# articles

feed_id: http://publicdomainreview.org/?p=2186
title: General Pershing March – Imperial Marimba Band (1918)
uri: General-Pershing-March-Imperial-Marimba-Band-(1918)
url: http://publicdomainreview.org/2011/10/05/general-pershing-march-imperial-marimba-band-1918/
content:
<div align="center">

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/d7/General_John_J._Pershing._General_Headquarters%2C_Chaumont%2C_France.%2C_10-19-1918_-_NARA_-_530766.tif/lossy-page1-460px-General_John_J._Pershing._General_Headquarters%2C_Chaumont%2C_France.%2C_10-19-1918_-_NARA_-_530766.tif.jpg" alt="" />

<object width="640" height="26" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000"><param value="true" name="allowfullscreen"/><param value="always" name="allowscriptaccess"/><param value="high" name="quality"/><param value="true" name="cachebusting"/><param value="#000000" name="bgcolor"/><param name="movie" value="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" /><param value="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'ImperialMarimbaBand-GeneralPershingMarchWorldWarISong_64kb.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/ImperialMarimbaBand/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'ImperialMarimbaBand-GeneralPershingMarchWorldWarISong_64kb.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/ImperialMarimbaBand/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}"> </embed></object>
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A rousing march composed by the Vandersloot Publishing Company in honour of General &#8220;Black Jack&#8221; Pershing who led American troops in World War One.
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<a href="http://www.archive.org/download/ImperialMarimbaBand/ImperialMarimbaBand-GeneralPershingMarchWorldWarISong.mp3">MP3 Download</a>
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<a href="http://www.archive.org/details/ImperialMarimbaBand">Internet Archive Link</a>
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<table id="wp-table-reloaded-id-4-no-1" class="wp-table-reloaded wp-table-reloaded-id-4">
<tbody>
	<tr class="row-1">
		<td class="column-1">Beela Boola by the Electric City 4 (1920)<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/01/beela-boola-electric-city-4-1920/"><img src="http://farm7.static.flickr.com/6009/5984449950_1837afe78f_o.jpg"></a></td><td class="column-2">Hungarian Rag -  Pietro Deiro (1913)<br />
<br />
<a href="http://publicdomainreview.org/?p=880"><img src="http://farm7.static.flickr.com/6008/5984449948_3ebd04de8b_o.jpg"></a></td><td class="column-3">As a Porcupine Pines for its Pork - Billy Jones &amp; Ernest Hare<br />
(1925)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/as-a-porcupine-pines-for-its-pork-billy-jones-ernest-hare-1925/"><img src="http://farm7.static.flickr.com/6028/5984449946_52bcbdf103_o.jpg"></a></td><td class="column-4">Popeye, the Sailor Man - Al Dollar &amp; His Ten Cent Band with Billy Murray (1931)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/popeye-the-sailor-man-al-dollar-his-ten-cent-band-with-billy-murray-1931/"><img src="http://farm7.static.flickr.com/6012/5984449942_e7c19a2fdc_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Chopins Funeral March - The Edison Concert Band (1906)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/chopins-funeral-march-the-edison-concert-band-1906/"><img src="http://farm7.static.flickr.com/6138/5998067338_c167fce69d_o.jpg"></a></td><td class="column-2">Houdini on his Water Torture Cell (1914)<br />
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<a href=" http://publicdomainreview.org/2011/08/02/houdini-on-his-water-torture-cell-1914/"><img src="http://farm7.static.flickr.com/6009/5998067350_7d43c56428_o.jpg"></a></td><td class="column-3">Lomax Collection Recording of English, Sample 8<br />
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<a href="http://publicdomainreview.org/?p=1067"><img src="http://farm7.static.flickr.com/6020/5998067356_9b9ae1d919_o.jpg"></a></td><td class="column-4">Enrico Caruso - A Dream (1920)<br />
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<a href="http://publicdomainreview.org/?p=1074"><img src="http://farm7.static.flickr.com/6030/5997518817_b6d0667f34_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">La Paloma (1903)<br />
<br />
<a href="http://publicdomainreview.org/?p=1240"><img src="http://farm7.static.flickr.com/6135/6016850955_d7c0df1a2c_o.jpg"></a></td><td class="column-2">Orson Welles Show (1941)<br />
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<a href="http://publicdomainreview.org/?p=1225"><img src="http://farm7.static.flickr.com/6027/6017404284_da30a310cc_o.jpg"></a></td><td class="column-3">Tokyo Rose (1944)<br />
<br />
<a href="http://publicdomainreview.org/?p=1243"><img src="http://farm7.static.flickr.com/6125/6016850941_a2c4a9bb4f_o.jpg"></a></td><td class="column-4">Fats Waller and His Orchestra live at The Yacht Club (1938)<br />
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<a href="http://publicdomainreview.org/?p=1247"><img src="http://farm7.static.flickr.com/6005/6016980547_ddd9858761_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">Very early recording of George Gershwin's  Rhapsody In Blue (1924)<br />
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<a href="http://publicdomainreview.org/?p=1493"><img src="http://farm7.static.flickr.com/6206/6046238304_f151e60106_o.jpg"></a></td><td class="column-2">Rudolph Valentino singing (1923)<br />
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<a href="http://publicdomainreview.org/2011/08/15/rudolph-valentino-1923/"><img src="http://farm7.static.flickr.com/6188/6046238300_1a8bf811d7_o.jpg"></a></td><td class="column-3">Aiaihea - The Hawaiian Quintette (1913)<br />
<br />
<a href="http://publicdomainreview.org/?p=1614"><img src="http://farm7.static.flickr.com/6188/6069171663_28964f0117_o.jpg"></a></td><td class="column-4">Antony's Address Over The Body of Caesar (1914)<br />
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<a href="http://publicdomainreview.org/?p=1679"><img src="http://farm7.static.flickr.com/6064/6082150301_30f4211e29_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">Charlie and His Orchestra<br />
<br />
<a href="http://publicdomainreview.org/?p=1771"><img src="http://farm7.static.flickr.com/6199/6096637423_9f34721c23_o.jpg"></a></td><td class="column-2">Excerpt from Handel's Israel in Egypt (1888)<br />
<br />
<a href="http://publicdomainreview.org/?p=1925"><img src="http://farm7.static.flickr.com/6081/6143260449_303a539aa3_o.jpg"></a></td><td class="column-3">Gurdjieff's Harmonium Improvisations (1949)<br />
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<a href="http://publicdomainreview.org/?p=2041"><img src="http://farm7.static.flickr.com/6173/6177782102_d042aebbfd_o.jpg"></a></td><td class="column-4">General Pershing March - Imperial Marimba Band (1918)<br />
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<a href="http://publicdomainreview.org/?p=2186"><img src="http://farm7.static.flickr.com/6156/6215163671_7712110727_o.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2197
title: Stories of a Hollow Earth
uri: Stories-of-a-Hollow-Earth
url: http://publicdomainreview.org/2011/10/10/stories-of-a-hollow-earth/
content:
<p><strong>In 1741 the Norwegian-Danish author Ludvig Holberg published <em>Klimii Iter Subterraneum</em>, a satirical science-fiction/fantasy novel detailing the adventures of its hero Niels Klim in a utopian society existing beneath the surface of the earth. Peter Fitting, author of <em>Subterranean Worlds: A Critical Anthology</em>, explores Holberg&#8217;s book in the wider context of the hollow earth theory.</strong></p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6019/6222400489_896549e00e_o.jpg" width="540" height="605" /><p class="wp-caption-text">Illustration showing a citizen of Martinia wearing a wig, from the 1845 English edition of Niels Klim’s Journey Under the Ground.</p></div>

<p>In 1818 John Cleves Symmes, Jr, issued his &#8220;Circular Number 1,&#8221; sending copies to “each notable foreign government, reigning prince, legislature, city, college, and philosophical society, quite around the earth&#8221;:</p>

<blockquote>
  <p>I declare that the earth is hollow and habitable within; containing a number of solid concentric spheres, one within the other, and that it is open at the poles twelve or sixteen degrees. I pledge my life in support of this truth, and am ready to explore the hollow, if the world will support and aid me in the undertaking.</p>
</blockquote>

<p>The fortunes of the idea that the Earth was &#8220;hollow and habitable within,&#8221; from classical references to the underworld to esoteric and New Age writers today, have been recounted elsewhere, most notably by Walter Kafton-Minkel in his <em>Subterranean Worlds: 100,000 years of dragons, dwarfs, the dead, lost races &amp; UFOs from inside the earth</em> (1989). Symmes&#8217;s theories led to a number of fictional visions of the &#8220;world within&#8221;, most immediately, Adam Seaborn&#8217;s 1820 novel <em>Symzonia</em> &#8211; a work which has often been attributed to Symmes himself; and the novel with its diagrams and drawings was for some time cited as evidence that the world is hollow. In a somewhat different way, Symmes’s conviction that there were openings at the poles also led to the establishment of perhaps the most famous American naval scientific expedition, the &#8220;United States Exploring Expedition&#8221; which was commissioned to explore the South Pacific and led to the establishment of a national museum of natural history &#8211; the Smithsonian Institute. (The history of the expedition and its origins in Symmes’ ideas is recounted in William Stanton’s 1975 <em>The Great United States Exploring Expedition of 1838-1842</em>).</p>

<div class="wp-caption alignnone" style="width: 490px"><img alt="" src="http://farm7.static.flickr.com/6054/6222994410_b3b6b3bf16_o.jpg" width="480" height="626" /><p class="wp-caption-text">Sectional View of the earth Showing the Opening at the Poles, a diagram from Symzonia by Capt. Adam Seaborn (probably a pseudonym used by Capt. John Cleves Symmes)</p></div>

<p>Symmes, however, was not the first to argue that the Earth was hollow; nor is <em>Symzonia</em> the first novel set in a hollow earth. There are of course numerous narratives &#8211; dating back to Greek and Roman texts &#8211; of descents into the underworld, but hypotheses about vast channels or chasms inside the Earth appear to be a much more recent idea advanced by some European thinkers in the 17th and 18th centuries as an explanation of volcanoes, whirlpools and the like. This period is filled with a variety of now discarded cosmological hypotheses, many inspired by the attempt to reconcile scriptural accounts of Creation with scientific observation: hypotheses about the movement of the sun, the earth and the stars, about the universality of the great Flood, about creation and the origins of life, and about the earth&#8217;s own formation. Among the proponents of now abandoned theories about the composition of our planet was Edmond Halley (better known for the comet which bears his name), who proposed (in a paper explaining the movement of the magnetic poles published in the Philosophical Transactions of the Royal Society in 1692) that the earth was hollow: &#8220;that the seemingly solid earth is actually a shell about 500 miles thick containing three smaller concentric spheres&#8230; each sphere separated from the others by about 500 miles of atmosphere.&#8221;</p>

<div class="wp-caption alignnone" style="width: 542px"><img alt="" src="http://farm7.static.flickr.com/6057/6222429033_65ff3350d3_z.jpg" width="532" height="640" /><p class="wp-caption-text">Diagram from Edmond Halley's  paper explaining the movement of the magnetic poles which was published in the Philosophical Transactions of the Royal Society in 1692</p></div>
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<p>While it is perhaps relatively easy to follow the theories of inner cavities or of a passage between the poles (in writers like Thomas Burnet and Athanasius Kircher in the late 17th century), and to see their relationship to a text like the anonymous 1721 <em>Relation D&#8217;Un Voyage Du Pole Arctique Au Pole Antarctique Par Le Centre Du Monde</em>, (which describes a channel running through the Earth from pole to pole), it is much more difficult to understand how the idea of the hollow Earth emerged as part of Halley’s explanation of the motion of the magnetic poles. Even more inexplicable is the depiction of the hollow earth some fifty years earlier &#8211; complete with inner sun and earth &#8211; in Ludvig Holberg&#8217;s 1741 subterranean utopia, <em>The Journey of Niels Klim to the World Underground</em>. This is a far greater imaginative leap, for instance, than Jules Verne&#8217;s well-known account of a descent into the bowels of the earth through a dormant volcano (<em>Voyage au centre de la terre</em>, 1865). Verne&#8217;s narrative of the discovery of a vast underworld cavern formed during an earlier geological period seems much more plausible than Holberg&#8217;s invention of two entire inner worlds &#8211; one a planet inhabited by intelligent trees, the other the underside of the earth&#8217;s crust, as vast as the outer crust on which we live, and populated with a fantastic variety of intelligent life forms.</p>

<p>First published in Latin in 1741, <em>The Journey of Niels Klim to the World Underground, with a new theory of the Earth and the History of the previously unknown Fifth Kingdom</em> (Nicolai Klimii iter subterraneum, Novam Telluris theoriem ac Historiam Quintae Monarchiae adhuc nobis incognita exhibens) was quickly translated into a number of European languages. (The first English edition dates from 1742). As with Verne&#8217;s <em>Voyage</em>, the adventure begins with the descent into a cave, although here the hero falls through a hole into the subterranean world, discovering: &#8220;that the conjectures of those men are right who hold the Earth to be hollow, and that within the shell or outward crust there is another lesser globe, and another firmament adorned with lesser sun, stars, and planets&#8221;.</p>

<p><div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6157/6222908894_e0849bdb25_o.jpg" width="540" height="708" /><p class="wp-caption-text">Illustration showing Niels Klim with the tree-people of Potu, from the 1845 English edition of Niels Klim’s Journey Under the Ground</p></div>

<p>On the central planet, Klim discovers a happy and prosperous utopian land of intelligent, mobile trees. In his subsequent travels around the planet Klim encounters many bizarre varieties of intelligent trees, and each species forms a separate social grouping. It is these sections of the novel that have earned Klim a place in the history of utopia. But in the final sections of the work Holberg turns from utopia and social satire to fantasy: Klim is expelled from the utopian land of Potu to the underside of the earth&#8217;s crust which is inhabited by many other fantastic creatures, all of which &#8211; plant and animal species alike &#8211; are intelligent and gifted with speech; and then he discovers a race of human savages, who, of all the creatures of the subterranean world, &#8220;alone were barbarous and uncivilized&#8221;. Klim takes it upon himself to civilise them, and uses his knowledge to manufacture gunpowder and to conquer all of the countries of the firmament, becoming a tyrant &#8211; the &#8220;Alexander of the Subterranean world&#8221;. When his subjects eventually rebel, he is forced into flight and falls into the same hole through which he had previously fallen, thus returning to Norway.</p>

<p><em>The Journey of Niels Klim</em> was widely known in the 19th century: the narrator of Edgar Allen Poe&#8217;s &#8220;The Fall of the House of Usher&#8221; includes the &#8220;Subterranean Voyage of Nicholas Klimm&#8221; among his readings, while the poet Thomas de Quincy began a translation of Klim sometime in the mid-1820s. Giacomo Casanova (better known for his <em>Memoirs</em>) wrote a lengthy subterranean utopia — <em>L’Icosameron</em> (1788) — in which he acknowledges the importance of Holberg’s novel; while Mary Shelly mentions in her diary that she read Klim as she was writing <em>Frankenstein</em>. Fictional settings inside the earth can be found throughout the 19th and 20th centuries &#8211; from Edgar Allen Poe&#8217;s &#8220;Ms. found in a Bottle&#8221; (1833) and his unfinished &#8220;Narrative of A. Gordon Pym&#8221; (1837), through to Edward Bulwer-Lytton&#8217;s <em>The Coming Race</em> (1871), Edgar Rice Burroughs&#8217; Pellucidar novels, beginning with <em>At the Earth&#8217;s Core</em> (1922); and more recently there are authors like Raymond Bernard and William Read who continue to argue that the Earth is hollow.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6035/6222909524_9f2b441e66_o.jpg" width="540" /><p class="wp-caption-text">Illustration showing the tree-people of Potu pronouncing judgement on their dead king, as is their custom, from the 1845 English edition of Niels Klim’s Journey Under the Ground</p></div>

<p>Born in Bergen, Norway at the time of the Dano-Norwegian monarchy, Ludvig Holberg (1684–1754) is probably the most European of Scandinavian writers before Ibsen and certainly the best known; he is often referred to as the &#8220;father&#8221; of Danish and Norwegian literature. He was a writer, essayist, philosopher, historian and playwright who travelled extensively throughout Europe and is often credited as bringing the Enlightenment to the Nordic countries. In fact, the author of <em>The Journey of Niels Klim</em> was far better known for his “Introduction to Natural and International Law“ and his theatre (he has been described as the “Moliere of the North”). Like Jonathan Swift’s <em>Gulliver’s Travels</em> (1726), Klim is a combination of social satire, utopia and the fantastic. But Swift’s shipwrecked narrator is a much more familiar (and plausible) utopian narrative device than is Holberg’s imagination of a hollow earth. Holberg never explains who “those men &#8230; who hold the Earth to be hollow” are, and none of his critics have been able to identify them. As long as Holberg’s sources continue to be a mystery, <em>The Journey of Niels Klim to the World Underground</em> must be considered the first presentation of the idea of the hollow earth.</p>

<p><br /></p>

<hr />

<p><em>Peter Fitting is professor emeritus of French and Cinema Studies at the University of Toronto. His work has focused primarily on utopian fiction and on 20th century science fiction. In 2004 he published: Subterranean Worlds: A Critical Anthology, (Wesleyan UP).
For more information on these topics and samples of his work see: <a href="http://www.utoronto.ca/utopia/">The Society for Utopian Studies</a> and <a href="http://www.depauw.edu/sfs/">Science Fiction Studies</a>.</em></p>

<p><br /></p>

<h1>Links to Works</h1>

<p><br /></p>

<ul>
<li><em>Niels Klim&#8217;s journey under the ground; being a narrative of his wonderful descent to the subterranean lands; together with an account of the sensible animals and trees inhabiting the planet Nazar and the firmament</em> (1845 edition) by Ludwig Holberg

<ul>
<li><a href="http://www.archive.org/stream/nielsklimsjourne00holb">pdf online</a></li>
<li><a href="http://www.archive.org/download/nielsklimsjourne00holb/nielsklimsjourne00holb.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/nielsklimsjourne00holb/nielsklimsjourne00holb.mobi">kindle</a></li>
<li><a href="http://www.archive.org/stream/nielsklimsjourne27884gut/27884-8.txt">text</a></li>
</ul></li>
<li>Images from other editions of <em>Klimii Iter Subterraneum</em> courtesy of Bergen Offentlige Bibliotek.

<ul>
<li><a href="http://www.flickr.com/photos/bergenoff/sets/72157621775258986/with/3745092597/">flickr</a></li>
</ul></li>
<li><em>An Account of the Cause of the Change of the Variation of the Magnetical Needle; With an Hypothesis of the Structure of the Internal Parts of the Earth: As It Was Proposed to the Royal Society in One of Their Late Meetings</em> (1753) by Edmond Halley.

<ul>
<li><a href="http://www.archive.org/stream/philtrans00697664/00697664">pdf online</a></li>
<li><a href="http://www.archive.org/download/philtrans00697664/00697664.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/philtrans00697664/00697664.mobi">kindle</a></li>
</ul></li>
<li><em>Narrative of the United States Exploring Expedition. During the years 1838, 1839, 1840, 1841, 1842</em> (1845) by Charles Wilkes.

<ul>
<li><a href="http://www.archive.org/stream/narrativeofunite00wilk">pdf online</a></li>
<li><a href="http://www.archive.org/download/narrativeofunite00wilk/narrativeofunite00wilk.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/narrativeofunite00wilk/narrativeofunite00wilk.mobi">kindle</a></li>
<li><a href="http://www.archive.org/stream/narrativeofunite00wilk/narrativeofunite00wilk_djvu.txt">text</a></li>
</ul></li>
<li><em>Symmes&#8217;s theory of concentric spheres : demonstrating that the earth is hollow, habitable within, and widely open about the poles</em> (1826) by James McBride.

<ul>
<li><a href="http://www.archive.org/stream/symmesstheoryofc00mcbr">pdf online</a></li>
<li><a href="http://www.archive.org/download/symmesstheoryofc00mcbr/symmesstheoryofc00mcbr.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/symmesstheoryofc00mcbr/symmesstheoryofc00mcbr.mobi">kindle</a></li>
<li><a href="http://www.archive.org/stream/symmesstheoryofc00mcbr/symmesstheoryofc00mcbr_djvu.txt">text</a></li>
</ul></li>
<li><em>Symzonia: A Voyage of Discovery</em> (1820) by Captain Adam Seaborn.

<ul>
<li><a href="http://xroads.virginia.edu/~ma98/silverman/poe/symzonia.html">html</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.org/?p=2241
title: World War II from the Air
uri: World-War-II-from-the-Air
url: http://publicdomainreview.org/2011/10/13/world-war-2-from-the-air/
content:
<div align="center">

A selection of World War II aerial photographs collected from Wikimedia Commons, including the Allied bombing of Hamburg, scenes from Operation Market Garden, and views of Birkenau extermination camp in Poland. Each photograph links through to its Wikimedia Commons page where you will find more information on the image and higher resolution versions.
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<a href="http://commons.wikimedia.org/wiki/File:Preinvasion_bombing_of_Pointe_du_Hoe.jpg"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/d0/Preinvasion_bombing_of_Pointe_du_Hoe.jpg/502px-Preinvasion_bombing_of_Pointe_du_Hoe.jpg" class="alignnone" width="502" height="599" /></a>



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<a href="http://commons.wikimedia.org/wiki/File:Lancaster_over_Hamburg.jpg"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/c/c1/Lancaster_over_Hamburg.jpg/646px-Lancaster_over_Hamburg.jpg" class="alignnone" width="646" height="599" /></a>

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<a href="http://commons.wikimedia.org/wiki/File:Attack_on_Hamburg.jpg"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/2/2d/Attack_on_Hamburg.jpg/598px-Attack_on_Hamburg.jpg" class="alignnone" width="598" height="600" /></a>

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<a href="http://commons.wikimedia.org/wiki/File:Hamburg_after_the_1943_bombing.jpg"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/87/Hamburg_after_the_1943_bombing.jpg/796px-Hamburg_after_the_1943_bombing.jpg" class="alignnone" width="796" height="599" /></a>



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<a href="http://commons.wikimedia.org/w/index.php?title=File:%22Photograph_made_from_B-17_Flying_Fortress_of_the_8th_AAF_Bomber_Command_on_31_Dec._when_they_attacked_the_vital_CAM_bal_-_NARA_-_535712.tif&#038;page=1"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/%22Photograph_made_from_B-17_Flying_Fortress_of_the_8th_AAF_Bomber_Command_on_31_Dec._when_they_attacked_the_vital_CAM_bal_-_NARA_-_535712.tif/lossy-page1-745px-%22Photograph_made_from_B-17_Flying_Fortress_of_the_8th_AAF_Bomber_Command_on_31_Dec._when_they_attacked_the_vital_CAM_bal_-_NARA_-_535712.tif.jpg" class="alignnone" width="745" height="600" /></a>

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<a href="http://commons.wikimedia.org/wiki/File:Italybombing2.jpg"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Italybombing2.jpg/800px-Italybombing2.jpg" class="alignnone" width="800" height="508" /></a>


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<a href="http://commons.wikimedia.org/wiki/File:Folkingham-9may1944.jpg"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/b/b5/Folkingham-9may1944.jpg/450px-Folkingham-9may1944.jpg" class="alignnone" width="450" height="599" /></a>

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<a href="http://commons.wikimedia.org/wiki/File:Toulon_1942.jpg"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/da/Toulon_1942.jpg/766px-Toulon_1942.jpg" class="alignnone" width="766" height="599" /></a>

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<a href="http://commons.wikimedia.org/wiki/File:Operation_Market_I_-_04.jpg"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Operation_Market_I_-_04.jpg/444px-Operation_Market_I_-_04.jpg" class="alignnone" width="444" height="599" /></a>

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<a href="http://commons.wikimedia.org/wiki/File:Waves_of_paratroops_land_in_Holland.jpg"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Waves_of_paratroops_land_in_Holland.jpg/764px-Waves_of_paratroops_land_in_Holland.jpg" class="alignnone" width="764" height="600" /></a>

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<a href="http://commons.wikimedia.org/w/index.php?title=File:Birkenau_Extermination_Camp_-_NARA_-_306041.tif&#038;page=1"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/6/60/Birkenau_Extermination_Camp_-_NARA_-_306041.tif/lossy-page1-615px-Birkenau_Extermination_Camp_-_NARA_-_306041.tif.jpg" class="alignnone" width="615" height="600" /></a>

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<a href="http://commons.wikimedia.org/w/index.php?title=File:Birkenau_Extermination_Camp_-_NARA_-_306040.tif&#038;page=1"><img alt="" src="http://upload.wikimedia.org/wikipedia/commons/thumb/e/e2/Birkenau_Extermination_Camp_-_NARA_-_306040.tif/lossy-page1-614px-Birkenau_Extermination_Camp_-_NARA_-_306040.tif.jpg" class="alignnone" width="614" height="599" /></a>

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<table id="wp-table-reloaded-id-3-no-1" class="wp-table-reloaded wp-table-reloaded-id-3">
<tbody>
	<tr class="row-1">
		<td class="column-1">Operation Doorstep<br />
<br />
<a href="http://publicdomainreview.org/?p=1288"><img src="http://farm7.static.flickr.com/6209/6023844250_a340b6cfc8_o.jpg"></a></td><td class="column-2">The Spirit Photographs of William Hope<br />
<br />
<a href="http://publicdomainreview.org/?p=1301"><img src="http://farm7.static.flickr.com/6021/5963926880_6796ce887a_o.jpg"></a></td><td class="column-3">The Maps of Piri Reis<br />
<br />
<a href="http://publicdomainreview.org/?p=1315"><img src="http://farm7.static.flickr.com/6025/5963926888_f9a9db72f1_o.jpg"></a></td><td class="column-4">Dr Julius Neubronner's Miniature Pigeon Camera<br />
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<a href="http://publicdomainreview.org/?p=1330"><img src="http://farm7.static.flickr.com/6007/5963926890_2141effc6c_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Art in Art<br />
<br />
<a href="http://publicdomainreview.org/?p=1359"><img src="http://farm7.static.flickr.com/6192/6024864047_73cc2bce65_o.jpg"></a></td><td class="column-2">Huexotzinco Codex<br />
<br />
<a href="http://publicdomainreview.org/?p=1373"><img src="http://farm7.static.flickr.com/6187/6024864049_7667e37edc_o.jpg"></a><br />
</td><td class="column-3">Sessions for the Blind at Sunderland Museum<br />
<br />
<a href="http://publicdomainreview.org/2011/08/09/sessions-for-the-blind-at-sunderland-museum/"><img src="http://farm7.static.flickr.com/6075/6024903179_9793619652_o.jpg"></a></td><td class="column-4">Eugène von Guérard's Australian Landscapes<br />
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<a href="http://publicdomainreview.org/?p=1468"><img src="http://farm7.static.flickr.com/6193/6045423237_850760a2a1_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">Landscape and Marine Views of Norway<br />
<br />
<a href="http://publicdomainreview.org/?p=1513"><img src="http://farm7.static.flickr.com/6090/6049185090_2740e7c0e7_o.jpg"></a></td><td class="column-2">The Mechanism of Human Physiognomy<br />
<br />
<a href="http://publicdomainreview.org/2011/08/19/the-mechanism-of-human-physiognomy/"><img src="http://farm7.static.flickr.com/6191/6059149653_5b7e4f63e0_o.jpg"></a></td><td class="column-3">Space Colony Art from the 1970s<br />
<br />
<a href="http://publicdomainreview.org/?p=1643"><img src="http://farm7.static.flickr.com/6063/6072822813_748425d648_o.jpg"></a></td><td class="column-4">Men in Wigs<br />
<br />
<a href="http://publicdomainreview.org/?p=1657"><br />
<img src="http://farm7.static.flickr.com/6196/6076698488_c0d804b2f0_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">De humana physiognomonia libri IIII (1586)<br />
<br />
<a href="http://publicdomainreview.org/?p=1760"><img src="http://farm7.static.flickr.com/6023/6097105906_f3615427ca_o.jpg"></a></td><td class="column-2">Field Columbian Museum<br />
<br />
<a href="http://publicdomainreview.org/?p=1898"><img src="http://farm7.static.flickr.com/6186/6143148873_0d68233381_o.jpg"></a></td><td class="column-3">Maps from Geographicus<br />
<br />
<a href="http://publicdomainreview.org/?p=2011"><img src="http://farm7.static.flickr.com/6159/6172345356_72dcabba03_o.jpg"></a></td><td class="column-4">Arnoldus Montanus' New and Unknown World (1671)<br />
<br />
<a href="http://publicdomainreview.org/?p=2108"><img src="http://farm7.static.flickr.com/6172/6194502991_d733a9de80_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">World War II from the Air<br />
<br />
<a href="http://publicdomainreview.org/?p=2241"><img src="http://farm7.static.flickr.com/6060/6240850672_fbe7ec4af4_o.jpg"></a></td><td class="column-2">Halloween Postcards<br />
<br />
<a href="http://publicdomainreview.org/?p=2470"><img src="http://farm7.static.flickr.com/6094/6291039497_f95a6df059_o.jpg"></a></td><td class="column-3"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>


</div>

<p></div></p>


feed_id: http://publicdomainreview.org/?p=2288
title: For The Term of His Natural Life (1927)
uri: For-The-Term-of-His-Natural-Life-(1927)
url: http://publicdomainreview.org/2011/10/15/for-the-term-of-his-natural-life-1927/
content:
<div align="center">

<object width="640" height="506" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000"><param value="true" name="allowfullscreen"/><param value="always" name="allowscriptaccess"/><param value="high" name="quality"/><param value="true" name="cachebusting"/><param value="#000000" name="bgcolor"/><param name="movie" value="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" /><param value="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'ForTheTermOfHisNaturalLife_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/ForTheTermOfHisNaturalLife/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'ForTheTermOfHisNaturalLife_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/ForTheTermOfHisNaturalLife/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}"> </embed></object>
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<br />
Considered to be the greatest of Australia&#8217;s silent films, it was also the most expensive, costing 50 times more than the average film of the time. Directed by Norman Dawn, and based on the 1870s novel by Marcus Clarke, it tells the tale of a wrongful imprisonment and the hero&#8217;s dramatic attempts at escape. Starring George Fisher as Richard Devine/Rufus Dawes/John Rex and Eva Novak as Sylvia Vickers.
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<br />
<a href="http://www.archive.org/details/ForTheTermOfHisNaturalLife">Download from Internet Archive</a>
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<br />
<font size="1">Note this film is in the public domain in the US, but may not be in other jurisdictions. Please check its status in your jurisdiction before re-using.</font> 
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<table id="wp-table-reloaded-id-1-no-1" class="wp-table-reloaded wp-table-reloaded-id-1">
<thead>
	<tr class="row-1">
		<th class="column-1">CLIPS</th><th class="column-2">SHORT</th><th class="column-3">FULL LENGTH SILENT</th><th class="column-4">FULL LENGTH TALKIE</th>
	</tr>
</thead>
<tbody>
	<tr class="row-2">
		<td class="column-1">Princess Nicotine (1909) 6min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/princess-nicotine-1909/"><img src="http://ia700502.us.archive.org/1/items/princess_nicotine_1909/princess_nicotine_1909.thumbs/princess_nicotine_1909_000240.jpg"></a></td><td class="column-2">Gertie the Dinosaur  (1914) 12min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/gertie-the-dinosaur-1914/"><img src="http://ia600300.us.archive.org/11/items/Gertie/Gertie.thumbs/GertietheDinosaur_000330.jpg"></a></td><td class="column-3">Last of the Mohicans (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/last-of-the-mohicans-1920/"><img src="http://ia700300.us.archive.org/24/items/PublicdomainTheLastoftheMohicans/PublicdomainTheLastoftheMohicans.thumbs/Last_of_the_Mohicans_000300.jpg" alt="" /></a></td><td class="column-4">Meet John Doe (1941) 2hr3min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/meet-john-doe-1941/"><img src="http://ia600307.us.archive.org/5/items/meet_john_doe_ipod/meet_john_doe_ipod.thumbs/meet_john_doe_002127.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">The Unappreciated Joke (1903) 1min<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/02/the-unappreciated-joke-1903/"><img src="http://ia600200.us.archive.org/5/items/TheUnappreciatedJoke/TheUnappreciatedJoke.thumbs/TheUnappreciatedJoke_000035.jpg"></a></td><td class="column-2">Frankenstein (1910) 13min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/frankenstein-19/"><img src="http://ia600306.us.archive.org/9/items/FrankensteinfullMovie/FrankensteinfullMovie.thumbs/Frankenstein1910_000270.jpg"></a></td><td class="column-3">The General (1926) 1hr19min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-general-1926/ "><img src="http://ia600604.us.archive.org/8/items/TheGeneral1926/TheGeneral1926.thumbs/The_General_1926_720p_001554.jpg" alt="" /></a></td><td class="column-4">Plan 9 from Outer Space (1959) 1hr19mins<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/plan-9-from-outer-space-1959/"><img src="http://ia600401.us.archive.org/19/items/Plan_9_from_Outer_Space_1959/Plan_9_from_Outer_Space_1959.thumbs/Plan_9_from_Outer_Space_1959_001260.jpg"></a><br />
</td>
	</tr>
	<tr class="row-4">
		<td class="column-1">The Execution of Mary, Queen of Scots (1895) 21sec<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-execution-…-of-scots-1895/"><img src="http://ia700303.us.archive.org/33/items/Execution_of_Mary_1895/Execution_of_Mary_1895.thumbs/Execution_of_Mary_1895_000005.jpg"></a></td><td class="column-2">The Great Train Robbery (1903) 10min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-great-train-robbery-1903/"><img src="http://ia700504.us.archive.org/7/items/Europeanposte-theGreatTrainrobbery912/Europeanposte-theGreatTrainrobbery912.thumbs/Europeanposte-theGreatTrainrobbery912_000030.jpg"></a></td><td class="column-3">Wolf Blood (1925) 1hr7min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/wolf-blood-1925/"><img src="http://ia700204.us.archive.org/8/items/WolfBlood1925/WolfBlood1925.thumbs/WolfBlood_002940.jpg"></a></td><td class="column-4">Reefer Madness (1938) 1hr8min<br />
<br />
<a href="http://publicdomainreview.org/?p=1281"><img src="http://ia700202.us.archive.org/1/items/reefer_madness1938/reefer_madness1938.thumbs/reefer_madness1938_001860.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">The Kiss (1896) 25secs<br />
<br />
<a href="http://publicdomainreview.org/?p=1421"><img src="http://ia700204.us.archive.org/23/items/CEP00115/CEP00115.thumbs/CEP00115_000005.jpg"></a></td><td class="column-2">Experiments in the Revival of Organisms (1940) 20min<br />
<br />
<a href="http://publicdomainreview.org/?p=1417"><img src="http://ia700500.us.archive.org/19/items/Experime1940/Experime1940.thumbs/Experime1940_000360.jpg"></a></td><td class="column-3">Battleship Potemkin (1925) 1hr13min<br />
<br />
<a href="http://publicdomainreview.org/?p=1413"><img src="http://ia600208.us.archive.org/4/items/BattleshipPotemkin/BattleshipPotemkin.thumbs/Battleship_Potemkin_000780.jpg"></a></td><td class="column-4">The Snows of Kilimanjaro (1952) 1hr57min<br />
<br />
<a href="http://publicdomainreview.org/?p=1425"><img src="http://ia700402.us.archive.org/23/items/Kilimanjaro/Kilimanjaro.thumbs/The_Snows_of_Kilimanjaro_006300.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Trapeze Disrobing Act (1901) 2min<br />
<br />
<a href="http://publicdomainreview.org/?p=1547"><img src="http://ia600308.us.archive.org/15/items/SF120/SF120.thumbs/SF120_000040.jpg"></a></td><td class="column-2">Are You Popular (1947) 10min<br />
<br />
<a href="http://publicdomainreview.org/?p=1552"><img src="http://ia600202.us.archive.org/17/items/AreYouPo1947/AreYouPo1947.thumbs/AreYouPo1947_000240.jpg"></a></td><td class="column-3">The Lodger: A Story of the London Fog (1927) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=1560"><img src="http://ia700309.us.archive.org/32/items/TheLodgerAStoryOfTheLondonFog_579/TheLodgerAStoryOfTheLondonFog_579.thumbs/TheLodger-AStoryOfTheLondonFog1927AlfredHitchcock_001800.jpg"></a></td><td class="column-4">Scarlet Street (1945) 1hr43min<br />
<br />
<a href="http://publicdomainreview.org/?p=1557"><img src="http://ia700202.us.archive.org/16/items/ScarletStreet/ScarletStreet.thumbs/Scarlet_Street_005460.jpg"></a></td>
	</tr>
	<tr class="row-7">
		<td class="column-1">Annie Oakley Fires Her Gun (1894) 20secs<br />
<a href="http://publicdomainreview.org/?p=1721"><br />
<img src="http://ia600202.us.archive.org/20/items/AnnieOakley/AnnieOakley.thumbs/AnnieOakley_000020.jpg"></a></td><td class="column-2">The Wonderful Wizard of Oz (1910) 13min<br />
<a href="http://publicdomainreview.org/?p=1719"><br />
<img src="http://ia600304.us.archive.org/4/items/The_Wonderful_Wizard_of_Oz/The_Wonderful_Wizard_of_Oz.thumbs/WizardOfOz1910_000720.jpg"></a></td><td class="column-3">Faust (1926) 1hr55min<br />
<br />
<a href="http://publicdomainreview.org/?p=1703"><img src="http://ia600409.us.archive.org/15/items/PhantasmagoriaTheater-Faust1926421/PhantasmagoriaTheater-Faust1926421.thumbs/PhantasmagoriaTheater-Faust1926421_002160.jpg"></a></td><td class="column-4">The Last Man on Earth (1964) 1hr27min<br />
<br />
<a href="http://publicdomainreview.org/?p=1715"><img src="http://farm7.static.flickr.com/6204/6090641136_9922b754c8_o.jpg"></a></td>
	</tr>
	<tr class="row-8">
		<td class="column-1">Operation Cue (1955) 52sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1812"><img src="http://ia700301.us.archive.org/5/items/CEP_00_071/CEP_00_071.thumbs/CEP_00_071_000030.jpg"></a></td><td class="column-2">Never Weaken (1921) 28min<br />
<br />
<a href="http://publicdomainreview.org/?p=1827"><img src="http://ia600309.us.archive.org/22/items/Never_Weaken_1921/Never_Weaken_1921.thumbs/Never_Weaken_1921_001260.jpg"></a></td><td class="column-3">Intolerance (1916) 2hr57min<br />
<a href="http://publicdomainreview.org/?p=1820"><br />
<img src="http://ia700303.us.archive.org/11/items/Intolerance/Intolerance.thumbs/Intolerance_010500.jpg"></a></td><td class="column-4">Quicksand (1950) 1hr18min<br />
<br />
<a href="http://publicdomainreview.org/?p=1816"><img src="http://ia700406.us.archive.org/14/items/Quicksand_clear/Quicksand_clear.thumbs/Quicksand_001860.jpg"></a></td>
	</tr>
	<tr class="row-9">
		<td class="column-1">Dutch Fashion Reel (1969) 1min50sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1954"><img src="http://farm7.static.flickr.com/6200/6158664220_2d772d57d5_o.jpg"></a></td><td class="column-2">Betty Boop: Minnie The Moocher (1932) 7min46sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1965"><img src="http://ia600208.us.archive.org/2/items/bb_minnie_the_moocher/bb_minnie_the_moocher.thumbs/bb_minnie_the_moocher_000390.jpg"></a></td><td class="column-3">The Phantom of the Opera (1925) 1hr46min<br />
<br />
<a href="http://publicdomainreview.org/?p=1943"><img src="http://ia700208.us.archive.org/23/items/ThePhantomoftheOpera/ThePhantomoftheOpera.thumbs/Phantom_of_the_Opera_001320.jpg"></a></td><td class="column-4">Suddenly (1954) 1hr16mins<br />
<br />
<a href="http://publicdomainreview.org/?p=1279"><img src="http://ia600208.us.archive.org/10/items/suddenly/suddenly.thumbs/suddenly_004320.jpg"></a><br />
</td>
	</tr>
	<tr class="row-10">
		<td class="column-1">Buffalo Dance (1894) 14sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2135"><img src="http://ia600301.us.archive.org/10/items/SF126/SF126.thumbs/SF126_000005.jpg"></a></td><td class="column-2">The Cook (1918) 18min<br />
<br />
<a href="http://publicdomainreview.org/?p=2139"><img src="http://ia600501.us.archive.org/18/items/TheCook/TheCook.thumbs/TheCook_000300.jpg"></a></td><td class="column-3">The Thief of Bagdad (1924) 2hr20min<br />
<br />
<a href="http://publicdomainreview.org/?p=2148"><img src="http://ia600304.us.archive.org/25/items/ThiefOfBagdad1924/ThiefOfBagdad1924.thumbs/ThiefofBagdad1924_008280.jpg"></a></td><td class="column-4">Five Minutes to Live (1961) 1hr14min<br />
<br />
<a href="http://publicdomainreview.org/?p=1683"><img src="http://ia700508.us.archive.org/7/items/Five_Minutes_To_Live.avi/Five_Minutes_To_Live.avi.thumbs/Five_Minutes_to_Live_002880.jpg"></a></td>
	</tr>
	<tr class="row-11">
		<td class="column-1">VD is for Everybody (1969) 1min<br />
<br />
<a href="http://publicdomainreview.org/?p=2280"><img src="http://ia600508.us.archive.org/0/items/vd_is_for_everybody/vd_is_for_everybody.thumbs/vd_is_for_everybody_000020.jpg"></a></td><td class="column-2">American Day in Tripoli, Libya (1962) 14min<br />
<br />
<a href="http://publicdomainreview.org/?p=2394"><img src="http://ia600409.us.archive.org/21/items/gov.archives.arc.37715/gov.archives.arc.37715.thumbs/gov.archives.arc.37715_000810.jpg"></a></td><td class="column-3">For The Term of His Natural Life (1927) 1hr33min<br />
<br />
<a href="http://publicdomainreview.org/?p=2288"><img src="http://ia700504.us.archive.org/1/items/ForTheTermOfHisNaturalLife/ForTheTermOfHisNaturalLife.thumbs/ForTheTermOfHisNaturalLife_004980.jpg"></a></td><td class="column-4">Cyrano De Bergerac (1950) 1hr53min<br />
<br />
<a href="http://publicdomainreview.org/?p=2402"><img src="http://ia600401.us.archive.org/27/items/Cyrano_DeBergerac/Cyrano_DeBergerac.thumbs/Cyrano_De_Bergerac_002100.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2280
title: VD is for Everybody (1969)
uri: VD-is-for-Everybody-(1969)
url: http://publicdomainreview.org/2011/10/15/vd-is-for-everybody-1969/
content:
<div align="center">

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<br />
<br />
From the Internet Archive courtesy of the A/V Geeks: &#8220;The American Social Health Association was always experimenting with new ways to educate the public about venereal disease. They helped produce the first VD education film, &#8220;Fit to Fight&#8221;, in 1918 in order to educate soldiers being shipped abroad to fight in the first World War. Although this popular TV public service announcement informs the public that everybody is susceptible to venereal disease, strangely, it also seems to imply that having VD will make you successful, attractive and happy. Also, the song is quite infectious&#8230;&#8221;.<br />
<br />
<a href="http://www.archive.org/details/vd_is_for_everybody">Download from Internet Archive</a>
<br />
<br />
<font size="1">Note this film is in the public domain in the US, but may not be in other jurisdictions. Please check its status in your jurisdiction before re-using.</font> 
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<br />
<hr />
<br />

 
<table id="wp-table-reloaded-id-1-no-1" class="wp-table-reloaded wp-table-reloaded-id-1">
<thead>
	<tr class="row-1">
		<th class="column-1">CLIPS</th><th class="column-2">SHORT</th><th class="column-3">FULL LENGTH SILENT</th><th class="column-4">FULL LENGTH TALKIE</th>
	</tr>
</thead>
<tbody>
	<tr class="row-2">
		<td class="column-1">Princess Nicotine (1909) 6min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/princess-nicotine-1909/"><img src="http://ia700502.us.archive.org/1/items/princess_nicotine_1909/princess_nicotine_1909.thumbs/princess_nicotine_1909_000240.jpg"></a></td><td class="column-2">Gertie the Dinosaur  (1914) 12min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/gertie-the-dinosaur-1914/"><img src="http://ia600300.us.archive.org/11/items/Gertie/Gertie.thumbs/GertietheDinosaur_000330.jpg"></a></td><td class="column-3">Last of the Mohicans (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/last-of-the-mohicans-1920/"><img src="http://ia700300.us.archive.org/24/items/PublicdomainTheLastoftheMohicans/PublicdomainTheLastoftheMohicans.thumbs/Last_of_the_Mohicans_000300.jpg" alt="" /></a></td><td class="column-4">Meet John Doe (1941) 2hr3min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/meet-john-doe-1941/"><img src="http://ia600307.us.archive.org/5/items/meet_john_doe_ipod/meet_john_doe_ipod.thumbs/meet_john_doe_002127.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">The Unappreciated Joke (1903) 1min<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/02/the-unappreciated-joke-1903/"><img src="http://ia600200.us.archive.org/5/items/TheUnappreciatedJoke/TheUnappreciatedJoke.thumbs/TheUnappreciatedJoke_000035.jpg"></a></td><td class="column-2">Frankenstein (1910) 13min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/frankenstein-19/"><img src="http://ia600306.us.archive.org/9/items/FrankensteinfullMovie/FrankensteinfullMovie.thumbs/Frankenstein1910_000270.jpg"></a></td><td class="column-3">The General (1926) 1hr19min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-general-1926/ "><img src="http://ia600604.us.archive.org/8/items/TheGeneral1926/TheGeneral1926.thumbs/The_General_1926_720p_001554.jpg" alt="" /></a></td><td class="column-4">Plan 9 from Outer Space (1959) 1hr19mins<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/plan-9-from-outer-space-1959/"><img src="http://ia600401.us.archive.org/19/items/Plan_9_from_Outer_Space_1959/Plan_9_from_Outer_Space_1959.thumbs/Plan_9_from_Outer_Space_1959_001260.jpg"></a><br />
</td>
	</tr>
	<tr class="row-4">
		<td class="column-1">The Execution of Mary, Queen of Scots (1895) 21sec<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-execution-…-of-scots-1895/"><img src="http://ia700303.us.archive.org/33/items/Execution_of_Mary_1895/Execution_of_Mary_1895.thumbs/Execution_of_Mary_1895_000005.jpg"></a></td><td class="column-2">The Great Train Robbery (1903) 10min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-great-train-robbery-1903/"><img src="http://ia700504.us.archive.org/7/items/Europeanposte-theGreatTrainrobbery912/Europeanposte-theGreatTrainrobbery912.thumbs/Europeanposte-theGreatTrainrobbery912_000030.jpg"></a></td><td class="column-3">Wolf Blood (1925) 1hr7min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/wolf-blood-1925/"><img src="http://ia700204.us.archive.org/8/items/WolfBlood1925/WolfBlood1925.thumbs/WolfBlood_002940.jpg"></a></td><td class="column-4">Reefer Madness (1938) 1hr8min<br />
<br />
<a href="http://publicdomainreview.org/?p=1281"><img src="http://ia700202.us.archive.org/1/items/reefer_madness1938/reefer_madness1938.thumbs/reefer_madness1938_001860.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">The Kiss (1896) 25secs<br />
<br />
<a href="http://publicdomainreview.org/?p=1421"><img src="http://ia700204.us.archive.org/23/items/CEP00115/CEP00115.thumbs/CEP00115_000005.jpg"></a></td><td class="column-2">Experiments in the Revival of Organisms (1940) 20min<br />
<br />
<a href="http://publicdomainreview.org/?p=1417"><img src="http://ia700500.us.archive.org/19/items/Experime1940/Experime1940.thumbs/Experime1940_000360.jpg"></a></td><td class="column-3">Battleship Potemkin (1925) 1hr13min<br />
<br />
<a href="http://publicdomainreview.org/?p=1413"><img src="http://ia600208.us.archive.org/4/items/BattleshipPotemkin/BattleshipPotemkin.thumbs/Battleship_Potemkin_000780.jpg"></a></td><td class="column-4">The Snows of Kilimanjaro (1952) 1hr57min<br />
<br />
<a href="http://publicdomainreview.org/?p=1425"><img src="http://ia700402.us.archive.org/23/items/Kilimanjaro/Kilimanjaro.thumbs/The_Snows_of_Kilimanjaro_006300.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Trapeze Disrobing Act (1901) 2min<br />
<br />
<a href="http://publicdomainreview.org/?p=1547"><img src="http://ia600308.us.archive.org/15/items/SF120/SF120.thumbs/SF120_000040.jpg"></a></td><td class="column-2">Are You Popular (1947) 10min<br />
<br />
<a href="http://publicdomainreview.org/?p=1552"><img src="http://ia600202.us.archive.org/17/items/AreYouPo1947/AreYouPo1947.thumbs/AreYouPo1947_000240.jpg"></a></td><td class="column-3">The Lodger: A Story of the London Fog (1927) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=1560"><img src="http://ia700309.us.archive.org/32/items/TheLodgerAStoryOfTheLondonFog_579/TheLodgerAStoryOfTheLondonFog_579.thumbs/TheLodger-AStoryOfTheLondonFog1927AlfredHitchcock_001800.jpg"></a></td><td class="column-4">Scarlet Street (1945) 1hr43min<br />
<br />
<a href="http://publicdomainreview.org/?p=1557"><img src="http://ia700202.us.archive.org/16/items/ScarletStreet/ScarletStreet.thumbs/Scarlet_Street_005460.jpg"></a></td>
	</tr>
	<tr class="row-7">
		<td class="column-1">Annie Oakley Fires Her Gun (1894) 20secs<br />
<a href="http://publicdomainreview.org/?p=1721"><br />
<img src="http://ia600202.us.archive.org/20/items/AnnieOakley/AnnieOakley.thumbs/AnnieOakley_000020.jpg"></a></td><td class="column-2">The Wonderful Wizard of Oz (1910) 13min<br />
<a href="http://publicdomainreview.org/?p=1719"><br />
<img src="http://ia600304.us.archive.org/4/items/The_Wonderful_Wizard_of_Oz/The_Wonderful_Wizard_of_Oz.thumbs/WizardOfOz1910_000720.jpg"></a></td><td class="column-3">Faust (1926) 1hr55min<br />
<br />
<a href="http://publicdomainreview.org/?p=1703"><img src="http://ia600409.us.archive.org/15/items/PhantasmagoriaTheater-Faust1926421/PhantasmagoriaTheater-Faust1926421.thumbs/PhantasmagoriaTheater-Faust1926421_002160.jpg"></a></td><td class="column-4">The Last Man on Earth (1964) 1hr27min<br />
<br />
<a href="http://publicdomainreview.org/?p=1715"><img src="http://farm7.static.flickr.com/6204/6090641136_9922b754c8_o.jpg"></a></td>
	</tr>
	<tr class="row-8">
		<td class="column-1">Operation Cue (1955) 52sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1812"><img src="http://ia700301.us.archive.org/5/items/CEP_00_071/CEP_00_071.thumbs/CEP_00_071_000030.jpg"></a></td><td class="column-2">Never Weaken (1921) 28min<br />
<br />
<a href="http://publicdomainreview.org/?p=1827"><img src="http://ia600309.us.archive.org/22/items/Never_Weaken_1921/Never_Weaken_1921.thumbs/Never_Weaken_1921_001260.jpg"></a></td><td class="column-3">Intolerance (1916) 2hr57min<br />
<a href="http://publicdomainreview.org/?p=1820"><br />
<img src="http://ia700303.us.archive.org/11/items/Intolerance/Intolerance.thumbs/Intolerance_010500.jpg"></a></td><td class="column-4">Quicksand (1950) 1hr18min<br />
<br />
<a href="http://publicdomainreview.org/?p=1816"><img src="http://ia700406.us.archive.org/14/items/Quicksand_clear/Quicksand_clear.thumbs/Quicksand_001860.jpg"></a></td>
	</tr>
	<tr class="row-9">
		<td class="column-1">Dutch Fashion Reel (1969) 1min50sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1954"><img src="http://farm7.static.flickr.com/6200/6158664220_2d772d57d5_o.jpg"></a></td><td class="column-2">Betty Boop: Minnie The Moocher (1932) 7min46sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1965"><img src="http://ia600208.us.archive.org/2/items/bb_minnie_the_moocher/bb_minnie_the_moocher.thumbs/bb_minnie_the_moocher_000390.jpg"></a></td><td class="column-3">The Phantom of the Opera (1925) 1hr46min<br />
<br />
<a href="http://publicdomainreview.org/?p=1943"><img src="http://ia700208.us.archive.org/23/items/ThePhantomoftheOpera/ThePhantomoftheOpera.thumbs/Phantom_of_the_Opera_001320.jpg"></a></td><td class="column-4">Suddenly (1954) 1hr16mins<br />
<br />
<a href="http://publicdomainreview.org/?p=1279"><img src="http://ia600208.us.archive.org/10/items/suddenly/suddenly.thumbs/suddenly_004320.jpg"></a><br />
</td>
	</tr>
	<tr class="row-10">
		<td class="column-1">Buffalo Dance (1894) 14sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2135"><img src="http://ia600301.us.archive.org/10/items/SF126/SF126.thumbs/SF126_000005.jpg"></a></td><td class="column-2">The Cook (1918) 18min<br />
<br />
<a href="http://publicdomainreview.org/?p=2139"><img src="http://ia600501.us.archive.org/18/items/TheCook/TheCook.thumbs/TheCook_000300.jpg"></a></td><td class="column-3">The Thief of Bagdad (1924) 2hr20min<br />
<br />
<a href="http://publicdomainreview.org/?p=2148"><img src="http://ia600304.us.archive.org/25/items/ThiefOfBagdad1924/ThiefOfBagdad1924.thumbs/ThiefofBagdad1924_008280.jpg"></a></td><td class="column-4">Five Minutes to Live (1961) 1hr14min<br />
<br />
<a href="http://publicdomainreview.org/?p=1683"><img src="http://ia700508.us.archive.org/7/items/Five_Minutes_To_Live.avi/Five_Minutes_To_Live.avi.thumbs/Five_Minutes_to_Live_002880.jpg"></a></td>
	</tr>
	<tr class="row-11">
		<td class="column-1">VD is for Everybody (1969) 1min<br />
<br />
<a href="http://publicdomainreview.org/?p=2280"><img src="http://ia600508.us.archive.org/0/items/vd_is_for_everybody/vd_is_for_everybody.thumbs/vd_is_for_everybody_000020.jpg"></a></td><td class="column-2">American Day in Tripoli, Libya (1962) 14min<br />
<br />
<a href="http://publicdomainreview.org/?p=2394"><img src="http://ia600409.us.archive.org/21/items/gov.archives.arc.37715/gov.archives.arc.37715.thumbs/gov.archives.arc.37715_000810.jpg"></a></td><td class="column-3">For The Term of His Natural Life (1927) 1hr33min<br />
<br />
<a href="http://publicdomainreview.org/?p=2288"><img src="http://ia700504.us.archive.org/1/items/ForTheTermOfHisNaturalLife/ForTheTermOfHisNaturalLife.thumbs/ForTheTermOfHisNaturalLife_004980.jpg"></a></td><td class="column-4">Cyrano De Bergerac (1950) 1hr53min<br />
<br />
<a href="http://publicdomainreview.org/?p=2402"><img src="http://ia600401.us.archive.org/27/items/Cyrano_DeBergerac/Cyrano_DeBergerac.thumbs/Cyrano_De_Bergerac_002100.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2267
title: Superstitions About Animals (1904)
uri: Superstitions-About-Animals-(1904)
url: http://publicdomainreview.org/2011/10/14/superstitions-about-animals-1904/
content:
<div align="center">
<iframe src='http://www.archive.org/stream/cu31924029911314?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>

<br />
<span style="font-variant: small-caps;">Superstitions about animals, 
by Frank Gibson; 1904; W. Scott publishing co. ltd; London, Newcastle-on-Tyne, New York.</span>

<br />
<br />
Author&#8217;s Note: My sole object in writing this little book has been to do something towards arousing a more general interest in a subject which has at no time obtained the attention it deserves. Yet there is no subject which so fully repays the thoughtful student as that of Natural History. In bringing together some of the most common superstitions about animals, and dealing with them in a light and popular way, I trust my object will in some measure be attained. If by the publication of this unpretentious work only a little of the prevalent superstition is swept away, and further interest is created in the wonders of the animal kingdom, I shall be more than amply rewarded. 

FRANK GIBSON. 

Bishop Auckland, 
July 1904.
<br />
<br />
<a href="http://www.archive.org/details/cu31924029911314">Internet Archive link</a>
<br />
<br />
<hr />
<br />


<table id="wp-table-reloaded-id-2-no-1" class="wp-table-reloaded wp-table-reloaded-id-2">
<tbody>
	<tr class="row-1">
		<td class="column-1">Letters From a Cat (1879)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/letters-from-a-cat/"><img src="http://farm7.static.flickr.com/6029/5926255857_dd107bbcd5_o.jpg"></a></td><td class="column-2">Castaway on the Auckland Isles: A Narrative of the Wreck of the "Grafton," (1865)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/castaway-on-the-auckland-isles-a-narrative-of-the-wreck-of-the-grafton-1865"><img src="http://farm7.static.flickr.com/6014/5963292991_2926d4d77d_o.jpg"><br />
</a></td><td class="column-3">Infant's Cabinet of Birds and Beasts (1820)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/infants-cabine…-beasts-1820-2/"><img src="http://farm7.static.flickr.com/6137/5963292985_e427baf1da_o.jpg"></a></td><td class="column-4">Old French Fairytales (1920)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/old-french-fairytales-1920/"><img src="http://farm7.static.flickr.com/6127/5963292975_0047a86d70_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Armata: a fragment (1817)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/armata-a-fragment-1817/"><img src="http://farm7.static.flickr.com/6018/5977796996_e0a0fc40cd_o.jpg"></a></td><td class="column-2">An Account of the Late Improvements in Galvanism (1803)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/an-account-of-the-late-improvements-in-galvanism-1803/"><img src="http://farm7.static.flickr.com/6027/5977796994_62597592db_o.jpg"></a></td><td class="column-3">The Medical Aspects of Death, and the Medical Aspects of the Human Mind (1852)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-medical-aspects-of-death-and-the-medical-aspects-of-the-human-mind-1852"><img src="http://farm7.static.flickr.com/6122/5977796990_d34ea609b4_o.jpg"></a></td><td class="column-4">Quarles' Emblems (1886)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/quarles-emblems-1886/"><img src="http://farm7.static.flickr.com/6129/5977796992_cda35bfc9d_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">Cat and bird stories from the "Spectator" (1896)<br />
<br />
<a href="http://publicdomainreview.org/?p=1198"><img src="http://farm7.static.flickr.com/6127/6011153785_75aab450ee_o.jpg"></a></td><td class="column-2">Wonderful Balloon Ascents (1870)<br />
<br />
<a href="http://publicdomainreview.org/?p=1200"><img src="http://farm7.static.flickr.com/6030/6011153783_3c0847e432_o.jpg"></a></td><td class="column-3">The Book of Topiary (1904)<br />
<br />
<a href="http://publicdomainreview.org/?p=1202"><img src="http://farm7.static.flickr.com/6145/6011153777_a727143f9d_o.jpg"></a></td><td class="column-4">The Adventures of Louis de Rougemont (1899)<br />
<br />
<a href="http://publicdomainreview.org/?p=1204"><img src="http://farm7.static.flickr.com/6013/6011153791_7fcdcb3356_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">English as She is Spoke (1884)<br />
<br />
<a href="http://publicdomainreview.org/?p=1431"><img src="http://farm7.static.flickr.com/6083/6046055812_6639c33965_o.jpg"></a></td><td class="column-2">The Danger of Premature Interment (1816)<br />
<br />
<a href="http://publicdomainreview.org/?p=1503"><img src="http://farm7.static.flickr.com/6062/6046366952_ba41be4694_o.jpg"></a></td><td class="column-3">The Last American (1889)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/19/the-last-american/"><img src="http://farm7.static.flickr.com/6066/6059266721_1e7b1015c2_o.jpg"></a></td><td class="column-4">Pirates (1922)<br />
<br />
<a href="http://publicdomainreview.org/?p=1754"><img src="http://farm7.static.flickr.com/6187/6096675914_450e941c10_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">Napoleon's Oraculum (1839)<br />
<br />
<a href="http://publicdomainreview.org/?p=1834"><img src="http://farm7.static.flickr.com/6185/6115393587_cbe52c98ab_o.jpg"></a></td><td class="column-2">Horse Laughs (1891)<br />
<br />
<a href="http://publicdomainreview.org/?p=1918"><img src="http://farm7.static.flickr.com/6156/6143175901_cfaa8bb5f7_o.jpg"></a></td><td class="column-3">Hydriotaphia/Urn-Burial and The Garden of Cyrus (1658)<br />
<br />
<a href="http://publicdomainreview.org/?p=1999"><img src="http://farm7.static.flickr.com/6162/6169326032_8dbf4d10aa_o.jpg"></a></td><td class="column-4">Across the Zodiac: the Story of a Wrecked Record (1880)<br />
<br />
<a href="http://publicdomainreview.org/?p=2129"><img src="http://farm7.static.flickr.com/6123/6197358087_8ed89391e6_o.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Superstitions About Animals (1904)<br />
<br />
<a href="http://publicdomainreview.org/?p=2267"><img src="http://farm7.static.flickr.com/6110/6241413122_a6151abdef_o.jpg"></a></td><td class="column-2">The Diary of a Nobody (1919 edition)<br />
<br />
<a href="http://publicdomainreview.org/?p=2457"><img src="http://farm7.static.flickr.com/6092/6288121551_c2119002b0_o.jpg"></a></td><td class="column-3"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>
 

</div>


feed_id: http://publicdomainreview.org/?p=2293
title: What Makes Franz Liszt Still Important?
uri: What-Makes-Franz-Liszt-Still-Important
url: http://publicdomainreview.org/2011/10/17/what-makes-franz-liszt-still-important/
content:
<p><strong>This week sees the 200th anniversary of the birth of Franz Liszt. Leon Botstein, President of Bard College and music director and principal conductor of the American Symphony Orchestra, explores what we can still learn from the life and music of Liszt.</strong></p>

<p><img src="http://farm7.static.flickr.com/6240/6251404252_a4f180612d_o.jpg" alt="" /></p>

<p>Marking anniversaries of the birth and death of historic figures, particularly in music, is somewhat akin to commemorating annually the date of death of family members. It is never quite clear whether we are struggling to remember those to whom we were once close as we pursue our lives without them, all in an effort to assuage the guilt that comes with the natural tendency to forget, or whether we are indulging in a form of nostalgia, shaped in part by using the selective memory of the past to make claims about what our present and future lives ought to be but have seemingly little chance of becoming. And as we commemorate we rarely penetrate beneath the surface of received opinion, revising a set of inherited judgments.</p>

<p>In our concert life these anniversaries become easy excuses to justify a comfortable and unexamined account of what history has bequeathed as “great” music. Marking the 100th or 200th anniversary rarely leads to a change in the concert repertory. We belabor the obvious. One might consider the Gustav Mahler centenary in 1960 as an exception since it took place at the beginning of a Mahler revival. But the two-year extended Mahler remembrances that are justified by the 100th anniversary of his death (2011) and the 150th of his birth (2010) have functioned to ossify a sentimental historical portrait and further enshrine the central place Mahler’s music has in the orchestral repertory.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6048/6251404066_07e3c87f0e_o.jpg" width="540" height="226" /><p class="wp-caption-text">The Four ages of Franz Liszt, as published in The Etude magazine, 1913.</p></div>

<p>The case of Franz Liszt, who was born in 1811 and died in 1886, is more complex. Celebrating the 200th anniversary of his birth ought to have been an opportunity to revisit a figure who helped define Romanticism, the role of the piano on the stage and in the home, and, most importantly, how music functions for most of the literate public. Yet our attention to him remains largely muted and ambivalent. Only a few of his works are still in the standard orchestral repertory — the piano concertos and one tone poem <em>Les Preludes</em>. Pianists bring out a few select works in recital, mostly to display the virtuosity they demand. This is in stark contrast to Chopin, his contemporary, whom Liszt championed. The choral and organ music are never performed. If one compares this to Liszt’s output, not only for the piano, (which is gargantuan in scope), one cannot help but be struck by the obscurity that most of his music has fallen into. The last effort in a major city to revive Liszt’s music took place in New York in the 1970s under the leadership of Pierre Boulez.</p>

<p>If we choose to remember Liszt more than in passing, it is as the legendary and charismatic personality he was, with all its complexities — his notorious love life, his turn to religion, his relationship with Richard Wagner and Wagner’s second wife, Liszt’s daughter Cosima. There never has been a better subject in music history for a Hollywood movie. He was classical music’s most successful, colorful, and long-lived superstar; he acquired and retained more groupies than any one before or since.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6156/6250875863_57b8fd130e_o.jpg" width="540" height="660" /><p class="wp-caption-text">Photograph of Franz Liszt taken in 1858, featured in Die berühmten Musiker by Lacroix Jean, Kunstverlag by Lucien Mazenod, 1946.</p></div>

<p>We may also choose to recall that he was likely the greatest and most facile pianist that ever lived and perhaps the most influential teacher of the instrument. Liszt’s pupils and their pupils dominated the musical landscape for generations. He defined the personality of the concert pianist, even though, ironically, Liszt gave up concertizing relatively early in his career. Perhaps we also acknowledge Liszt’s uncommon generosity to and support for his contemporary composers, from Chopin and Wagner to Grieg and Saint-Saëns, as well as his influence on a younger generation, including Mahler, Richard Strauss, and Jean Sibelius.</p>

<p>As the bicentenary comes to a close without much ado, what have we missed? What indeed might we still learn and profit from taking a deeper and more comprehensive look at Liszt and his career?</p>

<p>First, Liszt ought to remind us that our approach to music should not be dependent on some construct of nationality that helps prop up the popularity of a composer. Reputations in classical music after Beethoven seem increasingly dependent on nationalist enthusiasms. We seek Hungarians to perform Bartók, Russians Tchaikovsky, the English Elgar, the French Debussy, and Americans Copland and Ives. Liszt defies this easy categorization. He was at one and the same time crucial to what we now regard as quintessentially Hungarian, German, and French. His reach as an artist and composer transcended national categories and reminds us of the limitations of nationalist appropriations and stereotypes.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6153/6254230061_6187d99450_o.jpg" " width="540" height="756" /><p class="wp-caption-text">Top: Hungarian Stamp from 1961 celebrating 150th anniversary of Liszt's birth. Bottom: German stamp from 1996 celebrating the 100th anniversary of his death.</p></div>

<p>Second, Liszt’s art bridged all genres. At the heart of his music for the piano was improvisation, an art sadly lost in what we now term classical music. Few, if any classical musicians can do it. Notation in his piano music sought to mirror an art that was spontaneous and tied to a moment of performance. His elaborations and fantasies for the piano based on the operatic works of others suggest many ways of freely adapting and altering music we like and wish to remember. The same can said for his transcriptions of works by Bach and Beethoven, where music written for one medium is translated into another. Liszt’s piano versions of the Beethoven symphonies (Beethoven was a composer Liszt venerated and spent a lifetime advocating) were particular favorites of that brilliant eccentric, Glenn Gould. We musicians would be well served by following Liszt’s example by liberating ourselves from some delusive ideology of faithfulness to historic texts, adapting old and new music into the framework of our own new music, and altering it to reach a generation of listeners accustomed to new sounds and a novel acoustic environment.  Liszt did that using the piano, and by so doing he helped create an enthusiastic audience of spectators.</p>

<p>Third, Liszt pioneered in rendering music an art form connected to literature, painting, and narration. His notion that instrumental music can and should evoke character, landscape, plot, emotion, and ideas (for example in his tone poem <em>Die Ideale</em>, based on Schiller) laid the groundwork for what we now take for granted as the musical semantics and rhetoric we encounter in music for film and television. The magic in Liszt was that just music alone sufficed to spur the audience’s imagination. Playing Liszt and listening to his work reminds us of the power of music to tell and augment a story and evoke and embellish a memory. This is particularly the case with respect to the connection between spirituality and religion and music, as Liszt’s late orchestral work <em>From the Cradle to the Grave</em> and his massive oratorio <em>Christus</em> make clear.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6055/6251403580_35c50bae7d_o.jpg" width="540" height="549" /><p class="wp-caption-text">Pastel impression of Liszt by the German artist Franz von Lenbach (1836–1904), ca. 1880, currently at the     Städtische Galerie im Lenbachhaus, Munich.</p></div>

<p>Fourth, Liszt was a tireless innovator, never content to repeat himself. Without Liszt’s experiments in the uses of harmony and sonority and the shape of musical form (for example, the stress on single melodies and motives and therefore imaginative repetition in works of considerable duration) much of late Romanticism and Modernism, particularly that associated with Wagner, would be unthinkable. He harbored few prejudices and was, to the end of his days, receptive to the work of younger composers and enthusiastic about new ideas — as his generous treatment of Russian composers amply suggests. We live in too segmented an environment, where the classical and the popular are still segregated, except for occasional all too facile efforts at so-called crossover works and events. Originality was just one of the goals Liszt pursued. He borrowed happily from others and sought to integrate diverse influences into a synthetic and syncretic expressive musical art form. That expansive tendency helped lend him early on in his career as a composer the ill deserved reputation of being all too facile and superficial.</p>

<p>Fifth, consistent with his adherence to improvisation and transcription, he defined interpretation as a creative act, even when performing a Beethoven sonata, as close to a “sacred” text as exists in the 19th-century piano literature. He added and subtracted, inserted transitions, and refashioned the meaning of historic masterpieces. Perhaps the best known is his adaptation of Schubert’s <em>Wanderer Fantasy</em> into a work for piano and orchestra.</p>

<p>A more protean, gifted, generous, and versatile figure in music’s history can hardly be imagined, one who sought to keep the past alive and to link tradition with the contemporary. From Liszt we can learn that mere imitation and endless repetition of the same will not do and will condemn an art form to a form of living death.  Virtuoso par excellence that he was, he despised mere athleticism in music — the single-minded obsession with speed, accuracy, circuslike tricks, and above all, arbitrary affectation in the rendering of music, attributes that have come to define our contemporary concert life. He demanded that performance and composition be kept together and define the performing musician. And yet he reveled in the theater of performance, with lightness and irony.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6050/6251403244_a73362110a_o.jpg" width="540" height="437" /><p class="wp-caption-text">Photograph of Liszt in his music room in Weimar in 1884 - published in Modern Music and Musicians, University Society, New York, 1918</p></div>

<p>However, in order to gain the full measure of Liszt’s achievement and to benefit from his example far more of his music needs to be heard on the concert stage. Two great symphonic works, the Dante and Faust symphonies—although they have made periodic comebacks—need to be a regular part of the repertory. The same applies to the many orchestral tone poems, from <em>Orpheus</em> to <em>Tasso</em>. And the great choral music (the <em>Missa solennis</em> and the <em>13th Psalm</em>, for example) should return to active life and take their place alongside the Mozart Requiem and Handel’s <em>Messiah</em>. Last but not least, there is the endless treasure trove of piano music well beyond the <em>Transcendental Etudes</em>.</p>

<p>Liszt was the first composer-performer to find ways, as a pianist and conductor, to reach a wide public, to make music accessible and enjoyable to more than a self-styled elite of connoisseurs. He did so by connecting music to the public’s wider interests, in poetry and prose, in politics, in history, and in art and religion. He wrote on music, including a biography of Chopin. He ran a court theater in Weimar where he gave the first performances of Wagner’s Lohengrin and Schumann’s Genoveva. He laid the foundations of Hungary’s modern musical life by founding Budapest’s conservatory. He used his fame and artistry on behalf of political and humanitarian causes.</p>

<p>What we can and must learn from Liszt is precisely what it means to be a musician, and to be, as a musician, at the center of a community’s political and cultural life, and to do so fearlessly, courageously, and generously. He set an example of what it requires to be, truly, a citizen of the world as a composer and performer, as one who broke rules and conventions to chart new paths. That was the message contained in Arnold Schoenberg’s 1911 centenary appreciation of Liszt. The very same exhortation needs repeating a century later. The difference is that in 1911 Liszt the composer had become largely derided. Today he is no longer controversial, just neglected.</p>

<div id="attachment_2327" class="wp-caption alignnone" style="width: 550px"><a href="http://publicdomainreview.org/files/2011/10/liszt-painting-detail.jpg"><img src="http://publicdomainreview.org/files/2011/10/liszt-painting-detail.jpg" alt="" title="liszt-painting-detail" width="540" height="436" class="size-full wp-image-2327" /></a><p class="wp-caption-text">Franz Liszt Fantasising at the Piano (1840) by Josef Danhauser - depicting Liszt playing in a Parisian salon on a grand piano made by Conrad Graf, who commissioned the painting; on the piano is a bust of Ludwig van Beethoven by Anton Dietrich; the imagined gathering shows seated Alexandre Dumas, George Sand, Franz Liszt, Marie d&#039;Agoult; standing Hector Berlioz or Victor Hugo, Niccolò Paganini, Gioachino Rossini; and a portrait of Byron on the wall.</p></div>

<p><br /></p>

<hr />

<p><em>Leon Botstein is music director and principal conductor of the American Symphony Orchestra and conductor laureate of the Jerusalem Symphony Orchestra. He is founder and coartistic director of the Bard Music Festival, which celebrates its 22nd season this year at Bard College, the institution he has served as president since 1975. 
He is the editor of The Musical Quarterly and the author of many articles and books. For his contributions to music he has received the Award for Distinguished Service to the Arts from the American Academy of Arts and Letters, the Centennial Medal of the Harvard Graduate School of Arts and Sciences, and the Austrian Cross of Honour for Science and Art. He is a recipient of the Carnegie Foundation’s Academic Leadership Award and a member of the American Philosophical Society.</em></p>

<p><br /></p>

<h1>Links to Works</h1>

<p><br /></p>

<ul>
<li><em>Hungarian Rhapsody No. 2</em> &#8211; The Philadelphia Orchestra performing Stokowski&#8217;s orchestration. Recorded in 1926 and 1927.</li>
</ul>

<p><object width="640" height="26" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000"><param value="true" name="allowfullscreen"/><param value="always" name="allowscriptaccess"/><param value="high" name="quality"/><param value="true" name="cachebusting"/><param value="#000000" name="bgcolor"/><param name="movie" value="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" /><param value="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'Liszt_Hungarian_Rhapsody_No.2.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/LisztHungarianRhapsodyNo.2_689/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'Liszt_Hungarian_Rhapsody_No.2.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/LisztHungarianRhapsodyNo.2_689/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}"> </embed></object></p>

<p>Download and more info from <a href="http://www.archive.org/details/LisztHungarianRhapsodyNo.2_689">Internet Archive</a></p>

<p><br /></p>

<ul>
<li><em>Hungarian Rhapsody No. 2</em> (part 1) &#8211; Performed by the Edison Concert Band in 1913.</li>
</ul>

<p><object width="640" height="26" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000"><param value="true" name="allowfullscreen"/><param value="always" name="allowscriptaccess"/><param value="high" name="quality"/><param value="true" name="cachebusting"/><param value="#000000" name="bgcolor"/><param name="movie" value="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" /><param value="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'EDIS-SRP-0195-03.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/EDIS-SRP-0195-03/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'EDIS-SRP-0195-03.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/EDIS-SRP-0195-03/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}"> </embed></object></p>

<p>Download and more info from <a href="http://www.archive.org/details/EDIS-SRP-0195-03">Internet Archive</a></p>

<p><br /></p>

<ul>
<li>Concerto for Piano No.1 in E flat major &#8211; Antal Dorati conducting the Dallas Symphony Orchestra, Artur Rubinstein, pianist. Recorded in 1947.</li>
</ul>

<p><object width="640" height="26" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000"><param value="true" name="allowfullscreen"/><param value="always" name="allowscriptaccess"/><param value="high" name="quality"/><param value="true" name="cachebusting"/><param value="#000000" name="bgcolor"/><param name="movie" value="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" /><param value="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'01_allegroMaestoso.mp3','autoPlay':false},'02_quasiAdagio.mp3','03_allegroVivace.mp3','04_allegroMarzialeAnimato.mp3'],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/LisztConcertoForPianoNo.1InEFlatMajor/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':true,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'01_allegroMaestoso.mp3','autoPlay':false},'02_quasiAdagio.mp3','03_allegroVivace.mp3','04_allegroMarzialeAnimato.mp3'],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/LisztConcertoForPianoNo.1InEFlatMajor/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':true,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}"> </embed></object></p>

<ol>
<li>Allegro maestoso </li>
<li>Quasi adagio </li>
<li>Allegro vivace   </li>
<li>Allegro marziale animato</li>
</ol>

<p>Download and more info from <a href="http://www.archive.org/details/LisztConcertoForPianoNo.1InEFlatMajor">Internet Archive</a></p>

<p><br /></p>

<ul>
<li><em>Liebestraume</em> &#8211; Performed by Martha Goldstein on an 1851 Erard piano.</li>
</ul>

<p><object width="640" height="26" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000"><param value="true" name="allowfullscreen"/><param value="always" name="allowscriptaccess"/><param value="high" name="quality"/><param value="true" name="cachebusting"/><param value="#000000" name="bgcolor"/><param name="movie" value="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" /><param value="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'Franz_Liszt_-_Liebestraum_Ab_Major.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/Liebestrume/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'Franz_Liszt_-_Liebestraum_Ab_Major.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/Liebestrume/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}"> </embed></object></p>

<p>Download and more info from <a href="http://www.archive.org/details/Liebestrume">Internet Archive</a></p>

<p><br /></p>

<ul>
<li><em>Letters of Franz Liszt. Vol. 1 &#8211; from Paris to Rome: Years of Travel as a Virtuoso</em> (1894)

<ul>
<li><a href="http://www.archive.org/stream/lettersoffranzli01lisz">pdf online</a></li>
<li><a href="http://www.archive.org/download/lettersoffranzli01lisz/lettersoffranzli01lisz.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/lettersoffranzli01lisz/lettersoffranzli01lisz.mobi">kindle</a></li>
<li><a href="http://www.archive.org/stream/lettersoffranzli03689gut/1lofl10.txt">text</a></li>
</ul></li>
<li><em>Letters of Franz Liszt. Vol. 2 &#8211; from Rome to the End</em> (1894)

<ul>
<li><a href="http://www.archive.org/stream/lettersoffranzli020960mbp">pdf online</a></li>
<li><a href="http://www.archive.org/download/lettersoffranzli020960mbp/lettersoffranzli020960mbp.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/lettersoffranzli020960mbp/lettersoffranzli020960mbp.mobi">kindle</a></li>
<li><a href="http://www.archive.org/stream/lettersoffranzli03750gut/2lofl10.txt">text</a></li>
</ul></li>
<li><em>Life of Chopin</em> (1877) by Franz Liszt

<ul>
<li><a href="http://www.archive.org/stream/cu31924022313575">pdf online</a></li>
<li><a href="http://www.archive.org/download/cu31924022313575/cu31924022313575.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/cu31924022313575/cu31924022313575.mobi">kindle</a></li>
<li><a href="http://www.archive.org/stream/lifeofchopin04386gut/lfcpn10.txt">text</a>  </li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.org/?p=2402
title: Cyrano De Bergerac (1950)
uri: Cyrano-De-Bergerac-(1950)
url: http://publicdomainreview.org/2011/10/22/cyrano-de-bergerac-1950/
content:
<div align="center">

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<br />
<br />
José Ferrer received the Academy Award for Best Actor for his starring performance as Cyrano de Bergerac, the charismatic swordsman-poet with the absurd nose and &#8220;crowned with the white plume freedom&#8221;. This film adaptation directed by Michael Gordon of the 1897 French Alexandrine verse drama by Edmond Rostand, uses poet Brian Hooker&#8217;s 1923 English blank verse translation as the basis for its screenplay. The story tells the tale of our large-nosed hero Cyrano falling in love with the beauteous Roxane; she, in turn, confesses to Cyrano her love for the handsome but tongue-tied Christian. The chivalrous Cyrano sets up with Christian an innocent deception, with tragic results. 
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<br />
<a href="http://www.archive.org/details/Cyrano_DeBergerac">Download from Internet Archive</a>
<br />
<br />
<font size="1">Note this film is in the public domain in the US, but may not be in other jurisdictions. Please check its status in your jurisdiction before re-using.</font> 
<br />
<br />
<hr />
<br />

 
<table id="wp-table-reloaded-id-1-no-1" class="wp-table-reloaded wp-table-reloaded-id-1">
<thead>
	<tr class="row-1">
		<th class="column-1">CLIPS</th><th class="column-2">SHORT</th><th class="column-3">FULL LENGTH SILENT</th><th class="column-4">FULL LENGTH TALKIE</th>
	</tr>
</thead>
<tbody>
	<tr class="row-2">
		<td class="column-1">Princess Nicotine (1909) 6min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/princess-nicotine-1909/"><img src="http://ia700502.us.archive.org/1/items/princess_nicotine_1909/princess_nicotine_1909.thumbs/princess_nicotine_1909_000240.jpg"></a></td><td class="column-2">Gertie the Dinosaur  (1914) 12min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/gertie-the-dinosaur-1914/"><img src="http://ia600300.us.archive.org/11/items/Gertie/Gertie.thumbs/GertietheDinosaur_000330.jpg"></a></td><td class="column-3">Last of the Mohicans (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/last-of-the-mohicans-1920/"><img src="http://ia700300.us.archive.org/24/items/PublicdomainTheLastoftheMohicans/PublicdomainTheLastoftheMohicans.thumbs/Last_of_the_Mohicans_000300.jpg" alt="" /></a></td><td class="column-4">Meet John Doe (1941) 2hr3min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/meet-john-doe-1941/"><img src="http://ia600307.us.archive.org/5/items/meet_john_doe_ipod/meet_john_doe_ipod.thumbs/meet_john_doe_002127.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">The Unappreciated Joke (1903) 1min<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/02/the-unappreciated-joke-1903/"><img src="http://ia600200.us.archive.org/5/items/TheUnappreciatedJoke/TheUnappreciatedJoke.thumbs/TheUnappreciatedJoke_000035.jpg"></a></td><td class="column-2">Frankenstein (1910) 13min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/frankenstein-19/"><img src="http://ia600306.us.archive.org/9/items/FrankensteinfullMovie/FrankensteinfullMovie.thumbs/Frankenstein1910_000270.jpg"></a></td><td class="column-3">The General (1926) 1hr19min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-general-1926/ "><img src="http://ia600604.us.archive.org/8/items/TheGeneral1926/TheGeneral1926.thumbs/The_General_1926_720p_001554.jpg" alt="" /></a></td><td class="column-4">Plan 9 from Outer Space (1959) 1hr19mins<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/plan-9-from-outer-space-1959/"><img src="http://ia600401.us.archive.org/19/items/Plan_9_from_Outer_Space_1959/Plan_9_from_Outer_Space_1959.thumbs/Plan_9_from_Outer_Space_1959_001260.jpg"></a><br />
</td>
	</tr>
	<tr class="row-4">
		<td class="column-1">The Execution of Mary, Queen of Scots (1895) 21sec<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-execution-…-of-scots-1895/"><img src="http://ia700303.us.archive.org/33/items/Execution_of_Mary_1895/Execution_of_Mary_1895.thumbs/Execution_of_Mary_1895_000005.jpg"></a></td><td class="column-2">The Great Train Robbery (1903) 10min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-great-train-robbery-1903/"><img src="http://ia700504.us.archive.org/7/items/Europeanposte-theGreatTrainrobbery912/Europeanposte-theGreatTrainrobbery912.thumbs/Europeanposte-theGreatTrainrobbery912_000030.jpg"></a></td><td class="column-3">Wolf Blood (1925) 1hr7min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/wolf-blood-1925/"><img src="http://ia700204.us.archive.org/8/items/WolfBlood1925/WolfBlood1925.thumbs/WolfBlood_002940.jpg"></a></td><td class="column-4">Reefer Madness (1938) 1hr8min<br />
<br />
<a href="http://publicdomainreview.org/?p=1281"><img src="http://ia700202.us.archive.org/1/items/reefer_madness1938/reefer_madness1938.thumbs/reefer_madness1938_001860.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">The Kiss (1896) 25secs<br />
<br />
<a href="http://publicdomainreview.org/?p=1421"><img src="http://ia700204.us.archive.org/23/items/CEP00115/CEP00115.thumbs/CEP00115_000005.jpg"></a></td><td class="column-2">Experiments in the Revival of Organisms (1940) 20min<br />
<br />
<a href="http://publicdomainreview.org/?p=1417"><img src="http://ia700500.us.archive.org/19/items/Experime1940/Experime1940.thumbs/Experime1940_000360.jpg"></a></td><td class="column-3">Battleship Potemkin (1925) 1hr13min<br />
<br />
<a href="http://publicdomainreview.org/?p=1413"><img src="http://ia600208.us.archive.org/4/items/BattleshipPotemkin/BattleshipPotemkin.thumbs/Battleship_Potemkin_000780.jpg"></a></td><td class="column-4">The Snows of Kilimanjaro (1952) 1hr57min<br />
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<a href="http://publicdomainreview.org/?p=1425"><img src="http://ia700402.us.archive.org/23/items/Kilimanjaro/Kilimanjaro.thumbs/The_Snows_of_Kilimanjaro_006300.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Trapeze Disrobing Act (1901) 2min<br />
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<a href="http://publicdomainreview.org/?p=1547"><img src="http://ia600308.us.archive.org/15/items/SF120/SF120.thumbs/SF120_000040.jpg"></a></td><td class="column-2">Are You Popular (1947) 10min<br />
<br />
<a href="http://publicdomainreview.org/?p=1552"><img src="http://ia600202.us.archive.org/17/items/AreYouPo1947/AreYouPo1947.thumbs/AreYouPo1947_000240.jpg"></a></td><td class="column-3">The Lodger: A Story of the London Fog (1927) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=1560"><img src="http://ia700309.us.archive.org/32/items/TheLodgerAStoryOfTheLondonFog_579/TheLodgerAStoryOfTheLondonFog_579.thumbs/TheLodger-AStoryOfTheLondonFog1927AlfredHitchcock_001800.jpg"></a></td><td class="column-4">Scarlet Street (1945) 1hr43min<br />
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<a href="http://publicdomainreview.org/?p=1557"><img src="http://ia700202.us.archive.org/16/items/ScarletStreet/ScarletStreet.thumbs/Scarlet_Street_005460.jpg"></a></td>
	</tr>
	<tr class="row-7">
		<td class="column-1">Annie Oakley Fires Her Gun (1894) 20secs<br />
<a href="http://publicdomainreview.org/?p=1721"><br />
<img src="http://ia600202.us.archive.org/20/items/AnnieOakley/AnnieOakley.thumbs/AnnieOakley_000020.jpg"></a></td><td class="column-2">The Wonderful Wizard of Oz (1910) 13min<br />
<a href="http://publicdomainreview.org/?p=1719"><br />
<img src="http://ia600304.us.archive.org/4/items/The_Wonderful_Wizard_of_Oz/The_Wonderful_Wizard_of_Oz.thumbs/WizardOfOz1910_000720.jpg"></a></td><td class="column-3">Faust (1926) 1hr55min<br />
<br />
<a href="http://publicdomainreview.org/?p=1703"><img src="http://ia600409.us.archive.org/15/items/PhantasmagoriaTheater-Faust1926421/PhantasmagoriaTheater-Faust1926421.thumbs/PhantasmagoriaTheater-Faust1926421_002160.jpg"></a></td><td class="column-4">The Last Man on Earth (1964) 1hr27min<br />
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<a href="http://publicdomainreview.org/?p=1715"><img src="http://farm7.static.flickr.com/6204/6090641136_9922b754c8_o.jpg"></a></td>
	</tr>
	<tr class="row-8">
		<td class="column-1">Operation Cue (1955) 52sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1812"><img src="http://ia700301.us.archive.org/5/items/CEP_00_071/CEP_00_071.thumbs/CEP_00_071_000030.jpg"></a></td><td class="column-2">Never Weaken (1921) 28min<br />
<br />
<a href="http://publicdomainreview.org/?p=1827"><img src="http://ia600309.us.archive.org/22/items/Never_Weaken_1921/Never_Weaken_1921.thumbs/Never_Weaken_1921_001260.jpg"></a></td><td class="column-3">Intolerance (1916) 2hr57min<br />
<a href="http://publicdomainreview.org/?p=1820"><br />
<img src="http://ia700303.us.archive.org/11/items/Intolerance/Intolerance.thumbs/Intolerance_010500.jpg"></a></td><td class="column-4">Quicksand (1950) 1hr18min<br />
<br />
<a href="http://publicdomainreview.org/?p=1816"><img src="http://ia700406.us.archive.org/14/items/Quicksand_clear/Quicksand_clear.thumbs/Quicksand_001860.jpg"></a></td>
	</tr>
	<tr class="row-9">
		<td class="column-1">Dutch Fashion Reel (1969) 1min50sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1954"><img src="http://farm7.static.flickr.com/6200/6158664220_2d772d57d5_o.jpg"></a></td><td class="column-2">Betty Boop: Minnie The Moocher (1932) 7min46sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1965"><img src="http://ia600208.us.archive.org/2/items/bb_minnie_the_moocher/bb_minnie_the_moocher.thumbs/bb_minnie_the_moocher_000390.jpg"></a></td><td class="column-3">The Phantom of the Opera (1925) 1hr46min<br />
<br />
<a href="http://publicdomainreview.org/?p=1943"><img src="http://ia700208.us.archive.org/23/items/ThePhantomoftheOpera/ThePhantomoftheOpera.thumbs/Phantom_of_the_Opera_001320.jpg"></a></td><td class="column-4">Suddenly (1954) 1hr16mins<br />
<br />
<a href="http://publicdomainreview.org/?p=1279"><img src="http://ia600208.us.archive.org/10/items/suddenly/suddenly.thumbs/suddenly_004320.jpg"></a><br />
</td>
	</tr>
	<tr class="row-10">
		<td class="column-1">Buffalo Dance (1894) 14sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2135"><img src="http://ia600301.us.archive.org/10/items/SF126/SF126.thumbs/SF126_000005.jpg"></a></td><td class="column-2">The Cook (1918) 18min<br />
<br />
<a href="http://publicdomainreview.org/?p=2139"><img src="http://ia600501.us.archive.org/18/items/TheCook/TheCook.thumbs/TheCook_000300.jpg"></a></td><td class="column-3">The Thief of Bagdad (1924) 2hr20min<br />
<br />
<a href="http://publicdomainreview.org/?p=2148"><img src="http://ia600304.us.archive.org/25/items/ThiefOfBagdad1924/ThiefOfBagdad1924.thumbs/ThiefofBagdad1924_008280.jpg"></a></td><td class="column-4">Five Minutes to Live (1961) 1hr14min<br />
<br />
<a href="http://publicdomainreview.org/?p=1683"><img src="http://ia700508.us.archive.org/7/items/Five_Minutes_To_Live.avi/Five_Minutes_To_Live.avi.thumbs/Five_Minutes_to_Live_002880.jpg"></a></td>
	</tr>
	<tr class="row-11">
		<td class="column-1">VD is for Everybody (1969) 1min<br />
<br />
<a href="http://publicdomainreview.org/?p=2280"><img src="http://ia600508.us.archive.org/0/items/vd_is_for_everybody/vd_is_for_everybody.thumbs/vd_is_for_everybody_000020.jpg"></a></td><td class="column-2">American Day in Tripoli, Libya (1962) 14min<br />
<br />
<a href="http://publicdomainreview.org/?p=2394"><img src="http://ia600409.us.archive.org/21/items/gov.archives.arc.37715/gov.archives.arc.37715.thumbs/gov.archives.arc.37715_000810.jpg"></a></td><td class="column-3">For The Term of His Natural Life (1927) 1hr33min<br />
<br />
<a href="http://publicdomainreview.org/?p=2288"><img src="http://ia700504.us.archive.org/1/items/ForTheTermOfHisNaturalLife/ForTheTermOfHisNaturalLife.thumbs/ForTheTermOfHisNaturalLife_004980.jpg"></a></td><td class="column-4">Cyrano De Bergerac (1950) 1hr53min<br />
<br />
<a href="http://publicdomainreview.org/?p=2402"><img src="http://ia600401.us.archive.org/27/items/Cyrano_DeBergerac/Cyrano_DeBergerac.thumbs/Cyrano_De_Bergerac_002100.jpg"></a></td>
	</tr>
	<tr class="row-12">
		<td class="column-1"></td><td class="column-2">Your Name Here (1960) 10min10sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2561"><img src="http://ia700506.us.archive.org/11/items/YourName1960/YourName1960.thumbs/YourName1960_000120.jpg"></a>.</td><td class="column-3"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2394
title: American Day in Tripoli, Libya (1962)
uri: American-Day-in-Tripoli-Libya-(1962)
url: http://publicdomainreview.org/2011/10/22/american-day-in-tripoli-libya-1962/
content:
<div align="center">

<object width="640" height="506" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000"><param value="true" name="allowfullscreen"/><param value="always" name="allowscriptaccess"/><param value="high" name="quality"/><param value="true" name="cachebusting"/><param value="#000000" name="bgcolor"/><param name="movie" value="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" /><param value="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'gov.archives.arc.37715_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/gov.archives.arc.37715/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'gov.archives.arc.37715_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/gov.archives.arc.37715/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}"> </embed></object>
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Filmed at Tripoli International Fairground eleven years after independence from Italian colonial rule and seven years before a group of military officers led by a 28 year old Muammar al-Gaddafi staged a coup d’état against King Idris bringing the monarchy to an end and beginning Gadaffi&#8217;s 42 year rule. 
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<br />
National Archives and Records Administration &#8211; ARC Identifier 37715 / Local Identifier 151.56 &#8211; [AMERICAN DAY IN] TRIPOLI, LIBYA &#8211; Department of Commerce. (1913 &#8211; ). Silent. DVD copied by IASL Master Scanner Timothy Vollmer.
<br />
<br />
<a href="http://www.archive.org/details/gov.archives.arc.37715">Download from Internet Archive</a>
<br />
<br />
<font size="1">Note this film is in the public domain in the US, but may not be in other jurisdictions. Please check its status in your jurisdiction before re-using.</font> 
<br />
<br />
<hr />
<br />

 
<table id="wp-table-reloaded-id-1-no-1" class="wp-table-reloaded wp-table-reloaded-id-1">
<thead>
	<tr class="row-1">
		<th class="column-1">CLIPS</th><th class="column-2">SHORT</th><th class="column-3">FULL LENGTH SILENT</th><th class="column-4">FULL LENGTH TALKIE</th>
	</tr>
</thead>
<tbody>
	<tr class="row-2">
		<td class="column-1">Princess Nicotine (1909) 6min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/princess-nicotine-1909/"><img src="http://ia700502.us.archive.org/1/items/princess_nicotine_1909/princess_nicotine_1909.thumbs/princess_nicotine_1909_000240.jpg"></a></td><td class="column-2">Gertie the Dinosaur  (1914) 12min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/gertie-the-dinosaur-1914/"><img src="http://ia600300.us.archive.org/11/items/Gertie/Gertie.thumbs/GertietheDinosaur_000330.jpg"></a></td><td class="column-3">Last of the Mohicans (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/last-of-the-mohicans-1920/"><img src="http://ia700300.us.archive.org/24/items/PublicdomainTheLastoftheMohicans/PublicdomainTheLastoftheMohicans.thumbs/Last_of_the_Mohicans_000300.jpg" alt="" /></a></td><td class="column-4">Meet John Doe (1941) 2hr3min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/meet-john-doe-1941/"><img src="http://ia600307.us.archive.org/5/items/meet_john_doe_ipod/meet_john_doe_ipod.thumbs/meet_john_doe_002127.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">The Unappreciated Joke (1903) 1min<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/02/the-unappreciated-joke-1903/"><img src="http://ia600200.us.archive.org/5/items/TheUnappreciatedJoke/TheUnappreciatedJoke.thumbs/TheUnappreciatedJoke_000035.jpg"></a></td><td class="column-2">Frankenstein (1910) 13min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/frankenstein-19/"><img src="http://ia600306.us.archive.org/9/items/FrankensteinfullMovie/FrankensteinfullMovie.thumbs/Frankenstein1910_000270.jpg"></a></td><td class="column-3">The General (1926) 1hr19min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-general-1926/ "><img src="http://ia600604.us.archive.org/8/items/TheGeneral1926/TheGeneral1926.thumbs/The_General_1926_720p_001554.jpg" alt="" /></a></td><td class="column-4">Plan 9 from Outer Space (1959) 1hr19mins<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/plan-9-from-outer-space-1959/"><img src="http://ia600401.us.archive.org/19/items/Plan_9_from_Outer_Space_1959/Plan_9_from_Outer_Space_1959.thumbs/Plan_9_from_Outer_Space_1959_001260.jpg"></a><br />
</td>
	</tr>
	<tr class="row-4">
		<td class="column-1">The Execution of Mary, Queen of Scots (1895) 21sec<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-execution-…-of-scots-1895/"><img src="http://ia700303.us.archive.org/33/items/Execution_of_Mary_1895/Execution_of_Mary_1895.thumbs/Execution_of_Mary_1895_000005.jpg"></a></td><td class="column-2">The Great Train Robbery (1903) 10min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-great-train-robbery-1903/"><img src="http://ia700504.us.archive.org/7/items/Europeanposte-theGreatTrainrobbery912/Europeanposte-theGreatTrainrobbery912.thumbs/Europeanposte-theGreatTrainrobbery912_000030.jpg"></a></td><td class="column-3">Wolf Blood (1925) 1hr7min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/wolf-blood-1925/"><img src="http://ia700204.us.archive.org/8/items/WolfBlood1925/WolfBlood1925.thumbs/WolfBlood_002940.jpg"></a></td><td class="column-4">Reefer Madness (1938) 1hr8min<br />
<br />
<a href="http://publicdomainreview.org/?p=1281"><img src="http://ia700202.us.archive.org/1/items/reefer_madness1938/reefer_madness1938.thumbs/reefer_madness1938_001860.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">The Kiss (1896) 25secs<br />
<br />
<a href="http://publicdomainreview.org/?p=1421"><img src="http://ia700204.us.archive.org/23/items/CEP00115/CEP00115.thumbs/CEP00115_000005.jpg"></a></td><td class="column-2">Experiments in the Revival of Organisms (1940) 20min<br />
<br />
<a href="http://publicdomainreview.org/?p=1417"><img src="http://ia700500.us.archive.org/19/items/Experime1940/Experime1940.thumbs/Experime1940_000360.jpg"></a></td><td class="column-3">Battleship Potemkin (1925) 1hr13min<br />
<br />
<a href="http://publicdomainreview.org/?p=1413"><img src="http://ia600208.us.archive.org/4/items/BattleshipPotemkin/BattleshipPotemkin.thumbs/Battleship_Potemkin_000780.jpg"></a></td><td class="column-4">The Snows of Kilimanjaro (1952) 1hr57min<br />
<br />
<a href="http://publicdomainreview.org/?p=1425"><img src="http://ia700402.us.archive.org/23/items/Kilimanjaro/Kilimanjaro.thumbs/The_Snows_of_Kilimanjaro_006300.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Trapeze Disrobing Act (1901) 2min<br />
<br />
<a href="http://publicdomainreview.org/?p=1547"><img src="http://ia600308.us.archive.org/15/items/SF120/SF120.thumbs/SF120_000040.jpg"></a></td><td class="column-2">Are You Popular (1947) 10min<br />
<br />
<a href="http://publicdomainreview.org/?p=1552"><img src="http://ia600202.us.archive.org/17/items/AreYouPo1947/AreYouPo1947.thumbs/AreYouPo1947_000240.jpg"></a></td><td class="column-3">The Lodger: A Story of the London Fog (1927) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=1560"><img src="http://ia700309.us.archive.org/32/items/TheLodgerAStoryOfTheLondonFog_579/TheLodgerAStoryOfTheLondonFog_579.thumbs/TheLodger-AStoryOfTheLondonFog1927AlfredHitchcock_001800.jpg"></a></td><td class="column-4">Scarlet Street (1945) 1hr43min<br />
<br />
<a href="http://publicdomainreview.org/?p=1557"><img src="http://ia700202.us.archive.org/16/items/ScarletStreet/ScarletStreet.thumbs/Scarlet_Street_005460.jpg"></a></td>
	</tr>
	<tr class="row-7">
		<td class="column-1">Annie Oakley Fires Her Gun (1894) 20secs<br />
<a href="http://publicdomainreview.org/?p=1721"><br />
<img src="http://ia600202.us.archive.org/20/items/AnnieOakley/AnnieOakley.thumbs/AnnieOakley_000020.jpg"></a></td><td class="column-2">The Wonderful Wizard of Oz (1910) 13min<br />
<a href="http://publicdomainreview.org/?p=1719"><br />
<img src="http://ia600304.us.archive.org/4/items/The_Wonderful_Wizard_of_Oz/The_Wonderful_Wizard_of_Oz.thumbs/WizardOfOz1910_000720.jpg"></a></td><td class="column-3">Faust (1926) 1hr55min<br />
<br />
<a href="http://publicdomainreview.org/?p=1703"><img src="http://ia600409.us.archive.org/15/items/PhantasmagoriaTheater-Faust1926421/PhantasmagoriaTheater-Faust1926421.thumbs/PhantasmagoriaTheater-Faust1926421_002160.jpg"></a></td><td class="column-4">The Last Man on Earth (1964) 1hr27min<br />
<br />
<a href="http://publicdomainreview.org/?p=1715"><img src="http://farm7.static.flickr.com/6204/6090641136_9922b754c8_o.jpg"></a></td>
	</tr>
	<tr class="row-8">
		<td class="column-1">Operation Cue (1955) 52sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1812"><img src="http://ia700301.us.archive.org/5/items/CEP_00_071/CEP_00_071.thumbs/CEP_00_071_000030.jpg"></a></td><td class="column-2">Never Weaken (1921) 28min<br />
<br />
<a href="http://publicdomainreview.org/?p=1827"><img src="http://ia600309.us.archive.org/22/items/Never_Weaken_1921/Never_Weaken_1921.thumbs/Never_Weaken_1921_001260.jpg"></a></td><td class="column-3">Intolerance (1916) 2hr57min<br />
<a href="http://publicdomainreview.org/?p=1820"><br />
<img src="http://ia700303.us.archive.org/11/items/Intolerance/Intolerance.thumbs/Intolerance_010500.jpg"></a></td><td class="column-4">Quicksand (1950) 1hr18min<br />
<br />
<a href="http://publicdomainreview.org/?p=1816"><img src="http://ia700406.us.archive.org/14/items/Quicksand_clear/Quicksand_clear.thumbs/Quicksand_001860.jpg"></a></td>
	</tr>
	<tr class="row-9">
		<td class="column-1">Dutch Fashion Reel (1969) 1min50sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1954"><img src="http://farm7.static.flickr.com/6200/6158664220_2d772d57d5_o.jpg"></a></td><td class="column-2">Betty Boop: Minnie The Moocher (1932) 7min46sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1965"><img src="http://ia600208.us.archive.org/2/items/bb_minnie_the_moocher/bb_minnie_the_moocher.thumbs/bb_minnie_the_moocher_000390.jpg"></a></td><td class="column-3">The Phantom of the Opera (1925) 1hr46min<br />
<br />
<a href="http://publicdomainreview.org/?p=1943"><img src="http://ia700208.us.archive.org/23/items/ThePhantomoftheOpera/ThePhantomoftheOpera.thumbs/Phantom_of_the_Opera_001320.jpg"></a></td><td class="column-4">Suddenly (1954) 1hr16mins<br />
<br />
<a href="http://publicdomainreview.org/?p=1279"><img src="http://ia600208.us.archive.org/10/items/suddenly/suddenly.thumbs/suddenly_004320.jpg"></a><br />
</td>
	</tr>
	<tr class="row-10">
		<td class="column-1">Buffalo Dance (1894) 14sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2135"><img src="http://ia600301.us.archive.org/10/items/SF126/SF126.thumbs/SF126_000005.jpg"></a></td><td class="column-2">The Cook (1918) 18min<br />
<br />
<a href="http://publicdomainreview.org/?p=2139"><img src="http://ia600501.us.archive.org/18/items/TheCook/TheCook.thumbs/TheCook_000300.jpg"></a></td><td class="column-3">The Thief of Bagdad (1924) 2hr20min<br />
<br />
<a href="http://publicdomainreview.org/?p=2148"><img src="http://ia600304.us.archive.org/25/items/ThiefOfBagdad1924/ThiefOfBagdad1924.thumbs/ThiefofBagdad1924_008280.jpg"></a></td><td class="column-4">Five Minutes to Live (1961) 1hr14min<br />
<br />
<a href="http://publicdomainreview.org/?p=1683"><img src="http://ia700508.us.archive.org/7/items/Five_Minutes_To_Live.avi/Five_Minutes_To_Live.avi.thumbs/Five_Minutes_to_Live_002880.jpg"></a></td>
	</tr>
	<tr class="row-11">
		<td class="column-1">VD is for Everybody (1969) 1min<br />
<br />
<a href="http://publicdomainreview.org/?p=2280"><img src="http://ia600508.us.archive.org/0/items/vd_is_for_everybody/vd_is_for_everybody.thumbs/vd_is_for_everybody_000020.jpg"></a></td><td class="column-2">American Day in Tripoli, Libya (1962) 14min<br />
<br />
<a href="http://publicdomainreview.org/?p=2394"><img src="http://ia600409.us.archive.org/21/items/gov.archives.arc.37715/gov.archives.arc.37715.thumbs/gov.archives.arc.37715_000810.jpg"></a></td><td class="column-3">For The Term of His Natural Life (1927) 1hr33min<br />
<br />
<a href="http://publicdomainreview.org/?p=2288"><img src="http://ia700504.us.archive.org/1/items/ForTheTermOfHisNaturalLife/ForTheTermOfHisNaturalLife.thumbs/ForTheTermOfHisNaturalLife_004980.jpg"></a></td><td class="column-4">Cyrano De Bergerac (1950) 1hr53min<br />
<br />
<a href="http://publicdomainreview.org/?p=2402"><img src="http://ia600401.us.archive.org/27/items/Cyrano_DeBergerac/Cyrano_DeBergerac.thumbs/Cyrano_De_Bergerac_002100.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2409
title: Navigating Dürer’s Woodcuts for The Ship of Fools
uri: Navigating-Dürer-s-Woodcuts-for-The-Ship-of-Fools
url: http://publicdomainreview.org/2011/10/25/navigating-durer%e2%80%99s-woodcuts-for-the-ship-of-fools/
content:
<p><strong>At the start of his career, as a young man in his twenties, Albrecht Dürer created a series of woodcuts to illustrate Sebastian Brant&#8217;s <em>The Ship of Fools</em> of 1494. Dürer scholar Rangsook Yoon explores the significance of these early pieces and how in their subtlety of allegory they show promise of his masterpieces to come.</strong></p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6101/6276963371_3aa340c48e_o.jpg" width="540" height="738" /><p class="wp-caption-text">Attributed to Albrecht Dürer, woodcut illustration for Chapter 85, “Not Providing for Death”.</p></div>

<p>The celebrated Nuremberg artist Albrecht Dürer (1471-1528) spent part of his journeyman years, from 1492 to 1494, in Basel, working as a woodcut designer for some of the most eminent publishers of his time, including Johann Bergmann von Olpe, Johannes Amerbach, and Nicolaus Kessler. Basel, along with Strasbourg, Augsburg and Nuremberg, was a prosperous commercial town and a leading artistic and publishing center in the North of the Alps. Dürer’s journeyman experience here was crucial in his formation as a woodcut designer deeply engaged in the early publishing industry. The most important woodcut project that he was involved with during this time was the design of an extensive illustration cycle to accompany <em>The Ship of Fools</em>, the satirical verses composed in German by Sebastian Brant (1457-1521) and published by Bergmann von Olpe in 1494. This collection of moralizing stories was an instant best-seller; so much so that in that same year, five separate pirated editions appeared in Strasbourg, Augsburg, Nuremberg, and Reutingen. No doubt, its numerous whimsical woodcuts depicting various types of foolish and sinful human behavior contributed to its great success, as these illustrations were copied in all subsequent editions until the late sixteenth century. Nowadays, in general, about two-thirds of the 114 illustrations (counting 9 repeating ones) in the 1494 edition are attributed to the young Dürer, while the rest, which are found inferior in design and cutting, are ascribed to anonymous masters, such as the so-called Master of the Haintz Narr (named after the namesake scene in The Ship of Fools). A more conservative view, expressed by the art historian Erwin Panofsky in 1945, attributes only one-third of the illustrations to Dürer.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6097/6276453334_23566197a1_o.jpg" width="540" height="734" /><p class="wp-caption-text">The Master of the Haintz Narr, woodcut illustration for Chapter 5 , “Of Old Fools”. </p></div>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6239/6276453618_156b203d93_o.jpg" width="540" height="737" /><p class="wp-caption-text">Attributed to Albrecht Dürer, woodcut illustration for Chapter 14, “Of Insolence toward God”.</p></div>

<p>Overall, the woodcuts Dürer made during his journeyman years are not as impressive as those he created later as an independent master in Nuremberg. For example, hatching lines used for modeling consist here only of simple parallel lines, and the contour lines during this early period are depicted crudely and overly thick without much variation. The artist presumably simplified his illustrations so as to accommodate the limited skills of block-cutters (Formschneider) who were in charge of cutting the woodblocks he designed. Nevertheless, Dürer’s woodcuts in <em>The Ship of Fools</em> already reveal seeds of his stylistic elements and motifs found later in his career. They also betray a greater understanding of the book’s narrative and allegorical content, suggesting that he worked closely with Brant, possibly responding directly to the author’s demands and instructions. Dürer’s intimate knowledge of Brant’s text can best be illustrated by examining the original title page designed by the Nuremberg artist, The Fools on a Cart and a Boatload of Fools.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6019/6276452392_6173453534_o.jpg" width="540" height="856" /><p class="wp-caption-text">Dürer&#039;s Fools on a Cart and a Boatload of Fools, the original title page.</p></div>

<p>This woodcut of Dürer’s occupies almost the entire title page and consists of two scenes that are vertically arranged. The upper compartment shows figures in fools’ caps — shaped like donkey’s ears and adorned with bells — riding a cart pulled by horses and being guided by fools. This uppermost register also has the book’s title, “The Ship of Fools” (“Das Narren Schiff”), carved on the same woodblock as the image. In the lower section, three boats of yelling and singing rowdy fools set out for their destination, “The Land of Fools” (“Ad Narragoniam”), as indicated in the caption. Attentive viewers may find it odd that two different allegorical subjects, both the multiple ships of fools and a single cart of fools, are juxtaposed in this original title cut of 1494. It differs greatly from the better-known title cuts of later years, all of which utilize the image of only a large ship of fools, thus visualizing the book’s title verbatim. This seemingly dissonant title cut of 1494, however, confirms that Dürer was indeed well aware of the structure and themes of Brant’s original German text at the time of its conception and original publication.</p>

<p>Despite the book’s title, in Brant’s original text, the idea of a ‘ship’ is not central, but rather, incidental. As noteworthy as the ship is, it is only one amongst a number of diverse motifs including a cart, a dance, a wheel of fortune, a net, a mirror, and a bagpipe. The ship motif became the book’s foremost leitmotif only when, while being translated into Latin, Jacob Locher, Brant’s pupil, extensively rearranged and revised Brant’s text to give it a semblance of unity, which was found lacking in Brant’s original.  This Latin edition, translated and edited by Locher and first published by Bergmann von Olpe in 1497, became the standard version of The Ship of Fools’ text that was repeatedly copied in all following editions and translations.</p>

<p>Given all, at the time of the book’s first publication, Dürer’s title cut, with both the cart and multiple ships, advertise the book’s full content more adequately than its short, unilateral title. It complements the title words in communicating the book’s complex, multi-structural narrative elements to the reading public, and further, it mirrors the general structure of the book.</p>

<p>The Ship of Fools, which consists of 112 chapters, is roughly dividable into two parts.  In contrast to the first half of the book (that is, the first 61 chapters), where the metaphor of a ship plays a small role except in chapter 48 (“A Journeyman’s Ship”), the ship motif is disproportionately greater in the second half: the prologue (since it was written last) and chapters 103 (“Of the Antichrist”), 91 (“Of Prattling in Church”), 108 (“The Schluraffen Ship”), and 109 (“ Contempt of Misfortune”). We gather that Brant gradually realized its symbolic importance in the process of his writing. The significance of the ship in the second part is even more apparent when one examines the text illustrations.  Even when the ship is only briefly mentioned, or even not mentioned at all, it is still visually depicted, sometimes as a tiny object floating on a lake (or a sea) in the background, and sometimes far more conspicuously. This can bee seen in chapters 68 (“Not Taking a Joke”), 72 (“Of Coarse Fools”), 75 (“Of Bad Marksmen”), 80 (“Foolish News”), and 81 (“Of Cooks and Waiters”).</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6216/6277433870_0f7aa94f35_o.jpg" width="540" height="817" /><p class="wp-caption-text">Attributed to Albrecht Dürer, woodcut illustration for chapter 103 , “Of the Antichrist”. </p></div>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6213/6275930445_ff18d1ef59_o.jpg" width="540" height="725" /><p class="wp-caption-text">Attributed to Albrecht Dürer, woodcut illustration for chapter 75, “Of Bad Marksmen”.</p></div>

<p>The motif of a cart of fools is treated as a principal theme only twice in the book, once in chapter 47 (“On the Road of Salvation”) and another time in chapter 91 (“Of Prattling in Church”), where both the cart and the ship are addressed simultaneously. Less emphatically, the cart motif is mentioned once again in chapter 53 (“Of Envy and Hatred”). However, Dürer&#8217;s depiction of the cart, along with ships, on the title page serve well as metaphors for land- and sea-going vehicles carrying the fools, thus conveying the universality of all the fools described by the text.</p>

<p>With the editorial changes made to Brant’s text by Locher, who utilized ‘the ship of fools’ as the leitmotif throughout, not only in the first Latin edition of 1497 but also in all subsequent publications (both authorized and pirated), the book no longer reproduced or imitated the original title page design by Dürer. Instead, after 1497, a different woodcut, rendering only a large ship laden with fools and attributed to the Master of the Haintz Narr, repeatedly served as the title cut prototype. In 1494, the Master of the Haintz Narr’s woodcut originally appeared as the frontispiece on the verso of the title page, and also can be found as an illustration accompanying chapter 108, “The Schluraffen Ship.”  As the concept of the ship became the most significant motif of the book, this woodcut became the most fitting image for the title cut, as it visualizes the two principal ideas of the book and its title — namely, both a ship and fools. However, it is Dürer’s original title cut for the 1494 edition which represents the book&#8217;s original structure and thematic concerns much more faithfully and allegorically.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6236/6275930183_6855b4b695_o.jpg" width="540" height="855" /><p class="wp-caption-text">Master of Haintz Narr, the frontispiece of the 1494 edition which became a popular choice for title page in later editions.</p></div>

<p>Throughout his career as a successful independent master in Nuremberg, Dürer continued to create woodcuts that were meant to accompany texts.  He provided numerous humanist friends and Nuremberg publishers with woodcuts to illustrate their new publications.  Best known works, of course, are his own illustrated books, such as the <em>Apocalypse</em> (1498; the second edition in 1511), the <em>Large Passion</em> (1511), the <em>Life of the Virgin Mary</em> (1511), and the <em>Small Passion</em> (1511).  Here, the primary features are the woodcuts themselves, rather than texts, and significantly, he self-published them by hiring printers. Dürer’s later productions of such high caliber, innovation, and audacity cannot be fully understood without taking into consideration his invaluable journeyman experience in the large publishing companies and his participation in executing extensive illustration cycles such
as <em>The Ship of Fools</em> in Basel.</p>

<p><br /></p>

<hr />

<p><em>Rangsook Yoon is Assistant Professor of Art History at Central College in Pella, Iowa, specialising in Dürer&#8217;s early career as a print-maker and self-publisher. She is currently working on several articles dealing with Dürer&#8217;s woodcuts during his apprenticeship and journeyman years, as well as a book about the Apocalypse.</em></p>

<p><br /></p>

<h1>Links to Works</h1>

<p><br /></p>

<ul>
<li>Sebastian Brand&#8217;s <em>Narrenschiff</em> (1872 edition, with the original 1494 woodcuts).

<ul>
<li><a href="http://www.archive.org/stream/sebastianbrandsn00branuoft">pdf online</a></li>
<li><a href="http://www.archive.org/download/sebastianbrandsn00branuoft/sebastianbrandsn00branuoft.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/sebastianbrandsn00branuoft/sebastianbrandsn00branuoft.mobi">kindle</a></li>
</ul></li>
</ul>

<p>For Alexander Barclay&#8217;s 1874 English translation (but with illustrations from the 1497 Latin version) see <a href="http://www.archive.org/details/shipoffools01barcuoft">here</a> and <a href="http://www.archive.org/details/shipoffools02barcuoft">here</a>.</p>


feed_id: http://publicdomainreview.org/?p=2457
title: The Diary of a Nobody (1919 edition)
uri: The-Diary-of-a-Nobody-(1919-edition)
url: http://publicdomainreview.org/2011/10/28/the-diary-of-a-nobody/
content:
<div align="center">
<iframe src='http://www.archive.org/stream/diaryofnobodybyg00grosuoft?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>

<br />
<span style="font-variant: small-caps;">The Diary of a Nobody, by George Grossmith and Weedon Grossmith; 1919 4th edition; J.W. Arrowsmith, Bristol.</span>

<br />
<br />
This fictitious diary details fifteen months in the life of Mr. Charles Pooter, a middle aged city clerk of lower middle-class status but significant social aspirations, living in the fictional &#8216;Brickfield Terrace&#8217; in London.  The diary was written by George Grossmith and his brother Weedon Grossmith who also contributed the illustrations. It first appeared in Punch magazine through the years 1888 – 89, and was first printed in book form in 1892. Due to much of the humour deriving from Mr. Pooter&#8217;s comical tendency toward self-importance, the book has spawned the word &#8220;Pooterish&#8221; to describe the taking of oneself excessively seriously.
<br />
<br />
<a href="http://openlibrary.org/books/OL7230179M/The_diary_of_a_nobody_by_George_Grossmith_and_Weedon_Grossmith.">Open Library link</a>
<br />
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<hr />
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<table id="wp-table-reloaded-id-2-no-1" class="wp-table-reloaded wp-table-reloaded-id-2">
<tbody>
	<tr class="row-1">
		<td class="column-1">Letters From a Cat (1879)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/letters-from-a-cat/"><img src="http://farm7.static.flickr.com/6029/5926255857_dd107bbcd5_o.jpg"></a></td><td class="column-2">Castaway on the Auckland Isles: A Narrative of the Wreck of the "Grafton," (1865)<br />
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<a href="http://publicdomainreview.org/2011/08/02/castaway-on-the-auckland-isles-a-narrative-of-the-wreck-of-the-grafton-1865"><img src="http://farm7.static.flickr.com/6014/5963292991_2926d4d77d_o.jpg"><br />
</a></td><td class="column-3">Infant's Cabinet of Birds and Beasts (1820)<br />
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<a href="http://publicdomainreview.org/2011/08/02/infants-cabine…-beasts-1820-2/"><img src="http://farm7.static.flickr.com/6137/5963292985_e427baf1da_o.jpg"></a></td><td class="column-4">Old French Fairytales (1920)<br />
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<a href="http://publicdomainreview.org/2011/08/02/old-french-fairytales-1920/"><img src="http://farm7.static.flickr.com/6127/5963292975_0047a86d70_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Armata: a fragment (1817)<br />
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<a href="http://publicdomainreview.org/2011/08/02/armata-a-fragment-1817/"><img src="http://farm7.static.flickr.com/6018/5977796996_e0a0fc40cd_o.jpg"></a></td><td class="column-2">An Account of the Late Improvements in Galvanism (1803)<br />
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<a href="http://publicdomainreview.org/2011/08/02/an-account-of-the-late-improvements-in-galvanism-1803/"><img src="http://farm7.static.flickr.com/6027/5977796994_62597592db_o.jpg"></a></td><td class="column-3">The Medical Aspects of Death, and the Medical Aspects of the Human Mind (1852)<br />
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<a href="http://publicdomainreview.org/2011/08/02/the-medical-aspects-of-death-and-the-medical-aspects-of-the-human-mind-1852"><img src="http://farm7.static.flickr.com/6122/5977796990_d34ea609b4_o.jpg"></a></td><td class="column-4">Quarles' Emblems (1886)<br />
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<a href="http://publicdomainreview.org/2011/08/02/quarles-emblems-1886/"><img src="http://farm7.static.flickr.com/6129/5977796992_cda35bfc9d_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">Cat and bird stories from the "Spectator" (1896)<br />
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<a href="http://publicdomainreview.org/?p=1198"><img src="http://farm7.static.flickr.com/6127/6011153785_75aab450ee_o.jpg"></a></td><td class="column-2">Wonderful Balloon Ascents (1870)<br />
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<a href="http://publicdomainreview.org/?p=1200"><img src="http://farm7.static.flickr.com/6030/6011153783_3c0847e432_o.jpg"></a></td><td class="column-3">The Book of Topiary (1904)<br />
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<a href="http://publicdomainreview.org/?p=1202"><img src="http://farm7.static.flickr.com/6145/6011153777_a727143f9d_o.jpg"></a></td><td class="column-4">The Adventures of Louis de Rougemont (1899)<br />
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<a href="http://publicdomainreview.org/?p=1204"><img src="http://farm7.static.flickr.com/6013/6011153791_7fcdcb3356_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">English as She is Spoke (1884)<br />
<br />
<a href="http://publicdomainreview.org/?p=1431"><img src="http://farm7.static.flickr.com/6083/6046055812_6639c33965_o.jpg"></a></td><td class="column-2">The Danger of Premature Interment (1816)<br />
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<a href="http://publicdomainreview.org/?p=1503"><img src="http://farm7.static.flickr.com/6062/6046366952_ba41be4694_o.jpg"></a></td><td class="column-3">The Last American (1889)<br />
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<a href="http://publicdomainreview.org/2011/08/19/the-last-american/"><img src="http://farm7.static.flickr.com/6066/6059266721_1e7b1015c2_o.jpg"></a></td><td class="column-4">Pirates (1922)<br />
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<a href="http://publicdomainreview.org/?p=1754"><img src="http://farm7.static.flickr.com/6187/6096675914_450e941c10_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">Napoleon's Oraculum (1839)<br />
<br />
<a href="http://publicdomainreview.org/?p=1834"><img src="http://farm7.static.flickr.com/6185/6115393587_cbe52c98ab_o.jpg"></a></td><td class="column-2">Horse Laughs (1891)<br />
<br />
<a href="http://publicdomainreview.org/?p=1918"><img src="http://farm7.static.flickr.com/6156/6143175901_cfaa8bb5f7_o.jpg"></a></td><td class="column-3">Hydriotaphia/Urn-Burial and The Garden of Cyrus (1658)<br />
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<a href="http://publicdomainreview.org/?p=1999"><img src="http://farm7.static.flickr.com/6162/6169326032_8dbf4d10aa_o.jpg"></a></td><td class="column-4">Across the Zodiac: the Story of a Wrecked Record (1880)<br />
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<a href="http://publicdomainreview.org/?p=2129"><img src="http://farm7.static.flickr.com/6123/6197358087_8ed89391e6_o.jpg"></a></td>
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	<tr class="row-6">
		<td class="column-1">Superstitions About Animals (1904)<br />
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<a href="http://publicdomainreview.org/?p=2267"><img src="http://farm7.static.flickr.com/6110/6241413122_a6151abdef_o.jpg"></a></td><td class="column-2">The Diary of a Nobody (1919 edition)<br />
<br />
<a href="http://publicdomainreview.org/?p=2457"><img src="http://farm7.static.flickr.com/6092/6288121551_c2119002b0_o.jpg"></a></td><td class="column-3">The Attitudes of Animals in Motion, Illustrated with the Zoopraxiscope (1882)<br />
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<a href="http://publicdomainreview.org/?p=2546"><img src="http://farm7.static.flickr.com/6094/6311375447_2483ece911_o.jpg"></a></td><td class="column-4">The Eccentric Mirror: Reflecting a Faithful and Interesting Delineation of Male and Female Characters, Ancient and Modern (1807)<br />
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<a href="http://publicdomainreview.org/?p=2615"><img src="http://farm7.static.flickr.com/6054/6337715127_c693cf04d1_o.jpg"></a></td>
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feed_id: http://publicdomainreview.org/?p=2470
title: Halloween Postcards
uri: Halloween-Postcards
url: http://publicdomainreview.org/2011/10/29/halloween-postcards/
content:
<div align="center">

Happy halloween! 
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Images from the <a href="http://www.flickr.com/photos/nypl/sets/72157622565651773/with/4056410832/">New York Public Library Picture Collection</a>.
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<table id="wp-table-reloaded-id-3-no-1" class="wp-table-reloaded wp-table-reloaded-id-3">
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	<tr class="row-1">
		<td class="column-1">Operation Doorstep<br />
<br />
<a href="http://publicdomainreview.org/?p=1288"><img src="http://farm7.static.flickr.com/6209/6023844250_a340b6cfc8_o.jpg"></a></td><td class="column-2">The Spirit Photographs of William Hope<br />
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<a href="http://publicdomainreview.org/?p=1301"><img src="http://farm7.static.flickr.com/6021/5963926880_6796ce887a_o.jpg"></a></td><td class="column-3">The Maps of Piri Reis<br />
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<a href="http://publicdomainreview.org/?p=1315"><img src="http://farm7.static.flickr.com/6025/5963926888_f9a9db72f1_o.jpg"></a></td><td class="column-4">Dr Julius Neubronner's Miniature Pigeon Camera<br />
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<a href="http://publicdomainreview.org/?p=1330"><img src="http://farm7.static.flickr.com/6007/5963926890_2141effc6c_o.jpg"></a></td>
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	<tr class="row-2">
		<td class="column-1">Art in Art<br />
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<a href="http://publicdomainreview.org/?p=1359"><img src="http://farm7.static.flickr.com/6192/6024864047_73cc2bce65_o.jpg"></a></td><td class="column-2">Huexotzinco Codex<br />
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<a href="http://publicdomainreview.org/?p=1373"><img src="http://farm7.static.flickr.com/6187/6024864049_7667e37edc_o.jpg"></a><br />
</td><td class="column-3">Sessions for the Blind at Sunderland Museum<br />
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<a href="http://publicdomainreview.org/2011/08/09/sessions-for-the-blind-at-sunderland-museum/"><img src="http://farm7.static.flickr.com/6075/6024903179_9793619652_o.jpg"></a></td><td class="column-4">Eugène von Guérard's Australian Landscapes<br />
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<a href="http://publicdomainreview.org/?p=1468"><img src="http://farm7.static.flickr.com/6193/6045423237_850760a2a1_o.jpg"></a></td>
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		<td class="column-1">Landscape and Marine Views of Norway<br />
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<a href="http://publicdomainreview.org/?p=1513"><img src="http://farm7.static.flickr.com/6090/6049185090_2740e7c0e7_o.jpg"></a></td><td class="column-2">The Mechanism of Human Physiognomy<br />
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<a href="http://publicdomainreview.org/2011/08/19/the-mechanism-of-human-physiognomy/"><img src="http://farm7.static.flickr.com/6191/6059149653_5b7e4f63e0_o.jpg"></a></td><td class="column-3">Space Colony Art from the 1970s<br />
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<a href="http://publicdomainreview.org/?p=1643"><img src="http://farm7.static.flickr.com/6063/6072822813_748425d648_o.jpg"></a></td><td class="column-4">Men in Wigs<br />
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<a href="http://publicdomainreview.org/?p=1657"><br />
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		<td class="column-1">De humana physiognomonia libri IIII (1586)<br />
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<a href="http://publicdomainreview.org/?p=1760"><img src="http://farm7.static.flickr.com/6023/6097105906_f3615427ca_o.jpg"></a></td><td class="column-2">Field Columbian Museum<br />
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<a href="http://publicdomainreview.org/?p=1898"><img src="http://farm7.static.flickr.com/6186/6143148873_0d68233381_o.jpg"></a></td><td class="column-3">Maps from Geographicus<br />
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<a href="http://publicdomainreview.org/?p=2011"><img src="http://farm7.static.flickr.com/6159/6172345356_72dcabba03_o.jpg"></a></td><td class="column-4">Arnoldus Montanus' New and Unknown World (1671)<br />
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<a href="http://publicdomainreview.org/?p=2108"><img src="http://farm7.static.flickr.com/6172/6194502991_d733a9de80_o.jpg"></a></td>
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		<td class="column-1">World War II from the Air<br />
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<a href="http://publicdomainreview.org/?p=2241"><img src="http://farm7.static.flickr.com/6060/6240850672_fbe7ec4af4_o.jpg"></a></td><td class="column-2">Halloween Postcards<br />
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<a href="http://publicdomainreview.org/?p=2470"><img src="http://farm7.static.flickr.com/6094/6291039497_f95a6df059_o.jpg"></a></td><td class="column-3">Engravings by Dominicus Custos<br />
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<a href="http://publicdomainreview.org/?p=2461"><img src="http://farm7.static.flickr.com/6043/6301524069_87b3660466_o.jpg"></a></td><td class="column-4">Kodak No.1 Circular Snapshots<br />
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feed_id: http://publicdomainreview.org/?p=2488
title: On Benjamin’s Public (Oeuvre)
uri: On-Benjamin-s-Public-(Oeuvre)
url: http://publicdomainreview.org/2011/10/31/on-benjamin%e2%80%99s-public-oeuvre/
content:
<p><strong>On the run from the Nazis in 1940, the philosopher, literary critic and essayist Walter Benjamin committed suicide in the Spanish border town of Portbou. In 2011, over 70 years later, his writings enter the public domain in many countries around the world. Anca Pusca, author of <em>Walter Benjamin: The Aesthetics of Change</em>, reflects on the relevance of Benjamin&#8217;s oeuvre in a digital age, and the implications of his work becoming freely available online.</strong></p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6100/6297951047_58f792751d_o.jpg" width="540" height="648" /><p class="wp-caption-text">Benjamin's passport photograph from 1928 - courtesy of the Walter Benjamin Archiv, Berlin.</p></div>

<p>Walter Benjamin, a German-Jewish intellectual of kaleidoscopic abilities and interests – literary critic, philosopher, translator, essayist, radio presenter – has always fascinated academics and intellectuals. His dense academic prose, his unique reading of Marxism, his fascination with Jewish mysticism, but more importantly, his ability to capture some of the major transformations of the early 19th century Europe in a series of literal and temporal frames that distilled the very material which gave it consistency – iron, concrete, shopping arcades, new technologies such as photography and film, ideological propaganda – into words, earned Benjamin a cult-like following which continues today. Artists, philosophers, theorists from every discipline, continue to offer different readings and meanings to his work, which remains strikingly relevant to social and political transformations today.</p>

<p>If Benjamin’s public is mainly of an academic nature today, that was certainly not the case at the time of his writing. With his habilitation rejected by the University of Frankfurt, Benjamin was forced to survive outside of academia, and hence to write accordingly: most of his work appears in fragments – essays, short stories, journal entries, letters, newspaper and journal articles, radio broadcasts – which mainly appeared in the public domain through his journalistic and radio work, with the exception of a few pieces intended for publication by the Institute for Social Research led by Horkheimer and Adorno. This significantly affected not only his writing style – making most of it much more accessible to a larger public – but also his thoughts on the role of language and text. The fragmentary nature of his work, initially a result of financial and practical constraints, later became a trademark of Benjamin’s methodology, particularly obvious in his unfinished magnus opus, the <em>Arcades Project</em>.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6102/6298481280_6ca12d3b71_o.jpg" width="540" height="735" /><p class="wp-caption-text">Detail from a 19th century postcard showing the Passage Bellivet, Caens, opened in 1836.</p></div>

<p>Conceived as a catalogue of thoughts and images on 19th century Paris as the emblematic modern city, the <em>Arcades Project</em> brings incredible innovation not only stylistically – through the fragmentary nature of the text, which could be read and accessed in non-linear fashion – but also intellectually, by breaking the traditional frame of text which rests upon a necessary temporal and linguistic progression, and effectively establishing a new architecture which relies less on words and more on the images and material that those words conjure. Benjamin effectively reconstructs different Parisian frames, capturing them not unlike a photographer captures a scene. Each of these frames, as fragments of text, contains its own temporality, existing both in relation to but also independent from the others. By embedding the relevance of each frame into a temporality that emerges directly from the material it depicts – for example, by depicting the old Parisian arcades in ruin as a new type of architecture emerges – Benjamin creates a unique dialectic in which the present can never exist as independent from either the past or the future.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6222/6298481712_2cb32ef931_o.jpg" width="540" height="405" /><p class="wp-caption-text">The Galerie Vivienne during the Bourbon restauration : 8 rue Vivienne, Paris 2nd arr. c. 1820, one of the arcades mentioned in Benjamin's <i>Arcades Project</i>.</p></div>

<p>The return of Benjamin’s work back to its original wider audience, the public domain, at this particular point in time, creates a series of new possibilities that Benjamin himself could not have envisioned. Internet technology and the ability to collect, categorize and re-arrange Benjamin’s fragments in an electronic publication form could perhaps provide Benjamin with a post-humos solution to his struggle to organize the <em>Arcades Project</em> in a manner that would both appease publishers and maintain its innovative framework. One can already imagine the possibilities of a new interactive electronic <em>Arcades Project</em> in which Benjamin’s fragments could easily be navigated through the click of a button, the text appearing as a digital image, a material fragment much closer to Benjamin’s original intentionality.</p>

<p>Benjamin’s obsession with sorting, filing, keeping tabs on his work, making copies of manuscripts to leave with different friends, carrying a copy of the unfinished manuscript of the <em>Arcades Project</em> with him to his death, as he attempted to escape Nazi-occupied France, shows his determination to protect his work, his hope for eventual publication for future audiences. This is an incredible opportunity to pay Benjamin the ultimate compliment, by finding and bringing together all the fragments of his work, many of which still lie undiscovered and untranslated, and bringing them together into the public domain, free from the constraints of the publishers on which Benjamin depended so desperately during his life.</p>

<p>The publication of his writings on technology, online, particularly his essay &#8216;The Work of Art in the Age of Its Mechanical Reproducibility&#8217;, but also his other writings on media, could not be more appropriate and relevant at this particular point in time. His essay on the &#8216;Work of Art&#8217; has been used by many of today’s artists and theorists to understand the impact of digital technologies, as a form of reproductive technology, on art, culture and political mobilization. His arguments about the prioritization of the act of seeing, the increased speed through which information/the image in processed when reproduced by mechanical means, but also, the extent to which the technically reproduceable image is now completely removed from the actuality, and intentionality of the scene where it was initially created, remain strangely relevant today.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6219/6297952081_2d32343c55_o.jpg" width="540" height="431" /><p class="wp-caption-text">Interior sculpture display. at the Paris Exposition. 1900 - from Brooklyn Museum Archives, Goodyear Archival Collection.</p></div>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6215/6297951893_51d5d06da6_o.jpg" width="540" height="487" /><p class="wp-caption-text">Street scene outside the Rue de Rivoli Arcades during the Paris Exposition, 1900 - from Brooklyn Museum Archives, Goodyear Archival Collection.</p></div>

<p>The inability of perception to detect ‘authenticity’ – to connect the image with the original setting in which it was taken – had, according to Benjamin, important repercussions for how mass culture was re-imagined and potentially manipulated by different ideologies. Through technology, the image no longer stayed in the domain of ‘art’, but rather moved into the domain of ‘politics’. If film, the cutting edge technology at the time, served according to Benjamin: ‘to train human beings in the apperceptions and reactions needed to deal with a vast apparatus whose role in their lives is expanding almost daily’, one can easily apply a similar logic to different internet technologies today. Benjamin was however both admirative and weary of the technology of film, for the so-called ‘film capital’ could be used both in the interest of and against the masses. As we are increasingly learning today, same goes for ‘internet and social media capital.’</p>

<p>So many of Benjamin’s writings continue to carry important implications for the wider public today. It is perhaps high time that we remove the ‘aura’ around Benjamin’s figure – an aura built around limited accessibility to and tight control of his work – and return Benjamin and his oeuvre to his public.</p>

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<p><em><a href="http://www.gold.ac.uk/politics/staff/pusca/">Anca Pusca</a> is Senior Lecturer in International Studies at Goldsmiths, University of London. She is the author of <a href="http://www.amazon.co.uk/Walter-Benjamin-Aesthetics-Change-Pusca/dp/0230580866">Walter Benjamin: The Aesthetics of Change</a> and other articles on Benjamin which have appeared in Alternatives, International Political Sociology, Perspectives and the Journal of International Research and Development.</em></p>

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<h1>Links to Works</h1>

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<p>A selection of Benjamin&#8217;s writings are housed in German <a href="http://de.wikisource.org/wiki/Walter_Benjamin">here</a> at Wikisource, including relevant Internet Archive links.
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If you are interested in helping get English translations of Benjamin&#8217;s works into the public domain then <a href="mailto:publicdomainreview@okfn.org">get in touch</a></p>


feed_id: http://publicdomainreview.org/?p=2461
title: Engravings by Dominicus Custos
uri: Engravings-by-Dominicus-Custos
url: http://publicdomainreview.org/2011/11/01/engravings-by-dominicus-custos/
content:
<div align="center">

Dominicus Custos (1560 &#8211; 1612), was a Flemish artist, printer and copperplate engraver, who specialised in depicting notable figures of his time &#8211; producing books akin to a 16th century &#8220;Who&#8217;s Who&#8221;. The most famous of these was the &#8220;Atrium heroicum&#8221; which he made between 1602 and 1604; a collection of 171 engraved portraits of rulers, nobles, statesmen, dignitaries, celebrities, military leaders and important businessmen of the time. See more <a href="http://commons.wikimedia.org/wiki/Category:Engravings_by_Dominicus_Custos">here</a>.
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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Custos_Dominicus._Simeon_Georgianvs.jpg/432px-Custos_Dominicus._Simeon_Georgianvs.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/Ferdinand_I_Toskana_MATEO.jpg/431px-Ferdinand_I_Toskana_MATEO.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Ferdinand_II_HRR_MATEO.jpg/409px-Ferdinand_II_HRR_MATEO.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/1/15/Fernando_Francesco_d%27Avalos.jpg/472px-Fernando_Francesco_d%27Avalos.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/b/b9/Friedrich_IV_Pfalz_MATEO.jpg/381px-Friedrich_IV_Pfalz_MATEO.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/2/26/Heinrich_Julius_Braunschweig_MATEO.jpg/401px-Heinrich_Julius_Braunschweig_MATEO.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/c/c2/Henri_I_de_Montmorecny_Custos.jpg/427px-Henri_I_de_Montmorecny_Custos.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/e/ef/Henri_II_Lorraine.jpg/407px-Henri_II_Lorraine.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/0/01/JohannWilhelmvonJuelichKleveBerg.jpg/430px-JohannWilhelmvonJuelichKleveBerg.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/4/4e/Jury_Radzivi%C5%82._%D0%AE%D1%80%D1%8B_%D0%A0%D0%B0%D0%B4%D0%B7%D1%96%D0%B2%D1%96%D0%BB_%28D._Custos%2C_XVI%29.jpg/459px-Jury_Radzivi%C5%82._%D0%AE%D1%80%D1%8B_%D0%A0%D0%B0%D0%B4%D0%B7%D1%96%D0%B2%D1%96%D0%BB_%28D._Custos%2C_XVI%29.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/f/f4/Karl_V_HRR_MATEO.jpg/406px-Karl_V_HRR_MATEO.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/5/5f/Matthias_HRR_MATEO.jpg/409px-Matthias_HRR_MATEO.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/5/56/Philipp_II_Spanien_MATEO.jpg/410px-Philipp_II_Spanien_MATEO.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/e/e2/Philipp_ludwig_ii.jpg/472px-Philipp_ludwig_ii.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Philippe-emmanuel-de-mercoeur_%28d%C3%A9tail%29.png/476px-Philippe-emmanuel-de-mercoeur_%28d%C3%A9tail%29.png" alt="" />

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<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/5/55/Rudolf_II_HRR_MATEO.jpg/402px-Rudolf_II_HRR_MATEO.jpg" alt="" />

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<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/6/65/Schwarzenberg%2C_Adolph%3B_1547-1600_%282%29.jpg/475px-Schwarzenberg%2C_Adolph%3B_1547-1600_%282%29.jpg" alt="" />

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<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/f/f0/SigismundBathoryDominicusCustos.jpg/374px-SigismundBathoryDominicusCustos.jpg" alt="" />

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<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Vincenzo_I_Herzog_von_Mantua.jpg/420px-Vincenzo_I_Herzog_von_Mantua.jpg" alt="" />

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<hr />
<br />

 
<table id="wp-table-reloaded-id-3-no-1" class="wp-table-reloaded wp-table-reloaded-id-3">
<tbody>
	<tr class="row-1">
		<td class="column-1">Operation Doorstep<br />
<br />
<a href="http://publicdomainreview.org/?p=1288"><img src="http://farm7.static.flickr.com/6209/6023844250_a340b6cfc8_o.jpg"></a></td><td class="column-2">The Spirit Photographs of William Hope<br />
<br />
<a href="http://publicdomainreview.org/?p=1301"><img src="http://farm7.static.flickr.com/6021/5963926880_6796ce887a_o.jpg"></a></td><td class="column-3">The Maps of Piri Reis<br />
<br />
<a href="http://publicdomainreview.org/?p=1315"><img src="http://farm7.static.flickr.com/6025/5963926888_f9a9db72f1_o.jpg"></a></td><td class="column-4">Dr Julius Neubronner's Miniature Pigeon Camera<br />
<br />
<a href="http://publicdomainreview.org/?p=1330"><img src="http://farm7.static.flickr.com/6007/5963926890_2141effc6c_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Art in Art<br />
<br />
<a href="http://publicdomainreview.org/?p=1359"><img src="http://farm7.static.flickr.com/6192/6024864047_73cc2bce65_o.jpg"></a></td><td class="column-2">Huexotzinco Codex<br />
<br />
<a href="http://publicdomainreview.org/?p=1373"><img src="http://farm7.static.flickr.com/6187/6024864049_7667e37edc_o.jpg"></a><br />
</td><td class="column-3">Sessions for the Blind at Sunderland Museum<br />
<br />
<a href="http://publicdomainreview.org/2011/08/09/sessions-for-the-blind-at-sunderland-museum/"><img src="http://farm7.static.flickr.com/6075/6024903179_9793619652_o.jpg"></a></td><td class="column-4">Eugène von Guérard's Australian Landscapes<br />
<br />
<a href="http://publicdomainreview.org/?p=1468"><img src="http://farm7.static.flickr.com/6193/6045423237_850760a2a1_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">Landscape and Marine Views of Norway<br />
<br />
<a href="http://publicdomainreview.org/?p=1513"><img src="http://farm7.static.flickr.com/6090/6049185090_2740e7c0e7_o.jpg"></a></td><td class="column-2">The Mechanism of Human Physiognomy<br />
<br />
<a href="http://publicdomainreview.org/2011/08/19/the-mechanism-of-human-physiognomy/"><img src="http://farm7.static.flickr.com/6191/6059149653_5b7e4f63e0_o.jpg"></a></td><td class="column-3">Space Colony Art from the 1970s<br />
<br />
<a href="http://publicdomainreview.org/?p=1643"><img src="http://farm7.static.flickr.com/6063/6072822813_748425d648_o.jpg"></a></td><td class="column-4">Men in Wigs<br />
<br />
<a href="http://publicdomainreview.org/?p=1657"><br />
<img src="http://farm7.static.flickr.com/6196/6076698488_c0d804b2f0_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">De humana physiognomonia libri IIII (1586)<br />
<br />
<a href="http://publicdomainreview.org/?p=1760"><img src="http://farm7.static.flickr.com/6023/6097105906_f3615427ca_o.jpg"></a></td><td class="column-2">Field Columbian Museum<br />
<br />
<a href="http://publicdomainreview.org/?p=1898"><img src="http://farm7.static.flickr.com/6186/6143148873_0d68233381_o.jpg"></a></td><td class="column-3">Maps from Geographicus<br />
<br />
<a href="http://publicdomainreview.org/?p=2011"><img src="http://farm7.static.flickr.com/6159/6172345356_72dcabba03_o.jpg"></a></td><td class="column-4">Arnoldus Montanus' New and Unknown World (1671)<br />
<br />
<a href="http://publicdomainreview.org/?p=2108"><img src="http://farm7.static.flickr.com/6172/6194502991_d733a9de80_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">World War II from the Air<br />
<br />
<a href="http://publicdomainreview.org/?p=2241"><img src="http://farm7.static.flickr.com/6060/6240850672_fbe7ec4af4_o.jpg"></a></td><td class="column-2">Halloween Postcards<br />
<br />
<a href="http://publicdomainreview.org/?p=2470"><img src="http://farm7.static.flickr.com/6094/6291039497_f95a6df059_o.jpg"></a></td><td class="column-3">Engravings by Dominicus Custos<br />
<br />
<a href="http://publicdomainreview.org/?p=2461"><img src="http://farm7.static.flickr.com/6043/6301524069_87b3660466_o.jpg"></a></td><td class="column-4">Kodak No.1 Circular Snapshots<br />
<br />
<a href="http://publicdomainreview.org/?p=2607"><img src="http://farm7.static.flickr.com/6034/6331890582_1cb9bff242_o.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Kitab al-Bulhan or Book of Wonders (late 14thC.)<br />
<br />
<a href="http://publicdomainreview.org/?p=2648"><img src="http://farm7.static.flickr.com/6109/6352453941_2f15515a88_o.jpg"></a></td><td class="column-2"></td><td class="column-3"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>


</div>

<p></div></p>


feed_id: http://publicdomainreview.org/?p=2537
title: Apollo 11 Onboard Recordings (1969)
uri: Apollo-11-Onboard-Recordings-(1969)
url: http://publicdomainreview.org/2011/11/02/apollo-11-onboard-recordings/
content:
<div align="center">

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/e/e5/The_Apollo_11_Prime_Crew_-_GPN-2000-001164.jpg/800px-The_Apollo_11_Prime_Crew_-_GPN-2000-001164.jpg" alt="" />

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<br />
<br />
From <a href="http://www.nasa.gov/mission_pages/apollo/40th/apollo11_audio.html">NASA</a>: Apollo 11 Onboard Audio Highlights &#8211; These are not necessarily major milestones of the mission but are some of the more interesting and clearly recorded conversations the crew members had among themselves as the mission progressed.
<br />
<br />
(Use next track button to navigate between recordings).
<br />
<br />
Highlight clip 1<br />(mission time: 1:24-1:29, tape 11-03302)<br />
As the crew members complete their first orbit of Earth after launch, they talk about the beauty of the planet below.
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<br />
Highlight clip 2<br />(mission time: 003:03:48-003:04:00, tape 11-03348)<br />
The crew members debate the color of the moon before, and after, they fire Columbia&#8217;s engines to enter lunar orbit. 
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<br />
Highlight clip 3<br />(mission time: 003:04:03-003:04:16, tape 11-03348)<br />
After entering lunar orbit, the crew members are amazed at the lunar terrain as they fly 60 miles above the back side of the moon and await Earthrise and to resume communications with Mission Control. 
<br />
<br />
Highlight clip 4<br />(mission time: 004:03:42-004:03:47, tape 11-03352)<br />
As Neil Armstrong and Buzz Aldrin prepare to depart for the lunar surface in the lunar module Eagle, Mike Collins, in the command module Columbia, bids them farewell &#8230; and tells them to take it easy. 
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<br />
Highlight clip 5<br />(mission time: 005:04:21-005:04:33, tape 11-03330)<br />
Neil Armstrong and Buzz Aldrin lift off from the moon to rejoin Mike Collins in lunar orbit.
<br />
<br />
<font size="1">These recordings are in the public domain because they were created by NASA. NASA copyright policy states that &#8220;NASA material is not protected by copyright unless noted&#8221;.</font>
<br />
<br />
<a href="http://www.archive.org/download/NasaApollo11OnboardRecordings/NasaApollo11OnboardRecordings_vbr_mp3.zip">MP3 Download</a>
<br />
<a href="http://www.archive.org/details/NasaApollo11OnboardRecordings">Internet Archive Link</a>
<br />
<br />
<hr />
<br />

 
<table id="wp-table-reloaded-id-4-no-1" class="wp-table-reloaded wp-table-reloaded-id-4">
<tbody>
	<tr class="row-1">
		<td class="column-1">Beela Boola by the Electric City 4 (1920)<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/01/beela-boola-electric-city-4-1920/"><img src="http://farm7.static.flickr.com/6009/5984449950_1837afe78f_o.jpg"></a></td><td class="column-2">Hungarian Rag -  Pietro Deiro (1913)<br />
<br />
<a href="http://publicdomainreview.org/?p=880"><img src="http://farm7.static.flickr.com/6008/5984449948_3ebd04de8b_o.jpg"></a></td><td class="column-3">As a Porcupine Pines for its Pork - Billy Jones &amp; Ernest Hare<br />
(1925)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/as-a-porcupine-pines-for-its-pork-billy-jones-ernest-hare-1925/"><img src="http://farm7.static.flickr.com/6028/5984449946_52bcbdf103_o.jpg"></a></td><td class="column-4">Popeye, the Sailor Man - Al Dollar &amp; His Ten Cent Band with Billy Murray (1931)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/popeye-the-sailor-man-al-dollar-his-ten-cent-band-with-billy-murray-1931/"><img src="http://farm7.static.flickr.com/6012/5984449942_e7c19a2fdc_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Chopins Funeral March - The Edison Concert Band (1906)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/chopins-funeral-march-the-edison-concert-band-1906/"><img src="http://farm7.static.flickr.com/6138/5998067338_c167fce69d_o.jpg"></a></td><td class="column-2">Houdini on his Water Torture Cell (1914)<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/02/houdini-on-his-water-torture-cell-1914/"><img src="http://farm7.static.flickr.com/6009/5998067350_7d43c56428_o.jpg"></a></td><td class="column-3">Lomax Collection Recording of English, Sample 8<br />
<br />
<a href="http://publicdomainreview.org/?p=1067"><img src="http://farm7.static.flickr.com/6020/5998067356_9b9ae1d919_o.jpg"></a></td><td class="column-4">Enrico Caruso - A Dream (1920)<br />
<br />
<a href="http://publicdomainreview.org/?p=1074"><img src="http://farm7.static.flickr.com/6030/5997518817_b6d0667f34_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">La Paloma (1903)<br />
<br />
<a href="http://publicdomainreview.org/?p=1240"><img src="http://farm7.static.flickr.com/6135/6016850955_d7c0df1a2c_o.jpg"></a></td><td class="column-2">Orson Welles Show (1941)<br />
<br />
<a href="http://publicdomainreview.org/?p=1225"><img src="http://farm7.static.flickr.com/6027/6017404284_da30a310cc_o.jpg"></a></td><td class="column-3">Tokyo Rose (1944)<br />
<br />
<a href="http://publicdomainreview.org/?p=1243"><img src="http://farm7.static.flickr.com/6125/6016850941_a2c4a9bb4f_o.jpg"></a></td><td class="column-4">Fats Waller and His Orchestra live at The Yacht Club (1938)<br />
<br />
<a href="http://publicdomainreview.org/?p=1247"><img src="http://farm7.static.flickr.com/6005/6016980547_ddd9858761_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">Very early recording of George Gershwin's  Rhapsody In Blue (1924)<br />
<br />
<a href="http://publicdomainreview.org/?p=1493"><img src="http://farm7.static.flickr.com/6206/6046238304_f151e60106_o.jpg"></a></td><td class="column-2">Rudolph Valentino singing (1923)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/15/rudolph-valentino-1923/"><img src="http://farm7.static.flickr.com/6188/6046238300_1a8bf811d7_o.jpg"></a></td><td class="column-3">Aiaihea - The Hawaiian Quintette (1913)<br />
<br />
<a href="http://publicdomainreview.org/?p=1614"><img src="http://farm7.static.flickr.com/6188/6069171663_28964f0117_o.jpg"></a></td><td class="column-4">Antony's Address Over The Body of Caesar (1914)<br />
<br />
<a href="http://publicdomainreview.org/?p=1679"><img src="http://farm7.static.flickr.com/6064/6082150301_30f4211e29_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">Charlie and His Orchestra<br />
<br />
<a href="http://publicdomainreview.org/?p=1771"><img src="http://farm7.static.flickr.com/6199/6096637423_9f34721c23_o.jpg"></a></td><td class="column-2">Excerpt from Handel's Israel in Egypt (1888)<br />
<br />
<a href="http://publicdomainreview.org/?p=1925"><img src="http://farm7.static.flickr.com/6081/6143260449_303a539aa3_o.jpg"></a></td><td class="column-3">Gurdjieff's Harmonium Improvisations (1949)<br />
<br />
<a href="http://publicdomainreview.org/?p=2041"><img src="http://farm7.static.flickr.com/6173/6177782102_d042aebbfd_o.jpg"></a></td><td class="column-4">General Pershing March - Imperial Marimba Band (1918)<br />
<br />
<a href="http://publicdomainreview.org/?p=2186"><img src="http://farm7.static.flickr.com/6156/6215163671_7712110727_o.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Apollo 11 Onboard Recordings (1969) <br />
<br />
<a href="http://publicdomainreview.org/?p=2537"><img src="http://farm7.static.flickr.com/6040/6305906604_03d781a688_o.jpg"></a></td><td class="column-2"></td><td class="column-3"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2546
title: The attitudes of animals in motion, illustrated with the zoopraxiscope (1882)
uri: The-attitudes-of-animals-in-motion-illustrated-with-the-zoopraxiscope
url:
http://publicdomainreview.org/2011/11/04/the-attitudes-of-animals-in-motion-illustrated-with-the-zoopraxiscope-1882/

content:
<div align="center">
<iframe src='http://www.archive.org/stream/attitudesofanima00muyb?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>

<br />
<span style="font-variant: small-caps;">The Attitudes of Animals in Motion, Illustrated with the Zoopraxiscope, by Eadweard Muybridge; 1882; W.M.Clowes and Sons, London.</span>

<br />
<br />
Published lecture given by the pioneering photographer Eadweard Muybridge on March 13th 1882 at the Royal Institution in London in front of a sell out audience that included members of the Royal Family, notably the future King Edward VII. He displayed his photographs on screen and described his zoopraxiscope, a device for projecting motion pictures that pre-dated the flexible perforated film strip.
<br />
<br />

<a href="http://publicdomainreview.org/files/2011/11/Muybridge_race_horse_animated.gif"><img src="http://publicdomainreview.org/files/2011/11/Muybridge_race_horse_animated.gif" alt="" title="Muybridge_race_horse_animated" width="300" height="200" class="alignnone size-full wp-image-2551" /></a>

<br />
<br />
<a href="http://openlibrary.org/books/OL24162011M">Open Library link</a>
<br />
<br />
<hr />
<br />


<table id="wp-table-reloaded-id-2-no-1" class="wp-table-reloaded wp-table-reloaded-id-2">
<tbody>
	<tr class="row-1">
		<td class="column-1">Letters From a Cat (1879)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/letters-from-a-cat/"><img src="http://farm7.static.flickr.com/6029/5926255857_dd107bbcd5_o.jpg"></a></td><td class="column-2">Castaway on the Auckland Isles: A Narrative of the Wreck of the "Grafton," (1865)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/castaway-on-the-auckland-isles-a-narrative-of-the-wreck-of-the-grafton-1865"><img src="http://farm7.static.flickr.com/6014/5963292991_2926d4d77d_o.jpg"><br />
</a></td><td class="column-3">Infant's Cabinet of Birds and Beasts (1820)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/infants-cabine…-beasts-1820-2/"><img src="http://farm7.static.flickr.com/6137/5963292985_e427baf1da_o.jpg"></a></td><td class="column-4">Old French Fairytales (1920)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/old-french-fairytales-1920/"><img src="http://farm7.static.flickr.com/6127/5963292975_0047a86d70_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Armata: a fragment (1817)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/armata-a-fragment-1817/"><img src="http://farm7.static.flickr.com/6018/5977796996_e0a0fc40cd_o.jpg"></a></td><td class="column-2">An Account of the Late Improvements in Galvanism (1803)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/an-account-of-the-late-improvements-in-galvanism-1803/"><img src="http://farm7.static.flickr.com/6027/5977796994_62597592db_o.jpg"></a></td><td class="column-3">The Medical Aspects of Death, and the Medical Aspects of the Human Mind (1852)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-medical-aspects-of-death-and-the-medical-aspects-of-the-human-mind-1852"><img src="http://farm7.static.flickr.com/6122/5977796990_d34ea609b4_o.jpg"></a></td><td class="column-4">Quarles' Emblems (1886)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/quarles-emblems-1886/"><img src="http://farm7.static.flickr.com/6129/5977796992_cda35bfc9d_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">Cat and bird stories from the "Spectator" (1896)<br />
<br />
<a href="http://publicdomainreview.org/?p=1198"><img src="http://farm7.static.flickr.com/6127/6011153785_75aab450ee_o.jpg"></a></td><td class="column-2">Wonderful Balloon Ascents (1870)<br />
<br />
<a href="http://publicdomainreview.org/?p=1200"><img src="http://farm7.static.flickr.com/6030/6011153783_3c0847e432_o.jpg"></a></td><td class="column-3">The Book of Topiary (1904)<br />
<br />
<a href="http://publicdomainreview.org/?p=1202"><img src="http://farm7.static.flickr.com/6145/6011153777_a727143f9d_o.jpg"></a></td><td class="column-4">The Adventures of Louis de Rougemont (1899)<br />
<br />
<a href="http://publicdomainreview.org/?p=1204"><img src="http://farm7.static.flickr.com/6013/6011153791_7fcdcb3356_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">English as She is Spoke (1884)<br />
<br />
<a href="http://publicdomainreview.org/?p=1431"><img src="http://farm7.static.flickr.com/6083/6046055812_6639c33965_o.jpg"></a></td><td class="column-2">The Danger of Premature Interment (1816)<br />
<br />
<a href="http://publicdomainreview.org/?p=1503"><img src="http://farm7.static.flickr.com/6062/6046366952_ba41be4694_o.jpg"></a></td><td class="column-3">The Last American (1889)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/19/the-last-american/"><img src="http://farm7.static.flickr.com/6066/6059266721_1e7b1015c2_o.jpg"></a></td><td class="column-4">Pirates (1922)<br />
<br />
<a href="http://publicdomainreview.org/?p=1754"><img src="http://farm7.static.flickr.com/6187/6096675914_450e941c10_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">Napoleon's Oraculum (1839)<br />
<br />
<a href="http://publicdomainreview.org/?p=1834"><img src="http://farm7.static.flickr.com/6185/6115393587_cbe52c98ab_o.jpg"></a></td><td class="column-2">Horse Laughs (1891)<br />
<br />
<a href="http://publicdomainreview.org/?p=1918"><img src="http://farm7.static.flickr.com/6156/6143175901_cfaa8bb5f7_o.jpg"></a></td><td class="column-3">Hydriotaphia/Urn-Burial and The Garden of Cyrus (1658)<br />
<br />
<a href="http://publicdomainreview.org/?p=1999"><img src="http://farm7.static.flickr.com/6162/6169326032_8dbf4d10aa_o.jpg"></a></td><td class="column-4">Across the Zodiac: the Story of a Wrecked Record (1880)<br />
<br />
<a href="http://publicdomainreview.org/?p=2129"><img src="http://farm7.static.flickr.com/6123/6197358087_8ed89391e6_o.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Superstitions About Animals (1904)<br />
<br />
<a href="http://publicdomainreview.org/?p=2267"><img src="http://farm7.static.flickr.com/6110/6241413122_a6151abdef_o.jpg"></a></td><td class="column-2">The Diary of a Nobody (1919 edition)<br />
<br />
<a href="http://publicdomainreview.org/?p=2457"><img src="http://farm7.static.flickr.com/6092/6288121551_c2119002b0_o.jpg"></a></td><td class="column-3">The Attitudes of Animals in Motion, Illustrated with the Zoopraxiscope (1882)<br />
<br />
<a href="http://publicdomainreview.org/?p=2546"><img src="http://farm7.static.flickr.com/6094/6311375447_2483ece911_o.jpg"></a></td><td class="column-4">The Eccentric Mirror: Reflecting a Faithful and Interesting Delineation of Male and Female Characters, Ancient and Modern (1807)<br />
<br />
<a href="http://publicdomainreview.org/?p=2615"><img src="http://farm7.static.flickr.com/6054/6337715127_c693cf04d1_o.jpg"></a></td>
	</tr>
</tbody>
</table>
 

</div>


feed_id: http://publicdomainreview.org/?p=2561
title: Your Name Here (1960)
uri: Your-Name-Here-(1960)
url: http://publicdomainreview.org/2011/11/08/your-name-here-1960/
content:
<div align="center">

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<br />
<br />
Bizarre film from Calvin Communications, in which they satirise their own formulaic approach to industrial promotional films, showing how the idea of the &#8220;American Dream&#8221; is utilised to sell products. A real insight into the humour and tongue-in-cheek attitude lying behind a lot of the industrial films of the 50s and 60s.
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<a href="http://www.archive.org/details/YourName1960">Download from Internet Archive</a>
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<br />
<font size="1">Note this film is in the public domain in the US, but may not be in other jurisdictions. Please check its status in your jurisdiction before re-using.</font> 
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<table id="wp-table-reloaded-id-1-no-1" class="wp-table-reloaded wp-table-reloaded-id-1">
<thead>
	<tr class="row-1">
		<th class="column-1">CLIPS</th><th class="column-2">SHORT</th><th class="column-3">FULL LENGTH SILENT</th><th class="column-4">FULL LENGTH TALKIE</th>
	</tr>
</thead>
<tbody>
	<tr class="row-2">
		<td class="column-1">Princess Nicotine (1909) 6min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/princess-nicotine-1909/"><img src="http://ia700502.us.archive.org/1/items/princess_nicotine_1909/princess_nicotine_1909.thumbs/princess_nicotine_1909_000240.jpg"></a></td><td class="column-2">Gertie the Dinosaur  (1914) 12min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/gertie-the-dinosaur-1914/"><img src="http://ia600300.us.archive.org/11/items/Gertie/Gertie.thumbs/GertietheDinosaur_000330.jpg"></a></td><td class="column-3">Last of the Mohicans (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/last-of-the-mohicans-1920/"><img src="http://ia700300.us.archive.org/24/items/PublicdomainTheLastoftheMohicans/PublicdomainTheLastoftheMohicans.thumbs/Last_of_the_Mohicans_000300.jpg" alt="" /></a></td><td class="column-4">Meet John Doe (1941) 2hr3min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/meet-john-doe-1941/"><img src="http://ia600307.us.archive.org/5/items/meet_john_doe_ipod/meet_john_doe_ipod.thumbs/meet_john_doe_002127.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">The Unappreciated Joke (1903) 1min<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/02/the-unappreciated-joke-1903/"><img src="http://ia600200.us.archive.org/5/items/TheUnappreciatedJoke/TheUnappreciatedJoke.thumbs/TheUnappreciatedJoke_000035.jpg"></a></td><td class="column-2">Frankenstein (1910) 13min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/frankenstein-19/"><img src="http://ia600306.us.archive.org/9/items/FrankensteinfullMovie/FrankensteinfullMovie.thumbs/Frankenstein1910_000270.jpg"></a></td><td class="column-3">The General (1926) 1hr19min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-general-1926/ "><img src="http://ia600604.us.archive.org/8/items/TheGeneral1926/TheGeneral1926.thumbs/The_General_1926_720p_001554.jpg" alt="" /></a></td><td class="column-4">Plan 9 from Outer Space (1959) 1hr19mins<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/plan-9-from-outer-space-1959/"><img src="http://ia600401.us.archive.org/19/items/Plan_9_from_Outer_Space_1959/Plan_9_from_Outer_Space_1959.thumbs/Plan_9_from_Outer_Space_1959_001260.jpg"></a><br />
</td>
	</tr>
	<tr class="row-4">
		<td class="column-1">The Execution of Mary, Queen of Scots (1895) 21sec<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-execution-…-of-scots-1895/"><img src="http://ia700303.us.archive.org/33/items/Execution_of_Mary_1895/Execution_of_Mary_1895.thumbs/Execution_of_Mary_1895_000005.jpg"></a></td><td class="column-2">The Great Train Robbery (1903) 10min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-great-train-robbery-1903/"><img src="http://ia700504.us.archive.org/7/items/Europeanposte-theGreatTrainrobbery912/Europeanposte-theGreatTrainrobbery912.thumbs/Europeanposte-theGreatTrainrobbery912_000030.jpg"></a></td><td class="column-3">Wolf Blood (1925) 1hr7min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/wolf-blood-1925/"><img src="http://ia700204.us.archive.org/8/items/WolfBlood1925/WolfBlood1925.thumbs/WolfBlood_002940.jpg"></a></td><td class="column-4">Reefer Madness (1938) 1hr8min<br />
<br />
<a href="http://publicdomainreview.org/?p=1281"><img src="http://ia700202.us.archive.org/1/items/reefer_madness1938/reefer_madness1938.thumbs/reefer_madness1938_001860.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">The Kiss (1896) 25secs<br />
<br />
<a href="http://publicdomainreview.org/?p=1421"><img src="http://ia700204.us.archive.org/23/items/CEP00115/CEP00115.thumbs/CEP00115_000005.jpg"></a></td><td class="column-2">Experiments in the Revival of Organisms (1940) 20min<br />
<br />
<a href="http://publicdomainreview.org/?p=1417"><img src="http://ia700500.us.archive.org/19/items/Experime1940/Experime1940.thumbs/Experime1940_000360.jpg"></a></td><td class="column-3">Battleship Potemkin (1925) 1hr13min<br />
<br />
<a href="http://publicdomainreview.org/?p=1413"><img src="http://ia600208.us.archive.org/4/items/BattleshipPotemkin/BattleshipPotemkin.thumbs/Battleship_Potemkin_000780.jpg"></a></td><td class="column-4">The Snows of Kilimanjaro (1952) 1hr57min<br />
<br />
<a href="http://publicdomainreview.org/?p=1425"><img src="http://ia700402.us.archive.org/23/items/Kilimanjaro/Kilimanjaro.thumbs/The_Snows_of_Kilimanjaro_006300.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Trapeze Disrobing Act (1901) 2min<br />
<br />
<a href="http://publicdomainreview.org/?p=1547"><img src="http://ia600308.us.archive.org/15/items/SF120/SF120.thumbs/SF120_000040.jpg"></a></td><td class="column-2">Are You Popular (1947) 10min<br />
<br />
<a href="http://publicdomainreview.org/?p=1552"><img src="http://ia600202.us.archive.org/17/items/AreYouPo1947/AreYouPo1947.thumbs/AreYouPo1947_000240.jpg"></a></td><td class="column-3">The Lodger: A Story of the London Fog (1927) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=1560"><img src="http://ia700309.us.archive.org/32/items/TheLodgerAStoryOfTheLondonFog_579/TheLodgerAStoryOfTheLondonFog_579.thumbs/TheLodger-AStoryOfTheLondonFog1927AlfredHitchcock_001800.jpg"></a></td><td class="column-4">Scarlet Street (1945) 1hr43min<br />
<br />
<a href="http://publicdomainreview.org/?p=1557"><img src="http://ia700202.us.archive.org/16/items/ScarletStreet/ScarletStreet.thumbs/Scarlet_Street_005460.jpg"></a></td>
	</tr>
	<tr class="row-7">
		<td class="column-1">Annie Oakley Fires Her Gun (1894) 20secs<br />
<a href="http://publicdomainreview.org/?p=1721"><br />
<img src="http://ia600202.us.archive.org/20/items/AnnieOakley/AnnieOakley.thumbs/AnnieOakley_000020.jpg"></a></td><td class="column-2">The Wonderful Wizard of Oz (1910) 13min<br />
<a href="http://publicdomainreview.org/?p=1719"><br />
<img src="http://ia600304.us.archive.org/4/items/The_Wonderful_Wizard_of_Oz/The_Wonderful_Wizard_of_Oz.thumbs/WizardOfOz1910_000720.jpg"></a></td><td class="column-3">For The Term of His Natural Life (1927) 1hr33min<br />
<br />
<a href="http://publicdomainreview.org/?p=2288"><img src="http://ia700504.us.archive.org/1/items/ForTheTermOfHisNaturalLife/ForTheTermOfHisNaturalLife.thumbs/ForTheTermOfHisNaturalLife_004980.jpg"></a></td><td class="column-4">The Last Man on Earth (1964) 1hr27min<br />
<br />
<a href="http://publicdomainreview.org/?p=1715"><img src="http://farm7.static.flickr.com/6204/6090641136_9922b754c8_o.jpg"></a></td>
	</tr>
	<tr class="row-8">
		<td class="column-1">Operation Cue (1955) 52sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1812"><img src="http://ia700301.us.archive.org/5/items/CEP_00_071/CEP_00_071.thumbs/CEP_00_071_000030.jpg"></a></td><td class="column-2">Never Weaken (1921) 28min<br />
<br />
<a href="http://publicdomainreview.org/?p=1827"><img src="http://ia600309.us.archive.org/22/items/Never_Weaken_1921/Never_Weaken_1921.thumbs/Never_Weaken_1921_001260.jpg"></a></td><td class="column-3">Intolerance (1916) 2hr57min<br />
<a href="http://publicdomainreview.org/?p=1820"><br />
<img src="http://ia700303.us.archive.org/11/items/Intolerance/Intolerance.thumbs/Intolerance_010500.jpg"></a></td><td class="column-4">Quicksand (1950) 1hr18min<br />
<br />
<a href="http://publicdomainreview.org/?p=1816"><img src="http://ia700406.us.archive.org/14/items/Quicksand_clear/Quicksand_clear.thumbs/Quicksand_001860.jpg"></a></td>
	</tr>
	<tr class="row-9">
		<td class="column-1">Dutch Fashion Reel (1969) 1min50sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1954"><img src="http://farm7.static.flickr.com/6200/6158664220_2d772d57d5_o.jpg"></a></td><td class="column-2">Betty Boop: Minnie The Moocher (1932) 7min46sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1965"><img src="http://ia600208.us.archive.org/2/items/bb_minnie_the_moocher/bb_minnie_the_moocher.thumbs/bb_minnie_the_moocher_000390.jpg"></a></td><td class="column-3">The Phantom of the Opera (1925) 1hr46min<br />
<br />
<a href="http://publicdomainreview.org/?p=1943"><img src="http://ia700208.us.archive.org/23/items/ThePhantomoftheOpera/ThePhantomoftheOpera.thumbs/Phantom_of_the_Opera_001320.jpg"></a></td><td class="column-4">Suddenly (1954) 1hr16mins<br />
<br />
<a href="http://publicdomainreview.org/?p=1279"><img src="http://ia600208.us.archive.org/10/items/suddenly/suddenly.thumbs/suddenly_004320.jpg"></a><br />
</td>
	</tr>
	<tr class="row-10">
		<td class="column-1">Buffalo Dance (1894) 14sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2135"><img src="http://ia600301.us.archive.org/10/items/SF126/SF126.thumbs/SF126_000005.jpg"></a></td><td class="column-2">The Cook (1918) 18min<br />
<br />
<a href="http://publicdomainreview.org/?p=2139"><img src="http://ia600501.us.archive.org/18/items/TheCook/TheCook.thumbs/TheCook_000300.jpg"></a></td><td class="column-3">The Thief of Bagdad (1924) 2hr20min<br />
<br />
<a href="http://publicdomainreview.org/?p=2148"><img src="http://ia600304.us.archive.org/25/items/ThiefOfBagdad1924/ThiefOfBagdad1924.thumbs/ThiefofBagdad1924_008280.jpg"></a></td><td class="column-4">Five Minutes to Live (1961) 1hr14min<br />
<br />
<a href="http://publicdomainreview.org/?p=1683"><img src="http://ia700508.us.archive.org/7/items/Five_Minutes_To_Live.avi/Five_Minutes_To_Live.avi.thumbs/Five_Minutes_to_Live_002880.jpg"></a></td>
	</tr>
	<tr class="row-11">
		<td class="column-1">VD is for Everybody (1969) 1min<br />
<br />
<a href="http://publicdomainreview.org/?p=2280"><img src="http://ia600508.us.archive.org/0/items/vd_is_for_everybody/vd_is_for_everybody.thumbs/vd_is_for_everybody_000020.jpg"></a></td><td class="column-2">American Day in Tripoli, Libya (1962) 14min<br />
<br />
<a href="http://publicdomainreview.org/?p=2394"><img src="http://ia600409.us.archive.org/21/items/gov.archives.arc.37715/gov.archives.arc.37715.thumbs/gov.archives.arc.37715_000810.jpg"></a></td><td class="column-3">The Cabinet of Dr. Caligari (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=2659"><img src="http://ia700303.us.archive.org/12/items/thecabinetofdrcaligari/thecabinetofdrcaligari.thumbs/KabinettDesDoktorCaligariDas_000960.jpg"></a></td><td class="column-4">Cyrano De Bergerac (1950) 1hr53min<br />
<br />
<a href="http://publicdomainreview.org/?p=2402"><img src="http://ia600401.us.archive.org/27/items/Cyrano_DeBergerac/Cyrano_DeBergerac.thumbs/Cyrano_De_Bergerac_002100.jpg"></a></td>
	</tr>
	<tr class="row-12">
		<td class="column-1">The Enchanted Drawing (1900) 1min29sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2778"><img src="http://ia600309.us.archive.org/18/items/TheEnchantedDrawing1900-ThomasAEdisonIncProducerJStuartBlackton/TheEnchantedDrawing1900-ThomasAEdisonIncProducerJStuartBlackton.thumbs/TheEnchantedDrawing1900-ThomasAEdisonIncProducerJStuartBlacktonAlbertESmith_000070.jpg"></a></td><td class="column-2">Your Name Here (1960) 10min10sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2561"><img src="http://ia600506.us.archive.org/11/items/YourName1960/YourName1960.thumbs/YourName1960_000120.jpg"></a>.</td><td class="column-3"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2565
title: Peter The Wild Boy
uri: Peter-The-Wild-Boy
url: http://publicdomainreview.org/2011/11/07/peter-the-wild-boy/
content:
<p><strong>Lucy Worsley, Chief Curator at Historic Royal Palaces and author of <em>Courtiers: The Secret History of the Georgian Court</em>, on the strange case of the feral child found in the woods in northern Germany and brought to live in the court of George I.</strong></p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6108/6322217472_42462a5e52_o.jpg" width="540" height="814" /><p class="wp-caption-text">Illustration from <i>The Eccentric Mirror</i> (1807) by G.H. Wilson</p></div>

<p>On the evening of 7 April 1726, George I’s courtiers crammed themselves into the drawing room at St James’s Palace.  The room buzzed with their trivial chatter about balls and masquerades, everything seemed just as usual.</p>

<p>But a sensational event would make this particular palace party the most memorable in years.  The doors opened to reveal a brace of footmen, bearing between them a grinning, bushy-haired boy.  He was perhaps twelve years old.</p>

<p>There was something decidedly odd about this youth.  For a start, he seemed not the least ‘embarrassed at finding himself in the midst of such a fashionable assembly’.  Once lowered to the floor, he scuttled about using his arms, like a chimp, and scampered right up to the king.  The courtiers were scandalised by his audacious lack of ceremony.</p>

<p>This was their first encounter with Peter, the curious ‘Wild Boy’.  Green-eyed, with strong teeth, he had ‘a roving look’ in his eyes.  He often giggled, and lacked the solemn and stately demeanour of the other courtiers.  Strangest of all, he could not speak.</p>

<p>Everyone shared his delight when he heard a watch striking the hour for the first time, and Peter’s comical ways provided much amusement.  But he also sparked off engrossing philosophical debates.  His very existence raised the fascinating question of what it really meant to be human.</p>

<p>Peter’s unlikely journey to court began in the German forest of Hertswold.  In 1725, local forest folk had come across a feral child, ‘naked and wild’.  He’d been living all alone in the woods, eating nuts and acorns.</p>

<p>There was a general assumption that the Wild Boy was ‘rescued’ from the wilderness, but the more detailed accounts of his capture reveal that he was actually hunted down.  He took refuge up a tree, which had to be felled before he could be caught.  His captors didn’t know quite what to do with him, so they thrust him into the local ‘House of Correction’.</p>

<p>But news of Peter and his bizarre, speechless condition reached the nearby palace of Herrenhausen, the summer home of the German-born George I.  The king ordered Peter to be brought from the prison to the palace, made him a member of his household, and took him back to London.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6048/6321693947_b08acfa563_o.jpg" width="540" height="459" /><p class="wp-caption-text">Peter the Wild Boy and Dr Arbuthnot painted by William Kent, at Kensington Palace - courtesy of Historic Royal Palaces (NB: not published under an open license).</p></div>

<p>Now the Wild Boy became a kind of court pet.  Soon after his arrival, he was taken to Kensington Palace to sit for William Kent, the painter who was decorating the King’s Grand Staircase there with portraits of the king’s favourite servants.  Peter’s painting still remains there today.</p>

<p>The courtiers were entranced by Peter, and a mania for the Wild Boy took off outside the palace gates as well.  Londoners crowded to see the waxwork of Peter which appeared in Mrs Salmon’s celebrated gallery in the Strand.  Writers hailed him as ‘the most wonderful wonder’, and ‘one of the greatest curiosities of the world since the time of Adam’.</p>

<p>Throughout the centuries, feral children like Peter have aroused feelings of mingled pity and fear.  More seriously, Peter fascinated the intellectuals then exploring the questions raised by the Enlightenment.  Philosophers were beginning to assert the primacy of reason over superstition.  They even debated the very definition of a human being, and whether or not people had souls.  Peter proved to be a stimulating test case. If he possessed no speech, did he therefore possess no soul?  Was he really just an animal?  Or was he an admirable and ‘noble savage’, who’d lived a life untainted by society?  Jonathan Swift remarked that the subject of the Wild Boy had been ‘half our talk this fortnight’, and Daniel Defoe thought he was the most interesting thing in the world.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6098/6322218132_0c10837e25_o.jpg" width="540" height="419" /><p class="wp-caption-text">Illustration from <i>Curiosities of Human Nature</i> (1843) by Samuel G. Goodrich.</p></div>

<p>The Wild Boy became wonderful fodder for the city’s satirists. The few accurate facts about his life were soon forgotten or distorted in a deluge of pamphlets now printed about him.  Ostensibly about Peter himself, their writers were really using him to mock the court, the courtiers, and even the whole silly race of men.  The Wild Boy’s lack of worldly knowledge exposed the shallow foundations upon which fashionable society was built.  London’s satirists invented more and more ludicrous transgressions that Peter was said to have committed: he licked people’s hands in greeting; he wore a hat in the king’s presence; he’d stolen the Lord Chamberlain’s staff.</p>

<p>Daniel Defoe joined in with his own wild cadenza of speculation.  It would be a terrible indictment of the present age, Defoe argued, if the Wild Boy had actively chosen his previous way of life, to ‘converse with the quadrupeds of the forest, and retire from human society’.  He was really suggesting that Peter was in fact the only truly sensible person alive.</p>

<p>Back at the palace, the Wild Boy soon began to show signs of distress.  The first time he saw someone removing stockings, he was ‘in great pain’, thinking the man was peeling the very skin from his leg.  The courtiers had enormous trouble in getting Peter into a new green suit.  As well as the daily struggle over his clothes, Peter could not be made ‘to lie down on a bed, but sits and sleeps in a corner of the room’.  These details of a little boy bewildered pierce the heart.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6060/6321693733_3e03745761_o.jpg" width="540" height="654" /><p class="wp-caption-text">Illustration from <i>Curiosities of Human Nature</i> (1843) by Samuel G. Goodrich.</p></div>

<p>Peter’s tight court coat, cut much more restrictively than a modern jacket, prevented him from ‘crawling or scrambling about’, and he learned to walk.  Eighteenth-century court garments were designed to make the wearer stand with shoulders lowered, chest puffed, and toes turned-out.  They began to do their work upon the Wild Boy’s posture.</p>

<p>Eventually he grew used to his fine clothes.  He also learned to pick pockets, from the most innocent of motives: ‘if he finds nuts or fruits, he is very glad of them’.  This was charming and amusing.  But when Peter stepped over the invisible line that defined acceptable behaviour, he was beaten on the legs with a ‘broad leather strap to keep him in awe’.</p>

<p>George I, exasperated by Peter’s wild ways, put him under the care of the medical doctor John Arbuthnot to be taught to speak ‘and made a sociable creature’.  Dr Arbuthnot is another of the figures depicted in William Kent’s staircase paintings at Kensington Palace.  He gave Peter daily lessons, but progress was slow as the Wild Boy had ‘a natural tendency to get away if not held by his coat’.</p>

<p>Peter did indeed learn to ‘utter after his tutor words of one syllable’.  But he would never really engage with other people through language.  Dr Arbuthnot had Peter baptised nevertheless, just in case he did have a soul.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6038/6322217934_32f288a042_o.jpg" " width="540" height="522" /><p class="wp-caption-text">Illustration from <i>Wonderful Characters</i> (1821) by Henry Wilson.</p></div>

<p>Even with the advantage of hindsight, it’s not exactly clear what Peter’s condition was.  It is likely that he was autistic, and it’s been argued that he had Pitt-Hopkins syndrome.  This condition would explain his learning difficulties and the remarkable Cupid’s-bow shape to his upper lip.  Perhaps Peter was abandoned in the woods in the first place by a mother who considered him damaged or defective.</p>

<p>Eventually the courtiers grew bored with him, and Peter was sent to live in retirement on Broadway Farm near Berkhamsted in Hertfordshire.  There he lived a long and quiet life, remaining ‘exceedingly timid and gentle in his nature’, fond of gin, and of onions.  He liked to watch a fire burn, and loved ‘to be out on a starry night’.  In autumn he would still show ‘a strange fondness for stealing away into the woods’ to feed upon acorns.</p>

<p>Peter constantly visited by the curious, including the novelist Maria Edgeworth, who commented that in old age he looked just like a bust of Socrates.  He was in some measure loved by the farming families who looked after him.  After the sudden death of his last carer, Farmer Brill, Peter ‘refused food, pined away, and died in a few days’.  It was 22 February 1785.</p>

<p>I have visited his grave in the churchyard of St Mary’s, Northchurch, near Berkhamsted, which is often laid with flowers by an unknown person.  When I asked a member of the congregation if she knew who places the bouquets, I was moved by her answer.</p>

<p>‘We’ve no idea who leaves the flowers’, she said, ‘but it must be someone who thinks that Peter should be remembered’.  And so he should be.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6057/6322576384_cba03df526_o.jpg" width="540" height="541" /><p class="wp-caption-text">Peter's grave in the churchyard of St Mary’s, Northchurch, near Berkhamsted.</p></div>

<p><br /></p>

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<p><em>Lucy Worsley is Chief Curator at the charity Historic Royal Palaces, which opens the unoccupied royal palaces of London including The Tower of London, Hampton Court and Kensington Palace to 3.2 million visitors a year.  Her book <a href="http://www.amazon.co.uk/Courtiers-Secret-History-Georgian-Court/dp/0571238904/ref=tmm_pap_title_0">Courtiers: The Secret History of the Georgian Court</a> was published by Faber and Faber in 2011. She has also presented a BBC television series on the topic of her new book <a href="http://www.amazon.co.uk/If-Walls-Could-Talk-intimate/dp/0571259545/ref=sr_1_1?s=books&#038;ie=UTF8&#038;qid=1320679894&#038;sr=1-1">If Walls Could Talk, An Intimate History of the Home</a> (Walker Books, 2012).  Please visit her <a href="www.lucyworsley.com">website</a>.</em></p>

<p><br /></p>

<h1>Links to Works</h1>

<p><br /></p>

<ul>
<li><em>Mere nature delineated: : or, A body without a soul. Being observations upon the young forester lately brought to town from Germany</em> (1726) by Daniel Defoe

<ul>
<li><a href="http://www.archive.org/stream/merenaturedeline00defo">pdf online</a></li>
<li><a href="http://www.archive.org/download/merenaturedeline00defo/merenaturedeline00defo.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/merenaturedeline00defo/merenaturedeline00defo.mobi">kindle</a></li>
</ul></li>
<li>&#8216;It cannot rain but it pours; or London strewed with Rarities&#8217; by Jonathan Swift, in <em>The works of the Rev. Jonathan Swift</em> (1801)

<ul>
<li><a href="http://www.archive.org/stream/worksofrevjonath17swif#page/302/mode/2up">pdf online</a></li>
<li><a href="http://www.archive.org/details/worksofrevjonath17swif">Internet Archive link</a></li>
</ul></li>
<li>An imagined dialogue between a feral child and his forest mother by John Arbuthnot (perhaps co-authored by Jonathan Swift) entitled &#8216;The Most Wonderful Wonder that ever appeared to the Wonder of the British Nation&#8217; (1726)

<ul>
<li><a href="http://www.archive.org/stream/lifeworksofjohna00aitk#page/474/mode/2up">pdf online</a></li>
<li><a href="http://www.archive.org/details/lifeworksofjohna00aitk">Internet Archive link</a></li>
</ul></li>
<li>Section on Peter in <em>Lectures on comparative anatomy, physiology, zoology, and the natural history of man</em> (1840) by Sir William Lawrence

<ul>
<li><a href="http://www.archive.org/stream/lecturesoncompar00lawr#page/94/mode/2up">pdf online</a></li>
<li><a href="http://www.archive.org/details/lecturesoncompar00lawr">Internet Archive link</a></li>
</ul></li>
<li>Chapter on Peter in <em>Curiosities of Human Nature</em> (1843) by Samuel G. Goodrich

<ul>
<li><a href="http://www.archive.org/stream/curiositiesofhum00good#page/270/mode/2up">pdf online</a></li>
<li><a href="http://www.archive.org/details/curiositiesofhum00good">Internet Archive link</a></li>
</ul></li>
<li>Chapter on Peter in <em>The Eccentric Mirror, reflecting a faithful and interesting delineation of male and female characters, ancient and modern &#8230; Collected and re-collected, from the most authentic sources</em> (1807) by G.H. Wilson.

<ul>
<li><a href="http://www.archive.org/stream/eccentricmirrorr01wilsuoft#page/n159/mode/2up">pdf online</a></li>
<li><a href="http://www.archive.org/details/eccentricmirrorr01wilsuoft">Internet Archive link</a></li>
</ul></li>
<li>The same chapter in <em>Wonderful characters : comprising memoirs and anecdotes of the most remarkable persons of every age and nation : collected from the most authentic sources</em> (1821) by Henry Wilson

<ul>
<li><a href="http://www.archive.org/stream/wonderfulcharact02wilsiala#page/152/mode/2up">pdf online</a> </li>
<li><a href="http://www.archive.org/details/wonderfulcharact01wilsiala">Internet Archive link</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.org/?p=2607
title: Kodak No.1 Circular Snapshots
uri: Kodak-No-1-Circular-Snapshots
url: http://publicdomainreview.org/2011/11/10/kodak-no-1-circular-snapshots/
content:
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Popular photography can properly be said to have started 120 years ago with the introduction of the Kodak camera, the invention of an American, George Eastman (1854-1932). It was a simple, leather-covered wooden box – small and light enough to be held in the hands. Taking a photograph with the Kodak was very easy, requiring only three simple actions; turning the key (to wind on the film); pulling the string (to set the shutter); and pressing the button (to take the photograph). There wasn’t even a viewfinder &#8211; the camera was simply pointed in the direction of the subject to be photographed. The Kodak produced circular snapshots, two and a half inches in diameter. The Kodak was sold already loaded with enough paper-based roll film to take one hundred photographs. After the film had been exposed, the entire camera was returned to the factory for the film to be developed and printed. The camera, reloaded with fresh film, was then returned to its owner, together with a set of prints. To sum up the Kodak system, Eastman devised the brilliantly simple sales slogan: ‘You press the button, we do the rest.’
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(Images and text courtesy of The National Media Museum via <a href="http://www.flickr.com/photos/nationalmediamuseum/sets/72157606845434332/with/2781022782/">Flickr</a>)
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<table id="wp-table-reloaded-id-3-no-1" class="wp-table-reloaded wp-table-reloaded-id-3">
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		<td class="column-1">Operation Doorstep<br />
<br />
<a href="http://publicdomainreview.org/?p=1288"><img src="http://farm7.static.flickr.com/6209/6023844250_a340b6cfc8_o.jpg"></a></td><td class="column-2">The Spirit Photographs of William Hope<br />
<br />
<a href="http://publicdomainreview.org/?p=1301"><img src="http://farm7.static.flickr.com/6021/5963926880_6796ce887a_o.jpg"></a></td><td class="column-3">The Maps of Piri Reis<br />
<br />
<a href="http://publicdomainreview.org/?p=1315"><img src="http://farm7.static.flickr.com/6025/5963926888_f9a9db72f1_o.jpg"></a></td><td class="column-4">Dr Julius Neubronner's Miniature Pigeon Camera<br />
<br />
<a href="http://publicdomainreview.org/?p=1330"><img src="http://farm7.static.flickr.com/6007/5963926890_2141effc6c_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Art in Art<br />
<br />
<a href="http://publicdomainreview.org/?p=1359"><img src="http://farm7.static.flickr.com/6192/6024864047_73cc2bce65_o.jpg"></a></td><td class="column-2">Huexotzinco Codex<br />
<br />
<a href="http://publicdomainreview.org/?p=1373"><img src="http://farm7.static.flickr.com/6187/6024864049_7667e37edc_o.jpg"></a><br />
</td><td class="column-3">Sessions for the Blind at Sunderland Museum<br />
<br />
<a href="http://publicdomainreview.org/2011/08/09/sessions-for-the-blind-at-sunderland-museum/"><img src="http://farm7.static.flickr.com/6075/6024903179_9793619652_o.jpg"></a></td><td class="column-4">Eugène von Guérard's Australian Landscapes<br />
<br />
<a href="http://publicdomainreview.org/?p=1468"><img src="http://farm7.static.flickr.com/6193/6045423237_850760a2a1_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">Landscape and Marine Views of Norway<br />
<br />
<a href="http://publicdomainreview.org/?p=1513"><img src="http://farm7.static.flickr.com/6090/6049185090_2740e7c0e7_o.jpg"></a></td><td class="column-2">The Mechanism of Human Physiognomy<br />
<br />
<a href="http://publicdomainreview.org/2011/08/19/the-mechanism-of-human-physiognomy/"><img src="http://farm7.static.flickr.com/6191/6059149653_5b7e4f63e0_o.jpg"></a></td><td class="column-3">Space Colony Art from the 1970s<br />
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<a href="http://publicdomainreview.org/?p=1643"><img src="http://farm7.static.flickr.com/6063/6072822813_748425d648_o.jpg"></a></td><td class="column-4">Men in Wigs<br />
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<a href="http://publicdomainreview.org/?p=1657"><br />
<img src="http://farm7.static.flickr.com/6196/6076698488_c0d804b2f0_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">De humana physiognomonia libri IIII (1586)<br />
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<a href="http://publicdomainreview.org/?p=1760"><img src="http://farm7.static.flickr.com/6023/6097105906_f3615427ca_o.jpg"></a></td><td class="column-2">Field Columbian Museum<br />
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<a href="http://publicdomainreview.org/?p=1898"><img src="http://farm7.static.flickr.com/6186/6143148873_0d68233381_o.jpg"></a></td><td class="column-3">Maps from Geographicus<br />
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<a href="http://publicdomainreview.org/?p=2011"><img src="http://farm7.static.flickr.com/6159/6172345356_72dcabba03_o.jpg"></a></td><td class="column-4">Arnoldus Montanus' New and Unknown World (1671)<br />
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<a href="http://publicdomainreview.org/?p=2108"><img src="http://farm7.static.flickr.com/6172/6194502991_d733a9de80_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">World War II from the Air<br />
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<a href="http://publicdomainreview.org/?p=2241"><img src="http://farm7.static.flickr.com/6060/6240850672_fbe7ec4af4_o.jpg"></a></td><td class="column-2">Halloween Postcards<br />
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<a href="http://publicdomainreview.org/?p=2470"><img src="http://farm7.static.flickr.com/6094/6291039497_f95a6df059_o.jpg"></a></td><td class="column-3">Engravings by Dominicus Custos<br />
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<a href="http://publicdomainreview.org/?p=2461"><img src="http://farm7.static.flickr.com/6043/6301524069_87b3660466_o.jpg"></a></td><td class="column-4">Kodak No.1 Circular Snapshots<br />
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<a href="http://publicdomainreview.org/?p=2607"><img src="http://farm7.static.flickr.com/6034/6331890582_1cb9bff242_o.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Kitab al-Bulhan or Book of Wonders (late 14thC.)<br />
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<a href="http://publicdomainreview.org/?p=2648"><img src="http://farm7.static.flickr.com/6109/6352453941_2f15515a88_o.jpg"></a></td><td class="column-2"></td><td class="column-3"></td><td class="column-4"></td>
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</table>

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feed_id: http://publicdomainreview.org/?p=2615
uri: The-Eccentric-Mirror-Reflecting-a-Faithful-and-Interesting-Delineatio
title:
The Eccentric Mirror: Reflecting a Faithful and Interesting Delineation of Male and Female Characters, Ancient and Modern (1807)

url:
http://publicdomainreview.org/2011/11/12/the-eccentric-mirror-reflecting-a-faithful-and-interesting-delineation-of-male-and-female-characters-ancient-and-modern-1807/

content:
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<iframe src='http://www.archive.org/stream/eccentricmirrorr01wilsuoft?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>

<br />
<span style="font-variant: small-caps;">The Eccentric Mirror: Reflecting a Faithful and Interesting Delineation of Male and Female Characters, Ancient and Modern, Collected and re-collected, from the most authentic sources, by G.H. Wilson; 1807; J. Cundee, London</span>

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<br />
Reports on a marvellous menagerie of weird and wonderful characters from the past and Georgian-present, including Daniel Lambert, a gaol keeper and animal breeder from Leicester, famous for his unusually large size, more than 50 stone, and the Polish-born 3-foot 3-inch Józef Boruwłaski who toured in European and Turkish courts, (and who incidentally met Mr Lambert amid much public interest in 1782). 
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<a href="http://openlibrary.org/books/OL7055839M/The_eccentric_mirror_reflecting_a_faithful_and_interesting_delineation_of_male_and_female_characters_ancient_and_modern_...">Open Library link</a>
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<table id="wp-table-reloaded-id-2-no-1" class="wp-table-reloaded wp-table-reloaded-id-2">
<tbody>
	<tr class="row-1">
		<td class="column-1">Letters From a Cat (1879)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/letters-from-a-cat/"><img src="http://farm7.static.flickr.com/6029/5926255857_dd107bbcd5_o.jpg"></a></td><td class="column-2">Castaway on the Auckland Isles: A Narrative of the Wreck of the "Grafton," (1865)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/castaway-on-the-auckland-isles-a-narrative-of-the-wreck-of-the-grafton-1865"><img src="http://farm7.static.flickr.com/6014/5963292991_2926d4d77d_o.jpg"><br />
</a></td><td class="column-3">Infant's Cabinet of Birds and Beasts (1820)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/infants-cabine…-beasts-1820-2/"><img src="http://farm7.static.flickr.com/6137/5963292985_e427baf1da_o.jpg"></a></td><td class="column-4">Old French Fairytales (1920)<br />
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<a href="http://publicdomainreview.org/2011/08/02/old-french-fairytales-1920/"><img src="http://farm7.static.flickr.com/6127/5963292975_0047a86d70_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Armata: a fragment (1817)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/armata-a-fragment-1817/"><img src="http://farm7.static.flickr.com/6018/5977796996_e0a0fc40cd_o.jpg"></a></td><td class="column-2">An Account of the Late Improvements in Galvanism (1803)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/an-account-of-the-late-improvements-in-galvanism-1803/"><img src="http://farm7.static.flickr.com/6027/5977796994_62597592db_o.jpg"></a></td><td class="column-3">The Medical Aspects of Death, and the Medical Aspects of the Human Mind (1852)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-medical-aspects-of-death-and-the-medical-aspects-of-the-human-mind-1852"><img src="http://farm7.static.flickr.com/6122/5977796990_d34ea609b4_o.jpg"></a></td><td class="column-4">Quarles' Emblems (1886)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/quarles-emblems-1886/"><img src="http://farm7.static.flickr.com/6129/5977796992_cda35bfc9d_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">Cat and bird stories from the "Spectator" (1896)<br />
<br />
<a href="http://publicdomainreview.org/?p=1198"><img src="http://farm7.static.flickr.com/6127/6011153785_75aab450ee_o.jpg"></a></td><td class="column-2">Wonderful Balloon Ascents (1870)<br />
<br />
<a href="http://publicdomainreview.org/?p=1200"><img src="http://farm7.static.flickr.com/6030/6011153783_3c0847e432_o.jpg"></a></td><td class="column-3">The Book of Topiary (1904)<br />
<br />
<a href="http://publicdomainreview.org/?p=1202"><img src="http://farm7.static.flickr.com/6145/6011153777_a727143f9d_o.jpg"></a></td><td class="column-4">The Adventures of Louis de Rougemont (1899)<br />
<br />
<a href="http://publicdomainreview.org/?p=1204"><img src="http://farm7.static.flickr.com/6013/6011153791_7fcdcb3356_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">English as She is Spoke (1884)<br />
<br />
<a href="http://publicdomainreview.org/?p=1431"><img src="http://farm7.static.flickr.com/6083/6046055812_6639c33965_o.jpg"></a></td><td class="column-2">The Danger of Premature Interment (1816)<br />
<br />
<a href="http://publicdomainreview.org/?p=1503"><img src="http://farm7.static.flickr.com/6062/6046366952_ba41be4694_o.jpg"></a></td><td class="column-3">The Last American (1889)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/19/the-last-american/"><img src="http://farm7.static.flickr.com/6066/6059266721_1e7b1015c2_o.jpg"></a></td><td class="column-4">Pirates (1922)<br />
<br />
<a href="http://publicdomainreview.org/?p=1754"><img src="http://farm7.static.flickr.com/6187/6096675914_450e941c10_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">Napoleon's Oraculum (1839)<br />
<br />
<a href="http://publicdomainreview.org/?p=1834"><img src="http://farm7.static.flickr.com/6185/6115393587_cbe52c98ab_o.jpg"></a></td><td class="column-2">Horse Laughs (1891)<br />
<br />
<a href="http://publicdomainreview.org/?p=1918"><img src="http://farm7.static.flickr.com/6156/6143175901_cfaa8bb5f7_o.jpg"></a></td><td class="column-3">Hydriotaphia/Urn-Burial and The Garden of Cyrus (1658)<br />
<br />
<a href="http://publicdomainreview.org/?p=1999"><img src="http://farm7.static.flickr.com/6162/6169326032_8dbf4d10aa_o.jpg"></a></td><td class="column-4">Across the Zodiac: the Story of a Wrecked Record (1880)<br />
<br />
<a href="http://publicdomainreview.org/?p=2129"><img src="http://farm7.static.flickr.com/6123/6197358087_8ed89391e6_o.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Superstitions About Animals (1904)<br />
<br />
<a href="http://publicdomainreview.org/?p=2267"><img src="http://farm7.static.flickr.com/6110/6241413122_a6151abdef_o.jpg"></a></td><td class="column-2">The Diary of a Nobody (1919 edition)<br />
<br />
<a href="http://publicdomainreview.org/?p=2457"><img src="http://farm7.static.flickr.com/6092/6288121551_c2119002b0_o.jpg"></a></td><td class="column-3">The Attitudes of Animals in Motion, Illustrated with the Zoopraxiscope (1882)<br />
<br />
<a href="http://publicdomainreview.org/?p=2546"><img src="http://farm7.static.flickr.com/6094/6311375447_2483ece911_o.jpg"></a></td><td class="column-4">The Eccentric Mirror: Reflecting a Faithful and Interesting Delineation of Male and Female Characters, Ancient and Modern (1807)<br />
<br />
<a href="http://publicdomainreview.org/?p=2615"><img src="http://farm7.static.flickr.com/6054/6337715127_c693cf04d1_o.jpg"></a></td>
	</tr>
	<tr class="row-7">
		<td class="column-1">Uriah Jewett and the Sea Serpent of Lake Memphemagog (1917)<br />
<br />
<a href="http://publicdomainreview.org/?p=2781"><img src="http://farm8.staticflickr.com/7159/6437807421_91e8d84ec9_o.jpg"></a></td><td class="column-2"></td><td class="column-3"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>
 

</div>


feed_id: http://publicdomainreview.org/?p=2620
title: The Memoirs of Joseph Grimaldi
uri: The-Memoirs-of-Joseph-Grimaldi
url: http://publicdomainreview.org/2011/11/14/the-memoirs-of-joseph-grimaldi/
content:
<p><strong>Andrew McConnell Stott, author of <i>The Pantomime Life of Joseph Grimaldi</i>, introduces the life and memoirs of the most famous and celebrated of English clowns.</strong></p>

<p><img src="http://farm7.static.flickr.com/6119/6343345771_9d02577632_o.jpg" alt="" /></p>

<p>Few biographers have proved so reluctant, but when the raw materials that would become <em>The Memoirs of Joseph Grimaldi</em> reached Charles Dickens’ desk in the autumn of 1837, he was far from impressed. “I have thought the matter over, and looked it over, too,” he told his publisher, Richard Bentley, “it is very badly done, and so redolent of twaddle that I fear I cannot take it up on any conditions.”</p>

<p>What he saw had begun life as a sprawling manuscript of some 400 “childlike and simple” pages written by the pantomime clown, Joseph Grimaldi, in the course of his long retirement from the stage. When a publisher proved hard to find, Grimaldi contracted with a theatrical journalist, Thomas Egerton Wilks to help him revise the entire manuscript, but died before it was completed. Wilks sold the unfinished project on to Bentley, who considered Dickens perfect for the job – not only had he idolized Grimaldi as a child, fondly recalling trips to Covent Garden “to behold the splendour of Christmas Pantomimes and the humour of Joe,” but his own Sketches By Boz (1836) had been widely commended for displaying “the spirit of Grimaldi.”</p>

<p>Having finally relented, Dickens saw it off in a matter of weeks, subjecting it to “a double and most comprehensive process of abridgement,” resetting the narrative from the first person to the third, and not even bothering to write it down, preferring to dictate it to his father, who could be found “in exulted enjoyment of the office of amanuensis.”</p>

<p>Despite all its evident haste, <em>The Memoirs of Joseph Grimaldi</em> remains unmistakably “Dickensian,” recalling passages from <em>Nicholas Nickleby</em>, <em>Hard Times</em> and others. Without doubt, his most important decision was to place the biographical details of Grimaldi’s life within a strict economy of pleasure and pain that draws stark contrasts between the tinsel of the stage and the shabby reality of his many hardships. Laughter and misery becomes the balance-beam on which Grimaldi’s existence is constantly weighed as every career triumph is paid for with a proportionate personal agony, and every moment of joy countered by grief.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6227/6343344415_60ca9bf9ba_o.jpg" width="540" height="596" /><p class="wp-caption-text">Illustration of Grimaldi from his <i>Memoirs</i></p></div>

<p>In presenting Grimaldi’s life in this way, Dickens was cementing much of what was popularly perceived during Grimaldi’s own lifetime. Born into a theatrical family in 1778, “Joe” was a superstar of Regency theatre who rose to national prominence in 1806 playing Clown in the pantomime of <em>Harlequin and Mother Goose; or, the Golden Egg</em>. His unique comic gifts had been honed since making his first appearance onstage at the age of two, tutored by his father, Giuseppe, a cruel and eccentric dancing master known throughout London’s close-knit theatrical community as the “Signor.” The Signor had fathered several children by different women – most of them young dancers indentured as his apprentices – but as his first boy, it was Joe on whom his future hopes were settled. The Signor’s methods of instruction were gruelling, as were the regular beatings and medieval punishments he inflicted on those that failed to meet his expectations, which included locking children into stocks, or throwing them into a cage and hoisting it into the flytower to leave them dangling precariously over the stage. Home life was little better, as the Signor was horribly morbid, living in perpetual fear of death, and especially of being buried alive. When he finally died in 1788, his will directed that his eldest daughter cut his head from his corpse just to be certain.</p>

<p>The Signor’s passing was a liberation, yet at age nine, Joe was suddenly the family’s principal breadwinner, and he spent the remainder of his childhood running between performances at Sadler’s Wells and Drury Lane theatres and appearing as a supernumerary in various pageants, spectacles, and crowd scenes, only graduating to pantomimes in his twenties. Regency pantomimes were markedly different from the entertainments that we know today, and were comprised of an opening that was usually based on a fairy tale, and a second, much longer performance, called the “harlequinade.” The openings usually involved a pair of star-crossed lovers forbidden to marry by a tyrannical parent, miming the action in their “big heads” – huge, caricatured papier mache masks – until they were magically transformed into the lead characters of the harlequinade, four figures instantly recognizable to every man woman and child in Regency Britain &#8211; the mercurial, acrobatic Harlequin; his gauzy, dove-like lover Columbine; and their enemies the elderly “libidinous, miserly Dotard,” Pantaloon, and his titular manservant, the “incorrigible emblem of gross sensuality,” Clown. What followed was a series of frenetic scenes in which Harlequin and Columbine were pursued through a series of lavish sets that could be magically transformed with a whack from Harlequin’s magic bat, which, primed with a pinch of gunpowder, was the original “slapstick.” The humour was crude and physical, but with its emphasis on transformation and the unexpected, it was the perfect entertainment for the age of revolutions.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6239/6344093132_e27068db78_o.jpg" width="540" height="524" /><p class="wp-caption-text">A young Joseph Grimaldi, dressed as a monkey, getting propelled into the audience when the rope his father was swinging him round by snapped - illustration by George Cruikshank from the <em>Memoirs</em>.</p></div>

<p>Aside from his comic talents and fine singing voice, Grimaldi was an innovator, widely acknowledged as the father of modern “slap and motley.” It was Grimaldi who overhauled the Clown’s appearance from the rustic booby that had remained more-or-less unaltered since the sixteenth century, to the heavily made-up and colourfully-attired clowns that we are familiar with today. The new make-up left not a centimetre of skin exposed – not even in the nostrils or inside of the lips – and, as such, it implied a much stricter division between the man and the mask, an impenetrability that acted as a kind of invitation to speculate about what they might have concealed. Was there, perhaps, a division in Grimaldi himself? Rumours to this effect arose during the initial success of <em>Mother Goose</em>: the King of Clowns, it was reported, was subject to debilitating bouts of offstage depression, reports he himself chose to confirm with a punning quip, “I am GRIM ALL DAY, but I make you laugh at night.” A series of anecdotes followed that prefigured Dickens’ biographical portrait in black-and-white, the most famous of which dates from the 1820s and involves a visit to the surgeon, John Abertheny. Grimaldi, hoping to find a cure for his depression, asks Abertheny for advice, and unaware of his client’s identity, the surgeon prescribes the diversions of “relaxation and amusement”:</p>

<p>“But where shall I find what you require?” said the patient.
“In genial companionship,” was the reply; “perhaps sometimes at the theatre; &#8211; go and see Grimaldi.”
“Alas!” replied the patient, “that is of no avail to me; I am Grimaldi.”</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6226/6344093886_fb34fc79bb_o.jpg" width="540" height="466" /><p class="wp-caption-text">Grimaldi pursued by his adoring fans  after he had to run through streets on the way to a show before jumping into a coach - illustration by Cruikshank from the <i>Memoirs</i></p></div>

<p>Clowning also made extraordinary physical demands, and as early as 1813, The Times was already expressing misgivings about the sustainability of his performances: “It is absolutely surprising,” it wrote, “that any human head or hide can resist the rough trials which he volunteers. Serious tumbles from serious heights, innumerable kicks, and incessant beatings, come on him as matters of common occurrence, and leave him every night fresh and free for the next night’s flagellation.” Sure enough, Joe’s health worsened with each passing season until reaching a point where he had to be carried to his dressing room and revived after each performance. Laughter demands an exorbitant prince. “Poor Joe!” wrote the author William Robson, “it was like the boys and frogs; it was sport to us, but death to you.”
Grimaldi was 45 when he gave his last regular performance. This was young – his father had continued well into his seventies – but by 1823, he was suffering so badly from arthritis and various digestive complaints that it was impossible to continue. He would reappear two years later at a pair of gala performances to celebrate his career, but made his contributions seated in a chair. With the retirement of its greatest exponent, pantomime quickly entered a period of decline, as the slapstick antics of the harlequinade were replaced with bloated stage effects and meaningless scenery. As Grimaldi approached the end of his life, his battered old body became a symbol for the exhaustion of Regency popular culture, and by extension, the lost youth of Dickens’ generation. Dickens had already conveyed as much in “The Stroller’s Tale,” one of the first instalments of <em>The Posthumous Papers of the Pickwick Club</em> (1835). Here, “Dismal Jemmy,” himself a down-at-heel actor, recalls the time he comes across a fellow performer, a “enfeebled by dissipation and emaciated by disease.” It is night and the theatre is dark. “I was dressed to leave the house,” Jemmy recalls,</p>

<blockquote>
  <p>and was crossing the stage on my way out, when he tapped me on the shoulder. Never shall I forget the repulsive sight that met my eye when I turned round. He was dressed for the pantomime, in all the absurdity a clown’s costume. The spectral figures in the Dance of Death, the most frightful shapes that the ablest painter ever portrayed on canvas, never presented an appearance half so ghastly. His bloated body and shrunken legs – their deformity enhanced a hundred fold by the fantastic dress – the glassy eyes, contrasting fearfully with the thick white paint with which the face was besmeared: the grotesquely-ornamented head, trembling with paralysis, and the long skinny hands, rubbed with white chalk – all gave him a hideous and unnatural appearance of which no description could convey an adequate idea, and which, to this day, I shudder to think of.</p>
</blockquote>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6049/6343344605_786222d969_o.jpg" width="540" height="697" /><p class="wp-caption-text">Grimaldi delivering his 'last song' at his final performance in 1828, at this stage of his life too weak to stand and so remaining sitting throughout - illustration by Cruikshank from the Memoirs.</p></div>

<p><br /></p>

<hr />

<p><em>Andrew McConnell Stott is the author of <a href="http://www.amazon.co.uk/Pantomime-Life-Joseph-Grimaldi-Laughter/dp/1847677614">The Pantomime Life of Joseph Grimaldi: Laughter, Madness and the Story of Britain&#8217;s Greatest Comedian</a> which won the  George Freedley Award, the Royal Society of Literature/Jerwood Award for Non-Fiction, the Sheridan Morley Award for Theatre Biography, and was named by the Guardian as one of its books of the year for 2010. He is Professor of English at the University of Buffalo, SUNY, and can be visited online at <a href="http://www.andrewmcconnellstott.com/">www.andrewmcconnellstott.com</a>.</em></p>

<p><br /></p>

<h1>Links to Works</h1>

<p><br /></p>

<ul>
<li><em>Memoirs of Joseph Grimaldi</em> (1838), by Joseph Grimaldi and edited by &#8220;Boz&#8221; (the two volumes in one)

<ul>
<li><a href="http://www.archive.org/stream/memoirsofjosephg00grimuoft">pdf online</a></li>
<li><a href="http://www.archive.org/download/memoirsofjosephg00grimuoft/memoirsofjosephg00grimuoft.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/memoirsofjosephg00grimuoft/memoirsofjosephg00grimuoft.epub">epub</a></li>
<li><a href="http://www.archive.org/download/memoirsofjosephg00grimuoft/memoirsofjosephg00grimuoft.mobi">kindle</a></li>
<li><a href="http://www.archive.org/stream/memoirsofjosephg00grimuoft/memoirsofjosephg00grimuoft_djvu.txt">text</a></li>
</ul></li>
<li><em>The Grimaldi Shakespeare; notes and emendations on the plays of Shakespeare, from a recently-discovered annotated copy</em> (1853) by F.W. Fairholt and Joseph Grimaldi

<ul>
<li><a href="http://www.archive.org/stream/cu31924013164383">pdf online</a></li>
<li><a href="http://www.archive.org/download/cu31924013164383/cu31924013164383.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/cu31924013164383/cu31924013164383.epub">epub</a></li>
<li><a href="http://www.archive.org/download/cu31924013164383/cu31924013164383.mobi">kindle</a></li>
<li><a href="http://www.archive.org/stream/cu31924013164383/cu31924013164383_djvu.txt">text</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.org/?p=2648
title: Kitab al-Bulhan or Book of Wonders (late 14thC.)
uri: Kitab-al-Bulhan-or-Book-of-Wonders-(late-14thC-)
url: http://publicdomainreview.org/2011/11/17/kitab-al-bulhan-or-book-of-wonders-late-14thc/
content:
<div align="center">

The Kitab al-Bulhan, or Book of Wonders, is an Arabic manuscript dating mainly from the late 14th century A.D. and probably bound together in Baghdad during the reign of Jalayirid Sultan Ahmad (1382-1410). The manuscript is made up of astrological, astronomical and geomantic texts compiled by Abd al-Hasan Al-Isfahani, as well as a dedicated section of full-page illustrations, with each plate titled with &#8220;A discourse on&#8230;.&#8221;, followed by the subject of the discourse (a folktale, a sign of the zodiac, a prophet, etc.).
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<br />
(Higher resolution images can be found at <a href="http://commons.wikimedia.org/wiki/Category:Kitab_al-Bulhan">Wikimedia Commons</a>) 

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/3/3b/Kitab_al-Bulhan_---_idol_watched_by_2_men.jpg/403px-Kitab_al-Bulhan_---_idol_watched_by_2_men.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/6/67/Kitab_al-Bulhan_---_human_figure_and_devils.jpg/397px-Kitab_al-Bulhan_---_human_figure_and_devils.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/Kitab_al-Bulhan_---_man_and_snake.jpg/405px-Kitab_al-Bulhan_---_man_and_snake.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/7/70/Kitab_al-Bulhan_---_3-headed_devil.jpg/398px-Kitab_al-Bulhan_---_3-headed_devil.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/a/a1/Kitab_al-Bulhan_--_devil.jpg/400px-Kitab_al-Bulhan_--_devil.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/7/7c/Kitab_al-Bulhan_---_middle_eastern_city_scene_i.jpg/403px-Kitab_al-Bulhan_---_middle_eastern_city_scene_i.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/85/Kitab_al-Bulhan_--_devils.jpg/406px-Kitab_al-Bulhan_--_devils.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/3/34/Kitab_al-Bulhan_---_birds_swoop_on_snakes.jpg/408px-Kitab_al-Bulhan_---_birds_swoop_on_snakes.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/d1/Kitab_al-Bulhan_---_snake-like_fire.jpg/405px-Kitab_al-Bulhan_---_snake-like_fire.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/b/b4/Kitab_al-Bulhan_---_symbolic_curved_shape.jpg/402px-Kitab_al-Bulhan_---_symbolic_curved_shape.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/1/13/Kitab_al-Bulhan_--_zodiac.jpg/399px-Kitab_al-Bulhan_--_zodiac.jpg" alt="" />



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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/c/c3/Kitab_al-Bulhan_---_zodiac_cancer.jpg/401px-Kitab_al-Bulhan_---_zodiac_cancer.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Kitab_al-Bulhan_---_zodiac_centaur_sagittarius.jpg/406px-Kitab_al-Bulhan_---_zodiac_centaur_sagittarius.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/5/59/Kitab_al-Bulhan_---_zodiac_fish_pisces.jpg/408px-Kitab_al-Bulhan_---_zodiac_fish_pisces.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/6/61/Kitab_al-Bulhan_---_zodiac_scorpio.jpg/406px-Kitab_al-Bulhan_---_zodiac_scorpio.jpg" alt="" />




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		<td class="column-1">Landscape and Marine Views of Norway<br />
<br />
<a href="http://publicdomainreview.org/?p=1513"><img src="http://farm7.static.flickr.com/6090/6049185090_2740e7c0e7_o.jpg"></a></td><td class="column-2">The Mechanism of Human Physiognomy<br />
<br />
<a href="http://publicdomainreview.org/2011/08/19/the-mechanism-of-human-physiognomy/"><img src="http://farm7.static.flickr.com/6191/6059149653_5b7e4f63e0_o.jpg"></a></td><td class="column-3">Space Colony Art from the 1970s<br />
<br />
<a href="http://publicdomainreview.org/?p=1643"><img src="http://farm7.static.flickr.com/6063/6072822813_748425d648_o.jpg"></a></td><td class="column-4">Men in Wigs<br />
<br />
<a href="http://publicdomainreview.org/?p=1657"><br />
<img src="http://farm7.static.flickr.com/6196/6076698488_c0d804b2f0_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">De humana physiognomonia libri IIII (1586)<br />
<br />
<a href="http://publicdomainreview.org/?p=1760"><img src="http://farm7.static.flickr.com/6023/6097105906_f3615427ca_o.jpg"></a></td><td class="column-2">Field Columbian Museum<br />
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<a href="http://publicdomainreview.org/?p=1898"><img src="http://farm7.static.flickr.com/6186/6143148873_0d68233381_o.jpg"></a></td><td class="column-3">Maps from Geographicus<br />
<br />
<a href="http://publicdomainreview.org/?p=2011"><img src="http://farm7.static.flickr.com/6159/6172345356_72dcabba03_o.jpg"></a></td><td class="column-4">Arnoldus Montanus' New and Unknown World (1671)<br />
<br />
<a href="http://publicdomainreview.org/?p=2108"><img src="http://farm7.static.flickr.com/6172/6194502991_d733a9de80_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">World War II from the Air<br />
<br />
<a href="http://publicdomainreview.org/?p=2241"><img src="http://farm7.static.flickr.com/6060/6240850672_fbe7ec4af4_o.jpg"></a></td><td class="column-2">Halloween Postcards<br />
<br />
<a href="http://publicdomainreview.org/?p=2470"><img src="http://farm7.static.flickr.com/6094/6291039497_f95a6df059_o.jpg"></a></td><td class="column-3">Engravings by Dominicus Custos<br />
<br />
<a href="http://publicdomainreview.org/?p=2461"><img src="http://farm7.static.flickr.com/6043/6301524069_87b3660466_o.jpg"></a></td><td class="column-4">Kodak No.1 Circular Snapshots<br />
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<a href="http://publicdomainreview.org/?p=2607"><img src="http://farm7.static.flickr.com/6034/6331890582_1cb9bff242_o.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Kitab al-Bulhan or Book of Wonders (late 14thC.)<br />
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<a href="http://publicdomainreview.org/?p=2648"><img src="http://farm7.static.flickr.com/6109/6352453941_2f15515a88_o.jpg"></a></td><td class="column-2"></td><td class="column-3"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>
 

</div>


feed_id: http://publicdomainreview.org/?p=2659
title: The Cabinet of Dr. Caligari (1920)
uri: The-Cabinet-of-Dr-Caligari-(1920)
url: http://publicdomainreview.org/2011/11/19/the-cabinet-of-dr-caligari-1920/
content:
<div align="center">

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A silent horror film directed by Robert Wiene from a screenplay by Hans Janowitz and Carl Mayer. It is one of the most influential of German Expressionist films and is often considered one of the greatest horror movies of the silent era &#8211; notable for having introduced the &#8216;twist ending&#8217; in cinema and for its weird and distorted set design. Our hero Francis grapples with the deranged Dr.Caligari in a world which is not quite all that it seems&#8230;
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<a href="http://www.archive.org/details/thecabinetofdrcaligari">Download from Internet Archive</a>
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<br />
<font size="1">Note this film is in the public domain in the US, but may not be in other jurisdictions. Please check its status in your jurisdiction before re-using.</font> 
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<table id="wp-table-reloaded-id-1-no-1" class="wp-table-reloaded wp-table-reloaded-id-1">
<thead>
	<tr class="row-1">
		<th class="column-1">CLIPS</th><th class="column-2">SHORT</th><th class="column-3">FULL LENGTH SILENT</th><th class="column-4">FULL LENGTH TALKIE</th>
	</tr>
</thead>
<tbody>
	<tr class="row-2">
		<td class="column-1">Princess Nicotine (1909) 6min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/princess-nicotine-1909/"><img src="http://ia700502.us.archive.org/1/items/princess_nicotine_1909/princess_nicotine_1909.thumbs/princess_nicotine_1909_000240.jpg"></a></td><td class="column-2">Gertie the Dinosaur  (1914) 12min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/gertie-the-dinosaur-1914/"><img src="http://ia600300.us.archive.org/11/items/Gertie/Gertie.thumbs/GertietheDinosaur_000330.jpg"></a></td><td class="column-3">Last of the Mohicans (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/last-of-the-mohicans-1920/"><img src="http://ia700300.us.archive.org/24/items/PublicdomainTheLastoftheMohicans/PublicdomainTheLastoftheMohicans.thumbs/Last_of_the_Mohicans_000300.jpg" alt="" /></a></td><td class="column-4">Meet John Doe (1941) 2hr3min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/meet-john-doe-1941/"><img src="http://ia600307.us.archive.org/5/items/meet_john_doe_ipod/meet_john_doe_ipod.thumbs/meet_john_doe_002127.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">The Unappreciated Joke (1903) 1min<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/02/the-unappreciated-joke-1903/"><img src="http://ia600200.us.archive.org/5/items/TheUnappreciatedJoke/TheUnappreciatedJoke.thumbs/TheUnappreciatedJoke_000035.jpg"></a></td><td class="column-2">Frankenstein (1910) 13min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/frankenstein-19/"><img src="http://ia600306.us.archive.org/9/items/FrankensteinfullMovie/FrankensteinfullMovie.thumbs/Frankenstein1910_000270.jpg"></a></td><td class="column-3">The General (1926) 1hr19min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-general-1926/ "><img src="http://ia600604.us.archive.org/8/items/TheGeneral1926/TheGeneral1926.thumbs/The_General_1926_720p_001554.jpg" alt="" /></a></td><td class="column-4">Plan 9 from Outer Space (1959) 1hr19mins<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/plan-9-from-outer-space-1959/"><img src="http://ia600401.us.archive.org/19/items/Plan_9_from_Outer_Space_1959/Plan_9_from_Outer_Space_1959.thumbs/Plan_9_from_Outer_Space_1959_001260.jpg"></a><br />
</td>
	</tr>
	<tr class="row-4">
		<td class="column-1">The Execution of Mary, Queen of Scots (1895) 21sec<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-execution-…-of-scots-1895/"><img src="http://ia700303.us.archive.org/33/items/Execution_of_Mary_1895/Execution_of_Mary_1895.thumbs/Execution_of_Mary_1895_000005.jpg"></a></td><td class="column-2">The Great Train Robbery (1903) 10min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-great-train-robbery-1903/"><img src="http://ia700504.us.archive.org/7/items/Europeanposte-theGreatTrainrobbery912/Europeanposte-theGreatTrainrobbery912.thumbs/Europeanposte-theGreatTrainrobbery912_000030.jpg"></a></td><td class="column-3">Wolf Blood (1925) 1hr7min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/wolf-blood-1925/"><img src="http://ia700204.us.archive.org/8/items/WolfBlood1925/WolfBlood1925.thumbs/WolfBlood_002940.jpg"></a></td><td class="column-4">Reefer Madness (1938) 1hr8min<br />
<br />
<a href="http://publicdomainreview.org/?p=1281"><img src="http://ia700202.us.archive.org/1/items/reefer_madness1938/reefer_madness1938.thumbs/reefer_madness1938_001860.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">The Kiss (1896) 25secs<br />
<br />
<a href="http://publicdomainreview.org/?p=1421"><img src="http://ia700204.us.archive.org/23/items/CEP00115/CEP00115.thumbs/CEP00115_000005.jpg"></a></td><td class="column-2">Experiments in the Revival of Organisms (1940) 20min<br />
<br />
<a href="http://publicdomainreview.org/?p=1417"><img src="http://ia700500.us.archive.org/19/items/Experime1940/Experime1940.thumbs/Experime1940_000360.jpg"></a></td><td class="column-3">Battleship Potemkin (1925) 1hr13min<br />
<br />
<a href="http://publicdomainreview.org/?p=1413"><img src="http://ia600208.us.archive.org/4/items/BattleshipPotemkin/BattleshipPotemkin.thumbs/Battleship_Potemkin_000780.jpg"></a></td><td class="column-4">The Snows of Kilimanjaro (1952) 1hr57min<br />
<br />
<a href="http://publicdomainreview.org/?p=1425"><img src="http://ia700402.us.archive.org/23/items/Kilimanjaro/Kilimanjaro.thumbs/The_Snows_of_Kilimanjaro_006300.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Trapeze Disrobing Act (1901) 2min<br />
<br />
<a href="http://publicdomainreview.org/?p=1547"><img src="http://ia600308.us.archive.org/15/items/SF120/SF120.thumbs/SF120_000040.jpg"></a></td><td class="column-2">Are You Popular (1947) 10min<br />
<br />
<a href="http://publicdomainreview.org/?p=1552"><img src="http://ia600202.us.archive.org/17/items/AreYouPo1947/AreYouPo1947.thumbs/AreYouPo1947_000240.jpg"></a></td><td class="column-3">The Lodger: A Story of the London Fog (1927) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=1560"><img src="http://ia700309.us.archive.org/32/items/TheLodgerAStoryOfTheLondonFog_579/TheLodgerAStoryOfTheLondonFog_579.thumbs/TheLodger-AStoryOfTheLondonFog1927AlfredHitchcock_001800.jpg"></a></td><td class="column-4">Scarlet Street (1945) 1hr43min<br />
<br />
<a href="http://publicdomainreview.org/?p=1557"><img src="http://ia700202.us.archive.org/16/items/ScarletStreet/ScarletStreet.thumbs/Scarlet_Street_005460.jpg"></a></td>
	</tr>
	<tr class="row-7">
		<td class="column-1">Annie Oakley Fires Her Gun (1894) 20secs<br />
<a href="http://publicdomainreview.org/?p=1721"><br />
<img src="http://ia600202.us.archive.org/20/items/AnnieOakley/AnnieOakley.thumbs/AnnieOakley_000020.jpg"></a></td><td class="column-2">The Wonderful Wizard of Oz (1910) 13min<br />
<a href="http://publicdomainreview.org/?p=1719"><br />
<img src="http://ia600304.us.archive.org/4/items/The_Wonderful_Wizard_of_Oz/The_Wonderful_Wizard_of_Oz.thumbs/WizardOfOz1910_000720.jpg"></a></td><td class="column-3">For The Term of His Natural Life (1927) 1hr33min<br />
<br />
<a href="http://publicdomainreview.org/?p=2288"><img src="http://ia700504.us.archive.org/1/items/ForTheTermOfHisNaturalLife/ForTheTermOfHisNaturalLife.thumbs/ForTheTermOfHisNaturalLife_004980.jpg"></a></td><td class="column-4">The Last Man on Earth (1964) 1hr27min<br />
<br />
<a href="http://publicdomainreview.org/?p=1715"><img src="http://farm7.static.flickr.com/6204/6090641136_9922b754c8_o.jpg"></a></td>
	</tr>
	<tr class="row-8">
		<td class="column-1">Operation Cue (1955) 52sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1812"><img src="http://ia700301.us.archive.org/5/items/CEP_00_071/CEP_00_071.thumbs/CEP_00_071_000030.jpg"></a></td><td class="column-2">Never Weaken (1921) 28min<br />
<br />
<a href="http://publicdomainreview.org/?p=1827"><img src="http://ia600309.us.archive.org/22/items/Never_Weaken_1921/Never_Weaken_1921.thumbs/Never_Weaken_1921_001260.jpg"></a></td><td class="column-3">Intolerance (1916) 2hr57min<br />
<a href="http://publicdomainreview.org/?p=1820"><br />
<img src="http://ia700303.us.archive.org/11/items/Intolerance/Intolerance.thumbs/Intolerance_010500.jpg"></a></td><td class="column-4">Quicksand (1950) 1hr18min<br />
<br />
<a href="http://publicdomainreview.org/?p=1816"><img src="http://ia700406.us.archive.org/14/items/Quicksand_clear/Quicksand_clear.thumbs/Quicksand_001860.jpg"></a></td>
	</tr>
	<tr class="row-9">
		<td class="column-1">Dutch Fashion Reel (1969) 1min50sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1954"><img src="http://farm7.static.flickr.com/6200/6158664220_2d772d57d5_o.jpg"></a></td><td class="column-2">Betty Boop: Minnie The Moocher (1932) 7min46sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1965"><img src="http://ia600208.us.archive.org/2/items/bb_minnie_the_moocher/bb_minnie_the_moocher.thumbs/bb_minnie_the_moocher_000390.jpg"></a></td><td class="column-3">The Phantom of the Opera (1925) 1hr46min<br />
<br />
<a href="http://publicdomainreview.org/?p=1943"><img src="http://ia700208.us.archive.org/23/items/ThePhantomoftheOpera/ThePhantomoftheOpera.thumbs/Phantom_of_the_Opera_001320.jpg"></a></td><td class="column-4">Suddenly (1954) 1hr16mins<br />
<br />
<a href="http://publicdomainreview.org/?p=1279"><img src="http://ia600208.us.archive.org/10/items/suddenly/suddenly.thumbs/suddenly_004320.jpg"></a><br />
</td>
	</tr>
	<tr class="row-10">
		<td class="column-1">Buffalo Dance (1894) 14sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2135"><img src="http://ia600301.us.archive.org/10/items/SF126/SF126.thumbs/SF126_000005.jpg"></a></td><td class="column-2">The Cook (1918) 18min<br />
<br />
<a href="http://publicdomainreview.org/?p=2139"><img src="http://ia600501.us.archive.org/18/items/TheCook/TheCook.thumbs/TheCook_000300.jpg"></a></td><td class="column-3">The Thief of Bagdad (1924) 2hr20min<br />
<br />
<a href="http://publicdomainreview.org/?p=2148"><img src="http://ia600304.us.archive.org/25/items/ThiefOfBagdad1924/ThiefOfBagdad1924.thumbs/ThiefofBagdad1924_008280.jpg"></a></td><td class="column-4">Five Minutes to Live (1961) 1hr14min<br />
<br />
<a href="http://publicdomainreview.org/?p=1683"><img src="http://ia700508.us.archive.org/7/items/Five_Minutes_To_Live.avi/Five_Minutes_To_Live.avi.thumbs/Five_Minutes_to_Live_002880.jpg"></a></td>
	</tr>
	<tr class="row-11">
		<td class="column-1">VD is for Everybody (1969) 1min<br />
<br />
<a href="http://publicdomainreview.org/?p=2280"><img src="http://ia600508.us.archive.org/0/items/vd_is_for_everybody/vd_is_for_everybody.thumbs/vd_is_for_everybody_000020.jpg"></a></td><td class="column-2">American Day in Tripoli, Libya (1962) 14min<br />
<br />
<a href="http://publicdomainreview.org/?p=2394"><img src="http://ia600409.us.archive.org/21/items/gov.archives.arc.37715/gov.archives.arc.37715.thumbs/gov.archives.arc.37715_000810.jpg"></a></td><td class="column-3">The Cabinet of Dr. Caligari (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=2659"><img src="http://ia700303.us.archive.org/12/items/thecabinetofdrcaligari/thecabinetofdrcaligari.thumbs/KabinettDesDoktorCaligariDas_000960.jpg"></a></td><td class="column-4">Cyrano De Bergerac (1950) 1hr53min<br />
<br />
<a href="http://publicdomainreview.org/?p=2402"><img src="http://ia600401.us.archive.org/27/items/Cyrano_DeBergerac/Cyrano_DeBergerac.thumbs/Cyrano_De_Bergerac_002100.jpg"></a></td>
	</tr>
	<tr class="row-12">
		<td class="column-1">The Enchanted Drawing (1900) 1min29sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2778"><img src="http://ia700801.us.archive.org/18/items/TheEnchantedDrawing1900/TheEnchantedDrawing1900.thumbs/the-enchanted-drawing_000044.jpg"></a></td><td class="column-2">Your Name Here (1960) 10min10sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2561"><img src="http://ia600506.us.archive.org/11/items/YourName1960/YourName1960.thumbs/YourName1960_000120.jpg"></a></td><td class="column-3">Stella Maris (1918) 1hr13min<br />
<br />
<a href="http://publicdomainreview.org/?p=2790"><img src="http://ia600706.us.archive.org/21/items/StellaMaris_665/StellaMaris_665.thumbs/StellaMarismarshallNeilan1918MaryPickford_002574.jpg"></a></td><td class="column-4">Little Lord Fauntleroy (1936) 1hr40min<br />
<br />
<a href="http://publicdomainreview.org/?p=2786"><img src="http://ia700506.us.archive.org/14/items/little_lord_fauntleroy/little_lord_fauntleroy.thumbs/little_lord_fauntleroy_003120.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2702
title: The Tragedy of Fate and the Tragedy of Culture: Heinrich von Kleist’s The Schroffenstein Family
uri: The-Tragedy-of-Fate-and-the-Tragedy-of-Culture-Heinrich-von-Kleist
url:
http://publicdomainreview.org/2011/11/21/the-tragedy-of-fate-and-the-tragedy-of-culture-heinrich-von-kleist%e2%80%99s-the-schroffenstein-family/

content:
<p><strong>On 21st November 1811, on a lake&#8217;s edge near Potsdam, a 34 year old Kleist shot himself dead in a suicide pact with his terminally ill lover. He left behind him just under a decade of intense literary output which has established him as one of the most important writers of the German romantic period. On the bicentenary of his death, Kleist scholar Steven Howe explores the importance of his first dramatic work and how in it can be seen the themes of his later masterpieces.</strong></p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.staticflickr.com/6051/6375633437_260f566103_o.jpg" width="540" height="607" /><p class="wp-caption-text">Chalk-drawing reproduction of a now lost miniature which Peter Friedel made in 1801  to be presented to Kleist's  fiancée at the time Wilhelmine von Zenge</p></div>

<p>Heinrich von Kleist is without doubt one of the most challenging figures in German literary history. In a career lasting a little under a decade, from 1802 through to his premature death in 1811, he produced a remarkable body of creative work that radically called into question the prevailing intellectual, aesthetic and ethical orthodoxies of the age. Today, Kleist is perhaps most familiar, certainly to British audiences, as the dramatist behind the violently tragic <em>Penthesilea</em> and the brilliantly enigmatic <em>The Prince of Homburg</em>, and as the author of a series of daring and dramatic short stories, including <em>Michael Kohlhaas</em>, <em>The Marquise of O&#8230;</em>, and <em>The Earthquake in Chile</em>. Altogether less well-known, however (notwithstanding Eric Bentley’s adaptation in <em>German Requiem</em>), is his first major literary production, the five act play <em>The Schroffenstein Family</em>, published in 1803. Aside from a brief premiere at the National Theatre in Graz in January 1804, the drama found little immediate resonance, and it has traditionally been regarded as belonging to the second class of the author’s imaginative work. Kleist, for his part, also seems to have attached little value to the piece, referring to it in a letter to his sister, Ulrike, as a ‘wretched botched job’. That the drama suffers from the defects one might expect of the first work of a young poet is a point that few would demur: the language is overwrought, the plot convoluted, and the entire exposition lacks the refined touch which Kleist was later to perfect. That being said, the play nonetheless contains a number of scenes and episodes which provide an early glimpse of the author’s promise and genius, and introduces several of the most significant themes and features which were to subsequently become a hallmark of his poetics.</p>

<p>The action of the drama revolves around the conflict between the rival houses of Rossitz and Warwand, and the fate of two star-crossed lovers, Ottokar and Agnes. The imaginative debt to <em>Romeo and Juliet</em> is plain to see, and Kleist hews closely to the model of Shakespeare’s tragedy, though with one significant variation – the two feuding houses are here different branches of the same family. The origins of the conflict extend from a testamentary contract, according to which the property of either house should fall to the other branch if the line of descent is broken. This breeds an atmosphere of mistrust, as both houses suspect one another of pursuing its demise, and particularly that of its heirs. When the younger son of Count Rupert, head of the Rossitz branch of the family, dies in unexplained circumstances, his suspicions thus fall directly on his counterpart, Count Sylvester, and the drama opens with him compelling his immediate family to swear an oath of bloody and absolute vengeance against the entire house of Warwand.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.staticflickr.com/6221/6375632211_a84448f309_o.jpg" width="540" height="672" /><p class="wp-caption-text">The cast of characters of Die Familie Schroffenstein as featured in a 1922 collection of Kleist's works for the stage.</p></div>

<p>The tragic trajectory of the play is set by the issue that Ottokar, the elder son of Rupert, partakes in this oath-swearing, unaware that the girl with whom he has fallen in love, Agnes, is the daughter of Sylvester. Once alerted to the fact, he is convinced by Agnes of her father’s innocence in the matter of the child’s death and attempts to negotiate a reconciliation between the warring counts. His efforts are thwarted, however, by Rupert’s burning hatred for Sylvester and his untameable lust for revenge. Upon learning of his son’s clandestine affair, Rupert resolves to murder Agnes, and when the two lovers secretly meet at a mountain cave, he and his vassal, Santing, accost them. In an attempt to deceive his father and protect his beloved, Ottokar exchanges clothes with Agnes; failing to note the switch in the darkness, Rupert stabs his own son to death, whereupon the presently arriving Sylvester follows suit by murdering Agnes in the mistaken belief that she is Ottokar. Ironically – or perhaps appropriately – it falls to the blind grandfather, Sylvius, to recognise the true identities of the two victims and reveal the double filicide. At the play’s end, an old widow, Ursula, discloses the true state of affairs, namely that Rupert’s son’s death was accidental – he drowned in a forest brook. With the misunderstanding resolved, a despairing reconciliation follows, and the drama closes with the mad-driven bastard son of the Rossitz house, Johann, addressing Ursula as master and personification of fate.</p>

<p>That the mechanisms of fate and chance do serve as an important motor for the action of the drama is very much an accepted commonplace in interpretive criticism. In his personal letters, Kleist reveals a fascination with the unknowable powers of contingency and coincidence that intrude upon and shape the life of the individual, and such concerns penetrate to the core of many of his literary works: time and again, he confronts his characters with situations over which they have no control and to which they must then react. In <em>Schroffenstein</em>, chance happenings are heaped upon one another in such a way as to both blunt much of the originality of the constellation, and to strain reader credulity after the fashion of the Gothic tale – it is not without reason that Matthew G. Lewis’s <em>The Monk</em> has been cited as a possible source of inspiration. The outcome is a demonstration of the operations of fate and contingency which, viewed in a narrow sense, seems at times laboured and contrived. The design of the inquiry is, however – in a further parallel to <em>Romeo and Juliet</em> – overlaid with a deeper disquisition on the limitations of human awareness. Ursula’s laconic words to Rupert and Sylvester, ‘If you kill one another, it is an error’, acquire, in this context, special relevance, pointing as they do towards the movement of error and the instances of misunderstanding that drive the action to its tragic close. Here one can detect the influence of Kleist’s encounter with Kantian philosophy, which appears to have shattered his faith in the possibilities of absolute truth and knowledge. The fallibility of perception emerges, as a consequence, as a dominant theme and subject of reflection in Kleist’s work, and remains so across his entire literary corpus. In <em>Schroffenstein</em>, this manifests itself through the frequent recurrence of error and confusion, bred by the characters’ inability to communicate and their attendant susceptibility to misreading reality. Typically, Kleist drives the issue towards aesthetic extremes, crafting an enveloping atmosphere of illusion, deceit and suspicion within the extended family which, in turn, calls forth gruesome acts of vengeance and retributive violence. In this regard, the drama can perhaps be seen as the most Jacobean and Sturm und Drang-like of Kleist’s works – as a grizzly, though at times darkly comedic, exploration of the workings of fate and the human capacity for misunderstanding, and of their effects in unleashing man’s violent potentialities.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.staticflickr.com/6227/6375857397_5b112e3979_o.jpg" width="540" height="410" /><p class="wp-caption-text">Kleist's grave alongside that of Henrietta Vogel, his terminally ill lover whom he shot before shooting himself in a suicide pact on the banks of Kleiner Wannsee near Potsdam. The inscription on Kleist's grave reads 'Now, oh immortality, you are all mine'.<br />(Photo by Jochen Jansen, published under a CC-BY-SA license).</p></div>

<p>It would be misleading, however, to suggest that the tragedy be approached solely through the lens of metaphysical and epistemological concerns. For the very issue of error that stands at the heart of the drama raises the question of interpretation, and with it that of the extent to which cultural and social codes give shape to the individual’s understandings and perceptions. In particular, the text displays how the nature of the conflict between the two houses fosters a socially-conditioned prejudice that colours and impairs judgement, and which speaks to a deeper cultural critique embedded within the drama. The major point of reference and orientation here is Jean-Jacques Rousseau who, in his <em>Discourse on the Origins of Inequality</em>, both put into question the Enlightenment faith in human progress and delivered a searing assault on the conditions of modernity. The opening scene of the play already bears the mark of Rousseau’s sway: when Rupert’s wife, Eustache, refers to her natural feminine tenderness in response to his calls for her to swear the oath of vengeance, he objects, ‘Nothing more of nature. It is but a sweet, delightful fairytale from childhood’. What follows does so under the sign of Rousseau’s condemnation of man’s fall from natural goodness into socio-moral decay: the terms of the inheritance contract, for instance, as both agent and symbol of the conflict between Rupert and Sylvester, casts into relief the lure of wealth and property, the original idée fixe, which Rousseau identifies as a root cause of modern inequality and conditions of violence. In its presentation of the trials of the lovers, meanwhile, the text also plays on the anthropology of identity laid down in the <em>Discourse</em>, in which the dilemma of man’s ruinous modernity is diagnosed in terms of the tensions between subject and world. In this instance, that dilemma is telescoped through the relationship between love and society, with Ottokar in particular forced to struggle with the contrast between the demands of his father and his feelings for Agnes. In such a way, the text also points to a modern view of identity as an active positioning of the self in relation to cultural discourses – a theme to which Kleist was to frequently return, perhaps most notably in his portrayal of the cross-cultural relationships between Gustav and Toni in <em>The Betrothal in St. Domingo</em>, and between Achilles and Penthesilea in the drama of the latter name.</p>

<p>These fundamental tensions between nature and culture, between individual and society, serve as a central axis for the greater part of Kleist’s literary oeuvre, and it is perhaps in this sense, above all, that <em>Schroffenstein</em> can be seen to point the way towards his later – and greater – dramatic achievements. On the one hand, his works dwell on the onslaught of fate that upsets the secure ideals of enlightenment rationalism; on the other, however, this aspect is only ever a corollary to a deeper sense of the cultural rift between subject and world, and the attendant instabilities of agency and identity. Behind this lies the experience of the French Revolution and the turmoil it left in its wake, as existing hierarchies of power and status collapsed, and Europe was plunged into a period of instability and conflict. Against this backdrop, Kleist, like so many of his Romantic contemporaries, critically explores the paradigms of eighteenth-century humanist discourse, taking up the tensions and paradoxes embedded therein and exhibiting them in the full light of his imagination. In particular, it is the complex relationship between nature and culture to which he time and again returns, with most of his texts turning upon an exploration of the psychological and moral conflicts between the individual and his or her environment. Frequently, such struggles escalate to a sudden unleashing of the self, to acts of violent rebellion or assimilation. It is this readiness to plumb the extreme depths of human psychology and conduct under conditions of stress that lends Kleist’s work its peculiar modernism, and which ensures that even now, some two hundred years on from his death, he retains the ability to excite, engage and trouble his readers.</p>

<p><br /></p>

<hr />

<p><em>Steven Howe is Associate Research Fellow in the College of Humanities at the University of Exeter. He is currently working, together with Ricarda Schmidt (Exeter) and Sean Allan (Warwick), on a large-scale, AHRC-funded project &#8211; timed to coincide with the bicentenary of the author&#8217;s death &#8211; exploring discourses of education and violence in the works of Heinrich von Kleist (Kleist, Education and Violence: The Transformation of Ethics and Aesthetics). He has previously written a full-length study on Kleist&#8217;s engagement with the thought of Jean-Jacques Rousseau, and published further articles regarding the representation of violence in Kleist&#8217;s texts, and on aspects of their popular and critical reception.</em></p>

<p><br /></p>

<h1>Links to Works</h1>

<p><br /></p>

<ul>
<li>Text version of <em>Die Familie Schroffenstein</em> (in German)

<ul>
<li><a href="http://www.zeno.org/Literatur/M/Kleist,+Heinrich+von/Dramen/Die+Familie+Schroffenstein">text</a></li>
</ul></li>
<li><p><em>Sämtliche Werke und Briefe &#8211; Vol. 1</em> (1908) by Heinrich von Kleist featuring <em>Die Familie Schroffenstein</em>.</p>

<ul>
<li><a href="http://www.archive.org/stream/smtlichewerkeu01kleiuoft#page/n31/mode/2up">pdf online</a></li>
<li><a href="http://www.archive.org/details/smtlichewerkeu01kleiuoft">Internet Archive link</a></li>
</ul></li>
<li><p><em>Tales from the German, comprising specimens from the most celebrated authors</em> (1844) containing Kleist&#8217;s classic <em>Michael Kolhaus</em> translated into English by John Oxenford and C.A. Feiling.</p>

<ul>
<li><a href="http://www.archive.org/stream/talesfromgermanc00oxenrich#page/164/mode/2up">pdf online</a></li>
<li><a href="http://www.archive.org/details/talesfromgermanc00oxenrich">Internet Archive link</a></li>
<li><a href="http://en.wikisource.org/wiki/Michael_Kohlhaas">text version of Michael Kolhaus on Wikisource</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.org/?p=2738
title: Presidents and Turkeys
uri: Presidents-and-Turkeys
url: http://publicdomainreview.org/2011/11/24/presidents-and-turkeys/
content:
<div align="center">

Happy Thanksgiving!<br /><br />

The pictures below are from the National Thanksgiving Turkey Presentation, a ceremony that takes place at the White House every year at which The President of the United States is presented with a live turkey, usually of the Broad Breasted White variety. Since 1989, the first Thanksgiving of President George H. W. Bush, it has been official policy for the president to grant the turkey a &#8220;presidential pardon&#8221; and thus spare the bird from ending up on the dining table. On Nov. 19, 1963, just days before his assassination, John F Kennedy spontaneously spared a turkey but did not grant an official &#8220;pardon&#8221;.<br /><br />(Images via <a href="http://commons.wikimedia.org/wiki/Category:National_Thanksgiving_Turkey_Presentation">Wikimedia Commons</a>, and being works of the U.S. federal government are public domain in the U.S.)

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/3/3c/Truman2_thanksgiving.jpg/771px-Truman2_thanksgiving.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/b/b3/John_F._Kennedy%2C_turkey_pardon.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/0/0c/Richard_Nixon%2C_turkey_pardon.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/3/3f/Ford_Pardoned_Turkey.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/a/a5/Ronald_Reagan%2C_turkey_pardon.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/f/f7/George_H.W._Bush%2C_turkey_pardon.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/e/e0/Bill_Clinton%2C_turkey_pardon.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/4/4f/GWBush_Thanksgiving_2006.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/5/56/Obama_ThanksGiving_Turkey_Pardon_2009.jpg" alt="" />

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<table id="wp-table-reloaded-id-3-no-1" class="wp-table-reloaded wp-table-reloaded-id-3">
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		<td class="column-1">Operation Doorstep<br />
<br />
<a href="http://publicdomainreview.org/?p=1288"><img src="http://farm7.static.flickr.com/6209/6023844250_a340b6cfc8_o.jpg"></a></td><td class="column-2">The Spirit Photographs of William Hope<br />
<br />
<a href="http://publicdomainreview.org/?p=1301"><img src="http://farm7.static.flickr.com/6021/5963926880_6796ce887a_o.jpg"></a></td><td class="column-3">The Maps of Piri Reis<br />
<br />
<a href="http://publicdomainreview.org/?p=1315"><img src="http://farm7.static.flickr.com/6025/5963926888_f9a9db72f1_o.jpg"></a></td><td class="column-4">Dr Julius Neubronner's Miniature Pigeon Camera<br />
<br />
<a href="http://publicdomainreview.org/?p=1330"><img src="http://farm7.static.flickr.com/6007/5963926890_2141effc6c_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Art in Art<br />
<br />
<a href="http://publicdomainreview.org/?p=1359"><img src="http://farm7.static.flickr.com/6192/6024864047_73cc2bce65_o.jpg"></a></td><td class="column-2">Huexotzinco Codex<br />
<br />
<a href="http://publicdomainreview.org/?p=1373"><img src="http://farm7.static.flickr.com/6187/6024864049_7667e37edc_o.jpg"></a><br />
</td><td class="column-3">Sessions for the Blind at Sunderland Museum<br />
<br />
<a href="http://publicdomainreview.org/2011/08/09/sessions-for-the-blind-at-sunderland-museum/"><img src="http://farm7.static.flickr.com/6075/6024903179_9793619652_o.jpg"></a></td><td class="column-4">Eugène von Guérard's Australian Landscapes<br />
<br />
<a href="http://publicdomainreview.org/?p=1468"><img src="http://farm7.static.flickr.com/6193/6045423237_850760a2a1_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">Landscape and Marine Views of Norway<br />
<br />
<a href="http://publicdomainreview.org/?p=1513"><img src="http://farm7.static.flickr.com/6090/6049185090_2740e7c0e7_o.jpg"></a></td><td class="column-2">The Mechanism of Human Physiognomy<br />
<br />
<a href="http://publicdomainreview.org/2011/08/19/the-mechanism-of-human-physiognomy/"><img src="http://farm7.static.flickr.com/6191/6059149653_5b7e4f63e0_o.jpg"></a></td><td class="column-3">Space Colony Art from the 1970s<br />
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<a href="http://publicdomainreview.org/?p=1643"><img src="http://farm7.static.flickr.com/6063/6072822813_748425d648_o.jpg"></a></td><td class="column-4">Men in Wigs<br />
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<a href="http://publicdomainreview.org/?p=1657"><br />
<img src="http://farm7.static.flickr.com/6196/6076698488_c0d804b2f0_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">De humana physiognomonia libri IIII (1586)<br />
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<a href="http://publicdomainreview.org/?p=1760"><img src="http://farm7.static.flickr.com/6023/6097105906_f3615427ca_o.jpg"></a></td><td class="column-2">Field Columbian Museum<br />
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<a href="http://publicdomainreview.org/?p=1898"><img src="http://farm7.static.flickr.com/6186/6143148873_0d68233381_o.jpg"></a></td><td class="column-3">Maps from Geographicus<br />
<br />
<a href="http://publicdomainreview.org/?p=2011"><img src="http://farm7.static.flickr.com/6159/6172345356_72dcabba03_o.jpg"></a></td><td class="column-4">Arnoldus Montanus' New and Unknown World (1671)<br />
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<a href="http://publicdomainreview.org/?p=2108"><img src="http://farm7.static.flickr.com/6172/6194502991_d733a9de80_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">World War II from the Air<br />
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<a href="http://publicdomainreview.org/?p=2241"><img src="http://farm7.static.flickr.com/6060/6240850672_fbe7ec4af4_o.jpg"></a></td><td class="column-2">Halloween Postcards<br />
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<a href="http://publicdomainreview.org/?p=2470"><img src="http://farm7.static.flickr.com/6094/6291039497_f95a6df059_o.jpg"></a></td><td class="column-3">Engravings by Dominicus Custos<br />
<br />
<a href="http://publicdomainreview.org/?p=2461"><img src="http://farm7.static.flickr.com/6043/6301524069_87b3660466_o.jpg"></a></td><td class="column-4">Kodak No.1 Circular Snapshots<br />
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<a href="http://publicdomainreview.org/?p=2607"><img src="http://farm7.static.flickr.com/6034/6331890582_1cb9bff242_o.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Kitab al-Bulhan or Book of Wonders (late 14thC.)<br />
<br />
<a href="http://publicdomainreview.org/?p=2648"><img src="http://farm7.static.flickr.com/6109/6352453941_2f15515a88_o.jpg"></a></td><td class="column-2">The Daddy Long Legs of Brighton<br />
<br />
<a href="http://publicdomainreview.org/?p=2861"><img src="http://farm8.staticflickr.com/7006/6477203705_ec35483e53_o.jpg"></a></td><td class="column-3">Amundsen's South Pole Expedition (1912)<br />
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<a href="http://publicdomainreview.org/?p=2894"><img src="http://farm8.staticflickr.com/7148/6509959519_9c1221fc97_o.jpg"></a></td><td class="column-4"></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2749
title: The Mysteries of Nature and Art
uri: The-Mysteries-of-Nature-and-Art
url: http://publicdomainreview.org/2011/11/28/the-mysteries-of-nature-and-art/
content:
<p><strong>Julie Gardham, Senior Assistant Librarian at University of Glasgow&#8217;s Special Collections Department, takes a look at the book that was said to have spurred a young Isaac Newton onto the scientific path, <i>The Mysteries of Nature and Art</i> by John Bate.</strong></p>

<p><img src="http://farm7.staticflickr.com/6212/6418429629_ba9fa5f7f8_o.jpg" alt="" /> 
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<blockquote>
  <p>Courteous reader, this ensuing treatise hath lien by mee a long time, penned, but in a confused and undigested manner, as I gathered it, practised, or found it out by industry and experience.</p>
</blockquote>

<p>So begins the preface to <em>The Mysteries of Nature and Art</em> by John Bate, one of the most charming of 17th century illustrated technical compendiums.</p>

<p>Describing mechanical contrivances that are a mix of the useful and bizarre, this work tackles the subjects of water works, fire works, drawing and painting, and miscellaneous experiments &#8211; the last of which Bate terms ‘extravagants’ because they are ‘confusedly intermixed’.</p>

<p>Technical manuals were produced prolifically in the 17th century, reflecting progress in technological growth. This was a time of fundamental transition, with a spirit of initiative and invention that resulted in significant advances in science. Innovations and developments in areas such as mechanics, astronomy and chemistry were to pave the way for the industrial revolution. Dissemination of new ideas via printed treatises was crucial to the efforts of inventors and technicians.</p>

<p>Bate&#8217;s work is resolutely practical in nature. Originally printed in 1634, according to the title-page its &#8216;treatises&#8217; were &#8216;partly collected, and partly of the authors peculiar practice and invention&#8217;; as stated in the preface, Bate wrote it based on ‘industry and experience&#8217;. A small, economical and easily portable book, it was popular enough to warrant the publication of an expanded second edition only a year after the first. A further augmented edition was produced in 1654. While containing more illustrations, this last edition is poorly printed and is not nearly so attractive as its predecessors.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm8.staticflickr.com/7008/6418430187_9aff304177_o.jpg" width="540" height="433" /><p class="wp-caption-text">'Another manner of forcing water, whereby water from any spring may be forced unto the top of a hill'</p></div>

<p>The first section on water-works describes various ingenious machines that convey and force water. There is, for example, an engine &#8216;to force water up to a high place’; this pump, we are informed, is ‘very usefull for to quench fire amongst buildings’. Other devices include weather glasses, water clocks, fountains, siphons, pumps, waterwheels, and watermills. Of the various water clocks described, my favourite has to be the one which utilizes a rather jolly grinning skeleton who marks the hours from a moving platform, reminding us all of our eventual doom.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm8.staticflickr.com/7151/6418429893_fdef20bbf7_o.jpg" width="540" height="463" /><p class="wp-caption-text">'Another fashioned (water clock.. shewing the hour of the day)'</p></div>

<p>Bate was evidently always on the look out for new ideas. The expanded second edition of his book contains many additions to the water-works section, including the description of the model of a water mill that he copied after seeing it at London bridge in 1633. He explains that it utilizes the ebb and flow of the River Thames, thereby conveying the water &#8216;above two miles in compasse, for the use and service of that city&#8217; and praises it as &#8216;seeming very good&#8217;. These waterworks were well known; they were only demolished when London bridge was rebuilt in 1822.</p>

<img alt="" src="http://farm7.staticflickr.com/6240/6418114231_7ee373ee8a_o.jpg" width="540" height="526" />

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm8.staticflickr.com/7025/6418111651_e79f390a98_o.jpg" width="540" height="553" /><p class="wp-caption-text">Top: 'Hercules shooting at a dragon, who as soon as hath shot, hisseth at him'. Bottom: 'A device whereby the figure of a man standing on a basis shall be made to sound a trumpet'</p></div>

<p><br /></p>

<p>But while many of Bate’s examples are undoubtedly practical, there are also several rather more outlandish machines designed solely for &#8216;recreation and delight&#8217;. Thus, we find &#8216;experiments&#8217; for &#8216;producing sounds by ayre and water&#8217;. These rather delightful devices include one &#8216;whereby severall voyces of birds cherping may be heard&#8217; and another &#8216;whereby the figure of a man standing on a basis shall be made to sound a trumpet&#8217;. A further elaborate machine is a depiction of Hercules &#8216;shooting at a dragon, who as soon as he hath shot, hisseth at him&#8217;. Many of these were designed expressly to decorate and enhance gardens, perhaps demonstrating that an obsession for complicated water features is not as modern a phenomenon as we think.
<br /></p>

<div class="wp-caption aligncenter" style="width: 465px"><img alt="" src="http://farm8.staticflickr.com/7172/6418112005_6302ea787f_z.jpg" width="455" height="640" /><p class="wp-caption-text">Title page of the second section</p></div>

<p>The second part treats of fireworks &#8216;for tryumph and recreation&#8217;. Its title-page is illustrated with a woodcut depicting a &#8216;green man&#8217; wielding a fire club. With obscure and mythical origins, green men dressed in foliage and garlands traditionally led processions of fireworkers from medieval times. The customary greeting amongst the firework fraternity is still &#8216;stay green&#8217;.</p>

<div class="wp-caption aligncenter" style="width: 440px"><img alt="" src="http://farm7.staticflickr.com/6039/6418112469_99444e9c46.jpg" width="430" height="500" /><p class="wp-caption-text">'How to make Gironells, or fire wheeles'</p></div>

<p>Originally developed in China, fireworks have been used to mark celebrations and spectacles for hundreds of years. Bate begins with an introduction to the basic principles of the nature of elements and instructions in choosing ingredients, such as saltpetre, brimstone, coals and gunpowder. Detailed directions and guidance on the composition of various kinds of fireworks follow. It is surprising to see how many devices still in use today were familiar to Bate, including crackers, rockets and &#8216;fire wheels&#8217;. Some, however, can only be described as ambitious; even Bate admits that his flying dragon is &#8216;somewhat troublesome to compose&#8217;.</p>

<div class="wp-caption aligncenter" style="width: 550px"><img alt="" src="http://farm8.staticflickr.com/7174/6418112853_c3b5c46a2e_o.jpg" width="540" height="397" /><p class="wp-caption-text">'How to make flying dragons'</p></div>

<p>Bate next discusses art. He covers drawing in general, as well as techniques for &#8216;washing&#8217; maps and other pictures with water colour,  limning, painting in oil, painting on glass, and engraving. There is much interesting advice on choosing the correct equipment, with recipes for mixing and creating colours. Several pages are devoted to wood engraving; in the second edition, Bate comments that engraving is ‘farre more tedious and difficult than the working in brasse&#8217;. The artist who actually produced the woodcuts for the Mysteries – which add so much to the book’s charm, no matter how troublesome the job &#8211; is not named.</p>

<p>The final part of Bate&#8217;s work is a miscellany of recipes and &#8216;secrets&#8217;, both technical and medical. These ‘extravagants’ incorporate &#8216;severall Experiments, as well serviceable as delightfull’. A mixture of odd information is found here. There are several methods of catching fish, including a technique for burning a light under water so that apparently &#8216;all the fishes neere unto it will resort about it, as amazed at so glorious a sight, and so you may take them with a cast net or other&#8217;.</p>

<div class="wp-caption aligncenter" style="width: 550px"><img alt="" src="http://farm8.staticflickr.com/7031/6418430467_9c9c402c09_o.jpg" width="540" height="521" /><p class="wp-caption-text">‘How to make a light burne under the water, being a very pretty conceypt to take fish'</p></div>

<p>Bizarre ways of catching birds are also given, amongst them one &#8216;to make birds drunk, so that you may take them with your hands&#8217;. Additionally, there is instruction in how to melt metal, how to make ice that will melt in fire but not dissolve in water, how to make cement and marble, and how to make invisible ink. Finally, there are some recipes for treating a wide range of ailments, from balms for sciatica and ointments for burns and toothaches, to medicine for &#8216;the biting of a mad dogge&#8217;. It is reassuring to note that Bate endorses his treatment &#8216;for to heale a red face that hath many pimples&#8217; as being &#8216;proved&#8217;.</p>

<p>Frustratingly, nothing is known about the author of this highly entertaining compendium. His portrait (which appears only in the second edition) is supplied, but he offers no biographical information about himself.</p>

<div class="wp-caption aligncenter" style="width: 460px"><img alt="" src="http://farm7.staticflickr.com/6032/6418113903_4d310be507_o.jpg" width="450" height="627" /><p class="wp-caption-text">Frontispiece portrait of John Bate from the second edition (courtesy of University of Glasgow Library)</p></div>

<p>The three editions I have had the pleasure of examining all come from the collection of John Ferguson, who was Professor of Chemistry at the University of Glasgow from 1874 to 1915. He tartly remarks that this portrait &#8216;represents Bate, who, doubtless, was a decent law-abiding citizen, as a person for whom no villainy would be too great to perpetrate&#8217;.</p>

<p>Predominantly a collector of alchemical works, Ferguson was also very interested in books relating to the history of inventions and ‘books of secrets’. Such texts are not studied as part of the modern science curriculum, but Professor Ferguson staunchly defended his belief in their importance, explaining that &#8216;the history of practical invention and of technical progress is one which might well engage the attention of students of anthropology and antiquities, as it throws light on many points connected with the growth of social life and civilization&#8217;. He also succinctly defines the arcane terminology for such works as books of &#8216;secrets&#8217;, saying: &#8216;the arts must be acquired by practice, and they are extended and improved by practice. Every one who exercises them comes to have special power and certain ways of doing things, which may enable him to surpass others who are similarly engaged. These are his &#8220;secrets&#8221;, which very often he cannot, or will not, reveal to others&#8217;.</p>

<div class="wp-caption aligncenter" style="width: 510px"><img alt="" src="http://farm8.staticflickr.com/7034/6418113227_ac5cf80886.jpg" width="500" height="447" /><p class="wp-caption-text">'Experiments of motions by rarifying water with fire'</p></div>

<p>While some of the knowledge imparted in Bate&#8217;s Mysteries may seem to us crude, if not downright eccentric, it is important to remember that manuals such as these did play an important role in the dissemination of scientific information. Ferguson actually recommends this text as a &#8216;book of genuine receipts&#8217;, its contents being &#8216;quite sensible and practical&#8217;. He praises Bate for describing apparatus that he had actually tried and found would work &#8211; unlike some of his contemporaries &#8216;who often gathered nothing else but mere nonsense&#8217;.</p>

<p><br /></p>

<hr />

<p><em>Julie Gardham is Senior Assistant Librarian at Special Collections in the University of Glasgow Library. She regularly blogs on her work with rare books and manuscripts: see the <a href="http://www.gla.ac.uk/services/specialcollections/">Special Collections website</a>.</em></p>

<p><br /></p>

<h1>Links to Works</h1>

<p><br /></p>

<ul>
<li><em>The mysteries of nature and art, conteined in 4 severall tretises. Partly collected, and partly of the authors peculiar practice, and invention</em> (1634) by J.B.

<ul>
<li><a href="http://hdl.loc.gov/loc.rbc/rosenwald.1480.1">page scans</a></li>
<li><a href="http://hdl.loc.gov/loc.rbc/rosenwald.1480.2">pdf</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.org/?p=2778
title: The Enchanted Drawing (1900)
uri: The-Enchanted-Drawing-(1900)
url: http://publicdomainreview.org/2011/11/30/the-enchanted-drawing-1900/
content:
<div align="center">

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<br />
From Edison films catalog: &#8220;Upon a large sheet of white paper a cartoonist is seen at work rapidly sketching the portrait of an elderly gentleman of most comical feature and expression. After completing the likeness the artist rapidly draws on the paper a clever sketch of a bottle of wine and a goblet, and then, to the surprise of all, actually removes them from the paper on which they were drawn and pours actual wine out of the bottle into a real glass. Surprising effects quickly follow after this; and the numerous changes of expression which flit over the face in the sketch cause a vast amount of amusement and at the same time give a splendid illustration of the caricaturist&#8217;s art.&#8221; Musical accompaniment by Philip Carli.
<br />
<br />
<a href="http://www.archive.org/details/TheEnchantedDrawing1900">Download from Internet Archive</a>
<br />
<br />
<font size="1">Note this film is in the public domain in the US, but may not be in other jurisdictions. Please check its status in your jurisdiction before re-using.</font> 
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<table id="wp-table-reloaded-id-1-no-1" class="wp-table-reloaded wp-table-reloaded-id-1">
<thead>
	<tr class="row-1">
		<th class="column-1">CLIPS</th><th class="column-2">SHORT</th><th class="column-3">FULL LENGTH SILENT</th><th class="column-4">FULL LENGTH TALKIE</th>
	</tr>
</thead>
<tbody>
	<tr class="row-2">
		<td class="column-1">Princess Nicotine (1909) 6min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/princess-nicotine-1909/"><img src="http://ia700502.us.archive.org/1/items/princess_nicotine_1909/princess_nicotine_1909.thumbs/princess_nicotine_1909_000240.jpg"></a></td><td class="column-2">Gertie the Dinosaur  (1914) 12min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/gertie-the-dinosaur-1914/"><img src="http://ia600300.us.archive.org/11/items/Gertie/Gertie.thumbs/GertietheDinosaur_000330.jpg"></a></td><td class="column-3">Last of the Mohicans (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/last-of-the-mohicans-1920/"><img src="http://ia700300.us.archive.org/24/items/PublicdomainTheLastoftheMohicans/PublicdomainTheLastoftheMohicans.thumbs/Last_of_the_Mohicans_000300.jpg" alt="" /></a></td><td class="column-4">Meet John Doe (1941) 2hr3min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/meet-john-doe-1941/"><img src="http://ia600307.us.archive.org/5/items/meet_john_doe_ipod/meet_john_doe_ipod.thumbs/meet_john_doe_002127.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">The Unappreciated Joke (1903) 1min<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/02/the-unappreciated-joke-1903/"><img src="http://ia600200.us.archive.org/5/items/TheUnappreciatedJoke/TheUnappreciatedJoke.thumbs/TheUnappreciatedJoke_000035.jpg"></a></td><td class="column-2">Frankenstein (1910) 13min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/frankenstein-19/"><img src="http://ia600306.us.archive.org/9/items/FrankensteinfullMovie/FrankensteinfullMovie.thumbs/Frankenstein1910_000270.jpg"></a></td><td class="column-3">The General (1926) 1hr19min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-general-1926/ "><img src="http://ia600604.us.archive.org/8/items/TheGeneral1926/TheGeneral1926.thumbs/The_General_1926_720p_001554.jpg" alt="" /></a></td><td class="column-4">Plan 9 from Outer Space (1959) 1hr19mins<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/plan-9-from-outer-space-1959/"><img src="http://ia600401.us.archive.org/19/items/Plan_9_from_Outer_Space_1959/Plan_9_from_Outer_Space_1959.thumbs/Plan_9_from_Outer_Space_1959_001260.jpg"></a><br />
</td>
	</tr>
	<tr class="row-4">
		<td class="column-1">The Execution of Mary, Queen of Scots (1895) 21sec<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-execution-…-of-scots-1895/"><img src="http://ia700303.us.archive.org/33/items/Execution_of_Mary_1895/Execution_of_Mary_1895.thumbs/Execution_of_Mary_1895_000005.jpg"></a></td><td class="column-2">The Great Train Robbery (1903) 10min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-great-train-robbery-1903/"><img src="http://ia700504.us.archive.org/7/items/Europeanposte-theGreatTrainrobbery912/Europeanposte-theGreatTrainrobbery912.thumbs/Europeanposte-theGreatTrainrobbery912_000030.jpg"></a></td><td class="column-3">Wolf Blood (1925) 1hr7min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/wolf-blood-1925/"><img src="http://ia700204.us.archive.org/8/items/WolfBlood1925/WolfBlood1925.thumbs/WolfBlood_002940.jpg"></a></td><td class="column-4">Reefer Madness (1938) 1hr8min<br />
<br />
<a href="http://publicdomainreview.org/?p=1281"><img src="http://ia700202.us.archive.org/1/items/reefer_madness1938/reefer_madness1938.thumbs/reefer_madness1938_001860.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">The Kiss (1896) 25secs<br />
<br />
<a href="http://publicdomainreview.org/?p=1421"><img src="http://ia700204.us.archive.org/23/items/CEP00115/CEP00115.thumbs/CEP00115_000005.jpg"></a></td><td class="column-2">Experiments in the Revival of Organisms (1940) 20min<br />
<br />
<a href="http://publicdomainreview.org/?p=1417"><img src="http://ia700500.us.archive.org/19/items/Experime1940/Experime1940.thumbs/Experime1940_000360.jpg"></a></td><td class="column-3">Battleship Potemkin (1925) 1hr13min<br />
<br />
<a href="http://publicdomainreview.org/?p=1413"><img src="http://ia600208.us.archive.org/4/items/BattleshipPotemkin/BattleshipPotemkin.thumbs/Battleship_Potemkin_000780.jpg"></a></td><td class="column-4">The Snows of Kilimanjaro (1952) 1hr57min<br />
<br />
<a href="http://publicdomainreview.org/?p=1425"><img src="http://ia700402.us.archive.org/23/items/Kilimanjaro/Kilimanjaro.thumbs/The_Snows_of_Kilimanjaro_006300.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Trapeze Disrobing Act (1901) 2min<br />
<br />
<a href="http://publicdomainreview.org/?p=1547"><img src="http://ia600308.us.archive.org/15/items/SF120/SF120.thumbs/SF120_000040.jpg"></a></td><td class="column-2">Are You Popular (1947) 10min<br />
<br />
<a href="http://publicdomainreview.org/?p=1552"><img src="http://ia600202.us.archive.org/17/items/AreYouPo1947/AreYouPo1947.thumbs/AreYouPo1947_000240.jpg"></a></td><td class="column-3">The Lodger: A Story of the London Fog (1927) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=1560"><img src="http://ia700309.us.archive.org/32/items/TheLodgerAStoryOfTheLondonFog_579/TheLodgerAStoryOfTheLondonFog_579.thumbs/TheLodger-AStoryOfTheLondonFog1927AlfredHitchcock_001800.jpg"></a></td><td class="column-4">Scarlet Street (1945) 1hr43min<br />
<br />
<a href="http://publicdomainreview.org/?p=1557"><img src="http://ia700202.us.archive.org/16/items/ScarletStreet/ScarletStreet.thumbs/Scarlet_Street_005460.jpg"></a></td>
	</tr>
	<tr class="row-7">
		<td class="column-1">Annie Oakley Fires Her Gun (1894) 20secs<br />
<a href="http://publicdomainreview.org/?p=1721"><br />
<img src="http://ia600202.us.archive.org/20/items/AnnieOakley/AnnieOakley.thumbs/AnnieOakley_000020.jpg"></a></td><td class="column-2">The Wonderful Wizard of Oz (1910) 13min<br />
<a href="http://publicdomainreview.org/?p=1719"><br />
<img src="http://ia600304.us.archive.org/4/items/The_Wonderful_Wizard_of_Oz/The_Wonderful_Wizard_of_Oz.thumbs/WizardOfOz1910_000720.jpg"></a></td><td class="column-3">For The Term of His Natural Life (1927) 1hr33min<br />
<br />
<a href="http://publicdomainreview.org/?p=2288"><img src="http://ia700504.us.archive.org/1/items/ForTheTermOfHisNaturalLife/ForTheTermOfHisNaturalLife.thumbs/ForTheTermOfHisNaturalLife_004980.jpg"></a></td><td class="column-4">The Last Man on Earth (1964) 1hr27min<br />
<br />
<a href="http://publicdomainreview.org/?p=1715"><img src="http://farm7.static.flickr.com/6204/6090641136_9922b754c8_o.jpg"></a></td>
	</tr>
	<tr class="row-8">
		<td class="column-1">Operation Cue (1955) 52sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1812"><img src="http://ia700301.us.archive.org/5/items/CEP_00_071/CEP_00_071.thumbs/CEP_00_071_000030.jpg"></a></td><td class="column-2">Never Weaken (1921) 28min<br />
<br />
<a href="http://publicdomainreview.org/?p=1827"><img src="http://ia600309.us.archive.org/22/items/Never_Weaken_1921/Never_Weaken_1921.thumbs/Never_Weaken_1921_001260.jpg"></a></td><td class="column-3">Intolerance (1916) 2hr57min<br />
<a href="http://publicdomainreview.org/?p=1820"><br />
<img src="http://ia700303.us.archive.org/11/items/Intolerance/Intolerance.thumbs/Intolerance_010500.jpg"></a></td><td class="column-4">Quicksand (1950) 1hr18min<br />
<br />
<a href="http://publicdomainreview.org/?p=1816"><img src="http://ia700406.us.archive.org/14/items/Quicksand_clear/Quicksand_clear.thumbs/Quicksand_001860.jpg"></a></td>
	</tr>
	<tr class="row-9">
		<td class="column-1">Dutch Fashion Reel (1969) 1min50sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1954"><img src="http://farm7.static.flickr.com/6200/6158664220_2d772d57d5_o.jpg"></a></td><td class="column-2">Betty Boop: Minnie The Moocher (1932) 7min46sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1965"><img src="http://ia600208.us.archive.org/2/items/bb_minnie_the_moocher/bb_minnie_the_moocher.thumbs/bb_minnie_the_moocher_000390.jpg"></a></td><td class="column-3">The Phantom of the Opera (1925) 1hr46min<br />
<br />
<a href="http://publicdomainreview.org/?p=1943"><img src="http://ia700208.us.archive.org/23/items/ThePhantomoftheOpera/ThePhantomoftheOpera.thumbs/Phantom_of_the_Opera_001320.jpg"></a></td><td class="column-4">Suddenly (1954) 1hr16mins<br />
<br />
<a href="http://publicdomainreview.org/?p=1279"><img src="http://ia600208.us.archive.org/10/items/suddenly/suddenly.thumbs/suddenly_004320.jpg"></a><br />
</td>
	</tr>
	<tr class="row-10">
		<td class="column-1">Buffalo Dance (1894) 14sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2135"><img src="http://ia600301.us.archive.org/10/items/SF126/SF126.thumbs/SF126_000005.jpg"></a></td><td class="column-2">The Cook (1918) 18min<br />
<br />
<a href="http://publicdomainreview.org/?p=2139"><img src="http://ia600501.us.archive.org/18/items/TheCook/TheCook.thumbs/TheCook_000300.jpg"></a></td><td class="column-3">The Thief of Bagdad (1924) 2hr20min<br />
<br />
<a href="http://publicdomainreview.org/?p=2148"><img src="http://ia600304.us.archive.org/25/items/ThiefOfBagdad1924/ThiefOfBagdad1924.thumbs/ThiefofBagdad1924_008280.jpg"></a></td><td class="column-4">Five Minutes to Live (1961) 1hr14min<br />
<br />
<a href="http://publicdomainreview.org/?p=1683"><img src="http://ia700508.us.archive.org/7/items/Five_Minutes_To_Live.avi/Five_Minutes_To_Live.avi.thumbs/Five_Minutes_to_Live_002880.jpg"></a></td>
	</tr>
	<tr class="row-11">
		<td class="column-1">VD is for Everybody (1969) 1min<br />
<br />
<a href="http://publicdomainreview.org/?p=2280"><img src="http://ia600508.us.archive.org/0/items/vd_is_for_everybody/vd_is_for_everybody.thumbs/vd_is_for_everybody_000020.jpg"></a></td><td class="column-2">American Day in Tripoli, Libya (1962) 14min<br />
<br />
<a href="http://publicdomainreview.org/?p=2394"><img src="http://ia600409.us.archive.org/21/items/gov.archives.arc.37715/gov.archives.arc.37715.thumbs/gov.archives.arc.37715_000810.jpg"></a></td><td class="column-3">The Cabinet of Dr. Caligari (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=2659"><img src="http://ia700303.us.archive.org/12/items/thecabinetofdrcaligari/thecabinetofdrcaligari.thumbs/KabinettDesDoktorCaligariDas_000960.jpg"></a></td><td class="column-4">Cyrano De Bergerac (1950) 1hr53min<br />
<br />
<a href="http://publicdomainreview.org/?p=2402"><img src="http://ia600401.us.archive.org/27/items/Cyrano_DeBergerac/Cyrano_DeBergerac.thumbs/Cyrano_De_Bergerac_002100.jpg"></a></td>
	</tr>
	<tr class="row-12">
		<td class="column-1">The Enchanted Drawing (1900) 1min29sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2778"><img src="http://ia700801.us.archive.org/18/items/TheEnchantedDrawing1900/TheEnchantedDrawing1900.thumbs/the-enchanted-drawing_000044.jpg"></a></td><td class="column-2">Your Name Here (1960) 10min10sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2561"><img src="http://ia600506.us.archive.org/11/items/YourName1960/YourName1960.thumbs/YourName1960_000120.jpg"></a></td><td class="column-3">Stella Maris (1918) 1hr13min<br />
<br />
<a href="http://publicdomainreview.org/?p=2790"><img src="http://ia600706.us.archive.org/21/items/StellaMaris_665/StellaMaris_665.thumbs/StellaMarismarshallNeilan1918MaryPickford_002574.jpg"></a></td><td class="column-4">Little Lord Fauntleroy (1936) 1hr40min<br />
<br />
<a href="http://publicdomainreview.org/?p=2786"><img src="http://ia700506.us.archive.org/14/items/little_lord_fauntleroy/little_lord_fauntleroy.thumbs/little_lord_fauntleroy_003120.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2781
title: Uriah Jewett and the Sea Serpent of Lake Memphemagog (1917)
uri: Uriah-Jewett-and-the-Sea-Serpent-of-Lake-Memphemagog-(1917)
url: http://publicdomainreview.org/2011/12/01/uriah-jewett-and-the-sea-serpent-of-lake-memphemagog/
content:
<div align="center">
<iframe src='http://www.archive.org/stream/uriahjewettsease00merr?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>


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<span style="font-variant: small-caps;">Uriah Jewett and the sea serpent of Lake Memphemagog, by George C. Merrill; 1917; Newport, Vermont.</span>

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A very curious little book concerning a poet named Uriah Jewett, a sea serpent, the disappearance of a cheat named Hoyt, and the possible illegitimate child of Prince Arthur born in the forests of Canada.
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<a href="http://www.archive.org/details/uriahjewettsease00merr">Open Library link</a>
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<table id="wp-table-reloaded-id-2-no-1" class="wp-table-reloaded wp-table-reloaded-id-2">
<tbody>
	<tr class="row-1">
		<td class="column-1">Letters From a Cat (1879)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/letters-from-a-cat/"><img src="http://farm7.static.flickr.com/6029/5926255857_dd107bbcd5_o.jpg"></a></td><td class="column-2">Castaway on the Auckland Isles: A Narrative of the Wreck of the "Grafton," (1865)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/castaway-on-the-auckland-isles-a-narrative-of-the-wreck-of-the-grafton-1865"><img src="http://farm7.static.flickr.com/6014/5963292991_2926d4d77d_o.jpg"><br />
</a></td><td class="column-3">Infant's Cabinet of Birds and Beasts (1820)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/infants-cabine…-beasts-1820-2/"><img src="http://farm7.static.flickr.com/6137/5963292985_e427baf1da_o.jpg"></a></td><td class="column-4">Old French Fairytales (1920)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/old-french-fairytales-1920/"><img src="http://farm7.static.flickr.com/6127/5963292975_0047a86d70_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Armata: a fragment (1817)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/armata-a-fragment-1817/"><img src="http://farm7.static.flickr.com/6018/5977796996_e0a0fc40cd_o.jpg"></a></td><td class="column-2">An Account of the Late Improvements in Galvanism (1803)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/an-account-of-the-late-improvements-in-galvanism-1803/"><img src="http://farm7.static.flickr.com/6027/5977796994_62597592db_o.jpg"></a></td><td class="column-3">The Medical Aspects of Death, and the Medical Aspects of the Human Mind (1852)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-medical-aspects-of-death-and-the-medical-aspects-of-the-human-mind-1852"><img src="http://farm7.static.flickr.com/6122/5977796990_d34ea609b4_o.jpg"></a></td><td class="column-4">Quarles' Emblems (1886)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/quarles-emblems-1886/"><img src="http://farm7.static.flickr.com/6129/5977796992_cda35bfc9d_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">Cat and bird stories from the "Spectator" (1896)<br />
<br />
<a href="http://publicdomainreview.org/?p=1198"><img src="http://farm7.static.flickr.com/6127/6011153785_75aab450ee_o.jpg"></a></td><td class="column-2">Wonderful Balloon Ascents (1870)<br />
<br />
<a href="http://publicdomainreview.org/?p=1200"><img src="http://farm7.static.flickr.com/6030/6011153783_3c0847e432_o.jpg"></a></td><td class="column-3">The Book of Topiary (1904)<br />
<br />
<a href="http://publicdomainreview.org/?p=1202"><img src="http://farm7.static.flickr.com/6145/6011153777_a727143f9d_o.jpg"></a></td><td class="column-4">The Adventures of Louis de Rougemont (1899)<br />
<br />
<a href="http://publicdomainreview.org/?p=1204"><img src="http://farm7.static.flickr.com/6013/6011153791_7fcdcb3356_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">English as She is Spoke (1884)<br />
<br />
<a href="http://publicdomainreview.org/?p=1431"><img src="http://farm7.static.flickr.com/6083/6046055812_6639c33965_o.jpg"></a></td><td class="column-2">The Danger of Premature Interment (1816)<br />
<br />
<a href="http://publicdomainreview.org/?p=1503"><img src="http://farm7.static.flickr.com/6062/6046366952_ba41be4694_o.jpg"></a></td><td class="column-3">The Last American (1889)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/19/the-last-american/"><img src="http://farm7.static.flickr.com/6066/6059266721_1e7b1015c2_o.jpg"></a></td><td class="column-4">Pirates (1922)<br />
<br />
<a href="http://publicdomainreview.org/?p=1754"><img src="http://farm7.static.flickr.com/6187/6096675914_450e941c10_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">Napoleon's Oraculum (1839)<br />
<br />
<a href="http://publicdomainreview.org/?p=1834"><img src="http://farm7.static.flickr.com/6185/6115393587_cbe52c98ab_o.jpg"></a></td><td class="column-2">Horse Laughs (1891)<br />
<br />
<a href="http://publicdomainreview.org/?p=1918"><img src="http://farm7.static.flickr.com/6156/6143175901_cfaa8bb5f7_o.jpg"></a></td><td class="column-3">Hydriotaphia/Urn-Burial and The Garden of Cyrus (1658)<br />
<br />
<a href="http://publicdomainreview.org/?p=1999"><img src="http://farm7.static.flickr.com/6162/6169326032_8dbf4d10aa_o.jpg"></a></td><td class="column-4">Across the Zodiac: the Story of a Wrecked Record (1880)<br />
<br />
<a href="http://publicdomainreview.org/?p=2129"><img src="http://farm7.static.flickr.com/6123/6197358087_8ed89391e6_o.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Superstitions About Animals (1904)<br />
<br />
<a href="http://publicdomainreview.org/?p=2267"><img src="http://farm7.static.flickr.com/6110/6241413122_a6151abdef_o.jpg"></a></td><td class="column-2">The Diary of a Nobody (1919 edition)<br />
<br />
<a href="http://publicdomainreview.org/?p=2457"><img src="http://farm7.static.flickr.com/6092/6288121551_c2119002b0_o.jpg"></a></td><td class="column-3">The Attitudes of Animals in Motion, Illustrated with the Zoopraxiscope (1882)<br />
<br />
<a href="http://publicdomainreview.org/?p=2546"><img src="http://farm7.static.flickr.com/6094/6311375447_2483ece911_o.jpg"></a></td><td class="column-4">The Eccentric Mirror: Reflecting a Faithful and Interesting Delineation of Male and Female Characters, Ancient and Modern (1807)<br />
<br />
<a href="http://publicdomainreview.org/?p=2615"><img src="http://farm7.static.flickr.com/6054/6337715127_c693cf04d1_o.jpg"></a></td>
	</tr>
	<tr class="row-7">
		<td class="column-1">Uriah Jewett and the Sea Serpent of Lake Memphemagog (1917)<br />
<br />
<a href="http://publicdomainreview.org/?p=2781"><img src="http://farm8.staticflickr.com/7159/6437807421_91e8d84ec9_o.jpg"></a></td><td class="column-2">Yuletide Entertainments (1910)<br />
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<a href="http://publicdomainreview.org/?p=3001"><img src="http://farm8.staticflickr.com/7015/6553725471_8021326d90_o.jpg"></a></td><td class="column-3"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>
 

</div>


feed_id: http://publicdomainreview.org/?p=2790
title: Stella Maris (1918)
uri: Stella-Maris-(1918)
url: http://publicdomainreview.org/2011/12/04/stella-maris-1918/
content:
<div align="center">

<object width="640" height="506" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000"><param value="true" name="allowfullscreen"/><param value="always" name="allowscriptaccess"/><param value="high" name="quality"/><param value="true" name="cachebusting"/><param value="#000000" name="bgcolor"/><param name="movie" value="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" /><param value="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'StellaMarismarshallNeilan1918MaryPickford.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/StellaMaris_665/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'StellaMarismarshallNeilan1918MaryPickford.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/StellaMaris_665/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}"> </embed></object>
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<br />

A 1918 silent film staring Mary Pickford, directed by Marshall Neilan, written by Frances Marion and based on William J. Locke&#8217;s novel. Stella Maris, a beautiful, crippled girl, who is cared for by a rich family, and the orphan Unity Blake, fall in love with same man, John, who is still married to (though separated from) a cruel wife.
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<a href="http://www.archive.org/details/StellaMaris_665">Download from Internet Archive</a>
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<br />
<font size="1">Note this film is in the public domain in the US, but may not be in other jurisdictions. Please check its status in your jurisdiction before re-using.</font> 
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<table id="wp-table-reloaded-id-1-no-1" class="wp-table-reloaded wp-table-reloaded-id-1">
<thead>
	<tr class="row-1">
		<th class="column-1">CLIPS</th><th class="column-2">SHORT</th><th class="column-3">FULL LENGTH SILENT</th><th class="column-4">FULL LENGTH TALKIE</th>
	</tr>
</thead>
<tbody>
	<tr class="row-2">
		<td class="column-1">Princess Nicotine (1909) 6min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/princess-nicotine-1909/"><img src="http://ia700502.us.archive.org/1/items/princess_nicotine_1909/princess_nicotine_1909.thumbs/princess_nicotine_1909_000240.jpg"></a></td><td class="column-2">Gertie the Dinosaur  (1914) 12min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/gertie-the-dinosaur-1914/"><img src="http://ia600300.us.archive.org/11/items/Gertie/Gertie.thumbs/GertietheDinosaur_000330.jpg"></a></td><td class="column-3">Last of the Mohicans (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/last-of-the-mohicans-1920/"><img src="http://ia700300.us.archive.org/24/items/PublicdomainTheLastoftheMohicans/PublicdomainTheLastoftheMohicans.thumbs/Last_of_the_Mohicans_000300.jpg" alt="" /></a></td><td class="column-4">Meet John Doe (1941) 2hr3min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/meet-john-doe-1941/"><img src="http://ia600307.us.archive.org/5/items/meet_john_doe_ipod/meet_john_doe_ipod.thumbs/meet_john_doe_002127.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">The Unappreciated Joke (1903) 1min<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/02/the-unappreciated-joke-1903/"><img src="http://ia600200.us.archive.org/5/items/TheUnappreciatedJoke/TheUnappreciatedJoke.thumbs/TheUnappreciatedJoke_000035.jpg"></a></td><td class="column-2">Frankenstein (1910) 13min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/frankenstein-19/"><img src="http://ia600306.us.archive.org/9/items/FrankensteinfullMovie/FrankensteinfullMovie.thumbs/Frankenstein1910_000270.jpg"></a></td><td class="column-3">The General (1926) 1hr19min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-general-1926/ "><img src="http://ia600604.us.archive.org/8/items/TheGeneral1926/TheGeneral1926.thumbs/The_General_1926_720p_001554.jpg" alt="" /></a></td><td class="column-4">Plan 9 from Outer Space (1959) 1hr19mins<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/plan-9-from-outer-space-1959/"><img src="http://ia600401.us.archive.org/19/items/Plan_9_from_Outer_Space_1959/Plan_9_from_Outer_Space_1959.thumbs/Plan_9_from_Outer_Space_1959_001260.jpg"></a><br />
</td>
	</tr>
	<tr class="row-4">
		<td class="column-1">The Execution of Mary, Queen of Scots (1895) 21sec<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-execution-…-of-scots-1895/"><img src="http://ia700303.us.archive.org/33/items/Execution_of_Mary_1895/Execution_of_Mary_1895.thumbs/Execution_of_Mary_1895_000005.jpg"></a></td><td class="column-2">The Great Train Robbery (1903) 10min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-great-train-robbery-1903/"><img src="http://ia700504.us.archive.org/7/items/Europeanposte-theGreatTrainrobbery912/Europeanposte-theGreatTrainrobbery912.thumbs/Europeanposte-theGreatTrainrobbery912_000030.jpg"></a></td><td class="column-3">Wolf Blood (1925) 1hr7min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/wolf-blood-1925/"><img src="http://ia700204.us.archive.org/8/items/WolfBlood1925/WolfBlood1925.thumbs/WolfBlood_002940.jpg"></a></td><td class="column-4">Reefer Madness (1938) 1hr8min<br />
<br />
<a href="http://publicdomainreview.org/?p=1281"><img src="http://ia700202.us.archive.org/1/items/reefer_madness1938/reefer_madness1938.thumbs/reefer_madness1938_001860.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">The Kiss (1896) 25secs<br />
<br />
<a href="http://publicdomainreview.org/?p=1421"><img src="http://ia700204.us.archive.org/23/items/CEP00115/CEP00115.thumbs/CEP00115_000005.jpg"></a></td><td class="column-2">Experiments in the Revival of Organisms (1940) 20min<br />
<br />
<a href="http://publicdomainreview.org/?p=1417"><img src="http://ia700500.us.archive.org/19/items/Experime1940/Experime1940.thumbs/Experime1940_000360.jpg"></a></td><td class="column-3">Battleship Potemkin (1925) 1hr13min<br />
<br />
<a href="http://publicdomainreview.org/?p=1413"><img src="http://ia600208.us.archive.org/4/items/BattleshipPotemkin/BattleshipPotemkin.thumbs/Battleship_Potemkin_000780.jpg"></a></td><td class="column-4">The Snows of Kilimanjaro (1952) 1hr57min<br />
<br />
<a href="http://publicdomainreview.org/?p=1425"><img src="http://ia700402.us.archive.org/23/items/Kilimanjaro/Kilimanjaro.thumbs/The_Snows_of_Kilimanjaro_006300.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Trapeze Disrobing Act (1901) 2min<br />
<br />
<a href="http://publicdomainreview.org/?p=1547"><img src="http://ia600308.us.archive.org/15/items/SF120/SF120.thumbs/SF120_000040.jpg"></a></td><td class="column-2">Are You Popular (1947) 10min<br />
<br />
<a href="http://publicdomainreview.org/?p=1552"><img src="http://ia600202.us.archive.org/17/items/AreYouPo1947/AreYouPo1947.thumbs/AreYouPo1947_000240.jpg"></a></td><td class="column-3">The Lodger: A Story of the London Fog (1927) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=1560"><img src="http://ia700309.us.archive.org/32/items/TheLodgerAStoryOfTheLondonFog_579/TheLodgerAStoryOfTheLondonFog_579.thumbs/TheLodger-AStoryOfTheLondonFog1927AlfredHitchcock_001800.jpg"></a></td><td class="column-4">Scarlet Street (1945) 1hr43min<br />
<br />
<a href="http://publicdomainreview.org/?p=1557"><img src="http://ia700202.us.archive.org/16/items/ScarletStreet/ScarletStreet.thumbs/Scarlet_Street_005460.jpg"></a></td>
	</tr>
	<tr class="row-7">
		<td class="column-1">Annie Oakley Fires Her Gun (1894) 20secs<br />
<a href="http://publicdomainreview.org/?p=1721"><br />
<img src="http://ia600202.us.archive.org/20/items/AnnieOakley/AnnieOakley.thumbs/AnnieOakley_000020.jpg"></a></td><td class="column-2">The Wonderful Wizard of Oz (1910) 13min<br />
<a href="http://publicdomainreview.org/?p=1719"><br />
<img src="http://ia600304.us.archive.org/4/items/The_Wonderful_Wizard_of_Oz/The_Wonderful_Wizard_of_Oz.thumbs/WizardOfOz1910_000720.jpg"></a></td><td class="column-3">For The Term of His Natural Life (1927) 1hr33min<br />
<br />
<a href="http://publicdomainreview.org/?p=2288"><img src="http://ia700504.us.archive.org/1/items/ForTheTermOfHisNaturalLife/ForTheTermOfHisNaturalLife.thumbs/ForTheTermOfHisNaturalLife_004980.jpg"></a></td><td class="column-4">The Last Man on Earth (1964) 1hr27min<br />
<br />
<a href="http://publicdomainreview.org/?p=1715"><img src="http://farm7.static.flickr.com/6204/6090641136_9922b754c8_o.jpg"></a></td>
	</tr>
	<tr class="row-8">
		<td class="column-1">Operation Cue (1955) 52sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1812"><img src="http://ia700301.us.archive.org/5/items/CEP_00_071/CEP_00_071.thumbs/CEP_00_071_000030.jpg"></a></td><td class="column-2">Never Weaken (1921) 28min<br />
<br />
<a href="http://publicdomainreview.org/?p=1827"><img src="http://ia600309.us.archive.org/22/items/Never_Weaken_1921/Never_Weaken_1921.thumbs/Never_Weaken_1921_001260.jpg"></a></td><td class="column-3">Intolerance (1916) 2hr57min<br />
<a href="http://publicdomainreview.org/?p=1820"><br />
<img src="http://ia700303.us.archive.org/11/items/Intolerance/Intolerance.thumbs/Intolerance_010500.jpg"></a></td><td class="column-4">Quicksand (1950) 1hr18min<br />
<br />
<a href="http://publicdomainreview.org/?p=1816"><img src="http://ia700406.us.archive.org/14/items/Quicksand_clear/Quicksand_clear.thumbs/Quicksand_001860.jpg"></a></td>
	</tr>
	<tr class="row-9">
		<td class="column-1">Dutch Fashion Reel (1969) 1min50sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1954"><img src="http://farm7.static.flickr.com/6200/6158664220_2d772d57d5_o.jpg"></a></td><td class="column-2">Betty Boop: Minnie The Moocher (1932) 7min46sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1965"><img src="http://ia600208.us.archive.org/2/items/bb_minnie_the_moocher/bb_minnie_the_moocher.thumbs/bb_minnie_the_moocher_000390.jpg"></a></td><td class="column-3">The Phantom of the Opera (1925) 1hr46min<br />
<br />
<a href="http://publicdomainreview.org/?p=1943"><img src="http://ia700208.us.archive.org/23/items/ThePhantomoftheOpera/ThePhantomoftheOpera.thumbs/Phantom_of_the_Opera_001320.jpg"></a></td><td class="column-4">Suddenly (1954) 1hr16mins<br />
<br />
<a href="http://publicdomainreview.org/?p=1279"><img src="http://ia600208.us.archive.org/10/items/suddenly/suddenly.thumbs/suddenly_004320.jpg"></a><br />
</td>
	</tr>
	<tr class="row-10">
		<td class="column-1">Buffalo Dance (1894) 14sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2135"><img src="http://ia600301.us.archive.org/10/items/SF126/SF126.thumbs/SF126_000005.jpg"></a></td><td class="column-2">The Cook (1918) 18min<br />
<br />
<a href="http://publicdomainreview.org/?p=2139"><img src="http://ia600501.us.archive.org/18/items/TheCook/TheCook.thumbs/TheCook_000300.jpg"></a></td><td class="column-3">The Thief of Bagdad (1924) 2hr20min<br />
<br />
<a href="http://publicdomainreview.org/?p=2148"><img src="http://ia600304.us.archive.org/25/items/ThiefOfBagdad1924/ThiefOfBagdad1924.thumbs/ThiefofBagdad1924_008280.jpg"></a></td><td class="column-4">Five Minutes to Live (1961) 1hr14min<br />
<br />
<a href="http://publicdomainreview.org/?p=1683"><img src="http://ia700508.us.archive.org/7/items/Five_Minutes_To_Live.avi/Five_Minutes_To_Live.avi.thumbs/Five_Minutes_to_Live_002880.jpg"></a></td>
	</tr>
	<tr class="row-11">
		<td class="column-1">VD is for Everybody (1969) 1min<br />
<br />
<a href="http://publicdomainreview.org/?p=2280"><img src="http://ia600508.us.archive.org/0/items/vd_is_for_everybody/vd_is_for_everybody.thumbs/vd_is_for_everybody_000020.jpg"></a></td><td class="column-2">American Day in Tripoli, Libya (1962) 14min<br />
<br />
<a href="http://publicdomainreview.org/?p=2394"><img src="http://ia600409.us.archive.org/21/items/gov.archives.arc.37715/gov.archives.arc.37715.thumbs/gov.archives.arc.37715_000810.jpg"></a></td><td class="column-3">The Cabinet of Dr. Caligari (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=2659"><img src="http://ia700303.us.archive.org/12/items/thecabinetofdrcaligari/thecabinetofdrcaligari.thumbs/KabinettDesDoktorCaligariDas_000960.jpg"></a></td><td class="column-4">Cyrano De Bergerac (1950) 1hr53min<br />
<br />
<a href="http://publicdomainreview.org/?p=2402"><img src="http://ia600401.us.archive.org/27/items/Cyrano_DeBergerac/Cyrano_DeBergerac.thumbs/Cyrano_De_Bergerac_002100.jpg"></a></td>
	</tr>
	<tr class="row-12">
		<td class="column-1">The Enchanted Drawing (1900) 1min29sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2778"><img src="http://ia700801.us.archive.org/18/items/TheEnchantedDrawing1900/TheEnchantedDrawing1900.thumbs/the-enchanted-drawing_000044.jpg"></a></td><td class="column-2">Your Name Here (1960) 10min10sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2561"><img src="http://ia600506.us.archive.org/11/items/YourName1960/YourName1960.thumbs/YourName1960_000120.jpg"></a></td><td class="column-3">Stella Maris (1918) 1hr13min<br />
<br />
<a href="http://publicdomainreview.org/?p=2790"><img src="http://ia600706.us.archive.org/21/items/StellaMaris_665/StellaMaris_665.thumbs/StellaMarismarshallNeilan1918MaryPickford_002574.jpg"></a></td><td class="column-4">Little Lord Fauntleroy (1936) 1hr40min<br />
<br />
<a href="http://publicdomainreview.org/?p=2786"><img src="http://ia700506.us.archive.org/14/items/little_lord_fauntleroy/little_lord_fauntleroy.thumbs/little_lord_fauntleroy_003120.jpg"></a></td>
	</tr>
	<tr class="row-13">
		<td class="column-1"></td><td class="column-2">The Night Before Christmas (1905) 8min44sec<br />
<br />
<a href="http://publicdomainreview.org/?p=3010"><img src="http://ia600409.us.archive.org/31/items/TheNightBeforeChristmasSilentMovie/TheNightBeforeChristmasSilentMovie.thumbs/TheNightBeforeChristmas_000390.jpg"></a></td><td class="column-3"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2786
title: Little Lord Fauntleroy (1936)
uri: Little-Lord-Fauntleroy-(1936)
url: http://publicdomainreview.org/2011/12/04/little-lord-fauntleroy-1936/
content:
<div align="center">

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Considered by many to be the best film adaptation of Frances Hodgson Burnett&#8217;s 1886 novel of the same name, said by Polly Hovarth to be &#8220;the Harry Potter of his time&#8221;- starring Freddie Bartholomew, Dolores Costello, and C. Aubrey Smith. A nine-year-old Brooklyn boy living in poverty, moves to England to live with an aristocratic grandfather he&#8217;s never known after he is told he&#8217;s heir to a British earldom.
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<a href="http://www.archive.org/details/little_lord_fauntleroy">Download from Internet Archive</a>
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<br />
<font size="1">Note this film is in the public domain in the US, but may not be in other jurisdictions. Please check its status in your jurisdiction before re-using.</font> 
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<table id="wp-table-reloaded-id-1-no-1" class="wp-table-reloaded wp-table-reloaded-id-1">
<thead>
	<tr class="row-1">
		<th class="column-1">CLIPS</th><th class="column-2">SHORT</th><th class="column-3">FULL LENGTH SILENT</th><th class="column-4">FULL LENGTH TALKIE</th>
	</tr>
</thead>
<tbody>
	<tr class="row-2">
		<td class="column-1">Princess Nicotine (1909) 6min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/princess-nicotine-1909/"><img src="http://ia700502.us.archive.org/1/items/princess_nicotine_1909/princess_nicotine_1909.thumbs/princess_nicotine_1909_000240.jpg"></a></td><td class="column-2">Gertie the Dinosaur  (1914) 12min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/gertie-the-dinosaur-1914/"><img src="http://ia600300.us.archive.org/11/items/Gertie/Gertie.thumbs/GertietheDinosaur_000330.jpg"></a></td><td class="column-3">Last of the Mohicans (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/last-of-the-mohicans-1920/"><img src="http://ia700300.us.archive.org/24/items/PublicdomainTheLastoftheMohicans/PublicdomainTheLastoftheMohicans.thumbs/Last_of_the_Mohicans_000300.jpg" alt="" /></a></td><td class="column-4">Meet John Doe (1941) 2hr3min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/meet-john-doe-1941/"><img src="http://ia600307.us.archive.org/5/items/meet_john_doe_ipod/meet_john_doe_ipod.thumbs/meet_john_doe_002127.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">The Unappreciated Joke (1903) 1min<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/02/the-unappreciated-joke-1903/"><img src="http://ia600200.us.archive.org/5/items/TheUnappreciatedJoke/TheUnappreciatedJoke.thumbs/TheUnappreciatedJoke_000035.jpg"></a></td><td class="column-2">Frankenstein (1910) 13min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/frankenstein-19/"><img src="http://ia600306.us.archive.org/9/items/FrankensteinfullMovie/FrankensteinfullMovie.thumbs/Frankenstein1910_000270.jpg"></a></td><td class="column-3">The General (1926) 1hr19min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-general-1926/ "><img src="http://ia600604.us.archive.org/8/items/TheGeneral1926/TheGeneral1926.thumbs/The_General_1926_720p_001554.jpg" alt="" /></a></td><td class="column-4">Plan 9 from Outer Space (1959) 1hr19mins<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/plan-9-from-outer-space-1959/"><img src="http://ia600401.us.archive.org/19/items/Plan_9_from_Outer_Space_1959/Plan_9_from_Outer_Space_1959.thumbs/Plan_9_from_Outer_Space_1959_001260.jpg"></a><br />
</td>
	</tr>
	<tr class="row-4">
		<td class="column-1">The Execution of Mary, Queen of Scots (1895) 21sec<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-execution-…-of-scots-1895/"><img src="http://ia700303.us.archive.org/33/items/Execution_of_Mary_1895/Execution_of_Mary_1895.thumbs/Execution_of_Mary_1895_000005.jpg"></a></td><td class="column-2">The Great Train Robbery (1903) 10min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-great-train-robbery-1903/"><img src="http://ia700504.us.archive.org/7/items/Europeanposte-theGreatTrainrobbery912/Europeanposte-theGreatTrainrobbery912.thumbs/Europeanposte-theGreatTrainrobbery912_000030.jpg"></a></td><td class="column-3">Wolf Blood (1925) 1hr7min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/wolf-blood-1925/"><img src="http://ia700204.us.archive.org/8/items/WolfBlood1925/WolfBlood1925.thumbs/WolfBlood_002940.jpg"></a></td><td class="column-4">Reefer Madness (1938) 1hr8min<br />
<br />
<a href="http://publicdomainreview.org/?p=1281"><img src="http://ia700202.us.archive.org/1/items/reefer_madness1938/reefer_madness1938.thumbs/reefer_madness1938_001860.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">The Kiss (1896) 25secs<br />
<br />
<a href="http://publicdomainreview.org/?p=1421"><img src="http://ia700204.us.archive.org/23/items/CEP00115/CEP00115.thumbs/CEP00115_000005.jpg"></a></td><td class="column-2">Experiments in the Revival of Organisms (1940) 20min<br />
<br />
<a href="http://publicdomainreview.org/?p=1417"><img src="http://ia700500.us.archive.org/19/items/Experime1940/Experime1940.thumbs/Experime1940_000360.jpg"></a></td><td class="column-3">Battleship Potemkin (1925) 1hr13min<br />
<br />
<a href="http://publicdomainreview.org/?p=1413"><img src="http://ia600208.us.archive.org/4/items/BattleshipPotemkin/BattleshipPotemkin.thumbs/Battleship_Potemkin_000780.jpg"></a></td><td class="column-4">The Snows of Kilimanjaro (1952) 1hr57min<br />
<br />
<a href="http://publicdomainreview.org/?p=1425"><img src="http://ia700402.us.archive.org/23/items/Kilimanjaro/Kilimanjaro.thumbs/The_Snows_of_Kilimanjaro_006300.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Trapeze Disrobing Act (1901) 2min<br />
<br />
<a href="http://publicdomainreview.org/?p=1547"><img src="http://ia600308.us.archive.org/15/items/SF120/SF120.thumbs/SF120_000040.jpg"></a></td><td class="column-2">Are You Popular (1947) 10min<br />
<br />
<a href="http://publicdomainreview.org/?p=1552"><img src="http://ia600202.us.archive.org/17/items/AreYouPo1947/AreYouPo1947.thumbs/AreYouPo1947_000240.jpg"></a></td><td class="column-3">The Lodger: A Story of the London Fog (1927) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=1560"><img src="http://ia700309.us.archive.org/32/items/TheLodgerAStoryOfTheLondonFog_579/TheLodgerAStoryOfTheLondonFog_579.thumbs/TheLodger-AStoryOfTheLondonFog1927AlfredHitchcock_001800.jpg"></a></td><td class="column-4">Scarlet Street (1945) 1hr43min<br />
<br />
<a href="http://publicdomainreview.org/?p=1557"><img src="http://ia700202.us.archive.org/16/items/ScarletStreet/ScarletStreet.thumbs/Scarlet_Street_005460.jpg"></a></td>
	</tr>
	<tr class="row-7">
		<td class="column-1">Annie Oakley Fires Her Gun (1894) 20secs<br />
<a href="http://publicdomainreview.org/?p=1721"><br />
<img src="http://ia600202.us.archive.org/20/items/AnnieOakley/AnnieOakley.thumbs/AnnieOakley_000020.jpg"></a></td><td class="column-2">The Wonderful Wizard of Oz (1910) 13min<br />
<a href="http://publicdomainreview.org/?p=1719"><br />
<img src="http://ia600304.us.archive.org/4/items/The_Wonderful_Wizard_of_Oz/The_Wonderful_Wizard_of_Oz.thumbs/WizardOfOz1910_000720.jpg"></a></td><td class="column-3">For The Term of His Natural Life (1927) 1hr33min<br />
<br />
<a href="http://publicdomainreview.org/?p=2288"><img src="http://ia700504.us.archive.org/1/items/ForTheTermOfHisNaturalLife/ForTheTermOfHisNaturalLife.thumbs/ForTheTermOfHisNaturalLife_004980.jpg"></a></td><td class="column-4">The Last Man on Earth (1964) 1hr27min<br />
<br />
<a href="http://publicdomainreview.org/?p=1715"><img src="http://farm7.static.flickr.com/6204/6090641136_9922b754c8_o.jpg"></a></td>
	</tr>
	<tr class="row-8">
		<td class="column-1">Operation Cue (1955) 52sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1812"><img src="http://ia700301.us.archive.org/5/items/CEP_00_071/CEP_00_071.thumbs/CEP_00_071_000030.jpg"></a></td><td class="column-2">Never Weaken (1921) 28min<br />
<br />
<a href="http://publicdomainreview.org/?p=1827"><img src="http://ia600309.us.archive.org/22/items/Never_Weaken_1921/Never_Weaken_1921.thumbs/Never_Weaken_1921_001260.jpg"></a></td><td class="column-3">Intolerance (1916) 2hr57min<br />
<a href="http://publicdomainreview.org/?p=1820"><br />
<img src="http://ia700303.us.archive.org/11/items/Intolerance/Intolerance.thumbs/Intolerance_010500.jpg"></a></td><td class="column-4">Quicksand (1950) 1hr18min<br />
<br />
<a href="http://publicdomainreview.org/?p=1816"><img src="http://ia700406.us.archive.org/14/items/Quicksand_clear/Quicksand_clear.thumbs/Quicksand_001860.jpg"></a></td>
	</tr>
	<tr class="row-9">
		<td class="column-1">Dutch Fashion Reel (1969) 1min50sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1954"><img src="http://farm7.static.flickr.com/6200/6158664220_2d772d57d5_o.jpg"></a></td><td class="column-2">Betty Boop: Minnie The Moocher (1932) 7min46sec<br />
<br />
<a href="http://publicdomainreview.org/?p=1965"><img src="http://ia600208.us.archive.org/2/items/bb_minnie_the_moocher/bb_minnie_the_moocher.thumbs/bb_minnie_the_moocher_000390.jpg"></a></td><td class="column-3">The Phantom of the Opera (1925) 1hr46min<br />
<br />
<a href="http://publicdomainreview.org/?p=1943"><img src="http://ia700208.us.archive.org/23/items/ThePhantomoftheOpera/ThePhantomoftheOpera.thumbs/Phantom_of_the_Opera_001320.jpg"></a></td><td class="column-4">Suddenly (1954) 1hr16mins<br />
<br />
<a href="http://publicdomainreview.org/?p=1279"><img src="http://ia600208.us.archive.org/10/items/suddenly/suddenly.thumbs/suddenly_004320.jpg"></a><br />
</td>
	</tr>
	<tr class="row-10">
		<td class="column-1">Buffalo Dance (1894) 14sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2135"><img src="http://ia600301.us.archive.org/10/items/SF126/SF126.thumbs/SF126_000005.jpg"></a></td><td class="column-2">The Cook (1918) 18min<br />
<br />
<a href="http://publicdomainreview.org/?p=2139"><img src="http://ia600501.us.archive.org/18/items/TheCook/TheCook.thumbs/TheCook_000300.jpg"></a></td><td class="column-3">The Thief of Bagdad (1924) 2hr20min<br />
<br />
<a href="http://publicdomainreview.org/?p=2148"><img src="http://ia600304.us.archive.org/25/items/ThiefOfBagdad1924/ThiefOfBagdad1924.thumbs/ThiefofBagdad1924_008280.jpg"></a></td><td class="column-4">Five Minutes to Live (1961) 1hr14min<br />
<br />
<a href="http://publicdomainreview.org/?p=1683"><img src="http://ia700508.us.archive.org/7/items/Five_Minutes_To_Live.avi/Five_Minutes_To_Live.avi.thumbs/Five_Minutes_to_Live_002880.jpg"></a></td>
	</tr>
	<tr class="row-11">
		<td class="column-1">VD is for Everybody (1969) 1min<br />
<br />
<a href="http://publicdomainreview.org/?p=2280"><img src="http://ia600508.us.archive.org/0/items/vd_is_for_everybody/vd_is_for_everybody.thumbs/vd_is_for_everybody_000020.jpg"></a></td><td class="column-2">American Day in Tripoli, Libya (1962) 14min<br />
<br />
<a href="http://publicdomainreview.org/?p=2394"><img src="http://ia600409.us.archive.org/21/items/gov.archives.arc.37715/gov.archives.arc.37715.thumbs/gov.archives.arc.37715_000810.jpg"></a></td><td class="column-3">The Cabinet of Dr. Caligari (1920) 1hr11min<br />
<br />
<a href="http://publicdomainreview.org/?p=2659"><img src="http://ia700303.us.archive.org/12/items/thecabinetofdrcaligari/thecabinetofdrcaligari.thumbs/KabinettDesDoktorCaligariDas_000960.jpg"></a></td><td class="column-4">Cyrano De Bergerac (1950) 1hr53min<br />
<br />
<a href="http://publicdomainreview.org/?p=2402"><img src="http://ia600401.us.archive.org/27/items/Cyrano_DeBergerac/Cyrano_DeBergerac.thumbs/Cyrano_De_Bergerac_002100.jpg"></a></td>
	</tr>
	<tr class="row-12">
		<td class="column-1">The Enchanted Drawing (1900) 1min29sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2778"><img src="http://ia700801.us.archive.org/18/items/TheEnchantedDrawing1900/TheEnchantedDrawing1900.thumbs/the-enchanted-drawing_000044.jpg"></a></td><td class="column-2">Your Name Here (1960) 10min10sec<br />
<br />
<a href="http://publicdomainreview.org/?p=2561"><img src="http://ia600506.us.archive.org/11/items/YourName1960/YourName1960.thumbs/YourName1960_000120.jpg"></a></td><td class="column-3">Stella Maris (1918) 1hr13min<br />
<br />
<a href="http://publicdomainreview.org/?p=2790"><img src="http://ia600706.us.archive.org/21/items/StellaMaris_665/StellaMaris_665.thumbs/StellaMarismarshallNeilan1918MaryPickford_002574.jpg"></a></td><td class="column-4">Little Lord Fauntleroy (1936) 1hr40min<br />
<br />
<a href="http://publicdomainreview.org/?p=2786"><img src="http://ia700506.us.archive.org/14/items/little_lord_fauntleroy/little_lord_fauntleroy.thumbs/little_lord_fauntleroy_003120.jpg"></a></td>
	</tr>
	<tr class="row-13">
		<td class="column-1"></td><td class="column-2">The Night Before Christmas (1905) 8min44sec<br />
<br />
<a href="http://publicdomainreview.org/?p=3010"><img src="http://ia600409.us.archive.org/31/items/TheNightBeforeChristmasSilentMovie/TheNightBeforeChristmasSilentMovie.thumbs/TheNightBeforeChristmas_000390.jpg"></a></td><td class="column-3"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2793
title: Robert Southey’s Dreams Revisited
uri: Robert-Southey-s-Dreams-Revisited
url: http://publicdomainreview.org/2011/12/05/robert-southey%e2%80%99s-dreams-revisited/
content:
<p><strong>As well as being poet laureate for 30 years and a prolific writer of letters, Robert Southey was an avid recorder of his dreams. W.A. Speck, author of <i>Robert Southey: Entire Man of Letters</i>, explores the poet&#8217;s dream diary and the importance of dreams in his work.</strong></p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm8.staticflickr.com/7004/6459050623_f472d93549_o.jpg" width="540" height="560" /><p class="wp-caption-text">Detail of a portrait of Southey painted by John James Masquerier in 1800.</p></div>

<p>Robert Southey (1774 – 1843), the poet laureate, biographer, historian and, in Byron’s words, ‘entire man of letters’ used a note book to record many of his dreams. A celebrated line in his verse was ‘my days among the dead are past’, referring to the works by authors who had died, many of them centuries ago, which lined the walls of Greta Hall, Southey’s home in Keswick. An analysis of his dreams demonstrates that his nights were passed among them too, since a disproportionate number of those which he recorded dealt with the dead. Deceased relatives and friends frequently visited him in them. He also encountered dead authors, as in the dream he had on 7 January 1805. ‘I was supping at Garrick’s house, and seated at his left hand, at the top of the table; my memory had made up his face accurately; he got upon the table, and spoke an epilogue of his own writing in the character of a cook –maid, and promised, at Mrs Garrick’s desire, to recite a serious poem afterwards, that I might hear him’.  In another dream he was ‘at Swift’s house in Dublin, where he was living with two sisters’. And in another he met Matthew Lewis, the author of a sensational Gothic novel, <em>The Monk</em>. ‘Monk Lewis’ had been a contemporary of Southey’s at Westminster school, though he confessed that he never ‘had any affection for the man.’ This, however, did not prevent him contributing to a volume edited by Lewis, <em>Tales of Wonder</em>. Southey’s contribution consisted of six poems, all of which contained Gothic elements, including dreams. Thus ‘Bishop Bruno’ wakes from a recurrent dream that he had rung his own death knell, only to discover that it was prophetic. ‘Lord William’ drowns young Edmund, his deceased elder brother’s son, to claim the house of Erlingford, only to find that</p>

<blockquote>
  <p>In vain at midnight’s silent hour<br />
  Sleep closed the murderer’s eyes<br />
  In every dream the murderer saw<br />
  Young Edmund’s form arise.<br /></p>
</blockquote>

<p>‘The Pious Painter’ was renowned for his realistic portrayals of the Devil</p>

<blockquote>
  <p>What the Painter so earnestly thought on by day<br />
  He sometimes would dream of by night.<br /></p>
</blockquote>

<p>Southey himself strongly believed that waking thoughts led on to dreams. It led him to organise his days so that he did not work on one topic all day but switched from one to another, from composing poems to reviewing books to writing letters. This routine was not only economical in its use of time but was ‘also essential to the preservation of my health; for, by long experience, I know that whenever my attention is devoted to one object my sleep is disturbed by perplexing dreams concerning it. The remedy is easy; I do one thing in the morning, another in the evening – I never dream of either’.</p>

<p>This routine was not foolproof, however, for his dream book records that what had occupied his mind during the day often inspired dreams that same night. The entry for 4 December 1821, for instance, describes a dream in which ‘Palmerin of England gave me Arcalaus, the enchanter, in the shape of an egg, the enchanter having taken that form, and bade me deliver it to Urganda. Urganda took the egg, and said her husband should eat it for his supper’. Southey then added to his account that his daughter ‘Isabel had been reading Amadis and Palmerin, and talking to me a great deal about both; hence this jumbled dream.’</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm8.staticflickr.com/7154/6459050371_73ca4d09cc_o.jpg" width="540" height="407" /><p class="wp-caption-text">Detail from The Knight&#039;s Dream (1655) by Antonio de Pereda (1611–1678) </p></div>

<p>Southey did not record all his dreams in the book by any means, he selected only those which he considered to be significant. As we have seen his poetry also alluded to dreamers and dreaming. The best source, however, for his reflections on his dreams is his 7000 or so extant letters. Unfortunately few of these have been published in reliable scholarly editions, most being scattered throughout repositories in Britain and North America. However, under the general editorship of Lynda Pratt, Tim Fulford and Ian Packer these are now being published electronically as <a href="http://romantic.arhu.umd.edu/editions/southey_letters/"><em>The Collected Letters of Robert Southey</em></a>. When the edition is complete it will be possible to trawl through it, for being on line the letters can be searched, for example for dreams. A search for ‘dream’, ‘dreamer’ and ‘dreaming’ brought up several passages in Southey’s correspondence in which dreams are mentioned. Some show the same morbid interest in death and ghosts that his dream book documents. Thus on 20 October 1793 he wrote to Horace Walpole Bedford:</p>

<blockquote>
  <p>I’ll betake me to bed &amp; look sharp for a dream.<br />
  <br />
  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; God of dreams hear my prayer </br>
  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; To my pillow repair<br />
  Indulge my petition tonight<br />
  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Around my wild brain<br />
  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Send thy fanciful train<br />
  And give me a dream I may write<br /></p>
</blockquote>

<p>And later:
<br /></p>

<blockquote>
  <p>… bid thy sprightly phantoms rare<br />
  Round my sleeping head repair.<br />
  Let me see in church yard gloom<br />
  The ghost slow rising from the tomb<br />
  Slow &amp; stern his pale hand wave<br />
  And bid me follow to the grave.<br /></p>
</blockquote>

<p>Three weeks later, in mid November, he wrote to Horace’s brother, his old school friend Grosvenor Charles Bedford: ‘I am going to bed … to dream of you &amp; heaven &amp; happiness unless the demon of dismal dreams pops up under my pillow &amp; harrows up my heart with some of his chimeras – oh if life were all one agreeable dream – or rather if death were – would there be a crime in taking laudanum as an opiate? Good night.&#8217;</p>

<p><br/></p>

<hr />

<p><em>W. A. Speck is author of <a href="http://www.amazon.co.uk/gp/product/0300116810?ie=UTF8&#038;tag=thepubdomrev-21&#038;linkCode=xm2&#038;camp=1634&#038;creativeASIN=0300116810">Robert Southey: Entire Man of Letters</a> (Yale University Press, 2006) and &#8216;His nights amont the dead were passed: Robert Southey&#8217;s dreams&#8217; in <a href="http://www.amazon.co.uk/gp/product/0754630463?ie=UTF8&#038;tag=thepubdomrev-21&#038;linkCode=xm2&#038;camp=1634&#038;creativeASIN=0754630463">Robert Southey and the Contexts of English Romanticism</a> edited by Lynda Pratt (Ashgate, 2006).</em></p>

<p><br /></p>

<h1>Links to Works</h1>

<p><br /></p>

<ul>
<li><em>Correspondence of Robert Southey with Caroline Bowles, to which are added correspondence with Shelley, and Southey&#8217;s dreams. Edited, with an introduction by Edward Dowden</em> (1881)

<ul>
<li><a href="http://www.archive.org/stream/correspondencewi00soutuoft#page/366/mode/2up">pdf online</a></li>
<li><a href="http://www.archive.org/download/correspondencewi00soutuoft/correspondencewi00soutuoft.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/correspondencewi00soutuoft/correspondencewi00soutuoft.epub">epub</a></li>
<li><a href="http://www.archive.org/download/correspondencewi00soutuoft/correspondencewi00soutuoft.mobi">kindle</a></li>
<li><a href="http://www.archive.org/stream/correspondencewi00soutuoft/correspondencewi00soutuoft_djvu.txt">text</a></li>
</ul></li>
<li><em>The Complete Poetical Works of Robert Southey</em> (1848)

<ul>
<li><a href="http://www.archive.org/stream/completepoetical1848sout">pdf online</a></li>
<li><a href="http://www.archive.org/download/completepoetical1848sout/completepoetical1848sout.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/completepoetical1848sout/completepoetical1848sout.epub">epub</a></li>
<li><a href="http://www.archive.org/download/completepoetical1848sout/completepoetical1848sout.mobi">kindle</a></li>
<li><a href="http://www.archive.org/stream/completepoetical1848sout/completepoetical1848sout_djvu.txt">text</a></li>
</ul></li>
</ul>

<p>See also Robert Southey on <a href="http://en.wikisource.org/wiki/Author:Robert_Southey">Wikisource</a></p>


feed_id: http://publicdomainreview.org/?p=2861
title: The Daddy Long Legs of Brighton
uri: The-Daddy-Long-Legs-of-Brighton
url: http://publicdomainreview.org/2011/12/08/the-daddy-long-legs-of-brighton/
content:
<div align="center">

The Brighton and Rottingdean Seashore Electric Railway was a unique coastline railway in Brighton, England that ran through the shallow waters of the English Channel between 1896 and 1901. Magnus Volk, its owner, designer and engineer, had already been successful with the more conventional Volk&#8217;s Electric Railway, which had then not been extended east of Paston Place. Facing unfavourable geography, Volk decided to construct a line through the surf from a pier at Paston Place to one at Rottingdean. The tracks were laid on concrete sleepers mortised into the bedrock, and the single car used on the railway, a huge pier-like building which stood on four 23 ft (7.0 m)-long legs, was propelled by electric motor. It was officially named Pioneer, but many called it Daddy Long-Legs. Construction took two years from 1894 to 1896. The railway officially opened 28 November 1896, but was nearly destroyed by a storm the night of 4 December. Volk immediately set to rebuilding the railway including the Pioneer, which had been knocked on its side, and it reopened in July 1897. In 1900 the council decided to build a beach protection barrier, which unfortunately required Volk to divert his line around the barrier. Without funds to do so, Volk closed the railway. A model of the railway car is on display (along with a poster for the railway) in the foyer of the Brighton Toy and Model Museum. (Text from <a href="http://en.wikipedia.org/wiki/Brighton_and_Rottingdean_Seashore_Electric_Railway">Wikipedia</a>, images from <a href="http://commons.wikimedia.org/wiki/Category:Daddy_Long_Legs_(vehicle)">Wikimedia Commons</a>)

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<img src="http://upload.wikimedia.org/wikipedia/commons/d/d7/Daddylonglegs_poster.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/a/a0/Daddylonglegs4.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/a/a7/Daddylonglegs1.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/6/6e/Daddylonglegs5.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/c/c1/Daddylonglegs6.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/f/f6/Pier_for_daddylonglegs2.jpg" alt="" />

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<table id="wp-table-reloaded-id-3-no-1" class="wp-table-reloaded wp-table-reloaded-id-3">
<tbody>
	<tr class="row-1">
		<td class="column-1">Operation Doorstep<br />
<br />
<a href="http://publicdomainreview.org/?p=1288"><img src="http://farm7.static.flickr.com/6209/6023844250_a340b6cfc8_o.jpg"></a></td><td class="column-2">The Spirit Photographs of William Hope<br />
<br />
<a href="http://publicdomainreview.org/?p=1301"><img src="http://farm7.static.flickr.com/6021/5963926880_6796ce887a_o.jpg"></a></td><td class="column-3">The Maps of Piri Reis<br />
<br />
<a href="http://publicdomainreview.org/?p=1315"><img src="http://farm7.static.flickr.com/6025/5963926888_f9a9db72f1_o.jpg"></a></td><td class="column-4">Dr Julius Neubronner's Miniature Pigeon Camera<br />
<br />
<a href="http://publicdomainreview.org/?p=1330"><img src="http://farm7.static.flickr.com/6007/5963926890_2141effc6c_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Art in Art<br />
<br />
<a href="http://publicdomainreview.org/?p=1359"><img src="http://farm7.static.flickr.com/6192/6024864047_73cc2bce65_o.jpg"></a></td><td class="column-2">Huexotzinco Codex<br />
<br />
<a href="http://publicdomainreview.org/?p=1373"><img src="http://farm7.static.flickr.com/6187/6024864049_7667e37edc_o.jpg"></a><br />
</td><td class="column-3">Sessions for the Blind at Sunderland Museum<br />
<br />
<a href="http://publicdomainreview.org/2011/08/09/sessions-for-the-blind-at-sunderland-museum/"><img src="http://farm7.static.flickr.com/6075/6024903179_9793619652_o.jpg"></a></td><td class="column-4">Eugène von Guérard's Australian Landscapes<br />
<br />
<a href="http://publicdomainreview.org/?p=1468"><img src="http://farm7.static.flickr.com/6193/6045423237_850760a2a1_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">Landscape and Marine Views of Norway<br />
<br />
<a href="http://publicdomainreview.org/?p=1513"><img src="http://farm7.static.flickr.com/6090/6049185090_2740e7c0e7_o.jpg"></a></td><td class="column-2">The Mechanism of Human Physiognomy<br />
<br />
<a href="http://publicdomainreview.org/2011/08/19/the-mechanism-of-human-physiognomy/"><img src="http://farm7.static.flickr.com/6191/6059149653_5b7e4f63e0_o.jpg"></a></td><td class="column-3">Space Colony Art from the 1970s<br />
<br />
<a href="http://publicdomainreview.org/?p=1643"><img src="http://farm7.static.flickr.com/6063/6072822813_748425d648_o.jpg"></a></td><td class="column-4">Men in Wigs<br />
<br />
<a href="http://publicdomainreview.org/?p=1657"><br />
<img src="http://farm7.static.flickr.com/6196/6076698488_c0d804b2f0_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">De humana physiognomonia libri IIII (1586)<br />
<br />
<a href="http://publicdomainreview.org/?p=1760"><img src="http://farm7.static.flickr.com/6023/6097105906_f3615427ca_o.jpg"></a></td><td class="column-2">Field Columbian Museum<br />
<br />
<a href="http://publicdomainreview.org/?p=1898"><img src="http://farm7.static.flickr.com/6186/6143148873_0d68233381_o.jpg"></a></td><td class="column-3">Maps from Geographicus<br />
<br />
<a href="http://publicdomainreview.org/?p=2011"><img src="http://farm7.static.flickr.com/6159/6172345356_72dcabba03_o.jpg"></a></td><td class="column-4">Arnoldus Montanus' New and Unknown World (1671)<br />
<br />
<a href="http://publicdomainreview.org/?p=2108"><img src="http://farm7.static.flickr.com/6172/6194502991_d733a9de80_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">World War II from the Air<br />
<br />
<a href="http://publicdomainreview.org/?p=2241"><img src="http://farm7.static.flickr.com/6060/6240850672_fbe7ec4af4_o.jpg"></a></td><td class="column-2">Halloween Postcards<br />
<br />
<a href="http://publicdomainreview.org/?p=2470"><img src="http://farm7.static.flickr.com/6094/6291039497_f95a6df059_o.jpg"></a></td><td class="column-3">Engravings by Dominicus Custos<br />
<br />
<a href="http://publicdomainreview.org/?p=2461"><img src="http://farm7.static.flickr.com/6043/6301524069_87b3660466_o.jpg"></a></td><td class="column-4">Kodak No.1 Circular Snapshots<br />
<br />
<a href="http://publicdomainreview.org/?p=2607"><img src="http://farm7.static.flickr.com/6034/6331890582_1cb9bff242_o.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Kitab al-Bulhan or Book of Wonders (late 14thC.)<br />
<br />
<a href="http://publicdomainreview.org/?p=2648"><img src="http://farm7.static.flickr.com/6109/6352453941_2f15515a88_o.jpg"></a></td><td class="column-2">The Daddy Long Legs of Brighton<br />
<br />
<a href="http://publicdomainreview.org/?p=2861"><img src="http://farm8.staticflickr.com/7006/6477203705_ec35483e53_o.jpg"></a></td><td class="column-3">Amundsen's South Pole Expedition (1912)<br />
<br />
<a href="http://publicdomainreview.org/?p=2894"><img src="http://farm8.staticflickr.com/7148/6509959519_9c1221fc97_o.jpg"></a></td><td class="column-4">A Catalogue of Polish Bishops<br />
<br />
<a href="http://publicdomainreview.org/?p=3053"><img src="http://farm8.staticflickr.com/7009/6684168809_f63f1699f9_o.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2916
title: The Voice of Florence Nightingale
uri: The-Voice-of-Florence-Nightingale
url: http://publicdomainreview.org/2011/12/13/the-voice-of-florence-nightingale/
content:
<div align="center">

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/7/71/Florence_Nightingale_by_Goodman%2C_1858-crop.jpg/398px-Florence_Nightingale_by_Goodman%2C_1858-crop.jpg" alt="" />

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The recording was made on 30th July 1890 to raise money for the impoverished veterans of the Charge of the Light Brigade. The full transcript of the recording says: &#8216;When I am no longer even a memory, just a name, I hope my voice may perpetuate the great work of my life. God bless my dear old comrades of Balaclava and bring them safe to shore. Florence Nightingale.&#8217; In fact, there are two recitations; this second one having slightly altered wording to the first, which was presumably a practice session.
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<a href="http://www.archive.org/download/FlorenceNightingale2ndRendition1890GreetingsToTheDearOldComradesOf/1576A_2nd_Rendition.mp3">MP3 Download</a>
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<a href="http://www.archive.org/details/FlorenceNightingale2ndRendition1890GreetingsToTheDearOldComradesOf">Internet Archive Link</a>
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<table id="wp-table-reloaded-id-4-no-1" class="wp-table-reloaded wp-table-reloaded-id-4">
<tbody>
	<tr class="row-1">
		<td class="column-1">Beela Boola by the Electric City 4 (1920)<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/01/beela-boola-electric-city-4-1920/"><img src="http://farm7.static.flickr.com/6009/5984449950_1837afe78f_o.jpg"></a></td><td class="column-2">Hungarian Rag -  Pietro Deiro (1913)<br />
<br />
<a href="http://publicdomainreview.org/?p=880"><img src="http://farm7.static.flickr.com/6008/5984449948_3ebd04de8b_o.jpg"></a></td><td class="column-3">As a Porcupine Pines for its Pork - Billy Jones &amp; Ernest Hare<br />
(1925)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/as-a-porcupine-pines-for-its-pork-billy-jones-ernest-hare-1925/"><img src="http://farm7.static.flickr.com/6028/5984449946_52bcbdf103_o.jpg"></a></td><td class="column-4">Popeye, the Sailor Man - Al Dollar &amp; His Ten Cent Band with Billy Murray (1931)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/01/popeye-the-sailor-man-al-dollar-his-ten-cent-band-with-billy-murray-1931/"><img src="http://farm7.static.flickr.com/6012/5984449942_e7c19a2fdc_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Chopins Funeral March - The Edison Concert Band (1906)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/chopins-funeral-march-the-edison-concert-band-1906/"><img src="http://farm7.static.flickr.com/6138/5998067338_c167fce69d_o.jpg"></a></td><td class="column-2">Houdini on his Water Torture Cell (1914)<br />
<br />
<a href=" http://publicdomainreview.org/2011/08/02/houdini-on-his-water-torture-cell-1914/"><img src="http://farm7.static.flickr.com/6009/5998067350_7d43c56428_o.jpg"></a></td><td class="column-3">Lomax Collection Recording of English, Sample 8<br />
<br />
<a href="http://publicdomainreview.org/?p=1067"><img src="http://farm7.static.flickr.com/6020/5998067356_9b9ae1d919_o.jpg"></a></td><td class="column-4">Enrico Caruso - A Dream (1920)<br />
<br />
<a href="http://publicdomainreview.org/?p=1074"><img src="http://farm7.static.flickr.com/6030/5997518817_b6d0667f34_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">La Paloma (1903)<br />
<br />
<a href="http://publicdomainreview.org/?p=1240"><img src="http://farm7.static.flickr.com/6135/6016850955_d7c0df1a2c_o.jpg"></a></td><td class="column-2">Orson Welles Show (1941)<br />
<br />
<a href="http://publicdomainreview.org/?p=1225"><img src="http://farm7.static.flickr.com/6027/6017404284_da30a310cc_o.jpg"></a></td><td class="column-3">Tokyo Rose (1944)<br />
<br />
<a href="http://publicdomainreview.org/?p=1243"><img src="http://farm7.static.flickr.com/6125/6016850941_a2c4a9bb4f_o.jpg"></a></td><td class="column-4">Fats Waller and His Orchestra live at The Yacht Club (1938)<br />
<br />
<a href="http://publicdomainreview.org/?p=1247"><img src="http://farm7.static.flickr.com/6005/6016980547_ddd9858761_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">Very early recording of George Gershwin's  Rhapsody In Blue (1924)<br />
<br />
<a href="http://publicdomainreview.org/?p=1493"><img src="http://farm7.static.flickr.com/6206/6046238304_f151e60106_o.jpg"></a></td><td class="column-2">Rudolph Valentino singing (1923)<br />
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<a href="http://publicdomainreview.org/2011/08/15/rudolph-valentino-1923/"><img src="http://farm7.static.flickr.com/6188/6046238300_1a8bf811d7_o.jpg"></a></td><td class="column-3">Aiaihea - The Hawaiian Quintette (1913)<br />
<br />
<a href="http://publicdomainreview.org/?p=1614"><img src="http://farm7.static.flickr.com/6188/6069171663_28964f0117_o.jpg"></a></td><td class="column-4">Antony's Address Over The Body of Caesar (1914)<br />
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<a href="http://publicdomainreview.org/?p=1679"><img src="http://farm7.static.flickr.com/6064/6082150301_30f4211e29_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">Charlie and His Orchestra<br />
<br />
<a href="http://publicdomainreview.org/?p=1771"><img src="http://farm7.static.flickr.com/6199/6096637423_9f34721c23_o.jpg"></a></td><td class="column-2">Excerpt from Handel's Israel in Egypt (1888)<br />
<br />
<a href="http://publicdomainreview.org/?p=1925"><img src="http://farm7.static.flickr.com/6081/6143260449_303a539aa3_o.jpg"></a></td><td class="column-3">Gurdjieff's Harmonium Improvisations (1949)<br />
<br />
<a href="http://publicdomainreview.org/?p=2041"><img src="http://farm7.static.flickr.com/6173/6177782102_d042aebbfd_o.jpg"></a></td><td class="column-4">General Pershing March - Imperial Marimba Band (1918)<br />
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<a href="http://publicdomainreview.org/?p=2186"><img src="http://farm7.static.flickr.com/6156/6215163671_7712110727_o.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Apollo 11 Onboard Recordings (1969) <br />
<br />
<a href="http://publicdomainreview.org/?p=2537"><img src="http://farm7.static.flickr.com/6040/6305906604_03d781a688_o.jpg"></a></td><td class="column-2">The Voice of Florence Nightingale (1890)<br />
<br />
<a href="http://publicdomainreview.org/?p=2916"><img src="http://farm8.staticflickr.com/7030/6504902049_467a45000b_o.jpg"></a></td><td class="column-3">Santa Claus Proves There is a Santa Claus (1925) <br />
<br />
<a href="http://publicdomainreview.org/?p=3006"><img src="http://farm8.staticflickr.com/7008/6558653487_103cd350c9_o.jpg"></a></td><td class="column-4">Whitney Brothers Quartet - The Little Red Drum (1908)<br />
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<a href="http://publicdomainreview.org/?p=3177"><img src="http://farm8.staticflickr.com/7147/6725925751_16951fa622_o.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=2894
title: Amundsen’s South Pole expedition
uri: Amundsen-s-South-Pole-expedition
url: http://publicdomainreview.org/2011/12/14/amundsens-south-pole-expedition/
content:
<div align="center">

Images from <i>The South pole; an account of the Norwegian Antarctic expedition in the &#8220;Fram,&#8221; 1910-1912</i>, Roald Amundsen&#8217;s account of his expedition which became the first to reach the South Pole on 14 December 1911, just five weeks ahead of a British party led by Robert Falcon Scott. Amundsen and his team returned safely to their base, and later learned that Scott and his four companions had died on their return journey. Amundsen&#8217;s initial plans had focused on the Arctic and the conquest of the North Pole by means of an extended drift in an icebound ship. He obtained the use of Fridtjof Nansen&#8217;s polar exploration ship Fram, and undertook extensive fundraising activities. Preparations for this expedition were disrupted when, in 1909, the rival American explorers Frederick Cook and Robert E. Peary each claimed to have reached the North Pole. Amundsen then changed his plan and began to prepare for a conquest of the South Pole; uncertain of the extent to which the public and his backers would support him, he kept this revised objective secret. When he set out in June 1910, even most of his crew believed they were embarking on an Arctic drift. Amundsen made his Antarctic base, &#8220;Framheim&#8221;, in the Bay of Whales on the Great Ice Barrier. After months of preparation, depot-laying and a false start which ended in near-disaster, he and his party set out for the pole in October 1911. Although the expedition&#8217;s success was widely applauded, the story of Scott&#8217;s heroic failure overshadowed its achievement. For his decision to keep his true plans secret until the last moment, Amundsen was criticised for what some considered deception on his part. Recent polar historians have more fully recognised the skill and courage of Amundsen&#8217;s party; the permanent scientific base at the pole bears his name, together with that of Scott. 
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(Text based on <a href="http://en.wikipedia.org/wiki/Amundsen%27s_South_Pole_expedition">Wikipedia</a> / Images extracted from the scanned copy of the English translation of Amundsen&#8217;s book on the <a href="http://www.archive.org/stream/southpoleaccount01amun#page/n7/mode/2up">Internet Archive</a>)

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<table id="wp-table-reloaded-id-3-no-1" class="wp-table-reloaded wp-table-reloaded-id-3">
<tbody>
	<tr class="row-1">
		<td class="column-1">Operation Doorstep<br />
<br />
<a href="http://publicdomainreview.org/?p=1288"><img src="http://farm7.static.flickr.com/6209/6023844250_a340b6cfc8_o.jpg"></a></td><td class="column-2">The Spirit Photographs of William Hope<br />
<br />
<a href="http://publicdomainreview.org/?p=1301"><img src="http://farm7.static.flickr.com/6021/5963926880_6796ce887a_o.jpg"></a></td><td class="column-3">The Maps of Piri Reis<br />
<br />
<a href="http://publicdomainreview.org/?p=1315"><img src="http://farm7.static.flickr.com/6025/5963926888_f9a9db72f1_o.jpg"></a></td><td class="column-4">Dr Julius Neubronner's Miniature Pigeon Camera<br />
<br />
<a href="http://publicdomainreview.org/?p=1330"><img src="http://farm7.static.flickr.com/6007/5963926890_2141effc6c_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Art in Art<br />
<br />
<a href="http://publicdomainreview.org/?p=1359"><img src="http://farm7.static.flickr.com/6192/6024864047_73cc2bce65_o.jpg"></a></td><td class="column-2">Huexotzinco Codex<br />
<br />
<a href="http://publicdomainreview.org/?p=1373"><img src="http://farm7.static.flickr.com/6187/6024864049_7667e37edc_o.jpg"></a><br />
</td><td class="column-3">Sessions for the Blind at Sunderland Museum<br />
<br />
<a href="http://publicdomainreview.org/2011/08/09/sessions-for-the-blind-at-sunderland-museum/"><img src="http://farm7.static.flickr.com/6075/6024903179_9793619652_o.jpg"></a></td><td class="column-4">Eugène von Guérard's Australian Landscapes<br />
<br />
<a href="http://publicdomainreview.org/?p=1468"><img src="http://farm7.static.flickr.com/6193/6045423237_850760a2a1_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">Landscape and Marine Views of Norway<br />
<br />
<a href="http://publicdomainreview.org/?p=1513"><img src="http://farm7.static.flickr.com/6090/6049185090_2740e7c0e7_o.jpg"></a></td><td class="column-2">The Mechanism of Human Physiognomy<br />
<br />
<a href="http://publicdomainreview.org/2011/08/19/the-mechanism-of-human-physiognomy/"><img src="http://farm7.static.flickr.com/6191/6059149653_5b7e4f63e0_o.jpg"></a></td><td class="column-3">Space Colony Art from the 1970s<br />
<br />
<a href="http://publicdomainreview.org/?p=1643"><img src="http://farm7.static.flickr.com/6063/6072822813_748425d648_o.jpg"></a></td><td class="column-4">Men in Wigs<br />
<br />
<a href="http://publicdomainreview.org/?p=1657"><br />
<img src="http://farm7.static.flickr.com/6196/6076698488_c0d804b2f0_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">De humana physiognomonia libri IIII (1586)<br />
<br />
<a href="http://publicdomainreview.org/?p=1760"><img src="http://farm7.static.flickr.com/6023/6097105906_f3615427ca_o.jpg"></a></td><td class="column-2">Field Columbian Museum<br />
<br />
<a href="http://publicdomainreview.org/?p=1898"><img src="http://farm7.static.flickr.com/6186/6143148873_0d68233381_o.jpg"></a></td><td class="column-3">Maps from Geographicus<br />
<br />
<a href="http://publicdomainreview.org/?p=2011"><img src="http://farm7.static.flickr.com/6159/6172345356_72dcabba03_o.jpg"></a></td><td class="column-4">Arnoldus Montanus' New and Unknown World (1671)<br />
<br />
<a href="http://publicdomainreview.org/?p=2108"><img src="http://farm7.static.flickr.com/6172/6194502991_d733a9de80_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">World War II from the Air<br />
<br />
<a href="http://publicdomainreview.org/?p=2241"><img src="http://farm7.static.flickr.com/6060/6240850672_fbe7ec4af4_o.jpg"></a></td><td class="column-2">Halloween Postcards<br />
<br />
<a href="http://publicdomainreview.org/?p=2470"><img src="http://farm7.static.flickr.com/6094/6291039497_f95a6df059_o.jpg"></a></td><td class="column-3">Engravings by Dominicus Custos<br />
<br />
<a href="http://publicdomainreview.org/?p=2461"><img src="http://farm7.static.flickr.com/6043/6301524069_87b3660466_o.jpg"></a></td><td class="column-4">Kodak No.1 Circular Snapshots<br />
<br />
<a href="http://publicdomainreview.org/?p=2607"><img src="http://farm7.static.flickr.com/6034/6331890582_1cb9bff242_o.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Kitab al-Bulhan or Book of Wonders (late 14thC.)<br />
<br />
<a href="http://publicdomainreview.org/?p=2648"><img src="http://farm7.static.flickr.com/6109/6352453941_2f15515a88_o.jpg"></a></td><td class="column-2">The Daddy Long Legs of Brighton<br />
<br />
<a href="http://publicdomainreview.org/?p=2861"><img src="http://farm8.staticflickr.com/7006/6477203705_ec35483e53_o.jpg"></a></td><td class="column-3">Amundsen's South Pole Expedition (1912)<br />
<br />
<a href="http://publicdomainreview.org/?p=2894"><img src="http://farm8.staticflickr.com/7148/6509959519_9c1221fc97_o.jpg"></a></td><td class="column-4">A Catalogue of Polish Bishops<br />
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<a href="http://publicdomainreview.org/?p=3053"><img src="http://farm8.staticflickr.com/7009/6684168809_f63f1699f9_o.jpg"></a></td>
	</tr>
	<tr class="row-7">
		<td class="column-1">Harry Clarke's illustrations for Edgar Allan Poe (1919)<br />
<br />
<a href="http://publicdomainreview.org/?p=3203"><img src="http://farm8.staticflickr.com/7141/6726271725_32d8aa6260_o.jpg"></a></td><td class="column-2"></td><td class="column-3"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>
 



</div>


feed_id: http://publicdomainreview.org/?p=3001
title: Yuletide Entertainments (1910)
uri: Yuletide-Entertainments-(1910)
url: http://publicdomainreview.org/2011/12/22/yuletide-entertainments/
content:
<div align="center">
<iframe src='http://www.archive.org/stream/yuletideentertai00will?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>

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<span style="font-variant: small-caps;">Yuletide Entertainments: Christmas recitations, monologues, drills, tableaux, motion songs, exercises, dialogues and plays, suitable for all ages, by Ellen M. Willard; 1910; T. S. Denison &#038; company, Chicago.</span>

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Christmas recitations, monologues, drills, tableaux, motion songs, exercises, dialogues and plays, suitable for all ages. From the introduction: &#8220;It becomes more and more a part of Christmas gayety to present the legends, or the spirit of it, to the eye as well as the mind. For this purpose the following pages have been prepared in play and pantomime, songs and marches, drills and recitations. While the needs of adults have not been forgotten, those of the children have been most largely remembered, since Christmas is pre-eminently the children&#8217;s 
festival. A word to those who take charge of such affairs may not be amiss. Precision of movement is the keynote of success for everything of this kind. This does not mean stiffness, 
but it does mean exactitude and certainty. Uncertain gestures in speaking; scattered attack and close in singing ; hesitation in acting ; and, more than all, careless motions and marching in the drills (corners not formed squarely, motions only half in unison, etc.) — all these are fatal to that success which makes such entertainments entertaining. Here, as everywhere else, &#8220;What is worth doing at all, is worth doing well.&#8221; 
 
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<a href="http://openlibrary.org/books/OL23363044M/Yuletide_entertainments">Open Library link</a>
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<table id="wp-table-reloaded-id-2-no-1" class="wp-table-reloaded wp-table-reloaded-id-2">
<tbody>
	<tr class="row-1">
		<td class="column-1">Letters From a Cat (1879)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/letters-from-a-cat/"><img src="http://farm7.static.flickr.com/6029/5926255857_dd107bbcd5_o.jpg"></a></td><td class="column-2">Castaway on the Auckland Isles: A Narrative of the Wreck of the "Grafton," (1865)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/castaway-on-the-auckland-isles-a-narrative-of-the-wreck-of-the-grafton-1865"><img src="http://farm7.static.flickr.com/6014/5963292991_2926d4d77d_o.jpg"><br />
</a></td><td class="column-3">Infant's Cabinet of Birds and Beasts (1820)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/infants-cabine…-beasts-1820-2/"><img src="http://farm7.static.flickr.com/6137/5963292985_e427baf1da_o.jpg"></a></td><td class="column-4">Old French Fairytales (1920)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/old-french-fairytales-1920/"><img src="http://farm7.static.flickr.com/6127/5963292975_0047a86d70_o.jpg"></a></td>
	</tr>
	<tr class="row-2">
		<td class="column-1">Armata: a fragment (1817)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/armata-a-fragment-1817/"><img src="http://farm7.static.flickr.com/6018/5977796996_e0a0fc40cd_o.jpg"></a></td><td class="column-2">An Account of the Late Improvements in Galvanism (1803)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/an-account-of-the-late-improvements-in-galvanism-1803/"><img src="http://farm7.static.flickr.com/6027/5977796994_62597592db_o.jpg"></a></td><td class="column-3">The Medical Aspects of Death, and the Medical Aspects of the Human Mind (1852)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/the-medical-aspects-of-death-and-the-medical-aspects-of-the-human-mind-1852"><img src="http://farm7.static.flickr.com/6122/5977796990_d34ea609b4_o.jpg"></a></td><td class="column-4">Quarles' Emblems (1886)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/quarles-emblems-1886/"><img src="http://farm7.static.flickr.com/6129/5977796992_cda35bfc9d_o.jpg"></a></td>
	</tr>
	<tr class="row-3">
		<td class="column-1">Cat and bird stories from the "Spectator" (1896)<br />
<br />
<a href="http://publicdomainreview.org/?p=1198"><img src="http://farm7.static.flickr.com/6127/6011153785_75aab450ee_o.jpg"></a></td><td class="column-2">Wonderful Balloon Ascents (1870)<br />
<br />
<a href="http://publicdomainreview.org/?p=1200"><img src="http://farm7.static.flickr.com/6030/6011153783_3c0847e432_o.jpg"></a></td><td class="column-3">The Book of Topiary (1904)<br />
<br />
<a href="http://publicdomainreview.org/?p=1202"><img src="http://farm7.static.flickr.com/6145/6011153777_a727143f9d_o.jpg"></a></td><td class="column-4">The Adventures of Louis de Rougemont (1899)<br />
<br />
<a href="http://publicdomainreview.org/?p=1204"><img src="http://farm7.static.flickr.com/6013/6011153791_7fcdcb3356_o.jpg"></a></td>
	</tr>
	<tr class="row-4">
		<td class="column-1">English as She is Spoke (1884)<br />
<br />
<a href="http://publicdomainreview.org/?p=1431"><img src="http://farm7.static.flickr.com/6083/6046055812_6639c33965_o.jpg"></a></td><td class="column-2">The Danger of Premature Interment (1816)<br />
<br />
<a href="http://publicdomainreview.org/?p=1503"><img src="http://farm7.static.flickr.com/6062/6046366952_ba41be4694_o.jpg"></a></td><td class="column-3">The Last American (1889)<br />
<br />
<a href="http://publicdomainreview.org/2011/08/19/the-last-american/"><img src="http://farm7.static.flickr.com/6066/6059266721_1e7b1015c2_o.jpg"></a></td><td class="column-4">Pirates (1922)<br />
<br />
<a href="http://publicdomainreview.org/?p=1754"><img src="http://farm7.static.flickr.com/6187/6096675914_450e941c10_o.jpg"></a></td>
	</tr>
	<tr class="row-5">
		<td class="column-1">Napoleon's Oraculum (1839)<br />
<br />
<a href="http://publicdomainreview.org/?p=1834"><img src="http://farm7.static.flickr.com/6185/6115393587_cbe52c98ab_o.jpg"></a></td><td class="column-2">Horse Laughs (1891)<br />
<br />
<a href="http://publicdomainreview.org/?p=1918"><img src="http://farm7.static.flickr.com/6156/6143175901_cfaa8bb5f7_o.jpg"></a></td><td class="column-3">Hydriotaphia/Urn-Burial and The Garden of Cyrus (1658)<br />
<br />
<a href="http://publicdomainreview.org/?p=1999"><img src="http://farm7.static.flickr.com/6162/6169326032_8dbf4d10aa_o.jpg"></a></td><td class="column-4">Across the Zodiac: the Story of a Wrecked Record (1880)<br />
<br />
<a href="http://publicdomainreview.org/?p=2129"><img src="http://farm7.static.flickr.com/6123/6197358087_8ed89391e6_o.jpg"></a></td>
	</tr>
	<tr class="row-6">
		<td class="column-1">Superstitions About Animals (1904)<br />
<br />
<a href="http://publicdomainreview.org/?p=2267"><img src="http://farm7.static.flickr.com/6110/6241413122_a6151abdef_o.jpg"></a></td><td class="column-2">The Diary of a Nobody (1919 edition)<br />
<br />
<a href="http://publicdomainreview.org/?p=2457"><img src="http://farm7.static.flickr.com/6092/6288121551_c2119002b0_o.jpg"></a></td><td class="column-3">The Attitudes of Animals in Motion, Illustrated with the Zoopraxiscope (1882)<br />
<br />
<a href="http://publicdomainreview.org/?p=2546"><img src="http://farm7.static.flickr.com/6094/6311375447_2483ece911_o.jpg"></a></td><td class="column-4">The Eccentric Mirror: Reflecting a Faithful and Interesting Delineation of Male and Female Characters, Ancient and Modern (1807)<br />
<br />
<a href="http://publicdomainreview.org/?p=2615"><img src="http://farm7.static.flickr.com/6054/6337715127_c693cf04d1_o.jpg"></a></td>
	</tr>
	<tr class="row-7">
		<td class="column-1">Uriah Jewett and the Sea Serpent of Lake Memphemagog (1917)<br />
<br />
<a href="http://publicdomainreview.org/?p=2781"><img src="http://farm8.staticflickr.com/7159/6437807421_91e8d84ec9_o.jpg"></a></td><td class="column-2">Yuletide Entertainments (1910)<br />
<br />
<a href="http://publicdomainreview.org/?p=3001"><img src="http://farm8.staticflickr.com/7015/6553725471_8021326d90_o.jpg"></a></td><td class="column-3">Mythical Monsters (1886)<br />
<br />
<a href="http://publicdomainreview.org/?p=3062"><img src="http://farm8.staticflickr.com/7171/6694452449_5daa298a53_o.jpg"></a></td><td class="column-4"></td>
	</tr>
</tbody>
</table>
 

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