Throughout the nineteenth and twentieth centuries, the figure of the European witch was interpreted and reinterpreted in numerous ways, depending on the orientations of the scholars involved. They described her (typically) as variously an antisocial practitioner of malevolent magic; as a pro-social healer, midwife, and magician condemned by churches and universities; as a victim of mental illness or of accidental poisoning by mind-altering plants; or as a deliberate user of mind-altering plants who sought a shamanic "soul flight." She was either the follower of a Satanic religion developed in opposition to Christianity, or she was the inheritor of pre-Christian Paganism. She was supported by her neighbors, or she was the unfortunate scapegoat for social tensions, a lonely victim with no family to protect her. These different pictures of the typical witch of the Burning Times or the Great Hunt (both terms for the persecutions that peaked in the sixteenth and seventeenth centuries) in turn reflect the sympathies of the writers, whether pro or anti-Catholic, socially rebellious, socially conservative, feminist, or Neopagan. These different perspectives on historical European witchcraft have also influenced what is today called Neo-pagan Witchcraft, a new religious movement.


Since the mid-1970s, historians have more closely examined the court records of witch trials in various European countries (and in North American colonies). They have studied the verdicts, punishments, social status of accused witches, lists of goods confiscated from the accused, and other evidence. In one notable case, scholarly re-examination of older work revealed a major forgery, a portion of Etienne Leon de Lamothe-Langon's Histoire de l'Inquisition en France (History of the French Inquisition), written in 1829. Lamothe-Langon's description of huge 14th-century witch trials with hundreds of executions in the South of France turned out to be complete inventions by the writer—who had also written a profitable series of "gothic" horror novels with titles like The Monastery of the Black Friars.


Today, informed estimates of the total deaths in central and western Europe range from 40,000 to 50,000, much lower than the millions once claimed. Contrary to the picture created by writers such as Lamothe-Langon, the Inquisition (an arm of the Roman Catholic Church created in 1246 to combat heresy) did not execute many witches; secular courts were more likely to condemn accused witches than were church courts. As many or more accused witches were executed in Protestant lands as in Catholic countries, and the witch trials did not peak until 1550-1650, a period that historians describe as "early modern" rather than "medieval."


During the early Middle Ages, Church writers were more likely to insist that witchcraft was a delusion and that priests should discourage their congregations from believing that anyone could cast spells or fly through the air in the entourage of a Pagan deity. The famous Canon Episcopi, publicized in the tenth century but possibly of earlier date, stated that it was heretical to believe in witchcraft, not to practice it. This ecclesiastical legal document, like others of its kind, urged bishops and priests to combat the practice of sorcery, but also suggested that people who believed that they were witches were deluded by the Devil. Another set of church ordinances from the late eighth century demanded the death penalty not for the witch, but for the person who murdered an alleged witch—again, because believing in witches was a Pagan superstition.


After the Black Death swept Europe in the 1340s, mysteriously killing thousands of people, Europeans were more likely to accept conspiracy theories involving enemies of Christianity, defined variously as heretics, Muslims, Jews or possibly witches. Officers of the Inquisition now began to expand their scope from Christian dissenters and heretics, such as Cathars and Waldensians, to people who supposedly had chosen to follow a diabolical anti-Christian religion (rather than a lingering Paganism). New manuals for witch-hunters appeared, such as the infamous Malleus Maleficarum, or "Hammer of Witches," a book that although authored by Dominican monks was used and reprinted equally by Protestant witch-hunters in Germany and England. By the sixteenth century, the witches' sabbat was regarded by authorities as a parody of the Christian Sabbath, the worshipful aspect of a religion which was a distorted image of true religion, i.e., Christianity.

According to the records, the sabbat was generally held in some wild and solitary spot, often in the midst of forests or on the heights of mountains, at a great distance from the residence of most of the visitors. (The use of the word "sabbat," clearly derived from the Jewish Sabbath, indicates the way in which medieval and early modern Christians tended to blur distinctions between all perceived enemies of Christianity, whether Jews, Muslims, Pagans, or perceived sorcerers and witches.)


The witches themselves told a story—usually after torture— of taking off their clothes and anointing their bodies with a special unguent or ointment. They then strode across a stick, or any similar article, and, muttering a charm, were carried through the air to the place of meeting in an incredible short space of time. Sometimes the stick was to be anointed as well as the witch. They generally left the house by the window or by the chimney, which perhaps suggests survival of the custom of an earth-dwelling people. Sometimes the witch went out by the door, and there found a demon in the shape of a goat, or at times of some other animal, who carried her away on his back, and brought her home again after the meeting was dissolved.
In the confessions extorted from them, the witches bore testimony to the truth of all these details, but those who judged them, and who wrote upon the subject, asserted that they had many other independent proofs in corroboration.

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Patchwork Merchant Mercenaries had its humble beginnings as an idea of a few artisans and craftsmen who enjoy performing with live steel fighting. As well as a patchwork quilt tent canvas. Most had prior military experience hence the name.

 

Patchwork Merchant Mercenaries.

 

Vendertainers that brought many things to a show and are know for helping out where ever they can.

As well as being a place where the older hand made items could be found made by them and enjoyed by all.

We expanded over the years to become well known at what we do. Now we represent over 100 artisans and craftsman that are well known in their venues and some just starting out. Some of their works have been premiered in TV, stage and movies on a regular basis.

Specializing in Medieval, Goth , Stage Film, BDFSM and Practitioner.

Patchwork Merchant Mercenaries a Dept of, Ask For IT was started by artists and former military veterans, and sword fighters, representing over 100 artisans, one who made his living traveling from fair to festival vending medieval wares. The majority of his customers are re-enactors, SCAdians and the like, looking to build their kit with period clothing, feast gear, adornments, etc.

Likewise, it is typical for these history-lovers to peruse the tent (aka mobile store front) and, upon finding something that pleases the eye, ask "Is this period?"

A deceitful query!! This is not a yes or no question. One must have a damn good understanding of European history (at least) from the fall of Rome to the mid-1600's to properly answer. Taking into account, also, the culture in which the querent is dressed is vitally important. You see, though it may be well within medieval period, it would be strange to see a Viking wearing a Caftan...or is it?

After a festival's time of answering weighty questions such as these, I'd sleep like a log! Only a mad man could possibly remember the place and time for each piece of kitchen ware, weaponry, cloth, and chain within a span of 1,000 years!! Surely there must be an easier way, a place where he could post all this knowledge...

Traveling Within The World is meant to be such a place. A place for all of these artists to keep in touch and directly interact with their fellow geeks and re-enactment hobbyists, their clientele.

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