Category: Art

The Origin of the Piggy Bank

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During the 15th century, the English would often store coins within pygg pots or containers. During the 18th century these vessels became referred to as “piggy banks” which is where the modern day term is derived from. Piggy banks were called as such because of the pygg they were comprised of which is a type of clay, an inexpensive, orange colored earthenware clay used to produce everyday vessels within England from the 15th century onward (e.g. pitchers, cups, pots etc.). The primary reason for this is that metal has been costly all throughout history, due to the difficulty of sourcing and producing it from ore, and because of this expense, alongside the fact that pygg is more commonly available and found in larger quantities throughout England, the English public relied upon pygg containers to hold not only food and liquids but also spare coins and other small treasures

The First Person to Publish an Encyclopedia

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Naturalis Historia was the first compiled collection of writing, which during the modern day would be referred to as an “encyclopedia.” Written by Pliny the Elder in the 1st century A.D., Naturalis Historia was divided into 37 unique books and contained more than 20,000 individual facts. Naturalis Historia was comprised of a vast array of subjects including astronomy, geography, zoology, botany, medicine, and even artwork, making it one of the most ambitious attempts in history to catalog and consolidate the entirety of human knowledge. Unlike earlier publications which often focused upon a singular discipline (e.g. medicine but not science or law but not ethics etc.), Pliny the Elder’s Naturalis Historia compilation sought to collect and streamline the entirety of the natural world and the human understanding of it into a single reference point. Pliny the Elder’s encyclopedic vision influenced scholars for centuries after his death, and his work served as one of the main pillars of Medieval and Renaissance education in the centuries which followed. Shortly after completing this compendium in 77 A.D., Pliny the Elder died during the eruption of Mount Vesuvius in 79 A.D. at age 55 whilst attempting to rescue those who could not escape from the volcano’s clutch. Fortunately, the entirety of his Naturalis Historia work survived this natural disaster

The Number of Gifts Santa Claus and the Elves Must Build and Deliver Each Christmas Eve

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Assuming Santa Claus delivers at least 1 gift to each child worldwide, this would equate to 2,100,000,000 (2.1 billion) gifts. With an average of 2.5 children per household worldwide, Claus would have to visit 840,000,000 (840 million) homes to accomplish this task. To finish this job in 24 hours (12 for each side of the world), Claus would need to visit 35,000,000 (35 million) homes per hour which would be 580,000 per minute, or nearly 10,000 every second! Because there are so many homes and so very many children, the elves of the North Pole face an equally grueling pace. Assuming each child receives 1 toy, and the build time is spread across 364 days, these elves would need to craft approximately 5,750,000 (5.75 million) toys per day. This would mean 240,000 toys per hour, 4,000 per minute, or nearly 70 every second without a work break for any of them. If the North Pole were to employ 100 elves, each would need to make 0.7 toys per second; and with a large company of 1000 elves, this value drops to 1 toy every 14 seconds which is more manageable; however with a massive company of 10,000 elves, each would only need to craft 1 toy every 2.5 minutes which would be much more probable for a workforce to achieve; if however the North Pole were capable of managing a city sized work force of 100,000 elves, each elf would need only to craft a single toy every 24 minutes which is a pace that a human powered North Pole, theoretically could handle. With that being said, mythologically speaking elves are immortal, or at the very least ageless, and they do possess arcane magic and clandestine knowledge which must be kept in mind when calculating what is theoretically possible

The Anthropomorphism of Satan

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Early Christians did not personify Satan, in fact it was not until the Medieval period that Satan became anthropomorphized into the image which is commonly understood during the modern day (e.g. red skin, horned head, tail etc.). Initially, Satan was predicated upon pagan mythological figures who Christian’s then viewed as demons and/or part of a larger demonic evil outside the boundaries of Christianity. Prior to this, there was no consensus among artists and theologians as to how Satan should be depicted within religious artwork. Often throughout history, Satan has been illustrated as a blue angel, a male figure with blue skin and white hair. The color blue was chosen as it is symbolic of the night and the unknown, adding emotional and spiritual ambiguity, intended to inspire fear not through grotesquery but rather through an uncanny yet elegant emulation. In addition to this portrayal, Satan has also been represented as a figure with 3 goats, designed as a direct counter balance to Jesus Christ who is often portrayed within religious artwork in possession of 3 lambs which represent humanity. More specifically these 3 lambs represent purity, sacrifice, and redemption. In contrast to this, the 3 goats of Satan were meant to represent demonic entities, more specifically rebellion, deception, and spiritual corruption. This triadic symbolism was intentional as it created a theological and visual counter weight for Christ, casting Satan not only as the antithesis of Christ, but as a distorted reflection of him within the mirror of divine structure and purpose

The Origin of Uppercase and Lowercase Letters and the Influence of Typesetting Upon the English Language

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The term “uppercase” and “lowercase” in relation to alphabet letters was derived during the Victorian period within England. Advertising was highly prominent during the 19th century and used ubiquitously by businesses. The poster makers who would serve these businesses would use letters which were essentially stamps, dipped into thick, viscous, oily ink, specifically formulated this way to cling to and transfer cleanly onto coarse paper which was designed to be rough so that it could absorb as much ink as possible. Compositors, which was the name for this particular vocation during the 19th century, would keep their letters in a type case with large letters at the top and small letters at the bottom. The letters were kept in what was effectively a suitcase which did not close which is where the terms “uppercase” and “lowercase” originated from, as the letters were stored in either the upper portion of the type case or the lower portion of the type case. Each individual letter, a block referred to as a “sort”, was cast in metal and crafted backward to be arranged by hand by a skilled craftsperson. The layout of the case, with capital letters in the upper section and lowercase letters in the bottom, was highly pragmatic, as it positioned the most often used letters at the bottom closer to the person setting the typeset. Interestingly, this pragmatism influenced the English language as compositors not only set letters, they also selected when to use punctuation, spacing, and line breaks, all of which shaped how text was read and understood. Because movable type requires physical pieces for every character used, punctuation was to be used deliberately as too many commas, colons, em dashes etc. meant more time spent, more metal used, and more space being taken up upon the page. This physical constraint helped standardize English punctuation use and even influenced sentence structure, encouraging clarity and economy in writing which are themes that have endured into the 21st century

The Architecture Which is Most Resilient to Earthquakes

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During the Chilean earthquake of 2010, very short buildings (e.g. 3+ stories) and very tall buildings (e.g. 25+ stories) were virtually unaffected, with the bulk of damage pertaining to buildings which were 10 – 20 stories high. The reason why shorter and taller buildings are able to withstand earthquakes with greater chances of survival is because earthquakes have natural rhythms which are frequencies. Crustal earthquakes have a high frequency like choppy water, and thus shorter and taller buildings are not affected. Subduction earthquakes move much slower in their rhythm and frequency with approximately 1 swell/cycle per 1 second, which causes sizeable damage to mid sized buildings. 10 – 20 story buildings tend to vibrate at 1 swell/cycle per second which causes a dangerous synchronicity in the vibrato as the rocking becomes more intense in its amplification with each additional second or swell/cycle, until the earthquake stops or the building collapses. Taller buildings sway much slower which gives them a lot of built in protection against even the largest earthquakes found throughout history

The First Female Sculptor Within Italy During the Renaissance

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Properzia de Rossi, who was born in Bologna, Italy in 1490, aspired to become a sculptor and was the first female marble sculptor within Italy during the Renaissance of the 16th century. Although de Rossi left no diaries, fragments of her early work are still available during the modern day. Despite marble sculpting being viewed as a masculine art form during the Renaissance in that it required muscle to perform and an intelligent mind to create, both of which women were not thought to possess during this period. Because of this, de Rossi found her medium in other art forms, most notably her “Madonna of Mercy” within the Grassi Family Crest work which was a silver crest with 11 nectarine buttons which were carved intricately with small images of religious piety. By 1525, aged 35, de Rossi entered a contest for the main cathedral basilica of Bologna, San Petronio, of which she won. The piece was named “Joseph and Potiphar’s Wife” which depicts a fallen women who’s breasts are exposed, rising off of her bed to try and claim her husband as he leaves. It was believed during the period that it was unthinkable for a woman to study the male nude form through nudity. Because de Rossi’s sculptures were so accurate, it was assumed she knew too much of the male form and therefore she was dammed for her talent. In 1530, de Rossi died penniless and alone, a retched end for a great artist who was pushed out of society due to the sheer beauty and creativity of her work. Had de Rossi not been a victim of her time, she would have been celebrated with the most revered male Renaissance artists

The Viking Runic Alphabet

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The Vikings used runes upon their grave stones, weaponry, jewelry etc. which is a carved, angular and twisted writing, typically found with some kind of animal like the snake, which the Vikings were particularly fond of. The runic alphabet has 24 letters, nearly as many as the English alphabet which has 26 letters. The runic alphabet was inevitably forced to adapt and expand to 33 letters to produce new sounds, as the Vikings continuously conquered their neighbors and therefore required new ways to converse about these newly conquered lands. Initially, the Viking Elder Futhark alphabet featured 24 runes, but as Viking society evolved, it transitioned into the Younger Futhark alphabet, simplifying to 16 runes before expanding once again during the Medieval period to reflect these new sounds. The reason the runic alphabet is based upon vertical lines is because these were the easiest shapes to carve into stone and wood between the 9th and 11th centuries A.D. with the tools and technologies available to the Vikings within Scandinavia

The Reason Japanese Samurai Shave the Top of Their Head

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The practice of “chonmage” (pronounced “chon-mah-geh”) which means “tied knot on top” in Japanese is the reason Japanese samurai shaved the tops of their heads, in a pattern reminiscent of male pattern baldness. Japanese Samurai shaved the top of their heads in this particular style for both pragmatic and symbolic reasons. The shaved portion of the head helped secure their helmets referred to as “kabuto” which means “helmet” in Japanese, making them more comfortable but also prevented overheating during battle. Over time, the chonmage became a status symbol within Japanese society, symbolically representing a samurai’s loyalty and discipline. The chonmage aesthetic also reflected the samurai’s adherence to Bushido, the warrior code. Different variations of chonmage emerged within Japan over the centuries, with the style remaining a distinctive hallmark of the samurai class until the Meiji Restoration in 1868 when Japan modernized and abolished the traditional feudal samurai system

How Armor Was Decorated During the Medieval Period

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Armor was embroidered during the Medieval period by using oil and lead paint to mark off ornate areas which would stand out and perhaps be decorated with gold or other precious metals in a process referred to as “gilding”. Gold does not easily bind to any type of metal and the only way to properly do so is to undergo a process which involves mixing the gold with mercury. Once applied, a mixture of salt, vinegar, and copper sulphate, which is root killer, makes a paste which eats through the metal leaving the painted parts untouched, and resulting in an etched piece of armor. Blacksmiths sometimes heat treated armor which turned it a blueish hue which essentially rusts the metal as it is referred to as an “oxide” and an oxide occurs when a metal comes into contact with oxygen which reacts with the metal and creates a deposit when heated to a very specific temperature, as the heat is what shifts the red color of rust to the blue area of the color spectrum