Arts and Sciences
For those of you who are over all this Richard III malarkey (hi anja!), I hope you understand why this post has to be. There’s a rotating spine gif here, people. How can I be expected to resist that? I’m only human. Besides, the question of Richard’s spinal deformity, its existence, nature and extent, has been the subject of many histories and even more theatrical performances for more than five centuries.
Now we have some real answers courtesy of the University of Leicester team which has published a brief paper on Richard’s spine in The Lancet. You can read it free of charge if you register on the site.
When a body decomposes, different parts break down at different rates. Ligaments that hold the spine together are some of the last ones to decompose, so usually the way the spine is found in the grave is how it was in life. The curvature in Richard’s spine could not have been a function of how he was placed. This was confirmed by examination of the bones, which found that the vertebrae of the curve are slightly different shapes and sizes. The only way those bones would fit together in life was in a spine with scoliosis.
The skeleton laid out on a flat surface, however, only shows the sideways curvature of the spine. It takes a 3D model to see the full picture of the condition. The bones were scanned on a multi-detector CT scanner which takes high resolution images from every side, allowing them to be viewed as a whole 3D structure or in slices across any plane. The bones obviously were not joined, since the soft tissue is all gone and there is no software that will take the disconnected bones and put them back together the way they were in life. Usually that work is done by creating models.
The team was able to use the imaging data to generate a model which was printed out in a polymer using the advanced 3D printing equipment of the Wolfson School of Mechanical & Manufacturing Engineering at Loughborough University in Leicestershire. This produces a near identical copy of the bones, only the model is durable, light weight and easily passed around, giving scientists the opportunity to study the skeletal structure without having to handle fragile human remains. Even after the king has been reburied, therefore, experts will still be able to examine his bones.
The bones of the spine join at three places: the gap between two vertebrae where there’s a disc and two facet joints at the back. With the plastic model, experts drilled a small hole in the center of each vertebra and ran a wire through them, separating each bone with a felt pad standing in for the disc. They then joined the facet joints using a similar technique. They saw that while the lumbar vertebrae in the lower spine appeared quite normal and fit together in a standard way, as they rose in the spine the osteoarthritic degeneration in the facet joints that was caused by the scoliosis increased markedly, deforming the joints. That deformity meant the bones fit together in a very specific way, an enforced thoracic curve that is the s-shaped bend in the spine we saw in the photographs of the skeleton in situ and in the lab. The measurement of the extent of the spinal curvature, called a Cobb angle, is 65-85 degrees. In today’s scoliosis patients that would be considered a large curvature to be corrected by the surgical implantation of metal rods. Once they reached the upper thoracic vertebrae, the facet joints returned to normal and the spine straightened out.
In addition to the sideways s-curve, the 3D model illuminates the spiral twist of the spine that you can only see when the spine is rotated. (You could see it even more clearly if the ribs were attached, but they haven’t 3D printed any ribs yet and probably won’t because many of them were broken when unearthed.) The model shows that the ribs on Richard’s back would have stuck out significantly on the right side, while they were sunken on the left. When he leaned forward, the prominent ribs on the right side of his back would have formed a hump. This would not have been visible, however, when he was clothed and in most any other position than leaning over, so all those pillows stuffed under costumes are way off.
The physical disfigurement from Richard’s scoliosis was probably slight since he had a well balanced curve. His trunk would have been short relative to the length of his limbs, and his right shoulder a little higher than the left. However, a good tailor and custom-made armour could have minimised the visual impact of this. A curve of 70—90° would not have caused impaired exercise tolerance from reduced lung capacity, and we identified no evidence that Richard would have walked with an overt limp, because the leg bones are symmetric and well formed.
He may or may not have had back pain. If his spinal curvature had been magically straightened, he’d have been 5'8" tall, about average for a man of the period. With the scoliosis he was two to three inches shorter.
The polymer model was photographed from 19 angles and the images used to create an interactive 3D model. You can click on it and drag it from side to side to examine the recreated spine from any perspective.
The first round of coins from the Saddle Ridge Hoard, the 1,427 gold coins discovered in Northern California in February of 2013 by a couple walking their dog, has gone up for sale and is being snapped up by collectors. Since sales began on Tuesday, more than half of the coins have sold.
The festivities began at 7:30 PM on Tuesday at the Old Mint in San Francisco, the very same building where many of the Saddle Ridge Hoard coins were first struck. Sixty of them were put on display, including the most important and valuable single coin in the collection: an 1866 $20 Double Eagle that is missing the motto “In God We Trust” on the back. It’s an extremely rare piece, as Congress had passed a law in March of 1865 authorizing the placement of the motto on all gold coins that “shall admit the inscription thereon.” The San Francisco mint apparently lacked the proper equipment to include the motto at that time. That little oversight makes the coin valued at $1.2 million.
An hour after the exhibition, one coin went up for auction at the Old Mint: an 1874 $20 Double Eagle. It sold for $15,000, with all the proceeds going to restore the National Historic Landmark and converting it into the San Francisco Museum at the Mint. The buyer was Ray Lent with Placer Partners, which is heavily involved in the cause. The mint museum will be the first museum dedicated to the history of the city, believe it or not. You’d think a place like San Francisco would be lousy with them. Here’s a video of the culmination of the auction and an interview with Ray Lent explaining why they secured the coin for the museum. There are some great shots of the space and the exhibition.
With the non-profit part done, commerce began. Coin dealer Kagin’s Inc. put up hundreds of coins for sale Tuesday night. By midnight, 225 coins offered for sale on the website were bought for a total of $2.4 million. Even more coins were listed on Amazon Tuesday night. Within an hour, 346 of them had sold for more than $1 million. At this rate, the initial estimate of the hoard’s value at $10 million will be surpassed by at least a million.
The 14 finest coins are being sold in a single lot along with the original can that was their home for near a century and a half. They’re available on Amazon for a cool $2,750,000 and yes, you can buy them with 1-Click. As of this writing, 572 coins from the hoard are for sale individually on Amazon, priced between $2,975 and $17,500. Kagin’s has 55 coins for sale on its website and numbers are diminishing rapidly.
It’s the condition of the coins and their Robert Louis Stevenson-like story that underpins their commercial success. The gold coins are nearly all in mint condition, with coins struck between 1847 and 1894 and barely circulated. They were buried in eight metal cans in the Gold Country of the Sierra Nevada mountain until their rediscovery by the property owners last year.
Eventually almost all of the coins will be sold. The owners, known only as John and Mary, will keep a few coins for sentimental reasons.
Under a disused municipal soccer field in Pont-Sainte-Maxence, a city in the northern French province of Oise, archaeologists from the National Institute for Preventive Archaeological Research (INRAP) have unearthed the remains of a massive 2nd century A.D. Gallo-Roman building while surveying the site for future construction. Hundreds of limestone blocks, many of them carved, were found buried in the sandy soil next to the Compiègne-Senlis national highway, formerly a Roman road.
It was built at the end of the reign of the Emperor Antoninus (138-161 A.D.) and appears to have collapsed very soon after construction. The structure was an estimated 90 meters (295 feet) wide and 9.5 meters (31 feet) high, but only one meter (three feet) thick. That bold architectural choice of building so high a wall without bracing doubtless played a major role in its untimely demise, along with the sandy soil on which it was built. The facade had a series of 13-17 arches in the center, the building blocks of which are lying horizontally where they fell. They were sufficiently broken and damaged to spare them from stone scavengers, but expertly preserved by the dry sand that became their home for almost 2,000 years.
Archaeologists aren’t certain yet of what purpose the building was dedicated to, but it could have been a religious sanctuary of some kind sponsored by a hugely wealthy patron. Almost the entire Greco-Roman pantheon is represented in the high quality bas-relief carvings of the frieze. They were carved in a Hellenistic style entirely unlike anything else found in the north of Gaul. The work is so exquisite that it’s not likely to have been carved locally. It’s the kind of statuary you’d expect to find in Rome or Greece, not in distant northern Gallic provinces, even at the height of imperial prosperity in the 2nd century. Somebody paid an enormous amount of money to build this monumental structure.
There are realistic depictions of Jupiter as the horned ram Ammon, horses, griffins, floral and geometric reliefs, and a figure of Venus next to the head and hand of an old woman poised as if she’s whispering, a representation of the myth of Venus turning an old woman to stone after she betrayed the location of Venus and Mars’ adulterous tryst, causing them to be found in flagrante delicto by her husband Vulcan. There’s Juno’s peacock, Diana’s quiver and bow, and a face that could be the Medusa, although her snakes are missing so it’s hard to say. Traces of the original color paint that made ancient Roman statuary and architecture so deliciously garish have survived, an exceptionally rare discovery since the paint was often the first to go. Sections of red cinnabar, light green and yellow are clearly visible to the naked eye.
Not only is this huge building unrecorded in surviving sources, but there is no known Gallo-Roman settlement in the area. Ancient docks have been found elsewhere in Pont-Sainte-Maxence, so something was certainly going on at that locale. We just don’t know what. Even after it collapsed people still found things to do there. Coins from the fourth century have been found among the ruins.
Unfortunately archaeologists won’t have the chance to study the site thoroughly. Excavations began two months ago and will continue through the end of June. Then the team has to clear out to make way for the construction crews that will build a shopping center on the site. The fact that there’s an archaeological treasure there that is literally without precedent apparently won’t even cause a delay. All INRAP can do is move the limestone blocks to temporary storage while they find a permanent location to study and document the stones uninterrupted. How they’re going to move all those blocks without damaging them in the very short window of time they have is not yet clear.
Karen O’Maxfield was in the Ice House, a public works outbuilding at Colt Park in Hartford, Connecticut, last year when she stumbled on a large number of cast iron plaques. They were in a pile on the dirt floor of the basement, topped and surrounded with junk like an old plastic milk jug and random bits of tubing. O’Maxfield took some pictures and shared them on Facebook where they were spotted by Hartford history buffs Greg Secord and Lynn Ferrari. The three got together and began researching and inventorying the plaques.
They discovered in the archives of the Hartford Courant that the plaques had once been part of a memorial to the 207 Hartford men who died in World War I. The memorial began in 1920 with the planting of 189 elm trees along the pathways encircling the track, dance floor (cool park!) and baseball diamonds in Colt Park. Mayor Newton C. Brainard, himself a history lover who decades later would become president of the Connecticut Historical Society, presided over the ceremony. Each tree was adorned with a small name marker. It was called the Trees of Honor memorial.
Six years later, the Rau-Locke American Legion Post 8 replaced the four-inch name markers with substantial cast iron ones on poles beside the trees, now a complete set of 207. Each plaque was approximately 12-by-10 inches and embossed with the name of a deceased soldier, his rank, the location where he fell and the date. For years the city commemorated their sacrifice at the memorial every Armistice Day (renamed to Veterans Day in 1954) on November 11th.
It’s unclear when exactly the plaques were removed, but it was in the 1960s that almost all of the trees were killed by Dutch elm disease, a fungus spread by bark beetles that first arrived in New England in 1928. The trees were destroyed and the plaques put into storage. The basement of the Ice House was not a great place for them. The dirt floor was prone to flooding and over time the plaques were damaged. Some were cracked; all were tarnished. Others were lost altogether.
When they were rediscovered, there were only 179 plaques out of the original 207. We know the names of the men whose plaques are missing, thanks to a list published in the 1920s by the Hartford Courant. (You can see the complete list here.) Secord, Ferrari and O’Maxfield are working to replace the 30 missing and broken plaques. They’ve started a Facebook group, Hartford Heroes, and a GoFundMe project to raise money for the replacements. Each one costs $325 for a total of $9,750.
Thankfully Competitive Edge Coatings, a South Windsor powder coating company, stepped up to the plate and offered to restore the existing plaques free of charge.
“To know that these plaques in memory of people who lived in Hartford were put down in this building and left unnoticed, I feel that they should be out where people can see them,” said Damon Schuster, who co-owns the shop with Chris Scutnik. They cut the tarnish with a blast of glass beads, which brought out the original metal and redefined the details. They then applied a number of powder coatings to some plaques.
The American Legion post that originally funded the plaques in 1926 is still in existence today. It is working with other organizations and the city to recreate the memorial in Colt Park, complete with new trees. Since 2014 marks the 100th anniversary of the beginning of World War I, it would be fitting if the goal could be accomplished this year.
It began with the peineta, the tall comb worn by Spanish women under the mantilla, a traditional translucent lace head covering, or by flamenco dancers as decorative hairpieces. Aspects of the comb tradition go back hundreds of years, but the accessory as we know it today took root in the 18th century and came to its full fulgor in the early 19th century. It crossed the Atlantic, establishing itself in Spanish Latin America where it soon took on a unique character.
This was a turbulent time for Spain’s old colonies. Napoleon invaded Spain in 1808 and while the motherland poured money and might into the fight for the next six years, the colonies struggled for their own independence and the Empire splintered under the pressure. As independence movements grew, Latin American fashions followed, branching off into their own distinctive development.
They had the raw materials for it: the shells of Caribbean sea turtles. They were widely traded in South America, used by artisans to craft jewelry and decorative items like hair combs. With an embarrassment of riches purloined from what seemed like an inexhaustible supply of marine turtles (not coincidentally, they’re endangered now), artists could expand the boundaries of the traditional design.
In 1823, Spanish machinist Manuel Mateo Masculino started a business in Buenos Aires making combs and comb-making machines. He advertised that his gear and employees could produce more than a thousand combs a day. His business took off. Soon he had 106 employees making his designs using three different kinds of turtle shells (including a very expensive Indian import), ivory and mother of pearl. The material was cut, punctured, carved, polished, stamped, embossed, heat fused and polished. Masculino’s machines and the templates he designed brought a whole new complexity to the peineta, creating elaborate openwork filigree in place of the more solid edged Spanish pieces.
He also went big, not home, expanding the Spanish originals into combs one foot square. Every year his designs got bigger and fancier. The original wedge shape morphed into crescents, crowns, bell shapes, baskets. By the early 1830s, the average width was three feet. No longer were they peinetas. Now they were peinetones.
The massive combs and the ladies who wore them were cause for much comment in the media. They became socio-political footballs, representing the evils of female vanity and wastefulness and the rejection of the ideal of the modest virtues of the household. Journalists tut-tutted at their impracticality; poets wrote verse imprecations against women who bankrupted their families and turned to prostitution to support their peineton habit; artists satirized the increasingly absurd dimensions. A series of lithographs by French artist César Hipólito Bacle published in a magazine called Extravagancias de 1834 caricatured the giant hair combs as literal homewreckers, knocking down walls on their way out, assaulting men on the street and ruining their view at the theater.
The National Museum of Fine Arts in Buenos Aires has two exceptional examples from its collection online which prove the satires had a kernel of truth. This piece is a fraction of an inch under three feet wide and just over one foot high. It’s modest compared to this beautiful behemoth which is three feet ten inches wide and one foot four inches high. The elegant lady who wore that didn’t knock down walls, but she definitely had to walk through doors sideways.
Notice in the center of that comb is a carved silhouette of Juan Manuel de Rosas, military leader and Federalist governor (read: dictator) of the province of Buenos Aires who ruled from 1829 until 1852, covering the heyday of the peineton. The oval is surrounded by oak leaves, a nod to the high Roman military decoration the corona civica, and topped with a Phrygian cap, a symbol of liberty. Underneath the oak wreath is carved the slogan “Federation or Death,” which helps date the hairpiece to 1832 at the earliest, the year de Rosas decreed that that phrase be used in all federal badges. There are few surviving examples of this slogan in a fashionable accessory.
By the time Bacle’s Extravagancias came out, Rosas had turned on the peinetones. Once symbols of Argentine patriotism, a way for women to display their support for Argentine independence in the public sphere, the huge combs were now dangerously subversive, as far as the government was concerned. Bacle ran the official government press, so he wasn’t just printing a fashion magazine. He was actively working on Rosas’ behalf to associate the peineton with women of questionable virtue and even more questionable politics.
It worked. The trend toward giantism reversed, and even though peinetones remained in fashion through the 1850s, the day of the four-footer was over.
A home movie filmed at the July 7, 1937, All-Star Game at Griffith Stadium in Washington, D.C., captures incredible rare footage of President Franklin Delano Roosevelt walking in his braces. This is only the second known film recording the painful walk Roosevelt taught himself after he was paralyzed from the waist down by polio in 1921. The other clip is four seconds long; this one is eight seconds long.
Determined to have a political career despite his paralysis, FDR had himself fitted with heavy leather and steel leg braces that locked at the knees and learned to approximate a walk by twisting his torso while using a cane for balance. With his other hand he leaned on aide or his son for support. This was an incredibly arduous and painful process and he couldn’t sustain the motion for very long. It’s a testament to his tremendous will power and upper body strength that he could do it at all.
The footage was shot by Jimmie DeShong, who, as a pitcher for the Washington Senators, had close-up access to the field and bullpen even though he wasn’t actually on the American League team for the All-Star game, a team that included seven future Hall-of-Famers — Lou Gehrig, Joe DiMaggio, Earl Averill, Joe Cronin, Bill Dickey, Charlie Gehringer, Lefty Gomez — and was managed by another — legendary Yankees manager Joe McCarthy. A native of Harrisburg, Pennsylvania, DeShong recorded the day’s events with his 8mm home movie camera. The rest of the film captures private family moments and hunting scenes in Pennsylvania.
It has remained in the family all these years. Jimmie DeShong died in 1993. It’s his daughter Judith Savastio who donated the film to the Pennsylvania State Archives so their experts could conserve it, transfer it to HD and make this important document available to the public. Documentary filmmaker Ken Burns is the first to benefit from this generous gift. His latest series The Roosevelts: An Intimate History was already complete when he heard about the newly-discovered footage. He found it so compelling that he asked PBS to let them re-edit an episode to include the clip.
From Ken Burns’ statement:
Any film of [FDR] struggling to get from one place to another is extremely rare, as the Secret Service either prohibited or confiscated cameras whenever FDR was making an attempt to propel himself from his car to anywhere else. The President wanted to minimize the public’s knowledge of the devastating effects polio had had on him – he was completely paralyzed from the waist down and he could not walk without the aid of a cane and braces on both legs. The press in those days complied with his request not to be filmed.
We thought we had found and used all the rare bits and pieces that existed. But this remarkable 8 seconds provided to us by the Pennsylvania State Archives is one of the very best pieces of film that so clearly shows what a brave struggle it was for FDR to move. The fact that he is on an incline and that it is very windy makes his walking even more arduous. The wind even presses his pants against his withered legs and you can clearly see the braces underneath.
The series will air on PBS starting September 14, 2014. Here’s the DeShong film, with Roosevelt’s appearance starting at the 40 second mark when his car is driven onto the field.
If you’re interested in President Roosevelt’s life after polio, make your way to Warm Springs, Georgia, where FDR did hydrotherapy from 1924 until his death in 1945. He bought an extensive property there and donated it to the Warm Springs Foundation, the non-profit organization he founded that would become the March of Dimes. For years the hospital in Warm Springs was the only one dedicated solely to the treatment of polio victims. The historic springs have been restored and although the waters no longer the fill the pools, the on-site museum bears witness to an illness that terrified a nation for decades until Salk’s vaccination was released in 1955.
The Little White House, a lovely cottage he built next to the therapeutic warm water baths, is where he died. It’s a National Historic Site with a small but captivating museum in beautiful, peaceful surroundings. Very much worth a visit.
The Morgan Library and Museum has an impressive collection of 489 etchings by Rembrandt van Rijn, the largest and finest in the United States. Pierpont Morgan himself started collecting Rembrandt’s etchings in 1900 when he bought the entire library of millionaire rare book and print collector Theodore Irwin which included 272 Rembrandt etchings. He added 112 more prints in 1906 when he acquired them from the legendary art collection of the late railroad magnate William Henry Vanderbilt, sold by his son George of Biltmore fame.
A hundred and fourteen years after Pierpont bought the Irwin collection, the Morgan owns prints of almost all of the 300 known etchings by the Dutch master in multiple impressions thereof, including very rare ones. Some prints have been published in exhibition catalogs, but other than that, to view these innovative and influential works you had to go the Morgan in New York City where a few selections were on display. As of May 22nd, however, the entire Morgan collection of Rembrandt prints has been digitized and uploaded to the museum’s website.
Rembrandt began experimenting with etching in 1626 when he was a youth of 20 in Leiden. Other painters like Peter Paul Rubens made prints of his work, but he hired printmakers to do all the etching. Rembrandt did all the work himself, seeing it not as a means to mass-produce and publicize his pricier pieces, but as an exciting artistic medium in its own right with its own strengths. They were made by scratching lines on a resin-coated copper plate using a fine needle or the thicker drypoint needle and then dipping the plate in acid. The acid would “bite” the plate wherever the resin had been scratched away, leaving an impression. His early etchings had a relatively straight-forward drawing style. Over time he developed a more painterly style as he used dense thickets of lines and overlays of ink wiped off only in highlighted areas to create dramatic chiaroscuro.
His subjects ranged from self-portraits, often studies of posture and expression rather than formal representations, portraits of family (his mother, his first wife Saskia) and patrons, Biblical scenes, landscapes of the Dutch countryside and even some erotica which has no equivalent in his painted works. He also depicted people at the fringes of society, beggars, peasants, the elderly, the ill, sometimes mixing them up with images of himself in remarkable studies that look like sketches on a piece of paper rather than the work of painstaking engraving on a plate.
Rembrandt’s prints became hugely popular all over Europe, commanding impressive sums. An etching of Christ Preaching, a masterpiece of complex composition drawing from several different Biblical passages, is now known as the Hundred Guilder Print because an elderly patron paid him that much for an impression of it. His biographer Arnold Houbraken wrote that the demand for Rembrandt’s prints was so great people sought out impressions of different states with slight differences for the cachet of having the version of, for example, Woman Sitting Half Dressed Beside a Stove both with and without the stove key.
The largest number of Rembrandt prints that have ever been on display at once was at a British Museum exhibition in 2001 which featured about 100 of his etchings. Now you can enjoy almost three times that many in high resolution from the comfort of your computer. I recommend clicking on All Images and browsing through the whole collection. Click on zoom or on download to examine the details.
Speaking of which, I feel compelled to show love to the obscure but exceptionally innovative Dutch printmaker Hercules Segers. Rembrandt was a big fan of Segers’ work, collecting his paintings and prints, and even remaking one of the latter, acquiring the copper plate of Tobias and the Angel and remaking it into The Flight into Egypt. The Morgan has two impressions of The Flight (this one and this one) and it’s fascinating to the alterations close-up.
After more than a year of legal wrangling, a High Court has ruled that the remains of King Richard III will be reburied in Leicester Cathedral as originally planned. The claimant in this case is The Plantagenet Alliance, an organization created by Stephen Nicolay, 16th great-nephew of Richard III, specifically to contest the burial plans. He and 14 other people descended from Richard’s siblings (the king himself has no direct descendants) wanted Richard’s remains to be interred in York Minster because they believed that to have been wish in life, so they contested the exhumation license granted by the Ministry of Justice to the University of Leicester Archaeological Service (ULAS).
On August 24th, 2012, the first day of excavations under the Leicester Council parking lot that researchers believed was the site of the Greyfriars church, archaeologists uncovered human bone. They stopped digging immediately in accordance with the Burials Act of 1857 and on August 31st team leader Richard Buckley applied for an exhumation license. The application proposed to exhume “up to six sets of human remains for scientific examination” with any excavated remains to be kept in the Jewry Wall Museum with the exception that “in the unlikely event that the remains of Richard III are located the intention is for these to be reinterred at St Martin’s Cathedral, Leicester.”
The license for “the removal of the remains of persons unknown” from the Greyfriars site was granted on September 3rd, 2012. Once they had the license, the ULAS team excavated the bones fully and found two skeletons, one of which had the tell-tale curved spine and sharp force injuries of Richard III. Then came the DNA analysis and other tests that confirmed they had indeed discovered the remains of the last Plantagenet king of England. The announcement of the discovery was made on February 4th, 2013, an unforgettable day here on the blog.
On May 3rd, 2013, The Plantagenet Alliance filed for a judicial review of the exhumation license. Their legal argument was that the Ministry of Justice should have consulted more widely with other interested parties (ie, the descendants) and the public once they realized that the “persons unknown” cited in the license included a king of England. The Secretary of State would seek the consent of relatives of an identified exhumed person in other circumstances, so they should have in this case as well.
The High Court ultimately disagreed. They ruled the MoJ had no duty to consult, that there is no established practice that would require the Justice Secretary to consult with collateral relatives of someone who died 500 years ago. The uniqueness of the circumstances — the excavation of a king of England — is no basis for expanding the law since there could be all kinds of exceptional circumstances that don’t involve kings. The people and institutions who needed to be considered were.
This case undoubtedly has unique and exceptional features which arguably call for special consideration. It is why the claim has reached this Court. The archaeological discovery of the mortal remains of a King of England after 500 years may fairly be described as “unprecedented”. The discovery touches on Sovereign, State and the Church. To the extent that these unique features call for special consideration, it may well be that the decision-maker is required by law to ascertain at least the views of Sovereign, State and the Church. In our view, however, at all material times in this case the Secretary of State was sufficiently aware of the views of Sovereign, State and the Church to be able to make an informed decision.
You can read the entire decision here (pdf), and it’s very much worth it. The court lays out the whole history, from Richard’s life and death at the Battle of Bosworth to how the excavation came together to the discovery, the reburial politics from Council to Parliament and of course the legal challenge. Fun fact: Philippa Langley was talking to the Ministry of Justice about what to do in case Richard’s remains were found starting in January of 2011, believe it or not. She even touched base with the Private Secretary of Prince Richard, Duke of Gloucester, grandson of King George V, first cousin to Queen Elizabeth II and patron of the Richard III Society to see where the Royal Household stood on the question. They supported the excavation in a distant sort of way, with the only locus of concern being that the remains were handled with respect.
The Plantagenet Alliance has not commented on the decision yet but they do have a three week window in which to lodge an appeal. Richard Buckley and the University of Leicester spokesperson are delighted, as is the Dean of Leicester who said at a press conference that they’re aiming for a burial ceremony in spring of 2015.
When it was minted in 1776, the Continental Currency coin didn’t have a denomination. There were silver, brass and pewter versions and numismatists still aren’t sure how they were used because there is no value notation on the coins themselves and no historical records authorizing the coins have survived. There are about 60 of these coins extant, most of them pewter. Only four of the silver Continental Currency coins are known and one of them has just sold at auction for $1,410,000. An impressive result for a coin whose original value is unknown.
On February 10th, 1776, the Continental Congress authorized the creation of the first national currency, paper notes in denominations from 1/6th of a dollar to 80 dollars. The name came from the Spanish dollars, whose reliable silver weight and purity had made them a global currency since they were first minted in 1497, used to back the notes. The design of the Continentals, as the notes became known, was the work of Benjamin Franklin, a long-time advocate for paper money who as early as 1736 had printed paper currency for New Jersey. The obverse of the Continental fractional dollars has the Latin “FUGIO” (I fly) written over a sundial and the charmingly Old Richard-esque legend “MIND YOUR BUSINESS” written underneath it. (It’s not really sure what he meant by that legend, but it probably wasn’t “mind your own business” in the way we think of it today. It’s more likely to have been a literal meaning of business as in see to your money-making. It could have been a rebus with the sundial and FUGIO legend, meaning something like time flies so take care of your business.) The reverse has 13 linked rings, each labeled with the name of one of the colonies, surrounding a sun containing the legends “AMERICAN CONGRESS” and “WE ARE ONE.”
The borders and devices for the Continentals were the work of engraver and artist Elisha Gallaudet who had engraved New York State notes in 1771 and New York City notes, the first currency issued by an American city, in 1774. Elisha Gallaudet also engraved the dies of the Continental Currency coin that just sold. He left his mark — EG FECIT (EG made it) — on the silver coin making it one of very few coins from the colonial period to bear its maker’s signature. Experts believe that the Continental Congress intended the coins to replace the one dollar paper note.
The four resolutions from May 10, 1775 to May 9, 1776 provided for the issue of paper money in various denominations, including the one dollar bill. The six resolutions of July 22, 1776 through September 26, 1778 omitted the one dollar denomination. Thus, it is logical to conclude the pewter pieces were intended as a substitute for the paper dollars in those issues. The coins had minimal intrinsic value, and like the paper bills they replaced, were valued according to the public’s confidence in Congress, who guaranteed their value at one dollar each.
The mintage figures are unknown, but the pewter coins appear with enough frequency to suggest they were produced in substantial numbers. Many of the coins were undoubtedly melted during this period, because Benjamin Franklin observed that pewter was sorely needed for the canteens used by soldiers in the Continental Army. The most reasonable explanation for the brass examples is that they represent dies trials. The silver coins are of full weight and value, suggesting that a precious-metal coinage was contemplated, but the Continental Congress was chronically short of funds and had no reliable supply of silver, so this idea must have been abandoned quickly.
Instead they stuck with the paper notes which were cheap to produce but depreciated at an alarming rate. There were too many of them in circulation, and the British took advantage of their weakness to distribute huge amounts of counterfeit notes, devaluing them even further. Within three years of the first issue Continentals had dropped to 1/5th of their face value. A year later they had plummeted to 1/40th of their face value. A year after that they were no longer being used as currency at all. It wasn’t until the Constitution was ratified that Continentals finally scraped up a little bit of worth: 1% of face value to be exchanged for treasury bonds.
Franklin’s fabulous design got another bite at the currency apple in 1787 when it graced the first official penny of the United States of America, today known as the Fugio Cent after the Latin “I fly” legend.
Skeletal remains previously thought to date to the 13th century have been re-examined and found to date to the time of the Norman Conquest. The radiocarbon dating results and the evidence of his violent death makes this skeleton the only one ever documented that could have been killed in William the Conqueror’s invasion of England.
Skeleton 180 was unearthed in 1994 at the site of the cemetery of the medieval hospital of St. Nicholas. It was one of 103 skeletons excavated at the site, only a few which showed signs of a violent death. Those were of particular interest to archaeologists because the hospital was adjacent to the field where the Battle of Lewes was fought on May 14th, 1264. The Battle of Lewes saw the defeat of King Henry III by the baronial faction led by Simon de Montfort, Earl of Leicester. Henry was forced to cede his power to a council led by Montfort, making Montfort de facto king of England for a year (he would be killed in battle with Prince Edward, the future King Edward I, in August 1265), a momentous year for parliamentary democracy since Monfort called the first parliament with elected representatives.
Last year, with the 750th anniversary of the battle coming, the Sussex Archaeological Society commissioned University of York battlefield expert Tim Sutherland and osteoarchaeologist Malin Holst to take a fresh look at the most notable of the St. Nicholas skeletons: skeleton 180. There have been significant advances in battlefield and forensic archaeology since 1994. The society’s hope was that new analysis would determine whether 180′s wounds were received in battle rather than as a result of, say, violent crime or a personal dispute.
As part of the re-examination, the University of Edinburgh radiocarbon dated the skeleton and found to everyone’s surprise that it dated to 1063 with a 28-year margin of error. If skeleton 180 did die in battle, therefore, it wasn’t the Battle of Lewes. The fatal blows are on the back of his skull, six sword injuries inflicted from behind.
Osteoarchaeologist Malin Holst from the University of York, who was commissioned by Sussex Archaeological Society to examine the skeleton, said: “The first injury was probably a cut to the right side of the ear and upper jaw. This was then followed by a series of sword cuts, all delivered from the left hand side behind the victim, in a downward and horizontal motion.”
However she has discovered much more which helps build up a picture of the individual. Malin said: “He ate a diet particularly rich in marine fish, and was at least 45 years old but may have been older. He had some spinal abnormalities and suffered from chronic infection of the sinuses. He showed age-related wear and tear of the joints of his spine, shoulders and left wrist, which might have been uncomfortable. He had lost a few teeth during life, possibly as a result of receding gums. He had two small tumours on his skull.”
His final injury wasn’t the first time he sustained a dangerous head wound. A wound to his left temple incurred up to two years before his death caused a blot clot. It was thoroughly healed by the time he died, however.
There’s still no confirmation that skeleton 180 was killed in battle. He could have been attacked by brigands who slashed at his head until he fell. Further research is necessary and it may not ever be possible to determine whether he was a victim of civilian violence or a battlefield fatality. At the very least it’s a window into the violent period the followed the Norman Conquest.
The original artwork of Wolverine’s first appearance in comics sold at auction Friday for a record $657,250. It ties the record for the most expensive comic book art in general — Todd McFarlane’s original 1990 cover art for The Amazing Spider-Man #328 sold in 2012 for $657,250 — and sets a new record for original artwork from the interior of a comic, beating out an iconic image of Batman and Robin drawn by Frank Miller for 1986′s The Dark Knight Returns which sold in 2011 for $448,125.
“We knew when this artwork surfaced that is was, without doubt, one of the most significant pieces of original comic art ever drawn,” said Todd Hignite, Vice President of Heritage Auctions. “It has now brought a final price realized commensurate with that status.”
Penciled by Herb Trimpe and inked by Jack Abel, the drawing introduced the mutant Wolverine in the last panel of the last page of The Incredible Hulk #180 in October of 1974, making this year the 40th anniversary of Wolverine’s first appearance. The story written by Len Wein puts Hulk in the wilds of Canada where he hopes to enjoy a little r&r, only to find himself tangling with the Wendigo. The Canadian government, concerned about the very large green man with anger management issues, sends in a secret weapon to handle him: Weapon X, aka, Wolverine. “If you really want to tangle with someone,” the mutant helpfully suggests, “why not try your luck against – the WOLVERINE!”
Wolverine shared his first cover with Hulk on the next issue (#181) and the two continued their minuet with the Wendigo through issue #182. Wolverine then moved on to the company that would make him famous, appearing in Giant-Size X-Men #1 in May of 1975. He didn’t get his first solo title until 1982.
A year later, Trimpe gave the artwork from that last page of The Incredible Hulk #180 to a young fan who quietly kept it all these years. He wasn’t involved in the collector community, so nobody knew that the work had survived until a few months ago when Heritage Auctions announced that it not only existed, but was going up for auction. The seller, who has chosen to remain anonymous, planned to give the bulk of the after-tax profits to charity, including the Hero Initiative which raises funds to support comic book artists and writers in need.
The buyer is collector and sports card dealer Thomas Fish. According to Heritage Auctions’ website, he’s been amenable to purchase offers on freshly acquired works in the past, so it’s likely an investment piece intended for resale.
A Roman marching camp from the 1st to 3rd century A.D. has been discovered near the town of Hachelbich in Thuringia. It’s the first Roman military camp found in the eastern German province and the first camp that is more than a day’s travel from the eastern border of the empire on the Rhine. In fact, it’s closer to the Elbe River than it is to the Rhine (the Elbe is about 150 miles east of the site, the Rhine 220 west), a strong indication that the Roman military did not completely withdraw to the Rhine even after three legions led by Publius Quintilius Varus were slaughtered by Germanic tribesmen at the Battle of Teutoburg Forest in 9 A.D.
The discovery of a large third century battlefield on Harzhorn hill in Lower Saxony in 2008 confirmed that there was a significant Roman military presence east of the Teutoburg Forest more than 200 years after Varus’ humiliating defeat. Archaeologists estimate about 1,000 Roman soldiers fought (and won) at Harzhorn. The Hachelbich marching camp is about 60 miles southeast of Harzhorn. It covers 18 hectares and was large enough to accommodate an entire legion of around 5,000 soldiers. As a marching camp, it wasn’t a permanent fortress, but rather a protective enclosure built by the legionaries in one evening so they could camp down in a defended position. They wouldn’t have spent more than a few days there while on their way elsewhere, in this case probably east towards the Elbe.
The site was found in 2010 during road work, but it was kept quiet while archaeologists explored the area. They excavated more than two hectares and covered another 10 hectares with magnetometers and aerial surveys. Now that the site has been identified as a military camp, the Thuringian State Office for Heritage and Archaeology has announced the find. They’re keeping the exact location a secret, however, to keep looters from ravaging the place on the hunt for portable Roman artifacts.
A rough rectangle with round corners, the camp is standard Roman military issue. No matter where they were, legions on the move set up a minifortress in the wilderness at the end of each day’s march. At Hachelbich, the meter-deep trenches dug around the camp were the easiest feature to spot in the soil. Two perimeter trenches have been found, each more than 400 meters long.
On the camp’s northern edge, the soldiers built a gate protected by another trench that projected out past the perimeter. “It’s typically Roman—no Germans did that sort of thing,” Kuessner says. The trenches were part of a simple, but effective makeshift perimeter defense: A low wall of dirt was thrown up behind the trench, then topped with tall stakes, to create a defensive barrier almost 3 meters wide and 3 meters high. Erosion wiped away the wall long ago, but it left discolorations in the soil where the trench was dug.
Archaeologists also unearthed the remains of eight bread ovens close to the camp perimeter, which shows an impressive commitment to quality food considering the legionaries weren’t going to be there for long. Some artifacts confirming the military nature of the camp were found: four hobnails from the soles of Roman caligae, fittings from a sword scabbard and horse tackle.
The style of the artifacts places the camp in the first two centuries of the first millennium and radiocarbon dating supports the range, but archaeologists haven’t found anything to narrow it down any further or link to the camp to the reign of a certain emperor. Excavations will continue this year and the next at least. After the crops in the valley are harvested this fall, archaeologists will be able to excavate the farmland. They hope to find coins that will provide a precise date, or an artifact with the legion number on it that would write a new chapter in Roman military history.
CT scans have revealed that a small cartonnage sarcophagus in the Wellcome collection at Swansea University’s Egypt Centre contains the mummified remains of a three to four-month-old fetus.
The sarcophagus is just over 20 inches long and painted in the style of the 26th Dynasty (ca. 600 B.C.), with a yellow and blue wig, wide collar, and brick red face. The body features crossing diagonal lines that form diamond shapes with a cream vertical band from collar to feet and two horizontal bands intersecting it. On the bands are painted hieroglyphics that don’t make any sense. Because of this, there have been some questions its authenticity but it’s not unheard of for genuine sarcophagus from this period to have gibberish hieroglyphics. Pioneering Egyptologist Sir William Matthew Flinders Petrie posited that the painters of mock hieroglyphics may have been illiterate and included the nonsense words because the presence of hieroglyphics was important for the voyage to the afterlife. The provenance of the piece can’t help because all we know about it is that it entered the collection in 1971.
In 1998, Singleton Hospital X-rayed the sarcophagus and found traces of what could be a small skull, but nothing conclusive. On April 28th of this year, Swansea Univerity’s Clinical Imaging College of Medicine CT scanned the sarcophagus which revealed far more details about what’s inside. The bulk of the space is filled with folded textile, likely linen bandages.
Within those folded strips of material, the CT scan showed a darker area about 3 inches long which researchers identified as a fetus in fetal position and with a placental sac. What could be the fetus’s femur was also identified.
“The length of the femur together with the size of the dark patch is consistent with that of a 12 to 16-week-old fetus,” Graves-Brown said.
“Another dark patch suggests the presence of an amulet and there are several areas with dark circles resembling strings of beads or tassels,” she added.
The CT scan could not determine the gender of the fetus. The iconography of the sarcophagus suggests he was a boy. The striped wig was typically used on the sarcophaguses of men (although women were known to sport them as well) and the russet face paint is characteristic of male burials.
Fetus coffins are rare but not unheard of. There were two fetuses found in Tutankhamun’s tomb, and a whole section of the Eastern cemetery in Deir el-Medina was dedicated to the burial of children, fetuses and placentas. Egyptians believed the placenta was a twin of the self, so when a fetus or stillbirth was buried, the placenta was buried too.
It seems the Met is feeling generous these days, not just in enhancing its collection but also in sharing it. As part of its new Open Access for Scholarly Content program, the museum is releasing 400,000 high resolution images that can be downloaded directly from its website and used for scholarly purposes without asking for permission or paying a fee.
In making the announcement, [Thomas Campbell, Director and CEO of the Metropolitan Museum of Art] said: “Through this new, open-access policy, we join a growing number of museums that provide free access to images of art in the public domain. I am delighted that digital technology can open the doors to this trove of images from our encyclopedic collection.”
OASC was developed as a resource for students, educators, researchers, curators, academic publishers, non-commercial documentary filmmakers, and others involved in scholarly or cultural work. Prior to the establishment of OASC, the Metropolitan Museum provided images upon request, for a fee, and authorization was subject to terms and conditions.
To access the images, click on the collection database and either search by keyword, browse the featured artists/topics or browse by material, geographic location, era or departments. For getting lost in beautiful things, I’m partial to browsing by era and culture. Look for the OASC in a little box underneath the picture the left of the My Met link. To download the image, click on the down arrow to the right and save the image to your hard drive in the usual way. They also seem to allow hotlinking but that’s rude and unreliable in the long term so I wouldn’t do that.
Apparently some images that are still under copyright or whose status is unclear are not yet available for free use, but I haven’t encountered any in my browsing thus far. If the photograph is not free for use, it will not have the OASC icon underneath them
On a tangentially related (at best) note, while enjoying a random browse today I came across this arresting bronze of Roman emperor Trebonianus Gallus (reigned 251–253 A.D.). Almost the entire statue is original, a very rare survival of a complete third century freestanding bronze. Is that tiny head on that large body not the weirdest thing? And that’s an idealized portrayal, or at least the body is. He’s posed like a famous statue of Alexander the Great carved by Lysippos that inspired many a fine figure for centuries. The face, on the other hand, appears to be realistic which makes for an eye-catchingly disproportionate combination. Still, there’s no question the head and body are of a piece. The museum X-rayed the statue and found the head is original to that body.
A year ago the Metropolitan Museum of Art only had a few drawings by French baroque master Charles Le Brun, a major hole in their collection since Le Brun was First Painter of King Louis XIV (the king said Le Brun was “the greatest French painter of all time”) and enormously influential for centuries after his death. The gap was filled in April 2013 when the Met purchased The Sacrifice of Polyxena, the 1647 painting by Charles Le Brun that was discovered in the Coco Chanel Suite of the Paris Ritz during renovations in 2012, for $1,885,194. That price set a new world record for a work by Le Brun.
It’s not a record anymore. The Met just broke its own record and broke it hard, acquiring the monumental portrait Everhard Jabach and His Family for an unprecedented $12.3 million. The reason the price is so high this time is that while Polyxena is an early work of a historical theme, Jabach is a group portrait painted around 1660 at the peak of Le Brun’s powers and popularity. It’s a massive work — 7.6 feet by 10.6 feet — of massive artistic and historical significance.
Jabach was one of the great personalities of his age. He was portrayed twice by Van Dyck (1636, private collection; 1641, Hermitage, Saint Petersburg), by Peter Lely and possibly Sébastien Bourdon (both ca. 1650, Wallraf-Richartz Museum, Cologne), and by Hyacinthe Rigaud (1688, Wallraf-Richartz Museum, Cologne). Le Brun was one of the sitter’s favorite artists and the two were united—in the words of Claude Nivelon, Le Brun’s earliest biographer—by “friendship and shared interests” (‘il était uni d’amitié et d’inclination’). The family group was one of the few pictures Jabach did not sell to the King of France, and therefore one of the few that did not enter the collection of the Louvre.
The picture is at once a portrait of family relations and of a painter’s relationship to a key patron. The assemblage of objects lying on the floor at the feet of Jabach symbolizes his cultural interests: a Bible, an open copy of Sebastiano Serlio’s architectural treatise, a compass (architecture and geometry), a porte crayon and drawn sheet (drawing), an ancient marble head (sculpture), a book (literature and poetry), and a celestial globe (astronomy). Most prominent among these objects is a bust of Minerva, goddess of wisdom and the arts. She is identified by her distinctive helmet and the Medusa on her chest. Behind Jabach is the mirror in which we see Le Brun at work.
Le Brun made two copies of the portrait. This one is the first. The second was acquired by the Kaiser Friedrich Museum (now the Bode Museum) in Berlin in 1836 but was destroyed in May of 1945 when the Friedrichshain flak tower, where it had ironically been sent for safekeeping along with more than 400 of the museum’s most prized paintings, caught fire at least twice. This was after of Berlin had fallen, by the way, not the result of shelling or bombing. All we have left of it today is an old black and white photograph.
The primary copy was thought lost, but it turns out to have been part of the furniture of the stately home of Olantigh Towers in Kent for almost two centuries. It was brought to the UK by Henry Hope, a wealthy Boston-born, Rotterdam-based Scot who purchased the painting in 1792 from Johann Matthias von Bors, a descendant of Jabach’s. Hope installed it in his Harley Street home after fleeing the continent and the chaos of the French Revolution in 1794. It moved to Olantigh Towers in 1832 when it was bought by John Samuel Wanley Sawbridge Erle-Drax.
In 1913, Olantigh Towers was sold to one J. H. Loudon who then sold to his son, F. W. H. Loudon in 1935. The painting was just sold along with the house. No particular mention was made of it. It was rediscovered last year when experts from Christie’s were called in to assess the contents of the home. Christie’s contacted the Metropolitan Museum and negotiated the sale.
Because of the complex composition representing prominent subjects and their relationship to the artist, this portrait has been called “a French Las Meninas,” after the iconic masterpiece painted by Diego Velázquez in 1656. It’s no wonder, then, that the UK didn’t want to let it go. It’s the only Le Brun portrait in the country and in February the government’s Export Reviewing Committee placed a temporary three-month export ban on the painting, giving British museums the chance to raise the $12.3 million necessary to keep it in the country. The ban expired on May 6th with no institutions stepping up to the plate or even raising enough money to make it remotely plausible that they might be able to acquire it should the ban be extended.
And so the Met gets its prize Le Brun, doubling the number of paintings by the artist in the museum, and more than doubling the importance of their 17th century French collection. The portrait will be conserved and framed, a process that will take the rest of this year at least. It will go on display in the Met’s European Paintings Galleries in 2015. They already have the portrait’s entry uploaded to the museum website, however, and it has lots of details about the imagery and significance of the piece.
The oldest telescope in the Netherlands was discovered during digging for a new subway tunnel in Delft. Just four inches long and heavily corroded, the device was first thought to be an old shell casing, but the city archaeologist saw what looked like glass pieces at both ends and forwarded it to the Boerhaave Museum in Leiden for their experts to examine.
Conservators cleaned the instrument and found under all the layers of corrosion that it was made of tin, the metal used in the earliest telescopes. Its original cap was still attached. Both lenses were removed and cleaned. They’re 12 millimeters in diameter with an irregular shard-shaped perimeter. The eyepiece is flat on one side and concave on the other. while the lens is flat on one side and convex on the other, construction typical of the first generations of telescopes. The quality of the glass is abysmal, full of bubbles with uneven grinding. Only the middle five millimeters of the lenses are ground well enough to function.
Despite their inherent limitations, once cleaned the lenses actually worked. Conservators put the telescope back together and were able to see through it at five times magnification. That would not have been sufficient for military use or for astronomy (in any case it took Galileo for the first looking glasses to be pointed up to the sky). It was a wealthy person’s plaything, basically, used to get a better view at public gatherings, perhaps, or to get a better view of the stage at the theater.
The shapes of the lenses, the bubbles in the glass, the uneven grinding and the use of tin strongly suggest it was manufactured before 1650. After that, tin was replaced by brass and other more durable metals and the quality of glass and grinding were vastly improved. The general appearance of the telescope is also in keeping with prints from the first half of the 17th century. Neither is it likely that the telescope was made later but on the cheap. There are remnants of gilding on the tin, which means when first produced, this piece was an expensive luxury item. Nobody would spend money on a gilded telescope but use primitive lenses in it unless those were the only kinds of lenses available.
The telescope was invented in Middelburg in 1608, but until this find, the oldest one in the Netherlands dates to 1669 (it’s at the Boerhaave Museum along with the next oldest from 1683). Because tin corrodes so easily, none of the earlier ones were known to have survived. This one was found in an old canal where the low oxygen environment kept it from rusting into nothingness. There’s even a very slim chance that it’s the oldest telescope in the world, but it’s highly unlikely. There’s only a tiny window of possibility since Galileo started making his in 1609, the year after the first patents applications were filed in the Netherlands and the Museo Galileo in Florence has two of his from 1609-1610.
The telescope is going on display at the newly renovated De Prinsenhof Museum in Delft for it’s grand reopening on May 23rd.
Last October, archaeologists surveying the site of planned road work on federal highway 189 in Groß Pankow, Brandenburg, Germany, unearthed human remains. They had already found some Bronze Age materials on the site — fragments of pottery, a stone axe — from the 1st millennium B.C., but nothing of great note. The rounded grave pit at first glance looked much like the pits from the Bronze Age settlement, but the skeletal remains, on the other hand, were immediately arresting. The bones were oddly positioned, the arms angled sideways up to the neck, the thigh bones turned backwards. They were also brutally broken, all the long bones shattered with many pieces missing.
It was clear the person had died far more recently than 1,000 B.C. An iron belt buckle found in the grave provided a general date of between the 15th and 17th centuries. Further examination revealed the deceased was a man in his mid to late 30s who had been executed on the wheel. His bones are in more than a thousand pieces. This is the first time a skeleton of someone broken on the wheel has been found in Germany, even though judicial execution by wheel was employed in the Holy Roman Empire from the Middle Ages to the 19th century.
This is not a coincidence. The whole point of the wheel was to display the broken bodies until they rotted away entirely, leaving the bones for carrion birds to enjoy. The punishment was reserved for the worst criminals — serial killers, murderers who killed someone during the commission of another crime, killers of kin — and the destruction of the body in a slow, public fashion did double-duty as the most gruesome retribution and as a stern warning to the public.
Death by wheel was usually a two-stage process. First a large spoked wagon wheel would be slammed onto the large bones of the arms and legs, breaking them in two places each. Then the wheel would strike the spine, breaking it. With the body’s skeletal structure in pieces, the condemned was then tied to the wheel, his limbs woven in and out of the spokes. Finally the wheel was raised on a pike and planted into the ground. If the man wasn’t dead yet, and he usually wasn’t unless he was fortunate enough to have been deliberately struck with fatal blows to the chest and abdomen as an act of mercy, he would die in slow unspeakable agony over the course of hours, often days.
This could mean that the offender previously received the fatal coup de grace by the executioner. However, this happened rarely. More often the delinquent – before he was dead – fell off the wheel. This was then as God’s judgment, the delinquent was then free.
Obviously that’s not what happened here. He died in a horrific fashion. Why this wheeled man had his bones collected and respectfully buried, we do not know. The place where he was found was an old military road. It could have been a place used for a mobile execution rather than a permanent gallows or regular killing zone. With no police presence, a family member of the deceased or just someone with an ounce of compassion could have removed the broken body and buried it.
As part of an extensive redevelopment of London Bridge Station, the city’s oldest rail station (opened in 1836), archaeologists have had the unique opportunity to excavate underneath the station and its viaduct. The station has a vast footprint and since it was constructed long before archaeological surveys were invented, this is the first chance archaeologists have had to explore the site. Other excavations in the London Bridge area have revealed a great deal about the growth and development of the city from the Roman era on, but the station site was thought to have been either very marshy or fully underwater for much of its history that archaeologists weren’t sure what they’d find.
They found that although the area was certainly marshy and waterlogged it may have been, but it was still extensively developed. Excavations have gone as deep as 20 feet below street level in the massive arches of the station foundations. The earliest finds were traces of the Roman military occupation followed by evidence of the Boudican rebellion and the Roman civilian settlement. The remains of three previously unknown Roman structures were found: a bathhouse, a large waterfront building and what may have been a boat landing platform. Thanks to the preserving power of the waterlogged ground along the Thames, rare organic elements have survived, like 17 timbers piles from trees felled between 59 and 83 A.D. which were part of the foundations of the large waterfront building. The landing platform consists of a timber baulk packed with rocks and wood.
Later discoveries include the remains of Saxon defenses and the floors and walls of large townhouses on Tooley Street which the historical record identifies as the abodes of important medieval clerics like the Prior of Lewes. (The remains of other such homes owned by non-London religious orders can be found today at Winchester and Lambeth Palace.) From the late Middle Ages on, the marshy land was extensively reclaimed for industrial and residential purposes. The remains of floors, walls and cellars testify to dense, closely-built buildings packed along a network of small streets.
Hundreds of artifacts were also found mirroring the changing phases of the London Bridge station area. A Penn Tile, made in Penn, Buckinghamshire, between 1330 and 1390, was used as flooring in an expensive building. These glazed patterned tiles became popular in London after the Black Death obliterated local tile producers. Also from the 14th century is a rare white clay flagon, probably made in Cheam, that archaeologists believe was used to serve ale in the townhouse of the Abbot of Waverley. Now it’s on display at the Wheatsheaf Pub in Stoney Street.
Starting in the 16th century in the wake of the introduction of tobacco from the New World there was a bustling business of clay pipe manufacturers in the neighborhood. These were mainly small backyard workshops. Archaeologists found the remains of a pope kiln that had been demolished centuries ago which proved fortuitous from an archaeological perspective because it allowed the excavators to find pieces of the superstructure. They also found many pipes, some whole, some discarded and broken after a failed firing. One pipe is marked with wording that identifies its maker. “JOINER STREET” is written on one side of the stem and “TOOLEY STREET BORO” on the other, indicating it was made by James Minto between 1809 and 1811. That means the clay pipe industry was still producing a couple of decades before the construction of the station.
In the fun category, archaeologists found a rare cribbage board made out of animal bone in the 17th or 18th century. The game was invented in the 17th century, so this piece could be a very early example. I love those concentric circles down the middle. They look just like the marks on much earlier dice, like this one from 13th or 14th century Ireland.
My favorite find is a set of three pewter tankards from the 18th century. They were discovered in a cess pit, possibly because the bends and twists around the lip made them hard to drink from, but they still look great. Two of them are inscribed with the names of the hostelries where they were once used to quaff lukewarm brews. One says “Mary Jackson, Kings head, Tooley Strt,” the other “J main, St Johns Coffee house, Bermondsey Strt”. The best part: the The Old Kings Head is still open for business today, not on Tooley Street but very close by on Borough High Street.
The only thing we know for sure is that this iconic beauty was neither Turkish nor a slave. La Schiava Turca was a misnomer applied in the 18th century by a cataloger who interpreted the lady’s headdress as a turban and the gold chain in the slashes of her right sleeve as a symbol of bondage. In fact, her headpiece is a balzo, a wire net covered in fabric and gold thread that was fashionable among Northern Italian noblewomen in the 16th century thanks to trendsetter Isabella d’Este (see her 1534-6 portrait by Titian, now in Vienna’s Kunsthistorisches Museum, or Portrait of a Lady (1520-25) by Bernardino Luini, now in the National Gallery of Art). The chain is expensive gold jewelry and her indigo satin dress, gossamer silk chemise and ostrich plume fan confirm that the sitter was a woman of wealth and position.
She was painted by Francesco Girolamo Mazzola, aka Parmigianino, around 1532 or 1533 when he was in Parma working on two altarpieces for the Sanctuary of Santa Maria della Steccata. Its whereabouts for the next century and a half are unknown. It appears again in a 1675 inventory of the collection of Cardinal Leopold de’ Medici in Florence. In the 18th century Parmigianino’s lady was ceded to the Uffizi Gallery along with the rest of the Medici art holdings. In 1928 the Uffizi traded it to the National Gallery of Parma and the portrait went home for good.
Since then, it has rarely left the museum and it has never crossed the Atlantic to delight American audiences. Now for the first time La Schiava Turca is traveling to the US. It is the star of The Poetry of Parmigianino’s “Schiava Turca” which runs at The Frick Collection from May 13th to July 20th and at San Francisco’s Legion of Honor museum from July 26th through October 5th. There are no portraits by Parmigianino in any public collection in the US and there are two in this show (the other is Portrait of a Man), so this is a unique opportunity.
Art historians have proposed a variety of identifications of the not-actually-a Turkish Slave. Candidates include Giulia Gonzaga around the time of her marriage to Vespasiano Colonna in 1526 when she was 14 years old, a member of the Cavalli family, a member of the Baiardo family whose scion Cavaliere Francesco Baiardo was a personal friend and big supporter of the artist, even bailing him out when he was arrested for breach of contract when he didn’t finish the Santa Maria della Steccata commission.
Another possibility is that she’s not a specific person but a depiction of an ideal figure, perhaps an allegory of love or poetry. The medallion in the center of her balzo could be a poetry reference. It’s an image of Pegasus, the winged mythological horse who created the Hippocrene spring, source of poetic inspiration. The connection between poetry and Pegasus was well-established in 16th century Italy. The prominent poet Pietro Bembo, a contemporary of Parmigianino’s, used Pegasus as his personal symbol.
She’s not the usual Renaissance allegory or muse of poetry, however. From the exhibition press release (pdf):
Her active pose — with her face turned toward the left and her body to the right — is common in depictions of men of the time, but not women. Also, her direct gaze and lively expression stand out when compared to the reserved, aloof expressions often seen in Renaissance portraits of women, in which it was considered appropriate to retain a dignified modesty. Finally, the Pegasus ornament on her headdress is an accessory borrowed from men’s fashion: it is likely a hat badge, an adornment worn almost exclusively by Renaissance men that bears a personal, usually humanist, emblem. With her frank expression, typically “masculine” pose, and an accessory appropriated from male fashion, it seems reasonable to believe that the Schiava Turca was intended to be seen not so much as the passive recipient of male poetic dedication, but to be regarded as a poet herself. After all, she wears on her head — the source of intellect and creativity — an emblem of Pegasus, the symbol of poetic inspiration.
Exhibition guest curator and Columbia University Art History lecturer Aimee Ng discovered another clue while researching the portrait. Parmigianino was known to make many preparatory drawings and studies for his paintings. There are two red chalk head drawings in Paris that art historians believe were studies for the Schiava Turca. Ng’s research found a third drawing in the Duke of Devonshire’s collection at Chatsworth, previously unconnected to any specific painting, that shares significant commonalities with La Schiava Turca and makes the poet image even more explicit.
The pen-and-ink drawing, which had not previously been linked to any specific project, shares the bust-length format of the Schiava Turca (although the woman in the drawing poses with her head facing in the same direction as her body). In the drawing, the woman wears a balzo-like headdress decorated with a wreath of laurel leaves. In the classical tradition, laurel leaves are used to crown accomplished poets. As it shows the artist experimenting with the standard iconography of poetry, the drawing may record an early idea for the Schiava Turca. In the end, Parmigianino’s use of an ornamental badge of Pegasus to mark the Schiava Turca as a poet is a more subtle (indeed, more poetic) solution.
So if she’s a poet rather than an allegory of poetry, which poet is she? Ng proposes one possible candidate: Veronica Gambara, a poet whose works while unpublished were widely circulated in manuscript form by 1530. She was also the ruler of the city of Correggio from the death of her husband in 1518 until her death in 1550, and her good friend Antonio Allegri, better known as Correggio because that’s where he was born, was Parmigianino’s former teacher. She traveled to Parma and lived in Bologna when Parmigianino lived there after the Sack of Rome. Pietro Bembo of Pegasus fame was Gambara’s mentor; they had corresponded since she was a teenager.
If it is Gambara, it’s still a highly idealized portrayal. She was born in 1485, so she would have been in her late 40s when Parmigianino painted the portrait. Rolling back the years, or even decades, was a common practice for portraits of nobility (the Titian portrait of Isabella d’Este was painted when she was over 60), so her age doesn’t exclude her.
Aimee Ng will be giving a lecture at The Frick about the Schiava Turca on Wednesday, May 14th, at 6:00 PM. If you can’t make it to New York on time, you can attend virtually here.
The Washington Monument reopens to the public Monday after nearly three years of work repairing damage wrought when an earthquake struck the capital on August 23, 2011. Several historic structures were harmed by the quake, but after initial repairs the National Cathedral and the Smithsonian Castle could remain open. The Washington Monument was not so lucky.
It’s a hollow obelisk 555 feet high made out of three different kinds of marble and 36,000 stone blocks. When the earthquake struck, it whipsawed the obelisk, showering debris on the tourists climbing its vertiginous heights. Thankfully nobody was injured, but the monument was immediately closed for assessment. The National Park Service found one large crack four feet long and one inch wide, more than 150 other fractures and cracks, chipped and gashed stones, lost and loosened mortar, damage to the lightning protection system and elevator.
The estimated budget for repairs was $15 million. Congress voted to fund the work to the tune of $7.5 million but only on condition that the National Park Service secure matching funds. Private equity billionaire and dedicated history nerd David Rubenstein stepped up to the plate and donated the necessary $7.5 million and the repair project began in earnest in early 2012.
The slabs had been held in place mainly by gravity, and engineers worried that the slabs could fall off, James M. Perry, the chief of resource management for the mall and memorial parks, said Saturday. [...]
In addition to the earthquake damage, the monument, which was begun in 1848 and finished in 1884, had seen more than a century of rain, snow, sleet and wind. Up close, it was a patchwork of repairs going back decades.
Cracks needed to be filled. Loose hunks of marble had to be dug out and replaced with scores of individual patches called “dutchmen.” Joints had to be smoothed and cleaned. Most of the damage was near the top.
Officials have said 150 dutchman patches were used, so many that work crews ran out of spare marble they had on hand for repairs. But a company was found that had salvaged old marble steps from homes in Baltimore. And that marble had come from the same quarry as some of the monument marble.
The repairs were complete on time and on budget. The Washington Monument will be officially reopened at 10 AM with a ceremony hosted by Al Roker and attended by Secretary of the Interior Sally Jewell, National Park Service Director Jonathan B. Jarvis, National Mall & Memorial Parks Superintendent Bob Vogel and of course David Rubenstein. Entertainment will be provided by American Idol Season 12 winner Candice Glover, the Old Guard Fife & Drum Corps, the United States Navy Band, and the Boy and Girl Choristers of Washington National Cathedral Choir.
The event will be open to the public and tours of the monument will begin at 1:00 PM. Tickets are first come, first served, so if you want to be in the first wave of visitors to the repaired Washington Monument, you’ll want to line up early. The ticket office opens at 8:30 AM.