What Great Archaeological Sites Used To Actually Look Like: Machu Picchu, the Colossus of Rhodes, Hadrian’s Wall & More in All Their Glory

With nation­al bor­der restric­tions now loos­en­ing up, many of us are reviv­ing our years-dor­mant world trav­el plans. For some, the pan­dem­ic-induced sus­pen­sion of easy access to oth­er coun­tries has even inspired jour­neys they might not oth­er­wise have tak­en. Stuck at home, they real­ized that they’d nev­er seen the won­ders of the ancient world — or at any rate, what remains of the won­ders of the ancient world. Ruin tourism has a long and pres­ti­gious his­to­ry, of course, but it also has the unde­sir­able side effect of sub­con­scious­ly con­vinc­ing us that our ancient fore­bears lived amid a more sham­bol­ic built envi­ron­ment than they real­ly did. To see these ruins as they were before their ruina­tion demands a strong imag­i­na­tion.

Alter­na­tive­ly, you can watch the video above, which presents artis­tic recon­struc­tions of such still-fre­quent­ed sites as Pom­peii, Machu Pic­chu, Chichen Itza, the Parthenon, and the Great Pyra­mid of Giza. You can still see some these struc­tures for your­self, of course, albeit only now that the rav­ages of time — as well as those of var­i­ous plun­der­ers, scav­engers, and insti­tu­tions — have tak­en their ter­ri­ble toll.

(The food hall of Nero’s palace still stands, but the water-pow­ered rota­tion sys­tem that made it his­to­ry’s first revolv­ing restau­rant has long since gone out of order.) Oth­ers of them nobody has seen since antiq­ui­ty itself: the Colos­sus of Rhodes once stood a hun­dred feet tall over that Greek island, but it only did so for 54 years until its top­pling by an Earth­quake in 226 BC.

Yet over the two-and-a-quar­ter mil­len­nia since, the Colos­sus has come to take on much greater pro­por­tions in our minds. “The famous imagery of it strad­dling the har­bor,” says the video, only “came about cen­turies lat­er, and was tout­ed by his­to­ri­ans in the Mid­dle Ages who had nev­er seen the mon­u­ment. The har­bor itself is almost the same width as an Amer­i­can foot­ball field, so to be pro­por­tion­al­ly accu­rate, the stat­ue would have to stand a stu­pen­dous 1,640 feet tall. This was firm­ly impos­si­ble at the time.” Even today, nowhere on Earth boasts a stat­ue that’s so much as half that size. And indeed, this may con­sti­tute the endur­ing appeal of ruins: how­ev­er glo­ri­ous they would have been when whole, their worn, dis­col­ored frag­ments fire our imag­i­na­tions to much greater heights.

Relat­ed con­tent:

What Ancient Greece Real­ly Looked Like: See Recon­struc­tions of the Tem­ple of Hadri­an, Curetes Street & the Foun­tain of Tra­jan

Watch Ancient Ruins Get Restored to their Glo­ri­ous Orig­i­nal State with Ani­mat­ed GIFs: The Tem­ple of Jupiter, Lux­or Tem­ple & More

Pom­peii Rebuilt: A Tour of the Ancient City Before It Was Entombed by Mount Vesu­vius

How Ancient Greek Stat­ues Real­ly Looked: Research Reveals Their Bold, Bright Col­ors and Pat­terns

Roman Stat­ues Weren’t White; They Were Once Paint­ed in Vivid, Bright Col­ors

The Met Dig­i­tal­ly Restores the Col­ors of an Ancient Egypt­ian Tem­ple, Using Pro­jec­tion Map­ping Tech­nol­o­gy

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

In 1968, Stanley Kubrick Makes Predictions for 2001: Humanity Will Conquer Old Age, Watch 3D TV & Learn German in 20 Minutes

kubricklist

Image by Moody Man, via Flickr Com­mons

1968. Rev­o­lu­tion was in the air and the future seemed bright. That year, Stan­ley Kubrick released his mas­ter­piece 2001: A Space Odyssey – a big-bud­get, exper­i­men­tal rumi­na­tion on the evo­lu­tion of mankind. The film was a huge box office hit when it came out; its mind-bend­ing meta­physics res­onat­ed with the culture’s new­found inter­est in chem­i­cal­ly altered states and in spir­i­tu­al­i­ty.

In the Sep­tem­ber issue from that year, Play­boy mag­a­zine pub­lished a lengthy inter­view with Kubrick. Even at a time when pub­lic fig­ures were sup­posed to sound like intel­lec­tu­als (boy, times have changed), Kubrick comes across as insane­ly well read. Dur­ing the course of the inter­view, he quotes from the likes of media crit­ic Mar­shall McLuhan, Win­ston Churchill, and 19th Cen­tu­ry poet Matthew Arnold along with a hand­ful of promi­nent aca­d­e­mics.

Kubrick is char­ac­ter­is­ti­cal­ly cagey about offer­ing any expla­na­tions of his enig­mat­ic movie but he does read­i­ly expound on philo­soph­i­cal ques­tions about God, the mean­ing of life (or lack there­of) and the pos­si­bil­i­ty of extrater­res­tri­al life. But per­haps the most inter­est­ing part of the 17-page inter­view is his vision of what 2001 might look like. It’s fas­ci­nat­ing to see what he got right, what might be right a bit fur­ther into the future, and what’s com­plete­ly wrong. Check them out below:

“With­in ten years, in fact, I believe that freez­ing of the dead will be a major indus­try in the Unit­ed States and through­out the world; I would rec­om­mend it as a field of invest­ment for imag­i­na­tive spec­u­la­tors.”

“Per­haps the great­est break­through we may have made by 2001 is the pos­si­bil­i­ty that man may be able to elim­i­nate old age.”

“I’m sure we’ll have sophis­ti­cat­ed 3‑D holo­graph­ic tele­vi­sion and films, and it’s pos­si­ble that com­plete­ly new forms of enter­tain­ment and edu­ca­tion will be devised.”

“You might have a machine that taps the brain and ush­ers you into a vivid dream expe­ri­ence in which you are the pro­tag­o­nist in a romance or an adven­ture. On a more seri­ous lev­el, a sim­i­lar machine could direct­ly pro­gram you with knowl­edge: in this way, you might, for exam­ple, eas­i­ly be able to learn flu­ent Ger­man in 20 min­utes.”

“I believe by 2001 we will have devised chem­i­cals with no adverse phys­i­cal, men­tal or genet­ic results that can give wings to the mind and enlarge per­cep­tion beyond its present evo­lu­tion­ary capacities…there should be fas­ci­nat­ing drugs avail­able by 2001; what use we make of them will be the cru­cial ques­tion.”

“The so-called sex­u­al rev­o­lu­tion, mid-wifed by the pill, will be extend­ed. Through drugs, or per­haps via the sharp­en­ing or even mechan­i­cal ampli­fi­ca­tion of latent ESP func­tions, it may be pos­si­ble for each part­ner to simul­ta­ne­ous­ly expe­ri­ence the sen­sa­tions of the oth­er; or we may even­tu­al­ly emerge into poly­mor­phous sex­u­al beings, with male and female com­po­nents blur­ring, merg­ing and inter­chang­ing. The poten­tial­i­ties for explor­ing new areas of sex­u­al expe­ri­ence are vir­tu­al­ly bound­less.”

“Look­ing into the dis­tant future, I sup­pose it’s not incon­ceiv­able that a semi­sen­tient robot-com­put­er sub­cul­ture could evolve that might one day decide it no longer need­ed man.”

For such a famous­ly pes­simistic film­mak­er, Kubrick’s vision of the future is remark­ably groovy – lots of sex, drugs and holo­graph­ic tele­vi­sion. He wasn’t, of course, the only one out there who thought about the future. You can see more bold pre­dic­tions below:

Isaac Asi­mov Pre­dicts in 1964 What the World Will Look Like Today — in 2014

Arthur C. Clarke Pre­dicts the Future in 1964 … And Kind of Nails It

Wal­ter Cronkite Imag­ines the Home of the 21st Cen­tu­ry … Back in 1967

The Inter­net Imag­ined in 1969

Mar­shall McLuhan Announces That The World is a Glob­al Vil­lage

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

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow.

Behold 3D Recreations of Pompeii’s Lavish Homes–As They Existed Before the Eruption of Mount Vesuvius

“I pray that to their share of noble for­tunes [Zeus] send no Neme­sis of jeal­ous will, but in pros­per­i­ty and free from ills, exalt them and their city.” Pin­dar, Olympian Ode 8

Why are humans awestruck by nat­ur­al dis­as­ter? Or — more to the point — why are we dumb­found­ed when dis­as­ters destroy cities? We should hard­ly be sur­prised at this point when nature does what it invari­ably does: tec­ton­ic plates shift, vol­ca­noes erupt, hur­ri­canes and typhoons sweep the coasts…. These things have always hap­pened on Earth, with or with­out our help, and for many mil­lions of years before any­thing like us showed up.

Like the myth­i­cal Nar­cis­sus, we can only see our­selves and assume every­thing that hap­pens must be for us. After the Great Lis­bon Earth­quake in Por­tu­gal in 1755, “Lis­bon’s devout Catholic pop­u­la­tion saw the ruined city as divine pun­ish­ment,” writes Lau­ra Trethewey.

“The Protes­tant coun­tries of Europe also saw the destruc­tion as pun­ish­ment, but for back­ward Catholic behav­ior.” Mean­while, philoso­phers like Voltaire, who wrote Can­dide to sat­i­rize respons­es to the quake, saw the cat­a­stro­phe as more evi­dence that a cre­ator, if such a being had ever cared, cared no more.

In Greek and Roman mythol­o­gy, the gods nev­er stop med­dling, pun­ish­ing, reward­ing, etc. Nar­cis­sus is tempt­ed to gaze at him­self by Neme­sis, the god­dess who meets hubris with swift ret­ri­bu­tion. While gen­er­al­ly invoked as a lev­el­er of indi­vid­u­als who over­step, she also lev­els cities, as fifth cen­tu­ry BC Greek poet Pin­dar sug­gests when he begs Zeus to spare the island city of Aegi­na from her wrath. Per­haps, then, it was Neme­sis, winged vengeance her­self, that the cit­i­zens of Pom­peii believed bore down upon them, as molten lava, smoke, and ash.

From its ear­li­est sta­tus as a Roman-allied city (then Roman colony), Pom­peii grew into a very wealthy area, its sur­round­ing lands rich with vil­las and farms, its city cen­ter anchored by its Amphithe­ater, Odeon, Forum Baths and tem­ples, its run­ning water arriv­ing from the Seri­no Aque­duct. Maybe they had it too good? Maybe their extrav­a­gant good for­tune caused too much jeal­ous­ly in the neigh­bors? Maybe the gods demand­ed bal­ance. It’s very human to think so — to ascribe divine will, in the lack of expla­na­tion, for why some­thing so filled with teem­ing life should be destroyed for no rea­son at all.

It must have been the gods, who looked down on Pom­pei­i’s wealth and grew jeal­ous them­selves. In these 3D ani­mat­ed videos, see why ancient Pom­pei­ians would have been proud of their city, recre­at­ed here in part by Swe­den’s Lund Uni­ver­si­ty and Sto­ried Past Pro­duc­tions. “While in Pom­peii few could reach the elite,” notes the lat­ter in their descrip­tion of the video above, “many tried to recre­ate ‘the good life’ in their own ways.… From grand urban vil­las, to small pri­vate homes, to small­er apart­ments.” In these walk­throughs, you can “see all the dif­fer­ent things ‘home’ could mean in ancient Pom­peii.” You might also, if you aren’t care­ful, find your­self get­ting a lit­tle envi­ous of these doomed ancient urban­ites.

Relat­ed Con­tent:

Pom­peii Rebuilt: A Tour of the Ancient City Before It Was Entombed by Mount Vesu­vius

The Lit­tle-Known Bomb­ing of Pom­peii Dur­ing World War II

Archae­ol­o­gists Dis­cov­er an Ancient Roman Snack Bar in the Ruins of Pom­peii

A Drone’s Eye View of the Ruins of Pom­peii

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Discover 18 Underground Bands From Ukraine

When it comes to sup­port­ing the Ukrain­ian peo­ple in their bat­tle against the Russ­ian inva­sion, it helps when an oppor­tu­ni­ty match­es our own inter­est. On this site that means direct­ly fund­ing the artists of Ukraine if pos­si­ble. For­tu­nate­ly, this new video from YouTube cre­ator Band­splain­ing will point you in the direc­tion of 18 Ukrain­ian under­ground bands that deserve a lis­ten and your mon­ey (if so choose).

While his chan­nel is devot­ed to “Weird sto­ries and less­er-known gen­res that don’t get cov­ered by Pitch­fork,” Band­splain­ing doesn’t usu­al­ly go in for cur­rent events, but as he explains, he is inter­est­ed in music his­to­ry, and bands that have con­tin­ued to cre­ate under extreme and dan­ger­ous con­di­tions.

“Music scenes that exist­ed six weeks ago are now at risk of van­ish­ing com­plete­ly,” he says. The list is com­plete­ly sub­jec­tive, and only hints at the Ukrain­ian music scene. Each major city has its clubs, and its fans, and its own home­grown labels. The sad­ness of watch­ing the video is won­der­ing what might have been bombed out of exis­tence.

I sus­pect none of the bands or musi­cians will be well known to most read­ers, though DakhaBrakha might be—they per­formed an excel­lent set for NPR’s Tiny Desk Con­cert series.

Includ­ing a band well-known enough for pub­lic radio might not be that “under­ground” but Band­splain­ing real­ly means musi­cians who don’t sound main­stream.

Ukraine has its own par­tic­u­lar psych/metal sound, exem­pli­fied here by Shi­va the Destruc­tor, La Hor­sa Bian­ca, Stone Jesus, and Soma­li Yacht Club. Lviv’s Sher­pa the Tiger play mod­ern Krautrock grooves. For elec­tron­i­ca it has the cold­wave of Kurs Valüt, Voy­age Future’s ambi­ent music, and the low-fi hip-hop of Provod.

There’s also old­er music his­to­ry dug up here—the tale of Valenti­na Gon­charo­va, the clas­si­cal­ly trained vio­lin­ist who turned to free jazz and musique con­crete, or pianist Ihort Tsym­brovsky, whose 1995 pri­vate cas­sette release is now con­sid­ered way ahead of its time.

Band­splain­ing checks in with some of these bands to see their cur­rent fates. Some have moved, some are fight­ing, sav­ing refugees, and doing what they can. His gen­uine inter­est in their lives makes this video more than just a list­si­cle.

Most of this music is avail­able through Band­camp, which does mean a major­i­ty of the mon­ey is going back to the musi­cians them­selves. And any YouTube rev­enue from the video will go back to the bands too, Band­splain­ing says, or Ukrain­ian char­i­ties.

Last­ly, the YouTube com­ments for the video con­tains hun­dreds more rec­om­men­da­tions from fans of Ukrain­ian music. Band­splain­ing has opened the flood­gates.

Relat­ed Con­tent 

How Ukraine’s Works of Art Are Being Saved in Wartime–Using the Lessons of World War II

Russ­ian Inva­sion of Ukraine Teach-Out: A Free Course from the Uni­ver­si­ty of Michi­gan

Pink Floyd Releas­es Its First New Song in 28 Years to Help Sup­port Ukraine

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

Draw Along with Beloved Cartoonist & Educator Lynda Barry: Free Drawing Exercises Online

How do you res­cue a day that’s gone pear shaped?

Stop­ping to drink a glass of water is one of our long­time go tos.

If there’s a box of match­es handy, we might per­form Yoko Ono’s Light­ning Piece.

Most recent­ly, we’ve tak­en to grab­bing some paper and a trusty black felt tip to spend a few min­utes doing one of beloved car­toon­ist and edu­ca­tor Lyn­da Bar­ry’s all-ages draw-alongs.

Bar­ry began upload­ing these videos ear­ly in the pan­dem­ic, for “friends at home who are about to turn four or five or six or sev­en or any age real­ly.”

Each demon­stra­tion begins with an oval. There’s no pro­logue. Just dive on in and copy the motions of Barry’s slow mov­ing, refresh­ing­ly unman­i­cured hands, cap­tured in a DIY god shot.

Less than four min­utes lat­er, voila! A smil­ing croc­o­dile! (It’s mag­i­cal how a facial expres­sion can be changed with one sim­ple line.)

The sound­tracks to these lit­tle nar­ra­tion-free exer­cis­es are an extra treat. We’ve always admired Barry’s musi­cal taste. It’s a real mood boost­er to cov­er a chee­tah in spots to the tune of a marim­ba orches­tra.

Barry’s also a big cumbia fan, con­jur­ing a kit­ty to Lito Bar­ri­en­tos’ Cumbia En Do Menor, a lion to Los Mir­los’ Cumbia de los Pajar­i­tos, and a Stegosaurus to Romu­lo Caicedo’s Cumbia Cavela.

Now that you’ve got a chee­tah under your belt, you’re ready to progress to a Scor­pi­onLeop­ard, one of Draw Along with Lyn­da B’s “strange ani­mals.”

Bar­ry does offer some com­men­tary as these cryp­tids take shape.

We sus­pect her pio­neer­ing work with a group of four-year-olds in the Uni­ver­si­ty of Wisconsin’s Draw Bridge pro­gram leads her to antic­i­pate the sorts of burn­ing ques­tions a pre-school­er might have with regard to these beasts. Her class­room expe­ri­ence is evi­dent. Where­as oth­ers might think a steady stream of bright chat­ter is nec­es­sary to keep very young par­tic­i­pants engaged, Bar­ry’s thought­ful words devel­op in real time along with her draw­ing:

This is a tough ani­mal. It has a big stinger on the back. This is a rough ani­mal… angry.  Put the eye­brows like this. It makes them look angry. What kind of teeth do you think this ani­mal has? I don’t think they have lit­tle bit­ty teeth. I think they have big fangs.

Oth­ers in the “strange ani­mal” fam­i­ly: a Cat­DogSeal­Fish, an octo­phant, and a cat­ter­fly (fea­tur­ing a cameo by Barry’s inquis­i­tive pooch’s snout.)

Draw along with Lyn­da Bar­ry on this YouTube playlist.

Relat­ed Con­tent 

Lyn­da Bar­ry on How the Smart­phone Is Endan­ger­ing Three Ingre­di­ents of Cre­ativ­i­ty: Lone­li­ness, Uncer­tain­ty & Bore­dom

Watch Car­toon­ist Lyn­da Barry’s Two-Hour Draw­ing Work­shop

Lyn­da Barry’s Won­der­ful­ly Illus­trat­ed Syl­labus & Home­work Assign­ments from Her UW-Madi­son Class, “The Unthink­able Mind”

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

The New York Public Library Provides Free Online Access to Banned Books: Catcher in the Rye, Stamped & More


Each year in mid-Sep­tem­ber, we cel­e­brate Banned Books Week, and each year I see a hand­ful of peo­ple argu­ing that the cel­e­bra­tion, or memo­r­i­al, is self indul­gent and out of touch. No one in the U.S. seri­ous­ly tries to ban books, right? Book ban­ning — as Gayle King said last Sep­tem­ber on CBS Morn­ings — is “an issue we tend to asso­ciate with the past.”

Yet even before the recent moral pan­ics over “crit­i­cal race the­o­ry” and gen­der and sex­u­al­i­ty issues, teach­ers and librar­i­ans would have strong­ly dis­agreed that attempts to ban books ever went away. Books are chal­lenged all the time in front of school boards, and have, many times in the recent past, appeared on lists hand­ed around by state and fed­er­al leg­is­la­tors.

The lat­est round of book ban­nings rep­re­sents an esca­la­tion, rather than a return, of the tac­tic. Not that law­mak­ers are like­ly to have read any of 850 or so books on a recent list of sus­pects. But too many seem eager to endorse bills that restrict what stu­dents can read, teach­ers can teach, and libraries can lend — leg­is­la­tion sole­ly based on the stan­dard of “com­fort.” As in… if the facts of Amer­i­can his­to­ry make some stu­dents (or their par­ents) uncom­fort­able, then damn the facts of Amer­i­can his­to­ry.….

Ta-Nahasi Coates — whose Between the World and Me was banned in some com­mu­ni­ties in 2020 — tells King that this is no coin­ci­dence. “For most of Amer­i­can his­to­ry,” he says, “African Amer­i­can authors have not had the pur­chase on the Amer­i­can con­science that they do right now.” The same goes for LGBTQ authors and writ­ers from oth­er mar­gin­al­ized groups, whose books are chal­lenged and banned in schools and libraries with aggres­sive fre­quen­cy.

What Coates calls a “pur­chase on the Amer­i­can con­science” is what we might also call empa­thy — a qual­i­ty that good writ­ing inspires in curi­ous read­ers, and that many peo­ple seem to find threat­en­ing. Every democ­ra­cy, how­ev­er, must learn that it is “igno­rance [that] is dan­ger­ous,” as pres­i­dent of the New York Pub­lic Library Tony Marx writes, “bread­ing hate and divi­sion.” Learn­ing about, and car­ing about, the expe­ri­ences of oth­ers does the oppo­site.

To keep banned books freely avail­able to read­ers who want access to them, the New York Pub­lic Library has part­nered with pub­lish­ers in a project called Books for All to reach read­ers wher­ev­er they may be. Marx emphat­i­cal­ly states the need for such an effort:

The recent instances of both attempt­ed and suc­cess­ful book ban­ning — pri­mar­i­ly on titles that explore race, LGBTQ+ issues, reli­gion, and his­to­ry — are extreme­ly dis­turb­ing and amount to an all-out attack on the very foun­da­tion of our democ­ra­cy.… The Library’s role is to make sure no per­spec­tive, no idea, no iden­ti­ty is erased.

There are cur­rent­ly four books offered under the pro­jec­t’s aegis through the end of May, and they’re avail­able to read­ers across the Unit­ed States:

Speak | Lau­rie Halse Ander­son (Square Fish / Macmil­lan Pub­lish­ers)

King and the Drag­on­flies | Kacen Cal­len­der (Scholas­tic)

Stamped: Racism, Antiracism, and You | Jason Reynolds and Ibram X. Ken­di (Lit­tle, Brown Books for Young Read­ers / Hachette Book Group)

The Catch­er in the Rye | J.D. Salinger (Lit­tle, Brown and Com­pa­ny / Hachette Book Group)

To access these titles, all of which have faced bans or chal­lenges, you will need to down­load the NYPL’s free read­er app, Sim­plyE, for iOS or Android–all from the Books for All site. Then you can read the book right away “with our with­out a library card,” the library notes. “No waits, no fines.”

One hopes the Books for All project will expand to offer more titles from the increas­ing­ly greater num­ber of books being pushed out of pub­lic view because they make those in pow­er uncom­fort­able. Or, bet­ter yet, one hopes that dozens of sim­i­lar projects will arise; that the slo­gan “books for all” can become a real­i­ty, regard­less of who makes pol­i­cy. Learn more and sign up for your free Sim­plyE account at the Books for All site.

Relat­ed Con­tent:

The 850 Books a Texas Law­mak­er Wants to Ban Because They Could Make Stu­dents Feel Uncom­fort­able

America’s First Banned Book: Dis­cov­er the 1637 Book That Mocked the Puri­tans

Read 14 Great Banned & Cen­sored Nov­els Free Online: For Banned Books Week 2014

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The Library of Esoterica: Taschen’s Visual History of Tarot, Astrology & Witchcraft

Gen­er­a­tions and gen­er­a­tions of Amer­i­cans dis­sat­is­fied with life in their home­towns have act­ed on the same migra­to­ry impulse: to go west. Many have done so in order to make their for­tunes, but a fair few have been seek­ing vari­eties of sat­is­fac­tion alto­geth­er less tan­gi­ble. In the human spirt in gen­er­al and the Amer­i­can spir­it in par­tic­u­lar, there is a yearn­ing for “secret knowl­edge” of real­i­ty’s hid­den work­ings. Those whose spir­its most yearn for that knowl­edge tend to end up in Cal­i­for­nia, the log­i­cal end of Amer­i­can civ­i­liza­tion. There they’ve found vibrant com­mu­ni­ties of yogis, spir­i­tu­al­ists, Aene­r­i­ans, theosophists, heal­ers, Unar­i­ans, alchemists, Rosi­cru­cians, witch­es, tarot read­ers, astrologers… the list goes on.

More recent­ly, Cal­i­for­nia has also been home to Taschen’s Amer­i­can head­quar­ters, the acclaimed pub­lish­ers of lav­ish­ly pro­duced books on art and cul­ture with no com­punc­tion about explor­ing the fringes of human expe­ri­ence. A cou­ple of years ago we fea­tured their visu­al his­to­ry of tarot Divine Decks here on Open Cul­ture; now they’ve put out a three-vol­ume cof­fee-table Library of Eso­ter­i­ca that includes books on not just tarot but astrol­o­gy and witch­craft as well.

Assem­bled and designed to Taschen’s usu­al aes­thet­i­cal­ly painstak­ing stan­dard, the set comes edit­ed by writer and film­mak­er Jes­si­ca Hund­ley, who used the oppor­tu­ni­ty to open the most “inclu­sive and seduc­tive way into these prac­tices, which is through the art” they’ve inspired.

That’s what she told Los Ange­les Times’ Steffie Nel­son, who writes that “Hund­ley has been fas­ci­nat­ed by alter­na­tive spir­i­tu­al­i­ties and the occult since she was a goth-punk teenag­er on the East Coast.” Lat­er she moved to Los Ange­les, “drawn to the city’s lega­cy of eso­teric explo­ration and its renown as a place where dreams are made man­i­fest and iden­ti­ty is muta­ble.” This  pro­jec­t’s world­wide search for art and oth­er mate­ri­als relat­ed to these fields of eso­ter­i­ca began at Los Ange­les’ own Philo­soph­i­cal Research Soci­ety, found­ed in the nine­teen-thir­ties by mys­tic Man­ly P. Hall. With its rich­ly repro­duced imagery and accom­pa­ny­ing explana­to­ry essays, the Library of Eso­ter­i­ca offers a read­ing expe­ri­ence liable to open any­one’s doors of per­cep­tion. The age of Aquar­ius may be over, but there’s a seek­er born every minute.

The Library of Eso­ter­i­ca can be pur­chased as a com­plete col­lec­tion. Or you can pur­chase sep­a­rate install­ments on Astrol­o­gy, Tarot and Witch­craft.

Relat­ed con­tent:

Divine Decks: A Visu­al His­to­ry of Tarot: The First Com­pre­hen­sive Sur­vey of Tarot Gets Pub­lished by Taschen

The Artis­tic & Mys­ti­cal World of Tarot: See Decks by Sal­vador Dalí, Aleis­ter Crow­ley, H.R. Giger & More

Exquis­ite Water­col­ors of Demons, Mag­ic & Signs: Behold the Com­pendi­um Of Demonolo­gy and Mag­ic from 1775

Aleis­ter Crow­ley: The Wickedest Man in the World Doc­u­ments the Life of the Bizarre Occultist, Poet & Moun­taineer

Watch Häx­an, the Clas­sic Cin­e­mat­ic Study of Witch­craft Nar­rat­ed by William S. Bur­roughs (1922)

Athe­ists & Agnos­tics Also Fre­quent­ly Believe in the Super­nat­ur­al, a New Study Shows

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

How France Hid the Mona Lisa & Other Louvre Masterpieces During World War II

Pho­to­graph by Pierre Jahan/Archives des museés nationaux

Twice, we’ve brought you posts explain­ing how the Mona Lisa – the most famous paint­ing in the world – went from near obscu­ri­ty to glob­al noto­ri­ety almost overnight, after an employ­ee of the Lou­vre pur­loined and tried to hide it in 1911. Accu­sa­tions flew – includ­ing very pub­lic accu­sa­tions against Pablo Picas­so; sala­cious rumors cir­cu­lat­ed; the enig­mat­ic smile of Lisa del Gio­con­da — the Flo­ren­tine silk merchant’s wife depict­ed in the paint­ing – appeared in black and white pho­tographs in news­pa­pers around the globe. When she returned to the muse­um, vis­i­tors couldn’t, and still can­not, wait to see her in per­son. As great as that sto­ry is, what hap­pened a few decades lat­er under the Nazi-con­trolled Vichy gov­ern­ment makes for an even bet­ter tale.

By the 1930s, the Mona Lisa was deemed the most impor­tant work of art in France’s most impor­tant muse­um. With due respect to the Mon­u­ments Men (and unsung Mon­u­ments Women), before the Allies arrived to res­cue many of Europe’s price­less works of art, French civ­il ser­vants, stu­dents, and work­men did it them­selves, sav­ing most of the Lou­vre’s entire col­lec­tion. The hero of the sto­ry, Jacques Jau­jard, direc­tor of France’s Nation­al Muse­ums, has gone down in his­to­ry as “the man who saved the Lou­vre” — also the title of an award-win­ning French doc­u­men­tary (see trail­er below). Men­tal Floss pro­vides con­text for Jau­jard’s hero­ism:

After Ger­many annexed Aus­tria in March of 1938, Jau­jard… lost what­ev­er small hope he had that war might be avoid­ed. He knew Britain’s pol­i­cy of appease­ment was­n’t going to keep the Nazi wolf from the door, and an inva­sion of France was sure to bring destruc­tion of cul­tur­al trea­sures via bomb­ings, loot­ing, and whole­sale theft. So, togeth­er with the Lou­vre’s cura­tor of paint­ings René Huyghe, Jau­jard craft­ed a secret plan to evac­u­ate almost all of the Lou­vre’s art, which includ­ed 3600 paint­ings alone.

On the day Ger­many and the Sovi­et Union signed the Nonag­gres­sion Pact, August 25, 1939, Jau­jard closed the Lou­vre for “repairs” for three days while staff, “stu­dents from the École du Lou­vre, and work­ers form the Grands Mag­a­zines du Lou­vre depart­ment store took paint­ings out of their frames… and moved stat­ues and oth­er objects from their dis­plays with wood­en crates.”

The stat­ues includ­ed the three ton Winged Nike of Samoth­race (see a pho­to of its move here), the Egypt­ian Old King­dom Seat­ed Scribe, and the Venus de Milo. All of these, like the oth­er works of art, would be moved to chateaus in the coun­try­side for safe keep­ing. On August 28, “hun­dreds of trucks orga­nized into con­voys car­ried 1000 crates of ancient and 268 crates of paint­ings and more” into the Loire Val­ley.

Includ­ed in that haul of trea­sures was the Mona Lisa, placed in a cus­tom case, cush­ioned with vel­vet. Where oth­er works received labels of yel­low, green, and red dots accord­ing to their lev­el of impor­tance, the Mona Lisa was marked with three red dots — the only work to receive such high pri­or­i­ty. It was trans­port­ed by ambu­lance, gen­tly strapped to a stretch­er. After leav­ing the muse­um, the paint­ing would be moved five times, “includ­ing to Loire Val­ley cas­tles and a qui­et abbey.” The Nazis would loot much of what was left in the Lou­vre, and force it to re-open in 1940 with most of its gal­leries stark­ly emp­ty. But the Mona Lisa — at the top of Hitler’s list of art­works to expro­pri­ate — remained safe, as did many thou­sands more art­works Jau­jard believed were the “her­itage of all human­i­ty,” as Inge Laino, Paris Muse Direc­tor, says in the France 24 seg­ment above.

Relat­ed Con­tent: 

How the Mona Lisa Went From Being Bare­ly Known, to Sud­den­ly the Most Famous Paint­ing in the World (1911)

How Did the Mona Lisa Become the World’s Most Famous Paint­ing?: It’s Not What You Think

The 16,000 Art­works the Nazis Cen­sored and Labeled “Degen­er­ate Art”: The Com­plete His­toric Inven­to­ry Is Now Online

The Louvre’s Entire Col­lec­tion Goes Online: View and Down­load 480,00 Works of Art

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

« Go BackMore in this category... »
Quantcast
Open Culture was founded by Dan Colman.