From aee38be15586d251da9c9a9c310012e872e3b759 Mon Sep 17 00:00:00 2001
From: tcatapano <tcatapano@users.noreply.github.com>
Date: Mon, 16 Dec 2024 19:21:01 +0000
Subject: [PATCH] deploy: 615a0ea8882a4a6a97a71ca7b38f6846736035e9

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diff --git a/404.html b/404.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>404</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
diff --git a/about/index.html b/about/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>About M&amp;K | Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>About M&amp;K | Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=page-title>About M&amp;K</h1><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#the-making-and-knowing-project>The Making and Knowing Project</a></li><li><a href=#the-edition>The Edition</a></li><li><a href=#the-research-and-teaching-companion>The Research and Teaching Companion</a><ul><li><a href=#graduate-lab-seminar>Graduate Lab Seminar</a></li><li><a href=#skill-building>Skill Building</a></li><li><a href=#undergraduate-hands-on-history>Undergraduate Hands-On History</a></li><li><a href=#digital-humanities>Digital Humanities</a></li></ul></li><li><a href=#the-sandbox>The Sandbox</a></li><li><a href=#editioncrafter>EditionCrafter</a></li><li><a href=#contact>Contact</a></li></ul></nav></aside><content><h2 id=the-making-and-knowing-project>The Making and Knowing Project</h2><p>The <a href=https://www.makingandknowing.org/>Making and Knowing Project</a>, founded in 2014 by Pamela H. Smith and involving hundreds of collaborators, is a research and pedagogical initiative in the <a href=https://scienceandsociety.columbia.edu>Center for Science and Society</a> at Columbia University. The Project explores the intersections between historical craft making and scientific knowing. Drawing on techniques from both laboratory and archival research as well as studio practice and the digital humanities, the Making and Knowing Project aims to cross the science/humanities divide.</p><p>The creation of <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition of BnF Ms. Fr. 640</em></a> has been the Project’s primary endeavor since 2014. This goal has shaped the Project’s methodology of fusing pedagogy with research, using a focused research object (Ms. Fr. 640) to teach historical, hands-on, and digital research methods while generating research outputs.</p><p>The digital critical edition <em>Secrets of Craft and Nature in Renaissance France</em> sheds light not only on what kind of knowledge the manuscript’s anonymous author-practitioner possessed about techniques and materials, but also, more broadly, how his work of making was related to knowing.</p><p>Indeed, the overarching theme of the Project and its work on <em>Secrets of Craft and Nature in Renaissance France</em> has been to show the ways in which making is an epistemic activity. In other words, making is itself a form of knowledge and not just an application of knowledge.</p><iframe src=https://player.vimeo.com/video/384070384 width=640 height=360 frameborder=0 allow="autoplay; fullscreen" allowfullscreen></iframe><p>For more about the Project, explore the Project’s website (<a href=https://www.makingandknowing.org>www.makingandknowing.org</a>) and <a href=https://edition640.makingandknowing.org/#/essays/ann_329_ie_19>Making the Edition</a>.</p><h2 id=the-edition>The Edition</h2><p><a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a> is a digital critical edition and English translation of the French manuscript Ms. Fr. 640 held by the Bibliothèque nationale de France. This edition presents a rich and unique sixteenth-century technical text in French transcription and English translation for the first time, and situates its contents in their material and historical context.</p><p>The manuscript provides a view into the material, technical, and intellectual world of the late sixteenth century, and gives rare insight into techniques and processes for making art and daily life objects, as well as into how nature was used in art, collected, and appreciated in early modern Europe.</p><p>The Making and Knowing Project created <em>Secrets of Craft and Nature</em> through a series of collaborative courses, workshops, and conferences that involved students, craft practitioners, artists, scholars of the humanities and social sciences, natural and computer scientists, and scholar-practitioners from the digital humanities.</p><h2 id=the-research-and-teaching-companion>The Research and Teaching Companion</h2><p>Once <em>Secrets of Craft and Nature</em> was completed, the Project turned to publishing the many research and teaching resources that were developed during the creation of <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a>. The Project also created a suite of resources around using the digital edition. The Research and Teaching Companion contains resources—and we hope inspiration—for teachers, researchers, and makers who wish to integrate hands-on and digital components into their classes, research projects, and art practice. Its resources are intended to be used flexibly, and we invite you to freely adapt from it and create your own resources to fit your particular needs.</p><p>Like <em>Secrets of Craft and Nature</em>, the Companion was created through courses, workshops, and collaborative projects, as detailed below. See also, <a href=https://cu-mkp.github.io/research-teaching-companion/credits/>Credits</a>, and (on the Project&rsquo;s website) <a href=https://www.makingandknowing.org/collaborators/>Collaborations</a>.</p><h3 id=graduate-lab-seminar>Graduate Lab Seminar</h3><p>Many of the teaching resources presented in the Companion originated as activities in the graduate Lab Seminar course, <em>Craft and Science: Making Objects in the Early Modern World</em>, taught between 2014 and 2018 at Columbia University. The graduate students in the course conducted text-, object-, and laboratory-based research that resulted in the edition&rsquo;s approximately 130 <a href=https://edition640.makingandknowing.org/#/essays>essays</a> which interpret, contextualize, and reconstruct the content of Ms. Fr. 640. The Companion contains <a href=https://cu-mkp.github.io/research-teaching-companion/resources/syllabi/>Making and Knowing Syllabi</a> for each of the eight versions of <em>Craft and Science</em>, focused each year on a different theme: Moldmaking and Metalworking; Colormaking (including dyes, pigments, artificial gems, coloring woods and metals, and varnish making); Practical Knowledge (including vernacular natural history, practical perspective, optics, mechanics, and medicine); Ephemeral Art; and Printmaking, Inscription, and Impression. We hope these syllabi will be a source of inspiration and provide a practical guide to the complexities of integrating seminar discussion and critical analysis with hands-on work in the laboratory or studio.</p><h3 id=skill-building>Skill Building</h3><p>In teaching these semester-long Lab Seminars, we tried to balance about 8 weeks of hands-on skill building with 8 weeks of individual (or group) research and writing. During the weeks of skill building, we brought in for short periods &ldquo;expert makers&rdquo; (whose essays are also included in the edition, see <a href=https://edition640.makingandknowing.org/#/essays/ann_334_ie_19>Tutor or Student?</a> and <a href=https://edition640.makingandknowing.org/#/essays/ann_501_ad_20>In Pursuit of Magic</a>) whose practice focused around the year&rsquo;s theme. Their essays reflect upon some of the ways we all learned together during these skill building sessions. As for the student essays, we gradually developed a form of writing by which we could combine argument-driven historical writing with descriptions of hands-on reconstruction of making processes. Throughout the semester, and particularly when conducting their own experiments, students&rsquo; hybrid <a href=https://fieldnotes.makingandknowing.org/>lab/field notes</a> were essential, and much time and effort went into recording and formatting these notes. The resulting essays, then, encapsulate much of the learning and many of the dynamics of the work of combining hands-on with critical analysis, which we hope will be useful to others in creating their own courses and research projects. For more information on this course, see <a href=https://edition640.makingandknowing.org/#/essays/ann_329_ie_19>Making the Edition of Ms. Fr. 640</a>.</p><h3 id=undergraduate-hands-on-history>Undergraduate Hands-On History</h3><p>With the edition complete, we transitioned in 2021 to a new course, <em>Making and Knowing in Early Modern Europe: Hands-On History</em>, in which a mixed cohort of undergraduate and graduate students explore <em>Secrets of Craft and Nature</em> to create <a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/>Student Projects</a>—involving all kinds of research—that extends the content of the edition in creative and sometimes surprising ways. The duration of the course period for this class is only about 2 hours/week (in contrast to the 4 hours of <em>Craft and Science</em>). Time and scheduling present a serious challenge to integrating hands-on work in the classroom, and it was out of this need to streamline the hands-on work that our step-by-step <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/>Lesson Plans for Hands-On</a> emerged. As you can see in the <a href=https://cu-mkp.github.io/research-teaching-companion/resources/syllabi/>Making & Knowing Syllabi</a>, the hands-on sessions incorporate many of the skill building activities first formulated for <em>Craft and Science</em>. The Lesson Plans and associated teaching resources included in the Companion provide step-by-step guidance in planning, tools and ingredients, and the processes of the hands-on work. These Lesson Plans have been used by instructors from high school to graduate courses, and their experiences and advice can be found in <a href=https://cu-mkp.github.io/research-teaching-companion/resources/case-studies/>M&amp;K Resources in Use</a>. Further reflections about teaching hands-on activities can be found in the Project&rsquo;s <a href=https://cu-mkp.github.io/research-teaching-companion/resources/reflection/>Reflections on Hands-On</a>.</p><iframe title=vimeo-player src="https://player.vimeo.com/video/710444936?h=b9508dad89" width=640 height=360 frameborder=0 allowfullscreen></iframe><p>Example Student Project from <em>Hands-On History</em>: A pop-up book of the manuscript</p><h3 id=digital-humanities>Digital Humanities</h3><p>During development of the edition, we also taught digital humanities courses that integrated methods and tools of digital scholarship so that the students could help to build, test, and use the prototype of the edition. The syllabi for these courses provide information about minimal computing and the open access technologies that underlie the edition and our digital publication tool, <a href=https://editioncrafter.org>EditionCrafter</a>. Student projects resulting from these courses are included in this Companion in <a href=https://cu-mkp.github.io/research-teaching-companion/resources/digital/>Digital Making and Knowing</a>, and can also be found on the Project&rsquo;s <a href=https://cu-mkp.github.io/sandbox/>Sandbox</a>, along with many additional digital projects using the data of the edition.</p><h2 id=the-sandbox>The Sandbox</h2><p>While teaching digital humanities courses, the Project established the <a href=https://cu-mkp.github.io/sandbox/>Making and Knowing Sandbox</a> which makes available a number of resources that utilize and explore the data underlying <em>Secrets of Craft and Nature</em>. The Sandbox presents experimental, provisional, and in-progress work that engages and analyzes the data, topics, and content of <em>Secrets of Craft and Nature</em> and the manuscript BnF Ms. Fr. 640 as well as the larger themes explored by the Making and Knowing Project.</p><p>The Sandbox is an online environment for students, scholars, and others to explore and experiment with the Project’s data using a variety of digital tools, where others can add and create their own tools, case studies, and resources presented here. This is also a space for sharing teaching resources, exploring methods and processes across disciplines and levels of expertise, and engaging in knowledge exchange wherever possible. You can also explore the <a href=https://github.com/cu-mkp/sandbox>Sandbox&rsquo;s Github repository</a>.</p><h2 id=editioncrafter>EditionCrafter</h2><p>The Making and Knowing Project created an open source and customizable publishing tool, <a href=https://editioncrafter.org>EditionCrafter</a>. It allows users to easily publish digital critical editions as feature-rich and sustainable static sites, based on the feature set and infrastructure of <em>Secrets of Craft and Nature</em>.</p><p>EditionCrafter was developed as a collaboration between the Making and Knowing Project and <a href=https://www.performantsoftware.com/>Performant Software Solutions</a> to address the need for a scholarly publication tool that integrates primary sources, commentary, and textual analysis. As a publication tool, EditionCrafter facilitates the dissemination of original research through the creation of digital editions of texts. Researchers, students, and institutions such as libraries, historical societies, archives, and community groups can use the tool to grant public access to valuable textual sources across disciplines.</p><p>A platform for collaborative research and for pedagogy, EditionCrafter provides space for critical engagement with texts. Scholars and students alike can use digital tools to share not only data and finished products, but also documentation of the process of textual engagement and analysis.</p><p>Editions created with EditionCrafter are published through well-established technologies and workflows and can be maintained with minimal costs and resources, helping to address issues of sustainability and longevity.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/about-mk-collab-lab.png alt=about-mk-collab-lab></p><h2 id=contact>Contact</h2><p>The Making and Knowing Project is a research cluster of the Center for Science and Society at Columbia University in the City of New York.</p><p>For more information, please visit: <a href=https://www.makingandknowing.org/>https://www.makingandknowing.org/</a> and <a href=https://scienceandsociety.columbia.edu/>https://scienceandsociety.columbia.edu/</a><br></p><p>To report a bug or malfunction in any of the Project&rsquo;s online publications, please send an email to <a href=mailto:info@makingandknowing.org>info@makingandknowing.org</a> with a detailed description or screenshot of the error message or section to be corrected. Alternatively, log any bugs by contributing to the <a href=https://github.com/cu-mkp>Project&rsquo;s Github</a> by opening an issue in our issue trackers. Thank you!</p><ul><li>The Research and Teaching Companion (the Companion): <a href=https://github.com/cu-mkp/research-teaching-companion>Github repository</a> and <a href=https://github.com/cu-mkp/research-teaching-companion/issues>Issue Tracker</a></li><li><a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature</em></a> (the edition): <a href=https://github.com/cu-mkp/m-k-manuscript-data>Github repository</a> and <a href=https://github.com/cu-mkp/m-k-manuscript-data/issues>Issue Tracker</a></li><li>The <a href=https://cu-mkp.github.io/sandbox/>Sandbox</a>: <a href=https://github.com/cu-mkp/sandbox>Github repository</a> and <a href=https://github.com/cu-mkp/sandbox/issues>Issue Tracker</a></li></ul><br><p><i class="fab fa-facebook-square"></i> [<a href=https://www.facebook.com/MakingKnowing>Facebook </a>]
 <i class="fab fa-twitter-square"></i> [<a href=https://twitter.com/makingknowing>Twitter </a>]
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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Credits | Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=page-title>Credits</h1><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#research-and-teaching-companion-contributors>Research and Teaching Companion Contributors</a><ul><li><a href=#senior-editorial-team-for-the-companion>Senior Editorial Team for the Companion</a></li><li><a href=#senior-digital-team-for-the-companion>Senior Digital Team for the Companion</a></li><li><a href=#planning-and-implementation-for-the-companion>Planning and Implementation for the Companion</a></li><li><a href=#the-making-of-_secrets-of-craft-and-nature-in-renaissance-france_>The Making of <em>Secrets of Craft and Nature in Renaissance France</em></a></li><li><a href=#project-team-and-staff-for-_secrets-of-craft-and-nature_>Project Team and Staff for <em>Secrets of Craft and Nature</em></a></li></ul></li><li><a href=#making-and-knowing-project-managers-assistants-and-interns>Making and Knowing Project Managers, Assistants, and Interns</a></li><li><a href=#making-and-knowing-in-early-modern-europe-hands-on-history--laboratory-seminar-participants><em>Making and Knowing in Early Modern Europe: Hands-on History</em> Laboratory Seminar Participants</a></li><li><a href=#craft--science-making-objects-in-the-early-modern-world--laboratory-seminar-participants><em>Craft & Science: Making Objects in the Early Modern World</em> Laboratory Seminar Participants</a><ul><li><a href=#expert-makers>Expert Makers</a></li><li><a href=#students-by-semester>Students by Semester</a></li><li><a href=#digital-humanities-seminar-participants>Digital Humanities Seminar Participants</a></li><li><a href=#columbia-university-libraries-and-the-center-for-teaching-and-learning>Columbia University Libraries and the Center for Teaching and Learning</a></li></ul></li></ul></nav></aside><content><h1 id=credits>Credits</h1><p>In the development of the Making and Knowing Project&rsquo;s Research and Teaching Companion, many individuals have contributed, including instructors, scholars, students, researchers, practitioners, makers, organizers, advisors, developers, designers, and supporters. The Companion represents the culmination of many years of iterative, interdisciplinary, and collaborative work by countless dedicated and enthusiastic members, individuals, and networks of the <a href=https://www.makingandknowing.org/>Making and Knowing Project</a>.</p><h2 id=research-and-teaching-companion-contributors>Research and Teaching Companion Contributors</h2><h3 id=senior-editorial-team-for-the-companion>Senior Editorial Team for the Companion</h3><ul><li>Naomi Rosenkranz</li><li>Pamela H. Smith</li><li>Tianna Helena Uchacz</li><li>Terry Catapano</li></ul><h3 id=senior-digital-team-for-the-companion>Senior Digital Team for the Companion</h3><ul><li>Terry Catapano</li><li>Nick Laiacona and team at <a href=https://www.performantsoftware.com/>Performant Software Solutions</a></li><li>Naomi Rosenkranz</li></ul><h3 id=planning-and-implementation-for-the-companion>Planning and Implementation for the Companion</h3><ul><li>Pamela H. Smith</li><li>Naomi Rosenkranz</li><li>Tianna Helena Uchacz</li><li>Tillmann Taape</li><li>Sophie Pitman</li><li>Donna Bilak</li><li>Terry Catapano</li><li>Caroline Surman</li><li>Gregory Schare</li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/2024_RTC_Worksprint.jpg alt="Companion Worksprint"></p><p><strong>Research and Teaching Companion WorkSprint, April 2024</strong></p><h3 id=the-making-of-_secrets-of-craft-and-nature-in-renaissance-france_>The Making of <em>Secrets of Craft and Nature in Renaissance France</em></h3><p>The Making and Knowing Project&rsquo;s creation of the edition of Ms. Fr. 640, <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France: A Digital Edition of BnF Ms. Fr. 640</em></a>, underpins the structure and content of this Research and Teaching Companion; for more about the creation of the edition, see <a href=https://edition640.makingandknowing.org/#/content/about#creation-of-the-edition>About the Edition</a> and Pamela H. Smith, <a href=https://edition640.makingandknowing.org/#/essays/ann_329_ie_19>Making the Edition of Ms. Fr. 640</a>. For the numerous individuals involved in the creation of the edition, see <a href=https://edition640.makingandknowing.org/#/content/about#People-and-Credits>Credits</a>. Although not everyone named below worked directly on the Research and Teaching Companion, their research, teaching, and participation contributed to its content.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/about-credits-wgm15.png alt=about-credits-wgm15></p><h3 id=project-team-and-staff-for-_secrets-of-craft-and-nature_>Project Team and Staff for <em>Secrets of Craft and Nature</em></h3><ul><li>Founding Director: Pamela H. Smith</li><li>Assistant Director: Naomi Rosenkranz</li><li>Making and Knowing Project Postdoctoral Scholars:<ul><li>Senior Postdoctoral Scholar (2016-20): Tianna Helena Uchacz</li><li>Postdoctoral Scholar (2017-20): Tillmann Taape</li><li>Postdoctoral Scholar (2019-20): Clément Godbarge</li><li>Postdoctoral Scholar (2017-18): Sophie Pitman</li><li>Postdoctoral Scholar (2014-16): Jenny Boulboullé</li><li>Postdoctoral Scholar (2014-17): Joel A. Klein</li><li>Postdoctoral Scholar (2014-17): Donna Bilak</li><li>Gerda Henkel Postdoctoral Research Scholar (2019-20): Sarah Muñoz</li><li>Gerda Henkel Postdoctoral Research Scholar (2017-19): Colin Debuiche</li></ul></li><li>Project and Communications Manager: Caroline Surman</li><li>Lead Paleographer: Marc Smith</li><li>Digital Lead: Terry Catapano</li><li>Digital Designer-Developer: Nick Laiacona and team at <a href=https://www.performantsoftware.com/>Performant Software Solutions</a></li></ul><h2 id=making-and-knowing-project-managers-assistants-and-interns>Making and Knowing Project Managers, Assistants, and Interns</h2><ul><li>Research Associate (2014-15): Claire Sabel</li><li>Project Manager and Graduate Research Assistant (2014-15): Jef Palframan</li><li>Research Assistant (2014-15): Miriam Pensack</li><li>Copy Editor (2016-20): Hannah Elmer</li><li>Editorial Assistants:<ul><li>Kelsey Troth (2019-20)</li><li>Ray Abruzzi (2019-21)</li><li>Christian-Joseph Macahilig (2020-21)</li><li>Lydia DeFusto (2024)</li></ul></li><li>Digital Programming Assistants:<ul><li>Bingyan Hu (2015-16)</li><li>Sharan Suryanarayanan (2016)</li><li>Philip Cherian (2016-18)</li><li>Emre Tetik (2016-2018)</li><li>Ludovic Touzé-Peiffer (2017)</li><li>Matthew Kumar (2019-20)</li><li>Gregory Schare (2020-24)</li><li>Sophia Qureshi (2021)</li></ul></li><li>Programming Teaching Assistants:<ul><li>Atif Ahmed (2016-17)</li><li>Mehul Kumar (2016-17)</li><li>Varsha Maragi (2016-17)</li><li>Raj Biswas (2018-19)</li><li>Samantha Siu (2018-19)</li></ul></li><li>Digital Humanities Teaching Assistants:<ul><li>Jeffrey Wayno (2016-17)</li><li>Jenna Schoen (2019)</li></ul></li><li>Laboratory and Studio Teaching Assistants:<ul><li>Nilam Patel (2015)</li><li>Bella Buscarino (2016)</li><li>Scott Sonnenberg (2016-18)</li><li>Carolin Rechberg (2018)</li></ul></li><li>École Polytechnique Alliance Interns:<ul><li>Margot Lyautey (2016)</li><li>Philip Cherian (2016)</li><li>Ludovic Touzé-Peiffer (2017)</li><li>Roni Kaufman (2020)</li><li>Dana Chaillard (2020)</li></ul></li><li>High School Interns:<ul><li>Christine Hu (2016)</li><li>Karuna Vikram (2016-2017)</li><li>Charlotte Nahley (2017-20)</li><li>Divya Mehrish (2018)</li><li>Camilla Shulman (2018)</li><li>Annika Cunningham (2021-2022)</li></ul></li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/sp22_grotto-making.jpg alt=grotto-making></p><h2 id=making-and-knowing-in-early-modern-europe-hands-on-history--laboratory-seminar-participants><em>Making and Knowing in Early Modern Europe: Hands-on History</em> Laboratory Seminar Participants</h2><p>This hybrid laboratory-discussion advanced undergraduate / intro graduate seminar offered through Columbia’s History Department combined historical research with hands-on skill-building and reconstructions of Ms. Fr. 640’s recipes in the Making and Knowing Laboratory. This course was adapted from the graduate-level course <em>Craft & Science</em> (described below) and offered after the publication of <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature</em></a>. Students were asked to develop final projects that explored ways to interact with <em>Secrets of Craft and Nature</em> or engage with its themes.</p><p>Instructors: Pamela Smith with Naomi Rosenkranz and Caroline Surman</p><table border=1><thead><tr><th>Summer 2021 (virtual)</th><th>Fall 2021</th><th>Spring 2022</th><th>Spring 2023</th></tr></thead><tbody><tr><td valign=top>Elizabeth Branscum (graduate)<br><br>Mackenzie Fox (graduate)<br><br>Mackenzie Fox (graduate)<br><br>Sophia Macomber (undergraduate)<br><br>Julia Tomasson (graduate)<br><br>Madi Whitman (postdoc)<br><br>Ingrid Romero (undergraduate)<br><br>Anna Christensen (graduate)<br><br>Mellon (Vivian) Snyder (undergraduate)<br><br></td><td valign=top>Allie (Alexandra) Coutavas (graduate)<br><br>Anne-Marie Dillon (undergraduate)<br><br>Anne-Marie Dillon (undergraduate)<br><br>Anusha Sundar (graduate)<br><br>Beah (Sarah) Jacobson (graduate)<br><br>Benjamin Weisgall (graduate)<br><br>Charlie Steinman (graduate)<br><br>Charlotte Atkins (undergraduate)<br><br>Danli Lin (graduate)<br><br>Eleanor Davol (undergraduate)<br><br>Elia (Longyu) Zhang (undergraduate)<br><br>Elliot Zayas (undergraduate)<br><br>Eric Mazariegos Jr. (graduate)<br><br>Hana Ghoneima (undergraduate)<br><br>Helena Seo (graduate)<br><br>Juliana Mendelsohn (undergraduate)<br><br>Mac Waters (undergraduate)<br><br>Naomi Alberts (undergraduate)<br><br>Siobhan Joyce-Farley (undergraduate)<br><br></td><td valign=top>Jamie Bergen (undergraduate)<br><br>Jack Chivers (undergraduate)<br><br>Jack Chivers (undergraduate)<br><br>Maia Donald (undergraduate)<br><br>Maciej Dzumala (undergraduate)<br><br>Schuyler Gardner (undergraduate)<br><br>Ally (Alexandra) Johnson (graduate)<br><br>Alina (Lingsi) Kong (graduate)<br><br>Theodora Lang (graduate)<br><br>Kate Miller (undergraduate)<br><br>Victoria Nebolsin (graduate)<br><br>Alejandra Quintana Arocho (undergraduate)<br><br>Sofia Sabet (undergraduate)<br><br>Benjamin Sinvany (graduate)<br><br>Jianing Wei (graduate)<br><br>Aviva Weinbaum (undergraduate)<br><br>Luxi Yang (graduate)<br><br>James Rice (undergraduate)<br><br></td><td valign=top>Elaf Alsibyani (graduate)<br><br>Reece Brown (undergraduate)<br><br>Reece Brown (undergraduate)<br><br>Salih (Mohammed) Cholakkalakath (graduate)<br><br>Ruilin Fan (graduate)<br><br>Molly Forrester (undergraduate)<br><br>Sophie Gorup (undergraduate)<br><br>Avery Lambert (undergraduate)<br><br>Gerold Mannall (undergraduate)<br><br>Nina Nahitchevanksy (graduate)<br><br>Gilles Narcy (graduate)<br><br>Nesya Nelkin (graduate)<br><br>Lukas Oberem (graduate)<br><br>Jermaine Ralliford (undergraduate)<br><br>Sumant Rao (graduate)<br><br>Junaid ur Rehman (graduate)<br><br>Allison Ruman (graduate)<br><br>Jingxian Shi (graduate)<br><br>Shannon Trono (graduate)<br><br>Bhargavi Viswanath (graduate)<br><br>Kuangye Wang (undergraduate)<br><br>Damiana Yousef (graduate)<br><br></td></tr></tbody></table><h2 id=craft--science-making-objects-in-the-early-modern-world--laboratory-seminar-participants><em>Craft & Science: Making Objects in the Early Modern World</em> Laboratory Seminar Participants</h2><p>This hybrid laboratory-discussion graduate seminar offered through Columbia’s History Department combined historical research with hands-on skill-building and reconstructions of Ms. Fr. 640’s recipes in the Making and Knowing Laboratory. The teaching and student work in this course was foundational in creating the content for the Research and Teaching Companion.</p><p>Each semester of the <em>Craft and Science</em> Lab Seminar was driven by a guiding theme to draw together components of the manuscript and provide focus for analysis and activities, as described below.</p><ul><li>Instructor: Pamela H. Smith</br></li><li>Co-instructors:<br><ul><li>Donna Bilak (2014-17)</li><li>Jenny Boulboullé (2014-16)</li><li>Joel A. Klein (2014-17)</li><li>Tianna Helena Uchacz (2016-20)</li><li>Sophie Pitman (2017-18)</li><li>Tillmann Taape (2017-20)</li></ul></li></ul><h3 id=expert-makers>Expert Makers</h3><p>Invited for their expertise, Expert Makers stayed in residence at Columbia for two weeks to lead students in skill-building activities specific to the year’s theme and consult with students on their final project topics.</p><ul><li>Tonny Beentjes (Fall 2014)</li><li>Andrew Lacey (Spring 2015)</li><li>Marjolijn Bol (Fall 2015)</li><li>Erma Hermens (Spring 2016)</li><li>Divya Anantharaman (Fall 2016-Spring 2017)</li><li>Jo Kirby (Fall 2018)</li><li>Ad Stijnman and support from the Art and Art Education Program, Teachers College (Fall 2018)</li></ul><h3 id=students-by-semester>Students by Semester</h3><p><strong>Moldmaking and Metalworking</strong>: Participants focused on molding and casting materials and techniques in Ms. Fr. 640 and undertook skill-building in historical culinary reconstruction, breadmolding, sugar casting, sand casting, and plaster molding.</p><table border=1><thead><tr><th>2014 Fall: Moldmaking and Metalworking</th><th>2015 Spring: Moldmaking and Metalworking</th></tr></thead><tbody><tr><td valign=top>Emily Boyd<br><br>Raymond Carlson<br><br>Emogene Cataldo<br><br>Jordan Katz<br><br>Rozemarijn Landsman<br><br>Michelle Lee<br><br>Diana Mellon<br><br>Jef Palframan<br><br>Jonah Rowen<br><br>Julianna Visco<br><br>Yijun Wang</td><td valign=top>Giulia Chiostrini<br><br>Celia Durkin<br><br>Shiye Fu<br><br>Sofia Gans<br><br>Caroline Marris<br><br>Jef Palframan<br><br>Gunthild Peters<br><br>Stephanie Pope<br><br>Zhiqi Zhang</td></tr></tbody></table><p><strong>Colormaking</strong>: Participants focused on painting, varnish, colored glass, and dyeing entries in Ms. Fr. 640 and undertook skill-building in historical culinary reconstruction, gem-making, canvas and panel preparation, making lake pigments, verdigris growing, and painting.</p><table border=1><thead><tr><th>2015 Fall: Colormaking</th><th>2016 Spring: Colormaking</th></tr></thead><tbody><tr><td valign=top>Marilyn Bowen<br><br>Danielle Carr<br><br>Ana Estrades<br><br>Emilie Foyer<br><br>Cindy Kok<br><br>Kathryn Kremnitzer<br><br>Tianhe Lou<br><br>David McClure<br><br>Sayantani Mukherjee<br><br>Siddhartha Shah<br><br>Yuan Yi<br><br>Wenrui Zhao</td><td valign=top>Ann-Sophie Barwich<br><br>Amy Chang<br><br>Olivia Clemens<br><br>Lila Goldenberg<br><br>Njeri Ndungu<br><br>Cleo Nisse<br><br>Sophie Pitman<br><br>Robin Reich<br><br>Yuanxie Shi<br><br>Teresa Soley<br><br>Wenrui Zhao</td></tr></tbody></table><p><strong>Practical Knowledge</strong>: Participants focused on vernacular natural history, practical optics, mechanics, and medicine entries in Ms. Fr. 640 and undertook skill-building in historical culinary reconstruction, breadmolding, verdigris growing, making lake pigments, and painting.</p><table border=1><thead><tr><th>2016 Fall: Practical Knowledge</th><th>2017 Spring: Practical Knowledge</th></tr></thead><tbody><tr><td valign=top>Joslyn DeVinney<br><br>Ana Matisse Donefer-Hickie<br><br>Sau-yi Fong<br><br>Benjamin Hiebert<br><br>Changduk (Charles) Kang<br><br>Emma Le Pouésard<br><br>Isabella Lores-Chavez<br><br>Caitlyn Sellar</td><td valign=top>Nicole Basile<br><br>Hannah Elmer<br><br>Christopher Eom<br><br>Sasha Grafit<br><br>Xiaomeng Liu<br><br>Ariane van Buren<br><br>Casa (Xinguo) Wang</td></tr></tbody></table><p><strong>Ephemeral Art</strong>: Participants focused on techniques and materials for impromptu decoration in Ms. Fr. 640 and undertook skill-building in historical culinary reconstruction, breadmolding, azurite levigation, verdigris growing, making lake pigments, dyeing, stucco-making, and painting.</p><p><strong>Making Impressions</strong>: Participants focused on techniques for printing, impressing, incising, inscribing, and pinking in Ms. Fr. 640 and undertook skill-building in historical culinary reconstruction, breadmaking, verdigris growing, linocut, woodcut, engraving, and etching.</p><table border=1><thead><tr><th>2017 Fall: Ephemeral Art</th><th>2018 Fall: Making Impressions</th></tr></thead><tbody><tr><td valign=top>Tenzin Dongchung<br><br>Nina Elizondo Garza<br><br>Carl Garris<br><br>Karen Tompkins<br><br>Reut Ullman<br><br>Sumeyye Yar</td><td valign=top>Michael Assis<br><br>Katie Bergen<br><br>Nicolle Bertozzi<br><br>Sahar Bostock<br><br>Olivia Branscum<br><br>James Buckley<br><br>Celine Camps<br><br>Amanda Faulkner<br><br>Baris Gokturk<br><br>Angel Jiang<br><br>Lan Li<br><br>Min Lim<br><br>Nancy Olson</td></tr></tbody></table><h3 id=digital-humanities-seminar-participants>Digital Humanities Seminar Participants</h3><h4 id=2017-spring-what-is-a-book-in-the-21st-century-working-with-historical-texts-in-a-digital-environment>2017 Spring: <em>What is a Book in the 21st Century? Working with Historical Texts in a Digital Environment</em></h4><p>Instructors: Pamela H. Smith and Terry Catapano with Tianna Helena Uchacz and guest lectures by Steven Feiner</p><p>Using the Project’s working English translation of Ms. Fr. 640, participants considered issues in textual criticism and editing, and they prototyped a minimal digital edition of the manuscript text using a collaboratively determined intellectual agenda for semantic markup.</p><h4 id=2019-spring-transforming-textstextual-analysis-literary-modeling-and-visualization>2019 Spring: <em>Transforming Texts:Textual Analysis, Literary Modeling, and Visualization</em></h4><p>Instructors: Pamela H. Smith, Dennis Tenen, Tianna Helena Uchacz,
 Steven Feiner with Terry Catapano and Carmine Elvezio</p><p>Using the Project’s working transcriptions and English translation of Ms. Fr. 640, participants considered issues in the materiality of the book and digital text and prototyped explorations of the manuscript drawing on methods in digital mapping, textual analysis, and augmented reality.</p><table border=1><thead><tr><th>Spring 2017</th><th>Spring 2019</th></tr></thead><tbody><tr><td valign=top>Sohini Chattopadhyay (graduate)<br><br>Ben Hiebert (graduate)<br><br>Ben Hiebert (graduate)<br><br>Jiayi Li (graduate)<br><br>Xiaomeng Liu (graduate)<br><br>Nikhil Ramachandran (graduate)<br><br>Wenrui Zhao (graduate)<br><br></td><td valign=top>Katie Bergen (graduate)<br><br>Celine Camps (graduate)<br><br>Celine Camps (graduate)<br><br>Daria Franklin (graduate)<br><br>Henry Gifford (graduate)<br><br>Sandra Goldstein Lehnert (undergraduate)<br><br>Laura Hand (graduate)<br><br>Mahzabin Hasnath (undergraduate)<br><br>Gregory Houser (graduate)<br><br>Jennifer Kaplan (graduate)<br><br>Chris Klippenstein (graduate)<br><br>Matthew Kumar (undergraduate)<br><br>Max Kwass-Mason (undergraduate)<br><br>Kathleen Lee (undergraduate)<br><br>Vera Senina (graduate)<br><br>Taewan Shim (undergraduate)<br><br>Guillermo Soto (undergraduate)<br><br>Yuhe Zheng (graduate)<br><br></td></tr></tbody></table><h3 id=columbia-university-libraries-and-the-center-for-teaching-and-learning>Columbia University Libraries and the Center for Teaching and Learning</h3><p>Staff members of the Libraries’ Digital Scholarship Division helped set the parameters of the Edition to ensure its archival preservation and its discoverability, which also informed the Research and Teaching Companion. Research Librarians and staff from the Libraries’ Conservation Lab taught components of the Project’s Text Workshops, Laboratory Seminars, and Digital Humanities Seminars. Staff members of the Center for Teaching and Learning helped the Project design its Digital Humanities Seminars around precepts in skills- and problem-based learning.</p><ul><li>Ann Thornton</li><li>Barbara Rockenbach</li><li>Stephen P. Davis</li><li>Alex Gil</li><li>Ben Armintor</li><li>Marii Nyrop</li><li>Nicky Agate</li><li>Mark Newton</li><li>Mona Elayyan</li><li>Michelle Wilson</li><li>Madiha Choksi</li><li>Kathryn Pope</li><li>Meredith Levin</li><li>Alexis Hagadorn</li><li>Lucy Appert</li><li>Jessica Brodsky</li><li>Michelle Hall</li><li>Jonah Bossewitch</li></ul><p>For additional Making and Knowing collaborators, see <a href=https://www.makingandknowing.org/collaborators/>Collaborations</a> on the Project&rsquo;s website.</p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 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-<!doctype html><html lang=en-US><head><meta name=generator content="Hugo 0.139.0"><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><link rel=alternate type=application/rss+xml href=https://cu-mkp.github.io/research-teaching-companion/index.xml title="Research and Teaching Companion"><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><link rel=alternate type=application/rss+xml href=https://cu-mkp.github.io/research-teaching-companion/index.xml title="Research and Teaching Companion"><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><content class=homepage><p>Welcome to the Making and Knowing Project’s Research and Teaching Companion to <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em></a>. In this Companion, you will find resources for teaching courses that integrate hands-on learning, as well as for engaging with <em>Secrets of Craft and Nature</em> through historical and digital research, and for making use of the edition’s data for research and visualization. In addition to these resources for hands-on research and teaching, the Companion includes the experiences of our collaborators in using the Project’s resources over the years since the edition was published in 2020. We hope you will join them in the growing community of making and knowing around <em>Secrets of Craft and Nature</em>!</p><ul class=resources><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/syllabi/>Making & Knowing Syllabi</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/>Lesson Plans for Hands-On</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/case-studies/>M&K Resources in Use</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/>Student Projects</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/reflection/>Reflections on Hands-On</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/digital/>Digital Making & Knowing</a></li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/sp18_mk-lab.jpg alt="Making and Knowing Lab Spring 2018" width=640 height=360><img src=https://cu-mkp.github.io/research-teaching-companion/images/sp22_azurite-session.jpg alt="Making and Knowing Lab azurite session" width=640 height=360></p></content></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 7.057-10.486C21.08-.394 28.565-3.5 37.441-3.5zm.116 5.772c-7.314.0-13.467 2.553-18.458 7.657-2.515 2.553-4.448 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22.742 9.315C66.393 11.987 69.5 19.548 69.5 28.5c0 8.954-3.049 16.457-9.145 22.514-6.437 6.324-14.076 9.486-22.912 9.486-8.649.0-16.153-3.143-22.514-9.429C8.644 44.786 5.5 37.264 5.5 28.501c0-8.723 3.144-16.285 9.429-22.685C21.138-.395 28.643-3.5 37.443-3.5zm.114 5.772c-7.276.0-13.428 2.572-18.457 7.715-5.22 5.296-7.829 11.467-7.829 18.513.0 7.125 2.59 13.257 7.77 18.4 5.181 5.182 11.352 7.771 18.514 7.771 7.123.0 13.334-2.609 18.629-7.828 5.029-4.876 7.543-10.99 7.543-18.343.0-7.313-2.553-13.485-7.656-18.513-5.067-5.145-11.239-7.715-18.514-7.715zM23.271 23.985c.609-3.924 2.189-6.962 4.742-9.114 2.552-2.152 5.656-3.228 9.314-3.228 5.027.0 9.029 1.62 12 4.856 2.971 3.238 4.457 7.391 4.457 12.457.0 4.915-1.543 9-4.627 12.256-3.088 3.256-7.086 4.886-12.002 4.886-3.619.0-6.743-1.085-9.371-3.257-2.629-2.172-4.209-5.257-4.743-9.257H31.1c.19 3.886 2.533 5.829 7.029 5.829 2.246.0 4.057-.972 5.428-2.914 1.373-1.942 2.059-4.534 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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
diff --git a/index.xml b/index.xml
index 3b75414c..6a7094c1 100644
--- a/index.xml
+++ b/index.xml
@@ -127,33 +127,17 @@ important as, and at times more useful than, scientific knowledge.&lt;/p></descr
 &lt;img src="https://cu-mkp.github.io/research-teaching-companion/images/supports-canvas-part2.png" alt="canvas-part2">
 &lt;sup>&lt;sub>Images: Preparing a canvas for painting.&lt;/sub>&lt;/sup>&lt;/p>
 &lt;p>This activity teaches students how to prepare common supports, namely panels and canvases, to receive paint. The preparations outlined below ensure that any media applied to the support goes on evenly without risk of bleeding into or through that support. This activity can be undertaken as a stand-alone skill-building exercise or it can be a prelude to &lt;a href="https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_paintingpigments/">paint making and testing&lt;/a> using &lt;a href="https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_lake-pigments/">hand-made lake pigments&lt;/a>, &lt;a href="https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/verdigris-assignment/">hand-grown verdigris&lt;/a>, and/or &lt;a href="https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/azurite-assignment/">hand-levigated azurite&lt;/a>. The Making and Knowing Project has found it useful to have various prepared panels and canvases on hand for other hands-on activities and experiments, such as applying metal leaf, varnish enamels, and metalpoint, and pounced designs.&lt;/p></description></item><item><title/><link>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_tips-for-instructors/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_tips-for-instructors/</guid><description>&lt;h1 id="tip-sheet-for-hands-on-teaching">Tip Sheet for Hands-on Teaching&lt;/h1>
-&lt;h2 id="teaching-scenario-building">Teaching Scenario Building&lt;/h2>
-&lt;p>Hands-on activities are great for teaching and learning scenario building. Plan ahead and design the activity:&lt;/p>
-&lt;ul>
-&lt;li>Write out protocols for yourself and any other instructors for the experiment or activity&lt;/li>
-&lt;li>Think ahead about safety and make sure plans and appropriate equipment are in place. Work with your institution&amp;rsquo;s safety office&lt;/li>
-&lt;li>Create a plan in advance for cleanup and waste disposal&lt;/li>
-&lt;li>Make sure that the students also write out an experiment protocol, and plan class time to go over these with them. Some questions to consider as a group:
-&lt;ul>
-&lt;li>Can you give us an overview of what we plan to do today?&lt;/li>
-&lt;li>What materials and equippment do we need/have?&lt;/li>
-&lt;li>What are the biggest safety considerations? (e.g., heat, burns, toxicity, moving around in a shared physical space)&lt;/li>
-&lt;li>What is our cleanup plan?&lt;/li>
-&lt;/ul>
-&lt;/li>
-&lt;/ul>
-&lt;h2 id="time">Time&lt;/h2>
+&lt;h2 id="skill">Skill&lt;/h2>
+&lt;p>The Making and Knowing Project team members were almost never expert in the hands-on activities they included in courses.&lt;/p>
 &lt;ul>
-&lt;li>Hands-on teaching is so much more time-consuming than you can ever imagine&lt;/li>
-&lt;li>Think about and plan minutely for the time you have in one class period&lt;/li>
-&lt;li>Be creative if possible with your institution&amp;rsquo;s course schedule — a four-hour class period is ideal&lt;/li>
-&lt;li>If possible, ask students or participants to review materials before the hands-on session (e.g., read over the historical recipe, look over representative art objects, read a related article, view a making video, come up with their own interpretation of the process, or look up key terms and materials)&lt;/li>
-&lt;li>Leave plenty of time for setup and cleanup — ideally, you should try to have your students help with both&lt;/li>
-&lt;li>Make time in class or in the lab/studio for student discussion about their experiences&lt;/li>
-&lt;li>Make time for summary discussion and formulating takeaways, which can take place at the following class meeting&lt;/li>
+&lt;li>Accustom yourself to not being an expert, but instead, a co-learner. Explore alongside your students&lt;/li>
+&lt;li>Make sure you try the activity before you assign it&lt;/li>
+&lt;li>Have students and instructor(s) work together or in groups — use an &amp;ldquo;apprenticeship&amp;rdquo; model, ideally with participants of different skill levels&lt;/li>
+&lt;li>Work around a table or together at a bench so participants can watch each other&amp;rsquo;s process, and discuss and reflect together&lt;/li>
+&lt;li>Bring in &amp;ldquo;expert practitioners&amp;rdquo; to your class to help with unfamiliar processes. We often found that the historical processes were a learning experience for expert practitioners as well. See Expert Practitioner Tonny Beentjes&amp;rsquo; &lt;a href="https://edition640.makingandknowing.org/#/essays/ann_334_ie_19">Tutor or Student? An Expert Maker Perspective&lt;/a> Expert practitioners may be closwer than you think — members of the local community and even your own students (ask them about their hands-on experience(s).&lt;/li>
 &lt;/ul>
-&lt;h2 id="skill">Skill&lt;/h2>
-&lt;p>The Making and Knowing Project team members were almost never expert in the hands-on activities they included in courses.&lt;/p></description></item><item><title/><link>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_varnishes/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_varnishes/</guid><description>&lt;h2 id="making-varnishes">Making Varnishes&lt;/h2>
+&lt;h2 id="teaching-scenario-building">Teaching Scenario Building&lt;/h2>
+&lt;p>Hands-on activities are great for teaching and learning scenario building. Plan ahead and design the activity:&lt;/p></description></item><item><title/><link>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_varnishes/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_varnishes/</guid><description>&lt;h2 id="making-varnishes">Making Varnishes&lt;/h2>
 &lt;p>The Making and Knowing Project has reconstructed varnish recipes several times, both as products and as ingredients in more complex making processes described in Ms. Fr. 640. The manuscript includes several recipes for spirit varnishes, which were a new category of varnish that emerged in the sixteenth century. It also includes several recipes for oil-based varnishes, which have a longer history and are quite dangerous to reconstruct and often result in fires. Accordingly, M&amp;amp;K is only sharing protocols for making spirit varnishes. Nevertheless, making spirit varnishes raises several safety concerns and may not be suitable for all pedagogical contexts.&lt;/p></description></item><item><title/><link>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/azurite-assignment/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/azurite-assignment/</guid><description>&lt;h1 id="skillbuilding-preparing-and-painting-with-azurite">Skillbuilding: Preparing and Painting with Azurite&lt;/h1>
 &lt;blockquote>
 &lt;p>&lt;em>The Making and Knowing Project, Columbia University&lt;/em>&lt;br>
diff --git a/introduction/index.html b/introduction/index.html
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--- a/introduction/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Introduction | Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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-<label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=page-title>Introduction</h1><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#research-and-teaching-companion>Research and Teaching Companion</a></li><li><a href=#the-companions-resources>The Companion&rsquo;s Resources</a><ul><li><a href=#making--knowing-syllabi>Making & Knowing Syllabi</a></li><li><a href=#lesson-plans-for-hands-on>Lesson Plans for Hands-on</a></li><li><a href=#student-projects>Student Projects</a></li><li><a href=#mk-resources-in-use>M&amp;K Resources in Use</a></li><li><a href=#reflections-on-hands-on>Reflections on Hands-On</a></li><li><a href=#digital-making-and-knowing>Digital Making and Knowing</a></li></ul></li><li><a href=#digital-development-of-the-companion>Digital Development of the Companion</a></li><li><a href=#how-to-cite-the-companion>How to Cite the Companion</a></li><li><a href=#sponsors>Sponsors</a></li></ul></nav></aside><content><h1 id=introduction-to-the-research-and-teaching-companion>Introduction to the Research and Teaching Companion</h1><h2 id=research-and-teaching-companion>Research and Teaching Companion</h2><p>This Research and Teaching Companion is intended to support you in engaging with hands-on experimentation in your teaching, research, and/or artistic practice and making.</p><p>The resources included in this Companion to the digital edition <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a> result from many years of research, teaching, and learning together during the <a href=https://www.makingandknowing.org/>Making and Knowing Project</a>&rsquo;s creation of the edition (2014-2020) and since its publication in 2020.</p><p><a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a> is a digital critical edition and English translation of the French manuscript Ms. Fr. 640 held by the Bibliothèque nationale de France. This edition presents a rich and unique sixteenth-century technical text that provides a view into the material, technical, and intellectual world of the late sixteenth century. It gives rare insight into techniques and processes for making art and daily life objects, as well as into how nature was used in art, collected, and appreciated in early modern Europe.</p><p>During the intensive series of collaborative courses, workshops, and conferences through which <em>Secrets of Craft and Nature</em> was created, the Making and Knowing Project has had much opportunity to reflect on the challenges and the joys of inserting hands-on work into the text-centered training of the university. We hope the materials we developed through this experience will provide food for thought and action and a guide of sorts for your own experiments in historical reconstruction and making practices. They are intended to be used flexibly, and we invite you to adapt and create your own resources to fit your needs.</p><p>For more about the creation of the Companion and the Making and Knowing Project’s suite of Research and Teaching Resources, see <a href=https://cu-mkp.github.io/research-teaching-companion/about/>About M&amp;K</a>.</p><img src=https://cu-mkp.github.io/research-teaching-companion/images/sp22_azurite-session2.jpg alt="Making and Knowing Lab azurite session" width=740 height=460><h2 id=the-companions-resources>The Companion&rsquo;s Resources</h2><h3 id=making--knowing-syllabi>Making & Knowing Syllabi</h3><p><a href=https://cu-mkp.github.io/research-teaching-companion/resources/syllabi/>Syllabi from the Making and Knowing Project&rsquo;s courses</a> model the integration of hands-on activities with discussion of relevant concepts and texts, and they can be mined for possible readings, discussion prompts, and hands-on lessons. These syllabi contain links to essays from <em>Secrets of Craft and Nature</em> for use as course readings and suggest how to plan and coordinate hands-on activities. Student Projects created in these courses can be consulted by instructors and students for inspiration and to consider the many ways to engage with Ms. Fr. 640 and its digital edition.</p><h3 id=lesson-plans-for-hands-on>Lesson Plans for Hands-on</h3><p><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/>Making and Knowing Lesson Plans</a> and the associated teaching resources included in the Companion provide step-by-step guidance in planning, tools, ingredients, sourcing, and the processes of hands-on activities. These Lesson Plans can be integrated into courses or research projects as skill-building exercises, they can be used to spark the historical imagination and raise questions, or stand alone as activities that immerse students or audiences in hands-on work with materials.</p><h3 id=student-projects>Student Projects</h3><p>Numerous <a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/>Student Projects</a> were developed in the course <em>Making and Knowing in Early Modern Europe: Hands-On History</em>, in which students explore <em>Secrets of Craft and Nature</em> and undertake a variety of hands-on activities and research in connection with it. The resulting student projects range from humorous to scholarly, pedagogical, and public facing. These projects provide models for the variety of paths by which to enter into <em>Secrets of Craft and Nature</em>, extending its content in creative ways and demonstrating how hands-on experience can be integrated into student learning.</p><h3 id=mk-resources-in-use>M&amp;K Resources in Use</h3><p>The Making and Knowing Project has many collaborators from K-12 to university and in non-traditional schools and public outreach institutions who have piloted the Making and Knowing Project&rsquo;s methods, course elements, and lesson plans in their research projects, courses, student activities, and public events. The fruits of their experience, their <a href=https://cu-mkp.github.io/research-teaching-companion/resources/case-studies/>syllabi, student projects, and making activities</a> are valuable for those seeking to integrate the Making and Knowing resources available in this Companion.</p><h3 id=reflections-on-hands-on>Reflections on Hands-On</h3><p>Why engage in hands-on activities in teaching and research? In this section, the Making and Knowing Project team members and collaborators reflect in <a href=https://cu-mkp.github.io/research-teaching-companion/resources/reflection/>lectures, videos, and testimonials</a> on their reasons for and experience of engaging in hands-on teaching and research.</p><h3 id=digital-making-and-knowing>Digital Making and Knowing</h3><p>The Making and Knowing Project has developed open access <a href=https://cu-mkp.github.io/research-teaching-companion/resources/digital/>digital resources</a>, including a publication tool for making your own edition, model projects for using the data of <em>Secrets of Craft and Nature</em>, digital literacy tools, syllabi, and ideas for student activities.</p><h2 id=digital-development-of-the-companion>Digital Development of the Companion</h2><p>The Making and Knowing Project has pioneered an approach to &ldquo;<a href=https://go-dh.github.io/mincomp/about/>minimal computing</a>&rdquo; that aims to make all online content openly and sustainably available through an emphasis on durability and the use of basic technologies and workflows that have a greater likelihood of persisting. The digital development of the Companion, like the <a href=https://edition640.makingandknowing.org/#/content/about>digital development of <em>Secrets of Craft and Nature</em></a>, has prioritized the generation and preservation of all data in sustainable, open formats to ensure adherence to open-access and open-source standards wherever possible. This commitment is founded on the conviction that our digital publications should serve as resources to a wide and diverse audience, enabling knowledge exchange now and into the future.</p><p>The Companion relies upon a common and well-established technology stack: HTML/HTML5 with CSS and JavaScript served statically from a webserver. The site is built using the static site generator <a href=https://gohugo.io/>Hugo</a> and maintained in the <a href=https://cu-mkp.github.io/research-teaching-companion/>Research and Teaching Companion Github repository</a>.</p><h2 id=how-to-cite-the-companion>How to Cite the Companion</h2><p>Making and Knowing Project, Naomi Rosenkranz, Pamela H. Smith, Tianna Helena Uchacz, and Terry Catapano, eds. <em>Making and Knowing Project Research and Teaching Companion</em> (New York: Making and Knowing Project, 2024), <a href=https://teaching640.makingandknowing.org>https://teaching640.makingandknowing.org</a>.</p><h2 id=sponsors>Sponsors</h2><p>The Henry Luce Foundation</p><p>The Samuel H. Kress Foundation</p><p>The Gladys Krieble Delmas Foundation</p><p>The National Science Foundation</p><img src=https://cu-mkp.github.io/research-teaching-companion/images/2018_printmaking_for-webpages.jpg alt="Making and Knowing Lab printmaking" width=740 height=460></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 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+<label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=page-title>Introduction</h1><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#research-and-teaching-companion>Research and Teaching Companion</a></li><li><a href=#the-companions-resources>The Companion&rsquo;s Resources</a><ul><li><a href=#making--knowing-syllabi>Making & Knowing Syllabi</a></li><li><a href=#lesson-plans-for-hands-on>Lesson Plans for Hands-on</a></li><li><a href=#student-projects>Student Projects</a></li><li><a href=#mk-resources-in-use>M&amp;K Resources in Use</a></li><li><a href=#reflections-on-hands-on>Reflections on Hands-On</a></li><li><a href=#digital-making-and-knowing>Digital Making and Knowing</a></li></ul></li><li><a href=#digital-development-of-the-companion>Digital Development of the Companion</a></li><li><a href=#how-to-cite-the-companion>How to Cite the Companion</a></li><li><a href=#sponsors>Sponsors</a></li></ul></nav></aside><content><h1 id=introduction-to-the-research-and-teaching-companion>Introduction to the Research and Teaching Companion</h1><h2 id=research-and-teaching-companion>Research and Teaching Companion</h2><p>This Research and Teaching Companion is intended to support you in engaging with hands-on experimentation in your teaching, research, and/or artistic practice and making.</p><p>The resources included in this Companion to the digital edition <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a> result from many years of research, teaching, and learning together during the <a href=https://www.makingandknowing.org/>Making and Knowing Project</a>&rsquo;s creation of the edition (2014-2020) and since its publication in 2020.</p><p><a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a> is a digital critical edition and English translation of the French manuscript Ms. Fr. 640 held by the Bibliothèque nationale de France. This edition presents a rich and unique sixteenth-century technical text that provides a view into the material, technical, and intellectual world of the late sixteenth century. It gives rare insight into techniques and processes for making art and daily life objects, as well as into how nature was used in art, collected, and appreciated in early modern Europe.</p><p>During the intensive series of collaborative courses, workshops, and conferences through which <em>Secrets of Craft and Nature</em> was created, the Making and Knowing Project has had much opportunity to reflect on the challenges and the joys of inserting hands-on work into the text-centered training of the university. We hope the materials we developed through this experience will provide food for thought and action and a guide of sorts for your own experiments in historical reconstruction and making practices. They are intended to be used flexibly, and we invite you to adapt them to fit your own resources and needs.</p><p>For more about the creation of the Companion and the Making and Knowing Project’s suite of Research and Teaching Resources, see <a href=https://cu-mkp.github.io/research-teaching-companion/about/>About M&amp;K</a>.</p><img src=https://cu-mkp.github.io/research-teaching-companion/images/sp22_azurite-session2.jpg alt="Making and Knowing Lab azurite session" width=740 height=460><h2 id=the-companions-resources>The Companion&rsquo;s Resources</h2><h3 id=making--knowing-syllabi>Making & Knowing Syllabi</h3><p><a href=https://cu-mkp.github.io/research-teaching-companion/resources/syllabi/>Syllabi from the Making and Knowing Project&rsquo;s courses</a> model the integration of hands-on activities with discussion of relevant concepts and texts, and they can be mined for possible readings, discussion prompts, and hands-on lessons. These syllabi contain links to essays from <em>Secrets of Craft and Nature</em> for use as course readings and suggest how to plan and coordinate hands-on activities. Student Projects created in these courses can be consulted by instructors and students for inspiration and to consider the many ways to engage with Ms. Fr. 640 and its digital edition.</p><h3 id=lesson-plans-for-hands-on>Lesson Plans for Hands-on</h3><p><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/>Making and Knowing Lesson Plans</a> and the associated teaching resources included in the Companion provide step-by-step guidance in planning, tools, ingredients, sourcing, and the processes of hands-on activities. These Lesson Plans can be integrated into courses or research projects as skill-building exercises, they can be used to spark the historical imagination and raise questions, or stand alone as activities that immerse students or audiences in hands-on work with materials.</p><h3 id=student-projects>Student Projects</h3><p>Numerous <a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/>Student Projects</a> were developed in the course <em>Making and Knowing in Early Modern Europe: Hands-On History</em>, in which students explore <em>Secrets of Craft and Nature</em> and undertake a variety of hands-on activities and research in connection with it. The resulting student projects range from humorous to scholarly, pedagogical, and public facing. These projects provide models for the variety of paths by which to enter into <em>Secrets of Craft and Nature</em>, extending its content in creative ways and demonstrating how hands-on experience can be integrated into student learning.</p><h3 id=mk-resources-in-use>M&amp;K Resources in Use</h3><p>The Making and Knowing Project has many collaborators from K-12 to university and in non-traditional schools and public outreach institutions who have piloted the Making and Knowing Project&rsquo;s methods, course elements, and lesson plans in their research projects, courses, student activities, and public events. The fruits of their experience, their <a href=https://cu-mkp.github.io/research-teaching-companion/resources/case-studies/>syllabi, student projects, and making activities</a> are valuable for those seeking to integrate the Making and Knowing resources available in this Companion.</p><h3 id=reflections-on-hands-on>Reflections on Hands-On</h3><p>Why engage in hands-on activities in teaching and research? In this section, the Making and Knowing Project team members and collaborators reflect in <a href=https://cu-mkp.github.io/research-teaching-companion/resources/reflection/>lectures, videos, and testimonials</a> on their reasons for and experience of engaging in hands-on teaching and research.</p><h3 id=digital-making-and-knowing>Digital Making and Knowing</h3><p>The Making and Knowing Project has developed open access <a href=https://cu-mkp.github.io/research-teaching-companion/resources/digital/>digital resources</a>, including a publication tool for making your own edition, model projects for using the data of <em>Secrets of Craft and Nature</em>, digital literacy tools, syllabi, and ideas for student activities.</p><h2 id=digital-development-of-the-companion>Digital Development of the Companion</h2><p>The Making and Knowing Project has pioneered an approach to &ldquo;<a href=https://go-dh.github.io/mincomp/about/>minimal computing</a>&rdquo; that aims to make all online content openly and sustainably available through an emphasis on durability and the use of basic technologies and workflows that have a greater likelihood of persisting. The digital development of the Companion, like the <a href=https://edition640.makingandknowing.org/#/content/about>digital development of <em>Secrets of Craft and Nature</em></a>, has prioritized the generation and preservation of all data in sustainable, open formats to ensure adherence to open-access and open-source standards wherever possible. This commitment is founded on the conviction that our digital publications should serve as resources to a wide and diverse audience, enabling knowledge exchange now and into the future.</p><p>The Companion relies upon a common and well-established technology stack: HTML/HTML5 with CSS and JavaScript served statically from a webserver. The site is built using the static site generator <a href=https://gohugo.io/>Hugo</a> and maintained in the <a href=https://cu-mkp.github.io/research-teaching-companion/>Research and Teaching Companion Github repository</a>.</p><h2 id=how-to-cite-the-companion>How to Cite the Companion</h2><p>Making and Knowing Project, Naomi Rosenkranz, Pamela H. Smith, Tianna Helena Uchacz, and Terry Catapano, eds. <em>Making and Knowing Project Research and Teaching Companion</em> (New York: Making and Knowing Project, 2024), <a href=https://teaching640.makingandknowing.org>https://teaching640.makingandknowing.org</a>.</p><h2 id=sponsors>Sponsors</h2><p>The Henry Luce Foundation</p><p>The Samuel H. Kress Foundation</p><p>The Gladys Krieble Delmas Foundation</p><p>The National Science Foundation</p><img src=https://cu-mkp.github.io/research-teaching-companion/images/2018_printmaking_for-webpages.jpg alt="Making and Knowing Lab printmaking" width=740 height=460></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 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diff --git a/resources/activity-sheets/activitysheet_dyeing/index.html b/resources/activity-sheets/activitysheet_dyeing/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#dyeing>Dyeing</a><ul><li><a href=#learning-objectives>Learning Objectives</a></li><li><a href=#what-is-a-dye>What is a dye?</a></li><li><a href=#mordant-dyes>Mordant dyes</a></li><li><a href=#an-example-historical-recipe-and-its-modernization>An Example Historical Recipe and its Modernization</a></li><li><a href=#teaching-dyeing>Teaching Dyeing</a></li></ul></li></ul></nav></aside><content><h2 id=dyeing>Dyeing</h2><p>The Making and Knowing Project has undertaken experiments in dyeing with natural colorants as a way to engage with various entries in Ms. Fr. 640 and as a preliminary step to <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_lake-pigments>making lake pigments</a>. Additionally, M&amp;K has led several community outreach activites on dyeing with natural colorants that can be ported directly into the classroom. These activities and their contexts are also described on the <a href=https://cu-mkp.github.io/research-teaching-companion/resources/case-studies>Making and Knowing Resources in Use</a> section of the Companion.</p><p>If you are already familiar with historical dyes and natural colorants, you might want to explore the presentation <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2023_dyes_cochineal-history-chem-prep.pdf>Cochineal Dye: History, Chemistry, and Preparation</a> which offers more extensive information than is offered in summary on this page.</p><h3 id=learning-objectives>Learning Objectives</h3><p>The activity of dyeing with natural colorants following modernized historical recipes has several potential learning outcomes, which can include:</p><ul><li>consider the relationship between historical and modern materials and tools</li><li>understand how units of measure were communicated before the age of standardization</li><li>interpret how the steps described in historical recipes might be interpreted in a modern context</li><li>consider the relationship between dyes and pigments and thus between the textile trade and art production</li></ul><h3 id=what-is-a-dye>What is a dye?</h3><p>A dye is &ldquo;a compound that absorbs into and colors another material&rdquo; and &ldquo;is generally a complex organic material&rdquo; (<a href=http://cameo.mfa.org/wiki/Dye>Conservation and Art Materials Encyclopedia Online (CAMEO)</a>). Until the onset of synthetic dyes in the mid-nineteenth century, most dyes were sourced from natural colorants such as plants, insects, lichens, and shellfish.</p><p>In order to dye materials (typically textiles, but also wood, paper, leather, and ivory, for example), the natural colorant must first be extracted from the dyestuffs (the plant, insect, etc.). This is most usually done by placing the dyestuffs in water and using either time (soaking) or heat (bringing to a simmer) to extract the soluble colorant into the water. The materials can then be placed into this dye bath to take on color.</p><p>Natural dyes can be categorized into one of three processes used to extract the colorant and dye materials:</p><ol><li>Direct dyes</li><li>Mordant dyes</li><li>Vat dyes</li></ol><h3 id=mordant-dyes>Mordant dyes</h3><p>The largest class of natural dyes is mordant dyes. In this process, textiles must first be treated with a mordant (typically a metal salt or coordination metal) in order to bind the dye more permanently to the textile. The textile binds to the mordant which in turn binds to the colorant. The mordant thus acts as a bridge between the textile and colorant.</p><p>The most common mordant is aluminum, typically in the form of alum (aluminum potassium sulfate). Other mordants include iron sulfate, copper sulfate, and tannins.</p><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/mordant-process.JPG alt="mordant process"></figure><blockquote><p>Jo Kirby et al, <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and their Historical Sources</em> (Archetype, London, 2014).</p></blockquote><h3 id=an-example-historical-recipe-and-its-modernization>An Example Historical Recipe and its Modernization</h3><p>The recipe below is for a mordant dye made from the scale insect cochineal.</p><p><em>De&rsquo; secreti del reverendo signore Alessio Piemontese</em> (1558) as translated from the Dutch in Jo Kirby et al, <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and their Historical Sources</em> (Archetype, London, 2014), 37–38.</p><blockquote><p><em>To dye silk carmine.</em> First, you will rasp or scratch hard soap very finely, and let them [the soap shavings] dissolve in plain water; after that put your silk in a small bag made of linen or fine canvas, and put it in a kettle with the aforesaid soap and water. Let this boil for half an hour, moving it around regularly so it does not burn, then take it from the fire, wash it in salt water, and after that in sour water. Take also to every pound of silk a pound or more of rock alum dissolved in cold water, and be sure there is enough water; wherein you will put your silk without any bag, and let it lay therein without fire for eight hours. Then take it out, wash it in fresh water, then in salt water, and then again in fresh water, and do not let it dry but put it all wet into a kettle with the carmine well pestled and sieved, that is, three ounces for each pound of silk… And when it starts boiling then put in the silk prepared as above, and let it boil for a quarter of an hour. At last you will take it from the fire, and let it dry in the shade, and you will have a very excellent dyeing.</p></blockquote><p>The recipe above from Piemontese has informed the standardized recipe for cochineal dye in Jo Kirby et al, <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and their Historical Sources</em> (Archetype, London, 2014), Chapter 5. The standardized recipe includes potash (potassium carbonate) as an optional additive. Potash is not typically found in recipes for cochineal because it results in a paler color, but it is attested in some instances.</p><p>The standardized recipe begins with a mordant bath and is followed by a dye bath. Recipes for dyeing textiles often list ratios rather than outright amounts. The weight of textile will determine how much of the other ingredients are needed. The ratios in the example below are provided for 1g of textile.</p><p><strong>Mordant Example: Alum</strong></p><table><thead><tr><th>Material</th><th>Amount /1g (g)</th></tr></thead><tbody><tr><td>textile</td><td>1.00</td></tr><tr><td>alum</td><td>0.20</td></tr><tr><td>water</td><td>50.00</td></tr></tbody></table><p><strong>Dye Example: Cochineal</strong></p><table><thead><tr><th>Material</th><th>Amount /1g (g)</th></tr></thead><tbody><tr><td>textile</td><td>1.00</td></tr><tr><td>cochineal</td><td>0.125</td></tr><tr><td>potash (optional)</td><td>0.0625</td></tr><tr><td>water</td><td>62.50</td></tr></tbody></table><p>To know how much of the mordant, water, cochineal, and optional additive are needed, first weigh the textiles you plan to dye then multiply that amount by the ratios above. For example, if your textile weighs 10g, you will need 1.25g cochineal and 625ml water.</p><p><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/dye-process.JPG alt="dye process overview"></figure><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/dye-samples.JPG alt="dye process sample outcomes"></figure></p><h3 id=teaching-dyeing>Teaching Dyeing</h3><h4 id=presentations>Presentations</h4><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2023_dyes_cochineal-history-chem-prep.pdf>Cochineal Dye: History, Chemistry, and Preparation</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2018_dyes_cochineal-step-by-step.pdf>Dyeing: Step-by-Step Instructions</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2023_dyes-pigments_samples.pdf>Pictures of Common Natural Dyestuffs</a></li></ul><h4 id=resources>Resources</h4><ul><li>Sourcing Materials for Dyeing [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/activitysheet_dye-material-sourcing.docx>DOCX</a>]<ul><li>[<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/activitysheet_dye-material-sourcing.pdf>PDF</a>]</li></ul></li><li>Advice for Dyeing in the Home Kitchen [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/activitysheet_dye-kitchen-dyeing.docx>DOCX</a>]<ul><li>[<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/activitysheet_dye-kitchen-dyeing.pdf>PDF</a>]</li></ul></li><li>How to Calculate Mordant and Dyestuff Amounts [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/activitysheet_mordants-dyes-recipes-calculator.docx>DOCX</a>]<ul><li>[<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/activitysheet_mordants-dyes-recipes-calculator.pdf>PDF</a>]</li></ul></li><li>Automatic Mordant and Dyestuff Calculator [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/activity-sheets/activitysheet_mordants-dyes-recipes-automatic-calculator.xlsx>XLSX</a>]</li></ul><h4 id=activity-sheets-and-handouts>Activity Sheets and Handouts</h4><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/dyes-cochineal_assignment/>Dyeing Textiles with Cochineal: A Historical Reconstruction</a></li><li>(also available as a <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/dyes-cochineal_assignment_downloadable_2023.pdf>PDF</a>)</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_handout_dyeing-textiles_general-process.pdf>Dyeing Instructions: General Mordant and Dye Process</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_printout_recipe-example-piemontese.pdf>Piemontese Cochineal Dye Historical Recipe</a> (2 copies per printed page)</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/dyes-assignment/>Dyeing with Natural Colorants: Resources and Activity Sheets</a></li></ul><h4 id=dyeing-in-ms-fr-640>Dyeing in Ms. Fr. 640</h4><p>Dyeing appears in several guises in Ms. Fr. 640. A wildcard search for &ldquo;<a href="https://edition640.makingandknowing.org/#/search?q=*dye*">*dye*</a>&rdquo; in <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a> reveals entries that instruct how to prepare natural dyestuffs, use dyed wools in artisanal making, and dye cheaper materials to imitate more costly ones. There are also entries for dyeing various materials, from leather and mats to wood. In fact, the manuscript includes a series of recipes for dyeing wood in all kinds of colors, scattered across folios from <a href=https://edition640.makingandknowing.org/#/folios/73r/f/73r/tl>fol. 73r</a> to <a href=https://edition640.makingandknowing.org/#/folios/79r/f/79r/tl>fol. 79r</a>, though the term &ldquo;dyeing&rdquo; is not used here explicitly.</p><p>There are also several essays in <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a> that explore the entries on dyeing, including:</p><ul><li>Sophie Pitman, “<a href=https://edition640.makingandknowing.org/#/essays/ann_036_sp_16>Black Color for Dyeing, and the Place of Textiles in Ms. Fr. 640</a>.”</li><li>Yuan Yi, “<a href=https://edition640.makingandknowing.org/#/essays/ann_031_fa_15>Damasked Cloth</a>.”</li><li>David McClure, “<a href=https://edition640.makingandknowing.org/#/essays/ann_515_ad_20>Making Colored Wood in Ms. Fr. 640</a>.”</li></ul><h4 id=references-and-resources>References and Resources</h4><ul><li>Kirby, Jo, Maartin van Bommel, André Verhecken, and Marika Spring. <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and Their Historical Sources</em>. London: Archetype Publications, 2014.</li><li>Merrifield, Mary P. <em>Original Treatises, Dating from the XIIth to XVIIIth Centuries, on the Arts of Painting in Oil, Miniature, Mosaic, and on Glass of Gilding, Dyeing, and the Preparation of Colours and Artificial Gems; Preceded by a General Introd., with Translations, Prefaces, and Notes. J. Murray</em>, 1849.</li><li>CAMEO: Conservation & Art Materials Encyclopedia Online: <a href=http://cameo.mfa.org/wiki/Main_Page>http://cameo.mfa.org/wiki/Main_Page</a>. CAMEO is a searchable information resource developed by the Museum of Fine Arts, Boston. The MATERIALS database contains chemical, physical, visual, and analytical information on historic and contemporary materials used in the production and conservation of artistic, architectural, archaeological, and anthropological materials.</li><li>Cardon, Dominique. <em>Natural Dyes: Sources, Tradition, Technology and Science</em>. Archetype, 2007.</li><li>Gettens, Rutherford J., and George L. Stout. <em>Painting Materials: a Short Encyclopedia</em>. Dover Publications, 1966.</li><li>Vejar, Kristine. <em>The Modern Natural Dyer a Comprehensive Guide to Dyeing Silk, Wool, Linen, and Cotton at Home</em>. Abrams, 2015.</li><li>Dean, Jenny. <em>Wild Color: The Complete Guide to Making and Using Natural Dyes</em> Watson-Guptill, 2010.</li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 7.057-10.486C21.08-.394 28.565-3.5 37.441-3.5zm.116 5.772c-7.314.0-13.467 2.553-18.458 7.657-2.515 2.553-4.448 5.419-5.8 8.6a25.204 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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#sources-in-english>Sources in English</a></li><li><a href=#sources-in-french>Sources in French</a></li><li><a href=#online-collections-of-recipes-and-culinary-texts>Online collections of recipes and culinary texts</a></li><li><a href=#other-databases>Other Databases</a></li><li><a href=#other-relevant-websites>Other relevant websites</a></li></ul></nav></aside><content><h1 id=guide-to-historical-recipes-and-collections>Guide to historical recipes and collections</h1><p>There are far more sources available in online library collections that
 you may wish to use instead, below is a sample of sources we found
diff --git a/resources/activity-sheets/activitysheet_hcr-instructor/index.html b/resources/activity-sheets/activitysheet_hcr-instructor/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#learning-objectives>Learning Objectives</a></li><li><a href=#food-in-ms-fr-640>Food in Ms Fr. 640</a></li><li><a href=#themes>Themes</a></li><li><a href=#teaching-materials>Teaching Materials</a></li><li><a href=#finding-recipes>Finding Recipes</a></li><li><a href=#sourcing-materials>Sourcing Materials</a></li><li><a href=#discussion-questions>Discussion Questions:</a></li><li><a href=#materials-suitable-for-graduates-and-undergraduates>Materials suitable for graduates and undergraduates</a></li><li><a href=#additional-readings-for-more-advanced-students>Additional readings for more advanced students</a><ul><li><a href=#on-recipes>On recipes</a></li></ul></li><li><a href=#additional-materials>Additional materials</a><ul><li><a href=#sample-student-reconstructions>Sample student reconstructions</a></li><li><a href=#optional-additional-assignments>Optional additional assignments:</a></li></ul></li></ul></nav></aside><content><h1 id=historical-culinary-recipe-reconstruction><strong>Historical Culinary Recipe Reconstruction</strong></h1><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/culinaryreconstruction.jpg alt="Culinary Reconstruction"></figure><p>Cooking is an almost universal activity – it is an art, a craft, a
 science – and yet most people do it without categorizing it as such.
diff --git a/resources/activity-sheets/activitysheet_hcr-student/index.html b/resources/activity-sheets/activitysheet_hcr-student/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#required-readingwatchinglistening-do-this-first>Required Reading/Watching/Listening (do this first)</a></li><li><a href=#choosing-a-recipe>Choosing a recipe</a></li></ul></nav></aside><content><h1 id=historical-culinary-recipe-reconstruction--student-activity-sheet>Historical Culinary Recipe Reconstruction – Student Activity Sheet</h1><p>Do the required reading and watching <strong>before</strong> you start your
 reconstruction. Explore and use the websites listed here to search for
diff --git a/resources/activity-sheets/activitysheet_inks/index.html b/resources/activity-sheets/activitysheet_inks/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#making-inks>Making Inks</a><ul><li><a href=#learning-objectives>Learning Objectives</a></li><li><a href=#what-is-an-ink>What is an Ink?</a></li><li><a href=#teaching-ink-making>Teaching Ink Making</a></li></ul></li></ul></nav></aside><content><h2 id=making-inks>Making Inks</h2><p>The Making and Knowing Project has reconstructed inks several times, both as products and as ingredients in more complex making processes described in Ms. Fr. 640. While the manuscript is itself written in iron gall ink (the &ldquo;common&rdquo; black writing ink of the Renaissance), it does not include any writing ink recipes. Learning about and making writing inks can shed light on the history and materiality of texts. Because of their relatively simple ingredients and the speed and ease of their making, writing inks are an excellent hands-on activity for beginners and experts alike. The activity can be done in small groups, as a demonstration for a larger audience, or as part of a deeper personal exploration of the materials.</p><h3 id=learning-objectives>Learning Objectives</h3><p>The activity of making inks has several potential learning outcomes, which can include:</p><ul><li>examine historical inks, focusing on the two most important black writing inks: carbon inks and iron gall inks</li><li>learn what inks are made of and how to make them</li><li>explore the ways that carbon and iron gall inks flow, bleed, and bead on various supports</li><li>appreciate the material properties of historical writing materials affect their making and their afterlives</li></ul><h3 id=what-is-an-ink>What is an Ink?</h3><p>Writing inks are a colored viscous fluid composed of a water-based liquid, a binding agent, and a colorant. Inks are often liquid, but can also come in the form of pastes, cakes, and sticks.</p><h3 id=teaching-ink-making>Teaching Ink Making</h3><h4 id=ink-making-presentations>Ink Making: Presentations</h4><ul><li>Inks: History, Chemistry, and Preparation [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/presentation_iron-gall-inks-2023.pdf>PDF</a>]</li></ul><h4 id=ink-making-activity-sheets-field-notes-and-resources>Ink Making: Activity Sheets, Field Notes, and Resources</h4><ul><li>Iron Gall Ink Making: Small Batch (~20 ml) [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/2023_iron-gall-ink-worksheet_small-batch.docx>docx</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2023_iron-gall-ink-worksheet_small-batch.pdf>PDF</a>]</li><li>Iron Gall Ink Making: Large Batch (~150 ml) [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/2023_iron-gall-ink-worksheet_large-batch.docx>docx</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2023_iron-gall-ink-worksheet_large-batch.pdf>PDF</a>]</li><li>Carbon Ink Making [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/carbon-ink-info-and-recipes.docx>docx</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/carbon-ink-info-and-recipes.pdf>PDF</a>]</li><li>Iron Gall and Carbon Ink: A Comparison Making Activity [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/inks-recipes_iron-gall-and-carbon.docx>docx</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/inks-recipes_iron-gall-and-carbon.pdf>PDF</a>]</li><li>Brazilwood &ldquo;Rosette&rdquo; Ink Making [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2021_Lemay_Ink-Making-rosette-ink-rev.pdf>PDF</a>]<ul><li>Brazilwood Rosette: Historical Ink and Lake Recipes [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2021_Lemay_Brazilwood-Ink-Lake-Recipes.pdf>PDF</a>]</li></ul></li></ul><h4 id=the-materiality-of-text-in-ms-fr-640>The Materiality of Text in Ms. Fr. 640</h4><ul><li>Handout surveying the entries in Ms. Fr. 640 on the materiality of text and on literary culture in Renaissance France
 [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/uchacz_2023_materialiality-of-text.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/uchacz_2023_materialiality-of-text.pdf>PDF</a>]</li></ul><h4 id=inks-in-ms-fr-640>Inks in Ms. Fr. 640</h4><p>There are several entries in Ms. Fr. 640 that address the making and use of inks, from printer&rsquo;s ink (<a href="https://edition640.makingandknowing.org/#/search/folio/51r/tl?q=ink">fol. 51r</a>) and heat-activated &ldquo;ink&rdquo; (<a href=https://edition640.makingandknowing.org/#/folios/46v/tl>fol. 46v</a>) to a thick-bodied ink for writing three-dimensional letters on paper that can then be used as a model for casting (<a href=https://edition640.makingandknowing.org/#/folios/131r/tl>fol. 131r</a>). These entries can be found through a simple search for &ldquo;<a href="https://edition640.makingandknowing.org/#/search?q=ink">ink</a>&rdquo; in <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a>.</p><p>There are also essays in <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a> that explore inks, including:</p><ul><li>Raymond Carlson, Jordan Katz, and Baris Gokturk, “<a href=https://edition640.makingandknowing.org/#/essays/ann_005_fa_14>Molding Paper with Raised Letters</a>.”</li><li>Olivia Clemens, “<a href=https://edition640.makingandknowing.org/#/essays/ann_044_sp_16>Sulfuric Acid for the Scribe</a>.”</li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" 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diff --git a/resources/activity-sheets/activitysheet_jasper/index.html b/resources/activity-sheets/activitysheet_jasper/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#learning-objectives>Learning Objectives</a></li><li><a href=#themes>Themes</a></li><li><a href=#safety-considerations>Safety Considerations</a></li><li><a href=#overview>Overview</a><ul><li><a href=#steps-in-the-process>Steps in the Process</a></li><li><a href=#materials>Materials</a></li><li><a href=#tools>Tools</a></li></ul></li><li><a href=#making-process>Making Process</a><ul><li><a href=#step-1-planing-and-cutting-horn>Step 1. Planing and cutting horn</a></li><li><a href=#step-2-painting-horn-sheets-with-colored-varnish>Step 2. Painting horn sheets with colored varnish</a></li><li><a href=#step-3-application-of-wool-fibers>Step 3. Application of wool fibers</a></li><li><a href=#step-4-metal-leaf-application>Step 4. Metal leaf application</a></li><li><a href=#step-5-oiling-the-jasper>Step 5. Oiling the jasper</a></li><li><a href=#side-project-fashioning-a-rose-from-horn-shavings>Side-Project: Fashioning a Rose from Horn Shavings</a></li></ul></li><li><a href=#resources>Resources</a></li></ul></nav></aside><content><h1 id=making-jasper>Making Jasper</h1><p>Ms. Fr. 640 contains just one entry about jasper, early in the
 manuscript, on fol.10r. The entry is entitled “Counterfeit jasper,” but the author-practitioner does not mean &ldquo;counterfeit&rdquo; in the modern sense of being fake, fraudulent, or deceitful. Rather, he uses &ldquo;counterfeit&rdquo; in the early modern sense of being a portrait &ndash; a faithful representation of jasper. Moreoever, as the Making and Knowing Project has come to discover, his process of making jasper, with its cumulative layering of materials one atop the other, recapitulates his understanding of how the striated rock was formed in the earth. In other words, by making jasper, the author-practitioner was attempting to extend his knowledge about natural history. For him, making became a way of knowing.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/jasper-intro.png alt=jasper-intro></p><p>To make or &ldquo;counterfeit&rdquo; jasper, the author-practitioner instructs:</p><blockquote><p>Take horn from which one makes lanterns, quite thin, & underneath make
diff --git a/resources/activity-sheets/activitysheet_lake-pigments/index.html b/resources/activity-sheets/activitysheet_lake-pigments/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#making-lake-pigments>Making Lake Pigments</a><ul><li><a href=#learning-objectives>Learning Objectives</a></li><li><a href=#what-are-lake-pigments>What are Lake Pigments?</a></li><li><a href=#what-are-pigments-more-generally>What are Pigments More Generally?</a></li><li><a href=#lake-pigments-in-use>Lake Pigments in Use</a></li><li><a href=#historical-recipes-for-lake-pigments>Historical Recipes for Lake Pigments</a></li><li><a href=#teaching-lake-pigments>Teaching Lake Pigments</a></li></ul></li></ul></nav></aside><content><h2 id=making-lake-pigments>Making Lake Pigments</h2><p>The Making and Knowing Project has used lake pigment making as a core skill-building exercise for its students. M&amp;K has often assigned lake pigment making alongside <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/verdigris-assignment/>verdigris growing</a>, which were then followed up by a <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_paintingpigments/>paint making and testing</a> activity. Nevertheless, lake pigment making can be done on its own.</p><h3 id=learning-objectives>Learning Objectives</h3><p>The activity of making lake pigments from modernized historical recipes has several potential learning outcomes, which can include:</p><ul><li>consider the relationship between historical and modern materials and tools</li><li>understand how units of measure were communicated before the age of standardization</li><li>interpret how the steps described in historical recipes might be modernized</li><li>consider the labor involved in the production of historical art materials and artworks</li></ul><h3 id=what-are-lake-pigments>What are Lake Pigments?</h3><p>Lake pigments are a type of pigment prepared from organic natural colorants: plant and animal sources. As most organic natural colorants are soluble, they cannot be mixed directly with a binding medium and therefore cannot be used as a pigment. To be used as a pigment,
 these colorants must therefore be extracted as a solulble dye and then made insoluble by precipitating (or adsorbing) the dye onto a colorless or white, insoluble, relatively inert substrate.</p><p>In short: lake pigments are made by extracting a dye from an organic material and then turning that dye into a powder.</p><blockquote><p>Jo Kirby et al, <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and their Historical Sources</em> (Archetype, London, 2014).</p></blockquote><p>If you are not already familiar with historical pigments and natural colorants, refer to <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/presentation_sp23_rosenkranz_naomi_lakes_cochineal-history-chem-prep.pdf>Presentation: Cochineal Lake: History, Chemistry, and Preparation</a> for more complete information and further explanation of natural colorants and lake pigments.</p><p>See also <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/introduction-paints-pigments_njr_2021.pdf>Presentation: Introduction to Pigments & Paints</a>.</p><h3 id=what-are-pigments-more-generally>What are Pigments More Generally?</h3><p>Pigments are colored, insoluble particles that, when combined with a binding medium, create paint that can then be applied to a substrate. Pigments can either be natural or synthetic. Historically, most pigments were sourced from the natural environment. Since the nineteenth century, the synthesis of pigments in industrial settings has become very common, ensuring consistent quality and new formulations.</p><p>Natural pigments generally come in three varieties:</p><ul><li>mineral: from mineral ores, semi-precious stones, and even gemstones.</li><li>earth: from colored soils. These are also, technically, a form of mineral pigment.</li><li>organic: from plants and animal sources. Lake pigments fall under this category.</li></ul><p>Pigments are most often encountered as a component of paint. In short: Pigment + Binding Media = Paint</p><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/pigment-particles-in-binding-medium.jpg alt=pigment-particles-in-binding-medium></figure><p>For more on paint making, refer to <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/introduction-paints-pigments_njr_2021.pdf>Presentation: Introduction to Pigments & Paints</a></p><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/painting-pigment-binding-media.png alt=painting-pigment+binding-media></figure><h3 id=lake-pigments-in-use>Lake Pigments in Use</h3><p>Lake pigments are typically found in top layer of paintings because their particles are translucent and are thus conducive to being used as thin glazes. As the entry &ldquo;Glazing&rdquo; on <a href=https://edition640.makingandknowing.org/#/folios/66r/f/66r/tl>fol. 66r</a> of Ms. Fr. 640 notes, &ldquo;one commonly glazes with colors that do not have body, such as lake & veridigris.&rdquo;</p><p>In practice, lake glazes could be used to create various subtle effects in painting. For example, the layer of &ldquo;blush&rdquo; painted over the cheek of a portrait might be done in a red lake pigment. This might reflect the use of lake pigments in women&rsquo;s cosmetics. <a href=https://edition640.makingandknowing.org/#/folios/58r/f/58r/tl>Fol. 58r</a> of Ms. Fr. 640, the entry &ldquo;Painter&rdquo; includes the following observatino: &ldquo;And thus they pounce the lake on their cheeks & then, with another clean cotton, they soften it.&rdquo;</p><h3 id=historical-recipes-for-lake-pigments>Historical Recipes for Lake Pigments</h3><p>There are numerous recipes in historical sources from the late medieval period onward for making lake pigments. These include:</p><ul><li>Cennino Cennini, <em>Il Libro dell&rsquo;Arte</em>(<em>The Craftsman&rsquo;s Handbook</em>)</li><li>Various manuscript sources compiled in Mary P. Merrifield, <em>Medieval adn Renaissance Treatises on the Arts of Painting</em></li></ul><p>A particularly readable example is taken from the so-called &ldquo;Paduan Manuscript,&rdquo; given in Mary P. Merrifield, <em>Medieval and Renaissance Treatises on the Arts of Painting: Original Texts with English Translations</em> (1849, Dover Publications, 1969), pp. 701-702.</p><blockquote><p><em>Un altra sorte di lacca fina.</em> - R. Piglia 12 grani di cocciniglia, o grana fina fatta inpolvere, si pone in due oncie di lissivio lasciandola in infusione due hore incirca poi si cola per pano lino, e si mette sopra cenere calda, quando vorrà bollire vi si aggiunge quanto due piselli d'allume di rocca in polvere, quando il liscivo farà schiuma grossa incarnata all' hora si getta tutto in un panno lino steso, e passarà il lissivo chiaro restando la schiuma nel panno, quale si fa seccare, e si fa tavolette.</p></blockquote><blockquote><p><em>Another sort of fine lake.</em> Take 12 grains of powdered cochineal or fine grana, add to it 2oz of ley; leave the infusion for about 2 hours; strain it through a linen cloth and put it over hot cinders; When it boils add to it pulverized roche alum of the size of 2 peas then the ley will make a thick red scum; as soon as this happens throw it all onto a stretched linen cloth, when the clear ley will pass through leaving the coagulum on the cloth, which coagulum must afterwards be dried and made into tablets.</p></blockquote><p>Such historical recipes have been updated so that they can be made in the modern lab or kitchen. For modernized recipes, see Jo Kirby et al, <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and their Historical Sources</em> (Archetype, London, 2014), chapter 5.</p><p>The basic steps involved in making lake pigments are:</p><ol><li>extract a colorant from a plant or insect by crushing it and soaking it in water</li><li>add either A) an acid or B) a base to that colored water and heat it for a time, the better to extract the color</li><li>catalyze a chemical reaction by adding either A) a base to your acidic solution or B) an acid to your basic solution (i.e., make a “volcano” reaction)</li><li>let the reaction settle and then pour the solution through a filter; a precipitate will be left behind in the filter</li><li>rinse the precipitate one or two more times until the water runs clear</li><li>let it dry and scrape it from the filter. This is your pigment.</li></ol><p>These steps are illustrated in the picture below:</p><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/pigment-lake-overview.png alt=pigment-lake-overview></figure><p>Lakes can be made from a variety of natural colorants. Natural colorants can be extracted from plants, such as madder roots, buckthorn berries, weld stems, logwood bark, and animals, such as cochineal insects and mollusk secretions.</p><h4 id=cochineal--brazilwood--weld--green-unripe-buckthorn-berries>Cochineal | Brazilwood | Weld | Green (Unripe) Buckthorn Berries</h4><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/materials-cbwg-collection-5.png alt=materials-cbwg-collection-5></figure><h4 id=ripe-buckthorn-berries--sumac--dyers-broom--turmeric>Ripe Buckthorn Berries | Sumac | Dyer&rsquo;s Broom | Turmeric</h4><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/materials-rsdt-collection-2.png alt=materials-rsdt-collection-2></figure><h4 id=walnut-hulls--logwood--madder--oak-galls>Walnut Hulls | Logwood | Madder | Oak Galls</h4><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/materials-wlmg-collection-5.png alt=materials-wlmg-collection-5></figure><h3 id=teaching-lake-pigments>Teaching Lake Pigments</h3><h4 id=lake-making-in-the-classroom-activities>Lake-Making in the Classroom: Activities</h4><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/pigment-cochineal-lake_assignment/>Making Lake Pigment from Cochineal</a> - hands-on lesson plan and assignment for transforming natural colorants in cochineal insects into a pigment</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/pigment-madder-lake_assignment/>Making Lake Pigment from Madder</a> - hands-on lesson plan and assignment for transforming natural colorants in madder roots into a pigment</li></ul><h4 id=lake-making-in-the-classroom-field-notes>Lake-Making in the Classroom: Field Notes</h4><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/sp22_fld_rosenkranz_naomi_madder-lake-trio/>Making Pigment from Madder: a Trio of Recipes</a> - helpful step-by-step fieldnotes</li><li>A sample card painted from lake pigments in various binding media [<a href=https://cu-mkp.github.io/research-teaching-companion/images/pigment-paint-sample-card.png>PNG</a>]</li></ul><h4 id=lake-making-in-the-classroom-presentations>Lake-Making in the Classroom: Presentations</h4><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/presentation_sp23_rosenkranz_naomi_lakes_cochineal-history-chem-prep.pdf>Presentation: Cochineal Lake: History, Chemistry, and Preparation</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/presentation_sp23_rosenkranz_naomi_lakes_madder-history-chem-prep.pdf>Presentation: Madder Lake: History, Chemistry, and Preparation</a></li></ul><h4 id=lake-making-in-the-classroom-reflection-assignments>Lake-Making in the Classroom: Reflection Assignments</h4><ul><li>Pigment-Making Lab Reflection Assignment [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/uchacz_2024_lab1_reflection-assignment.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/uchacz_2024_lab1_reflection-assignment.pdf>PDF</a>]</li><li>Pigment-Making Lab Reflection Assignment Background Document [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/uchacz_2024_lab1_reflection-assignment-background.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/uchacz_2024_lab1_reflection-assignment-background.pdf>PDF</a>]</li></ul><h4 id=lake-making-in-the-classroom-recipe-handouts>Lake-Making in the Classroom: Recipe Handouts</h4><ul><li>Cochineal (standard recipe; yields pink) [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/lakes_cochineal_standard.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/lakes_cochineal_standard.pdf>PDF</a>]</li><li>Cochineal (reversed recipe; yields violet) [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/lakes_cochineal_reversed.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/lakes_cochineal_reversed.pdf>PDF</a>]</li><li>Madder (standard; yields ruddy red) [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/lakes_madder_standard.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/lakes_madder_standard.pdf>PDF</a>]</li><li>Weld (standard; yields pale yellow) [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/lakes_weld_standard.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/lakes_weld_standard.pdf>PDF</a>]</li><li>Logwood (standard; yields smoky purple) [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/lakes_logwood_standard.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/lakes_logwood_standard.pdf>PDF</a>]</li></ul><h4 id=lakes-in-ms-fr-640>Lakes in Ms. Fr. 640</h4><p>There are no recipes for making lake pigments in Ms. Fr. 640. There are, however, numerous references to <a href="https://edition640.makingandknowing.org/#/search?q=lake">lake</a> pigments across the manuscript.</p><h5 id=pigments-and-lakes-in-ms-fr-640>Pigments and Lakes in Ms. Fr. 640</h5><p>For an essay exploring pigments, including lake pigments, in the manuscript, see Jo Kirby and Marika Spring, <a href=https://edition640.makingandknowing.org/#/essays/ann_321_ie_19><em>Ms. Fr. 640 in the World of Pigments in Sixteenth-Century Europe</em></a>.</p><h5 id=lakes-trade-and-labor-in-ms-fr-640>Lakes, Trade, and Labor in Ms. Fr. 640</h5><p>Materials for a classroom activity exploring lake pigments in Ms. Fr. 640 (range of use, formats, and associated materials) and their relevance to global trade and labor practices:</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/lakes-in-Fr-640_2021.pdf>Compiled references to &ldquo;lake&rdquo; pigments in Ms. Fr. 640</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/lakes-trade-labor-in-Fr640.pdf>Classroom Activity: Lakes, Trade, and Labor in Ms. Fr. 640</a></li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 7.057-10.486C21.08-.394 28.565-3.5 37.441-3.5zm.116 5.772c-7.314.0-13.467 2.553-18.458 7.657-2.515 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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#making-and-testing-paints-made-by-hand-from-pigments>Making and Testing Paints Made by Hand from Pigments</a><ul><li><a href=#learning-objectives>Learning Objectives</a></li><li><a href=#what-is-paint>What is Paint?</a></li><li><a href=#teaching-paint-making>Teaching Paint Making</a></li></ul></li></ul></nav></aside><content><h2 id=making-and-testing-paints-made-by-hand-from-pigments>Making and Testing Paints Made by Hand from Pigments</h2><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/painting-title-image.png alt="hand holding paintbrush in paint on mulling plate"></figure><p>The Making and Knowing Project has used paint and test card making as a core skill-building exercise for its students. Paint making has often been a follow-up activity to <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_lake-pigments/>lake pigment making</a> or <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/verdigris-assignment/>verdigris growing</a>, but paint making can also be undertaken using commercially produced pigments.</p><h3 id=learning-objectives>Learning Objectives</h3><p>The activity of making paint and testing out those paints on a sample card has several potential learning outcomes, which can include:</p><ul><li>learn how paint is made</li><li>exprience how different binders behave during the mulling process</li><li>experience how the mulling of pigments, paint consistency, and specific combinations of pigment and binder affect the application and appearance of paint</li><li>understand material considerations that affect the appearance of artworks across history</li></ul><h3 id=what-is-paint>What is Paint?</h3><p>Paint = pigment + binder<figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/pigment-particles-in-binding-medium.jpg alt=pigment-particles-in-binding-medium></figure></p><p>For more on paint making, refer to <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/introduction-paints-pigments_njr_2021.pdf>Presentation: Introduction to Pigments & Paints</a>.</p><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/painting-pigment-binding-media.png alt=painting-pigment-binding-media></figure><h4 id=pigments>Pigments</h4><p>Pigments are colored, insoluble particles that, when combined with a binding medium, create paint that can then be applied to a substrate. Historically, most pigments were sourced from the natural environment, including from plants, insects, stones, and dirt. Since the nineteenth century, the synthesis of pigments in industrial settings has become very common, ensuring consistent quality and new formulations.</p><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/painting-pigment-madder.jpg alt="madder pigment"></figure><h4 id=binders>Binders</h4><p>Binders are materials that bring cohesion and unity to particulate matter. In the case of paint, binders are what turn powdered pigment into a viscous material that can be applied to a substrate such that it adheres. Binders for paint are divided into two main categories:</p><ul><li>water-based (aqueous): egg yolk, egg white, various gums</li><li>oil-based: linseed oil, walnut oil, waxes, resins</li></ul><p><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/painting-binding-media_1.jpg alt="binding media raw"></figure><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/painting-binding-media_2.jpg alt="binding media in use"></figure></p><h4 id=mulling>Mulling</h4><p>Mulling is a mechanical process used to thoroughly combine a pigment with a binder. It involves grinding the pigment and binder together on a hard surface, often a glass plate or marble slab, using a muller&ndash;a pestle-like, flat-bottomed tool, often made of glass. There are various techniques for manipulating the muller on the plate that can facilitate the process of paint-making, such as moving the muller in a figure-8 pattern or in a series of small circles moving around in a larger circle. In all cases, pressure must be applied to the muller in order to help grind the pigment particles into the binder. Most paints require that the pigments be mulled so that no further particles are visible or, put differently, so that the resultant paint is smooth.</p><p><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/painting-mulling_1.jpg alt="muller in use"></figure><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/painting-mulling_2.jpg alt="muller tilted to show flat bottom"></figure></p><h4 id=substrates-or-supports>Substrates or Supports</h4><p>Paint is applied to a variety of supports, including canvas, panel, plaster, paper, and metal, just to name a few. Some paints adhere better to particular supports than to others. See <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_supportsurfaces/>Preparing Panels, Canvases, and Other Supports for Painting, Gilding, and More</a>.</p><p>For an overview of stretching and gessoing canvas for painting, refer to <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/hermens_preparing-canvas-supports.pdf>Presentation: Preparing the Canvas Support</a>
 and <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/bol_2024_preparing-test-panels.pdf>Presentation: Preparing Gessoed Test Panels</a>.</p><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/painting-substrates-supports.jpg alt="various substrates for painting"></figure><h3 id=teaching-paint-making>Teaching Paint Making</h3><h4 id=making-paint-in-the-classroom-presentations>Making Paint in the Classroom: Presentations</h4><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/introduction-paints-pigments_njr_2021.pdf>Presentation: Introduction to Pigments & Paints</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/activitysheet_Hermens_Preparing-to-Paint-and-Painting.pdf>Presentation: Preparing to Paint and Painting in Distemper, Tempera, and Oil</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2024_Hermens_Flower-painting-in-oil.pdf>Presentation: Flower Painting in Oil According to Willem Beurs</a></li></ul><h4 id=making-paint-in-the-classroom-activity-sheets>Making Paint in the Classroom: Activity Sheets</h4><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/painting-assignment/>Classroom activity sheet for paint making</a> [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/painting_assignment_downloadable_2021.pdf>pdf</a>]</li><li>Classroom activity sheet for preparing gessoed test panels to receive paint samples [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/bol_2024_preparing-test-panels.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/bol_2024_preparing-test-panels.pdf>PDF</a>]</li><li>Classroom activity sheet for stretching canvas to paint on [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/hermens_preparing-canvas-supports.pdf>PDF</a>]</li><li>A sample card painted from lake pigments in various binding media [<a href=https://cu-mkp.github.io/research-teaching-companion/images/pigment-paint-sample-card.png>PNG</a>]</li></ul><h4 id=making-paint-in-the-classroom-reflection-assignment>Making Paint in the Classroom: Reflection Assignment</h4><ul><li>Paint-Making Lab Reflection Assignment [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/uchacz_2024_lab2_reflection-assignment.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/uchacz_2024_lab2_reflection-assignment.pdf>PDF</a>]</li></ul><h4 id=painting-in-ms-fr-640>Painting in Ms. Fr. 640</h4><p>There are dozens of entries in Ms. Fr. 640 that address elements of paint making and painting, including pigment behavior, mulling (grinding), binders, handling, and the practical uses of particular materials for various kinds of subject matter (e.g., flesh tones). In fact, &ldquo;painting&rdquo; is one of the categories that M&amp;K has used to classify the various entries in the manuscript, and entries on painting account for roughly 15% of the manuscript&rsquo;s contents. These entries are best accessed by searching the manuscript for &ldquo;<a href="https://edition640.makingandknowing.org/#/search?q=painter">painter</a>&rdquo; and &ldquo;<a href="https://edition640.makingandknowing.org/#/search?q=painting">painting</a>.&rdquo;</p><p>There are also several essays in <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a> that explore paint making and painting in detail, including:</p><ul><li>Jo Kirby and Marika Spring, “<a href=https://edition640.makingandknowing.org/#/essays/ann_321_ie_19>Ms. Fr. 640 in the World of Pigments in Sixteenth-Century Europe</a>.”</li><li>Cleo Nisse, “<a href=https://edition640.makingandknowing.org/#/essays/ann_042_sp_16>Shadows Beneath the Skin: How to Paint Faces in Distemper</a>.”</li><li>Sumeyye Yar, “<a href=https://edition640.makingandknowing.org/#/essays/ann_062_fa_17>Painting in Oil on Taffeta II</a>.”</li></ul></content></div><p></p></main><footer><div 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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#projected-outcome>Projected Outcome</a></li><li><a href=#materials>Materials</a></li><li><a href=#research>Research</a></li><li><a href=#process>Process</a></li></ul></nav></aside><content><h1 id=reconstruction-template-sample>Reconstruction Template Sample</h1><p><em>This was compiled by students from discussions of their reconstruction experience. It is shared here not as a model for you to follow, but as an example of the kinds of responses that you might receive from students when they are asked to reflect on how to conduct reconstruction experiments.</em></p><h2 id=projected-outcome>Projected Outcome</h2><ul><li><p>What are the goals of your reconstruction?</p><ul><li><p>What historical question are you trying to answer?</p><ul><li>How do the compromises you need/want to make affect your ability to answer that question?<ul><li>BE UP FRONT ABOUT YOUR COMPROMISES!</li></ul></li></ul></li><li><p>How to define success or failure in a reconstruction?</p><ul><li>Are there parameters of accuracy that need to be defined (e.g., of measurements, of material qualities, etc.?)</li><li>What are you looking for out of this process?</li><li>What elements of your goals and process will you want to be able to communicate to your reader?</li></ul></li></ul></li><li><p>What do you think you are trying to make (as an outcome)? How do you imagine it?</p><ul><li>E.g., are you shooting for a proof-of-concept? Are you aiming for something unknown?</li><li>How far is it possible to reconstruct concepts as opposed to products?</li><li>What kind of (historical) questions do you think you can open up through this reconstruction?</li><li>E.g., yield - how much are you making? How much is needed to meet your goals?<ul><li>This can be especially important when qualitative assessments are still unknown</li><li>This is part of <strong>scenario-building</strong> (i.e., imagining the step-by-step process and potential outcomes of your reconstruction)</li><li>Why are there quantities in the recipe as big/small as they are?</li></ul></li></ul></li><li><p>How can reconstruction lead you to a closer reading—raising questions that you otherwise would not have considered?</p></li><li><p>If you had more time, what other questions would you have wanted to address?</p></li><li><p>How can subsequent iterations get you closer to an answer to your historical question?</p></li></ul><h2 id=materials>Materials</h2><ul><li><p>How available are the materials listed in the recipe?</p></li><li><p>Where to source the materials?</p></li><li><p>Are materials today comparable to what they were when the recipe was written? How precise can we get with materials?</p></li><li><p>How does the way a given material is used across a wide range of recipes affect the way we think about materials and their meanings?</p></li><li><p>How does process affect our interpretation of materials?</p></li><li><p>Are there materials (or tools or techniques) that can compromise your reconstruction?</p></li></ul><h2 id=research>Research</h2><ul><li><p>What is the original context of the recipe? How much does your context differ?</p></li><li><p>What can we know of the relative values of materials, then and now?</p></li><li><p>Where do we start with a given reconstruction? Can we identify steps that can be skipped over? What are the consequences of moving around a step?</p></li></ul><h2 id=process>Process</h2><ul><li><p>Need to think about process - is it possible (proof-of-concept)?</p></li><li><p>Emotional investment - how does this shape your approach, and what you end up focusing on?</p></li><li><p>How does the readiness of materials today affect the kind of plans and compromises we make in reconstruction?</p></li><li><p>Quantitative precision? Can an overemphasis on precision get in the way of a more historical approach to making? Are there unanticipated markers, tacit, implicit, or otherwise, for precision that emerge as you undertake your reconstruction? Are there useful markers of consistency that can help you evaluate your progress?</p><ul><li>What is the balance between quantitative accuracy and approximation? When does eye-balling a process/material/quantity tip from “inaccuracy” to a matter of “tacit knowledge”?</li></ul></li><li><p>How are tools black-boxing (hide, or form shortcuts for techniques and knowledge) in your reconstruction?</p></li><li><p>How might historical constraints of tools, techniques, and materials have spurred them to adopt different markers for stages in process?</p><ul><li>E.g., before transparent glass lids, were there ways of <em>hearing</em> something bubbling? What other senses were being called into action because we rely so heavily on visual cues?</li></ul></li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 7.057-10.486C21.08-.394 28.565-3.5 37.441-3.5zm.116 5.772c-7.314.0-13.467 2.553-18.458 7.657-2.515 2.553-4.448 5.419-5.8 8.6a25.204 25.204.0 00-2.029 9.972c0 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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
diff --git a/resources/activity-sheets/activitysheet_sample-hcr-discussion-document/index.html b/resources/activity-sheets/activitysheet_sample-hcr-discussion-document/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents></nav></aside><content><h1 id=sample>SAMPLE:</h1><h1 id=historical-culinary-reconstruction>Historical Culinary Reconstruction</h1><h1 id=discussion-document>Discussion Document</h1><p>nb. These are real, unedited, student comments. This document is
 shared to give you a sense of the kinds of responses this activity can
diff --git a/resources/activity-sheets/activitysheet_stucco/index.html b/resources/activity-sheets/activitysheet_stucco/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#making-stucco-for-molding>Making Stucco for Molding</a><ul><li><a href=#learning-objectives>Learning Objectives</a></li><li><a href=#what-is-stucco>What is Stucco?</a></li><li><a href=#teaching-stucco-making>Teaching Stucco Making</a></li></ul></li></ul></nav></aside><content><h2 id=making-stucco-for-molding>Making Stucco for Molding</h2><p>The Making and Knowing Project has reconstructed variants of a recipe for &ldquo;stucco for molding,&rdquo; as described in BnF Ms. Fr. 640. This recipe uses tragacanth gum and either chalk or rye flour to produce a paste that can take on quite detailed shapes in simple molds (wood, metal, silicone) and that is very hard once dry. This activity is cheap, easy, and relatively safe to undertake with a variety of learners.</p><h3 id=learning-objectives>Learning Objectives</h3><p>The activity of making stucco for molding has several potential learning outcomes, which can include:</p><ul><li>learning to extract technical instructions for stucco making from a larger and broader historical text</li><li>recognizing that recipe texts often have variant ingredients and processes embedded within them</li><li>understanding how consistency affects molding potential and the early modern vocabulary used to convey consistency</li><li>understand the economy of early modern making by experiencing how unexpected yet common materials (e.g., rye flour) can be used as less costly ingredients in artisanal making without sacrificing functionality</li></ul><h3 id=what-is-stucco>What is Stucco?</h3><p>&ldquo;Stucco&rdquo; is a term that refers to hard plasters that are used as protective coverings for exterior walls and decorative coverings for interior walls. Interior stucco can be spread, sculpted, or molded, and it can be polished when hard and dry. Depending on the purpose and destination of the stucco, its composition can vary, but in general, it includes three components:</p><ul><li>a variety of calcium (lime, gypsum)</li><li>a variety of fine mineral powder (sand, marble dust)</li><li>an adhesive (cement, gum)</li></ul><h3 id=teaching-stucco-making>Teaching Stucco Making</h3><h4 id=stucco-making-activity-sheets>Stucco Making: Activity Sheets</h4><ul><li>Stucco Making Assignment: <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/stucco-assignment/>Instructor Version</a> [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/stucco_assignment_downloadable_2021.pdf>PDF</a>]</li><li>Stucco Making Assignment: <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/stucco_assignment_student-handout/>Student Handout</a> [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/stucco_assignment_student-handout.pdf>PDF</a>]</li><li>Stucco Making Assignment: Pre-Lab Research and Reflection Assignment [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/uchacz_2024_stucco_reflection-assignment.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/uchacz_2024_stucco_reflection-assignment.pdf>PDF</a>]</li></ul><h4 id=stucco-in-ms-fr-640>Stucco in Ms. Fr. 640</h4><p>There are a handful of entries in Ms. Fr. 640 that refer to stucco, both compositions for varieties of stucco for molding and instructions for constructing a mold appropriate to use with stucco. These entries can be accessed through a search for the term &ldquo;<a href="https://edition640.makingandknowing.org/#/search?q=stucco">stucco</a>&rdquo; in <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a>.</p><p>There is also an excellent essay in <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a> that explores stucco in detail:</p><ul><li>Nina Elizondo-Garza, “<a href=https://edition640.makingandknowing.org/#/essays/ann_064_fa_17>Stucco for Molding</a>.”</li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 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9.029 1.62 12 4.856 2.971 3.238 4.457 7.391 4.457 12.457.0 4.915-1.543 9-4.627 12.256-3.088 3.256-7.086 4.886-12.002 4.886-3.619.0-6.743-1.085-9.371-3.257-2.629-2.172-4.209-5.257-4.743-9.257H31.1c.19 3.886 2.533 5.829 7.029 5.829 2.246.0 4.057-.972 5.428-2.914 1.373-1.942 2.059-4.534 2.059-7.771.0-3.391-.629-5.971-1.885-7.743-1.258-1.771-3.066-2.657-5.43-2.657-4.268.0-6.667 1.885-7.2 5.656h2.343l-6.342 6.343-6.343-6.343 2.512.001z"/></svg>
 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
diff --git a/resources/activity-sheets/activitysheet_suggestions/index.html b/resources/activity-sheets/activitysheet_suggestions/index.html
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--- a/resources/activity-sheets/activitysheet_suggestions/index.html
+++ b/resources/activity-sheets/activitysheet_suggestions/index.html
@@ -1,4 +1,5 @@
-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents></nav></aside><content><p>Suggestions for Additional Lesson Plans</p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a 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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
diff --git a/resources/activity-sheets/activitysheet_supportsurfaces/index.html b/resources/activity-sheets/activitysheet_supportsurfaces/index.html
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--- a/resources/activity-sheets/activitysheet_supportsurfaces/index.html
+++ b/resources/activity-sheets/activitysheet_supportsurfaces/index.html
@@ -1,4 +1,5 @@
-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#preparing-panels-canvases-and-other-supports-for-painting-gilding-and-more>Preparing Panels, Canvases, and Other Supports for Painting, Gilding, and More</a><ul><li><a href=#learning-objectives>Learning Objectives</a></li><li><a href=#supports-substrates-surfaces-and-grounds>Supports, Substrates, Surfaces, and Grounds</a></li><li><a href=#teaching-support-preparation>Teaching Support Preparation</a></li></ul></li></ul></nav></aside><content><h2 id=preparing-panels-canvases-and-other-supports-for-painting-gilding-and-more>Preparing Panels, Canvases, and Other Supports for Painting, Gilding, and More</h2><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/supports-canvas-part1.png alt=canvas-part1>
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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-<label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#teaching-scenario-building>Teaching Scenario Building</a></li><li><a href=#time>Time</a></li><li><a href=#skill>Skill</a></li><li><a href=#recording>Recording</a></li><li><a href=#adaptation-and-flexibility>Adaptation and Flexibility</a></li><li><a href=#why-devote-all-this-time-and-effort-to-hands-on-teaching>Why Devote All This Time and Effort to Hands-On Teaching?</a></li><li><a href=#lesson-plans-in-the-making-and-knowing-companion>Lesson Plans in the Making and Knowing Companion</a></li></ul></nav></aside><content><h1 id=tip-sheet-for-hands-on-teaching>Tip Sheet for Hands-on Teaching</h1><h2 id=teaching-scenario-building>Teaching Scenario Building</h2><p>Hands-on activities are great for teaching and learning scenario building. Plan ahead and design the activity:</p><ul><li>Write out protocols for yourself and any other instructors for the experiment or activity</li><li>Think ahead about safety and make sure plans and appropriate equipment are in place. Work with your institution&rsquo;s safety office</li><li>Create a plan in advance for cleanup and waste disposal</li><li>Make sure that the students also write out an experiment protocol, and plan class time to go over these with them. Some questions to consider as a group:<ul><li>Can you give us an overview of what we plan to do today?</li><li>What materials and equippment do we need/have?</li><li>What are the biggest safety considerations? (e.g., heat, burns, toxicity, moving around in a shared physical space)</li><li>What is our cleanup plan?</li></ul></li></ul><h2 id=time>Time</h2><ul><li>Hands-on teaching is so much more time-consuming than you can ever imagine</li><li>Think about and plan minutely for the time you have in one class period</li><li>Be creative if possible with your institution&rsquo;s course schedule — a four-hour class period is ideal</li><li>If possible, ask students or participants to review materials before the hands-on session (e.g., read over the historical recipe, look over representative art objects, read a related article, view a making video, come up with their own interpretation of the process, or look up key terms and materials)</li><li>Leave plenty of time for setup and cleanup — ideally, you should try to have your students help with both</li><li>Make time in class or in the lab/studio for student discussion about their experiences</li><li>Make time for summary discussion and formulating takeaways, which can take place at the following class meeting</li></ul><h2 id=skill>Skill</h2><p>The Making and Knowing Project team members were almost never expert in the hands-on activities they included in courses.</p><ul><li>Accustom yourself to not being an expert, but instead, a co-learner. Explore alongside your students</li><li>Make sure you try the activity before you assign it</li><li>Have students and instructor(s) work together or in groups — use an &ldquo;apprenticeship&rdquo; model, ideally with participants of different skill levels</li><li>Work around a table or together at a bench so participants can watch each other&rsquo;s process, and discuss and reflect together</li><li>Bring in &ldquo;expert practitioners&rdquo; to your class to help with unfamiliar processes. We often found that the historical processes were a learning experience for expert practitioners as well. See Expert Practitioner Tonny Beentjes&rsquo; <a href=https://edition640.makingandknowing.org/#/essays/ann_334_ie_19>Tutor or Student? An Expert Maker Perspective</a></li></ul><h2 id=recording>Recording</h2><p>For a full discussion of the Making and Knowing Project&rsquo;s Field Notes process, please see <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/introduction-fieldnotes/>Introduction to Field Notes</a></p><ul><li>Recording the hands-on process is an integral part of learning and of facilitating reflection on undertaking hands-on work and one&rsquo;s own experience</li><li>Make a template for student lab notes or field notes as a reminder for what needs to be included</li><li>Make sure everyone takes as detailed notes as possible on their process, perhaps by recording on their phones or phone voice-to-text programs (to be transcribed later as lab or field notes)</li><li>Have the students take plenty of photos and videos as they work (and integrate them later into their lab or field notes or have them create an annotated slide deck/powerpoint in place of lab/field notes)</li><li>Remind them to work together on recording their experience (e.g., one person can take photos while the other does a step of the process, then they can switch)</li><li>In addition to recording by participants, it can be really useful to have an additional person who can take photos or videos who is not actively working on the activity (but this should not take the place of participants&rsquo; own note- and photo-taking!)</li></ul><h2 id=adaptation-and-flexibility>Adaptation and Flexibility</h2><ul><li>If things don’t go as planned, it’s okay. Sometimes the best learning comes from failure, reflection, and trying again</li><li>Facilitate a discussion with your students about what they would want to do differently if they did the process again; what have they learned or wished they knew before?</li><li>This is experimental learning, so process is more important than outcome</li><li>Seek feedback on how to improve the activity, its flow, set up, etc. for next time</li></ul><h2 id=why-devote-all-this-time-and-effort-to-hands-on-teaching>Why Devote All This Time and Effort to Hands-On Teaching?</h2><ul><li>We have found hands-on activities to be terrifically motivating for students (and instructors), with student creativity and enthusiasm exceeding all expectations</li><li>Students learn to learn in a new way</li><li>You and your students will ask new questions</li><li>New skills will humble and empower your students</li><li>As an instructor, you will learn much about pedagogy, embodied knowledge, yourself, and your students</li></ul><h2 id=lesson-plans-in-the-making-and-knowing-companion>Lesson Plans in the Making and Knowing Companion</h2><p>The Making and Knowing Project hopes that the resources of this Companion will ease your path into the teaching of hands-on activities. We&rsquo;d love to hear about your experiences. Please send any feedback to <a href=mailto:info@makingandknowing.org>info@makingandknowing.org</a> or opening an issue in the Research and Teaching Companion <a href=https://github.com/cu-mkp/research-teaching-companion/issues>Github Issue Tracker</a>.</p><ul><li>Feel free to improvise with the <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/>Lesson Plans</a> to fit them to your needs and resources</li><li>Feel free to contextualize the Lesson Plans to suit your course and its learning outcomes</li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 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+<label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#skill>Skill</a></li><li><a href=#teaching-scenario-building>Teaching Scenario Building</a></li><li><a href=#time>Time</a></li><li><a href=#adaptation-and-flexibility>Adaptation and Flexibility</a></li><li><a href=#recording>Recording</a></li><li><a href=#why-devote-all-this-time-and-effort-to-hands-on-teaching>Why Devote All This Time and Effort to Hands-On Teaching?</a></li><li><a href=#lesson-plans-in-the-making-and-knowing-companion>Lesson Plans in the Making and Knowing Companion</a></li></ul></nav></aside><content><h1 id=tip-sheet-for-hands-on-teaching>Tip Sheet for Hands-on Teaching</h1><h2 id=skill>Skill</h2><p>The Making and Knowing Project team members were almost never expert in the hands-on activities they included in courses.</p><ul><li>Accustom yourself to not being an expert, but instead, a co-learner. Explore alongside your students</li><li>Make sure you try the activity before you assign it</li><li>Have students and instructor(s) work together or in groups — use an &ldquo;apprenticeship&rdquo; model, ideally with participants of different skill levels</li><li>Work around a table or together at a bench so participants can watch each other&rsquo;s process, and discuss and reflect together</li><li>Bring in &ldquo;expert practitioners&rdquo; to your class to help with unfamiliar processes. We often found that the historical processes were a learning experience for expert practitioners as well. See Expert Practitioner Tonny Beentjes&rsquo; <a href=https://edition640.makingandknowing.org/#/essays/ann_334_ie_19>Tutor or Student? An Expert Maker Perspective</a> Expert practitioners may be closwer than you think — members of the local community and even your own students (ask them about their hands-on experience(s).</li></ul><h2 id=teaching-scenario-building>Teaching Scenario Building</h2><p>Hands-on activities are great for teaching and learning scenario building. Plan ahead and design the activity:</p><ul><li>Write out protocols for yourself and any other instructors for the experiment or activity</li><li>Think ahead about safety and make sure plans and appropriate equipment are in place. Work with your institution&rsquo;s safety office</li><li>Create a plan in advance for cleanup and waste disposal</li><li>Make sure that the students also write out an experiment protocol, and plan class time to go over these with them. Some questions to consider as a group:<ul><li>Can you give us an overview of what we plan to do today?</li><li>What materials and equippment do we need/have?</li><li>What are the biggest safety considerations? (e.g., heat, burns, toxicity, moving around in a shared physical space)</li><li>What is our cleanup plan?</li></ul></li></ul><h2 id=time>Time</h2><ul><li>Hands-on teaching is much more time-consuming than discussion-based learning and challenges norms of most institution&rsquo;s course schedules.</li><li>Think about and plan minutely for the time you have in one class period</li><li>Be creative if possible with your institution&rsquo;s course schedule — a four-hour class period is ideal for many of the activities provided here.</li><li>If possible, ask students or participants to review materials before the hands-on session (e.g., read over the historical recipe, look over representative art objects, read a related article, view a making video, come up with their own interpretation of the process, or look up key terms and materials)</li><li>Leave plenty of time for setup and cleanup — ideally, you should have your students help with both</li><li>Make time in class or in the lab/studio for student discussion about their experiences</li><li>Make time for summary discussion and formulating takeaways, which can take place at the following class meeting</li></ul><h2 id=adaptation-and-flexibility>Adaptation and Flexibility</h2><ul><li>If things don’t go as planned (as they frequently don&rsquo;t), it’s okay. Often, the best learning comes from failure, reflection, and trying again</li><li>Facilitate a discussion with your students about what they would want to do differently if they did the process again; what have they learned or wished they knew before?</li><li>This is experimental learning, so process is more important than outcome</li><li>Seek feedback on how to improve the activity, its flow, set up, etc. for next time</li></ul><h2 id=recording>Recording</h2><p>For a full discussion of the Making and Knowing Project&rsquo;s Field Notes process, please see <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/introduction-fieldnotes/>Introduction to Field Notes</a></p><ul><li>Recording the hands-on process is an integral part of learning and of facilitating reflection on undertaking hands-on work and one&rsquo;s own experience</li><li>Make a template for student lab notes or field notes as a reminder for what needs to be included</li><li>Make sure everyone takes as detailed notes as possible on their process, perhaps by recording on their phones or phone voice-to-text programs (to be transcribed later as lab or field notes)</li><li>Have the students take plenty of photos and videos as they work (and integrate them later into their lab or field notes or have them create an annotated slide deck/powerpoint in place of lab/field notes)</li><li>Remind them to work together on recording their experience (e.g., one person can take photos while the other does a step of the process, then they can switch)</li><li>In addition to recording by participants, it can be really useful to have an additional person who can take photos or videos who is not actively working on the process (but this should not take the place of participants&rsquo; own note- and photo-taking!)</li></ul><h2 id=why-devote-all-this-time-and-effort-to-hands-on-teaching>Why Devote All This Time and Effort to Hands-On Teaching?</h2><ul><li>We have found hands-on activities to be terrifically motivating for students (and instructors), with student creativity and enthusiasm regularly exceeding all expectations</li><li>Students learn to learn in a new way</li><li>You and your students will ask new questions</li><li>New skills will humble and empower your students</li><li>As an instructor, you will learn much about pedagogy, embodied knowledge, yourself, and your students</li></ul><h2 id=lesson-plans-in-the-making-and-knowing-companion>Lesson Plans in the Making and Knowing Companion</h2><p>The Making and Knowing Project hopes that the resources of this Companion will ease your path into the teaching of hands-on activities. We&rsquo;d love to hear about your experiences. Please send any feedback to <a href=mailto:info@makingandknowing.org>info@makingandknowing.org</a> or opening an issue in the Research and Teaching Companion <a href=https://github.com/cu-mkp/research-teaching-companion/issues>Github Issue Tracker</a>.</p><ul><li>Feel free to improvise with the <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/>Lesson Plans</a> to fit them to your needs and resources</li><li>Feel free to contextualize the Lesson Plans to suit your course and its learning outcomes</li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 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diff --git a/resources/activity-sheets/activitysheet_varnishes/index.html b/resources/activity-sheets/activitysheet_varnishes/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#making-varnishes>Making Varnishes</a><ul><li><a href=#learning-objectives>Learning Objectives</a></li><li><a href=#what-is-varnish>What is Varnish?</a></li><li><a href=#teaching-spirit-varnish-making>Teaching Spirit Varnish Making</a></li></ul></li></ul></nav></aside><content><h2 id=making-varnishes>Making Varnishes</h2><p>The Making and Knowing Project has reconstructed varnish recipes several times, both as products and as ingredients in more complex making processes described in Ms. Fr. 640. The manuscript includes several recipes for spirit varnishes, which were a new category of varnish that emerged in the sixteenth century. It also includes several recipes for oil-based varnishes, which have a longer history and are quite dangerous to reconstruct and often result in fires. Accordingly, M&amp;K is only sharing protocols for making spirit varnishes. Nevertheless, making spirit varnishes raises several safety concerns and may not be suitable for all pedagogical contexts.</p><h3 id=learning-objectives>Learning Objectives</h3><p>The activity of making spirit varnishes has several potential learning outcomes, which can include:</p><ul><li>learn what varnish is, what it is made of, and how it is made</li><li>exprience how various resins behave and appear in different alcohol and volatile oil solvents</li><li>understand how qualities such as viscosity were communicated through historical artisanal shorthands such as the &ldquo;knife test&rdquo;</li><li>explore the range of visual effects created by varnishes</li><li>understand material considerations that affect the appearance of artworks across history</li></ul><h3 id=what-is-varnish>What is Varnish?</h3><p>A varnish is a transparent, protective coating most often made from resins in solution that, once applied to a surface, dries into a hard film. When applied to a painting, a varnish can help seal water-soluble and fugitive pigments, bring uniformity to the outer surface of the artwork, and impart an overall gloss.</p><h4 id=oil-based-varnishes>Oil-based Varnishes</h4><p>Until the sixteenth century, the most common varnishes applied over paint were oil-based or “fat” varnishes, made from resins of various kinds (e.g., mastic, sandarac, juniper resin, turpentine oleoresins, and colophony) dissolved in a heated drying oil, such as linseed, hemp, or nut oil. Such varnishes could have a yellow or green tint, depending on the oil that was used, and this tint could alter the perception of the painted colors beneath. This color alteration is often addressed in artist treatises, including in Ms. Fr. 640 on <a href=https://edition640.makingandknowing.org/#/folios/3r/f/3r/tl>fol. 3r</a>, where a recommended varnish “is appropriate for panel paintings and other painted things without corrupting the colors or yellowing.”</p><h4 id=spirit-based-varnishes>Spirit-based Varnishes</h4><p>Over the course of the sixteenth century, spirit-based or “lean” varnishes were introduced into artisanal practice. These were composed of resins dissolved in alcohol or a volatile oil (such as spike lavender oil). They became common among painters because their underlying solvents imparted less color to the varnish. They were also easier and safer to make, requiring lower temperatures in their production. They also tended to dry quickly and have less viscosity or body, making them easier to handle.</p><h4 id=mixed-varnishes>Mixed Varnishes</h4><p>In this period, there also existed a third, intermediary category of “mixed” or “semi-fat” varnishes, produced from oleoresins dissolved in alcohol or volatile oil.</p><h3 id=teaching-spirit-varnish-making>Teaching Spirit Varnish Making</h3><h4 id=spirit-varnish-making-activity-sheets-field-notes-and-resources>Spirit Varnish Making: Activity Sheets, Field Notes, and Resources</h4><ul><li>Protocol for Spike Lavender Oil Spirit-based Varnish [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/activitysheet_varnishes-protocol-slsv.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/activitysheet_varnishes-protocol-slsv.pdf>PDF</a>]</li><li>Protocol for Turpentine Spirit-based Varnish [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/activitysheet_varnishes-protocol-ttv.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/activitysheet_varnishes-protocol-ttv.pdf>PDF</a>]</li><li><a href=https://fieldnotes.makingandknowing.org/pre-2018-Fall/sp18_rosenkranz-uchacz_naomi-tianna_varnishes-in-the-rain/sp18_rosenkranz-uchacz_naomi-tianna_varnishes-rain-2/sp18_rosenkranz-uchacz_naomi-tianna_varnishes-rain-2-varnish-making-application.html>M&amp;K field notes from the making of several varnishes for the reconstruction &ldquo;Varnishes in the Rain&rdquo;</a></li><li>Sourcing Materials for Varnish Making [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/material-sourcing-varnishes-resins.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/material-sourcing-varnishes-resins.pdf>PDF</a>]</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/glossary-turpentine-resins-balsams.pdf>Compiled Description of Common Varnish Materials</a></li></ul><h4 id=varnishes-in-ms-fr-640>Varnishes in Ms. Fr. 640</h4><p>There are dozens of entries in Ms. Fr. 640 that address the making and use of varnishes. In fact, &ldquo;varnish&rdquo; is one of the categories that M&amp;K has used to classify the various entries in the manuscript, and entries on varnishes account for roughly 5% of the manuscript&rsquo;s contents. These entries can be accessed through the &ldquo;varnish&rdquo; category filter in the <a href=https://edition640.makingandknowing.org/#/entries>List of Entries</a> and by a wildcard search for &ldquo;<a href="https://edition640.makingandknowing.org/#/search?q=varnish*">varnish*</a>&rdquo; to catch all instances of the term in <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a>.</p><p>There are also several essays in <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature in Renaissance France</em></a> that explore varnishes in detail, including:</p><ul><li>Naomi Rosenkranz and Tianna Uchacz, &ldquo;<a href=https://edition640.makingandknowing.org/#/essays/ann_517_ad_20>Varnishes in the Rain</a>.&rdquo;</li><li>Marjolijn Bol, &ldquo;<a href=https://edition640.makingandknowing.org/#/essays/ann_306_ie_19>Avoiding &lsquo;Fleas&rsquo; and Green Skies: Varnishes in Ms. Fr. 640</a>.&rdquo;</li><li>Jenny Boulboullé and Maartje Stols-Witlox, “<a href=https://edition640.makingandknowing.org/#/essays/ann_307_ie_19>Working (with) the Corps. The Body of Sands, Colors, and Varnishes in Ms. Fr. 640</a>.”</li><li>Celine Camps, “<a href=https://edition640.makingandknowing.org/#/essays/ann_071_fa_18>Black Varnish for Armor</a>.”</li><li>Caroline Marris and Stephanie Pope, “<a href=https://edition640.makingandknowing.org/#/essays/ann_019_sp_15>Varnish for Lutes</a>.”</li><li>Teresa Soley, “<a href=https://edition640.makingandknowing.org/#/essays/ann_040_sp_16>Imitation Marble</a>.”</li><li>Victoria and Albert Museum/Royal College of Art Postgraduate Programme in the History of Design, &ldquo;<a href=https://edition640.makingandknowing.org/#/essays/ann_513_ad_20>Thinking and Experiencing Techne</a>.&rdquo;</li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#presentations--handouts>Presentations & Handouts</a></li><li><a href=#introduction>Introduction</a></li><li><a href=#pigments-and-paints>Pigments and Paints</a></li><li><a href=#azurite>Azurite</a><ul><li><a href=#other-blue-pigments>Other Blue Pigments</a></li></ul></li><li><a href=#blue-pigments-in-bnf-ms-fr-640>Blue Pigments in BnF Ms. Fr. 640</a></li><li><a href=#folio-11r-painting-esmail-dazur-in-oil>Folio 11r: &ldquo;Painting <em>esmail d’azur</em> in oil&rdquo;</a></li><li><a href=#reconstruction-preparing-azurite>Reconstruction: Preparing Azurite</a><ul><li><a href=#materials>Materials</a></li><li><a href=#process>Process</a></li><li><a href=#questions-for-consideration>Questions for Consideration</a></li></ul></li><li><a href=#other-renaissance-recipes-on-the-preparation-of-azurite>Other Renaissance Recipes on the Preparation of Azurite</a><ul><li><a href=#cennini--preparation--application>Cennini — Preparation & Application</a></li><li><a href=#merrifield--preparation--application>Merrifield — Preparation & Application</a></li></ul></li><li><a href=#further-resources>Further Resources</a></li></ul></nav></aside><content><h1 id=skillbuilding-preparing-and-painting-with-azurite>Skillbuilding: Preparing and Painting with Azurite</h1><blockquote><p><em>The Making and Knowing Project, Columbia University</em><br><em>Last updated 2022-11-30 by NJR</em><br></p></blockquote><p>A downloadable version of this assignment: [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/azurite_assignment_downloadable_2022.pdf>PDF</a>]</p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/azurite-shells.jpg?raw=true" alt="azurite in shells"></p><h2 id=presentations--handouts>Presentations & Handouts</h2><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/fa22_skillbuilding-azurite-presentation-full.pdf>Presentation: Preparing and Painting Blue Pigment in the Renaissance</a></li><li>See also a <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/fa22_skillbuilding-azurite-presentation-short.pdf>short version of this presentation</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/azurite_assignment_handout_2022.pdf>Student Handout</a> (to have while doing the hands-on reconstruction)</li></ul><p><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/fa22_skillbuilding-azurite-presentation-full.pdf><img src=https://cu-mkp.github.io/research-teaching-companion/images/preparing-painting-blue.png alt="Preparing and Painting Blue Pigment in the Renaissance"></a></p><h2 id=introduction>Introduction</h2><p>This skillbuilding assignment will introduce you to one of the most common blue pigments in the Renaissance, azurite. You will learn about what azurite is and how it is used in works of art. Following sixteenth-century instructions, you will prepare azurite as a pigment from the mineral ore by purifying it, and then use the pigment to create paint.</p><h2 id=pigments-and-paints>Pigments and Paints</h2><p>It is important to remember that there is a difference between pigments and paints. A pigment is an insoluble colored particle; in other words, it is usually a dry powder of a certain color that will not dissolve when added to a desired medium or liquid. To create paint, one combines the pigment with a binding medium to create a paste that can be applied to a surface. A binding medium will help the pigment adhere to the surface on which it is applied. Common binding media include linseed and walnut oils (for oil painting), gum arabic (watercolor and ink), egg yolk (tempera), egg white (glair), and animal glues (distemper). For more information:</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/introduction-paints-pigments_njr_2021.pdf>Presentation: Introduction to Pigments & Paints</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/painting-assignment>Assignment: Making Paints from Pigments and Painting Them Out</a></li></ul><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/painting-pigment-binding-media.png?raw=true" alt="pigment and binding media equals paint"></p><h2 id=azurite>Azurite</h2><p>Azurite is a basic copper carbonate pigment [2CuCO3-Cu(OH)2], a common blue colorant found in paintings, drawings, and illuminated manuscripts of the Renaissance. It is found as a natural ore, often co-occuring with the green mineral malachite which is also a copper carbonate pigment. To prepare the pigment, the mineral is ground to a powder, removing any malachite or other impurities. Larger particles of azurite are a deeper blue and as the particles are more finely ground, it becomes paler in color. The different hues can be separated into different &ldquo;grades&rdquo;: larger particles (dark blue) are a higher grade of pigment than smaller particles (pale blue). These different grades can be obtained through a process known as levigation, where water is used to separate the smaller, duller particles from the larger ones which sink to the bottom. The smaller (and thus less heavy) particles float closer to the top of the water, which is poured off successively until only the heaviest, deepest blue particles remain.</p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/lippi-virgin-child-st-john.png?raw=true" alt=lippi-virgin-child-st-john><br></p><blockquote><p><em>The Virgin and Child with Saint John</em> (~1480), Filippino Lippi, The National Gallery. Azurite has been found in this painting. See Dunkerton, <em>The Materials of a Group of Late Fifteenth-century Florentine Panel Paintings</em>.</p></blockquote><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/tres-riches-heures-folio-2r-february.png?raw=true" alt=tres-riches-heures-folio-2r-february><br></p><blockquote><p><em>Très Riches Heures du duc de Berry</em> (1412-1416), Folio 2 verso: February.</p></blockquote><h3 id=other-blue-pigments>Other Blue Pigments</h3><p>Azurite is only one of the most common blue pigments in the Renaissance palette. Other pigments include the very costly lapis lazuli (also known as ultramarine), the cobalt blue glass smalt, and the organic indigo. A &ldquo;synthetic&rdquo; blue copper carbonate blue, known both as bice and verditer, has the same chemical makeup as azurite but is made by an artisan rather than sourced as a natural ore (for example, by combining copper nitrate and calcium carbonate). For more information:</p><ul><li><a href=https://travelingscriptorium.com/2012/03/20/an-online-version-of-the-ink-pigment-sampler-set/>The Traveling Scriptorium Pigment Sampler</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/fa22_skillbuilding-azurite-presentation-full.pdf>Presentation: Preparing and Painting Blue Pigment in the Renaissance</a></li></ul><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/blue-pigments.png?raw=true" alt=blue-pigments></p><h2 id=blue-pigments-in-bnf-ms-fr-640>Blue Pigments in BnF Ms. Fr. 640</h2><p>There are a few notes on various blue pigments in BnF Ms. Fr. 640 (the sixteenth-century artisanal/technical manual studied by the Making and Knowing Project). It is not always clear which blue pigment the author-practitioner is referring to in the processes he describes. Many of the instructions or observations can be interpreted in more than one way. We encourage you to explore the instances of &ldquo;blue&rdquo; in the manuscript by:</p><ul><li>Searching the digital critical edition of Fr. 640, <a href=https://edition640.makingandknowing.org/><em>Secrets of Craft and Nature</em></a>, for &ldquo;azur&rdquo; - try a wildcard search by entering &ldquo;*azur*&rdquo; to catch all variations of the word (enter asterisks on either side of the word as shown here).<ul><li><blockquote><p>Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano, eds., <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em> (New York: Making and Knowing Project, 2020), <a href=https://edition640.makingandknowing.org/>https://edition640.makingandknowing.org/</a>, <a href=https://doi.org/10.7916/78yt-2v41>https://doi.org/10.7916/78yt-2v41</a>.</p></blockquote></li></ul></li><li>Reading the essays:<ul><li><a href=https://edition640.makingandknowing.org/#/essays/ann_321_ie_19>Ms. Fr. 640 in the World of Pigments in Sixteenth-Century Europe</a></li><li><a href=https://edition640.makingandknowing.org/#/essays/ann_060_fa_17>What is <em>Azur</em> in Ms. Fr. 640?</a></li><li><a href=https://edition640.makingandknowing.org/#/essays/ann_038_sp_16>What is <em>Esmail</em> in Ms. Fr. 640?</a></li></ul></li></ul><h2 id=folio-11r-painting-esmail-dazur-in-oil>Folio 11r: &ldquo;Painting <em>esmail d’azur</em> in oil&rdquo;</h2><p>On <a href=https://edition640.makingandknowing.org/#/folios/11r/f/11r/tl>folio 11r</a> of Ms. Fr. 640, there is an entry that describes a way to prepare a blue pigment called <em>esmail d&rsquo;azur</em>. It is unclear exactly which blue pigment it refers to, and the processes described could be applied to the preparation of smalt, azurite, something else&mldr;?</p><blockquote><p>This is a secret that is hardly known to common painters. Some take the most delicate they can & grind it with ceruse, which binds it, and next prick with an awl in several places the area they want to paint with <em>azur d’esmail</em>, in order that the oil enters & leaks in, & does not cause the azure, which in itself is heavy, to run. Others lay the panel flat & put down the azure on it, which is also done in distemper. The main thing is to grind it well on marble, and before that, to have washed it thoroughly. Some grind it <del>with</del> thoroughly with an egg yolk & then wash it in five or six waters and lay it on not with a paintbrush, which would be too soft, but with a brush thoroughly softened & crimped, & layering it thickly as if one were putting it down with a trowel; settling down it evens out and flattens. I have experienced that grinding <em>azur d’esmail</em> with egg yolk & next washing it in several waters is good. However, it loses a little of its vividness in the grinding of it. I have also washed it in several waters &, when it had settled a little, I removed the water, still <del>q</del> blue, with a sponge and squeezed it into another vessel <del>thus</del> where it settled, & from the residue I had the ash, flower, and subtlest part of the azure without grinding it, which is the best, for in the grinding of it, it loses some of its tint. Those who make it in Germany compound it like enamel, in large pieces which they pestle, & pass through several sieves & wash.<br><br>To make azures beautiful, they wash or soak them in a rock water, as they call it; it is a water distilled from mines where azure or vert d’azur is found, which distills naturally through the veins of the mountain or is distilled through an alembic <del><em>par</em></del> from mineral stones of azure or copper.<br><br>Azure ashes are only good for landscapes because they die in oil. Only true azure holds on. Azur d’esmail cannot be worked if it is too coarse. Try it, therefore, on the fingernail or the oil palette. If it <del>[<em>illegible</em>]</del> happens to be sandy, do not grind it except with the egg yolk or, better yet, wash it in clear water & with a sponge remove the colored water after it starts to go to the bottom, and in this manner you will extract the very delicate flower, which will be easy to work with.</p></blockquote><p>If we consider the way that azurite is prepared by separating out the different grades of the pigment, we can focus on certain passages from fol. 11r to inform our reconstruction of the recipe with azurite:</p><blockquote><p>&mldr; The main thing is to grind it well on marble, and before that, to have washed it thoroughly&mldr;<br><br>&mldr; Wash it in clear water & with a sponge remove the colored water after it starts to go to the bottom, and in this manner you will extract the very delicate flower, which will be easy to work with&mldr;</p></blockquote><h2 id=reconstruction-preparing-azurite>Reconstruction: Preparing Azurite</h2><p>To prepare azurite from the mineral ore, one uses water to remove impurities and to separate the different sizes of particles and obtain different grades of pigment. Any small containers that would allow successive pouring off of water can be used, but one historical tool - that is incredibly effective! - is a mussel shell. During the Renaissance, shells were also used to mix and store small amounts of paint similar to wells in an artist&rsquo;s paint palette.</p><h3 id=materials>Materials</h3><ul><li>azurite ore, e.g., Kremer #102005 “azurite stone”</li><li>mortar and pestle (or another way to crush the stone, such as a hammer and plastic bags to contain the pieces)</li><li>glass plates & mullers</li><li>on the side (optional): ceramic plates and plastic palettes</li><li>for pouring/separating: mussel shells or small plastic containers</li><li>large containers of water</li><li>paper towels</li><li>scoopulas or other utensils that may be useful, such as spoons, palette knives, etc.</li><li>to paint the azurite out:<ul><li>concentrated gum arabic solution (1g gum arabic in 5ml water), e.g., Kremer #63330</li><li>paintbrushes</li><li>mixed media paper</li></ul></li></ul><h3 id=process>Process</h3><p>The process is open to your experimentation! To get started, however, here are some useful illustrations:</p><ul><li>The dedicated slides towards the middle of <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/fa22_skillbuilding-azurite-presentation-full.pdf>Presentation: Preparing and Painting Blue Pigment in the Renaissance</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/su17_rosenkranz_azurite-preparation-cambridge>Fieldnotes (with step-by-step pictures) by Naomi Rosenkranz, SU17 Azurite</a></li><li>“Experiments with Azurite on the History of Design MA Course” by students of the V&amp;A/RCA History of Design MA<ul><li><a href=https://www.vam.ac.uk/blog/news/experiments-with-azurite-on-the-history-of-design-ma-course>Part 1</a></li><li><a href=https://www.vam.ac.uk/blog/projects/thinking-and-experiencing-techne-making-azurite-part-2>Part 2</a></li></ul></li><li>For painting out, refer to <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/painting-assignment>Assignment: Making Paints from Pigments and Painting Them Out</a></li></ul><h3 id=questions-for-consideration>Questions for Consideration</h3><ul><li>Observation:<ul><li>What does the stone look and feel like?</li><li>Other than the blue parts of the stone, what other inclusions (different types of stone) can you see?</li><li>When the stone is ground, what does the powder look like?</li><li>How does it behave in water?</li><li>What do the particles look like?</li></ul></li><li>Embodied experience:<ul><li>What kind of movements do you use in each step of the process (grinding, adding water, pouring, painting out)?</li><li>How does it feel to grind the azurite stone?</li><li>How does it change when you add water?</li><li>Can you manipulate the separation of the particles? How? (time, amount, ratio of water, speed of pouring)</li><li>How many different “grades” can you get?</li><li>When painting the different grades out, is there a difference between the paler and darker colors?</li><li>Is there a difference in the way each paint wants to be handled or flows off the brush?</li></ul></li><li>Artisanal knowledge:<ul><li>What kind of knowledge would you need in order to prepare, apply, handle, appreciate these materials?</li><li>How might you acquire that knowledge today and historically?</li></ul></li><li>Asking new questions:<ul><li>What new questions does this experience cause you to ask about paintings or other works of art in general?</li></ul></li></ul><h2 id=other-renaissance-recipes-on-the-preparation-of-azurite>Other Renaissance Recipes on the Preparation of Azurite</h2><p>It is often extremely helpful to consult other recipe books from similar time periods that discuss the same process or materials. Here are some excerpts for your consideration.</p><h3 id=cennini--preparation--application>Cennini — Preparation & Application</h3><p>Cennino Cennini, <em>The Craftsman&rsquo;s Handbook: The Italian &ldquo;Il Libro Dell&rsquo;arte&rdquo;</em>, ed. Daniel V. Thompson (New York: Dover Publications, 2018).</p><blockquote><p><em>Azzurro della Magna</em>, translated as “azurite” rather than former “German blue”<br><br>“the azurite stone, which looks very lovely to the eye, and resembles an enamel.” (37)<br><br>”When you have to lay it in, you must work up some of this blue with water, very moderately and lightly, because it is very scornful of the stone. If you want it for working on draperies, or for making greens with it as I have told you above, it ought to be worked up more. This is good on the wall in secco, and on panel. It is compatible with a tempera of egg yolk, and of size, and of whatever you wish.” (35-36)<br><br>For painting the blue drapery of the Virgin: Lay down a coat of sinoper and black in a fresco. “Then, in secco, take some azurite, well washed either with lye or with clear water, and worked over a little bit on the grinding slab. Then, if the blue is good and deep in color, put into it a little size, tempered neither too strong nor too weak. Likewise, put an egg yolk into the blue; and if the blue is pale, the yolk should come from one of these country eggs, for they are quite red. Mix it up well. Apply three or four coats to the drapery with a soft bristle brush.” (54-55)<br><br></p></blockquote><h3 id=merrifield--preparation--application>Merrifield — Preparation & Application</h3><p>Jean Le Begue, “Experimenta de Coloribus (1431),” and The Bolognese Manuscript (15th century), in <em>Medieval and Renaissance Treatises on the Arts of Painting: Original Texts with English Translations</em>, ed. Mary P. Merrifield (New York: Dover, 2003).</p><blockquote><p>“How azure is prepared and purified. —But I shall not conceal how I purify it when it comes to my hands. I first pour it into a bason, and put a little water along with it, and rub it with my finger until it is thoroughly moistened, and then I pour in more water and stir it well, and let it rest. When it has settled, I pour off the water, turbid from the impurities, into another vase, keeping the precious colour which remains at the bottom of the vase, for its nature is such that the finer and purer the colour is the heavier it is, and therefore the sooner it reaches the bottom; and the impurities, or the whitish or yellowish parts, which are lighter, float or remain above it in the water. And, if necessary, I repeat this process several times, pouring water out and in until it is purified” (Manuscript of Jehan Le Begue, 134)<br><br>“Take the azure, and put it into a glazed pan; then add some very clean honey and incorporate them well together then grind the honey with the blue upon marble or porphyry until it becomes an almost impalpable powder. When it is ground fine put it back into the pan and wash it several times with warm water, and when it is well washed with warm water, wash it with cold water, and after each time let the azure sink to the bottom. Continue this until it is well washed, cleaned, and purified ; then take the azure and put it to soften in clear and clean ley in a glass vase, such as a tumbler, and let it stand for the space of seven days; change the ley every two or three days, and then wash it well with fresh and clear water, and let it dry in the shade in a place where no dust will get to it” (Bolognese Manuscript, 408)</p></blockquote><h2 id=further-resources>Further Resources</h2><ul><li><a href=https://www.makingandknowing.org/>The Making and Knowing Project</a></li><li><a href=https://edition640.makingandknowing.org><em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>,</a> Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano, eds. (New York: Making and Knowing Project, 2020)</li><li>Other recipe books:<ul><li>Cennino Cennini, <em>The Craftsman&rsquo;s Handbook: The Italian &ldquo;Il Libro Dell&rsquo;arte&rdquo;</em>, ed. Daniel V. Thompson (New York: Dover Publications, 2018)</li><li>Mary P. Merrifield, <em>Medieval and Renaissance Treatises on the Arts of Painting: Original Texts with English Translations</em> (New York: Dover, 2003)</li></ul></li><li><a href=https://travelingscriptorium.com/>Traveling Scriptorium: A Teaching Kit by the Yale University Library</a><ul><li><a href=https://travelingscriptorium.com/2012/03/20/an-online-version-of-the-ink-pigment-sampler-set/>Ink and Pigment Sampler</a></li></ul></li><li><a href=http://cameo.mfa.o/images/e/ea/Download_file_506.pdf>CAMEO Characteristics of Common Blue Pigments</a> - very helpful overview: Table with all blue pigments, their composition, usage, characteristics, etc.</li><li>CAMEO links:<ul><li><a href=http://cameo.mfa.org/wiki/Lapis_lazuli>http://cameo.mfa.org/wiki/Lapis_lazuli</a>; <a href=http://cameo.mfa.org/wiki/Ultramarine_blue,_natural>http://cameo.mfa.org/wiki/Ultramarine_blue,_natural</a></li><li><a href=http://cameo.mfa.org/wiki/Smalt>http://cameo.mfa.org/wiki/Smalt</a></li><li><a href=http://cameo.mfa.org/wiki/Azurite>http://cameo.mfa.org/wiki/Azurite</a></li><li><a href=http://cameo.mfa.org/wiki/Verditer>http://cameo.mfa.org/wiki/Verditer</a>; <a href=https://cameo.mfa.org/wiki/Bice>https://cameo.mfa.org/wiki/Bice</a></li></ul></li><li><a href=https://www.webexhibits.org/pigments/intro/blues.html>Pigments Through the Ages</a><ul><li><a href=https://www.webexhibits.org/pigments/indiv/recipe/ultramarine.html>https://www.webexhibits.org/pigments/indiv/recipe/ultramarine.html</a></li><li><a href=https://www.webexhibits.org/pigments/indiv/recipe/smalt.html>https://www.webexhibits.org/pigments/indiv/recipe/smalt.html</a></li></ul></li><li><a href=http://old.artiscreation.com/blue.html#azurite>The Color of Art: Pigment Blue, PB (Blues)</a> - Artist&rsquo;s Paint and Pigments Reference: Color Index Names, Color index Number and Pigment Chemical Composition; Table with info, characteristics, and manufacturers, including references</li><li>Dunkerton - The Materials of a Group of Late Fifteenth-century Florentine Panel Paintings, <a href=https://www.nationalgallery.org.uk/media/15629/dunkerton_roy1996.pdf>https://www.nationalgallery.org.uk/media/15629/dunkerton_roy1996.pdf</a></li><li>Dunkerton - Titian&rsquo;s painting technique to c. 1540, <a href=https://www.nationalgallery.org.uk/media/16259/vol-34-essay-1-2013.pdf>https://www.nationalgallery.org.uk/media/16259/vol-34-essay-1-2013.pdf</a></li><li>De Keyser - de Heem 1606-1684 - a technical examination of fruit and flower still lifes combining MA-XRF scanning, cross-section analysis and technical historical sources, <a href=https://heritagesciencejournal.springeropen.com/counter/pdf/10.1186/s40494-017-0151-4.pdf>https://heritagesciencejournal.springeropen.com/counter/pdf/10.1186/s40494-017-0151-4.pdf</a></li><li>Spring, Higgitt, Saunders - Investigation of Pigment-Medium Interaction Processes in Oil Paint containing Degraded Smalt, <a href=http://www.nationalgallery.org.uk/technical-bulletin/spring_higgitt_saunders2005>http://www.nationalgallery.org.uk/technical-bulletin/spring_higgitt_saunders2005</a></li><li>Spring, Keith - Aelbert Cuyp&rsquo;s Large Dort - Colour Change and Conservation, <a href=https://www.nationalgallery.org.uk/upload/pdf/spring_keith2009.pdf>https://www.nationalgallery.org.uk/upload/pdf/spring_keith2009.pdf</a> - Discussion of vivianite, azurite</li><li>Hagadorn - An Investigation into the Use of Blue Copper Pigments in European Early Printed Books, <a href=http://cool.conservation-us.org/coolaic/sg/bpg/annual/v23/bp23-07.pdf>http://cool.conservation-us.org/coolaic/sg/bpg/annual/v23/bp23-07.pdf</a></li><li>Kirby, Saunders - Fading and Colour Change of Prussian Blue: Methods of Manufacture and the Influence of Extenders, <a href=https://www.nationalgallery.org.uk/media/15510/kirby_saunders2004.pdf>https://www.nationalgallery.org.uk/media/15510/kirby_saunders2004.pdf</a></li><li>Marissa Bartz, Gabriela Rosas, Jerome Paquet, and Grace McLean - Non-invasive Technical Analysis of Illuminated Manuscript Leaves from the W.D. Jordan Rare Book and Special Collections, Queen’s University: A Collaborative Project, <a href="https://www.culturalheritage.org/docs/default-source/publications/annualmeeting/2022-posters/32-non-invasive-technical-analysis-of-illuminated-manuscript-leaves-from-the-w.d.-jordan-rare-book-and-special-collections-queen's-university-a-collaborative-project---bartz.pdf?sfvrsn=e1af1720_3">https://www.culturalheritage.org/docs/default-source/publications/annualmeeting/2022-posters/32-non-invasive-technical-analysis-of-illuminated-manuscript-leaves-from-the-w.d.-jordan-rare-book-and-special-collections-queen's-university-a-collaborative-project---bartz.pdf?sfvrsn=e1af1720_3</a></li><li>Video of azurite preparation: <a href="https://www.youtube.com/watch?v=Q9thSoVGfEk">https://www.youtube.com/watch?v=Q9thSoVGfEk</a></li><li>Video of lapis lazuli preparation: <a href="https://www.youtube.com/watch?v=JBzEAt_ynvc">https://www.youtube.com/watch?v=JBzEAt_ynvc</a></li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/mussel_feast_for-webpages.jpg alt=mussel-feast-for-shells></p><p><strong>Class mussel feast for sourcing the shells used for levigating azurite</strong></p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 7.057-10.486C21.08-.394 28.565-3.5 37.441-3.5zm.116 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22.742 9.315C66.393 11.987 69.5 19.548 69.5 28.5c0 8.954-3.049 16.457-9.145 22.514-6.437 6.324-14.076 9.486-22.912 9.486-8.649.0-16.153-3.143-22.514-9.429C8.644 44.786 5.5 37.264 5.5 28.501c0-8.723 3.144-16.285 9.429-22.685C21.138-.395 28.643-3.5 37.443-3.5zm.114 5.772c-7.276.0-13.428 2.572-18.457 7.715-5.22 5.296-7.829 11.467-7.829 18.513.0 7.125 2.59 13.257 7.77 18.4 5.181 5.182 11.352 7.771 18.514 7.771 7.123.0 13.334-2.609 18.629-7.828 5.029-4.876 7.543-10.99 7.543-18.343.0-7.313-2.553-13.485-7.656-18.513-5.067-5.145-11.239-7.715-18.514-7.715zM23.271 23.985c.609-3.924 2.189-6.962 4.742-9.114 2.552-2.152 5.656-3.228 9.314-3.228 5.027.0 9.029 1.62 12 4.856 2.971 3.238 4.457 7.391 4.457 12.457.0 4.915-1.543 9-4.627 12.256-3.088 3.256-7.086 4.886-12.002 4.886-3.619.0-6.743-1.085-9.371-3.257-2.629-2.172-4.209-5.257-4.743-9.257H31.1c.19 3.886 2.533 5.829 7.029 5.829 2.246.0 4.057-.972 5.428-2.914 1.373-1.942 2.059-4.534 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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#objectives>Objectives</a></li><li><a href=#source-text>Source text</a></li><li><a href=#part-1--making-bread-and-molding-at-home-in-advance>Part 1 – Making Bread and Molding (at home, in advance)</a><ul><li><a href=#materials>Materials</a></li><li><a href=#tools>Tools</a></li><li><a href=#objective>Objective</a></li><li><a href=#notes-on-baking-bread-then-and-now>Notes on baking bread, then and now:</a></li><li><a href=#sourdough>Sourdough</a></li><li><a href=#sources-on-making-sixteenth-century-bread>Sources on making sixteenth-century bread</a></li><li><a href=#a-few-tips>A few tips</a></li><li><a href=#instructions>Instructions</a></li><li><a href=#read-in-preparation-for-class>Read in preparation for class</a></li><li><a href=#other-helpful-resources-in-secrets-of-craft-and-nature>Other helpful resources in <em>Secrets of Craft and Nature</em></a></li><li><a href=#additional-sources-to-explore-on-the-uses-of-bread-in-the-early-modern-workshop>Additional sources to explore on the uses of bread in the early modern workshop</a></li></ul></li><li><a href=#part-2--wax-casting-in-class>Part 2 – Wax Casting (in class)</a><ul><li><a href=#safety-notes-for-melting-wax>Safety notes for melting wax</a></li><li><a href=#questions-to-keep-in-mind-during-the-activity-and-discuss-in-class>Questions to keep in mind during the activity and discuss in class</a></li></ul></li></ul></nav></aside><content><h1 id=class-activity-making-and-molding-bread>Class Activity: Making and Molding Bread</h1><h2 id=objectives>Objectives</h2><ul><li><p>explore historical breadmaking recipes and techniques</p></li><li><p>learn to bake bread</p></li><li><p>produce loaves of bread to use as molds</p></li></ul><p>This activity has two parts</p><ul><li><p>Part 1 (at home before class): learn to bake bread and produce loaves to use as molds for a small object</p></li><li><p>Part 2 (in class): pour wax (and/or sulfur) into your molds, unmold</p></li></ul><h2 id=source-text>Source text</h2><p>There are two entries on breadmolding on <a href=https://edition640.makingandknowing.org/#/folios/140v/f/140v/tl><u>fol. 140v</u>.</a>
 Another on <a href=https://edition640.makingandknowing.org/#/folios/156r/f/156r/tl><u>fol.156r</u></a> mentions breadmolding as an alternative process for “Molding promptly.”</p><table><col style=width:11%><col style=width:88%><thead><tr class=header><th><strong>Folio</strong></th><th><strong>Translation</strong></th></tr><tr class=odd><th>140v</th><th><p><strong>For casting in sulfur</strong></p><p>To cast neatly in sulfur, arrange the bread pith under thebrazier, as
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#introduction>Introduction</a></li><li><a href=#learning-objectives>Learning Objectives</a></li><li><a href=#resources>Resources</a><ul><li><a href=#suggested-reading-on-historical-breads-to-assign-for-class-andor-further-information>Suggested reading on Historical Breads (to assign for class and/or further information)</a></li><li><a href=#suggested-reading-on-embodied-knowledge>Suggested reading on Embodied Knowledge</a></li><li><a href=#helpful-resources-in-secrets-of-craft-and-nature>Helpful resources in <em>Secrets of Craft and Nature</em></a></li><li><a href=#sources-on-making-sixteenth-century-bread>Sources on Making Sixteenth-century Bread</a></li><li><a href=#primary-sources-on-the-uses-of-bread-in-the-early-modern-workshop>Primary sources on the uses of bread in the early modern workshop</a></li><li><a href=#explaining-the-processes-of-molding-and-casting>Explaining the Processes of Molding and Casting</a></li><li><a href=#on-historical-reconstruction-as-historical-method>On Historical Reconstruction as Historical Method</a></li><li><a href=#about-teaching-bread-making-and-molding>About Teaching Bread Making and Molding</a></li></ul></li><li><a href=#sample-class-plan>Sample class plan</a><ul><li><a href=#discussion-recipe-research-and-making-bread>Discussion: Recipe Research and Making Bread</a></li><li><a href=#activity-wax-casting>Activity: Wax Casting</a></li><li><a href=#discussion-breadmolding-and-bread-as-a-material-in-the-workshop>Discussion: Breadmolding, and bread as a material in the workshop</a></li></ul></li></ul></nav></aside><content><h1 id=bread-making-molding-and-casting-for-the-instructor>Bread Making, Molding, and Casting (for the Instructor)</h1><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/breadmolding-kneading.jpg alt="Kneading Bread"></figure><h2 id=introduction>Introduction</h2><p>The sixteenth-century artisanal/technical manual, BnF Ms. Fr. 640, contains
 hundreds of entries that describe making processes and techniques from
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#the-burn-salve-recipe>The Burn Salve Recipe</a></li><li><a href=#reconstructing-the-burn-salve>Reconstructing the Burn Salve</a></li><li><a href=#reconstruction-protocol>Reconstruction Protocol</a><ul><li><a href=#ingredients>Ingredients</a></li><li><a href=#toolsequipment>Tools/Equipment</a></li><li><a href=#procedure>Procedure</a></li></ul></li><li><a href=#teaching-resources>Teaching Resources</a></li></ul></nav></aside><content><h1 id=activity-reconstruction-of-a-16th-century-burn-salve-recipe>Activity: Reconstruction of a 16th-Century Burn Salve Recipe</h1><p>The study of historical recipes or &ldquo;how-to&rdquo; instructions can be a powerful tool to engage with the past and to learn about daily life in a different, more tangible way than traditional textual sources. Historical reconstruction &ndash; attempting to follow or replicate the recipe &ndash; can bring the past to life and provide new perspectives for experts and students alike.</p><p>The activity sheet and resources below are intended to invite you to undertake a hands-on historical reconstruction yourself, or to provide you with what you will need to bring this activity into your classroom, studio, or even kitchen. It is recommended that the exercise be undertaken by students in middle (or secondary) school and older, due to the heating of oil and beeswax.</p><h2 id=the-burn-salve-recipe>The Burn Salve Recipe</h2><p>This medical remedy to treat burns appears in BnF Ms. Fr. 640, a late sixteenth-century manuscript of artisanal recipes compiled by an anonymous author-practitioner working in Toulouse, France.</p><p><strong>Against burns, excellent (<a href=https://edition640.makingandknowing.org/#/folios/103r/tc/103r/tl>fol. 103r</a>)</strong></p><p><em>Heat linseed oil on a gentle fire without letting it boil & simmer, but once it is hot, put in a quarter as much of the newest wax you can. Once melted, let it cool, & once they begin to curdle, stir continuously with a new wooden spatula for as long as it takes you to say 9 paternoster, and as you say them, wash this composition with holy water, stirring all the while. Having said the first 9 paternoster, pour out the first water & put in new one, & wash & stir the composition for the time it takes you to say 8 paternoster, and the 3rd time for as long as 7, & thus you will consecutively add new water, doing the same as above, until the last & single paternoster of nine. Then you shall have a soft & white ointment, with which you shall anoint the burn for the space of 9 days. But do not apply it any longer than this, for it would cause your flesh to grow excessively. You shall bandage yourself twice a day, & each time you shall wash your face with water & wine mixed together, a little tepid, not rubbing, but as if pressing with a wet linen cloth, and you shall wipe it similarly with a fine linen cloth, & next put the ointment, over which you can put ivy leaves. This causes hair to regrow & leaves no scar. A gunpowder maker who had almost completely burnt himself & showed no sign of the burn, taught me this.</em></p><blockquote><p>See Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano, eds., <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em> (New York: Making and Knowing Project, 2020), <a href=https://edition640.makingandknowing.org/#/folios/103r/f/103r/tl>https://edition640.makingandknowing.org/#/folios/103r/f/103r/tl</a>.</p></blockquote><h2 id=reconstructing-the-burn-salve>Reconstructing the Burn Salve</h2><p>In a laboratory at Columbia University, the Making and Knowing Project reconstructed the burn salve by following the instructions provided on <a href=https://edition640.makingandknowing.org/#/folios/103r/tc/103r/tl>fol. 103r</a>. The result is a smooth and creamy ointment that would not seem out of place in your home&rsquo;s medicine cabinet!</p><div style=position:relative;padding-bottom:56.25%;height:0;overflow:hidden><iframe src=https://player.vimeo.com/video/465795692 style=position:absolute;top:0;left:0;width:100%;height:100%;border:0 title="vimeo video" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe></div><p>This recipe is fully explored in Xiaomeng Liu&rsquo;s essay, <a href=https://edition640.makingandknowing.org/#/essays/ann_080_sp_17>An Excellent Salve for Burns</a>, which notes the juxtaposition of the complex, transformative process with the relatively few ingredients needed. The essay also highlights the ways in which this recipe is unusual among the other medical recipes in Ms. Fr. 640 because it possesses explicit spiritual dimensions (pure ingredients, holy water, and the recitation of prayers) and it provides information about its source and trustworthiness.</p><blockquote><p>Liu, Xiaomeng. “An Excellent Salve for Burns.” In <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>, edited by Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano. New York: Making and Knowing Project, 2020. <a href=https://edition640.makingandknowing.org/#/essays/ann_080_sp_17>https://edition640.makingandknowing.org/#/essays/ann_080_sp_17</a>. DOI: <a href=https://www.doi.org/10.7916/58dr-ns42>https://www.doi.org/10.7916/58dr-ns42</a></p></blockquote><h2 id=reconstruction-protocol>Reconstruction Protocol</h2><p>Adapted from the original 16th-century recipe, the following protocol standardizes the process and lists all the necessary materials and tools in order to undertake the activity in a modern context.</p><h3 id=ingredients>Ingredients</h3><ul><li>100 ml linseed oil</li><li>beeswax, to equal ~25 ml when melted</li><li>450 ml (holy) water, divided, approx. 9 x 50 ml</li></ul><p>Note: the ingredients in this recipe do not need to be measured with great precision; amounts are approximate.</p><h3 id=toolsequipment>Tools/Equipment</h3><ul><li>500 ml tempered glass beaker or ≥500 ml pot with handle</li><li>hot plate or stovetop</li><li>thermometer</li><li>wooden chopsticks</li><li>≥250 ml container</li><li>spatula</li><li>glass pint jar with lid</li></ul><h3 id=procedure>Procedure</h3><ol><li>Add the linseed oil to the 500 ml beaker (or to a small pot) and place on the hotplate</li><li>Gently heat the oil to 85ºC and add the solid beeswax</li><li>When the wax is fully melted, turn off the hot plate and remove the pot from heat</li><li>Wait until the mixture begins to congeal slightly and turns slightly opaque (approx. 3–5 minutes)</li><li>Add 50 ml water, stirring mixture with a chopstick while reciting 9 paternosters. Pour out any remaining water into container</li><li>Add 50 ml water, stirring with a chopstick while reciting 8 paternosters. Pour out any remaining water</li><li>Repeat the process of “washing” with fresh water for the duration of 7, 6, 5, 4, 3, 2, then 1, paternosters</li><li>Use a spatula to transfer the salve to a lidded jar for storage</li></ol><p>NOTE: Reciting the paternoster (“the Lord’s prayer” of Christianity, in Latin) was a common way of keeping time, similar to singing the &ldquo;happy birthday&rdquo; or other song to help keep time for brushing our teeth or washing our hands.</p><p>The paternoster in Latin:</p><blockquote><p><em>Pater noster qui es in caelis
 sanctificetur nomen tuum
diff --git a/resources/activity-sheets/dyes-assignment/index.html b/resources/activity-sheets/dyes-assignment/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents></nav></aside><content><h1 id=dyeing-with-natural-colorants-resources-and-activity-sheets>Dyeing with Natural Colorants: Resources and Activity Sheets</h1><p>Resources for dyeing textiles with natural colorants (including cochineal, madder, weld, and redwoods) following historical dye recipes. Recipes and procedure adapted from Jo Kirby et al, <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and their Historical Sources</em> (Archetype, London, 2014) (2022-06-17)</p><ul><li><p><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2019-april_dyes_cochineal-history-chem-prep.pdf>Presentation: Cochineal Dye: History, Chemistry, and Preparation</a> - an overview of historical natural colorants and dyes, details about common red colorants, a deep-dive into the history of cochineal insects as a dye and pigment source, the preparation of mordant dyes, and explanation of the chemistry of these natural colorants</p></li><li><p><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2018_dyes_cochineal-step-by-step.pdf>Presentation: Dyeing: Step-by-Step Instructions</a> with information about sourcing materials</p></li><li><p><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2019_dyes_handout_general-mordant-and-dye-processes.pdf>Activity Sheet: Mordant Dyeing General Procedure</a> - procedure and instructions that can be adapted for any number of mordants and dye sources</p></li><li><p><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2018_dyes_handout_dyeing-with-cochineal.pdf>Activity Sheet: Mordant Dyeing with Cochineal</a> - instructions for mordanting textiles with alum and dyeing with cochineal (and/or cochineal with potash as an additive)</p></li><li><p><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2019_dyes_handout_reconstruction-exchange_dyeing-with-natural-colorants.pdf>Activity Sheet: Calculating ratios and amount of material needed</a> - created as part of a reconstruction exchange workshop with <a href=http://refashioningrenaissance.eu/>Refashioning the Renaissance</a> in March 2019 on dyes (presentation above). Application of parts of the template provided below</p></li><li><p><a href=https://cu-mkp.github.io/research-teaching-companion/documents/rosenkranz_2019_dyes_TEMPLATE-AND-RECIPES_dye-experiments.xlsx>Template and recipes: natural dyes</a> - a spreadsheet pre-populated with recipes for natural colorants, information about sourcing materials, as well as templates and examples for calculating ingredient amounts based on the amount of textile to be dyed</p></li><li><p><a href=https://photos.app.goo.gl/3oVnsawjQkq3JNCX7>Pictures: dye sample book (Naomi Rosenkranz)</a> - an incomplete sample of various dye experiments from the Making and Knowing Lab (and home kitchens!) with different combinations of textiles, natural colorants, mordants, and additives.</p></li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle 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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#dyes-and-natural-colorants>Dyes and natural colorants</a></li><li><a href=#mordant-dyes>Mordant dyes</a></li><li><a href=#cochineal>Cochineal</a></li><li><a href=#examples-of-cochineal-in-art>Examples of cochineal in art</a></li><li><a href=#historical-recipe-example-for-cochineal-dye>Historical recipe example for cochineal dye</a></li><li><a href=#modernized-recipes-adapted-for-the-laboratory-or-kitchen>Modernized recipes, adapted for the laboratory (or kitchen)</a><ul><li><a href=#recipe-measurements>Recipe Measurements</a></li><li><a href=#materials-and-equipment-mordant-bath>Materials and equipment (mordant bath)</a></li><li><a href=#procedure-mordant-bath>Procedure (mordant bath)</a></li><li><a href=#materials-and-equipment-dye-bath>Materials and equipment (dye bath)</a></li><li><a href=#procedure-dye-bath>procedure (dye bath)</a></li></ul></li><li><a href=#an-alternative-method-to-using-hotplates-and-beakers>An alternative method to using hotplates and beakers</a><ul><li><a href=#dedicated-pots>Dedicated pots</a></li><li><a href=#bain-marie>Bain-marie</a></li></ul></li><li><a href=#sourcing-materials>Sourcing materials</a></li><li><a href=#sources-of-historical-evidence>Sources of historical evidence</a></li><li><a href=#references-and-links>References and links</a></li></ul></nav></aside><content><h1 id=dyeing-textiles-with-cochineal-a-historical-reconstruction>Dyeing Textiles with Cochineal: A Historical Reconstruction</h1><blockquote><p><em>The Making and Knowing Project, Columbia University</em><br><em>Last updated 2023-03-30 by NJR</em></p></blockquote><p>A downloadable version of this assignment: [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/dyes-cochineal_assignment_downloadable_2023.pdf>PDF</a>]</p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/cochineal-dyed-textiles-mix.JPG?raw=true" alt=dyes-cochineal_header></p><h2 id=dyes-and-natural-colorants>Dyes and natural colorants</h2><p>If you are not already familiar with historical dyes and natural colorants, refer to <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2023_dyes_cochineal-history-chem-prep.pdf>Presentation: Cochineal Dye: History, Chemistry, and Preparation</a> for more complete information and further explanation of natural colorants and dyeing.</p><p><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2023_dyes_cochineal-history-chem-prep.pdf><img src=https://cu-mkp.github.io/research-teaching-companion/images/cochineal-dye-presentation-slide.JPG alt="Presentation: Cochineal Dye: History, Chemistry, and Preparation"></a></p><p>A dye is &ldquo;a compound that absorbs into and colors another material&rdquo; and &ldquo;is generally a complex organic material&rdquo; (<a href=http://cameo.mfa.org/wiki/Dye>Conservation and Art Materials Encyclopedia Online (CAMEO)</a>). Until the onset of synthetic dyes in the mid-nineteenth century, most dyes were sourced from natural colorants such as plants, insects, lichens, and shellfish.</p><p>In order to dye materials (typically textiles, but also wood, paper, and ivory, for example), the natural colorant must first be extracted from the dyestuffs (the plant, insect, etc.). This is most usually done by placing the dyestuffs in water and using either time (soaking) or heat (bringing to a simmer) to extract the soluble colorant into the water. The materials can then be placed into this dye bath to take on color.</p><p>Natural dyes can be categorized into one of three processes used to extracted the colorant and dye materials :</p><ol><li>Direct dyes</li><li>Mordant dyes</li><li>Vat dyes</li></ol><h2 id=mordant-dyes>Mordant dyes</h2><p>The largest class of natural dyes is mordant dyes. In this process, textiles must first be treated with a mordant (typically a metal salt or coordination metal) in order to bind the dye more permanently to the textile. The textile binds to the mordant which in turn binds to the colorant. The mordant thus acts as a bridge between the textile and colorant.</p><p>The most common mordant is aluminum, typically in the form of alum (aluminum potassium sulfate). Other mordants include iron sulfate, copper sulfate, and tannins.</p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/mordant-process.JPG?raw=true" alt=mordant-process></p><blockquote><p>Jo Kirby et al, <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and their Historical Sources</em> (Archetype, London, 2014).</p></blockquote><h2 id=cochineal>Cochineal</h2><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/2023-01-08_rosenkranz_cochineal-pad.jpg?raw=true" alt=cochineal-plant></p><blockquote><p>Cochineal, covered in a white excretion that acts as a protective layer, on a nopal pad (Naomi Rosenkranz, Altadena, CA, 2023)</p></blockquote><p>Cochineal is a scale insect found on prickly pear or Barbary fig cactus (Opuntia ficusindica (L.)).</p><p>Species name: Dactylopius coccus</p><p>Chemical class: carminic acid (anthraquinone)</p><p>Region: Cultivated in Mexico and Peruvian Andes, before Spain brought to Europe in 1523 where it spread rapidly.</p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/dried-cochineal-2015.jpg?raw=true" alt=dried-cochineal></p><blockquote><p>Dried cochineal, purchased from Kremer Pigments, NYC (Naomi Rosenkranz, New York, NY, 2015)</p></blockquote><blockquote><p>Phipps, Elena. <em>Cochineal Red: the Art History of a Color.</em> New York (N.Y.: The Metropolitan Museum of Art, 2010. Print.)</p></blockquote><h2 id=examples-of-cochineal-in-art>Examples of cochineal in art</h2><p>Cochineal insects have been used for centuries in the Americas as both a red dye and pigment. In the sixteenth century, when they were first brought to Europe, their use proliferated and even continues to this day all around the world.</p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/cochineal-dyes.png?raw=true" alt=cochineal-dyes></p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/cochineal-paintings.png?raw=true" alt=cochineal-paintings></p><h2 id=historical-recipe-example-for-cochineal-dye>Historical recipe example for cochineal dye</h2><p><em>De&rsquo; secreti del reverendo signore Alessio Piemontese</em> (1558) as translated from the Dutch in Jo Kirby et al, <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and their Historical Sources</em> (Archetype, London, 2014), 37–38.</p><blockquote><p><em>To dye silk carmine.</em> First, you will rasp or scratch hard soap very finely, and let them [the soap shavings] dissolve in plain water; after that put your silk in a small bag made of linen or fine canvas, and put it in a kettle with the aforesaid soap and water. Let this boil for half an hour, moving it around regularly so it does not burn, then take it from the fire, wash it in salt water, and after that in sour water. Take also to every pound of silk a pound or more of rock alum dissolved in cold water, and be sure there is enough water; wherein you will put your silk without any bag, and let it lay therein without fire for eight hours. Then take it out, wash it in fresh water, then in salt water, and then again in fresh water, and do not let it dry but put it all wet into a kettle with the carmine well pestled and sieved, that is, three ounces for each pound of silk… And when it starts boiling then put in the silk prepared as above, and let it boil for a quarter of an hour. At last you will take it from the fire, and let it dry in the shade, and you will have a very excellent dyeing.</p></blockquote><h2 id=modernized-recipes-adapted-for-the-laboratory-or-kitchen>Modernized recipes, adapted for the laboratory (or kitchen)</h2><p>Cochineal is a mordant dye. The following recipe has been adapted from Chapter 5, &ldquo;Recipes,&rdquo; of Jo Kirby et al, <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and their Historical Sources</em> (Archetype, London, 2014). While it is not typically found in recipes for cochineal because it results in a paler color, the additive potash (potassium carbonate) is sometimes added to dye bath in order to affect the color. This is included as an option in the instructions below.</p><p>It is necessary to prepare both a mordant bath and a dye bath.</p><p>Refer also to:</p><ul><li>Handout: <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_handout_dyeing-textiles_general-process.pdf>Dyeing Instructions: General Mordant and Dye Process</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2018_dyes_cochineal-step-by-step.pdf>Presentation: Dyeing: Step-by-Step Instructions</a></li></ul><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/dye-process.JPG?raw=true" alt=dye-process-overview></p><h3 id=recipe-measurements>Recipe Measurements</h3><p>Recipes for dyeing textiles often list ratios rather than outright amounts. Why might this be?</p><p>Because of the ratios, the weight of textile will determine how much of the other ingredients are needed. The ratios below are provided for 1g of textile. To know how much of the mordant, water, cochineal, and optional additive are needed, first weigh the textiles you plan to dye then multiply that amount by the ratios below. For example, if your textile weigh 10g, you will need 1.25g cochineal and 625ml water.</p><p>You can also use:</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2019_dyes_handout_reconstruction-exchange_dyeing-with-natural-colorants.pdf>Activity Sheet: Calculating ratios and amount of material needed</a></li></ul><p><strong>Mordant: Alum</strong></p><table><thead><tr><th>Material</th><th>Amount /1g (g)</th></tr></thead><tbody><tr><td>textile</td><td>1.00</td></tr><tr><td>alum</td><td>0.20</td></tr><tr><td>water</td><td>50.00</td></tr></tbody></table><p><strong>Cochineal</strong></p><table><thead><tr><th>Material</th><th>Amount /1g (g)</th></tr></thead><tbody><tr><td>textile</td><td>1.00</td></tr><tr><td>cochineal</td><td>0.125</td></tr><tr><td>potash (optional)</td><td>0.0625</td></tr><tr><td>water</td><td>62.50</td></tr></tbody></table><h3 id=materials-and-equipment-mordant-bath>Materials and equipment (mordant bath)</h3><ul><li>Mordant (such as alum, iron sulfate, etc.)</li><li>Water</li><li>Textiles</li><li>Scale</li><li>Hot plate</li><li>Glass beaker</li><li>Thermometer</li><li>Stirring stick</li><li>Plate</li><li>Strainer</li></ul><h3 id=procedure-mordant-bath>Procedure (mordant bath)</h3><ul><li>Measure out water into glass beaker</li><li>Add mordant and stir</li><li>Place beaker onto hot plate and turn on (typically, at medium-low)</li><li>Using the thermometer, note the temperature. Stir to dissolve mordant in the water</li><li>Pre-wet textiles with water and wring them out carefully to remove as much water as possible</li><li>When the mordant solution has reached 70 °C, add the textiles</li><li>Heat the textiles for 30 minutes at 80-90 °C, stirring occasionally to ensure homogeneous absorption by the textiles</li><li>NOTE: monitor the temperature of the bath, adjusting the hot plate settings as necessary</li><li>After 30 minutes, remove the textiles from the bath by pouring them into the strainer, discarding the liquid</li><li>Being careful not to damage or felt the textiles, wash them with clean water to remove any mordant that has not bound to the textiles</li><li>Wring out excess water</li></ul><h3 id=materials-and-equipment-dye-bath>Materials and equipment (dye bath)</h3><ul><li>Dyestuffs</li><li>Optional: potash</li><li>Mortar and pestle</li><li>Drawstring bag OR filter</li><li>Water</li><li>Textiles</li><li>Scale</li><li>Hot plate</li><li>Glass beaker</li><li>Thermometer</li><li>Stirring stick</li><li>Plate</li><li>Strainer</li></ul><h3 id=procedure-dye-bath>procedure (dye bath)</h3><ul><li>Using mortar and pestle, crush dyestuffs to a fine powder or into small pieces</li><li>Measure out water into glass beaker</li><li>To add dyestuffs to water:<ul><li>If using a filter, add dyestuffs directly to the water (you will strain later)</li><li>If using drawstring bag, add dyestuffs to the bag, close tightly, add bag to water</li></ul></li><li>If using the optional additive potash, measure out and add to solution</li><li>Place beaker onto hot plate, at medium-low</li><li>Heat the bath (without the textiles) at 80-90 °C for 30 minutes, stirring occasionally</li><li>NOTE: monitor the temperature of the bath, adjusting the hot plate settings as necessary</li><li>After 30 minutes, remove dyestuffs:<ul><li>If using a filter, carefully strain the solution through filter into a clean beaker. Keep the liquid, not dyestuffs</li><li>If using a drawstring bag, remove it (no need to strain). You can also leave it in</li></ul></li><li>Add textiles to the dye bath (it is usually best to pre-wet textiles with water before adding)</li><li>Heat textiles at 80-90 °C for 30 min, stirring occasionally to ensure homogeneous dyeing</li><li>After 30 minutes, remove the textiles from the bath using the strainer</li><li>Being careful not to damage or felt the textile, wash textiles with clean water to remove any dye that has not bound to them</li><li>When the water runs clear over the textiles and no color comes off the textiles, wring out excess water</li><li>Lay out the textiles to dry</li></ul><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/dye-samples.JPG?raw=true" alt=dye-samples></p><h2 id=an-alternative-method-to-using-hotplates-and-beakers>An alternative method to using hotplates and beakers</h2><p>If you do not have access to hotplates and heat-safe glass beakers, there are other options.</p><h3 id=dedicated-pots>Dedicated pots</h3><p>One alternative method is to use dedicated stainless steel or ceramic pots. While most natural colorants are not actively harmful, it is still best practice to avoid consuming them. Some mordants can react with and degrade the surface of cookware, so it is especially important to use pots you will not also use to cook with. To avoid very serious reactions, use stainless steel or ceramic cookware.</p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/dye-pots.JPG?raw=true" alt=dye-pots></p><h3 id=bain-marie>Bain-marie</h3><p>Another method is to use a water bath or bain-marie (see this <a href=https://www.thekitchn.com/technique-how-to-make-and-use-70190>cooking blog</a> for more information about bain-maries).</p><ul><li>On your stove at home, prepare your solutions in mason jars (or other glass jars that can withstand prolonged heating such as pickling or jam jars).</li><li>Place the jars in a large cooking pot (the pot&rsquo;s material doesn&rsquo;t matter – can use steel, ceramic, etc.)<ul><li>NOTE: be careful about using these pots to prepare foods after you have dyed with them if you are working with materials that are not food safe.</li><li>NOTE: the natural colorants can stain light-colored surfaces, so be careful if using ceramic or glass pots.</li></ul></li><li>Fill the pot with enough water to come up past the solutions in your mason jars, being careful not to contaminate the solutions inside your jars</li><li>Heat the pot on your stove and follow the procedure for preparing lake pigments</li></ul><p><strong>Advantages and notes</strong></p><ul><li>This is one way to prepare pigments at home without beakers or other shock-resistant containers</li><li>Beakers, Pyrex, and other borosilicate glass is specially formulated to withstand direct high heat (like when placed directly on a hot plate) as well as shocks or sudden changes in temperature (like placing a hot glass vessel with your bath onto a cold surface like a counter)</li><li>Regular glass, including mason jars, are not formulated in this way, and so it can be very dangerous (and messy) if used in the same way as beakers – direct high heat or sudden change can cause the glass to shatter</li><li>This method also allows for easier preparation without a thermometer</li><li>The temperature of your baths is determined by the temperature of the water in the pot</li><li>You will know the baths have approximately reached the desired temperature range of 80-100 °C when the water in the pot is beginning to simmer</li><li>Because water boils and begins to evaporate at 100 °C, your solutions will never exceed 100 °C, the temperature at which the colorants can begin to degrade. This is an easy way to prepare solutions without a thermometer and ensure you are not reaching high temperature levels</li><li>If the water in the pot begins to boil or simmer violently, your jars will start to shake and move around the pot. If this happens, it is a sign to turn your heat down</li></ul><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/dyes-bain-marie.JPG?raw=true" alt=dyes-bain-marie></p><h2 id=sourcing-materials>Sourcing materials</h2><p>Mordants and Additives</p><ul><li>Alum (aluminum potassium sulfate)<ul><li>Kremer Pigments, <a href=http://shop.kremerpigments.com/en/>http://shop.kremerpigments.com/en/</a></li><li>TALAS Bookbinding, Archival & Conservation Supplies, <a href=http://www.talasonline.com/>http://www.talasonline.com/</a></li><li>Loudwolf, <a href=https://www.loudwolf.com/>https://www.loudwolf.com/</a> (available through amazon.com)</li></ul></li><li>Potash (potassium sulfate)<ul><li>Kremer Pigments, <a href=http://shop.kremerpigments.com/en/>http://shop.kremerpigments.com/en/</a></li><li>Loudwolf, <a href=https://www.loudwolf.com/>https://www.loudwolf.com/</a> (available through amazon.com)</li></ul></li><li>Iron sulfate<ul><li>Kremer Pigments, <a href=http://shop.kremerpigments.com/en/>http://shop.kremerpigments.com/en/</a></li><li>Alpha Chemicals, <a href=https://alphachemicals.com/>https://alphachemicals.com/</a> (available through amazon.com)</li></ul></li><li>Copper sulfate<ul><li>Alpha Chemicals, <a href=https://alphachemicals.com/>https://alphachemicals.com/</a> (available through amazon.com)</li></ul></li></ul><p>Dyestuffs</p><ul><li>Kremer Pigments, <a href=http://shop.kremerpigments.com/en/>http://shop.kremerpigments.com/en/</a>. Order online or visit the New York storefront</li><li>Natural Pigments, <a href=https://www.naturalpigments.com/>https://www.naturalpigments.com/</a>. Order online</li><li>Maiwa <a href=https://maiwa.com/>https://maiwa.com/</a>. Order online or visit retail locations in Vancouver, Canada</li></ul><h2 id=sources-of-historical-evidence>Sources of historical evidence</h2><ul><li>Analysis of existing objects, such as surviving textiles and paintings in museum collections
 - However, it must be kept in mind that these represent only a small part of history. They are items that have been selectively collected by museums or upper class. Many were made for or bought by the elite, were luxury or just generally expensive items</li><li>Recipe books and collections, instruction manuals</li><li>Work orders, inventories, accounts, orders for materials, import records, and guild regulations</li></ul><h2 id=references-and-links>References and links</h2><ul><li>Kirby, Jo, Maartin van Bommel, André Verhecken, and Marika Spring. <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and Their Historical Sources</em>. London: Archetype Publications, 2014.</li><li>Phipps, Elena. <em>Cochineal Red: the Art History of a Color</em>. New York (N.Y.: The Metropolitan Museum of Art, 2010. Print.) Full pdf available for free download here: <a href=https://www.metmuseum.org/art/metpublications/cochineal_red_the_art_history_of_a_color>https://www.metmuseum.org/art/metpublications/cochineal_red_the_art_history_of_a_color</a>.</li><li>Achim, Miruna. “Cochineal.” In <em>New World Objects of Knowledge: A Cabinet of Curiosities</em>, edited by Mark Thurner, Juan Pimentel, and University of London, 177–82. London: Institute of Latin American Studies, School of Advanced Study, University of London, 2021. <a href=https://doi.org/10.14296/2104.9781908857835>https://doi.org/10.14296/2104.9781908857835</a>.</li><li>Merrifield, Mary P. <em>Original Treatises, Dating from the XIIth to XVIIIth Centuries, on the Arts of Painting in Oil, Miniature, Mosaic, and on Glass of Gilding, Dyeing, and the Preparation of Colours and Artificial Gems; Preceded by a General Introd., with Translations, Prefaces, and Notes. J. Murray</em>, 1849.</li><li>CAMEO: Conservation & Art Materials Encyclopedia Online: <a href=http://cameo.mfa.org/wiki/Main_Page>http://cameo.mfa.org/wiki/Main_Page</a>.<ul><li>CAMEO is a searchable information resource developed by the Museum of Fine Arts, Boston. The MATERIALS database contains chemical, physical, visual, and analytical information on historic and contemporary materials used in the production and conservation of artistic, architectural, archaeological, and anthropological materials.</li></ul></li><li>Greenfield, Amy Butler. <em>A Perfect Red Empire, Espionage, and the Quest for the Color of Desire</em>. Harper Perennial, 2006.</li><li>Padilla, Carmella. <em>Red like No Other - How Cochineal Colored the World</em>. Rizzoli International Publicat, 2015.</li><li>Cardon, Dominique. <em>Natural Dyes: Sources, Tradition, Technology and Science</em>. Archetype, 2007.</li><li>Gettens, Rutherford J., and George L. Stout. <em>Painting Materials: a Short Encyclopedia</em>. Dover Publications, 1966.</li><li>Vejar, Kristine. <em>The Modern Natural Dyer a Comprehensive Guide to Dyeing Silk, Wool, Linen, and Cotton at Home</em>. Abrams, 2015.</li><li>Short History of Cochineal Red: <a href=https://artechne.wp.hum.uu.nl/short-history-of-the-cochineal-red/>https://artechne.wp.hum.uu.nl/short-history-of-the-cochineal-red/</a>.</li><li>Putting the Red in Redcoats: <a href=http://www.history.org/foundation/journal/Summer12_newformat/dye.cfm>http://www.history.org/foundation/journal/Summer12_newformat/dye.cfm</a>.</li><li>A short introduction (about cochineal): <a href=https://medium.com/@zip_lehnus/paint-it-red-cochineal-the-wonder-bug-51d280c41d56>https://medium.com/@zip_lehnus/paint-it-red-cochineal-the-wonder-bug-51d280c41d56</a></li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 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-<label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=section-title>Lesson Plans for Hands-on</h1><div class=toc-bg></div><div class=toc-content-container><aside class=toc><nav id=TableOfContents><ul><li><a href=#lesson-plans-assignments-and-hands-on-activity-sheets>Lesson Plans, Assignments, and Hands-On Activity Sheets</a><ul><li><a href=#tips-for-hands-on-teaching>Tips for Hands-On Teaching</a></li><li><a href=#introduction-to-secrets-of-craft-and-nature>Introduction to <em>Secrets of Craft and Nature</em></a></li><li><a href=#historical-culinary-recipe-reconstruction>Historical Culinary Recipe Reconstruction</a></li><li><a href=#bread-making-molding-and-casting>Bread Making, Molding, and Casting</a></li><li><a href=#making-stucco-for-molding>Making Stucco for Molding</a></li><li><a href=#dyeing-with-natural-colorants>Dyeing with Natural Colorants</a></li><li><a href=#making-paints-from-pigments-and-painting-them-out>Making Paints from Pigments and Painting Them Out</a></li><li><a href=#making-inks>Making Inks</a></li><li><a href=#varnishes-and-their-many-uses>Varnishes and Their Many Uses</a></li><li><a href=#making-counterfeit-jasper>Making &ldquo;Counterfeit&rdquo; Jasper</a></li><li><a href=#materializing-spiritual-practice-reconstructing-burn-salve>Materializing Spiritual Practice: Reconstructing Burn Salve</a></li></ul></li><li><a href=#hands-on-lesson-plans-from-research-essays-in-secrets-of-craft-and-nature>Hands-on Lesson Plans from Research Essays in <em>Secrets of Craft and Nature</em></a><ul><li><a href=#molding-with-cuttlefish-bone>Molding with Cuttlefish Bone</a></li><li><a href=#molding-fruits-in-sugar>Molding Fruits in Sugar</a></li><li><a href=#imitation-marble>Imitation Marble</a></li><li><a href=#keeping-dry-flowers-in-the-same-state-all-year>Keeping Dry Flowers in the Same State all Year</a></li><li><a href=#sleight-of-hand-tricks>Sleight of Hand Tricks</a></li><li><a href=#making-and-using-fish-glue>Making and Using Fish Glue</a></li></ul></li></ul></nav></aside><content><h1 id=lesson-plans-for-hands-on>Lesson Plans for Hands-On</h1><p>Making and Knowing Lesson Plans and associated teaching resources provide step-by-step guidance in planning and executing hands-on activities in the classroom, studio, laboratory, maker space, or kitchen. These Lesson Plans could be integrated into classes for skill building, as one-off sessions for group community building, or to stimulate students&rsquo; historical imagination by exposure to past materials and processes. The hands-on activities offered here can also be used as stand-alone activities for public outreach.</p><h2 id=lesson-plans-assignments-and-hands-on-activity-sheets>Lesson Plans, Assignments, and Hands-On Activity Sheets</h2><h3 id=tips-for-hands-on-teaching>Tips for Hands-On Teaching</h3><p>Tips for Hands-on Teaching and Learning, compiled from Making and Knowing Project experience.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_tips-for-instructors/>Tip Sheet for Hands-On Teaching</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/introduction-fieldnotes/>Introduction to Field Notes</a> - a full discussion of how the Making and Knowing Project asks students to record and reflect upon their hands-on work</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/SP24-Final-Projects_RTC-Version.pdf>Ideas, Resources, and Assignment handout for Hands-On Student Projects</a> - all Making and Knowing classes require projects of the students&rsquo; own devising, assigned early in the term with this handout. Also in <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/SP24-Final-Projects_RTC-Version.docx>docx</a> for editing and adapting to your own needs</li></ul><h3 id=introduction-to-secrets-of-craft-and-nature>Introduction to <em>Secrets of Craft and Nature</em></h3><p>A great way to get started in a class or workshop by familiarizing students with the digital critical edition of Ms. Fr. 640 and the manuscript itself by completing a scavenger hunt of its contents.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/scavenger-hunt_secrets-of-craft/>Scavenger Hunt: Get to Know <em>Secrets of Craft and Nature</em></a> - version 1</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/scavenger-hunt-2/><em>Secrets of Craft and Nature</em> Reconnaissance (Directed Scavenger Hunt)</a> - version 2</li></ul><h3 id=historical-culinary-recipe-reconstruction>Historical Culinary Recipe Reconstruction</h3><p>Reconstructing an obscure culinary recipe is especially effective as a first hands-on activity to familiarize students with the textual and material challenges of following historical recipes. It is also a wonderful community-building exercise. The students work in groups at home for a week intepreting the recipe, searching for and obtaining ingredients, trying their recipe as many times as possible, and making a powerpoint presentation about their process and questions. Culinary results can be brought into class when completed for group digestion and discussion.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_hcr-instructor/>Historical Culinary Recipe Reconstruction</a></li></ul><h3 id=bread-making-molding-and-casting>Bread Making, Molding, and Casting</h3><p>An intriguing recipe in Ms. Fr. 640 for making molds from bread is the basis for this lesson plan, which begins from the Ms. Fr. 640 recipe and expands to a multi-week series of activities, including learning to make bread, experimenting with different techniques of molding, and, finally, casting wax (or the oft-used historical casting material, sulfur) into bread. The lesson is an effective way to introduce students to embodied experience and knowledge.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/breadmolding_resources-for-the-instructor/>Bread Making, Molding, and Casting</a></li></ul><h3 id=making-stucco-for-molding>Making Stucco for Molding</h3><p>This stucco activity uses rye flour or chalk, mixed with a binder (tragacanth gum in Ms. Fr. 640). The activity can be messy, but is a great way to learn about the production of low-cost, often temporary ornamentation of walls and other surfaces. Plan for one session of mixing and molding, after which the stucco ornaments are dried. Allow sufficient time for clean up!</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_stucco/>Making Stucco for Molding</a></li><li>Video: <a href=https://vimeo.com/840477199>From Watching to Working: Incorporating Making and Knowing Activities into History of Science Courses</a> - Monique O&rsquo;Connell reflects on her experiences of making stucco with her students in a history of science course at Wake Forest University.</li></ul><h3 id=dyeing-with-natural-colorants>Dyeing with Natural Colorants</h3><p>Exploring the world of color is an incredibly engaging way to introduce hands-on work and material literacy. Dyeing with natural colorants takes this a step further by looking at how textiles were imbued with color from plants (roots, bark, flowers, leaves, and berries) and animals (insects and shellfish) before the advent of synthetic dyes in the nineteenth century. Textiles (and, by extension, dyes) have and continue to be one of the largest industries in the world. Their complex history, global reach and ubiquity, intricate chemistry, and transformative craft process provide multiple points of engagement. Dyeing can also be paired with lake pigment making described below, as the colorants are extracted from the same organic materials using similar chemical processes. The Making and Knowing Project and collaborators have adapted these activities in a number of settings, from chemistry labs to home kitchens. With the preparation of dyeing stations, dyeing can be carried out in two hours or less.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_dyeing/>Dyeing with Natural Colorants</a></li></ul><h3 id=making-paints-from-pigments-and-painting-them-out>Making Paints from Pigments and Painting Them Out</h3><p>Making paints from pigments is an eye-opening way to get to know substances that are today mostly acquired readymade. Making lake pigments is the transformation of organic materials from dyes (which are water soluble) into pigments (which are particles that can be painted out). Lake pigments can be paired with dyeing described above, as the natural colorants from which color is obtained are the same. Ideally, this activity takes three sessions, though it can be adapted into one or two sessions only. With advance preparation, mineral pigments, such as azurite, take just under two hours to prepare (not counting the mussel feast you can hold the night before to collect the mussel shells!). Verdigris must &ldquo;grow&rdquo; slowly over a month or more before sufficient amounts will form to make the pigment to be painted out. Painting out the pigments after binding them with different materials (egg yolk, egg white, oils, or gums) can be quite easy and quick, depending on how many binders the students are provided to experiment with.</p><h4 id=transforming-natural-plant-and-insect-colorants-into-pigments-lake-pigments>Transforming Natural Plant and Insect Colorants into Pigments (Lake Pigments)</h4><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_lake-pigments/>Making Lake Pigments from Natural Colorants</a></li></ul><h4 id=mineral-pigments>Mineral Pigments</h4><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/verdigris-assignment/>&ldquo;Growing&rdquo; Verdigris Pigment</a><ul><li>See also Marie-France Lemay&rsquo;s <a href=https://travelingscriptorium.com/2013/01/17/verdigris/>“Verdigris” in Traveling Scriptorium: A Teaching Kit by the Yale University Library</a></li></ul></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/azurite-assignment/>Grinding, Levigating, and Painting with Azurite</a></li></ul><h4 id=making-paint-preparing-supports-and-painting-test-panels>Making Paint, Preparing Supports, and Painting Test Panels</h4><p>Pigments (colored particles) must be combined with binding materials such as egg yolk, egg white, oils, or gums in order to create paint. While you can make your own pigments (see above), painting out even ready-made pigments is a crowd-pleasing (and educational!) activity. Making supports for painting (canvas, panel, prepared paper) helps gain an understanding of the crucial importance of the surface for the appearance of the final work of art. This activity can be relatively quick (sewing and stretching canvases) or quite lengthy (preparing panels, which takes nine sessions of applying gesso, allowing it to dry, then scraping and sanding it between each application).</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_paintingpigments/>Making Paints from Pigments and Binding Media and Painting Them Out</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_supportsurfaces/>Preparing Panels, Canvases, and Other Supports for Painting, Gilding, and More</a></li></ul><h3 id=making-inks>Making Inks</h3><p>Making ink helps students appreciate the materiality of texts. Making and then writing with the ink produced can be done in a single session of 1-2 hours. Ink-making activities included here produce iron gall ink, carbon-based inks, and colored ink made from organic pigment.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_inks/>Making Inks</a></li></ul><h3 id=varnishes-and-their-many-uses>Varnishes and Their Many Uses</h3><p>The ingredients and making process of varnishes changed significantly in the sixteenth century, resulting in a more streamlined making process when compared to the heavy amber and resin varnishes of an earlier period. These new varnishes also changed the appearance of the artworks onto which they were applied. Making varnish is a relatively complex process requiring preparation and is perhaps suited to more advanced classes.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_varnishes/>Making Varnishes</a></li></ul><h3 id=making-counterfeit-jasper>Making &ldquo;Counterfeit&rdquo; Jasper</h3><p>Imitating the texture and visual appearance of jasper stone raises questions about knowledge systems of the past and how artisans and scientists explored and explained the precious materials of the natural world. Making jasper involves a number of different processes and can be adapted to different class lengths, depending on how much preparation of materials is done in advance.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_jasper/>Making Jasper</a></li></ul><h3 id=materializing-spiritual-practice-reconstructing-burn-salve>Materializing Spiritual Practice: Reconstructing Burn Salve</h3><p>Reconstructing the burn salve recipe in Ms. Fr. 640 gave the Project significant insights into the meanings of materials. The activity can easily be done in 1-2 hours.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/burnsalve/>Reconstruction of a 16th-century Burn Salve Recipe</a></li></ul><h2 id=hands-on-lesson-plans-from-research-essays-in-secrets-of-craft-and-nature>Hands-on Lesson Plans from Research Essays in <em>Secrets of Craft and Nature</em></h2><p>Many <a href=https://edition640.makingandknowing.org/#/essays>essays</a> in <em>Secrets of Craft and Nature</em> describe the reconstruction of a technique in sufficient detail to use the essay itself to formulate a lesson plan that includes hands-on activities. These essays often include lab/field notes that contain even more information for carrying out the process. Each essay discusses themes and includes bibliography that can be integrated into course objectives and class discussion. Suggested essays are listed below, however many more could be explored and adapted for classroom, studio, or lab activities.</p><h3 id=molding-with-cuttlefish-bone>Molding with Cuttlefish Bone</h3><p>Cuttlefish bone is an ancient material that is still used today by goldsmiths to create small cast objects. Objects can be impressed into the soft core of the cuttlefish’s float bone, after which metal or wax can be cast into the mold. Casting could be done with tin or pewter which have low melting points and liquefy easily in a (dedicated) pan on a stovetop or a hotplate.</p><p>Several entries in Ms. Fr. 640 mention cuttlefish bone as a material by which to rapidly produce molds, including fols. 91r–v and 145r–v. These entries provide a wealth of information on preparing the bones for molding, impressing models into them, and, finally, casting metals into them. They also contain descriptions of techniques by which an artisan can test the temperature of molten metal before casting. These entries particularly highlight the sensory and bodily knowledge needed by an artisan. In carrying out cuttlefish bone molding and casting, students will learn through experience the value of this sensory knowledge.</p><ul><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_506_ad_20>Molding with Cuttlefish Bone </a>by Emily Boyd, Jef Palframan, and Pamela H. Smith</li><li>See also the student project <a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp22_donald_maia_final-project_cuttlebone/>Cuttlefish in and around Ms. Fr. 640</a> by Maia Donald</li></ul><h3 id=molding-fruits-in-sugar>Molding Fruits in Sugar</h3><p>A single recipe in Ms. Fr. 640, on fol. 126r, gives instructions for making sugar casts of fresh fruits. Such cast sugar sculpture was a common sight at lavish banquets held in sixteenth-century European courts and cities. The author-practitioner provides practical instruction and tips for making this delicacy, but also frames his instructions within a set of properties that sugar exhibits as it changes from solid to liquid and back to solid. According to the author-practitioner, in its nature, sugar is by turns fatty, brittle, and sour. This essay explains the meaning of these properties within the author-practitioner’s material imaginary, and our reconstruction clarifies how this material imaginary provided a coherent supporting framework for the practical actions described in the recipe.</p><ul><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_017_sp_15>Molding Fruits and Animals in Sugar</a> by Celia Durkin and Pamela H. Smith</li><li>See also the Oberlin College course, <em>Ingenious Making in the Early Modern World</em>, in which each student took a different approach to molding and casting in sugar. Similar to M&amp;K&rsquo;s <a href=https://fieldnotes.makingandknowing.org/>Fieldnotes</a>, the following portfolios document the students&rsquo; hands-on activities, which included following the recipe for &ldquo;Molding Fruits in Sugar,&rdquo; Ms. Fr. 640, fol. 126r:<ul><li><a href=https://oberlin.digication.com/audrey-libatique-ingenious-making/home>Audrey Libatique</a></li><li><a href=https://oberlin.digication.com/audrey-libatique-ingenious-making/home>Ava Chessum</a></li><li><a href=https://oberlin.digication.com/sien-mcfalls-journal-arth295/home>Sien McFalls</a></li></ul></li></ul><h3 id=imitation-marble>Imitation Marble</h3><p>A reconstruction of the rather confusingly titled entry “Varnish for distemper” on fol. 56r of Ms. Fr. 640 shows that this particular varnish was not intended as a finishing layer to protect the paint and give it a sheen, as was customary in the sixteenth century. Instead, it functioned as an ingredient in the process and as a means of creating a specific optical effect—that of imitation marble.</p><ul><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_040_sp_16>Imitation Marble</a> by Teresa Soley</li></ul><h3 id=keeping-dry-flowers-in-the-same-state-all-year>Keeping Dry Flowers in the Same State all Year</h3><p>The recipe “Keeping dry flowers in the same state all year” (fol. 120v–121r) reflects the author-practitioner’s wider preoccupation with the preservation of flora and fauna for display. In this recipe, he provides instructions for drying flowers in sand and in vinegar. A reconstruction of the recipe demonstrates that extensive knowledge of the materials is important not only to the outcome but to their handling.</p><ul><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_049_fa_16>Keeping Dry Flowers in the Same State all Year</a> by Caitlyn Sellar</li></ul><h3 id=sleight-of-hand-tricks>Sleight of Hand Tricks</h3><p>Ms. Fr. 640 contains a number of jokes and sleight of hand tricks. One entry on fol. 43v is for “Varied and Transmuted Wine,” which contains no wine, but transmutes red “wine” into white. This activity is very simple and easy to integrate into any classroom setting. It also raises interesting questions about deception in art making. What is this recipe doing in a compilation of practical techniques?</p><ul><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_043_sp_16>Sleight of Hand Tricks</a> by Ann-Sophie Barwich</li><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_512_ad_20>Varied and Transmuted Wine</a> by Sayantani Mukherjee</li></ul><h3 id=making-and-using-fish-glue>Making and Using Fish Glue</h3><p>The making of an essential material for the early modern workshop.</p><ul><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_056_sp_17>Making and Using Fish Glue</a> by Xinguo (Casa) Wang</li></ul></content></div></div></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 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+<label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=section-title>Lesson Plans for Hands-on</h1><div class=toc-bg></div><div class=toc-content-container><aside class=toc><nav id=TableOfContents><ul><li><ul><li><a href=#tips-for-hands-on-teaching>Tips for Hands-On Teaching</a></li></ul></li><li><a href=#lesson-plans-assignments-and-hands-on-activity-sheets>Lesson Plans, Assignments, and Hands-On Activity Sheets</a><ul><li><a href=#hunting-for-secrets-in-secrets-of-craft-and-nature>Hunting for Secrets in <em>Secrets of Craft and Nature</em></a></li><li><a href=#historical-culinary-recipe-reconstruction>Historical Culinary Recipe Reconstruction</a></li><li><a href=#bread-making-molding-and-casting>Bread Making, Molding, and Casting</a></li><li><a href=#making-stucco-for-molding>Making Stucco for Molding</a></li><li><a href=#dyeing-with-natural-colorants>Dyeing with Natural Colorants</a></li><li><a href=#making-paints-from-pigments-and-painting-them-out>Making Paints from Pigments and Painting Them Out</a></li><li><a href=#making-inks>Making Inks</a></li><li><a href=#varnishes-and-their-many-uses>Varnishes and Their Many Uses</a></li><li><a href=#making-counterfeit-jasper>Making &ldquo;Counterfeit&rdquo; Jasper</a></li><li><a href=#materializing-spiritual-practice-reconstructing-burn-salve>Materializing Spiritual Practice: Reconstructing Burn Salve</a></li></ul></li><li><a href=#hands-on-lesson-plans-from-research-essays-in-secrets-of-craft-and-nature>Hands-on Lesson Plans from Research Essays in <em>Secrets of Craft and Nature</em></a><ul><li><a href=#molding-with-cuttlefish-bone>Molding with Cuttlefish Bone</a></li><li><a href=#molding-fruits-in-sugar>Molding Fruits in Sugar</a></li><li><a href=#imitation-marble>Imitation Marble</a></li><li><a href=#keeping-dry-flowers-in-the-same-state-all-year>Keeping Dry Flowers in the Same State all Year</a></li><li><a href=#sleight-of-hand-tricks>Sleight of Hand Tricks</a></li><li><a href=#making-and-using-fish-glue>Making and Using Fish Glue</a></li></ul></li><li><a href=#making-and-knowing-assignments-for-hands-on-process>Making and Knowing Assignments for Hands-on Process</a></li></ul></nav></aside><content><h1 id=lesson-plans-for-hands-on>Lesson Plans for Hands-On</h1><p>Making and Knowing Lesson Plans and associated teaching resources provide step-by-step guidance in planning and executing hands-on activities in the classroom, studio, laboratory, maker space, or kitchen. These Lesson Plans could be integrated into classes for skill building, as one-off sessions for group community building, or to stimulate students&rsquo; historical imagination by exposure to past materials and processes. The hands-on activities offered here can also be used as stand-alone activities for public outreach.</p><h3 id=tips-for-hands-on-teaching>Tips for Hands-On Teaching</h3><p>Tips for Hands-on Teaching and Learning, compiled from Making and Knowing Project experience.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_tips-for-instructors/>Tip Sheet for Hands-On Teaching</a></li></ul><h2 id=lesson-plans-assignments-and-hands-on-activity-sheets>Lesson Plans, Assignments, and Hands-On Activity Sheets</h2><p>The following lesson plans are listed in order of hands-on activities with familiar and accessible materials and processes (foods, cooking) to somewhat more involved and potentially unfamiliar (varnish, mold-making). Each lesson plan offers</p><ul><li>learning objectives</li><li>detailed instructions about materials and process for instructors</li><li>informational resources (explanatory presentations as pdfs; class reading suggestions) that can form the core of instructor lectures or of preparatory student reading, watching, discussion, and reflection</li><li>safety considerations, if applicable</li><li>downloadable, adaptable student assignments (&ldquo;activity sheets&rdquo;) as linked documents.</li><li>resources for the lesson from <em>Secrets of Craft and Nature</em> and Ms. Fr. 640.</li><li>Tip: skip to the end of the lesson plan for a list of all linked resources in the lesson.</li></ul><h3 id=hunting-for-secrets-in-secrets-of-craft-and-nature>Hunting for Secrets in <em>Secrets of Craft and Nature</em></h3><p>A great way to get started in a class or workshop by familiarizing students with the digital critical edition of Ms. Fr. 640 and the manuscript itself through a scavenger hunt of its contents.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/scavenger-hunt_secrets-of-craft/>Scavenger Hunt: Get to Know <em>Secrets of Craft and Nature</em></a> - a simple exploration of intriguing elements in Ms. Fr. 640.</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/scavenger-hunt-2/><em>Secrets of Craft and Nature</em> Reconnaissance (Directed Scavenger Hunt)</a> - a structured scavenger hunt to introduce important features of <em>Secrets of Craft and Nature</em>.</li></ul><h3 id=historical-culinary-recipe-reconstruction>Historical Culinary Recipe Reconstruction</h3><p>Reconstructing an obscure culinary recipe is especially effective as a first hands-on activity to familiarize students with the textual and material challenges of following historical recipes. It is also a wonderful community-building exercise. The students work in groups at home for a week intepreting the recipe, searching for and obtaining ingredients, trying their recipe as many times as possible, and making a powerpoint presentation about their process and questions. Culinary results can be brought into class when completed for group digestion and discussion.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_hcr-instructor/>Historical Culinary Recipe Reconstruction</a></li></ul><h3 id=bread-making-molding-and-casting>Bread Making, Molding, and Casting</h3><p>An intriguing recipe in Ms. Fr. 640 for making molds from bread is the basis for this lesson plan, which begins from the Ms. Fr. 640 recipe and expands to a multi-week series of activities, including learning to make bread, experimenting with different techniques of molding, and, finally, casting wax (or the oft-used historical casting material, sulfur) into bread. The lesson is an effective way to introduce students to embodied experience and knowledge.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/breadmolding_resources-for-the-instructor/>Bread Making, Molding, and Casting</a></li></ul><h3 id=making-stucco-for-molding>Making Stucco for Molding</h3><p>This stucco activity uses rye flour or chalk, mixed with a binder (tragacanth gum in Ms. Fr. 640). The activity can be messy, but is a great way to learn about the production of low-cost, often temporary ornamentation of walls and other surfaces. Plan for one session of mixing and molding, after which the stucco ornaments are dried. Allow sufficient time for clean up!</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_stucco/>Making Stucco for Molding</a></li><li>Video: <a href=https://vimeo.com/840477199>From Watching to Working: Incorporating Making and Knowing Activities into History of Science Courses</a> - Monique O&rsquo;Connell reflects on her experiences of making stucco with her students in a history of science course at Wake Forest University.</li></ul><h3 id=dyeing-with-natural-colorants>Dyeing with Natural Colorants</h3><p>Exploring the world of color is an incredibly engaging way to introduce hands-on work and material literacy. Dyeing with natural colorants takes this a step further by looking at how textiles were imbued with color from plants (roots, bark, flowers, leaves, and berries) and animals (insects and shellfish) before the advent of synthetic dyes in the nineteenth century. Textiles (and, by extension, dyes) have and continue to be one of the largest industries in the world. Their complex history, global reach and ubiquity, intricate chemistry, and transformative craft process provide multiple points of engagement. Dyeing can also be paired with lake pigment making described below, as the colorants are extracted from the same organic materials using similar chemical processes. The Making and Knowing Project and collaborators have adapted these activities in a number of settings, from chemistry labs to home kitchens. With the preparation of dyeing stations, dyeing can be carried out in two hours or less.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_dyeing/>Dyeing with Natural Colorants</a></li></ul><h3 id=making-paints-from-pigments-and-painting-them-out>Making Paints from Pigments and Painting Them Out</h3><p>Making paints from pigments is an eye-opening way to get to know substances that are today mostly acquired readymade. Making lake pigments is the transformation of organic materials from dyes (which are water soluble) into pigments (which are particles that can be painted out). Lake pigments can be paired with dyeing described above, as the natural colorants from which color is obtained are the same. Ideally, this activity takes three sessions, though it can be adapted into one or two sessions only. With advance preparation, mineral pigments, such as azurite, take just under two hours to prepare (not counting the mussel feast you can hold the night before to collect the mussel shells!). Verdigris must &ldquo;grow&rdquo; slowly over a month or more before sufficient amounts will form to make the pigment to be painted out. Painting out the pigments after binding them with different materials (egg yolk, egg white, oils, or gums) can be quite easy and quick, depending on how many binders the students are provided to experiment with.</p><h4 id=transforming-natural-plant-and-insect-colorants-into-pigments-lake-pigments>Transforming Natural Plant and Insect Colorants into Pigments (Lake Pigments)</h4><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_lake-pigments/>Making Lake Pigments from Natural Colorants</a></li></ul><h4 id=mineral-pigments>Mineral Pigments</h4><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/verdigris-assignment/>&ldquo;Growing&rdquo; Verdigris Pigment</a><ul><li>See also Marie-France Lemay&rsquo;s <a href=https://travelingscriptorium.com/2013/01/17/verdigris/>“Verdigris” in Traveling Scriptorium: A Teaching Kit by the Yale University Library</a></li></ul></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/azurite-assignment/>Grinding, Levigating, and Painting with Azurite</a></li></ul><h4 id=making-paint-preparing-supports-and-painting-test-panels>Making Paint, Preparing Supports, and Painting Test Panels</h4><p>Pigments (colored particles) must be combined with binding materials such as egg yolk, egg white, oils, or gums in order to create paint. While you can make your own pigments (see above), painting out even ready-made pigments is a crowd-pleasing (and educational!) activity. Making supports for painting (canvas, panel, prepared paper) helps gain an understanding of the crucial importance of the surface for the appearance of the final work of art. This activity can be relatively quick (sewing and stretching canvases) or quite lengthy (preparing panels, which takes nine sessions of applying gesso, allowing it to dry, then scraping and sanding it between each application).</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_paintingpigments/>Making Paints from Pigments and Binding Media and Painting Them Out</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_supportsurfaces/>Preparing Panels, Canvases, and Other Supports for Painting, Gilding, and More</a></li></ul><h3 id=making-inks>Making Inks</h3><p>Making ink helps students appreciate the materiality of texts. Making and then writing with the ink produced can be done in a single session of 1-2 hours. Ink-making activities included here produce iron gall ink, carbon-based inks, and colored ink made from organic pigment.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_inks/>Making Inks</a></li></ul><h3 id=varnishes-and-their-many-uses>Varnishes and Their Many Uses</h3><p>The ingredients and making process of varnishes changed significantly in the sixteenth century, resulting in a more streamlined making process when compared to the heavy amber and resin varnishes of an earlier period. These new varnishes also changed the appearance of the artworks onto which they were applied. Making varnish is a relatively complex process requiring preparation and is perhaps suited to more advanced classes.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_varnishes/>Making Varnishes</a></li></ul><h3 id=making-counterfeit-jasper>Making &ldquo;Counterfeit&rdquo; Jasper</h3><p>Imitating the texture and visual appearance of jasper stone raises questions about knowledge systems of the past and how artisans and scientists explored and explained the precious materials of the natural world. Making jasper involves a number of different processes and can be adapted to different class lengths, depending on how much preparation of materials is done in advance.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_jasper/>Making Jasper</a></li></ul><h3 id=materializing-spiritual-practice-reconstructing-burn-salve>Materializing Spiritual Practice: Reconstructing Burn Salve</h3><p>Reconstructing the burn salve recipe in Ms. Fr. 640 gave the Project significant insights into the meanings and agency of materials. The activity can easily be completed in 1-2 hours.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/burnsalve/>Reconstruction of a 16th-century Burn Salve Recipe</a></li></ul><h2 id=hands-on-lesson-plans-from-research-essays-in-secrets-of-craft-and-nature>Hands-on Lesson Plans from Research Essays in <em>Secrets of Craft and Nature</em></h2><p>Many <a href=https://edition640.makingandknowing.org/#/essays>essays</a> in <em>Secrets of Craft and Nature</em> describe the reconstruction of a technique in sufficient detail to use the essay itself to formulate a lesson plan that includes hands-on activities. These essays often include lab/field notes that contain even more information for carrying out the process. Each essay discusses themes and includes bibliography that can be integrated into course objectives and class discussion. Suggested essays are listed below, however many more could be explored and adapted for classroom, studio, or lab activities.</p><h3 id=molding-with-cuttlefish-bone>Molding with Cuttlefish Bone</h3><p>Cuttlefish bone is an ancient material that is still used today by goldsmiths to create small cast objects. Objects can be impressed into the soft core of the cuttlefish’s float bone, after which metal or wax can be cast into the mold. Casting could be done with tin or pewter which have low melting points and liquefy easily in a (dedicated) pan on a stovetop or a hotplate.</p><p>Several entries in Ms. Fr. 640 mention cuttlefish bone as a material by which to rapidly produce molds, including fols. 91r–v and 145r–v. These entries provide a wealth of information on preparing the bones for molding, impressing models into them, and, finally, casting metals into them. They also contain descriptions of techniques by which an artisan can test the temperature of molten metal before casting. These entries particularly highlight the sensory and bodily knowledge needed by an artisan. In carrying out cuttlefish bone molding and casting, students will learn through experience the value of this sensory knowledge.</p><ul><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_506_ad_20>Molding with Cuttlefish Bone </a>by Emily Boyd, Jef Palframan, and Pamela H. Smith</li><li>See also the student project <a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp22_donald_maia_final-project_cuttlebone/>Cuttlefish in and around Ms. Fr. 640</a> by Maia Donald</li></ul><h3 id=molding-fruits-in-sugar>Molding Fruits in Sugar</h3><p>A single recipe in Ms. Fr. 640, on fol. 126r, gives instructions for making sugar casts of fresh fruits. Such cast sugar sculpture was a common sight at lavish banquets held in sixteenth-century European courts and cities. The author-practitioner provides practical instruction and tips for making this delicacy, but also frames his instructions within a set of properties that sugar exhibits as it changes from solid to liquid and back to solid. According to the author-practitioner, in its nature, sugar is by turns fatty, brittle, and sour. This essay explains the meaning of these properties within the author-practitioner’s material imaginary, and our reconstruction clarifies how this material imaginary provided a coherent supporting framework for the practical actions described in the recipe.</p><ul><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_017_sp_15>Molding Fruits and Animals in Sugar</a> by Celia Durkin and Pamela H. Smith</li><li>See also the Oberlin College course, <em>Ingenious Making in the Early Modern World</em>, in which each student took a different approach to molding and casting in sugar. Similar to M&amp;K&rsquo;s <a href=https://fieldnotes.makingandknowing.org/>Fieldnotes</a>, the following portfolios document the students&rsquo; hands-on activities, which included following the recipe for &ldquo;Molding Fruits in Sugar,&rdquo; Ms. Fr. 640, fol. 126r:<ul><li><a href=https://oberlin.digication.com/audrey-libatique-ingenious-making/home>Audrey Libatique</a></li><li><a href=https://oberlin.digication.com/audrey-libatique-ingenious-making/home>Ava Chessum</a></li><li><a href=https://oberlin.digication.com/sien-mcfalls-journal-arth295/home>Sien McFalls</a></li></ul></li></ul><h3 id=imitation-marble>Imitation Marble</h3><p>A reconstruction of the rather confusingly titled entry “Varnish for distemper” on fol. 56r of Ms. Fr. 640 shows that this particular varnish was not intended as a finishing layer to protect the paint and give it a sheen, as was customary in the sixteenth century. Instead, it functioned as an ingredient in the process and as a means of creating a specific optical effect—that of imitation marble.</p><ul><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_040_sp_16>Imitation Marble</a> by Teresa Soley</li></ul><h3 id=keeping-dry-flowers-in-the-same-state-all-year>Keeping Dry Flowers in the Same State all Year</h3><p>The recipe “Keeping dry flowers in the same state all year” (fol. 120v–121r) reflects the author-practitioner’s wider preoccupation with the preservation of flora and fauna for display. In this recipe, he provides instructions for drying flowers in sand and in vinegar. A reconstruction of the recipe demonstrates that extensive knowledge of the materials is important not only to the outcome but to their handling.</p><ul><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_049_fa_16>Keeping Dry Flowers in the Same State all Year</a> by Caitlyn Sellar</li></ul><h3 id=sleight-of-hand-tricks>Sleight of Hand Tricks</h3><p>Ms. Fr. 640 contains a number of jokes and sleight of hand tricks. One entry on fol. 43v is for “Varied and Transmuted Wine,” which contains no wine, but transmutes red “wine” into white. This activity is very simple and easy to integrate into any classroom setting. It also raises interesting questions about deception in art making. What is this recipe doing in a compilation of practical techniques?</p><ul><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_043_sp_16>Sleight of Hand Tricks</a> by Ann-Sophie Barwich</li><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_512_ad_20>Varied and Transmuted Wine</a> by Sayantani Mukherjee</li></ul><h3 id=making-and-using-fish-glue>Making and Using Fish Glue</h3><p>The making of an essential material for the early modern workshop.</p><ul><li>Essay: <a href=https://edition640.makingandknowing.org/#/essays/ann_056_sp_17>Making and Using Fish Glue</a> by Xinguo (Casa) Wang</li></ul><h2 id=making-and-knowing-assignments-for-hands-on-process>Making and Knowing Assignments for Hands-on Process</h2><p>All Making and Knowing courses require students to keep records of their hands-on processes, reflections, and learning, conceived as a combination of lab and field notes.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/introduction-fieldnotes/>Introduction to Field Notes</a> - a full discussion of how the Making and Knowing Project asks students to record and reflect upon their hands-on work</li></ul><p>Making and Knowing courses also require projects of the students&rsquo; own devising, assigned early in the term.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/SP24-Final-Projects_RTC-Version.pdf>Handout: Ideas, Resources, and Assignment Sheet for Hands-On Student Projects</a>. Also in <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/SP24-Final-Projects_RTC-Version.docx>docx</a> for editing and adapting to your own needs</li><li>See <a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/>Student Projects</a> for examples from Making and Knowing courses.</li></ul></content></div></div></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 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diff --git a/resources/activity-sheets/index.xml b/resources/activity-sheets/index.xml
index dea66b3f..7182493f 100644
--- a/resources/activity-sheets/index.xml
+++ b/resources/activity-sheets/index.xml
@@ -93,33 +93,17 @@ important as, and at times more useful than, scientific knowledge.&lt;/p></descr
 &lt;img src="https://cu-mkp.github.io/research-teaching-companion/images/supports-canvas-part2.png" alt="canvas-part2">
 &lt;sup>&lt;sub>Images: Preparing a canvas for painting.&lt;/sub>&lt;/sup>&lt;/p>
 &lt;p>This activity teaches students how to prepare common supports, namely panels and canvases, to receive paint. The preparations outlined below ensure that any media applied to the support goes on evenly without risk of bleeding into or through that support. This activity can be undertaken as a stand-alone skill-building exercise or it can be a prelude to &lt;a href="https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_paintingpigments/">paint making and testing&lt;/a> using &lt;a href="https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_lake-pigments/">hand-made lake pigments&lt;/a>, &lt;a href="https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/verdigris-assignment/">hand-grown verdigris&lt;/a>, and/or &lt;a href="https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/azurite-assignment/">hand-levigated azurite&lt;/a>. The Making and Knowing Project has found it useful to have various prepared panels and canvases on hand for other hands-on activities and experiments, such as applying metal leaf, varnish enamels, and metalpoint, and pounced designs.&lt;/p></description></item><item><title/><link>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_tips-for-instructors/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_tips-for-instructors/</guid><description>&lt;h1 id="tip-sheet-for-hands-on-teaching">Tip Sheet for Hands-on Teaching&lt;/h1>
-&lt;h2 id="teaching-scenario-building">Teaching Scenario Building&lt;/h2>
-&lt;p>Hands-on activities are great for teaching and learning scenario building. Plan ahead and design the activity:&lt;/p>
-&lt;ul>
-&lt;li>Write out protocols for yourself and any other instructors for the experiment or activity&lt;/li>
-&lt;li>Think ahead about safety and make sure plans and appropriate equipment are in place. Work with your institution&amp;rsquo;s safety office&lt;/li>
-&lt;li>Create a plan in advance for cleanup and waste disposal&lt;/li>
-&lt;li>Make sure that the students also write out an experiment protocol, and plan class time to go over these with them. Some questions to consider as a group:
-&lt;ul>
-&lt;li>Can you give us an overview of what we plan to do today?&lt;/li>
-&lt;li>What materials and equippment do we need/have?&lt;/li>
-&lt;li>What are the biggest safety considerations? (e.g., heat, burns, toxicity, moving around in a shared physical space)&lt;/li>
-&lt;li>What is our cleanup plan?&lt;/li>
-&lt;/ul>
-&lt;/li>
-&lt;/ul>
-&lt;h2 id="time">Time&lt;/h2>
+&lt;h2 id="skill">Skill&lt;/h2>
+&lt;p>The Making and Knowing Project team members were almost never expert in the hands-on activities they included in courses.&lt;/p>
 &lt;ul>
-&lt;li>Hands-on teaching is so much more time-consuming than you can ever imagine&lt;/li>
-&lt;li>Think about and plan minutely for the time you have in one class period&lt;/li>
-&lt;li>Be creative if possible with your institution&amp;rsquo;s course schedule — a four-hour class period is ideal&lt;/li>
-&lt;li>If possible, ask students or participants to review materials before the hands-on session (e.g., read over the historical recipe, look over representative art objects, read a related article, view a making video, come up with their own interpretation of the process, or look up key terms and materials)&lt;/li>
-&lt;li>Leave plenty of time for setup and cleanup — ideally, you should try to have your students help with both&lt;/li>
-&lt;li>Make time in class or in the lab/studio for student discussion about their experiences&lt;/li>
-&lt;li>Make time for summary discussion and formulating takeaways, which can take place at the following class meeting&lt;/li>
+&lt;li>Accustom yourself to not being an expert, but instead, a co-learner. Explore alongside your students&lt;/li>
+&lt;li>Make sure you try the activity before you assign it&lt;/li>
+&lt;li>Have students and instructor(s) work together or in groups — use an &amp;ldquo;apprenticeship&amp;rdquo; model, ideally with participants of different skill levels&lt;/li>
+&lt;li>Work around a table or together at a bench so participants can watch each other&amp;rsquo;s process, and discuss and reflect together&lt;/li>
+&lt;li>Bring in &amp;ldquo;expert practitioners&amp;rdquo; to your class to help with unfamiliar processes. We often found that the historical processes were a learning experience for expert practitioners as well. See Expert Practitioner Tonny Beentjes&amp;rsquo; &lt;a href="https://edition640.makingandknowing.org/#/essays/ann_334_ie_19">Tutor or Student? An Expert Maker Perspective&lt;/a> Expert practitioners may be closwer than you think — members of the local community and even your own students (ask them about their hands-on experience(s).&lt;/li>
 &lt;/ul>
-&lt;h2 id="skill">Skill&lt;/h2>
-&lt;p>The Making and Knowing Project team members were almost never expert in the hands-on activities they included in courses.&lt;/p></description></item><item><title/><link>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_varnishes/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_varnishes/</guid><description>&lt;h2 id="making-varnishes">Making Varnishes&lt;/h2>
+&lt;h2 id="teaching-scenario-building">Teaching Scenario Building&lt;/h2>
+&lt;p>Hands-on activities are great for teaching and learning scenario building. Plan ahead and design the activity:&lt;/p></description></item><item><title/><link>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_varnishes/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_varnishes/</guid><description>&lt;h2 id="making-varnishes">Making Varnishes&lt;/h2>
 &lt;p>The Making and Knowing Project has reconstructed varnish recipes several times, both as products and as ingredients in more complex making processes described in Ms. Fr. 640. The manuscript includes several recipes for spirit varnishes, which were a new category of varnish that emerged in the sixteenth century. It also includes several recipes for oil-based varnishes, which have a longer history and are quite dangerous to reconstruct and often result in fires. Accordingly, M&amp;amp;K is only sharing protocols for making spirit varnishes. Nevertheless, making spirit varnishes raises several safety concerns and may not be suitable for all pedagogical contexts.&lt;/p></description></item><item><title/><link>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/azurite-assignment/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/azurite-assignment/</guid><description>&lt;h1 id="skillbuilding-preparing-and-painting-with-azurite">Skillbuilding: Preparing and Painting with Azurite&lt;/h1>
 &lt;blockquote>
 &lt;p>&lt;em>The Making and Knowing Project, Columbia University&lt;/em>&lt;br>
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents></nav></aside><content><h1 id=introduction-to-field-notes>Introduction to Field Notes</h1><p>In the early days of what would become the Making and Knowing Project,
 Founding Director Pamela Smith came to a realization: in order to
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#paint--pigment--binding-media>Paint = Pigment + Binding Media</a></li><li><a href=#overview-of-activity>Overview of Activity</a></li><li><a href=#materials-and-tools>Materials and Tools</a></li><li><a href=#pigments>Pigments</a></li><li><a href=#binding-media>Binding Media</a><ul><li><a href=#aqueous-media>Aqueous Media</a></li></ul></li><li><a href=#mulling-pigments>Mulling Pigments</a><ul><li><a href=#the-process-of-mulling>The Process of Mulling</a></li><li><a href=#resources>Resources</a></li></ul></li><li><a href=#painting-out>Painting Out</a><ul><li><a href=#create-sample-card>Create Sample Card</a></li></ul></li><li><a href=#questions-for-consideration>Questions for Consideration</a></li><li><a href=#additional-resources-to-explore>Additional Resources to Explore</a></li></ul></nav></aside><content><h1 id=making-paints-from-pigments-and-painting-them-out>Making Paints from Pigments and Painting Them Out</h1><blockquote><p><em>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History</em><br><em>The Making and Knowing Project, Columbia University</em><br><em>Last updated 2024-07-29 by PHS</em><br></p></blockquote><p>A downloadable version of this assignment: [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/painting_assignment_downloadable_2021.pdf>PDF</a>]</p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/painting-header.png?raw=true" alt=painting-header></p><h2 id=paint--pigment--binding-media>Paint = Pigment + Binding Media</h2><p>Refer to <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/introduction-paints-pigments_njr_2021.pdf>Presentation: Introduction to Pigments & Paints</a></p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/painting-pigment+binding-media.png?raw=true" alt=painting-pigment+binding-media></p><h2 id=overview-of-activity>Overview of Activity</h2><p>Much more detailed information and resources are provided below in this document. To help get you started, this is an overview of the hands-on work and preparation you will do:</p><ul><li>Create sample card on mixed media paper</li><li>Prepare 3 aqueous binding media:<ul><li>Gum arabic (2g gum arabic + 20ml water)</li><li>Egg yolk (tempera)</li><li>Egg white (glair)</li></ul></li><li>Make paint with 3 pigments:<ul><li>Cochineal lake (organic)</li><li>Azurite (mineral)</li><li>Yellow ochre (earth)</li><li>(<em>or any other combination of pigments you have</em>)</li></ul></li><li>Mull the pigments with the binding media to create a smooth, even paint (using muller and flat surface)</li><li>Paint out your prepared paints on the sample card</li><li>Continue experimenting with your paint!</li></ul><h2 id=materials-and-tools>Materials and Tools</h2><ul><li>Gum arabic (<a href=http://shop.kremerpigments.com/en/mediums--binders-und-glues/water-soluble-binders/gum-arabic-powder-63330:.html>Kremer #63330</a>)</li><li>Measuring cups, spoons, or food scale (to measure out water)</li><li>Water</li><li>3 droppers</li><li>1-2 eggs</li><li>Bowls or containers to separate eggs</li><li>2 paint brushes</li><li>Plastic palette knife</li><li>Mixed media paper (<a href=https://www.dickblick.com/items/13640-1021/>Blick, Strathmore</a>)</li><li>Muller (provided by M&amp;K: an 'improvised' muller from a glass candlestick holder, <a href="https://www.amazon.com/gp/product/B07X7W2MXG/ref=ppx_yo_dt_b_asin_title_o05_s00?ie=UTF8&amp;psc=1">Letine (amazon)</a>)</li><li>OPTIONAL - Muller (improvised from home: try the back of a spoon, the bottom of a glass cup or jar&mldr;get creative!)</li><li>Surface for mulling (old plate, flat plastic lid)</li><li>Cochineal lake (historical reconstruction), prepared by you!</li><li>Azurite (<a href=https://shop.kremerpigments.com/us/shop/pigments/10200-azurite-natural-standard.html>Kremer #10200, 0 - 120 µ</a>)</li><li>Ochre (<a href=http://www.earthpigments.com/colonial-yellow-ocher-pigment/>Earth Pigments (Colonial Yellow)</a>)</li></ul><h2 id=pigments>Pigments</h2><p>Many modern vendors now carry dry pigments so that artists can mix their own paints (following the traditional way of historical painters). Most of these pigments are synthetically made and optimized for light-fastness, consistent color, and reliable handling properties. However, there are some vendors that have worked to make available natural and/or "historical" pigments, notably <a href=https://shop.kremerpigments.com/us/>Kremer Pigments</a> (which has a beautiful store in Chelsea!), <a href=https://www.naturalpigments.com/>Natural Pigments</a>, <a href=https://www.earthpigments.com/>Earth Pigments</a>, and <a href=https://www.cornelissen.com/>Cornelissen & Son Artists' Colourmen</a>.</p><h2 id=binding-media>Binding Media</h2><p>Binding media for paint are typically divided into two categories: aqueous (water-based) and oil.</p><p>Oil should be kept separate from all other water-based media (eggs, gum arabic) - use separate mulling instruments, brushes, etc. and be careful about cleanup as oil is flammable, especially when soaked into paper towels.</p><h3 id=aqueous-media>Aqueous Media</h3><ul><li><strong>Watercolor and Inks -</strong> gum arabic (most common gum)<ul><li>To prepare gum arabic solution (adapted from the Columbia Ancient Ink Lab):<ul><li>10:1 water:gum arabic by weight (e.g., 1g of powdered gum arabic dissolved in 10ml water)</li><li>Dissolve powdered gum in water so there are no lumps.</li><li>Stir, leave for a few minutes, stir again, push lumps of gum arabic against side of container to disperse. Repeat until there are no lumps.</li><li>It may take a good 10 minutes (or more) for the gum to "swell" and thus fully dissolve in the water.</li></ul></li></ul></li><li><strong>Egg Tempera</strong> - egg yolk<ul><li>Separate the egg: break open an egg, cleanly separating the yolk from the white.</li><li>The yolk is encased in a sack which should be removed; you want the yolk contents from inside the sack. Pierce the sack to allow the contents to flow out. Discard the empty sack.</li><li>You may want or need to add water to thin the consistency of the yolk.</li></ul></li><li><strong>Glair</strong> - egg white<ul><li>Separate the egg: break open an egg, cleanly separating the yolk from the white.</li><li>Beat the egg whites into a stiff froth (historically this was done with a natural sponge; modern painters and conservators often use a blender or hand whisk).</li><li>Let the frothed egg white sit at room temperature for several hours or overnight.</li><li>Remove the foam on top and discard it. The liquid that remains below is glair.</li></ul></li></ul><h2 id=mulling-pigments>Mulling Pigments</h2><p>To create a smooth and "paintable" paint, the pigment particles need to be incorporated into the binding medium. Mulling pigments is the process of using a muller (typically made of glass, ceramic, or metal) atop a flat surface with a slight texture to grind the powdered pigment with the liquid binder. This allows you to disperse the pigment particles evenly within the binding medium. Some popular glass mullers for painters:</p><ul><li><a href="https://www.naturalpigments.com/glass-muller.html?___store=default">Natural Pigments - Glass Muller (SKU 640-GLML)</a></li><li><a href=https://shop.kremerpigments.com/us/shop/tools-packaging-supplies/bone-folder-mortars-pestles-glass-mullers-sieves/glass-mullers-palettes/>Kremer Pigments - Glass Mullers</a><ul><li>M&amp;K has the small <a href=https://shop.kremerpigments.com/us/shop/tools-packaging-supplies/bone-folder-mortars-pestles-glass-mullers-sieves/glass-mullers-palettes/883340-glass-muller-small.html>(#883340)</a>, medium (<a href=https://shop.kremerpigments.com/us/shop/tools-packaging-supplies/bone-folder-mortars-pestles-glass-mullers-sieves/glass-mullers-palettes/883348-glass-muller-medium.html>#883348</a>), and large (<a href=https://shop.kremerpigments.com/us/shop/tools-packaging-supplies/bone-folder-mortars-pestles-glass-mullers-sieves/glass-mullers-palettes/883343-glass-muller-large-made-in-new-york.html>#883343</a>)</li></ul></li></ul><p>While professionals may invest in artisanal mullers and mulling surfaces (or prepare their own as described by Natural Pigments), it is easy to improvise your own mulling tools with a little creativity.</p><ul><li>For a muller: the non-concave bottom of a drinking glass, an espresso tamper (such as the <a href="https://www.amazon.com/gp/product/B00CZNHJT0/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&amp;psc=1">HIC Dual-Sided Espresso Tamper</a>), or the back of a large spoon.</li><li>For a surface: a ceramic plate, terracotta or clay dish, stone surface, or glass cutting board. We have actually had pretty good results using the lid of an old plastic container (like those from yogurt or take-out containers)!</li></ul><h3 id=the-process-of-mulling>The Process of Mulling</h3><ul><li>On a flat, smooth surface, place a small amount of powdered pigment.</li><li>Add a few drops of your binding medium (using a dropper is the easiest way to prevent adding too much).<ul><li>One piece of advice on mixing pigments is to add binder in very small amounts to your pigment - you do not need much.</li></ul></li><li>Use a small spatula or palette knife to mix into a paste.</li><li>With a muller, begin grinding the mixture in circular motions until it is smooth and has an even consistency.</li><li>If needed, add more binding medium or water (if working with aqueous solutions), or use the palette knife to gather the paint back into the center.</li><li>You should not need to bear down with your weight - you are combining through friction and a little force but not grinding forcefully.</li></ul><h3 id=resources>Resources</h3><p>Preparing your own paints (and mulling, in particular) is something that is easier shown than described in words. There are many demonstrations on the internet - search for "pigments and binders" or "mulling pigments" for videos of the process. For example, this <a href="https://www.youtube.com/watch?v=9cUDDQt7xfs">video showing mulling with egg yolk</a> and this <a href="https://www.youtube.com/watch?v=GvLkNoWjKz0">video for oil and pigment</a>.</p><p><strong>From M&amp;K:</strong></p><ul><li>See <a href=https://www.flickr.com/photos/128418753@N06/albums/72157719202757564>Naomi's Flickr album on mulling and painting</a><ul><li>Additional helpful albums:<ul><li><a href=https://www.flickr.com/photos/128418753@N06/albums/72157674477187162/with/30784536062/>Fall 2016 madder lake painting</a></li><li><a href=https://photos.app.goo.gl/zZC1eMcy916euAVk8>Google Album on mulling pigments and sample cards</a> (note some of the grainier samples - no mulling!)</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/SP19_painting-out-lakes-in-binders.pdf>SP19 painting out lakes in binding media</a></li></ul></li></ul></li></ul><p><strong>Additional resources:</strong></p><ul><li><a href=https://youtu.be/RsU3td0k524>Video, Jo Kirby, lecture on pigments, Met Paper Conservation</a> in the <a href=https://www.metmuseum.org/about-the-met/conservation-and-scientific-research/paper-conservation/symposia-and-academic-activities>Paper Conservation Lecture series</a></li><li><a href="https://www.youtube.com/watch?v=1bGcEjn2KLk">Easy, Cheap, DIY, Oil Paint Muller</a></li><li><a href=https://www.naturalpigments.com/artist-materials/how-to-make-water-based-paint/>Artists Materials - How Make Your Own Waterborne Paint</a></li><li><a href=https://www.scribalworkshop.com/blog/2019/6/5/mulling-paint-a-beginner-ish-guide>Mulling Paint: A beginner-ish guide</a></li><li><a href=https://www.artistsnetwork.com/art-techniques/make-your-own-paint/>Hey Artists: Discover How to Make Your Own Paint</a></li><li><a href=https://www.earthpigments.com/artists-egg-tempera/>Instructions For Making Egg Tempera</a></li></ul><h2 id=painting-out>Painting Out</h2><p>You have been provided with mixed media paper and paint brushes. You will first make a pigment sample card that has a spot for each type of pigment you use and each type of binder. Once you have done this, experiment!</p><ul><li>Different types of pigments (organic- cochineal, mineral - azurite, earth - ochre)</li><li>Different types of binding media (gum, tempera - egg yolk, glair - egg white)</li><li>What other types of trials can you do? Painting out a scene? Trying substrates other than paper?</li></ul><h3 id=create-sample-card>Create Sample Card</h3><table><thead><tr><th></th><th>Binding medium 1<br><em>E.g., gum arabic in water (1:10)</em></th><th>Binding medium 2<br><em>E.g., linseed oil (Kremer #73054 cold-pressed)</em></th><th>Binding medium 3<br><em>E.g., Glair (egg white)</em></th></tr></thead><tbody><tr><td>Pigment 1 E.g., cochineal lake, prepared 2019-03-07</td><td></td><td></td><td></td></tr><tr><td>Pigment 2 E.g., azurite, natural standard (Kremer #10200, 0 - 120 µ)</td><td></td><td></td><td></td></tr><tr><td>Pigment 3 E.g., yellow ochre (Earth Pigments, Colonial Yellow)</td><td></td><td></td><td></td></tr></tbody></table><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/pigment-card.png?raw=true" alt=pigment-card></p><h2 id=questions-for-consideration>Questions for Consideration</h2><ul><li><strong>Embodied experience:</strong><ul><li>How does it feel to grind pigment into the different binding media using the muller?</li><li>Are there different ratios of liquid to pigment that you need to use for each binding media to get the "right feel" of the paint?</li><li>How do the different binding media compare?</li><li>How does it feel to apply a gum-based paint vs. tempera (vs. glair vs. oil paint, if using)?</li><li>Is there a difference in the way each paint wants to be handled or flows off the brush?</li><li>What kind of movements help you apply an even layer?</li></ul></li><li><strong>Artisanal knowledge:</strong><ul><li>What kind of knowledge would you need in order to prepare, apply, handle, appreciate these materials?</li><li>How might you acquire that knowledge today and historically?</li></ul></li><li><strong>Asking new questions:</strong><ul><li>What new questions does this experience cause you to ask about paintings or other works of art in general?</li></ul></li></ul><p>Remember to record your experiences in your field notes.</p><h2 id=additional-resources-to-explore>Additional Resources to Explore</h2><ul><li>Pigment glossary in Kirby, Jo, Susie Nash and Joanna Cannon (eds.), <em>Trade in Artists’ Materials: Markets and Commerce in Europe to 1700</em> (London, 2010)</li><li><a href=https://www.artcons.udel.edu/outreach/kress>Technical Art History Website</a>, University of Delaware</li><li><a href=http://cameo.mfa.org/wiki/Main_Page>CAMEO: Conservation & Art Materials Encyclopedia Online</a> (explore, and check "Materials database")</li><li>The Fitzwilliam Museum: <a href=https://www.fitzmuseum.cam.ac.uk/illuminated/lab/lab/overview-of-artists-materials>Overview of Artists' Materials - ILLUMINATED</a></li><li>Yale University <a href=https://travelingscriptorium.wordpress.com/>Traveling Scriptorium - A Teaching Kit by the Yale University Library</a></li></ul><p><strong>Practical painting resources from Natural Pigments</strong></p><ul><li><a href=https://www.naturalpigments.com/artist-materials/cat/natural-pigments-supplies/post/how-to-make-water-based-paint/>Artists Materials - How Make Your Own Water-based Paint</a></li><li><a href=https://www.naturalpigments.com/artist-materials/cat/natural-pigments-supplies/post/tutorial-how-make-paint/>Artists Materials - How to Make Your Own Oil Paint</a></li></ul><p>Remember to record your experiences in your field notes.</p><p>A downloadable version of this assignment: [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/painting_assignment_downloadable_2021.pdf>PDF</a>]</p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#lake-pigments-and-natural-colorants>Lake pigments and natural colorants</a></li><li><a href=#cochineal>Cochineal</a></li><li><a href=#examples-of-cochineal-in-art>Examples of cochineal in art</a></li><li><a href=#historical-recipe-for-cochineal-lake>Historical recipe for cochineal lake</a></li><li><a href=#modernized-recipes-adapted-for-the-laboratory-or-kitchen>Modernized recipes, adapted for the laboratory (or kitchen)</a></li><li><a href=#recipe-1-standard>RECIPE 1: &ldquo;Standard&rdquo;</a><ul><li><a href=#materials-and-equipment-recipe-1>Materials and Equipment (Recipe 1)</a></li><li><a href=#procedure-recipe-1>Procedure (Recipe 1)</a></li></ul></li><li><a href=#recipe-2-standard---reversed>RECIPE 2: &ldquo;Standard - Reversed&rdquo;</a><ul><li><a href=#materials-and-equipment-recipe-2>Materials and Equipment (Recipe 2)</a></li><li><a href=#procedure-recipe-2>Procedure (Recipe 2)</a></li></ul></li><li><a href=#an-alternative-method-to-using-hotplates-and-beakers>An Alternative Method To Using Hotplates and Beakers</a><ul><li><a href=#process>Process</a></li></ul></li></ul></nav></aside><content><h1 id=making-lake-pigment-from-cochineal-a-historical-reconstruction>MAKING LAKE PIGMENT FROM COCHINEAL: A HISTORICAL RECONSTRUCTION</h1><blockquote><p><em>The Making and Knowing Project, Columbia University</em><br><em>Last updated 2021-09-29 by NJR</em></p></blockquote><p>A downloadable version of this assignment: [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/pigment-cochineal-lake_assignment_downloadable_2023.pdf>PDF</a>]</p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/pigment-cochineal_header.png?raw=true" alt=pigment-cochineal_header></p><h2 id=lake-pigments-and-natural-colorants>Lake pigments and natural colorants</h2><p>If you are not already familiar with historical pigments and natural colorants, refer to <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/presentation_sp23_rosenkranz_naomi_lakes_cochineal-history-chem-prep.pdf>Presentation: Cochineal Lake: History, Chemistry, and Preparation</a> for more complete information and further explanation of natural colorants and lake pigments.</p><p>See also <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/introduction-paints-pigments_njr_2021.pdf>Presentation: Introduction to Pigments & Paints</a>.</p><p><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/presentation_sp23_rosenkranz_naomi_lakes_cochineal-history-chem-prep.pdf><img src="https://cu-mkp.github.io/research-teaching-companion/images/cochineal-presentation.png?raw=true" alt="Presentation: Cochineal Lake: History, Chemistry, and Preparation"></a></p><p>Lake pigments are a type of pigment prepared from organic natural colorants: plant and animal sources. As most organic natural colorants are soluble, they cannot be mixed directly with a binding medium and therefore cannot be used as a pigment. These colorants must therefore be extracted and then made insoluble in order to use them as pigments.</p><p><strong>Lake pigments:</strong> in general, pigments prepared from soluble natural colorants, formed by precipitating (or adsorbing) the dye onto a colorless or white, insoluble, relatively inert substrate.</p><blockquote><p>Jo Kirby et al, <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and their Historical Sources</em> (Archetype, London, 2014).</p></blockquote><h2 id=cochineal>Cochineal</h2><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/2023-01-08_rosenkranz_cochineal-pad.jpg?raw=true" alt=cochineal-plant></p><blockquote><p>Cochineal, covered in a white excretion that acts as a protective layer, on a nopal pad (Naomi Rosenkranz, Altadena, CA, 2023)</p></blockquote><p>Cochineal is a scale insect found on prickly pear or Barbary fig cactus (Opuntia ficusindica (L.)).</p><p>Species name: Dactylopius coccus</p><p>Chemical class: carminic acid (anthraquinone)</p><p>Region: Cultivated in Mexico and Peruvian Andes, before Spain brought to Europe in 1523 where it spread rapidly.</p><blockquote><p>Phipps, Elena. <em>Cochineal Red: the Art History of a Color.</em> New York (N.Y.: The Metropolitan Museum of Art, 2010. Print.)</p></blockquote><h2 id=examples-of-cochineal-in-art>Examples of cochineal in art</h2><p>Cochineal insects have been used for centuries in the Americas as both a red dye and pigment. In the sixteenth century, when they were first brought to Europe, their use proliferated and even continues to this day all around the world.</p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/cochineal-dyes.png?raw=true" alt=cochineal-dyes></p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/cochineal-paintings.png?raw=true" alt=cochineal-paintings></p><h2 id=historical-recipe-for-cochineal-lake>Historical recipe for cochineal lake</h2><p><strong>The &ldquo;Paduan Manuscript&rdquo; (anonymous, Venice, late 16th-17th century)</strong></p><p>Mary P. Merrifield, <em>Medieval and Renaissance Treatises on the Arts of Painting: Original Texts with English Translations</em> (1849, Dover Publications, 1969), pp. 701-702.</p><blockquote><p><em>Another sort of fine lake.</em> Take 12 grains of powdered cochineal or fine grana, add to it 2oz of ley; leave the infusion for about 2 hours; strain it through a linen cloth and put it over hot cinders; When it boils add to it pulverized roche alum of the size of 2 peas then the ley will make a thick red scum; as soon as this happens throw it all onto a stretched linen cloth, when the clear ley will pass through leaving the coagulum on the cloth, which coagulum must afterwards be dried and made into tablets.</p></blockquote><blockquote><p><em>Un altra sorte di lacca fina.</em> - R. Piglia 12 grani di cocciniglia, o grana fina fatta inpolvere, si pone in due oncie di lissivio lasciandola in infusione due hore incirca poi si cola per pano lino, e si mette sopra cenere calda, quando vorrà bollire vi si aggiunge quanto due piselli d'allume di rocca in polvere, quando il liscivo farà schiuma grossa incarnata all' hora si getta tutto in un panno lino steso, e passarà il lissivo chiaro restando la schiuma nel panno, quale si fa seccare, e si fa tavolette.</p></blockquote><h2 id=modernized-recipes-adapted-for-the-laboratory-or-kitchen>Modernized recipes, adapted for the laboratory (or kitchen)</h2><p>The following recipes have been adapted from Chapter 5, &ldquo;Recipes,&rdquo; of Jo Kirby et al, <em><strong>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and their Historical Sources</strong></em> (Archetype, London, 2014).</p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/pigment-lake-overview.png?raw=true" alt=pigment-lake-overview></p><p>There are two modernized versions of this recipe:</p><ol><li><strong>&ldquo;Standard&rdquo;</strong><ul><li>Extraction of cochineal in potash, precipitation of pigment with alum</li></ul></li><li><strong>&ldquo;Standard Reversed&rdquo;</strong><ul><li>Extraction of cochineal in alum, precipitation of pigment with potash</li></ul></li></ol><h2 id=recipe-1-standard>RECIPE 1: &ldquo;Standard&rdquo;</h2><h3 id=materials-and-equipment-recipe-1>Materials and Equipment (Recipe 1)</h3><ul><li>Mortar & pestle</li><li>Hot plate</li><li>Large beaker (at least 1000ml)</li><li>Small beaker (at least 100ml)</li><li>Pair of chopsticks or other stirring device</li><li>Thermometer</li><li>Funnel</li><li>Filter (such as a basket coffee filter) or filter paper</li><li>pH strips</li><li>300ml Water - for potash (large beaker)</li><li>50ml Water - for alum (smaller beaker)</li><li>Drawstring bag (such as a disposable tea bag)</li><li>0.24g Cochineal (the Making and Knowing Project typically sources this from Kremer Pigments, <a href=https://shop.kremerpigments.com/us/shop/dyes-vegetable-color-paints/natural-organic-dyes-vegetable-color-paints/36040-cochineal.html>Kremer #36040-cochineal</a>)</li><li>10g Alum (aluminum potassium sulfate, <a href=https://shop.kremerpigments.com/us/shop/solvents-chemicals-additives/chemicals/64100-potash-alum.html>Kremer #64100-potash-alum</a>)</li><li>4g Potash (potassium carbonate, <a href=https://shop.kremerpigments.com/us/shop/solvents-chemicals-additives/64040-potash.html>Kremer #64040-potash</a>)</li></ul><h3 id=procedure-recipe-1>Procedure (Recipe 1)</h3><ul><li>Grind cochineal in mortar and pestle</li><li>Using a small utensil, add cochineal to the drawstring bag. Close the bag tightly</li><li>Add potash and bag of cochineal to 300ml water in the 1000ml beaker</li><li>Bring to a boil and boil for 15-20 min</li><li>Using heat, dissolve 10g alum in 50 ml water in the 100ml beaker</li><li>Remove the drawstring bag containing the cochineal from the beaker. It can now be discarded</li><li>Add the alum solution very gradually, stirring constantly to the cochineal+potash solution<ul><li>Do this slowly and incrementally, checking the pH of the solution after each addition until a pH of 6-7, there is no further effervescence, and precipitation of the lake pigment appears to be complete</li></ul></li><li>Allow the solution to settle for at least 15min (ideally overnight)</li><li>Pour solution through filter in a funnel</li><li>Once the liquid has drained through, wash the pigment: discard the filtrate and place funnel+filter over a clean container. Pour 100ml of clean water through the filter. Repeat until the filtrate is clear</li><li>Allow the pigment to dry on the filter (at least overnight), then scrape off and use</li></ul><h2 id=recipe-2-standard---reversed>RECIPE 2: &ldquo;Standard - Reversed&rdquo;</h2><h3 id=materials-and-equipment-recipe-2>Materials and Equipment (Recipe 2)</h3><ul><li>Mortar & pestle</li><li>Hot plate</li><li>Large beaker (at least 1000ml)</li><li>Small beaker (at least 100ml)</li><li>Pair of chopsticks or other stirring device</li><li>Thermometer</li><li>Funnel</li><li>Filter (such as a basket coffee filter) or filter paper</li><li>pH strips</li><li>300ml Water - for alum (large beaker)</li><li>50ml Water - for potash (smaller beaker)</li><li>Drawstring bag (such as a disposable tea bag)</li><li>0.24g Cochineal (the Making and Knowing Project typically sources this from Kremer Pigments, <a href=https://shop.kremerpigments.com/us/shop/dyes-vegetable-color-paints/natural-organic-dyes-vegetable-color-paints/36040-cochineal.html>Kremer #36040-cochineal</a>)</li><li>10g Alum (aluminum potassium sulfate, <a href=https://shop.kremerpigments.com/us/shop/solvents-chemicals-additives/chemicals/64100-potash-alum.html>Kremer #64100-potash-alum</a>)</li><li>4g Potash (potassium carbonate, <a href=https://shop.kremerpigments.com/us/shop/solvents-chemicals-additives/64040-potash.html>Kremer #64040-potash</a>)</li></ul><h3 id=procedure-recipe-2>Procedure (Recipe 2)</h3><ul><li>Grind cochineal in mortar and pestle</li><li>Using a small utensil, add cochineal to the drawstring bag. Close the bag tightly</li><li>Add alum and bag of cochineal to 300ml water in the 1000ml beaker</li><li>Bring to a boil and boil for 15-20 min</li><li>Using heat, dissolve 4g potash in 50 ml water in the 100ml beaker</li><li>Remove the drawstring bag containing the cochineal from the beaker. It can now be discarded</li><li>Add the potash solution very gradually, stirring constantly to the cochineal+alum solution<ul><li>Do this slowly and incrementally, checking the pH of the solution after each addition until a pH of 6-7, there is no further effervescence, and precipitation of the lake pigment appears to be complete</li></ul></li><li>Allow the solution to settle for at least 15min (ideally overnight)</li><li>Pour solution through filter in a funnel</li><li>Once the liquid has drained through, wash the pigment: discard the filtrate and place funnel+filter over a clean container. Pour 100ml of clean water through the filter. Repeat until the filtrate is clear</li><li>Allow the pigment to dry on the filter (at least overnight), then scrape off and use</li></ul><h2 id=an-alternative-method-to-using-hotplates-and-beakers>An Alternative Method To Using Hotplates and Beakers</h2><p>If you do not have access to hotplates and heat-safe glass beakers, an alternative method uses a water bath or bain-marie (see this <a href=https://www.thekitchn.com/technique-how-to-make-and-use-70190>cooking blog</a> for more information about bain-maries).</p><h3 id=process>Process</h3><ul><li>On your stove at home, prepare your solutions in mason jars (or other glass jars that can withstand prolonged heating such as pickling or jam jars).</li><li>Place the jars in a large cooking pot (the pot&rsquo;s material doesn&rsquo;t matter – can use steel, ceramic, etc.)<ul><li>NOTE: be careful about using these pots to prepare foods after you have dyed with them if you are working with materials that are not food safe.</li><li>NOTE: the natural colorants can stain light-colored surfaces, so be careful if using ceramic or glass pots.</li></ul></li><li>Fill the pot with enough water to come up past the solutions in your mason jars, being careful not to contaminate the solutions inside your jars</li><li>Heat the pot on your stove and follow the procedure for preparing lake pigments</li></ul><p><strong>Advantages and Notes</strong></p><ul><li>This is one way to prepare pigments at home without beakers or other shock-resistant containers</li><li>Beakers, Pyrex, and other borosilicate glass is specially formulated to withstand direct high heat (like when placed directly on a hot plate) as well as shocks or sudden changes in temperature (like placing a hot glass vessel with your bath onto a cold surface like a counter)</li><li>Regular glass, including mason jars, are not formulated in this way, and so it can be very dangerous (and messy) if used in the same way as beakers – direct high heat or sudden change can cause the glass to shatter</li><li>This method also allows for easier preparation without a thermometer</li><li>The temperature of your baths is determined by the temperature of the water in the pot</li><li>You will know the baths have approximately reached the desired temperature range of 80-100 °C when the water in the pot is beginning to simmer</li><li>Because water boils and begins to evaporate at 100 °C, your solutions will never exceed 100 °C, the temperature at which the colorants can begin to degrade. This is an easy way to prepare solutions without a thermometer and ensure you are not reaching high temperature levels</li><li>If the water in the pot begins to boil or simmer violently, your jars will start to shake and move around the pot. If this happens, it is a sign to turn your heat down</li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 7.057-10.486C21.08-.394 28.565-3.5 37.441-3.5zm.116 5.772c-7.314.0-13.467 2.553-18.458 7.657-2.515 2.553-4.448 5.419-5.8 8.6a25.204 25.204.0 00-2.029 9.972c0 3.429.675 6.734 2.029 9.913 1.353 3.183 3.285 6.021 5.8 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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#lake-pigments>Lake Pigments</a></li><li><a href=#madder-roots>Madder Roots</a></li><li><a href=#modernized-recipes-adapted-for-the-laboratory-or-kitchen>Modernized recipes, adapted for the laboratory (or kitchen)</a></li><li><a href=#1-basis-for-standard-madder-lake>1. Basis for “Standard” madder lake</a></li><li><a href=#2-basis-for-standard-reversed-madder-lake>2. Basis for “Standard Reversed” madder lake</a></li><li><a href=#3-basis-for-standard-with-alum-extraction>3. Basis for “Standard with Alum Extraction”</a></li><li><a href=#recipe-1-standard>RECIPE 1: “Standard”</a><ul><li><a href=#materials-and-equipment-recipe-1>Materials and Equipment (Recipe 1)</a></li><li><a href=#procedure-recipe-1>Procedure (Recipe 1)</a></li></ul></li><li><a href=#recipe-2-standard-reversed>RECIPE 2: “Standard Reversed”</a><ul><li><a href=#materials-and-equipment-recipe-2>Materials and Equipment (Recipe 2)</a></li><li><a href=#procedure-recipe-2>Procedure (Recipe 2)</a></li></ul></li><li><a href=#recipe-3-standard-with-alum-extraction>RECIPE 3: “Standard with Alum Extraction”</a><ul><li><a href=#materials-and-equipment-recipe-3>Materials and Equipment (Recipe 3)</a></li><li><a href=#procedure-recipe-3>Procedure (Recipe 3)</a></li></ul></li><li><a href=#an-alternative-method-to-using-hotplates-and-beakers>An Alternative Method To Using Hotplates and Beakers</a><ul><li><a href=#process>Process</a></li></ul></li></ul></nav></aside><content><h1 id=making-lake-pigment-with-madder-a-historical-reconstruction>MAKING LAKE PIGMENT WITH MADDER: A HISTORICAL RECONSTRUCTION</h1><blockquote><p><em>The Making and Knowing Project, Columbia University</em><br><em>Last updated 2023-09-29 by NJR</em></p></blockquote><p>If you are not already familiar with historical pigments and natural colorants, refer to <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/presentation_sp23_rosenkranz_naomi_lakes_madder-history-chem-prep.pdf><u>Presentation: Madder Lake: History, Chemistry, and Preparation</u></a> for more complete information and further explanation of natural colorants and lake pigments.</p><p><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/presentation_sp23_rosenkranz_naomi_lakes_madder-history-chem-prep.pdf><img src="https://cu-mkp.github.io/research-teaching-companion/images/madder-lake-presentation.jpg?raw=true" alt="Presentation: Madder Lake: History, Chemistry, and Preparation"></a></p><p>Refer also to:</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/introduction-paints-pigments_njr_2021.pdf>Presentation: Introduction to Pigments & Paints</a> - a general introduction to colorants</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/sp22_fld_rosenkranz_naomi_madder-lake-trio/>Making Pigment from Madder: a Trio of Recipes</a> - helpful step-by-step fieldnotes for all three madder pigment recipes described below</li></ul><h2 id=lake-pigments>Lake Pigments</h2><p>Lake pigments are a type of pigment prepared from organic natural colorants: plant and animal sources. As most organic natural colorants are soluble, they cannot be mixed directly with a binding medium and therefore cannot be used as a pigment. These colorants must therefore be extracted and then made insoluble in order to use them as pigments.</p><p><strong>Lake pigments:</strong> in general, pigments prepared from soluble natural colorants, formed by precipitating (or adsorbing) the dye onto a colorless or white, insoluble, relatively inert substrate.</p><blockquote><p>Jo Kirby et al, <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and their Historical Sources</em> (Archetype, London, 2014).</p></blockquote><p>The recipes provided here are adapted from the ones provided by Kirby et. al.</p><h2 id=madder-roots>Madder Roots</h2><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/madder-roots.jpg?raw=true" alt=madder-roots></p><blockquote><p>Photo credit: Felicity Ford, 2011, Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. <a href="http://thedomesticsoundscape.com/wordpress/?attachment_id=3451">http://thedomesticsoundscape.com/wordpress/?attachment_id=3451</a></p></blockquote><p>Botanical name: <em>Rubia tinclorum L.</em></p><p>Chemical class: alizarin (anthraquinone)</p><p>Region: Native to Middle East and east Mediterranean, then spread to Europe.</p><p>Dye type: Mordant dye.</p><p>Range of red-orange-brown dyes obtained from the roots of a bedstraw.</p><h2 id=modernized-recipes-adapted-for-the-laboratory-or-kitchen>Modernized recipes, adapted for the laboratory (or kitchen)</h2><p>From the late 14<sup>th</sup> century to the 17<sup>th</sup> century, madder lakes seem to be most commonly extracted from madder-dyed wool and not the roots (raw dyestuffs). Recipes from before (antiquity) and after (18<sup>th</sup> and 19<sup>th</sup> centuries) tend to extract from the roots directly. Thus, the modern recipes adapted here are from this later period.</p><p>There are three modernized versions of the historical recipes:</p><ol><li><p><strong>“Standard”</strong> - [Code: ML-Std in <em>Natural Colorants</em>]</p><ol><li>Extract madder in water, then add alum, precipitation of pigment with potash</li></ol></li><li><p><strong>“Standard Reversed”</strong> - [Code: ML-EBAl in <em>Natural Colorants</em>]</p><ol><li><p>Extract madder in water, then add potash, precipitation of pigment with alum</p></li><li><p>Color is said to be a very slightly redder, less brown than Standard</p></li></ol></li><li><p><strong>“Standard with Alum Extraction”</strong> - [Code: ML-Std in <em>Natural Colorants</em>]</p><ol><li><p>Extraction of madder in alum, precipitation of pigment with potash</p></li><li><p>Color is said to be a brighter red than Standard</p></li></ol></li></ol><h2 id=1-basis-for-standard-madder-lake>1. Basis for “Standard” madder lake</h2><p><strong>(19th century)</strong></p><p>L. Marcucci, <em>Saggio analitico-chimico sopra i colori minerali e mezzi di procurarsi gli artefatti, gli smalti e le vernici</em> (1816, 2nd edn. Rome: Nella Stamperia di Lino Contedini), p. 121.</p><blockquote><p>Recipe for <em>Lacca rossa di Rubbia</em>: Put 15 lb (5086.08 g) water and
 one pound (339.07 g) Zealand madder into a glazed earthenware vessel;
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#activity-1-explore-the-manuscript-folioshttpsedition640makingandknowingorgfolios>Activity 1: Explore the <a href=https://edition640.makingandknowing.org/#/folios>Manuscript Folios</a></a></li><li><a href=#activity-2-explore-the-list-of-entrieshttpsedition640makingandknowingorgentries-which-is-an-index-of-the-900-entries-of-the-manuscript>Activity 2: Explore the <a href=https://edition640.makingandknowing.org/#/entries>List of Entries</a>, which is an index of the 900+ entries of the manuscript</a></li><li><a href=#further-explorations>Further Explorations</a></li></ul></nav></aside><content><h1 id=secrets-of-craft-and-nature-reconnaissance-directed-scavenger-hunt><em>Secrets of Craft and Nature</em> Reconnaissance (Directed Scavenger Hunt)</h1><p>A downloadable version of this assignment: [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/scavenger-hunt-recon_downloadable_2022.pdf>PDF</a>]</p><p>BnF Ms. Fr. 640 has 170 folios (340 pages) with over 900 entries on metalworking, casting, painting, medicine, and sleight of hand tricks. This is an exercise with two activities to help become familiar with the online Edition and Translation of Ms. Fr. 640: <a href=https://edition640.makingandknowing.org><em>Secrets of Craft and Nature</em></a>.</p><p>Before you start, watch this <a href=https://vimeo.com/998222542>video</a> for tips on navigating through <em>Secrets of Craft and Nature</em>.</p><h2 id=activity-1-explore-the-manuscript-folioshttpsedition640makingandknowingorgfolios>Activity 1: Explore the <a href=https://edition640.makingandknowing.org/#/folios>Manuscript Folios</a></h2><p><a href=https://edition640.makingandknowing.org/#/folios><img src="https://cu-mkp.github.io/research-teaching-companion/images/scavenger-hunt-2_3r.JPG?raw=true" alt="Dual-pane display of folio 3r of Ms. Fr. 640"></a></p><p>Choose a linked folio from below and find:</p><ul><li>2 features you think are important to note or are useful</li><li>2 things (edition features or manuscript content) you have questions about</li><li>1 thing you are excited about</li></ul><p>Suggested folios:</p><ul><li><a href=https://edition640.makingandknowing.org/#/folios/5r/f/5r/tl>Fol. 5r</a></li><li><a href=https://edition640.makingandknowing.org/#/folios/10r/f/10r/tl>Fol. 10r</a></li><li><a href=https://edition640.makingandknowing.org/#/folios/34r/tl>Fol. 34r</a></li><li><a href=https://edition640.makingandknowing.org/#/folios/124v/f/124v/tl>Fol. 124v</a></li><li><a href=https://edition640.makingandknowing.org/#/folios/152r/f/152r/tl>Fol. 152r</a></li></ul><h2 id=activity-2-explore-the-list-of-entrieshttpsedition640makingandknowingorgentries-which-is-an-index-of-the-900-entries-of-the-manuscript>Activity 2: Explore the <a href=https://edition640.makingandknowing.org/#/entries>List of Entries</a>, which is an index of the 900+ entries of the manuscript</h2><p><a href=https://edition640.makingandknowing.org/#/entries><img src="https://cu-mkp.github.io/research-teaching-companion/images/scavenger-hunt-2_listofentries.JPG?raw=true" alt="List of Entries webpage of the Secrets of Craft and Nature"></a></p><ul><li>Choose a <strong>Category</strong> on left hand side.<ul><li>How many entries do you see?</li></ul></li><li>Click on one of the entries in the list.<ul><li>What kinds of tags are present?</li></ul></li><li>Unclick your <strong>Category</strong> and instead pick a <strong>Tag</strong> to filter the list by (you may need to collapse the Category list).<ul><li>How many entries do you see?</li><li>What categories are they?</li><li>What other tags seem to co-occur frequently?</li></ul></li></ul><h2 id=further-explorations>Further Explorations</h2><p>For additional resources found in the Edition, see the 120+ <a href=https://edition640.makingandknowing.org/#/essays>Research Essays</a> and other <a href=https://edition640.makingandknowing.org/#/content/resources>Resources</a>.</p><p>For an account of how the Making and Knowing Project created the edition through courses and workshops:</p><ul><li><strong>Explore</strong> <a href=http://www.makingandknowing.org/>the Making and Knowing Project Website</a>, especially the tab “Project Components.”</li><li><strong>Read</strong> Pamela H. Smith, “<a href=https://edition640.makingandknowing.org/#/essays/ann_329_ie_19>Making the Edition</a>,” in <em>Secrets of Craft and Nature</em>.</li></ul><p>For more context on Ms. Fr. 640, see Pamela H. Smith, “<a href=https://edition640.makingandknowing.org/#/essays/ann_300_ie_19>An Introduction to Ms. Fr. 640 and its Author-Practitioner</a>,” in <em>Secrets of Craft and Nature</em>.</p><p>Explore the student projects, resoures, and assignments for hands-on activities on the <a href=https://teaching640.makingandknowing.org/>Research and Teaching Companion</a>.</p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
diff --git a/resources/activity-sheets/scavenger-hunt_secrets-of-craft/index.html b/resources/activity-sheets/scavenger-hunt_secrets-of-craft/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#teaching-resources>Teaching Resources</a></li></ul></nav></aside><content><h1 id=scavenger-hunt-get-to-know-secrets-of-craft-and-nature>Scavenger Hunt: Get to know <em>Secrets of Craft and Nature</em></h1><p><strong>Browse</strong> the online Edition of Ms. Fr. 640: <a href=https://edition640.makingandknowing.org><em>Secrets of Craft and Nature</em></a>.</p><p><strong>Explore</strong> each menu item.</p><p><strong>Watch</strong> this <a href=https://vimeo.com/998222542>video</a> for tips on navigating through <em>Secrets of Craft and Nature</em>.</p><p><strong>Complete</strong> the <strong>scavenger hunt</strong> of the Edition</p><ul><li>Pick three of the following terms (or another term of your choosing), and use the search bar to search the manuscript: <ul><li>&ldquo;mercury,&rdquo;</li><li>&ldquo;bread,&rdquo;</li><li>&ldquo;rat,&rdquo;</li><li>&ldquo;dog,&rdquo;</li><li>&ldquo;cuttlefish,&rdquo;</li><li>&ldquo;saliva,&rdquo;</li><li>&ldquo;garlic,&rdquo;</li><li>&ldquo;blood,&rdquo;</li><li>&ldquo;rosemary,&rdquo;</li><li>&ldquo;milk,&rdquo;</li><li>&ldquo;horse,”</li><li>“earwax”</li></ul></li><li>Browse the results and select <strong>one</strong> of the occurrences in the manuscript that you find interesting. Please note the page number (e.g., fol. 76v) and URL (e.g., <a href=https://edition640.makingandknowing.org/#/folios/76v/f/76v/tl>https://edition640.makingandknowing.org/#/folios/76v/f/76v/tl</a>) from which you viewed the recipe or entry containing the term. <strong>Keep notes for discussion.</strong></li><li>What is the recipe for? Is it a recipe at all? If not, how would you characterize it? How is the relevant object/material/animal used in the recipe? Was this use or the material surprising to you? How does this manuscript entry relate to the study of material culture, art history, or the history of science? Could you reconstruct this object/material?</li><li>Is there an essay associated with this entry in the manuscript (click on the beaker icon on the right of the entry)? Does it provide new insights or answer your questions about this recipe?</li></ul><h2 id=teaching-resources>Teaching Resources</h2><p>For an account of how the Making and Knowing Project created the edition through courses and workshops:</p><ul><li><strong>Explore</strong> <a href=http://www.makingandknowing.org/>the Making and Knowing Project Website</a>, especially the tab “Project Components.”</li><li><strong>Read</strong> Pamela H. Smith, “<a href=https://edition640.makingandknowing.org/#/essays/ann_329_ie_19>Making the Edition</a>,” in <em>Secrets of Craft and Nature in Renaissance France</em>.</li></ul><p>For more context on Ms. Fr. 640, see Pamela H. Smith, “<a href=https://edition640.makingandknowing.org/#/essays/ann_300_ie_19>An Introduction to Ms. Fr. 640 and its Author-Practitioner</a>,” in <em>Secrets of Craft and Nature in Renaissance France</em>.</p><p>Explore the syllabi, student projects, and assignments for hands-on activities on</p><ul><li><strong>The <a href=https://teaching640.makingandknowing.org/>Research and Teaching Companion</a></strong>.</li></ul><p><strong>The Making and Knowing Project</strong> is very interested in your user experience of the Edition and Sandbox, and how you integrate them into your own research and teaching. Please send any feedback or suggestions to Pamela Smith at <a href=mailto:ps2270@columbia.edu>ps2270@columbia.edu</a>.</p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 7.057-10.486C21.08-.394 28.565-3.5 37.441-3.5zm.116 5.772c-7.314.0-13.467 2.553-18.458 7.657-2.515 2.553-4.448 5.419-5.8 8.6a25.204 25.204.0 00-2.029 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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
diff --git a/resources/activity-sheets/sp22_fld_rosenkranz_naomi_madder-lake-trio/index.html b/resources/activity-sheets/sp22_fld_rosenkranz_naomi_madder-lake-trio/index.html
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#modernized-recipes-adapted-for-the-laboratory-or-kitchen>Modernized recipes, adapted for the laboratory (or kitchen)</a></li><li><a href=#recipe-1-standard>RECIPE 1: “Standard”</a><ul><li><a href=#materials-and-equipment-recipe-1>Materials and Equipment (Recipe 1)</a></li><li><a href=#procedure-recipe-1>Procedure (Recipe 1)</a></li></ul></li><li><a href=#recipe-2-standard-reversed>RECIPE 2: “Standard Reversed”</a><ul><li><a href=#materials-and-equipment-recipe-2>Materials and Equipment (Recipe 2)</a></li><li><a href=#procedure-recipe-2>Procedure (Recipe 2)</a></li></ul></li><li><a href=#recipe-3-standard-with-alum-extraction>RECIPE 3: “Standard with Alum Extraction”</a><ul><li><a href=#materials-and-equipment-recipe-3>Materials and Equipment (Recipe 3)</a></li><li><a href=#procedure-recipe-3>Procedure (Recipe 3)</a></li></ul></li><li><a href=#a-visual-comparison-of-recipes-1-2-and-3>A Visual Comparison of Recipes 1, 2, and 3</a><ul><li><a href=#heating-solutions-to-extract-dye>Heating solutions to extract dye</a></li><li><a href=#solutions-after-heating-for-half-hour>Solutions after heating for half hour</a></li><li><a href=#beakers-after-solutions-have-been-combined-and-foam-has-settled>Beakers after solutions have been combined and foam has settled</a></li><li><a href=#solutions-poured-through-filters>Solutions poured through filters</a></li><li><a href=#solutions-three-days-later>Solutions three days later</a></li><li><a href=#pigments-during-wash>Pigments during wash</a></li></ul></li><li><a href=#lake-painting>Lake Painting</a><ul><li><a href=#22042022>22/04/2022</a></li><li><a href=#25042022>25/04/2022</a></li></ul></li><li><a href=#an-alternative-method-to-using-hotplates-and-beakers>An Alternative Method To Using Hotplates and Beakers</a><ul><li><a href=#process>Process</a></li></ul></li></ul></nav></aside><content><h1 id=making-lake-pigment-with-madder-a-historical-reconstruction>MAKING LAKE PIGMENT WITH MADDER: A HISTORICAL RECONSTRUCTION</h1><blockquote><p><em>The Making and Knowing Project, Columbia University</em><br><em>Last updated 2022-01-29 by NJR</em></p></blockquote><p>As summarized in <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/pigment-madder-lake_assignment/>Activity Sheet: Making Lake Pigment with Madder</a>, there are three historical recipe types for making lake pigment from madder. In Spring 2022, Naomi Rosenkranz and Charlotte Atkins undertook all three versions at once to make direct comparisons between them. Their field notes, working from the activity sheet, are presented below with extensive images of the process. They show the Making and Knowing Project&rsquo;s method for reconstruction of the process of lake pigment making from madder roots in the M&amp;K lab.</p><p>Refer to:</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/pigment-madder-lake_assignment/>Activity Sheet: Making Lake Pigment with Madder</a> for the activity sheet with recipes and background information</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/presentation_sp23_rosenkranz_naomi_lakes_madder-history-chem-prep.pdf><u>Presentation: Madder Lake: History, Chemistry, and Preparation</u></a> for more complete information and further explanation of natural colorants and lake pigments</li></ul><p>The recipes provided here are adapted from the ones provided in Jo Kirby et al, <em>Natural Colorants for Dyeing and Lake Pigments: Practical Recipes and their Historical Sources</em> (Archetype, London, 2014).</p><h2 id=modernized-recipes-adapted-for-the-laboratory-or-kitchen>Modernized recipes, adapted for the laboratory (or kitchen)</h2><p>From the late 14<sup>th</sup> century to the 17<sup>th</sup> century, madder lakes seem to be most commonly extracted from madder-dyed wool and not the roots (raw dyestuffs). Recipes from before (antiquity) and after (18<sup>th</sup> and 19<sup>th</sup> centuries) tend to extract from the roots directly. Thus, the modern recipes adapted here are from this later period.</p><p>There are three modernized versions of the historical recipes:</p><ol><li><p><strong>“Standard”</strong> - [Code: ML-Std in <em>Natural Colorants</em>]</p><ol><li>Extract madder in water, then add alum, precipitation of pigment with potash</li></ol></li><li><p><strong>“Standard Reversed”</strong> - [Code: ML-EBAl in <em>Natural Colorants</em>]</p><ol><li><p>Extract madder in water, then add potash, precipitation of pigment with alum</p></li><li><p>Color is said to be a very slightly redder, less brown than Standard</p></li></ol></li><li><p><strong>“Standard with Alum Extraction”</strong> - [Code: ML-Std in <em>Natural Colorants</em>]</p><ol><li><p>Extraction of madder in alum, precipitation of pigment with potash</p></li><li><p>Color is said to be a brighter red than Standard</p></li></ol></li></ol><h2 id=recipe-1-standard>RECIPE 1: “Standard”</h2><h3 id=materials-and-equipment-recipe-1>Materials and Equipment (Recipe 1)</h3><ul><li>Mortar & pestle</li><li>Hot plate</li><li>2 Beakers (at least 600ml)</li><li>Pair of chopsticks or other stirring device</li><li>Thermometer</li><li>Funnel</li><li>Filter (such as a basket coffee filter) or filter paper</li><li>pH strips</li><li>300ml Water - for madder</li><li>50ml Water - for alum</li><li>Drawstring bag (muslin or polyester netting is best)</li><li>10g Madder roots (the Making and Knowing Project typically sources this from Kremer Pigments, <a href=https://shop.kremerpigments.com/us/shop/dyes-vegetable-color-paints/37201-madder-roots-ground-with-pieces.html>Kremer #37201-madder-roots</a>)</li><li>5g Alum (aluminum potassium sulfate, <a href=https://shop.kremerpigments.com/us/shop/solvents-chemicals-additives/chemicals/64100-potash-alum.html>Kremer #64100-potash-alum</a>)</li><li>1.88g Potash (potassium carbonate, <a href=https://shop.kremerpigments.com/us/shop/solvents-chemicals-additives/64040-potash.html>Kremer #64040-potash</a>)</li></ul><h3 id=procedure-recipe-1>Procedure (Recipe 1)</h3><ul><li>Coarsely grind madder roots in mortar and pestle</li><li>Using a small utensil, add madder to the drawstring bag. Close the bag tightly, but make sure there is enough room in the bag for the madder to move around freely. Use multiple bags if necessary</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031201157/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_003><img src=https://live.staticflickr.com/65535/52031201157_6656d5841c.jpg alt="Ground powder in bag on scale that reads 512g"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032277458/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_004><img src=https://live.staticflickr.com/65535/52032277458_ed532d26fc.jpg alt="Ground powder in bag on scale that reads 493g"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032277498/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_005><img src=https://live.staticflickr.com/65535/52032277498_a4b52441eb.jpg alt="Drawstring bag in beaker labeled Standard 1"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Add 300ml water and bag of madder to 600ml beaker and leave to soak overnight<ul><li>NOTE: soaking overnight can be skipped for time constraints, but the amount of colorant extracted will be affected, possibly changing the the final pigment</li></ul></li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032275943/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_009><img src=https://live.staticflickr.com/65535/52032275943_a0b17c883c.jpg alt="Madder bag soaking in beaker filled halfway with water and labeled Standard 1, beaker is on scale that reads 298.96g"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>After soaking overnight (if doing so), add alum and heat the madder+water+alum to 70°</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032243261/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_010><img src=https://live.staticflickr.com/65535/52032243261_06a4708c82.jpg alt="Beaker labeled Standard 1 is on the stovetop, still has madder bag inside"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032761105/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_016><img src=https://live.staticflickr.com/65535/52032761105_94d22c5926.jpg alt="Beaker labeled Standard 1 is on the stovetop, still has madder bag inside, thermometer shows temperature at 73 degrees F"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Keep at this temperature for 30 minutes to extract the dye</li><li>Remove the drawstring bag, which can now be discarded</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032495864/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_032><img src=https://live.staticflickr.com/65535/52032495864_27ec2b85a7.jpg alt="Hand removes bag from Standard 1 beaker"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Add 5g alum to the solution and bring to 80°</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031203107/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_034><img src=https://live.staticflickr.com/65535/52031203107_666f734b5c.jpg alt="Small cup containing white grainy substance is held near Standard 1 beaker"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032279678/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_035><img src=https://live.staticflickr.com/65535/52032279678_029165a43a.jpg alt="Standard 1 beaker on heat, small cup nearby is now empty"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>In the other 600ml beaker, dissolve 1.88g potash in 50ml water over heat</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032278828/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_026><img src=https://live.staticflickr.com/65535/52032278828_e6d2a08688.jpg alt="Beaker containing potash and water is on scale showing 52.08g"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032279828/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_037><img src=https://live.staticflickr.com/65535/52032279828_61851f89b8.jpg alt="Two beakers on stovetop, left labeled Standard Potash and Water and right labeled Standard 1 and Alum"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Pour the madder+alum solution into the potash solution VERY GRADUALLY and STIRRING CONSTANTLY<ul><li>Do this slowly and incrementally, checking the pH of the solution after each addition until a pH of 6-7, there is no further effervescence, and precipitation of the lake pigment appears to be complete</li></ul></li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032246396/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_046><img src=https://live.staticflickr.com/65535/52032246396_73a031bb97.jpg alt="Reddish liquid in one beaker is poured into another, the contents of which are also reddish"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031204487/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_047><img src=https://live.staticflickr.com/65535/52031204487_ecab0a5c80.jpg alt="Beaker labeled Standard Potash and Water is full to around 125ml with red liquid and to around 550ml with pink foam"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031200817/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_048><img src=https://live.staticflickr.com/31337/52031200817_f6eb037be1.jpg alt="Video of a hand using a stick to vigorously stir the contents of the Standard Potash and Water beaker"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032280873/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_049><img src=https://live.staticflickr.com/65535/52032280873_4abae658f3.jpg alt="Overhead shot of Standard Potash and Water beaker, which is full of reddish liquid and pinkish foam"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032763925/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_050><img src=https://live.staticflickr.com/65535/52032763925_efc7b3ddcf.jpg alt="Standard Potash and Water beaker full to about 325ml with reddish liquid and 500ml with pinkish foam"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032764410/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_054><img src=https://live.staticflickr.com/65535/52032764410_8eef1c5573.jpg alt="Used pH strip lying next to pH color chart, strip color not discernable"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032247106/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_055><img src=https://live.staticflickr.com/65535/52032247106_9c20f3e112.jpg alt="Used pH strip lying next to pH color chart and strip color mark, color mark is greenish and labeled 6-7"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Allow the solution to settle for at least 15min (ideally overnight)</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032281008/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_051><img src=https://live.staticflickr.com/65535/52032281008_45e78cd77c.jpg alt="Overhead shot of Standard Potash and Water beaker with much less foam than in last picture"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032246806/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_052><img src=https://live.staticflickr.com/65535/52032246806_4bea121807.jpg alt="Standard Potash and Water beaker full to about 325ml with reddish liquid with hardly any pinkish foam atop"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Pour solution through filter in a funnel</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032249506/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_081><img src=https://live.staticflickr.com/65535/52032249506_5a5ceb9e3b.jpg alt="Funnel containing filter is positioned over an empty glass jar labeled Standard Madder Lake"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032249636/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_083><img src=https://live.staticflickr.com/65535/52032249636_1613a44bb7.jpg alt="Reddish contents of Standard Potash and Water beaker are poured into the funnel&rsquo;s filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031207957/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_084><img src=https://live.staticflickr.com/65535/52031207957_13136c6926.jpg alt="Overhead shot of reddish liquid draining in filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032500809/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_085><img src=https://live.staticflickr.com/65535/52032500809_20650371d8.jpg alt="Reddish liquid drained through filter into Standard Madder Lake jar"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032285718/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_102><img src=https://live.staticflickr.com/65535/52032285718_2aea519e7e.jpg alt="Overhead shot of reddish liquid draining in filter, now less full"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032251456/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_101><img src=https://live.staticflickr.com/65535/52032251456_de376ce4af.jpg alt="Reddish liquid drained through filter into Standard Madder Lake jar, now more full"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Once the liquid has drained through, wash the pigment: discard the filtrate and place funnel+filter over a clean container. Pour 100ml of clean water through the filter. Repeat until the filtrate is clear</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031210277/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_002><img src=https://live.staticflickr.com/65535/52031210277_8987a28251.jpg alt="Reddish liquid drained through filter into Standard Madder Lake jar, now much more full"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032252381/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_003><img src=https://live.staticflickr.com/65535/52032252381_123aaf8220.jpg alt="Overhead shot of dried and cracked pigment on filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032504304/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_019><img src=https://live.staticflickr.com/65535/52032504304_6b3823b902.jpg alt="Overhead shot of hand holding WASH 1 sign next to wet pigment in wet filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032504419/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_020><img src=https://live.staticflickr.com/65535/52032504419_e08a282e87.jpg alt="Hand holds WASH 1 sign next to glass jar filled with clear water, atop which are the funnel and the filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032771395/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_028><img src=https://live.staticflickr.com/65535/52032771395_2f3bfd77db.jpg alt="Overhead shot of hand holding WASH 2 sign next to wet pigment in wet filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032288963/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_029><img src=https://live.staticflickr.com/65535/52032288963_472cc153fc.jpg alt="Hand holds WASH 2 sign next to glass jar filled with clear water, atop which are the funnel and the filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032505799/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_004><img src=https://live.staticflickr.com/65535/52032505799_6427b82a19.jpg alt="Overhead shot of dried reddish pigment in the aftermath of second wash"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032254996/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_003><img src=https://live.staticflickr.com/65535/52032254996_589b289d3b.jpg alt="Standard Madder Lake jar is now more full of filtered water"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Allow the pigment to dry on the filter (at least overnight), then scrape off and use</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032255841/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_012><img src=https://live.staticflickr.com/65535/52032255841_efa16dfabc.jpg alt="Filter is inside plastic bag labeled Standard Madder Lake"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032492489/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_013><img src=https://live.staticflickr.com/65535/52032492489_20ec557a74.jpg alt="Dry filter containing reddish pigment"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032290343/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_014><img src=https://live.staticflickr.com/65535/52032290343_fa21f290b9.jpg alt="Zoomed-in photo of dry filter containing reddish pigment"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032290388/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_015><img src=https://live.staticflickr.com/65535/52032290388_bf0624bc49.jpg alt="Reddish pigment from filter is removed and now on paper"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032506784/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_016><img src=https://live.staticflickr.com/65535/52032506784_a9ab66d50d.jpg alt="Leftover filter with pigment removed"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032290583/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_017><img src=https://live.staticflickr.com/65535/52032290583_a7d692c60c.jpg alt="Pigment in vial"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><h2 id=recipe-2-standard-reversed>RECIPE 2: “Standard Reversed”</h2><h3 id=materials-and-equipment-recipe-2>Materials and Equipment (Recipe 2)</h3><ul><li>Mortar & pestle</li><li>Hot plate</li><li>1 Beaker (at least 600ml)</li><li>1 Beaker (at least 100ml)</li><li>Pair of chopsticks or other stirring device</li><li>Thermometer</li><li>Funnel</li><li>Filter (such as a basket coffee filter) or filter paper</li><li>pH strips</li><li>300ml - Water for madder</li><li>30ml - Water for alum</li><li>Drawstring bag (muslin or polyester netting is best)</li><li>10g Madder roots (the Making and Knowing Project typically sources this from Kremer Pigments, <a href=https://shop.kremerpigments.com/us/shop/dyes-vegetable-color-paints/37201-madder-roots-ground-with-pieces.html>Kremer #37201-madder-roots</a>)</li><li>5g Alum (aluminum potassium sulfate, <a href=https://shop.kremerpigments.com/us/shop/solvents-chemicals-additives/chemicals/64100-potash-alum.html>Kremer #64100-potash-alum</a>)</li><li>1.88g Potash (potassium carbonate, <a href=https://shop.kremerpigments.com/us/shop/solvents-chemicals-additives/64040-potash.html>Kremer #64040-potash</a>)</li></ul><h3 id=procedure-recipe-2>Procedure (Recipe 2)</h3><ul><li>Coarsely grind madder roots in mortar and pestle</li><li>Using a small utensil, add madder to the drawstring bag. Close the bag tightly, but make sure there is enough room in the bag for the madder to move around freely. Use multiple bags if necessary</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031201297/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_006><img src=https://live.staticflickr.com/65535/52031201297_d8853df64a.jpg alt="Ground powder in bag on scale that reads 506g"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032760620/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_007><img src=https://live.staticflickr.com/65535/52032760620_b57a6e0051.jpg alt="Ground powder in bag on scale that reads 511g"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032494194/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_008><img src=https://live.staticflickr.com/65535/52032494194_32cd86c4c7.jpg alt="Drawstring bag in beaker labeled Standard 2"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Add 300ml water and bag of madder to 600ml beaker and leave to soak overnight<ul><li>NOTE: soaking overnight can be skipped for time constraints, but the amount of colorant extracted will be affected, possibly changing the the final pigment</li></ul></li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032760755/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_011><img src=https://live.staticflickr.com/65535/52032760755_3ba89e76da.jpg alt="Madder bag soaking in beaker filled halfway with water and labeled Standard Reversed 2, beaker is on scale that reads 304.47g"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>After soaking overnight (if doing so), heat the madder+water to 70°</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032277778/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_012><img src=https://live.staticflickr.com/65535/52032277778_37d33879e6.jpg alt="Beaker labeled Standard Reversed 2 is on the stovetop, still has madder bag inside"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Keep at this temperature for 30 minutes to extract the dye</li><li>Remove the drawstring bag, which can now be discarded</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032279883/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_038><img src=https://live.staticflickr.com/65535/52032279883_3cf032508b.jpg alt="Hand removes bag from Standard Reversed 2 beaker"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031203632/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_039><img src=https://live.staticflickr.com/65535/52031203632_530b66f0e0.jpg alt="Standard Reversed 2 beaker is on stovetop, halfway full of reddish liquid and no drawstring bag"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Add 1.88g potash to the solution and bring to 80°</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031203987/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_041><img src=https://live.staticflickr.com/65535/52031203987_6fb881ddbf.jpg alt="Standard Reversed 2 and Potash beaker is on stovetop, is full to about 300ml with reddish liquid"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032763230/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_042><img src=https://live.staticflickr.com/65535/52032763230_e445eb27f1.jpg alt="Overhead shot of Standard Reversed 2 and Potash beaker, which contains reddish liquid and no foam"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>In the 100ml beaker, dissolve 5g alum in 30ml water over heat</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032761740/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_027><img src=https://live.staticflickr.com/65535/52032761740_1617e27173.jpg alt="Beaker labeled 2 Standard Reverse Alum and Water is on scale showing 35.55g"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031205312/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_056><img src=https://live.staticflickr.com/65535/52031205312_041ca00cdb.jpg alt="Two beakers on stovetop, left labeled 2 Standard Reverse Alum and Water and right labeled Standard Reversed 2 and Potash"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Pour alum solution into the madder+potash solution VERY GRADUALLY and STIRRING CONSTANTLY<ul><li>Do this slowly and incrementally until there is no further effervescence, and precipitation of the lake pigment appears to be complete. Check the pH of the solution, which should be about 6</li></ul></li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032493744/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_060><img src=https://live.staticflickr.com/31337/52032493744_8b5cda010c.jpg alt="Clear liquid in Alum beaker is poured into Standard Reversed 2 and Potash beaker, the contents of which are reddish"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032764995/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_061><img src=https://live.staticflickr.com/65535/52032764995_251d5f0138.jpg alt="Beaker labeled Standard Reversed 2 and Potash is full to around 150ml with red liquid and to around 500ml with pink foam"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032242041/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_062><img src=https://live.staticflickr.com/31337/52032242041_876ba5127e.jpg alt="Hand stirs Standard Reversed 2 and Potash beaker vigorously with stick"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032498649/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_063><img src=https://live.staticflickr.com/65535/52032498649_b8816052ec.jpg alt="Beaker sits on cooling pad, contains mostly reddish liquid and some foam"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032765235/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_064><img src=https://live.staticflickr.com/65535/52032765235_8c29dd30c6.jpg alt="Used pH strip labeled 5-6"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Allow the solution to settle for at least 15min (ideally overnight)</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032250016/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_087><img src=https://live.staticflickr.com/65535/52032250016_546f1d0a1d.jpg alt="Standard Reversed 2 and Potash beaker full to about 290ml with reddish liquid with hardly any pinkish foam atop"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Pour solution through filter in a funnel</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032284238/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_086><img src=https://live.staticflickr.com/65535/52032284238_7872267128.jpg alt="Funnel containing filter is positioned over an empty glass jar labeled 2 Standard Reversed Madder Lake"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032250366/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_089><img src=https://live.staticflickr.com/65535/52032250366_20e1befed7.jpg alt="Reddish contents of Standard Reversed 2 and Potash beaker are poured into the funnel&rsquo;s filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032250141/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_088><img src=https://live.staticflickr.com/65535/52032250141_2c647c7025.jpg alt="Overhead shot of reddish liquid draining in filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031208547/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_090><img src=https://live.staticflickr.com/65535/52031208547_75327e0a5a.jpg alt="Reddish liquid drained through filter into 2 Standard Reversed Madder Lake jar, now more full"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032767735/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_091><img src=https://live.staticflickr.com/65535/52032767735_e4dc5a9756.jpg alt="Overhead shot of reddish liquid draining in filter, now less full"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Once the liquid has drained through, wash the pigment: discard the filtrate and place funnel+filter over a clean container. Pour 100ml of clean water through the filter. Repeat until the filtrate is clear</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032252466/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_004><img src=https://live.staticflickr.com/65535/52032252466_6ca97c64ca.jpg alt="Reddish liquid drained through filter into 2 Standard Reversed Madder Lake jar, now much more full"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032286673/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_005><img src=https://live.staticflickr.com/65535/52032286673_dcbb089d67.jpg alt="Overhead shot of wet reddish pigment on filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032771000/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_023><img src=https://live.staticflickr.com/65535/52032771000_2ebd7a321f.jpg alt="Overhead shot of hand holding WASH 1 sign next to wet pigment in wet filter, which contains some water"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032288203/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_022><img src=https://live.staticflickr.com/65535/52032288203_5274ee06aa.jpg alt="Hand holds WASH 1 sign next to glass jar containing a small amount of water, atop which are the funnel and the filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031213317/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_006><img src=https://live.staticflickr.com/65535/52031213317_e4696e7d98.jpg alt="Overhead shot of hand holding filter in water"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032289603/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_005><img src=https://live.staticflickr.com/65535/52032289603_8d483f9494.jpg alt="WASH 1 label lies next to 2 Standard Reversed Madder Lake jar, which contains a large quantity of yellowish water"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031213317/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_006><img src=https://live.staticflickr.com/65535/52031213317_e4696e7d98.jpg alt="Overhead shot of dried reddish pigment in the aftermath of first wash"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032289603/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_005><img src=https://live.staticflickr.com/65535/52032289603_8d483f9494.jpg alt="2 Standard Reversed Madder Lake jar is now more full of filtered water"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032290008/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_009><img src=https://live.staticflickr.com/65535/52032290008_5e184082d7.jpg alt="Overhead shot of filter and funnel filled with water for second wash"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032506264/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_010><img src=https://live.staticflickr.com/65535/52032506264_3c0c3c803f.jpg alt="WASH 2 sign lies next to 2 Standard Reversed Madder Lake jar, now contining clear water"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Allow the pigment to dry on the filter (at least overnight), then scrape off and use</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032774610/in/album-72177720298419908/ title=20220415_Rosenkranz_madder-lake_003><img src=https://live.staticflickr.com/65535/52032774610_7316f01a31.jpg alt="Dried 2 Standard Reversed Madder Lake filter dried after second wash"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032257646/in/album-72177720298419908/ title=20220415_Rosenkranz_madder-lake_005><img src=https://live.staticflickr.com/65535/52032257646_8313f422c5.jpg alt="Dried 2 Standard Reversed Madder Lake filter dried after second wash, zoomed in"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032257811/in/album-72177720298419908/ title=20220415_Rosenkranz_madder-lake_007><img src=https://live.staticflickr.com/65535/52032257811_d42ecc8a80.jpg alt="Dried 2 Standard Reversed Madder Lake removed from filter, small reddish chunks"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032508469/in/album-72177720298419908/ title=20220415_Rosenkranz_madder-lake_008><img src=https://live.staticflickr.com/65535/52032508469_7340812fc9.jpg alt="Filter after reddish pigment chunks have been removed"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031216067/in/album-72177720298419908/ title=20220415_Rosenkranz_madder-lake_009><img src=https://live.staticflickr.com/65535/52031216067_161aa3e942.jpg alt="Dried 2 Standard Reversed Madder Lake reddish pigment chunks in glass vial"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><h2 id=recipe-3-standard-with-alum-extraction>RECIPE 3: “Standard with Alum Extraction”</h2><h3 id=materials-and-equipment-recipe-3>Materials and Equipment (Recipe 3)</h3><ul><li>Mortar & pestle</li><li>Hot plate</li><li>2 Beakers (at least 600ml)</li><li>Pair of chopsticks or other stirring device</li><li>Thermometer</li><li>Funnel</li><li>Filter (such as a basket coffee filter) or filter paper</li><li>pH strips</li><li>300ml - Water for madder</li><li>50ml - Water for potash</li><li>Drawstring bag (muslin or polyester netting is best)</li><li>10g Madder roots (the Making and Knowing Project typically sources this from Kremer Pigments, <a href=https://shop.kremerpigments.com/us/shop/dyes-vegetable-color-paints/37201-madder-roots-ground-with-pieces.html>Kremer #37201-madder-roots</a>)</li><li>5g Alum (aluminum potassium sulfate, <a href=https://shop.kremerpigments.com/us/shop/solvents-chemicals-additives/chemicals/64100-potash-alum.html>Kremer #64100-potash-alum</a>)</li><li>1.88g Potash (potassium carbonate, <a href=https://shop.kremerpigments.com/us/shop/solvents-chemicals-additives/64040-potash.html>Kremer #64040-potash</a>)</li></ul><h3 id=procedure-recipe-3>Procedure (Recipe 3)</h3><ul><li>Coarsely grind madder roots in mortar and pestle</li><li>Using a small utensil, add madder to the drawstring bag. Close the bag tightly, but make sure there is enough room in the bag for the madder to move around freely. Use multiple bags if necessary</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031201582/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_013><img src=https://live.staticflickr.com/65535/52031201582_84222667fd.jpg alt="Ground powder in bag on scale that reads 501g"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031201647/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_014><img src=https://live.staticflickr.com/65535/52031201647_e335f833df.jpg alt="Ground powder in bag on scale that reads 509g"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Add 300ml water and bag of madder to 600ml beaker and leave to soak overnight<ul><li>NOTE: soaking overnight can be skipped for time constraints, but the amount of colorant extracted will be affected, possibly changing the the final pigment</li></ul></li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031201717/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_015><img src=https://live.staticflickr.com/65535/52031201717_fc26920ac0.jpg alt="Madder bag soaking in beaker filled halfway with water and labeled Standard Alum Extrc 3, beaker is on scale that reads 306.28g"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>After soaking overnight (if doing so), add 5g alum</li><li>Heat the madder+alum to 70°</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032494834/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_021><img src=https://live.staticflickr.com/65535/52032494834_08f8e9f85e.jpg alt="Beaker labeled Standard Alum Extrc 3 is on the stovetop, still has madder bag inside"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031202317/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_024><img src=https://live.staticflickr.com/65535/52031202317_5760fd0680.jpg alt="Overhead shot of beaker labeled Standard Alum Extrc 3 on the stovetop, still with madder bag inside"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Keep at this temperature for 30 minutes to extract the dye</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032244631/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_030><img src=https://live.staticflickr.com/65535/52032244631_e0e9ba4f4f.jpg alt="Beaker labeled Standard Alum Extrc 3 on the stovetop, still with madder bag inside and condensation along rim"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032498949/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_066><img src=https://live.staticflickr.com/65535/52032498949_36c25ae648.jpg alt="Standard Alum Extrc 3 beaker is off the heat and on a cooling pad"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Remove the drawstring bag, which can now be discarded</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032499054/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_067><img src=https://live.staticflickr.com/65535/52032499054_3f299d96f6.jpg alt="Hand removes drawstring bag from Standard Alum Extrc 3 beaker"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032248291/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_068><img src=https://live.staticflickr.com/65535/52032248291_76a3d19fe1.jpg alt="Standard Alum Extrc 3 beaker after drawstring bag removal"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>In the other 600ml beaker, dissolve 1.88g potash in 50ml water over heat</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032278953/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_028><img src=https://live.staticflickr.com/65535/52032278953_091f09e825.jpg alt="Beaker containing potash and water is on scale showing 51.79g"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Pour madder+alum solution into the potash solution VERY GRADUALLY and STIRRING CONSTANTLY<ul><li>Do this slowly and incrementally until there is no further effervescence, and precipitation of the lake pigment appears to be complete. Check the pH of the solution, which should be about 6</li><li>Make sure both solutions are still hot (at least 70-80°) when combined because the dye may begin to precipitate out below this temperature</li></ul></li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032765735/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_069><img src=https://live.staticflickr.com/65535/52032765735_b9f543d579.jpg alt="Reddish liquid in one beaker is poured into another, the contents of which are also reddish"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032248536/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_070><img src=https://live.staticflickr.com/65535/52032248536_6699b90bac.jpg alt="Madder and alum have been completely poured into other beaker, which is full to about 350ml with reddish liquid and some foam"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031206722/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_071><img src=https://live.staticflickr.com/65535/52031206722_aee450cd1b.jpg alt="Beaker is full to 350ml with reddish liquid and some foam"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032241661/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_072><img src=https://live.staticflickr.com/31337/52032241661_58062f83cb.jpg alt="Beaker 3 is stirred vigorously with a stick"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032499964/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_077><img src=https://live.staticflickr.com/65535/52032499964_6d8a411047.jpg alt="Beaker 3 still full to 350ml with reddish liquid but with very little foam"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031207077/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_076><img src=https://live.staticflickr.com/65535/52031207077_c0a0ceabe7.jpg alt="Used pH strip lying next to pH color chart and strip color mark, color mark is greenish and labeled 7"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Allow the solution to settle for at least 15min (ideally overnight)</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032250636/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_092><img src=https://live.staticflickr.com/65535/52032250636_4b5dbf8b66.jpg alt="Beaker 3, labeled Standard Alum Extrac Potash and Water, is still full to 350ml with reddish liquid but now has no foam"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Pour solution through filter in a funnel</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032767895/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_093><img src=https://live.staticflickr.com/65535/52032767895_e7e7bd0cb6.jpg alt="Funnel containing filter is positioned over an empty glass jar labeled Standard Alum Extracted Madder Lake"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032284943/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_095><img src=https://live.staticflickr.com/65535/52032284943_6761312ebc.jpg alt="Overhead shot of reddish liquid draining in filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031208972/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_096><img src=https://live.staticflickr.com/65535/52031208972_418f0e4054.jpg alt="Reddish liquid drained through filter into 3 Standard Alum Extracted Madder Lake jar"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031209777/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_106><img src=https://live.staticflickr.com/65535/52031209777_9e94f0f34a.jpg alt="Overhead shot of reddish liquid draining in filter, now less full"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032768780/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_105><img src=https://live.staticflickr.com/65535/52032768780_29ff18dbe5.jpg alt="Reddish liquid drained through filter into 3 Standard Alum Extracted Madder Lake jar, now more full"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Once the liquid has drained through, wash the pigment: discard the filtrate and place funnel+filter over a clean container. Pour 100ml of clean water through the filter. Repeat until the filtrate is clear</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032286763/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_006><img src=https://live.staticflickr.com/65535/52032286763_03dbab4ae7.jpg alt="Reddish liquid drained through filter into 3 Standard Alum Extracted Madder Lake jar, now much more full"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032252751/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_007><img src=https://live.staticflickr.com/65535/52032252751_5ddaf4ddb3.jpg alt="Overhead shot of dried and cracked pigment on filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032771045/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_024><img src=https://live.staticflickr.com/65535/52032771045_f03702010e.jpg alt="Overhead shot of hand holding WASH 1 sign next to wet pigment in wet filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032254176/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_025><img src=https://live.staticflickr.com/65535/52032254176_95a465b7ca.jpg alt="Hand holds WASH 1 sign next to glass jar filled with clear water, atop which are the funnel and the filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032289068/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_030><img src=https://live.staticflickr.com/65535/52032289068_b3fd856f36.jpg alt="Overhead shot of hand holding WASH 2 sign next to wet pigment in wet filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031212707/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_031><img src=https://live.staticflickr.com/65535/52031212707_7f64be0874.jpg alt="Hand holds WASH 2 sign next to glass jar filled with clear water, atop which are the funnel and the filter"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><ul><li>Allow the pigment to dry on the filter (at least overnight), then scrape off and use</li></ul><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032289913/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_008><img src=https://live.staticflickr.com/65535/52032289913_6776c729d7.jpg alt="Dried 3 Standard Alum Extracted Madder Lake filter dried after second wash"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032773460/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_019><img src=https://live.staticflickr.com/65535/52032773460_5da5886e24.jpg alt="Filter is inside plastic bag labeled 3 Standard Alum Extracted Madder Lake"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032290768/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_020><img src=https://live.staticflickr.com/65535/52032290768_d5471933c2.jpg alt="Filter removed from bag, pigment is spilling out"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032507184/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_021><img src=https://live.staticflickr.com/65535/52032507184_712c600dc9.jpg alt="Reddish pigment on paper"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032773700/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_022><img src=https://live.staticflickr.com/65535/52032773700_a4cd2bce40.jpg alt="Open filter with pigment removed"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032256746/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_023><img src=https://live.staticflickr.com/65535/52032256746_6a37a5ffbc.jpg alt="Reddish pigment in clear vial"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032291158/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_024><img src=https://live.staticflickr.com/65535/52032291158_eb8e95c446.jpg alt="On the left lies a plastic bag labeled 3 Standard Alum Extracted Madder Lake Filter Paper containing emptied filter paper, on the right lies a clear vial filled with reddish pigment"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><h2 id=a-visual-comparison-of-recipes-1-2-and-3>A Visual Comparison of Recipes 1, 2, and 3</h2><h3 id=heating-solutions-to-extract-dye>Heating solutions to extract dye</h3><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032243881/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_020><img src=https://live.staticflickr.com/65535/52032243881_93981cab0f.jpg alt="Three beakers on hotplates, each beaker halfway full of reddish liquid"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><h3 id=solutions-after-heating-for-half-hour>Solutions after heating for half hour</h3><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032761925/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_029><img src=https://live.staticflickr.com/65535/52032761925_e9a5d1d482.jpg alt="Three beakers on hotplates, each beaker halfway full of reddish liquid that is now darker in color"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><h3 id=beakers-after-solutions-have-been-combined-and-foam-has-settled>Beakers after solutions have been combined and foam has settled</h3><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031207387/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_079><img src=https://live.staticflickr.com/65535/52031207387_1e4c1bf150.jpg alt="Three labeled beakers after foam has settled"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032500279/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_080><img src=https://live.staticflickr.com/65535/52032500279_e941facf48.jpg alt="Overhead shot of three labeled beakers after foam has settled"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><h3 id=solutions-poured-through-filters>Solutions poured through filters</h3><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032250981/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_097><img src=https://live.staticflickr.com/65535/52032250981_1333dec997.jpg alt="Three jars with funnels and filters, each draining reddish liquid into the jar below"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032768250/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_098><img src=https://live.staticflickr.com/65535/52032768250_b0c3e8205f.jpg alt="Overhear shot of three jars with funnels and filters, each draining reddish liquid into the jar below"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032286133/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_107><img src=https://live.staticflickr.com/65535/52032286133_f3e7b1dcea.jpg alt="Three jars with funnels and filters, each containing reddish liquid"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032252056/in/album-72177720298419908/ title=20220405_Rosenkranz_madder-lake_108><img src=https://live.staticflickr.com/65535/52032252056_3f9c72052c.jpg alt="Same three jars and filters, now covered in clear wrap"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><h3 id=solutions-three-days-later>Solutions three days later</h3><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032769180/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_001><img src=https://live.staticflickr.com/65535/52032769180_ac814c1b5a.jpg alt="Same three jars still covered, now much more full of reddish liquid"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032252926/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_008><img src=https://live.staticflickr.com/65535/52032252926_4259209af7.jpg alt="Overhead shot of three jars"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032253021/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_009><img src=https://live.staticflickr.com/65535/52032253021_074ff21a44.jpg alt="Three jars now without clear wrap covering"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032287203/in/album-72177720298419908/ title=20220408_Rosenkranz_madder-lake_010><img src=https://live.staticflickr.com/65535/52032287203_a810ee40fc.jpg alt="Overhead shot of three jars"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><h3 id=pigments-during-wash>Pigments during wash</h3><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032254786/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_001><img src=https://live.staticflickr.com/65535/52032254786_4d09bf3c16.jpg alt="Three plastic-covered jars with funnels and filters, each jar contains clearish water"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032505609/in/album-72177720298419908/ title=20220411_Rosenkranz_madder-lake_002><img src=https://live.staticflickr.com/65535/52032505609_d094cc556a.jpg alt="Overhead shot of plastic-covered funnels, each containing a used filter full of pigment"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><p>Recipes 1 and 3 are shown in wash #2, Recipe 2 is shown in wash #1</p><h2 id=lake-painting>Lake Painting</h2><h3 id=22042022>22/04/2022</h3><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52032292383/in/album-72177720298419908/ title=20220422_Rosenkranz_madder-lake_001><img src=https://live.staticflickr.com/65535/52032292383_98b99b4705.jpg alt="Comparison of pigments painted with gum arabic"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><h3 id=25042022>25/04/2022</h3><p><a data-flickr-embed=true href=https://www.flickr.com/photos/128418753@N06/52031216432/in/album-72177720298419908/ title=20220422_Rosenkranz_madder-lake_003><img src=https://live.staticflickr.com/65535/52031216432_85ca88e0b5.jpg alt="Comparison of pigments painted with gum arabic, colors have lightened slightly"></a><script async src=//embedr.flickr.com/assets/client-code.js></script></p><h2 id=an-alternative-method-to-using-hotplates-and-beakers>An Alternative Method To Using Hotplates and Beakers</h2><p>If you do not have access to hotplates and heat-safe glass beakers, an alternative method uses a water bath or bain-marie (see this <a href=https://www.thekitchn.com/technique-how-to-make-and-use-70190>cooking blog</a> for more information about bain-maries).</p><h3 id=process>Process</h3><ul><li>On your stove at home, prepare your solutions in mason jars (or other glass jars that can withstand prolonged heating such as pickling or jam jars).</li><li>Place the jars in a large cooking pot (the pot&rsquo;s material doesn&rsquo;t matter – can use steel, ceramic, etc.)<ul><li>NOTE: be careful about using these pots to prepare foods after you have dyed with them if you are working with materials that are not food safe.</li><li>NOTE: the natural colorants can stain light-colored surfaces, so be careful if using ceramic or glass pots.</li></ul></li><li>Fill the pot with enough water to come up past the solutions in your mason jars, being careful not to contaminate the solutions inside your jars</li><li>Heat the pot on your stove and follow the procedure for preparing lake pigments</li></ul><p><strong>Advantages and Notes</strong></p><ul><li>This is one way to prepare pigments at home without beakers or other shock-resistant containers</li><li>Beakers, Pyrex, and other borosilicate glass is specially formulated to withstand direct high heat (like when placed directly on a hot plate) as well as shocks or sudden changes in temperature (like placing a hot glass vessel with your bath onto a cold surface like a counter)</li><li>Regular glass, including mason jars, are not formulated in this way, and so it can be very dangerous (and messy) if used in the same way as beakers – direct high heat or sudden change can cause the glass to shatter</li><li>This method also allows for easier preparation without a thermometer</li><li>The temperature of your baths is determined by the temperature of the water in the pot</li><li>You will know the baths have approximately reached the desired temperature range of 80-100 °C when the water in the pot is beginning to simmer</li><li>Because water boils and begins to evaporate at 100 °C, your solutions will never exceed 100 °C, the temperature at which the colorants can begin to degrade. This is an easy way to prepare solutions without a thermometer and ensure you are not reaching high temperature levels</li><li>If the water in the pot begins to boil or simmer violently, your jars will start to shake and move around the pot. If this happens, it is a sign to turn your heat down</li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 7.057-10.486C21.08-.394 28.565-3.5 37.441-3.5zm.116 5.772c-7.314.0-13.467 2.553-18.458 7.657-2.515 2.553-4.448 5.419-5.8 8.6a25.204 25.204.0 00-2.029 9.972c0 3.429.675 6.734 2.029 9.913 1.353 3.183 3.285 6.021 5.8 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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#cochineal-dye-history-chemistry-and-preparation>Cochineal Dye: History, Chemistry, and Preparation</a></li><li><a href=#overview-of-workshop-plans>Overview of Workshop Plans</a></li><li><a href=#handouts>Handouts</a></li><li><a href=#summary-of-materials-and-samples>Summary of Materials and Samples</a></li><li><a href=#the-resulting-sample-sheets>The resulting sample sheets</a></li></ul></nav></aside><content><h1 id=bioart-workshop-dyeing-with-cochineal-bugs>BioArt Workshop: Dyeing with Cochineal Bugs</h1><blockquote><p><em>The Making and Knowing Project, Columbia University</em><br><em>Last updated 2023-03-24 by NJR</em><br></p></blockquote><p><a href=https://pvfa.tamu.edu/news/2023/03/20/bio-art-workshops-to-show-creative-process-using-cochineal-insects-bacteria/>Texas A&amp;M PVFA/BIOL BioArt Workshop</a><br>March 21–24, 2023<br>Organized by Tianna Uchacz with Donna Janes and Naomi Rosenkranz</p><h2 id=cochineal-dye-history-chemistry-and-preparation>Cochineal Dye: History, Chemistry, and Preparation</h2><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/sp23_tamu-dyes-coverpage.jpg?raw=true" alt></p><p><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2023_dyes_cochineal-history-chem-prep_TAMU-compressed.pdf>Presentation: Cochineal Dye: History, Chemistry, and Preparation</a></p><h2 id=overview-of-workshop-plans>Overview of Workshop Plans</h2><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/tamu_cochineal-step-by-step.jpg?raw=true" alt></p><p><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2023_dyes_step-by-step-process_TAM.pdf>Dyeing with Cochineal: Workshop Plan and Step-by-Step Instructions</a></p><h2 id=handouts>Handouts</h2><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_handout_dyeing-textiles_general-process.pdf>Dyeing Instructions - General Process for Mordanting and Dyeing Textiles</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_printout_samples-amounts.pdf>Summary of Dye Samples and Measurements</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_printout_recipe-example-piemontese.pdf>Recipe Example: <em>De&rsquo; secreti del reverendo signore Alessio Piemontese</em> (1558)</a></li></ul><h2 id=summary-of-materials-and-samples>Summary of Materials and Samples</h2><table><thead><tr><th style=text-align:center>Name</th><th style=text-align:center>Mordant</th><th style=text-align:center>Dye</th></tr></thead><tbody><tr><td style=text-align:center>NC</td><td style=text-align:center>None</td><td style=text-align:center>Cochineal</td></tr><tr><td style=text-align:center>NCP</td><td style=text-align:center>None</td><td style=text-align:center>Cochineal + potash</td></tr><tr><td style=text-align:center>AC</td><td style=text-align:center>Alum</td><td style=text-align:center>Cochineal</td></tr><tr><td style=text-align:center>ACP</td><td style=text-align:center>Alum</td><td style=text-align:center>Cochineal + potash</td></tr><tr><td style=text-align:center>IC</td><td style=text-align:center>Iron sulphate</td><td style=text-align:center>Cochineal</td></tr><tr><td style=text-align:center>CC</td><td style=text-align:center>Copper sulphate</td><td style=text-align:center>Cochineal</td></tr></tbody></table><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/sp23_tamu-dyes_textiles.jpg?raw=true" alt></p><p>Textiles</p><ul><li>Linen canvas, 100% linen Utrecht unprimed Belgian linen canvas <a href=http://www.dickblick.com/items/07394-2501/>Type 185 (Blick Art Supplies)</a></li><li>Silk fabric, Jacquard Habotai Silk Scarves, 5mm, 100% silk <a href="https://www.amazon.com/Jacquard-Products-60-Inch-Habotai-Scarves/dp/B004QIOG2K/ref=sr_1_cc_1?s=aps&amp;ie=UTF8&amp;qid=1526216841&amp;sr=1-1-catcorr&amp;keywords=silk+scarf+for+dyeing">Jacquard (amazon.com)</a></li><li>Silk thread, Undyed 100% silk lace weight yarn, <a href="https://www.amazon.com/gp/product/B06XJPNH9H/ref=oh_aui_search_detailpage?ie=UTF8&amp;psc=1">Ready to Dye (amazon.com)</a></li><li>Cotton cheesecloth, Cheesecloth grade 50 - 100% unbleached cotton, <a href="https://www.amazon.com/gp/product/B01CUU0RYQ/ref=oh_aui_search_detailpage?ie=UTF8&amp;psc=1">Pure Acres Farm (amazon.com)</a></li><li>Cotton twine, 100% cotton, unbleached, <a href="https://www.amazon.com/gp/product/B01MQCK0SX/ref=ewc_pr_img_1?smid=ASWXYMZ62AL56&amp;psc=1">Norpro (amazon.com)</a></li><li>Woven wool, 100% wool, undyed, <a href=https://ortegasweaving.com/>Ortega’s Weaving Shop, Chimayo, New Mexico</a></li><li>Wool yarn, 100% wool, undyed, <a href="https://www.lionbrand.com/products/fishermens-wool-yarn?variant=32420913184861">Lion Brand Fishermen&rsquo;s Wool® Yarn</a></li></ul><p>Mordants and Additives</p><ul><li>Alum (aluminum potassium sulfate)<ul><li>Kremer Pigments, <a href=http://shop.kremerpigments.com/en/>http://shop.kremerpigments.com/en/</a></li><li>TALAS Bookbinding, Archival & Conservation Supplies, <a href=http://www.talasonline.com/>http://www.talasonline.com/</a></li><li>Loudwolf, <a href=https://www.loudwolf.com/>https://www.loudwolf.com/</a> (available through amazon.com)</li></ul></li><li>Potash (potassium sulfate)<ul><li>Kremer Pigments, <a href=http://shop.kremerpigments.com/en/>http://shop.kremerpigments.com/en/</a></li><li>Loudwolf, <a href=https://www.loudwolf.com/>https://www.loudwolf.com/</a> (available through amazon.com)</li></ul></li><li>Iron sulfate<ul><li>Kremer Pigments, <a href=http://shop.kremerpigments.com/en/>http://shop.kremerpigments.com/en/</a></li><li>Alpha Chemicals, <a href=https://alphachemicals.com/>https://alphachemicals.com/</a> (available through amazon.com)</li></ul></li><li>Copper sulfate<ul><li>Alpha Chemicals, <a href=https://alphachemicals.com/>https://alphachemicals.com/</a> (available through amazon.com)</li></ul></li></ul><p>Dyestuffs</p><ul><li>Kremer Pigments, <a href=http://shop.kremerpigments.com/en/>http://shop.kremerpigments.com/en/</a>. Order online or visit the New York storefront</li><li>Natural Pigments, <a href=https://www.naturalpigments.com/>https://www.naturalpigments.com/</a>. Order online</li><li>Maiwa <a href=https://maiwa.com/>https://maiwa.com/</a>. Order online or visit retail locations in Vancouver, Canada</li></ul><h2 id=the-resulting-sample-sheets>The resulting sample sheets</h2><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/sp23_tamu-dyes_textiles-final-01.jpg?raw=true" alt></p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/sp23_tamu-dyes_textiles-final-03.jpg?raw=true" alt></p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/sp23_tamu-dyes_textiles-final-02.jpg?raw=true" alt></p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#ephemeral-art-in-bnf-ms-fr-640>Ephemeral Art in BnF Ms. Fr. 640</a></li><li><a href=#stucco-for-molding>Stucco for Molding</a></li><li><a href=#materials-and-equipment>Materials and Equipment</a><ul><li><a href=#materials>Materials</a></li><li><a href=#equipment>Equipment</a></li></ul></li><li><a href=#instructions>Instructions</a><ul><li><a href=#step-1-tragacanth-gum-paste-114-ratio-gum-to-water>Step 1: Tragacanth gum paste (1:14 ratio gum to water)</a></li><li><a href=#step-2-stucco--option-1-rye-flour-approximately-34-ratio-gumwater-to-rye-flour>Step 2: Stucco | OPTION 1: Rye flour (approximately 3:4 ratio gum/water to rye flour)</a></li><li><a href=#step-2-stucco--option-2-chalk-approximately-25-ratio-gumwater-to-chalk>Step 2: Stucco | OPTION 2: Chalk (approximately 2:5 ratio gum/water to chalk)</a></li><li><a href=#step-3-molding>Step 3: Molding</a></li></ul></li><li><a href=#further-reading>Further reading:</a></li></ul></nav></aside><content><h1 id=stucco-for-molding-reconstruction>STUCCO FOR MOLDING RECONSTRUCTION</h1><blockquote><p><em>HIST GR8906: Craft and Science: Making Objects in the Early Modern World | Ephemeral Art in BnF Ms. Fr. 640</em><br><em>The Making and Knowing Project, Columbia University</em><br><em>Last updated 2021-09-24 by NJR</em><br></p></blockquote><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/stucco-header.jpg?raw=true" alt=stucco-header></p><p>A downloadable version of this assignment: [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/stucco_assignment_downloadable_2021.pdf><strong>PDF</strong></a>]</p><p><strong>NOTE TO INSTRUCTORS:</strong> Rather than providing the full instructions, one may want to provide students only with the original recipe and the materials, allowing them to interpret the entry for themselves. A &ldquo;student handout&rdquo; is available:</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/stucco_assignment_student-handout>webpage (student handout)</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/stucco_assignment_student-handout.pdf>PDF (student handout)</a></li></ul><h2 id=ephemeral-art-in-bnf-ms-fr-640>Ephemeral Art in BnF Ms. Fr. 640</h2><p>The 16th-century artisanal/technical manual, BnF Ms. Fr. 640, contains hundreds of entries that describe making processes and techniques from the Renaissance. These include instructions for and observations about painting, gilding, arms and armor production, plant cultivation, and making molds and metal casts.</p><p>Among other topics, the manuscript offers insight into the cultural context, materials, and techniques of ephemeral artworks. Several entries in the manuscript aim to produce artworks that were intended to stand outside or that aimed to create the visual effect of a more permanent (and expensive) work of art.
 Explore the full range of topics in Ms. Fr. 640 in <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature. A Digital Critical Edition of BnF Ms. Fr. 640</em></a>.</p><h2 id=stucco-for-molding>Stucco for Molding</h2><p>On <a href=https://edition640.makingandknowing.org/#/folios/29r/f/29r/tl>folio 29r</a>, an entry describes a process for making stucco to create &ldquo;an ornament at little expense.&rdquo;</p><table><thead><tr><th>Facsimile</th><th>Translation</th></tr></thead><tbody><tr><td><img src="https://cu-mkp.github.io/research-teaching-companion/images/29r_stucco.jpg?raw=true" alt=29r_stucco></td><td><strong>Stucco for molding</strong><br><br>Take tragacanth gum and put it to soak until, having drunk its water, it is swollen & rendered like jelly. Then grind it quite hard on marble & next take rye flour, which is better than wheat because it is more humid and does not make the paste as brittle, and sprinkle your tragacanth gum with it, & continue to grind and mix in thus, little by little, <del>it and mix legi</del> the very finely sieved flour. And knead it as if you wanted to make bread, until <del>you</del> you perceive that it has enough body & is as firm as bread dough that one is ready to put in the oven. This is recognized when it can stretch enough without breaking. And if it was not strong enough, it would not <del>sti</del> release well. Once the paste is prepared, rub the hollow form <del>at the u</del> with oil, with a brush, in order that the oil penetrates everywhere to make it release better, and press the paste inside quite hard. And if it does not release well, mix in more flour until it has enough body. With this you will mold whatever work you like, masks or garlands, which will be dry within one day. Next, you will apply them with strong glue or paste glue, as you like, and you will be able to paint and decorate them with gold & all colors. One makes ceiling ornaments with it in Rome. One can make bed ornaments with it.<br><strong>If you want that the work stays white</strong>, it is better to mold with plaster instead of flour. It is true that it is more brittle and firm as well, but one needs to prepare it like this: temper it, when it is powdered <del>strong</del>, in a good amount of water so that it is clear, & grind it several times a day for fifteen days. Then pour off the water by tilting, and gather the plaster & grind it finely on marble, & place it in some kind of clean lead vessel, so that no dust & dirt falls into it, & leave it in the open air & in the serain for fifteen days with its water, and it will become matte, strong, white and light, very suitable for making a seat for burnished gold. And this, in powder form, you can mix, instead of flour, with tragacanth gum, and your work will be very beautiful. Lacking plaster, you can mix in well ground chalk or ceruse, & try bole & similar things. This stucco with the tragacanth gum has the quality that, yielding when it is not yet dry, it can be accommodated on either round or flat things, as you like. It is to make an ornament at little expense.<br><br><em>At the top left margin:</em> Flour is not good in this, but chalk or ceruse is.</td></tr></tbody></table><p>The entry details a general process: create a jelly from tragacanth gum and water, mix in a powdered material, then press the mixture into a mold. This process can be adapted for a few variations: creating stucco from flour, from plaster, from chalk, and from ceruse (lead white).</p><p>NOTE TO INSTRUCTORS: Rather than providing the full instructions, one may want to provide students only with the original recipe and the materials, allowing them to interpret the entry for themselves.</p><h2 id=materials-and-equipment>Materials and Equipment</h2><p>The reconstruction of this recipe has been adapted for two variations: stucco from flour and stucco from chalk. The ratios suggested here are approximations based on prior experiments by the Making and Knowing Project.</p><h3 id=materials>Materials</h3><ul><li>1:14 tragacanth gum to water</li><li>FLOUR: Approximately 3:4 ratio gum/water to rye flour OR CHALK: approximately 2:5 ratio gum/water to chalk</li><li>Linseed oil (or another vegetable oil) to lubricate the molds</li><li>Mineral spirits (to clean brushes and molds)</li></ul><h3 id=equipment>Equipment</h3><ul><li>Scale and weigh boats (to measure ingredients)</li><li>Containers, bowls, or beakers for materials</li><li>Glass muller</li><li>Glass plate</li><li>Spoon, palette knife, or chopstick for mixing</li><li>Sieve with fine mesh</li><li>Container to sieve flour into</li><li>Brush and small container (to spread oil)</li><li>Plastic or silicone molds</li><li>Flat surface where stucco can be left to dry</li><li>Lidded containers to store molded stucco pieces</li></ul><h2 id=instructions>Instructions</h2><p>The reconstruction of this recipe has been adapted for two variations: stucco from flour and stucco from chalk. The first and last step are the same for both, but the second step is slightly different depending on whether you are making the flour or the chalk variation.</p><h3 id=step-1-tragacanth-gum-paste-114-ratio-gum-to-water>Step 1: Tragacanth gum paste (1:14 ratio gum to water)</h3><ul><li>Add tragacanth gum to water while mixing. The powder will not easily incorporate into the water, so allow the gum to “drink its water” until is “swollen and like jelly.”</li><li>Stir the mixture until it is a cohesive mass, then transfer it to a plate and mull with a muller until smooth and the mixture resembles the texture of petroleum jelly.</li></ul><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/stucco-tragacanth-gum.jpg?raw=true" alt=stucco-tragacanth-gum></p><h3 id=step-2-stucco--option-1-rye-flour-approximately-34-ratio-gumwater-to-rye-flour>Step 2: Stucco | OPTION 1: Rye flour (approximately 3:4 ratio gum/water to rye flour)</h3><ul><li>Sift the flour with a fine mesh to remove larger pieces.</li><li>Into the tragacanth gum and water mixture, begin to incorporate the sifted flour on the glass plate. Mix first with a palette knife or spoon, then work it with your hands, treating it like dough.</li><li>Add flour until the stucco is malleable yet firm and can be “kneaded” to become smooth and homogeneous.</li></ul><h3 id=step-2-stucco--option-2-chalk-approximately-25-ratio-gumwater-to-chalk>Step 2: Stucco | OPTION 2: Chalk (approximately 2:5 ratio gum/water to chalk)</h3><ul><li>Into the tragacanth gum and water mixture, begin to incorporate the chalk on the glass plate. Mix first with a palette knife or spoon, then work it with your hands, treating it like dough.</li><li>Add chalk until the stucco is malleable yet firm and can be “kneaded” to become smooth and homogeneous.</li></ul><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/stucco-chalk.jpg?raw=true" alt=stucco-chalk></p><h3 id=step-3-molding>Step 3: Molding</h3><ul><li>To prepare the molds for the stucco, use a soft brush to lightly oil the silicone or plastic molds with linseed oil, making sure to cover all surfaces and crevices of the mold with a very thin layer of oil.</li><li>Take a ball of the prepared stucco dough that is slightly larger in volume than the mold.</li><li>Press the ball into the mold, ensuring that dough has reached every crevice</li><li>Carefully remove the molded dough from the mold and leave to dry overnight, impression-side up.</li></ul><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/stucco-molded.jpg?raw=true" alt=stucco-molded></p><h2 id=further-reading>Further reading:</h2><ul><li>Elizondo-Garza, Nina. &ldquo;Stucco for Molding.&rdquo; In <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>, edited by Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano. New York: Making and Knowing Project, 2020. <a href=https://edition640.makingandknowing.org/#/essays/ann_064_fa_17>https://edition640.makingandknowing.org/#/essays/ann_064_fa_17</a>. DOI: <a href=https://www.doi.org/10.7916/1n6h-5f69>https://www.doi.org/10.7916/1n6h-5f69</a>.</li></ul><hr><p>A downloadable version of this assignment: [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/stucco_assignment_downloadable_2021.pdf><strong>PDF</strong></a>]</p><p><strong>NOTE TO INSTRUCTORS:</strong> Rather than providing the full instructions, one may want to provide students only with the original recipe and the materials, allowing them to interpret the entry for themselves. A &ldquo;student handout&rdquo; is available:</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/stucco_assignment_student-handout>webpage (student handout)</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/stucco_assignment_student-handout.pdf>PDF (student handout)</a></li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#ephemeral-art-in-bnf-ms-fr-640>Ephemeral Art in BnF Ms. Fr. 640</a></li><li><a href=#stucco-for-molding>Stucco for Molding</a><ul><li><a href=#translation-folio-29rhttpsedition640makingandknowingorgfolios29rf29rtl>Translation, <a href=https://edition640.makingandknowing.org/#/folios/29r/f/29r/tl>folio 29r</a></a></li><li><a href=#french-transcription-lightly-normalized-folio-29rhttpsedition640makingandknowingorgfolios29rf29rtcn>French Transcription (lightly normalized), <a href=https://edition640.makingandknowing.org/#/folios/29r/f/29r/tcn>folio 29r</a></a></li></ul></li></ul></nav></aside><content><h1 id=stucco-for-molding-reconstruction---student-handout>STUCCO FOR MOLDING RECONSTRUCTION - STUDENT HANDOUT</h1><blockquote><p><em>HIST GR8906: Craft and Science: Making Objects in the Early Modern World | Ephemeral Art in BnF Ms. Fr. 640</em><br><em>The Making and Knowing Project, Columbia University</em><br><em>Last updated 2021-09-24 by NJR</em><br></p></blockquote><h2 id=ephemeral-art-in-bnf-ms-fr-640>Ephemeral Art in BnF Ms. Fr. 640</h2><p>The 16th-century artisanal/technical manual, BnF Ms. Fr. 640, contains hundreds of entries that describe making processes and techniques from the Renaissance. These include instructions for and observations about painting, gilding, arms and armor production, plant cultivation, and making molds and metal casts.</p><p>Among other topics, the manuscript offers insight into the cultural context, materials, and techniques of ephemeral artworks. Several entries in the manuscript aim to produce artworks that were intended to stand outside or that aimed to create the visual effect of a more permanent (and expensive) work of art.
 Explore the full range of topics in Ms. Fr. 640 in <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature. A Digital Critical Edition of BnF Ms. Fr. 640</em></a>.</p><h2 id=stucco-for-molding>Stucco for Molding</h2><p>On <a href=https://edition640.makingandknowing.org/#/folios/29r/f/29r/tl>folio 29r</a>, an entry describes a process for making stucco to create &ldquo;an ornament at little expense.&rdquo;</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/29r_stucco.jpg alt=29r_stucco></p><h3 id=translation-folio-29rhttpsedition640makingandknowingorgfolios29rf29rtl>Translation, <a href=https://edition640.makingandknowing.org/#/folios/29r/f/29r/tl>folio 29r</a></h3><p><strong>Stucco for molding</strong><br><br>Take tragacanth gum and put it to soak until, having drunk its water, it is swollen & rendered like jelly. Then grind it quite hard on marble & next take rye flour, which is better than wheat because it is more humid and does not make the paste as brittle, and sprinkle your tragacanth gum with it, & continue to grind and mix in thus, little by little, <del>it and mix legi</del> the very finely sieved flour. And knead it as if you wanted to make bread, until <del>you</del> you perceive that it has enough body & is as firm as bread dough that one is ready to put in the oven. This is recognized when it can stretch enough without breaking. And if it was not strong enough, it would not <del>sti</del> release well. Once the paste is prepared, rub the hollow form <del>at the u</del> with oil, with a brush, in order that the oil penetrates everywhere to make it release better, and press the paste inside quite hard. And if it does not release well, mix in more flour until it has enough body. With this you will mold whatever work you like, masks or garlands, which will be dry within one day. Next, you will apply them with strong glue or paste glue, as you like, and you will be able to paint and decorate them with gold & all colors. One makes ceiling ornaments with it in Rome. One can make bed ornaments with it.<br><strong>If you want that the work stays white</strong>, it is better to mold with plaster instead of flour. It is true that it is more brittle and firm as well, but one needs to prepare it like this: temper it, when it is powdered <del>strong</del>, in a good amount of water so that it is clear, & grind it several times a day for fifteen days. Then pour off the water by tilting, and gather the plaster & grind it finely on marble, & place it in some kind of clean lead vessel, so that no dust & dirt falls into it, & leave it in the open air & in the serain for fifteen days with its water, and it will become matte, strong, white and light, very suitable for making a seat for burnished gold. And this, in powder form, you can mix, instead of flour, with tragacanth gum, and your work will be very beautiful. Lacking plaster, you can mix in well ground chalk or ceruse, & try bole & similar things. This stucco with the tragacanth gum has the quality that, yielding when it is not yet dry, it can be accommodated on either round or flat things, as you like. It is to make an ornament at little expense.<br><br><em>At the top left margin:</em> Flour is not good in this, but chalk or ceruse is.</p><h3 id=french-transcription-lightly-normalized-folio-29rhttpsedition640makingandknowingorgfolios29rf29rtcn>French Transcription (lightly normalized), <a href=https://edition640.makingandknowing.org/#/folios/29r/f/29r/tcn>folio 29r</a></h3><p><strong>Stuc pour mouler</strong>
diff --git a/resources/activity-sheets/su17_rosenkranz_azurite-preparation-cambridge/index.html b/resources/activity-sheets/su17_rosenkranz_azurite-preparation-cambridge/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents></nav></aside><content><p>June 5, 2017</p><p><strong>Azurite crushing and washing session</strong></p><p>Led by Spike Bucklow, Fitzwilliam studio room, Cambridge University<br>Workshop organized by the Ingenuity Project (Alex Marr) with the Making Visible Project (Sachiko Kusukawa) and the curatorial team of the Fitzwilliam Museum’s “<a href=http://www.fitzmuseum.cam.ac.uk/madonnasandmiracles><u>Madonnas and Miracles</u></a>” exhibit (March - June 2017)<br></p><p>Participants:</p><ul><li>ERC group “Ingenuity” (Alex Marr, Richard, Raf, Jose)</li><li>“Making Visible Project” (Sachiko Kusukawa, Katie, Seitske)</li><li>“Madonnas and Miracles” exhibition team at the Fitzwilliam Museum (Maya, Irena)</li><li>“Making and Knowing Project (Pamela, Tianna, Naomi)</li></ul><p><em>Notes by NJR (Naomi Rosenkranz)</em></p><ul><li><a href=https://www.flickr.com/gp/128418753@N06/6b2z8M><u>Flickr album of> Azurite_NJR</u></a></li><li><a href=http://www.vam.ac.uk/blog/network/experiments-with-azurite-on-the-history-of-design-ma-course><u>V&amp;A/RCA blog post on Azurite May 2017 part> 1</u></a></li><li><a href=http://www.vam.ac.uk/blog/research-department/thinking-and-experiencing-techne-making-azurite-part-2><u>V&amp;A/RCA blog post on Azurite May 2017 part> 2</u></a></li></ul><p>Handouts:</p><ul><li><a href=http://cameo.mfa.o/images/e/ea/Download_file_506.pdf><u>CAMEO Characteristics of Common Blue> Pigments</u></a></li><li>Cennini on Azurite prep</li></ul><p>Spike Bucklow presentation:</p><ul><li>Experimental knowledge is transmitted through 1) demonstration, 2) observation, and 3) participation</li><li>Azurite sourcing:<ul><li>Spike has purchased a chunk of azurite ore about the size of 1-2 golf balls</li><li>Found it on the internet somewhere; not from Kremer; probably mined somewhere in Africa</li><li>Can tell it is legitimate from appearance, inclusion of malachite and other impurities, as well as handling properties</li></ul></li><li>Azurite properties<ul><li>No color in particles smaller than 1/1000 mm (= 1 micron = 1 x 10^-6)</li><li>“Good” pigment is glittery midnight blue. The more, the better</li><li>By levigation of azurite in water, we separate by particle size. We wash away smaller particles, leaving the larger most vivid in color particles</li></ul></li></ul><p>Process:</p><ul><li>Crush azurite ore with mortar and pestle</li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image24.jpg alt=IMAGE></p><ul><li>When small-ish, transfer to glass plate + muller</li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image14.jpg alt=IMAGE></p><ul><li>Add some water and do rough mulling before moving to concentric mulling<ul><li>Observation: as it dried out, got tacky + difficult to mull smoothly/homogeneously</li></ul></li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image28.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image18.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image21.jpg alt=IMAGE></p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image16.jpg alt=IMAGE></p><ul><li>Transfer small amount (about as much as could fit on one finger) to mussel shell</li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image7.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image9.jpg alt=IMAGE></p><ul><li>Add water and swish with finger, then swirl</li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image22.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image19.jpg alt=IMAGE></p><ul><li>Pour off into another shell the water at the top with smaller dispersed particles</li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image26.jpg alt=IMAGE></p><ul><li><p>What is left in the first mussel shell is larger particles</p></li><li><p>Repeat adding water and pouring off until the azurite remaining is midnight blue</p></li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image1.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image30.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image29.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image17.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image5.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image13.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image4.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image6.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image27.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image20.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image10.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image8.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image12.jpg alt=IMAGE></p><ul><li>Because we are short on time:<ul><li>To paint out, add a small amount of gum arabic directly to azurite in shell that is still quite wet</li></ul></li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image3.jpg alt=IMAGE></p><ul><li><p>Can add more water as needed</p></li><li><p>NJR: added gum arabic, painted out once, then poured off again and painted out → better color and consistency</p></li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image25.jpg alt=IMAGE></p><p>Wash water that was poured off successively:</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image15.jpg alt=IMAGE><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image11.jpg alt=IMAGE></p><p>Color of the azurite and the wash water after each wash:</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image23.jpg alt=IMAGE></p><p>Painted out with gum arabic:</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-azurite/image2.jpg alt=IMAGE></p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" 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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
diff --git a/resources/activity-sheets/su22_fld_cunningham_annika_onion-skin-dyeing/index.html b/resources/activity-sheets/su22_fld_cunningham_annika_onion-skin-dyeing/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#introduction>Introduction</a></li><li><a href=#notes-and-pictures---raw-data>Notes and pictures - raw data</a></li><li><a href=#summer-2022-first-dye-experiments>Summer 2022 First Dye Experiments</a><ul><li><a href=#first-round---070722---prepping-the-onion-skins-and-using-alum-as-a-mordant>First round - 07/07/22 - prepping the onion skins and using alum as a mordant</a></li><li><a href=#second-round---071222---adding-iron-and-copper>Second round - 07/12/22 - adding iron and copper</a></li></ul></li><li><a href=#fall-2022-second-dye-experiments>Fall 2022 Second Dye Experiments</a></li><li><a href=#final-thoughts>Final thoughts</a></li></ul></nav></aside><content><h1 id=dyeing-with-onion-skins>Dyeing with Onion Skins</h1><blockquote><p>Annika Cunningham, summer and fall 2021</p></blockquote><h2 id=introduction>Introduction</h2><p>My name is Annika Cunningham, and I am a high schooler in Boston. I have
 been weaving, knitting, and crocheting for over a decade, and also enjoy
diff --git a/resources/activity-sheets/varnish-sourcing/index.html b/resources/activity-sheets/varnish-sourcing/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents></nav></aside><content><p>varnish sourcing</p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 7.057-10.486C21.08-.394 28.565-3.5 37.441-3.5zm.116 5.772c-7.314.0-13.467 2.553-18.458 7.657-2.515 2.553-4.448 5.419-5.8 8.6a25.204 25.204.0 00-2.029 9.972c0 3.429.675 6.734 2.029 9.913 1.353 3.183 3.285 6.021 5.8 8.516 2.514 2.496 5.351 4.399 8.515 5.715a25.652 25.652.0 009.943 1.971c3.428.0 6.75-.665 9.973-1.999 3.219-1.335 6.121-3.257 8.713-5.771 4.99-4.876 7.484-10.99 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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#historical-recipe-examples>Historical Recipe Examples</a></li><li><a href=#modern-recipe-resources>Modern Recipe Resources</a></li><li><a href=#materials>Materials</a></li><li><a href=#instructions>Instructions</a></li><li><a href=#material-safety-information>Material Safety Information</a></li><li><a href=#harvesting-or-preparing-the-verdigris-for-painting---do-not-do-this-at-home>&ldquo;Harvesting&rdquo; (or Preparing) the Verdigris for Painting - DO NOT DO THIS AT HOME</a></li><li><a href=#painting-with-verdigris-in-bnf-ms-fr-640>Painting with verdigris in BnF Ms. Fr. 640</a><ul><li><a href=#excerpts-from-ms-fr-640-about-using-verdigris-in-painting>Excerpts from Ms. Fr. 640 about using verdigris in painting:</a></li></ul></li></ul></nav></aside><content><h1 id=verdigris-pigment-growing-reconstruction>VERDIGRIS PIGMENT &ldquo;GROWING&rdquo; RECONSTRUCTION</h1><blockquote><p><em>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History</em><br><em>The Making and Knowing Project, Columbia University</em><br><em>Last updated 2021-08-19 by NJR</em><br></p></blockquote><p>A downloadable version of this assignment: [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/verdigris_assignment_downloadable_2021.pdf>PDF</a>]</p><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/verdigris-header.png?raw=true" alt=verdigris-header></p><p><em><strong>Safety Note: Nitrile/latex gloves must be worn when handling verdigris. Do not touch your mouth or bare skin. Do not scrape or grind the verdigris on food preparation surfaces.</strong></em></p><p>Verdigris is a blue-green pigment prepared by exposing copper to acetic acid (vinegar), forming a basic copper acetate.</p><p>This activity asks you to "grow" verdigris at home — a process for which you will assemble the equipment, plan, carry out, monitor, and document over the coming weeks. It takes time for the crystals to form, you will need to start this assignment as soon as possible. You will likely need to plan for a few weeks of growth before you plan to use the verdigris (e.g., for painting).</p><h2 id=historical-recipe-examples>Historical Recipe Examples</h2><p>There are a number of recipes for "growing" verdigris across Medieval and Renaissance painter's manuals. Try searching for these in recipe collections, such as:</p><ul><li>Cennino Cennini, <em>The Craftsman's Handbook, 'Il Libro dell'Arte'</em>, trans. by Daniel Thompson (New York: Dover, 1960).</li><li>Mary P. Merrifield, <em>Medieval and Renaissance Treatises on the Arts of Painting: Original Texts with English Translations</em> (Courier Dover Publications, 2012).</li><li><em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>, edited by the Making and Knowing Project, et. al. (New York: the Making and Knowing Project, 2020), <a href=https://edition640.makingandknowing.org/>https://edition640.makingandknowing.org</a>.</li></ul><p>One particularly illuminating recipe is from the "Bolognese Manuscript" of Jehan le Begue (late 14th or early 15th century) in <em>Medieval and Renaissance Treatises on the Art of Painting</em>.</p><table><thead><tr><th><em><strong>How to make the green from brass which is called Greek or common green</strong></em></th></tr></thead><tbody><tr><td>If you wish to make the copper-green which is called Greek, take a new jar, or any other concave vase, and put it into the strongest or most acid vinegar, so as not to fill it and put strips of very clean copper or brass over the vinegar, so as that they may not touch the vinegar or each other, being suspended to a stick placed across the vase. Then cover the vase and seal it, and put it into a warm place, or dung, or underground, and leave it so for six months, and then open the vase and shake out what you find in it, and on the strips of metal, into a clean vase, and put it in the sun to dry.</td></tr><tr><td>Merrifield, Mary P., <em>Original Treatises Dating from the XIIth to XVIIIth Centuries on the Arts of Painting</em>, 2 vols (London: John Murray, 1849), vol. 1, pg. 124.</td></tr></tbody></table><h2 id=modern-recipe-resources>Modern Recipe Resources</h2><p>Many experiments in verdigris making can be found on the internet. You will notice that some recipes call for urine in the place of vinegar. Should you want to try to grow verdigris with your own body fluids, consult this <a href="https://books.google.com/books?id=yQKuSOzkLvcC&amp;lpg=PA283&amp;dq=copper%20verdigris%20ammonia%20urine&amp;pg=PA284#v=onepage&amp;q&amp;f=false">Reconstruction of a verdigris recipe that includes urine</a>.</p><p>For more information about verdigris, also see these articles:</p><ul><li>de la Roja, J.M., V.G. Baonza, and M. San Andrés. “Application of Raman Microscopy to the Characterization of Different Verdigris VARIANTS Obtained Using Recipes from Old Treatises.” <em>Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 68</em>, no. 4 (2007): 1120–25. <a href=https://doi.org/10.1016/j.saa.2007.06.053>https://doi.org/10.1016/j.saa.2007.06.053</a>.</li><li>Chaplin, Tracey D., Robin J. Clark, and David A. Scott. “Study by Raman Microscopy of Nine Variants of the GREEN-BLUE Pigment Verdigris.” <em>Journal of Raman Spectroscopy</em> 37, no. 1-3 (2006): 223–29. <a href=https://doi.org/10.1002/jrs.1469>https://doi.org/10.1002/jrs.1469</a>.</li><li>San Andrés, M., J. M. de la Roja, V. G. Baonza, and N. Sancho. “Verdigris Pigment: A Mixture of Compounds. Input from Raman Spectroscopy.” <em>Journal of Raman Spectroscopy</em> 41, no. 11 (2010): 1468–76. <a href=https://doi.org/10.1002/jrs.2786>https://doi.org/10.1002/jrs.2786</a>.</li></ul><h2 id=materials>Materials</h2><table><thead><tr><th><strong>Material</strong></th><th><strong>Notes or substitutions</strong></th></tr></thead><tbody><tr><td>½ pint glass mason jar & metal lid</td><td>This can always be scaled up or down. There are two important elements: 1) a jar large enough to accommodate suspending the copper above the vinegar without being submerged in it, and 2) a tight-fitting lid and a container that can withstand the corrosive vapors of the vinegar and eventually the copper acetate crystals.</td></tr><tr><td>Copper sheet, about 2"X2" (<a href=https://www.dickblick.com/items/60503-8110/>Blick 60503 -8110 - Maid-o'-Metal, St Louis Crafts Inc</a>)</td><td>Any small piece of copper metal can be used, such as copper piping from a hardware store (cut to size that will fit inside the jar, about an inch or so in diameter and an inch or two in length). Make sure that whatever you use is 100% and not an alloy or only copper-coated.</td></tr><tr><td>~5" piece of cotton twine</td><td>This is what you will use to suspend the copper above the vinegar in the jar. Any piece of twine or string that will fit across the diameter of the jar with some extra length to hang over the sides will work.</td></tr><tr><td>About 50ml vinegar</td><td></td></tr><tr><td>(or urine)</td><td>Try experimenting with different types of vinegar and make a note of their acetic acid concentration (most are diluted to 5% - check the label). Apple cider vinegar with the "mother" is likely the most similar to historical vinegar.</td></tr><tr><td><strong>To harvest the verdigris:</strong><br>nitrile or latex gloves, table covering (such as a sheet of newspaper or paper bag, plastic sheeting), ceramic or glass plate (or other flat surface), palette knife (or other sturdy flat instrument such as a butter knife or metal spoon - just make sure not to use it for anything else after!)</td><td></td></tr></tbody></table><h2 id=instructions>Instructions</h2><p>Below is a basic recipe designed to be a straightforward version of a historical example. Don&rsquo;t let that limit you in your experimentations! If you wish, try to reconstruct variations of recipes you found, like different types of vinegar or sources of copper, substituting urine for the vinegar, or creating a warm environment that would mimic the horse dung described in the example above.</p><ol><li>Fill the jar about ¼ full with vinegar (about an inch from the bottom of the jar)</li><li>Attach the copper foil to the twine (e.g., by folding or crimping an edge over the string; or piercing a hole in the copper and threading the twine through). Make sure it is secure</li><li>Suspend the copper about an inch or more above the vinegar with the string hanging over the top and sides of the jar (you can tape the string in place on the sides of the jar so the copper does not fall into the liquid). Do not allow the copper to touch the vinegar</li><li>Screw the jar lid on tightly, making sure that the copper is held above the liquid</li><li>Put the jar in a warm spot where it will not be disturbed</li><li>Observe your verdigris every few days and keep records and photos in your fieldnotes of what you observe. Take photos</li></ol><p><em><strong>Make sure to keep the jar closed and do not let the liquid touch the copper.</strong></em></p><h2 id=material-safety-information>Material Safety Information</h2><p>Verdigris is a basic copper acetate, a material which can pose some safety risks. To determine how to work with it safely and what precautions to take, we consult the <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/verdigris_msds-copper-acetate.pdf>Material Safety Data Sheet (MSDS) for copper acetate</a>. Key points are summarized below.</p><p><strong>Formation of copper(ii) acetate from Cu(s) and acetic acid.</strong></p><ul><li>Common Name: <strong>Verdigris</strong></li><li>Chemical name: Copper(ii) acetate</li><li>Solubility: soluble in H2O and alcohol</li><li>Melting point: 115° C</li></ul><p><strong>Hazard statements, flashpoints, combustion points, interactions, etc.</strong></p><ul><li>H302 harmful if swallowed;</li><li>H315 causes skin irritation;</li><li>H410 very toxic to aquatic life with long lasting effects;</li><li>H335 may cause respiratory irritation;</li><li>H319 causes serious eye irritation</li></ul><p><strong>Safety precautions</strong></p><ul><li>P271 use only outdoors or in a well-ventilated area;</li><li>P261 avoid breathing dust/fumes;</li><li>P270 do not eat, drink or smoke when using this product;</li><li>P273 avoid release to the environment;</li><li>P280 Wear protective gloves/protective clothing/eye protection/face protection</li></ul><p><strong>Waste management</strong></p><ul><li>Do not wash down the sink or throw away in household or regular trash</li><li>Any items that have come in contact with verdigris or that have any verdigris residue must be disposed of in hazardous waste containers</li><li>In the Making and Knowing lab at Columbia University: verdigris is &ldquo;hazardous waste&rdquo; (we follow the recommendations of <a href=https://research.columbia.edu/environmental-health-safety>Columbia Environmental Health & Safety</a>)<ul><li>Solid/Liquid, non-oil, hazardous; or</li><li>Solid/Liquid, oil, hazardous</li></ul></li></ul><h2 id=harvesting-or-preparing-the-verdigris-for-painting---do-not-do-this-at-home>&ldquo;Harvesting&rdquo; (or Preparing) the Verdigris for Painting - DO NOT DO THIS AT HOME</h2><p><strong>CAUTION: Verdigris is toxic.<br>Do not carry out these instructions at home, only in a laboratory or approved studio setting.<br>Ensure the setting you are working in is equipped to prevent harmful ingestion to you or others as well as to prevent harmful release to the environment.</strong></p><p>The longer you keep the jar closed, the more verdigris "growth" you will have. After a few weeks, you should have enough to yield a good amount with which to paint.</p><ol><li>Secure the ends of the string hanging down the sides of the jar. You may wish to tape them in place to ensure the copper will not drop down into the vinegar when you open the jar</li><li>Carefully remove the jar lid, making sure that the liquid does not come in contact with the copper pipe</li><li><strong>Using latex or nitrile gloves</strong>, carefully remove the copper from the jar and place copper into a ziptop plastic bag or other sealable container. Bring the bag/container into the lab</li><li>Do not try to transport the verdigris while still suspended in the vinegar jar - the liquid will splash up and you can easily lose your crystal growth!</li><li>Using a stainless steel butter knife or spoon, scrape the crystal growth onto the plate. Using a palette knife, a butter knife, or the back of a stainless steel spoon, scrape the green crystals from the copper. Gently crush the crystals to a fine powder</li><li><strong>NOTE: Never carry this out in a setting other than a lab or approved studio where safety precautions can be followed to avoid hazard to you or the environment</strong></li><li>Be sure to cover the surface you use with old newspaper or paper bags (which you discard immediately after use)</li><li>Do not touch your mouth or eyes while doing this</li><li>When complete, thoroughly clean all surfaces with which the verdigris came into contact</li><li>Remember to avoid disposing of verdigris down the drain or into household trash</li></ol><p>Once crystals have been scraped off of the copper, you can return it to your jar-and-vinegar setup to grow further. This can be repeated until the copper is too degraded to hold its shape.</p><h2 id=painting-with-verdigris-in-bnf-ms-fr-640>Painting with verdigris in BnF Ms. Fr. 640</h2><p>While there are no references to the process of making verdigris in BnF Ms. Fr. 640 (the 16th-century artisanal/technical manual studied by the Making and Knowing Project), there are a few notes about its use or application in painting. The manuscript also mentions verdigris as a material in processes other than painting, including casting, etching, and dyeing.</p><blockquote><p>Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano, eds., <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em> (New York: Making and Knowing Project, 2020), <a href=https://edition640.makingandknowing.org/>https://edition640.makingandknowing.org/</a>, <a href=https://doi.org/10.7916/78yt-2v41>https://doi.org/10.7916/78yt-2v41</a>.</p></blockquote><p>For all instances in Ms. Fr. 640, search for &ldquo;verdigris&rdquo; in <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature</em></a>.</p><h3 id=excerpts-from-ms-fr-640-about-using-verdigris-in-painting>Excerpts from Ms. Fr. 640 about using verdigris in painting:</h3><p><a href=https://edition640.makingandknowing.org/#/folios/63r/f/63r/tl>Fol. 63r</a> suggests crushing the crystals with vinegar or urine, allowing the mixture to dry, then mixing that with binder.</p><blockquote><p><em><strong>Verdigris and another very beautiful bright green</strong></em><br><em>One ought not to grind it with water alone, for that makes it die. To render it beautiful in distemper, some grind it with vinegar, but that makes it turn pale & become whitish. To render it beautiful, grind it with urine & leave to dry. Then, whenever you like, grind it with oil. And after you have collected it with the spatula, before finishing to clean the marble, grind stil de grain yellow on it. And you will have a very beautiful green.</em></p></blockquote><p><a href=https://edition640.makingandknowing.org/#/folios/58r/tl>Fol. 58r</a> says that grinding it with urine will prevent the verdigris color from "dying."</p><blockquote><p><em><strong>Painter</strong></em><br>… <em>Verdigris and orpiment must first be ground with urine before thinning them with oil. Thus they are beautiful & do not die. …</em></p></blockquote><p><a href=https://edition640.makingandknowing.org/#/folios/6r/tl>Fol. 6r</a> recommends verdigris and turpentine varnish to create green burnished gold.</p><blockquote><p><em><strong>For laying down and seating burnished gold and giving red or green or blue</strong></em><br>… <em>For green, temper verdigris with walnut or linseed oil & grind it, next mix in turpentine varnish and not spike lavender varnish, which is not suitable for verdigris. …</em></p></blockquote><ul><li><a href=https://edition640.makingandknowing.org/#/folios/39v/tl>Fol. 39v</a> uses verdigris, turpentine, and mastic resin for the background of reverse-painted glass.</li></ul><blockquote><p><em><strong>Tracing some history on glass</strong></em><br>…<em>then you shall fill the background with azur d'esmail or verdigris or fine laque platte</em> <del><em>platte</em></del> <em>tempered with clear turpentine, mixed with a little of tear of mastic if you want that the colors are more even & do not spread. …</em></p></blockquote><p><a href=https://edition640.makingandknowing.org/#/folios/64r/tl>Fol. 64r</a> explains that verdigris does not require two layers of application.</p><blockquote><p><em><strong>Double layer</strong></em><br><em>Verdigris does not die, & thus does not need to be layered twice. But lake & others, & principally flesh colors,</em> <del><em>the</em></del> <em>require two layers. Colors hardly change when they are dry.</em></p></blockquote><p><a href=https://edition640.makingandknowing.org/#/folios/65v/tl>Fol. 65v</a> states that verdigris has no body and is thus good for glazing, but that it is also harmful to other colors.</p><blockquote><p><em><strong>Glazing</strong></em><br><em>One commonly glazes with colors that do not have body, such as lake & verdigris. However, to use other colors, one mixes in a quantity of calcined & ground cristallin, which also has no body &</em> <del><em>makes</em></del> <em>lightens the density of the others.</em><br><br><em><strong>Imprimatura</strong></em><br><em>One needs to be quite careful about this, & not make it, as some will, with gold color which is made with the washings of oil paintbrushes, because verdigris & other corrosive colors which are in it will in the end make the colors die that are</em> <del><em>meu</em></del> <em>layered on next. It is good to do it with ceruse,</em> <del><em>& a bit of</em></del> <em>yellow ocher, & a little massicot, & make it not very thick in order that it does not crack.</em></p></blockquote><p><a href=https://edition640.makingandknowing.org/#/folios/66r/tl>Fol. 66r</a> also comments on verdigris' harmful properties.</p><blockquote><p><em><strong>Or mat</strong></em><br>… <em>Gold color that is made of different colors cleaned from paintbrushes for oil is not so good, & with time, tarnishes the gold because of the verdigris. …</em></p></blockquote><p><a href=https://edition640.makingandknowing.org/#/folios/105r/tl>Fol. 105r</a> states that verdigris should be added to certain other pigments to help them dry in oil.</p><blockquote><p><em><strong>Drying colors</strong></em><br><em>Soot black & others would not dry in oil if one did not put verdigris with it.</em></p></blockquote><p><a href=https://edition640.makingandknowing.org/#/folios/129r/tl>Fol. 129r</a> offers ways to color objects cast in metal (specifically, snakes).</p><blockquote><p><em><strong>Viper color</strong></em><br>… <em>Its true color is made with good verdigris ground well with some good vinegar, if it is of lead or tin. And if it is in some place darker, fumigate this first color with sulfur, as you know. …</em></p></blockquote><p><a href=https://edition640.makingandknowing.org/#/folios/158v/tl>Fol. 158v</a> has another way to give color to metal casts (here, leaves).</p><blockquote><p><em><strong>Colors for green leaves</strong></em><br>… <em>For green, the verdigris has depth & is too dark. If it is a yellowish green, you can mix with the verdigris a little yellow ocher & stil de grain yellow. If the green is dark, put with it charcoal of peach tree pits, which makes a</em> <del><em>v</em></del> <em>greenish black, in the same way that black of ox foot bone looks bluish. And thus, by judgment & discretion, put the color on the natural flower or leaf to see whether it comes close. …</em></p></blockquote><p>A downloadable version of this assignment: [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/verdigris_assignment_downloadable_2021.pdf>PDF</a>]</p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=page-title>M&amp;K Resources in Use</h1><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#collaborator-pilot-courses>Collaborator Pilot Courses</a><ul><li><a href=#experiment>Experiment</a></li><li><a href=#making-and-knowing-in-the-high-school-history-classroom>Making and Knowing in the High School History Classroom</a></li><li><a href=#science-magic-and-alchemy-hst-306>Science, Magic, and Alchemy (HST 306)</a></li><li><a href=#ingenious-making-in-the-early-modern-world-arth-29>Ingenious Making in the Early Modern World (ARTH 29)</a></li><li><a href=#artcraft-hands-on-global-histories-of-materials-techniques-and-skilled-making-viza-689>Art/Craft: Hands-on Global Histories of Materials, Techniques, and Skilled Making (VIZA 689)</a></li><li><a href=#global-art-history-survey-ii-renaissance-to-modern-arts-150>Global Art History Survey II (Renaissance to Modern) (ARTS 150)</a></li><li><a href=#histories-of-science-and-technology-in-east-asia-eaas-w4110>Histories of Science and Technology in East Asia (EAAS W4110)</a></li></ul></li><li><a href=#collaborator-workshops>Collaborator Workshops</a><ul><li><a href=#bio-art-workshops-texas-am-university>Bio Art Workshops, Texas A&amp;M University</a></li><li><a href=#refashioning-the-renaissance-reconstruction-exchange>Refashioning the Renaissance Reconstruction Exchange</a></li><li><a href=#genspace-community-scienceart-workshops>Genspace Community Science/Art Workshops</a></li><li><a href=#dyeing-with-cochineal---a-short-high-school-workshop>Dyeing with Cochineal - A Short High-School Workshop</a></li></ul></li></ul></nav></aside><content><h1 id=making-and-knowing-resources-in-use>Making and Knowing Resources in Use</h1><p>The Making and Knowing Project has many <a href=https://www.makingandknowing.org/collaborators/>collaborators</a> from K-12 to university, to non-traditional schools and public outreach institutions, who have piloted the Making and Knowing Project&rsquo;s methods, course elements, and lesson plans in their research projects, courses, and student activities. The fruits of their experience, their syllabi, student projects, and making activities are valuable for those seeking to integrate Making and Knowing resources into their teaching and research.</p><h2 id=collaborator-pilot-courses>Collaborator Pilot Courses</h2><p>Materials from courses taught by Project collaborators, some using resources from this Companion or developed in consultation with the Making and Knowing Project.</p><h3 id=experiment>Experiment</h3><p>Spring 2018, University of Oregon, Clark Honors College<br>Vera Keller, Professor of History</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp18_Keller_Vera_syllabus_experiment.pdf>Experiment Syllabus</a></li><li><strong>Course description:</strong> The course <em>Experiment</em> explores the origins of experimental science in early modern Europe (15th-18th centuries), and incorporates hands-on activities. In 2018, students researched Ms. Fr. 640 then read essays in <em>Secrets of Craft and Nature</em>. The class had the chance to Skype with current and former Making and Knowing students, who were able to answer questions and respond to critiques. The course included a number of experimental reconstructions, including a “Boyle’s Law” demonstration and growing of Seignette Salts. Students described the process of these experiments in a period voice (voice of Boyle or voice of the author-practitioner), and discussed what is at stake in the various literary technologies employed. For more on the various literary technologies, see Vera Keller, <a href=https://edition640.makingandknowing.org/#/essays/ann_320_ie_19>Four Manuscripts between the Recipe and the Experimental Essay</a>.</li></ul><h3 id=making-and-knowing-in-the-high-school-history-classroom>Making and Knowing in the High School History Classroom</h3><p>Sofia Gans, PhD, speaks about her experience teaching high school European history through hands-on reconstruction of historical techniques.</p><ul><li>Video: <a href=https://vimeo.com/942105196>Hands-On History: Reconstruction in the High School Classroom</a><br></li></ul><h3 id=science-magic-and-alchemy-hst-306>Science, Magic, and Alchemy (HST 306)</h3><p>Spring 2020, Wake Forest University<br>Monique O&rsquo;Connell, Professor of History<br></p><ul><li>Video: <a href=https://vimeo.com/840477199>From Watching to Working: Incorporating Making and Knowing Activities into History of Science Courses</a></li></ul><p>Monique O&rsquo;Connell reflects on her interdisciplinary goals and experiences using the Making and Knowing Project&rsquo;s Hands-on Lesson Plan for stucco-making.</p><h3 id=ingenious-making-in-the-early-modern-world-arth-29>Ingenious Making in the Early Modern World (ARTH 29)</h3><p>Spring 2022, Oberlin College<br>Christina Neilson, Associate Professor of Art History</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp22_nielson_christina_syllabus-arth-295_ingenious-making_web-version.pdf>Ingenious Making in the Early Modern World Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/sp22_nielson_christina_syllabus-arth-295_ingenious-making_web-version.docx>DOCX</a>)</li><li><strong>Course description:</strong> This course investigates what it meant to make things and work with materials, including featherwork, imitation gems, color making, and metal casting, in Europe and colonial Latin America between around 1350 and 1650. We will follow historical descriptions and recipes to reconstruct methods of making, and learn from expert practitioners who are holders of traditional techniques and meanings, including indigenous makers. We will consider how a wide range of practitioners developed hands-on knowledge in workshops, laboratories, marketplaces, gardens, etc. and we will explore how making was and is a form of knowledge, how there are different systems of knowledge, and the intersections between art making and science.</li><li><strong>Reflections on teaching Ingenious Making:</strong> In this video, Christina Neilson and Heather Galloway speak about their experience using the Making and Knowing Project&rsquo;s Hands-on Lesson Plans in a class at Oberlin College.</li></ul><iframe src=https://player.vimeo.com/video/942071266 width=640 height=360 frameborder=0 allow="autoplay; fullscreen" allowfullscreen></iframe><ul><li><strong>Sample student portfolio reports:</strong> Similar to M&amp;K&rsquo;s <a href=https://fieldnotes.makingandknowing.org/>Fieldnotes</a>, these portfolios document the students&rsquo; hands-on activities, which included <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/stucco-assignment/>Stucco for Molding</a>, Molding Fruits in Sugar (<a href=https://edition640.makingandknowing.org/#/folios/126r/f/126r/tl>Ms. Fr. 640, fol. 126r</a>), and making and painting <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/pigment-cochineal-lake_assignment/>cochineal lake</a> and <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/verdigris-assignment/>verdigris</a> pigments.<ul><li><a href=https://oberlin.digication.com/audrey-libatique-ingenious-making/home>Audrey Libatique</a></li><li><a href=https://oberlin.digication.com/audrey-libatique-ingenious-making/home>Ava Chessum</a></li><li><a href=https://oberlin.digication.com/sien-mcfalls-journal-arth295/home>Sien McFalls</a></li></ul></li></ul><h3 id=artcraft-hands-on-global-histories-of-materials-techniques-and-skilled-making-viza-689>Art/Craft: Hands-on Global Histories of Materials, Techniques, and Skilled Making (VIZA 689)</h3><p>Spring 2023, School of Performance, Visualization & Fine Arts, Texas A&amp;M University<br>Graduate Special Topics Seminar<br>Dr. Tianna Helena Uchacz, Assistant Professor of Art History</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/documents/pdf/sp23_uchacz_tianna_syllabus-viza-689_art-craft.pdf>Art/Craft Syllabus</a></li><li><strong>Course description:</strong> This course investigates the materials, techniques, and meanings of craft through hands-on engagement with historical making practices. Classes combine seminar-style discussion of primary sources and contemporary scholarship with site visits and laboratory exercises in making skills, research skills, and writing skills. The course encourages students to consider relationships between making and thinking, nature and artifice, and art/craft and science by exploring issues related to textual, oral, and tacit knowledge, the significance of skill, and global histories of materials, tools, and practice. <strong>In Spring 2023, the Art/Craft seminar will focus on fibers and textiles as case-study materials.</strong></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/reflection/uchacz-course-reflection/>Teaching Reflections and Tips from Texas A&amp;M - Tianna Uchacz</a> - course development and further reflection.</li></ul><h3 id=global-art-history-survey-ii-renaissance-to-modern-arts-150>Global Art History Survey II (Renaissance to Modern) (ARTS 150)</h3><p>Texas A&amp;M University<br>Dr. Tianna Helena Uchacz, Assistant Professor of Art History</p><ul><li><strong>Course description:</strong> A large lecture survey of architecture, painting, sculpture and the minor arts around the world from the 14th century to the end of the 20th century. ARTS 150 counts toward a Core Curriculum Creative Arts requirement and toward Intercultural Diversity course requirements.</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/reflection/uchacz-course-reflection/>Teaching Reflections and Tips from Texas A&amp;M - Tianna Uchacz</a> - course development and further reflection, including ways to scale up hands-on activities for large classes.</li></ul><h3 id=histories-of-science-and-technology-in-east-asia-eaas-w4110>Histories of Science and Technology in East Asia (EAAS W4110)</h3><p>Spring 2018, East Asian Languages and Cultures, Columbia University<br>Lan Li, Lecturer & Presidential Scholar in Society and Neuroscience</p><ul><li><a href=https://edblogs.columbia.edu/hseaw4110-001-2018-1/2017/10/31/hello-world/>Histories of Science and Technology in East Asia Syllabus</a></li><li><strong>Course description:</strong> Students explored what it means for historians to engage in experimentation and the pedagogical value of burning, breaking, and substituting materials. Beyond reading texts, the course also involved a practical component as students engaged with knowledge production by actually making things. This practical assignment, in lieu of a written research paper, was modeled after the Making and Knowing Project. Reconstructions included armillary spheres, techniques for repairing ceramic, and a “simple and convenient x-ray.” The second practical component of the course involved translating broader research questions into a podcast. Podcasts include essays on plastic surgery, mapping mountains, and ritualized cremation. View the projects and podcasts on the <a href=https://edblogs.columbia.edu/hseaw4110-001-2018-1/>course website</a>.</li><li>For Li&rsquo;s reflection on the design and instruction of this course, see her <a href=https://edblogs.columbia.edu/hseaw4110-001-2018-1/2018/05/02/introduction/>Introduction</a> on the course website.</li></ul><h2 id=collaborator-workshops>Collaborator Workshops</h2><h3 id=bio-art-workshops-texas-am-university>Bio Art Workshops, Texas A&amp;M University</h3><p>Spring 2023, School of Performance, Visualization & Fine Arts<br>Naomi Rosenkranz, Dr. Tianna Uchacz, Dr. Donna Janes, Dr. Sumeyye Yar</p><p>This 4-day workshop was held in March 2023 at Texas A&amp;M University. It was organized by Tianna Uchacz as a series of guest labs for her graduate course, Art/Craft: Hands-on Global Histories of Materials, Techniques, and Skilled Making. The labs were co-led by Naomi Rosenkranz (M&amp;K) and Donna Janes (Microbiology, Texas A&amp;M) in consultation with Sumeyye Yar. The activities, a 2-day dyeing workshop using cochineal insects, paired with a 2-day painting workshop using bioluminescent bacteria, built on workshops that Rosenkranz and Yar had developed and led at Genspace Community Lab, Brooklyn (described below). 10 faculty and 26 students from the College of Arts and Sciences, the College of Engineering, and the School of Performance, Visualization & Fine Arts took part.</p><p><strong>RESOURCES</strong></p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/sp23_dyes_tamu/>Bio Art Workshop: Dyeing with Cochineal Bugs</a> - participant resource page with presentations, handouts, and material sourcing</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2023_dyes_step-by-step-process_TAM.pdf>Dyeing with Cochineal: Workshop Plan and Step-by-Step Instructions</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2023_dyes_cochineal-history-chem-prep_TAMU-compressed.pdf>Presentation: Chemistry of dyeing and history of cochineal as a dyestuff</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_printout_samples-amounts.pdf>Handout: mordant and dyestuff amounts for 12 different dyeing stations</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_handout_dyeing-textiles_general-process.pdf>Handout: mordanting and dyeing process protocol</a></li><li><a href=https://pvfa.tamu.edu/news/2023/03/20/bio-art-workshops-to-show-creative-process-using-cochineal-insects-bacteria/>News Item: Bio Art Workshops at Texas A&amp;M University</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_poster_bioart.pdf>Poster: Bio Art Workshops at Texas A&amp;M University</a></li></ul><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/tamu_cochineal-step-by-step.jpg?raw=true" alt></p><h3 id=refashioning-the-renaissance-reconstruction-exchange>Refashioning the Renaissance Reconstruction Exchange</h3><p>Naomi Rosenkranz, Dr. Sophie Pitman, Professor Paula Hohti, 2019</p><iframe title=vimeo-player src="https://player.vimeo.com/video/946353423?h=eb8a55e927" width=640 height=360 frameborder=0 allowfullscreen></iframe><p>This workshop brought together two projects engaged in hands-on reconstruction to exchange methods and experiences on dyeing between the Making and Knowing Project and the <a href=http://refashioningrenaissance.eu/>Refashioning the Renaissance</a> in March 2019. The Making and Knowing Project and Refashioning the Renaissance experimented with materials commonly used in the early modern period for dyeing red, including the widespread madder, the expensive kermes, and the potent cochineal.</p><p><strong>RESOURCES</strong></p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/pdf/rosenkranz_2019_dyes_reconstruction-exchange-case-study-in-16th-century-red-dyes.pdf>Presentation: Reconstruction Exchange: Case Study in 16th Century Red Dyes</a> - provides an overview of natural dyes as well as discusses the materials, chemistry, recipes, and processes for dyeing in early modern Europe.</li><li><a href=https://refashioningrenaissance.eu/experiments/red-dyes-with-making-knowing/>Red Dyes Experiment Page</a> by Refashioning the Renaissance</li><li><a href=https://refashioningrenaissance.eu/refashioning-workshop-in-toronto-and-nyc/>Workshop Blog Post</a> by Refashioning the Renaissance</li></ul><h3 id=genspace-community-scienceart-workshops>Genspace Community Science/Art Workshops</h3><h4 id=coloring-textiles-with-bugs-old-cochineal-and-new-bacteria>Coloring Textiles with Bugs: Old (Cochineal) and New (Bacteria)</h4><p>Naomi Rosenkranz & Dr. Sumeyye Yar, 2018-19</p><p>Sponsored by the Center for Science and Society and <a href=https://www.genspace.org/>Genspace Community Lab</a></p><p><strong>Workshop description:</strong>
 <a href=https://www.genspace.org/>Genspace Community Lab</a> is a Brooklyn-based community lab that provides an open space for STEAM education, bringing together the arts and sciences in an educational setting, including a host of public workshops and classes. Developed and taught by Sumeyye Yar and Naomi Rosenkranz, a series of workshops were help at Genpace in May 2018, September 2018, December 2018, and November 2019. Yar and Rosenkranz received a Public Outreach grant from Columbia&rsquo;s Center for Science and Society to design and hold workshops exploring colorant sustainability through renewed interest in old methods (dyeing with natural colorants) and new scientific breakthroughs (painting with pigmented bacteria) to combat the pollution and hazards of &ldquo;fast fashion&rdquo; and the textile industry. Each workshop was held over two days, 3-4 hours on each day, and combined interactive presentations and discussion, directed making sessions, and open creative time in the lab. Each participant created a hybrid textile collage with cochineal-dyed fabrics and and textiles printed with pigmented bacteria.</p><p>In this workshop, participants</p><ul><li>Learn about the history and chemistry of natural colorants and dyes</li><li>Follow 500-year-old recipes from the Renaissance to dye wool and silk yarns with cochineal bugs</li><li>Learn how genetic engineering and bacterial cultures can be used to replace synthetic dyes in the future</li><li>Paint with bacteria and then print your designs on cotton</li><li>At the end, combine printed microbial designs with hand-dyed cochineal textiles to create a decorative art piece to take home</li></ul><p><strong>RESOURCES</strong></p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/SY_Genspace_textile-coloring-with-cochineal-and-microbial-bugs-dec-2018.pdf>Presentation: The Future of Textile Industry: Bacterial Colorants in Fashion</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2018_dyes_cochineal-workshop_overview-of-dye-chemistry-history.pdf>Presentation: Overview of the history and chemistry of dyeing</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2018_dyes_cochineal-step-by-step.pdf>Presentation: Dyeing with Cochineal, Step by Step</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2018_dyes_handout_dyeing-with-cochineal.pdf>Handout: Mordanting and Dyeing Protocol</a></li></ul><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/coloring-textiles-with-bugs.jpg?raw=true" alt></p><h4 id=dyeing-and-painting-with-nature-the-chemistry-of-cochineal>Dyeing and Painting with Nature: The Chemistry of Cochineal</h4><p>Naomi Rosenkranz, April 2019</p><p>Building upon the workshop, Coloring Textiles with Bugs, Rosenkranz created another Genspace workshop that looked at both dyes and pigments made from cochineal.</p><ul><li><strong>Workshop description:</strong> Join Genspace for a hands-on exploration of natural colorants where we will focus on the tiny but powerfully-colorful cochineal bugs. We will look at the fascinating history of cochineal use and the chemistry behind transforming organic matter into usable color, learning about the relationship (and differences) between dyes and pigments, and how you can make them in the lab or at home in your kitchen. Following 500-year-old recipes and using modern chemistry, we will learn three different methods for extracting the cochineal color. We will dye textiles and make pigments with bugs, and each participant will walk away with a tube of lab-made paint!</li></ul><p><strong>RESOURCES</strong></p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2019_genspace_cochineal-history.pdf>Presentation: Cochineal history and chemistry - Apr 2019</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2019_genspace_lake-pigment.pdf>Presentation: Lake pigments - Apr 2019</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2019_genspace_dye-chemistry.pdf>Presentation: Dye chemistry - Apr 2019</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2019_genspace_process-overview-dye-vs-pigment.pdf>Process overview: dye vs. pigment</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2019_genspace_dyeing-materials-step-by-step-instructions.pdf>Dyeing materials and step-by-step instructions - 2019 Apr</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/rosenkranz_2019_genspace_lake-making.pdf>Making of lake pigments and step-by-step instructions - 2019 Apr</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp19_cochineal-lake-from-silk-thread.pdf>Making lake pigments from dyed silk thread</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/activity-sheets/rosenkranz_2019_dyes_TEMPLATE-AND-RECIPES_dye-experiments.xlsx>Dyes: recipes, calculations, and template - Apr 2019 (XLSX)</a></li></ul><p><strong>HANDOUTS</strong></p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2019-04-13_handout_cochineal-lake-making.pdf>Handout: cochineal lake making</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2019-04-13_handout_genspace_dyeing-cochineal.pdf>Handout: cochineal dyeing process</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2019-04-13_handout_cochineal-dye-sample-summary.pdf>Handout: cochineal dye samples summary</a></li></ul><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/2019-genspace-plan.jpg?raw=true" alt></p><h3 id=dyeing-with-cochineal---a-short-high-school-workshop>Dyeing with Cochineal - A Short High-School Workshop</h3><p>Reece Brown (undergraduate, Columbia University), Spring/Summer 2023</p><p>Created as her final project in the Making and Knowing Project course, <em>Making and Knowing in Early Modern Europe: Hands-On History</em> (HIST GU4962), Reece Brown designed and taught a workshop on dyeing with cochineal to high school students in an environmental science class.</p><ul><li><strong>Workshop Description:</strong> This workshop explores cochineal from three different disciplines: biology, chemistry, and history. We will begin by discussing its life cycle and habitat, then pivot to focus on the particular compound for which it is known, i.e., carminic acid. The flow of this lesson follows the transformation of materials during the process of dyeing, turning cochineal from a resource to a material to a product. Every step in the “recipe” will be contextualized briefly prior to the hands-on endeavor, then more fully explored in a conversation as we wait for the materials to heat to the proper temperature. This outline lets the process and material reality come first, then provides more abstract information once students have oriented themselves in the world around them. It also provides productive instruction time during periods of stasis integrated throughout the process of dyeing.</li><li>See the final project page for her workshop materials and reflection: <a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp23_brown-reece_final-project_dye-workshop/>Dyeing Textiles with Cochineal - A Short High-School Workshop</a>.</li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#data-management-plan>Data Management Plan</a></li></ul></nav></aside><content><h1 id=the-making-and-knowing-project>The Making and Knowing Project</h1><blockquote><p>Last updated 2023 by NJR and THC
 The Making and Knowing Project</p></blockquote><h2 id=data-management-plan>Data Management Plan</h2><p>Data management is a responsibility upheld by all participants of the
diff --git a/resources/digital/index.html b/resources/digital/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Digital Making & Knowing | Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><link rel=alternate type=application/rss+xml href=https://cu-mkp.github.io/research-teaching-companion/resources/digital/index.xml title="Research and Teaching Companion"><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><link rel=alternate type=application/rss+xml href=https://cu-mkp.github.io/research-teaching-companion/resources/digital/index.xml title="Research and Teaching Companion"><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=section-title>Digital Making & Knowing</h1><div class=toc-bg></div><div class=toc-content-container><aside class=toc><nav id=TableOfContents><ul><li><a href=#the-making-and-knowing-project-sandbox>The Making and Knowing Project Sandbox</a><ul><li><a href=#view-the-sandbox-repository-on-githubhttpsgithubcomcu-mkpsandbox>View the Sandbox Repository on <a href=https://github.com/cu-mkp/sandbox>Github</a></a></li></ul></li><li><a href=#editioncrafter>EditionCrafter</a></li><li><a href=#data-management-plan>Data Management Plan</a></li><li><a href=#assessment-and-evaluation-tools>Assessment and Evaluation Tools</a></li><li><a href=#making-and-knowing-digital-courses-and-collaborations>Making and Knowing Digital Courses and Collaborations</a><ul><li><a href=#making-and-knowing-project-digital-humanities-courses>Making and Knowing Project Digital Humanities Courses</a></li><li><a href=#minimal-computing-and-the-making-and-knowing-project>Minimal Computing and the Making and Knowing Project</a></li><li><a href=#ms-fr-640-in-virtual-and-augmented-reality>Ms. Fr. 640 in Virtual and Augmented Reality</a></li></ul></li></ul></nav></aside><content><h1 id=digital-making-and-knowing>Digital Making and Knowing</h1><p>The Making and Knowing Project has developed open access digital resources, including a publication tool for making your own edition, model projects for using the data of <em>Secrets of Craft and Nature</em>, digital literacy tools, syllabi, and ideas for student activities.</p><p>The markup of Ms. Fr. 640 in <em>Secrets of Craft and Nature</em> enables many kinds of exploration and historical insights. For an introduction, see <a href=https://cu-mkp.github.io/sandbox/docs/categories.html><em>Understanding and Analyzing the Categories of the Entries in BnF Ms. Fr. 640</em></a> by Naomi Rosenkranz.</p><p>Read a reflection on using the data of <em>Secrets of Craft and Nature</em>: <a href=https://edition640.makingandknowing.org/#/essays/ann_301_ie_19>A Computational Approach to Ms. Fr. 640</a> by Clément Godbarge. See also <a href=https://clementgodbarge.com/post/visualization/>Clément&rsquo;s blog: Visualizing Semantic Markup in BnF Ms. Fr. 640</a>.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/webpage_image_digitalMK-page.png alt="languages screenshot"></p><h2 id=the-making-and-knowing-project-sandbox>The Making and Knowing Project Sandbox</h2><p>The <a href=https://cu-mkp.github.io/sandbox/>Sandbox</a> makes available a number of <a href=https://cu-mkp.github.io/sandbox/docs/index-digital-projects.html>projects</a> that utilize and explore the data underlying <a href=https://edition640.makingandknowing.org/><em>Secrets of Craft and Nature</em></a>. The Sandbox presents experimental, provisional, and in-progress work that engages with and analyzes the data, topics, and content of <em>Secrets of Craft and Nature</em>, as well as the larger themes explored by the Making and Knowing Project.</p><p>The Sandbox is an online environment for students, scholars, and others to explore and experiment with the Project’s data using a variety of digital tools, where others can add and create their own tools, case studies, and add to the resources presented here. This is also a space for sharing teaching resources, exploring methods and processes across disciplines and levels of expertise, and engaging in knowledge exchange wherever possible.</p><h3 id=view-the-sandbox-repository-on-githubhttpsgithubcomcu-mkpsandbox>View the Sandbox Repository on <a href=https://github.com/cu-mkp/sandbox>Github</a></h3><h2 id=editioncrafter>EditionCrafter</h2><p>An open source and customizable publishing tool, <a href=https://editioncrafter.org>EditionCrafter</a> allows users to easily publish digital editions as feature-rich and sustainable static sites, based on the feature set of <em>Secrets of Craft and Nature</em>.</p><p>EditionCrafter was developed as a collaboration between the Making and Knowing Project and Performant Software Solutions to address the need for a scholarly publication tool that integrates primary sources, commentary, and textual analysis. As a publication tool, EditionCrafter facilitates the dissemination of original research through the creation of a digital editions. Researchers, students, and institutions such as libraries, historical societies, archives, and community groups can grant public access to valuable textual sources across disciplines.</p><p>A platform for collaborative research and for pedagogy, EditionCrafter provides space for critical engagement with texts. Scholars and students alike can use digital tools to share not only data and finished products, but also documentation of the process of textual engagement and analysis.</p><p>Editions are published through well-established technologies and workflows and can be maintained with minimal costs and resources, helping to address issues of sustainability and longevity.</p><h2 id=data-management-plan>Data Management Plan</h2><p>M&amp;K&rsquo;s <a href=https://cu-mkp.github.io/research-teaching-companion/resources/digital/2024-data-management-plan/>Data Management Plan</a> has guided all digital publications and project management areas.</p><h2 id=assessment-and-evaluation-tools>Assessment and Evaluation Tools</h2><p>Tools for assessing digital literacy, developed in collaboration with Columbia University’s Center for Teaching and Learning.</p><ul><li><a href=https://ccnmtl.github.io/digital-literacy/>The Digital Literacy Competency Calculator (DLCC)</a>, a web-based tool for representing the connection between digital literacy competencies and the teaching and learning practices that produce them. This tool was developed in collaboration with Columbia&rsquo;s Center for Teaching and Learning as part of the course offering, [Spring 2017: <a href=https://www.makingandknowing.org/wp-content/uploads/2019/10/Website-Syllabus_Digital_course.pdf><em>What is a Book in the 21st Century? Working with Historical Texts in a Digital Environment</em></a>.<ul><li>See also the <a href="https://docs.google.com/document/d/11Em2vX-jJw_4QoP62STwVo1i5cNi81ARft9j7gOQsoA/edit?usp=sharing">“White Paper: Digital Literacy Competency Calculator: Rationale and Process”</a>.</li><li>The <a href=https://cu-mkp.github.io/diglit-gr8975/>DLCC for Spring 2017: What is a Book?</a></li></ul></li></ul><h2 id=making-and-knowing-digital-courses-and-collaborations>Making and Knowing Digital Courses and Collaborations</h2><h3 id=making-and-knowing-project-digital-humanities-courses>Making and Knowing Project Digital Humanities Courses</h3><p>See <a href=https://cu-mkp.github.io/research-teaching-companion/resources/syllabi/>Making and Knowing Syllabi</a> for details about the courses <em>What is a Book in the 21st Century? Working with Historical Texts in a Digital Environment</em> and <em>Transforming Texts: Textual Analysis, Literary Modeling, and Visualization</em>.</p><h3 id=minimal-computing-and-the-making-and-knowing-project>Minimal Computing and the Making and Knowing Project</h3><p>The Making and Knowing Project worked with Alex Gil and Terry Catapano to employ the website publication tool <a href=https://minicomp.github.io/ed/>Ed</a>, based on <a href=http://go-dh.github.io/mincomp/>minimal computing principles</a>, to prototype the edition of Ms. Fr. 640, <a href=https://edition640.makingandknowing.org/#/><em>Secrets of Craft and Nature</em></a>. In 2017, students in the Making and Knowing Project course <em>What is a Book in the 21st Century? Working with Historical Texts in a Digital Environment</em> created a <a href=https://cu-mkp.github.io/GR8975-edition/>minimal digital edition of the working English translation of BnF Ms. Fr. 640</a>. In this minimal edition, they chose to organize the text not by folios, but by entry header titles, thus interrogating the relevance of the codex format for a digital environment. A full conventional organization by folios of the transcriptions and English translation of Ms. Fr. 640 was later developed as an Ed <a href=https://cu-mkp.github.io/2017-workshop-edition/>Edition</a>, with a <a href=https://cu-mkp.github.io/2017-workshop-edition/edition/>rudimentary visualization of the manuscript&rsquo;s encoding</a> that had been undertaken by the Making and Knowing paleographers (click the <a href=https://cu-mkp.github.io/2017-workshop-edition/>menu</a> at upper left). This visualization was developed further as the <a href=https://edition640.makingandknowing.org/#/entries>List of Entries</a> in <em>Secrets of Craft and Nature</em>.</p><h3 id=ms-fr-640-in-virtual-and-augmented-reality>Ms. Fr. 640 in Virtual and Augmented Reality</h3><p>The Columbia University Computer Graphics and User Interfaces Lab (CGUI), led by Professor Steven Feiner, developed an augmented reality (AR) toolset to complement <em>Secrets of Craft and Nature</em>. These interactive tools help communicate the practice-based experiential knowledge generated in the Making and Knowing lab, allowing readers to experience the process of historical techniques through cutting-edge visualization technologies, including Microsoft HoloLens and Google Tango devices.</p><p>CGUI Research Assistant Samantha Siu developed a mobile app that allows users to add impromptu notes, take video, and capture photos while viewing items or undertaking an experiment in the Project laboratory. For their final project in <em>Transforming Texts</em>, a student group collaborated with Samantha to test her application and develop a test database in which the entire process of following a recipe and the corresponding user’s annotation at each step is readily available.</p><p><strong>Explore the AR tools developed by the students</strong></p><ul><li><a href=https://vimeo.com/946354320>Augmented Reality and Art History Annotation</a></li><li><a href=https://vimeo.com/946353976>Augmented Reality Labeling and Annotating</a></li><li><a href=https://vimeo.com/946354776>Prototyping Spatiotemporal Documentation for Digital History</a></li></ul></content></div></div></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents></nav></aside><content><h1 id=bibliography-for-hands-on-teaching-and-learning>Bibliography for Hands-On Teaching and Learning</h1><p>Almevik, Gunnar, Camilla Groth, and Tina Westerlund. Explorations in Craft Sciences. 2-18, 2022. <a href=https://doi.org/10.21524/kriterium.40>https://doi.org/10.21524/kriterium.40</a>.</p><p>Beentjes, Tonny, and Pamela H. Smith. “Sixteenth-century life-casting techniques: experimental reconstructions based on a preserved manuscript.” In The Renaissance Workshop, edited by David Saunders, Marika Spring and Andrew Meek. London: Archetype Publications Ltd, 2013, 144-51.</p><p>Bilak, Donna. “Out of the Ivy and into the Arctic: Imitation Coral Reconstruction in Cross-Cultural Contexts.” Berichte Zur Wissenschaftsgeschichte 43, no. 3 (2020): 341–66. <a href=https://doi.org/10.1002/bewi.202000010>https://doi.org/10.1002/bewi.202000010</a>.</p><p>Bilak, Donna, Jenny Boulboullé, Joel A. Klein, and Pamela H. Smith. “The Making and Knowing Project: Reflections, Methods, and New Directions.” West 86th, Volume 21, No. 1 (2016): 35-55. <a href=http://www.journals.uchicago.edu/doi/full/10.1086/688199>http://www.journals.uchicago.edu/doi/full/10.1086/688199</a>.</p><p>Bol, Marjolijn. “Polito et Claro: The Art and Knowledge of Polishing, 1100–1500.” In Gems in the Early Modern World: Materials, Knowledge and Global Trade, 1450–1800, edited by Michael Bycroft and Sven Dupré, 223–57. Europe’s Asian Centuries. Cham: Springer International Publishing, 2019. <a href=https://doi.org/10.1007/978-3-319-96379-2_9>https://doi.org/10.1007/978-3-319-96379-2_9</a>.</p><p>Bol, Marjolijn, Matteo Martelli, Lucia Raggetti, and Jennifer M. Rampling. “Changing Colour: Yellow Dyes from Antiquity to Early Modernity.” Ambix 71, no. 1 (January 2, 2024): 1–9. <a href=https://doi.org/10.1080/00026980.2024.2326802>https://doi.org/10.1080/00026980.2024.2326802</a>.</p><p>Boulboullé, Jenny and Sven Dupré. Burgundian Black: Reworking Early Modern Colour Technologies. Santa Barbara: EMC Imprint, 2022. <a href=https://burgundianblack.tome.press/>https://burgundianblack.tome.press/</a>. <a href=https://doi.org/10.55239/bb001>https://doi.org/10.55239/bb001</a>.</p><p>Bycroft, Michael, and Alexander Wragge-Morley. “Introduction: Science and Connoisseurship in the European Enlightenment.” History of Science 60, no. 4 (December 1, 2022): 439–57. <a href=https://doi.org/10.1177/00732753211049039>https://doi.org/10.1177/00732753211049039</a>.</p><p>Casadio, Francesca, Marc Walton, and Giovanni Verri. “An Ecosystem for Diagnosis: Creating Synergies in Academic and Museum Research.” CONSERVATION 360o, no. 2 (June 30, 2022). <a href=https://monografias.editorial.upv.es/index.php/con_360/article/view/389>https://monografias.editorial.upv.es/index.php/con_360/article/view/389</a>.</p><p>Chang, Hasok. &ldquo;How Historical Experiments Can Improve Scientific Knowledge and Science Education: The Cases of Boiling Water and Electrochemistry.&rdquo; <em>Science & Education</em> 20.3-4 (2011): 317–341. DOI: 10.1007/s11191-010-9301-8.</p><p>Creager, Angela NH, Mathias Grote, and Elaine Leong. “Learning by the Book: Manuals and Handbooks in the History of Science.” BJHS Themes 5 (2020): 1–13. <a href=https://doi.org/10.1017/bjt.2020.1>https://doi.org/10.1017/bjt.2020.1</a>.</p><p>Demeter, Béla Jozsef. “Reappraising Piero Di Cosimo’s Serpents: The Role of Vipers in Renaissance Florence.” Renaissance Studies 32, no. 4 (2018): 638–59. <a href=https://doi.org/10.1111/rest.12359>https://doi.org/10.1111/rest.12359</a>.</p><p>Dupré, Sven. “Knowledge, Performance, Conservation : How Art and Science Embrace Technology.” Knowledge, Performance, Conservation : How Art and Science Embrace Technology, 2022, 139–54. <a href=https://doi.org/10.1400/289115>https://doi.org/10.1400/289115</a>.</p><p>Eve, Martin Paul, and Jonathan Gray, eds. Reassembling Scholarly Communications: Histories, Infrastructures, and Global Politics of Open Access. The MIT Press, 2020. <a href=https://doi.org/10.7551/mitpress/11885.001.0001>https://doi.org/10.7551/mitpress/11885.001.0001</a>.</p><p>Froehlich, Heather, Marissa Nicosia, and Christina Riehman-Murphy. “Transcribing Recipe Manuscripts Online: V.b. 380 and ‘What’s in a Recipe?’ Undergraduate Research Project at Penn State Abington.” Edited by Amy Tigner and Hillary Nunn. Early Modern Studies Journal Special Issue: Celebrating Ten Years of the Early Modern Recipes Online Collective 8 (2022). <a href=https://earlymodernstudiesjournal.org/wp-content/uploads/2022/10/Transcriping-Recipe-manuscripts-EMSJ-2022.pdf>https://earlymodernstudiesjournal.org/wp-content/uploads/2022/10/Transcriping-Recipe-manuscripts-EMSJ-2022.pdf</a>.</p><p>Fors, H., Principe, L. M., & Sibum, H. O. (2016). From the Library to the Laboratory and Back Again: Experiment as a Tool for Historians of Science. Ambix, 63(2), 85–97.</p><p>Hagendijk, Thijs. “Learning a Craft from Books.” Nuncius: Journal of the History of Science 33, no. 2 (May 2018): 198–235. <a href=https://doi.org/10.1163/18253911-03302002>https://doi.org/10.1163/18253911-03302002</a>.</p><p>Hagendijk, Thijs, Márcia Vilarigues, and Sven Dupré. “Materials, Furnaces, and Texts: How to Write About Making Glass Colours in the Seventeenth Century.” Ambix 67, no. 4 (October 1, 2020): 323–45. <a href=https://doi.org/10.1080/00026980.2020.1826823>https://doi.org/10.1080/00026980.2020.1826823</a>.</p><p>Havard, Lucy J. “‘Almost to Candy Height:’ Knowledge-Making in the Early Modern Kitchen, 1700-1850.” Cultural and Social History, January 29, 2022, 1–21. <a href=https://doi.org/10.1080/14780038.2022.2033148>https://doi.org/10.1080/14780038.2022.2033148</a>.</p><p>Higgins, Silke, and Ngoc-Yen Tran. Embracing Change: Alternatives to Traditional Research Writing Assignments. Association of College & Research Libraries, 2022.</p><p>Kang, Hyeok Hweon. “Reverse Engineering as History and Method: The Portuguese Espingarda in Chosŏn Korea.” History and Technology 38, no. 2–3 (July 3, 2022): 144–66. <a href=https://doi.org/10.1080/07341512.2022.2153206>https://doi.org/10.1080/07341512.2022.2153206</a>.</p><p>Kernan, Sarah Peters. “‘For al Them That Delight in Cookery’: The Production and Use of Cookery Books in England, 1300–1600.” Ph.D., The Ohio State University. Accessed February 28, 2023. <a href=https://www.proquest.com/docview/1840162939/abstract/7FA8008B18384906PQ/1>https://www.proquest.com/docview/1840162939/abstract/7FA8008B18384906PQ/1</a>.</p><p>Kremnitzer, Kathryn, Siddhartha V. Shah, Wenrui Zhao. “Three Recipes for Historical Reconstruction.” Common Knowledge 1 August 2018; 24 (3): 389–396. <a href=https://read.dukeupress.edu/common-knowledge/article/24/3/389/135469/Three-Recipes-for-Historical-Reconstruction>https://read.dukeupress.edu/common-knowledge/article/24/3/389/135469/Three-Recipes-for-Historical-Reconstruction</a>.</p><p>Lacey, Andrew, and Pamela H. Smith. “Thinking through Molds: Metal Flow and Visualizing the Unseen.” West 86th: A Journal of Decorative Arts, Design History, and Material Culture 28, no. 2 (September 2021): 259–68. <a href=https://doi.org/10.1086/721207>https://doi.org/10.1086/721207</a>.</p><p>Laurioux, Bruno, and Agostino Paravicini Bagliani. The Recipe from the XIIth to the XVIIth Centuries: Europe, Islam, Far East. SISMEL, 2023.</p><p>Li, Lan A. “Crafting Digital Histories of Science: A Review and Tour of Secrets of Craft and Nature in Renaissance France.” Isis 112, no. 3 (September 2021): 586–89. <a href=https://doi.org/10.1086/715712>https://doi.org/10.1086/715712</a>.</p><p>Lilley, Hannah. “Itineraries of Black Ink and the Experiments of Thomas Davis.” In Practices of Ephemera in Early Modern England. Routledge, 2023.</p><p>Mandrij, V. E. “Painted by Nature, Printed by Artists: Butterfly Materials in the Work of Otto Marseus van Schrieck and Maximilian Prüfer.” Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 71, no. 1 (November 3, 2021): 276–312. <a href=https://doi.org/10.1163/22145966-07101011>https://doi.org/10.1163/22145966-07101011</a>.</p><p>Marshall, Simone Celine. “Integrating Experiential Learning to Reinvigorate Medieval Studies in New Zealand.” In New Zealand Medievalism. Routledge, 2024.</p><p>Moyers, Beatrice. “History Professor Pamela Smith’s Making and Knowing Project Uses Craft Making to Understand 16th-Century Science - Columbia Spectator.” Columbia Daily Spectator. Accessed October 6, 2022. <a href=https://www.columbiaspectator.com/arts-and-entertainment/2022/10/05/history-professor-pamela-smiths-making-and-knowing-project-uses-craft-making-to-understand-16th-century-science/>https://www.columbiaspectator.com/arts-and-entertainment/2022/10/05/history-professor-pamela-smiths-making-and-knowing-project-uses-craft-making-to-understand-16th-century-science/</a>.</p><p>Pastorino, Cesare. “Beyond Recipes: The Baconian Natural and Experimental Histories as an Epistemic Genre.” Centaurus 62, no. 3 (2020): 447–64. <a href=https://doi.org/10.1111/1600-0498.12322>https://doi.org/10.1111/1600-0498.12322</a>.</p><p>Pitman, Sophie. “Baking and Knowing: Iterative Processes and Iterative Teaching in a Historical Laboratory.” Detours: Social Science Education Research Journal 2, no. 1 (October 20, 2021): 33–41.</p><p>Pitman, Sophie. “A Dyeing Art: Reconstructing Rosetti&rsquo;s Plictho .” In Maria Hayward, Giorgio Riello, Ulinka Rublack, eds. A Revolution in Colour: Natural Dyes and Dress in Europe, c. 1400-1800. Bloomsbury. 2024.</p><p>Principe, L. M. (2016). Chymical Exotica in the Seventeenth Century, or, How to Make the Bologna Stone. Ambix, 63(2), 118–144.</p><p>Rankin, Alisha. &ldquo;Recipes in Early Modern Europe.” Encyclopedia of the History of Science (March 2023), accessed 13 July 2024. <a href=https://doi.org/10.34758/fvw2-w336>https://doi.org/10.34758/fvw2-w336</a>.</p><p>Reynolds, Melissa. “How to Cure a Horse, or, the Experience of Knowledge and the Knowledge of Experience.” Historical Studies in the Natural Sciences 52, no. 4 (September 1, 2022): 547–53. <a href=https://doi.org/10.1525/hsns.2022.52.4.547>https://doi.org/10.1525/hsns.2022.52.4.547</a>.</p><p>Robbins, Amy S. “Beyond Service-Subordination: Materials Experimentation in an Art-Science Collaboration.” Leonardo 55, no. 2 (2022): 191–95.</p><p>sben4773. “Historical Reconstruction: A Valuable Source for the Historian.” History Matters (blog), June 19, 2017. <a href=https://historymatters.sydney.edu.au/2017/06/historical-reconstruction-a-valuable-source-for-the-historian/>https://historymatters.sydney.edu.au/2017/06/historical-reconstruction-a-valuable-source-for-the-historian/</a>.</p><p>Scholthof, Karen-Beth G., Lorenzo J. Washington, April DeMell, Maria R. Mendoza, and Will B. Cody. “Practicing Virology: Making and Knowing a Mid-Twentieth Century Experiment with Tobacco Mosaic Virus.” History and Philosophy of the Life Sciences 44, no. 1 (February 1, 2022): 3. <a href=https://doi.org/10.1007/s40656-021-00481-9>https://doi.org/10.1007/s40656-021-00481-9</a>.</p><p>Silva, Andie, and Scott Schofield, eds. Digital Pedagogy in Early Modern Studies: Method and Praxis. New Technologies in Medieval and Renaissance Studies. Iter Press, 2024. <a href=https://press.uchicago.edu/ucp/books/book/distributed/D/bo151927625.html>https://press.uchicago.edu/ucp/books/book/distributed/D/bo151927625.html</a>.</p><p>Smith, Kate, and Leonie Hannan. “Return and Repetition: Methods for Material Culture Studies.” Journal of Interdisciplinary History 48, no. 1 (2017): 43–59.</p><p>Smith, Pamela H. From Lived Experience to the Written Word: Reconstructing Practical Knowledge in the Early Modern World. University of Chicago Press, 2022. <a href=https://press.uchicago.edu/ucp/books/book/chicago/F/bo133038690.html>https://press.uchicago.edu/ucp/books/book/chicago/F/bo133038690.html</a>.</p><p>Smith, Pamela H. and Tonny Beentjes, “Nature and Art, Making and Knowing: Reconstructing Sixteenth-Century Life Casting Techniques,” Renaissance Quarterly, 63 (2010): 128-179.</p><p>Smith, Pamela H. “In the Workshop of History: Making, Writing, and Meaning.” Shaping Objects: Art, Materials, Making, and Meanings in the Early Modern World, an article series of West 86th: A Journal of Decorative Arts, Design History, and Material Culture, 19 (2012): 4-31.</p><p>Smith, Pamela H. “Making Things: Techniques and books in early modern Europe,” Things, edited by Paula Findlen. London: Routledge, 2013, pp. 173-203.</p><p>Smith, Pamela H. “Des recettes et des secrets à l’expérience: le “Making and Knowing Project. In Toulouse Renaissance, Musée des Augustins, Toulouse. Paris: Somogy éditions d’art, 2018. pp. 340-43. <a href=https://www.makingandknowing.org/wp-content/uploads/2018/11/Smith-p340-343-Toulouse-Renaissance-Exhib-Cat.pdf>https://www.makingandknowing.org/wp-content/uploads/2018/11/Smith-p340-343-Toulouse-Renaissance-Exhib-Cat.pdf</a>.</p><p>Smith, Pamela H. and the Making and Knowing Project. “Historians in the Laboratory: Reconstruction of Renaissance Art and Technology in the Making and Knowing Project.” Art History, Volume 39, Issue 2, pp. 210–233. <a href=http://onlinelibrary.wiley.com/doi/10.1111/1467-8365.12235/full>http://onlinelibrary.wiley.com/doi/10.1111/1467-8365.12235/full</a>.</p><p>Smith, Pamela H. “New Directions in Making and Knowing.” West 86th, Volume 21, No. 1 (2016): 3-5. <a href=http://www.journals.uchicago.edu/doi/full/10.1086/688197>http://www.journals.uchicago.edu/doi/full/10.1086/688197</a>.</p><p>Smith, Pamela H. “Experimenting in the Material World and on Paper in sixteenth-century France. Bernard Palissy: Nouveaux regards sur la céramique française aux xvi and xvii siècles, special issue of Techne, edited by Françoise Barbe, Anne Bouquillon, Thierry Crépin-Leblond, and Aurélie Gerbier (2019) 47: 18-29.</p><p>Smith, Pamela H., Joslyn DeVinney, Sasha Grafit, and Xiaomeng Liu. “Smoke and Silk: The Movement of Material Complexes across Eurasia.” In Entangled Itineraries of Materials, Practices, and Knowledges Across Eurasia, edited by Pamela H. Smith. Pittsburgh: University of Pittsburgh Press, 2019, 165-181. <a href=https://www.upress.pitt.edu/books/9780822965770/>https://www.upress.pitt.edu/books/9780822965770/</a>.</p><p>Smith, Pamela H. and Isabella Lores-Chavez. “Counterfeiting Materials, Imitating Nature,” in Marjolijn Bol and Emma Spary, eds.. The Matter of Mimesis: Studies of Mimesis and Materials in Nature, Art and Science. Leiden: Brill, 2023, pp. 27-53, <a href="https://brill.com/display/book/9789004515413/BP000011.xml?language=en">https://brill.com/display/book/9789004515413/BP000011.xml?language=en</a>.</p><p>Smith, Pamela H., Tianna Helena Uchacz, Sophie Pitman, Tillmann Taape, and Colin Debuiche.“The Matter of Ephemeral Art: Craft, Spectacle, and Power in Early Modern Europe.” Renaissance Quarterly, Volume 73, Issue 1 (2020), 78-131. <a href=https://www.cambridge.org/core/journals/renaissance-quarterly/article/matter-of-ephemeral-art-craft-spectacle-and-power-in-early-modern-europe/45366084D72E61713504E59F4AC59E88>https://www.cambridge.org/core/journals/renaissance-quarterly/article/matter-of-ephemeral-art-craft-spectacle-and-power-in-early-modern-europe/45366084D72E61713504E59F4AC59E88</a>.</p><p>Smith, Pamela H., Tianna Helena Uchacz, Naomi Rosenkranz, and Claire Conklin Sabel. “The Making of Empirical Knowledge: Recipes, Craft, and Scholarly Communication.” In Reassembling Scholarly Communications: Histories, Infrastructures, and Global Politics of Open Access, ed. Martin Paul Eve and Jonathan Gray. Cambridge, MA: The MIT Press, 2020, pp. 125-144. <a href=https://doi.org/10.7551/mitpress/11885.003.0014>https://doi.org/10.7551/mitpress/11885.003.0014</a>.</p><p>Spencer, Roxanne P., and Yingyi Liang. “Recipe for Developing High-School Research Projects Illustrated by a Student’s Interpretation of Historical Metal Casting.” Journal of Chemical Education (2019) 96 (6), 1117-1123. DOI: <a href=https://doi.org/10.1021/acs.jchemed.7b00917>https://doi.org/10.1021/acs.jchemed.7b00917</a>.</p><p>Spring, Marika. “New Insights into the Materials of Fifteenth- and Sixteenth-Century Netherlandish Paintings in the National Gallery, London.” Heritage Science 5, no. 1 (September 19, 2017): 40. <a href=https://doi.org/10.1186/s40494-017-0152-3>https://doi.org/10.1186/s40494-017-0152-3</a>.</p><p>Taape, Tillmann. “Orphelins du savoir-faire: la recette en édition numérique et au laboratoire Making and Knowing.” In The Recipe from the XIIth to the XVIIth Centuries: Europe, Islam, Far East, edited by Bruno Laurioux and Agostino Paravicini Bagliani, 461–92. SISMEL, 2023.</p><p>Taape, Tillmann, Pamela H. Smith, and Tianna Helena Uchacz. “Schooling the Eye and Hand: Performative Methods of Research and Pedagogy in the Making and Knowing Project.” Berichte Zur Wissenschaftsgeschichte 43, no. 3 (2020): 323–40. <a href=https://doi.org/10.1002/bewi.202000004>https://doi.org/10.1002/bewi.202000004</a>.</p><p>Uchacz, Tianna Helena. “Reconstructing Early Modern Artisanal Epistemologies and an ‘Undisciplined’ Mode of Inquiry.” Isis 111, no. 3 (September 2020): 606–13. <a href=https://doi.org/10.1086/711100>https://doi.org/10.1086/711100</a>.</p><p>Uchacz, Tianna Helena, Naomi Rosenkranz, and Terry Catapano. “Digital Competencies, Collaborations, and Cultures of Work: A Case Study in Extending the Research-Driven Pedagogy of The Making and Knowing Project.” In Digital Pedagogy in Early Modern Studies: Method and Praxis, edited by Andie Silva and Scott Schofield, 157–218. New Technologies in Medieval and Renaissance Studies. Iter Press, 2024. <a href=https://press.uchicago.edu/ucp/books/book/distributed/D/bo151927625.html>https://press.uchicago.edu/ucp/books/book/distributed/D/bo151927625.html</a>.</p><p>Zaugg, Isabelle A., Patricia J. Culligan, Richard Witten, and Tian Zheng. “Collaboratory at Columbia: An Aspen Grove of Data Science Education.” Harvard Data Science Review 3, no. 4 (October 28, 2021). <a href=https://doi.org/10.1162/99608f92.53c4a1b4>https://doi.org/10.1162/99608f92.53c4a1b4</a>.</p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Reflections on Hands-On | Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><link rel=alternate type=application/rss+xml href=https://cu-mkp.github.io/research-teaching-companion/resources/reflection/index.xml title="Research and Teaching Companion"><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=section-title>Reflections on Hands-On</h1><div class=toc-bg></div><div class=toc-content-container><aside class=toc><nav id=TableOfContents><ul><li><a href=#hands-on-in-the-making-and-knowing-project>Hands-on in the Making and Knowing Project</a></li><li><a href=#art-and-science>Art and Science</a></li><li><a href=#why-hands-on-learning>Why Hands-on Learning?</a></li><li><a href=#the-making-and-knowing-laboratory>The Making and Knowing Laboratory</a></li><li><a href=#reflections-on-hands-on-learning>Reflections on Hands-on Learning</a></li><li><a href=#experiential-learning>Experiential Learning</a><ul><li><a href=#lifecasting-in-the-making-and-knowing-lab>Lifecasting in the Making and Knowing Lab</a></li><li><a href=#weaving-knowledge>Weaving Knowledge</a></li></ul></li><li><a href=#bibliography-for-hands-on-teaching-and-learning>Bibliography for Hands-on Teaching and Learning</a></li></ul></nav></aside><content><h1 id=reflections-on-hands-on-teaching-and-learning>Reflections on Hands-on Teaching and Learning</h1><h2 id=hands-on-in-the-making-and-knowing-project>Hands-on in the Making and Knowing Project</h2><p>Since 2014, the Making and Knowing Project (M&amp;K) at Columbia University has been teaching hands-on history of art and science as a way to engage with and investigate an unusual historical text, BnF Ms. Fr. 640. This compilation of artisanal recipes, technical notes, and observations about daily life in Renaissance France is a rich historical source, but it is a text that is better enacted than read from start to finish. Through low-stakes making activities and project-based learning, M&amp;K students have learned to interpret historical texts—and history itself—through material experiments. M&amp;K integrates laboratory and archival research to cross the science/humanities divide, exploring intersections between artistic making and scientific knowing.</p><h2 id=art-and-science>Art and Science</h2><p>Today, artistic making and scientific knowing are seen as separate realms, yet the sciences’ empiricism and observation originated in the creative labors of Renaissance artists and in the empirical methods pioneered by sixteenth-century artists and humanists. During the Scientific Revolution, the collaboration and experimentation of craft workshops became integrated into the natural sciences. In the eighteenth century, as the new sciences became academic disciplines, these shared origins were obscured, and the divisions between science labs, art studios, and humanists’ archives grew ever wider. Studying the pre-modern workshop provides a bridge between these realms.</p><p>M&amp;K employs “hands-on history”—reconstructing techniques of the past—to illuminate the continuous and universal human striving to investigate and understand nature. Such reconstructions offer first-hand glimpses into craft workshops to see artisans using constant experimentation to manipulate natural materials that allows us to understand how “making” can be a form of “knowing.” Reconstructions also raise historical questions that would otherwise remain inaccessible and inconceivable outside of hands-on engagement with materials.</p><h2 id=why-hands-on-learning>Why Hands-on Learning?</h2><p>Hands-on experimental history and experiential learning does not need to be expensive or exclusive. It can be scaled for various levels of learners, and it can be accommodated in a range of research spaces: labs, studios, classrooms, libraries, museums. Some of the outcomes we have witnessed in our own classrooms: students who believe they are “no good at science” can experience laboratory experimentation and dissolve preconceptions about science, and science students can gain a more robust and expansive understanding of the history of their disciplines.</p><p>By proposing a shift from textbooks and tests to hands-on work and process, M&amp;K aims to stress the importance of other ways of knowing—making, experimentation, hand-skills, collaboration, and failure—to foster cross-fertilization between the humanities and sciences, and engage all levels of learners with first-hand experience of how human beings transform natural materials. This aim can be carried out in kitchens, studios, and laboratories, from elementary school through higher education, and we believe it can promote a new kind of material and scientific literacy, not of the content of science, but of its essence as exploration and experimentation with nature.</p><h2 id=the-making-and-knowing-laboratory>The Making and Knowing Laboratory</h2><p><strong>The Lab Video Playlist</strong></p><iframe src="https://player.vimeo.com/video/384070452?h=8236ebe13c" width=640 height=360 frameborder=0 allow="autoplay; fullscreen; picture-in-picture" allowfullscreen></iframe><p><a href=https://vimeo.com/384070452>Tour the Making and Knowing Laboratory</a> from <a href=https://vimeo.com/user101162788>The Making and Knowing Project</a> on <a href=https://vimeo.com>Vimeo</a>.</p><ul><li>Direction and Editing: Lan Li<br></li><li>Production: Tianna Uchacz<br><ul><li><a href=https://vimeo.com/384070452>Tour the Lab</a><br></li><li><a href=https://vimeo.com/384070384>Introduction to the Making and Knowing Project</a><br></li><li><a href=https://vimeo.com/384070302>Skillbuilding in the Lab Seminars</a><br><strong>Project Themes</strong><br></li><li><a href=https://vimeo.com/384070215>Moldmaking and Metalworking</a><br></li><li><a href=https://vimeo.com/384070773>Colormaking</a><br></li><li><a href=https://vimeo.com/384070632>Practical Knowledge</a><br><strong>Focus Videos</strong><br></li><li><a href=https://vimeo.com/384070561>Project Design</a><br></li><li><a href=https://vimeo.com/384071142>Colors and Dyes</a><br></li><li><a href=https://vimeo.com/384071046>Hourglass Sand</a><br></li><li><a href=https://vimeo.com/384070989>Unexpected Successes and Failures</a><br></li><li><a href=https://vimeo.com/384070929>Metal Casting with Toulouse Sand</a><br></li></ul></li></ul><h2 id=reflections-on-hands-on-learning>Reflections on Hands-on Learning</h2><p><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_tips-for-instructors/>Tips for Hands-on Teaching and Learning</a> compiled by the Making and Knowing Project.</p><p><a href=https://recipes.hypotheses.org/7430>A Recipe for Recipe Research: The Making and Knowing Project</a>, The Recipes Project, 2016.</p><p><a href=https://recipes.hypotheses.org/17539>Around the Table: The Making and Knowing Project</a>, The Recipes Project, October 2020.</p><iframe src="https://player.vimeo.com/video/957244396?h=4008aa3303" width=640 height=360 frameborder=0 allow="autoplay; fullscreen; picture-in-picture" allowfullscreen></iframe><p><a href=https://vimeo.com/957244396>Science and Art in a Sixteenth Century Workshop: Hands On History in the Making and Knowing Project</a> from <a href=https://vimeo.com/user101162788>The Making and Knowing Project</a> on <a href=https://vimeo.com>Vimeo</a>.</p>Pamela H. Smith discusses hands-on teaching and learning in the Elizabeth B. McNab Lecture in the History of Science, McGill University, 2021.<p><a href=https://vimeo.com/942105196>Hands-On History: Reconstruction in the High School Classroom</a><br>Sofia Gans, PhD, speaks about her experience teaching high school European history through hands-on reconstruction of historical techniques.</p><p><a href=https://vimeo.com/840477199>From Watching to Working: Incorporating Making and Knowing Activities into History of Science Courses</a><br>Monique O&rsquo;Connell reflects on her experiences using the Making and Knowing Project&rsquo;s Hands-on Lesson Plan for stucco-making in a history of science course at Wake Forest University.</p><iframe src="https://player.vimeo.com/video/942071266?h=8bb5b1b88d" width=640 height=400 frameborder=0 allow="autoplay; fullscreen; picture-in-picture" allowfullscreen></iframe><p><a href=https://vimeo.com/942071266>Christina Neilson, Ingenious Making in the Early Modern World</a> from <a href=https://vimeo.com/user101162788>The Making and Knowing Project</a> on <a href=https://vimeo.com>Vimeo</a>.</p>Christina Neilson and Heather Galloway speak about their experience using the Making and Knowing Project's Hands-on Lesson Plans in a class at Oberlin College.<p><a href="https://soundcloud.com/user-265326599/2-making-by-knowing-with-pamela-smith?utm_source=clipboard&amp;utm_medium=text&amp;utm_campaign=social_sharing">Knowing by Making</a><br>An episode of the <em>Refashioning the Renaissance Podcast</em> with Sophie Pitman and Pamela Smith.</p><p><a href=https://www.aalto.fi/en/research-art/refashioning-the-renaissance-team-imitation-amber-imitation-leopard-fur>Refashioning the Renaissance Team: Imitation Amber & Imitation Leopard Fur</a><br>Sophie Pitman is interviewed about the importance of working across art/science and living/non living boundaries, as part of the <em>Outre: Encounters with Non/living Things</em> exhibition (2021).</p><p><a href=https://mediaspace.wisc.edu/media/Remaking+Objects+in+the+Classroom+and+the+MuseumA+A+Panel+Discussion/1_8a2itin1>Remaking Objects in the Classroom and the Museum: A Panel Discussion</a><br>A panel discussion between scholars, curators, and creators including Deborah Krohn (Bard Graduate Center), Johnathan Tavares (Art Institute, Chicago), and Tracy Drier, Distinguished Master Glassblower (UW Madison) about how reconstructed objects and remaking methods can be used in innovative museum exhibitions and classroom teaching. Chaired by Sophie Pitman, curator of Remaking the Renaissance.</p><p><a href="https://artsandculture.google.com/story/mechanochemistry-the-science-of-crush-science-history-institute/UQUh6_yaa-LjTg?hl=en">Mechanochemistry: The Science of Crush Digital Exhibition</a><br>Science History Institute Online Exhibition (hosted by Google Arts and Culture), 2021, featuring a video about the Making and Knowing Project&rsquo;s collaboration with Refashioning the Renaissance that highlights the importance of hands-on engagement with materials).</p><h2 id=experiential-learning>Experiential Learning</h2><h3 id=lifecasting-in-the-making-and-knowing-lab>Lifecasting in the Making and Knowing Lab</h3><p>&ldquo;Lifecasting&rdquo; is a central preoccupation of the anonymous author-practitioner of Ms. Fr. 640 and he filled almost 30% of the manuscript with records of his trials in lifecasting plants and animals. The Making and Knowing Project intensively and iteratively researched and reconstructed the processes recorded in these manuscript entries for making molds from (dead) animals and plants, into which metals and other materials were cast.</p><iframe title=vimeo-player src="https://player.vimeo.com/video/446502711?h=de11adfec8" width=640 height=360 frameborder=0 allowfullscreen></iframe><br><br><p><strong>For more on Making and Knowing lifecasting<br></strong><a href=https://doi.org/10.7916/ym8m-r917>Lifecasting in Ms. Fr. 640</a><br><a href=https://doi.org/10.7916/79dn-mn48>In Pursuit of Magic</a><br><a href=https://www.doi.org/10.7916/fdjv-n162>Molding Grasshoppers and Things too Thin</a><br><a href=https://www.doi.org/10.7916/17zd-7y45>Molding a Rose</a><br><a href=https://www.doi.org/10.7916/t9dt-5p13>Molded Roses in Sixteenth-Century France</a><br><a href=https://doi.org/10.7916/8je7-1124>Molding, Modeling, Repairing</a><br><a href=https://www.doi.org/10.7916/sc91-ay82>Molding Fruits and Animals in Sugar</a><br><a href=https://doi.org/10.7916/c46b-1h45>Animals Dried in an Oven</a>.</p><h3 id=weaving-knowledge>Weaving Knowledge</h3><p>In July 2017 and January 2019, Pamela Smith and the Making and Knowing Project worked with Nussara Tiengate and Annapurna Mamidipudi to mount a <a href=https://weavingknowledge.org/>Weaving Knowledge Workshop</a> at Ban Rai Jai Sook in Chiang Mai, Thailand. These two workshops provided a two-week immersion in traditional Thai weaving for international PhD students. Over two weeks, participants experienced a full immersion in Lanna weaving with help from expert weavers and textile scholars. In 2019, the Making and Knowing Postdoctoral Scholars participated in the workshop.</p><p>Participants used indigo, turmeric, stick-lac, and jackfruit bark to dye cotton, prepared and warped their looms, and practiced a variety of techniques, including plain weave, tapestry, and “chok” – a way of creating supplementary patterns which involves the use of a porcupine quill. Visits to Lua and Karen communities near Mae Chaem gave insights into indigenous weaving practice and its context, as well the challenge of articulating embodied craft knowledge</p><p><strong>See the videos created by Lan Li<br></strong><a href=https://player.vimeo.com/video/310724422>Weaving Knowledge: Banraijaisook</a><br></p><p><a href=https://player.vimeo.com/video/310728471>Weaving Knowledge: The Looms of Banraijaisook</a><br></p><p><a href=https://player.vimeo.com/video/310888539>Weaving Knowledge: Thinking, Feeling, and Making</a><br></p><h2 id=bibliography-for-hands-on-teaching-and-learning>Bibliography for Hands-on Teaching and Learning</h2><p><a href=https://cu-mkp.github.io/research-teaching-companion/resources/reflection/bibliography/>Bibliography</a></p></content></div></div></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle 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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#artcraft-hands-on-global-histories-of-materials-techniques-and-skilled-making-viza-689>Art/Craft: Hands-on Global Histories of Materials, Techniques, and Skilled Making (VIZA 689)</a><ul><li><a href=#course-development-tianna-uchacz>Course Development (Tianna Uchacz)</a></li></ul></li><li><a href=#global-art-history-survey-ii-renaissance-to-modern-arts-150>Global Art History Survey II (Renaissance to Modern) (ARTS 150)</a><ul><li><a href=#honors-section-fall-2021-spring-2022-fall-2022-spring-2024>Honors Section: Fall 2021, Spring 2022, Fall 2022, Spring 2024</a></li><li><a href=#scaling-up-full-class-hands-on-art-history-spring-2024>Scaling Up: Full Class Hands-on Art History, Spring 2024</a></li></ul></li></ul></nav></aside><content><h1 id=teaching-reflections-and-tips-from-texas-am---tianna-uchacz>Teaching Reflections and Tips from Texas A&amp;M - Tianna Uchacz</h1><p>Tianna Uchacz served as Postdoctoral Scholar of the Making and Knowing Project 2016-2020, co-instructing M&amp;K courses, developing hands-on activities, and fostering collaborations between diverse scholars, students, and practitioners. Since 2020, Tianna Uchacz is Assistant Professor of Art History at Texas A&amp;M University. She has adapted existing courses to incorporate hands-on work and developed new classes with a dedicated focus on materials and the exploration of artistic proccess. Her notes and reflections are below, including ideas and logistics for scaling up activities and new instructional materials.</p><h2 id=artcraft-hands-on-global-histories-of-materials-techniques-and-skilled-making-viza-689>Art/Craft: Hands-on Global Histories of Materials, Techniques, and Skilled Making (VIZA 689)</h2><p>Spring 2023, School of Performance, Visualization & Fine Arts, Texas A&amp;M University<br>Graduate Special Topics Seminar<br>Dr. Tianna Helena Uchacz, Assistant Professor of Art History</p><p><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/documents/pdf/sp23_uchacz_tianna_syllabus-viza-689_art-craft.pdf>Art/Craft Syllabus</a></p><p><strong>Course description:</strong> This course investigates the materials, techniques, and meanings of craft through hands-on engagement with historical making practices. Classes combine seminar-style discussion of primary sources and contemporary scholarship with site visits and laboratory exercises in making skills, research skills, and writing skills. The course encourages students to consider relationships between making and thinking, nature and artifice, and art/craft and science by exploring issues related to textual, oral, and tacit knowledge, the significance of skill, and global histories of materials, tools, and practice. <strong>In Spring 2023, the Art/Craft seminar will focus on fibers and textiles as case-study materials.</strong></p><h3 id=course-development-tianna-uchacz>Course Development (Tianna Uchacz)</h3><p>My aim was to bring the &ldquo;aha-moments&rdquo; of M&amp;K&rsquo;s hands-on history of science into an art history seminar. Each class would feature a 40-min discussion of assigned reading followed by a 1-hr hands-on lab. The first decision was to organize the course around a case-study material, and I chose fibers and textiles for the first iteration of this course. I applied for departmental funding to commission workshops from experts in the local <a href=https://weavebrazos.org/>Brazos Spinners and Weavers Guild</a> to demo table and floor loom weaving (Kay McWilliams), and to instruct in backstrap loom weaving (Toni Wilson), drop-spindle spinning in wool (Debbie Gau) and cotton (Laurie Schlitter), and wet and needle felting (Helen Dewolf).</p><p>I sought college-level funding to bring M&amp;K&rsquo;s Naomi Rosenkranz to Texas A&amp;M to co-lead workshops on dyeing with cochineal and painting with bioluminescent bacteria (discussed below on this page) in collaboration with a colleague in microbiology, Dr. Donna Janes. Support for this activity, both financial from my own department and in-kind support (lab-space and equipment access) from the Department of Biology, was made possible by opening the activity to faculty and students from across A&amp;M. I then tapped into a variety of A&amp;M&rsquo;s on-campus resources, arranging visits to the <a href=https://uart.tamu.edu/>University Art Collections</a> to examine Central American textiles, to the <a href=https://tracyherbarium.tamu.edu/>S.M. Tracy Herbarium</a> to examine samples of vegetal dyestuffs and fibers, to the <a href=https://cushing.library.tamu.edu/>Cushing Memorial Library & Archives</a> to examine early modern herbals and books on sericulture, to the <a href=https://www.arch.tamu.edu/about/facilities/wright-gallery/>Wright Gallery</a> to visit an exhibition on tignon head wraps by artist <a href=https://cantoinettestudios.com/home.html>Chelsea Antoinette</a>, and to the <a href=https://library.tamu.edu/research/preservation/index>Libraries Preservation Lab</a>, where my co-instructor Jeanne Goodman led students in activities on rag paper making and mending.</p><p>Using M&amp;K&rsquo;s skill-building protocols, my students grew <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/verdigris_assignment_downloadable_2021.pdf>verdigris</a> and then followed medieval Persian recipes to dye paper with verdigris. Drawing on a student reconstruction and essay from M&amp;K&rsquo;s Spring 2017 &ldquo;Craft and Science&rdquo; class on <a href=https://edition640.makingandknowing.org/#/essays/ann_059_sp_17>silkworm cultivation</a>, I sourced silkworm eggs from <a href=https://silkwormshop.com/>silkwormshop.com</a>, and students grew silkworms so that we could process cocoons to unravel and reel silk. My colleague Caleb Kicklighter and his student Ryan Applebee gave presentations on approaches to yarn and weave patterns in digital animation. Dr. Sophie Pitman gave excellent suggestions for the reading list and directed me to <a href=https://helloloom.com/>HELLO! LOOM</a>, where I sourced small frame looms for student excercises. Backstrap looms were sourced from <a href=https://kakawdesigns.com/>Kakaw Designs</a>.</p><p><strong>In sum:</strong> A hands-on seminar such as this takes an extraordinary amount of time and effort to coordinate finding funds, expert sourcing, materials sourcing, logistics, and communication. Although I led the discussion of the readings and oversaw the students&rsquo; work and evaluation, the lab work was led almost entirely by collaborators. I had limited knowledge of fibers and textiles beforehand, but in organizing and leading this course, I learned as much if not more than the students did. It was an efficient way to deep-dive into materials-based hands-on learning for instructors and students. I have every intention to run future versions of this course that focus on other case-study materials, such as metal, wood, and earth.</p><h2 id=global-art-history-survey-ii-renaissance-to-modern-arts-150>Global Art History Survey II (Renaissance to Modern) (ARTS 150)</h2><p>Texas A&amp;M University<br>Dr. Tianna Helena Uchacz, Assistant Professor of Art History</p><p><strong>Course description:</strong> A large lecture survey of architecture, painting, sculpture and the minor arts around the world from the 14th century to the end of the 20th century. ARTS 150 counts toward a Core Curriculum Creative Arts requirement and toward Intercultural Diversity course requirements.</p><h3 id=honors-section-fall-2021-spring-2022-fall-2022-spring-2024>Honors Section: Fall 2021, Spring 2022, Fall 2022, Spring 2024</h3><p>In these semesters, students enrolled in the Honors section of Uchacz&rsquo;s ARTS 150 (2–7 students per semester) were invited to complete hands-on activities in the history of artisanal making alongside the regular ARTS 150 coursework (lectures, textbook readings). The honors program encourages high-impact practices that deepen student engagement with course themes and material. Accordingly, Uchacz&rsquo;s students participated in at least three of the following activities, which built on several M&amp;K skill-building activities:</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_lake-pigments/>Making lake pigments</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_paintingpigments/>Paint making and test-card painting with a variety of binders and hand-made natural pigments</a></li><li>East Asian brush and ink calligraphy</li><li>Paper marbling</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_stucco/>Imitation stucco making</a></li></ul><h3 id=scaling-up-full-class-hands-on-art-history-spring-2024>Scaling Up: Full Class Hands-on Art History, Spring 2024</h3><p>With support from a <a href=https://pvfa.tamu.edu/news/2023/10/19/uchacz-honored-with-montague-cte-scholars-award-for-development-of-teaching-excellence/>Montague-Center for Teaching Excellence Award</a>, I tested the scalability of M&amp;K&rsquo;s skill-building activities in <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_lake-pigments/>making lake pigments</a> and <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/activitysheet_paintingpigments/>making and testing paints</a> with a class of 60 students in the Renaissance-to-Modern art history survey (75 min class time, Tue & Thu). I divided the class into 2 groups of 30 students, sending half to visit an on-campus art exhibition for an analysis assignment and the other half to the lab.</p><ul><li>Lab 1: Making Lake Pigments<ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp24_uchacz_tianna_canvas-lab1-arts-150_global-art-history-survey.pdf>Canvas page for the day&rsquo;s activities</a></li><li>15 stations of students working in pairs across 5 different pigment recipes (cochineal, cochineal reversed, madder, weld, logwood)</li><li>limiting factor: need for 15 hot plates as well as table space and electrical capacity</li><li>limiting factor: 75 min can only cover the pigment making, not its rinsing and eventual removal of the filters for drying. Understand that this activity involves additional work for instructors</li><li>tip: assign students to pairs ahead of class and try to pair a sciences student with an arts student so that at least one person per pair is familiar with lab equipment, lab safety, etc.</li><li>tip: I used a kettle and two 1.75 L caraffes to pre-boil water in order to reduce activity time spent waiting for water to heat</li><li>tip: I used stackable cooling racks for baking to help the pigments dry</li></ul></li><li>Lab 2: Making and Testing Paint<ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp24_uchacz_tianna_canvas-lab2-arts-150_global-art-history-survey.pdf>Canvas page for the day&rsquo;s activities</a></li><li>5 stations (tables) of 6 students, where each student has their own glass plate and muller. Each station works with <em>one</em> of five pigments made in the previous lab (cochineal, cochineal reversed, madder, weld, logwood), first mulling it in either egg white or egg yolk, and second in either walnut oil or linseed oil. I laid out each station-table according to these templates: first <a href=https://cu-mkp.github.io/research-teaching-companion/images/sp24_uchacz_tianna_egg-media-arts-150_global-art-history-survey.png>egg media</a>, and then <a href=https://cu-mkp.github.io/research-teaching-companion/images/sp24_uchacz_tianna_oil-media-arts-150_global-art-history-survey.png>oil media</a>.</li><li>limiting factor: need for 30 glass plates and 30 glass mullers as well as table space for this equipment</li><li>limiting factor: 75 min was barely enough for the seven general stages of this lab: 1) separating eggs and extracting the yolk from the sac, 2) mulling pigment with egg white/yolk, 3) walking around and filling out all 10 sample squares on their card for egg media, 4) washing equipment, 5) mulling pigment with walnut/linseed oil, 6) walking around and filling out all 10 sample squares on their card for oil media, 7) washing up.</li><li>tip: have students prepare their sample cards ahead of time. Here is the <a href=https://cu-mkp.github.io/research-teaching-companion/images/sp24_uchacz_tianna_paint-grid-arts-150_global-art-history-survey.png>template</a> I gave them.</li><li>tip: leave enough time for students to go around the stations to fill in samples of all colors in all media on their cards, but do hurry them along, as they can lose time here.</li><li>tip: have students take photos of their sample card when they finish, and have ziptop bags on hand into which students can (carefully) place their finished and still-wet sample cards to take home.</li><li>tip: use cheap paintbrushes (the aim is to create a sample card not a masterpiece), and start with egg media so that the paint brushes can be washed and used again for oil media. Dispose of the paintbrushes after using them with the oil paints.</li></ul></li></ul><p>After each lab, I assigned reflection assignments that asked them to consider contextual information, their experiences in the lab, and the relevance of their experiences for their understanding of art history:</p><ul><li>Pigment-Making Lab Reflection Assignment [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/uchacz_2024_lab1_reflection-assignment-background.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/uchacz_2024_lab1_reflection-assignment-background.pdf>PDF</a>]</li><li>Pigment-Making Lab Reflection Assignment Background Document [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/uchacz_2024_lab1_reflection-assignment.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/uchacz_2024_lab1_reflection-assignment.pdf>PDF</a>]</li><li>Paint-Making Lab Reflection Assignment [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/uchacz_2024_lab2_reflection-assignment.docx>DOCX</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/uchacz_2024_lab2_reflection-assignment.pdf>PDF</a>]</li></ul><p>The results of the reflection assignments were encouraging: the students came to appreciate the material qualities, appearances, and behaviors of various paint media. They gained a better sense of the skill and labor involved in painting, and they had excellent and insightful follow-up questions after the assignment. Moreover, their course evaluations routinely mentioned how much they enjoyed the activity, not only for what they learned but for the opportunity it gave them to get to know their classmates in what is otherwise a sizeable lecture course.</p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 7.057-10.486C21.08-.394 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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
diff --git a/resources/student-projects/fa21_alberts_naomi_final-project_ph-lesson/index.html b/resources/student-projects/fa21_alberts_naomi_final-project_ph-lesson/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#objective>Objective:</a></li><li><a href=#terms>Terms:</a></li><li><a href=#ph-questions>pH Questions:</a></li><li><a href=#pre-lab-reading-and-questions>Pre Lab Reading and Questions:</a></li></ul><ul><li><a href=#ufolio-43vuhttpsedition640makingandknowingorgfolios43vf43vtl><a href=https://edition640.makingandknowing.org/#/folios/43v/f/43v/tl><u>Folio 43v</u></a></a></li><li><a href=#pre-lab-questions>Pre Lab Questions:</a></li><li><a href=#lab-activity>Lab Activity:</a><ul><li><a href=#materials>Materials:</a></li><li><a href=#experiment-1>Experiment 1:</a></li><li><a href=#experiment-2>Experiment 2:</a></li><li><a href=#transformation>Transformation:</a></li></ul></li><li><a href=#post-lab-questions>Post Lab Questions:</a></li><li><a href=#post-lab-activity>Post Lab Activity:</a></li><li><a href=#optional-additional-lab>Optional Additional Lab:</a></li><li><a href=#additional-teaching-resources>Additional Teaching Resources:</a></li></ul></nav></aside><content><h1 id=instructor-assignment-sheet-ms-fr-640-fol-43v-varied-and-transmuted-wine>Instructor Assignment Sheet: Ms. Fr. 640 fol. 43v, “Varied and Transmuted Wine”</h1><p>by Naomi Alberts, Fall 2021</p><h2 id=objective>Objective:</h2><p>Introducing and explaining concepts related to pH to students. pH
 testing refers to determining how acidic or basic a water-based solution
diff --git a/resources/student-projects/fa21_atkins-joyce-farley_charlotte-siobhan_pranks/index.html b/resources/student-projects/fa21_atkins-joyce-farley_charlotte-siobhan_pranks/index.html
index 1325b81d..57e21229 100644
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@@ -1,4 +1,5 @@
-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents></nav></aside><content><h1 id=an-exploration-of-humor-in-ms-fr-640>An Exploration of Humor in Ms. Fr. 640</h1><p>Charlotte Atkins and Siobhan Joyce-Farley, Fall 2021</p><iframe width=560 height=315 src=https://www.youtube.com/embed/BFK71x0bvuE title="YouTube video player" frameborder=0 allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe><p>When we decided to recreate and record riddles from Ms. Fr. 640 for our
 final project, our major interests were exploring accessible entry
diff --git a/resources/student-projects/fa21_coutavas_allie_final-project-reds/index.html b/resources/student-projects/fa21_coutavas_allie_final-project-reds/index.html
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@@ -1,4 +1,5 @@
-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#red-as-material>Red as Material</a></li><li><a href=#red-as-color>Red as Color</a></li><li><a href=#conclusion>Conclusion</a></li><li><a href=#bibliography>Bibliography</a></li></ul></nav></aside><content><h1 id=the-color-red-in-ms-fr-640>The Color Red in Ms. Fr. 640</h1><p>Alexandra Coutavas</p><p>Fall 2021, Making and Knowing in Early Modern Europe: Hands-On History</p><p>Bibliothèque nationale de France Ms. Fr. 640 is a late sixteenth-century
 manuscript containing instructions, recipes, and practical notes on a
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#references-to-say-and-said>References to “Say” and “Said”</a></li><li><a href=#orally-transmitted-knowledge-across-professions-and-places>Orally Transmitted Knowledge Across Professions and Places</a></li><li><a href=#women-and-peasants-within-the-oral-culture-of-ms-fr-640><em>Women and Peasants Within the Oral Culture of Ms. Fr. 640</em></a></li><li><a href=#conclusion>Conclusion</a></li><li><a href=#bibliography>Bibliography</a></li><li><a href=#appendix-1-instances-of-oral-transmission-of-knowledge-using-the-word-say>Appendix 1: Instances of oral transmission of knowledge using the word “say”</a></li><li><a href=#appendix-2-instances-of-oral-transmission-of-knowledge-using-the-word-said>Appendix 2: Instances of oral transmission of knowledge using the word “said”</a></li><li><a href=#appendix-3-instances-of-oral-transmission-of-knowledge-using-the-profession-tag>Appendix 3: Instances of oral transmission of knowledge using the profession tag</a></li><li><a href=#appendix-4-descriptions-of-profession-categories>Appendix 4: Descriptions of profession categories</a></li><li><a href=#appendix-5-instances-of-oral-transmission-of-knowledge-using-the-place-tag>Appendix 5: Instances of oral transmission of knowledge using the place tag</a></li></ul></nav></aside><content><h1 id=oral-culture-in-ms-fr-640>Oral Culture in Ms. Fr. 640</h1><p>Hana Ghoneima</p><p>Making and Knowing Project, Fall 2021</p><p>BnF Ms. Fr. 640 stands at the intersection of a pivotal moment in
 history, in which craftspeople who were previously illiterate began
diff --git a/resources/student-projects/fa21_jacobson_beah_final-project-know/index.html b/resources/student-projects/fa21_jacobson_beah_final-project-know/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#methodology>Methodology</a></li><li><a href=#the-diagnostic-know>The Diagnostic Know</a></li><li><a href=#the-experienced-know>The Experienced Know</a></li><li><a href=#the-didactic-know>The Didactic Know</a></li><li><a href=#the-unknowing-know>The Unknowing Know</a></li><li><a href=#the-expert-know>The Expert Know</a></li><li><a href=#the-trick-know>The Trick Know</a></li><li><a href=#know-of-recognition>Know of Recognition</a></li><li><a href=#miscellaneous-uses>Miscellaneous Uses</a></li><li><a href=#further-opportunities-for-analysis>Further Opportunities for Analysis</a></li><li><a href=#appendix-1-instances-of-know-in-ms-fr-640>Appendix 1: Instances of “know” in Ms. Fr. 640</a></li><li><a href=#appendix-2-number-of-recipe-tags-within-each-type-of-knowing>Appendix 2: Number of recipe tags within each type of “knowing”</a></li><li><a href=#appendix-3-recipe-tags-as-a-percentage-of-total-recipes-within-each-type-of-knowing>Appendix 3. Recipe tags as a percentage of total recipes within each type of “knowing”</a></li><li><a href=#bibliography>Bibliography</a></li></ul></nav></aside><content><h1 id=textual-analysis-of-instances-of-to-know-in-ms-fr-640>Textual Analysis of Instances of “To Know” in Ms. Fr. 640</h1><p>Beah Jacobson, Fall 2021</p><p>On folio <a href=https://edition640.makingandknowing.org/#/folios/125r/f/125r/tcn><u>125r of BnF Ms. Fr.
 640</u></a>,
diff --git a/resources/student-projects/fa21_lin-sundar_danli-anusha_final-project_regimens-remedies/index.html b/resources/student-projects/fa21_lin-sundar_danli-anusha_final-project_regimens-remedies/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#introduction>Introduction</a></li><li><a href=#complexion>Complexion</a></li><li><a href=#teeth-whitening>Teeth-whitening</a></li><li><a href=#how-some-of-the-material-ingredients-in-contemporary-recipes-compare-with-those-found-in-ms-fr-640>How some of the material ingredients in contemporary recipes compare with those found in Ms. Fr. 640</a><ul><li><a href=#table-1-whitening-the-teeth>Table 1: Whitening the teeth</a></li><li><a href=#table-2-against-redness-of-the-face>Table 2: Against redness of the face</a></li><li><a href=#table-3-whitening-the-face>Table 3: Whitening the face</a></li><li><a href=#table-4-getting-rid-of-the-redness-of-eyes-or-bruising>Table 4: Getting rid of the redness of eyes or bruising</a></li><li><a href=#table-5-against-burns>Table 5: Against burns</a></li><li><a href=#table-6-against-wounds>Table 6: Against wounds</a></li><li><a href=#summary-of-the-recipes>Summary of the Recipes</a></li></ul></li><li><a href=#bibliography>Bibliography</a></li></ul></nav></aside><content><h1 id=regimens-recipes-and-remedies-understanding-the-cosmetic-in-early-modern-europe>Regimens, Recipes, and Remedies: Understanding the “Cosmetic” in Early Modern Europe</h1><p>Danli Lin and Anusha Sundar</p><p>Fall 2021, Making and Knowing in Early Modern Europe: Hands-On History</p><h2 id=introduction>Introduction</h2><p>A Google search of the word “cosmetic” yields many meanings, including
 anything related to beautification, correcting defects, decorating, and
diff --git a/resources/student-projects/fa21_steinman_charlie_final-project-ms262/index.html b/resources/student-projects/fa21_steinman_charlie_final-project-ms262/index.html
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@@ -1,4 +1,5 @@
-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#about-the-ms>About the MS</a></li><li><a href=#the-schema>The Schema</a><ul><li><a href=#genrecontext>Genre/Context</a></li><li><a href=#language>Language</a></li><li><a href=#future-changes>Future Changes</a></li></ul></li></ul></nav></aside><content><h1 id=transcribing-translating-and-encoding-ms-gen-262-sefer-refuos-u-segulos--book-of-remedies-and-incantations>Transcribing, Translating, and Encoding MS Gen, 262: <em>Sefer Refu&rsquo;os u-Segulos / Book of Remedies and Incantations</em></h1><p>Charlie Steinman
 Fall 2021</p><h2 id=about-the-ms>About the MS</h2><p><a href=https://archive.org/details/ldpd_11728201_000><u>Columbia MS Gen.
diff --git a/resources/student-projects/fa21_weisgall_benjamin_final-project-architecture-workshop/index.html b/resources/student-projects/fa21_weisgall_benjamin_final-project-architecture-workshop/index.html
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@@ -1,4 +1,5 @@
-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#syllabus>Syllabus</a></li></ul></nav></aside><content><h1 id=the-making-and-meaning-of-intermediates-workshop-and-syllabus-for-students-of-architecture>The Making and Meaning of Intermediates: Workshop and Syllabus for Students of Architecture</h1><p>Benjamin Weisgall</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-weisgall/image1.png alt=IMAGE></p><p><em>Screen capture from <a href="https://www.youtube.com/watch?v=PHgEcPmCPUA&amp;t=14s"><u>“How was it made? Plaster
 cast”</u></a> by the V&amp;A
diff --git a/resources/student-projects/fa21_zayas-waters_elliot-mac_final-project-soundscape/index.html b/resources/student-projects/fa21_zayas-waters_elliot-mac_final-project-soundscape/index.html
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#creating-the-mold>Creating the mold</a></li><li><a href=#casting-the-metal>Casting the metal</a></li><li><a href=#recovering-the-final-product>Recovering the final product</a></li><li><a href=#general-sounds-throughout>General sounds throughout</a></li><li><a href=#bibliography>Bibliography:</a></li></ul></nav></aside><content><h1 id=the-soundscape-of-process-an-audio-recreation-of-lifecasting-in-the-workshop>The Soundscape of Process: An Audio Recreation of Lifecasting in the Workshop</h1><p>Elliot Zayas and Mac Waters, Fall 2021</p><p>In the introduction to his history of audio reproduction technologies,
 Jonathan Sterne outlines the supposed supremacy of visual concerns in
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><link rel=alternate type=application/rss+xml href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/index.xml title="Research and Teaching Companion"><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=section-title>Student Projects</h1><div class=toc-bg></div><div class=toc-content-container><aside class=toc><nav id=TableOfContents><ul><li><a href=#gu4962-_making-and-knowing-in-early-modern-europe-hands-on-history_-2021->GU4962: <em>Making and Knowing in Early Modern Europe: Hands-On History</em> (2021-)</a><ul><li><a href=#spring-2023-student-projects-syllabusdocumentspdfsyllabus_sp23_gu4962-hands-on-historypdf>Spring 2023 Student Projects [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp23_gu4962-hands-on-history.pdf>Syllabus</a>]</a></li><li><a href=#spring-2022-student-projects-syllabusdocumentspdfsyllabus_sp22_gu4962-hands-on-historypdf>Spring 2022 Student Projects [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp22_gu4962-hands-on-history.pdf>Syllabus</a>]</a></li><li><a href=#fall-2021-student-projects-syllabusdocumentspdfsyllabus_fa21_gu4962-hands-on-historypdf>Fall 2021 Student Projects [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_fa21_gu4962-hands-on-history.pdf>Syllabus</a>]</a></li><li><a href=#summer-2021-student-projects-syllabusdocumentspdfsyllabus_su21_gu4962-hands-on-historypdf>Summer 2021 Student Projects [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_su21_gu4962-hands-on-history.pdf>Syllabus</a>]</a></li></ul></li><li><a href=#making-colors-with-students>Making Colors with Students</a></li><li><a href=#engl84031--histgu4031--coms4495-_transforming-texts_-spring-2019>ENGL84031 / HISTGU4031 / COMS4495: <em>Transforming Texts</em> (Spring 2019)</a><ul><li><a href=#spring-2019-student-projects-syllabusdocumentspdfsyllabus_sp19_gu4031-transforming-textspdf>Spring 2019 Student Projects [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp19_gu4031-transforming-texts.pdf>Syllabus</a>]</a></li></ul></li></ul></nav></aside><content><h1 id=student-projects>Student Projects</h1><p>In all Making and Knowing courses students create a final project. In <em>Craft and Science</em>, students carried out reconstructions of processes in Ms. Fr. 640 and wrote <a href=https://edition640.makingandknowing.org/#/essays>essays</a>, which were published as part of the Ms. Fr. 640 edition, <em>Secrets of Craft and Nature</em>. In other Making and Knowing courses, including <em>Hands-on History</em>, students create a final project that engages with <em>Secrets of Craft and Nature</em>. Browse their projects for ideas about how to engage with <em>Secrets of Craft and Nature</em> and for integrating hands-on activities into your courses.</p><h2 id=gu4962-_making-and-knowing-in-early-modern-europe-hands-on-history_-2021->GU4962: <em>Making and Knowing in Early Modern Europe: Hands-On History</em> (2021-)</h2><p>In <em>Making and Knowing in Early Modern Europe: Hands-On History</em>, undergrad and grad students explore <em>Secrets of Craft and Nature</em>, carry out hands-on lessons, and develop a project that engages with hands-on activities, materials, techniques, and any number of other themes.</p><p>Their exploratory and experimental projects serve as companion pieces to <em>Secrets of Craft and Nature</em> or mark out alternative pathways into the edition. Projects range from humorous to scholarly, pedagogical, and public facing. Instructors and students can find in them inspiration and pathways by which to explore Ms. Fr. 640 and its digital edition.</p><h3 id=spring-2023-student-projects-syllabusdocumentspdfsyllabus_sp23_gu4962-hands-on-historypdf>Spring 2023 Student Projects [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp23_gu4962-hands-on-history.pdf>Syllabus</a>]</h3><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp23_fan_ruilin_final-project_flesh-color/>“Flesh Color” and Race Making in Early Modern Painters’ Manuals</a> by Ruilin Fan</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp23_narcy_gilles_final-project_languages/>Languages and Linguistic Agency in Ms. Fr. 640</a> by Gilles Narcy</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp23_lambert-avery_final-project_medieval-spirituality/>Medieval Spirituality and Materiality in Ms. Fr. 640</a> by Avery Lambert</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_gorup_sophie_final-project_women-at-work.pdf>Kunstkamer: Women at Work</a> by Sophie Gorup<ul><li>[<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_gorup_sophie_final-project_women-at-work.pdf>PDF</a>]</li><li>[<a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/sp23_gorup_sophie_final-project_women-at-work.pptx>PPTX</a>]</li></ul></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp23_nelkin-nesya_final-project_candles/>Candles: Making and Breaking Boundaries in Early Modern Jewish and Christian Ritual</a> by Nesya Nelkin</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp23_rao-sumant_final-project_puffball/>Puffball Mushrooms and Early Modern Race-Making: A Skin-Whitening Recipe in BnF Ms. Fr. 640</a> by Sumant Rao</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp23_shi-jingxian_final-project_paintbrushes/>European Paintbrushes and Chinese Ink Brushes in the Early Modern World</a> by Jingxian Shi</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp23_brown-reece_final-project_dye-workshop/>Dyeing Textiles with Cochineal - A Workshop</a> by Reece Brown</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp23_oberem-lukas_final-project_varnish/>Varnishing, a Craft of Closure</a> by Lukas Oberem</li></ul><h3 id=spring-2022-student-projects-syllabusdocumentspdfsyllabus_sp22_gu4962-hands-on-historypdf>Spring 2022 Student Projects [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp22_gu4962-hands-on-history.pdf>Syllabus</a>]</h3><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp22_arocho_alejandra_herodotus-workshop/>Herodotus’ ‘Workshop’: A Core (Curriculum) Pathway into Ms. Fr. 640 and its Author-Practitioner</a> by Alejandra Quintana Arocho</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp22_dzumala_maciej_discards.pdf>Discarded Cartographies: Orienting Process Through Waste</a> by Maciej Dzumala</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp22_lang_theodora_counterproofing/>Counterproofing: Reproduction and Theft in Early Modern Print Culture</a> by Theodora Bocanegra Lang</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp22_wei-yang_jianing-luxi_popup/>Making and Knowing Pop-up Book</a> by Luxi Yang and Jianing Wei</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp22_bergen-sabet_jamie-sofia_final-project_grotto/>Creating a “Modern” Reconstruction of a Miniature Grotto</a> by Jamie Bergen and Sofia Sabet</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp22_donald_maia_final-project_cuttlebone/>Cuttlefish in and around Ms. Fr. 640</a> by Maia Donald</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp22_gardner_schuyler_final-project-sieves/>Sieves in Ms. Fr. 640</a> by Schuyler Gardner</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp22_nebolsin_victoria_final-project_animal-rationality/>Animal Rationality in Ms. Fr. 640</a> by Victoria Nebolsin</li></ul><h3 id=fall-2021-student-projects-syllabusdocumentspdfsyllabus_fa21_gu4962-hands-on-historypdf>Fall 2021 Student Projects [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_fa21_gu4962-hands-on-history.pdf>Syllabus</a>]</h3><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/fa21_steinman_charlie_final-project-ms262/>Transcribing, Translating, and Encoding MS Gen, 262: <em>Sefer Refu&rsquo;os u-Segulos / Book of Remedies and Incantations</em></a> by Charlie Steinman<ul><li>See also the Github repo dedicated to this project <a href=https://github.com/cu-mkp/ms-262-data>ms-262-data</a></li></ul></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/fa21_ghoneima_hana_final-project-oral-culture/>Oral Culture in Ms. Fr. 640</a> by Hana Ghoneima</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/fa21_coutavas_allie_final-project-reds/>The Color Red in Ms. Fr. 640</a> by Allie Coutavas</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/fa21_jacobson_beah_final-project-know/>Textual Analysis of Instances of “To Know” in Ms. Fr. 640</a> by Beah Jacobson</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/fa21_lin-sundar_danli-anusha_final-project_regimens-remedies/>Regimens, Recipes, and Remedies: Understanding the ‘Cosmetic’ in Early Modern Europe</a> by Danli Lin and Anusha Sundar</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/fa21_weisgall_benjamin_final-project-architecture-workshop/>The Making and Meaning of Intermediates: Workshop and Syllabus for Students of Architecture</a> by Benjamin Weisgall</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/fa21_davol_eleanor_final-project-nat-history.pdf>The Natural History of Ms. Fr. 640: A Visual Exploration</a> by Eleanor Davol</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/fa21_alberts_naomi_final-project_ph-lesson/>Instructor Assignment Sheet: Ms. Fr. 640 fol. 43v, “Varied and Transmuted Wine”</a> by Naomi Alberts</li><li><a href=https://catapanoth.com/omandka/exhibits/show/global-ingredients--the-divers>Global Ingredients: The Diverse Origins of Natural Materials in Ms. Fr. 640</a> (Omeka exhibit with gallery and map) by Elia Zhang and Helena Seo</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/fa21_atkins-joyce-farley_charlotte-siobhan_pranks/>An Exploration of Humor in Ms. Fr. 640</a> by Charlotte Atkins and Siobhan Joyce-Farley<ul><li>See their <a href=https://youtu.be/BFK71x0bvuE>VIDEO: Funniest Pranks of the 16th Century</a></li></ul></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/fa21_zayas-waters_elliot-mac_final-project-soundscape/>The Soundscape of Process: An Audio Recreation of Lifecasting in the Workshop</a> by Elliot Zayas and Mac Waters<ul><li>Listen to <a href=https://vimeo.com/672477385>Soundscape 1: Creating the Mold</a></li><li>Listen to <a href=https://vimeo.com/672823504>Soundscape 2: Casting the Metal</a></li><li>Listen to <a href=https://vimeo.com/672823543>Soundscape 3: Recovering the Final Product</a></li></ul></li></ul><h3 id=summer-2021-student-projects-syllabusdocumentspdfsyllabus_su21_gu4962-hands-on-historypdf>Summer 2021 Student Projects [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_su21_gu4962-hands-on-history.pdf>Syllabus</a>]</h3><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/su21_branscum_elizabeth_final-project-medicinal/>Cures in Context: Medicine in Ms. Fr. 640 and Household Recipe Books</a> by Elizabeth Branscum</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/su21_fox_mackenzie_final-project-disorganization/>Was Ms. Fr. 640 Intentionally Disorganized?</a> by Mackenzie Fox</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/su21_macomber_sophie_final-project-figures/>Pictures Worth 1,000 Words: Figures and their Uses in Ms. Fr. 640</a> by Sophie Macomber</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/su21_christensen_anna_final-project-natural-things/>Understanding Natural Things in the World and the Workshop</a> by Anna Christensen</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/su21_snyder_mellon_final-project-pigments.pdf>Foraging for Pigments: A Making and Knowing Project</a> by Mellon Snyder<ul><li>[<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/su21_snyder_mellon_final-project-pigments.pdf>PDF</a>]</li><li>[<a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/su21_snyder_mellon_final-project-pigments.pptx>PPTX</a>]</li></ul></li></ul><h2 id=making-colors-with-students>Making Colors with Students</h2><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/su22_fld_cunningham_annika_onion-skin-dyeing/>Dyeing with Onion Skins</a> by Annika Cunningham (2022-07-18)</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/sp22_fld_rosenkranz_naomi_madder-lake-trio/>Making Pigment from Madder: a Trio of Recipes</a> by Naomi Rosenkranz (2022-07-19)</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/2023_dyes-pigments_samples.pdf>Materials Used for Making Renaissance Dyes and Pigments</a> by Naomi Rosenkranz and Megan Lennon (2023-02-28)</li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/azurite-shells.jpg alt="azurite shells"></p><h2 id=engl84031--histgu4031--coms4495-_transforming-texts_-spring-2019>ENGL84031 / HISTGU4031 / COMS4495: <em>Transforming Texts</em> (Spring 2019)</h2><p>The Spring 2019 course <em>Transforming Texts: Textual Analysis, Literary Modeling, and Visualization</em> built upon M&amp;K&rsquo;s previous Digital and Lab Seminars. Geared towards students from the humanities and computer science, the course encouraged the disciplines to work together to analyze, explore, and understand historical texts.</p><h3 id=spring-2019-student-projects-syllabusdocumentspdfsyllabus_sp19_gu4031-transforming-textspdf>Spring 2019 Student Projects [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp19_gu4031-transforming-texts.pdf>Syllabus</a>]</h3><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/SP19_Camps_Ontologies-of-Ms-Fr-640.pdf>Ontologies of Ms. Fr. 640</a> by Celine Camps</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/SP19_Bergen_Textual-Analysis-with-Optical-Character-Recognition.pdf>“A View Inside a Messy Workshop”: Unraveling the Possibilities of Textual Analysis with Optical Character Recognition</a> by Katherine Bergen</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/SP19_Lehnert-Hand-Houser_Material-Qualities-of-the-Page.pdf>Material Qualities of the Page: A New Interface for the Digital Critical Edition</a> by Sandra Goldstein Lehnert, Laura Elizabeth Hand, and Greg Alton Houser</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/SP19_Kaplan_Indexing-Ingredients.pdf>Indexing Ingredients: Using Ingredients to Navigate Making</a> by Jennifer Kaplan, Chris Klippenstein, Matthew Kumar, and Vera Senina</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/SP19_Soto_Chromatic-Index.pdf>Chromatic Index</a> by Guillermo Soto, Clement Godbarge, and Yuhe Zheng. See also <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/SP19_Chromatic-Index-Presentation.pdf>PDF of PowerPoint presentation</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/SP19_ARGroup.pdf>Augmented Reality Group (ARGroup)</a> by Mahzabin Hasnath, Kathleen Lee, and Taewan Shim. See also PowerPoint presentation [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/SP19_ARGroup-Presentation.pdf>PDF</a>] [<a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/SP19_ARGroup-Presentation.pptx>PPTX</a>]</li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/2018_paleography_toulouse_for-webpages.jpg alt="2018 Paleography"></p></content></div></div></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
diff --git a/resources/student-projects/sp22_arocho_alejandra_herodotus-workshop/index.html b/resources/student-projects/sp22_arocho_alejandra_herodotus-workshop/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#introduction>Introduction</a></li><li><a href=#folio-162r-for-the-workshop>Folio 162r, “For the workshop”</a></li><li><a href=#folio-166r-for-the-workshop-contd>Folio 166r, “For the workshop” (cont’d?)</a></li><li><a href=#conclusions>Conclusions</a></li><li><a href=#works-cited>Works Cited</a></li></ul></nav></aside><content><h1 id=herodotus-workshop-a-core-curriculum-pathway-into-ms-fr-640-and-its-author-practitioner>Herodotus’ ‘Workshop’: A Core (Curriculum) Pathway into Ms. Fr. 640 and its Author-Practitioner</h1><blockquote><p>Alejandra Quintana Arocho<br>Professor Pamela Smith | Naomi Rosenkranz | Caroline Surman<br>Making and Knowing in Early Modern Europe: Hands-on History<br>10 May 2022</p></blockquote><p>This project is directed toward Columbia College and General Studies students who have taken the course &ldquo;Literature Humanities&rdquo; (<a href=https://www.college.columbia.edu/core-curriculum/classes/literature-humanities>Lit Hum</a>) as part of <a href=https://www.college.columbia.edu/core/core>Columbia&rsquo;s Core Curriculum</a> and want to see how an author/artisan from Renaissance Toulouse participates in their ongoing literary/scholarly conversations.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-arocho/image1.jpg alt=IMAGE></p><blockquote><p>&ldquo;Illuminated border in Herodotus: Historiae&rdquo; by University of Glasgow Library is marked with CC BY-NC-SA 2.0.</p></blockquote><h2 id=introduction>Introduction</h2><p>In his account of the Greco-Persian wars,<sup id=fnref:1><a href=#fn:1 class=footnote-ref role=doc-noteref>1</a></sup> Herodotus doesn’t string
 together a series of events into a narrative like we would expect a
diff --git a/resources/student-projects/sp22_bergen-sabet_jamie-sofia_final-project_grotto/index.html b/resources/student-projects/sp22_bergen-sabet_jamie-sofia_final-project_grotto/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#steps-to-the-creation-of-a-miniature-grotto5>Steps to the Creation of a Miniature Grotto</a><ul><li><a href=#scale-model>Scale Model</a></li><li><a href=#shell-mosaic>Shell Mosaic</a></li><li><a href=#shell-feetsculptures>Shell Feet/Sculptures</a></li></ul></li><li><a href=#features-in-our-miniature-grotto>Features in Our Miniature Grotto</a><ul><li><a href=#bridge>Bridge</a></li><li><a href=#rat-with-wings>Rat with Wings</a></li><li><a href=#cuttlefish-bone-turtle>Cuttlefish Bone Turtle</a></li><li><a href=#stucco-shells>Stucco Shells</a></li><li><a href=#sand>Sand</a></li><li><a href=#water-featurefake-rock>Water Feature/Fake Rock</a></li></ul></li><li><a href=#final-arrangements-and-thoughts>Final Arrangements and Thoughts</a></li></ul></nav></aside><content><p>Jamie Bergen and Sofia Sabet</p><p>Spring 2022, GU4962: Hands-on History</p><h1 id=creating-a-modern-reconstruction-of-a-miniature-grotto>Creating a “Modern” Reconstruction of a Miniature Grotto</h1><p>Grottos imitate a spring, often located in a cave-like structure, and
 usually contain fountains, sculpture, and imitation flora and fauna.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-bergen-sabet/image23.jpg alt=IMAGE></p><blockquote><p>Engraving of a grotto in the gardens of Hortus Palatinus, Heidelberg, from Salomon de Caus’ Hortus Palatinus. Engraving done by Matthieu Marian’s (1620), <a href=https://digi.ub.uni-heidelberg.de/diglit/caus1620/0034/image,info,thumbs><u>https://digi.ub.uni-heidelberg.de/diglit/caus1620/0034/image,info,thumbs</u></a></p></blockquote><p>In <em>L&rsquo;Idea della Architettura Universale</em> (<em>The Idea of a Universal
diff --git a/resources/student-projects/sp22_donald_maia_final-project_cuttlebone/index.html b/resources/student-projects/sp22_donald_maia_final-project_cuttlebone/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#works-cited>Works Cited</a></li></ul></nav></aside><content><h1 id=cuttlefish-in-and-around-ms-fr-640>Cuttlefish in and around Ms. Fr. 640</h1><p><em>Maia Donald</em></p><p><em>Spring 2022</em></p><p>Cuttlebone, the hard interior shell of the cuttlefish, has a long history of human use. While today it is primarily consumed as a calcium
 supplement by pet birds and reptiles, cuttlebone was long ago used as a
diff --git a/resources/student-projects/sp22_gardner_schuyler_final-project-sieves/index.html b/resources/student-projects/sp22_gardner_schuyler_final-project-sieves/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#the-use-of-sieves-in-ms-fr-640>The Use of Sieves in Ms. Fr. 640</a></li><li><a href=#womens-role-in-providing-sieves-in-the-home><strong>Women’s Role in Providing Sieves in the Home</strong></a></li><li><a href=#the-social-meaning-of-sieves>The Social Meaning of Sieves</a></li><li><a href=#conclusion>Conclusion</a></li><li><a href=#bibliography>Bibliography</a></li></ul></nav></aside><content><h1 id=sieves-in-ms-fr-640>Sieves in Ms. Fr. 640</h1><p>Schuyler Gardner</p><p>Spring 2022, GU4962: Hands-on History</p><p>In early modern Europe, the line between tools used in workshops and in
 kitchens was blurred. Tools that crossed these spaces can reveal how
diff --git a/resources/student-projects/sp22_lang_theodora_counterproofing/index.html b/resources/student-projects/sp22_lang_theodora_counterproofing/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#bibliography>Bibliography</a></li></ul></nav></aside><content><h1 id=counterproofing-reproduction-and-theft-in-early-modern-print-culture>Counterproofing: Reproduction and Theft in Early Modern Print Culture</h1><blockquote><p>Theodora Bocanegra Lang<br>Spring 2022<br>Making and Knowing in Early Modern Europe: Hands-On History<br></p></blockquote><p>In an entry of BnF Ms. Fr. 640 entitled “Counterproofing” (<a href=https://edition640.makingandknowing.org/#/folios/51r/f/51r/tl><u>folio
 51r</u></a>, the
diff --git a/resources/student-projects/sp22_nebolsin_victoria_final-project_animal-rationality/index.html b/resources/student-projects/sp22_nebolsin_victoria_final-project_animal-rationality/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#the-tyrant-rat-and-vermin-killing-manuals>The Tyrant Rat and Vermin-Killing Manuals</a><ul><li><a href=#burning-his-whiskers-like-the-tyrant-of-dionysus-plutarchs-influence>“Burning His Whiskers Like the Tyrant of Dionysus”: Plutarch’s Influence</a></li></ul></li><li><a href=#summoning-the-swine>Summoning the Swine</a></li><li><a href=#scaring-the-snakes>Scaring the Snakes</a></li><li><a href=#conclusion>Conclusion</a></li><li><a href=#works-cited>Works Cited</a></li></ul></nav></aside><content><h1 id=animal-rationality-in-ms-fr-640>Animal Rationality in Ms. Fr. 640</h1><p>Victoria Nebolsin</p><p>Making and Knowing: Hands-On History</p><p>May 2022</p><p><a href=https://edition640.makingandknowing.org/#/>Ms. Fr. 640</a> reveals
 a surprisingly symbolic treatment of some of the animals with which the
diff --git a/resources/student-projects/sp22_wei-yang_jianing-luxi_popup/index.html b/resources/student-projects/sp22_wei-yang_jianing-luxi_popup/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#behind-the-scenes>Behind the scenes</a><ul><li><a href=#kunstkammer>Kunstkammer</a></li><li><a href=#making-and-knowing-project>Making and Knowing Project</a></li><li><a href=#bnf-ms-fr-640>BnF Ms. Fr. 640</a></li></ul></li><li><a href=#pop-up-book-and-collection-of-miniatures-table-of-contents>Pop-up Book and Collection of Miniatures: Table of Contents</a><ul><li><a href=#chapter-1-tools-and-the-book>Chapter 1. Tools and the Book</a></li><li><a href=#chapter-2-life-and-nature>Chapter 2. Life and Nature</a></li><li><a href=#chapter-3-nature-and-imagination>Chapter 3. Nature and Imagination</a></li><li><a href=#chapter-4-against-nature>Chapter 4. Against Nature</a></li></ul></li></ul></nav></aside><content><h1 id=making-and-knowing-pop-up-book>Making and Knowing Pop-up Book</h1><blockquote><p>Luxi Yang and Jianing Wei<br>Spring 2022<br>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History<br></p></blockquote><iframe title=vimeo-player src="https://player.vimeo.com/video/710444936?h=b9508dad89" width=640 height=360 frameborder=0 allowfullscreen></iframe><p><br><br><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp22_wei-yang_jianing-luxi_popup-presentation.pdf>A Visual Presentation of the Pop-up Book (PDF)</a></p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-wei-yang/image1.png alt=IMAGE></p><h2 id=behind-the-scenes>Behind the scenes</h2><p>This final project for the course &ldquo;Making and Knowing in Early Modern
 Europe: Hands-On History&rdquo; at Columbia University was created by Luxi
diff --git a/resources/student-projects/sp23_brown-reece_final-project_dye-workshop/index.html b/resources/student-projects/sp23_brown-reece_final-project_dye-workshop/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#teaching-materials>Teaching Materials</a></li></ul></nav></aside><content><h1 id=dyeing-textiles-with-cochineal>Dyeing Textiles with Cochineal</h1><blockquote><p>Reece Brown<br>Spring 2023<br>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History<br></p></blockquote><p>My project takes the form of a workshop that teaches the process of dyeing to a group of 10 high school students. This endeavor promotes hands-on artisanal production that connects materials to their effects, integrating the different stages in the process into the different forms that the materials assume.</p><p>This workshop explores cochineal from three different disciplines: biology, chemistry, and history. We will begin by discussing its life cycle and habitat, then pivot to focus on the particular compound for which it is known, i.e., carminic acid. The flow of this lesson follows the transformation of materials during the process of dyeing, turning cochineal from a resource to a material to a product. Every step in the “recipe” will be contextualized briefly prior to the hands-on endeavor, then more fully explored in a conversation as we wait for the materials to heat to the proper temperature. This outline lets the process and material reality come first, then provides more abstract information once students have oriented themselves in the world around them. It also provides productive instruction time during periods of stasis integrated throughout the process of dyeing.</p><p>Images appear throughout this lesson plan. These will be printed out in a full size as visual teaching aids. Similarly, some longer quotes appear, especially during the history section. These are not necessarily to be read in full to the classroom, but rather summarized in such a way that they are made accessible to high school aged audiences in an attempt to introduce them to scholarly analysis of global commodities and their exchanges.</p><p>In August 2023, I led the workshop in a high school environmental science class. We tie-dyed cotton bandanas, which led to a fun array of patterns. Students asked a lot of questions about the mordant process, and liked talking about this project from a sustainability perspective.</p><h2 id=teaching-materials>Teaching Materials</h2><ul><li>Presentation on Cochineal (<a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_brown_reece_final-project_dye-workshop-presentation.pdf>PDF</a>)<ul><li>(<a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/sp23_brown_reece_final-project_dye-workshop-presentation.pptx>PPTX</a>)</li></ul></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp23_brown_reece_final-project_dye-workshop-student-lab-guide/>Student Lab Guide</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_brown_reece_final-project_dye-workshop-student-lab-guide.pdf>PDF</a>)</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/sp23_brown_reece_final-project_dye-workshop-instructor-lab-guide/>Instructor Lab Guide</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/sp23_brown_reece_final-project_dye-workshop-instructor-lab-guide.pdf>PDF</a>)</li><li><a href="https://photos.google.com/share/AF1QipPQ-ckzEr4N6hcVK2boj-QeGYtMzrFdKhrt0fgxMf7iBe-v1HOC3bSXoPVSoiF-IQ?key=akFJYk94VHdoRmxCeUphaGJzY3pxRnRWYW9NRVdn">Pictures from the workshop held in August 2023</a></li></ul></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 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 </a>Making and Knowing Project.</p></div><p>Licensed under <a target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#lab-guide-for-instructors>Lab Guide for Instructors</a></li><li><a href=#plant-based-dyes-the-chemistry-of-cochineal>Plant Based Dyes: The Chemistry of Cochineal</a></li><li><a href=#lesson-outline>Lesson Outline:</a></li><li><a href=#dyeing-textiles-with-cochineal-1>Dyeing Textiles with Cochineal</a><ul><li><a href=#materials>MATERIALS</a></li><li><a href=#procedure>PROCEDURE</a></li></ul></li><li><a href=#natural-dyes>NATURAL DYES</a><ul><li><a href=#discussion-questions>Discussion questions</a></li><li><a href=#what-is-a-mordant>What is a mordant?</a></li></ul></li><li><a href=#procedure-make-mordant-bath3>PROCEDURE: Make Mordant Bath</a></li><li><a href=#as-a-bug-biology>AS A BUG: BIOLOGY</a><ul><li><a href=#from-resource-to-material-discussion>From resource to material: Discussion</a></li><li><a href=#procedure-crush-and-boil-cochineal>PROCEDURE: Crush and Boil Cochineal</a></li></ul></li><li><a href=#carminic-acid-chemistry>CARMINIC ACID: CHEMISTRY</a><ul><li><a href=#ph-exploration>pH Exploration</a></li><li><a href=#procedure-ph-manipulation11>PROCEDURE: pH Manipulation</a></li></ul></li><li><a href=#history>HISTORY</a><ul><li><a href=#discussion-about-images>Discussion about images</a></li><li><a href=#the-life-system-discussion-about-interconnectedness>The Life System Discussion about Interconnectedness</a></li></ul></li><li><a href=#reflection>REFLECTION</a><ul><li><a href=#debrief-and-group-discussion>Debrief and group discussion</a></li></ul></li><li><a href=#materials-1>MATERIALS</a></li></ul><ul><li><ul><li><a href=#references-for-discussion>References for Discussion</a></li></ul></li></ul></nav></aside><content><h1 id=dyeing-textiles-with-cochineal>Dyeing Textiles with Cochineal</h1><h2 id=lab-guide-for-instructors>Lab Guide for Instructors</h2><blockquote><p>Reece Brown<br>Spring 2023<br>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History<br></p></blockquote><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-brown/image4.png alt=IMAGE></p><h2 id=plant-based-dyes-the-chemistry-of-cochineal>Plant Based Dyes: The Chemistry of Cochineal</h2><p>This workshop was created to teach the process of dyeing to a group of
 high school students in an environmental science class. This workshop
diff --git a/resources/student-projects/sp23_brown_reece_final-project_dye-workshop-student-lab-guide/index.html b/resources/student-projects/sp23_brown_reece_final-project_dye-workshop-student-lab-guide/index.html
index 9809c029..4992726e 100644
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@@ -1,4 +1,5 @@
-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#lab-guide-for-students>Lab Guide for Students</a><ul><li><a href=#materials>MATERIALS</a></li><li><a href=#procedure>PROCEDURE</a></li></ul></li><li><a href=#reflection>Reflection</a></li></ul></nav></aside><content><h1 id=dyeing-textiles-with-cochineal>Dyeing Textiles with Cochineal</h1><h2 id=lab-guide-for-students>Lab Guide for Students</h2><blockquote><p>Reece Brown<br>Spring 2023<br>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History<br></p></blockquote><p>Adapted from chapter 5, “Recipes,” of Jo Kirby et al, <em>Natural Colorants
 for Dyeing and Lake Pigments: Practical Recipes and their Historical
diff --git a/resources/student-projects/sp23_fan_ruilin_final-project_flesh-color/index.html b/resources/student-projects/sp23_fan_ruilin_final-project_flesh-color/index.html
index fbdc1522..84e0f7e5 100644
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@@ -1,4 +1,5 @@
-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#making-race>Making race</a></li><li><a href=#carnation-liveliness-and-fairness>Carnation, Liveliness, and Fairness</a></li><li><a href=#conclusion>Conclusion</a></li><li><a href=#bibliography>Bibliography</a></li></ul></nav></aside><content><h1 id=flesh-color-and-race-making-in-early-modern-painters-manuals>“Flesh Color” and Race Making in Early Modern Painters’ Manuals</h1><blockquote><p>Ruilin Fan<br>Spring 2023<br>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History<br></p></blockquote><p>BnF Ms. Fr. 640 contains a number of recipes for making pigments and
 paints. Among them, the author-practitioner is especially interested in
diff --git a/resources/student-projects/sp23_lambert-avery_final-project_medieval-spirituality/index.html b/resources/student-projects/sp23_lambert-avery_final-project_medieval-spirituality/index.html
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@@ -1,4 +1,5 @@
-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
+<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title>
+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#ms-fr-640-folio-103r>Ms. Fr. 640, folio 103r</a></li><li><a href=#reconstructing-a-salve-for-burns>Reconstructing a Salve for Burns</a></li><li><a href=#medieval-craft-and-spirituality>Medieval Craft and Spirituality</a></li><li><a href=#folio-103r-and-medieval-systems-of-knowledge>Folio 103r and Medieval Systems of Knowledge</a></li><li><a href=#bibliography>Bibliography</a></li></ul></nav></aside><content><h1 id=medieval-spirituality-and-materiality-in-ms-fr-640>Medieval Spirituality and Materiality in Ms. Fr. 640</h1><blockquote><p>Avery Lambert<br>Spring 2023<br>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History<br></p></blockquote><p>The author-practitioner of Ms. Fr. 640 compiled his recipe-book in a
 period of great religious, political, and social turmoil. Southern
diff --git a/resources/student-projects/sp23_narcy_gilles_final-project_languages/index.html b/resources/student-projects/sp23_narcy_gilles_final-project_languages/index.html
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 Although written in French, as its call number in the Bibliothèque
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#temporal-boundaries>Temporal Boundaries</a></li><li><a href=#spatial-boundaries>Spatial Boundaries</a></li><li><a href=#religious-boundaries>Religious Boundaries</a></li><li><a href=#reconstruction>Reconstruction</a></li><li><a href=#materials>Materials</a><ul><li><a href=#making-the-candles>Making the Candles</a></li><li><a href=#burning-the-candles>Burning the Candles</a></li></ul></li><li><a href=#bibliography>Bibliography</a><ul><li><a href=#primary>Primary</a></li><li><a href=#secondary>Secondary</a></li></ul></li></ul></nav></aside><content><h1 id=candles-making-and-breaking-boundaries-in-early-modern-jewish-and-christian-ritual>Candles: Making and Breaking Boundaries in Early Modern Jewish and Christian Ritual</h1><blockquote><p>Nesya Nelkin<br>Spring 2023<br>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History</p></blockquote><p>Candles and their materials are ubiquitous in BnF Ms. Fr. 640. The author-practitioner suggests their use in activities as far-ranging as melting and cutting glass, smoking molds, to burning off small hairs from animals to be life-cast, to catching birds.<sup id=fnref:1><a href=#fn:1 class=footnote-ref role=doc-noteref>1</a></sup> Beeswax and tallow (made by rendering suet, the organ fat of beef, lamb, or mutton), both very versatile substances and common candle materials, appear even more frequently, for purposes including molding, healing, food preservation, and portraiture.<sup id=fnref:2><a href=#fn:2 class=footnote-ref role=doc-noteref>2</a></sup> The author-practitioner hints only obliquely at sacramental uses of wax,<sup id=fnref:3><a href=#fn:3 class=footnote-ref role=doc-noteref>3</a></sup> and makes no mention of the ritual functions of tallow or candles themselves. However, his concern for the material properties and artisanal uses of wax, tallow, and candles cannot be read outside of a broader context in which these materials and objects were associated with a complex range of theological and symbolic meanings. This paper discusses the ritual uses of wax and tallow candles among Jews and Christians in early modern Europe, focusing specifically on the ways that candles served to establish, mediate, and break down boundaries between spaces, times, and religious communities, and on the particular significance of candles in the ritual lives of women.</p><h2 id=temporal-boundaries>Temporal Boundaries</h2><p>For Jews, candles and lamps were important to defining the boundaries of sacred time. Immediately prior to the start of Shabbat and holidays, an adult member of each Jewish household, usually a woman, lit two or more candles or lamps near the table where the evening meal was to be eaten, reciting a blessing as she did so. On Shabbat, the weekly sacred day of rest, and holidays, Jewish religious law prohibits Jews from kindling new flames.<sup id=fnref:4><a href=#fn:4 class=footnote-ref role=doc-noteref>4</a></sup> Thus candles lit immediately prior to the start of these sacred days served important practical and symbolic functions—they provided a light source for the household.<sup id=fnref:5><a href=#fn:5 class=footnote-ref role=doc-noteref>5</a></sup> They were the final mundane act performed before the start of the incoming holiday.</p><p>In early modern Jewish thought, candles, particularly Shabbat candles, were closely connected with women’s bodies and their marital responsibilities. Lighting the Shabbat candles was one of three Jewish ritual obligations which was associated particularly with women since antiquity.<sup id=fnref:6><a href=#fn:6 class=footnote-ref role=doc-noteref>6</a></sup> Mishnah Shabbat 2:6, a text read regularly in the synagogue, claims that it is for carelessness in fulfilling this and the other two “women’s commandments” that women die in childbirth. Books written for women in Yiddish and Italian explaining laws relating to these obligations were extremely popular in the sixteenth through eighteenth centuries.<sup id=fnref:7><a href=#fn:7 class=footnote-ref role=doc-noteref>7</a></sup> Despite the close association between women and Shabbat candles, either men or women could light them, but the act had different implications for temporal boundaries depending on who lit them. For women, the blessing said over the candles also formally effected the start of the sacred day. Though by the late fourteenth century, rabbinic authorities agreed that even men who lit Shabbat candles did not start Shabbat by doing so,<sup id=fnref:8><a href=#fn:8 class=footnote-ref role=doc-noteref>8</a></sup> late medieval and early modern rabbinic authorities were more concerned than their predecessors that men should have some involvement in the ritual. One way in which men engaged with this practice was through study of a section of the Friday night liturgy that discussed appropriate and inappropriate materials for the wick and fat of Shabbat candles. Men marked the start of Shabbat by reading about these materials, even if they did not physically engage with them.<sup id=fnref:9><a href=#fn:9 class=footnote-ref role=doc-noteref>9</a></sup> Jews marked the end of Shabbat and holidays with a ceremony called <em>havdalah</em> (meaning “distinction” or “separation”), in which they lit a dedicated candle and blessed God as the one “who distinguishes between sacred and profane, between light and dark, between Israel and the nations, between the seventh day and the six days of creation.” Again, lighting candles was prohibited on Shabbat and holidays, so the kindling of the <em>havdalah</em> flame showed that the period of prohibition had ended.</p><p>At the same time that candles defined the boundaries of Jewish sacred time, they also allowed those who lit, carried, and viewed them not only to recall but also to reenact and identify with biblical figures and events, blurring the boundaries between deep past and present in both Jewish and Christian ritual. Margrete Andås argues that by acting out biblical events, participants in Candlemas and churching rituals identified themselves both with their female ancestors and with Mary herself. Candlemas is a feast observed on February 2<sup>nd</sup> of each year, which celebrates the post-partum purification of Mary and the presentation of Jesus in the Temple of Jerusalem forty days after his birth, a narrative found in the Gospel of Luke. Upon meeting and holding Jesus, Simeon (an elderly prophet who had been waiting in the Temple to meet the Messiah) described him as “a light for revelation to the Gentiles, and the Glory of your people Israel;” another prophet, Anna, also saw him and spoke of him as the Messiah.<sup id=fnref:10><a href=#fn:10 class=footnote-ref role=doc-noteref>10</a></sup> The liturgy and rituals for this feast reflected Mary’s own actions in this episode, with the candles carried by lay and clerical participants symbolizing both the child she bore and the sacrifice she brought.<sup id=fnref:11><a href=#fn:11 class=footnote-ref role=doc-noteref>11</a></sup></p><p>Churching, a ritual which marked women’s return to church forty days after they gave birth, reflected the Purification and Candlemas both in the texts recited and in the objects used. The new mother would bring lit candles to the entrance of the church, where she would stand or kneel until she was blessed and led across the church threshold. Prayers would be recited, many of which referenced the Purification, and the woman would make an offering to the church, often of candles. Through the use of the church to represent the Temple and candles to represent both Temple sacrifices and the Christ child, Andås argues, Candlemas and churching “eliminate” the time between the present and the biblical past.<sup id=fnref:12><a href=#fn:12 class=footnote-ref role=doc-noteref>12</a></sup></p><p>A similar phenomenon occurs frequently in early modern writing about women’s lighting of Shabbat candles. The idea that women are responsible for this ritual as atonement for killing Adam, “the light of the world” appears as early as the Palestinian Talmud,<sup id=fnref:13><a href=#fn:13 class=footnote-ref role=doc-noteref>13</a></sup> but was further developed in early modern didactic and moralistic texts written for female audiences. As Chava Weissler notes, such an interpretation of women’s candle lighting “collapses all women into Eve.” On the other hand, early modern <em>tkhines</em> (Yiddish-language paraliturgical texts, often recited by women) for the lighting of Shabbat candles “distance the woman reciting them from Eve and her sin.”<sup id=fnref:14><a href=#fn:14 class=footnote-ref role=doc-noteref>14</a></sup> Remarkably, some eighteenth-century <em>tkhines</em> instead elide women’s candle lighting with the High Priest’s kindling of lamps in the Temple, with one even going so far as to ascribe theurgic power to the women’s actions.<sup id=fnref:15><a href=#fn:15 class=footnote-ref role=doc-noteref>15</a></sup></p><h2 id=spatial-boundaries>Spatial Boundaries</h2><p>Candles also worked to distinguish between different types of space, and to mark moments of transition between these spaces. In churches, the sheer number of candles burning may have distinguished these brightly-lit spaces from homes and other public spaces, which tended to be more dimly lit.<sup id=fnref:16><a href=#fn:16 class=footnote-ref role=doc-noteref>16</a></sup> For most of the year, this visual distinction may not have been as strong in synagogues, which were sometimes also dimly lit.<sup id=fnref:17><a href=#fn:17 class=footnote-ref role=doc-noteref>17</a></sup> However at certain points of year, such as Yom Kippur, when worshippers brought their own candles to the synagogue, the drastic increase in the brightness of the space may have served to highlight the sanctity both of the synagogue and of the holiday.</p><p>In both churches and synagogues, wax candles were preferred over tallow ones.<sup id=fnref:18><a href=#fn:18 class=footnote-ref role=doc-noteref>18</a></sup> Wax was far more expensive than tallow,<sup id=fnref:19><a href=#fn:19 class=footnote-ref role=doc-noteref>19</a></sup> which was more readily available, and therefore highlighted the wealth and importance of the institutions and households which could afford to burn it. For Christians, wax was also an ideal material for sacred space because of its theological significance. Because of its purity, and because of beliefs that bees reproduced asexually and died in the production of wax, the material was associated with Christ’s humanity.<sup id=fnref:20><a href=#fn:20 class=footnote-ref role=doc-noteref>20</a></sup> For Jews, tallow had negative symbolic associations, because it is not kosher.<sup id=fnref:21><a href=#fn:21 class=footnote-ref role=doc-noteref>21</a></sup> Wax candles were also preferred because they burned more cleanly, with a more consistent flame, a brighter light, and without the unpleasant smell that tallow emits when burned.<sup id=fnref:22><a href=#fn:22 class=footnote-ref role=doc-noteref>22</a></sup></p><p>To the extent that this ideal differentiation between the candle materials used in sacred and domestic spaces actually occurred, it would have provided further visual and olfactory cues to set these spaces apart. However, at various points in the Jewish and Christian liturgical years and in many lifecycle rituals, candles were brought from homes to churches and synagogues, and vice versa, blurring the boundaries or bridging the gaps between these spaces. At Candlemas, large numbers of candles were purified and blessed with holy water, then lit and distributed to both clergy and lay participants.<sup id=fnref:23><a href=#fn:23 class=footnote-ref role=doc-noteref>23</a></sup> They would then process with the candles around the church, and often also around the churchyard, through the cemetery, or throughout the town.<sup id=fnref:24><a href=#fn:24 class=footnote-ref role=doc-noteref>24</a></sup> After the mass, the candles would be distributed to the laypeople to take home.<sup id=fnref:25><a href=#fn:25 class=footnote-ref role=doc-noteref>25</a></sup> These blessed candles were used for a wide range of liturgical and magical purposes outside of the church throughout the year. Though they acquired their efficacy through their blessing in the church, they retained their power outside of that setting, allowing for the diffusion of para-liturgical practices throughout the community.<sup id=fnref:26><a href=#fn:26 class=footnote-ref role=doc-noteref>26</a></sup> Early modern Jews had no holiday involving a formal procession with synagogue candles, but a ritual handbook for women published by Rabbi Benjamin Slonik in Krakow in 1577 records a custom for “each person [to take] a lit candle from the synagogue” on Saturday nights, after the end of Shabbat, “and [go] with it to his house so that the street should be illuminated.”<sup id=fnref:27><a href=#fn:27 class=footnote-ref role=doc-noteref>27</a></sup> Synagogue candles carried to the home would presumably continue to be used there.</p><p>While in some cases rabbinic and ecclesiastical authorities encouraged practices that used candles to blur the lines between homes and synagogues and churches, not all such practices received official approval. The blessing of candles at Candlemas was an important part of the liturgical year, but the candles distributed to laypeople at that time were also widely believed to be effective objects to use in protective magical practices, which lay individuals could wield themselves.<sup id=fnref:28><a href=#fn:28 class=footnote-ref role=doc-noteref>28</a></sup> Attempts to control lay uses of these candles and other sacramentals were largely unsuccessful, exactly because their use was not confined to the space of the church.<sup id=fnref:29><a href=#fn:29 class=footnote-ref role=doc-noteref>29</a></sup></p><p>There is some evidence that early modern rabbis faced the reverse problem: women lighting Shabbat candles in the synagogue, when they viewed this ritual as essentially and necessarily domestic. In a letter to his brother, Rabbi Yaakov ben Moshe Levi Moelin (c. 1360-1427, Mainz), Gumprecht of Bad Kreuznach expressed shock at having seen women light candles in the women’s synagogue, rather than in their homes. His astonishment stemmed from the fact that the primary rabbinic explanation for the need for Shabbat candle lighting was that it ensured <em>shalom bayit</em>, “domestic peace,” a concept with no obvious application to a synagogue space. Because the women’s synagogue in Bad Kreuznach was in the basement of a synagogue official’s house, Moelin was willing to consider the possibility that these women’s candles might contribute to peace in his home, a justification that further obscured the boundaries between the basement’s domestic and synagogue functions.<sup id=fnref:30><a href=#fn:30 class=footnote-ref role=doc-noteref>30</a></sup> In the late seventeenth or early eighteenth century, Rabbi Eliyahu Spira (1660-1712, Tykocin and Prague) could not accept such a change in the setting of Shabbat candle lighting, deeming the practice Moelin discussed “too far” from the “essence” of the ritual.<sup id=fnref:31><a href=#fn:31 class=footnote-ref role=doc-noteref>31</a></sup></p><h2 id=religious-boundaries>Religious Boundaries</h2><p>For both Jews and Christians, candles served as visual markers of piety or impiety, and were particularly significant in distinguishing between pious and impious women. As discussed above, Shabbat candle lighting was a practice particularly associated with women, and such a serious responsibility that women were threatened with death in childbirth if they did not take sufficient care in fulfilling this obligation. In addition to this divine punishment, numerous rabbinic writings aimed at both men and women proposed earthly forms of penance for women who failed to light the Sabbath candles or lamp, typically suggesting that they kindle an additional light every week after the one in which they forgot to do so. This costly reminder of their failure was supposed to prevent its repetition.<sup id=fnref:32><a href=#fn:32 class=footnote-ref role=doc-noteref>32</a></sup> In periods in which only two lights were typically lit during this ritual, the additional light would have served not only as a private reminder but also informed other members of a woman’s household, as well as any visitors to the home, of the woman’s forgetfulness.<sup id=fnref:33><a href=#fn:33 class=footnote-ref role=doc-noteref>33</a></sup> This would have been less obvious as a marker of sin and penance in periods when the number of candles lit both multiplied and varied. Textual and material evidence demonstrates that a wide range of customs existed regarding the ideal number of Shabbat candles in the sixteenth through eighteenth centuries. Common numbers were three, four, six, seven, eight, and ten.<sup id=fnref:34><a href=#fn:34 class=footnote-ref role=doc-noteref>34</a></sup></p><p>The number of candles was not the only way in which Shabbat candle lighting could be performed either properly or improperly. The Mishnah prohibits the use of tallow for Shabbat candles; the text that includes this prohibition is part of the liturgy recited every Friday evening.<sup id=fnref:35><a href=#fn:35 class=footnote-ref role=doc-noteref>35</a></sup> Despite this clarity of this proscription, medieval and early modern Jews in northern Europe regularly used tallow for this purpose, because it was inexpensive and easily accessible. Some medieval rabbis sought to bring common practice in alignment with the law by permitting the use of mixtures of tallow and oil, or the use of one wax candle and one tallow candle, but given the high cost of both oil and wax, this compromise was not always followed.<sup id=fnref:36><a href=#fn:36 class=footnote-ref role=doc-noteref>36</a></sup> Visitors to a home would be able to tell if a woman had used tallow to light her Shabbat candles, which were generally close to the table, by their appearance and especially by their scent, but given how common disobedience of this law seems to have been, this may have been unremarkable. A story from <em>Sefer Chasidim</em>, a collection of texts associated with the circle of the thirteenth-century pietist R. Judah the Pious, which was frequently printed and widely read in the early modern period, seems to have been aimed at curbing this widespread disobedience by describing a punishment that would permanently and publicly mark women who used tallow for their Shabbat candles: in heaven, they would be shamed by having to wear gloves smeared with tallow.<sup id=fnref:37><a href=#fn:37 class=footnote-ref role=doc-noteref>37</a></sup></p><p>Candles were not as frequent an element of Christian women’s public expressions of piety as they were of Jewish women’s. Still, candles could serve to mark their religious status at crucial moments in their ritual lives, during which the focus of their religious communities was on them. Thirteenth and fourteenth-century Norwegian sources indicate that women who conceived children extramaritally were either not to carry candles at their churching, or were not to be churched at all. While women who died in childbirth generally had candles carried at their funerals, candles were omitted from the funeral processions of women who died bearing illegitimate children.<sup id=fnref:38><a href=#fn:38 class=footnote-ref role=doc-noteref>38</a></sup> The symbolic significance of the presence or absence of candles in churching was complicated by prohibitions during the Reformation first of the use of candles in churching (1540) and then of churching ltogether (1542). There is ample evidence, however, that churching with candles remained in practice in Norway and elsewhere, and that exclusion from the practice remained an indication of a woman’s adultery.<sup id=fnref:39><a href=#fn:39 class=footnote-ref role=doc-noteref>39</a></sup></p><p>The absence of candles from certain postpartum rituals not only marked boundaries within Christian communities, but also served as a point of distinction between otherwise very similar elements Jewish and Christian practice. By the fifteenth century, German Jews had developed a postpartum ritual that bore a close resemblance to churching, which marked a new mother’s return to the synagogue after birth. The first detailed description of this ritual appears in the seventeenth-century custom book written by Juspa the Shammes (synagogue sexton) of Worms. According to his account, the ritual occurred on the Shabbat that fell about four weeks after a woman gave birth. On this day she would wear a veil and her best clothes, and process to the synagogue with her female friends; when she arrived at the synagogue, special melodies were used for some of the day’s prayers to mark the occasion. After prayer, she would unveil herself and return home, where she would make a celebratory meal.<sup id=fnref:40><a href=#fn:40 class=footnote-ref role=doc-noteref>40</a></sup> A Jewish woman’s procession to the synagogue for this ritual and a Christian woman’s procession to the church for her churching would have shared many visual elements. In England, numerous Protestant authors opposed churching in part on the basis of its resemblance to Jewish postpartum purification rituals.<sup id=fnref:41><a href=#fn:41 class=footnote-ref role=doc-noteref>41</a></sup> The major visual distinction between these ceremonies, at least prior to the entry into the church or synagogue, was the lack of candles in the Jewish ritual.<sup id=fnref:42><a href=#fn:42 class=footnote-ref role=doc-noteref>42</a></sup></p><p>For the candles Jews lit at the start and end of Shabbat, the form of the candles and candle-holders used gradually became markers of Jewish difference. However, in both cases, objects which were originally elements of material culture and which spanned religious boundaries came to be seen as distinctly Jewish. In central Europe from the at least the thirteenth century on, Jews typically had designated lamps for the purpose of Shabbat candle lighting.<sup id=fnref:43><a href=#fn:43 class=footnote-ref role=doc-noteref>43</a></sup> These lamps, which were usually made of brass or, rarely, silver, were hung above the table on which meals were eaten and had room for several wicks.<sup id=fnref:44><a href=#fn:44 class=footnote-ref role=doc-noteref>44</a></sup> They were sometimes called “<em>Judensterne</em>” (Jewish stars) for the star-like shape many of them had. This name, given to the lamp by Christian silversmiths, would seem to suggest that such lamps were used exclusively or primarily by Jews. By the fifteenth or sixteenth century this was true, and so some scholars have assumed that any medieval or early modern star-shaped hanging lamp must have been a Shabbat lamp. However, such lamps were used in wealthy Christian homes and in churches in England and France in the eleventh through thirteenth centuries.<sup id=fnref:45><a href=#fn:45 class=footnote-ref role=doc-noteref>45</a></sup> It seems that initially, this style of lamp could be found in any household or place or worship wealthy enough to afford such elaborate lamps. It was only in the late fifteenth or sixteenth century, as lamps in this style ceased to be used in Christian homes and churches, that they came to be associated particularly with Jews and with Shabbat.<sup id=fnref:46><a href=#fn:46 class=footnote-ref role=doc-noteref>46</a></sup></p><p>A similar development occurred in the form of the <em>havdalah</em> candle. In the fourteenth century, rabbis across Europe disagreed on the ideal material for this candle, but expressed a consistent preference for double-wicked candles.<sup id=fnref:47><a href=#fn:47 class=footnote-ref role=doc-noteref>47</a></sup> Depictions of <em>havdalah</em> in manuscript illuminations and prescriptions regarding the ideal form of the ritual in late-fourteenth and early-fifteenth century Jewish legal sources introduce the notion that the multiple wicks of the candle could be twisted or braided. Such an elaborate candle would have been prohibitively expensive for most households; a less costly but similarly striking option in the same period was a simple wax or tallow candle mounted on a pole. In the sixteenth century, the intertwined wax <em>havdalah</em> candle became a widespread ideal among Ashkenazi Jews, but this ideal remained unattainable for most Jews until the mid-nineteenth century, and so the use of multi-wicked candle made from tallow or from a mixture of beeswax and tallow was typical. Both twisted and braided torch candles and pole-mounted candles were used in church processions and in order to illuminate the Eucharist at the times in which these forms became popular for use in <em>havdalah.</em> In the sixteenth century, such candles fell out of fashion for church use, but remained the ideal forms for <em>havdalah</em>.<sup id=fnref:48><a href=#fn:48 class=footnote-ref role=doc-noteref>48</a></sup> Like <em>Judensterne</em>, such braided candles came to be seen as particularly Jewish, even though they had once also been used in quintessentially Christian rituals and spaces.</p><h2 id=reconstruction>Reconstruction</h2><p>The preference for wax over tallow for ritual use among early modern Christians and Jews were due in part to the symbolic associations of those materials, but they are also practical. Wax burns longer, more consistently, with less smoke, and without the unpleasant scent that tallow has; some priests and rabbis noted these material advantages of wax in their explanations of its superiority.<sup id=fnref:49><a href=#fn:49 class=footnote-ref role=doc-noteref>49</a></sup> As part of my project, I made and burned wax and tallow candles, in order to better understand how candles made of these materials differ from one another. While BnF Ms. Fr. 640 gives advice on how to treat candles after they are made so that they will turn white and will not drip, how best to store candles, methods for storing candles, and what types of candles are best for which purposes, it lacks instructions on the basic steps of candle making. Looking somewhat haphazardly through a variety of recipe books and cookbooks, I encountered a similar problem—these texts discussed many different uses of tallow, wax, and candles, and occasionally included information about improving candles, but generally lacked more the basic instructions I needed. Using the Folger Manuscript Transcriptions Collection, I was able to more quickly search for manuscripts containing terms related to candles, wax, and tallow, until I came across Folger Ms. Add 196, a cookbook that was copied c. 1706 and acquired by George Baillie in 1726. Fols. 268r-269v of this manuscript contain instructions for rendering tallow and making mold candles from it. However, most of the instructions focus on the process of rendering; as far as making the candle itself, it simply says “while it is cooling have your weeks thred in Candle moles then run your Tallow & fill your Moulds theyl draw when they are quite cold.”</p><p>I found more thorough directions for tallow and wax candle making in a book titled <em>The London Tradesman: Being a Compendious View of All the Trades, Professions, Arts, both Liberal and Mechanic, now practiced in the Cities of London and Westminster,</em> which was written by R. Campbell, Esq. and first published in London in 1747.<sup id=fnref:50><a href=#fn:50 class=footnote-ref role=doc-noteref>50</a></sup> According to the title page of the book, Campbell wrote it “For the Information of Parents and instruction of Youth in their choice of Business.” Campbell did not explain how he came to have knowledge of so many different trades, but for each trade summarized the basic activities involved, the talents necessary for that trade, the age at which a boy could begin an apprenticeship in that trade, and the rate at which journeymen in that trade were paid. Pages 270-271 of Campbell’s book discuss the trades “Of the Tallow and Wax-Chandler,” and include detailed descriptions of the ways professional chandlers made candles of tallow and wax. In my reconstruction, I used Campbell’s instructions as a starting point, but ended up veering away from this guideline in addressing the actual problems I encountered.</p><p>Some logistical issues were evident even before I began actually making the candles. I knew that I could not render tallow or prepare candles from tallow in my own kitchen, because, as discussed above, it is not kosher; following the laws of <em>kashrut</em> as I understand them, cooking tallow on my stove would have contaminated both my stove and my cooking utensils. Working out ways to work around this issue raised the question of how early modern Jewish women could have prepared tallow lamps and candles in their homes without running into similar concerns. In some cases, it is possible that they purchased tallow candles that were made elsewhere, however, rabbinic writings from the thirteenth through sixteenth centuries suggest that they were preparing mixtures of tallow and other substances in their own homes, if not necessarily rendering the fat or making candles there.<sup id=fnref:51><a href=#fn:51 class=footnote-ref role=doc-noteref>51</a></sup>Another possible explanation is that they had dedicated utensils for candle production.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image7.gif alt="A black and white drawing of a person holding a vase Description automatically generated with low confidence"></p><p><em>Figure 1. Woodcut depicting Shabbat candle lighting. This version comes from the Amsterdam Haggadah of 1695, but it is based on a woodcut printed by Giovanni di Gara in Venice in 1593, copies of which appeared in numerous printed books in a variety of Jewish languages in the seventeenth and eighteenth centuries.</em></p><p>Even storing the tallow in my home without heating it there made me worry about contaminating my kitchen. The tallow jar I purchased was not properly sealed and was leaking. Though I was storing the jar on my desk, far from anywhere I prepare or eat food, I became worried–-what if the tallow leaking onto my hands and notes somehow made its way into my kitchen? Initially, I had assumed this sort of concern would have been shared by early modern Jews, who not only used tallow in their homes but hung it directly above the tables where they ate. Closer examination of rabbinic writing about Shabbat candles and other domestic uses of tallow from this period suggest otherwise. Jewish legal authorities from the fourteenth through sixteenth centuries seem to concur that tallow dripping from a solid candle onto a pot or other cooking utensil would not cause any issues; hotter liquid tallow, as from a lamp, would contaminate the utensils.<sup id=fnref:52><a href=#fn:52 class=footnote-ref role=doc-noteref>52</a></sup></p><p>This prompted me to think more carefully about the specific arguments made in rabbinic writings opposing the use of tallow for Shabbat lamps. While the non-kosher status of tallow clearly lowered its esteem, fear of contamination of food by tallow was not common as a reason given for prohibiting its use in Shabbat lights. Much more typical were references to the Mishnaic prohibition on the substance, or to tallow’s unpleasant smell, reasons which allowed some rabbis to permit the use of tallow mixtures for Shabbat lamps and candles, and for the use of pure tallow for mundane domestic purposes, even though such mixtures and uses would have posed equal <em>kashrut</em> concerns.<sup id=fnref:53><a href=#fn:53 class=footnote-ref role=doc-noteref>53</a></sup></p><h2 id=materials>Materials</h2><p>Because I could only work with tallow in the Making and Knowing lab and not at home, I purchased tallow, rather than rendering it from suet myself, which takes many hours. I purchased beef tallow from EPIC Provisions, because their tallow is not bleached or deodorized, and because they claimed that their tallow is suitable for candle making.<sup id=fnref:54><a href=#fn:54 class=footnote-ref role=doc-noteref>54</a></sup> While EPIC Provisions provides no information about how their tallow is rendered, the fact that it is marketed primarily for culinary and cosmetic use (and that customers seem satisfied with using the product for these purposes) suggest that it must be very thoroughly purified to minimize the unpleasant scent that is usually associated with tallow. For the wax candles, I used the Stakich-brand beeswax pellets from the Making and Knowing lab.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image8.jpg alt="A hand holding a spoon in a jar Description automatically generated with low confidence"></p><p><em>Figure 2. Appearance of the tallow before melting.</em></p><p>Campbell’s instructions explain that twisted cotton wicks were used for tallow candles (he did not describe the wicks used for wax candles), and I followed his instructions, using unbleached cotton twine from the Making and Knowing lab. However, author-practitioner of BnF Ms. Fr. 640 did not approve of the pure cotton wicks he had seen in some candles, writing that “it is better if there is a hemp thread throughout the wick, which gives it more light and makes the wick hold up straighter. Otherwise, if it is all of cotton, as those of Montauban make, it is necessary to snuff it out often, for after it has burnt <em><del>il</del></em> a little, the cotton droops & makes the candle drip.”<sup id=fnref:55><a href=#fn:55 class=footnote-ref role=doc-noteref>55</a></sup> I did not notice issues with drooping in the candles, but comparing the performance of pure cotton wicks against cotton and hemp wicks would be an interesting direction for future research.<sup id=fnref:56><a href=#fn:56 class=footnote-ref role=doc-noteref>56</a></sup></p><h3 id=making-the-candles>Making the Candles</h3><p>Campbell provided instructions for making tallow candles in two ways: by dipping wicks into melted tallow and by pouring melted tallow into a mold. Both processes start by melting the tallow and ensuring that it will stay melted; Campbell explained that in order to keep the tallow “in constant Flow,” it was “put into a Fat of Boiling Water.” I began by placing a can of water on a hot plate and setting it to boil. As I waited for water to boil, I began to prepare wicks for dipping. Campbell wrote that “the Wicks are ranged five or six long upon a long small Stick, and placed upon Stands near the Fat.” Because I intended to produce many fewer candles than Campbell’s tradesmen, I tied only one or two wicks to each stick (for the sticks, I used chopsticks and bamboo from the Making and Knowing Lab). When the water was close to boiling, I placed the tallow on the hot plate; it melted almost immediately, and remained entirely liquid for the next few hours. Campbell’s instructions are ambiguous as to whether the melted tallow was placed directly into the boiling water (boiling suet with water was one way that it was rendered into tallow),<sup id=fnref:57><a href=#fn:57 class=footnote-ref role=doc-noteref>57</a></sup> or whether it was placed in a bain-marie. Because of the resemblance between the former option and tallow-rendering methods, I placed the tallow directly in the water; I thought it was possible that this was supposed to further purify the already-rendered tallow in order to allow it to harden better.<sup id=fnref:58><a href=#fn:58 class=footnote-ref role=doc-noteref>58</a></sup></p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image6.jpg alt="A picture containing yellow, cup, outdoor Description automatically generated"></p><p><em>Figure 3. Tallow in boiling water.</em></p><p>Campbell’s next instruction was that “the Candle-Makers takes one of these Sticks by both Ends, plunges it into the Fat and takes it out again.” My initial attempts to do so were unsuccessful. First of all, the wicks curved significantly when plunged into the tallow; second of all, almost none of the hot liquid tallow was adhering to the wicks, which were getting wet from the water remaining at the bottom of the vat. I separated the tallow from the water and set it aside. Later, by consulting additional sources on eighteenth-century candle making, I learned that I was correct to read Campbell’s instructions to place the
 tallow in boiling water in part as a purification method (though I had not boiled the tallow in the water nearly long enough to effect any purification), and that it was, in fact, necessary to separate the tallow from the water before dipping the wicks into the it.<sup id=fnref:59><a href=#fn:59 class=footnote-ref role=doc-noteref>59</a></sup> As I waited for the tallow to cool slightly, I tied small knots at the end of each wick in order to weight them, in an attempt to keep them from curving when dipped; Naomi Rosenkranz suggested this as a way that she had dealt this issue when making dipped candles herself.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image9.jpg alt="A hand holding a string Description automatically generated with medium confidence"></p><p><em>Figure 4. Adding knots to the bottom of the wicks.</em></p><p>Even once the tallow was separated from the water, its softness continued to pose problems. Though a thin layer of tallow would adhere to the wicks. When I set the wicks aside to cool and harden, per Campbell’s instructions, much of the tallow dripped off of them. Even in its most solid state, the tallow on the wicks did not harden fully. It was closer to room-temperature butter than to room-temperature beeswax. When dipped back into the hot tallow, the cooled layer of tallow would melt again, so the candles were not growing any thicker with each dip.</p><p>At Naomi Rosenkranz’s suggestion, I consulted several craft journals and hobby blogs with recipes for tallow candles to see how they handled the issue of overly soft tallow. Though none of them mention this problem explicitly, some suggested plunging the wicks into cold water after dipping them into the tallow in order to cool them more rapidly.<sup id=fnref:60><a href=#fn:60 class=footnote-ref role=doc-noteref>60</a></sup> With Rosenkranz’s help, I alternated between dipping the candles into the tallow and into the cold water, which hardened the tallow enough for it to slowly accumulate on the wicks and form candles. Even the cooled tallow melted slightly as it was dipped into the hot tallow, making the dipped tallow candles lumpy and uneven. The knots at the bottom of the wicks caused them to curve less, but did not prevent the issue entirely.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image10.jpg alt="A picture containing person, clothing, technician, tool Description automatically generated"></p><p><em>Figure 5. Dipping tallow candle in cold water.</em></p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image4.jpg alt="A group of white objects on a blue surface Description automatically generated with low confidence"></p><p><em>Figure 6. Dipped Tallow candles (after refrigeration).</em></p><p>Campbell’s instructions for molded tallow candles were very brief: “they have moulds made of lead, tin, or glass, of different sizes, according as they intend to make of candles; the wick is prepared of cotton, the same as for store-candles, and fixed in the middle of the mould.” I poured the remaining melted tallow into a glass beaker, and placed a wick in its center. Because I was worried that the tallow candles would not cool and harden sufficiently at room temperature, I placed them in the fridge, an option which was obviously unavailable to early modern candle makers, but which is frequently suggested in modern hobby instructions.</p><p>Campbell wrote that wax candles were made differently than tallow candles: “Wax candles are made after a different Manner, they are neither cast in Moulds nor dipped, but rolled and drawn.” Rolling meant applying wax to a wick by hand or with a ladle and then rolling it smooth; drawing meant using two wheels, turned by cranks, to pull long stretches of wick through a vat of melted wax (see Fig. 7).<sup id=fnref:61><a href=#fn:61 class=footnote-ref role=doc-noteref>61</a></sup> While only wax and not tallow could be used to make rolled candles (tallow would not harden if handled in this way), there does not seem to have been a complete divide between the ways that tallow and wax candles were produced. Molded wax candles were also used; BnF Ms. Fr. 640 includes a reference to them.<sup id=fnref:62><a href=#fn:62 class=footnote-ref role=doc-noteref>62</a></sup> I have not found any early modern references to dipped wax candles, although they may exist; perhaps this method was not popular with wax because dipped candles were generally of a low quality, and wax was an expensive material.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image12.jpg alt=IMAGE></p><p><em>Figure 7.</em> <a href=https://www.britishmuseum.org/collection/object/P_Y-4-420><u>The Art and Mystery of Wax and Tallow Candles</u></a> © The Trustees of the British Museum, <a href=https://creativecommons.org/licenses/by-nc-sa/4.0/><u>CC BY-NC-SA 4.0</u></a></p><p>In any case, I decided to prepare the wax candles in the same ways that I had prepared the tallow candles, because I wanted to be able to directly compare the ways that these materials behaved when made into candles and when burned. I melted wax on the hot plate, then dipped wicks into it in the same manner as I had with the tallow, alternating between the wax and cold water. I then poured the remaining wax into a glass jar, and placed a wick in its center. Making dipped wax candles was far easier than making dipped tallow candles; the wax cooled quickly and hardened completely, and accumulated easily on the wicks without dripping. The lack of references to dipped wax candles in early modern sources therefore does not seem to result from the unsuitability of this material for dipped candle making. Since wax is solid at room temperature, I did not refrigerate the wax candles.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image14.jpg alt="A picture containing drink, soft drink, cup, ground Description automatically generated"></p><p><em>Figure 8. Poured wax candle.</em></p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image5.jpg alt="A picture containing electrical wiring, engineering, machine, tool Description automatically generated"></p><p><em>Figure 9. Dipped wax candle (in progress).</em></p><h3 id=burning-the-candles>Burning the Candles</h3><p>When the candles had cooled entirely, I burned several of them in order to compare how they behaved when in use. I began by placing a dipped tallow candle and a dipped wax candle in the fume hood in the Making and Knowing lab. Even before being lit, the finished tallow and wax candles were different in appearance, consistency, and scent. The cold tallow candles were greasy to the touch, and began to soften immediately upon contact with my hands, whereas the room temperature wax candles were hard and smooth, and did not melt when handled. Part of the tallow had turned white, while the rest remained yellow; the wax candles were consistent in their color. The color of the tallow seems to be a function of its temperature. When stored in my much colder refrigerator, the tallow candles turned entirely white, and remained that way even after sitting at room temperature overnight. The tallow candles had a greasy and somewhat nauseating scent to them, although this was faint; the wax candles had almost no scent.</p><p>Prior to burning the candles, I trimmed their wicks to ¼ to ½ an inch each. Both the wax and the tallow dipped candles took several tries to catch flame and stay lit, which was due at least in part to the air current in the fume hood. Once lit, the wax candle burned consistently, maintaining a strong flame despite the air flow, whereas the tallow candle flickered wildly, constantly dimming and brightening, and blew out every few minutes. Both the tallow candle and the wax candle burned more brightly and more consistently the second time they were lit than the first time. This reminded me of a custom associated with women, in medieval and early modern rabbinic writings, to light the Shabbat candles or lamp a little early; then, immediately before the start of Shabbat, to put them out and light them again. Whether approving or disapproving, most rabbinic writings describe this as a symbolic practice; more unusually, Rabbi Benjamin Slonik, in his handbook for women, also acknowledged the practical function of this custom in ensuring that the candles would burn brightly on Shabbat.<sup id=fnref:63><a href=#fn:63 class=footnote-ref role=doc-noteref>63</a></sup></p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image15.png alt="A picture containing candle, indoor, cookware and bakeware, ground Description automatically generated"></p><p><em>Figure 10. Tallow candle (left) flickers and goes out while wax candle remains comparatively steady (<a href=https://vimeo.com/903376219><u>video</u></a>).</em></p><p>At home, I burned the tallow and wax mold candles for three hours. Both of these candles were cracked, and fissures were visible in the candles below the cracks; this issue, which seems to have resulted from the wax and tallow adhering to the sides of their molds as they cooled and shrunk, was far worse in the wax tallow than the tallow candle. Campbell’s instructions explain that once a molded candle “is perfectly congealed and cold… the candle is drawn out;” such candles were not burned in their molds. However, the cracks in my candles and the fact that they were firmly stuck to their molds made me worry that attempting to remove the candles would badly damage them, so I left them in the molds. Doing so may have allowed them to burn longer than they would have outside of their molds, as the tallow and wax remained on top of the candles as they melted, rather than dripping down their sides.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image3.jpg alt="A candle in a jar Description automatically generated with low confidence"></p><p><em>Figure 11. Crack in poured wax candle.</em></p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image1.jpg alt="A picture containing dairy, milk, candle, indoor Description automatically generated"></p><p><em>Figure 12. Crack in poured tallow candle.</em></p><p>Both poured candles burned far more brightly and consistently than the dipped candles had, though this was doubtlessly due at least in part to the fact that they were not being subjected to a strong air current, as in the fume hood. Initially the wax burned slightly brighter, allowing me to read by its light from a slightly greater distance than the tallow candle did. This slight advantage of the wax candle was quickly negated by the tunneling which occurred in the wax. The cracks in the tallow were quickly filled in, as the entire surface of the tallow rapidly melted, whereas the irregularities in the wax worsened over the first half hour or so of burning, as only the wax closest to the flame melted. The edges of the wax remained solid and blocked the light of the candle. As the wax candle continued to burn, the cracks were eventually filled in by the melted wax, but significant tunneling had already occurred, and recurred during subsequent burns of the candle. This issue could have been avoided if I had used a larger number of wicks, or a larger wick. Still, the fact that the tallow candle did not have this issue despite having a greater diameter than the wax candle suggests that tallow is less prone to tunneling than wax is.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image13.jpg alt="A picture containing darkness, fog, lighting, amber Description automatically generated"></p><p><em>Figure 13. Brightness of wax candle.</em></p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image11.jpg alt="A picture containing darkness, night, black, dark Description automatically generated"></p><p><em>Figure 14. Brightness of tallow candle.</em></p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image2.jpg alt="A candle in a jar Description automatically generated with low confidence"></p><p><em>Figure 15. Warping in poured wax candle.</em></p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-nelkin/image16.png alt="A candle in a glass Description automatically generated with medium confidence"></p><p><em>Figure 16. Tallow candle sputters (<a href=https://vimeo.com/903367588><u>video</u></a>).</em></p><p>The greasy smell of the tallow as it burned was strong enough to smell from a distance of around five feet, over the various smells coming from the street through the window next to my desk. Throughout the first forty-five minutes or so that the tallow candle burned, it bubbled, and sputtered; when it sputtered particularly loudly, it sparked and let off tiny puffs of smoke. After that, the bubbling and sputtering became far less frequent. Overall, my experience burning tallow candles was far less unpleasant than early modern complaints of strong unpleasant odors, clouds of smoke, and candles that constantly had to be relit led me to believe it might be; all of these issues occurred, but only to a very mild degree. The severity of these problems was likely reduced by the fact that the tallow I was using was very pure; the scent and smokiness of tallow candles both result from the impurities that are still present after rendering. These issues would also have been multiplied and therefore much more bothersome if I had been trying to light my entire home by tallow, or to eat and pray by its light, rather than lighting a single candle at a time in an experimental setting.</p><h2 id=bibliography>Bibliography</h2><h3 id=primary>Primary</h3><p>Campbell, R. <em>The London Tradesman: Being a Compendious View of All the Trades, Professions, Arts, Both Liberal and Mechanic, Now Practised in the Cities of London and Westminster. Calculated for the Information of Parents, and Instruction of Youth in Their Choice of Business. &mldr; By R. Campbell, Esq</em>. T. Gardner, 1747.</p><p>Fram, Edward, and Agnes Romer Segal. <em>My Dear Daughter: Rabbi Benjamin Slonik and the Education of Jewish Women in Sixteenth-Century Poland</em>. Hebrew Union College Press, 2007. <a href=http://www.jstor.org/stable/j.ctt166sb3q><u>http://www.jstor.org/stable/j.ctt166sb3q</u></a>.</p><p>Isaac Tyrnau. <em>Sefer Haminhagim Lerabenu Isaac Tyrnau</em>. Edited by Shlomo J Spitzer. Jerusalem: Mifal Torat Chachme Ashkenaz: Machon Yerushalayim, 1979.</p><p>Isserlein, Yisrael ben Petachiah. <em>Terumat Hadeshen Hashalem</em>. Edited by Shmuel Avitan. Shmuel Avitan, 1991.</p><p>Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano, eds., <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em> (New York: Making and Knowing Project, 2020), <a href=https://edition640.makingandknowing.org/><u>https://edition640.makingandknowing.org</u></a>.</p><p>Ms. Add. 196. Folger Shakespeare Library, Washington, DC. Viewed in LUNA.</p><p>Mirk, John. <em>Instructions for Parish Priests</em>. Edited by Edward Peacock. Paul, Trench, Trubner, 1902.</p><p>Spira, Eliyahu. <em>Eliyahu Rabbah</em>. Jerusalem: Zichron Aharon, 2004.</p><p><em>Universal magazine of knowledge and pleasure</em>. “A Dissertation on the Instruments That Communicate Light.” London: Published &mldr; according to Act of Parliament, for John Hinton, 1749.</p><p>Wahrmann, Avraham David. <em>Eshel Avraham</em>. Jerusalem: Hotsaot Even Yisrael, 1965.</p><p>Yaakov ben Moshe Levi Moelin. <em>Sheelot Utshuvot Maharil</em>. Edited by Yitzchok Satz. Jerusalem: Mifal Torat Chachme Ashkenaz: Machon Yerushalayim, 1979.</p><p>Yaakov ben Moshe Levi Moelin. <em>Shut Maharil Hachadashot</em>. Edited by Yitzchak Satz. Jerusalem: Mifal Torat Chachme Ashkenaz: Machon Yerushalayim, 1977.</p><p>Yaakov ben Moshe Levi Moelin and Zalman of St. Goar. <em>Sefer Maharil: Minhagim</em>. Edited by Shlomo J Spitzer. Jerusalem: Mifal Torat Chachme Ashkenaz: Machon Yerushalayim, 1989.</p><p>Yaakov ben Yehudah Landau. <em>Sefer Haagur Hashalem</em>. Edited by Moshe Hershler. Jerusalem: Moznaim, 1960.</p><h3 id=secondary>Secondary</h3><p>Andås, Margrete. “Entering the Temple of Jerusalem: Candlemas and Churching in the Lives of the Women of the North. A Study of Textual and Visual Sources.” In <em>Tracing the Jerusalem Code Volume 1: The Holy City Christian Cultures in Medieval Scandinavia (ca. 1100–1536)</em>, edited by Kristin B. Aavitsland and Line M. Bonde, 1:340–74. Tracing the Jerusalem Code. De Gruyter, 2021. <a href=https://doi.org/10.1515/9783110639438-018><u>https://doi.org/10.1515/9783110639438-018</u></a>.</p><p>Baumgarten, Elisheva. “A Tale of a Christian Matron and Sabbath Candles: Religious Difference, Material Culture and Gender in Thirteenth-Century Germany.” <em>Jewish Studies Quarterly</em> 20, no. 1 (2013): 83–99. <a href=https://doi.org/10.1628/094457013X663714><u>https://doi.org/10.1628/094457013X663714</u></a>.</p><p>Baumgarten, Elisheva. <em>Mothers and Children: Jewish Family Life in Medieval Europe</em>. Jews, Christians, and Muslims from the Ancient to the Modern World. Princeton, N.J: Princeton University Press, 2004.</p><p>Cressy, David. “Purification, Thanksgiving and the Churching of Women in Post-Reformation England.” <em>Past & Present</em>, no. 141 (1993): 106–46.</p><p>EPIC Provisions. “Beef Tallow.” Accessed May 10, 2023. <a href=https://epicprovisions.com/products/beef-tallow-animal-oil-single-jar><u>https://epicprovisions.com/products/beef-tallow-animal-oil-single-jar</u></a>.</p><p>French, Katherine L. <em>The Good Women of the Parish: Gender and Religion After the Black Death</em>. The Middle Ages Series. Philadelphia: University of Pennsylvania Press, Inc, 2011.</p><p>Guerzoni, Guido. “Use and Abuse of Beeswax in the Early Modern Age: Two Apologues and a Taste.” In <em>Waxing Eloquent: Italian Portraits in Wax</em>, edited by Andrea Daninos, 45–60. Milano: Officina Libraria, 2012.</p><p>Henkelmann, Vera. “Künstliches Licht im Kontext mittelalterlicher Gebetspraxis.” <em>Das Mittelalter</em> 24, no. 2 (November 13, 2019): 431–57. <a href=https://doi.org/10.1515/mial-2019-0045><u>https://doi.org/10.1515/mial-2019-0045</u></a>.</p><p>Kang, Charles. “Black Sulfured Wax.” In <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>, edited by Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano. New York: Making and Knowing Project, 2020. <a href=https://edition640.makingandknowing.org/#/essays/ann_051_fa_16><u>https://edition640.makingandknowing.org/#/essays/ann_051_fa_16</u></a>. DOI: <a href=https://www.doi.org/10.7916/n0dk-t202><u>https://www.doi.org/10.7916/n0dk-t202</u></a></p><p>Klein, Michele. “The Candle of Distinction: A Cultural Biography of the Havdalah Light.” <em>Images</em> 8, no. 1 (December 4, 2014): 3–24. <a href=https://doi.org/10.1163/18718000-12340036><u>https://doi.org/10.1163/18718000-12340036</u></a>.</p><p>Lehmann, Ariella. “Between Domestic and Urban Spaces: Preparing for Shabbat in Ashkenazic Communities, 13th–15th Centuries.” <em>Jewish Studies Quarterly</em> 28, no. 3 (2021): 259–77.</p><p>Liu, Xiaomeng. “An Excellent Salve for Burns.” In <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>, edited by Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano. New York: Making and Knowing Project, 2020. <a href=https://edition640.makingandknowing.org/#/essays/ann_080_sp_17><u>https://edition640.makingandknowing.org/#/essays/ann_080_sp_17</u></a>. DOI: <a href=https://www.doi.org/10.7916/58dr-ns42><u>https://www.doi.org/10.7916/58dr-ns42</u></a></p><p>Nashman Fraiman, Susan. “<span dir=rtl>נר שבת - התפתחות הכלי והמנהגלהדלק נרות אצל יהודי אשכנז</span> = The Sabbath Light: Development of Vessels and Customs of Kindling Sabbath Lamps among the Jews of Ashkenaz.” PhD Dissertation, Hebrew University, 2013.</p><p>Salsbury, D. L. “Make Genuine Old-Fashioned Tallow Candles.” <em>Countryside & Small Stock Journal</em> 77, no. 1 (February 1993): 26+.</p><p>Scribner, R. W. “Ritual and Popular Religion in Catholic Germany at the Time of the Reformation.” <em>The Journal of Ecclesiastical History</em> 35, no. 1 (January 1984): 47–77. <a href=https://doi.org/10.1017/S002204690002594X><u>https://doi.org/10.1017/S002204690002594X</u></a>.</p><p>Ta-Shma, Israel. “Two Sabbath Lights = <span dir=rtl>נר שלכבוד</span>.” <em>Tarbiz</em> 45, no. 1/2 (1975): 128–37.</p><p>Truman, Karrie. “How to Make Tallow Candles at Home for Emergencies.” Accessed May 10, 2023. <a href=https://happymoneysaver.com/making-tallow-candles/><u>https://happymoneysaver.com/making-tallow-candles/</u></a>.</p><p>Weissler, Chava. <em>Voices of the Matriarchs: Listening to the Prayers of Early Modern Jewish Women</em>. Boston, Massachusetts: Beacon Press, 1998.</p><div class=footnotes role=doc-endnotes><hr><ol><li id=fn:1><p>See BnF Ms. Fr. 640 fols. 36v; 49v, 68v, 82v, 119r, 131v, 153r, and 158v; 129v and 152r; 160v.&#160;<a href=#fnref:1 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:2><p>For a discussion of uses of wax and tallow in Bnf Ms. Fr. 640, see Emogene Cataldo and Julianna van Visco, “Wax and Tallow: Material Explorations,” in <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>, ed. Making and Knowing Project, et al. (New York: Making and Knowing Project, 2020), <a href=https://edition640.makingandknowing.org/#/essays/ann_001_fa_14><u>https://edition640.makingandknowing.org/#/essays/ann_001_fa_14</u></a>. On wax compounds in the manuscript, see Charles Kang, “Black Sulfured Wax,” in <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>, ed. Making and Knowing Project, et al. (New York: Making and Knowing Project, 2020), <a href=https://edition640.makingandknowing.org/#/essays/ann_051_fa_16><u>https://edition640.makingandknowing.org/#/essays/ann_051_fa_16</u></a>.&#160;<a href=#fnref:2 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:3><p>See Xiaomeng Liu, “An Excellent Salve for Burns,” in <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>, ed. Making and Knowing Project, et al. (New York: Making and Knowing Project, 2020), <a href=https://edition640.makingandknowing.org/#/essays/ann_080_sp_17><u>https://edition640.makingandknowing.org/#/essays/ann_080_sp_17</u></a>, for analysis and reconstruction of a recipe from the manuscript that uses wax alongside other potentially sacramental substances.&#160;<a href=#fnref:3 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:4><p>On Shabbat, kindling flames is completely prohibited; on holidays, many of which last two consecutive days, using an existing flame to start another fire is permitted, so these sanctified candles were less of a practical necessity.&#160;<a href=#fnref:4 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:5><p>The candles lit as part of this ritual were not typically the only light source in the home, but the ritual candles had to serve a practical purpose in lighting some part of the household, ideally the table at which meals were eaten. For an explanation of this from a didactic text aimed at women written in sixteenth-century Poland, see Edward Fram, <em>My Dear Daughter: Rabbi Benjamin Slonik and the Education of Jewish Women in Sixteenth-Century Poland</em> (Hebrew Union College Press, 2007), 292-295. This is a discussion, edition, and translation of Benjamin Slonik’s <em>Seder Mitzvos Ha-noshim</em>, a Yiddish language book on women’s religious obligations.&#160;<a href=#fnref:5 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:6><p>The other two obligations are <em>niddah</em>, practices relating to menstrual and postpartum ritual impurity, and <em>hafrashat challah</em>, ritually burning or discarding of a portion of bread dough when it is prepared in large quantities.&#160;<a href=#fnref:6 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:7><p>One of the most widely printed of these works was Benjamin Slonik’s <em>Seder Mitzvos Ha-noshim.</em> Fram, <em>My Dear Daughter,</em> xviii.&#160;<a href=#fnref:7 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:8><p>For men, it started when they reached a certain point in the evening prayers. See, for example, Yaakov ben Moshe Levi Moelin and Zalman of St. Goar, <em>Sefer Maharil: Minhagim</em>, ed. Shlomo J Spitzer (Jerusalem: Mifal Torat Chachme Ashkenaz: Machon Yerushalayim, 1989), 201; and Isaac Tyrnau, <em>Sefer Haminhagim Lerabenu Isaac Tyrnau</em>, ed. Shlomo J Spitzer (Jerusalem: Mifal Torat Chachme Ashkenaz: Machon Yerushalayim, 1979), 16-18.&#160;<a href=#fnref:8 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:9><p>Ariella Lehmann, “Between Domestic and Urban Spaces: Preparing for Shabbat in Ashkenazic Communities, 13th–15th Centuries,” <em>Jewish Studies Quarterly</em> 28, no. 3 (2021): 269-270.&#160;<a href=#fnref:9 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:10><p>Luke 2:22-38&#160;<a href=#fnref:10 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:11><p>Margrete Andås, “Entering the Temple of Jerusalem: Candlemas and Churching in the Lives of the Women of the North. A Study of Textual and Visual Sources,” in <em>Tracing the Jerusalem Code Volume 1: The Holy City Christian Cultures in Medieval Scandinavia (ca. 1100–1536)</em>, ed. Kristin B. Aavitsland and Line M. Bonde, vol. 1, 3 vols., Tracing the Jerusalem Code (De Gruyter, 2021), 346-359, <a href=https://doi.org/10.1515/9783110639438-018><u>https://doi.org/10.1515/9783110639438-018</u></a>.&#160;<a href=#fnref:11 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:12><p>Andås, “Entering the Temple of Jerusalem,” 374.&#160;<a href=#fnref:12 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:13><p>Y. Shabbat 2:6&#160;<a href=#fnref:13 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:14><p>Chava Weissler, <em>Voices of the Matriarchs: Listening to the Prayers of Early Modern Jewish Women</em> (Boston, Massachusetts: Beacon Press, 1998), 68-72.&#160;<a href=#fnref:14 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:15><p>Weissler, <em>Voices of the Matriarchs,</em> 60-65.&#160;<a href=#fnref:15 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:16><p>Vera Henkelmann, “Künstliches Licht im Kontext mittelalterlicher Gebetspraxis,” <em>Das Mittelalter</em> 24, no. 2 (November 13, 2019): 433.&#160;<a href=#fnref:16 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:17><p>Ariella Lehmann, “Between Domestic and Urban Spaces: Preparing for Shabbat in Ashkenazic Communities, 13th–15th Centuries,” <em>Jewish Studies Quarterly</em> 28, no. 3 (2021): 269.&#160;<a href=#fnref:17 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:18><p>Susan Nashman Fraiman, “<span dir=rtl>נר שבת - התפתחות הכלי והמנהג להדלק נרות אצל יהודי אשכנז</span> = The Sabbath Light: Development of Vessels and Customs of Kindling Sabbath Lamps among the Jews of Ashkenaz” (PhD Dissertation, Jerusalem, Hebrew University, 2013), 64-65, Vera Henkelmann, “Künstliches Licht im Kontext mittelalterlicher Gebetspraxis,” <em>Das Mittelalter</em> 24, no. 2 (November 13, 2019): 433, <a href=https://doi.org/10.1515/mial-2019-0045><u>https://doi.org/10.1515/mial-2019-0045</u></a>.&#160;<a href=#fnref:18 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:19><p>Guido Guerzoni, “Use and Abuse of Beeswax in the Early Modern Age: Two Apologues and a Taste,” in <em>Waxing Eloquent: Italian Portraits in Wax</em>, ed. Andrea Daninos (Milano: Officina Libraria, 2012), 47.&#160;<a href=#fnref:19 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:20><p>Guerzoni, “Beeswax,” 51; Nashman Fraiman, “Sabbath Light,” 64-65.&#160;<a href=#fnref:20 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:21><p>Tallow is generally rendered from suet, fat from around the kidneys. Organ fat from cattle, sheep, and goats, were prohibited according to Lev. 7:23-25. On the preference for wax candles in the synagogue, see Lehmann, “Preparing for Shabbat,” 268.&#160;<a href=#fnref:21 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:22><p>Elisheva Baumgarten, “A Tale of a Christian Matron and Sabbath Candles: Religious Difference, Material Culture and Gender in Thirteenth-Century Germany,” <em>Jewish Studies Quarterly</em> 20, no. 1 (2013): 88, <a href=https://doi.org/10.1628/094457013X663714><u>https://doi.org/10.1628/094457013X663714</u></a>; Katherine L. French, <em>The Good Women of the Parish: Gender and
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#historical-changes-in-the-understanding-of-varnish>Historical Changes in the Understanding of Varnish</a></li><li><a href=#universal-remedy>Universal Remedy</a></li><li><a href=#vernis-vernisseur-vernissure><em>Vernis, Vernisseur</em>, <em>Vernissure</em></a></li><li><a href=#desire-for-closure-without-addition>Desire for Closure without Addition</a></li></ul></nav></aside><content><h1 id=varnishing-a-craft-of-closure>Varnishing, a Craft of Closure</h1><blockquote><p>Lukas Oberem<br>Spring 2023<br>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History</p></blockquote><blockquote><p><em>Le vernis racoustre tout cela & lunist & rend semblable aulta(n)t en un endroit quen laultre.</em></p><p><em>The varnish mends all this and unites and renders it similar in one place as in another.</em><sup id=fnref:1><a href=#fn:1 class=footnote-ref role=doc-noteref>1</a></sup></p></blockquote><p>As a very last step, an artisan adds varnish to a work of craft. With this small addition, we may say, the work receives its last touch. This seemingly simple fact of coating an object with varnish opens up many questions about the structural importance of finalizing an artisanal and artistic work. Varnish perfects the appearance of a work and preserves it with a thin film of oil and resin. By a finger meticulously rubbed over a painting or with a brush applied to a plank, varnish coats glass and metal, wood, and canvas. Especially in the sixteenth and seventeenth centuries, everything can and is potentially covered in varnish. Among a wide variety of recipes in medieval and Renaissance manuscripts, we find a great number for varnish. For instance, up to twenty percent of entries in Ms. Fr. 640 deal with the production and use of varnish.<sup id=fnref:2><a href=#fn:2 class=footnote-ref role=doc-noteref>2</a></sup> Ms. Fr. 640 is one of many examples that account for the variety and importance of varnish in the late sixteenth century. Why is varnish so important in the processes of art and craft making? What are the structural implications of varnish being a very last step of a work?</p><p>I will show that varnish is supposed to allow closure and provides coherence to the product of craftmanship. To understand this, we have to account for a confusing and striking fact: the meaning and usage of “varnish” is twofold. Varnish embellishes and protects. It is an intermediary step but is used for completion proper. Paradoxically, it is applied on top of an already completed piece of labor. It is precisely the twofoldness of preserving and embellishing that dares to complete the product. Nothing appears to us completed without attempting a final stroke. The final step, however, cannot be a step like all the other changes and improvements of a thing. Closure confusingly lacks the character of a proper work step. A concluding addition is qualitatively radically different from all other additions. We might say, it does not add but it still provides something additional. If closure were just another work step, the process would remain ongoing. In the tension between preserving and decorating, varnish, as we will see, is a means to prompt the practical step of giving coherence to a piece of labor. Varnish realizes the possibility of closure by balancing the otherwise separate steps of addition and preservation.</p><p>What is expected and implied when varnish is used?<sup id=fnref:3><a href=#fn:3 class=footnote-ref role=doc-noteref>3</a></sup> By focusing mainly on the use of the term “varnish” (<em>vernis</em>, <em>verny</em>, <em>Firnis</em>, <em>vernix</em>…) in manuscripts and dictionaries, I found out more about its meaning. In the first step of my study, I turned to recipes and instructions in manuscripts. In addition to Ms. Fr. 640, I took a closer look at the term in De Mayerne&rsquo;s manuscript as well as in Jehan LeBègue&rsquo;s handbook for craftsmen. All three are French manuscripts: LeBègue from the late fifteenth century, Ms. Fr. 640 from the last third of the sixteenth century and De Mayerne from the middle of the seventeenth century. The selected recipes are not limited to painting but gather together instructions for different crafts. I recorded my findings of entries in a table. They are structured, on the one hand, by media and materials and, on the other hand, by their functions (Figs. 1 and 2). Those two categories create the dimensions for the usage of varnish. On the vertical axis we find <em>Painting</em>, <em>Wood, Metal, Stone, Glass</em>, and <em>Other</em> and on the horizontal axis the categories <em>Preservation, Imitation, Preparation</em>, <em>Creation, Undecided</em>, and <em>Other</em>. This first step is, in other words, an empirical investigation of a selection of manuscripts that mention varnish in a number of recipes. In a second step, I looked at dictionaries and their definitions of the term “varnish.” Here as well, we encounter the desire to finalize and close a work, and to protect it. Which is, in most cases, contradicted by the desire to embellish.</p><p>As part of the Making and Knowing Project, my essay picks up on a problem that has been mentioned by a series of research essays focusing on Ms. Fr. 640. Let me name a few examples. In her essay, <em>Black Varnish for Armor,</em> Celine Camps has drawn attention to the double function of varnish on swords: an anti-rust coating which at the same time imparts luster or brilliance.<sup id=fnref:4><a href=#fn:4 class=footnote-ref role=doc-noteref>4</a></sup> We encounter here the difference of protection and embellishment that in my point of view precisely facilitates closure of the artisanal product. Teresa Soley as well points to that problem in her essay <em>Imitation Marble</em>.<sup id=fnref:5><a href=#fn:5 class=footnote-ref role=doc-noteref>5</a></sup> And, Caroline Marris recognizes the importance of this difference, when she writes in her essay <em>Varnish for Lutes</em>: “Varnishes seem to function both as protection, when they completely cover and finish an object, and as a conscious aesthetic choice on the part of the artisan.”<sup id=fnref:6><a href=#fn:6 class=footnote-ref role=doc-noteref>6</a></sup></p><h2 id=historical-changes-in-the-understanding-of-varnish>Historical Changes in the Understanding of Varnish</h2><p>To do justice to the concept of varnish, we have to take a step back and move away from today’s understanding of the word. Much of our present knowledge of varnish is influenced by the recent history of painting and musealization. In particular, the later eighteenth and the nineteenth centuries show a more specific interest in varnish. Towards the later eighteenth century, it runs parallel to the professionalization of the conservator.<sup id=fnref:7><a href=#fn:7 class=footnote-ref role=doc-noteref>7</a></sup> Conservatorship and their debates about the right treatment of artworks with varnish became more prominent in the wake of the history of musealization and as a result of a market for artworks of past centuries. In our modern understanding, particularly aged varnish is usually understood as an unwanted veil that, due to its oxidation, obscures the actual painting. It is seen as causing an unwanted patina. The dispute about whether it is historically and aesthetically appropriate to renew a varnish, and in what way, was fought out in fiery discussions, e.g., in the National Gallery in London.<sup id=fnref:8><a href=#fn:8 class=footnote-ref role=doc-noteref>8</a></sup> The discussions reached far into the twentieth century with several attempts of cleaning and removing varnish from paintings in the collection as well as revarnishing campaigns. These events affected our understanding of varnish. Varnish is thereby widely understood in the context of the conservation of paintings, which, if treated in a certain way and through certain aging, can have a detrimental effect on the appearance of the painting. For the sixteenth and seventeenth century, we must assume a different understanding of varnish. It is involved in many different processes of production: different purposes, materials, and media. Theodore de Mayerne says strikingly about one of the varnishes he lists: “sur bois, sur toile, sur tout” (on wood, on canvas, on anything).<sup id=fnref:9><a href=#fn:9 class=footnote-ref role=doc-noteref>9</a></sup> Marjolijn Bol has pointed out the problem of ambivalence in the term varnish in her just published book, <em>The Varnish and the Glaze</em>. She writes:</p><blockquote><p>Varnishes are perhaps best known for their use on paintings, but in
 the past they were applied to a multitude of objects, including
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#introduction>Introduction</a></li><li><a href=#puffballs-in-early-modern-herbals-medical-tracts-and-recipe-books>Puffballs in Early Modern Herbals, Medical Tracts, and Recipe Books</a></li><li><a href=#early-modern-skin-whitening-recipes-and-their-relationship-to-bnf-fr-640>Early Modern Skin-Whitening Recipes and their Relationship to BnF Fr. 640</a></li><li><a href=#early-modern-race-making-and-cosmetic-deception>Early Modern Race Making and Cosmetic Deception</a></li><li><a href=#conclusion>Conclusion</a></li><li><a href=#bibliography>Bibliography</a></li></ul></nav></aside><content><h1 id=puffball-mushrooms-and-early-modern-race-making-a-skin-whitening-recipe-in-bnf-ms-fr-640>Puffball Mushrooms and Early Modern Race-Making: A Skin-Whitening Recipe in BnF Ms. Fr. 640</h1><blockquote><p>Sumant Rao<br>Spring 2023<br>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History</p></blockquote><h2 id=introduction>Introduction</h2><p>In Thomas Heywood’s and Richard Brome’s play <em>The Late Lancashire Witches</em> (1634), a wedding party is awaiting an extravagant banquet; suddenly, after the host reads out the menu, a woman runs on stage and exclaims that their feast has undergone a horrible transformation:</p><blockquote><p>‘O husband, O guests, O sonne, O Gentlemen, such a chance in a Kitchin was never
 heard of, all the meat is flowne out o’ the chimney top I thinke, and
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#introduction>Introduction</a></li><li><a href=#self-made-and-ready-made-brushes>Self-Made and Ready Made Brushes</a></li><li><a href=#instructions-for-brush-making>Instructions for Brush-making</a></li><li><a href=#materials>Materials</a></li><li><a href=#embodied-knowledge>Embodied knowledge</a></li><li><a href=#use-of-the-brush>Use of the Brush</a></li><li><a href=#conclusion>Conclusion</a></li><li><a href=#bibliography>Bibliography</a></li></ul></nav></aside><content><h1 id=european-paintbrushes-and-chinese-ink-brushes-in-the-early-modern-world>European Paintbrushes and Chinese Ink Brushes in the Early Modern World</h1><blockquote><p>Jingxian Shi<br>Spring 2023<br>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History</p></blockquote><h2 id=introduction>Introduction</h2><p>Chinese ink brushes have become inextricably intertwined with writing culture, evolving into a symbol of literacy and the mastery of Chinese characters. Some scholars assert that the Chinese ink brush is unique as the only soft-tip brush in existence in the early modern period. This claim is challenged by the presence of similarly structured soft-tip paintbrushes in European societies, characteristically having a slender brush tube with an animal hair tuft. Records of making soft-tip brushes can be found in the fifteenth-century Italian manuscript <em>Il Libro dell’Arte</em> by Cennino Cennini (known as <em>The Craftsman’s Handbook</em> in English) and the sixteenth-century French manuscript BnF Ms. Fr. 640.<sup id=fnref:1><a href=#fn:1 class=footnote-ref role=doc-noteref>1</a></sup> While the structure and materials of the two implements share similarities, the ink brushes from China and paintbrushes from Europe exhibit variations under the hands of their users, catering to diverse writing and painting needs and further reinforcing differences in Chinese and European writing and painting habits.</p><p>This essay delves into the shared and distinctive embodied experiences of European and Chinese brush-makers and their “artisanal epistemology”<sup id=fnref:2><a href=#fn:2 class=footnote-ref role=doc-noteref>2</a></sup> accumulated from raw materials and hands-on practices in the realm of brush-making between the fifteenth and eighteenth century. It emphasizes both the regional differences and the “universal” commonalities of the brush-makers’ artisanal knowledge. The regional aspect of brush-making techniques comes to light through the adaptability of brush makers in response to the availability and properties of raw materials, and the positions in which brush users held their brushes. While artisans from both cultures used region-specific production methods, their means and intentions in applying practical knowledge in accord with the local writing and painting culture converged. The ways of knowing and making were universal in the craft of brush making. “Natural history” equipped the brush-making artisans with knowledge about “the range of materials available and the often subtle distinctions between them.”<sup id=fnref:3><a href=#fn:3 class=footnote-ref role=doc-noteref>3</a></sup> “Analysis”<sup id=fnref:4><a href=#fn:4 class=footnote-ref role=doc-noteref>4</a></sup> delved deeper into understanding the functions and properties of local material for brush making. “Experimentalism”<sup id=fnref:5><a href=#fn:5 class=footnote-ref role=doc-noteref>5</a></sup> unveiled brush makers’ numerous attempts at producing novelty. Making and knowing generated a relation of symbiosis in both cultures and demonstrated brush makers’ efforts in acquiring embodied knowledge by responding to the properties of materials as well as to brush users’ writing and painting practices.</p><p>Different writing and painting traditions shaped the development of brushes in each culture. Jean Francois Billeter brings up a distinctive feature of the Chinese ink brush: its dual functionality as both a writing and a painting tool. This instrument enables Chinese calligraphy to encapsulate a variety of expressions and movements, attempting similar effects and brushstrokes in paintings.<sup id=fnref:6><a href=#fn:6 class=footnote-ref role=doc-noteref>6</a></sup> The tuft of the Chinese ink brush has to be sufficiently versatile to satisfy both writing and painting purposes. Meticulous steps are taken to select and process furs used in binding the brush tuft. In contrast, European painting instruments were distinct from the rigid, sharp quills of writing tools; moreover, they were used to achieve two aims: invisible brushstrokes<sup id=fnref:7><a href=#fn:7 class=footnote-ref role=doc-noteref>7</a></sup> and verisimilitude.<sup id=fnref:8><a href=#fn:8 class=footnote-ref role=doc-noteref>8</a></sup> Consequently, paintbrushes in early modern Europe came in a range of sizes for painters to choose from. Each size possessed a specific function, and all collectively aimed to mimic nature and achieve naturalistic representation in paintings. There were two primary types of paintbrushes: bristle brushes (<em>brosses</em>) and minever brushes (<em>pinceaux</em>). Despite the numerous designations given to these two types of paintbrushes,<sup id=fnref:9><a href=#fn:9 class=footnote-ref role=doc-noteref>9</a></sup> they all were made from either hog bristles or squirrel tails, fox tails, minever tails, and occasionally rat whiskers. Materials were essential to the brush-making process in defining the shapes and sizes of the brush. In addition to this, the process of utilizing and transforming these materials through hands and tools revealed the writing and painting traditions adopted by European and Chinese brush users.</p><h2 id=self-made-and-ready-made-brushes>Self-Made and Ready Made Brushes</h2><p>There were many ways of making brushes in both Europe and China. In “Paintbrushes in Ms. Fr. 640,” Danielle Carr and Sayantani Mukherjee explore two methods of brush making: the crafting of brushes by artists themselves and the procurement of ready made brushes. While a vast selection of ready made brushes were accessible in the market, Carr acknowledges that, despite the developed profession of brush-making, many sixteenth-century artists likely crafted their own brushes.<sup id=fnref:10><a href=#fn:10 class=footnote-ref role=doc-noteref>10</a></sup> Ready made and self-made brushes were both prevalent in Europe. Prominent cities such as Bruges and Antwerp during the early modern era had evolved into hubs for trading high quality painting and drawing materials.<sup id=fnref:11><a href=#fn:11 class=footnote-ref role=doc-noteref>11</a></sup> There were multiple ways to obtain ready made brushes. For example, in the late sixteenth century, Wolf Pronner, the administrator of painting at the Munich court, got his brushes from local professional brush-making artisans (<em>Penselmacher</em>), local apothecaries, spice traders, and grocers.<sup id=fnref:12><a href=#fn:12 class=footnote-ref role=doc-noteref>12</a></sup> Identities of the producers of these paintbrushes were diverse, but the two main types of producers were the professional brush-makers and artists.</p><p>A similar situation could be found in China. By the fifteenth century, artists and calligraphers were purchasing ready made brushes from esteemed brush-making artisans, such as Feng Yingke and Lu Wenbao from Huzhou, a city in Zhejiang province.<sup id=fnref:13><a href=#fn:13 class=footnote-ref role=doc-noteref>13</a></sup> Brands of ready made brushes emerged and were designated based on the locations where the brushes were made, such as “Hubi” (brushes made in Huzhou) and “Xuanbi” (brushes made in Xuanzhou from Anhui province). Besides directly purchasing ready made brushes, Chinese brush-users also made their own brushes. Calligrapher Wang Xizhi provided detailed descriptions about collecting and processing rabbit hairs in his work <em>Brush Classic</em>, showcasing his knowledge in brush-making materials. Toward the end of <em>Brush Classic</em>, he emphasized, “I once tried to make brushes on my own, and those are functional.”<sup id=fnref:14><a href=#fn:14 class=footnote-ref role=doc-noteref>14</a></sup> In addition to this quote which directly stated a case of self-made brushes, given the relative easy access to brush-making materials such as bamboos,<sup id=fnref:15><a href=#fn:15 class=footnote-ref role=doc-noteref>15</a></sup> rabbit and goat furs,<sup id=fnref:16><a href=#fn:16 class=footnote-ref role=doc-noteref>16</a></sup> it ws feasible for individuals to craft their own brushes.<sup id=fnref:17><a href=#fn:17 class=footnote-ref role=doc-noteref>17</a></sup> Another instance of individually made brushes can be inferred from the “Ode to the brush” by Cai Yong, an official of the Eastern Han dynasty.<sup id=fnref:18><a href=#fn:18 class=footnote-ref role=doc-noteref>18</a></sup> This tradition of self-making could have originated as early as the second century in China.</p><p><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-shi/image1.png alt=Chart></figure><figure><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-shi/image2.png alt=Chart></figure></p><p><em>Figure 1. “St. Luke drawing the Virgin,” attributed to Hugo van der Goes, fifteenth century. MNAA National Museum of Ancient Art, Lisbon, Portugal.</em></p><p>The individuals in these examples were the actual users of the brush as well as the makers of the brush. Self-making practice could be found in early modern Europe paintings. The fifteenth-century painting “St. Luke drawing the Virgin,” attributed to Hugo van der Goes, not only portrays a drawing scene by St. Luke, but also exhibits an ongoing process of St. Luke making hard-tip <em>pinceaux</em> from bird’s quills using a knife on the ground (see Figure 1). St. Luke was not making a soft-tip paintbrush, but the display of the making process of this quill points to the making of tools, including paintbrushes, in the workshop. Making one’s own paintbrushes was not a lowly practice or purely a craftsman’s activity. Rather, as Susie Nash highlights, the crafting of one’s own paintbrush was an essential skill acquired during apprenticeship as a painter.<sup id=fnref:19><a href=#fn:19 class=footnote-ref role=doc-noteref>19</a></sup> The modern dichotomy between art and craft dissolves in light of this evidence. Another piece of evidence for self-made brushes in Europe is the rising number of written recipes on brush-making, such as the French manuscript Ms. Fr. 640.</p><h2 id=instructions-for-brush-making>Instructions for Brush-making</h2><p>The author-practitioner in the French manuscript Ms. Fr. 640 described the process of crafting the minever brush (<em>pinceaux</em>), on fols. 66v-67r. This entry outlined the steps of collecting the hairs (“cut the hair from the tail of a squirrel’s fur”) matching the lengths of the hairs (“tap it & shake it such that the hair comes together & is rendered the same length”), aligning the hairs (“put one or two bristles of a rat’s whiskers in the middle, then, grabbing it with the fist & pinching it well with the thumb & index finger”), selecting the hairs (“pull out the hairs which make the tip too long with the ends of your fingernails, and this until the tip seems good to you”), binding the hairs (“bind and tighten it very well with a thread in two places”), assembling furs into the quill (“fit it in a quill of a convenient thickness for it, of a duck or a crow for the small ones”), and finally inspecting the finishing product: “Good paintbrushes are those that, once dipped in water, do not bulge when you trace on your hand.”</p><p>This process bears resemblance to a fifteenth-century Chinese account by a Yuan dynasty scholar Kong Qi, who wrote succinctly, “the ink brush is made of hare fur hair only. Then one uses the cord to bind the tuft. Finally the root of the tuft is applied with bamboo glue and inserted into the bamboo tube. However, the bamboo glue is substituted with lacquer because this type of glue is not sticky enough to hold the tuft in place.”<sup id=fnref:20><a href=#fn:20 class=footnote-ref role=doc-noteref>20</a></sup> Despite the geographical distance between these two places, artisans developed similar brush-making techniques through analyzing and utilizing animal furs and hairs.</p><p>The inspection step in Ms. Fr. 640 warrants attention. A good paintbrush was one that “once dipped in water, [does] not bulge” (fol. 67r). This parallels a saying in Chinese brush-making, however this standard could only be applied to brushes crafted with “coated-core” techniques, which involved wrapping the hairs in the center of the brush with paper or silk. It was challenging to wet the bundle of fur without it becoming bulbous. Could the step of wrapping the hairs have been omitted in the Ms. Fr. 640 entry? This omission of certain steps is common in written recipes. “The knowledge of artisans was transmitted by imitation of practice and manual work, rather than by the study of books.”<sup id=fnref:21><a href=#fn:21 class=footnote-ref role=doc-noteref>21</a></sup> Embodied knowledge cannot be comprehensively translated into words.</p><p>Making a brush is not merely a matter of assembling parts by meticulously following written guides. It involved a complex interplay of knowledge and practice, understanding the fundamental structure of the brush, the properties of brush materials, and the selection of fur and hairs. Brush-making skills cannot be adequately conveyed by words. It was a skillful practice in Europe and China which was mostly performed by calligraphers, painting apprentices, and professional brush-making artisans. There is a natural barrier for scholars or any textually-trained person attempting to make brushes solely based on archival recipes. Crafting a soft-tip brush can require more corporeal gestures and engagement than can be explicated by language. The making of brushes was more than the words codified in texts. Self-made brushes were the products of trials and failures and know-how. The following section aims to decode the knowledge encapsulated within the recipes, especially that of the selection of materials in brush making.</p><h2 id=materials>Materials</h2><p>Tim Ingold proposes that properties of materials are “processual and relational.”<sup id=fnref:22><a href=#fn:22 class=footnote-ref role=doc-noteref>22</a></sup> The same materials will perform differently under varying circumstances. The efforts of artisans in harnessing local resources and developing their regional brush-making skills became evident through examining the properties of these raw materials. This section will focus on the properties of raw materials before discussing the relational and processual techniques artisans acquired and adapted. Ways of making are inseparable from the ways of knowing.<sup id=fnref:23><a href=#fn:23 class=footnote-ref role=doc-noteref>23</a></sup> Brush-making could not be undertaken without prior knowledge about the properties of brush materials. Smith points out a “reciprocal engagement” between humans and materials. She elaborates that “humans come to know the properties of materials, which in turn engenders techniques and skills that grow up around these properties.”<sup id=fnref:24><a href=#fn:24 class=footnote-ref role=doc-noteref>24</a></sup> The recipe books all mention the selections of specific materials in different steps.</p><p>The entry “How to Make Minever Brushes” in Cennini’s <em>The Craftsman’s Handbook</em> underscores the importance of selecting good bristle furs: “first get bristles of a white hog, for they are better than black ones; but see that they come from a domestic hog.”<sup id=fnref:25><a href=#fn:25 class=footnote-ref role=doc-noteref>25</a></sup> Cennini’s description expressed concern about the source of the bristles. There indeed existed variations between bristles from different hogs. In <em>Report on Brush Material and the Manufacture of Brushes</em>, Captain Varney wrote, “the quality of hogs’ bristles, in the natural state, varies with the age, sex, and habitat of the animal, and with the season of the year when slaughtered…The best bristles come from swine habituated to the severe climates of the higher latitudes, where nature seems to have provided them with extra covering.”<sup id=fnref:26><a href=#fn:26 class=footnote-ref role=doc-noteref>26</a></sup> Bristles were good brush-making material. They were stiff, elastic, and endured high temperatures.<sup id=fnref:27><a href=#fn:27 class=footnote-ref role=doc-noteref>27</a></sup> The consensus on using bristles was shaped by the available local resources, their physical traits and properties. Such knowledge about materials could only be learned by experience.</p><p>As discussed in the foregoing section, some primary types of brush-making hairs came from minever tails, fox tails, and rat whiskers. These materials are softer than bristles.<sup id=fnref:28><a href=#fn:28 class=footnote-ref role=doc-noteref>28</a></sup> Although rabbit fur was not mentioned, they shared similar elasticity, tenacity, and firmness with other furs. Artisans in China also possessed a profound understanding of the properties of furs. Recorded in <em>Sui shi guang ji,</em> a Southern Song dynasty reference book of seasonal customs instructs that hare furs should be collected during the eighth and ninth month of the lunar calendar. Furs from this particular season were suitable for writing all types of scripts.<sup id=fnref:29><a href=#fn:29 class=footnote-ref role=doc-noteref>29</a></sup> These furs embodied all the energies of a hare, as their momentum was communicated to the brush tuft and revealed in the practice of painting and writing calligraphy.<sup id=fnref:30><a href=#fn:30 class=footnote-ref role=doc-noteref>30</a></sup> Calligrapher Wang Xizhi noted that autumn rabbit furs were the best among all brush materials, and hairs from the spine of the hare were the most desirable.<sup id=fnref:31><a href=#fn:31 class=footnote-ref role=doc-noteref>31</a></sup> These rabbits inhabited Huzhou and Xuanzhou. Their fur turned out to become the most accessible brush-making material; as a result, every household in these regions and everyone from the household participated in the brush-making industry.<sup id=fnref:32><a href=#fn:32 class=footnote-ref role=doc-noteref>32</a></sup> Different geographical regions and different writing and painting cultures incubated the most appropriate selections of furs for their brushes. This knowledge about raw materials among European and Chinese brush-makers involved experimental trials and bodily experience.</p><h2 id=embodied-knowledge>Embodied knowledge</h2><p>Appropriate raw materials, selected for their qualities, laid the foundation for brush-making in both cultures. Well-trained and skillful bodies, including hands, arms and torso, completed the process, collectively producing functional brushes. Each step in the brush-making process carried significance and required the skilled participation of artisans’ bodies. Bodies function as tools. All the body parts need be present during the process of the brush-making. Hands can feel the texture, take the temperature, and manipulate the materials; eyes can see the colors and forms; ears can hear the interactions between materials and tools; the nose can detect the scents. Some of these corporeal experiences could be translated into words in recipes, however, the entire sensorium involved in the brush-making process could not be contained by texts alone.</p><p>Knowing must be accompanied with making. Details such as texture, temperature, tenderness were captured within artisans’ corporeal experiences. Hands, and the sense of touch conveyed through them, are the most sensitive body parts and are linked to memory-making.<sup id=fnref:33><a href=#fn:33 class=footnote-ref role=doc-noteref>33</a></sup> The Chinese name for craft is “shou yi手藝.” “Shou” in English means “hands.” Brush-making is a form of craft, and hands are the basis of brush-making techniques. Tim Ingold analyzes the biological features of hands: “the hand is a marvelously intricate arrangement of skin, bone, muscle tissue and nerves, fed with blood that pulses through the arteries of the wrist.”<sup id=fnref:34><a href=#fn:34 class=footnote-ref role=doc-noteref>34</a></sup> Because hands are covered with nerves and are the body parts that most frequently interacting with the physical environment, they help artisans become the dexterous makers and active knowers of the natural environment. The nerves on the hand also enable the sense of touch. As such, artisans can feel the temperature, elasticity, softness, smoothness, and many more feelings that language cannot describe. Signals received through the sense of touch are instantly sent to the brain to process, generating certain reactions back to the hand or opening memory pools for those corporeal experiences. Ingold argues that, “the hand is an extension of the brain.”<sup id=fnref:35><a href=#fn:35 class=footnote-ref role=doc-noteref>35</a></sup> Authors like Wang Xizhi and Kong Qi who wrote the brush-making recipes were well-educated scholars and, at the same time, experienced craftsmen of brush-making. No embodied knowledge will form if there is a separation between hands and minds.</p><p>Transmission of such techniques could not be sustained through hands or minds alone. In other words, brush-making techniques required the presence of both hands and minds, both textual and embodied knowledge. Knowledge traveled in both words and bodies. There is an anecdote about a Huzhou brush-making artisan: though he moved to another city, he still retained the skills he had acquired from the site of Huzhou brush-making.<sup id=fnref:36><a href=#fn:36 class=footnote-ref role=doc-noteref>36</a></sup> His hands and his body acted as storage devices for these bodily experiences. This embodied knowledge in brush-making was preserved and transmitted through corporeal experiences. Shanlian, one of the towns in Huzhou, was known for crafting brushes. Almost all residents of Shanlian could make brushes.<sup id=fnref:37><a href=#fn:37 class=footnote-ref role=doc-noteref>37</a></sup> Such intimate and bodily transmissions of knowledge yield the regional production modes in China. In Europe, evidence for the embodied knowledge is also seen codified in manuscripts. Another example from England displays that the transmission of embodied knowledge was also alive in brush-making there: in England, where brush-making had become a specialized profession, a master brush-maker Mr. Smyth is recorded as having trained an apprentice in 1630.<sup id=fnref:38><a href=#fn:38 class=footnote-ref role=doc-noteref>38</a></sup> This technique was an acquired knowledge that demanded bodily engagements and meticulous hands-on practices.</p><h2 id=use-of-the-brush>Use of the Brush</h2><p>Previous sections of this essay have illustrated similar practices between Chinese and European brush-making artisans from the fifteenth to the eighteenth century in terms of gathering raw materials, adapting, and transmitting brush-making techniques. Both cultures shared similar brush structures. This may also have resulted from the properties of the raw materials, which defined a tight range for the brush’s forms. However, minor differences arose when the brushes were placed in the context of writing and painting. Writing and painting were two distinct practices which used different instruments in European countries, while Chinese writing and painting traditions harmonized<sup id=fnref:39><a href=#fn:39 class=footnote-ref role=doc-noteref>39</a></sup> and used the same soft-tip ink brushes. These differences were not evident in the form and structure of the paintbrush and ink brush, but they were manifested in the quantities and sizes of the brushes used in one painting, as well as users’ brush-holding positions from two cultures.</p><p>A significant number of brushes were required in European artists&rsquo; studios. Danielle Carr writes that a typical artist’s workshop in fifteenth-century Europe could have hundreds of brushes.<sup id=fnref:40><a href=#fn:40 class=footnote-ref role=doc-noteref>40</a></sup> Such a variety was used to pursue different artistic effects in a painting. Artist Albrecht Dürer recorded his purchase of “13 bristle brushes for 6 stivers, and 6 bristle brushes for 3 stivers, then another 3 stivers for another 3 bristle brushes” in Antwerp in 1521.<sup id=fnref:41><a href=#fn:41 class=footnote-ref role=doc-noteref>41</a></sup> Susie Nash gives striking material evidence on the use of different sized brushes in one painting. In the X-rays of a painting by Lucas Cranach, scientific analysis has shown that the width of the brushstrokes range from 5 millimeters to 30 millimeters.<sup id=fnref:42><a href=#fn:42 class=footnote-ref role=doc-noteref>42</a></sup> Finer details necessitated the use of small and pointed brushes.</p><p>In contrast, Chinese artists and calligraphers had significantly fewer brushes in their studios. Instead of using different sizes of paintbrushes, they devoted great care to controlling the brush and modulating the width and length of the brushstrokes through adjusting their arms, shoulders, and bodies. The ways of holding the brush and the practice of lifted-elbow position in Chinese paintings and calligraphy helped to create dynamic lines and dots in the pictorial representation. George Stout identified two ways of holding the brush: “parallel grip” – the brush handle is held in about the same line as the fingers; and “angle grip” – the brush is at an angle to the fingers and at an angle to the forearm.<sup id=fnref:43><a href=#fn:43 class=footnote-ref role=doc-noteref>43</a></sup> Users’ positions of holding the brushes influenced the range of movements of the brush and corresponded to the size of the brush. Parallel grip confines the range of movement of the arm, resulting in smaller painting areas and shorter brushstrokes. There was a trend towards the parallel grip during fifteenth-century Europe.<sup id=fnref:44><a href=#fn:44 class=footnote-ref role=doc-noteref>44</a></sup> This coincided with the increasing number and sizes of brushes in artists’ studios.</p><p>Chinese artists and calligraphers, on the other hand, adopted the angle grip position. When holding the brush in an angle grip position, fingers had little to do with the maneuverings of the brush. One’s wrist, elbow, shoulder were instead utilized.<sup id=fnref:45><a href=#fn:45 class=footnote-ref role=doc-noteref>45</a></sup> This matched Chinese ideology in calligraphical practice. Calligrapher Cheng Yaotian suggests the brush, the finger, the wrist, the arm, the body, and the heart should be connected during writing.<sup id=fnref:46><a href=#fn:46 class=footnote-ref role=doc-noteref>46</a></sup> Holding the brush in an angle grip position while lifting the elbow in air, the writer actually used the whole body to manipulate the brush. The angle grip adopted by Chinese scholars allowed for larger-scale movements on the painted surface, while the parallel grip used by European artists was preferred for creating finer details and smoother touches.</p><p>The variation in brush positions helps to explain the differentiation in the development of Chinese ink brushes and European paintbrushes. Chinese scholars adjusted their bodies instead of making adjustment to their brushes,<sup id=fnref:47><a href=#fn:47 class=footnote-ref role=doc-noteref>47</a></sup> while European artists modified the brushes to achieve their particular artistic expressions in painting. Such modifications of the paintbrush can be found in Cennini’s handbook. Cennini instructed, “reinforce your whole drawing, with a small pointed minever brush, … with a rather blunt minever brush, shade in some of the folds.”<sup id=fnref:48><a href=#fn:48 class=footnote-ref role=doc-noteref>48</a></sup> Variable sizes of paintbrushes accompanied artists’ hands to achieve verisimilitude in early modern Europe. In comparison, Chinese scholars utilized movements of their bodies to facilitate writing and painting practices that expressed vitality and spirit resonating in their brushstrokes.</p><h2 id=conclusion>Conclusion</h2><p>The soft-tip brush embodied an important node of culture between the fifteenth and eighteenth century, connecting raw materials, artisans, brush-users, and recipe writers. Its form and specific use revealed their interplay. Similarity in the appearance of European paintbrushes and Chinese ink brushes was the result of brush-makers’ endeavors in understanding and engaging with nature and culture. Both artisans from China and Europe were active knowers as well as experienced makers. The ways of knowing and making showed a convergence in brush making. These artisans’ embodied knowledge accumulated and were transmitted through corporeal experience. As a result, authors of recipes of brush-making were likely capable of making the brush and translating bodily languages into texts. They could be scholars, artists, or calligraphers who possessed both the scholarly and artisanal knowledge. It explains the existence of self-made brushes and professional-made brushes in both cultures. The binary between making and knowing, and scholar and artisan is thereby reconciled. Besides these similarities, there were regional variations in the use of brush. On the one hand, paintbrushes and ink brushes were tailored to satisfy each culture’s users. Different writing and painting cultures fostered differences in the instruments used, and, on the other hand, these brushes shaped writing gestures and positions and created variant writing and painting cultures.</p><h2 id=bibliography>Bibliography</h2><p>Billeter, Jean Francois. <em>Chinese Art of Writing.</em> New York: Rizzoli Interanational Publications, 1990.</p><p>“Brush.” In <em>Huzhou Prefecture gazetteer</em>. Edition: Qing Tongzhi shi san nian kan ben 清同治十三年刊本.</p><p>Cai, Yong. “Ode to the brush.” In <em>Chu xue ji</em>初學記. Edition: Qing Guangxu Kong shi san shi san wan juan tang ben清光緒孔氏三十三萬卷堂本.</p><p>Carr, Danielle. “Paintbrushes in Ms. Fr. 640.” In <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>, edited by Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano. New York: Making and Knowing Project, 2020. <a href=https://edition640.makingandknowing.org/#/essays/ann_026_fa_15>https://edition640.makingandknowing.org/#/essays/ann_026_fa_15</a>. DOI: <a href=https://www.doi.org/10.7916/m26t-hn31>https://www.doi.org/10.7916/m26t-hn31</a>.</p><p>Cennini, Cennino. <em>The Craftsman’s Handbook,‘Il Libro dell’Arte’</em>, translated by Daniel Thompson. New York: Dover, 1960.</p><p>Chen, Yaotian. <em>Shu shi</em>書勢. Edition: Mei shu cong shu edition美術叢書.</p><p>Chen, Yuanliang, <em>Sui shi guang ji</em>歲時廣記. Edition: Qing shi wan juan lou cong shu ben清十萬卷樓叢書本.</p><p>Christensen, Anne H. “The Trade in Painters’ Supplies in 17th-Century Denmark,” in <em>Trading Paintings and Painters’ Materials 1550-1800</em>. Copenhagen: CATS, 2019.</p><p>Harley, R. D. &ldquo;Brush.&rdquo; Grove Art Online. 2003; Accessed 3 Apr. 2023. <a href=https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000011835><u>https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000011835</u></a></p><p>Hay, Jonathan. “Culture, Ethnicity and Empire in the Work of Two Eighteenth Century ‘Eccentric Artists.’” <em>RES: Anthropology and Aesthetics</em> 35 (Spring 1999): 201–223.</p><p>He, Shijin. <em>Gong bu chang ku xu zhi工部廠庫須知</em>. Edition: Ming Wanli Lin Ruch uke ben 明萬曆林如楚刻本.</p><p>Ingold, Tim. “Telling by Hand.” In <em>Making: Anthropology, Archaeology, Art and Architecture.</em> London and New York: Routledge, 2013.</p><p>Kong, Qi. “Categories of the Brush.” In <em>Jing zhai zhi zheng zhi ji</em> 靜齋至正直記 (Edition: Qing Mao shi chao ben 清毛氏鈔本.</p><p>Le Pouésard, Emma. “Bread as Mediating Material: Tactile Memory and Touch in Ms. Fr. 640,” In <em>Secrets of Craft and Nature in France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>, edited by Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano. New York: Making and Knowing Project, 2020. <a href=https://edition640.makingandknowing.org/#/essays/ann_050_fa_16>https://edition640.makingandknowing.org/#/essays/ann_050_fa_16</a>. DOI: <a href=https://www.doi.org/10.7916/51fz-0r94>https://www.doi.org/10.7916/51fz-0r94</a>.</p><p>“Local Products (wu chan物產).” In <em>Guian xian zhi</em>歸安縣志. Edition: Qing Guangxu ba nian kan ben 清光緒八年刊本.</p><p>Nash, Susie. “Workspace and Equipment.” In <em>Northern Renaissance Art</em>. Oxford: Oxford University Press, 2009.</p><p>Nash, Susie. “Materials, Methods, and Technical Virtuosity.” In <em>Northern Renaissance Art</em>. Oxford: Oxford University Press, 2009.</p><p>Pickstone, John. <em>Ways of Knowing: A New History of Science, Technology and Medicine</em>. Chicago: University of Chicago Press, 2001.</p><p>Qi, Gong. “The Relationships between Poetry, Calligraphy, and Painting.” In Alfreda Murck and Wen C. Fong ed., <em>Words and Images: Chinese Poetry, Calligraphy, and Painting</em>. The Metropolitan Museum of Art and Princeton University Press, 1991.</p><p><em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>, edited by Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano. New York: Making and Knowing Project, 2020. <a href=https://edition640.makingandknowing.org/#/>https://edition640.makingandknowing.org/#/</a>.</p><p>Smith, Pamela H. “Nodes of Convergence, Material Complexes, and Entangled Itineraries.” In <em>Materials, Practices, and Knowledge across Eurasia</em>, edited by Pamela H. Smith. Pittsburgh: University of Pittsburgh Press, 2019.</p><p>Smith, Pamela. <em>The Body of the Artisan: Art and Experience in the Scientific Revolution.</em> Chicago: University of Chicago Press, 2004</p><p>Stout, George L. “The Grip of the Artist’s Brush.” In <em>Technical Studies in the Field of the Fine Arts</em>, Vol 10, Issue 1, 1941</p><p>Sun, Zuo. “Zeng bi sheng Zhang Meng xu贈筆生張蒙序.” In <em>Jiangying county gazetteer</em>. Edition: Ming Jiajing ke ben明嘉靖刻本.</p><p>Varney, Captain. <em>Report on Brush Material and the Manufacture of Brushes</em>. Washington: Government Printing Office, 1883.</p><p>Xu, Yiyi. “The Knowledge System of the Traditional Chinese Craftsman.” Trans. by Dorothy Ko. <em>West 86th.</em> 20:2. Fall-Winter 2013.</p><div class=footnotes role=doc-endnotes><hr><ol><li id=fn:1><p>Cennini, Cennino, <em>The Craftsman’s Handbook, ‘Il Libro dell’Arte,</em> trans. by Daniel Thompson (New York: Dover, 1960.) See the entry “Paintbrushes” on fol. 66v in <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>, ed. Making and Knowing Project et al. (New York: Making and Knowing Project, 2020), <a href=https://edition640.makingandknowing.org/>https://edition640.makingandknowing.org</a>.&#160;<a href=#fnref:1 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:2><p>Pamela Smith, <em>The Body of the Artisan: Art and Experience in the Scientific Revolution.</em> Chicago: University of Chicago Press, 2004), 8.&#160;<a href=#fnref:2 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:3><p>John Pickstone, <em>Ways of Knowing: A New History of Science, Technology and Medicine</em> (Chicago: University of Chicago Press, 2001), 11.&#160;<a href=#fnref:3 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:4><p>Pickstone, <em>Ways of Knowing</em>, 11.&#160;<a href=#fnref:4 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:5><p>Pickstone, <em>Ways of Knowing</em>, 11.&#160;<a href=#fnref:5 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:6><p>Jean Francois Billeter, <em>Chinese Art of Writing</em> (New York: Rizzoli International Publications, 1990), 11.&#160;<a href=#fnref:6 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:7><p>Susie Nash, “Materials, Methods, and Technical Virtuosity,” in <em>Northern Renaissance Art</em> (Oxford: Oxford University Press, 2008), 206.&#160;<a href=#fnref:7 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:8><p>Smith, <em>The Body of the Artisan,</em> 8.&#160;<a href=#fnref:8 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:9><p>The variant designations are “Jean Lemaire de Belges’s poem describes <em>pinceaux</em> (fine or small brushes) and <em>brosses à tas</em> (bristle brushes); Lucas Cranach’s accounts refer to <em>porspensel</em> (bristle brushes) and <em>harbensel</em> (hair brushes); Jan van der Stockt’s inventory lists <em>pinselen</em> (fine brushes) and <em>borstelen</em>(bristle brushes), and the Tournai painters’ regulations of 1480 distinguish between <em>pinceaux</em> and <em>brosses</em>.” Susie Nash, “Workspace and Equipment,” in <em>Northern Renaissance Art</em> (Oxford: Oxford University Press, 2008), 166.&#160;<a href=#fnref:9 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:10><p>Danielle Carr, “Paintbrushes in Ms. Fr. 640,” in <em>Secrets of Craft and Nature in Renaissance France</em>, ed. Making and Knowing Project et al. (New York: Making and Knowing Project, 2020) <a href=https://edition640.makingandknowing.org/#/essays/ann_026_fa_15><u>https://edition640.makingandknowing.org/#/essays/ann_026_fa_15</u></a>.&#160;<a href=#fnref:10 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:11><p>Susie Nash, “Materials, Methods, and Technical Virtuosity,” 199.&#160;<a href=#fnref:11 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:12><p>Anne Haack Christensen, “The Trade in Painters’ Supplies in 17th-Century Denmark,” in <em>Trading Paintings and Painters’ Materials 1550-1800</em> (Copenhagen: CATS, 2019), 42.&#160;<a href=#fnref:12 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:13><p>“Brush,” in <em>Huzhou Prefecture gazetteer</em> (Edition: Qing Tongzhi shi san nian kan ben 清同治十三年刊本).&#160;<a href=#fnref:13 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:14><p>Wang Xizhi, “<em>Brush Classic</em>,” in <em>Wen fang si pu</em>, ed. Su, Yijian蘇易簡 (Edition: Qing shi wan juan lou cong shu 清十萬卷樓叢書本).&#160;<a href=#fnref:14 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:15><p>“Local Produces (wu chan物產),” in <em>Guian xian zhi</em> 歸安縣志, juan 13 (Edition: Qing Guangxu ba nian kan ben 清光緒八年刊本).&#160;<a href=#fnref:15 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:16><p>He Shijin recorded that “each year, Zhejiang Chief Secretary needs to pay for twenty thousand bamboo tubes, three-hundred sheets of rabbit furs, two-hundred sheets of weasel furs, sixty <em>jin</em> (around 1.3 pounds) of wool, and fifty <em>jin</em> of bristles,” in <em>Gong bu chang ku xu zhi 工部廠庫須知</em>, juan 9 (Edition: Ming Wanli Lin Ruch uke ben 明萬曆林如楚刻本).&#160;<a href=#fnref:16 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:17><p>Jingxian Shi, “Travelling Path of the Chinese Ink Brush,” M.A. Thesis (Columbia University, 2023).&#160;<a href=#fnref:17 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:18><p>Cai Yong, “Ode to the brush,” in <em>Chu xue ji</em>初學記, juan 21 (Edition: Qing Guangxu Kong shi san shi san wan juan tang ben清光緒孔氏三十三萬卷堂本).&#160;<a href=#fnref:18 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:19><p>Nash, “Workspace and Equipment,” 166.&#160;<a href=#fnref:19 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:20><p>Kong Qi, “Categories of the Brush,” in <em>Jing zhai zhi zheng zhi ji</em> 靜齋至正直記 (Edition: Qing Mao shi chao ben 清毛氏鈔本).&#160;<a href=#fnref:20 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:21><p>Smith, <em>The Body of the Artisan</em>, 7.&#160;<a href=#fnref:21 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:22><p>Tim Ingold, “Materials and Materiality,” <em>Archaeological Dialogues</em> (Vol 14, issue 1, 2007), 1.&#160;<a href=#fnref:22 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:23><p>Pickstone, <em>Ways of Knowing</em>, 19.&#160;<a href=#fnref:23 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:24><p>Pamela H. Smith, “Nodes of Convergence, Material Complexes, and Entangled Itineraries,” in <em>Materials, Practices, and Knowledges across Eurasia</em>, edited by Pamela H. Smith (Pittsburgh: University of Pittsburgh Press, 2019), 8.&#160;<a href=#fnref:24 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:25><p>Cennini, <em>The Craftsman’s Handbook</em>, 41.&#160;<a href=#fnref:25 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:26><p>Captain Varney, <em>Report on Brush Material and the Manufacture of Brushes</em> (Washington: Government Printing Office, 1883), 3.&#160;<a href=#fnref:26 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:27><p>Varney, <em>Report on Brush Material</em>, 2.&#160;<a href=#fnref:27 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:28><p>R. D. Harley, &ldquo;Brush,&rdquo; from <em>Grove Art Online</em> (2003), Accessed 3 Apr. 2023, <a href=https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000011835><u>https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000011835</u></a>.&#160;<a href=#fnref:28 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:29><p>Chen Yuanliang, <em>Sui shi guang ji</em>歲時廣記, juan 3 (Edition: Qing shi wan juan lou cong shu ben清十萬卷樓叢書本).&#160;<a href=#fnref:29 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:30><p>Sun Zuo, “Zeng bi sheng Zhang Meng xu贈筆生張蒙序,” in <em>Gazetteer of Jiangying county</em> (Edition: Ming Jiajing ke ben明嘉靖刻本).&#160;<a href=#fnref:30 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:31><p>Xizhi, “<em>Brush Classic</em>,” 109.&#160;<a href=#fnref:31 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:32><p>Sun Zuo, &ldquo;Zeng bi sheng Zhang Meng xu贈筆生張蒙序.&rdquo;&#160;<a href=#fnref:32 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:33><p>Emma Le Pouésard, “Bread as Mediating Material: Tactile Memory and Touch in Ms. Fr. 640,” in <em>Secrets of Craft and Nature in Renaissance France</em>, ed. Making and Knowing et al., <a href=https://edition640.makingandknowing.org/#/essays/ann_050_fa_16><u>https://edition640.makingandknowing.org/#/essays/ann_050_fa_16</u></a>.&#160;<a href=#fnref:33 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:34><p>Tim Ingold, “Telling by Hand,” in <em>Making: Anthropology, Archaeology, Art and Architecture</em> (London and New York: Routledge), 112.&#160;<a href=#fnref:34 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:35><p>Ingold, “Telling by Hand,” 112.&#160;<a href=#fnref:35 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:36><p>Shi, “Travelling Path of the Chinese Ink Brush,” 23.&#160;<a href=#fnref:36 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:37><p>“Brush,” in <em>Huzhou Prefecture gazetteer.</em>&#160;<a href=#fnref:37 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:38><p>Carr, “Paintbrushes in Ms. Fr. 640,” <a href=https://edition640.makingandknowing.org/#/essays/ann_026_fa_15><u>https://edition640.makingandknowing.org/#/essays/ann_026_fa_15</u></a>.&#160;<a href=#fnref:38 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:39><p>Qi Gong, “The Relationships between Poetry, Calligraphy, and Painting,” in <em>Words and Images: Chinese Poetry, Calligraphy, and Painting</em>, edited by Alfreda Murck and Wen C. Fong (The Metropolitan Museum of Art and Princeton University Press, 1991), 13.&#160;<a href=#fnref:39 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:40><p>Carr, “Paintbrushes in Ms. Fr. 640,” <a href=https://edition640.makingandknowing.org/#/essays/ann_026_fa_15><u>https://edition640.makingandknowing.org/#/essays/ann_026_fa_15</u></a>.&#160;<a href=#fnref:40 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:41><p>Nash, “Workspace and Equipment,” 165.&#160;<a href=#fnref:41 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:42><p>Nash, “Workspace and Equipment,” 166.&#160;<a href=#fnref:42 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:43><p>George L. Stout, “The Grip of the Artist’s Brush,” in <em>Technical Studies in the Field of the Fine Arts</em> (Vol 10, Issue 1, 1941), 5-7.&#160;<a href=#fnref:43 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:44><p>Stout, “The Grip of the Artist’s Brush,” 9.&#160;<a href=#fnref:44 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:45><p>Stout, “The Grip of the Artist’s Brush,” 12.&#160;<a href=#fnref:45 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:46><p>Chen Yaotian, <em>Shu shi</em>書勢, juan 4 (Edition: Mei shu cong shu edition 美術叢書).&#160;<a href=#fnref:46 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:47><p>There were few exceptions in the seventeenth and eighteenth centuries. For example, Johnathan Hay points out that the idiosyncratic artist Jin Nong cut the tip of the brush to create a sharp-edge brushstroke. Jonathan Hay, “Culture, Ethnicity and Empire in the Work of Two Eighteenth Century ‘Eccentric Artists.’” <em>RES: Anthropology and Aesthetics</em> 35 (Spring 1999): 201–223.&#160;<a href=#fnref:47 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li><li id=fn:48><p>Cennini, <em>The Craftsman’s Handbook</em>, 75.&#160;<a href=#fnref:48 class=footnote-backref role=doc-backlink>&#8617;&#xfe0e;</a></p></li></ol></div></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#introduction>Introduction</a></li><li><a href=#recipe-book-attributed-to-mary-granville-and-anne-granville-dewes>Recipe Book Attributed to Mary Granville and Anne Granville D’Ewes</a></li><li><a href=#taking-a-closer-look-instructions-and-ingredients>Taking a Closer Look: Instructions and Ingredients</a></li><li><a href=#conclusion>Conclusion</a></li><li><a href=#appendix>Appendix</a><ul><li><a href=#medical-recipe-types-in-the-granville-recipe-book>Medical Recipe Types in the Granville recipe Book</a></li><li><a href=#medical-recipe-types-in-ms-fr-640>Medical Recipe Types in Ms. Fr. 640</a></li></ul></li><li><a href=#bibliography>Bibliography</a></li></ul></nav></aside><content><h1 id=medicine-in-ms-fr-640-and-household-recipe-books>Medicine in Ms. Fr. 640 and Household Recipe Books</h1><p><em>Elizabeth Branscum</em><br><br><em>Summer 2021</em></p><h2 id=introduction>Introduction</h2><p>As you know by now, the origin and purpose of <a href=https://edition640.makingandknowing.org/#/>BnF Ms. Fr. 640</a> is still uncertain. Who is the mysterious author-practitioner who compiled these recipes, and what did he intend to do with them? Part of what makes this question so intriguing is the inclusion of recipes on such a wide variety of topics – craft, sleight of hand, and even medicine. The medical recipes in the manuscript are particularly curious. Out of over 900 entries, there are only 48 that explicitly detail medical recipes, and they are scattered throughout the manuscript with little apparent rhyme or reason. In this essay, I will look more closely at the medical entries in Ms. Fr. 640, and compare them briefly to medical recipes included in a household recipe book compiled in mid-seventeenth century England.<sup id=fnref:1><a href=#fn:1 class=footnote-ref role=doc-noteref>1</a></sup> This comparison, which places Ms. Fr. 640 alongside a text from a similar period whose purpose and genre is well-established, may shed light on the strategies and intent of the author-practitioner in compiling the medical recipes in Fr. 640, and raise fruitful questions for further study.<sup id=fnref:2><a href=#fn:2 class=footnote-ref role=doc-noteref>2</a></sup></p><p>First, let’s turn our focus to Ms. Fr. 640. There are 48 entries in the manuscript with an explicitly medical focus that are scattered throughout the text and have a wide variety of intended purposes and ingredients.<sup id=fnref:3><a href=#fn:3 class=footnote-ref role=doc-noteref>3</a></sup></p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media/image2.png alt="Chart - Fr. 640 medicinal recipes"></p><p>Seventeen of these recipes address bodily pain and discomfort with no specific cause – nosebleeds, swollen breasts, constipation, etc.<sup id=fnref:4><a href=#fn:4 class=footnote-ref role=doc-noteref>4</a></sup> Thirteen detail remedies or preventative measures for specific diseases such as the plague, gonorrhea, and even mange in dogs. There are eight recipes that deal with cosmetic concerns (whitening teeth and the face), seven that claim to produce a range of miscellaneous effects (induce sleep, poison, induce temporary paralysis), and four that seem specifically geared toward artisans. These last four (an antidote against metal fumes, a caution to glassworkers, a remedy for healing a burn from toad urine incurred while trying to cast such an animal, and a remedy against burns specifically said to have been tested by a gunpowder maker) constitute a small percentage of the total recipes, indicating that, overall, the medical recipes included in Ms. Fr. 640 are not specific to the artisan’s workshop. But just how common were the medical recipes included in Ms. Fr. 640? Were they similar to those detailed in other contexts? Would their construction have required special skills or ingredients?</p><p>To begin thinking about answers to these questions, let’s turn to a recipe book compiled in a different context: the household. There is a large body of literature on early modern household recipe books, their compilation, preservation, and uses, both practical and otherwise. For our purposes, it will suffice to say that in both early modern England and France, recipe books were a common tool wherein men and women collected recipes (culinary, medical, etc.) that would have been of use to the household. The most wide-ranging surveys of documents such as these suggest that, while they did serve a number of different purposes, they were primarily practical texts, and their recipes were intended to be replicable in a domestic context. Given this well-defined purpose, a comparison between medical recipes in household recipe books and those in Ms. Fr. 640 may be instructive.</p><h2 id=recipe-book-attributed-to-mary-granville-and-anne-granville-dewes>Recipe Book Attributed to Mary Granville and Anne Granville D’Ewes</h2><p>The text we will use for our comparison was compiled by Englishwoman Mary Granville around 1640 – at least twenty years after the author-practitioner finished compiling Ms. Fr. 640, and likely closer to fifty.<sup id=fnref:5><a href=#fn:5 class=footnote-ref role=doc-noteref>5</a></sup> The Granville manuscript features a total of 212 recipes, 76 of which are medical in focus. Right away, we see that medical recipes
 constitute a much larger portion of this household recipe book than they do in Ms. Fr. 640.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media/image1.png alt="Chart - Granville medicinal recipes"></p><p>The graph above sorts the recipes in the Granville manuscript into five very broad categories, allowing us to make a superficial comparison between this document and Ms. Fr. 640. Here we can see a relatively similar array and proportion of recipes included in this recipe book and Ms. Fr. 640 (see Appendix for more detailed breakdown of recipes in each manuscript). The Granville contributors compiled many more remedies for ailments that would have been quite common but make no appearance in Ms. Fr. 640: consumption, cough, sore throat, and agues (a general term for any illness involving a fever and chills). Both feature multiple remedies for the plague. Ms. Fr. 640 seems to tend more toward the unusual or idiosyncratic, as the author-practitioner includes two remedies for “falling sickness” (vertigo), three for curing mange in dogs, two mysterious entries with text written backward that seem to be instructions for making poison, and one entry, titled “Toadstone,” which relates a claim that a certain powder diffused in the air will make a person “neither able to move, nor speak, nor thwart thieves.”</p><p>There are further points of difference between the two recipe collections. Interestingly, the Granville book contains a smaller percentage of recipes aimed at cosmetic concerns. The author of Fr. 640 seems particularly interested in whitening teeth and diminishing under-eye circles, while the Granville book includes four different recipes for removing marks from smallpox. One might wonder: did the author-practitioner of Ms. Fr. 640 struggle with stained teeth? Did the Granvilles, or a member of their household, suffer from smallpox? The Granville recipe collection also includes two recipes for women in labor, perhaps unsurprising given that the book was passed from a mother to her daughter, and does not contain any recipes specific to craft knowledge and practice.</p><h2 id=taking-a-closer-look-instructions-and-ingredients>Taking a Closer Look: Instructions and Ingredients</h2><p>To understand more about what distinguishes each of these recipe collections, we’ll need to examine them more closely. Where do the recipes come from? How do the respective authors present and verify the instructions they give? What kinds of ingredients, tools, and techniques do they call for?</p><p>Both manuscripts include recipes attributed to other people - in an entry “Against Burns” in Ms. Fr. 640, the author-practitioner notes that the recipe came from a gunpowder maker (who, importantly, had tried the remedy himself and swore by its efficacy, even apparently showing the author-practitioner a burn he had successfully healed by this method). The Granville book includes recipes from clear authorities, probably copied from printed books, such as “Doctor Chambers his water,” but also remedies from friends and neighbors, like “Mrs. Badge’s Plaister.” Likewise, the Granvilles are interested in proving the efficacy of the recipes they record. At the end of a recipe for “a water for Squinancy,” the author notes, “this is the best medicine for a sore Throat that ever I met with.”<sup id=fnref:6><a href=#fn:6 class=footnote-ref role=doc-noteref>6</a></sup></p><p>Ms. Fr. 640 and the Granville recipe book also feature recipes intended for the same or similar purposes - for example, both include a set of instructions for crafting sleep aids. The Ms. Fr. 640 recipe reads as follows:</p><blockquote><p><strong>White soporific oil</strong><sup id=fnref:7><a href=#fn:7 class=footnote-ref role=doc-noteref>7</a></sup></p><p>Take x or 12 mandrake apples, put them in quarters in olive oil, the whole in a glass bottle which you will place in a bain marie for two days and your oil will turn white. If you rub the soles of your feet with the same, you will soon feel like sleeping.</p></blockquote><p>The Granville recipe, the first in the entire book, is below:<sup id=fnref:8><a href=#fn:8 class=footnote-ref role=doc-noteref>8</a></sup></p><blockquote><p><strong>To make one sleep</strong></p><p>Take house Ivy Leaves stamped in a mortar till a spoonful or less quantity be strained thereout, put thereto a like quantity of white wine vinegar, make the same Luke warme, in a porringer, or Sawcer, and therewith anoint, both the temple and forehead, and wet two linen cloths therein, and bind them over the forehead and temples, and then let the party apply himself to sleep.</p></blockquote><p>Here, the structure and ingredients of the recipes are quite similar. Both call for plant matter cut up (or stamped, in the Granville case), added to a liquid, and warmed. Both direct where and how the resulting mixture should be applied to produce the desired effect. The recipe in Ms. Fr. 640 uses a more technical term for the final product (soporific) and calls for a significant time investment (someone would presumably need to be checking on the oil in the bain marie at least periodically over two days). In a household where a servant could be assigned to the task, this could be feasible, but if a family had no servants, or those they did have were occupied with more pressing responsibilities, following the author-practitioner’s instructions might have been practically difficult.</p><p>On the other hand, at times, the Granville manuscript offers much more painstaking instructions than Ms. Fr. 640. Both documents contain multiple recipes against general aches and pains. One particularly brief entry in Ms. Fr. 640 reads:</p><blockquote><p><strong>Against pains</strong></p><p>Turpentine oil, oil of Jacob, and salt extracted from cabbage ash.</p></blockquote><p>A recipe in the Granville book “for the curing of most pains and aches” is significantly longer and more detailed:<sup id=fnref:9><a href=#fn:9 class=footnote-ref role=doc-noteref>9</a></sup></p><blockquote><p>Take a pint of white french wine in a pint pot, ten leaves or blades of mace, 30 sprigs of sweet marjoram tied with a thread put both these into the said wine and boil them until ¼ part be consumed Then strain it through a clean lining cloth into another vessel and being strained return it into the same pint pot and refill it with good salad oil with two spoonfuls of white sugar, now thus brew them together until comes to be no warmer than can be suffered to drink, and then drink the same fasting in a morning in your bed then off shirt and cover yourself very warm head and all for an hour lying flat on your back, then one hour more with hot clothes from the fire continually wiping the body over then begin by little and little to take off the clothes from the bed to cool yourself by degrees but still wiping that no sweat return into the body for the space of an hour and so repeat the medicine as you find it needful for a total cure.</p></blockquote><p>Much of the detail in the Granville recipe involves how to employ the remedy once it has been made, but there is a close level of attention to the making process as well - exactly how to tell when the wine, mace, and marjoram mixture has been sufficiently boiled, for example, or the direction to return them to the same pot after straining into a different one. The tools involved are no more than what one could expect to find in a reasonably well-equipped kitchen, but the technique and quantities of ingredients are quite detailed, in sharp contrast to the recipe of similar purpose included in Fr. 640.</p><p>These two recipes for aches and pains demonstrate another important difference between the two recipe texts. Overall, Ms. Fr. 640 calls for more ingredients that could be classified as minerals or chemicals, a category more likely to include ingredients that would not have been common household items.<sup id=fnref:10><a href=#fn:10 class=footnote-ref role=doc-noteref>10</a></sup> These make up 23% of the 91 different ingredients in the medical recipes, as opposed to only 12% in the Granville manuscript. On the other hand, of the nearly five hundred ingredients called for across the 75 medical recipes in the Granville collection, 70% are plant-based, 10% are animal products that would have been relatively easy to acquire (such as eggs, milk, honey, and even horse dung), and 4.5% are food or drink items.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media/image3.png alt="Chart - Fr. 640 ingredients"></p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media/image4.png alt="Chart - Granville ingredients"></p><p>And yet, the Granville collection does not shy away from ingredients that might seem more fitting in an artisan’s workshop than a domestic kitchen. Only 12.5% of the ingredients called for can be categorized as chemical or mineral compounds, but this is the second largest category after plant matter, larger than animal products or food and drink. Some of these items are concentrated in specific recipes. One recipe for “A medicine for a burne or Scald” calls for lithridge of gold (a type of lead), gold oil, and oil of vitriol (sulfuric acid!) combined together. But different kinds of lead are common among different recipes, as are sulfur, turpentine, and alum, and often these ingredients are mixed with more homely ones - the recipe for burns mentioned above also calls for hog fat.</p><h2 id=conclusion>Conclusion</h2><p>In some ways, the medical recipes included in these two manuscripts are remarkably similar: both feature recipes addressing a wide array of possible medical complaints, including those of nonhuman animals and cosmetic concerns; both include ingredients likely available around the home alongside those that would have had to be purchased elsewhere and might have been tricky to use. The common ground highlighted here indicates that the majority of the medical recipes included in Ms. Fr. 640 are not specific to an artisan’s interests, and would have been relevant and accessible to laypeople of the period. There is no reason to think that many of the medical recipes included in Ms. Fr. 640 could not have been recreated in a domestic setting, given the overlap of many of the ingredients included in the two works, both those that would have been readily at hand almost anywhere (plant matter, food, animal products) and perhaps more difficult to access (some of the chemical and mineral ingredients).</p><p>However, examining these manuscripts side by side also highlights important differences in their purposes. Ms. Fr. 640 does contain recipes and cautions intended specifically for the context of a workshop, as well as the occasional tool and technique that might not have been feasible within the average household. The Granville manuscript includes instructions for women in labor, indicating its primary purpose as a medical book for the whole household, where women usually gave birth in their own beds. More broadly, comparing Ms. Fr. 640 and the Granville recipe book suggests that practicality was not the central guiding tenet for whoever compiled the few medical recipes included in Ms. Fr. 640, at least not for any kind of general use, or even an audience of artisans.<sup id=fnref:11><a href=#fn:11 class=footnote-ref role=doc-noteref>11</a></sup> While the recipes in Ms. Fr. 640 certainly demonstrate the author-practitioner’s interest in practical medical knowledge, the specific remedies included stray far from those medical concerns most likely to be experienced on a daily basis, and toward those that are more fantastic, or perhaps merely piqued the author-practitioner’s interest for personal reasons. It is not impossible that the author-practitioner did suffer from gonorrhea, gout, and vertigo all at once. He may very well have had a dog that suffered from mange. In that case, part of the body of medical recipes could represent a handful of ailments that troubled the author-practitioner and others in his life, which indicates an intended practical purpose for the cures compiled in Ms. Fr. 640 (though why he would include recipes for personal medical use in this manuscript raises perhaps even more questions). But the inclusion of certain other recipes with a medical bent that do not seem to address any personal medical concerns (those for creating poison or inducing temporary paralysis) indicate an interest in the unusual, or even implausible, suggesting that the medical recipes of Ms. Fr. 640 are not solely, or perhaps even primarily, a set of tools for practical self-medication.</p><h2 id=appendix>Appendix</h2><p>All data and its original workup can be found in the <a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/su21_branscum_final-project_recipe-data.xlsx>su21_branscum_final-project_recipe-data spreadsheet</a>.</p><p>All data and analysis used to generate the charts are openly available:</p><p>&lsquo;Medical Recipe Types in Ms. Fr. 640&rsquo; and &lsquo;Medical Recipe Types in Granville Receipt Book&rsquo;</p><ul><li>The raw data:<ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/su21_branscum_recipe-types_fr-640.csv>su21_branscum_recipe-types_fr-640.csv</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/su21_branscum_recipe-types_granville.csv>su21_branscum_recipe-types_granville.csv</a></li></ul></li><li>The calculations based upon that data: <a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/su21_branscum_recipe-types_totals-percents.csv>su21_branscum_recipe-types_totals-percents.csv</a></li></ul><p>&lsquo;Ms. Fr. 640 Ingredients&rsquo; and &lsquo;Granville&rsquo; Ingredients</p><ul><li>The raw data:<ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/su21_branscum_ingredients_fr-640.csv>su21_branscum_ingredients_fr-640.csv</a></li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/su21_branscum_ingredients_granville.csv>su21_branscum_ingredients_granville.csv</a></li></ul></li><li>The calculations based upon that data: <a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/su21_branscum_ingredients_totals-percents.csv>su21_branscum_ingredients_totals-percents.csv</a></li><li>Additional classification of two other manuscripts was undertaken, though the treatment presented here does not discuss them. I provide this data for future comparison work:<ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/su21_branscum_ingredients_pudsey.csv>su21_branscum_ingredients_pudsey.csv</a> for Ms. V.a.450: Cookery and Medical Receipt Book attributed to Lettice Pudsey, c. 1675-1700 (Folger Library)</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/su21_branscum_ingredients_hall.csv>su21_branscum_ingredients_hall.csv</a> for Ms. V.a.20: Receipt Book attributed to Constance Hall, 1672 (Folger Library)</li></ul></li></ul><p>Granville, Hall, and Pudsey manuscripts as printed in Kowalchuk, Kristine, ed. <em>Preserving on Paper: Seventeenth-Century Englishwomen’s Receipt Books</em>. Toronto: University of Toronto Press, 2017.</p><h3 id=medical-recipe-types-in-the-granville-recipe-book>Medical Recipe Types in the Granville recipe Book</h3><p>The table below summarizes the entries by recipe types, listing the entry&rsquo;s heading followed by its page number in parentheses.</p><p>The data contained in this table is also provided in <a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/su21_branscum_recipe-types_granville.csv>su21_branscum_recipe-types_granville.csv</a>.</p><table><thead><tr><th>Bodily Pain and Discomfort</th><th>Disease</th><th>Cosmetic</th><th>Misc</th><th>Reproduction</th></tr></thead><tbody><tr><td>For purging rheum and phlegm from the head and stomach (1)</td><td>To cure an ague (1)</td><td>To take out the holes of the smallpox (15)</td><td>To make one sleep (1)</td><td>A powder to be given to a woman in labor (158)</td></tr><tr><td>A medicine for a burn or scald (2)</td><td>An excellent medicine for a sore breast with the ague (3)</td><td>A recipe to take away the red spots out of the face after the smallpox are gone (47)</td><td>To make Doctor Chambers his water (10-11)</td><td>For a woman as soon as brought to bed (305)</td></tr><tr><td>A medicine for a searcloth (2)</td><td>A medicine for the greensickness (8)</td><td>Another recipe (for removing marks from smallpox) (47)</td><td>To make an admirable good water against melancholy (12)</td><td></td></tr><tr><td>The white ointment for any itch (2)</td><td>For the cough (10)</td><td>An ointment to take the spots out of the face after the smallpox (48)</td><td>An approved medicine for the hiccups (59)</td><td></td></tr><tr><td>A medicine for a sore breast (3)</td><td>To make poppy water (14)</td><td>To cleanse teeth well (88)</td><td>To cause sleep in fevers or any other distempers (90)</td><td></td></tr><tr><td>To make the green ointment (3-4)</td><td>An excellent water for consumption (14-15)</td><td>A water to cure pimples in the face (17)</td><td>Walnut water or the water of life</td><td></td></tr><tr><td>A medicine for sore nipples (4)</td><td>For a consumption (15)</td><td></td><td></td><td></td></tr><tr><td>Goodwife Lawrencer her salve (5)</td><td>For a consumption (16)</td><td></td><td></td><td></td></tr><tr><td>To make Balsamum (5)</td><td>To make spleen ale (17)</td><td></td><td></td><td></td></tr><tr><td>A recipe of water for a sore throat or mouth (6)</td><td>To make a hipocras for consumption (40)</td><td></td><td></td><td></td></tr><tr><td>To make oil of St. John’s wort (6)</td><td>To make plague water (41)</td><td></td><td></td><td></td></tr><tr><td>To make an ointment for a bruise (7)</td><td>Doctor Burges his direction against the plague (41)</td><td></td><td></td><td></td></tr><tr><td>The Wound Water (9)</td><td>A drink for the rickets (43)</td><td></td><td></td><td></td></tr><tr><td>To make a water for a sore throat or mouth (15)</td><td>An ointment for the rickets (44)</td><td></td><td></td><td></td></tr><tr><td>To make a syrup of succory with rhubarb (16)</td><td>An excellent approved plaister for the spleen (46)</td><td></td><td></td><td></td></tr><tr><td>To make a pretious drink good for the wind in the stomach (37)</td><td>A recipe for consumption (48)</td><td></td><td></td><td></td></tr><tr><td>The manner of distilling a water of honey (38)</td><td>Doctor Butler’s recipe against a consumption (49)</td><td></td><td></td><td></td></tr><tr><td>A very good ointment for a tetter or any itching (48)</td><td>A medicine for one that is in a desperate fit of the stone (60)</td><td></td><td></td><td></td></tr><tr><td>To make a Paracelsus plaister (59)</td><td>To cure a quartan or double ague (92)</td><td></td><td></td><td></td></tr><tr><td>An excellent recipe for a sore breast (89)</td><td>A recipe for a cough (163)</td><td></td><td></td><td></td></tr><tr><td>To cure a canker in the mouth or the mouth any way sore (90)</td><td>To cure a flux invariably (164)</td><td></td><td></td><td></td></tr><tr><td>For aches Thomas Blother’s searcloth (91)</td><td>To cure deafness (164)</td><td></td><td></td><td></td></tr><tr><td>A recipe for any bruise an excellent thing (97)</td><td>The plague water (184)</td><td></td><td></td><td></td></tr><tr><td>Mrs. Rebekah Ash her powder for the eyes (96)</td><td>Palsy water (193)</td><td></td><td></td><td></td></tr><tr><td>A recipe to cure any inflammation or swelling in the mouth (166b-168)</td><td>To make a snail water for a consumption (194)</td><td></td><td></td><td></td></tr><tr><td>To make the powder (169)</td><td>For worms in man, woman, or child (203)</td><td></td><td></td><td></td></tr><tr><td>To make the plaister (170)</td><td>A drink for the rickets (205)</td><td></td><td></td><td></td></tr><tr><td>To make the ointment (171)</td><td>Ointment for the rickets (205)</td><td></td><td></td><td></td></tr><tr><td>Mrs. Badge’s Plaister (180)</td><td>A recipe for the dropsie (238)</td><td></td><td></td><td></td></tr><tr><td>The Head Pills, Mrs. Capel’s recipe (211)</td><td>Lady Katharine Windham’s recipe Powder for the convulsion fits (239)</td><td></td><td></td><td></td></tr><tr><td>Captain William Webber’s recipe for the curing of most pains and aches (99-100)</td><td>Captain Felpes&mldr;his recipe…for stone experienced upon himself (122)</td><td></td><td></td><td></td></tr><tr><td>A most excellent plaister for all kind of wounds or old sores</td><td>To make a water for a Squinancy (11)</td><td></td><td></td><td></td></tr></tbody></table><p><strong>Notes:</strong></p><ul><li><em>An excellent medicine for a sore breast with the ague (3)</em>: I’ve included this recipe in the “disease” category because it seems to refer to soreness within the chest, while the other recipes that mention a sore breast appear to refer to external pain.</li></ul><h3 id=medical-recipe-types-in-ms-fr-640>Medical Recipe Types in Ms. Fr. 640</h3><p>The table below summarizes the entries by recipe types, listing the entry&rsquo;s heading followed by its folio number in parentheses.</p><p>The data contained in this table is also provided in <a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/su21_branscum_recipe-types_fr-640.csv>su21_branscum_recipe-types_fr-640.csv</a>.</p><table><thead><tr><th>Bodily Pain and Discomfort</th><th>Disease</th><th>Cosmetic</th><th>Misc</th><th>Craftmaking</th></tr></thead><tbody><tr><td>For loosening the belly (1v)</td><td>For relieving the pain of G. (7v)</td><td>For getting rid of the redness of eyes or bruising (11v)</td><td>Toadstone (13v)</td><td>Antidote against the fumes of metals (79v)</td></tr><tr><td>Against pains (2r)</td><td>Against gonorrhea (7v)</td><td>For removing fine hair from the forehead (16v)</td><td>White soporific oil (44v)</td><td>Working on glass (97v)</td></tr><tr><td>Against windy colic (7v)</td><td>Against Go. (16v)</td><td>For whitening the face (20v)</td><td>Onenev elbirro hcihw sllik fi eno spets no a draob ro a ueirse purrits (55r)</td><td>Toad (109v)</td></tr><tr><td>Ears (15v)</td><td>Excellent water against the plague of Monsieur de Montorsin (44v)</td><td>For the teeth, oil of sulfur (46r)</td><td>Another for waters (55v)</td><td></td></tr><tr><td>Toothache (15v)</td><td>Against the falling sickness (46r)</td><td>Wheat oil (46r)</td><td>Medicine of the orientals against all maladies (77r)</td><td></td></tr><tr><td>Clysters (19v)</td><td>Against cold gouts (46r)</td><td>For teeth (47r)</td><td>Infusion of anthos or rosemary (102v)</td><td></td></tr><tr><td>Against winds (20v)</td><td>Against falling sickness or vertigo (47r)</td><td>Against bruising of the eyes (66v)</td><td>Earwax (103v)</td><td></td></tr><tr><td>Against burn (20v)</td><td>Against diarrhea and dysentery (47r)</td><td>Against redness of the face (77r)</td><td></td><td></td></tr><tr><td>A form of regimen (20v)</td><td>Curing dogs of mange (48r)</td><td></td><td></td><td></td></tr><tr><td>Medicine for the stomach which heats it and unstops the liver (37r)</td><td>Against dogs’ mange (103r)</td><td></td><td></td><td></td></tr><tr><td>Against nosebleed and for dyeing (38v)</td><td>Against dogs’ mange (104v)</td><td></td><td></td><td></td></tr><tr><td>Against wounds (55r)</td><td>Against plague (170v)</td><td></td><td></td><td></td></tr><tr><td>For preventing teats from swelling (66v)</td><td>For preserving (170v)</td><td></td><td></td><td></td></tr><tr><td>For making water for disease of the eyes (79r)</td><td></td><td></td><td></td><td></td></tr><tr><td>Against burns, excellent (103r)</td><td></td><td></td><td></td><td></td></tr><tr><td>Enema (103v)</td><td></td><td></td><td></td><td></td></tr><tr><td>Crocum ferri (120v)</td><td></td><td></td><td></td><td></td></tr></tbody></table><p><strong>Notes:</strong></p><ul><li><em>Against burns, excellent (103r)</em>: This recipe for burns is attributed to a gunpowder maker, so I include it in my discussion of craft-focused remedies.</li></ul><h2 id=bibliography>Bibliography</h2><p>Kowalchuk, Kristine, ed., <em>Preserving on Paper: Seventeenth-Century Englishwomen’s recipe Books.</em> Toronto: University of Toronto Press, 2017.</p><p>Leong, Elaine. <em>Recipes and Everyday Knowledge: Medicine, Science, and the Household in Early Modern England.</em> Chicago: University of Chicago Press, 2018.</p><p>Liu, Xiaomeng. “Collecting Cures in an Artisanal Manuscript: Practical Therapeutics and Disease in Ms. Fr. 640.” In <em>Secrets of Craft and
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
 </a><input id=mobile-nav-toggle name=mobile-nav-toggle tabindex=0 type=checkbox>
 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents></nav></aside><content><h1 id=understanding-natural-things-in-the-world-and-the-workshop>Understanding Natural Things in the World and the Workshop</h1><p><em>Anna Christensen</em><br><br><em>Summer 2021</em></p><p>The lifecasting and preservation practices that appear in <a href=https://edition640.makingandknowing.org/>BnF Ms. Fr.
 640</a> are a window into the understanding of the natural world through
diff --git a/resources/student-projects/su21_fox_mackenzie_final-project-disorganization/index.html b/resources/student-projects/su21_fox_mackenzie_final-project-disorganization/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents></nav></aside><content><h1 id=was-ms-fr-640-intentionally-disorganized>Was Ms. Fr. 640 Intentionally Disorganized?</h1><p><em>Mackenzie Fox</em><br><br><em>Summer 2021</em></p><p>When browsing through the wide range of how-to instructions in <a href=https://edition640.makingandknowing.org/>BnF Ms. Fr.
 640</a>, it is often frustratingly unclear why the author-practitioner chose
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#texts>Texts</a></li><li><a href=#reconstructions>Reconstructions</a></li><li><a href=#pictures>Pictures</a><ul><li><a href=#text-and-figure>Text and Figure</a></li><li><a href=#figures-as-clues-to-the-manuscript39s-composition>Figures as Clues to the Manuscript's Composition</a></li></ul></li><li><a href=#using-the-figures>Using the Figures</a></li><li><a href=#conclusion>Conclusion</a></li><li><a href=#works-cited>Works Cited</a></li></ul></nav></aside><content><h1 id=pictures-worth-1000-words-figures-and-their-uses-in-ms-fr-640>Pictures Worth 1,000 Words: Figures and their Uses in Ms. Fr. 640</h1><p><em>Sophie Macomber</em></p><p><em>Summer 2021</em></p><p>Have you ever tried following a new recipe that didn't have any pictures? Not even a picture of the end result? It's hard, right?! While pictures might seem to add clutter when you're just trying to figure out how much water to add to four cups of flour or exactly to what temperature the oven needs to be set, they can be meaningful tools for communicating other kinds of information, and their use in instruction manuals and notebooks dates back centuries (see also Leonardo Da Vinci's notebooks for a contemporaneous example of the use of figures), as can be seen in Ms. Fr. 640, a sixteenth-century collection of practical techniques.</p><table><thead><tr><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-94r-sword-guard.png?raw=true" alt=su21-macomber-94r-sword-guard></th><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-112r-equipment-sand-molds.png?raw=true" alt=su21-macomber-112r-equipment-sand-molds></th></tr></thead><tbody><tr><td><strong>Folio 94r: Furbisher</strong><br>Sword guard.</td><td><strong>Folio 112r: For Tempering Sand</strong><br>Equipment for making sand molds, including bowls, spoon, brushes, clay bases and walls, a snake, and a lizard.</td></tr></tbody></table><p>Working with the Making and Knowing Project, I have begun to appreciate multiple methods of acquiring knowledge, particularly through words, practice, and pictures.</p><h2 id=texts>Texts</h2><p>So much of our daily lives, and particularly modern academia, is deeply rooted in text. From textbooks to primary sources such as the BnF Ms. Fr. 640 to even this blog post, we most frequently read words in order to gain information. However, what about concepts that words may be insufficient to describe? Or when a word could take on a number of different interpretations?</p><p>When exploring texts on the making of products or commodities, this is frequently the case. Historical texts in particular rely on a wealth of common knowledge that is assumed to be known by the practitioner, which has since been lost to time; therefore, many of the instructions that we might expect to find within a recipe today are missing. For example, the recipe for making Bisket Bread in <em>The Good Housewives Jewel</em>, a 1587 culinary text by Thomas Dawson, contains no measurements of liquids used in the recipe, leaving us in our attempt at reconstructing the recipe to guess whether we had gotten it right.</p><table><thead><tr><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-bisket-bread.png?raw=true" alt=su21-macomber-bisket-bread></th><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-partner-bisket-bread.png?raw=true" alt=su21-macomber-partner-bisket-bread></th></tr></thead><tbody><tr><td><strong>My interpretation of Bisket Bread</strong></td><td><strong>My Partner’s Interpretation of Bisket Bread</strong></td></tr></tbody></table><p>See More: <a href=https://fieldnotes.makingandknowing.org/2021-summer/Macomber-HCRFieldNotesSU21.html>Historical Culinary Recreation: Bisket Bread Presentation</a></p><h2 id=reconstructions>Reconstructions</h2><p>This sort of practical knowledge, the insights gleaned from hands-on recreations of recipes, has been instrumental in our understanding of Ms. Fr. 640. As Pamela Smith explains in her essay "Making the Edition," the recipes contained in Ms. Fr. 640 need reconstructing "in order to begin to understand their implausible instructions, such as bread molding, and an alchemical process of producing a powder for gold by enclosing silkworms in a vessel."</p><iframe src="https://player.vimeo.com/video/384070632?h=91ec5bfd35" width=640 height=360 frameborder=0 allow="autoplay; fullscreen; picture-in-picture" allowfullscreen></iframe><p><a href=https://vimeo.com/384070632>Project Theme: Practical Knowledge</a> from <a href=https://vimeo.com/user101162788>The Making and Knowing Project</a> on <a href=https://vimeo.com>Vimeo</a>.</p><blockquote><p><em>Project Theme: Practical Knowledge</em>, dir. Lan Li, 2017. Pamela Smith discusses some of the insights gained in 2016–2017, when the Making and Knowing Project focused on practical knowledge, including vernacular natural history, practical perspective, optics, mechanics, and medicine. © Making and Knowing Project (<a href=https://creativecommons.org/licenses/by-nc-sa/4.0/>CC BY-NC-SA</a>).</p></blockquote><p>While these reconstructions can be useful in order to understand these texts in a laboratory setting, this approach can be limited in a practical sense. When performing our own reconstructions of recipes within Ms. Fr. 640, we must often make assumptions about the true meaning of the author-practitioner. For example, in reconstructing the process of molding from bread, which used the soft inner part of the bread known as the "pith" as our mold, we had to make decisions on whether to remove the pith from the crust or to simply leave it in. I personally had greater success not removing the pith; however, it is unclear whether this decision would have been supported by the author-practitioner.</p><table><thead><tr><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-breadmolds-with-wax.png?raw=true" alt=su21-macomber-breadmolds-with-wax></th><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-breadmolds-casts-wax.png?raw=true" alt=su21-macomber-breadmolds-casts-wax></th></tr></thead><tbody><tr><td><strong>Bread molding with pith remaining in crust and with pith removed from crust</strong></td><td><strong>Resulting cast wax objects</strong></td></tr></tbody></table><p>For more information see: <a href=https://fieldnotes.makingandknowing.org/2021-summer/Macomber%20-%20Bread%20Molding%20Field%20Notes%20SU21/MacomberBreadMoldingFieldNotesSU21.html>Field Notes: Bread Molding Reconstruction</a></p><p>Others, both historical and modern individuals, attempting to use these recipes may not necessarily have the wealth or resources to learn from multiple attempts and would only have one shot to get it right. Even if the practitioner replicating these recipes was a craftsman who would be making the recipes multiple times for sale, it could still be too much of a burden to livelihood to have too many practice attempts before making a saleable commodity.</p><h2 id=pictures>Pictures</h2><p>Images and figures offer a middle ground between the often insufficient text and the sometimes costly world of practice. Through figures, the author can provide crucial visual information to guide the practitioner in the right direction of making and give hints about the correct final product. These figures and images can be easier to understand and provide more information than a thick block of text.</p><p>Within Ms. Fr. 640, the author-practitioner provides 162 hand-drawn figures to aid his reader (or perhaps himself?). Entries with these figures make up a minority of the 928 entries in the manuscript. Most of these figures illustrate aspects of processes described within the recipes. Half of these figures, 82 in total, are associated with a casting process. Perhaps this suggests that this category of entries is more complicated than the others, necessitating more figures in order for the future practitioners to replicate the recipes. Alternatively, it could be a sign that the author-practitioner is more familiar with the casting process and is thus more comfortable with providing further detail in figures.</p><table><thead><tr><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-117r-plant-wax-stem.png?raw=true" alt=su21-macomber-117r-plant-wax-stem></th><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-160r-press-large-molds.png?raw=true" alt=su21-macomber-160r-press-large-molds></th></tr></thead><tbody><tr><td><strong>Folio 117r: A means of molding flowers and plants</strong><br>Plant with wax on its stem that will form a gate for casting.</td><td><strong>Folio 160r: Press for the large molds</strong><br>Press for large molds composed of two square sheets between four poles connected at the top by a screw.</td></tr></tbody></table><p>With 34 entries (not quite a quarter of the total), those relating to arms and armor have the second most figures. Almost half of these figures (15 in total) are related to the measurements or weights of cannon balls. This is followed by painting and then sleight of hand tricks.</p><table><thead><tr><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-27r-medium-cannonball.png?raw=true" alt=su21-macomber-27r-medium-cannonball></th><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-33r-hands-relighting-a-candle.png?raw=true" alt=su21-macomber-33r-hands-relighting-a-candle></th></tr></thead><tbody><tr><td><strong>Folio 27r: Medium ball</strong><br>Circle that encloses its label representing the caliber of a medium cannon ball.</td><td><strong>Folio 33r: For relighting an extinguished candle between your hands without blowing</strong><br>Hands relighting a candle.</td></tr></tbody></table><p><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-distribution-of-figures.png?raw=true" alt=su21-macomber-distribution-of-figures></p><p><em>See <a href=https://cu-mkp.github.io/research-teaching-companion/documents/student-projects/su21_macomber_figures.R>su21_macomber_figures.R</a> for sourcecode of this chart.</em></p><h3 id=text-and-figure>Text and Figure</h3><p>While breaking down the figures by category allows us to gain information about when the author-practitioner felt that it was necessary to utilize figures, we must turn to how the figures are integrated into the manuscript in order to determine how the author-practitioner worked the figures into the manuscript as he was writing.</p><p>The figures within the manuscript vary in size. Most can be characterized as small (75 figures) or extra small (53 figures) rather than large (10 figures) or medium (24 figures). This suggests that the figures might be meant to enhance or supplement the text of the entries rather than being the main focus.</p><table><thead><tr><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-113r-snake-arranged-for-lifecasting.png?raw=true" alt=su21-macomber-113r-snake-arranged-for-lifecasting></th><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-3v-distillation-vessel.png?raw=true" alt=su21-macomber-3v-distillation-vessel></th></tr></thead><tbody><tr><td><strong>Fol. 113r: Making the arrangement and disposition of the animal</strong><br>A dead snake arranged for lifecasting on clay slab, held in place with pins<br><em>Extra Small Figure</em></td><td><strong>Fol. 3v: Thick varnish for planks</strong><br>Distillation vessel<br><em>Medium Figure</em></td></tr></tbody></table><p>The figures in the manuscript also vary in where they are physically located on the page. While most of the figures (97 figures) are drawn in the margins of the page, 65 of the figures are drawn within the entry itself. This can potentially shed valuable light on how the author-practitioner values the images: images that are directly integrated into the text of the manuscript might be deemed more vital for someone attempting to replicate the recipe, while the figures in the margins might be helpful but not entirely necessary. It's possible that the character of entries with the figures integrated into the main body of text would be fundamentally altered without the figure.</p><table><thead><tr><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-61r-double-walled-funnel.png?raw=true" alt=su21-macomber-61r-double-walled-funnel></th><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-33v-paintbrush-and-portrait-panel.png?raw=true" alt=su21-macomber-33v-paintbrush-and-portrait-panel></th></tr></thead><tbody><tr><td><strong>Fol. 61r: Lights</strong><br>Double-walled iron funnel with labels &lsquo;a,&rsquo; &lsquo;b,&rsquo; and &lsquo;c.&rsquo;<br><em>Figure in Margins</em></td><td><strong>Folio 33v: For making blood or wine issue from someone&rsquo;s forehead or from a wall</strong><br>Paintbrush and its shadow with portrait on panel.<br><em>Figure Integrated in Text</em></td></tr></tbody></table><h3 id=figures-as-clues-to-the-manuscript39s-composition>Figures as Clues to the Manuscript's Composition</h3><p>On the other hand, the integration of the figures within the manuscript can tell us a lot about the author-practitioner's writing process. In the figure in the entry on folio 16r', "Founding of Soft Iron," the text wraps around the body of the image, making it appear as if the author-practitioner had drawn the figure before writing the text, only to find that the entry was longer than he had initially planned for. This approach to composing the manuscript, with some of the images drawn before the writing, makes a lot of sense if you consider the labor that would have gone into writing each page by hand: it would be a huge waste of labor to write out an entire page just to make a mistake in a large, detailed figure and need to redo the entire page.</p><p>Similarly the relation between the figures and text and the author-practitioner's composition process becomes clear in the entry on folio 64v, "Apprenticeship of the Painter." The author-practitioner writes "One also presents him with these strokes & lines" and provides a figure that illustrates the said strokes and lines (folio 64v); however, between that text and the figure, the author-practitioner inserts additional text that explains the figure in further detail. From this, it appears that the author-practitioner wrote the quoted passage and drew the figure before adding further elaboration later, perhaps because he assumed the figure was not sufficiently explanatory. For a more detailed evaluation of the image and text on fol. 64v, take a look at Wenrui Zhao's essay on the <a href=https://edition640.makingandknowing.org/#/essays/ann_035_sp_16>Apprenticeship of the Painter</a>.</p><table><thead><tr><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-16r-furnace-blast-pipes-bellows.png?raw=true" alt=su21-macomber-16r-furnace-blast-pipes-bellows></th><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-64v-forms-for-painting-bodies.png?raw=true" alt=su21-macomber-64v-forms-for-painting-bodies></th></tr></thead><tbody><tr><td><strong>Folio 16r: Founding of soft iron</strong><br>Furnace with blast pipe and bellows.</td><td><strong>Fol. 64v: Apprenticeship of the painter</strong><br>Three forms for drawing figures with faint outlines of bodies.</td></tr></tbody></table><h2 id=using-the-figures>Using the Figures</h2><p>How useful are these figures anyway? While further work is needed to fully explore the use of these images, such as which figures serve as illustrations or which serve as diagrams, it is clear that these figures were made with a practical purpose in mind. For example, the figure in " A means to make the gate for small female lizards" (folio 124v), which is a recipe for lifecasting a lizard, makes little sense to a reader unfamiliar with the art of lifecasting; however, as Professor Smith found in her work in reconstructing this recipe, it would have been almost impossible to replicate the recipe without the image. Thus, the images do serve a practical purpose, particularly for those with some familiarity with the content of the recipe.</p><table><thead><tr><th><img src="https://cu-mkp.github.io/research-teaching-companion/images/su21-macomber-124v-lizard-mold-for-casting.png?raw=true" alt=su21-macomber-124v-lizard-mold-for-casting></th></tr></thead><tbody><tr><td><strong>Folio 124v: A means to make the gate for small female lizards</strong><br>Mold of a lizard with channels for casting.</td></tr></tbody></table><h2 id=conclusion>Conclusion</h2><p>While today we rely on photographs or computer generated figures (such as the above bar graph) to convey information, the author-practitioner had to draw out each figure by hand, accurately enough to be of any use to a future reader. The figures are drawn with incredible skill, each clearly recognizable for what they are, some even including shading and dimensions. Moreover, they shed light on the author-practitioner: while the author-practitioner's artistic talents should not be a surprise considering that the nature of many of his entries, from painting to casting, are artistic in nature, the figures are an intimate window into the individual behind our anonymous author-practitioner. Tracing the lines of the figures, it is easy to imagine the focused artist doing the same with his quill. Despite the many recipes (and thus objects) which the author-practitioner must have produced, these figures are the only product, the only representation of artistic mastery we have from the author-practitioner himself.</p><h2 id=works-cited>Works Cited</h2><p>Smith, Pamela H. "Making the Edition of Ms. Fr. 640." In <em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em>, edited by Making and Knowing Project, Pamela H. Smith, Naomi Rosenkranz, Tianna Helena Uchacz, Tillmann Taape, Clément Godbarge, Sophie Pitman, Jenny Boulboullé, Joel Klein, Donna Bilak, Marc Smith, and Terry Catapano. New York: Making and Knowing Project, 2020. <a href=https://edition640.makingandknowing.org/#/essays/ann_329_ie_19>https://edition640.makingandknowing.org/#/essays/ann_329_ie_19</a>. DOI: <a href=https://www.doi.org/10.7916/zdaf-cv31>https://www.doi.org/10.7916/zdaf-cv31</a></p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" d="M37.441-3.5c8.951.0 16.572 3.125 22.857 9.372 3.008 3.009 5.295 6.448 6.857 10.314 1.561 3.867 2.344 7.971 2.344 12.314.0 4.381-.773 8.486-2.314 12.313-1.543 3.828-3.82 7.21-6.828 10.143-3.123 3.085-6.666 5.448-10.629 7.086-3.961 1.638-8.057 2.457-12.285 2.457s-8.276-.808-12.143-2.429c-3.866-1.618-7.333-3.961-10.4-7.027-3.067-3.066-5.4-6.524-7-10.372S5.5 32.767 5.5 28.5c0-4.229.809-8.295 2.428-12.2 1.619-3.905 3.972-7.4 7.057-10.486C21.08-.394 28.565-3.5 37.441-3.5zm.116 5.772c-7.314.0-13.467 2.553-18.458 7.657-2.515 2.553-4.448 5.419-5.8 8.6a25.204 25.204.0 00-2.029 9.972c0 3.429.675 6.734 2.029 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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#introduction>Introduction</a></li><li><a href=#notes-and-pictures---raw-data>Notes and pictures - raw data</a></li><li><a href=#summer-2022-first-dye-experiments>Summer 2022 First Dye Experiments</a><ul><li><a href=#first-round---070722---prepping-the-onion-skins-and-using-alum-as-a-mordant>First round - 07/07/22 - prepping the onion skins and using alum as a mordant</a></li><li><a href=#second-round---071222---adding-iron-and-copper>Second round - 07/12/22 - adding iron and copper</a></li></ul></li><li><a href=#fall-2022-second-dye-experiments>Fall 2022 Second Dye Experiments</a></li><li><a href=#final-thoughts>Final thoughts</a></li></ul></nav></aside><content><h1 id=dyeing-with-onion-skins>Dyeing with Onion Skins</h1><blockquote><p>Annika Cunningham, summer and fall 2022</p></blockquote><h2 id=introduction>Introduction</h2><p>My name is Annika Cunningham, and I am a high schooler in Boston. I have
 been weaving, knitting, and crocheting for over a decade, and also enjoy
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Making & Knowing Syllabi | Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><h1 class=page-title>Making & Knowing Syllabi</h1><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#craft-and-science-making-objects-in-the-early-modern-world-hist-gr8906>Craft and Science: Making Objects in the Early Modern World (HIST GR8906)</a></li><li><a href=#making-and-knowing-in-early-modern-europe-hands-on-history-hist-gu4962>Making and Knowing in Early Modern Europe: Hands-On History (HIST GU4962)</a></li><li><a href=#what-is-a-book-in-the-21st-century-working-with-historical-texts-in-a-digital-environment-hist-gr8975>What is a Book in the 21st Century? Working with Historical Texts in a Digital Environment (HIST GR8975)</a></li><li><a href=#transforming-texts-textual-analysis-literary-modeling-and-visualization-engl84031--histgu4031--coms4495>Transforming Texts: Textual Analysis, Literary Modeling, and Visualization (ENGL84031 / HISTGU4031 / COMS4495)</a></li></ul></nav></aside><content><h1 id=making-and-knowing-project-syllabi>Making and Knowing Project Syllabi</h1><p>Syllabi from the Making and Knowing Project can be used to suggest possible readings, discussion prompts, model the integration of hands-on activities with seminar-style discussion of relevant concepts and texts, and connect instructors to resources for hands-on activities. These syllabi contain links to the edition&rsquo;s approximately 130 <a href=https://edition640.makingandknowing.org/#/essays>essays</a> which can be used as course readings or to instruct in reconstructions (also useful for this are <a href=https://fieldnotes.makingandknowing.org>field notes</a>). Making and Knowing Syllabi can also be mined for their <a href=https://cu-mkp.github.io/research-teaching-companion/resources/activity-sheets/>Lesson Plans</a>, while the <a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/>Student Projects</a> from Hands-On History courses can be consulted by instructors and students for inspiration in planning papers and projects, and to consider the many ways to engage with Ms. Fr. 640 and the digital edition.</p><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/lab_display_for-webpages-painting.jpg alt="painting display"></p><h2 id=craft-and-science-making-objects-in-the-early-modern-world-hist-gr8906>Craft and Science: Making Objects in the Early Modern World (HIST GR8906)</h2><p>Columbia University, History Department, graduate-level &ldquo;Lab Seminar&rdquo;</p><p>This Lab Seminar course studies the materials, techniques, settings, and meanings of skilled craft and artistic practices in the early modern period (1350-1750), in order to reflect upon a series of issues, including craft knowledge and artisanal epistemology; the intersections between craft and science; and questions of historical methodology and evidence in the reconstruction of historical experience. The course was run as a “Laboratory Seminar,” with discussions of primary and secondary materials, as well as text- and object-based research and hands-on work in a laboratory. This course contributed to the collective production of the digital critical edition of a late sixteenth-century manuscript, BnF Ms. Fr. 640. Final essays in this course were workshopped and readied for publication as the <a href=https://edition640.makingandknowing.org/#/essays>Research Essays of <em>Secrets of Craft and Nature in Renaissance France</em></a>.</p><p>The course was offered from 2014-18, guided by a different theme each year to help focus research on related techniques described in the manuscript. The syllabi evolved alongside our competence and confidence in working with and thinking through materials, thus the first semesters were quite experimental.</p><ul><li><p>Moldmaking and Metalworking (e.g., portrait medal casting, sand casting, and box molding)</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_fa14_gr8906-craft-and-science.pdf>Fall 2014 HIST GR8906: Moldmaking and Metalworking Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_fa14_gr8906-craft-and-science.docx>DOCX</a>)</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp15_gr8906-craft-and-science.pdf>Spring 2015 HIST GR8906: Moldmaking and Metalworking Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_sp15_gr8906-craft-and-science.docx>DOCX</a>)</li></ul></li><li><p>Colormaking (including dyes, pigments, artificial gems, coloring woods and metals, and varnish making)</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_fa15_gr8906-craft-and-science.pdf>Fall 2015 HIST GR8906: Colormaking Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_fa15_gr8906-craft-and-science.docx>DOCX</a>)</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp16_gr8906-craft-and-science.pdf>Spring 2016 HIST GR8906: Colormaking Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_sp16_gr8906-craft-and-science.docx>DOCX</a>)</li></ul></li><li><p>Practical Knowledge: Vernacular Natural History, Practical Perspective, Optics, Mechanics, and Medicine</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_fa16_gr8906-craft-and-science.pdf>Fall 2016 HIST GR8906: Practical Knowledge Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_fa16_gr8906-craft-and-science.docx>DOCX</a>)</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp17_gr8906-craft-and-science.pdf>Spring 2017 HIST GR8906: Practical Knowledge Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_sp17_gr8906-craft-and-science.docx>DOCX</a>)</li></ul></li><li><p>Ephemeral Art (such as the creation of artworks that were intended to stand outside (like banners) or that aimed to create the visual effect of a more permanent (and expensive) work of art)</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_fa17_gr8906-craft-and-science.pdf>Fall 2017 HIST GR8906: Ephemeral Art Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_fa17_gr8906-craft-and-science.docx>DOCX</a>)</li></ul></li><li><p>Printmaking, Inscription, and Impression</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_fa18_gr8906-craft-and-science.pdf>Fall 2018 HIST GR8906: Impression Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_fa18_gr8906-craft-and-science.docx>DOCX</a>)</li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/lab_display_for-webpages.jpg alt="lab display"></p></li></ul><h2 id=making-and-knowing-in-early-modern-europe-hands-on-history-hist-gu4962>Making and Knowing in Early Modern Europe: Hands-On History (HIST GU4962)</h2><p>Columbia University, History Department, advanced undergraduate- / intro graduate-level &ldquo;Lab Seminar&rdquo;</p><p>This Laboratory Seminar is a re-working of the graduate-level <em>GR8906: Craft and Science</em>, tailored to advanced undergradute and graduate students. This course introduces students to the materials, techniques, contexts, and meanings of skilled craft and artistic practices in early modern Europe (1350-1750). The course is run as a “Laboratory Seminar,” with discussions of primary and secondary materials, as well as hands-on work in the M&amp;K laboratory. This course tested the use of <a href=https://edition640.makingandknowing.org/><em>Secrets of Craft and Nature in Renaissance France. A Digital Critical Edition and English Translation of BnF Ms. Fr. 640</em></a> in a higher education classroom in part to inform the development of the Making and Knowing Project&rsquo;s Research and Teaching Companion. Students’ final projects (exploratory and experimental work in the form of digital/textual analysis of Ms. Fr. 640, reconstruction insight reports, videos for the Companion, or a combination) are published as part of the Companion.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp23_gu4962-hands-on-history.pdf>Summer 2021 HIST GU4962: Hands-on History Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_sp23_gu4962-hands-on-history.docx>DOCX</a>) (NOTE: this was a six-week intensive course, instructed virtually)</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_fa21_gu4962-hands-on-history.pdf>Fall 2021 HIST GU4962: Hands-on History Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_fa21_gu4962-hands-on-history.docx>DOCX</a>)</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp22_gu4962-hands-on-history.pdf>Spring 2022 HIST GU4962: Hands-on History Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_sp22_gu4962-hands-on-history.docx>DOCX</a>)</li><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp23_gu4962-hands-on-history.pdf>Spring 2023 HIST GU4962: Hands-on History Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_sp23_gu4962-hands-on-history.docx>DOCX</a>)</li></ul><h2 id=what-is-a-book-in-the-21st-century-working-with-historical-texts-in-a-digital-environment-hist-gr8975>What is a Book in the 21st Century? Working with Historical Texts in a Digital Environment (HIST GR8975)</h2><p>Columbia University, History Department, graduate-level &ldquo;Digital Seminar&rdquo;</p><p>Using the English translation of Ms. Fr. 640 as the basic data set, students collaboratively created a minimal (i.e., limited, basic feature) digital edition by the end of the semester, effectively prototyping a design for the Project’s final digital critical edition. Additionally, the course introduced students both theoretically and practically to the concepts and tools relevant to the creation of a digital edition, such as image and text capture; metadata, tracking, and data management; data curation; transformations to, representations of, and interfaces of digital resources; and archiving, licensing, persistence, and re-usability. The seminar thus equipped participating students with identifiable, measurable, and repurposable digital skills while furthering the Project goals.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp17_gr8975-what-is-a-book.pdf>Spring 2017 GR8975: What is a Book? Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_sp17_gr8975-what-is-a-book.docx>DOCX</a>)</li><li>The students&rsquo; resulting <a href=https://cu-mkp.github.io/GR8975-edition/>Minimal digital edition of the working English translation of BnF Ms. Fr. 640</a></li><li>See the <a href=https://github.com/cu-mkp/GR8975>Course Github Repository</a></li><li>In collaboration with Columbia&rsquo;s Center for Teaching and Learning, this course also resulted in the creation of the <a href=https://ccnmtl.github.io/digital-literacy/>Digital Literacy Competency Calculator (DLCC)</a>, a web-based tool for representing the connection between digital literacy competencies and the teaching and learning practices that produce them. See also the <a href="https://docs.google.com/document/d/11Em2vX-jJw_4QoP62STwVo1i5cNi81ARft9j7gOQsoA/edit?usp=sharing">“White Paper: Digital Literacy Competency Calculator: Rationale and Process”</a> and the <a href=https://cu-mkp.github.io/diglit-gr8975/>DLCC for Spring 2017: What is a Book?</a>.</li></ul><h2 id=transforming-texts-textual-analysis-literary-modeling-and-visualization-engl84031--histgu4031--coms4495>Transforming Texts: Textual Analysis, Literary Modeling, and Visualization (ENGL84031 / HISTGU4031 / COMS4495)</h2><p>Columbia University, cross-listed in the Departments of English, History, and Computer Science, advanced undergraduate- / intro graduate-level &ldquo;Digital Seminar&rdquo;</p><p>Designed for graduate and advanced undergraduate students in the social sciences, humanities, and computer science, this Spring 2019 cross-disciplinary course was situated at the crossroads of historical exploration and computer sciences. Students were exposed to digital literacy tools and computational skills through the lens of the Making and Knowing Project. This course built off the Spring 2017: What is a Book? course described above. For the final project, students collaborated to create data-driven projects to investigate Ms. Fr. 640, including through the use of natural language processing and text mining techniques. These <a href=https://cu-mkp.github.io/research-teaching-companion/resources/student-projects/>Student Projects</a> shed light on topics of interest within the manuscript and uncover connections within the textual data.</p><ul><li><a href=https://cu-mkp.github.io/research-teaching-companion/documents/pdf/syllabus_sp19_gu4031-transforming-texts.pdf>Spring 2019 GU4031: Transforming Texts Syllabus</a> (also available as <a href=https://cu-mkp.github.io/research-teaching-companion/documents/docx/syllabus_sp19_gu4031-transforming-texts.docx>DOCX</a>)</li></ul><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/lab_display_for-webpages-lifecasting-cropped.jpg alt=lifecasting></p></content></div><p></p></main><footer><div class=top><div class=copyright><p><a class=symbols target=_blank href=https://creativecommons.org/licenses/by-nc-sa/4.0/><svg width="64" height="64" viewBox="5.5 -3.5 64 64"><circle fill="transparent" cx="37.785" cy="28.501" r="28.836"/><path fill="#fff" 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diff --git a/resources/syllabi/syllabus_sp23_gu4962-hands-on-history/index.html b/resources/syllabi/syllabus_sp23_gu4962-hands-on-history/index.html
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-<!doctype html><html lang=en-US><head><meta charset=utf-8><meta name=viewport content="width=device-width,initial-scale=1"><meta http-equiv=Cache-Control content="no-cache, no-store, must-revalidate"><meta http-equiv=Pragma content="no-cache"><meta http-equiv=Expires content="0"><title>Research and Teaching Companion</title><meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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+<meta name=referrer content="no-referrer-when-downgrade"><link rel=stylesheet href=https://cu-mkp.github.io/research-teaching-companion/scss/main.min.f6fd1e90cdf88b5095620c56e1969432bf11e07c895fdf5b8f89f6d8a8cbaaad.css><script async src="https://www.googletagmanager.com/gtag/js?id=G-Q73EJ8XGXM"></script><script>var dnt,doNotTrack=!1;if(!1&&(dnt=navigator.doNotTrack||window.doNotTrack||navigator.msDoNotTrack,doNotTrack=dnt=="1"||dnt=="yes"),!doNotTrack){window.dataLayer=window.dataLayer||[];function gtag(){dataLayer.push(arguments)}gtag("js",new Date),gtag("config","G-Q73EJ8XGXM")}</script></head><body><header><nav class=nav><a class=home-link href=https://cu-mkp.github.io/research-teaching-companion/><img alt="Research and Teaching Companion project logo" src=https://cu-mkp.github.io/research-teaching-companion/img/mk-banner-logo.png>
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 <label for=mobile-nav-toggle><svg focusable="false" viewBox="0 0 24 24" aria-hidden="true"><path d="M3 18h18v-2H3v2zm0-5h18v-2H3v2zm0-7v2h18V6H3z"/></svg></label><ul><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/introduction/><span>Introduction</span></a></li><li class="nav-item active"><a href=https://cu-mkp.github.io/research-teaching-companion/resources/><span>Resources</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/about/><span>About M&amp;K</span></a></li><li class=nav-item><a href=https://cu-mkp.github.io/research-teaching-companion/credits/><span>Credits</span></a></li></ul></nav></header><main><div class="bg-maroon-gradient accent-bar"></div><div class=toc-content-container><div class=toc-bg></div><aside class=toc><nav id=TableOfContents><ul><li><a href=#hist-gu4962-making-and-knowing-in-early-modern-europe-hands-on-history>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History</a></li></ul><ul><li><a href=#week-1-january-17>Week 1: January 17</a></li><li><a href=#introduction>Introduction</a><ul><li><a href=#january-17-in-class>JANUARY 17: IN CLASS</a></li></ul></li><li><a href=#week-2-january-24>Week 2: January 24</a></li><li><a href=#get-to-know-secrets-of-craft-and-nature>Get to know <em>Secrets of Craft and Nature</em></a><ul><li><a href=#required-readingactivity>REQUIRED READING/ACTIVITY</a></li><li><a href=#follow-up-week-2>FOLLOW UP: Week 2</a></li></ul></li><li><a href=#week-3-january-31>Week 3: January 31</a></li><li><a href=#reconstruction-of-historical-techniques>Reconstruction of Historical Techniques</a><ul><li><a href=#required-readingactivity-1>REQUIRED READING/ACTIVITY</a></li><li><a href=#january-31-in-class>JANUARY 31: IN CLASS</a></li><li><a href=#follow-up-week-3>FOLLOW UP: Week 3</a></li></ul></li><li><a href=#week-4-february-7>Week 4: February 7</a></li><li><a href=#embodied-knowledge-i>Embodied Knowledge I</a><ul><li><a href=#required-readingactivity-2>REQUIRED READING/ACTIVITY</a></li><li><a href=#february-7-in-class>FEBRUARY 7: IN CLASS</a></li><li><a href=#follow-up-week-4>FOLLOW UP: Week 4</a></li></ul></li><li><a href=#week-5-february-14>Week 5: February 14</a></li><li><a href=#embodied-knowledge-ii>Embodied Knowledge II</a><ul><li><a href=#required-readingactivity-3>REQUIRED READING/ACTIVITY</a></li><li><a href=#february-14-in-class>FEBRUARY 14: IN CLASS</a></li><li><a href=#follow-up-week-5>FOLLOW UP: Week 5</a></li></ul></li><li><a href=#heading></a></li><li><a href=#week-6-february-21>Week 6: February 21</a></li><li><a href=#molding-and-casting>Molding and Casting</a><ul><li><a href=#required-watchingactivity>REQUIRED WATCHING/ACTIVITY</a></li><li><a href=#february-21-in-class---meet-in-chandler-260>February 21: IN CLASS - MEET IN CHANDLER 260</a></li><li><a href=#follow-up-week-6>FOLLOW UP: Week 6</a></li></ul></li><li><a href=#week-7-february-28>Week 7: February 28</a></li><li><a href=#collecting-nature-and-art>Collecting Nature and Art</a><ul><li><a href=#required-readingactivity-4>REQUIRED READING/ACTIVITY</a></li><li><a href=#february-28-in-class>FEBRUARY 28: IN CLASS</a></li><li><a href=#follow-up-week-7>FOLLOW UP: Week 7</a></li></ul></li><li><a href=#week-8-march-7>Week 8: March 7</a></li><li><a href=#final-project-planning>Final Project Planning</a><ul><li><a href=#march-7-meet-in-butler-523>MARCH 7: MEET IN BUTLER 523</a></li><li><a href=#follow-up-week-8>FOLLOW UP: Week 8</a></li></ul></li><li><a href=#week-9-march-14>Week 9: March 14</a></li><li><a href=#heading-1></a></li><li><a href=#week-10-march-21>Week 10: March 21</a></li><li><a href=#nature-art-and-imitation>Nature, Art, and Imitation</a><ul><li><a href=#required-readingactivity-5>REQUIRED READING/ACTIVITY</a></li><li><a href=#march-21-in-class>MARCH 21: IN CLASS</a></li><li><a href=#follow-up-week-10>FOLLOW UP: Week 10</a></li></ul></li><li><a href=#week-11-march-28>Week 11: March 28</a></li><li><a href=#transforming-materials-pigments-and-paints-i>Transforming Materials: Pigments and Paints I</a><ul><li><a href=#required-readingactivity-6>REQUIRED READING/ACTIVITY</a></li><li><a href=#march-28-in-class>MAR.CH 28: IN CLASS</a></li><li><a href=#follow-up-week-11>FOLLOW UP: Week 11</a></li></ul></li><li><a href=#week-12-april-4>Week 12: April 4</a></li><li><a href=#transforming-materials-pigments-and-paints-ii>Transforming Materials: Pigments and Paints II</a></li><li><a href=#meet-in-chandler-260>MEET IN CHANDLER 260</a><ul><li><a href=#april-4-in-class>APRIL 4: IN CLASS</a></li><li><a href=#follow-up-week-12>FOLLOW UP: Week 12</a></li></ul></li><li><a href=#week-13-april-11>Week 13: April 11</a></li><li><a href=#craft-and-science>Craft and Science</a><ul><li><a href=#required-readingactivity-7>REQUIRED READING/ACTIVITY</a></li><li><a href=#april-11-in-class>APRIL 11: IN CLASS</a></li><li><a href=#follow-up-week-13>FOLLOW UP: Week 13</a></li></ul></li><li><a href=#week-14-april-18>Week 14: April 18</a></li><li><a href=#transforming-materials-pigments-and-paints-iii>Transforming Materials: Pigments and Paints III</a></li><li><a href=#meet-in-chandler-260-1>MEET IN CHANDLER 260</a><ul><li><a href=#follow-up-week-14>FOLLOW UP: Week 14</a></li></ul></li><li><a href=#week-15-april-25>Week 15: April 25</a></li><li><a href=#final-project-draft-exchange>Final Project Draft Exchange</a><ul><li><a href=#april-25-in-class>APRIL 25: IN CLASS</a></li><li><a href=#follow-up-week-15>FOLLOW UP: Week 15</a></li></ul></li></ul></nav></aside><content><h2 id=hist-gu4962-making-and-knowing-in-early-modern-europe-hands-on-history>HIST GU4962: Making and Knowing in Early Modern Europe: Hands-On History</h2><p><img src=https://cu-mkp.github.io/research-teaching-companion/images/media-syllabus-sp23-mk/image1.png alt=IMAGE></p><p><strong>HIST GU4962</strong>
 <strong>Making and Knowing in Early Modern Europe:</strong> <strong>Hands-On History</strong>
diff --git a/tags/index.html b/tags/index.html
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