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<v Speaker 1>Welcome. This is Marcia for Radio I and today I

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<v Speaker 1>will be reading National Geographic History Magazine. As reminder, RADIOI

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<v Speaker 1>is a reading service intendient for people who are blind

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<v Speaker 1>or have other disabilities that make it difficult to read

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<v Speaker 1>printed material. Please join me now for the first article,

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<v Speaker 1>titled The Tragic End of Hypatia of Alexandria by Clelia

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<v Speaker 1>Martinez Maza. In eight fourteen four fifty one, a mob

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<v Speaker 1>of Christian fanatics attacked and murdered the philosopher Hypatia of Alexandria.

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<v Speaker 1>That at least is the traditional story. But taking a

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<v Speaker 1>closer look, does a strictly religious motive hold up. Hypatia

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<v Speaker 1>reigned as not only the greatest philosopher of her native

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<v Speaker 1>Alexandria in the late fourth and early fifth centuries a d.

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<v Speaker 1>But also as one of late Antiquity's greatest thinkers. These

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<v Speaker 1>feats alone would merit sufficient preservation of her name through

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<v Speaker 1>the ages, yet this is not history's account. Instead, Hypatia

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<v Speaker 1>is remembered mostly for her earth murder in eighty four

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<v Speaker 1>fifteen at the hands of a fanatical Christian mob. Contemporaneous

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<v Speaker 1>sources recount the murder and detail the Christian authors Socrates, Scholasticus,

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<v Speaker 1>and John of Nikiu, as well as pagan authors including

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<v Speaker 1>the Greek neoplatonist philosopher Damascius, agree in their descriptions of

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<v Speaker 1>her death. She was forcibly dragged from her chariot in

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<v Speaker 1>Alexandria and brought to a church called Caesareum. There she

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<v Speaker 1>was stripped, naked, flayed, and brutally murdered. After dismembering her body,

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<v Speaker 1>the mob burned her remains. Other accounts state she was

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<v Speaker 1>giving a lecture when the mob found her, and after

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<v Speaker 1>taking her to the church, she was dragged through the streets. Cyril, Patriarch,

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<v Speaker 1>archbishop of Alexandria, plotted her murder and ordered it carried out.

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<v Speaker 1>Whichever version is more accurate, it has long been believed

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<v Speaker 1>she was assassinated by the rabble of Christian fanatics for

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<v Speaker 1>her philosophical beliefs, that is, she didn't support Christianity in

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<v Speaker 1>a world in world which Christians and Pagans were at odds.

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<v Speaker 1>But there's more to the story. Ancient Alexandria at the

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<v Speaker 1>time of Hypatia's birth around eighty three sixty, the important

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<v Speaker 1>cultural intellectual center of her native Alexandria was Waning, founded

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<v Speaker 1>by Alexander the Great in three thirty one BC. This

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<v Speaker 1>great city was the site of the Pharaoh's Lighthouse, one

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<v Speaker 1>of the ancient world's Seven Wonders, and the Musayan, which

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<v Speaker 1>included the famous Library of Alexandria, said to have served

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<v Speaker 1>as a training ground for the ancient world's best writers, doctors, scientists,

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<v Speaker 1>and philosophers. After Julius Caesar conquered Alexandria in forty eight

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<v Speaker 1>BC and burned part of the city's great library, Alexandria

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<v Speaker 1>began a slow decline. In AD three sixty four, the

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<v Speaker 1>Roman Empires split into and Alexandria remained in the eastern portion,

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<v Speaker 1>controlled by Constantinople modern Istanbul. Around this time, disputes erupted

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<v Speaker 1>between the cities. Christian Denys, one ancient writer, noted that

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<v Speaker 1>there were no people who loved to fight more than

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<v Speaker 1>those of Alexandria. Then, in AD three eighty, Emperor Theodosius

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<v Speaker 1>the First declared Christianity the official religion of the Roman Empire,

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<v Speaker 1>including Alexandria, mandating punishment to non believers. Tensions rose between

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<v Speaker 1>Christians and non Christians. Against this backdrop of religious and

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<v Speaker 1>political strife, Hypatia received an excellent education under the guidance

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<v Speaker 1>of her father, the renowned mathematician and astronomer Theon, who

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<v Speaker 1>taught at the Mousayon. He introduced her to a wide

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<v Speaker 1>range of subjects, including mathematics, astronomy, philosophy, and literature. Early on,

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<v Speaker 1>Hypatia demonstrated exceptional intellectual abilities and a passion for learning.

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<v Speaker 1>She delivered detailed commentaries on the great works of mathematics

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<v Speaker 1>and astronomy that had been produced in the Alexandria centuries

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<v Speaker 1>earlier in the times of the Ptolemies three o five

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<v Speaker 1>PC to eighty thirty. However, it wasn't Hypatia's talent for

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<v Speaker 1>mathematics and astronomy, or even her inventions that had the

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<v Speaker 1>greatest impact. She would earn renown. Primarily as a philosopher,

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<v Speaker 1>Hypatia espoused a school of thought known as Neoplatonism, re

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<v Speaker 1>interpreting the ideas of ancient Greek philosopher Plato. This teaching

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<v Speaker 1>emerged in the third century a d combining spirituality in science.

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<v Speaker 1>It applied mathematics and astronomy to philosophy as a way

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<v Speaker 1>to understand the universe and the individual's place in it.

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<v Speaker 1>These scientific disciplines were all roots to knowledge of the One,

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<v Speaker 1>the supreme being from which all things emanate. While Hypatia's

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<v Speaker 1>philosophy was seen as pagan, Christians identified the One with

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<v Speaker 1>their God, and as such both Pagans and Christians could

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<v Speaker 1>abide this philosophical framework. Hypatia taught at the Neoplatonist's School

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<v Speaker 1>of Philosophy and drew large crowds of Pagans and Christians

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<v Speaker 1>to her lectures. She didn't appear to have been a

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<v Speaker 1>devout pagan ann didn't practice theogy, the use of magic

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<v Speaker 1>and oracles that many Neoplatonists saw as another path to

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<v Speaker 1>the One. While all around here Christians and Pagans were

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<v Speaker 1>involved in clashes that were tearing the city of Alexandria part,

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<v Speaker 1>she seemingly maintained a neutral position. Hypatia certainly remained distance

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<v Speaker 1>from the events that in AD three ninety one culminated

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<v Speaker 1>in the ancient Serapium Temple of Alexandria being destroyed by Christians.

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<v Speaker 1>Other pagan intellectuals, meanwhile, were active in defending the great

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<v Speaker 1>Temple dedicated to the god Serapis, and even boasted of

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<v Speaker 1>murdering Christians. So the traditional view that Hypatia's violent death

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<v Speaker 1>was the result of ideological conflict between Pagans and Christians,

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<v Speaker 1>doesn't tell the whole story. Instead, there's another angle that

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<v Speaker 1>makes more sense. One clear thing stands out in regard

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<v Speaker 1>to Hypatia's murder. The act was highly ritualized, a feature

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<v Speaker 1>it has in common with the violent deaths of two

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<v Speaker 1>Alexandrian patriarchs, the extreme Arion George of Cappadocia, who was

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<v Speaker 1>killed in AD three sixty one, and Protarius, who was

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<v Speaker 1>killed in A D four five seven. Although the circumstances

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<v Speaker 1>surrounding each of the deaths of these bishops differ from Hypatius,

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<v Speaker 1>all three murders do fit similar patterns. The patriarch's corpses were,

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<v Speaker 1>like Hypatias, paraded by their murderers along the Canopic Way,

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<v Speaker 1>Alexandria's main thoroughfare. The victim's bodies were dismembered in portions

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<v Speaker 1>of their remains transferred to each of the city's districts

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<v Speaker 1>for subsequent cremation. It's interesting to note that in AD

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<v Speaker 1>three ninety one, after the assault on the ancient Serapium Temple,

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<v Speaker 1>the statue of the Greco Egyptian deity Serrapus itself was

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<v Speaker 1>subjected to the same ritualized violence seen in this context,

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<v Speaker 1>hypatius death could be interpreted as a premeditated assassination rather

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<v Speaker 1>than a spontaneous act by a bloodthirsty mob. It's possible

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<v Speaker 1>she was used as a pawn in the political maneuvering

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<v Speaker 1>of the moment, and there is one very clear political

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<v Speaker 1>standoff that fits. Hypatia became involved in the showdown between

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<v Speaker 1>two men who were both Christians, Cyril, Patriarch of Alexandria,

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<v Speaker 1>and Orestes, Alexandrius, Roman governor. Their motives at the time,

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<v Speaker 1>Cyril engaged in ruthless power politics to stamp out pagan

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<v Speaker 1>influences in Alexandria. He wasn't afraid to use violence to

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<v Speaker 1>achieve his goals. Hilso was involved in the expulsion of

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<v Speaker 1>the Jews from Alexandria following their attacks on Christians. Entered

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<v Speaker 1>the Roman prefect Orestes, who, in the Imperial administration's efforts

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<v Speaker 1>to preserve Alexandria's stability, had to count on support from

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<v Speaker 1>the municipal aristocracy, who mostly worshiped pagan gods. Orestes also

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<v Speaker 1>needed to avoid sparking opposition from the Jews, while garnering

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<v Speaker 1>support from the Christians who opposed Cyril and his violent

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<v Speaker 1>lias methods Arrestes, Unlike Cyril, needed to appeal to a

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<v Speaker 1>diverse group of people, Orestes turned to his friend Hypatia.

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<v Speaker 1>She was a suitable intermediary because of her status as

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<v Speaker 1>a philosopher and because she had stayed at arm's length

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<v Speaker 1>from actively defending Holytheism. She was well regarded by those

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<v Speaker 1>across the Alexandrian elite, who were neither agitators for one

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<v Speaker 1>side or the other, nor favored violence. Another aspect that

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<v Speaker 1>made Hypatia stand out was that over many years, she

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<v Speaker 1>had cultivated a network. Her contacts included former students within

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<v Speaker 1>powerful Christian circles, both in Constantinople, seat of the Roman Empire,

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<v Speaker 1>and in Alexandria. Cyril thus viewed Hypatia as a possible

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<v Speaker 1>threat to his hold over the city's Christians. The plot

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<v Speaker 1>to neutralize Hypatia, it seems that Cyril mounted a smear campaign,

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<v Speaker 1>accusing Hypatia of black magic and describing her as a

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<v Speaker 1>dangerous witch using spells to lure people to her lectures.

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<v Speaker 1>It was claimed she had enstared arrestees into skipping masts

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<v Speaker 1>and allowing non Christians into his house. Socrates Scolasticus notes

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<v Speaker 1>that as she Hypatia had frequent interviews with Orestes, it

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<v Speaker 1>was calominously reported among the Christian populace that it was

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<v Speaker 1>by her influence he was prevented from being reconciled to Cyril.

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<v Speaker 1>All these cliches, which have been used through the ages

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<v Speaker 1>to discredit women who occupy positions other than the traditional

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<v Speaker 1>ones of wife and mother, were intended to frame Hypatia

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<v Speaker 1>as a dangerous public enemy. Cyril couldn't commit the murder himself,

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<v Speaker 1>nor did he have to. He instead relied on his prabalani. Originally,

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<v Speaker 1>this group of lay Christians acted as a charitable organization

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<v Speaker 1>caring for the city's neediest people, but by the time

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<v Speaker 1>Cyril was in charge, the pirabalani had become more like

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<v Speaker 1>an armed militia in the patriarch's service. Although there is

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<v Speaker 1>no proof that Cyril ordered Hypatia's murder, everything suggests that

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<v Speaker 1>Cyril had much to gain from her death, and that

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<v Speaker 1>the peribalani did the deed on his behalf. Her assassination

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<v Speaker 1>ended the threat she posed to Cyril through her support

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<v Speaker 1>for orestes policy of tolerance. Her death served as the

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<v Speaker 1>breaking point between religious authority embedded by Patriarch Cyril and

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<v Speaker 1>civil authority embodied by Prefect Orestes. It was Cyril who

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<v Speaker 1>run the day. Hypatia's death, however, was not a defeat

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<v Speaker 1>for the Pagans. Christians and Pagans continued to coexist in

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<v Speaker 1>Alexandria for more than a century. Eoplatonism thrived until the

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<v Speaker 1>Arab conquest of Egypt in the seventh century, encountered both

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<v Speaker 1>Christians and Pagans among its adherents. In the sixth century,

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<v Speaker 1>the director of the school was a Pagan Ammonius Hermi Hermia,

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<v Speaker 1>while his deputy and the editor of his works was

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<v Speaker 1>a Christian John Philipponos. After Hypatia's killing, no more was

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<v Speaker 1>heard of Orestes. Though the Christian leaders didn't eradicate pagan

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<v Speaker 1>philosophy from the city, they did crack down on secular authorities.

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<v Speaker 1>Hypacious story lived on. Her character and intellect were noted

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<v Speaker 1>even by hostile Christian writers. In the eighteenth century. Voltaire

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<v Speaker 1>wrote about her to condemn an over zealous church. The

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<v Speaker 1>Christian clergyman Charles Kingsley and of Victorian romance about her.

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<v Speaker 1>She is the heroine of the two thousand nine Spanish

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<v Speaker 1>movie Agoras, whose fictitious plot has her saving the Alexandria

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<v Speaker 1>Library from Christian fanatics. Her endurance in a patriarchal society

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<v Speaker 1>makes her a feminist hero up to the present day,

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<v Speaker 1>and she merits more recognition in history beyond the sensation

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<v Speaker 1>of her horrific murder hiding in plain sight. When Raphael

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<v Speaker 1>showed a draft drawing of his school of Athens Fresco

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<v Speaker 1>to the Church fathers in the sixteenth century, the bishop

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<v Speaker 1>allegedly asked him to remove Hypatia in the front and center.

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<v Speaker 1>Knowledge of her runs counter to the belief of the faithful,

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<v Speaker 1>he said. Rafael obliged, but in an act of unflinching deception,

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<v Speaker 1>he covertly moved her to the left, disguising her face

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<v Speaker 1>to resemble that of the ruling pope's nephew. But there

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<v Speaker 1>she sits, the only figure among fifty of the greatest minds,

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<v Speaker 1>staring straight out at the viewer, as if beseeching you

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<v Speaker 1>not to forget that she too belongs in this venerable

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<v Speaker 1>gathering of scholars, Or does she. Rafael never admitted he

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<v Speaker 1>did this. Others claimed the figure as actually Marguerita Luti

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<v Speaker 1>Rafael's mistress, Francesco Maria de la Rovert, Duke of Urbino,

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<v Speaker 1>or even Rafael himself. Death of a God. The chain

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<v Speaker 1>of attacks that culminated in the Serapium's destruction in AD

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<v Speaker 1>three ninety one started when Christians began erecting a church

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<v Speaker 1>on an abandoned sight. According to theologian and monk Tyranius Rufinus,

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<v Speaker 1>workers unearthed the remains of Grotto's and ritual objects linked

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<v Speaker 1>to the Mithras cult. When they treated the artifacts disrespectfully,

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<v Speaker 1>Pagans became infuriating infuriated, sparking a clash that killed several people.

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<v Speaker 1>The Polytheius sought refuge in the Serapium and to prevent

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<v Speaker 1>an escalation of violence. The authorities showed clemency to both sides,

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<v Speaker 1>but the Christians launched an assault on the temple, beheading,

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<v Speaker 1>smashing and burning the statue Cyril of Alexandria. The appointment

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<v Speaker 1>of Cyril as patriarch of Alexandria in eighteen for a d.

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<v Speaker 1>Four twelve was controversial. He had not been expected to

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<v Speaker 1>succeed his uncle, so he made a show of his

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<v Speaker 1>authority in an attempt to gain the loyalty of the

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<v Speaker 1>city's Christian community. Despite the opposition of some Christians, he

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<v Speaker 1>attacked Polytheius and Jews in the city, expelling or massacring

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<v Speaker 1>the latter in a d four fourteen Cyril was initially

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<v Speaker 1>backed by a band of monks from the Nirian desert,

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<v Speaker 1>where he had trained in an isolated monastic community. He

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<v Speaker 1>then used the Carabalani, who originally cared for the sick,

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<v Speaker 1>to carry out his acts of violence. He was declared

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<v Speaker 1>a doctor of the Church in eighteen eighty three. Alexandria's

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<v Speaker 1>greatest mind, Hypatia, lived at a time when women were

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<v Speaker 1>not given status equal to men, no matter how brilliant

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<v Speaker 1>they were. Yet this largely unsung scholar is considered one

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<v Speaker 1>of Antiquity's last great philosophers before the Middle Ages. She

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<v Speaker 1>is the first known woman to study and teach mathematics, astronomy,

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<v Speaker 1>and philosophy, and she drew students from far and wide

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<v Speaker 1>across the Roman Empire. Many scholars believe she edited the

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<v Speaker 1>surviving text of Ptolemy's Armaguest, based on the title of

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<v Speaker 1>her father's commentary on Book three of the Armaguest. She

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<v Speaker 1>even donned the robes of the academic elite, even though

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<v Speaker 1>men only were allowed this honor at the time. Michael Dieton,

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<v Speaker 1>in his two thousand seven book Hypatia of Alexandria, wrote,

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<v Speaker 1>almost alone, virtually the last academic she stood for intellectual values,

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<v Speaker 1>for rigorous mathematics, ascetic neoplatonism, the crucial role of the

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<v Speaker 1>mind and the voice of temperance and moderation, and in

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<v Speaker 1>civic life. Next, the poisonous price of beauty. Blonde hair,

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<v Speaker 1>of pale complexion and outrageously red cheeks made the fashionable

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<v Speaker 1>look that Spanish women saw it in the sixteen hundreds,

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<v Speaker 1>despite the dangers hidden in their cosmetics. Writing her travels

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<v Speaker 1>into Spain in sixteen seventy nine, French author Marie Catharine

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<v Speaker 1>de Humein de Barneville, known as Madame d'Al noi, recorded

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<v Speaker 1>her less than flattering impressions of the complexions of Spanish women.

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<v Speaker 1>I've never seen boiled crayfish of a more beautiful color.

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<v Speaker 1>The effect of redness that startled Madame d'l noi was

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<v Speaker 1>produced by rouge blush, applied in staggering quantities elsewhere. Madame

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<v Speaker 1>d'l noi requotes how a Spanish lady took a cupful

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<v Speaker 1>of rouge, and with a big paintbrush. She put it

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<v Speaker 1>on not only her cheeks, her chin, under her nose,

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<v Speaker 1>under her eyebrows, and under ears, but she also re

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<v Speaker 1>daubed the inside of her hands, her fingers, and her shoulders.

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<v Speaker 1>But Madame del Nois was looking back on her experiences

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<v Speaker 1>of living in Spain. In the sixteen seventies, the final

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<v Speaker 1>years of what historians traditionally called Spain's dad do Oral

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<v Speaker 1>or Golden Age, beginning with Spain's rise as a European

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<v Speaker 1>superpower and its colonization of swaths of Central and South

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<v Speaker 1>America from fourteen ninety two, the Golden Age waned as

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<v Speaker 1>Spain's economic problems worsened in the late sixteen hundreds, While

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<v Speaker 1>the last in many aspects of Spanish culture, including literature

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<v Speaker 1>and theater, were lavishly celebrated. Traveler's accounts note how the

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<v Speaker 1>country's great wealth and power were reflected in women's appearances.

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<v Speaker 1>Richard Wynn, a politician who accompanied Prince Charles the First

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<v Speaker 1>of England on a trip to Spain in sixteen twenty three,

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<v Speaker 1>wrote that of all these women, I dare take my oath,

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<v Speaker 1>there was not one unpainted so visibly that you would

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<v Speaker 1>think they rather wore wizard's masks than their own faces

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<v Speaker 1>extreme makeopers. According to ural historian Amanda Vunder, author of

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<v Speaker 1>the book Spanish Fashion in the Age of Lusca's Yale

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<v Speaker 1>University Press, in terms of fashion and beauty, Spain was

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<v Speaker 1>going in a different direction than the rest of the

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<v Speaker 1>European continent. Whereas the French and English leaned toward natural complexions,

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<v Speaker 1>Spanish beauty was all about being the fanciest and most

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<v Speaker 1>elaborately made up. She explained, the Spanish court set the

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<v Speaker 1>standard for the rest of society. By then, the wealthy

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<v Speaker 1>were much more visible in public than they had been

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<v Speaker 1>in the Middle Ages. Nobility and royalty appeared regularly at

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<v Speaker 1>the theater or hung their likenesses in portraits in public

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<v Speaker 1>spaces during festivals. The ideas of beauty they projected spread

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<v Speaker 1>down through the different levels of society. Everyone was putting

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<v Speaker 1>on layers of make up, from the queen downward. This

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<v Speaker 1>was a cross class phenomenon, explained Wunder. To achieve the

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<v Speaker 1>sought after appearance in Spain's Golden Age, ladies would put

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<v Speaker 1>themselves through a long and complex grooming process. They even

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<v Speaker 1>had special room set aside for this purpose. A kind

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<v Speaker 1>of boudoir known in Spanish as a togador. The term

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<v Speaker 1>was originally used to designate the cap that men and

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<v Speaker 1>women wore to bed, but it later came to refer

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<v Speaker 1>to the room itself. The togador was where ladies would

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<v Speaker 1>dress and take care of their hair and make up.

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<v Speaker 1>It was here that ladies kept their skin and hair treatments,

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<v Speaker 1>make up, and beauty paraphernalia. The box used to store

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<v Speaker 1>this beauty kit was also called a togador. Some of

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<v Speaker 1>these boxes were beautifully crafted. Inside, cosmetics were kept in

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<v Speaker 1>pots and bottles, and in the center was a small mirror.

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<v Speaker 1>Depending on a lady's wealth, the mirrors might come in

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<v Speaker 1>lavish frames of Indian ebony, stained wood, or even silver.

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<v Speaker 1>Beyond the pale In seventeenth century Spain and beyond the

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<v Speaker 1>ideal of feminine beauty was blonde hair and a deathly paler.

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<v Speaker 1>In Spain, it was a relatively common practice for women

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<v Speaker 1>to bleach their faces. Suleiman, a cosmetic made from mercury preparations,

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<v Speaker 1>was used for this purpose. Its chemical composition could do

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<v Speaker 1>lasting damage to the skin. Meanwhile, bleaches diluted to varying

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<v Speaker 1>strengths were used to lighten hair, as Madame Delnois had

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<v Speaker 1>so memorably observed. The staple in the Spanish tuggador at

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<v Speaker 1>the time was rouge, known in Spanish as color de

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<v Speaker 1>granada pomegranate color. It was sold wrapped in sheets of

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<v Speaker 1>paper that were kept in small cuffs called sarsaias. Having

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<v Speaker 1>made their faces very pale, women then painted their lips

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<v Speaker 1>and cheeks with this rouge and darkened their eyebrows with

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<v Speaker 1>a mix of alcohol and black minerals. To keep their

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<v Speaker 1>hands white and soft, they would apply a paste made

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<v Speaker 1>from almonds, mustard, and honey, Among other chemicals used in products,

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<v Speaker 1>Sulfur was perhaps the most widespread. Some of these components

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<v Speaker 1>were harmful. Women occasionally whitened their faces with bismuth oxychloride,

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<v Speaker 1>sometimes known as Spanish white, a skin and eye irritant,

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00:19:59.480 --> 00:20:04.119
<v Speaker 1>or they used lead precipitates, which are toxic. The composition

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<v Speaker 1>of ruse rouge has changed over the centuries, but in

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<v Speaker 1>Spain's Golden Age it was often made from charred sulfur, mercury, lead, minium,

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<v Speaker 1>a lead compound, and other substances. These preparations could cause headaches,

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<v Speaker 1>permanently alter the skin and damage eyesight because of their toxicity,

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<v Speaker 1>dangerous effects that were noted at the time. Commentators saw

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<v Speaker 1>that saw other toxic effects in beauty products. To the

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<v Speaker 1>mainly male writers of the period, make up was tantamount

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<v Speaker 1>to deceit. A literary trope of the time was to

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<v Speaker 1>reproach a women who artificially embellished herself. When the time

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<v Speaker 1>came for her to be seen without a doormance, her

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<v Speaker 1>lover would be disappointed. The moralist Juan de Zabaleta, in

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<v Speaker 1>his book Eldea de fes fiesta purromagnana ipuracarde, published in

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<v Speaker 1>sixteen fifty four, attack these of cosmetics on religious grounds.

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<v Speaker 1>He said, the action in the Tugadore of a lady

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<v Speaker 1>getting ready on the morning of a holiday, she places

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<v Speaker 1>at her right hand side the box of beauty medicines

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<v Speaker 1>and begins to improve her face with them. This woman

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<v Speaker 1>does not consider that if God wanted her to be

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<v Speaker 1>as she paints herself, he would have painted her first.

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<v Speaker 1>God gave her the face that suited her, and she

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<v Speaker 1>takes on the face that does not suit her. Saboletta's

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<v Speaker 1>work is part of the history of misogynous literature that

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<v Speaker 1>condemns women's beauty rituals as tampering with God's creation. Some

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<v Speaker 1>women agreed that such rituals were fatuous, but for very

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<v Speaker 1>different reasons. Maria Desiaus, a golden aged Spanish writer today

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<v Speaker 1>considered a proto feminist, viewed the social pressures on women

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<v Speaker 1>to apply make up as a means to prevent them

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<v Speaker 1>from emancipating themselves. In a novel from the sixteen thirties,

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<v Speaker 1>she has one of her characters say that if women

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<v Speaker 1>applied themselves to training with weapons and studying the sciences

334
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<v Speaker 1>instead of growing their hair and shading their faces, they

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<v Speaker 1>could already have surpassed men in menay things. As Spain's

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<v Speaker 1>imperial fortunes waned in the late sixteen hundreds in the

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<v Speaker 1>Golden Age ended, the heavy use of make up in

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<v Speaker 1>Spain also diminished. With the French Revolution in seventeen eighty nine,

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<v Speaker 1>a more natural look swept through Europe, and elaborate wings

340
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<v Speaker 1>and make up were shunned. Attitudes towards make up, however,

341
00:22:19.400 --> 00:22:24.359
<v Speaker 1>are often cyclical. Safer zinc oxide based powders later replaced

342
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<v Speaker 1>toxic lead based recipes, and make up's usage rebounded in Europe.

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<v Speaker 1>Then in the mid eighteen hundreds, heavy make up fell

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<v Speaker 1>out of fashion, associated with actresses and prostitutes facial artifice.

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<v Speaker 1>Artifice came back to the forefront with the advance of

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<v Speaker 1>theatrical cosmetics and became widely commercialized in Europe and North

347
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<v Speaker 1>America in the nineteen twenties. Since then, its use in

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<v Speaker 1>the context of femininity and feminism has been as heatedly

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<v Speaker 1>discussed as it was in the Golden Age of Spain.

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<v Speaker 1>This article by Barbara Roussillo. The Spanish Infanta, the eldest

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<v Speaker 1>princess of King Philip four Maria Theresa, is depicted in

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<v Speaker 1>Diego Velasquez's sixteen fifty one to fifty four portrait. She

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<v Speaker 1>is in her early teens. The viewer's gaze is arrested

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<v Speaker 1>both by her elaborate headdress, as adorned with butterflies, and

355
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<v Speaker 1>the heavy amounts of rouge applied to her whitened face.

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<v Speaker 1>Participating in the royal delegation to Spain in sixteen twenty three,

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<v Speaker 1>English courtier Richard Wynne commented on very young women at

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<v Speaker 1>the Spanish court being made up. They were painted more

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<v Speaker 1>than the ordinary women, though some of them were not

360
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<v Speaker 1>thirteen years old. The purpose of Velaska's famous portrait was

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<v Speaker 1>to attract a future husband. In sixteen sixteen sixteen sixty,

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<v Speaker 1>at age twenty two, Maria Theresa married Louis the fourteenth

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<v Speaker 1>of France. The dressing table gets a makeover. The room

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<v Speaker 1>where Spanish ladies beautified themselves was called the tocador, as

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<v Speaker 1>was the box in which they kept their products and accessory.

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<v Speaker 1>Another key piece of furniture was the table where ladies

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<v Speaker 1>sat for their toilette, the act of getting ready for

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<v Speaker 1>the day. In the seventeenth century Dutch interior, the woman

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<v Speaker 1>is being dressed and beautified at a normal table. Soon

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<v Speaker 1>after this piece of furniture became a status symbol in Europe,

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<v Speaker 1>the wealthy began to commission luxurious, specialized furniture, and dressing

372
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<v Speaker 1>tables started looking like the more vertical units familiar today.

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<v Speaker 1>New features included folding tops, basins to wash off makeup,

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<v Speaker 1>and of course, a built in mirror. In the twentieth century,

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<v Speaker 1>the dressing tables, glamour and luxury were often reflected in

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<v Speaker 1>the movies of the nineteen twenties and thirties. Later, the

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<v Speaker 1>use of dressing tables waned as beautifying shifted to the bathroom. Today,

378
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<v Speaker 1>social influencers have brought the dressing table back, albeit in

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<v Speaker 1>a compact form. Next, Percy fawcett tragic search for the

380
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<v Speaker 1>Lost City of Z. Convinced by old documents that a

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<v Speaker 1>lost civilization lay in the Amazon Rainfall, Percy Fawcet set

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<v Speaker 1>out to find it in nineteen twenty five. His disappearance

383
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<v Speaker 1>sparked a century of speculation as to his fate. When

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<v Speaker 1>the Spanish first ventured into the Amazon Basin in the

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<v Speaker 1>fifteen forties, they recorded indigenous accounts of a lost city

386
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<v Speaker 1>of fantastic wealth that they called El Dorado, the Golden

387
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<v Speaker 1>Over the centuries, many vain attempts were made to locate

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<v Speaker 1>a lost civilization in the Amazon forest. The last significant

389
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<v Speaker 1>attempt to find such a culture was undertaken by British

390
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<v Speaker 1>explorer Percy Fawcet. Between nineteen o six and nineteen twenty four,

391
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<v Speaker 1>Fawcet made seven expeditions across the Amazon Basin, concluding with

392
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<v Speaker 1>this doomed quest to find the city he called Z.

393
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<v Speaker 1>Fawcet was inspired by his extensive reading of historical sources,

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<v Speaker 1>including a mysterious document known as Manuscript five twelve. A

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<v Speaker 1>man of extraordinary mental and physical stamina. Fawcett was working

396
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<v Speaker 1>at a time when the Amazon region was still largely

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<v Speaker 1>undocumented by Europeans who sought to explore its jungles and waterways,

398
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<v Speaker 1>seeking ancient cities and riches. His disappearance during his search

399
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<v Speaker 1>for z in nineteen twenty five in the Matto Grosso

400
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<v Speaker 1>region of Brazil continues to intrigue writers and filmmakers. Perzy

401
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<v Speaker 1>Harrison Fawcett was born in eighteen sixty seven in Torquay, Devon,

402
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<v Speaker 1>the English county that had produced many famous explorers and mariners,

403
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<v Speaker 1>including Francis Drake and Walter Rawleigh. The son of an

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<v Speaker 1>aristocrat who had lost his fortune, Fawcett described his childhood

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<v Speaker 1>as lacking in affection. At age nineteen, he was commissioned

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<v Speaker 1>as a lieutenant in the Royal Artillery and sent to

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<v Speaker 1>outposts of the British Empire. In nineteen oh one, Fawcett

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<v Speaker 1>joined the Royal Geographical Society of London and traveled to

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<v Speaker 1>Africa as a surveyor in the service of the British State,

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<v Speaker 1>tasked with gathering military intelligence. In nineteen o six, he

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<v Speaker 1>was commissioned by the Society to lead an expedition to

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<v Speaker 1>the Amazon. Arriving in South America was the moment to

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<v Speaker 1>ina whole life changed. Setting out from LAPAs to map

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<v Speaker 1>the vast territory on the borderlands of Bolivia and Brazil,

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<v Speaker 1>Faucet often faced hostility from indigenous peoples angered by rubber

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<v Speaker 1>Bereans who had invaded their lands to extract rubber free

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<v Speaker 1>use in car and train manufacturing. For nearly a decade

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<v Speaker 1>he roamed the Amazon Basin, often the first European to

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<v Speaker 1>record geographical features such as waterfalls. His writing gives a

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<v Speaker 1>sense of the awe he experienced above us wrote the

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<v Speaker 1>Ricardo Franco Hills flat topped and mysterious, their flanks scarred

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<v Speaker 1>by deep quibrads ravines, they stood like a lost world,

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<v Speaker 1>forested to their tops, and the imagination could picture the

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<v Speaker 1>last vessiges of an age long vanquished. The outbreak of

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<v Speaker 1>World War One interrupted this rich period of exploration, forcing

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<v Speaker 1>him to return to Europe. Although in his fifties, Fawcet

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<v Speaker 1>was in peak physical condition and he proved to be

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<v Speaker 1>an outstanding soldier. This concludes readings from National Geographic History

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<v Speaker 1>Magazine for to day. Your reader has been Marshall. Thank

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<v Speaker 1>you for listening. Keep on listening and have a great day.
