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Ripon Workhouse Museum in Ripon, England

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Under the English "New Poor Law" of 1834, civil parishes in England were required to join together  to form workhouse  unions with the aim of housing two classes of poor people, the poor and destitute of the areas served by the union, who were given long term, often permanent, but very frugal  accommodation with a requirement  to work 12 hours per day for 6 days a week, and vagrants , just passing through  the district, who were housed for 2 nights, giving a full day for them to provide 8 hours of hard labour in return for food.  Both classes were given a very restricted diet but the vagrants' diet was very frugal and hardly adequate. Essentially prison conditions were imposed for the crime of being poor.

Vagrants were searched for money on admittance and their own clothes were fumigated in an SO2 fumigation cabinet with the vagrants  wearing workhouse  uniform for their period of residence. Those seeking long term residence had to prove both their need and willingness to work and in addition a link to the locality. Without that the "Guardians" of the workhouse would send them on their way with instructions to seek relief in their own neighbourhood, both for economic reasons and as a throwback to the laws which were established to reduce mobility of labour after the Black Death, several centuries earlier.

At Ripon the workhouse for the  permanent  residents  was in a separate,  purpose built, block within the enclosed courtyard  and the vagrants were housed in separate accommodation  in the form of a row of "cells" in one of the wings of the gatehouse block. The main work carried out by vagrants at Ripon was breaking stones to small "pebbles" for road mending and cutting firewood, both illustrated here in the work-yard display.

The main workhouse block also contained  the accommodation  for the Master and his wife the Matron, jointly  responsible  for day to day running  of the workhouse, with the "inmates" housed in separate  single sex wings either side. Separation of the sexes, including  married couples and children, was enforced  rigorously. All these features are starkly illustrated by this fine museum.

Although formally abolished in 1929 many workhouses remained in use until the National Assistance Act of 1948 mainly because they were satisfying an unfilled need.

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Danish Cream Puffs (Vandbakkelser)

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This post is sponsored by Ankarsrum Assistent Original. It also contains affiliate links. If you purchase through these links, I may earn a small commission at no extra cost to you.

Fresh strawberries and whipped cream are one of summer's simplest pleasures, and these Danish Cream Puffs are the perfect way to enjoy them. Light and airy choux pastry shells are filled with juicy strawberries and billowy whipped cream and finished with a dusting of powdered sugar. Elegant enough for a special occasion but easy enough for a casual summer gathering, these cream puffs are a delightful Scandinavian-inspired dessert for strawberry season.

Danish cream puffs on a marble serving plate.

Known in Denmark as vandbakkelser, Danish cream puffs are made from choux pastry, a simple dough of water, butter, flour and eggs that bakes up into light, airy shells with hollow centers perfect for filling. While they can be enjoyed in many different ways, a filling of fresh strawberries and whipped cream is a classic choice during the summer months when berries are at their peak.

Looking for more strawberry recipes? Try my Strawberry Almond Tart, Strawberry Rhubarb Galette or these simple Roasted Strawberries next.

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Why You'll Love this Recipe

  • Fresh strawberries and whipped cream are a classic summer pairing, and these cream puffs let their flavor shine.
  • Choux pastry may seem fancy, but it comes together with just a handful of basic ingredients.
  • These beautiful pastries are ideal for Midsummer celebrations, brunches, showers and other special summer gatherings.

Ingredients

Labeled ingredients for Danish Cream Puffs.

See recipe card for exact amounts and detailed instructions.

Variations

  • Switch up the fruit - Mixed berries or sliced peaches are especially nice.
  • Use Elderflower Whipped Cream in place of the regular whipped cream for a summery touch.

Equipment

I used my Ankarsrum Assistent Original stand mixer fitted with the Premium Beater Set and the stainless steel beater bowl to make the choux pastry and the whipped cream. The Premium Beater Set includes a pair of cookie beaters and oversized balloon whisks, along with the beater housing, and is designed specifically for use with the Ankarsrum stainless steel beater bowl.

The cookie beaters are are sturdy stainless steel beaters designed to handle thicker doughs (and even cold butter) and can easily mix up to 2 pounds of cookie or pastry dough. The balloon whisks incorporate plenty of air into mixtures, making them perfect for whipping cream, egg whites, meringues, and light cake batters.

If you already own an Ankarsrum mixer and stainless steel beater bowl, the Premium Beater Set is a versatile addition that expands what the machine can do for everyday baking.

If you don't own an Ankarsrum, you can make the dough in any stand mixer, but you will need sturdy beaters and a stainless steel bowl to accommodate the hot choux mixture.

How to Make Danish Cream Puffs

Choux paste in a saucepan with a wooden spoon.
  1. Preheat the oven to 400°F. Line two baking sheets with parchment paper.  Combine the water, butter, sugar and salt in a medium saucepan. Bring to a boil over medium-high heat. Remove the pan from the heat and add the flour all at once. Stir with a wooden spoon until a smooth dough forms. Return the pan to medium-low heat and cook, stirring constantly, for 1-2 minutes until the dough forms a ball and a thin film develops on the bottom of the pan.
Choux paste in a mixing bowl.
  1. Transfer the dough to the bowl of a stand mixer (preferably stainless steel) fitted with the heavy duty cookie beaters or a paddle attachment. Mix on low speed for 2 minutes to cool slightly. Add the eggs one at a time, mixing well after each addition. The dough should become smooth, glossy and thick.
Person spooning choux paste onto a baking sheet.
  1. Using a large cookie scoop or spoon, portion 12 mounds of dough onto the prepared baking sheets, leaving a few inches between each puff.
Baked Cream Puffs on a baking sheet.
  1. Bake, one sheet at a time, for 20 minutes. Without opening the oven door, reduce the temperature to 350°F and continue baking for 15-20 minutes more until deeply golden brown and crisp. Turn off the oven, crack the door open slightly and let the puffs sit for 10 minutes. Transfer to a wire rack and cool completely.
Whipped cream in a stand mixer bowl.
  1.   Beat the cream, powdered sugar and vanilla together until medium peaks form.
Cream puff topped with strawberries and whipped cream on a white plate.
  1. Slice the cooled cream puffs horizontally using a serrated knife.  Arrange strawberries over the bottom half of the puff and spoon or pipe whipped cream on top.  Replace the tops.  Dust generously with powdered sugar and serve immediately.

Expert Tips

  • Be sure not to open the oven door while the puffs are baking. It can cause them to collapse.
  • You can bake both baking sheets at the same time, but because you can't open the oven door while they are baking, you can't rotate the pans so the top batch will be darker in color than the bottom batch.
  • Fill the puffs just before serving for the best texture.

Recipe FAQs

Can I make these cream puffs in advance?

The cream puffs themselves can be made up to a day in advance. Simply store them in a tightly sealed container at room temperature until ready to use. I don't recommend filling them in advance, but you could do the strawberries and whipped cream a couple of hours ahead of time and fill them at the last minute.

Can I freeze Danish cream puffs?

Absolutely! These puffs freeze really well. Wait until they are completely cooled and then pop them into a freezer safe bag or other storage container. They will keep for up to 3 months. Let the puffs defrost at room temperature when you are ready to use them.

Recipe

Cream puff filled with strawberries and whipped cream and sprinkled with powdered sugar.
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Danish Cream Puffs (Vandbakkelser)

Light and airy Danish Cream Puffs filled with fresh strawberries and whipped cream make the perfect Scandinavian summer dessert.
Course Dessert
Cuisine Danish, Nordic, Scandinavian
Prep Time 30 minutes minutes
Cook Time 45 minutes minutes
Total Time 1 hour hour 15 minutes minutes
Servings 12 puffs
Author Kristi

Ingredients

For the Choux Pastry:

  • 1 cup water
  • 8 tablespoons unsalted butter cut into pieces
  • 1 tablespoon granulated sugar
  • ¼ teaspoon fine salt
  • 1 cup all-purpose flour
  • 4 large eggs

For the Filling:

  • 2 cups heavy whipping cream
  • 2 tablespoons powdered sugar
  • 1 teaspoon vanilla extract
  • 1 ½ pounds strawberries hulled and quartered
  • 1-2 teaspoons granulated sugar

To Finish:

  • Powdered sugar for dusting

Instructions

  • Preheat the oven to 400°F. Line two baking sheets with parchment paper. Combine the water, butter, sugar and salt in a medium saucepan. Bring to a boil over medium-high heat.
  • Remove the pan from the heat and add the flour all at once. Stir vigorously with a wooden spoon until a smooth dough forms.
  • Return the pan to medium-low heat and cook, stirring constantly, for 1-2 minutes until the dough forms a ball and a thin film develops on the bottom of the pan.
  • Transfer the dough to the bowl of a stand mixer (preferably stainless steel) fitted with the heavy duty cookie beaters or a paddle attachment. Mix on low speed for 2 minutes to cool slightly.
  • Add the eggs one at a time, mixing well after each addition. The dough should become smooth, glossy and thick.
  • Using a large cookie scoop or spoon, portion 12 mounds of dough onto the prepared baking sheets, leaving a few inches between each puff.
  • Bake, one sheet at a time, for 20 minutes. Without opening the oven door, reduce the temperature to 350°F and continue baking for 15-20 minutes more until deeply golden brown and crisp.
  • Turn off the oven, crack the door open slightly and let the puffs sit for 10 minutes. Transfer to a wire rack and cool completely.
  • Make the Filling: Beat the cream, powdered sugar and vanilla together until medium peaks form.
  • Slice the cooled cream puffs horizontally using a serrated knife. Arrange strawberries over the bottom half of the puff and spoon or pipe whipped cream on top. Replace the tops. Dust generously with powdered sugar and serve immediately.

Notes

  • Be sure not to open the oven door while the puffs are baking. It can cause them to collapse.
  • You can bake both baking sheets at the same time, but because you can't open the oven door while they are baking, you can't rotate the pans so the top batch will be darker in color than the bottom batch.
  • Fill the puffs just before serving for the best texture.
  • To store puffs:  Once they have completely cooled, store the unfilled puffs in an airtight container at room temperature for up to 24 hours or freeze for up to 3 months.
 

The post Danish Cream Puffs (Vandbakkelser) appeared first on True North Kitchen.

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Good news—we have extra time before the Sun ends life on Earth

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It’s a bit worrying when a scientific paper begins, “How long will life on Earth survive?” But in this case—a study by Jacob Haqq‐Misra of Blue Marble Space and Eric Wolf at the University of Colorado Boulder—the billion-plus-year timeline under consideration shouldn’t cause you too much existential panic.

The context for this question is that we understand the Sun will brighten as it eventually matures into a red giant that swallows the Earth in a solar furnace. So, where along that 5 billion-year path will life on Earth, in fact, be cooked?

Weathering and the weather

This isn’t just a question of incoming radiation. Among the thermostat-like stabilizing feedback loops in Earth’s climate, the cycling of CO2 through the solid Earth is a major factor over timescales this long. The weathering of silicate rocks at the surface converts atmospheric CO2 into carbonate that ends up on the seafloor, where it can be subducted into the mantle with tectonic plates. (And eventually, it can cycle back out to the atmosphere through volcanoes.)

The weathering of bedrock depends, in part, on temperature. Warmer temperatures and a more active hydrologic cycle mean an increased rate of weathering, which pulls more CO2 out of the atmosphere. That slows rising temperatures. But in this scenario, it could also lead CO2 to fall to extremely low levels—and photosynthesis requires CO2.

This far-future puzzle has been the focus of many model simulations over the past few decades. With a steadily brightening Sun, when does the Earth either get too hot or too CO2-starved for the base of the food chain to survive?

Some of those models have been relatively simple equations. Others have been more complex one-dimensional layer models, representing an ocean and an atmosphere separately in the math, for example. This new study brings a 3D model to the party and uses a pair of scenarios that mark opposite ends of a spectrum.

The difference between the scenarios is based on extreme views of the temperature/carbon relationship described above. That was done in part because the idea that CO2 would eventually fall to very low levels has been challenged recently, based on some evidence of a much weaker relationship between bedrock weathering and global temperature. So in one scenario, the researchers held the planet’s temperature constant (equal to today’s) and let CO2 drop to compensate exactly for the brighter Sun. This is a world where strong weathering acts as a perfect thermostat. In the other scenario, CO2 is instead held constant at a modern value while temperature increases, representing a very weak weathering thermostat.

Too hot to handle

With weak weathering, the world is around 21° C (38° F) warmer 1.5 billion years from now, and it jumps an additional 40° C (72° F) between then and 2 billion years. Even with CO2 remaining at 400 parts per million, those temperatures would wipe out land plants on Earth.

Specifically, the physiological limits of most land plants are crossed by 1.68 billion years, and the rest are toast at 1.87 billion. (Boiling off the oceans and losing our water to space wouldn’t be far behind.)

In the strong weathering scenario, the temperature doesn’t change. But after 1 billion years, CO2 drops to about 34 parts per million, and after 2 billion years it falls to less than 1 part per million. The limit for most land plants is around 150 parts per million, while the much less common C4 plants could survive down to 3–10 parts per million. The latter limit gets hit between 1.35 and 1.64 billion years in.

A few plants, like cacti as well as some marine life, can cheat by using bicarbonate in the water if dissolved CO2 is low. They can probably make it down to 1 part per million. That would buy them a little more time, and they'd make it to about 1.84 billion years.

Two charts showing when model simulations cross thresholds for land plants. Model timelines for the weak and strong weathering scenarios. Temperature in the top plot is in kelvins—a change of 1 kelvin is equivalent to 1 °C. Carbon dioxide in the bottom plot is on a logarithmic scale. (10<sup>1</sup> is 10 parts per million, 10<sup>2</sup> is 100 parts per million, etc.) Credit: Haqq-Misra and Wolf/JGR Atmospheres

That's optimistic?

The, uh, good news about these estimates for the demise of complex life on Earth is that they’re actually a bit more optimistic than most previous studies. That’s down to the 3D model producing a little less warming for a brighter Sun, the expectation that CO2 declines more slowly over time, and a slight expansion of the CO2 range believed to be survivable by plants. Many previous estimates had put life’s expiration date at less than 1 billion years from now.

Obviously, there are a bunch of additional considerations that could significantly alter this story, and the researchers mention a few. If civilization persists long enough to see some of these changes, geoengineering would certainly be an option—like spreading aerosols in the stratosphere to reflect sunlight, for example.

There are even some wilder suggestions out there, like moving Earth’s orbit farther from the Sun or removing some of the Sun’s mass to tame the red giant. (We have a billion years to work on the logistics, after all.)

Less speculatively, evolution could have a say in the physiological limits of Earth’s plants. Any adaptations that expand the range of survivability would extend the timeline.

Ultimately, the point of modeling this kind of thing is not to make a confident prediction. Apart from the simple natural curiosity about what will happen to our world, this is also relevant to wondering about the potential for life on other worlds. The window of time during which life on Earth is possible tells us something about where to look outside our Solar System.

Land plants have been present on Earth for almost 500 million years, and if this new estimate is right, they could stick around for almost 1.9 billion more. As was the case for a few billion years early on, microbial life might again have the place to themselves for a while after that.

JGR Atmospheres, 2026. DOI: 10.1029/2025JD045586 (About DOIs).

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Fox’s $22B Roku acquisition aims to expand its reach into smart TVs, advertising

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Fox Corporation has agreed to buy Roku Inc. for $160 per share, an approximate enterprise value of $22 billion, the firms announced today.

The acquisition would unite Fox’s broadcast channels, including Fox, Fox News, Fox Business, and FS1, as well as its streaming businesses, including Tubi, a free ad-supported streaming television (FAST) platform that Fox bought in 2020, with Roku’s own FAST service, The Roku Channel, and Roku’s streaming hardware business, including its streaming sticks and smart TVs. Roku says it has 100 million households using its platform.

The most valuable part of Roku’s business isn't its hardware, which lost $19.1 million in the quarter ending March 31, 2026, but its the operating system (Roku OS) and advertising business. In that same quarter, Roku’s advertising and subscriptions business posted a gross profit of $584.1 million, with the advertising business pulling in $371 million in revenue. The COVID-19 pandemic helped Roku become profitable in 2021, but the company didn’t see annual profitability again until 2025.

The planned merger aims to help Roku scale and maintain profitability more easily by enabling Roku “to execute on our strategy faster than we would otherwise by ourselves, even though we’re doing extremely well,” Anthony Wood, Roku’s CEO, said during a call with investors today.

“Fox and Roku are committed to continuing to operate Roku as an open, partner-friendly platform and to the continued ubiquitous distribution of Fox content. On a pro forma basis, the combined company will become the third-largest player in US television by share of viewing,” today's announcement said. The stat seemingly refers to Nielsen's data for "aggregated view of total TV usage by media company" in March. The top-viewed distributors were YouTube (13.2 percent), The Walt Disney Company (10.5 percent), and NBCUniversal/Versant (8.4 percent). Fox was in fourth place (7.2 percent), and The Roku Channel was in ninth (3 percent).

Credit: Nielsen

Meanwhile, Fox would gain a new path toward ad sales and user tracking through The Roku Channel and Roku OS, which has a notable amount of ads. The merger would also help Fox expand beyond its legacy business and further into streaming, giving it more appeal among advertisers.

“Advertisers are … seeking large audiences, improved digital targeting and more consistent measurement across platforms,” Lachlan Murdoch, Fox’s CEO and chair executive, said during today’s investors call. “These converging dynamics across viewing, aggregation, and advertising have fueled the rapid growth of connected TV, and we are still in the early stages of this transition."

Should the deal close, Fox shareholders are expected to own about 73 percent of the merged company, and Roku shareholders are expected to own about 27 percent. Fox would take on $8 million in debt to pay for the Roku acquisition, and the companies expect to reduce combined expenses by $400 million.

Under the acquisition, Roku’s Wood would be on Fox’s board of directors and have “an ongoing role at the combined company,” the announcement said without providing more detail.

The acquisition remains subject to closing conditions, including regulatory approval and approval from Fox and Roku’s shareholders. It’s expected to close in the first half of 2027.

The announcement marks more consolidation for the streaming industry, which, broadly, has been challenged to reach and maintain profitability while providing always-on, on-demand service at lower prices than cable. With other deals, like Paramount buying HBO Max and the rest of Warner Bros. Discovery and Disney buying Hulu, we expect to see even more mergers and acquisitions, especially as legacy media and smaller streaming services look for ways to buoy profits.

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UK to ban social media for kids under 16, may impose overnight curfews

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The UK government announced today that it will ban social media for all kids under the age of 16 in rules expected to take effect in spring 2027. The ban will apply to platforms including Snapchat, TikTok, YouTube, Instagram, Facebook, and X.

"We’re going further than any country in the world by banning social media for under-16s and putting wider protections in place to give kids their childhood back," Prime Minister Keir Starmer said in the announcement.

In addition to the ban on social media, Starmer's government said it will impose "world-leading blocks on harmful functions such as livestreaming and stranger communication with children for under-16s... Restrictions on these functionalities will also be on by default for 16- and 17-year-olds to prevent a cliff-edge at 16." The livestreaming and stranger-contact rules would apply to a range of services, such as online gaming.

"The government will also be looking in more detail at overnight curfews and breaks in infinite scrolling for under-18-year-olds and will set out more detail in July," the announcement said. The planned social media ban will not apply to messaging services like WhatsApp and Signal.

Another planned change is that "so-called AI ‘romantic companion’ chatbots—designed to simulate sexual relationships or roleplay with users—will have to enforce a minimum age of 18. Similar intimate functionalities will be restricted for under-18s on AI chatbots more widely," the UK government said.

Age checks

Platforms will be ordered to verify users' ages. Communications regulator Ofcom will be tasked with determining what kinds of age-verification systems will be required to comply with the rules. The ban decision was made after a consultation that drew responses from 116,000 people.

"Ofcom will set out in the coming months different options for effective forms of age assurance for proving whether someone is over 16 that are accurate, robust, reliable, and fair," the government said in a fact sheet on the rules, noting that facial recognition may be part of the age-check scheme. Adults can avoid the new age check on their existing social media accounts if they've already proven their age in another way.

The UK Online Safety Act already requires age checks for porn and other sensitive content. When it took effect last year, it appeared that many people in the UK used VPNs (virtual private networks) to circumvent the age verification.

VPNs themselves can create privacy and security problems. "The VPNs that children are incentivized to use pose privacy and security risks. Bad actors in the VPN space often trade in the sensitive browsing data that these tools can gather," said the Center for European Policy Analysis, a research group whose funders include Google and Meta.

UK modeled rule on Australia ban

The UK government today said the social media ban will use the same model as Australia, where online platforms must pay financial penalties if they fail to block underage users. Social media companies criticized the Australian rules but agreed to comply.

YouTube said in a statement to media outlets today that "blanket bans push kids out of such curated, supervised, beneficial experiences and towards anonymous, less-safe services.” Meta said the similar rule in Australia showed that "bans risk isolating teens from online communities and information, and driving them to unregulated alternatives that lack built-in protections and parental controls."

The Electronic Frontier Foundation has said that age-verification requirements harm privacy by requiring more collection of personal information from users of all ages. Banning social media also prevents kids from accessing useful content, the group said.

"Beyond being spaces where people can share funny videos and engage with enjoyable content, social media enables young people to engage with the world in a way that transcends their in-person realm, as well as find information they may not feel safe to access offline, such as about family abuse or their sexuality," the EFF said in March as the UK discussions were progressing. "In severing this connection to people and information by banning social media, politicians are forcing millions of young people into a dark and censored world."

Liberal Democrats prefer age-rating system

MP Victoria Collins of the Liberal Democrats party said the proposal is "woefully inadequate." The UK should instead force tech companies to address addictive algorithms and harmful content, she said.

"That's why the Liberal Democrats put forward a social media age-rating system that, instead of a blanket ban, puts the onus on the social media giants to clean up their act and have safety by design for all of us," she said.

MP Nigel Farage, leader of the right-wing Reform UK party, said "the social media ban is well-intentioned" but is "unlikely to work given the mass adoption of VPNs. It will also mean the introduction of Digital ID via the back door. The real answer here is handsets for children with limited features."

Conservative Party leader Kemi Badenoch took credit for Starmer's Labour Party deciding on an under-16 ban. "It is fantastic news that the government has finally woken up to the dangers of social media for young people... Huge credit goes to MP Laura Trott and my Shadow Cabinet for relentlessly fighting for this. Conservatives welcome this latest Labour U-turn, and will continue to work for the best implementation of the policy," Badenoch said.

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Cellini’s Perseus & the Violence of Renaissance Art

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Inventing the Renaissance comes out in one month in the UK (2 months USA), so I’m going to try to post daily this month on social media to share cool pictures and stories of things related to the book. I thought I would also gather them here, posting them sometimes as individual posts, sometimes gathering a few together when they’re shorter. So to start here are some notes on Benvenuto Cellini’s stunning Perseus, my pick for a cover illustration (thank you, editors!)

Left: A bronze statue of naked Perseus, beautifully muscular and youthful, holding aloft the severed head of Medusa from whose neck gore is dribbling in streams. He wears a beautiful classical helmet with wings on it, and holds a curved classical sword. In the background one can see the arched roof of the Renaissance loggia above him.  
Right: An orange book cover showing the same statue in much the same position, though one can also see Medusa's headless body at Perseus's triumphant feet, her neck streaming gore. The title "Inventing the Renaissance: Myths of a Golden Age" is superimposed over the statue, with the word "the" pierced by the sword.

For me, this statue personifies the Renaissance because, by standing opposite Michelangelo’s David by the Palazzo Vecchio, it’s part of a suite of famous statues every one of which commemorates some big & often violent tumult. When we meet famous Renaissance art we often hear about the artist but not the context. The severed head is there for a reason!

Photograph of the same bronze statue of Perseus from behind. To the lower right Michelangelo's David stands cattycorner to it, with the Medieval stone wall of Florence's Palazzo Vecchio behind it. A balcony above is crowned by the flags of the European Union, Italian Republic, and Florentine Republic.

Cellini lived in the rocky decades when (after the death of the famous Lorenzo de Medici) the Medici family had been kicked out and strove to return and seize control of the city by force. Duke Cosimo I took over in the 1530s, and commissioned the Perseus in the 1540s right after a bloody revolt.

A detailed image of Perseus's torso as he holds up the severed head. You can see the name of the sculptor "Benvenuto Cellini" written on a strap which goes diagonally across Perseus's naked chest, holding his scabbard - the helmet and scabbard are the only clothes he wears. A pigeon sitting on the sword is humorously positioned just in the right spot to hide the penis.

Perseus’s face deliberately resembled the then-teenaged duke, and Florence had long displayed corpses of traitors that square, often hung from battlements, sometimes as heads on pikes. When the statue was unveiled Medusa’s head in the duke’s hand represented very real & recent rebel heads! Detail from Bronzino's painted portrait of Duke Cosimo I, his bold straight nose and face shape resembling the face of Perseus.

Detail of Perseus's face.

A zoomed-in shot of the severed head of Medusa. Her eyes are closed as if in sleep, and her face beautiful, her hair snakes curled up like the beautiful classical curls common on ancient statues. Bronze streams of gore come down from her neck as if she was just killed.

To increase the gore factor, the statue is positioned at the edge of a roof, so when it rains Perseus remains dry, but water drips down the gore streaming from her head, from the sword point, and from her severed neck!

A photograph of the same statue angled from below shows how the sword, severed head, and the body's neck streaming gore all stick out forward from the body, so they can be in the rain while the body is under the roof above.

To hammer the message home, a relief at the bottom shows Perseus rescuing Andromeda (a personified Florence). In the top right corner a cavalry battle (which does not appear in the Perseus story!) shows the defeat of the rebels, as Perseus “rescues” Florence from the “dragon” of republican rule.

A photograph of the square bronze frieze described in the main text: in the middle Andromeda sits on a stack of stones which look conspicuously like the stones the Palazzo Vecchio itself is made of (the seat of government and symbol of the city). Above her, Perseus flies down with upraised sword to slay the sea dragon which threatens her from the bottom left. To the right, mourning citizens watch the dramatic scene, but above and behind them men on horses clash and the pikes and halberds of German-style soldiers of the era the statue was made stick up above the crowd.

In the base, Jupiter, Perseus’s father, threatens to strike anyone who harms his son, a warning of reprisals from Cosimo’s allies, especially the Emperor whose Landsknecht knights Cosimo quartered under the very roof where the statue stood! Giving it its current name “Loggia dei Lanzi.”

Another angle of the same statue from below shows the elaborate white base covered with decorations, and at the center a niche with a small statue of Jupiter, holding lightning aloft to threaten the viewer.

When we celebrate Renaissance art w/o acknowledging the terror & violence that shaped it, we repeat the myth of a bad “Dark Ages” & Renaissance “golden age” a very potent piece of propaganda, which is what Inventing the Renaissance is about, and it has plenty more Cellini anecdotes, he was a wild man who lived a wild life, documented by his book which I will always call “The Implausibly Interesting Autobiography of Benvenuto Cellini.”

I hope you’ll enjoy more tidbits like this in coming days!

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