Tag Archive: History

Apr 18 2020

Book review: Sea monsters on Medieval and Renaissance Maps by Chet van Duzer

sea_monstersA borrowed book for my next review: Sea monsters on Medieval and Renaissance Maps by Chet van Duzer. Mrs H bought this as a by-product of buying a Christmas present on some quirky gifts site.

The book is well-described by its title, it is about sea monsters on medieval and Renaissance maps. Although a couple of classical antecedents are mentioned the main action starts in the 9th century and finishes at the beginning of the 17th century.

The book is organised roughly chronologically without chapters but with sections recorded in the contents – there are approximately 50 sections broken up by four "pictorial excursions". Much of the material is from the 16th century. As we go further back in time fewer and fewer examples of any sort of written or printed materials survive. Prior to 1472 any maps will have been reproduced by hand rather than printed.

Sea monsters were not found universally in maps through this period, in fact they were relatively rare. Adding sea monster was an additional cost and rarely added any useful information. The sea monsters were often drawn separately from the cartographic elements of the map, suggesting they were a specialisation. Sometimes they were direct copies from other sources. Sea monsters were often derived from recent scientific works, and influences can be seen across multiple maps. Sometimes the sea monsters depicted are playing a role in myths or stories such as Jonah and the whale, or the story of Saint Brendan who, on a voyage, is said to have landed on a whale, not realising its nature a fire was lit and the whale sank beneath them.

There is a lot of evidence of artist working from verbal descriptions of animals by non-expert observers. This is at a time before naturalists had been invented so observations of wildlife were not systematic. There’s a great double page spread illustrating the development of drawings of walruses from pretty much elephants to recognisable walruses(see below).


Figure 1: The cartographic career of the Walrus

Sea monsters came in various forms, many reflected real animals we might see today, although rendered strangely as we see with the walrus. Others were human – animal hybrids such as mermaids. Finally there are the outright whimsical – various dragons, krakens, unicorns – owl faced creatures and the like.

Mappamundi were the earliest maps to contain sea monsters although they are not maps as we would recognise them, you couldn’t navigate by them. They were symbolic representations of the world both physical and spiritual, rather than being entirely useful for navigation. A common feature was that the focus in these maps on the land rather than the sea. I was confused by mentions of the Beatus mappamundi which appears in multiple locations before realising that these were copies of a single mappamundi which varied since they were manually created. The place name refers to a particular copy (i.e. Genoa or Manchester), and different copies have different sea monsters. They are based on a map found in the Commentary on the Apocalypse by Beatus of Liébana. This was written sometime in the 8th century and subsequently copied.

The earliest surviving navigational maps are from the 13th century, these are intended as more functional objects and initially focussed on the region around the Mediterranean. In contrast to the mappmundi, these maps were focussed on the sea and coastal areas. There were variants made which clearly played a more decorative role, collectors items that showed your wealth and knowledge. These maps were more likely to contain illustrations of sea monsters.

In addition to freestanding maps there were also illustrated versions of Ptolemy’s Geography which included sea monsters, although the Madrid version of 1455-60 is the only manuscript version to include such sea monsters. Later printed version contained more sea monsters.

The sea monsters in Olaus Magnus’s Nautical chart and description of the Northern lands and Wonders published in 1539 are particularly rich and varied. They can also be found copied in Mercator’s globe of 1541 and Euphrosynus Ulpius’s globe of 1542. Mercator was less eclectic in his collecting of sea monsters for his atlas of 1569.

The book finishes as the 17th century opens when fantastical sea monsters on maps largely fell out of favour to be replaced with more ships and practical illustrations of whaling and the like. The sea was no longer quite so mysterious and man was increasingly exerting control over it, and its contents.

This is a fun book, a nice present for a cartophile. It would have been good to have a timeline of the maps discussed. There is probably an interesting parallel book on the monsters seen in terrestrial maps of the same period.

Jan 30 2020

Book review: How the States got their Shapes by Mark Stein

how_the_statesHow the States got their Shapes by Mark Stein is that book that does exactly what it says on the cover: explain the origin of the shapes of the states of the United States. The book starts with some broad brush strokes that underpin the shaping of many states before going through each State in alphabetical order.

States are not strictly comparable with European nations but it is interesting to compare the never-straight borders of Europe with the regularity of particularly Western states. To a British European the events described in the book are all terribly recent – much of the action occurs during the 19th century! I considered extending this statement to all Europeans but there has been quite a bit of change in national borders in Europe over the last 200 years.

The large scale features of the USA arise from a number of sources. The earliest of these originate from the French and Indian War in the mid-18th century which saw the England and the colonists take the territory around the Great Lakes from the French and subsequently take further land from the French in the Louisiana Purchase. Further to the west territory came from the Spanish and then a newly independent Mexico. The border with Canada was agreed largely at the 49th parallel with the British in 1818. Later the Dutch would cede their territory along the Hudson river and the Spanish the last of their territory in what is Florida.

There are some recurring themes determining the shapes of states, one that comes up repeatedly is the desire for Congress to create States of equal size, in the West there are sets of states with the same height (3o) and width (7o). This concept extended to access to resources, so the ports on the Great Lakes are shared amongst the surrounding States. A second big driving force is slavery, the Missouri Compromise placed a boundary at a latitude of 36o 30′ below which slavery was allowed, and above which it was not. This motivated boundaries of states, and led to a battle to create equal numbers of states above and below the line.

There are irregularities. Boston Corner looks like it should belong in  Massachusetts but is actually in New York state, this is because the terrain made access to Boston Corner from the rest of Massachusetts difficult. In the early days this type of inaccessibility led to lawlessness, so states were willing to cede territory to avoid it. Whole states were created to address potential lawlessness, when gold was discovered in what is now Idaho it was felt too distant from Oregon to be ruled from there with the influx of unruly gold miners. There was also a concern that they would displace the coastal Oregonians from government.

Sometimes a river makes a good boundary although when the river has tributaries things get a bit tricky, it is even worse when borders are defined with reference to “head waters” which are notoriously difficult to locate. The other problem with rivers is that they meander – meaning that chunks of a State may find themselves on the “wrong” side of a river when the river moves. In some cases surveying errors and mistakes in negotiations led to oddly formed borders.

The supersize California and Texas states are a result of their own origins in virtual nationhood. Texas was, for a brief period, an independent country which subsequently joined the Union. California formed with the influx of the miners who came for gold, the Union was more concerned that they join than try to enforce borders upon the new State.

The charters of the original US colonies which later evolved into states typically gave them territories that stretched all the way from the Atlantic to the Pacific coast, during the 17th and 18th centuries this was largely moot – colonies scarcely had the wherewithal to maintain small populations on the  Eastern seaboard. The British monarchs granting these charters were not necessarily consistent, or particularly well-advised. So some boundaries are defined by “headwaters” which are notoriously ill-defined.

It is inevitable that the book is a bit repetitive, after all every border has two sides. This is occasionally jarring but usually handled quite well with cross referencing.

Missing from this book is much reference to the Native Americans, they are mentioned as an aside in a few places but little more than that. There is another book in the territories of the Native Americans prior to the European colonisation of the country – I just don’t know where it is! This article on The best books on Native Americans and Colonisers looks like a good place to start.

Overall I quite enjoyed this book, I read most of it on a long train ride. I suspect maps and boundaries are a bit of a niche interest but I feel I also picked up the broad shape of the creation of the USA.

Aug 08 2019

Book review: Gods and Robots by Adrienne Mayor

gods_and_robotsThis is a review of Gods and Robots:Myths, Machines, and Ancient Dreams of Technology by Adrienne Mayor. The book is about myths from mainly ancient Greece, and how they relate to modern technology. Material from the Etruscans, and to a lesser extent Indians, Chinese and Romans play a part.  

The central characters in the book are Talos, Medea, Daedalus, Hephaestus, Pandora, Prometheus with a small part for Pygmalion.

Talos was an animated bronze statue, made by Hephaestus – the god of the forge, to guard the island of Crete. He appears in a number of stories but most notably in that of Jason and the Argonauts. He is killed by Medea, who promises him eternal life but instead kills him by removing a bolt from his ankle which releases the vital fluid that fills his body. Talos appears in mythology in the 5th century BC. Medea is a witch who offers Pelias eternal life but instead tricks his children into killing him.

Prometheus was one of the mythical Titans, and was responsible for creating humans, and giving them fire – for which he was punished by Zeus. Depictions of his act of creation vary, with earlier representations showing him manufacturing humans in the way one might assemble an automata whereas later representations show him animating human figures.

On my first reading Daedalus appeared to be a semi-mythical character, that’s to say a historical figure whose actions were extended in the telling. However reading more widely it seems he was mythical. His actions, designing the labyrinth for King Minos, making wings for himself and Icarus to escape the King and making highly realistic statues are on the boundaries of the possible.

Pandora was constructed by Hephaestus at Zeus’s direction to bring evil to the world. Again she is a constructed being, and representations of her show her as being different from other figures with something of an “uncanny valley” look to her. Pygmalion carved a statue of a beautiful woman which Aphrodite brought to life. I was intrigued to discover that the self-propelled mops and buckets in Disney’s Fantasia have antecedents in Goethe in the late 18th century and Lucian of Samosata in 150AD.

Bronze statuary seem to be a recurring theme in the book, for the period when these myths arose bronze was seen as an almost magical metal. Artisans had learnt the lost wax process for casting which enabled them to create hyper-realistic statues of people and animals. In myth these bronze statues were associated with heat, Talos kills his victims by crushing them in a burning embrace, Hephaestus’s Colchis bulls were made from bronze and had burning skin.

Another theme of the book is immortality, something that mortals seek to gain from the gods. Reflected today in modern life extension research.

The Greek mythology I know I believe I learnt as a fairly young child from films like Jason and the Argonauts (cited in this book), and I think the book of the Clash of the Titans film amongst other modern reproductions of these tales. What is missing from this education is an appreciation that the characters in these stories are not singular, in the historical record there are multiple versions of each character stretching back over many hundreds of years.

As someone with no classical training I am very curious as to how the stories in this book reach us. As I understand the earliest original writing on paper is something like 1500 years old which leaves a thousand or so years back to some of the stories in this book. Mary Beard’s book SPQR touches on this briefly. Gods and Robots does not explicitly address this question, it shows us pictures of ancient vases and talks about works that have been lost but are recorded by later writers but does not join the dots.

What do these antecedents to robots in ancient myths mean to us today? Perhaps the striking thing is that the robots we see in cinema dating from the early 20th century, and being realised now, have precursors dating back thousands of years. We have been imagining robots for a very long time similarly we have been imagining life extension for a very long time. However, machines for computation and factories do not figure in this book. The Antikythera mechanism makes a brief appearance – it dates from something like 100BC – but it is more an illustration of how sophisticated Greek artisans had become. In some ways the striking thing about the Antikythera mechanism is its uniqueness, it is the only device of its type from this period and we don’t even see simpler devices as far as I am aware. 

The book finishes with some instances of mythological devices appearing in real (ancient) life. It has to be said that a number of these are of a gruesome nature, more than one tyrant took pleasure in forcing people to jump from great heights with Daedalus-like wings leading to their death. Phalaris used a bronze bull to roast people alive.

This is a fairly short book, I think the main thing it leaves me with is a desire to know more about the myths of the ancient world have reached us rather than the central topic of the book.    

Jan 20 2019

Book review: Hedy’s Folly by Richard Rhodes

Back to some history of technology with hedys_follyHedy’s Folly by Richard Rhodes. This book concerns the patent granted to Hedy Lamarr, Hollywood actress, and George Antheil, experimental musician, for the frequency hopping radio communications system. Originally it was intended to allow secure, jamming resistant communications between torpedoes and their control aircraft or ships, nowadays it is most notably the basis for Bluetooth and WiFi communications.

I’ve previously read Richard Rhodes “The Making of the Atomic Bomb”, which is a massive tome, Hedy’s Folly is a rather more modest affair. It provides some biographical material on Lamarr (born Hedwig Kiesler) and Antheil but only in as much as it leads to the patent of the title.

Hedy Lamarr was born in Austria in 1914, to a wealthy family – her father was banker who clearly cultivated her interest in how things worked. Following a brief career in European theatre and film she married Fritz Mandl in 1933. He was an arms manufacturer and one of the richest men in Austria. He didn’t want to see his wife continue her acting career. On the death of her father Lamarr resolved to leave her husband but in the interim she paid close attention to the technical discussions on armaments which she was party to. In all likelihood she was doing this throughout her marriage, despite his controlling nature Mandl clearly valued her opinions (even if he didn’t like them). Lamarr then moved to the States with Louis Mayer of MGM for whom was to make a number of films. In this milieu she met George Antheil.

Antheil in Trenton, New Jersey in 1900. He travelled to Europe in 1921 where he composed the Ballet Mécanique, originally intended as the score to a film it ended up twice the length of the film. As originally envisaged Ballet Mécanique required 16 player pianos and an aeroplane propeller – amongst many other sound making devices. Essentially Antheil vision was much in advance of what technology in the twenties and thirties could deliver. The player piano plays a part in the story. Player pianos were briefly popular as a way for everyone (who could afford one) to make music, they were automated pianos programmed using a paper roll with holes directing the music. The operator simply had to provide power and rhythm. They were supplanted by radio. The important feature was the ability to control sound automatically.

Antheil returned to the US, to Hollywood, in 1936 where he turned to writing film scores, his experimental music proving rather unpopular. It was here he met Hedy Lamarr.

The spirit of the Second World War in the US was that everyone would do what they could to help. Antheil had a sideline in writing about endocrinology, and made suggests on how to defeat the Nazis by this approach. Later in the war Hedy Lamarr was to do considerable work in encouraging Americans to buy government bonds to support the war effort, as well as volunteering at the Hollywood Canteen – entertainment for servicemen.

Lamarr was an inventor in her spare time, her background meant she knew the problems faced with torpedo guidance. So it was not unsurprising for her to work with Antheil on a frequency hopping patent for torpedo guidance. The central idea of the frequency hopping patent was to transmit radio instructions between controller and torpedo over a series of radio channels at different frequencies switching synchronously between channels. In the original patent the number of channels used is relatively small (less than 10), hops are relatively slow – of order minutes and were controlled by a player piano style roll.

The US Navy chose not to develop the patent, stating that the apparatus was too bulky. This seems to be a bit of a misunderstanding – the player piano inspiration was indeed quite bulky but could easily reduced in size using current technology. More likely was the fact that US torpedo performance at the beginning of the war was abysmal – 60% of torpedos experienced technical failure, so it was likely they had other priorities. 

Lamarr and Antheil’s patent on frequency hopping expired in 1959, the US military implemented several frequency hopping systems from the beginning of the sixties. As technology improved it evolved to so-called spread spectrum techniques. The difference between frequency hopping and spread spectrum is really just one of scale. These techniques finally became public in 1976.

Spread spectrum techniques eventually found important applications in Bluetooth and WiFi. Originally designed to be resistant to jamming – the deliberate use of noise to block signals – it is also resistant to unintentional noise. Furthermore it can be used with very low power transmissions so it can cohabit with other signals used for longer range applications and parts of the electromagnetic spectrum where there is a lot of noise.

Hedy Lamarr’s part in the development of frequency hopping is finally being recognised, and George Antheil’s more experimental music is finally being recognised too – technology has now reached the point where his original vision can finally be realised.

This is a fascinating little book, focused on one small invention with huge consequences. It isn’t a biography of Hedy Lamarr, and it isn’t a biography of her co-inventor George Antheil.   

Nov 02 2018

Book review: Milk of Paradise by Lucy Inglis

My next review is of milk_of_paradiseMilk of Paradise by Lucy Inglis. I’ve been following Lucy Inglis on twitter since before she was writing books, so you can’t treat this as an unbiased report.

Milk of Paradise is the story of opium. It is divided into three parts, covering opium itself, morphine and heroin. Morphine and heroin are derivatives of opium so this collective biography makes sense.

The first part takes us back to prehistoric times and the origins of the poppy from which opium is extracted. The opium poppies grown today are domesticated, there is no wild opium poppy. The ancestral flower comes from Turkey where cultivation started in about 10,000BC. Traces of poppy mixed with henbane, another imported plant used to counteract the side-effects of opium, have been found in Britain dating back to 4000BC, where it could have only appeared through long distance trade. It always surprises me how far goods were traded across the prehistoric world.

The chapter moves on through opium in Roman and Greek times where descriptions are somewhat vague, to the Arab physicians of the 12th and 13th century who were clearly using it for anaesthesia for quite complex surgery. Similar preparations were used in medieval Britain, such as dwale – a mixture of hemlock, opium and henbane in wine. These appear to have gone out of usage.

The next section covers the the global trade in opium, particularly into the Far East. This picks up on some of the themes of The Silk Roads by Peter Frankopan. Opium had been introduced to China by Arab traders in the 10th century. As ocean going ships come into widespread use in the 15th century trade increased with tea, coffee and spices coming to Europe in the early years of the 17th century. By the 18th century half the Batavian (modern day Jakarta) spice trade was actually in opium.

The second part of the book, notionally on morphine a derivative of opium, covers the medical uses of opium preparations and addiction. Growing wealth in the 18th century in Britain led to people with sufficient money to abuse alcohol – the Gin Craze. This was paralleled with increasing signs of addictive behaviour in the use of opium. It was a problem in China too which the Chinese authorities tried to address in the face of military action by the British to maintain their trade in opium. Something of a theme in the book is the shameful behaviour of the British over selling opium to China, much of the 20th century has been spent on battling the “illegal” drugs industry. The 19th century was just as bad but the illegal drugs industry was replaced by the “legal” British trade of opium to China, something China tried to stop repeatedly.

The final part of the book covers the 20th century, prohibition and the rise of organised crime and gangs in the supply of drugs. Prohibition of narcotics is a relatively recent innovation in the West, it arose during the early years of the 20th century driven by the US who convened the 1912 International Opium Convention from which international prohibition legislation is derived. One gets the feeling the addiction starts to be seen as a problem when it effects women. Opium and its derivatives had long been used in medicine but the second half of the 19th century saw the growth of the pharmaceutical company who saw benefits in new formulations of existing drugs, the invention of new drugs and the promotion in treating all manner of ailments.

The rise of morphine and heroin was facilitated by the introduction of the hypodermic needle which provided rapid action, and convenience. The downside of this was the increased risk of infection, and addiction.

Also in the 20th century we see how war drives medical innovation, such as ambulances to recover casualties in the First World War, new surgical techniques, new anaesthetic methodologies, new antibiotics and new facilities for delivering medical care as close to the “front line” as possible (like the MASH units of the Korean War. Prohibition and the involvement of Germany as the opposition led to supply problems in the First World War.

In the period between the wars Germany expended considerable effort in innovating new drugs, one gets the impression that both the Allied and Axis forces were fuelled by amphetamines and other stimulants. In fact, more generally, one gets the impression that a large chunk of humanity has got through life in a drug-induced haze from time immemorial.

The book finishes with chapters on Afghanistan and “heroin chic”, the use of narcotics in popular and artistic culture.

I found Milk of Paradise very readable, the division into parts is not strong, much of the second part continues to talk about opium whilst notionally the chapter is about morphine. It is opinionated to a degree, which is no bad thing.

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