When archaeologists uncovered four ancient ring-shaped fortresses in Denmark in the 1930s, the find profoundly changed the way they thought about the Vikings that built them. Rather than mindless marauders, Vikings in the Middle Ages must have been a complex, technologically advanced people to build these fortifications. Now, Danish archaeologists have described a fifth ring fortress—the first such discovery in more than 60 years—revealing even more about these architecturally gifted warriors.
The new fortress, called Borgring, was found principally using an aerial, laser-based surveillance method called LIDAR, which returns an extremely high-resolution 3D ground map. It’s located on the Danish island Zealand, south of Copenhagen. The stronghold is a perfect circle with an outer diameter of 144 meters, and has four main gates crisscrossed by wood-paved roads. Read more.
Jane Austen read widely in the classics of her day, including the famous, Shakespeare and Milton, and the forgotten. Here are some of the popular books she probably read. The year given is the date of publication, not when Jane read those books. An asterisk denotes known favorites. Remember Jane lived from 1775-1817 and published between 1811-1817. Links are to free online editions.
Gerhard Emmoser, Celestial globe with clockwork, 1579. Partially gilded silver, gilded brass (case); brass, steel (movement). Germany.
Exhibition: Making Marvels: Science and Splendor at the Courts of Europe. The Metropolitan Museum of Art, New York, November 25, 2019–March 1, 2020
Between 1550 and 1750, nearly every royal family in Europe assembled vast collections of exquisite and entertaining objects. Public spending and the display of precious metals were expressions of power, and possessing artistic and technological innovations conveyed status. In fact, advancements in art, science, and technology were often prominently showcased in elaborate court entertainments that were characteristic of the period.
One of the most striking spaces in the Mansion, the dining room is part of the original house, built in 1734. Over the years, the room underwent a series of renovations. While Washington was away commanding the Continental Army in 1775, it was updated under the supervision of his cousin Lund Washington. In 1785 striking verdigris-green paint was added. Washington believed the color to be “grateful to the eye" and less likely than other colors to fade; an overcoat of glaze further intensified the color.
In 1775 Washington decided to install an elaborately decorated plaster ceiling and add plaster ornaments above the fireplace. He hired an expert plasterer, identified simply as the “Stucco Man,“ who spent five months completing the hand-tooled ceiling. A renovation in 2001 uncovered some of his original pencil drawings on the ceiling laying out the design.
A selection of eighteenth-century Georgian mourning jewelry. Descriptions in the captions or under the cut.
1] 18 karat gold finished in black enamel. Inscribed with “Bryan Benson Esq: ob: 14 Oct: 1758 aet: 84”
2] Gold square pin with pearl border, inset with an enamel skeleton.
3] Oval brooch with a painted panel depicting a mourning man, standing next to weeping willows and leaning on a podium topped by an urn. The podium reads “I mourn the loss of two dear relations.”
4] Gold pin with pearl border, inset with ‘lover’s lips’ design.
5] Gold ring, enameled in black, with a raised gold inscription “Martha Greswold, Obit Dec 8 1755 AE 59.”
6] Gold ring with hair fashioned into a sheaf of wheat on a mother-of-pearl background. The band is black enameled and inscribed with “John bridge OB:3 Oct 1779 AE:53”
7] Ring with a painted panel of a woman in mourning seated near a tomb and two doves. The panel is surrounded by blue enamel, bordered by pearls.
8] A white enamel ring with an urn—made with the deceased’s hair—on a circular bezel. The band is inscribed “J.C OB April 7 1768 17 Days”
9] Gold ring with black enameling, engraved with “R Dunn ob 28 Jan 1731, aet 46”
10] Memorial pendant with a painted scene featuring a mourning women near an urn and weeping willows. Above her is a cherub holding a banner which reads “Affection Weeps Heaven Rejoices.” The painted scene is surrounded by a black enamel border with a sun design. On the back is a ribbon and bow design, over a blue background, with the dedication “LC ob 2 Feb 1794 aet 77.”
Steel Buttons/ Coup de Bouton- Satire 5454 Steel Buttons, published by W Humphrey 29 April 1777 Making Fun Of The Rich and Over Dressed~
A man (left) and woman (right), dressed in the height of the fashion, meet one another, walking in a park indicated by two trees. Rays of light spread from the large buttons on the man’s coat and strike the face of the lady, who falls back dazzled, lifting her arms as if to ward off the blaze. The buttons appear to be of cut-steel or silver with incised lines and a beaded edge, He wears a sword and carries a tasselled cane under his left arm. His shoes have large Artois buckles. The lady wears the enormous pyramid of hair decorated with curls then fashionable, on its summit ribbons, feathers, etc., which appears to be a hat. She holds a fan and wears a nosegay. Her dress has the tight waist, and inflated draperies over a comparatively narrow petticoat supported by a ‘cork rump’, Reproduced, Paston, Pl. xxvi. 29 April 1777
Watch with a Case Representing a Peony - Unknown Swiss Artisan, 19th Century Gold, gilded silver, painted and basse-taille enamel, pearl, Diam: 2 3/8 in. (6 cm)
This charming watchcase takes the form of a peony. The gold case was first enameled in white, following this colored enamel was fused over the top to create a naturalistic effect of unfurling petals, which are outlined in pearls. To represent the green leaves at base of the flower, another enameling technique, called basse-taille, has been used. Here, the gold was engraved to imitate veins that show through the translucent green enamel which was applied over the top. [x]
Burqa with Footed Trousers - Unknown Afghanistan Artisan, c. 1850
In 19th-century Iran and Afghanistan, Muslim women were usually fully veiled when they went out in public. They wore an outer layer over their indoor clothing and covered their faces. In Iran, this was often a sheet of dark blue or black textile (chador) worn with a white face-veil (ru-band) attached separately. This white cotton burqa from Afghanistan however, combines both elements. It has embroidered openwork over the eyes. Women would have worn the burqa with matching loose-footed trousers (chaqchur), with their skirts tucked inside. This outfit was worn with heeled slippers or boots. [x]
