Quantcast
Channel: St. Thomas guild - medieval woodworking, furniture and other crafts
Viewing all 205 articles
Browse latest View live

Saffron bread

$
0
0
This weekend we were again in Castle Hernen and I took the opportunity to test several new recipes. The dishes were only made for our lunch and the following afternoon. The castle closes at 17:00 and there is not a good place to prepare dinner. Therefore, the new recipes had to be prepared beforehand at home. One of the new recipes which tasted (and looked) very well was Saffron Bread. The recipe came from 'Das Mittelalter Kochbuch' of Hannele Klementtilä. This book is a German translation of an English translation of a Finnish book. To make it more complicated, the recipe was taken by the author from a French medieval cookbook 'Gastronomie du Moyen Age' by Josy Marty-Dufaut. She (hopefully) took the recipe from a medieval source. Anyway, this sweet bread tastes good. You can describe it as something between cake and brioche.

 The just baked Saffron Bread.

Saffron was a luxury spice during medieval times and held in high esteem by the aristocracy. During the plague, the price for saffron was 45 times as high as today’s premium price. Nowadays, it still is a luxury spice; the highest quality yields 25,000 Euro/kg (the gold price is 45,000 Euro/kg). Saffron has a subtle aroma and taste, and colours your food with a golden colour (no wonder why it was appreciated by the nobility). Luckily, you only need a very little amount for your dish (and we were even more lucky with friends giving us some small boxes of it).

Two boxes of saffron. Some pepper kernels are given for size comparison. 

Saffron Bread

Ingredients (for two loafs)
  • 500 g fine flour
  • 250 ml warm water
  • 17 gram yeast ( instead I used 2 sachets dry yeast dissolved for some time in handwarm applejuice with a bit of salt)
  • 90 gram cane sugar
  • 1 teaspoon salt
  • 50 ml olive oil
  • 1.5 eggs (or 1 medium and 1 small egg)
  • some saffron threads

Left: the loafs resting under a sheet of household plastic in a sunny spot of the house. Right: the marble tile in the oven with the saffron bread loafs.


Add the yeast to the warm water and add the saffron, salt, olive oil, eggs and flour to it. Knead it to a dough and let it rest for around one hour. Preheat the oven at 200 degrees. We placed a marble tile on the lowest rack in our oven and preheated it for at least half an hour - the bread will then have a crust similarity comparable to the medieval stone oven (the marble tile is also ideal for pizza). Divide the dough into two loafs and let them rest for a while. Place the loafs in the oven and bake it for 15 minutes, until the crust is lightly browned. When cut, the bread has a marvellously golden colour.


The baked saffron bread.

Some slices of the saffron bread. You can see the nice golden colour of the inside of the loaf.

Medieval clothing from Vienna part I

$
0
0
I finally had some time to arrange the photos I took last year during my visit of Vienna. Several museums did have some display of medieval clothing; either the real stuff or on paintings and frescos. The first museum I visited was the Hofjagd und Rüstkammer. In this place many suits of armour are shown. One of the largest room with armour also showed one gigantic family tree of the Habsburger rulers, which was painted in 1497 by Konrad Doll from Freiburg. The painted lords and ladies (to me it was not very clear who was who) were all dressed in the luxurious style of the late medieval period with their respective hairstyles. I tried to make some photos of the couples, but this was difficult to do without using flash-light and considering the distances to the painting. Below are some of the members (with the heraldic red/white/red shield) of the Habsburg family tree.

These three photos made by Andreas Praefcke (wikimedia commons) give an overview of the enormous painting of the family tree.


The female wears a intricate necklace and a belt-type reminiscent of the male knightly belt of the late fourteenth century. The man wears a beautifully embroidered gown.
Some of the men have married twice. The females have some open armwork, showing the underlying dress. 

 
The female on the right has a pointed hennin.

 Or some females have two husbands.

Some men even have three wives. The middle one (wearing two templers or horns) does not look that happy.

I like the style of this man's gown.

Is this woman using a muff to warm her hands or has she hidden her hands into her sleeves?

This woman wears a fashionable long roll added to her horned head-dress.

She does not have a head-dress at all! Her hair is braided around her forehead.
 
Her gown has puffed-shoulders.

 Not all family members are married (loose hair), such as the woman on the right.

This pair seems more clothed for winter with a cloak and fur coverings. The hares suggest spring is coming.

 These two watching the pigeon have peculiar headdresses. Her white gown has a high neck.

The man looks quite surly.

Though this man has a quite colour-full gown, he does not seem to like it. Do the gold chains over his body mean that he feels bound by the marriage contract she holds? She wears a caul with lattice and pearls work as a head-dress.

Medieval clothing from Vienna part 2

$
0
0
Continuing the story of the medieval clothing in Vienna, the next 'museum' to visit was the Stephansdom. This cathedral has some special rooms containing the treasury of the church, for a large part paintings of the 14th century. While most of the saints wear old-fashioned gowns, some images show the 'normal' close fitting 14th century dress.

The blessed Virgin with Jesus and a pea flower. Westphalian, end of the 14th century.

North Italian triptych. First quarter of the 14th century. Though quite small in this photo, the soldiers wear the costumes of this time period.

 A cycle of seven panel paintings around 1420. (1) The passing of Maria, with the apostles present. (Reputedly St. Thomas was not present at Maria's death, but instead was the only one to see her ascend into heaven - with the presentation of Maria's girdle to him by an angel)

(2) St. Catharina with her attribute the wheel and St. Barbara with the three windowed tower. (3) Saint Andrew with the cross and St. Eligius with the bishop staff and church building.

(4) Possibly St. Mary Magdalene with the jar of spikenard and St. Ursula with the arrow. (5) St. Agnes with a lamb and possibly St. Margareth with the dragon/devil.

 (6) This is Saint Thomas with his spear. Next to St. Thomas is an unknown bishop saint with his fingers pierced by sharp needles.

The next seven images are a cyclus of seven panel paintings from around 1390. (1) This panel contains the Holy Family visited by the three three magi (Balthasar, Caspar and Melchior). It happened that Saint Thomas later encountered Balthasar during his travels in India and had him baptised.


(2)  St. Ursula and the slaying of the virgins. The knight in front is wearing a fashionable knightly belt low on the hips. (3) A man with the child Jesus on his neck, and a saint with a chalice.
(4) St. George spearing the dragon and possible St. Magdalene (see also one of the previous panels). (5) Saint Mary with the child Jesus. Mary is wearing a cotehardie.

(6)  The annunciation, an angel visiting Mary. (7) St. Catherine with a wheel, St. Barbara with the tower and one with a palm branch.

  The Saint Andrew triptych. Painted around 1430.

Another museum with late 14th / early 15th century clothing is the Neidhart Frescos. These frescos were discovered in a house (Tuchlauben 19) that once belonged to the medieval cloth merchant Michel Menschein. In about 1407, he commissioned a series of four murals for his private dance-hall based on the (scandalous) songs by the legendary bard (Minnesänger) Neidhart von Reuenthal. Each fresco depicts scenes from one of the four seasons of the year. The different scenes are depicted against a dark coloured background, typical for the period around 1400, against which the light and bright colours stand out very well. Most of the figures wear stylish clothing of the end of the 14th, start of the 15th century. As I did not take photos here, the different scenes are from other internet sources and scanned from the guidebook.

Summer. On the left, a ball game depicted; in the middle some lovers and on the right a scene called 'the theft of the mirror', which suspiciously looks like a rape scene.

 Winter. a snowball fight and sledge ride.

Spring. The peasant brawl, with caricature peasant versions of knights.

Spring. The castle and men emerging from it: the so-called 'violet prank', where Neidhart finds the first violet in spring and covers it with his hat. He then calls the duchess to see the flower, but meanwhile a peasant has put this hat over a piece of dung.

Spring with the dancing scene and Autumn with a banquet by the fire; a table can be seen on the right.

Part 3 of medieval clothing from Vienna will show some real extant medieval pieces of clothing.

Medieval furniture from Château Châteaudun

$
0
0


Château Châteaudun is a French castle rising more than 60 metres up from the banks of the Loir (a side river from the Loire). The castle was started in the 12th century, of which the keep remains, but most of it was built in the 15th century for Jean of Orleans, who fought next to Jean d'Arc. In 1456, the castle chapel contained a piece of the relic of the holy cross that was obtained by Saint/King Louis, but this is now gone (another piece of the holy cross can be seen in the Imperial treasury in Vienna). The castle is a national monument, and likely due to this, some late medieval furniture from the (depots of) the Musee des Arts Decoratifs and the Musee de Cluny (the National Musee du Moyen Age) in Paris has been placed here. I visited the castle this summer holiday and was pleasantly surprised with the furniture decorating the rooms. In most of the rooms you could even use flash-light to take photos, except (of course) for the tapestry room.

The great hall, located between the two great stairways, with some of the late medieval furniture in it.

The window shutters of the great hall all have linenfold panels.
 
Neogothic oak dressoir from the Musee des Arts Decoratifs, dating from the 19th century. Height 2.05 cm, Length 162 cm and depth 60 cm. The dressoir has two decorated doors at the bottom with two drawers beneath. Direct next to the doors are small parchemin panels smaller heavily decorated at the top. The headboard is of an floral/Gothic design covered with an open crown-board.

 
(Left) Also the side of the dressoir has a parchemin panel. (Right) The door and drawer of the dressoir. The drawer can be pulled by an iron ring. It looks like this part of the dressoir has been reinforced, as iron nails are used in places where it is not necessary.

One of the three panels of the headboard. 

The open crown of the headboard.

Oak chest dating from the first half of the 16th century from the Musee de Cluny. Height 77 cm, length 154 cm and depth 66 cm. The front of the chest is decorated with a scene of the Annunciation directly below the missing lockplate. Next to it, the other panels with have medallions which are topped by imaginary animals.

 The sides of the chest are decorated with linenfold panels. The lid consist of two planks.

An oak buffet dating from the end of the 16th century, from the Musee des Arts Decoratifs. Height 170 cm, length 155 cm and depth 61 cm. The buffet has two large doors composed of four linenfold panels each. The top part of the buffet has two doors with carved panels.

 In the central panel has the letters JHS (Jesus). 

The top door panels are similarly carved with a floral pattern and a helmet and shield. The shield contains instruments of the Passion. Perhaps this buffet once belonged to a church? The hinges and the lock-plate are heavily decorated and of a German style.
 
(Left) The back of buffet consist of long roughly cut planks. (Right) The side of the buffet consist of a frame with four linenfold panels. Note that the horizontal middle of the frame is set at a different height than at the front of the buffet.
 The bottom of the buffet consists of four planks set in the length covered with lots of spiderwebs.

A chest made from oak and walnut dating from the second half of the 16th century originally from the Musee de Cluny. Height 80 cm, length 136 cm and depth 68 cm. The front of the chest is divided into three sections divided by pilasters. The middle scene beneath the lock contains the Annunciation, while the panel on the left contains Saint Bartholomew with a knife and on the right John the Baptist with a cup and a book.

The sides of the chest contain carved medallions surrounded by floral designs.

 
An oak panel wall from de Musee des Arts Decoratifs, first half of the 16th century. It consists of twelve rectangular panels separated by vertical pilasters. The panels are decorated with scroll-work and floral and animal designs of an Italian-like type. The set measures 85 by 214 cm.


Painted chest made from oak and walnut from the Musee de Cluny. Height 95 cm, length 157 cm and height 67 cm. Christ stands at the centre of the chest front and he is surrounded by the apostles. The bottom rail is decorated with children's heads.

The apostle Thomas with the square and a book.


The sides of the chest show some undefined gilded statues.

 
In the kitchens of the castle two very stout working tables are found with a thickness around 9-10 cm. 
No date is given for the tables.

The legs of the kitchen table are ingeniously connected to the table top  with a dovetail and a mortise.


Oak chest from the 15th, early 16th century, originating from the Musee des Arts Decoratifs. Height 67 cm, length 151 cm and depth 63 cm. This is a strange combination of a chest with a frames and panels, in which the sides are connected by dovetails. The four panels on the front consist of decorated arches in which a linenfold pattern is carved.


(Left) The side of the chest also has linenfold panels set in a frame and an wrought iron handle. On the sides of the frame the dovetails can be seen. The lid is made out of a single plank. (Right) The wrought iron handle.


These are two oak neogothic double seater chairs were made in the 19th century and originate from the Musee de Cluny. Height 143 cm, length 108 cm and seating height 43 cm.


(Left) The pattern of the backrest panel. (Right) The side of the chair.
 
 Detail of the side of the chair with two open panels.


 
Bank with a chest from the 16th century originating from the Musee des Arts Decoratifs. Height 205 cm, Length 136 and depth 55 cm. The panels from the chest part are carved with a linenfold pattern, those directly above the seating are plain, while the top contain flamboyant Gothic trace-work topped with a medallion. The space between the pinnacles originally was filled with an open-worked foliage style crown.
 A 16th century trunk in the tapestry room. Note that the lid of the trunk is set asymmetrically.

Medieval clothing (and something else) from Vienna - part 3

$
0
0
This time I will show photos I made from the Imperial Treasury in the Höfburg, the MAK (Museum für Angewandte Kunst) and the Kunstkammer in the Kunst Historische Museum. Especially the Imperial treasury did have a stunning collection of medieval clothing, including gloves and socks. This set of medieval clothes was actually the coronation dress of King William II of Sicily, which later were used for the emperor of the Holy Roman Empire (also the other regalia can be seen in the treasury).



Starting with the underwear, the Alba of the coronation clothes was made in 1181 in Palermo - according to the embroidered text on the cloth in both Latin and Arabic - for King William II. It is worn underneath the Dalmatica. As I could not make a decent photo of it, this one was retrieved from internet.

 
Over the Alba, the Dalmatica, also called blue Tunicella, was worn. The gown was also made in Palermo, Sicily in 1140 and belongs to the coronation clothing, and later of that of the emperors of the Holy Roman Empire. It is made of dark blue Samite silk; the red silk at the end of the arms and the underside of the gown is the same cloth as coronation mantle, decorated with rows of pearls and gold embroidery.

Detail of the arm of the blue Dalmatica.

The coronation mantle or Pluviale is worn over the blue Tunica. It was also made in Palermo in the Royal Workshop around 1133/1134. The mantle is made from red Samite silk with gold silk embroidery, pearls, enamel, filigree gold, precious stones and a tablet weave at the edge.

The hands were covered with gloves. These were made in Palermo, Sicily, Italy before 1220 from Samite silk and decorated with gold embroidery, enamel, niello, pearls and precious stones. They are part of the coronation clothes. The front (right) and back (left) of the gloves are shown.

The legs were covered with stockings or short hose. These were made from red Samite silk with embroidery of gold thread around 1150-1200 in the Court workshop in Palermo. The hose have a length of 60 cm and a diameter of 34 to 40 cm. The silk bands used to tighten are a later addition.


The feet and hose were covered by the shoes, also made from red Samite silk around 1130 or around 1220. The top of the shoes show a broad band of gold cloth covered with precious stones (in total 5 sapphires, 4 amethysts and one emerald) and medallions of griffins and sirens. The shoes have a length of 26 cm and a height of 10.8 cm, which equals size 41 in the Netherlands (or the UK size 7). The sole is made of leather. Also here I used a better photo from internet.


The Eagle Dalmatia is like the blue Tunicella worn over the Alba. This gown, decorated with eagle medallions, was first mentioned in 1350 and is likely made around 1300 from Chinese damask (the fabric shows a Chinese cloud pattern) and black silk. The gold embroidered edges are made from damask silk. The (imperial) eagle medallions are stitched with black silk thread and have enamel eyes. Originally also a hood belonged to this gown, which was lost when these clothes were transported from Nürnberg to Vienna.

Not really clothing, but an accessory to put on clothing, although there is actually some clothing on this brooch. The brooch is Burgundian-Dutch and dates around 1430-1440. It is made from gold, enamel, precious stones and pearls.



These are 16th century Italian pontifical stockings made from red silk with gold embroidery. On display in the MAK.



Thes are images from the Vienna model book of around 1410. This booklet with a leather case contains many silverpoint drawings on paper of animals, men and godly creatures. The model book was used by painters as some sort of reference book. Some of the drawings show different types of head-wear, such as those shown in this photo. Kunstkammer, Kunst-Historisches Museum.

This is the complete set of the model book with leather casing. Photo from the KHM.


 
 

In the Kunstkammer of the Kunst-Historisches Museum was a late 15th century bust of a female by Francesco Laurana with an intricate hair net with (gold) latticework decorated with red flowers. The bust could perhaps depict Ippolita Maria Sforza or her daughter Isabella.




Also in this museum is a statue of 'vanitas' by Michel Ehrhart, made from linden wood around 1470-1480. It figures a young couple and an old wife. What is most intriguing is that the only piece of clothing is a piece of male string underwear (both women are naked), fastened with a bow! 



Finally, something else:  
 



This 15th century 'Saintly' beer glass was also on display in the MAK. Cheers Thomas!

The medieval toolchest: Reconstruction of a medieval plane

$
0
0
This post features a reconstruction of a medieval plane that was excavated in Greifswald in northern Germany. The descriptions have already been given in a previous post, as well as a glimpse of the reconstructed plane during our visit to Castle Hernen. Bram decided to take the challenge to reconstruct this 14th century plane.


The drawings of the original 14th century plane from Greifswald, Germany.A layer of  1 cm was added to the sole. Also this plane is wider, due to the use of a wider iron.
 
While the original plane is made of beech, the reconstruction was made from maple. Like the original plane has been made from one single piece of wood, chopping out the space for the blade with a chisel. Even with a low angle of 20 degrees, the opening for the plane blade in the sole is too spacious. Likely, the original plane had seen much use, and layers of wood were worn away. Bram calculated one extra cm to the bottom of the plane in order to have the blade correctly fitted. The iron Bram used for the blade is a recycled old one, a bit smaller than the original (4 vs 4.6 cm). Also different is the iron pin, which is square in the original and round in the reconstruction. Nevertheless, the oak wedge holds the iron securely against the pin. The plane works very fine, although for a more comfortable grip the iron will need need to be shortened in length, as it now pricks in the palm of your hand. 

 
 
The 14th century replica plane made by Bram.

The bones of Saint Thomas

$
0
0
I was curious if there were some relics of our guild patron saint Thomas spread over Europe (or India). The answer is yes - and, surprisingly, there is an almost complete skeleton of him! The story is that after Saint Thomas was slain, he was initially buried in India. In the 3rd century, however, his bones were transported to Edessa in Mesopotamia (the place from the feast with the hand of the cupbearer) by the Indian King Mazdai (Misdeus), where a tomb was build for him. In 13th century the bones were 'rescued' together with the tombstone to Italy, as the shrine with the bones was threatened by the Turks. The relics made an intermediate stop at the island of Chios in the Aegean. From there they were stolen by Leone Acciaiuoli, captain of a ship from the fleet of Manfred, prince of Taranto, and taken to Ortona in Italy were they arrived on 6 September 1258. In Ortona, the relics were kept in the basilica San Thomasso Apostolo, which was desecrated by the Turks in 1566. After this event the remains were kept in an gild copper urn that was made in 1612 by Tommaso Alessandrini from Ortona.

From the 17th century to today, the shrine has been opened several times to do some surveys (which bones are there) and even some research. Between 1983-1986, the shrine was opened for a protection and preservation project. The opportunity was also taken to do some scientific research on the bones of the apostle. This was done under supervision of prof. dr. Arnaldo Capelli, prof. dr. Sergio Sensi, prof. dr. Luigi Capasso (paleopathology) and prof. dr. Fulvio Della Loggia, all from the Faculty of medicine from the University of Chieti. The anthropological examination on the remains of the skeleton established that the bones belonged to a relatively long male individual with delicate bone structure, with a height of 1 metre 60 cm plus/minus 10 cm. At the age of death the individual was between 50 and 70 years old, with a fracture of the right cheekbone caused by a sharp blow shortly before or after death. The person did also suffer from rheumatism or artritis, which could be seen at the small joints of the hands. Furthermore, a small osteoma (bone tumour) was found in the frontal region of the skull.

  
 The gild copper urn holding the most of the remains of Apostle Thomas.

As can be seen from the photo of the skeleton, several bones are missing, especially the bones of the arm. In 1953, a wrist bone of the right arm was extracted from the Ortona skeleton and given to the Indian church. It now resides at the Marthoma Pontifical Shrine in Koddungalloor in Kerala, India, one of the places where Thomas supposedly has built a church.


The shrine with the right wrist bone of Apostle Thomas in Koddungalloor. 

Another bone from the arm of Thomas is found in a relic in the church of Saint Nicholas in Bari, Italy. The Cronicon Bari mentions that a French bishop, cousin of Baldwin of Le Bourg, Lord of Edessa, returning in 1102 from the Holy Land and from Edessa, left the relic of St. Thomas the Apostle in the Basilica in Bari, The reliquary itself is dated to 1602-1618 and has the form of a right arm holding a spear in the iconography of the martyrdom suffered by the Apostle, and rests on a base containing a relic of the Magdalene. The bone of Thomas can be seen through a window of the reliquary. In 2009, the bone was measured and compared to the bones in Ortona. The upper arm bone has a length of 23 cm; this can be used to calculate the full body length, resulting in a length of 163.4 cm plus/minus 2 cm, more or less the same as the skeleton in Ortona. The left upper arm of Bari is missing in Ortona, so this bone could be from the same person. 

Imm1
The reliquary S. Tommaso Apostolo in Bari. The central window shows a rectangular bone set.

Imm2
On the long sides that surround the window, some words are carved: on the left side from bottom to top "Brachii SANCTI THOMAE Apostles" and on the right side in descending order "ECCLESIAE SANCTI NICOLAI BARENSIS".


Surprisingly, another arm bone of Thomas is found in Maastricht, the Netherlands, in the treasury of the Basilica of  St. Servaes. Curiously, the treasury text mentions this as the right arm bone of St. Catherine, but the text that can be seen through the window of the reliquary clearly state: St. Thomas Apollona (Apostle). Perhaps this is the missing right upper arm bone from the Ortona skeleton.




The reliquary containing a right arm bone of St. Thomas in Maastricht, the Netherlands.

Also some finger bones are lacking in Ortona. The bone from the index finger of 'doubting' Saint Thomas, which touched the wound of Christ, can be found in the Basilica Santa Croce in Gerusalemme in Rome Italy. Some say that this relic has been in Santa Croce from the time of St. Helen (third century, i.e. the time that the body was moved to Edessa). In the centre of the reliquary, remade after the French revolution,  is an oval case with both sides of crystal in which a holder in the shape of a finger with two openings in the side is placed. Through the openings the finger bone can be clearly seen. Some other finger pieces of Thomas did return from Edessa to India (instead of to Europe). A reliquary with some hand bones is preserved in the St. Thomas Museum in Milapore.

The index finger of St. Thomas in Rome, Italy.


Piece of a hand Bone of St. Thomas in the St. Thomas Museum in Milapore, India.


Finally, a second skull of Saint Thomas exists (really a miracle!) in the Greek orthodox monastery of Saint John the Theologian on the island on Padmos, Greece. It is kept in a large embossed silver goblet with a lid of silver with a very rich Venetian rug. Byzantine Emperor Alexios Kommenos (11th century) had the relic bound with silver strips, both lengthwise and over the top. Where the silver strips crossed, they were adorned with precious stones. After it was completed, it was presented to St. Christodoulos, the founder of the monastery.

The second skull of Thomas Apostle in an orthodox monastery on the island Padmos in Greece. 

Other Thomas artefacts


Some other artefacts related to St. Thomas are his tombstone, which made the same trip from Edessa to Ortona as the skeleton, and also resides in the Basilica San Thomasso Apostolo. The tombstone measures 137 by 48 cm and has a thickness of 48 cm and is made of chalcedone. This tombstone is actually a plaque used to cover a tomb made of lower quality material, a practise used in early Christian times. The plaque has an inscription and a bas-relief that similar to those in the Syrian Mesopotamian area (i.e. where Edessa is situated). The inscriptions are in Greek unicals and are dated from the 3rd to 5th century and mention 'thomas osios' (holy Thomas or Saint Thomas). More careful study of the inscription found some traced signs over the words, which would change the meaning slightly to that of 'the real Thomas'. The bas-relief depicts a religious figure with a halo in the act of imparting, with the right hand, the blessing (according to the rites of the Eastern Church and indicating the first two letters, in Greek, of the word Christ).  In the left hand he holds an object that could be a sword, which is a clear reference to the martyrdom of Saint Thomas. The lower part of the stone has two holes of different sizes, such as those found in various tombs of the early centuries of Christianity,  in order to introduce balms or make libations on the grave of the deceased. When it came to the tomb of a martyr, the broader was also used to provide relics from contact. 

 A close look at the tombstone from Edessa in the Basilica San Thomasso Aposotolo in Ortona. 

The following relic of Saint Thomas is a bit strange; it is said to be the tip of the lance that took the life of the saint. It was recovered from the (original Indian) grave during a Portuguese excavation in the 16th century and is now preserved in the Milapore St. Thomas Museum in India. However, it is also said (see above) that Saint Thomas was slain by a sword, which would mean this reliquary is a hoax. Death by the sword is also depicted on the Thomas Teppich in Wienhausen, Germany and in the windows of Chartres Cathedral in France.


The reliquary with the tip of the lance that took the life of St. Thomas 
in the Milapore St. Thomas Museum.

Modern science


Now imagine what you can do with all these bones using modern 21st century research techniques (not those employed 1983): check his exact age using C14 radiocarbon dating; extract some DNA from the bones or teeth and you would have the complete genome of the doubting Apostle himself. Having the genome, the geographic origin of the skeleton can be deduced (does he come from the Galilee region). As Thomas is sometimes called Dydimus ('the twin' - in fact the name Thomas means twin in Aramese), he is therefore by some thought to be the brother of Jesus (for instance in the Book of Thomas the Contender, one of the New Testament apocrypha represented in the Nag Hammadi library, a cache of Gnostic gospels secreted in the Egyptian desert). If one takes this to be true, then you would have the genetic material of Maria and Joseph as well (actually the brother idea might not be that strange: Joseph was a carpenter and likely would pass his knowledge to his siblings. If Thomas was given the woodworking knowledge by Joseph, his voyage to India to build a palace is less far-fetched as it seems). More down-to-earth, simple DNA fingerprinting (a now common forensic technique), would also allow to compare all the scattered arm bones of the saint. Check, for instance, if  the forearm in Bari and the index finger in Rome originate from the same person. 

And you could also use 3-D forensic facial reconstruction techniques to shape the face of Thomas in clay...

Sources used:

Website of the Basilica San Thomasso Apostolo.
The website of Keith Hunt on Doubting Saint Thomas in India
And many other internet sources, including some utterly confusing Indian ramblings on St. Thomas.

Pomesmoille: apple pudding

$
0
0
As the apples harvest season has started, this is an excellent opportunity to try the apple pudding recipe 'Pomesmoille'. It is found in the Laud Misc. 553 Manuscript (Bodleian Library, Oxford, UK), and a translated modern cooking version appears in the book 'Pleyn Delit - medieval cookery for modern cooks' by C.B. Hieatt, B. Hosington and S. Butler. This recipe tastes especially good when it is combined with whipped cream with a little rosewater added (the cream with rosewater was mentioned on a medieval food website, but no original source was given).

Folio 7v of Laus Misc 553, a treatise with herbal and medicinal texts, including some recipes.
 

 

Pomesmoille


Nym rys &bray hem in a mortar; tempre hem up with almande milke; boile hem. 
Nym appelis & kerve hem as small as douste; cast hem in after be boiling, & sugur; 
colour it with saffron, cast therto goud poudre, & zif hit forth.

Ingredients:

  • 1 pound cooking apples, peeled cored and finely diced
  • 60-120 gram ground almonds
  • 2 cups of water
  • half a cup of sugar
  • quarter of a cup rice flour
  • half teaspoon cinnamon
  • an eighth teaspoon ginger 
  • a pinch each of salt, ground cloves, and nutmeg 
  • pinch of saffron

 The peeled and diced apples.

Draw up the almond milk with the water (a basic method which has can be found in many medieval cookbooks and websites). Mix the sugar, rice flour, and almond milk in a sauce pan; stir in the apples and bring to a boil over medium heat. Stir and boil for about 5 minutes, or until quite thick. If necessary a little more rice flour can be added to thicken. Mix in a small cup all the seasoning's except the nutmeg with a spoonful of the pudding. Put this mixture back into the pudding pot and stir until thoroughly blended. A stew pestle can be used to decrease the size of the apple parts. Pour the pudding into a serving dish and sprinkle some nutmeg on top. Serve it cool (preferably with some whipped cream with a sprinkle of rosewater added).

 
The cooked and thickened pudding in the form.  

The whipped cream with rose water.


The medieval toolchest: The medieval plane part 3.5

$
0
0
This post is a part 3.5 as it contains some new images of medieval planes, as well as some better ones shown previously in  the medieval plane part 3.

This is the medieval plane found in Bergen, Norway. It is made from Taxus and dated to the 13th century.

 All sides of the Bergen plane shown together with a (cm) ruler. Both images from the UNIMUS photo website.


The Tonsberg Plane, a lapp-style plane together with a (cm) ruler.

 
 The side of the Tonsberg plane with the runic inscription. Photos from the UNIMUS website.

This scene from the margins of Folio 123 recto of Bodleian MS 264 (Oxford, UK) shows two fletchers making moon-shape tipped arrows. The arrows that are ready are stored in the barrel.

The worker on the right is making the shafts of the arrow. He uses a knife (in front of him) as well as a small plane (at his back). It is a bit difficult to determine whether there is a toat or a wedge shown on the plane. The pin, however, can be clearly seen. More medieval planes have been associated with the production of arrow-shafts, like the Vimose planes or some of the planes found on the Mary Rose shipwreck.



The Holy Family in the woodwright shop. Sculpture in oak by Adriaen van Wesel, ca. 1475-1480. Museum Catherijneconvent, Utrecht, the Netherlands. Jezus helps his father drawing a straight line using a chalk line. A basket with woodworking tools is lying in front of them. One of the tools is a small plane with a toat. Other tools are a brace and a small axe. The sculpture has likely once been painted as there are some remnants of paint on the sculpture. The scene probably was part of the Maria altarpiece in the St. John's cathedral in Den Bosch, the Netherlands. Height 32.5 cm, width 25.5 cm, depth 11.0 cm. Photo from the museum website.

The basket of tools with the plane. Photo website museum (top) and St. Thomasguild.


The backside of the sculpture. Photo St. Thomasguild.

A detail from the 1529 woodblock print showing 'Architectura' by Barthelemy de Chasseneux with some wood and stoneworking tools. Among them are three planes. In front, a double (side)handed Italian type plane can be seen, as discussed in the post medieval planes part 1 and part 1.5. On the left on the ground, just beneath the axes a part of a large foreplane is shown. And finally on the wall at the back a small low angle blockplane with one (or two?) toats can be seen (compare to the planes in part 2).

Norwegian medieval furniture: chairs and benches

$
0
0
An image of a turned medieval chair on Pinterest connected me to the Norwegian site UNIMUS. This is a portal of six Norwegian University Museums containing their huge collection of high quality photos of objects and research activities. When you type in 'Middelalder' (= Middle ages), 20553 photos are found. It took some long evenings to sift through all these photos and save the interesting pieces of medieval furniture, tools and games. Most of the 'Middelalder' photos (I guess over 80%) concerned images of archaeological dig sites - not really interesting. Another large quantity concerned runic inscriptions on wooden sticks, also not so interesting for me. Already in my previous post, a few photos of medieval planes from originating from this portal were shown. Here I would like to show you the Norwegian medieval chairs and benches from this site. It will save you going through all these photos yourself, although I have shrunk the photos in size (originally they were 2-3 Mb each). Although these photos show nice pieces of furniture, almost no information on the furniture piece is given on the UNIMUS site. It took some more nights to gather some additional information of these seats. I will show other pieces of Norwegian furniture in a following post.

The turned chair from Urnes Stavkirke that started it all,  dating around 1200.

Most of the Norwegian medieval furniture is early medieval in style (1100-1300) and still has influences of the Viking period, visible in the decoration style.


 
 Box chair dated to the early 13th century from Blakar farm in Gudbrandsdalen. The staves are made from birch while the panels are from pine. Part of the seat makes up the lid for the box with wooden hinges protruding on both sides, while a hole in the front seem to be from a missing lock.
 
The Tyldal chair (1150–1200) made from birch originating from Osterdalen, Hedmark.
 
Chair from Gålås, Ringsaker, Hedmark with carved animal heads. The backrest is 13th century, the front a 18th century restoration. Note that the chair legs are uneven.

A bishop's chair from Heddal stavkirke dating from the 13th century. Kulturhistorisk museum Oslo.

A (part of a) pine choir stall with Mickey Mouse ears from Hol stavkirke, Hallingdal, dating from the late 13th century. Kulturhistorisk museum, Oslo.

Choir stall with  ears from Skrautvål, Nord-Aurdal. 13th or 14th century.

Most of the two-seat benches below seem to be some kind of bridal chairs.

A bench for two persons from the Kulturhistorisk museum, Oslo.

Another church bench from the Kulturhistorisk museum in Oslo originating from Eastern Gausdal, Oppland. 
The backside of the backrest of the bench is much more decorated than the front.


A bridal (marriage) pine bench dating from 1517 originating from Nes Church, Nes in Telemark. Length 120 cm, height 118 cm, depth 38.5 cm. The backrest consists of two wide board, and the seat and the front of one. The sides are carved at the top as a fan ending in four circles. Bridal bench is now painted over, probably in the 1700s. The rear of the backrest has sloppily painted yellow-pink vines and foliage with light blue middle swath. Profiles along the edges are blue. Backrest cover is decorated with a newly wed couple, dressed in village costumes. Around them is a text in black letters from of Ruth, I, v. 17.  The stylized foliage is painted red.

A simple bench originating from Telemark.

A simple bench or stool from Torpe Church in Hallingdal. 
Length 1.08 m and depth 0.26 m. In the middle of the seat is a small ornamentation.


Back of a bridal bench from the Kravik farm, Buskerud. Made from pine, 70 by 41 cm. Decoration shows two fantastic animal figures (griffins?); below them are three dragons that seem to join in the battle. The rest of the chair was rotten away by humidity.


A bench from Heddal stavkirke, Telemark.

 A bench from Rennebu, Sør-Trøndelag.

Side pieces of a bench from Hemsedal church. Height 1.35 m.


A side plank of a bench from Torpe church in Nubgaarden. Only one side is decorated. Height 140 cm, width 43 cm. 

Church bench from Heddal stavkirke, Telemark, Notodden.


 A choir bench (cathedra) from Verne's Church in Stjørdalen.
One side piece has a dragon figure with a human master on the inner side.
The reverse of the same piece is smooth, due to weather deterioration.

Part of a choir chair from Sakshaug Kirke,  Inderøy,  Nord Trøndelag.

Late medieval church bench combined with chest originating from Oppland. 

The following two seats are from the Oseberg burial mound dating from 834 AD and suggested to be from Queen Åsa of the Yngling clan, mother of Halfdan the Black and grandmother of Harald Fairhair.


Long low stool with four legs from the Oseberg grave. The seating is made of one big oak plank, square with rounded corners. Length 92.5 cm, width 33 cm. Underneath the seating is thickened where the legs are fastened. The four legs were made of softer wood, oval shaped and had a length of 28.5 cm; the current legs are modern replacements, one.  Stool's total height above the floor is only 28-29 cm.

There is a lot of information on this Oseberg chair made from beech: It consists of a box-shaped lower part and a higher back portion. The seating is lost, but was likely made from rope or bark. The front of the chair has two fairly short legs that are approximately 37.7 cm long (which is also the height of the seating). The chair's rear pillars measure 63.5 cm. Width of the chair is 55 cm (front) and 57 cm (back). Seating was approximately 47.5 by 40 cm.  The legs are between 4.5-4.8 cm thick. Exact descriptions of all chair part can be found in the kulturhistorisk museum database.

Two sturdy Viking stools.

Norwegian medieval furniture: chests and other storage furniture

$
0
0
This post will show the other Norwegian medieval furniture found on the UNIMUS photoportal of the Norwegian University Museums (It seems that there are now 33 more 'Middelalder' photos since the last blogpost). It concerns mainly kinds of storage furniture like armoires, boxes and chests, but also some beds. My previous post on Norwegian medieval furniture concerned chairs and benches. Not all medieval furniture showed up with the search term 'middelalder'; other search terms used were skap (cupboard), seng (bed), kiste (chest) and skrin (casket, box or shrine) in combination with tre (wood). Information on the furniture pieces itself was sometimes found on the other university databases.

Armoires


Armoire with iron hasps and hinges from Ukjent Fylkedating from the late Middle Ages.
The front posts are attached to the sides with eight iron fittings, of wich four extend to the two doors (39 by 30 cm). The doors are opened by spade shaped iron rings. Height 96 cm, width 53 cm, depth 35 cm. On the outside are traces of white and blue paint.


An German type 'Giebelschrank' armoire from Ardal stave church and exhibited in Bergen museum. Dated from the beginning of 13th century. The colour photo is found on Flickr and made by Arild Finne Nybø.


A wall aumbry from Borgund Stavkirke. 
The linenfold panels indicate that this is a 15th-16th century piece of furniture

Chests


An ark made of pine from the farm Sauar in Heddal, Telemark.The legs of the chest stand approximately 35 cm high. The lid is roof-shaped has sloping sides and is flat in the middle. The various parts are fastened together with wooden nails, iron is only used for the hinges and hasps. The front and both end sides are decorated with rank and geometric patterns. Length 135 cm, width 83 cm, height, including the legs, 124 cm.



 Another, undecorated ark from Oppland. One of the planks of the lid is missing.

A decorated chest from Oppland. Hutch type chest, where the original - roof type - lid is missing and newer, flat lid put on. At the same time the old slots for the lid were substantially sawn away. The four square corner posts were originally about 7 cm from the floor. The planks of the chest are held in place by a groove end dowel pins in the corner posts. The chest is decorated on the three leading faces. On the front, five warriors with a long, pointed chin beard are wandering in a same rhythmic motion. Over his right shoulder a spear is held. The decoration is a Viking-medieval transition. The right post frontside is decorated with a coiled snake pattern in style and iconography from late Urnes.  Left post frontside has a wood-like plant with roots and side shoots that ending in leaves. The two short sides of the chest are similarly decorated with pillars and vines and foliage. Likely first half of the 1100s. Height 69.5 cm, length 139 cm, depth 71.5 cm.


A chest from from Ullensaker church, Akerhus. The chest rests on four flat corner posts in which the front and side boards are rebated and fastened with wooden dowels. The chests interior has changed in recent times and has trace of two old internal boxes. On the lid near the lock is a trace of one runic inscription. The construction was originally without any iron nails or hasps; the reinforcements on the edges were made around 15 to 1600. The coffin length is 195 cm, width 69 and 69.5 cm, heights 91.5 cm. The front is richly decorated in the fields. In the middle it is divided by a branched tree with  foliage, and each half of the front is cut into 12 small squares, and these fields have carved symbolic animal figures.


A iron reinforced 6-boarded chest with three locks (of which two padlocks) from Torpo Stavkirke, Al, Buskerud. 

A 6-boarded chest from Gran kirke, Hadeland

A long chest from the Lågdalsmuseet,  Kongsberg , Buskerud.
A similar long chest, but without the lock from Lesja church, Lesja, Oppland.

Lectern

 
A lectern from Hopperstad Stavkirke.

Caskets and small boxes


A box from oak and iron from Vinje church, Rauland.
Note that the two planks from the lid are nailed together.


A similar casket made from oak and iron from Ukjent. The iron straps are of late medieval style.

Two small wooden boxes turning on a pin. Top three photos: medieval document boxes made of birch. The pivotable lid runs into a human face; the eyes are formed by iron nails. Both the lid and the long sides are decorated with carved coiled loops. the box is 39.8 cm long, 8.7 to 9 cm wide at the top and about 8 cm at the bottom, height 10.3 cm. Bottom two photos: similar document box. Apart from the lid is the box made of one piece of wood. Both long sides are carved with coiled loops. A raised edge continues horizontally along the center of the lid. Length 39 cm, width at the top approximately 9 cm, height 9 cm.


A casket from Gudbrandsdalen, Ukjent. 

A wooden box with rounded lid from Ukjent. Looking at the four-pass, and architectural style of the carvings it can probably be dated to the late 14th century.

An iron and leather reinforced box from Ukjent. 

A carved box from Gransherad, Ukjent. 

A carved  box from Teljord.The inside is divided in two compartments.

Shrine

A shrine from buskerud. Buskerud, Sigdal, Vatnås Kirke, now in the National Historic museum in Copenhagen, Denmark. Nice to see is the underside of the shrine with a small wooden door.

 
A wooden shrine carrier from Hedal Stavkirke.


A shrine box from the farm Jukam in Southern Aurdals, Oppland. The wooden box measures 17 inch long, 2.31 inch wide, almost 6 inch tall at the middle and 3 inch at the ends. The two long sides and the bottom are made of a piece of wood, hollowed out; the two smaller end pieces fitted with iron nails. The lid is fastened with iron hinges, and has an iron ring fitted an the top. The box could be chained to a place (according to the legend in a mountain chasm). The box could be closed with a padlock, but the bottom staple is gone. Both long sides and lid have a heavily carved exterior, with coiled lines and dragon figurines on the lid, all of a very antique stamp. Contrary, the end plates are smooth; on one of the inner sides 1350 is carved and on the other 1Z21, but these carvings are suspicious and likely much younger than the remainder of the box

Wool box

A box used to store wool from Telemark.

Bed

  
A bed from Telemark.

Oseberg grave finds: beds


The three beds from the Oseberg grave finds were completely broken in pieces. Therefore the photos show reproductions and drawings of these beds.


 The slats underneath the mattress in small pieces of Oseberg bed 2 or 3.
Oseberg bed 1 reproduction and drawing.

Oseberg bed 2 reproduction and drawing.

Oseberg bed 3 reproduction and drawing.

Oseberg grave finds: chests


Oseberg chest O1904-178.

Oseberg chest O1904-132.

Oseberg chest O1904-156


Oseberg chest O1904-149. The heavily nailed chest consists of side planks, banding, long sides, cap locks and lock fittings. Its construction is similar to the other 'viking' chests, notably it rests, or rather stands on the side planks.  Length in excess of 1.08 m, the floor (between the outer edge of side boards) 1.13 m. The width beneath the side boards 32, at the top 29 cm. Height 38 cm. Feet height above floor 16 cm. The width of the long board of 21 cm. Side planks are 2.3 cm thick. At a height of ca. 16 cm above the floor a square hole has been cut into the center of each side piece of ca. 13 cm. In this hole the end pin of the floor board is fitted.  Each board is nailed to the corner plank and floor board. The lid is one piece oak, curved at the upper sideand 4 cm thick in the middle. The chest is adorned with broad iron fittings, all adorned with tinned rivet heads. Rivet heads are nailed in three parallel vertical rows, but do not go through the boards. However, on the edges and side planks are  three horizontal iron fittings, which runs 7 cm on the corners. Locks are completely preserved, but rather missing the key. The lid is fastened with three iron hinges leaning. Every hasp has in the end the form of a simple animal head, and underneath which is an eye.

More cool things to do with your hood

$
0
0
The hood is a common piece of clothing for the mid and late medieval period. It is also very comfortable to wear, especially when it gets chilly outside, like at the moment in the Netherlands...
The hood has a 'standard' way of wearing, but in the late medieval period people started experimenting wearing the hood differently, resulting in 'foppish' styles. These styles are nicely illustrated in one of the blogposts of 'Tacuinum medievale'. Personally, I like (and sometimes wear)  'style 6'.

But there are more things you can do with a hood than wearing it. Some examples are shown in  the margins of manuscript Bodleian MS 264 (Oxford University, Oxford, UK).

1. Playing blind-man.


The hood is put on backwards, so it covers the eyes and creates a blindfold. The liripipe is hanging like an elephants trunk in front.
In Blind Man's Buff, the blinded man has to try to tag one of the other players, while the other players try to avoid him. The other players have to make sounds to indicate the direction the blindfolded player in which has to move in order to tag another player. The player who is tagged becomes the next 'blind' man.
Another variant is where the blinded player is guided along a difficult track by the other players.
 
Bodleian MS 264 folio 70 verso. A blinded 'elephant' man on the left. 

2. Throwing games.


A knot is made in the hood, approximately at the point where the liripipe is attached to the hood. This creates a heavier point, making the hood easier to throw. The liripipe is used to swing the hood for the throw. This game is played by both males and females.

Bodleian MS 264 folio 130 recto. Males playing the throwing game.



The illustrations suggest that the hoods should be thrown towards another, or at a blinded person. We have tried several versions of this game: throwing and catching (catching scores points); throwing and hitting each other (hitting another scores points) and just throwing (the one farthest throwing scores points). Throwing and hitting each other resulted in chaos, while throwing and catching was a bit more playful. Just throwing and throwing and hitting were boring, but the latter became better when one person was coaching the blind man when to duck to avoid being hit by a hood.

Bodleian MS 264 folio 130 verso. Females playing the throwing game. 

A variant of this game was developed by us (i.e. we can not relate it directly to an illumination), in which the players wore a felt hat, which needed to be thrown of the head with the hood. Each successful hit to the hat was rewarded with one point, while the game was played for a certain amount of points. We thought this was a better variant, as each player has equal opportunities to hit and being hit, and the game allowed a lot of interplay. 

 
 
 

3. Catching Butterflies.

We have not tried this yet, as the butterfly season is over at the moment. The hood is held closed at one end, and open at the other end to trap the butterflies. Although some woman look like trying to hit rather than catch the butterflies. This seems to be a more feminine type of game.

Bodleian MS 264 folio 135 recto (more examples a shown in the margins of MS 264)

Double screw vise

$
0
0

A double screw vise where the screws look to be fixed to the rear jaw. Also, the legs are attached to the vise, making it a medieval version of the 'workmate' as we know it today. Blockbuch Eysenhuts, 1471. Herzogliche Bibliothek, Xyl III no. 8. Gotha, Germany.

The double screw vise is a piece of equipment for the workbench which saw its first appearance in the late 15th century. At least, that is the date of a woodcut that shows such a device. The double screw vise also appears in 'later' woodworkers books from Randle Holme (1688), Felibien (1667) and Moxon (1678). But apparently there is another medieval image showing what looks like giant double vises - or a mixture of a single screw vise with a parallel guide. I just found this image on Christopher Schwartz blog, and he found it in a book on planes. It seems to be an northern Italian drawing of around 1300. The Italian relation is confirmed by the two-handed plane in use on the first workbench. The screw vise is similarly constructed to that of the vise shown above.

Noah constructing the ark. Northern Italy. Six workbenches with screw vises are shown. In the middle is a stack of lumber with stickers drying, on the right wooden beams are being squared. On the workbenches other carpentry work is done: planing, sawing, using a chalk line, using axes.

 A bench and a closer look at the two planes. The large foreplane also has an Italian style grip at one end.

This detail shows clearly the difference between the two sides: 
a screw vise on the right, a square stick with pinholes on the left.


 The double screw vises of Holme, Moxon, Felibien (E. Crochet ou sergent. F. Estraignoirs. G. Presses de bois [wood press]) and Roubo, respectively. The Estraignoirs superficially look like the screw vise but are used differently as shown in the plate by Roubo below.

The estraignoirs are used with at wedge as clamps for gluing large boards. 
Detail of a plate from Roubo. L'art du menuisier (published around 1770).


I liked to make a (Moxon) double screw vise as an addition to my medieval workbench. Good discussions (these and these) on how to make these double vises can be found on Peter Follansbee's blog (and in his book 'How to make a stool from a tree'). Furthermore, Roy Underhill has a video show on the subject ("Two screws for you" with Christopher Schwartz) which shows the creation and the versatility of use of the double screw vise. Finally, Christopher Schwartz has a (free) article on how to make such a vise in the popular woodworking magazine. Although the construction is excellently described in the above mentioned sources, there are some details useful to add.

The first issue are the holes to be drilled in the jaws. The centre of the holes of the front and rear jaw have to be at the exact place - this is obvious and can easily be achieved using a jig with fences on the drill press. Less obvious is that the diameter of the holes of the front and rear jaw are different. The rear jaw hole has to be smaller, as the internal thread has to be tapped here (the front jaw is a clean hole and does not have a thread). As the wood threading kits are sold in non metric sizes, I had to work with a 1 inch set. This meant converting the holes to cm drills: 22 mm for the small hole and 25 mm for the large one. 

 
The set-up on the drill press. An mdf board with a long fence is clamped directly to the drill press, as is a short block acting as a second fence. The beech vise jaw is placed against the fence and clamped as well. The Forstner bit can be changed for a smaller or larger bit, while keeping the set-up and centre point at the same place.

The second issue is the bolt/dowel. As they recommend hardwood for the dowels, I used hornbeam. I first made the eight-sided handle and then turned the dowel on an electric lathe to 25 mm thickness. I used a jig to check to exact thickness, made of a drilled 25 mm hole in a piece of wood that was partially cut open. As the dowel needs to go smoothly through a 25 mm hole, but not too smoothly, a bit of sandpaper was held against the turning dowel. The end of the dowel was slightly chamfered.


A jig was used to check the dowel thickness to exact 25 mm.

The third issue is the threadbox (I use a Taiwanese one). It is made up of three parts: the smooth entry hole, the cutter, and the threaded exit hole. This construction means that you cannot go to the end of the handle. This is also not necessary as will be explained later. [But if you wish so, you need to dismantle the threadbox and remove the entry hole (do so after you already have made a start on the thread). The exit hole is then to only way to stabilise the cutting.] The dowel needs to be (good) lubricated with (linseed) oil to ensure a good cutting.

Having cut two handles I found out that they fitted too snug in the threaded hole of the vise jaw. It squeaked on every turn, and oil or wax did not help. Also much force was needed to make the handles turn. I had to redo the threading and set the cutter a bit deeper. This is best done when the threadbox is dismantled. Rethreading the handles did solve the too tight fit and they are working smoothly now.


The dismantled threadbox and the adjustment of the V-cutter.


 
The handle is held in a workbench vise. At start a slight downward pressure is needed, but later the threading tool guides itself. Once you have started cutting, always use a forward motion. If the cutter binds, back up no more than a quarter of a turn to clear any chips, then continue cutting new threads.

The final issue is where you stop making the tread on the dowel. The front jaw of the double screw vise has an unthreaded hole. This means that the dowel also does not need to be threaded here. I.e. the last 4.5 cm are just blank dowel.

The dowel at the front jaw of the vise does not need to be threaded.

My double screw vise has a length of 66 cm and a height of 10 cm. Each jaw is 4.5 cm thick and made of beech. The centre of the drilled holes are at 13 cm of each end, but placed off-centre at 5.5 cm. The handles of the hornbeam bolt are 10 cm long, the remainder of the dowel 19 cm (so in total a length of 29 cm) of which 14 cm is threaded. My double screw vise can be conveniently attached to my medieval workbench with two holdfasts. The vise works very good and is a really handy tool to have. In fact, I use it more often on my normal (non-medieval) workbench! 

 The double screw vise in use at castle Hernen.

The double screw vise on top of the bench without any holdfast. Two bench-stop hold the vise in place for planing.
 
The double screw vise fixed at the edge of the workbench with two holdfasts. Long wooden planks can now be held in place, for instance for sawing or dovetailing.

Hypocras

$
0
0
 
 Two medieval woodworkers having a meal with bread and (perhaps a spiced) wine in the Tacuinum sanitatis (ca. 1390, Codex Vindobonen­sis Series Nova 2644, folio 64r, Österreichische Nationalbibliothek, Vienna, Austria).

During this time of year the modern spiced wine - Glühwine or bishopswine - can be ubiquitously found at Christmas markets. I personally do not like these mulled wines. That was also the case with the medieval version of it: Hypocras (the red wine version, named after the Greek Hippocrates) and Claré (for white wine). However, since our visit to Castle Loevestein in late November were we did some cooking demonstration this has changed. I decided to make some hypocras because it is an interesting process to show to the visitors and tell something on the spices in the wine. I used the recipe from the book 'Herrenspeis und Bauernspeis' by Peter Lutz. In his commentary he mentioned that everyone [visitors and re-enactors] was very enthusiastic about the taste. So perhaps his was a better recipe, and indeed it was...


Galangal (Alpinia officinarum) in the Tacuinum sanitatis (ca. 1390, Codex Vindobonen­sis Series Nova 2644, folio 32v, Österreichische Nationalbibliothek, Vienna, Austria).

Recipe


There is a great variation in spices used for hypocras, some (e.g. the one in the Forme of Cury) use cloves, mace, nutmeg, caraway seed and/or white pepper. Most of them contain sugar, cinnamon and ginger. The recipe from Peter Lutz, which is likely the same as the one given in 'the medieval kitchen - recipes from France and Italy' which originates from Le Ménagier de Paris (1393):

To make a lot of good hypocras, take an once of cinnamonde, known as long tube cinnamon, a knob of ginger, and an equal amount of galangal, pounded well together, and then take a livre of good sugar; pound this all together and moisten it with the best Beaune wine you can get, and let it steep for an hour or two. Then strain it through a cloth bag several times so it will be very clear.

(Left) A cinnamon merchant from the Tractatus de Herbis by Dioscorides (Ms Lat 993 L.9.28, Folio 36v  15th century,  Biblioteca Estense, Modena, Italy). (Right) Red wine merchant in the Tacuinum sanitatis. Note the alternative manner of wearing the hood of the man on the right (14th century, Codex 4182, Biblioteca Casanatense, Rome, Italy).


The German recipe uses a lot of wine, so you should adjust the amounts accordingly to what you want to make (and drink).
  • 6 litre good red wine (cheap wine makes cheap tasting hypocras)
  • 900 gram sugar
  • 2 tablespoons powdered cinnamon
  • 2 tablespoons powdered ginger
  • 1 tablespoon powdered galangal

Grind the spices with a mortar and pestle (when using unpowdered spices). Chop bits of sugar from the sugar cone (see below) and hammer and grind it to powder (or use commercial crystallised sugar). Mix the sugar and the spices well in a bowl (large enough for the wine as well). Add the red wine and stir well. The spices will first float on top of the wine but after more careful stirring, they will mix with fully the wine. Peter Lutz recommends leaving the wine stay for a day, but we left it for a few hours as in the recipe of Le Ménagier de Paris. Filter the wine several times though a filtering (cheese) cloth until it is clear. Also here Peter Lutz deviates from the recipe by storing the hypocras in bottles for another 2 weeks before drinking; he also mentions that the hypocras can be stored for half a year in wine bottles. We did consume the hypocras directly after filtering, but also (like the glühwine) after heating (not boiling) the wine. The difference was remarkable: while the filtered hypocras tasted good, however, the warm hypocras was very much better as it intensified the harmonious taste of the spice mixture with that of the wine.


Careful mixing of the spices with the wine in the bowl. At the start the spices float on top of the wine.


Medieval sugar cones

Sugar, made from sugar-cane, was an available sweetener in the middle ages. In the 14th century sugar-cane plantations and factories existed in Sicily and later they also appeared elsewhere in the Mediterranean. Sugar syrup from the sugar cane was refined and crystallized into sugar loafs, which could easily be transported across Europe. Although the method to make sugar has changed since then, similar looking sugar cones can still be bought today. In Germany, small ones are known as Zuckerhut and used for a traditional (mulled wine!) drink; in Moroccan shops larger ones can be found which are used as a present during a visit and the sugar chunks are used to sweeten the mint tea. 


 

(Left) A 14th century sugar funnel found in Kouklia, Cyprus. (Right) Cana melle (sugarcane) in the Tacuinum sanitatis (ca. 1390, Codex Vindobonen­sis Series Nova 2644, folio 92v,Österreichische Nationalbibliothek, Vienna, Austria).


It is also possible to make these sugar cones yourself. A very instructive film by Richard Signell can be found on YouTube. This prompted me to try it as well. I found that just water was not enough to stick the sugar crystals together and a some fine powdered sugar was needed as an extra 'glue'. 

The large white Moroccan sugar cone (the top already used for the hypocras) 
and two smaller homemade sugar cane cones.

(Left) Sugar cones from the Tractatus de Herbis by Dioscorides (Ms Lat 993 L.9.28, 15th century,  Biblioteca Estense, Modena, Italy). and (right) A merchant selling a sugar cone (Gilles de Rome, Livre du gouvernement des princes, early 16th century. Bibliotheque National de France, Paris, France, Arsenal, Ms. 5062, detail from fol. 149v.)
 
 
Having a medieval dinner (with hypocras) together with the archaeological team of castle Loevestein.

Tinkling clay and tinkling glass

$
0
0


In 2013 I wrote on a curious 15th century French clay beaker with rings that made a tinkling sound. Supposedly this was to draw the attention of a barmaid to refill the beaker with whatever beverage that was in it. Some weeks ago I discovered some glass equivalents of the clay beaker. They date from the 17th century and now reside in the collection of the Corning Museum of Glass. Apparently this type of drinking vessel kept some popularity over the centuries.

 
An octagonal beaker made of colourless soda-lime glass with a thin trail wrapped around entire bowl; three loops are applied to alternating facets of the cup, from which movable rings are suspended. Origin Germany. Height: 8.8 cm, Width: 9.3 cm, Diameter: 8.5 cm.
 


(Left) A goblet made from heavily crizzled clear glass, producing a pale pink tinge. There are six loops applied around bowl of which three hold crimped rings. Height: 12.8 cm; Rim Diameter: 5.9 cm; Foot Diameter: 7.8 cm. (Right)  A goblet probably originating from the Netherlands dating between 1650 and 1700. The goblet is  made from colourless non-lead glass with six applied loop handles, four of them holding loose milled glass rings. Height: 17.6 cm; Diameter (rim): 8.4 cm, Diameter (foot): 9.1 cm.

Goblet made of clear glass with many minute bubbles with applied and tooled decoration. Three small loop handles arching over the rigaree band, three more loop handles holding rigaree rings applied to the top of the glass. Height: 16.7 cm; Diameter (rim): 7.9 cm, Diameter (foot): 8.9 cm.

Norwegian medieval games

$
0
0
The Norwegian UNIMUS photoportal also contains photos of archaeological finds of  medieval board games, which will be shown in the photos below. Most of them concern game pieces. Basically, these game pieces can be divided into four different types: (1) chess pieces - as these are diverse game pieces that are usually more decorated; (2) flat backgammon type discs - sometimes decorated; (3) pawn-shaped game pieces; and (4) half-globose game pieces - the latter two are suitable for playing morris games or tafl-like games. Of the flat and half-globose types of game pieces many have been found and I will show only a few in this post. The game pieces were made from many different materials, including wood, bone, horn, antler, slate, stone, bronze and glass. Of course, also dice were found ubiquitously, but these look similar to the medieval dice found elsewhere and are not that interesting to show.

Disc-shaped game pieces


Two bone gaming pieces that could have been used for backgammon. Diameter is approximately 4 cm. 

A collection of medieval disc shaped game pieces made from bone, antler, stone and clay.


A clay wheel shaped game piece of ~4.2 cm.


Stone game disc from Trondheim.
Decorated bone discs from Bergen. 

Globose game pieces 

 

A half-globose game piece with a star on top.
.

Glass viking Tafl stones. The drawing on top also shows the underside of the game beads.

Bone game pieces with decorations. 
The decoration is similarly made as the pips on medieval dice.

Bone game pieces and some dice. The underside of one of the game pieces is shown as well.

Pawn-like game pieces

 

A game piece made from horn.

A bronze playing piece from Eidfjord. 2.1 cm height.

A turned horn gaming piece. 
Two bone gaming pieces.

A gaming piece from horn

This is perhaps a tafl piece  that is inserted into a hole in the board,
 like some pieces that have been found together with tafl-like gameboards. 


Chess pieces

 

Two turned wooden chess pieces, one die and two other bone game pieces. 
  A backgammon piece and two chess pieces.

       
A set of chess pieces and some dice. details of the bone king/counselor, pawn and rook are shown. 

 Chess pieces: a bone pawn and a wooden rook (tower).



Chess pieces: The king from Tjøme is made of wood and rather large. 
It has a height of 9.5 cm and the base measures 3.4 by 2.6 cm.

Game boards



Some pieces of a broken gameboard for a tafl like game. There seem to be at least 15 spaces on the board. 
Some chessmen are set on the board, as well as some dice.

Part of a 11 by 11 gameboard for hnfatafl in which the positions of the king and his defenders are marked with an X.

 
A square plate of gray slate set into a wooden board (21.5 by 20.5 cm). The slate disc is engraved on both sides with two diagonal lines from corner to corner. At the intersection in the middle is a hole to a pin. In each of the four corners are 5 similar holes found, of which 4 are approximately square and cruciform clustered around a central hole. The holes are connected partly by the two diagonals and partly by a transverse line. It is assumed to be a gameboard from medieval times; the iron fitting with bolt and nut is a later addition.

Domino

 

This game piece is a bit of an enigma. Domino is supposed to be invented (by Fán Laí)in 1120 in China, and to have travelled to Europe in the early 18th century. Domino pieces and dice are related, as the number of pips shown on the tiles are the same as found on two six-sided dice. So where do these medieval domino pieces come from? Have they somehow been mis-dated? Or are they dice? By the way, there is another domino piece that does not fit in the 'correct' time slot: one game piece was found in the Mary Rose shipwreck.  

Two medieval bone domino pieces from Rogaland, Karmøy, Nord-Rogaland, Avaldsnes, 86

The 'klaarbank' of the Engelander Holt

$
0
0
Last year, Bram and I were asked by the 'Geldersch Landschap en Kasteelen (Gelders Castles and Countryside Foundation) to help with a part of their Engelander Holt project. The Engelander Holt is an estate near Apeldoorn, the Netherlands, managed by the Foundation. The project consisted of nature inventories as well as some historical investigations, mostly done by volunteers. One of the historic sites on the estate is the Herenhul, a small hill with the so-called 'gerechtssteen', a megalitic stone that marked the place of a 'klaarbank', a kind of open air courthouse. The Herenhul has a long history as a place of justice. It could even have been one of the first court places in the Netherlands (the Engelander Holt is already mentioned in 801), and perhaps the place was already in use as a Germanic Althing. During the 13th century to the 17th century the Ducal Supreme Court of the Veluwe Quarter resided here. This court or 'klaarbank' dealt with death penalty cases in the court of Gelre, and many of the case files of the 'klaarbank' have been preserved (and - from 1423 onwards - can be found in the Provincial Archive in Arnhem). The site was also used for the inauguration of a new duke, for meetings of the Hanseatic League, etc.


The 'gerechtssteen' on the Engelanderholt estate.


For instance in 1368, when representatives of Deventer, Zutphen, Harderwijk and Elburg held counsel here on the war between the Hanseatic League and Denmark. At least once a year the Ducal Supreme Court took place at this site with the Duke of Guelders and all the lesser nobility of the Veluwe Quarter (approximately 40 knights), as well as the representatives (the 'peinders') of the five cities of the Veluwe (Arnhem, Wageningen, Harderwijk, Hattem and Elburg) attending.


The accounts tell us that in 1432 Wijnant Leiermoell receives payment for painting a 'Airn' on a blue shield 'voir die herberch tot Engelanderholt' [for the inn at Engelanderholt] where the delegates resided. A bill of the city ​​of Arnhem mentions that on October 12, 1461 the mayor of Arnhem, Steven van Delden, with seven other delegates, is 'gereden en gevaren tot Engelanderholt ter clarynge mit tween wagenen' [went to the court at Engelanderholt with two carts]. They took their food with them, among others the following: 6 'molder' oats, some eggs, a Hamel, 28 pounds beef, 34 pounds hams and shoulders, five sizes of butter, a portion of salt, 3 pairs of chickens, a pot of mustard, bread and necessary 'spysekruyt' [spices], one bottle of old wine. And this all for a few days.

Bringing many delegates and defendants under one roof will also have caused housing problems. Delegates from Arnhem stayed at the 'Red Deer' inn during court, representatives of the smaller cities would have to find shelter in another nearby inn, such as 'The Golden Lion' or the 'Aap' [Monkey] in Beekbergen. The latter inn, also served as a prison for the suspects; and the Dutch proverb 'in de aap gelogeerd' ['stayed at the Monkey', or in other words: you are in serious trouble] originates from these times. Much of the Veluwe knighthood is likely to have camped in campaign tents. During a session of the Supreme Court also a large market was held and merchants set up their stalls in the neighbourhood to sell their wares to the public.


Portrait of Claes Heynenzoon, the Herald Guelders. Dated 1395.
M.S. 15652-56 Armorial Gelre, folio 122r, Bibliothèque Royale de Belgique, Brussels, Belgium.

But things were to change for the 'uncomfortable' klaarbank at Herenhul: in the morning of 22 in September 1573 the Court was opened at the Engelander Holt, but afterwards the delegates went directly to Arnhem to continue the meeting there in a more comfortable environment. Having made all their decisions, they returned back to the Engelander Holt to pronounce them in the required order. After 1620 no more courts were held at the Engelander Holt.


The klaarbank of 1563


In the archives of the province Gelderland in Arnhem, some documents were found dealing with the construction of a new klaarbank in 1563. Also two parchment sheets with sketches of the klaarbank, made by the executive carpenter Master Aelbert, were found, as well as some drawings from 1875 based on these sketches (Caerte van de bancke van Engellanderholt; inv No. 592).


The overview sketch of the klaarbank of 1563 and the surrounding walls. Gelders Archief, No. 592-0002.


Besides these drawings, a few bills and orders given to the sheriffs of the municipalities of Apeldoorn, Ede and Velp to take actions serving the construction of the klaarbank were found as an appendix to the accounts of the Land Steward in 1563 (Gelders Archief, inv Nos 1729 and 1743). These accounts do not provide any measurements of sizes of the klaarbank, only that the klaarbank was made of poplar (Populus spp.) and spruce (Picea abies). The trees were likely hewn in the Arnhem area (both Ede and Velp had to arrange carts for transport). In addition to the trees, 26 boards that were already in the 'Bushuis'(the arsenal) were also used for the construction. The preparatory work (squaring and planing) was done by Master Aelbert in Arnhem, who assembled the klaarbank later with his servant at the Herenhul. The 'busmaker' [the cannon smith] of Arnhem supplied hinges for the doors as well as a new lock with a staple to close the principal door of the klaarbank. 

The klaarbank had a closed rear wall at which a 'sauvegarde' [asylum or safe conduct] was attached. The latter, however, was done by an artist, called Johan Houten. Finally, there is bill of a payment to a nailer for 1000 'lasnagels' and 5100 'zoldernagels' [two types of nails] for the klaarbank. As the ordered nails are not necessary for the construction of the furniture (the benches and chairs), they therefore were likely used for carpentry of the walls and floors. The klaarbank was made August 1563, assembled in early September 1563, and demolished after the trial and stored in the Bushuis at Arnhem.

The lay-out sketch of the klaarbank of 1563 with the sizes given in the text. Note that the benches on the sides have been shortened in comparison with the previous sketch. Gelders Archief, No. 592-0001.

The set-up of the klaarbank


So, what we were asked to do for the Engelander Holt project was to give an insight in what kind of furniture was used at the klaarbank. How did it look like and how was it constructed. But before we did, we first looked at the set-up of the court.

Roughly, the klaarbank consisted of a simple building (possibly only three walls) with a roof (the latter could even have been of canvas), some benches places at different heights for the knighthood, councillors and peinders, well as a chair for the sheriff and a high chair for the Duke. On the grounds, there was a bench and a table for the registrar and a scribe. The whole was surrounded by a wooden fence.The councilors reached their seats through side stairs, for which an opening is indicated in the side wall on the sketch of the construction. The set-up such that the Duke can only reach his high chair via the stairs at the banks of the councilors.

 Our model of the klaarbank, with doors at the sides for the counsilors.

Some measurements are given in the text scribbled on the sketches of 1563. The finished bank is made up of three layers, with each successive layer 1.5 foot higher than the previous one. The height and width of the banks was similar to the distance between two banks: 1.5 feet. Duke's chair was at the highest level, 4.5 feet above the ground. One foot measured at that time between 23 and 32 cm, depending on the place and country. For example, a Rhenish feet was 0.314 meters and an Amsterdam feet 0.283 meters. 1.5 Feet is also the height of a bench, and translates to approximately 45 cm, which is now also a common height for a seating. On the basis of the sketch of the cross-sections and the text, we deduced the arrangement as shown in our 3D model of the klaarbank. A next post will deal with the furniture involved at the klaarbank.

A 17th century Lit de Justice


 The raised dais for the chairs of the ruler and his cousillors of the Lit de Justice in Chateaudun castle.


Call it coincidence or luck; when we were on holiday in France last year we visited Castle Châteaudun at the foot of the river Loir and the city with the same name as the castle. In the basement of the castle we found that an (almost) complete 17th century court (Lit de Justice) has survived. There are several similarities but also differences with the klaarbank of the Engelander Holt. The court of Châteaudun is small and square and almost fills an entire room. In a corner against the wall is a raised platform for the ruler with a coat of arms above it, as well as a place for the councilors next to it. The knighthood (on the right side) and the representatives (on the left side) sat facing the ruler in two rows separated by a wooden partition. The court has no seating now, but there were probably benches; the space between the wooden partition is almost one meter; enough space for a bench. The crowned L (Louis) on the walls indicates that it was originally royal or princely court.

 The view from the dais towards the entrance of the court.

(Left) The two rows of seating for the layman (without benches). These would be situated on the left side of the ruler; on the right side the nobility would be seated. (Right) The rear seating row of the laymen is on a small wooden platform. Both seating rows are divided by a wooden partition. 


There are also a few images in late medieval and later manuscripts depicting a Lit de Justice in a royal setting. The most famous one is that by Jean Fouquet in 1450. What can be seen is that all show the square arrangement of the court with the ruler on a dais in the corner.

(Left) The Lit de Justice of Charles V in  Le Livre des propriétés des choses by Barthélémy l'Anglais.
Bibliotheque National de France, Paris, France, Ms. Français 22532, folio 9. (Right) Lit de Justice of Charles VII at the parliament of Paris of 1450.  Des cas des nobles hommes et femmes, illumination by Jean Fouquet, dated between 1458 and 1465. Bayerische Staatsbibliothek, Munich, Germany, Cod. Gall. 6, folio 2v.

(Left) The Lit de Justice of Louis XIII held after the death of his father (1610). Archives Nationales de France AE-II-3890. (Right) Copper engraving showing a court case against an animal, a practice that was also common during medieval times.

A medieval cradle in Brussels

$
0
0
 The cradle of Philip the Handsome, made around 1478.

There are not much medieval cradles that have survived. Most of them concern the ornate ceremonial (estate) cradles. One of the surviving late medieval ceremonial cradles can be found in the Hallenpoort, one of the surviving medieval city gates, in Brussels (Belgium). The cradle has been known as that of Emperor Charles V, but the arms on the cradle depict that of his grandparents Maximilian I and Maria of Burgundy, so it is nowadays understood that it should have been the cradle made for Philip the Handsome (to become King of Castile and the father of Charles V) and his sister Margaret of Austria. This dates the cradle to June 1478, when Phillips was born in Bruges, Belgium; Margaret was born in January 1480.

Philip the Handsome and Margaret of Austria by Pieter van Coninxloo, c 1493-5. 
Betrothal diptych, oil on oak panels, each 23.8 x 16.5cm. National Gallery, London, UK. 

The cradle is made from oak and has a length of 1.45 m and a width and height of 73.5 and 77.5 cm, respectively. It is composed of boards held within a frame without mitred corners and with elaborate mouldings attached to the frame. The sides and ends have a horizontal division and there is a railing above the sides of cradle box. The corner posts extend above and below the box to support the railing and two open tracery panels  below. These tracery panels are at the ends only and serve as decorative sled on which the cradle can rest when not slung between the uprights. At the top of the ends also a (tracery?) panel existed, but only the grooves for it remain. The corner posts are each carved with a pair of buttresses, which likely would have reached higher as they are now. The box was originally double walled, presumably to give a good finish to the inside, but the (original) inner skin is almost entirely missing. The rounded bottom of the box has been restored with modern oak boards.


Left photo: The other side of the cradle. Much of the woodwork is renewed (the light-coloured oak); a few traces of the painting can be seen. Right photo: The underside of the cradle is rounded, but also  renewed.

The front and back ends of the cradle feature the double M (for Maria and Maximilian) on a gilded background.

 The corner posts where some parts are sawn off and an empty groove for a now missing top panel.

The (gilded - some traces can be seen) bottom panel with open tracery work. 
Some nails or dowels used to fix the panel to the post can be seen on the left.

The cradle used to swing between uprights, which also have not survived, although the iron spigots are still attached to the cradle. Each spigot is set in a circular sex-foil rose with a central domed boss. Also on one side of the cradle several staples were set into the railing. It is possible that these were used to attach a parver (a pavillion type canopy) to the cradle.

Left photo: The iron sex-foil rose spigot, where the cradle used to swing between the uprights. 
Right photo: the moulded rails are nailed to fix the panels.

This side has some staples set into the railing, probably to attach a domed canopy (sparver) to it. As can be clearly seen in these photos, the buttresses of the corner posts are sawn off and the groove for the top panel is empty.

Also much of the decoration has been lost. The entire surface of the cradle was once covered with paintings in colours (black and red) and gold leaf. Decoration for such state cradles used to be done by master painters (and more expensive that the construction of the cradle itself), which is evident by the quality of the decoration. The end panels are decorated with initials M and M (for Maria and Maximilian) intertwined with thistles and holly. One of the low panels on the sides contains the device of Maximilian 'HALT MAS IN ALLEN DINGEN' [moderation in all things]. The larger panel on the side contain remains of heraldic decorations with eagles and heraldic shields.

The Burgundian heritage is clearly shown by the sparkling fire-strikers. 
The first letters (HALT) of the device of Maximilian can also be clearly seen.

The gilded panel on the side showing the same arms as the panel of Philip the Handsome by Pieter van Coninxloo shown above. On the left side the imperial eagle is shown.

According to Penelope Eames, a furniture historian, noble families employed two cradles: the estate cradle - such as this one - in which the infant was displayed and in use during the day. But furthermore, a night cradle, that was much lower and simpler in construction, and in which the baby normally lay. The bills for the cradles ordered by Margaret of Flanders, Duchess of Burgundy in 1403 give some idea on the amount of money that was spend by the nobility on the 'baby-room'.

To master Jehan Du Liège, carpenter, living in Paris, for 2 cradles 1 of state and the other for rocking and feeding the said infant and for 2 stands for the said cradles; two tubs of riven oak for bathing the infant, and 2 round cases for keeping them in, 36 francs; and for a white wood case for the state cradle in order that it may be carried with greater safety from Paris to Arras ... 2 francs .... To Christofle Besan, painter and 'varlet de chambre' to the Duke of Burgundy, for painting and gilding with fine, burnished gold the large above mentioned state cradle for the said infant with the arms of Seigneur de Rethel and with those of the said Damoiselle de Rethel; and for a panel with the head of Our Lady to be placed behind the infant's head 50 francs.

If you compare this amount of money spend on the cradle itself, to the more than 800 francs spend only on the coverlets (more than 800 francs) and a sparver (40.5 francs), you might think that the itself cradle was very cheap.
  

 
The inside of the cradle. It would have been covered with more expensive 
materials than the cost of making this cradle. 

Sources used:

  • Penelope Eames (1977). Furniture in England, France and the Netherlands from the twelfth to the fifteenth century. Furniture History, volume XIII.  
  • Franz Windisch-Graetz (1982) Mobel Europas I - von der Romanik bis zur Spatgotik. Klinkhardt and Biermann, Munchen, Germany, ISBN 3781402126.

A mysterious hood

$
0
0

Saint Luke Drawing the Virgin, c. 1435-1440. 137.5 x 110.8 cm on panel. Museum of Fine Arts, Boston, USA.

A few weeks ago one of the Dutch newspapers commented on a painting by the Flemish medieval artist Rogier van der Weyden: St. Luke drawing the Virgin (1435-1440) (the original painting now resides in the Boston Museum of Fine Art; some medieval copies are in München, Bruges and the Hermitage in St. Peterburg). In the background of the painting a couple can be seen staring at the river. The newspapers wondered what the couple were looking at and what they were saying to each other. However my eye fell to the headdress of the man. The long liripipe suggests that he is wearing a hood. But is he also wearing a hat over it? Or is the black part actually the inside of the hood. And if this is the case, how does he actually wear his hood. I immediately rushed to my own hood to try this out, much to the amusement of Anne, Bram and Katinka. I must confess that I did not succeed in figuring out how the hood was worn.

The man wearing the hood in a mysterious way. Detail of the painting by Rogier van der Weyden.

Some days later I found another image in an early 15th century medieval manuscript of a man wearing the hood in a similar way. This suggests that this way of wearing the hood was more common. Has anyone an idea how this was done?

Les comédies de Terence. Ms Latin 664, folio 181v. Bibliothèque de l'Arsenal, Paris, France. Around 1410.

p.s. Some other ways of hood wearing can be found on the Tacuinum Medievale blog or alternative hood use on this blog.

Multilingual furniture dictionary: sleeping furniture

$
0
0
A return to the multilingual furniture dictionary. After the previous posts on seating furniture and storage furniture (a few years ago) we now turn our attention to sleeping furniture. We sleep a large part of our life, yet very few pieces of sleeping furniture have been retained from medieval times. Most evidence provided here is pictorial based and originates from from miniatures, paintings, carvings and so on. When you want to define medieval sleeping furniture terms, one encounters a difficulty with the descriptions given in inventories: the actual furniture piece, the wooden bed-frame, is supplemented with mattresses, coverings, pillows and cushions, draperies, balconies, and so on, and the names for the beds, a bed with these items or the items themselves can be mixed (as often the case in medieval descriptions). Moreover, the words 'celour' (medieval: the canopy) and 'dossier' or tester' (medieval: the head board) have switched their meaning in the 17th century.

A painted bed from an Italian hospital dating from 1337. Museo dell'Ospedale del Ceppo, Pistoia,Tuscany, Italy.

What is apparent in the late medieval inventories (of the rich) is the excessive amount of money spend on the textiles, covering and draperies. According to Windisch-Graetz (1982) this is not only the case for the late medieval beds with canopies, but also for the early medieval beds. This was because the bed(room), next to its sleeping function, also fulfilled a role in the display of the hierarchy, wealth and social status of the owner. In contrast is the sleeping culture in the monasteries and cloisters. Here, everyone did have a simple bed, but with sparse and Spartan coverings. More on the sleeping rules in different monasteries in Sweden can be found in a recent post on the blog 'In deme jare Cristi'.
 
 Three footrest types at different heights around the beds. Top: An angel announces St. Hubert of Liège's approaching death. Koninklijke Bibliotheek, The Hague, the Netherlands, KB 76 F 10, folio 33v, dated 1463. Left: Pétrarca approaches Boccaccio on his bed. folio 294 in 'Cas des nobles hommes et femmes' by Giovanni Boccaccio. Ms. 3878, around 1470-1480, Bibl. Mazarine, Paris, France. Right: Giovannino de’ Grassi, La Natività della vergine, from the Offiziolo Visconti, around 1395. Biblioteca Nazionale, Firenze, Italy.


When you look at medieval illuminations or paintings of bedrooms you see very often a chest (hutch) at the footrest or at the sides, which is used for storing personal clothing and belongings. Another bed-related but non-sleeping type of furniture is the footrest, which can be found surrounding the bedframe at both long sides and the footboard. In the Italian platform bed this is combined and attached to the bed as a row of  low chests on three sides, which also serve as a footrest. A nice example can be seen on the a panel of the San Marco altarpiece 'The Healing of the Deacon Justinian by Saint Cosmas and Saint Damian' by Fra Angelico (1143) or a similar scene by Sano di Pietro (1405-1481).

 An Italian platform bed, similar to that of 'the healing of deacon Justinian', dating around 1500. 
Formerly in the Volpi collection, Florence, Italy.


Regardless of the social status of the beds, like the previous posts, I have made some rudimentary sketches of the different sleeping furniture items and their names in the different languages.


TypeDutchGermanEnglishFrenchLatin
Simple bedsbedBettbeddys, bedstead,
bed,
couche
couchette, litlectum, lecto
gedraaid bed
turned bedlit de travers
bedde, bed, bedframeBett, Bettstelle, Bette, Bettlade, Spanninge
bedde de bords, bedframe, halfheaded bedstead
charlit, lit de planches, lit de corde (1), lit de boutsponda
(Italiaans) bed met omkasting, bed met kistkastenFruhrenaissance Bettplatform bed



rolling bed, truckle bedstead, trundle, wheelbedcouchette roulonnée, lit à roulettes, carriole
  ??veldbed, reisbed, vouwbed
trussyng bedde, folding bed, fyelde bedstedelit de camp, un charlit qui se ployetrussynbed
Bed with covering

baldakijn bed, bed met los baldakijn
Bett mit Baldachin,
Baldachinbett, Himmelbett
hung bed, bed
with celour, bed with
canopy
grand licts,
la couchette,
lit à baldaquin,
lit à courtines,
chalit, lit à plein ciel
lectus cum tapeto et selours
paviljoen bed
sparver, sperver, tentbedlit à pavillion,
paveillons,
tent bede
d'espervyer

halfdak baldakijnbedBett mit
halbverdeck, Gotisches Bett, Bett mit halbes
Baldachin
halftester bedlit à demi celour, lit à demi ciel (plat / courbe)
hemelbedHimmelbett, Kastenbett,
Baldachinbett
tester bedstead, fourposter, bed
with celour, bed with
canopy
lit à colonnes,
chalit, lit d'angle

bedstede, beddestedeKastenbett


koetse, kuytsenbedeken, kuytsen, koetse, kuytsenstede, alkoofButze, Alkove, Wandbett, Koyenalcove, couch, cupboard bedsteadalcove, grand cousche enchassile, couchette toute
enchassillée,
lit clos

Cradles

mand wieg
wicker cradle, bassinetberceau, moïse
krib

berceau-bas, bercer et nourrir
gedraaide wieg
turned cradleberceau, berceau à bascule
 
schommelwiegKufenwiege, wiegerocking cradleberceau, berceau-haut
staatsie wieg
state cradle, hanging cradle
swinging cradle
biers, bers, berseil, berceau de deux
tourillons, berceau suspendu,
porte-berceau, bers de parement, berceau de parade



rocking cradle

Other bedtypes
hospitaalbedKrankenbetthospital bedlit alignés
voetenbank (2)




(1) the lit de corde seems to indicate that the mattress support was made from rope (as opposed to a slatted mattress support).
(2) sometimes the bedframe was surrounded on the sides and the foot by a kind of footrest, like those found by chairs and benches.


The early medieval partially turned bed (550 BC) made from beech found in the Trossinger Grave 58 in Wurtemberg (Photo Archaeological Museum of Baden-Württemberg).


Some extra remarks can be made concerning the time-frame of above mentioned bedtypes. The turned bed is typically seen in medieval illustrations before 1300', sometimes with an opening in the middle to make it easier to access the bed, and disappear thereafter, while the Italian platform bed and the (half)tester bed are more typical examples of late medieval sleeping furniture (for the wealthy). The earliest examples of a beds with a canopy (a sparver or a celour)  appear in the 12th century, first separate from the bedframe itself, but later becoming one entity. Beds with a canopy remained fashionable for centuries after the middle ages. A canopy fixed on four posts (i.e. a four-poster) is not much seen during medieval times, most of the canopies were supported by headboard and extra lines from the ceiling (see 'the making of a hung celour' by Penelope Eames); this also allows to change from a full to a half-celour depending on the status of the visitors to the bedroom.


Left: an early 17th century wheel bed from Gelli, Glamorganshire in Wales, that also used to have a folding headboard  (image scanned from V. Chinnery - Oak furniture - the British tradition) . Right: 15th century image from 'Livre du très chevalereux, conte d'Artois et de sa femme, fille du conte de Boulongne'. Only a modernised (1837) b/w version containing the illumination exists, the original manuscript has been lost.


The earliest extant example of a trundle or wheeled bed stems from the 17th century (see photo below), but the bedtype is already mentioned in 1459 (one image of a wheeled bed is known from a 15th century manuscript). No examples or images have survived of the folding or travelling bed, only vague descriptions. Finally, not all did sleep in beds: houses in medieval Novgorod (Russia) had benches on which the inhabitants slept; and straw sacks could also provide a relatively comfortable resting place for the poor.


Anna rocking the baby Maria in a turned cradle. Book of hours, around 1400-1410. 
Koninklijke Bibliotheek, The Hague, the Netherlands, manuscript KB 76 F 21, folio 13r.

Thanks to the Christian religion, many images of cradles were produced, showing scenes of the birth of Maria, St. John and Christ. An example of a state or ceremonial cradle, that of Philip the Handsome, has been presented in a previous post.

Hospitals were a special place, where many beds are placed into one room. This could be normal bedframes, but these could also be connected to each other, the footboard of one bed being the headboard for the  next bed, thus creating a long row of beds alongside the wall of the infirmary. A nice example of this (the medieval hospital in Beaune, France) can be seen on Kathy Storms blog 'Medieval arts and crafts'. 

 
 Left: The hospital beds in  the Salle de sion of the L'Hôtel-Dieu in Beaune, France (Photo copyright Arnaud 25). 
Right: A row of beds shown in de 15th century manuscript MS Francais 12330, Rustican du cultivement et labeur champestre, folio 9. 

Sources:

The books 'Furniture in England, France and the Netherlands from the twelfth to the fifteenth century'  by Penelope Eames,'Huusraet' by B. Dubbe, Mobel Europas I Romanik- Gotik by Franz Windisch-Graetz, 'Schrank, Butze, Bett' by Thorsten Albrecht and 'Mobilier domestique vol. I vocabulaire typologique' by Nicole de Reyniès were used extensively in making this list, among others. Also interesting is the article by Penelope Eames (1997) on 'the making of a hung celour' in Furniture History 33: 37-42.
Viewing all 205 articles
Browse latest View live