Charity and welfare. Hospitals and the poor in medieval Catalonia. By James William Brodman. (The Middle Ages Series.) Pp. xvi+229. Philadelphia, Pa: Pennsylvania University Press, 1998. £32.50. 0 8122 3436 7

2002 ◽  
Vol 53 (3) ◽  
pp. 545-650
Author(s):  
Miri Rubin
Keyword(s):  
The Poor ◽  
Mediaevistik ◽  
2018 ◽  
Vol 31 (1) ◽  
pp. 390-392
Author(s):  
Raymond J. Cormier

It doesn’t pay to sing about the poor! Literary patronage in the Middle Ages is as old as poetry itself. The aristocratic context guaranteed a rich intellectual focus, whether we consider the poetry of praise or blame, and whether fulsome or just simple. Authorized compositions offered to a patron implied a hope for favorable compensation, and with his (or her) audience assured, the ceremonial promotion of the kingdom by the poet brought glory to the sponsor. Following a benefactor’s tastes within a cultural climate of liberality and magnanimity might bring unimaginable rewards to a court poet. A quick example from the life of Fortunatus: the renowned Gregory of Tours rewarded the poet with gifts, such as an estate on the Vienne River.


2019 ◽  
Vol 16 (4 (1)) ◽  
pp. 77-92
Author(s):  
Daniel Wojtucki

There are references reaching back to the Middle Ages, regarding the fear of the “undead” or “living dead” who would rise from their graves in a local cemetery to haunt and harm the community. The fear of the “undead” was extremely strong, and the entailing hysteria often affected entire communities. In the 16th to the 18th century, in Silesia, effective forms of coping with the harmful deceased were developed. Analysing the preserved source material, we are able to determine that the basic actions involved finding the grave of the “undead” in the cemetery, exhuming the corpse and destroying it. However, this did not always mean the total annihilation of the poor man’s corpse. The trial and execution of the corpse of a person suspected of the harmful activity against the living took place observing almost the same rules as in the case of the living. Apart from the authorities, who usually commissioned local jurors to handle the situation, opinions and advice were also sought from the clergy as well as gravediggers and executioners. The last were considered to be experts of sorts and were often called upon to see corpses of the suspected dead. In the analysed cases of posthumous magic (magia posthuma) in Silesia, we deal with two directions of handling the corpse accused of a harmful posthumous activity. In both cases, the main decision was made to remove such corpses from the cemetery’s area. Costs of the trial and execution of the “undead” were considerable. They included expenses incurred due to rather frequent court hearings at which sometimes dozens of witnesses were heard, payments to expert witnesses, payments to guards watching graves, costs of legal instructions, services of gravediggers who would dig up suspicious graves, and, finally, the remuneration of executioners and their people. In the second half of the 18th century, despite relevant decrees issued by supreme authorities, trials and executions of the dead were not completely abandoned.


2017 ◽  
Vol 62 (1-2) ◽  
pp. 41-46
Author(s):  
Helma Schaefer

In her article, the author discusses the merits of the German craft bookbinder Paul Kersten (1865-1943) in the development of modern decorative papers as an expression of artistic individuality in the field of applied arts. From the Middle Ages, decorative paper had been used in decoration and bookbinding. Bookbinding workshops had traditionally made starched marbled paper. The interest of Paul Kersten, coming from a bookbinding family, in these papers had already dated from his youth. During his travels abroad, he was aware of the poor state of the bookbinding craft, which was affected by the mass production of books and book bindings as well as the industrialisation of paper production at the end of the 19th century. Kersten helped to introduce Art Nouveau into the design of German bookbinding and the methods of the modern production of decorative papers. At first, he worked as a manager in German paper manufactures and then as a teacher of bookbinding. His work was later oriented towards Symbolic Expressionism and he also tried to cope with the style of Art Deco.


1962 ◽  
Vol 13 (2) ◽  
pp. 172-185 ◽  
Author(s):  
Giles Constable

The system of compulsory tithes in the Middle Ages has long been used by protestant and liberal historians as a stick with which to beat the medieval Church. ‘This most harassing and oppressive form of taxation’, wrote H. C. Lea in his well-known History of the Inquisition, ‘had long been the cause of incurable trouble, aggravated by the rapacity with which it was enforced, even to the pitiful collections of the gleaner’. Von Inama-Sternegg remarked on the growing hatred of tithes in the tenth, eleventh, and twelfth centuries, especially among the small free landholders, ‘upon whom the burden of tithes must have fallen most heavily’. Gioacchino Volpe said that tithes were ‘the more hated because they oppressed the rich less than the poor, the dependents on seigneurial estates less than the small free proprietors to whose ruin they contributed…. At that time tithes were both an ecclesiastical and secular oppression, a double offence against religious sentiment and popular misery’. G. G. Coulton, writing before the introduction in England of an income tax at a rate of over ten per cent., proclaimed that before the Reformation tithes ‘constituted a land tax, income tax and death duty far more onerous than any known to modern times, and proportionately unpopular’.


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