The Birth and Rapid Rise of Islam, Animated (622‑1453)

To any­one unfa­mil­iar with the his­to­ry of Islam, it comes as some­thing of a shock that it got start­ed less than a mil­len­ni­um and a half ago. In that rel­a­tive­ly short span of time, Islam has become the world’s sec­ond-largest reli­gion, a fact that becomes more under­stand­able when you see the run­ning start to which it got off visu­al­ized in the video above. Cre­at­ed by Ollie Bye — pre­vi­ous­ly fea­tured here on Open Cul­ture for his car­to­graph­i­cal ani­ma­tions of the rise and fall of the British Empire, the spread of writ­ing, and the his­to­ry of the world — it depicts the spread of Islam, which began in earnest after the death of its founder, the prophet Muham­mad, in the year 632, and whose lega­cy is the “Mus­lim world” as we know it today.

“By con­quest and con­ver­sion, the new reli­gion spread quick­ly west­wards through the ter­ri­to­ries of the Byzan­tine empire,” says the Vic­to­ria and Albert Muse­um’s page on lux­u­ry objects of the peri­od. “By the 640s, Mus­lim forces were advanc­ing across North Africa, con­quer­ing Sici­ly in 652 and the Iber­ian Penin­su­la in 711.”

Let’s pause to give that achieve­ment due con­sid­er­a­tion: Islam over­took Spain just a cen­tu­ry after its foun­da­tion, a con­quer­ing speed that puts the Roman Empire in the shade. (The Mus­lims also man­aged to get the upper hand of the Per­sians, who’d pre­sent­ed such a stiff chal­lenge to not just the Romans but the Greeks before them.) “By the ear­ly 8th cen­tu­ry, Islam­ic ter­ri­to­ries had almost encir­cled the Mediter­ranean.“ ‘

“Dur­ing this time Mus­lim rulers, sol­diers, traders, Sufis, schol­ars, poets and archi­tects all con­tributed to the shap­ing of dis­tinc­tive Islam­ic cul­tures,” says the site of Har­vard’s Plu­ral­ism Project. “Across the wide-reach­ing Islam­ic world, tran­sre­gion­al Islam­ic cul­ture mixed with local tra­di­tions to pro­duce dis­tinc­tive forms of state­craft, the­ol­o­gy, art, archi­tec­ture, and sci­ence.” (Nor should we neglect the delights of Moor­ish cui­sine.) This Islam­ic Gold­en Age, like all gold­en ages, even­tu­al­ly came to an end. The cen­ter of civ­i­liza­tion had shift­ed unde­ni­ably by the time of the Euro­pean Renais­sance — which, accord­ing to the Plu­ral­ism Project, may nev­er have tak­en place “with­out the cre­ativ­i­ty and myr­i­ad achieve­ments of Mus­lim schol­ars, thinkers, and civ­i­liza­tions.” And giv­en that Islam remains the world’s fastest-grow­ing major reli­gion by births, it sure­ly has­n’t exert­ed the last of its glob­al influ­ence just yet.

Relat­ed con­tent:

An Ani­mat­ed Intro­duc­tion to the World’s Five Major Reli­gions: Hin­duism, Judaism, Bud­dhism, Chris­tian­i­ty & Islam

Ani­mat­ed Map Shows How the Five Major Reli­gions Spread Across the World (3000 BC – 2000 AD)

The Com­plex Geom­e­try of Islam­ic Art & Design: A Short Intro­duc­tion

How Ara­bic Trans­la­tors Helped Pre­serve Greek Phi­los­o­phy … and the Clas­si­cal Tra­di­tion

A Visu­al Map of the World’s Major Reli­gions (and Non-Reli­gions)

The His­to­ry of the World in One Video: Every Year from 200,000 BCE to Today

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

J. Robert Oppenheimer Explains How, Upon Witnessing the First Nuclear Explosion, He Recited a Line from the Bhagavad Gita: “Now I Am Become Death, the Destroyer of Worlds”

No mat­ter how lit­tle we know of the Hin­du reli­gion, a line from one of its holy scrip­tures lives with­in us all: “Now I am become Death, the destroy­er of worlds.” This is one facet of the lega­cy of J. Robert Oppen­heimer, an Amer­i­can the­o­ret­i­cal physi­cist who left an out­sized mark on his­to­ry. For his cru­cial role in the Man­hat­tan Project that dur­ing World War II pro­duced the first nuclear weapons, he’s now remem­bered as the“father of the atom­ic bomb.” He secured that title on July 16, 1945, the day of the test in the New Mex­i­can desert that proved these exper­i­men­tal weapons actu­al­ly work — that is, they could wreak a kind of destruc­tion pre­vi­ous­ly only seen in visions of the end of the world.

“We knew the world would not be the same,” Oppen­heimer remem­bered in 1965. “A few peo­ple laughed, a few peo­ple cried. Most peo­ple were silent. I remem­bered the line from the Hin­du scrip­ture, the Bha­gavad Gita; Vish­nu is try­ing to per­suade the Prince that he should do his duty and, to impress him, takes on his mul­ti-armed form and says, ‘Now I am become Death, the destroy­er of worlds.’ ”

The trans­la­tion’s gram­mat­i­cal archaism made it even more pow­er­ful, res­onat­ing with lines in Ten­nyson (“I am become a name, for always roam­ing with a hun­gry heart”), Shake­speare (“I am come to know your plea­sure”), and the Bible (“I am come a light into the world, that whoso­ev­er believeth on me should not abide in dark­ness”).

But what is death, as the Gita sees it? In an inter­view with Wired, San­skrit schol­ar Stephen Thomp­son explains that, in the orig­i­nal, the word that Oppen­heimer speaks as “death” refers to “lit­er­al­ly the world-destroy­ing time.” This means that “irre­spec­tive of what Arju­na does” — Arju­na being the afore­men­tioned prince, the nar­ra­tive’s pro­tag­o­nist — every­thing is in the hands of the divine.” Oppen­heimer would have learned all this while teach­ing in the 1930s at UC Berke­ley, where he learned San­skrit and read the Gita in the orig­i­nal. This cre­at­ed in him, said his col­league Isidor Rabi, “a feel­ing of mys­tery of the uni­verse that sur­round­ed him like a fog.”

The neces­si­ty of the Unit­ed States’ sub­se­quent drop­ping of not one but two atom­ic bombs on Japan, exam­ined in the 1965 doc­u­men­tary The Deci­sion to Drop the Bomb (below), remains a mat­ter of debate. Oppen­heimer went on to oppose nuclear weapons, describ­ing him­self to an appalled Pres­i­dent Har­ry Tru­man as hav­ing “blood on my hands.” But in devel­op­ing them, could he have sim­ply seen him­self as a mod­ern Prince Arju­na? “It has been argued by schol­ars,” writes the Eco­nom­ic Times’ Mayank Chhaya, “that Oppen­heimer’s approach to the atom­ic bomb was that of doing his duty as part of his dhar­ma as pre­scribed in the Gita.” He knew, to quote anoth­er line from that scrip­ture brought to mind by the nuclear explo­sion, that “if the radi­ance of a thou­sand suns were to burst into the sky that would be like the splen­dor of the Mighty One” — and per­haps also that splen­dor and wrath may be one.

Note: An ear­li­er ver­sion of this post appeared on our site in 2020. In the light of the new Oppen­heimer film, we’re bring­ing it back.

Relat­ed Con­tent:

Oppen­heimer: The Man Behind the Bomb

The “Shad­ow” of a Hiroshi­ma Vic­tim, Etched into Stone, Is All That Remains After 1945 Atom­ic Blast

Haunt­ing Unedit­ed Footage of the Bomb­ing of Nagasa­ki (1945)

63 Haunt­ing Videos of U.S. Nuclear Tests Now Declas­si­fied and Put Online

53 Years of Nuclear Test­ing in 14 Min­utes: A Time Lapse Film by Japan­ese Artist Isao Hashimo­to

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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, on Face­book, or on Insta­gram.

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When There Were Three Popes at Once: An Animated Video Drawn in the Style of Medieval Illuminated Manuscript

Pope Fran­cis, who’s been head of the Catholic Church for a decade now, is offi­cial­ly Pon­tiff num­ber 266. But if you scroll through Wikipedi­a’s list of popes, you’ll see quite a few entries with­out num­bers, their rows cast in a dis­rep­utable-look­ing dark­er shade of gray. The pres­ence of sev­er­al such unof­fi­cial Popes usu­al­ly indi­cates par­tic­u­lar­ly inter­est­ing times in the his­to­ry of the Church, and thus the his­to­ry of West­ern civ­i­liza­tion itself. The new TED-Ed video above, writ­ten by medieval his­to­ry pro­fes­sor Joëlle Rol­lo-Koster, tells of the only peri­od in which three popes vied simul­ta­ne­ous­ly for legit­i­ma­cy. This was The West­ern Schism — or the Papal Schism, or the Great Occi­den­tal Schism, or the Schism of 1378.

How­ev­er one labels it, “the ori­gins of this papal predica­ment began in 1296, when France’s King Philip IV decid­ed to raise tax­es on the church.” So begins the nar­ra­tor of the video, which ani­mates the his­tor­i­cal scenes he describes in the style of a medieval illu­mi­nat­ed man­u­script. (It includes many amus­ing details, though I haven’t man­aged to spot any aggres­sive rab­bits or snails, to say noth­ing of butt trum­pets.) Pope Boni­face VIII, the Church’s leader at the time, respond­ed with the Unam Sanc­tam, “a rad­i­cal decree assert­ing the pope’s total suprema­cy over earth­ly rulers.” The clash between the two result­ed in the death of Boni­face, who was even­tu­al­ly replaced in 1305 by Clement V.

As “a French diplo­mat seek­ing peace in the war between Eng­land and his home­land,” Clement strate­gi­cal­ly moved the seat of the papa­cy to Avi­gnon. Sev­en popes lat­er, the papa­cy moved back to Italy — not long before the death of Gre­go­ry XI, the Pon­tiff who moved it. Out of the chaot­ic process of select­ing his suc­ces­sor came Pope Urban VI, who turned out to be “a reformer who sought to lim­it the car­di­nals’ finances.” Those car­di­nals then “denounced Urban as a usurp­er” and elect­ed Pope Clement VII to replace him. But Urban refused to relin­quish his posi­tion, and in fact “entrenched him­self in Rome while Clement and his sup­port­ers returned to Avi­gnon.”

This began the schism, split­ting West­ern Chris­ten­dom between the cap­i­tals of Avi­gnon and Rome. Each cap­i­tal kept its line going, replac­ing popes who die and per­pet­u­at­ing the sit­u­a­tion in which “Euro­pean rulers were forced to choose sides as both popes vied for spir­i­tu­al and polit­i­cal suprema­cy.” Only in 1409 did a group of car­di­nals attempt to put an end to it, elect­ing a new pope them­selves — who went unrec­og­nized, of course, by the exist­ing popes in Rome and Avi­gnon. The schism went on for near­ly 40 years, under­scor­ing the allit­er­a­tive truth that “even those who are sup­posed to be pious are prone to pet­ty pow­er strug­gles.” Most popes, like any fig­ures of pow­er, must feel lone­ly at the top — but that’s sure­ly bet­ter than when it’s too crowd­ed there.

Relat­ed con­tent:

Lis­ten to a Brief His­to­ry of Papal Abdi­ca­tion

A Brief Ani­mat­ed His­to­ry of Mar­tin Luther’s 95 The­ses & the Ref­or­ma­tion — Which Changed Europe and Lat­er the World

The Vat­i­can Library Goes Online and Dig­i­tizes Tens of Thou­sands of Man­u­scripts, Books, Coins, and More

Watch the Bayeux Tapes­try Come to Life in a Short Ani­mat­ed Film

Ani­mat­ed: Stephen Fry & Ann Wid­de­combe Debate the Catholic Church

Pope John Paul II Takes Bat­ting Prac­tice in Cal­i­for­nia, 1987

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

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

If you attend­ed a seder this month, you no doubt read aloud from the Hag­gadah, a Passover tra­di­tion in which every­one at the table takes turns recount­ing the sto­ry of Exo­dus.

There’s no defin­i­tive edi­tion of the Hag­gadah. Every Passover host is free to choose the ver­sion of the famil­iar sto­ry they like best, to cut and paste from var­i­ous retellings, or even take a crack at writ­ing their own.  

As David Zvi Kalman, pub­lish­er of the annu­al, illus­trat­ed Asu­fa Hag­gadah told the New York Times, “The Hag­gadah in Amer­i­ca is like Kit Kats in Japan. It’s a prod­uct that accepts a wide vari­ety of fla­vors. It’s prob­a­bly the most acces­si­ble Jew­ish book on the mar­ket.”

21st cen­tu­ry adap­ta­tions have includ­ed Mar­velous Mrs. Maisel, Sein­feld, Har­ry Pot­ter, and Curb Your Enthu­si­asm themed Hag­gadot.

There are Hag­gadot tai­lored toward fem­i­nists, Lib­er­tar­i­ans, inter­faith fam­i­lies, and advo­cates of the Black Lives Mat­ter move­ment.

One of the old­est is the mirac­u­lous­ly-pre­served Sara­je­vo Hag­gadah, an illu­mi­nat­ed man­u­script cre­at­ed by anony­mous artists and scribes in Barcelona around 1350.

Though it bears the coats of arms of two promi­nent fam­i­lies, its prove­nance is not defin­i­tive­ly known.

Leo­ra Bromberg of the Uni­ver­si­ty of Toronto’s Thomas Fish­er Rare Book Library notes that it is “espe­cial­ly strik­ing for its col­or­ful illu­mi­na­tions of bib­li­cal and Passover rit­u­al scenes and its beau­ti­ful­ly hand-scribed Sephardic let­ter­forms:”

As pre­cious as this Hag­gadah was, and still is, Hag­gadot are books that are meant to be used in fes­tive and messy settings—sharing the table with food, wine, fam­i­ly and guests. The Sara­je­vo Hag­gadah was no excep­tion to this; its pages show evi­dence that it was well used, with doo­dles, food and red wine stains mark­ing its pages.

Some brave soul took care to smug­gle this essen­tial vol­ume out with them when 1492’s Alham­bra Decree expelled all Jews from Spain.

The manuscript’s trav­els there­after are shroud­ed in mys­tery.

It sur­vived the Roman Inqui­si­tion by virtue of its con­tents. As per a 1609 note jot­ted on one of its pages, noth­ing there­in seemed to be aimed against the Church.

More hand­writ­ten notes place the book in the north of Italy in the 16th and 17th cen­turies, though its new own­er is not men­tioned by name.

Even­tu­al­ly, it found its way to the hands of a man named Joseph Kohen who sold it to the Nation­al Muse­um of Sara­je­vo in 1894.

It was briefly sent to Vien­na, where a gov­ern­ment offi­cial replaced its orig­i­nal medieval bind­ing with card­board cov­ers, chop­ping its 142 bleached calf­skin vel­lum down to 6.5” x 9” in order to fit them.

It had a nar­row escape in 1942, when a high-rank­ing Nazi offi­cial, Johann Fort­ner, vis­it­ed the muse­um, intent on con­fis­cat­ing the price­less man­u­script.  

The chief librar­i­an, Dervis Korkut, a Mus­lim, secret­ed the Hag­gadah inside his cloth­ing, reput­ed­ly telling  Fort­ner that muse­um staff had turned it over to anoth­er Ger­man offi­cer.

After that folk­lore takes over. Korkut either stowed it under the floor­boards of his home, buried it under a tree, gave it to an imam in a remote vil­lage for safe­keep­ing, or hid it on a shelf in the museum’s library.

What­ev­er the case, it reap­peared in the muse­um, safe and sound, in 1945.

The muse­um was ran­sacked dur­ing 1992’s Siege of Sara­je­vo, but the thieves, igno­rant of the Haggadah’s worth, left it on the floor. It was removed to an under­ground bank vault, where it sur­vived untouched, even as the muse­um sus­tained heavy artillery dam­age.

The pres­i­dent of Bosnia pre­sent­ed it to Jew­ish com­mu­ni­ty lead­ers dur­ing a Seder three years lat­er.

Short­ly there­after, the head of Sarajevo’s Jew­ish Com­mu­ni­ty sought the Unit­ed Nations’ sup­port to restore the Hag­gadah, and house it in a suit­ably secure, cli­mate-con­trolled set­ting. 

A num­ber of fac­sim­i­les have been cre­at­ed, and the orig­i­nal codex once again resides in the muse­um where it is stored under the pre­scribed con­di­tions, and dis­played on rare spe­cial occa­sions, as “phys­i­cal proof of the open­ness of a soci­ety in which fear of the Oth­er has nev­er been an incur­able dis­ease.”

UNESCO added it to its Mem­o­ry of the World Reg­is­ter in 2017, “prais­ing the courage of the peo­ple who, even in the dark­est of times dur­ing World War II, appre­ci­at­ed its impor­tance to Jew­ish Her­itage, as well as its embod­i­ment of diver­si­ty and inter­cul­tur­al har­mo­ny depict­ed in its illus­tra­tion:”

 Regard­less of their own reli­gious beliefs, they risked their lives and did all in their pow­er to safe­guard the Hag­gadah for future gen­er­a­tions. Its destruc­tion would be a loss for human­i­ty. Pro­tect­ing it is a sym­bol of the val­ues which we hold dear.

For those inter­est­ed, the Sara­je­vo Hag­gadah fig­ures cen­tral­ly in the best­selling 2008 nov­el Peo­ple of the Book, writ­ten by the Pulitzer Prize-win­ning author Geral­dine Brooks. You can read an New Times review here.

Relat­ed Con­tent 

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

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

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

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

15-Year-Old Picasso Paints His First Masterpiece, “The First Communion”

 

It took me four years to paint like Raphael, but a life­time to paint like a child. — Pablo Picas­so

We think it’s safe to say that most of us have a pre­con­ceived notion of Picas­so’s style, and The First Com­mu­nion, above, isn’t it.

Picas­so was just 15 when he com­plet­ed this large-scale oil, hav­ing lost his 7‑year-old sis­ter, Con­chi­ta, to diph­the­ria one year before.

The strick­en young artist had attempt­ed to bar­gain with God, vow­ing to give up paint­ing if she was spared. As Ari­an­na Huff­in­g­ton writes in the biog­ra­phy Picas­so: Cre­ator and Destroy­er:

…he was torn between want­i­ng her saved and want­i­ng her dead so that his gift would be saved. When she died, he decid­ed that God was evil and des­tiny an ene­my. At the same time, he was con­vinced that it was his ambiva­lence that had made it pos­si­ble for God to kill Con­chi­ta. His guilt was enormous—the oth­er side of his belief in his pow­ers to affect the world around him. And it was com­pound­ed by his almost mag­i­cal con­vic­tion that his lit­tle sis­ter’s death had released him to be a painter and fol­low the call of the pow­ers he had been giv­en, what­ev­er the con­se­quences.

If there’s evil at work in the “First Com­mu­nion,” he keeps it under wraps. All eyes are on the rapt young com­mu­ni­cant, embod­ied in his sur­viv­ing sis­ter, Lola, in a snowy veil and gown.

Their father, painter and draw­ing pro­fes­sor José Ruiz y Blas­co, assumes the part of the girl’s father or god­fa­ther, a solemn wit­ness to this rite of pas­sage.

Ruiz y Blas­co pro­vid­ed instruc­tion and cham­pi­oned his son’s gift. He encour­aged him to enter the “First Com­mu­nion,” and lat­er, “Sci­ence and Char­i­ty” (in which he appears as the doc­tor) in the Exposi­cion de Bel­las Artes, a com­pe­ti­tion and exhi­bi­tion oppor­tu­ni­ty for emerg­ing artists.

Picas­so lat­er remarked that “every time I draw a man, I think of my father.  To me, man is Don José, and will be all my life…”

Ruiz y Blas­co, con­vinced that Picasso’s tal­ent would bring suc­cess as a nat­u­ral­is­tic painter of clas­si­cal scenes and por­traits, was deeply dis­ap­point­ed when his teenaged son began blow­ing off class at Madrid’s pres­ti­gious Acad­e­mia Real de San Fer­nan­do. 

Just imag­ine how he react­ed to the scan­dalous Cubist vision ofLes Demoi­selles d’Avignon,” unveiled a mere eleven years after the “First Com­mu­nion.”

The rest is his­to­ry.

Just for fun, we invit­ed the free online AI image gen­er­a­tor Craiy­on (for­mer­ly known as DALL‑E Mini) to have a go using the prompt “Picas­so First Com­mu­nion”.

The results should sur­prise no one. 

Relat­ed Con­tent 

The Gestapo Points to Guer­ni­ca and Asks Picas­so, “Did You Do This?;” Picas­so Replies “No, You Did!”

14 Self-Por­traits by Pablo Picas­so Show the Evo­lu­tion of His Style: See Self-Por­traits Mov­ing from Ages 15 to 90

How To Under­stand a Picas­so Paint­ing: A Video Primer

- 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.

Did Psychedelic Mushrooms Appear in Medieval Christian Art?: A Video Essay

His­tor­i­cal research reveals psy­choac­tive sub­stances to have been in use longer than most of us would assume. But did Adam and Eve do mush­rooms in the Gar­den of Eden? Unsur­pris­ing­ly, that ques­tion is fraught on more than one lev­el. But if you wish to believe that they did, spend some time with the thir­teenth-cen­tu­ry art­work above, known as the Plain­cour­ault fres­co. In it, writes Atlas Obscu­ra’s Emma Betuel, “Adam and Eve stand in the Gar­den of Eden, both of them face­less.” Between them “stands a large red tree, crowned with a dot­ted, umbrel­la-like cap. The tree’s branch­es end in small­er caps, each with their own pat­tern of tiny white spots” — just like you’d see on cer­tain species of fun­gus. “Tourists, schol­ars, and influ­encers come to see the tree that, accord­ing to some enthu­si­asts, depicts the hal­lu­cino­genic mush­room Amani­ta mus­caria.”

This image, more than any oth­er piece of evi­dence, sup­ports the the­o­ry that “ear­ly Chris­tians used hal­lu­cino­genic mush­rooms.” Sup­ports is prob­a­bly the wrong word, though there have been true believ­ers since at least since 1911, “when a mem­ber of the French Myco­log­i­cal Soci­ety sug­gest­ed the thing sprout­ing between Adam and Eve was a ‘bizarre’ and ‘arbores­cent’ mush­room.” The video essay just below, “Psy­che­delics in Chris­t­ian Art,” presents the cas­es for and against the Tree of Life being a bunch of mag­ic mush­rooms. It comes from Youtu­ber Hochela­ga, whose videos pre­vi­ous­ly fea­tured here on Open Cul­ture have cov­ered sub­jects like the Voyn­ich Man­u­script and the Bib­li­cal apoc­a­lypse.  This par­tic­u­lar episode comes as part of a minis­eries on “strange Chris­t­ian art” whose pre­vi­ous install­ments have focused on hell­mouths and the three-head­ed Jesus.

Nev­er­the­less, Hochela­ga can’t come down on the side of the mush­rooms-seers. Sim­i­lar veg­e­ta­tion appears in oth­er pieces of medieval art, but “in real­i­ty, these are draw­ings of trees, ren­dered with strange forms and bright col­ors,” as dic­tat­ed by the rel­a­tive­ly loose and exag­ger­at­ed aes­thet­ic of the era. But that does­n’t mean the Plain­cour­ault fres­co has noth­ing to teach us, and the same holds for oth­er “psy­che­del­ic” Chris­t­ian cre­ations, like the paint­ings of Hierony­mus Bosch or the art-inspir­ing music of Hilde­gard von Bin­gen. Judg­ing by the inves­ti­ga­tions this sort of thing has inspired — Tom Hat­sis’ “The Psy­che­del­ic Gospels, The Plain­cour­ault fres­co, and the Death of Psy­che­del­ic His­to­ry,” Jer­ry B. Brown and Julie M. Brown’s Jour­nal of Psy­che­del­ic Stud­ies arti­cle “Entheogens in Chris­t­ian Art: Was­son, Alle­gro, and the Psy­che­del­ic Gospels” — the rel­e­vant his­to­ry con­sti­tutes quite a trip by itself.

Relat­ed Con­tent:

Pipes with Cannabis Traces Found in Shakespeare’s Gar­den, Sug­gest­ing the Bard Enjoyed a “Not­ed Weed”

The Drugs Used by the Ancient Greeks and Romans

Alger­ian Cave Paint­ings Sug­gest Humans Did Mag­ic Mush­rooms 9,000 Years Ago

A Sur­vival Guide to the Bib­li­cal Apoc­a­lypse

The Mean­ing of Hierony­mus Bosch’s The Gar­den of Earth­ly Delights Explained

Michael Pol­lan, Sam Har­ris & Oth­ers Explain How Psy­che­delics Can Change Your Mind

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

Cats in Medieval Manuscripts & Paintings

Renais­sance artist Albrecht Dür­er  (1471–1528) nev­er saw a rhi­no him­self, but by rely­ing on eye­wit­ness descrip­tions of the one King Manuel I of Por­tu­gal intend­ed as a gift to the Pope, he man­aged to ren­der a fair­ly real­is­tic one, all things con­sid­ered.

Medieval artists’ ren­der­ings of cats so often fell short of the mark, Youtu­ber Art Deco won­ders if any of them had seen a cat before.

Point tak­en, but cats were well inte­grat­ed into medieval soci­ety.

Roy­al 12 C xix f. 36v/37r (13th cen­tu­ry)

Cats pro­vid­ed medieval cit­i­zens with the same pest con­trol ser­vices they’d been per­form­ing since the ancient Egyp­tians first domes­ti­cat­ed them.

Ancient Egyp­tians con­veyed their grat­i­tude and respect by regard­ing cats as sym­bols of divin­i­ty, pro­tec­tion, and strength.

Cer­tain Egypt­ian god­dess­es, like Bastet, were imbued with unmis­tak­ably feline char­ac­ter­is­tics.

The Vin­tage News reports that harm­ing a cat in those days was pun­ish­able by death, export­ing them was ille­gal, and, much like today, the death of a cat was an occa­sion for pub­lic sor­row:

When a cat died, it was buried with hon­ors, mum­mi­fied and mourned by the humans. The body of the cat would be wrapped in the finest mate­ri­als and then embalmed in order to pre­serve the body for a longer time. Ancient Egyp­tians went so far that they shaved their eye­brows as a sign of their deep sor­row for the deceased pet.

Aberdeen Uni­ver­si­ty Library, MS 24  f. 23v (Eng­land, c 1200)

The medieval church took a much dark­er view of our feline friends.

Their close ties to pagan­ism and ear­ly reli­gions were enough for cats to be judged guilty of witch­craft, sin­ful sex­u­al­i­ty, and frat­er­niz­ing with Satan.

In the late 12th-cen­tu­ry, writer Wal­ter Map, a soon-to-be archdea­con of Oxford, declared that the dev­il appeared before his devo­tees in feline form:

… hang­ing by a rope, a black cat of great size. As soon as they see this cat, the lights are turned out. They do not sing or recite hymns in a dis­tinct way, but they mut­ter them with their teeth closed and they feel in the dark towards where they saw their lord], and when they find it, they kiss it, the more humbly depend­ing on their fol­ly, some on the paws, some under the tail, some on the gen­i­tals. And as if they have, in this way, received a license for pas­sion, each one takes the near­est man or woman and they join them­selves with the oth­er for as long as they choose to draw out their game.

Pope Inno­cent VIII issued a papal bull in 1484 con­demn­ing the “devil’s favorite ani­mal and idol of all witch­es” to death, along with their human com­pan­ions to death.

13th-cen­tu­ry Fran­cis­can monk Bartholo­maeus Angli­cus refrained from demon­ic tat­tle, but nei­ther did he paint cats as angels:

He is a full lech­er­ous beast in youth, swift, pli­ant, and mer­ry, and leapeth and reseth on every­thing that is to fore him: and is led by a straw, and playeth there­with: and is a right heavy beast in age and full sleepy, and lieth sly­ly in wait for mice: and is aware where they be more by smell than by sight, and hunteth and reseth on them in privy places: and when he taketh a mouse, he playeth there­with, and eateth him after the play. In time of love is hard fight­ing for wives, and one scratch­eth and ren­deth the oth­er griev­ous­ly with bit­ing and with claws. And he maketh a ruth­ful noise and ghast­ful, when one prof­fer­eth to fight with anoth­er: and unneth is hurt when he is thrown down off an high place. And when he hath a fair skin, he is as it were proud there­of, and goeth fast about: and when his skin is burnt, then he bideth at home; and is oft for his fair skin tak­en of the skin­ner, and slain and flayed.

Pigs and rats also had a bad rep, and like cats, were tor­tured and exe­cut­ed in great num­bers by pious humans.

The Work­sop Bes­tiary Mor­gan Library, MS M.81 f. 47r (Eng­land, c 1185)

Not every medieval city was anti-cat. As the Aca­d­e­m­ic Cat Lady Johan­na Feen­stra writes of the above illus­tra­tion from The Work­sop Bes­tiary, one of the ear­li­est Eng­lish bes­tiaries:

Some would have inter­pret­ed the image of a cat pounc­ing on a rodent as a sym­bol for the dev­il going after the human soul. Oth­ers might have seen the cat in a com­plete­ly dif­fer­ent light. For instance, as Eucharis­tic guardians, mak­ing sure rodents could not steal and eat the Eucharis­tic wafers.

Bodleian Library Bod­ley 764 f. 51r (Eng­land, c 1225–50)

St John’s Col­lege Library, MS. 61 (Eng­land (York), 13th cen­tu­ry)

It took cat lover Leonar­do DaVin­ci to turn the sit­u­a­tion around, with eleven sketch­es from life por­tray­ing cats in char­ac­ter­is­tic pos­es, much as we see them today. We’ll delve more into that in a future post.

Con­rad of Megen­berg, ‘Das Buch der Natur’, Ger­many ca. 1434. Stras­bourg, Bib­lio­thèque nationale et uni­ver­si­taire, Ms.2.264, fol. 85r

Relat­ed Con­tent

Medieval Cats Behav­ing Bad­ly: Kit­ties That Left Paw Prints … and Peed … on 15th Cen­tu­ry Man­u­scripts

An Ani­mat­ed His­to­ry of Cats: How Over 10,000 Years the Cat Went from Wild Preda­tor to Sofa Side­kick

- 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.

Christopher Hitchens’ Final Interview: Hear the Newly-Released Uncut Conversation with Richard Dawkins

Nev­er was there such an exhil­a­rat­ing time and place to be inter­est­ed in athe­ism than the inter­net of ten or fif­teen years ago. “Peo­ple com­piled end­less lists of argu­ments and coun­ter­ar­gu­ments for or against athe­ism,” remem­bers blog­ger Scott Alexan­der. One athe­ist news­group “cre­at­ed a Dewey-Dec­i­mal-sys­tem-esque index of almost a thou­sand cre­ation­ist argu­ments” and “painstak­ing­ly debunked all of them.” In turn, their cre­ation­ist arch-ene­mies “went through and debunked all of their debunk­ings.” Read­ers could enjoy a host of athe­ism-themed web comics and “the now-infa­mous r/atheism sub­red­dit, which at the time was one of Reddit’s high­est-ranked, beat­ing top­ics like ‘news,’ ‘humor,’ and — some­how — ‘sex.’ At the time, this seemed per­fect­ly nor­mal.”

This was the cul­ture in which Richard Dawkins pub­lished The God Delu­sion, in 2006, and Christo­pher Hitchens pub­lished his God Is Not Great: How Reli­gion Poi­sons Every­thing in 2007. “I’m not just doing what pub­lish­ers like and com­ing up with a provoca­tive sub­ti­tle,” Alexan­der quotes Hitchens as say­ing.  “I mean to say it infects us in our most basic integri­ty. It says we can’t be moral with­out ‘Big Broth­er,’ with­out a total­i­tar­i­an per­mis­sion, means we can’t be good to one anoth­er with­out this, we must be afraid, we must also be forced to love some­one whom we fear — the essence of sado­masochism, the essence of abjec­tion, the essence of the mas­ter-slave rela­tion­ship and that knows that death is com­ing and can’t wait to bring it on.”

Dawkins and Hitchens became known as two of the “Four Horse­men of the Non-Apoc­a­lypse,” a group of pub­lic intel­lec­tu­als that also includ­ed Sam Har­ris and Daniel Den­nett. The label stuck after all of them sat down for a two-hour con­ver­sa­tion on video in the fall 2007, dur­ing which each man laid out his cri­tique of the reli­gious world­view. Four years lat­er, Dawkins and Hitchens sat down for anoth­er record­ed con­ver­sa­tion, this time one-on-one and with a much dif­fer­ent tone. Hav­ing suf­fered from can­cer for more than a year, Hitchens seemed not to be long for this world, and indeed, he would be dead in just two months. But his con­di­tion hard­ly stopped him from speak­ing with his usu­al inci­sive­ness on top­ics of great inter­est, and espe­cial­ly his and Dawkins’ shared bête noire of fun­da­men­tal­ist reli­gion.

Dawkins, a biol­o­gist, sees in the pow­er grant­ed to reli­gion a threat to hard-won sci­en­tif­ic knowl­edge about the nature of real­i­ty; Hitchens, a writer and thinker in the tra­di­tion of George Orwell, saw it as one of the many forms of total­i­tar­i­an­ism that has ever threat­ened the intel­lec­tu­al and bod­i­ly free­dom of humankind. In this, Hitchens’ final inter­view (which was print­ed in Hitchens’ Last Inter­view book and whose uncut audio record­ing came avail­able only this year), Dawkins express­es some con­cern that he’s become a “bore” with his usu­al anti-reli­gious defense of sci­ence. Non­sense, Hitchens says: an hon­est sci­en­tist risks being called a bore just as an hon­est jour­nal­ist risks being called stri­dent, but nev­er­the­less, “you’ve got to bang on.”

Relat­ed con­tent:

Does God Exist? Christo­pher Hitchens Debates Chris­t­ian Philoso­pher William Lane Craig (2009)

Is There an After­life? Christo­pher Hitchens Spec­u­lates in an Ani­mat­ed Video

Christo­pher Hitchens: No Deathbed Con­ver­sion for Me, Thanks, But it was Good of You to Ask

Mas­ter Cura­tor Paul Hold­en­gräber Inter­views Hitchens, Her­zog, Goure­vitch & Oth­er Lead­ing Thinkers

The Last Inter­view Book Series Fea­tures the Final Words of Cul­tur­al Icons: Borges to Bowie, Philip K. Dick to Fri­da Kahlo

Richard Dawkins on Why We Should Believe in Sci­ence: “It Works … Bitch­es”

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

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