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This masterclass was delivered by <\/em>Prof Pamela H. Smith (Columbia University), Dr Tianna H. Uchacz (Texas A&M University), and Dr Tillmann Taape (Columbia University).<\/em><\/p>\n This masterclass report has been written by Abigail Greenall<\/strong><\/a><\/em> (The University of Manchester) and Vendy Hoppe<\/strong><\/a><\/em> (The University of Manchester).<\/em><\/p>\n \u00a0<\/p>\n Members of the Making and Knowing<\/a><\/em> project team, Prof Pamela Smith, Dr Tianna Uchacz and Dr Tillmann Taape, introduced remaking methodologies to the attendees of the sixth masterclass. The basis for this masterclass was a pre-circulated video of the team remaking a burn salve according to a late sixteenth-century recipe contained in BnF MS Fr. 640<\/a>, whose critical edition and translation was recently published by the project (video below). Remaking this salve elaborated a key point in Smith\u2019s keynote speech: the epistemic value of remaking is not simply that the researcher is learning how-to make something, but it is rather that in the process they are having to understand a whole host of related knowledge systems and make previously invisible material practices perceptible.<\/p>\n The salve calls for only three ingredients: linseed oil, beeswax and holy water, which are transformed into a fluffy, pale ointment through a series of steps. The beeswax is melted in the heated oil and then allowed to cool until beginning to curdle. This heating and cooling of the ingredients is then followed by \u2018washing\u2019 or gradually mixing in holy water. This final step is accompanied by the recital of paternosters, exactly forty-five times, both a timekeeping practice and a religious expression. The underlying emphasis on faith and the role of the supernatural in ordaining the transformative powers of the artisan upon materia medica<\/em> were made more explicit by actually reciting the paternosters and in witnessing the salves physical changes. Remaking this recipe made the material dimensions of a religious ritual apparent and provided an example of the ways that making and doing can be forms of ritual practice in themselves.<\/p>\n