medieval-religion: Scholarly discussions of medieval religion and culture
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medieval-religion - Scholarly discussions of medieval religious culture
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Behalf Of GarceauM
Sent: 20 October 2009 14:09
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Subject: Re: [M-R] Medieval
lighting
I work on miracle stories
in Spain and offerings of candles and, particularly, of wax are extremely
common. I should probably note that none of the saints I have studied in
depth were canonized in the Middle Ages (though one was the Virgin). The
offerings in general were highly valued and I have several regulations
revolving around who gets to collect the offerings left at altars and what they
can do with them; this seems to be a recurring problem in Vic, for example.
Additionally, I have wondered – and Vauchez and Thompson don’t
really address this – about the physical malleability of the wax. As
many of you know, wax offerings (and other votive offerings) were often made of
the diseased/injured part either before it was healed (as in the problem was portrayed
in the wax) or afterwards (a perfect arm, for example). I have seen
prayers and miracle descriptions which seem to suggest that people are seeking,
with the wax, to mirror what they want God and the saints to do – reshape
their bodies. I wonder if, as in miracles from the 11th and early 12th
century (Compostela) what we have is related to the physical actions taken by
the saints to work miracles. James of Compostela in one of his miracles,
for example, appears and physically sails a ship in a storm; the account
includes wonderfully vivid details. Finucane in particular talks about
the importance of candles measured to the sick as an offering, but, again, does
not address malleability or even the physicality of wax. Has anyone seen
anything similar or secondary work related to this topic?
Michelle Garceau
Assuming the wax used was bees wax,
then that is malleable after placing in hot water for a short time.
Alternatively you could use a Bain Marie, melt the wax and pour it into a
mould. I presume sand moulds were an option.
Wax was
also used in the ‘lost wax’ method of casting bells. A model
of the bell was moulded over a clay core and the inscription and decoration
placed in the wax. A clay covering was then placed over the wax.
When the outer mould was dry, the wax was melted out of the gap before the
metal was poured in. This method allows a very crisp decoration on the
bell, and is the method generally used in French foundries. English bell
founders generally use a core and cope.
See
also http://www.tms.org/pubs/journals/JOM/0210/Pillai-0210.html
Anne