Recovering the Doves Type

If you're a bibliophile like I am, you might have noticed that the endpapers of hardcover editions usually include a note about the typefaces used in the book. (For a more general layman's overview of the history of typography, I recommend the book Just My Type by Simon Garfield.) While the origin stories of typefaces might seem a relatively dry topic, they sometimes make for fascinating tales of adventure and intrigue. To wit, that of the Doves Type, one of the most influential typefaces of the past couple of centuries:

http://creativereview.co.uk/cr-blog/2015/february/recovering-the-doves-type

The improbable saga of their recovery seems like something straight out of a Sherlock Holmes novel! (If compelled to choose one, I'd compare it to The Sign of the Four.)  But it's the ending that strikes me; after such a journey, the "treasure hunter" and type designer Robert Green notes that he'll never sell the portion of the typeface that he kept for himself, saying, "It’s too precious. I feel very attached to it now I’ve retraced Cobden-Sanderson’s steps and stood on that very same spot of the bridge." I can sympathize with a sentimental attachment to a piece of history that becomes an obsession! It's fundamentally human to assign value to artifacts of culture, even those that seem a small and incidental portion of a more significant work.

The Rise of Agriculture: the Worst Mistake in Human History?

I recently found this article by Jared Diamond, a scholar and writer I admire (famously the author of Guns, Germs, and Steel):
http://www.ditext.com/diamond/mistake.html

It's an excellent piece, and not too long, so you should read it for yourself! The gist of it is: structured, populous (agrarian) societies naturally develop lopsided hierarchies, putting a portion of the population at significant disadvantage (compared to the unstructured, sparsely populated communities of hunter-gatherers). The quality of life of the average hunter-gatherer was actually better than that of the average farmer, despite the relative sophistication of the latter's society; the reason for the prevalence of agriculture and husbandry over hunting and gathering is that "quality over quantity" doesn't apply when one population can overwhelm another by sheer numbers. (I bet Leonidas of Sparta would have something to say about that!)

Another interesting point Diamond raises is that gender dynamics tend to be more equal in hunter-gatherer societies -- partially because such conditions are less conducive to hierarchy in general (see above), and also because the practical day-to-day circumstances of the hunter-gatherer lifestyle cannot support any house-bound, "idle" population, be they women or an aristocracy. Women who had to be on their feet all the time simply couldn't bear as many children in quick succession -- especially since the children had to be as mobile/portable as everyone else. The patriarchy couldn't simply turn them into brood mares, because the women contributed valuable labor and the children had to be spaced at large enough intervals that their mothers only ever had to carry (whether in utero or on her back) one child at a time. (Methinks twins wouldn't have fared as well in these societies.)

This is actually quite relevant to our own times. Notice how, as women have become increasingly educated (on par with men, especially if we consider university completion rates) and increasingly productive in the work force (issues of equal pay aside), they tend to have fewer children, and said children are born later in the mother's life. Unchecked childbearing, it appears, has always been a way for the patriarchy to turn women into second-class citizens. (Anti-abortion/birth control Republicans, I'm looking at you!)

NYTimes: Richard III, Lost and Found

In recent news -- making both archaeological and regular news headlines around the world -- the bones of Richard III were discovered under a parking lot in Leicester:

http://www.nytimes.com/2013/02/05/world/europe/richard-the-third-bones.html?hp

I'm inclined to be more sympathetic towards Richard III than literature portrays him (Shakespeare's play was an instrument of the Tudor smear campaign against the Plantagenets). He probably suffered from "younger sibling syndrome," as did many "spare heirs" of monarchs in the Middle Ages -- see Scar vs. Mufasa in The Lion King (and play "spot the Shakespeare references"). This was also probably exacerbated by his uninspiring physical appearance -- see Tyrion Lannister in George R. R. Martin's A Song of Ice and Fire series. (Especially in those days, physical birth defects were seen as portents of ill fortune.) Richard came by the throne in a slightly roundabout way that involved some unsavory tactics; certainly, he can't have been completely innocent in the Princes in the Tower episode. But he was by and large a competent administrator who contributed significantly to the nascent English legal system and, notably, lifted most public and private censorship of written work -- not a move to be taken lightly, especially given the political turmoil surrounding his ascension and reign. He was ruthless, to be sure, sometimes excessively so, but his were much more violent times. (Nasty, brutish, and short would be about right.) Richard III was not, among his peers, particularly remarkable in his ruthlessness -- which the Tudors, Shakespeare, and partisan historians conveniently forget.

Anyhow. I imagine it must have been a fascinating experience for the modern-day descendants of Richard III, a few of whom contributed some DNA to the project.

NYTimes: Medieval Chess Sets at the Cloister

These look really awesome:
http://www.nytimes.com/2011/11/18/arts/design/the-game-of-kings-medieval-ivory-chessmen-from-the-isle-of-lewis-at-the-cloisters.html?_r=1&src=dayp

I'm in New York for another week or so. Anyone want to go see them with me?

Edit: I didn't actually end up going (I'm coming home for spring break, though!), but I was reading the exhibit blog, which is fascinating.
http://metmuseum.org/exhibitions/listings/2011/the-game-of-kings-medieval-ivory-chessmen-from-the-isle-of-lewis/exhibition-blog

NYTimes: Pompeii -- Archaeologists' Dream, Conservationists' Failure

And now, back to our regularly scheduled programming:

This is scary. Really scary. For a historian and a (lapsed) Latin student, and an avid museum-goer, the idea of such artifacts, such a goldmine of Roman archaeology, being destroyed simply because of human incompetence and negligence, is a travesty:

http://artsbeat.blogs.nytimes.com/2010/11/30/another-collapse-at-pompeii-renews-calls-for-better-care

I want to go to Pompeii sometime. I've never been, and I hope that by the time the opportunity arises, it won't be too late.

The Onion: Historians Admit to Inventing Ancient Greeks

My thanks to Lewis for sending this to me; The Onion is great!

http://www.theonion.com/articles/historians-admit-to-inventing-ancient-greeks,18209/?utm_source=recentnews

I'm a huge fan of classical history, so I find this especially funny. I can't imagine the actual undertaking of creating this sort of cultural richness; it would be like Tolkien x 100!

I wouldn't be surprised if some people got it in their heads to actually believe all this was fabricated though, like the people who think that dinosaur fossils were planted by God or something.

Italy Travelogue, Part 3: Vatican City

If you're ever in Rome, the Vatican is definitely worth seeing. It'll take a day, at least, but do go. It's chock-full of centuries of artwork and architecture, and not all of it is Catholic; some of the most famous classical sculptures are there. The pièce de résistance, of course, is the Sistine Chapel; disappointingly, but understandably, we were not allowed to photograph it. We did take pictures of lots of other things...

The Vatican Museums are home to some of the greatest artistic treasures in the world. Exhibit A -- Here's the marble of Laocoön and sons being strangled by Athena's sea serpents, the one that Pliny the Elder wrote about (Yes, I took Latin in high school, why do you ask?), one of the most celebrated statues from antiquity:


The story goes, Laocoön was a Trojan priest of Poseidon, who was in Poseidon's bad books because he took a wife and sired children (this is relevant only because his terrible luck and grisly death is sometimes attributed to the god's displeasure). Anyhow, he was one of the few Trojans who suspected that the Trojan horse was a ruse, and proposed that they set it on fire. Athena summoned a pair of giant snakes to strangle him and his sons. The Trojans then assumed that the horse was sacred (and that anyone who dared to harm it would meet a similarly nasty end), and so they brought the horse into Troy. I'm not sure who had it worse, Laocoön or Cassandra.

We also saw Raphael's even more famous The School of Athens:


This is often considered to be not only Raphael's finest piece, but also the very spirit of the Renaissance in painted form. The term itself, "Renaissance", means "rebirth", and the great artists and thinkers of the Renaissance felt a deep intellectual kinship with their Greco-Roman peers. It is only fitting that the spirit of the era is captured as Greek institution.

I had fun squinting up at it and trying to identify all the people in the painting, but I didn't get very far. The two figures in the middle (under the central arch) are Plato and Aristotle, in the red and blue mantles, respectively. Plato is supposed to be modeled on Leonardo da Vinci (and with that beard, I can see the resemblance). Michelangelo is in the middle on the bottom step (purple shirt and red pants, with his elbow on a box, looking bored), as a Greek painter (what else) of some importance. Raphael painted himself in, too, though I didn't find him until we got home. He's in the upper right, where the bottom of the arch meets the top of the pillar, next to the old man in the green cloak (he's wearing red and purple, too).

Fast-forwarding several centuries in art history, we come to Canova's Perseus, who is depicted in the style of the classical hero (read: naked), holding up the head of his slain foe (Medusa). Here he is:


I thought he looked rather familiar, and that's because he is. Canova made another Perseus, which is almost identical, and that one resides in the Metropolitan Museum of Art, so I've seen it before.

Canova's Perseus is one of the few post-Renaissance marbles to be exhibited so prominently in the Vatican Museums, and rightly so. He sculpted Perseus in the tail end of the Baroque era, when everything was excessively embellished (to the point of seeming nauseatingly garish), and manages to capture the hero triumphant, simple and clothed in little besides his own achievement.

The Vatican Museums also house a collection of artifacts of non-European antiquity. They have an excellent Egyptian wing, and also one with Near Eastern art. My sister and I were much amused to find, in the Assyrian section, this piece:


It's Birdman! (My sister is a better bird(wo)man than I am, I know; I have a terrible poker face.)

It's one of many long-standing points of reference for us. She currently attends the same middle school I did, and one of our favorite teachers is the inimitable Ms. Springer, archaeologist and historian extraordinare, who taught us sixth grade history. (She did a wonderful job of it, too; I was immensely surprised to find, in my Ancient Empires course reader, a passage from "Wen-Amon Goes to Phoenicia", which we read in sixth grade.)

Birdman was one of the most memorable characters from our Assyria unit. I still remember taking a field trip to the Met to see him; I thought he was enormous, back then. I spotted him in the Vatican all these years later, and we couldn't resist.

Of course, no trip to the Vatican is complete without a visit to St. Peter's Basilica. The lines were not as terrible as we'd feared (thank goodness!), and the inside was every bit as spectacularly grand as we'd imagined. I made a beeline for Michelangelo's most famous Pietà:


You'll have to click on it to get a closer view, and even then, it's still quite small; I was pressed up against the plexiglas wall, but I was still about a dozen feet away from it. Apparently, some crazy person tried to attack it with a hammer, and ended up chipping off Mary's nose, and so they won't let anyone get anywhere near it anymore. (Something similar happened to the David (who lost a few toes), and so there's a plexiglas shield around him, too.)

One of the first things anyone notices about the work is that Mary looks incredibly young. There's some debate about why this is; we know that Michelangelo made her deliberately so. Some say that it's an indication of her purity and favor with God; others say that she's actually supposed to be a young mother, and that she's holding her baby and having a premonition of her son's fate.

On the subject of Pietàs, I edited the Florence part to include some pictures from the Museo dell'Opera del Duomo that I oddly couldn't find the first time around, so scroll down if you're interested in one of Michelangelo's other Pietàs.

Well, that's Italy. It was a lot of fun (and a historian/erstwhile Latin student's dream). There was plenty we didn't get to see this time around, so I'd definitely want to go back sometime in the future!

Italy Travelogue, Part 2: Rome

Rome is big. Not quite as big as New York (what is?), but after Florence, Rome seemed huge. Of course, it was the place to be (in Europe, at least) for several centuries, way before any of the other major metropolises even existed. We procured four Roma Passes, which are designed for tourists and include discounts to major attractions (museum tickets are expensive!) and free public transit, valid for three consecutive days.

Four days in Rome was definitely not enough (especially since one of them was spent outside of Rome, technically, in the Vatican). Unlike Florence, which rose to prominence in the Middle Ages, Rome was the center of a vast empire in antiquity, and has several millennia of history on Florence. (Huzzah for Ancient Empires!)

The afternoon we get there, I drag them to see the Pantheon. (I'm a sucker for Greco-Roman mythology, but this one's really worth seeing.) It also houses the work of several Renaissance masters, as well as several of their graves, most notably that of Raphael. This is an interior view of its dome:


The Romans were really architectural geniuses, given their level of technology. It's incredible that the Pantheon survived several regime changes and wars. Of course, one of the reasons it wasn't quarried for marble or anything was that it was converted to a church in honor of the Virgin Mary and assorted Christian martyrs. It stands in stark contrast to many of the temples in the Roman Forum (dating from the days of the Republic) and the later Imperial fora; most of those now lie in ruins, much of their marble facing carted off to adorn other facades. Even so, the Roman Forum is well worth seeing. Here is a photograph of the Temple of Romulus:


This was one of the most intact of the temples in the Forum (and indeed, in all of Rome), mostly because it was converted to a church, that of the saints Cosmas and Damian, two Greek brothers, to stand in stark contrast to the Temple of Castor and Pollux, also in the Forum. This is, unfortunately, all that's left of the latter:


Freestanding monuments and buildings not constructed of marble were also generally in better repair; take, for instance, this photograph of the northwestern corner of the Forum:


In the middle of the picture is the Arch of Septimus Severus, commemorating the emperor's victories against the Parthians. He was a strong leader and a military man, which was good for Rome, given the corruption and political disunity of the preceding reigns. He also sponsored numerous public works, among which were several arches like this one.

The brownish building on the right (the one with three windows above its main entrance) is the Curia Julia, the Senate building built by (somewhat ironically) Julius Caesar. (He never saw it in its current form, as it was completed during the reign of Augustus.) The height of its ceiling is particularly impressive from the inside.

While I'm at it, here's another Augustan monument:


My sister and I are standing in front of the Ara Pacis (English: Altar of Peace). It was built by the Senate on the occasion of Augustus's subjugation of Gaul and Hispania, to celebrate the Pax Augusta, the peace that the emperor brought about by uniting various far-flung European peoples under imperial rule. My father, when I explained the altar's history, aptly remarked that Augustus was rather like the first Qin (秦) Emperor of China, Qin Shi Huang (秦始皇), who unified China. (Personally, I think Augustus was a lot friendlier. Also, Augustus's overall geopolitical achievement was probably somewhat less impressive, given that he was building upon Julius Caesar's successful military campaigns, whereas the Qin Emperor had to conquer the other six Chinese states, which were more or less equal in power to his at the start of his campaigns. Not to say that Augustus wasn't awesome, because he was.)

We also spent an afternoon at the Capitoline Museum, where there is a great glass-roofed hall housing some remarkable and historic bronzes. This one is the very famous equestrian statue of Marcus Aurelius, the only such statue of a pre-Christian emperor still in existence. It survived the Christian fanaticism of the Middle Ages mainly because it was thought to depict the Christian Constantine; this sort of imperial statue was quite common in the Roman Empire, but all the others were melted down.


It's greenish because it used to be prominently displayed on a pedestal outdoors, but then people moved it inside and put up a replica instead, because of precipitation damage.

This one, from the same hall, is the equally well-known bronze of the Capitoline Wolf, with Romulus and Remus as suckling infants:


Its origins are still uncertain, with some art historians contending that the wolf was first cast in the Etruscan era and others (a minority) arguing that it was made in the 13th century (both parties agree that the twins were a later addition). Either way, it's an iconic sculpture in the modern consciousness, where Rome is concerned.

This is getting ridiculously long. I'll write a third post on the Vatican, and lump in the Renaissance stuff with it. Stay tuned for travelogue part 3!

NYTimes: 18th-Century Ship Found at World Trade Center Site

I never thought I'd see an archaeological dig right in my hometown. This is awesome, and will interest, in particular, fans of maritime history:

http://cityroom.blogs.nytimes.com/2010/07/14/18th-century-ship-found-at-trade-center-site/?hpw

I can't believe there was a ship beneath Manhattan, waiting to be discovered. A ship! An entire ship! (Though I suppose, in truth, greater things have been lost amidst the sands of time -- see "Ozymandias".) I can't wait to see it, if we'll ever get to. Sometimes (more often than not) they seal these things off, if the potential exposure damage is too great.

NYTimes: The Elgin Marbles, a Test Case for Antiquities Repatriation

This is personally interesting to me because the Metropolitan Museum of Art was a formative part of my middle and high school years. I knew the Met well enough, at one point, that I didn't need a map to navigate it (being in California nine months of the year has eroded my abilities thereto).

http://www.nytimes.com/2010/05/09/arts/09abroad.html

It's in part an issue of cultural identity. If the modern state can unequivocally lay claim to a certain cultural inheritance, methinks, then it has extremely valid cause. If it cannot show that it is the only logical heir to a particular classical or historical society (this is generally rather rare, as most cultures, if not political or social entities, have been fairly consistent through the centuries), then others with equal claim, and even those representing the interests of the greater scholarly or artistic community, often claim a physical right to said objets d'art. It's particularly interesting because Classical Greece has spawned so many heirs of the mind; practically all of Western Europe, and the Western world at large, can trace its philosophical and cultural roots to Greco-Roman thinkers.

There is also the question of integrity of historical sites. Of course, no one should go and take apart a centuries-old facade and ship the various pieces off to museums around the world (as much as that happened in the past, and on a smaller scale, continues to happen today). But should a monument that is falling apart be restored on its original site, or should the pieces be distributed to museums (especially pertinent if the originating state does not have the technology or resources to restore the monument, and foreign teams end up taking over the project, often with the intention of appropriating some of the artifacts for their own countries)? Does physical proximity to the historical site add significant value?

There are loads more questions to be asked and answered. Discuss (yes, I read and respond to comments).

Times (UK): Hannibal’s Real Alpine Trunk Road to Rome is Revealed

http://www.timesonline.co.uk/tol/life_and_style/court_and_social/article7029508.ece

Punic Wars! Elephants! Hannibal!

That is all.