Mudlarking on the Thames: A Treasure Trove of History Washes Ashore Every Low Tide

If you’re look­ing for free out­door activ­i­ties to pull you from the dig­i­tal realm, may we rec­om­mend mud­lark­ing?

Lara Maik­lem, author of Mud­lark­ing: Lost and Found on the Riv­er Thames and A Field Guide to Lark­ing, has devel­oped a keen eye in the 20 years she’s been scav­eng­ing his­toric detri­tus from the fore­shore of the Thames at low tide.

 I nev­er use a met­al detec­tor and I often walk lit­tle more than a mile in 5 hours, yet I can trav­el 2,000 years back in time through the objects that are revealed by the tide. Pre­his­toric flint tools, medieval pil­grim badges, Tudor shoes, Geor­gian wig curlers and Vic­to­ri­an pot­tery, ordi­nary objects left behind by the ordi­nary peo­ple who made Lon­don what it is today. 

As she says in the short film above, her first find has become one of her most com­mon — a clay pipe frag­ment.

The term mud­lark was invent­ed to describe the pover­ty strick­en Vic­to­ri­ans who scoured the fore­shore for cop­per, wire, and oth­er items with resale val­ue, as well as things they could clean off and use them­selves.

Today’s mud­larks are pri­mar­i­ly his­to­ry buffs and ama­teur arche­ol­o­gists.

The hob­by has become so pop­u­lar that The Port of Lon­don Author­i­ty, which con­trols the Thames water­way along with the Crown Estate, has start­ed to require fore­shore per­mits of all prospec­tive debris hunters.

Per­mit­ted mud­larks can claim as sou­venirs how­ev­er many Vic­to­ri­an clay pipes and blue and white pot­tery shards they dig up, but are legal­ly oblig­ed by the Portable Antiq­ui­ties Scheme to report items of poten­tial­ly greater his­toric and mon­e­tary val­ue — i.e. Trea­sure — to a muse­um-trained Finds Lia­son Offi­cer:

  • Any metal­lic object, oth­er than a coin, pro­vid­ed that at least 10 per cent by weight of met­al is pre­cious met­al (that is, gold or sil­ver) and that it is at least 300 years old when found. If the object is of pre­his­toric date it will be Trea­sure pro­vid­ed any part of it is pre­cious met­al.
  • Any group of two or more metal­lic objects of any com­po­si­tion of pre­his­toric date that come from the same find (see note below).
  • Two or more coins from the same find pro­vid­ed they are at least 300 years old when found and con­tain 10 per cent gold or sil­ver (if the coins con­tain less than 10 per cent of gold or sil­ver there must be at least ten of them). Only the fol­low­ing groups of coins will nor­mal­ly be regard­ed as com­ing from the same find: Hoards that have been delib­er­ate­ly hid­den; Small­er groups of coins, such as the con­tents of purs­es, that may been dropped or lost; Votive or rit­u­al deposits.
  • Any object, what­ev­er it is made of, that is found in the same place as, or had pre­vi­ous­ly been togeth­er with, anoth­er object that is Trea­sure.

How did all this his­toric refuse come to be in the Thames? Maik­lem told Col­lec­tors Week­ly that there are many rea­sons:

Obvi­ous­ly, it’s been used as a rub­bish dump. It was a use­ful place to chuck your house­hold waste. It was essen­tial­ly a busy high­way, so peo­ple acci­den­tal­ly dropped things and lost things as they trav­eled on it. Of course, peo­ple also lived right up against it. Lon­don was cen­tered on the Thames so hous­es were all along it, and there was all this stuff com­ing out of the hous­es and off the bridges. It was the biggest port in the world in the 18th cen­tu­ry, so there was all the ship­build­ing and indus­try going on.

And then of course, there’s the rub­bish that was used to build up the fore­shore and cre­ate barge beds. The riverbed in its nat­ur­al state is a V shape, so they had to build up the sides next to the riv­er wall to make them flat­ter so the flat-bot­tom barges could rest there at low tide. They did that by pour­ing rub­bish and build­ing spoil and kiln waste, any­thing they could find—industrial waste, domes­tic waste. When they dug into the ground fur­ther up, they’d bring the spoil down and use it to build up the fore­shore, and cap it off with a lay­er of chalk, which was soft and didn’t dam­age the bot­tom of the barges.

One of the rea­sons we’re find­ing so much in the riv­er now is because there’s so much ero­sion. While it was a “work­ing riv­er,” these barge beds were patched up and the revet­ments, or the wood­en walls that held them in, were repaired when they broke. But now, they’re being left to fall apart, and these barge beds are erod­ing as the riv­er is get­ting busier with riv­er traf­fic.

There are numer­ous social media groups where mod­ern mud­larks can proud­ly share their finds, and seek assis­tance in iden­ti­fy­ing strange or frag­ment­ed objects.

Maiklem’s Lon­don Mud­lark Face­book page is an edu­ca­tion in and of itself, a reflec­tion of her abid­ing inter­est in the his­toric sig­nif­i­cance of the items she truf­fles up.

Wit­ness the pewter buck­le plate dat­ing to the 14th or 15th-cen­tu­ry that she spot­ted on the fore­shore in late Novem­ber, turned over to her Finds Liai­son Offi­cer and researched with the help of his­toric pewter crafts­man Col­in Torode:

Pri­or to c.1350 pewter belt fit­tings seem to have been rather rare, although a Lon­don Girdlers’ Guild Char­ter of 1321 which banned the use of pewter belt fit­tings does show that the met­al was cer­tain­ly in use. In 1344 the Girdlers’ guild again reit­er­at­ed the ban on what they felt were infe­ri­or met­als such as pewter, tin and lead. In 1391 how­ev­er, a statute rec­og­nized that these met­als had been in use for some time and that their use could con­tin­ue with­out restric­tion

This ornate plate would have had a sep­a­rate buck­le frame attached to it and is prob­a­bly a cheap­er copy of the more upmar­ket cop­per alloy or sil­ver ver­sions that were pro­duced at the time.  Although the the open­work design is sim­i­lar to those found in in fur­ni­ture or church screens, it’s not reli­gious or pil­grim relat­ed.

Maik­lem also chal­lenges fans to play along from home with “spot the find” videos for such items as a Tudor clothes hook, Geor­gian cuf­flink, and a Ger­man salt glazed, stoneware bottle’s neck embossed with a human face.

She also reminds would be mud­larks to always wear gloves as it’s not all medieval thim­bles, WWI medals and 16th-cen­tu­ry box­wood combs, beau­ti­ful­ly pre­served by the Thames’ anaer­o­bic mud.

The riv­er also spews up plen­ty of drowned rats, flush­ing them out with the sewage after a heavy rain. Oth­er poten­tial haz­ards include hypo­der­mic nee­dles and bro­ken glass.

In addi­tion to such safe­ty pre­cau­tions as gloves, stur­dy footwear, and remain­ing mind­ful of incom­ing tides, Maik­lem advis­es novice mud­larks to look for straight lines and per­fect cir­cles — “the things that nature doesn’t make.”

It takes prac­tice and patience to devel­op a skilled eye, but don’t get dis­cour­aged if your first out­ings don’t yield the sort of jaw drop­ping dis­cov­er­ies Maik­lem has made — an intact glass Vic­to­ri­an sug­ar crush­er, a 16th-cen­tu­ry child’s leather shoe and Roman era pot­tery shards galore.

Some­times even plas­tic comes with a com­pelling sto­ry.

I’m still feel­ing quite gid­dy over this bit of plas­tic. I came to Corn­wall this week to write and to beach­comb. I hoped I might find a small piece of Lost Lego, but I wasn’t hold­ing out much hope. Calm weath­er means less plas­tic: good for the beach, bad for the Lego look­er. Then I found this wedged between two boul­ders. It’s one of the black octo­pus­es from the Lego spill of 1997 when, 20 miles from Land’s End, a huge wave hit the car­go ship Tokio Express. It tilt­ed 45 degrees and 62 con­tain­ers slid into the water. One con­tain­er was filled with near­ly 5 mil­lion pieces of Lego, much of which was sea themed. Lit­tle scu­ba tanks, flip­pers, octo­pus­es, cut­lass­es, life rafts, spear guns, drag­ons and octo­pus­es like this still wash up on the beach­es of Corn­wall and fur­ther afield.

Stay abreast of Lara Maiklem’s mud­lark­ing finds here.

Try your hand at mud­lark­ing the Thames in per­son, dur­ing a guid­ed tour with the Thames Explor­er Trust.

Relat­ed Con­tent 

Prize-Win­ning Ani­ma­tion Lets You Fly Through 17th Cen­tu­ry Lon­don

The Growth of Lon­don, from the Romans to the 21st Cen­tu­ry, Visu­al­ized in a Time-Lapse Ani­mat­ed Map

Watch the Sex Pis­tols Play a Gig on a Thames Riv­er Barge Dur­ing the Queen’s Sil­ver Jubilee, and Get Shut Down by the Cops (1977)

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

The Roman Roads and Bridges You Can Still Travel Today

Rare indeed is the ancient-his­to­ry buff who has nev­er dreamed of walk­ing the roads of the Roman Empire. But unlike many long­ings stoked by inter­est in the dis­tant past, that one can actu­al­ly be ful­filled. As explained in the video above from Youtube chan­nel Intrigued Mind, a fair few Roman roads remain in exis­tence today, albeit only in sec­tions, and most­ly ruined ones at that. “Like oth­er incred­i­ble mon­u­ments that still stand, as if to prove the pow­er of the Roman Empire, there are a sur­pris­ing num­ber of Roman roads still in use today,” some con­vert­ed into mod­ern high­ways, but “many still paved with their orig­i­nal cob­ble­stones.”

Of all such roads, none has more impor­tance than the Via Appia, or Appi­an Way, whose con­struc­tion began back in 312 BC. “The first long road out­side of the greater city of Rome that was­n’t Etr­uscan,” it “allowed Romans to make their first major con­quest” and begin their mighty empire’s “con­quest of the world.” With­out under­stand­ing the sto­ried Via Appia, none of us can tru­ly under­stand Roman his­to­ry. But to grasp the con­text of the Roman Empire, we can hard­ly ignore the even old­er roads like the Via Domi­tia, which was “the road Han­ni­bal used to invade Italy, 100 years before the Romans claimed it” — not to men­tion an impor­tant set­ting in the Greek myth of Her­a­cles.

You can still cross one of the Via Domi­ti­a’s bridges, the Pont Julien in the south of France. In that same coun­try stand the more-or-less intact Pont Fla­vian, orig­i­nal­ly built along the Via Julia Augus­ta, and the Pont du Gard, the most famous and ele­gant Roman aque­duct of them all. Nor should enthu­si­asts of Roman infra­struc­ture miss the Alcan­tara Bridge in Spain, the Man­fred Bridge in Ger­many, or the ruins of Tra­jan’s Bridge — made into ruins delib­er­ate­ly, by Tra­jan’s suc­ces­sor Hadri­an — in Roma­nia. The most seri­ous among them will also want to go as far as the Mid­dle East and trav­el the Via Maris, which con­nect­ed Egypt to Syr­ia, and the remains of the bridge across Cae­sar’s Dam in Iran.

Iran belonged, of course, not to the Roman Empire but the Per­sian one. But “leg­end has it that the Per­sian emper­or cap­tured the Roman emper­or and forced him to use his army to build the dam and the beau­ti­ful bridge to cross it.” All was fair, it seems, in the expan­sion and con­flict of ancient empires, and the ruins scat­tered across their vast for­mer ter­ri­to­ries tes­ti­fy to that. Though much less tech­no­log­i­cal­ly advanced than, say, mod­ern free­way sys­tems, the Roman roads that sur­vive have proven sur­pris­ing­ly robust, a phe­nom­e­non exam­ined in the video just above by his­to­ry Youtu­ber Told in Stone — a Chicagoan, inci­den­tal­ly, who acknowl­edges that the Via Appia has nev­er had to take a Windy City win­ter.

Relat­ed con­tent:

The First Tran­sit Map: a Close Look at the Sub­way-Style Tab­u­la Peutin­ge­ri­ana of the 5th-Cen­tu­ry Roman Empire

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

How Did Roman Aque­ducts Work?: The Most Impres­sive Achieve­ment of Ancient Rome’s Infra­struc­ture, Explained

The Roads of Ancient Rome Visu­al­ized in the Style of Mod­ern Sub­way Maps

The Roman Roads of Britain Visu­al­ized as a Sub­way Map

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.

The History of Western Art in 23 Minutes: From the Prehistoric to the Contemporary

Among the ranks of Open Cul­ture read­ers, there are no doubt more than a few art-his­to­ry majors. Per­haps you’ve stud­ied the sub­ject your­self, at one time or anoth­er — and per­haps you find that by now, you remem­ber only cer­tain scat­tered artists, works, and move­ments. What you need is a grand nar­ra­tive, a broad sto­ry of art itself, and that’s just what you’ll find in the video above from Youtube chan­nel Behind the Mas­ter­piece. True to its title, “A Brief His­to­ry of Art Move­ments” briefly describes, and pro­vides a host of visu­al exam­ples to illus­trate, 22 phas­es in the devel­op­ment of art in just 23 min­utes.

The jour­ney begins in pre­his­to­ry, with cave paint­ings from 40,000 years ago appar­ent­ly cre­at­ed “as a way to share infor­ma­tion.” Then comes the art of antiq­ui­ty, when increas­ing­ly lit­er­ate soci­eties “start­ed cre­at­ing the ear­li­est nat­u­ral­is­tic images of human beings,” not least to enforce “reli­gious and polit­i­cal ide­olo­gies.” The reli­gios­i­ty inten­si­fied in the Mid­dle Ages, when artists “depict­ed clear, icon­ic images of reli­gious fig­ures” — as well as their odd­ly aged-look­ing babies — “and dec­o­rat­ed them with exten­sive use of gold and jew­els as a way to attract more peo­ple to the church.”

When many us think of art his­to­ry — whether we stud­ied it or not — our minds go straight to the sub­se­quent peri­od, the Renais­sance, dur­ing which “artists start­ed to appre­ci­ate cul­tur­al sub­jects like art, music, and the­ater” as well. They cre­at­ed “por­trait paint­ings, anatom­i­cal­ly cor­rect sculp­tures, and sym­met­ri­cal archi­tec­ture,” and the inven­tion of the print­ing press great­ly expand­ed the pool of poten­tial appre­ci­a­tors. Then, in the Baroque move­ment, enor­mous­ly skilled artists like Berni­ni and Car­avag­gio “empha­sized extrav­a­gance and emo­tion,” and oth­er forms fol­lowed suit with more intense embell­ish­ments of their own.

From eigh­teenth-cen­tu­ry France emerged the “play­ful and utopi­an” Roco­co peri­od, which was fol­lowed by the back­ward-look­ing “inter­est in renewed sim­plic­i­ty” that char­ac­ter­ized Neo­clas­si­cism, which was fol­lowed by Roman­ti­cism, a move­ment whose artists “looked with­in and found inspi­ra­tion in their own imag­i­na­tions, and the nature around them.” It was the lev­el­ing French Rev­o­lu­tion that brought about the con­di­tions for the rise of Real­ism, with its focus on “depict­ing real peo­ple in every­day life,” the kind of sub­jects to that point over­looked in major works of art.

In the sec­ond half of the nine­teenth cen­tu­ry the devel­op­ment of art hit the gas, bring­ing on the imper­fect vital­i­ty of Impres­sion­ism, the dar­ing sub­jec­tiv­i­ty of Post-Impres­sion­ism, the extreme sub­jec­tiv­i­ty of Expres­sion­ism, and the sin­u­ous lux­u­ry of Art Nou­veau. Tech­nol­o­gy had always been a fac­tor in how art changes, but in the twen­ti­eth cen­tu­ry — as Cubism gave way to Futur­ism, Dadaism, Sur­re­al­ism, and the Bauhaus — it came to the fore. This brings us up to liv­ing mem­o­ry: move­ments like Abstract Expres­sion­ism, Pop Art, Min­i­mal­ism, and the incli­na­tion of today’s artists to deal in “ideas rather than aes­thet­ics,” all on dis­play in most any muse­um you care to vis­it. Or at least they are in the muse­ums of the West, there being, after all, a whole world of oth­er art his­to­ries out there to under­stand besides.

Relat­ed con­tent:

Free Art & Art His­to­ry Cours­es

An Online Guide to 350 Inter­na­tion­al Art Styles & Move­ments: An Invalu­able Resource for Stu­dents & Enthu­si­asts of Art His­to­ry

100,000 Free Art His­to­ry Texts Now Avail­able Online Thanks to the Get­ty Research Por­tal

An Intro­duc­tion to 100 Impor­tant Paint­ings with Videos Cre­at­ed by Smarthis­to­ry

One Minute Art His­to­ry: Cen­turies of Artis­tic Styles Get Packed Into a Short Exper­i­men­tal Ani­ma­tion

Tate Kids Presents Intro­duc­tions to Art Move­ments: Cubism, Impres­sion­ism, Sur­re­al­ism & More

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.

How to Get Dressed & Fight in 14th Century Armor: A Reenactment

For a medieval knight, phys­i­cal com­bat in a full suit of armor could hard­ly have been a sim­ple mat­ter — but then, nor could the task of putting it on in the first place. You can see the lat­ter depict­ed in the video above from Nor­we­gian his­to­ry buff Ola Onsrud. He describes the armor as a “detailed recon­struc­tion based on the effi­gy of the Black Prince (1330–1376) in the Can­ter­bury Cathe­dral, oth­er rel­e­vant effi­gies, paint­ings in four­teenth-cen­tu­ry man­u­scripts and late four­teenth-cen­tu­ry armor dis­played in The Roy­al Armories in Leeds.” If you’ve so much as glanced at such imagery, Onsrud’s armor should strike you as look­ing quite like the real deal.

But this is func­tion­al cloth­ing, after all, and as such must be put to the test. Onsrud does so in the video just below, a demon­stra­tion of how the wear­er of such armor would actu­al­ly do hand-to-hand com­bat. “To make com­ments, the visor of my hel­met is open through most of the video,” he notes.

“This will of course make my face an inter­est­ing tar­get for my adver­sary.” In a real medieval bat­tle, of course, the hel­met would be closed, and thus the com­bat­ants would­n’t sim­ply aim for the face. As Onsrud explains, the idea is to use one’s sword “against the weak spots of the armor. After find­ing a weak spot, I can put all my body weight behind it and dri­ve it in.”

Medieval suits of armor turn out not to be as impen­e­tra­ble as they look. Onsrud runs down a few of their major weak points, includ­ing the insides of the gloves, the armpits, and — most wince-induc­ing­ly of all — the groin. The defense capa­bil­i­ty of armor also var­ied depend­ing upon the weapons used; even the best-suit­ed-up had rea­son to fear an ene­my with a poleaxe. “But the absolute best way to take down an armored knight is by using a lance from a horse,” espe­cial­ly a horse “gal­lop­ing up to 40 kilo­me­ters an hour” whose com­bined weight with its rid­er could reach 700 kilo­grams. Sure­ly even the most com­mit­ted reen­ac­tor won’t do that on Youtube.

Relat­ed con­tent:

How to Make and Wear Medieval Armor: An In-Depth Primer

What It’s Like to Actu­al­ly Fight in Medieval Armor

How Well Can You Move in Medieval Armor?: Medieval­ist Daniel Jaquet Gives It a Try in Real Life

What’s It Like to Fight in 15th Cen­tu­ry Armor?: A Sur­pris­ing Demon­stra­tion

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

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.

The Disturbing Paintings of Hieronymus Bosch: A Short Introduction

Most casu­al view­ers of Hierony­mus Bosch’s paint­ings must acknowl­edge his artis­tic skill, and many must also won­der whether he was com­plete­ly out of his mind. But insan­i­ty, how­ev­er vivid­ly sug­gest­ed by his imagery, isn’t an espe­cial­ly com­pelling expla­na­tion for that imagery. Bosch paint­ed in a par­tic­u­lar place and time — the Nether­lands of the late fif­teenth and ear­ly six­teenth cen­tu­ry, to be spe­cif­ic — but he also paint­ed with­in a dom­i­nant worldview.“He grew up in a time of deep reli­gious anx­i­ety,” says Youtu­ber Hochela­ga in the video essay above. “Ideas about sin, death, and the dev­il were becom­ing more sophis­ti­cat­ed,” and “there was a gen­uine fear that demon­ic forces lived amongst the pop­u­la­tion.”

Hence the analy­ses like that of Great Art Explained, which frames Bosch’s best-known paint­ing The Gar­den of Earth­ly Delights as an expres­sion of “hard­core Chris­tian­i­ty.” But some­thing about the trip­ty­ch’s sheer elab­o­rate­ness and grotes­querie demands fur­ther inquiry. Hochela­ga explores the pos­si­bil­i­ty that Bosch worked in a con­di­tion of not just fear­ful piety, but psy­cho­log­i­cal afflic­tion.

“There is a dis­ease called St. Antho­ny’s fire,” he says, con­tract­ed “by eat­ing a poi­so­nous black fun­gus called ergots that grow on rye crops. Symp­toms include sores, con­vul­sions, and a fierce burn­ing sen­sa­tion in limbs and extrem­i­ties,” as well as “fright­en­ing and over­pow­er­ing hal­lu­ci­na­tions that can last for hours at a time.”

This psy­choac­tive pow­er is now “believed to be behind the many Danc­ing Plagues record­ed through­out the Mid­dle Ages.” This expla­na­tion came togeth­er when, “in the mid-twen­ti­eth cen­tu­ry, it was dis­cov­ered that when ergots are baked in an oven, they trans­form into a form of lyser­gic acid diethy­lamide, also known as LSD.” Did Bosch him­self receive the bizarre visions he paint­ed from inad­ver­tent­ly con­sum­ing that now well-known hal­lu­cino­genic sub­stance? The many paint­ings he made of St. Antho­ny “may have been a form of devo­tion­al prayer, done so in the hopes that the saint would rid him of his debil­i­tat­ing ill­ness.” Look at The Gar­den of Earth­ly Delighteven today, and you’ll feel that if you saw these mur­der­ous bird-human hybrids around you, you’d try what­ev­er you could to get rid of them, too.

Relat­ed Con­tent:

Take a Vir­tu­al Tour of Hierony­mus Bosch’s Bewil­der­ing Mas­ter­piece The Gar­den of Earth­ly Delights

A Dig­i­tal Archive of Hierony­mus Bosch’s Com­plete Works: Zoom In & Explore His Sur­re­al Art

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

Hierony­mus Bosch’s Medieval Paint­ing The Gar­den of Earth­ly Delights Comes to Life in a Gigan­tic, Mod­ern Ani­ma­tion

New App Lets You Explore Hierony­mus Bosch’s The Gar­den of Earth­ly Delights in Vir­tu­al Real­i­ty

The Musi­cal Instru­ments in Hierony­mus Bosch’s The Gar­den of Earth­ly Delights Get Brought to Life, and It Turns Out That They Sound “Painful” and “Hor­ri­ble”

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.

Behold a 15th-Century Italian Manuscript Featuring Medicinal Plants with Fantastical Human Faces

No mat­ter where you may stand on herbal med­i­cine as a viable 21st-cen­tu­ry option, it’s not hard to imag­ine we’d have all been true believ­ers back in the 15th-cen­tu­ry.

In an arti­cle for Heart Views, car­di­ol­o­gist Rachel Hajar lists some com­mon herbal treat­ments of the Mid­dle Ages:

Headache and aching joints were treat­ed with sweet-smelling herbs such as rose, laven­der, sage, and hay. A mix­ture of hen­bane and hem­lock was applied to aching joints. Corian­der was used to reduce fever. Stom­ach pains and sick­ness were treat­ed with worm­wood, mint, and balm. Lung prob­lems were treat­ed with a med­i­cine made of liquorice and com­frey. Cough syrups and drinks were pre­scribed for chest and head-colds and coughs.

If noth­ing else, such approach­es sound rather more pleas­ant than blood­let­ting.

Monks were respon­si­ble for the study and cul­ti­va­tion of med­i­c­i­nal herbs.

You may recall how one of Fri­ar Lawrence’s dai­ly tasks in Romeo and Juli­et involved ven­tur­ing into the monastery gar­den, to fill his bas­ket full “bale­ful weeds and pre­cious-juicèd flow­ers.”

(The pow­er­ful sleep­ing potion he con­coct­ed for the young lovers may have had dis­as­trous con­se­quences, but no one can claim it wasn’t effec­tive.)

Monks pre­served their herbal knowl­edge in illus­trat­ed books and man­u­scripts, many of which cleaved close­ly to works of clas­si­cal antiq­ui­ty such as Pliny the Elder’s Nat­u­ralis His­to­ria and Dioscordes’ De Mate­ria Med­ica.

These ear­ly med­ical texts can still be appre­ci­at­ed as art, par­tic­u­lar­ly when they con­tain fan­tas­ti­cal embell­ish­ments such as can be seen in Erbario, above, a hand­made 15th-cen­tu­ry herbal from north­ern Italy that was recent­ly added to the Uni­ver­si­ty of Penn­syl­va­nia Library’s col­lec­tion of rare books and man­u­scripts.

In addi­tion to straight­for­ward botan­i­cal illus­tra­tions, there are some roots, leaves, flow­ers and fruit (par­don the pro­noun) of a decid­ed­ly anthro­po­mor­phic bent.

Fan­cy­ing up draw­ings of plants with human faces and or drag­on-shaped roots was a medieval con­ven­tion.

Man­drake roots —  pre­scribed as an anes­thet­ic, an aphro­disi­ac, a fer­til­i­ty boost­er, and a sleep aid — were fre­quent­ly ren­dered as humans.

Wired’s Matt Simon writes that man­drake roots “can look bizarrely like a human body and leg­end holds that it can even come in male and female form:”

It’s said to spring from the drip­ping fat and blood and semen of a hanged man. Dare pull it the from the earth and it lets out a mon­strous scream, bestow­ing agony and death to all those with­in earshot.

Yikes! Can we get a spoon­ful of sug­ar to help that go down?

No won­der Juli­et, prepar­ing to quaff Fri­ar Lawrence’s sleep­ing potion in the fam­i­ly tomb, fret­ted that it might wear off pre­ma­ture­ly, leav­ing her sub­ject to “loath­some smells” and “shrieks like man­drakes torn out of the earth.”

Methinks some chamomile might have calmed those nerves…

View a dig­i­tized copy of Erbario here, or at the Pub­lic Domain Review.

 

via the Pub­lic Domain Review

Relat­ed Con­tent 

1,000-Year-Old Illus­trat­ed Guide to the Med­i­c­i­nal Use of Plants Now Dig­i­tized & Put Online

A Beau­ti­ful 1897 Illus­trat­ed Book Shows How Flow­ers Become Art Nou­veau Designs

The New Herbal: A Mas­ter­piece of Renais­sance Botan­i­cal Illus­tra­tions Gets Repub­lished in a Beau­ti­ful 900-Page Book by Taschen

A Curi­ous Herbal: 500 Beau­ti­ful Illus­tra­tions of Med­i­c­i­nal Plants Drawn by Eliz­a­beth Black­well in 1737 (to Save Her Fam­i­ly from Finan­cial Ruin)

- 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.

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


At 8:15 on the morn­ing of August 6, 1945, a per­son sat on a flight of stone stairs lead­ing up to the entrance of the Sum­it­o­mo Bank in Hiroshi­ma, Japan. Sec­onds lat­er, an atom­ic bomb det­o­nat­ed just 800 feet away, and the per­son sit­ting on the stairs was instant­ly incin­er­at­ed. Gone like that. But not with­out leav­ing a mark.

As the Google Cul­tur­al Insti­tute explains it, “Receiv­ing the rays direct­ly, the vic­tim must have died on the spot from mas­sive burns. The sur­face of the sur­round­ing stone steps was turned whitish by the intense heat rays. The place where the per­son was sit­ting became dark like a shad­ow.”

That shad­ow last­ed for years, until even­tu­al­ly rain and wind began to erode it. When a new Sum­it­o­mo Bank was built, the steps were relo­cat­ed to the Hiroshi­ma Peace Memo­r­i­al Muse­um, where they’re now pre­served. You can see the “Human Shad­ow Etched in Stone” above.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

The Sto­ry of Akiko Takaku­ra, One of the Last Sur­vivors of the Hiroshi­ma Bomb­ing, Told in a Short Ani­mat­ed Doc­u­men­tary

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

This 392-Year-Old Bon­sai Tree Sur­vived the Hiroshi­ma Atom­ic Blast & Still Flour­ish­es Today: The Pow­er of Resilience

Watch Chill­ing Footage of the Hiroshi­ma & Nagasa­ki Bomb­ings in Restored Col­or

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How to Read Ancient Egyptian Hieroglyphs: A British Museum Curator Explains

If you want to learn to read hiero­glyph­ics, you must first learn that (with apolo­gies to the artists behind “You Nev­er Knew”) there are no such things as hiero­glyph­ics. There are only hiero­glyphs, as the British Muse­um’s cura­tor of ancient writ­ing Ilona Regul­s­ki explains in the video just above, and hiero­glyph­ic is the adjec­ti­val form. You may remem­ber Regul­s­ki from anoth­er British Muse­um video we’ve fea­tured here on Open Cul­ture, about what the Roset­ta Stone actu­al­ly says — which she knows because she can actu­al­ly read it, not just in the ancient Greek lan­guage, but in the ancient Egypt­ian one. Here, she explains how to inter­pret its once utter­ly mys­te­ri­ous sym­bols.

It would take an incu­ri­ous view­er indeed not to be cap­ti­vat­ed by their first glimpse of hiero­glyphs, which pos­sess a kind of detail and beau­ty lit­tle seen in oth­er writ­ing sys­tems. Or at least they do when carved into stone, Regul­s­ki explains; in more every­day con­texts, the impres­sive arrange­ments of owls, ankhs, bas­kets, eyes, and bread loaves took on a more sim­pli­fied, abstract­ed form.

Either way, it makes use of a com­plex and dis­tinc­tive gram­mat­i­cal sys­tem about which we can draw a good deal of insight from exam­in­ing a sin­gle inscrip­tion: in this case, an inscrip­tion on a lin­tel glo­ri­fy­ing Amen­emhat III, “one of the most famous kings of ancient Egypt.”

Those who feel their his­tor­i­cal-lin­guis­tic curios­i­ty piqued would do well to vis­it the British Muse­um’s cur­rent exhi­bi­tion “Hiero­glyphs: Unlock­ing Ancient Egypt,” which runs until Feb­ru­ary 19th of next year. If you can’t make it to Lon­don, you can still go a bit deep­er with the video below. Drawn the Great Cours­es series “Decod­ing the Secrets of Egypt­ian Hiero­glyphs,” it fea­tures Egyp­tol­o­gist Bob Brier’s break­down of such rel­e­vant con­cepts as phonet­ics, deter­mi­na­tives, and ideograms, as well as guid­ed exer­cis­es in sen­tence trans­la­tion and name translit­er­a­tion. After demon­strat­ing admirable hiero­glyph­ic pen­man­ship (cer­tain­ly com­pared to most mod­erns), Brier leaves us with a home­work assign­ment — just the sort of thing the ancient Egyp­tians them­selves were doing a few mil­len­nia ago.

Relat­ed con­tent:

An Ani­mat­ed His­to­ry of Writ­ing: From Ancient Egypt to Mod­ern Writ­ing Sys­tems

You Could Soon Be Able to Text with 2,000 Ancient Egypt­ian Hiero­glyphs

What Ancient Egypt­ian Sound­ed Like & How We Know It

An Ancient Egypt­ian Home­work Assign­ment from 1800 Years Ago: Some Things Are Tru­ly Time­less

3,200-Year-Old Egypt­ian Tablet Records Excus­es for Why Peo­ple Missed Work: “The Scor­pi­on Bit Him,” “Brew­ing Beer” & More

A 4,000-Year-Old Stu­dent ‘Writ­ing Board’ from Ancient Egypt (with Teacher’s Cor­rec­tions in Red)

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.

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