150,000 Hearts Representing Lives Lost to Coronavirus in the UK Line the COVID Memorial Wall in London
Nearly 500 meters of small, red hearts will soon cover an expanse of concrete facing the River Thames in London. Now dubbed the National COVID Memorial Wall, the poignant display publicly commemorates the 150,000 lives lost to the coronavirus pandemic in the United Kingdom so far. Each heart represents one victim, with short messages of grief, love, and remembrance scribed by loved ones in their centers. It takes about ten minutes to walk by the entirety of the project, which serves as a staggering reminder of the virus’s devastation.
Coordinated by COVID-19 Bereaved Families For Justice, the two-meter-high wall is situated between the Westminster and Lambeth bridges, opposite the Houses of Parliament. According to The Guardian, Matt Fowler helms the ongoing project, which he began a few weeks ago by painting 15,000 hearts on the facade. His father died from the virus last April. “When you see all the hearts and think what each one represents, it’s absolutely frightening,” Fowler says.
Organizers still are raising money for supplies to complete all 150,000 hearts—although official government statistics currently reflect 149,000 deaths, which is the largest loss in Europe—that volunteers will continue to paint to account for all victims. Talks are also in the works about preserving the memorial to ensure that it’s a permanent fixture in London.
This past weekend, photographer Henri Calderon captured images for Colossal that document the memorial’s progress, which you can see below.
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Kansas City, Missouri-based designer Kearra Johnson of Studio LO describes her standard 54-card deck as anything but traditional: it’s revolutionary. On one side of each playing card is a raised fist, a symbol that’s synonymous with the fight against oppression around the globe. But on the K, Q, and J of all four suits are portraits of ground-breaking Black icons who have profoundly impacted history, from Michelle Obama and Thurgood Marshall to Malcolm X and Rosa Parks. “I wanted to go with the powerful figures we’ve all learned about growing up,” Johnson tells Colossal. “The ones who drove change, and the ones who we are familiar with, but also ones who aren’t as traditional as others. Those features range from Oprah Winfrey to the man with the dream, MLK Jr.”
The concept for the Revolution Card Deck was born out of a class project while the now 22-year-old designer was a student at the University of Missouri. She created a few physical decks after a professor asked to purchase some as gifts, a request that spurred Johnson to print more. Since the project was featured on both CNN and NPR, she’s sold hundreds of decks, which will remain a fixture of Studio LO’s inventory and are now available in the Colossal Shop. You also can follow Johnson’s activism-focused designs on Instagram.
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Nature's Palette: A New Book Expands the Landmark Guide to Color for Artists and Naturalists with 800 Rich Illustrations
Prior to the proliferation of photography-based reference guides, naturalists and scientists relied on elaborate taxonomic descriptions to identify flora and fauna. One of those invaluable materials was Werner’s Nomenclature of Colours, a universal catalog originally arranged by German geologist Abraham Gottlob Werner in 1814 and updated with more detail by Patrick Syme just a few years later.
The rich volume, which was the preeminent guide for artists, zoologists, botanists, and others working with pigments and the natural world throughout the 19th Century, is filled with hundreds of simple swatches and notes on where the various shades can be found around the globe. The head of a golden pheasant, for example, is King’s Yellow, while Hepatica flowers are Berlin Blue and some speckles in iron ore are Greyish Blue.
A forthcoming volume published by Princeton University Press celebrates the 200th anniversary of the chromatic catalog with a 288-page expanded edition. Introduced by Patrick Baty, Nature’s Palette: A Color Reference System from the Natural World pairs Syme’s 110 simple swatches with more than 800 illustrations of the animals, plants, and minerals detailed in the descriptions. The resulting book is a comprehensive visual compendium that ranges from large renderings of red coral to full-page charts spanning fine-grained marble to smoky quartz.
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After spending more than a century in a private collection, one of Vincent van Gogh’s artworks has been shown to the public for the first time since the Dutch artist painted it in the spring of 1887. “Street scene in Montmartre (Impasse des Deux Frères and the Pepper Mill)” depicts a couple walking on a windy day in front of an entertainment hub in Paris. Full of color and vitality, the landscape marks van Gogh’s turn to his distinctive Impressionist style.
Prior to being put up for auction, only a small, black-and-white photograph taken in 1972 existed of the painting that’s reminiscent of some of the artist’s other works. The lively street is thought to be the same as that in “Impasse des Deux Frères,” which currently hangs at the Van Gogh Museum in Amsterdam, and similarly depicts a mill and flags promoting the cabaret and bar through the gates. According to The Art Newspaper, there’s speculation about how the family obtained “Street scene in Montmartre,” considering many of van Gogh’s artworks at the time were gifted to his brother, Theo.
Pending COVID-19 precautions, the work is slated for short exhibitions in Amsterdam, Hong Kong, and Paris throughout March.
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Three centuries after it was penned, the contents hidden inside a Renaissance-era letter plucked from a trunk at The Hague are finally readable. The correspondence, which we now know was likely spurred by questions about an inheritance, was part of a larger collection of nearly 600 letterlocked notes, a complex method that involves meticulously folding, rolling, tucking, and adhering the paper into its own envelope. Prior to the advent of other sealing practices, this security measure ensured that no one transporting the note became privy to its contents.
According to an article in Nature, a group of MIT researchers, who work as Unlocking History, digitally unraveled the letter, which otherwise would have to be opened by cutting through the paper, damaging the object and potentially leaving it unreadable. Instead, they employed a particularly sensitive X‐ray microtomography scanner designed for dental practices, including mapping the exact mineral content of teeth. After scanning the paper, researchers constructed 3D models alongside an algorithm built to determine specific folding patterns, allowing them to open the note without physically altering the artifact.
Dated July 31, 1697, the letter contained a request for a death certificate from a man named Jacques Sennacques to his cousin Pierre Le Pers, who lived at The Hague. “His request issued, Sennacques then spends the rest of the letter asking for news of the family and commending his cousin to the graces of God,” researchers said. “We do not know exactly why Le Pers did not receive Sennacques’ letter, but given the itinerancy of merchants, it is likely that Le Pers had moved on.” It’s unclear why this letter or the hundreds of others, which are written in Dutch, English, French, Italian, Latin, and Spanish, never reached their recipients.
Head to Vimeo to watch Unlocking History unfold replicas of infamous and fictional correspondence—the collection spans from Mary Queen of Scots to Harry Potter to Beethoven—and dive further into the practice on the group’s site, where you’ll find folding guides, a lengthy history, and an entire archive of discreet missives. (via Science Alert)
Update: This article originally stated that the letter was written six centuries ago, not three.
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Developers of an apartment building in Nîmes, France, had to halt construction last month when archaeologists discovered an opulent tiled floor that once blanketed a Roman villa, or domu. Dating back to 1-2 A.D., the checkered design is comprised of marble from multiple empirical provinces that’s inlaid into the foundation, a style called opus sectile that was prevalent during ancient times. Spanning multiple feet, the multi-colored pattern is thought to occupy what once was a reception area.
During their dig, archaeologists also uncovered plaster sheets that had caved in on the impeccably preserved tiles featuring classic frescoes on red and black panels. Lines score the back of the decorative pieces, which would have helped them adhere to the earthen walls. Other findings indicate that this domu, along with another nearby, were particularly lavish and featured a private bath, a concrete floor speckled with decorative gemstones, and a large central fountain made from Carrara white marble. One room even had remains of hypocaust heating, an inventive system that sent hot air underneath the flooring to warm the home. (via The History Blog)
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Editor's Picks: History
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