They Were Here - And thus I was there

It is about - 15° C and wind makes it more harsher. Sun is descending on southeast and i'm ascending to Puolala-Hill in Turku. Then i'm suddenly in a park, surrounded by fluorescent ghosts. A 19th century couple stands by the path a small dog standing vigilant at their feet. An amorette is flying above, aiming an arrow to some young elegantly dressed, early 19th century damselle, another volant figure, an angel is blowing a horn. There are some children playing around the park. No matter how much I try to use words to describe this exhibition is not enough, and no matter how I set my camera, change lenses from 50mm to wider 24mm, it is still not enough. This is a 3D-experience with sound, you have to be walking amidst of these spectres of the past. 

The artist, Alexander Reicstein explains it better, how They Were Here

brings former residents of any historical place to life. I think people never truly disappear without a trace: we can still hear words, steps and even breaths taken from long ago. Persons from the past wander in the park, meet each other in the street and enjoy fresh air on the balcony.

Alexander Reichstein

They Were Here

 

 

 

The Crown - Too Much, Too Soon

 

Princess Diana (Emma Corrin) scooping food with a large spoon and on the next scene, vomiting it up. Prince Charles (josh O'connor) looming on he's unhappy marriage like some royal version of Anakin Skywalker, on the verge of becoming Darth Vader. This is what Neflix's The crown was mainly focused on its fourth season. And on the fifth season it is about to give us more of it, despite of the pleads from Prince William.

In late 16^th and early 17^th century, William Shakespeare was also opening royal closets to reveal skeletons, albeit he did it with monarchs whom had reigned enough long time ago, enough water flown under Thames's bridges. He was a favourite both Elizabeth I and James I. He even flattered James I with a play that was about ancient Scottish King, Macbeth, and by including it scenes of evil witchcraft, he was coping he's majesty's religious believes. Even when watching he's father murdered on stage over and over again, was not too much, that is Hamlet's father killed by poisoned ear. James's father Henry Stuart, Lord Darnley died from infected ear, rumored to be poisoned.

There were of course plays that crossed the fine line of decency, albeit played far away from royal presence. Late 18^th century was a time of political satire both in theater and on cartoons likes of James Gilray's. The royal family got its share along with politics. What ever George III did or sometimes did not, Gilray was apt to illustrate it. George IV was nothing like modern tidy looking monarch. A Prince of Wales like him on these days would bring back ideas of the republic on every British mind, obese, red faced, sweaty and constantly drunk.

However, television and modern version of it, that is broadcast by Internet, is very wide spread and reaches hundreds of million viewers. And alas, too soon, we get to see something that we are aware to be too painful to all families it concerns, the royal. Us historians tend to study events that have ended, preferably taking regard the living persons our writings would concern.

I know Netflix is a business and it has to make interesting content to get viewers and make money, and it makes some really excellent content. I have some great idea for Netflix: Make a prequel for The Crown and start from George IV, there is stuff dirty enough, and enough water flown on Thames.

YouTube - Better Than Pile of Books?

 

In these Covid ridden days, when libraries are mainly closed, or one is simply afraid to lend books, we still have craving for fact and fiction. Buying books is one solution, however not very economical. Fiction is easy to obtain, just get Netflix, HBO or Prime Video, etc. Your lifetime won't be enough. Fact is a different matter, especially for history. Yes, there are documentaries, but they tend to contain information you already know, or the very dose of new information is meagre.

Thankfully, there are some historians who have time and effort to share their knowledge and researched information on YouTube. Just to mention some (that I know), if you are interested on WWI, there is The Great War, It followed the war weekly on real time 100 years later (and still does), including specials about economy, weaponry, sanitary, diseases, political atmosphere, etc. You simply won't get this amount of information on any book. It was hosted by Indiana Neidell, the american extrovert Duracell-bunny of history, but was replaced by Jesse Alexander later on. If you are interested of Franco-Prussian war, Real Time History (same makers as on The Great War) makes week by week series of that not so well-known war, exactly 150-years later, and whit same depth as The Great War.

One very productive YouTube channel is Time Ghost Army, which produces WWII, week by week in real time, although 99-years later. That is hosted by Indy Neidell again. It also makes sub-series of WWII, like War Against Humanity, hosted by Spartacus Olson (yes those are real names), it presents the horrors of war with neutrality, with always the same very important ending by Spartacus, ”never forget”. Following the WWII is also Home Front-series, hosted by Anna Dinehart, and war espionage themed Spies and Ties, by Astrid Dinehart. Time Ghost also makes series Between Two Wars, it represents the very Zeitgeist, politics and culture of interwar years. Their series of Suez-crisis explained deeply what that tumult was really about, and that they did to Cuban missile crises as well.

These are only some of You Tube's history channels I know. I have seen some poorly made attempts of history channels, some had spew'd out poorly researched facts or facts we all know, and alas, outrageous lies to whitewash unpleasant history. Sometimes it needs an expert mind to filter out what is the truth and what is not.

When used correctly, YouTube can be a place of effective learning. So if you want to learn about history more faster than you could with any books. Watch those series, subscribe to their channels, and if you can, support their efforts with donations, YouTube is not a goldmine. Maybe after ten episodes you may watch those cat-videos again.

Time Ghost History: https://www.youtube.com/channel/UCLfMmOriSyPbd5JhHpnj4Ng

Real Time History: https://www.youtube.com/c/realtimehistory

The Geat War:https://www.youtube.com/c/TheGreatWarSeries

There is no death - its just a painting

 

Akseli Gallen-Kallela (1865 – 1931) : Tuonelan joella (By the River of Tuonela) (1903), Ateneum Art Museum, Helsinki.

Tuonela, in Finnish folklore, is a place where you go after you are dead. Its not hell, nor it is a heaven. We all have to go there. It is on north, its dark and somber place where the dead wonder as spectres or ghosts. However, eternal prison it is not, we can come back if we like, such as to protect our beloved or posterity.

Even so, dead you are, and remain as a shadow. In this painting we can see the mere desperation on the eyes of deceased, as they wait their turn to cross the river that separates Tuonela from our world. People of all ages. A young timid girl undresses with shyness, a young woman cries in desperation, covering her eyes, while older people submit to their fate that they knew will become someday. Woman on the boat cries for maybe last time ever, realizing when the boat starts to move that this is it, here I go. Man who is pushing the boat might be the very boatman who takes deceased across the river, a Finnish version of Charon if you like. He's eyes are focused and calm, like concentrating on he's work. Across the murky water of the river rises mossy rocky wall, Old, long time fallen snag of a pine lies next to it. On the left we see bloody red swan of Tuonela.

On the very right corner of the painting we see a man holding a mason's trowel, looking away. He's expression doesn't show any agony of the situation. This is Akseli-Gallen Kallela himself. He painted this work as a preparatory painting for frescoes of the mausoleum of Jusélius in Pori. Fritz Arthur Jusélius had lost her daughter Sigrid to a tuberculosis in 1898, when she was just 11-years old, and wanted to build a mausoleum to commemorate her memory. Gallen-Kallela was commissioned to paint the frescoes inside. Work included six frescoes where death among life was the leading motif. Painter himself has lost he's daughter Impi Marjatta in 1895 as a child. Thus the sorrow and anguish that Jusélius felt was very familiar to him. That was the force that made the very frescoes and their preparatoty works one of the best paintings he ever produced.

After all this sorrow and desperation we have to take a closer look on this painting, there might be a an important message to all of us. Just above the undressing girl we see a reddish face looking straight to us, breaking the fourth wall. He is an another painter Pekka Halonen (1865 – 1933), the second real person in this play. Then we take another look at Gallen-Kallela on the right. Is he on this painting or standing in front of a painting? What is clear that trowel he is holding is a symbol of  freemasonry. Turn of the 20th century was an age of spiritualism and theosophy. Concepts that changed the very perspective on death. It stated that we don't die, we just change our form from physical to spiritual. Thus painters on this painting, Halonen and Gallen-Kallela, other looking to us, other looking away tells us with their indifference of depicted suffering, this is just a painting, this is not real, there is no death!