M.J. Rose

The absolute beauty of a work in print…

From Open Culture,

How Illuminated Medieval Manuscripts Were Made: A Step-by-Step Look at this Beautiful, Centuries-Old Craft

“What place does the paper book have in our increasingly all-digital present? While some utilitarian arguments once marshaled in its favor (“You can read them in the bathtub” and the like) have fallen into disuse, other, more aesthetically focused arguments have arisen: that a work in print, for example, can achieve a state of beauty as an object in and of itself, the way a file on a laptop, phone, or reader never can. In a sense, this case for the paper book in the 21st century comes back around to the case for the paper book from the 12th century and even earlier, the age of the illuminated manuscript.

Bookmakers back then had to concentrate on prestige products, given that they couldn’t make books in anything like the numbers even the humblest, most antiquated printing operation can run off today…”

Here’s a video: “In this episode of How To Make Everything: Book — Andy expands his repertoire of writing utensils by making quill and learning how to use it. Along the way he discovers how this one tool still impacts the way we write today.”

Read more (and see more video!), here.

It’s Mardi Gras season!

Darwin as an ass costume designed by Charles Briton for the “Missing Links” theme, Mistick Krewe of Comus, 1873: Carnival Collection, Louisiana Research Collection, Tulane University — Source.

From The Public Domain Review,

Illustrating Carnival: Remembering the Overlooked Artists Behind Early Mardi Gras

For more than 150 years the city of New Orleans has been known for the theatricality and extravagance of its Mardi Gras celebrations. Allison C. Meier looks at the wonderfully ornate float and costume designs from Carnival’s “Golden Age” and the group of New Orleans artists who created them.

“On March 6, 1889, the New York Times breathlessly reported on the recent Carnival spectacles in New Orleans. The Krewe of Rex’s pageant, themed around “Treasures of the Earth”, included a “Crystal” float “attended by figures in gorgeous costumes and prisms by the thousand”, and a “Diamond” float featuring “a rocky diamond dell” through which flowed “limpid streams where nymphs sported and played with the gems”. The Krewe of Proteus, meanwhile, dazzled with their “Hindoo Heavens” pageant, where in one scene appeared Agni “God of Fire” riding a ram that “strides the flames, attended by the fire sprites.” This opulent, and highly exoticized, interpretation of South Asian religion concluded with a tableau where “Vishnu, under the guise of a horse with silver wings, shatters the earth with his hoof and rises to the celestial abode.”

The modern American Mardi Gras owes much of its bombastic revelry to this late nineteenth-century “Golden Age” of Carnival design. From the invitations to the costumes to the hand fans carried by spectators, artists designed entire identities for each Krewe (a group that organizes a Carnival event). Carnival and its culminating day of festivities — Mardi Gras — was brought to the Louisiana area by the French in the late seventeenth century. Mardi Gras as it’s celebrated today is often linked to the Mistick Krewe of Comus, an Anglo-American group which in 1857 organized a debut parade themed “The Demon Actors in Milton’s Paradise Lost”. It was a departure from previous Carnivals that were more informal and tied to the Roman Catholic community. Following the Civil War, new Krewes emerged, each attempting to outdo the others with increasingly elaborate wood and papier-mâché floats pulled by teams of horses. One year it might be Medieval legends coming to life on the streets, the next flying monkeys of Chinese mythology terrorizing the crowds…”

For all of it (so many amazing illustrations!), click here.

As you know, we love scents. Perhaps this little one-of-a-kind spot is worth a field trip?

The perfume organ holds hundreds of natural perfume oils. (Bianca Taylor/KQED)

From KQED,

New Museum in Berkeley Worships the Art of Smell

By Bianca Taylor

“The first thing I notice about the Aftel Archive of Curious Scents is that it doesn’t smell.

Mandy Aftel, the museum’s founder and the author of “Essence & Alchemy: A Natural History of Perfume,” says this is not an accident.

“I think people are worried that it will be very smelly like a department store,” she says.

Aftel tells me that the natural oils in her perfumes are not as pungent and long-lasting as the synthetic oils that you’d find at a makeup counter.

The Aftel Archive of Curious Scents was founded as a way to share her love of natural fragrance with the world. The small museum is in a garage behind her house in Berkeley, just over the fence from Chez Panisse…”

For the rest, and a video, click here.