# articles

feed_id: http://publicdomainreview.okfn.org/?p=776
title: Was Charles Darwin an Atheist?
uri: Was-Charles-Darwin-an-Atheist
url: http://publicdomainreview.org/2011/06/28/was-charles-darwin-an-atheist/
content:
<p><strong>Leading Darwin expert and founder of Darwin Online, John van Wyhe, challenges the popular assumption that Darwin&#8217;s theory of evolution corresponded with a loss of religious belief.</strong></p>

<p><img src="http://farm6.static.flickr.com/5040/5876336751_c3c2a59431_z.jpg" alt="" /></p>

<p>The religious views of Charles Darwin, the venerable Victorian naturalist and author of the <em>Origin of Species</em> (1859) never cease to interest modern readers. Bookshops and the internet are well-stocked with discussions of Darwin’s views and the implications of his theory of evolution for religion. Many religious writers today accuse Darwin of atheism. Some popular proponents of atheism also enlist Darwin to their cause. Even while Darwin was still alive there were widely varying descriptions of his religious opinions &#8211; which he kept mostly private. In 1880 the Austrian writer Ernst von Hesse-Wartegg visited Darwin at his home, Down House, in Kent. The coachman who drove Hesse-Wartegg from the train station at Orpington opined of the famous Mr. Darwin: &#8220;Ha es en enfidel, Sar- yes, an enfidel — an unbeliever! and the people say he never went to church!”. The <a href="http://darwin-online.org.uk/content/frameset?viewtype=side&amp;itemID=CUL-DAR226.1.228&amp;pageseq=1">passage</a> quoted here was actually marked in Darwin’s copy of this German newspaper (the Frankfurter Zeitung und Handelsblatt) &#8211; no doubt it amused Darwin as much as the German attempt to capture the Kentish accent through phonetic spelling.</p>

<p>Other commentators were more generous in their interpretations of Darwin’s religiosity. The modern myth of a timeless conflict of science and religion was far from the reality experienced by Victorian readers who first turned the pages of Darwin’s <em>Origin of Species</em> and <em>Descent of Man</em> (1871). It is now widely forgotten that the scientific debate over the theory of evolution was over within twenty years of the publication of <em>Origin of Species</em>. Yet how could that be given that the Victorians were, by and large, far more religious than people generally are today and the scientific evidence for evolution was far less complete than it is now? The explanation is that for very many Victorians the choice was not between God and science, religion or evolution, but between different notions of how God designed nature. It was already widely accepted that fixed natural laws (or secondary laws) had been discovered that explained natural phenomena from astronomy and chemistry to physiology and geology. Darwin, it was believed, had simply discovered a new law of nature designed by God. And it seems this was how Darwin himself viewed at least part of the religious implications of his evolutionary theory. This also makes it all the more understandable that Darwin was buried by the nation in Westminster Abbey in 1882.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm6.static.flickr.com/5075/5876336765_62e6cbba41_b.jpg" width="540" height="726" /><p class="wp-caption-text"> &quot;A Venerable Orang-outang&quot;, a caricature of Charles Darwin as an ape published in The Hornet, a satirical magazine</p></div>

<p>A few of Darwin’s private letters referring to religion were published near the end of his life and more after his death. These have been very widely quoted in the voluminous discussions of Darwin’s religious views. Searching for other material which might have bearing on the question of his religious views, I turned to <em>Darwin Online</em>, an online repository of Darwin&#8217;s corpus where it is possible to search the works by key term. Putting in terms like &#8216;atheist&#8217; and &#8216;atheism&#8217; I found what seems to be a previously unknown discussion of this question by Darwin himself. The <a href="http://darwin-online.org.uk/content/frameset?viewtype=side&amp;itemID=F1319&amp;pageseq=57">passage</a> occurs in Darwin’s lengthy 1879 “Preliminary notice” to the English translation of Ernst Krause’s biography of Darwin’s freethinking paternal grandfather, the poet and physician Erasmus Darwin (1731-1802). Darwin addressed the question of whether his grandfather was an atheist:</p>

<blockquote>
  <p>Dr. Darwin has been frequently called an atheist, whereas in every one of his works distinct expressions may be found showing that he fully believed in God as the Creator of the universe. For instance, in the &#8216;Temple of Nature,&#8217; published posthumously, he writes: &#8220;Perhaps all the productions of nature are in their progress to greater perfection! an idea countenanced by modern discoveries and deductions concerning the progressive formation of the solid parts of the terraqueous globe, and consonant to the dignity of the creator of all things.&#8221; He concludes one chapter in &#8216;Zoonomia&#8217; with the words of the Psalmist: &#8220;The heavens declare the Glory of God, and the firmament sheweth his handiwork.&#8221;</p>
  
  <p>He published an ode on the folly of atheism, with the motto &#8220;I am fearfully and wonderfully made,&#8221; of which the first verse is as follows:—</p>
  
  <p>1.<br />
  Dull atheist, could a giddy dance<br />
  Of atoms lawless hurl&#8217;d<br />
  Construct so wonderful, so wise,<br />
  So harmonised a world?</p>
</blockquote>

<p>It is curious that this passage has not been noticed before. If Charles Darwin argued that his grandfather’s frequent published “expressions” about a creator meant he was not an atheist, it is possible to put Darwin’s own writings to the same test. By searching his published writings on <em>Darwin Online</em> for “creator” one can quickly see the life-long use that Darwin made of this language.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm6.static.flickr.com/5035/5876336757_a2f5f9d010_z.jpg" width="540" height="386" /><p class="wp-caption-text">Diagram representing the divergence of species, from Darwin&#039;s Origin of Species</p></div>

<p>The first occurrence is in his first book, <em>Journal of Researches</em> (first edition of 1839, based on his Beagle diary) now known universally as <em>The Voyage of the Beagle</em> referring to an excursion in Australia:</p>

<blockquote>
  <p>A little time before this I had been lying on a sunny bank, and was reflecting on the strange character of the animals of this country as compared with the rest of the world. An unbeliever in every thing beyond his own reason might exclaim, &#8220;Two distinct Creators must have been at work; their object, however, has been the same, and certainly the end in each case is complete.&#8221;</p>
</blockquote>

<p>The term does not appear in Darwin’s published writings again until the first edition of <em>Origin of Species</em> (1859) and the many different editions and rewordings that followed until 1872.</p>

<p>Darwin next used the term in his following book on the pollination adaptations of orchids in 1862:</p>

<blockquote>
  <p>This treatise affords me also an opportunity of attempting to show that the study of organic beings may be as interesting to an observer who is fully convinced that the structure of each is due to secondary laws, as to one who views every trifling detail of structure as the result of the direct interposition of the Creator.</p>
</blockquote>

<p>This shows Darwin’s position very clearly. Even more informative are the concluding paragraphs of *Variation of Animals and Plants (1868), one of his clearest and most powerful expressions of his theory of natural selection:</p>

<blockquote>
  <p>Some authors have declared that natural selection explains nothing, unless the precise cause of each slight individual difference be made clear. Now, if it were explained to a savage utterly ignorant of the art of building, how the edifice had been raised stone upon stone, and why wedge-formed fragments were used for the arches, flat stones for the roof, &amp;c.; and if the use of each part and of the whole building were pointed out, it would be unreasonable if he declared that nothing had been made clear to him, because the precise cause of the shape of each fragment could not be given. But this is a nearly parallel case with the objection that selection explains nothing, because we know not the cause of each individual difference in the structure of each being.
  The shape of the fragments of stone at the base of our precipice may be called accidental, but this is not strictly correct; for the shape of each depends on a long sequence of events, all obeying natural laws; on the nature of the rock, on the lines of deposition or cleavage, on the form of the mountain which depends on its upheaval and subsequent denudation, and lastly on the storm or earthquake which threw down the fragments. But in regard to the use to which the fragments may be put, their shape may be strictly said to be accidental. And here we are led to face a great difficulty, in alluding to which I am aware that I am travelling beyond my proper province. An omniscient Creator must have foreseen every consequence which results from the laws imposed by Him. But can it be reasonably maintained that the Creator intentionally ordered, if we use the words in any ordinary sense, that certain fragments of rock should assume certain shapes so that the builder might erect his edifice? If the various laws which have determined the shape of each fragment were not predetermined for the builder&#8217;s sake, can it with any greater probability be maintained that He specially ordained for the sake of the breeder each of the innumerable variations in our domestic animals and plants;— many of these variations being of no service to man, and not beneficial, far more often injurious, to the creatures themselves? Did He ordain that the crop and tail-feathers of the pigeon should vary in order that the fancier might make his grotesque pouter and fantail breeds? Did He cause the frame and mental qualities of the dog to vary in order that a breed might be formed of indomitable ferocity, with jaws fitted to pin down the bull for man&#8217;s brutal sport? But if we give up the principle in one case,—if we do not admit that the variations of the primeval dog were intentionally guided in order that the greyhound, for instance, that perfect image of symmetry and vigour, might be formed,—no shadow of reason can be assigned for the belief that variations, alike in nature and the result of the same general laws, which have been the groundwork through natural selection of the formation of the most perfectly adapted animals in the world, man included, were intentionally and specially guided. However much we may wish it, we can hardly follow Professor Asa Gray in his belief &#8220;that variation has been led along certain beneficial lines,&#8221; like a stream &#8220;along definite and useful lines of irrigation.&#8221; If we assume that each particular variation was from the beginning of all time preordained, the plasticity of organisation, which leads to many injurious deviations of structure, as well as that redundant power of reproduction which inevitably leads to a struggle for existence, and, as a consequence, to the natural selection or survival of the fittest, must appear to us superfluous laws of nature. On the other hand, an omnipotent and omniscient Creator ordains everything and foresees everything. Thus we are brought face to face with a difficulty as insoluble as is that of free will and predestination.</p>
</blockquote>

<p>Then in 1871 Darwin addressed the subject of religion in the <em>Descent of Man</em>:</p>

<blockquote>
  <p>Belief in God—Religion.—There is no evidence that man was aboriginally endowed with the ennobling belief in the existence of an Omnipotent God. On the contrary there is ample evidence, derived not from hasty travellers, but from men who have long resided with savages, that numerous races have existed and still exist, who have no idea of one or more gods, and who have no words in their languages to express such an idea. The question is of course wholly distinct from that higher one, whether there exists a Creator and Ruler of the universe; and this has been answered in the affirmative by the highest intellects that have ever lived.</p>
</blockquote>

<p>And in the conclusion to the second volume Darwin wrote:</p>

<blockquote>
  <p>He who believes in the advancement of man from some lowly-organised form, will naturally ask how does this bear on the belief in the immortality of the soul. The barbarous races of man, as Sir J. Lubbock has shewn, possess no clear belief of this kind; but arguments derived from the primeval beliefs of savages are, as we have just seen, of little or no avail. Few persons feel any anxiety from the impossibility of determining at what precise period in the development of the individual, from the first trace of the minute germinal vesicle to the child either before or after birth, man becomes an immortal being; and there is no greater cause for anxiety because the period in the gradually ascending organic scale cannot possibly be determined.</p>
</blockquote>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm6.static.flickr.com/5188/5876336763_890bfb9c3d_z.jpg" width="540" height="542" /><p class="wp-caption-text">Darwin&#039;s first diagram of an evolutionary tree from his First Notebook on Transmutation of Species (1837)</p></div>

<p>Darwin himself was not entirely consistent in the language he used to describe his beliefs. And of course his views changed over the course of his life. Starting in 1876 he began writing a private autobiography for his children and grandchildren. In it he mentioned the change in his religious views. A gradual scepticism towards Christianity and the authenticity of the Bible gradually crept over him during the late 1830s &#8211; leaving him not a Christian, but no atheist either; rather a sort of theist. To be a &#8216;theist&#8217; in Darwin’s day was to believe that a supernatural deity had created nature or the univerise but did not intervene in the course of history. Darwin used the term in one famous passage in the autobiography:</p>

<blockquote>
  <p>&#8230; the extreme difficulty or rather impossibility of conceiving this immense and wonderful universe, including man with his capacity of looking far backwards and far into futurity, as the result of blind chance or necessity. When thus reflecting I feel compelled to look to a First Cause having an intelligent mind in some degree analogous to that of man; and I deserve to be called a Theist.
  This conclusion was strong in my mind about the time, as far as I can remember, when I wrote the Origin of Species; and it is since that time that it has very gradually with many fluctuations become weaker.</p>
</blockquote>

<p>At other times he used the term &#8216;agnostic&#8217; &#8211; a word coined and made fashionable by the naturalist Thomas Henry Huxley. In an 1879 letter, written around the same time as the autobiography and first published in <em>Life and Letters</em>, he writes:</p>

<blockquote>
  <p>In my most extreme fluctuations I have never been an Atheist in the sense of denying the existence of a God. I think that generally (and more and more as I grow older), but not always, that an Agnostic would be the more correct description of my state of mind.</p>
</blockquote>

<p>Given the paucity of evidence, and the ambiguity of the statements that do remain, we will probably never be able to completely refine our definition or understanding of Darwin’s religious views. But that is not to say that there are some things that cannot be known. One point is abundantly clear, all the surviving evidence contradicts the assertion that Darwin was an atheist.</p>

<hr />

<p><br/></p>

<p><em>John van Wyhe is Senior Lecturer at the National University of Singapore. He has published four books on Darwin, including the illustrated biography: Darwin (Andre Deutsch 2008). He is also founder and director of <a href="http://darwin-online.org.uk/">Darwin Online</a>.</em></p>

<h1>Links to works</h1>

<ul>
<li><em>The Origin of Species by means of Natural Selection (1872, 6th edition)</em> by Charles Darwin

<ul>
<li><a href="http://www.gutenberg.org/ebooks/2009.txt.utf8">txt</a></li>
<li><a href="http://www.gutenberg.org/files/2009/2009-h/2009-h.htm">html</a></li>
<li><a href="http://www.archive.org/stream/originofspeciesb00darw">pdf online</a></li>
<li><a href="http://www.archive.org/download/originofspecies00darwuoft/originofspecies00darwuoft.pdf">pdf download</a></li>
</ul></li>
<li><em>The Descent of Man and Selection in Relation to Sex</em> (1896) by Charles Darwin

<ul>
<li><a href="http://www.gutenberg.org/ebooks/2300.txt.utf8">txt</a></li>
<li><a href="http://www.gutenberg.org/ebooks/2300.html.gen">html</a></li>
<li><a href="http://www.archive.org/stream/cu31924022544633">pdf online</a></li>
<li><a href="http://www.archive.org/download/cu31924022544633/cu31924022544633.pdf">pdf download</a></li>
</ul></li>
<li><em>The Voyage of the Beagle</em> (1909) by Charles Darwin

<ul>
<li><a href="http://www.gutenberg.org/ebooks/944.txt.utf8">txt</a></li>
<li><a href="http://www.gutenberg.org/ebooks/944.html.gen">html</a></li>
<li><a href="http://www.archive.org/stream/voyageofbeagle00darwuoft">pdf online</a></li>
<li><a href="http://www.archive.org/download/voyageofbeagle00darwuoft/voyageofbeagle00darwuoft.pdf">pdf download</a></li>
</ul></li>
<li><em>The Variation of Animals and Plants under Domestication &#8211; Volume 2</em> (1885)

<ul>
<li><a href="http://www.gutenberg.org/ebooks/2872.txt.utf8">txt</a></li>
<li><a href="http://www.gutenberg.org/ebooks/2872.html.gen">html</a></li>
<li><a href="http://www.archive.org/stream/variationofanima01darwuoft">pdf online</a></li>
<li><a href="http://www.archive.org/download/variationofanima01darwuoft/variationofanima01darwuoft.pdf">pdf download</a></li>
</ul></li>
<li><em>Life and Letters of Charles Darwin — Volume 1</em> (1891)

<ul>
<li><a href="http://www.gutenberg.org/ebooks/2087.txt.utf8">txt</a></li>
<li><a href="http://www.gutenberg.org/ebooks/2087.html.gen">html</a>  </li>
<li><a href="http://www.archive.org/stream/lifelettersofcha01darw">pdf online</a></li>
<li><a href="http://www.archive.org/download/lifelettersofcha01darw/lifelettersofcha01darw.pdf">pdf download</a></li>
</ul></li>
<li><em>Life and Letters of Charles Darwin — Volume 2</em> (1887)

<ul>
<li><a href="http://www.gutenberg.org/ebooks/2088.txt.utf8">txt</a></li>
<li><a href="http://www.gutenberg.org/ebooks/2088.html.gen">html</a></li>
<li><a href="http://www.archive.org/stream/lifelettersofcha02darw">pdf online</a></li>
<li><a href="http://www.archive.org/download/lifelettersofcha02darw/lifelettersofcha02darw.pdf">pdf download</a></li>
</ul></li>
<li><em>Erasmus Darwin</em> (1896) by Ernst Krause with preliminary chapter by Charles Darwin

<ul>
<li><a href="http://www.archive.org/stream/erasmusdarw00krau">pdf online</a></li>
<li><a href="http://www.archive.org/download/erasmusdarw00krau/erasmusdarw00krau.pdf">pdf download</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.okfn.org/?p=730
title: John Muir’s Literary Science
uri: John-Muir-s-Literary-Science
url: http://publicdomainreview.org/2011/06/09/john-muirs-literary-science/
content:
<p><strong>The writings of the Scottish-born American naturalist John Muir are known for their scientific acumen as well as for their rhapsodic flights. Terry Gifford, author of <em>Reconnecting with John Muir</em>, explores Muir&#8217;s multifaceted engagement with &#8216;God&#8217;s big show&#8217;.</strong></p>

<p><img src="http://farm6.static.flickr.com/5028/5808237214_69f56e4b5b_o.jpg" alt="" /></p>

<p>John Muir was not unaware of how his discoveries from his empirical research in Yosemite were being used by the professionals who were impatient for conventional scientific papers from him. Muir suspected that his refusal of scientific discourse initially left him vulnerable. Muir’s early revolutionary newspaper article titled ‘Living Glaciers of California’ began life in a letter of 8 October 1872 to his friend Jeanne Carr in which Muir set out his empirical research results in glaciology, joking, ‘You will have the first chance to steal’. This follows his complaint that a paper for the Boston Society of Natural History from Professor Samuel Kneeland drew from Muir’s work ‘and gave me credit for all of the smaller sayings and doings, and stole the broadest truth to himself’. When Muir’s literary executor William Frederic Badè compiled <em>The Life and Letters</em> (1924; reprinted 1996) he tactfully omitted a paragraph from this letter in which Muir also wondered how much credit he was being given in a lecture by the Berkeley geologist Professor LeConte whom Muir had guided with his students in Yosemite two years before. This lecture was to be published and was advertised as ‘advancing many new and interesting theories’. Muir wrote to Jeanne Carr that he could better express his own thoughts for the public than LeConte’s ‘second-hand rehash’. So Muir’s resolve to publish his own work more effectively, using Jeanne Carr as, in effect, his literary agent, derived, at least in part, from a mistrust of professional scientists. In his determined amateurism and refusal to limit himself to the discourse of the professionals, Muir reached a wider audience with greater effect, gaining for himself a place not only in scientific, but also in literary history. In the richness of Muir’s discourse he reveals himself to be what he admired in Asa Gray, ‘a great, progressive, unlimited man like Darwin and Huxley and Tyndall’.</p>

<p>What are the ways in which Muir’s discourse might be described as ‘progressive’ and ‘unlimited’? Two key features are narrative and metaphor. Even as he prepared to give the facts and figures of the movements of his stakes in the Mt McClure glacier which proved that the living glaciers of the high Sierra were moving at one inch each day, Muir launched into a mystery narrative, vivid with detail, lively in analogy, seductive in alliteration and powerfully rhythmic:</p>

<blockquote>
  <p>One of the yellow days of last October, when I was among the mountains of the Merced group, following the footprints of the ancient glaciers that once flowed grandly from their ample fountains, reading what I could of their history as written in moraines and canyons and lakes and carved rocks, I came upon a small stream that was carrying mud I had not before seen.</p>
</blockquote>

<p>Ending this sentence with a slightly formal inversion enables Muir to produce the rhyme that sets up the mystery: ‘stream’/’seen’.</p>

<p>In his personal narratives Muir frequently exclaims aloud: ‘Before I had time to reason I said, “Glacier Mud! – mountain meal!”’ The dramatic effect of this on the page has actually been enhanced by Badè’s addition of the quotation and exclamation marks. It is worth remembering that Muir developed a reputation for oral dramatic story-telling that must have been symbiotic with his written narrative sense. Ronald Limbaugh has brilliantly shown that Muir integrated not only his reading, but his oral story-telling with what we have in print in the case of the story of Stickeen. (See Gifford 1996, page 893ff, for a memoir of Muir’s ‘wonderful story-telling ability’.) So, as the narrative unfolds, mud leads to a terminal moraine, above which is snow, on which are lines of stones clearly moving in curves and ‘I shouted, “A living glacier!”’ The Berkeley scientist LeConte had mistrusted Muir’s sample of glacier ice that he had sent him years before, so Muir ‘determined to collect proofs of the common measured arithmetical kind’ which in this letter/article/paper he goes on provide. Of course, what Muir’s measurements revealed was a narrative much more important than that of personal discovery, solving a mystery, or correcting the sceptical professionals of his day who clung to a belief that Yosemite Valley was formed by a single seismic cataclysm. Muir’s is the fundamental narrative demonstrated from different data by Darwin, that creation is still ongoing.</p>

<p><img src="http://farm4.static.flickr.com/3601/5808237220_a5805a5f37_o.jpg" alt="" /></p>

<p>It is the dynamic interplay of elemental forces in the natural world that is Muir’s central narrative and the reason why his writing is so dramatic is because he seeks to place himself in their way for the purpose not only of empirical observation, but also to be at home in them as a species. Muir’s scientific data is always a personal narrative because he wants to demonstrate that it is possible for our species to find a place in that ongoing creation. His personal example leads his readership to be aware of choices crucial to its influence on evolution. If, for example, logging reduced the number of tree species in America, the future evolution of American forests was limited in its development. Conservation became, for Muir, not just nostalgic preservation, but an intervention in potential futures. In specific cases this narrative would determine whether the human species could survive in America. Muir noted that the logging of watersheds, for example, was having a disastrous effect upon water conservation in a California that looked unlikely to be able to sustain its growing human population.</p>

<p>Commenting on Darwin’s evolutionary narrative Gillian Beer writes, ‘Evolutionary theory brings together two imaginative elements implicit in much nineteenth-century thinking and creativity. One was the fascination with growth … The other was the concept of transformation.’ When Beer writes that the reason why Wordsworth and Coleridge mattered to Darwin was because of their ‘emphasis on growth and process rather than on conclusion and confirmation’, one recognises Muir’s central narrative drive. For Muir that unfinished process of American nature – rather than American ‘landscapes’ – had implications for the human species that called for a conservation debate that went deeper than the usual nineteenth century American concept of ‘wise use of resources’. This required a popular mode of writing that could draw upon all the resources of rhetoric. As a trained scientist who had studied the Bible, Milton and Burns, Muir had the literary skills as well as the discipline-base to combine the discourses of authoritative scientist, popular poetic nature writer and conservationist preacher with, admittedly, varying degrees of success.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm4.static.flickr.com/3622/5810917439_36052a3e92_o.jpg" title="Muir Glacier" width="540" height="319" /><p class="wp-caption-text">Picture of Muir Glacier printed in Samuel Hall Young&#039;s &quot;Alaska Days with John Muir&quot; (1915)</p></div>

<p>Unlike Darwin, it is clear that Muir delighted in his rhetorical resources. ‘Despite the metaphoric density of his writing,’ Beer writes, ‘Darwin seems never to have raised into consciousness its imaginative … implications … He saw some of the dangers of “authorisation”.’ Muir revelled in ‘authorisation’, playfully and brilliantly mixing his metaphors to startling effects. One of the techniques Muir frequently used to generate the awe of looking at something afresh was the analogy of poetic images. Thus we have in the discourse of the <em>Studies in the Sierra</em> (1874; reprinted in Gifford 1996) ‘ice-ploughs’, ‘glacial cultivation’, ‘ice-wombs, now mostly barren’, ‘pages of rocks embellished with gardens’, a ‘canyon-tree’ of ice whose ‘fruit and foliage’ are ‘meadow and lake’, together with a ‘five-petalled glacier’.  In her study of Victorian scientific prose, Gillian Beer notes the use of poetic effects: ‘Poetry offered particular formal resources to think with … The poet sets up multiple relations between ideas in a style closer to the form of theorems than of prose.’ It is clear that Muir was thinking with his metaphors, as when he wrote that whilst the tree analogy for a river served some aspects well, in other respects they ‘more nearly resemble certain gigantic algae with naked stalks’. The essay on the ‘Formation of Soils’ concludes with Muir’s all-encompassing proto-ecological vision that all his poetic devices try to serve: ‘Nor in all these involved operations may we detect the faintest note of disorder; every soil-atom seems to yield enthusiastic obedience to law – boulders and mud-grains moving to music as harmoniously as the far-whirling planets.’ The scope of this, as well as its biblical construction and rhythms, conveys a subtle spiritual dimension that is inherent rather than explicit. But later in life, faced with the urgent need for conservation campaigning, based upon his then extensive scientific knowledge, Muir was also to be roused to the ranting discourse of the preacher.</p>

<p>‘Dam Hetch Hetchy! As well as dam for water-tanks the people’s cathedrals and churches, for no holier temple has ever been consecrated by the heart of man.’ Muir could work his rhetoric up to end a book with a bang. ‘God has cared for these trees, saved them from drought disease, avalanches and a thousand straining levelling tempests and floods; but he cannot save them from fools – only Uncle Sam can do that.’ The final arguments of <em>The Yosemite</em> and <em>Our National Parks</em> respectively are not Muir’s strongest, despite their strong form of discourse. Both arguments appear to appeal to the religious norms of his readers, but both are flawed by their own internal logic. If man-made temples are not as holy as Hetch Hetchy Valley they might actually provide better water-tanks. And no post-Darwinian proto-ecologist can believe that ‘God’ has ‘saved’ America’s forests. In fact, the rather more measured discourse that has preceded these resounding final rants is more convincing.</p>

<p>On the Hetch Hetchy issue, Muir took each of the popular arguments for flooding the valley and corrected false information and impressions. Muir argued that this valley is ‘one of the greatest of all our natural resources for the uplifting joy and peace and health of the people … where Nature may heal and cheer and give strength to body and soul alike.’ The argument for the healing power of direct contact with wild nature for urban humans appealed to both utility and spirituality. In his later writing Muir’s democratic appeal on behalf of ‘the people’ was the basis for his conservation strategy. As himself an immigrant with an immigrant’s faith in American democracy, Muir made a moving argument at the end of <em>Our National Parks</em> about America’s welcoming those to the woods who would live wisely in them, but that regulation for sustainable living must ultimately be made by the federal government to control corporate lumber interests. So ultimately, it is not just that Muir could not confine himself to the discourse of the empirical scientist, could not deny his poetic muse. Muir’s talent as a popular writer reaching a wide audience throughout America was put at the service of the American land through the medium of the voting power of the American people.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm3.static.flickr.com/2288/5808237226_681fecd4bd_o.jpg" title="John Muir with Roosevelt" width="540" height="494" /><p class="wp-caption-text">John Muir with U.S. President Theodore Roosevelt on Glacier Point in Yosemite National Park</p></div>

<p>Of course, some of Muir’s writing can seem excruciatingly New Age to the contemporary reader unsympathetic to this discourse, as in the most sentimental of Muir’s personifications when, returning from days spent on the glaciers, ‘bird and plant friends’ welcomed him back among them. It is worth noting Gillian Beer’s observation that Darwin’s anthropomorphisms were ‘based on the assumed congruity of man with all other forms of life’. It is fair to recognise that Muir’s eccentric whimsical persona produced these effects partly out of the same mode of discourse that allowed for ‘snowflowers’ and ‘petalled glaciers’. Images that reminded readers of the seamless nature of the processes of growth and decay, of the sensitivity of everything to its context, were key features of Muir’s rhetorical strategy. We may now wince ourselves to read in the <em>Studies</em> that ‘the huge granite valley was lithe as a serpent, and winced tenderly to the touch of every tributary’. But here was a work of science that sought to convey a vision of more than just ‘congruity’ that strains at the limits of the resources of human discourses themselves.</p>

<p>Muir’s earliest published journal, <em>A Thousand Mile Walk to the Gulf</em>, is probably his earliest sustained prose attempt to find a discourse adequate to his sense of the dimensions of the world to which he was so alert. This journal is a young man’s purging of many of the assumptions with which he has grown up. It is both a humbling and an uplifting experience: ‘The substance of the winds is too thin for human eyes, their written language is too difficult for human minds, and their spoken language mostly too faint for the ears.’ But for Muir the demand for a rich use of multiple discourses that not only integrate our forms of knowledge but our modes of expression, is produced by the attempt to confront the complexity of the world in which we have to be at home or die. Muir’s early frustration at the limits of human discourse arose out of a deep sense of the richness of relations in the natural world he wanted to mediate. In that early journal Muir wrote: ‘There is not a fragment in nature, for every relative fragment of one thing is a full harmonious unit in itself. All together form the one great palimpsest of the world.’ Only a literature such as Muir developed, that drew from all the multiple modes of discourse available, could hope to see into and serve that palimpsest.</p>

<p><img src="http://farm4.static.flickr.com/3634/5807700057_d37ec4ea0b_o.jpg" alt="" /></p>

<p><em>Terry Gifford is Professor of English at Bath Spa University and University of Alicante. This article is an adapted extract from Chapter 3 of his book Reconnecting with John Muir: Essays in Post-Pastoral Practice (2006). It also features material in his John Muir: The Life and Letters and Other Writings (1996).</em></p>

<h1>Links to works</h1>

<p><strong>Scanned copies of <em>The Writings of John Muir</em> (1916)</strong></p>

<ul>
<li><em>Volume 1 &#8211; A Story of My Boyhood and Youth &amp; A Thousand Mile Walk to the Gulf</em>

<ul>
<li><a href="http://www.archive.org/stream/writingsjohnmuir01muirrich">pdf online</a></li>
<li><a href="http://www.archive.org/download/writingsjohnmuir01muirrich/writingsjohnmuir01muirrich.pdf">pdf download</a></li>
</ul></li>
<li><em>Volume 2 &#8211; My First Summer in the Sierra</em>

<ul>
<li><a href="http://www.archive.org/stream/writingsjohnmuir02muirrich">pdf online</a></li>
<li><a href="http://www.archive.org/download/writingsjohnmuir02muirrich/writingsjohnmuir02muirrich.pdf">pdf download</a></li>
</ul></li>
<li><em>Volume 3 &#8211; Travels in Alaska</em>

<ul>
<li><a href="http://www.archive.org/stream/writingsjohnmuir03muirrich">pdf online</a></li>
<li><a href="http://www.archive.org/download/writingsjohnmuir03muirrich/writingsjohnmuir03muirrich.pdf">pdf download</a></li>
</ul></li>
<li><em>Volume 4 &#8211; The Mountains of California I</em>

<ul>
<li><a href="http://www.archive.org/stream/writingsjohnmuir04muirrich">pdf online</a></li>
<li><a href="http://www.archive.org/download/writingsjohnmuir04muirrich/writingsjohnmuir04muirrich.pdf">pdf download</a></li>
</ul></li>
<li><em>Volume 5 &#8211; The Mountains of California II</em>

<ul>
<li><a href="http://www.archive.org/stream/writingsjohnmuir05muirrich">pdf online</a></li>
<li><a href="http://www.archive.org/download/writingsjohnmuir05muirrich/writingsjohnmuir05muirrich.pdf">pdf download</a></li>
</ul></li>
<li><em>Volume 6 &#8211; Our National Parks</em>

<ul>
<li><a href="http://www.archive.org/stream/writingsjohnmuir06muirrich">pdf online</a></li>
<li><a href="http://www.archive.org/download/writingsjohnmuir06muirrich/writingsjohnmuir06muirrich.pdf">pdf download</a></li>
</ul></li>
<li><em>Volume 7 &#8211; The Cruise of the Corwin</em>

<ul>
<li><a href="http://www.archive.org/stream/writingsjohnmuir07muirrich">pdf online</a></li>
<li><a href="http://www.archive.org/download/writingsjohnmuir07muirrich/writingsjohnmuir07muirrich.pdf">pdf download</a></li>
</ul></li>
<li><em>Volume 8 &#8211; Steep Trails</em>

<ul>
<li><a href="http://www.archive.org/stream/writingsjohnmuir08muirrich">pdf online</a></li>
<li><a href="http://www.archive.org/download/writingsjohnmuir08muirrich/writingsjohnmuir08muirrich.pdf">pdf download</a></li>
</ul></li>
<li><em>Volume 9 &#8211; The Life and Letters of John Muir I (by William Frederic Badè)</em>

<ul>
<li><a href="http://www.archive.org/stream/writingsjohnmuir09muirrich">pdf online</a></li>
<li><a href="http://www.archive.org/download/writingsjohnmuir09muirrich/writingsjohnmuir09muirrich.pdf">pdf download</a></li>
</ul></li>
<li><em>Volume 10 &#8211; The Life and Letters of John Muir II (by William Frederic Badè)</em>

<ul>
<li><a href="http://www.archive.org/stream/writingsjohnmuir10muirrich">pdf online</a></li>
<li><a href="http://www.archive.org/download/writingsjohnmuir10muirrich/writingsjohnmuir10muirrich.pdf">pdf download</a></li>
</ul></li>
</ul>

<p><strong>Complete HTML versions of all John Muir&#8217;s writings, including articles and selected passages</strong></p>

<ul>
<li><a href="http://www.yosemite.ca.us/john_muir_writings/">html</a></li>
</ul>

<p><strong><em>Alaska Days with John Muir</em> (1915) by Samuel Hall Young</strong></p>

<ul>
<li><a href="http://www.archive.org/stream/alaskadayswithjo00youn">pdf online</a></li>
<li><a href="http://www.archive.org/download/alaskadayswithjo00youn/alaskadayswithjo00youn.pdf">pdf download</a></li>
</ul>


feed_id: http://publicdomainreview.okfn.org/?p=679
title: Beatus of Liébana
uri: Beatus-of-Liébana
url: http://publicdomainreview.org/2011/04/18/beatus-of-liebana/
content:
<p><strong>In a monastery in the mountains of northern Spain, 700 years after the Book of Revelations was written, a monk set down to illustrate a collection of writings he had compiled about this most vivid and apocalyptic of the New Testament books. Throughout the next few centuries his depictions of multi-headed beasts, decapitated sinners, and trumpet blowing angels, would be copied over and over again in various versions of the manuscript. John Williams, author of <em>The Illustrated Beatus</em>, introduces Beatus of Liébana and his Commentary on the Apocalypse.</strong></p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm6.static.flickr.com/5101/5625017932_74043696e9_o.jpg" title="The Vision of the Lamb (Apoc. 4: 6 – V: 6-8), in Maius' Morgana Beatus, Pierpont Morgan Library M644, fol. 87r" width="540" height="672" /><p class="wp-caption-text">The Vision of the Lamb (Apoc. 4: 6 – V: 6-8), in Maius' Morgana Beatus, Pierpont Morgan Library M644, fol. 87r</p></div>

<p>Towards the end of the eighth century Beatus, a monk in the monastery of San Martin de Turieno, near present day Santander, compiled a Commentary on the Book of Revelation, or Apocalypse, from the writings dedicated to the topic by such patristic authors as Jerome, Augustine, Ambrose and Irenaeus. Recognition of Beatus of Liébana has survived to our time thanks to his decision to illustrate the sixty-eight sections into which he divided the text of the Book of Revelation. It was a decision that could not easily have been anticipated, for it is not at all clear that Beatus had ever seen an illustrated book, and it is almost certain these illustrations were invented by him or an assistant. The pictures would remain integral to the many – some twenty-six – copies of the Commentary that have survived.</p>

<p>Some have assumed that Beatus’s great work was linked to his campaign against “Adoptionism,” the heretical position on the nature of the Godhead espoused by the bishop of Toledo, but it antedated that campaign. More commonly the book has been linked to the fact that Christian Spain had been conquered and occupied by Muslims. Perhaps some monks, who expected to adopt an allegorical mode for much that they read, identified the assailants of the righteous in the Book of Revelation with their Andalusian neighbors, but the texts harvested by Beatus were all written before Muhammad’s time and can not explicitly target Islam. In fact, the few passages that can be attributed to Beatus himself, make it clear that he chose the Apocalypse, the last book of the Bible and the one that prophesies the future, because of the common belief that the world would end in A.D. 800 and usher in the Last Judgment. The fact that most copies date after the tenth century, when millennial expectations might have been revived, shows that the tradition had a life of its own. The illustrations must have played a major role in survival of the tradition.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm6.static.flickr.com/5025/5625014260_dcf8974930_o.jpg" title="And the fifth Angel sounded the trumpet: and I saw a star fall from heaven upon the earth, and to him was given the key of the bottomless pit - in the Beatus de Facunda" width="540" height="580" /><p class="wp-caption-text">And the fifth Angel sounded the trumpet: and I saw a star fall from heaven upon the earth, and to him was given the key of the bottomless pit (Apoc:9 - V:1-11) - in the Beatus de Facunda</p></div>

<p>The Apocalypse dramatically exposes the future as a contest between the people of God and a triumphant Godhead and the Anti-Christ and his minions, often in the guise of fantastic beasts. Lacking any copy from before the tenth century, we cannot be sure of the appearance of Beatus’s original illustrations, but those in copies of the tenth century employ a dramatic and colorful style eminently suited to the visions offered by John in the Apocalypse.  From the copies that preserve the version of the text closest to the original, we know the pictorial format chosen by Beatus placed the figures directly on the vellum within one of the two columns of text. This format was radically revised in the middle of the tenth century by the scribe and painter Maius in the monastery of San Salvador de Tábara in the southern part of the kingdom of León, as first witnessed in the Commentary in the Pierpont Morgan Library in New York. Inspired by the manner in which biblical subjects were illustrated at the French monastery of Saint-Martin de Tours, Maius enlarged the pictures, sometimes spreading them in an inventive way across two facing pages. With the addition of frames the backgrounds were painted, often – and again Touronian painting was influential – in horizontal bands of contrasting colors. No one would mistake this polychromatic expressionistic style for the classicizing style of Tours, nor can it be traced, as is sometimes assumed, to the influence of the art of Andalusia. In the succeeding centuries, however, native style would give way to successive phases of pictorial language invented north of the Pyrenees. The last illustrated copy surviving dates to the middle of the thirteenth century, a time that coincides with the decline of monastic culture.</p>

<div align="center">
<div class='flickr-mini-gallery ' lang=_s& rel="photoset_id=72157626386516489&extras=" longdesc='photoset'></div>
</div>

<p><br /></p>

<p><em>John Williams (B.A. Yale, PH.D University of Michigan) taught twelve years at Swarthmore College, retired as Distinguished Service Professor of the History of Art and Architecture, University of Pittsburgh. He is Fellow of the Medieval Academy of America and author of The Illustrated Beatus, 5 vols, London, (1994-2003).</em></p>

<h1>Links to work</h1>

<ul>
<li>Images from a selection of different illustrated Beatus manuscripts

<ul>
<li><a href="http://commons.wikimedia.org/wiki/Category:Illustrated_Beatus_manuscripts">wikimedia commons</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.okfn.org/?p=639
title: Bugs and Beasts Before the Law
uri: Bugs-and-Beasts-Before-the-Law
url: http://publicdomainreview.org/2011/03/27/bugs-and-beasts-before-the-law/
content:
<p><strong>Murderous pigs sent to the gallows, sparrows prosecuted for chattering in Church, a gang of thieving rats let off on a wholly technical acquittal &#8211;  theoretical psychologist and author Nicholas Humphrey* explores the strange world of medieval animal trials.</strong></p>

<p><img src="http://farm6.static.flickr.com/5148/5564073234_f0f6105889_o.jpg" alt="" /></p>

<p>On 5 March 1986 some villagers near Malacca in Malaysia beat to death a dog, which they believed was one of a gang of thieves who transform themselves into animals to carry out their crimes. The story was reported on the front page of the London Financial Times. &#8220;When a dog bites a man,&#8221; it is said, &#8220;that&#8217;s not news; but when a man bites a dog, that is news&#8221;.</p>

<p>Such stories, however, are apparently not news for very long. Indeed the most extraordinary examples of people taking retribution against animals seem to have been almost totally forgotten. A few years ago I lighted on a book, first published in 1906, with the surprising title <em>The Criminal Prosecution and Capital Punishment of Animals</em> by E.P.Evans, author of <em>Animal Symbolism in Ecclesiastical Architecture</em>, <em>Bugs and Beasts before the Law, etc., etc</em>. The frontispiece showed an engraving of a pig, dressed up in a jacket and breeches, being strung up on a gallows in the market square of a town in Normandy in 1386; the pig had been formally tried and convicted of murder by the local court. When I borrowed the book from the Cambridge University Library, I showed this picture of the pig to the librarian. &#8220;Is it a joke?&#8221;, she asked.</p>

<p>No, it was not a joke. All over Europe, throughout the middle-ages and right on into the 19th century, animals were, as it turns out, tried for human crimes. Dogs, pigs, cows, rats and even flies and caterpillars were arraigned in court on charges ranging from murder to obscenity. The trials were conducted with full ceremony: evidence was heard on both sides, witnesses were called, and in many cases the accused animal was granted a form of legal aid &#8212; a lawyer being appointed at the tax-payer&#8217;s expense to conduct the animal’s defence.</p>

<p>In 1494, for example, near Clermont in France a young pig was arrested for having &#8220;strangled and defaced a child in its cradle&#8221;. Several witnesses were examined, who testified that &#8220;on the morning of Easter Day, the infant being left alone in its cradle, the said pig entered during the said time the said house and disfigured and ate the face and neck of the said child .. which in consequence departed this life.&#8221; Having weighed up the evidence and found no extenuating circumstances, the judge gave sentence:</p>

<blockquote>
  <p>We, in detestation and horror of the said crime, and to the end that an example may be made and justice maintained, have said, judged, sentenced, pronounced and appointed that the said porker, now detained as a prisoner and confined in the said abbey, shall be by the master of high works hanged and strangled on a gibbet of wood.</p>
</blockquote>

<p>Evans&#8217; book details more than two hundred such cases: sparrows being prosecuted for chattering in Church, a pig executed for stealing a communion wafer, a cock burnt at the stake for laying an egg. As I read my eyes grew wider and wider. Why did no one tell us this at school? Why were we taught so many dreary facts of history at school, and not  taught these?</p>

<p><img src="http://farm6.static.flickr.com/5106/5564138558_b63a1ce16e_o.jpg" alt="" /></p>

<p>We all know how King Canute attempted to stay the tide  at Lambeth; but who has heard, for example, of the solemn threats made against the tides of locusts which threatened to engulf the countryside of France and Italy? The Pied Piper, who charmed the rats from Hamelin is a part of legend; but who has heard of Bartholomew Chassenée, a French jurist of the sixteenth century, who made his reputation at the bar as the defence counsel for some rats? The rats had been put on trial in the ecclesiastical court on the charge of having &#8220;feloniously eaten up and wantonly destroyed&#8221; the local barley. When the culprits did not in fact turn up in court on the appointed day, Chassenée made use of all his legal cunning to excuse them. They had, he urged in the first place, probably not received the summons since they moved from village to village; but even if they had received it they were probably too frightened to obey, since as everyone knew they were in danger of being set on by their mortal enemies the cats. On this point Chassenée addressed the court at some length, in order to show that if a person be cited to appear at a place to which he cannot come in safety, he may legally refuse. The judge, recognising the justice of this claim, but being unable to persuade the villagers to keep their cats indoors, was obliged to let the matter drop.</p>

<p>For an animal found guilty, the penalty was dire. The Normandy pig, depicted in the frontispiece of the Evans book, was charged with having torn the face and arms of a baby in its cradle. The pig was sentenced to be &#8220;mangled and maimed in the head forelegs&#8221;, and then &#8211; dressed up in a jacket and breeches &#8211; to be hung from a gallows in the market square.</p>

<p>But, as we have seen with Chassenée&#8217;s rats, the outcome of these trials was not inevitable. In doubtful cases the courts appear in general to have been lenient, on the principle of &#8220;innocent until proved guilty beyond reasonable doubt&#8221;. In 1587, a gang of weevils, accused of damaging a vineyard, were deemed to have been exercising their natural rights to eat &#8211; and, in compensation, were granted a vineyard of their own. In 1457 a sow was convicted of murder and sentenced to be &#8220;hanged by the hind feet from a gallows tree&#8221;. Her six piglets, being found stained with blood, were included in the indictment as accomplices. But no evidence was offered against them, and on account of their tender age they were acquitted. In 1750 a man and a she-ass were taken together in an act of buggery. The prosecution asked for the death sentence for both of them. After due process of law the man was sentenced, but the animal was let off on the ground that she was the victim of violence and had not participated in her master&#8217;s crime of her own free-will. The local priest gave evidence that he had known the said she-ass for four years, that she had always shown herself to be virtuous and well-behaved, that she had never given occasion of scandal to anyone, and that therefore he was &#8220;willing to bear witness that she is in word and deed and in all her habits of life a most honest creature.&#8221;</p>

<p><img src="http://farm6.static.flickr.com/5268/5563515249_8fd8099d2c_o.jpg" alt="" /></p>

<p>What was the purpose of these lengthy and extravagant procedures? A desire for revenge cannot have been the only motive. Evans cites cases of inanimate objects being brought before the law. In Greece, a statue that fell on a man was charged with murder and sentenced to be thrown into the sea; in Russia, a bell that peeled too gleefully on the occasion of the assassination of a prince was charged with treason and exiled to Siberia.</p>

<p>The protection of society cannot have been the only motive either. Evans tells of the bodies of criminals, already dead, being brought to trial. Pope Stephen VI, on his accession in 896, accused his predecessor, Formosus, of sacrilegiously bringing the papal office into disrepute. The body of the dead pope was exhumed, dressed in the pontifical robes and set up on a throne in St. Peter&#8217;s, where a deacon was appointed to defend him. When the verdict of guilty was pronounced, the executioner thrust Formosus from the throne, stripped him of his robes, cut off the three benedictory fingers of his right hand and threw his body &#8220;as a pestilential thing&#8221; into the Tiber.</p>

<p>Taken together, Evans&#8217; cases suggest that again and again, the true purpose of the trials was psychological. People were living at times of deep uncertainty. Both the Greeks and medieval Europeans had in common a deep fear of lawlessness: not so much fear of laws being contravened, as the much worse fear that the world they lived in might not be a lawful place at all. A statue fell on a man out of the blue, a pig killed a baby while its mother was at mass, swarms of locusts appeared from nowhere and devastated the crops, the Holy See was becoming riddled with corruption. At first sight such misfortunes can have appeared to have no rhyme or reason to them. To an extent that we today cannot find easy to conceive, these people of the pre-scientific era lived every day at the edge of explanatory darkness. No wonder if, like Einstein in the twentieth century, they were terrified of the real possibility that &#8220;God was playing dice with the universe&#8221;.</p>

<p><img src="http://farm6.static.flickr.com/5058/5564138554_a8c0c7055b_o.jpg" alt="" /></p>

<p>The same anxiety has indeed continued to pervade more modern minds. Dostoevsky&#8217;s Ivan Karamazov, having declared that &#8220;Everything is permitted&#8221;, concluded that were his thesis to be generally acknowledged &#8220;every living force on which all life depends would dry up at once&#8221;. Alexander Pope claimed that &#8220;order is heaven&#8217;s first law&#8221;. And Yeats drew a grim picture of a lawless world:</p>

<blockquote>
  <p>Turning and turning in the widening gyre<br />
  The falcon cannot hear the falconer;<br />
  Things fall apart; the centre cannot hold;<br />
  Mere anarchy is loosed upon the world.<br /></p>
</blockquote>

<p>Yet the natural universe, lawful as it may in fact have always been, was never in all respects self-evidently lawful. And people&#8217;s need to believe that it was so, their faith in determinism, that everything was not permitted, that the centre did hold, had to be continually confirmed by the success of their attempts at explanation.</p>

<p>So the law courts, on behalf of society, took matters into their own hands. Just as today, when things are unexplained, we expect the institutions of science to put the facts on trial, one can see the whole purpose of the legal actions as being to establish cognitive control. In other words, the job of the courts was to domesticate chaos, to impose order on a world of accidents &#8212; and specifically to make sense of certain seemingly inexplicable events by redefining them as crimes.</p>

<p>I read some years ago another report in a London newspaper:</p>

<blockquote>
  <p>A jilted woman who attempted suicide by leaping from a 12th floor window but landed on and killed a street salesman has been charged with manslaughter. Prosecutors in Taipei, Taiwan said 21-year-old Ho Yu-Mei was responsible for the death of the food salesman because she failed to make sure that there was no one below when she jumped. Ho had argued that she thought the man would have moved away by the time she hit the ground. She also said she had threatened earlier to sue the salesman because &#8220;he interfered&#8221; with her freedom to take her own life. If convicted, Ho could be imprisoned for two years.</p>
</blockquote>

<p>Who says that the medieval obsession with responsibility has gone away? 
But it was with dogs as criminals I began, and with dogs as criminals I&#8217;ll end. A story in The Times some years ago told how a dead dog had been thrown by an unknown hand from the roof of a sky-scraper in Johannesburg, had landed on a man and flattened him &#8212; the said man having in consequence departed this life. The headline read &#8212; oh, how un-newsworthy! &#8212; DOG KILLS MAN. I wonder what Chassenée or E.P.Evans would have made of that.</p>

<p><br /></p>

<hr />

<p><em><a href="http://www.humphrey.org.uk">Nicholas Humphrey</a> is a theoretical psychologist, based in Cambridge,  who is known for his work on the evolution of human intelligence and consciousness. His interests are wide ranging. He studied mountain gorillas with Dian Fossey in Rwanda, he was the first to demonstrate the existence of “blindsight” after brain damage in monkeys, he proposed the celebrated theory of the “social function of intellect, and he is the only scientist
ever to edit the literary journal Granta. His many books include Consciousness Regained, A History of the Mind, Leaps of Faith, The Mind Made Flesh and most recently Soul Dust. He has been the recipient of several honours, including the Martin Luther King Memorial Prize, the Pufendorf medal and the British Psychological Society’s book award.</em></p>

<p>*(Article adapted from several sources, by permission)</p>

<h1>Links to works</h1>

<ul>
<li><em>The Criminal Prosecution and Capital Punishment of Animals</em> by E.P.Evans (1906)

<ul>
<li><a href="http://www.archive.org/stream/cu31924021236017/cu31924021236017_djvu.txt">txt</a></li>
<li><a href="http://www.archive.org/stream/cu31924021236017">pdf online</a></li>
<li><a href="http://www.archive.org/download/cu31924021236017/cu31924021236017.pdf">pdf download</a></li>
</ul></li>
<li><em>The Trials of Animals and Insects</em> by Hampton Carlson, article in American Philosophical Transactions (1917)

<ul>
<li><a href="http://www.archive.org/stream/proceedingsofame56ameruoft#page/410/mode/2up">pdf online</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.okfn.org/?p=573
title: 100 Years of The Secret Garden
uri: 100-Years-of-The-Secret-Garden
url: http://publicdomainreview.org/2011/03/08/100-years-of-the-secret-garden/
content:
<p><strong>This year marks the 100th anniversary of the children&#8217;s classic <em>The Secret Garden</em>. Gretchen Holbrook Gerzina, author of <em>Frances Hodgson Burnett: The Unexpected Life of the Author of The Secret Garden</em>, takes a look at the life of Burnett and how personal tragedy underpinned the creation of her most famous work.</strong></p>

<p><img src="http://farm6.static.flickr.com/5016/5506852458_c0a3b03da8_o.jpg" alt="" /></p>

<p>“With regard to <em>The Secret Garden</em>,” Frances Hodgson Burnett wrote to her English publisher in October 1910, “do you realize that it is not a novel, but a childs [sic] story though it is gravely beginning life as an important illustrated serial in a magazine for adults. . . . It is an innocent thriller of a story to which grown ups listen spell bound to my keen delight.”  The “thriller of a story” made its first appearance that fall in The American Magazine, but appeared as an actual book a year later.</p>

<p>Now, as the novel is celebrated during its centennial year, it’s fascinating to go back and see the modest beginning of a book that is repeatedly cited as one of the most influential and beloved children’s books of all time. Yet Burnett would be astonished today to learn that she is known primarily as a writer for children, when the majority of her fifty-three novels and thirteen produced plays were for adults.</p>

<p>When Burnett sat down to write the story of an orphaned girl sent from India to the Yorkshire moors, where she helps herself and others find redemption and health by reviving a forgotten garden, she composed it not in the north of England but in her new home on Long Island. Born in 1849 and raised in Manchester, England into a middle class family, she moved as a teenager to Tennessee when her widowed mother decided they should emigrate at the end of the Civil War. Although they were poor, Burnett was delighted at giving up the grit and smoke of a factory city for the stunning landscapes of eastern Tennessee. In America she soon began to publish her romantic stories in some of the most popular magazines, eventually becoming hugely famous when she published her sixth novel, <em>Little Lord Fauntleroy</em>, in 1886. From the first her work had never been turned down by any publisher, but with <em>Fauntleroy</em> she became, and remained, the highest paid woman writer of her time, churning out books and stories with great regularity. Despite the enormous success of Fauntleroy, and later of <em>A Little Princess</em>, most of her novels and plays were not for a juvenile audience.</p>

<p>By this time a married mother of two living in Washington, DC, she capitalized on her English background in most of her work. Over the years, England remained an active and important part of her life. She crossed the Atlantic no fewer than thirty-three times over her lifetime, often living abroad for a year or two at a time. At the same time, she maintained homes in Washington, and later in New York, and doted upon her very American sons, even when her marriage to their father broke down and through some surprisingly long absences from them.</p>

<p>Two life-changing events contributed to the genesis of <em>The Secret Garden</em>, which was written late in her life. The first was the death of her sixteen-year-old son Lionel, who became increasingly ill in Washington while she was living away. Her husband, Dr. Swan Burnett, wrote her urgent letters about their son’s failing health, but it was not until the diagnosis turned out to be tuberculosis that she rushed home to take Lionel on a desperate circuit of European spas. When he died in her arms in Paris at the end of 1890, she was completely devastated. For years she threw herself into starting and supporting a clubhouse for boys in London, and in spoiling her remaining son, Vivian.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm6.static.flickr.com/5259/5506895216_c18d7b7bcf_o.jpg" width="540" height="712" /><p class="wp-caption-text">Vivian Burnett dressed as &#039;Little Lord Fauntleroy&#039;</p></div>

<p>The second loss was that of her beloved home Maytham Hall in Kent, in southern England, which she had leased for ten years. In 1908 the leaseholder decided to sell the grand house, and Burnett was forced to leave the home where she had spent the happiest months of each year, after shedding her abusive second husband. There she cultivated extensive gardens, held parties, and tamed a robin as she wrote outdoors at a table in a sheltered garden. Both the robin and the gardens made their way into <em>The Secret Garden</em>.</p>

<p>With the loss of Maytham Hall, Burnett returned to America where she built adjoining houses for herself and her sister Edith, and for Vivian and his family in Plandome, on Long Island. She returned for several long sojourns to England, and spent her winters with Edith in Bermuda. In both Bermuda and Plandome she threw herself into gardening, with the help of gardeners, designing extensive gardens that produced award-winning blooms. Roses were her favorite, and her trademark, just as they were for Lilias Craven in <em>The Secret Garden</em>.</p>

<p>Every year Burnett published a book in time for the Christmas market, and in 1910 she found herself intrigued by the thought of a sallow and unlikeable little girl, her disabled cousin, and a strong nature-loving boy and his benevolent mother. Always taken with her own writing &#8211; she often declared that they “came” to her rather than being invented, and she could sometimes be found reading her own books on a stairway, with evident pleasure — she wrote to her publisher that “I love it myself. There is a long deserted garden in it whose locked door is hidden by ivy and whose key has been buried for ten years. It contains also a sort of Faun who charms wild creatures and tame ones and there is a moorland cottage woman who is a sort of Madonna with twelve children — a warm bosomed, sane, wise, simple Mother thing.”</p>

<p>Burnett loved the combination of the gothic and the natural worlds, and the ability of children to understand and appreciate them in everyday life. In this new story, she was able, whether she recognized it or not, to recover from her two enormous losses. Unlike her son Lionel, Colin Craven is restored to health at the end of the novel. And unlike Maytham Hall, the gardens at Misselthwaite Manor continually bloomed. When Burnett died in 1924, her friends helped erect a memorial to her in Central Park, consisting of a fountain surrounded by gardens and reading benches. Their prescient choice of <em>The Secret Garden</em> for the fountain sculpture surprised the public, for it was, at the time, one of her lesser known and appreciated books, but they knew these were things that were close to the author’s heart.</p>

<p><img src="http://farm6.static.flickr.com/5177/5506269061_038f1cb3ef_o.jpg" alt="" /></p>

<p>Although it sold well enough at first, <em>The Secret Garden</em> lapsed into a kind of near oblivion for many decades. Critics ignored or disparaged it, even at a time when children’s literature began receiving more and more critical and scholarly attention. It was the children, along with librarians, who saved it, passing on the book to readers and friends, and creating a special place in their hearts for the story. By the 1960s, its fortunes began to revive, and when the book went out of copyright in 1986, dozens of illustrators and publishers rushed to reproduce it.</p>

<p>As we celebrate 100 years of <em>The Secret Garden</em>, the book has never been more popular or influential. Whole shelves in bookstores carry its many editions, and it has been translated into nearly every known language. Children around the world continue to love the story of the children who, with the help of nature and positive thinking, bring the world back to life. As Burnett said to a friend, “I know quite well that it is one of my best finds.” Children and adults one hundred years later, still agree.</p>

<p><br /></p>

<hr />

<p><em>Gretchen Holbrook Gerzina is chair of the department of English at Dartmouth College, New Hampshire, and teaches courses on the novel, biography, Bloomsbury and black literature of Britain and America. She is the author or editor of seven books, including a biography of Frances Hodgson Burnett and two editions of &#8220;The Secret Garden&#8221;. Her most recent book is &#8220;Mr. and Mrs. Prince: How an Extraordinary Family Moved out of Slavery and Into Legend&#8221;.  She hosts the nationally-syndicated radio program &#8220;The Book Show&#8221;, interviewing authors on their recent books of literary fiction, biography and history.</em></p>

<h1>Links to work</h1>

<ul>
<li><em>The Secret Garden</em> (1911)

<ul>
<li><a href="http://www.archive.org/stream/thesecretgarden17396gut/17396.txt">txt</a></li>
<li><a href="http://ia600108.us.archive.org/8/items/thesecretgarden17396gut/17396-h/17396-h.htm">html</a></li>
<li><a href="http://www.archive.org/stream/secretgarden00burn">pdf online</a></li>
<li><a href="http://www.archive.org/download/secretgarden00burn/secretgarden00burn.pdf">pdf download</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.okfn.org/?p=529
title: The Life and Work of Nehemiah Grew
uri: The-Life-and-Work-of-Nehemiah-Grew
url: http://publicdomainreview.org/2011/03/01/the-life-and-work-of-nehemiah-grew/
content:
<p><strong>In the 82 illustrated plates included in his 1680 book <em>The Anatomy of Plants</em>, the English botanist Nehemiah Grew revealed for the first time the inner structure and function of plants in all their splendorous intricacy. Brian Garret, professor of philosophy at McMaster Univerity, explores how Grew&#8217;s pioneering &#8216;mechanist&#8217; vision in relation to the floral world paved the way for the science of plant anatomy.</strong></p>

<div align="center"><img src="http://farm6.static.flickr.com/5097/5486434450_e2aed44270.jpg" alt="" width="540"/></div>

<p>Nehemiah Grew (1641-1712) is best remembered for his careful and novel observations on plant anatomy, for his role in the development of comparative anatomy and as one of the first naturalists to utilize the microscope in the study of plant morphology. His most lasting work, containing his observations and impressive illustrations, is most certainly his early work <em>The Anatomy of Plants begun as a philosophical history of plants</em> published in 1682. Although Grew continued to publish throughout his life, especially on the chemical properties of various substances, all but the The Anatomy have fallen into obscurity.</p>

<p>Grew was a doctor by profession, receiving his degree from the university of Leiden in 1671. He was the son of a nonconformist and supporter of parliament, who was briefly imprisoned while his son gave lectures to the Royal Society and dedicated his books to the King. Nehemiah had little of his father&#8217;s political inclination, although he inherited some of the latter&#8217;s nonconformist religious views. He practiced medicine in London where he met John Wilkins (1614-1672), one of the founders of the Royal Society, who was likely attracted by the younger man&#8217;s opinions. Wilkins was impressed and he recommended Grew to the Royal Society for membership. Grew later served as secretary to the society, along with Robert Hooke (1635-1703), the infamous virtuoso and inventor. Like Hooke, Grew utilized the microscope for his investigations into plant anatomy. Along with Marcello Malphigi, Grew is remembered for establishing the observational basis for botany for the next 100 years.</p>

<p>As Grew acknowledged, Wilkins&#8217; encouragement was crucial to his work, both intellectually and financially. Having been made a member under Wilkins&#8217; influence, he was engaged by the Royal Society at 50 pounds a year to research plant anatomy. But getting actually paid another matter and Grew had to plead with the society to receive what he was due. In his later life he practiced medicine in London and Coventry. Throughout the 1670&#8242;s Grew wrote short pamphlets on botany (often in Latin) and in 1680 translated and compiled them together under the title <em>The Anatomy of Plants</em>. He published a number of minor essays in the Transactions of the Royal Society, for example, &#8220;The description of an&#8230;Hummingbird&#8221; and &#8220;Some observations touching the Nature of Snow.&#8221; In 1681 he published <em>The comparative anatomy of stomachs and guts</em>, packed full of curious observations. 1683 saw the publication of <em>New Experiments and useful observations concerning sea water made Fresh</em> and in 1697 his <em>Treatise of the nature and Use of Purging Salt contained in Epsom and such other waters</em>. In his last work, <em>Cosmologia Sacra</em> (1701), Grew turned to philosophy and theology in order to demonstrate &#8220;the Truth and Excellency of the Bible.&#8221;</p>

<p>In many ways a contemporary review best sums up the significance of Grew&#8217;s scientific work, since much of that significance is obscure today:</p>

<blockquote>
  <p>In general, it is noted by our Author, that it will here appear, that there are those things which are little less wonderful within a Plant than within an Animal; that a Plant, like an Animal hath Organical parts, some whereof may be called its Bowels; that every Plant hath Bowels of divers kinds, containing divers liquors; that even a Plant lives partly upon Air, for the reception whereof it hath peculiar Organs. Again, that all the said Organs, Bowels, or other parts are as artificially made, and as punctually for place and number composed together as all the Mathematical Lines of a flower or Face; that the Staple of the Stuff is so exquisitely fine, that no Silkworm is able to draw so small a thred; that by all these means the ascent of the Sap, the Distribution of the Air, the Confection of several sorts of Liquors, as Lymphus, Milks, Oyls, Balsoms, with other acts of Vegetation, are all contrived and brought about in a Mechanical way. &#8211; <em>[Philosophical transactions, 1675]</em>.</p>
</blockquote>

<p>The significance for this 17th century reviewer is the &#8216;Mechanical way&#8217; and Grew&#8217;s Organ-ism; that plants possess organs and structure. It wasn&#8217;t certain before the 17th century that plants had much internal structure in which distinct parts or organs played distinct roles. It was often thought, especially during the Renaissance, that the external shape of a plant was a clue or signature to its use, but whether there was anything resembling organs in plants was contested. A generation earlier, in his <em>Of Bodies</em> (1644), virtuoso (and all-round blow-hard) Sir Kenelm Digby (1603-1665) downplayed the existence of distinct organs in plants. However, Grew&#8217;s detailed observations established without a doubt that plants were analyzable into functional and morphological units, reinvigorating a tradition that went back to Theophrastus.</p>

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</div>

<p><br /></p>

<p>Grew is remembered for his detailed descriptions of plant anatomy and with him we see the beginning of modern comparative anatomy. He was guided by the idea that there may be similarities of function between animals and plants and this led him to look for equivalent organs in each. He thus believed in the circulation of sap, on analogy with William Harvey&#8217;s discovery of the circulation of blood in animals, and he believed in a form of respiration in plants. Although the recognition of plant sexuality was old, Grew is remembered for noting the stamen as the male organ of the plant and pollen as seed. He also noted the prevalence of little bladders, or “cells” as Hooke had coined the term, especially in the parenchyma tissue (a term we have retained from Grew). Many of Grew&#8217;s observations were diachronic, putting emphasis on the development of the plant and its structures. The growth of a plant he deemed to be a function of sap circulating through the tissue, carrying and adding material to the plant. His observations on the bud of the flower revealed the complicated folding of the unexpanded leaves, something that had not been previously seen with the naked eye.</p>

<p>Grew&#8217;s mechanism consisted in his adherence to observations and his avoidance of explanations invoking vital forces, signatures, sympathies and antipathies. Also to be avoided was the direct hand, intervention, or guidance by God. Instead the mechanist looks for natural or secondary causes for the phenomena and the laws that govern them. Grew invokes no &#8220;occult&#8221; or hidden forces, although he offers a great deal of &#8220;wild&#8221; chemical speculation in his botanical and medical studies. The mechanistic project was a deliberate attempt to offer explanations of phenomena in terms that were &#8220;corporeal&#8221;, material or physical, however these difficult terms were to be interpreted. The mechanical philosophy allowed the researcher to think much like an engineer &#8211; how to make available materials do the task that is desired. The engineering image was also theologically acceptable: God is the engineer who constructed the mechanisms of nature and as such nature can be seen as &#8220;artificial&#8221;, the product of God&#8217;s industry. As natural philosophers (or scientists) we can uncover how these artifacts are constructed and how they function, by analogy with discovering how a machine, such as a clock, is constructed and functions.</p>

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<p><br />
Grew published his philosophical and theological views late in life in his <em>Cosmologia Sacra: or a Discourse of the Universe as it is the Creature and Kingdom of God</em>. In his last book Grew argues for a number of doctrines. He divides the natural causes within the universe into vital and corporeal components. Living and cognitive creatures have their origins in a Vital Principle, distinct from matter, yet bodies are necessary for the existence of Life. Life, being &#8220;more excellent&#8221; [p.34] than mere physical motion, requires an &#8220;Excellent, and so a distinct Subject, to which it belongs. And therefore something, which is Substantial, yet Incorporeal&#8221;.  Grew&#8217;s vitalism was not uncommon for the time, especially among the doctors, and reflects the neo-Platonist heritage found in many influential naturalists such as John Ray (1627-1705). But Grew revealed his sympathies for nonconformist religious thought in his account of miracles. Grew asserts a form a Deism: that once God has created the world in accordance with His laws, God has no further need to interfere. God acts through the world only through secondary, that is, natural causes (which includes the vital, incorporeal principle of Life). God does not act directly upon natural events but brings them about by other natural events. Miraculous events are merely those events which are rare and for which the cause is unknown; but they are not caused directly by God &#8220;&#8230;every Miracle is effected in the Use of some Second or Natural cause: Yet to make it a miracle, it is requisite, that this cause be unknown to us&#8221; [p. 195].</p>

<p>The denial of miracles supports Grew&#8217;s dominant theme: that the universe reveals the existence and wisdom of God in its design and structure. The deist view sits happily with mechanist perspective. Everywhere a doctor looks he can see the remarkable living machinery of the body; how organs grow to their proper and useful places. Grew took it that the teleological features of the universe revealed the wisdom of its construction. The idea was an old one but had recently gained ground in Robert Boyle&#8217;s discussion <em>A Disquisition About Final Causes</em>. Grew was not as careful as the skeptical alchemist and saw many of the world&#8217;s wonders as designed for the sake of Man, although he took it that the internal structures of plants were for the benefit of plants. The incredible usefulness of the Coco plant, the silkworm and of iron, indicate that the universe is well suited to Mankind. But the argument from design is often ridiculed as an argument from poor design, when one reflects on the hardships of life and the immorality of Men. Grew is not daunted by such reflections:</p>

<blockquote>
  <p>The most Exorbitant Phancies and Lusts of Men, illustrate the Beauty of God&#8217;s Creation. One man makes all his thoughts and Pleasures, to centre in Meats and Drinks; Another, in Musick; a third, in Women; or some other Sense or Phancy so as to think of nothing else. Which, as it shows the infirmity of human nature; so the Plenitude and Perfection of the World, in being fitted, so many ways, to Beatifie Men, would they know discreetly how to use it. And the same Lust and Phancies, are many other ways turned to Good. <em>[p.104]</em>.</p>
</blockquote>

<p>Grew made his observations independently but simultaneously with Marcello Malphigi, in what might be considered a case of independent co-discovery, an interesting phenomenon in the history of science. Most famous is the co-discovery of natural selection by Charles Darwin and Alfred Wallace. But if Grew and Malphigi&#8217;s work counts as co-discovery it is in a very different way from that of Darwin and Wallace. Arguably, the co-discovery in plant morphology was a result of technological advances due to the invention of the microscope and was somewhat non-theoretical. Darwin and Wallace, however, discovered a law of nature, making significant theoretical advances in addition to their remarkable observations. But of course, without the meticulous work by the pioneers of botany, fruitful theory would not have arisen. Thus Nehemiah Grew must be remembered for his pioneering role in the establishment of modern botany.</p>

<p><br /></p>

<hr />

<p><em>Brian Jonathan Garrett is professor of philosophy at McMaster University, Hamilton, Canada. Selected publications include: &#8220;What the history of vitalism teaches us about the Hard problem of consciousness&#8221; Philosophy and phenomenological research 2006, &#8220;Teleology and Vitalism in the Natural Philosophy of Nehemiah Grew&#8221; British Journal for the History of Science 2003 and &#8220;Santayana&#8217;s Treatment of teleology&#8221; Bulletin of the Santayana Society 2010. His research combines history of biology and contemporary metaphysics. In particular, he researches how the history of evolution, vitalism and teleology bears on puzzles concerning mental causation, determinism and free will.</em></p>

<h1>Links to works</h1>

<ul>
<li><em>An idea of a phytological history propounded, together with a continuation of the anatomy of vegetables, particularly prosecuted upon roots</em> (1673)

<ul>
<li><a href="http://imgbase-scd-ulp.u-strasbg.fr/displayimage.php?album=1027&amp;pos=2">pdf online</a></li>
</ul></li>
<li><em>The Comparative Anatomy of Trunks</em> (1675)

<ul>
<li><a href="http://imgbase-scd-ulp.u-strasbg.fr/displayimage.php?album=1026&amp;pos=4&amp;lang=english">pdf online</a></li>
</ul></li>
<li><em>Cosmologia sacra, or a discourse of the universe as it is the creature and kingdom of God</em> (1701)

<ul>
<li><a href="http://www.archive.org/stream/cosmologiasacrao00grewuoft/cosmologiasacrao00grewuoft_djvu.txt">txt</a></li>
<li><a href="http://www.archive.org/stream/cosmologiasacrao00grewuoft">pdf online</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.okfn.org/?p=484
title: Lewis Carroll and The Hunting of the Snark
uri: Lewis-Carroll-and-The-Hunting-of-the-Snark
url: http://publicdomainreview.org/2011/02/22/lewis-carroll-and-the-hunting-of-the-snark/
content:
<p><strong>In 1876 Lewis Carroll published by far his longest poem &#8211; a fantastical epic tale recounting the adventures of a bizarre troupe of nine tradesmen and a beaver. Carrollian scholar, Edward Wakeling, introduces The Hunting of the Snark.</strong></p>

<p><img src="http://farm6.static.flickr.com/5019/5454041414_35eda4c1f9_o.jpg" alt="" /></p>

<p>Although best known as the author of <em>Alice’s Adventures in Wonderland</em> (1865) and <em>Through the Looking-Glass</em> (1871), Lewis Carroll &#8211; the pen-name of Charles Lutwidge Dodgson, a mathematical lecturer at Christ Church, Oxford &#8211; was also an avid reader and writer of poetry. He greatly enjoyed the poems of Victorian writers such as Alfred, Lord Tennyson, and Christina Rossetti. His own poems were varied – some just humorous nonsense, some filled with hidden meanings, and some serious poems about love and life. Probably his best known is called “Jabberwocky,” with its opening line of “’Twas brillig, and the slithy toves…”, and its many invented words, some that have now entered the English language, such as “chortle” and “galumph”. Such nonsense verse is as popular now as it was when first published. His more serious poetry, it must be admitted, is generally inferior to his humorous verse and often over sentimental. Between 1860 and 1863 he contributed a dozen or more poems to College Rhymes, a pamphlet issued each term to members of Oxford and Cambridge universities, and which, for a time, he edited. In 1869, he compiled a book of poems, many of which he had already published elsewhere but now issued in revised form, together with one main new poem, which gives its title to the book, <em>Phantasmagoria</em>.</p>

<p>One particular poem stands out from all the others that Carroll wrote. It has inspired parodies, continuations, musical adaptations, and a wide variety of interpretations. It is an epic nonsense poem written at a time when Carroll was struggling with his religious beliefs following the serious illness of his cousin and godson, Charlie Wilcox, who eventually died from tuberculosis. Although the poem concerns death and danger, it is filled with humour and whimsical ideas. Strangely, it was written backwards. After a night nursing his cousin, Carroll went for a long walk over the hills near Guildford, and a solitary line of verse came into his head – “For the Snark was a Boojum, you see!” The rest of the stanza, the last in the poem, came to him a few days later. Over a period of six months, the rest of poem was composed, ending up as 141 stanzas in 8 sections that Carroll called “fits.”</p>

<p><img src="http://farm6.static.flickr.com/5058/5452892629_8e8205f60c_o.jpg" alt="" /></p>

<p>The poem concerns a quest by a crew sailing to catch a mysterious creature called a Snark. Each member of the crew has an occupation beginning with the letter “B” – Bellman (the Captain), Baker, Banker, Barrister, Billiard-Marker, Boots, Bonnet-Maker, Broker, and Butcher, accompanied by a Beaver. Their maritime map is an absolute blank. They reach an island, and the hunt for a Snark begins. But the quest is fraught with danger because although Snarks are not in themselves harmful, those that are Boojums are ferocious and will kill. The question that naturally arises is “does the poem have a meaning?” Carroll denied that he meant anything in particular – the poem was all nonsense – but that did not stop people asking him, and it inspired others to give it their own meaning. To some extent, the poem is about the relationships that emerge among the crew, and the interaction between this motley bunch of characters. All behave in odd ways, some have close-shaves, and one completely vanishes – caught by a Boojum.</p>

<p>The poem was entitled <em>The Hunting of the Snark</em> with the subtitle, An Agony in Eight Fits. Carroll originally intended it as a set of verses to be included in another of his children’s stories, but it grew too long and became a book in its own right. He published it on 1 April 1876 – the date chosen with care. However, many of his presentation copies to friends are dated 29 March. Although issued in a pictorial buff coloured cloth, he had copies bound in red, blue, green, and white cloth, all with gold decoration, to give away to his friends and family. The book was dedicated to one of his friends, Gertrude Chataway, and a dedicatory acrostic poem that introduces the book embodies her name as the first word of each stanza, Gert, Rude, Chat, Away, and also the first letter of each line.</p>

<p>Accompanying the poem were illustrations by Henry Holiday (1839-1927), artist, sculptor, stained-glass designer, and book illustrator. He drew nine illustrations for the book; a tenth illustration depicting a Snark was rejected by Carroll – he wanted the creature to remain unimaginable.</p>

<p><br /></p>

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<p><br /></p>

<p>The poem owes a debt to “Jabberwocky” – some of the invented words from these verses reappear in The Hunting of the Snark and Carroll explains their derivation in his Preface, such as frumious being a portmanteau word based on “fuming” and “furious.” Some of the creatures also make a second appearance – the vicious Jubjub bird and the terrifying Bandersnatch.</p>

<p>The poem was very popular – it was reprinted many times. In Carroll’s lifetime, over 20,000 copies were sold. The poem was incorporated into Carroll’s compendium of humorous poetry entitled <em>Rhyme? and Reason?</em> (1883). Since then it has been illustrated by a variety of artists and translated into many languages, and the book rarely goes out of print. People are known to memorise and recite the poem. Some people form Snark Clubs. There is a timeless nature about the verses that make it as relevant today as it did in 1876.</p>

<p><font color="white">.</font>
<br /></p>

<p><em>Edward Wakeling is a long-standing member of the Lewis Carroll Society. He has written widely on Carroll over the last three decades, and among his publications is the first unabridged edition of Lewis Carroll’s Diaries in 10 volumes. He has written on Carroll’s photography, letters, mathematics, puzzles and games, and logic. As a recognised Carrollian scholar and collector, he is frequently called upon to contribute to conferences, exhibitions, and television programmes around the world. His website is <a href="http://www.lewiscarroll-site.com">www.lewiscarroll-site.com</a></em></p>

<h1>Links to work</h1>

<ul>
<li><em>The Hunting of the Snark</em> (1876)

<ul>
<li><a href="http://www.gutenberg.org/cache/epub/13/pg13.txt">txt</a></li>
<li><a href="http://www.archive.org/stream/huntingofsnarkan00carruoft">pdf online</a></li>
<li><a href="http://www.archive.org/download/huntingofsnarkan00carruoft/huntingofsnarkan00carruoft.pdf">pdf download</a></li>
</ul></li>
<li><em>Rhyme? and reason?</em> (1884 edition)

<ul>
<li><a href="http://www.gutenberg.org/cache/epub/33582/pg33582.txt">txt</a></li>
<li><a href="http://www.archive.org/stream/reason00carrrhymerich">pdf online</a></li>
<li><a href="http://www.archive.org/download/reason00carrrhymerich/reason00carrrhymerich.pdf">pdf download</a></li>
</ul></li>
<li><em>Phantasmagoria and other poems</em> (1919 edition)

<ul>
<li><a href="http://www.gutenberg.org/cache/epub/651/pg651.txt">txt</a></li>
<li><a href="http://www.archive.org/stream/phantasmagoriaot00carr">pdf online</a></li>
<li><a href="http://www.archive.org/download/phantasmagoriaot00carr/phantasmagoriaot00carr.pdf">pdf download</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.okfn.org/?p=424
title: The Snowflake Man of Vermont
uri: The-Snowflake-Man-of-Vermont
url: http://publicdomainreview.org/2011/02/14/the-snowflake-man-of-vermont/
content:
<p><strong>Weather scientist Keith C. Heidorn takes a look at the life and work of Wilson Bentley, a self-educated farmer from a small American town who, by combining a bellows camera with a microscope, managed to photograph the dizzyingly intricate and diverse structures of the snow crystal.</strong></p>

<p><img src="http://farm6.static.flickr.com/5296/5445394414_48e762d319_o.jpg" alt="" /></p>

<p>In 1885, at the age of 20, Wilson Alwyn Bentley, a farmer who would live all his life in the small town of Jericho in Vermont, gave the world its first ever photograph of a snowflake. Throughout the following winters, until his death in 1931, Bentley would go on to capture over 5000 snowflakes, or more correctly, snow crystals, on film. Despite the fact that he rarely left Jericho, thousands of Americans knew him as The Snowflake Man or simply Snowflake Bentley. Our belief that “no two snowflakes are alike” stems from a line in a 1925 report in which he remarked: “Every crystal was a masterpiece of design and no one design was ever repeated. When a snowflake melted, that design was forever lost.”</p>

<p>It started with a microscope his mother gave him at age 15 which opened the world of the small to young Wilson. A lover of winter, he made plans to use his microscope to view snowflakes. His initial investigations proved both fascinating and frustrating as he tried to observe the short-lived flakes. So that he could share his discoveries, he began by sketching what he saw, accumulating several hundred sketches by his seventeenth birthday. When his father purchased a camera for his son, Wilson combined it with his microscope, and went on to make his first successful photomicrograph of a snow crystal on 15 January 1885.</p>

<p>In addition to the development of the hardware, Bentley also had to devise a protocol to capture a snow crystal and transport it with minimal damage to the camera’s field of vision. What he found worked best was to capture the crystals on a cool velvet-covered tray. Taking care not to melt the crystal with his breathe, he identified a suitable subject and lifted it onto a pre-cooled slide with a thin wood splint from his mother’s broom and nudged it into place with a turkey feather. The slide was then carried into his photographic shed and placed under the microscope. The back-lit image was focused using a system of strings and pulleys he devised to accommodate his mittened hands. Once focused, the sensitized glass plate — the “film” — was exposed and stored for further processing, development and printing.</p>

<p>Bentley also devised his own processing methods. In addition to developing the original image, he also created a post-development process to enhance it. Since each photograph was taken of a white snow crystal against a white background, Bentley was dissatisfied with the initial photograph. He felt he could improve the contrast and enhance the detail if he presented the crystal against a dark background. To do this, he painstakingly scraped away the dark emulsion surrounding the snow crystal image from a duplicate of the original negative using a sharp penknife and steady hand. The altered image was then carefully placed upon a clear glass plate and then printed, giving it a dark background. Even after years of practice, this post-production process often took as long as four hours for a complex snow crystal.</p>

<p>With 70-75 photographs per storm and notes on the conditions under which they were collected, Bentley accrued a considerable understanding of snow. In 1897, he became acquainted with Professor George Perkins, a professor of geology at the University of Vermont, and they prepared the first paper on snow crystals published in the May 1898 issue of Appleton’s Popular Scientific entitled “A Study of Snow Crystals.”</p>

<p>While photographing snowflakes was his passion, Bentley also turned his interest to examining and sizing raindrops for seven summers from 1898 to 1904. From that work, he gave us early insights into raindrops and their size distribution in storms. After some experimentation, he developed a simple yet effective apparatus for gathering raindrops: a shallow pan of wheat flour. At first, he simply photographed the imprints made by the falling rain in the flour. Then in 1998, he made a serendipitous finding. In his journal, he wrote: “In the bottom of each raindrop impression in the flour there could always be found a roundish granule of dough nearly exact size of raindrop. After experimenting with artificial raindrops I could measure [its] diameter before falling into the flour, and thus tell if the dough granule corresponded in size with the measured raindrop.”</p>

<p>Bentley measured these raindrop “fossils” and divided them into one of five size-range categories. Over the tenure of his raindrop studies, he collected 344 sets of raindrop pellets from over 70 distinct storms, including 25 thunderstorms, to which he added meticulous weather data about the storm: date, time of day, temperature, wind, cloud type and estimated cloud height. He concluded that different storms produce different size raindrops and different size distributions. Few rainfall events had uniform drop sizes, but when they did, he discovered, they were composed of either all small drops or all large drops. Low rain clouds produced mostly small drops. The largest drops, around a quarter inch in diameter, fell from the tall cumulonimbus clouds of thunderstorms. He concluded that the size of drops and snowflakes could tell a lot about the vertical structure of the storm.</p>

<p>Unfortunately, Bentley was so far ahead of his time that he wasn’t fully appreciated by contemporary scientists. They didn’t take this self-educated farmer seriously. It was 40 years later — the study of cloud physics and precipitation processes would not blossom until the 1940s — before his raindrop work was rediscovered and corroborated. The first recognition of Bentley&#8217;s raindrop experiments appears to have been by US Soil Conservation Service scientists J.O. Laws and D.A. Parsons, who published a paper in 1943 reporting measurements of raindrop size under various rainfall intensities using Bentley&#8217;s collection method.</p>

<p>Although he dropped his study of raindrops after a few years, he continued to photograph snow crystal and speculate on the nature of snow. From his large data archive, Bentley’s analysis convinced him that the form the ice crystal took (hexagonal plate, six-sided star, hexagonal column, needle, etc) was dependent on the air temperature in which the crystal formed and fell. Nearly three decades would pass before Ukichiro Nakaya in Japan would confirm this hypothesis.</p>

<p><br /></p>

<div align="center">
<div class='flickr-mini-gallery ' lang=_s& rel="photoset_id=72157625922633285&extras=" longdesc='photoset'></div>
</div>

<p><br /></p>

<p>He also wanted to promote his work for its beauty, and thus submitted articles and delivered lectures that focused on his snow photography over the years. His lectures were popular, and from them he was dubbed The Snowflake Man and Snowflake Bentley by the newspapers. Over one hundred articles were published in well-known newspapers and magazines such as The Christian Herald, Popular Mechanics, National Geographic, The New York Times Magazine, and the American Annual of Photography. His best photographs were in demand from jewelers, engravers and textile makers who saw the beauty in his work.</p>

<p>He also submitted technical reports to the US Weather Bureau’s publication Monthly Weather Review. Although he received scant recognition from most scientists, he did receive encouragement from Weather Bureau chief meteorologist Dr William J. Humphreys who helped him publish a collection of his photographs. Humphreys wrote the technical introduction and appeared as co-author. The book Snow Crystals by W. A. Bentley and W. J. Humphrey was published by McGraw-Hill in November 1931. It contained 2500 selected snow crystal photos plus 100 of frost and dew formation. The book has since been republished by Dover Books.</p>

<p>As a grown man, Bentley was slight of frame, likely just over five feet tall and weighing around 120 pounds, but could dig a row of potatoes or pitch hay as well as any farmer in the valley. He continued to farm the acreage with his older brother for all his life. Though not an outgoing man, he loved to entertain by playing the piano or violin and singing popular songs. He also played clarinet in a small brass band and could imitate the sounds of many animals. Bentley never married.</p>

<p>In early-December 1931, Wilson Bentley walked six miles, ill-dressed, through a slushy snowstorm to reach his home. Not long thereafter, he contracted a cold, which grew into pneumonia. “Snowflake” Bentley died on 23 December at the age of 66. In March of that year, he had taken the last of his photomicrographs of snow, still using the same camera that took the first one.</p>

<p>Although his father thought Wilson’s snow photography a lot of nonsense and not the proper thing for a farmer to do, Wilson broke unique ground in the early days of modern meteorology as well as microscopic photography. His biographer, cloud physicist Duncan Blanchard, dubbed him “America’s First Cloud Physicist.” The Burlington Free Press wrote in a Christmas Eve obituary for Bentley:</p>

<p>“Longfellow said that genius is infinite painstaking. John Ruskin declared that genius is only a superior power of seeing. Wilson Bentley was a living example of this type of genius. He saw something in the snowflakes which other men failed to see, not because they could not see, but because they had not the patience and the understanding to look.”</p>

<p>On the morning he was laid to rest in the Jericho Center cemetery, it began to snow, leaving a dusting over the burial ground.</p>

<p><img src="http://farm6.static.flickr.com/5094/5445394420_95a547c919_o.jpg" alt="" /></p>

<p><em><a href="http://www.islandnet.com/~see/">Keith C. Heidorn, PhD</a> has nearly forty years of experience in meteorology, climatology, air quality assessment, and education. Currently, enjoying semi-retirement in the Canadian Rockies, he continues to write The Weather Doctor internet site. The site, now beginning its fourteenth year, celebrates the beauty of weather through science and art. Dr Heidorn is author of three books: The BC Weather Book: From the Sunshine Coast to Storm Mountain, published in 2004, and And Now&#8230;The Weather, released in July 2005, and The Field Guide to Natural Phenomena, coauthored with Ian Whitelaw, released in 2010. When not writing about the weather, Keith can be found painting weather and other landscapes using oil, acrylics and watercolors.</em></p>

<h1>Links to works</h1>

<ul>
<li>Bentley&#8217;s snowflake photographs

<ul>
<li><a href="http://commons.wikimedia.org/wiki/Category:Wilson_Bentley_Snow_Crystals">Wikimedia Commons</a></li>
<li><a href="http://collections.si.edu/search/results.jsp?view=&amp;date.slider=&amp;q=Wilson+A.+Bentley+snowflake+smithsonian+archives&amp;dsort">Smithsonian Institute</a></li>
</ul></li>
<li>Bentley&#8217;s article &#8220;Snow Beauties&#8221; as featured in the <em>History of Jericho</em> (1916)

<ul>
<li><a href="http://www.archive.org/stream/cu31924028838039#page/n379/mode/2up">pdf online</a> </li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.okfn.org/?p=367
title: Tales from Tahiti
uri: Tales-from-Tahiti
url: http://publicdomainreview.org/2011/02/08/tales-from-tahiti/
content:
<p><strong>In 1890 Henry Adams &#8211; the historian, academic, journalist, and descendent of two US presidents &#8211; set out on a tour of the South Pacific. After befriending the family of &#8220;the last Queen of Tahiti,&#8221; he became inspired to write what is considered to be the first history of the island. Through Adams&#8217; letters, Ray Davis explores the story of the book&#8217;s creation.</strong></p>

<p><br />
<a href="http://farm6.static.flickr.com/5179/5426074361_dceec79323_o.gif"><img src="http://farm6.static.flickr.com/5139/5425940615_559024aaa3_o.jpg" alt="" /></a></p>

<p>The book variously titled in its two small self-published editions <em>Tahiti, Memoirs of Marau Taaroa</em>, or <em>Memoirs of Arii Taimai</em> was a collaboration between the American historian Henry Adams and two Queens of Tahiti: Arii Taimai (positioned as the first-person narrator of the work) and her daughter, Marau Taaroa.</p>

<p>After his wife&#8217;s suicide in December 1885, Adams lost himself in the massive job of finishing his history of the Jefferson and Madison administrations. After it was done, he came close to losing himself in nothing at all. In 1890, he set out with a friend, the fashionable painter John La Farge, for an indefinite voyage into the Pacific. His purported list of goals included tracking down and sampling the legendary durian fruit, following his friend Clarence King&#8217;s example and falling madly in lust with exotic native girls, and attaining Enlightenment.</p>

<p>Predictably, all these pseudo-hopes were frustrated: the durian was a &#8220;shameful disgrace to humanity&#8221; (although the mango and mangosteen comforted), and intellectual bemusement ran stronger than either bodily or spiritual lust. But the unspoken purpose &#8212; to somehow re-learn survival &#8212; was gained: Adams started the trip in an almost catatonic depression and ended it sparkling with bitches and moans in high pissant form.</p>

<p>During the travellers&#8217; five months in Tahiti, Adams grew bored with passive tourism:</p>

<blockquote>
  <p><em>Lovely as it is, it gets on my nerves at last &#8212; this eternal charm of middle-aged melancholy. If I could only paint it, or express it in poetry or prose, or do anything with it, or even shake it out of its exasperating repose, the feeling would be a pleasant one, and I should fall in love with the very wrinkles of my venerable and spiritual Taïtian grandmother; but when one has nothing else to look at, one rebels at being forever smiled upon by a grandmother whose complexion is absolutely divine, and whose attitude indicates the highest breeding, while she suggests no end of charm of conversation, yet refuses to do anything but smile in a sort of sad way that may mean much or mean nothing. Either she or I come near to being a fool.</em></p>
</blockquote>

<p>After searching the coral reef for confirmation or refutation of Darwin, he became close friends with the family of &#8220;the last Queen of Tahiti,&#8221; Marau Taaroa:</p>

<blockquote>
  <p><em>&#8230; she is greatly interested in Taïti history, poetry, legends and traditions, and as for ghost-stories, she tells them by the hour with evident belief&#8230;. She always seems to me to be quite capable of doing anything strange, out of abstraction; as she might mistake me for her small child, and sling me on her arm without noticing the difference, such as it is, in size.</em></p>
</blockquote>

<p>&#8230; and especially attached to Arii Tamai, described in an early letter as &#8220;the hereditary chiefess of the Tevas, the grandest dame in Tahiti, the widow of Salmon, the London Jew.&#8221; (The psychologically speculative might wonder whether Adams was attracted by the contrast between her warm-heartedness and the frankly cold aggression of his own family of faded nation-rulers.) On May 10, 1891, he wrote:</p>

<blockquote>
  <p><em>By way of excitement or something to talk about, I some time ago told old Marau that she ought to write memoirs, and if she would narrate her life to me, I would take notes and write it out, chapter by chapter. To our surprise, she took up the idea seriously, and we are to begin work today, assisted by the old chiefess mother, who will have to start us from Captain Cook&#8217;s time.</em></p>
</blockquote>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm6.static.flickr.com/5019/5425221362_ece80d17ef_o.jpg" width="540" height="387" /><p class="wp-caption-text">The Salmon Family: Marau second on left; Arii Taimai at far right</p></div>

<p>And a week later:</p>

<blockquote>
  <p><em>Luckily I am rather amused and occupied. My &#8220;Memoirs of Marau, Queen of Tahiti&#8221; give me a sort of excuse for doing nothing. Whenever Marau comes to town, I get from her a lot of notes, which I understand very little, and she not much; then I write them out; then find they are all wrong; then dispute with her till she becomes energetic and goes as far as the next room to ask her mother. The dear old lady has been quite unwell. The other evening I was taken in to see her, and found her sitting on her mat on an inner verandah. When I sat down beside her, she drew me to her and kissed me so affectionately that the tears stood in my eyes&#8230;. La Farge is not in love with her as I am; he takes more to Marau and the girls; but I think the Hinarii is worth them all.</em></p>
</blockquote>

<p>At the beginning of June:</p>

<blockquote>
  <p><em>Marau is to go on with her memoirs, and send them to Washington. So she says, with her ferocious air of determination, half Tahitian and half Hebrew; and if she keeps her word, I shall have a little occupation which will amuse you too, for I have begged her to put in all the scandal she can, and the devil knows that she can put in plenty.</em></p>
</blockquote>

<p>And on leaving Tahiti a few days later:</p>

<blockquote>
  <p><em>&#8230; we had a gay breakfast; but I cared much less for the gaiety than I did for the parting with the dear old lady, who kissed me on both cheeks &#8212; after all, she is barely seventy, va! &#8212; and made us a little speech, with such dignity and feeling, that though it was in native, and I did not understand a word of it, I quite broke down. I shall never see her again, but I have learned from her what the archaic woman was. If Marau only completes the memoirs, you will see; and I left Marau dead bent on doing it.</em></p>
</blockquote>

<p>The work did continue after Adams&#8217;s return to America &#8211; part of a letter from December 1892 survives in which Adams presses Marau at scholarly length on dozens of points of genealogy and geography &#8211; finally achieving what would be its final form in a privately printed edition of 1901. It&#8217;s a decidedly odd form, certainly not the personal memoirs originally described: Marau shows up not at all, and the supposed narrator has turned into Arii Tamai. The mix of scholarly history, ethnographic reportage, and primary source material hasn&#8217;t been worked into a organic voice or structure.</p>

<p>Given this, the book perhaps wouldn&#8217;t make the best introduction to Henry Adams. But as the first history of Tahiti, written with the full support of the family at the center of the island&#8217;s annexation as a French colony, and as an attempt to give full attention to both sides of the confrontation between &#8220;civilized&#8221; and &#8220;primitive&#8221; cultures, it deserves wider access than it&#8217;s attained to date.</p>

<p><div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm6.static.flickr.com/5251/5425985883_d5b85c4605_o.jpg" width="540" height="200" /><p class="wp-caption-text">Paintings of Tahiti by John La Farge (left) and Henry Adams (right) </p></div>
<br />
<em>Ray Davis is an occasional essayist who publishes his own work at <a href="http://www.pseudopodium.org">Pseudopodium</a> and the work of others at <a href="http://www.pseudopodium.org/repress/index.html">The Bellona Times Repress</a>.</em></p>

<h1>Links to works</h1>

<ul>
<li><em>Tahiti, Memoirs of Marau Taaroa</em> (1901)

<ul>
<li><a href="http://www.pseudopodium.org/repress/tahiti/index.html">html</a></li>
</ul></li>
<li><em>The Education of Henry Adams</em> (1918)

<ul>
<li><a href="http://www.gutenberg.org/cache/epub/2044/pg2044.txt">txt</a></li>
<li><a href="http://www.gutenberg.org/dirs/etext00/eduha10h.htm">html</a></li>
<li><a href="http://www.archive.org/stream/educationhenrya00socigoog">pdf online</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.okfn.org/?p=308
title: Christopher Smart’s Jubilate Agno
uri: Christopher-Smart-s-Jubilate-Agno
url: http://publicdomainreview.org/2011/01/31/christopher-smarts-jubilate-agno/
content:
<p><strong>The poet Christopher Smart &#8211; also known as &#8220;Kit Smart&#8221;, &#8220;Kitty Smart&#8221;, &#8220;Jack Smart&#8221; and, on occasion, &#8220;Mrs Mary Midnight&#8221; &#8211; was a well known figure in 18th century London. Nowadays he is perhaps best known for considering his cat Jeoffry. Writer and broadcaster Frank Key looks at Smart&#8217;s weird and wonderful <em>Jubilate Agno</em>.</strong></p>

<p><img src="http://farm6.static.flickr.com/5297/5398518492_48efb15250_o.jpg" alt="" /></p>

<p>&#8220;My poor friend Smart shewed the disturbance of his mind, by falling upon his knees, and saying his prayers in the street, or in any other unusual place&#8230;” Concerning this unfortunate poet, Christopher Smart, who was confined in a madhouse, [Dr Johnson] had, at another time,  the following conversation with Dr Burney… &#8220;I did not think he ought to be shut up. His infirmities were not noxious to society. He insisted on people praying with him; and I&#8217;d as lief pray with Kit Smart as any one else.&#8221;</p>

<p>James Boswell, <em>The Life Of Samuel Johnson, LL.D.</em></p>

<p>Dr Johnson thought his friend should not be confined, but ‘society’ thought otherwise, and Christopher Smart (1722-1771) was incarcerated in St Luke’s Hospital for Lunatics in Bethnal Green, London and then in Mr Potter’s private madhouse between 1757 and 1763. He died, eight years later, in debtor’s prison. These private miseries overshadowed the reputation he had gained as a poet and contributor to periodicals. He was a prolific writer, in both Latin and English, and five times won the Seatonian Prize, awarded to a Cambridge graduate for the best poem on &#8220;the perfections or attributes of the supreme being.&#8221; <em>A Song To David</em>, the major work published in his lifetime, was not well-received, however, and until Robert Browning championed it a century later, Smart was more or less forgotten.</p>

<p>It was not until 1939 that his masterpiece, written during his confinement in St Luke’s, was first published. <em>Jubilate Agno</em> is one of the most extraordinary poems in the English language, and almost certainly the reason we remember Christopher Smart today. It has been described as a vast hymn of praise to God and all His works, and also as the ravings of a madman. Indeed, that first edition was published under the title <em>Rejoice In The Lamb : A Song From Bedlam</em>, clearly marking it as a curio from the history of mental illness. It was W H Bond’s revised edition of 1954 which gave order to Smart’s surviving manuscript, restoring the Latin title <em>Jubilate Agno</em>, bringing us the poem in the form we know it today.</p>

<p>Christopher Smart never completed the work, which consists of four fragments making a total of over 1,200 lines, each beginning with the words “Let” or “For”. For example, Fragment A is all “Let”s, whereas in Fragment B the “Let”s and “For”s are paired, which may have been the intention for the entire work, modelled on antiphonal Hebrew poetry. References and allusions abound to Biblical (especially Old Testament) figures, plants and animals, gems, contemporary politics and science, the poet’s family and friends, even obituary lists in current periodicals. The language is full of puns, archaisms, coinages, and unfamiliar usages. Dr Johnson famously said “Nothing odd will do long; Tristram Shandy did not last”. <em>Jubilate Agno</em> is, if anything, “odder” than Sterne’s novel, and perhaps we are readier to appreciate it in the twenty-first century than when it was written.</p>

<p>One section, much favoured by anthologists, gives some of the flavour of the work.</p>

<p><em>For I will consider my Cat Jeoffry.<br />
For he is the servant of the Living God duly and daily serving him.<br />
For at the first glance of the glory of God in the East he worships in his way.<br />
For this is done by wreathing his body seven times round with elegant quickness.<br />
For then he leaps up to catch the musk, which is the blessing of God upon his prayer.<br />
For he rolls upon prank to work it in.<br />
For having done duty and received blessing he begins to consider himself.<br />
For this he performs in ten degrees.<br />
For first he looks upon his forepaws to see if they are clean.<br />
For secondly he kicks up behind to clear away there.<br />
For thirdly he works it upon stretch with the forepaws extended.<br />
For fourthly he sharpens his paws by wood.<br />
For fifthly he washes himself.<br />
For sixthly he rolls upon wash.<br />
For seventhly he fleas himself, that he may not be interrupted upon the beat.<br />
For eighthly he rubs himself against a post.<br />
For ninthly he looks up for his instructions.<br />
For tenthly he goes in quest of food.</em><br /></p>

<p>Here we have an example of what one could call Smart’s “encyclopaedic” style, his passion for listing and enumerating. And whereas the description of his cat is fairly straightforward, other passages in the poem are deeply obscure, seeming to emerge from some private store of reference. It has been suggested that, in his confinement, Smart had access to just six books: the King James Bible; Ainsworth&#8217;s <em>Latin Thesaurus</em>; Salmon&#8217;s guide for London pharmacists (in Latin); Miller&#8217;s <em>Gardener&#8217;s Dictionary</em>; and Hill&#8217;s <em>Useful Family Herbal</em> and <em>History of Plants</em>. The modern reader cannot hope to grasp every reference and allusion scattered within the poem, but Smart’s language is exact and exquisite, with a musicality that becomes hypnotic.</p>

<p><em>For a DREAM is a good thing from GOD.<br /> 
For there is a dream from the adversary which is terror.<br /> 
For the phenomenon of dreaming is not of one solution, but many.<br /> 
For Eternity is like a grain of mustard as a growing body and improving spirit.<br /> 
For the malignancy of fire is oweing to the Devil&#8217;s hiding of light, till it became visible darkness.<br /> 
For the Circle may be SQUARED by swelling and flattening.<br /> 
For the Life of God is in the body of man and his spirit in the Soul.<br /> 
For there was no rain in Paradise because of the delicate construction of the spiritual herbs and flowers.<br /> 
For the Planet Mercury is the WORD DISCERNMENT.<br /> 
For the Scotchman seeks for truth at the bottom of a well, the Englishman in the Heaven of Heavens.</em><br /></p>

<p>As that last line perhaps indicates, one of the great joys of <em>Jubilate Agno</em> is in its sudden dislocations and unexpected diversions. The “my cat Jeoffrey” passage is justly famous, but the poem is cram-packed with similar wonders, and must be read in full to appreciate its inimitable genius.</p>

<p><img src="http://farm6.static.flickr.com/5016/5398054485_7049740186_b.jpg" alt="" /></p>

<p><em><a href="http://hootingyard.org/">Frank Key</a> is a writer and broadcaster best known for his self-published short-story collections and his long-running radio series Hooting Yard on the Air, which has been broadcast weekly on Resonance FM since April 2004. In a Hooting Yard special, on December 27th 2007, Key and the performance artist Germander Speedwell performed the whole of Jubilate Agno live, a performance which ran in excess of three hours.</em></p>

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<h1>LInks to Works</h1>

<ul>
<li><em>The complete Jubilate Agno</em><br />

<ul>
<li><a href="http://www.pseudopodium.org/repress/jubilate/">html</a><br /></li>
</ul></li>
<li><em>Reading of Jubilate Agno by Frank Key and Germander Speedwell</em><br />

<ul>
<li><a href="http://www.archive.org/details/JubilateAgno">Internet Archive</a><br /></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.org/?p=1074
title: Enrico Caruso – A Dream
uri: Enrico-Caruso-A-Dream
url: http://publicdomainreview.org/2011/08/02/enrico-caruso-a-dream/
content:
<div align="center">

<img src="http://farm7.static.flickr.com/6015/5926255831_86a4633116_o.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':'#$aa4baff94a9bdcafce8','playlist':[{'url':'EnricoCaruso-ADream.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/EnricoCaruso-ADream/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'EnricoCaruso-ADream.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/EnricoCaruso-ADream/'},'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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Enrico Caruso made approximately 290 commercially released recordings from 1902 to 1920. This was one of his last. Explore more <a href="http://www.archive.org/details/Caruso_part1">here</a>.
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<a href="http://www.archive.org/download/EnricoCaruso-ADream/EnricoCaruso-ADream.mp3">MP3 Download</a>
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<a href="http://www.archive.org/details/EnricoCaruso-ADream">Internet Archive Link</a>
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<hr />
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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/2011/08/01/hungarian-rag-pietro-deiro-1913/‎"><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<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>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1067
title: Lomax Collection Recording of English, sample 8
uri: Lomax-Collection-Recording-of-English-sample-8
url: http://publicdomainreview.org/2011/08/02/lomax-collection-recording-of-english/
content:
<div align="center">

<img src="http://farm7.static.flickr.com/6147/5998067362_e455e1916c_o.jpg" alt="" /><br />

<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':'#$aa4baff94a9bdcafce8','playlist':[{'url':'T5064_08_eng.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/rosettaproject_eng_vertxt-a10_audio-1/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'T5064_08_eng.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/rosettaproject_eng_vertxt-a10_audio-1/'},'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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This is a recording from Alan Lomax&#8217;s Parlametrics collection. These recordings were made by linguists around the world as well as by Lomax himself. In this one of many recordings of the English language, the interviewee from Arkansaw talks of his Grandfather&#8217;s relationship with famous outlaws Frank and Jesse James. Find more out about Alan Lomax and his pioneering collection of recordings <a href="http://www.loc.gov/folklife/lomax/">here</a> 
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<a href="http://www.archive.org/download/rosettaproject_eng_vertxt-a10_audio-1/T5064_08_eng.mp3">MP3 Download</a>
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<a href="http://www.archive.org/details/rosettaproject_eng_vertxt-a10_audio-1">Internet Archive Link</a>
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<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/2011/08/01/hungarian-rag-pietro-deiro-1913/‎"><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<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>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1061
title: Houdini on his Water Torture Cell (1914)
uri: Houdini-on-his-Water-Torture-Cell-(1914)
url: http://publicdomainreview.org/2011/08/02/houdini-on-his-water-torture-cell-1914/
content:
<div align="center">

<img src="http://farm7.static.flickr.com/6006/5998067354_024d366a64_o.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':'#$aa4baff94a9bdcafce8','playlist':[{'url':'HarryHoudini-Edisonmachinerehearsal.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/HarryHoudini/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'HarryHoudini-Edisonmachinerehearsal.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/HarryHoudini/'},'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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Houdini made the only known recordings of his voice on Edison wax cylinders on October 29, 1914, in Flatbush, New York. On them, Houdini practices several different introductory speeches for his famous Chinese Water Torture Cell. In the trick, Houdini&#8217;s feet would be locked in stocks, and he would be lowered upside down into a tank filled with water. The mahogany and metal cell featured a glass front, through which audiences could clearly see Houdini. The stocks would be locked to the top of the cell, and a curtain would conceal his escape. In the earliest version of the Torture Cell, a metal cage was lowered into the cell, and Houdini was enclosed inside that. While the escape was advertised as &#8220;The Chinese Water Torture Cell&#8221; or &#8220;The Water Torture Cell&#8221;, Houdini always referred to it as &#8220;the Upside Down&#8221; or &#8220;USD&#8221;. The first public performance of the USD was at the Circus Busch in Berlin, on September 21, 1912. Houdini continued to perform the escape until his death in 1926.
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<br />
<a href="http://www.archive.org/download/HarryHoudini/HarryHoudini-Edisonmachinerehearsal.mp3">MP3 Download</a>
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<a href="http://www.archive.org/details/HarryHoudini">Internet Archive Link</a>
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<hr />
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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/2011/08/01/hungarian-rag-pietro-deiro-1913/‎"><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<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>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1051
title: Chopin’s Funeral March – The Edison Concert Band (1906)
uri: Chopin-s-Funeral-March-The-Edison-Concert-Band-(1906)
url: http://publicdomainreview.org/2011/08/02/chopins-funeral-march-the-edison-concert-band-1906/
content:
<div align="center">

<img src="http://farm7.static.flickr.com/6122/5998067342_c14549414f_o.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':'#$aa4baff94a9bdcafce8','playlist':[{'url':'ChopinsFuneralMarch1906_64kb.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/ChopinsFuneralMarchByTheEdisonConcertBand1906/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'ChopinsFuneralMarch1906_64kb.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/ChopinsFuneralMarchByTheEdisonConcertBand1906/'},'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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Chopin&#8217;s &#8220;Funeral March&#8221; is the third movement of his Piano Sonata No. 2. It was used at the state funerals of John F. Kennedy and those of Soviet leaders, including Leonid Brezhnev. It was played at the graveside during Chopin&#8217;s own burial at Père Lachaise cemetery in Paris in 1849 with Napoléon Henri Reber&#8217;s instrumentation.
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<br />
<a href="http://www.archive.org/download/ChopinsFuneralMarchByTheEdisonConcertBand1906/ChopinsFuneralMarch1906_64kb.mp3">MP3 Download</a>
<br />
<a href="http://www.archive.org/details/ChopinsFuneralMarchByTheEdisonConcertBand1906">Internet Archive Link</a>
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<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/2011/08/01/hungarian-rag-pietro-deiro-1913/‎"><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<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>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1016
title: M (1931)
uri: M-(1931)
url: http://publicdomainreview.org/2011/08/02/m-1931/
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':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'PhantasmagoriaTheater-MFritzLang1931574_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/PhantasmagoriaTheater-MFritzLang1931574/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'PhantasmagoriaTheater-MFritzLang1931574_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/PhantasmagoriaTheater-MFritzLang1931574/','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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Directed by Fritz Lang, M is about the search for a child murderer in Berlin, and as the story, and the search progress, the high profile murderer begins to inhibit the lives of everyone from the Police, to the criminals, to innocent bystanders who are accused of being the murderer for even the slightest contact with any child. It was Lang&#8217;s first sound film. It has become a classic which Lang himself considered his finest work.
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<a href="http://www.archive.org/details/PhantasmagoriaTheater-MFritzLang1931574">Download from Internet Archive</a>
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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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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">M (1931) 1hr57min<br />
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<a href="http://publicdomainreview.org/2011/08/02/m-1931/"><img src="http://ia700402.us.archive.org/4/items/PhantasmagoriaTheater-MFritzLang1931574/PhantasmagoriaTheater-MFritzLang1931574.thumbs/PhantasmagoriaTheater-MFritzLang1931574_003180.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1028
title: Wolf Blood (1925)
uri: Wolf-Blood-(1925)
url: http://publicdomainreview.org/2011/08/02/wolf-blood-1925/
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':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'WolfBlood_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/WolfBlood1925/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'WolfBlood_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/WolfBlood1925/','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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Dick the lumberjack gets a blood transfusion with unexpected results. Wolf Blood, also known as Wolfblood: A Tale of the Forest, is the oldest surviving werewolf movie. Starring and directed by George Chesebro. 
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<a href="http://www.archive.org/details/WolfBlood1925">Download from Internet Archive</a>
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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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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">M (1931) 1hr57min<br />
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<a href="http://publicdomainreview.org/2011/08/02/m-1931/"><img src="http://ia700402.us.archive.org/4/items/PhantasmagoriaTheater-MFritzLang1931574/PhantasmagoriaTheater-MFritzLang1931574.thumbs/PhantasmagoriaTheater-MFritzLang1931574_003180.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1026
title: The Great Train Robbery (1903)
uri: The-Great-Train-Robbery-(1903)
url: http://publicdomainreview.org/2011/08/02/the-great-train-robbery-1903/
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':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'TheGreatTrainRobbery_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/TheGreatTrainRobbery_555/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'TheGreatTrainRobbery_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/TheGreatTrainRobbery_555/','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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Considered to be one of the first significant early US narrative films. Greatly influenced by the British film &#8220;Daring Daylight Robbery&#8221; (1903) it introduced many new cinematic techniques (cross cutting, double exposure, camera movement and location shooting) to American audiences. It was directed by Edwin S Porter and stars Justus D. Barnes as the head bandit, G. M. Anderson as a slain passenger and a robber, Walter Cameron as the sheriff.
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<a href="http://www.archive.org/details/TheGreatTrainRobbery_555">Download from Internet Archive</a>
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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">M (1931) 1hr57min<br />
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<a href="http://publicdomainreview.org/2011/08/02/m-1931/"><img src="http://ia700402.us.archive.org/4/items/PhantasmagoriaTheater-MFritzLang1931574/PhantasmagoriaTheater-MFritzLang1931574.thumbs/PhantasmagoriaTheater-MFritzLang1931574_003180.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1024
title: The Execution of Mary, Queen of Scots (1895)
uri: The-Execution-of-Mary-Queen-of-Scots-(1895)
url: http://publicdomainreview.org/2011/08/02/the-execution-of-mary-queen-of-scots-1895/
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':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'Execution_of_Mary_1895_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/Execution_of_Mary_1895/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'Execution_of_Mary_1895_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/Execution_of_Mary_1895/','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 />
Representing the beheading of Mary, Queen of Scots. A realistic reproduction of an historic scene
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<a href="http://www.archive.org/details/Execution_of_Mary_1895">Download from Internet Archive</a>
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<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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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 />
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<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">M (1931) 1hr57min<br />
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<a href="http://publicdomainreview.org/2011/08/02/m-1931/"><img src="http://ia700402.us.archive.org/4/items/PhantasmagoriaTheater-MFritzLang1931574/PhantasmagoriaTheater-MFritzLang1931574.thumbs/PhantasmagoriaTheater-MFritzLang1931574_003180.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1021
title: Plan 9 From Outer Space (1959)
uri: Plan-9-From-Outer-Space-(1959)
url: http://publicdomainreview.org/2011/08/02/plan-9-from-outer-space-1959/
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':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'Plan_9_from_Outer_Space_1959_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/Plan_9_from_Outer_Space_1959/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'Plan_9_from_Outer_Space_1959_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/Plan_9_from_Outer_Space_1959/','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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Written and directed by infamous director Edward D. Wood, Jr. The film features Gregory Walcott, Mona McKinnon, Tor Johnson and Maila &#8220;Vampira&#8221; Nurmi, and also bills Bela Lugosi posthumously as a star, although silent footage of the actor had been shot by Wood for other, unfinished projects just before Lugosi&#8217;s death in 1956. The plot of the film is focused on extraterrestrial beings who are seeking to stop humans from creating a doomsday weapon that would destroy the universe. In the course of doing so, the aliens implement &#8220;Plan 9&#8243;, a scheme to resurrect Earth&#8217;s dead as what modern audiences would consider zombies (called &#8220;ghouls&#8221; in the film itself) to get the planet&#8217;s attention, causing chaos. Wood was posthumously awarded the Medveds&#8217; Golden Turkey Award as the worst director ever.
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<a href="http://www.archive.org/details/Plan_9_from_Outer_Space_1959">Download from Internet Archive</a>
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<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">M (1931) 1hr57min<br />
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<a href="http://publicdomainreview.org/2011/08/02/m-1931/"><img src="http://ia700402.us.archive.org/4/items/PhantasmagoriaTheater-MFritzLang1931574/PhantasmagoriaTheater-MFritzLang1931574.thumbs/PhantasmagoriaTheater-MFritzLang1931574_003180.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1017
title: The General (1926)
uri: The-General-(1926)
url: http://publicdomainreview.org/2011/08/02/the-general-1926/
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':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'The_General_1926_720p_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/TheGeneral1926/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'The_General_1926_720p_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/TheGeneral1926/','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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A Buster Keaton classic. Johnnie loves his train (&#8220;The General&#8221;) and Annabelle Lee. When the Civil War begins he is turned down for service because he&#8217;s more valuable as an engineer. Annabelle thinks it&#8217;s because he&#8217;s a coward. Union spies capture The General with Annabelle on board. Johnny must rescue both his loves. 
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<a href="http://www.archive.org/details/TheGeneral1926">Download from Internet Archive</a>
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<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 />
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<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 />
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<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">M (1931) 1hr57min<br />
<br />
<a href="http://publicdomainreview.org/2011/08/02/m-1931/"><img src="http://ia700402.us.archive.org/4/items/PhantasmagoriaTheater-MFritzLang1931574/PhantasmagoriaTheater-MFritzLang1931574.thumbs/PhantasmagoriaTheater-MFritzLang1931574_003180.jpg"></a></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1204
title: The Adventures of Louis de Rougemont (1899)
uri: The-Adventures-of-Louis-de-Rougemont-(1899)
url: http://publicdomainreview.org/2011/08/05/the-adventures-of-louis-de-rougemont-1899/
content:
<div align="center">
<iframe src='http://www.archive.org/stream/advoflouisderoug00rougiala?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>

<br />
<span style="font-variant: small-caps;">The Adventures of Louis de Rougemont 
as told by himself ; with 46 illustrations; 1899; George Newnes, London</span>

<br />
<br />
&#8220;De Rougemont&#8221; was born Henri Louis Grin in 1847 in or near Paris, France. In 1898 he began to write about his invented adventures in the British periodical &#8220;The Wide World Magazine&#8221; under the name Louis De Rougemont. He described his alleged exploits in search of pearls and gold in New Guinea and claimed to have spent thirty years living with Indigenous Australians in the Australian outback. He claimed that the tribe with whom he had lived had worshipped him as a god. He also claimed to have encountered the Gibson expedition of 1874.
<br />
<br />
<p align="center">&#8220;Truth is stranger than fiction<br />
But De Rougemont is stranger than both&#8221;<br />
—The Wide World Magazine, June 1899, No. 14
 </p>
<br />
<br />
<a href="http://openlibrary.org/books/OL7088539M/The_adventures_of_Louis_de_Rougemont">Open Library link</a>
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<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>
</tbody>
</table>
 

</div>


feed_id: http://publicdomainreview.org/?p=1202
title: The Book of Topiary (1904)
uri: The-Book-of-Topiary-(1904)
url: http://publicdomainreview.org/2011/08/05/the-book-of-topiary-1904/
content:
<div align="center">
<iframe src='http://www.archive.org/stream/bookoftopiarycur00curtrich?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>

<br />
<span style="font-variant: small-caps;">The Book of Topiary, by Charles H. Curtis; 1904; J. Lane, London, New York</span>

<br />
<br />
&#8220;The most perfect specimen of topiary work with which we are acquainted is at Levens in Westmoreland. At that place a profusion of yews, hollies, and other evergreens have been transformed into more shapes than Proteus would trouble himself to assume, unless he happened to be in a more than usually changeable humopur. Here is Madame la Reine with her arms most royally akimbo, opposite to Monsieur le Roi bearing the semblance (we will not say how near) of a kingly crown. Not far distant are some trees like gigantic chessmen. The smaller shrubs, of which there is a vast number, greenly shadow forth cones, vubes, vases, foaming tanklards, &#038;c.&#8221;
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<br />
<a href="http://openlibrary.org/books/OL7165248M/The_book_of_topiary">Open Library link</a>
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<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>
</tbody>
</table>
 

</div>


feed_id: http://publicdomainreview.org/?p=1200
title: Wonderful Balloon Ascents (1870)
uri: Wonderful-Balloon-Ascents-(1870)
url: http://publicdomainreview.org/2011/08/05/wonderful-balloon-ascents-1870/
content:
<div align="center">
<iframe src='http://www.archive.org/stream/wonderfulballona00mariuoft?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>

<br />
<span style="font-variant: small-caps;">Wonderful balloon ascents 
or, The conquest of the skies. A history of balloons and balloon voyages 
from the French of F. Marion, with illustrations; 1870; Cassell Petter &#038; Galpin, New York</span>

<br />
<br />
A wonderful book of balloon travel. Wikicommons has a collections of the amazing illustrations in the book <a href="http://commons.wikimedia.org/wiki/Category:Wonderful_Balloon_Ascents,_1870">here</a>.
<br />
<br />
<a href="http://openlibrary.org/books/OL23361146M/Wonderful_ballon_ascents">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>
</tbody>
</table>
 

</div>


feed_id: http://publicdomainreview.org/?p=1198
title: Cat and bird stories from the “Spectator” (1896)
uri: Cat-and-bird-stories-from-the-Spectator-(1896)
url: http://publicdomainreview.org/2011/08/05/cat-and-bird-stories-from-the-spectator-1896/
content:
<div align="center">
<iframe src='http://www.archive.org/stream/catbirdstoriesfr00straiala?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>


<br />
<span style="font-variant: small-caps;">Cat and bird stories from the &#8220;Spectator&#8221;, to which are added sundry anecdotes of horses, donkeys, cows, apes, bears, and other animals, as well as of insects and reptiles, edited by John St. Loe Strachey; 1896; T. Fisher Unwin, London.</span>

<br />
<br />
A sequel to Dog Stories from The Spectator, this book brings us mysteries and anecdotes relating to cats, birds, and other animals which found there way into the pages of The Spectator.  
<br />
<br />
<a href="http://openlibrary.org/books/OL23285038M/Cat_and_bird_stories_from_the_Spectator">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>
</tbody>
</table>
 

</div>


feed_id: http://publicdomainreview.org/?p=1281
title: Reefer Madness (1938)
uri: Reefer-Madness-(1938)
url: http://publicdomainreview.org/2011/08/08/reefer-madness-1938/
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':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'reefer_madness1938_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/reefer_madness1938/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'reefer_madness1938_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/reefer_madness1938/','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 the archetypal sensationalized anti-drug movie but can also be seen as an exploitation film made to capitalize on the hot taboo subject of marijuana use while skirting the Motion Picture Production Code of 1930 which forbade the portrayal of immoral acts like drug use. Directed by Louis J. Gasnier.
<br />
<br />
<a href="http://www.archive.org/download/reefer_madness1938/reefer_madness1938_512kb.mp4">Download from Internet Archive</a>
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<hr />
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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"></td><td class="column-2"></td><td class="column-3">Battleship Potemkin (1925) 1hr13min<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"></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1247
title: Fats Waller and His Orchestra live at The Yacht Club (1938)
uri: Fats-Waller-and-His-Orchestra-live-at-The-Yacht-Club-(1938)
url: http://publicdomainreview.org/2011/08/07/fats-waller-and-his-orchestra-live-at-the-yacht-club-1938/
content:
<div align="center">

<img src="http://farm7.static.flickr.com/6008/6016850933_79bdc85f84_o.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':'#$aa4baff94a9bdcafce8','playlist':[{'url':'Fatswaller-381014FatsWallerHisOrchestraAtTheYachtClubNewYork.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/FatsWaller---old-timeRadioRemoteBroadcasts/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':true,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'Fatswaller-381014FatsWallerHisOrchestraAtTheYachtClubNewYork.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/FatsWaller---old-timeRadioRemoteBroadcasts/'},'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>
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<br />
Fats Waller and His Orchestra live at The Yacht Club in New York: &#8220;You Can&#8217;t Be Mine and Somebody Else&#8217;s Too&#8221;, &#8220;Monday Morning&#8221;, &#8220;What Do You Know About Love?&#8221;, and &#8220;I Had To Do It&#8221;
<br />
<br />
<a href="http://www.archive.org/download/FatsWaller---old-timeRadioRemoteBroadcasts/Fatswaller-381014FatsWallerHisOrchestraAtTheYachtClubNewYork.ogg">MP3 Download</a>
<br />
<a href="http://www.archive.org/details/FatsWaller---old-timeRadioRemoteBroadcasts">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>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1243
title: Tokyo Rose (1944)
uri: Tokyo-Rose-(1944)
url: http://publicdomainreview.org/2011/08/07/tokyo-rose-1944/
content:
<div align="center">

<img src="http://farm7.static.flickr.com/6001/6016850951_f4eabb0405_o.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':'#$aa4baff94a9bdcafce8','playlist':[{'url':'TokyoRose-BroadcastOn1944-09-14_64kb.mp3','autoPlay':false},'TokyoRoseAkaOrphanAnn-Sign-off_01_64kb.mp3','TokyoRoseAkaOrphanAnn-Sign-off_02_64kb.mp3','TokyoRoseAkaOrphanAnn-Sign-on_01_64kb.mp3','TokyoRoseAkaOrphanAnn-Sign-on_02_64kb.mp3'],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/TokyoRose/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':true,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'TokyoRose-BroadcastOn1944-09-14_64kb.mp3','autoPlay':false},'TokyoRoseAkaOrphanAnn-Sign-off_01_64kb.mp3','TokyoRoseAkaOrphanAnn-Sign-off_02_64kb.mp3','TokyoRoseAkaOrphanAnn-Sign-on_01_64kb.mp3','TokyoRoseAkaOrphanAnn-Sign-on_02_64kb.mp3'],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/TokyoRose/'},'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>
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<br />
Tokyo Rose was a generic name given by Allied forces in the South Pacific during World War II to any of approximately a dozen English-speaking female broadcasters of Japanese propaganda. The intent of these broadcasts was to disrupt the morale of Allied forces listening to the broadcast. American servicemen in the Pacific often listened to the propaganda broadcasts to get a sense, by reading between the lines, of the effect of their military actions. Farther from the action, stories circulated that Tokyo Rose could be unnervingly accurate, naming units and even individual servicemen. The name &#8220;Tokyo Rose&#8221; is most strongly associated with Iva Toguri D&#8217;Aquino. D&#8217;Aquino broadcast as &#8220;Orphan Ann&#8221; during the 15-20 minute D.J. segment of the 75-minute program The Zero Hour on Radio Tokyo (NHK). The program consisted of propaganda-tinged skits and slanted news reports as well as popular American music. After the war the US born D&#8217;Aquino was arrested and sentenced to 10 years in prison for treason. She was given a pardon from President Ford in 1977. Read more about the life and trial of Iva Toguri D&#8217;Aquino <a href="http://en.wikipedia.org/wiki/Iva_Toguri_D%27Aquino">here</a>.
<br />
<br />
<a href="http://www.archive.org/download/TokyoRose/TokyoRose_64kb_mp3.zip">MP3 Download</a>
<br />
<a href="http://www.archive.org/details/TokyoRose">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>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1240
title: La Paloma (1903)
uri: La-Paloma-(1903)
url: http://publicdomainreview.org/2011/08/07/la-paloma-1903/
content:
<div align="center">

<img src="media/8f1a2d00.6016850957_78d588b9f5_o.jpg" data-original-source="http://farm7.static.flickr.com/6141/6016850957_78d588b9f5_o.jpg" alt="" /><br />

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<br />
Zélie de Lussan (21 December 1861 – 18 December 1949) was an American opera singer of French descent. This is her singing the oft recorded classic La Paloma, originally composed around 1863 by Spanish composer Sebastián Iradier.
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<br />
<a href="http://www.archive.org/download/lapaloma1903/lapaloma1903_64kb.mp3">MP3 Download</a>
<br />
<a href="http://www.archive.org/details/lapaloma1903">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/2011/08/01/hungarian-rag-pietro-deiro-1913/‎"><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 />
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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 />
<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 />
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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>
</tbody>
</table>


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feed_id: http://publicdomainreview.org/?p=1225
title: Orson Welles Show (1941)
uri: Orson-Welles-Show-(1941)
url: http://publicdomainreview.org/2011/08/07/orson-welles-show-1941/
content:
<div align="center">

<img src="media/c0984cc7.6017404292_824b81f1aa_o.jpg" data-original-source="http://farm7.static.flickr.com/6144/6017404292_824b81f1aa_o.jpg" alt="" />

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<br />
1. Sredni Vashtar, An Irishman and a Jew<br />
2. The Interlopers, Song of Solomon, I&#8217;m a Fool<br />
3. There&#8217;s a Full Moon Tonight (excerpt)<br />
4. If in Years to Come<br />
5. Wilbur Brown, Habitat Brooklyn (excerpt)<br />
6. The Happy Prince<br />
7. The Apple Tree<br />
8. My Little Boy<br />
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Welles&#8217; first almanac/variety radio show, as sponsored by Illinois-based cosmetic maker Lady Esther, and featuring members of his Mercury Theatre. The show sought to provide something new to radio listeners. Unfortunately, the program format proved unpopular with the target audience of Lady Esther (ie middle class women), and the show eventually settled into a &#8220;story of the week&#8221; format. Originally scheduled for 26 weeks, the show ended prematurely when Welles left on his ill-fated It&#8217;s All True trip to Brazil.
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<br />
<a href="http://www.archive.org/download/1941OrsonWellesShowladyEsther/1941OrsonWellesShowladyEsther_64kb_mp3.zip">MP3 Download</a>
<br />
<a href="http://www.archive.org/details/1941OrsonWellesShowladyEsther">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/2011/08/01/hungarian-rag-pietro-deiro-1913/‎"><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>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.okfn.org/?p=722
title: American Kaleidoscope: Morton Prince and the Boston Revolution in Psychotherapy
uri: American-Kaleidoscope-Morton-Prince-and-the-Boston-Revolution-in-Psyc
url:
http://publicdomainreview.org/2011/08/05/american-kaleidoscope-morton-prince-and-the-boston-revolution-in-psychotherapy/

content:
<p><strong>In 1906 the American physician and neurologist Henry Morton Prince published his remarkable monograph The Dissociation of a Personality in which he details the condition of &#8216;Sally Beauchamp&#8217;, America&#8217;s first famous multiple-personality case. George Prochnik discusses the life and thought of the man Freud called &#8220;an unimaginable ass&#8221;.</strong>
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<img src="media/1375699a.5807942202_35e9958a38_o.jpg" data-original-source="http://farm3.static.flickr.com/2116/5807942202_35e9958a38_o.jpg" alt="" /></p>

<p><br /></p>

<div align="center">1.</div>

<p>Morton Prince—physically hale, philosophically heterodox, ethically uncompromising, psychologically splintered—epitomizes a classic New England character at its sunset hour. Indeed, Prince’s fiery conviction that he could make all his contradictory elements hang together makes his own psychology as fascinating as that of the patients and politicians he scrutinizes. And even when he fumbles in making a grand diagnosis of the foibles of others, it sometimes seems that it’s precisely Prince’s lack of a compelling master-theory that makes his work such a rich repository of individual observations. Until Freud and the rearrangement of values occasioned by the Great War soured his spirit, Prince sustained a note of plucky anarchy in his approach to almost all social problems. In a typical instance of this happily contrarian strain to Prince’s thoughts, he once responded to a suggestion by Upton Sinclair that intercollegiate football be abolished as a “killer of thought” by announcing that what should be abolished was rather the professional coach, whose last duty before surrendering his office should be “handing the game back to the boys.”</p>

<p>Less felicitous was Prince’s combative sense of near infallibility as a judge of what was wrong with everyone else—the quality his famous patient Miss Beauchamp once described as Prince’s tendency to be “so awfully wrathy and superior.” Prince fought back against the era’s double threat of moony spiritualists and zealous psychoanalysts on the grounds of his adversaries’ refusal to rationally engage with evidence that challenged their axiomatic beliefs. But confronted with the intractability of those who could not see the virtues of his own high-minded middle way, Prince tended to swerve over into untempered opposition that partook of the same absolutism he condemned in others. When Freud’s disciple Ernst Jones objected to his pugnaciousness, Prince dismissed Jones outright—not for his ideology but for the wimpiness of his come-back punch. “Can you imagine John Brown, Luther, Calvin…whimpering ‘like a girl’ because their opponents hit them back or because they would not believe?” he railed to a colleague. Even at his more offensive moments, the vigor of his high dudgeon makes for lively reading.</p>

<p><br /></p>

<div align="center">2.</div>

<p>Prince’s lifelong focus lay in charting the relationship between body and mind. He never forgot an experience he’d had in church as a child when the preacher abruptly pointed above the congregation’s head to a chandelier swaying in the breeze and remarked that the human body was affected by the spirit exactly as those dangling crystals were by the wind. The puzzle of what, precisely, this correlation meant haunted Prince’s professional life. He strove to show that there was, at the last, no opposition between mental function and bodily mechanics because there was no integral distinction between the two. But the question of what this seamless contiguity implied for ultimate questions of human nature was a matter on which he waffled with uninspired ambivalence.</p>

<p>For the first part of his career, Prince sought to minimize the element of spirit altogether by advocating a purely materialist vision of mental dynamics. Thought and emotion did not act to influence the operations of the brain; they were the substance of those operations.  In the 1880s and 1890s, Prince contributed to the evolution of a sophisticated behaviorist theory of mental health that anticipated many aspects of cognitive therapy. He argued that neuroses developed through the often random associations between negative experiences and phenomena surrounding such experiences. These associations were then fixed through repetition and habit; but could be unraveled in treatment through aggressive “conditioning,” both physical and ideational, which eventually reconfigured corrosive behavioral patterns.</p>

<p><div class="wp-caption alignnone" style="width: 550px"><img alt="" src="media/90d2fbc7.5807942188_4ef5a77a4d_o.jpg" data-original-source="http://farm6.static.flickr.com/5106/5807942188_4ef5a77a4d_o.jpg" width="540" height="453" /><p class="wp-caption-text">Examples of the deterioration of Sally Beauchamp&#039;s writing &quot;when badly &#039;squeezed&#039;&quot;, given in the appendix of Dissociation of a Personality (1906). </p></div>
<br /></p>

<p>As was often the case with Prince, key theoretical positions were born of personal experience. Prince’s entire family suffered from a thunder phobia that led them to flee inside closets, dive beneath beds and rush into each other’s shivering arms to hide from storms. Prince finally conquered the syndrome by forcing himself to remain outside in the most violent thunder fusillades until his angst about the warring heavens was quashed.</p>

<p>Regardless of his motivations, by placing so strong an emphasis on the role of learned habits of association in the development of symptoms, Prince helped undermine the position of social conservatives who condemned whole families, neighborhoods and populations on the basis of hereditary degeneration. Concurrently, he bolstered the case for the work of New England’s large network of progressive civic reformers, in which he himself played a passionate role. Indeed, Prince’s understanding of the complex web of motives that converged in the behavior of individuals and states led to his championing numerous issues of social justice in national and international arenas. Prince attacked the Sacco-Vanzetti verdict as a gross, cynical manipulation of the jury’s ignorance about the working of perception and memory. He fought for the League of Nations as an essential counterbalance to monolithic, megalomaniacal state enterprise of any stamp.</p>

<p>By the turn-of-the-century, Prince stood at the forefront of a cadre of Boston psychotherapists whose open minds, erudition and dogged clinical labors had upended previous American understandings of how the mind worked. Building on scaffolding erected by such pivotal French psychologists as Jean Martin Charcot and Pierre Janet, Prince linked neuroses to extreme “dissociations” between mental states that resulted in a kind of psychological deadlock. This deadlock manifested in rigid behaviors that failed to respond to external reality’s flux and flow. To reintegrate the self, Prince collaborated with his fellow New Englanders in developing a surprisingly sophisticated proto-Freudian version of talk therapy. Like others in his circle, he was also a talented hypnotist who translated a subtle understanding of the power of suggestion into effective clinical practice. Together with colleagues like James Jackson Putnam, Prince began to outline a new, holistic approach to the challenge of psychological treatment that took elements of older, so-called “somatic” treatments like hydrotherapy and electric therapy and melded these onto language-based probings of patients’ psychological conditions.</p>

<p>There were still some wild and woolly edges of his methodology to be sure. In The Dissociation of Personality, Prince’s best-selling, hugely influential account of America’s first famous multiple-personality case, he describes a (literally) climactic moment of treatment that qualifies as not just surprising, but jaw-dropping. In order to fully exorcise the sassy alternative personality nicknamed “Sally” who had been tormenting his patient, Prince began applying an established technique whereby he put pressure on a “hypno-genetic point” over the patient’s spine. “With a strength that I did not think she possessed,” Prince records, “she fought, wrestled, struggled to throw off my grasp, and to resist the subtle power. The rush of physical sensations through her body, and the mental feeling that her consciousness was being engulfed in oblivion were more than she could bear. In mental anguish she shouted aloud. Thus for two hours we struggled.”</p>

<p><em>Two hours</em>? Try to picture this insane, erotic wrestling match in a prim Boston medical office between a righteous, jaunty medical luminary then in his mid-fifties and a withdrawn college-age young woman of humble origins. Rather than the brush of Prince&#8217;s actual portraitist John Singer Sargent, one longs for the hand of Francis Bacon to do the duel justice.</p>

<p>There’s something symptomatic of Prince&#8217;s deeper conundrum in this ethically chaotic moment of full-throttle body-mind therapy.  For all his intermittent clinical acumen, the unbending value systems Prince and his fellow Boston doctors inherited from their forbearers ultimately hindered them from orienting their practice effectively toward modernity. Prince had seen through the past, but when he looked into the future, he felt so revolted by what he saw that he tended to violently swerve his gaze backward again. Thus, in works like The Psychology of the Kaiser and The Creed of Deutschtum, Prince revealed himself to be enormously prescient about the dangers of German militarism and the militaristic state of mind as such. In the former study he described militarism under the Kaiser as “something much more than a system of defense against encroachments from within and without—it is a mode of, and organization for, attack in the enforcement of progressive policies, of national growth, and of the will of the State, whatever direction these may take.” Yet in trying to fashion an argument for American interventionism against these kinds of threats in the international arenas Prince fell back on a jingoistic sense of his home country’s historic moral clarity. And in attempting to explain why America had so far failed to respond to the German invasion of Belgium in 1915, he could only surmise that as “a polyglot nation speaking many tongues” his country had lost “the homogeneity of a single race” that had hitherto enabled the maintenance of a national conscience.</p>

<p><img src="media/45a34503.5807942192_b45ae1d4de_o.jpg" data-original-source="http://farm6.static.flickr.com/5064/5807942192_b45ae1d4de_o.jpg" alt="" /></p>

<p><br /></p>

<div align="center">3.</div>

<p>In 1908 Sigmund Freud received an invitation from the president of Clark University to come to the United States and lecture on psychoanalysis at the school’s 20th anniversary celebration, scheduled for July. With his theories failing to gain traction among professional circles at home, and the psychoanalytic movement itself already fissured by nasty spats, one might have expected Freud to seize this opportunity to export analysis to the New World. However, Freud politely declined the offer, citing in his refusal letter the economic hardship of preempting the seasonal loss of income that would descend with Vienna&#8217;s summer hiatus. In private, however, he gave another explanation. To his disciple, Karl Abrams, who’d recently had a paper concerned with the psychology of sexuality rejected by The Journal of Abnormal Psychology, (the periodical Prince had founded and continued to edit), Freud remarked, “Morton Prince, who has always been a kaleidoscopic character, is this time really lamentable. Where do the Americans expect to get with this fear of public prudery?” Writing to Jung a few days later, he elaborated on his apprehensions, noting his belief that “once they discover the sexual core of our psychological theories they will drop us. Their prudery and their material dependence on the public are too great. That is why I’ve no desire to risk the trip there in July.”</p>

<p>Freud almost didn’t come to the United States at all because of his virulent distaste for a host of American bugbears that seemed to dovetail in the person of Morton Prince, whom Freud would soon be calling “the most arrogant ass imaginable.” Indeed Prince— a champion yachtsman, a talented horseman, a member of many jolly social clubs and an all-around emblem of sporty Yankee self-reliance fit the model of the privileged WASP that made Freud most self-conscious about his own ancestral stereotypes.</p>

<p>But for all of Freud’s understandable apprehensions about Prince having a constitutional aversion to psychoanalytic theory, (“the gentle zephyrs of prudery blowing across from America” were ones for which Prince had “a quite special organ&#8221; Freud told Jung), he failed to take the measure of the man himself. Not only was Prince not a prude, he confessed in later years that with some patients he’d even pushed too hard to find a sexual etiology to their symptoms where none actually existed. Indeed, after exposure to Freud’s work, Prince’s practice continued to reflect many aspects of Freudian theory. Most of all, Freud misjudged in assessing that Prince was a threat to Freud, rather than the other way around. As Prince wrote looking back on the era of Freud’s arrival in America, “Freudian psychology…flooded the field like a full-rising tide, and the rest of us were left submerged like clams buried in the sands at low water.”</p>

<p>Rather than the importance of sexuality to human’s psychological make-up, what Prince challenged was the dogmatism with which Freud&#8217;s axioms were propounded—the insistence that all neurotic symptoms were rooted in sex.  (To name but one exception important to Prince, he contended that the convolutions of pride and shame could also distort mental health.) Prince summed up his objection to Freud in a response to an attack by Jones recorded in the 1911 Journal of Abnormal Psychology: “it sometimes seem as if the followers of Freud care more for the acceptance of their method—for being baptized in the faith, than for the determination of truth.” For himself, he says, in the spirit of his one-time mentor, William James, “I don’t care a button what method is employed in the investigation of any given problem, provided it does not lead to fallacies in the results.”</p>

<p>It was this mobility of ideological allegiance that got the goat of the Freudians and stoked their hostility to him. Yet given its latter-day history, Prince’s balanced agnosticism about analysis appears only too justified. Now that the Freudian tide has receded, it is Prince&#8217;s early support for cognitive therapy that appears remarkably forward looking, while Freud&#8217;s opus—rightly or wrongly—has been largely side-channeled into cultural studies programs of the academy.
We have much to learn from re-examining figures like Prince who occupy a pivotal position in early 20th Century psychological debates, before the dogmatism of Freud&#8217;s disciples crowded out elements that might have fostered a more fruitfully heterogeneous approach to psychotherapy. Reading their copious writings, we catch glimpses of multiple intriguing alternative histories—and, perhaps, come to question the orthodoxies of our own time.</p>

<p><br /></p>

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<p><em>George Prochnik is a New York-based writer. His most recent book is <a href="http://inpursuitofsilence.com/" target="_blank">In Pursuit of Silence</a>: Listening for Meaning in a World of Noise (Doubleday, 2010). Prior to that, he wrote <a href="http://www.amazon.com/Putnam-Camp-Sigmund-American-Psychology/dp/1590511824/ref=sr_1_1?s=books&#038;ie=UTF8&#038;qid=1307560193&#038;sr=1-1" target="_blank">Putnam Camp</a>: James Jackson Putnam &amp; the Purpose of American Psychology (Other Press, 2006), a New York Times “Editor’s Pick.” A regular contributor to Cabinet magazine, he is currently at work on a book about early 20th Century case histories involving madness, murder, freaks and elephants..</em></p>

<p><br /></p>

<h1>Links to works</h1>

<p><br /></p>

<ul>
<li><em>The Nature of Mind and Human Automatism</em> (1885)

<ul>
<li><a href="http://www.archive.org/stream/natureofmindhuma01prin">pdf online</a></li>
<li><a href="http://www.archive.org/download/natureofmindhuma01prin/natureofmindhuma01prin.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/stream/natureofmindhuma01prin/natureofmindhuma01prin_djvu.txt">text</a></li>
<li><a href="http://www.archive.org/download/natureofmindhuma01prin/natureofmindhuma01prin.mobi">kindle</a></li>
</ul></li>
<li><em>The Dissociation of a Personality; a Biographical Study in Abnormal Psychology</em> (1906)

<ul>
<li><a href="http://www.archive.org/stream/dissociationofpe00priniala">pdf online</a></li>
<li><a href="http://www.archive.org/download/dissociationofpe00priniala/dissociationofpe00priniala.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/stream/dissociationofpe00priniala/dissociationofpe00priniala_djvu.txt">text</a></li>
<li><a href="http://www.archive.org/download/dissociationofpe00priniala/dissociationofpe00priniala.mobi">kindle</a></li>
</ul></li>
<li><em>The Unconscious: The Fundamentals of Human Personality Normal and Abnormal</em> (1914)

<ul>
<li><a href="http://www.archive.org/stream/unconsciousthefu00priniala">pdf online</a></li>
<li><a href="http://www.archive.org/download/unconsciousthefu00priniala/unconsciousthefu00priniala.pdf">pdf download</a>
*<a href="http://www.archive.org/stream/unconsciousthefu00priniala/unconsciousthefu00priniala_djvu.txt">text</a></li>
<li><a href="http://www.archive.org/download/unconsciousthefu00priniala/unconsciousthefu00priniala.mobi">kindle</a></li>
</ul></li>
<li><em>The Creed of Deutschtum, and Other War Essay including The Psychology of the Kaiser</em> (1918)

<ul>
<li><a href="http://www.archive.org/stream/creedofdeutschtu00prin">pdf online</a></li>
<li><a href="http://www.archive.org/download/creedofdeutschtu00prin/creedofdeutschtu00prin.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/stream/creedofdeutschtu00prin/creedofdeutschtu00prin_djvu.txt">text</a></li>
<li><a href="http://www.archive.org/download/creedofdeutschtu00prin/creedofdeutschtu00prin.mobi">kindle</a></li>
</ul></li>
<li>Introduction by Morton Prince in <em>My Life as a Dissociated Personality</em> by B.C.A (1909)

<ul>
<li><a href="http://www.archive.org/stream/mylifeasadissoc00agoog">pdf online</a></li>
<li><a href="http://www.archive.org/stream/mylifeasadissoc00agoog/mylifeasadissoc00agoog_djvu.txt">text</a></li>
<li><a href="http://www.archive.org/download/mylifeasadissoc00agoog/mylifeasadissoc00agoog.mobi">kindle</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.org/?p=1378
title: Sessions for the Blind at Sunderland Museum
uri: Sessions-for-the-Blind-at-Sunderland-Museum
url: http://publicdomainreview.org/2011/08/09/sessions-for-the-blind-at-sunderland-museum/
content:
<div align="center">
From 1913, John Alfred Charlton Deas, a former curator at Sunderland Museum, organised several handling sessions for the blind, first offering an invitation to the children from the Sunderland Council Blind School, to handle a few of the collections. They were so successful that Deas went on to develop and arrange a course of regular handling sessions, extending the invitations to blind adults.<br />(Pictures courtesy of Tyne &#038; Wear Archives &#038; Museums) 
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<img src="http://farm7.static.flickr.com/6026/5877343356_480371fa7e_b.jpg" alt="" />
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<img src="http://farm4.static.flickr.com/3036/5863211238_d83926c007_o.jpg" alt="" />
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<img src="http://farm3.static.flickr.com/2747/5862676487_11888711b6_o.jpg" alt="" />
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<img src="http://farm6.static.flickr.com/5181/5862889133_5f8e1ce3bb_z.jpg" alt="" />
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<img src="http://farm6.static.flickr.com/5111/5876604623_81e6c73f3a_o.jpg" alt="" />
</br>
<img src="http://farm6.static.flickr.com/5227/5862949727_34596c980c_o.jpg" alt="" />
</br>

<img src="http://farm6.static.flickr.com/5143/5876725727_a238fa8a21.jpg" alt="" />

<img src="http://farm7.static.flickr.com/6049/5876683051_25bf6b0bbb.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"></td>
	</tr>
</tbody>
</table>



</div>

<p></div></p>


feed_id: http://publicdomainreview.org/?p=1373
title: Huexotzinco Codex
uri: Huexotzinco-Codex
url: http://publicdomainreview.org/2011/08/09/huexotzinco-codex/
content:
<div align="center">
The Huexotzinco Codex is an eight-sheet document on amatl, a pre- European paper made in Mesoamerica. It is part of the testimony in a legal case against representatives of the colonial government in Mexico, ten years after the Spanish conquest in 1521. Huexotzinco (Way-hoat-ZINC-o) is a town southeast of Mexico City, in the state of Puebla. In 1521, the Nahua Indian people of the town were the allies of the Spanish conqueror Hernando Cortés, and together they confronted their enemies to overcome Moctezuma, leader of the Aztec Empire. After the conquest, the Huexotzinco peoples became part of Cortés’estates. During 1529-1530 when Cortés was out of the country, Spanish colonial administrators intervened in the daily activities of the community and forced the Nahuas to pay excessive taxes in the form of goods and services. When Cortés returned, the Nahuas joined him in a legal case against the abuses of the Spanish administrators. The plaintiffs were successful in their suit in Mexico, and later when it was retried in Spain. The record shows [in a document uncovered in the collections of the Library of Congress] that in 1538, King Charles of Spain agreed with the judgement against the Spanish administrators and ruled that two-thirds of all tributes taken from the people of Huexotzinco be returned. <br />
(excerpt and pictures from the <a href="http://www.loc.gov/exhibits/treasures/trt045.html">Library of Congress</a>)

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<img src="http://www.loc.gov/exhibits/treasures/images/hcodex1a.jpg" alt="" />

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<img src="http://www.loc.gov/exhibits/treasures/images/hcodex2a.jpg" alt="" />

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<img src="http://www.loc.gov/exhibits/treasures/images/hcodex3a.jpg" alt="" />

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<img src="http://www.loc.gov/exhibits/treasures/images/hcodex4a.jpg" alt="" />

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<img src="http://www.loc.gov/exhibits/treasures/images/hcodex5a.jpg" alt="" />

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<img src="http://www.loc.gov/exhibits/treasures/images/hcodex6a.jpg" alt="" />

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<img src="http://www.loc.gov/exhibits/treasures/images/hcodex7a.jpg" alt="" />

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<img src="http://www.loc.gov/exhibits/treasures/images/hcodex8a.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"></td>
	</tr>
</tbody>
</table>



</div>

<p></div></p>


feed_id: http://publicdomainreview.org/?p=1359
title: Art in Art
uri: Art-in-Art
url: http://publicdomainreview.org/2011/08/09/art-in-art/
content:
<div align="center">

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/da/The_Tribuna_of_the_Uffizi_%281772-78%29%3B_Zoffany%2C_Johann.jpg/741px-The_Tribuna_of_the_Uffizi_%281772-78%29%3B_Zoffany%2C_Johann.jpg" alt="" />
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<span style="font-variant: small-caps;">The Tribuna of the Uffizi (1772-78), by Johann Zoffany (1733-1810); Royal Collection, Windsor.</span><br />
(annotated version <a href="http://commons.wikimedia.org/wiki/File:The_Tribuna_of_the_Uffizi_(1772-78);_Zoffany,_Johann.jpg">here</a>)
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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/4/4e/David_Teniers_d._J._008.jpg/800px-David_Teniers_d._J._008.jpg" alt="" />
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<span style="font-variant: small-caps;">Archduke Leopold Wilhelm in his Gallery in Brussels (ca.1651), by David Teniers the Younger (1610–1690); Kunsthistorisches Museum, Vienna.</span>
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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/89/PanniniMusImagin.jpg/800px-PanniniMusImagin.jpg" alt="" />
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<span style="font-variant: small-caps;">Roman Ruins and Sculpture (ca.1755), by Giovanni Paolo Pannini (1692–1765); Staatsgalerie, Stuttgart.</span>
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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/e/e3/Bruegel_d._%C3%84.%2C_Jan_-_Allegory_of_Sight_and_Smell_-_1618.jpg/800px-Bruegel_d._%C3%84.%2C_Jan_-_Allegory_of_Sight_and_Smell_-_1618.jpg" alt="" />
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<span style="font-variant: small-caps;">Allegory of Sight and Smell (latter 16thC.), by Jan Brueghel (1568–1625); Prado Museum, Madrid</span>
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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/0/0c/Frans_Francken_%28II%29_-_Art_Room_-_WGA08198.jpg/648px-Frans_Francken_%28II%29_-_Art_Room_-_WGA08198.jpg" alt="" />
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<span style="font-variant: small-caps;">Art Room (1636), by Frans Francken II (1581–1642); Kunsthistorisches Museum, Vienna</span>
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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/0/05/Willem_van_Haecht_-_The_Gallery_of_Cornelis_van_der_Geest_-_WGA11027.jpg/800px-Willem_van_Haecht_-_The_Gallery_of_Cornelis_van_der_Geest_-_WGA11027.jpg" alt="" />
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<span style="font-variant: small-caps;">The Gallery of Cornelis van der Geest (1628), by Willem van Haecht (1593–1637); Rubenshuis, Antwerp</span>

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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 />
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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"></td>
	</tr>
</tbody>
</table>




</div>

<p></div></p>


feed_id: http://publicdomainreview.org/?p=1330
title: Dr Julius Neubronner’s Miniature Pigeon Camera
uri: Dr-Julius-Neubronner-s-Miniature-Pigeon-Camera
url: http://publicdomainreview.org/2011/08/09/dr-julius-neubronners-miniature-pigeon-camera/
content:
<div align="center">
In 1903 Dr Julius Neubronner patented a miniature pigeon camera activated by a timing mechanism. The invention brought him international notability after he presented it at international expositions in Dresden, Frankfurt and Paris in 1909–1911. Spectators in Dresden could watch the arrival of the camera-equipped carrier pigeons, and the photos were immediately developed and turned into postcards which could be purchased.

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<img src="http://upload.wikimedia.org/wikipedia/commons/3/35/Julius_Neubronner_with_pigeon_and_camera_1914.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/1/12/Dr_Julius_Neubronner_patented_a_miniature_pigeon_camera_activated_by_a_timing_mechanism%2C_1903.jpg/449px-Dr_Julius_Neubronner_patented_a_miniature_pigeon_camera_activated_by_a_timing_mechanism%2C_1903.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/df/Pigeoncameras.jpg/800px-Pigeoncameras.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/9/94/Bundesarchiv_Bild_183-R01996%2C_Brieftaube_mit_Fotokamera_cropped.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Pigeon_wingtips.jpg/800px-Pigeon_wingtips.jpg" alt="" />

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<img src="http://publicdomainreview.org/files/2011/08/pigeon-photo.jpg" alt="" title="pigeon photo" width="600" height="233" class="alignnone size-full wp-image-1336" />
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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"></td>
	</tr>
</tbody>
</table>



</div>


feed_id: http://publicdomainreview.org/?p=1315
title: The Maps of Piri Reis
uri: The-Maps-of-Piri-Reis
url: http://publicdomainreview.org/2011/08/08/the-maps-of-piri-reis/
content:
<div align="center">

<br />
Piri Reis was a 16th century Ottoman Admiral famous for his maps and charts collected in his Kitab-ı Bahriye (Book of Navigation), a book which contains detailed information on navigation as well as extremely accurate charts describing the important ports and cities of the Mediterranean Sea. In 1513 he produced his first world map, based on some 20 older maps and charts which he had collected, including charts personally designed by Christopher Columbus which his uncle Kemal Reis obtained in 1501 after capturing seven Spanish ships off the coast of Valencia in Spain with several of Columbus’ crewmen on board. See more <a href="http://commons.wikimedia.org/wiki/Category:Maps_by_Piri_Reis">here</a>.

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Alexandria_by_Piri_Reis.jpg/800px-Alexandria_by_Piri_Reis.jpg" alt="" />
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Alexandria
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<img src="http://upload.wikimedia.org/wikipedia/commons/b/b3/Ancona_by_Piri_Reis.jpg" alt="" />
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Ancona
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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/1/1a/Brindisi_by_Piri_Reis.jpg/800px-Brindisi_by_Piri_Reis.jpg" alt="" />
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Brindisi
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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/c/cf/Sardinia_by_Piri_Reis.jpg/411px-Sardinia_by_Piri_Reis.jpg" alt="" />
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Sardinia
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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/c/c0/Granada_by_Piri_Reis.jpg/800px-Granada_by_Piri_Reis.jpg" alt="" />
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Granada
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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/1/16/Marseilles_by_Piri_Reis.jpg/434px-Marseilles_by_Piri_Reis.jpg" alt="" />
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Marseilles
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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/2/28/Marmaris_by_Piri_Reis.jpg/800px-Marmaris_by_Piri_Reis.jpg" alt="" />
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Marmaris
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<img src="http://upload.wikimedia.org/wikipedia/commons/8/8c/Venice_by_Piri_Reis.jpg" alt="" />
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Venice
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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 />
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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"></td>
	</tr>
</tbody>
</table>



</div>


feed_id: http://publicdomainreview.org/?p=1301
title: The Spirit Photographs of William Hope
uri: The-Spirit-Photographs-of-William-Hope
url: http://publicdomainreview.org/2011/08/08/the-spirit-photographs-of-william-hope/
content:
<div align="center">

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These photographs of &#8216;spirits&#8217; are taken from an album of photographs unearthed in a Lancashire second-hand and antiquarian bookshop by one of the Museum&#8217;s curators. They were taken by a controversial medium called William Hope (1863-1933).

Born in 1863 in Crewe, Hope started his working life as a carpenter. In about 1905 he became interested in spirit photography after capturing the supposed image of a ghost while photographing a friend. 

He went on to found the Crewe Circle – a group of six spirit photographers led by Hope. When Archbishop Thomas Colley joined the group they began to publicise their work. 

Following World War I support for the Crewe Circle grew as the grieving relatives of those lost to the war sought a means of contacting their loved ones. 

By 1922 Hope had moved to London where he became a professional medium. The work of the Crew Circle was investigated on various occasions. 

The most famous of these took place in 1922, when the Society for Psychical Research sent Harry Price to investigate the group. 

Price collected evidence that Hope was substituting glass plates bearing ghostly images in order to produce his spirit photographs. 

Later the same year Price published his findings, exposing Hope as a fraudster. However, many of Hope’s most ardent supporters spoke out on his behalf, the most famous being Sir Arthur Conan Doyle, and Hope continued to practice, despite his exposure. He died in London on 7 March 1933.

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(Text and photos from the National Media Museum <a href="http://www.flickr.com/photos/nationalmediamuseum/sets/72157606849278823/with/2781057504/">entry</a> at Flickr)

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<img src="http://farm4.static.flickr.com/3211/2780177093_a3115ca72b.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3114/2780186597_af2a8c1ac1.jpg" alt="" /><img src="http://farm4.static.flickr.com/3265/2780178199_b7906c3026.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3193/2780179377_ce92c74eda.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3130/2781039056_abb6c152e1.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3026/2781040010_904fd13b51.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3285/2780183501_c58d7c1e8e.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3076/2781042126_5746a495b1.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3197/2781043234_5acf47e57b.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3284/2781045360_269182884b.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3232/2780188589_dede0a1bd8.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3240/2780190711_e937d8f74c.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3271/2780189841_e82b3184be.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3098/2780191585_f14c2acd5b.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3256/2780192661_beae049236.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3256/2781052928_b93c97691e.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3075/2780196013_b5e2db2286.jpg" alt="" />
<img src="http://farm4.static.flickr.com/3295/2780198461_7f9a3f1113.jpg" alt="" />

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<hr />
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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"></td>
	</tr>
</tbody>
</table>



</div>


feed_id: http://publicdomainreview.org/?p=1288
title: Operation Doorstep
uri: Operation-Doorstep
url: http://publicdomainreview.org/2011/08/08/operation-doorstep/
content:
<div align="center">

<br />

Operation Doorstep was a Civil Defense test carried out in conjunction with the much larger March 17, 1953, 16-kiloton ANNIE test conducted at the Nevada Test Site, part of Operation Upshot-Knothole. In the smaller Operation Doorstep test, blast and thermal effects were evaluated on mannequins, automobiles, and wooden frame houses.<br /><br />(Images from <a href="http://commons.wikimedia.org/wiki/Operation_Doorstep">Wikimedia Commons</a>)

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(before)

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/2/2a/OperationDoorstep1-Car18.jpg/800px-OperationDoorstep1-Car18.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/3/34/OperationDoorstep1-MotherChildren.jpg/759px-OperationDoorstep1-MotherChildren.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/3/31/OperationDoorstep1-BasementMother.jpg/407px-OperationDoorstep1-BasementMother.jpg" alt="" />

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(after)

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/OperationDoorstep2-ManLivingroom.jpg/800px-OperationDoorstep2-ManLivingroom.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/3/36/OperationDoorstep2-PeopleDiningRoom1.jpg/800px-OperationDoorstep2-PeopleDiningRoom1.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/9/91/OperationDoorstep2-PeopleDiningRoom2.jpg/800px-OperationDoorstep2-PeopleDiningRoom2.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/b/b8/OperationDoorstep2-PeopleLivingroom1.jpg/800px-OperationDoorstep2-PeopleLivingroom1.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/c/c9/OperationDoorstep2-PeopleLivingroom2.jpg/800px-OperationDoorstep2-PeopleLivingroom2.jpg" alt="" />

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<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/9/9b/OperationDoorstep2-PeopleLivingroom3.jpg/800px-OperationDoorstep2-PeopleLivingroom3.jpg" alt="" />

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(video)

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<br />

<embed id=VideoPlayback src=http://video.google.com/googleplayer.swf?docid=5476562785126796683&#038;hl=en&#038;fs=true style=width:400px;height:326px allowFullScreen=true allowScriptAccess=always type=application/x-shockwave-flash> </embed>

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<hr />
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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"></td>
	</tr>
</tbody>
</table>




</div>


feed_id: http://publicdomainreview.org/?p=1413
title: Battleship Potemkin (1925)
uri: Battleship-Potemkin-(1925)
url: http://publicdomainreview.org/2011/08/12/battleship-potemkin-1925/
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':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'Battleship_Potemkin_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/BattleshipPotemkin/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'Battleship_Potemkin_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/BattleshipPotemkin/','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 one of the most important films in the history of silent pictures, as well as possibly Eisenstein&#8217;s greatest work, Battleship Potemkin brought Eisenstein&#8217;s theories of cinema art to the world in a powerful showcase; his emphasis on montage, his stress of intellectual contact, and his treatment of the mass instead of the individual as the protagonist. The film tells the story of the mutiny on the Russian ship Prince Potemkin during the 1905 uprising.<br />
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<a href="http://www.archive.org/details/BattleshipPotemkin">Download from Internet Archive</a>
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<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) 25 secs<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>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1421
title: The Kiss (1896)
uri: The-Kiss-(1896)
url: http://publicdomainreview.org/2011/08/13/the-kiss-1896/
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':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'Irwin-RiceKiss_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/Irwin-RiceKiss/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'Irwin-RiceKiss_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/Irwin-RiceKiss/','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>
<br />
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&#8220;An osculatory performance by May Irwin and John Rice&#8221;&#8230;. Scene from the New York stage comedy, The Widow Jones, in which Irwin and Rice starred. According to Edison film historian C. Musser, the actors staged their kiss for the camera at the request of the New York world newspaper, and the resulting film was the most popular Edison Vitascope film in 1896. The first ever kiss to be caught on film.<br />
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<a href="http://www.archive.org/details/Irwin-RiceKiss">Download from Internet Archive</a>
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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 />
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<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) 25 secs<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>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1417
title: Experiments in the Revival of Organisms (1940)
uri: Experiments-in-the-Revival-of-Organisms-(1940)
url: http://publicdomainreview.org/2011/08/13/experiments-in-the-revival-of-organisms-1940/
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':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'Experime1940_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/Experime1940/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'Experime1940_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/Experime1940/','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 film documenting Soviet research into the resuscitation of clinically dead organisms, research which in the film appears to be successful. The experiments were conducted by Dr. S.S. Bryukhonenko in 1939 at the Institute of Experimental Physiology and Therapy, Voronezh, U.S.S.R. The film includes an introduction by the renowned British scientist Professor J.B.S. Haldane. Read a Time Magazine account of the 1943 première shown to US scientists <a href="http://www.time.com/time/magazine/article/0,9171,851883,00.html">here</a>.
<br />
<br />
<a href="http://www.archive.org/details/Experime1940">Download from Internet Archive</a>
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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) 25 secs<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>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1425
title: The Snows of Kilimanjaro (1952)
uri: The-Snows-of-Kilimanjaro-(1952)
url: http://publicdomainreview.org/2011/08/14/the-snows-of-kilimanjaro-1952/
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':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'The_Snows_of_Kilimanjaro_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/Kilimanjaro/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'The_Snows_of_Kilimanjaro_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/Kilimanjaro/','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 />
Film based on Hemingway&#8217;s classic short story, directed by Henry King, and starring Gregory Peck, Ava Gardner, and Susan Hayward. The story centers on the memories of a writer (Gregory Peck) who is slowly dying after developing a dangerous wound from a thorn prick while on Safari in Africa. The film was nominated for two Academy Awards; for Best Cinematography and Best Art Direction (Lyle Wheeler, John DeCuir, Thomas Little, Paul S. Fox)<br />
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<a href="http://www.archive.org/details/Kilimanjaro">Download from Internet Archive</a>
<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) 25 secs<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>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1503
title: The Danger of Premature Interment (1816)
uri: The-Danger-of-Premature-Interment-(1816)
url: http://publicdomainreview.org/2011/08/15/the-danger-of-premature-interment-1816/
content:
<div align="center">
<iframe src='http://www.archive.org/stream/dangerofprematur00tayl?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>
<br />
<span style="font-variant: small-caps;">The Danger of Premature Interment, by Joseph Taylor; 1816; W. Simpkin and R. Marshall, London.</span>

<br />
<br />
&#8220;The Danger of Premature Interment proved from many remarkable instances of people who have recovered after being laid out for dead, and of others entombed alive, for want of being properly examined prior to interment. Also a description of the manner the ancient Egyptians, and other nations preserved and venerated their dead, and a curious account of their sepulchral ever burning lamps and mausoleums. Likewise the pernicious effects of burying in the body of churches, and confined church yards pointed out, whereby many valuable lives have been lost to the public, and their friends.&#8221;
<br />
<br />
<a href="http://openlibrary.org/books/OL24609937M/The_danger_of_premature_interment">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"></td>
	</tr>
</tbody>
</table>
 

</div>


feed_id: http://publicdomainreview.org/?p=1489
title: Rudolph Valentino (1923)
uri: Rudolph-Valentino-(1923)
url: http://publicdomainreview.org/2011/08/15/rudolph-valentino-1923/
content:
<div align="center">

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/f/fe/Rudolph_valentino_i_sangue_e_arena%2C_1922.jpg/449px-Rudolph_valentino_i_sangue_e_arena%2C_1922.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':'#$aa4baff94a9bdcafce8','playlist':[{'url':'RudolphValentino-ElRelicario.mp3','autoPlay':false},'RudolphValentino-KashmiriSong.mp3'],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/RudolphValentino/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':true,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'RudolphValentino-ElRelicario.mp3','autoPlay':false},'RudolphValentino-KashmiriSong.mp3'],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/RudolphValentino/'},'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>
<br />
<br />
Two songs from Rudoph Valentino: &#8220;El Relicario&#8221; and &#8220;Kashmiri Song&#8221;. Rudolph Valentino (May 6, 1895 – August 23, 1926) was an Italian actor, and early pop icon. A sex symbol of the 1920s, Valentino was known as the &#8220;Latin Lover&#8221;. He starred in several well known silent films including The Four Horsemen of the Apocalypse, The Sheik, Blood and Sand, The Eagle and Son of the Sheik. His sudden death at age 31 caused mass hysteria among his female fans, with reported resultant suicides, and an estimated 100,000 people lining the streets of New York City to pay their respects at his funeral.<br />
<br />
MP3 Download <a href="http://www.archive.org/download/RudolphValentino/RudolphValentino-ElRelicario.mp3">El Relicario</a> / <a href="http://www.archive.org/download/RudolphValentino/RudolphValentino-KashmiriSong.mp3">Kasmiri Song
<br />
<a href="http://www.archive.org/details/RudolphValentino">Internet Archive Link</a>
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<hr />
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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 />
<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"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1493
title: Rhapsody In Blue – Paul Whiteman and George Gershwin (Original 1924 recording)
uri: Rhapsody-In-Blue-Paul-Whiteman-and-George-Gershwin-(Original-1924
url:
http://publicdomainreview.org/2011/08/15/rhapsody-in-blue-paul-whiteman-and-george-gershwin-original-1924-recording/

content:
<div align="center">

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/d5/George_gershwin.jpg/600px-George_gershwin.jpg" alt="" />

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<br />
<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':'#$aa4baff94a9bdcafce8','playlist':[{'url':'rhapblue21924_vbr.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/rhapblue21924/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'rhapblue21924_vbr.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/rhapblue21924/'},'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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<br />
This is the original recording of Gershwin&#8217;s masterpiece, acoustic as opposed to the later more famous and more well known electrically recorded version. In 2 parts.<br />
<br />
MP3 Download <a href="http://www.archive.org/download/rhapblue21924/rhapblue21924_64kb.mp3">Part 1</a> / 
<a href="http://www.archive.org/download/rhapblue21924/rhapblue21924_64kb.mp3">Part 2</a>
<br />
Internet Archive Link 
<a href="http://www.archive.org/details/rhapblue11924">Part 1</a> / <a href="http://www.archive.org/details/rhapblue21924">Part 2</a>
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<hr />
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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 />
<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"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1431
title: English As She Is Spoke (1884)
uri: English-As-She-Is-Spoke-(1884)
url: http://publicdomainreview.org/2011/08/15/english-as-she-is-spoke-1884/
content:
<div align="center">
<iframe src='http://www.archive.org/stream/englishassheissp00applrich?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>

<br />
<span style="font-variant: small-caps;">English As She is Spoke, by Pedro Carolino; 1884; Appleton, New York</span>

<br />
<br />
The book was intended as a Portuguese-English conversational guide or phrase book, but is regarded as a classic source of unintentional humour, as the given English translations are generally completely incoherent. Carolino added Fonseca&#8217;s name to the book without the latter knowing about it. Fonseca had written a successful Portuguese-French phrase book, which Carolino adapted.<br /><br />Mark Twain: &#8220;Nobody can add to the absurdity of this book, nobody can imitate it successfully, nobody can hope to produce its fellow; it is perfect.&#8221;
<br />
<br />
<a href="http://openlibrary.org/books/OL17960587M/English_as_she_is_spoke.">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"></td>
	</tr>
</tbody>
</table>
 

</div>


feed_id: http://publicdomainreview.org/?p=1468
title: Eugène von Guérard’s Australian Landscapes
uri: Eugène-von-Guérard-s-Australian-Landscapes
url: http://publicdomainreview.org/2011/08/15/eugene-von-guerards-australian-landscapes/
content:
<div align="center">

Selection from Eugène von Guérard&#8217;s <em>Australian landscapes: a series of 24 tinted lithographs illustrative of the most striking and picturesque features of the landscape scenery of Victoria, New South Wales, South Australia &#038; Tasmania</em>, printed and published by Hamel &#038; Ferguson in 1867. (See more <a href="http://commons.wikimedia.org/wiki/Category:Eugene_von_Guerard">here</a>)
<br />

<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Cabbage_Tree_Forest%2C_American_Creek_%28NSW%29.jpg/800px-Cabbage_Tree_Forest%2C_American_Creek_%28NSW%29.jpg" alt="" />

<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Crater_of_Mount_Eccles_%28Victoria%29.jpg/800px-Crater_of_Mount_Eccles_%28Victoria%29.jpg" alt="" />

<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Fall_of_the_first_Creek_near_Glen_Osmond_S.A._by_EV_Gu%C3%A9rard.jpg/800px-Fall_of_the_first_Creek_near_Glen_Osmond_S.A._by_EV_Gu%C3%A9rard.jpg" alt="" />

<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/7/74/Ferntree_Gulley%2C_Dandenong_Ranges_%28Victoria%29.jpg/800px-Ferntree_Gulley%2C_Dandenong_Ranges_%28Victoria%29.jpg" alt="" />

<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/6/63/Forest%2C_Cape_Otway_Ranges.jpg/800px-Forest%2C_Cape_Otway_Ranges.jpg" alt="" />

<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/a/a5/Hobart_Town.jpg/800px-Hobart_Town.jpg" alt="" />

<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/c/c9/Moroka_River_Falls_%28foot_of_Mount_Kent%29.jpg/800px-Moroka_River_Falls_%28foot_of_Mount_Kent%29.jpg" alt="" />

<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/a/ae/North_East_view_from_the_top_of_Mt_Kosciusko_NSW.jpg/800px-North_East_view_from_the_top_of_Mt_Kosciusko_NSW.jpg" alt="" />

<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Top_of_Mount_Lofty_near_Adelaide_%28S.A.%29.jpg/800px-Top_of_Mount_Lofty_near_Adelaide_%28S.A.%29.jpg" alt="" />

<br />

<img src="http://upload.wikimedia.org/wikipedia/commons/thumb/5/5a/Weatherboard_Fall_NSW.jpg/800px-Weatherboard_Fall_NSW.jpg" alt="" />


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<br />
<hr />
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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"></td><td class="column-4"></td>
	</tr>
</tbody>
</table>




</div>


feed_id: http://publicdomainreview.org/?p=1433
title: Labillardière and his Relation
uri: Labillardière-and-his-Relation
url: http://publicdomainreview.org/2011/08/15/labillardiere-and-his-relation/
content:
<p><strong>When the French explorer Lapérouse went missing, a search voyage was put together to retrace his course around the islands of Australasia. On the mission was the naturalist Jacques Labillardière who published a book in 1800 of his experiences. Edward Duyker, author of <em>Citizen Labillardière: A Naturalist’s Life in Revolution and Exploration (1755-1834)</em>, explores the impact of his pioneering work.</strong></p>

<p><img src="http://farm7.static.flickr.com/6202/6045330236_eff8f2abc8_o.jpg" alt="" /></p>

<p>Jacques-Julien Houtou de Labillardière’s <em>Relation du voyage à la recherche de La Pérouse</em> (1800) is a personal account of an attempt to solve a mystery which began in March 1788. After a five week sojourn–following up on James Cook’s discoveries, investigating reports of a new British colony and undertaking scientific work &#8211; the French explorer Jean-François Galaup de Lapérouse sailed out of Botany Bay, New South Wales, and was never seen again by Europeans. His disappearance was a matter of great national concern in France. Just before mounting the scaffold of the guillotine, Louis XVI is said to have asked: ‘Is there any news of M. de Lapérouse?’. In 1791, when the French National Assembly decided to send a rescue expedition, probably the first humanitarian mission on a global scale in world history, Admiral Antoine Raymond Joseph Bruny d’Entrecasteaux was chosen as the commander of its two ships: Recherche and Esperance (‘Search’ and ‘Hope’).</p>

<p>We know now that Lapérouse’s expedition was wrecked off Vanikoro in the Solomon Islands. Although d’Entrecasteaux sailed very close to Vanikoro, he failed to discover the fate of Lapérouse and ultimately perished during the voyage. Nevertheless, his expedition made a number of significant geographical discoveries. In Tasmania these discoveries included Recherche Bay, the D&#8217;Entrecasteaux Channel (between the mainland and Bruny Island) and the estuaries of the Huon and Derwent Rivers. In Western Australia, d’Entrecasteaux discovered Esperance Bay and surveyed the Archipelago of the Recherche. He also discovered islands in the d’Entrecasteaux group off New Guinea and named and surveyed the Huon Peninsula. Furthermore, his expedition was of considerable significance in the history of geophysics, for it returned with the first survey of global magnetic intensity, proving that it strengthens away from the equator to both north and south.</p>

<p><img src="http://farm7.static.flickr.com/6066/6045330226_386c8740ae_o.jpg" alt="" /></p>

<p>D’Entrecasteaux’s voyage also yielded significant natural history collections and ethnographic observations – including some of the earliest recorded observations of the Aboriginal people of Tasmania. The most valuable contributions in these areas was made by the naturalist Labillardière. His <em>Relation du voyage à la recherche de La Pérouse</em> – one of the classic works of French travel literature – published by the printer and bookseller H.-J. Jansen in the rue des Maçons, was accompanied by an atlas of impressive engravings based on sketches of scenes by Jean Piron, but also of plants by the great Pierre-Joseph Redouté and of birds by Jean-Baptiste Audebert. Labillardière’s <em>Relation</em> proved to be an international best seller. There were several French editions and in 1817 the Atlas was reprinted. Four English editions quickly appeared between 1800 and 1802, and German editions were published in Hamburg (1801) and Vienna (1804). Through his authorship of the <em>Relation du voyage à la recherche de La Pérouse</em>, Labillardière helped to usher the southern continent into the European imagination and may even have helped precipitate British pre-emptive settlement of Van Diemen’s Land (Tasmania).</p>

<p>Labillardière would also produce what in practical terms was the first published flora of Australia: the magnificent two-volume <em>Novae Hollandiae plantarum specimen</em> (1804–06) containing 265 copperplate engravings. Labillardière has the distinction of having named the floral emblems of Tasmania (Eucalyptus globulus) and Victoria (Epacris impressa), as well as the genus Anigozanthus to which the floral emblem of Western Australia belongs. Later he published the first flora of New Caledonia, <em>Sertum austro-caledonicum</em> (1824—1825), which unlike his earlier works was not organized on Linnean lines.</p>

<p><img src="http://farm7.static.flickr.com/6063/6045330242_7f8a798fb6_o.jpg" alt="" />
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<br />
<img src="http://farm7.static.flickr.com/6087/6045330238_41fa371f2d_o.jpg" alt="" /></p>

<p>Born in Alençon, Normandy, in 1755, Labillardière was the son of a lace merchant. After studies at Alençon’s Collège Royale, he studied botany and medicine at Montpellier under Antoine Gouan (a correspondent of Linnaeus), Reims and then in Paris where he came under the influence of Louis-Guillaume Le Monnier, Professor of Botany at the Jardin du Roi. He visited England in 1783 and met Sir Joseph Banks. On his return to France, Labilllardière travelled in the Alps with Dominique Villars and later Carlo Antonio Bellardi.  In 1787—8, with the assistance of Le Monnier and Foreign Minister Vergennes, he collected in Cyprus, Lebanon and Syria—travels which provided the foundations for his important early work on the botany of the Near East: <em>Icones plantarum Syriae rariorum</em> (1791—1812). He was selected to join d&#8217;Entrecasteaux&#8217;s expedition in 1791. Labillardière was a supporter of the French Revolution and was known for his difficult temperament. After the disintegration of the d’Entrecasteaux expedition, on royalist and republican lines in the Dutch East Indies, he suffered the indignity of internment and having his natural history specimens confiscated. Fortunately for posterity, these precious collections were returned through the gracious intervention of Sir Joseph Banks.</p>

<p><img src="http://farm7.static.flickr.com/6062/6045330228_61b06b1c8e_o.jpg" alt="" />
<br />
<br />
<img src="http://farm7.static.flickr.com/6072/6044885257_eec11d2b38_o.jpg" alt="" /></p>

<p>Although the <em>Relation</em> hints at sympathy for the ‘transmutationist’ ideas of Lamarck, Labillardière did not develop any evolutionary notions based on his field research­. Nevertheless, his books and articles had considerable taxonomic, systematic, biogeographic and morphological significance, and it was upon such foundations that later evolutionary ecology was built. In an age when the discovery of new species and genera was often seen as the apogee of botanical pursuit, Labillardière was accorded ample kudos. Even today, some fifty of the plant genera he established survive. However, in his <em>Relation</em> and in a number of scientific papers, Labillardière ventured beyond a mere cataloguing of nature. He had a strong interest in applied botany and his writings contain numerous observations on subjects such as timber, plant fibres, food crops and herbal pharmacology. They also include studies of significant aspects of animal behaviour and physiology. And aside from his commercial-military strategic perceptions — such as the advantages offered by the D’Entrecasteaux Channel for a trading maritime power, or the value of cultivating New Zealand flax for naval cordage &#8211; Labillardière’s applied observations often had enduring ethnological significance. Furthermore, as an ethnographer he attempted to apply empirical methods to record the customs and social structures of indigenous communities he encountered in Australia and the Pacific. Arguably his vocabularies of native languages, as keys to cultural understanding, also beg comparison with his systematic botanical descriptions, representing as they do a necessary ordering of the natural world on the threshold of modern ecological and evolutionary understanding.</p>

<p>In the wake of Napoleon’s victories in Italy, Labillardière was appointed a special commissioner by the French government and to his discredit was involved in the plunder of Italian museums and libraries for France. In 1799 he married Marthe Goudes Desfriches, the twice-widowed daughter of a military surgeon, but they had no surviving children. He was elected a member of the Institut de France in 1800. Labillardière died in Paris on 9 January 1834 and is buried in Père Lachaise Cemetery. The English botanist Sir James Edward Smith named the genus Billardiera in his honour.</p>

<div align="center">
<div class='flickr-mini-gallery ' lang=_s& rel="photoset_id=72157627313417525&extras=" longdesc='photoset'></div>
</div>

<p><br /></p>

<p><br /></p>

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<p><br />
<em>Edward Duyker is the author of <a href="http://catalogue.mup.com.au/978-0-522-85160-1.html">Citizen Labillardière: A Naturalist’s Life in Revolution and Exploration (1755-1834)</a>, Miegunyah/Melbourne University Publishing, Melbourne, 2003. This biography won the New South Wales Premier’s General History Prize in 2004. He is  Adjunct Professor of the Faculty of Arts and Sciences, Australian Catholic University, and Honorary Senior Lecturer in the Department of French Studies, University of Sydney.  In 2007 he was elected a fellow of the Australian Academy of the Humanities.</em></p>

<p><br /></p>

<h1>Links to works</h1>

<p><br /></p>

<ul>
<li><em>Voyage in search of La Pérouse &#8211; Vol.I</em> (1800)

<ul>
<li><a href="http://www.archive.org/stream/voyageinsearchof01labi">pdf online</a></li>
<li><a href="http://www.archive.org/download/voyageinsearchof01labi/voyageinsearchof01labi.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/voyageinsearchof01labi/voyageinsearchof01labi.mobi">kindle</a></li>
</ul></li>
<li><em>Voyage in search of La Pérouse &#8211; Vol.II</em> (1800)

<ul>
<li><a href="http://www.archive.org/stream/voyageinsearchof02labi">pdf online</a></li>
<li><a href="http://www.archive.org/download/voyageinsearchof02labi/voyageinsearchof02labi.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/voyageinsearchof02labi/voyageinsearchof02labi.mobi">kindle</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.org/?p=1513
title: Landscape and Marine Views of Norway
uri: Landscape-and-Marine-Views-of-Norway
url: http://publicdomainreview.org/2011/08/16/landscape-and-marine-views-of-norway/
content:
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Selection of images from &#8220;Landscape and marine views of Norway&#8221; (ca.1890-1900), a set in the Library of Congress&#8217; Photochrom Prints Collection (via <a href="http://www.flickr.com/search/?w=commons&#038;q=norway+photochrom&#038;m=text">Flickr Commons</a>). Photochrom prints are colorized images produced from black-and-white photographic negatives via the direct photographic transfer of a negative onto lithographic limestone printing plates, with each colour tint applied using a separate stone bearing the appropriate retouched image. The finished print is produced using at least six, but more commonly from 10 to 15, tint stones. A very popular method at the turn of the century.
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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 />
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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>
	</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 />
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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"></td><td class="column-4"></td>
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</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1542
title: The Last American
uri: The-Last-American
url: http://publicdomainreview.org/2011/08/19/the-last-american/
content:
<div align="center">
<iframe src='http://www.archive.org/stream/lastamericanfrag00mitcrich?ui=embed#mode/2up' width='818px' height='732px' frameborder='0' ></iframe>

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<span style="font-variant: small-caps;">The Last American, a fragment from the journal of Khan-Li, by J. A. Mitchell; 1889; Frederick A. Stokes, New York.</span>

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Short future history novel from John Ames Mitchell (1845–1918). First published in 1889, it is the fictional journal of Persian admiral Khan-Li, who in the year 2951 rediscovers North America by sailing across the Atlantic.
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<a href="http://openlibrary.org/books/OL7218176M/The_last_American">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 />
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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>
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		<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 />
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<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"></td>
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feed_id: http://publicdomainreview.org/?p=1528
title: The Mechanism of Human Physiognomy
uri: The-Mechanism-of-Human-Physiognomy
url: http://publicdomainreview.org/2011/08/19/the-mechanism-of-human-physiognomy/
content:
<div align="center">

Plates from Guillaume-Benjamin Duchenne&#8217;s &#8216;Mécanisme de la Physionomie Humaine&#8217;, published by Jules Renouard, Paris, in 1862. By applying electrodes to male and female volunteers, Duchenne was able to activate individual muscles in the face. He saw the human face as a map, the features of which could be codified into universal taxonomies of inner states, with each muscle representing a &#8216;movement of the soul&#8217;. He listed 53 emotions that could be classified in terms of muscular action. (Photos from the National Media Museum via <a href="http://www.flickr.com/photos/nationalmediamuseum/sets/72157610763135858/with/3084041273/">Flickr Commons</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 />
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<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>
	</tr>
	<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>
	</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 />
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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 />
<img src="http://farm7.static.flickr.com/6196/6076698488_c0d804b2f0_o.jpg"></a></td>
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feed_id: http://publicdomainreview.org/?p=1586
title: Accuracy and Elegance in Cheselden’s Osteographia (1733)
uri: Accuracy-and-Elegance-in-Cheselden-s-Osteographia-(1733)
url: http://publicdomainreview.org/2011/08/22/accuracy-and-elegance-in-cheseldens-osteographia-1733/
content:
<p><strong>With its novel vignettes and its use of a camera obscura in the production of the plates, William Cheselden’s Osteographia, is recognized as a landmark in the history of anatomical illustration. Monique Kornell looks at its unique blend of accuracy and elegance.</strong></p>

<p><img src="http://farm7.static.flickr.com/6201/6068918533_cf3b806911_o.jpg" alt="" /></p>

<p>A lavishly illustrated and particularly elegant book of human and comparative osteology in large folio size, <em>Osteographia</em>, or the <em>Anatomy of the Bones</em>, was published in London in 1733 by William Cheselden (1688-1752). However highly it is esteemed today, it was a financial failure for its author, unlike his earlier, less expensive and more general work, <em>The Anatomy of the Humane Body</em> (1713), which went through numerous editions.</p>

<p>Cheselden, a successful surgeon based in London, first won fame for his perfection of the lateral method of lithotomy, or “cutting for the stone”.  At the time of publication of the <em>Osteographia</em>, he was already well established in his career. Surgeon to Queen Caroline, to whom the book is dedicated, he was also a Fellow of the Royal Society, surgeon at St. Thomas’s hospital and the first foreign member of the newly founded Royal Academy of Surgery in Paris.</p>

<p>Work was under way for the <em>Osteographia</em> already by 1726 when Cheselden states in the preface to the <em>Anatomy of the Human Body</em> that he would have replaced illustrations from the first edition:</p>

<blockquote>
  <p>if I had not been so much engaged about an Osteology in which every plate is twenty one inches long, and fifteen broad. All the bones will be done so large as the life, and the bones of the limbs and trunk, with sceletons as large as the plates will admit of; And besides these there will be some plates of the cartilages, ligaments and diseased bones; and every chapter will have a distinct head-piece and tail-piece, which will be chiefly made of the sceletons of different animals.</p>
</blockquote>

<p>The <em>Osteographia</em> eventually appeared in 1733 with a double set of plates, 56 lettered and 56 unlettered, “to shew them in their full beauty” (ch. 8). Part of the delay was that the initial drawings for the plates were abandoned when Cheselden, in his desire for the greatest accuracy in the rendering of the skeleton, had his artists, Gerard Vandergucht and Jacob Schijnvoet, employ a camera obscura, the use of which is illustrated in a vignette on the title page. As described in chapter VIII, the artist drew upon a roughened glass set six inches inside; a sliding lens allowed him to adjust the scale. The resulting image was then traced on to paper. Many of the preparatory drawings survive in the collection of the Royal Academy, London.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6188/6069398212_3a0502a5fd_o.jpg" width="540" height="263" /><p class="wp-caption-text">Camera obscura vignette, Title page, Osteographia, 1733</p></div>

<p>In the production of the plates, Cheselden took a markedly active role. He chose the poses for the skeletons and oversaw each stage of the production, stepping in when necessary to correct both drawings and plates: “where particular parts needed to be more distinctly expressed on account of the anatomy, there I always directed; sometimes in the drawings with the pencil, and often with the needle upon the copper plate.” Cheselden was also attuned to the different effects that could be brought about in the engraving, and he comments that the use of unhatched, single lines to evoke the smoothness of the ends of the bones “was also my contriving”. Cheselden’s close involvement in making the plates and his desire for accuracy through mechanical means, as well as in the great expense incurred, parallel the contemporaneous efforts of the Dutch anatomist, Bernhard Siegfried Albinus, who had his artist, Jan Wandelaar, view anatomical preparations through a grid system of ropes.</p>

<p><img src="http://farm7.static.flickr.com/6074/6069521030_e3e4dc01cb_o.jpg" alt="" /></p>

<p>An early influence upon Cheselden’s attention to illustration was the surgeon and anatomist William Cowper, with whom Cheselden resided while studying anatomy. Cowper was also a remarkable draftsman and provided illustrations for his own works and those of others. Cheselden then attended the first St Martin’s Lane Academy of Art in 1720 and would himself later contribute accomplished plates for his addendum to the translation of Le Dran’s <em>Operations in Surgery</em> (London 1749).</p>

<p>Much of the charm of the <em>Osteographia</em> lies with the vignettes of the animal skeletons, which are frequently depicted in lifelike poses. A cat with an arched back is startled by a dog; a young, antlered deer stops suddenly and turns to the viewer; a crane picks up a fish with its beak, yielding the conceit of a skeleton bird seeking nourishment from the bones of a fish. Cheselden’s comment concerning the skeleton of a bear indicates the care he took in the poses of the animal skeletons: “This skeleton being put together with stiff wires, I could not alter it into a properer posture” (ch. VIII).  The pose of the chameleon skeleton, set on a branch with its tail wrapped around a twig, seen at the head of the fifth chapter, was adapted from an illustration first published by Charles Perrault in 1669.</p>

<p><img src="http://farm7.static.flickr.com/6072/6068846191_8d37f180bb_o.jpg" alt="" /></p>

<p><img src="http://farm7.static.flickr.com/6205/6068846183_1935012941_o.jpg" alt="" /></p>

<p><img src="http://farm7.static.flickr.com/6089/6069398204_d08c119306_o.jpg" alt="" /></p>

<p>The inventiveness seen in the vignettes is likewise found in the decorated initials and the plates of entire human skeletons. Inspired by the meditative skeletons of Vesalius, Cheselden offers a lateral view of a skeleton kneeling in prayer (Tab. XXXVI), the pose chosen in order “to represent the figure in a larger scale.” In the <em>Anatomy of the Human Body</em> of 1740, the figure has been adapted for Tab. X and is shown with his arms tied behind his back.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6090/6068885231_6d82ed2c39_o.jpg" width="540" height="456" /><p class="wp-caption-text">Skeleton praying, tab XXXVI, Osteographia, 1733, and Skeleton bound, tab. X, The Anatomy of the Human Body, 1740</p></div>

<p>The influence of Vesalius is also evident in the low-set Italianate landscape seen in some of the full-size skeleton plates, such as Tab. XXXII. Here the viewpoint manages to confer a monumental sense of scale to the skeleton of a year-and-a-half-old child, who is shown walking toward the viewer while brandishing an adult humerus. This bone serves as a comparison of scale but fails, nevertheless, to dwarf the skeleton in any way. The print that follows offers a comparison of scale and of species as well, as a skeleton of a boy of nine years is seen leaning against the skull of a horse, almost half his height. The frontal views of a male and a female skeletons are both after classical statues, the Apollo Belvedere and the Medici Venus. Cheselden has altered the pose of the latter, turning her head and placing her left arm out to the side rather than in the original “pudica” position, thus allowing for a better view of the pelvic bones.</p>

<div class="wp-caption alignnone" style="width: 550px"><img alt="" src="http://farm7.static.flickr.com/6190/6068846171_7b34c25cd0_o.jpg" width="540" height="413" /><p class="wp-caption-text">Skeleton of a year-and-a-half-old child holding an adult humerus, tab. XXXII, and Skeleton of a 9-year-old child leaning on a horse's skull, tab. XXXII</p></div>

<p>In addition to developmental plates of the bones, there are several excellent plates with cross-sections of the bones and depicting cartilages and ligaments. The seventh chapter and the last nine plates of the book are devoted to diseased bones, dealing with cases from Cheselden’s own practice and those of his colleagues.  The preparation of the bones of the left arm, showing a congenital ankylosis of the elbow joint, which was sent to Cheselden by “Mr Goodwin” and survives today in the Hunterian Museum, London, is depicted in Tab. LXV, fig. 2. The fused “crooked skeleton” of Tab. XLIII is described as having been “dug out of a grave”.</p>

<p>In the <em>Osteographia</em> as well as in his other works, Cheselden favored a reliance on the image for elucidation rather than lengthy description: “I thought it useless to make long descriptions, one view of such prints shewing more than the fullest and best description can possibly do” (Address to the Reader). For example, in discussing the intricate bones of the foot he concludes the fifth chapter by saying that “for what remains see the plate, which makes a farther description needless”. The brevity of the text is certainly one valid criticism of the many made by John Douglas, a rival lithotomist, in his querulous pamphlet, <em>Animadversions on a late pompous book, intituled, Osteographia&#8230;by William Cheselden</em> (London 1735). Curiously, his brother James Douglas, the anatomist and physician, was a valued friend and collaborator of Cheselden’s.</p>

<p><img src="http://farm7.static.flickr.com/6065/6069398208_1ca8aa8226_o.jpg" alt="" /></p>

<p>The brevity of the text, the decorative vignettes and the luxurious production of the <em>Osteographia</em> was aimed at attracting a wealthy, general audience for the book. It is for this same potential market that Cheselden had earlier designed a course of anatomy, given with Francis Hawksbee, which was advertised in The Daily Courant of 21 March 1721 as, “chiefly intended for Gentlemen, Such Things only will be omitted as are neither Instructive nor Entertaining and Care will be taken to have nothing Offensive.”</p>

<p>From an advertisement in Cheselden’s <em>Anatomy</em> of 1740, we learn that only 97 of the 300 copies of the <em>Osteographia</em> printed had been sold. In an attempt to recoup his expenses, 83 of the remaining copies were cut apart so that the prints could be sold separately. In addition, 100 prints had been struck for a projected Latin or French edition. Some of these were used for an undated edition of the unlettered plates, issued without the text.</p>

<p>The plates of the Osteographia are magnificent and worthy of their fame. They are of a far finer quality than the crude depictions of skeletons, originally made for James Douglas, that appeared in Cheselden’s first edition of his <em>Anatomy</em> of 1713. Cheselden’s original plan, laid out in To the Reader, was for a three-volume work on human anatomy, all similarly decorated with plates of comparative anatomy.  It is regrettable that the <em>Osteographia</em> did not meet with the financial success necessary to allow the completion of the project.</p>

<div align="center">
<div class='flickr-mini-gallery ' lang=_s& rel="photoset_id=72157627492233758&extras=" longdesc='photoset'></div>
</div>

<p><br /></p>

<p>(All images are in the public domain, courtesy of the <a href="http://www.nlm.nih.gov/exhibition/historicalanatomies/more.html">National Library of Medicine</a>)</p>

<p><br /></p>

<hr />

<p><br /></p>

<p><em>Monique Kornell (Ph.D. Warburg Institute) is an independent scholar of anatomical illustration and of the study of anatomy by artists. She has written on works from the 16th to the 19th centuries and has previously published on Cheselden’s Osteographia in the catalogue to the exhibition she co-curated, The Ingenious Machine of Nature: Four Centuries of Art and Anatomy, National Gallery of Canada, Ottawa, 1996, pp. 190-193.</em></p>

<p><br /></p>

<h1>Links to works</h1>

<p><br /></p>

<ul>
<li><em>Osteographia</em> (1733)

<ul>
<li><a href="http://www2.biusante.parisdescartes.fr/livanc/index.las?cote=01897&amp;do=chapitre">pdf online</a></li>
<li><a href="http://www2.biusante.parisdescartes.fr/livanc/?cote=01897&amp;do=pdf">pdf download</a></li>
</ul></li>
<li>Scanned images from <em>Osteographia</em> (1733)

<ul>
<li><a href="http://www.nlm.nih.gov/exhibition/historicalanatomies/cheselden_home.html">National Library of Medicine</a></li>
</ul></li>
<li><em>The Anatomy of the Human body</em> (1750)

<ul>
<li><a href="http://www.archive.org/stream/anatomyofhumanbo1750ches">pdf online</a></li>
<li><a href="http://www.archive.org/download/anatomyofhumanbo1750ches/anatomyofhumanbo1750ches.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/anatomyofhumanbo1750ches/anatomyofhumanbo1750ches.mobi">kindle</a></li>
</ul></li>
<li><em>Cheselden&#8217;s Plates of the human bones: correctly reduced from the original copy, accompanied with explanations</em> (1811) (NB: some plates not actually from Cheselden)

<ul>
<li><a href="http://www.archive.org/stream/cplatesofbones00chesrich">pdf online</a></li>
<li><a href="http://www.archive.org/download/cplatesofbones00chesrich/cplatesofbones00chesrich.pdf">pdf download</a></li>
<li><a href="http://www.archive.org/download/cplatesofbones00chesrich/cplatesofbones00chesrich.mobi">kindle</a></li>
</ul></li>
</ul>


feed_id: http://publicdomainreview.org/?p=1614
title: Aiaihea – The Hawaiian Quintette (1913)
uri: Aiaihea-The-Hawaiian-Quintette-(1913)
url: http://publicdomainreview.org/2011/08/22/aiaihea-the-hawaiian-quintette-1913/
content:
<div align="center">

<img src="http://farm7.static.flickr.com/6191/6069171679_2b4fb1ca47_o.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':'#$aa4baff94a9bdcafce8','playlist':[{'url':'HawaiianQuintette-Aiaihea1913_64kb.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/HawaiianQuintette-Aiaihea1913/'},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'audio':{'url':'http://www.archive.org/flow/flowplayer.audio-3.2.1-dev.swf'},'controls':{'playlist':false,'fullscreen':false,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true},'scrubberHeightRatio':0.6,'timeFontSize':9,'mute':false,'top':0}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="26" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':[{'url':'HawaiianQuintette-Aiaihea1913_64kb.mp3','autoPlay':false}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/HawaiianQuintette-Aiaihea1913/'},'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>
<br />
<br />
Tropical track from the Hawaiian Quintent. More songs of theirs can be streamed from the Library of Congress <a href="http://www.loc.gov/jukebox/artists/detail/id/4354/">National Jukebox site</a><br />
<br />
<a href="http://www.archive.org/download/HawaiianQuintette-Aiaihea1913/HawaiianQuintette-Aiaihea1913_64kb.mp3">MP3 Download</a>
<br />
<a href="http://www.archive.org/details/HawaiianQuintette-Aiaihea1913">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>
</tbody>
</table>


</div>


feed_id: http://publicdomainreview.org/?p=1560
title: The Lodger: A Story of the London Fog (1927)
uri: The-Lodger-A-Story-of-the-London-Fog-(1927)
url: http://publicdomainreview.org/2011/08/21/the-lodger-a-story-of-the-london-fog-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':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'TheLodger-AStoryOfTheLondonFog1927AlfredHitchcock_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/TheLodgerAStoryOfTheLondonFog_579/','scaling':'fit','provider':'h264streaming','showCaptions':true},'canvas':{'backgroundColor':'#000000','backgroundGradient':'none'},'plugins':{'controls':{'playlist':false,'fullscreen':true,'height':26,'backgroundColor':'#000000','autoHide':{'fullscreenOnly':true}},'h264streaming':{'url':'http://www.archive.org/flow/flowplayer.pseudostreaming-3.2.1.swf'},'captions':{'url':'http://www.archive.org/flow/flowplayer.captions-3.2.0.swf','captionTarget':'content'},'content':{'display':'block','url':'http://www.archive.org/flow/flowplayer.content-3.2.0.swf','bottom':26,'left':0,'width':640,'height':50,'backgroundGradient':'none','backgroundColor':'transparent','textDecoration':'outline','border':0,'style':{'body':{'fontSize':'14','fontFamily':'Arial','textAlign':'center','fontWeight':'bold','color':'#ffffff'}}}},'contextMenu':[{},'-','Flowplayer v3.2.1']}" name="flashvars"/><embed src="http://www.archive.org/flow/flowplayer.commercial-3.2.1.swf" type="application/x-shockwave-flash" width="640" height="506" allowfullscreen="true" allowscriptaccess="always" cachebusting="true" bgcolor="#000000" quality="high" flashvars="config={'key':'#$aa4baff94a9bdcafce8','playlist':['format=Thumbnail?.jpg',{'autoPlay':false,'url':'TheLodger-AStoryOfTheLondonFog1927AlfredHitchcock_512kb.mp4'}],'clip':{'autoPlay':true,'baseUrl':'http://www.archive.org/download/TheLodgerAStoryOfTheLondonFog_579/','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>
<br />
<br />
Early Alfred Hitchcock film starring Ivor Novello, based on a story by Marie Belloc Lowndes and a play Who Is He? co-written by Belloc Lowndes, concerning the hunt for a serial killer in London. According to Hitchcock scholar Donald Spoto the film is &#8220;the first time Hitchcock has revealed his psychological attraction to the association between sex and murder, between ecstasy and death.&#8221; The film also features Hitchcock&#8217;s first recognizable film cameo, something which was to become a standard practice for the remainder of his films.<br />
<br />
<a href="http://www.archive.org/details/TheLodgerAStoryOfTheLondonFog_579">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) 25 secs<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"></td><td class="column-2"></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"></td>
	</tr>
</tbody>
</table>


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