This study examined marginalia and colophons in South Slavic manuscripts to establish their value as primary historical source documents. The evidence of a "history from below" was compared with other primary sources to provide an understanding about the lives of Bulgarian Christian Slavs during the Ottoman period and a history of their language, scripts, and book production. The Ottoman Empire invaded Bulgaria in 1393, to remain in power there until 1878. During that time, scribes preserved Bulgarian literary heritage by copying manuscripts. They also recorded in the margins of the manuscripts their thoughts and perceptions, formal transactions of the church, and interactions between the church and its community. While the first marginalia were prayers for forgiveness, later marginalia became a somewhat hidden repository of the marginalized voices of the Ottoman Empire: clergy, readers, students, teachers, poets, and artists who repeatedly started with "Da se znae" (Let it be known). This study analyzed the 146 manuscripts in the Historical and Archival Church Institute in Sofia, Bulgaria (HACI) that contain marginalia and colophons. Content analysis of the corpus yielded 20 categories that clustered into six thematic groups: religious texts; marginalia related to book history and production; interactions between the readers and the book; interaction between the Church and the religious community; to historical events; the cosmos and natural history. This study employed a triangulation of methods, including traditional historical and the New History "grass-roots" methods, deconstruction, critical theory, codicology, diplomatics and linguistic analysis to understand the deeper meanings of marginalia and colophons. This inter-disciplinary study can be considered the first comprehensive, systematic study of South Slavic marginalia and colophons of any magnitude to be made available to Western scholars, and the first substantiated "history from below" of the Ottoman Empire. / text

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Images of the Mater dolorosa, the weeping Mother of God mourning over her dead son, are plentiful art of Northern Europe during the fifteenth and sixteenth centuries and often foreground the shedding of effluvia—blood, sweat, and tears—in their depictions of the holy pair. This paper explores the visual themes of tears, blood, eyes, and wounds as vital actors in images that require close, meditative, and affective looking and engagement. Such image formats include small-scale pairings of the Man of Sorrows and Mater dolorosa as well as books of hours. In these contexts, the holy fluids and their bodily sources expand the images' narratives and allow for greater exegesis of their devotional prompts. This phenomenon of expansion via effluvia occurs throughout Flemish devotional culture of this period; this paper uses Albrecht Bouts's diptych panels of the Mater dolorosa and Man of Sorrows, produced between 1490 and 1525, as the chief case study to encapsulate and ground those ideas while still acknowledging that they also apply beyond this image. Considering the widespread commonalities between blood and tears in visual and textual representations of the early modern Flemish devotional culture and the visual similarities between weeping eyes and bleeding wounds, this paper argues that Mary's eyes act as the external manifestations of her internal wounds and become locus of her Compassion for Christ. Furthermore, pictorial blood and tears function as metonymic devices that, like the Man of Sorrows type, invoke the entirety of the Passion and Compassion. The multivalent functions of the blood and tears in Bouts's diptych expand it beyond just a representation of Mary and her son and allow it to become a window and mirror into which viewers could look to engage in penance and communion with Mary and Christ.