8 Facts About Lupercalia—the Ancient Festival Full of Whippings and Ritual Sacrifice

Sex, violence, and drunkenness: For centuries, Lupercalia was a major Roman party, surviving well into the rise of Christianity. And pretty soon, someone on your Facebook feed is probably going to claim that this holiday gave rise to our modern Valentine’s Day. So what’s the true story behind the ancient Roman festival and its relation to candy hearts?

1. Lupercalia featured odd sacrifices.

Every year on February 15, the festival began by going to the Lupercal (the legendary site where Romulus and Remus were suckled) and sacrificing a dog and a goat. According to scholar Keith Hopkins, this was unusual in and of itself, because pigs, sheep, and bulls were most commonly used as sacrificial animals. The Oxford Classical Dictionary explains that next, the blood of these animals "was smeared with a knife on the foreheads of two youths (who were obliged to laugh), and wiped with wool dipped in milk."

2. Whippings were also on the menu.

After the blood/wool excitement, Lupercalia's main attraction was the runners. The sacrificed goat’s skin was cut into thongs and (possibly—see below) girdles to be worn by the athletes. Then two sets of runners (a third set would be added later) would make their way through the streets of the city, whipping whomever they met on their way. According to some accounts, women would volunteer to be whipped because it was believed to bring fertility and make the birthing process easier for them. But as the years passed, things changed; by the 3rd century, the voluntary nature of this ritual seemed to be less voluntary. Hopkins claims that a mosaic featuring a Lupercalia celebration features “two men forcibly holding a naked woman face upwards, while a third man, half naked, whips her thighs ... The men’s drunken hilarity is matched by the beaten woman’s obvious pain."

3. People may have been naked—or maybe not.

One long-standing debate about Lupercalia is the degree of nudity. There are definite references to nudus, but that doesn’t necessarily mean naked. It could just mean “having one’s main garment removed,” possibly in reference to the runners wearing goat skin loincloths. But other writers were explicit in mentioning nudity as part of the festivities. It remains an open question whether the festival was PG-, R-, or X-rated.

4. It’s not quite clear who or what the Lupercalia festival was celebrating.

Circle of Adam Elsheimer The Lupercalian Festival in Rome
Public Domain, Wikimedia Commons

According to the 1st century BCE scholar Marcus Terentius Varro, "the Luperci [are so called] because at the Lupercalia they sacrifice at the Lupercal … the Lupercalia are so called because [that is when] the Luperci sacrifice at the Lupercal." This incredibly unhelpful circular definition has led to centuries of debate about who, or what, the festival was actually celebrating.

Ovid suggested that it was for Faunus (a Roman pastoral god); Livy said it was Inuus (the god of fertility); and Varro said it was a wolf goddess named Luperca. Traditionally, the two sets of runners are related to the mythological founders of Rome—Romulus and Remus—who were suckled by a wolf. But confusingly, Livy says that the twins were ambushed by bandits while celebrating the Lupercalia, leading some scholars to suggest the festival predates Romulus and Remus.

As South African scholar P.M.W. Tennant observed while discussing Romulus and Remus and the Lupercalia, “most of the ideas put forward here are obviously highly conjectural—as all theories concerning the Lupercalia are bound to be."

5. Lupercalia is when Julius Caesar was offered the crown.

Today, Lupercalia is probably most famous for what happened on February 15, 44 BCE. That day a “ naked, perfumed, drunk ” Mark Antony was one of the runners while Julius Caesar watched the proceedings from a throne. Antony went up to Julius Caesar with a diadem (a type of crown or headband) and—in what later historians have said was almost certainly scripted—attempted to give it to Caesar and proclaim him king.

The crowd's initial response to this action was tepid, but when Caesar refused the crown they cheered. Antony tried again, Caesar refused again, and the crowd exploded. Caesar ordered the crown taken to the Temple of Jupiter because Jupiter was Rome’s one king. The purpose of this exercise has been debated. Some propose Antony did it on his own to either flatter Caesar or embarrass him, while at the time it was thought that Caesar orchestrated the stunt as a way to test the waters for whether the people would accept a king. Either way, it didn't really work out for Caesar; he was assassinated one month later.

6. A Pope criticized the festival.

One of Lupercalia's most remarkable features is how long it survived. We know this because circa 494 CE, Pope Gelasius wrote a letter criticizing Christian participation in it. He commented on how in the olden days nobles would run as Lupercali and strike naked matrons, and modern participants should be willing to similarly run naked. By Gelasius’s time this had become heavily altered, leading him to proclaim “your own bashfulness ought itself to teach you that the Lupercalia is a public crime, not salvation and the cult of the Divinity, regarding which no wise man would blush. Rather the Lupercalia is an instrument of depravity, which your mind, bearing testimony against itself, blushes to fulfill.”

The letter is interesting to historians for many reasons. First, because Gelasius flat-out describes many of the less seemly rites, and it also allows historians to analyze how Lupercalia changed with time and changed with the perception of the author. For instance, Gelasius indicated that by the 5th century lower classes were the runners, whereas important figures like Mark Antony participated in earlier events.

7. Despite what you've heard, Lupercalia probably has nothing to do with Valentine’s Day.

Many pop culture websites and books declare that Pope Gelasius replaced Lupercalia with a festival dedicated to St. Valentine of Rome (or possibly of Terni—the figure is mysterious) who had his feast day on February 14. But as British author Mark Forsyth once observed, "It is vitally important when writing about traditions to remember that there are only 365 days in the year ... Overlap is not significance."

Most medieval historians agree there’s no evidence that Pope Gelasius replaced Lupercalia with any festival whatsoever (a similar claim that Candlemas replaced Lupercalia is also without merit) with scholar Jack Oruch proclaiming “at no point does Gelasius speak of compromise or of adapting any pagan customs” and another professor telling History.com: "It just drives me crazy that the Roman story keeps circulating and circulating." Meanwhile, popular legends that Lupercalia featured girls writing their names on paper that would be drawn from a box by boys are likely an 18th-century invention.

Most mainstream historians instead propose that Valentine’s Day and romance became associated with each other only in the late 14th century, and specifically because of a Geoffrey Chaucer poem called "Parliament of Fowls" (or "Parlement of Foules").

8. Valentine’s Day might not even be on February 14.

In Chaucer’s poem, he proclaimed (in modern spelling) “For this was on Saint Valentine’s day / When every bird came there to choose his mate.” But some historians have noted that February 14 is still very cold in England and is unlikely to be a good bird mating season. In the 1980s some historians, led by Andy Kelly of UCLA, began proposing that the "Valentine" Chaucer was referring to was St. Valentine of Genoa, whose feast day occurred on May 2 or May 3 (sources differ), instead of Valentine of Rome. This is especially relevant because King Richard II and Anne of Bohemia concluded their marriage treaty on May 2, meaning Chaucer may have chosen Valentine by just picking out a random saint whose day fell on the correct day in May. Over the years, the association with May weakened and the day migrated to the more famous Valentine of Rome.

Other scholars objected, pointing out that there are many references to fertility rites and festivals in February—such as Lupercalia—and that Chaucer may have been discussing the more famous Valentine of Rome and February 14.

"In medieval studies there is neither consensus nor continuing debate on the question which St. Valentine Chaucer had in mind," Professor Steven Justice of the University of California, Berkeley, tells Mental Floss. "The evidence just hasn't supported any conclusive arguments one way or the other, and unless one is (a) convinced that the feast, whichever it is, identifies the historical occasion of the poem, if it had one, and (b) interested in that historical occasion, the question does not seem very consequential. One would like an answer just because one doesn't like unanswered questions, but it's not clear that much hangs on it."

One thing is clear: Today, whether you celebrate Lupercalia or St. Valentine of Rome’s day in February or St. Valentine of Genoa in May, it's best leave out the goat sacrifices and running naked through the streets.

Why We Eat What We Eat On Thanksgiving

monkeybusinessimages/iStock via Getty Images
monkeybusinessimages/iStock via Getty Images

When Americans sit down with their families for Thanksgiving dinner, most of them will probably gorge themselves on the same traditional Thanksgiving menu, with turkey, cranberry sauce, stuffing, and pumpkin pie taking up the most real estate on the plates. How did these dishes become the national "what you eat on Thanksgiving" options, though?

Why do we eat turkey on Thanksgiving?

It's not necessarily because the pilgrims did it. Turkey may not have been on the menu at the 1621 celebration by the Pilgrims of Plymouth that is considered the first Thanksgiving (though some historians and fans of Virginia's Berkeley Plantation might quibble with the "first" part). There were definitely wild turkeys in the Plymouth area, though, as colonist William Bradford noted in his book Of Plymouth Plantation.

However, the best existing account of the Pilgrims' harvest feast comes from colonist Edward Winslow, the primary author of Mourt's Relation: A Journal of the Pilgrims at Plymouth. Winslow's first-hand account of the first Thanksgiving included no explicit mention of turkey. He does, however, mention the Pilgrims gathering wild fowl for the meal, although that could just as likely have meant ducks or geese.

When it comes to why we eat turkey on Thanksgiving today, it helps to know a bit about the history of the holiday. While the idea of giving thanks and celebrating the harvest was popular in certain parts of the country, it was by no means an annual national holiday until the 19th century. Presidents would occasionally declare a Thanksgiving Day celebration, but the holiday hadn't completely caught on nationwide. Many of these early celebrations included turkey; Alexander Hamilton once remarked, "No citizen of the U.S. shall refrain from turkey on Thanksgiving Day."

When Bradford's journals were reprinted in 1856 after being lost for at least half a century, they found a receptive audience with advocates who wanted Thanksgiving turned into a national holiday. Since Bradford wrote of how the colonists had hunted wild turkeys during the autumn of 1621 and since turkey is a uniquely North American (and scrumptious) bird, it gained traction as the Thanksgiving meal of choice for Americans after Lincoln declared Thanksgiving a national holiday in 1863.

Moreover, there were pragmatic reasons for eating turkey rather than, say, chicken at a feast like Thanksgiving. The birds are large enough that they can feed a table full of hungry family members, and unlike chickens or cows, they don't serve an additional purpose like laying eggs or making milk. Unlike pork, turkey wasn't so common that it seemed like an unsuitable choice for a special occasion, either.

Did the pilgrims have cranberry sauce?

While the cranberries the Pilgrims needed were probably easy to come by, making cranberry sauce requires sugar. Sugar was a rare luxury at the time of the first Thanksgiving, so while revelers may have eaten cranberries, it's unlikely that the feast featured the tasty sauce. What's more, it's not even entirely clear that cranberry sauce had been invented yet. It's not until 1663 that visitors to the area started commenting on a sweet sauce made of boiled cranberries that accompanied meat.

There's the same problem with potatoes. Neither sweet potatoes nor white potatoes were available to the colonists in 1621, so the Pilgrims definitely didn't feast on everyone's favorite tubers.

How about pumpkin pie?

It may be the flagship dessert at modern Thanksgiving dinners, but pumpkin pie didn't make an appearance at the first Thanksgiving. The Pilgrims probably lacked the butter and flour needed to make a pie crust, and it's not clear that they even had an oven in which they could have baked a pumpkin pie. That doesn't mean pumpkins weren't available for the meal, though; they were probably served after being baked in the coals of a fire or stewed. Pumpkin pie became a popular dish on 17th-century American tables, though, and it might have shown up for Thanksgiving as early as the 1623 celebration of the holiday.

This article originally appeared in 2008.

15 Colorful Facts About Georgia O’Keeffe

Georgia O’Keeffe’s enchanting floral still life paintings are now a deeply ingrained part of American culture—so much so that they often eclipse her other colorful accomplishments. For a more complete portrait of the artist, who was born on November 15, 1887, brush up on these 15 little-known facts about her.

1. Flower paintings make up a small percentage of Georgia O'Keeffe's body of work.

Though Georgia O'Keeffe is most famous for her lovingly rendered close-ups of flowers—like Black Iris and Oriental Poppies—these make up just about 200 of her 2000-plus paintings. The rest primarily depict landscapes, leaves, rocks, shells, and bones.

2. Georgia O'Keeffe rejected sexual interpretations of her paintings.

For decades, critics assumed that O'Keeffe's flowers were intended as homages—or at the very least, allusions—to the female form. But in 1943, she insisted that they had it all wrong, saying, “Well—I made you take time to look at what I saw and when you took time to really notice my flowers you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower—and I don’t.” So there.

3. Georgia O'Keeffe was not a native of the American Southwest.


Joe Raedle/Getty Images

O'Keeffe was actually born on a Wisconsin dairy farm. She'd go on to live in Chicago; New York City; New York’s Lake George; Charlottesville, Virginia; and Amarillo, Texas. She first visited New Mexico in 1917, and as she grew older, her trips there became more and more frequent. Following the death of her husband in 1946, she moved to New Mexico permanently.

4. Georgia O'Keeffe’s favorite studio was the backseat of a Model-A Ford.

In an interview with C-SPAN, Carolyn Kastner, former curator of the Georgia O'Keeffe Museum in Santa Fe, New Mexico, explained how the artist customized her car for this use: "She would remove the driver's seat. Then she would unbolt the passenger car, turn it around to face the back seat. Then she would lay the canvas on the back seat as an easel and paint inside her Model-A Ford."

Painting inside the car allowed O'Keeffe to stay out of the unrelenting desert sun, where she painted many of her later works. The Model-A also provided a barrier from the bees that would gather as the day wore on.

5. Georgia O'Keeffe also painted skyscrapers.

While nature was O'Keeffe's main source of inspiration, the time she spent in 1920s Manhattan spurred the creation of surreal efforts like New York With Moon, City Night, and The Shelton with Sunspots.

6. Georgia O'Keeffe immersed herself in nature.

While in New Mexico, O’Keeffe spent summers and falls at her Ghost Ranch, putting up with the region's hottest, most stifling days in order to capture its most vivid colors. (The rest of the year she stayed at her second home, located in the small town of Abiquiu.) When she wasn't painting in her Model-A, O'Keeffe often camped out in the harsh surrounding terrain, to keep close to the landscapes that inspired her.

7. Not even bad weather could keep Georgia O'Keeffe away from her work.

The artist would rig up tents from tarps, contend with unrelenting downpours, and paint with gloves on when it got too cold. She went camping well into her 70s and enjoyed a well-documented rafting trip with photographer Todd Webb at age 74. Her camping equipment is occasionally exhibited at the Georgia O'Keeffe Museum.

8. Georgia O'Keeffe married the man behind her first gallery show.

"At last, a woman on paper!" That’s what modernist photographer and gallery owner Alfred Stieglitz cried when he first saw O'Keeffe's abstract charcoal drawings. He was so enthusiastic about this series of sketches that he put them on display—before consulting their creator.

When O'Keeffe arrived at his gallery, she wasn't pleased, and brusquely introduced herself: "I am Georgia O'Keeffe and you will have to take these pictures down." Despite their rocky beginnings, Stieglitz and O'Keeffe quickly made amends, and went on to become partners in art and in life.

9. Georgia O'Keeffe and Alfred Stieglitz wrote 25,000 pages of love letters to each other.

When the pair met in 1916, Stieglitz was famous and married; she was unknown and 23 years his junior. All the same, they began writing to each other often (sometimes two or three times a day) and at length (as many as 40 pages at a time). These preserved writings chart the progression of their romance—from flirtation to affair to their marriage in 1924—and even document their marital struggles.

10. Georgia O'Keeffe served as a muse to other artists.

Thanks in part to Stieglitz, O'Keeffe was one of the most photographed women of the 20th century. Stieglitz made O'Keeffe the subject of a long-term series of portraits meant to capture individuals as they aged, and she made for a striking model. Though he died in 1946, the project lived on as other photographers sought out O'Keeffe in order to capture the beloved artist against the harsh New Mexican landscapes she loved so dearly.

O'Keeffe later wrote:

"When I look over the photographs Stieglitz took of me—some of them more than 60 years ago—I wonder who that person is. It is as if in my one life I have lived many lives. If the person in the photographs were living in this world today, she would be quite a different person—but it doesn't matter—Stieglitz photographed her then."

11. Georgia O'Keeffe quit painting—three times.

The first break spanned several years (the exact number is a matter of debate), when O'Keeffe took on more stable jobs to help her family through financial troubles. In the early 1930s, a nervous breakdown led to her hospitalization, and caused her to set aside her brushes for more than a year.

In the years leading up to her death in 1986, failing eyesight forced O'Keeffe to give up painting entirely. Until then, she fought hard to keep working, enlisting assistants to prepare her canvas and mix her oil paints for pieces like 1977's Sky Above Clouds/Yellow Horizon and Clouds. She managed to use watercolors until she was 95.

12. After going blind, Georgia O'Keeffe turned to sculpting.


By Alfred Stieglitz - Phillips, Public Domain, Wikimedia Commons

Although her vision eventually made painting impossible, O'Keeffe's desire to create was not squelched. She memorably declared, "I can see what I want to paint. The thing that makes you want to create is still there.” O'Keeffe began experimenting with clay sculpting in her late 80s, and continued with it into her 96th year.

13. Georgia O'Keeffe is the mother of American Modernism.

Searching for what she called “the Great American Thing,” O'Keeffe was part of the Stieglitz Circle, which included such lauded early modernists as Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, Paul Strand, and Edward Steichen. By the mid-1920s, she had become the first female painter to gain acclaim alongside her male contemporaries in New York's cutthroat art world. Her distinctive way of rendering nature in shapes and forms that made them seem simultaneously familiar and new earned her a reputation as a pioneer of the form.

14. Georgia O'Keeffe blazed new trails for female artists.

In 1946, O’Keeffe became the first woman to earn a retrospective at the Museum of Modern Art. Twenty-four years later, a Whitney Museum of American Art retrospective exhibit introduced her work to a new generation. Fifteen years after that, O'Keeffe was included in the inaugural slate of artists chosen to receive the newly founded National Medal of Arts for her contribution to American culture.

15. Georgia O'Keeffe wasn't fearless, but she rejected fear.

O'Keeffe was purported to have said, "I've been absolutely terrified every moment of my life and I've never let it keep me from doing a single thing I wanted to do."

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