Saturday, May 16, 2020

An Under Handed Duel

The Duel of Sir Guy of Steenvoorde and Sir Herman the Iron


Since I stirred up a hornet's nest, I feel that I should clean my pallet with something more humorous. A trial of combat between Sir Guy of Steenvoorde and Sir Herman the Iron. The following is not suitable for bardic piece at a school demo and probably should not be re-enacted as a Ice Dragon bardic performance.

In the 2nd quarter of the 12th century a Flemish knight by the name of Guy Steenvoorde was accused of being involved in the plot that killed Charles, the the Count of Flanders. The main point of the accusation was that Guy was married to the niece of another conspirator, who had just been killed by being beaten and then strangled with the bowels of a dog. While he, Guy, denied being involved, another knight, who was loyal to the late Count, named Sir Iron Herman, hotly accused Guy of being a murderer. I was unable to discover if Iron was his actual name, but all of accounts describe him as "a strong knight". 

Galbert of Bruges.wrote the following account on that April day in 1127:

"For this reason Iron Herman, a strong knight, had challenged Guy to single combat in the presence of the illegitimate Count of Ypres and immediately after [Provost] Charles had been killed because he had evilly betrayed his lord [Count Charles]. But Guy leapt forward, declaring himself ready to defend himself at any time against the alleged betrayal. And the next day that was assigned to them was the same on which the aforementioned provost suffered the torments of his death.
...
"Guy knocked his adversary from his horse and kept him down easily with his lance as he was struggling to get up. Then his opponent, running nearer, ran Guy’s horse through with his sword, disemboweling it. Sliding from the horse, his sword drawn, Guy attacked his adversary. A continuous and bitter encounter followed with exchanges of sword blows, until, worn out by the weight and burden of their arms, they threw away their shields and hastened to win the fight with their strength in wrestling. Iron Herman fell prostrate to the ground, and Guy threw himself on top of him, pounding the knight’s mouth and eyes with his iron gauntlets. But just as one reads of Antheus, [1] the prostrate man gathered strength bit by bit from the coolness of the ground and slyly made Guy think he was certain of victory while he rested. Meanwhile, having raised his hand very smoothly to the lower edges of the mail coat, where Guy was unprotected, and grabbed him by the testicles, he collected his strength for a single effort and threw him from him, breaking open all the lower parts of his body by this grabbing throw so that the prostrate Guy grew weak and cried out that he was defeated and was going to die.
"Then the Count, who wanted above all to enhance his reputation through this combat, ordered Guy to be hung on the same gallows next to the already dead provost so that they would die partners in torment just as they had been partners in betraying."

The only other account of the duel is recorded by Walter of Théroanne:

"When the judicial duel to determine the case between Guy and his accuser Herman, nicknamed the Iron, began, Guy had the better of the first and second exchanges of blows and fell on Herman and crushed him the the ground under the immense weight of his body and their arms (for Guy, like Herman, was armed with a heavy hauberk and a helmet). Then Herman, strengthened by God’s virtue, got up as if he no longer felt anything weighing on him and, throwing down in turn him who, as was mentioned above, had previously had the upper hand, began to press him to confer the crime he had committed. What more can I say? He was ultimately vanquished by divine judgement and convicted of the crime of which he was accused and thus sentenced to die."

Jeff Rider, a professor of Romance Languages and Literatures and Medieval Studies at Wesleyan University, explains that Galbert of Bruges was not in Ypres to see this duel and was relying on the reports of others to recreate his account.

[1] Antheus was a giant, the son of Poseidon and Gaia. He loved to wrestle and was invincible as long as he remained in contact with the earth (Mom). He was killed by Hercules who held him above his head until Antheus grew weak enough to have the life squeezed out of him.


"Duels History and Purpose " Patrick Luo Final Project Blog 5.- Legio I Lynx Fulminata, 2 Dec. 2018, legioilynx.com/2018/12/02/duels-history-and-purpose-patrick-luo-final-project-blog-5/.

Galbert of Bruges. The Murder, Betrayal, and Slaughter of the Glorious Charles, Count of Flanders. Translated by Jeff Rider. Yale University Press, Nov 26, 2013

Recovering from COVID lockdown

Howdy, my friends.

I wish to bring up an idea that I had broached last week on one of the Hael's Zoom meetings. It will be a while before we will be able to hold safe events. I think that our first gatherings will be small, local, pot-lucks rather than full, garbed events. Many of us are talking, on Facebook, about how they can't wait to hug one another and get back to normal. I don't want to slam on the brakes here, but I wish to point out that our current situation is going to have an impact on many of us. Our extrovert friends are having trouble not being with people, certainly, but our introvert friends are not only having the same isolation issues, but there is a real possibility that suddenly being surrounded by other people might set off anxieties and panic attacks. Especially when a dozen of your friends bear down on you for a group hug.

The transition from being alone for weeks at a time to surrounded by touchy-feely friends might overwhelm some of us. Particularly those of us who live alone. We might not be able to have get togethers until June or July, and we might not be able to have actual events until August or September, but we should start thinking about this, now, and plan for the possibility that some of our friends might not want to be hugged, or even touched.

I've been seeing color coded dog leads and harnesses, while out on my walks: Green for "okay to pet"; red for "don't touch."; yellow for "ask first". We should adopt a similar system for when we are allowed to act like normal SCAdians. We could wear something: a piece of duct tape; a scrap of cloth; a ribbon tied on one arm; that would tell others how that person feels towards physical contact, at that moment.

Green = Bring on the hugs. (go ahead and ask)
Yellow = I don't know, ask me first. (I might say no, even to a close friend)
Red = Nope. (Don't even ask)

Of course, always ask first before hugging another person, but you will be able to tell if a given person might want you to hug them from someone who doesn't want to be touched. Or who might have health issues and want to stay 6 feet away from everyone until we have a vaccine. We might have to use this system, or something similar, for a while. Almost all of us colored duct tape. Most of us have fabric scraps and safety pins. A good deal of us have colored garters. It should be easy to whip up enough green, yellow and red tokens for everyone.

I can't wait until we can get back to normal, but I also don't want to see any of my friends have panic attacks because their lives went from zero physical human contact to all of the humans in one room at once. I will admit that when the Hael has it's first post-lockdown party, I will reach a point where there are too many huggers and I need to stop. I love my friends, but after the first 20 hugs, I think I'll be done for the day: I'll trade in my green token for a yellow or red depending on how many people are there.

We should have a universal plan in place for when that golden day arrives and we can all get together, again. We should have plan so that we don't set off panic attacks and we can show love to our friends who need to slowly ease back into human contact. Please share this far and wide.

Saturday, May 9, 2020

Scroll - Axeman vs Centaur

Scroll - Axeman vs Centaur

Description:

Two scrolls depicting the same image of a inhabited initial ‘A’, depicting a centaur spearing a man holding an axe: opening psalm 77. Inspired by folio 101r of the 12th century Hunterian Psalter.[1] Also known as the York Psalter. Gouache and ink on Fluid 140 pound, hot-pressed, cotton paper and a miniature of the same image on vellum, also with gouache and ink.

The larger image was made as a scroll blank. The smaller was made for the Shelter-In-Place Scribal War.



Details of the original image:

Vellum, 11½ x 7½, ff. 202, originally ff. 204, beautifully written in one hand (except the last 33 folios, in XIV. Cent. hand), in single cols. of 21 lines (in Kalendar 35 lines), each 8½ x 4¼, ruled and margined with plummet, 13 full-page pictures, one full-page illumination, gilt, historiated or illuminated initials begin the first verse of each Psalm, small gilt initials (ornamented in Ps. xcvi.) begin the second and following verses, no signatures or catchwords, partial foliation, modern (in pencil), the Kalendar is written in black, red, blue and green, cropped, marginalia (first three folios only), fol. sec. Martis. Cents. XII. (and XIV.) Binding: Millboards, covered crimson morocco, richly gilt-tooled inside margins, edges and sides (lines), panelled back, title (gilt): PSALTERIUM | UETUS | IN MEMBRANIS. Late Cent. XVII. [For detailed collation see: John Young and P. Henderson Aitken, A Catalogue of the Manuscripts in the Library of The Hunterian Museum in The University of Glasgow. (Glasgow, 1908), p. 170.]

Although much of the early life of the Psalter remains a mystery, its acquisition by Glasgow University is quite clear. It came as part of William Hunter’s magnificent library in 1807, along with the rest of his wonderful collections. Dr William Hunter (1718-83) was a famous anatomist and physician, and renowned collector of books, manuscripts, coins, medals, paintings, shells, minerals, and anatomical and natural history specimens. Under the terms of his will, his library and other collections remained in London for several years after his death - for the use of his nephew, Dr Matthew Baillie (1761-1823) - and arrived at the University in 1807.


Hunter’s collection of books contains some 10,000 printed books and 650 manuscripts; it forms one of the finest Eighteenth Century libraries to survive intact. Hunter acquired this volume at the sale of the library of Louis-Jean Gaignat in Paris on 10 April 1769, along with several other books. His French agent, Jean B. Dessain, bought it at the auction on Hunter’s behalf for fifty livres and one sou; it was described in the sale catalogue as a ‘codex pervetustus’ (‘an antiquated book’). Now regarded as the greatest treasure in his library, Hunter was paying three times as much for early printed books at the time. [2]

Technique:

The initial image was a scroll blank, made with no assignment in mind. I had already made this image twice before, so I had some experience with it. I used gouache and ink on paper rather than vellum and period pigments as I do not have experience with period pigments, nor do I own any, and I did not have any vellum or pergamenta; only cotton paper. Working from a high resolution image of the manuscript, [3] I removed the background colors and printed out the image. The design was transferred to the paper by tracing over a light box. I feel that there is no shame in using a light box, as I am better at tracing than I am at drawing free-hand.

The scroll was made on Fluid 100% cotton, 140# hot-press watercolor paper. This scroll is 9x12” in size. I used gouache: Reeves and Winsor & Newton for colors and Holbein for the gold. I went heavy on the gold to give it some texture. For the figures and background, I used a very watered down base coat all over, with three or four layers over each area; each layer thicker and thus, darker, than the previous one. Once the paint was dry, I added the white work. I have found that with the gouache, the added white really makes the paint pop, especially the dark paints. I applied the paint so that if the virtual light source came from the upper, left-hand corner of the page, the darkest shades would fall into the right most corners, producing shadows.

I used a very watered down light-blue wash on the metal bits: the axe and spear heads. I have found, over the years, that the silver paint just doesn’t look good and a light wash give the appearance of if not metal than some material that is different than fabric or flesh. Leaving the metal bits unpainted gives the impression that the scroll is unfinished and using darker paint doesn’t give the impression of metal. Beside, this is a technique used in many medieval manuscripts, the Hunterian Psalter for example.

The background of the letter was painted with ultramarine blue gouache and highlighted with white dots: no highlighting or shading was used. Several layers of gold paint were used to make the objects stand out. The goal was to produce an image that would stand out and be visible when it was displayed in court.

Once the all of the paint had dried, I outlined all of the sections with black ink to make the image further stand out, then added white ink and paint to the highlights, to give the figures a sense of depth.

The second piece, made for the Shelter-In-Place Scribal War, was done on a 2x3” piece of actual vellum and was my first experience with working with the material. I scaled down the source image and traced it onto the scrap of vellum. I used the same ink and paint technique as I used on the paper version, but I prepped the vellum with a piece of fine sandpaper, followed up with some pounce, to remove any oil from the surface. A procedure not required on the cotton paper.

I kept the colors the same, except for the legs of the axeman: on the larger image I had used green, but I used light blue on the vellum piece because I wasn’t paying attention: I had started to apply the blue before I realized that I wasn’t using the correct color. Not a major mistake, but a mistake none the less. Also, due to the size of the piece, I was forced to use reading glasses in order to see the fine details. Even so, I had mistakenly applied the background paint where the centaur’s shield was supposed to be. I didn’t want to scrape the paint off of the vellum, since I had no experience with the material and did not want to damage it. I inked around the blue, I had applied, and made the shield more narrow. I think that it isn’t very noticeable when viewed full size; it is when you look at the high-res image.

Unlike paper, the ink and paint didn’t soak into the vellum, but floated on top of it until it dried. [4] This required me to apply a thin layer of gouache to all areas and let each one dry completely before moving on. Subsequent layers then sat atop the dry foundation layer and were less likely to run.

[1] Glasgow, University Library, MS. Hunter 229
[2] From the University of Glasgow’s web site: http://special.lib.gla.ac.uk/manuscripts/search/detail_c.cfm?ID=34725
[3] Provided by the Glasgow University Library Special Collections Department’s web site: Book of the Month, May 2007, http://special.lib.gla.ac.uk/exhibns/month/may2007.html
[4] This is the same when working with pergamenta.

References:


Caballero, Rosario; Díaz Vera, Javier E. Textual Healing: Studies in Medieval English Medical, Scientific and Technical Texts. Peter Lang, 2010

Gibson, Margaret T.; Heslop, T. A.; Pfaff, Richard William. The Eadwine Psalter: Text, Image, and Monastic Culture in Twelfth-century Canterbury. Penn State Press, Jan 1, 1992

Glasgow University Library Special Collections Department’s web site: Book of the Month, May 2007, http://special.lib.gla.ac.uk/exhibns/month/may2007.html

University of Glasgow’s web site: http://special.lib.gla.ac.uk/manuscripts/search/detail_c.cfm?ID=34725

Sunday, April 26, 2020

A Complaint Against the Blacksmith

For your evening entertainment:
A Complaint Against the Blacksmith (14th century, Anonymous; British Museum , Arundel MS 292)



Swart [1] smutted [2] smiths, smattered with smoke,
Drive me to death with din of their dints;
Such noise on nights ne heard men never.
What with knaven [3] cry and clattering of knocks!
The crooked caitiffs [4] cryen [5] after coal! coal!
And bloweth their bellows till their brain bursteth.
Huf! Puf! says the one; Haf! Paf! says the other;
They spitten and they sprawlen [6] and they spellen many spells.
They gnawen and gnashen and they groan all together,
And holden them hot with their hard hammers.
Of a bull-hide be their barm-fells; [7]
Their shanks be shackled for the fiery flinders; [8]
Heavy hammers they have that are hard to be handled,
Stark strokes they striken on a steely stock, [9]
Lus! Bus! Las! Das! Snore [10] they by the row,
Such doleful a dream that the devil it to-drive!
The master loungeth a little and catcheth a less,
Twineth them twain and toucheth a treble, [11]
Tik! Tak! Hic! Hac!, Tiket! Taket! Tyk! Tyk!
Lus! Bus! Las! Das!. Such a life they lead

All blacksmiths: Christ give them sorrow!
May no man for brenn waters on night have his rest? [12]

Or, my modern interpretation:

Dark and dirty smiths, darkened with dust,
Drive me to death with din of their dents;
Such nightly noise no man has ever heard.
What with course cries and clattering of knocks!
The crooked cowards crying for coal! Coal!
And bend upon their bellows until their brains burst. 
Huf! Puf! says the one; Haf! Paf! says the other;
They spit and scrawl and speak many spells.
They gnaw and gnash and they groan all together,
And hold them hot with their hard hammers.
Of a full bull-hide be their leather aprons;
Their limbs be enveloped against the searing embers;
Heavy hammers they wield that are hard to handle.
Strong strokes they strike on a steely stock, 
Lus! Bus! Las! Das! Grunt them by the row,
Such a doleful dream that it drives one to the devil.
The master rests little and picks up a small hammer,
Striking them together, the lesser sounds a treble note,
Tik! Tak! Hic! Hac!, Tiket! Taket! Tyk! Tyk!
Lus! Bus! Las! Das!. Such a life they lead
All blacksmiths: Christ give them sorrow!
For the hissing of steaming water may no man have his rest?


[1] Squat and burly.
[2] Smudged.
[3] Lower class.
[4] A contemptible or cowardly person.
[5] Calls
[6] To write, draw, or mark awkwardly, hastily, or carelessly; esp., to write with sprawling, poorly formed letter
[7] Blacksmith's apron.
[8] Small fragments or splinters, most likely used here as slag being hammered out of the metal. The line might describe how the smith's arms are covered, rather than literally shackled.
[9] Anvil
[10] Here meaning snorting or grunting.
[11] Beautiful imagery with these two lines. The master smith rest little and grabs a smaller [hammer], working in tandem with a heavy and light hammer. The lighter hammer making a higher pitch noise as it strikes.
[12] No man may get sleep, because of these ‘brenwateres’, referring to the hissing noise as a smith cools his irons in water.


Gimpel, Jean. Medieval Machine: The Industrial Revolution of the Middle Ages. New York. Penguin Books, 1977.

Salter, Elizabeth. "A Complaint against Blacksmiths," Literature and History 5 (1979): 194-215.

Schrader, Richard J. "The Inharmonious Choristers and Blacksmiths of MS Arundel 292." Studies in Philology, vol. 104 no. 1, 2007, p. 1-12. Project MUSE, doi:10.1353/sip.2007.0004.

Thorpe, Deborah. "Heated Words: The Politics and Poetics of Work in 'A Complaint against Blacksmiths,'" Parergon 32 (2015): 77-101.

Image from Arundel 292  f. 72 Detail of marginal pointing finger. Devotional miscellany, including the Creed in English, a bestiary, Apollonius of Tyre (ff. 41-61); Henry of Sawtrey's De purgatio Sancti Patricii (ff. 73-88) http://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=12304




Friday, April 3, 2020

Unexpected Finds

Dance, like you've torn the bandage off.


I went looking for inspiration and found this: Egerton 2781 f. 36  The description is just, "Miniature of a man between a devil and a cross."

Obviously, it's a dance battle and the inspiration for The Guardians of the Galaxy.


Wednesday, March 25, 2020

The Battle Between Sir Carnival and Lady Lent


Hello, my fiends,

I wish to post this in honor of Lent. This is a 14th century allegory about a food fight between Carnival and Lent. This is an actual story from 14th century Spain, I did not make any of this up. This is from Jaun Ruiz's "Book of Good Love" ("El libro de buen amo"), translated by Rigo Mignani and Mario A. DiCesare. (p219-28 of the 1970 edition) which I have recently aquired.

In these troubling times, it is important to keep our spirits up, and to find something to laugh at. And if you ever read that no one in the middle ages had a sense of humor, remember that this was written by the Archpriest of Hita.

Stay safe and wash your hands after reading.


The Battle Between Sir Carnival and Lady Lent


The season sacred to the Lord was drawing near, so I returned to my own place to rest for a while. It was seven days before Lent - that time which caused fear and dread throughout the whole world. I was at home with Sir Thursday the Fat when a messenger ran in, bringing me two letters. Even though it's a long story, I will summarize for you what they contained, because after I had read these letters, I returned them to the messenger.

"From me, Lady Lent, servant of God, whom He has sent to every sinner, to all archpriests and clergy without love-salvation in Jesus Christ until Easter: You should know that I have been informed that, for almost a year, Sir Carnival, in rage and fury, has been going about pillaging my land, wreaking havoc and, what angers me most, shedding much blood. For this reason, I order you most solemnly under obedience and in pain of judgment, to challenge him with my credentials, in my name and in that of Fast and Penance. Make it perfectly clear to him that in seven days I myself and my troops shall come to do battle against him his arrogance. I do not believe that he will remain in the butcher shops. After you have read this letter, return it to the messenger to carry throughout the land without concealing it, so that his people may not say the message was not seen. Given in Castro Urdiales and received in Burgos."

The other letter which the messenger brought had a large shell hanging from it like a seal; it was the seal of the Lady. This is the message she sent to Sir Carnival: "From me, Lady Lent, Justice of the sea, Guardian of the souls that desire to be saved, to you, gluttonous Carnival, who think of nothing by gorging yourself, I send Fast to challenge you in my name. Seven days hence, you and your army shall come to do battle with me in the field. I will fight you without fail, until Holy Saturday, and you will not be able to avoid death or prison."

I read both letters and understood their meaning. I realized that the order was even stricter for me since I had no mistress and I was not in love. My guest and I were both upset. Sir Thursday, my guest, got up happily from my table - for which I am glad - and said: "I am the standard bearer against that wretch, and I will have to joust with her. Every year she makes trial with me."

He thanked me heartily for the fine repast and departed. I wrote my letters and then told Friday, "Go to Sir Carnival tomorrow and inform him of all this so that on Tuesday he will come to the fight forewarned."

When he had received the letters, the proud Sir Carnival bared his teeth, though he was really afraid. He had no desire to answer but he came, anxiously, leading a huge army, for he was a powerful man. On the appointed day he was there, the defiant Sir Carnival, surrounded on all sides with armed men: mighty Alexander himself would have been pleased with such a following. In his vanguard he had ranged excellent foot soldiers: Hens and Partridges, Rabbits and Capons, Ducks domestic and wild, and fat Geese were mustered near the embers. They bore their lances like front-line men, huge skewers of iron and wood. For shields they had platters: at any proper feast, they are the first course. After these shield-bearers came the bowmen: salted Geese, Mutton Loins, fresh Legs of Pork, and whole Hams. And following them came the knights: Beef-quarters, suckling Pigs and Kids, gamboling and squealing. Then came the squires: many Cream Cheeses that ride and spur dark wines.

A rich train of noblemen came next: Pheasants and proud Peacocks all well garnished, their banners upright, bearing frightful weapons and fierce armor. Their weapons were well wrought, well  tempered and fine: for helmets they wore pots made of pure copper; for shields, cauldrons, pans, and kettles. Certainly the Sardines do not have an army of such value. Many Deer arrived, and the great Wild Boar who said: "Sir, you must not leave me out of this battle, because I have already set to many times with Ali." I am accustomed to fighting and have always been good at it.

The Boar had hardly finished speaking when the Deer came, very swiftly. "Sir, I, your loyal servant, salute you," he said. "Am I not a hermit in order to serve you?"

The Hare came, very willing, to the muster. "Sir," she said, "I will bring a fever on that Lady; I will bring on the itch and the boils, so that she will not even remember the fight. She will want to have my skin when one of them breaks out on her."

Then came the Wild Ram, accompanied be Roe-deer and Doves, flaunting his courage and hurling about threats. "My Lord," said he, "if you throw the Lady at me, she will do you no harm for all her fish bones."

Slow and plodding, the old, loyal Ox arrived. "Sir," he said. "I am good only for pasture or the plough; I am not fit to battle on the road or in the field. But I can serve you with my meat and my hide."

Sir Bacon came in a full pot with many a Corned Beef, Rib and Pork Loin. They were all ready for the fierce battle. But the Lady knew her trade and did not show up too soon.

Since Sir Carnival is a very wealthy emperor and had lordly power over the world, the birds and animals came very humbly, but with great fear. Sir Carnival was sitting majestically at a full table on a noble dais, with jesters before him as befits a great man. A lavish feast was set before him. At his foot knelt the humble standard-bearer, one hand on the wine barrel, playing away at his trumpet. The Wine, as sergeant-at-arms, was speaking for all of them. At nightfall, long after they had all filled their bellies at the feast, they said "Goodnight" and comfortably went to sleep to rest for the battle with the Lady.

That night, the Roosters were filled with fear and kept a frightened vigil without once closing their eyes. But that is not strange, since they had lost their wives. Every noise they heard made them jump with fright.

It was midnight when the Lady Lent marched into the middle of the hall and cried, "God be our strength!" The Roosters screamed and flapped their wings, and the evil tidings reached Sir Carnival. But that good man had eaten his fill of wine at the feast, and now he was groggy with sleep. The racket was heard throughout the whole camp. Drowsy, they all stumbled to the battle, mustering their troops, and no one dared to complain. The host from the sea wielded their weapons and the two armies crashed against each other crying, "Ea!"

First to wound Sir Carnival was white-necked Leek, hurting him so badly that he spat phlegm, a fearful omen. Lady Lent thought the camp was hers. Salty Sardine came in to help and wounded fat Hen by throwing herself into her bill and choking her, and then she cracked Sir Carnival’s helmet. Great Dogfish charged the front line, while the Clams and the Cuttlefish guarded the flanks. The fighting was chaotic and confused, and many good heads were split open.

From the coast of Valencia came the Eels, marinated and cured, in large crowds; they struck Sir Carnival in mid-chest, while Trout from Alberche hit him in the jaw. Tuna fought like a fierce lion; he rushed Sir Lard and hurled insults, and if it had not been for Corned Beef, who warded off the lance, Tuna would have wounded Sir Lard through the heart. From the region of Bayona came many Sharks, killing the Partridges and castrating the Capons; from the river Henares came the Shrimp, who pitched their tents as far as the Guadalquivir. Barbels and other fish fought against wild Ducks, and Merluce cried to Pig, "Where are you? Why don't you come out? Just show yourself and you'll get what you deserve. Go lock yourself in the mosque, but don't go near a church."

Catfish added to the rout, with his tough skin barbed with hooks; he ripped into Legs and Loins, clawing them as if he were a cat. Strange groups of odd sizes rushed up from the sea, the ocean, the lakes, armed with fierce bows and crossbows. It was a worse rout than that at Alarcos. Red Lobsters flocked from Santander, emptying their heavy quivers and making Sir Carnival pay heavily. The spacious meadows were becoming too small for him.

Because the year of jubilee had been proclaimed and all were anxious to save their souls, all the creatures of the sea hurried to the joust. Herrings and Sea Breams came from Bermeo; Whale went about with a large corps of fighters, wounding and killing the carnal hosts. The valiant Shad slew the Doves and Dolphin shattered old Ox's teeth. Shad and Dace and noble Lamprey came from Seville and Alcantara to get the share. Everyone sharpened his weapons on Sir Carnival, and in vain did he try to loosen his belt.

Dogfish, a tough ruffian, went about madly, brandishing a mace slung from a belt, with which he banged Pig and Suckling in mid-forehead, and then ordered them salted down in Villenchon salt. Squid showed the Peacocks no quarter, nor allowed the Pheasants to fly away; the Kids and the Deer he tried to strangle. With his many arms, he can fight many opponents. There too, were Oysters battling against Rabbits, and harsh Crabs jousting with Hare. On both sides such tremendous blows were dealt that the ditches were running with blood and scales. Conger Eel, Count of Laredo, marinated and fresh, fought fiercely and wrought havoc on Sir Carnival, bearing down very hard on him. Sir Carnival was in despair, finding no comfort anywhere. Rallying his courage, he hoisted the spear; with renewed vigor, he turned against Salmon, who had just come up from Castro de Urdiales. That knight stood his ground, without flinching from the battle. They fought hard and long, and exchanged many wounds. Had Sir Carnival been left alone, he might have finished off Salmon, but giant Whale came at him, embraced him, and threw him down on the sand.

Most of Sir Carnival's army had perished; those who could had fled. Even so, afoot, he tried desperately to defend himself with his weak hands. Seeing the host decimated, Wild Boar and Deer fled into the mountains, and then most of the other animals abandoned him there, while those who remained were more dead than alive. Except for Corned Beef and fat Sir Lard, who had turned pale and looked like a corpse and could not fight without a bumper of wine, so fat was he, Sir Carnival was alone, beaten down and surrounded. The sea-host regrouped, then spurred forward and rushed him. But in their pity not wishing to kill him, they tied him and his followers up and brought them bound and under heavy guard before Lady Lent.

Lady Lent ordered that Sir Carnival be imprisoned. As for Lady Corned Beef and Sir Lard, she sentenced them to be hanged as high as sentries in a watchtower, and gave solemn command that no one should cut them down. They were hanged from a beech wood beam, while the executioner intoned, "This is the just punishment for their deeds."

Lady Lent set Fast to guard Sir Carnival and be his jailer, with orders that no one be allowed to see him, except the confessor if he fell ill, and that he should have only one meal a day.


Ruiz, Juan. The Book of Good Love. Translated by Mario D. Di Cesare, Mignani, Rigo. State University of New York Press, 1970.

Sunday, March 22, 2020

Strange Things Found On Medieval Manuscripts

Making new friends on Facebook


This is from BL Royal MS 20 B xx, f. 80r and depicts Alexander the Great encountering the Blemmyae. The Blemmyae were a tribe of African men with their faces set upon their chests, according to ancient Greeks. They were commonly depicted in medieval bestiaries, and in the Terra Incognita illustrations of atlases, as well as on mappa mundi.

Pliny the Elder tells us:
"Ctesias writes that . . . westward from {the Red Sea coast of Africa} there are some people without necks, having eyes in their shoulders." - Natural History 7
Herodotus wrote:
"For the eastern region of Libya [i.e. North Africa], which the nomads inhabit, is low-lying and sandy as far as the Triton river; but the land west of this, where the farmers live, is exceedingly mountainous and wooded and full of wild beasts. In that country are the huge snakes and the lions, and the elephants and bears and asps, the horned asses, the Dog-Headed (Kynokephaloi) and the Headless (Akephaloi) men that have their eyes in their chests, as the Libyans say, and the wild men and women, besides many other creatures not fabulous." - Histories 4. 191. 3
Tales of headless people persisted well into the Renaissance. The Travels of Sir John Mandeville speaks of a headless tribe of people near India. Sir Walter Raleigh wrote of headless people living on the banks of the Caura River in the 16th century.

Now, the actual Blemmyae people were a nomadic tribe living in northern Nubia from 600 BCE to 300 AD, when they were wiped out by the Roman Empire. They might have acquired the myth of being headless due to the armor and tactics used in warfare: squatting with one knee on the ground, with their chins tucked close to their chest, hiding their faces under their helms to combat enemy archers. A position that would give the impression of an army of headless warriors. Another explanation is that the actual Blemmyae painted faces on their shields or on their breastplates, however, depictions of the headless Blemmyae all speak of how naked they were.  

Or, it could have just been a ministration that people just ran with. Samuel Bochart expounded that the Greek word Blemmye was derived from the Hebrew bly (without) and moach (brain). Since the brain resides in the head; if there is no brain there is no head, therefore headless. The early Hebrews could have had contact with the Blemmyae, and calling them "brainless" might have been an insult. On the face, this doesn't sound plausible; the Greeks using a derivation of a Hebrew insult to create a myth about a nomadic kingdom. But, some people, living today, firmly believe that Jews have horns because someone mistranslated a passage of Exodus (34:29) into Latin and turned "did not know his {Moses} face had become radiant" into "did not know his face had become horned." So, anything is possible. 

It could have been an insult that was taken at face value, It could have been armor or battle tactics. It could even have been a genetic thing: the Blemmyae might have been a stocky people with thick necks and hunched shoulders that were depicted in art as having no necks at all. Somehow this morphed into having no heads. 

Or, it could have been something more sinister.