- Knight of the end of the Thirteenth Century
The cut is a spirited little sketch of a mounted knight. The horse, it may be admitted, is very like those which children draw nowadays, but it has more life in it than most of the drawings of that day; and the way in which the knight sits his horse is much more artistic. The picture shows the equipment of the knight very clearly, and it is specially valuable as an early example of horse trappings, and as an authority for the shape of the saddle, with its high pommel and croupe. - The Beverley Minstrels
Another of these guilds was the ancient company or fraternity of minstrels in Beverley, of which an account is given in Poulson’s “Beverlac”. When the fraternity originated we do not know; but they were of some consideration and wealth in the reign of Henry VI., when the Church of St. Mary’s, Beverley, was built. - Sir Robert Shurland
In the monumental effigy of Sir Robert Shurland, who was made a knight-banneret in 1300, we seem to have a curious and probably unique effigy of a knight in the gameson. We give a woodcut of it, reduced from Stothard’s engraving. The smaller figure of the man placed at the feet of the effigy is in the same costume, and affords us an additional example. - Rustic Merry-making
It is curious to find that even at so late a period as the time of Queen Mary, the shepherds still officiated at weddings and other merrymakings in their villages, so as to excite the jealousy of the professors of the joyous science. The accompanying wood-cut, from a MS. in the French National library, may represent such a rustic merry-making. - Jousting
Jousting - Harper
The custom of having instrumental music as an accompaniment of dinner is still retained by her Majesty and by some of the greater nobility, by military messes, and at great public dinners. But the musical accompaniment of a mediæval dinner was not confined to instrumental performances. We frequently find a harper introduced, who is doubtless reciting some romance or history, or singing chansons of a lighter character. He is often represented as sitting upon the floor. - Royal Dinner of the time of Edward IV
The picture is of a royal dinner of about the time of our Edward IV., “taken from an illumination of the romance of the Compte d’Artois, in the possession of M. Barrois, a distinguished and well-known collector in Paris - Men-at-Arms, Fourteenth Century
Next, round plates of metal, called placates or roundels, were applied to shield the armpits from a thrust; and sometimes they were used also at the elbow to protect the inner side of the joint where, for the convenience of motion, it was destitute of armour. An example of a roundel at the shoulder will be seen in one of the men-at-arms in the woodcut - Nun and Friar with Musical Instruments
The picture is a curious illumination from the Royal MS. 2 B vii., representing a friar and a nun themselves making minstrelsy. - 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 - Royal Harper
Royal Harper - Knight of the latter part of the Thirteenth Century
The other great invention of this period was that of armorial bearings, properly so called. Devices painted upon the shield were common in classical times. They are found ordinarily on the shields in the Bayeux tapestry, and were habitually used by the Norman knights. In the Bayeux tapestry they seem to be fanciful or merely decorative; later they were symbolical or significant. But it was only towards the close of the twelfth century that each knight assumed a fixed device, which was exclusively appropriated to him, by which he was known, and which became hereditary in his family. - Knight of the Fifteenth Century
Knight of the Fifteenth Century - Warrior 11th Cenury
In the Additional MS. 11,695, in the British Museum, a work of the eleventh century, there are several representations of warriors thus fully armed, very rude and coarse in drawing, but valuable for the clearness with which they represent the military equipment of the time. At folio 194 there is a large figure of a warrior in a mail shirt, a conical helmet,[Pg 316] strengthened with iron ribs converging to the apex, the front rib extending downwards, into what is called a nasal, i.e., a piece of iron extending downwards over the nose, so as to protect the face from a sword-cut across the upper part of it. - A Dance in the Gallery
In the illustration, reproduced from Mr. Wright’s “Domestic Manners of the English,” we have a curious picture of a dance, possibly in the gallery, which occupied the whole length of the roof of most fifteenth-century houses; it is from a MS. of fifteenth-century date. In all these instances the minstrels are on the floor with the dancers, but in the latter part of the Middle Ages they were probably—especially on festal occasions—placed in the music gallery over the screens, or entrance-passage, of the hall. - Quilted Armour
Of the quilted armours we know very little. In the illuminations is often seen armour covered over with lines arranged in a lozenge pattern, which perhaps represents garments stuffed and sewn in this commonest of all patterns of quilting; but it has been suggested that it may represent lozenged-shaped scales, of horn or metal, fastened upon the face of the garments. In the wood-cut here given from the MS. Caligula A. vii., we have one of the clearest and best extant illustrations of this quilted armour. - The Parish Clerk sprinkling the Knight and Lady
Picture shows the costume and the holy water-pot and aspersoir, and to indicate how he went into all the rooms of the house now into the hall sprinkling the lord and lady who are at breakfast. - John Gutenberg
Tthorwalden's statue of John Gutenberg - Goatherds playing Musical Instruments
The shepherds, throughout the Middle Ages, seem to have been as musical as the swains of Theocritus or Virgil; in the MS. illuminations we constantly find them represented playing upon instruments; we give a couple of goatherds from the MS. Royal 2 B vii. folio 83, of early fourteenth-century date. - The Morning Stars singing together
In the MSS. we not unfrequently find the ordinary musical instruments placed in the hands of the angels; e.g., in the early fourteenth-century MS. Royal 2 B. vii., in a representation of the creation, with the morning stars singing together, and all the sons of God shouting for joy, an angelic choir are making melody on the trumpet, violin, cittern, shalm (or psaltery), and harp. - Imperial Banquet
The picture is an exceedingly interesting representation of a grand imperial banquet, from one of the plates of Hans Burgmair, in the volume dedicated to the exploits of the Emperor Maximilian, contemporary with our Henry VIII. It represents the entrance of a masque, one of those strange entertainments, of which our ancestors, in the time of Henry and Elizabeth, were so fond. The band of minstrels who have been performing during the banquet, are seen in the left corner of the picture. - An early illustration of the octagonal scarificator
An early illustration of the octagonal scarificator, 1801. This plate also includes one of the earliest illustrations of the syringe applied to cupping cups. (From Benjamin Bell, A System of Surgery, 7th edition, volume 3, Edinburgh, 1801.) - Knight and Men-at-Arms
The accompanying wood-cut represents various peculiarities of the armour in use towards the close of the thirteenth century. - The Duke of Gloucester and the Earl of Warwick
The illustration is from the valuable MS. Life and Acts of Richard Beauchamp, Earl of Warwick. The present is part of a fight before Calais, in which Philip Duke of Burgundy was concerned on one side, and Humphrey Duke of Gloucester, Richard Earl of Warwick, and Humphrey Earl of Stafford on the other. - Saxon soldier in armour
Saxon soldier in armour - 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. - Combat on Foot
The engravings of Hans Burgmaier, in the Triumphs of Maximilian and the Weise Könige contain numerous authorities very valuable for the clearness and artistic skill with which the armour is depicted. We have given an illustration which represents a combat of two knights, on foot. The armour is partly covered by a surcoat; in the left-hand figure it will be seen that it is fluted. The shields will be noticed as illustrating one of the shapes then in use. - King or Chief of Franks armed with the Seramasax, from a Miniature of the Ninth Century
When the Franks took root in Gaul, their dress and institutions were adopted by the Roman society. This had the most disastrous influence in every point of view, and it is easy to prove that civilisation did not emerge from this chaos until by degrees the Teutonic spirit disappeared from the world. As long as this spirit reigned, neither private nor public liberty existed. Individual patriotism only extended as far as the border of a man's family, and the nation became broken up into clans. Gaul soon found itself parcelled off into domains which were almost independent of one another. It was thus that Germanic genius became developed. - 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. - Woman using leeches
Woman using leeches, 17th century. (From Guillaume van den Bossche, Historica Medica, Brussels, 1639.) - John of Eltham
Illustration the sepulchral effigy in Westminster Abbey of John of Eltham, the second son of King Edward II., who died in 1334. Here we see first and lowest the hacqueton; then the hauberk of chain mail, slightly pointed in front, which was one of the fashions of the time - Scarification without cupping in Egypt
Scarification without cupping in Egypt in the 16th century. To obtain sufficient blood, 20 to 40 gashes were made in the legs and the patient was made to stand in a basin of warm water. (From Prosper Alpinus, Medicina Aegyptorum, Leyden, 1719. - A man employing leeches to reduce his weight
A man employing leeches to reduce his weight, 16th century. (From P. Boaistuau, Histoire Podigieuses, Paris, 1567. ) - Mediæval Dance
In the illustration, of early fourteenth-century date, the scene of the dance is not indicated; the minstrels themselves appear to be joining in the saltitation which they inspire. - Cymbals and Trumpets
Cymbals and Trumpets - The Assault
Seizing that moment, a party of camp followers run forward with a couple of planks, which they throw over the moat to make a temporary bridge. They are across in an instant, and place scaling-ladders against the walls. The knights, following close at their heels, mount rapidly, each man carrying his shield over his head, so that the bare ladder is converted into a covered stair, from whose shield-roof arrows glint and stones roll off innocuous. It is easy to see that a body of the enemy might thus, in a few minutes, effect a lodgment on the castle-wall, and open a way for the whole party of assailants into the interior. - Surgical instruments of the Arabs
Surgical instruments of the Arabs, according to Abulcasim After plates in Gurlt’s “Geschichte der Chirurgie” 1. A pincher for extracting foreign bodies from the ear 2. An ear syringe for injections 3. A tongue depressor 4. Concave scissors for the removal of tonsils 5. Curved pinchers for foreign bodies in the throat 6 to 29. Instruments for the treatment of the teeth 19 and 20. Forceps 21 to 25. Levers and hooks for the removal of roots 26. Strong pinchers for the same 27. A tooth saw 28 and 29. Files for the teeth - Thirteenth-century hospital interior
Thirteenth-Century Hospital Interior (Tonerre) From “The Thirteenth: Greatest of Centuries,” by J. J. Walsh This was built by the sister of Louis IX of France, Marguerite of Bourgogne, who retired to it herself to spend her life caring for the ailing poor. - Medieval Surgical instruments
Surgical instruments of Guy de Chauliac, nos. 1, 2, 3, and 4 (fourteenth century); and surgical apparatus of Hans von Gerssdorff, nos. 5, 6 and 7 (fifteenth century) After plates in Gurlt’s “Geschichte der Chirurgie” 1. Trepan 2. Balista used for extraction of arrows 3. Cauterizing shears with cannula for cauterization of the uvula 4. Bistoury 5. Extension arrangement for reducing upper arm dislocations, called “The Fool” 6. Screwpiece for extending a knee contracture 7. Extension apparatus in the form of armour-arm and armour-leg plates (“harness instruments”) for contractures of the elbow and knee joints - Amputation below the knee
This is the first picture of an amputation known From Gerssdorff’s woodcut, reproduced in Gurlt’s “Geschichte der Chirurgie” - Saxon Soldier, in Leather Armour
Saxon Soldier, in Leather Armour - John Ball, Priest
We give another representation from the picture of John Ball, the priest who was concerned in Wat Tyler’s rebellion, taken from a MS. of Froissart’s Chronicle, in the Bibliothèque Impériale at Paris. The whole picture is interesting; the background is a church, in whose churchyard are three tall crosses. Ball is preaching from the pulpit of his saddle to the crowd of insurgents who occupy the left side of the picture. - Rotta
A representation of David playing on the rotta, from a psalter of the seventh century in the British museum (Cott. Vesp. A. I). According to tradition, this psalter is one of the manuscripts which were sent by pope Gregory to St. Augustine. In the rotta the ancient Asiatic lyre is easily to be recognized. - Instruments and technique of phlebotomy
Instruments and technique of phlebotomy: Fig. 1 shows an arm about to be bled. A ligature has been applied to make the veins swell. The common veins bled—cephalic, basilic, and median—are illustrated. Fig. 2 shows several types of incisions. Fig. 3 is a fleam, Fig. 4 a spring lancet, and Fig. 5 a “French lancet.” (From Laurence Heister, A General System of Surgery, London, 1759. - Bloodletting
Bloodletting - Costumes of the Franks from the Fourth to the Eighth Centuries
The period known as the Middle Ages, says the learned Benjamin Guérard, is the produce of Pagan civilisation, of Germanic barbarism, and of Christianity. It began in 476, on the fall of Agustulus, and ended in 1453, at the taking of Constantinople by Mahomet II., and consequently the fall of two empires, that of the West and that of the East, marks its duration. Its first act, which was due to the Germans, was the destruction of political unity, and this was destined to be afterwards replaced by religions unity. Then we find a multitude of scattered and disorderly influences growing on the ruins of central power. The yoke of imperial dominion was broken by the barbarians; but the populace, far from acquiring liberty, fell to the lowest degrees of servitude. Instead of one despot, it found thousands of tyrants, and it was but slowly and with much trouble that it succeeded in freeing itself from feudalism. Nothing could be more strangely troubled than the West at the time of the dissolution of the Empire of the Caesars; nothing more diverse or more discordant than the interests, the institutions, and the state of society, which were delivered to the Germans - Coronation Procession of Charles V. of France
The coronation procession of Charles V. of France, will help us to exhibit some of the orders of the clergy with their proper costume and symbols. First goes the aquabajalus, in alb, sprinkling holy water; then a cross-bearer in cassock and surplice; then two priests, in cassock, surplice, and cope; then follows a canon in his cap (biretta), with his furred amys over his arm. - Brunschwig’s surgical armamentarium
From Gurlt’s “Geschichte der Chirurgie” Hans von Gerssdorff and Hieronymus Brunschwig, who flourished in the latter half of the fifteenth century in Germany, have both left early printed treatises on Surgery which give excellent woodcuts showing pictures of instruments, operations, and costumes, at the end of the medieval period. - Irish Rotta
A very interesting representation of the Psalmist [King David] with a kind of rotta occurs in a manuscript of the tenth century, in the British museum (Vitellius F. XI.). The manuscript has been much injured by a fire in the year 1731, but Professor Westwood has succeeded, with great care, and with the aid of a magnifying glass, in making out the lines of the figure. As it has been ascertained that the psalter is written in the Irish semi-uncial character it is highly probable that the kind of rotta represents the Irish cionar cruit, which was played by twanging the strings and also by the application of a bow. - Damoiseau’s terabdella
Damoiseau’s terabdella. (From Damoiseau, La Terabdelle ou machine pneumatique, Paris, 1862. - Anglo-saxon harp
The Anglo-saxons frequently accompanied their vocal effusions with a harp, more or less triangular in shape,—an instrument which may be considered rather as constituting the transition of the lyre into the harp. The representation of king David playing the harp is from an Anglo-saxon manuscript of the beginning of the eleventh century, in the British museum. The harp was especially popular in central and northern Europe, and was the favourite instrument of the German and Celtic bards and of the Scandinavian skalds. - Civic Guard of Ghent (Brotherhood of St. Sebastian)
- Cupping Instruments
Cupping instruments illustrated by Dionis, 1708: a, cups made of horn; b, lamp for exhausting air; c, fleam for making scarifications; d, horns with holes at the tip for mouth suction; e, balls of wax to close the holes in the horn cups; f, g, glass cups; h, candle to light the tow or the small candles; i, tow; k, small candles on a card which is placed over the scarifications and lit in order to exhaust the cup; l, lancet for making scarifications; m, scarifications; n, plaster to place on the wound. (From Pierre Dionis, Cours d’opérations de chirurgie demontrées au Jardin Royal, Paris, 1708.) - German rotte
One of the most interesting stringed instruments of the middle ages is the rotta (German, rotte; English, rote). It was sounded by twanging the strings, and also by the application of the bow. The first method was, of course, the elder one. There can hardly be a doubt that when the bow came into use it was applied to certain popular instruments which previously had been treated like the cithara or the psalterium. - Paré’s scarificator
Paré’s scarificator, 16th century. (From The Workes of that Famous Chirurgeon, Ambrose Parey, translated by Thomas Johnson, London, 1649.) - Spectators of a Tournament
The woodcut, greatly reduced from one of the fine tournament scenes in the MS. history of the Roi Meliadus, shows the temporary gallery erected for the convenience of the ladies and other spectators to witness the sports. The tent of one of the knights is seen in the background, and an indication of the hurly-burly of the combat below - Use of the Pavis
The archers of the castle found shelter behind the merlons of the battlements, and had the windows from which they shot screened by movable shutters; as may be seen in the next woodcut of the assault on a castle. It would have put the archers of the assailants at a great disadvantage if they had had to stand out in the open space, exposed defenceless to the aim of the foe; all neighbouring trees which could give shelter were, of course, cut down, in order to reduce them to this defenceless condition, and works were erected so as to command every possible coigne of vantage which the nooks and angles of the walls might have afforded. But the archers of the besiegers sought to put themselves on more equal terms with their opponents by using the pavis or mantelet. The pavis was a tall shield, curved so as partly to envelop the person of the bearer, broad at the top and tapering to the feet. - W. D. Hooper’s patent cupping apparatus with tubular blades
W. D. Hooper’s patent cupping apparatus with tubular blades. (From patent specifications, U.S. patent no. 68985.) - Dry cupping for sciatica
Dry cupping for sciatica. (From Frederik Dekkers, Exercitationes Practicae Circa Medendi Methodum, Leyden, 1694. - Depurator patented by A. F. Jones, 1866
Depurator patented by A. F. Jones, 1866. (From patent specifications)