- Justing.—XIV. Century
The figure is a representation of the just, taken from a manuscript in the Royal Library, of the thirteenth, or early in the fourteenth century, where two knights appear in the action of tilting at each other with the blunted spears. - Anglo-Saxon Dance.—VIII. Century
This engraving represents two persons dancing to the music of the horn and the trumpet, and it does not appear to be a common dance in which they are engaged; on the contrary, their attitudes are such as must have rendered it very difficult to perform - Anglo-Saxon Gleemen's Bear Dance.—X. Century
One part of the gleeman's profession, as early as the tenth century, was, teaching animals to dance, to tumble, and to put themselves into variety of attitudes, at the command of their masters. This engraving is the copy of a curious though rude delineation, being little more than an outline, which exhibits a specimen of this pastime. The principal joculator appears in the front, holding a knotted switch in one hand, and a line attached to a bear in the other; the animal is lying down in obedience to his command; and behind them are two more figures, the one playing upon two flutes or flageolets, and elevating his left leg while he stands upon his right, supported by a staff that passes under his armpit; the other dancing, in an attitude exceedingly ludicrous. This performance takes place upon an eminence resembling a stage made with earth; and in the original a vast concourse are standing round it in a semicircle as spectators of the sport, but they are so exceedingly ill drawn, and withal so indistinct, that I did not think it worth the pains to copy them. The dancing, if I may so call it, of the flute player, is repeated twice in the same manuscript. - Choice of fabric
Here a small all-over pattern minimizes size, the plaits and tassels lengthen, the necklace adds a slenderizing touch. The appearance as a whole is graceful and youthful. - Hats 1
These two examples show how even a hat with drooping brim, if not too wide, can be worn by the stout person if trimming is adeptly used to direct the vision upward and lend an illusion of height. - Bear and Monkey
A tutored bear and monkey performing - Hats 2
Here trimming is used on two entirely different types of hats to give in each case added height to the figure and help in attaining a slenderizing appearance. Left—Hats with medium brims and high trimming are often becoming, especially if wide enough to avoid the pyramid effect. Right—High built trimming and delicate veils are advantageous where a double chin is the handicap. - A tumbling Ape
A tumbling Ape - Optical Illusion in dress
Note the diagonal line in the small diagram of the figure below. It is actually straight, but the vertical lines which break it give it a “going-down-steps” appearance. This principle is used in the dress below—the two vertical panels of trimming break the line of the tunic and give the whole figure a more slender appearance than in the figure above. - Two looks - same pattern
Would you believe that the pattern of these two dresses is exactly the same? This illustrates how you can vary a dress once you find the foundation lines that are becoming to you. One pattern can suffice for both a tailored and an afternoon dress, as you see both effects are pleasing in their slenderness. - A Ganglion of a Leech
Pear-shaped cells are set round a felt-work of nerve-fibrils (neuropil). A neuro-sensory cell is shown with one fibre directed peripherally, branching on the surface; and one directed centrally, ramifying in the neuropil. Several very slender fibrils from the neuropil pass up the stalk of each ganglion-cell. They join a network near its surface. This net is connected by radiating fibrils with a coarser net which surrounds the nucleus. From the central net a relatively stout fibril passes to muscle-fibres. - The Heart cut in the Plane of its Long Axis, and the Vessels which open into and out of it
Chordæ tendineæ attach the margins of the auriculo-ventricular valves to musculi papillares which project from the inner aspect of each ventricle. - Manometer for measuring Blood-Pressure
A U-tube contains mercury, on which floats a rod supporting a scratching point, which makes a “tracing” on blackened paper wrapped round a revolving drum. Between the manometer and the cannula which is introduced into the central end of a cut artery is a three-way cock, which leads to a pressure-bottle containing a half saturated solution of sodic sulphate. This solution prevents blood from clotting. Before it is connected with the artery the apparatus is filled from the pressure-bottle. The cock is then turned into the second position, and the bottle raised until the mercury in the manometer stands at a level somewhat higher than that which it may be expected to attain under the influence of blood-pressure. The cannula being then inserted into an artery, the cock is turned into the third position, which places the manometer in connection with the blood, and excludes the pressure-bottle. As the mercury is a little higher than blood-pressure, some of the sodic sulphate solution enters the artery, but no blood enters the cannula. The scratching point, rising and falling with every variation in blood-pressure, makes a record on the soot-blackened paper, which is subsequently removed from the drum, and varnished. - Remarkable Dance.—XIII. Century
Here we perceive a girl dancing upon the shoulders of the joculator, who at the same time is playing upon the bagpipes, and appears to be in the action of walking forwards. - Sphygmograph
A, An ivory button which is pressed on the skin over the radial artery by a metal spring. B, A continuous screw which works against the cogwheel C. By rotating B, the lever D is raised to a position in which its point scratches the travelling-plate E (covered with blackened paper). F, A box containing clockwork which moves E. G, A screw by means of which the pressure of the spring is adjusted to the force of the pulse. - Gleemen's Dance.—IX. Century
Here, we find a young man dancing singly to the music of two flutes and a lyre; and the action attempted to be expressed by the artist is rather that of ease and elegancy of motion, than of leaping, or contorting of the body in a violent manner. - 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. - Diagram showing the Relative Positions of the Organs of the Chest and Abdomen.
The ribs from the first to the tenth have been cut across in the lateral line. The eleventh and twelfth ribs do not reach sufficiently far forwards to be cut. With the exception of a short segment near its junction with the ascending colon, the small intestine has been removed. The trachea is seen to divide into bronchi beneath the arch of the aorta. The right lung has three, the left two lobes. The kidneys are situated behind all the other viscera. On their upper ends rest the two suprarenal capsules. The lower edge of the right lobe of the liver follows closely the line of the ribs and costal cartilages. Below the left lobe of the liver the stomach comes to the anterior abdominal wall. The transverse colon (large intestine) comes to the anterior wall below the stomach. Below the latter the wall is in contact chiefly with coils of small intestine. The vermiform appendix rests on the posterior wall. Spleen and pancreas are not shown in the diagram. - The Anterior Half of the Larynx seen from Behind
The drawing shows the folds of mucous membrane, the vocal cords, which stretch from the tips of the arytenoid cartilages to the recess behind the median portion of the thyroid cartilage. To the outer side of each vocal cord is seen the thyro-arytenoid muscle (cut across), consisting of a broad outer portion, chiefly concerned in closing the glottis during the act of swallowing, and a smaller internal portion, which regulates the length and the thickness of the segment of the cord allowed to vibrate. - The Surface of the Left Cerebral Hemisphere, Cerebellum,and Medulla Oblongata.
Sensory areas are enclosed by broken lines; certain centres in the association-zones are marked by dots. The sensory area of smell is on the inner aspect of the brain; so also is the area of vision which borders the calcarine and retrocalcarine fissures, and only rarely extends on to the external surface, as shown in the diagram. The sensory area of hearing is largely hidden within the fossa of Sylvius, the opening into which is indicated by the dark line above it. The kinæsthetic-sensory areas for the various muscles of the body occupy the territory between the dotted line in front and the bottom of the fissure of Rolando behind. They do not extend on to the posterior wall of this fissure. It is impossible at present to define the boundaries of any of the centres in the association-zones. - Diagram of a Lobule of the Liver
Diagram of a Lobule of the Liver divided vertically through its Axis. In its centre is a space, the intralobular vein, through which the blood falls into a branch of the hepatic vein, on its way to the heart. An interlobular branch of the portal vein, which brings the blood from the digestive organs, pours it by many smaller vessels over the surface of the lobule. It filters into the lobule through innumerable pseudo-capillary vessels, or spaces, between the radiating columns of liver-cells. Arterial blood is brought to the lobule by a twig of the hepatic artery. Bile is drained away from it by an affluent of the hepatic duct. In the lower part of the diagram seven liver-cells are shown, forming a divided column, magnified about 300 diameters. The cells are loaded with glycogen, and contain minute globules of fat. Red blood-corpuscles and two leucocytes are seen between the columns of liver-cells. One of the leucocytes has ingested two blood-corpuscles. - Sword-Dance
This drawing represents two men, equipped in martial habits, and each of them armed with a sword and a shield, engaged in a combat; the performance is enlivened by the sound of a horn; the musician acts in a double capacity, and is, together with a female assistant, dancing round them to the cadence of the music; and probably the actions of the combatants were also regulated by the same measure. - The Body of a Motor Neurone
In its centre is a large clear spherical nucleus, with a nucleolus. The body-substance is prolonged into five dendrites and an axon. Neuro-fibrillæ are seen in dendrites and axon. They traverse the body of the cell in all directions, in little bundles which are separated by angular granules of stainable substance (tigroids). - Horizontal Section through the Right Eye
The slight depression in the retina in the axis of the globe is the fovea centralis, or yellow spot; the optic nerve pierces the ball to its inner or nasal side. The lens, with its suspensory ligament, separates the aqueous from the vitreous humour. On the front of the lens rests the iris, covered on its posterior surface with black pigment. On either side of the lens is seen a ciliary process, with the circular fibres of the ciliary muscle cut transversely, and its radiating fibres disposed as a fan. - Highly Magnified Section through the Wall of a Circumvallate Papilla of the Tongue, showing Two Taste-Bulbs.
These sense-organs are groups of elongated epithelial cells, set vertically to the surface. Their cells are of two kinds—the one fusiform, slender, bearing each a bristle-like process which projects through a minute pore left between the superficial cells of the general epithelium; the other thicker and wedge-shaped. Nerve-fibres are connected with the fusiform cells. - Organ of Corti
The spiral lamina, on the left of the drawing, gives attachment to the membrane of Corti, which stretches to the opposite wall. Below the membrane is a bloodvessel which runs its whole length beneath the tunnel of Corti. The tunnel is formed by pillars—the inner on the left, the outer on the right—which meet above it. On the left of the inner pillar is a hair-cell; to the left of this a nerve-cell with two nuclei. To the right of the outer pillar is a space; to the right of this four hair-cells alternating with four supporting cells, which hold up the reticulated membrane through apertures in which the tufts of hairs project. Three nerve-fibres are seen in the spiral lamina; they cross the tunnel to ramify between the rows of outer hair-cells. The lamina tectoria rests upon the tufts of hairs. - The Retina in Vertical Section
A, after Exposure to Bright Light; B, After Resting in the Dark. The arrow shows the direction in which light traverses the retina. C, Retinal epithelium, with its pigmented fringe. 1, Layer of rods and cones, separated by the external limiting membrane from 2, the layer of the nuclei of the rods and cones. 3, The ganglion-cells of the retina, which are homologous with the cells of the afferent root of a spinal nerve. Their peripheral axons ramify beneath the sensory epithelium (rods and cones and their nucleus-bearing segments), their central axons in 4, the inner molecular layer. D, Collecting cells on the front of the retina; a a a, their axons which conduct impulses to the brain; b, an efferent fibre from the brain. - The Growth and Migration of Granules of the Cerebellum
Half a dozen nuclei of as yet undeveloped granules are seen lying beneath the pia mater. From this level to the bottom of the drawing granules are shown in successive stages of growth. These developing granules, selected from various preparations of the cortex of the cerebellum, were drawn from nature. - The Formation of an Image by the Refracting Media of the Eye
x, The common centre of curvature (nodal point of the several media). Rays which pass through this point are not deflected. y, The principal focus of the system. All rays which are parallel to the optic axis converge to this point. The image of the point A is formed at a, the spot at which a ray parallel with the optic axis meets an unbent ray—the image of B at b. - Sense-Organs susceptible to Pressure
All are formed on essentially the same plan; a fibrous capsule invests a group of epithelial cells amongst which a nerve ramifies. The simplest form is known as a Grandry’s corpuscle-a nerve ending in one or two plates between two or three epithelial cells. These organs are found in great numbers in the bills of aquatic birds. If a duck is watched whilst it is gobbling mud at the margin of a pond, it will be seen to have a remarkable capacity for discriminating between the shells of small snails, which it can crush, and stones, which it needs to drop from its bill. Its bill is also provided with small Pacinian corpuscles. - The External, Middle, and Internal Ear of the Left Side
From right to left, the figure shows the concha and lobule of the ear in profile; the external meatus (abbreviated); the drum, divided vertically, its posterior half visible; the hammer-bone, with the tip of its long arm attached to the drum, an arrow indicating the point of attachment and line of action of the tensor tympani muscle; the anvil attached by a ligament to the bony wall of the middle ear; the stirrup, with its foot-plate almost filling the oval window; the labyrinth, with the three semicircular canals above, and the scala vestibuli below. The curled black line shows the situation of the scala media, or ductus cochleæ (which contains the organ of Corti). Pulsations of sound which move the membrana tympani are transmitted by the three bones to the oval window. They shake the perilymph, producing waves which travel along the scala vestibuli to the apex of the cochlea, whence they return by the scala tympani to the round window (if they do not take a shorter course through the ductus cochleæ). The Eustachian tube opens out of the lower part of the middle ear. - 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. - Tutored Bear.—XIV. Century
One great part of the joculator's profession was the teaching of bears, apes, horses, dogs, and other animals, to imitate the actions of men, to tumble, to dance, and to perform a variety of tricks, contrary to their nature; and sometimes he learned himself to counterfeit the gestures and articulations of the brutes. - A Posture-Master.—XIV. Century
The display of his abilities consisted in twisting and contorting his body into strange and unnatural attitudes. This art was, in doubt, practised by the jugglers in former ages; and a singular specimen of it, delineated on the last mentioned Bodleian MS., in the reign of Edward III., is here represented. The performer bends himself backwards, with his head turned up between his hands, so as nearly to touch his feet; and in this situation he hangs by his hams upon a pole, supported by two of his confederates. - Coursing
Coursing - Stilt Dancing.—XIII. Century
Materials for Dancing, specifies masques, castanets, and a ladder of ten rounds. I apprehend the ladder-dance originated from the ancient pastime of walking or dancing upon very high stilts. A specimen of such an exhibition is here given from a MS. roll in the Royal Library, written and illuminated in the reign of Henry III. The actor is exercising a double function, that is, of a musician, and of a dancer. - Saxon Hawking—IX. Century.
This engraving represents a Saxon nobleman and his falconer, with their hawks, upon the bank of a river, waiting for the rising of the game. The delineation is from a Saxon manuscript written at the close of the ninth century, or at the commencement of the tenth; in the Cotton Library. - XIV. Century
A man balancing a wheel on his shoulder - Ladies Hunting—XIV. Century
It is evident, however, that the ladies had hunting parties by themselves. We find them, according to this representation, in the open fields winding the horn, rousing the game, and pursuing it, without any other assistance: this delineation, which is by no means singular, is taken from a manuscript in the Royal Library, written and illuminated early in the fourteenth century. - A Horse dancing to the Pipe and Tabor
A Horse dancing to the Pipe and Tabor - Hawking—XIV. Century
We see a party of both sexes hawking by the water side; the falconer is frightening the fowls to make their rise, and the hawk is in the act of seizing upon one of them. From a manuscript of the 14th century - The Unearthing of a Fox
The engraving is from a manuscript in the Royal Library, written about the commencement of the 14th century. - Hunting Dresses.—XV. Century
The hunting dresses, as they appeared at the commencement of the fifteenth century, are given from a manuscript of that time, in the Harleian Collection. - Anglo-Saxon Harper and Hoppestere.—X. Century
Here we see a youth playing upon a harp with only four strings, and apparently singing at the same time, while an elderly man is performing the part of a buffoon or posture master, holding up one of his legs, and hopping upon the other to the music. - Anglo-Saxon Gleeman—X. Century
We here see a man throwing three balls and three knives alternately into the air, and catching them one by one as they fall, but returning them again in a regular rotation. To give the greater appearance of difficulty to this feat, it is accompanied with the music of an instrument resembling the modern violin. - Tutored Bear.—XIV. Century
One great part of the joculator's profession was the teaching of bears, apes, horses, dogs, and other animals, to imitate the actions of men, to tumble, to dance, and to perform a variety of tricks, contrary to their nature; and sometimes he learned himself to counterfeit the gestures and articulations of the brutes. - Mummers—XIV. Century
The magnificent pageants and disguisings frequently exhibited [Pg 160]at court in the succeeding times, and especially in the reign of Henry VIII., no doubt originated from the ludi. These mummeries, as a modern writer justly observes, were destitute of character and humour, their chief aim being to surprise the spectators "by the ridiculous and exaggerated oddity of the visors, and by the singularity and splendour of the dresses; every thing was out of nature and propriety. Frequently the masque was attended with an exhibition of gorgeous machinery, resembling the wonders of a modern pantomime." - Ladies Hawking—XIV. Century
We may also here notice, that the ladies not only accompanied the gentlemen in pursuit of this diversion, but often practised it by themselves; and, if we may believe a contemporary writer, in the thirteenth century, they even excelled the men in knowledge and exercise of the art of falconry, which reason, he very ungallantly produces, in proof that the pastime was frivolous and effeminate. Hawking was forbidden to the clergy by the canons of the church; but the prohibition was by no means sufficient to restrain them from the pursuit of this favourite and fashionable amusement. On which account, as well as for hunting, they were severely lashed by the poets and moralists; and, indeed, the one was rarely spoken of without the other being included; for those who delighted in hawking were generally proficients in hunting also.