Yule, also known as Yuletide or the Winter Solstice, is a holiday celebrated by many people around the world. It has its origins in pagan traditions and has been recognized for centuries. The word "Yule" comes from the Old Norse word "jol," which referred to a midwinter festival. This festival celebrated the return of the sun and the end of the darkest days of the year. Yule was a time of great importance for pagan civilizations, as it marked the turning point of the year and the rebirth of the sun. Pagan societies celebrated Yule with various rituals and customs.

Pratt institute mascot

It took us more than three years and a pandemic to discover it. We got used to walking around it, referencing it as a meeting point, and enjoyed the public life around it. However, we never stopped to observe the cannon.

On one of our last days at Pratt before the shutdown, a 30-second stop to look at the cannon revealed an engraving, “SE PUSO ESTE GRANO EN SBRE DE 1859 HABANA” 1 . This cannon was acquired from Havana, our hometown. The Cuban presence at Pratt goes back 120 years in the past. After that surprising discovery, we asked classmates, friends, and faculty what they knew about the history of the cannon, but it was unclear for many.

We got answers like, “I think it’s from the Civil War,” “It might be a sculpture from a former student some time ago,” “I haven’t thought about it…,” or “a cannon, what cannon?” It was an embarrassing discovery for all of us-- that the cannon had been on campus since 1899 (Norton, 1899)-- yet there was so little known or written about it.

On Pratt Institute’s Monthly from November 1899 - June 1990, a brief description of recent acquisitions and improvements to the Campus, includes the cannon, described as “a stranger from a foreign land is daily passed by the hundreds who cross the pavement to the library building…Once a terror that perhaps frowned grimly from the Morro [Castle of Morro, Havana], it is now valued for the beauty of design which some Spanish artificer gave it” (Norton, 1899).

According to the Report of Chief of Ordinance of the War Department (1899), the cannon is one of three, five-anda-half inches bore bronze cast cannons appropriated from the form the Castle of Morro in Havana during the Spanish- American War. The cannon was cast in Sevilla, Spain and 43,000 pounds. Its inscription describes that it was made by the well known 18th-century bronze artisans Voie and Abet “VOIE I. ABET FECIT X. SEVILLA ANNO D. 1720” 2 (de Salas, 1831). The beauty and rarity of its bronze-founder’s art might be one of the major reasons for the purchase by the Pratt Board of Trustees only 11 years after the institute’s founding. “Beautifully cut bands of ornaments surround the barrel, and the handles are in the forms of dolphins . its lines and parts are admirably proportioned”(Norton, 1899).

In 1939, a competition to create the mascot that would symbolize Pratt Institute resulted in James Cooper’s winning idea, the Cannoneers. The “Data Board,” a publication of the then School of Science and Technology referred to as “the strength and character of the ‘Cannoneer’ is symbolic of the spirit and foresight that guided Mr. Charles Pratt in founding the Institute” according to the Pratt Institute Archives Instagram post (Pratt Institute, 2016). Oddly, there was no reference to the artifact that had already been installed on campus for forty years.

The photo archives at the Brooklyn Library has a collection of images that include this cannon during the 1950s, and reference its connection to the students as “the trophy which gives Pratt varsity teams their nickname, ‘Cannoneers’…” (Brooklyn Public Library, 195?).

We also found references to the cannon on the social media page of Pratt’s Alumni, which confirms its place in the institute’s collective memory. A 1971 photo from alum Robert Cohen Wilkoff shows a defaced, or altered, with some commenting about its “many psychedelic repaintings,” and the cannon being “completely painted in a hot neon fuzzy pink…like it was covered in pink pop rocks.” One comment makes a reference to its Spanish origins, citing the “frat boys used to paint and repaint the cannon,” where the commenter “was happy to see the thing stripped and shined.” Later acknowledging the “question of what an old Spanish cannon stolen during the Spanish American War has to do with Pratt Institute. Maybe it should be returned to Cuba or wherever it was stolen from” (Pratt Institute Alumni, 2019).

In 2015, Pratt Institute’s Cannoneer mascot got a redesign. Designer Wayland Chew states that the update “provides history and context to the iconic cannon located on campus” (Pratt Institute, 2015). However, despite the artifacts’ notable place on campus for over a century, it is still not acknowledged on the list of works of the Pratt Institute’s Sculpture Park.

The cannon is an inherited symbol of Pratt Institute, but maybe we took it for granted. If you pass by and look, indeed it is there, and it is ours.

Norton, Dora Miriam. (1899). Recent Art Acquisitions at Pratt Institute. Pratt Institute Monthly, Vol. VIII, 61-63.

Pratt Institute. (2015, October 15), Pratt Institute Unveils New Mascot Illustration for the Cannoneers. Pratt Institute.

Pratt Institute [@prattinstitutearchives]. (2016, March 17). Ever wonder where the @PrattInstitute mascot - the Cannoneers- originated? Well, the Databoard, a publication of the School of Science and Technology [Photograph]. Instagram.

Pratt Institute Alumni. (2019, August 1). #TBT to 1971! Remember when the Cannon looked like this? Thanks to alumnus Robert Cohen Wilkoff for sharing his photo! [Image attached]. Facebook.

Pratt Athletics Department to Receive a New Visual Identity

Pratt Institute's Athletics Department will receive a new visual identity as part of an overarching effort to evolve the Pratt Athletics brand. A professional design firm, headed by a Pratt alumnus, has been hired to create the new visual identity. One aspect of this overall branding effort includes a new illustration to serve as the mascot for the Pratt Athletics teams, and the Division of Student Affairs is hosting a Mascot Design Competition (MDC) to engage the Pratt community. The submission deadline for entries is June 15, 2015, and all current students, faculty, alumni, and staff are invited to submit artwork for a mascot that will motivate and inspire the Pratt Cannoneers.

The idea to engage the Pratt community in creating a new illustration arose from a charrette that took place in the fall of 2014. Led by the Student Governance Association (SGA), the charrette challenged students to develop a mascot that depicts what the Cannoneers meant to them. There were ten winners and many of those student works are being submitted to the MDC.

“We are very proud that Pratt Institute is one of the very few colleges of art and design to have a competitive sports program,” said Helen Matusow-Ayres, vice president for student affairs. “The Mascot Design Competition is an exciting initiative in which we challenge the talented Pratt community to create a new illustration. We look forward to seeing the submissions and it is exciting to have the students already engaged in what could be the new face of the Cannoneers.”

All entries will be reviewed by a distinguished panel of graphic design professionals and members of the Pratt community, who will select the winning illustration. The artwork selected by the panel will become part of a new visual identity for Pratt Athletics, which will be rolled out over the next year.

The designer of the winning illustration will receive $1,500 and a pair of tickets to Pratt’s Legends Gala in New York City in 2015. The winning design will also be featured online on the Pratt website and in Prattfolio magazine.

For more information about the competition, details on how to enter, submission guidelines, and the judging criteria, please click here.

Pratt Sets a Terrible Example by Crowdsourcing New Mascot Design

I am a proud graduate of Pratt Institute (ComD/Graphic Design, ’92), where I received a solid education from some of the world’s top creative professionals. But, I could not be more disappointed that my alma matter is using a competition to crowdsource the design of a new Athletics Brand Identity for the Institute. It’s shameful that Pratt is engaging in this practice, which is harmful and damaging to designers.

My letter to President Schutte and Vice President for Student Affairs Matusow-Ayres. (Click the image to enlarge and read it.)

It is unacceptable that one of the top design schools in the world is asking hundreds of students, faculty, alumni, and staff to work for free, with the promise that one of them will receive only a fraction of the fair market value of their work. As a member of AIGA, Freelancers Union, and the Graphic Artist’s Guild, as well as a freelance designer, I know firsthand how unfair crowdsourcing is to designers, and how harmful it is to the industry and economy. In fact, the AIGA Position on Spec Work, and the Graphic Artists Guild Code of Fair Practice for the Graphic Communications Industry state each group’s specific opposition to it.

I’ve written to President Thomas F. Schutte, and to Vice President for Student Affairs Helen Matusow-Ayres, asking them to cancel the contest, and conduct the project ethically and fairly. If you would like to join me in expressing your disappointment, you can email them, and tweet to @ PrattInstitute and @GoPrattGo. Pratt should be setting a much better example for its community, especially its students.

Correction: An earlier version of this post omitted the Twitter handle for Pratt Athletics, @GoPrattGo. It has been added.—JC

Pagan societies celebrated Yule with various rituals and customs. One of the most common practices was the burning of a Yule log. This log would be carefully chosen, often cut from a tree that had been struck by lightning, and was burned in the hearth to provide warmth and light during the long winter nights.

The ashes from the log were believed to have protective and purifying properties. Another important aspect of Yule was the feasting and drinking that took place. Pagan societies believed that during this time, the barrier between the human and spiritual worlds was particularly thin, and therefore, it was important to offer food and drink to the spirits and ancestors. Special dishes and drinks were made, and people would gather together to celebrate and share in the festivities. As Christianity spread throughout Europe, Yule traditions were adapted and incorporated into Christmas celebrations. The date of Yule coincided with the birth of Jesus, as well as with various other pagan festivals that celebrated the return of the sun or the renewal of life. Many of the customs associated with Yule, such as decorating trees, hanging wreaths, and exchanging gifts, became part of the Christmas tradition. Today, Yule is still celebrated by various pagan and Wiccan communities, who seek to reconnect with the earth and honor the changing of the seasons. It is a time of reflection and renewal, a time to honor nature and the cycles of life. Although Yule has pagan origins, it is a holiday that has been embraced and celebrated by people of different faiths and backgrounds around the world, symbolizing the universal themes of light, warmth, and hope during the darkest days of the year..

Reviews for "Yule: A Celebration of Nature and Pagan Spirituality"

1. John - 1/5 stars - This book was a complete disappointment. As someone interested in pagan history, I was excited to learn more about Yule's origins. However, this book provided very little useful information. The author seemed more interested in promoting their own personal beliefs and ideas rather than providing accurate historical facts. I would not recommend this book to anyone looking for a comprehensive and well-researched exploration of Yule's pagan origins.

2. Sarah - 2/5 stars - I wanted to like this book, but I found it to be misleading. The title suggests a focus on pagan origins, but the majority of the content revolves around the author's personal opinions and interpretations. While some of their ideas may be thought-provoking, I was left feeling unsatisfied with the lack of in-depth research and historical evidence. If you're looking for a book that delves into the true pagan origins of Yule, I would suggest skipping this one.

3. Robert - 2/5 stars - I was hoping for a book that would shed light on the rich and ancient pagan traditions surrounding Yule. Unfortunately, this book failed to deliver. It seemed more like a platform for the author's own beliefs rather than a well-researched exploration of Yule's pagan origins. Without proper historical context or evidence, the author's claims felt unfounded and speculative. I would caution others who are seeking a true understanding of Yule's pagan roots to look elsewhere for a more reliable source of information.

4. Emily - 1/5 stars - This book was a letdown. It advertised a thorough examination of Yule's pagan origins, but instead, it presented a mishmash of personal opinions and unsubstantiated claims. The author cherry-picked information to fit their own narrative, completely disregarding historical accuracy. As someone genuinely interested in pagan history, I was disappointed by the lack of solid research and the misleading title. I would strongly advise against wasting your time on this book if you're seeking a reliable and informative account of Yule's pagan origins.

The Winter Solstice and Paganism: Understanding the Origins of Yule