Behold the 1940s Typewriter That Could Type in English, Chinese & Japanese: Watch More Than a Thousand Different Characters in Action

in History, Technology | April 27th, 2021

There was a time, not long after the widespread adoption of telegraphy in the 19th century, when the written Chinese language looked doomed. Or at least it did to certain thinkers considering the implications of that instant global communication-enabling technology having been developed for the relatively simple Latin alphabet. And as unsuited as the Chinese writing system must have seemed to the world of the telegraph, it would have presented a seemingly even heavier burden in the world of the typewriter.

Only in 1916, thanks to the efforts of a U.S.-educated Shanghai engineer named Hou-Kun Chow, did the Chinese typewriter debut, built around a large, revolving cylinder that could print 4,000 ideographic (that is to say, each one representing a different word or sound) characters. From that point the evolution of the Chinese typewriter was rather quick, by the standards of the day. And it didn’t only happen in China: Japan, whose own written language incorporates many ideographic Chinese characters, had been subject to more intense technological influence from the West since opening to foreign trade in the 1860s.

The very year after its founding in 1939, electronics-giant-to-be Toshiba (the product of a merger involving Japan’s first maker of telegraph equipment) produced the first Japanese cylindrical typewriter. “Mostly used by the Japanese military during World War II,” says the Vintage Typewriter Museum, it incorporated 630 characters. After the war “Toshiba introduced a new model, the 1200 A, featuring 1172 Japanese and Chinese characters.” In the video above, from Youtuber by the name of Typewriter Collector, you can see a slightly later model in action.

Produced before the introduction of “Western-style” keyboards, the Toshiba BW-2112 has the same interface as its predecessors: “The character is selected by rotating the cylinder and shifting it horizontally, so that the necessary character is selected with the index pointer,” according to the Vintage Typewriter Museum. “When the print key is depressed, the type strip is pushed upwards from the cylinder, and the type hammer swings to the center to print the character onto the paper.”

These vintage Japanese typewriters still today strike their viewers as marvels of engineering, though their then-vast store of characters (which included not just Chinese-derived kanji but phonetic kana and even the Latin alphabet) have long since been surpassed by digital technology. Now that every student’s smartphone puts all 50,000 or extant Chinese characters in their command — to say nothing of the world’s other written languages — it’s safe to say they’re not about to fall into disuse any time soon.

via Messy Nessy

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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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The Meaning of Hieronymus Bosch’s The Garden of Earthly Delights Explained

in Art, History | April 26th, 2021

Over the half-millennium since Hieronymus Bosch painted it, The Garden of Earthly Delights has produced an ever-widening array of interpretations. Is it “a painting about sexual freedom”? A “medieval acid trip”? An “erotic fantasy”? A “heretical attack on the church”? The work of “a member of an obscure free-love cult”? James Payne, the London curator behind the Youtube channel Great Art Explained, rejects all these views. In the opening of the in-depth video analysis above, he describes Bosch’s well-known and much-scrutinized late-15th or early-16th century triptych as, “pure and simply, hardcore Christianity.”

Dating from “a time when European artists, writers, and theologians were shaping a new, terrifying vision of Hell and the punishment awaiting sinners,” Payne argues, The Garden of Earthly Delights is “an intensely moralistic work that should be approached as what it is: religious propaganda.”

Depicting the Biblical creation of the world on its outer panels, the work opens up to reveal elaborately detailed visions of Adam and Eve in the Garden of Eden, then humanity indulging in all known earthly delights, then the consequent torments of Hell. It is that last panel, with its abundance of perverse activities and grotesque human, animal, and human-animal figures (recently made into figurines and even piñatas) that keeps the strongest hold on our imagination today.

Payne’s explanation goes into detail on all aspects of the work, highlighting and contextualizing details that even avowed appreciators may not have considered before. While identifying both the possible inspirations and the possible symbolic intentions of the figures and symbols with which Bosch filled the triptych, Payne emphasizes that, as far as the artist was concerned, “his images were a realistic portrayal of sin and its consequences, so in that sense, it wasn’t surrealism, it was realism.” This bears repeating, given how difficult we moderns find it “to look at this painting and not see it as surrealism or a product of the subconscious, not see it as a sexual utopia, a critique of religion, or even a psychedelic romp.” Just as The Garden of Earthly Delights tells us a great deal about the world Bosch lived in, so our views of it tell us a great deal about the world we live in.

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Figures from Hieronymus Bosch’s The Garden of Earthly Delights Come to Life as Fine Art Piñatas

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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3D Print 18,000 Famous Sculptures, Statues & Artworks: Rodin’s Thinker, Michelangelo’s David & More

in Art, Google, History, Photography, Technology | April 23rd, 2021

To recent news stories about 3D printed guns, prosthetics, and homes, you can add Scan the World’s push to create “an ecosystem of 3D printable objects of cultural significance.”

Items that took the ancients untold hours to sculpt from marble and stone can be reproduced in considerably less time, provided you’ve got the technology and the know-how to use it.

Since we last wrote about this free, open source initiative in 2017, Scan the World has added Google Arts and Culture to the many cultural institutions with whom it partners, expanding both its audience and the audience of the museums who allow items in their collections to be scanned prior to 3D printing.

Community contributors have uploaded scan data for over 18,000 sculptures and artifacts onto the platform.

China and India are actively courting participants to make some of their treasures available.

Although Scan the World is searchable by collection, artist, and location, with so many options, the community blog is a great place to start.

Here you will find helpful tips for beginners hoping to produce realistic looking skulls and sculptures — control your temperature, shake your resin, and learn from your mistakes.

Got an unreachable object you’re itching to print? Take a look at the drone photogrammetry tutorial to prep yourself for taking a good scan — rotate slowly, remember the importance of light, and get up to speed on your drone by test-driving it in an open location.

Keep an eye peeled for competitions, like this one, which was won by a photo editor and retoucher with no formal 3‑D training.

Art lovers with little inclination to crack out the 3D printer will find interesting essays on such topics as the Gates of Hell, scanning in the pandemic, and the history of hairstyles in sculpture

You can also embark on a virtual tour of some of the global locations whose splendors are being scanned, programmed, and rendered in resin.

A virtual trip to Paris takes in some of the Louvre’s greatest 3‑dimensional hits: the Venus de Milo, Winged Victory, and Psyche Revived by Cupid’s Kiss.

(Any one of those oughta class up the ol’ bedsit…)

The virtual trip to Austria includes Kierling’s monument to Franz Kafka, the Beethoven memorial in Vienna’s Heiligenstädter Park, and Klaus Weber’s tribute to Hugo Rheinhold’s Darwinian sculpture, Monkey with Skull. (1,868 downloads and counting!)

A Google map awaits those who would tour the original flavor inspirations in person.

Begin your explorations of Scan the World here, and do let us know in the comments if you have plans for printing.

The Earth Archive Will 3D-Scan the Entire World & Create an “Open-Source” Record of Our Planet

The British Museum Creates 3D Models of the Rosetta Stone & 200+ Other Historic Artifacts: Download or View in Virtual Reality

Ayun Halliday is an author, illustrator, theater maker, Chief Primatologist of the East Village Inky zine, and sometimes, a French Canadian bear known as L’Ourse. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( 2 ) |

30,000 People Line Up for the First McDonald’s in Moscow, While Grocery Store Shelves Run Empty (1990)

in Food & Drink, History | April 23rd, 2021

Everyone has waited in a long line — for burgers, Broadway tickets, Black Friday sales… But few us have the notorious queuing resilience of the Soviets. “When the first McDonald’s arrived in Moscow in 1990, the city went mad,” Boris Egorov writes at Russia Beyond. “Thousands of Muscovites flocked to the new burger joint, forming lines several kilometers long in the center of Moscow on Pushkinskaya Square.” On its first day, the restaurant obliterated the previous record for most McDonald’s customers (9,100 in Budapest), serving over 30,000 people, a testament to the fortitude of the employees. The CBC news segment on the opening above quotes a line from Pushkin to set the scene: “a feast in a time of plague.”

Stereotypes of fast food workers as lacking in skill and ambition did not find purchase here. “The first workers,” Egorov notes, “were the crème de la crème of Soviet youth: students from prestigious universities who could speak foreign languages with brilliant customer service skills.” Their cheerfulness so unnerved some customers that they were asked to tone it down for Russians “accustomed to rude, boorish service.”

Customers seemed less awed by the iconography than the “simple sight of polite shop workers,” wrote an American journalist. The restaurant, once a tourist attraction, notes travel site Bridge to Moscow, had “more than 700 seats inside and 200 outside,” and was once the largest McDonald’s in the world.

The Moscow McDonald’s represented more for Russians than an American novelty. Original customer Ksenia Oskina had never heard of McDonald’s before she visited. She later saved her Big Mac box. “I used that Big Mac box for a long time and put my sandwich in there instead of a lunchbox,” she tells The Washington Post. “I’d clean it, dry it on the heater and then use it again.” It wasn’t about brand recognition for many who dutifully lined up to pay half a day’s wages for a couple “thin slabs of meat and sliced vegetables between buns of bread.” (Sorry… “two all-beef patties, special sauce, lettuce, cheese, and a sesame seed bun…..”)

What did Soviet Russians, who had not been raised to sing fast food advertising jingles, see in the new restaurant? Capitalism’s promises of abundance. One Soviet journalist wrote of McDonald’s as “the expression of America’s rationalism and pragmatism toward food.” Just months afterward, the first Pizza Hut arrived. As the Soviet Union dissolved less than two years later, the country saw the creation of more desire for high-calorie, ultra-processed foods with Western-style TV ads: most famously a Pizza Hut spot from 1997 featuring the U.S.S.R.’s last premier, Mikhail Gorbachev. (“Because of him, we have Pizza Hut!”)

The politics may have mattered little to the average Muscovite McDonald’s customer in 1990. “Visiting the restaurant was less a political statement than an opportunity to enjoy a small pleasure in a country still reeling from disastrous economic problems and internal political turmoil,” notes History.com. Large, seemingly abstract problems had tangible effects: the empty grocery stores for which the failing empire became famous.

The Moscow McDonald’s was a colorful oasis for its first customers, who had no sentimental associations with burgers and fries. Now, those tastes are nostalgic. “I love it,” said Oskina thirty years later. “For some reason in America, it’s not as tasty as it is here.” Insert your own dated Yakov Smirnoff reference.

Watch Andy Warhol Eat an Entire Burger King Whopper–While Wishing the Burger Came from McDonald’s (1981)

The Beautiful, Innovative & Sometimes Dark World of Animated Soviet Propaganda (1925–1984)

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

by Josh Jones | Permalink | Make a Comment ( None ) |

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

in Architecture, History | April 21st, 2021

How many architectural careers have been kindled by Lincoln Logs? Since their invention in the mid-1910s, these deceptively simple wooden building blocks have entertained generations of children, whichever profession they entered upon growing up. I myself have fond memories of playing with Lincoln Logs, which, with about 70 years of history already behind them, were a venerable playtime institution, not that I knew it at the time. I certainly had no idea that they’d been invented by the son of Frank Lloyd Wright — nor, indeed, did I have any idea who Frank Lloyd Wright was. I just knew, as many kids did before me and many do still today, that they were fun to stack up into cabins, or at least cabin-like shapes.

This enduring toy’s full origin story is told in the Decades TV video above. When Wright designed his own family home in Oak Park, Illinois, he included a custom playroom for his six children. Its stock of innovative toys included “geometric building blocks developed by Friedrich Froebel, the German educator who came up with the concept of kindergarten.”

The special fascination for these blocks exhibited by Wright’s second son John Lloyd Wright hinted at a conflict of interests to come: though John “began to feel that spirit of being an architect” in the playroom, says toy historian Steven Sommers, “there was always a tension between his father, who was an architect, and his [own] love for building toys that he’d begun to learn in that Froebel system of early childhood education.” The two intersected when Wright fils assisted Wright père on one of the latter’s most famous works, the Imperial Hotel in Tokyo.

John Lloyd Wright took note of the interlocking timber beams used to make the structure “earthquake-proof” — a design later tested by 1923’s Great Kanto Earthquake, which left most of the city destroyed but the Imperial Hotel standing. By that time, the younger Wright had already acted on his inspiration to invent the similarly interlocking Lincoln Logs (see patent drawing above), which quickly proved a hit on the market. Named after the sixteenth president of the United States and the log cabin in which he’d grown up, the product tapped into American frontier nostalgia even at its debut. In the century since, Lincoln Logs have survived wartime material rationing, the rise and fall of countless toy trends, the buying and selling of parent companies, a brief and unappealing late-60s attempt to make them out of plastic, and even the Imperial Hotel itself. For “America’s national toy,” structural endurance and cultural endurance have gone together.

Frank Lloyd Wright Creates a List of the 10 Traits Every Aspiring Artist Needs

Frank Lloyd Wright Reflects on Creativity, Nature and Religion in Rare 1957 Audio

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

The Frank Lloyd Wright Lego Set

A is for Architecture: 1960 Documentary on Why We Build, from the Ancient Greeks to Modern Times

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.

by Colin Marshall | Permalink | Make a Comment ( 2 ) |

The Beautiful, Innovative & Sometimes Dark World of Animated Soviet Propaganda (1925–1984)

in Animation, Film, History, Politics | April 20th, 2021

Growing up, we assembled our worldview from several different sources: parents, siblings, classmates. But for most of us, wherever and whenever we passed our formative years, nothing shaped our early perceptions of life as vividly, and as thoroughly, as cartoons — and this is just as Lenin knew it would be. “With the establishment of the Soviet Union in 1922,” writes New York Times film critic Dave Kehr, “Lenin proclaimed the cinema the most important of all the arts, presumably for its ability to communicate directly with the oppressed and widely illiterate masses.”

Lenin certainly didn’t exclude animation, which assumed its role in the Soviet propaganda machine right away: Soviet Toys, the first U.S.S.R.-made cartoon, premiered just two years later. It was directed by Dziga Vertov, the innovative filmmaker best known for 1929’s A Man with a Movie Camera, a thrilling articulation of the artistic possibilities of documentary. Vertov stands as perhaps the most representative figure of Soviet cinema’s early years, in which tight political confines nevertheless permitted a freedom of artistic experimentation limited only by the filmmaker’s skill and imagination.

This changed with the times: the 1940s saw the elevation of skilled but West-imitative animators like Ivan Ivanov-Vano, whom Kehr calls the “Soviet Disney.” That label is suitable enough, since an Ivanov-Vano short like Someone Else’s Voice from 1949 “could easily pass for a Disney ‘Silly Symphony,’ ” if not for its un-Disneylike “threatening undertone.” (Not that Disney couldn’t get darkly propagandistic themselves.)

With its magpie who “returns from a flight abroad and dares to warble some of the jazz music she has heard on her travels” only to have “the hearty peasant birds of the forest swoop down and rip her feathers out,” Someone Else’s Voice tells a more allegorical story than those in most of the shorts gathered in this Soviet propaganda animation playlist.

The playlist’s selections come from the collection Animated Soviet Propaganda: From the October Revolution to Perestroika; “workers are strong-chinned, noble, and generic,” writes the A.V. Club’s Tasha Robinson. “Capitalists are fat, piggish cigar-chompers, and foreigners are ugly caricatures similar to those seen in American World War II propaganda.” With their strong “anti-American, anti-German, anti-British, anti-Japanese, anti-Capitalist, anti-Imperialist, and pro-Communist slant,” as Kehr puts it, they would require an impressionable audience indeed to do any convincing outside Soviet territory. But they send an unmistakable message to viewers back in the U.S.S.R.: you don’t know how lucky you are.

Watch Interplanetary Revolution (1924): The Most Bizarre Soviet Animated Propaganda Film You’ll Ever See

Watch the Surrealist Glass Harmonica, the Only Animated Film Ever Banned by Soviet Censors (1968)

When Soviet Artists Turned Textiles (Scarves, Tablecloths & Curtains) into Beautiful Propaganda in the 1920s & 1930s

Animated Films Made During the Cold War Explain Why America is Exceptionally Exceptional

The Red Menace: A Striking Gallery of Anti-Communist Posters, Ads, Comic Books, Magazines & Films

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.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

The Digital Lomax Archive Provides Free Access to the Pioneering Recordings of John & Alan Lomax, Compiled Across 7 Decades

in History, Music | April 19th, 2021

The work of ethnomusicologist father and son team John and Alan Lomax was intended to preserve the local musical cultures of the United States and regions around the world against an encroaching mass media threatening to erase them. But the thousands of Lomax recordings, films, books, articles, and other documents not only conserved regional music; they also helped transform mass culture by introducing local forms that have since become part of a global musical grammar. Lomax and his son Alan — “the man who recorded the world,” as biographer John Szwed called him — popularized folk music thirty years before Dylan recorded his first album and were among the first white listeners to recognize the genius of Robert Johnson.

Alan Lomax began traveling the country with his father in 1933. In 1939, “while doing graduate work in anthropology at Columbia University,” notes a biography at Lomax’s Association for Cultural Equity, “he produced the first of several radio series for CBS. American Folk Songs, Wellsprings of Music, and the prime-time series, Back Where I Come From, exposed national audiences to regional American music and such homegrown talents as Woody Guthrie, Lead Belly, Aunt Molly Jackson, Josh White, the Golden Gate Quartet, Burl Ives, and Pete Seeger,” who described Lomax as “more responsible than any other person for the twentieth-century folk song revival.”

Alan Lomax brought blues, flamenco, calypso, and Southern ballad singing, “all still relatively unknown genres,” to New York in the 1940s with concert series like The Midnight Special at Town Hall. “The main point of my activity,” he once said, “was… to put sound technology at the disposal of The Folk, to bring channels of communication to all sorts of artists and areas.” A performer himself, he coined the term “cultural equity” to describe this work, a means of advocating for musical cultures left behind by commercialization, the “cultural gray-out,” as he called it. From his first field recordings in 1933 to his 1993 Land Where the Blues Began, which earned a National Book Critics Award, he stayed true to that mission.

Lomax and his father’s work has been “compiled across seven decades” by the Lomax Digital Archive, which provides free and open access to “the entirety of Alan’s photographs and open-reel tape recordings — made between 1946 and 1991… as well as transcriptions of his 1940s radio programs, and a selection of clips from his film and video-work of the 1970s and 1980s.” This huge, searchable library supplements already massive Lomax collections online, such as that housed at the Association for Cultural Equity, and includes “the entire 70 hours of their Kentucky recordings and the 39 hours of Mississippi recordings,” notes a press release. “This latter material includes the first recordings of Muddy Waters, Honeyboy Edwards, and Sid Hemphill.”

Furthermore, the Lomax Digital Archive features online exhibits that “allow for thoughtful, context-rich explorations into specific aspects of the collection.” The first presentation, “Trouble Won’t Last Always,” compiles songs from a series launched during the pandemic that “speak to themes of loneliness, isolation, optimism, endurance, transcendence..,” all universal human experiences. Lomax believed, his daughter Anna Lomax Wood said, “that all cultures should be looked at on an even playing field. Not that they’re all alike. But that they should be given the same dignity.” His own dignified approach helped ensure that we could hear and learn from local historical voices from around the world even as economic and political inequities sought to silence them for good. Enter the Lomax Digital Archive here.

New, Interactive Web Site Puts Online Thousands of International Folk Songs Recorded by the Great Folklorist Alan Lomax

Stream 35 Hours of Classic Blues, Folk, & Bluegrass Recordings from Smithsonian Folkways: 837 Tracks Featuring Lead Belly, Woody Guthrie & More

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

by Josh Jones | Permalink | Make a Comment ( None ) |

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

in Books, History, Religion | April 16th, 2021

Noli me tangere, says the title page of the Compendium of Demonology and Magic: “Do not touch me.” For the book’s target audience, one suspects, this was more enticement than warning. Written in Latin (its full title is Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros) and German, the book purports to come from the year 1057. In fact it’s been dated as more than 700 years younger, though to most 21st-century beholders a book from around 1775 carries enough historical weight to be intriguing — especially if, as the Public Domain Review puts it, it depicts “a varied bestiary of grotesque demonic creatures.”

The specimens catalogued in the Compendium of Demonology and Magic are “up to all sorts of appropriately demonic activities, such as chewing down on severed legs, spitting fire and snakes from genitalia, and parading around decapitated heads on sticks.”

Grotesquely combining features of man and beast, these hideous chimeras are rendered in “more than thirty exquisite watercolors” that still look vivid today. In fact, with their punkish costumes, insouciant expressions, and often indecently exposed nether regions, these demons look ready and willing to cause a scandal even in our jaded time.

Nearly two and a half centuries ago, we might fairly assume, a greater proportion of the public believed in the existence of demons — if not these specific monstrosities, then at least the concept of the demonic in general. But we’re surely lying to ourselves if we believed that nobody in the 16th century had a sense of humor about it. Even the work of this book’s unknown illustrator evidences, beyond formidable artistic skill and wild imagination, a certain comedic instinct, serious business though demonic intentions toward humanity may be.

With its less humorous content including execution scenes and instructions for the procedures of witchcraft from divination to necromancy, the Compendium of Demonology and Magic belongs to a deeper tradition of books that elaborately catalog and depict the varieties of supernatural evil. (A much older example is the Codex Gigas, previously featured here on Open Culture, a “Devil’s Bible” that also happens to be the largest medieval manuscript in the word.)

You can behold more of these delightfully hellish illustrations at the Public Domain Review and even download the whole book free from the Wellcome Collection. (See a PDF of the entire book here.) And no matter how closely you scrutinize your digital copy, you won’t run the risk of touching it.

The Compendium of Demonology and Magic is one of the many texts featured in The Madman’s Library: The Strangest Books, Manuscripts and Other Literary Curiosities from History, a new book featured on our site earlier this week.

via Public Domain Review

1,600 Occult Books Now Digitized & Put Online, Thanks to the Ritman Library and Da Vinci Code Author Dan Brown

Help a Library Transcribe Magical Manuscripts & Recover the Charms, Potions & Witchcraft That Flourished in Early Modern Europe and America

Behold the Codex Gigas (aka “Devil’s Bible”), the Largest Medieval Manuscript in the World

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.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

Behold the 1940s Typewriter That Could Type in English, Chinese & Japanese: Watch More Than a Thousand Different Characters in Action

The Meaning of Hieronymus Bosch’s The Garden of Earthly Delights Explained

3D Print 18,000 Famous Sculptures, Statues & Artworks: Rodin’s Thinker, Michelangelo’s David & More

30,000 People Line Up for the First McDonald’s in Moscow, While Grocery Store Shelves Run Empty (1990)

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

The Beautiful, Innovative & Sometimes Dark World of Animated Soviet Propaganda (1925–1984)

The Digital Lomax Archive Provides Free Access to the Pioneering Recordings of John & Alan Lomax, Compiled Across 7 Decades

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

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