- Square frame with Diamond motif
Square frame with Diamond motif - Leafy Circular frame
Leafy Circular frame - Musical instrument divider
Musical instrument divider - 'Sans nom ' at the Race of June 8, 1884, near Leiden.
In 1884, the competition again took place in Oudshoorn. The board had now decided to add races for two-belt seniores and for junior four-belt and two-belt races for the sake of the public. The song " Oude vier ", however, remained the main song, the university race . The prize was once again won by Leiden, which reached the winning post 4 seconds before Utrecht and 36 seconds before Delft . - Rowing grip
Top - Wrong grip Bottom - correct grip After the pose, the student should learn to hold his belt. Inadvertently when rowing to apply some force, he will tighten his belt tightly, even pinch it. Now this is nothing but a waste of forces, because it makes the muscles, namely those of the lower arm, tense and tired, without obtaining any greater result. The hands should only serve as a means of connecting the strap to the body; so the looser the belt is held, the better, and to that end only the two extremities of the fingers are bent, as a result of which a hook is formed, as it were, which wraps around the belt; (bottom picture) the thumb is held under the belt and also only with the extreme member pressed against it. The wrist joints should absolutely not be bent downwards, because this is precisely what makes the muscles of the lower arm tense, which is of no use and should therefore be strictly forbidden. After all, the aim must be not to exert a muscle without obtaining any result proportional to the effort. The hand must therefore be held in such a way that it forms a straight line with the arm. - Davis swivel rowlock
There are already countless varieties of these spinning reels. The French boat builders also apply them to inriggers . One of the best varieties is the " Davis swivel rowlock ", which Hanlan has always used. - Young lady looking in mirror
Young lady looking in mirror - Flower Child
Flower Child - Lady with flowers
Lady with flowers - Young lady
Young lady - Sideways glance
Sideways glance - Young Lady
Young lady - Young lady with wide-open eyes
Young lady with wide-open eyes - Young lady seated
Young lady seated - Lady with scarf
Lady with scarf - Our Social Club
Bunch of men all reading newspapers - Under Carriage of Coach
- Duke of Beauforts's Drag
Duke of Beauforts's Drag - The Stage Coach
- The Mail Coach
- The Mail's Meeting
- The Devonport Mail near Amsbury going post through a drift of snow
- The Holyhead and Chester Mails
- The Result of Feather-Edging
- Bull and Mouth Road
- The Birmingham Mail near Aylesbury
- Egyptian bronze representing a flying man
In the Hall of the Gods, in the Egyptian Museum, there is a small bronze plaque of great antiquity, where we see in relief a man flying the two extended wings. It is true that we agree to consider this piece as a symbolic composition rather than as the representation of an aircraft. - Besnier's flying apparatus
Reproduction by heliogravure of the figure from the Journal des sçavans (1678). Extract from a letter written to Mr. Toynard on a Machine of a new invention to fly in the air. A, right front aisle. — B, left rear aisle. — C, left front aisle. — D, right rear aisle. — E, fissure of the left foot which lowers the D aisle, when the left hand lowers the Aisle C. — F, fissure of the right foot which lowers the D-pin when the left hand lowers the C-pin. - Electric flying machine depicted in Le Philosophe sans pretension (1775)
We reproduce as a curiosity this charming vignette, where we see the inventor Scintilla driving his machine. - Facsimile of Leonardo da Vinci's drawings on artificial wings
The examination of the original drawings of the great Italian artist is intersting. We reproduce by heliogravure a complete plate; it makes it possible to follow the thought which presided over its execution. We let Dr. Hureau de Villeneuve interpret it. We see in the second row on the right a small character quite similar to a demon or a genie, for he wears a flame on his head and, next to this flame, a Latin cross. His arms end with the fingers of a bat. The figure is not yet finished when Leonardo already recognizes its insufficiency and, guessing the little muscular action of the arms, thinks of using the force of the legs. So we see a little higher, in the same plank, a vigorous man placed on his stomach, his legs bent and about to launch a violent kick. The protruding muscles, traced by an anatomist's pencil, reveal the great painter in an unassuming drawing. - Principle of the helicopter, drawing by Leonardo da Vinci
Principle of the helicopter, drawing by Leonardo da Vinci - Principle of the parachute, drawing by Leonardo da Vinci
If Leonardo da Vinci's aerial flight experiments do not seem to have been carried out on a large scale, it is perhaps not the same with the parachute, the use of which is much safer. The description of Leonardo da Vinci was reproduced later, not without a notable improvement in the mode of representation of the apparatus, in a collection of machines, due to Fauste Veranzio and published in Venice in 1617. - The Venice parachute (1617), after an engraving of the time
The attached engraving is the exact reproduction of the parachute that the author also defines in the following terms, certainly inspired by those of Leonardo da Vinci: With a square veil stretched out with four equal poles and having tied four ropes to the four quinces, a man without danger will be able to throw himself from the top of a tower or some other prominent place; because although, at the hour, there is no wind, the effort of he who falls will bring wind which will hold back the sail, lest it fall violently, but gradually descend. The man therefore must measure himself with the size of the sail. - Father Lana's aerial ship (1670)
Certainly Lana's project is impracticable: the learned Jesuit did not foresee that his empty copper balloons would be crushed by the external atmospheric pressure; but he nevertheless had a very clear idea and very remarkable for his time of the principle of aerial navigation by balloons lighter than the volume of air which they move. He ends his long chapter with some very curious considerations: I do not see any other difficulties that can be opposed to this idea, except one which seems to me more important than all the others, and that God will not allow this invention to be ever successfully applied in practice, in order to prevent the consequences which would result from it for the civil and political government of men. Indeed, who does not see that there is no State which would be insured against a stroke of surprise, because this ship would be heading in a straight line on one of its strongholds, and, landing there, could descend there soldiers. - An Egyptian Funeral Cortege
It need not be inferred from what we have written that all bodies were hidden away in the tomb. On the contrary, many were consumed on the funeral pile, some were buried in the earth, while others again, after they had come from the embalmer's shop, were kept in the house for years, until finally they were deposited in the catacombs. The mourning for a good king lasted the space of seventy days, during which the people sang hymns commemorating his virtues, reading their garments, and covering their heads with mud and dust, some three hundred persons of both sexes coming together twice each day to publicly sing a funeral dirge, the entire nation abstaining from meat and other dainties during the whole time. On the last day of mourning, or in some instances many months afterward, the time for sepulture arrived. Supposing that an embalmed king is to be laid away, perhaps in a tomb on which a lifetime of preparation has been bestowed, the body is now brought out from the closet, where it has been carefully stored since the funeral ceremonies were performed, and given to the undertaker, who comes with a sledge-hearse, as shown in the engraving. The several figures are thus arranged: in the center appear the sacred cows, decked with elegant blankets and ornamental head and neck gear, which last (of a peculiar pattern) is found attached to the heads of all female animals, in Egyptian bass-reliefs, drag-ropes in this case being fastened to the horns, evidently " more for ornament than use," two attendants furnishing the motive-power, while the third acts as conductor. In the foreground are four more representatives of the genus homo. First, we notice the priest, as indicated by the peculiarity of his dress. He appears in the act of anointing the dead body with sacred oil, or some other liquid, from a vessel of peculiar shape. Just in front of the priest, squatting near the earth, we find a mercenary mourner, her hair disheveled, her breasts exposed, and her hands fixed in the position most expressive of grief, no doubt crying as sincerely as in hired mourning it has ever been done. Around the third figure centers the greatest interest, since it represents the dead dressed in cerements for the tomb, to which the body is now about to be carried. The fourth, supporting the corpse in a leaning position, represents an attendant, who, in all probability, officiates both as priest and undertaker. - Egyptian Sledge-Hearse
In one instance, as in the figure, taken from a tomb in Thebes, — an attendant is shown, pouring some kind of a liquid from a jar upon the ground, over which the sledge is drawn, to facilitate its progress. Examples of this nature are frequently seen in Egyptian bass-reliefs, depicting the removal of heavy loads. On this sledge-hearse the mummy-case, enclosing the corpse, is distinctly observed. With characteristic tenderness, two females steady the mummy as it moves along over the rough surface of the ground; the priest, meanwhile, mounted in front, scroll in hand, recites a panegyric, or perhaps delivers a funeral oration in honor of the dead. - Elegant Sledge-Hearse
A very showy affair is found in the next illustra-tion, rivaling the mourning equipages of modern times. Among other figures appear emblems of stability and security on the side panels. In this instance the undertaker removed a portion of the paneling so as to expose the head of the mummy-case. It would seem from this, that the modern practice of showing a coffin through a glass side is of great antiquity. Indeed, we seldom find anything new that has not an antiquarian origin, thus verifying the words of the wise man, "There is no new thing under the sun." - Wagon and Boat, from a mummy bandage
A singular instance of the wagon and funeral-boat in combination has been found on the bandage of a mummy, now preserved in the collection of S. d'Athanasi. It is supposed by some modern authors that Herodotus, in speaking of the religious ceremonies in honor of Mars, as performed in the city of Pampremis, refers to this vehicle. Among other things, he tells us that the priests placed an image in a wooden temple, gilded all over, which they carried to a sacred dwelling; "then the few who were left about the image draw a four-wheeled carriage containing the temple and the image." - Primitive Sledge
An early primitive sledge - Greek war galley
At this point, it is worth pausing to consider in detail the war galley which the Phœnicians had developed and which they handed down to the Greeks at this turning point in the world's history. The bireme and the trireme were adopted by the Greeks, apparently without alteration, save that at Salamis the Greek galleys were said to have been more strongly built and to have presented a lower freeboard than those of the Phœnicians. - Greek merchant ship
Greek merchant ship - 16th century galley
During the winter of 1537-1538, the naval yards of Constantinople were busy with the preparations for a new fleet which should take the offensive against the Venetians and the Christians generally. In the spring Barbarossa got out into the Archipelago and, raiding at will, swept up another batch of prisoners to serve as galley slaves for the new ships. Meanwhile, the Mediterranean states nerved themselves for a final effort. Venice contributed 81 galleys, the Pope sent 36, and Spain, 30. Later the Emperor sent 50 transports with 10,000 soldiers, and 49 galleys, together with a number of large sailing ships. - Cross-staff
The art of navigation, though still crude, had by the 15th century so advanced that the sailor was no longer compelled to skirt the shore, with only rare ventures across open stretches of sea. The use of the compass, originating in China, had been learned from the Arabs by the crusaders, and is first mentioned in Europe towards the close of the 12th century. An Italian in England, describing a visit to the philosopher Roger Bacon in 1258, writes as follows: "Among other things he showed me an ugly black stone called a magnet ... upon which, if a needle be rubbed and afterward fastened to a straw so that it shall float upon the water, the needle will instantly turn toward the pole-star; though the night be never so dark, yet shall the mariner be able by the help of this needle to steer his course aright. But no master-mariner," he adds, "dares to use it lest he should fall under the imputation of being a magician." By the end of the 13th century, the compass was coming into general use; and when Columbus sailed he had an instrument divided as in later times into 360 degrees and 32 points, as well as a quadrant, sea-astrolabe, and other nautical devices. The astrolabe, an instrument for determining latitude by measuring the altitude of the sun or other heavenly body, was suspended from the finger by a ring and held upright at noon till the shadow of the sun passed the sights. The cross-staff, more frequently used for the same purpose by sailors of the time, was a simpler affair less affected by the ship's roll; it was held with the lower end of the cross-piece level with the horizon and the upper adjusted to a point on a line between the eye of the observer and the sun at the zenith. By these various means, the sailor could steer a fixed course and determine latitude. - Flagship of Columbus
With the explorations of Columbus on his first and his three later voyages (in 1496, 1498, and 1502) we are less concerned than with the first voyage itself as an illustration of the problems and dangers faced by the navigator of the time, and with the effect of the discovery of the new world upon Spain's rise as a sea power. The three caravels in which he sailed were typical craft of the period. The Santa Maria, the largest, was like the other two, a single-decked, lateen-rigged, three-masted vessel, with a length of about 90 feet, beam of about 20 feet, and a maximum speed of perhaps 6-1/2 knots. She was of 100 tons burden and carried 52 men. The Pinta was somewhat smaller. The Niña (Baby) was a tiny, half-decked vessel of 40 tons. Heavily timbered and seaworthy enough, the three caravels were short provisioned and manned in part from the rakings of the Palos jail. - Three-decked ship of the line, 18th century
Three-decked ship of the line, 18th century - Nelson's Victory
Built in 1765. 2162 tons. The Battle of Trafalgar After twenty-five days in England, Nelson took command off Cadiz on September 28, eager for a final blow that would free England for aggressive war. There was talk of using bomb vessels, Congreve's rockets, and Francis's (Robert Fulton's) torpedoes to destroy the enemy in harbor, but it soon became known that Villeneuve would be forced to put to sea. On October 9, Nelson issued the famous Memorandum, or battle plan, embodying what he called "the Nelson touch," and received by his captains with an enthusiasm which the inspiration of the famous leader no doubt partly explains. This plan, which had been formulating itself in Nelson's mind as far back as the pursuit of the French fleet to the West Indies, may be regarded as the product of his ripest experience and genius; the praise is perhaps not extravagant that "it seems to gather up and coördinate every tactical principle that has ever proved effective." - Floral Divider
Floral Divider - Floral Divider
Floral Divider - Flowers in circles divider
Flowers in circles divider - Grand Initial
Grand Initial, designed by pen (end of Fifteenth Century), representing Types of Students, in one of the Manuscript Registers of the German Nation. - Rector and Doctor of the University of Paris
The Faculty of Theology, besides its dean, who was the senior doctor, chose every other year a syndic, whose business it was to administer the private business of the company. The Decree Faculty had only a dean selected by seniority in the grade of doctor, and the Faculty of Medicine had a dean elected every year from amongst the doctors in practice. Deans and proctors, to the number of seven, formed the higher tribunal of the University. The Faculty of Arts had, therefore, a clear majority of its own upon this tribunal ; it had, moreover, assumed for itself the exclusive right of nominating the rector or supreme head of the University, and he was bound to be a member of the faculty. - Three Girls
Three Girls - Clay Pipe from Babylon
“Clay pipe from Babylon, the most ancient yet found, apparently modelled to imitate the skull of some animal. It still sounds clearly the intervals of the common chord.” - Single perforated pipe
The first and primaeval musical instruments must have been of the simplest kind. A hollow reed, uttering, when blown with the mouth, one monotonous sound would be the first successful attempt at such an invention. The next step was to vary the sound by perforating it with holes, like to our " Penny Whistle." - Double Pipes
".. put two such pipes into the mouth, and you get the double Egyptian and Assyrian pipe, such as may be still seen sculptured on their monuments. In the holes or apertures of some of these pipes, which have been discovered in the tombs and other places, small straws have been found, plainly intended to act the part of reeds in our modern oboes and clarionets. " - Egyptian Harp, showing its original bow-like shape
The history of the Harp may be traced with much the same clearness. The twanging of the bow probably suggested the original idea; and the variation of sound was obtained by lengthening and shortening a multiplicity of strings. These were made, at first, of some fibrous material, or the long hair of animals. Perhaps even the tresses of wives and daughters were turned to such musical use, as we read in the Greek and Roman historians that the bows of the Carthaginians were thus supplied with strings in their last war with the Romans. Harps, too, like the bow, were portable, about four feet long; and all Oriental harps, so far as we can judge from surviving sculptures, unlike ours, had no front pillar. Their bow-like shape and characteristics long remained. Without entering at greater length on their further and later development, we can easily imagine how soon the need of pegs for tightening and loosening the strings was felt; how a sounding-board was found to add to the body of sound; how Strings of fibre or hair were supplanted by those of catgut, of steel, and even of silver. Whether the fingers or whether the quill and plectrum were the first manipulators of the strings, is a matter of debate. Certainly fingers were made long before either quills or plectra! Be it as it may, after these latter had been introduced, hammers wielded by the hand in due time followed. And thus we see how the "stringed instruments" of primaeval and ancient days became the parent of the dulcimer, the spinet, the harpsichord, and the piano. - Damsels singing to the Sound of Timbrels
The next natural step for the use of music would be that of victory and triumph. The first notice of this kind is the song of Miriam. And here we may rightly conjecture the introduction of an Egyptian, and therefore cultured element. " Miriam took a timbrel in her hand, and all the women went out after her with timbrels and with dances " (Exod. xv. 2o). - Assyrian Harpist , beating time with his foot
Assyrian Harpist , beating time with his foot - Sistra
A framework with loose metal bars inserted, sometimes with metal rings added, shaken by the hand. - Group of Harps and other musical instruments
Group of Harps and other musical instruments