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    <title><![CDATA[Children and Youth in History]]></title>
    <link>http://cyh.rrchnm.org/primary-sources/browse/5?tags=Europe&amp;output=rss2</link>
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    <pubDate>Wed, 11 Aug 2021 03:14:36 +0000</pubDate>
    <managingEditor>chnm@gmu.edu (Children and Youth in History)</managingEditor>
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      <title><![CDATA[Testament of an Elite Wife during the Black Death [Will]]]></title>
      <link>https://cyh.rrchnm.org/items/show/182</link>
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                                    <div class="element-text">Testament of an Elite Wife during the Black Death [Will]</div>
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                                    <div class="element-text"><p>The following will belongs to the butcher <a class="external" href=http://chnm.gmu.edu/cyh/case-studies/167?section=primarysources&source=183>Phylippinus'</a> wife. The butcher and his wife were a well-off couple, owning at least two shops in Bologna's central meat market as well as land outside of Bologna in Borgo Panigale. Their last wishes reflect this wealth as they leave more charitable bequests, especially in the form of dowries, and pious bequests, such as the butcher's dedication of an altar and funding for a pilgrim. The wife makes her will at the end of July and within 10 days she is dead.</p>

<p>During the time of the Black Death, the wife of the butcher's children were grown, and she and her husband were concerned about the welfare of their young grandchildren, the children of their deceased daughter Agnesia. Her other daughter, Chadiana, was an adult although she was not yet married and was given much responsibility. While alive, the butcher had the wealth and responsibility–evidenced by his wife's will which named him as heir and left money for her daughter and grandchildren to have only after the patriarch died. (Note that the grand-daughters get more money from their grandmother than the grandsons, who presumably were the heirs of their father.)</p>
<p>Following the wife's death, when the butcher was sick of plague and had to make a will, he named as guardian his daughter Chadiana who was to take charge of the young grandchildren and to benefit from the estate as heir. She was aided as executor by two clerics and as guardian by a notary, for whose young daughters Phylippinus provided a dowry.</p>

<p>It should be noted that this family had a servant who lived with them and served them through out the epidemic. Some of the witnesses–their neighbors–were present at the testaments of both the butcher and his wife. Note also that testators left cloth as bequests during the epidemic. Apparently they were not as concerned with clothes retaining miasma as were anti-plague ordinances of the government.</p></div>
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                                    <div class="element-text">Archivio di Stato di Bologna, Memoriali, volume 229, folio 117v. Annotated by Shona Kelly Wray.</div>
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                                    <div class="element-text">1348-07-29</div>
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                                    <div class="element-text">Shona Kelly Wray</div>
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                                    <div class="element-text">167</div>
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                                    <div class="element-text"><p>In the name of Christ, Amen. July 29, 1348. Phylippa, daughter of the late Aradus, wife of Philippinus Laurentii butcher and citizen of the parish of San Felice, healthy in mind and senses, but sick in body, declares her will thus. For the benefit of her soul, she leave three <em>lire</em> to don Johannes, chaplain of the parish church of San Felice, for masses for his necessities. She leaves 20 <em>lire</em> to her servant, Sante daughter of the late Senitius from the village of Monte Marino. She leaves 40 <em>solidi</em> to Nicolaus and Bencevenis, sons of Francischinus de Medicis, who was married to her deceased daughter Agnexia, which money they can have after her husband, Philippinus, has died. She leaves 40 <em>lire</em> to her grand-daughters Zoleta and Chola, daughters of her son-in-law Francischinus, which money they can have after her husband has died. For all of her goods and property, moveable and immoveable, and all her rights and actions, both now and in the future, she institutes as universal heir, her husband, Phylippinus. She leaves her daughter, Chadiana, 25 <em>lire</em>, which she can have after the death of her father, ordering Chadiana and the grandchildren Nicolaus and his siblings to be quiet and content with the legacies. She declares that this is her last will and cancels and invalidates any previous testament or codicil. Enacted in the testator's house in the parish of San Felice, in the presence of the following witnesses: don Johannes, parish priest of San Felice, Blaxius Thomaxini of San Felce, Nasimbene Petri, shoemaker of San Felice, Bonjohannes Gregorii of San Felice, Azzolinus Petri of San Felice, Franciscus Jacobi, shoemaker of San Nicolo del Borgo di San Felice, Johannes Johannis de Spilamberti, and Andreuccio Oradei de Donzellis of San Felice. Written by the notary, Martinus Johannis de Pizoy. The notary and testator went to the Office of the <em>Memoriali</em> to register the testament on that day.</p></div>
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                    <div class="element-text-empty">[no text]</div>
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      <pubDate>Sun, 07 Dec 2008 06:35:54 +0000</pubDate>
    </item>
    <item>
      <title><![CDATA[Testament of a Mother during the Black Death [Will]]]></title>
      <link>https://cyh.rrchnm.org/items/show/181</link>
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    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">Testament of a Mother during the Black Death [Will]</div>
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                                    <div class="element-text"><p>Below is a will that offers a window into the family life of Ursollina, wife of a parchment worker named <a class="external" href=http://chnm.gmu.edu/cyh/case-studies/167?section=primarysources&source=180>Carinus</a>. Although many wealthy people left long and complicated wills filled with lists of pious bequests, these simple wills are more typical of artisans who, despite modern assumptions to the contrary, commonly made wills in medieval Italy. According to intestate law in medieval Italian towns, sons were to inherit the patrimony equally while daughters were to receive a dowry, which their husbands could use while they were married and which was returned to them at the end of that marriage.</p> 
<p>Carinus made his will when he was ill at the beginning of July and Ursollina made hers, newly widowed, two weeks later. The only other will to remain from this family is that of their married son, Johannes, who made his will on July 30, naming his unborn child as heir (his wife was pregnant at the time). Petrobellus, the brother of Mengorius, husband of Carinus and Ursollina's daughter, made his will on the same day as Ursollina. The same notary and parish priest were present for all four of these wills. The English translation has left out most of the legalistic and formulaic language.</p></div>
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                                    <div class="element-text">Ursollina</div>
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                                    <div class="element-text">Archivio di Stato di Bologna. Memoriali. Vol. 229, folio 9r. Annotated by Shona Kelly Wray.</div>
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                                    <div class="element-text">1348-07-23</div>
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                                    <div class="element-text">Shona Kelly Wray</div>
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                                    <div class="element-text">167</div>
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                                    <div class="element-text"><p>In the name of Christ, Amen. July 23, 1348. Ursollina, daughter of the late Thomas Ursii and widow of the late Figliocarius, known as Carino, parchment maker in the parish of San Biagio, healthy in mind and intellect, but sick in body, declares her will thus. She leaves five <em>lire</em> for the benefit of her soul to be distributed by her heirs as they deem most useful for her soul, of which five <em>lire</em>, five <em>solidi</em> [20 <em>solidi</em> equaled one <em>lira</em>] are to go to Don Gerardus, her parish priest, and the rest are to be distributed as she said above. She leaves 20 <em>lire</em> for her daughter, Ysabeta, daughter of the late Figliocarius known as Carino, demanding that she be quiet and content with this sum. For all of her goods and property, moveable and immovable, and all her rights and actions, both now and in the future, she institutes as universal heirs, her three sons, Thomas, Johannes, and Bernardus, sons of the late Figliocarius. She declares that this is her last will and cancels and invalidates any previous testament or codicil. Enacted in the testator's house in the parish of San Biagio, in the presence of the following witnesses: Don Gerardus, parish priest of San Biagio, Petrobellus, son of the late Brother Ugollini, draper of San Biagio [he is the brother of her daughter's husband, Mengorius], Johannes son of the late Petrus, parchment maker of San Biagio, Ser Bondus son of the late Guidone, shoemaker of San Biagio, Jacobus son of the late Picinus, parchment maker of San Biagio, Petrus son of the late Rummollus, parchment maker of San Biagio, Marcus son of the late Dominicus, baker of San Biagio, and Symone son of the late Gerardus, furrier of San Biagio. Written by the notary Johannes Laurentii Stephani. The notary and witness, Petrobellus, designated as proctor for the ill testator, went to the Office of the <em>Memoriali</em>, on that day to register the testament.</p></div>
                    </div><!-- end element -->
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        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
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        </div><!-- end element-set -->]]></description>
      <pubDate>Sun, 07 Dec 2008 03:21:26 +0000</pubDate>
    </item>
    <item>
      <title><![CDATA[Testament of a Father during the Black Death [Will]]]></title>
      <link>https://cyh.rrchnm.org/items/show/180</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
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                                    <div class="element-text">Testament of a Father during the Black Death [Will]</div>
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                    <div class="element-text-empty">[no text]</div>
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                                    <div class="element-text"><p>Below is a will that offers a window into the family life of Carinus, a parchment worker, or <em>cartolarius</em>, a fairly common trade in the university town of Bologna. Although many wealthy people left long and complicated wills filled with lists of pious bequests, this simple will is more typical of artisans who, despite modern assumptions to the contrary, commonly made wills in medieval Italy. According to intestate law in medieval Italian towns, sons were to inherit the patrimony equally while daughters were to receive a dowry, which their husbands could use while they were married and which was returned to them at the end of that marriage.</p> 
<p>Carinus made his will when he was ill at the beginning of July and his wife, <a class="external" href=http://chnm.gmu.edu/cyh/case-studies/167?section=primarysources&source=181> Ursollina</a>, newly widowed, made hers two weeks later. The only other will to remain from this family is that of their married son, Johannes, who made his will on July 30, naming his unborn child as heir (his wife was pregnant at the time). Petrobellus, the brother of Mengorius, husband of Carinus and Ursollina's daughter, made his will on the same day as Ursollina. The same notary and parish priest were present for all four of these wills. The English translation has left out most of the legalistic and formulaic language.</p></div>
                    </div><!-- end element -->
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                                    <div class="element-text">Carinus</div>
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        <h3>Source</h3>
                                    <div class="element-text">Archivio di Stato di Bologna. Memoriali. Vol. 230, folio 98r. Annotated by Shona Kelly Wray.</div>
                    </div><!-- end element -->
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        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
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                                    <div class="element-text">1348-07-08</div>
                    </div><!-- end element -->
            <div id="dublin-core-contributor" class="element">
        <h3>Contributor</h3>
                                    <div class="element-text">Shona Kelly Wray</div>
                    </div><!-- end element -->
            <div id="dublin-core-rights" class="element">
        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-relation" class="element">
        <h3>Relation</h3>
                                    <div class="element-text">167</div>
                    </div><!-- end element -->
            <div id="dublin-core-format" class="element">
        <h3>Format</h3>
                                    <div class="element-text">text</div>
                    </div><!-- end element -->
            <div id="dublin-core-language" class="element">
        <h3>Language</h3>
                                    <div class="element-text">en</div>
                    </div><!-- end element -->
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        <h3>Type</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-identifier" class="element">
        <h3>Identifier</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-coverage" class="element">
        <h3>Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Additional Item Metadata</h2>
        <div id="additional-item-metadata-transcription" class="element">
        <h3>Transcription</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-local-url" class="element">
        <h3>Local URL</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-online-submission" class="element">
        <h3>Online Submission</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-posting-consent" class="element">
        <h3>Posting Consent</h3>
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                    <div class="element-text-empty">[no text]</div>
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        <h3>Process Edit</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Process Annotate</h3>
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            </div><!-- end element -->
            <div id="additional-item-metadata-process-review" class="element">
        <h3>Process Review</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="additional-item-metadata-website-image" class="element">
        <h3>Website Image</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-analyzing-sources" class="element">
        <h3>Analyzing Sources</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="additional-item-metadata-publisher" class="element">
        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Creator</h3>
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        <h3>Source</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Date</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Bibliographic Citation</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Provenance</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="additional-item-metadata-citation" class="element">
        <h3>Citation</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="additional-item-metadata-spatial-coverage" class="element">
        <h3>Spatial Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights-holder" class="element">
        <h3>Rights Holder</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="additional-item-metadata-temporal-coverage" class="element">
        <h3>Temporal Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
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    <h2>Document Item Type Metadata</h2>
        <div id="document-item-type-metadata-text" class="element">
        <h3>Text</h3>
                                    <div class="element-text"><p>In the name of Christ, Amen. July 8, 1348. Figliocharius, known as Carinus, son of the late Brother Donisdei, parchment maker living in the parish of San Biagio of Bologna, healthy in mind and intellect, but sick in body, declares his will thus. He leaves five <em>lire</em> for the benefit of his soul to be distributed by his heirs as would seem to them best and most useful for his soul. Of these five <em>lire</em>, five <em>solidi</em> [20 <em>solidi</em> equaled one <em>lira</em>] should go to Don Gerardus, chaplain of the parish church of San Biagio, for masses for his soul. He leaves 20 <em>solidi</em> for his two nieces Mina and Cicillia. He returns to his wife her dowry of 130 <em>lire</em> [a modest dowry, typical of the artisan class] and gives her 20 <em>lire</em> as well as his bed and all the linen and woolen clothes that she had during her life and at the time of his death. He grants his wife usufruct [the right to use but not own] all of his goods as long as she lives in the home with their children, remains a widow, and does not ask for her dowry and the aforesaid legacies [i.e., the 20 <em>lire</em>, bed and clothing]. He leaves to his daughter, Isabeta, wife of Mengorius, son of the late Brother Ugollini of the parish of San Biagio, all that he had arranged as her dowry for her marriage to Mengorius. As a blessing [<em>nomine benedictionis</em>], he also leaves her 20 <em>solidi</em>. For all of his goods and property, moveable and immovable, and all his rights and actions, both now and in the future, he institutes as universal heirs, his three sons, Thomas, Johannes, and Bernardus. He declares that this is his last will and cancels and invalidates any previous testament or codicil. Enacted in the testator's house in the parish of San Biagio, in the presence of the following witnesses: Don Gerardus, parish priest of San Biagio, Johannes son of the late Albertinus, draper of San Biagio, Petrus son of the late Johannes, parchment maker of San Biagio, Paulus son of the late Ugollinus, parchment maker of San Biagio, Bertone son of the late Jacobus, armorer of San Biagio, Guidone son of the late Simone, parchment maker of San Biagio, Tomas son of the late Brother Albertus, parchment maker of San Biagio, Bonacosa son of the late Leyus, draper of San Biagio, and Benvenutus son of the late Gerardinus, baker of San Biagio. Written by the notary, Johannes Laurentii Stephanii. The notary and Johannes Albertini, designated as proctor for the sick testator, went to the Office of the <em>Memoriali</em> on that day to register the testament.</em></p></div>
                    </div><!-- end element -->
            <div id="document-item-type-metadata-related-primary-sources" class="element">
        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set -->]]></description>
      <pubDate>Sun, 07 Dec 2008 03:21:09 +0000</pubDate>
    </item>
    <item>
      <title><![CDATA[Health Ordinances of Pistoia, 1348 [Legal Document]]]></title>
      <link>https://cyh.rrchnm.org/items/show/179</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">Health Ordinances of Pistoia, 1348 [Legal Document]</div>
                    </div><!-- end element -->
            <div id="dublin-core-subject" class="element">
        <h3>Subject</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Description</h3>
                                    <div class="element-text"><p>Cities in Italy passed legislation aimed at preventing or reducing the effects of plague. Since the scientific view was that plague was caused by miasma or bad air, the measures targeted rotting and smelling matter, viz. cloth which could retain miasma and spread disease as it was passed person to person, dead bodies, and rotting meat. Thus, the ordinances regulated burials and restricted the mobility of cloth and the activities of butchers and tanners. These ordinances were not really new to the Black Death; governments simply re-enforced the sanitary legislation in effect in cities from the 13th century.</p></div>
                    </div><!-- end element -->
            <div id="dublin-core-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-source" class="element">
        <h3>Source</h3>
                                    <div class="element-text">Chiappelli, Alberto, ed. "Gli ordinamenti sanitari del comune di Pistoia contro la pestilenzia del 1348." In <em>Archivio Storico Italiano</em>. Ser. 4, 20 (1887): 8–22. Quoted in Horrox, Rosemary, ed. and trans. <em>The Black Death</em>. Manchester: Manchester University Press, 1994, 195–96. Annotated by Shona Kelly Wray.</div>
                    </div><!-- end element -->
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        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Date</h3>
                                    <div class="element-text">1348-00-00</div>
                    </div><!-- end element -->
            <div id="dublin-core-contributor" class="element">
        <h3>Contributor</h3>
                                    <div class="element-text">Shona Kelly Wray</div>
                    </div><!-- end element -->
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        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
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        <h3>Relation</h3>
                                    <div class="element-text">167</div>
                    </div><!-- end element -->
            <div id="dublin-core-format" class="element">
        <h3>Format</h3>
                                    <div class="element-text">text</div>
                    </div><!-- end element -->
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        <h3>Language</h3>
                                    <div class="element-text">en</div>
                    </div><!-- end element -->
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        <h3>Type</h3>
                    <div class="element-text-empty">[no text]</div>
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                    <div class="element-text-empty">[no text]</div>
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        <h3>Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
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    <h2>Additional Item Metadata</h2>
        <div id="additional-item-metadata-transcription" class="element">
        <h3>Transcription</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
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        <h3>Local URL</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-online-submission" class="element">
        <h3>Online Submission</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-posting-consent" class="element">
        <h3>Posting Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-submission-consent" class="element">
        <h3>Submission Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-edit" class="element">
        <h3>Process Edit</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-annotate" class="element">
        <h3>Process Annotate</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-review" class="element">
        <h3>Process Review</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-website-image" class="element">
        <h3>Website Image</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-analyzing-sources" class="element">
        <h3>Analyzing Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
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        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="additional-item-metadata-source" class="element">
        <h3>Source</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-date" class="element">
        <h3>Date</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights" class="element">
        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-bibliographic-citation" class="element">
        <h3>Bibliographic Citation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-provenance" class="element">
        <h3>Provenance</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-citation" class="element">
        <h3>Citation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-spatial-coverage" class="element">
        <h3>Spatial Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights-holder" class="element">
        <h3>Rights Holder</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-temporal-coverage" class="element">
        <h3>Temporal Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Document Item Type Metadata</h2>
        <div id="document-item-type-metadata-text" class="element">
        <h3>Text</h3>
                                    <div class="element-text"><h3>Selections from the Health Ordinances of Pistoia [2 May, 1348]</h3>

<p>No one, whether from Pistoia or elsewhere, shall dare or presume to bring or fetch to Pistoia, whether in person or by an agent, any old linen or woolen clothes, for male or female clothing or for bedspreads; penalty 200 pence, and the cloth to be burnt in the public piazza of Pistoia by the official who discovered it. However it shall be lawful for citizens of Pistoia travelling within Pistoia and its territories to take linen and woolen cloths with them for their own use or wear, provided that they are in a pack or fardle weighing 30 lb. or less.</p>

<p>The bodies of the dead shall not be removed from the place of death until they have been enclosed in a wooden box, and the lid of planks nailed down so that no stench can escape, and covered with no more than one pall, coverlet or cloth; penalty 50 pence to be paid by the heirs of the deceased or, if there are no heirs, by the nearest kinsmen in the male line.</p>

<p>To avoid the foil stench which comes from dead bodies each grave shall be dug two and a half arms length deep, as this is reckoned in Pistoia; penalty 10 pence from anyone digging or ordering the digging of a grave which infringes the statute.</p>

<p>So that the living are not made ill by rotten and corrupt food, no butcher or retailer of meat shall dare or presume to hang up meat, or keep and sell meat up in their storehouse or over their counter [i.e. whole carcasses cannot be displayed, only joints of meat]; penalty 10d.</p></div>
                    </div><!-- end element -->
            <div id="document-item-type-metadata-related-primary-sources" class="element">
        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set -->]]></description>
      <pubDate>Sun, 07 Dec 2008 02:49:49 +0000</pubDate>
    </item>
    <item>
      <title><![CDATA[Italian accounts of the Black Death [Personal Accounts]]]></title>
      <link>https://cyh.rrchnm.org/items/show/178</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">Italian accounts of the Black Death [Personal Accounts]</div>
                    </div><!-- end element -->
            <div id="dublin-core-subject" class="element">
        <h3>Subject</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-description" class="element">
        <h3>Description</h3>
                                    <div class="element-text"><p>Several chroniclers wrote about the Black Death in their own town or region. They described the symptoms of the disease, which they generally called "the mortality," how it arrived with portents of warning from the East, and how many people it killed. Some accounts are long and embellished with the descriptions of townspeople's actions, but most are brief, providing little more than the dates for the plague's entry and mortality rates, which they usually inflated. The description of families and children, if present, is often quite short. The chroniclers wrote in either Latin or Italian. Note the terms they use in the original language as well as the modern English translation.</p></div>
                    </div><!-- end element -->
            <div id="dublin-core-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-source" class="element">
        <h3>Source</h3>
                                    <div class="element-text">[1] Chronicle of Marco Battagli of Rimini, from the "Marcha di Marco Battagli da Rimini." In <em>Rerum Italicarum Scriptores</em> [RIS]. Vol. 16, part 3. Edited by A. F. Massèra, 54. Città di Castello, 1912, 54. [2] Chronicle of Guglielmo Cortusi of Padua, from the "Chronica de Novitatibus Padue et Lombardie Guilielmi de Cortusis." In <em>RIS</em>. Vol. 12, part 5. Edited by B. Pagnin, 120–21. [3] Città di Castello, 1941, 120–121. Tuscan Chronicle Account, from the "Storie Pistoresi." In <em>RIS</em>. Vol. 11, part 5. Edited by S. A. Barbi, 235. Città di Castello, 1906, 235. [4] Chronicle of Agnolo di Tura del Grasso, in "Cronica senese di Agnolo di Tura del Grasso." In <em>RIS</em>. Vol. 15, part 6. Edited by ed. A. Lisini and F. Iacometti, 555. Bologna, 1935, 555. Annotated by Shona Kelly Wray.</div>
                    </div><!-- end element -->
            <div id="dublin-core-publisher" class="element">
        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-date" class="element">
        <h3>Date</h3>
                                    <div class="element-text">2008-12-08</div>
                    </div><!-- end element -->
            <div id="dublin-core-contributor" class="element">
        <h3>Contributor</h3>
                                    <div class="element-text">Shona Kelly Wray</div>
                    </div><!-- end element -->
            <div id="dublin-core-rights" class="element">
        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-relation" class="element">
        <h3>Relation</h3>
                                    <div class="element-text">167</div>
                    </div><!-- end element -->
            <div id="dublin-core-format" class="element">
        <h3>Format</h3>
                                    <div class="element-text">text</div>
                    </div><!-- end element -->
            <div id="dublin-core-language" class="element">
        <h3>Language</h3>
                                    <div class="element-text">en</div>
                    </div><!-- end element -->
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        <h3>Type</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Identifier</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
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    <h2>Additional Item Metadata</h2>
        <div id="additional-item-metadata-transcription" class="element">
        <h3>Transcription</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-local-url" class="element">
        <h3>Local URL</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-online-submission" class="element">
        <h3>Online Submission</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-posting-consent" class="element">
        <h3>Posting Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-submission-consent" class="element">
        <h3>Submission Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-edit" class="element">
        <h3>Process Edit</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-annotate" class="element">
        <h3>Process Annotate</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Process Review</h3>
                    <div class="element-text-empty">[no text]</div>
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            <div id="additional-item-metadata-website-image" class="element">
        <h3>Website Image</h3>
                    <div class="element-text-empty">[no text]</div>
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                                    <div class="element-text"><p>1. Chronicle of Marco Battagli of Rimini<br />The chronicler of Rimini, from the northeastern coastal region, wrote that "father fled his son once he became sick, brother avoided brother, wife her husband, and thus the healthy fled from the ill."<br /><br />

[Original in Latin]<br />
<em> pater postea infirmum filium evitabat, frater fratrem, uxor virum, et sic de singulis sani infirmos penitus evitabant.</em></p> 


<p>2. Chronicle of Guglielmo Cortusi of Padua<br />
Guglielmo Cortusi wrote in his city chronicle of Padua that during the plague "wife fled the embrace of a dear husband, the father that of a son, and the brother that of a brother."</p>

<p>[Original in Latin]<br /><em>uxor fugiebat amplexum cari viri, pater filii, frater fratris.</em></p>


<p>3. Tuscan Chronicle Account<br />
The <em>Storie Pistoresi</em> announce that in Tuscany and especially in Pisa, "father abandoned son, children abandoned their mother and father, and one brother abandoned the other."</p>

<p>[Original in Italian]<br /><em> lo padre abbandonava li figliuoli, e' figliuoli lo padre e la madre, e l'uno fratello l'altro.</em></p> 


<p>4. Chronicle of Agnolo di Tura del Grasso<br />
The Sienese chronicler, Agnolo di Tura del Grasso, left a poignant account of the plague. "It is not possible," he says "to describe this horrible thing with human speech." After noting truncated burial practices, without priest, appropriate liturgy or bells, he discusses the subject of child abandonment with the familiar words "father abandoned child, wife her husband, and one brother the other." He, himself, did not abandon his children for he tells us that he buried his five children with his own hands.</p>

<p>[Original in Italian]<br /><em>El padre abbandonava el figluolo, la moglie el marito, e l'uno fratello l'altro.</em></p></div>
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                    <div class="element-text-empty">[no text]</div>
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      <pubDate>Sun, 07 Dec 2008 02:24:20 +0000</pubDate>
    </item>
    <item>
      <title><![CDATA[Decameron [Literary Excerpt]]]></title>
      <link>https://cyh.rrchnm.org/items/show/177</link>
      <description><![CDATA[<div class="element-set">
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                                    <div class="element-text"><em>Decameron</em> [Literary Excerpt]</div>
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                                    <div class="element-text"><p>Giovanni Boccaccio provided the most famous description of what happened during the Black Death in Italy. His report on the behavior of the Florentines after plague entered their city during the spring of 1348 serves as introduction and frame for his collection of 100 tales entitled the <em>Decameron</em>. The epidemic provides the pretext for a group of young men and women to leave Florence and retire to a pleasant villa in the countryside where they entertain themselves by telling stories over 10 days. Though the <em>novella</em> range from the bawdy to the pious, the story telling is light hearted in keeping with the purpose of restorative diversion.</p>

<p>Boccaccio's introduction, however, has a very different tone. Here the author relates in precise detail the gruesome symptoms of the disease and the horrific circumstances that took place in Florence as the epidemic swept through the town disrupting all forms of normal human relations. Government, medical care, and neighborliness broke down. Some people secluded themselves and restricted their diet, others recklessly gave themselves over to pleasure, and still others tried to behave temperately. But most distressing of all, according to Boccaccio, was the collapse of families and the abandonment of children. The English translation is followed by the original in Italian.</p></div>
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                                    <div class="element-text">Giovanni Boccaccio</div>
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        <h3>Source</h3>
                                    <div class="element-text">Boccaccio, Giovanni. <em>The Decameron</em>. Translated by G. H. McWilliam. 2nd ed. London: Penguin Books, 1995, 8–9. Annotated by Shona Kelly Wray.</div>
                    </div><!-- end element -->
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                                    <div class="element-text">Penguin Books</div>
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                    <div class="element-text-empty">[no text]</div>
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                                    <div class="element-text">Shona Kelly Wray</div>
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                                    <div class="element-text">167</div>
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                                    <div class="element-text">en, it</div>
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                    <div class="element-text-empty">[no text]</div>
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                                    <div class="element-text"><p>It was not merely a question of one citizen avoiding another, and of people almost invariably neglecting their neighbours and rarely or never visiting their relatives, addressing them only from a distance; this scourge had implanted so great a terror in the hearts of men and women that brothers abandoned brothers, uncles their nephews, sisters their brothers, and in many cases wives deserted their husbands. But even worse, and almost incredible was the fact that fathers and mothers refused to nurse and assist their own children, as though they did not belong to them.</p>

<p>[Original in Italian]<br /> 
<em>E lasciamo stare che l'uno cittadino l'altro schifasse e quasi niuno vicino avesse dell'altro cura e i parenti insieme rade volte o non mai si visitassero e di lontano: era con sí fatto spavento questa tribulazione entrata ne' petti degli uomini e delle donne, che l'un fratello l'altro abbandonava e il zio il nepote e la sorella il fratello e spesse volte la donna il suo marito; e, che maggior cosa è e quasi non credibile, li padri e lemadri i figliuoli, quasi loro non fossero, di visitare e di servire schifavano.</em></p></div>
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      <pubDate>Sun, 07 Dec 2008 02:11:42 +0000</pubDate>
    </item>
    <item>
      <title><![CDATA[An Inquiry into the Causes and Effects of the Variolae Vaccinae [Literary Excerpt and Illustration]]]></title>
      <link>https://cyh.rrchnm.org/items/show/165</link>
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                                    <div class="element-text"><em>An Inquiry into the Causes and Effects of the Variolae Vaccinae</em> [Literary Excerpt and Illustration]</div>
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                                    <div class="element-text"><p>Edward Jenner (1749-1823) was a physician in rural Gloucestershire. Like Lady Mary Wortley Montagu he learnt of a widely known folk remedy to protect against smallpox. Smallpox cases were increasing in the 18th century and had a mortality rate of 40%. At least 30% of those who survived were left horribly scarred. Smallpox was a disease of children and youth in particular. However, dairymaids and farmers believed that those who had contracted cowpox, a mild infection often found on the udders of cows, would not get smallpox. Jenner's interviews with local farmers led him to carry out a series of experiments using cowpox matter, or lymph (fluid), taken from the vesicles of cowpox on the hands of the dairymaid Sarah Nelmes. In May 1796 he inserted the lymph in the arm of a young boy called James Phipps who promptly came down with cowpox. In July Jenner inoculated Phipps with smallpox matter but he remained healthy and did not get the disease. Jenner carried out several of these experiments on villagers and the children of his servants before he published his findings. He called this new method of using cowpox to protect against smallpox, vaccination from <em>vacca</em>, the Latin word for cow. In fact historians now have evidence that local farmers had carried out this procedure before but Jenner was the first medical man to publish his findings on cowpox as a preventive remedy against smallpox in <em>An Inquiry into the Cause and Effects of the Variolae Vaccinae, a Disease Discovered in Some of the Western Counties of England, Particularly Gloucestershire, and Known by the Name of the Cow-pox</em>. Vaccination was not accepted quickly by all but it gradually became more popular as it was less risky than inoculation. The watercolor drawing shows the profound difference in the severity of infection caused by inoculation with smallpox as recommended by Lady Montagu versus vaccination with cowpox as recommended by Edward Jenner. Vaccination became compulsory in Britain in 1853.</p></div>
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        <h3>Creator</h3>
                                    <div class="element-text">Dr. Edward Jenner</div>
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        <h3>Source</h3>
                                    <div class="element-text">Dr. Edward Jenner, "<em>An Inquiry into the Causes and Effects of the Variolae Vaccinae</em>," <em>The Wellcome Library</em>, <a class="external" href=http://images.wellcome.ac.uk/indexplus/result.html?_IXFIRST_=1&_IXSS_=_IXFIRST_%3d1%26_IXINITSR_%3dy%26_IXACTION_%3dquery%26IXFROM%3d%26IXTO%3d%26_IXrescount%3d28%26_IXMAXHITS_%3d15%26%2524%2bwith%2bwi_sfgu%2bis%2bY%3d%252e%26%252asform%3dwellcome%252dimages%26%2524%253dsort%3dsort%2bsortexpr%2bimage_sort%26_IXSESSION_%3dcrHmB4NhlbN%26c%3d%2522historical%2bimages%2522%2bOR%2b%2522contemporary%2bimages%2522%2bOR%2b%2522corporate%2bimages%2522%2bOR%2b%2522contemporary%2bclinical%2bimages%2522%26i_num%3d%26_IXshc%3dy%26i_pre%3d%26%2524%253ds%3dkirtland%26_IXFPFX_%3dtemplates%252ft%26%2524%253dsi%3dtext%26t%3d%26w%3d&_IXACTION_=query&_IXMAXHITS_=1&_IXSR_=2ZycWp7FBCy&_IXSPFX_=templates%2ft&_IXFPFX_=templates%2ft>http://images.wellcome.ac.uk</a>; Edward Jenner, <em>The Three Original Publications on Vaccination Against Smallpox</em>, The Harvard Classics, 1909-14, <a class="external" href="http://www.bartleby.com/38/4/1.html">http://www.bartleby.com/38/4/1.html</a> (accessed October 13, 2008). Annotated by Lynda Payne.</div>
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                    <div class="element-text-empty">[no text]</div>
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                                    <div class="element-text">2008-10-14</div>
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                                    <div class="element-text">Lynda Payne</div>
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                                    <div class="element-text">166</div>
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                                    <div class="element-text">image/jpeg, text</div>
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                                    <div class="element-text">en</div>
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                                    <div class="element-text"><p>CASE XVI.—Sarah Nelmes, a dairymaid at a farmer's near this place, was infected with the cow-pox from her master's cows in May, 1796. She received the infection on a part of her hand which had been previously in a slight degree injured by a scratch from a thorn. A large pustulous sore and the usual symptoms accompanying the disease were produced in consequence. The pustule was so expressive of the true character of the cow-pox, as it commonly appears upon the hand, that I have given a representation of it in the annexed plate. [In original.] The two small pustules on the wrists arose also from the application of the virus to some minute abrasions of the cuticle, but the livid tint, if they ever had any, was not conspicuous at the time I saw the patient. The pustule on the forefinger shews the disease in an earlier stage. It did not actually appear on the hand of this young woman, but was taken from that of another, and is annexed for the purpose of representing the malady after it has newly appeared.</p>
  <p><em>41</em></p>
  <p>CASE XVII.—The more accurately to observe the progress of the infection I selected a healthy boy, about eight years old, for the purpose of inoculation for the cow-pox. The matter was taken from a sore on the hand of a dairymaid,  10 who was infected by her master's cows, and it was inserted, on the 14th of May, 1796, into the arm of the boy by means of two superficial incisions, barely penetrating the cutis, each about half an inch long.</p>
 <p><em> 42</em></p>
  <p>On the seventh day he complained of uneasiness in the axilla, and on the ninth he became a little chilly, lost his appetite, and had a slight headache. During the whole of this day he was perceptibly indisposed, and spent the night with some degree of restlessness, but on the day following he was perfectly well.</p>
 <p><em> 43</em></p>
  <p>The appearance of the incisions in their progress to a state of maturation were much the same as when produced in a similar manner by variolous matter. The only difference which I perceived was in the state of the limpid fluid arising from the action of the virus, which assumed rather a darker hue, and in that of the efflorescence spreading round the incisions, which had more of an erysipelatous look than we commonly perceive when variolous matter has been made use of in the same manner; but the whole died away (leaving on the inoculated parts scabs and subsequent eschars) without giving me or my patient the least trouble.</p>
 <p><em> 44</em></p>
  <p>In order to ascertain whether the boy, after feeling so slight an affection of the system from the cow-pox virus, was secure from the contagion of the smallpox, he was inoculated the 1st of July following with variolous matter, immediately taken from a pustule. Several slight punctures and incisions were made on both his arms, and the matter was carefully inserted, but no disease followed. The same appearances were observable on the arms as we commonly see when a patient has had variolous matter applied, after having either the cow-pox or smallpox. Several months afterwards he was again inoculated with variolous matter, but no sensible effect was produced on the constitution.CASE XVIII.—John Baker, a child of five years old, was inoculated March 16, 1798, with matter taken from a pustule on the hand of Thomas Virgoe, one of the servants who had been infected from the mare's heels. He became ill on the sixth day with symptoms similar to those excited by cow-pox matter. On the eighth day he was free from indisposition.</p>
  <p><em>48</em></p>
  <p>There was some variation in the appearance of the pustule on the arm. Although it somewhat resembled a smallpox pustule, yet its similitude was not so conspicuous as when excited by matter from the nipple of the cow, or when the matter has passed from thence through the medium of the human subject.</p>
 <p><em> 49</em></p>
  <p>This experiment was made to ascertain the progress and subsequent effects of the disease when thus propagated. We have seen that the virus from the horse, when it proves infectious to the human subject, is not to be relied upon as rendering the system secure from variolous infection, but that the matter produced by it upon the nipple of the cow is perfectly so. Whether its passing from the horse through the human constitution, as in the present instance, will produce a similar effect, remains to be decided. This would now have been effected, but the boy was rendered unfit for inoculation from having felt the effects of a contagious fever in a workhouse soon after this experiment was made.</p>
  <p><em>50</em></p>
  <p>CASE XIX.—William Summers, a child of five years and a half old, was inoculated the same day with Baker, with matter taken from the nipples of one of the infected cows, at the farm alluded to. He became indisposed on the sixth day, vomited once, and felt the usual slight symptoms till the eighth day, when he appeared perfectly well. The progress of the pustule, formed by the infection of the virus, was similar to that noticed in Case XVII, with this exception, its being free from the livid tint observed in that instance.</p>
 <p><em> 51</em></p>
  <p>CASE XX.—From William Summers the disease was transferred to William Pead, a boy of eight years old, who was inoculated March 28th. On the sixth day he complained of pain in the axilla, and on the seventh was affected with the common symptoms of a patient sickening with the smallpox from inoculation, which did not terminate till the third day after the seizure. So perfect was the similarity to the variolous fever that I was induced to examine the skin, conceiving there might have been some eruptions, but none appeared. The efflorescent blush around the part punctured in the boy's arm was so truly characteristic of that which appears on variolous inoculation that I have given a representation of it. [In original.] The drawing was made when the pustule was beginning to die away and the areola retiring from the centre.</p></div>
                    </div><!-- end element -->
            <div id="document-item-type-metadata-related-primary-sources" class="element">
        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/85/fullsize"><img src="/files/display/85/square_thumbnail" class="thumb" alt="&lt;em&gt;An Inquiry into the Causes and Effects of the Variolae Vaccinae&lt;/em&gt; [Literary Excerpt and Illustration]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Tue, 14 Oct 2008 21:55:31 +0000</pubDate>
      <enclosure url="https://cyh.rrchnm.org/files/download/85/fullsize" type="image/jpeg" length="122659"/>
    </item>
    <item>
      <title><![CDATA[Transplanting Teeth (c.1790) [Engraving]]]></title>
      <link>https://cyh.rrchnm.org/items/show/164</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text"><em>Transplanting Teeth</em> (c.1790) [Engraving]</div>
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                                    <div class="element-text"><p>This print is by Thomas Rowlandson (1756-1827) and is dated 1787. It is a satirical comment upon the real practice of rich gentlemen and ladies of the 18th century paying for teeth to be pulled from poor children and transplanted in their gums. The dentist present is portrayed as a quack. There are even two quacking ducks on the placard advertising his fake credentials. He is busy pulling teeth from the mouth of a poor young chimney sweep. Covered in soot and exhausted, he slumps in a chair. Meanwhile the dentist's assistant transplants a tooth into a fashionably dressed young lady's mouth. Two children can be seen leaving the room clutching their faces and obviously in pain from having their teeth extracted. As people lost most of their teeth by age 21 due to gum disease, teeth transplants were popular for some time in England although they rarely worked.</p></div>
                    </div><!-- end element -->
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        <h3>Creator</h3>
                                    <div class="element-text">Thomas Rowlandson</div>
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            <div id="dublin-core-source" class="element">
        <h3>Source</h3>
                                    <div class="element-text">Thomas Rowlandson, "Transplanting Teeth," <em>The Wellcome Library</em>, <a class="external" href= http://images.wellcome.ac.uk/indexplus/result.html?_IXFIRST_=9&_IXSS_=_IXFIRST_%3d1%26_IXACTION_%3dquery%26_IXMAXHITS_%3d15%26%2524%2bwith%2bwi_sfgu%2bis%2bY%3d%252e%26with%2bimage_sort%3d%252e%26_IXSESSION_%3dcrHmB4NhlbN%26create_creator_name_name%253atext%3d%2522Thomas%2bRowlandson%2522%26%2524%2bnot%2b%2522Contemporary%2bclinical%2bimages%2522%2bindex%2bwi_collection%3d%252e%26_IXFPFX_%3dtemplates%252ft&_IXACTION_=query&_IXMAXHITS_=1&_IXSR_=npSLTgDywbK&_IXSPFX_=templates%2ft&_IXFPFX_=templates%2ft> http://images.wellcome.ac.uk/indexplus/result.html?_IXFIRST_=9&_IXSS_=_IXFIRST_%3d1%26_IXACTION_%3dquery%26_IXMAXHITS_%3d15%26%2524%2bwith%2bwi_sfgu%2bis%2bY%3d%252e%26with%2bimage_sort%3d%252e%26_IXSESSION_%3dcrHmB4NhlbN%26create_creator_name_name%253atext%3d%2522Thomas%2bRowlandson%2522%26%2524%2bnot%2b%2522Contemporary%2bclinical%2bimages%2522%2bindex%2bwi_collection%3d%252e%26_IXFPFX_%3dtemplates%252ft&_IXACTION_=query&_IXMAXHITS_=1&_IXSR_=npSLTgDywbK&_IXSPFX_=templates%2ft&_IXFPFX_=templates%2ft</a> (accessed October 13, 2008). Annotated by Lynda Payne.</div>
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                    <div class="element-text-empty">[no text]</div>
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                                    <div class="element-text">2008-10-14</div>
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        <h3>Contributor</h3>
                                    <div class="element-text">Lynda Payne</div>
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                    <div class="element-text-empty">[no text]</div>
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                                    <div class="element-text">166</div>
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        <h3>Format</h3>
                                    <div class="element-text">image/jpeg</div>
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                                    <div class="element-text">en</div>
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                    <div class="element-text-empty">[no text]</div>
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        <h3>Local URL</h3>
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                    <div class="element-text-empty">[no text]</div>
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        <h3>Process Annotate</h3>
                    <div class="element-text-empty">[no text]</div>
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                    <div class="element-text-empty">[no text]</div>
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        <h3>Physical Dimensions</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Image Description</h3>
                                    <div class="element-text">Color print by Thomas Rowlandson (1756-1827) dated 1787, titled &quot;Transplanting of Teeth.&quot; It is a satirical comment upon the real practice of rich gentlemen and ladies of the 18th century paying for teeth to be pulled from poor children and transplanted in their gums. The dentist present is portrayed as a quack. There are even two quacking ducks on the placard advertising his fake credentials. He is busy pulling teeth from the mouth of a poor young chimney sweep. Covered in soot and exhausted, he slumps in a chair. Meanwhile the dentist&#039;s assistant transplants a tooth into a fashionably dressed young lady&#039;s mouth. Two children can be seen leaving the room clutching their faces and obviously in pain from having their teeth extracted.</div>
                    </div><!-- end element -->
            <div id="still-image-item-type-metadata-related-primary-sources" class="element">
        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/89/fullsize"><img src="/files/display/89/square_thumbnail" class="thumb" alt="&lt;em&gt;Transplanting Teeth&lt;/em&gt; (c.1790) [Engraving]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Tue, 14 Oct 2008 21:21:02 +0000</pubDate>
      <enclosure url="https://cyh.rrchnm.org/files/download/89/fullsize" type="image/jpeg" length="148962"/>
    </item>
    <item>
      <title><![CDATA[The Graham Children (1742) [Painting]]]></title>
      <link>https://cyh.rrchnm.org/items/show/163</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text"><em>The Graham Children</em> (1742) [Painting]</div>
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            <div id="dublin-core-subject" class="element">
        <h3>Subject</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Description</h3>
                                    <div class="element-text"><p>This beautiful life-size painting of four children is by William Hogarth, who also specialized in engravings such as <em>Gin Lane</em>. It was commissioned by Daniel Graham, a rich apothecary (pharmacist) to the royal family and to Chelsea Hospital in London. It shows Daniel's three children by his second wife, Mary Crisp, and Mary's daughter, Henrietta, by her first marriage. The children are (from left to right) the infant Thomas sitting in a gold-leaf gilded go-cart (age 2); Henrietta in a blue dress holding two cherries (age 9); Anna Maria in a flower-print dress (age 5); and Richard who plays the sérinette or bird organ (age 7). Hogarth was a patron of the Foundling Hospital in London and painted portraits of many of the children there. His skill led to commissions such as this one.</p> 
<p>At first glance Hogarth literally paints childhood as a time of innocence and happiness. But there are clues that point to the fragility of children's lives. The clock on the mantelpiece is decorated with a figure of Cupid holding a scythe, a symbol of death. Standing beside it is an hourglass, yet another symbol of mortality. The cat gazes greedily at the caged bird to remind us that there are predators even in such a happy scene as this. In fact Thomas died while Hogarth was completing the portrait and what we have here is a posthumous representation of the infant, as if he was still alive at the age of two. The crossed carnations at Thomas's feet symbolize that like flowers, his life faded quickly, while the dove on the go-cart may represent his soul flying to heaven.</p></div>
                    </div><!-- end element -->
            <div id="dublin-core-creator" class="element">
        <h3>Creator</h3>
                                    <div class="element-text">William Hogarth</div>
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            <div id="dublin-core-source" class="element">
        <h3>Source</h3>
                                    <div class="element-text">Hogarth, William. <em>The Graham Children</em>. Oil on canvas, 1742. Annotated by Lynda Payne.</div>
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        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Date</h3>
                                    <div class="element-text">2008-10-14</div>
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        <h3>Contributor</h3>
                                    <div class="element-text">Lynda Payne</div>
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                    <div class="element-text-empty">[no text]</div>
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                                    <div class="element-text">166</div>
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        <h3>Format</h3>
                                    <div class="element-text">image/jpeg</div>
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                                    <div class="element-text">en</div>
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                                    <div class="element-text">Color painting, realistic. This beautiful life-size painting of four children is by William Hogarth, who also specialized in engravings such as Gin Lane. It was commissioned by Daniel Graham, a rich apothecary (pharmacist) to the royal family and to Chelsea Hospital in London. It shows Daniel&#039;s three children by his second wife, Mary Crisp, and Mary&#039;s daughter, Henrietta, by her first marriage. The children are (from left to right) the infant Thomas sitting in a gold-leaf gilded go-cart (age 2); Henrietta in a blue dress holding two cherries (age 9); Anna Maria in a flower-print dress (age 5); and Richard who plays the sérinette or bird organ (age 7). Hogarth was a patron of the Foundling Hospital in London and painted portraits of many of the children there. His skill led to commissions such as this one.

At first glance Hogarth literally paints childhood as a time of innocence and happiness. But there are clues that point to the fragility of children&#039;s lives. The clock on the mantelpiece is decorated with a figure of Cupid holding a scythe, a symbol of death. Standing beside it is an hourglass, yet another symbol of mortality. The cat gazes greedily at the caged bird to remind us that there are predators even in such a happy scene as this. In fact Thomas died while Hogarth was completing the portrait and what we have here is a posthumous representation of the infant, as if he was still alive at the age of two. The crossed carnations at Thomas&#039;s feet symbolize that like flowers, his life faded quickly, while the dove on the go-cart may represent his soul flying to heaven.</div>
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                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/102/fullsize"><img src="/files/display/102/square_thumbnail" class="thumb" alt="&lt;em&gt;The Graham Children&lt;/em&gt; (1742) [Painting]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Tue, 14 Oct 2008 21:07:28 +0000</pubDate>
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    <item>
      <title><![CDATA[Infanticide Trial Transcript from the Old Bailey of Elizabeth Taylor of Clerkenwell, London, June 1734 [Trial Record]]]></title>
      <link>https://cyh.rrchnm.org/items/show/162</link>
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    <h2>Dublin Core</h2>
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                                    <div class="element-text">Infanticide Trial Transcript from the Old Bailey of Elizabeth Taylor of Clerkenwell, London, June 1734 [Trial Record]</div>
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                                    <div class="element-text"><p>Infanticide or the killing of a baby was punishable by hanging in early modern England. Unlike married women accused of infanticide, the mere fact that single women had tried to conceal the death of their babies was considered proof of murder under the <em>Infanticide Act</em> of 1624. A single woman's only recourse was to try and prove that the baby had been born dead and that she had not killed it. This was difficult as many of these women gave birth with no witnesses. In the mid-18th century from research by historians, we know that 70% of the women indicted for infanticide were servants by occupation and under the age of 16. We also know that the trend as the century progressed was for juries to find more women innocent than guilty of the crime of infanticide unless there was clear proof that they had murdered their baby. Perhaps they were beginning to see these young women as victims rather than criminals.</p> 

<p>The case of Elizabeth Taylor shows the fear and shame single women felt when they became pregnant and the lack of privacy in their lives as servants. Elizabeth does not speak at her trial, instead witnesses for the prosecution are called first before the judge and jury who ask them questions about whether Elizabeth hid her pregnancy and the baby. Then Dinah Beaven testifies that the baby does not appear to have been murdered. She was probably a midwife and here acts as an expert witness. Finally, a prisoner in Newgate with Elizabeth states that they found baby items sewn in Elizabeth's coat when the prisoners took it from her. (New prisoners were often fleeced by inmates who used money and goods to bribe gaolers into providing more than just the basics of bad bread, foul water, and old straw for bedding.) The fact that Elizabeth had made provision for the baby was the strongest proof that she did not intend to kill it and the court let her go.</p>  
<p>[Full text <a class="external" href=http://www.bartleby.com/38/4/1.html>available online.</a>]</p></div>
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                                    <div class="element-text">May, Allyson N. "'She at first denied it': Infanticide Trials at the Old Bailey." In <em>Women and History: Voices of Early Modern England</em>, edited by Valerie Frith, 31–2. Concord, Ontario: Irwin Publishing, 1997. Annotated by Lynda Payne.</div>
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                                    <div class="element-text">2008-10-13</div>
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                                    <div class="element-text">Lynda Payne</div>
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                                    <div class="element-text">166</div>
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                                    <div class="element-text">text</div>
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                                    <div class="element-text">en</div>
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                                    <div class="element-text"><h3>June 1734</h3>

<p>Elizabeth Turner, of Clerkenwell, was indicted for the murder of her male bastard infant, by strangling it with both her hands, April 12.</p>

<p><em>Eleanor Turnly</em>. The prisoner was servant to Mrs Windsor, a pastry-cook, in St. John's Lane. I and Margaret Goldsmith, came to lodge there but a little before Ladyday [25 March, the beginning of the year on the old calendar], and then we observed the prisoner looked big, and at Easter, she looked very lank. We suspected she had been delivered, though she appeared publicly every day. And we had never heard her cry out, but then we could not think what was become of the child. In short, we thought the family was all alike, or things could not be kept so private. We watched and harkened all as ever we could. Once while. . . we fancied the child might be at nurse in the garret [attic], because they were often whipping up and down stairs. But when we could find nothing, we concluded it was baked in the oven. At last Mrs. Goldsmith, going into the cellar, came up, and told me and her husband, she had seen a wig-box below, and smelled something. He went down, and came up again, like a dead man, and said, he put his hand in the box, and felt a child, but was so surprised that he did not take it out. We consulted what to do, and, says I, as they have kept this thing in hugger-mugger [secret], we won't let 'em know the child is found before we fetch for a constable [policeman]. So Mr. Goldsmith fetched a constable and watch [man who watched the streets to prevent crimes], and they brought the child up, and it was all mouldy. The prisoner, at first, denied she had had a child; but in a little time owned it was her's.</p> 
	<p><em>Juryman</em>. You seemed very diligent in watching the prisoner. Did you ever tax [question] her with being with child, before the child was found.</p>
	<p><em>Turnly</em>. No, I never spoke a word to her about it, for I could not bear the sight of the creature.</p> 
	<p><em>Margaret and Thomas Goldsmith</em>, deposed to the same effect.</p>
	<p><em>Elizabeth Windsor</em>. The prisoner never told me she was with child, but she said she had been ill, and had had a great deal of water come from her, and then she was much better. When the child was first found, she denied it, but owned it afterwards.</p>
	<p><em>Dinah Beaven</em>. The child was crowded in the box and putrefied. It was at the full time. I could discern no mark of violence. [There] was a small wound on the head; but I have known such a thing happen to an honest woman's child; when it fell from her for want of assistance.</p> 
	<p><em>Sarah Hawkey</em>. When the prisoner was brought to Newgate, some of the other prisoners took her coat, for garnish money. And they found these baby things, sewed up in her coat. Here's a shirt, a cap, a stay [a tie for clothing?], a forehead-cloth, and a biggin [a tight fitting cap].</p>
<p>The jury acquitted her.</p></div>
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        </div><!-- end element-set -->]]></description>
      <pubDate>Mon, 13 Oct 2008 21:27:11 +0000</pubDate>
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