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- Horn, or Olifant, Fourteenth Century
- The Curule Chair
The Curule Chair called the “Fauteuil de Dagobert,” in gilt bronze, now in the Musée des Souverains. The chair ascribed to St. Eloi, and known as the Fauteuil de Dagobert, is an antique consular chair, which originally was only a folding one; the Abbé Suger, in the twelfth century, added to it the back and arms. - Giovanni Boccaccio
Boccaccio was intent simply on the art of telling tales. He knew enough of classical literature to feel the possible dignity and permanence of prose, and he told his stories as they were told to him in a supple, pleasant vernacular that obeyed him absolutely and never led him off by its own strangeness into byways foreign to the tales and to himself. whose plot may be elaborate. - Geoffrey Chaucer
Chaucer's was a fairly simple nature. He seems to have taken to Renaissance fashions just as he took to Renaissance learning, without in the least disturbing the solid Englishness of his foundation. He married a Damsell Philippa without letting his marriage interfere with an ideal and unrequited passion like that of Petrarch for Laura. He had Jean de Meung's own reverence for the classics. - Tomb of Edward III. in Westminster Abbey
- Leathern Apron
Blacksmith wearing a leathern apron - Apron
- Brass to a merchant
- Canon with Aumuse
Amess, Ammis, Aumuses (Latin, almecia, almucium) A canonical vestment lined with fur, that served to cover the head and shoulders, perfectly distinct from the amice. Also a cowl or capuchon worn by the laity of both sexes. - Flight of Princess Ermengarde
Carriage used about 1300-1350 in Flanders. Carriages were in use on the continent long before they were employed in England. In 1294, Philip the Fair of France issued an edict whose aim was the suppression of luxury; under this ordinance the wives of citizens were forbidden to use carriages, and the prohibition appears to have been rigorously enforced. They were used in Flanders during the first half of the fourteenth century; an ancient Flemish chronicle in the British Museum (Royal MSS. 16,[9] F. III.) contains a picture of the flight of Ermengarde, wife of Salvard, Lord of Rouissillon. - Archer and Crossbowman of about 1370
The kneeling figure is fitting his belt-claw to the string of his crossbow, preparatory to bending its bow. From Manuscript No. 2813 in the National Library, Paris, reproduced by J. Quicherat in his ' History of Costume in France,' 1875. - Dante
Dante - Court Dress of 1390
Court Dress of 1390 - Young Gentleman of the 14th Century
Young Gentleman of the 14th Century - Young Woman's dress - 14th Century
Young Woman's dress - 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. - Practising with the Cross-Bow
The reader may see the manner in which the cross-bow was formerly used, upon the representation taken from a manuscript of the fourteenth century in the Royal Library. - 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." - Mummers.—XIV. Century
The performance seems to have consisted chiefly in dancing, and the mummers are usually attended by the minstrels playing upon different kinds of musical instruments. - Moveable Quintain—XIV. Century
Others, again, made use of a moveable quintain, which was also very simply constructed; consisting only of a cross-bar turning upon a pivot, with a broad part to strike against on one side, and a bag of earth or sand depending from the other: there was a double advantage in these kind of quintains, they were cheap and easily to be procured. Their form, at an early period in the fourteenth century is represented in the engraving. - Living Quintain—XIV. Century
I shall here say a few words concerning the human quintain, which has escaped the notice of most of the writers upon this subject; it is, however, very certain that the military men in the middle ages would sometimes practise with their lances at a man completely armed; whose business it was to act upon the defensive, and parry their blows with his shield. A representation of this exercise is in the engraving below, taken from a Bodleian manuscript, dated 1344. This representation is justified by the concurrent testimony of an ancient author, cited by Ducange, who introduces one knight saying to another, "I do not by any means esteem you sufficiently valiant (si bons chevalier) for me to take a lance and just with you; therefore I desire you to retire some distance from me, and then run at me with all your force, and I will be your quintain." - 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. - 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. - 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. - 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 - Hand-Ball.—XIV. Century
The following engraving represents a gentleman and lady playing at hand-ball, and as far as one can judge from the representation, the pastime consisted in merely beating the ball from one to the other. - Fixed Quintain—XIV. Century
The following representation of a lad mounted on a wooden horse with four wheels, and drawn by two of his comrades tilting at the immoveable quintain, is taken from a MS. in the Bodleian Library at Oxford, dated 1344. - Club-Ball.—XIV. Century
Club-ball is a pastime clearly distinguished from cambuc or goff, in the edict above mentioned established by Edward III. The difference seems to have consisted in the one being played with a curved bat and the other with a straight one. The illustration , from a MS. in the Bodleian Library, dated 1344, exhibits a female figure in the action of throwing the ball to a man who elevates his bat to strike it. Behind the woman at a little distance appear in the original delineation several other figures of both sexes, waiting attentively to catch or stop the ball when returned by the batsman: these figures have been damaged, and are very indistinct in many parts, for which reason I did not think it proper to insert them. - Bandy-Ball.—XIV. Century
Here are two figures engaged at bandy-ball, and the form of the bandy, as it was used early in the fourteenth century, from a MS. book of prayers beautifully illuminated and written about that time, in the possession of Francis Douce Esq. - Balloon-Ball.—XIV. Century
The balloon-ball, was a large ball made of double leather, which being filled with wind by means of a ventil, says Commenius, was driven to and fro by the strength of men's arms; and for this purpose every one of the players had a round hollow bracer of wood to cover the hand and lower part of the arm, with which he struck the ball. This pastime was usually practised in the open fields, and is much commended for the healthiness of the exercise it afforded. The balloon-ball seems certainly to have originated from the hand-ball, and was, I apprehend, first played in England without the assistance of the bracer; this supposition will be perfectly established if it be granted, and I see no reason why it should not, that the four figures represented below are engaged in the balloon-ball play: the original delineation occurs in a manuscript of the fourteenth century in the Royal Library. - Balancing—XIV. Century
The man in this engraving, from a drawing in a MS. book of prayers possessed by Francis Douce, esq., is performing a very difficult operation: he has placed one sword upright upon the hilt, and is attempting to do the like with the second; at the same time his attitude is altogether as surprising as the trick itself. - Balancing —XIV. Century
Man balancing a sword on his hand - Archery.—XIV. Century
The Cornish men are spoken of as good archers, and shot their arrows to a great length; they are also, says Carew, "well skilled in near shooting, and in well aimed shooting;—the butts made them perfect in the one, and the roaving in the other, for the prickes, the first corrupters of archery, through too much preciseness, were formerly scarcely known, and little practised." Other marks are occasionally mentioned, as the standard, the target, hazel wands, rose garlands, and the popinjay, which, we are told, was an artificial parrot. I have not met with such a mark in any manuscript delineation; but, in the following engraving, the reader will find a cock substituted for the parrot, and the archer has discharged his arrow very skilfully. - A tumbling Ape
A tumbling Ape - 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. - A Horse baited with Dogs
A manuscript of the fourteenth century, in the Royal Library, contains the following cruel diversion: horse baiting with dogs - A Fool's Dance.—XIV. Century
The fool's dance, or a dance performed by persons equipped in the dresses appropriated to the fools, is very ancient, and originally, I apprehend, formed a part of the pageant belonging to the festival of fools. This festival was a religious mummery, usually held at Christmas time; and consisted of various ceremonials and mockeries, not only exceedingly ridiculous, but shameful and impious. A vestige of the fool's dance, preserved in a MS. in the Bodleian Library, written and illuminated in the reign of king Edward III. and completed in 1344, is copied below. - A Feat in the XIV. Century
Two boys are depicted holding the hoop, and the third preparing to leap through it, having deposited his cloak upon the ground to receive him. - A Bear standing on his Head
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. - Unknown sport
The following engraving from a manuscript book of prayers of the fourteenth century, in the possession of Mr. Douce, represents two men with a pole or headless spear, who grasp it at either end, and are contending which shall dispossess the other of his hold. - Ancient sport
The Greeks had a pastime called Hippas, which, we are told, was one person riding upon the shoulders of another, as upon a horse; a sport of this kind was in practice with us at the commencement of the fourteenth century, but generally performed by two competitors who struggled one with the other, and he who pulled his opponent from the shoulders of his carrier was the victor. - Ancient sport
The Greeks had a pastime called Hippas, which, we are told, was one person riding upon the shoulders of another, as upon a horse; a sport of this kind was in practice with us at the commencement of the fourteenth century, but generally performed by two competitors who struggled one with the other, and he who pulled his opponent from the shoulders of his carrier was the victor. - XIV. Century
A man balancing a wheel on his shoulder - Water-Tub Quintain—XIV. Century
Below is a representation from a MS. in the Bodleian Library, dated 1343, of three boys tilting jointly, at a tub full of water, which is to be struck in such a manner as not to throw it over them. I presume they are learners only, and that therefore they are depicted without their clothes; they undressed themselves, I apprehend, in order to save their garments from being wetted in case the attempt should prove unsuccessful. - 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. - 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. - Tumbling.—XIV. Century
This representation of a girl turning over upon her hands, is from a MS. in the Bodleian Library at Oxford. It is not by any means my intention to insinuate, from what has been said, that there were no dances performed by the Saxon gleemen and their assistants, but such as consisted of vaulting and tumbling: on the contrary, I trust it may be proved, that their dances were varied and accommodated to the taste of those for whom the performance was appropriated; being calculated, as occasion required, to excite the admiration and procure the applause of the wealthy or the vulgar. - Trap-Ball.—XIV. Century
Trap-ball, so called from the trap used to elevate the ball when it is to be stricken by the batsman, is anterior to cricket, and probably coeval with most of the early games played with the bat and ball: we trace it as far back as the commencement of the fourteenth century, and a curious specimen of the manner in which it was then played is here presented from a beautiful MS. in the possession of Francis Douce, Esq - Administering holy communion with the Housel cloth
From a 14th century manuscript - The minstrels’ gallery, at Exeter cathedral
The minstrels’ gallery of Exeter cathedral dates from the fourteenth century. The front is divided into twelve niches, each of which contains a winged figure or an angel playing on an instrument of music. The instruments are so much dilapidated that some of them cannot be clearly recognized; but, as far as may be ascertained, they appear to be as follows:—1. The cittern. 2. The bagpipe. 3. The clarion, a small trumpet having a shrill sound. 4. The rebec. 5. The psaltery. 6. The syrinx. 7. The sackbut. 8. The regals. 9. The gittern, a small guitar strung with catgut. 10. The shalm. 11. The timbrel; resembling our present tambourine, with a double row of gingles. 12. Cymbals. The shalm, or shawm, was a pipe with a reed in the mouth-hole. The wait was an English wind instrument of the same construction. If it differed in any respect from the shalm, the difference consisted probably in the size only. The wait obtained its name from being used principally by watchmen, or waights, to proclaim the time of night. Such were the poor ancestors of our fine oboe and clarinet. - Saint Liedwi, Of Scheidam, Holland, A. D. 1396
The First known skating Illustration - 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. - 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. - 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. - 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. - Sir Robert Shurland
In the monumental effigy of Sir Robert Shurland, who was made a knight-banneret in 1300, we seem to have a curious and probably unique effigy of a knight in the gameson. We give a woodcut of it, reduced from Stothard’s engraving. The smaller figure of the man placed at the feet of the effigy is in the same costume, and affords us an additional example. - Ship of Richard Earl of Warwick
This engraving of the latter part of the fourteenth century, gives a very clear representation of a ship and its boat. The earl is setting out on his pilgrimage to the Holy Land. In the foreground we see him with his pilgrim’s staff in hand, stepping into the boat which is to carry him to his ship lying at anchor in the harbour. The costume of the sailors is illustrated by the men in the boat. The vessel is a ship of burden, but such a one as kings and great personages had equipped for their own uses; resembling an ordinary merchant-ship in all essentials, but fitted and furnished with more than usual convenience and sumptuousness. - Rectory House, West Deane, Sussex
The humble life of the country rectors and vicars. There is an ancient rectory house of the fourteenth century at West Deane, Sussex, of which we give a ground-plan and north-east view on the following page; but the rectory belonged to the prior and convent of Benedictine Monks of Wilmington, and this house was probably their grange, or cell, and may have been inhabited by two of their monks, or by their tenant, and not by the parish priest. - Rectory House, West Deane, Sussex - plan
The humble life of the country rectors and vicars. There is an ancient rectory house of the fourteenth century at West Deane, Sussex, of which we give a ground-plan and north-east view on the following page; but the rectory belonged to the prior and convent of Benedictine Monks of Wilmington, and this house was probably their grange, or cell, and may have been inhabited by two of their monks, or by their tenant, and not by the parish pries - Men-at-Arms, Fourteenth Century
Next, round plates of metal, called placates or roundels, were applied to shield the armpits from a thrust; and sometimes they were used also at the elbow to protect the inner side of the joint where, for the convenience of motion, it was destitute of armour. An example of a roundel at the shoulder will be seen in one of the men-at-arms in the woodcut