Vida errante - History Lab

Stop of gypsies in a rural inn

ad_hlab_min — Sat, 19 Feb 2022 16:31:28 +0000

The image of the Gypsies projected by Pieter van Laer, known as “il Bamboccio” (1599-1642), can be better understood if we understand the situation of the Roma who inhabited Italy. As early as the mid-16th century, their expulsion had become widespread throughout the country. The reasons given by the governor of the Papal States in 1552 for “scandal, disorder and robbery” may serve as a justification. Various projects of assimilation to “Christian” ways of life were attempted in various states, especially in Rome in 1631 because of the moral obligation that came with being the head of the Catholic world. As none of the attempts were successful, the custom of lumping them together with “idiots and vagabonds” became widespread. The Gypsies were expelled by legislation, persecuted as criminals by the various police forces and despised by society as a whole, but this does not mean that they had disappeared. As far as possible, they persisted in their ways of life and tried to remain unnoticed. They became part of the lower classes and a kind of osmosis generated by their miserable living conditions unified their outward appearance. Tattered shoes, worn or tattered clothes, lack of colour, utensils on their backs: they represent the spitting image of begging. One of the initiatives that were legislated from the beginning to achieve their social dissolution was thus achieved: the prohibition of identifying clothing. And probably an incipient sedentarisation was also achieved, which led them to inhabit the most humble places in the towns.

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Landscape with gypsies

ad_hlab_min — Sat, 19 Feb 2022 16:31:28 +0000

The first Gypsies arrived in Spain at the beginning of the 15th century. Crossing the Pyrenees, they arrived on the peninsula in the form of small bands made up of men, women and children. In 1425, Alfonso V of Aragon granted a group led by Don Juan de Egipto Menor a permit, allowing them to travel through the monarch’s territory for a period of three months. The name ‘Egypt Minor’ was used in the Middle Ages to refer to the present-day area of Cyprus and Syria; since the first Gypsy settlers to arrive in Spain used this name, it can be assumed that they all came from the same place. Towards the second half of the 15th century, another significant group arrived across the Mediterranean, which was nicknamed “Grecians”, as they were believed to be from there. These groups of gypsies justified their journey by presenting themselves as pilgrims on their way to Santiago de Compostela, in order to atone for their sins. After an initial warm welcome, in which they were treated with benevolence due to their status as penitent travellers, a series of legal measures against them soon began with the aim of controlling them and making them similar to the rest of the Spaniards. The first measure, issued by the Catholic Monarchs in 1499, ordered the expulsion from the kingdom of all Gypsies who were not subject to any trade and lived nomadically. The anti-Gypsy legislation enacted by the following monarchs was practically similar until 1633, when Philip IV annulled the expulsion decree and a period of legal integration of the minority prevailed until 1793. Finally, under Charles III, the Gypsies began to be slowly accepted by the majority society when it was declared that they “did not come from an infectious root” and that, consequently, they could take up any occupation.

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The gypsies on the move: the rearguard

ad_hlab_min — Sat, 19 Feb 2022 16:31:21 +0000

The series of four etchings by Jacques Callot (1592-1635) stands out in the iconography of the wandering life of the gypsies. It is known as Les Bohémiens and was published between 1621 and 1625. The first print is entitled The Gypsies on the March: The Rearguard, and offers a warlike vision of the male Gypsies. This is not the skilled gypsy who works with metal or the shaman who deals with animals, but the fully armed professional warrior who offers himself as a mercenary. They wear jackets, high soft boots and wide-brimmed hats with feathers. Like so many of them, he travels with his family, duly accommodated in a wagon with spoked wheels that largely solved their housing problem. They carried blankets, rugs, barrels, clothes and other kitchen utensils. The image is also a reminder that the Gypsy people are actually made up of many different tribal-like groups that can properly be considered as clans. The leadership they know almost always refers to an older person who is usually, but not always, a man. This picture shows three generations of gypsies, the most comfortable place being for the elders. An old man with no military attributes, perhaps the patriarch, drives the cart mounted on a penco. The oldest woman rides in the carriage while the others are divided up: some on old nags, others on donkeys and the rest, even if they are pregnant, walk. Some of the women are covered with striped cloaks and all are barefoot, surrounded and embraced by countless children on their backs, on their laps or on their chests. The little ones carry animals in their arms, have learned to walk barefoot and are busy playing, either with their father’s hat or some utensil on their heads. The couplet that can be read at the top of the engraving limits itself to saying indulgently what they are, poor beggars, and to making a sceptical statement about what is expected of them, future promises, good fortune: “These poor beggars laden with good fortune/bring nothing but future things”.

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Cingara orientale

ad_hlab_min — Sat, 19 Feb 2022 16:31:21 +0000

Around 1590 Cesare Vecellio (1521-1601) published in Venice one of the best-known works on Cinquecento costume, entitled De gli habiti antichi, et moderni di diverse parti del mondo. The two-volume volume, illustrated with engravings by Christoph Krieger, contains representative costumes from Europe, Asia and Africa, together with extensive commentaries that provide detailed information on the costume, the place of origin of the people and their customs. Among the pages the author devotes to Asia, with the inhabitants of India, is the Gypsy woman (cingara orientale). What stands out about her is the hat that covers her head, an element that Vecellio calls a “crown” in the original Italian text but which is called a bern in Gypsy women’s clothing. This consists of several wide ribbons wound or intertwined on a wide and more or less rigid base, which could sometimes be made of wicker or even wood. The use of this headdress does not seem to correspond to any kind of social or civil category, but rather it is possible that it was an element of protection for both women and children, useful against the rain or the sun, which they would have to face as a nomadic group constantly exposed to the inclemency of the weather. This female attire was complemented by the use of sackcloth over the body and cloaks over the shoulders, which often made it easier to carry children.

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Landscape with gypsy camp

ad_hlab_min — Sat, 19 Feb 2022 16:31:21 +0000

This landscape by the Flemish engraver Aegidius Sadeler II (1570-1629) confirms that the trades of blacksmith and coppersmith were common practice among the Gypsies. Next to the three men seated in a semicircle in the background, various tools (an anvil, tongs and the hammers carried by two of them) are arranged in the foreground, alluding to forging work. It is quite possible that the Gypsies learned the art of metalworking in India, their place of origin, and brought it to Europe after their arrival in the early 15th century. In the Gypsy camp there are also two pack animals, which could be a mule or a donkey, and with which, together with the horse, the male Gypsies traded, either with people passing through or at fairs. This earned them the nickname of chalanes, a word used to refer to a person who buys and sells animals (mainly horses) in a skilful and persuasive manner. It is known that they did not dedicate themselves exclusively to buying and selling, but that they sometimes adorned or embellished the animals in order to obtain a greater economic benefit from the transactions.

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Gypsy wedding feast

ad_hlab_min — Sat, 19 Feb 2022 16:31:21 +0000

In this work by Alessandro Magnasco (1667-1749) we see a gypsy celebration with a chaotic appearance: the characters eat and drink without moderation and what falls to the ground is devoured by dogs. There is no lack of music at this joyous gathering, played on harp and lute. This, along with dancing, has been one of the occupations of the gypsy people. Some of the most truthful testimonies date back to the end of the 15th century, and are recorded in the account register of Queen Beatriz de Aragón y Chiaromonte, which reflects the payment to several gypsy musicians in exchange for playing for her. In Spain, Gypsies participated with their dances in important local festivities, such as Corpus Christi, or in trade fairs and festivals in honour of patron saints. In addition to the lute, the Gypsy has always been associated with another instrument, the violin. Numerous legends attribute the creation of this instrument to the Gypsies, and the French gypsyologist Clébert’s account is particularly striking: the first violin was made by a Gypsy with hair given to him by the fairy queen Mautya, protector of the poor.

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Gypsies in front of the city of Bern

ad_hlab_min — Sat, 19 Feb 2022 16:31:21 +0000

Although the Gypsy culture has been and still is largely ungrammatical, the linguistic influences to which the Gypsies were exposed have made it possible to trace their origins to India, specifically to the north, in the Punjab region. Settled in tents on the outskirts of villages, it is quite likely that they were engaged in the manufacture of baskets and iron tools, as members of a lower caste. Although the dates of their departure from India remain unclear today, an early reference to their exodus is found in the testimony of the Persian poet Firdusi (11th century), who said that the Gypsies would have arrived in Persia in the 5th century to serve the Sassanid king Bahram Gur as dancers and musicians. In any case, they must have remained in Persian territory long enough for Semitic elements to be incorporated into their language. Around 750, when Persia was under Arab domination, the Gypsy people split into two distinct groups and headed for Syria and Armenia, where they settled long enough to adopt Armenian words. Attacks by Byzantine soldiers in the 11th century caused them to look for a new location, this time in Byzantine Greece. At the dawn of the 12th century they were taken to be descendants of Simon Magus – a Samaritan race associated with witchcraft and animal poisoning; in the 13th century they were taken to be soothsayers and snake charmers; and during the 14th century they were assimilated with the descendants of Cain, son of Noah, who were characteristically very dark-skinned. Before the end of this century, the Gypsies had already reached the Balkans. The Turkish invasion brought them into Western Europe from 1417 onwards, and they expanded rapidly. In 1485 they reached the city of Bern in Switzerland and stayed at the city gates, as recorded in Diebold Schilling’s Spiezer Chronik. In the picture the Gypsies form a compact group, characterised by their tanned skin and brightly coloured clothing in shades of blue, green, red and yellow. The men, in the foreground, cover their heads with pointed hats, while the women, with children in their arms or attached to their cloaks, wear turbans.

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Recua and gypsies in a forest

ad_hlab_min — Sat, 19 Feb 2022 16:30:19 +0000

This oil on copper by the Flemish painter Jan Brueghel the Elder dates from the early 16th century, when his views, forests and panoramic landscapes became more realistic and his work is rich in details of great technical quality. Throughout the 17th century nature had become the ideal setting for the depiction of gypsies, a wandering group that had been moving around Europe since the early 1400s. Brueghel depicts the subject by depicting a lush forest in the foreground, to the left of which opens diagonally into a wide valley painted in blue. The gypsy women are strategically positioned on a path of obligatory passage that allows them to approach passers-by and their wares. The one seated with the child in her arms covers her head with a bern, a circular hat made of a wicker base and interwoven fabrics, which was very characteristic of Gypsy women’s clothing until the mid-17th century. The rest of the women wear a simple scarf tied around their heads. Although Gypsy women were usually barefoot, Brueghel depicted them wearing shoes, with the exception of the boy who walks without shoes. Several of them carry walking sticks to help them on their way.

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