Saturday, December 13, 2025

In praise of janky translations: an anti-google diatribe

Once upon a time as recently as yesterday, I lived in a world in which Google Translate was an imperfect but useful tool. I could ask it my best guess of what someone had said to me, and it would spit out a decent explantion of what we were talking about. I could point my phone camera at a wall-label in a museum, and out would come the information I was reading about in a language I can speak. This all was incredibly useful, particularly on my Asian trip last summer.

Another thing I happened to use Google Translate for was as a short-cut in my research. Now, I’ve been trained up with the best of them. I know that looking at the original language of, say, a medieval charter is the best and most accurate way to understand that document’s meaning. Nevertheless, when working at volume, it can be handy to skim, and while I can get in the groove with modern German, my medieval Alemannic dialect reading is slower-paced. If I want a really fast assessment of something, there’s nothing like my native tongue, which is English, as you’ve probably guessed by now.

So, when looking over the roughly 200 charters relevant to the current chapter, I’ve been going through them quickly via google translate to see if there’s utility in doing the close-up work of line-by-line and word-by-word reading. About one out of every 5 will have a topic of particular interest. I can skim a 69-line whole-side-of-a-cow sized parchment charter in its janky English translation in about 10 minutes. I can read said document directly in something more like 45 minutes.

Let’s think about the math:

  • To skim English: 10x200 = 2,000 minutes, or roughly 30 hours of reading.
  • To read medieval Alemannic: 45x200=9,000, or roughly 150 hours of reading

Okay, I’ll even be fair; add back another 20 hours for going through the targeted documents in detail and I’m still looking at the difference between 50 hours of work and 150 hours of work.

Why am I heated up about this topic? Well, they broke google translate last night.

Let me say that again, with all the feels:

THEY BROKE GOOGLE TRANSLATE LAST NIGHT.

I have receipts, of course. I’m going to share just one, because it’s been a long and stressful day this morning (bwahaha).

Here’s a clause out of one of my documents:

3. brieff Alsz dann der vorgemelt keb hailig Santgall unnser hußsatter Jarlichen ain Suma gebt Im den vigrechten der gestifften Jorlichen Jarzeten

Here’s its translation, as of yesterday:

3. Furthermore, the aforementioned abbey of Saint Gall, our patron, shall pay annually a sum to the vicar for the proper observance of the established annual memorial services.

Usable, right? Tells me the basics of what’s going on. Is it elegant? No. Is it fully accurate? Also no. It is, I think we’d all agree, a janky translation. (Oxford definition of janky: “of extremely poor or unreliable quality.”).

But here’s the thing: this janky translation is USABLE. It tells me whether or not this is a place I want to spend some of my precious minutes. I mean, I like down time just like everyone else; these translations are a shortcut!

But no, it wasn’t getting enough time-on-the-page, I guess, so Google “improved” (and I use that word with scare quotes for a reason, so be scared, be very very scared) its translation tool. Let’s look at the result, shall we?

3. When the aforementioned [name omitted], the [name omitted], gives our [name omitted] an annual sum in accordance with the established annual [terms omitted].

This is predictive technology gone bad. The AI underpinning here is obvious. The “improved” tool is happy to predict anything that’s sort of standard in a regular document of this type. But all, all, ALL of the interesting details are now redacted. Because names, and places, and specific amounts of money are NOT predictable. So I guess we shouldn’t need to see them, eh? Because everything useful in life is predictable. (Mad, me mad? Whatever do you mean???)

And this, this is what they’re calling the “classic” version of the tool. Not that it bears any resemblance to what the tool was doing yesterday, of course. But it’s a handy marketing ploy for a company that clearly Does Not Give A Shit about the user experience. The advanced version, well, it simply redacted lines 6 to 9 of my document altogether since those are just like line 5, a list of payments to particular chaplains.

But MY study is looking (in part) at exactly that. I need to know how much more the parish priest gets than the altarist at the St Mang altar. It’s part of my evidence. And it changes over time. Oh, which makes it unpredictable.

So when we premise translations on what words mean, we get one kind of information. Yesterday, I might argue with whether the “Mesner” was better translated as a “sacristan” or a “sexton.”

In the land of predictive AI, however, we premise translations on what other texts think might come next, and that means skipping the “minutiae.” The result? I can no longer tell from the translation that the Mesner, whatever his role might be, was even present in the document. A bad translation is something I can argue with; a predictive omission is something I can’t even see.

This is arguably great if you’re translating prose. It’s an absolute disaster if you’re looking at legal records and payments and guidelines for the foundations. Those kinds of documents are actually designed to deliver the very small, unpredictable details that AI wants to suppress. They are accounting devices, legal instruments, and memory machines. It’s like AI trying to tell you what flavor of icecream is your favorite based on other people’s orders. It has absolutely, positively no idea of what *you* might want, but that won’t stop it trying, using that oh-so-confident voice, though.

Janky, bad translations, in other words, are part of my world of work. They have a use. They may be inelegant, but their very bumps and hiccups are pointers to the curious oddity. They keep the text visible as a text. As a user, I still see names, sums, offices, altars, weird textual repetitions – the very things that are likely innovations in this particular textual example. Predictive smoothing, by contrast, is a lie of fluency. It gives you the shape of a charter without its substance. To put it another way, jankiness is epistemologically honest. It doesn’t pretend to understand more than it does.

Cory Doctorow has brought us the concept of “enshittification,” the reality that a captured audience is merely monetary potential to the big firms that think they own our data. And yes, this update is truly, truly, truly the enshittified version of what a translator is supposed to do. In fact, from where I’m sitting, this is not even translation anymore. It’s instead content abstraction masquerading as translation. A translator is accountable to the source text; a predictive model is accountable to statistical plausibility. In fact, I have trouble communicating just how BAD it is at the job it was perfectly adquate at yesterday, but you get the general gist.

And the reality is that an enshittified product is pretty much what you’re stuck with from here on out, unless Google changes its mind, and rolls back to yesterday’s model.

Happily for me, I can, in fact, read my texts. I have access to good dictionaries, and I do subscribe to DeepL for toggling languages with modern German. (DeepL struggles *hard* with Alemannic, but then, don’t we all?). And in a pinch, ChatGPT actuall does a decent job with the odd sentence or two.

But the fact that yesterday was easy, and today my tool is broken? This is the way of this tech-heavy world of ours. Because yesterday’s Google Translate assumed that you were the expert deciding what mattered. Today’s assumes the model knows better. That’s not just frustrating; it’s a quiet and very, very creepy reordering of authority in knowledge production. Scholars of thin archives (like the ones I work on in Bregenz, Austria and in Bischofszell, Switzerland) are exactly the ones who lose when the world (or the tech-companies) decides that unpredictability is noise. Because the unpredictable is often where the truth lies.

Friday, December 12, 2025

Academic Games

For today’s post, to be clear, my role is amplifier first, and commentator second.

In case you wondered what academics do for fun, well, sometimes we weird out in corners of academia. This winter's winner from where I'm sitting is the 200-page published review of a 145-page book. No, that's not a typo; the review is longer than the book.

And the thing is, the writing of the review is just so, so, so quotably bad that my colleagues have turned it into a game. You scroll through the review and drop in at random and read a sentence or two, and decide if it's quoteworthy. And the joy of the game is that everyone's a winner. (There's a variant with extra points if your quote contains the word "epistemic" which appears 150 times in the review. And wow, the footnotes too! The whole thing is delicious!)

Credit to @jameschalmers.bsky.social and @benstanley.eu for drawing both review and game to my attention.

So, I have to admit that I delighted in this game. First of all, a review, as a matter of courtesy, should not be more than about 2% of the length of the item reviewed. Okay, maybe 5%. It’s pretty simple math: 300 page book at 5%: you can write a 15 page review if you’re completely nerding out. But that’s your upper limit. After that, you’re just in it for the kicks. And more kicks. Perhaps this meme could be instructive:

http://knowyourmeme.com/photos/540658-beating-a-dead-horse

It gave me all the feels – like watching a senior professor take the time to systematically destroy a graduate student in public during Q&A. (You know who I mean.) The world has no need for that; it’s neither instructive nor helpful nor even, at the end of the day, a boon to the human race. In fact, it’s kinda nasty. I’m glad that such behavior is generally condemned in the venues I’m involved in today; I wonder if the Comp-Law field might also have some things to observe about this piece, and suspect that it does.

And one of the reasons I don’t mind poking fun is that there’s hierarchy at play here as well; senior professor at the Sorbonne reviews book by scholars he characterizes as “unencumbered by reputation” (p.242). Well, refer to the meme above; you’ve already won that competition. Have some compassion.

But while compassion is in short supply, the game of quotability is over-amply supplied. In even a brief selection, Legrand demonstrates a series of writing quirks. I know that Comparative Law (and law in general for that matter) likes its literary flourishes. But these are, um, is “recklessly ornate” a fair assessment? You be the judge.

Start with over-the top image:

“even the kudzu-like proliferating orthodoxy that does not yet see retains the power of sight potentially allowing it to outsoar the darkness of not-seeing” (p.437)

Be proud of me, I did NOT ask Gemini to make me an image of Kudzu with eyes. Yikes.

We move on to over-the-top vocabulary:

“As rationality finds itself being relativized — the estimation of plurality must be a key factor in the comparatist’s allegiance to foreignness — comparison structurally invites conflict, no appeal to contrived and evanescent overarching commonalities being in a position to overcome the constitutive comparative dissensus” (p.428)

Relativized >>> evanescent >>> dissensus: the heat-o-meter just keeps rising as the sentence grows.

And, of course, there’s over-the-top sentence-building. Stop me when I get to a period?

“This review is not the proper locus to assess the merits or demerits of ‘tradition’ at any length although I am minded to specify that I consider Glenn’s move from ‘system’ to ‘tradition’ as largely cosmetic, a variation on the theme of David’s historically overarching model that remains deeply ingrained within orthodox comparative law’s ways generally and within the civil law’s manner in particular — which is why my preference easily goes to culture, a decisively more rewarding heuristic (tradition and possibly system, in the broadest sense of the term, being better apprehended as cultural subsets).” (p. 297)

Whew.

So, there’s a lot not to like. This review certainly wins some kind of academic Bulwer-Lytton prize, but for academia.

Why, oh why, do you think the editors of the journal chose to publish this? I suspect them of actually being kind of clever. Rarely do issues of comparative law make it into my headspace. After all, I’m a musicologist and a monastic historian, and I tend to dabble more in genre fiction than, er, comparative law. Yet as a non-expert outsider, I delighted in the inanities here, and was equally delighted by the community of scholars which came out to play with the materials.

There’s a sense of fun in being able to poke at such clearly contrived sentiments as those expressed here – and yes, to play a little bit of “I’ve read that, I have heard of this other thing, and oh, that could actually be interesting” with its footnotes. And, it’s low stakes – a chance to deal out an easy “my writing might be bad, but it’s certainly not THAT bad” card at the end of a long semester. Plus, we academics enjoy performative overwriting and disciplinary in-jokes, and this review provides a rare playground for exploring a bit of both elements.

So, you can chalk it up to "people being weird on the internet" or to modern-day publishing being a fool’s game. But now you know what at least some academics do for fun on their "time off."

Legrand, Pierre. "Comparative Law’s Shallows and Hollows: A Negative Critique on Ablepsy" [Review of Sabrina Ragone and Guido Smorto. Comparative Law: A Very Short Introduction. Oxford, Oxford University Press, 2023. 145 pp. ISBN 978 0 19 289339 0]. The Journal of Comparative Law 22 (2025): 239-439. https://www.pierre-legrand.com/ewExternalFiles/JCL_20-2_01_Legrand_ComparativeLawsShallowsAndHallows.pdf

Sunday, December 7, 2025

Bregenz Shooting Confraternity of 1498

This post on the Bregenz “Schützenbruderschaft” is organized into three parts. Part 1 presents extended excerpts from the Bregenz Schützenbruderschaft regulations of 1498, based on transcriptions from a 1711 copy, given here in my own translations. (If you want the transcriptions, message me; I didn’t have the energy to give them final polish and put them up here, but I’m pretty happy with the translations.) That is followed by a discussion that explores the Bruderschaft’s civic, devotional, and memorial practices, placing them in both local and broader European contexts. Finally, I give a substantive works cited with archival sources and secondary literature for anyone who wants to dive deeper.


PART 1: Translated excerpts from the Bregenz Schützenbruderschaft Regulations of 1498; sections 2-6 quoted in full. Transcribed from the copy of 1711, Bregenz, Vorarlberger Landesarchiv, Ohne Herkunftsangabe, 5652 (“Die Armbrust- und Büchsenschützen zu Bregenz stiften eine Bruderschaft”); translations are the author’s own.

Know and understand all those who see, read, or hear this letter, that the common rifle and riflemen here in Bregenz, according to the principle, consider and decide that friendship, unity, and brotherly cooperation, where faithfully observed, is pleasing to God and brings peace and benefit to the people here in this time …. [Listing of various leaders who approved the brotherhood. All these] have conceived and established a brotherhood as follows:

Firstly, in the honor of the holy and indefatigable Trinity of the highly praised Virgin Mary and Mother of God, and of the dear saints named Saint Sebastian, Saint Anthony, Saint Gallen, Saint Agatha, and Saint Barbara, with these aforementioned ordinances and decrees, Namely, such a brotherhood shall henceforth, as long as it is worthy, stand in common rifle and crossbow shooting authority… [discussion of how it is to be constituted, with leadership including both riflemen and crossbowmen].

Secondly, the brothers shall have two annual services every year, namely on St. Sebastian's Day and St. Agnes' Day, and begin in honor of the aforementioned patron saints, with a sung service and several spoken masses, as many as two members of the brotherhood are able to perform, which shall always be announced to all brothers and sisters.

Thirdly, if someone in the brotherhood dies, a sung memorial service shall be held for them, and announced to all brothers and sisters on the Sunday before, and the brotherhood shall place two bare candles, and after the memorial service take them back and keep them, and give St. Gallen one schilling pfennig from them.

Fourthly, whoever wishes to join such a brotherhood who is a crossbowman or rifleman, shall give eight marks from himself and his wife at the beginning of the year, and if he has no wife, still pay as many, but whoever wishes to join such a brotherhood who is not a marksman, a soldier or woman, shall be summoned before the four marksmen masters. And those who are common marksmen from both lords as mentioned above, will then be taken into the brotherhood by them according to form and fairness.

Fifthly, all who join such brotherhood, whether they are members or not, shall give one schilling pfennig each, and one woman or girl alone shall also give one schilling pfennig on St. Sebastian's Day, for as long as she is alive. However, whoever does not give the schilling, is not obligated to do anything else in connection with such brotherhood.

Sixthly, The more people join such brotherhood, the more worship is promoted and maintained.

Seventh, the four rifle and crossbow masters shall be selected once a year on St. Sebastian's Day,...

Eighthly, ...the four marksmen shall and may, as often as they deem necessary, summon the marksmen to gather for a Viertel (quarter) of wax. Anyone who does not come, and does not present a sufficient excuse, is liable to pay the Viertel of wax without exception. The validity of the excuse shall be judged by the four Schützenmeister…

Lastly, ...the aforementioned gentlemen, mayor and town council, shall know and agree to increase or decrease in one or more articles, always in the manner and occasion as is proper and necessary… [Followed by a lengthy list of those who approved these statutes.]


DISCUSSION

I spent some time on the Bregenz shooting confraternity regulations, partly because confraternities are inherently interesting as a social force to be reckoned with, and partly because the regulations gave such helpful details about liturgical services at the parish church of St Gall. This mixture of civic, devotional, and occasionally quasi-military functions is exactly what scholars describe as typical of late medieval shooting brotherhoods; for example, Brown and Small emphasize that crossbow- and rifle-guilds across the Low Countries cultivated both military practice and socially cohesive festivity.

Section 2 reminds us that the Bruderschaft is more than just a shooting club; it provides two sung church services for its members along with “several spoken masses,” with an emphasis on abundance; this salvific work was an important motivation for joining a confraternity during the period of its foundation. Alyssa Abraham’s study of early modern confraternities stresses that liturgical visibility – the ability to stage sung or massed devotions – was a core way that such groups asserted corporate identity, and Bregenz fits that larger pattern. In Bregenz, these ceremonies are centered on St Sebastian’s Day, January 20th, and St Agnes’s Day, January 21st, so these Bruderschaft celebrations are essentially a mid-January event for which more remote members might come to town. This is also the date for the annual election, so there is a combination of salvation work and regular business meeting.

Section 3 continues into the memorial functions of the group. Confraternities of the period frequently held services for the deceased, and the Bregenz group is no exception. There is a sung memorial service, with enough lead-time that the members of the Bruderschaft can arrange to attend. Moreover, there is a candle-as-coin allusion, the “two bare candles,” used in the service, and then subdivided as a physical, material good, held by the Bruderschaft, but with a portion – one schilling pfennig – as alms for the parish church where that memorial was held. Jonathan Glixon’s research has shown that confraternities across Italy and the Low Countries played highly structured roles in funerals. Confraternities’ duties ranged from preparing bodies, processing to the church, and providing sung laude. (He even finds evidence for polyphony; I should be so lucky!) Although Bregenz services are less elaborate, their sung memorial service and candle obligations sit very comfortably within this wider funerary economy.

Thirdly, if someone in the brotherhood dies, a sung memorial service shall be held for them, and announced to all brothers and sisters on the Sunday before, and the brotherhood shall place two bare candles, and after the memorial service take them back and keep them, and give St. Gallen one schilling pfennig from them.

Wax is money during the service, and it is also the funds for the meetings during the year, for which a “Viertel (quarter) of wax” is due whether or not you attend. The organization is also funded by joining fees (8 marks) and by annual dues (1 schilling pfennig). And the organizers clearly understand the “more is merrier” trope, noting that the larger the Bruderschaft grows, the more involved and complex the church services can be (Section 6). Such wax-based economies match a long-standing Northern European pattern: Brown and Small note that archery confraternities were routinely fined in either sous or wax, and statutes from Bethune (1413) even required members to provide a wax candle each year for Corpus Christi processions. Material obligations supported ritual visibility.

While the initial affiliation of the Bregenz confraternity was with the holy Trinity, it became known as the Sebastian Bruderschaft over time. Of course, that listing of saints in clause 1 of the Bregenz Bruderschaft regulations allowed and perhaps encouraged such slippage over time. There is something wickedly delicious about the fact that the martyr, shot full of arrows, becomes the patron for a shooting organization. Comparable organizations elsewhere – in Modena, as researched by Alyssa Abraham, or in Rheinfelden, Switzerland – often had ties to Sebastian’s role as plague intercessor. Sebastian’s popularity grew rapidly over the fifteenth century, which saw repeated waves of plague, and it’s not impossible that the Bregenz confraternity founding had both his roles in mind. (I have discussed Sebastian’s presence in plague prayers in articles.)

The Bregenz confraternity leaves various footprints across the legal landscape over the next two centuries. In 1505, six years after its founding, the steward of the Bruderschaft was involved in a property transaction at court. As the Bruderschaft matured, it became the object of pious donation; Jakob, Bishop of Ascalon, Auxiliary Bishop and Canon of Constance, for instance, left legacies both to the clerics at the parish church of St Gall in Bregenz and to its Riflemen's Association there. (He also donates both to the women of Hirschtal and those of Thalbach, and provides for cousins. Generous guy!). Pious legacies of this sort are well attested elsewhere: Abraham observes that confraternities actively cultivated visual and devotional presence precisely because such visibility attracted bequests, commissions, and ongoing obligations of prayer. The Bregenz confraternity was still going strong in the mid-18th century, when it was involved in various bond transactions. That longevity likewise parallels the endurance of Sebastian confraternities elsewhere. From Andernach to Hagnau to Dornbirn, Sebastian confraternity statutes and indulgences show similar patterns of devotional stability and periodic updating.

The importance of such community organizations can be seen during the counter-Reformation as well. In Bregenz, a signal moment came with the establishment of the Holy Rosary confraternity at the Parish church in 16 July 1617. While that’s the story for another post, it is still worth noting that the persistence of the shooting Bruderschaft into the seventeenth century in Bregenz suggests that, as in Venice or Florence or Bruges, confraternities could coexist with new post-Tridentine devotional forms rather than being supplanted by them.


WORKS CITED:

PRIMARY SOURCES (consulted via monasterium.net)

  • Bregenz Schützenbruderschaft Regulations of 1498 in a copy of 1711: Bregenz, Vorarlberger Landesarchiv, Ohne Herkunftsangabe, 5652 (“Die Armbrust- und Büchsenschützen zu Bregenz stiften eine Bruderschaft”)
  • Jörg Berkmann as steward to the confraternity: Bregenz Stadtarchiv, Urkunde 381: 1505 Dezember 10
  • Jakob, Bishop of Ascalon, pious legacy to the “Priesterbruderschaft und der Schützengesellschaft” in Bregenz: Bregenz Stadtarchiv, Urkunde 606: 1565 Oktober 24, Konstanz.
  • Bond transactions for the Bruderschaft:
    • Bregenz Stadtarchiv, Urkunde 7005, 20. Dezember 1749
    • Vorarlberger Landesarchiv, ohne Herkunftsangabe 6175, 28. August 1766
  • Founding of the Holy Rosary confraternity confirmed: Bregenz Stadtarchiv, Urkunde 771, 1620 April 15, Konstanz

SECONDARY LITERATURE

  • Abraham, Alyssa. “Iconography, Spectacle, and Notions of Corporate Identity: The Form and Function of Art in Early Modern Confraternities.” In A Companion to Medieval and Early Modern Confraternities, edited by Konrad Eisenbichler, Brill's Companions to the Christian Tradition, Vol 83 (Brill 2019): 406–432.
  • Anonymous, “The Brotherhood of St Sebastian [in Rheinfelden]” [undated post], Living Traditions in Switzerland [Website] https://www.lebendige-traditionen.ch/tradition/en/home/traditions/the-brotherhood-of-st-sebastian.html
  • Brown, Andrew, and Graeme Small. “Civic society and the Court Jousts, shooting fraternities and Chambers of Rhetoric in Court and civic society in the Burgundian Low Countries c.1420–1530.” In Court and Civic Society in the Burgundian Low Countries C.1420–1530, edited by Brown and Small (Manchester UP, 2007): 210-238.
  • Cyrus, Cynthia J. “Prayers Against Pestilence from Women’s Monastic Communities.” Early Modern Women 16.1, [Forum on Early Modern Women and Epidemics, edited by Bernadette Andrea, Julie Campbell, and Allyson M. Poska] (Fall 2021): 63-71; https://www.journals.uchicago.edu/doi/10.1086/715811.
  • Cyrus, Cynthia J. “Five Strategies in Sixteenth-Century Tertiaries’ Prayers Against Pestilence.” Academia | Letters (March 2021): Article 479; https://www.academia.edu/45687714 .
  • Wegeler, Julius, “Das Schiitzenbuch der St. Sebastianus--Bruderschast in der Stadt Andernach, beginnend im Jahre 1426.” Annalen des Historischen Vereins für den Niederrhein, 1859, https://www.vr-elibrary.de/doi/pdf/10.7788/annalen-1859-7-jg01
  • According to the Vorarlberger Landesbibliothek (https://vlb.vorarlberg.at/), statutes for similar Bruderschaften appear to be available in (somewhat) modern printed guise, but not to me, at least, not without interlibrary loan:
    • Die Bruderschaft vom heiligen Sebastian zu Hagnau: ihre Statuten, Ablässe und Gebete (Freiburg/Breisgau: Herder, 1888)
    • Bruderschaft unter dem Titel und Anrufung des hl. Martirers Sebastian in der Pfarrkirche zu Großdorf (Feldkirch: Sausgruber, 1901)
    • Statuten der Bruderschaft zum Heiligen Martyrer Sebastian in der Pfarrkirche Dornbirn-Oberdorf (n.p.: n.p., 1968)

Friday, December 5, 2025

A bookish saint from Brno

Time to explore another fine example of medieval art from the Moravian Gallery in Brno (Czech: Moravská galerie v Brně), this time a bookish saint.

The “Female Saint with Book” by an anonymous Moravian carver stems from around 1500. The wooden sculpture is tall and narrow, suitable for a niche or other tight space. She is crowned, and there appear to be jewels carved into that crown. There may be a veil over her hair, though its waist-length tresses seem to be otherwise unbound, for one strand has snuck over her shoulder and nestles against the crook of her arm. 

This youthful figure gazes out at us directly, her high forehead a sign of beauty, her straightforward gaze a signal of honesty, her rounded cheek a suggestion of affluence, her closed mouth with a hint of lift at the edge a gesture of inner repose.

Her robe boasts a modest scoop neck, and is cinched by a thin belt; yet below the waist, it flairs open in a dramatic upside-down V of imagined drapery to reveal her underkirtle. This is clearly secular garb, and may have had brocade with an elaborately textured surface, but with the insect damage we cannot tell for sure.

The right arm is lowered and has lost its hand – we have only the sleeve – but was bent at a 120-degree angle (pointing down but sort of aiming at the viewer).

The left hand is what interests me most. At that point where the outer garment flares, our figure holds a book. The position of that book is rather curious – she holds it sideways. The book’s back seems to be down; we see the top edge of the book, and if we were taller might see the front leaves as well. Moreover, the book is attached – perhaps by a bit of chain? –  to her belt since she neither needs to cradle the book nor press it hard against her side. The book floats, in other words, and she merely rests her hand lightly upon it. The book may be wrapped – is that a hint of gauzy fabric at the top? That would be characteristic of the day. It is clearly a beloved possession as well as an attribute of her sainthood.

And then, following our trajectory downward, we come to her feet, tucked in behind the folds of cloth. She stands on a rounded cushion or low dome rather than directly on the floor or rocks, as many other saints are depicted. In late-medieval sculpture, this kind of grounding signals nobility or spiritual elevation. It gives a lift to the figure – both to align her with our sight and to move her figuratively above the ordinary world – emphasizing her courtly bearing and inner refinement. Combined with her crown, her serene expression, and the cherished book in her hand, the cushion suggests that this is a saint whose sanctity is tied less to dramatic martyrdom or miracles and more to elevated learning, piety, and noble grace.

These details give us clues, but they also leave us guessing about her identity. Saints we might consider as candidates, given the statue's Moravian origins, include the intellectual Catherine of Alexandria, the tower-bound Barbara, or community-activist Elizabeth, all of whom were imagined in late-Gothic Central Europe as dignified, courtly women of faith.

Of course, the other saintly attributes for these women would be the “tell.” If this is Catherine, where is her wheel or sword? Neither seems to fit the dimensions of the space, so even if the hand had survived, the statue would be thrown out of kilter if such “regular attribute” were added. Barbara is perhaps more plausible; imagine the missing right hand holding a tower, and we could imagine her replete and identifiable. But for this statue to work, that tower would need to be curiously small; otherwise it would obscure her face. Though I suppose one that was shoulder height would work. If it were Elizabeth, we would expect some sign of her charity such as loaves, roses, or a small figure of the poor, but none appear here. The sculptor seems to have focused instead on the figure’s nobility and inner devotion, giving us a serene, book-holding figure rather than a tableau of her famous acts. In other words, we can read her sanctity through posture, gaze, crown, and that treasured book, but the overt symbols that would let us give her name are no more.

Wouldn’t it be nice if we knew more about who she is, or about who did the carving? Some artwork tells us stories, and indeed we could talk here about insect damage and the ravages of time, or about the wonderful luck of preservation. But artwork unmoored from its origins also poses questions that the attentive viewer might consider. Who was this lass, and what did she represent to the community that commissioned her, or to the artist who carved her? We cannot know, but we can appreciate the combination of artistry and effort that went into creating this beauty.


Other posts on Brno art

Sunday, November 30, 2025

Manuscript and incunable research links

This listing reflects my “frequently consulted” list of resources for manuscript and incunable research as I’m working on a medieval/early modern house of tertiaries, Thalbach in Bregenz, Vorarlberg, Austria. My aim in compiling this list of links is not to be systematic, but rather utilitarian, since I’m now frequently across browsers and even computers, and want “my” link list all in one place. There is a strong bias toward vernacular German / Austrian resources, since Vorarlberg was linked sometimes to Bavaria, sometimes to Tyrol and Innsbruck, and always to the broader Bodensee orbit.

Though I don’t claim “coverage” of digital resources, I did want my list to be useful to others, so I’ve done a few things. I’ve grouped it in clusters that might help a new researcher get started. I’ve tried to provide a brief explanation of what a resource is, and sometimes provided a “jump in” link that let’s you navigate more quickly to a search page.

I’m certainly open to adding further resources as they come to my attention, and invite your contributions. You can reach me at my vanderbilt.edu email (cynthia.cyrus “at”…) with suggestions.


Navigation


Manuscripts, Works, & Catalogues


UMBRELLA SITES FOR DIGITIZED MANUSCRIPTS

  • Manuscripta.at – digitized manuscripts from Austria: https://manuscripta.at/digitalisate.php
  • e-codices – Virtual Manuscript Library of Switzerland https://www.e-codices.unifr.ch/en/
  • KdiH – German-language illustrated manuscripts of the Middle Ages: https://kdih.badw.de/datenbank/start
  • Siân Echartd, Medieval Manuscripts on the Web – guide to online manuscript resources (scroll down for location-based listings) https://sianechard.ca/web-pages/medieval-manuscripts-on-the-web/
  • Open Culture – list of 160,000 medieval manuscripts online https://www.openculture.com/2020/12/160000-medieval-manuscripts-online-where-to-find-them.html
  • Mechthild transmission Study (MMMMO) – Overview of manuscript transmission of Liber specialis gratiae https://zfdg.de/2024_002

  • FRAGMENTS


    INCUNABLES


    CALENDARS & SAINTS


    Nuns' Libraries (Projects)


    MEMORIA

    Ottosen, Responsories of the Latin Office of the Dead (a reformulated version of the database undergirding his doctoral thesis, The Responsories and Versicles of the Latin Office of the Dead, https://www.cantusplanus.de/databases/Ottosen/index.html

    Hugener, Buchführung für die Ewigkeit, Totengedenken, Verschriftlichung und Traditionsbildung im Spätmittelalter, https://play.google.com/books/reader?id=rgVMDAAAQBAJ&hl=en


    Early Modern Vorarlberg Resources

    Let me know if this was useful. And, to navigate back around the page, here's that navigation list again:

    Friday, November 28, 2025

    Gratitudes

    Yesterday was Thanksgiving, so I tasked myself with coming up with as many things that brought me joy and fulfillment as I am years old. As I wrote, I realized how much richness there is in small, often overlooked moments -- those little sparks that quietly shape our days, and add up to a successful and joyful year.

    I’ve now grouped my list, since 62 random things is, er, reeeeeally random. Which of these bring YOU that momentary plip-pop of happiness?

    Nature: sunrises, the smell of pine needles, the fuzzy feel of lambs ear, acorn mast years, the crunch of autumn leaves, the deep and humid stillness of caves, the color of fall leaves, Bob the raccoon and his (her?) begging ways, textured tree bark

    Music & literature: Brahms (all of Brahms), T.S. Eliot’s The Waste Land, poetry, musical sequences with appoggiaturas, online Doctor Who, kazoos (and collecting kazoos and sharing kazoo wisdom)

    Family & community: turkey with family, parallel play, the hubbub of togetherness, passenger seat productivity, the instantaneous transpacific chat world

    Everyday joys: the smell of brewing coffee, warm-water showers, wool socks, the set of ten garden clippers so one is always to hand, bubbles in my seltzer, the light tug of a brush in my hair, chapstick, the potato masher – the most useful single-purpose tool, baby wipes as a cleaning tool

    Activities and their accoutrements: walks at the beach, birding with dad, hiking boots, amazing artwork, arrows for archery practice, compost!, pickleball, another training (and one more than that), the garden cart, campfires (with marshmallows, or even without)

    Specific joys: plans (they’re their own goodness!), books, so many books! a snuggle blanket on the couch, photo collections, birdseed, cat snuggles, a really juicy footnote, stretchable gloves , felt-tip pens, a good book on tape, a fuzzy hat with chin flaps, afternoon naps, frisbee

    Teaching joys: That “we can do this” feeling at the start of a class discussion, the direction the discussion goes that you weren’t expecting, the lightbulb moments, medieval dancing

    Foods: dilly bread, raspberries, peapods warmed by the sun, fresh-baked cookies, dehydrated apples with cinnamon and cloves, corn and popcorn and hominy and corn pudding, potstickers

    Little sparks like these, when counted up, turn into a year full of happiness.  

    What is it that brings YOU that slight little “plip” of joy to your day? 

    Thursday, November 27, 2025

    Everything Notebook Transitions

    What, you may ask, is an everything notebook? It is the reality that my live proceeds these days in a series of bound books, part of which is devoted to research notes and writing scrawls, some of which is notes from meetings (ugh), and the rest to the daily-functioning by way of my somewhat idiosyncratic to-do list in which “sweep hallway” and “interpret unheighted neumes” exist side by side, just as they do in my brain.

    An everything notebook SEEMS like it might be similar to a bullet journal, but they are not the same. I think of a bullet journal as a sleek little productivity engine: neat logs, tidy bullets, color-coded habit trackers, and a page for every goal. Everything fits, everything has a home, everything looks nice. (I wish I were that person, but I’m totally not!) An everything notebook, on the other hand, is more like a cozy attic where life lives in glorious disorder. Tasks rub elbows with meeting notes, recipes, hiking plans, manuscript lists, and “must-buy” lists. One page might hold a to-do list scrawled in angled lines; the next, a diagram, a doodle, or a quotation that I loved. Handwriting can range from elegant to exhausted, the layout can go backwards, sideways, or in spirals, and URLs and lists of my digital files sneak in at the back. It’s a system that survives chaos, celebrates variety, and holds memory, action, and creativity all at once. If a bullet journal is the tidy office, an everything notebook is the whole house – and you get to wander through it whenever inspiration strikes.

    An everything notebook is the place to track what I’m doing, jog my thinking, capture that recipe for microwave-in-a-mug apple crisp, take notes to figure out helpful routes to thinking about AI usage in the humanities, remind myself what I need at the grocery store.

    • FILLING 1 apple sliced thin, ½ Tablespoon melted butter, ¼ tsp cinnamon, 1 tsp brown sugar, 1 t flour (mix)
    • STREUSEL: 2 Tbl cold butter cut into 1 Tbl flour, 3 Tbl old-fashioned oats, 1 Tbl brown sugar, ¼ tps cinnamon
    • INSTRUCTIONS: Layer (filling/streusel/filling/streusel) in mug; microwave on high 3 minutes. Yum.

    Everything notebooks add value in a variety of ways. They reduce mental clutter. Want to remember it? Write it down! They maintain continuity across projects. How did I decide on this set of documents? Oh, that list was something from the black notebook with checks; oh, look: I decided to limit myself to ones using feminine verbiage, right. They create a ritualized review of one’s work, the fits-and-starts of what I’ve read, what questions piqued my interest, what strategies I dreamed up, but also, what friends I’ve written, which hikes I’ve completed, and what restaurants we’ve visited on dates. In short, an everything notebook captures the full texture of a life in motion, where ideas, tasks, and memories all have a place they can be written into existence for later decoding.

    But every season, a change must come, and one nearly-full notebook must give way to a new and pristine notebook so the jotting, writing, drafting, and listing has space to expand for another few months.

    And that transition is rather fun!

    I take the transition time as an opportunity to review just how much work got done over the last season. There’s always the to-do list, and there are guilt-projects to be harvested and made priorities in this new season. (The spiderwebs in the garage are back on the list of things to do this week.)

    But I also look over the notes I took, the articles (plural, oh my gosh) submitted for review, grab the list of manuscripts that I’m mid-query on, and copy over the various items that will jump-start this season’s productivity.

    I make a new table of contents as I go, so that I can find things again. I also cross reference items so I don’t have to hand-copy old bibliography. It’s not like the old notebook goes away, it just stops going from meeting to meeting to coffeeshop to campground and sits on its shelf with many years of peers. So, “See Purple F25 fol. 23” is enough for future me to track back to where that information is found.

    STRATEGIES FOR USE: 

    If you’re new to Everything Notebooks, I have a few things that work for me. I operate from the disposable model – my notebooks are the cheap 100-page Compsoition Notebooks that go on sale for schoolkids every fall in our neck of the woods. I use a variety of handwriting styles, from the “almost asleep scrawl” to the carefully shaped pretty text I’d be comfortable sharing with peers. I have a few big sections that have worked for me – the front 50 pages are for research, and I drop projects on the 10 page mark – the one at p. 49 works backwards toward the beginning; the one on p. 30 might run pp. 30-39 and then 29, 28, 27, and so on. Personal stuff clusters in pp. 50-70ish, with recipes and trail plans and gift-lists jumbled cheek-by-jowl. Starting on p. 70, I have notes from meetings; this winter notebook has fewer pages set aside for those since we don’t have meetings during the winter holidays, hallelujah, And then, while I keep the back 2 pages for URLs and apps and digital clean-up procedures, I then work backwards from p. 98 and earlier with to-do lists in four columns across the opening, sometimes grouped, and sometimes random, as the mood strikes me. Other people line through their lists, but I make my lines vertically, to the left of each item, so I can see if it’s done but still read it with tired eyes.

    There are many new scholars who have started their Zettelkästen – who will spend their careers in the ordered gathering of information in ways that are retrievable. I appreciate that model; the ability to make connections across readings from one year to the next and one topic to the next is the gift of a scholarly system that can pay off in productive mental engagement.

    My way is different, though. I keep spreadsheets and documents, nested folders and outlines, and all the good digital materials that reflect a modern scholarly profile requires. URLS are my friends, just as they are yours. And I might just have a spreadsheet of spreadsheets.

    But at heart there’s just something comforting about grabbing a pen with your morning cup of coffee and opening up the notebook and taking notes. I like their tangibility; I like the photo-images of arrows and scrawls and reminders-to-self that open up a complex set of intellectual associations in a handy, easy-to-interpret but casual form. These mnemonic jottings are useful -- I went rummaging back through pre-Covid notebooks just three weeks ago to prep for a lecture where I wanted to reference something I’d read back-in-the-day. There it was on the notebook page, and the example that had come to mind then dropped in smoothly into my 2025 lecture outline.

    Still, recopying things into an everything notebook isn’t just make-work. It is a reminder to my brain about what is important now, and what I want to be doing over the next two or three months.

    And that just might be more research, fewer meetings. But some decisions are beyond my control!

    So, if you’ve ever felt your thoughts, tasks, and ideas scattering in a dozen directions, try giving them a home in an everything notebook. Start small, let it be messy, let it be personal, and watch how the simple act of writing things down can make space in your life for productivity AND reflection and, even better, for memory AND action.

    An everything noteook is my “get it done” place; I hope yours helps you get it done too!


    PREVIOUS EVERYTHING NOTEBOOK POST: 

    Cynthia J. Cyrus, "My Late Lamented “Everything Notebook," Silences and Sounds, 3/3/25, https://silencesandsounds.blogspot.com/2025/03/my-late-lamented-everything-notebook.html.

    Friday, November 21, 2025

    Carving the Nativity in 1520

    The anonymous carving of the Nativity of Jesus that is found in the Moravian Gallery in Brno (Czech: Moravská galerie v Brně) dates from around 1520 and is sculpted from linden wood. According to the museum sign, it’s from Southern Bohemia or Lower Austria. It’s a busy image:


    To the left, Joseph enters from an arched doorway, while the ox and ass peak in. The woven basket is an interesting detail, and Joseph’s beard has a more exaggerated set of curlicues compared with the torso of Christ dating from around 1500.  Clearly, there’s a style.

    Mary is observing as a group of children appear to have Christ in a blanket – reminds me of the childhood game with a parachute, but with a baby, not a ball. There might be some safety concerns here.

    Standing up behind is the hillside, with flocks, while we peak into a scene with a cradle on one level and a store-room on another. I’m not sure what the round basket-like object is, or the bags (?) on top of it; to my eye the thing on top looks like a lap desk, but then, I like a good lap desk.

    In other words, it is a scene of abundance.

    Joseph’s square bib with its edging seems very 16th century to my eye, while the keffiyeh (square headcloth) with brown agal (the rope to hold it in place) is the one gesture to the middle eastern origins that came to my attention

    The oversized baby comes with oversized hair for a newborn, but the gestures of the “support staff” that tend to him are visually more interesting. The one at the bottom right is particularly interesting, the turn of her shoulder showing the work she is putting in, and the sweep of the skirt contrasting with the horizontal band of her blouse. I’m pretty sure those are wings on the worker who faces her, the angelic and the human working together in the story.

    The flocks deserve a close look, along with the hilltop habitations; the middle one with its miniature walls suggest that all was not always peaceful in these imagined times.


    And then there’s the Mary, not, evidently, in “Virgin Mary Blue” but rather a acreamy color. She’s still got the nicely decorated collar line and flowing fabric. Her hair is loose and very, very long – down to her calves, at a minimum

    Her chin has a bit of a dimple, and she has the high forehead that was a signal of beauty:


    Her headband is more ornate than Joseph’s, a twisting comination of patterned and smoothed side replicated by the sculptor. And, we can see that her hair was likely blond, with all that yellow tinting surviving to the present day.

    In short, lots to look at. There’s no single focal point here; instead, everything participates in the story. That shared participation is what gives the carving its warmth. It leaves you with the sense that holiness and humanness are woven together in every inch of the scene.


    OTHER BRNO MORAVIAN GALLERY ARTWORKS: 

    Wednesday, November 19, 2025

    Brno’s Torso of Christ

    Keeping up my theme of art works from The Moravian Gallery in Brno (Czech: Moravská galerie v Brně) – because who among us doesn’t have a backlog of photos from their phone – today’s post is on the badly charred torso of Christ from ca 1500.

    This is an amazing piece, first because it survived at all. The middle portion of the sculpture looks more like what one sees when one rolls a log out of the campfire to start the process of tidying up the campsite for the night. The blackened, charcoal-black interior is exposed to the modern eye as a textural commentary on the substance of the object, carbon transmuted not to diamond but to dust.

    Torso of Christ, Brno Moravian Gallery, detail

    And then the surprise. Move one's attention from the char to the head, and there is an eloquence to the sculpture that explains its ongoing presence on display. The rough-hewn nose, slightly flat on the top, and shaded from the smoke on its size reminds us of the carver’s art,while the moustached and bearded mouth shows the way that broad incisive lines can add character and heft to a face. The curls at the bottom of the beard seem artifact, not natural curl—made, not grown. This seems stylistically telling, a style “from” somewhere and sometime, the kind of over-the-top taste that makes the grandkids groan. Surely this is a detail that might help us localize the sculpture?

    Likewise, the carved curls to the side of the face show the lions-mane hairstyle of a glamour boy. A bit Fabio-esque, am I right? Compare the sculpted image to the profiles of the 1980's mega-model bedecking romance novels from the Guardian retrospective of 2015:



    "Fabio: a man of many book covers" from The Guardian

    Both have voluminous and abundant hair, with curled whisps providing shape. Those enviable tresses are slightly longer than shoulder-length. A heavier curve of especially dense locks right at cheek level then extends the gesture of the cheekbone out into airier, hairier space. Good hair is an attractive trait, in martyr or in model.

    Fabio is fun, of course, but the Christ figure is also a man of sorrows, a vivid reminder of the passion story, so let us return our focus there.

    The moustache, of course, adds a countervailing curve, turned up where the beard turns down, adding a bit of sinuous shaping; not so much an S- curve as a mini-recurve bow, adding interest to the downward droop of sorrow from the eye. You know that tears would catch there.

    The statue’s worry lines are again a reminder that a simple wedge-shaped line can do a lot to tell a story, and the slit of the eye asks the viewer to imagine the loss of closure.

    In all, it is a gripping statue, one that speaks volumes through its silence, the parted lips a final exhalation heard across the centuries.


    RESOURCES

    In praise of janky translations: an anti-google diatribe

    Once upon a time as recently as yesterday, I lived in a world in which Google Translate was an imperfect but useful tool. I could ask it ...