Embalming methods and plants in Renaissance Italy: two artificial mummies from Siena (central Italy)

Knowledge of the embalming methods used in Renaissance Italy comes not only from the literary texts of physicians and surgeons of that period, but also from artificial mummies which have been found. In 1999 two mummified bodies, dated back to the end of 15^th and beginning of the 16^th century, were recovered in a crypt of the hospital chapel of Santa Maria della Scala in Siena (central Italy). The individuals were identified as Salimbene Capacci (1433–1497), Rector of the hospital, and his wife, Margherita Sozzini (?-1511). The mummies were submitted to autopsy and paleopathological examination, which included Computed Tomography. Palaeobotanical and palynological analyses were performed on the vegetable materials and plants used to fill the body cavities. This study was carried out with a multidisciplinary perspective, that allowed us to reconstruct the embalming techniques and substances used for mummification. The results are compared with the evidences provided by other mummies and embalming handbooks of that time.     

The colour of the facades in Siena’s historical centre: I. Glazings (calcium oxalate films s.s.) and other finishes on the stone materials of the Cathedral’s main facade

This paper focuses on the long-debated topic of the so-called calcium oxalate films: their origin and meaning but also their age and original appearance. The restoration of the main facade of the Siena Cathedral provided a unique opportunity to this end, thanks to the possibility of an extensive and detailed sampling and (as rarely happens) a sufficiently accurate historical knowledge of the construction vicissitudes. This work, mainly based on a polarising microscopy study (coupled with X-ray diffraction and SEM-EDS analyses) of over a thousand thin and ultra-thin sections of 400 microsamples, demonstrates that the current relicts of films are the result of alteration and decay of ancient treatments. In most cases, these were linseed oil-based glazings (the use of this substance is confirmed by historical documents) and pigments. Their role was essentially aesthetic; their use dates the beginning of the fourteenth century and continued at least until the eighteenth century.

St Anselm and the English investiture controversy reconsidered

The Investiture Controversy in England has generally been viewed as a two-sided contest between king and pope. But in reality the struggle was between three parties — king, pope, and primate. St Anselm, devoted to his duties as God's steward of his office and its privileges, worked against both King Henry I and Pope Paschal II to bring into reality his idea of the proper status of the primate of all Britain. Anselm had a vision of a political model which he conceived as God's ‘right order’ in England, and all his efforts were directed toward fulfilling this vision.The Investiture Contest may be divided into two parts. The first phase began when Anselm was thwarted by Henry I's duplicity in the archbishop's attempt to force the king to accept the decrees of Rome at the height of a political crisis. Anselm may have seen these decrees as beneficial to the Canterbury primacy. From 1101 to 1103, Anselm wavered between supporting either party completely, meanwhile securing from Paschal all the most important privileges for the primacy of Canterbury. Each time Paschal refused to grant a dispensation for Henry, as Anselm requested, he granted Anselm a privilege for the primacy. Thus Anselm's vision of the primate as almost a patriarch of another world, nearly independent of the pope, was fulfilled by 1103.At this point, Anselm abandoned his vacillation between king and pope, and worked seemingly on behalf of Paschal, but in reality on behalf of the Canterbury primacy. During this second phase, Anselm's political adroitness becomes clear by a correlation, never before made, between the church-state controversy and Henry's campaign to conquer Normandy. By careful maneuvering and skilful propaganda, Anselm forced Henry to choose between submitting to the investiture decree or failing in his attempt to conquer Normandy. At the settlement, a compromise was worked out, Henry conceding on investitures, and Paschal conceding on homage. But investiture was only secondary to Anselm. He ended the dispute not when Henry submitted on investitures, but only when he had gained from Henry concessions which made the primate almost a co-ruler with the king, as his political vision demanded. Only after a public reconcilliation with his archbishop did Henry feel free to complete the Norman campaign.Thus the Investiture Controversy was a three-way struggle. Both king and pope compromised, each giving up some of their goals. But Anselm emerged from the contest having won nearly all his political objectives.