![.text(function(d, i) { return d[i]; })
Figure 1.3 displays the result of rendering the HTML Web page in
Listing 1.3 in a Web browser.
FIGURE 1.3 Using an Array to Generate <p> Elements With Simple Styling
Effects. The next section shows you how to leverage what you have learned about
D3 to render various 2D shapes in an HTML Web page.
CREATING SIMPLE TWO-DIMENSIONAL SHAPES
This section contains a code sample that shows you how to create
simple 2D shapes in D3. The D3 code specifies attributes that are
the same as the SVG-based attributes for each 2D shape. For
example, an ellipse is defined in terms of its center point (cx, cy),
its major axis rx, and its minor axis ry. Similar comments apply for
creating a rectangle (x, y, width, and height attributes) and for
creating a line segment ((x1,y1) and (x2,y2) as the coordinates of
the two endpoints of the line segment). In fact, Listing 1.4 is nothing
more than using TMCIID3 and the D3 .attr() method to set the
attributes of various 2D shapes. Note that in Chapter 5 you will learn
about the SVG attributes for numerous 2D shapes.
Listing 1.4 displays the contents of SimpleShapes1.html that
illustrates how to create a circle, an ellipse, a rectangle, and a line
segment in D3.](https://image.slidesharecdn.com/121620-250315214121-d92389fc/85/D3-Data-Driven-Documents-Pocket-Primer-1st-Edition-Oswald-Campesato-35-320.jpg)
D3 Data Driven Documents Pocket Primer 1st Edition Oswald Campesato
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- 7. LICENSE, DISCLAIMER OF LIABILITY, AND LIMITED WARRANTY By purchasing or using this book and disc (the “Work”), you agree that this license grants permission to use the contents contained herein, including the disc, but does not give you the right of ownership to any of the textual content in the book / disc or ownership to any of the information or products contained in it. This license does not permit uploading of the Work onto the Internet or on a network (of any kind) without the written consent of the Publisher. Duplication or dissemination of any text, code, simulations, images, etc. contained herein is limited to and subject to licensing terms for the respective products, and permission must be obtained from the Publisher or the owner of the content, etc., in order to reproduce or network any portion of the textual material (in any media) that is contained in the Work. MERCURY LEARNING AND INFORMATION (“MLI” or “the Publisher”) and anyone involved in the creation, writing, or production of the companion disc, accompanying algorithms, code, or computer programs (“the software”), and any accompanying Web site or software of the Work, cannot and do not warrant the performance or results that might be obtained by using the contents of the Work. The author, developers, and the Publisher have used their best efforts to insure the accuracy and functionality of the textual material and/or programs contained in this package; we, however, make no warranty of any kind, express or implied, regarding the performance of these contents or programs. The Work is sold “as is” without warranty (except for defective materials used in manufacturing the book or due to faulty workmanship). The author, developers, and the publisher of any accompanying content, and anyone involved in the composition, production, and manufacturing of this work will not be liable for damages of any kind arising out of the use of (or the inability to use) the algorithms, source code, computer programs, or textual material contained in this publication. This includes, but is not limited to, loss of revenue or profit, or other incidental, physical, or consequential damages arising out of the use of this Work. The sole remedy in the event of a claim of any kind is expressly limited to replacement of the book and/or disc, and only at the discretion of the Publisher. The use of “implied warranty” and certain “exclusions” vary from state to state, and might not apply to the purchaser of this product.
- 8. D3 Pocket Primer Oswald Campesato MERCURY LEARNING AND INFORMATION Dulles, Virginia Boston, Massachusetts New Delhi
- 9. Copyright ©2016 by MERCURY LEARNING AND INFORMATION LLC. All rights reserved. This publication, portions of it, or any accompanying software may not be reproduced in any way, stored in a retrieval system of any type, or transmitted by any means, media, electronic display or mechanical display, including, but not limited to, photocopy, recording, Internet postings, or scanning, without prior permission in writing from the publisher. Publisher: David Pallai MERCURY LEARNING AND INFORMATION 22841 Quicksilver Drive Dulles, VA 20166 info@merclearning.com www.merclearning.com 1-800-232-0223 O. Campesato. D3 Pocket Primer. ISBN: 978-1-938549-65-6 The publisher recognizes and respects all marks used by companies, manufacturers, and developers as a means to distinguish their products. All brand names and product names mentioned in this book are trademarks or service marks of their respective companies. Any omission or misuse (of any kind) of service marks or trademarks, etc. is not an attempt to infringe on the property of others. Library of Congress Control Number: 2014937375 151617321 Printed in the United States of America This book is printed on acid-free paper. Our titles are available for adoption, license, or bulk purchase by institutions, corporations, etc. For additional information, please contact the Customer Service Dept. at (800) 232-0223 (toll free). Digital versions of our titles are available at: www.authorcloudware.com and other e-vendors. The sole obligation of MERCURY LEARNING AND INFORMATION to the purchaser is to replace the book and/or disc, based on defective materials or faulty workmanship, but not based on the operation or functionality of the product.
- 10. I’d like to dedicate this book to my parents – may this bring joy and happiness into their lives.
- 11. CONTENTS Preface Chapter 1: Introduction to D3 What is D3? D3 on Mobile Devices D3 Boilerplate Method Chaining in D3 The D3 Methods select() and selectAll() Specifying UTF-8 in HTML5 Web Pages with D3 Creating New HTML Elements The Most Common Idiom in D3 Binding Data to Document-Object-Model Elements Generating Text Strings Creating Simple Two-Dimensional Shapes Bezier Curves and Text Two-Dimensional Transforms A Digression: Scaling Arrays of Numbers to Different Ranges Tweening in D3 Formatting Numbers Working with Gradients Linear Gradients Radial Gradients Adding HTML <div> Elements with Gradient Effects Working with Portable Network Graphics Files D3 Application Programing Interface Reference Additional Code Samples on the CD Summary Chapter 2: Arrays, Mouse Events, and Animation Effects Finding the Maximum and Minimum Values in an Array Working with Multidimensional Arrays Two-Dimensional Arrays and Scatter Charts D3 Data Scaling Functions Other D3.js Scaling Functions D3 Path Data Generator What About this, $this, and $(this)? D3 and Mouse Events Mouse Events and Randomly Located Two-Dimensional Shapes
- 12. A “Follow the Mouse” Example A Drag-and-Drop Example Animation Effects with D3 Easing Functions in D3 Zoom, Pan, and Rescale Effects with D3 Handling Keyboard Events with D3 Additional Code Samples on the CD Summary Chapter 3: Working with Bar Charts in D3 A Simple Horizontal Bar Chart Rendering Horizontal and Vertical Axes with Labels A Scaled Vertical Bar Chart with Labeled Axes Using Date and Time Stamps to Label Axes D3 Bar Charts with Unicode Characters Bar Charts with Three-Dimensional Effects Bar Charts with Filter Effects and Tooltips Additional Filter Effects Updating Bar Charts Dynamically Adding and Removing Data From Bar Charts Scrolling Animation Effects with Bar Charts Additional Code Samples on the CD Summary Chapter 4: Other Chart Types and Data Formats Rendering A Line Graph Rendering Multiple Nonlinear Graphs Scatter Charts with Axes and Mouse Events Selecting Equal Data Points in Scatter Charts Rendering Pie Charts A Histogram with Animation Effects Working with Other Data Formats and Data Files The XMLHttpRequest Request Object The jQuery .ajax() Method Useful D3 Methods for CSV Files CSV: Synchronous Versus Nonsynchronous D3 Methods Line Graphs with CSV Data and Mouse Events Bar Charts with Three-Dimensional Effects from Comma-Separated-Value Files Additional Code Samples on the CD Summary Chapter 5: SVG Essentials Overview of SVG Basic Two-Dimensional Shapes in SVG
- 13. SVG Gradients and the <path> Element SVG <polygon> Element Bezier Curves and Transforms SVG Filters and Shadow Effects Rendering Text Along an SVG <path> Element SVG Transforms The SVG <clipPath> Element Other SVG Features SVG Animation Creating Three-Dimensional Effects in SVG SVG and HTML SVG and JavaScript CSS3 and SVG CSS3 and SVG Bar Charts Similarities and Differences Between SVG And CSS3 SVG and XSLT (Extensible Stylesheet Language Transformations) Additional Code Samples on the CD Summary Chapter 6: Introduction to CSS3 Graphics and Animation CSS3 Support and Browser-Specific Prefixes for CSS3 Quick Overview of CSS3 Features CSS3 Pseudoclasses, Attribute Selection, and Relational Symbols CSS3 Pseudoclasses CSS3 Attribute Selection CSS3 Shadow Effects and Rounded Corners Specifying Colors with Red/Green/Blue Triples and Hue/Saturation/Lightness Representations CSS3 and Text Shadow Effects CSS3 and Box Shadow Effects CSS3 and Rounded Corners CSS3 Gradients Linear Gradients Radial Gradients CSS3 Two-Dimensional Transforms Rotate Transforms CSS3 Three-Dimensional Animation Effects CSS3 Media Queries CSS3 and SVG Additional Code Samples on the CD Summary Chapter 7: D3 with CSS3, SVG, and HTML5 Canvas
- 14. D3 Code Samples with HTML5 Canvas Updated CSS3 Stylesheets for this Chapter D3 and CSS3 Effects D3 and CSS3 Animation Effects D3 and HTML5 Canvas D3 and SVG Bubble Charts with JSON Data Additional Code Samples on the CD Summary Chapter 8: D3 with Ajax, HTML5 WebSockets, and NodeJS D3 and Ajax Requests D3 with PHP Data D3 with MySQL Data D3 Bar Charts with a WebSocket Server D3 and NodeJS (Optional) Inserting an <svg> Element in an HTML Web Page Rendering SVG Graphics with D3 and NodeJS (Optional) Additional Code Samples on the CD Summary Chapter 9: Miscellaneous D3 Application Programming Interfaces and Other Toolkits Maps in D3 (Choropleth) Adding Tooltips to a United States Map D3 and Google Maps GeoJSON and D3 TopoJSON Other Maps The D3 Force Layout Using D3 Force with CSS Instead of SVG D3 Trees Voronoi Diagrams Toolkits That are D3 Extensions The ChartBuilder Extension The CrossFilter Extension The dc.js Extension Rickshaw D3 and Other Toolkits D3 Plugins DVL(Dynamic Visualization LEGO) for Data Visualization Vega: A Visualization Grammar NVD3 DexChart: Reusable Charts
- 15. R Programming with D3-Based Toolkits Additional D3 APIs The D3 Brushes API D3 and HTML5 Web Audio What About D3 for Three-Dimensional Graphics and Animation? Other D3 Resources Additional Code Samples on the CD Summary Chapter 10: HTML5 Mobile Applications on Android and iOS HTML5/CSS3 and Android Applications SVG and Android Applications HTML5 Canvas and Android Applications Android and HTML5 Canvas Multiline Graphs What is PhoneGap? How Does PhoneGap Work? Software Dependencies for PhoneGap 3.0 Creating Android Hybrid Applications with PhoneGap 3.0 Creating iOS Hybrid Applications with PhoneGap 3.0 Requirements for Deploying Mobile Apps to iOS Devices Rendering a CSS3 Cube on iOS Using PhoneGap D3 and Android Applications D3 and iOS Applications Developing D3-Based Mobile Applications for Google Glass How does Google Glass Work? Supported HTML5 Tags Unsupported HTML5 Tags Deploying Android Applications to Google Glass Displaying Google Glass in an Emulator Other Useful Links for Google Glass Other Google Glass Code Samples Additional Code Samples on the CD Summary Index On The CD Appendix A: Overview of SVG Appendix B: Introduction to Android Appendix C: HTML5 and JavaScript Toolkits Appendix D: Rendering 2D Shapes in HTLM5 Canvas
- 16. T PREFACE WHAT IS THE PRIMARY VALUE PROPOSITION FOR THIS BOOK? his book endeavors to provide you with as much up-to-date information as possible that can be reasonably included in a book of this size. There are many unique features of this book, including two chapters that are dedicated to CSS3 (with 2D/3D graphics and animation and how to leverage SVG in CSS selectors) and SVG (with custom code samples), and also an Appendix for HTML5 Canvas. There are two additional chapters that are unique to this D3 book: one chapter is devoted to hybrid mobile applications with D3 (deployed to Android tablets Nexus 7 2 and Asus Prime and an iPad3) with version of PhoneGap 3.0 (currently the latest release), and another chapter contains integrated code samples with CSS3, HTML5 Canvas, and SVG. Other unique features of this book include code samples that show you how to render 3D shapes (including 3D bar charts with animation), create multiple animation effects, and how to create SVG filters for your HTML Web pages. Moreover, you will see code samples that show you how to work with Unicode, CSV files, Ajax, HTML5 WebSockets, and an example involving NodeJS. Finally, the author has written multiple open source projects (links are provided toward the end of this Preface) containing literally thousands of code samples so that you can explore the capabilities of CSS3, SVG, HTML5 Canvas, and jQuery combined with CSS3. THE TARGET AUDIENCE This book is intended to reach an international audience of readers with highly diverse backgrounds in various age groups.
- 17. While many readers know how to read English, their native language is not always English (which could be their second, third, or even fourth language). Consequently, this book uses standard English rather than colloquial expressions that might be confusing to those readers. As you know, many people learn by different types of imitation, which includes reading, writing, or hearing new material (yes, some basic videos are also available). This book takes these points into consideration in order to provide a comfortable and meaningful learning experience for the intended readers. GETTING THE MOST FROM THIS BOOK Some programmers learn well from prose, others learn well from sample code (and lots of it), which means that there’s no single style that can be used for everyone. Moreover, some programmers want to run the code first, see what it does, and then return to the code to delve into the details (and others use the opposite approach). Consequently, there are various types of code samples in this book: some are short, some are long, and other code samples “build” from earlier code samples. The goal is to show (and not just tell) you a variety of visual effects that are possible, some of which you might not find anywhere else. You benefit from this approach because you can pick and choose the visual effects and the code that creates those visual effects. WHAT TYPE OF MOBILE APPLICATIONS ARE IN THIS BOOK? The screenshots throughout this book are based on hybrid HTML5 mobile applications that were deployed to two Android tablets with Android 4.x and an iPad3, as well as some screenshots from a Chrome browser on a Macbook Pro. The final chapter in this book
- 18. shows you how to use PhoneGap 3.0 to create D3-based hybrid HTML5 mobile applications for Android and iOS mobile devices. This book does not focus on “thin apps,” which refers to HTML Web pages that are accessed from a mobile device. However, you have the option of making all the code samples in this book available on a Website in order to access them on mobile devices. HOW WAS THE CODE FOR THIS BOOK TESTED? The code samples in this book have been tested in a Google Chrome browser (version 28.0.1500.95) on a Macbook Pro with OS X 10.8.3. Unless otherwise noted, no special browser-specific features were used, which means that the code samples ought to work in Chrome on other platforms, and also in other modern browsers. Exceptions are due to limitations in the cross-platform availability of specific features of D3 itself. Although the code also works in several earlier versions of Chrome on a Macbook Pro, you need to test the code on your platform and browser (especially if you are using Internet Explorer). Another point to keep in mind is that all references to “Web Inspector” refer to the Web Inspector in Chrome, which differs from the Web Inspector in Safari. If you are using a different (but still modern) browser or an early version of Chrome, you might need to check online for the sequence of keystrokes that you need to follow to launch and view the Web Inspector. Navigate to this link for additional useful information: http://benalman.com/projects/javascript-debug-console-log/ WHAT ABOUT GOOGLE’S FORK OF WEBKIT? As this book goes to print, Google made Blink available, which is its fork of the WebKit engine. The code base for Blink (which some people call “WebKit 2.0”) is already available in the version of Chrome that was used to test the code samples in this book.
- 19. Although the code (and therefore the features) for Blink will eventually diverge from the initial code base, the D3 code samples will render the same in other WebKit-based browsers as they do in Chrome-based browsers. WHAT DO I NEED TO KNOW FOR THIS BOOK? The most important prerequisite is familiarity with HTML Web pages and JavaScript. If you want to be sure that you can grasp the material in this book, glance through some of the code samples to get an idea of how much is familiar to you and how much is new for you. WHAT ABOUT SVG? No prior knowledge of SVG is required in order to learn D3. Keep in mind that D3 and SVG use the same attribute names for the 2D shapes that they both support, so if you already know the SVG- based attributes, that knowledge is obviously helpful. Another point to keep in mind is that even though D3 is a JavaScript-based “layer” over SVG, you can also use D3 with HTML5 Canvas, which is discussed in detail in an appendix. WHY DOES THIS BOOK HAVE 250 PAGES INSTEAD OF 500 PAGES? This book is part of a Pocket Primer series whose books are between 200 and 250 pages. Second, the target audience consists of readers ranging from beginners to intermediate in terms of their knowledge of HTML and JavaScript. During the preparation of this book, every effort has been made to accommodate those readers so that they will be adequately prepared to explore more advanced features of D3 during their self study.
- 20. WHY SO MANY CODE SAMPLES IN THE CHAPTERS? One of the primary rules of exposition of virtually any kind is “show, don’t tell.” While this rule is not taken literally in this book, it’s the motivation for showing first and telling second. You can decide for yourself if show-first-then-tell is valid in this book by performing a simple experiment: when you see the code samples and the accompanying graphics effects in this book, determine if it’s more effective to explain (“tell”) the visual effects or to show them. If the adage “a picture is worth a thousand words” is true, then this book endeavors to provide both the pictures and the words. WHY SO MANY CODE SAMPLES ON THE CD? The CD contains more than 1,000 code samples that vary from simple to moderate complexity using different combinations of technologies. Specifically, there are D3-based code samples along with “pure” SVG and “pure” CSS3 samples. In addition, you’ll find code samples that combine D3 with SVG, D3 with CSS3, SVG and CSS3. The code samples that combine CSS3 and SVG create 3D animation effects, whereas the pure SVG samples only create static effects. In the code samples that are similar (admittedly there are many on the CD), they are included as a convenience, and their purpose is to show you stylistic nuances. Obviously the value of those subtle differences is highly subjective and impossible to quantify, which means that each person will evaluate the code samples in a different manner. As a parenthetical yet relevant aside: in the art world there can be two very similar original paintings by two different artists, and yet one painting is valuable whereas the other has much lower perceived value. Putting aside the intrinsic value of the code samples on the CD, it’s likely that some of them appeal to you and not to other people (and vice versa).
- 21. Think of the code samples as “concept code” in the sense that they provide you with ideas that you can borrow and enhance even further with your own variations. This approach of progressively adding details to provide you with a “swatch-like” variety of code samples will accommodate a range of reading styles, and you can jump in wherever you feel most comfortable. Since there will be concepts that cannot be fully discussed (due to the limited page count), the inclusion of similar code samples will make it simpler for you to grasp the additional techniques during your independent study. The key points to keep in mind is that supplemental code samples on the CD show you stylistic variations and they save you the time required to create those samples, but you can choose to view them or to ignore them. DOESN’T THE CD OBVIATE THE NEED FOR THIS BOOK? The CD contains all the code samples to save you time and effort from the error-prone process of manually typing code into an HTML Web page. In addition, there are situations in which you might not have easy access to CD. Furthermore, the code samples in the book provide explanations that are not available on the CD. Finally, as mentioned earlier in this Preface, there are some introductory videos available that cover HTML5, CSS3, HTML5 Canvas, and SVG. Navigate to the publisher’s Website to obtain more information regarding their availability. DOES THIS BOOK CONTAIN PRODUCTION-LEVEL CODE SAMPLES? The primary purpose of the code samples in this book is to illustrate various features of the D3 toolkit. Clarity has higher priority than writing more compact code that is more difficult to understand
- 22. (and possibly more prone to bugs). If you decide to use any of the code in this book in a production Website, you ought to subject that code to the same rigorous analysis as the other parts of your HTML Web pages. WHICH VERSION OF D3 IS FOR THIS BOOK? The code samples in this book use version 3.0 of D3 (released in December, 2012), which is currently the latest version of D3. If you plan to use an older version of D3, you need to test the D3 code samples in this book to ensure that they work with that older version. TERMINOLOGY IN THIS BOOK You will see variations in the way that D3 methods are described. For example, you will see “the D3 method .transition()” and “the method d3.transition()” used interchangeably in this book. As another example, you will see “an HTML <script> element” and “a <script> element,” both of which refer to the same thing. OTHER RELATED BOOKS BY THE AUTHOR 1. HTML5 Canvas and CSS3: http://www.amazon.com/HTML5-Canvas-CSS3-Graphics- Primer/dp/1936420341 2. jQuery, HTML5, and CSS3: http://www.amazon.com/jQuery-HTML5-Mobile-Desktop- Devices/dp/1938549031 3. HTML5 Pocket Primer: http://www.amazon.com/HTML5-Pocket-Primer-Oswald- Campesato/dp/1938549104 4. jQuery Pocket Primer: http://www.amazon.com/dp/1938549147
- 23. Upcoming book by the author: http://www.amazon.com/HTML5-Canvas-Pocket-Oswald- Campesato/dp/1938549678/ref=sr_1_2? ie=UTF8&qid=1434753297&sr=8- 2&keywords=html5+canvas+pocket+primer The following open source projects contain code samples that supplement the material in various chapters of this book: https://github.com/ocampesato/angular-graphics https://github.com/ocampesato/css3-graphics https://github.com/ocampesato/d3-graphics https://github.com/ocampesato/html5-graphics https://github.com/ocampesato/jquery-css3-graphics https://github.com/ocampesato/raphael-graphics https://github.com/ocampesato/reactjs-graphics https://github.com/ocampesato/svg-filters-graphics https://github.com/ocampesato/svg-graphics
- 24. T CHAPTER 1 INTRODUCTION TO D3 his chapter introduces you to D3 and provides a collection of short code samples that illustrate how to use some useful D3 application programming interfaces (API). This chapter moves quickly, so even if you are already familiar with D3 it’s worth your while to read (or at least skim through) the material in this chapter. The code samples in subsequent chapters use many of the APIs that are discussed in this chapter. The first part of this chapter provides a brief description of the D3 toolkit and a list of some companies that use D3. The second part of this chapter shows you how to use some basic D3 methods by rendering simple two-dimensional (2D) shapes. In addition, you will learn how to create linear gradients and radial gradients. NOTE Be sure to launch the HTML Web pages in a browser as you read code samples in this book because this will show you what the code actually does, and it will also save you time understanding the code. WHAT IS D3? Mike Bostock created the open-source toolkit Protovis, and then he created the D3 toolkit, which is a JavaScript-based open-source project for creating very appealing data visualization. D3 is an acronym for “Data-Driven Documents,” and its homepage is here: http://mbostock.github.com/d3/
- 25. Although D3 can be used for practically any type of data visualization, common use-cases include rendering maps, geographic-related data, economic data (such as employment figures) in conjunction with various locales, and medical data (diabetes seems to be very popular). In December of 2011, D3 was named the data-visualization project of the year (by Flowing Data!), which is not surprising when you see the functionality that is available in D3. D3 provides a layer of abstraction that generates underlying Scalable Vector Graphics (SVG) code. D3 enables you to create a surprisingly rich variety of data visualizations. If you need to generate graphics-oriented Web pages, and you prefer to work with JavaScript instead of working with raw SVG, then you definitely ought to consider using D3. Two key aspects of D3 involve tools for reading data in multiple formats and the ability to transform the data and render the data in many forms. D3 supports the following features: • creation of SVG-based 2D shapes • 2D graphics and animation effects • method chaining D3 has an extensive collection of “helper methods,” such as select(), append(), data(), and attr(), among others. Read the online documentation about these and other D3 methods. D3 ON MOBILE DEVICES D3 works on any device that supports JavaScript and SVG, including mobile devices such as smart phones and tablets. These devices do vary in terms of their support for SVG features. For instance, Android 3.x has some support for SVG, and currently no version of Android supports SVG filters (discussed in Chapter 3 and Chapter 5). In general, iOS devices support more SVG features than Android-based mobile devices.
- 26. If you are writing HTML Web pages for desktops as well as mobile devices, you probably need to take into account scenarios such as handling mouse-related events versus touch-related events. In particular, you ought to test multitouch support on multiple mobile devices and operating systems to ensure that your Web pages exhibit the expected behavior. In addition, you might encounter D3 bugs on mobile devices that are not readily apparent in HTML Web pages laptops or desktops. If you do encounter inconsistent behavior, check the issues-related link in the previous section to see if it’s a known issue. If you do not find entries, it’s possible that you have discovered an unreported bug in D3, in which case you can file a new issue. D3 BOILERPLATE If you have worked with HTML5, you are probably familiar with various boilerplate toolkits that are available. In a similar spirit, you can download a D3 boilerplate toolkit (d3.js-boilerplate) here: https://github.com/zmaril/d3.js-boilerplate According to the D3 Boilerplate Website, “d3.js boilerplate is an opinionated template system designed to help you build a sophisticated data-driven document as fast as possible. By providing a full-featured template and encouraging the use of useful tools, this project aims to help developers passively and actively cut down on development time.” If you are a D3 novice, you might not be ready to use this toolkit, but it’s a good idea to be aware of its functionality. This concludes the brief introduction to D3. The next section of this chapter introduces you to the concept of method chaining to facilitate the discussion of subsequent code samples. METHOD CHAINING IN D3
- 27. Practically every code sample in this book (and almost all the online code samples in various forums) use method chaining, so it’s worth your time to understand method chaining before delving into the code samples. The key idea to remember is that a D3 search actually returns a result set that is the set of elements that match the selection criteria. You can then apply an action to that set of elements. For example, you can find all the paragraphs in an HTML Web page and then set their text in red. Here is an example (taken from Listing 1.1) that uses the d3.selectAll() method to select all the HTML <p> elements in an HTML Web page and then invokes the style() method to set the color of the text in those paragraphs in red: d3.selectAll(“p”).style(“color”, “red”); Returning to our previous discussion, after applying an action to a set of elements, a new set of elements is returned. In fact, you can apply a second action to that modified set, which returns yet another set. This process of applying multiple methods to a set is called method chaining, and the good news is that you can chain together as many function invocations as you wish. Method chaining enables you to write very compact yet powerful code, as you will see in the code examples in this chapter. THE D3 METHODS SELECT() AND SELECTALL() D3 supports various selection-based methods that return arrays of arrays of elements to maintain the hierarchical structure of subselections. D3 also binds additional methods to the array of selected elements thereby enabling you to perform operations on those elements. D3 provides the method selectAll() that you saw in the previous section and the method select(). Both methods accept selector strings, and both are used for selecting elements. The select() method selects only the first matching element, whereas the
- 28. selectAll() method selects all matching elements (in document traversal order). Due to space constraints, this chapter covers a modest subset of the D3 selection-based methods, but you can find a complete list of methods here: https://github.com/mbostock/d3/wiki/Selections SPECIFYING UTF-8 IN HTML5 WEB PAGES WITH D3 All versions of D3 require UTF-8, and failing to specify UTF-8 can cause HTML5 Web pages to behave unpredictably (depending on the browser). You can ensure that your HTML5 Web pages with D3 code will work correctly by including the following snippet immediately after the <head> element: <meta charset=”utf-8” /> In particular, the preceding tag will ensure that your HTML5 Web pages with D3 and Unicode characters will work correctly. You will see an example of D3 with Unicode characters in Chapter 4. CREATING NEW HTML ELEMENTS The code sample in this section uses method chaining, the D3 .select() method, and the d3.append() method to modify an HTML Web page. This simple example shows you how to use these two useful D3 methods. Listing 1.1 displays the contents of AppendElement1.html that illustrates how to add an HTML <p> element to an HTML Web page. LISTING 1.1 AppendElement1.html
- 29. Listing 1.1 starts by referencing the D3 JavaScript file d3.js. Next, the <script> element appends four HTML <p> elements to the <body> element using the d3.select() method. Finally, Listing 1.1 changes the color of all four HTML <p> elements to red with this code snippet: d3.selectAll(“p”).style(“color”, “red”); Incidentally, if you want to alternate the colors in the four HTML <p> elements, insert the following code in Listing 1.1: The preceding code snippet uses a ternary operator to return the color #f00 for even-numbered HTML <p> elements and #eee for odd- numbered HTML <p> elements. NOTE
- 30. Some older browsers run JavaScript code before the Document Object Model (DOM) is available, in which case you can either use window.onload() to ensure that this does not happen, or you can insert an empty <div></div> element immediately after the <body> element and change the occurrences of d3.select(“body”) to d3.select(“div”). Figure 1.1 displays the graphics image that is rendered by the code in the HTML Web page in Listing 1.1. FIGURE 1.1 Dynamically Appending <p> Elements Using D3. THE MOST COMMON IDIOM IN D3 The most common idiom in D3 (TMCIID3) for programmatically creating new DOM elements uses the following type of construct (which, of course, involves method chaining): Here is how to read the code in the preceding code block, starting from the definition of the paras variable: Step 1: Start by selecting the <body> element of the current HTML Web page (using the select() method).
- 31. Step 2: Return the result set of all the child <p> elements using the selectAll() method (if there are no child <p> elements, the returned set is a set of length zero). Step 3: Iterate or loop through the numbers in the JavaScript array theData to create a new HTML <p> element whose text value is the string D3. Step 4: After each iteration in Step 3, append the newly created <p> element to the result set in Step 2. NOTE The d3.selectAll() method always returns a result set, which can be an empty set (and therefore, this method never returns a null or undefined value). When the preceding code snippet has completed, the JavaScript variable paras will consist of five new HTML <p> elements. If you understand this sequence of events, you are ready for the code sample in the next section. If you do not understand, then continue to the next section and launch the HTML Web page in a browser to convince yourself that the preceding explanation is correct. The acronym TMCIID3 is a convenient way to refer to the D3 code snippet that was discussed in this section, and you will see this acronym used in the code samples throughout this book. BINDING DATA TO DOCUMENT-OBJECT-MODEL ELEMENTS Now that you understand method chaining and how to use the most common idiom in D3, you are ready to see how to perform both in an HTML Web page. Listing 1.2 displays the contents of Binding1.html that illustrates how to combine JavaScript variables with the D3 methods .data() and .text()to append a set of HTML <p> elements to an HTML Web page.
- 32. LISTING 1.2 Binding1.html Listing 1.2 starts by referencing the D3 JavaScript file; the code in the <script> element has already been discussed in the preceding section. The only new code in Listing 1.2 is the following code snippet: d3.select(“body”).append(“paras”); The preceding code snippet appends the contents of the paras variable, which consists of five new HTML <p> elements, to the existing HTML <p> elements (if there are any) that are child elements of the <body> element. NOTE Because every HTML Web page in this book starts with the same boilerplate code in the HTML <head> element, we will omit this
- 33. duplicated description for the rest of the book. Figure 1.2 displays the result of rendering the HTML Web page in Listing 1.2 in a Web browser. FIGURE 1.2 Using TMCIID3 to Generate <p> Elements in a Web Page. GENERATING TEXT STRINGS The code sample in the previous section simply generated a set of text strings with the same text. In this section, you will see how to generate a set of text strings that contain the numbers in a JavaScript array. Listing 1.3 displays the contents of GenerateText1.html that illustrate how to iterate through a JavaScript array (containing numbers) and render text strings with the values in the array. LISTING 1.3 GenerateText1.html
- 34. Listing 1.3 contains a <script> element that initializes a JavaScript variable, dataValues1, followed by TMCIID3 to create and append a set of new HTML <p> elements to the existing HTML Web page. The only new construct is the use of a function, as shown in the following code snippet: .text(function(d) { return “Paragraph Number: “+d; }) When you define a function in TMCIID3, D3 understands that it must populate the variable d with the value of the current iteration through the numbers in the JavaScript array dataValues1. You can use any legitimate name that you want in the preceding function, but perhaps it helps to think of the variable d as datum, or a single piece of data (such as a number in an array). Later, you will see functions that specify a datum and an index using the following syntax:
- 35. .text(function(d, i) { return d[i]; }) Figure 1.3 displays the result of rendering the HTML Web page in Listing 1.3 in a Web browser. FIGURE 1.3 Using an Array to Generate <p> Elements With Simple Styling Effects. The next section shows you how to leverage what you have learned about D3 to render various 2D shapes in an HTML Web page. CREATING SIMPLE TWO-DIMENSIONAL SHAPES This section contains a code sample that shows you how to create simple 2D shapes in D3. The D3 code specifies attributes that are the same as the SVG-based attributes for each 2D shape. For example, an ellipse is defined in terms of its center point (cx, cy), its major axis rx, and its minor axis ry. Similar comments apply for creating a rectangle (x, y, width, and height attributes) and for creating a line segment ((x1,y1) and (x2,y2) as the coordinates of the two endpoints of the line segment). In fact, Listing 1.4 is nothing more than using TMCIID3 and the D3 .attr() method to set the attributes of various 2D shapes. Note that in Chapter 5 you will learn about the SVG attributes for numerous 2D shapes. Listing 1.4 displays the contents of SimpleShapes1.html that illustrates how to create a circle, an ellipse, a rectangle, and a line segment in D3.
- 38. Listing 1.4 contains a <script> element that creates multiple SVG elements and uses the D3 .attr() method to set the value of the attributes of each SVG element. When you launch the HTML Web page in Listing 1.4, D3 appends the following code block to the existing HTML Web page: Compare the code in Listing 1.4 with the preceding code block to verify that the preceding SVG elements correspond to the code in Listing 1.4. You can use an alternate coding style that defines multiple JavaScript variables, as shown in the following code block:
- 39. Figure 1.4 displays the graphics image that is rendered by the code in the HTML Web page in Listing 1.4. FIGURE 1.4 D3 Code for a Circle, an Ellipse, a Rectangle, and a Line Segment. BEZIER CURVES AND TEXT Listing 1.5 displays the contents of BezierCurvesAndText1.html that illustrates how to use D3 to render a quadratic Bezier curve, a cubic Bezier curve, and text strings that follow the path of the Bezier curves. LISTING 1.5 BezierCurvesAndText1.html
- 42. Listing 1.5 contains the usual boilerplate code and a <script> element that defines a quadratic Bezier curve and a cubic Bezier curve. The JavaScript variables bezierC, bezierQ, textC, and textQ are set to the values for a cubic Bezier curve, a quadratic Bezier
- 43. curve, the text for the cubic Bezier curve, and the text for the quadratic Bezier curve, respectively. These variables are used in the D3 code that creates a <path> element, which is how you specify quadratic and cubic Bezier curves in SVG. As you can see, most of the code in Listing 1.5 does two things: it creates SVG elements with the D3 .append() method, and it then sets the required attributes with the D3 .attr() method. Moreover, the definitions for the cubic Bezier curve and the quadratic Bezier curve consist of a string of values, as shown here: In fact, if you want to use standard SVG code instead of D3, you could literally copy and paste the preceding strings as the value for the d attribute in the SVG <path> element. Figure 1.5 displays the graphics image that is rendered by the code in the HTML Web page in Listing 1.5. FIGURE 1.5 Generating Text Along Two Bezier Curves in D3. TWO-DIMENSIONAL TRANSFORMS D3 provides support for four 2D transforms: rotate, scale, skew, and translate. You can apply transforms to 2D shapes using the D3
- 44. .attr() method, as shown in the following examples: The CD contains the HTML Web page Transforms1.html that fully illustrates how to create four 2D transform effects. A DIGRESSION: SCALING ARRAYS OF NUMBERS TO DIFFERENT RANGES This section covers the d3.range() method for determining the range of a set of numbers followed by the d3.scale() function for scaling a set of numbers. The rationale for including this section here is that the d3.range() method is used in the gradient-related code samples that you will see later in this chapter. This method is both easy to use and straightforward to understand, and you will see this method in many code samples in this book. When you work with D3 functions that scale the values in an array, keep in mind that the domain specifies the input values that you provide, and the range refers to the target values that are calculated based on the domain values. The simplest use of the d3.range() method is to generate a list of integers. For example, d3.range(15) generates the integers between 0 and 14. You can verify this fact by including the following code snippet in a D3-based HTML Web page: console.log(“range from 0 to 14: “+d3.range(15)) When you open the Web Inspector (see comments in the Preface) you will see the following:
- 45. Exploring the Variety of Random Documents with Different Content
- 46. with a club thorough the Air, those of the contrary side catching it at the fall; and if any one chance to catch it in his hands, before it touch ground, then the order of the play is inverted, and this side strikes out the ball, the other is fain to catch. Thus play the men and women, the boies and girles together, nor do the men shew themselves more expert at it then the women. They besides have another play at ball: in the hard frozen snow they draw two lines at some distance from one another, then all the multitude both of men and women parting into two sides, one applies it self to the defence of this, the other of that line; then they meet in the middle space between their two goals, and fling down the ball, then each partie with bandies and clubs strives to strike the ball cross the opposite parties line, each party still maintaining the defence of its own line; but if one side chance to strike the ball with their bandies over the others line (for it is foul play to fling it with their hands) and so take their goal, that is accounted the conquering side. The sports as yet mentioned are such as belong to the younger sort, as well as to those of more mature age: the next is peculiar to these last and only to men. Their custom is to separate themselves into two companies, and attacque one another by wrestling: first each company stands like a file of Soldiers all along in order to confront the adverse company: then each man catches his adversary by the girdle, wherewith all Laplanders are alwaies girt, as is elswhere shown, (their girdle goes six times round their body, and so is fast and fittest for their purpose,) so each man having caught hold, endeavors to fling the other down, which they are not allowed to attempt by craft or deceit, as by any lock or the like; Any one that is found delinquent in this kind, is branded for a fowl plaier, and excluded the lists. These are the sports that are almost peculiar to the Laplanders: besides them they use some, which they borrow from other places, such is playing at Cards, a sport sufficiently known thorough all Europe, for even the Laplanders take no little satisfaction in it: they procure their Cards of the Merchants that trade thither. They use likewise to play at dice, which they themselves make of wood after the common fashion, with this only difference, that whereas dice commonly have some number of spots inscribed on every side, they
- 47. have a figure made only on one side like an X. he wins in this sport, that casting two Dies, on the top of either can show the X. their stakes are usually Squirrils skins, or some small trifles, and in the failance of these leaden bullets, which they use in their hunting to charge their Guns withal: and it happens sometimes that a fellow having lost all his bullets, in hope of repairing his damage by winning again, not only at present will be sensible of the harm, but being disappointed of his Hunting puts to stake and looses his future acquisitions and hope of livelihood. These are the usual waies, whereby the people of Lapland spend their leisure times and divert themselves.
- 48. CHAP. XXV. Of their Contracts and Marriages. We have hitherto taken a survey of their ordinary imploiments, and such as are almost every day in use, as well those peculiar to each Sex, as common to both; likewise of their Divertisements and sports, wherewith they use to intermingle those emploiments: It remains that we treat of those businesses, which do not every day occur, but are singular and solemn, and undertaken upon special occasions. And first of what appertain to their Marriages; Concerning them ’tis most memorable, that whenever any person purposes to marry, ’tis his first business, to make search after a Maid well stock’d with Raindeers. For the Laplanders have a custom, (as shall hereafter more particularly be mentioned) of bestowing upon their Children soon after their birth, some certain number of those Raindeers, and their increase is accounted of, not as the Parents estate, but the Childs portion. She therefore, that is best provided of them, is in most likely-hood of meeting with an Husband. Nor have they regard to any thing else, as either good breeding, or beauty, or other the common allurements of woers. For they who dwell on a hard and barren soile are generally solicitous concerning food, which because their Rain-deer afford, every one thinks himself best secured against want when he is best provided of them. As soon therefore as the young man has cast about him for a wife, which is usually done at their public meetings for paying of taxes, or upon the account of fairs; next he makes a journy to her parents, taking along with him his father, if alive, and one or two more whom he thinks will be most kindly welcome, but especially one who may declare his affections, and win the favor of the Maids parents. When they arrive at the hut, they are all kindly invited in, only the suiter is fain to wait at door, and bestow his time in chopping wood, or some such trivial business, till he be summon’d in also, for without express
- 49. permission ’tis uncivil in him to enter. When they have drank of the Spirit of Wine, which the spokes-man brings, he applies himself to the management of his province, discloses the Suiters affections to the Daughter, and makes his address to her Father, that he will please to bestow her in Marriage upon him. Which that he may atcheive with more success, he honors the Father with the greatest titles and names of renown that he can devise, at every one bowing the knee, as if he were treating with a prince. He stiles him with the High and Mighty Father, the Worshipful Father, as if he were one of the Patriarcks, the best and most illustrious Father, and no doubt if they were acquainted with the Roial title of His Majestie, He would not scruple to call him, the most Majestic Father. The Wine, that the Suiter is supposed to have brought along with him therewith to pay his respects to her parents, whom he pretends to, they call either Pouristwyn (that is) the Wine of prosperous access, or that Wine wherewith he designs to caress his Father and Mother in Law, that are to be; or else, Soubowiin (that is) the Wine of wooers which tis expedient for wooers to bestow, thereby to procure permission of converse with the daughter, and gain the favour and liking of the future Bride. But we must take notice, that the business is nor proposed to the maid her self first, but her parents; nor may the Suiter have any conference with her without their permission. Nay ’tis the usual custom, at this time to dispatch her away upon some sleevless arrand, either to the Rain-deers pastures in the Woods, or a Neighbors hut, so as neither the Suiter nor any of his company may have a sight of her; but if at last either she or some other woman procure leave for Her of her Parents or kindred, to speak to him, their entertainment finished he gets him out of the hut to his sledg, and then takes out his woollen Cloth-Garments, (such as they use to spruce themselves up withal, at their public Festivals, or more solemn affairs) and what else is requisite to the present business: when he has trimm’d himself up, he makes his address to his Mistress and salutes her. Their manner of Salutation is by a kiss; in which that they mainly aim at is, that each not only apply his mouth to the others, but also that both their noses touch; for otherwise it goes not for a true salute. Next he makes her a present of the rarest delicacies that Lapland affords, the Rain-deers tongue, the Beavers flesh, and other dainties, which she refuses to accept of in the presence of any
- 50. body; presently after she is call’d aside to some convenient place without the hut, then if she profess her self willing to receive them, the Suiter farther puts it to her, whether she will grant him leave, that he may take his repose by her in the hut; if she grant it, ’tis concluded between them of their future marriage: withal he presents his gifts above mentioned. If she rejects his suit, she casts them all down at his feet. The Bridegroom usually carries them in his bosom, before he presents them. The full approbation of the Parents, and the celebration of the wedding is used oftentimes to be deferr’d for a considerable while, sometimes for two or three years together; and all that while they bestow upon courting their Mistresses. The reason why their time of Courtship or wooing proves so long, is because the Bridegroom is necessitated to gratifie with frequent presents, the parents and friends nearest in blood to the Bride, without the leave of each of which he cannot compass the possession of her. This is expressed by Samuel Rheen in these words, When any Person pretends marriage to the Daughter of one of the richer sort, he is obliged to make a present to her parents and nearest Kinsmen, such as is made for state to Ambassadors or cheif Officers, as large as his means will reach to, which present they call Peck, that is, Peices, every peice at least must contain two marks of silver, that is, six ounces, there are some too, that must contain twenty, forty, sometimes threescore ounces a peice, such peices the Bridegroom is bound to bestow upon His Mistresses parents and her near kindred. In what things these presents particularly consist, I shall mention hereafter, for they do not give barely silver, but moulded into some fashion, or other things besides; while therefore the Bridegroom is emploied in procuring these pieces, ’tis no inconsiderable while that passes. In this interval he ever and anon makes a visit to his Mistress, to whom while he is travelling he solaces himself with a Love Song, and diverts the wearisomness of his journy. And ’tis their common custom, to use such kind of Songs, not with any set tune, but such as every one thinks best himself, nor in the same manner, but sometimes one way, sometimes another, as goes best to every man, when he is in the mode of singing. An ensampel of one they use in the Winter season, communicated to me by Olaus Matthias, a Laplander, I here annex.
- 51. Kulnasatz niraosam æugaos joao audas jordee skaode Nurte waota waolges skaode Abeide kockit laidi ede Fauruogaoidhe sadicde Ællao momiaiat kuekan kaigewarri. Patzao buaorest kællueiaur tuuni Maode paoti millasan Kaiga waonaide waiedin Aogo niraome buaorebæst Nute aotzaon sargabæst Taide sun monia lii aigoamass Saraogaoin waolgat amass Ios iuao sarga aoinasim Kiuresam katzesim Kulnaasatz nirasam Katze aoinakaos tun su salm. The meaning of this Song is this,
- 52. Kulnasatz my Rain-deer We have a long journy to go; The Moor’s are vast, And we must hast, Our strength I fear Will fail if we are slow, And so Our Songs will do. Kaigè the watery Moor Is pleasant unto me, Though long it be; Since it doth to my Mistriss lead, Whom I adore; The Kilwa Moor, I nere again will tread. Thoughts fill’d my mind Whilst I thro Kaigè past. Swift as the wind, And my desire, Winged with impatient fire, My Rain-deer let us hast. So shall we quickly end our pleasing pain: Behold my Mistresse there, With decent motion walking ore the Plain. Kulnasatz my Rain-deer; Look yonder, where She washes in the Lake. See while she swims, The waters from her purer limbs New cleerness take. This is a love Song of the Laplanders, wherewith they incourage their Rain-deers to travell nimbly along. For all delay, tho in it self
- 53. short, is tedious to lovers. They use too at other times to entertain themselves with such Sonnets, when at some distance from their Mistresses, and therein to make mention of them, and extoll their beauty. One of this kind I received of the said Olaus, and seeing we have lit upon this subject, I here set it down.
- 54. Pastos paiwa Kiufwresist jawra Orre Iawra Ios kaosa kirrakeid korngatzim Ia tiedadzim man oinæmam jaufre Orre Jawra Ma tangast lomest lie sun lie Kaika taidæ mooraid dzim soopadzim Mak taben sadde sist oddasist Ia poaka taidæ ousid dzim karsadzim Makqwodde roamaid poorid ronaid Kuliked palwaid tim suteatim Mak kulki woasta Iaufræ Orre Iaufræ Ios mun tæckas dzim kirdadzim sææst worodzæ sææst Æ muste læ sææ dziodgæ sææ maina taockao kirdadzim Æka læ Iulgæ songiaga Iulgæ, akælæ siædza Fauron sietza, maan koima lusad Dzim norbadzim. Kalle ju leck kucka madzie wordamadzie Morredabboit dadd paiwidad, linna sabboid Dadd salmidad liegæ sabboid waimodadd Ius kuckas sick patæridziek Tannagtied sarga dzien iusadzim Mi os matta lædæ sabbo Korrassabbo Nu ly paddæ soona paddæ, ia salwam route salwam Kæk dziabræi siste karrasistæ. In kæsæ myna, tæm airvitæm punie poaka Tæmæ jardækitæmæ Parne miela Piægga miela noara iorda kockes jorda Ios taidæ poakaid læm kuldælæm Luidæm radda wæra radda Ouita lie miela oudas waldæman Nute tiedam poreponne oudastan man kauneman. The sense of the Song is thus,
- 55. With brightest beams let the Sun shine On Orra Moor, Could I be sure, That from the top o’th lofty Pine, I Orra Moor might see, I to his highest bow would climb, And with industrious labor try, Thence to descry My Mistress, if that there she be. Could I but know amidst what Flowers, Or in what shade she staies, The gaudy Bowers With all their verdant pride, Their blossomes and their spraies, Which make my Mistress disappear; And her in Envious darkness hide, I from the roots and bed of Earth would tear. Upon the raft of clouds I’de ride Which unto Orra fly, O’th Ravens I would borrow wings, And all the feathered In-mates of the sky: But wings alas are me denied, The Stork and Swan their pinions will not lend, There’s none who unto Orra brings, Or will by that kind conduct me befriend. Enough enough thou hast delaied So many Summers daies, The best of daies that crown the year, Which light upon the eielids dart, And melting joy upon the heart: But since that thou so long hast staied, They in unwelcome darkness disappear. Yet vainly dost thou me forsake, I will pursue and overtake
- 56. I will pursue and overtake. What stronger is then bolts of steel? What can more surely bind? Love is stronger far then it; Upon the Head in triumph she doth sit: Fetters the mind, And doth controul, The thought and soul. A youths desire is the desire of wind, All his Essaies Are long delaies, No issue can they find. Away fond Counsellors, away, No more advice obtrude: I’le rather prove, The guidance of blind Love; To follow you is certainly to stray: One single Counsel tho unwise is good. As they come to visit their Mistresses, they are necessitated to bring along with them some spirit of Wine, as a singular and most acceptable present, and Tobacco too. But if in the mean while, as it often falls out, the father intends not to bestow his daughter upon the man that hath made pretensions to her, he seldom refuses them, but defers the positive answer till the year following, that he may the oftner entertain himself with the spirit of Wine the Suiter brings along with him. And thus he delaies his answer from one year to the other, till the Suiter perceive himself cheated, and be constrained to require at his hands his charges made to no purpose. There is then no other remedy to be taken, then bringing the business before the Judg, where the Maids Father is sentenced to refund either the entire sum, or half of it, as the case stands. Where withal we must observe this, that the expences made by the Suiter on the Spirit of Wine, at his first arrival, do not fall under this compensation, but he alone stands to the loss of that. But if after the downright refusal of the Maid, he of his own accord will show his liberality, he may try what luck he will have
- 57. at his own peril. If all things happen conformable to his wishes, then some set day is appointed for the wedding. The day before it, all the kindred and Neighbors as well of the Bridegroom as Bride resort to her parents hut, and the Bridegroom presents them all with wedding gifts, about which they had agreed, and of which mention is made above. The Bridegroom is bound to present the Father with a silver cup, to drink in; this is the first of those they call Stycke. The second is a large Kettle, either of Copper or Alchymy. The third, a bed or at least hansom bedding. The presents for the Mother are, first a girdle of silver, secondly a Robe of honor such as they use to call Vospi. Thirdly a Whisk, which they wear about their neck, and let it hang down to their brest, interlaced all about with bosses of silver, and this they call Krake. These are the presents for the Father and Mother: besides he bestows upon the Brothers, Sisters, and all the near kindred, silver spoons, silver bosses, and some other such kind of things of silver, for each of them must be presented with some gift by the Bridegroom, if he mean to obtain his Bride. These are the presents, which the Bridegroom is more especially bound to make to his Father and Mother in law that are to be, and the rest of the kindred. And he makes them in his father in laws hut, in the sight of all there. The day following the wedding is celebrated, first by the ceremonious joining of the Priest in the Church, afterwards by a set dinner. The new Wife together with the Bridegroom walk along, both dress’d in the best clothes they can procure at their own charges. For ’tis looked upon among them as unhansom to make use of the borrowed cloths of others, unless it be wool as I have elswhere shown. They take saies Tornæus so great pleasure in good cloth of what ever color, that as far as their patrimony will permit, they procure their extraordinary apparel and festival Garments of that kind: who declares expressly that their festival apparel, or that which they wore on more solemn daies, was not of skins but rich cloth. These Garments the Bridegroom girds up with a silver girdle, but the Bride first looses her hair: and the fillet wherewith she bound it up together before, she gives to the Virgin that is next a kin to her: afterwards, on her bare head, and loose hair she puts a kind of a silver fillet gilt over, or two, such as is the womens custom to wear at other times besides, instead of a Garland or Coronet, so that
- 58. by how much this fillet is looser, then to environ only her head; so much it hangs down the more behind: likewise about her middle they put on a silver girdle. This is the Brides apparel, unless that sometimes they put upon her head something of linnen, instead of a veil, which at other times the women use when they have a mind to make themselves extraordinary gallant, for as for what appertains to their garments, we have before observed, that both the Bridegroom and Bride wear their own, and those their best, and such as on festival daies they deck themselves withal. We have shown in another place, that the womens were called Volpi, and were made either of wool, or the richer sort of cloth, so that neither about this does Olaus Magnus in his place a forecited, concerning the Lapland Bride, sufficiently agree with their custom at this day. They set the Bride saies he, apparell’d in Ermins and Sables skins on a Rain-deer. At this day both dress’d very fine are carried to the Church or Priest, to be joined in Marriage; this was not the custom in old times, if we give credit to Olaus Magnus, for then they were joined at home, not by the Priests but the Parents, his words are in Lib. 4. Cap. 7. in which place he treats of the Laplanders weddings, as the Title of the Chapter informs us. In the presence of friends and kindred, the Parents solemnly ratifie their Childrens Marriages, and that too by the striking of fire with a flint and steel, particularly there he makes the Parents joining them, and adds moreover the manner, viz. by fire striken out of a flint, which without doubt as some other things, he cull’d out of Zeigler, but as for the parents doing it, Zeigler has nothing of that, the manner of their joining he explains in these words, They ratifie their Marriages, and begin them in a ceremony of fire and flint, so pat a conjugal mysterie, that they think nothing can be more agreeable, for as the flint conceals within it self fire, which by concussion breaks forth, so in both sexes there is life hid, which by the mutual coupling of marriage is propagated at last to be a living ofspring. And just so Olaus has it, so that there can be no doubt made but that he followed Ziegler. When they arrive near the Church, they observe in their procession a certain order, first walk the Men, the Women follow. The Men are led up by a Laplander, whom they call Automwatze, or foreman, then follows the Bridegroom, after him the rest. Some number of Virgins lead up the womens company, after them comes the Bride led
- 59. between a man and a woman, next to her follow the rest of the women. Tis here to be observed that the Bride like one strugling against it, and endeavoring the contrary, is dragged along by the man and woman that are to wait upon her, and would seem to admit of her marriage with great unwillingness and reluctancy, and therefore in her countenance makes shew of extraordinary sadness and dejection: so afterwards in the Church they are joined together by praiers and benediction according to the Christian rite. After the same manner does John Tornæus relate this busines, only that he saies the Bride is led by two men, her Father and Brother, if alive, or otherwise by her two next Kinsmen. The portraicture of the Bride in her wedding apparel, and with her two leaders you have in the next page. After the solemnity of the marriage is ended, there follows a wedding feast, that is made in her Parents hut, and as for the provision, each of the persons invited contributes his share of the victuals, tho they bring it not thither just then, but the day before: when the Bridegroom distributes his presents to the Brides parents and kindred, then every one brings his victuals that will be serviceable to the feast. But because the meat they bring is ordinarily raw, they deliver it to a Laplander, on purpose appointed to that office, viz. to receive it of every Person that brings, and afterwards to boil it, and lastly to distribute it among the guests, tho commonly the greatest part of the provision be made, by the Bridegrooms as well as Brides parents. In their sitting at table they keep this order, in the uppermost places sit the Bridegroom and Bride next to one another, then follow in order the rest, as the parents, and kindred. At the table no person helps himself, but receives his meat from the hands of a Laplander, who is both dresser and carver of it. First of all he serves the Bridegroom and Bride with their portion, and in order the rest. Now they who by reason of the scantiness of room in the hut, cannot be admitted to the feast, such are boies and girles, climb up to the roof of the hut, and from thence let down threds with hooks tied to them, to which they fasten pieces of meat, and the like, so that they also enjoy their share of the banquet. The entertainment ended, they give thanks, as at other times they use, and shake hands one with another. The last thing wherewith they shut up the merriment of the feast, is drinking Spirit of Wine, which if they can light upon, they then are sure to buy; first the
- 60. Bridegroom drinks, then the Brides parents, then each man shifts for himself, and so they make merry, but this custom the richer sort only observe, and those too who have the opportunity of buying, by the presence of those who sell these commodities; as for the meaner sort they are accustomed to divert themselves with talk. When the Wedding is over, the Husband may not take along with him his Wife with her goods and fortune, but must remain for an whole year in service with his Father; when that time is past, if he sees convenient he may set up for himself, and turn housekeeper; and then the Father bestows upon his Daughter at her departure, the Rain-deer, which are her due, because given her in her younger years: he gives her also other gifts besides, and what furniture will be requisite for the new married couple, particularly he gives for her dowry an hundred or more Rain-deers, as likewise silver, copper, Alchymy, a tent, bedding, and other houshold-stuff. And next all the kindred, the Brothers and Sisters, and whoever have received of the Bridegroom his gifts of respect, are likewise obliged to return him back again some present, so that he who had received one or two markes of silver, returns for a gift again one or two Rain-deers: so that it comes to pass, that the Laplanders, who can gratifie the friends and kindred with numerous presents, if they wed a rich Laplanders Daughter, come to great wealth in Rain-deer by this kind of marriage. These are the cheif things the Laplanders observe in their contracts and marriages, which before we quite leave, we may take notice first, that it is unlawful among them, to marry a wife too near in blood. And they have so special a regard to the degrees of consanguinity and affinity, that they never request marriage in the prohibited ones. And again ’tis unlawful, having one wife to marry another, or when one is married to put her away, by Divorce. Polygamy and Divorce were never heard of among the Laplanders, neither in the time of Paganism, saies Tornæus, nor afterwards, but they alwaies observed marriage honestly and like Christians; yet in former daies perhaps they did not altogether abhor the communicating their wives, whom they permitted to strangers especially and guests. So indeed writes Herberstenius. But John Tornæus mentions an instance of later date, and the Testimony too of a Laplander of Luhla, tho he doubts to give credit to him. ’Twas reported to me, saies he, that in the time of my Predecessor of Luhla-
- 61. Lapmark, a certain immodest Laplander, came to lodg with another, in Torne-Lapmark, a civil honest man, as was his whole family, who could read books, and lived a pious life, for which he was stiled by scorners Zuan Bishop. Then the Man of Luhla, when he had disordered himself with drinking Spirit of Wine, addressed himself to his hosts wife, in hope of debauching her, but because there were there present two officers, who had Spirit of Wine to sell, the Zuan Bishop call’d for them, and told them the fellows design, desiring likewise that they being Ministers of the State, would apprehend and bind him: they immediately bound him to a Tree, and left him there for a whole Winter night together, to be frozen with cold. At last he was forced to regain his liberty with mony; and pleaded it as an excuse, that it was the custom in Luli-Lapmark, that if any person visited another, the entertainer permitted such familiarity with his Wife. Thus saies Tornæus, but doubtingly, for the fellow might have only framed this for his own excuse; ’tis certain no other person has taken notice of it in them of Luhla, and the other Laplanders are so ignorant of this communion of their wives, that they cannot endure they should look upon other men. The Laplanders dwelling towards Norway at the river Torna are so jealous, that if a Woman chance to meet a man, and speak but a few words to him, they immediatly fall into a suspicion of her.
- 63. CHAP. XXVI. Of their Child-bearing, and the Education of their Children. Next to Marriage it will be expedient to treat of their Child-bearing, and their Children. Where we may note first, that they wish for nothing more, and that they take no greater plesure in any thing then fruitfull Matrimony. And hence it is, I suppose, they are so prone to lust, as is elsewhere shown: but altho they desire this so ardently, yet they are very seldome fruitfull in Children, for they can scarce beget more then eight, which number is the greatest, and usually they beget but one, two, or three. An occasion of this their barreness, Sam. Rheen imagines their bad diet, as likewise the extreme coldness of the Country, which I think may be very true. He moreover adds Gods anger, which he collects from this, because tho they are not worn away with War or Plague, yet notwithstanding their Country is never the more populous, and their Nation wasts rather daily. The motive of this anger he supposes to be their obstinateness in maintaining their ancient impieties. They use indeed at this very day, not only in Child- bearing, but other affairs too, to be solicitous concerning the events, and to search after them by their superstitious rites. Their first care is concerning the sex, for as soon as they perceive the wife to be big with child, they have an opinion that they can inform themselves whether it will prove a Boy or a Girl, after this manner: they forthwith view the Moon (for they imagine that a Child-bearing woman bears some resemblance to the Moon, as we shall hear) if there be a Star just above the Moon, they thence collect that the burden will prove of the male sex, if below, of the female. But I wonder they make a comparison between the Moon and a woman with child. For can there be any account given of their resemblance? is it, that like the Moon,
- 64. she grows big with her burden, and when that is laid, lessens again? I rather suppose that these are the reliques of their Pagan superstition, which made the Moon the tutelar Goddess to women with child. For so most of the Pagans did account other, which opinion being outdated, they yet pretend some resemblance between them. Their second care is touching the health or sickness of the child, which thing also they suppose the Moon will inform them in. For if a Star be just before the Moon, they take it for a sign that the child will prove healthfull, and grow up to be a man. But if it comes just after her, they thence presage that the child will be a very sickly one, and not long lived. The woman with child laies her burden in a hut, but (which any body may understand) a sufficient incommodious one, especially if the time of her delivery happen to be in the Winter, for tho they have a fire kindled in the middle of the hut, yet that can give her but little warmth. After her delivery, her first restorative and cordial, is a good draught of Whales fat, which they procure out of Norway, the tast of which is as strong and ill savoured as of a Sea-calves lard, when dried. The child, as soon as brought forth is washed over as in other Countries, but it is a peculiar custom of the Laplanders that first they do it with cold water or snow, and then afterwards dip them in hot water, when it begins to fetch its wind, and can scarcely draw breath. And also they use to dip in the water all the other parts of the body, the head only excepted; They heat water, saies Sam. Rheen, in a Caldron, and in that they set the infant streight up to his neck, but they let no water come upon his head, before such time as he is baptized by the Priest. The newborn Babe is instantly wrapped up in an Hares skin, instead of linnen swadling clothes. The woman lying in, hath her peculiar place assigned her in the hut where she lodges, till she recover her health. And it is just by the door usually on the left hand: there is no other reason given for it then that this part of the hut is less frequently disturb’d by company, and there they have all things needfull for them administred. Tho this seldom resort thither be rather, by reason of the womans lying in in that place, either because they would not disturb her with their company, or, which I rather suppose, because they look upon her at that time as unclean. But the women of Lapland seldom keep their
- 65. beds long after their delivery, and in that while are extraordinary carefull touching the Baptism of their Infants: for after they began more diligently to be instructed in the Christian Religion, they take the greatest pains imaginable to have their Children baptized as soon as possibly may be. In former times it was otherwise, most of them then were baptized very late, and at their mature age; some deferred it for altogether. Of this Gustavus the first is a witness, in his Charter, the words whereof I have cited elsewhere. As touching the former Gustavus Adolphus in an other Charter and Preface, premised to that which he published Anno 1634, in which the State of the Religion in Lapland is declared at large; Baptism, saies he, is administred indeed to them but only at Winter, if their young children can live till then, it is well; if not, they die without Baptism. Some of their children come to years of Discretion before it, so that with those that are grown up, there is no small paines to be taken when they are to be baptized. The time of Baptism being the Winter time, was because they have Sermons then preached to them, and the Sacrament administred, and that no oftner then twice; once about New-years-day, and againe at Lady-day, of which I have treated in another place. Before these times there was not so much done as that, but the Laplanders were fain to come with their Children to the neighbouring Churches of the Swedes in Angermannia and Bothnia, of which Olaus Magnus must be understood to speak, when he saies Lib. 4. c. 17. Once or twice in a year they visit the Baptismall Churches, and bring along with them their sucking Babes in Baskets tied to their backs, to be baptized. But at this day those women that are able, and not impeded by some grievous sickness, carry their Children to the Priest themselves, about a fourtnight after their delivery, that by him they may receive Baptism. So much good hath building Churches in Lapland done, and having Sermons there, not in a strange Tongue, but the Laplanders proper own: and so zealous are they for hastening their Childrens Baptism, that the Mother scarce lying in above a week or fortnight, after her delivery, will undertake a most tedious journy, over the tops of Mountains, thorough wide Marshes and high Woods with her Infant to the Priest; for the women of this Country are naturally hardy, and able to endure any thing without trouble, and therefore, tho they feed upon course food in their sicknesses, and drink nothing else but water, yet
- 66. they recover again quickly. They carry their young Infants to the Priest, one way in the Summer time, and another way in the Winter. In Winter they lay it upon a sledge. In Summer they put it in a Pannier fastned to the back of a Rain-deer. The Infant is not set upon the back of the Raindeer, but is tied in his cradle, and fastned to the pack saddle after this fashion. Olaus Magnus makes them put in Baskets, as his words afore quoted do intimate, and those Baskets too to be tied at their backs, and the Picture he makes of them represents not only the woman, but the man too so laden, each with two Children a piece: so that together they travell with four Children, and with wooden shoes on their feet; but here I am afraid the Painter followed his own fancy too much. Certain it is that the Baskets there represented, bear no resemblance to those of Lapland. The Laplanders are wholly ignorant of this sort of Baskets, that are carried at ones back. Nor are their Baskets like wooden square Boxes, such as his figure represents them, but of a round compass, and one part shut down upon the other, as I have said elsewhere. But to return to their Baptism, in it they give their Children names, according to the names of some of their friends and kindred. Samuel Rheen adds that they affect to put Pagan names upon them, such as Thor, Guaarm, Finne, Pagge; but that the Priests avert them from so doing as much as possibly they can. And this is peculiar with
- 67. them, that they often change their names, and put others upon them then those that were given them at their Baptism, for the love they bear to some friend or kinsman deceased, whose memory thereby they desire to preserve. Tornæus too avouches the same thing, and if at any time in their younger years they fall into sickness, then they use the name given them in Baptism instead of a surname, especially they observe this in boies. But altho the Laplanders wives are hardy, so as to be able to undertake a journy a week or two after their delivery, and to go about other emploiments, tho they have made their public appearance, and have been churched by the Priest, yet by their husbands they are looked upon as unclean, till six weeks be accomplished, so that they admit of no familiarity or conjugal society with them for all that space of time. And thus much of their child- bearing. I proceed next to their Education of them, the first thing that occurs here is their Nursing, which is alwaies by their own Mothers milk, for the Laplanders make no use of Nurses. And this they do not only for some small time, but usuall for two years, three or four together; but if sickness or any other occasion happen, so that they cannot themselves suckle their young ones, they give them the Rain- deers milk, which is grosser and thicker, then they can well draw out of a suck-bottle, (as at sometimes they are accustomed to do, elswhere) and for that reason, if the necessity be urgent they give it in a spoon. Besides their Mothers milk, they instantly accustom their young Infants, to eat flesh, for they thrust into their mouths a piece of Rain- deers flesh, that they may suck the gravie out of it, and so get nurishment. The rocking the infant in his cradle, follows next, whereby they get him a sleep. Their Cradles are made of the stock of a tree hollowed, like a boat: these they cover with leather, and at the head they erect an arched kind of roof, of leather likewise. In such a cradle they lay & tie in the Infant, without any linnen clothes or sheets, instead of which they lay him on a sort of soft moss, of a red color, which they dry in Summer, and have great plenty of it. When the Infant is to be rocked, they let the cradle hang by a rope from the roof of the hut, and by thrusting the cradle and tossing it from one side to
- 68. the other, they lull him a sleep. They use likewise to please their young children with some certain baubles, for at their cradles they tie some rings of Alchamy, to make a noise and clinking. To these rings which serve instead of rattles they moreover add some emblems, wherewith their children may be timely admonished of their condition and future duty. If it be a boy, they hang up at his cradle a bow and arrows, and a spear made very artificially out of Rain-deers horn, whereby they signifie, that their children must diligently practise to be expert and ready in using the bow and spear. If it be a girle; the wings, feet, and beak of a white Partridge, which they call Smæripa, and is call’d Lagopus having feet like the feet of an hare, thereby implying, that their Daughters must carefully learn to be cleanly, and like those birds nimble and active. As soon as the children come to some age, they instruct them in all necessary arts, the Fathers the boies, the Mothers the girles, for they have no School-masters among them, but each person is his own childerns Master, and they are so far put on by their parents as to be able to perform any works in use among them. Their boies they cheifly teach the Art of Shooting, and hitting marks with an arrow, because in old time they were necessitated to get their living by the help of bow and arrows, whereas the greatest part of them maintain themselves by hunting, and therefore when they have practised never so little the use of the bow, the boies victuals are kept from them, till they can hit a mark with an arrow, and as it was the custom anciently among the Baleares, and so now among the Laplanders, their boies earn their food every day by their dexterity in shooting, and thereby at last they prove most excellent marks-men. Olaus Magnus makes mention of this their practice, and wonderfully extolls their dextrousness herein, and avers that he himself has seen some of them who could exactly hit a farthing or a nedle, set at such a distance off as would just let them see it. On the boies, that they may take more care to hit the mark, when they have hit it, they bestow a white girdle, wherein they take huge delight, and sometime a new bow. But as the Laplanders do look to their children in time to teach them arts requisite to get their living, so also to provide them means to maintain themselves withal, where it will not be impertinent to mention, that tis a custom with them to bestow upon their infant a female Rain-deer, soon after its birth or Baptism, if it be of female Sex,
- 69. and upon the horns of it they ingrave her mark, so to prevent all controversies or quarrels, that may arise concerning her right. She receives likewise another, when she cuts her first tooth. Which they call Pannikeis, that is, the tooth Rain-deer. John Tornæus writes as if these gifts were given only by women. The Woman saies he, that first spies a tooth in his mouth, is fain to honor him with a present of a Rain-deers Calve. This custom might probably have its rise thus, because, when the infants have gotten teeth, they have need of more solid meat, therefore they stock them with Rain-deer as being their cheifest food. That Rain-deer then, and whatever encrease comes of it, are preserv’d to the future uses of the child, as may appear by what we have elsewhere said, in the Chapter of their marriages, and so likewise of the other Rain-deer which parents give the child besides, for tis usual among them to superadd one to the former, and this they call Waddom, that is, the given one. And this is the chief care of the Parents towards their children, but if they die, instead of them are substituted Guardians, as among other nations, out of their nearest kindred, who manage all these affairs for them.