Dan Q
This is a repost promoting content originally published elsewhere. See more things Dan's reposted.
This is a silly idea. But it works. I saw Dan Q wondering about plaintext WordPress themes – so I made one.
This is what this blog looks like using it:
…
I clearly nerdsniped Terence at least a little when I asked whether a blog necessarily had to be HTML, because he went on to implement a WordPress theme that delivers content entirely in plain text.
Naturally, I’ve also shared his accomplishment on my own text/plain blog (which uses a much simpler CMS based on static files).
This is my 5,000th post on this blog.
Okay, we’re gonna need a whole lot of caveats on the “this is 5,000” claim:
First, there’s a Ship of Theseus consideration. By “this blog”, I’m referring to what I feel is a continuation (with short breaks) of my personal diary-style writing online from the original “Avatar Diary” on castle.onza.net in the 1990s via “Dan’s Pages” on avangel.com in the 2000s through the relaunch on scatmania.org in 2003 through migrating to danq.me in 2012. If you feel that a change of domain precludes continuation, you might disagree with me. Although you’d be a fool to do so: clearly a blog can change its domain and still be the same blog, right? Back in 2018 I celebrated the 20th anniversary of my first blog post by revisiting how my blog had looked, felt, and changed over the decades, if you’re looking for further reading.
In late 1999 I ran “Cool Thing of the Day (to do at the University of Wales, Aberystwyth)” as a way of staying connected to my friends back in Preston as we all went our separate ways to study. Initially sent out by email, I later maintained a web page with a log of the entries I’d sent out, but the address wasn’t publicly-circulated. I consider this to be a continuation of the Avatar Diary before it and the predecessor to Dan’s Pages on avangel.com after it, but a pedant might argue that because the content wasn’t born as a blog post, perhaps it’s invalid.
Pedants might also bring up the issue of contemporaneity. In 2004 a server fault resulted in the loss of a significant number of 149 blog posts, of which only 85 have been fully-recovered. Some were resurrected from backups as late as 2012, and some didn’t recover their lost images until later still – this one had some content recovered as late as 2017! If you consider the absence of a pre-2004 post until 2012 a sequence-breaker, that’s an issue. It’s theoretically possible, of course, that other old posts might be recovered and injected, and this post might before the 5,001st, 5,002nd, or later post, in terms of chronological post-date. Who knows!
Then there’s the posts injected retroactively. I’ve written software that, since 2018, has ensured that my geocaching logs get syndicated via my blog when I publish them to one of the other logging sites I use, and I retroactively imported all of my previous logs. These never appeared on my blog when they were written: should they count? What about more egregious examples of necroposting, like this post dated long before I ever touched a keyboard? I’m counting them all.
I’m also counting other kinds of less-public content too. Did you know that I sometimes make posts that don’t appear on my front page, and you have to subscribe e.g. by RSS to get them? They have web addresses – although search engines are discouraged from indexing them – and people find them with or without subscribing. Maybe you should subscribe if you haven’t already?
Note that I’m not counting my comments on my own blog, even though many of them are very long, like this 2,700-word exploration of a jigsaw puzzle geocache, or this 1,000-word analogy for cookie theft via cross-site scripting. I’d like to think that for any post that you’d prefer to rule out, given the issues already described, you’d find a comment that could justifiably have been a post in its own right.[/footnote]
Generating a chart...
If this message doesn't go away, the JavaScript that makes this magic work probably isn't doing its job right: please tell Dan so he can fix it.
Let’s take a look at some of those previous milestone posts:
I absolutely count this as the 5,000th post on this blog.
1 Don’t go look at them. Just don’t. I was a teenager.
2 Via a bit of POSSE and a bit of PESOS I do a lot of crossposting (the diagram in that post is a little out-of-date now, though).
3 Bird & Moon, of course, doesn’t have a subscription feed that I’m aware of, but FreshRSS‘s “killer feature” of XPath scraping makes the same kind of thing possible.
I’ve been GMing/DMing/facilitating1 roleplaying games for nearby 30 years, but I only recently began to feel like I was getting to be good at it.
The secret skill that was hardest for me to learn? A willingness to surrender control to the players.
I could write a lot about the way I interpret the K/D/F model, but for today here’s a quick primer:
The K/D/F model describes the relationship between three forces: Karma (player choices), Drama (story needs) and Fortune (luck, e.g. dice rolls). For example,
For most of my many years of gamemastering, I saw my role as being the sole provider the “drama” part of the K/D/F model. The story comes from me, the choices and dice rolls come from the players, right?
Nope, I was wrong. That approach creates an inevitable trend, whether large or small, towards railroading: “forcing” players down a particular path.
A gamemaster with an inflexible and excessively concrete idea of the direction that a story must go will find that they become unable to see the narrative through any other lens. In extreme examples, the players are deprotagonised and the adventure just becomes a series of set pieces, connected by the gamemaster’s idea of how things should play out. I’ve seen this happen. I’ve even caused it to happen, sometimes.2
I’ve railroaded players to some degree or another on an embarrassing number of occasions.
In the spirit of learning from my mistakes, here are three examples of me being a Bad GM.
Scenario: In a short-lived high fantasy GURPS campaign, I wanted the party to meet a band of gypsies and have their fortune told, in order to foreshadow other parts of the story yet to come.
What I did: I pulled a quantum ogre (magician’s choice) on them: whether they travelled by road, or water, or hacked their way through the forest, they were always going to meet the gypsies: their choice of route didn’t really matter.
Why that was wrong: I’d elevated the value of the encounter I’d planned higher than the importance of player agency. The more effort it took to write something, the more I felt the need to ensure it happened!
Two things I could’ve done: Reassessed the importance of the encounter. Found other ways to foreshadow the plot that didn’t undermine player choices, and been more-flexible about my set pieces.
Scenario: In a Spirit of the Century one-shot an antagonist needed to kidnap a NPC from aboard an oceanbound ship. To my surprise – with some very lucky rolls – the players foiled the plot!
What I did: I used a fudge – an exploit based on the fact that in most games the gamemaster controls both the plot and the hidden variables of the game mechanics – to facilitate the antagonist kidnapping a different NPC, and adapted the story to this new reality.
Why that was wrong: It made the players feel like their choices didn’t matter. I justified it to myself by it being a one-shot, but that undermines the lesson: I could’ve done better.
Two things I could’ve done: Used the failed attack as a precursor to a later renewed offensive by a villain who’s now got a personal interest in seeing the party fail. Moved towards a different story, perhaps to a different element of the antagonist’s plan.
Scenario: In a long-running Warhammer Fantasy Roleplay (1st edition!) campaign, a series of bad choices and terrible luck left the party trapped and unable to survive the onslaught of a literal army of bloodthirsty orcs.
What I did: I whipped out a deus spiritus ex machina, having a friendly ghost NPC
basically solve for them a useful puzzle they’d been struggling with, allowing them to escape alive (albeit with the quest truly failed).
Why that was wrong: It deprotagonised the adventurers, making them unimportant in their own stories. At the time, I felt that by saving the party I was “saving” the game, but instead I was undermining its value.
Two things I could’ve done: TPK: sometimes it’s the right thing to allow everybody to die! Pivot the plot to facilitate their capture (e.g. the arch-nemesis can’t solve the puzzle either and wants to coerce them into helping), leading to new challenges and interesting moral choices.
Those examples are perhaps extreme, but I’m pretty sure I’ve set up my fair share of lesser sins too. Like chokepoints that strongly encourage a particular direction: do that enough and you train your players to wait until they identify the chokepoint before they take action! Or being less invested in players’ plans if those plans deviate from what I anticipated, and having a convenient in-party NPC prompting players with what they ought to do next. Ugh.3
The good news is, of course, that we’ve all always got the opportunity for growth and self-improvement.
I’ve gotten better at this in general over the years, but when I took over from Simon at DMing for The Levellers in July, I decided that I was going to try to push myself harder than ever to avoid railroading. Simon was always especially good at promoting player freedom and autonomy, and I wanted to use this inspiration as a vehicle to improve my own gamemastering.
What does that look like within the framework of an established campaign?
Well: I ensure there are clues (usually three of them!) to point the players in the “right” direction. And I’ll be on hand to give “nudges” if they’re truly stuck for what to do next, typically by providing a “recap” of the things they’ve previously identified as hooks that are worth following-up (including both the primary plotline and any other avenues they’ve openly discussed investigating).
But that’s the limit to how I allow Drama to control the direction of the story. Almost everything else lies in the hands of Karma and Fortune.
Needless to say, opening up the possibility space for my players makes gamemastering harder4! But… not by as much as I expected. Extra prep-work was necessary, especially at the outset, in order to make sure that the world I was inheriting/building upon was believable and internally-consistent (while ensuring that if a player decided to “just keep walking East” they wouldn’t fall off the edge of the world). But mostly, the work did itself.
Because here’s the thing I learned: so long as you’re willing to take what your players come up with and run with it, they’ll help make the story more compelling. Possibly without even realising it.5
The Levellers are a pretty special group. No matter what the situation, they can always be relied upon to come up with a plan that wasn’t anywhere on their DM‘s radar. When they needed to cross a chasm over their choice of one of two bridges, each guarded by a different variety of enemy, I anticipated a few of the obvious options on each (fighting, magic, persuasion and intimidation, bribery…) but a moment later they were talking about having their druid wildshape into something easy-to-carry while everybody else did a group-spider climb expedition down the chasm edge and along the underside of a bridge. That’s thinking outside the box!
But the real magic has come when the party, through their explorations, have unlocked entirely new elements of the story.
In our campaign, virtually all of the inhabitants of a city have inadvertently sold their immortal souls to a Archduchess of Hell by allowing, over generations, their declaration of loyalty to their city to become twisted away from their gods and towards their mortal leader, who sold them on in exchange for a sweet afterlife deal. The knights of the city were especially-impacted, as the oath they swore upon promised their unending loyalty in this life as well. When the fiendish pact was made, these knights were immediately possessed by evil forces, transforming into horrendous creatures (who served to harass the party for some time).
I didn’t have answers to these questions to begin with, but the players were moving towards investigating, so I provided some. This also opened up an entire new possible “soft” quest hook related to the reason for the discrepancy. So just like that, a plothole is discovered and investigated by a player, and that results in further opportunities for adventure.
As it happens, the party didn’t even go down that route at all and instead pushed-on in their existing primary direction, but the option remains. All thanks to player curiosity, there’s a possible small quest that’s never been written down or published, and is unique to our group and the party’s interests. And that’s awesome.
I’m not the best GM in the world. I’m not even the best GM I know. But I’m getting better all the time; learning lessons like how to release the reins a little bit and see where my players can take our adventures.
And for those lessons, I’m grateful to those same players.
1 I’m using the terms GM, DM, and facilitator interchangeably, and damned if I’m writing them all out every single time.
2 A gamemaster giving all of the narrative power to any one of the three elements of K/D/F breaks the game, but in different ways. 100% karma and what you’ve got is a storytelling game, not a roleplaying game: which is fine if that’s what everybody at the table thinks they’re playing: otherwise not. 100% drama gives you a recital, not a jam session: the gamemaster might as well just be writing a book. 100% fortune leads to unrealistic chaos: with no rules to the world (either from the plot or from the consequences of actions) you’re just imagining all possible outcomes in your universe and picking one at random. There’s a balance, and where it sits might vary from group to group, but 100% commitment to a single element almost always breaks things.
3 A the “lesser sins” I mention show, the edges of what construes railroading and what’s merely “a linear quest” is a grey area, and where the line should be drawn varies from group to group. When I’m running a roleplaying session for my primary-school-aged kids, for example, I’m much more-tolerant of giving heavy-handed nudges at a high-level to help them stay focussed on what their next major objective was… but I try harder than ever to encourage diverse and flexible problem-solving ideas within individual scenes, where childish imagination can really make for memorable moments. One time, a tabaxi warrior, on fire, was falling down the outside of a tower… but his player insisted that he could shout a warning through the windows he passed before landing in flawless catlike fashion (albeit mildly singed). My adult players would be rolling athletics checks to avoid injury, but my kids? They can get away with adding details like that by fiat. Different audience, see?
4 A recent session took place after a hiatus, and I wasn’t confident that – with the benefit of a few months’ thinking-time – the party would continue with the plan they were executing before the break. And they didn’t! I’d tried to prep for a few other eventualities in the anticipation of what they might do and… I guessed wrong. So, for the first time in recorded history, our session ended early. Is that the end of the world? Nope.
5 Want a really radical approach to player-driven plot development? Take a look at this video by Zee Bashew, which I’m totally borrowing from next time I start running a new campaign.
6 You know what I miss? Feelies. That’s probably why I try to provide so many “props”, whether physical or digital, in my adventures.
7 The plothole isn’t even my fault, for once: it’s functionally broken as-delivered in the source book, although that matters little because we’ve gone so-far outside the original source material now we’re on a whole different adventure, possibly to reconvene later on.
This checkin to GC30B8 SP1 reflects a geocaching.com log entry. See more of Dan's cache logs.
The rest of my family and I enjoy a Go Ape, so we came out this morning for a bout of tree climbing and high ropes at the nearby centre. After our picnic lunch, and while the kids were amusing themselves in the play area (they couldn’t be persuaded to join me for a walk!), I excused myself for a few minutes to find this cache.
A great cache in an excellent location. I get so sick of tiny caches barely off the footpath, so it’s a real treat to find one of a decent size a little further into the woods! TNLN, SL, TFTC. Now I’d better get back to the family so we can all go swimming!
This checkin to GC9Z37B Friar's Farm - Legal Limit reflects a geocaching.com log entry. See more of Dan's cache logs.
I’ve now confirmed that this cache is missing (it looks like it was removed by the council during the installation of the signs for the new 20mph limit1) and sourced the requisite parts to construct a like-for-like replacement. I’ll aim to get that constructed and in-place within the next two weeks.
1 A similar change meant that I had to temporarily disable a cache of the same design in Sutton, earlier this year.
Dave Winer kindly let me know about a proposed standard for linking to OPML blogrolls. Given that I added a page containing my blogroll last year, it was easy enough for me to add a tiny bit of code to the header to add support for automatic detection of my blogroll.
<link rel="blogroll" type="text/xml" href="/blogroll.xml" title="Dan Q's blogroll">Now all we need is some tools that can do such detection!
(You’ll note I’ve added a title attribute: as I discovered the other day, some browsers including ELinks will show all
<link>s of unknown rel="..." at the top of the page and I wanted this one to make sense!)
Terence Eden wrote about his recent experience of IndieWebCamp Brighton, in which he mentioned that somebody – probably Jeremy Keith – had said, presumably to provoke discussion:
A blog post doesn’t need a title.
Terence disagrees, saying:
In a literal sense, he was wrong. The HTML specification makes it clear that the
<title>element is mandatory. All documents have title.
But I think that’s an overreach. After all, where is it written that a blog must be presented in HTML?
There are plenty of counter-examples already in existence, of course:
<title>s, of course, so that’s not the strongest counterexample!
But perhaps we can do better…
We’ve looked at plain text, which as a format clearly does not have to have a title. Let’s go one step further and implement it. What we’d need is:
index index.txt; (for Nginx).5
<item> has a <title>!
I’ve implemented it! it’s at textplain.blog.
In the end I decided it’d benefit from being automated as sort-of a basic flat-file CMS, so I wrote it in PHP. All requests are routed by the webserver to the program, which determines whether they’re a request for the homepage, the RSS feed, or a valid individual post, and responds accordingly.
It annoys me that feed
discovery doesn’t work nicely when using a Link: header, at least not in any reader I tried. But apart from that, it seems pretty solid, despite its limitations. Is this,
perhaps, an argument for my .well-known/feeds proposal?
Anyway, I’ve open-sourced the entire thing in case it’s of any use to anybody at all, which is admittedly unlikely! Here’s the code.
1 no-ht.ml technically does use HTML, but the same content could easily be delivered with an appropriate non-HTML MIME type if he’d wanted.
2 Again, I suppose this technically required HTML, even if what was delivered was an empty file!
3 Gemtext is basically Markdown, and doesn’t require a title.
4 Plain text obviously doesn’t require a title.
5 There’s no requirement that default files served by webservers are HTML, although it’s highly-unsual for that not to be the case.
I’m still a little miffed that my local council took it on themselves to “correct” my name on the electoral roll to something it isn’t, thereby potentially disenfranchising me (I can’t produce photo ID in the fake name they came up with!).
But I’m pleased to report that, after prompting, they were able to correct their mistake before I got to the polling station this morning. 🗳️👍
If you’ve ever found yourself missing the “good old days” of the #web, what is it that you miss? (Interpret “it” broadly: specific websites? types of activities? feelings? etc.) And approximately when were those good old days?
No wrong answers — I’m working on an article and wanted to get some outside thoughts.
I miss the era of personal web sites started out of genuine admiration for something, rather than out of a desire to farm a few advertising pennies
This. You wanted to identify a song? Type some of the lyrics into a search engine and hope that somebody transcribed the same lyrics onto their fansite. You needed to know a fact? Better hope some guru had taken the time to share it, or it’d be time for a trip to the library
Not having information instantly easy to find meant that you really treasured your online discoveries. You’d bookmark the best sites on whatever topics you cared about and feel no awkwardness about emailing a fellow netizen (or signing their guestbook to tell them) about a resource they might like. And then you’d check back, manually, from time to time to see what was new.
The young Web was still magical and powerful, but the effort to payoff ratio was harder, and that made you appreciate your own and other people’s efforts more.
When was the last time you tested your website in a text-only browser like Lynx (or ELinks, or one of several others)? Perhaps you should.
I’m a big fan of CSS Naked Day. I love the idea of JS Naked Day, although I missed it earlier this month (I was busy abroad, plus my aggressive caching, including in service workers, makes it hard to reliably make sweeping changes for short periods). I’m a big fan of the idea that, for the vast majority of websites, if it isn’t at least usable without any CSS or JavaScript, it should probably be considered broken.
This year, I thought I’d celebrate the events by testing DanQ.me in the most-limited browser I had to-hand: Lynx. Lynx has zero CSS or JavaScript support, along with limited-to-no support for heading levels, tables, images, etc. That may seem extreme, but it’s a reasonable analogue for the level of functionality you might routinely expect to see in the toughest environments in which your site is accessed: slow 2G connections from old mobile hardware, people on the other side of highly-restrictive firewalls or overenthusiastic privacy and security software, and of course users of accessibility technologies.
Here’s what broke (and some other observations):
<link rel="alternate">s at the top
I see the thinking that Lynx (and in an even more-extreme fashion, ELinks) have with showing “alternate versions” of a page at the top, but it’s not terribly helpful: most of mine are designed to help robots, not humans!
I wonder if switching from <link rel="alternate"> elements to Link: HTTP headers would
indicate to Lynx that it shouldn’t be putting these URLs in humans’ faces, while still making them accessible to all the
services that expect to find them? Doing so would require some changes to my caching logic, but might result in a cleaner, more human-readable HTML file as a side-effect. Possibly something worth investigating.
Fortunately, I ensure that my <link rel="alternate">s have a title attribute, which is respected by Lynx and ELinks and makes these scroll-past links
slightly less-confusing.
hreflang attribute.
Posts on the homepage are structured a little like this:
<li>
<a href="...">
<h2>Post Title</h2>
<p>...post metadata, image, and things...</p>
</a>
</li>
Strictly-speaking, that’s not valid. Heading elements are only permitted within flow elements. I chose to implement it that way because it seemed to be the most semantically-correct way
to describe the literal “list of posts”. But probably my use of <h2> is not the best solution. Let’s see how Lynx handles it:
It’s not intolerable, but it’s a little ugly.
I use a zero-JavaScript approach to image lightboxes: you can see it by clicking
on any of the images in this post! It works by creating a (closed) <dialog> at the bottom of the page, for each image. Each <dialog> has a unique
id, and the inline image links to that anchor.
Originally, I used a CSS :target selector to detect when the link had been clicked and show the
<dialog>. I’ve since changed this to a :has(:target) and directed the link to an element within the dialog, because it works better on browsers
without CSS support.
It’s not perfect: in Lynx navigating on an inline image scrolls down to a list of images at the bottom of the page and selects the current one: hitting the link again now offers to download the image. I wonder if I might be better to use a JavaScript-powered lightbox after all!
I was pleased to discover that gopher: and finger: links to alternate copies of a post… worked perfectly! That shouldn’t be a surprise – Lynx natively supports
these protocols.
In a fun quirk and unusually for a standard of its age, the Finger specification did not state the character encoding that ought to be used. I guess the authors just assumed everybody reading it would use ASCII. But both my WordPress-to-Finger bridge and Lynx instead assume that UTF-8 is acceptable (being a superset of ASCII, that seems fair!) which means that emoji work (as shown in the screenshot above). That’s nuts, isn’t it?
Back in November I added the ability to “react” to a post by clicking an emoji, rather than typing out a full comment. Because I was feeling lazy, the feature was (and remains) experimental, and I didn’t consider it essential functionality, I implemented it mostly in JavaScript. Without JavaScript, all you can do is see what others have clicked.
In a browser with no JavaScript but with functional CSS, the buttons correctly appear disabled.
But with neither technology available, as in Lynx, they look like they should work, but just… don’t. Oops.
If I decide to keep the reaction buttons long-term, I’ll probably reimplement them so that they function using plain-old HTML
and HTTP, using a <form>, and refactor my JavaScript to properly progressively-enhance the buttons for
those that support it. For now, this’ll do.
The comment form on my blog posts works… but there’s a quirk:
<textarea> appears!
That’s an annoyance. It turns out it’s a honeypot added by Akismet: a fake comments field, normally hidden, that tries to trick spam bots into filling it (and thus giving themselves away): sort-of a “reverse CAPTCHA” where the robots do something extra, unintentionally, to prove their inhumanity. Lynx doesn’t understand the code that Akismet uses to hide the form, and so it’s visible to humans, which is suboptimal both because it’s confusing but also because a human who puts details into it is more-likely to be branded a spambot!
I might look into suppressing Akismet adding its honeypot field in the first place, or else consider one of the alternative anti-spam plugins for WordPress. I’ve heard good things about Antispam Bee; I ought to try it at some point.
On the whole, DanQ.me works reasonably well in browsers without any JavaScript or CSS capability, with only a few optional features failing to function fully. There’s always room for improvement, of course, and I’ve got a few things now to add to my “one day” to-do list for my little digital garden.
Obviously, this isn’t really about supporting people using text-mode browsers, who probably represent an incredible minority. It’s about making a real commitment to the semantic web, to accessibility, and to progressive enhancement! That making your site resilient, performant, and accessible also helps make it function in even the most-uncommon of browsers is just a bonus.
Breakpoint issues always make me feel a bit “genderclear”.
This is a repost promoting content originally published elsewhere. See more things Dan's reposted.
A mysterious Roman artefact found during an amateur archaeological dig is going on public display in Lincolnshire for the first time.
The object is one of only 33 dodecahedrons found in Britain, and the first to have been discovered in the Midlands.
…
I learned about these… things… from this BBC News story and I’m just gobsmacked. Seriously: what is this thing?
This isn’t a unique example. 33 have been found in Britain, but these strange Roman artefacts turn up all over Europe: we’ve found hundreds of them.
It doesn’t look like they were something that you’d find in any Roman-era household, but they seem to be common enough that if you wandered around third century Northern Europe with one for a week or so you’d surely be able to find somebody who could explain them to you. And yet we don’t know why.
We have absolutely no idea why the Romans made these things. They’re finely and carefully created from bronze, and we find them buried in coin stashes, which suggests that they were valuable and important. But for what? Frustrated archaeologists have come up with all kinds of terrible ideas:
I love a good archaeological mystery. We might never know why the Romans made these things, but reading clever people’s speculations about them is great.
I continue to be sceptical of AI‘s ability to solve 90%+ of the problems that people are trying to solve with it.
But damn, if you’re feeling uninspired as you’re getting ready to start work on a Monday morning, try dumping your to-do list into a songwriting AI like Suno and ask it to write an uplifting song about how you’ll get it finished. It’s like having your very own cheerleader.
❎ Good ❎ Cheap ☑️ Fast. I guess generative AI is a “choose one” situation, and the one you have to choose is “fast”. But still: it certainly got me pumped-up and ready to work.
Also available on:
Prompt: uplifting electronic pop about Dan completing his to-do list today: filing his meetup expenses; performance-testing his CircleCI workflow; leading a team meeting; learning about Full Site Editing
Lyrics:
Filing expenses
Gotta get ’em done
No time to waste
Gotta have some fun
Dan’s on a mission
Gotta stay on track
He’s gonna conquer
Ain’t nothing gonna hold him back
Performance testing
Gonna make it fly
CircleCI workflow
Gonna reach the sky
Dan’s got the focus
He’s in the zone
Gonna make it happen
Gonna make it his own
Leading that team meeting
Gonna show his might
Guiding them forward
Shining so bright
Dan’s a leader
He’s got it all
Inspiring the team
Gonna make ’em stand tall
I think I might be more-prone to nerd sniping when I’m travelling.
Last week, a coworker pointed out an unusually-large chimney on the back of a bus depot and I lost sleep poring over 50s photos of Dutch building sites to try to work out if it was original.
When a boat tour guide told me that the Netherlands used to have a window tax, I fell down a rabbit hole of how it influenced local architecture and why the influence was different in the UK.
Why does travelling make me more-prone to nerd sniping? Maybe I should see if there’s any likely psychological effect that might cause that…
This post is also available as a podcast. Listen here, download for later, or subscribe wherever you consume podcasts.
From 1696 until 1851 a “window tax” was imposed in England and Wales1. Sort-of a precursor to property taxes like council tax today, it used an estimate of the value of a property as an indicator of the wealth of its occupants: counting the number of windows provided the mechanism for assessment.
(A particular problem with window tax as enacted is that its “stepping”, which was designed to weigh particularly heavily on the rich with their large houses, was that it similarly weighed heavily on large multi-tenant buildings, whose landlord would pass on those disproportionate costs to their tenants!)
Why a window tax? There’s two ways to answer that:
I recently got back from a trip to Amsterdam to meet my new work team and get to know them better.
One of the things I learned while on this trip was that the Netherlands, too, had a window tax for a time. But there’s an interesting difference.
The Dutch window tax was introduced during the French occupation, under Napoleon, in 1810 – already much later than its equivalent in England – and continued even after he was ousted and well into the late 19th century. And that leads to a really interesting social side-effect.
Glass manufacturing technique evolved rapidly during the 19th century. At the start of the century, when England’s window tax law was in full swing, glass panes were typically made using the crown glass process: a bauble of glass would be spun until centrifugal force stretched it out into a wide disk, getting thinner towards its edge.
The very edge pieces of crown glass were cut into triangles for use in leaded glass, with any useless offcuts recycled; the next-innermost pieces were the thinnest and clearest, and fetched the highest price for use as windows. By the time you reached the centre you had a thick, often-swirly piece of glass that couldn’t be sold for a high price: you still sometimes find this kind among the leaded glass in particularly old pub windows5.
As the 19th century wore on, cylinder glass became the norm. This is produced by making an iron cylinder as a mould, blowing glass into it, and then carefully un-rolling the cylinder while the glass is still viscous to form a reasonably-even and flat sheet. Compared to spun glass, this approach makes it possible to make larger window panes. Also: it scales more-easily to industrialisation, reducing the cost of glass.
The Dutch window tax survived into the era of large plate glass, and this lead to an interesting phenomenon: rather than have lots of windows, which would be expensive, late-19th century buildings were constructed with windows that were as large as possible to maximise the ratio of the amount of light they let in to the amount of tax for which they were liable6.
That’s an architectural trend you can still see in Amsterdam (and elsewhere in Holland) today. Even where buildings are renovated or newly-constructed, they tend – or are required by preservation orders – to mirror the buildings they neighbour, which influences architectural decisions.
It’s really interesting to see the different architectural choices produced in two different cities as a side-effect of fundamentally the same economic choice, resulting from slightly different starting conditions in each (a half-century gap and a land shortage in one). While Britain got fewer windows, the Netherlands got bigger windows, and you can still see the effects today.
But there’s another interesting this about this relatively-recent window tax, and that’s about how people broadcast their social status.
In some of the traditionally-wealthiest parts of Amsterdam, you’ll find houses with more windows than you’d expect. In the photo above, notice:
When it was first constructed, this building may have been considered especially ostentatious. Its original owners deliberately requested that it be built in a way that would attract a higher tax bill than would generally have been considered necessary in the city, at the time. The house stood out as a status symbol, like shiny jewellery, fashionable clothes, or a classy car might today.
Can we bring back 19th-century Dutch social status telegraphing, please?9
1 Following the Treaty of Union the window tax was also applied in Scotland, but Scotland’s a whole other legal beast that I’m going to quietly ignore for now because it doesn’t really have any bearing on this story.
2 The second-hardest thing about retrospectively graphing the cost of window tax is finding a reliable source for the rates. I used an archived copy of a guru site about Wolverhampton history.
3 Even relatively-recently, the argument that income tax might be repealed as incompatible with British values shows up in political debate. Towards the end of the 19th century, Prime Ministers Disraeli and Gladstone could be relied upon to agree with one another on almost nothing, but both men spoke at length about their desire to abolish income tax, even setting out plans to phase it out… before having to cancel those plans when some financial emergency showed up. Turns out it’s hard to get rid of.
4 There are, of course, other potential reasons for bricked-up windows – even aesthetic ones – but a bit of a giveaway is if the bricking-up reduces the number of original windows to 6, 9, 14 or 19, which are thesholds at which the savings gained by bricking-up are the greatest.
5 You’ve probably heard about how glass remains partially-liquid forever and how this explains why old windows are often thicker at the bottom. You’ve probably also already had it explained to you that this is complete bullshit. I only mention it here to preempt any discussion in the comments.
6 This is even more-pronounced in cities like Amsterdam where a width/frontage tax forced buildings to be as tall and narrow and as close to their neighbours as possible, further limiting opportunities for access to natural light.
7 Yet I’m willing to learn a surprising amount about Dutch tax law of the 19th century. Go figure.
8 Obligatory Pet Shop Boys video link. Can that be a thing please?
9 But definitely not 17th-century Dutch social status telegraphing, please. That shit was bonkers.
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