Earth's Creatures Watch Leaves Dancing on a Windy Day

 

Earth's Creatures Watch Leaves Dancing on a Windy Day

Earth's Creatures Watch Leaves Dancing on a Windy Day

European Illuminated Manuscripts 6-16C - Plants, Gardens,& Landscapes

Landscape with a Watermill, Image taken from Le Tresor des Histoires: a universal history from the Creation to the time of Pope Clement VI. Treasure of Stories (15th C) - BL Cotton MS Augustus V. British Library - Cotton ms Augustus V Technically, the mill evolved a lot during the Middle Ages. The mechanisms were being used for increasingly diverse functions & the variety of hydraulic installations associated with them was growing.

Mostly intended for wheat, they were equipped with horizontal wheels trained by a pirouette (in France they are found in Occitania, Basque Country, Corsica & Finistere), more commonly vertical (receiving water below or above). The latter, the most powerful, were also the most expensive because of the gear they were equipped with. They are all settled on the bank of a stream, or on a boat (newmill). Hydraulic force-activated mussels could grind wheat but also crush eye seed, tinctorial plants, crush ore.

Translated by Enluminures Europe - VIe - XVIe s. - lluminated Manuscripts Europe

Plants, Gardens,& Landscapes in Illuminated Manuscripts 6C -16C

Illuminations date back to the end of the 4C. Codex, the 1st type of manuscript book replaced the prior written "paper" or parchment roll. The need to illustrate books usually developed with a style specific to each distinct region, civilization & time period. This function, "illuminare" in Latin, was mostly decorative & ornamental at this time & often reflected the myths of times passed.

In Western Europe, from the 6C until the 12C, the illustrated manuscript was mainly religious, created by monk copyists (usually the main scholars of the particular order) in abbeys to spread Christianity. After the Fall of the Roman Empire, Christian monestaries were often the center of 

social, medical, &  religious activities for the local populations.

Towards the 13C, with the development of universities; the demand for books increased, & lay workshops were created. The art of illumination became a craft in its own right. At the end of the 15C, the invention of the Western printing press quickly reduced the time-consuming production

 of books copied & painted by the hand of mankind.

During the 10 centuries of illuminations in the Middle Ages in Europe, several styles evolved: Island Style (British Isles) & Merovingian (before the 9C), Carolingian style (9-10C), Romanesque Style (10-12C), Transitional Period (13C), Gothic Style (14-16C).

Plants in Early American Gardens - Sea Lavender was Dried in the Fall 1793

Sea Lavender (Statice) (Limonium latifolium)

Limonium latifolium bears clouds of delicate, lavender-blue flowers that are perfect for arrangements, both fresh and dried, and also blend beautifully in rock gardens, coastal gardens, and other well-draining sites.

Long admired as a cut flower, Statice was included in the Garden Notes of 1793 by Lady Jean Skipwith of Virginia, who noted “dried - it retains its colour which renders it ornamental for a Mantel-piece in Winter.”

 In The English Flower Garden, first published in 1883, William Robinson called this larger species of Sea Lavender “the finest of all.” 

Plants in Early American Gardens - Globe Thistle

 

 Globe Thistle (Echinops ritro)

Globe Thistle (Echinops ritro)

Globe Thistle, a Mediterranean plant long in cultivation throughout Europe, is an undemanding perennial suitable for the border or the wild garden.

Williamsburg’s John Custis might have received this species, or its more vigorous cousin, E. sphaerocephalus, from his English patron Peter Collinson in 1738. Both varieties are listed in Parkinson’s early 17th-century herbal, and Philip Miller’s 18th-century botanical dictionary. 

Thomas Jefferson’s gardening mentor, Bernard McMahon, also included Small Globe Thistle in his 1806 American Gardener’s Calendar. 

Today it is popular as a cut flower and for drying, and the flowers attract butterflies.

Plants for Early American Gardens - Musk Geranium

Musk Geranium (Geranium macrorrhizum)

A European native, Geranium macrorrhizum can be used to scent perfumes and potpourris. In Bulgaria, musk geranium oil is called zdravetz oil, and is sometimes used in perfumery. 

The scientific name comes from the Greek for crane, geranos, referring to the crane-shaped seed heads, while macrorrhizum translates to big root. 

Musk Geranium has been cultivated in gardens since at least 1658, when it was grown in the Oxford Botanic Garden in England.

Seeds with Stories: Flax (Linum usitatissimum)

Old Salem Museums & Gardens tells us in its series Seeds with Stories: Flax (Linum usitatissimum) that Flax, one of the oldest cultivated plants, was first domesticated in the Fertile Crescent region about 9000 years ago. People in China, India, Switzerland & Germany all cultivated flax at least 5000 years ago. 

In North America, colonists introduced flax where it flourished & was an important crop in Salem. Flax seeds can be ground into a meal or turned into linseed oil. Linseed oil, obtained by pressing, is a drying oil that can be used in wood finishing & as a pigment binder in oil paints. Linseed oil is also edible & high in omega-3 fatty acid. In addition, flax fibers are used to make linen. The many uses of flax are reflected in its Latin epithet usitatissimum, which means “most useful.”

 

A common practice one might have seen in Salem was flax retting, the process of separating the flax fibers from the stalks, where flax is laid out in a large field & dew is allowed to collect on it. This process normally takes a month or more but is generally considered to provide the highest quality flax fibers.  

Old Salem explores the diverse cultural history of the early South, with special emphasis on the Moravians in North Carolina, enslaved & free people of African descent, & Indigenous peoples of the Southern Woodland.

How Do We Know Mankind Is Made of "Starstuff?"

The answer to this fundamental question of astrophysics was discovered in 1925 by Cecilia Payne (1900-1979) & explained in her Ph.D. thesis. Payne showed how to decode the complicated spectra of starlight in order to learn the relative amounts of the chemical elements in the stars. In 1960 the distinguished astronomer Otto Struve referred to this work as “the most brilliant Ph.D. thesis ever written in astronomy.”

Cecilia Payne was born in Wendover, England. After entering Cambridge University she soon knew she wanted to study a science but was not sure which one. She then chanced to hear the astronomer Arthur Stanley Eddington (1882-1944) give a public lecture on his recent expedition to observe the 1919 solar eclipse, an observation that proved Einstein’s Theory of General Relativity. 

She later recalled her exhilaration: “The result was a complete transformation of my world picture. When I returned to my room I found that I could write down the lecture word for word.” She realized that physics was for her.

Later, at Cambridge Observatory Cecilia told Professor Eddington, that she wanted to be an astronomer. He suggested a number of books for her to read, but she had already read them. Eddington then invited her to use the Observatory’s library, with access to all the latest astronomical journals. 

"There is no joy more intense than that of coming upon a fact that cannot be understood in terms of currently accepted ideas." declared Cecilia Payne

Payne realized early during her Cambridge years, that a woman had little chance of advancing beyond a teaching role, & no chance at all of getting an advanced degree in England. 

Women in the USA had only won the right to vote in national elections in 1920, just 3 years before Payne left England in 1923 for the United States. Here she met Professor Harlow Shapley (1885-1952), the new director of the Harvard College Observatory, who offered her a graduate fellowship. 

Cecilia Payne became the 1st person to earn a PhD in astronomy from Harvard University. Her 1925 graduate thesis proposed that the Sun & other stars were made predominantly of hydrogen, & described as "the most brilliant PhD thesis ever written in astronomy." (Payne received the 1st Ph.D. in astronomy from Radcliffe College for her thesis, since Harvard did not grant doctoral degrees to women.)

But Harvard did have the world’s largest archive of stellar spectra on photographic plates. Astronomers obtain such spectra by attaching a spectroscope to a telescope. This instrument spreads starlight out into its “rainbow” of colors, spanning all the wavelengths of visible light. The wavelength increases from the violet to the red end of the spectrum, as the energy of the light decreases. A typical stellar spectrum has many narrow dark gaps where the light at particular wavelengths (or energies) is missing. These gaps are called absorption “lines,” & are due to various chemical elements in the star’s atmosphere that absorb the light coming from hotter regions below.

The study of spectra had led to the science of astrophysics. In 1859, Gustav Kirchoff & Robert Bunsen in Germany heated various chemical elements & observed the spectra of the light given off by the incandescent gas. They found that each element has its own characteristic set of spectral lines—its uniquely identifying “fingerprint.” In 1863, William Huggins in England observed many of these same lines in the spectra of the stars. The visible universe, it turned out, is made of the same chemical elements as those found on Earth.

Beginning in the 1880s, astronomers at Harvard College such as Edward Pickering, Annie Jump Cannon, Williamina Fleming, & Antonia Maury had succeeded in classifying stars according to their spectra into seven types: O, B, A, F, G, K, & M. It was believed that this sequence corresponded to the surface temperature of the stars, with O being the hottest & M the coolest. In her Ph.D. thesis (published as Stellar Atmospheres [1925]), Payne used the spectral lines of many different elements & the work of Indian astrophysicist Meghnad Saha, who had discovered an equation relating the ionization states of an element in a star to the temperature to definitively establish that the spectral sequence did correspond to quantifiable stellar temperatures. Payne also determined that stars are composed mostly of hydrogen & helium. However, she was dissuaded from this conclusion by Princeton astronomer Henry Norris Russell (1877-1957), who thought that stars surely would have the same composition as Earth. (Russell conceded in 1929 that Payne was correct.) 

In principle, it seemed that one might obtain the composition of the stars by comparing their spectral lines to those of known chemical elements observed in laboratory spectra. Astronomers had identified elements like calcium & iron as responsible for some of the most prominent lines, so they naturally assumed that such heavy elements were among the major constituents of the stars. In fact, Princeton's Henry Norris Russell at Princeton had concluded that if the Earth’s crust were heated to the temperature of the Sun, its spectrum would look nearly the same.

When Cecilia Payne arrived at Harvard, a comprehensive study of stellar spectra had long been underway. Annie Jump Cannon (1863-1941) whose cataloging work was instrumental in the development of contemporary stellar classification.  Annie was nearly deaf throughout her career. She was a suffragist & a member of the National Women's Party.

Annie Jump Cannon (1863-1941)

Annie had sorted the spectra of several hundred thousand stars into seven distinct classes. She had devised & ordered the classification scheme, based on differences in the spectral features. Astronomers assumed that the spectral classes represented a sequence of decreasing surface temperatures of the stars, but no one was able to demonstrate this quantitatively.

Cecilia Payne, who studied the new science of quantum physics, knew that the pattern of features in the spectrum of any atom was determined by the configuration of its electrons. She also knew that at high temperatures, one or more electrons are stripped from the atoms, which are then called ions. The Indian physicist M. N. Saha had recently shown how the temperature & pressure in the atmosphere of a star determine the extent to which various atoms are ionized.

Payne began a long project to measure the absorption lines in stellar spectra, & within two years produced a thesis for her doctoral degree, the first awarded for work at Harvard College Observatory. In it, she showed that the wide variation in stellar spectra is due mainly to the different ionization states of the atoms & hence different surface temperatures of the stars, not to different amounts of the elements. She calculated the relative amounts of eighteen elements & showed that the compositions were nearly the same among the different kinds of stars. She discovered, surprisingly, that the Sun & the other stars are composed almost entirely of hydrogen & helium, the two lightest elements. All the heavier elements, like those making up the bulk of the Earth, account for less than two percent of the mass of the stars.

Most of the mass of the visible universe is hydrogen, the lightest element, & not the heavier elements that are more prominent in the spectra of the stars! This was indeed a revolutionary discovery. Harlow Shapley sent Payne’s thesis to Professor Russell at Princeton, who informed her that the result was “clearly impossible.” To protect her career, Payne inserted a statement in her thesis that the calculated abundances of hydrogen & helium were “almost certainly not real.”

She then converted her thesis into the book Stellar Atmospheres, which was well-received by astronomers. Within a few years it was clear to everyone that her results were both fundamental & correct. Cecilia Payne had showed for the first time how to “read” the surface temperature of any star from its spectrum. She showed that Cannon’s ordering of the stellar spectral classes was indeed a sequence of decreasing temperatures & she was able to calculate the temperatures. The so-called Princeton Hertzsprung-Russell diagram, a plot of luminosity versus spectral class of the stars, could now be properly interpreted, & it became by far the most powerful analytical tool in stellar astrophysics.

From the time she finished her Ph.D. through the 1930s, Payne advised students, conducted research, & lectured—all the usual duties of a professor. Yet, because she was a woman, her only title at Harvard was “technical assistant” to Professor Harlow Shapley. 

In 1933, Payne traveled to Europe to meet Russian astronomer Boris Gerasimovich, who had previously worked at the Harvard College Observatory & with whom she planned to write a book about variable stars. In Göttingen, Ger., she met Sergey Gaposchkin, a Russian astronomer who could not return to the Soviet Union because of his politics. Payne was able to find a position at Harvard for him. They married in 1934 & often collaborated on studies of variable stars. She was named a lecturer in astronomy in 1938, but even though she taught courses, they were not listed in the Harvard catalog until after World War II.

In collaboration with colleague John Whitman, she rendered this early X-ray image of the supernova remnant Cassopeia-A in 1976 using yarn & needlepoint. 

Despite being indisputably one of the most brilliant & creative astronomers of the 20C, Cecilia Payne was never elected to the elite National Academy of Sciences. But times were beginning to change. In 1956, she was finally made a full professor (the 1st woman so recognized at Harvard) & chair of the Astronomy Department.

Her fellow astronomers certainly came to appreciate her genius. In 1976, the American Astronomical Society awarded her the prestigious Henry Norris Russell Prize. In her acceptance lecture, she said, “The reward of the young scientist is the emotional thrill of being the 1st person in the history of the world to see something or to understand something.” 

See:

American Museum of Natural History: Cecilia Payne & the Composition of the Stars

Encyclopedia Britannica: Cecilia Payne-Gaposchkin 

Archival Collections:

Collections of Cecilia Payne- & Sergei Gaposchkin. Wolbach Library, Harvard & Smithsonian Center for Astrophysics, Cambridge, Mass.

Papers of Harlow Shapley, 1906-1966; HUG 4773.10 Box 89. Harvard University Archives, Harvard University, Cambridge, Mass.

Papers of Cecilia Helena Payne-Gaposchkin, 1924, circa 1950s-1990s, 2000; HUGB P182.5, P182.50. Harvard University Archives, Harvard University, Cambridge, Mass. Link.

Project PHaEDRA. Wolbach Library, Harvard & Smithsonian Center for Astrophysics, Cambridge, Mass. Link.

Radcliffe College Alumnae Association Records, ca.1894-2004; RG IX, Series 2, box 241. Schlesinger Library, Radcliffe Institute, Harvard University, Cambridge, Mass.

Wilbur Kitchener Jordan Records of the President of Radcliffe College, 1943-1960; RG II, Series 3, boxes 27, 60. Radcliffe College Archives, Schlesinger Library, Radcliffe Institute, Harvard University, Cambridge, Mass.

Bibliography: 

Bartusiak, Marcia. 1993. “The Stuff of Stars.” The Sciences, no. September/October: 34–39.

Boyd, Sylvia. 2014. Portrait of a Binary : The Lives of Cecilia Payne & Sergei Gaposchkin. Penobscot Press.

DeVorkin, David. 2010. “Extraordinary Claims Require Extraordinary Evidence: C.H. Payne, H.N. Russell & Standards of Evidence in Early Quantitative Stellar Spectroscopy.” Journal Od Astronomical History & Heritage 13 (2): 139–44.

Gaposchkin, Cecilia Helena Payne. 1984. Cecilia Payne-Gaposchkin: An Autobiography (“The Dyer’s Hand”) & Other Recollections. Cambridge ; New York: Cambridge University Press.

Gaposchkin, Sergei. 1970. The Divine Scramble. Self-Published.

Gingerich, Owen, Katherine Haramundanis, & Dorrit Hoffleit. 2001. The Starry Universe: The Cecilia Payne-Gaposchkin Centenary. L. Davis Press.

Popova, Maria. 2017. “Stitching a Supernova: A Needlepoint Celebration of Science by Pioneering Astronomer Cecilia Payne.” Brain Pickings (blog). May 10, 2017. 

Woodman, Jennifer. 2016. “Stellar Works: Searching for the Lives of Women in Science.” Dissertations & Theses, June.

"We Are Made of Starstuff.”

This landscape of “mountains” & “valleys” speckled with glittering stars is actually the edge of a nearby, young, star-forming region called NGC 3324 in the Carina Nebula. Captured in infrared light by NASA’s James Webb Space Telescope, this image reveals for the 1st time previously invisible areas of star birth. (NASA)

Dear old Hubble & the new James Webb Telescope, the largest space observatory to date, & thousands of scientists around the world will lead us into countless universes & 100 billion galaxies of composed of dying stars expelling dust & gas - elements & gases interchangeable with ours. We are part of infinity living on a tiny blue dot in space. “The nitrogen in our DNA, the calcium in our teeth, the iron in our blood, the carbon in our apple pies were made in the interiors of collapsing stars. We are made of starstuff.”

“Look again at that dot. That's here. That's home. That's us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives. The aggregate of our joy and suffering, thousands of confident religions, ideologies, and economic doctrines, every hunter and forager, every hero and coward, every creator and destroyer of civilization, every king and peasant, every young couple in love, every mother and father, hopeful child, inventor and explorer, every teacher of morals, every corrupt politician, every "superstar," every "supreme leader," every saint and sinner in the history of our species lived there-on a mote of dust suspended in a sunbeam.

"The Earth is a very small stage in a vast cosmic arena. Think of the endless cruelties visited by the inhabitants of one corner of this pixel on the scarcely distinguishable inhabitants of some other corner, how frequent their misunderstandings, how eager they are to kill one another, how fervent their hatreds. Think of the rivers of blood spilled by all those generals and emperors so that, in glory and triumph, they could become the momentary masters of a fraction of a dot.

"Our posturings, our imagined self-importance, the delusion that we have some privileged position in the Universe, are challenged by this point of pale light. Our planet is a lonely speck in the great enveloping cosmic dark. In our obscurity, in all this vastness, there is no hint that help will come from elsewhere to save us from ourselves.

"The Earth is the only world known so far to harbor life. There is nowhere else, at least in the near future, to which our species could migrate. Visit, yes. Settle, not yet. Like it or not, for the moment the Earth is where we make our stand.

"It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we've ever known.”

―American astronomer Carl Sagan (1934-1996), Pale Blue Dot: A Vision of the Human Future in Space

This Day in Medieval Garden Myth & Reality

Angie Capozello of Medieval Gardens shares:

The Duke of Berry's Richest Hours.

Barthlemy of Eyck (?) And Jean Columbus

Limbourg Brothers. 1411-1416.

Condé Museum, Chantilly

July, the warmest month of the year, means harvesting crops and trimming herds. The landscape depicts the neighborhood where the rivers Boivre and Clain join. In the background, the triangular section of the Château de Poitiers in the background, preceded by the Palais des Comtes de Poitou.

This Day in Medieval Garden Myth & Reality

Angie Capozello of Medieval Gardens shares:

ENLUMINURES EUROPE - VIe - XVIe s. - ILLUMINATED MANUSCRIPTS EUROPE

 June 30th is the 181st day of the Gregorian calendar year.

It was usually the 12th day of the month of messidor in the French Republican calendar, officially called ARTICHAUT (ARTICHOKE) Day

Calligraphiae monumenta. Enlightenment: Joris Hoefnagel (also known as Georg Hufnagel), born in 1542 in Antwerp and died September 9, 1601 in Vienna (Austria), and Georg Bocskay (Hungarian, died in 1575). Date and place of publication: Vienna, Austria, 1561–1562-1591–1596. Latin manuscript illuminated on velin Getty Los Angeles, CA 90049. U.S.

17C Portraits Head Outside as Mankind Becomes "the Interpreter of Nature"

1694 Jan Weenix (1639-1719) Agneta Block & her family at their summer home Vijverhof or Flora Batavia, with her cultivated pineapple. In this painting, the design & flowers & fruits of the garden are depicted as symbols of the owner's wealth & culture as traditionally were the house, the clothes, or the art collection.

The Renaissance, from the 14-17C, marked a turning point in portraiture. Renaissance artists began to paint secular scenes, breaking away from the dominant religious art of medieval painters. Partly out of interest in the natural world & partly out of nostalgia for classical Greece & Rome, portraits became valued as symbolic & allegorical objects & as depictions of earthly success & status. The period in Europe was the cultural bridge between the Middle Ages & modern history. The relationship between man & nature was evolving as Francis Bacon (1561-1626) promoted man as "the minister & interpreter of nature." Portraits began to depict the wealthy & the middle class in natural landscapes & in more formal garden settings, where man was obviously controlling the nature around him.   As time passed, the Renaissance garden & grounds became as much as symbol of the owner's wealth & culture as his house, his clothes, or his art collection.

With the arrival of Anthony Van Dyck (1599–1641) at the court of Charles I in 1632, British portraiture took a turn toward the baroque that changed the course of British & colonial American painting in the 17-18C. The Elizabethan style had almost been completely replaced in England by the 1670s quickly giving way to a more volumetric style. In the British American colonies, this transition was copied through imported engravings after Peter Lely (1617–1680) & Godfrey Kneller (1648–1723).

This Day in Medieval Garden Myth & Reality

Angie Capozello of Medieval Gardens shares:

ENLUMINURES EUROPE - VIe - XVIe s. - ILLUMINATED MANUSCRIPTS EUROPE

The Harvest of CILIANDRA

June 29 is the 180th day of the Gregorian calendar year Its equivalent was usually the 11th messidor of the French Republican / Revolutionary calendar, officially referred to as CORIANDER DAY.

Tacuum sanitatis, manual of health written circa 1050 by Ibn Butlân (ibn butlân, taqwim es sih- crit 1066), Baghdad Christian doctor and theologian. Date and place of publication: circa 1390-1400, Pavia or Milan (Italy). Illuminated latin manuscript on parchment. National Library of France, Department of Manuscripts, Division of Manuscript Department, Western Division' Rate: New Latin Acquisition 1673

History Blooms at Thomas Jefferson's Monticello

Monticello's Peggy Cornett tells us that...

On May 28, 1767 Jefferson observed "Snap-dragon" blooming at Shadwell, his childhood home &, four years later, he listed this native of southern Europe among the hardy flowers to be naturalized in a "shrubbery" at Monticello. Jefferson's reference is the earliest known mention of this plant in an American source. The Snapdragons at Monticello came in 1985 through our friendship with the curator of gardens at Hatfield House, a 16C country estate outside London, where the species is naturalized in the landscape. 

Research & images & much more is available directly from the Monticello website - to begin exploring, just click Monticello.org.

Roe v. Wade - US Supreme Court Overturns One Landmark Decision with Another Landmark Decision

This morning, as I was driving to my dog's vet, the radio announced that the United States Supreme Court overturned a nearly 50 year-old landmark decision of that court. I am an old historian, but I remember the announcement of the 1973 Roe v. Wade decision.  Such landmark decisions from the Supreme Court substantially change the interpretation of existing law. I would not have chosen to have an abortion, but I do not want the government to make that decision for me or my daughters or my granddaughters or any other woman.

Dobbs v. Jackson Women's Health Organization, No. 19-1392, 597 U.S. (2022), is now a landmark decision of the U.S. Supreme Court in which the Court held that the Constitution of the United States does not confer any women the right to abortion, thus overruling both Roe v. Wade (1973) & Planned Parenthood v. Casey (1992). Despite Abigail Adams's (1744-1818) famous advice to her husband John Adams (1735-1826) to “remember the ladies,” he & the rest of the founders of our country left any mention of women out of the founding documents. As a result, the U.S. Constitution does not mention women at all. In fact, women did not get the right to vote in national elections until 1920.

The Court issued its new landmark decision this morning -  June 24, 2022. In a 6–3 judgment, the Court reversed the Fifth Circuit's decision & remanded that case for further review. The majority opinion declares that a woman's right to have an abortion was not a protected right under the Constitution, overturning both 1973 Roe & 1992 Casey, & returned decisions regarding abortion regulations back to the states. As a result, Dobbs is considered a landmark decision of the Court.

This decision overlooks stare decisis (Latin for “to stand by things decided”), as it establishes a significant new legal principle for women; overturns prior precedent for women; departs from prior practice for women; & establishes a standard for women that can be applied by courts in future decisions.

On May 2, 2022, Politico released an alleged leaked draft of a majority opinion by Justice Samuel Alito circulated among the justices in February 2022. That draft opinion suggested that the court would overturn 1973 Roe & 1992 Casey. Alito's draft called the Roe decision "egregiously wrong from the start," arguing that a woman's right to have an abortion is not listed in the Constitution as a protected right, & instead would allow individual states to decide on whether a woman could have an abortion & to apply any other restrictions or guarantees on a woman's right under the Tenth Amendment to the U.S. Constitution.

17C Myth of Pomona & Vertumnus - Love Isn't Always Easy, even for Roman Garden Gods!

 

Vertumnus & Pomona by Frans van Mieris the Younger (1689 - 1763)

Pomona was the beautiful goddess of fruitful abundance in ancient Roman religion & myth. Pomona was said to be a wood nymph. The name Pomona comes from the Latin word pomum, "fruit," specifically orchard fruit. She was said to be  a part of the Numia, the guardian spirits who watch over people, places, or homes. While Pomona watches over & protects fruit trees & cares for their cultivation, she is not actually associated with the harvest of fruit itself, but with tending the flourishing of the fruit trees. In artistic depictions she is generally shown with a platter of fruit or a cornucopia & perhaps her pruning knife

Pomona, the alluring wood nymph, actually cared nothing for the wild woods but cared only for her well-cultivated fruit filled gardens & orchards. And Pomona had a thing about men, and it wasn't positive! She fenced her garden orchards, so the rude young men couldn't trample her plants & vines. She also kept her orchards enclosed, because she wanted to keep away the men who were attracted to her good looks. Even dancing satyrs(a cross between a man & a goat) were attracted to her beauty. Despite the fact that she preferred to be alone to care & nurture her trees, this beauty was continually besieged by suitors, in particular one persistent god named Vertumnus. Vertumnus had the ability to take different human guises & made numerous attempts to woo Pomona, but she turned him away each time.

The god Vertumus caught on to Pomona's aversion to men in her orchards & in her life generally. In Roman mythology, Vertumnus, the young, handsome god of changing seasons & patron of fruits, determined to win over Pomona.  He could change his form at will according to Ovid's Metamorphoses (xiv).  He came to her in various male disguises, which included, a reaper, an apple picker, a fisher, a solider, & more. Even with the disguises, she still never paid him the slightest bit of attention. 

One day Vertumnus tried a disguise as an old women. And Pomona finally allowed him to enter her garden, where he pretended to be interested in her fruit. But he finally told her he was more exquisite than her crops. After saying that, he kissed her passionately, but it wasn't enough. Vertumnus kept trying to sway her by telling her a story of a young women who rejected a boy who loved her; in despair, the boy killed hung himself, & Venus punished the girl by turning her to stone. This narrative warning of the extreme dangers of rejecting a suitor (the embedded tale of Iphis & Anaxarete) still did not seduce her. It just didn't work, of course. 

He then realized that it was the feminine disguise didn't work & tore it off.  It wasn't until Vertumnus appeared before her in his full manliness (apparently quite a good looking male specimen), that Pomona finally gave in to his inviting male charms. Vertumnus is a god of gardens & orchards & so it appears they were a match made in heaven. To his surprise, she fell in love with his manly wiles, & they became the ultimate loving couple working & playing in gardens & orchards together from then on.

The tale of Vertumnus & Pomona has been said to be the only purely Latin tale in Ovid's Metamorphoses. The subject of Vertumnus & Pomona appealed to European sculptors & painters of the 16th through the 18th centuries, providing a disguised erotic subtext in a scenario that contrasted youthful female beauty with an aged old woman. But it wasn't the old woman that ultimately won the day. In narrating the tale in the Metamorphoses, Ovid observed that the kind of kisses given by Vertumnus were never given by an old woman. 

In Ovid's myth, Pomona scorned the love of the woodland gods Silvanus & Picus, but finally married the brutally handsome Vertumnus. She & Vertumnus were celebrated in  an annual Roman festival on August 13. There is a grove that is dedicated to her called the Pomonal, located not far from Ostia, the ancient port of Rome. Unlike many other Roman goddesses & gods, Pomona does not have a Greek counterpart, though she is often associated with Demeter.

Nature's Babies

History Blooms at Thomas Jefferson's Monticello in Virginia

Peggy Cornett at Thomas Jefferson's Monticello tells us that

In 1811 Thomas Jefferson recorded the planting of “Lathyrus odoratus. Sweet scented pea" in an oval flower bed at Monticello. Painted Lady Sweet Pea is a highly scented, pink and white bicolor variety, which was in cultivation by the 1730s and popular in American gardens through the 19C.

Research & images & much more is available directly from the Monticello website - to begin exploring, just click Monticello.org.

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

17C Myth of Pomona & Vertumnus - Love Isn't Always Easy, even for Roman Garden Gods!

Pomona Portrait of a lady as Goddess by Jean Ranc (French, 1674 - 1735) 

Pomona was the beautiful goddess of fruitful abundance in ancient Roman religion & myth. Pomona was said to be a wood nymph. The name Pomona comes from the Latin word pomum, "fruit," specifically orchard fruit. She was said to be  a part of the Numia, the guardian spirits who watch over people, places, or homes. While Pomona watches over & protects fruit trees & cares for their cultivation, she is not actually associated with the harvest of fruit itself, but with tending the flourishing of the fruit trees. In artistic depictions she is generally shown with a platter of fruit or a cornucopia & perhaps her pruning knife

Pomona, the alluring wood nymph, actually cared nothing for the wild woods but cared only for her well-cultivated fruit filled gardens & orchards. And Pomona had a thing about men. She fenced her garden orchards, so the rude young men couldn't trample her plants & vines. She also kept her orchards enclosed, because she wanted to keep away the men who were attracted to her good looks. Even dancing satyrs(a cross between a man & a goat) were attracted to her beauty. Despite the fact that she preferred to be alone to care & nurture her trees, this beauty was continually besieged by suitors, in particular one persistent god named Vertumnus. Vertumnus had the ability to take different human guises & made numerous attempts to woo Pomona, but she turned him away each time.

The god Vertumus caught on to Pomona's aversion to men in her orchards & in her life generally. In Roman mythology, Vertumnus, the young, handsome god of changing seasons & patron of fruits, determined to win over Pomona.  He could change his form at will according to Ovid's Metamorphoses (xiv).  He came to her in various male disguises, which included, a reaper, an apple picker, a fisher, a solider, & more. Even with the disguises, she still never paid him the slightest bit of attention. One day Vertumnus tried a disguise as an old women. And Pomona finally allowed him to enter her garden, where he pretended to be interested in her fruit. But he finally told her he was more exquisite than her crops. After saying that, he kissed her passionately, but it wasn't enough. Vertumnus kept trying to sway her by telling her a story of a young women who rejected a boy who loved her; in despair, the boy killed hung himself, & Venus punished the girl by turning her to stone. This narrative warning of the extreme dangers of rejecting a suitor (the embedded tale of Iphis & Anaxarete) still did not seduce her. It just didn't work, of course. 

He then realized that it was the feminine disguise didn't work & tore it off.  It wasn't until Vertumnus appeared before her in his full manliness (apparently quite a good looking male specimen), that Pomona finally gave in to his inviting male charms. Vertumnus is a god of gardens & orchards & so it appears they were a match made in heaven. To his surprise, she fell in love with his manly wiles, & they became the ultimate loving couple working & playing in gardens & orchards together from then on.

The tale of Vertumnus & Pomona has been said to be the only purely Latin tale in Ovid's Metamorphoses. The subject of Vertumnus & Pomona appealed to European sculptors & painters of the 16th through the 18th centuries, providing a disguised erotic subtext in a scenario that contrasted youthful female beauty with an aged old woman. But it wasn't the old woman that ultimately won the day. In narrating the tale in the Metamorphoses, Ovid observed that the kind of kisses given by Vertumnus were never given by an old woman.  In Ovid's myth, Pomona scorned the love of the woodland gods Silvanus & Picus, but finally married the brutally handsome Vertumnus. 

She & Vertumnus were celebrated in  an annual Roman festival on August 13. There is a grove that is dedicated to her called the Pomonal, located not far from Ostia, the ancient port of Rome. Unlike many other Roman goddesses & gods, Pomona does not have a Greek counterpart, though she is often associated with Demeter.

History Blooms at Thomas Jefferson's Monticello in Virginia

Peggy Cornett at Thomas Jefferson's Monticello tells us that

The hardy annual Larkspur, Consolida ajacis, re-seeds abundantly in the Monticello Flower Gardens. Jefferson noted Larkspur blooming at Shadwell in July 1767, thought it suitable for naturalizing at Monticello "in the open ground on the west" in 1771, and sowed seed around his Roundabout flower border on April 8, 1810.

Larkspur, Consolida ajacis

Research & images & much more is available directly from the Monticello website - to begin exploring, just click Monticello.org.

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

17C Gathering Fruits & Vegetables by Jean-Baptiste de Saive II (1597-c 1642)

Jean-Baptiste de Saive II (Flemish artist, 1597-c 1642) An Allegory of Spring & Summer at a Market Scene with a Boy offering Strawberries to Girl surrounded by Flowers. 

Father's Day!

 
Thank you for loving me & teaching me about the computer, even before there was a computer! 

Miss you daily...

Spring at Longwood Gardens in Pennsylvania

 

There have been many stewards of the land that is now called Longwood Gardens. For centuries, the native Lenni Lenape tribe fished the streams, hunted its forests, & planted its fields. Evidence of tribe's existence is found in quartz spear points that have been discovered on & around the property.

In 1700, a Quaker farmer named George Peirce purchased 402 acres of this English-claimed land from William Penn’s commissioners. Over the next several years, George & his descendants cleared & farmed the rich land that would one day become Longwood Gardens. In 1730, one of George’s sons, Joshua, built the brick farmhouse that, now enlarged, still stands today.

 Known as Peirce’s Park, the land was a popular destination for visitors. However, due to a declined interest by the family, the trees came under threat of being cut down by a local lumber company. Pierre du Pont stepped in & bought the land to preserve it.

In 1798, George’s twin great-grandsons, Samuel & Joshua, actively pursued an interest in natural history & began planting an arboretum that eventually covered 15 acres. The collection included specimens from up & down the Eastern seaboard & beyond. By 1850, the land had become one of the best collections of trees in the country. The arboretum boasted one of the finest collections of trees in the nation & had become a place for the locals to gather outdoors – a new concept that was sweeping America at the time. Family reunions & picnics were held at Peirce's Park in the mid to late 19C.

As the 19C US fought its way to the 20C, the heirs to the land lost interest in property & allowed the arboretum to deteriorate. The property passed through several hands in quick succession, until a lumber mill operator was contracted to remove the trees from a 41-acre parcel within the original lands in early 1906. 

It was this threat that moved one man to take action. In July 1906, 36-year-old Pierre du Pont purchased the farm primarily to preserve the trees. But he didn’t stop there. Much of what guests see today – the beauty & majesty & magic of the Earth that is Longwood Gardens – was shaped by the remarkable vision & versatility of Pierre du Pont.

When du Pont died in 1954, he left most of his fortune to the Longwood Foundation to preserve & maintain & improve the gardens. Today, nearly 70 years after du Pont’s death, his gardens continue to delight & inspire visitors from around the world.    See: Longwood Gardens History for more. 

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

Spring at Longwood Gardens in Pennsylvania

 

By the mid-1930s, Longwood had grown from the original 202 acres to 926 due to Pierre’s purchase of 25 contiguous properties over the years. In addition to horticulture, agriculture had always been important at Longwood, which started out, after all, as a farm.

Longwood’s agricultural & horticultural operations slowed considerably during World War II. Many employees served in the Armed Forces, & a 72-bed emergency hospital was set up in rooms above the Ballroom just in case the community needed it. Pierre du Pont was a “gentlemen farmer” who sought to create a self-sustaining model farm that used the latest techniques & methods. In reality, the farm was more an expansive, expensive hobby than a business, but it did produce food for the du Ponts & their employees.

As early as 1914 with the formation of Longwood, Inc., Pierre was thinking about the eventual fate of the property after his death. In 1944, Mrs. du Pont died, & Pierre initially retreated to his apartment in Wilmington during weekdays, visiting Longwood only on weekends. But he was more concerned than ever about Longwood's future, particularly since he had no children but considered the Gardens part of the du Pont family legacy.  

In 1913, the US government enacted personal income tax. In response, Pierre incorporated Longwood in 1914. He always tried to stay one step ahead of the IRS to keep his farm & gardens in the best possible tax situation, & in 1937 the Longwood Foundation was created to handle his charitable giving. Finally, in 1946, the government gave approval for the Foundation to operate Longwood Gardens as a public garden with tax-exempt status “for the sole use of the public for purposes of exhibition, instruction, education & enjoyment.”    See: Longwood Gardens History for more. 

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

Spring at Longwood Gardens in Pennsylvania

 

Pierre du Pont’s love for fountains stretched back to when he was mesmerized at the age of six by the huge display of water pumps at the 1876 Centennial Exposition in Philadelphia. With his indoor Conservatory now a reality, Pierre turned his full attention outdoors, where Longwood’s hydraulic splendors were already underway. Never mind that the property didn't have an abundant water supply; with electricity, anything was possible.

From 1925 to 1927, Pierre constructed  a Water Garden in a low-lying, marshy site northeast of Longwood’s Large Lake. The inspiration was the Villa Gamberaia, near Florence, Italy. The original did not have many fountains, but Longwood’s version had 600 jets in nine separate displays that shot from six blue-tiled pools & 12 pedestal basins.

At the same time, Pierre installed a 40-foot tall jet fountain at the end of the central allée in Peirce’s Park. It is said that Mrs. du Pont could turn the fountain on for her house guests with a switch. Pierre next decided to enlarge the Open Air Theatre & replace the old waterworks with 750 illuminated jets that continue to elicit thrills today.

Pierre’s hydraulic masterpiece was the Main Fountain Garden in front of the Conservatory: 10,000 gallons a minute shot as high as 130 feet & illuminated in every imaginable color. Its complex engineering didn't faze him. "The fountains themselves are of simple design...," he noted. "It is the landscape effect that adds to the total bill."

The completion of the fountains in the mid-1930s marked an end to major construction during Pierre’s lifetime, although he did build a 30-by-36-foot oval analemmatic sundial in what is now the Topiary Garden in the late 1930s.

In 1929-30, Pierre  constructed Longwood’s 61-foot-tall stone Chimes Tower based on a similar structure he had seen in France. In 1956, the original chimes were replaced with a 32-note electronic carillon. In 2000, a new 62-bell carillon was crafted in The Netherlands.

The Longwood Steinway Grand Piano was purchased by Pierre du Pont from Steinway & Sons in 1923. Du Pont was an amateur pianist & had a great love of music & all the performing arts. He wanted the world‘s most finely crafted instrument that he, his family, friends, & visiting artists could use to play music of the highest quality sound.

Located in the Ballroom, Pierre S. du Pont constructed the largest residence organ in the world—Longwood's 10,010 pipe Aeolian organ, in 1930. These resident instruments remain cornerstones of Longwood's performing arts programming, which presents world-class artists in unparalleled settings.

 See: Longwood Gardens History for more. 

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

Spring Bliss

17C Myths of Spring to Summer - Locus Amoenus Allegories by Jan Brueghel the Elder 1568-1625 & Hendrick van Balen 1575-1632

Jan Brueghel the Elder 1568-1625 & Hendrick van Balen 1575-1632 Spring, 1616

As in these paintings, allegorical characters in stories & in art of this period were often located in garden settings. The locus amoenus was one of the traditional locations of epic & chivalric literature. As a literary genre of high culture, romance or chivalric romance is a type of prose & verse narrative that was popular in the aristocratic circles of Medieval & Early Modern Europe. 

Locus amoenus (Latin for "pleasant place") is a literary term which generally referring to an idealized place of safety or comfort, usually a beautiful, shady parkland or open woods, sometimes with connotations of Eden. A locus amoenus usually has 3 basic elements: trees, grass, & water. In these 2 paintings, Spring is full of flowers & Summer is filled with the practical fruits from Spring's flowers

Often, the locus amoenus garden will be in a remote setting & with only components or suggestions of a more formal, geometric, walled garden, such as the flower pots seen above. The locus amoenus can also be used to highlight the differences between urban & rural life or be a place of refuge from the processes of time & mortality. In some works, such gardens also have overtones of the regenerative powers of human sexuality marked out by flowers, & goddesses of springtime, love, & fertility. Ernst Robert Curtius formulated the concept's definition in his European Literature & the Latin Middle Ages (1953).

Jan Brueghel the Elder 1568-1625 & Hendrick van Balen 1575-1632 Summer, 1616

Such collaboration between artists was common in Antwerp during the 1600s, as artists often specialized in either landscape or figure painting. Flemish artists of the time repeatedly painted representations of the 4 elements, suggesting that it was a popular subject with buyers. Brueghel the Younger depicted the senses, the elements, or the seasons as allegories many times throughout his career. 

Spring at Longwood Gardens in Pennsylvania

Ten years after purchasing Longwood, Pierre du Pont was just getting warmed up. By 1916 he was contemplating grand indoor facilities “designed to exploit the sentiments & ideas associated with plants & flowers in a large way.”

The result was the stunning Conservatory, a perpetual Eden that opened in 1921. The latest technology was used to heat, water, & power the complex, but the systems were hidden in tunnels so as not to detract from the grandeur of the glass-covered peristyle & surrounding rooms.

Pierre chose to fill his new garden not with the usual jungle of exotic tropical foliage as was then the fashion but rather with fruits & flowers used in a decorative, horticultural way. One observer termed his greenhouses “floral sun parlors.”

A staff of eight gardeners oversaw this perpetual indoor flower show, aided by three boiler operators. Outdoors there were 11 gardeners & groundskeepers, & the entire Horticultural Department of 29 was headed by old-school English gardener William Mulliss.

It would be hard to imagine a more theatrical setting for the display of plants, unless it would be to the music of a massive, 3,650-pipe Aeolian. In 1923, an elegant Music Room with walnut paneling, damask-covered walls, teak floors, & a molded plaster ceiling was built opening onto the central axis of the main greenhouse.

The public came in droves to see these wonders under glass, fulfilling Pierre’s childhood dream of building a greenhouse open to the public. The du Ponts also had the perfect place for grand entertainment hosting innumerable civic & educational groups as well as family & friends. The guests’ reactions were always the same: a place beyond compare.    See: Longwood Gardens History for more. 

“Beauty awakens the soul to act.” - Dante Alighieri (1265-1321)

1636 Myth & Spring & Cherubs by Jan Brueghel the Younger 1601-1678 & Frans Francken the Younger 1581-1642

1636 Jan Brueghel the Younger (Flemish, 1601-1678) Frans Francken the Younger (Flemish, 1581-1642) A remote Landscape Setting with Allegories of the Four Elements

Here 4 seated women representing water, air, earth, & fire are surrounded by a lush landscape. The fish flowing from the water jug & the cornucopia of abundance cradled in the arms of the figure on the right correspond to the tactile elements of water & earth. The birds in the sky & trees & the accoutrements of battle in the foreground correspond to the intangible elements of fire & air. The figures, the still life objects, & the landscape work together as a unified scene, yet two different artists worked to create this painting. Frequent collaborators, the skilled figure painter Frans Francken II painted the women & background figures, & Jan Brueghel the Younger described the landscape.

Jan Brueghel the Younger (Flemish, 1601-1678) Frans Francken the Younger (Flemish, 1581-1642) A remote Landscape Setting with an Allegory of Water and Earth

Such collaboration between artists was common in Antwerp during the 1600s, as artists often specialized in either landscape or figure painting. Flemish artists of the time repeatedly painted representations of the 4 elements, suggesting that it was a popular subject with buyers. Brueghel the Younger depicted the senses, the elements, or the seasons as allegories many times throughout his career, either together or individually. 

1630s. A remote Landscape Setting with Ceres (Allegory of Earth). Landscape by Jan Brueghel the Younger figures after Hendrick van Balen.

Here, earth is represented by the goddess Ceres, who is surrounded with a satyr, putti, & a figure holding a sheaf of wheat. Ceres, whose name means "creator," was the goddess of agriculture, worshiped over a large part of ancient Italy.

Those winged toddlers over Ceres' head in the painting clutching her crown, are they religious cherubs or secular putti?  A putto (pl. putti) is a figure of a human toddler, usually male, often naked with wings, depicted especially in Italian Renaissance & Baroque art. The Latin word "putus" means boy or child. During the early modern period, artist Donatello revived & popularized putti figures in Florence during the 1420s.
Neroccio De' Landi (1447-1500) Two Putti, 1490-1510

In the European culture of the 1400s & 1500s, Cherubs & Putti had distinctly different roles. Biblically, Cherubs & Seraphs (Cherubim & Seraphim) were sacred angels in heaven closest to God. Putti, arose from Greco-Roman classical myths, not the Christian tradition, and were associated with Eros or Cupid as well as with the Muse Erato of lyric & love poetry.
Raphael Raffaello Sanzio da Urbino (1483–1520), Sistine Cherubs

As in these paintings, allegorical characters in stories & in art of this period were often located in garden settings. The locus amoenus was one of the traditional locations of epic & chivalric literature. As a literary genre of high culture, romance or chivalric romance is a type of prose & verse narrative that was popular in the aristocratic circles of Medieval & Early Modern Europe.  Locus amoenus (Latin for "pleasant place") is a literary term which generally referring to an idealized place of safety or comfort, usually a beautiful, shady parkland or open woods, sometimes with connotations of Eden. A locus amoenus usually has 3 basic elements: trees, grass, & water.

Often, the locus amoenus garden will be in a remote setting & with only components or suggestions of a more formal, geometric, walled garden. These paintings employ this setting.  The locus amoenus can also be used to highlight the differences between urban & rural life or be a place of refuge from the processes of time & mortality. In some works, such gardens also have overtones of the regenerative powers of human sexuality marked out by flowers, & goddesses of springtime, love, & fertility. Ernst Robert Curtius formulated the concept's definition in his European Literature & the Latin Middle Ages (1953).

About these confusing Breughels - 

Pieter Bruegel (also Brueghel) 1525-1569 was a Netherlandish Renaissance painter & printmaker known for his landscapes & peasant scenes (later called genre painting). From 1559, he dropped the 'h' from his name & signed his paintings as Bruegel.  

Pieter the Elder had 2 sons: Pieter Brueghel the Younger 1564 -1636 & Jan Brueghel the Elder 1568-1625 (both changed their name to Brueghel). Their grandmother, Mayken Verhulst, trained the sons because "the Elder" died when both were very small children. The older brother, Pieter Brueghel, copied his father's style but without the same great talent. Jan was more successful, as he turned to the Baroque style & collaborated with many fine artists.

Pieter Brueghel the Younger or Pieter Bruegel the Younger (before 1616 he signed his name as 'Brueghel' & after 1616 as 'Breughel') 1564 -1636 was a Flemish painter, known for numerous copies after his father Pieter Bruegel the Elder's work as well as his original compositions. The large output of his studio, which produced for the local & export market, contributed to the international spread of his father's imagery.

Jan Brueghel the Elder 1568-1625 was a Flemish painter, son of Pieter Bruegel the Elder & father of Jan Brueghel the Younger 1601-1678. Many of his paintings are collaborations in which figures by other painters were placed in landscapes painted by Jan Brueghel; in other works, Brueghel painted the figures into another artist's landscape or architectural interior. The most famous of his collaborators was Peter Paul Rubens who collaborated on about 25 paintings.

Jan Brueghel the Younger 1601-1678 was a Flemish Baroque painter. Jan the Younger's best works are his extensive landscapes, either under his own name or made for other artists such as Hendrick van Balen as backgrounds.  He collaborated with a number of prominent artists including Rubens, Hendrick van Balen (1575–1632), Adriaen Stalbemt (1580–1682), Lucas Van Uden (1596–1672), David Teniers the Younger, and his father-in-law Abraham Janssens. His pupils were his older sons Abraham , 1631-1690, Philips, & Jan Peeter 1628-1664, his nephew Jan van Kessel, & his younger brother Ambrosius.