Behold Medieval Snowball Fights: A Timeless Way of Having Fun

You can’t get too much win­ter in the win­ter

– Robert Frost, “Snow

Snowy win­ter then respond­ed with a voice severe:
May the cuck­oo not come, let it sleep in dark hol­lows.
He is accus­tomed to bring hunger with him.

Anony­mous poem in Medieval Latin, trans­lat­ed by Heather Williams

Win­ter may starve and freeze, but in each place where snow accu­mu­lates, we also find depic­tions of infor­mal hol­i­days — snow days — and one of their most exu­ber­ant pur­suits. “Few sea­son­al activ­i­ties are as uni­ver­sal — across time, place, or cul­ture — as the snow­ball fight,” writes Pub­lic Domain Review. Some have even made it “into the annals of his­to­ry.… Accord­ing to what might be more fable than his­to­ry, the teenage Napoleon Bona­parte famous­ly orga­nized a ten day snow­ball fight at his mil­i­tary school, com­plete with trench­es, reg­i­mens, and rules of engage­ment.”

Snow­ball fights weren’t “con­fined to chil­dren either,” Arendse Lund writes. In the pages of illu­mi­nat­ed Medieval man­u­scripts, “peo­ple of all ages, men and women, can be seen heft­ing an icy ball.” Such images defy a “con­ven­tion­al topos” — “the threat of win­ter” found in Old Eng­lish poet­ry.

In one cal­en­dar poem, The Menologium, for exam­ple, “win­ter comes in like an invad­ing war­rior,” notes A Clerk of Oxford, “and puts autumn in chains, and the green fields which dec­o­rate the earth are per­mit­ted to stay with us no longer.… There are many, many exam­ples of win­ter as dan­ger and sor­row” in Medieval poet­ry.

The tra­di­tion of win­ter as a mar­tial invad­er con­tin­ues in mod­ern verse. In Robert Frost, snow forms “soft bombs.” Even when one is safe and warm at home, snow banked high around the walls out­side, win­ter threat­ens: the house is “frozen, brit­tle, all except this room you sit in.” But along­side these lit­er­ary scenes of unbear­able cold, we have the play­ful­ness and sub­lim­i­ty of win­ter, its abil­i­ty to ele­vate the ordi­nary, break up monot­o­ny, put a tem­po­rary end to dai­ly drudgery. Win­ter brings its own form of beau­ty, and its own fun: the soft bomb of the snow ball.

In one Mid­dle Eng­lish poem by Nico­las Bacon, titled “Of a Snow balle,” spring has noth­ing on win­ter even when it comes to love; the snow­ball fight becomes a pre­text for a roman­tic encounter:

A wan­ton wenche vppon a colde daye
With Snowe balles prouoked me to playe:
But the­is snowe balles soe hette my desy­er
That I maye calle them balles of wylde fyer.

In the delight­ful images here, culled from a num­ber of illu­mi­nat­ed man­u­scripts (and one fres­co, at the top), see Medieval Euro­peans play, flirt, and scoff at win­ter’s warn­ing in light­heart­ed snow­ball fights of yore.

via Pub­lic Domain Review

Relat­ed Con­tent: 

The Illu­mi­nat­ed Man­u­scripts of Medieval Europe: A Free Online Course from the Uni­ver­si­ty of Col­orado

Medieval Scribes Dis­cour­aged Theft of Man­u­scripts by Adding Curs­es Threat­en­ing Death & Damna­tion to Their Pages

Killer Rab­bits in Medieval Man­u­scripts: Why So Many Draw­ings in the Mar­gins Depict Bun­nies Going Bad

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

An Introduction to the Painting of Caspar David Friedrich, Romanticism & the Sublime

When Denis Vil­leneuve was announced as the direc­tor of the lat­est cin­e­mat­ic adap­ta­tion of Dune, few could have object­ed on aes­thet­ic grounds. The blast­ed sand plan­et of Arrakis, with its storms and worms, demands a sense of the sub­lime; to a unique degree among film­mak­ers work­ing today, the auteur behind Arrival and Blade Run­ner 2049 seemed to pos­sess it. Though long since vul­gar­ized to mean lit­tle more than “high­ly enjoy­able,” sub­lime has his­tor­i­cal­ly denot­ed a rich­er, more com­plex set of qual­i­ties. The sub­lime can be beau­ti­ful, but it must also be in some way fear­some, pos­sessed of “a great­ness beyond all pos­si­bil­i­ty of cal­cu­la­tion, mea­sure­ment, or imi­ta­tion.”

That quote comes straight from the Wikipedia page on “Sub­lime (phi­los­o­phy),” which also promi­nent­ly fea­tures Cas­par David Friedrich’s paint­ing Der Wan­der­er über dem Nebelmeer, or Wan­der­er above the Sea of Fog. Com­plet­ed around 1818, it has become a famil­iar image even to those who know noth­ing of Friedrich’s work — work to which they can receive an intro­duc­tion from the new video above by Evan Puschak, bet­ter known as the Nerd­writer.

Friedrich, he explains, was “asso­ci­at­ed with Ger­man Roman­ti­cism, a ris­ing intel­lec­tu­al and artis­tic move­ment” of the late 18th and ear­ly 19th cen­turies “that sought to recon­nect human­i­ty with feel­ing and spir­i­tu­al­i­ty” after the Enlight­en­ment so desta­bi­lized human­i­ty’s Weltan­schau­ung.

Friedrich’s land­scapes, real­is­ti­cal­ly paint­ed if not nec­es­sar­i­ly faith­ful to real places, “rep­re­sent the pin­na­cle of this move­ment.” They do this by con­vey­ing “the feel­ing he has in the pres­ence of the land­scape, the stag­ger­ing encounter with the divin­i­ty he sees in it. This is the essence of the sub­lime,” which took on spe­cial urgency in an era “when sec­u­lar­ism was threat­en­ing the core of Chris­tian­i­ty.”  More than reli­gion, the Roman­tics thus began to regard nature as awe­some (in the orig­i­nal sense), hum­bling them­selves before the great­ness of land­scapes real and imag­ined. The wan­der­er loom­ing above the sea of fog is actu­al­ly an excep­tion in Friedrich’s work, most of whose human fig­ures are small enough to empha­size “the vast­ness of the ter­rain” — a sub­lime-evok­ing tech­nique that we can still feel work­ing two cen­turies lat­er, Puschak points out, in Vil­leneu­ve’s Dune.

You can pre-order Nerd­writer’s upcom­ing book Escape into Mean­ing: Essays on Super­man, Pub­lic Bench­es, and Oth­er Obses­sions here.

Relat­ed Con­tent:

How Andrew Wyeth Made a Paint­ing: A Jour­ney Into His Best-Known Work Christina’s World

When Our World Became a de Chiri­co Paint­ing: How the Avant-Garde Painter Fore­saw the Emp­ty City Streets of 2020

Why Leonar­do da Vinci’s Great­est Paint­ing is Not the Mona Lisa

Bri­an Eno on Cre­at­ing Music and Art As Imag­i­nary Land­scapes (1989)

New Study: Immers­ing Your­self in Art, Music & Nature Might Reduce Inflam­ma­tion & Increase Life Expectan­cy

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include 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.

How Did the Mona Lisa Become the World’s Most Famous Painting?: It’s Not What You Think

Leonar­do da Vinci’s unfin­ished, five cen­tu­ry-old por­trait of a Flo­ren­tine silk merchant’s wife, Lisa del Gio­con­do (née Gher­ar­di­ni), is, quite pos­si­bly, the most famous paint­ing in the world.

And its sub­ject pos­sess­es the world’s most cap­ti­vat­ing smile, inspir­ing rhap­sodies and par­o­dies in seem­ing equal mea­sure. (Its Ital­ian title, La Gio­con­da, is a nod to the sitter’s mar­ried name, and depend­ing on whom you ask, trans­lates as “joy­ous,” “light heart­ed,” or  “mer­ry.”)

The Lou­vre, where the paint­ing has resided since 1804 (fol­low­ing stints in Fontainebleau, the Grand Palace of Ver­sailles, and Napoleon Bona­parte’s bed­room), reserves a spe­cial mail­box for paeans from Mona Lisa fans.

Ask a ran­dom per­son on the street how this com­par­a­tive­ly dinky oil on wood came to be so uni­ver­sal­ly cel­e­brat­ed, and they’ll log­i­cal­ly con­clude it’s got some­thing to do with that smile.

Those with a back­ground in visu­al art may also cite Renais­sance inno­va­tions in paint­ing tech­nique — atmos­pher­ic per­spec­tive and sfu­ma­to, both of which Leonar­do employed to mem­o­rable effect.

Those are good guess­es, but the real rea­son for the Mona Lisa’s endur­ing glob­al renown?

The pub­lic’s love of a good crime sto­ry.

As art his­to­ri­an Noah Char­ney, author of The Thefts of the Mona Lisa: On Steal­ing the World’s Most Famous Paint­ing, recounts in the ani­mat­ed TED-Ed les­son above, La Gio­can­da owes her block­buster rep­u­ta­tion to a sticky-fin­gered Lou­vre employ­ee named Vin­cen­zo Perug­gia.

In 1911, Perug­gia, a painter whose day job involved build­ing crates for works in the Lou­vre’s col­lec­tion, hid in a cup­board for hours after clos­ing, then escaped via a back door, the unframed can­vas tucked beneath his arm.

The police papered the streets of Paris with the Mona Lisa’s like­ness on miss­ing fly­ers, and the press fanned inter­est in both the crime and the paint­ing. Read­ers devoured updates that iden­ti­fied poet Guil­laume Apol­li­naire and painter Pablo Picas­so as sus­pects, and steamy the­o­ries regard­ing the nature of the rela­tion­ship between Leonar­do and the lady in the por­trait.

As art crit­ic Lau­ra Cum­ming writes in The Guardian, “Mil­lions of peo­ple who might not have seen it, might nev­er even have heard of it, soon became experts on Leonar­do’s stolen paint­ing.”

For two years, its where­abouts remained unknown:

(Perug­gia) kept her in a cup­board, then under a stove in the kitchen, and final­ly in (a) false-bot­tomed trunk. For a while, he rather cock­i­ly propped her post­card on the man­tel­piece… But fair­ly soon he seems to have found her hard to look at, impos­si­ble to live with; there is evi­dence of repeat­ed attempts to sell her.

The thief even­tu­al­ly arranged to repa­tri­ate the pur­loined paint­ing to Italy, strik­ing a deal with Flo­ren­tine art deal­er Alfred Geri, who sum­moned the police as soon as he ver­i­fied the work’s authen­tic­i­ty.

The Mona Lisa was restored to the Lou­vre, where eager crowds clam­ored for a look at a new­ly mint­ed house­hold name they could all rec­og­nize by sight, as “news­pa­pers took the sto­ry for a vic­to­ry lap.”

Find a quiz and cus­tomiz­able les­son plan on the rea­sons behind the Mona Lisa’s fame here.

Hats off to ani­ma­tor Avi Ofer for his puck­ish sug­ges­tion that Leonar­do might have tak­en some flat­ter­ing lib­er­ties with Lisa del Gio­con­do’s appear­ance.

Relat­ed Con­tent:

When Pablo Picas­so and Guil­laume Apol­li­naire Were Accused of Steal­ing the Mona Lisa (1911)

Leonar­do da Vinci’s Note­books Get Dig­i­tized: Where to Read the Renais­sance Man’s Man­u­scripts Online

How Leonar­do da Vin­ci Made His Mag­nif­i­cent Draw­ings Using Only a Met­al Sty­lus, Pen & Ink, and Chalk

Leonar­do Da Vinci’s To-Do List from 1490: The Plan of a Renais­sance Man

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

Explore the New 717-Gigapixel Scan of Rembrandt’s The Night Watch, the Most Detailed Photo Ever Taken of a Work of Art

Film­mak­er and seri­ous Rem­brandt enthu­si­ast Peter Green­away once called The Night Watch the most famous paint­ing in the West­ern world, behind the Mona Lisa, The Last Sup­per, and the ceil­ing of the Sis­tine Chapel. But if the resources devot­ed to its scruti­ny are any­thing to go by, the Dutch mas­ter­work has been gain­ing on those oth­er three in recent years. Can any work of Leonar­do or Michelan­ge­lo, for exam­ple, boast of hav­ing been dig­i­tized at a res­o­lu­tion of 717 gigapix­els, as the Rijksmu­se­um has just done with The Night Watch?

In fact, no oth­er work of art in exis­tence has ever been the sub­ject of such a large and detailed pho­to­graph. Each of its 717,000,000,000 pix­els, says the Rijksmu­se­um’s site, “is small­er than a human red blood cell.”

This neces­si­tat­ed the use of “a 00-megapix­el Has­sel­blad H6D 400 MS-cam­era to make 8439 indi­vid­ual pho­tos mea­sur­ing 5.5cm x 4.1cm. Arti­fi­cial intel­li­gence was used to stitch these small­er pho­tographs togeth­er to form the final large image, with a total file size of 5.6 ter­abytes.” You may remem­ber arti­fi­cial intel­li­gence also hav­ing played a role in the recon­struc­tion of the paint­ing’s miss­ing sec­tions, pre­vi­ous­ly fea­tured here on Open Cul­ture.

The result far sur­pass­es the dig­i­tal ver­sion of The Night Watch made avail­able by the Rijksmu­se­um in 2020, itself high-res­o­lu­tion enough to allow view­ers to zoom in to see the paint­ing’s every indi­vid­ual brush stroke. (It even out­does last year’s 10-bil­lion-pix­el scan of Girl with a Pearl Ear­ring, the best-known work by Rem­brandt’s fel­low Dutch mas­ter Johannes Ver­meer.) Now, writes Colos­sal’s Grace Ebert, you can see all the way down to “the cracked tex­ture of the paint, brush­strokes, and slight pig­ment vari­a­tions that wouldn’t be vis­i­ble even if you were stand­ing in front of the work itself.”

380 years after Rem­brandt paint­ed it, The Night Watch remains almost unique­ly strik­ing in its employ­ment of con­trast­ing shad­ow and light, all in ser­vice of a large-scale com­po­si­tion at once life­like and some­how more vivid than real­i­ty. This dig­i­ti­za­tion and the AI-assist­ed com­ple­tion are both arts of “Oper­a­tion Night Watch,” the thor­ough­go­ing restora­tion project now under­way at the Rijksmu­se­um, which will make all the ele­ments of that com­po­si­tion more imme­di­ate­ly vis­i­ble than they’ve been in gen­er­a­tions.

But the ques­tion of how, exact­ly, Rem­brandt achieved such pow­er­ful effects can be answered only through rig­or­ous exam­i­na­tion of each and every detail, an activ­i­ty open to all on the 717-gigapix­el scan at the Rijksmu­se­um’s site.

via Colos­sal

Relat­ed Con­tent:

What Makes The Night Watch Rembrandt’s Mas­ter­piece

Enter an Online Inter­ac­tive Doc­u­men­tary on Rembrandt’s The Night Watch and Learn About the Painting’s Many Hid­den Secrets

The Long-Lost Pieces of Rembrandt’s Night Watch Get Recon­struct­ed with Arti­fi­cial Intel­li­gence

The Restora­tion of Rembrandt’s The Night Watch Begins: Watch the Painstak­ing Process On-Site and Online

Late Rem­brandts Come to Life: Watch Ani­ma­tions of Paint­ings Now on Dis­play at the Rijksmu­se­um

A 10 Bil­lion Pix­el Scan of Vermeer’s Mas­ter­piece Girl with a Pearl Ear­ring: Explore It Online

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include 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.

400,000+ Sound Recordings Made Before 1923 Have Entered the Public Domain

A cen­tu­ry ago, the Unit­ed States was deep into the Jazz Age. No writer is more close­ly asso­ci­at­ed with that heady era than F. Scott Fitzger­ald, who (in addi­tion to coin­ing the verb to cock­tail) took it upon him­self to pop­u­lar­ize its name. In 1922 he even titled a short sto­ry col­lec­tion Tales from the Jazz Age, which entered the pub­lic domain not long ago. You may be more famil­iar with anoth­er work of Fitzger­ald’s that fol­lowed Tales from the Jazz Age into free­dom just last year: a nov­el called The Great Gats­by. But only this year have the actu­al sounds of the Jazz Age come into the pub­lic domain as well, thanks to the Music Mod­ern­iza­tion Act passed by U.S. Con­gress in 2018.

“Accord­ing to the act, all sound record­ings pri­or to 1923 will have their copy­rights expire in the US on Jan­u­ary 1, 2022,” says the Pub­lic Domain Review. This straight­ens out a tan­gled legal frame­work that pre­vi­ous­ly would­n’t have allowed the release of pre-1923 sound record­ings until the dis­tant year of 2067.

And so all of us now have free use of every sound record­ing from a more than 60-year peri­od  that “com­pris­es a rich and var­ied playlist: exper­i­men­tal first dab­blings, vaude­ville, Broad­way hits, rag­time, and the begin­nings of pop­u­lar jazz. Includ­ed will be the works of Scott Joplin, Thomas Edison’s exper­i­ments, the emo­tive war­blings of Adeli­na Pat­ti and the first record­ing of Swing Low, Sweet Char­i­ot.”

If you’d like to have a lis­ten to all this, the Pub­lic Domain Review rec­om­mends start­ing with its own audio col­lec­tion, a search for all pre-1923 record­ings on Inter­net Archive, and two projects from the Library of Con­gress: the Nation­al Juke­box and the Cit­i­zen DJ project, the lat­ter of which “has plans to do some­thing spe­cial with the pre-1923 record­ings once they enter the pub­lic domain.” You might also have a look at the Asso­ci­a­tion for Record­ed Sound Col­lec­tions’ list of ten notable pre-1923 record­ings, which high­lights such pro­to-jazz records as “Crazy Blues” and “Dix­ieland Jass Band One-Step” (along with the whol­ly non-jazz work of Enri­co Caru­so and Pablo Casals).

Accord­ing to Alex­is Rossi at the Inter­net Archive Blog, the sound record­ings just lib­er­at­ed by the Music Mod­ern­iza­tion act come to about 400,000 in total. Among them you’ll find “ear­ly jazz clas­sics like ‘Don’t Care Blues’ by Mamie Smith and her Jazz Hounds, ‘Ory’s Cre­ole Trom­bone’ by Kid Ory’s Sun­shine Orches­tra, and ‘Jazz­in’ Babies Blues’ by Ethel Waters.” Rossi also high­lights the nov­el­ty songs such as Bil­ly Mur­ray’s 1914 ren­di­tion of “Fido is a Hot Dog Now,” “which seems to be about a dog who is def­i­nite­ly going to hell.” The Jazz Age soon to come would exhib­it a more rau­cous but also more refined sen­si­bil­i­ty: as Fitzger­ald wrote in 1931, with the era he defined (and that defined him) already past, “It was an age of mir­a­cles, it was an age of art, it was an age of excess, and it was an age of satire.”

via Mefi

Relat­ed con­tent:

Free: The Great Gats­by & Oth­er Major Works by F. Scott Fitzger­ald

What’s Enter­ing the Pub­lic Domain in 2022: The Sun Also Ris­es, Win­nie-the-Pooh, Buster Keaton Come­dies & More

Hear the First Jazz Record, Which Launched the Jazz Age: “Liv­ery Sta­ble Blues” (1917)

The Clean­est Record­ings of 1920s Louis Arm­strong Songs You’ll Ever Hear

Great New Archive Lets You Hear the Sounds of New York City Dur­ing the Roar­ing 20s

How the Inter­net Archive Has Dig­i­tized More than 250,000 78 R.P.M. Records: See the Painstak­ing Process Up-Close

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include 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.

In 1953, a Telephone-Company Executive Predicts the Rise of Modern Smartphones and Video Calls

We live in the age of the smart­phone, which took more than a few of us by sur­prise. But in all human his­to­ry, not a sin­gle piece of tech­nol­o­gy has actu­al­ly come out of nowhere. Long before smart­phones came on the mar­ket in the 2000s, those close to the telecom­mu­ni­ca­tions indus­try had a sense of what form its most wide­ly used device would even­tu­al­ly take. “Here is my prophe­cy: In its final devel­op­ment, the tele­phone will be car­ried about by the indi­vid­ual, per­haps as we car­ry a watch today,” said Pacif­ic Tele­phone and Tele­graph Com­pa­ny direc­tor Mark R. Sul­li­van in 1953. “It prob­a­bly will require no dial or equiv­a­lent and I think the users will be able to see each oth­er, if they want, as they talk. Who knows but it may actu­al­ly trans­late from one lan­guage to anoth­er?”

Sul­li­van’s pre­scient-sound­ing words sur­vive in the clip­ping of the Asso­ci­at­ed Press arti­cle seen at the top of the post. It’s worth remem­ber­ing that the speech in ques­tion dates from a time when the rotary phone was the most advanced per­son­al com­mu­ni­ca­tion device in Amer­i­can house­holds.

Just three years ear­li­er, writes KQED’s Rae Alexan­dra, Sul­li­van “appeared in the San Fran­cis­co Exam­in­er talk­ing about the lat­est inno­va­tions in tele­phone tech­nol­o­gy. The advance­ment he was most proud of was a new device about the size of a small type­writer that auto­mat­i­cal­ly cal­cu­lat­ed how long people’s phone calls were.” How­ev­er log­i­cal, pock­et tele­phones with video-call­ing and trans­la­tion capa­bil­i­ties would then have struck many as the stuff of sci­ence fic­tion.

Though born before the time of house­hold elec­tri­fi­ca­tion, Sul­li­van him­self lived just long enough to see the debut of the first com­mer­cial cell­phone  “The Motoro­la DynaT­AC 8000X was def­i­nite­ly not watch-sized and cost a whop­ping $3,995 in 1983 (about $11,000 today),” writes Alexan­dra, “but Sul­li­van might have seen this devel­op­ment as a step towards his long-ago vision — a sign that every one of his 1953 pre­dic­tions would even­tu­al­ly come to fruition.” As print­ed in the Taco­ma News Tri­bune, the AP arti­cle con­vey­ing those pre­dic­tions to the pub­lic appeared under the head­line “There’ll Be No Escape in Future from Tele­phones,” which sounds even more chill­ing today — in that very future — than it did near­ly 70 years ago. But then, even the visions of actu­al sci­ence fic­tion are sel­dom whol­ly untrou­bled.

Relat­ed Con­tent:

A 1947 French Film Accu­rate­ly Pre­dict­ed Our 21st-Cen­tu­ry Addic­tion to Smart­phones

Niko­la Tesla’s Pre­dic­tions for the 21st Cen­tu­ry: The Rise of Smart Phones & Wire­less, The Demise of Cof­fee, The Rule of Eugen­ics (1926/35)

When We All Have Pock­et Tele­phones (1923)

In 1911, Thomas Edi­son Pre­dicts What the World Will Look Like in 2011: Smart Phones, No Pover­ty, Libraries That Fit in One Book

Lyn­da Bar­ry on How the Smart­phone Is Endan­ger­ing Three Ingre­di­ents of Cre­ativ­i­ty: Lone­li­ness, Uncer­tain­ty & Bore­dom

Film­mak­er Wim Wen­ders Explains How Mobile Phones Have Killed Pho­tog­ra­phy

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include 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.

How Fashionable Dutch Women (Like the Girl with a Pearl Earring) Got Dressed in 1665

Remem­ber how it felt to be bun­dled into tights, socks, jeans, a thick sweater, a snow­suit, mit­tens, only to real­ize that you real­ly need­ed to pee?

Back in 1665, the Lit­tle Ice Age com­pelled the well-to-do ladies of Delft to turn them­selves out with a sim­i­lar eye toward keep­ing warm, but their ensem­bles had a dis­tinct advan­tage over the Christ­mas Sto­ry snow­suit approach.

Reliev­ing them­selves was as easy as hik­ing their skirts, pet­ti­coats, and volu­mi­nous, lace-trimmed chemise. No flies for freez­ing fin­gers to fum­ble with. In fact, no draw­ers at all.

His­tor­i­cal cos­tumer Pauline Loven, a cre­ator of the Get­ting Dressed In… series, builds this elite out­fit from the inner­most lay­er out, above, not­ing that cloth­ing was an avenue for well-to-do cit­i­zens to flaunt their wealth:

  • A long, full, Linen or silk chemise trimmed with lace at the cuff
  • A waist-tied hip pad to bol­ster sev­er­al lay­ers of cozy, lined pet­ti­coats
  • An ele­gant silk gown com­prised of sev­er­al com­po­nents:
    • A flat front­ed skirt tucked into pleats at the sides and back
    • A laced up bodice stiff­ened with whale bone stays
    • Detach­able sleeves
    • A stom­ach­er for front-laced bodices
  • A loose fit­ting, fur-trimmed vel­vet or silk jack­et
  • Silk or woolen thigh-high stock­ings gartered below the knee (cre­at­ed for the episode by her­itage edu­ca­tor, and knitwear design­er Sal­ly Point­er)
  • A linen or silk ker­chief pinned or tied at the breast
  • Square-toed leather shoes with a curved heel (cre­at­ed for the episode by Kevin Gar­lick, who spe­cial­izes in hand­made shoes for re-enac­tors.)

Fash­ion­able acces­sories might include a foot warm­ing, char­coal pow­ered voeten stoof and under­stat­ed jew­el­ry, like the pearls Johannes Ver­meer paint­ed to such lumi­nous effect.

If that doesn’t tip you off to the direc­tion this his­toric recre­ation is head­ed, allow us to note that the atten­dant, who’s far from the focus of this episode, is garbed so as to sug­gest The Milk­maid by a cer­tain Dutch Baroque Peri­od painter who spe­cial­ized in domes­tic inte­ri­or scenes…and whose ini­tials are J.V.

The fin­ish­ing touch is a tur­ban of yel­low silk taffe­ta and blue silk dupi­on, an exot­ic ele­ment that may pro­duce a sense of deja vu in art lovers … and any­one who rel­ish­es a good art-based recre­ation chal­lenge.

View more of Pauline Loven’s work and Get­ting Dressed In… episodes focused on oth­er peri­ods at Crow’s Eye Pro­duc­tions’ YouTube chan­nel.

Relat­ed Con­tent:

How Women Got Dressed in the 14th & 18th Cen­turies: Watch the Very Painstak­ing Process Get Cin­e­mat­i­cal­ly Recre­at­ed

A Pre-Pan­tone Guide to Col­ors: Dutch Book From 1692 Doc­u­ments Every Col­or Under the Sun

Ghosts of His­to­ry: Dutch Artist Eeri­ly Super­im­pos­es Mod­ern Street Scenes on World War II Pho­tos

Street Art for Book Lovers: Dutch Artists Paint Mas­sive Book­case Mur­al on the Side of a Build­ing

Ayun Hal­l­i­day is an author, the­ater­mak­er, and the Chief Pri­maol­o­gist of the East Vil­lage Inky zine. Her lat­est book, Cre­ative, Not Famous: The Small Pota­to Man­i­festo, will be pub­lished in ear­ly 2022.  Fol­low her @AyunHalliday.

500 Years of Haircuts: One Youtuber Tries Out the Hair Styles That Were Fashionable Between 1500 and 2000

“In Mankiewicz’s Julius Cae­sar, all the char­ac­ters are wear­ing fringes,” writes Roland Barthes in his well-known essay on Romans in film. “Some have them curly, some strag­gly, some tuft­ed, some oily, all have them well combed.” This fringe, Barthes argues, is “quite sim­ply the label of Roman-ness”: when it comes onscreen, “no one can doubt that he is in Ancient Rome.” Ever since cin­e­ma first told his­tor­i­cal tales, hair has been among its most effec­tive visu­al short­hands with which to estab­lish an era. This is in part due to hair­styles them­selves hav­ing var­ied since the begin­ning of record­ed his­to­ry, and — in one form or anoth­er — no doubt before it as well. But how many of them could we pull off today?

In the video above, Youtu­ber Mor­gan Don­ner address­es that ques­tion as direct­ly as pos­si­ble: by try­ing out half a mil­len­ni­um’s worth of hair­styles her­self. As a woman, she’s been pro­vid­ed much more to work with by fash­ion his­to­ry (to say noth­ing of biol­o­gy) than have the suc­ces­sors of all those fringed Roman men. She begins in 1520, a peri­od whose art reveals “a fair­ly con­sis­tent cen­ter-part kind of smooth look going on” with braids behind, all easy replic­a­ble. 110 years lat­er “things get actu­al­ly quite inter­est­ing,” since fash­ions begin to encom­pass not just hair­styles but hair­cuts, prop­er­ly speak­ing, requir­ing dif­fer­ent sec­tions of hair to be dif­fer­ent lengths — and requir­ing Don­ner to whip out her scis­sors.

About a cen­tu­ry lat­er, Don­ner takes note of a pat­tern where­by “styles get big­ger and big­ger and big­ger, and then — foof — they deflate.” Such, it seems, has become the gen­er­al ten­den­cy of not just cul­ture but many oth­er human pur­suits as well: the grad­ual infla­tion of a bub­ble of extrem­i­ty, fol­lowed by its sud­den burst­ing. It’s in the 18th cen­tu­ry that Don­ner’s project turns more com­plex, begin­ning to involve such things as lard, pow­der, and hair cush­ions. But she gets a bit of a respite when the 1800s come along, and “it’s almost like every­one col­lec­tive­ly decid­ed that they were tired of it, and you know what? Messy bun. That’s good enough.” Yet in hair as in all things, human­i­ty nev­er keeps it sim­ple for long.

View­ers of film and tele­vi­sion his­tor­i­cal dra­mas (which them­selves have been boom­ing for some time now) will rec­og­nize more than a few of the hair­styles Don­ner gives her­self through­out this video. But the deep­er she gets into the 20th cen­tu­ry, the more of them remain in liv­ing mem­o­ry. Take the 1940s’ shoul­der-length curls with pinned-back lay­ers on top, which many of us will rec­og­nize from pic­tures of our grand­moth­ers. That par­tic­u­lar hair­style does­n’t seem to have been revived since, but from the 1960s on, Don­ner works through a series of looks that have pro­vid­ed no lit­tle inspi­ra­tion to our retro­ma­ni­ac 21st cen­tu­ry. At the end of her his­tor­i­cal-ton­so­r­i­al jour­ney, she fires up the clip­pers and buzzes her­self com­plete­ly — thus begin­ning hair Year Zero.

Relat­ed Con­tent:

Get the Ancient Roman Look: A Hair & Make­up Video Tuto­r­i­al

How a Bal­ti­more Hair­dress­er Became a World-Renowned “Hair Archae­ol­o­gist” of Ancient Rome

How Women Got Dressed in the 14th & 18th Cen­turies: Watch the Very Painstak­ing Process Get Cin­e­mat­i­cal­ly Recre­at­ed

Where Did the Monk’s Hair­cut Come From? A Look at the Rich and Con­tentious His­to­ry of the Ton­sure

50 Years of Chang­ing David Bowie Hair Styles in One Ani­mat­ed GIF

Google Cre­ates a Dig­i­tal Archive of World Fash­ion: Fea­tures 30,000 Images, Cov­er­ing 3,000 Years of Fash­ion His­to­ry

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include 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.

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