobrando sin problemas los plazos contratados hasta que llegó el mes de mayo de 1530 en que aún se le debían 960 ducados. Nunca los pudo cobrar pues en junio de ese año el abad se vio envuelto en un escándalo de tipo económico y en un proceso que se le abrió. La comunidad se negó a seguir pagando los plazos que parecían excesivos, acusando al escultor de haber engañado al abad en el precio y de haberle sobornado con algunos regalos escultóricos. Forment presentó una demanda judicial pero todavía en el año 1570 su nieta Úrsula García reclamaba la deuda sin éxito.
En 1835, después de la exclaustración, el retablo sufrió destrozos y desperfectos. En 1940 se procedió a su restauración. Es un retablo realizado a lo romano, de traza arquitectónica renacentista con grutescos.29
Está organizado en banco, sotabanco y tres cuerpos con tres calles distribuidas en superposición de órdenes, con un nuevo lenguaje clásico y con temas decorativos de frutas y guirnaldas en los extremos que sustituyen las antiguas polseras góticas. Esta obra supuso en el arte catalán la introducción de las formas renacentistas.29
•Sotabanco: Altorrelieves con escenas de la Oración en el Huerto, Prendimiento, Flagelación, Jesús ante Pilatos y Caída camino del Calvario.
•Primer cuerpo: La Virgen con el Niño preside en el centro, con un tamaño mayor que las colaterales. A un lado y a otro, en hornacinas más pequeñas están las santas Colombina, Úrsula y Florentina y los santos Matías, Bernardo y Guillén.
•Segundo cuerpo: Altorrelieves con los Gozos de María.
•Tercer cuerpo: En el centro está la imagen de Jesús, a mayor tamaño que las otras de los Apóstoles.
Se corona con el ático que lleva la representación del Calvario.30
Sacristía
La primitiva sacristía (n.º 7 en el plano general) se ubicó en el emplazamiento de la capilla que durante un tiempo sirvió a los monjes mientras se construía la primera parte del gran templo.c Es del siglo XII hecha en piedra de sillería cubierta con bóveda de cañón apuntada.18
La sacristía nueva (n.º 16 en el plano general) es un edificio levantado en el extremo sur del crucero que sobresale de la muralla tomando parte de ella. Se construyó durante el mandato del abad Baltasar Sayol (1732-1736). Está cubierta por una amplia cúpula con su linterna. Estuvo bien decorada con obra de Joseph Flaugierd Una gran cajonería se extendía a lo largo de las paredes, donde se guardaban valiosos ornamentos litúrgicos. Se restauró en 1984.31
El claustro
Está situado junto a la pared norte de la iglesia con la que se comunica por medio de una puerta románica. Fue construido en fases sucesivas, reemplazando incluso estancias anteriores como en el caso de la sala capitular. Se supone que hacia 1162-1163 estaría ya planteado a juzgar por la estructura de las bóvedas lisas y apuntadas, propias del primer císter. Su emplazamiento al norte de la iglesia, aunque no está fuera de normas, no es lo más habitual pues suelen colocarse junto al muro sur del templo.32 La sala capitular es de proporciones bastante considerables, cubierta con una magnífica bóveda de crucería. El refectorio lo tienen los monjes en uso mientras que la cocina (restaurada y amueblada) es un lugar que se visita y que sirve como ejemplo para conocer y aprender cómo eran estas piezas cistercienses.33 En el patio y frente al refectorio puede verse el templete del lavabo, cuya arquitectura es ya del siglo XIV, utilizando unos arcos bellos y proporcionados.34
Tras los avatares y desdichas sufridas por el monasterio durante el siglo XIX y primeros años del XX, el claustro, debidamente restaurado, pone de manifiesto sus arquerías sencillas y bien proporcionadas de finales del siglo XII y principios del XIII.
Otros claustros menores
El claustro o claustrillo de San Esteban o de la enfermería (n.º 3 en el plano), se encuentra dentro del recinto monástico, en el extremo este. Es de planta casi regular; en sus lados cortos tiene 4 y 5 arcos de medio punto y en los largos 8 y 9 pilares que carecen de capiteles. La ornamentación es muy simple con una imposta de motivos vegetales. El claustro ya existía en 1228 y fue reconstruido en el siglo XV.20
El claustro del locutorio está pegando con la pared este de la sala capitular. Tiene capiteles de tradición románica pero las molduras de los arcos son ya góticas.
Palacio del rey Martín el Humano
Se encuentra dentro del tercer recinto, integrado entre las edificaciones anteriores del monasterio, ocupando las plantas superiores del atrio del claustro, lagares, paso al priorato y galilea o vestíbulo de la iglesia. Desde el punto de vista arquitectónico se le considera como una de las joyas del arte gótico civil en Cataluña. Fue mandado construir por el rey Martín I el Humano, comenzando las obras en 1397 y quedando sin concluir desde 1406. El maestro arquitecto fue Arnau Bargués, autor de la Casa del Consejo de Ciento de Barcelona. En 1966 se reanudaron las obras inconclusas además de llevar a cabo una buena restauración. Sirve de sede al museo del monasterio.35
Sepulcros reales
El monasterio de Santes Creus y el de Poblet son los guardianes de los panteones reales de los reyes de la Corona de Aragón. Fue Pedro IV el Ceremonioso, junto con el abad Copons en el año 1340, el que decidió hacer realidad los deseos de Alfonso II de convertir el monasterio en un panteón real. Se encargaron las obras al maestro Aloi, a Jaime Cascalls y también Jordi de Déu en el año 1380.36
Otros enterramientos
Tanto en la iglesia como en el claustro y en el exterior (siempre dentro de la clausura) existe una serie de enterramientos de personajes de la realeza, nobleza, magnates y abades.37 8
En la iglesia
•Edmundo de la Croix, abad general, muerto en el priorato de Nazaret de Barcelona en 1604. Está enterrado al pie de la escalinata del presbiterio.
•Alfonso V de Aragón que fue depositado en una tumba con gran pedestal junto a los sepulcros reales, en el crucero, en el lado del Evangelio. Solo queda la base o pedestal restaurado.e
•Enrique de Trastámara, hermano del Magnánimo, conde de Alburquerque y duque de Villena. Su tumba, hoy desaparecida, estaba enfrente del anterior.
•Martín I de Aragón, enterrado en el extremo del crucero junto a la capilla de San Benito. Es obra nueva de Federico Marés, costeada por el Ayuntamiento de Barcelona.
•Hijos de Pedro IV, cuyos restos descansaron en los sepulcros situados en los muros laterales de la capilla de San Benito.
•Francisco Roures, obispo auxiliar del arzobispado de Tarragona, muerto en 1558, sepultado bajo una lápida sepulcral en el pavimento del crucero, en la parte norte.
•Juana de Aragón, condesa de Ampurias, hija de Pedro IV, muerta en 1384, enterrada en un sarcófago de piedra gótico policromado (quedan restos de policromía). Está situado simétrico al sepulcro de Martín el Humano, al otro lado del crucero, sobre una fuente o lavabo.
•Infantes hijos de Juan I de Aragón en pequeños sarcófagos sobre la puerta de la sacristía vieja.
En el claustro
Antiguos abades perpetuos fueron enterrados en el suelo de la sala capitular, bajo once grandes laudas de piedra. Llevan esculpida la heráldica de cada uno y algunos su nombre.
Otros lugares
El testamento fechado en 1212 de Elvira Núñez de Lara, esposa Ermengol VIII de Urgel, atribuye carácter funerario a la capilla de San Esteban donde existía una cámara subterránea que servía de pudridero a los cadáveres de la realeza.. 20
Existen en Poblet una serie de sencillas cajas de piedra, algunas con la heráldica correspondiente labrada, otras sin ninguna inscripción, colocadas en el suelo junto al muro exterior de la iglesia, o en el cementerio de monjes y legos (situado alrededor del ábside, en el exterior). Son los enterramientos de nobles y magnates que pertenecían a la Hermandad o que profesaban como monjes, eligiendo el monasterio como lugar apropiado para su enterramiento. Así lo hicieron las casas de Cabrera, Montcada, Alcaraz, Boixadors, Granyena, Puigvert Montpahó, y alguna más. Otras eligieron la tierra llana en las capillas de la iglesia o las paredes de la galilea y del claustro, como las casas de Anglesola, Pons de Ribelles, Urgel, Cervera, Jorba, Timor, Guimerà y Copons.8
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