- John Gutenberg
Tthorwalden's statue of John Gutenberg - vena cumulata
- venae dilatatae
- Vena profunda
- Divining rod
There are many great contentions between miners concerning the forked twig, for some say that it is of the greatest use in discovering veins, and others deny it. Some of those who manipulate and use the twig, first cut a fork from a hazel bush with a knife, for this bush they consider more efficacious than any other for revealing the veins, especially if the hazel bush grows above a vein. Others use a different kind of twig for each metal, when they are seeking to discover the veins, for they employ hazel twigs for veins of silver; ash twigs for copper; pitch pine for lead and especially tin, and rods made of iron and steel for gold. All alike grasp the forks of the twig with their hands, clenching their fists, it being necessary that the clenched fingers should be held toward the sky in order that the twig should be raised at that end where the two branches meet. Then they wander hither and thither at random through mountainous regions. It is said that the moment they place their feet on a vein the twig immediately turns and twists, and so by its action discloses the vein; when they move their feet again and go away from that spot the twig becomes once more immobile. - Hildegard receiving the light from Heaven
Hildegard receiving the Light from Heaven (Wiesbaden Codex B, fo. 1 r) - Swine Hunting - IX Century
The engraving represents a Saxon chieftain, attended by his huntsman and a couple of hounds, pursuing the wild swine in a forest, taken from a manuscriptal painting of the ninth century in the Cotton Library. - Spearing a Boar—XIV. Century
The above is a representation of the manner of attacking the wild boar, from a manuscript written about the commencement of the fourteenth century, in the possession of Francis Douce, Esq. - 10th Century soldier
Figure of Goliath, from a Latin Psalter of the tenth century in the British Museum Additional MS., No. 18,043. The hauberk is coloured blue in the original, apparently indicating chain-mail. The curious combed helmet is of the same hue, clearly implying a defence of iron. - Anglo-Saxon soldiers
Another group from Cotton MS., Claudius, B. iv. - Anglo-Saxon Spearmen
Anglo-Saxon spearmen, from the fine manuscript of Prudentius in the Tenison Library. Date, the beginning of the eleventh century. The drawings are in pen-and-ink only, but very carefully executed: the later subjects by a fresh hand, but all Anglo-Saxon work. - Anglo-Saxon warriors
Group from Cottonian MS., Claudius, B. iv., folio 24: Aelfric's Anglo-Saxon Paraphrase of the Pentateuch, &c. Date about 1000. The crowned figure in the centre appears to be armed in a coat of chain-mail - A Sprinkle or Hand-Flail of bronze
From the Museum of Mitau in Courland - Swords
Fig. 7. Norwegian Sword. The pommel and cross-piece are of iron. Figs. 8 to 11. From Livonian graves : the originals are in the British Museum. Fig. 10 is single-edged : its pommel and the chape of the scabbard are of bronze. Fig. 11 has its pommel and guard ornamented with silver - Swords
Fig. 1. Found in the Anglo-Saxon cemetery at Fairford. It measures upwards of 2 ft. 11 inches, and is one of the finest examples extant. Fig. 2. In the Hon. Mr. Neville's collection : found in the Anglo-Saxon cemetery at Wilbraham, Cambridgeshire. Length of blade, 2 ft. 7 in. It retains the bronze mountings of the sheath, which have been gilt. Fig. 3. Same collection and find • a specimen re-markable for the cross-piece at the hilt. Fig. 4 Ancient-. Irish Sword of the same period : length, 30 inches. From Mr. Wakeman's paper in vol. iii. of Colleetanea Antigua. Fig. 5. Danish sword with engraved runes : in the Copenhagen Museum. Fig. 6. Danish : from the Annaler for Nordisk Oldkyndighed. Remarkable for the form of its cross-piece - Father Lana's aerial ship (1670)
Certainly Lana's project is impracticable: the learned Jesuit did not foresee that his empty copper balloons would be crushed by the external atmospheric pressure; but he nevertheless had a very clear idea and very remarkable for his time of the principle of aerial navigation by balloons lighter than the volume of air which they move. He ends his long chapter with some very curious considerations: I do not see any other difficulties that can be opposed to this idea, except one which seems to me more important than all the others, and that God will not allow this invention to be ever successfully applied in practice, in order to prevent the consequences which would result from it for the civil and political government of men. Indeed, who does not see that there is no State which would be insured against a stroke of surprise, because this ship would be heading in a straight line on one of its strongholds, and, landing there, could descend there soldiers. - The Venice parachute (1617), after an engraving of the time
The attached engraving is the exact reproduction of the parachute that the author also defines in the following terms, certainly inspired by those of Leonardo da Vinci: With a square veil stretched out with four equal poles and having tied four ropes to the four quinces, a man without danger will be able to throw himself from the top of a tower or some other prominent place; because although, at the hour, there is no wind, the effort of he who falls will bring wind which will hold back the sail, lest it fall violently, but gradually descend. The man therefore must measure himself with the size of the sail. - Principle of the parachute, drawing by Leonardo da Vinci
If Leonardo da Vinci's aerial flight experiments do not seem to have been carried out on a large scale, it is perhaps not the same with the parachute, the use of which is much safer. The description of Leonardo da Vinci was reproduced later, not without a notable improvement in the mode of representation of the apparatus, in a collection of machines, due to Fauste Veranzio and published in Venice in 1617. - Principle of the helicopter, drawing by Leonardo da Vinci
Principle of the helicopter, drawing by Leonardo da Vinci - Facsimile of Leonardo da Vinci's drawings on artificial wings
The examination of the original drawings of the great Italian artist is intersting. We reproduce by heliogravure a complete plate; it makes it possible to follow the thought which presided over its execution. We let Dr. Hureau de Villeneuve interpret it. We see in the second row on the right a small character quite similar to a demon or a genie, for he wears a flame on his head and, next to this flame, a Latin cross. His arms end with the fingers of a bat. The figure is not yet finished when Leonardo already recognizes its insufficiency and, guessing the little muscular action of the arms, thinks of using the force of the legs. So we see a little higher, in the same plank, a vigorous man placed on his stomach, his legs bent and about to launch a violent kick. The protruding muscles, traced by an anatomist's pencil, reveal the great painter in an unassuming drawing. - Saint Liedwi, Of Scheidam, Holland, A. D. 1396
The First known skating Illustration - Irish Rotta
A very interesting representation of the Psalmist [King David] with a kind of rotta occurs in a manuscript of the tenth century, in the British museum (Vitellius F. XI.). The manuscript has been much injured by a fire in the year 1731, but Professor Westwood has succeeded, with great care, and with the aid of a magnifying glass, in making out the lines of the figure. As it has been ascertained that the psalter is written in the Irish semi-uncial character it is highly probable that the kind of rotta represents the Irish cionar cruit, which was played by twanging the strings and also by the application of a bow. - Rotta
A representation of David playing on the rotta, from a psalter of the seventh century in the British museum (Cott. Vesp. A. I). According to tradition, this psalter is one of the manuscripts which were sent by pope Gregory to St. Augustine. In the rotta the ancient Asiatic lyre is easily to be recognized. - German rotte
One of the most interesting stringed instruments of the middle ages is the rotta (German, rotte; English, rote). It was sounded by twanging the strings, and also by the application of the bow. The first method was, of course, the elder one. There can hardly be a doubt that when the bow came into use it was applied to certain popular instruments which previously had been treated like the cithara or the psalterium. - Ancient Irish harp
Perhaps the addition [of the front pillar] was also non-existent in the earliest specimens appertaining to European nations; and a sculptured figure of a small harp constructed like the ancient eastern harp has been discovered in the old church of Ullard in the county of Kilkenny. Of this curious relic, which is said to date from a period anterior to the year 800, a fac-simile taken from Bunting’s “Ancient Music of Ireland” is given. As Bunting 90was the first who drew attention to this sculpture his account of it may interest the reader. “The drawing” he says “is taken from one of the ornamental compartments of a sculptured cross, at the old church of Ullard. From the style of the workmanship, as well as from the worn condition of the cross, it seems older than the similar monument at Monasterboice which is known to have been set up before the year 830. - Harp, ninth century
In the illustration from the manuscript of the monastery of St. Blasius twelve strings and two sound holes are given to it. A harp similar in form and size, but without the front pillar, was known to the ancient Egyptians. - Anglo-saxon harp
The Anglo-saxons frequently accompanied their vocal effusions with a harp, more or less triangular in shape,—an instrument which may be considered rather as constituting the transition of the lyre into the harp. The representation of king David playing the harp is from an Anglo-saxon manuscript of the beginning of the eleventh century, in the British museum. The harp was especially popular in central and northern Europe, and was the favourite instrument of the German and Celtic bards and of the Scandinavian skalds. - Citole
A small psalterium with strings placed over a sound-board was apparently the prototype of the citole; a kind of dulcimer which was played with the fingers. The names were not only often vaguely applied by the mediæval writers but they changed also 89in almost every century. The psalterium, or psalterion (Italian salterio, English psaltery), of the fourteenth century and later had the trapezium shape of the dulcimer. - Psalterium
a very simple stringed instrument of a triangular shape, and a somewhat similar one of a square shape were designated by the name of psalterium - Comparative size of molecules
An atom is the smallest particle of a chemical element. Two or more atoms come together to form a molecule: thus molecules form the mass of matter. A molecule of water is made up of two atoms of hydrogen and one atom of oxygen. Molecules of different substances, therefore, are of different sizes according to the number and kind of the particular atoms of which they are composed. A starch molecule contains no less than 25,000 atoms. Molecules, of course, are invisible. The above diagram illustrates the comparative sizes of molecules. - The Spectroscope, an Instrument for Analysing Light
This pictorial diagram illustrates the principal of Spectrum Analysis, showing how sunlight is decomposed into its primary colours. What we call white light is composed of seven different colours. The diagram is relieved of all detail which would unduly obscure the simple process by which a ray of light is broken up by a prism into different wave-lengths. The spectrum rays have been greatly magnified. - Surgical instruments of the Arabs
Surgical instruments of the Arabs, according to Abulcasim After plates in Gurlt’s “Geschichte der Chirurgie” 1. A pincher for extracting foreign bodies from the ear 2. An ear syringe for injections 3. A tongue depressor 4. Concave scissors for the removal of tonsils 5. Curved pinchers for foreign bodies in the throat 6 to 29. Instruments for the treatment of the teeth 19 and 20. Forceps 21 to 25. Levers and hooks for the removal of roots 26. Strong pinchers for the same 27. A tooth saw 28 and 29. Files for the teeth - Medieval Surgical instruments
Surgical instruments of Guy de Chauliac, nos. 1, 2, 3, and 4 (fourteenth century); and surgical apparatus of Hans von Gerssdorff, nos. 5, 6 and 7 (fifteenth century) After plates in Gurlt’s “Geschichte der Chirurgie” 1. Trepan 2. Balista used for extraction of arrows 3. Cauterizing shears with cannula for cauterization of the uvula 4. Bistoury 5. Extension arrangement for reducing upper arm dislocations, called “The Fool” 6. Screwpiece for extending a knee contracture 7. Extension apparatus in the form of armour-arm and armour-leg plates (“harness instruments”) for contractures of the elbow and knee joints - Brunschwig’s surgical armamentarium
From Gurlt’s “Geschichte der Chirurgie” Hans von Gerssdorff and Hieronymus Brunschwig, who flourished in the latter half of the fifteenth century in Germany, have both left early printed treatises on Surgery which give excellent woodcuts showing pictures of instruments, operations, and costumes, at the end of the medieval period. - A Band of Minstrels
frequently the different members of the same band of minstrels present differences of costume, as in the instance here given, from the title-page of the fourteenth century MS. Add., 10,293; proving that the minstrels did not affect any uniformity of costume whatever. - Wool Merchants from Northleach Church
Wool Merchants from Northleach Church - William the Conqueror’s Ship
The Bayeux tapestry is probably our earliest trustworthy authority for a British ship, and it gives a considerable number of illustrations of them, intended to represent in one place the numerous fleet which William the Conqueror gathered for the transport of his army across the Channel; in another place the considerable fleet with which Harold hoped to bar the way. The one we have chosen is the duke’s own ship; it displays at its mast-head the banner which the Pope had blessed, and the trumpeter on the high poop is also an evidence that it is the commander’s ship. - William de Langley
William de Langley, who gave to the monastery a well-built house in Dagnale Street, in the town of St. Alban’s, for which the monastery received sixty shillings per annum, which Geoffrey Stukeley held at the time of writing. William de Langley is a man of regular features, partly bald, with pointed beard and moustache, the kind of face that might so easily have been merely conventional, but which has really much individuality of expression. The house—his benefaction—represented beside him, is a two-storied house; three of the square compartments just under the eaves are seen, by the colouring of the illumination, to be windows; it is timber-built and tiled, and the upper story overhangs the lower. The gable is finished with a weather-vane, which, in the original, is carried beyond the limits of the picture. - William and Johanna Cheupaign
The donors seem to be chiefly tradespeople rather than merchants of the higher class, and of the latter half of the fourteenth century. Here, for example, are William Cheupaign and his wife Johanna, who gave to the Abbey-church two tenements in the Halliwelle Street. One of the tenements is represented in the picture, a single-storied house of timber, thatched, with a carved stag’s head as a finial to its gable. - Warrior 11th Cenury
In the Additional MS. 11,695, in the British Museum, a work of the eleventh century, there are several representations of warriors thus fully armed, very rude and coarse in drawing, but valuable for the clearness with which they represent the military equipment of the time. At folio 194 there is a large figure of a warrior in a mail shirt, a conical helmet,[Pg 316] strengthened with iron ribs converging to the apex, the front rib extending downwards, into what is called a nasal, i.e., a piece of iron extending downwards over the nose, so as to protect the face from a sword-cut across the upper part of it. - Walter of Hamuntesham attacked by a Mob
They were grateful men, these Benedictines of St. Alban’s; they have immortalised another of their inferior officers, Walterus de Hamuntesham, fidelis minister hujus ecclesiæ, because on one occasion he received a beating at the hands of the rabble of St. Alban’s while standing up for the rights and liberties of the church. - View of Jerusalem
View of Jerusalem - Use of the Pavis
The archers of the castle found shelter behind the merlons of the battlements, and had the windows from which they shot screened by movable shutters; as may be seen in the next woodcut of the assault on a castle. It would have put the archers of the assailants at a great disadvantage if they had had to stand out in the open space, exposed defenceless to the aim of the foe; all neighbouring trees which could give shelter were, of course, cut down, in order to reduce them to this defenceless condition, and works were erected so as to command every possible coigne of vantage which the nooks and angles of the walls might have afforded. But the archers of the besiegers sought to put themselves on more equal terms with their opponents by using the pavis or mantelet. The pavis was a tall shield, curved so as partly to envelop the person of the bearer, broad at the top and tapering to the feet. - Traders entering a Town
The illustration shows a group of people crossing the bridge into a town, and the collector levying the toll. The oxen and pigs, the country-wife on horseback, with a lamb laid over the front of her saddle, represent the country-people and their farm-produce; the pack-horse and mule on the left, with their flat-capped attendant, are an interesting illustration of the itinerant trader bringing in his goods. - Timber Fort
In the middle of the picture is a castle with a bridge, protected by an advanced tower, and a postern with a drawbridge drawn up. Archers, cross-bowmen, and men-at-arms man the battlements. In front is a group of men-at-arms and tents, with archers and cross-bowmen shooting up at the defenders. On the right is a group of men-at-arms who seem to be meditating an attack by surprise upon the postern. On the left, opposed to the principal gate, is the timber fort shown in the woodcut. Its construction, of great posts and thick slabs of timber strengthened with stays and cross-beams, is well indicated. There seem to be two separate works: one is a battery of two cannon, the cannon having wheeled carriages; the other is manned by archers. It is curious to see the mixture of arms—long-bow, cross-bow, portable fire-arm, and wheeled cannon, all used at the same time; indeed, it may be questioned whether the earlier fire-arms were very much superior in effect to the more ancient weapons which they supplanted. - Thirteenth Century Pilgrims (the two Disciples at Emmaus)
The most usual foreign pilgrimages were to the Holy Land, the scene of our Lord’s earthly life; to Rome, the centre of western Christianity; and to the shrine of St. James at Compostella. The number of pilgrims to these places must have been comparatively limited; for a man who had any regular business or profession could not[Pg 160] well undertake so long an absence from home. The rich of no occupation could afford the leisure and the cost; and the poor who chose to abandon their lawful occupation could make these pilgrimages at the cost of others; for the pilgrim was sure of entertainment at every hospital, or monastery, or priory, probably at every parish priest’s rectory and every gentleman’s hall, on his way; and there were not a few poor men and women who indulged a vagabond humour in a pilgrim’s life. The poor pilgrim repaid his entertainer’s hospitality by bringing the news of the countries through which he had passed, and by amusing the household after supper with marvelous saintly legends, and traveler’s tales. - The Ship Victoria
The woodcut is a reproduction from the frontispiece of one of Hulsius’ curious tracts on naval affairs, and represents the ship Victoria, in which Magellan sailed round the world, passing through the straits to which he gave his name. - The Parish Clerk sprinkling the Knight and Lady
Picture shows the costume and the holy water-pot and aspersoir, and to indicate how he went into all the rooms of the house now into the hall sprinkling the lord and lady who are at breakfast. - The Parish Clerk sprinkling the Cook
The Parish Clerk sprinkling the Cook The picture will shows the costume and the holy water-pot and aspersoir, and to indicate how he went into all the rooms of the house—now into the kitchen sprinkling the cook. - The Knight-Errant’s Squire
There is so much of character in his squire’s face in the picture, and that character so different from our conventional idea of a squire as he leans over the horse’s back talking to his master. - The Feat of Arms at St. Inglebert’s
For an actual historical example of the tournament in which a number of knights challengers undertake to hold the field against all comers, we will take the passage of arms at St. Inglebert’s, near Calais, in the days of Edward III., because it is very fully narrated by Froissart, and because the splendid MS. of Froissart in the British Museum supplies us with a magnificent picture of the scene. - The Duke of Gloucester and the Earl of Warwick
The illustration is from the valuable MS. Life and Acts of Richard Beauchamp, Earl of Warwick. The present is part of a fight before Calais, in which Philip Duke of Burgundy was concerned on one side, and Humphrey Duke of Gloucester, Richard Earl of Warwick, and Humphrey Earl of Stafford on the other. - The Cat
The use of the regular mine for effecting a breach in the wall of a fortified place was well known, and often brought to bear. The miners began their work at some distance, and drove a shaft underground towards the part of the fortifications which seemed most assailable; they excavated beneath the foundations of the wall, supporting the substructure with wooden props until they had finished their work. Then they set fire to the props, and retired to see the unsupported weight of the wall bringing it down in a heap of ruins. The operation of mining was usually effected under the protection of a temporary pent-house, called a cat or sow. - The Canterbury Pilgrims
The woodcut from a MS. of Lydgate’s “Storie of Thebes”, gives a general view of a town. The travelers in the foreground are a group of Canterbury pilgrims. - The Morning Stars singing together
In the MSS. we not unfrequently find the ordinary musical instruments placed in the hands of the angels; e.g., in the early fourteenth-century MS. Royal 2 B. vii., in a representation of the creation, with the morning stars singing together, and all the sons of God shouting for joy, an angelic choir are making melody on the trumpet, violin, cittern, shalm (or psaltery), and harp. - The Canterbury Ampulla
The chief sign of the Canterbury pilgrimage was an ampul (ampulla, a flask); we are told all about its origin and meaning by Abbot Benedict, who wrote a book on the miracles of St. Thomas. The monks had carefully collected from the pavement the blood of the martyr which had been shed upon it, and preserved it as one of the precious relics. - The Beverley Minstrels
Another of these guilds was the ancient company or fraternity of minstrels in Beverley, of which an account is given in Poulson’s “Beverlac”. When the fraternity originated we do not know; but they were of some consideration and wealth in the reign of Henry VI., when the Church of St. Mary’s, Beverley, was built. - The Assault
Seizing that moment, a party of camp followers run forward with a couple of planks, which they throw over the moat to make a temporary bridge. They are across in an instant, and place scaling-ladders against the walls. The knights, following close at their heels, mount rapidly, each man carrying his shield over his head, so that the bare ladder is converted into a covered stair, from whose shield-roof arrows glint and stones roll off innocuous. It is easy to see that a body of the enemy might thus, in a few minutes, effect a lodgment on the castle-wall, and open a way for the whole party of assailants into the interior. - Summoning the Castle
Suppose the king and his chivalry in the following woodcut to be only summoning the castle; and suppose them, on receiving a refusal to surrender, to resolve upon an assault. They retire a few hundred yards and dismount, and put their horses under the care of a guard. Presently they return supported by a strong body of archers, who ply the mail-clad defenders with such a hail of arrows that they are driven to seek shelter behind the battlements. - State Carriage of the Fourteenth Century
The woodcut shows the style of carriage associated—grotesquely associated, it seems to our eyes—with the armour and costume of the Middle Ages. It might represent Duke Theseus going in state through the streets of Athens, hung with tapestry and cloth of gold, to the solemn deed of arms of Palamon and Arcite.