Watch the World’s Oldest Violin in Action: Marco Rizzi Performs Schumann’s Sonata No. 2 on a 1566 Amati Violin

Most of us are acquaint­ed with the sor­row­ful sound of the world’s small­est vio­lin, but what of the world’s old­est?

The instru­ment in the video above dates back to 1566.

Mean­ing, if it were the patri­arch of a human fam­i­ly, sir­ing musi­cal sons every 20 to 25 years, it would take more than 10 gen­er­a­tions to get to com­pos­er Robert Schu­mann, born in 1810.

And then anoth­er 31 years for Schu­mann to com­pose Sonata No. 2 for Vio­lin and Piano in D minor, Op . 121, the piece vio­lin­ist Mar­co Rizzi–age unknown–coaxes from this love­ly piece of wood.

Were you to peek at the back, you’d see traces of King Charles IX of France’s coat of arms. The Latin mot­to Pietate et Justi­tia–piety and justice–still lingers on its rib.

It was con­struct­ed by the mas­ter cre­ator, Andrea Amati, as part of a large set of stringed instru­ments, of which it is one of four sur­vivors of its size and class.

After leav­ing Charles’ court, the vio­lin spent time in the Hen­ry Hot­tinger col­lec­tion, which was even­tu­al­ly acquired by the Wurl­itzer Com­pa­ny in New York. In 1966, it was donat­ed to Cre­mona, Italy, Amati’s birth­place and home to an inter­na­tion­al school of vio­lin mak­ing.

Ven­er­a­ble unto the point of price­less­ness, from time to time it is tak­en out and played–to won­drous effect–by world class vio­lin­ists. It’s tempt­ing to keep anthro­po­mor­phiz­ing, so as to won­der if it might not pre­fer a for­ev­er home with a gift­ed young musi­cian who would take it out and play it every day. I know what a chil­dren’s author would say on that sub­ject.

You can view Amati’s Charles IX vio­lin in more detail here, but why stop there, when you can also like it on Face­book!

Relat­ed Con­tent:

What Makes the Stradi­var­ius Spe­cial? It Was Designed to Sound Like a Female Sopra­no Voice, With Notes Sound­ing Like Vow­els, Says Researcher

Why Vio­lins Have F‑Holes: The Sci­ence & His­to­ry of a Remark­able Renais­sance Design

Watch the Mak­ing of a Hand-Craft­ed Vio­lin, from Start to Fin­ish, in a Beau­ti­ful­ly-Shot Doc­u­men­tary

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine — issue 58 is hot off the press. Fol­low her @AyunHalliday.

Renaissance Knives Had Music Engraved on the Blades; Now Hear the Songs Performed by Modern Singers

Image cour­tesy of The Vic­to­ria and Albert Muse­um

On any giv­en week­end, in any part of the state where I live, you can find your­self stand­ing in a hall full of knives, if that’s the kind of thing you like to do. It is a very niche kind of expe­ri­ence. Not so in some oth­er weapons expos—like the Arms and Armor gal­leries at the Met­ro­pol­i­tan Muse­um of Art, where every­one, from the most war­like to the staunchest of paci­fists, stands in awe at the intri­cate orna­men­ta­tion and incred­i­bly deft crafts­man­ship on dis­play in the suits of armor, lances, shields, and lots and lots of knives.

We must acknowl­edge in such a space that the worlds of art and of killing for fame and prof­it were nev­er very far apart dur­ing Europe’s late Medieval and Renais­sance peri­ods. Yet we encounter many sim­i­lar arti­sanal instru­ments from the time, just as fine­ly tuned, but made for far less bel­liger­ent pur­pos­es.

As Maya Cor­ry of the Fitzwilliam Muse­um in Cam­bridge—an insti­tu­tion with its own impres­sive arms and armor col­lec­tion—com­ments in the video above (at 2:30), one unusu­al kind of 16th cen­tu­ry knife meant for the table, not the bat­tle­field, offers “insight into that har­mo­nious, audi­ble aspect of fam­i­ly devo­tions,” prayer and song.

From the col­lec­tion of the Fitzwilliam Muse­um, in Cam­bridge. (Johan Oost­er­man )

These knives, which have musi­cal scores engraved in their blades, brought a table togeth­er in singing their prayers, and may have been used to carve the lamb or beef in their “strik­ing bal­ance of dec­o­ra­tive and util­i­tar­i­an func­tion.” At least his­to­ri­ans think such “nota­tion knives,” which date from the ear­ly 1500s, were used at ban­quets. “The sharp, wide steel would have been ide­al for cut­ting and serv­ing meat,” writes Eliza Grace Mar­tin at the WQXR blog, “and the accen­tu­at­ed tip would have made for a per­fect skew­er.” But as Kris­ten Kalber, cura­tor at the Vic­to­ria and Albert Muse­um, which hous­es the knives at the top of the post, tells us “din­ers in very grand feasts didn’t cut their own meat.” It’s unlike­ly they would have sung from the bloody knives held by their ser­vants.

The knives’ true pur­pose “remains a mys­tery,” Mar­tin remarks, like many “rit­u­als of the Renais­sance table.”  Vic­to­ria and Albert Muse­um cura­tor Kirstin Kennedy admits in the video above that “we are not entire­ly sure” what the “splen­did knife” she holds was used for. But we do know that each knife had a dif­fer­ent piece of music on each side, and that a set of them togeth­er con­tained dif­fer­ent har­mo­ny parts in order to turn a room­ful of din­ers into a cho­rus. One set of blades had the grace on one side, with the inscrip­tion, “the bless­ing of the table. May the three-in-one bless that which we are about to eat.” The oth­er side holds the bene­dic­tion, to be sung after the din­ner: “The say­ing of grace. We give thanks to you God for your gen­eros­i­ty.”

Com­mon enough ver­biage for any house­hold in Renais­sance Europe, but when sung, at least by a cho­rus from the Roy­al Col­lege of Music, who recre­at­ed the music and made the record­ings here, the prayers are superbly grace­ful. Above, hear one ver­sion of the Grace and Bene­dic­tion from the Vic­to­ria and Albert Muse­um knives; below, hear a sec­ond ver­sion. You can hear a cap­ti­vat­ing set of choral prayers from the Fitzwilliam Muse­um knives at WQXR’s site, record­ed for the Fitzwilliam’s “Madon­nas & Mir­a­cles” exhib­it. We are as unlike­ly now to encounter singing kitchen knives as we are to run into a horse and rid­er bear­ing 100 pounds of fine­ly-wrought wear­able steel sculp­ture. Such strange arti­facts seem to speak of a strange peo­ple who val­ued beau­ty whether carv­ing up the main course or cut­ting down their ene­mies.

via WQXR/@tedgioia

Relat­ed Con­tent:

An Ancient Philo­soph­i­cal Song Recon­struct­ed and Played for the First Time in 1,000 Years

See The Guidon­ian Hand, the Medieval Sys­tem for Read­ing Music, Get Brought Back to Life

Hear the Ear­li­est Known Piece of Poly­phon­ic Music: This Com­po­si­tion, Dat­ing Back to 900 AD, Changed West­ern Music

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

How Did the Romans Make Concrete That Lasts Longer Than Modern Concrete? The Mystery Finally Solved

An explo­sion in recent years of so-called “ruin porn” pho­tog­ra­phy has sparked an inevitable back­lash for its sup­posed fetishiza­tion of urban decay and eco­nom­ic dev­as­ta­tion. Doc­u­ment­ing, as the­o­rist Bri­an McHale writes, the “ruin in the wake of the dein­dus­tri­al­iza­tion of North Amer­i­can ‘Rust Belt’ cities” like Detroit, “ruin porn” shows us a world that only a few decades ago, thrived in a post-war eco­nom­ic boom that seemed like it might go on for­ev­er. Our mor­bid fas­ci­na­tion with images from the death of Amer­i­can man­u­fac­tur­ing offers a rich field for soci­o­log­i­cal inquiry. But when sci­en­tists look over what has hap­pened to so much of the archi­tec­ture from the ear­ly to mid-twen­ti­eth cen­tu­ry, they’ve most­ly had one very press­ing ques­tion:

What is going on with the con­crete?

Or more specif­i­cal­ly, why do struc­tures built only a few years ago look like they’ve been weath­er­ing the ele­ments for cen­turies, when build­ings thou­sands of years old, like many parts of the Pan­theon or Trajan’s Mar­kets in Rome, look like they’re only a few years old? The con­crete struc­tures of the Roman Empire, writes Nicole Davis at The Guardian, “are still stand­ing more than 1,500 years after the last cen­tu­ri­on snuffed it.” Roman con­crete was a phe­nom­e­nal feat of ancient engi­neer­ing that until recent­ly had stumped sci­en­tists who stud­ied its dura­bil­i­ty. The Romans them­selves “were aware of the virtues of their con­crete, with Pliny the Elder wax­ing lyri­cal in his Nat­ur­al His­to­ry that it is ‘impreg­nable to the waves and every day stronger.”

The mys­tery of the Roman con­crete recipe has final­ly been revealed. Researchers at the Uni­ver­si­ty of Utah have just pub­lished a study in Amer­i­can Min­er­al­o­gist show­ing how the com­pound of “vol­canic ash, lime (cal­ci­um oxide), sea­wa­ter and lumps of vol­canic rock” actu­al­ly did, as Pliny claimed, become stronger over time, through the very action of those waves. “Sea­wa­ter that seeped through the con­crete,” notes Davis, “dis­solved the vol­canic crys­tals and glass­es, with alu­mi­nous tober­morite and phillip­site crys­tal­iz­ing in their place.” These new crys­tals rein­force the con­crete, mak­ing it more imper­vi­ous to the ele­ments. Mod­ern con­crete, “by con­trast… is not sup­posed to change after it hardens—meaning any reac­tions with the mate­r­i­al cause dam­age.” (The short video above explains the process in brief.)

The recent study builds on pre­vi­ous work con­duct­ed by lead author, Uni­ver­si­ty of Utah geol­o­gist Marie Jack­son. In 2014, Jack­son, then at the Uni­ver­si­ty of Cal­i­for­nia, recre­at­ed the Roman con­crete recipe and dis­cov­ered one of the min­er­als with­in it that makes it supe­ri­or to the mod­ern stuff. But it took a cou­ple more years before she and her col­leagues fig­ured out the role of sea­wa­ter on form­ing the rare crys­tals. Now, they are rec­om­mend­ing that builders begin using Roman con­crete in the near future for sea­walls and oth­er marine struc­tures. The research “opens up a com­plete­ly new per­spec­tive for how con­crete can be made,” says Jack­son. “What we con­sid­er cor­ro­sion process­es can actu­al­ly pro­duce extreme­ly ben­e­fi­cial min­er­al cement and lead to con­tin­ued resilience, in fact, enhanced per­haps resilience over time.”

As we increas­ing­ly turn our post­mod­ern gaze toward the fail­ures of post­war industrialization–toward not only crum­bling cities but crum­bling dams and bridges–one secret for build­ing infra­struc­ture that can last for cen­turies comes to us not from an algo­rithm or an AI but from an ancient recipe com­bin­ing the primeval forces of vol­ca­noes and ocean waves.

via The Guardian

Relat­ed Con­tent:

Roman Archi­tec­ture: A Free Course from Yale 

Rome Reborn: Take a Vir­tu­al Tour of Ancient Rome, Cir­ca 320 C.E.

Ancient Rome’s Sys­tem of Roads Visu­al­ized in the Style of Mod­ern Sub­way Maps

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

Hand-Colored Photographs from 19th Century Japan: 110 Images Capture the Waning Days of Traditional Japanese Society

What we euphemisti­cal­ly refer to as the “Open­ing of Japan” cat­alyzed a peri­od of seis­mic upheaval for the proud for­mer­ly closed coun­try. Between the fall of the Toku­gawa shogu­nate in 1853 and the Mei­ji restora­tion in 1868, Japan­ese soci­ety changed rapid­ly due to the sud­den forced influx of for­eign cap­i­tal and influ­ence, much of it destruc­tive. “Unem­ploy­ment rose,” writes his­to­ri­an John W. Dow­er, “Domes­tic prices soared sky high…. Much of Japan was wracked by famine in the mid 1860s…. As if all this were not curse enough, the for­eign­ers also brought cholera with them.” They also brought pho­tog­ra­phy, and both West­ern and Japan­ese pho­tog­ra­phers doc­u­ment­ed not only the country’s pro­found trans­for­ma­tion, but also its tra­di­tion­al dress and cul­ture.

Closed for 200 years, Japan became a source of end­less fas­ci­na­tion for West­ern­ers as arti­facts made their way across the sea. Among them was “an exten­sive pho­to­graph­ic doc­u­men­ta­tion of Japan,” notes the New York Pub­lic Library, and “of inter­ac­tion between the Japan­ese and for­eign­ers” (Com­modore Perry’s expe­di­tion to Tokyo Bay includ­ed a daguerreo­type pho­tog­ra­ph­er.)

“In the broad­est sense, pho­tog­ra­phy entered Asia from Europe and Amer­i­ca as part of the process of colo­nial­ism, but soon took root in those regions with local pho­tog­ra­phers.”

The col­orized images you see here come from the NYPL’s large col­lec­tion of late 19th cen­tu­ry Japan­ese pho­tog­ra­phy, tak­en by pho­tog­ra­phers like the Ital­ian-British Felice Beato and his Japan­ese stu­dent Kim­bei, who “assist­ed Beato in the hand-col­or­ing of pho­tographs until 1863,” then “set up his own large and flour­ish­ing stu­dio in Yoko­hama in 1881.” The archive pro­vides “a rich resource for the under­stand­ing of the polit­i­cal, social, eco­nom­ic, and artis­tic his­to­ry of Asia from the 1870s to the ear­ly 20th cen­tu­ry.” These images date from between 1890 and 1909, by which time much of Japan had already been exten­sive­ly west­ern­ized in dress, archi­tec­ture, and style of gov­ern­ment.

To many Japan­ese, the old ways, sus­tained through a cou­ple hun­dred years of iso­la­tion, must have seemed in dan­ger of slip­ping away. To many West­ern­ers, how­ev­er, the encounter with Japan offered a kind of cul­tur­al renew­al. As the Met­ro­pol­i­tan Muse­um of Art points out, “a tidal wave of for­eign imports” from Asia, includ­ing “wood­cut prints by mas­ters of the ukiyo‑e school… trans­formed Impres­sion­ist and Post-Impres­sion­ist art.” Euro­pean col­lec­tors, traders, and artists dis­cov­ered a mania for all things Japan­ese, even as some of its cul­tur­al forms threat­ened to dis­ap­pear. Enter the NYPL’s dig­i­tal col­lec­tion, Pho­tographs of Japan, here.

Relat­ed Con­tent:

Behold the Mas­ter­piece by Japan’s Last Great Wood­block Artist: View Online Tsukio­ka Yoshitoshi’s One Hun­dred Aspects of the Moon (1885)

What Hap­pens When a Japan­ese Wood­block Artist Depicts Life in Lon­don in 1866, Despite Nev­er Hav­ing Set Foot There

Japan­ese Kabu­ki Actors Cap­tured in 18th-Cen­tu­ry Wood­block Prints by the Mys­te­ri­ous & Mas­ter­ful Artist Sharaku

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

11,700 Free Photos from John Margolies’ Archive of Americana Architecture: Download, Use & Re-Mix

Many con­nois­seurs of archi­tec­ture are enthralled by the mod­ernist phi­los­o­phy of Le Cor­busier, Frank Lloyd Wright, and I M Pei, who shared a belief that form fol­lows func­tion, or, as Wright had it, that form and func­tion are one.

Oth­ers of us delight in gas sta­tions shaped like teapots and restau­rants shaped like fish or dough­nuts. If there’s a phi­los­o­phy behind these insis­tent­ly play­ful visions, it like­ly has some­thing to do with joy…and pulling in tourists.

Art his­to­ri­an John Mar­golies (1940–2016), respond­ing to the beau­ty of such quirky visions, scram­bled to pre­serve the evi­dence, trans­form­ing into a respect­ed, self-taught pho­tog­ra­ph­er in the process. A Guggen­heim Foun­da­tion grant and the finan­cial sup­port of archi­tect Philip John­son allowed him to log over four decades worth of trips on America’s blue high­ways, hop­ing to cap­ture his quar­ry before it dis­ap­peared for good.

Despite Johnson’s patron­age, and his own stints as an Archi­tec­tur­al Record edi­tor and Archi­tec­tur­al League of New York pro­gram direc­tor, he seemed to wel­come the ruf­fled min­i­mal­ist feath­ers his enthu­si­asm for mini golf cours­es, theme motels, and eye-catch­ing road­side attrac­tions occa­sioned.

On the oth­er hand, he resent­ed when his pas­sions were labelled as “kitsch,” a point that came across in a 1987 inter­view with the Cana­di­an Globe and Mail:

Peo­ple gen­er­al­ly have thought that what’s impor­tant are the large, unique archi­tec­tur­al mon­u­ments. They think Toronto’s City Hall is impor­tant, but not those won­der­ful gnome’s‑castle gas sta­tions in Toron­to, a Detroit influ­ence that crept across the bor­der and pol­lut­ed your won­der­ful­ly con­ser­v­a­tive envi­ron­ment.

As Mar­golies fore­saw, the type of com­mer­cial ver­nac­u­lar archi­tec­ture he’d loved since boyhood–the type that screams, “Look at me! Look at me”–has become very near­ly extinct.

And that is a max­i­mal shame.

Your chil­dren may not be able to vis­it an orange juice stand shaped like an orange or the Lean­ing Tow­er of Piz­za, but thanks to the Library of Con­gress, these locales can be pit­stops on any vir­tu­al fam­i­ly vaca­tion you might under­take this July.

The library has select­ed the John Mar­golies Road­side Amer­i­ca Pho­to­graph Archive as its July “free to use and reuse” col­lec­tion. So linger as long as you’d like and do with these 11,700+ images as you will–make post­cards, t‑shirts, sou­venir place­mats.

(Or eschew your com­put­er entirely–go on a real road trip, and con­tin­ue Mar­golies’ work!)

What­ev­er you decide to do with them, the archive’s home­page has tips for how to best search the 11,710 col­or slides con­tained there­in. Library staffers have sup­ple­ment­ed Mar­golies’ notes on each image with sub­ject and geo­graph­i­cal head­ings.

Begin your jour­ney through the Library of Con­gress’ John Mar­golies Road­side Amer­i­ca Pho­to­graph Archive here.

We’d love to see your vaca­tion snaps upon your return.

Relat­ed Con­tent:

Watch Stew­art Brand’s 6‑Part Series How Build­ings Learn, With Music by Bri­an Eno

Frank Lloyd Wright Designs an Urban Utopia: See His Hand-Drawn Sketch­es of Broad­acre City (1932)

A is for Archi­tec­ture: 1960 Doc­u­men­tary on Why We Build, from the Ancient Greeks to Mod­ern Times 

Watch 50+ Doc­u­men­taries on Famous Archi­tects & Build­ings: Bauhaus, Le Cor­busier, Hadid & Many More

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

A Digital Archive of Soviet Children’s Books Goes Online: Browse the Artistic, Ideological Collection (1917–1953)

At both a geo­graph­i­cal and his­tor­i­cal dis­tance, the Sovi­et Union does­n’t look like much of a place for kids. If you grew up dur­ing the Cold War in, say, the Unit­ed States, you might well have the impres­sion (of which The Simp­sons’ “Work­er and Par­a­site” remains the defin­ing crys­tal­liza­tion) of a gray, harsh­ly util­i­tar­i­an land behind the Iron Cur­tain con­cerned with noth­ing more whim­si­cal than bread lines and pro­duc­tion quo­tas. But if you grew up in the Sovi­et Union, at least at one of the right times and in one of the right places, you might feel a now much-dis­cussed nos­tal­gia, not for the eco­nom­ic dif­fi­cul­ties of your Sovi­et child­hood, but for the sen­si­bil­i­ties of the van­ished soci­ety you grew up in. An online inter­ac­tive data­base called Play­ing Sovi­et: The Visu­al Lan­guages of Ear­ly Sovi­et Children’s Books, 1917–1953 pro­vides a kid’s-eye view into the ear­ly decades of that soci­ety.

A project of the Cot­sen Col­lec­tion at Princeton’s Fire­stone Library, the archive con­tains a vari­ety of ful­ly dig­i­tized chil­dren’s books that show one venue in which, amid these years of “Russia’s accel­er­at­ed vio­lent polit­i­cal, social and cul­tur­al evo­lu­tion,” in the words of the data­base’s front page, cer­tain kinds of graph­ic art could flour­ish. “The illus­tra­tion and look of Sovi­et children’s books was of tan­ta­mount impor­tance as a vehi­cle for prac­ti­cal and con­crete infor­ma­tion in the new Sovi­et regime.”

This ambi­tious effort, dri­ven by “direc­tives for a new kind of children’s lit­er­a­ture” to be “found­ed on the assump­tion that the ‘lan­guage of images’ was imme­di­ate­ly com­pre­hen­si­ble to the mass read­er, far more so than the typed word,” brought in a great many artists and design­ers such as Alexan­der Deine­ka, El Lis­sitzky, and Vladimir Lebe­dev, task­ing them all with cre­at­ing “imag­i­na­tive mod­els for Sovi­et youth in the new lan­guages of Sovi­et mod­ernism.”

Men­tal Floss’ Shau­na­cy Fer­ro notes how many of the books “were designed to indoc­tri­nate chil­dren into the world of the ‘right’ way to think about Sovi­et cul­ture and his­to­ry,” point­ing to a vol­ume called How the Rev­o­lu­tion Was Vic­to­ri­ous, which meant “to ensure the cor­rect inter­pre­ta­tion of the anti-gov­ern­men­tal coup among the young gen­er­a­tion of new Sovi­et read­er­ship.” Some of the oth­er read­ing mate­r­i­al that result­ed, like 1930’s indus­tri­al­ly focused What Are We Build­ing? or the slight­ly ear­li­er How Sen­ka Ezhik Made a Knife, wears its instruc­tion­al val­ue on its sleeve (or rather, its cov­er). Oth­ers, like 1925’s The Lit­tle Octo­brist Ras­cal or that same year’s Chi­na-set A Cup of Tea, offer high­er dos­es of play­ful­ness mixed in with the ide­ol­o­gy.

Play­ing Sovi­et also includes the work of Vladimir Mayakovsky, whose Whom Should I Be?, a rep­re­sen­ta­tive book from the “gold­en age” of Sovi­et Chil­dren’s lit­er­a­ture, we fea­tured here on Open Cul­ture ear­li­er this year. Rus­sia Beyond the Head­lines’ Alexan­dra Gueza high­lights Mayakovsky’s  What is Good and What is Bad? (“in which he explains that walk­ing in the rain and thun­der­storms is bad, clean­ing your teeth is good, fight­ing with the boys is bad, while study­ing is good”) and Octo­ber 1917–1918: Heroes and Vic­tims of the Rev­o­lu­tion, whose “good guys” include “a work­er, a Red Army sol­dier, a sailor, a seam­stress” and whose “bad guys” include “a fac­to­ry own­er, a landown­er, a rich farmer, a priest, a mer­chant.” Good­night Moon it cer­tain­ly isn’t, but then, how many Amer­i­can chil­dren’s books had to attempt a fun­da­men­tal rein­ven­tion of soci­ety?

via Hyper­al­ler­gic

Relat­ed Con­tent:

Read Vladimir Mayakovsky’s Children’s Book Whom Should I Be?: A Clas­sic from the “Gold­en Age” in Sovi­et Children’s Lit­er­a­ture

Sovi­et-Era Illus­tra­tions Of J. R. R. Tolkien’s The Hob­bit (1976)

Enter an Archive of 6,000 His­tor­i­cal Children’s Books, All Dig­i­tized and Free to Read Online

Hayao Miyaza­ki Picks His 50 Favorite Children’s Books

The First Children’s Pic­ture Book, 1658’s Orbis Sen­su­al­i­um Pic­tus

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

How Ada Lovelace, Daughter of Lord Byron, Wrote the First Computer Program in 1842–a Century Before the First Computer

I’ve nev­er quite under­stood why the phrase “revi­sion­ist his­to­ry” became pure­ly pejo­ra­tive. Of course, it has its Orwellian dark side, but all knowl­edge has to be revised peri­od­i­cal­ly, as we acquire new infor­ma­tion and, ide­al­ly, dis­card old prej­u­dices and nar­row frames of ref­er­ence. A fail­ure to do so seems fun­da­men­tal­ly regres­sive, not only in polit­i­cal terms, but also in terms of how we val­ue accu­rate, inter­est­ing, and engaged schol­ar­ship. Such research has recent­ly brought us fas­ci­nat­ing sto­ries about pre­vi­ous­ly mar­gin­al­ized peo­ple who made sig­nif­i­cant con­tri­bu­tions to sci­en­tif­ic dis­cov­ery, such as NASA’s “human com­put­ers,” por­trayed in the book Hid­den Fig­ures, then dra­ma­tized in the film of the same name.

Like­wise, the many women who worked at Bletch­ley Park dur­ing World War II—helping to deci­pher encryp­tions like the Nazi Enig­ma Code (out of near­ly 10,000 code­break­ers, about 75% were women)—have recent­ly been get­ting their his­tor­i­cal due, thanks to “revi­sion­ist” researchers. And, as we not­ed in a recent post, we might not know much, if any­thing, about film star Hedy Lamarr’s sig­nif­i­cant con­tri­bu­tions to wire­less, GPS, and Blue­tooth tech­nol­o­gy were it not for the work of his­to­ri­ans like Richard Rhodes. These few exam­ples, among many, show us a fuller, more accu­rate, and more inter­est­ing view of the his­to­ry of sci­ence and tech­nol­o­gy, and they inspire women and girls who want to enter the field, yet have grown up with few role mod­els to encour­age them.

We can add to the pan­theon of great women in sci­ence the name Ada Byron, Count­ess of Lovelace, the daugh­ter of Roman­tic poet Lord Byron. Lovelace has been renowned, as Hank Green tells us in the video at the top of the post, for writ­ing the first com­put­er pro­gram, “despite liv­ing a cen­tu­ry before the inven­tion of the mod­ern com­put­er.” This pic­ture of Lovelace has been a con­tro­ver­sial one. “His­to­ri­ans dis­agree,” writes prodi­gious math­e­mati­cian Stephen Wol­fram. “To some she is a great hero in the his­to­ry of com­put­ing; to oth­ers an over­es­ti­mat­ed minor fig­ure.”

Wol­fram spent some time with “many orig­i­nal doc­u­ments” to untan­gle the mys­tery. “I feel like I’ve final­ly got­ten to know Ada Lovelace,” he writes, “and got­ten a grasp on her sto­ry. In some ways it’s an ennobling and inspir­ing sto­ry; in some ways it’s frus­trat­ing and trag­ic.” Edu­cat­ed in math and music by her moth­er, Anne Isabelle Mil­banke, Lovelace became acquaint­ed with math­e­mat­ics pro­fes­sor Charles Bab­bage, the inven­tor of a cal­cu­lat­ing machine called the Dif­fer­ence Engine, “a 2‑foot-high hand-cranked con­trap­tion with 2000 brass parts.” Bab­bage encour­aged her to pur­sue her inter­ests in math­e­mat­ics, and she did so through­out her life.

Wide­ly acknowl­edged as one of the fore­fa­thers of com­put­ing, Bab­bage even­tu­al­ly cor­re­spond­ed with Lovelace on the cre­ation of anoth­er machine, the Ana­lyt­i­cal Engine, which “sup­port­ed a whole list of pos­si­ble kinds of oper­a­tions, that could in effect be done in arbi­trar­i­ly pro­grammed sequence.” When, in 1842, Ital­ian math­e­mati­cian Louis Mene­brea pub­lished a paper in French on the Ana­lyt­i­cal Engine, “Bab­bage enlist­ed Ada as trans­la­tor,” notes the San Diego Super­com­put­er Cen­ter’s Women in Sci­ence project. “Dur­ing a nine-month peri­od in 1842–43, she worked fever­ish­ly on the arti­cle and a set of Notes she append­ed to it. These are the source of her endur­ing fame.” (You can read her trans­la­tion and notes here.)

In the course of his research, Wol­fram pored over Bab­bage and Lovelace’s cor­re­spon­dence about the trans­la­tion, which reads “a lot like emails about a project might today, apart from being in Vic­to­ri­an Eng­lish.” Although she built on Bab­bage and Menebrea’s work, “She was clear­ly in charge” of suc­cess­ful­ly extrap­o­lat­ing the pos­si­bil­i­ties of the Ana­lyt­i­cal Engine, but she felt “she was first and fore­most explain­ing Babbage’s work, so want­ed to check things with him.” Her addi­tions to the work were very well-received—Michael Fara­day called her “the ris­ing star of Science”—and when her notes were pub­lished, Bab­bage wrote, “you should have writ­ten an orig­i­nal paper.”

Unfor­tu­nate­ly, as a woman, “she couldn’t get access to the Roy­al Society’s library in Lon­don,” and her ambi­tions were derailed by a severe health cri­sis. Lovelace died of can­cer at the age of 37, and for some time, her work sank into semi-obscu­ri­ty. Though some his­to­ri­ans have  seen her as sim­ply an expos­i­tor of Babbage’s work, Wol­fram con­cludes that it was Ada who had the idea of “what the Ana­lyt­i­cal Engine should be capa­ble of.” Her notes sug­gest­ed pos­si­bil­i­ties Bab­bage had nev­er dreamed. As the Women in Sci­ence project puts it, “She right­ly saw [the Ana­lyt­i­cal Engine] as what we would call a gen­er­al-pur­pose com­put­er. It was suit­ed for ‘devel­op­ping [sic] and tab­u­lat­ing any func­tion what­ev­er… the engine [is] the mate­r­i­al expres­sion of any indef­i­nite func­tion of any degree of gen­er­al­i­ty and com­plex­i­ty.’ Her Notes antic­i­pate future devel­op­ments, includ­ing com­put­er-gen­er­at­ed music.”

In a recent episode of the BBC’s In Our Time, above, you can hear host Melvyn Bragg dis­cuss Lovelace’s impor­tance with his­to­ri­ans and schol­ars Patri­cia Fara, Doron Swade, and John Fue­gi. And be sure to read Wolfram’s bio­graph­i­cal and his­tor­i­cal account of Lovelace here.

Relat­ed Con­tent:

How 1940s Film Star Hedy Lamarr Helped Invent the Tech­nol­o­gy Behind Wi-Fi & Blue­tooth Dur­ing WWII

The Con­tri­bu­tions of Women Philoso­phers Recov­ered by the New Project Vox Web­site

Real Women Talk About Their Careers in Sci­ence

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

Browse a Collection of Over 83,500 Vintage Sewing Patterns

My cos­tume design pro­fes­sor at North­west­ern Uni­ver­si­ty, Vir­gil John­son, delight­ed stu­dents with his for­mu­la for peri­od cloth­ing. I have for­got­ten some of the math­e­mat­ic and seman­tic particulars—does dress­ing some­one five years behind the times a “frumpy” char­ac­ter make? Or is it mere­ly one?

I do recall some anx­ious hours, prepar­ing for the school’s main stage pro­duc­tion of the inces­tu­ous Jacobean revenge tragedy, ’Tis Pity She’s a Whore. The soci­etal cor­rup­tion of the play was under­scored by hav­ing the sup­port­ing char­ac­ters slouch around, snort­ing mimed cocaine in cut­ting edge, mid-80s Vogue Pat­terns … those big unstruc­tured jack­ets were very a la mode, but they gob­bled up a lot of high-bud­get fab­ric, and I didn’t want to be the one to make a cost­ly sewing mis­take.

What sticks in my mind most clear­ly is that 20 years was the sweet spot, the appro­pri­ate amount of elapsed time to ensure that one would not appear dumpy, dowdy, or obliv­i­ous, but rather pru­dent and dis­cern­ing. Don­ning a gar­ment that was 15 years out of fash­ion might be dar­ing­ly “retro,” but anoth­er five and that same gar­ment could be her­ald­ed as “vin­tage.”

The col­lab­o­ra­tive Vin­tage Pat­tern Wiki puts the mag­ic num­ber at 25, request­ing that con­trib­u­tors make sure the pat­terns they post are from 1992 or ear­li­er, and also out-of-print.

The brows­able col­lec­tion of over 83,500 pat­terns runs the gamut from Dynasty-inspired pussy bow pow­er suits to Bet­ty Drap­er-esque frocks fea­tur­ing mod­els in white gloves to an 1895 boys’ Reefer Suit with fly-free short trousers.

Vis­i­tors can nar­row their search to focus on a par­tic­u­lar gar­ment, design­er or decade. If you click these links, you can see pat­terns from the fol­low­ing decades: 1920s, 1930s, 1940s, 1950s, 1960s1970s, and 1980s.

The movie star col­lec­tion is par­tic­u­lar­ly fun. (Flat­ter­ing or no, I’ve always want­ed a pair of Katharine Hep­burn pants…)

And it goes with­out say­ing that the dog days of sum­mer are the per­fect time to get a jump on your Hal­loween cos­tume.

Those who are itch­ing to get sewing should check the links below each pat­tern enve­lope cov­er for ven­dors who have the pat­tern in stock and pho­tos and posts by com­mu­ni­ty mem­bers who have made that same gar­ment.

The prices and hand­writ­ten jot­tings of the orig­i­nal own­ers will also put you in a vin­tage mood.

The hunt starts here.

via Metafil­ter

Relat­ed Con­tent:

The Online Knit­ting Ref­er­ence Library: Down­load 300 Knit­ting Books Pub­lished From 1849 to 2012

Fri­da Kahlo’s Col­or­ful Clothes Revealed for the First Time & Pho­tographed by Ishi­uchi Miyako

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

The BBC Cre­ates Step-by-Step Instruc­tions for Knit­ting the Icon­ic Dr. Who Scarf: A Doc­u­ment from the Ear­ly 1980s

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

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