Home / Albums / The Middle Ages 562
- Church of St. Vital, at Ravenna. Byzantine style
- ... thrust a leaden bodkin into the head of that image
- ‘... called secretly at the chamber dore’
- ‘... cast her into a cauldron’
- ‘... compellyd them for to devour the same writte’
- ‘... constructed a pantomime dragon on the pattern of the real article’
- '... crossed to England’'
- ... caused to sytte down and in large wyse to gape
- ... sware ‘gret othes’ and took himself by the hair
- Robert Berewold in the pillory
- The unfortunate “fowle” was “hurten so sore”’
- sat for its portrait to Matthew Paris
- A young novice of the priory
- A ‘herauld’
- Pilgrims
- ‘The broken bough fell on the head of a man standing down below’
- ‘The tiger and the mirror’
- ‘The young Edward III.’
- ‘When a lion looks at you it becomes a leopard’
- ‘Dymoke of Scrivelsby’
- ‘Hakeney’
- ‘He incontinently fled’
- ‘Henry’s badge’
- ‘St. Piran’
- ‘latten “Agnus Dei”’
- ‘... playing innumerable pranks’
- ‘... showed him his injuries’
- ‘... thrust him out of the church’
- ‘... with drawn swords stood in the doorway’
- ‘A wonderful sight’
- ‘An impromptu entertainment by three minstrels’
- ‘Diabolus ligatus’
- ‘... failed to identify the geese’
- ‘... fully armed with swords and bucklers’
- ‘... got his arms round a branch’
- ‘... gyrd abowte his bodye in iij places with towells and gyrdylls’
- ‘... led through the middle of the city’
- ‘... ducking him in a horse-pond’
- Action
- St. Bridget, from an old cut in the possession of Earl Spencer
The figure writing is that of St. Bridget of Sweden, who was born in 1302 and died in 1373. From the representation of the Virgin with the infant Christ in her arms we may suppose that the artist intended to show the pious widow writing an account of her visions or revelations, in which she was often favoured with the blessed Virgin’s appearance. The pilgrim’s hat, staff, and scrip may allude to her pilgrimage to Jerusalem, which she was induced to make in consequence of a vision. The letters S. P. Q. R. in a shield, are no doubt intended to denote the place, Rome, where she saw the vision, and where she died. The lion, the arms of Sweden, and the crown at her feet, are most likely intended to denote that she was a princess of the blood royal of that kingdom. The words above the figure of the saint are a brief invocation in the German language, “O Brigita bit Got für uns!” “O Bridget, pray to God for us!” At the foot of the desk at which St. Bridget is writing are the letters M. I. Chrs., an abbreviation probably of Mater Jesu Christi, or if German, Mutter Iesus Christus. - St. Christopher, with the date 1423, from a cut in the possession of Earl Spencer
This cut is much better designed than the generality of those which we find in books typographically executed from 1462, the date of the Bamberg Fables, to 1493, when the often-cited Nuremberg Chronicle was printed. Amongst the many coarse cuts which “illustrate” the latter, and which are announced in the book itselfII.11 as having been “got up” under the superintendence of Michael Wolgemuth, Albert Durer’s master, and William Pleydenwurff, both “most skilful in the art of painting,” I cannot find a single subject which either for spirit or feeling can be compared to the St. Christopher. In fact, the figure of the saint, and that of the youthful Christ whom he bears on his shoulders, are, with the exception of the extremities, designed in such a style, that they would scarcely discredit Albert Durer himself. To the left of the engraving the artist has introduced, with a noble disregard of perspective what Bewick would have called a “bit of Nature.” In the foreground a figure is seen driving an ass loaded with 48a sack towards a water-mill; while by a steep path a figure, perhaps intended for the miller, is seen carrying a full sack from the back-door of the mill towards a cottage. To the right is seen a hermit—known by the bell over the entrance of his dwelling—holding a large lantern to direct St. Christopher as he crosses the stream. The two verses at the foot of the cut, Cristofori faciem die quacunque tueris, Illa nempe die morte mala non morieris, may be translated as follows: Each day that thou the likeness of St. Christopher shalt see, That day no frightful form of death shall make an end of thee. - Cuirass
- From the 'Armourers Album'
- Knight arming
- Brass of Sir John de Creke
- Sixteenth-century Suit of Plate
- Horse Armour, sixteenth century
- Cuissard for the off hock
- Harnischmeister Albrecht, 1480
- Saint George
- The Westminster Helm
- The Brocas Helm
- The Barendyne Helm
- The Fogge Helm
- The Workshop of Conrad Seusenhofer
- Arming a knight for combat in the lists