Codex Gigas, illustration of the devil, Folio 290, recto (circa 13th century)
This is also known as The Devil's Bible.
hi class. Pick a post, theme, or idea from Thursday's class and develop it.
Remember: 150 words minimum; be original. Do your own search (Wikipedia); no idle talk going nowhere, no AI, no echo chamber. Avoid repeating what someone else posted unless you take it somewhere else.
Some general points to remember about history:
1- History is about epochs, and epochs are self-contained. Say you want to understand gothic style circa 1224. Why do you see a pointed arch in churches along with pointed rib vaults, flying buttresses, and stained glass windows? First thing, leave your 2024 glasses behind. What works in 2024 is a definite hindrance in 1224. Learn the language, eat the food, smell the air, make friends, learn the rituals & make no judgment. Becoming a 1224 folk yourself is the only way to learn. Surprise! As you go back, you learn 2024 doesn't feel the same anymore.
2- No epochal process is planned by human agency. We're inside the process ourselves and cannot cherrypick. Whatever happens comes in an avalanche already above us. There's so much we carry from ancestors that we can't even begin to fathom.
3- In art and design, THE MARK changes all by itself repeatedly.
4- It's time to think of typeface! All objects have at least two faces; you must find them.
Go ahead.
11 comments:
I never connected the idea of the “mark” with the building capabilities of the ancient Romans, but after discussing the topic last class, it becomes clear that this is exactly what they were trying to do. Ancient Rome’s architecture was not solely designed with functionality in mind, but rather a chance to showcase power, advanced engineering skills, and innovative strategies. Having visited Rome last year, it is clear that certain elements such as the Roman dome, arches, and urban planning initiatives were statements of Rome’s superiority. Unlike cities constructed today which prioritize sustainability (although important) and efficiency, Rome’s building conquests were meant to endure the test of time by leaving a lasting legacy. Roads, bridges, and public buildings weren’t just infrastructure that is imagined how it is now, it was propaganda reinforcing Rome’s dominance. While major cities of the modern age such as New York and Chicago both boast powerful skylines, the overall goal of these buildings does not serve the same purpose as the ancient Romans thought of their architecture.
I fear that this may be a bit of a silly comment but I was truly surprised to see how typefaces evolved over time. From trajan, the typeface of ancient Rome, to the carolingian typeface that was the precursor to the more-modern Latin script we now write with today, each script was so distinct. Usually, when I think of such dramatic evolution I picture it occurring over thousands and thousands of years, but here some of the changes happened in mere centuries. Truly goes to show how the cultural zeitgeist is accelerating at an exponential rate (with internet lingo baffling etymologists). I was also surprised to see that somehow the script became… less legible? The carved texts from ancient Rome often felt much more readable than some of the codexes shown, and I don’t know if it had something to do with the size of the font or if the typefaces themselves were meant to have different effects on the reader.
Herman the recluse (Hermannus Heremitus), made a deal with a demon, to finish his perfect codex; Or at least, that's how one specific legend goes. The reality is demons have existed in nearly every culture, in every region, in every religion. Humans are instinctively drawn to the concept of demons, or more specifically, the personification of ‘evil’ and all things bad. Humans collectively love personifying evilness into singular horrifying entities. Across history, we have externalized our greatest fears, misfortune, struggles, and conflicts to a singular boogeyman we can blame, but rarely seem to equally personify our better qualities. Demons represent an inner human struggle that everyone seems to cope with in various ways. Rather than come to terms with the more bleak aspects of life or the human conditions, humans seem to find peace in the idea that evil is some external entity that can do them wrong, rather than something more internal. Weirdly enough, humans seem to find comfort in an all-powerful evil known as a demon, so much so that its representation has been recreated in almost every society. These evils are universal aspects of our existence, yet we universally attempt to dissociate from them. The idea of a demon is somehow more pleasant than just accepting that evil exists in everything; humans would rather pin blame on something fictional (a demon) than accept that evil can exist in anything anywhere. Maybe the story of Herman the Recluse wasn't unique in its personification of a devil, as it has been repeated throughout history time and time again. Yet, the collective desire amongst all human societies to recreate a devil-like figure is unique to the human condition as a whole.
In Thursday's class, we considered the true art of typography and its connection to ancient history. The personification of the written language is something that I have been considering throughout the week, and one quote, in particular, stood out to me. That was, “Types carry their own souls, some go to heaven, some may not.” This was a difficult concept for me to grasp, however, as I consider it further, I recognize its meaning. A certain font invokes a feeling in people, which causes them to read words a certain way, emphasizing the meaning of the text. Another concept that I appreciated was the understanding of how light flows through a church, which we described as “the light cutting through the particles of dust… as is light cutting through life!” This is something I have always recognized in a church, especially the way that the outside noise of the world quiets down and you get completely consumed by the inside.
^ that was me
The intricacy of writing in the Middle Ages says a lot about values and culture. At a time where food was scarce, disease was ravaging, and the wealth gap was insurmountable, the elaborate 7-step process of the illuminated manuscripts tells us just how much they valued religion and symbolism. It also says a lot about the wealth gap in particular; peasants were likely illiterate, so books were useless to them. This partially accounts for the number of illustrations included but also represents the luxury of education. Further, the only reason anyone found the time to make such elaborate artworks was because they were paid for their time and expertise by those who could had enough to spare. At the same time, the subject matter of many books made them sort of ironic symbols. Despite being almost exclusively accessible to the wealthy, many books focused on themes of death and the inevitability of it all regardless of class. This can be seen in The Dance of Death, and later in Ars Moriendi.
Abigail Crowder
The most interesting part of the last class for me was the model of Rome circa 200 AD. This caught my attention because it was commissioned by Italian Fascist ruler Benito Mussolini right before WWII. The artist who created the 1:1 model of Rome was archaeologist Italo Gismondi, who was born in 1887 in Rome and died in 1974 in Rome. During his long life, in which he lived for 87 years, he worked on his model, Il Plastico, for 36 years. To achieve the highest level of detail, Italo studied the land and architecture as thoroughly as possible to ensure accuracy. The model is a true marvel of design and detail, offering an eye-opening perspective on how advanced Rome was nearly 1,800 years ago. It serves as an excellent way to learn about ancient Rome and the later days of the Roman Empire. The sheer scale of the model allows viewers to grasp the grandeur of the city at its peak. Seeing it in person must be an awe-inspiring experience, bringing history to life in a tangible way.
Over time the evolution of style is evident, and can be even more noticeable in the construction of long-term architectural projects. As discussed in class, the Durham Cathedral was originally meant to be constructed by round romanesque arches and vaults, but through experimentation the cathedral was constructed with pointed arches. This change in construction showcases that people don’t usually make dramatic changes, but that the mark will change itself, evolving overtime. In correlation with fonts it can be seen that little changes, little accidents, add up to big changes over time. For example, the little changes made of half uncials in the British Isles (specifically Ireland) through the Book of Kells. The idea of evolution is usually correlated with biology and the evolution of different types of organisms. However, organisms have life which is why they are able to evolve. I believe that the styles of marks and fonts have such a presence in our life that they evolve with us over time.
“Science is serendipitous…and mistakes make for great discoveries!” This was a line I found compelling, introducing the “mark” as a facilitator of the evolution of design. When looking at the history of (script) design, the mark is characterized by an unforeseeable yet destined sequence of events, which upholds the design’s longevity. This can also be interpreted in the context of architecture with the example of the vaults of Sainte-Croix Abbey, as discussed in class. Though the Durham Cathedral sought to imitate its Romanesque vaults, structural logistics forced the builders to explore other methods that extraordinarily set the new Gothic standard. I believe that the allure of Gothic architecture, looking back today, in itself proves that the mark is alive and has...good intentions? It seems to respond to the challenges or roadblocks humans face that may hinder the process of design and makes it work so that society may move forward. All architectural advancement can be viewed as a necessary response to the natural environment, which also begs the question of how much originality architects play in the process of design. I think that when paired with their education, architects can be like scribes, subconsciously interpreting the mark’s instructions that determine the successful future of architecture (and script) as a discipline. Maybe the ultimate discovery is that things worth anything will come naturally.
I found the Ars Moriendi the most interesting typeface, after researching about it I learned it didn’t just influence religious beliefs, it also shaped how people approached death as a community. The dying person wasn’t alone; family, friends, and clergy all played a role in making sure they passed away in the "right" way. Everyone had responsibilities to help the dying person prepare for the afterlife. This process felt very structured, almost like a legal agreement. The dying were asked specific questions, expected to repent, and had to follow certain steps to secure their salvation. It reflected the strong confessional culture of medieval Europe, where admitting sins and making peace with God was very important. It was like a contract, if the person did everything correctly, they would be saved. If not, their fate was uncertain. This idea of a "good death" was more than personal faith; it was a collective responsibility, shaping how people viewed both life and death.
During class on the 30th as we went through the slides, one thing caught my eye. The model of Rome around 200 AD. This was very interesting to me mainly because I actually recognized a lot of the buildings and landmarks from the images. I got the opportunity to study abroad in Rome last semester and it was really interesting to me to see what the city used to look like compared to how it looks now. One of the landmarks that I instantly recognized was the Tiber River, mainly because I lived right on the other side that the model does not show. I can only imagine what the Colosseum used to look like after it was first constructed and although I’ve seen the modern day version, it must have been quite the sight, especially during that time period. To finish things off, when we started talking more about the specific design elements it all started to connect with the things that I saw while I was abroad and the styles that Rome uses vs other countries.
Davis Gall
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