How the “Lost Cities” of the Amazon Were Finally Discovered

in History | October 25th, 2023

About a decade and a half ago, The Lost City of Z seemed to have been placed front-and-center in most bookstores of the English-speaking world. It was the first book by journalist David Grann, and it handily proved that he knew how to deal with history in a way that could capture the public imagination. (His second, Killers of the Flower Moon, provided the basis for the acclaimed Martin Scorsese film now in theaters.) Subtitled A Tale of Deadly Obsession in the Amazon, the book tells of British explorer Captain Percy Fawcett, who went missing with his son in that vast jungle back in 1925. They’d been looking for the “lost city” of the title, of whose existence Fawcett had been convinced by what may now strike us as rather scant evidence.

“The idea was based on rumors that had circulated for centuries that there were once large cities, filled with people, deep in the Amazon,” says the narrator of the Vox Atlas video above, fired by the discovery of grand capitals like Tenochtitlan in modern-day Mexico and Cusco in Peru. Experts, for their part, “believed that this rainforest was simply too hostile and too remote to ever have supported cities.”

More recently, scientists started identifying man-made ditches and mounds all over the Amazon, which complicated the picture considerably. Instead of the extravagant metropolis intimated by explorers in the centuries before him, Fawcett only encountered small groups of natives living in simple villages. The consensus came to hold that a host of environmental, geological, and biological factors conspired against the growth of large-scale civilizations in the rainforest.

But “it turns out, Fawcett was looking in the right place, just for the wrong thing.” He never took note of patches of intentionally cultivated fertile soil, ditches where once stood walls leading to a plaza, and “delineated areas for gardens and orchards.” Though none of this quite suggested the fabled El Dorado, “over the past few decades, experts have uncovered evidence of large settlements all over the Amazon,” a single one of which could have had up to 60,000 inhabitants. By the time Fawcett arrived in the early twentieth century, most of those locals had long since died of European-imported diseases, leaving their wood- and-Earth structures to decompose. Given how far transport and construction technologies have come since then, perhaps it’s time to try out a different obsession: not over finding old Amazonian cities, but building new ones.

Tour the Amazon with Google Street View; No Passport Needed

Explorer David Livingstone’s Diary (Written in Berry Juice) Now Digitized with New Imaging Technology

Hear Ernest Shackleton Speak About His Antarctic Expedition in a Rare 1909 Recording

Listen to Plato Invent the Myth of Atlantis (360 B.C)

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 ( None ) |

The History of the Electric Guitar Solo: A Seven-Part Series

in History, Music | October 24th, 2023

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No instrument is more closely identified with rock and roll music than the electric guitar, and no form of performance is more closely associated with the electric guitar than the solo. You can hardly discuss any of those three without discussing the others. Hence the broad sweep of Axe to Grind, the new seven-part video series from Youtube music channel Polyphonic on the electric guitar solo, a cultural phenomenon that can’t be explained without telling the story of a vast swath of popular music through practically the entire twentieth century and continuing on into the twenty-first.

Like any proper full-scope rock history, this one begins with the blues, tracing the stylistic developments that emerged among guitarists on the Mississippi Delta with the advent of new technologies like electricity.

Axe to Grind’s first episode covers such early electric guitar players as Charlie Christian (previously featured here on Open Culture), Fay “Smitty” Smith, Muddy Waters, and Junior Bernard, who was “one of the first to realize that if you cranked vacuum-tube amplifiers up to maximum volume and played as loud as you could through them, the vacuum tubes would compress the signal so they didn’t explode. The result was a new sort of gritty tone that came to be known as overdrive.”

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The second episode covers the nineteen-fifties and the rise of rock and roll itself, a broad musical church that came to encompass musicians from Chuck Berry, Junior Walker, and B. B. King to Johnny Watson, Link Wray (who recorded the only instrumental song ever banned from the radio), and Buddy Holly. Then comes the nineteen-sixties, the power of whose transatlantic pop-cultural explosion still comes through loud and clear in the electric guitar solos on the records by the Rolling Stones, the Beatles, Led Zeppelin, the Byrds, Cream, Jimi Hendrix, and many other acts besides. The fourth episode, still to come on Youtube, is already available on the subscription streaming platform Nebula. However you watch Axe to Grind, rest assured that it will leave you not just with a deeper understanding of the electric guitar solo’s evolution, but a much deeper appreciation of the “Johnny B. Goode” scene from Back to the Future.

The Evolution of the Electric Guitar: An Introduction to Every Major Variety of the Instrument That Made Rock-and-Roll

How Fender Guitars Are Made, Then (1959) and Nowadays (2012)

The Story of the Guitar: The Complete Three-Part Documentary

Hear the Brilliant Guitar Work of Charlie Christian, Inventor of the Electric Guitar Solo (1939)

Behold the First Electric Guitar: The 1931 “Frying Pan”

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 ( None ) |

What Makes James Joyce’s Ulysses a Masterpiece: Great Books Explained

in Books, History, Literature | October 17th, 2023

Here on Open Culture, we’ve often featured the work of gallerist-Youtuber James Payne, creator of the channel Great Art Explained. Not long ago we wrote up his examination of the work of René Magritte, the Belgian surrealist painter responsible for such enduring images as Le fils de l’homme, or The Son of Man. Payne uses that famous image of a bowler-hatted everyman whose face is covered by a green apple again in the video above, but this time to represent a literary character: Leopold Bloom, the protagonist of James Joyce’s Ulysses. It is that much-scrutinized literary masterwork Payne has taken as his subject for his new channel, Great Books Explained.

Indeed, few great books are regarded as needing as much explanation as Ulysses. It was once described, Payne reminds us, as “spiritually offensive, anarchic, and obscene,” yet “in the hundred years since, the book has triumphed over criticism and censorship to become one of the most highly regarded works of art in the twentieth century.”

The strength of both this acclaim and this condemnation still today inspires a mixture of curiosity and trepidation. But as Payne sees it, Ulysses is ultimately “a novel about wandering, and we as readers should feel free to wander around the book, dip in and out of episodes, read it out aloud, and let the words wash over us like music.” It’s also “an experimental work, often strange and sometimes shocking, but it is consistently witty, and packed with a tremendous sense of fun.”

That latter quality belies the seven years of literary labor Joyce put into the book, all of it distilled into the events of a single day in Dublin, June 16, 1904, as experienced by Bloom, an “ordinary advertising agent” and a Jew among Catholics; the “rebellious and misanthropic intellectual” Stephen Dedalus, Joyce’s alter-ego and the hero of his previous novel A Portrait of the Artist as a Young Man; and Leopold’s “passionate, amorous, frank-speaking” wife Molly. (Payne represents Dedalus with Raoul Haussman’s The Art Critic and Molly with Hannah Höch’s Indian Dancer.) In this framework, Joyce delivers kaleidoscopic detail, from the quotidian to the mythological and the sexual to the scatological, all with a formal and linguistic bravado that has kept the reading experience of Ulysses fresh for 101 years and counting.

Why Should You Read James Joyce’s Ulysses?: A New TED-ED Animation Makes the Case

Everything You Need to Enjoy Reading James Joyce’s Ulysses on Bloomsday

The Very First Reviews of James Joyce’s Ulysses: “A Work of High Genius” (1922)

Read the Original Serialized Edition of James Joyce’s Ulysses (1918)

Great Art Explained: Watch 15 Minute Introductions to Great Works by Warhol, Rothko, Kahlo, Picasso & More

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 ( 3 ) |

Researchers Use AI to Decode the First Word on an Ancient Scroll Burned by Vesuvius

in History, Technology | October 13th, 2023

In the year 79, AD Mount Vesuvius erupted, burying both Pompeii and Herculaneum. In 1750, an Italian farmworker discovered an entombed seaside villa in Herculaneum while digging a well. When excavated, the residence yielded hundreds of scrolls, all of them turned into what looked and felt like lumps of ash, and practically all of them unrollable, let alone readable. Only in 2015 did humankind — or more specifically, University of Kentucky computer scientist Brent Seales and his team — develop the technology that could let us see what texts these ancient scrolls contain. Eventually, a particle accelerator and machine learning came into play. This timeline comes from the web site of the Vesuvius Challenge, “a machine learning and computer vision competition to read the Herculaneum Papyri.”

Funded by technology entrepreneurs Nat Friedman and Daniel Gross, the Vesuvius Challenge has given out $260,000 of its $1 million of prizes so far, including $40,000 to undergraduate student/engineer Luke Farritor, who identified ten letters in a section of one scroll, and $10,000 to biorobotics graduate student Youssef Nader, who subsequently and independently discovered those same letters.

The word they form? Porphyras, ancient Greek for “purple”: a color, incidentally, that signified wealth and power in the ancient world, not least because of the enormous amount of labor required to extract it from nature. That the Herculaneum Papyri have started to become readable also represents the culmination of a similarly impressive effort, albeit one based on technological development rather than the extraction of sea-snail glands.

As Nicholas Wade writes in the New York Times, the current method “uses computer tomography, the same technique as in CT scans” — executed with the aforementioned particle accelerator — “plus advancements in artificial intelligence” used “to help distinguish ink from papyrus.” You can learn more about the Vesuvius Challenge in the video above. Its creator Garrett Ryan, of ancient-history Youtube channel Told in Stone, has been previously featured here on Open Culture for his explanation of how 99 percent of ancient texts were lost — which means these charred scrolls could hold a great deal of knowledge about the ancient world. Do they contain, as Ryan fantasizes, the lost books of Livy, the dialogues of Aristotle, poems by Sappho? We’ll only know when someone figures out how best to use technology to decode them all. Artificial intelligence may be the key to the future, as we’ve often heard in recent years, but in this particular case, it offers a promising key to the past.

Hidden Ancient Greek Medical Text Read for the First Time in a Thousand Years — with a Particle Accelerator

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

2,000-Year-Old Manuscript of the Ten Commandments Gets Digitized: See/Download “Nash Papyrus” in High Resolution

How 99% of Ancient Literature Was Lost

A Newly-Discovered Fresco in Pompeii Reveals a Precursor to Pizza

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 ( None ) |

Discover the Regions in Italy Where the People Descended from the Medieval or Ancient Greeks, and Still Speak Greek

in History, Language, Travel | October 12th, 2023

All of us, across the world, know that Italy is shaped like a boot. But almost none of us know that, in the regions of Apulia and Calabria at the country’s “heel” and “toe,” live small communities who, among themselves, still speak not Italian but Greek. The word “still” applies because these peoples, known as Griko (or Grecanici), are thought to have descended from the much larger medieval or even ancient Greek communities that once existed there. Of course, it wouldn’t have been at all unusual back then for inhabitants of one part of what we now call Italy to speak a quite different language from the inhabitants of another.

John Kazaklis at Istoria writes that “the Italian language did not become the staple language until well into the end of the 19th Century during the process of Italian unification, or the Risorgimento,” which turned the Tuscan dialect into the national language. Yet “there exists today a tiny enclave of Greek-speaking people in the Aspromonte Mountain region of Reggio Calabria that seem to have survived millennia.”

Are they “descendants of the Ancient Greeks who colonized Southern Italy? Are they remnants of the Byzantine presence in Southern Italy? Did their ancestors come in the 15th-16th Centuries from the Greek communities in the Aegean fleeing Ottoman invasion?” Everyone who considers the origins of the Griko/Grecanici people (or their Griko/Grico/Greko languages) seems to come to a slightly different conclusion.

“I suspect they speak a dialect more closely related to the Koine Greek spoken at the time of the 11th century Byzantine Empire, the last and final time Southern Italy was still part of the Greek-speaking world,” writes Grecophone Youtuber Tom_Traveler, who visits the Griko-speaking villages of Gallicianò and Bova in the video above. “Or perhaps it was influenced by Greek refugees fleeing Constantinople upon its fall to the Turks in 1453.” However it developed, it’s long been a language on the decline: “the clearest estimate of remaining Greko speakers seems to be between 200–300,” Kazaklis wrote in 2017, “and numbers continue to decrease.” In the interest of preserving the language and the history reflected within it, now would be a good time for a few of those speakers to start up Youtube channels of their own.

via Messy Nessy

Mapping the Sounds of Greek Byzantine Churches: How Researchers Are Creating “Museums of Lost Sound”

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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.

by Colin Marshall | Permalink | Make a Comment ( 8 ) |

How Artemisia Gentileschi, the Pioneering 17th-Century Female Painter, Outdid Caravaggio with the Striking, Violent Judith Beheading Holofernes (c. 1620)

in Art, History | October 11th, 2023

Today, the name Judith hardly calls to mind a woman capable of great violence. Things seem to have been different in antiquity: “The Biblical story from the Book of Judith tells how the beautiful Israelite widow Judith bravely seduces and then kills the sexually aggressive Assyrian general Holofernes in order to save her people,” says gallerist-Youtuber James Payne in the Great Art Explained video above. “It was seen as a symbol of triumph over tyranny, a sort of female David and Goliath.” It thus made the ideal subject matter for the painter Artemisia Gentileschi, who followed in the footsteps of her father Orazio Gentileschi, and who gained notoriety at a young age for her involvement in a major sex-crime trial.

As Rebecca Mead writes in the New Yorker, “Artemisia was raped by a friend of Orazio’s: the artist Agostino Tassi,” who had been hired to tutor her. Though Tassi promised to marry her after that and subsequent encounters, he never made good — and indeed married another woman — which prompted Orazio Gentileschi to seek recompense for the family’s lost honor in court. In our time, “the assault has inevitably, and often reductively, been the lens through which her artistic accomplishments have been viewed. The sometimes savage themes of her paintings have been interpreted as expressions of wrathful catharsis.” This is truer of none of her works than Judith Beheading Holofernes, the subject of Payne’s video.

“Even for seventeenth-century Florence, this painting was unusually gruesome,” he says, “and even more unusual was that it was painted by a woman.” What’s more, it came a couple of decades after a rendition of the same Biblical event by no less a master than Michelangelo Merisi da Caravaggio. “Caravaggio dominated the art scene in the seventeenth century, and he was also a good friend of Gentileschi’s father,” which means that Artemisia could have received his influence directly. Both of their images of Holofernes’ death at Judith’s hands are “pure Baroque paintings: exaggerated movement, high contrast light set off by deep dark shadows, contorted features and violent gestures, a focus on the theatrical.”

Yet with its intense physicality — as well as its frankness about Judith and her maidservant’s concentration on their murderous task — Artemisia’s painting makes a greater impact on viewers. Mead notes that it “was for decades hidden from public view, presumably on the ground that it was distasteful” and that it moved nineteenth-century art historian Anna Brownell Jameson to wish for “the privilege of burning it to ashes.” Though the artist fell into obscurity after her death, the culture of the twenty-first century has elevated her out of it: “on art-adjacent blogs, Artemisia’s strength and occasionally obnoxious self-assurance are held forth as her most essential qualities. She has become, as the Internet term of approval has it, a badass bitch.” Nor has her name hurt her brand. Artemisia: now there’s a formidable-sounding woman.

A Short Introduction to Caravaggio, the Master Of Light

A Space of Their Own, a New Online Database, Will Feature Works by 600+ Overlooked Female Artists from the 15th-19th Centuries

What Makes Caravaggio’s The Taking of Christ a Timeless, Great Painting?

The Female Pioneers of the Bauhaus Art Movement: Discover Gertrud Arndt, Marianne Brandt, Anni Albers & Other Forgotten Innovators

Great Art Explained: Watch 15 Minute Introductions to Great Works by Warhol, Rothko, Kahlo, Picasso & More

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 ( None ) |

An Introduction to René Magritte, and How the Belgian Artist Used an Ordinary Style to Create Extraordinarily Surreal Paintings

in Art, History | October 10th, 2023

With his dark suit, neat haircut, and bowler hat, René Magritte embodied early-twentieth-century Belgian normality. Yet the feelings his work stirred in their viewers were very much the opposite of normal. He had various ways of accomplishing this. One was “to combine two familiar objects and make a new one,” says gallerist-Youtuber James Payne in the new Great Art Explained video above. “Another method was to paint a solid object as if it were a see-through portal. In some paintings he would defy gravity and show heavy objects floating. He would give an unfamiliar name to familiar objects. He would change scale by making small objects huge and large objects impossibly tiny.”

One of Magritte’s particularly effective methods was “to obscure or to hide a face or an object, setting up a conflict between the visible that is hidden and the visible that is present.” The power of this technique is vividly showcased by The Lovers II, from 1928, in which Magritte takes the “cinematic cliché” of the kiss and “disrupts our voyeuristic pleasure by covering the faces in cloth. A moment of collection becomes one of isolation, of sexual frustration. An intimate moment becomes something dark and effortlessly disturbing, something hidden and anonymous.”

Might this have something to do with the death of his mother, who threw herself in a river when he was young? “When her body was eventually found, a nightdress had been dragged up over her naked body and was covering her face.”

The artist himself wouldn’t have thought so. “Psychology didn’t interest Magritte, who avoided any in-depth interpretation of his work,” Payne says, and yet his work “offers so much opportunity for armchair analysis.” Employing an “extreme contrast between the drabness of his style and the extraordinary subject matter,” he demonstrated his understanding that people want to see what’s hidden, that removing what they expect “creates a tension and an anxiety,” and that “if the style of the image doesn’t attract attention, the irrationality of the image becomes even more shocking.” Given Magritte’s current stature, it may come as a surprise to hear that his painting didn’t earn him much in his lifetime. But given his evident ability to manipulate viewers’ thoughts and feelings through visual means alone, it won’t come as a surprise to hear that he made his money running an advertising agency.

The Home Movies of Two Surrealists: Look Inside the Lives of Man Ray & René Magritte

How Famous Paintings Inspired Cinematic Shots in the Films of Tarantino, Gilliam, Hitchcock & More: A Big Supercut

An Introduction to Surrealism: The Big Aesthetic Ideas Presented in Three Videos

Great Art Explained: Watch 15 Minute Introductions to Great Works by Warhol, Rothko, Kahlo, Picasso & More

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 ( None ) |

When the US Government Commissioned 7,497 Watercolor Paintings of Every Known Fruit in the World (1886)

in Art, Biology, Data, Food & Drink, History | October 9th, 2023

A picture is worth 1000 words, especially when you are a late-19th or early-20th century horticulturist eager to protect intellectual property rights to newly cultivated varieties of fruit.

Or an artistically gifted woman of the same era, looking for a steady, respectable source of income.

In 1886, long before color photography was a viable option, the US Department of Agriculture engaged approximately 21, mostly female illustrators to create realistic renderings of hundreds of fruit varieties for lithographic reproduction in USDA articles, reports, and bulletins.

According to the Division of Pomology’s first chief, Henry E. Van Deman, the artists’ mandate was to capture “the natural size, shape, and color of both the exterior and interior of the fruit, with the leaves and twigs characteristic of each.”

If a specimen was going bad, the artist was under strict orders to represent the damage faithfully — no prettying things up.

As Alice Tangerini, staff illustrator and curator for botanical art in the Smithsonian’s National Museum of Natural History writes, “botanical illustrators and their works serve the scientist, depict(ing) what a botanist describes, acting as the proofreader for the scientific description:”

Digital photography, although increasingly used, cannot make judgements about the intricacies of portraying the plant parts a scientist may wish to emphasize and a camera cannot reconstruct a lifelike botanical specimen from dried, pressed material… the thought process mediating that decision of every aspect of the illustration lives in the head of the illustrator.

…the illustrator also has an eye for the aesthetics of botanical illustration, knowing that a drawing must capture the interest of the viewer to be a viable form of communication. Attention to accuracy is important, but excellence of style and technique used is also primary for an illustration to endure as a work of art and science.

Primary contributors Deborah Griscom Passmore, Mary Daisy Arnold, Amanda Almira Newton and their colleagues established norms for botanical illustration with their paintings for the USDA’s Pomological Watercolor Collection, simultaneously providing much-needed visual evidence for cultivators wishing to establish claims to their varietals.

(Fruit breeders’ rights were formally protected with the establishment of the Plant Patent Act of 1930, which decreed that anyone who “invented or discovered and asexually reproduced any distinct and new variety of plant” could receive a patent.)

The collection’s 7,497 watercolors of realistically-rendered fruits capture both the commonplace and the exotic in mouthwatering detail.

Both aesthetically and as a scientific database, the Pomological Watercolor Collection is the berries — specifically, Gandy, Chesapeake, Excelsior, Manhattan, and Gabara to namecheck but a few types of Fragaria, aka strawberries, preserved therein.

Other fruits remain lesser known on our shores. The USDA sponsored global expeditions specifically to gather specimens such as the ones below.

Queen Victoria reportedly offered knighthood to any traveler presenting her a mangosteen — still a rare treat in the west. They were banned in the U.S. until 2007 in the interest of protecting local agriculture from the threat of stowaway Asian fruit flies.

The thick, square-ended Popoulu banana would never be mistaken for a Chiquita from the outside. According to The World of Bananas in Hawai’i: Then and Now, its lineage dates back tens of thousands of years to the Vanuatu archipelago.

If you celebrate the harvest festival Sukkot, you likely encountered an etrog within the last month. The notoriously fiddly crop has been cultivated domestically since 1980, when a yeshiva student in Brooklyn, seeking to keep costs down and ensure that kosher protocols were maintained, convinced a third-generation California citrus grower by the name of Fitzgerald to give it a go.

Explore and download hi-res images from the Pomological Watercolor Collection here.

In 1886, the US Government Commissioned 7,500 Watercolor Paintings of Every Known Fruit in the World: Download Them in High Resolution

A Stunning, Hand-Illustrated Book of Mushrooms Drawn by an Overlooked 19th Century Female Scientist

Via Aeon

– 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.

by Ayun Halliday | Permalink | Make a Comment ( 9 ) |

How the “Lost Cities” of the Amazon Were Finally Discovered

The History of the Electric Guitar Solo: A Seven-Part Series

What Makes James Joyce’s Ulysses a Masterpiece: Great Books Explained

Researchers Use AI to Decode the First Word on an Ancient Scroll Burned by Vesuvius

Discover the Regions in Italy Where the People Descended from the Medieval or Ancient Greeks, and Still Speak Greek

How Artemisia Gentileschi, the Pioneering 17th-Century Female Painter, Outdid Caravaggio with the Striking, Violent Judith Beheading Holofernes (c. 1620)

An Introduction to René Magritte, and How the Belgian Artist Used an Ordinary Style to Create Extraordinarily Surreal Paintings

When the US Government Commissioned 7,497 Watercolor Paintings of Every Known Fruit in the World (1886)

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