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[Assistant] The breach in the old walls of prejudice was growing larger and larger, and as time went by, the ancient stones of ignorance came crumbling down.


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[Assistant] The eager crusaders of a new and happier social order rushed forward. Suddenly they found themselves facing a new obstacle. Out of the ruins of a long-gone past, another citadel of reaction had been erected.


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[Assistant] And millions of men had to give their lives before this last bulwark was destroyed.


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[Assistant] They express their happiness in poetry and in sculpture and in architecture and in painting and in the books they printed.


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[Assistant] In the year 1471, there died a pious old man who had spent 72 of his 91 years behind the sheltering walls of the cloister of Mount St. Agnes, near the good town of Zwoll, the old Dutch Hanseatic city on the river Izaal. He was known as Brother Thomas, and because he had been born in the village of Kempen, he was called Thomas a Kempis. At the age of 12, he had been sent to Deventer, where Gerard Groot


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[Assistant] A brilliant graduate of the universities of Paris, Cologne, and Prague, and famous as a wandering preacher, had founded the Society of the Brothers of the Common Life.


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[Assistant] The Good Brothers were humble laymen who tried to live the simple life of the early apostles of Christ.


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[Assistant] While working at their regular jobs as carpenters and house painters and stonemasons, they maintained an excellent school.


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[Assistant] The deserving boys of poor parents might be taught the wisdom of the fathers of the church.


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[Assistant] At this school, little Thomas had learned how to conjugate Latin verbs and how to copy manuscripts. Then he had taken his vows, had put his little bundle of books upon his back,


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[Assistant] He had closed the door upon a turbulent world which did not attract him.


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[Assistant] Thomas lived in an age of turmoil, pestilence and sudden death. In Central Europe, in Bohemia, the devoted disciples of Johannes Huss


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[Assistant] The friend and follower of John Wycliffe, the English reformer,


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[Assistant] And more than a hundred princes and dukes who had gathered together to reform their church.


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[Assistant] Here you see a picture of a steak burning with John Hus at it. In the West,


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[Assistant] And just then was saved from utter defeat by the fortunate appearance of Joan of Arc. And no sooner had this struggle come to an end than France and Burgundy were at each other's throats.


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[Assistant] Engaged upon a struggle of life and death for the supremacy of Western Europe.


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[Assistant] A pope at Rome was calling the curses of heaven down upon a second pope who resided at Avignon in southern France and who retaliated in kind.


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[Assistant] In the Far East, the Turks were destroying the last remnants of the Roman Empire, and the Russians had started upon a final crusade to crush the power of their Tartar masters.


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[Assistant] But of all this, Brother Thomas and his quiet cell never heard.


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[Assistant] He had his manuscripts and his own thoughts, and he was contented. He poured his love of God into a little volume. He called it the Imitation of Christ.


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[Assistant] It has since been translated into more languages than any other book save the Bible.


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[Assistant] It has been read by quite as many people as have ever studied the Holy Scriptures. It has influenced the lives of countless millions.


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[Assistant] And it was the work of a man whose highest ideal of existence was expressed in the simple wish that he might quietly spend his days sitting in a little corner with a little book.


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[Assistant] Good Brother Thomas represented the purest ideals of the Middle Ages.


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[Assistant] Surrounded on all sides by the forces of the victorious renaissance, with the humanists loudly proclaiming the coming of modern times.


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[Assistant] The middle ages gathered strength for a last sally. Monasteries were reformed. Monks gave up the habits of riches and vice.


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[Assistant] Simple, straightforward and honest men, by the example of their blameless and devout lives, tried to bring the people back to the ways of righteousness and humble resignation to the will of God. But all to no avail. The new world rushed past these good people. The days of quiet meditation were gone. The great era of expression had begun.


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[Assistant] And triangles and a rectangular parallelepiped.


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[Assistant] You simply have to learn what those words mean or do without mathematics. In history, and in all life,


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[Assistant] You will eventually be obliged to learn the meaning of many strange words of Latin and Greek origin. Why not do it now?


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[Assistant] When I say that the Renaissance was an era of expression, I mean this.


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[Assistant] People were no longer contented to be the audience and sit still while the Emperor and the Pope told them what to do and what to think. They wanted to be actors upon the stage of life.


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[Assistant] They insisted upon giving expression to their own individual ideas.


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[Assistant] If a man happened to be interested in statesmanship, like the Florentine historian Niccolo Machiavelli, then he expressed himself in his book.


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[Assistant] Wherever people have learned to care for those things which express a true and lasting beauty.


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[Assistant] If this love for color and line happened to be combined with an interest in mechanics and hydraulics, the result was a Leonardo da Vinci.


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[Assistant] Who painted his pictures, experimented with his balloons and flying machines,


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[Assistant] Drain the marshes of the Lombardian plains and express his joy and interest in all things between heaven and earth in prose, in painting, in sculpture, and in curiously conceived engines. When a man of gigantic strength like Michelangelo


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[Assistant] Found the brush and the palette too soft for his strong hands, he turned to sculpture and to architecture.


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[Assistant] And hacked the most horrific creatures out of heavy blocks of marble and drew the plans for the Church of St. Peter.


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[Assistant] The most concrete expression of the glories of the triumphant church. And so it went.


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[Assistant] Commonly known as Johann Gutenberg, had just invented a new method of copying books.


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[Assistant] He had studied the old woodcuts and had perfected a system by which individual letters of soft lead could be placed in such a way that they formed words and whole pages.


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[Assistant] It is true he soon lost all his money in a lawsuit, which had to do with the original invention of the press. He died in poverty.


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[Assistant] The expression of his particular inventive genius lived after him.


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[Assistant] We're flooding the world with carefully edited editions of the classics printed in the Gothic letters of the Gutenberg Bible, or printed in the Italian type which we use in this book, or printed in Greek letters or in Hebrew.


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[Assistant] Then the whole world became the eager audience of those who had something to say.


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[Assistant] The day when learning had been a monopoly of a privileged few came to an end. And the last excuse for ignorance was removed from this world.


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[Assistant] When Elsevier of Harlem began to print his cheap and popular editions.


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[Assistant] All the goodly company of the ancient authors and philosophers and scientists.


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[Assistant] Offered to become man's faithful friend in exchange for a few paltry pennies.


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[Assistant] When I was a boy, I once overheard my father talking with a friend about marbles. You know, said my father, the Greeks made the finest marbles in the world. And his friend answered, yes.


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[Assistant] There is no doubt that the Greek marbles are the finest in the world.


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[Assistant] I wondered why these grown-up men were talking about marbles. And I wondered who the Greeks were, who made such fine marbles, and where I could get some. For I had some very fine marbles myself. Moonies. And I guess. I didn't learn till later


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[Assistant] That they were not talking about marbles to play with.


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[Assistant] But about statues that the Greeks made out of marble long before Christ was born.


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[Assistant] People call them simply marbles instead of marble statues.


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[Assistant] Greece was a little bit of country in the Mediterranean Sea. And still is a little bit of country. But the Greeks who were...


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[Assistant] And the Greeks who are now are not the same.


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[Assistant] The old Greeks believed in fairy tale gods and goddesses, and heroes, and made up fairy tale stories about them. Mythology, we call it.


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[Assistant] Then the Greeks made beautiful statues of their gods, as they supposed the gods looked and acted.


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[Assistant] And no one since has been able to make as beautiful sculpture.


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[Assistant] Sculpture is one of few things that we can't do much better than they did. The Egyptians usually made their statues of granite, which was too hard. The Assyrians made theirs of alabaster, which was too soft. But the Greeks made theirs of marble, which was just right.


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[Assistant] One reason they made such beautiful statues was because they had such beautiful marble to make them of. Just the right material.


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[Assistant] In Greece, there were several places, quarries, we call them, where the finest marble in the world was found.


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[Assistant] One was a mountain called Pentelicus. Another, an island called Paros.


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[Assistant] There is still plenty of marble from Pentelechus and Paros.


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[Assistant] But there is no Greek or other person now living.


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[Assistant] Who can make it into such sculpture as these Greeks who lived 2,000 years ago?


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[Assistant] It takes more than good marble to make a good statue.


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[Assistant] But the Greeks did not start off making beautiful statues in the beginning.


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[Assistant] The first and oldest piece of Greek sculpture we have is of two lions over a stone gateway at a place called Mycenae.


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[Assistant] These lions have lost their heads. But even with the heads they once had


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[Assistant] One of the next oldest pieces of Greek sculpture looks almost like something a child might have done. But that is to be expected, for it was made when Greece was a child. It tells a story, however, very well.


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[Assistant] Medusa was a beautiful girl who committed a terrible sin against the goddess of wisdom, whose name was Athena. Athena, to punish Medusa, turned her into a horrible looking creature,


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[Assistant] And turned the locks of her hair into snakes that writhed and twisted about her face.


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[Assistant] So terrible was Medusa's face that anyone who looked at her was turned into stone.


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[Assistant] A young hero named Perseus was dared by an enemy of his to go and cut off Medusa's horrible head. The goddess Athena, who was a friend of Perseus went with him and led him to Medusa. When he came to the place where Medusa lay asleep,


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[Assistant] He looked away and cut off her head with one stroke.


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[Assistant] And out sprang a winged horse called Pegasus.


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[Assistant] In the picture, Perseus is shown cutting off Medusa's head as he looks away. Medusa clasps Pegasus in her arms. Athena, on the other side, looks more like a man than a girl. And though she is facing front,


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[Assistant] Her foot is twisted sideways in order that it may be inside the picture.


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[Assistant] Medusa's right leg is longer than the left, for the left leg is very short from the knee up.


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[Assistant] If you can imagine how she would have looked if she had stood up.


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[Assistant] Then you can see better how much shorter one leg is than the other.


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[Assistant] And his hind legs are like those of a kangaroo. Much longer than his front legs.


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[Assistant] The lion gateway and Perseus are both in high relief. But here is a statue in the full round that was made later. It is called the Apollo of Tenea. Apollo was the Greek sun god.


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[Assistant] But this statue of him may not make you think him beautiful.


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[Assistant] The Greeks of those days thought the human body the most beautiful thing in the world.


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[Assistant] They tried to make their own bodies beautiful by physical training.


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[Assistant] Sports and exercises and healthful living.


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[Assistant] And they made statues of their most famous athletes.


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[Assistant] We often say nowadays, of some splendid looking athletic fellow, he is a perfect Apollo.


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[Assistant] This statue probably is not Apollo at all.


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[Assistant] But just the figure of an athlete, a runner or a jumper.


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[Assistant] He is not beefy like the Assyrians or skinny like the Egyptians, but the face has a peculiar expression. The hair is primly crimped and the eyes seem to bulge.


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[Assistant] But this is one of the first statues we have that seems to be smiling. Perhaps the man has just won a race.


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[Assistant] This early or archaic sculpture, as it is called, is interesting, but from now on the Greek statues are not only interesting, but really beautiful.


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[Assistant] I'll have to tell you right at the beginning that there is much more American painting.


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[Assistant] And if there are many more American artists, then I have room to tell you about in this book.


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[Assistant] America has had artists since before the American Revolution.


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[Assistant] And today we have as many good painters at work as any country in the world. Perhaps more.


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[Assistant] The first American artist to become really famous was Benjamin West. Benjamin West's family lived in Pennsylvania when the woods were still full of Indians. There he was born and there he grew up.


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[Assistant] As his family were Quakers, the Indians were friendly to them.


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[Assistant] For the Quakers had made a treaty with the Indians to buy their land from them, instead of just taking it by force or by cheating. When Benjamin West was a boy, he loved to draw pictures. The Indians were pleased when he drew pictures of them. Of course, he didn't have any paints or paintbrushes, nor even any pictures to look at.


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[Assistant] There weren't such things in the little frontier village where he lived.


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[Assistant] So the boy was delighted one day when the Indians gave him some of the yellow and red paint that they used to paint their faces with. Benjamin ran home and showed the paints to his mother.


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[Assistant] Yes, he cut some hairs off the cat's tail and made them into a paintbrush. When the first brush wore out, he got some more hairs from the cat.


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[Assistant] After a while, the poor cat had hardly any hair left on her tail and was beginning to look very ragged in other places. Benjamin's father thought the cat had the mange.


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[Assistant] When Benjamin West grew up, he went to live in Philadelphia. And there he worked hard to become a good painter.


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[Assistant] When he reached Rome, he was taken to see a statue of a Greek god called the Apollo Belvedere.


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[Assistant] Thinking of the strong and graceful Indian Braves of Pennsylvania. West then went to England and settled in London. He became a very popular painter. The King, George III, liked him and his work so much that he made him court painter. And so Benjamin West never returned to America.


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[Assistant] But he always welcomed American artists who came to London and was very generous and helpful to them.


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[Assistant] In fact, his studio was a kind of school for young men learning to paint. And many well-known American painters studied there. He was like a father to them all.


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[Assistant] West's pictures often were very large and generally were filled with many figures. Though some were smaller portraits.


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[Assistant] They were admired by everyone, and some people even said they promised to be as great as the paintings of Michelangelo.


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[Assistant] Nowadays, we think West paintings are not really very great paintings.


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[Assistant] But isn't it pleasant to hear of an artist's pictures being so well thought of while he was alive? And could enjoy their success?


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[Assistant] Many painters have had to struggle all their days as nobodies.


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[Assistant] With their pictures not appreciated until after those painters died. So I'm glad that the opposite happened to this painter.


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[Assistant] One of West's best known paintings is The Death of General Wolfe.


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[Assistant] General Wolf was leader of the British soldiers when they fought the French at Quebec to decide whether France or England should own Canada. The British won, but General Wolf was shot.


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[Assistant] Both the French and English were helped by Indian warriors. Notice the Indian in the picture.


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[Assistant] West grew up with Indians and so he could paint them even in England with the nearest Indian 3,000 miles away.


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[Assistant] The picture caused a great stir in London because the soldiers in it are dressed in their regular uniforms.


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[Assistant] It was thought that all pictures of history should show people dressed as Greeks or Romans.


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[Assistant] Even the king told West he oughtn't to put his figures in such modern costumes.


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[Assistant] But when the picture was finished, everyone, including the king, said West was right.


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[Assistant] After that, artists painted their figures in the clothes of the people they painted really wore.


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[Assistant] One of the young Americans who studied under West in London was Gilbert Stuart. He was born and raised in New England before the Revolution.


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[Assistant] He thought he could do better in Old England, so he traveled to London. There he became a painter of really fine portraits.


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[Assistant] People then thought Benjamin West was a better painter than we now think he was, but Gilbert Stuart's paintings are just as well thought of today as they were when he painted them.


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[Assistant] After living many years in England, Gilbert Stuart came back to America.


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[Assistant] It was now the United States of America, for the revolution had been fought and won. Stuart had come back, he said.


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[Assistant] To paint the portrait of George Washington, whom he greatly admired.


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[Assistant] Washington posed for three portraits by Gilbert Stuart.


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[Assistant] The last of these three is the most famous and best-loved picture of Washington that we have. It is called the Ethereum portrait because it belongs to the Ethereum Club in Boston.


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[Assistant] You can see a small copy of it on many of our postage stamps.


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[Assistant] You may wonder why this portrait on the next page seems unfinished.


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[Assistant] The reason is that Gilbert Stuart liked it so well that he wanted to keep it. He had promised the portrait to Washington when it was finished, but it was never finished. The artist couldn't bear to finish it.


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[Assistant] Instead of the original, Washington agreed to take a copy that Stewart made of it for him.


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[Assistant] As a matter of fact, the artist painted about 50 copies of the portrait from time to time and sold a copy whenever he needed money.


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[Assistant] Gilbert Stuart went to live in Boston and never returned to England.


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[Assistant] He painted five other presidents besides Washington, and so is sometimes called the painter of presidents.


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[Assistant] Now, there were of course other American painters in the early days of the United States.


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[Assistant] Most of them were portrait painters because so many people wanted portraits. There were still no cameras to take photographs.


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[Assistant] It is from the portraits of these early painters that we know what the famous Americans and beautiful women of those days looked like. These early portraits have become very valuable, so that many of them are now in museums.


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[Assistant] Some, however, still belong to the families whose ancestors had their portraits painted.


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[Assistant] If someone ever shows you a portrait by Copley, Sully, Malbone, Trumbull, or one of the Peels, be sure to look at it carefully and with respect.


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[Assistant] For it is the work of one of the famous early painters of America.


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[Assistant] The old Egyptians believed they would come to life again in a thousand years, perhaps, after they had died, but they never did. The old Greeks didn't think much about coming to life again.


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[Assistant] But about 2000 years after the old Greek artists had died,


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[Assistant] People were born in Italy who in many ways were like those old Greeks. Indeed.


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[Assistant] These Italians were so like the old Greeks that it seemed almost as if the old Greeks had been born again. And were living once more. Not in Greece, but in Italy. So we call this time the Born Again Time.


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[Assistant] Or by the long name renaissance, which means born again.


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[Assistant] One of the first artists of the Born Again time was a boy who had a very insulting nickname. Now, nicknames stick to some people when they grow up. But it seems strange that this boy, who became a great painter, was always called by his insulting nickname. To this day, we know him by the name Massaccio.


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[Assistant] That may not sound very insulting because it's Italian, but it means dirty Tom. Masaccio was a very poor boy. Perhaps that is why he was dirty, and he died young.


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[Assistant] When he died he was still very poor and still very dirty.


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[Assistant] No one seemed to like him or his painting while he lived, and some people even say he was poisoned by his enemies. But after he died, people thought differently about him.


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[Assistant] Great artists thought his paintings so good that they went to the place where they could be seen to study and copy them.


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[Assistant] The reason other artists studied and copied his pictures is that Masaccio had found out how to do something that no artist before him had been able to do. Masaccio's pictures did not look flat. He painted pictures so that you could see back into them. Perspective, you remember? We call it.


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[Assistant] For thousands of years, artists had tried to get perspective, but they had not succeeded very well.


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[Assistant] So the Renaissance artists wanted to find out how Masaccio got perspective.


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[Assistant] One of his famous frescoes was a picture of the angel driving Adam and Eve out of the Garden of Eden.


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[Assistant] One of these painters who studied Masaccio's frescoes was a monk named Fra Filippo Lippi. That is, Brother Filippo. That means Philip. Though it is spelled with an F instead of PH.


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[Assistant] Brother Filippo was, however, not a good and holy monk like that religious painter, Brother Angelico. Brother Filippo was a good painter but a bad brother.


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[Assistant] It is said that he was bored with being good and with being a monk, so he ran away from his monastery.


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[Assistant] After many wild adventures, he was captured by pirates and made asleep.


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[Assistant] One day he drew with a piece of charcoal a picture of his master and the likeness was so good that his master set him free.


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[Assistant] Brother Filippo made his way back to Italy and was hired to paint a picture of the Madonna for a convent.


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[Assistant] A convent is a building where women called nuns live.


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[Assistant] Nuns have given up their lives to religion, and they live together as monks do in a monastery.


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[Assistant] One of the nuns in his convent, a beautiful young girl, posed as the model for Filippo's painting of the virgin.


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[Assistant] Now, neither a monk nor a nun is supposed to fall in love with anyone. But, in spite of what he was supposed not to do, Filippo made love to the nun and, in spite of everything, they ran away together. They had a son whom they named Filippino, which means Little Filippo. Filippino became a great painter too, even greater than his father.


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[Assistant] Another artist of this time has a name, or rather two names, I like to say because each name has atso in it, a kind of rhyme. It is Banatso Katsouli. In the city of Pisa,


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[Assistant] Is a peculiar tower that does not stand straight, but leans to one side. In the same city is another peculiar thing. It is a cemetery.


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[Assistant] The peculiar thing about this cemetery is that the ground for it was brought all the way from Jerusalem.


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[Assistant] So that the earth in which people were buried would be especially holy. The same ground that Christ had shrod.


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[Assistant] It took 53 shiploads of this holy earth to make this cemetery. It is called Campo Santo, which means holy field.


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[Assistant] Around the Campo Santo is a wall. And on the inside of this wall, Bonozzo Cazzoli painted scenes from the Old Testament. The story of Noah, the Tower of Babel, David, Solomon, and so on. 22 of them.


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[Assistant] There were crowds of people in each picture, and often buildings in the back of the picture. The background, we call it.


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[Assistant] In most of the pictures which Benozo Quesoli painted, as well as in those of other painters of his time, the clothing of the people was not the kind of clothing the people of Bible times wore.


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[Assistant] And the buildings in the background were not those of Bible times or Bible places at all. The artists had not visited Bible lands and did not know what kind of clothes the Bible people wore or what kind of buildings they built.


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[Assistant] So they made the clothes and buildings like the Italian clothes and buildings of their own time. So here are three painters to begin the born again time, the early Renaissance, the hundred years from 1400 to 1500.


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[Assistant] These three painters may not seem to you much like old Greeks born again, but be sure to remember them. Dirty Tom, The Bad Brother, and The Cemetery Painter.


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[Assistant] The Great Sphinx is the biggest stone statue in the world.


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[Assistant] The Statue of Liberty is the biggest bronze statue in the world. The biggest marble statue in the world is in the Lincoln Memorial in Washington.


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[Assistant] The Lincoln Memorial is a beautiful marble building given by the United States in memory of President Lincoln.


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[Assistant] The statue inside is a huge figure of Abraham Lincoln.


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[Assistant] It is made up of 20 large pieces of marble so carefully carved and fitted together that the statue seems to be all one piece. Now,


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[Assistant] Just because a statue is big, doesn't mean that it is a beautiful statue.


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[Assistant] A little piece of sculpture as big as your hand may be much more beautiful than a huge statue as big as a house.


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[Assistant] But this biggest marble statue is beautiful. It is great in other ways than just bigness. The Lincoln statue is the only one in the building.


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[Assistant] Do you remember another great shrine with a single statue inside? See chapter 37.


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[Assistant] The inner walls of the memorial are decorated with huge paintings.


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[Assistant] But the whole building seems made just to hold this one statue.


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[Assistant] Lincoln is seated in a peculiar kind of chair that looks like a throne.


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[Assistant] He sits facing the door so that you stand before him when you enter.


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[Assistant] The whole memorial is so beautiful and impressive, so simple and so fitting.


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[Assistant] That you feel as if the spirit of Lincoln himself were in the building.


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[Assistant] I don't believe a single boy who knows anything of Lincoln's story could keep his hat on inside the Lincoln Memorial, no matter how careless he might usually be about such things.


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[Assistant] The sculptor of this wonderful statue of Abraham Lincoln was Daniel Chester French Let me tell you about two of his many other statues.


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[Assistant] Daniel Chester French carved the Minuteman that stands on the battlefield at Concord, Massachusetts.


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[Assistant] Where the statue stands, the road crosses a little wooden bridge over a stream.


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[Assistant] And it was at this crossing that the New England farmers fired on the British soldiers. Fired the shot heard round the world.


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[Assistant] The Minuteman was placed there in memory of those farmer soldiers.


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[Assistant] They were called Minutemen because they kept themselves ready to go to fight the enemy at a minute's notice.


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[Assistant] The statue shows a minute man who is plowing when the call to arms comes.


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[Assistant] He leaves the plow in the field as he snatches his musket.


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[Assistant] It was French's first statue made when he was 23.


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[Assistant] Some years later, Daniel Chester French made a statue called Death Staying the Hand of the Sculptor.


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[Assistant] The statue shows the angel of death reaching out her hand to take the hand of a young sculptor who is carving a sphinx in bas relief.


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[Assistant] Of course, when death takes his hand, the sculptor must leave his work unfinished.


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[Assistant] The statue is in memory of a young sculptor named Millmore, who died almost at the beginning of his work. It is sometimes called the Millmore Memorial.


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[Assistant] Chapter 67 Trimmings Men wear ties and collars. Ladies wear ornaments and trimmings. Buildings wear trimmings too.


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[Assistant] To keep them from looking too plain and unfinished.


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[Assistant] These trimmings on buildings, we call moldings and borders.


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[Assistant] The Greek and Roman builders used moldings and borders of certain shapes and designs. And builders nowadays use many of the same moldings and borders.


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[Assistant] Perhaps you have never examined closely the panels of a door. The edges of a doorway or window


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[Assistant] The picture molding under the ceiling or other trimmings around the outside of a building.


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[Assistant] But if you should notice them, you may be surprised to see that most of them are not just flat strips. They have different shapes. The different shapes of these moldings have names.


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[Assistant] Just as the boys and girls you know have names. So you can become acquainted with them. I'll introduce them to you.


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[Assistant] There is a molding that is square as seen from the edge.


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[Assistant] And so simple that you might think a name unnecessary. It is called a fillet, which means a ribbon or band.


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[Assistant] In olden times, women and men too wore a fillet around their heads to keep their hair in place and as an ornament.


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[Assistant] Nowadays, buildings often wear fillets just as an ornament.


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[Assistant] A fillet, as seen from the edge, is like the drawing at the left.


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[Assistant] When a fillet is sunken in, like a square groove, it is called simply a sunken fillet. It is like this drawing on the right.


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[Assistant] Here is a molding that is half round as seen from the edge.


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[Assistant] Architects call it a torus, but to carpenters it is a half-round. Here is the torus, or half-round, sunk in, forming a round, hollow, or groove. Its right name is cavetto, which means a little cave, but carpenters call it a groove. Here is a molding that, seen from the edge, looks like the curve of an egg.


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[Assistant] It is called by architects an ovolo, which means egg-shaped, but carpenters just say egg-molding.


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[Assistant] Here is a molding that is hollowed out with the same egg-shaped curve. It is called a scotia. Here is a molding with a curve like an S. The hollow is at the bottom. It is called an OG. Just like the exclamation, OG!


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[Assistant] The ruler you use in school may be in the shape of an OG molding. Here is a molding also with an S-curve. The hollow at the top.


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[Assistant] It is called a sima, which means a wave.


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[Assistant] Do you think you can recognize these moldings when you see them and call them by name?


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[Assistant] They are in couples. Four couples. One is raised and one is hollow. One fits into the other. Mr. and Mrs. Fillet. Mr. Torres and Ms. Cavetto. Mr. Ovalo and Ms. Scotia. Mr. Oji and Ms. Saima.


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[Assistant] Usually, instead of just one simple molding, two or more of these moldings are used. One alongside the other, and there are several beautiful moldings made by such combinations.


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[Assistant] In most of the combinations, the square fillet is used between the curved moldings.


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[Assistant] This arrangement of square and curve makes the curved molding stand out more sharply. Thus.


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[Assistant] See how many of these moldings you can find in your own house or in someone else's house. There are also several kinds of borders.


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[Assistant] The simplest is the zigzag, which is also called the chevron because it is like the chevron that a soldier wears on his sleeve.


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[Assistant] It's something like the first writing a child tries to do. The next simplest is the scallop.


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[Assistant] It is called that because it is like the edge of the scallop shell. It's like this.


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[Assistant] Or upside down like this. The embattled is like this.


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[Assistant] The embattled border is sometimes called the Wall of Troy because Troy had a wall around it with spaces through which the soldiers could shoot their arrows and pieces of wall behind which they could jump. The meander is like this.


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[Assistant] The meander was a river in Asia Minor that flowed in this very crooked way.


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[Assistant] If you go to school walking in a line that makes a design like this, we say you are meandering. The fret, or key, is like this. It looks something like a row of keys. The dental is like this. Because dental means teeth, and it was supposed to look like a row of teeth. It looks something like a row of piano keys too.


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[Assistant] The wave is like this. Something like an S lying down with a curl or a scroll in one end.


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[Assistant] Of course, you can see why it is called this if you have ever seen waves breaking on the shore.


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[Assistant] When I was a boy, I used to make my capital S's with many scrolls in each end until my teacher made me stop. The running scroll is like this. One wave up and one down. This is one of the prettiest borders.


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[Assistant] Astragals were really little bones. But the astragal border looks to me like a string of beads. Long beads with two round beads between them. The chain is like this. Not a very pretty border. Do you think so? The cable rope is like this. The egg and dart is like this.


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[Assistant] Generation after generation is born and dies, forever and ever.


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[Assistant] The astragal was always used below the egg and dart border. The lesbian leaf is like this. The amphemian is like this. Leaves arranged in a heart shape. The Greek lily is like this.


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[Assistant] The amphimian was often used with the Greek lily alternating.


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[Assistant] These are called classic borders because the Greeks and Romans use them and anything Greek and Roman we call classic.


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[Assistant] The next time you draw or mount a picture, suppose you try making a border for it of one of these classic designs. It's fun!


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[Assistant] I've known boys to make such borders around the letters they wrote, around Christmas cards, and even around their arithmetic papers. And some girls have embroidered handkerchiefs and towels with these designs.


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[Assistant] But they have to be done very carefully to look just right. One part exactly like every other, evenly spaced and in line.


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[Assistant] It is a custom more honoured in the breach than the observance.


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[Assistant] And indeed it takes from our achievements though performed at height the pith and marrow of our attribute. So oft it chances in particular men.


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[Assistant] That force ambitious mole of nature in them, as in their birth, wherein they are not guilty, since nature cannot choose its origin.


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[Assistant] The dram of evil that all the noble substance often doubt to his own scandal. Look, my lord, it comes!


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[Assistant] Now, I'm going to tell you about a kind of architecture


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[Assistant] Named for some people who never had any architecture. All they ever built was huts.


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[Assistant] Yet the kind of buildings named for these people is one of the greatest styles of architecture in the world. That certainly seems strange, doesn't it?


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[Assistant] The people who didn't know how to build anything but huts were the Goths.


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[Assistant] The beautiful architecture that the Goths had anything to do with is called gothic architecture. Why in the world is it called gothic architecture if the Goths didn't have anything to do with it? The reason is a strange reason.


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[Assistant] We think nowadays that gothic architecture is very wonderful, and we think the gothic buildings very beautiful.


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[Assistant] But, strange as it may seem, there were people who despised these beautiful buildings.


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[Assistant] They thought any architecture that didn't come from Greece or Rome was no good. They thought it was crude and rough and uncivilized.


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[Assistant] The crudest, roughest, and most uncivilized people they could think of were the Goths who had conquered Rome.


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[Assistant] And so they called this beautiful architecture Gothic. Not only to show how crude they thought it was, but because they thought the Goths had begun it. Like most bad names, it stuck.


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[Assistant] Gothic architecture grew out of the Romanesque architecture.


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[Assistant] The builders kept trying to make stone ceilings over the naves of the churches because stone was safer from fire than wood was.


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[Assistant] At first, the stone ceiling was a barrel vault, shaped like this side of a barrel.


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[Assistant] The barrel vault took a great deal of wooden centering to build.


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[Assistant] Because the vault was quite long and each part had to be held up by the centering till all the stones were in place. The centering took so much wood


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[Assistant] That it was a great discovery when someone found a way of building vaults with very little centering.


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[Assistant] This discovery was to build two curved ribs like arches or parts of hoops that crossed in the middle of the vault.


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[Assistant] These two ribs were built first, and then the rest of the vault could be put in a little at a time. Then, another discovery was made.


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[Assistant] This was that a pointed arch was better sometimes than a round arch.


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[Assistant] It wasn't really a new discovery, for the people in Asia Minor had used pointed arches for many years.


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[Assistant] The knights brought the idea back to Europe when they returned from their crusades in the Holy Land.


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[Assistant] You might not think such a little thing as making an arch pointed on top instead of round would be important. But important it was, and this is why.


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[Assistant] A round arch has to be just as high as it is wide.


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[Assistant] The wider the opening it has to cover, the higher the round arch has to be. But a pointed arch is different.


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[Assistant] You can build a pointed arch as high as you want or as low as you want, no matter how wide the opening is, that it has to stretch across.


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[Assistant] If you will put your fingertips together so they form an arch, you can prove this.


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[Assistant] If you keep your hands the same distance apart, you can only form one round arch with your fingers.


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[Assistant] But you can form pointed arches of several different sizes by curving your fingers and keeping your hands still.


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[Assistant] The builders of the stone cathedrals found it much easier to build vaults over a wide nave or aisle with pointed arches instead of round arches.


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[Assistant] Of course, these stone vaults push down on the walls and also push sideways.


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[Assistant] So the walls had to be very thick and very well braced with buttresses.


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[Assistant] But the builders found that when they used rib vaults instead of plain barrel vaults, most of the side push came just at the ends of the ribs.


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[Assistant] They found that if they put heavy buttresses at the end of the ribs, the rest of the wall could be made very thin.


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[Assistant] The walls between the buttresses finally became so unnecessary for holding up the roof that they were made of glass.


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[Assistant] The walls became walls of glass between buttresses of stone.


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[Assistant] Not only did the walls get lighter, but the buttresses changed. You couldn't really say the buttresses learned to fly, but they are called flying buttresses.


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[Assistant] A flying buttress is one that leans against the wall like a prop. Like a man pushing against a wall with a stick.


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[Assistant] Flying buttresses press against the top of the walls and keep the walls from being pushed over by the weight of the vault and the roof.


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[Assistant] The walls mostly of glass between buttresses and flying buttresses are the three most important things to remember. When these three things had been discovered,


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[Assistant] There finally came that beautiful and marvelous kind of architecture known as gothic.


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[Assistant] But not because the Goth said anything to do with it. Remember.


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[Assistant] Gothic architecture was as different from the Greek and Roman as it could be.


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[Assistant] The Greek and Roman buildings were solidly set on the ground. Almost all the weight pushed straight down.


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[Assistant] But a gothic cathedral was a balance of all sorts of thrusts and pushes and forces.


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[Assistant] Where there was a side push, there was a buttress to push against it.


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[Assistant] In the Greek and Roman temples, most of the lines ran lengthwise. They were horizontal buildings.


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[Assistant] The gothic cathedrals climbed into the air as though reaching up toward heaven.


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[Assistant] Most of their lines seem to carry the eye upward from the ground. Every part of the building helps to do this.


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[Assistant] Think of the pointed arch for one thing. A gothic cathedral was like a hymn of praise rising to God.


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[Assistant] Chapter 91. Modern Sculpture.


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[Assistant] Modern sculpture can be non-realistic just as painting can.


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[Assistant] Modern sculpture can be non-realistic just as painting can. Non-realistic sculpture gives the idea, the thought, the impression of something.


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[Assistant] The sculptor doesn't try to make an exact copy of something he sees.


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[Assistant] If you will look at the picture called Bird in Space,


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[Assistant] You will see an example of non-realistic sculpture.


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[Assistant] You can see that it doesn't look like a bird, but it does give the idea of flight. The flight of a bird depends upon wings, and this sculpture seems to be all wing. At least most people think it looks wing-like.


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[Assistant] It is a smooth, streamlined wing shape. Constantine Brancusi, its sculptor, carved into it no feathers, no body, no head or tail of a bird.


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[Assistant] Some people think that a piece of sculpture called a bird should look like a bird.


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[Assistant] The flight of a bird, not the bird itself, is the important idea.


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[Assistant] Non-realistic sculpture is a 20th century kind of sculpture. Brancusi was the first to develop his style. He was born in Romania and studied there as a young man.


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[Assistant] He went to Paris and worked in the studio of the great French sculptor Auguste Rodin.


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[Assistant] At first, his sculpture was realistic like Rodin's.


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[Assistant] But, he became interested in non-realistic sculpture and soon stopped making realistic statues.


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[Assistant] Brancusi not only made new forms of sculpture, but he tried using many different materials. He made sculptures in wood,


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[Assistant] Bronze, marble, stone, glass and steel. Bird in space is his best known word.


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[Assistant] The sculpture called Girl Washing Her Hair is by Hugo Robas, an American born in Cleveland.


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[Assistant] It is much more realistic than Brancusi's bird in space. It isn't, however, very realistic. It isn't a portrait. It has no eyes, no mouth, sorry.


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[Assistant] It has no eyes, nose, or mouth.


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[Assistant] It has no eyes, nose, or mouth to show which girl this is. It's any girl.


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[Assistant] What she is doing is more important than who she is.


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[Assistant] If anything else were added, like a nose or mouth or feet,


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[Assistant] It's fun to find a piece of sculpture that is not too dignified or serious.


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[Assistant] Most sculpture has been, in the past, very dignified and serious. Very dignified and very serious.


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[Assistant] There are the busts of powerful men like the Roman emperors.


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[Assistant] Statues of Greek gods, and of heroes on horseback, and of Christian saints.


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[Assistant] They are imaginary figures called victory or liberty or justice.


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[Assistant] These are all very solemn and impressive statues, as if the sculptors didn't want to waste their valuable time on marble or unimportant subjects that are familiar and amusing.


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[Assistant] These are all very solemn and impressive statues, as if the sculptors didn't want to waste their valuable time and marble on unimportant subjects that are familiar and amusing.


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[Assistant] People, however, like familiar and amusing things.


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[Assistant] Statues of the kind of people we see every day, doing the things we are all used to, are usually well liked.


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[Assistant] More and more, modern sculptors are carving these familiar and everyday kind of people, like the girl washing her hair.


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[Assistant] Nobody ever saw victory or liberty or justice washing her hair, even as statues. Look back at page 196 at the boy with thorns.


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[Assistant] Even two thousand years ago, some sculptors had found it fun to make such a familiar


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[Assistant] Is much more realistic than girl washing her hair.


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[Assistant] You don't have to go to a museum to see the different kinds of sculpture.


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[Assistant] Every city has sculptures in parks and on monuments and on the outside of buildings.


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[Assistant] As they are out of doors, they are very easy to photograph and make good subjects for your camera.


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[Assistant] When you visit the city of Washington, you see sculpture almost everywhere. When you visit New York City,


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[Assistant] You probably will go to Rockefeller Center and to the zoo. At Rockefeller Center,


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[Assistant] You can see a large bronze piece of sculpture called Prometheus. It is by a famous American sculptor, Paul Manship. And at the New York Zoological Park, you can see the beautiful bronze entrance gates. They are also by Paul Manship.


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[Assistant] Entrance gates to a zoo, you might think, should be decorated with carvings of animals. Paul Manship thought so too.


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[Assistant] The bronze work around the gates is full of wild animals.


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[Assistant] Bears, deer, baboons, lions. Paul Manship's work is realistic and has a fine decorative quality.


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[Assistant] Modern sculpture, you see, is of several kinds.


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[Assistant] Some is non-realistic like Brancusi's Bird in Space. Some is more realistic, giving the general form of an object, but not trying to be a close copy of the living thing, like Girl Washing Her Hair by Robus. And some modern sculpture is realistic, but decorative, like Paul Manship's Prometheus and his Animals of the Zoological Gates.


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[Assistant] All three kinds of modern sculpture are worth seeing.


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[Assistant] My necessaries are embarked. Farewell.


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[Assistant] For nature crescent does not grow alone in thues and bulk, but as this temple waxes, the inward service of the mind and soul grows wide withal. Perhaps he loves you now?


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[Assistant] And now no soil nor quartal doth besmirch the virtue of his will, but you must fear. His greatness weighed. His will is not his own.


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[Assistant] For he himself is subject to his birth.


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[Assistant] He may not as unvalued persons do carve for himself.


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[Assistant] For on his choice depends the safety and health of this whole state. And therefore must his choice be circumscribed unto the voice and yielding of that body whereof he is the head. Then if he says he loves you, it fits your wisdom.


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[Assistant] So far to believe it as he in his particular act and place may give his saying deed, Which is no further than the main voice of Denmark goes withal, Then way what loss your honor may sustain, If with too credent ear you list his songs, or lose your heart,


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[Assistant] All your chased treasure open to his unmastered importunity. Fear it, Ophelia. Fear it, my dear sister.


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[Assistant] The cherriest maid is prodigal enough if she unmask her beauty to the moon.


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[Assistant] From me, greet the Danish King. Tell him that by his license Fortinbras craves the conveyance of a promised march over his kingdom. You know the rendezvous.


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[Assistant] If that his majesty would aught with us, we shall express our duty in his eye, and let him know so. I'll do it, my lord. Go. Softly on.


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[Assistant] Did you notice in the pictures in the last chapter that all the cathedrals seem to be in cities?


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[Assistant] Almost all the French Gothic cathedrals are in cities or towns. They have very little open ground around them.


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[Assistant] Dwelling houses and shops are crowded about them so close that it is often hard to get a good view of the outside of a French cathedral. English Gothic cathedrals are just the opposite. They were generally built out in the country.


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[Assistant] So most of the English cathedrals have plenty of open space around them.


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[Assistant] Lawns and trees instead of stores and crowded streets.


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[Assistant] In France, the cathedrals were built by the people of the towns.


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[Assistant] They were used much more often than a church is used now.


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[Assistant] The French cathedrals were the schools, the theaters, the public meeting places of the people, besides being houses for prayer and worship.


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[Assistant] They had to be in the center of things because they were so important in the lives of the people of the towns. But in England


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[Assistant] The cathedrals were usually built by the monks for their own use.


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[Assistant] The village people had parish churches where they could worship.


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[Assistant] Of course, ordinary people could worship in the cathedrals, but the cathedrals were built chiefly for the monks.


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[Assistant] As monasteries were places where the monks could get away from the world outside,


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[Assistant] So monasteries were more often built in the country away from the cities.


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[Assistant] And of course, the monastery or abbey church was built in the country too.


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[Assistant] That is one difference between English Gothic and French Gothic. One in the country, the other in the city. Here is the other difference.


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[Assistant] English cathedrals are much longer for their width than French cathedrals are. An English cathedral looks long and narrow, while a French cathedral looks short and wide.


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[Assistant] The eastern ends of the English cathedral, where the monks worshipped, had to be much longer because there were so many monks.


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[Assistant] The French cathedrals, with their crowds of people who came to listen to their priest,


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[Assistant] Needed a wider and shorter space so all the people could hear him.


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[Assistant] Each country shaped its cathedrals to fit the use to which the cathedrals were put. Here is another difference.


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[Assistant] Most of the French cathedrals have doors at their western ends opening into the nave and aisles.


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[Assistant] Most of the English cathedrals have doors at the side, besides those at the end with little porches to keep out the wind and rain. And here is yet another difference.


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[Assistant] Most of the French Gothic cathedrals have two towers on their western ends above the doors.


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[Assistant] But many of the English Gothic cathedrals have their main tower over the crossing of the transept and nave. And sometimes no towers at all on the western end.


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[Assistant] And so you can see again, very readily, that the same kind of architecture is different in different countries.


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[Assistant] No doubt an Englishman thinks English Gothic is best, and no doubt a Frenchman prefers French Gothic.


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[Assistant] An important thing to remember about Gothic cathedrals is that few cathedrals were built all at one time.


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[Assistant] In many cases, the cathedral was begun as a Romanesque building and finished as a Gothic building, years later. The great Durham Cathedral


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[Assistant] Less decorated on the outside than other cathedrals and for this reason it looks strong and solid and is very dignified.


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[Assistant] As time went on, the gothic style changed in England. There are really four kinds of gothic there.


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[Assistant] Corresponding to four different periods of time.


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[Assistant] Sometimes it took so long to build a cathedral.


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[Assistant] That all four periods of architecture can be found in one building.


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[Assistant] In the 13th century, churches were built in early English Gothic. Salisbury Cathedral, which has the tallest spire in England, is early English.


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[Assistant] In the 14th century, the style was decorated gothic.


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[Assistant] The nave and east end of Lincoln Cathedral is in the decorated style.


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[Assistant] In the 15th century, the style was perpendicular gothic.


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[Assistant] Perpendicular is a long word, meaning straight up and down.


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[Assistant] The towers of Canterbury Cathedral are perpendicular gothic. And last came the Tudor period.


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[Assistant] Westminster Abbey itself is more like French cathedrals than most English buildings. Perhaps partly because it is in a city. London. It is famous as the burial place of many of England's great men.


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[Assistant] If you keep a scrapbook, you might try to find for it pictures of two other famous cathedrals. One is Peterborough Cathedral, with huge pointed archways over the door. Archways that are as high as the roof. The other is Wells Cathedral, which has a famous tower over the crossing that I'm pretty sure you will like. If you haven't a scrapbook, why not get one? You will find it fun hunting for pictures


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[Assistant] You might make it a game to see how long it will take you to get pictures of eight different English cathedrals for your scrapbook.


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[Assistant] You can find the pictures in magazines and in railroad and steamship catalogs.


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[Assistant] Then, when you go to England someday, each cathedral you see will seem like an old friend.


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[Assistant] Oh god, I could be bounded in a nutshell and count


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[Assistant] Which dreams indeed are ambition. For the very substance of the ambitious is merely the shadow of a dream. A dream itself is but a shadow. Truly, and I hold ambition of so airy and lighter quality that it is but a shadow's shadow.


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[Assistant] My lord, there was no such stuff in my thoughts. Why did ye laugh then when I said man delights not me? To think, my lord, if you delight not in man, what Lenten entertainment the players shall receive from you.


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[Assistant] How come, sir, do they grow rusty? Nay, their endeavour keeps in the won'ted pace. But there is, sir, an eerie of children. Little iasses, they cry out on the top of question and are most tyrannically clapped for it.


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[Assistant] These are now the fashion and so be rattled the common stages, so they call them.


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[Assistant] Faith, there has been much to do on both sides, and the nation holds it no sin to tar them to controversy.


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[Assistant] Aye, that they do, my lord. Hercules and his load, too. Oh, it is not very strange.


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[Assistant] Therefore prepare you. I, your commission, will forthwith dispatch and he to England shall along with you.


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[Assistant] Arm you, I pray you, to this speedy voyage, for we will fetters put upon this fear, which now goes two free-footed.


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[Assistant] What if this cursed hand were thicker than itself with brother's blood?


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[Assistant] Is there not rain enough in the sweet heavens to wash it white as snow? Where to serves mercy, but to confront the visage of offence?


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[Assistant] And what's in prayer but this twofold force to be forestalled ere we come to fall, or pardoned being down? Then I look up, my fault is past.


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[Assistant] That cannot be, since I'm still possessed of those effects for which I did the murder. My crown, my own ambition, and my queen. May one be pardoned and retain the offence?


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[Assistant] In the corrupted currents of this world, offenses gilded hand may shove by justice, and off to sin, the wicked prize itself buys out the law. It is not so above.


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[Assistant] And we ourselves compelled even to the teeth and forehead of our faults to give in evidence. What then?


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[Assistant] My words fly up, my thoughts remain below. Words without thoughts, never to heaven go.


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[Assistant] No, by the rude not so, you are the queen. Your husband's, brother's, wife. And would it were not so, you are my mother.


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[Assistant] Thou wretched rash, intruding fool. Farewell. I took thee for thy better. Take thy fortune. Thou finds to be too busy is some danger.


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[Assistant] Look here, upon this picture, and on this, the counterfeit presentment of two brothers. See what a grace was seated on this brow.


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[Assistant] Here is your husband, like a middle-dude here, blasting his wholesome brother. Have you eyes?


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[Assistant] Could you on this fair mountain leave to feed and batten on this more? Huh? Have you eyes?


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[Assistant] Sense, sure you have, else could you not have motion, but sure that sense is apoplexed, for madness would not earn, or sense to ecstasy was ne'er so thralled, but it reserves some quantity of choice to serve in such a difference.


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[Assistant] My pulse is yours to temporarily keep time and makes us healthful music.


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[Assistant] And that shall lend a kind of easiness to the next abstinence, the next more easy. For use almost can change the stamp of nature and either lodge the devil or throw him out with wondrous potency. Once more, good night. And when you are desirous to be blessed, our blessing beg of you.


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[Assistant] For this same Lord, I do repent but heaven hath pleased it so to punish me with this and this with me, that I must be their scourge and minister.


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[Assistant] For good you let him know, for who that's put a queen fair, sober, wise, would from a paddock, from a bat, a jib, such dear concernings hide.


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[Assistant] In despite of sense and secrecy, Unpeg the basket on the house's top, Let the birds fly, And like the famous ape, To try conclusions, In the basket creep, And break your own neck down.


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[Assistant] There's letters sealed and my two school fellows whom I will trust as I will adders fanged. They bear the mandate. They must sweep my way and marshal me to Navery. Let it work.


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[Assistant] This man shall set me packing. I'll lug the guts into the neighbour room. Mother, good night. Indeed, this counselor is now most still, most secret and most grave.


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[Assistant] No Jumper, coolest podcast in the world, and today I feel incredibly lucky to have two of the most, really two of the most iconic rappers that have existed since my


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[Assistant] You know, time listening to rap. Like I, I just want to get that across firsthand that I'm hugely appreciative and I have a huge amount of respect for everything that you guys have accomplished. And I feel like even though I became a fan in maybe 97,


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[Assistant] So I missed out on some of the pivotal early years that I feel like I've just been along for this ride for a long time and I'm deeply invested in how you guys are doing in life. So this means a lot to me.


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[Assistant] I mean, just in the sense that you guys were kind of the first ones through the wall. Like it was, it was...


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[Assistant] Hip-hop was not very open or welcomed. I mean, we saw the way that Eminem was received and he was much closer to the center of like what you could imagine from an average rapper at the time. You guys are obviously on another fucking planet.


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[Assistant] But it's like, it's just crazy because now hip hop seems like hugely, uh, you know, interested in anybody who's doing anything out of the ordinary. It's like you guys were probably like 20 years too early in a way.


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[Assistant] As time went by, it just became more and more obvious that, you know,


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[Assistant] You guys, you have to respect what you guys created, even if it wasn't aimed at mainstream hip hop fans. But at the same time, it's like that is really why it's dope. Like you guys broke open, like we don't often talk.


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[Assistant] Talk about hip-hop as like a community and, you know, doing this is good for hip-hop or good for the scene or whatever. I know like a lot of other like types of music.


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[Assistant] Subcultures I've been a part of, that those conversations happen a lot, like, oh, like,


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[Assistant] Is this good for this type of music or whatever, but in a way you guys made hip hop way bigger in a way because all those Midwest flyover states that probably wouldn't have necessarily felt as, you know, it took something as weird as what you guys were doing for them to feel like more of a direct connection to the music.


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[Assistant] I remember probably 99 when the, the album after The Great Malenko came out and I was like, holy fuck, these guys can do songs with Snoop and Old Dirty Bastard? Cause that, was that when you guys had like really finally signed and they were like, okay, here's some money for you guys to get features. Yeah, see what happened was all about money. We're going to help you guys become real rappers now.


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[Assistant] So for the people at home though, like, you guys had this insane moment, and this is, I was just telling them, uh, this is when I became a fan, is like, you know, I'm sitting at my friend's house, I think it's 97, we're watching MTV, and they're like, there's a group called the Insane Clown Posse, and they just put out a new record, and Disney immediately pulled it off the shelves, and like, me and my boys, that's all we had to hear, like, boom, we gotta figure out what this shit's about.


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[Assistant] But okay, so leading up to that, how would you describe where your career was at? Did you have any clue that that was going to be this huge pivotal moment?


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[Assistant] So you weren't thinking, oh, there's a bright side to this. Absolutely.


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[Assistant] Because when I was listening to the album on iTunes earlier today, it feels like there's a couple songs that were not on the original version.


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[Assistant] You guys are like the beginning of the rap wrestling comparison that I feel like every time I'm in a conversation about rap, I'm on the verge of starting to just compare it to wrestling, but you guys were like very early on that.


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[Assistant] It's crazy that like you, your having your face painted is the modern having your entire face tattooed.


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[Assistant] How long did the wrestling thing actually last or how many times were you on WWE?


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[Assistant] It's crazy though, because the same logic that you guys use that you were so confident that you could be, when you're talking about focusing on one thing and if you give yourself any little out, then you're going to end up squeezing yourself through that. I mean, that's why you guys didn't make it as wrestlers. Like you probably would have if you didn't have rap on the table as an


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[Assistant] Because you, you, you had that option. I, I pay more attention to UFC and shit, but that's one thing they always say is as soon as a fucking UFC star really blows up and they have the option to go be an actor, they're gonna do it. Because it's so much fucking easier. You could probably make just as much money.


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[Assistant] I'm always just so fascinated by groups and rap and how they manage to stay together in a system that's so individualistic and it just seems so hard for people to stay together, like what the fuck is it that has


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[Assistant] Led you guys to not ever stray. It's two of us, man. We're best friends, that's why.


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[Assistant] Referring to his friends as some weird term, whatever. It's like, all that stuff is the thing that makes you not a Playboy Cardi clone, which is the-


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[Assistant] I think that's what endeared the center of the country to you guys in particular is because there's a lot of people in America, in the flyover states, who are basically like, yo, I work at the fucking construction place, I work at Wendy's, I am not anything special, these guys are speaking about my life, I'm not a rich drug dealer.


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[Assistant] And you have to have that mentality to survive in like shitty fucking middle America cities. Like that's important, like you have to eventually like build up that toughness if you are someone that doesn't necessarily fit into the mold, you know?


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[Assistant] I interviewed Hopson maybe six months ago and he was talking about that experience of like starting to go to his first shows when he first started touring and realizing like, holy fuck, there's a lot of juggalos here. And like realizing like, well, like I'm not a fucking juggalo, but I guess I got to be cool with these people. Like they fuck with me. That's crazy. Like it's like, there's a lot of artists like that.


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[Assistant] And then it felt like it kind of like became a thing for a while to like make fun of the juggalos and it sort of became this like meme. And I remember being like actually offended as not even just like a person who respects ICP, but just as a rap fan because it's like, why, why are we like shitting on rap fandom regardless of


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[Assistant] Let me just throw a name out there and give me your thoughts on this person and how she might relate to the Juggalo ecosystem. Teela Tequila. Oh, come on.


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[Assistant] Has there ever been times where you guys ever thought about not, I'm sure like running the label or being involved the business side of things no matter what you would never step away from, but has there ever been times where you guys thought about just deciding at a certain point like, you know what, we're done touring, we're gonna step away from putting out. Absolutely not. It doesn't even hurt you.


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[Assistant] You gotta always find that thing that the law of diminishing returns doesn't kick in for. Like every time you fuck a new girl it still feels really exciting, right?


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[Assistant] What do you guys hang out and listen to at this point in your life? Man.


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[Assistant] I love Bun B, but I'm not, I don't know what his last album was like.


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[Assistant] What's a, is there anything rap wise that she's put you on that really stood out to you as like, this dude's dope?


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[Assistant] Yeah, he's talking about a new rapper that has a strip club anthem. I was like, Thoughttiana, and he's like, no.


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[Assistant] I assume you guys must have it down to a fucking science. How long does it take?


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[Assistant] It's crazy to me because I'm over here shocked that you guys spent 10 minutes every once in a while to put the makeup on, whereas like I see my girlfriend spend an hour doing her makeup all the time and I don't think shit about that.


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[Assistant] I like the respect for the theatrics, you know, a lot of people like, all these, the institutions in our lives have like slowly been crumbling. I like that you guys are still committed to the sanctity of that ritual.


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[Assistant] So, one last question, do you guys, there was never, and I feel like this is one thing that probably usually rips apart, but there was never a time where one of you guys became like an addict or got too into a substance or anything?


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[Assistant] Incredible. Hey, I mean, it was fucking just such a huge honor to get to interview you guys. I really appreciate it. Honestly, this is so tight.


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[Assistant] Can I just tell you a quick tiny little anecdote about me being in 8th grade and being an ICP fan?


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[Assistant] After school, it just so happened to be Halloween, after school.


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[Assistant] My man, hey. And the show tonight too, I've never seen you guys live before so this is going to be ridiculous. This ain't like a full on ICP show.


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[Assistant] I shall obey you. And for your part Ophelia,


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[Assistant] I do wish that your good beauties be the happy cause of Hamlet's wildness. So shall I hope your virtues will bring him to his wonted way again, to both your honors. Madam, I wish it may.


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[Assistant] When Ghana began to crumble, the kingdom of Mali, just above Ghana, took over the gold and salt trade.


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[Assistant] Like Ghana, Mali lay between the gold mines of the south and the salt mines of the north.


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[Assistant] Like Ghana, Mali made money on the gold and salt that moved along its roads. But unlike Ghana, Mali was an Islamic kingdom.


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[Assistant] Islam spread to the kingdoms of West Africa from the Muslim traders who brought salt down from the north.


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[Assistant] And although the kings of Ghana had refused to become Muslims, many other West Africans accepted the Islamic faith.


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[Assistant] The kings of Mali built schools so that their people could learn to read the Quran.


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[Assistant] They built universities so that students could discuss the important ideas of their religion.


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[Assistant] An Islamic adventurer named Ibn Battuta traveled to Mali in the Middle Ages.


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[Assistant] Anyone who is summoned to see the king takes off his good clothes, puts on rags and a dirty old hat,


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[Assistant] Rolls his trousers up to his knees to show his humility and then goes in and puts his elbows on the ground.


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[Assistant] Whenever the king speaks, they all take off their turbans and hats and put them on the ground to show their respect.


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[Assistant] And if anyone asks the king a question, if the king answers him, he scoops up dust from the ground and throws it all over himself the whole time the king is speaking, just to show how unworthy he is of any answer.


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[Assistant] All Molly Kings were treated with this kind of reverence.


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[Assistant] But the most famous of all Molly Kings was respected


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[Assistant] He gathered the largest army in all of West Africa.


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[Assistant] He commanded over a hundred thousand archers, cavalrymen, and foot soldiers.


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[Assistant] He conquered neighboring kingdoms and expanded the kingdom of Mali until, as he boasted, a traveler would need a year to travel from one end of Mali to the other. Mansa Musa was famous in West Africa.


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[Assistant] But he attracted the attention of the world when he decided to make a pilgrimage or hajj to Mecca, the holy city of the Muslim faith.


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[Assistant] Every good Muslim was supposed to visit Mecca at least once during his life.


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[Assistant] But the journey all the way from West Africa to Mecca and back again would take over a year.


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[Assistant] And for all that time, Mansa Musa would have to leave his country in the hands of his advisors.


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[Assistant] But he was determined to show his devotion to Allah by making the pilgrimage.


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[Assistant] And he was equally determined to show the rest of the world that he, Mansa Musa, was one of the greatest monarchs of the Middle Ages.


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[Assistant] He decided to take his wife with him, and not just his wife, but his children and sisters, brothers, cousins, nieces and uncles, and also his cooks, servants, bodyguards, palace advisors, soldiers, and holy men.


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[Assistant] One medieval writer claims that 60,000 people traveled to Mecca with Mansa Musa.


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[Assistant] As the caravan wound its way towards Mecca, Mansa Musa himself rode in the center of the column. Five hundred slaves walked in front of him.


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[Assistant] Wearing robes of silk and carrying walking sticks of pure heavy gold, a hundred camels followed behind hauling three thousand pounds of gold.


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[Assistant] Whenever Mansa Musa halted the caravan for Friday prayers,


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[Assistant] He gave away so much gold that the price of gold plummeted.


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[Assistant] 12 years later, the price of gold in Egypt was still low because Mansa Musa had given so much gold away to the Egyptians as he traveled through. When he arrived in Mecca,


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[Assistant] Mansa Musa took off his royal robes and his gold. Like every Muslim pilgrim, he washed himself, put on a white robe, and prayed in the holy city.


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[Assistant] He gave away alms, gifts of money, to other pilgrims and to the poor. And after he had completed his worship, he turned his caravan around and started home.


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[Assistant] But he had given away so much of his gold that he had to borrow money to get back to Molly.


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[Assistant] Monza Musa's journey to Mecca made him famous. After his pilgrimage, medieval maps began to show the Kingdom of Mali below the Sahara Desert. One of these maps shows Monza Musa himself, sitting on the throne in the middle of his kingdom, holding a golden nugget in his hand. For the first time,


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[Assistant] Maps also showed roads leading from the northern African coast down into West Africa. Because of Mansa Musa


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[Assistant] Europeans now knew all about the West African country of Mali.


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[Assistant] We present Hamlet, Prince of Denmark, by William Shakespeare.


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[Assistant] Don't look now. James said his mouth is immobile as a ventriloquist, but I spy Reese Witherspoon at three o'clock.


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[Assistant] I swiveled immediately as he cringed in embarrassment and sure enough, there she was, sipping a glass of champagne and throwing her head back in laughter.


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[Assistant] James, darling, I'm so glad you could make it to my little party, quipped a thin, beautiful man who came up behind us. And who do we have here?


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[Assistant] Marshall Madden, this is Andrea Sachs. Andrea is actually Miranda's new assistant. Marshall finished, smiling at me. I've heard all about you, little one. I do hope you'll come visit me. I promise that together we can, uhm, smooth over your look.


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[Assistant] He ran his hand lovingly over my scalp and picked up the ends of my hair, which he immediately held up against the roots. Guess just a touch of something honey-colored and you'll be the next supermodel. Get my number from James, okay, sweetie? And come see me anytime you get a minute, he sang as he floated toward Reese. James sighed and looked on wistfully.


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[Assistant] He's a master. He breathed simply the best, the ultimate. A man among boys to say the least, and gorgeous. He's definitely gorgeous, I'll agree with you there.


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[Assistant] I said leaning towards him to catch a glimpse of a great looking guy who appeared to be sulking in the corner near the book table. But it hasn't been quite as disgusting as I'd imagined. And besides, I'm up for anything after the day I've had.


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[Assistant] After Miranda had made her rather abrupt departure, Emily informed me that that night would be the first time I would have to bring the book to Miranda's apartment.


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[Assistant] The book was a large wire-bound collection of pages as big as a phone book.


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[Assistant] In which each current issue of runway was mocked up and laid out.


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[Assistant] She explained that no substantial work could get done each day until after Miranda left.


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[Assistant] Because all of the art people and editorial people spent all day long consulting with her, and she changed her mind every hour.


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[Assistant] Therefore, when Miranda left around five each day to spend more time with the twins, the real day's work would begin.


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[Assistant] The art department would craft their new layout and input any new photos that had come in.


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[Assistant] An editorial would tweak and print any copy that had finally, finally gotten Miranda's approval.


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[Assistant] A giant looping MP scrawled across the entire first page.


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[Assistant] That waxed the back of the pages and pressed them onto their appropriate page in the book.


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[Assistant] It was then my job to take the book up to Miranda's apartment whenever it was finished.


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[Assistant] She'd bring it back the next day and the entire staff would go through the whole thing again.


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[Assistant] The book was ready on the earlier side at 8.30, and after I'd retrieved it from an exhausted-looking art assistant, Emily and I walked down to 59th Street together.


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[Assistant] Emily was holding an armful of freshly dry cleaned clothes on hangers encased in plastic, and she explained to me that dry cleaning always accompanied the book.


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[Assistant] Miranda would bring her dirty clothes to the office where, as my luck would have it, it was my job to call the cleaners and let them know we had a pick-up.


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[Assistant] My job was getting more intellectually stimulating by the minute.


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[Assistant] Hey Rich, Emily called brightly, fakely to the dispatcher I'd met my first day. This is Andrea, she'll be taking the book every night so make sure she gets a good car, okay?


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[Assistant] We'll do, Red. He motioned towards me, and I'll take good care of Blondie over here. Great. Oh, and can you have another car follow us to Miranda's? Andrea and I are going separate places after we drop off the book.


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[Assistant] If you were to travel south, down from China, you would find yourself on a large peninsula that juts down from the Chinese mainland into the ocean.


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[Assistant] The northern edge of this peninsula touches China. The southern end of it almost touches the Dutch East Indies.


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[Assistant] Travel west from the peninsula and you would go across the Indian Ocean and find yourself on the eastern shore of India.


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[Assistant] After many days, you would see the western coast of the United States in front of you.


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[Assistant] Because this peninsula lies close to both China and India, it was known as Indochina.


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[Assistant] Just as India had been taken over by Great Britain, and the East Indies by the Dutch, Indochina had been claimed by the French.


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[Assistant] France, now ruled by the Third Republic, didn't have much of an empire left.


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[Assistant] Long before the Third Republic, France had settled in Canada, but it had been forced to surrender those colonies to Great Britain.


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[Assistant] France had built trading posts in India, but had been forced out of India by the British East India Company. But in Indochina,


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[Assistant] France had managed to hang onto a little empire of its own.


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[Assistant] The left side of the peninsula, the country of Siam, which today we call Thailand, belonged partly to France and partly to Great Britain. But France claimed to rule all of the right side of Indochina.


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[Assistant] The lands that today are Vietnam, Laos, and Cambodia. Along the eastern coast, the country of Vietnam,


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[Assistant] The French divided their territory into three colonies. They called the northern colony Tonkin. The middle colony was called Annum.


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[Assistant] And the colony the furthest to the south was known as Cochin, China.


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[Assistant] For a hundred years, the Nguyen dynasty of emperors had ruled in Vietnam.


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[Assistant] The French allowed the Nguyen Emperor to stay on his throne, but the French, not the Nguyen Emperor, made all of the decisions about Vietnam's government.


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[Assistant] The French built railroads through the country and ports on its coast. The French owned rice plantations, groves of rubber trees, and coal mines. The Vietnamese worked in these plantations, groves, and mines for very little pay. Almost all of the profit went to the French owners.


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[Assistant] Under French rule, a very small group of rich Vietnamese who had allied themselves with the French overlords also made money from the plantations. But Vietnamese citizens, even wealthy ones, were not allowed to hold important jobs.


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[Assistant] It isn't surprising that the Vietnamese wanted the French out of their country.


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[Assistant] The very first revolutionary group that tried to fight for Vietnamese independence was led by a Vietnamese patriot named Phan Boi Chau.


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[Assistant] Fanboi Chao was born in 1867. As he grew up, he saw the French gaining more and more power over his country.


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[Assistant] He hated the French occupiers. Because his family was rich, Phan Boi Chau was allowed to go to school, and was even offered a job in the Vietnamese government.


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[Assistant] But this meant that Fan Bocha would be working for the French. He refused. Instead,


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[Assistant] In 1903, he formed a group called the Restoration Society. In Vietnamese, Duy Tan Hoi.