Julia Augustii, daughter of the man who inherited his power from Julius Caesar, was born in 39 BC. As an infant, she was betrothed to Marc Anthony’s eldest son, who was killed shortly after his father committed suicide. Her tumultuous life fascinated me enough to research her life and times more thoroughly, especially her relationship with Marc Anthony's son, Iullus. Julia's stepmother, Livia, is a fascinating woman, too, as are Julia’s successive husbands, especially Agrippa, about whom books and movies have been written.
Julia, Daughter of Rome, is my first ebook, and will be followed by other novels about women who lived their lives in the shadow of famous men.
Because this was set in a much earlier period than my previous historical novels, I wrote it under the name Elizabeth Elson. I’d love to hear from my readers as to what they think of the book. For me, it was an exciting foray into a fascinating period in history.
The history of coffee can be traced back to at least the 13th century, but if may have been used for years before that. After the 16th century, Dutch traders brought coffee plants to Italy, and from there coffee’s popularity spread through Europe and to the New World, aided by frequent trade between Venice and Muslim countries.
The English word coffee may have come, in various forms, from Kaffa in Ethiopia, where the plant originated.
Legend has it that a mystic saw some birds acting particularly lively, and experimented with the berries himself, but the first credible evidence of the coffee bean’s use was in monasteries in Yemen, where the monks used it to keep them awake during evening devotions.
In 1720 traders brought coffee plants to islands in the Caribbean, where plantation owners quickly realized the plant’s value, setting in motion the massive transport of slaves from Africa to Cuba to work the fields.
At various times, coffee has been forbidden, in Turkey and other places, but because of its popularity, the bans were always quickly overturned.
For myself, I’m just grateful to whomever the first man was who got past the bitter taste of the raw bean and experimented with making a tasty brew.
The protagonist in my current work-in-progress is from Warsaw, and in doing research about the Polish-Lithuanian Commonwealth, I ran across an article of interest. Coffin portraits, seldom used outside the Commonwealth, were an important part of Polish funerals, usually lavish and ceremonial, even for the common people. However, a farmer’s portrait may have been drawn by a family member, whereas a nobleman’s image was done by a professional artist. Portraits of the deceased were attached to the coffins, then removed before burial and hung on the walls of the church.
The metal on which the portrait was painted was shaped to fit the end of the coffin where the head of the deceased would be. The opposite end of the coffin generally held the epitaph, and on the side of the coffin mourners would see the coat-of-arms of the deceased. Because most were painted in oils, on either tin or silver, the images have disappeared from churches as years passed, either taken as booty during one of several wars, or stolen by vandals.
Aside from this period in the Polish Commonwealth, the term coffin portrait was also used to describe the funerary art from Ancient Egypt, portraits common during 1 BC and until 3 AD, a relatively narrow expanse of time. The Egyptian portraits were painted on wood. The portrait covered the face of the mummy, and was attached to the cloths used to wrap the mummy. Some nine hundred of these Egyptian portraits are in the hands of collectors and museums, but because of the warm climate in Egypt, which helps to preserve the wood, the portraits are useful in determining hairstyles and clothing of the period.
I loved mysteries as a teenager, but somewhere along the way, I turned to historical novels, my first love. However, not long ago I took the time to read a debut mystery written by another member of Historical Novel Society. I love books set in France (as is evident by my writing), and so I settled down to read Judith Rock’s Rhetoric of Death, an historical mystery set in 17th century Paris. To my delight, the novel has all the appeal of good historical fiction—the ability to transport me to the past, to the streets of Paris, where a Jesuit monk follows leads down dusty back alleys to solve the mystery of a murdered student and the attempt on the life of another.
If you love historical novels, you will love Rhetoric of Death. Judith has another mystery just out, The Eloquence of Death. The book titles would be off-putting were the author not so talented, the plots interesting, and the characters so real. I’m recommending it to both my book groups, and highly recommend Judith’s books to anyone who wants a book they can’t put down until the final page, wishing then the read was not yet finished.
As early as the 8th century, musical instruments have had keys, though the keyed instrument Emperor Constantine sent to King Pepin of France was probably nothing like the keyboard instruments of today.
In the early part of the 11th century, Guido of Arezzo, a Benedictine monk who is regarded to be the inventor of modern musical notation (the staff) and the ut-re-mi (do, re, mi name for tones) devised a way to attach a keyboard to a stringed instrument.
One of the earlier keyboard instruments was the clavichord, which at first had only twenty keys.
After the 15th century almost all the key-stringed instruments used the chromatic scale, as we find it in modern pianos. Keyboard size varied from instrument to instrument.
In the 18th century, a piano maker in Vienna built a concave-formed keyboard, convinced it would better serve the tendency of the human arm to move in a semicircle.
A piano maker in the 19th century designed a keyboard on which the semitones (our black keys) were the same color as the full tones, and were not raised. Thus, the keyboard we know today is the result of experimentation through the ages. As a pianist, I am grateful to have raised black keys and the full 88-key keyboard of today.
Recently I attended the Historical Novel Society's conference in San Diego, where I was a panelist with three other authors, all of whom have a stack of best-sellers to their credit. Flights cross-country, hotel room prices, and conference fees can add up pretty quickly, and people have asked me, are conferences really worth the price? My answer is an unequivocal yes. First, you know that anyone there has an interest in your genre, or at least, in books and what makes them great. Secondly, no matter where you are in your writing career, you can always find workshops that will give you fresh knowledge, and improve your writing. I attended a workshop on Writing Gay Characters, and took notes like crazy--even spoke with one of the panelists who said he would gladly look over some scenes I was not sure were right. Thirdly, of course, are the pitch sessions, where you can meet that editor or agent you've been wanting to talk to, face to face. Add to all these benefits the networking, one of the most enjoyable parts of the conference. At one meal, I sat next to an author who I later learned sang in a group that does medieval music. What a coincidence! She and I started talking, and she knew I had written The Tapestry Shop, my 2010 release about a trouvere, one of the wandering poet/musicians in northern France during the thirteenth century. After I returned home, she wrote me that she read my book on her return flight, plus she send me a nice review. At a reception one evening, I met the author Karleen Koen, whose recent release, Beyond Versailles, intrigued me with its title. I am about halfway through the novel and loving it, and I loved meeting Karleen, a talented and intriguing personality.
Are conferences worth it? Of course, and in this changing industry, I believe writers' conferences are more important than ever, not only for the reasons I mentioned, but to keep track of what lies ahead on the horizon--for authors and publishers and agents. Right now I'm looking forward to the Colorado Gold conference in September, sponsored by Rocky Mountain Fiction Writers. Maybe I'll see some of you there.
Because pockets are sometimes hidden from view, it is difficult to know, from images alone, when pockets first became a standard part of an ensemble. I found a fascinating article about pockets on the Victoria and Albert Museum website, a valuable resource for seeing the shape and purpose of ladies' and men's pockets in the 19th century, the setting for my current work-in-progress. In addition, the website has illustrations as far back as the 17th century.
In the 18th century, pockets were underneath ladies' petticoats, as seen in photo at the right. Men's pockets were sewn into coat and breeches' linings, much as they are today.
Because there was less privacy in previous centuries, when families frequently shared rooms, people sometimes kept their personal possessions in their pockets.
Before handbags came into general use, pockets were used as a carryall, where ladies could carry common articles like thimbles or scissors, as well as money, snuff boxes, smelling salts, or even food and a bottle of gin.
Click here to read the blog of our Florida Chapter of the Historical Novel Society.
My amazing web designer has created a website for my E-books. You can see it here.
Jerrica Knight-Catania is the new winner for the artisan jewelry set. Jerrica, please contact me by May 22, 2012, using the contact form on this website or on my Elizabeth Elson website. I need your address so I can mail the jewelry. Congratulations!
My reading list is an eclectic one, first, because I belong to two book clubs. Secondly, because I need an occasional fix for my historical novel habit, and lastly, because I need to do research for my own writing. Here are my latest reads in no particular order.
Marrying Mozart by Stephanie Cowell
The Hidden Diary of Marie Antoinette by Carolly Erickson
The Tsarina's Daughter by Carolly Erickson
Grave Goods by Ariana Franklin
Isabella D'Este: A Study of the Renaissance by Julia Cartwright
All Other Nights by Dara Hora
Claude and Camille by Stephanie Cowell
A Walk in the Woods by Bill Bryson
Sarah: A Novel by Marek Halter
South of Broad by Pat Conroy
Hotel on the Corner of Bitter & Sweet by Jamie Ford
The Outlaws of Medieval Legend by Maurice Keen
Olive Kitteridge by Elizabeth Strout
Loving Frank by Nancy Horan
Without Reservations: The Travels of an
Independent Woman byAlice Steinbach
Sacred Hearts by Sarah Dunant
Being a Pilgrim: Art and Ritual on the Medieval Routes to
Santiago by Ashley and Deegan
Guernsey Literary and Potato Peel Pie Society by Shaffer and
Shanghai Girls by Lisa See
The Miracle of Prato by Laurie Albanese and Laura Morowitz