Arts

The modern world has had a long and uneasy relationship with the nostalgic past, with the line between the harmless and the harmful in this relationship often difficult to parse. This article looks at a particular microcosm of nostalgic medievalism in nineteenth century popular culture—selections from the work of prominent editorial cartoonist Sir John Tenniel in Punch that combine gothic imagery with depictions of modern science and technology—through the literary critical theoretical framework of nostalgia theory, connecting it with strong societal forces in his time.

Sweet bags were small, embroidered textile pouches used in the sixteenth and seventeenth centuries to carry fragrant substances, money, books, sewing tools, mirrors, or other personal items. They were often exchanged as gifts, used to preserve clothing in wardrobes, or used to protect against contaminated air. Beyond their material function, both their name and some of their uses suggest an olfactory dimension, as they were typically filled with aromatic herbs—combinations frequently recorded in recipe books, medical, and household manuals, including Countrey Contentments, or The English Husvvife, Praxis Medicinæ, or The Physitian’s Practise, and Exenterata, among others. Through close reading and literary analysis of such primary sources combined with a sensory approach, this article traces the possible ingredients of these pouches in Early Modern recipes and argues that their olfactory content positions them as objects of the “olfactory gaze” (Verbeek), thereby transforming them into elements of olfactory heritage. Ultimately, the article seeks to recreate the olfactory component of sweet bags within recipe-related practices, and broader domestic traditions of Early Modern England.

Ceremonial deployed with the aim of displaying and perpetuating power was a shared practice across the medieval Mediterranean. Processions, ceremonies, and ritual acts created solidarity and consensus, naturalized dominion, and conveyed legitimacy while minimizing dissent and threats to social and political hierarchies. Such ceremonial acts were carried out in the public spaces of Mediterranean cities, connecting people, objects, and places in multisensory displays. This paper will explore the relationship between urban spaces and ritual and focus on the architectural contexts where ceremonies and rituals were performed. Three cosmopolitan Mediterranean cities—Cairo, Constantinople, and Venice—will serve as case studies for analyzing how richly ornamented architectural structures were employed as the staging areas for spectacle. Their prominent placement and ornamentation highlighted the theatricality of ceremony and defined a multisensory cityscape that was meant to overwhelm the senses and impress participants and spectators alike.