Discover the World’s Oldest Surviving Cookbook, De Re Coquinaria, from Ancient Rome

West­ern schol­ar­ship has had “a bias against study­ing sen­su­al expe­ri­ence,” writes Reina Gat­tuso at Atlas Obscu­ra, “the rel­ic of an Enlight­en­ment-era hier­ar­chy that con­sid­ered taste, touch, and fla­vor taboo top­ics for sober aca­d­e­m­ic inquiry.” This does not mean, how­ev­er, that cook­ing has been ignored by his­to­ri­ans. Many a schol­ar has tak­en Euro­pean cook­ing seri­ous­ly, before recent food schol­ar­ship expand­ed the canon. For exam­ple, in a 1926 Eng­lish trans­la­tion of an ancient Roman cook­book, Joseph Dom­mers Vehling makes a strong case for the cen­tral­i­ty of food schol­ar­ship.

“Any­one who would know some­thing worth­while about the pri­vate and pub­lic lives of the ancients,” writes Vehling, “should be well acquaint­ed with their table.” Pub­lished as Cook­ery and Din­ing in Impe­r­i­al Rome (and avail­able here at Project Guten­berg and at the Inter­net Archive), it is, he says, the old­est known cook­book in exis­tence.

The book, orig­i­nal­ly titled De Re Coquinar­ia, is attrib­uted to Api­cius and may date to the 1st cen­tu­ry A.C.E., though the old­est sur­viv­ing copy comes from the end of the Empire, some­time in the 5th cen­tu­ry. As with most ancient texts, copied over cen­turies, redact­ed, amend­ed, and edit­ed, the orig­i­nal cook­book is shroud­ed in mys­tery.

The cook­book’s author, Api­cius, could have been one of sev­er­al “renowned gas­tronomers of old Rome” who bore the sur­name. But whichev­er “famous eater” was respon­si­ble, over 2000 years lat­er the book has quite a lot to tell us about the Roman diet. (All of the illus­tra­tions here are by Vehling, who includes over two dozen exam­ples of ancient prac­tices and arti­facts.)

Meat played an impor­tant role, and “cru­el meth­ods of slaugh­ter were com­mon.” But the kind of meat avail­able seems to have changed dur­ing Apicius’s time:

With the increas­ing short­age of beef, with the increas­ing facil­i­ties for rais­ing chick­en and pork, a rever­sion to Api­cian meth­ods of cook­ery and diet is not only prob­a­bly but actu­al­ly seems inevitable. The ancient bill of fare and the ancient meth­ods of cook­ery were entire­ly guid­ed by the sup­ply of raw materials—precisely like ours. They had no great food stores nor very effi­cient mar­ket­ing and trans­porta­tion sys­tems, food cold stor­age. They knew, how­ev­er, to take care of what there was. They were good man­agers.

But veg­e­tar­i­ans were also well-served. “Api­cius cer­tain­ly excels in the prepa­ra­tion of veg­etable dish­es (cf. his cab­bage and aspara­gus) and in the uti­liza­tion of parts of food mate­ri­als that are today con­sid­ered infe­ri­or.” This appar­ent need to use every­thing, and to some­times heav­i­ly spice food to cov­er spoilage, may have led to an unusu­al Roman cus­tom. As How Stuff Works puts it, “cooks then were revered if they could dis­guise a com­mon food item so that din­ers had no idea what they were eat­ing.”

As for the recipes them­selves, well, any attempt to dupli­cate them will be at best a broad interpretation—a trans­la­tion from ancient meth­ods of cook­ing by smell, feel, and cus­tom to the mod­ern way of weights and mea­sures. Con­sid­er the fol­low­ing recipe:

WINE SAUCE FOR TRUFFLES

PEPPER, LOVAGE, CORIANDER, RUE, BROTH, HONEY AND A LITTLE OIL.

ANOTHER WAY: THYME, SATURY, PEPPER, LOVAGE, HONEY, BROTH AND OIL.

I fore­see much frus­trat­ing tri­al and error (and many hope­ful sub­sti­tu­tions for things like lovage or rue or “sat­u­ry”) for the cook who attempts this. Some foods that were plen­ti­ful­ly avail­able could cost hun­dreds now to pre­pare for a din­ner par­ty.

SEAFOOD MINCES ARE MADE OF SEA-ONION, OR SEA CRAB, FISH, LOBSTER, CUTTLE-FISH, INK FISH, SPINY LOBSTER, SCALLOPS AND OYSTERS. THE FORCEMEAT IS SEASONED WITH LOVAGE, PEPPER, CUMIN AND LASER ROOT.

Vehling’s foot­notes most­ly deal with ety­mol­o­gy and define unfa­mil­iar terms (“laser root” is wild fen­nel), but they pro­vide lit­tle prac­ti­cal insight for the cook. “Most of the Api­cian direc­tions are vague, hasti­ly jot­ted down, care­less­ly edit­ed,” much of the ter­mi­nol­o­gy is obscure: “with the advent of the dark ages, it ceased to be a prac­ti­cal cook­ery book.” We learn, instead, about Roman ingre­di­ents and home eco­nom­ic prac­tices, insep­a­ra­ble from Roman eco­nom­ics more gen­er­al­ly, accord­ing to Vehling.

He makes a judg­ment of his own time even more rel­e­vant to ours: “Such atroc­i­ties as the will­ful destruc­tion of huge quan­ti­ties of food of every descrip­tion on the one side and the starv­ing mul­ti­tudes on the oth­er as seen today nev­er occurred in antiq­ui­ty.” Per­haps more cur­rent his­to­ri­ans of antiq­ui­ty would beg to dif­fer, I wouldn’t know.

But if you’re just look­ing for a Roman recipe that you can make at home, might I sug­gest the Rose Wine?

ROSE WINE

MAKE ROSE WINE IN THIS MANNER: ROSE PETALS, THE LOWER WHITE PART REMOVED, SEWED INTO A LINEN BAG AND IMMERSED IN WINE FOR SEVEN DAYS. THEREUPON ADD A SACK OF NEW PETALS WHICH ALLOW TO DRAW FOR ANOTHER SEVEN DAYS. AGAIN REMOVE THE OLD PETALS AND REPLACE THEM BY FRESH ONES FOR ANOTHER WEEK; THEN STRAIN THE WINE THROUGH THE COLANDER. BEFORE SERVING, ADD HONEY SWEETENING TO TASTE. TAKE CARE THAT ONLY THE BEST PETALS FREE FROM DEW BE USED FOR SOAKING.

You could prob­a­bly go with red or white, though I’d haz­ard Api­cius went with a fine vinum rubrum. This con­coc­tion, Vehling tells us in a help­ful foot­note, dou­bles as a lax­a­tive. Clever, those Romans. Read the full Eng­lish trans­la­tion of the ancient Roman cook­book here.

Note: An ear­li­er ver­sion of this post appeared on our site in 202o.

Relat­ed Con­tent: 

How to Make the Old­est Recipe in the World: A Recipe for Net­tle Pud­ding Dat­ing Back 6,000 BC

The Old­est Unopened Bot­tle of Wine in the World (Cir­ca 350 AD)

Cook Real Recipes from Ancient Rome: Ostrich Ragoût, Roast Wild Boar, Nut Tarts & More

How to Bake Ancient Roman Bread Dat­ing Back to 79 AD: A Video Primer

The World’s Old­est Cook­book: Dis­cov­er 4,000-Year-Old Recipes from Ancient Baby­lon

Josh Jones is a writer and musi­cian based in Durham, NC. 

Why Knights Fought Snails in Medieval Illuminated Manuscripts

The snail may leave a trail of slime behind him, but a lit­tle slime will do a man no harm… whilst if you dance with drag­ons, you must expect to burn.

- George R. R. Mar­tin, The Mys­tery Knight

As any Game of Thrones fan knows, being a knight has its down­sides. It isn’t all pow­er, glo­ry, advan­ta­geous mar­riages and gifts rang­ing from cas­tles to bags of gold.

Some­times you have to fight a tru­ly for­mi­da­ble oppo­nent.

We’re not talk­ing about bun­nies here, though there’s plen­ty of doc­u­men­ta­tion to sug­gest medieval rab­bits were tough cus­tomers.

As Vox Almanac’s Phil Edwards explains, above, the many snails lit­ter­ing the mar­gins of 13th-cen­tu­ry man­u­scripts were also fear­some foes.

Boars, lions, and bears we can under­stand, but … snails? Why?

The­o­ries abound.

Detail from Brunet­to Latini’s Li Livres dou Tre­sor

Edwards favors the one in medieval­ist Lil­ian M. C. Randall’s 1962 essay “The Snail in Goth­ic Mar­gin­al War­fare.”

Ran­dall, who found some 70 instances of man-on-snail com­bat in 29 man­u­scripts dat­ing from the late 1200s to ear­ly 1300s, believed that the tiny mol­lusks were stand ins for the Ger­man­ic Lom­bards who invad­ed Italy in the 8th cen­tu­ry.

After Charle­magne trounced the Lom­bards in 772, declar­ing him­self King of Lom­bardy, the van­quished turned to usury and pawn­broking, earn­ing the enmi­ty of the rest of the pop­u­lace, even those who required their ser­vices.

Their pro­fes­sion con­ferred pow­er of a sort, the kind that tends to get one labelled cow­ard­ly, greedy, mali­cious … and easy to put down.

Which rather begs the ques­tion why the knights going toe-to- …uh, fac­ing off against them in the mar­gins of these illu­mi­nat­ed man­u­scripts look so damn intim­i­dat­ed.

(Con­verse­ly why was Rex Harrison’s Dr. Dolit­tle so unafraid of the Giant Pink Sea Snail?)

Detail from from MS. Roy­al 10 IV E (aka the Smith­field Dec­re­tals)

Let us remem­ber that the doo­dles in medieval mar­gin­a­lia are edi­to­r­i­al car­toons wrapped in enig­mas, much as today’s memes would seem, 800 years from now. What­ev­er point—or joke—the scribe was mak­ing, it’s been obscured by the mists of time.

And these things have a way of evolv­ing. The snail vs. knight motif dis­ap­peared in the 14th-cen­tu­ry, only to resur­face toward the end of the 15th, when any exist­ing sig­nif­i­cance would very like­ly have been tai­lored to fit the times.

Detail from The Mac­cles­field Psalter

Oth­er the­o­ries that schol­ars, art his­to­ri­ans, blog­gers, and arm­chair medieval­ists have float­ed with regard to the sym­bol­ism of these rough and ready snails haunt­ing the mar­gins:

The Res­ur­rec­tion

The high cler­gy, shrink­ing from prob­lems of the church

The slow­ness of time

The insu­la­tion of the rul­ing class

The aristocracy’s oppres­sion of the poor

A cri­tique of social climbers

Female sex­u­al­i­ty (isn’t every­thing?)

Vir­tu­ous humil­i­ty, as opposed to knight­ly pride

The snail’s reign of ter­ror in the gar­den (not so sym­bol­ic, per­haps…)

A prac­ti­cal-mind­ed Red­dit com­menter offers the fol­low­ing com­men­tary:

I like to imag­ine a monk draw­ing out his fan­tas­ti­cal day­dreams, the snail being his neme­sis, leav­ing unsight­ly trails across the page and him build­ing up in his head this great vic­to­ry where­in he van­quish­es them for­ev­er, nev­er again to be plagued by the beast­ly bug­gers while cre­at­ing his mas­ter­pieces.

Read­ers, any oth­er ideas?

Detail from The Gor­leston Psalter

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

Relat­ed Con­tent:

Killer Rab­bits in Medieval Man­u­scripts: Why So Many Draw­ings in the Mar­gins Depict Bun­nies Going Bad

Medieval Cats Behav­ing Bad­ly: Kit­ties That Left Paw Prints … and Peed … on 15th Cen­tu­ry Man­u­scripts

The Aberdeen Bes­tiary, One of the Great Medieval Illu­mi­nat­ed Man­u­scripts, Now Dig­i­tized in High Res­o­lu­tion & Made Avail­able Online

A Rab­bit Rides a Char­i­ot Pulled by Geese in an Ancient Roman Mosa­ic (2nd cen­tu­ry AD)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er in New York City.

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Watch Joan Baez Endearingly Imitate Bob Dylan (1972)

Joan Baez was already her­ald­ed as the “Queen of Folk” by the time Robert Zim­mer­man aka Bob Dylan arrived in New York City. Many things brought him to the bur­geon­ing folk scene there, but Baez was the siren who called to a young Dylan through his tele­vi­sion set long before he met her. He was smit­ten. He would write much lat­er in Chron­i­cles, Vol. 1, that she had “A voice that drove out bad spir­its… she sang in a voice straight to God… Noth­ing she did didn’t work.”

And for a cou­ple of years they became col­lab­o­ra­tors, part­ners, lovers, and folk roy­al­ty. It was Baez who intro­duced a then-unknown Dylan to the crowds at the 1963 New­port Folk Fes­ti­val. But soon, for­tunes changed: Dylan became an unstop­pable cul­tur­al force and Baez would be on the receiv­ing end of sev­er­al betray­als, artis­tic and oth­er­wise.

An excerpt from an Earl Scrug­gs doc­u­men­tary, the cute video above, shot by David Hoff­man and post­ed on his YouTube chan­nel, shows Baez imi­tat­ing Dylan after she sings a verse of “It Ain’t Me Babe”. (She does this while hold­ing her baby and try­ing to get it to drink from a pitch­er, too.) A 16-year-old Ricky Skaggs—not look­ing any­thing like a teenager—accompanies her on gui­tar.

For one thing she does a crackin’ good Dylan impres­sion. The oth­er is watch­ing the emo­tion behind that impression—there’s a lot of his­to­ry there, a bit of sad­ness, a bit of nos­tal­gia, noth­ing bit­ter or mean, but evi­dence of a shared life togeth­er that once exist­ed.

By this time in 1972, Dylan’s voice had matured. The croon­er on Nashville Sky­line was a dif­fer­ent per­son from the man on Blonde on Blonde, all those rough cor­ners sand­ed off and the reg­is­ter deep­ened. Yet when any­one imi­tates Dylan, they head on back to those mid-‘60s albums, the “bray­ing beat­nik” as writer Rob Jones calls him. (Jones posits that Dylan has had eight par­tic­u­lar voic­es dur­ing his career.)

Remem­ber, as Slate’s Carl Wil­son points out, when Dylan first start­ed out, he was com­mend­ed for his voice, and was con­sid­ered  “one of the most com­pelling white blues singers ever record­ed,” by Robert Shel­ton, who wrote the copy on the back cov­er of Dylan’s 1962 debut album. He came from a tra­di­tion of both Woody Guthrie and Howl­in’ Wolf, and sev­er­al oth­er idio­syn­crat­ic singers who didn’t sound like Frank Sina­tra. (Although Dylan’s last few projects have been cov­ers from the Great Amer­i­can Song­book.)

Dylan him­self, in a 2015 award accep­tance speech, turned his ire towards crit­ics of his voice:

Crit­ics have been giv­ing me a hard time since Day One. Crit­ics say I can’t sing. I croak. Sound like a frog. Why don’t crit­ics say that same thing about Tom Waits? Crit­ics say my voice is shot. That I have no voice. [Why] don’t they say those things about Leonard Cohen? Why do I get spe­cial treat­ment? Crit­ics say I can’t car­ry a tune and I talk my way through a song. Real­ly? I’ve nev­er heard that said about Lou Reed. Why does he get to go scot-free? … Slur my words, got no dic­tion. Have you peo­ple ever lis­tened to Charley Pat­ton or Robert John­son, Mud­dy Waters? … “Why me, Lord?” I would say that to myself.

Fast for­ward to the present and Dylan’s voice shows the wear of years of per­form­ing and years of indul­gence. It’s grav­el­ly and phleg­mat­ic, smoky and whiskey-soaked, but Wil­son points out: “Even the rasp and burr of his late voice, sev­er­al keen lis­ten­ers have noticed, is very much like a more gen­uine copy of the old-blues­man tim­bre he pre­ten­tious­ly affect­ed as a young man. It’s almost like this is what he’s been aim­ing toward.”

Note: An ear­li­er ver­sion of this post appeared on our site in 2018.

Relat­ed Con­tent:

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

Joan Baez Live in 1965: Full Con­cert

Bob Dylan Explains Why Music Has Been Get­ting Worse

17-Year-Old Joan Baez Per­forms at Famous “Club 47” in Cam­bridge, MA (1958)

Bob Dylan’s Famous Tele­vised Press Con­fer­ence After He Went Elec­tric (1965)

Ted Mills is a free­lance writer on the arts.

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What Is Kabbalah? An Introduction to the Jewish Mystical Tradition

Though the pop-cul­tur­al moment that gave rise to the asso­ci­a­tion has passed, when many of us hear about Kab­bal­ah, we still think of Madon­na. Her study of that Jew­ish-mys­tic school of thought in the nine­teen-nineties has been cred­it­ed, at least in part, with the son­ic trans­for­ma­tion that led to her hit album Ray of Light.  A few years lat­er, when she record­ed the theme song for the 2002 James Bond movie Die Anoth­er Day, she man­aged to include in its music video such Kab­bal­is­tic imagery as the Hebrew let­ters lamed, aleph, and vav — which come, as Reli­gion for Break­fast cre­ator Andrew M. Hen­ry says in the video above, from one of the 72 names of God accord­ing to Jew­ish tra­di­tion.

But what, exact­ly, is Kab­bal­ah? That’s the ques­tion Hen­ry takes it upon him­self to answer, attempt­ing to sep­a­rate the real thing from the pop-cul­tur­al ephemera that’s come to sur­round it.

This entails first going back to the ear­li­est Kab­bal­ists, “Jew­ish teach­ers, the­olo­gians, and philoso­phers” among “the edu­cat­ed elite of medieval Europe, liv­ing in Spain and France, writ­ing new and inno­v­a­tive stud­ies on Jew­ish texts and con­cepts about mys­ti­cal con­tem­pla­tion of the divine realms, the nature of God, the pur­pose of human­i­ty, and the cre­ation of the uni­verse.” They searched, and their suc­ces­sors have con­tin­ued to search, for secret divine wis­dom orig­i­nal­ly vouch­safed to Moses at Mount Sinai.

The word kab­bal­ah can be trans­lat­ed as “that which has been received,” but that may make the enter­prise sound sim­pler than it is. Hen­ry frames Kab­bal­ah as a series of tra­di­tions “encom­pass­ing sev­er­al modes of read­ing, a library of texts, a series of con­cepts, and a range of prac­tices with­in Judaism that is con­cerned with mys­ti­cal con­tem­pla­tion.” But what­ev­er their dif­fer­ences, most Kab­bal­ists revere con­cepts like Ein Sof, “an infi­nite imper­son­al god or supreme enti­ty or supreme enti­ty that we can­not describe with our own human fac­ul­ties,” and vast works like the nov­el­is­tic Zohar, or “The Book of Radi­ance,” in which “even the search for mys­ti­cal knowl­edge becomes sex­u­al­ized”: an aspect that, giv­en the skill with which she’s craft­ed her provoca­tive pop-icon image, Madon­na could hard­ly fail to appre­ci­ate.

Relat­ed con­tent:

The Tal­mud Is Final­ly Now Avail­able Online

Wal­ter Benjamin’s Philo­soph­i­cal Thought Pre­sent­ed by Two Exper­i­men­tal Films

The Ancient Greeks Who Con­vert­ed to Bud­dhism

The Ark Before Noah: Dis­cov­er the Ancient Flood Myths That Came Before the Bible

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

3,500 Occult Man­u­scripts Will Be Dig­i­tized & Made Freely Avail­able Online, Thanks to Da Vin­ci Code Author Dan Brown

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.

2,178 Occult Books Now Digitized & Put Online, Thanks to the Ritman Library and Da Vinci Code Author Dan Brown

In 2018 we brought you some excit­ing news. Thanks to a gen­er­ous dona­tion from Da Vin­ci Code author Dan Brown, Amsterdam’s Rit­man Library—a siz­able col­lec­tion of pre-1900 books on alche­my, astrol­o­gy, mag­ic, and oth­er occult subjects—has been dig­i­tiz­ing thou­sands of its rare texts under a dig­i­tal edu­ca­tion project cheek­i­ly called “Her­met­i­cal­ly Open.” We are now pleased to report that the first 2,178 books from the Rit­man project have come avail­able in their online read­ing room.

Vis­i­tors should be aware that these books are writ­ten in sev­er­al dif­fer­ent Euro­pean lan­guages. Latin, the schol­ar­ly lan­guage of Europe through­out the Medieval and Ear­ly Mod­ern peri­ods, pre­dom­i­nates, and it’s a pecu­liar Latin at that, laden with jar­gon and alchem­i­cal ter­mi­nol­o­gy. Oth­er books appear in Ger­man, Dutch, and French. Read­ers of some or all of these lan­guages will of course have an eas­i­er time than mono­lin­gual Eng­lish speak­ers, but there is still much to offer those vis­i­tors as well.

In addi­tion to the plea­sure of pag­ing through an old rare book, even vir­tu­al­ly, Eng­lish speak­ers can quick­ly find a col­lec­tion of read­able books by click­ing on the “Place of Pub­li­ca­tion” search fil­ter and select­ing Cam­bridge or Lon­don, from which come such notable works as The Man-Mouse Takin in a Trap, and tortur’d to death for gnaw­ing the Mar­gins of Euge­nius Phi­lalethes, by Thomas Vaugh­an, pub­lished in 1650.

The lan­guage is archaic—full of quirky spellings and uses of the “long s”—and the con­tent is bizarre. Those famil­iar with this type of writ­ing, whether through his­tor­i­cal study or the work of more recent inter­preters like Aleis­ter Crow­ley or Madame Blavatsky, will rec­og­nize the many for­mu­las: The trac­ing of mag­i­cal cor­re­spon­dences between flo­ra, fau­na, and astro­nom­i­cal phe­nom­e­na; the care­ful pars­ing of names; astrol­o­gy and lengthy lin­guis­tic ety­molo­gies; numero­log­i­cal dis­cours­es and philo­soph­i­cal poet­ry; ear­ly psy­chol­o­gy and per­son­al­i­ty typ­ing; cryp­tic, cod­ed mythol­o­gy and med­ical pro­ce­dures. Although we’ve grown accus­tomed through pop­u­lar media to think­ing of mag­i­cal books as cook­books, full of recipes and incan­ta­tions, the real­i­ty is far dif­fer­ent.

Encoun­ter­ing the vast and strange trea­sures in the online library, one thinks of the type of the magi­cian rep­re­sent­ed in Goethe’s Faust, holed up in his study,

Where even the wel­come day­light strains
But duski­ly through the paint­ed panes.
Hemmed in by many a top­pling heap
Of books worm-eat­en, gray with dust,
Which to the vault­ed ceil­ing creep

The library doesn’t only con­tain occult books. Like the weary schol­ar Faust, alchemists of old “stud­ied now Phi­los­o­phy / And Jurispru­dence, Med­i­cine,— / And even, alas! The­ol­o­gy.” Click on Cam­bridge as the place of pub­li­ca­tion and you’ll find the work above by Hen­ry More, “one of the cel­e­brat­ed ‘Cam­bridge Pla­ton­ists,’” the Lin­da Hall Library notes, “who flour­ished in mid-17th-cen­tu­ry and did their best to rec­on­cile Pla­to with Chris­tian­i­ty and the mechan­i­cal phi­los­o­phy that was begin­ning to make inroads into British nat­ur­al phi­los­o­phy.” Those who study Euro­pean intel­lec­tu­al his­to­ry know well that More’s pres­ence in this col­lec­tion is no anom­aly. For a few hun­dred years, it was dif­fi­cult, if not impos­si­ble, to sep­a­rate the pur­suits of the­ol­o­gy, phi­los­o­phy, med­i­cine, and sci­ence (or “nat­ur­al phi­los­o­phy”) from those of alche­my and astrol­o­gy. (Isaac New­ton is a famous exam­ple of a mathematician/scientist/alchemist/believer in strange apoc­a­lyp­tic pre­dic­tions.) Enter the Rit­man’s new dig­i­tal col­lec­tion of occult texts here.

Note: An ear­li­er ver­sion of this post appeared on our site in 2018.

Relat­ed Con­tent:

A Big Archive of Occult Record­ings: His­toric Audio Lets You Hear Trances, Para­nor­mal Music, Glos­so­lalia & Oth­er Strange Sounds (1905–2007)

Dis­cov­er The Key of Hell, an Illus­trat­ed 18th-Cen­tu­ry Guide to Black Mag­ic (1775)

Isaac Newton’s Recipe for the Myth­i­cal ‘Philosopher’s Stone’ Is Being Dig­i­tized & Put Online (Along with His Oth­er Alche­my Man­u­scripts)

Aleis­ter Crow­ley Reads Occult Poet­ry in the Only Known Record­ings of His Voice (1920)

The Sur­re­al Paint­ings of the Occult Magi­cian, Writer & Moun­taineer, Aleis­ter Crow­ley

Josh Jones is a writer and musi­cian based in Durham, NC. 

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The Stunt That Ended Buster Keaton’s Brilliant Career

Buster Keaton’s pen­chant and skill for comedic stunts made him one of the biggest stars of the silent-film era.  Nobody at the time imag­ined that he would still be engag­ing in dan­ger­ous-look­ing prat­falls 40 years lat­er in his sev­en­ties, espe­cial­ly since his career seemed to have come to an end in 1926. That was the year of his Civ­il War-set film The Gen­er­al, which, though now crit­i­cal­ly respect­ed, left con­tem­po­rary audi­ences cold. Flops are, per­haps, inevitable, but this one hap­pened to incor­po­rate into the pic­ture the most expen­sive shot in cin­e­ma his­to­ry to date. As a result, says the Ming video above, “Keaton was nev­er giv­en con­trol over his films again.”

Iron­i­cal­ly, unlike the cin­e­mat­ic images that had made him famous, the $42,000 shot in The Gen­er­al did not put its direc­tor-star in appar­ent mor­tal per­il, depict­ing only a rail­road bridge col­laps­ing while a train cross­es it. Though undoubt­ed­ly impres­sive, it would­n’t have been what peo­ple went to a Buster Keaton movie to see.

Here was a man will­ing, after all, to fly from the back of a mov­ing street­car, dan­gle off the edge of a water­fall, risk being crushed by an entire wall of a house, and even break his neck — though he did­n’t dis­cov­er that he’d done so until eleven years lat­er. Mak­ing these and all of Keaton’s oth­er famous stunts involved con­sid­er­able amounts of both cal­cu­lat­ed dan­ger and movie mag­ic.

Some of that movie mag­ic was con­ceived by Keaton him­self, the first film­mak­er, in Quentin Taran­ti­no’s words, to “use cin­e­ma itself to be the joke.” Few per­form­ers could have adapt­ed so well to the medi­um of silent film, with its realms of silent com­e­dy just wait­ing to be opened. And after sound had been around for a few decades, long­time movie­go­ers start­ed to feel like cin­e­ma had lost some of the visu­al exu­ber­ance that it once pos­sessed. By that time, luck­i­ly, Keaton had emerged from his long post-Gen­er­al peri­od of hard-drink­ing malaise, ready to appear not just in the movies again, but also on tele­vi­sion, delight­ing the gen­er­a­tions who remem­bered his ear­li­er work and fas­ci­nat­ing those too young to rec­og­nize him. Even today, when we find our­selves laugh­ing at a scene of elab­o­rate­ly orches­trat­ed phys­i­cal dan­ger, we are, in some sense, wit­ness­ing Keaton’s lega­cy.

Relat­ed con­tent:

30 Buster Keaton Films: “The Great­est of All Com­ic Actors,” “One of the Great­est Film­mak­ers of All Time”

Watch the Only Time Char­lie Chap­lin & Buster Keaton Per­formed Togeth­er On-Screen (1952)

Char­lie Chap­lin & Buster Keaton Go Toe to Toe (Almost) in a Hilar­i­ous Box­ing Scene Mash Up from Their Clas­sic Silent Films

A Super­cut of Buster Keaton’s Most Amaz­ing Stunts

101 Free Silent Films: The Great Clas­sics

The Gen­er­al, “Per­haps the Great­est Film Ever Made,” and 20 Oth­er Buster Keaton Clas­sics Free Online

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.

Tim Burton Visits a Paris Video Store & Talks About His Favorite Movies

Tim Bur­ton grew up watch­ing Japan­ese mon­ster movies in Bur­bank, which must explain a good deal about his artis­tic sen­si­bil­i­ty. It seems to be for that rea­son, in any case, that the new Kon­bi­ni “Vidéo Club” episode above takes him first to the Asian cin­e­ma sec­tion of JM Vidéo, one of Paris’ last two DVD rental shops. Ear­ly and repeat­ed expo­sure to such kai­ju clas­sics as Hon­da Ishirō’s Godzil­la and The War of the Gar­gan­tuas may have instilled him with an affec­tion for poor Eng­lish dub­bing, but it did­n’t rob him of his abil­i­ty to appre­ci­ate more refined (if equal­ly vis­cer­al) exam­ples of Japan­ese film like Shindō Kane­to’s Oni­ba­ba and Kuroneko.

Bur­ton describes those pic­tures as dream­like, a qual­i­ty he goes on to praise in oth­er selec­tions from a vari­ety of dif­fer­ent eras and cul­tures. Even cinephiles who don’t share his par­tic­u­lar taste in view­ing mate­r­i­al — bound on one end, it seems, by The Pas­sion of Joan of Arc and The Cab­i­net of Dr. Cali­gari, and on the oth­er by I Was a Teenage Were­wolf and The Brain That Would­n’t Die, with the likes of Jason and the Arg­onauts and The Fly in between — have to admit that this indi­cates a deep under­stand­ing of cin­e­ma itself.

It may be the art form whose expe­ri­ence is most sim­i­lar to dream­ing, but only occa­sion­al­ly through­out its his­to­ry have par­tic­u­lar films attained the sta­tus of the tru­ly oneir­ic. One sus­pects that Bur­ton knows them all.

In fact, one of the twen­ty-first cen­tu­ry’s most notable addi­tions to the canon of the dream­like won the Palme d’Or with Bur­ton’s involve­ment. This video includes his brief rem­i­nis­cences of being on the jury at the 2010 Cannes Film Fes­ti­val, where Apichat­pong Weerasethakul’s Uncle Boon­mee Who Can Recall His Past Lives took the top prize. That same year saw the release of Bur­ton’s own Alice in Won­der­land, which he describes as “the most chaot­ic movie I’ve ever made.” In 2019, he direct­ed his sec­ond live-action Dis­ney adap­ta­tion Dum­bo, which, though hard­ly a pas­sion project, was­n’t with­out its auto­bi­o­graph­i­cal res­o­nances: “At that point, I kind of felt like Dum­bo,” he admits, “a weird crea­ture trapped at Dis­ney.” Per­haps that long on-and-off cor­po­rate asso­ci­a­tion final­ly hav­ing come to an end, or so he sug­gests, means he’ll now be freer than ever to draw from the depths of his own cin­e­mat­ic sub­con­scious­ness.

Relat­ed con­tent:

Tim Bur­ton: A Look Inside His Visu­al Imag­i­na­tion

Watch Vin­cent, Tim Burton’s Ani­mat­ed Trib­ute to Vin­cent Price & Edgar Allan Poe (1982)

Tim Burton’s Hansel and Gre­tel Shot on 16mm Film with Ama­teur Japan­ese Actors (1983)

David Cro­nen­berg Vis­its a Video Store & Talks About His Favorite Movies

Christo­pher Nolan Vis­its a Paris Video Store & Talks with Cil­lian Mur­phy About the Films That Influ­enced Him

Watch The Cab­i­net of Dr. Cali­gari, the Influ­en­tial Ger­man Expres­sion­ist Hor­ror Film (1920)

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.

Behold the Very First Color Photograph (1861): Taken by Scottish Physicist & Poet James Clerk Maxwell

Since its ancient ori­gins as the cam­era obscu­ra, the pho­to­graph­ic cam­era has always mim­ic­ked the human eye, allow­ing light to enter an aper­ture, then pro­ject­ing an image upside down. Renais­sance artists relied on the cam­era obscu­ra to sharp­en their own visu­al per­spec­tives. But it wasn’t until photography—the abil­i­ty to repro­duce the obscu­ra’s images—that the rudi­men­ta­ry arti­fi­cial eye began evolv­ing the same com­plex struc­tures we rely on for our own visu­al acu­ity: lens­es for sharp­ness, vari­able aper­tures, shut­ter speeds, focus con­trols…. Only when it began to seem that pho­tog­ra­phy might vie with the oth­er fine arts did the devel­op­ment of cam­era tech­nol­o­gy take off. And it moved quick­ly.

Between the time of the first pho­to­graph in 1826 by Joseph Nicéphore Niépce and 1861, pho­tog­ra­phy had advanced suf­fi­cient­ly that physi­cist James Clerk Maxwell—known for his “Maxwell’s Demon” thought experiment—produced the first col­or pho­to­graph that did not imme­di­ate­ly fade or require hand paint­ing (above).

The Scot­tish sci­en­tist chose to take a pic­ture of a tar­tan rib­bon, “cre­at­ed,” writes Nation­al Geo­graph­ic, “by pho­tograph­ing it three times through red, blue, and yel­low fil­ters, then recom­bin­ing the images into one col­or com­pos­ite.” Maxwell’s three-col­or method was intend­ed to mim­ic the way the eye process­es col­or, based on the­o­ries he had elab­o­rat­ed in an 1855 paper.


Maxwell’s many oth­er accom­plish­ments tend to over­shad­ow his col­or pho­tog­ra­phy (and his poet­ry!). Nonethe­less, the poly­math thinker ush­ered in a rev­o­lu­tion in pho­to­graph­ic repro­duc­tion, almost as an aside. “It’s easy to for­get,“ writes BBC pic­ture edi­tor, Phil Coomes, “that not long ago news agen­cies were trans­mit­ting their wire pho­tographs as colour sep­a­ra­tions, usu­al­ly cyan, magen­ta, and yellow—a process that relied on Clerk Maxwell’s dis­cov­ery. Indeed, even the lat­est dig­i­tal cam­era relies on the sep­a­ra­tion method to cap­ture light.” And yet, com­pared to the usu­al speed of pho­to­graph­ic advance­ment, the process took some time to ful­ly refine.

Maxwell cre­at­ed the image with the help of pho­tog­ra­ph­er Thomas Sut­ton, inven­tor of the sin­gle lens reflex cam­era, but his inter­est lay prin­ci­pal­ly in its demon­stra­tion of his col­or the­o­ry, not its appli­ca­tion to pho­tog­ra­phy in gen­er­al. Six­teen years lat­er, the repro­duc­tion of col­or had not advanced sig­nif­i­cant­ly, though a sub­trac­tive method allowed more sub­tle­ty of light and shade, as you can see in the 1877 exam­ple above by Louis Ducos du Hau­ron. Even so, these nine­teenth-cen­tu­ry images still can­not com­pete for vibran­cy and life­like­ness with hand-col­ored pho­tos from the peri­od. Despite appear­ing arti­fi­cial, hand-tint­ed images like these of 1860s Samu­rai Japan brought a star­tling imme­di­a­cy to their sub­jects in a way that ear­ly col­or pho­tog­ra­phy did not.


It wasn’t until the ear­ly 20th century—with the devel­op­ment of col­or process­es by Gabriel Lipp­man and the Sanger Shep­herd company—that col­or came into its own. Leo Tol­stoy appeared ear­ly in the cen­tu­ry in bril­liant full col­or pho­tos. Paris came alive in col­or images dur­ing WWI. And Sarah Angeli­na Acland, a pio­neer­ing Eng­lish pho­tog­ra­ph­er, took the image above in 1900 using the Sanger Shep­herd method. That process—patented, mar­ket­ed, and sold—thoroughly improved upon Maxwell’s results, but its basic oper­a­tion was near­ly the same: three images, red, green, and blue, com­bined into one.

Note: An ear­li­er ver­sion of this post appeared on our site in 2016.

Relat­ed Con­tent:

The First Pho­to­graph Ever Tak­en (1826)

Hand-Col­ored 1860s Pho­tographs Reveal the Last Days of Samu­rai Japan

The First Col­or Por­trait of Leo Tol­stoy, and Oth­er Amaz­ing Col­or Pho­tos of Czarist Rus­sia (1908)

Venice in Beau­ti­ful Col­or Images 125 Years Ago: The Rial­to Bridge, St. Mark’s Basil­i­ca, Doge’s Palace & More

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

The Only Time Prince & Miles Davis Jammed Together Onstage: Watch the New Year’s Eve, 1987 Concert

A too-pre­cious genre of inter­net meme depicts depart­ed pub­lic fig­ures who did not know each oth­er in life meet­ing in heav­en with hugs, high-fives, and winc­ing­ly earnest exchanges. These sen­ti­men­tal vignettes are almost too easy to par­o­dy, a kitschy ver­sion of the “what if” game, as in: what if two cre­ative genius­es could col­lab­o­rate in ways they nev­er did before they died?

What if John Lennon had formed a band with Eric Clap­ton—as Lennon him­self had once pro­posed? Or what if a Jimi Hendrix/Miles Davis col­lab­o­ra­tion had come off, as Hen­drix envi­sioned the year before his death? More than just fan­ta­sy base­ball, the exer­cise lets us spec­u­late about how musi­cians who influ­enced each oth­er might evolve if giv­en the chance to jam indef­i­nite­ly.

When it comes to Miles, there are few who haven’t been influ­enced by the jazz great, whether they know it or not. Prince Rogers Nel­son knew it well. The son of a jazz pianist, Prince grew up with Miles’ music. Although he “grav­i­tat­ed to the worlds of rock, pop, and R&B,” writes pianist Ron Dro­tos, Prince “seems to have seen jazz as a way to express him­self in a broad­er way than he could through more com­mer­cial styles alone.”

Prince was so inter­est­ed in explor­ing jazz—and Davis’ par­tic­u­lar form of jazz—in the 80s that he formed a band anony­mous­ly, called Mad­house (actu­al­ly just him and horn play­er Eric Leeds), and released two albums of fusion instru­men­tals. The influ­ence went both ways. “Miles con­sid­ered Prince to have the poten­tial to become anoth­er Duke Elling­ton and even mod­eled his own 1980s music part­ly on Prince’s style,” with 1986’s Tutu stand­ing out as an exam­ple. What if the two musi­cians had worked togeth­er? Can you imag­ine it?

They did not—to our knowl­edge, although Prince’s vault is vast—collaborate on an album, but they did cre­ate one stu­dio track togeth­er, “Can I Play With U?” And the two vir­tu­oso com­posers and musi­cians jammed togeth­er onstage, once, at Pais­ley Park, on New Year’s Eve, 1987. The con­cert was a ben­e­fit for the Min­neso­ta Coali­tion for the Home­less and the last time Prince per­formed the Sign O’ the Times stage show. At the tail end of the con­cert, Davis steps onstage for “an ice-cold appear­ance,” Okay­play­er notes. “As a com­pan­ion to the release of a deluxe edi­tion” of the album, “the late icon’s estate has relin­quished the full two-hour-plus set.”

Watch the con­cert at the top (trust me, don’t just skip ahead to see Davis at 1:43:50). Just above, you can see an hour­long “pre-show” taped with Maya Rudolph, “life­long Prince devo­tee,” Emmy-win­ning come­di­an, and daugh­ter of Min­nie Riper­ton. Oth­er guests include Prince’s long­time side­man and col­lab­o­ra­tor on his jazz project, Eric Leeds. “If you’re here, then you’re cool, like me,” Rudolph jokes, “and you know a lot about Prince.” Or maybe you don’t. Let Rudolph and her guests fill you in, and imag­ine Prince and Davis mak­ing celes­tial jazz-funk for­ev­er, between high-fives, in the Great Beyond.

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.

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Relat­ed Con­tent:

In 1969 Telegram, Jimi Hen­drix Invites Paul McCart­ney to Join a Super Group with Miles Davis

John Lennon Writes Eric Clap­ton an 8‑Page Let­ter Ask­ing Him to Join the Plas­tic Ono Band for a World Tour on a Cruise Ship

When Miles Davis Dis­cov­ered and Then Chan­neled the Musi­cal Spir­it of Jimi Hen­drix

The Night When Miles Davis Opened for the Grate­ful Dead (1970)

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

How Ancient Greek Technology Was Used to Sculpt Mount Rushmore

Design­ing their new repub­lic, the Found­ing Fathers of the Unit­ed States of Amer­i­ca looked back to ref­er­ence points in clas­si­cal antiq­ui­ty. That instinct con­tin­ued to shape Amer­i­can endeav­ors long there­after, and not just polit­i­cal ones. Take the exam­ple of Mount Rush­more, one of the coun­try’s most pop­u­lar tourist attrac­tions. Orig­i­nal­ly con­ceived in the ear­ly nine­teen-twen­ties as a moun­tain sculp­ture of Amer­i­ca’s wild-west heroes, a means of rais­ing the sta­tus of the fledg­ling state of South Dako­ta, it was soon changed into a stone trib­ute to four pres­i­dents: Found­ing Fathers George Wash­ing­ton and Thomas Jef­fer­son as well as Abra­ham Lin­coln and Theodore Roo­sevelt.

Mount Rush­more’s sculp­tor Gut­zon Bor­glum sug­gest­ed the switch from region­al fig­ures to nation­al ones, and it would­n’t be the last good idea he would bring to the table. As explained in the Pri­mal Space video above, he also fig­ured out how to repli­cate his ini­tial sculp­ture of the four pres­i­dents, made at one-twelfth-scale, on a 500-foot-tall cliff edge.

Build­ing all the nec­es­sary infra­struc­ture on and around the moun­tain con­sti­tut­ed a major project in and of itself. But when the work­ers got into their har­ness­es, how would they know where to direct their jack­ham­mers into the rock? To guide them, Bor­glum adapt­ed a mechan­i­cal tech­nique used by ancient Greeks to copy stat­ues, a “point­ing machine” that could “mea­sure spe­cif­ic points on a sculp­ture rel­a­tive to a ref­er­ence point,” mak­ing a three-dimen­sion­al shape trans­fer­able from one sculp­ture to anoth­er.

Bor­glum designed a large-scale point­ing machine that could be installed atop the moun­tain and posi­tioned to show work­ers where and how deep to drill. Though the sys­tem worked well, the team could only make progress so fast: after four­teen years, Mount Rush­more remained incom­plete when Bor­glum’s death and World War II put a stop to it alto­geth­er. Yet enough had been fin­ished to give it the icon­ic appear­ance that has made it rec­og­niz­able the world over, if not always by name. When I recent­ly gave a talk about Amer­i­can his­to­ry to some young stu­dents in South Korea, where I live, one of them iden­ti­fied a pho­to of Mount Rush­more as Mount Olym­pus — and, in a civ­i­liza­tion­al sense, maybe she was on to some­thing.

Relat­ed Con­tent:

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

The Met­ro­pol­i­tan Muse­um of Art Restores the Orig­i­nal Col­ors to Ancient Stat­ues

How Ancient Greek Stat­ues Real­ly Looked: Research Reveals Their Bold, Bright Col­ors and Pat­terns

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

How Mon­u­ment Val­ley Became the Most Icon­ic Land­scape of the Amer­i­can West

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.

Why Ancient Romans Paid a Fortune for the Color Purple — More Than Even Silver

Pur­ple may not be one of the most pop­u­lar col­ors in the appar­el of our age, but if you want it — as cer­tain cul­tur­al fig­ures have amply demon­strat­ed — you can get as much of it as you like, even if you don’t belong to the aris­toc­ra­cy. That was­n’t the case in antiq­ui­ty, as explained by ancient-his­to­ry YouTu­ber Gar­rett Ryan in the new video from his chan­nel Told in Stone above. Back then, long before the inven­tion of syn­thet­ic dyes, human­i­ty had to get all its col­ors from nature, and some of those nat­ur­al sources were more abun­dant and acces­si­ble than oth­ers. To pro­duce splen­did “Tyr­i­an pur­ple” required the mucus of sea snails, and not just any sea snails: only three species, col­lec­tive­ly referred to as murex, would do.

This par­tic­u­lar pur­ple, as Ryan explains, “was vir­tu­al­ly immune to wash­ing and weath­er­ing,” unlike the veg­etable dyes com­mon­ly used in antiq­ui­ty, and per­haps that strength inspired the leg­end that it was dis­cov­ered by Her­cules him­self.

Though its recipe has nev­er quite been repli­cat­ed in moder­ni­ty, it seems to have required a near­ly Her­culean labor to exe­cute, with each batch of ten thou­sand snails pro­duc­ing a sin­gle gram of dye. Even ancient Roman sen­a­tors got just one pur­ple stripe each on their togas; full pur­ple was reserved for tri­umph­ing gen­er­als and emper­ors. In some ages, under emper­ors like Nero, pur­ple — at least in its most lux­u­ri­ant shades — was for­bid­den to the com­mon peo­ple.

Not that most of them could have afford­ed it any­way, in Rome or oth­er ancient civ­i­liza­tions. “In clas­si­cal Athens, a pur­ple cloak cost three minas, or 300 drach­mas, when a fam­i­ly of four could live com­fort­ably for a year on 200,” Ryan explains. “The finest pur­ple cloth was worth its weight in sil­ver, and an espe­cial­ly rich gar­ment could cost two tal­ents: 12,000 drach­mas.” Dur­ing the reign of Augus­tus, when impe­r­i­al legionar­ies earned 900 ses­ter­tii a year, “a cloak of sec­ond-rate pur­ple” might sell for 10,000. Cal­cu­lat­ing from Dio­cle­tian’s Price Edict, you could the­o­ret­i­cal­ly trade a few pounds of pur­ple silk for 75,000 pints of beer, 7,500 “suc­cu­lent sow udders,” 750 pheas­ants, “a sin­gle first-class male lion,” and 150 law­suits: the mak­ings of quite a high time in Ancient Rome.

Relat­ed con­tent:

How the Ancient Greeks & Romans Made Beau­ti­ful Pur­ple Dye from Snail Glands

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

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

Prince Gets an Offi­cial Pur­ple Pan­tone Col­or

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.


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