- Mood:
amused
All my costume friends will undoubtedly know this image from Herbert Norris' work on costume.
Norris gets a bad rap in the SCA because of an early Tournaments Illuminated article pointing out the possible inaccuracies in the drawings. It is sort of a primer of how not to document a costume entry in a contest. This "oriental surcoat" is one of those garments that pops up fairly often. I freely admit I've made one and loved how it looked - but always felt a little twitchy at having to say that I couldn't justify it. So for years I have been on the hunt for more information on the source for the image.
Some years ago in reading through Viollet le Duc's Dictionnaire Raisonné du Mobilier Francais I found what I believe to be Norris' source - or the foundation of the source. Under the section label pelicon is this image:
A-ha! I thought. And it listed a source - a sculpture fragment from the porch at the ruined church in Vézelay, which Viollet worked as architect to rebuild. I immediately found a few books and did a web search but didn't find anything that resembled this drawing. Frustrated I even asked a French friend to go look for me at the building, but that hasn't been able to happen yet, so the hunt went onto a very back burner.
Insert some years here...
Then a few weeks ago I found a reference to a book in a bibliography for "La Sculpture Oubliée de Vézelay" (Forgotten Sculpture of Vézelay). Apparently there is a museum in the town that houses the fragments of the sculptures and this book is the catalog of those pieces. Excitedly I clicked the buttons to order the book from University of Oregon because it usually only takes about 2 days for the books to arrive on the shuttle! Carefully I scanned through each page looking for a potential sculpture that could have inspired Viollet's drawing. The only thing even remotely possible was the bottom half of the sculpture on the left in this picture:
The image on the right is what remains of Christ at the Marriage of Cana, and the fragment on the left, according to the catalog disappeared sometime between 1967 and the early 70's and is considered stolen. The left figure has possibilities - the belt looks right and an overgarment ends mid-thigh, but just looks like a mantle to me. There wasn't a corresponding piece that might have been the upper half. I felt I had hit another dead end with the catalog, however there are other non-published drawings of Viollet listed in the bibliography. I do wonder if it would be worth pursuing with the museum?
Another possible source popped up on the bildindex search of Vézelay. (I didn't know they were there!) I went through some 600 photos and this fragment has some close similarities to the drawing:
This has its problems too, but the hair is telling, and since this seems to be a capital of a column perhaps the hair over the right arm makes one think that there could be a break in the sculpture denoting a seam when viewed at a distance. There is a belt with a tassles, and the arm placement, though not exact could have inspired the drawing. It's a possibility...
Another question would be where Norris got all the information about this garment coming back from the crusades, being made of some light fabric and only later being furred and called the pelicon? Viollet has nothing of the sort mentioned! I might be missing a middle source so I am not retiring this inquiry yet.
- Mood:
curious
If you follow the links below you'll see a quite detailed memorial for Johann the Duke of Münsterberg and his wife Christina, who seems to be of Polish descent. I find the shots from the bottom where you can see the layers of the skirts interesting. I also think this is the only example I've seen of a Germanic woman in a cap of estate.
http://olesnica.mojeforum.net/temat-vt34
http://www.olesnica.nienaltowski.net/Tum
About the people:
http://de.wikipedia.org/wiki/Johann_(M%C
http://www.bildindex.de/bilder/mi10594b0
and detail:
http://www.bildindex.de/bilder/mi10594b0
I thought I'd pass it on...
Edited to enbiggen the links...
Itinerary of King Henry II" by Robert William Eyton on google books today:
http://books.google.com/books?id=MzM-AAA
It seems that this book would make an interesting study for those with
English court personas of the period. There seem to be several references
to cloth throughout the book, which makes me want to go back and try the
Pipe Rolls again. I thought I'd share what I have attempted to translate
here with the page numbers referenced.
Page 43
Et pro pannis liberorum Regis 42s 2d per breve Regis
And for cloth for the children of the king 42s 2d per writ of the King
Pro roba ad opus Reginae £80.6s.8d.
For robes for the use of the queen £80. 6s. 8d.
Page 90
Et pro pannis ad opus Henrici filii Regis £16. 13s. 10d.
And for cloth for the use of Henry son of the king £16. 13s. 10d.
Page 97
Et eidem Gaufrido filio Regis et hominibus ejus £25. 8s. 4d. ad pannos et
equos per Alanum de Nevill.
And to the same Geoffrey, the son of the king and men of his £25. 8s. 4d.
for clothes and horses from Alan de Neville.
Page 139
Et pro roba filiae Regis Franciae et familiae ejus £26. 17s. 5d. per breve
Regis et per testimonimium Edwardi Blundi
And for robes for the daughter of the king of France and the family of the
same £26. 17s. 5d. by writ of the king and by testimony of Edwardi Blundi.
Page 139
Et Edwardo Blundo £12.10s ad emendos pannos sericos et unam pelliciam
variam ad opus Regis… per breve Regis.
And (to) Edwardo Blundo £12.10s to buy silk cloth and a vari-colored fur
for the use of the King…by writ of the king
Et pro pannis ad opus Reginae per Edwardum Blundum £6. 19s. 9d. per breve
Regis. Et pro roba de viridi essaia et caligis et ocreis et tribus pannis
sericis ad opus Regis filii Regis £9. 15s. per breve Regis per visum
Edwardi Blundi.
And for cloth for the use of the Queen by Edwardum Blundum £6. 19s. 9d. by
writ of the king. And for a robe of green saye(?) and stockings and boots
and three silk cloths for the use of the young king £9. 15s. by writ of
the king by view of Edwardi Blundi.
Page 144
Et Edwardo Blundo £9. 12s. ad adquitandam robam Regis filii Regis, et ejus
familiae.
And Edwardo Blundo £9. 12s. transferred for robes of the young king and
that same family.
Page 161
Et in soltis per brevi Regis Aedwardo Blundo £30 ad Coronationem Regis
filii Regis.
And concerning(?) by writ of the king Aedwaro Blundo £30 for the
coronation of the young king.
Page 168
pro Roba Regis filii Regis et Reginae suae in coronocione sorum apud
Wintoniam £88. 10s. 4d. per breve Regis et per testimonium Edwardi Blundi.
Et item pro roba Regis filii Regis ad equitandum et tribus pannis sericis
£8. 8s. per breve Regis.
For a robe for the young king and queen for their coronation at Winton
£88. 10s. 4d. by writ of the King and by testimony of Edwardi Blundi. And
item for a robe for the young king for riding and three silk cloths £83
8s. by writ of the king.
Page 169
Et Edwardo Blundo £42. 12s. 6d ad emendam Robbam Regis fillii Regis et
Reginae matris ejus et Regina uxoris ejus, per breve Regis. Et Edwardo
Blundo £3. 6s. 8d pro panno serico ad opus Regis filii Regis per breve
Regis.
And Edwardo Blundo £42. 12s. 6d to buy robes for the young king and queen
mother of the same and queen consort of the same per writ of the king.
And Edwardo Blundo £3. 6s .8d. for silk cloth for the use of the young
king by writ of the king.
Page 182 (wedding of the King’s sister Emma to David ap Owen of Wales)
Et pro pannis et apparatu sororis Regis quam David filius Oeni duxit in
uxorem £28. 17s. per breve Regis et per visum Edwardi Blundi.
And for cloth and equipment for the sister of the Queen when given to
marry to David son of Oeni £28. 17s. by writ of the king by view of
Edwardi Blundi.
Page 183
In robis domini Regis quas Vicecomes liberaivit in camrera curiae per
breve Regis
The lord king’s robes that were delivered by the sheriff to the curia
chamber by writ of the king.
Page 190
Pro roba ad opus Reginae junioris £26. 5s. 2d per breve Regis, per
Ricardum Ruffum et per visum Edwardi Blundi
For robes for the use of the young queen £26. 5s. 2d. by write of the
king, by Ricardum Ruffum and by view of Edwardi Blundi.
Page 241
Et pannos quos Rex misit filiae suae in Hyspanid per breve Rebis et per
visum Edwardi Blundi
And clothes that the king sent to his daught in Hyspanid by writ of the
king by view of Edwardi Blundi.
Page 287 (11 June 1188)
“In the same account here are a variety of charges pro pelliciis et
punulis et pannis laneis et sericis et pro galeis et auro et jocundiolis
ad opus Regis”.
For furs and cloaks and wool cloth and silk and for coifs(or helmets?) and
gold and delights for the use of the king.
- Mood:
awake
This seems quite cookie like. It's from Phillipine Welser's cookbook. I'm thinking that the goodie might be could be cut out with cutter. What do you think? It is a very raw text punctuation and spelling wise...
die hiepsen stritzela
zu bachen von mandel
nim ain fier dung mandel machst du by 12
stritzla las yber nach jm frischen waser ligen
dar nach schelsch vnd reybs wie zu aim martza ban
dau nit gar so vil zucker dar al als des mandels
is vnd reyb mit rose waser ab aufs driknes
dar nach mach schrytzala als lang du wilt mach
dar nach ain dayglin nim dar zu ain guotts mel
das besten vnd dau zucker ain rosen waser
vnd ain wenig ain frisch erlasen schmeltzlin
dar ein vnd mach ain dayglin dar auß vnd
walagla bledlas aufs aler dinest vnd schlag
die obgemeltten stritzala dar ein vnd netz ain
wenig mit aim rosen waser am ayrt da du
den dayg dar von schneytz vnd walglaß din
so is es recht dar nach so nim ain eysalin vnd
zwicks aufs schenst wie du wilt dar nach nim
das bladt aus der dortten pfanen vnd yber
ses mit zucker vnnd leg die strytszlin dar auf
vnnd bachs gech her ab vnd gib jm vnden
wenig glaudt vnd oben gar fyl danst nit
zu fil nemen las also vn geforlich ain fierdel
stundt bachen dar nach sych dar zu wans
oben aufkloben sendt so sentz recht wo [so]
dencks [decks] wider zu
Lovely Strizel
to bake from almonds
take a vierdung (a measure – quartlike?) of almonds make by it 12
strizels let them lay overnight in fresh water
then peel them and grate as for a marzipan
put not quite so much sugar as there almonds
are and rub [grind] up with rosewater until dry
then make tubes as long as you want to make
then a dough take for it a good flour
the best and put sugar a rose water
and a bit of freshly made schmaltz
therein and make a dough there out of it and
roll sheets of all thinnest and cover
the perpared strizel therein and moisten
a bit with rosewater on the edges there you
from the dough cut and roll thin
so it is correct then so take an iron form and
pinch off nicely as you want then take
the plate out of the tart pan and over
set it with sugar, and lay the strizel there on
and bake up here tawny and give to it under
little coal and over quite a bit you can not
too much take let thus approximately a quarter
hour bake then look thereto when
the top does stick together so it is right so [or?]
cover it back up
Some definitions from “Zur Sprache in Kochbüchern des späten Mittelalters und der frühen Neuzeit – ein fachkundliches Wörterbuch”:
Eisen(lein) – aus Eisen geschmiedetes Gerät für die Küche, auch oft prächtig geschnittene Waffeleisen
[a wrought iron implement for the kitchen, also often a finely engraved waffleiron]
Strizel – Stollen, oft auch Butter-o. Hefenzopf, bisweilen als Ostergebäck.
[Stollen [lit. tunnels] often of butter or yeast braids, sometimes as an Easter pastry]
This comes from Phillipine Welser's cookbook, circa about 1545
Wilt du nunen firtzlach bachenn
So heb den dayg mit eydel ayren an mach jn
auff das aller sterckest vnd wel jn wol auß
vnnd mach lange strytzala vnd schneyt zwyfel
dran aines fingers lang vn geforlich an bayden
aryden dar nach bachs jn aim schmaltz nit zu hayß
fein langsam so klieben sy fein auf sy sent
gleych wie am esen wie die ayr bretzen dau
ain zucker jn dayg
Would you to fry a nun’s fart
Then have the dough with some eggs made up
into the most stiffest and roll it out well
and make long rolls from it and cut tails
from it a finger long and take up both
ends then next fry them in some fat not too hot
finely slow so they stick together well they are
similar to eat as the egg pretzels put
sugar into the dough
I have another recipe for a "Nunne" that seems somewhat different than this.
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My gebachens class went well. I would have liked to have added the last three books I intended to my spreadsheet, but I can finish that without too much trouble. I think I will want to teach this one again. I did learn some things from the classes I watched, but mostly I took away some ideas on how to make myself a better teacher as well as how to up my authenticity on the table presentation level.
( Things to consider for my next class )
Since the next Culinary Symposium is going to be local, I am planning on doing this again. It takes me quite a while to develop a new course so I wonder what I should try. I think I'll put up a poll!
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