- The Battle of the Nore, June, 1653, between the English and Dutch
- Naval Gunnery in the Old Days
An 18-ton gun in action at the bombardment of Alexandria. The gun has just recoiled after firing. No. 1 is "serving the vent". The sponge end is being passed to be thrust out of the small scuttle in the middle of the port (which is closed as soon as the gun is fired), so that the big wet end can be placed in the gun. - H.M.S. 'Warrior', our First Sea-going Ironclad Battleship
She was a very efficient reply to the French La Gloire, which was a wooden ship converted into an ironclad. Observe the Red-and-blue Ensign. The White Ensign with St. George's Cross did not become universal in the Royal Navy till 1864. - 'Missed!' - the Helm, the Best Weapon against Torpedoes
This picture illustrates an incident which has frequently occurred in the patrol flotillas when destroyers have been hunting down submarines and the latter have retaliated by firing torpedoes. Clever manœuvring in combination with good gunnery is the war-ship's best protection against attack by submarine. - The British Air Raid on Cuxhaven
The very next day—Christmas Day—the Naval Air Wing, working in conjunction with its own branch of the service, carried out an extremely well-organized attack upon Cuxhaven, the strongly-fortified port at the mouth of the Elbe which protects the approaches to Hamburg. - Broadside View of the Nydam Ship now in the Kiel Museum
Observe the horn-like rowlocks and the steer-board The Nydam ship is 75 feet in length, with a beam of 10 feet 6 inches, and had no mast. Both are very flat amidships, and have very fine or sharp ends, but it is evident that in proportion to her length the Gokstadt boat had a much greater beam. - A Viking Double-prowed 'Long Serpent' or 'Dragon-ship'
Observe the well-supported outer stem, the Dragon Head, the embroidered sail decorated with a variation of the "Swastika" design, which was much used by the Vikings on arms and ornaments; the vane at the masthead, the "shield-row" protecting the rowers, and the steersman guiding the ship by means of her "steer-board". - A 'Dragon' Figure-head
There was a law that ships must not approach the land with their figure-heads in position with "gaping heads and yawning snouts." - Wreck of the White Ship, 1120
An example of the impossible-ship picture. There were said to be 300 souls on board! Observe the rudder, which proves the date of the original drawing to be much later than 1120—probably 100 or 150 years. - 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. - Ship of the latter half of the Fifteenth Century
(From an illuminated MS. of 1480) Note the diminutive figure-head, the two shields amidships—probably placed there for decorative purposes, as the ship appears to be "dressed" with many pennons and streamers. The smallness of the tops is unusual, also the square port-hole and the double-gabled cabin. - Rough Diagram, showing Comparative Sizes of Famous Ships at Different Periods
The sizes of these ships can only be shown approximately, as in some cases only the length of the keel is known; in others a mean has to be taken between length of keel and length over-all; while in others the authority does not say where the length was measured. H.M.S. Queen Elizabeth—650 feet long, with a beam of 94 feet—is bigger than all the rest put together.Rough Diagram, showing Comparative Sizes of Famous Ships at Different Periods The sizes of these ships can only be shown approximately, as in some cases only the length of the keel is known; in others a mean has to be taken between length of keel and length over-all; while in others the authority does not say where the length was measured. H.M.S. Queen Elizabeth—650 feet long, with a beam of 94 feet—is bigger than all the rest put together. - Ships of the Time of Henry VIII
Looking at the lofty hulls, the immense mainsails, and the nearness of the ports to the water-line, we can easily understand how a want of care wrecked the Mary Rose. The ship in the background on the right is apparently trying to reduce sail, and has had to lower her main-yard. Her mainsail is almost in the water, to the apparent danger of the ship. - A Matchlock and a Firelock, or Fusil (17th Century)
The constantly smouldering match of the former rendered it a very dangerous weapon in the neighbourhood of cannon; the "snaphaunce", or "fusil", was fitted with a "fire-lock", in which a spark was struck from a flint. - A 'Vase' or 'Pot-de-fer'
The "garot", or heavy dart, to be fired from this early gun was provided with a wooden plug made to fit the bore. The type of "garot" shown on the right was intended to be fired from a large cross-bow on a stand. - The Gun with which we won the Great War with France
Observe the heavy breeching-rope attaching the gun to the ship's side; the tackle and block for running in and out; the wooden wheels, and the "quoins" or wedges for elevating the gun. - Early Breech-loading Cannon
The first was an Armada weapon. This type of gun remained in use afloat well into the eighteenth century - Early Attempts at Maxim Guns
In all probability each barrel of the first gun had to be loaded separately and fired by hand, one after another. In the second case, the eight little cannon are apparently secured to a kind of turntable, to be revolved by hand. - The Finis Belli, the first regular Ironclad Ship armed with Cannon
The funnel on the poop is presumably the galley funnel, though placed in an unusual position. - Japanese Ironclad of about 1600 A.D
With hull covered with plates of copper and iron, two rudders, one at the bow and one at the stern; and a paddle-wheel as her propelling machinery, fitted inside. - The Monitor, the famous little ship that revolutionized warship design
The upper figure is a broadside view, the lower one a transverse section amidships. The upper portion of the hull was very like a raft, and was heavily armoured all over, as was the turret and the little pilot-box forward. - Diver Salving a Gun
(From a print of 1613) - Swimming Jacket
A comparison between the two sketches over page will, I think, go far to prove me right, since the so-called "Diver's Helmet" is taken from Vegetius' De Re Militari, not published before 1511. The earliest picture of a diving-helmet of this kind I have been able to find is in a German work published in 1500: both are therefore of a later date than the "Swimming Jacket". This "jacket" was intended to be worn as follows: The lower rectangular part was to be placed at the back, the oval portion to the front of the body. When the swimmer wished to remain at the surface he inflated his jacket by means of the tube; when he required to dive out of sight he would let the air out. Look at the position of the buckles and straps in the two drawings and you will see that there is a strong presumption that the later artist deliberately made the alteration in order to support his bogus picture of a diving-helmet. - Diver's Helmet from Vegetius
A comparison between the two sketches over page will, I think, go far to prove me right, since the so-called "Diver's Helmet" is taken from Vegetius' De Re Militari, not published before 1511. The earliest picture of a diving-helmet of this kind I have been able to find is in a German work published in 1500: both are therefore of a later date than the "Swimming Jacket". This "jacket" was intended to be worn as follows: The lower rectangular part was to be placed at the back, the oval portion to the front of the body. When the swimmer wished to remain at the surface he inflated his jacket by means of the tube; when he required to dive out of sight he would let the air out. Look at the position of the buckles and straps in the two drawings and you will see that there is a strong presumption that the later artist deliberately made the alteration in order to support his bogus picture of a diving-helmet. - Submarine Mine laid by the Russians in the Crimean War
Submarine Mine laid by the Russians in the Crimean War Made of staves about 3 in. thick, and containing an inner case filled with flue gunpowder. - Chinese Floating Mines used againsts HMS Encounter
A, Wires to catch side of ship. B, Lead weight. C, Jars of Gunpowder. D, Case with side broken away to show jars. E, Raft. - Russian Mine laid in the Baltic in the Crimean War
- Chinese Floating Mines used againsts HMS Encounter
A, Can buoy containing powder. B, Box containing lighted match and punk below. C, Lid or slide between match and punk. D, String for pulling out slide, to allow match to ignite punk. - Chinese Floating Mine
One of two, tied together, with which an attempt was made to blow up H.M.S. Encounter. - Barrel Torpedo used at Charleston
Barrel Torpedo used at Charleston, made of an ordinary barrel with ends of solid wood; fired by electricity - Confederate Torpedo for Rivers
A, Outer shell. B, Air chamber to keep end up. C, Gunpowder. D, Pistol with trigger connected with rod. E, Rod with prongs to catch vessel coming up stream. F, Iron bands with rings. G, Weights anchoring torpedo. - A Turkish Pirate Ship of 1579
Observe the sharp ram, the tower-like forecastle, and the curiously perched cabin aft. Also the tail-like ornaments at the stern, possibly reminiscent of the sterns of the old "Dragon-ships" and "Long Serpents". The big and somewhat triangular openings are probably gun-ports, but no guns are visible. - Uniforms of the British Navy - Midshipman, Admiral, Flag-Lieutenant, Secretary (Fleet Paymaster)
- House in Stoke Newington in which Edgar Allan Poe Lived
Stoke Newington is connected with the name of Edgar Allan Poe. It was here that he was at school, where he was brought over by the Allans as a child. The house still stands; it is at the corner of Edward’s Lane, which runs out of Church Street. Let us hope that the eccentricities of this wayward poet were not due to the influences of Nonconformist Newington. - The Shooting-Gallery
- On Margate Sands
The August bank-holiday is a repetition of Whit-Monday, without the freshness of that early summer day. By the end 304of July the foliage of the trees has become dark and heavy; the best of the flowers are over in field as well as garden; the sadness of autumn is beginning. All through the summer, especially on Saturdays and Sundays, the excursion trains are running in all directions, but especially to the seaside; the excursion steamers run to Southend, Walton, Margate, and Ramsgate. For those who stay at home there are the East-End parks, Victoria Park, West Ham Park, Finsbury Park, Clissold Park, Wanstead Park. They are thronged with people strolling or sitting quietly along the walks. All these parks are alike in their main features; they are laid out in walks and avenues planted with trees; they contain broad tracts of green turf; there is an inclosure for cricket; sometimes there is a gymnasium, and there is an ornamental water, generally very pretty, with rustic bridges, swans, and boats let out for hire. Where there is no park, as at Wapping and Poplar by the riverside, there are recreation grounds. In all of them a band of music plays on stated evenings. - Toynbee Hall and St. Jude’s Church
- The New Whitechapel Art Gallery
(The building to the right is a free library.) Some of the people, but not many, go off westward and wander about the halls of the British Museum. I do not know why they go there, because ancient Egypt is to them no more than modern Mexico, and the Etruscan vases are no more interesting than the “Souvenir of Margate,” which costs a penny. But they do go; they roam from room to room with listless indifference, seeing nothing. In the same spirit of curiosity, baffled yet satisfied, they go to the South Kensington Museum and gaze upon its treasures of art; or they go to the National Portrait Gallery, finding in Queen Anne Boleyn a striking likeness to their own Maria, but otherwise not profiting in any discoverable manner by the contents of the gallery. And some of them go to the National Gallery, where there are pictures which tell stories. - The East London Mission
- The New Model Dwellings
- Dr. Barnardo’s Home, Stepney Causeway
Those who have read Defoe’s “Colonel Jack” will remember the wonderful picture which he presents of the London street boy. That boy has never ceased to live in and about the streets. Sometimes he sleeps in the single room rented by his father, but the livelong day he spends in the streets; he picks up, literally, his food; he picks it up from the coster’s barrow, from the baker’s counter, from the fishmonger’s stall, when nobody is looking. For such boys as these there are Barnardo’s Homes, where waifs and strays to any number are admitted, brought up, trained to a trade, and then sent out to the colonies. Five thousand children are in these homes. The history is very simple. Dr. Barnardo, a young Irish medical student, came to London with the intention of giving up his own profession and becoming a preacher. He began by preaching in the streets; he picked up a child, wandering, homeless and destitute, and took it home to his lodgings; he found another and another, and took them home too. So it began; the children became too many for his own resources; they still kept dropping in; he took a house for them, and let it be known that he wanted support. The rest was easy. He has always received as much support as he wanted, and he has already trained and sent out to the colonies nearly ten thousand children. - Mile End Almshouses
Homes and schools for the boys and girls, hospitals for the adult, there remain the aged. Dotted about all over London there are about a hundred and fifty almshouses; of these about half are situated in and about East London. Not that the people of East London have been more philanthropic in their endowments than those of the west, but, before there was any city of East London, almshouses were planted here on account of the salubrity and freshness of the air and the cheapness of the ground. Some of these have been moved farther afield, their original sites being built over. The People’s Palace, for instance, is built upon the site of the Bancroft almshouses, founded in 1728 for the maintenance and education of one hundred poor. Their original house has gone, but the charity is still maintained. - The Bridge of Hope
“The Bridge of Hope,” a Well-known East End Night Refuge. - Brother Brushes
First R.A. (who hates to be interrupted in his hobby but is doing his best to be polite).—“Done any work to-day?” Second R.A.—“No, confound it. That stupid ass Brown came to the studio and talked all the afternoon,—couldn’t do a stroke of work. What do you do when some idiot comes and interrupts your work?” First R.A.—“Oh, I go on weeding.” - Brother Brushes
“Do you want a Muddle. Sir.” - Costers and Cockneys
“Ow I s’y, look at ’er frills. Got ’erself hup like a bloomin’ ’am bone!” - Costers and Cockneys
Fat Party (after a war of words).—“If you come down our court to-morrer and bring a bit o’ fat with yer, I’ll bloomin’ well eat yer.” - Costers and Cockneys
“What price this for Margit.” - Costers and Cockneys
One Easter Monday. ’Arriet (watching the funeral of ’Liza).—“Nice sort of a Bank ’Oliday for ’er, poor dear.” - Costers and Cockneys
“Wot’s th’ row up the Court, Bill?” “Bob Smith was kissing my missus, and ’is old woman caught ’im. - Costers and Cockneys
’Arriet.—“Ow! I s’y, look at ’is bloomin’ ’At.” - Costers and Cockneys
“I ’ear as you don’t walk hout with ’Arry Smith any more.” “No, ’e wanted me to meet ’im incandescently, and I wouldn’t do such a thing, so I chucked ’im.” - Costers and Cockneys
“Ere y’are, Lidies’ Tormentors. ‘Two’ n penny!” - Sign of the 'Sir Jeffrey Amherst'
On the other side of the highway, swinging romantically from the branches of a great Scotch fir, is the picture-sign of the house, bearing the legend, “Sir Jeffrey Amherst, Crown Point,” and showing the half-length portrait of a very determined-looking warrior, clad in armour and apparently deep in thought; while in the background is a broad river, across whose swift current boat-loads of soldiers, in the costume of two centuries ago, are being rowed. - Crown Point
On the other side of the highway, swinging romantically from the branches of a great Scotch fir, is the picture-sign of the house, bearing the legend, “Sir Jeffrey Amherst, Crown Point,” and showing the half-length portrait of a very determined-looking warrior, clad in armour and apparently deep in thought; while in the background is a broad river, across whose swift current boat-loads of soldiers, in the costume of two centuries ago, are being rowed. - Sign of the 'Running Horse'
Why the crowd resorted thus to tipple the horrible compound does not appear: one would rather drink the usual glucose and dilute sulphuric acid of modern times. The pictorial sign of the old house still proudly declares— “When Skelton wore the laurel crown My ale put all the alewives down.” To do that, you would think, it must needs have been both good and cheap. Certainly, if the portrait-sign of Elynor be anything like her, customers did not resort to the “Running Horse” to bask in her smiles, for she is represented as a very plain, not to say ugly, old lady with a predatory nose plentifully studded with warts. - Brass to Sir John D’Abernon
For the happily increasing class of tourists who are interested in archæology, let it be noted here that the chancel of this church contains the earliest monumental brass in the kingdom, the mail-clad effigy of Sir John D’Abernon, dated 1277. Many of his race, before and after his time, lie here. The life-sized engraved figure of this Sir John, besides being the earliest, is also one of the most beautiful. Clad from head to foot in a complete suit of chain mail,his hands clasped in prayer, heraldic shield on one arm, his pennoned lance under the other, and his great two-handed sword hanging from a broad belt outside the surcoat, this is a majestic figure. His feet rest on a writhing lion, playfully represented by the engraver of the brass as biting the lance-shaft. - Horseshoe Clump
Leaving the village behind and pursuing the Portsmouth road, the woodlands of Claremont Park are left behind as we come downhill towards Horseshoe Clump, a well-known landmark on this road. This prominent object is a semicircular grove of firs on the summit of a sandy knoll, looking over the valley of the Mole, the “sullen Mole” of the poets, flowing in far-flung loops below, on its way to join the Thames at Molesey. This is a switchback road for cyclists thus far, for the ridge on which Horseshoe Clump stands is no sooner gained than we go downhill again, and so up once more and across the level “fair mile,” to descend finally into Cobham Street, where the Mole is reached again.