Tag Archives: illustration

Hand Fire-Arms through History

Hand fire-arms
Hand fire-arms
  1. Hand cannon for foot soldier in cast iron, belonging to the first half of the fourteenth century. The touch-hole (German, Zünderloch) is on the upper part of the cannon.
  2. Hand cannon for foot soldier, from a MS. of the end of the fourteenth century. The touch-hole is on the top of the cannon.
  3. Hand cannon for foot soldier, from a manuscript of the year 1472, in the library of Hauslaub at Vienna.
  4. Hand cannon for a knight, called a petronel, from a manuscript in the ancient library of Burgundy. The articulated plate armour is characteristic of the latter half of the fifteenth century, though the bassinet has a movable vizor. These hand cannons were in use at the same time as the serpentine arquebuse, and even as the flint and steel arquebuses and muskets, ie till the beginning of the sixteenth century, as may be seen from the drawings, by Glockenthon, of the arms of the Emperor Maximilian I. (1505).
  5. German hand cannon, fixed on wooden boards or stands, belonging to the beginning of the sixteenth century. The touch-hole is still on the upper part of the cannon. From the drawings of Glockenthon, done in 1505.
  6. German hand cannon in fluted iron, of the beginning of the sixteenth century, or end of the fifteenth century. It is only 9 1/2 inches in length, 2 inches in diameter, and is fixed on to a piece of oak about 5 feet in length. In the Germanic Museum, where it is wrongly ascribed to the fourteenth century.
  7. Hand cannon in wrought iron, called a petronel, to be used by a knight. It is of the end of the fifteenth century.
  8. Hand cannon with stock of the end of the fourteenth century. The touch-hole is on the top of the cannon.
  9. Angular hand cannon on stock; to be used in defending ramparts. It is a little over 6 feet in length, and the touch-hole is on the top of the cannon. This piece was used in the defence of Morat against Charles le Téméraire (1479).
  10. Eight-sided hand cannon with stock. The touch-hole, which is on the top of the cannon, has a cover moving on a pivot. This cannon is 54 inches in length, and the balls or bullets about 1 1/2 inch in diameter. It belongs to the first part of the fifteenth century.
  11. Persian matchlock cannon, copied from the Schah-Namen, in the Library of Munich.
  12. Hand cannon on stock, end of the fourteenth, or beginning of the fifteenth century. In this piece the touch-hold is on the right side.
  13. Hand cannon with serpentine, a match-holder, without trigger or spring, invented about the year 1424.
  14. Serpentine or guncock for match, without trigger or spring.
  15. Serpentine without trigger, but with spring.
  16. Serpentine with spring, but without trigger.
  17. Serpentine lock, without trigger or spring.
  18. Hackbuss lock with spring and trigger.
  19. Hackbuss (in German, Hakenbüchse) or hand cannon, with butt end and serpentine lock. It belongs to the second half of the fifteenth century. The match is no longer loose, but fixed to the serpentine, which springs back by means of the trigger. This sort of cannon is generally about 40 inches in length, and it is usually provided with a hook, so that when it is placed on a wall it cannot slip back. The hackbuss without a hook is, as a rule, better made, and was subsequently called arquebuse with matchlock. It had also front and back sights (in German, Visir und Kern).
  20. Chinese arquebuse.
  21. Swiss arquebuse of the second half of the fifteenth century.
  22. Double arquebuse (in German, Doppelhaken). This weapon had two serpentines, or dogheads, falling from opposite points, and was generally used in defending ramparts; the barrel was usually from 5 to 6 1/2 feet in length.
  23. Hackbuss, loaded from the breech by means of a revolving chamber, a weapon belonging to the beginning of the sixteenth century.
  24. Hackbuss and gun fork (German, Gabel), from the drawings of Glockenthon; it may also be seen in the engraving of the “Triumph of the Emperor Maximilian I.” From this we see that the hackbuss, or match arquebuse, was used for a long time together with the wheel-lock arquebuse.
  25. Serpentine hackbuss with match, also called musket. It is also furnished with a fork, called a fourquine in French.
  26. Hackbuss or musket, with link.
  27. Serpentine hackbuss with link, also called arquebuse, loaded from the breech by means of a revolving chamber. It dates from the year 1537, and bears the initials W. H. by the side of a fleur-de-lys.
  28. Eye protector, belonging to a musket in the Arsenal of Geneva.
  29. Hand cannon with rasp, early part of the sixteenth century. It is entirely of iron, and is called Münchsbüchse (monk’s arquebuse). For a very long time it was wrongly thought to be the first fire-arm ever made, and to have belonged to a monk named Berthold Schwartz (1290-1320), who was also said to have invented gunpowder. This little weapon is about 11 1/2 inches in length, and the barrel 5 inches in diameter. It preceded the wheel-lock, and appears to have suggested the idea of it. A rasp scatters sparks from the sulphurous pyrites by friction.

The illustrations and descriptions have been taken from An Illustrated History of Arms and Armour: From the Earliest Period to the Present Time, by Auguste Demmin, and translated by Charles Christopher Black. Published in 1894 by George Bell.

Pistols, 1500-1856

Here is a small collection of typical or notable pistols spanning from the sixteenth century to the middle of the nineteenth century.

Pistols, 1500-1856
Pistols, 1500-1856
  1. Barrel for number 4.
  2. Wheel-lock pistol of the sixteenth century. This was the sort of pistol used by the German cavalry, and also by the Ritter, or knights.
  3. Wheel-lock pistol with double barrel, beginning of the seventeenth century.
  4. Wheel-lock pistol, firing seven shots.
  5. Double wheel-lock, end of the sixteenth century. Arsenal of Zurich.
  6. Wheel-lock and mortar pistol, called in German Katzenkopf, of the seventeenth century.
  7. Wheel-lock and mortar pistol of the seventeenth century. It is entirely of iron.
  8. Flint-lock pistol, end of the seventeenth century.
  9. Pistol with flint-lock, of the beginning of the eighteenth century.
  10. Colt’s revolver, invented by Samuel Colt, of the United States, in 1835.
  11. Mat revolver, invented a short time back by M. Le Mat.

The illustrations and descriptions have been taken from An Illustrated History of Arms and Armour: From the Earliest Period to the Present Time, by Auguste Demmin, and translated by Charles Christopher Black. Published in 1894 by George Bell.

Chair Back Styles

From 1995 to around 2004, a magazine known as Proptology was published by a Canadian props professional named Wulf. He published a multi-part series called “A Field Guide to Furniture Styles”, which contained a lot of useful illustrations and information for identifying period Western furniture. One of the parts had a nice little list of chair backs. I have taken this information and these illustrations and arranged them in a nice little grid where they are grouped by similar appearances.

I have some other helpful illustrations in previous posts: analysis of a chair, 40 styles of chairs, and parts of a chair. Armed with these images, we are well on our way to developing a visual guide to identifying the period of a chair based on its appearance.

Chair Backs
Chair Backs, illustrations by Wulf

Bentwood: Late 1800s.

Fiddle: Characteristic of Queen Anne style. 1700s.

Sheaf: Can also be a splat which is pierced in the same style. Late 1700s.

Pierced Splat: Characteristic of Chippendale designs. Late 1700s.

Balloon: Characteristic of Victorian style. Mid 1800s.

Round: Often an open frame with no upholstery. Mid 1800s.

Anthemion: Greek motif favored by Hepplewhite. Late 1700s.

Shield: Characteristic of Hepplewhite. Late 1700s.

Lath: Curved, flat uprights. Very sturdy. 1800-1900s.

Bannister: Like stick back but with turned posts. 1600-1800s.

Stick: Primarily used in country furniture. 1600-1800s.

Bow: Typical form of Windsor style chair. 1600-1800s.

Pillow Top: A narrower top is called “Bolster Top”. 1800s.

Lyre: Popular motif in Empire style designs. Early 1800s.

Ladder: With pierced splats is called “Pretzel Back”. 1400-1900s.

Square: Characteristic of Sheraton’s designs. Late 1700s.

Better Proud than Shy

When you have to line up two pieces of material to create a corner, your pieces may be either flush, shy or proud. The illustration below shows what I mean:

Flush, Shy and Proud
Flush, Shy and Proud

A piece is flush when it lines up with the outside face of the other piece. A piece is shy when it is inset from the outside face, and proud when it sticks out a bit.

While your goal is to be flush, it is often better to be a little proud. A proud piece can be trimmed or sanded so it is flush. If you try to line your pieces up exactly flush, you may end up shy. When you’re shy, it is harder to make it flush after the glue has dried; you either have to use filler (which is often too fragile to hold a good corner) or sand the long piece of material on its entire face.

So, in fabrication at least, it is better to be proud than shy.

Backstage Views from 1900.

I found the following images in a copy of “The Century Illustrated Monthly Magazine” from 1900. They appeared in an article about performing Wagner’s Ring Cycle. I love how they give a glimpse of what backstage life was like over a hundred years ago. In most respects, it is very much unchanged from the present form.

A stage hand asleep during a Wagnerian chorus
A stage hand asleep during a Wagnerian chorus

Though asleep, the stage hand above is “better dressed” than the typical stage hand today. Than again, most stage hands need to wear all black clothes, and the fabrics today stand up to much more wear and tear and are easier to clean than the suits and trousers of 1900.

Valkyrs waiting to go on.
Valkyrs waiting to go on.

I love the looks of these chorus members as they wait for their moment on stage. What is also interesting is the flat in the background, which is constructed in exactly the same way that modern flats are.

How the dragon in "The Rhinegold" is made to crawl.
How the dragon in “The Rhinegold” is made to crawl.

This moving dragon shows a low-tech but reliable solution that is still utilized in all but the highest-budget performances today.

The boy Valkyrs who ride through the clouds.
The boy Valkyrs who ride through the clouds.

The wagons which carry these boys would not look out of place in a modern opera production. I find it interesting again how the stage hand is dressed; it is not just that he is wearing a vest and tie, but that his shirt appears to be white rather than the dark colors we usually wear back stage.

Brünhilde emerging from her dressing-room
Brünhilde emerging from her dressing-room

Finally, this illustration goes to show you that back stage areas have always been cramped.

Images originally appeared in “The Century Illustrated Monthly Magazine, Volume 59, Richard Watson Gilder, The Century Co, 1900.