Medieval women are often perceived as silent and shadowy figures, veiled in obscurity by the annals of history. Yet the vivid illuminations of The Book of the City of Ladies (circa 1405), authored by Christine de Pizan, a trailblazer hailed as the first professional female writer, tell a strikingly different tale. Within her pages, women are depicted not as passive spectators but as active agents, building walls, engaging in study, and imparting knowledge. De Pizan constructs a metaphorical "city" from the exemplary deeds of women, celebrating their achievements.
De Pizan is but one of the extraordinary figures highlighted in a recent exhibition at the British Library in London. "Medieval Women: In Their Own Words" (running until 2nd March) unveils a vibrant feminine world, shedding light on women from diverse walks of life. Spanning the period from roughly 1100 to 1500, the exhibition reveals how these women profoundly shaped the society of their time. Through their own testimonies, we see how they contributed to the social, economic, cultural, and political life of medieval Europe.
The exhibition is structured around three principal themes: Private Lives, Public Lives, and Spiritual Lives. Each is further divided into sub-themes such as family and household, work and creativity, power and politics, and religious devotion.
The first section looks at the intimate realm of family and domestic life, illuminating the joys of friendship, the trials and triumphs of motherhood, and the intricate management of estates and properties. The delight of love finds its place in this section, exemplified by the earliest surviving Valentine's letter in the English language, penned by Margery Brews to John Paston III, in February 1477.
This section features artifacts that may intrigue fashion designers and historians alike. Among them is Der Ritter vom Turm (The Knight of the Tower, 1495), an instructional text that warns against vanity. It recounts the tale of a young woman who lingered too long before her mirror, only to be horrified by the devil's mockery as he revealed his bare backside in her reflection. Even more intriguing is De ornatu mulierum (On Women's Cosmetics), a 13th-century compendium of cosmetic recipes. This text provided women with instructions for enhancing their skin, hair, face, lips, teeth, and even genitals. Remarkably, over 30 of the plants listed in its recipes remain essential in modern cosmetics and pharmacology.
Another highlight is a stunning ivory comb dated 1360-80, intricately carved to depict a crowned woman holding pennons (military flags) in her hands, flanked by two kneeling knights in armor. This imagery suggests she may symbolize the rewarder of valor or the sovereign of their hearts.
Medical insights from the period are also on display, including a rare diagram of female anatomy found in The Wellcome Apocalypse (1420). At a time when most anatomical illustrations focused solely on the male form, this inclusion stands out, though it perpetuates the medieval view of the female body as frail and predisposed to disease.
The exhibition also sheds light on remarkable figures such as Lidwina of Schiedam, a Christian mystic and the patron saint of chronic pain and ice skating. Equally notable is Trota of Salerno, a pioneering physician whose name is immortalized in the Trotula, a widely referenced collection of texts on women's health (also including De ornatu mulierum).
Fertility, pregnancy (the exhibition includes an early 15th-century parchment girdle inscribed with prayers and charms, believed to protect the woman who wore it) and contraception, marriage and illicit affairs are tackled, alongside erotic poetry.
A standout example is "Cywydd y cedor" (Poem to the Vagina) by Gwerful Mechain, an 18th-century Welsh poet known for her audacious wit. In this bold and humorous piece, Gwerful critiques men for extolling all parts of a woman's body except what she deems the finest. She sets the record straight by offering an unabashed and poetic celebration of the vagina.
The narrative then shifts to the lives of women labourers, businesswomen, and artisans, shedding light on the inequalities of the time. For instance, in 1483 on a farm in Stebbing near Braintree, 27 men and 16 women worked to bring in the harvest. While the men earned 4 pence a day, women like Cateryn Lytyll and Marget Pers received just 3 pence, a medieval testament to the enduring gender pay gap.
For fashion and textile enthusiasts, the exhibition highlights silk production in al-Andalus, a labor-intensive craft likely dominated by women. Among them was Alice Claver, a prominent silkwoman in London. She was one of the silkwomen who petitioned Parliament four times between 1455 and 1484, advocating for economic protections for their trade.
The journey through this feminine world is enriched with figures of great renown, from printers and writers to historians and rulers. Religious devotion is embodied in the lives of nuns, anchoresses (women who voluntarily lived enclosed in a cell to devote themselves to God), and visionaries whose spiritual and intellectual legacies continue to inspire.
The exhibition features further remarkable documents that bring the voices of medieval women vividly to life. Among these are the letters of St. Catherine of Siena, the autobiography of Christian mystic Margery Kempe (the earliest known autobiography written in English) and a letter from Joan of Arc addressed to the citizens of Riom in 1429, calling for military aid.
Visitors will also be able to see the Liber divinorum operum (1163-73), composed by the German abbess and polymath Hildegard of Bingen. Hildegard's works showcase her influence as a visionary and prophet, as well as her contributions to medicine, music, and politics. Her life exemplifies the intellectual and political heights women could achieve within the confines of a convent. For textile enthusiasts, the exhibition offers a glimpse into the art of convent embroideries like the embroidered altar band made by Joan of Beverley, 14th century (on loan from the Victoria & Albert Museum).
One of the most innovative aspects of the exhibition is its olfactory library, designed to make the experience immersive and appealing to a broader audience, particularly younger visitors. Behind small wooden doors, visitors can uncover a variety of scents that evoke the spiritual and emotional landscapes of these women. A sulphurous concoction, inspired by Julian of Norwich's 16th and final vision in which she met the devil, recreates the stench of Hell. Conversely, a sweet fragrance blending strawberry and honey symbolizes the mystical "marriage" of Margery Kempe to Christ.
There is definitely a lot to learn here, but if there is one quote to carry away from this event, let it be Christine de Pizan's powerful assertion: "God has given women such beautiful minds to apply themselves, if they want to, in any of the fields where glorious and excellent men are active." This statement summarises the enduring legacy of the women celebrated within the exhibition who reshaped their worlds despite the constraints of their time.
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