- Leonardo da Vinci's Glider and Parachute Idea
Leonardo da Vinci, the great Italian artist and scientist, who lived in the fifteenth century, spent years experimenting with the idea of flying. He made a number of sketches of wings to be fitted to the arms and legs of man. His plan for a parachute was soundly worked out and his idea that the wings of a flying machine should be patterned after the wings of the bat found expression in the doped fabric covering of our early airplanes. - Raffaelle
- Crossbowmen
They represent French soldiers at the defence of Rouen, 1419, shooting from behind the shelter of shields propped up in front of them. - Mounted Crossbowman
A troop of mounted crossbowmen, of special skill and courage, usually formed the bodyguard of the king, and attended him in battle. Mounted crossbowmen were largely employed on the Continent in the fourteenth, and first half of the fifteenth century, and these men were usually allowed one and sometimes even two horses apiece, besides being supplied, when on the march, with carts to carry their crossbows and quarrels - The “Dick Whittington,” Cloth Fair
The City of London’s oldest licensed inn is, by its own claiming, the “Dick Whittington,” in Cloth Fair, Smithfield, but it only claims to have been licensed in the fifteenth century, when it might reasonably—without much fear of contradiction—have made it a century earlier. This is an unusual modesty, fully deserving mention. It is only an “inn” by courtesy, for, however interesting and picturesque the grimy, tottering old lath-and-plaster house may be to the stranger, imagination does not picture any one staying either in the house or in Cloth Fair itself while other houses and other neighbourhoods remain to choose from; and, indeed, the “Dick Whittington”[Pg 6] does not pretend to be anything else than a public-house. The quaint little figure at the angle, in the gloom of the overhanging upper storey, is one of the queer, unconventional imaginings of our remote forefathers, and will repay examination. - Elynor Rummyng
A hundred and fifty years later than Piers Plowman we get another picture of an English ale-house, by no less celebrated a poet. This famous house, the “Running Horse,” still stands at Leatherhead, in Surrey, beside the long, many-arched bridge that there crosses the river Mole at one of its most picturesque reaches. It was kept in the time of Henry the Seventh by that very objectionable landlady, Elynor Rummyng, whose peculiarities are the subject of a laureate’s verse. Elynor Rummyng, and John Skelton, the poet-laureate who hymned her person, her beer, and her customers, both flourished in the beginning of the sixteenth century. Skelton, whose genius was wholly satiric, no doubt, in his Tunning (that is to say, the brewing) of Elynor Rummyng, emphasised all her bad points, for it is hardly credible that even the rustics of the Middle Ages would have rushed so enthusiastically for her ale if it had been brewed in the way he describes. - Horse Litter
Horse litters, carried between two horses, one in front and one behind, were used in early times by ladies of `rank`, by sick persons, and also on occasion to carry the dead. Similar vehicles of a lighter description, carried by men, were also in use. William of Malmesbury states that the body of William Rufus was brought from the spot where he was killed in the New Forest in a horse-litter (a.d. 1100). When King John fell ill at Swineshead Abbey, in 1216, he was carried in a horse-litter to Newark, where he died. For a man who was in good health to travel in such a conveyance was considered unbecoming and effeminate. In recording the death, in 1254, of Earl Ferrers, from injuries received in an accident to his conveyance, Matthew Paris deems it necessary to explain that the Earl suffered from gout, which compelled him to use a litter when moving from place to place. The accident was caused by the carelessness of the driver of the horses, who upset the conveyance while crossing a bridge. The illustration is copied from a drawing which occurs in a manuscript in the British Museum (Harl. 5256). - Dr. Martin Luther
Dr. Martin Luther - Anelaces
Anelace (Also in French, alenas, alinlaz, analasse, anlace.) A broad knife or dagger worn at the girdle. It was a well known weapon in he thirteenth century. - The Printing of Books
Now, Gutenberg "worked" his invention so energetically that, with the assistance of Faust, Schaeffer and others, an exceedingly efficient system of printing books was in practical operation as early as 1455. The types were of metal, and were cast from a matrix that had been stamped out by a steel punch, and could therefore be so accurately fashioned that the type had a beautiful sharpness and finish. In addition, certain mechanical apparatus of a simple kind (printing presses) were invented, whereby the type could be satisfactorily handled, and impressions could be taken from them with accuracy and quickness. News of the invention spread so rapidly that before the year 1500 printing presses were at work in every country of Europe. The first books printed were, of course, the works of the ancient authors, beginning with three editions of Donatus. These were multiplied in great numbers, and gave the first effective impulse to the spread of civilization from the Græco-Oriental countries, where it had been sleeping, to the hungry intellects of Europe. - Portuguese Voyages and Possessions
The first great navigational feat that followed the invention of the compass was that performed by the Portuguese, Bartholomew Dias, who conceived the idea of reaching India by going around Africa, and sailed down the west coast of Africa as far as its southern end, later called the Cape of Good Hope. It was a tremendous undertaking, and it had tremendous results; for it demonstrated the possibilities of great ocean voyages, proved that the road to India was very long, and led to the expedition of Columbus, six years later. It was also a great invention, both in brilliancy of conception and excellence of execution, although Dias did not reach India. The second great navigational feat was performed by Christopher Columbus in 1492. Before that time it was conceded by most men of learning and reflection that the earth was spherical; and it was realized that, if it was spherical, it might be possible by sailing to the westward to reach India, the goal of all commercial expeditions in that day. Columbus is not to be credited with the first conception of that possibility. - Fifteenth-century Ship
(From a painting by Carpaccio) Observe the capacious hull, the heavy mast, the way the sail is made fast in the middle as well as by the sheets at the corners, the crane for hoisting missiles to the top, and the darts ranged round it; also the way the main-yard is spliced in the middle. - A Sea-fight in Tudor Times
Which particular battle this picture is supposed to represent cannot be stated, since old Holinshed uses it over and over again for almost every naval engagement to which he makes reference right back as far as the Conquest. That cannon were not then in existence does not appear to trouble him at all. But we may take it as fairly representative of an action at sea in the times in which the historian lived and wrote. - The 'Great Harry', the First Big Battleship of the British Navy
- Chepe in the Fifteenth Century
The streets and lanes of London within the walls were very nearly the same as they are at present, except for the great thoroughfares constructed within the last thirty years. That is to say, when one entered at Lud Gate and passed through Paul's Churchyard, he found himself in the broad street, the market place of the City, known as Chepe. - South-east Part of London in the Fifteenth Century, showing the Tower and Wall
- 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 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. - Portrait of Columbus
- Caravel , 15th Century
- Portuguese Mappemonde. 1490