Urine Wheels in Medieval Manuscripts: Discover the Curious Diagnostic Tool Used by Medieval Doctors

If you went to the doc­tor in late medieval Europe hop­ing to get a health com­plaint checked out, you could be sure of one thing: you’d have to hand over a urine sam­ple. Though it dates back at least as far as the fourth mil­len­ni­um BC, the prac­tice of uroscopy, as it’s called, seems to have been regard­ed as a near-uni­ver­sal diag­nos­tic tool by the thir­teenth cen­tu­ry. At Medievalists.net, you can read excerpts of the then-defin­i­tive text On Urines, writ­ten about that time by French roy­al physi­cian Gilles de Cor­beil.

When a skilled physi­cian exam­ines a patien­t’s urine, de Cor­beil explains, “health or ill­ness, strength or debil­i­ty, defi­cien­cy, excess, or bal­ance, are deter­mined with cer­tain­ty.” Urine “dark­ened by a black cloudi­ness, and mud­died with sed­i­ment, if pro­duced on a crit­i­cal day of an ill­ness, and accom­pa­nied by poor hear­ing and insom­nia, por­tends a flux of blood from the nose”; depend­ing on oth­er fac­tors, “the patient will die or recov­er.”

Urine that looks livid near the sur­face could indi­cate a vari­ety of con­di­tions: “a mild form of hemitri­teus fever; falling sick­ness; ascites; syn­ochal fever; the rup­ture of a vein; catarrh, stran­gury; an ail­ment of the womb; a flux; a defect of the lungs; pain in the joints; con­sump­tive phithi­sis; the extinc­tion of nat­ur­al heat.”

White urine could be a sig­nal of every­thing from drop­sy to lipothymia to hem­or­rhoids; wine-col­ored urine “means dan­ger to health when it accom­pa­nies a con­tin­ued fever; it is less to be feared if there is no fever.”

We may feel tempt­ed, 800 years lat­er, to dis­card all of this as pre-sci­en­tif­ic non­sense. But com­pared with oth­er diag­nos­tic meth­ods in the Mid­dle Ages, uroscopy had a decent track record. “Urine was a par­tic­u­lar­ly use­ful tool for diag­nos­ing lep­rosy,” writes the Pub­lic Domain Review’s Kather­ine Har­vey, “because the imme­di­ate phys­i­o­log­i­cal cause was thought to be a mal­func­tion­ing liv­er — an organ which was cen­tral to the diges­tive process, and thus any prob­lems would be vis­i­ble in the urine.” Indeed, “new forms of urine analy­sis have devel­oped from these ancient tra­di­tions, and our present-day med­ical land­scape is awash with urine sam­ples.”

That’s cer­tain­ly a vivid image, and so are the “urine wheels” that accom­pa­ny Har­vey’s piece: elab­o­rate illus­tra­tions designed to help doc­tors iden­ti­fy the par­tic­u­lar hue of a giv­en sam­ple, each one col­ored with the best pig­men­ta­tion tech­niques of the time. But “there was no stan­dard­iza­tion,” notes Atlas Obscu­ra’s Sarah Laskow, “and while some book pub­lish­ers cre­at­ed detailed col­or­ing instruc­tions, the arti­sans who did the work didn’t always con­form to those spec­i­fi­ca­tions.” As much pres­tige as these vol­umes sure­ly exud­ed on the book­shelf, it was as true then as it is now that you become a good doc­tor not by read­ing man­u­als, but by get­ting your hands dirty.

via The Pub­lic Domain Review

Relat­ed con­tent:

Behold the Medieval Wound Man: The Poor Soul Who Illus­trat­ed the Injuries a Per­son Might Receive Through War, Acci­dent or Dis­ease

How the Bril­liant Col­ors of Medieval Illu­mi­nat­ed Man­u­scripts Were Made with Alche­my

Behold a 15th-Cen­tu­ry Ital­ian Man­u­script Fea­tur­ing Med­i­c­i­nal Plants with Fan­tas­ti­cal Human Faces

1,000-Year-Old Illus­trat­ed Guide to the Med­i­c­i­nal Use of Plants Now Dig­i­tized & Put Online

Down­load 100,000+ Images From The His­to­ry of Med­i­cine, All Free Cour­tesy of The Well­come Library

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Stephen King Recommends 96 Books for Aspiring Writers to Read

Image by The USO, via Flickr Com­mons

I first dis­cov­ered Stephen King at age 11, indi­rect­ly through a babysit­ter who would plop me down in front of day­time soaps and dis­ap­pear. Bored with One Life to Live, I read the stacks of mass-mar­ket paper­backs my absen­tee guardian left around—romances, mys­ter­ies, thrillers, and yes, hor­ror. It all seemed of a piece. King’s nov­els sure looked like those oth­er lurid, pulpy books, and at least his ear­ly works most­ly fit a cer­tain for­mu­la, mak­ing them per­fect­ly adapt­able to Hol­ly­wood films. Yet for many years now, as he’s ranged from hor­ror to broad­er sub­jects, King’s cul­tur­al stock has risen far above his genre peers. He’s become a “seri­ous” writer and even, with his 2000 book On Writ­ing—part mem­oir, part “textbook”—something of a writer’s writer, mov­ing from the super­mar­ket rack to the pages of The Paris Review

Few con­tem­po­rary writ­ers have chal­lenged the some­what arbi­trary divi­sion between lit­er­ary and so-called genre fic­tion so much as Stephen King, whose sta­tus pro­vokes word wars like this debate at the Los Ange­les Review of Books. What­ev­er adjec­tives crit­ics throw at him, King plows ahead, turn­ing out book after book, refin­ing his craft, hap­pi­ly shar­ing his insights, and read­ing what­ev­er he likes. As evi­dence of his dis­re­gard for aca­d­e­m­ic canons, we have his read­ing list for writ­ers, which he attached as an appen­dix to On Writ­ing. Best-sell­ing genre writ­ers like Nel­son DeMille, Thomas Har­ris, and needs-no-intro­duc­tion J.K. Rowl­ing sit com­fort­ably next to lit-class sta­ples like Dick­ens, Faulkn­er, and Con­rad. King rec­om­mends con­tem­po­rary real­ist writ­ers like Richard Bausch, John Irv­ing, and Annie Proulx along­side the occa­sion­al post­mod­ernist or “dif­fi­cult” writer like Don DeLil­lo or Cor­mac McCarthy. He includes sev­er­al non-fic­tion books as well.

King pref­aces the list with a dis­claimer: “I’m not Oprah and this isn’t my book club. These are the ones that worked for me, that’s all.” Below, we’ve excerpt­ed twen­ty good reads he rec­om­mends for bud­ding writ­ers. These are books, King writes, that direct­ly inspired him: “In some way or oth­er, I sus­pect each book in the list had an influ­ence on the books I wrote.” To the writer, he says, “a good many of these might show you some new ways of  doing your work.” And for the read­er? “They’re apt to enter­tain you. They cer­tain­ly enter­tained me.”

10. Richard Bausch, In the Night Sea­son
12. Paul Bowles, The Shel­ter­ing Sky
13. T. Cor­aghes­san Boyle, The Tor­tilla Cur­tain
17. Michael Chabon, Were­wolves in Their Youth
28. Rod­dy Doyle, The Woman Who Walked into Doors
31. Alex Gar­land, The Beach
42. Peter Hoeg, Smilla’s Sense of Snow
49. Mary Karr, The Liar’s Club
53. Bar­bara King­solver, The Poi­son­wood Bible
54. Jon Krakauer, Into Thin Air
58. Nor­man Maclean, A Riv­er Runs Through It and Oth­er Sto­ries
62. Frank McCourt, Angela’s Ash­es
66. Ian McE­wan, The Cement Gar­den
67. Lar­ry McMurtry, Dead Man’s Walk
70. Joyce Car­ol Oates, Zom­bie
71. Tim O’Brien, In the Lake of the Woods
73. Michael Ondaat­je, The Eng­lish Patient
84. Richard Rus­so, Mohawk
86. Vikram Seth, A Suit­able Boy
93. Anne Tyler, A Patch­work Plan­et

Like much of King’s own work, many of these books sug­gest a spec­trum, not a chasm, between the lit­er­ary and the com­mer­cial, and many of their writ­ers have found suc­cess with screen adap­ta­tions and Barnes & Noble dis­plays as well as wide­spread crit­i­cal acclaim. For the full range of King’s selec­tions, see the entire list of 96 books at Aero­gramme Writ­ers’ Stu­dio.

You can also find anoth­er list of 82 books rec­om­mend­ed by King here.

Note: An ear­li­er ver­sion of this post appeared on our site in 2014.

Relat­ed Con­tent:

Stephen King Cre­ates a List of 82 Books for Aspir­ing Writ­ers (to Sup­ple­ment an Ear­li­er List of 96 Rec­om­mend Books)

Stephen King’s 20 Rules for Writ­ers

Stephen King’s 22 Favorite Movies: Full of Hor­ror & Sus­pense

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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Hayao Miyazaki Selects His 50 Favorite Children’s Books

Once upon a time, books served as the de fac­to refuge of the “phys­i­cal­ly weak” child. For ani­ma­tion leg­end, Hayao Miyaza­ki, above, they offered an escape from the grim­mer real­i­ties of post-World War II Japan.

Many of the 50 favorites he select­ed for a 2010 exhi­bi­tion hon­or­ing pub­lish­er Iwana­mi Shoten’s “Boy’s Books” series are time-test­ed West­ern clas­sics.

Lon­ers and orphans–The Lit­tle Prince, The Secret Gar­den–fig­ure promi­nent­ly, as do talk­ing ani­mals (The Wind in the Wil­lows, Win­nie-the-Pooh, The Voy­ages of Doc­tor Dolit­tle).

And while it may be a com­mon­ly-held pub­lish­ing belief that boys won’t read sto­ries about girls, the young Miyaza­ki seemed to have no such bias, rank­ing Hei­di and Lau­ra Ingalls Wilder right along­side Tom Sawyer and Trea­sure Island’s pirates.

Sev­er­al of the titles that made the cut were ones he could only have encoun­tered as a grown up, includ­ing 1967’s From the Mixed-Up Files of Mrs. Basil E. Frankweil­er and When Marnie Was There, the lat­ter even­tu­al­ly serv­ing as source mate­r­i­al for a Stu­dio Ghi­b­li movie, as did Miyazaki’s top pick, Mary Norton’s The Bor­row­ers.

We invite you to take a nos­tal­gic stroll through Miyazaki’s best-loved children’s books. Read­ers, how many have you read?

Hayao Miyazaki’s Top 50 Children’s Books

  1. The Bor­row­ers — Mary Nor­ton
  2. The Lit­tle Prince — Antoine de Saint-Exupéry
  3. Chil­dren of Noisy Vil­lage — Astrid Lind­gren
  4. When Marnie Was There — Joan G. Robin­son
  5. Swal­lows and Ama­zons — Arthur Ran­some
  6. The Fly­ing Class­room — Erich Käst­ner
  7. There Were Five of Us — Karel Poláček
  8. What the Neigh­bours Did, and Oth­er Sto­ries — Ann Philip­pa Pearce
  9. Hans Brinker, or The Sil­ver Skates — Mary Mapes Dodge
  10. The Secret Gar­den — Frances Hodg­son Bur­nett
  11. Eagle of The Ninth — Rose­mary Sut­cliff
  12. The Trea­sure of the Nibelungs — Gus­tav Schalk
  13. The Three Mus­ke­teers — Alexan­dre Dumas, père
  14. A Wiz­ard of Earth­sea — Ursu­la K. Le Guin
  15. Les Princes du Vent — Michel-Aime Bau­douy
  16. The Flam­bards Series — K. M. Pey­ton
  17. Sou­venirs ento­mologiques — Jean Hen­ri Fab­re
  18. The Long Win­ter — Lau­ra Ingalls Wilder
  19. A Nor­we­gian Farm — Marie Ham­sun
  20. Hei­di — Johan­na Spyri
  21. The Adven­tures of Tom Sawyer — Mark Twain
  22. Lit­tle Lord Fauntleroy — Frances Hodg­son Bur­nett
  23. Tis­tou of the Green Thumbs — Mau­rice Druon
  24. The Adven­tures of Sher­lock Holmes — Arthur Conan Doyle
  25. From the Mixed-Up Files of Mrs. Basil E. Frankweil­er — E. L. Konigs­burg
  26. The Otter­bury Inci­dent — Cecil Day-Lewis
  27. Alice’s Adven­tures in Won­der­land — Lewis Car­roll
  28. The Lit­tle Book­room — Eleanor Far­jeon
  29. The For­est is Alive or Twelve Months — Samuil Yakovle­vich Mar­shak
  30. The Restau­rant of Many Orders — Ken­ji Miyaza­wa
  31. Win­nie-the-Pooh — A. A. Milne
  32. Nihon RyĹŤi­ki â€“ Kyokai
  33. Strange Sto­ries from a Chi­nese Stu­dio — Pu Songling
  34. Nine Fairy Tales: And One More Thrown in For Good Mea­sure — Karel Čapek
  35. The Man Who Has Plant­ed Welsh Onions — Kim So-un
  36. Robin­son Cru­soe — Daniel Defoe
  37. The Hob­bit — J. R. R. Tolkien
  38. Jour­ney to the West — Wu Cheng’en
  39. Twen­ty Thou­sand Leagues Under the Sea — Jules Verne
  40. The Adven­tures of the Lit­tle Onion — Gian­ni Rodari
  41. Trea­sure Island — Robert Louis Steven­son
  42. The Ship that Flew — Hil­da Winifred Lewis
  43. The Wind in the Wil­lows — Ken­neth Gra­hame
  44. The Lit­tle Hump­backed Horse — Pyotr Pavlovich Yer­shov (Ershoff)
  45. The Lit­tle White Horse — Eliz­a­beth Goudge
  46. The Rose and the Ring — William Make­peace Thack­er­ay
  47. The Radi­um Woman — Eleanor Door­ly
  48. City Neigh­bor, The Sto­ry of Jane Addams — Clara Ingram Jud­son
  49. Ivan the Fool — Leo Tol­stoy
  50. The Voy­ages of Doc­tor Dolit­tle — Hugh Loft­ing

Note: An ear­li­er ver­sion of this post appeared on our site in 2017.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Enter an Archive of 7,000 His­tor­i­cal Children’s Books, All Dig­i­tized & Free to Read Online

Clas­sic Children’s Books Now Dig­i­tized and Put Online: Revis­it Vin­tage Works from the 19th & 20th Cen­turies

Clas­sic Children’s Books Now Dig­i­tized and Put Online: Revis­it Vin­tage Works from the 19th & 20th Cen­turies

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  She’ll be appear­ing onstage in New York City this June as one of the clowns in Paul David Young’s Faust 3. Fol­low her @AyunHalliday.

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Discover the Medieval Illuminated Manuscript Les Très Riches Heures du Duc de Berry, “the World’s Most Beautiful Calendar” (1416)

We don’t hear the phrase “very rich hours” as much as we used to, back when it was occa­sion­al­ly employed in the head­lines of mag­a­zine arti­cles or the titles of nov­els. Today, it’s much to be doubt­ed whether even one in a hun­dred thou­sand of us could begin to iden­ti­fy its ref­er­ent — or at least it was much to be doubt­ed until an elab­o­rate New York Times online fea­ture appeared just last week. Writ­ten by art crit­ic Jason Fara­go, “Search­ing for Lost Time in the World’s Most Beau­ti­ful Cal­en­dar” takes a close look at the Très Rich­es Heures du Duc de Berry, a late-medieval illu­mi­nat­ed man­u­script cre­at­ed (between 1412 and 1416) for the bib­lio­philic John, Duke of Berry by a trio of Flem­ish artists known as the Lim­bourg broth­ers.

The word “hours” in the title refers not to units of time, exact­ly, but to the prayers that believ­ers must speak at cer­tain hours: this is a book of hours, a huge­ly pop­u­lar form of man­u­script in the Mid­dle Ages. But com­pared to most sur­viv­ing books of hours, Très Rich­es Heures du Duc de Berry is, well, very rich indeed.

Fara­go calls it “the finest sur­viv­ing man­u­script of the fif­teenth cen­tu­ry, a mon­u­ment of Inter­na­tion­al Goth­ic book arts. Real­ly, the thing is just stu­pe­fy­ing. Its pic­tures com­bine astound­ing detail with exu­ber­ant, some­times irra­tional spa­tial orga­ni­za­tion.” But “like every book of hours, it opens with a cal­en­dar. And here, on its first 12 spreads — with one full-page illus­tra­tion per month — the Lim­bourgs did their most painstak­ing work.”

Here we have just five of the images from the cal­en­dar at the head of the Très Rich­es Heures. You can see the rest at the site of the Met­ro­pol­i­tan Muse­um of Art, which offers its “inti­mate North­ern vision of nature with Ital­ianate modes of fig­ur­al artic­u­la­tion” in down­load­able dig­i­tal form. These detailed images con­sti­tute a win­dow into not just medieval life (or at least an ide­al­ized ver­sion there­of), but also the medieval rela­tion­ship to time. “Time appears to be a cycle,” writes Fara­go. “It repeats year after year.” And “months rather than years were the meat of these cycles. Sea­sons. Har­vests. Feasts. Con­stel­la­tions.” All this “could be per­ceived with the sens­es. In snow­fall, in star signs. In the bright col­ors you wore in May, in the furs you wore in Decem­ber.”

On top of this pal­pa­bly cycli­cal expe­ri­ence of time, monothe­is­tic reli­gions intro­duced the notion that “time pro­gressed onward,” and indeed “offered a one-way tick­et to the end of days.” Coex­ist­ing in the medieval mind, these two con­trast­ing modes of per­cep­tion gave rise to the sort of cal­en­dars cre­at­ed and used in that era. No fin­er exam­ple exists than the Très Rich­es Heures, cre­at­ed as it was not long — at least in his­tor­i­cal time — before the approach of moder­ni­ty, with its ever more fine­ly divid­ed and rig­or­ous­ly cal­i­brat­ed chrono­met­ric regimes. Our hours are much more clear­ly demar­cat­ed than the Duke of Berry’s; whether they’re rich­er is anoth­er ques­tion entire­ly.

Vis­it the New York Times’ fea­ture on the beau­ti­ful medieval man­u­script here. If you’re inter­est­ed in delv­ing deep­er, also see the free book (cour­tesy of the Met Muse­um) The Art of Illu­mi­na­tion: The Lim­bourg Broth­ers and the Belles Heures of Jean de France, Duc de Berry.

Relat­ed con­tent:

800 Illu­mi­nat­ed Medieval Man­u­scripts Are Now Online: Browse & Down­load Them Cour­tesy of the British Library and Bib­lio­thèque Nationale de France

The Medieval Mas­ter­piece the Book of Kells Has Been Dig­i­tized and Put Online

Dis­cov­er the Sara­je­vo Hag­gadah, the Medieval Illu­mi­nat­ed Man­u­script That Sur­vived the Inqui­si­tion, Holo­caust & Yugoslav Wars

How Illu­mi­nat­ed Medieval Man­u­scripts Were Made: A Step-by-Step Look at this Beau­ti­ful, Cen­turies-Old Craft

Behold the Codex Gigas (aka “Devil’s Bible”), the Largest Medieval Man­u­script in the World

Why Butt Trum­pets & Oth­er Bizarre Images Appeared in Illu­mi­nat­ed Medieval Man­u­scripts

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Horrifying 1906 Illustrations of H.G. Wells’ War of the Worlds

War1

H.G. Wells’ War of the Worlds has ter­ri­fied and fas­ci­nat­ed read­ers and writ­ers for decades since its 1898 pub­li­ca­tion and has inspired numer­ous adap­ta­tions. The most noto­ri­ous use of Wells’ book was by Orson Welles, whom the author called “my lit­tle name­sake,” and whose 1938 War of the Worlds Hal­loween radio play caused pub­lic alarm (though not actu­al­ly a nation­al pan­ic). After the occur­rence, reports Phil Klass, the actor remarked, “I’m extreme­ly sur­prised to learn that a sto­ry, which has become famil­iar to chil­dren through the medi­um of com­ic strips and many suc­ceed­ing and adven­ture sto­ries, should have had such an imme­di­ate and pro­found effect upon radio lis­ten­ers.”

War5

Sure­ly Welles knew that is pre­cise­ly why the broad­cast had the effect it did, espe­cial­ly in such an anx­ious pre-war cli­mate. The 1898 nov­el also star­tled its first read­ers with its verisimil­i­tude, play­ing on a late Vic­to­ri­an sense of apoc­a­lyp­tic doom as the turn-of-the-cen­tu­ry approached.

But what con­tem­po­rary cir­cum­stances eight years lat­er, we might won­der, fueled the imag­i­na­tion of Hen­rique Alvim Cor­rĂŞa, whose 1906 illus­tra­tions of the nov­el you can see here? Wells him­self approved of these incred­i­ble draw­ings, prais­ing them before their pub­li­ca­tion and say­ing, â€śAlvim Cor­rĂŞa did more for my work with his brush than I with my pen.”

War3

Indeed they cap­ture the nov­el­’s uncan­ny dread. Mar­t­ian tripods loom, ghast­ly and car­toon­ish, above blast­ed real­ist land­scapes and scenes of pan­ic. In one illus­tra­tion, a grotesque, ten­ta­cled Mar­t­ian rav­ish­es a nude woman. In a sur­re­al­ist draw­ing of an aban­doned Lon­don above, eyes pro­trude from the build­ings, and a skele­tal head appears above them. The alien tech­nol­o­gy often appears clum­sy and unso­phis­ti­cat­ed, which con­tributes to the gen­er­al­ly ter­ri­fy­ing absur­di­ty that emanates from these fine­ly ren­dered plates.

War2

Alvim Cor­rĂŞa was a Brazil­ian artist liv­ing in Brus­sels and strug­gling for recog­ni­tion in the Euro­pean art world. His break seemed to come when the War of the Worlds illus­tra­tions were print­ed in a large-for­mat, lim­it­ed French edi­tion of the book, with each of the 500 copies signed by the artist him­self.

wells illustrated

Unfor­tu­nate­ly, Cor­rĂŞa’s tuber­cu­lo­sis killed him four years lat­er. His War of the Worlds draw­ings did not bring him fame in his life­time or after, but his work has been cher­ished since by a devot­ed cult fol­low­ing. The orig­i­nal prints you see here remained with the artist’s fam­i­ly until a sale of 31 of them in 1990. (They went up for sale again recent­ly, it seems.) You can see many more, as well as scans from the book and a poster announc­ing the pub­li­ca­tion, at Mon­ster Brains and the British Library site.

War4

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

The Very First Illus­tra­tions of H.G. Wells’ The War of the Worlds (1897)

Edward Gorey Illus­trates H.G. Wells’ The War of the Worlds in His Inim­itable Goth­ic Style (1960)

The War of the Worlds: Orson Welles’ 1938 Radio Dra­ma That Pet­ri­fied a Nation

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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Turning the Pages of an Illuminated Medieval Manuscript: An ASMR Museum Experience

Page turn­ing is to ASMR as the elec­tric bass is to rock.

The Vic­to­ria and Albert Muse­um’s pop­u­lar Autonomous Sen­so­ry Merid­i­an Response video series (find it here) has seen episodes devot­ed to icon­ic Sec­ond Wave fem­i­nist mag­a­zines and a cou­ple of late 20th-cen­tu­ry pop up artist’s books, but the parch­ment pages of this medieval antiphonary — or choir­book — make for some tru­ly leg­endary sounds.

Audio design­er and per­for­mance-mak­er Julie Rose Bow­er deserves a por­tion of the cred­it for height­en­ing the aur­al expe­ri­ence for her use of the ambison­ics for­mat.

Kudos too to Nation­al Art Library Spe­cial Col­lec­tions cura­tor Cather­ine Yvard…if she ever wants a break from medieval man­u­script illu­mi­na­tion and Goth­ic ivory sculp­ture, she could spe­cial­ize in extreme­ly sooth­ing voiceover nar­ra­tion.

It’s rare to find such plea­sur­ably tingly ASMR sen­sa­tions paired with allu­sions to the some­what bar­barous process of mak­ing parch­ment from ani­mal skins, but that’s what illu­mi­na­tor Francesco dai Lib­ri, and his son Giro­lamo were work­ing with in 1492 Verona.

Our ears may not be able to detect much dif­fer­ence between the skin sides and flesh sides of these remark­ably well pre­served pages, but Bow­er does due dili­gence, as Yvard slow­ly drags her fin­gers across them.

No need to fear that Yvard’s bare hands could cause harm to this 530-year-old object.

Experts at the British Library have decreed that the mod­ern prac­tice of don­ning white gloves to han­dle antique man­u­scripts decreas­es man­u­al dex­ter­i­ty, while height­en­ing the pos­si­bil­i­ty of trans­ferred dirt or dis­lodged pig­ments.

The stur­dy parch­ment of this par­tic­u­lar antiphonary has seen far worse than the care­ful hands of a pro­fes­sion­al cura­tor.

Pages 7, 8, 9 have been singed along the bot­tom mar­gins, and else­where, the goth­ic hand let­ter­ing has been scraped away, pre­sum­ably with a knife, in prepa­ra­tion for a litur­gi­cal update that nev­er got entered.

If your brain is cry­ing out for more after spend­ing 15 and a half inti­mate min­utes with these medieval pages, we leave you with the snap crack­le and pop of oth­er items in the V&A’s col­lec­tion:

Treat your ears to Vic­to­ria and Albert’s full ASMR at the Muse­um playlist here.

– Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo and Cre­ative, Not Famous Activ­i­ty Book. Fol­low her @AyunHalliday.

Vintage Book & Record Covers Come to Life in a Mesmerizing Animated Video

Back in April 2020, ani­ma­tor Hen­ning M. Led­er­er launched his “Books & Sleeves” project where he turns abstract geo­met­ric pat­terns, all fea­tured on vin­tage book and record cov­ers, into mes­mer­iz­ing mov­ing images. Above, you can watch the sec­ond install­ment of the project, which does­n’t dis­ap­point.

In the past, we’ve also fea­tured more of Lederer’s cre­ative work–from his ani­ma­tions of mid-cen­tu­ry min­i­mal­ist book cov­ers and vin­tage psy­chol­o­gy and phi­los­o­phy books, to his ani­ma­tion of a 1926 lith­o­graph that famous­ly por­trays the human body as a mod­ern fac­to­ry. Be sure to give them all a watch.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent 

Mythos: An Ani­ma­tion Retells Time­less Greek Myths with Abstract Mod­ern Designs

Vin­tage Book & Record Cov­ers Brought to Life in a Mes­mer­iz­ing Ani­mat­ed Video

“Man as Indus­tri­al Palace,” the 1926 Lith­o­graph Depict­ing the Human Body as a Mod­ern Fac­to­ry, Comes to Life in a New Ani­ma­tion

55 Cov­ers of Vin­tage Phi­los­o­phy, Psy­chol­o­gy & Sci­ence Books Come to Life in a Short Ani­ma­tion

 

The Brooklyn Public Library Gives Every Teenager in the U.S. Free Access to Censored Books

We have cov­ered it before: school dis­tricts across the Unit­ed States are increas­ing­ly cen­sor­ing books that don’t align with con­ser­v­a­tive, white-washed visions of the world. Art Spiegel­man’s Maus, The Illus­trat­ed Diary of Anne Frank, Alice Walk­er’s The Col­or Pur­ple, Toni Mor­rison’s The Bluest Eye, and Harp­er Lee’s To Kill a Mock­ing­bird–these are some of the many books get­ting pulled from library shelves in Amer­i­can schools. In response to this con­cern­ing trend, the Brook­lyn Pub­lic Library has made a bold move: For a lim­it­ed time, the library will offer a free eCard to any per­son aged 13 to 21 across the Unit­ed States, allow­ing them free access to 500,000 dig­i­tal books, includ­ing many cen­sored books. The Chief Librar­i­an for the Brook­lyn Pub­lic Library, Nick Hig­gins said:

A pub­lic library rep­re­sents all of us in a plu­ral­is­tic soci­ety we exist with oth­er peo­ple, with oth­er ideas, oth­er view­points and per­spec­tives and that’s what makes a healthy democ­ra­cy — not shut­ting down access to those points of view or silenc­ing voic­es that we don’t agree with, but expand­ing access to those voic­es and hav­ing con­ver­sa­tions and ideas that we agree with and ideas that we don’t agree with.

And he added:

This is an intel­lec­tu­al free­dom to read ini­tia­tive by the Brook­lyn Pub­lic Library. You know, we’ve been pay­ing atten­tion to a lot of the book chal­lenges and bans that have been tak­ing place, par­tic­u­lar­ly over the last year in many places across the coun­try. We don’t nec­es­sar­i­ly expe­ri­ence a whole lot of that here in Brook­lyn, but we know that there are library patrons and library staff who are fac­ing these and we want­ed to fig­ure out a way to step in and help, par­tic­u­lar­ly for young peo­ple who are see­ing, some books in their library col­lec­tions that may rep­re­sent them, but they’re being tak­en off the shelves.

As for how to get the Brook­lyn Pub­lic Library’s free eCard, their Books Unbanned web­site offers the fol­low­ing instruc­tions: “indi­vid­u­als ages 13–21 can apply for a free BPL eCard, pro­vid­ing access to our full eBook col­lec­tion as well as our learn­ing data­bas­es. To apply, email bo***********@**********ry.org.” In short, send them an email.

You can find a list of Amer­i­ca’s most fre­quent­ly banned books at the web­site of the Amer­i­can Library Asso­ci­a­tion.

Note: We first post­ed about this ini­tia­tive dur­ing the dog days of last August. But it seemed worth men­tion­ing this pro­gram while school’s in full swing. Hence why we’re flag­ging Books Unbanned again.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent 

Texas School Board Bans Illus­trat­ed Edi­tion of The Diary of Anne Frank

Ten­nessee School Board Bans Maus, the Pulitzer-Prize Win­ning Graph­ic Nov­el on the Holo­caust; the Book Becomes #1 Best­seller on Ama­zon

The 850 Books a Texas Law­mak­er Wants to Ban Because They Could Make Stu­dents Feel Uncom­fort­able

Umber­to Eco Makes a List of the 14 Com­mon Fea­tures of Fas­cism

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