Armored Medieval Knight Statue, Animals, Horses & Medieval Statues, Medieval Knight “in Armour on Armored Horse” Statue

Armored Medieval Knight Statue, Animals, Horses & Medieval Statues, Medieval Knight "in Armour on Armored Horse" Statue

Medieval Knight “in Armour on Armored Horse” Statue

This Armored Medieval Knight Statue have an exquisite craftsmanship, realized with premium sculpted cold cast bronze, real bronze powder mixed with resin. Hand-painted in bronze finish to give a high-quality antique look without sacrificing the details. Great addition to any Medieval collection. Knights were the most-feared and best-protected warriors on the medieval battlefield. They were also the most fashionably dressed and best-mannered members of society. Medieval Armour is an historical type of personal body armour made from bronze, iron, or steel plates, culminating in the iconic suit of armour entirely encasing the wearer. Full medieval steel armour developed in Europe during the Late Middle Ages, especially in the context of the Hundred Years’ War, from the coat of plates worn over mail suits during the 14th century. In Europe, armour reached its peak in the late 15th and early 16th centuries. The full suit of armour, also referred to as a panoply, is thus a feature of the very end of the Middle Ages and the Renaissance period. Its popular association with the “medieval knight” is due to the specialised jousting armour which developed in the 16th century. Full suits of Gothic Armour were worn on the battlefields of the Burgundian and Italian Wars.

The most heavily armoured troops of the period were heavy cavalry, such as the gendarmes and early cuirassiers, but the infantry troops of the Swiss Mercenaries and the Landsknechts also took to wearing lighter suits of “three quarters” munition armour, leaving the lower legs unprotected. The use of armour declined in the 17th century, but it remained common both among the nobility and for the cuirassiers throughout the European wars of religion. After 1650, armour was mostly reduced to the simple breastplate (cuirass) worn by cuirassiers. This was due to the development of the flintlock musket, which could penetrate armour at a considerable distance. For infantry, the breastplate gained renewed importance with the development of shrapnel in the late Napoleonic wars. The use of steel plates sewn into flak jackets dates to World War II, replaced by more modern materials such as fibre-reinforced plastic since the 1950s. Partial medieval armour, made out of bronze, which protected the chest and the lower limbs, was used by the ancient Greeks, as early as the late Bronze Age. The Dendra Panoply protected the entire torso on both sides and included shoulder and neck protections. Less restrictive and heavy armor would become more widespread in the form of the muscle cuirass during classic antiquity before being superseded by other types of armor.

Parthian and Sassanian heavy cavalry known as Clibanarii used cuirasses made out of scales or mail and small, overlapping plates in the manner of the manica for the protection of arms and legs. Armor in the form of the Lorica Segmentata was used by the Roman Empire between the 1st century BC and 4th century AD. Single plates of metal armour were again used from the late 13th century on, to protect joints and shins, and these were worn over a mail hauberk. Gradually the number of plate components of medieval armour increased, protecting further areas of the body, and in barding those of a cavalryman’s horse. Armourers developed skills in articulating the lames or individual plates for parts of the body that needed to be flexible, and in fitting armour to the individual wearer like a tailor. The cost of a full suit of high quality fitted armour, as opposed to the cheaper munition armour (equivalent of ready-to-wear) was enormous, and inevitably restricted to the wealthy who were seriously committed to either soldiering or jousting. The rest of an army wore inconsistent mixtures of pieces, with mail still playing an important part. Medieval Knight “in Armour on Armored Horse” Statue sizes: 10 inches / 25.5 cm x 3.5 inches / 9 cm x 10.25 inches / 26 cm.


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Legendary Medieval Knight Statue, Medieval & Dragons Statues, Legendary Medieval Knight George Slaying the Dragon Statue

Legendary Medieval Knight Statue, Medieval & Dragons Statues, Legendary Medieval Knight George Slaying the Dragon Statue

Legendary Medieval Knight George Slaying the Dragon Statue

Legendary Medieval Knight Statue premium sculpted cold-cast bronze with real bronze powder mixed with resin. Hand-painted color accents on the bronze finish to give a high-quality antique look without sacrificing the details. The intricate craftsmanship of this statue is simply breathtaking. Painted and illustrated by countless artists from the Crusades to the Renaissance, the legend of St. George and the Dragon is modeled wonderfully in this recreation. The attention to detail in the armor, the horse, and the dragon is exceptional. The hand-painted color accents elevates this from a simple bronze statue to a true work of art. The origins of this legend vary, some say that St. George was a Roman soldier, a Crusader knight, or possibly pre-Christianity myths. In this version, St. George slays the Dragon that is terrorizing a town in Libya, and the lord sacrifices his only daughter as tribute. George kills the dragon, saves the princess, and converted the city to Christianity. The legend of Saint George and the Dragon tells of Saint George (died 303) taming and slaying a dragon that demanded human sacrifices.

The story goes that the dragon originally extorted tribute from villagers. When they ran out of livestock and trinkets for the dragon, they started giving up a human tribute once a year. This was acceptable to the villagers until a well-loved princess was chosen as the next offering. The saint thereupon rescues the princess chosen as the next offering. The narrative was first set in Cappadocia in the earliest sources of the 11th and 12th centuries, but transferred to Libya in the 13th-century Golden Legend. The narrative has pre-Christian origins (Jason and Medea, Perseus and Andromeda, Typhon, etc.), and is recorded in various saints’ lives prior to its attribution to St. George specifically. It was particularly attributed to Saint Theodore Tiro in the 9th and 10th centuries, and was first transferred to Saint George in the 11th century. The oldest known record of Saint George slaying a Dragon is found in a Georgian text of the 11th century. The legend and iconography spread rapidly through the Byzantine cultural sphere in the 12th century. It reached Western Christian tradition still in the 12th century, via the crusades.

The knights of the First Crusade believed that St. George, along with his fellow soldier-saints Demetrius, Maurice and Theodore, had fought alongside them at Antioch and Jerusalem. The legend was popularised in Western tradition in the 13th century based on its Latin versions in the Speculum Historiale and the Golden Legend. At first limited to the courtly setting of Chivalric romance, the legend was popularised in the 13th century and became a favourite literary and pictorial subject in the Late Middle Ages and Renaissance, and it has become an integral part of the Christian traditions relating to Saint George in both Eastern and Western tradition. The iconography of military saints Theodore, George and Demetrius as horsemen is a direct continuation of the Roman-eraThracian horseman” type iconography. The iconography of the dragon appears to grow out of the serpent entwining the “tree of life” on one hand, and with the draco standard used by late Roman cavalry on the other.

Horsemen spearing serpents and boars are widely represented in Roman-era stelae commemorating cavalry soldiers. A carving from Krupac, Serbia, depicts Apollo and Asclepius as Thracian horsemen, shown besides the serpent entwined around the tree. Another stele shows the Dioscuri as Thracian horsemen on either side of the serpent-entwined tree, killing a boar with their spears. The development of the hagiographical narrative of the dragon-fight parallels the development of iconography. It draws from pre-Christian dragon myths. The Coptic version of the Saint George legend, edited by E. A. Wallis Budge in 1888, and estimated by Budge to be based on a source of the 5th or 6th century, names “Governor Dadianus“, the persecutor of Saint George as “the dragon of the abyss“. A greek myth with similar elements of the legend is the battle between Bellerophon and the Chimera. Legendary Medieval Knight George Slaying the Dragon Statue sizes: 13.5 inches / 34 cm x 7.6 inches / 19 cm x 13.8 inches / 35 cm.


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Medieval Japanese Samurai Statue, Medieval, Japanese & Samurai Statues, Medieval Japanese Samurai “General Minamoto no Yoshitsune” Statue

Medieval Japanese Samurai Statue, Medieval, Japanese & Samurai Statues, Medieval Japanese Samurai "General Minamoto no Yoshitsune" Statue

Medieval Japanese Samurai “General Minamoto no Yoshitsune” Statue

Medieval Japanese Samurai Statue premium sculpted cold cast bronze with real bronze powder mixed with resin. Hand-painted in bronze finish to give a high-quality antique look without sacrificing the details. Beautiful decor to display in your home, office, or library. Great addition to any Japanese Samurai collection. BUSHIDO – The code of honor and morals developed by the Japanese samurai. Minamoto no Yoshitsune (1159 – June 15, 1189) was a Japanese military, samurai and general of the Minamoto clan, who lived between the end of the Heian period and the beginning of the Kamakura period, one of the last dead before that the shogun became the absolute ruler of the country for nearly 7 centuries. He had started the war against the Taira as a teenager and was 28 at the time of his death. Taken as an example as a samurai, he is considered the greatest warrior in the history of Japan. Yoshitsune was the 4th and last son of the warlord Minamoto no Yoshitomo, Head of the Minamoto clan, and a concubine, Tokiwa Gozen. Shortly after his birth, at the end of 1159, the Heiji rebellion broke out, in which his father and 2 older brothers lost their lives.

While his elder brother Yoritomo, son of the official wife and now designated heir of the clan, was exiled to Izu province, Yoshitsune was entrusted to the Kurama temple, in the Hiei mountains, near Kyoto, where he grew up under the name of Ushiwakamaru. On Mount Kurama, he learned kenjutsu (fencing with the katana) from the king of the tengu, Sojobo. Eventually, he was taken into custody by Fujiwara no Hidehira, head of the mighty northern branch of the Fujiwara (Northern Fujiwara) clan, and was taken to Hiraizumi, Mutsu province. In 1180, Yoshitsune learned that his brother Yoritomo, now head of the clan, had gathered the armies of the Minamoto to face those of the Taira clan. Yoshitsune, along with his very faithful friend Benkei, took part in the conflict. In the battle of Awazu, in Omi province, in early 1184, he defeated and killed his cousin Yoshinaka, Yoritomo’s rival for the post of clan chief, then proclaimed himself a shogun for a short time. A month later, in the battle of Ichi-no-Tani, in today’s Kobe, he defeated the Taira and repeated the feat, in 1185, in the battles of Yashima, on the Island of Shikoku, and Dan-no-ura, in the present Yamaguchi prefecture.

After the Genpei War, Yoshitsune heeded the appeal of the cloistered emperor Go-Shirakawa, whose power had now greatly diminished, to take up arms against his envious brother Yoritomo, who felt threatened by his reputation as an invincible warrior at the court imperial and prevented his appointment as shogun. Defeated and accused of treason for the emperor’s support, Yoritomo ordered checkpoints to be set up across the country to capture him, so in 1187 he had to return to enlist the help of Fujiwara no Hidehira. There, in Mutsu province, Yoshitsune was betrayed by Hidehira’s son, Yasuhira, and forced to perform seppuku, along with his wife Sato Gozen and daughter, to escape capture by Yoritomo’s warriors. In 1192, 3 years after his death, Go-Shirakawa and Yoritomo reconciled, and Yoritomo received the title of shogun, founding the Kamakura Shogunate and becoming April 26 of that year, after the death of the last true absolute ruler, the effective governor of Japan. His head was captured and sent to his brother. He was buried in the Shirahata Jinja Shinto temple in Fujisawa, where his body is still kept today. Medieval Japanese Samurai “General Minamoto no Yoshitsune” Statue measures: 6 inches / 15 cm x 4 inches / 10 cm x 8.3 inches / 21 cm.


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Ancient Samurai Warrior Zombie Statue, Japanese, Medieval, Zombies & Samurai Statues, Ancient Medieval Samurai Zombie Warrior (Red & Gold) Statue

Ancient Samurai Warrior Zombie Statue, Japanese, Medieval, Zombies & Samurai Statues, Ancient Medieval Samurai Zombie Warrior (Red & Gold) Statue

Ancient Medieval Samurai Zombie Warrior (Red & Gold) Statue

An Ancient Samurai Warrior Zombie Statue, a great desk decoration inspired by Samurai. This Medieval Zombie Samurai will be eye-catching decor to display in your personal spaces. Exquisite details and colors. There are two Japanese dragons playing with dragon pearl on the helmet. The face is wearing a demon mask half damaged by the fighting. The armor is richly detailed and decorated with Japanese patterns. Made in durable materials like eco freindly resin, no odor, non-toxic harmless, hand made and hand painted. Realistic details will bring an impressive focus to this artwork. The Samurai, a member of the Japanese warrior caste. The term Samurai was originally used to denote the aristocratic warriors (bushi), but it came to apply to all the members of the warrior class that rose to power in the 12th century and dominated the Japanese government until the Meiji Restoration in 1868. Emerging from provincial warrior bands, the samurai of the Kamakura period (1192-1333), with their military skills and deep pride in their stoicism, developed a disciplined culture distinct from the earlier, quiet refinement of the imperial court. During the Muromachi period (1338-1573) under the growing influence of Zen Buddhism, the samurai culture produced many such uniquely Japanese arts as the tea ceremony and flower arranging that continue today.

The ideal samurai was supposed to be a stoic warrior who followed an unwritten code of conduct, later formalized as Bushido, which held bravery, honour, and personal loyalty above life itself. On the front side of the statue, “” represents the Bushido. Bushido is a code of conduct that emerged in Japan from the Samurai, or Japanese warriors, who spread their ideals throughout society. They drew inspiration from Confucianism, which is a relatively conservative philosophy and system of beliefs that places a great deal of importance on loyalty and duty. The Bushido code contains eight key principles or virtues that warriors were expected to uphold. (, Gi: Honesty and Justice, , Yu: Heroic Courage, , Jin: Compassion, , Rei: Kind Courtesy, 名誉, Meiyo: Honor, 忠義, Chugi: Duty and Loyalty, , Makoto: Complete Sincerity). As the spiritual treasure of the Japanese people, Bushido has had a long and profound influence on Japanese society in both ancient and modern times. After a hundred years of baptism, bushido spirit is still shining in modern society, commanding the vigorous development of Japanese society and leading the Japanese people to pursue a happy life.

Japanese Samurai usually wear two swords, one long and one short. The long sword is usually called Katana and the short sword is called Wakizashi. This sculpture shows this. Synonymous with samurai bravery is the Katana, or samurai sword, and bushido dictated that this curved, slender blade was the soul of a warrior. Images of samurai depict them with their masterfully crafted weapons of war and together with the shorter blade of a wakizashi, this pair, known as the Daisho, represented the social status and personal honour of the Samurai. This Japanese samurai sculpture adopts the shape of meditation. From the 13th century, Samurai conduct became heavily influenced by Zen Buddhism. By being present in the moment, Zen training allowed a samurai to become one with their sword and the free and spontaneous mind gave them the mental edge over their enemy. Zen Meditation calmed the mind and gave a warrior philosophical strength to deal with their inevitable death. High-ranking samurai warriors of medieval Japan wore elaborate and expensive suits of armor designed to not only protect them from enemy weapons, but also to incorporate symbolism from Japanese mythology and art.

The armor of the highest-ranked warriors may have included an elaborate crest mounted on the top of the helmet, as well as a metal or leather face mask. Samurai who wanted to appear ferocious chose to wear masks depicting supernatural beings. Japanese armorers made ghost masks, evil demon masks and masks oftengu“, or mountain goblins. However, the more elaborate and artistic evil demon designs masks did not become common until the peaceful Edo period, when armor was made more for show than for utility. The Zombies instead are beings in mythology, legend, or fiction that are deceased but behave as if they were alive. A common example of a Zombie being is a corpse reanimated by supernatural forces, by the application of either the deceased’s own life force or that of another being (such as a demon). The Zombie may be incorporeal like ghosts, or corporeal like vampires. The undead are featured in the belief systems of most cultures, and appeared in many books and movies. From the Stone Age to the Information Age, humans have been preoccupied with the Zombie for a long time. The history of zombies today is a worldwide phenomenon. Ancient Medieval Samurai Zombie Warrior (Red & Gold) Statue sizes: 8.5 inches / 21.5 cm x 7.5 inches / 19 cm x 15 inches / 38 cm.


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Gothic Evil Grim Reaper Statue, Gothic, Skulls, Medieval & Mythological Statues, Evil Grim Reaper on Bone Throne with Scythe and Skulls Statue

Gothic Evil Grim Reaper Statue, Gothic, Skulls, Medieval & Mythological Statues, Evil Grim Reaper on Bone Throne with Scythe and Skulls Statue

Gothic Evil Grim Reaper on Bone Throne with Scythe and Skulls Statue

Add a dash of fright in your house with this Gothic Evil Grim Reaper Statue. This finely detailed and hand painted work of art is certain to put a scare into your guests and is definitely not for the faint of heart. This spooky sculpture will be the crowning centerpiece of your mantel, shelf or tabletop when included in your collection of Gothic decor. Truly a work of art that would make a great fantasy gift idea also for a cave man. The Grim Reaper is a spectral entity that is said to be the sentient manifestation of Death itself. Since the 14th century, Death has commonly been perceived to be an animated human skeleton, draped in pitch black robes and carrying a scythe. With this scythe, the Reaper severs the soul’s last ties to life and grants the soul safe passage to the afterlife. The Grim Reaper has often, falsely, been depicted as an evil spirit that preys on mortals. In truth, however, she is neither evil nor good, merely a force of nature and order. Death is a fundamental part of life and it is the Grim Reaper’s duty to claim the souls of the deceased so as to maintain the balance of nature.

The Reaper does not “kill” mortals, but merely guides their spirits to the next realm and it is not her place to judge souls or determine what will become of them. The oldest Death figure who resembles the Grim Reaper myth is Thanatos, the Primordial embodiment of demise from Greco-Roman myth. Thanatos was one of two twin sons born to Nyx, the primordial goddess of Night with Thanatos’s twin having been the sleep god Hypnos. In Thanatos’s most famous myth, he was captured and imprisoned by the Sysyphus, the mad king of Corinth. Thanatos was chained and bound in the castle of Sysyphus resulting in no living being on Earth being able to die which lead to an uproar from the God of War, Ares. Ares freed Thanatos and Sisyphus was sent to Tartarus, the Greek Hell. The origin of the Grim Reaper figure comes from the Medieval Europe during the 14th century when more and more Europeans found themselves dying of the mysterious new plague known as “Black Death” (now known as Bubonic Plague).

The Grim Reaper embodied the concept of the living being like wheat which the Reaper harvests when they grow too old, hence the reaper’s scythe. Although the figure is generally devoid of religious ties the Reaper is often affiliated with the Horseman of Death from the Abrahamic faith, one of the four horsemen of the Apocalypse. Due to this the Grim Reaper is often portrayed as having a Pale Horse. The Grim Reaper is a near universal representation of demise and is found in a wide variety of different cultures with many different names. British influenced cultures tend to portray the Reaper as being male or devoid of gender or sex but in languages with grammatical gender the concept of Death is expressly female. Due to this several culture’s variants of the Grim Reaper are expressly female or at the least feminine leaning. Evil Grim Reaper on Bone Throne with Scythe and Skulls Statue measures: 9.25 inches / 23.5 cm x 7.75 inches / 19.5 cm x 10.5 inches / 26.5 cm.


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Gothic Knight Armor Statue, Medieval & Gothic Statues, King’s Medieval Guard Gothic Knight Armor Statue

Gothic Knight Armor Statue, Medieval & Gothic Statues, King's Medieval Guard Gothic Knight Armor Statue

King’s Medieval Guard Gothic Knight Armor Statue

Gothic Knight Armor Statue, hand-cast using real crushed stone bonded with high quality designer resin, each piece is individually hand-painted by the artisans. At more than a yard tall, this incredibly detailed, museum replica knight is a true statement piece! Quality designer resin museum replica is clad in 16th century style Italian armor, proudly displaying his sword and a chestplate emblazoned with intricately sculpted lions. Features a two-tone metallic finish. Castle guard, in the European feudal tenure, an arrangement by which some tenants of the king or of a lesser lord were bound to provide garrisons for royal or other castles. The obligation would in practice be discharged by subtenants, individual knights who held their fiefs by virtue of performing such service for a fixed period each year. Because the castle concerned might be far from the fiefs charged to guard it, the duty was early commuted for money payments. Some castle guards, or ward rents, survived into modern times.

Knight service, in the European feudal system, military duties performed in return for tenures of land. The military service might be required for wars or expeditions or merely for riding and escorting services or guarding the castle. To obtain such service, a lord could either enfeoff (grant a fief to) one man for direct and personal service or enfeoff someone who would bring with him other knights. The number of knights supplied usually bore some relation to the size of the fief. Originally services and equipment were supplied at the vassal’s expense. The normal period of service was 40 days a year. In England knight service was held due to the king only. In France, however, the lesser nobility as well could claim such service and thus were able to achieve great personal power. As time went on, variations developed. From the mid 12th century fewer knights were being summoned, but they often were serving for longer than 40 days; sometimes service due was rendered in scutage, a tax paid in lieu of service. By 1300 the decline in the importance of cavalry, the increasing use of mercenaries, and the resistance of tenants had combined to reduce substantially the number of knights summoned from any fief. King’s Medieval Guard Gothic Knight Armor Statue measures: 10.5 inches / 26 cm x 13.5 inches / 34 cm x 39.5 inches / 1 m.


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Dragon Blade Gothic Statue, Dragons, Medieval & Gothic Statues, Medieval Dragon Twisted on the Sword in the Stone Statue

Dragon Blade Gothic Statue, Dragons, Medieval & Gothic Statues, Medieval Dragon Twisted on the Sword in the Stone Statue

Medieval Dragon Twisted on the Sword in the Stone Statue

Dragon Blade Gothic Statue, comes straight out of the long ago legends where this metallic dragon tries to free the lion sword from the stone, but cannot. The intricate sculpt brings the story to life with the fierce dragon wrapped around both sword and stone. Fashioned this collectible dragon sculpture with muscular haunches, scaly skin, sharp talons, spiked horns, and large wings after the medieval European legends. This Gothic Dragon is an high quality sculpture, hand-cast using real crushed stone bonded with durable designer resin, and hand-painted with a colorful jewel tone, faux metallic and faux stone finish. A detailed Medieval Dragon Statue perfect for proud display in your home, a great gift for Dragons collectors.

Prominently featured in the myths of many Asian and medieval European cultures, Dragons are more than just fire-breathing creatures from Gothic legends: They also hold spiritual and cultural significance. Honor the ancient spirits with the Medieval Dragon Twisted on the Sword in the Stone! Try as he might, this fiery dragon by artist Liam Manchester will never remove the mystical Sword of Integrity embedded in the Great Stone. Made in quality designer resin and hand-painted in fiery tones that highlight details from scaly reptile skin to powerful jaw. This artisan-created work makes a great Medieval gift to keep the memory of Dragons Alive. Medieval Dragon Twisted on the Sword in the Stone Statue measures: 3.5 inches / 9 cm x 5 inches / 13 cm x 8 inches / 20 cm.


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King Arthur Medieval Statue, Medieval & Mythological Statues, King Arthur and the Knights of the Round Table Statue

King Arthur Medieval Statue, Medieval & Mythological Statues, King Arthur and the Knights of the Round Table Statue

King Arthur and the Knights of the Round Table Statue

King Arthur Medieval Statue with the Knights of the Round Table set includes 12 Knights, 12 Chairs and the Round Table. King Arthur and his Knights of the Round Table is a retelling of the Arthurian Legends, principally Thomas Malory’s Le Morte d’Arthur, by Roger Lancelyn Green. It was intended for a child audience. It was first published by Puffin Books in 1953 and has since been reprinted many times. In 2008 it was reissued in the Puffin Classics series with an introduction by David Almond (the award-winning author of clay, skellig, kit’s wilderness and the fire-eaters), and the original illustrations by Lotte Reiniger.

The Round Table hail from Camelot, and the Knights of King Arthur’s Kingdom sat around a table with no head, so they were said to be equals. In this statue set the knights stand and swear their Code of Chivalry with their swords pointed inwards. Every chairs and knights are removable, each detail of this unique set has been expertly sculpted with the spirit of courage and chivalry. Each helmet and tabard is unique as the knights stand with swords in hand. King Arthur and the Knights of the Round Table Statue is hand-painted in a faux stone finish and full color tabards and cast by hand using real crushed stone bonded with durable designer resin. The perfect set to proud display in your home and they makes a great gift for historians or anyone who admires the chivalrous knightly spirit.

The Knights of Avalon, raise their swords to swear allegiance to the King of Camelot! Each is faithfully sculpted and infused with the spirit of courage and chivalry that have made their stories Mythological. Hand-sculpted with myriad details, from Perceval‘s armor to Galahad‘s ornate shield with rich heraldic hues to capture every nuance. This legendary, collectible assemblage of 12 figures, round table, and individual chairs makes a perfect gift to yourself or a favorite Knight. The King Arthur and the Knights of the Round Table Statue measures: 13.5 inches / 34 cm x 13.5 inches / 34 cm x 5 inches / 18 cm.


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