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- Ruins of Gaillard castle
- Ornate page from the Evangéliaire de Saint-Vaast
- Philippe de Valois, after his seal
- Philippe le Bold, son of Saint Louis, after his tombstone
- Interior facade of the old St. Peter's Church in the Vatican
- Knight of around 1220, from the Villard de Honnecour album
- La Ziza, palace of the Norman and Swabian kings of Sicily, near Palermo
- Germanic costume (5th-8th century)
- Former Constantinian Basilica of Saint Peter. Restitution
- Gautier Bardins, bailiff and adviser to the king in the 13th century, according to his tombstone
- Geoffroy Plantagenet
- Empress Theodora
- Enamelled copper stock. The Annunciation. Limoges, 13th century
- Enamelled copper vase by G. Alpaïs de Limoges
- Emperor Lothaire
- Emperor Otton III, after a miniature from the Evangelist of Bamberg
- Crown of Charlemagne, kept in the imperial treasury of Vienna
- Emperor Anastasius in consular costume
- Emperor Justinian and his court - Mosaic of San Vitale, in Ravenna
- Anglo-Norman knight, after a tomb from 1277
- Byzantine enamels from the Limburg reliquary
- An attempt to restore the Krak, according to M. Rey
- Château-Gaillard, Plan
Château-Gaillard, the “Saucy Castle” of Cœur-de-Lion, the work of one year of his brief reign, and the enduring monument of his skill as a military engineer, is in its position and details one of the most remarkable, and in its history one of the most interesting of the castles of Normandy. Although a ruin, enough remains to enable the antiquary to recover all its leading particulars. These particulars, both in plan and elevation, are so peculiar that experience derived from other buildings throws but an uncertain light upon their age; but of this guide, usually so important, they are independent, from the somewhat uncommon fact that the fortress is wholly of one date, and that date is on record. Moreover, within a few years of its construction, whilst its defences were new and perfect, with a numerous garrison and a castellan, one of the best soldiers of the Anglo-Norman baronage, it was besieged by the whole disposable force of the most powerful monarch of his day; and the particulars of the siege have been recorded by a contemporary historian with a minuteness which leaves little for the imagination to supply, and which, by the help of the place and works, but little changed, enables us to obtain a very clear comprehension of the manner in which great fortresses were attacked and defended at the commencement of the thirteenth century. - Cardiff Castle, Glamorgan
THE castle of Cardiff, though not unknown to border fame, has been the theatre of no great historical event, nor does it present any very striking peculiarities of position, scenery, or structure. Its claim to more than local interest rests upon the character and fortunes of the great barons whose inheritance and occasional residence it was from the 11th to the 15th century, from the reign of Rufus to that of Henry VI. Probably a Roman castrum, and certainly a hold of the local British princes, it was won, in 1090, by the sword of Robert Fitzhamon, lord of the Honour of Gloucester, and by him constituted the “caput” of his newly acquired seignory of Morgan and Glamorgan. - Caerphilly Castle, Ground plan
Caerphilly Castle, Ground plan A Inner Ward. B Middle Ward. C Kitchen Tower and Water Gate. D Outer Ward. E Great Gatehouse and Pier. F North Postern. G South Postern. H Sluice. I Outer Water Gate. - Caerphilly Castle
For the purpose of the description of the castle itself, the whole may be considered as composed of five parts, each of which will be further subdivided. These parts are:— I.—The Grand Front. II.—The Horn-work. III.—The Redoubt. IV.—The Middle Ward. V.—The Inner Ward. - Caernarvon Castle, Bird’s-eye View
Caernarvon was begun in 1283, immediately upon the execution of David, the last Welsh prince. The first work was that of quarrying the cross ditch, and collecting materials and workmen, the latter being drafted from the English counties. Caernarvon, Conway, Criccaeth, and Harlech, were in progress together, and nothing short of the hope of consolidating his kingdom could have induced so economical a sovereign as Edward to incur expenses which, in one year, for Caernarvon alone, amounted to above £3,000. The king was here for the first time in 1284, in which year, April 25th, Edward of Caernarvon was born, probably in the town. A bird’s-eye view of the castle from the north-west. In the front and centre is the King’s Gatehouse, and next, on the spectator’s right, is the Well Tower, and beyond it, the Eagle Tower. On the extreme left is the interior of the Queen’s Gatehouse, placed between the Granary Tower on the left and the Black Tower. Opposite to the King’s Gate is the Exchequer Tower, and between it and the Eagle is the Prince’s Tower. In the lower or right-hand court are seen the foundations of the hall; next on the left of the King’s Gate is the Dungeon Tower. - Caernarvon Castle, Battlements
The illustration shows the allure or rampart-walk of the Eagle Tower. The rear wall, if it ever existed, has been removed. The cut shows the merlon, with its contained loop, the plain flat-sided embrasure, and the figures placed upon the ridge of the coping, one of which gives name to the tower. The small, shoulder-headed doorway opening from the tower upon the rampart is also seen. - Berkeley Castle, Plan
Upon the line of the Severn, in the rear of all these, there were but eight of any importance, Bristol, Berkeley, Gloucester, Hanley, Worcester, Hartlebury, Bridgenorth and Shrewsbury, and of these Berkeley was in many respects the most remarkable, and has endured the longest. A Keep. B Inner Ward. C Outer Ward. D Outer Gate. E Inner Gate. F Fore Building. G Ed. II. Dungeon. H Ed. II. Tower. I Domestic Apartments. J Chapel. K Room above Cellar. L Hall. M Buttery. N Kitchen. O Offices. P Well. Q Oratory and Well. - Berkeley Castle, Keep
Berkeley Castle, Keep Entering the outer gate, the visitor finds himself upon a triangular platform, of which the outer gate-house is the apex, and the inner gate-house and part of the keep the base; on the left a modern wall, which replaces the curtain, crests the scarp of the ditch, and forms the north side of the platform 66 yards long. On the right a low parapet, 54 yards long, forms the south side, and caps a revetment wall of about 10 feet in height, at the foot of which the ancient scarp has been laid out in good taste in a terrace garden. This triangular platform is scarcely an outer ward: it is rather a barbican covering the main entrance and the keep. Its area is 7,750 square yards. There is no trace of a second ditch in advance of this side of the keep and the inner gate, but it is very probable that there was one, though, if so, it must have been filled up when the courts were added to the keep, as otherwise it would have completely occupied them. - Beaumaris Castle, Ground Plan
BEAUMARIS Castle is built upon a marshy flat, close to the sea-shore, and but little above the level of the sea, from which its ditch was supplied. It is an example of a purely concentric fortress, in which the engineer was left free to design his works without being governed, as in most other cases, by the irregularities of the ground. - Beaumaris Castle, Entrance
Its inner ward is a quadrangle about 50 yards square, contained within four curtain-walls about 16 feet thick and 40 to 50 feet high. At the angles are four drum-towers, three-quarters engaged, of the height of the curtains. On the east and west sides are intermediate towers, half-round, with prolonged sides, of which that to the east, as at Kidwelly, contains the chapel. In the centre of the north and south sides are the gatehouses, of large size and something higher than the other towers. In each a quadrangular part projects into the court, capped at the two angles by round turrets containing staircases. Outside, half-round towers with prolonged sides flank the entrance. - Beaumaris Castle, Bird's Eye View
The great hall, 70 feet by 23 feet 6 inches, occupies most of the first floor of the northern gatehouse, and is lighted from the court by five windows, of two lights each, with a transom, as at Stokesley and Ludlow, contemporary halls. The fireplace was on the opposite side. The roof was of timber, but with one stone rib, as at Charing. The southern gatehouse probably also contained a large chamber, now destroyed. The state-rooms and lodgings were in the gatehouses. The portals were of unusual length, and each was guarded by three grates. - Alehouse
- Health-Drinking
- Cakes and Ale.
- Anglo-Saxons Feasting and Health-Drinking
- Charlemagne
Portrait of Charlemagne, whom the Song of Roland names the King with the Grizzly Beard.--Fac-simile of an Engraving of the End of the Sixteenth Century. Charlemagne was the first who recognised that social union, so admirable an example of which was furnished by Roman organization, and who was able, with the very elements of confusion and disorder to which he succeeded, to unite, direct, and consolidate diverging and opposite forces, to establish and regulate public administrations, to found and build towns, and to form and reconstruct almost a new world. We hear of him assigning to each his place, creating for all a common interest, making of a crowd of small and scattered peoples a great and powerful nation; in a word, rekindling the beacon of ancient civilisation. When he died, after a most active and glorious reign of forty-five years, he left an immense empire in the most perfect state of peace - The Lords and Barons prove their Nobility by hanging their Banners and exposing their Coats-of-arms at the Windows of the Lodge of the Heralds
The Lords and Barons prove their Nobility by hanging their Banners and exposing their Coats-of-arms at the Windows of the Lodge of the Heralds After a Miniature of the "Tournaments of King Réné" (Fifteenth Century), MSS. of the National Library of Paris. - The Water Quintain—XIV. Century
To the best of my recollection, Fitzstephen is the first of our writers who speaks of an exercise of this kind, which he tells us was usually practised by the young Londoners upon the water during the Easter holidays. A pole or mast, he says, is fixed in the midst of the Thames, with a shield strongly attached to it; and a boat being previously placed at some distance, is driven swiftly towards it by the force of oars and the violence of the tide, having a young man standing in the prow, who holds a lance in his hand with which he is to strike the shield: and if he be dexterous enough to break the lance against it and retain his place, his most sanguine wishes are satisfied: on the contrary, if the lance be not broken, he is sure to be thrown into the water, and the vessel goes away without him, but at the same time two other boats are stationed near to the shield, and furnished with many young persons who are in readiness to rescue the champion from danger. It appears to have been a very popular pastime; for the bridge, the wharfs, and the houses near the river, were crowded with people on this occasion, who come, says the author, to see the sports and make themselves merry. The water quintain, taken from a manuscript of the fourteenth century, in the Royal Library, where a square piece of board is substituted for the shield, is represented below. - The Unearthing of a Fox
The engraving is from a manuscript in the Royal Library, written about the commencement of the 14th century. - The Saracen Quintain
Here is the quintain in the form of a Saracen, from Pluvinel. - The Ring in Tilting
Tilting or, as it is most commonly called, running at the ring, was also a fashionable pastime in former days; the ring is evidently derived from the quintain, and indeed the sport itself is frequently called running or tilting at the quintain. In the figure is the form of the ring, with the sheath, and the manner in which it was attached to the upright supporter, from Pluvinel. The letter A indicates the ring detached from the sheath; B represents the sheath with the ring inserted and attached to the upright post, in which there are several holes to raise or lower the ring to suit the conveniency of the performer. - Sword-Dance
This drawing represents two men, equipped in martial habits, and each of them armed with a sword and a shield, engaged in a combat; the performance is enlivened by the sound of a horn; the musician acts in a double capacity, and is, together with a female assistant, dancing round them to the cadence of the music; and probably the actions of the combatants were also regulated by the same measure. - Swine Hunting - IX Century
The engraving represents a Saxon chieftain, attended by his huntsman and a couple of hounds, pursuing the wild swine in a forest, taken from a manuscriptal painting of the ninth century in the Cotton Library. - Stilt Dancing.—XIII. Century
Materials for Dancing, specifies masques, castanets, and a ladder of ten rounds. I apprehend the ladder-dance originated from the ancient pastime of walking or dancing upon very high stilts. A specimen of such an exhibition is here given from a MS. roll in the Royal Library, written and illuminated in the reign of Henry III. The actor is exercising a double function, that is, of a musician, and of a dancer. - Spearing a Boar—XIV. Century
The above is a representation of the manner of attacking the wild boar, from a manuscript written about the commencement of the fourteenth century, in the possession of Francis Douce, Esq. - Slinging—VIII. Century
The art of slinging of stones was well known and practised at a very early period in Europe, but we have no authority to prove that it was carried to so high a pitch of perfection in this part of the globe, as it appears to have been among the Asiatic nations. It is altogether uncertain, whether the ancient inhabitants of Britain were acquainted with the use of the sling or not; if the negative be granted, which hardly seems reasonable, we must admit the probability of their being taught the properties of such an instrument by the Romans, who certainly used it as a military weapon. We can speak more decidedly on the part of our ancestors the Saxons, who seem to have been skilful in the management of the sling; its form is preserved in several of their paintings, and the manner in which it was used by them, as far back as the eighth century, may be seen below, from a manuscript of that age in the Cotton Library. It is there represented with one of the ends unloosened from the hand and the stone discharged. In the original the figure is throwing the stone at a bird upon the wing, which is represented at some distance from him. - Saxon Hawking—IX. Century.
This engraving represents a Saxon nobleman and his falconer, with their hawks, upon the bank of a river, waiting for the rising of the game. The delineation is from a Saxon manuscript written at the close of the ninth century, or at the commencement of the tenth; in the Cotton Library. - Remarkable Dance.—XIII. Century
Here we perceive a girl dancing upon the shoulders of the joculator, who at the same time is playing upon the bagpipes, and appears to be in the action of walking forwards. - Mummers—XIV. Century
The magnificent pageants and disguisings frequently exhibited [Pg 160]at court in the succeeding times, and especially in the reign of Henry VIII., no doubt originated from the ludi. These mummeries, as a modern writer justly observes, were destitute of character and humour, their chief aim being to surprise the spectators "by the ridiculous and exaggerated oddity of the visors, and by the singularity and splendour of the dresses; every thing was out of nature and propriety. Frequently the masque was attended with an exhibition of gorgeous machinery, resembling the wonders of a modern pantomime." - Mummers.—XIV. Century
The performance seems to have consisted chiefly in dancing, and the mummers are usually attended by the minstrels playing upon different kinds of musical instruments. - Moveable Quintain—XIV. Century
Others, again, made use of a moveable quintain, which was also very simply constructed; consisting only of a cross-bar turning upon a pivot, with a broad part to strike against on one side, and a bag of earth or sand depending from the other: there was a double advantage in these kind of quintains, they were cheap and easily to be procured. Their form, at an early period in the fourteenth century is represented in the engraving. - Living Quintain—XIV. Century
I shall here say a few words concerning the human quintain, which has escaped the notice of most of the writers upon this subject; it is, however, very certain that the military men in the middle ages would sometimes practise with their lances at a man completely armed; whose business it was to act upon the defensive, and parry their blows with his shield. A representation of this exercise is in the engraving below, taken from a Bodleian manuscript, dated 1344. This representation is justified by the concurrent testimony of an ancient author, cited by Ducange, who introduces one knight saying to another, "I do not by any means esteem you sufficiently valiant (si bons chevalier) for me to take a lance and just with you; therefore I desire you to retire some distance from me, and then run at me with all your force, and I will be your quintain." - Ladies Hunting—XIV. Century
It is evident, however, that the ladies had hunting parties by themselves. We find them, according to this representation, in the open fields winding the horn, rousing the game, and pursuing it, without any other assistance: this delineation, which is by no means singular, is taken from a manuscript in the Royal Library, written and illuminated early in the fourteenth century. - Justing.—XIV. Century
The figure is a representation of the just, taken from a manuscript in the Royal Library, of the thirteenth, or early in the fourteenth century, where two knights appear in the action of tilting at each other with the blunted spears. - Herodias Tumbling
Dancing, in former times, was closely connected with those feats of activity now called vaulting and tumbling; and such exertions often formed part of the dances that were publicly exhibited by the gleemen and the minstrels; for which reason, the Anglo-Saxon writers frequently used the terms of leaping and tumbling for dancing. Both the phrases occur in the Saxon versions of St. Mark's Gospel; where it is said of the daughter of Herodias, that she vaulted or tumbled, instead of danced, before king Herod - Herodias Tumbling with her Servant
Dancing, in former times, was closely connected with those feats of activity now called vaulting and tumbling; and such exertions often formed part of the dances that were publicly exhibited by the gleemen and the minstrels; for which reason, the Anglo-Saxon writers frequently used the terms of leaping and tumbling for dancing. Both the phrases occur in the Saxon versions of St. Mark's Gospel; where it is said of the daughter of Herodias, that she vaulted or tumbled, instead of danced, before king Herod - Hawking—XIV. Century
We see a party of both sexes hawking by the water side; the falconer is frightening the fowls to make their rise, and the hawk is in the act of seizing upon one of them. From a manuscript of the 14th century - Hand-Ball.—XIV. Century
The following engraving represents a gentleman and lady playing at hand-ball, and as far as one can judge from the representation, the pastime consisted in merely beating the ball from one to the other.