Category Archives: Uncategorized

The vulva goes on pilgrimage

In a recent post, W&M contributor Tracy Barrett mentioned in passing the pewter badges worn in the hat during the Middle Ages, and in a moment of recognition I felt compelled to respond with my favourite one, showing a vulva wearing a jaunty pilgrim’s hat. I found out about these tiny objects when I was at an academic conference on the history of the penis (my mother never quite believes the things I get involved in…) held at the wonderful Italian town of Massa Marittima. One of the speakers was Malcolm Jones, who has worked on medieval pilgrimage and talked about these pewter badges as souvenirs. In his book The Secret Middle Ages, Malcolm looks at the various designs of the badges, and suggests that this one is making a joke about the real reason why women go on pilgrimage – it’s to get away from home and have some fun. Rather like going to the Costa del Sol today. Sort of.

The badges are striking because they are so tiny, so fragile, and could so easily have become an aspect of medieval life that was lost to us. In fact, many thousands have been found, with Amsterdam and Rotterdam being associated with particularly large collections, but they are still being studied, catalogued – and understood. They were cheap, mass-produced, items, and they could have been used as presents from someone on his or her return from a pilgrimage, or ways of signalling one’s political allegiance. Some have images from folk tales so they give us an idea of what stories were being told when they were made and sold. They could be placed over the bed, or kept beside it, to fend off disease or enhance fertility. Many have been found near rivers – deposited there in thanksgiving for a safe passage? The erotic ones mostly date from the end of the fourteenth century or the beginning of the fifteenth century; as well as the vulva, they feature the penis having its own fun and games.  Scholars have speculated about whether wearing one of these badges is a sign that the wearer is available for a sexual encounter. It’s difficult to know, as there is not much written about them in literary sources. But this is why they are so interesting – they give us another angle on the people of the middle ages.

And Massa Marittima was chosen to host this conference because of a fresco found there in 1999. Probably dating to 1265, this shows a ‘penis tree’. I know – not exactly a familiar concept! Women are shown collecting the penises dangling from the tree, and in one case fighting over one. The fresco was associated with a set of fountains, but George Ferzoco has argued that this is not about fertility and the life-giving powers of various fluids – instead, he reckons, the image is part of a political struggle within the town, with one side attacking the other as bringing conflict. Recently there has been a further conflict over the fresco – with its restorers being accused of covering up some of the penises! (http://www.telegraph.co.uk/culture/art/art-news/8714235/Italian-art-experts-accused-of-censoring-phallic-fresco.html)

Would you like a replica of one of these badges to wear? Tracy and I would be interested – although so far I have not seen them in any museum shops…

 

Reading: Malcolm Jones, The Secret Middle Ages: Discovering the Real Medieval World (2002)

George Ferzoco, The Massa Marittima Mural (2004)

 

Monkeys with Guns

monkey-with-a-gun

By Adrienne Mayor (Wonders & Marvels contributor)

Armed and dangerous! Not a phrase that leaps to mind to describe monkeys, except in  science fiction fantasies. Indeed, to promote the movie “Rise of Planet of the Apes” (2011), 20th-Century Fox created a YouTube video that quickly went viral, showing  a chimpanzee terrorizing African soldiers with an AK-47. http://www.youtube.com/watch?v=GhxqIITtTtU

As bizarre as the notion of employing monkeys as soldiers seems, the possibility has occurred to military commanders seeking secret weapons and surprise tactics. Monkeys’ intelligence, physical agility, ability to emulate humans, and capability to manipulate simple mechanisms means that they are easily trained to play a role in warfare.

Who were the first monkeys to see action in war? Before the invention of gun powder fire-arms in China (ca 13th century), a 9th century Chinese chronicle (“Yu-yang-tsah-tsu” by Twan Ching-Shih) describes annual battles between soldiers of Po-mi-lan and 300,000 giant rock-throwing apes who came down from the high craggy mountains of the west to ravage crops every spring.

The earliest documented case of gun-toting monkeys appears in a Chinese account of 1610 (“Wu-tsah-tsu” by Sie Chung-Ghi). It  describes General Tseh-ki-Kwang’s campaign against Japanese marauders in the 16th century. Capturing a troop of monkeys from Mount Shi-Chu in Fu-Tsing, he and his men trained the simian recruits to shoot fire-arms (or at least aim). When the general sent the monkey militia to the front and gave the order to fire, the terror-stricken Japanese raiders fled. Then the human soldiers hiding in ambush leaped up and slew them all.

In 2003, during the Iraq War, President George W. Bush turned down Morocco’s offer of 2,000 monkeys from the Atlas Mountains trained to deactivate and detonate land mines. In ancient times no one expressed qualms about “weaponizing” animals out of sympathy for the creatures. But today, these controversial examples open discussion of the ethics of forcing animal “volunteers,” from dogs to dolphins, to perform violent or dangerous acts in wars perpetrated by humans.

 

About the author: Adrienne Mayor is a Research Scholar in Classics and History of Science, Stanford University. She is the author of “Greek Fire, Poison Arrows, & Scorpion Bombs: Biological and Chemical Warfare in the Ancient World” (2009);  “The First Fossil Hunters: Dinosaurs, Mammoths, and Myths in Greek and Roman Times” (2011); and “The Poison King: The Life and Legend of Mithradates, Rome’s Deadliest Enemy,” a nonfiction finalist for the 2009 National Book Award.

Ruff-ing It and the Politics of Fashion

By Elizabeth A. Lehfeldt (W&M Regular Contributor)

Writing in 1637, the Marquis of Careaga deplored the “delicate and womanly” fashions that enraptured Spanish men.  He warned that these indulgences “overthrew their spirits, unnerved their determination, weakened their energy, and diminished their manly vigor.”

We might wonder what sort of fashions could inspire such vitriol.  A particular item stood at the heart of his comments and those of other moralists: a ruff.  Specifically, a Spanish variation on the ruff known as the cuello.  The cuello, represented here in a portrait by El Greco, had become an object of excess.  This collar was several inches high, tinted with powders, and often decorated with fancy threads.  And it had to be washed and starched daily to maintain its appearance.  By the early seventeenth century, some tried to elevate their cuellos even further, using an undergirding support known as an alçacuello.  Thus, the cuello came to embody a host of moralizing complaints that ranged from foreign policy to the economy to fears of compromised masculinity.  To begin with, the dyes used to tint them were imported from Spain’s enemy, the Dutch.  Many argued that the nobility’s ducados would benefit Spain more if they were spent locally.  Finally, the cuello violated the prevailing code of virtuous virility that prized moderation, control, and a sense of effortlessness in matters of style.  If anything, the cuello screamed excess and effort.  Everyone knew how labor-intensive their care and presentation was.  Men who indulged in this fashion were often characterized as effeminate.  Their inability to dress with moderation compromised their masculinity.  At a time when Spain was engaged in military conflict across the globe, the “manly vigor” of its male citizens had serious political consequences.

The crown, in fact, vigorously legislated against them.  As early as 1594 it forbid the adornment of cuellos, specified a particular width for them, and that any decorative elements be white.  Again, in 1600 it issued orders regarding the width of cuellos.  Yet the fashion endured.  Ultimately, rather than modify their appearance, the crown abolished them completely in 1623.  It presented as an alternative the low, flat collar of the valona.  Even the king himself was not above this new rule as we can see here in Velázquez’ portrait of Philip IV (1621-1665).  Not unlike today, seventeenth-century fashion was intensely political.

Elizabeth A. Lehfeldt is Chair and Professor of History at Cleveland State University.  She writes on the history of gender in premodern Europe.

 

Who Made the First Fake Fossils?

Carcharodon shark teeth

By Adrienne Mayor (Wonders & Marvels contributor)

Paleontological hoaxes and fraudulent fossils are assumed to be modern phenomena. The earliest case is generally thought to be in 1725, when phony fossils carved by rivals ruined Johann Beringer’s reputation. The notorious Piltdown Man fraud was perpetrated in 1913. Since the startling discovery of  feathered dinosaur remains in China, very sophisticated bogus fossils have fooled amateurs and scientists. The most scandalous incident occurred in 1999 when National Geographic featured a “missing link”  feathered dinosaur, later exposed as a cunning composite of real fossils. Fossil forgery has a long history in China. Well-preserved fossil fish impressions were so popular in twelfth-century China that numerous counterfeits were produced.

Fossil replicas were not always intended to defraud, however. Fossils gathered in antiquity, from large vertebrate bones to small shells, emerge from archaeological sites around the world. These discoveries are mute testimony to ancient people’s interest in living organisms somehow transformed to stone. Such marvels were worked into decorations, placed in graves, or dedicated in temples—and sometimes they were duplicated for reasons not yet understood.

In Malta, islands south of Sicily, fossils attracted attention at a very early date. In the sixth century BC, the Greek philosopher Xenophanes observed marine shells embedded in Malta’s bedrock and concluded that the islands had once been under the sea. According to the Roman statesman Cicero, Malta’s great Temple of Juno was renowned for its treasure of ivory tusks of prodigious size (most likely Pleistocene mammoths). But evidence for Maltese fossil collecting goes back even further. As early as 3000 BC, heaps of  fossil teeth from the gigantic Miocene shark Carcharodon megalodon were dedicated in sacred sites. By 2500-1500 BC, Maltese potters were using the serrated shark teeth to decorate clay bowls with parallel grooves. Much later, in the Middle Ages, Maltese shark teeth (glossopetrae, tongue stones) became such a sought-after miracle remedy in Europe that laws forbade faking them.

The Maltese had been manufacturing “fossils” for their own uses since the Neolithic period. As Xenophanes had noticed, helicoid gastropod fossils (screw-shaped shells) of are common. These small Miocene fossils turn up in vast numbers in the most archaic stone temples on Malt.  But what really surprised the archaeologists were the oversized man-made replicas among the real fossils, some carved from limestone and others modeled in baked clay. The only other similar artifacts known from this era are gold and marble shark vertebrae discovered in Minoan sanctuaries on Crete.

These artifacts are the earliest datable replicas of fossils. Do they represent ancient efforts to figure out how the mysterious spirals had been formed? Were the fossils so valuable that forgeries were worthwhile? Were they objects of veneration? All we can say for sure is that from earliest antiquity, fossils were not only highly prized but artfully imitated.

 

About the author: Adrienne Mayor is a Research Scholar in Classics and History of Science, Stanford University. She is the author of “The First Fossil Hunters: Dinosaurs, Mammoths, and Myths in Greek and Roman Times” (2011) and “The Poison King: The Life and Legend of Mithradates, Rome’s Deadliest Enemy,” a nonfiction finalist for the 2009 National Book Award.

Juana of Castile’s Baggage

By Elizabeth A. Lehfeldt (W&M Regular Contributor)

Imagine being known to history as Juana “la Loca” or Juana “the crazy one.” That is heavy baggage to carry forward from the sixteenth century into the postmodern era.  Before she was Juana la Loca, she was Juana of Castile (1479-1555), the eldest surviving heir of the famous monarchs Isabel of Castile (r. 1474-1504) and Fernando of Aragon (r. 1474-1516).  When her mother died in 1504, earlier marriage capitulations made it impossible for her father to inherit the throne, making Juana the rightful sovereign of Castile.  Yet her ambitious father and her husband, Philip the Fair (1478-1506), sought to break this neat line of succession and push her off the political stage.  In part, they used rumors of her instability to discredit her authority.  When Philip died unexpectedly in the city of Burgos in 1506, Juana’s behavior unfortunately fueled the flames of her detractors.  She insisted upon accompanying her husband’s funeral cortege across the Iberian peninsula from Burgos to his final resting place in Granada.  Fernando presented this act of wifely devotion and other emotional outbursts as evidence of mental illness and advanced his own claims to the throne.  He eventually forced her seclusion in a convent in the small town of Tordesillas.

Fernando died in 1516, leaving behind Juana and her son, Charles I (1500-1558), as his heirs.  Despite her confinement, Charles continued to consult with her and maintained the pretense of joint rule with his mother.  A group of urban leaders who were dissatisfied with Charles’ long absences from Castile and reliance on foreign advisers even appealed to Juana during a revolt they staged in 1520-21.  Some clearly believed she could still exercise independent sovereign power.

But in the end, later generations would immortalize her for her presumed, but never proven, insanity.  Juana’s plight captured the attention of nineteenth century Romanticists, for example, who sentimentalized her devotion to Philip in paintings like this one above by Francisco de Pradilla, produced in 1877.  This haunting portrait speaks volumes about history’s distorted image of a misunderstood queen.  In 2001 a Spanish movie, “Juana la Loca,” (translated for English-speaking audiences as “Mad Love”) perpetuated this interpretation of Juana’s instability.

Recent scholarship has sought to investigate the true character of Juana’s personality and exercise of political authority (see, for example, Bethany Aram, Juana the Mad: Sovereignty and Dynasty in Renaissance Europe, 2005).  It reveals that she often rejected the power that she was entitled to, but she was not insane.  At some moments she worked vigorously to assert her sovereignty and her control over her royal household.  Only time will tell if interpretations like this are enough to rid Juana of the weighty baggage of being portrayed as a mentally unstable queen.

Elizabeth A. Lehfeldt is Chair and Professor of History at Cleveland State University.  She writes on the history of gender in premodern Europe.

 

 

 

Vicarious menstruation

Historical accounts of ‘male menstruation’ have already been discussed on this blog by Lisa Smith. But there is another aspect of the history of menstruation that is fascinating to a modern reader: the phenomenon of ‘vicarious menstruation’, in which a woman bleeds regularly from another orifice, or even from a wound. While modern medicine still recognises conditions in which other mucous membranes bleed along with, or instead of, the womb lining, the cases from the past seem to be well outside what is thought to be possible today. I think this is one of those occasions on which attempts to diagnose the diseases of the past with modern disease labels just have to admit defeat. The belief in such diversion being possible goes back to the Hippocratic medical texts, which state that a nosebleed is a good thing if menstruation is suppressed.

In 1838 the physician Fleetwood Churchill described a case a colleague had seen: Mary Murphy, aged 21, a patient at Sir Patrick Dun’s teaching hospital in Dublin. ‘During her stay she missed a menstrual period, and was shortly afterwards attacked by hemorrhage from both ears, which was repeated at intervals of from three to five nights, each attack lasting some hours. Very often from 15 to 20 ounces of blood were collected which did not coagulate, neither did blood taken from the arm.’ 15-20 ounces: that’s half a litre. Today we see a ‘normal’ period as being around 80 millitres or 3 fluid ounces! She was treated by ‘strengthening her system’, with foot baths, purgative medicines, and also leeches. The leeches were applied behind her ears and on her inner thighs, to take the blood before it came out, and to divert it back down her body.

The high point of belief in such bleeding was Martin Schurig’s Parthenologia historico-medica (1729), which brought together a huge range of cases from the sixteenth and seventeenth centuries to include menstruation through the ears, skin, gums, saliva glands, tear ducts, the crown of the head, fingers, feet, the stomach and lungs, the bladder, the bowels, the back, the navel, and even a cut on the hand, because ‘Nature searches for an exit route for the menstrual blood’. Physicians noted that the first reaction of a physician when confronted with ‘a delicate female’ suffering from such bleeding may be ‘alarm and anxiety’. What about the reactions of the patients, I wonder?

In the UK, ‘vicarious menstruation’ was only really challenged in the late 1880s, when the British Gynaecological Society discussed a paper by Dr Robert Barnes entitled ‘On vicarious menstruation’ which defended the theory of the blood taking the path of least resistance if ‘the normal route fails’. My late grandmother was born in 1888 and it is amazing to think that such a theory lasted so long!

 

- if you want to know more about Fleetwood Churchill, see http://rcpilibrary.blogspot.com/2010/10/cataloguing-fleetwood-churchill.html

The World’s First Robot: Talos

talos2-1

by Adrienne Mayor, Wonders & Marvels contributor

Uncanny mechanical humanoids, automatons, robots, and replicants, so popular in modern fiction and film, are usually thought to be inventions of the 17th century (Louis IV commissioned several mechanized figures). But the creation of artificial humans is a very ancient dream—or nightmare. Daedalus, the most ingenious inventor of Greek myth, was credited with making many marvelous mechanical wonders. His well-known experiment with man-made wings ended tragically with the death of his son Icarus., but Daedalus also created the first “living statues.” These realistic bronze sculptures   appeared to be endowed with life as they moved their limbs, rolled their eyes, perspired, wept, and vocalized. Such animatronic statues were not just figments of the mythic imagination—they were actually constructed in classical antiquity.

Robots made to obey commands were also engineered by Hephaestus, the Greek god of invention and technology. Talos, the gigantic animated bronze warrior programmed to guard the island of Crete, was one of Hephaestus’s creations. Like Hollywood’s imaginary Robo-Cop or the Terminator, Talos was the ancient forerunner of autonomous cyborgs capable of deploying lethal force. 

The physiology of Talos, described by ancient writers in mytho-bio-technical language, seems to presage today’s scientific “cybernetic organism” projects that employ neurological-computer interfaces to integrate living and non-living components. Hephaestus gave Talos a single internal artery or vein, through which ichor, the mysterious life-fluid of the gods, pulsed from his neck to his ankle. Talos’s biomimetic “vivisystem” was sealed by a single bronze nail.

Talos was tasked with hurling boulders at passing ships, including the Argo, manned by Jason and the Argonauts. But the most chilling ability of the huge biomechanical robot was a perversion of the universal gesture of human warmth, the embrace. Talos could heat his bronze body red-hot and then clasp a victim in his arms, hugging and burning him to death. How could Jason and the Argonauts escape from this bionic monster? Techno-wizard Medea to the rescue! Anticipating by more than 2,000 years HAL the doomed artificial intelligence computer of 2001: A Space Odyssey and the tragic replicants of Bladerunner, the sorceress Medea recognized the popular belief that that all artificial humanoids must harbor a deep desire to be real humans. Medea hypnotized Talos and convinced him that she could make him mortal by removing the bronze nail in his ankle. When this essential seal was dislodged, the ichor flowed out of Talos like molten lead, and his life ebbed away.

 

About the author: Adrienne Mayor is a Research Scholar in Classics and History of Science, Stanford University. She is the author of “Greek Fire, Poison Arrows & Scorpion Bombs: Biological and Chemical Warfare in the Ancient World” (2009) and “The Poison King: The Life and Legend of Mithradates, Rome’s Deadliest Enemy,” a nonfiction finalist for the 2009 National Book Award.

Ancient Puppy Chow: Dog Food in Classical Greece

1hound

By Adrienne Mayor (Wonders & Marvels contributor)

Chasing game  (rabbits, deer, bear, boar) for food and sport was extremely popular in classical antiquity, and dog owners took good care of their hunting companions. Ancient hunting manuals by two Greek historians, Xenophon (b. 430 BC) and Arrian (AD 86) preserve lively practical advice on raising hounds.

So, if you lived in Athens at the time of Socrates and owned a Laconian hunting hound like those depicted on Greek vases, what would you feed them? Ordinary pups get barley bread softened with cow’s milk or whey. But more valuable puppies eat their bread soaked in sheep or goat milk. You might add a little blood from the animal you expect your puppy to hunt. At dinner with your family, you scoop soft chunks of bread from the center of a loaf  to wipe grease from your fingers—and toss them to your dog, supplemented with bones and other table scraps, perhaps even a basin of meat broth. After a sacrifice or banquet, you make a special treat: a lump of ox liver dredged in barley meal and roasted in the coals. Naturally, as a matter of professional courtesy, you share any rabbits, stags, or boars with your faithful hunting partners.

Was such a diet nutritious? The idea that dogs’ principle sustenance must be red, raw meat is a popular misconception. In the wild, canines hunt plant- and grain-eating animals. At the kill, they first eat the stomach filled with predigested grass and cereals, and then the organs, before turning to the flesh. They often gnaw the bones, thus assuring a balanced meal with vitamins and minerals. That Greek dogs thrived on their grain and meat diet is confirmed by Aristotle (b. 384 BC), who remarked that a hard-working Laconian hound usually lived to be 10 or 12 years old, and other breeds reached the age of 14 or 15. Today’s average 50 pound dog can expect the same lifespan as Xenophon’s Laconian hounds.

Should your dog suffer from worms, wheat awns (whiskers) are recommended. But a more aggressive treatment is Artemesia, wormwood, a natural antihelmintic to expel parasitic worms. What if your neighbors complain that your hound keeps them awake at night? You resort to the ancient cure for excessive barking and conceal a live frog in a lump of his food.

About the author: Adrienne Mayor is a Research Scholar in Classics and History of Science, Stanford University. She is the author of “Greek Fire, Poison Arrows & Scorpion Bombs: Biological and Chemical Warfare in the Ancient World” (2009) and “The Poison King: The Life and Legend of Mithradates, Rome’s Deadliest Enemy,” a nonfiction finalist for the 2009 National Book Award.

What do the Rose Bowl and the Ottoman Empire have in common?

By Pamela Toler, W & M Contributor

Marching bands.

Beginning in 1299, the elite corps of the Ottoman armies, the janissaries, used military bands made up of wind and percussion instruments to inspire their troops and terrify their enemies.  (Not that different from a half-time show, right?)  The music they played was called mehter, a stirring mixture of drums, horn and oboe with a distinctive marching rhythm based on the Turkish phrase “Gracious God is good.  God is compassionate.”  Often four to five hundred musicians accompanied the army. Sometimes the music alone was enough to drive enemy forces from the field.

The European troops encountered mehter music during the seventeenth century wars against the Ottomans on Europe’s eastern border. European civilians heard mehter music for the first time when Sultan Suleyman II presented Augustus the Strong of Poland (1670-1733) with a mehter band of his very own.  Europe was fascinated by the new sound; by 1770 most European armies had bands featuring Turkish instruments and fanciful variations of Turkish costumes.

Turkish music also played into the taste for turquerie (otherwise known as “Turkish stuff”) that swept European society in the eighteenth century.  Popular composers, including Beethoven, Haydn, and Mozart, wrote “Turkish” symphonies, ballets, and operas using new percussion instruments borrowed from the Ottomans– bass drums, snare drums, cymbals, triangles, and Turkish crescent (also known as the “jingling Johnny”).  The fashion reached its artistic height in 1777 with Mozart’s Escape from the Seraglio.  The fad for turquerie soon ended, but Turkish percussion instruments found a permanent home in the western symphony orchestra.

In 1826, the janissaries mutinied against Sultan Mahmud II.  They were slaughtered by troops loyal to the sultan and the mehter bands were dispersed.  Today a mehter band is attached to the Istanbul Military Museum.  The band performs several times a week in a specially designed auditorium.  It’s well worth hearing, but take your earplugs.  Mehter bands don’t have an indoor voice.

About the author: Pamela Toler is a freelance writer with a PhD in history and a large bump of curiosity. She is particularly interested in the times and places where two cultures meet and change.  

Steve Jobs and Typography

 

 

By Simon Garfield

On June 12 2005, a fifty-year-old man stood up in front of a crowd of students at Stanford University and spoke of his campus days at a ‘lesser institution’ – Reed College in Portland, Oregon. ‘Throughout the campus,’ he remembered, ‘every poster, every label on every drawer, was beautifully hand calligraphed. Because I had dropped out and didn’t have to take the normal classes, I decided to take a calligraphy class to learn how to do this. I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can’t capture, and I found it fascinating.’

 

At the time, the student, who would later drop out of college, believed that nothing he had learned would find a practical application in his life. But things changed. Ten years after his college experience, that man, by the name of Steve Jobs, designed his first Macintosh computer, a machine that came with something unprecedented – a wide choice of fonts. As well as including familiar types such as Times New Roman and Helvetica, Jobs introduced several new designs, and had evidently taken some care in their appearance and naming. They were named after cities he loved, such as Chicago and Toronto. He wanted each of them to be as distinct and beautiful as the calligraphy he had encountered a decade earlier, and at least two of the fonts – Venice and Los Angeles – had a handwritten look to them.

 

It was the beginning of something – a seismic shift in our everyday relationship with letters and with type. An innovation that, within another decade or so, would place the word ‘font’ – previously a piece of technical language limited to the design and printing trade – in the vocabulary of every computer user.

 

You can’t easily find Jobs’s original typefaces these days, which may be just as well: they are coarsely pixelated and cumbersome to manipulate. But the ability to change fonts at all seemed like technology from another planet. Before the Macintosh of 1984, primitive computers offered up one dull typeface, and good luck trying to italicize it. But now there was a choice of alphabets that did their best to re-create something we were used to from the real world.

 

Chief among them was Chicago, which Apple used for all its menus and dialogs on screen, right through to the early iPods. But you could also opt for old black letters that resembled the work of Chaucerian scribes, London, clean Swiss letters that reflected corporate modernism ‘, or tall and airy letters that could have graced the menus of ocean liners New York. There was even San Francisco, a font that looked as if it had been torn from newspapers – useful for tedious school projects and ransom notes.  IBM and Microsoft would soon do their best to follow Apple’s lead, while domestic printers (a novel concept at the time) began to be marketed not only on their speed but for the variety of their fonts. These days the concept of ‘desktop publishing’ conjures up a world of dodgy party invitations and soggy community magazines, but it marked a glorious freedom from the tyranny of professional typesetters and the frustrations of rubbing a sheet of Letraset. A personal change of typeface really said something: a creative move towards expressiveness, a liberating playfulness with words.

 

And today we can imagine no simpler everyday artistic freedom than that pull-down font menu. Here is the spill of history, the echo of Johannes Gutenberg with every key tap. Here are names we recognize: Helvetica, Times New Roman, Palatino and Gill Sans. Here are the names from folios and flaking manuscripts: Bembo, Baskerville and Caslon. Here are possibilities for flair: Bodoni, Didot and Book Antiqua. And here are the risks of ridicule:

 

Brush Script, Herculanum and Braggadocio. Twenty years ago we hardly knew them, but now we all have favourites.

Reprinted from Just My Type by Simon Garfield by arrangement with Gotham Books, a member of Penguin Group (USA) Inc., Copyright © 2011 by Simon Garfield.