Do You Think About Ancient Rome Every Day? Then Browse a Wealth of Videos, Maps & Photos That Explore the Roman Empire

This month, more than a few Tik­Tok-using women have asked the men in their lives how often they think about the Roman Empire. And to the aston­ish­ment of these women, more than a few of these men have respond­ed that they think about it on a dai­ly basis, or even more often than that. By now, this par­tic­u­lar man­i­fes­ta­tion of mutu­al incom­pre­hen­sion between the sex­es has swept sev­er­al social-media plat­forms, and accord­ing to reportage in the New York Times and Wash­ing­ton Post, it actu­al­ly began on Insta­gram. “Ladies, many of you do not real­ize how often men think about the Roman Empire,” post­ed a Swedish ancient-Rome reen­ac­tor who calls him­self Gaius Flav­ius. “Ask your husband/boyfriend/father/brother — you will be sur­prised by their answers!”

Even if you’re not a hus­band, boyfriend, father, or broth­er, you may count your­self among these Rome-enrap­tured men. You may think about Rome prac­ti­cal­ly all day, every day, and not be a man at all. Or per­haps you’re one of the women who, hith­er­to unaware of the appar­ent­ly wide­spread Roman intel­lec­tu­al pro­cliv­i­ties among the oppo­site sex, have begun to feel a twinge of curios­i­ty about the sub­ject.

If so, you could do worse than start your his­tor­i­cal jour­ney to antiq­ui­ty’s might­i­est empire — the ances­tor of today’s West­ern civ­i­liza­tion — with this twen­ty-minute primer nar­rat­ed by Suc­ces­sion’s Bri­an Cox. Con­sid­er also accom­pa­ny­ing it with this ani­mat­ed map visu­al­iz­ing both the Roman Empire’s rise to cov­er half the known world and its sub­se­quent fall — or this ver­sion with a scrolling time­line of the face of every emper­or.

The word “Rome” com­mon­ly stands for the Roman Empire, but, of course, it can also refer to the great cap­i­tal itself. Here on Open Cul­ture, we’ve pre­vi­ous­ly fea­tured vir­tu­al tours and fly­overs, as well as a phys­i­cal scale mod­el, of the ancient city of Rome at its peak. You can also watch a re-cre­ation of the destruc­tion of Pom­peii, whose ash-pre­served ruins have taught us a great deal about life in the Roman Empire. That empire could hard­ly have extend­ed as far as it did with­out the tech­no­log­i­cal mar­vel of Roman roads, which you can learn about through videos on their con­struc­tion, sub­way-style maps, and even a trip-plan­ning web appli­ca­tion. Even the con­crete used to build those roads — not to men­tion the Roman Empire’s for­mi­da­ble aque­ducts — has been an object of fas­ci­na­tion, not least because the secret of their dura­bil­i­ty has only recent­ly come to light.

If Rome was about noth­ing but con­quer­ing emper­ors and sprawl­ing infra­struc­ture, it would be easy to explain its being a pre­dom­i­nant­ly male inter­est. But we’ve also fea­tured numer­ous oth­er aspects of its cul­ture, from the sound of Roman music and the Latin lan­guage to the col­ors of its stat­ues. Like all human beings, ancient Romans ate food — whether by fol­low­ing recipes at home or going out to “snack bars” — and wore shoes (and san­dals, alas, with socks). Our own fas­ci­na­tion with its civ­i­liza­tion has its own his­tor­i­cal roots, as under­scored by these nine­teenth-cen­tu­ry pho­tographs of Roman ruins. Nor does that fas­ci­na­tion know cul­tur­al bound­aries. I live in Korea, and recent­ly a man told me about his younger days as a sol­dier in KATUSA, the Kore­an Aug­men­ta­tion to the Unit­ed States Army. Why did he enlist in that par­tic­u­lar pro­gram? “I want­ed to know what it would be like to serve the mod­ern Roman Empire.”

Relat­ed Con­tent:

The Most Dis­tant Places Vis­it­ed by the Romans: Africa, Scan­di­navia, Chi­na, India, Ara­bia & Oth­er Far-Flung Lands

When Iggy Pop Pub­lished an Essay, “Cae­sar Lives,” in an Aca­d­e­m­ic Jour­nal about His Love for Edward Gibbon’s The Decline and Fall of the Roman Empire (1995)

The Ups & Downs of Ancient Rome’s Economy–All 1,900 Years of It–Get Doc­u­ment­ed by Pol­lu­tion Traces Found in Greenland’s Ice

The Splen­did Book Design of the 1946 Edi­tion of Gibbon’s Decline and Fall of the Roman Empire

11-Year-Old Mar­tin Scors­ese Draws Sto­ry­boards for His Imag­ined Roman Epic Film, The Eter­nal City

What Life Was Like for Teenagers in Ancient Rome: Get a Glimpse from a TED-ED Ani­ma­tion

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.

An Introduction to Chinoiserie: When European Monarchs Tried to Build Chinese Palaces, Houses & Pavilions

Today it would be viewed as cul­tur­al appro­pri­a­tion writ large, but when Louis XIV ordered the con­struc­tion of a 5‑building plea­sure pavil­ion inspired by the Porce­lain Tow­er of Nan­jing (a 7th Won­der of the World few French cit­i­zens had viewed in per­son) as an escape from Ver­sailles, and an exot­ic love nest in which to romp with the Mar­quise de Mon­tes­pan, he ignit­ed a craze that spread through­out the West.

Chi­nois­erie was an aris­to­crat­ic Euro­pean fan­ta­sy of lux­u­ri­ous East­ern design, what Dung Ngo, founder of AUGUST: A Jour­nal of Trav­el + Design, describes as “a West­ern thing that has noth­ing to do with actu­al Asian cul­ture:”

Chi­nois­erie is a lit­tle bit like chop suey. It was whole­sale invent­ed in the West, based on cer­tain per­cep­tions of Asian cul­ture at the time. It’s very watered down.

And also way over the top, to judge by the rap­tur­ous descrip­tions of the inte­ri­ors and gar­dens of Louis XIV’s Tri­anon de Porce­laine, which stood for less than 20 years.

Image by Hervé Gre­goire, via Wiki­me­dia Com­mons

The blue-and-white Delft tiles meant to mim­ic Chi­nese porce­lain swift­ly fell into dis­re­pair and Madame de Montespan’s suc­ces­sor, her children’s for­mer gov­erness, the Mar­quise de Main­tenon, urged Louis to tear the place down because it was “too cold.”

Her lover did as request­ed, but else­where, the West’s imag­i­na­tion had been cap­tured in a big way.

The bur­geon­ing tea trade between Chi­na and the West pro­vid­ed access to Chi­nese porce­lain, tex­tiles, fur­nish­ings, and lac­quer­ware, inspir­ing West­ern imi­ta­tions that blur the bound­aries between Chi­nois­erie and Roco­co styles

This blend is in evi­dence in Fred­er­ick the Great’s Chi­nese House in the gar­dens of Sanssouci (below).

Image by Johann H. Addicks, via Wiki­me­dia Com­mons

Dr Samuel Wit­twer, Direc­tor of Palaces and Col­lec­tions at the Pruss­ian Palaces and Gar­dens Foun­da­tion, describes how the gild­ed fig­ure atop the roof “is a mix­ture of the Greek God Her­mes and the Chi­nese philoso­pher Con­fu­cius:”

His Euro­pean face is more than just a sym­bol of intel­lec­tu­al union between Asia and Europe…The fig­ure on the roof has an umbrel­la, an Asian sym­bol of social dig­ni­ty, which he holds in an east­ern direc­tion. So the famous ex ori­ente lux, the good and wise Con­fu­cian light from the far east, is blocked by the umbrel­la. Fur­ther down, we notice that the foun­da­tions of the build­ing seem to be made of feath­ers and the Chi­nese heads over the win­dows, rest­ing on cush­ions like tro­phies, turn into a mon­key band in the inte­ri­or. The fres­coes in the cupo­la main­ly depict mon­keys and par­rots. As we know, these par­tic­u­lar ani­mals are great imi­ta­tors with­out under­stand­ing.

Frederick’s enthu­si­asm for chi­nois­erie led him to engage archi­tect Carl von Gontard to fol­low up the Chi­nese House with a pago­da-shaped struc­ture he named the Drag­on House (below) after the six­teen crea­tures adorn­ing its roof.

Image by Rig­o­rius, via Wiki­me­dia Com­mons

Drag­ons also dec­o­rate the roof of the Great Pago­da in London’s Kew Gar­dens, though the gild­ed wood­en orig­i­nals either suc­cumbed to the ele­ments or were sold off to set­tle George IV’s gam­bling debts in the late 18th cen­tu­ry.

Image by MX Granger, via Wiki­me­dia Com­mons

There are even more drag­ons to be found on the Chi­nese Pavil­ion at Drot­tning­holm, Swe­den, an archi­tec­tur­al con­fec­tion con­struct­ed by King Adolf Fredrik as a birth­day sur­prise for his queen, Louisa. The queen was met by the entire court, cos­play­ing in Chi­nese (or more like­ly, Chi­nese-inspired) gar­ments.

Not to be out­done, Russia’s Cather­ine the Great resolved to “cap­ture by caprice” by build­ing a Chi­nese Vil­lage out­side of St. Peters­burg.

Image by Макс Вальтер, via Wiki­me­dia Com­mons

Archi­tect Charles Cameron drew up plans for a series of pavil­ions sur­round­ing a nev­er-real­ized octag­o­nal-domed obser­va­to­ry. Instead, eight few­er pavil­ions than Cameron orig­i­nal­ly envi­sioned sur­round a pago­da based on one in Kew Gar­dens.

Hav­ing sur­vived the Nazi occu­pa­tion and the Sovi­et era, the Chi­nese Vil­lage is once again a fan­ta­sy play­thing for the wealthy. A St. Peters­burg real estate devel­op­er mod­ern­ized one of the pavil­ions to serve as a two-bed­room “week­end cot­tage.”

Giv­en that no record of the orig­i­nal inte­ri­ors exists, design­er Kir­ill Istomin wasn’t ham­strung by a man­date to stick close to his­to­ry, but he and his client still went with “numer­ous chi­nois­erie touch­es” as per a fea­ture in Elle Decor:

Pan­els of antique wall­pa­pers were framed in gild­ed bam­boo for the mas­ter bed­room, and vin­tage Chi­nese lanterns, pur­chased in Paris, hang in the din­ing and liv­ing rooms. The star pieces, how­ev­er, are a set of 18th-cen­tu­ry porce­lain teapots, which came from the estate of the late New York socialite and phil­an­thropist Brooke Astor.

Explore cul­tur­al crit­ic Aileen Kwun and the Asian Amer­i­can Pacif­ic Islander Design Alliance’s per­spec­tive on the still pop­u­lar design trend of chi­nois­erie here.

h/t Allie C!

Relat­ed Con­tent 

An Ani­mat­ed His­to­ry of Ver­sailles: Six Min­utes of Ani­ma­tion Show the Con­struc­tion of the Grand Palace Over 400 Years

How the Ornate Tapes­tries from the Age of Louis XIV Were Made (and Are Still Made Today)

Down­load Vin­cent van Gogh’s Col­lec­tion of 500 Japan­ese Prints, Which Inspired Him to Cre­ate “the Art of the Future”

Free: Down­load 70,000+ High-Res­o­lu­tion Images of Chi­nese Art from Taipei’s Nation­al Palace Muse­um

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

How Big Ben Works: A Detailed Look Inside London’s Beloved Victorian Clock Tower

If asked to name the best-known tow­er in Lon­don, one could, per­haps, make a fair case for the likes of the Shard or the Gherkin. But what­ev­er their cur­rent promi­nence on the sky­line, those works of twen­ty-first-cen­tu­ry star­chi­tec­ture have yet to devel­op much val­ue as sym­bols of the city. If sheer age were the decid­ing fac­tor, then the Tow­er of Lon­don, the old­est intact build­ing in the cap­i­tal, would take the top spot, but for how many peo­ple out­side Eng­land does its name call a clear image to mind? No, to find Lon­don’s most beloved ver­ti­cal icon, we must look to the Vic­to­ri­an era, the only his­tor­i­cal peri­od that could have giv­en rise to Big Ben.

We must first clar­i­fy that Big Ben is not a tow­er. The build­ing you’re think­ing of has been called the Eliz­a­beth Tow­er since Queen Eliz­a­beth II’s Dia­mond Jubilee in 2012, but before that its name was the Clock Tow­er. That was apt enough, since tow­er’s defin­ing fea­ture has always been the clock at the top — or rather, the four clocks at the top, one for each face.

You can see how they work in the ani­mat­ed video from Youtu­ber Jared Owen above, which pro­vides a detailed visu­al and ver­bal expla­na­tion of both the struc­ture’s con­text and its con­tent, includ­ing a tour of the mech­a­nisms that have kept it run­ning near­ly with­out inter­rup­tion for more than a cen­tu­ry and a half.

Only by look­ing into the tow­er’s bel­fry can you see Big Ben, which, as Owens says, is actu­al­ly the name of the largest of its bells. Its announce­ment of each hour on the hour — as well as the ring­ing of the oth­er, small­er bells — is acti­vat­ed by a sys­tem of gear trains ulti­mate­ly dri­ven by grav­i­ty, har­nessed by the swing­ing of a large pen­du­lum (to which occa­sion­al speed adjust­ments have always been made with the reli­able method of plac­ing pen­nies on top of it). Owens does­n’t clar­i­fy whether or not this is the same pen­du­lum Roger Miller sang about back in the six­ties, but at least now we know that, tech­ni­cal­ly speak­ing, we should inter­pret the fol­low­ing lyrics as not “the tow­er, Big Ben” but “the tow­er; Big Ben.”

Relat­ed con­tent:

The Growth of Lon­don, from the Romans to the 21st Cen­tu­ry, Visu­al­ized in a Time-Lapse Ani­mat­ed Map

3D Scans of 7,500 Famous Sculp­tures, Stat­ues & Art­works: Down­load & 3D Print Rodin’s Thinker, Michelangelo’s David & More

The Old­est Known Footage of Lon­don (1890–1920) Fea­tures the City’s Great Land­marks

Prague Mon­u­ment Dou­bles as Artist’s Can­vas

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.

Sylvia Plath’s Ten Back to School Commandments (1953)

plath commandments

Before her lit­er­ary fame, her stormy rela­tion­ship with Ted Hugh­es and her crip­pling bat­tles with depres­sion, Sylvia Plath was an enthu­si­as­tic stu­dent at Smith Col­lege. “The world is split­ting open at my feet like a ripe, juicy water­mel­on,” she wrote to her moth­er. “If only I can work, work, work to jus­ti­fy all of my oppor­tu­ni­ties.”

Dur­ing her junior year, she broke her leg on a ski­ing trip in upstate New York. The acci­dent land­ed her briefly in the hos­pi­tal and she wound up with a cast on her leg. Her mood dark­ened.

Psych­ing her­self out for her return to col­lege, she wrote in her diary a pair of lists.

The first list is a short series of rules about how to behave around her new beau, Myron Lotz. All three points are good advice for any­one who is utter­ly smit­ten, par­tic­u­lar­ly num­ber two – “I will not throw myself at him phys­i­cal­ly.” In the end, Plath’s rela­tion­ship with Lotz didn’t amount to much. She report­ed­ly com­mem­o­rat­ed him with­in her poem “Mad Girl’s Love Song” with the refrain “I think I made you up inside my head.”

The sec­ond list is a col­lec­tion of “Back to School Com­mand­ments.” These com­mand­ments includ­ed ask­ing her Eng­lish prof Robert Gorham Davis for an exten­sion; con­sult­ing with her Ger­man teacher Marie Schnieders (“Be calm,” she writes mys­te­ri­ous­ly, “even it is a mat­ter of life & death.”); and com­plet­ing her appli­ca­tion to be a guest edi­tor for Made­moi­selle mag­a­zine. (She nailed that last task.)

The list’s final com­mand­ment comes off bleak­er than the mild­ly pan­icky moti­va­tion­al tone of the rest of the list. “Atti­tude is every­thing: so KEEP CHEERFUL, even if you fail your sci­ence, your unit, get a hate­ful silence from Myron, no dates, no praise, no love, noth­ing. There is a cer­tain clin­i­cal sat­is­fac­tion in see­ing just how bad things can get.”

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

via The Excel­lent Lists of Note book

Relat­ed Con­tent:

Why Should We Read Sylvia Plath? An Ani­mat­ed Video Makes the Case

Christo­pher Hitchens Cre­ates a Revised List of The 10 Com­mand­ments for the 21st Cen­tu­ry

Bertrand Russell’s Ten Com­mand­ments for Liv­ing in a Healthy Democ­ra­cy

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. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

Why Frank Lloyd Wright Designed a Gas Station in Minnesota (1958)

In the small town of Clo­quet, Min­neso­ta stands a piece of urban utopia. It takes the sur­pris­ing form of a gas sta­tion, albeit one designed by no less a vision­ary of Amer­i­can archi­tec­ture than Frank Lloyd Wright. He orig­i­nal­ly con­ceived it as an ele­ment of Broad­acre City, a form of mech­a­nized rur­al set­tle­ment intend­ed as a Jef­fer­son­ian democ­ra­cy-inspired rebuke against what Wright saw as the evils of the over­grown twen­ti­eth cen­tu­ry city, first pub­licly pre­sent­ed in his 1932 book The Dis­ap­pear­ing City. “That’s an aspi­ra­tional title,” says archi­tec­tur­al his­to­ri­an Richard Kro­n­ick in the Twin Cities PBS video above. “He thought that cities should go away.”

Cities did­n’t go away, and Broad­acre City remained spec­u­la­tive, though Wright did pur­sue every oppor­tu­ni­ty he could iden­ti­fy to bring it clos­er to real­i­ty. “In 1952, Ray and Emma Lind­holm com­mis­sioned Frank Lloyd Wright to build them a home on the south side of Clo­quet,” writes pho­tog­ra­ph­er Susan Tre­go­ning.

When Wright “dis­cov­ered that Mr. Lind­holm was in the petro­le­um busi­ness, he men­tioned that he was quite inter­est­ed in gas sta­tion design.” When Lind­holm decid­ed to rebuild a Phillips 66 sta­tion a few years lat­er, he accept­ed Wright’s design pro­pos­al, call­ing it “an exper­i­ment to see if a lit­tle beau­ty couldn’t be incor­po­rat­ed in some­thing as com­mon­place as a ser­vice sta­tion” — though Wright him­self, char­ac­ter­is­ti­cal­ly, was­n’t think­ing in quite such hum­ble terms.

Wright’s R. W. Lind­holm Ser­vice Sta­tion incor­po­rates a can­tilevered upper-lev­el “cus­tomer lounge,” and the idea, as Kro­n­ick puts it, “was that cus­tomers would sit up here and while their time away wait­ing for their cars to be repaired,” and no doubt “dis­cuss the issues of the day.” In Wright’s mind, “this lit­tle room is where the details of democ­ra­cy would be worked out.” As with South­dale Cen­ter, Vic­tor Gru­en’s pio­neer­ing shop­ping mall that had opened two years ear­li­er in Min­neapo­lis, two hours south of Clo­quet, the com­mu­ni­ty aspect of the design nev­er came to fruition: though its win­dows offer a dis­tinc­tive­ly Amer­i­can (or to use Wright’s lan­guage, Uson­ian) vista, the cus­tomer lounge has a bare, dis­used look in the pic­tures vis­i­tors take today.

Image by Library of Con­gress, via Wiki­me­dia Com­mons

There are many such vis­i­tors, who arrive from not just all around the coun­try but all around the world. But when it was last sold in 2018, the buy­er it found was rel­a­tive­ly local: Min­neso­ta-born Andrew Vol­na, own­er of such Min­neapo­lis oper­a­tions as vinyl-record man­u­fac­tur­er Noise­land Indus­tries and the once-aban­doned, now-ren­o­vat­ed Hol­ly­wood The­ater. “Wright saw the sta­tion as a cul­tur­al cen­ter, some­where to meet a friend, get your car fixed, and have a cup of cof­fee while you wait­ed,” writes Tre­go­ning, though he nev­er did make it back out to the fin­ished build­ing before he died in 1959. These six­ty-odd years lat­er, per­haps Vol­na will be the one to turn this unlike­ly archi­tec­tur­al hot spot into an even less like­ly social one as well.

Relat­ed con­tent:

Frank Lloyd Wright Designs an Urban Utopia: See His Hand-Drawn Sketch­es of Broad­acre City (1932)

12 Famous Frank Lloyd Wright Hous­es Offer Vir­tu­al Tours: Hol­ly­hock House, Tal­iesin West, Falling­wa­ter & More

Build Wood­en Mod­els of Frank Lloyd Wright’s Great Build­ing: The Guggen­heim, Uni­ty Tem­ple, John­son Wax Head­quar­ters & More

How Frank Lloyd Wright’s Son Invent­ed Lin­coln Logs, “America’s Nation­al Toy” (1916)

The Mod­ernist Gas Sta­tions of Frank Lloyd Wright and Mies van der Rohe

When Frank Lloyd Wright Designed a Dog­house, His Small­est Archi­tec­tur­al Cre­ation (1956)

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.

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

In high school, the lan­guage I most fell in love with hap­pened to be a dead one: Latin. Sure, it’s spo­ken at the Vat­i­can, and when I first began to study the tongue of Vir­gil and Cat­ul­lus, friends joked that I could only use it if I moved to Rome. Tempt­ing, but church Latin bare­ly resem­bles the clas­si­cal writ­ten lan­guage, a high­ly for­mal gram­mar full of sym­me­tries and puz­zles. You don’t speak clas­si­cal Latin; you solve it, labor over it, and gloat, to no one in par­tic­u­lar, when you’ve ren­dered it some­what intel­li­gi­ble. Giv­en that the study of an ancient lan­guage is rarely a con­ver­sa­tion­al art, it can some­times feel a lit­tle alien­at­ing.

And so you might imag­ine how pleased I was to dis­cov­er what looked like clas­si­cal Latin in the real world: the text known to design­ers around the globe as “Lorem Ipsum,” also called “filler text” and (erro­neous­ly) “Greek copy.”

The idea, Priceo­nom­ics informs us, is to force peo­ple to look at the lay­out and font, not read the words. Also, “nobody would mis­take it for their native lan­guage,” there­fore Lorem Ipsum is “less like­ly than oth­er filler text to be mis­tak­en for final copy and pub­lished by acci­dent.” If you’ve done any web design, you’ve prob­a­bly seen it, look­ing some­thing like this:

Lorem ipsum dolor sit amet, con­secte­tur adip­isc­ing elit, sed do eius­mod tem­por inci­didunt ut labore et dolore magna ali­qua. Ut enim ad min­im veni­am, quis nos­trud exerci­ta­tion ullam­co laboris nisi ut aliquip ex ea com­mo­do con­se­quat. Duis aute irure dolor in rep­re­hen­der­it in volup­tate velit esse cil­lum dolore eu fugiat nul­la pariatur. Excep­teur sint occae­cat cup­i­datat non proident, sunt in cul­pa qui offi­cia deserunt mol­lit anim id est labo­rum.

When I first encoun­tered this text, I did what any Latin geek will—set about try­ing to trans­late it. But it wasn’t long before I real­ized that Lorem Ipsum is most­ly gib­ber­ish, a gar­bling of Latin that makes no real sense. The first word, “Lorem,” isn’t even a word; instead it’s a piece of the word “dolorem,” mean­ing pain, suf­fer­ing, or sor­row. So where did this mash-up of Latin-like syn­tax come from, and how did it get so scram­bled? First, the source of Lorem Ipsum—tracked down by Ham­p­den-Syd­ney Direc­tor of Pub­li­ca­tions Richard McClintock—is Roman lawyer, states­men, and philoso­pher Cicero, from an essay called “On the Extremes of Good and Evil,” or De Finibus Bono­rum et Mal­o­rum.

675px-Cicero_-_Musei_Capitolini

Why Cicero? Put most sim­ply, writes Priceo­nom­ics, “for a long time, Cicero was every­where.” His fame as the most skilled of Roman rhetori­cians meant that his writ­ing became the bench­mark for prose in Latin, the stan­dard Euro­pean lan­guage of the Mid­dle Ages. The pas­sage that gen­er­at­ed Lorem Ipsum trans­lates in part to a sen­ti­ment Latin­ists will well under­stand:

Nor is there any­one who loves or pur­sues or desires to obtain pain of itself, because it is pain, but occa­sion­al­ly cir­cum­stances occur in which toil and pain can pro­cure him some great plea­sure.

Dolorem Ipsum, “pain in and of itself,” sums up the tor­tu­ous feel­ing of try­ing to ren­der some of Cicero’s com­plex, ver­bose sen­tences into Eng­lish. Doing so with tol­er­a­ble pro­fi­cien­cy is, for some of us, “great plea­sure” indeed.

But how did Cicero, that mas­ter styl­ist, come to be so bad­ly man­han­dled as to be near­ly unrec­og­niz­able? Lorem Ipsum has a his­to­ry that long pre­dates online con­tent man­age­ment. It has been used as filler text since the six­teenth cen­tu­ry when—as McClin­tock theorized—“some type­set­ter had to make a type spec­i­men book, to demo dif­fer­ent fonts” and decid­ed that “the text should be insen­si­ble, so as not to dis­tract from the page’s graph­i­cal fea­tures.” It appears that this enter­pris­ing crafts­man snatched up a page of Cicero he had lying around and turned it into non­sense. The text, says McClin­tock, “has sur­vived not only four cen­turies of let­ter-by-let­ter reset­ting but even the leap into elec­tron­ic type­set­ting, essen­tial­ly unchanged.”

The sto­ry of Lorem Ipsum is a fas­ci­nat­ing one—if you’re into that kind of thing—but its longevi­ty rais­es a fur­ther ques­tion: should we still be using it at all, this man­gling of a dead lan­guage, in a medi­um as vital and dynam­ic as web pub­lish­ing, where “con­tent” refers to hun­dreds of design ele­ments besides font. Is Lorem Ipsum a quaint piece of nos­tal­gia that’s out­lived its use­ful­ness? In answer, you may wish to read Karen McGrane’s spir­it­ed defense of the prac­tice. Or, if you feel it’s time to let the gar­bled Latin go the way of man­u­al type­set­ting machines, con­sid­er per­haps as an alter­na­tive “Niet­zsche Ipsum,” which gen­er­ates ran­dom para­graphs of most­ly verb-less, inco­her­ent Niet­zsche-like text, in Eng­lish. Hey, at least it looks like a real lan­guage.

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

Relat­ed Con­tent:

Why Learn Latin?: 5 Videos Make a Com­pelling Case That the “Dead Lan­guage” Is an “Eter­nal Lan­guage”

What Ancient Latin Sound­ed Like, And How We Know It

Can Mod­ern-Day Ital­ians Under­stand Latin? A Youtu­ber Puts It to the Test on the Streets of Rome

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

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Scientists Working in Antarctica Unwittingly Started to Develop a New Accent

The dis­tinc­tive­ness of the accent heard in a place reflects that place’s iso­la­tion. It’s prob­a­bly no coin­ci­dence that, as almost every place in the world has become less iso­lat­ed, accents have become less dis­tinc­tive. In these days of van­ish­ing forms of region­al speech, if you want­ed to hear a new one com­ing into being, you’d have to go to the ends of the Earth — or one spe­cif­ic end of the Earth, any­way, as demon­strat­ed not long ago by researchers from the Lud­wig Max­i­m­il­ian Uni­ver­si­ty of Munich. Tak­ing and ana­lyz­ing record­ings made over the course of one win­ter, they dis­cov­ered that a new accent has begun to take shape in Eng­lish as spo­ken in Antarc­ti­ca.

“Antarc­ti­ca has no native pop­u­la­tion or per­ma­nent res­i­dents, but it does have a tran­si­to­ry com­mu­ni­ty of sci­en­tists and sup­port staff who live there for part of the year on a rota­tion­al basis,” writes Tom Hale at IFL Sci­ence. “In the sum­mer months, there are typ­i­cal­ly around 5,000 peo­ple liv­ing in Antarc­ti­ca, but that drops to just 1,000 in the win­ter.” It was from this group of the Antarc­tic “over-win­ter­ers” — and in par­tic­u­lar, from those work­ing on the British Antarc­tic Sur­vey — that the lin­guis­tic researchers recruit­ed their sub­jects, eight of whom were from Eng­land, one from the Unit­ed States, one from Ger­many, and one from Ice­land.

“The find­ings revealed sub­tle but mea­sur­able changes in the speech of the over­win­ter­ing staff dur­ing their time in Antarc­ti­ca,” writes Men­tal Floss’ Brett Reynolds. “One change was con­ver­gence, where indi­vid­u­als in a close-knit group uncon­scious­ly begin to adopt sim­i­lar speech char­ac­ter­is­tics. In this case, that meant con­ver­gence of /u/ (the ‘oo’ in goose), /ju/ (the ‘you’ in few), /ou/ (the ‘oh’ in goat), and /ɪ:/ (the ‘ee’ in the last syl­la­ble in hap­py).” Apart from that phe­nom­e­non, the researchers also noticed anoth­er change in the /ou/ of goat: “the over-win­ter­ers began to pro­nounce it more toward the front of their mouths than toward the back. (British pro­nun­ci­a­tions are already typ­i­cal­ly fron­ter than Amer­i­can /ou/.)”

Even if you got into a con­ver­sa­tion with a sci­en­tist just back from a long win­ter in Antarc­ti­ca, you prob­a­bly would­n’t notice any of this. But the fact that the dif­fer­ences between the series of record­ings tak­en at six-week inter­vals dur­ing the win­ter show mea­sur­able changes in pro­nun­ci­a­tion when com­pared to con­trol record­ings tak­en back in the Unit­ed King­dom sug­gests that the iso­la­tion of Antarc­ti­ca real­ly does encour­age the for­ma­tion of a new accent. Giv­en a suf­fi­cient­ly long time span, an accent nat­u­ral­ly becomes a dialect, and even­tu­al­ly a sep­a­rate lan­guage. Per­haps, even in our age of much-lament­ed loss of lin­guis­tic diver­si­ty, some of us can look for­ward to hav­ing Antarc­tic-speak­ing descen­dants.

via Men­tal Floss

Relat­ed con­tent:

The Speech Accent Archive: The Eng­lish Accents of Peo­ple Who Speak 341 Dif­fer­ent Lan­guages

Why You Have an Accent When You Speak a For­eign Lan­guage

What Eng­lish Would Sound Like If It Was Pro­nounced Pho­net­i­cal­ly

Meet the Amer­i­cans Who Speak with Eliz­a­bethan Eng­lish Accents: An Intro­duc­tion to the “Hoi Toi­ders” from Ocra­coke, North Car­oli­na

Metal­li­ca Plays Antarc­ti­ca, Set­ting a World Record as the First Band to Play All 7 Con­ti­nents: Watch the Full Con­cert Online

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.

The 500-Year-Old Chinese “Bagel” That Helped Win a War

As a gen­er­al rule, you can gain a decent under­stand­ing of any part of the world by eat­ing its region­al spe­cial­ties. This holds espe­cial­ly true in a coun­try like Chi­na, with its great size and deep his­to­ry. Trav­el to the south­east­ern province of Fujian, for instance, and you’ve got to try guang bing or “shiny bis­cuit,” the Chi­nese equiv­a­lent of the bagel. “With flour, dietary alka­li and salt, the cake, no big­ger than a palm, can be sim­ply cooked, and sells for about 1 yuan ($0.14) on the streets,” says Chi­na Dai­ly. “Locals love it, not only because of the crispy and salty taste, but also because of a leg­endary sto­ry.”

The dis­tinc­tive dish­es of bor­der or coastal areas always seem to have par­tic­u­lar­ly intrigu­ing his­to­ries, and so it is with the one behind Fujian’s guang bing. “Dur­ing the Ming Dynasty (1368–1644), Gen­er­al Qi Jiguang brought an army to fight Japan­ese invaders in Fujian. Because of con­tin­u­ous rain, they could not cook for the sol­diers, so Qi cre­at­ed a kind of cake with a small hole in the mid­dle. Sol­diers could string the cakes togeth­er and car­ry them while fight­ing the ene­my.”

The result looks — and pre­sum­ably tastes — like a neck­lace of bagels, the prepa­ra­tion of which could be accom­plished in under­ground ovens that did­n’t give away the sol­diers’ posi­tion as clear­ly as open camp­fires would.

You can learn more about this bagel-pow­ered vic­to­ry of five cen­turies ago from the Great Big Sto­ry video at the top of the post, and more about the con­tin­ued prepa­ra­tion and sale of guang bing by a few ded­i­cat­ed bak­ers in the Atlas Obscu­ra video just above. Though plen­ty of Fujianese take them straight, “some like to add pork, or dried shrimp and Chi­nese chives in it; some fry it with chit­ter­lings, duck­’s giz­zard or green been; and some break it into pieces and boil it with soup.” Writ­ten records of the bagel as West­ern­ers know it date back to ear­ly sev­en­teenth-cen­tu­ry Poland, with appar­ent pre­de­ces­sors seen in that coun­try as ear­ly as the late four­teenth cen­tu­ry. It may nat­u­ral­ly occur to an Amer­i­can trav­el­er in Chi­na to unite these two long but dis­tant culi­nary tra­di­tions, in which case he’d do well to pack his own with lox and cream cheese.

Relat­ed con­tent:

A Brief His­to­ry of Dumplings: An Ani­mat­ed Intro­duc­tion

When Ital­ian Futur­ists Declared War on Pas­ta (1930)

Bob Dylan Pota­to Chips, Any­one?: What They’re Snack­ing on in Chi­na

Phi­los­o­phy Explained with Donuts

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.

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