ptwo, Flickr // CC BY 2.0
ptwo, Flickr // CC BY 2.0

Why 3 Man-Sized Cages Hang From a Medieval German Church Steeple

ptwo, Flickr // CC BY 2.0
ptwo, Flickr // CC BY 2.0

Visitors to St. Lambert’s church in Münster, Germany may notice something odd about the building’s facade. Three gleaming iron cages, 7 feet tall and a yard wide and deep, hang empty from the church spire. Once home to the mutilated bodies of three revolutionaries who shaped one of the strangest chapters in the Protestant Reformation, the cages have hung there for nearly 500 years. They remain on the spire as a testament to their former occupants’ experiment in religious utopia—and the tremors they sent through German religious and political life for years after their occupants' deaths.


In 1530, Münster was a divided city. Although technically self-governing, the Catholic Church vied with the city council for control of the town. The aristocrats who had owned the land and nearly everything on it for generations existed in sharp conflict with the peasants, craftsmen, and trade guilds that were beginning to threaten their economic dominance. Meanwhile, Germany was still recovering from a 1525 peasant uprising that didn’t have much of an effect on Münster, but frayed the nerves of the ruling class across the Holy Roman Empire. To make matters worse, Europe was also still reeling from the startling intensity of the Protestant Reformation, 13 years after Martin Luther nailed up his 95 theses.

Against this fraught backdrop, an evangelical Protestant preacher named Bernhard Rothmann began preaching against Catholic doctrine and drew a large following in Münster, particularly among the peasants and the trade guilds. Alarmed at his threat to their dominance, the Catholic Church banned him from the pulpit. But in February 1532, a mob of his supporters stormed St. Lambert’s church—the main parish church in Münster—and installed Rothmann as its preacher.

That May, Franz von Waldeck was elected prince-bishop of Münster, becoming the highest-ranking Church official in town. As the little brother of the Count of Waldeck-Eisenberg, a minor aristocrat, young Franz had access to family money and military power. Rothmann’s Protestant rabble-rousing threatened to turn Münster against the Catholic Church, which would render the new prince-bishop's position powerless. Von Waldeck hired mercenary cavalry to blockade Münster until its citizens expelled Rothmann and his allies—but the city council, under pressure from Rothmann’s supporters, refused.

And the people of Münster struck back: In a surprise attack early on the morning of December 26, 600 armed townspeople, backed by 300 newly minted city soldiers, assailed von Waldeck at his council in nearby Telgte. They raided his residence, and captured several high-born hostages. But after a neighboring noble stepped in to mediate the conflict, von Waldeck signed a treaty of religious toleration on February 14, 1533, allowing Protestant pastors to preach from Münster’s parish churches.

That caught the attention of a band of Dutch Anabaptists led by one Jan Matthijs, who for years had been persecuted for their faith and chased from town to town throughout the Low Countries. The Anabaptists believed in baptizing only adults, not children, marking them as radicals even among their fellow Protestants, who feared that unbaptized children who died before reaching adulthood would burn in hell—and who feared the upturning of social orders the Anabaptists represented. Four years before Münster’s religious toleration treaty, Holy Roman Emperor Charles V had ordered that every Anabaptist in his territory “shall be brought from natural life to death with fire, sword, or the like.”

Matthijs, a charismatic baker-turned-Anabaptist prophet, sent two of his acolytes to Münster in January 1534. When they arrived, Rothmann—who by then had become more radical and supported the idea of adult baptism—embraced them. The Anabaptists reportedly rebaptized 1400 people (20 percent of the city’s adult population) within a week of their arrival. Along the way, they spread Matthijs’s apocalyptic prophesy: Jesus Christ would return to Earth that Easter, and all Christians needed to prepare themselves for the imminent end of the world.


An 1840 painting of Jan of Leiden baptizing a girl
An 1840 painting of Jan of Leiden baptizing a girl
Johann Karl Bähr, Wikimedia Commons // Public domain

On February 11, 1534, the Münster city council granted full religious toleration to Anabaptists, who began referring to Münster as the “New Jerusalem.” They sent out messengers far and wide to recruit new believers to the city. As the month went on, armed city employees reportedly moved through the city warning those who refused adult baptism to flee, reportedly crying "Get out of here, you godless. God will punish you!" When Matthijs arrived, he delivered a sermon calling for the execution of Catholics and Lutherans alike. He preached, "Everywhere we are surrounded by dogs and sorcerers and whores and killers and the godless and all who love lies and commit them!" When the execution idea failed to fly, his advisors convinced him to settle for expelling the Catholics and Lutherans from the city.

More than 2000 Catholics and moderate Protestants poured out of Münster—and just as many Anabaptists streamed in from the countryside to replace them. By February 23, a new city council election gave the Anabaptists, led by Matthijs, full control of Münster. Watching these developments from outside the walls, Bishop von Waldeck prepared to besiege the city with a mercenary army in hopes of reestablishing Catholic control.

Münster simultaneously prepared to battle von Waldeck and to meet Jesus Christ. The citizens beefed up the city walls. They rounded up all residents who hadn’t yet been rebaptized and forced them to accept baptism or leave. They confiscated food and weapons from departing Catholics, and then, in March, the city council abolished private property altogether. That month, Matthijs also had all archives, documents, contracts, accounts, and ledgers destroyed in a Fight Club-style attempt to abolish all debt. "Everything that Christian brothers and sisters have belongs to the one as well as to the other," Rothmann preached.

Meanwhile, von Waldeck’s troops surrounded the city and the siege began.


On April 5, 1534, Easter came—but Christ did not. With his apocalyptic prophecy shattered, Matthijs claimed to have a divine vision. He mounted a horse and sallied forth with a small entourage to personally break von Waldeck’s siege and free the city. But his plan failed miserably: Von Waldeck’s troops ran Matthijs through with a spear, and then put his head on a spike in front of the city gates for all of Münster to see. The Anabaptists’ prophet was dead.

To quell the city’s rising panic, Matthijs’s main lieutenant, a 25-year-old tailor named Jan of Leiden, gave a speech reinterpreting the apocalyptic prophesy and postponing doomsday. On April 8, he dissolved the elected city council and appointed 12 elders to run the city.

Münster became increasingly militarized: Armed bands of citizens lived communally near their posts by the city gates, and two church steeples were repurposed as platforms for cannons. Residents adhered to a regimented daily schedule, and were required to wear simple clothing to erase social distinctions.

But as the city transformed, it still faced threats from the outside. Von Waldeck launched a massive engineering project to drain the moat surrounding Münster and allow his troops to attack the city gates. He conscripted over 2000 farmers from the surrounding land to leave their spring planting aside and dig a drainage ditch under cover of night. With the moat drained, von Waldeck's cannons pummeled Münster's walls for four straight days. But when the prince-bishop finally attacked on May 25, the Anabaptists staved off his disorganized and reportedly drunk mercenaries.

In June, an Anabaptist woman named Hille Feicken hatched a plan to assassinate von Waldeck and break the siege. She was inspired by the Biblical character Judith, who during the siege of Bethulia seduced the attacking general Holofernes and beheaded him in his sleep. Early in the morning on June 16, Feicken snuck out of Münster to seduce von Waldeck—but unlike Judith, she was quickly discovered, captured, and executed.

Soon after Feicken’s death, Jan of Leiden announced his plans to legalize polygamy and make marriage mandatory for all women—even those who had living Catholic or Protestant husbands in exile. Those who refused to marry were imprisoned in church cloisters, where preachers attempted to reeducate them. Historians speculate that Jan of Leiden’s motives were partially demographic: At that point, there were 2000 adult men and over 5500 adult women in Münster. The unmarried women were not under the protection—or control—of a husband, who might prevent them from sneaking off like Hille Feicken did.

Rothmann defended Jan of Leiden's decision. "God wills to create something new on earth," he wrote. "Just as the women commonly have been lords and have had their own way, now among us he has subjected the women to the men, so that all of them, young as well as old, have to let themselves be ruled by the men according to the word of God."

The polygamy announcement drew major backlash. On the night of July 30, 1534, 47 conspirators, led by a blacksmith named Heinrich Mollenhecke, attempted to overthrow the city government. They managed to take Jan of Leiden prisoner and hole up in the city hall, but the majority of Münster didn’t rally to the conspirators’ cause. Loyalists surrounded the mutineers, forcing them to surrender and free Jan of Leiden.

Over the next four days, all 47 conspirators were shot or beheaded. The polygamy plan went forward, and every woman in Münster was married. (Jan of Leiden himself reportedly took as many as 16 wives over the next year, including Jan Matthijs’s widow.)


Meanwhile, von Waldeck's siege continued. He launched yet another assault in August 1534, which the Anabaptists narrowly repelled. Afterward, a new Anabaptist prophet, a goldsmith named August Johann Dusentschuer, proclaimed that Jan of Leiden should rule as king. Jan of Leiden accepted the prophecy, adding that God had revealed to him that he was to be the new King David and rule until Jesus’s return to Earth. He replaced the Council of Elders with a royal court and began wearing a crown and carrying a scepter.

Over the winter, von Waldeck choked off all remaining routes in or out of Münster with walls and moats. The city ran out of grain and residents began slaughtering young cows for food. "Anyone who still has something must share with his brother," Jan of Leiden declared. But by April, facing a mounting famine, the king dismissed exhausted and hungry women, children, and old men from the city. About 1600 armed men remained within the walls.

As life inside of Münster became increasingly grim, Jan of Leiden promised his subjects that God would deliver them from the prince-bishop's besieging army. "God will smite them in their hearts, so that they will run away," he predicted. But by Easter, he clarified that he meant his promise of deliverance in a metaphorical, spiritual sense—not literally.

In May 1535, an Anabaptist carpenter named Heinrich Gresbeck tried to flee Münster, but was captured by von Waldeck’s troops. In exchange for his life, he agreed to help the besiegers take the city. On the night of June 25, he led 300 of von Waldeck’s soldiers into town through a poorly guarded city gate. The prince-bishop’s forces fought their way through the streets of Münster for hours, killing over 600 Anabaptists before the city surrendered. They took Jan of Leiden, his viceroy Bernd Knipperdollinck, and another Anabaptist leader named Bernd Kretchtinck prisoner. Bernhard Rothmann, the upstart Protestant preacher who had stirred up the entire conflict from his pulpit at St. Lambert’s church, apparently died fighting, although his body was never found.

With von Waldeck's victory, events took an even more gruesome turn. On January 22, 1536, the prince-bishop gathered a crowd in front of city hall to see Jan of Leiden, Knipperdollinck, and Kretchtinck tortured and killed. Executioners ripped the flesh from their bodies with hot tongs for an hour before stabbing them each in the heart. Their bodies were bound into iron cages and then hoisted from the tower of St. Lambert’s church.


As he retook control of Münster, von Waldeck re-Catholicized the city, and from 1536 on he appointed the city council members himself. Citizens weren’t allowed to elect their own representatives again until 1554.

The Münster Rebellion also marked the end of the militant streak in Anabaptism. The Münster Anabaptists were universally condemned, and exaggerated accounts of their treachery have circulated until the present day. Although the religious movement continued for centuries—evolving into today’s Amish, Mennonites, and Hutterites—no Anabaptist group would ever attempt to take and wield political power on that level again.

The bodies of the three Anabaptist leaders stayed in their cages for 50 years before St. Lambert’s removed them, prompting artists to draw pictures of ravens descending on the church tower to feast on stray bits of flesh. But the original cages remained, even after the tower from which they hung was demolished and replaced in the 1880s. The church repaired the cages, which had been damaged by rust, and strung them back up on the newly constructed tower.

When British bombs hit the church on November 18, 1944, the highest cage—Jan of Leiden’s—fell into the street, another fell into the organ loft, and the third remained dangling by a thread. When the church rebuilt the tower four years later, workers repaired and replaced the cages, commenting on their sturdy construction.

In 1987, as a small act of reconciliation, the church installed a small yellow bulb in each cage to burn from dusk until dawn each night “in memory of their departed souls.”

Fictional Place Names Are Popping Up On Road Signs in Didcot, England

Driving along the highway in Didcot, England, you may notice something strange: the road signs point the way to places like Neverland and Middle-earth.

The names of these and other fictional locales from literature were seamlessly added to road signs by an artist/prankster using Transport Medium, the official font of British road signs.

After some sleuthing, BBC News found the man responsible, who spoke to the outlet on the condition of anonymity. He told the BBC that he's been orchestrating "creative interventions" all over England for about 20 years under different pseudonyms, and that this project was a reaction to Didcot being labeled "the most normal town in England" in 2017, which rubbed him the wrong way. "To me there's nowhere that's normal, there's no such thing, but I thought I'd have a go at changing people's perceptions of Didcot," he said of the town, which he describes as a "fun" and "funky" place.

Oxfordshire County Council isn't laughing; it told the BBC that although the signs were "on the surface amusing," they were "vandalism" and potentially dangerous, since it would be hard for a driver who spotted one not to do a double take while their eyes were supposed to be on the road. Even so, thanks to routine council matters, the signs are safe—at least for now—as the Council says that it is prioritizing fixing potholes at the moment.

Jackie Billington, Didcot's mayor, recognizes that the signs have an upside. "If you speak to the majority of people in Didcot they're of the same opinion: it's put Didcot on the map again," he told BBC News. "Hopefully they'll be up for a couple of weeks."

There are five altered signs in total. If you fancy a visit to the Emerald City, you're pointed toward Sutton Courtenay. Narnia neighbors a power station. And Gotham City is on the same route as Oxford and Newbury (and not, apparently, in New Jersey, as DC Comics would have you believe). If you want to go see the signs for yourself before they disappear, you'll find them along the A4130 to Wallingford.

See the signs here and in the video below.

[h/t BBC News]

Mental Floss
How Jeremy Bentham Finally Came to America, Nearly 200 Years After His Death
Mental Floss
Mental Floss

One day toward the beginning of March, an unusual object arrived at a New York City airport. Carefully encased in a foam-padded, specially built wooden chair and strapped in with a bright-blue sash, it was the stuffed skeleton of one of Britain's most famous philosophers—transported not for burial, but for exhibition.

"We all refer to him as he, but the curator has corrected me. I need to keep referring to it," says University College London conservator Emilia Kingham, who prepared the item for its transatlantic voyage.

The stuffed skeleton belongs to the philosopher Jeremy Bentham, who died in 1832. But for well over a century, his "auto-icon"—an assemblage including his articulated skeleton surrounded by padding and topped with a wax head—has been on display in the south cloisters of University College London. Starting March 21, it will be featured in The Met Breuer exhibition "Like Life: Sculpture, Color, and the Body (1300–Now)," marking its first appearance in America.

While the auto-icon has sometimes been seen as an absurd vanity project or memento mori, according to Tim Causer, it's best understood as a product of Bentham's trailblazing work. "I would tend to ask people to reckon with the auto-icon not as macabre curio or the weird final wish of a strange old man," says the senior research associate at UCL's Bentham Project, which is charged with producing a new edition of the philosopher's collected works. Instead, "[we should] accept it in the manner in which Bentham intended it, as a sort of physical manifestation of his philosophy and generosity of spirit."


Engraving of Jeremy Bentham by J. Posselwhite
Engraving of Jeremy Bentham by J. Posselwhite

Bentham is best known as the founder of utilitarianism, a philosophy that evaluates actions and institutions based on their consequences—particularly whether those consequences cause happiness. A man frequently ahead of his time, he believed in a world based on rational analysis, not custom or religion, and advocated for legal and penal reform, freedom of speech, animal rights, and the decriminalization of homosexuality.

His then-unconventional ideas extended to his own body. At the time Bentham died, death was largely the province of the Church of England, which Bentham thought was "irredeemably corrupt," according to Causer. Instead of paying burial fees to the Church and letting his body rot underground, Bentham wanted to put his corpse to public use.

In this he was influenced by his friend and protégé Dr. Thomas Southwood Smith, who had published an article called "Use of the dead to the living" in 1824. Smith argued that medical knowledge suffered from the limited number of bodies then available for dissection—the Crown supplied only a handful of hanged criminals each year—and that the pool of available corpses had to be expanded to allow surgeons more practice material, lest they begin "practicing" on the living.

From his earliest will, Bentham left his body to science. (Some scholars think he may have been the first person to do so.) But he also went one step further. His last essay, written shortly before his death, was entitled "Auto-icon; or, farther uses of the dead to the living." In it, Bentham lambasts "our dead relations" as a source of both disease and debt. He had a better idea: Just as "instruction has been given to make 'every man his own broker,' or 'every man his own lawyer': so now may every man be his own statue."

Bentham envisioned a future in which weatherproofed auto-icons would be interspersed with trees on ancestral estates, employed as "actors" in historical theatre and debates, or simply kept as decoration. The point, he felt, was to treat the body in terms of its utility, rather than being bound by superstition or fear.

"It was a very courageous thing to do in the 1830s, to ask yourself to be dissected and reassembled," Causer says. "The auto-icon is his final attack on organized religion, specifically the Church of England. Because Bentham thought the church had a pernicious influence on society."

Sketch of Jeremy Bentham's corpse laid out for dissection
"The Mortal Remains" of Jeremy Bentham laid out for dissection, by H. H. Pickersgill

There was only one man Bentham trusted with carrying out his last wishes: Smith. After a public dissection attended by eminent scientific men, the devoted doctor cleaned Bentham's bones and articulated the skeleton with copper wiring, surrounding them with straw, cotton wool, fragrant herbs, and other materials. He encased the whole thing in one of Bentham's black suits, with the ruffles of a white shirt peeking out at the breast. He even propped Bentham's favorite walking stick, which the philosopher had nicknamed "Dapple," in between his legs, and sat him on one of his usual chairs—all just as Bentham had asked for.

But not everything went quite according to plan. The philosopher had asked to have his head preserved in the "style of the New Zealanders," which Smith attempted by placing the head over some sulfuric acid and under an air pump. The result was ghastly: desiccated, dark, and leathery, even as the glass eyes Bentham had picked out for it during life gleamed from the brow.

Seeing as how the results "would not do for exhibition," as Smith wrote to a friend, the doctor hired a noted French artist, Jacques Talrich, to sculpt a head out of wax based on busts and paintings made of Bentham while alive. Smith called his efforts "one of the most admirable likenesses ever seen"—a far more suitable topper for the auto-icon than the real, shriveled head, which was reportedly stuffed into the chest cavity and not rediscovered until World War II.

The preserved real head of Jeremy Bentham
Jeremy Bentham's preserved real head
Matt Brown, Flickr // CC BY 2.0

Smith kept the auto-icon at his consulting rooms until 1850, when he donated it to University College London, where Bentham is often seen as a spiritual forefather. It has been there ever since, inside a special mahogany case, despite rumors that students from Kings College—UCL's bitter rival—once stole the head and used it as a football.

"His head has never been stolen by another university," Kingham confirms. Causer says there is reason to believe the wax head was stolen by King's College in the 1990s, but never the real head. The football part of the story is particularly easy to dismiss, he notes: "We all have human heads, and kicking them doesn't do them much good, particularly 180-year-old human heads. If anybody kicked that, it would disintegrate on impact, I think." (Kingham also notes that the real head is not decomposing, as is sometimes claimed: "It's actually quite stable, it just doesn't look like a real-life person anymore. The skin is all shrunken.")

Another beloved myth has it that the auto-icon regularly attends UCL council meetings, where he's entered into the record as "present but not voting." Causer says that's not true either, although fiction became reality after the auto-icon graced the council meetings marking the 100th and 150th anniversary of the college's founding as a nod to the legend; it also attended the final council meeting of the school's retiring provost, Malcolm Grant.


Jeremy Bentham's auto-icon
Thomas Southwood Smith and Jacques Talrich, Auto-Icon of Jeremy Bentham. UCL Culture, London

Bentham always wanted to visit America; Causer says he was "a big admirer of the American political system" as the one most likely to promote the greatest happiness for its citizens. But before he could accomplish in death what he failed to do in life, UCL had to mount a careful conservation operation.

The first step: a spring cleaning. The conservation team at UCL removed each item of clothing on the auto-icon piece by piece, holding carefully to the delicate areas, like a loose left shoulder and wrist, where they knew from previous x-rays that the wiring was imperfect. After a detailed condition report and an inspection for pest damage (thankfully absent), the team surface-cleaned everything.

"The clothes were quite grubby because the box that he's sitting in, it's actually not very airtight," Kingham says. A vacuum with a brush attachment took care of surface dirt and dust, but the inner items required a more thorough clean. "We determined that his linen shirt and also his underwear could do with the wash, so we actually washed those in water. It was quite exciting saying I've been able to wash Jeremy Bentham's undies." The wax head was cleaned with water and cotton swabs, and occasionally a little spit, which Kingham says is a common cleaning technique for painted surfaces.


Kingham's team rearranged the stuffing around the skeleton, plumping the fibers as you would a pillow. The stuffing around the arms, in particular, had started to sag, so Kingham used a piece of stockinette fabric to bind the area around the biceps—making them look more like arms, she says, but also reducing some of the strain against the jacket, which threatened the stitching.

But the most labor-intensive part of the preparation, according to Kingham, was devising a customized padded chair for the auto-icon's transport. Their final creation included a wooden boarded seat covered in soft foam that had been sculpted to hold the auto-icon lying on its back, knees bent at a 90-degree angle to minimize stress on the pelvis—another weak point. The auto-icon was bound to the chair with soft bandages, and the whole thing inserted into a travel case. The wax head was also set inside a foam pad within a special handling crate (the real head will stay at UCL, where it is currently on display), while Bentham's regular chair, hat, and walking stick got their own crates.

"We had originally joked that it might be just easier to buy him a seat on the plane and just wheel him in on a wheelchair," Kingham says, laughing.

The special chair constructed for transporting Jeremy Bentham's auto-icon
UCL Culture

Luke Syson, the co-curator of "Like Life," says it was touching to watch the stick and hat emerge from their travel boxes, even if the auto-icon's special chair did look a bit "like how you would transport a lunatic around 1910—or indeed 1830."

Reached by phone just after he had finished installing the auto-icon, Syson says he wanted to include the item as part of the show's emphasis on works of art made to persuade the viewer that life is present. "This piece really sums up so many of the themes that the rest of the show looks at, so the use of wax, for example, as a substitute for flesh, the employment of real clothes … And then, above all of course, the use of body parts." And the auto-icon isn't the only item in the show to include human remains—when we spoke to Syson, he was looking at the auto-icon, Marc Quinn's "Self" (a self-portrait in frozen blood), and a medieval reliquary head made for a fragment of Saint Juliana's skull, all of which are installed in the same corner of the museum.

Syson says he was initially worried the auto-icon might not "read" as a piece of art—worries that were dispelled as soon as he installed the wax head. "The modeling of the face is so fine," he says. "The observation and expression, the sense of changing personality … there's a lovely jowliness underneath his chin, the wrinkles around his eyes are really speaking, and the kind of quizzical eyebrows, and so on, all make him really amazingly present."

And unlike at UCL, where the auto-icon sits in a case, viewers at the Met are able to see him on three sides, including his back. "He sort of springs to attention on his chair, he's not sort of slumped, which you couldn't see in the box [at UCL]."

Those who have worked with Bentham's auto-icon say it encourages a kind of intimacy. Taking the auto-icon apart, Kingham says, "you really do feel a closeness to Jeremy Bentham, because you looked in such detail at his clothes, and his bones, and his skeleton." The wax head, she says, is particularly lifelike. "People who knew him have said that it's a very, very good realistic likeness of him," she notes, which made it both eerie and special to handle so closely.

"This is both the representation and the person," Syson says. "We've been calling him 'Jeremy' these last few months, and he's sort of here, and it's not just that something's here, he's here. So that's an amazing thing."

Nearly 200 years later and across an ocean, Jeremy Bentham's auto-icon has arrived to serve another public good: delighting a whole new set of fans.