Bread of Dreams - Digest: '6. The World Turned Upside Down'

"If winter was always very difficult for the poor, existence became all the more trying in the years of famine, and the most defenceless found themselves 'lying on the ground, poor and wretched'. They sought refuge inside the straw, on refuse and manure. Tormented by chilblains, racked by coughs, infested by lice and ringworm and emanating intolerable smells - wandering dung-heaps, who in 'their own dung even grow fat / I as if they were beetles or worms', unsatiated stomachs 'where the dung both leaves and enters' (Baldassare Bonifacio) - they slowly came back to life when the warm weather arrived and the pangs of hunger lessened; famine seemed in retreat. The exultation of the survivors fed the unjustified illusions of future health, strength and vigour. The discouraging images of prostration and starvation were put away." [...] The resurrection of the famished beggars - the 'half dead' with ashen and dried-out skin - and the abandoning of the bed of dung and the wrapping of straw, indicated the first part of a return to a more humansocial dimension. [...] The disasters of a hunger epidemic, of a seven-year famine (like the one which raged in much of northern Italy between 1590 and 1597), left marks too profound to be wiped out from one day to the next. [...] The accelerated deterioration of physical and mental health during the years of stupefying starvation was for many people an irreversible process towards intellectual disorderand degradation that the return to 'normal' - to the low level of daily undernourishment - would not succeed in wiping out."
(Camporesi 1996, '6. The World Turned Upside Down', pp. 78-79)

"The image of the world, seen from below, appears uncertain, flawed, ambiguous, unbalanced and unhomogeneous, as in the visions of the drugged and the possessed. [...] The natural and divine order is broken up and altered: chaos takes priority over a rational design that presupposes a centre towards which the whole immense periphery converges in unity. The 'expanded conscience' overflows everywhere. The same articulation of time changes the frame of reference:
'time outside of time' is posed as the anti-model of 'time that is within time'. The progressive is nullified in the regressive.
The city of Balordia (literally, 'folly'), kingdom of the idle, lives in a mythology of ebb and flow, unanchored in historical time. This compensatory dream projected from the popular utopia conquers ever more extensive territories in which 'superior' rationality no longer finds a place. [...]
The pauper/slacker lives in the 'time of laziness': the metahistorical time of predictability and insecurity institutionalized in security, set loose from working time, the risk of the future and the fear of history.

Bruegel, Het Land van Kokanje (Luilekkerland), 1567,  olieverf op paneel52 x 78 cm, Bayerische Staatsgemäldesammlungen, Alte Pinakothek, München, inv. 8940

The Land of Cockaigne, in the drugged logic of the impossible, becomes a driving image, able to penetrate the mental cosmos in which the natural (and the real) have been supplanted by the artificial and the unreal. In this dream universe, the mechanical and physical laws no longer make sense: macaroni falls from heaven like edible rain; the earth, no longer worked, miraculously produces pre-cooked foods; the trees do not toss down buds and leaves, but hams and clothes; the animals, their own butchers, spontaneously roast themselves for the comfort of men's stomachs. Work is abolished, time suspended, fatal old age staved off by the fountains of youth, and the women, in their bodily splendour, are triumphant over their straddled and subjected husbands.
But this dismal land of idleness - from which risk has been banished, untouched by the storms of history, without fear and without future - appears sunk in a perspective that is not only dream-like but positively funereal, in a world where plenty is reflected in the negative face of sterility: where nature, overturned, forms inhuman and monstrous landscapes, beyond every possible logic and far from every perspective of life. A 'nature' where the artificial has destroyed the natural, turning it upside down, altering its biological laws, the periods for the maturation of produce and even the time of animal gestation. [...]
(Camporesi 1996, '6. The World Turned Upside Down', pp. 79-80)

"Poverty and madness eventually coincide, in the way that the face of a child struck by athrepsia (a diseased condition caused by malnutrition), undernourishment or the mal dal simiot ('monkey disease', as it was known in Modena), his worn-out skin all wrinkled, appeared similar to that of an old senescent monkey.
The double face of puer/senex, dear to the mystic religions, was utilized at the popular level as the concrete image of the overturning of the natural order. The tiny malnourished senescent was placed on a baker's peel, put in the lukewarm oven and taken out three times with the incantation:

'Into the oven you go, and out
you come, so that the monkey
may remain inside.'

The ambiguous, enigmatic, entangled and reversible logic of popular mental stereotypes presents itself as a cultural anti-model which, because of its subtle attraction, also contaminates the rationalistic Aristotelian culture. In the folk vision of the world, preceded by ingenious anachronism, space is presented as a dimension of time and the universe as a place of ordered chaos where the possible and the impossible dwell together in the same percentage of probabilities. Time is either still or is measured with the unabstract metre of sweat and toil. The land that can be ploughed with a pair of oxen from dawn to sunset becomes a day: a unit of time substitutes for a unit of surface area. The years are counted in terms of empty and full, the seesaw of famine and plenty. The 'year of hunger' is placed in the centre of the calendar of the poor. The 'longest day' is the one during which one does not eat. Time becomes an expandable and shrinkable variable, articulated by the stomach's pulsations, the gut's thinning out or filling up and the fatigue of labour. The popular ceremonial of eating also reproposes a different use of time, alternating long days of the most frugal nourishment - a regimen of survival bordering on starvation - with interminable ritual excesses, dietary orgies and colossal feasts, disorder and drunkenness quite different from the noble banquet based entirely on the aesthetic values of food, a visual cuisine to be displayed."
(Camporesi 1996, '6. The World Turned Upside Down', p. 82)

"It is in this social panorama, traversed by profound anxieties and fears, alienating frustrations, devouring and uncontrollable infirmities and dietary chaos that adulterated and stupefying grains contributed to delirious hypnotic states and crises, which could explode into episodes of collective possession or sudden furies of dancing. The forbidden zones, those most contaminated by the ambiguous, ambivalent magic of the sacred, seemed to emanate perverse influences and unleash dark energies. Psychological destitution, together with the torment of an ailing body, acted as detonator of the epileptic attacks and tumultuous and surging group fits, in which men were attracted and repelled by centres of powerful fascination and places of sacrifice, like the altar. The pathological trance into which entire groups fell [...] forms the alarm call originating from a feverish world: a social body altered in its physiological and psychic equilibrium, where 'marvel' could be confused with 'miracle', which in its turn could appear as 'trickery', 'enchantment' or 'diabolical invocation'.
The horrible dances of the sick inside churches, where the troubled presence of the contaminated and the impure was united with the consecrated and the supernatural, resulted in spectacular, bewildering performances. [...]"
(Camporesi 1996, '6. The World Turned Upside Down', pp. 83-84)

"At Ferrara in 1596, according to the Modenese chronicler Giovan Battista Spaccini, it is believed that the cause of many illnesses, of which numerous people even die, is the bad breads which the people eat, namely that of beans, cabbage and plain oil'. (G. B. Spaccini, Cronaca modenese (1588-1636), ed. G. Bertoni, T. Sandonnini and P.E. Vicini (Modena: Ferraguti, 1911), I, p. 38)
The dark spectre of food poisoning and the crisis (even fatal) of 'evil' breads weighed heavily on
the cities of the Duchies and Papal Legations. Because of the criminal intervention of cynical speculators, 'vulgar' bread could sometimes hide destructive traps. Or else, as happened at Modena in 1592, it could lead to a dangerous slide into the dull and delirious senselessness of intoxification.
Adulterated breads had been put into circulation by the untori of the Public Health: criminal attacks orchestrated by the 'provisionary judges' who were supposed to oversee the well-balanced  provisioning of the public-square.

'On the 21st, a Sunday, with Monday approaching, Master ...
[blank in the manuscript] Forni, Judge of provisions in the square
of Modena, was arrested, along with the bakers, for having had
forty sacks of bay leaf ground to be put in the wheat flour to make
bread for the square, where it caused the poverty to those who
bought it to worsen, so that for two days there were many people
sick enough to go crazy, and during this time they could not work or
help their families.'  (Spaccini, Cronaca modenese, I, pp. 3-4)"

(Camporesi 1996, '6. The World Turned Upside Down', pp. 84-85)

"Temporarily losing their reason or permanently weltering in hunger, many peasants preferred to leave home and turn to begging rather than helplessly witness their children's agony. Changed into a 'house of death', the hut becomes a murderous trap and tomb for the least protected:

'a few days ago [April 1601] in the town of Reggio . . . a peasant,
along with his wife, so as not to see their three sons perish from
hunger in front of their eyes, locked them in the house and set out in
the name of heaven. After three days had passed the neighbours,
not having seen them, decided to knock down the door, which they
did. And they found two of the sons dead, and the third dying with
straw in his mouth, and on the fire there was a pot with straw inside
which was being boiled in order to make it softer for eating.'
(Spaccini, Cronaca modenese, II (1919), p. 117)"

(Camporesi 1996, '6. The World Turned Upside Down', p. 85)

Bread of Dreams - Digest: '7. 'Famine of Living' and 'Times of Suspicion''

"the micro-society of the family [...] explodes like a crazed cell[:]
Aberrant frenzies ignited by hunger [dissolve] every emotional and social bond.
'Hunger is crueller than the plague, because man is in need for much more time, but the plague is more abominable because as soon as it gives us time to catch our breath, it takes away our memory, removes every thought of repentance, and causes the confessors to be absent; the notaries no longer come to write the testaments, the doctors flee, the fathers are sick and tired of their sons, who turn their backs on their fathers, the mothers abandon their daughters and they shun their mothers, one relative does not recognize the other, friends become enemies.'
[Giovan Battista Segni, Discorso sopra la carestia, e fame (Ferrara: B. Mamarello, 1591), p. 46]

The testaments to which Segni refers pertain to the death ritual of the rich: they were the 'passports to the world beyond' (Jacques Le Goff) which foresaw vast endowments to churches and convents, so that the dying passed away with a peaceful conscience, socially and religiously relieved of every  misdeed. The poor amused themselves, in the absence of goods and the difficulties arising because of them, by enacting parodies of testaments, in order to laugh a little at this act sacred to the religion of things'"
(Camporesi 1996, '7. 'Famine of Living' and 'Times of Suspicion'', pp. 87-88)

Anonymus, s.n., 1578, schilderij, Leuven, Sint-Jacobskerk
"Une intense agitation s'observe devant l'église : des prêtres en surplis sortent pour aller donner la communion aux malades et aux mourants; des tombes sont hativement creusees dans l'enclos paroissial, autour des cercueils prêts ii à y être enfouis. Une charrette passe dans la rue, chargée de cercueils ; à droite, un malade est conduit en chaise au lazaret; au premier plan, un cadavre presque nu a été jeté dans une fosse béante, hors de la terre consacrée de la paroisse; au coin de l'enclos, un oratoire abrite !es statues de saint Sébastien et de saint Roch devant lesquelles un couple prie. Cette toile (véritable instantané pris sur le vif) illustre le moment où la mortalité croit tellement qu'il ne sera bientôt plus possible d'enterrer !es morts individuellement : ils seront alors déversés, sans même un linceul, dans des fosses ouvertes n'importe oú." (Jacqueline Brossollet et Henri Mollaret, Pourquoi la peste? le rat, la puce et le bubon (Découvertes Gallimard Sciences), Paris (Gallimard), 1994, pp. 42-43

"The strong passions of the heart, ruling Contagion, can be called the first grave-diggers of man. All the doctors proclaim with one voice that especially Rage, Melancholy, and Terror are cause for flight as much as the Plague itself . . . Thucydides recounts that in the very serious plague which he describes, the melancholic and fearful fell dead more than the others. Various doctors have observed likewise in their own times, and among others Sennerto attests that not a few have been taken by this disease from just the Terror conceived observing from afar, or even without seeing but only hearing that the funeral Cart was passing under their windows, on which were carried the corpses of the dead.
Others, frightened only by a funereal Dream, have so lost heart that, once fallen ill, they have eluded all treatment ... Once the imagination is wounded and the spirits and humours put into disordered
movement by some frightening spectacle, the pestilential poison is all too easily taken, and even without the plague people sometimes die of pure Consternation and Black Humour."
[L.A. Muratori, Li tre governi, politico, medico ed ecclesiastico, utilissimi, anzi necessari in tempo di peste, 3rd edn (Milan: Vigoni & Cairolo, 1721), p. 119] (Camporesi 1996, '7. 'Famine of Living' and 'Times of Suspicion'', p. 89)

Pieter Bruegel, Triomf van de dood [detail], 1562, schilderij, 160 x 120 cm, Madrid, Prado

"But in times of Suspicion - when one hears of 'cases of the plague far away, yes, but which necessitate the precautions of health observances, and of railings or gates, when one must force out of the City as from the State, within a few days, the beggars, vagabonds, gypsies, mendicants, lepers, invalids and similar sorts of people not engaged in some trade and without the will to procure their bread, if not by the all too comfortable begging for it' [Muratori, Li tre governi, p. 23] - the entire variegated universe of those on the margins of society, always and everywhere watched with suspicion and fear, became the potential vehicle of contagion and carrier of epidemics. And on the twelfth day of May, 1498, the Officials of Disease went around the hospitals, chased [them]  out [...], and wherever they were found throughout the city they sent them out of Florence.' [Luca Landucci, Diario fiorentino, dal 1450 al 1516, continued by an anonymus writer till 1542 (Florence: Sansoni, 1883), pp. 299-300] The pestilential disease reaped most of its victims from among the poorest people - labourers, small artisans[...]; among those who did not have the necessary means to leave the inhabited centres rapidly."

'Where the cities are of a large population and the families, mostly of the poor, live in close and crowded houses, the plague causes incredible slaughter . . . [F]or this reason in the quarters most
crowded and overflowing with poor inhabitants, when the disease has entered therein, a frightening desolation is seen in a short time. ' [Muratori, Li tre governi, p. 23] The conditions of those who were forced by indigence to remain in the city [...] became most difficult; the 'poor people' risked 'the manifest danger of dying then from hunger and hardship' [Muratori, Li tre governi, p. 22]: [...]
the poor of the city are without those people who could give them alms or provide them with work, and as a result every day they receive less from the granary and storehouse, so that they remain exposed to the daily risk of dying from hunger, not less than that of the plague. [Muratori, Li tre governi, p. 25]

Anonymus (German), 16th century, woodcut. © Bildarchiv Preußischer Kulturbesitz / Jörg P. Anders

"In the 'afflicted city', dominated by the nightmare of the 'lazaret/slaughter house', [Muratori, Li tre governi, p. 96] smokey and malodorous from the vapours of sulphur, pitch, animals' horns (especially birds' beaks), old shoes, hair, nails and cattle manure, 'it is too easy for one to lose courage and die of fear, on seeing and hearing the ministers of the lazarets and grave-diggers go around with  horrible faces, odd clothes and frightening voices and carry away the sick and the healthy, the dead and the living, as long as there is something to pilfer. Nor can it be said what horror is inspired by the frequent  sound of their bells. ' [Muratori, Li tre governi, p. 97]

Johannes De Ketham, Fasciculus Medicine Antwerpen, Antwerpen (Claes De Grave), 1512
2 personnages sluiten hun neus af, de dokter draagt een spons, gedoopt in azijn
 om de veronderstelde geïnfecteerde lucht te filteren

In a world where the sad winds of Insecurity, Fear and Suspicion blew, the terror of the plague - multiplying the 'antidotes', internal and external 'preservatives', 'pouches', and 'amulets of arsenic', poisonous or innocuous - had as an unfailing consequence the realization of the 'great Chaos of Pharmaceutical Preservatives'. In this dance of prescriptions containing arsenic, sublimate, quicksilver, and of 'curative or preservative aromatic pouches', magic, superstitious practices and apotropaic astrology re-emerged - if ever they had been renounced - with unusual popularity and desperate impetus. The 'archaic attitudes' of the popular world and the magical base of its culture
shattered even the inconsistent rational barriers of a medical science more unsteady and contradictory than ever, groping in the dark.
'The astrologers and the superstitious have inverted many seals, medals, bulletins, rings, cards and similar things with figures, signs, numbers and even sacred words. Some, and mostly in Germany,
exalt and call a marvellous preservative the wearing of a dried toad hung from the neck - or burned and reduced to ash and enclosed in a pouch - during times of contagion. Others in the same manner recommend the wearing of Quicksilver, well closed and sealed with wax inside a walnut ... and they tell of its wonderful effect. According to others, Emerald, Sapphire, Hyacinth and other gems hung from the neck, in such a way that they touch the external regions of the heart, so frightens the plague that it dares not approach.' [Muratori, Li tre governi, p.128]
(Camporesi 1996, '7. 'Famine of Living' and 'Times of Suspicion'', pp. 89-91)

Bread of Dreams - Digest: '4. 'They Set Out into the World of the Vagabond''

"When the crises of existence became more acute, during the tense moments of food shortage [...], the threat of hunger's Grim Reaper, the divine punishment of which ranting preachers warned, lacerated the most deprived, the least protected and least secure, making their terrified faces turn pale. The 'famine of living' - as it was described at the time - upset the price curve, forcing the price of foodstuffs to a level inaccessible to urban artisans and labourers, while the withered countryside saw its cultivators (generally too numerous in relation to the low yield of the land) fleeing towards the heaven of the cities in order to beg - new mendicants - for bread from public charity." [...]
It is not really surprising then that the 'question of language', [...] should perform a mystifying role in this great national deceit, re-invented periodically in order to alienate [...] together with the language of the poor [...], the reality of a world which found difficulty in facing its harsh existence, what with 'storms' in the food supply, hygienic marasmus, servile conditions and precarious trades verging on beggary (costermongers, spinners, spirit-vendors, street-talkers, porters, latrine-emptiers,
tricksters ..., always on the point of sliding into the social temptation of vagrancy or beggary, when work - often unrewarding, always hard - did not guarantee even the necessary minimum, or when
hit by unemployment and the cost of living. [...]
(Camporesi 1996, '4 'They Set Out into the World of the Vagabond'', pp. 56-57)

"In the sixteenth and seventeenth centuries the rogue was experiencing his golden age, with his repertory of 'miserable frauds', his loitering and the 'fiction of broken limbs'. It was said in Bologna around the middle of the sixteenth century that 'the better one knows how to deceive, thebetter one succeeds.' In Genoa, begging, minor crime and roguery constituted a negative social model that worried the civil powers: the garzonastri ('young toughs') joined in with 'some of the vilest criminals, who - not having any trade and being sent on the hunt, it could be said, by fathers who cannot feed them, from around the age of ten to twentytwo, wandering through the streets of the city day and night - support themselves with thefts and vile deeds'. Rogues, on the other hand, represented
'a certain type of scrounger who, as enemies of work and resolved to live at the expense of others, go about asking for alms under various forms and pretences'. The business of living the life of a swindler was day by day becoming an ever more subtle 'art': beggar-philosophers and wandering sages discoursed on their privileged condition and perceptive, disenchanted experts speculated on the penetration of fraud to all levels [...], recognizing the primacy of the 'industry' of deception and theorizing on the universality of the 'imposture', its cosmic expanse, its infinite beauty and ubiquitous metamorphoses. Its indispensable pre-eminence in the formation of man and its unrivalled role in the techniques of expanding the intelligence were vigorously supported.

'And thanks to this variation the world becomes beautiful, the brain of one person is made more acute in the search for new ways of defrauding, and that of another becomes sharper in order to guard himself against it. And in effect, all the world is imposture; and it begins with the men of religion, and continues with the lawyers, the doctors, the astrologists, the worldly princes, those who participate at any time in all arts and trades; and day by day everything gets sharper and more refined. '

[Francesco Vettori, Viaggio in Alemagna (1507)]"

Giacomo Franco, Charlatans in St Marks square in Venice, 1610, engraving [Getty Images]

"The public square 'is none other than the Theatre of worldly events', a much vaster stage than the ambiguous space which constituted the inn (the shrine of meetings, pranks and deceptions). But even certain hospitals, at night, were transformed into gambling dens and card rooms by unreliable types, as can be observed in a few pages of the 'Speculum cerretanorum' [Teseo Pini], where a group of vagrants - wandering pedlars of sacred images - are caught playing dice on the reverse side of a panel depicting the Virgin Mary; or in the 'Serenata di Gian Pitocco' by Giulio Cesare Croce, in which the hospital becomes a safe refuge for wandering lovers.
The furtive shadows of dubious faces moved about on the stages of itinerant actors, sign of the  uncontrollable osmosis between fiction and its representation."
(Camporesi 1996, '4 'They Set Out into the World of the Vagabond'', pp. 58-59)

Hawthorn / Meidoorn (Crataegus Monogyna)

Hawthorn / Meidoorn (Crataegus Monogyna): fruit

[Hawthorn / Meidoorn (Crataegus Monogyna): "The fruit of hawthorn, called haws, are edible raw but are commonly made into jellies, jams, and syrups, used to make wine, or to add flavour to brandy. A haw is small and oblong, similar in size and shape to a small olive or grape, and red when ripe. Petals are also edible, as are the leaves, which if picked in spring when still young are tender enough to be used in salads."
(Wikipedia, dd. 23/02/2016)]

European Hornbeam / Haagbeuk (Carpinus Betulus): fruit

European Hornbeam / Haagbeuk (Carpinus Betulus)

[European Hornbeam / Haagbeuk (Carpinus Betulus): "An important constituent of hornbeam is tannin, which gives it effective antibiotic, astringent, and healing properties. [...] Hornbeam is well known for its ability to relieve mental fatigue and physical tiredness. Its medicinal properties help in boosting energy levels and increase vitality. Hornbeam flower essence is commonly used for treating problems like stress, anxiety, depression, insomnia, and other related disorders. Hornbeam also helps in keeping the mind active so that one can perform routine tasks without getting tired easily." 

(Home Remedies for you, dd. 23/02/2016)  (Wikipedia, dd. 23/02/2016)]

"When bread became scarce or absent in the great houses, if not in the courts themselves, it was easily remedied by accompanying meat with more meat, but when severer than usual hunger entered into peasant houses, they attempted to survive by resorting to surrogates for flour and by devoting themselves to the tiresome search for the herbs and roots necessary for survival. As Tomasino de' Bianchi, a chronicler of Modena in the second half of the fifteenth century, writes: 'they take hawthorn fruit, then chaga [the fruit of the hornbeam (...)]; they dry and grind them and they take three parts of this flour and one of wheat flour and they make bread ... many children are sent to the woods to look for this fruit.'"

Patience Dock / Spinaziezuring (Rumex patientia)

Patience Dock / Spinaziezuring (Rumex patientia)

[Patience Dock / Spinaziezuring (Rumex patientia): "These plants are edible. The leaves of most species contain oxalic acid and tannin, and many have astringent and slightly purgative qualities. Some species with particularly high levels of oxalic acid are called sorrels, and some of these are grown as leaf vegetables or garden herbs for their acidic taste." 
(Wikipedia, dd. 23/02/2016) 
"De jonge bladeren worden als bladgroente gegeten in Oost-Europa met name in Bulgarije, Macedonië en Servië. In Roemenië wordt het ook gebruikt in soepen." 
(Wikipedia, dd. 23/02/2016)]

Persicaria / Adderwortel (Persicaria Bistorta)

Persicaria / Adderwortel (Persicaria Bistorta)

[Persicaria / Adderwortel (Persicaria Bistorta): "Reeds in de 15e eeuw werd de plant gebruikt in de geneeskunde. Het kruid was al eerder beschreven maar dan onder andere namen. De plant werd gebruikt tegen scheurbuik en als wondkruid of bloedstelpend middel. Door de vorm van de wortel kon het volgens de signatuurleer toegepast worden bij slangenbeten en ander gif. Een oude naam voor het kruid was dan ook Serpentaria. Het is nog steeds één van de beste samentrekkende kruiden. In het verleden werd de plant veel als groente gegeten, met name de spruiten en het jonge blad. Ze werd ook gebruikt bij het leerlooien." 
(Wikipedia, dd. 23/02/2016)]

Field Thistle / Akkerdistel (Cirsium Arvense)

taproot thistle

[Field Thistle (alternative name 'lettuce from hell thistle') / Akkerdistel (Cirsium Arvense): "Like other Cirsium species, the roots are edible, though rarely used, not least because of their propensity to induce flatulence in some people. The taproot is considered the most nutritious. The leaves are also edible, though the spines make their preparation for food too tedious to be worthwhile. The stalks, however, are also edible and more easily de-spined." 
(Wikipedia, dd. 23/02/2016)]

Rapeseed / Koolzaad (Brassica napus)

Rapeseed leaves

[Rapeseed / Koolzaad (Brassica napus): "Historically, rapeseed was mainly produced as a source of lubricant for machinery due to its high levels of glucosinolate, a bittering agent which made the oil unpalatable, and erucic acid, a toxic substance associated with cardiac lesions. However, in 1973, Canadian agricultural scientists bred strains of rapeseed sufficiently low in these substances to make the crop palatable and safe for both human and livestock consumption." (Wikipedia, dd. 23/02/2016)]

"On a day in 1484 this same chronicler noted that a group of thirty women and children had entered one of his fields, 'gathering roses, patience-docks, persicaria, field thistle, poppy, rape leaves ... and they mixed everything together with a bit of oil or fat and with vinegar, water and salt in the pot, and they ate it."
(Camporesi 1996, '4 'They Set Out into the World of the Vagabond'', pp. 61-62)