Discover the Mundaneum, an Early 20th-Century “Internet” That Put the World’s Knowledge on Millions of Index Cards

Pitch to friends or fam­i­ly the idea of a trip to Mons, Bel­gium to vis­it the Mun­da­neum, and you may be met with a less-than-enthu­si­as­tic recep­tion. That’s unfor­tu­nate, since such an expe­ri­ence could fun­da­men­tal­ly change the way they regard tech­nol­o­gy they use every day. Though its name may seem to promise unre­lieved dull­ness today, the Mun­da­neum arose out of enor­mous high-tech ambi­tions. The idea behind it, as con­ceived by Bel­gian lawyers Paul Otlet and Hen­ri La Fontaine, was to gath­er, clas­si­fy, cen­tral­ize, and make uni­ver­sal­ly avail­able all human knowl­edge. This may sound famil­iar to any­one who’s used the inter­net, but it was a rather bold­er propo­si­tion at the turn of the twen­ti­eth cen­tu­ry.

Otlet and La Fontaine’s “city of knowl­edge” may not have been ful­ly real­iz­able at that time, but tech­nol­o­gy had made it imag­in­able. The Dewey Dec­i­mal Sys­tem, with its stan­dard­ized card cat­a­logs, had been around since 1876. Start­ing in 1895, Otlet adapt­ed that basic tool to a far larg­er project: the Mun­da­neum took shape as a vast paper archive. Mil­lions of index cards, each record­ing bib­li­o­graph­ic details about a sin­gle book, arti­cle, or doc­u­ment, were filed away in row upon row of cat­a­log draw­ers. (See image below.)

“Otlet made this card cen­tral to his sys­tem,” writes Sid­ney Perkowitz at JSTOR. “Aim­ing to cap­ture every book ever pub­lished, the Mun­da­neum stored bib­li­o­graph­ic data for books under the UDC [Uni­ver­sal Dec­i­mal Clas­si­fi­ca­tion], along with mag­a­zine arti­cles, images, and more on over 15 mil­lion cards crammed into cat­a­log draw­ers.” Orig­i­nal­ly housed in Brus­sels’ Cinquan­te­naire Palace, the Mun­da­neum was meant to get its own build­ing designed by the for­ward-think­ing Le Cor­busier by the end of the nine­teen-twen­ties. Alas, it was nev­er built, and after the Nazi inva­sion of 1940, the Mun­da­neum was scrapped for a Third Reich art exhi­bi­tion.

Dis­cus­sions of the Mun­da­neum in our time often high­light what Otlet (1868–1944), despite the pro­jec­t’s many tribu­la­tions, even­tu­al­ly envi­sioned as “a glob­al ‘réseau’ or net­work of ‘elec­tric tele­scopes.’ These ear­ly work­sta­tions were to be linked to the Mun­da­neum by tele­phone and the new tech­nol­o­gy of tele­vi­sion. A user would phone in a query, and the answer in a book or oth­er source would appear dis­played on a per­son­al screen, which could be split to show mul­ti­ple results.” Con­vinced that all homes would even­tu­al­ly have access to the net­work, he con­sid­ered even the pos­si­bil­i­ty of “data shar­ing and social inter­ac­tions among its users.” This dream of the inter­net avant la tech­nolo­gie is now enshrined at the Mun­da­neum muse­um, which is open five days a week. Alter­na­tive­ly, you can point your elec­tric tele­scope to its online cat­a­log any time.

Image by Zin­neke, via Wiki­me­dia Com­mons

via JSTOR

Relat­ed Con­tent:

The Rise and Fall of the Great Library of Alexan­dria: An Ani­mat­ed Intro­duc­tion

The First Music Stream­ing Ser­vice Was Invent­ed in 1881: Dis­cov­er the Théâtro­phone

Mark Twain Pre­dicts the Inter­net in 1898: Read His Sci-Fi Crime Sto­ry, “From The ‘Lon­don Times’ in 1904”

Meet the Syn­topi­con: The Ambi­tious Index That Tried to Orga­nize All of West­ern Thought (1952)

What the Entire Inter­net Looked Like in 1973: An Old Map Gets Found in a Pile of Research Papers

Do All Roads Lead to Phi­los­o­phy on Wikipedia?: They Do About 97.3% of the Time

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

A 1932 Illustrated Map of Harlem’s Night Clubs: From the Cotton Club to the Savoy Ballroom

32 Harlem Map

Harlem’s under­go­ing anoth­er Renais­sance, and has been for years now. Crime’s down, real estate prices are up, and throngs of pale-faced hip­sters are descend­ing to check the area out.

Sure, something’s gained, but something’s lost, too.

For today’s hol­i­day in Harlem, we’re going to climb in the Way­back Machine. Set the dial for 1932. Don’t for­get your map. (Click the image above to view a larg­er ver­sion.)

This deliri­ous arti­fact comes cour­tesy of Elmer Simms Camp­bell (1906–1971), an artist whose race proved an imped­i­ment to career advance­ment in his native Mid­west. Not long after relo­cat­ing to New York City, he had the good for­tune to be befriend­ed by the great Cab Cal­loway, star of the Cot­ton Club. Hi-de-hi-de-hi-de-ho! Check the low­er left cor­ner of your map.

You may notice that the com­pass rose devi­ates rather dras­ti­cal­ly from estab­lished norms. As you’ve no doubt heard, the Bronx is up, and the Battery’s down, but not in this case. Were you to choose those trees in the upper left cor­ner as your start­ing point, you’d be at the top of Cen­tral Park, basi­cal­ly equidis­tant from the east and west sides. (Take the 2 or the 3 to 110th Street…)

But keep in mind that this map is not drawn to scale. I know it looks like the joints are jump­ing from the sec­ond you step off the curb, but in real­i­ty, you’ll need to hoof it 21 blocks from the top of Cen­tral Park to 131st Street for things to start cookin’. Hope­ful­ly, this geo­graph­i­cal lib­er­ty won’t get you too hot under the col­lar. And if it does, well, it may be Pro­hi­bi­tion, but stress-reliev­ing bev­er­ages await you in every loca­tion list­ed, as well as in some 500 speakeasies Camp­bell allowed to remain on the down low.

If that does­n’t do it for you, there’s a guy sell­ing reefer across the street from Earl “Snake­hips” Tuck­er.

As you stag­ger back and forth between Sev­enth Avenue and Lenox (now referred to as Adam Clay­ton Pow­ell Jr. Boule­vard and Mal­colm X Boule­vard), bear in mind that Camp­bell was the first African-Amer­i­can car­toon­ist to be nation­al­ly pub­lished in the New York­er, Play­boy, and Esquire, whose bug-eyed, now retired mas­cot, Esky, was a Camp­bell cre­ation.

In the end, he was an extreme­ly suc­cess­ful illus­tra­tor, though few of his cre­ations are reflec­tive of his race.

The map above, which did dou­ble duty as end­pa­pers for Calloway’s auto­bi­og­ra­phy, Of Min­nie the Moocher and Me, is far clos­er to home.

Right above, see Cab Cal­loway per­form “Hotcha Razz Ma Tazz” at the famous Cot­ton Club, in Harlem, 1935.

via Big Think

Note: An ear­li­er ver­sion of this post appeared on our site in 2014.

Relat­ed Con­tent:

Cab Calloway’s “Hep­ster Dic­tio­nary,” a 1939 Glos­sary of the Lin­go (the “Jive”) of the Harlem Renais­sance

Dis­cov­er Langston Hugh­es’ Rent Par­ty Ads & The Harlem Renais­sance Tra­di­tion of Play­ing Gigs to Keep Roofs Over Heads

Duke Ellington’s Sym­pho­ny in Black, Star­ring a 19-Year-old Bil­lie Hol­i­day

Rare Record­ing of Con­tro­ver­sial­ist, Jour­nal­ist and Amer­i­can Lit­er­ary & Social Crit­ic, H.L. Menck­en

Ayun Hal­l­i­day is an author, illus­tra­tor, and the­ater mak­er in NYC.

The Complete History of the Beatles as Told By Conan O’Brien

The world end­ed in the nine­teen-six­ties. Or rather, one world end­ed in the nine­teen-six­ties and gave way to anoth­er, a tran­si­tion per­son­i­fied by no human beings more clear­ly than the Bea­t­les. “They are light­ning rods for so much that makes the six­ties a rev­o­lu­tion­ary decade,” says The Rest Is His­to­ry pod­cast co-host Tom Hol­land in the video above. “In all kinds of ways, in the twen­ty-first cen­tu­ry, we’re liv­ing in the after­math of what hap­pened in the six­ties, rather like peo­ple in the six­teenth cen­tu­ry were liv­ing in the after­math of what hap­pened in the fif­teen-twen­ties.” Many of the show’s reg­u­lar lis­ten­ers will grasp that anal­o­gy imme­di­ate­ly, though per­haps few­er of those who’ve tuned in to this espe­cial­ly pop­u­lar episode, in which Hol­land recounts the com­plete his­to­ry of the Bea­t­les with Conan O’Brien.

O’Brien has nev­er made a secret of his Bea­t­les obses­sion, but here he demon­strates it defin­i­tive­ly by sup­ply­ing most of the details of the band’s sto­ry him­self. (That goes even for rel­a­tive­ly obscure ones: he men­tions, for exam­ple, the score Paul McCart­ney com­posed for the film The Fam­i­ly Way, fea­tured ear­li­er this year on Open Cul­ture.) He also man­ages to win the triv­ia con­test against Hol­land at Abbey Road Stu­dios in the video just above, but then, he’d been study­ing in one sense or anoth­er for quite some time. A decade ago, he held his own in con­ver­sa­tion with Mark Lewisohn, the first vol­ume of whose painstak­ing three-part Bea­t­les biog­ra­phy comes to near­ly a thou­sand pages in the abridged edi­tion. That was on his YouTube inter­view series Seri­ous Jib­ber-Jab­ber, the pre­de­ces­sor to his cur­rent pod­cast Conan O’Brien Needs a Friend.

Hol­land and his co-host Dominic Sand­brook appeared on Conan O’Brien Needs a Friend last fall. They may have seemed an odd choice in a guest ros­ter con­sist­ing most­ly of come­di­ans, actors, and musi­cians, but O’Brien him­self has declared The Rest Is His­to­ry “the best pod­cast in the world,” and their shows’ fan bases turn out not to be mutu­al­ly exclu­sive. That wide-rang­ing con­ver­sa­tion went stim­u­lat­ing­ly enough to inspire a com­ple­tion of the crossover just a few months there­after, when Hol­land brought O’Brien to Abbey Road for an hour and a half of noth­ing but talk about the his­tor­i­cal sig­nif­i­cance of the Bea­t­les, whom O’Brien declares “a com­plete break from what hap­pened before.” (Sand­brook, the rare non-appre­ci­a­tor of the Fab Four, absent­ed him­self from the dis­cus­sion.)

O’Brien prais­es books like Lewisohn’s, as well as Ian Leslie’s more recent John & Paul: A Love Sto­ry in Songs, but his under­stand­ing of the group as a his­tor­i­cal phe­nom­e­non sug­gests that he’s also read the work of crit­ic Ian Mac­Don­ald. After Revolver, “it seemed to West­ern youth that The Bea­t­les knew — that they had the key to cur­rent events and were some­how orches­trat­ing them through their records.” So Mac­Don­ald writes in his book Rev­o­lu­tion in the Head: The Bea­t­les’ Records and the Six­ties, whose title refers to “the true rev­o­lu­tion of the Six­ties”: an uncon­scious men­tal adap­ta­tion to the pas­sage from a local real­i­ty of “con­sen­sus, hier­ar­chy, and fixed val­ues” to a glob­al one of indi­vid­u­al­ism, sen­sa­tion­al­ism, and “jeal­ous­ly lev­eled stan­dards.” The Bea­t­les did­n’t cause those changes, as they them­selves well under­stood. But they accept­ed the roles of its avatars, and more than 60 years after the rise of Beat­le­ma­nia, we still live in the world they rep­re­sent­ed.

Relat­ed con­tent:

A 17-Hour Chrono­log­i­cal Playlist of Bea­t­les Songs: 338 Tracks Let You Hear the Musi­cal Evo­lu­tion of the Icon­ic Band

How the Bea­t­les Made their Most Acclaimed Album, Revolver, Released 60 Years Ago This Month

How the Bea­t­les Wrote Their Songs: From Ear­ly Demos to Final Record­ings

The Bea­t­les’ 8 Pio­neer­ing Inno­va­tions: A Video Essay Explor­ing How the Fab Four Changed Pop Music

Conan O’Brien Writes Chica­go Blues Songs With School Kids

Conan O’Brien Plays Char­lie Rose, Talks Pres­i­den­tial His­to­ry with Edmund Mor­ris

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

NASA Enlists Andy Warhol, Annie Leibovitz, Norman Rockwell & 350 Other Artists to Visually Document America’s Space Program

It’s hard to imag­ine that the space-crazed gen­er­al pub­lic need­ed any help get­ting worked up about astro­nauts and NASA in the ear­ly ’60s.

Per­haps the wild pop­u­lar­i­ty of space-relat­ed imagery was in part what moti­vat­ed NASA admin­is­tra­tor James Webb to cre­ate the NASA Art Pro­gram in 1962.

Although the pro­gram’s hand­picked artists weren’t edit­ed or cen­sored in any way, they were briefed on how NASA hoped to be rep­re­sent­ed, and which emo­tions their cre­ations were meant to capture—the excite­ment and uncer­tain­ty of explor­ing these fron­tiers.

NASA was also care­ful to col­lect every­thing the artists pro­duced while par­tic­i­pat­ing in the pro­gram, from sketch­es to fin­ished work.

In turn, the artists received unprece­dent­ed access to launch sites, key per­son­nel, and major events such as Project Mer­cury and the Apol­lo 11 Mis­sion.

Hun­dreds of artists, includ­ing Andy Warhol, Nor­man Rock­well, and Lau­rie Ander­son, have brought their unique sen­si­bil­i­ties to the project. (Find NASA-inspired art by Warhol and Rock­well above.)

(And hey, no shame if you mis­tak­en­ly assumed Warhol’s 1987 Moon­walk 1 was cre­at­ed as a pro­mo for MTV…)

Jamie Wyeth’s 1964 water­col­or Gem­i­ni Launch Pad includes a hum­ble bicy­cle, the means by which tech­ni­cians trav­eled back and forth between the launch pad and the rein­forced-con­crete block­house where they worked.

Pho­tog­ra­ph­er Annie Lei­bovitz offers two views of NASA’s first female pilot and com­man­der, Eileen Collins—with and with­out hel­met.

Postage stamp design­er, Paul Calle, one of the inau­gur­al group of par­tic­i­pat­ing artists, pro­duced a stamp com­mem­o­rat­ing the Gem­i­ni 4 space cap­sule in cel­e­bra­tion of NASA’s 9th anniver­sary. When the Apol­lo 11 astro­nauts suit­ed up pri­or to blastoff on July 16, 1969, Calle was the only artist present. His quick­ly ren­dered felt-tip mark­er sketch­es lend a back­stage ele­ment to the hero­ic iconog­ra­phy sur­round­ing astro­nauts Arm­strong, Aldrin and Collins. One of the items they car­ried with them on their jour­ney was the engraved print­ing plate of Calle’s 1967 com­mem­o­ra­tive stamp. They hand-can­celed a proof aboard the flight, on the assump­tion that post offices might be hard to come by on the moon.

In 2016, NASA’s Jet Propul­sion Lab­o­ra­to­ry enlist­ed a team of nine artists, design­ers, and illus­tra­tors to col­lab­o­rate on 14 posters, a visu­al throw­back to the ones the WPA cre­at­ed between 1938 and 1941 to spark pub­lic inter­est in the Nation­al Parks. You can see the results at the Exo­plan­et Trav­el Bureau.

More recent­ly, in 2024, NASA and the artist team Ger­aluz and WERC relaunched the pro­gram with space-themed murals in Man­hat­tan.

View an album of 25 his­toric works from NASA’s Art Pro­gram here.

Note: An ear­li­er ver­sion of this post appeared on our site in 2019.

Relat­ed Con­tent:

Lau­rie Ander­son Cre­ates a Vir­tu­al Real­i­ty Instal­la­tion That Takes View­ers on an Uncon­ven­tion­al Tour of the Moon

Star Trek’s Nichelle Nichols Cre­ates a Short Film for NASA to Recruit New Astro­nauts (1977)

NASA Dig­i­tizes 20,000 Hours of Audio from the His­toric Apol­lo 11 Mis­sion: Stream Them Free Online

Ayun Hal­l­i­day is an author, illus­tra­tor, and the­ater mak­er in NYC.

The Secret History of the Antichrist

Pay­Pal co-founder Peter Thiel has spo­ken pub­licly on a vari­ety of issues from con­trar­i­an entre­pre­neur­ship to tech­ni­cal stag­na­tion to geopo­lit­i­cal strug­gle. Late­ly, he’s drawn more atten­tion with extend­ed remarks on what would seem an unex­pect­ed sub­ject: the Antichrist, a seem­ing­ly enlight­ened but decep­tive­ly malev­o­lent fig­ure or move­ment bent on putting the world under inno­va­tion-sti­fling uni­fied con­trol. The term itself may sound famil­iar, though many of us haven’t seen it ref­er­enced much in pop­u­lar cul­ture since the hey­day of the Left Behind nov­el series that sold so well around the turn of the mil­len­ni­um. Whether or not it’s to your lit­er­ary taste, that apoc­a­lypse nar­ra­tive’s vil­lain does adhere to the Antichrist arche­type laid out in the Bible.

In the new Hochela­ga video above, Tom­mie Trelawny goes back to the bib­li­cal texts to deter­mine the ori­gins of the Antichrist, whom human­i­ty has por­trayed as “a great deceiv­er who charms the world through false mir­a­cles, and with it, demands to be wor­shiped as god him­self.” How­ev­er large he looms in mod­ern Chris­t­ian sto­ry­telling, he’s ref­er­enced in only four pas­sages of the Bible. The word Antichrist appears nowhere but in one of John’s epis­tles, which also warns that “even now many antichrists have come,” indi­cat­ing, as Trelawny puts it, those who reject “that Jesus is the Christ, or Mes­si­ah.” As John saw it, some such indi­vid­u­als — includ­ing mem­bers of new sects like Gnos­ti­cism — were also dan­ger­ous­ly charis­mat­ic, which aid­ed the spread of their false doc­trines.

The apos­tle Paul or one of his dis­ci­ples, in a let­ter to the Thes­sa­lo­ni­ans, fore­sees the rise of “a mys­te­ri­ous fig­ure known only as ‘the law­less one,’ who will gain pow­er by deceiv­ing peo­ple through false mir­a­cles, and once in pow­er, he will com­mit his great­est crime of all: ‘He will oppose and exalt him­self over every­thing that is called God or wor­shiped, so that he sets him­self up in God’s tem­ple, pro­claim­ing him­self to be God.” For its part, the Book of Rev­e­la­tion adds “the arrival of a mon­strous sev­en-head­ed beast,” and lat­er, a com­pan­ion with “the horns of a lamb but the voice of a drag­on.” There­after comes the “mark of the beast,” 666 — or per­haps 616, Trelawny adds, giv­en that either could be seen as code for Neron Kaisar in Greek or Nero Cae­sar in Latin, bet­ter known as the ancient Roman Emper­or Nero. Some sus­pect­ed him of being the Antichrist, espe­cial­ly if he orches­trat­ed Rome’s great fire in order to con­sol­i­date his pow­er and scape­goat the Chris­tians.

Trelawny also gets into detail about the twice-excom­mu­ni­cat­ed Holy Roman Emper­or Fred­er­ick II, whom Pope Gre­go­ry IX saw as the proph­e­sied “law­less one,” and even into the accu­sa­tions of being the Antichrist flung back and forth dur­ing the Protes­tant Ref­or­ma­tion and the flur­ry of print­ed pam­phlets that drove its sur­round­ing con­tro­ver­sy. The lat­ter sto­ry “shows a sub­tle change tak­ing place in how peo­ple could under­stand the Antichrist. It was no longer just a sin­gle per­son; it could be an entire sys­tem or insti­tu­tion.” Through­out his­to­ry, as under­scored today by anony­mous online debates as well as lec­tures deliv­ered by Peter Thiel in Rome, “it seems that what­ev­er peo­ple fear the most, from com­mu­nism to glob­al­ism to reg­u­la­tion, the Antichrist can become.” If so, we’ll keep hear­ing about his immi­nent (or already accom­plished) rise until human­i­ty can get over its fears — and what a mir­a­cle that would be.

Relat­ed Con­tent:

A Sur­vival Guide to the Bib­li­cal Apoc­a­lypse

The Reli­gions of Bob Dylan: From Deliv­er­ing Evan­gel­i­cal Ser­mons to Singing Hava Nag­i­la With Har­ry Dean Stan­ton

It’s the End of the World as We Know It: The Apoc­a­lypse Gets Visu­al­ized in an Inven­tive Map from 1486

A Rare, Ear­ly Ver­sion of the King Arthur Leg­end Found & Trans­lat­ed

Par­adise Lost Explained: How John Mil­ton Wrote His Epic Reli­gious Poem from Satan’s Per­spec­tive

Mar­shall McLuhan Explains Why We’re Blind to How Tech­nol­o­gy Changes Us, Rais­ing the Ques­tion: What Have the Inter­net & Social Media Done to Us?

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

5,000 Classic Movie Posters Digitized & Put Online: Free to Browse & Download

Who hasn’t pinned one of Saul Bass’ ele­gant film posters on their wall—either with thumb­tacks above the dorm room bed or in frame and glass in grown-up envi­rons? Or maybe it’s 70s kitsch you prefer—the art of the grind­house and sen­sa­tion­al­ist dri­ve-in exploita­tion film? Or 20s silent avant-garde, the cool noir of the 30s and 40s, 50s B‑grade sci-fi, 60s psy­che­delia and French New Wave, or 80s pop­corn flicks…? What­ev­er kind of cin­e­ma grabs your atten­tion prob­a­bly first grabbed your atten­tion through the design of the movie poster, a genre that gets its due in nov­el­ty shops and spe­cial­ist exhi­bi­tions, but often goes unher­ald­ed in pop­u­lar con­cep­tions of art.

Despite its util­i­tar­i­an and unabashed­ly com­mer­cial func­tion, the movie poster can just as well be a work of art as any oth­er form. Fail­ing that, movie posters are at least always essen­tial archival arti­facts, snap­shots of the weird col­lec­tive uncon­scious of mass cul­ture: from Saul and Elaine Bass’ min­i­mal­ist poster for West Side Sto­ry (1961), “with its bright orange-red back­ground over the title with a sil­hou­ette of a fire escape with dancers” to more com­plex tableaux, like the bald­ly neo-impe­ri­al­ist Africa Texas Style! (1967), “which fea­tures a real­is­tic image of the pro­tag­o­nist on a horse, las­so­ing a zebra in front of a stam­pede of wilde­beest, ele­phants, and giraffes.”

These two descrip­tions only hint at the range of posters archived at the Uni­ver­si­ty of Texas Har­ry Ran­som Cen­ter—upwards of 5,000 in all, “from when the film indus­try was just begin­ning to com­pete with vaude­ville acts in the 1920s to the rise of the mod­ern megaplex and dri­ve-in the­aters in the 1970s.” So wrote Erin Willard in the Ran­som Center’s 2018 announce­ment of the dig­i­ti­za­tion of its mas­sive col­lec­tion. Thou­sands of posters have been pho­tographed and are avail­able online, down­load­able in “Large” and “Extra Large” res­o­lu­tions.

The bulk of the col­lec­tion comes from the Inter­state The­ater Circuit—a chain that, at one time, “con­sist­ed of almost every movie the­ater in Texas”—and encom­pass­es not only posters but film stills, lob­by cards, and press books from “the 1940s through the 1970s with a par­tic­u­lar strength in the films of the 1950s and 60s, includ­ing musi­cals, epics, west­erns, sword and san­dal, hor­ror, and counter cul­ture films.” Oth­er indi­vid­ual col­lec­tors have made siz­able dona­tions of their posters to the cen­ter, and the result is a tour of the many spec­ta­cles avail­able to the mid-cen­tu­ry Amer­i­can mind: lurid, vio­lent excess­es, maudlin mor­al­iz­ing, bizarre erot­ic fan­tasies, dime-store ado­les­cent adven­tures.…

Some of the films are well-known exam­ples from the peri­od; most of them are not, and there­in lies the thrill of brows­ing this online repos­i­to­ry, dis­cov­er­ing obscure odd­i­ties like the 1956 film Bare­foot Bat­tal­ion, in which “teen-age wolf packs become heroes in a nation’s fight for free­dom!” The num­ber of quirks and kinks on dis­play offers us a pruri­ent view of a decade too often flat­ly char­ac­ter­ized by its pen­chant for gray flan­nel suits. The Mad Men era was a peri­od of insti­tu­tion­al repres­sion and ram­pant sex­u­al harass­ment, not unlike our own time. It was also a lab­o­ra­to­ry for a libidi­nous anar­chy that threat­ened to unleash the pent-up ener­gy and cul­tur­al anx­i­ety of mil­lions of frus­trat­ed teenagers onto the world at large, as would hap­pen in the decades to come.

What we see in the mar­ket­ing of films like Five Brand­ed Women (1960) will vary wide­ly depend­ing on our ori­en­ta­tions and polit­i­cal sen­si­bil­i­ties. Is this cheap exploita­tion or an empow­er­ing pre­cur­sor to Mad Max: Fury Road? Maybe both. For cul­tur­al the­o­rists and film his­to­ri­ans, these pulpy adver­tise­ments offer win­dows into the psy­ches of their audi­ences and the film­mak­ers and pro­duc­tion com­pa­nies who gave them what they sup­pos­ed­ly want­ed. For the ordi­nary film buff, the Ran­som Cen­ter col­lec­tion offers eye can­dy of all sorts, and if they hap­pen to own a high-qual­i­ty print­er, the chance to hang posters on their wall that they prob­a­bly won’t see any­where else. Enter the online col­lec­tion here.

Note: An ear­li­er ver­sion of this post appeared on our site in 2018.

Relat­ed Con­tent:

An Archive of 20,000 Movie Posters from Czecho­slo­va­kia (1930–1989)

40,000 Film Posters in a Won­der­ful­ly Eclec­tic Archive: Ital­ian Tarkovsky Posters, Japan­ese Orson Welles, Czech Woody Allen & Much More

The Film Posters of the Russ­ian Avant-Garde

A Look Inside Mar­tin Scorsese’s Vin­tage Movie Poster Col­lec­tion

Josh Jones is a writer and musi­cian based in Durham, NC.

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The Genius of Airplane!: How to Make a Comedy by Playing Everything Completely Straight

Not every 46-year-old com­e­dy still gets laughs, but Air­plane! seems only to get fun­nier with the decades. Some view­ers too young to have caught it in its the­atri­cal release even take the Ben­jamin­ian view of it as the kind of great work that cre­ates its own genre: the rapid-fire dead­pan joke machine, we could call it. But as the InCin­e­mat­ic video essay above reminds us, Air­plane! belongs, at its core, to that ven­er­a­ble comedic form of the par­o­dy. The key lies in its tit­u­lar excla­ma­tion point shared with Zero Hour!, a con­ven­tion­al Para­mount dis­as­ter movie from 1957 also about a dis­graced fight­er pilot forced to assume com­mand of an air­lin­er, albeit one with nary a laugh in its 81 min­utes.

Though it actu­al­ly runs six min­utes longer, Air­plane! feels much short­er, thanks in part to its mer­ci­less­ly con­stant vol­ley of humor. But unlike so many major par­o­dies of this cen­tu­ry, which feel like noth­ing so much as a tis­sue of rapid­ly expir­ing pop-cul­ture ref­er­ences, it also tells a gen­uine sto­ry with momen­tum of its own.

The film’s writer-direc­to­r­i­al trio of Jim Abra­hams, David Zuck­er, and Jer­ry Zuck­er under­stood that view­ers would come for the laughs, but as with Zero Hour! and the count­less oth­er dis­as­ter pic­tures at which Air­plane! pokes fun, they’d stay to find out what hap­pens. Hence the inspired choice to play the whole thing per­fect­ly straight, no mat­ter how groan-induc­ing the visu­al or ver­bal gags being deliv­ered.

All this works only because Abra­hams, Zuck­er, and Zuck­er cast the right actors: that is to say, non-fun­ny ones. At the time of Air­plane!‘s release, “most come­dies relied on actors to be fun­ny, but nobody had real­ly tried mak­ing a com­e­dy with­out come­di­ans before.” This meant that “the com­e­dy had to be there before the cam­era start­ed rolling,” so that the actors being seem­ing­ly unaware of the humor would only make it fun­nier. The per­son­i­fi­ca­tion of this method is, of course, Leslie Nielsen, who’d already put in a quar­ter-cen­tu­ry of dra­mat­ic per­for­mances (includ­ing in no less a sev­en­ties dis­as­ter spec­ta­cle than The Posei­don Adven­ture), but whose dead­pan turn as Dr. Rumack ele­vat­ed him into a kind of super­star­dom of the absurd. Whether a par­o­dy like Air­plane! would work if made today is dif­fi­cult to say, but it nev­er­the­less remains a les­son in sto­ry­telling for young film­mak­ers — comedic or oth­er­wise.

Relat­ed Con­tent:

Sein­feld, Louis C.K., Chris Rock, and Ricky Ger­vais Dis­sect the Craft of Com­e­dy (NSFW)

Buster Keaton: The Won­der­ful Gags of the Found­ing Father of Visu­al Com­e­dy

Why Is Jack­ie Chan the King of Action Com­e­dy? A Video Essay Mas­ter­ful­ly Makes the Case

The Air­line Toi­lets The­atre Com­pa­ny: Watch One Man Stage Com­i­cal Shows in Air­plane Bath­rooms

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

The Rijksmuseum in Amsterdam Has Digitized 840,000 Works of Art, Including Great Works by Rembrandt and Vermeer


Art may seem inessen­tial to those who make the big deci­sions in times of cri­sis. But it nev­er seemed more nec­es­sary to artists work­ing in the time of plague. So it was 366 years ago when Rem­brandt paint­ed a por­trait of his son, Titus, in a monk’s robe in 1660. Eight years lat­er, Titus was dead from plague, which had only a few years ear­li­er killed Hen­drick­je Stof­fels, Rembrandt’s for­mer house­keep­er and sec­ond wife, who helped raise Titus, Rembrandt’s only child to sur­vive into adult­hood.

These unimag­in­able loss­es “con­tributed to the tragedy and anguish we see in Rem­brandt’s late self-por­traits,” writes The Guardian’s Jonathan Jones. Dur­ing the plague, Rem­brandt also used his work as social cri­tique.

His etch­ing The Rat-Poi­son Ped­dler shows, “in a sense,” the Min­neapo­lis Insti­tute of Art’s Tom Rassieur tells the Star Tri­bune, “the guy who pur­ports to be helping—the exterminator—is prob­a­bly doing as much to spread the dis­ease as any­one else. That relates to [crit­i­cism] of our lead­er­ship today.” In his last years, Rem­brandt paint­ed self-por­traits of his iso­la­tion and grief that found a new audi­ence dur­ing the COVID lock­down.

Else­where in the Nether­lands, Rembrandt’s con­tem­po­rary Johannes Ver­meer was no stranger to the kind of social­ly iso­lat­ed world we found our­selves in dur­ing COVID. “His home­town of Delft was strick­en with plague sev­er­al times in the artist’s life­time. In 1635 and 1636 over 2,000 peo­ple died, and in the mid-1650s and mid-1660s hun­dreds more,” notes Breeze Bar­ring­ton at CNN. The qual­i­ties we most asso­ciate with Vermeer’s work, the soli­tude and atten­tive pres­ence, were devel­oped dur­ing time spent in iso­la­tion.

“In this time of forced iso­la­tion,” Friso Lam­mertse, cura­tor of 17th-cen­tu­ry Dutch paint­ing at the Rijksmu­se­um in Ams­ter­dam, not­ed dur­ing the pan­dem­ic, Vermeer’s work “can point us at the fact that extreme beau­ty can be found just in our room.” The Rijksmu­se­um did­n’t just rec­om­mend art in the pan­demic’s state of alone­ness, but also dou­bled its col­lec­tion of free, high-res­o­lu­tion works online, by Rem­brandt, Ver­meer, and a host of oth­er artists who used art to cope with loss and lone­li­ness dur­ing the plagues of their times. The muse­um now offers 840,000 dig­i­tized images in total.

The muse­um promised to “bring the muse­um to you,” and it has deliv­ered not only with its exten­sive dig­i­tal col­lec­tion, free for down­load­ing, shar­ing and edit­ing with a free Rijksmu­se­um account, but also with infor­ma­tive series on its web­site. Art is essen­tial in the best and worst of times, when it shows us how to look close­ly at our­selves, our loved ones, and our sur­round­ings, and treat life with more care and atten­tion. Enter the Rijksmu­se­um online col­lec­tions here.

An ear­li­er ver­sion of this post appeared on our site in 2021.

Relat­ed Con­tent:

Rijksmu­se­um Dig­i­tizes & Makes Free Online 361,000 Works of Art, Mas­ter­pieces by Rem­brandt Includ­ed!

Explore the New 717-Gigapix­el Scan of Rembrandt’s The Night Watch, the Most Detailed Pho­to Ever Tak­en of a Work of Art

See the Com­plete Works of Ver­meer in Aug­ment­ed Real­i­ty: Google Makes Them Avail­able on Your Smart­phone

Josh Jones is a writer and musi­cian based in Durham, NC.

Discover the Ancient Roman Shorthand Writing System with 4,000 Symbols Commissioned by Cicero

You can still type a sym­bol orig­i­nal­ly invent­ed for Cicero near­ly 21 cen­turies ago — at least if you con­fig­ure your key­board prop­er­ly.  The char­ac­ter ⁊ appears in Uni­code as U+204A, but is bet­ter known as the “Tiron­ian et”: the “et” is Latin for “and,” and the “Tiron­ian” comes from its cre­ator, a man named Tiro, or in full, Mar­cus Tul­lius Tiro. Tiro was­n’t a rel­a­tive of Mar­cus Tul­lius Cicero, as you might expect, but rather his one­time slave: after being eman­ci­pat­ed, he not only took on two of his for­mer mas­ter’s names, but also remained his sec­re­tary and con­fi­dant. It was in that capac­i­ty that, at Cicero’s request, he cre­at­ed the sys­tem since known as Tiron­ian notes.

Though now cred­it­ed as “the father of stenog­ra­phy,” Tiro did­n’t invent short­hand itself. Like so many devel­op­ments in ancient Roman civ­i­liza­tion, Hel­lenic inspi­ra­tion was involved: no soon­er did Cicero learn of the exis­tence of Greek short­hand sys­tems, so the sto­ry goes, than he asked Tiro to come up with one for Latin. It’s pos­si­ble that he did so as ear­ly as 75 BC, when Cicero was assigned to Sici­ly and need­ed to encode his com­mu­ni­ca­tions, espe­cial­ly those hav­ing to do with the cor­rup­tion of local offi­cials. Back in Rome, it became use­ful indeed for rapid­ly tran­scrib­ing onto wax-cov­ered tablets what the great ora­tor had to say, in sit­u­a­tions rang­ing from every­day deal­ings in the Forum to — as record­ed by Plutarch — denounc­ing Cati­line’s con­spir­a­cy to over­throw the Roman Repub­lic.

Tiro cre­at­ed about 4,000 sym­bols to stand in for syl­la­bles, words, and oth­er ele­ments of lan­guage, and oth­er of the sys­tem’s users, includ­ing Seneca, lat­er brought the num­ber up to 5,000. But “as Rome declined, so did short­hand,” writes Ani­ta Kre­itz­man at the Nation­al Court Reporters Asso­ci­a­tion. “The Emper­or Jus­tin­ian, in the sixth cen­tu­ry, con­temp­tu­ous­ly for­bade its use.” Yet Tiron­ian notes sur­vived, espe­cial­ly among the anno­ta­tors of man­u­scripts, expand­ing and merg­ing with oth­er sys­tems to con­tain 14,000 signs dur­ing the Car­olin­gian dynasty. Alas, “Holy Roman Emper­or Fred­er­ick II (1212–1250) con­sid­ered the use of short­hand sym­bols ‘dia­bol­i­cal’ and ‘ordered the destruc­tion of all short­hand char­ac­ters.’ As a result, short­hand quick­ly became a lost art.”

There­upon came the Dark Ages in which “learn­ing and short­hand seemed to no longer exist.” Leave it to court reporters to equate abbre­vi­a­tion with civ­i­liza­tion. Yet the asso­ci­a­tion is hard­ly spu­ri­ous, and can’t be acci­den­tal that its revival began in late six­teenth-cen­tu­ry Lon­don, when the world’s trans­for­ma­tion over the sub­se­quent cen­turies was get­ting into motion. Many short­hand sys­tems have risen and fall­en since, and the dig­i­tal tech­nolo­gies of recent decades have made the whole prac­tice super­flu­ous for most of us here in the twen­ty-first cen­tu­ry. Yet we can still have ⁊, thanks to inad­ver­tent preser­va­tion by the medieval Irish script and Gael­ic type that use it as an amper­sand. It may not have the same func­tion in Eng­lish, or even the Romance lan­guages, but typ­ing no oth­er sym­bol could make us feel quite so Ciceron­ian.

Relat­ed con­tent:

The Code of Charles Dick­ens’ Short­hand Has Been Cracked by Com­put­er Pro­gram­mers, Solv­ing a 160-Year-Old Mys­tery

Alice in Won­der­land, Ham­let, and A Christ­mas Car­ol Writ­ten in Short­hand (Cir­ca 1919)

Behold the Micro­scop­i­cal­ly Tiny Hand­writ­ing of Nov­el­ist Robert Walser, Which Took Four Decades to Deci­pher

The Sto­ry of Lorem Ipsum: How Scram­bled Text by Cicero Became Used by Type­set­ters Every­where

What Ancient Latin Sound­ed Like, And How We Know It

The Writ­ing Sys­tems of the World Explained, from the Latin Alpha­bet to the Abugi­das of India

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

When the US Mail Was Delivered Underground at 35 MPH Through a Network of Pneumatic Tubes (1893–1953)

Twen­ty years ago, Unit­ed States sen­a­tor Ted Stevens drew long-last­ing online ridicule by describ­ing the inter­net as “a series of tubes.” While some com­men­ta­tors not­ed that the anal­o­gy was­n’t quite as out­landish as it seemed, most react­ed with noth­ing more than amused baf­fle­ment. Where had Stevens come up with that image? Giv­en that he was born in 1923, per­haps he was draw­ing on mem­o­ries of a tech­no­log­i­cal won­der of his child­hood: the under­ground pneu­mat­ic sys­tems through which mail was deliv­ered in major Amer­i­can cities from the eigh­teen-nineties until the ear­ly nine­teen-fifties, whose sto­ry is told in the It’s His­to­ry video above.

Such series of tubes entered ser­vice in Lon­don, Paris, and Berlin in the mid-nine­teenth cen­tu­ry. In 1893, Philadel­phia became the first Amer­i­can city to get one, thanks to the advo­ca­cy of tech­no­log­i­cal­ly mind­ed depart­ment store mag­nate-turned-Post­mas­ter Gen­er­al John Wana­mak­er. At the inau­gu­ra­tion, writes Hid­den City’s Har­ry Kyr­i­akodis, Wana­mak­er “placed a Bible wrapped in an Amer­i­can flag into a can­is­ter that went fly­ing (under­ground) to the Cen­tral Post Office with a loud ‘whish’.” Philadel­phi­a’s net­work expand­ed apace, even­tu­al­ly includ­ing near­ly twen­ty miles of tun­nels, and “New York City, Boston, Chica­go, and St. Louis adopt­ed sim­i­lar deliv­ery sys­tems by 1898, all oper­at­ed by the Post Office Depart­ment.”

Oper­at­ed at a seri­ous loss, that is: when the U.S. got involved in World War I, the Post Office sus­pend­ed pneu­mat­ic ser­vice to con­serve resources. Only in the twen­ties did the tubes start whish­ing again in parts of New York and Boston, whose high vol­umes of mail could poten­tial­ly jus­ti­fy the oper­a­tion. In fact, the sheer amount of mail even­tu­al­ly got to be too much for the steel cap­sules and the cast-iron tun­nels through which com­pressed air pushed them. As retired U.S. Postal Inspec­tor Robert A. Cohen explains it in his his­to­ry of these sys­tems, “It takes a cer­tain amount of time for a gal­lon of liq­uid to trav­el through a fun­nel. Two gal­lons take twice as long to pass through. The val­ue of the Pneu­mat­ic Tube Ser­vice decreased as mail vol­ume increased.”

The pro­lif­er­a­tion of auto­mo­biles and the expan­sion of their sup­port­ing infra­struc­ture dealt an even more seri­ous blow: after World War II, deliv­er­ing mail on the roads had clear­ly become more effi­cient than doing it under­ground. Some “rock­e­teers,” as the sys­tem’s oper­a­tors were called, stuck it out until Decem­ber 12, 1953, when pneu­mat­ic mail ser­vice was offi­cial­ly sus­pend­ed all across the coun­try.

This marked the end of an era, espe­cial­ly for the rock­e­teers said to have used the net­work to sur­rep­ti­tious­ly receive orders from their favorite sand­wich shops. Remem­ber­ing Ted Stevens’ noto­ri­ous remark, it’s tempt­ing to describe the series of tubes that were pneu­mat­ic mail deliv­ery sys­tems as an ear­ly ver­sion of the inter­net — and even more so it was already get­ting peo­ple hooked on food deliv­ery.

]

Relat­ed Con­tent:

The Steam­punk Clocks of 19th-Cen­tu­ry Paris: Dis­cov­er the Inge­nious Sys­tem That Rev­o­lu­tion­ized Time­keep­ing in the 1880s

What’s Under Lon­don? Dis­cov­er London’s For­bid­den Under­world

How Did Roman Aque­ducts Work?: The Most Impres­sive Achieve­ment of Ancient Rome’s Infra­struc­ture, Explained

An Archi­tect Breaks Down the Design of New York City Sub­way Sta­tions, from the Old­est to Newest

Futur­ist from 1901 Describes the World of 2001: Opera by Tele­phone, Free Col­lege & Pneu­mat­ic Tubes Aplen­ty

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

 

One of the Best Preserved Ancient Manuscripts of The Iliad Is Now Digitized: See the “Bankes Homer” Manuscript in High Resolution (Circa 150 C.E.)

Each time I sit through the end cred­its of a film, I think about how weird auteur the­o­ry is—that a work of cin­e­ma can be pri­mar­i­ly thought of as the sin­gu­lar vision of the direc­tor. Typ­i­cal exam­ples come from arti­er fare than the usu­al Hol­ly­wood block­buster in which crews of thou­sands of stunt­peo­ple, spe­cial effects tech­ni­cians, and ani­ma­tors (and sev­er­al dozen “pro­duc­ers”) make essen­tial con­tri­bu­tions. In the case of, say, Wes Ander­son or David Lynch—or ear­li­er direc­tors like Godard or Kubrick—one can’t deny the evi­dence of a sin­gu­lar mind at work. Even so, we tend to ele­vate direc­tors to the sta­tus of god­like arti­fi­cers, sur­round­ed by a few angel­ic helpers behind the cam­era and a few star actors in front of it. Every­one else is an extra, includ­ing, very often, the actu­al writ­ers of a film.

Of course, the notion of the auteur comes from the gen­er­al the­o­ry of author­ship that iden­ti­fies lit­er­ary works as the prod­uct of a sin­gle intel­lect. French the­o­rists like Michel Fou­cault and Roland Barthes have cast sus­pi­cion on this idea. When it comes to writ­ing from the man­u­script age, hun­dreds or thou­sands of years old, it can be next to impos­si­ble to iden­ti­fy the author of a work.

Many an ancient work comes down to us as the prod­uct of “Anony­mous.” In the case of the major Greek epics, The Odyssey and The Ili­ad, we have a name, Homer, that most clas­sics schol­ars treat as a con­ve­nient place­hold­er. As a Uni­ver­si­ty of Cincin­nati clas­sics site not­ed, “Homer” could stand for “a group of poets whose works on the theme of Troy were col­lect­ed.”

Though writ­ten ref­er­ences to Homer date back to the 6th cen­tu­ry B.C., giv­ing cre­dence to the his­tor­i­cal exis­tence of the leg­endary blind poet, he might have been more direc­tor than author, bring­ing togeth­er into a coher­ent whole the labor of hun­dreds of dif­fer­ent sto­ry­tellers. For his­to­ri­an Adam Nicol­son, author of Why Homer Mat­ters, “it’s a mis­take to think of Homer as a per­son. Homer is an ‘it.’ A tra­di­tion. An entire cul­ture com­ing up with ever more refined and ever more under­stand­ing ways of telling sto­ries that are impor­tant to it. Homer is essen­tial­ly shared.” The nar­ra­tive poet­ry attrib­uted to Homer, Nicol­son sug­gests, might go back a thou­sand years before the poet sup­pos­ed­ly put it to papyrus.

You can read this Nation­al Geo­graph­ic inter­view with Nicol­son (or buy his book) to fol­low the argu­ment. It isn’t par­tic­u­lar­ly original—as Daniel Mendel­sohn writes at The New York­er, “the dom­i­nant ortho­doxy” for over a hun­dred years “has been that The Ili­ad evolved over cen­turies before final­ly being writ­ten down” some­time around 700 B.C. We have no man­u­scripts from that ear­ly peri­od, and no one knows how much the poem evolved through scrib­al errors in the trans­mis­sion from man­u­script to man­u­script over cen­turies. This is one of many ques­tions lit­er­ary his­to­ri­ans ask when they approach papyri like that at the top—an excerpt from the so-called “Bankes Homer,” the best-pre­served spec­i­men of a por­tion of The Ili­ad, con­tain­ing Book 24, lines 127–804, and dat­ing from cir­ca 150 C.E.

Pur­chased in Egypt in 1821 by Egyp­tol­o­gist William John Bankes, and acquired by an adven­tur­er named Gio­van­ni Finati on the island of Ele­phan­tine, the papyrus scroll, which you can see in full and in high res­o­lu­tion at the British Library site, was cre­at­ed like most oth­er “lit­er­ary papyri” for hun­dreds of years. As the British Library describes the process:

Pro­fes­sion­al scribes made copies from exem­plars at the request of clients, tran­scrib­ing by hand, word by word, let­ter by let­ter. Until around the 2nd cen­tu­ry CE these man­u­script books took the form of rolls com­posed of papyrus sheets past­ed one to the oth­er in suc­ces­sion, often over a con­sid­er­able length.

In addi­tion to the text itself, notes the site His­to­ry of Infor­ma­tion, the man­u­script con­tains “breath­ing marks and accents made by an ancient diorthotes or ‘cor­rec­tor’ to show cor­rect poet­ic pro­nun­ci­a­tion.” The ancient prac­tice of “cor­rect­ing” was a ped­a­gog­i­cal tech­nique used for train­ing stu­dents to prop­er­ly read the text. Like­ly for hun­dreds of years before there was a text, the poem would be com­mit­ted to mem­o­ry, and recit­ed by anony­mous bards all over the Greek-speak­ing world, prob­a­bly chang­ing in the telling to suit the tastes and bias­es of dif­fer­ent audi­ences. Who can say how many, if any, of those ancient bards bore the name “Homer”?

Again you can see the Bankes Homer in high res­o­lu­tion here (click the image to view in a larg­er for­mat).

Note: An ear­li­er ver­sion of this post appeared on our site in 2018.

Relat­ed Con­tent:

Hear What Homer’s Odyssey Sound­ed Like When Sung in the Orig­i­nal Ancient Greek

Emi­ly Wil­son Is the First Woman to Trans­late Homer’s Odyssey into Eng­lish: The New Trans­la­tion Is Out Today

Explore 5,300 Rare Man­u­scripts Dig­i­tized by the Vat­i­can: From The Ili­ad & Aeneid, to Japan­ese & Aztec Illus­tra­tions

Josh Jones is a writer and musi­cian based in Durham, NC.


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