Woman and Home: the Domestic Setting of Late Medieval Spirituality

1990 ◽  
Vol 27 ◽  
pp. 159-173 ◽  
Author(s):  
Diana M. Webb
Keyword(s):  
Fifteenth Century ◽  
Spiritual Life ◽  
Medieval Period ◽  
Late Medieval ◽  
Life And Death ◽  
Italian Women ◽  
Medieval Spirituality ◽  
Set Up ◽  
Domestic Setting ◽  
Devotional Reading

‘From the earliest days of Christianity, the domestic community has served as a unit of worship’. In the later medieval period, the home certainly played an important part in the religious observances of many laypeople. By the fifteenth century in England, chapels in private houses were increasingly common, even if they were simply small rooms adapted for the purpose. The practice of informal prayer and private devotional reading did not require special accommodation. We know that individuals prayed in their bedrooms, while Italian women were encouraged to have a bedroom image of the Virgin and to conduct themselves properly in her presence. Italian preachers also thought that children should join in holy play-acting at home, and that they should set up and decorate toy altars. The garden, too, could furnish a setting for the spiritual life. Agnes Paston gives us a haunting glimpse of the life and death of a pious layman in 1453:

scholarly journals The origins and evolution of Cypriot glazed ware productions during the thirteenth to seventeenth centuries CE

2021 ◽  
Vol 13 (2) ◽  
Author(s):  
Carmen Ting ◽  
Thilo Rehren ◽  
Athanasios Vionis ◽  
Vasiliki Kassianidou
Keyword(s):  
Eastern Mediterranean ◽  
Medieval Period ◽  
Late Medieval ◽  
New Approach ◽  
Commercial Activities ◽  
Late Medieval Period ◽  
Thin Section Petrography ◽  
Set Up ◽  
Economic Developments ◽  
Full Consideration

AbstractThis paper challenges the conventional characterisation of glazed ware productions in the eastern Mediterranean, especially the ones which did not feature the use of opaque or tin-glazed technology, as technologically stagnant and unsusceptible to broader socio-economic developments from the late medieval period onwards. Focusing on the Cypriot example, we devise a new approach that combines scientific analyses (thin-section petrography and SEM-EDS) and a full consideration of the chaîne opératoire in context to highlight the changes in technology and craft organisation of glazed ware productions concentrating in the Paphos, Famagusta and Lapithos region during the thirteenth to seventeenth centuries CE. Our results indicate that the Paphos production was short-lived, lasting from the establishment of Frankish rule in Cyprus in the thirteenth century to the aftermath of the fall of the Crusader campaigns in the fourteenth century. However, glazed ware production continued in Famagusta and Lapithos from the late thirteenth/fourteenth centuries through to the seventeenth century, using technical practices that were evidently different from the Paphos production. It is possible that these productions were set up to serve the new, local demands deriving from an intensification of commercial activities on the island. Further changes occurred to the technical practices of the Famagusta and Lapithos productions around the 16th/17th centuries, coinciding with the displacement of populations and socio-political organisation brought by the Ottoman rule.

PLAGUE, PERFORMANCE AND THE ELUSIVE HISTORY OF THE STELLA CELI EXTIRPAVIT

2010 ◽  
Vol 29 ◽  
pp. 1-31 ◽  
Author(s):  
Christopher Macklin
Keyword(s):  
Fifteenth Century ◽  
Broad Spectrum ◽  
Medieval Period ◽  
Late Medieval ◽  
Scholarly Literature ◽  
History Of ◽  
Textual Features ◽  
Franciscan Order ◽  
The Impact

One of the greatest scourges of the later medieval period was plague. While there is a considerable scholarly literature tracing the impact of the dread disease on literature and art, the impermanence of performance has rendered the extension of such studies to the field of music problematic. These problems are to some extent surmountable in studying the fifteenth-century hymn Stella celi extirpavit, a Marian invocation unequivocally phrased as a plea for deliverance from illness. In this essay, it is proposed that the Stella celi is representative of the beliefs and skills shared by a broad spectrum of late medieval society in the shadow of the plague. Analysis of musical and textual features, and the contexts of performance, further suggest links with the artistic and intellectual concerns of the Franciscan Order, which may have thus enabled otherwise ephemeral music to be preserved as an enduring response to epidemic calamity.

Ambrosius Spiera: A Fifteenth-Century Italian Preacher and Scholar

1974 ◽  
Vol 43 (4) ◽  
pp. 448-459
Author(s):  
Ronald M. Rentner
Keyword(s):  
Fifteenth Century ◽  
Medieval Theology ◽  
Medieval Period ◽  
Late Medieval ◽  
Late Medieval Period

Our attempts to piece together the mosaic of ideas and events during the late medieval period have been enriched in recent years by the increased attention given to the study of sermons. Sentence commentaries, summae and tracts are the bedrock for the study of medieval theology, but we also wish to know what was being preached.

Merchant Taylors of London’s shift to business English: New insights on the languages of record in their Master and Wardens’ Accounts

2018 ◽  
Vol 4 (1) ◽  
pp. 1-32
Author(s):  
José Miguel Alcolado Carnicero
Keyword(s):  
Seventeenth Century ◽  
Fifteenth Century ◽  
Fourteenth Century ◽  
Language Shift ◽  
Romance Languages ◽  
Written Communication ◽  
Business English ◽  
Medieval Period ◽  
Late Medieval ◽  
Late Medieval Period

AbstractFrench and Latin used to be the two main languages of record in the Merchant Taylors, as well as other London livery companies, as late as the fifteenth century, at least. From the fourteenth century onwards, English was becoming more and more present in this guild’s business accounts, until it replaced both Romance languages as their new official medium of written communication. Seen the inconsistent dates of adoption of English in the Merchant Taylors’ Master and Wardens’ Accounts suggested in the literature, this article applies two different approaches to language shift in the late medieval period in order to analyse and illustrate when exactly the whole Company is supposed to have substituted French and Latin for English forever. As the search of that permanent and communal shift leads to the necessary consultation of financial manuscripts kept as late as the seventeenth century, it is concluded that the construction of a unitary framework for the study of the different language shifts in the London livery companies at different periods would yield more comprehensive results.

scholarly journals Phonotactics, graphotactics and contrast: the history of Scots dental fricative spellings

2020 ◽  
pp. 1-29
Author(s):  
BENJAMIN MOLINEAUX ◽  
JOANNA KOPACZYK ◽  
RHONA ALCORN ◽  
WARREN MAGUIRE ◽  
VASILIS KARAISKOS ◽  
...  
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Medieval Period ◽  
Top Down ◽  
Late Medieval ◽  
Sound Pattern ◽  
The North ◽  
Late Medieval Period ◽  
History Of ◽  
Late Fifteenth

The spelling conventions for dental fricatives in Anglic languages (Scots and English) have a rich and complex history. However, the various – often competing – graphemic representations (<þ>, <ð>, <y> and <th>, among others) eventually settled on one digraph, <th>, for all contemporary varieties, irrespective of the phonemic distinction between /ð/ and /θ/. This single representation is odd among the languages’ fricatives, which tend to use contrasting graphemes (cf. <f> vs <v> and <s> vs <z>) to represent contrastive voicing, a sound pattern that emerged nearly a millennium ago. Close examinations of the scribal practices for English in the late medieval period, however, have shown that northern texts had begun to develop precisely this type of distinction for dental fricatives as well. Here /ð/ was predominantly represented by <y> and /θ/ by <th> (Jordan 1925; Benskin 1982). In the late fifteenth and early sixteenth centuries, this ‘Northern System’ collapsed, due to the northward spread of a London-based convention using exclusively <th> (Stenroos 2004). This article uses a rich body of corpus evidence for fifteenth-century Scots to show that, north of the North, the phonemic distinction was more clearly mirrored by spelling conventions than in any contemporary variety of English. Indeed, our data for Older Scots local documents (1375–1500) show a pattern where <y> progressively spreads into voiced contexts, while <th> recedes into voiceless ones. This system is traced back to the Old English positional preferences for <þ> and <ð> via subsequent changes in phonology, graphemic repertoire and letter shapes. An independent medieval Scots spelling norm is seen to emerge as part of a developing, proto-standard orthographic system, only to be cut short in the sixteenth century by top-down anglicisation processes.

Pittenweem Priory and the conventuality question

2017 ◽  
Vol 68 (1) ◽  
pp. 19-37 ◽  
Author(s):  
Anthony Lodge
Keyword(s):  
Fifteenth Century ◽  
Traditional View ◽  
Archaeological Evidence ◽  
Significant Development ◽  
New Mother ◽  
Set Up ◽  
And Control

Pittenweem Priory began life as the caput manor of a daughter-house established on May Island by Cluniac monks from Reading (c. 1140). After its sale to St Andrews (c. 1280), the priory transferred ashore. While retaining its traditional name, the ‘Priory of May (alias Pittenweem)’ was subsumed within the Augustinian priory of St Andrews. Its prior was elected from among the canons of the new mother house, but it was many decades before a resident community of canons was set up in Pittenweem. The traditional view, based principally on the ‘non-conventual’ status of the priory reiterated in fifteenth-century documents, is that there was ‘no resident community’ before the priorship of Andrew Forman (1495–1515). Archaeological evidence in Pittenweem, however, indicates that James Kennedy had embarked on significant development of the priory fifty years earlier. This suggests that, when the term ‘non-conventual’ is used in documents emanating from Kennedy's successors (Graham and Scheves), we should interpret it more as an assertion of superiority and control than as a description of realities in the priory.

A Mathematical Turn

2018 ◽  
Author(s):  
Richard Oosterhoff
Keyword(s):  
Fifteenth Century ◽  
University Reform ◽  
Late Medieval ◽  
Nicholas Of Cusa ◽  
Devotio Moderna ◽  
Court Politics ◽  
Spiritual Reform ◽  
The University

Lefèvre described his own mathematical turn as a kind of conversion. This chapter explains what motivated his turn to mathematics, considering the place of mathematics in fifteenth-century Paris in relation to court politics and Lefèvre’s own connections to Italian humanists. But more importantly, Lefèvre’s attitude to learning and the propaedeutic value of mathematics drew on the context of late medieval spiritual reform, with its emphasis on conversion and care of the soul. In particular, Lefèvre’s turn to university reform seems to have responded to the works of Ramon Lull, alongside the devotio moderna and Nicholas of Cusa, which he printed in important collections. With such influences, Lefèvre chose the university as the site for intellectual reform.

Public and Private: The Late Medieval Wall Paintings of Haddon Hall Chapel, Derbyshire

2006 ◽  
Vol 86 ◽  
pp. 179-205
Author(s):  
Mellie Naydenova
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Wall Paintings ◽  
Public And Private ◽  
Late Medieval ◽  
Public Statement ◽  
The Public ◽  
Parish Church ◽  
Public Persona ◽  
Private Devotion

This paper focuses on the mural scheme executed in Haddon Hall Chapel shortly after 1427 for Sir Richard Vernon. It argues that at that time the chapel was also being used as a parish church, and that the paintings were therefore both an expression of private devotion and a public statement. This is reflected in their subject matter, which combines themes associated with popular beliefs, the public persona of the Hall's owner and the Vernon family's personal devotions. The remarkable inventiveness and complexity of the iconography is matched by the exceptionally sophisticated style of the paintings. Attention is also given to part of the decoration previously thought to be contemporary with this fifteenth-century scheme but for which an early sixteenth-century date is now proposed on the basis of stylistic and other evidence.

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