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

What place does the paper book have in our increas­ing­ly all-dig­i­tal present? While some util­i­tar­i­an argu­ments once mar­shaled in its favor (“You can read them in the bath­tub” and the like) have fall­en into dis­use, oth­er, more aes­thet­i­cal­ly focused argu­ments have arisen: that a work in print, for exam­ple, can achieve a state of beau­ty as an object in and of itself, the way a file on a lap­top, phone, or read­er nev­er can. In a sense, this case for the paper book in the 21st cen­tu­ry comes back around to the case for the paper book from the 12th cen­tu­ry and even ear­li­er, the age of the illu­mi­nat­ed man­u­script.

Book­mak­ers back then had to con­cen­trate on pres­tige prod­ucts, giv­en that they could­n’t make books in any­thing like the num­bers even the hum­blest, most anti­quat­ed print­ing oper­a­tion can run off today.

In the video above, the Get­ty Muse­um reveals the painstak­ing phys­i­cal process behind the medieval illu­mi­nat­ed man­u­script: the sourc­ing, soak­ing, and stretch­ing of ani­mal skin for the parch­ment; the con­ver­sion of feath­ers into the quills and nuts into the ink with which scribes would write the text; the appli­ca­tion of gold leaf and oth­er col­ors by the illu­mi­na­tor as they drew in their designs; and the sewing of the bind­ing before encas­ing the whole pack­age tight­ly between clasped leather cov­ers.

Some illu­mi­nat­ed man­u­scripts also bear elab­o­rate cov­er designs sculpt­ed of pre­cious met­al, but even with­out those, these elab­o­rate books — what with all the art and craft that went into them, not to men­tion all those pricey mate­ri­als — came out even more valu­able, at the time, than even the most cov­et­ed lap­top, phone, read­er, or oth­er con­sumer elec­tron­ic device today. Most of us in the devel­oped world can now buy one of those, but the non-insti­tu­tion­al patrons will­ing and able to com­mis­sion the most splen­did illu­mi­nat­ed man­u­scripts in the Mid­dle Ages and ear­ly Renais­sance includ­ed most­ly “soci­ety’s rulers: emper­ors, kings, dukes, car­di­nals, and bish­ops.”

To ful­ly under­stand the mak­ing of the devices we use to read elec­tron­i­cal­ly today would require years and years of study, and so there’s some­thing sat­is­fy­ing in the fact that we can grasp so much about the mak­ing of illu­mi­nat­ed man­u­scripts with rel­a­tive ease: see, for exam­ple, the two-minute Get­ty video just above, “The Struc­ture of a Medieval Man­u­script.” A fuller under­stand­ing of the nature of illu­mi­nat­ed man­u­scripts, both in the sense of their con­struc­tion and their place in soci­ety, makes for a fuller under­stand­ing of how rare the chance was to own beau­ti­ful books of their kind in their own time — and how much rar­er the exact com­bi­na­tion of skills need­ed to cre­ate that beau­ty.

Relat­ed Con­tent:

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

Behold the Beau­ti­ful Pages from a Medieval Monk’s Sketch­book: A Win­dow Into How Illu­mi­nat­ed Man­u­scripts Were Made (1494)

The Aberdeen Bes­tiary, One of the Great Medieval Illu­mi­nat­ed Man­u­scripts, Now Dig­i­tized in High Res­o­lu­tion & Made Avail­able Online

1,600-Year-Old Illu­mi­nat­ed Man­u­script of the Aeneid Dig­i­tized & Put Online by The Vat­i­can

Dante’s Divine Com­e­dy Illus­trat­ed in a Remark­able Illu­mi­nat­ed Medieval Man­u­script (c. 1450)

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.

Mozart’s Diary Where He Composed His Final Masterpieces Is Now Digitized and Available Online

We have a ten­den­cy to regard Wolf­gang Amadeus Mozart’s music as hav­ing emerged ful­ly formed into the world, not least because we hear it per­formed almost exclu­sive­ly in a high­ly pol­ished state of near-per­fec­tion. That makes any glimpse into the process of its cre­ation all the more valu­able, and the British Library has now pro­vid­ed us with much more than such a glimpse: at its site you can now read Mozart’s own thir­ty-page musi­cal diary, a record of “his com­po­si­tions in the last sev­en years of his life” and thus “a unique­ly impor­tant doc­u­ment” in the his­to­ry of clas­si­cal music.

The British Library notes that, dur­ing the peri­od from Feb­ru­ary 1784 until Decem­ber 1791 that the diary cov­ers, Mozart “com­posed many of his best-known works, includ­ing his five mature operas, sev­er­al of his most beau­ti­ful piano sonatas, and his last three great sym­phonies, as well as sev­er­al famous less­er works.”

The pages you see above and below this para­graph come from his com­ic opera The Mar­riage of Figaro. “It was a tur­bu­lent time of his life, with finan­cial crises, fam­i­ly tragedy, and his ongo­ing unsuc­cess­ful search for a per­ma­nent court posi­tion.” Enthu­si­asts will have tak­en notice that those years also con­sti­tut­ed the last sev­en of his life, before his ear­ly death at age 35.

But the flame that burns twice as bright, to coin a phrase, burns half as long, and we’ve pre­vi­ous­ly fea­tured here on Open Cul­ture some of the for­mi­da­ble musi­cal accom­plish­ments Mozart attained before even reach­ing ado­les­cence. But it some­how feels even more of a won­der to see writ­ings in the actu­al hand of the mature Mozart, at the height of his com­po­si­tion­al pow­ers. You can read the musi­cal diary he wrote in two dif­fer­ent for­mats: as a stan­dard web site with details about the viewed pages and his­tor­i­cal con­text from Mozart’s life pro­vid­ed below each set of pages, and a zoomable, page-flip­pable brows­er with option­al audio notes. If you’d like a sound­track to go with the read­ing expe­ri­ence, a cer­tain 127-hour playlist of Mozart’s music sug­gests itself.

Relat­ed Con­tent:

Hear All of Mozart in a Free 127-Hour Playlist

Hear the Pieces Mozart Com­posed When He Was Only Five Years Old

Read an 18th-Cen­tu­ry Eye­wit­ness Account of 8‑Year-Old Mozart’s Extra­or­di­nary Musi­cal Skills

See Mozart Played on Mozart’s Own Fortepi­ano, the Instru­ment That Most Authen­ti­cal­ly Cap­tures the Sound of His Music

Leck Mich Im Arsch (“Kiss My Ass”): Lis­ten to Mozart’s Scat­o­log­i­cal Canon in B Flat (1782)

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.

Harvard Launches a Free Online Course to Promote Religious Tolerance & Understanding

It is dif­fi­cult to have dis­cus­sions in our cur­rent pub­lic square with­out becom­ing forced into false choic­es. Fol­low­ing Mar­shall McLuhan, we might think that the nature of the dig­i­tal medi­um makes this hap­pen, as much as the con­tent of the mes­sages. But some mes­sages are more polar­iz­ing than others—with argu­ments over reli­gion seem­ing­ly primed for bina­ry oppo­si­tions.

That many nuanced posi­tions exist between deny­ing the valid­i­ty of every reli­gion and pro­claim­ing a spe­cif­ic ver­sion as the only one true path shows how durable and flex­i­ble reli­gious thought can be. The wide­spread diver­si­ty among reli­gions can­not mask the sig­nif­i­cant degree of com­mon­al­i­ty between them, in all human soci­eties, lead­ing schol­ars like anthro­pol­o­gist Pas­cal Boy­er to con­clude, as he writes in Reli­gion Explained, that “the expla­na­tion for reli­gious beliefs and behav­iors is to be found in the way all human minds work….”

I real­ly mean all human minds not the just the minds of reli­gious peo­ple or some of them. I am talk­ing about human minds, because what mat­ters here are prop­er­ties of minds that are found in all mem­bers of our species with nor­mal brains.

Famed Stan­ford biol­o­gist Robert Sapol­sky, who hap­pens to be an athe­ist, claims that some­where around 95% of the human pop­u­la­tion believes in some sort of super­nat­ur­al agency or reli­gious set of expla­na­tions, and that such faith has “unde­ni­able health ben­e­fits,” and is thus bio­log­i­cal­ly moti­vat­ed.

The real ques­tion, he reluc­tant­ly admits, is not why so many peo­ple believe, but “what’s up with the 5% of athe­ists who don’t do that?” The ques­tion needn’t imply there’s any­thing abnor­mal, infe­ri­or, or supe­ri­or, about athe­ists. Vari­a­tions don’t come with inher­ent val­ues, though they may even­tu­al­ly become the norm.

But if we accept the well-sup­port­ed the­sis that reli­gion is a phe­nom­e­non root­ed in and nat­u­ral­ly expressed by the human mind, like art, lan­guage, and lit­er­a­ture, we would be neg­li­gent in remain­ing will­ful­ly igno­rant of its expres­sions. And yet, Diane Moore, direc­tor of Har­vard Divin­i­ty School’s Reli­gious Lit­er­a­cy Project, tells the Huff­in­g­ton Post, “wide­spread illit­er­a­cy about reli­gion… spans the globe” and “fuels big­otry and prej­u­dice and hin­ders capac­i­ties for coop­er­a­tive endeav­ors in local, nation­al, and glob­al are­nas.”

Har­vard aims to help change atti­tudes with their Reli­gious Lit­er­a­cy Project, which offers free online cours­es on the world’s five major reli­gions—Chris­tian­i­ty, Islam, Judaism, Bud­dhism, and Hin­duism—through their edX plat­form. The first course of the series, taught by Moore, is self paced. “Reli­gious Lit­er­a­cy: Tra­di­tions and Scrip­tures” sur­veys the method­ol­o­gy of the project as a whole, explor­ing “case stud­ies about how reli­gions are inter­nal­ly diverse, how they evolve and change through time, and how reli­gions are embed­ded in all dimen­sions of human expe­ri­ence.” (See a pro­mo video at the top and a teas­er for the project as a whole above.)

Under­stand­ing reli­gion as both a uni­ver­sal phe­nom­e­non and a set of cul­tur­al­ly and his­tor­i­cal­ly spe­cif­ic events resolves mis­un­der­stand­ings that result from over­sim­pli­fied, sta­t­ic stereo­types. Study­ing the his­tor­i­cal, the­o­log­i­cal, and geo­graph­i­cal vari­eties of Islam, for exam­ple, makes it impos­si­ble to say any­thing defin­i­tive about one sin­gu­lar, mono­lith­ic “Islam,” and there­fore about Mus­lims in gen­er­al. The same goes for Chris­tians, Hin­dus, Jews, Bud­dhists, etc. The fact that reli­gion is embed­ded in near­ly every facet of human expe­ri­ence, writes Moore in an intro­duc­to­ry essay for the project, means that we can cred­it it with the “full range of agency from the heinous to the hero­ic,” rather than flip­ping between these extremes to score chau­vin­ist points or inval­i­date entire realms of social life.

We’ve pre­vi­ous­ly fea­tured one of the cours­es from the big five series of class­es, “Bud­dhism through its Scrip­tures.” The method there applies to each course, which all engage rig­or­ous­ly with pri­ma­ry sources and schol­ar­ly com­men­tary to get stu­dents as close as pos­si­ble to under­stand­ing reli­gious prac­tice from both the inside and the out­side. Grant­ed this canon­i­cal approach ignores the prac­tices of mil­lions of peo­ple out­side the big five cat­e­gories, but one could osten­si­bly apply a sim­i­lar aca­d­e­m­ic rubric to the study of syn­cretisms and indige­nous reli­gions all over the world.

Pro­fes­sor Moore’s “Reli­gious Lit­er­a­cy” class—which you can audit free of charge or take for a cer­tifi­cate for $50—promises to give stu­dents the tools they need to under­stand how to sur­vey reli­gions crit­i­cal­ly, yet sym­pa­thet­i­cal­ly, and to “inter­pret the roles reli­gions play in con­tem­po­rary and his­toric con­texts.” Like it or not, reli­gions of every kind remain per­va­sive and seem­ing­ly intractable. Rather than fight­ing over this fact of life, we would all do bet­ter to try and under­stand it. Begin to enlarge your own under­stand­ing by sign­ing up for “Reli­gious Lit­er­a­cy: Tra­di­tions and Scrip­tures” for free.

Relat­ed Con­tent:

Take Harvard’s Intro­duc­to­ry Course on Bud­dhism, One of Five World Reli­gions Class­es Offered Free Online

Athe­ist Stan­ford Biol­o­gist Robert Sapol­sky Explains How Reli­gious Beliefs Reduce Stress

Free Online Reli­gion Cours­es 

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

Large Archive of Hannah Arendt’s Papers Digitized by the Library of Congress: Read Her Lectures, Drafts of Articles, Notes & Correspondence

Many peo­ple read the Ger­man-Jew­ish polit­i­cal philoso­pher and jour­nal­ist Han­nah Arendt as some­thing of an ora­cle, a sec­u­lar prophet whose most famous works—her essay on the tri­al of Adolf Eich­mann and her 1951 Ori­gins of Total­i­tar­i­an­ism—con­tain secrets about our own times of high nation­al­ist fer­vor. And indeed they may, but we should also keep in mind that Arendt’s insights into the hor­rors of Nazism did not emerge until after the war.

Arendt did not iden­ti­fy as Jew­ish dur­ing the Naz­i’s rise to pow­er, but as a ful­ly assim­i­lat­ed Ger­man; she had a roman­tic rela­tion­ship with her pro­fes­sor Mar­tin Hei­deg­ger, who became a doc­tri­naire Nazi, and she seemed to have lit­tle under­stand­ing of Ger­man anti­semitism dur­ing the thir­ties and for­ties. Arendt, many have alleged, some­times seemed too close to her sub­ject.

In such times as hers, to use the words of Wal­lace Stevens—a writer with his own com­pli­cat­ed rela­tion­ship to fas­cism—the “dif­fi­cult rig­or” of observ­ing the moment means that “we rea­son of these things with lat­er rea­son.” Arendt’s obser­va­tions of Europe in the 1950s were reck­on­ings with the recent past—she drew togeth­er strains of expe­ri­ence that could not always be con­nect­ed dur­ing what Stevens calls the “irra­tional moment.” So too, intel­lec­tu­al observers of our own “irra­tional moment” may only tru­ly under­stand it “with lat­er rea­son.”

But if Amer­i­cans wish to learn about their country’s long­stand­ing polit­i­cal ten­den­cies from Arendt’s work, it is per­haps not to her writ­ing on Ger­many or the U.S.S.R. that we should turn, but to her work on the U.S., much of which is reflect­ed in typed drafts of essays and lec­tures, cor­re­spon­dence, and notes con­tained at the Library of Congress’s Han­nah Arendt Papers col­lec­tion. All of the col­lec­tion has been dig­i­tized, and some of those scans are online. Find­ing out which doc­u­ments have been uploaded and which only remain view­able onsite takes a lit­tle dig­ging around in the cat­a­log, but it is work that pays off for those with a gen­uine inter­est in the fas­ci­nat­ing turns of Arendt’s thought.

We may turn to essays such as 1971’s “Lying in Pol­i­tics,” writ­ten after the release of the Pen­ta­gon Papers, notes Brain Pick­ings, and “includ­ed in Crises of the Repub­lic—a col­lec­tion of Arendt’s time­less­ly insight­ful and increas­ing­ly time­ly essays on pol­i­tics [and] civ­il dis­obe­di­ence.” As Arendt writes in an ear­li­er lec­ture that pre­ced­ed “Lying in Politics”—with the ear­li­er title “The Role of the Lie in Pol­i­tics” (top)—“Truthfulness has nev­er been count­ed as among the polit­i­cal virtues.” You can view and down­load high-qual­i­ty images of that typed lec­ture here, and see her revise her ideas in cor­rec­tions and mar­gin­al notes.

The polit­i­cal lie, she writes weari­ly, “has exist­ed since the begin­ning of record­ed his­to­ry.” And yet, there is some­thing unique about its use in U.S. pol­i­tics, in which “the only per­son like­ly to be an ide­al vic­tim of com­plete manip­u­la­tion is the Pres­i­dent of the Unit­ed States.” Despite her dis­pas­sion­ate philo­soph­i­cal view, Arendt found the lies of the Viet­nam War-era par­tic­u­lar­ly dis­turb­ing. In the type­script page at the top, you can see a pro­posed sub­ti­tle pen­ciled in at the top left cor­ner: “How Could They? What Went Wrong in Amer­i­ca.”

In the typed lec­ture above, “Action and the Pur­suit of Hap­pi­ness,” from 1960, Arendt remarks on the “amaz­ing dis­cov­ery” by the country’s nat­u­ral­ized “new cit­i­zens” that the “pur­suit of hap­pi­ness” remains a “more than mean­ing­less phrase and an emp­ty word in the pub­lic and pri­vate life of the Amer­i­can Repub­lic.” This “most elu­sive of all human rights,” she con­tin­ues, “appar­ent­ly enti­tles men, in the words of Howard Mum­ford Jones, to ‘the ghast­ly priv­i­lege of pur­su­ing a phan­tom and embrac­ing a delu­sion.’”

Arendt’s 1968 New York Times edi­to­r­i­al “Is Amer­i­ca By Nature a Vio­lent Soci­ety,” whose type­script you can see in part above, opens with a num­ber of assump­tions about the country’s “nation­al char­ac­ter,” begin­ning with the com­ment that the country’s “mul­ti­tude of eth­nic groups… for bet­ter or worse have nev­er melt­ed togeth­er into a nation.” Per­haps this is too broad a char­ac­ter­i­za­tion. Or per­haps the U.S. as a nation is no more “arti­fi­cial ‘by nature,’” in its com­po­si­tion than many oth­er, much old­er, nations.

Arendt’s obser­va­tions on her adopt­ed land weren’t always so astute, but she did have enough crit­i­cal dis­tance from the coun­try to close­ly observe it dur­ing times of cri­sis and see clear­ly what oth­ers could or would not. You’ll find many more of Arendt’s keen observations—typed in drafts and notes, scrib­bled in mar­gins, and writ­ten in letters—at the Library of Con­gress’ Han­nah Arendt Papers col­lec­tion, (part­ly) online.

Relat­ed Con­tent:

Enter the Han­nah Arendt Archives & Dis­cov­er Rare Audio Lec­tures, Man­u­scripts, Mar­gin­a­lia, Let­ters, Post­cards & More

A Look Inside Han­nah Arendt’s Per­son­al Library: Down­load Mar­gin­a­lia from 90 Books (Hei­deg­ger, Kant, Marx & More)

Han­nah Arendt Explains How Pro­pa­gan­da Uses Lies to Erode All Truth & Moral­i­ty: Insights from The Ori­gins of Total­i­tar­i­an­ism

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

A Demonstration of Perfect Samurai Swordsmanship

The age of the samu­rai has long since end­ed, but does its spir­it live on? You might well feel that, despite every­thing, the flame of the samu­rai still burns in Japan today after watch­ing the swords­man­ship skills on dis­play in the clip above. Or per­haps we should call it swordswom­an­ship: the mod­ern-day war­rior exe­cut­ing those per­fect cuts is the daugh­ter of grand­mas­ter Fumon Tana­ka, and her bear­ing and self-pos­ses­sion bring to mind the onna bugeisha of old Japan. And as we see, gen­der mat­ters not at all in the stark real­i­ty of blade on bone — or in this case, blade on a sim­i­lar­ly dense stalk of bam­boo.

Tana­ka, show­ing an imper­fect­ly cut piece of bam­boo, explains that its curved edge means “your left and right hands are not bal­anced. If a samu­rai decap­i­tates a man with this bad tech­nique, it would cause great pain. It has to be one pre­cise cut. That is the way of the samu­rai.”

His daugh­ter then demon­strates just how hand­i­ly she can attend to any of your decap­i­ta­tion needs, halv­ing the bam­boo with what her father deems “a per­fect straight cut.” Though it only takes a sin­gle stroke, that sin­gle stroke comes as the cul­mi­na­tion of years and years of work toward mas­tery — and work that, in this mod­ern onna bugeisha’s case, no doubt began ear­ly indeed.

The Smith­son­ian Chan­nel pro­duced this video as part of their series Samu­rai Head­hunters, more of whose mate­r­i­al on “how these elite knights actu­al­ly lived, loved, fought, and died” you can watch on Youtube. If you’d like a more in-depth sense of how their sword tech­niques work, have a look at Masayu­ki Shimabukuro’s video series on samu­rai swords­man­ship, which begins with an episode on the basics and con­tin­ues on to sub­jects like pos­tures, two-hand cuts (as seen exe­cut­ed on those bam­boo stalks), and flick­ing the blood — that last per­haps more use­ful in feu­dal Japan than 21st-cen­tu­ry Tokyo, or for that man­ner every­where else, but a good samu­rai has always known how to hon­or the past.

Relat­ed Con­tent:

Japan­ese Crafts­man Spends His Life Try­ing to Recre­ate a Thou­sand-Year-Old Sword

Female Samu­rai War­riors Immor­tal­ized in 19th Cen­tu­ry Japan­ese Pho­tos

A Hyp­not­ic Look at How Japan­ese Samu­rai Swords Are Made

Hand-Col­ored 1860s Pho­tographs Reveal the Last Days of Samu­rai Japan

Meet Yasuke, Japan’s First Black Samu­rai War­rior

Leg­endary Japan­ese Author Yukio Mishi­ma Mus­es About the Samu­rai Code (Which Inspired His Hap­less 1970 Coup Attempt)

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.

The Truth Behind Jane Austen’s Fight Club: Female Prize Fights Were a Thing During the 18th Century

The first rule of Fight Club is: you do not talk about Fight Club. 

The sec­ond rule of Fight Club is: you DO NOT talk about Fight Club! 

- Chuck Palah­niuk, Fight Club

Could it be a case of autho­r­i­al over­sight that all sub­se­quent rules are exclu­sive­ly con­cerned with such prac­ti­cal mat­ters as dress and fight dura­tion?

Giv­en the macho rep­u­ta­tion of both the book and the film adap­ta­tion, it seems like the third rule of Fight Club should be: you DO NOT talk about the fact that a fair num­ber of Edwar­dian ladies were badass bare knuck­le fight­ers.

Because doing so might dimin­ish Fight Club’s street cred just a bit­sy…

Film­mak­er (and pop­u­lar audio­book nar­ra­tor) Emi­ly Jan­ice Card has a good deal of fun in Jane Austen’s Fight Club, above, mar­ry­ing Palahniuk’s tropes to the social mores of England’s Regency peri­od.

“No corsets, no hat pins and no cry­ing,” Tyler Dur­den stand-in Lizzie instructs the eager young ladies in her cir­cle. Soon, they’re proud­ly sport­ing bruis­es beneath their bon­nets and stray blood spots on their tea dress­es.

While young women of the fic­tion­al Ben­net sis­ters’ social class refrained from bru­tal fisticuffs, there’s ample evi­dence of female com­bat­ants from the pro­le­tar­i­an ranks. They fought for mon­ey, and occa­sion­al­ly to set­tle a dis­agree­ment, train­ing hard for weeks in advance.

Their bouts drew spec­ta­tors to the amphithe­ater owned by box­ing pro­mot­er James Figg, and the mar­velous­ly named Hock­ley in the Hole, a seedy estab­lish­ment whose oth­er attrac­tions includ­ed bear­bait­ing, bull­bait­ing, and fight­ing with broadswords and cud­gels.

The female fist fight­ers chal­lenged each oth­er with paid notices in local papers, like this one from “cham­pi­oness and ass-dri­ver” Ann Field of Stoke New­ing­ton:

Where­as I, Ann Field, of Stoke New­ing­ton, ass-dri­ver, well known for my abil­i­ties, in box­ing in my own defense wher­ev­er it hap­pened in my way, hav­ing been affront­ed by Mrs. Stokes, styled the Euro­pean Cham­pi­oness, do fair­ly invite her to a tri­al of her best skill in Box­ing for 10 pounds, fair rise and fall; and ques­tion not but to give her such proofs of my judg­ment that shall oblige her to acknowl­edge me Cham­pi­oness of the Stage, to the sat­is­fac­tion of all my friends.

Mrs. Stokes prompt­ly announced her readi­ness to come out of retire­ment:

I, Eliz­a­beth Stokes, of the City of Lon­don, have not  fought in this way since I fought the famous box­ing- woman of Billings­gate 29 min­utes, and gained a com­plete vic­to­ry (which is six years ago); but as the famous Stoke New­ing­ton ass-woman dares me to fight her for the 10 pounds, I do assure her I will not fail meet­ing her for the said sum, and doubt not that the blows which I shall present her with will be more dif­fi­cult for her to digest than any she ever gave her ass­es.

Rather than keep­ing mum on Fight Club, these female pugilists shared Muham­mad Ali’s flare for drum­ming up inter­est with irre­sistibly cocky word­play.

Ref­er­ences to adver­saries fight­ing in “close jack­et, short pet­ti­coats, and hol­land draw­ers … with white stock­ings and pumps” sug­gest that the adver­saries played to the spec­ta­tors’ pruri­ence, though not always. Unlike the 20th-cen­tu­ry stunt of biki­ni clad jel­lo wrestling, sex appeal was not oblig­a­tory.

In a chap­ter devot­ed to pub­lic enter­tain­ments, sports and amuse­ments, Alexan­der Andrews, author of The Eigh­teenth Cen­tu­ry or Illus­tra­tions of the Man­ners and Cus­toms of Our Grand­fa­thers, doc­u­ments how the Mer­ry Wives of Wind­sor, a crew com­prised of “six old women belong­ing to Wind­sor town” took out an ad seek­ing “any six old women in the uni­verse to outscold them.”

On June 22nd, 1768, a woman called Bruis­ing Peg “beat her antag­o­nist in a ter­ri­ble man­ner” to win a new chemise, val­ued at half a guinea.

In 1722, Han­nah Hyfield of New­gate Mar­ket, resolved to give her chal­lenger, Eliz­a­beth Wilkin­son, “more blows than words,” promis­ing to deliv­er “a good thump­ing.” Both par­ties agreed to hold a half-crown in their fists for the dura­tion of the fight. William B. Boul­ton, author of 1901’s Amuse­ments of Old Lon­don, spec­u­lates that this was a prac­ti­cal mea­sure to min­i­mize scratch­ing and hair-pulling.

Time trav­el to an 18th-cen­tu­ry female bare knuck­les fight via Female Sin­gle Com­bat Club’s exhaus­tive cov­er­ageSarah Murden’s excel­lent analy­sis of John Collet’s paint­ing, The Female Bruis­ers, above, or Jere­my Freeston’s short doc­u­men­tary avail­able on YouTube.

Relat­ed Con­tent:

Watch Author Chuck Palah­niuk Read Fight Club 4 Kids

Ste­vie Nicks “Shows Us How to Kick Ass in High-Heeled Boots” in a 1983 Women’s Self Defense Man­u­al

Ernest Hemingway’s Delu­sion­al Adven­tures in Box­ing: “My Writ­ing is Noth­ing, My Box­ing is Every­thing.”

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

Google Digitizes and Puts Online a Vast Archive of Latino Artworks and Artifacts

You can’t under­stand human cul­ture in the 21st cen­tu­ry with­out under­stand­ing Amer­i­can cul­ture, and as any­one who’s spent time in most any major U.S. city knows, you cer­tain­ly can’t under­stand Amer­i­can cul­ture with­out under­stand­ing Lati­no cul­ture. I write this while trav­el­ing in Los Ange­les, a city that makes that point with par­tic­u­lar­ly impres­sive force, but just a few moments with an overview of Lati­no art will under­score the vital­i­ty it has pro­vid­ed Amer­i­ca, and thus the world. You could do lit­tle bet­ter for such an overview than the Google Cul­tur­al Insti­tute’s brand new Lati­no Cul­tures in the U.S. project, a siz­able free dig­i­tal archive of Lati­no art and arti­facts of Lati­no his­to­ry.

Forbes’ Veron­i­ca Vil­lafañe quotes Google and Youtube Head of His­pan­ic Com­mu­ni­ca­tions Jesús Gar­cía as describ­ing the archive as “a labor of love for many Googlers and part­ner insti­tu­tions. It was a project that was more than a year in the mak­ing and took a small army to help dig­i­tize the 2,500 new art­works and curate 69 new exhibits.”

As a whole it offers “over 4,300 archives and art­works — includ­ing Diego Rivera murals — relat­ed to the Lati­no expe­ri­ence in the U.S., mul­ti­me­dia exhibits in Eng­lish and Span­ish and vir­tu­al tours of his­toric sites, as well as pro­files of key Lati­no fig­ures, such as Cesar Chavez, Dolores Huer­ta and Supreme Court Jus­tice Sonia Sotomay­or.”

Google Head of Lati­no Com­mu­ni­ty Engage­ment Lau­ra Mar­quez notes that it also allows you to “vis­it some of the most vibrant neigh­bor­hoods in the U.S. — the homes to and cen­ters of Lati­no cul­ture— by way of his­toric pho­tographs or unmiss­able loca­tions on Google Street View, all from your phone.” You’ll also find “ultra-high res­o­lu­tion images of icon­ic Lati­no murals, such as Diego Rivera’s Detroit Indus­try from the Detroit Insti­tute of Arts.” Using the for­mi­da­ble explorato­ry plat­form of Google Earth, the project has also cre­at­ed a whole Lati­no Murals in the U.S. sec­tion, from River­a’s work in Detroit to José Clemente Oroz­co’s Prometheus in Cal­i­for­nia to the Mia­mi Arti­sans’ Free­dom Tow­er mur­al at Mia­mi Dade Col­lege.

You can also browse the Lati­no Cul­tures in the U.S. Project’s offer­ings by form, includ­ing dance, film, music, and style. And though the designs of Oscar de la Renta, the songs of Glo­ria Este­fan, the paint­ings of Frank Romero (and, of course, lowrid­ers) have drawn the inter­est of many a non-Lati­no toward Lati­no cul­ture, what has done quite so much out­reach as the food? Google’s project even cov­ers that ter­ri­to­ry with con­tent like an edi­to­r­i­al fea­ture on “Fast Food, Tor­tillas, and the Art of Accept­ing Your­self” by Javier Cabral, a food crit­ic based, and well known, in — where else? — Los Ange­les.

Relat­ed Con­tent:

The Bat­tle for LA’s Murals

Charles & Ray Eames’ Short Film on the Mex­i­can Day of the Dead (1957)

Google Puts Online 10,000 Works of Street Art from Across the Globe

Google Lets You Take a 360-Degree Panoram­ic Tour of Street Art in Cities Across the World

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.

What the Map of the United States Would Look Like If All 50 States Had Equal Populations

In the U.S., recent elec­toral events with which we’re all quite famil­iar have prompt­ed one par­tic­u­lar rad­i­cal re-eval­u­a­tion of the polit­i­cal sys­tem, among many oth­ers: we find every­one from high-pro­file Con­sti­tu­tion­al schol­ars to anony­mous com­menters engaged in debates about the neces­si­ty, or demo­c­ra­t­ic legit­i­ma­cy, of the Elec­toral Col­lege. While the debate may not be new, it has reached an urgent inten­si­ty, and hap­pens to occur at a time when every­thing seems up for grabs. When Neil Free­man pro­posed redraw­ing state bor­ders on his pre­scient­ly-named design site Fake is the New Real back in 2012, he cre­at­ed the map above (view it in a larg­er for­mat here) to even­ly dis­trib­ute the country’s pop­u­la­tion. He did so with the dis­claimer, “this is an art project, not a seri­ous pro­pos­al.”

The idea might get a more seri­ous recep­tion these days. Nonethe­less, the iner­tia of tra­di­tion has­n’t less­ened any. Not only is it total­ly unlike­ly that states would ever be redrawn and renamed, but the Elec­toral Col­lege is also a found­ing insti­tu­tion, emerg­ing at the first Con­sti­tu­tion­al Con­ven­tion when James Madi­son first pro­posed it in 1787. Since then, PBS’s Kamala Kelkar wrote on Novem­ber 6th, 2016, “the Elec­toral Col­lege sys­tem has cost four can­di­dates the race after they received the pop­u­lar vote.” Two days lat­er that num­ber went up to five.

Still, whether one deems it nec­es­sary, super­flu­ous, or deeply per­ni­cious, it’s hard­ly con­tro­ver­sial to note that this elect­ing body comes from an era so unlike our own as to be unrec­og­niz­able. A time when, as some founders argued, writes Akhil Reed Amar at Time, “ordi­nary Amer­i­cans across a vast con­ti­nent [lacked] suf­fi­cient infor­ma­tion to choose direct­ly and intel­li­gent­ly among lead­ing pres­i­den­tial can­di­dates.” This might still be the case for var­i­ous rea­sons. But putting aside man­u­fac­tured fil­ter bub­bles and vast dis­in­for­ma­tion cam­paigns, most Amer­i­cans now have instant access, if they want it, to more infor­ma­tion than they know what to do with.

When we look at the pri­ma­ry sources, we find the actu­al rea­son for the Elec­toral Col­lege: slav­ery. Madi­son, notes Kelkar, “now known as the ‘Father of the Con­sti­tu­tion,’” was a slave­hold­ing Vir­gin­ian who wor­ried vocal­ly that North­ern states would have a decid­ed advan­tage, since upwards of 40% of the pop­u­la­tion in South­ern states con­sist­ed of enslaved peo­ple, who, of course, would not be cast­ing votes. Madison’s propo­si­tion includ­ed the infa­mous and dehu­man­iz­ing “three-fifths com­pro­mise,” which his­to­ri­an Paul Finkel­man argues enabled Thomas Jef­fer­son to win over John Adams in 1800.

Despite this his­to­ry, most peo­ple are taught that the sys­tem arose sole­ly to “bal­ance the inter­ests,” Amar writes, “of high-pop­u­la­tion and low-pop­u­la­tion states.” This sounds like a polit­i­cal­ly neu­tral inten­tion. But Free­man doesn’t ques­tion the legit­i­ma­cy of the Elec­toral Col­lege, call­ing it “a time-hon­ored, log­i­cal sys­tem” that he thinks should be pre­served. And yet, he writes, “it’s obvi­ous that reforms are need­ed.”

“The fun­da­men­tal prob­lem of the elec­toral col­lege,” Free­man writes, “is that the states of the Unit­ed States are too dis­parate in size and influ­ence. The largest state is 66 times as pop­u­lous as the small­est and has 18 times as many elec­toral votes. This increas­es the chance for Elec­toral Col­lege results that don’t match the pop­u­lar vote.” This is hard­ly the only issue. But is Freeman’s pro­pos­al a more sta­ble solu­tion to major flaws in U.S. nation­al elec­tions than sim­ply scrap­ping the Elec­toral Col­lege alto­geth­er? He makes the fol­low­ing argu­ment, in a series of bul­let-point­ed advan­tages. His map:

  • Pre­serves the his­toric struc­ture and func­tion of the Elec­toral Col­lege.
  • Ends the over-rep­re­sen­ta­tion of small states and under-rep­re­sen­ta­tion of large states in pres­i­den­tial vot­ing and in the US Sen­ate by elim­i­nat­ing small and large states.
  • Polit­i­cal bound­aries more close­ly fol­low eco­nom­ic pat­terns, since many states are more cen­tered on one or two metro areas.
  • Ends vary­ing rep­re­sen­ta­tion in the House. Cur­rent­ly, the pop­u­la­tion of House dis­tricts ranges from 528,000 to 924,000. After this reform, every House seat would rep­re­sent dis­tricts of the same size. (Since the cur­rent size of the House isn’t divis­i­ble by 50, the num­bers of seats should be increased to 450 or 500.)
  • States could be redis­trict­ed after each cen­sus — just like House seats are dis­trib­uted now.

Free­man based the map–featuring new states like “Mesabi,” “Ogal­lala,” “Big Thick­et,” “Chi­nati,” and “King”–on data from the 2010 Cen­sus, which, inci­den­tal­ly, actu­al­ly did change the dis­tri­b­u­tion of elec­tors in 2012. The Cen­sus “records a pop­u­la­tion of 308,745,538 for the Unit­ed States,” he notes, “which this map divides into 50 states, each with a pop­u­la­tion of about 6,175,000.”

He does seem to down­play the dis­ad­van­tages, list­ing only two con­cerns about dupli­cat­ed coun­ty names and a “shift in state laws and pro­ce­dures.” Free­man doesn’t men­tion the high like­li­hood of civ­il war or wide­spread social unrest if such a mas­sive redis­tri­b­u­tion of the country’s state pop­u­la­tions were ever attempt­ed. Giv­en the exam­ples of pitched legal bat­tle fought dai­ly over con­gres­sion­al redis­trict­ing of ger­ry­man­dered states, it’s also prob­a­ble noth­ing like this plan would ever make it through the courts. Con­sid­ered as an “art project” or thought exper­i­ment in civics, how­ev­er, who knows? It just might work….

via Men­tal Floss

Relat­ed Con­tent:

Sal Khan & the Mup­pets’ Grover Explain the Elec­toral Col­lege

Why Socrates Hat­ed Democ­ra­cies: An Ani­mat­ed Case for Why Self-Gov­ern­ment Requires Wis­dom & Edu­ca­tion

The “True Size” Maps Shows You the Real Size of Every Coun­try (and Will Change Your Men­tal Pic­ture of the World)

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

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