Friday, December 29, 2023

Printer Solstice is back and all about colour!

 

Arctic fox and Aurora, linocut, 9.25" x 12.5" by Ele Willoughby, 2023
Arctic fox and Aurora, linocut, 9.25" x 12.5" by Ele Willoughby, 2023

I always enjoy the #PrinterSolstice series of prompts. I gets me started on my year of printmaking, often trying new things. This year the prompts are all about colour. I am all about colour... but this will be a challenge, as I often carve first, plan colours second. Especially the first two prompts: the absence of colour and tetradic colours.

Arctic fox and Aurora, linocut, 9.25" x 12.5" by Ele Willoughby, 2023
Snowflakes, blind embossed print by Ele Willoughby, 2023

I love colour... so the absence of colour is less than obvious for me. I could certainly work in black and white, but I decided to go all out and make a blind embossed print without any ink at all. Using moistened water colour paper, a carved lino block and my etching press, I made a print with the texture of snowflakes.

I had to look up "tetradic colours." It's a colour scheme of four colours equidistant on the colour wheel. People describe it as vibrant or even aggressive.  So, that took some planning! I have been thinking of adding to my collection of prints of arctic animals with the aurora. I read about a legend from Finland that the aurora is cause by the "fire fox," a fast running arctic fox whose big busy tail brushes sprays of snowflakes up into the sky. So I loved the idea of a print which straddles the natural history and the folklore collections of prints. The colourful Northern Lights gave me a way of working four colours into a cohesive design.

The rest of the prompts should be easier for me, but I still have a lot of planning and imagining to do. They remaining prints will feature: complementary colours, cool colours, analogous colours, monochromatic colour scheme, split complementary colours, spectrum of colours, CMYK colours, triadic colours, primary colours and warm colours.


Friday, November 24, 2023

My Folklore Week 2023 Illustrations

Once again I took part in Folktale Week this year! There's fabulous and magical illustrations from artists worldwide; check out #FolktaleWeek2023 on Instagram (plus hashtags for each prompt of the form FolktaleWeek + prompt). The prompts this year were: lost, ink, sea, sleep, underground, illusion, and found. I've decided I can interpret "folktale" loosely to include fairytales, legends, myths and folklore.

For lost, I knew I wanted to make the Minotaur in his labyrinth, with the slightest hint of the first person to avoid getting lost: Theseus with his ball of string.

The Minotaur in his Labyrinth, linocut, 9.25" x 12.5" by Ele Willoughby, 2023
The Minotaur in his Labyrinth, linocut, 9.25" x 12.5" by Ele Willoughby, 2023 

Ink was a real challenge! I had a few ideas but in the end, opted for a Japanese yokai, a sort of supernatural spirit called suzuri no tamashii. Specifically it’s a type of yokai called a tsukumogami, a type of spirit which can arise from an object which is used for 100 years, when it comes alive. 

Suzuri no tamashii, linocut, 9.25" x 12.5", by Ele Willoughby, 2023
Suzuri no tamashii, linocut, 9.25" x 12.5", by Ele Willoughby, 2023



The story goes that an ink stone was used to copy the same manuscript over and over again for many generations, about the bloody Genpei War (1180-1185). The 'Akama suzuri,' a top-quality inkstone made specially in Shimonoseki City, began to take on aspects of the story itself. It became possessed by a vengeful spirit of an Ise-Heishi warrior who had been defeated at the Battle of Dannoura, where the Minamoto clan brutally wiped out the entire Taira clan. Phantom sounds like fierce battle, waves on the sea or even a voice narrating "Heike monogatari" (The tale of the Heike) could be heard. Waves rippled on the ink and illusory characters and boats from the story, arose from the ink to wreak havoc on the writing.

As many of the slaughtered Taira soldiers became vengeful spirits or onryō when they died, their grudge-curse infects many ink stones which have been used to repeatedly copy their story.

My print shows an ink stone, ink stick, jar of brushes, and the suzuri no tamashii emerging like two mounted samurai warriors crossing a river from The tale of the Heike. 

Zaratan, linocut, 11" x 14", by Ele Willoughby, 2023
Zaratan, linocut, 11" x 14", by Ele Willoughby, 2023

I knew what I wanted to do for sea; I've long wanted to illustrate the Zaratan, a mythical giant sea turtle  that looks like a small island! There's a small campfire on the supposed beach, and a sailing ship from the age of exploration nearby. The sunset sky is in vibrant fuchsia, tangerine and purple.

"There is a story that is told in all lands and throughout all history - the story of sailors who go ashore on an unknown island that later sinks and drowns them, for the island is alive. This imaginary beast-island figures in the first voyage of Sindbad and in the sixth canto of Orlando Furioso (Ch'ella sia usa isoletta ci credemo; "We are all cheated by the floating pile, / And idly take the monster for an isle"); on the Irish legend of St. Brendan and in the Greek bestiary of Alexandria; in the Swedish curate Olaf Magnus' History of the Northern Nations (Rome, 1555) and in the passage in Paradise Lost, Book I, in which the prostrate Satan is compared to a great whale "hap'ly slumbering on the Norway foam."

    -Jorge Luis Borges, The Book of Imaginary Beings (El Libro de Los Seres Imaginarios)

Often depicted as a giant turtle, like the Turtle Island origin myth common to many Indigenous peoples of North America, the Zaratan could in fact be any large marine creature, but I love the idea of a giant turtle.

I found another great Japanese yokai for sleep: the Baku. Some stories about sleep are either familiar fairytales or in fact, a bit grim. I like the mythical Japanese chimera because despite its monstrous appearance, it is the beloved eater of nightmares. It was made from leftover parts, with the body of a bear, the claws of a tiger, the tail of a cow, the trunk and tusks of an elephant with the ears and eyes of a rhinoceros! You can call on it if you have bad dreams. A child who awakes from a nightmare will cry, “Baku-san, come eat my dream!” three times and the baku will enter their room to devour the bad dream so they can go back to sleep. They must be careful however, not too call too often, least they get a hungry baku who will also eat their dreams.

Today the word baku can also apply to a real animal, the Malayan tapir, because of its arguable resemblance to the mythical animal.

I thought my blue origami paper would make a great comforter so I made 8 different variations!

Baku, linocut, 9.25" x 12.5" by Ele Willoughby, 2023
Baku, linocut, 9.25" x 12.5" by Ele Willoughby, 2023

The idea I had for underground was the Aos sí, the people of the Sidhe, the Fair Folk of Ireland, who according to legend live beneath mounds in fairy forts underground. I have not yet editioned this print, but I plan to add it to my shop soon! You may know the banshee, or Bean sídhe or woman of the sídhe. In fact the very word Sídhe is the term for earthen mounds like the one in my linocut and the Aos sí are “the people of mounds.” The Sidhe evolved from a mythological people known as the Tuatha De Danaan, powerful, magical semi-divine beings, who feature in many early Irish tales. When the ancestors of the Irish, the Gaels arrived they battled over the Emerald Isle. The way the story was told to me was that neither force could conquer the other and they decided to divide Ireland evenly between them. If you look at Ireland it’s quite an irregular shape and the only way to split it evenly was top and bottom with the Gaels occupying the upper world and the Tuatha De Danaan taking the lower world.

They’re known as the daoine sí or daoine sìth in Scots Gaelic and we get the the idea of fairies from the fair folk, but our inherited Victorian ideas and images of fairies are much gentler, sweeter and cuter than these fierce beings who are benevolent if treated with respect but are known to react cruelly if mistreated. 

The Sidhe, linocut, 11" x 14" by Ele Willoughby, 2023
The Sidhe, linocut, 11" x 14" by Ele Willoughby, 2023

For illusion, I chose a beautiful French fairytale: La Chatte Blanche, published by Madame d’Aulnoy in 1698.

A king is worried about succession and sends his three sons on quests to determine who will inherit the kingdom (or rather to distract them on that pretence, to avoid being deposed by an impatient prince). First they must find the smallest and most beautiful dog. They each go their own way and the youngest finds a fantastical castle filled with intelligent talking cats. He is quite taken by their beautiful white cat queen who mysteriously wears a locket with a image which looks just like him. He stays a full year and she gives him an acorn for his quest. Returning home he opens the acorn for his father and inside is the tiniest dancing dog. Despite clearly having won the contest, the king starts another: find the finest muslin which can be drawn through the eye of a needle. The princes go out again; the youngest returns to the white cat for another year and she gives him a walnut with nested series of smaller seeds, the tiniest containing magically fine and beautiful muslin. His magical muslin is clearly the winner. The king sets a third task to find the most beautiful princess bride. After a third stay with the cats, the beloved white cat convinces the prince, to his horror, to chop off her head. But when he does the fairy enchantment is broken and she is revealed as a beautiful princess cursed by fairies so that she and those in her kingdom must live as cats unless her forbidden lover’s doppelgänger cuts off her head. It was all an illusion!

She reigned over six kingdoms so after the triple wedding of the three princes, succession is solved as she grants brothers and father each kingdoms to rule and she and her husband the youngest prince rule the remaining three.

La Chatte Blanche, linocut, 9.25" x 12.5", by Ele Willoughby, 2023
La Chatte Blanche, linocut, 9.25" x 12.5", by Ele Willoughby, 2023

 


I wanted to make sure I included a Canadian folktale this year. So often the folktales we hear are from Europe, but I wanted one from closer to home. I selected the Mermaid of the Magdalenes for the prompt "found." I loved that the found thing as something as prosaic as a tin of sardines, that this is a fairytale about my May Day birthday and about the perils of not preserving marine ecology. I still have to print an edition of this print, but I plan to do so soon.


The Mermaid of the Magdalenes, linocut by Ele Willoughby, 11" x 14", 2023
The Mermaid of the Magdalenes, linocut by Ele Willoughby, 11" x 14", 2023

The rugged east coast Magdalene Islands are all but barren of grass and trees, but the waters are rich in fish and people called it the “Kingdom of Fishes”. Traders could grow rich off the bounty of the sea. Long ago when sardines were first canned they were wildly popular. There was a great slaughter of sardines by greedy traders, who packed them in tiny boxes and shipped them all over the world. The tiny sardines were helpless against the onslaught. They saw their fellow sardines killed and their numbers were dwindling. They cried out for help, calling a meeting of all the fishes. There, they convinced their brethren to stand with them and punish those who fished and ate sardines.

On May Day a ship filled with sardine cans was wrecked on the rocks of the Magdalene Islands, its cargo strewn on shore. The daughter of a fish trader found a tin and was delighted, hoping to eat them. But, she was unable to get the can open sang a song of lament.

“I love sardines when they’re boiled with beans
And mixed with the sands of the sea.
I am dying for some.
Will nobody come and open this box for me?”

A disgusted skate heard her but was too timid to punish her. A merman wanted a land wife but he left her ashore because of his oath to the sardines. Finally the black lobster heard her and remembered his oath. He cunningly offered his help only to trick her and he grasped her with his strong claw and dragged her out to sea.

It’s believed he sold her to the merman. But on the 1st of May you can see her off the coast of the island, her glass in hand, looking longingly at shore as she brushes her hair, each year more and more a fish. The fishermen hear her lonely mournful songs and stay ashore least she drag them out to sea for company. 

 I found this story amongst the Canadian Folktales published by Cyrus MacMillan in 1922.

Tuesday, October 10, 2023

Hildegard von Bingen, Medieval Medicine and Natural History for Ada Lovelace Day

 

Hildegard von Bingen, linocut, 11" x 14" by Ele Willoughby, 2023
Hildegard von Bingen, linocut, 11" x 14" by Ele Willoughby, 2023

 

Ada Lovelace, 3rd edition
Ada, Countess Lovelace, 3rd edition linocut by Ele Willoughby
It is once again Ada Lovelace Day, the 15th annual international day of blogging to celebrate the achievements of women in technology, science and math, Ada Lovelace Day 2023 (ALD23). I'm sure you'll all recall, Ada, brilliant proto-software engineer, daughter of absentee father, the mad, bad, and dangerous to know, Lord Byron, she was able to describe and conceptualize software for Charles Babbage's computing engine, before the concepts of software, hardware, or even Babbage's own machine existed! She foresaw that computers would be useful for more than mere number-crunching. For this she is rightly recognized as visionary - at least by those of us who know who she was. She figured out how to compute Bernouilli numbers with a Babbage analytical engine. Tragically, she died at only 36. Today, in Ada's name, people around the world are blogging.

 
You can find my previous Ada Lovelace Day posts here.

Despite some biased ideas about the Medieval period, which we inherited from Enlightenment scholars, the Dark Ages were only "dark" in the sense that there is a dearth of documentation. All too often, people have the idea that this was a stagnant period in the pursuit of knowledge after the end of the Classical period. Many documents of the time have simply been lost, so we don't have a lot of information about many individuals and their specific advancements in scientific thought. But the sheer fame and productivity of Hildegard von Bingen (1098-1179) is an exception. Her writings preserve not only her own knowledge and theories but much of the nature of institutional medicine and folk healing of her day (which she deftly combined). While she might be best remembered today as a composer of seventy Gregorian chants and musical dramas and as a Catholic saint, author of biblical commentaries, three books on her visions and two biographies, she is also recognized as the progenitor of natural history in German-speaking lands and author of medical and natural history texts. She even invented her own script and language!

Likely born the tenth child in her rural Rhineland family, her religious parents raised her intending for her to be a tithe to the church, and she entered the double-monastery at Disibodenberg at 14. Her well-respected magistra Jutta (1092-1136) became her mentor and teacher, and it is believed Hildegard was assigned to the infirmary. There she would have been responsible for, in particular, for but likely not limited to, the health of the women at the monastery and adjoining community. She would also have had access to the books and knowledge of her male counterpart, who was responsible in particular for the health of the men. After Jutta's death, Hildegard was elected magistra and she lead the Disibodenberg nuns until 1148, when at age 50, inspired by a vision, she moved them all to a new monastery at Rupertsberg at Bingen. She immediately began writing her text books. Physica describes elements, mammals, reptiles, fish, birds, trees, metals, and precious stones and medicinal uses of 293 plants (230 herbaceous plants and 63 trees). Causae et curae was written presumably to ensure that her replacement in the infirmary had all the knowledge she would need. It describes 47 diseases along with causes, symptoms and treatments and goes on to document 300 plants used to treat diseases. It reads both like a Medieval first aid manual and technical scientific writing of her day. She lived in the new monastery until her death at 81. People traveled to Rupertsberg to receive healing from Hildegard and her order. She was a prodigious correspondent and has been called a Medieval "Dear Abby" because of her letters to such luminaries as King Henry II of England, King Louis VII of France, the Holy Roman Emperor Frederic I Barbarossa, the Byzantine Empress Agnes of France, Bernard of Clairvaux, four popes and others. She was invited to preach at nearby cathedrals including at Cologne, Mainz and Worms. By the time she reached 80, she was so respected and renown that she could defy the pope and it was the pope who had to back down. Commanded to excommunicate a man in her community, she simply declined to do so.

Outside of Salerno, those practicing medicine in her day were not university educated, but either working in monasteries and infirmaries or were folk healers using herbal folklore. Hildegard's contemporary woman in medicine Trota of Salerno is a notable exception, as she was formally educated at the medical school in Salerno. The rise of universities and formal medical schools actually lead to greater exclusion of women from medical practice; universities usually excluded women. 

Hildegard developed a holistic understanding of medicine and was systematic and scientific in her approach within her Christian worldview. She is believed to have access to ancient Greco-Roman medical sources, typically available and shared between monasteries, including the works of Hippocrates, Galen and Pendanius Dioscoride. The Classical humoural theory was central to medicine until the 17th century. It related humours, or the vital bodily fluids, namely, according to Hipocrates, the blood, phlegm, yellow bile, and black bile to human health and behaviour. Blood was considered hot and wet, yellow bile hot and dry, black bile cold and dry and phlegm cold and wet; these properties were used to try and diagnose how these humours might be unbalanced and causing disease. She likely also had access to texts by pioneering Arab and Persian physicians, and was abreast of some of the contemporary advancements from the Salerno school of medicine. Her medical philosophy is influenced by St. Augustine, Isidore Hispalensis, Bernard Sylvestris of Tours, and perhaps Boethius. She would have been trained in nursing, diagnosis, prognosis, pharmacy and treatment by her monk colleague in the infirmary at Disibodenberg. She herself wrote about how the infirmarian was responsible for the infirmary garden and the "spices and medicinally active herbs," thus, she became expert at gardening and botany too. In addition to Latin terms, Hildegard includes German names for plants she could not name in Latin, so scholars believe she also incorporated knowledge from the folk herbalist, magical and medical tradition. Some instructions even prescribed charms and incantations. Importantly, she synthesized these disparate sources of knowledge. Along with the humoural theory, she believed that everything on Earth was made by God for man, so there's very little which could not be used in medicine to counter a humoural imbalance. For instance, she prescribed a poultice of quince, deemed "dry" to treat the "dampness" of an ulcer. Her writings actually allow an unusual insight into "wise woman" healing practices, as it was rare for other women to be literate in Latin. She wrote that she was told to write down that which you see and hear’ in a vision, and thus recorded her visions. But she takes the same approach with medicine, writing down observations and supplementing her observations with knowledge from books rather than simply relying on their authority. This strategy hints at the beginnings of the scientific method.

Her philosophy of medicine was deeply influenced by her experience in the garden and she gives a special focus on "viriditas" or the greening power of plants, expanding on Galen and Hippocrates' four humors, connecting plants to human health, and viewing this greening force as also vital within the human body. She ties viriditas directly to fertility and vigor and describes it as a humour that can dry up. She approaches medicine the way a gardener nurtures a garden. Her approach in all things was quite holistic and she believed spiritual health complemented physical health. She begins her text Causae et curae with the creation of the cosmos and connects the human person as microcosm to the sacred macrocosm of the cosmos. Her work documents causes of disease, sexuality, psychology, physiology, diagnosis, treatments and prognosis. Illness, she wrote, was a result of falling into disharmony with creation and could be treated with rest, herbal cures, steam baths, a proper diet, and achieving spiritual peace. Her goal was to heal body, spirit and mind; in the 12th century healers commonly viewed health as involving all of these things. 

She discussed sexuality openly and women's reproductive health. She described female orgasm, nocturnal ejaculation, coitus as therapy, conception, birth, complications in childbirth, gynecological diseases, menstruation (including botanical emmenagogues or menstruation stimulators), abortifacients (substances which can induce an abortion including sarum, white hellebore, feverfew, tansy, oleaster, and farn) and menopause. Medieval Christian healers would not hesitate to proscribe abortifacients to save a mother's life if it were at risk. She wrote about determining an embryo's sex and noted that children need affection for their psychological development, writing “The strength of the male seed determines the sex of the embryo, while the love of one parent to the other determines the moral qualities of the child.” She is likely the first woman to write about skin diseases and treatments including leprosy, scabies, lice, insect bites, burns and conditions now believed to be erysipela, paronychia, contact allergies, rosacea, and rhinophyma. Hers is the first description of a peeling for rosacea, a method still used; she used plants that promote blistering on the skin, which would then rapidly heal. She recommended skin treatments with plants which we now can confirm have anti-inflammatory and antibacterial properties. She recommended a balanced diet including cutting back on food high in fats and cholesterol and that salt should be taken in moderation to avoid hypertension. She writes about kidney and liver ailments and treatments; in her day, uroscopy and examining urine was considered a doctor or healer's most reliable tool. She herself suffered migraines and she wrote about headaches and remedies. She precisely described toothache and even how nerves run from the brain to gums and the need for dental hygiene. She addresses depression, anxiety and schizophrenia. A modern study investigated whether her correct herbal remedies were mere lucky strikes - that is whether herbal remedies she reports which are still supported by modern science are just a result of chance. They found this could not be the case. Though most of her claims are not correct, she is correct far too often for it to be by mere chance. Further, she does not repeat all claims in ancient sources, suggesting she was independent in her thinking. Most of her remedies are ingredients from the kitchen or garden but she also recommends the use of minerals including gold for arthritis, emerald for heart pain, jasper for hay fever or for cardiac arrhythmia, gold topaz for loss of vision, sulfur ointment for scabies and blue sapphire for eye inflammation; most of these play no role in modern medicine, though gold is still used for arthritis and sulfur is still used for skin treatments for people and domestic animals. While all her writings and worldview were firmly planted within her faith, she did not presume sin was the primary cause for disease; bad humours, bad lifestyle or the weather were more often suspected. She makes pragmatic practical suggestions rather than trying to treat illness with prayer, penitence or pilgramage.

She invented her own alternate alphabet or secret code with symbols for each letter and applied it to her own Lingua ignota (Unknown Language), which consisted of 1000 invented words for a list of nouns. Scholars are divided on her intentions; was this a secret language to increase solidarity within nuns in her order, or was this intended for anyone? Modern conlangers (aficionados of constructed languages) view her as a Medieval precursor.  

She formed a deep friendship and love for her assistant Richardis von Stade, who worked beside her on her major work Scivias. When Ricardis was elected abbess of a monastery at Bassum, far from Rupertsberg in 1151, Hildegard was bereft. She wrote to Richardis' mother, to the Archbishop of Bremen and even to the pope, trying to get them to intervene, to no avail. She wrote letters of her grief to Ricardis, writing "Now, let all who have grief like mine mourn with me, all who, in the love of God, have had such great love in their hearts and minds for a person- as I had for you- but who was snatched away from them in an instant, as you were from me." Tragically, Richardis died the next year. 

My portrait includes some of her prescribed treatments which we can now confirm do have medical benefits (or at least effects). Clockwise from the top, she is surrounded: by tansy (Tanacetum vulgare) which has antibacterial and toxic contents; common comfrey (Symphytum officinale) is sometimes used on the skin to treat wounds and reduce inflammation from sprains and broken bones, it roots and leaves contain allantoin, a substance that helps new skin cells grow, along with other substances that reduce inflammation and keep skin healthy; mandrake (species in the genus Mandragora, either Mandragora officinarum or Mandragora autumnalis) which contain hallucinogenic tropane alkaloids which are poisonous; sulfur she prescribed for skin ailments does indeed act as a fungicide; lemon balm (Melissa officinalis) which has been shown to have some calming effects, some antibacterial properties and positive effects on indigestion; and quince (Cydonia oblonga), which is understudied, but there is some early evidence that it may help prevent stomach ulcers (which would actually coincide with her advice). 

Above and below Hildegard is the alphabet along with her own alternate alphabet Litterae ignotae which she used for her own Lingua ignota (Unknown Language). The scroll in her hand also shows medieval musical notation to represent her compositions. 

Her map of the universe from her book Scivias in illustrated on her habit. She correctly viewed the Earth as spherical, and then in the typical Medieval worldview, she posits a series of concentric celestial spheres, influencing events on Earth. Other Medieval thinkers describe a spherical universe. The shape of Hildegard's map of the universe is unique; some describe it as oval, or egg-shaped others, more directly, as vulva-shaped. In the centre of her diagram is the Earth, as as you move upward, you see the moon, then the inner planets Mercury and Venus (which look like stars), then beyond the ring there is the Sun (the large flower-like shape) and outer planets Mars, Jupiter and Saturn (the three outermost star shapes). Recall, the further planets are not visible to the naked eye. She wrongly assumes the antipodes are uninhabitable, without a more modern understating of the cause of the seasons. Seasonal variations in the heavens and seasons on Earth were attributed to winds.

While you could not call a Medieval woman a feminist, she did believe that men and women were equal before God, and rejected the prevailing Aristotelian idea that women were inferior inversions of men, with opposite but inferior relationships with humors and elements. She wrote, rather that, that women had different but not opposite or inferior relationships to the elements. To her, men and women were complimentary aspects of the divine.

Hildegard entered the monastery an uneducated child and grew to be a renown, respected thinker and healer, with a tremendous output in music, theology, natural history and medicine, who has been recognized as a saint. Her writings on medicine and reputation as a healer were used as arguments by early feminists that women should be admitted to medical schools. Her music has seen a resurgence of interest. Her impact and influence can still be felt today. 

 

* Offering the tenth child as a tithe to the church was a common practice, and many scholars believe Hildegard was the tenth child in her family, but we lack surviving documentation of 9 older siblings, so we can't state this with complete certainty.

Sources

Brady, Erika. Healing Logics: Culture and Medicine in Modern Health Belief Systems. 1 ed. Utah State University Press, 2001. Project MUSE muse.jhu.edu/book/9398
 
Campbell, Olivia, Abortion remedies from a Medieval Catholic nun (!), JSTOR Daily, October 13, 2021.
 
Janega, Eleanor, Going Medieval blog, posts tagged 'Hildegard of Bingen,' accessed October, 2023.

Hay, K.A., "Hildegard's Medicine: A Systematic Science of Medieval Europe." Proceedings of the 17th Annual History of Medicine Days, March 7th and 8th, 2008, Heath Science Centre, Calgary, AB. http://hdl.handle.net/1880/47483 Downloaded from PRISM Repository, University of Calgary

Hildegard of Bingen, Wikipedia, accessed October, 2023

Johnston, Sophie., Hildegard of Bingen, Bluestocking Online Journal of Women's History, January 1, 2008.

Lockett, Charles J., Was Hildegard von Bingen the First Medieval Scientist? Medieval Blog, July 18, 2022

The Medieval Garden Enclosed, posts tagged 'Hildegard of Bingen', The Metropolitan Museum of Art blog, accessed October, 2023.

Mount Sinai Health Library, accessed October, 2023.

Sharratt, Mary, "Hildegard the Healer," on Feminism and Religion, May 13, 2015.

Singer, Charles. 'The Scientific Views and Visions of Saint Hildegard (1098-1180)', in Studies in the History and Method of Science, edited by Charles Singer, Oxford at the Claredon Press, 1917.

Stefanidis, Ioannis, Theodoros Eleftheriadis, Maria Efthymiadi, Maria Kalientzidou, and Elias Valiakos, Remedies for Kidney Ailments in Physica by Hildegard von Bingen (1098-1179), Volume: 21 Issue: 6 June 2023 - Supplement - 2, Pages: 53 - 56, June 2023.

Sweet, Victoria, 'Hildegard of Bingen and the Greening of Medieval Medicine', Bulletin of the History of Medicine , Fall 1999, Vol. 73, No. 3 (Fall 1999), pp. 381-403 Published by: The Johns Hopkins University Press, Stable URL: https://www.jstor.org/stable/44445287

Ramos-e-Silva, Marcia., Saint Hildegard von Bingen (1098-1179): “the light of her people and of her time”. International Journal of Dermatology 1999; 38(4):315-320.

Uehleke, Bernhard, Werner Hopfenmueller, Rainer Stange and Reinhard Saller, Are the Correct Herbal Claims by Hildegard von Bingen Only Lucky Strikes? A New Statistical Approach. Complementary Medicine Research Forschende Komplementärmedizin / Research in Complementary Medicine (2012) 19 (4): 187–190. https://doi.org/10.1159/000341548 Published Online: 01 April 2012



Friday, September 15, 2023

New Natural History Prints for SciArtSeptember

 

Cochineal, linocut 8" x 8" by Ele Willoughby, 2023
Cochineal, linocut 8" x 8" by Ele Willoughby, 2023

 

For the SciArtSeptember prompt carmine, a bright red pigment derived from carminic acid, traditionally harvested from cochineal, a sessile parasite on Opuntia cacti in South America, north through to Mexico and the southwest US, I made this linocut. The cochineal are laboriously collected by brushing them off the pads of prickly pear cacti. The insect makes carminic acid to deter predators but it’s precisely what attracts people, who dry them out, extract the acid and mix it with aluminum or calcium salts to make carmine dye.

The dye was important historically for textiles (prior to the invention of synthetic dyes in the 19th century). Aztec and Maya peoples were using it as early as the second century BCE. It was used in Peru from the Middle Horizon period (600-1000 CE). Moctezuma II demanded yearly tributes of cochineal dye by the 15th century. Aztecs used it in manuscripts. Colonial powers exploited the dye in the 16th century. It produced in places controlled by Spain and Portugal. It was the second most valuable export after silver. The British began using it to dye their red coats and were frustrated by the Mexican monopoly on trade. There have been various disastrous attempts to export the insects and dye production to places like Australia.

Today, in an effort to avoid synthetic dyes, cochineal is used in food and cosmetics and it may be in your lipstick.

 

Hummingbird Clearwing, linocut, 8" x 8" by Ele Willoughby, 2023
Hummingbird Clearwing, linocut, 8" x 8" by Ele Willoughby, 2023

 

This is a hand-printed lino block print of the charming Hummingbird Clearwing moth (Hermaris thysbe) seeking pollen from cherry blossoms. The olive-headed burgundy moth has transparent wings (though colour can be variable). It beats its wings rapidly to hover above flowers, like a hummingbird, meaning it is often confused with a hummingbird or bee. It has a 5 cm wingspan. Its bulky abdomen has lead to its adorable nickname "the flying shrimp." The caterpillar likes to feed on cherry amongst other things and as a moth, it feeds on a wide range of flowers, with a preference for pink and purple, so I chose to illustrate it with cherry blossoms.

Its range covers most of North America. It is a migratory species which is common here in Ontario, and in the eastern US.

Its scientific name Hermaris thysbe is likely a reference to Thisbe, half of a pair of ill-fated lovers in Ovid's Metamorphoses and her blood-stained scarf. It's a reference to the moth's reddish-brown colour. 


Talon, tinted drypoint print by Ele Willoughby, 2023
Talon, tinted drypoint print by Ele Willoughby, 2023


For the #SciArtSeptember prompt talon, I tried drypoint using an aluminum pop can! I cut it open with strong kitchen scissors and incised a drawing of a harpy eagle talon with an exacto knife. I used some small leftover rectangles of mat board to get black relief printing ink into the lines and wiped away the excess with junkmail on newsprint - so the entire process was done using what would otherwise be garbage. I printed it using my small etching press, and tinted the talon by hand with gouache.

Thursday, September 14, 2023

Mary the Jewess The Mother of Alchemy

 

Mary the Jewess, Mother of Alchemy, linocut 11" x 14" by Ele Willoughby, 2023
Mary the Jewess, Mother of Alchemy, linocut 11" x 14" by Ele Willoughby, 2023


This is my hand-printed linocut portrait of the earliest recorded alchemist: Mary the Jewess (also known as Maria Hebraea, or Miriam, or Maria Prophetissa). The ancient alchemist Zosimos of Panopolis (who lived in Hellenistic Egypt around 300 CE), cites her research and innovations and calls her "the divine Maria". He even states that she opened an academy for studying alchemy, and taught, "the inner, concealed nature of the metals could be discerned by a complex alchemical process that was revealed to her by God himself and that was to be transmitted only to the Jewish people." She must have predated him, in the early centuries of the common era, and several scholars suspect she lived in Alexandria, Egyptian in the first century. Zosimos relates that she wrote a treatise called "On Furnaces and Apparatuses" and she invented, or at least described ovens, apparatuses for cooking and distilling, and other alchemical experimentation, made of metal, clay, and glass with joints sealed using fat, wax, starch paste, and fatty clay. She favored glass vessels which allowed one to observe reactions without disturbing them and provided some protection fro poisonous materials like mercury, sulfurous and arsenic compounds. Amongst inventions attributed to her are the bain-marie (named in her honour, essentially a double boiler, still used in cooking and chemistry today), the kerotakis (which allowed one to heat items while collecting vapors) and the tribikos (a kind of alembic with three arms that was used to obtain substances purified by distillation, still used in chemistry labs today). The kerotakis was an extractor for vapors which had a metallic palette supported inside to hold samples on which the vapors would act. When working properly it made an airtight seal and we get the term "hermetically sealed" from its use in the "hermetic arts" (that is, in alchemy). It played a role in alchemy and the advent of chemistry up to the late19th century when German chemist Franz von Soxhlet produced the modern, modified kerotakis, known as the Soxhlet extractor in 1879, which is used to this day. I've included these three devices in my portrait. Her name also comes down to us in the term "Mary's Black" for the iron(II) sulfide coating on metal after using the kerotakis. She appears in the writings of other alchemists in the Greek tradition, like Olympiodorus the Younger (c. 495 – 570)  and Christianos in the 7th century, and in the writings of early Arab authors. Arab writer al-Habīb (dates unknown) must have had access to a now lost Hellenistic treatise by or about Mary. The tenth century Arab author Ibn Umail quotes Mary's books with information not found in other sources, suggesting he possessed her actual writings.

Sadly we know very little about Mary's life, but some of her books are quoted by others, and she casts quite the long shadow across centuries of alchemy. Like other alchemists, her words about her explorations of substances are quite mystical and hard to understand. Her axiom, known as the 'Axiom of Maria': "One becomes two, two becomes three, and by means of the third and fourth achieves unity; thus two are but one," was quoted by many alchemists who followed her; C.G. Jung called it a leitmotiv which runs seventeen centuries of alchemy. It's enigmatic and unscientific to the modern reader, but during her life, philosophers in the Mediterranean held an Aristotelian view of mater. She was expressing the idea that all materials were one. Aristotelians believed that mater was composed of four elements (air, fire, earth, and water), with four qualities in opposing pairs (hot/cold and wet/dry). It was commonly believed that by appropriately adjusting the proportions of the four elements by adjusting the balance of the qualities, a material could be transformed into any other. Alchemists in Egypt believed that a base metal like lead could be transmuted into gold with four steps: 1) melanosis, or blackening, to kill the base metal; 2) leukosis, or whitening the metal (using arsenic compounds); 3) xanthosis, or yellowing silver into gold (which might involve sulfur); and 4) iosis, or making the metal violet, which was purported to make it transformable into other metals. Much of their exploration involved producing these colour changes in metals.

Alchemists disguised their works to avoid accusations of witchcraft or sorcery or to keep their research findings secret from most people, so it is hard for us to interpret. Her interests were broader that we tend to assume for alchemists; she was interested in more than attempting to transmute lead into gold or producing the Philosopher's Stone and the Elixir of Life. Alchemy was more a religious view of life for her. She spoke of joining metals of different sexes, or the death of metals - things which do not fit with our modern scientific knowledge. Nonetheless some people credit her with discovering hydrochloric acid. She is credited with inventing the silver sulfide process, still used in metalworking today. She is believed to have discovered caput mortum, a dark purple dye. Though alchemists' understanding of materials was not scientific, the methodologies and apparatus developed definitely involved scientific thinking and form the foundation of what was to become chemistry. Mary's "On Furnaces and Apparatuses" contains the first description of a still. The instruments attributed to her, and her innovations for sealing apparatus were well-designed and played a role in chemistry and cooking for many many centuries or even persist today. And that is truly extraordinary!

My colour scheme is influenced by the deep purple of caput mortum. In Arab texts she was called "Daughter of Plato" - a term used in Western alchemy for white sulfur, so I also use a yellow-gold colour in my portrait. There's a portrait of her in German physician and alchemist Michael Maier's book 'Symbola Aurea Mensae Duodecim Nationum,' but since it was published in 1617, I don't think it actually provides any insight to her appearance or clothing. I was more influenced in imagining what she would have looked like by researching the clothing of Hellenistic Jews of the first to third century of the common era and the frescos of the Dura-Europos synagogue built in Syria in 244 CE. I made this print for the #SciArtSeptember prompt: alchemy.

References 

Cohen, Stephen Michael. "Maria the Jewess." Shalvi/Hyman Encyclopedia of Jewish Women. 25 June 2021. Jewish Women's Archive. (Viewed on September 14, 2023) <https://jwa.org/encyclopedia/article/maria-jewess>.

Hendrickson, Kristin. Maria the Prophetess: Mother of Alchemy, lecture given at Arizona Center of Medieval and Renaissance Studies, Tempe, Arizona, as part of the ACMRS Fearless Females series program, on September 20, 2013, https://www.medievalists.net/2015/07/maria-the-prophetess-mother-of-alchemy/

Lewis, Jone Johnson. "Mary the Jewess, First Known Alchemist." ThoughtCo, Aug. 25, 2020, thoughtco.com/mary-the-jewess-biography-3530346.

Mary the Jewess, Wikipedia, accessed September, 2023

Patai, Raphael. The Jewish Alchemists: A History Source Book. New Jersey: Princeton University Press. pp. 60–91. ISBN 978-0-691-00642-0. 1995

Sacks, Harold. Mary the Jewess and the Origins of Chemistry, SciHi Blog, May 8, 2020. http://scihi.org/mary-the-jewess-origins-chemistry/

van der Horst, P.W. (2002). Maria Alchemista, the First Female Jewish Author. In: Berger, S., Brocke, M., Zwiep, I. (eds) Zutot 2001. Zutot: Perspectives on Jewish Culture, vol 1. Springer, Dordrecht. https://doi.org/10.1007/978-94-017-3730-2_6

Thursday, September 7, 2023

Some SciArt for September and New Things for ... the uh, end of the year

I've been taking part in #SciArtSeptember for the last several years. Check out the hashtag on Instagram!* Since I have such a big portfolio of prints I am often re-sharing art to match the daily prompts but each year I make a lot of new science art each September. Here's some of my new work.


Vincetoxicum rossicum, gel plate print, 11" x 14" by Ele Willoughby, 2023
Vincetoxicum rossicum, gel plate print, 11" x 14" by Ele Willoughby, 2023

For the #SciArtSeptember theme “strangling” I made gel plate prints of Vincetoxicum rossicum, also known as European swallowwort, or Dog-strangling Vine. Introduced to the northeastern US gardens in the mid-1800s, it’s become wildly invasive in south and central Ontario. While it doesn’t actually strangle dogs, it can be a risk to native plants and animals. It’s illegal to buy, sell, trade or purposely sell dog-strangling vine in Ontario; nonetheless I found this unwelcome plant in my garden. It can produce 28,000 seeds per square metre which are spread by the wind. They can crowd out native plants and mats of tangled vines make it hard to even walk through the forest. The leaves and roots can be toxic so animals avoid them and thus end up putting even more pressure on yummier native plants. They are also a threat to the monarch butterfly, a species at risk; their eggs laid on the vines do not survive to adulthood.

European swallowwort, gel plate print, 11" x 14" by Ele Willoughby, 2023
European Swallow-wort, gel plate print, 11" x 14" by Ele Willoughby, 2023

If you find them in your garden (here in North America) you should dig it up and place it in a black plastic bag; don’t add it to compost or it can spread. Or, if you are like me, use it as free art supplies!

Tomorrow, the prompt is simian, so here's a sneak peak at my post.

A Conspiracy of Lemurs, linocut, 9.25" x 12.5" by Ele Willoughby, 2023
A Conspiracy of Lemurs, linocut, 9.25" x 12.5" by Ele Willoughby, 2023

I decided to extend my ongoing series of Terms of Venery prints by adding a primate. The term for a group of lemurs is irresistible: a conspiracy. Looking at photos of ring-tailed lemurs I can imagine where the term arose. They are very social and live in large groups, huddling to socialize and for warmth. I wanted them to look like they were up to something and made the word lemur with their famously striped tails. Endemic to Madagascar, these wet-nosed primates are sadly endangered due to habitat loss.

I've also been thinking ahead, and though I don't mention [REDACTED winter holidays] until after Halloween, because it can all be a bit too much hype, if you like to send cards, check this out. I have new and returning  [REDACTED winter holidays] cards in my shop! It's good to order early to receive them with plenty of time to send them out to your friends and loved ones.

12 days of Christmas card by Ele Willoughby



12 days of Christmas by Ele Willoughby
My 12 Days of Christmas card design - find it in my shop!

*I'm also posting on Bluesky, where I'm @minouette and at @minouette@spore.social on Mastodon. Sadly, I think I am going to have to remove my account on what is left of Twitter.

Tuesday, August 29, 2023

Water is Life: Interconnection

 Local non-profit Water Docs Film Festival asked me if I would share their #ARTivist challenge for science art about issues of water and climate change. I shared some existing work which fit their themes and I wanted to create new work for the final theme: "Water is Life: Interconnection." 

At first I was a bit stumped. It's such a big topic. Water is central to all life on Earth. How can I represent that centrality, all life, the water cycle in one image? I think this is an instance where less is more. When I was in New Brunswick, I made a point to take a number of photos of lake water, as a reference for future art. I put this to work, creating a cyanotype with a negative of one of my photos and the theme itself as text, "WATER IS LIFE".


Water Is Life, cyanotype, 11" x 14" by Ele Willoughby, 2023
Water Is Life, cyanotype, 11" x 14" by Ele Willoughby, 2023

Then, as I was thinking about the inescapable this summer: the way so much of this country is and has been literally on fire, I began to conceive of this as one half of a diptych. All 13 provinces and territories have seen forest fires in this, the worst forest fire season we have ever experienced. So far 150,504 km squared, or as much as 4% of the forested area of Canada, a huge country with much greater proportion forested areas than most countries. This is an area larger than the entire country of Greece. This is about 5 times the average yearly area affected by forest fires and much of the continent has been bathed in smoke through the summer. 

Climate change causes warmer and drier weather and has radically increased the risk of forest fire. We can expect extreme weather events with increased frequency and severity. Many regions have been left praying for rain.

I made this linocut to express the flip side of "water is life"; "No water no life." I used my lino block centered on the Arctic, including much of Canada, and painted it with flames, then printed the text on top.

No Water No Life, linocut, 11" x 14", by Ele Willoughby, 2023
No Water No Life, linocut, 11" x 14", by Ele Willoughby, 2023


So, as a diptych:

Water diptych, cyanotype and linocut by Ele Willoughby, 2023
Water diptych, cyanotype and linocut by Ele Willoughby, 2023




Friday, August 18, 2023

Multimedia with Kites

 

Linocut kites on cyanotype sky with collaged washi, Ele Willoughby, 11" x 14", 2023
Linocut kites on cyanotype sky with collaged washi, Ele Willoughby, 11" x 14", 2023

Linocut kites on cyanotype sky with collaged washi, Ele Willoughby, 11" x 14", 2023
Linocut kites on cyanotype sky with collaged washi, Ele Willoughby, 11" x 14", 2023

Linocut kites on cyanotype sky with collaged washi, Ele Willoughby, 11" x 14", 2023
Linocut kites on cyanotype sky with collaged washi and embroidery thread, Ele Willoughby, 11" x 14", 2023

Linocut kites on cyanotype sky with collaged washi, Ele Willoughby, 11" x 14", 2023
Linocut kites on cyanotype sky with collaged washi, Ele Willoughby, 11" x 14", 2023

Linocut kites on cyanotype sky with collaged washi, Ele Willoughby, 11" x 14", 2023
Linocut kites on cyanotype sky with collaged washi, Ele Willoughby, 11" x 14", 2023 

kites, linocut by Ele Willoughby, 2023
Linocut kites with collaged washi, Ele Willoughby, 11" x 14", 2023

This is one of a series, each unique, of my hand made cyanotypes on watercolour paper (14" x 11") with an image of a cloud-filled sky overprinted with my linocut print of several kites, and wind-socks each collaged with beautiful Japanese washi papers. I made one without cyanotype and on one I hand-sewed embroidery thread for all the strings. The carp-shaped Koinobori wind socks (also known as satsuki-nobori) are flown in Japan to celebrate Tango no sekku, or Children's Day each May 5.

Friday, June 30, 2023

Cyanotype Experiments

Wet cyanotype with lemon slices
In this wet cyanotype the lemon slices are acting as both the translucent object to be imaged and a source of water and acid which affects the photochemistry. By Ele Willoughby, 2023, on watercolour paper 11" x 14"

I have been experimenting with cyanotypes. A cyanotype is an early photographic method, first used in 1842, which produces a cyan blue print used today for monochromatic art or blueprints. It is made using a slow-reacting, photographic printing formulation sensitive to a limited near ultraviolet and blue light spectrum, the range 300nm to 400nm known as UVA radiation. Two chemicals are mixed: potassium ferricyanide and ferric ammonium citrate, and coated on a surface. I usually use watercolour paper and then water to develop and fix the image. Along with some straightforward botanical images, I have objects with interesting silhouettes like lace, notions and tools. I have also been combining these with images of my own linocuts on acetate. I have been experimenting with wet cyanotype, where you begin the developing right away by applying some water while exposing the surface, as well as messing with the chemistry with things like vinegar, lemon juice, salt, and spices. I have also tried adding things which themselves are light sensitive, like lilac dye, paprika and curry powder. The results always somewhat to completely unpredictable, especially since I have been using the sun as my source of UVA radiation. This week I started toning some of my cyanotypes by bleaching with washing soda which allows tannins to bond to iron in the emulsion so images can be tinted. You can use different sources of tannins but I started with things in my kitchen: green tea and coffee. I've also embellished some with my linocut prints. Here's a taste!


Cyanotype fern by Ele Willoughby
Cyanotype fern, 9" x 12", Cyanotype spots by Ele WilloughbyEle Willoughby, 2023

Cyanotype in spots, 11" x 14" by Ele Willoughby, 2023

Cyanotype with teacup pattern lace, wild geraniums and lemon balm, toned with green team 11" x 14" by Ele Willoughby, 2023

Octopus cyanotype, toned with green tea, 11" x 14" by Ele Willoughby, 2023

Wildflowers and grasses cyanotype with linocut moths, 8" x 10.25", by Ele Willoughby, 2023