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Illuminated Manuscript Letters S Printable Alphabet LettersNot all manuscripts during the Middle Ages and Renaissance were religious in nature. This period abounded with volumes that contained histories, romances, fables, and legal and scientific writings. The rise of universities paralleled the need for a variety of books to fill their libraries. Additionally, as literacy increased in a growing middle class, so did the number of volumes written in vernacular languages.[1]By the high Middle Ages, the making of a manuscript was often divided among four distinct craftsman: the parchment maker, scribe, the illuminator and the bookbinder.[2] Typically, each belonged to a guild with specific guidelines and standards.The construction of an illuminated manuscript began with the parchment maker, who prepared the animal skins used to make the leaves of a manuscript. Although paper was present in Europe as early as the 14th century, manuscripts were most often written on the specially prepared skin of calves, sheep, or goats, though sometimes parchment makers used smaller animals including rabbits and even squirrels.[3] Though expensive, parchment provided a surface that was beautifully textured, translucent, and durable.St. Mark, about 1120–1140, unknown, German, Helmarshausen. (Saint Mark (Getty Museum)Once the skins were prepared and cut, the scribe wrote the manuscript’s text by hand. A scribe usually made his own quills and ink.[4] In the manuscript page above, St. Mark is portrayed as a scribe dipping his quill into a pot of ink as he sits before a lectern. Mark holds a knife in his left hand, used not only to sharpen his quill, but also to “erase” any mistakes on the manuscript by scratching away the top layer of the parchment along with the mistake.Up to the 12th century, most manuscripts were produced in monasteries in order to add to the library or after receiving a commission from a wealthy patron. Larger monasteries often contained separate areas for the monks who specialized in the production of manuscripts called a scriptorium.[5] Within the walls of a scriptorium were individualized areas where a monk could sit and work on a manuscript without being disturbed by his fellow brethren. If no scriptorium was available, then “separate little rooms were assigned to book copying; they were situated in such a way that each scribe had to himself a window open to the cloister walk.”[6]By the 14th century, the cloisters of monks writing in the scriptorium had almost fully given way to commercial urban scriptoria, especially in Paris, Rome and the Netherlands.[7] While the process of creating an illuminated manuscript did not change, the move from monasteries to commercial settings was a radical step. Demand for manuscripts grew to an extent that Monastic libraries began to employ secular scribes and illuminators.[8] These individuals often lived close to the monastery and, in instances, dressed as monks whenever they entered the monastery, but were allowed to leave at the end of the day.[9]In the case of manuscripts that were sold commercially, the writing would “undoubtedly have been discussed initially between the patron and the scribe (or the scribe’s agent,) but by the time that the written gathering were sent off to the illuminator there was no longer any scope for innovation.[10]Once the text was completed by the original scribe, the manuscript was sent to the rubricator (specialized scribes)[11] who supplimented (in red or other colors) the titles, headlines, the initials of chapters and sections, the notes and so on for emphasis. The term rubrication comes from the Latin rubrico, "to color red".[12]If the book was to be illustrated, it was sent to the illuminator.The Image of the IlluminatorIn reality, illuminators were often well known and acclaimed and many of their identities have survived. Nuns, friars and the clergy in cathedrals and parish churches – as well as monks – played a vital role in manuscript production throughout the Middle Ages and the Renaissance.[13] Depictions of illuminators are rare, but the prolific artist William de Brailes, based in 13th-century Oxford, left at least three images of himself.[14] Here he is shown in the lower right semi-circle, being saved on Judgement Day. St Michael lifts him away from the sinners who are condemned to eternity in Hell. William holds a scroll inscribed ‘W[illiam] de Braile[s] made me.’[15] It confirms his identity, advertises his authorship of the image and reveals the spiritual anxieties of a highly successful member of the professional book trade.A manuscript was not considered complete without an equally fine binding to protect the manuscript, hold the leaves together, and keep them from absorbing moisture and therefore curling. The bookbinder affixed metal clasps or ties of leather or fabric to keep the manuscript tightly closed.[16] Bindings were sometimes embellished with paint, enamel, or with designs stamped into leather with metal tools. The most precious bindings were adorned with metalwork and jewels, particularly in the early Middle Agces.[17]Through most of the Middle Ages, however, manuscripts were sewn onto bands or thongs or cords running at right angles horizontally across the spibe. The stitching of each gathering goes through the centre fold and around the band, through the centre fold again and out around the next band, back through the centre fold again, and so on. The next gathering is the same, and the next, and the next, until all the gatherings are attached securely to the thongs across their spines.[18]The Garima Gospels, Possibly the Earliest Surviving Illuminated Christian ManuscriptsThe earliest extant substantive illuminated manuscripts are from the period 400 to 600, produced in the Kingdom of the Ostrogoths and the Eastern Roman Empire.[19] Their significance lies not only in their inherent artistic and historical value, but also in the maintenance of a link of literacy offered by non-illuminated texts. Had it not been for the monastic scribes of Late Antiquity, most literature of Greece and Rome would have perished.[20] As it was, the patterns of textual survivals were shaped by their usefulness to the severely constricted literate group of Christians.[21] Illumination of manuscripts, as a way of aggrandizing ancient documents, aided their preservation and informative value in an era when new ruling classes were no longer literate, at least in the language used in the manuscripts.Compared to today, few people were able to read and write. Those who could were mainly church men (and, to a lesser extent, women), who read and composed works (mostly in Latin) ranging from commentaries on the Bible, philosophy, history, and the saints, to romances, ghost stories, and bawdy tales of misadventure.[22]However, as an ever-more wealthy, literate and largely urban population developed in the high and later Middle Ages, so too did the audience for sophisticated writings. People read (or listened) for entertainment as well as education. A growing number of rich and aristocratic patrons had an appetite for many kinds of writing: books told of the exotic adventures of noblemen and women; of ancient battles and love stories; of the crimes of sinners and villains, and of the deeds of saints and heroes.[23]This growing interest in literature is also reflected in the emergence of vernacular texts - texts written in Italian, French, English and so on - especially from the 1100s onwards.[24] Whereas Latin writing was produced by and for a largely clerical audience, this new literature was accessible to a broader public. Throughout the Middle Ages and Renaissance, secular illuminated manuscripts increased in volume and incorporated all aspects of knowledge and non-fiction as well fiction and novels. What follows is only a minute representation of some of the larger categories of manuscripts.The bestiaryBestiary - WikipediaIn the Middle Ages, animal stories were immensely popular throughout Europe, North Africa, and the Middle East. The people of the time were, of course, dependent on wild and domestic animals for their survival, and so had an obvious interest in the animals around them. But there is more to it than just a requirement for knowledge of the animals they knew and used; there is a distinctly spiritual and even mystical aspect to the animal lore of the Middle Ages.[25]Animals had been written about for centuries before the Christian era, but it was Christianity that took the stories and made them into religious allegories. The first known text to do this was the Physiologus, written in Greek in Alexandria in the second or third century CE. [26] This collection of animal lore is explicitly Christian; it briefly describes an animal, and continues with an Christian allegorical interpretation. The Physiologuswas a "bestseller" that was translated into most of the major languages of Europe and western Asia; it is said that it was the most widely-distributed book in Europe after the Bible.[27] Many variations on the text appeared over the centuries. The original Physiologus text, describing less than 50 animals, continued to evolve, accumulating more beasts and additional moral interpretations. Around the seventh century, Isiodore of Seville wrote his Etymologiae[28] , an encyclopedia of which part was about animals, derived from the books of Classical authors such as Pliny the Elder.[29] When thePhysiologus combined with the Etymologiae and other texts, the book known as the bestiary was born.The bestiary, or "book of beasts", is more than just an expansion of the Physiologus, though the two have much in common. The bestiary also describes a beast and uses that description as a basis for an allegorical teaching, but by including text from other sources it goes further; and while still not a "zoology textbook", it is not only a religious text, but also a description of the world as it was known.[30]Learning moral lessons from animals: The Aberdeen BestiaryBestiaries are collections of stories about animals both real and fantastical. These pseudo-scientific catalogues reached the height of popularity in the 12th and 13th centuries. The texts were filled with moralizing animal descriptions overlaid with Christian symbolism and principles.[31] They satisfied the abundant curiosity about the natural world while simultaneously honoring God.A large number of bestiary manuscripts were written in Latin, in the Middle Ages the common language of scholars and clerics, with many more written in vernacular languages, mostly French. The Latin bestiary was primarily a product of England, though a few were produced elsewhere, particularly in France.[32] Their authors or compilers are unknown, but there are several distinct groups or “families" of manuscripts.[33] In France, several vernacular verse bestiaries appeared, in various dialects of what is now French, and in these the author usually gives us his name. Gervaise wrote his Bestiaire in the Norman French dialect around the beginning of the thirteenth century[34] , as did Guillaume le Clerc[35] ; Phillippe de Thaon wrote his in the Anglo-Norman dialect around 1121.[36] In the early thirteenth century Pierre de Beauvais wrote two versions of a prose French Bestiaire.[37] Many copies of the French bestiaries remain.Manuscripts of chivalryThe medieval reader could learn Christian morals from the bestiary, and then turn to law books, romances, and other texts to better understand codes of chivalry. Chivalry was a system of values that permeated almost every aspect of aristocratic culture, from fashion to hunting to codes of law.[38]Vidal Mayor, about 1290–1310 (Vidal Mayor | Worlds of Law)One fine example of a manuscript that highlights the chivalric protocol is a Spanish volume from the late 13th century. Called the Vidal Mayor, the book includes laws devoted to a variety of issues, from the legal rights of orphans to those of women leaving their husbands.[39]One of the most powerful aspects of the Vidal Mayor is how it portrays people engaged in everyday legal activities and disputes. The illuminated manuscript shows the law in action, and it depicts law as a human creation.[40]The functioning of [their] representative mode can be grasped when perceived in the context of the larger meaning attributed to the category of the imago in the Middle Ages: not only as a symbolic material product—miniatures or metaphors—but equally as a mental image, an imaginary mental operation, in this case the juridical enunciation of a case. Through this structure, the Vidal Mayor’s images adopt the formula of juridical casuistry. Not only do they reproduce the casuistic methodology by giving yet another juridical example for each fuero, but also the image itself reproduces the casuistic procedure undertaken by the judge as he is shown stating a particular case in his court. Through reproducing the methods of jurisprudence, the images of this manuscript on customary law, make up, in this manner, the core of juridical complexities. Their visual movement originates in the court, moves through the particular case stated, and then takes us back to the court where the fuero is being applied—thus to the text.[41]How to Make the Most of Digitised ManuscriptsRomancesMirth and Gladness lead a Dance in this miniature from a manuscript of the Roman de la Rose (Le Roman de la Rose (The Romance of the Rose)The very word romance comes from the word roman—that is, a narrative written in one of the Romance languages derived from Latin (Italian, French, Spanish, Portuguese, Romanian).[42] These tales often followed the adventures of a knight, whose aim was to prove himself in battle and in the bedroom. Over time the French word roman has come to stand for the genre of fiction known in English as the novel. Amorous love, in the Middle Ages and even today, was so bound up in the literature of love that it is difficult to know what came first: Did French medieval stories (romans) create the vision of love we now call romantic, or did romantic love exist prior to the storytellers?[43]Romances grew in popularity in the Middle Ages—most especially, the Romance of the Rose. The story centers on a lover who dreams of a beautiful rose kept captive in a castle.[44] The rose represents the object of romantic love. Allegorical characters in the story, such as Courtesy, Youth, Fear, and Idleness, either help or hamper the lover's attempts to win the rose.[45]The heart extolled by 12th-century storytellers was always faithful to its one true love. As Chrétien de Troyes wrote in his masterful Lancelot, “Love, which rules / All hearts / allows them only / One home.”[46] Similarly the chaplain Andreas Capellanus, who also enjoyed the patronage of Marie de Champagne, wrote in his Latin treatise On Love (De arte honeste amandi), “True love joins the hearts of two people with so great a feeling of love that they cannot long for the embraces of others.”[47] Fidelity to the beloved was a given in medieval literature, whatever the truth might be outside the text in the lives of real people.The Anatomy of Sight: Poetic Eyedentity in Shakespeare’s Sonnets to...The belief in faithfulness applied whether the sought-after woman was a virginal maid or already married.[48] Obviously, when the desired woman was someone else’s wife, love was, to say the least, problematic. The stories of Tristan and Isolde, Lancelot and Guinevere, and other adulterous couples spoke for the appeal of forbidden fruit. Though we can never know the extent to which adultery existed in real life, medieval society seems to have been obsessed with the subject of the adulteress[49] , as reflected in numerous high-culture verse narratives and popular satirical tales known as fabliaux. Fabliaux were short metrical tale made popular in medieval France by the jongleurs, or professional storytellers, characterized by vivid detail and realistic observation and were usually comic, coarse, and often cynical, especially in their treatment of women.[50]Given the fear that women would produce bastard offspring, feudal practices made it difficult for them ever to be alone. Women of noble birth were constantly surrounded by other women—relatives and servants commanded by the male head of the house to keep careful watch over his wife or daughters.Scientific textsLiberal arts education - WikipediaThe basic course of learning in the Middle Ages was the study of the seven liberal arts: grammar, rhetoric, logic, arithmetic, music, geometry, and astronomy.[51] A renewed interest in the natural world in the 1200s ensured a prominent place for astronomy in the growing universities of Europe.The trivium (Latin for three ways), included the literary disciplines: Grammer, the science of the correct usage of language. It helps a person to speak and write correctly; Dialectic (or logic), the science of correct thinking. It helps you to arrive at the truth; Rhetoric, the science of expression, especially persuasion. Ways of organizing a speech or document to inform a particular audience.The quadrivium (Latin for four ways), included the disciplines connected with mathematics. They were: arithmetic (taught about numbers), geometry (taught about calculating spaces), astronomy (taught about the stars) and music (taught ratio and proportion related to melody and song as it was in the Middle Ages.[52]Constellation Diagrams, early 1200s, unknown (Miscellany of Texts on the Quadrivium (Getty MuseumThis period also saw the birth of medieval universities, which benefited materially from the translated texts and provided a new infrastructure for scientific communities. Some of these new universities were registered as an institution of international excellence by the Holy Roman Empire, receiving the title of Studium Generale.[53] Most of the early Studia Generali were found in Italy, France, England, and Spain, and these were considered the most prestigious places of learning in Europe. This list quickly grew as new universities were founded throughout Europe. As early as the 13th century, scholars from a Studium Generale were encouraged to give lecture courses at other institutes across Europe and to share documents, and this led to the current academic culture seen in modern European universities.[54]The rediscovery of the works of Aristotle allowed the full development of the new Christian philosophy and the method of scholasticism.[55] By 1200 there were reasonably accurate Latin translations of the main works of Aristotle, Euclud, Ptolemy, Archimedes and Galen—that is, of all the intellectually crucial ancient authors except Plato.[56] Also, many of the medieval Arabic and Jewish key texts, such as the main works of Avicenna, Averroes and Maimonide now became available in Latin.[57] During the 13th century, scholastics expanded the natural philosophy of these texts by commentaries (associated with teaching in the universities) and independent treatises.[58] Notable among these were the works of Robert Grosseteste, Roger Bacon, John of Sacrobosco, Albertus Magnus and Duns Scotus.[59]A Medieval Multiverse - Medievalists.netScholastics believed in empiricism and supporting Roman Catholic doctrines through secular study, reason, and logic.[60] The most famous was Thomas Aquinas (later declared a "Doctor of the Church"), who led the move away from the Platonic and Agustinian and towards Aristotelianism[61] (although natural philosophy was not his main concern[62] ). Meanwhile, precursors of the modern scientific method can be seen already in Grosseteste's emphasis on mmathematics as a way to understand nature and in the empirical approach admired by Roger Bacon.[63]Calligraphy model booksThe Model Book of Calligraphy (1561–1596): A Stunningly Detailed Illuminated Manuscript Created over Three DecadesThe Mira calligraphiae monumenta, or calligraphy model book was first created in 1561–62 by Georg Bocksay to demonstrate his mastery of writing styles.[64] Thirty years later, court artist Joris Hoefnagel was asked to illuminate the work. He added fruit, flowers, and insects to nearly every page.[65]Mira Calligraphiae Monumenta was produced at a time when printing had overtaken writing in the production of books. The work was a bit of an anachronism in that it not only relied on calligraphy created by hand, but also emphasized the preservation of information — rather than its dissemination — with luxurious materials like gold, silver and vellum, rather than cheap ink and pedestrian paper.[66] The rise of the printing press did, however, give skilled scribes a new artistic status.The invention of the printing press by Johannes Gutenberg in c. 1440 CE marked the beginning of the end of hand-made, illuminated books[67] , but they remained popular among the wealthy, and some collectors, in fact, disdained printed books and continued to commission hand-made works. Even though Gutenberg’s press made books less costly and more available, it took about 20 years for print books to become a profitable venture. [68] Gutenberg himself, in fact, never profited from the invention; his press was seized for debt shortly after its invention and any profits were made by his patron Johan Fust who perfected Gutenberg’s techniques and popularized the printed word.[69]Footnotes[1] Medieval manuscripts in the vernacular[2] What is an illuminated manuscript?[3] What is an illuminated manuscript?[4] The Medieval Scribe and the Art of Writing[5] Secrets of Scriptoria[6] http://Calkins, Robert G. "Stages of Execution: Procedures of Illumination as Revealed in an Unfinished Book of Hours." International Center of Medieval Art 17.1 (1978): 61–70. JSTOR.org. Web. 17 April 2010. <https://www.jstor.org/stable/766713[7] http://De Hamel, Christopher. Medieval Craftsmen: Scribes and Illuminations. Buffalo: University of Toronto, 1992[8] http://De Hamel, Christopher. The British Library Guide to Manuscript Illumination: History and Techniques. Toronto: University of Toronto, 2001. [9] http://Jones, Susan. "Manuscript Illumination in Northern Europe". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–[10] https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.gresham.ac.uk/lecture/transcript/download/the-making-of-medieval-illuminated-manuscripts/&ved=2ahUKEwi96KfcuIPkAhWKHc0KHSPMBHAQFjAVegQIBBAB&usg=AOvVaw27kZzKXEIHvfaCHEybevg9[11] Rubrication | Notabilia[12] https://latinlexicon.org/definition.php?p1=2051890[13] The Image of the Illuminator[14] De Brailes Hours[15] The Image of the Illuminator[16] Bookbinding, Medieval Manuscript Manual[17] Revel in These Beautiful, Bejeweled Medieval Books[18] Bookbinding, Medieval Manuscript Manual[19] An introduction to illuminated manuscripts[20] Loss and Preservation of Ancient Literature[21] Medieval Book Production and Monastic Life[22] Illuminated manuscript[23] Literature, music and illuminated manuscripts[24] Illuminated Manuscripts[25] https://www.jstor.org/stable/j.ctv4v32fh[26] Medieval Bestiary : Physiologus[27] Epiphanius Physiologus: Physiologus[28] LacusCurtius • Isidore of Seville[29] Pliny the Elder - Livius[30] Bestiary, The Book of Beasts: Compendiums of Medieval Monsters and Moral Lessons[31] The Medieval Bestiary[32] Medieval Bestiary : Bestiary Families[33] Bestiary Families[34] Animots[35] Guillaume le Clerc de Normandie[36] https://www.google.com/url?sa=t&source=web&rct=j&url=http://bestiary.ca/etexts/wright1841/bestiary%2520of%2520philippe%2520de%2520thaon%2520-%2520wright%2520-%2520parallel%2520text.pdf&ved=2ahUKEwijv7eVxIPkAhWFWc0KHRlFDi8QFjAGegQIChAB&usg=AOvVaw3NPw5VuH0mplTtp4lOALI9[37] A medieval book of beasts : Pierre de Beauvais' Bestiary / translated into English by Guy R. Mermier ; followed by a diplomatic transcription of the Malines (Mechelen) manuscript of Pierre de Beauvais, short version, and with, in appendix, an English translation of the Cambrai Bestiary ; with illustrations by Alexandra Eldridge. - Version details[38] Chivalry[39] Vidal Mayor (Getty Museum)[40] Vidal Mayor | Worlds of Law[41] Vidal Mayor: A Visualisation of the Juridical Miniature - Gwendollyn Gout Grautoff, 2000[42] How Medieval Storytellers Shape Our Understanding of Romance[43] The Amorous Heart[44] The 'Romance of the Rose': A Medieval Guide to Love[45] https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.bl.uk/collection-items/roman-de-la-rose&ved=2ahUKEwiGi-SqzIPkAhUGV80KHTjfAdcQFjASegQIBhAB&usg=AOvVaw0C8kJ2p96CLSCeF-1MGK1h[46] https://www.google.com/url?sa=t&source=web&rct=j&url=http://www.heroofcamelot.com/docs/Lancelot-Knight-of-the-Cart.pdf&ved=2ahUKEwju6t3Xy4PkAhUUCs0KHfi2AIAQFjARegQIBxAB&usg=AOvVaw27nZFTbyevnB5xyWdkJnQy[47] https://www.google.com/url?sa=t&source=web&rct=j&url=http://www.nku.edu/~rkdrury/206/capellanus.pdf&ved=2ahUKEwjewbb_y4PkAhVBXM0KHdQaDiAQFjACegQIBBAB&usg=AOvVaw357yMD6dYu4V8Q9yy9uyeM[48] Sex, Society and Medieval Women by N. M. Heckel[49] https://www.google.com/url?sa=t&source=web&rct=j&url=https://ses.library.usyd.edu.au/bitstream/2123/2186/3/LahteelaHeli.pdf&ved=2ahUKEwjZ7974yoPkAhXCLc0KHTeDBYgQFjAMegQICRAB&usg=AOvVaw13_bOdaeuQ_L8nqH38JfkZ[50] Fabliau | medieval French poem[51] The Seven Liberal Arts - The Foundations of Modern Day Education[52] Liberal arts - Simple English Wikipedia, the free encyclopedia[53] The Rise of Universities in the Middle Ages and the Discovery of Aristotle[54] The Rise of the Universities[55] https://www.theopedia.com/scholasticism[56] Why the Arabic World Turned Away from Science[57] Manuscripts and their Importance in Islamic Cultural and Religious Studies - Maydan[58] Literary Forms of Medieval Philosophy[59] The Rise of Science in Islam and the West[60] Ancient and Medieval Empiricism[61] Aristotelianism - Greek Aristotelianism, Arabic Aristotelianism, Medieval Jewish Materialism, Medieval Latin Aristotelianism, Renaissance Aristotelianisms, Modern Study Of Aristotle[62] Bring back science and philosophy as natural philosophy – Nicholas Maxwell | Aeon Essays[63] History of the Scientific Method - How Science Became Important[64] http://www.getty.edu/art/collection/objects/1487/joris-hoefnagel-and-georg-bocskay-mira-calligraphiae-monumenta-flemish-and-hungarian-fols-1-129-written-1561-1562-illumination-added-about-1591-1596/?dz=#264c33f0579a1b3f2b112b8ba3f9ae4698e12402[65] Bocskay and Hoefnagel[66] The Mira Calligraphiae Monumenta: an artifact somewhere between painting and writing - Aleph[67] The Invention and History of the Printing Press [68] https://www.google.com/url?sa=t&source=web&rct=j&url=https://digitalcommons.usu.edu/cgi/viewcontent.cgi%3Farticle%3D1010%26context%3Dlib_pubs&ved=2ahUKEwjVhLb_0YPkAhUKCawKHeV4Bu8QFjAPegQICBAB&usg=AOvVaw3L-B-5_czNx4W9JnrkbJSV[69] Gutenberg’s Entrepreneurial Failure and The Man Responsible

My first thought was most marketing has become guerrilla marketing! With a new social media vehicle springing up seemingly annually, morphing customer relationship marketing (CRM) techniques, and customers becoming more fickle and wiser, companies need to be highly creative, and often very scrappy to reach, engage, and win over customers.What comes to mind are cars. In the "olden days," people went to car lots and shopped around. They'd "kick the tires," take cars out on test drives, and work up the nerve to negotiate with more skillful car salesmen. What they knew about new cars was written in slick brochures, housed in literature racks inside car dealerships.Today! You can virtually examine a car inside. Pop open the trunk. Sit in the driver's seat. Change the color of the car and features with a click or two of the mouse. Every itty-bitty detail about the car from consumer reviews to safety records is available from the comfort of your living room!And because there are so many "bells and whistles" on the internet, companies need to be creative (i.e. guerrilla) to break through.You mentioned a food product. Do you believe your audience would need to try-before-they-buy? If so, you better be handing out samples at groceries stores, community events, and other large gatherings of people.Do you feel your audience is price sensitive? Consider getting downloadable coupons in their hands by creating awareness on social media, food sites (paid banners, short articles, sample recipes), and other online vehicles, which then nudges them to click and download a coupon.Note: If you have printable coupons, and your food is sold through stores, make sure you publicize where the food item(s) can be purchased!!! Nothing is worse for turning off customers than having them standing in a food aisle with a coupon in-hand, and the food item(s) not being on the shelf.Is your food product fun? Can it's virtues be shown in a video? A fun video on YouTube that is then elevated through social media and other sites?Is the food associated with an activity? Great to throw in a picnic basket or taking on a long hike? If so, pair it with an associated activity. For instance, if you're selling an energy bar, advertise/publicize via outdoor publications and sites.Make sense? Marketing has become guerrilla because the rules of marketing keep changing as customers become more sophisticated.

I personally have never visited Gloucester but I did grow up in southeastern Massachusetts and visited Rhode Island several times. Gloucester is about 30+ miles away from Providence (state capital). Based on the town’s official web site it appears to be a typical, quaint New England town. It would probably be awesome to visit any time of year but I would imagine that like most of New England it is absolutely gorgeous in the fall (after Labor Day especially) with the foliage. From the offiical town’s web siteGlocester, RI Official Town Web SitePlaces To See in GlocesterWhether you're a history buff or a nature enthusiast, there are many interesting places to visit in Glocester ...Getting Around:Click herefor a printable map showing the locations of many of the "Places To See" listed below. And be sure to visit the Glocester Town Hall to view the photo exhibit on display along the main corridor (open weekdays from 9:00am to 4:30pm).Nature Enthusiasts: There are several sites within the Town of Glocester which have been preserved as historic and environmental treasures. Visit theGlocester Land Trustwebsite to learn more about these beautiful "back to nature" spots and how to get there.ACOTE'S HILL/ACOTE'S CEMETERYSouthern Jct. of Routes 44 & 102Called Matony before 1800, this hill was renamed when an itinerant half-breed peddler known only as Acote mysteriously died of a fatal wound and a fall downstairs in Kimball Hotel. Acote was buried in an unmarked grave on the west side of the hill. In June of 1842, the hill was the site of an "armed but bloodless" confrontation between Thomas Wilson Dorr's "People's Rights" faction and Samuel Ward King's "Law & Order" party. Dorr eventually surrendered, was tried and sentenced to life imprisonment for high treason, but was released within a few years as a result of public outcry. A monument to Dorr's memory was erected at Acote's Hill in 1912.Click herefor a brief history of the Dorr Rebellion.MANNING ANGELL HOUSE (c. 1820)Mr. Angell had a small tailor shop next to the road, on the southeast corner of the lot. This house became the church parsonage in 1963 after the Victorian parsonage north of the church was torn down.JOB ARMSTRONG HOUSE (18th C./c. 1810)The older portion can be seen at the rear of the building (note the difference in window height). Job Armstrong, a Justice of the Peace and Representative to the RI General Assembly, opened his home to numerous circuit preachers and religious pilgrims. His first store, which he soon outgrew, was in the basement. Sometime before 1820, he built a much larger store across the street (see Job Armstrong Store below). The original basement store was later used as a law office, rum shop, and meat market.JOB ARMSTRONG STORE (bef. 1820)1181 Main Street • 401-568-1866Sat 11-3By 1831, this was the largest of the thirteen dry goods and grocery stores in Chepachet, with 4 to 5 clerks working full-time. Although Armstrong was highly respected in the community, his business suffered after the Dorr Rebellion because he did not share the political views of his fellow villagers. The building was purchased by the Glocester Heritage Society in 1971 and was gradually restored. It is now the Headquarters of theGlocester Heritage Society, and includes a Visitor Center. Stop by to view the photo exhibit or to purchase books, maps, cards, photographs, and other GHS items. The public is welcome to attend monthly meetings. Historic and genealogical researchers by appointment only. Call 568-8967.BAPTIST MEETINGHOUSE (1821)The church was built by Clark Sayles and the bell was cast by G. Holbrook of Medway, MA. The Newport Artillery was billeted here during the Dorr Rebellion in 1842, and Old Home Days began there in 1903.BENEFIT COMPANY STORE (c. 1800)This store served the Benefit Mill workers. Its original facade was changed by a small addition to the front of the building (note the foundation).THE BLOCK (1870's)This was the mill tenement for White's Mill at the end of Tanyard Lane, which burned in 1897.BROWN & HOPKINS STORE (1799)Photo courtesy of Dorothy Higson White1179 Main Street • 401-568-4830Mon-Sat 10-5, Thu 'til 7 & Sun 12-5Built by Timothy Wilmarth, this is the nation's oldest continuously operating general store, dating from 1809. It was the site of Benjamin Cozzens Hattery for ten years, and then became Ann Evans' Store. Later years saw a succession of owners: I. Evans, H. Kimball, R. Wade, W. Read, Read & Potter, and Potter & Brown. Potter sold out to Brown in the early 1900's, and it has gone by the name Brown & Hopkins ever since. The present-day store features antiques, country furnishings, gourmet food, penny candy, and cafe.CARPENTER HOUSE (1830's)This is the last colonnaded early Greek Revival structure in Chepachet. A south wind saved the building from advancing flames during the Fire of 1907.CHEPACHET VILLAGEAlong Route 44In 1971, this quaint, rural Rhode Island village was the first village in Rhode Island to be placed on the National Register of Historic Places. Site of the annual 4th of July Ancients and Horribles Parade, Chepachet boasts a thriving business community including antiques, gifts, collectibles, and seasonal shops that draw a steady crowd.CHEPACHET BRIDGEOriginally a wooden bridge, it was here that Betty The Learned Elephant was shot and killed on May 25, 1826. The wooden structure was called Elephant Bridge until the Freshet of February 10, 1867, when it was washed away.SITE OF CHEPACHET INN (1813)No longer standing, this impressive 21-room hotel with double verandahs stood at the southeast corner of Douglas Hook Road and Main Street (Putnam Pike). This building was at the center of numerous town events ... church meetings, town meetings, legal proceedings, dance schools, entertainment, and fine dining. It was also headquarters for Rhode Island Auto Club #1 in 1902. The structure burned in 1913, along with its 100-horse stable and 2 houses and barns.CHEPACHET UNION CHURCHThis Greek Revival structure was built by Cyrus Eddy and Jesse Potter and was the site of graduation ceremonies for all Glocester schools for over a century. The Trolley Day celebration was held here in 1914. The second tier of the belfry was lost in the 1938 hurricane, but was finally replaced in the spring of 2000 when resident Earle Bowen donated the necessary funds in honor of his late wife.CIRCUS LOTThis field was the site on which Hachaliah Bailey pitched his circus tents in 1822 and 1826 and displayed his prize attraction, Betty The Learned Elephant, to awed villagers. Following Betty's death in Chepachet on May 25, 1826, numerous other circuses raised their tents in Chepachet, but never with another elephant.Click hereto read more about Betty The Learned Elephant.CYRUS COOKE'S TAVERN (c. 1800)1157 Main Street • 401-568-2275Now theTavern on Main, the remnants of the original structure show at the rear of the building. By the time of the Dorr Rebellion in 1842, the building was known as Jedediah Sprague's Tavern. Thomas Dorr made the tavern his headquarters and issued a proclamation that the RI General Assembly should meet there on July 4, 1842. State troops arrived in Chepachet and shot Horace Bardeen through the keyhole of the front door. For months thereafter troops occupied the premises, consuming large amounts of food and drink and demanding accommodations and feed for their horses. Sprague was never paid for all these expenses.ADFER EDDY HOUSE (1870's)This early Victorian structure was also known as the Fiske House. It was here that stage producers from Boston stayed during the summers, directing productions by and for the villagers.AMASA EDDY/CENTRAL HOTEL (18th C.)A harness maker by trade, Eddy was an influential political figure in his day. His shop was in the basement of this building, and later served as a rum shop. An old barn at the rear housed Chepachet's first fire-fighting equipment.HIRAM EDDY HOUSE (c. 1840)This home was built by Cyrus Eddy, a housewright, who with Jesse Potter also built Chepachet Grammar School, Congregational Church, and several fine Greek Revival homes in Chepachet. The property features a large millstone that serves as a well curb at the rear of the house. This stone was swept away in the Freshet of 1867 and was retrieved by the Eddys from Woonsocket Falls.EDDY/FITCH HOUSE (1840's)Originally the home of the Eddy family, this Greek Revival structure features ionic columns at the front portico. The house was later owned by Leon Fitch and his sister, Martha "Mattie" Fitch, a news correspondent for the Providence Journal, Pascoag Herald, Boston Post, and Philadelphia Times.GLOUCESTER LIGHT INFANTRY (Inc. 1774)This building was originally the ell, used for lower grades, of the two-story Chepachet Grammar School, built by Cyrus Eddy and Jesse Potter.HARMONYAlong Route 44This village sprawls along Putnam Pike and features a number of charming shops, restaurants, and businesses.HAWKINS' STORE (c. 1868)This Greek Revival building originally included a porch facing the street. Mr. Hawkins operated his store after the Freshet of 1867 washed away his gristmill and sawmill. In the early 1900's, this building was used as the Chepachet Post Office. Some of the original counters remain today.MASONIC HALL (1803)This is the oldest "fresh water" lodge in the nation. Friendship Lodge #7 F&AM Masons hold their meetings in the upper chamber, which features a "barreled" ceiling. This ceiling was designed and built by the same shipwright who fashioned a similar ceiling forCyrus Cooke's Tavern(now the Tavern on Main). The first floor housed the Farmers' Exchange Bank (1804-1809), which was the first bank to fail in the United States. The night safe was simply a dry well under a trap door in the floor.MILL OFFICE (c. 1865)This Victorian structure, now restored as a residence, served White's Mill to the east and the mill across Chepachet River.MILL TENEMENT (c. 1800)This early mill house features a summer kitchen, fireplaces, and cisterns in the cellar.SITE OF DANIEL OWEN HOUSENo longer standing, this building was the home ofLt. Governor Daniel Owen, President of the Constitutional Conventions at Newport and North Kingstown that accepted the U.S. Constitution (Rhode Island was the last colony to do so). The house was located on Douglas Hook Road, at the second pole from Main Street (Putnam Pike).LAWTON OWEN HOUSE (1840)This Greek Revival home, with the older ell on the east, was the newest house in Chepachet when Horace Bardeen was shot at Jedediah Sprague's Tavern in 1842. It was here that Bardeen was brought for medical attention.OLIVER OWEN HOUSE (18th C.)Owen ran the nail factory and triphammer in Chepachet.SOLOMON OWEN/FRANKLIN BANK (18th C.)Owen ran the oil mill on Chepachet River at the end of Oil Mill Lane. He was also the owner of the ship "Susannah" which was destroyed by the British in 1789. Franklin Bank occupied the south end of the upper floor from 1818 to 1868; Jesse Tourtellot, descendant of Glocester's first permanent settler, was President.SOLOMON OWEN II HOUSE (18th C.)Owen established a tannery across the road east of this house, now restored. His son, Lawton Owen (see above), continued the operation into the 1830's as Eddy & Owen's Tannery.THOMAS OWEN HOUSE (c. 1787)This home was built by Solomon Owen for his nephew, Thomas. When Putnam Pike was widened in the 1920's, this building was moved back away from the road.PARKHURST HOUSE (c. 1830's)This early Greek Revival structure is unusual in that all its buildings are connected. It is the only one of its kind in the town of Glocester.ALBERT PLACE'S MEAT MARKET (c. 1870)This market was later remodeled to serve as a residence.CHARLES POTTER HOUSE (c. 1840)Fine door details mark this charming Greek Revival building. Charles Potter, son of Dr. Albert Potter and father of Dr. Edgar Potter, resided here. Charles became a partner withWalter Readin Read & Potter's Store, later known known as Brown & Hopkins'.ARNOLD SAYLES HOUSE (18th C.)This Colonial half house served as a boarding house around 1900.LEONARD SAYLES HOUSE (c. 1850)This is the only example of Mediterranean Villa architecture in Glocester. Three generations of the Sayles family resided there. Henry Sayles became Town Clerk around 1912 and it was he who directed H. P. Lovecraft on his quest for the Dark Swamp in 1923.Click hereto read more about H. P. Lovecraft and his visit to Glocester.JEREMIAH SHELDON HOUSESheldon's original 18th century home is at the rear of this structure, with the front section being added later. Mr. Sheldon was a property owner. During the Dorr Rebellion in 1842, state troops commandeered his newly-expanded house for living quarters. In the late 1800's, the house was bought by Simeon Sweet, a lumberman. By the time Milmor Manor was operating the building as a Bed & Breakfast in the 1940's, the double verandahs on the front had been removed.LYDIA SLOCUM HOUSE (18th C.)Now the Lamplighter, this building was the birthplace of Rhode Island Attorney General Ziba Slocum. It later served as a boarding house and then as the home of Charles Carlton, Spanish-American War veteran. During the 1820's the southwest corner room was used as a store. It was here that Jedediah Sprague, then-owner ofCyrus Cooke's Tavern, was working the night Betty The Learned Elephant was shot.SLOCUM/FARNUM HOUSE (c. 1860)Built by William Hicks, this building was the home of Rhode Island Attorney General Ziba Slocum and, later, the residence of State Senator Howard Farnum andMaude Read Farnum, Rhode Island's first female banker. It was originally a basic Greek Revival, but was remodeled by the Farnums into a Victorian, expanding the 6-room house into 11 rooms.SMITH/PAINE HOUSE (c. 1830)The northwest corner room of this Greek Revival was used as a store. The little house to the north was originally Mr. Smith's barn.STONE MILL (1814)This structure, built by Lawton Owen, was originally used as a store by several succeeding owners over the years. The building was added to until it eventually grew to three times its original length, and was used as a textile mill until 1969. Satinets, cashmeres, and more recently, tweeds and worsteds were produced here. At the height of mill activity, there was a foot bridge that connected mills on both sides of the Chepachet River.TOWN POUNDCorner Route 102 & Pound RoadThis stone enclosure, built in 1749, is the oldest pound in America. To get there, head south on Route 102 from Acote's Cemetery; Pound Road is just after the Glocester Police Station on the left.A. YOUNG HOUSE (c. 1850)This Greek Revival home has its gable end to the street.Sources:Chepachet.com"Welcome to Historic Chepachet Village" - a publication of the Town of Glocester; Office of the Main Street Coordinator, David Balfour; and Town Historian, Edna Kent (2000).