Watch a Japanese Artisan Hand-Craft a Cello in 6 Months

Cel­lists unwill­ing to set­tle for any but the finest instru­ment must, soon­er or lat­er, make a pil­grim­age to Cre­mona — or rather, to the Cre­monas. One is, of course, the city in Lom­bardy that was home to numer­ous pio­neer­ing mas­ter luthiers, up to and includ­ing Anto­nio Stradi­vari. The oth­er, less­er known Cre­mona is a work­shop in Hiraka­ta, an exurb of Osa­ka. There, a mas­ter luthi­er named Takao Iwai plies his trade, which you can see on detailed dis­play in the ProcessX video above. In just under half an hour, it com­press­es his painstak­ing six-month process of mak­ing a cel­lo whol­ly by hand.

The name of Iwai’s shop evokes a rich his­to­ry of stringed instru­ment-mak­ing, but it also pays trib­ute to the place where he honed his own skills. He did so under the luthi­er Gio Bat­ta Moras­si, described in a trib­ute after his death in 2018 as hav­ing “made a sig­nif­i­cant con­tri­bu­tion to the revival of Cremona’s mod­ern vio­lin-mak­ing,” and indeed hav­ing become “the god­fa­ther of the mod­ern Ital­ian Cre­mona school.”

He seemed to have wel­comed stu­dents no mat­ter their land of ori­gin — France, Chi­na, Rus­sia, and of course Japan — and through them “intro­duced the art of Ital­ian vio­lin mak­ing to the world and raised the lev­el of inter­na­tion­al vio­lin mak­ing.”

Iwai is hard­ly the first ded­i­cat­ed Japan­ese crafts­man we’ve fea­tured here on Open Cul­ture, nor even the first ded­i­cat­ed to a Euro­pean art form: take the sculp­tor Etsuro Sotoo, whose decades of work on Sagra­da Família has earned him a rep­u­ta­tion in his home­land as “the Japan­ese Gaudí.” After his time in Italy, Iwai chose to return to Japan, bring­ing his mas­tery of a for­eign craft into a native cul­ture high­ly con­ducive to its prac­tice, where tra­di­tion­al Japan­ese instru­ments have long been made with the very same sense of detail and tech­nique. If you’d like to wit­ness that as well while you’re in Osa­ka, do pay a vis­it to Tsu­ruya Gak­ki in the port town of Sakai; maybe you’ll even get to see a shamisen being made.

Relat­ed con­tent:

How to Build a Cus­tom Hand­craft­ed Acoustic Gui­tar from Start to Fin­ish: The Process Revealed in a Fas­ci­nat­ing Doc­u­men­tary

Watch a Japan­ese Arti­san Make a Noh Mask, Cre­at­ing an Aston­ish­ing Char­ac­ter From a Sin­gle Block of Wood

Watch the Mak­ing of a Hand-Craft­ed Vio­lin, from Start to Fin­ish, in a Beau­ti­ful­ly Shot Doc­u­men­tary

The Art of Tra­di­tion­al Japan­ese Wood Join­ery: A Kyoto Wood­work­er Shows How Japan­ese Car­pen­ters Cre­at­ed Wood Struc­tures With­out Nails or Glue

Japan­ese Musi­cians Turn Obso­lete Machines Into Musi­cal Instru­ments: Cath­ode Ray Tube TVs, Over­head Pro­jec­tors, Reel-to-Reel Tape Machines & More

20 Mes­mer­iz­ing Videos of Japan­ese Arti­sans Cre­at­ing Tra­di­tion­al Hand­i­crafts

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 Twit­ter at @colinmarshall or on Face­book.

Watch Patti Smith Read from Virginia Woolf, and Hear the Only Surviving Recording of Woolf’s Voice

In the video above, poet, artist, Nation­al Book Award win­ner, and “god­moth­er of punk” Pat­ti Smith reads a selec­tion from Vir­ginia Woolf’s 1931 exper­i­men­tal nov­el The Waves, accom­pa­nied on piano and gui­tar by her daugh­ter Jesse and son Jack­son. The “read­ing” marked the open­ing of “Land 250,” a 2008 exhi­bi­tion of Smith’s pho­tog­ra­phy and art­work from 1965 to 2007, at the Fon­da­tion Carti­er pour l’art con­tem­po­rain in Paris.

I put the word “read­ing” in quotes above because Smith only reads a very short pas­sage from Woolf’s nov­el. The rest of the dra­mat­ic per­for­mance is Smith in her own voice, pos­si­bly impro­vis­ing, pos­si­bly recit­ing her homage to Woolf—occasioned by the fact that the start of the exhi­bi­tion fell on the 67th anniver­sary of Woolf’s death by sui­cide. Of Woolf’s death, Smith says, “I do not think of this as sad. I just think that it’s the day that Vir­ginia Woolf decid­ed to say good­bye. So we are not cel­e­brat­ing the day, we are sim­ply acknowl­edg­ing that this is the day. If I had a title to call tonight, I would call it ‘Wave.’ We are wav­ing to Vir­ginia.”

Smith’s choice of a title for the evening is sig­nif­i­cant. She titled her 1979 album Wave, her last record before she went into semi-retire­ment in the 80s. And her exhi­bi­tion includ­ed a set of beau­ti­ful pho­tographs tak­en at Woolf’s Sus­sex retreat, Monk’s House. Her per­for­mance seems like an unusu­al con­flu­ence of voic­es, but Woolf might have enjoyed it, since so much of her work explored the unit­ing of sep­a­rate minds, over the bar­ri­ers of space and time. While Smith express­es her indebt­ed­ness to Woolf, one won­ders what the upper-class Blooms­bury daugh­ter of a well-con­nect­ed and artis­tic fam­i­ly would have thought of the work­ing-class punk-poet from the Low­er East Side? It’s impos­si­ble to say, of course, but some­how it’s fit­ting that they meet through Woolf’s The Waves.

Woolf’s nov­el (she called it a “play­po­em”) blends the voic­es of six char­ac­ters, but Woolf didn’t think of them as char­ac­ters at all, but as aspects of a greater, ever-shift­ing whole. As she once wrote in a let­ter:

The six char­ac­ters were sup­posed to be one. I’m get­ting old myself now—I shall be fifty next year; and I come to feel more and more how dif­fi­cult it is to col­lect one­self into one Vir­ginia; even though the spe­cial Vir­ginia in whose body I live for the moment is vio­lent­ly sus­cep­ti­ble to all sorts of sep­a­rate feel­ings. There­fore I want­ed to give the sense of con­ti­nu­ity.

Spec­u­la­tion over Woolf’s men­tal health aside, her ref­er­ences to voic­es in her let­ters, diaries, and in her elo­quent let­ter to Leonard Woolf before she died, were also state­ments of her craft—which embraced the inner voic­es of oth­ers, not let­ting any one voice be dom­i­nant. I like to think Woolf would have been delight­ed with the fierce­ness of Smith—in some ways, Vir­ginia Woolf antic­i­pat­ed punk, and Pat­ti Smith. In her own voice below, you can hear her describe the words of the Eng­lish lan­guage as “irreclaimable vagabonds,” who “if you start a Soci­ety for Pure Eng­lish, they will show their resent­ment by start­ing anoth­er for impure Eng­lish…. They are high­ly demo­c­ra­t­ic.”

The record­ing below comes from an essay pub­lished in a col­lec­tion—The Death of the Moth and Oth­er Essays—the year after Woolf’s death. The talk was called “Crafts­man­ship,” part of a BBC radio broad­cast from 1937, and it is the only sur­viv­ing record­ing of Woolf’s voice.

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

Relat­ed Con­tent

Pat­ti Smith on Vir­ginia Woolf’s Cane, Charles Dick­ens’ Pen & Oth­er Cher­ished Lit­er­ary Tal­is­mans

Pat­ti Smith’s Polaroids of Arti­facts from Vir­ginia Woolf, Arthur Rim­baud, Rober­to Bolaño & More

Pat­ti Smith Reads Her Final Let­ter to Robert Map­plethor­pe, Call­ing Him “the Most Beau­ti­ful Work of All”

Pat­ti Smith’s 40 Favorite Books

 Josh Jones is a writer, edi­tor, and musi­cian based in Wash­ing­ton, DC. Fol­low him @jdmagness

Tracking Pianist Yuja Wang’s Heartbeats During Her Marathon Rachmaninoff Performance

The Carnegie Hall YouTube Chan­nel sets the scene:

On Jan­u­ary 28, 2023, pianist Yuja Wang joined The Philadel­phia Orches­tra and con­duc­tor Yan­nick Nézet-Séguin at Carnegie Hall for a once-in-a-life­time, all-Rach­mani­noff marathon that fea­tured the composer’s four piano con­cer­tos plus his “Rhap­sody on a Theme of Pagani­ni.” Through­out the per­for­mance, Wang—along with Nézet-Séguin, mem­bers of the orches­tra, and con­cert­go­ers in attendance—wore devices to track their heart­beats.

Unprece­dent­ed and insane­ly demand­ing, Wang made his­to­ry. These five pieces include two-and-a-half hours of music, 621 pages of score, and more than 97,000 piano notes.

How high did Wang’s heart rate go? We won’t pro­vide spoil­ers. It plays out above.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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!

via The Kids Should See This

Relat­ed Con­tent 

The Piano Played with 16 Increas­ing Lev­els of Com­plex­i­ty: From Easy to Very Com­plex

John Cage Per­forms His Avant-Garde Piano Piece 4′33″ … in 1′22″ (Har­vard Square, 1973)

Pianist Plays Beethoven, Bach, Chopin, Rav­el & Debussy for Blind Ele­phants in Thai­land

Hear Edgar Allan Poe Stories Read by Iggy Pop, Jeff Buckley, Christopher Walken, Marianne Faithful & More

In 1849, a lit­tle over 175 years ago, Edgar Allan Poe was found dead in a Bal­ti­more gut­ter under mys­te­ri­ous cir­cum­stances very like­ly relat­ed to vio­lent elec­tion fraud. It was an igno­min­ious end to a life marked by hard­ship, alco­holism, and loss. After strug­gling for years as the first Amer­i­can writer to try and make a liv­ing from his art, and fail­ing in sev­er­al pub­lish­ing ven­tures and posi­tions, Poe achieved few of his aims, bare­ly get­ting by finan­cial­ly and only man­ag­ing to attract a little—often negative—notice for now-famous poems like “The Raven.” Con­tem­po­raries like Ralph Wal­do Emer­son dis­par­aged the poem and a lat­er gen­er­a­tion of writ­ers, includ­ing William But­ler Yeats, pro­nounced him “vul­gar.”

But of course, as we know, a coun­ter­cur­rent of Poe appre­ci­a­tion took hold among writ­ers, artists, and film­mak­ers inter­est­ed in mys­tery, hor­ror, and the supernatural—to such a degree that in the pre­vi­ous cen­tu­ry, near­ly every artist even pass­ing­ly asso­ci­at­ed with dark­er themes has inter­pret­ed Poe as a rite of pas­sage. We’ve fea­tured a read­ing of “The Raven” by the often-sin­is­ter Christo­pher Walken.

At the top of the post, you can hear anoth­er ver­sion of the Queens-born actor read­ing Poe’s best-known work, a poem designed to pro­duce what the author called a “uni­ty of effect” with its incan­ta­to­ry rep­e­ti­tions. This record­ing comes from a col­lec­tion of celebri­ty Poe read­ings called Closed on Account of Rabies, which also fea­tures such unique takes on the clas­sic hor­ror writer’s work as that above, “The Tell-Tale Heart” as read by Iggy Pop.

Just above, hear a less­er-known poem by Poe called “Ulalume” read by Jeff Buck­ley, with an accom­pa­ny­ing sound­track of low, puls­ing, vague­ly West­ern-inspired music that well suits Buckley’s for­mal, rhyth­mic recita­tion. The use of music on this album has divid­ed many Poe fans, and admit­ted­ly, some tracks work bet­ter than oth­ers. On Buckley’s “Ulalume,” the music height­ens ten­sion and pro­vides a per­fect atmos­phere for imag­in­ing “the misty mid region of Weir,” its “ghoul-haunt­ed wood­land,” and the “sco­ri­ac rivers” of lava pour­ing from the poet’s heart. On Mar­i­anne Faithful’s read­ing of “Annabelle Lee,” below, a score of keen­ing synths can seem over­wrought and unnec­es­sary.

The remain­der of the 1997 album, which you can pur­chase here, treats us to read­ings from 80s goth-rock stars Dia­man­da Galas and Gavin Fri­day, Bad Lieu­tenant direc­tor Abel Fer­rara, Blondie singer Deb­bie Har­ry, and grav­el-voiced New Orleans blues­man Dr. John, among oth­ers.

Relat­ed Con­tent:

Hear Clas­sic Read­ings of Poe’s “The Raven” by Vin­cent Price, James Earl Jones, Christo­pher Walken, Neil Gaiman & More

Why Should You Read Edgar Allan Poe? An Ani­mat­ed Video Explains

7 Tips from Edgar Allan Poe on How to Write Vivid Sto­ries and Poems

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

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How a Bach Canon Works. Brilliant.

Bril­liant. This mov­ing man­u­script depicts a sin­gle musi­cal sequence played front to back and then back to front. Give the video a lit­tle time to unfold and enjoy.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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!

How Las Vegas’ Sphere Actually Works: A Looks Inside the New $2.3 Billion Arena

If the Unit­ed States of Amer­i­ca is the Roman empire of our time, sure­ly it must have an equiv­a­lent of the Colos­se­um. A year ago, you could’ve heard a wide vari­ety of spec­u­la­tions as to what struc­ture that could pos­si­bly be. Today, many of us would sim­ply respond with “the Sphere,” espe­cial­ly if we hap­pen to be think-piece writ­ers. Since it opened last Sep­tem­ber, Sphere — to use its prop­er, arti­cle-free brand name — has inspired more than a few reflec­tions on what it says about the inter­sec­tion of tech­nol­o­gy and cul­ture here in the twen­ty-first cen­tu­ry, not to men­tion the con­sid­er­able ambi­tion and expense of its design and con­struc­tion.

A $2.3 bil­lion dome whose inte­ri­or and exte­ri­or are both enor­mous screens — vis­i­ble, one often hears, even from out­er space — Sphere would hard­ly make sense any­where in Amer­i­ca but Las Vegas, where it makes a good deal of sense indeed. Its loca­tion has also made pos­si­ble such irre­sistible head­lines as “Sphere and Loathing in Las Vegas,” below which the Atlantic’s Char­lie Warzel gets into the details of this “archi­tec­tur­al embod­i­ment of ridicu­lous­ness,” includ­ing its sur­pris­ing ori­gin: “Accord­ing to James Dolan, the enter­tain­ment mogul who financed the Sphere, the inspi­ra­tion for the build­ing came from ‘The Veldt,’ a 1950 short sto­ry by Ray Brad­bury” involv­ing a fam­i­ly house with giant screens for walls that can ren­der what­ev­er the chil­dren imag­ine.

Nat­u­ral­ly, the kids get hooked, and when Mom and Dad try to inter­vene, the screens send forth a pack of lions to eat them. “Though the Sphere’s mar­ket­ing pitch doesn’t explic­it­ly men­tion being mauled by big dig­i­tal cats,” Warzel writes, “I got the notion that at least part of the allure of com­ing to the Sphere is a desire to be over­whelmed.” How, exact­ly, the venue mar­shals its advanced tech­nol­o­gy to do that over­whelm­ing is explained in the MegaBuilds video at the top of the post. With its form not quite like any event space built in human his­to­ry, it neces­si­tat­ed the inven­tion of every­thing from a cus­tom cam­era sys­tem to audio-per­me­able screen sur­faces, none of which came cheap.

Hence the cost of see­ing a show at Sphere, whether it be the Dar­ren Aronof­sky’s “docu-film” Post­card from Earth, U2’s Achtung Baby-based res­i­den­cy ear­li­er this year, or the now-show­ing Dead & Com­pa­ny, which revives not just the Grate­ful Dead in their var­i­ous incar­na­tions over the decades, but also the sto­ried venues in which they played. Its view­ers could hard­ly fail to be aston­ished by the sheer spec­ta­cle, even if they know noth­ing of the Dead­’s col­or­ful his­to­ry. All of them will no doubt be moved to con­sid­er his­to­ry itself: that of human­i­ty, tech­nol­o­gy, and civ­i­liza­tion, all of which has led up to this rare thing Warzel calls “a brand-new, non-phar­ma­ceu­ti­cal sen­so­ry expe­ri­ence.” Say what you will about the over­stim­u­la­tion and excess rep­re­sent­ed by Sphere; if you can blow a Dead­head­’s mind, you’re def­i­nite­ly on to some­thing.

Relat­ed con­tent:

The Absurd Logis­tics of Con­cert Tours: The Behind-the-Scenes Prepa­ra­tion You Don’t Get to See

U2’s Bono & the Edge Give Sur­prise Con­cert in Kyiv Metro/Bomb Shel­ter: “Stand by Me,” “Angel of Harlem,” and “With or With­out You”

A Vir­tu­al Tour of Japan’s Inflat­able Con­cert Hall

Stream a Mas­sive Archive of Grate­ful Dead Con­certs from 1965–1995

Read Hunter S. Thompson’s Fear and Loathing in Las Vegas, as It Was Orig­i­nal­ly Pub­lished in Rolling Stone (1971)

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 Twit­ter at @colinmarshall or on Face­book.

Patti Smith Reads Her Final Letter to Robert Mapplethorpe, Calling Him “the Most Beautiful Work of All”

If you go to hear Pat­ti Smith in con­cert, you expect her to sing “Beneath the South­ern Cross,” “Because the Night,” and almost cer­tain­ly “Peo­ple Have the Pow­er,” the hit sin­gle from Dream of Life. Like her 1975 debut Hors­es, that album had a cov­er pho­to by Robert Map­plethor­pe, whom Smith describes as “the artist of my life” in Just Kids, her mem­oir of their long and com­plex rela­tion­ship. A high­ly per­son­al work, that book also includes the text of the brief but pow­er­ful good­bye let­ter she wrote to Map­plethor­pe, who died of AIDS in 1989. If you go to hear Smith read a let­ter aloud, there’s a decent chance it’ll be that one.

“Often as I lie awake I won­der if you are also lying awake,” Smith wrote to Map­plethor­pe, then in his final hos­pi­tal­iza­tion and already unable to receive any fur­ther com­mu­ni­ca­tion. “Are you in pain, or feel­ing alone? You drew me from the dark­est peri­od of my young life, shar­ing with me the sacred mys­tery of what it is to be an artist. I learned to see through you and nev­er com­pose a line or draw a curve that does not come from the knowl­edge I derived in our pre­cious time togeth­er. Your work, com­ing from a flu­id source, can be traced to the naked song of your youth. You spoke then of hold­ing hands with God. Remem­ber, through every­thing, you have always held that hand. Grip it hard, Robert, and don’t let it go.”

Smith speaks these words in the Let­ters Live video at the top of the post, shot just a few weeks ago in The Town Hall in Man­hat­tan. “Of all your work, you are still your most beau­ti­ful,” she reads, “the most beau­ti­ful work of all,” and it’s clear that, 35 years after Map­plethor­pe’s death, she still believes it. That may come across even more clear­ly than in Smith’s ear­li­er read­ing of the let­ter fea­tured here on Open Cul­ture back in 2012. As the years pass, Robert Map­plethor­pe remains frozen in time as a cul­tur­al­ly trans­gres­sive young artist, but Pat­ti Smith lives on, still play­ing the rock songs that made her name in the sev­en­ties while in her sev­en­ties. And unlike many cul­tur­al fig­ures at her lev­el of fame, she’s remained whol­ly her­self all the while — no doubt thanks to inspi­ra­tion from her old friend.

Relat­ed con­tent:

Pat­ti Smith Remem­bers Robert Map­plethor­pe

Vin­tage Footage Shows a Young, Unknown Pat­ti Smith & Robert Map­plethor­pe Liv­ing at the Famed Chelsea Hotel (1970)

Pat­ti Smith’s Award-Win­ning Mem­oir Just Kids Now Avail­able in a New Illus­trat­ed Edi­tion

Pat­ti Smith Reads Oscar Wilde’s 1897 Love Let­ter De Pro­fundis: See the Full Three-Hour Per­for­mance

Pat­ti Smith Doc­u­men­tary Dream of Life Beau­ti­ful­ly Cap­tures the Author’s Life and Long Career (2008)

The Life and Con­tro­ver­sial Work of Pho­tog­ra­ph­er Robert Map­plethor­pe Pro­filed in 1988 Doc­u­men­tary

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 Twit­ter at @colinmarshall or on Face­book.

Hear the Song Written on a Sinner’s Buttock in Hieronymus Bosch’s Painting The Garden of Earthly Delights

There’s some­thing unusu­al­ly excit­ing about find­ing a hid­den or dis­creet­ly placed ele­ment in a well-known paint­ing. I can only imag­ine the thrill of the physi­cian who first noticed the curi­ous pres­ence of a human brain in Michelangelo’s The Cre­ation of Adam: God, his ret­inue of angels, and their cloak map neat­ly onto some of the main neur­al struc­tures, includ­ing the major sul­ci in the cere­bel­lum, the pitu­itary gland, the frontal lobe, and the optic chi­asm. It’s hard to gauge Michelangelo’s moti­va­tion for doing so, but con­sid­er­ing his doc­u­ment­ed inter­est in dis­sec­tion and phys­i­ol­o­gy, the find is not par­tic­u­lar­ly sur­pris­ing.

adam

And then there’s anoth­er find. Sev­er­al years ago, the Inter­net became excit­ed when an enter­pris­ing blog­ger named Amelia tran­scribed, record­ed, and uploaded a musi­cal score straight out of Hierony­mus Bosch’s The Gar­den of Earth­ly Delights, paint­ed between 1490 and 1510. The kick­er? Amelia found the score writ­ten on a suf­fer­ing sinner’s butt.

The poor, musi­cal­ly-brand­ed soul can be seen in the bot­tom left-hand cor­ner of the painting’s third and final pan­el (below), where­in Bosch depicts the var­i­ous tor­ture meth­ods of hell. The unfor­tu­nate hell-dweller lies pros­trate atop an open music book, crushed by a gigan­tic lute, while a toad-like demon stretch­es his tongue towards his tune­ful but­tocks. Anoth­er inhab­i­tant is strung up on a harp above the scene.

bosch-1

The piece, which Amelia tran­scribed and record­ed, can be heard in the video above. It is… unusu­al. Although we can’t ascer­tain why Bosch decid­ed to write out this par­tic­u­lar melody, since scant bio­graph­i­cal infor­ma­tion about the painter sur­vives, it’s pos­si­ble that he decid­ed to include music in his depic­tion of the infer­no because it was viewed as a sign of sin­ful plea­sure. For those who haven’t yet had a chance to hear it, lis­ten to Medieval-era butt music here.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman or at Google, or read more of his writ­ing at the Huff­in­g­ton Post.

Relat­ed Con­tent:

Take a Vir­tu­al Tour of Hierony­mus Bosch’s Bewil­der­ing Mas­ter­piece The Gar­den of Earth­ly Delights

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

Watch the Spec­tac­u­lar Hierony­mus Bosch Parade, Which Floats Through The Gar­den of Earth­ly Delights Painter’s Home­town Every Year

Hierony­mus Bosch’s Medieval Paint­ing, “The Gar­den of Earth­ly Delights,” Comes to Life in a Gigan­tic, Mod­ern Ani­ma­tion

 

 

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