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Now that I don't have to worry about using up vacation days, I'm taking Amtrak to Kalamazoo for the medieval congress. This one time I sprang for a "roomette" (which is roughly equivalent in space and comfort to the best trans-oceanic business class seating). It would be a bit crowded if I were sharing it, since I didn't bother to check luggage, but if I were sharing it, I would have arranged my luggage so I could check my suitcase.

I enjoyed lunch (for those of us in the sleeper cars, all meals are included) with three other older single women ("single" as in traveling alone) and we had a great time sharing life stories as the train slowly climbed through the Sierras. The dinner scenery will be much more boring as we'll be in the middle of Nevada.

Either the train will be going very slowly overnight, or there's a planned lay-by, as we'll barely make it to the far side of Utah by morning. Tuesday will take us through Colorado (mountains involve rather slow travel) and then I get to sleep through Nebraska (yay) and arrive in Chicago a bit after lunchtime on Wednesday. A brief layover before catching the train to Kalamazoo.

US train travel would be a bit more viable if the trains were allowed to go faster. The winding, steep, mountain bits it makes sense to go relatively slow. But at the moment, crossing the ultra-flat, ultra-straight bits of Nevada I have no idea why we're creeping along around 30 mph.

The train does not have wifi (boo!) although the Amtrak commuter trains do. But despite the prediction by the train attendant that phone service would be spotty, I've mostly have sufficient signal to tether the laptop when I wanted to be connected.

I've pledged to enjoy the scenery as much as possible, but I've also finished the next podcast script. Also been on the SSA phone-hold three times before getting though to a human (well, ok, I got through the second time but then got cut off) and been told that the "escalate to a manager" thing I was told to do last time is a no-go but she sent an actual email to the person with my case (rather than just putting a comment in the file, as happened the last two times). The changing advice/information about next steps is frustrating, but I was calm and cheerful.

I've confirmed that my vacation pay-out is deposted in my account and was the correct amount (or at least in the ballpark of the expected amount -- I won't see the statement until it arrives by snail-mail). And the closing amount for my 401K was satisfyingly higher than the last time I checked. I've still taken a bit of a hit from the Trump economic chaos, but not as bad as it was looking in January.
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(I don't usual mirror my alpennia.com blog posts here, but I thought this one might be of more general interest.)

The conference is over, save for the sessions I've marked for viewing when they come out in video in a couple of days. (So there may be a few more blogs on those over the next week.) As a wrap-up for this, the first virtual 'Zoo, I present to you the collated, edited, and organized...

Unofficial ICMS Bingo Squares

(also applicable to other conferences)

There are 35 squares, sorted into 6 categories. This allows for randomization in individual bingo cards. It is recommended that squares be drawn from each category for good coverage. I've attempted to edit and generalize the squares to avoid poking fun at any particular demographic. Feedback on this point is appreciated. These are taken from a private chat channel I participated in with some friends during the conference, and believe me there were things that needed to be edited before appearing in public!

Environment

  • Speaker’s cat appears and becomes very affectionate
  • Unfortunate Object is visible in speaker’s zoom background
  • Barking dog, sirens, or other background noise
  • Speaker’s phone goes off during paper
Technology glitches
  • Speaker is unable to open key files
  • Speaker can’t connect
  • Speaker’s sound is muffled/poor quality
  • Speaker loses internet connection mid-talk
  • Speaker’s connection freezes
Generic Zoom Things
  • Previous speaker forgets to mute and has background conversation during paper
  • Speaker has lost track of the zoom window
  • Speaker is on mute [suggested “free square”]
  • Speaker announces, “I’m going to share my screen now” [suggested “free square”]
  • Moderator has to ask audience member to mute due to feedback/background noise
  • Closed-captioning misinterprets word in amusing or embarrassing way
It Could Happen at Any Conference
  • Moderator complains that panel discussion is not covering intended subject
  • Speaker you most wanted to hear didn’t show up
  • Speaker is missing a page of their paper and improvises
  • "This isn’t so much a question as a comment"
  • None of the panel discussion members have prepared remarks and all stare at each other in silence
  • More than one paper withdrawn from session / speaker not able to appear
  • Speaker admits to writing paper the night before
  • Paper topic is entirely different from what was originally proposed
Presiders/Presenters Behaving Badly
  • Moderator mangles presenter name or paper title
  • Moderator/respondent compliments papers with gendered language (e.g., “lovely paper” for a female speaker vs. “wonderful paper” for a male speaker)
  • Speaker boasts about and shows off library
  • Pre-session chatter among speakers is a bit more candid than is wise for a 'hot mic'
  • Speaker engages in egregious name-dropping
  • Speaker brings in personal skill/interest unrelated to topic of paper and it overwhelms the content
  • Moderator turns off video and is AWOL when speaker finishes
Zoom-Conference Interface
  • Speaker’s household member appears in background
  • Speaker emails slides to moderator in real-time due to being unable to screen-share
  • Speaker requires real-time troubleshooting for technology problems
  • Academics of a Certain Age discuss learning the ins and outs of zoom and other technologies
  • Speaker is unable to present PowerPoint and see paper text simultaneously

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For those who enjoy my blogging of papers I "attend" at the annual International Medieval Congress, the posts will be on my Alpennia blog. I won't be cross-posting here, so if you're interested, I suggest you open a tab and refresh regularly.

I know a lot of people enjoy these posts (in addition to their function of helping me keep my attention from wandering). I have the entire week off as vacation. While I won't *only* be watching video sessions of paper presentations, I plan to do a lot of that.

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 See posts on my blog (or the RSS feed from alpennia.com here).
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As usual, I'll be heading off the the annual medieval congress in Kalamazoo next week. (I do skip the occasional year, but it's my default plan.) This year I'll be presenting a paper that draws on my research for the Lesbian Historic Motif Project, looking at the language of cross-dressing narratives.(But calling the topic "cross-dressing narratives" I hope to signal that I'm going to skip over all the complexities of gender and sexuality lying under the surface of these texts.) The key question is: when pre-modern Europeans are talking about AFAB (assigned female at birth) people who are wearing male-coded garments -- especially when trying to pass as male either situationally or for an extended period -- what part do actual references and descriptions of the clothing play in those texts?

It isn't an earth-shaking topic, but some of the conclusions aren't necessarily what I'd expect. (Sorry, no spoilers until after the paper is presented.) I'm going to confess that it's one of those times when I came up with the paper title before I'd quite nailed down exactly what it was that I planned to talk about: "Passing and Failing" (sub-titled "The Role of Clothing in Gender Disguise Narratives").

I may not be doing my detailed live-blogging of the sessions I attend this year. The conference has a new policy about social media that basically boils down to "panel participants must provide consent for live reporting of sessions". It may be that participants will shift to making an explicit announcement for each session, but I feel it would be disruptive to ask specially for permission. So we'll see.
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 I'd like to remind readers that I'm once again live-blogging paper sessions at the annual medieval studies conference at Kalamazoo. Here's the tag in my blog that covers all Kalamazoo posts (present and past).
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Being sick right after getting back from my trip, in combination with the respiratory aspect meaning I’ve skipped the gym this week, has meant I haven’t completed reading anything new to review. (My current gym read is the lesbian historical romance anthology Through the Hourglass that my Margaret & Laudomia story is in. For professional reasons I won’t be doing a formal review of it--and nothing I’d post on Amazon or Goodreads--but I’ll probably say something about it when I’m done.)

So how about a “book intake post” covering both Chicago and Kalamazoo? I've added Amazon links when available for those who might want to look further.

Lauri and I went to the Art Institute of Chicago, which has a permanent display of a set of miniature period rooms, designed and commissioned by Chicago socialite Mrs. James Ward Thorne. There was a lovely catalog covering all the displays and it felt like a useful visual reference for historic room settings. (It also got me thinking about making miniature models of some Alpennian locations, but I was easily able to deflect that into “projects I will never do in this lifetime.”)

Weingartner, Fannia and Bruce Hatton Boyer. 2004. Miniature Rooms: The Thorne Rooms at the Art Institute of Chicago. Art Institute of Chicago, Chicago. ISBN 978-0300141597

The bookstore had a number of tempting sale items, but the only one I succumbed to was a thick volume of alchemical symbolism in art. I’m investing so much in alchemy books, it’s clear that a future novel will need to come back to the subject in a major way.

Roob, Alexander. 2014. Alchemy and Mysticism. Taschen, Köln. ISBN 978-3836549363

In the book rooms at Kalamazoo I’ve discovered the convenience of simply having the publishers ship rather than stuffing my suitcase for the trip home. So I only brought three purchases back with me. One is a gift, the other two are just for general background reference and inspiration.

McIver, Katherine A. 2014. Cooking and Eating in Renaissance Italy: From Kitchen to Table (Rowman & Littlefield Studies in Food and Gastronomy). Rowman & Littlefield Publishers, Lanham. ISBN 978-1442227187

It looks like a serious but general-audience survey of the topic of Renaisance Italian food. This isn’t deeply technical or detailed. You could probably read it through in a single evening (which I have yet to do).

Jackson, Deirdre. 2015. Medieval Women. British Library Publishing, London. ISBN 978-0-7123-5865-1

I’m a sucker for glossy collections of visual references on particular themes, especially women's lives. This is a selection of illustrations from medieval manuscripts showing a wide variety of aspects of women’s lives. Generally I use this sort of work to research details of material culture that often are incidental to the overt subject of the scenes. For example, one depiction of a woman being beaten shows her headdress having fallen off and therefore shows aspects of its construction that wouldn't be visible in place.

The fun part of having books shipped is that it means you get a series of packages in the mail over the next month or two. Like having an extended birthday party. I got the first one yesterday -- part of my Penn State University Press purchase, once more on the theme of alchemy, this time looking at the social, philosophical, and religious context in which serious thinkers such as Roger Bacon turned their thoughts and pens to the topic. Penn State's Magic in History series is a great resource in general.

Janacek, Bruce. 2015. Alchemical Belief: Occultism in the Religious Culture of Early Modern England (Magic in History). Penn State University Press, Pennsylvania. ISBN 978-0271050140

For some reason, although they were shipped at the same time, the second book I bought from this press was sent separately. This book analyzes the inventory taken of Il Magnifico’s posessions at the time of his death. Just in case one wanted to know how to outfit at opulent Italian villa or two...

Stapleford, Richard. 2014. Lorenzo de' Medici at Home: The Inventory of the Palazzo Medici in 1492. Penn State University Press, Pennsylvania. ISBN 978-0271056425

Yet to be shipped are the following books from Boydell & Brewer. They’re usually good for a variety of topics, especially including textiles, clothing, food and cookery, and the occasional other topic of interest. (And, as always, the annual Medieval Clothing and Textiles volume.)

Medieval Clothing and Textiles #12 (advance purchase, as it wasn’t released yet at the conference)

The Medieval Clothing and Textiles volumes have the same broad mix of topics as the DISTAFF sessions at Kalamazoo and Leeds, although only an occasional paper specifically comes from those sessions. Like a box of mixed chocolates, you never know what you're going to get, but overall it will be delicious.

Hyer, Maren Clegg & Jill Frederick (eds.). 2016. Textiles, Text, Intertext: Essays in Honour of Gale R. Owen-Crocker. Boydell Press. ISBN 9781783270736

I haven't looked at the contents list of this yet, but bought it for sentimental reasons. Gale is such a lovely gracious presence within the DISTAFF group, and so very supportive of researchers of all types.

Chapman, Adam. 2015. Welsh Soldiers in the Later Middle Ages, 1282-1422. Boydell Press. ISBN 9781783270316

Despite the new and interesting places my writing-related research interests have drifted to, I haven't entirely abandoned medieval Wales. I have a specific future writing project that this might be useful for...

I bought something at the University of Chicago Press booth, now where did I put that slip? I have the credit card receipt, but not a copy of the order form, so I guess I’ll just have to wait until they show up to remember what I bought!

And then here are a variety of books on culinary topics that looked interesting enough to snap pix of, but that I didn’t buy. In some cases, the contents looked either too elementary or too literary-oriented to be of specific interest to me. In other cases I may decide to order them on further consideration.

Nadeau, Carolyn A. 2016. Food Matters: Alonso Quijano's Diet and the Discourse of Food in Early Modern Spain. University of Toronto Press, Toronto. ISBN 978-1442637306

This one was on the "a bit too literary-oriented" side, exploring food references in Don Quixote, but for those who specialize in Iberian cuisine, it's worth a further look.

Salloum, Habeeb. 2013. Scheherazade's Feasts: Foods of the Medieval Arab World. University of Pennsylvania Press. ISBN 978-0812244779

I left this one on the shelf when I saw the line in the description, "The recipes are translated from medieval sources and adapted for the modern cook." But for those who are completists in historic Arabic culinary books (or who want to keep track of the pop culture versions that other people may be using for historic purposes), it's a beautiful little book and is probably useful for general background.

Wall, Wendy. 2015. Recipes for Thought: Knowledge and Taste in the Early Modern English Kitchen. University of Pennsylvania Press. ISBN 978-0812247589

A study, not of cookery, but of culinary literature as a genre. The blurb suggests that this may focus more on philosophical analysis than some may be interested in. Sample quote: Recipe exchange, we discover, invited early modern housewives to contemplate the complex components of being a Renaissance "maker" and thus to reflect on lofty concepts such as figuration, natural philosophy, national identity, status, mortality, memory, epistemology, truth-telling, and matter itself. Kitchen work, recipes tell us, engaged vital creative and intellectual labors.

Marty-Dufaut, Josy. 2015. La Cuisine Normande au XIIIe Siècle. Bayeux: Heimdal. ISBN 978-2-84048-422-6

In French. I may be sorry for not picking this up when it was in front of me, as it looks like it might be difficult to order in the US. (It doesn't have an Amazon listing.) My recollection is that it looked like a glossy "some history and some adapted recipes" work. Here's the catalog description from the above link.

La cuisine du XIIIe siècle a été longtemps méconnue, occultée par les ouvrages emblématiques, Le Viandier de Taillevent et Le Mesnagier de Paris, parus au XIVe siècle. Le XIIIe siècle est une époque d’extension, de commerce intense, d’échanges culturels. C’est l’âge d’or pour les Normands qui s’implantent dans de nombreux pays. L’Europe occidentale présente une unité et une communauté jamais connues jusque-là. La cuisine est un témoignage de cette cohésion européenne. Cet ouvrage s’intéresse aux recettes présentées dans les manuscrits anglo-normands et scandinaves. Ils sont la copie de textes antérieurs issus de la France, de la Sicile, eux-mêmes copiés à partir d’autres textes ou trouvant leurs sources d’inspiration dans la culture gréco-latine et la cuisine de l’Orient. Les plats emblématiques qui feront la réputation de la cuisine de Taillevent y apparaissent déjà. Les bases de la cuisine médiévale y sont données. L’art culinaire est en constante évolution.

Woolgar, C. M. 2016. The Culture of Food in England, 1200-1500. Yale University Press. ISBN 978-0300181913

A general social history of food in England. Probably very like all the general social histories of food in England that have been published before.

Montanari, Massimo. 2015. A Cultural History of Food in the Medieval Age. Bloomsbury Academic. ISBN 978-1474269919

And, similarly to the preceding, a general survey work, aimed at non-specialists. It looks like this series is intended for college survey classes and the like. Books of this sort may or may not be written by specialists in the field, with all the potential weaknesses that can bring. (Based on my own experience, it's not uncommon for publishers with this sort of series to approach a potential author on the basis of hearing a single paper in the field. I got approached about writing a survey of medieval clothing volume for a similar series once and was a bit flabbergasted that that was all it took. I declined, noting that the project would be of more professional benefit to an academic who needed material for their cv.)
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DISTAFF, the textiles group, had both 8:30 and 10:30 sessions scheduled this morning, but two of the three papers in the 8:30 session cancelled, so Lauri (the third) got moved into the 10:30 which will potentially slop over (being the last time-slot of the Congress).

Session 514: Dress and Textiles II: Codes, Classification, Camouflage

Sponsor: DISTAFF
Organizer: Robin Netherton
Presider: Gale R. Owen-Crocker

Dressing Up and Dressing Down: The Uses of Livery in the Fourteenth Century - Laurel Ann Wilson, Independent Scholar

Traces the evolution of livery from its origins as a type of "payment in kind" of clothing, in addition to wages, to its modern sense of "a type of highly standardized identifying clothing, a uniform".

Earlier livery allotments were often highly stratified and distinguished by the role and position among the recipients, not only in terms of the quality and amount of cloth, but differentiating colors and what proportion of solid or striped fabric, as well as furs for higher status recipients. The giving of livery was restricted to high status individuals, such that it was considered a transgression for someone not of sufficient rank to distribute it to his followers. The receipt of livery was considered a right, and in some cases the failure to be given livery relieved a person of obligations to the lord.

The wearing of livery displayed the lord's wealth and status, and it was important for recipients to wear it, especially on public occasions, so as not to imply their lord was stingy or poor. But receiving livery also gave status to the recipient, and so the distribution could be used as a tool to require the physical presence of the recipients in order to receive it.

The detailed specifications of exactly what cloth people receive include a curious reference to late additions to a livery roll receiving an allotment of the "secta" [Latin] of a particular occupational class--a term that may possibly refer to the specific color/pattern in which it was to be used to identify that class of recipient.

It is a later development for all recipients of livery in a household to receive clothing with a uniform appearance (though perhaps different quality), where the garments as well as the colors and decorations are identical. This created the "uniform appearance" (in both senses) that is associated with the term "livery" today.

Livery distributions to royal households could include hundreds of individuals. This could easily have had a massive economic influence on cloth/clothing markets, though it's hard to tell whether the market's ability to provide hundreds of identical outfits drove the distribution, or whether the desire to distribute hundreds of identical outfits drove the market to keep up and supply them.

[Cancelled papers: Dressing, Undressing, and Cros-dressing in Early Modern Accounts of the Holy Land - Emily Price; A Man in an Otter Suit: Echoes of Norse Magic in the Nibelungenlied - M. A. Nordtorp-Madson]

Session 542: Dress and Textiles III: Working with Textiles

Sponsor: DISTAFF
Organizer: Robin Netherton
Presider: Robin Netherton

Gender and Textile Production in Thirteenth-Century Paris - Janice M. Archer, Independent Scholar

Survey of gendered aspects of the structured textile industry, which controlled who profited from the trade and who was stuck in low-paying manual jobs. Identifying women's economic contributions via tax records can be difficult in "intact" households, as legal records normally only list male head-of-household. But singlewomen, widows, and occasionally a married woman with a separate business are listed on their own. Women may be grouped with others (adult children, groups of beguines, etc.) for tax purposes, but typically women stand alone in these records. Men's assessments will silently incorporate the productivity of wives and children.

Overall (all textile trades), female tax entries are more skewed toward the lowest tax bracket (but this may be due to the men subsuming other incomes?). Men are 78% of listed taxpayers, women 21%. Wool workers are generally better off than average but the gender distribution is similar. Silk workers show an even greater skewing to higher tax bracket, but still with women lagging. Looking at silk producers (e.g., silk throwers, as opposed to mercers), all men are in the lowest tax bracket, while women have the typical tailed distribution. Numerically, this role was primarily filled by women. Silk mercers show a very different pattern. with men having more of a curve distribution for both men and women, peaking in the middle tax bracket. Hemp and linen workers have a typical tailed distribution but needleworkers are badly skewed to the bottom.

Looking at the median tax for various wool jobs, the higher paid professions generally show men paying a higher tax than women. The highest taxes were paid by drapers, but male drapers paid much higher taxes than women, as a rule, perhaps due to access to higher status markets.

Example of one family's assessment shows the head of household plus 2 servants, 2 nephews, a son and a daughter, where only the daughter is left unnamed, despite being taxed at the same rate as her brother.

Female fullers and shearers had a median tax higher than men, but in each case this is based on a single individual. She may be part of the household of a named man (though taxed separately) or the widow of a man who had the same profession, and these assessments may reflect and inherited clientele.

As a general rule, the smaller percentage of women in a profession, the higher the tax assessment; the larger the percentage of women, the lower the tax assessment (and therefore the lower the income). But "family matters" -- women have higher incomes when family connections gain them access to elite markets.

"A Verie Good Way to Take Out Spottes": Modern Experimentation with Sixteenth-Century Textile Stain Cleaning Recipies - Cassandra Chambers Wagner, Independent Scholar

Examines "spot-cleaning" techniques, used for stains on outer garments that would not normally be wash completely. Looks at four texts from Germany, England, and France from the mid to later 16th century. This is an experimental history project to test the recipes for efficacy. White pre-washed linen were used as the test fabric, stained with Olive oil, red wine, mustard sauce, green sauce, blood, mud, beeswax (cloth not pre-washed), and oak gall & iron ink.

Sample 1: control, not treated
Sample 2: Water only (30 min pre-soak and water only hand wash)
Sample 3 & 4 modern stain treatments (detergent, Shout spray + detergent)

Samples 5-14 are from historic recipes: soap ball, lye-based cleaners, plant-based cleaners, fullers earth, milk, for the wax only: tallow & hot iron.

5. Soap ball: very poor result.
6. Cold lye (pH 13-14) worked well on stains 1-5 but poorly on mud & ink.
7. Lye + Alum (intended for wool, lower pH): not as good as lye alone
8. Salt, orange, lye: worked similarly to cold lye, but better on the mud
9. Lemon juice: worked on ink very well, but much less well on others.
10. Pea water (from boiling peas): worked well on blood and mud, not so well on others.
11. Strawberry water: not only doesn't remove stains, but dyes the linen pink.
12. Fullers earth: worked well on blood, mud, not so much for others.
13. Cow's milk (intended for wine stains): WOrked well on red wine, not so much on others.
14. Tallow & hot iron (for wax only): Tried with and without tallow, and the tallow does take more wax out.

Put It to the Log: Exploring the Mechanics of a Late Medieval Dyeing Technique - Jennifer Ratcliffe, Independent Scholar

A very general survey of the medieval dye industry and trade, the chemical processes, and lots of pretty pictures of colored cloth and thread. [The problem with survey papers like this is that there's too much detail to include and no real overall conclusions. Sorry!]
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Sure enough, the three sessions I thought were most interesting in the whole conference were all scheduled in the same time-slot. Saturday, 3:30-5:00. This time I leaned in the direction of topics potentially relevant to deep-background research on mystical topics for future books. (I think I'm going to need to do some more serious alchemy to make use of all the background research I've done.)

Session 450: Rolls and Scrolls after the Codex: New Approaches to an Old Technology

Sponsor: Beinecke Rare Book & Manuscript Library
Organizer: Hindley, Adair, Hurley
Presider: Raymond Clemens

Praying in Gold: Luxury Scrolls of the Office of Holy Communion - Stefanos Alexopoulos, Catholic Univ. of America & Robert S. Nelson, Yale Univ.

Begins with a physical description of the scroll (a Greek text, I assume Orthodox in origin), especially decorative elements. (This scroll was acquired by the sponsoring institution.) Discusses various dating possibilities based on paleographical grounds, with comparative texts. Focus on the decorated capitals, similar styles appear in outline only two centuries earlier, but this ms uses the decorative style as a revival and has the primary lines in gold, with color highlights. Other dating elements come from the structure and number of the prayers included.

This type of scroll of prayers began in monastic settings but then was adopted for private use, taking communion using pre-consecrated elements. From the 13-15th c. 30-35 scrolls of this type survive, nearly all of them unique in structure. But there is a small number of luxury scrolls like the present object, distinguished by the quality of the materials, the excellence of the hand, the presence of gold, and significant amounts of unused parchment (margins and end). Typically have ornamented head-pieces (missing in the present item). There are 5-6 of these luxury scrolls that are textually identical, a strong contrast to the typical examples. There is no introductory material (canon, psalms, hymns, Lord have mercy, etc.) and the sequence and nature of the prayers is nearly identical.

Alexopoulos proposes that these elements indicate that these luxury scrolls represent the earliest and original text of the Office of Communion scroll of this type. [I believe this is: not that the objects are the oldest, but that the preserve the original format.]

Further provenance information is suggested by the near-identity of certain decorative elements to manuscripts from the "Atelier of Palaiologina". (These comparative items include both manuscripts and rolls.) OK, I must have missed something because now I think they're saying that the decorative elements of the scroll being studied are similar to the "Atelier" group but that the hand is significantly different. I think I'm catching up: the Beineke scroll (the one the paper is about) is not part of this 'very early identical luxury scroll" group because it has additional content, despite being otherwise similar in structure. So the identical scrolls provide a context but aren't a direct comparison.

Nor thunder nor lightnyng, slepynge ne waking, ne wyndys ne blastys on londe ne water: Separating Birth Girdles, Charms, and Prayer Rolls - Katherine Hindley, Yale Univ.

A look at how increasing literacy affected attitudes toward written charms and prayer rolls. Believe that the term "birth girdle" is often mis-applied to some scrolls, and that objects might shift between this category might and that of prayer roll. The "birth girdle" refers to objects referencing the relic of the girdle of the Virgin Mary, which could be borrowed by women in labor and wrapped around them for protection. Surviving examples cover the period up to printing.

These objects are long scrolls with prayers and illuminations and symbols. One that is confirmed as a birth girdle (based on instructions written on the object itself) is well-worn and includes symbols of the passion as well as prayers. Another has decoration around the instructions written on the back that resembles the decorative studs and bands seen on actual belts.

Medieval charms often "collapse" the distance between the biblical text and the immediate ailment being treated. Various examples are presented of charms that substitute the patient's name for the holy person being referenced in the text.

The instructive texts are oriented lengthwise on the scroll, thus being readable only when oriented horizontally as a belt. But the major prayers are written across the width of the scroll, so if they are not readable when used as a girdle, is it really (or only) a girdle charm? Furthermore, some of the "birth girdle" rolls address a grammatically male user. Other scrolls provide lists of the hazards they guard against. But some that explicitly note protection in childbirth are not physically possible to use as a belt, and don't specifically refer to wearing it as such, only to "bearing it". So, although they ware elongated scrolls of protection, that doesn't make them prototypical "birth girdles".

In addition, some of the scrolls include references to owners, and all of the listed owners are male. As context, other non-scroll protective texts do include references to female owners or intended female users.

Conclusion: there's a continuum of usage, from purely amuletic to purely devotional. The label of "birth girdle" is misleading and inaccurate as a description of intended use, in most cases.

Unrolling the 'Ripley scrolls': Alchemy, Art, and Patronage in Fifteenth-Century England - Jennifer M. Rampling, Princeton Univ.

Survey of alchemical literature and imagery through a tour of the famous "Ripley scrolls". Earliest: late 15th c., latest ca. 19th, many appear to be intended as exact copies of earlier scrolls while some add new elements. Artistic skill varies enormously.

Who made them and for whom? Why were they hand-copied well past the point when printing was common? And why scrolls rather than codexes, when codexes were the norm?

Was this format relevant to how they were used? One scroll used as illustrative shows a sequence of individual symbolic scenes, oriented vertically (i.e., with the text across the width of the scroll) as if they were a sequence of pages head-to-tail. Evidently technically this makes them "rolls" rather than "scrolls". The texts are specifically intended to be obscure, requiring knowledge and understanding to interpret correctly. The attribution to the 16th c. alchemist George Ripley is false, thus making the "Ripley scrolls" neither Ripley's nor scrolls.

(The paper summarizes the general process of the alchemical production of the philosopher's stone.) Alchemy was a complex, expensive, and detailed process. But the symbolism and description on the rolls varied greatly in detail.

English alchemical texts of the later medieval/early modern period were in both English and Latin. Henry VIII licensed alchemists. Alchemy texts were of interest to scientists/philosophers, courtiers, as well as clerical scholars. Later texts were often "presentation texts" given by an alchemist to a prospective patron to demonstrate his knowledge and ability. These presentation texts date later than the earliest "Ripley scrolls". Were they perhaps an early version of "presentation text" intended as a symbol of the knowledge offered by the alchemist to his patron? One scroll concludes with a human figure who appears to represent the author (carrying a spear-sized pen, wrapped about with a scroll. In some early versions, this "authorial" figure stands to one side and faces an empty space, or in a few cases, a royal figure. Might this represent the alchemist-author and his prospective royal patron? There is a similar image in an alchemy codex that explicitly addresses a royal patron. IT is similar in content in some ways to the rolls, but the imagery is disrupted and rearranged due to the context format. Instead of vertical connection between the various images, they are now disjoint on separate (codex) pages.

So the answer "why a codex" may be "due to the ability to connect the imagery in a continuous process" (the alchemical process). Other genres of rolls, e.g., genealogies, take advantage of the layout to organize the contents in ways that wouldn't work in a codex. But another motivation for alchemy in particular may be due to the way one can conceal all but the specific content being viewed, tying in to the air of secrecy surrounding the practice of alchemy.

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