- Master of the Year 1446. Christ Nailed to the Cross
Size of the original engraving, 4⅛ × 3¼ inches In the Royal Print Room, Berlin Chief among the engravers who show most clearly the influence of the Master of the Playing Cards is the Master of the Year 1446, so named from the date which appears in the Flagellation. His prints present a more or less primitive appearance, and were it not for this date, one might be tempted, on internal evidence, to assign them to an earlier period. In the Passion series, in particular, many of the figures are more gnome-like than human. Such creatures as the man blowing a horn, in Christ Nailed to the Cross, and the man pulling upon a rope, in the same print, recall to our minds, by an association of ideas, the old German fairy tales. - Master of the Playing Cards. St. George
Size of the original engraving, 5⅞ × 5¼ inches In the Royal Print Room, Dresden The technical method of the Master of the Playing Cards is that of a painter rather than of a goldsmith. There is practically no cross-hatching, and the effect is produced by a series of delicate lines, mostly vertical, laid close together. His plates are unsigned and undated, so that we can only approximate the period of his activity. That he preceded, by at least ten years, the earliest dated engraving, the Flagellation, by the Master of 1446, may safely be assumed, since in the manuscript copy of Conrad von Würzburg’s “The Trojan War,” transcribed in 1441 by Heinrich von Steinfurt (an ecclesiastic of Osnabrück), there are pen drawings of figures wearing costumes which correspond exactly with those in prints by the Master of the Playing Cards in his middle period. The Master of the Playing Cards is, therefore, the first bright morning star of engraving. From him there flows a stream of influence affecting substantially all of the German masters until the time of Martin Schongauer, some of whose earlier plates show unmistakable traces of an acquaintanceship with his work. St. George and the Dragon is in his early manner. Here are plainly to be seen the characteristics of this first period—the broken, stratified rocks, the isolated and conventionalized plants, and the peculiar drawing of the horse, especially its slanting and half-human eyes. The Playing Cards, from which he takes his name, may safely be assigned to his middle period. - Master of the Playing Cards. Man of Sorrows
To his [Master of the Playing Cards.] latest and most mature period must be assigned the Man of Sorrows—in some ways his finest, and certainly his most moving, plate. Not only has he differentiated between the textures of the linen loin-cloth and the coarser material of the cloak; but the column, the cross with its beautiful and truthful indication of the grain of the wood, and the ground itself, all are treated with a knowledge and a sensitiveness that is surprising. The engraver’s greatest triumph, however, is in the figure of Christ. There is a feeling for form and structure, sadly lacking in the work of his successors, and his suggestion of the strained and pulsing veins, which throb through the Redeemer’s tortured limbs, is of a compelling truth. - Master of the Amsterdam Cabinet. Two Lovers
MASTER OF THE AMSTERDAM CABINET. TWO LOVERS Size of the original engraving, 6½ × 4⅛ inches In the Ducal Collection, Coburg In agreeable contrast is the dry-point of Two Lovers—a little masterpiece—one of his most charming designs. “The sweet shyness of the maiden, the tender glances of the lover and the soft pressure of their hands are rendered with an inimitable grace, and the work is altogether of such exceptional quality that we may count this delightful picture as one of the rarest gems of German engraving in the fifteenth century.” - Mary Mary Quite Contrary
- Mary Had a Little Lamb
- Marshall Schomberg
Engraved by Rouargue from the Original by Rouillard. - Marshall Bassompierre
Engraved by Gouttière from the Original by Alaux. - Marie Antoinette on the way to the Guillotine
- Marie Antoinette and Louis XVI
- Male. Period 1625-1660
- Male costume 1745 - 1795
- Male 1705 - 1770
- Male - Period 1625-1660
- Male - Fourteenth century
- Male - 1830-1840
- Mailed Warrior - 11th Century
- Madam Campan
Lady-In-waiting to Marie Antoinette - Mack
Cat trying to open the door - M249 Machine Gun exploded view
A - Barrel Assembly B - Rear Sight Assembly C - Cover and Feed mechanism Assembly D - Feed Pawl Assembly E - Cocking Hand Assembly F - Butt stock and Shoulder Assembly G - Piston Assembly H - Bolt Assembly I - Slide Assembly J - Operating Rod Assembly K - Receiver Assembly L - Trigger Mechanism Assembly M - Hand Guard Assembly N - Bipod Machine Gun O - Gas Cylinder Assembly - M249 Machine Gun
- M249 5.56 mm Machine Gun
- M.G. 42, showing method of operating barrel extension
- M.G. 42
- Lucy Locket
- Lounge Caps worn during removal of Wig
- Louis XVI
- Louis XIII, King of France
- Little Miss Muffet
- Little Jack Horner
- Little Boy Blue
- Little Bo-Peep
- List of Dated Shoes and Boots
- Lexington
April 19th 1775 Birthplace of American Liberty - Left view of 8-cm mortar, model 34
- Left side of 5-cm mortar
- Le Ballet De La Reine
A French Court Ballet In The Early Seventeenth Century - Landing of the Romans
- Lady with Umbrella
- Lady
- LA or AL
- LA or AL
- KT or TK
- Knight arming
- Jimmie
- Jesus Praying in Gethsemane
Matthew 26:39 - James I Female
- Jack and Jill
- In the Garden of the Tuileries
- In company of the everlasting tortoise
- Image of Yoritomo
According to the Japanese historical legends, the office of Kubō-Sama, originally limited to the infliction of punishments and the suppression of crimes, was shared, for many ages, between the two families of Genji and Heiji, till about 1180, when a civil war broke out between these families, and the latter, having triumphed, assumed such power that the Dairi commissioned Yoritomo, a member of the defeated family of Genji, to inflict punishment upon him. Yoritomo renewed the war, killed Heiji, and was himself appointed Kubō-Sama, but ended with usurping a greater power than any of his predecessors - Image of Oda Nobunaga
- Image of Iyeyasu
To secure the succession of his infant son, the expiring emperor established, on his death-bed, a council of regency, composed of nine persons, at the head of which he placed Tokugawa Iyeyasu, king of the Bandō, which, besides the five provinces of the Kwantō, in which were the great cities of Suruga and Yedo, embraced, also, three other kingdoms. Iyeyasu had been king of Mikawa, a more westerly province, which he had lost by adhering to the fortunes of the third son of Nobunaga, he being allied to that family by marriage. But afterwards, by some means, he had recovered the favor of Taikō-Sama, who had even bestowed upon him the newly conquered Bandō, and who, the better to secure his fidelity, had caused his infant son and destined successor to be married to a young granddaughter of Iyeyasu. - I Love Little Pussy
- Hush-A-By Baby
- Humpty Dumpty
- Horse Armour, sixteenth century
- Horizontal Bar and Chest-bars, for Home Use
All that people need for their daily in-door exercises is a few pieces of apparatus which are fortunately so simple and inexpensive as to be within the reach of most persons. Buy two pitchfork handles at the agricultural store. Cut off enough of one of them to leave the main piece a quarter of an inch shorter than the distance between the jambs of your bedroom door, and square the ends. On each of these jambs fasten two stout hard-wood cleats, so slotted that the squared ends of the bar shall fit in snugly enough not to turn. Let the two lower cleats be directly opposite each other, and about as high as your shoulder; the other two also opposite each other, and as high above the head as you can comfortably reach. - Hickory Dickory Dock
- Henri IV