South American Juruparis
The engraving represents a kind of trumpet made of wood, and nearly seven feet in length, which Gumilla found among the Indians in the vicinity of the Orinoco. It somewhat resembles the juruparis, a mysterious instrument of the Indians on the Rio Haupés, a tributary of the Rio Negro, south America. The juruparis is regarded as an object of great veneration. Women are never permitted to see it. So stringent is this law that any woman obtaining a sight of it is put to death—usually by poison. No youths are allowed to see it until they have been subjected to a series of initiatory fastings and scourgings. The juruparis is usually kept hidden in the bed of some stream, deep in the forest; and no one dares to drink out of that sanctified stream, or to bathe in its water. At feasts the juruparis is brought out during the night, and is blown outside the houses of entertainment. The inner portion of the instrument consists of a tube made of slips of the Paxiaba palm (Triartea exorrhiza). When the Indians are about to use the instrument they nearly close the upper end of the tube with clay, and also tie above the oblong square hole (shown in the engraving) a portion of the leaf of the Uaruma, one of the arrow-root family. Round the tube are wrapped long strips of the tough bark of the Jébaru (Parivoa grandiflora). This covering descends in folds below the tube. The length of the instrument is from four to five feet. The illustration, which exhibits the juruparis with its cover and without it, has been taken from a specimen in the museum at Kew gardens. The mysteries connected with this trumpet are evidently founded 69on an old tradition from prehistoric Indian ancestors. Jurupari means “demon”; and with several Indian tribes on the Amazon customs and ceremonies still prevail in honour of Jurupari.
Henry Morton Stanley - Age 31
Henry Morton Stanley - Age 31
With a head shelter and a sleeping bag he can keep dry and warm
Boy lying in a sleeping bag in the rain, without a tent.
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.
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.
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.
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.
Henry Stanley - Age 26
Henry Stanley - Age 26
The Queen's first baby
Drawn and Etched by Her Majesty the Queen. [Queen Victoria]
Aardvark
Of the order of toothless animals, the aardvark (Orycteropus aethiopicus), which occurs from the lowlands to the Woina-Deka, should be mentioned. The shy animal, with its smell and hearing, dwells in self-dug caves, characterized by lively leaps and a kangaroo-like position, supported by the powerful tail. It often goes only on the hind feet and nd sniffs the earth with the long, constantly moving nose, which resembles a pig's trunk, in order to look for ants. When it has discovered such a place, it begins to dig very skillfully and vigorously with the forefeet and push back the agitated Earth with the hind feet. For urine and dung, the aardvark digs a small pit, which is then carefully covered up again. In the building itself, it sleeps curled up lying on its side. Pursued, it hurries away in rapid bursts and burrows quickly, closing the tube behind it.
Henry Stanley - Age 50
Henry Stanley - 1891
Her Majesty Queen Victoria
The first portrait painted after her Coronation. The history as to how the first portrait of Her Majesty after her coronation was obtained is also full of interest. The Queen is represented in all her youthful beauty in the Royal box at Drury Lane Theatre, and it is the work of E. T. Parris, a fashionable portrait painter of those days. Parris was totally ignorant of the fact that when he agreed with Mr. Henry Graves, the well-known publisher, to paint "the portrait of a lady for fifty guineas," he would have to localise himself amongst the musical instruments of the orchestra of the National Theatre, and handle his pencil in the immediate neighbourhood of the big drum. Neither was he made aware as to the identity of his subject until the eventful night arrived. Bunn was the manager of Drury Lane at the time, and he flatly refused to accommodate Mr. Graves with two seats in the orchestra. But the solution of the difficulty was easy. Bunn was indebted to Grieve, the scenic artist, for a thousand pounds. Grieve was persuaded to threaten to issue a writ for the money unless the "order for two" was forthcoming. Bunn succumbed, and the publisher triumphed; and whilst the young Queen watched the performance, she was innocently sitting for her picture to Parris and Mr. Graves, who were cornered in the orchestra. Parris afterwards shut himself up in his studio, and never left it until he had finished his work. The price agreed upon was doubled, and the Queen signified her approval of the tact employed by purchasing a considerable number of the engravings.
The French Crout
Copy of an illumination from a manuscript in the Bibliothèque royale at Paris of the eleventh century. The player wears a crown on his head; and in the original some musicians placed at his side are performing on the psalterium and other instruments. These last are figured with uncovered heads; whence M. de Coussemaker concludes that the crout was considered 95by the artist who drew the figures as the noblest instrument. It was probably identical with the rotta of the same century on the continent.
Otaitai, or Porter's Basket
All this time the Otando people were busy making otaitais, or porters' baskets. The otaitai is a very ingenious contrivance for carrying loads in safety on the backs of men. I have brought one of these baskets home, and preserve it as a keepsake. It is long and narrow; the wicker-work is made of strips of a very tough climbing plant; the length is about two and a half feet, and the width nine inches ; the sides are made of open cane-work, capable of being expanded or drawn in, so as to admit of a larger or smaller load. Cords of are attached to the sides, for the purpose of securing the contents. Straps made of strong plaited rushes secure the basket to the head and arms of the carrier, as shown in the picture.
Oblique Chignon
It requires from twenty-five to thirty years for an Ishogo woman to be able to build upon her head one of their grotesque head-dresses. The accompanying picture will show you how they look. But you will ask how they can arrange hair in such a manner. I will tell you : A frame is made, and the hair is worked upon it ; but if there is no frame, then they usd grass-cloth, or any other stuffing, and give the shape they wish to the head-dress. A well-known hair-dresser, who, by the way, is always a female, is a great person in an Ishogo village, and is kept pretty busy from morning till after-noon. It takes much time to work up the long wool on these negroes' heads, but, when one of these heads of hair, or chignons, is made, it lasts for a long time—sometimes for two or three months—without requiring repair. I need not tell you that after a few weeks the head gets filled with specimens of natural history. A great quantity of palm oil is used in dressing the hair, and, as the natives never wash their heads, the odor is not pleasant. When a woman comes out with a newly-made chignon, the little Ishogo girls exclaim, "When shall I be old enough to wear one of these? How beau-tiful they are!" Every morning, instead of taking a bath, the Ishogos rub themselves with oil, mixed with a red dye made from the wood of a forest tree.
Horizontal Chignon
It requires from twenty-five to thirty years for an Ishogo woman to be able to build upon her head one of their grotesque head-dresses. The accompanying picture will show you how they look. But you will ask how they can arrange hair in such a manner. I will tell you : A frame is made, and the hair is worked upon it ; but if there is no frame, then they use grass-cloth, or any other stuffing, and give the shape they wish to the head-dress. A well-known hair-dresser, who, by the way, is always a female, is a great person in an Ishogo village, and is kept pretty busy from morning till after-noon. It takes much time to work up the long wool on these negroes' heads, but, when one of these heads of hair, or chignons, is made, it lasts for a long time—sometimes for two or three months—without requiring repair. I need not tell you that after a few weeks the head gets filled with specimens of natural history. A great quantity of palm oil is used in dressing the hair, and, as the natives never wash their heads, the odor is not pleasant. When a woman comes out with a newly-made chignon, the little Ishogo girls exclaim, "When shall I be old enough to wear one of these? How beautiful they are!" Every morning, instead of taking a bath, the Ishogos rub themselves with oil, mixed with a red dye made from the wood of a forest tree.
Painted Dog
Painted dog ( Lycaon pictus ) A hyena-like predator, the "painted dog“( Lycaon pictus ) in groups; he attacks the flocks and wreaks havoc among them. The steppe landscapes are the real home of this sociable, up-and-out and murderous creature that never hunts alone. It gets its name from the large, dark spots on the light skins, where it is easy to distinguish.
A self-sustaining or balanced aquarium
three children looking at an aquarium Any transparent vessel capable of holding water, even a Mason jar will make an aquarium from which a great deal of pleasure may be derived. The old way of maintaining aquaria in good condition required a great deal of care and attention. The water had to be changed at least once a day if running water was not available, and altogether they were so much trouble that as a rule owners soon tired of them. Modern aquaria are totally different. By a proper combination of fish and growing plants we can almost duplicate the conditions of nature and strike a balance so that the water need never be changed except when it becomes foul or to clean the glass.
The wrong way to mount a horse—facing forward
The wrong way to mount a horse—facing forward
The old English 'crowd'
A player on the crwth or crowd (a crowder) from a bas-relief on the under part of the seats of the choir in Worcester cathedral dates from the twelfth or thirteenth century
Vertical Chignon
It requires from twenty-five to thirty years for an Ishogo woman to be able to build upon her head one of their grotesque head-dresses. The accompanying picture will show you how they look. But you will ask how they can arrange hair in such a manner. I will tell you : A frame is made, and the hair is worked upon it ; but if there is no frame, then they usd grass-cloth, or any other stuffing, and give the shape they wish to the head-dress. A well-known hair-dresser, who, by the way, is always a female, is a great person in an Ishogo village, and is kept pretty busy from morning till after-noon. It takes much time to work up the long wool on these negroes' heads, but, when one of these heads of hair, or chignons, is made, it lasts for a long time—sometimes for two or three months—without requiring repair. I need not tell you that after a few weeks the head gets filled with specimens of natural history. A great quantity of palm oil is used in dressing the hair, and, as the natives never wash their heads, the odor is not pleasant. When a woman comes out with a newly-made chignon, the little Ishogo girls exclaim, "When shall I be old enough to wear one of these? How beau-tiful they are!" Every morning, instead of taking a bath, the Ishogos rub themselves with oil, mixed with a red dye made from the wood of a forest tree.
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.
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.
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
Young man kneeling in front of a woman
Young man kneeling in front of a woman
The hockey player's costume
The hockey player's costume
An excellent device for catching minnows
The simplest way to catch minnows is with a drop net. Take an iron ring or hoop such as children use and sew to it a bag of cotton mosquito netting, half as deep as the diameter of the ring. Sew a weight in the bottom of the net to make it sink readily and fasten it to a pole. When we reach the place which the minnows frequent, such as the cove of a lake, we must proceed very cautiously, lowering the net into the water and then baiting it with bits of bread or meat, a very little at a time, until we see a school of bait darting here and there over the net. We must then give a quick lift without any hesitation and try to catch as many as possible from escaping over the sides. The minnow bucket should be close at hand to transfer them to and care must be used not to injure them or allow them to scale themselves in their efforts to escape.
Male Head-dress
Ishogo Male Head-dress
Peruvian huayra-puhura
The British museum possesses a huayra-puhura consisting of fourteen reed pipes of a brownish colour, tied together in two rows by means of thread, so as to form a double set of seven reeds. Both sets are almost exactly of the same dimensions and are placed side by side. The shortest of these reeds measure three inches, and the longest six and a half. In one set they are open at the bottom, and in the other they are closed. Consequently, octaves are produced. The reader is probably aware that the closing of a pipe at the end raises its pitch an octave. Thus, in our organ, the so-called stopped diapason, a set of closed pipes, requires tubes of only half the length of those which constitute the open diapason, although both these stops produce tones in the same pitch; the only difference between them being the quality of sound, which in the former is less bright than in the latter.
Viola da gamba
The player on the viola da gamba, shown in the engraving, is a reduced copy of an illustration in “The Division Violist,” London, 1659. It shows exactly how the frets were regulated, and how the bow was held. The most popular instruments played with a bow, at that time, were the treble-viol, the tenor-viol, and the bass-viol. It was usual for viol players to have “a chest of viols,” a case containing four or more viols, of different sizes. Thus, Thomas Mace in his directions for the use of the viol, “Musick’s Monument” 1676, remarks, “Your best provision, and most complete, will be a good chest of viols, six in number, viz., two basses, two tenors, and two trebles, all truly and proportionably suited.” The violist, to be properly furnished with his requirements, had therefore 119to supply himself with a larger stock of instruments than the violinist of the present day.
The right way to mount—facing toward his tail
In mounting, stand on the left side and place the left foot in the stirrup. Swing the right leg over the horse and find the right stirrup with the toe just as quickly as possible. Do not jerk a restless horse or otherwise betray your excitement if he starts. Let him see by your calmness that he too should be calm.
Vielle
The woodcut represents a very beautiful vielle; French, of about 1550, with monograms of Henry II. This is at South Kensington. The contrivance of placing a string or two at the side of the finger-board is evidently very old, and was also gradually adopted on other instruments of the violin class of a somewhat later period than that of the vielle; for instance, on the lira di braccio of the Italians. It was likewise adopted on the lute, to obtain a fuller power in the bass; and hence arose the theorbo, the archlute, and other varieties of the old lute.
A heavy net is useful to capture aquarium specimens
A heavy net is useful to capture aquarium specimens
A landing net should be a part of every fisherman's outfit
A landing net should be a part of every fishing outfit. More fish are lost just as they are about to be lifted from the water than at any other time. A gaff is used for this same purpose with fish too large to go into a landing net. A gaff is a large hook without a barb fastened into a short pole. If you have no net or gaff and have succeeded in bringing a large fish up alongside the boat, try to reach under him and get a firm grip in his gills before you lift him on board. If it is a pickerel, look out for his needle-like teeth.
Jumping fences is the highest art of horsemanship
Jumping fences is the highest art of horsemanship
The lineup
The position of the men on a team is generally as the diagram shows but for various plays other formations are used, provided that they do not violate the rules, which specify just how many men must be in the lineup and how many are permitted behind the line.
Man coming to the door in a snowstorm
Man coming to the door in a snowstorm
Who was it who hid the ace
Seated couple watching a group of people
Hand Grenade No. 1
There are three kinds of bombs: (1) percussion; (2) ignition;, and (3) mechanical. It is not possible to describe every bomb in use under these three headings, but the most typical are selected for description, although it does not follow that they are all in use at the present time, but will give a fairly good idea of what is required. Percussion Bombs. 1. Hand Grenade No. 1. 2. Hand Grenade No. 2, formerly known as Mexican Hand Grenade. 3. Rifle grenade No. 3, formerly known as Hale’s Rifle Grenade. Hand Grenade No. 1 consists of a brass case screwed on to a block of wood, to which is fixed a small cane handle about half way up the case. Outside it is a cast iron ring serrated into 16 parts. The upper end is covered by a moveable cap with a striker pin in the center. On the cap are the words “Remove,” “Travel,” and “Fire” in duplicate. These are marked in red and can be made to correspond with red pointers painted on case. To prepare a bomb, turn cap so that pointer is at “Remove,” take off cap, insert detonator in hole and turn it to the left until the spring on the flange is released and goes into position under the pin; replace cap and turn to “Travel,” which is a safety position. When the bomb is to be thrown, turn cap to “Fire” and then remove safety pin. This bomb explodes on impact, and to insure its falling on the head, streamers are attached. Care should be taken that streamers do not get entangled. The bomb must be thrown well into the air.
The Wilderness Traveller
Forest travellers are always on the lookout for peculiar landmarks that they will recognize if they see them again. Oddly shaped trees, rocks, or stumps, the direction of watercourses and trails, the position of the sun, all these things will help us to find our way out of the woods when a less observing traveller who simply tries to remember the direction he has travelled may become terrified.
Scientific proof
Man explaining some scientific principle to another man who is not yet convinced
Title
A woman peeling apples and a man woodworking sit facing each other. Suitable for putting a title in the free space in the picture.
Jerry watched him closely
Man intently watching something
Prisoner in Nchogo
Prisoner in Nchogo
German fiddle, ninth century
A German fiddle of the ninth century, called lyra, copied by Gerbert from the manuscript of St. Blasius, has only one string.
Hand Grenade No. 7. and Ball Hand Grenade
Ignition Bombs. Hand Grenade No. 7—Grenade heavy friction pattern. Hand Grenades Nos. 6 and 7 consist of metal cases filled with T.N.T and a composite explosive and are exactly alike, except that No. 7 contains shrapnel bullets or scrap iron, while No. 6 contains only explosive. At the top of each case is a place to fix the friction igniter, which is supplied separately. When these bombs are to be used, detonator fuse and igniter are put in and firmly fixed. Before throwing the becket on, head of igniter should be pulled smartly off. Ball Hand Grenade. The Ball Hand Grenade consists of a cast iron sphere, 3 inches in diameter, filled with ammonal and closed by a screwed steel plug which has attached to it a covered tube to take detonator in the center of grenade. It is also lighted by a Brock lighter.
Hand Grenade No. 5
Mechanical Bombs. Hand Grenade No. 5, known as Mills’ Hand Grenade. Mills’ Hand Grenade No. 5 weighs about one and one-half pounds and is in constant and steady use at the front, being the best known of all grenades. It consists of an oval cast iron case, containing explosives and serrated to provide numerous missiles on detonation. In the center is a spring striking pin, kept back by a lever or handle, which, in its turn, is held in position by a safety pin.
Horse and buggy in a snowstorm
Horse and buggy in a snowstorm
She burst into tears
Young lady bursting into tears at some bad news
Lady sitting thoughtfully in the garden
Young lady sitting thoughtfully in an arbor in the garden holding a book
Indian trumpets
The botuto, which Gumilla saw used by some tribes near the river Orinoco (of which we engrave two examples), was evidently an ancient Indian contrivance, but appears to have fallen almost into oblivion during the last two centuries. It was made of baked clay and was commonly from three to four feet long: but some trumpets of this kind were of enormous size. The botuto with two bellies was usually made thicker than that with three bellies and emitted a deeper sound, which is described as having been really terrific. These trumpets were used on occasions of mourning and funeral dances. Alexander von Humboldt saw the botuto among some Indian tribes near the river Orinoco.
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.
Just before the ball is struck
Just before the ball is struck
man and woman
Lady (with a fan) looks away from a man who is talking to her.
He Felt giddy
Carillon, Netherlands
The idea of forming of a number of bells a musical instrument such as the carillon is said by some to have suggested itself first to the English and Dutch; but what we have seen in Asiatic countries sufficiently refutes this. Moreover, not only the Romans employed variously arranged and attuned bells, but also among the Etruscan antiquities an instrument has been discovered which is constructed of a number of bronze vessels placed in a row on a metal rod. Numerous bells, varying in size and tone, have also been found in Etruscan tombs. Among the later contrivances of this kind in European countries the sets of bells suspended in a wooden frame, which we find in mediæval illuminations, deserve notice. In the British museum is a manuscript of the fourteenth century in which king David is depicted holding in each hand a hammer with which he strikes upon bells of different dimensions, suspended on a wooden stand.
Saint Liedwi, Of Scheidam, Holland, A. D. 1396
The First known skating Illustration
Man and Woman
Man talking to a woman who is not giving him her full attention
He was pale and haggard
Addressing
Addressing the golf ball before starting the swing