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.
Toys, representing Knights Justing
Sometimes these toys were made without wheels, and pushed by the hand upon a table towards each other; but in both cases the effect was evidently the same as seen below.
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
Tumbling.—XIII. Century
This engraving represents a woman bending herself backwards, from a MS. of the thirteenth century, in the Cotton Library
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.
Tumbling—XIV. Century
In this second representation a man is performing the same feat (as in picture below), but in a more extraordinary manner. The original is contained in a MS. in the library of sir Hans Sloane.
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.
XIV. Century
A man balancing a wheel on his shoulder
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.
Living Quintain
The living quintain, according to the representation just given, is seated upon a stool with three legs without any support behind; and the business, I presume, of the tilter, was to overthrow him; while, on his part, he was to turn the stroke of the pole or lance on one side with his shield, and by doing so with adroitness occasion the fall of his adversary. Something of a similar kind of exercise, though practised in a different way, appears in the engraving, where a man seated, holds up one of his feet, opposed to the foot of another man, who standing upon one leg endeavours to thrust him backwards.
Living Quintain
And again where his opponent is seated in a swing and drawn back by a third person, so that the rope being left at liberty in the swing, the man of course descended with great force, and striking the foot of his antagonist with much violence, no doubt very frequently overthrew him.
Unknown sport
The contest between the two figures, seems to depend upon the breaking of the stick which both of them hold, or is a struggle to overthrow each other.
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.
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 Horse baited with Dogs
A manuscript of the fourteenth century, in the Royal Library, contains the following cruel diversion: horse baiting with dogs
A Justing Toy
Persons of `rank` were taught in their childhood to relish such exercises as were of a martial nature, and the very toys that were put into their hands as playthings, were calculated to bias the mind in their favour. On the opposite page the reader will find two views of a knight on horseback, completely equipped for the just; four wheels originally were attached to the pedestal, which has a hole in the front for the insertion of a cord. The knight and his horse are both made with brass; the spear and the wheels are wanting in the original, but the hole in which the spear was inserted, still remains under the right arm, and it is supplied upon the print by something like it placed in the proper situation. This curious figure was probably made in the fifteenth century. The man represented may be readily separated from the horse, and is so contrived as to be thrown backwards by a smart blow upon the top of the shield or the front of his helmet, and replaced again with much ease: two such toys were requisite; each of them having a string made fast in the front of the pedestal, being then placed at a distance in opposition the one to the other, they were violently drawn together in imitation of two knights tilting; and by the concussion of the spears and shields, if dexterously managed, one or both of the men were cast to the ground.
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 tumbling Ape
A tumbling Ape
Ancient Wrestling
Other rewards, no doubt, were sometimes proposed, as we may see upon the engraving below, where two men are wrestling for a cock: the original drawing, from a manuscript in the Royal Library, is certainly more ancient than the time of Chaucer.
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 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.
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.
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.
Ancient Wrestling
The manner in which this pastime was exhibited in the western parts of England, at the distance of two centuries, is thus described by Carew, an author then living. "The beholders then cast, or form themselves into a ring, in the empty space whereof the two champions step forth, stripped into their dublets and hosen, and untrussed, that they may so the better command the use of their lymmes; and first shaking hands, in token of friendship, they fall presently to the effect of anger; for each striveth how to take hold of the other with his best advantage, and to bear his adverse party downe; wherein, whosoever overthroweth his mate, in such sort, as that either his backe, or the one shoulder, and contrary heele do touch the ground, is accounted to give the fall. If he be only endangered, and makes a narrow escape, it is called a foyle."
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.
Bear and Monkey
A tutored bear and monkey performing
Boat Tilting
Here we may also add the boat justs, or tilting upon the water. The representation of a pastime of this kind is given, from a manuscript of the fourteenth century in the Royal Library. The conqueror at these justs was the champion who could dexterously turn aside the blow of his antagonist with his shield, and at the same time strike him with his lance in such a manner as to overthrow him into the river, himself remaining unmoved from his station; and perhaps not a little depended upon the skill of the rowers. When queen Elizabeth visited Sandwich in 1573, she was entertained with a tilting upon the water, "where certain wallounds that could well swym had prepared two boates, and in the middle of each boate was placed a borde, upon which borde there stood a man, and so they met together, with either of them a staff and a shield of wood; and one of them did overthrowe another, at which the queene had good sport."
Club-Ball.—XIII. Century
The next specimen of ball, taken from a drawing more ancient than the former, a genealogical roll of the kings of England to the time of Henry III. in the Royal Library, presents two players only, and he who is possessed of the bat holds the ball also, which he either threw into the air and struck with his bat as it descended, or cast forcibly upon the ground, and beat it away when it rebounded; the attention of his antagonist to catch the ball need not be remarked, it does not appear in either of these instances how the game was determined.
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.
Cross-Bow Shooting at the Butts.—XVI. Century
Here we find exhibited a school for practice; and the manner in which the archers shot at the butts, or dead marks, a pastime frequently alluded to by the authors of the fifteenth and sixteenth centuries. In the reign of Henry VII. the cross-bow was forbidden by law to be used; and, soon after his son ascended the throne, it was found necessary to renew the prohibition; yet, notwithstanding the interference of the legislature, in less than twenty years afterwards, the usage of cross-bows and hand-guns was so prevalent, that a new statute was judged necessary, which forbad the use of both, and inflicted a penalty of ten pounds for keeping a cross-bow in the house.
Dancing to a Bear
This dance is executed by a female; and probably the perfection of the dance consisted in approaching and receding from the bear with great agility, so as to prevent his seizing upon her, and occasioning any interruption to the performance, which the animal, on the other hand, appears to be exceedingly desirous of effecting, being unmuzzled for the purpose, and irritated by the scourge of the juggler.
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.
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.
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
Herodias Tumbling with her Servant
Dancing, in former times, was closely connected with those feats of activity now called vaulting and tumbling; and such exertions often formed part of the dances that were publicly exhibited by the gleemen and the minstrels; for which reason, the Anglo-Saxon writers frequently used the terms of leaping and tumbling for dancing. Both the phrases occur in the Saxon versions of St. Mark's Gospel; where it is said of the daughter of Herodias, that she vaulted or tumbled, instead of danced, before king Herod
Herodias Tumbling
Dancing, in former times, was closely connected with those feats of activity now called vaulting and tumbling; and such exertions often formed part of the dances that were publicly exhibited by the gleemen and the minstrels; for which reason, the Anglo-Saxon writers frequently used the terms of leaping and tumbling for dancing. Both the phrases occur in the Saxon versions of St. Mark's Gospel; where it is said of the daughter of Herodias, that she vaulted or tumbled, instead of danced, before king Herod
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.
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.
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."
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.
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.
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."
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.
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.
Slinging—VIII. Century
The art of slinging of stones was well known and practised at a very early period in Europe, but we have no authority to prove that it was carried to so high a pitch of perfection in this part of the globe, as it appears to have been among the Asiatic nations. It is altogether uncertain, whether the ancient inhabitants of Britain were acquainted with the use of the sling or not; if the negative be granted, which hardly seems reasonable, we must admit the probability of their being taught the properties of such an instrument by the Romans, who certainly used it as a military weapon. We can speak more decidedly on the part of our ancestors the Saxons, who seem to have been skilful in the management of the sling; its form is preserved in several of their paintings, and the manner in which it was used by them, as far back as the eighth century, may be seen below, from a manuscript of that age in the Cotton Library. It is there represented with one of the ends unloosened from the hand and the stone discharged. In the original the figure is throwing the stone at a bird upon the wing, which is represented at some distance from him.
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.
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.
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.
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 Ring in Tilting
Tilting or, as it is most commonly called, running at the ring, was also a fashionable pastime in former days; the ring is evidently derived from the quintain, and indeed the sport itself is frequently called running or tilting at the quintain. In the figure is the form of the ring, with the sheath, and the manner in which it was attached to the upright supporter, from Pluvinel. The letter A indicates the ring detached from the sheath; B represents the sheath with the ring inserted and attached to the upright post, in which there are several holes to raise or lower the ring to suit the conveniency of the performer.
The Saracen Quintain
Here is the quintain in the form of a Saracen, from Pluvinel.
The Unearthing of a Fox
The engraving is from a manuscript in the Royal Library, written about the commencement of the 14th century.
The Water Quintain—XIV. Century
To the best of my recollection, Fitzstephen is the first of our writers who speaks of an exercise of this kind, which he tells us was usually practised by the young Londoners upon the water during the Easter holidays. A pole or mast, he says, is fixed in the midst of the Thames, with a shield strongly attached to it; and a boat being previously placed at some distance, is driven swiftly towards it by the force of oars and the violence of the tide, having a young man standing in the prow, who holds a lance in his hand with which he is to strike the shield: and if he be dexterous enough to break the lance against it and retain his place, his most sanguine wishes are satisfied: on the contrary, if the lance be not broken, he is sure to be thrown into the water, and the vessel goes away without him, but at the same time two other boats are stationed near to the shield, and furnished with many young persons who are in readiness to rescue the champion from danger. It appears to have been a very popular pastime; for the bridge, the wharfs, and the houses near the river, were crowded with people on this occasion, who come, says the author, to see the sports and make themselves merry. The water quintain, taken from a manuscript of the fourteenth century, in the Royal Library, where a square piece of board is substituted for the shield, is represented below.