- Charles V of France
Charles V of France - 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. - Brass to a merchant
- 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. - 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. - Arbalesters
The illustration, from a fourteenth-century manuscript, represents a siege. A walled town is on the right, and in front of the wall, acting on the part of the town, are the cross-bowmen in the cut, protected by great shields which are kept upright by a rest. The men seem to be preparing to fire, and the uniformity of their attitude, compared with the studied variety of attitude of groups of bowmen in other illustrations, suggests that they are preparing to fire a volley. - Apron
- 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. - An Execution in Paris
The woodcut represents the execution, in Paris, of a famous captain of robbers, Aymerigol Macel. The scaffold is enclosed by a hoarding; at the nearer corners are two friars, one in brown and one in black, probably a Franciscan and a Dominican; the official, who stands with his hands resting on his staff superintending the executioner, has a gown of red with sleeves lined with white fur, his bonnet is black turned up also with white fur. In the background are the timber houses on one side of the place, with the people looking out of their windows; a signboard will be seen standing forth from one of the houses. The groups of people in the distance and those in the foreground give the costumes of the ordinary dwellers in a fourteenth-century city. - Administering holy communion with the Housel cloth
From a 14th century manuscript - A tumbling Ape
A tumbling Ape - A Semi-choir of Franciscan Friars
The picture of a semi-choir of Franciscan friars is from a fourteenth-century psalter. The picture is worth careful examination for the costume of the friars—grey frock and cowl, with knotted cord girdle and sandalled feet; some wearing the hood drawn over the head, some leaving it thrown back on the neck and shoulders; one with his hands folded under his sleeves like the Cistercians at p. 17. The precentor may be easily distinguished in the middle stall beating time, with an air of leadership. There is much character in all the faces and attitudes—e.g., in the withered old face on the left, with his cowl pulled over his ears to keep off the draughts, or the one on the precentor’s left, a rather burly friar, evidently singing bass. - A Royal Dinner
In a MS. volume of romances of the early part of the fourteenth century in the British Museum, the title-page of the romance of the “Quête du St. Graal” is adorned with an illumination of a royal banquet; a squire on his knee (as in the illustration given on opposite page) is carving, and a minstrel stands beside the table playing the violin - A Priest Confessing a Lady
The picture represents a priest confessing a lady in a church. The characters in the scene are allegorical; the priest is Genius, and the lady is Dame Nature; but it is not the less an accurate picture of a confessional scene of the latter part of the fourteenth century. - 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 Fourteenth Century House
A Fourteenth Century House - 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. - 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.