Origins and Evolution
The actual origin of whirligigs is unknown. Both farmers and sailors use weathervanes on an ongoing basis and the assumption is one or both groups are likely the originators. By 400 BC the dragon butterfly, a propeller launched by rolling a stick had been invented in China. Wind driven whirligigs were technically possible by 700 AD when the Sasanian Empire began using windmills to lift water for irrigation. The weathervane which dates to the Sumerians in 1600-1800 BC, is the second component of wind driven whirligigs
In Chinese, Egyptian, Persian, Greek and Roman civilizations there are ample examples of weathervanes but as yet, no examples of a propeller driven whirligig. A grinding corn doll of Egyptian origin demonstrates that string operated whirligigs were already in use by 100 BC
The first known visual representation of a European whirligig is contained in a medieval tapestry that depicts children playing with a whirligig consisting of a hobbyhorse on one end of a stick and a four blade propeller at the other end
For reasons that are not clear, whirligigs in the shape of the cross became a fashionable allegory in paintings of the fifteenth and sixteenth century. An oil by Hieronymus Bosch probably completed between 1480 and 1500 and known as the Christ Child with a Walking Frame, contains a clear illustration of a string powered whirligig
A book published in Stuttgart in 1500 shows the Christ child in the margin with a string powered whirligig.
The Jan Provost attributed late sixteenth century painting ‘’Virgin and Child in a Landscape’’ clearly shows the Christ child holding a whirligig as well
The American version of the wind driven whirligig probably originated with the immigrant population of the United Kingdom as whirligigs are mentioned in early American colonial times. How the wind driven whirligig evolved in America is not fully known, though there are some markers.
George Washington brought ‘’whilagigs’’ home from the Revolutionary War. What type is unknown.
By the mid 18th century weathervanes had evolved to include free moving “wings”. . These “wings” could be human arms; pitchforks; spoons, or virtually any type of implement. The 1819 publication by Washington Irving of The Legend of Sleepy Hollow contains the following description: ’’a little wooden warrior who, armed with a sword in each hand, was most valiantly fighting the wind on the pinnacle of the barn’’’’.
An example of an 1800 to 1850 whirligig can be found at the McCord Museum of Canadian History:
By the latter half of the 19th century constructing wind driven whirligigs had become a pastime and art form. What began as a simple turning of artificial feathers in the wind advanced into full blown mechanisms producing both motion and sound. Unfortunately both the exposure to the weather and the fragile nature of whirligigs means very few wind driven whirligigs from this era survive. The period between 1880 and 1900 brought rapid geographic expansion of whirligigs across the US. After 1900, production seemed for the most part to center on the southern Appalachians. Craftsman from the southern Appalachians continued to produce whirligigs into the 20th century. During the Great Depression a resurgence in production by craftsman and amateurs was attributed to the need for ready cash.
Today Whirligigs are used as toys for children, as garden structures designed to keep birds or other garden pests away, as decorative yard art and as art.
Famous quotes containing the words origins and/or evolution:
“Compare the history of the novel to that of rock n roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. Material Differences, Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“By contrast with history, evolution is an unconscious process. Another, and perhaps a better way of putting it would be to say that evolution is a natural process, history a human one.... Insofar as we treat man as a part of naturefor instance in a biological survey of evolutionwe are precisely not treating him as a historical being. As a historically developing being, he is set over against nature, both as a knower and as a doer.”
—Owen Barfield (b. 1898)