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1

Beautiful Scars: Jewels in English Renaissance Drama

100%
Hopkins L.
Linguaculture
|
2012
|
vol. 2012
|
issue 1
9-26
EN
In An Englis[h[ expositor[:] teaching the in[ter]pretation of the harde[st] words [vsed] in our language, John Bullokar notes that the word carbuncle ‘hath two significations, namely a precious stone, and a dangerous sore’.(sig. D2r) Generally speaking Renaissance texts keep these two meanings separate: in ways which are inevitably conditioned by the nature of their subject matter, Renaissance authors tend to be interested in exploring either the idea of carbuncle as jewel or the idea of carbuncle as tumour without ever registering the possibility of the alternative meeting for the word. Nevertheless the ambiguity is there: a jewel, a thing of beauty intended for the adornment of the body, is also in some sense potentially a disfiguring mark, a scar on the body marking the site of a trauma. In A Cyborg Manifesto, Donna Haraway asks “Why should our bodies end at the skin?” (online); in this essay, I shall argue that as far as Renaissance jewels are concerned, bodies do not in fact end at the skin, for jewels mark not the end of the body but an edge, a hinge between body and mind as much as between body and dress, in ways which activate fears about permeability, boundary blurring and the monstrous. One of the rare instances of evoking both senses of carbuncle comes in The Comedy of Errors, where Dromio of Syracuse, having defined the kitchen-maid Nell as “spherical, like a globe”, says that “America, the Indies” are located in her nose, because it is ‘all o’er embellished with rubies, carbuncles, sapphires, declining their rich aspect to the hot breath of Spain’ (III.ii.120, 140-3). To varying extent, the horror of the gross, the extreme and the unnatural which is implicit here can be seen as potentially lurking in all Renaissance descriptions of jewellery.
2

Inwentarz skarbca koronnego z 1515 roku

51%
Nalewajek A.
Roczniki Humanistyczne
|
2013
|
vol. 61
|
issue 2: Historia
63-81
EN
The paper presents the inventory of the Crown Treasury of 1515 whose original has been preserved in the Central Public Archives (AGAD, parchment nr 4460). The inventory was written down on 5 November 1515, after the office of the Treasurer of the Kingdom of Poland was taken by Mikołaj Szydłowiecki. It contains a detailed description of three Polish royal crowns: the Crown which was used for the coronation of Polish kings (Corona Aurea Regni Poloniae), the Queen’s Crown (Corona Reginalis Maiestatis), and the Homagial Crown (Corona Homagialis), as well as the other insignia of the king’s power, also a list of the objects kept in the Crown Treasury: objects of religious cult with their description, objects that contained Christological relics, things with protective properties and objects having historical value as well as other precious objects collected there. The review of the Crown Treasury was done on King Sigismund I’s order and was carried out by his closest associates, Deputy Chancellor of the Treasury Piotr Tomicki, Chancellor Krzysztof Szydłowiecki and Jan Boner.
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