Podcast Summary: Haptic & Hue – The Forgotten Medieval Craft of Cloth Staining

Introduction

In the April 4, 2024 episode of Haptic & Hue, host Jo Andrews delves into the forgotten medieval craft of cloth staining, uncovering its significance, techniques, and the lives it colored. This episode, enriched by insights from experts Rebecca Phillips, Mark Clark, and George Kelman, paints a vivid picture of a vibrant yet overlooked aspect of medieval textile artistry.

1. Gloucester Cathedral and the Mysterious Manuscript

The episode opens with a rich historical backdrop of Gloucester Cathedral, a structure over 900 years old located near the River Severn in England. Jo Andrews sets the scene by highlighting the cathedral's enduring presence through centuries of celebration and tragedy.

Jo Andrews [00:21]: "Gloucester Cathedral is more than 900 years old. It stands not far from the River Severn in the west of England..."

Central to the discussion is a small book transcribed by monks in the late 1300s, containing hundreds of recipes, charms, and spells that offer a rare glimpse into medieval life.

Jo Andrews [02:14]: "The book gives us a manual of how they lived and it allows us, that rare thing, to get a little closer to who our ancestors really were..."

2. The Guardian of the Past: Rebecca Phillips

Rebecca Phillips, Gloucester Cathedral’s archivist, emphasizes the manuscript's unparalleled importance in understanding medieval life, lamenting the loss of other historical records.

Rebecca Phillips [02:56]: "For us, it's the book that I would cry if we ever lost. I cry about others, but this is the one that would make me sad to my soul if we ever lost it."

She explains the challenges in dating the manuscript, noting that while exact dates are missing, the content suggests it was not updated post-1390s.

3. Unveiling the Forgotten Craft of Cloth Staining

Jo Andrews introduces the primary focus: 30 recipes for stains found in the manuscript. Contrary to dyes, these stains were used to paint and stamp textiles, adding color and design swiftly compared to other methods like tapestry or embroidery.

Jo Andrews [04:00]: "Stains were water based or sometimes oil based colours used to paint and stamp textiles."

4. Staining vs. Dyeing with Mark Clark

Mark Clark, an associate professor of technical art history, clarifies the distinct differences between staining and dyeing.

Mark Clark [05:17]: "Cloth staining is different from dyeing. Dyeing is where you use a solid colour and you get the whole cloth... Staining meant making figurative designs on cloth..."

He elaborates on the historical significance of staining, noting its widespread use in both elite and domestic settings due to its speed and versatility.

Mark Clark [06:52]: "They were everywhere—from royal palaces to servant quarters, churches, and everyday homes."

5. The Ubiquity and Versatility of Stained Cloths

Stained cloths were integral to medieval ceremonies, decorations, and daily life, serving as banners, curtains, bed hangings, and more. Their ability to be produced quickly made them indispensable for ephemeral events like tournaments and royal visits.

Mark Clark [09:12]: "People would have had them for curtains to hang over the door... to make the place cozier."

Jo Andrews reflects on how this revelation challenges the perception of the medieval period as visually dull.

Jo Andrews [09:46]: "This knowledge upends my view of this time as visually dull..."

6. Recreating Medieval Stains: George Kelman's Expertise

George Kelman, a practical researcher, discusses his efforts in experimenting with historic staining techniques based on the manuscript's recipes. He highlights the rich and bright colors achievable through these methods.

George Kelman [13:30]: "They are bright colours... the Brazil reds are bright red, the welds are bright yellow..."

However, he warns of the challenges and dangers inherent in replicating these medieval processes.

George Kelman [14:23]: "You might want to finish your food first... make a red scarlet water... involves boiling urine."

Kelman shares fascinating results, such as creating purple water from unexpected combinations, demonstrating the ingenuity of medieval stainers.

7. The Gloucester Manuscript: A Treasure Trove of Knowledge

Mark Clark reads an excerpt from the manuscript, illustrating the practical instructions medieval monks followed to prepare cloth for staining.

Mark Clark [18:42]: "To make staining water, one thou shalt... set it over the fire... take it in cold water..."

Rebecca Phillips discusses the manuscript's multilingual composition and its probable use as a portable manual for monks tending to the sick or traveling.

Rebecca Phillips [25:55]: "This is a book that the monks made so that they could carry with them, them everything that they needed..."

8. Historical Context: The Black Death and the Rise of Vernacular Recipes

The episode places the manuscript within the broader historical context of the Black Death, which decimated Europe's population and led to a DIY mentality in crafts and daily life. Mark Clark posits that this period saw a shift towards recording knowledge in the vernacular languages as a response to societal stress.

Mark Clark [30:25]: "A lot of these medieval recipe books... start being written in the vernacular... this is a reaction to the Black Death."

This shift was driven by the need to preserve and democratize knowledge, ensuring that essential crafts could continue despite the societal upheaval.

9. Preserving a Lost World of Color

Jo Andrews concludes by reflecting on the fragile legacy of medieval stainers and the critical role of modern scholars in reviving lost techniques. The Gloucester manuscript stands as a testament to a once-thriving craft, now resurrected through dedicated research and experimentation.

Mark Clark [33:26]: "We're still left with the sound of a monk hurrying to get down all the knowledge he could find."

George Kelman underscores the complexity and dedication required to reclaim these ancient methods, fostering a deeper appreciation for traditional craftsmanship.

George Kelman [34:43]: "I have respect for anyone who has to make and prepare their own ingredients for things..."

Conclusion

This episode of Haptic & Hue masterfully uncovers the intricate and vibrant world of medieval cloth staining, shedding light on a lost art that once brought color and life to countless aspects of daily and ceremonial life. Through the preservation efforts of archivists, historians, and researchers, the rich hues of the past are being rediscovered, offering a more colorful perspective of medieval humanity.

Notable Quotes with Timestamps

• Jo Andrews [00:21]: "Gloucester Cathedral is more than 900 years old..."
• Rebecca Phillips [02:56]: "For us, it's the book that I would cry if we ever lost..."
• Mark Clark [05:17]: "Cloth staining is different from dyeing..."
• Mark Clark [09:12]: "People would have had them for curtains to hang over the door..."
• George Kelman [13:30]: "They are bright colours..."
• George Kelman [14:23]: "You might want to finish your food first..."
• Rebecca Phillips [25:55]: "This is a book that the monks made so that they could carry with them..."
• Mark Clark [30:25]: "A lot of these medieval recipe books... start being written in the vernacular..."
• George Kelman [34:43]: "I have respect for anyone who has to make and prepare their own ingredients for things..."

Additional Resources

For more details and visuals of the stained cloths discussed, visit Haptic & Hue’s website.