How Scientists Recreated Ancient Egypt’s Long-Lost Pigment, “Egyptian Blue”

Pho­to cour­tesy of Wash­ing­ton State Uni­ver­si­ty.

It’s become fash­ion­able, in recent years, to observe that we live in an increas­ing­ly beige-and-gray world from which all col­or is being drained. Whether or not that’s real­ly the case, all of us still enjoy easy access to a range of col­ors that nobody in the ancient world could have imag­ined, and not just through our screens. Look around you, and your eye will soon fall upon some object or anoth­er whose hue alone would have looked impos­si­bly exot­ic in the civ­i­liza­tion of, say, ancient Egypt. My cof­fee cup offers a sim­ple but vivid exam­ple, with its blue-green, and maybe yours does too.

“Most ancient pig­ments were derived from nat­ur­al resources — ochre, char­coal, or lime, for exam­ple,” writes Ben Seal at Carnegie Muse­ums of Pitts­burgh. “In some cas­es, Egyp­tians were able to use lapis lazuli, a meta­mor­phic rock that was only found in Afghanistan, to rep­re­sent the col­or blue.” But such a “cost-pro­hib­i­tive and com­plete­ly imprac­ti­cal” source, as Seal quotes Carnegie Muse­um of Nat­ur­al His­to­ry Egyp­tol­o­gist Lisa Haney describ­ing it, moti­vat­ed ancient Egyp­tians to come up with “a process to emu­late its intense ultra­ma­rine hue. With­out a con­sis­tent way to rep­re­sent the beau­ti­ful blues of the world around them, they had to get cre­ative.”

Just this past May, Haney and a team of oth­er researchers from CMNH, Wash­ing­ton State Uni­ver­si­ty, and the Smith­son­ian Insti­tu­tion’s Muse­um Con­ser­va­tion Insti­tute pub­lished a paper on their work of re-cre­at­ing what’s called “Egypt­ian blue,” the ear­li­est known syn­thet­ic pig­ment. Extant on arti­facts and used also, it seems, in ancient Rome, and at least once in the Renais­sance (by no less a Renais­sance man than Raphael) its orig­i­nal recipe has since been lost to his­to­ry. Using peri­od mate­ri­als like “cal­ci­um car­bon­ate that could have been drawn from lime­stone or seashells; quartz sand; and a cop­per source” heat­ed to around 1,000 degrees Cel­sius, Seal writes, “the researchers pre­pared near­ly two dozen pow­dered pig­ments in a stun­ning range of blues.”

Pho­to cour­tesy of Wash­ing­ton State Uni­ver­si­ty.

The key was to repli­cate cupror­i­vaite, “the min­er­al that gave Egypt­ian blue such res­o­nance,” and one of those exper­i­men­tal pow­ders turned out to be 50 per­cent cupror­i­vaite by vol­ume. The result­ing pig­ment, as Art­net’s Bri­an Bouch­er writes, is of more than his­tor­i­cal inter­est, with poten­tial mod­ern uses “due to its opti­cal, mag­net­ic, and bio­log­i­cal prop­er­ties. It emits light in the near-infrared part of the elec­tro-mag­net­ic spec­trum, which peo­ple can’t see. For that rea­son, it could be used in appli­ca­tions like dust­ing for fin­ger­prints and for­mu­lat­ing coun­ter­feit-proof inks.” Here in the twen­ty-first cen­tu­ry, we may have all the blues we need, but as in the ancient world, the job of stay­ing one step ahead of coun­ter­feit­ers is nev­er done.

via Hyper­al­ler­gic

Relat­ed con­tent:

A 3,000-Year-Old Painter’s Palette from Ancient Egypt, with Traces of the Orig­i­nal Col­ors Still In It

Behold Ancient Egypt­ian, Greek & Roman Sculp­tures in Their Orig­i­nal Col­or

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

Dis­cov­er Harvard’s Col­lec­tion of 2,500 Pig­ments: Pre­serv­ing the World’s Rare, Won­der­ful Col­ors

Why Most Ancient Civ­i­liza­tions Had No Word for the Col­or Blue

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

“The Vertue of the COFFEE Drink”: An Ad for London’s First Cafe Printed Circa 1652

The sto­ry of cof­fee goes back to the 13th cen­tu­ry, when it came out of Ethiopia, then spread to Egypt and Yemen. It reached the Mid­dle East, Turkey, and Per­sia dur­ing the 16th cen­tu­ry, and then Europe dur­ing the ear­ly 17th, though not with­out con­tro­ver­sy. In Venice, some called it the ‘bit­ter inven­tion of Satan,’ but the Pope, upon tast­ing it, gave it his bless­ing. By 1652, the first café in Lon­don had opened its doors on St. Michael’s Alley, bring­ing cof­fee to England—all thanks to a Sicil­ian immi­grant, Pasqua Rosée.

Today, the British Muse­um hous­es a hand­bill that may well be the first adver­tise­ment for cof­fee in Eng­land. It proves remark­able for a cou­ple of rea­sons. First, the ad intro­duced Brits to what’s now a sta­ple of the West­ern diet, and even­tu­al­ly they’d bring it to North Amer­i­ca. And, what’s more, you can see anoth­er instance of the adage that the more things change, the more they stay the same. Adver­tis­ing is adver­tis­ing. Then, as now, bev­er­ages were sold on their taste and health prop­er­ties. And, of course, you were encour­aged to con­sume the prod­uct not once, but twice a day. You can find a tran­scrip­tion of the text below.

Text:

THE Grain or Berry called Cof­fee, groweth upon lit­tle Trees, only in the Deserts of Ara­bia.

It is brought from thence, and drunk gen­er­al­ly through­out all the Grand Seigniors Domin­ions.

It is a sim­ple inno­cent thing, com­posed into a drink, by being dryed in an Oven, and ground to Pow­der, and boiled up with Spring water, and about half a pint of it to be drunk, fast­ing an hour before and not Eat­ing an hour after, and to be tak­en as hot as pos­si­bly can be endured; the which will nev­er fetch the skin off the mouth, or raise any Blis­ters, by rea­son of that Heat.

The Turks drink at meals and oth­er times, is usu­al­ly Water, and their Dyet con­sists much of Fruit, the Cru­di­ties where­of are very much cor­rect­ed by this Drink.

The qual­i­ty of this Drink is cold and Dry; and though it be a Dry­er, yet it nei­ther heats, nor inflames more than hot Pos­set.

It for­clos­eth the Ori­fice of the Stom­ack, and for­ti­fies the heat with- [miss­ing text] its very good to help diges­tion, and there­fore of great use to be [miss­ing text] bout 3 or 4 a Clock after­noon, as well as in the morn­ing.

[miss­ing text] quick­ens the Spir­its, and makes the Heart Light­some. 

[miss­ing text]is good against sore Eys, and the bet­ter if you hold your Head o’er it, and take in the Steem that way.

It supres­seth Fumes exceed­ing­ly, and there­fore good against the Head-ach, and will very much stop any Deflux­ion of Rheumas, that dis­til from the Head upon the Stom­ach, and so pre­vent and help Con­sump­tionsand the Cough of the Lungs.

It is excel­lent to pre­vent and cure the Drop­sy, Gout, and Scurvy.
It is known by expe­ri­ence to be bet­ter then any oth­er Dry­ing Drink for Peo­ple in years, or Chil­dren that have any run­ning humors upon them, as the Kings Evil. &c.

It is very good to pre­vent Mis-car­ry­ings in Child-bear­ing Women.

It is a most excel­lent Rem­e­dy against the Spleen, Hypocon­dri­ack Winds, or the like.

It will pre­vent Drowsi­ness, and make one fit for Busines, if one have occa­sion to Watch, and there­fore you are not to drink of it after Sup­per, unless you intend to be watch­ful, for it will hin­der sleep for 3 or 4 hours.

It is observed that in Turkey, where this is gen­er­al­ly drunk, that they are not trou­bled with the Stone, Gout, Drop­sie, or Scurvy, and that their Skins are exceed­ing cleer and white.

It is nei­ther Lax­a­tive nor Restrin­gent.

Made and Sold in St. Michaels Alley in Corn­hill, by Pasqua Rosee, at the Signe of his own Head.

Note: An ear­li­er ver­sion of this post appeared on our site in 2012.

Relat­ed Con­tent 

“The Virtues of Cof­fee” Explained in 1690 Ad: The Cure for Lethar­gy, Scurvy, Drop­sy, Gout & More

Jim Henson’s Com­mer­cials for Wilkins Cof­fee: 15 Twist­ed Min­utes of Mup­pet Cof­fee Ads (1957–1961)

The Birth of Espres­so: The Sto­ry Behind the Cof­fee Shots That Fuel Mod­ern Life

How Human­i­ty Got Hooked on Cof­fee: An Ani­mat­ed His­to­ry

When the Dutch Tried to Live in Concrete Spheres: An Introduction to the Bolwoningen in the Netherlands

In the decades after the Sec­ond World War, many coun­tries faced the chal­lenge of rebuild­ing their hous­ing and infra­struc­ture while also hav­ing to accom­mo­date a fast-arriv­ing baby boom. The gov­ern­ment of the Nether­lands got more cre­ative than most, putting mon­ey toward exper­i­men­tal hous­ing projects start­ing in the late nine­teen-six­ties. Hop­ing to hap­pen upon the next rev­o­lu­tion­ary form of dwelling, it end­ed up fund­ing designs that, for the most part, strayed none too far from estab­lished pat­terns. Still, there were gen­uine out­liers: by far the most dar­ing pro­pos­al came from artist and sculp­tor Dries Kreijkamp: to build a whole neigh­bor­hood out of Bol­wonin­gen, or “ball hous­es.”

The idea may bring to mind Buck­min­ster Fuller’s geo­des­ic domes, which enjoyed a degree of utopi­an vogue in the nine­teen-six­ties and sev­en­ties. Like Fuller and most oth­er vision­ar­ies, Kreijkamp labored under a cer­tain mono­ma­nia. His had to do with globes, “the most organ­ic and nat­ur­al shape pos­si­ble. After all, round­ness is every­where: we live on a globe, and we’re born from a globe. The globe com­bines the biggest pos­si­ble vol­ume with the small­est pos­si­ble sur­face area, so you need min­i­mum mate­r­i­al for it.” The 50 Bol­wonin­gen built in ‘s‑Hertogenbosch, bet­ter known as Den Bosch, were quick­ly fab­ri­cat­ed on-site out of glass fiber rein­forced con­crete. It was­n’t the poly­ester Kreijkamp had at first spec­i­fied, but then, poly­ester would­n’t have last­ed 40 years.

Since they were put up in 1984, the Bol­wonin­gen have been con­tin­u­ous­ly inhab­it­ed. In the video at the top of the post, Youtu­ber Tom Scott pays a vis­it to one of them, whose occu­pant seems rea­son­ably sat­is­fied. (It seems they’re “cozy” in the win­ter­time.)

Like geo­des­ic domes, their round walls make it dif­fi­cult to use their the­o­ret­i­cal­ly gen­er­ous inte­ri­or space effi­cient­ly, at least with­out com­mis­sion­ing cus­tom-made fur­ni­ture; leak­ing win­dows are also a peren­ni­al prob­lem. While each Bol­won­ing can com­fort­ably house one or even two sim­ple-liv­ing peo­ple, only the most utopia-mind­ed would attempt to raise a fam­i­ly in one of them. As with oth­er round or cir­cu­lar home designs, expan­sion would be phys­i­cal­ly imprac­ti­cal even if it were legal­ly pos­si­ble.

Used as social hous­ing by the local gov­ern­ment, the Bol­wonin­gen now enjoy a pro­tect­ed his­toric sta­tus. (As well they might, giv­en their con­nec­tion with the art and indus­try of Dutch glass­blow­ing: it was while work­ing in a glass fac­to­ry that Kreijkamp first began pros­e­ly­tiz­ing for spheres.) And unlike most aes­thet­i­cal­ly rad­i­cal hous­ing devel­op­ments, they haven’t gone to seed, but rather received the nec­es­sary main­te­nance over the decades. The result is an appeal­ing neigh­bor­hood for those whose lifestyles are suit­ed to its unusu­al struc­tures and its con­tained bucol­ic set­ting, of which you can get an idea in the walk­ing video tour just above. By the time Kreijkamp died in 2014, he per­haps felt a cer­tain degree of regret that mass-pro­duced glob­u­lar homes did­n’t prove to be the next big thing. But he did live to see the emer­gence of the “tiny house” move­ment, which should retroac­tive­ly adopt him as one of its lead­ing lights.

Relat­ed con­tent:

The Life & Times of Buck­min­ster Fuller’s Geo­des­ic Dome: A Doc­u­men­tary

Denmark’s Utopi­an Gar­den City Built Entire­ly in Cir­cles: See Astound­ing Aer­i­al Views of Brønd­by Have­by

Good­bye to the Nak­a­gin Cap­sule Tow­er, Tokyo’s Strangest and Most Utopi­an Apart­ment Build­ing

The Utopi­an, Social­ist Designs of Sovi­et Cities

Watch an Ani­mat­ed Buck­min­ster Fuller Tell Studs Terkel All About “the Geo­des­ic Life”

The Engi­neer­ing of the Strand­beest: How the Mag­nif­i­cent Mechan­i­cal Crea­tures Have Tech­no­log­i­cal­ly Evolved

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

Hear the Letter of Gratitude That Albert Camus Wrote to His Teacher After Winning the Nobel Prize, as Read by Footballer Ian Wright

When Albert Camus won the Nobel Prize, he wrote a let­ter to one of his old school­teach­ers. “I let the com­mo­tion around me these days sub­side a bit before speak­ing to you from the bot­tom of my heart,” the let­ter begins. “I have just been giv­en far too great an hon­or, one I nei­ther sought nor solicit­ed. But when I heard the news, my first thought, after my moth­er, was of you.” For it was from this teacher, a cer­tain Louis Ger­main, that the young, father­less Camus received the guid­ance he need­ed. “With­out you, with­out the affec­tion­ate hand you extend­ed to the small poor child that I was, with­out your teach­ing and exam­ple, none of all this would have hap­pened.”

Camus ends the let­ter by assur­ing Mon­sieur Ger­main that “your efforts, your work, and the gen­er­ous heart you put into it still live in one of your lit­tle school­boys who, despite the years, has nev­er stopped being your grate­ful pupil.”

In response, Ger­main recalls his mem­o­ries of Camus as an unaf­fect­ed, opti­mistic pupil. “I think I well know the nice lit­tle fel­low you were, and very often the child con­tains the seed of the man he will become,” he writes. What­ev­er the process of intel­lec­tu­al and artis­tic evo­lu­tion over the 30 years or so between leav­ing the class­room and win­ning the Nobel, “it gives me very great sat­is­fac­tion to see that your fame has not gone to your head. You have remained Camus: bra­vo.”

It isn’t hard to under­stand why Camus’ let­ter to his teacher would res­onate with the foot­baller Ian Wright, who reads it aloud in the Let­ters Live video at the top of the post. A 2005 doc­u­men­tary on his life and career pro­duced the ear­ly viral video above, a clip cap­tur­ing the moment of Wright’s unex­pect­ed reunion with his own aca­d­e­m­ic father fig­ure, Syd­ney Pig­den. Com­ing face to face with his old men­tor, who he’d assumed had died, Wright instinc­tive­ly removes his cap and address­es him as “Mr. Pig­den.” In that moment, the stu­dent-teacher rela­tion­ship resumes: “I’m so glad you’ve done so well with your­self,” says Pig­den, a sen­ti­ment not dis­sim­i­lar to the one Mon­sieur Ger­main expressed to Camus. Most of us, no mat­ter how long we’ve been out of school, have a teacher we hope to do proud; some of us, whether we know it or not, have been that teacher.

Relat­ed Con­tent:

Bene­dict Cum­ber­batch Reads Albert Camus’ Touch­ing Thank You Let­ter to His Ele­men­tary School Teacher

An Ani­mat­ed Intro­duc­tion to Albert Camus’ Exis­ten­tial­ism, a Phi­los­o­phy Mak­ing a Come­back in Our Dys­func­tion­al Times

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

Watch Bob Dylan Play “Mr. Tambourine Man” in Color at the 1964 Newport Folk Festival

It was at the 1965 New­port Folk Fes­ti­val that Bob Dylan famous­ly “went elec­tric,” alien­at­ing cer­tain adher­ents to the folk scene through which he’d come up, but also set­ting a prece­dent for the kind of quick-change musi­cal adap­ta­tion that he’s kept up into his eight­ies. At the 1964 New­port Folk Fes­ti­val, how­ev­er, all that lay in the future. Yet even then, the young Dylan was­n’t shy of mak­ing con­tro­ver­sial choic­es. Take, for exam­ple, the choice to play “Mr. Tam­bourine Man,” a song that — how­ev­er redo­lent of the mid-nine­teen-six­ties when heard today — would hard­ly have been top­i­cal enough to meet the expec­ta­tions of folk fans who regard­ed the music’s top­i­cal­i­ty as its main strength.

At the top of the post, you can watch col­orized footage of Dylan’s per­for­mance of “Mr. Tam­bourine Man” at the 1964 New­port Folk Fes­ti­val; the orig­i­nal black-and-white clip appears below. Con­sid­er the res­o­nances it could have set off in the minds of his youth­ful, clean-cut audi­ence: Rim­baud? Felli­ni? Lord Buck­ley? Mar­di Gras? Con­fes­sions of an Eng­lish Opi­um-Eater? Dyla­nol­o­gists have sug­gest­ed all these sources of inspi­ra­tion and oth­ers. It is pos­si­ble, of course, that — as Dylan him­self once said — the lyrics’ cen­tral image is that of gui­tarist Bruce Lang­horne, who played on the song as record­ed for Bring­ing It All Back Home, a musi­cian then known for his own­er­ship of a gigan­tic tam­bourine.

Despite its lack of ref­er­ences to the issues of the day, “Mr. Tam­bourine Man” reflects its his­tor­i­cal moment with a clar­i­ty that few songs ever have. (Some would say that’s even truer of The Byrds’ cov­er ver­sion, a radio hit that came out just a month after Dylan’s orig­i­nal.) Dylan him­self must have sensed that it marked not just the peak of an era, but also that of his own com­po­si­tion­al and per­for­ma­tive efforts in this par­tic­u­lar musi­cal style. Though he did attempt to write a fol­low-up to the song, its fail­ure to cohere showed him the way for­ward. Dylan still plays it in con­cert today, and to enthu­si­as­tic recep­tion from his audi­ences, but in such a way as to rein­vent it each time — know­ing that he both is and is not the same man who took the stage at New­port those six­ty years ago, and that “Mr. Tam­bourine Man” both is and is not the same song.

Relat­ed con­tent:

Bob Dylan’s His­toric New­port Folk Fes­ti­val Per­for­mances, 1963–1965

Watch Bob Dylan Make His Debut at the New­port Folk Fes­ti­val in Col­orized 1963 Footage

How Bob Dylan Kept Rein­vent­ing His Song­writ­ing Process, Breath­ing New Life Into His Music

How Bob Dylan Cre­at­ed a Musi­cal & Lit­er­ary World All His Own: Four Video Essays

Com­pare the “It Ain’t Me Babe” Scene from A Com­plete Unknown to the Real Bob Dylan & Joan Baez Per­for­mance at the New­port Folk Fes­ti­val

“Mr. Tam­bourine Man” & Oth­er Bob Dylan Clas­sics, Sung Beau­ti­ful­ly by Kids

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

Tibetan Musical Notation Is Beautiful

Reli­gions take the cast and hue of the cul­tures in which they find root. This was cer­tain­ly true in Tibet when Bud­dhism arrived in the 7th cen­tu­ry. It trans­formed and was trans­formed by the native reli­gion of Bon. Of the many cre­ative prac­tices that arose from this syn­the­sis, Tibetan Bud­dhist music ranks very high­ly in impor­tance.

As in sacred music in the West, Tibetan music has com­plex sys­tems of musi­cal nota­tion and a long his­to­ry of writ­ten reli­gious song. “A vital com­po­nent of Tibetan Bud­dhist expe­ri­ence,” explains Google Arts & Cul­tures Bud­dhist Dig­i­tal Resource Cen­ter, “musi­cal nota­tion allows for the trans­fer­ence of sacred sound and cer­e­mo­ny across gen­er­a­tions. A means to mem­o­rize sacred text, express devo­tion, ward off fer­al spir­its, and invoke deities.”

Some of these fea­tures may be alien to sec­u­lar West­ern Bud­dhists focused on mind­ful­ness and silent med­i­ta­tion, but to vary­ing degrees, Tibetan schools place con­sid­er­able val­ue on the aes­thet­ic expe­ri­ence of extra-human realms. As Uni­ver­si­ty of Tul­sa musi­col­o­gist John Pow­ell writes, “the use of sacred sound” in Tibetan Bud­dhism, a “Mantrayana” tra­di­tion, acts “as a for­mu­la for the trans­for­ma­tion of human con­scious­ness.”

Tibetan musi­cal nota­tions, Google points out, “sym­bol­i­cal­ly rep­re­sent the melodies, rhythm pat­terns, and instru­men­tal arrange­ments. In har­mo­ny with chant­i­ng, visu­al­iza­tions, and hand ges­tures, [Tibetan] music cru­cial­ly guides rit­u­al per­for­mance.” It is char­ac­ter­ized not only by its inte­gra­tion of rit­u­al dance, but also by a large col­lec­tion of rit­u­al instruments—including the long, Swiss-like horns suit­ed to a moun­tain environment—and unique forms of poly­phon­ic over­tone singing.

The exam­ples of musi­cal nota­tion you see here came from the appro­pri­ate­ly-named Twit­ter account Musi­cal Nota­tion is Beau­ti­ful and type­face design­er and researcher Jo De Baerde­maek­er. At the top is a 19th cen­tu­ry man­u­script belong­ing to the “Yang” tra­di­tion, “the most high­ly involved and regard­ed chant tra­di­tion in Tibetan music,” notes the Schoyen Col­lec­tion, “and the only one to rely on a sys­tem of nota­tion (Yang-Yig).”

The curved lines rep­re­sent “smooth­ly effect­ed ris­es and falls in into­na­tion.” The nota­tion also “fre­quent­ly con­tains detailed instruc­tions con­cern­ing in what spir­it the music should be sung (e.g. flow­ing like a riv­er, light like bird song) and the small­est mod­i­fi­ca­tions to be made to the voice in the utter­ance of a vow­el.” The Yang-Yig goes all the way back to the 6th cen­tu­ry, pre­dat­ing Tibetan Bud­dhism, and “does not record nei­ther the rhyth­mic pat­tern nor dura­tion of notes.” Oth­er kinds of music have their own types of nota­tion, such as that in the piece above for voice, drums, trum­pets, horns, and cym­bals.

Though they artic­u­late and elab­o­rate on reli­gious ideas from India, Tibet’s musi­cal tra­di­tions are entire­ly its own. “It is essen­tial to rethink the entire con­cept of melody and rhythm” to under­stand Tibetan Bud­dhist chant, writes Pow­ell in a detailed overview of Tibetan music’s vocal and instru­men­tal qual­i­ties. “Many out­side Tibetan cul­ture are accus­tomed to think of melody as a sequence of ris­ing or falling pitch­es,” he says. “In Tibetan Tantric chant­i­ng, how­ev­er, the melod­ic con­tent occurs in terms of vow­el mod­i­fi­ca­tion and the care­ful con­tour­ing of tones.”  Hear an exam­ple of tra­di­tion­al Tibetan Bud­dhist chant just above, and learn more about Tibetan musi­cal nota­tion at Google Arts & Cul­ture.

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

Relat­ed Con­tent:

Breath­tak­ing­ly-Detailed Tibetan Book Print­ed 40 Years Before the Guten­berg Bible

The World’s Largest Col­lec­tion of Tibetan Bud­dhist Lit­er­a­ture Now Online

Free Online Course: Robert Thurman’s Intro­duc­tion to Tibetan Bud­dhism (Record­ed at Colum­bia U)

Leonard Cohen Nar­rates Film on The Tibetan Book of the Dead, Fea­tur­ing the Dalai Lama (1994)

The Old­est Book Print­ed with Mov­able Type is Not The Guten­berg Bible: Jikji, a Col­lec­tion of Kore­an Bud­dhist Teach­ings, Pre­dat­ed It By 78 Years and It’s Now Dig­i­tized Online

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

A Free Yale Course on Medieval History: 700 Years in 22 Lectures

In 22 lec­tures, Yale his­to­ri­an Paul Freed­man takes you on a 700-year tour of medieval his­to­ry. Mov­ing from 284‑1000 AD, this free online course cov­ers “the con­ver­sion of Europe to Chris­tian­i­ty, the fall of the Roman Empire, the rise of Islam and the Arabs, the ‘Dark Ages,’ Charle­magne and the Car­olin­gian renais­sance, and the Viking and Hun­gar­i­an inva­sions.” And let’s not for­get St. Augus­tine and the “Splen­dor of Byzan­tium.”

You can stream all of the lec­tures above. Or find them on YouTube and this Yale web­site.

The Ear­ly Mid­dle Ages: 284‑1000 will be added to our list of Free His­to­ry Cours­es, a sub­set of our meta col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties. Below, we’ve added a list of the key texts used in the course:

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Free Online His­to­ry Cours­es

160,000+ Medieval Man­u­scripts Online: Where to Find Them

The Medieval Mas­ter­piece, the Book of Kells, Is Now Dig­i­tized and Avail­able Online

How to Make a Medieval Man­u­script: An Intro­duc­tion in 7 Videos

The History of the World in One Beautiful, 5‑Foot-Long Chart (1931)

In the image above, we see an impres­sive pre-inter­net macro-info­graph­ic called a “His­tom­ap.” Its cre­ator John B. Sparks (who lat­er cre­at­ed “his­tom­aps” of reli­gion and evo­lu­tion) pub­lished the graph­ic in 1931 with Rand McNal­ly. The five-foot-long chart—purportedly cov­er­ing 4,000 years of “world” history—is, in fact, an exam­ple of an ear­ly illus­tra­tion trend called the “out­line,” of which Rebec­ca Onion at Slate writes: “large sub­jects (the his­to­ry of the world! every school of phi­los­o­phy! all of mod­ern physics!) were dis­tilled into a form com­pre­hen­si­ble to the most une­d­u­cat­ed lay­man.” Here we have the full descrip­tion of most every polit­i­cal chart, graph, or ani­ma­tion in U.S.A. Today, most Inter­net news sites, and, of course, The Onion.

The sim­i­lar­i­ty here isn’t sim­ply one of form. The “out­line” func­tioned in much the same way that sim­pli­fied ani­ma­tions do—condensing heavy, con­tentious the­o­ret­i­cal freight trains and ide­o­log­i­cal bag­gage. Rebec­ca Onion describes the chart as an arti­fact very much of its time, pre­sent­ing a ver­sion of his­to­ry promi­nent in the U.S. between the wars. Onion writes:

The chart empha­sizes dom­i­na­tion, using col­or to show how the pow­er of var­i­ous “peo­ples” (a qua­si-racial under­stand­ing of the nature of human groups, quite pop­u­lar at the time) evolved through­out his­to­ry.

Sparks’ map, how­ev­er, remains an inter­est­ing doc­u­ment because of its seem­ing dis­in­ter­est­ed­ness. While the focus on racial­ism and impe­r­i­al con­quest may seem to place Sparks in com­pa­ny with pop­ulist “sci­en­tif­ic” racists of the peri­od like Lothrop Stod­dard (whom Tom Buchanan quotes in Fitzgerald’s Gats­by), it would also seem that his design has much in com­mon with ear­ly Enlight­en­ment fig­ures whose con­cep­tion of time was not nec­es­sar­i­ly lin­ear. Fol­low­ing clas­si­cal mod­els, thinkers like Thomas Hobbes tend­ed to divide his­tor­i­cal epochs into ris­ing and falling actions of var­i­ous peo­ple groups, rather than the grad­ual ascent of one race over all oth­ers towards an end of his­to­ry. For exam­ple, poet Abra­ham Cow­ley writes a com­pressed “uni­ver­sal his­to­ry” in his 1656 poem “To Mr. Hobs,” mov­ing from Aris­to­tle (the “Sta­girite”) to the poem’s sub­ject Thomas Hobbes. The move­ment is pro­gres­sive, yet the his­tor­i­cal rep­re­sen­ta­tives of each civ­i­liza­tion receive some equal weight and sim­i­lar empha­sis.

Long did the mighty Sta­girite retain
The uni­ver­sal Intel­lec­tu­al reign,
Saw his own Coun­treys short-liv’ed Leop­ard slain;
The stronger Roman-Eagle did out-fly,
Oft­ner renewed his Age, and saw that Dy.
Mecha it self, in spight of Mahumet pos­s­est,
And chas’ed by a wild Del­uge from the East,
His Monar­chy new plant­ed in the West.
But as in time each great impe­r­i­al race
Degen­er­ates, and gives some new one place:

The peri­od of Cow­ley rec­og­nized the­o­ries of racial, cul­tur­al, and nat­ur­al suprema­cy, but such qual­i­ties, as in Sparks’ map, were the prod­uct of a long line of suc­ces­sion from equal­ly pow­er­ful and note­wor­thy empires and groups to oth­ers, not a social evo­lu­tion in which a supe­ri­or race nat­u­ral­ly arose. Rand McNal­ly adver­tised the chart as pre­sent­ing “the march of civ­i­liza­tion, from the mud huts of the ancients thru the monar­chis­tic glam­our of the mid­dle ages to the liv­ing panora­ma of life in present day Amer­i­ca.” While the blurb is filled with pseu­do­sci­en­tif­ic colo­nial­ist talk­ing points, the chart itself has the dat­ed, yet strik­ing­ly egal­i­tar­i­an arrange­ment of infor­ma­tion that—like much of the illus­tra­tion in Nation­al Geo­graph­ic—sought to accom­mo­date the best con­sen­sus mod­els of the times, dis­play­ing, but not pros­e­ly­tiz­ing, its bias­es.

Note: An ear­li­er ver­sion of this post appeared on our site in 2013.

Relat­ed Con­tent:

180,000 Years of Reli­gion Chart­ed on a “His­tom­ap” in 1943

The Big Map of Who Lived When Shows Which Cul­tur­al Fig­ures Walked the Earth at the Same Time: From 1200 to Present

Joseph Priest­ley Visu­al­izes His­to­ry & Great His­tor­i­cal Fig­ures with Two of the Most Influ­en­tial Info­graph­ics Ever (1769)

10 Mil­lion Years of Evo­lu­tion Visu­al­ized in an Ele­gant, 5‑Foot Long Info­graph­ic from 1931

The His­to­ry of the World in One Video: Every Year from 200,000 BCE to Today

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

by | Permalink | Make a Comment ( 1 ) |

« Go BackMore in this category... »
Quantcast