Santa Monica Mountains National Recreation Area is the largest urban national park in the United States. The polyglot park preserves a large Mediterranean mountain ecosystem in one of the most densely populated regions of the United States. While administered overall by the National Park Service, the park consists of several Federal, state, county, municipal, and university properties, and includes Los Angeles' Griffith Park, Will Rogers State Historic Park and Malibu Creek State Park and the Santa Monica Pier. The park is known for its hiking, its 1000 Native archaeological sites, and its tiny but well known population of mountain lions.

The park is headquartered in King Gillette Ranch, a historical ranch and Hollywood haunt.

Santa Monica Mountains National Recreation Area, Malibu, California

The great comedian Sid Caesar does not endorse the following method of improving at foreign languages.

I teach English in Japan, lately with I like to think increasing success, and I speak & write Japanese. My trick for learning foreign languages is....

The Sid Caesar method: If you learn to impersonate languages, no matter how badly, you will also learn how to speak them. Please give this time, and try the experiment.

Gradually it seemed to me that the biggest difficulty with learning a foreign language is not making meaning but the fear of the lack of it.

What do I mean?! The story goes like this.

When I learnt to speak Japanese after studying it for about 4 years I also found myself able to speak and read French. I had never been good at French at school, but something in my head, my psychological attitude to language had changed. I am not saying I am good at French but suddenly I had no problem with blabbing in my bad French. For a long time I did not work out what had changed.

Then two things happened:

1) I came across some research by Steven Heine, extending "terror management theory" arguing that there is not thing more scary than the absence of meaning. You can download his paper here Page on Psych

2) I came across some comedians that "impersonate languages" such as the late great Sid Caesar, and I thought "That's it. That is what changed."

Here is Sid Caesar impersonating French and other languages.

When I was young I had a black friend who (though he is as English as I am) when treated with prejudice in a public place used to reply in his impersonation of an African language. At the time even the thought of impersonating a language filled me with dread. But now I hardly break into a sweat. I am not as good as Sid Caesar in the above video but speaking in gobbledygook no longer hurts. I will append my video at the end.

Many people (especially in Japan) think that foreign languages are very difficult, and that you need to know a lot of grammar and vocabulary. At the same time, many native speakers (especially children) use a small vocabulary and the grammar they use could be written on a postcard. In other words the intellectual, structural, and factual information required of being able to speak like a child in a foreign language is the sort of thing you can learn in a couple of days.

This fact has been known in the language teaching community for some time, and leads to an emphasis upon "acquisition" of language through practice, rather than learning of language (e.g. rote memorisation of grammar and vocab).

But even using Krashen or other acquisition / communication centred techniques, progress is slow. What is the reason for this? One reason is that practice is required, just as it is required in another other skill, such as tennis. You don't become a good tennis player just by learning tennis theory.

But there is another aspect that is peculiar to language. To an extent we live in language, we narrative our selves in it, and when the language lacks meaning it results in a loss of self that is almost as scary as death (see Heine's research above). When we go to speak a foreign language, and let roll with a sentence that may well be all wrong, and may meet with a complete lack of comprehension, we enter that world of unmeaning and experience something akin to death. And this is terrifying.

However, of course, we do not die and we gradually learn not to be scared.

There is quicker route. If you practice impersonating languages, such as by watching a YouTube video of an Italian interview and then practice speaking in fake Italian mimicry (like Sid Caesar above) then you can, gradually, overcome this fear of flying into unmeaning. I am not saying that you will suddenly become a polyglot, but it will make foreign languages easier.

At the least you will become aware of one of the biggest, I would say the biggest, obstacles to foreign language proficiency.

The experiment.

1) Time yourself for a minute. Try and say as much as you can in the foreign language of you are trying to learn.

2) Then watch a video on YouTube of a language that you know nothing about and try impersonating that language for one minute. Do not worry about the quality of your impersonation, just try and make various word like sounds. (You can find some Chinese by searching for "發明" or some Italian, I think, by searching for "intervista")

In which case did you make more sound? I am guessing that you made more sounds in case (1) even though you had to use correct grammar, correct vocabulary. In case (2) you could have made any old noise.

In other words, it is not the words, the meaning, the grammar that is difficult, but the un-meaning that is the biggest, terrifying obstacle to foreign language acquisition.

If you can already "do a Sid Caesar" then I predict you will be quick at learning foreign languages or already can speak one.

Here is me impersonating Chinese. It is not good and makes me cringe a bit still but in times past the mere thought was quite beyond the pale (i.e. s*** scary). Here is a link to my video of me Impersonating Three Languages.

Image of Sid Caesar in 1959 above adapted from this image which is apparently in the public domain

Addendum (Big Mistake)

"My head" is inside my narrative and field of view, not the other way around! This is a very important point and the danger of the scientific worldview. The scientific world is a product of our narration as even some scientists a vow (Wheeler, Mach). Our head is also something we see in our field of view in mirrors, or our nose and brow directly. Our perceptions (including of our whispers) are not inside "me" or my body. To think so would be double death.

The wonders of Hollywood -- far more of a polyglot culture than most expect. This, though, was a first.

While smaller business signs in multiple languages are common around town, this is the first time I've seen a standard, full-size, billboard in Russian (though billboards in Spanish are common.) This is at the corner of Normandie and Hollywood (see map), at the area described as Thai town (also see adjacent photo)

Best viewed as part of Los Angeles set. Black background, courtesy of B l a c k M a g i c

Coburg Carnivale event at Victoria St Mall on Saturday 4 October 2014. Featured Polyglot Theatre giant ants, a triplet of musical cows, Westside circus, two dancing zebras, the Positive Charge polar bear, balloon sculptor, and various acrobats and entertainers.

Modena Street, sculptor: Stevan Filipović, in 2011.

Laza Kostić (1841-1910) was a famous poet, prose writer, lawyer, philosopher, polyglot, publicist, and politician. He devoted himself to writing poetry and to translating from European languages. He promoted the study of English and was among the first to begin the systematic translation of Shakespeare into Serbian.

He was Lord Mayor of Novi Sad twice.

Colloqvia et dictionariolvm septem lingvarvm, Belgicæ, Anglicæ, Teutonicæ, Latinæ, Italicæ, Hispanicæ, Gallicæ ... = Colloques ou dialogues auec vn dictionaire en sept languages, Flamen, Anglois, Alleman, Latin, Italien, Espaignol & Francois ... = Colloquien oft samenspreckingen met eenen vocabulaer in seuen spraken, Neerduntsch, Engelsch, Hoochduntsch, Latin, Italien, Spaens ende Fransois

Printed: Leodii (Liège) 1604

Printer:Apud Henricum Hovium, 1604

NLA RBRS ALS 115

The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.

The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.

View of the courtyard of the museum

After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."

Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.

In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."

In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.

The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.

The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.

The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.

View of the courtyard of the museum

After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."

Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.

In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."

In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.

The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.

The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.

The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.

View of the courtyard of the museum

After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."

Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.

In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."

In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.

The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.

1ère observation, j'espère qu'elle va s'installer.

Carved by Grinling Gibbons (1648-1721), this is a memorial to Richard Sterne (c.1596–1683), Archbishop of York (1664-83). Sterne was on the frontline of c.17th religion and politics; he was chaplin to Archbishop Laud, he was arrested and imprisoned by Parliamentarians in 1642,he is believed to have assisted in revising the Book of Common Prayer and the English Polyglot Bible, as well as his own Summa Logicae.

York Minster, also known as 'The Cathedral and Metropolitical Church of St Peter in York'.

There has been a church in York dedicated to St Peter since the 630s, with a stone church built by Oswald of Northumbria in 637. This church was developed in the 670s with the addition of a school and library (a Minster being an Anglo-Saxon missionary teaching church); in 741 the building burned down and was rebuilt, holding 30 altars. During the Anglo-Saxon period (when York was Eoforwic), and then Viking period (Jorvik) there were a series of Benedictine Archbishops including including Wulfstan (d. 956), Saint Oswald (d.992), and Ealdred (d. 1069).

The cathedral was damaged in 1069 and repaired in 1070 by its first Norman archbishop, Thomas of Bayeux (d. 1100); in 1075 the church was destroyed by the Danes, but rebuilt from 1080, the new building was in the Norman style, with white and red rendering.

Following being made Archbishop of York in 1215, Walter de Gray (d. 1255) ordered the construction of a gothic structure. Work began in 1220, with the North and South Transepts completed in the 1250s in the Early English Gothic Style. The Chapter House was began in the 1260s, completed 1296; the nave was began in 1280s, building on Norman foundations, the outer roof was built in the 1330s, with the vaulting completed in 1360s. The choir (the last Norman structure) was demolished in 1390s, and was replaced 1405. The Central (Lantern) Tower was built from 1420 (replacing a c.13th tower that collapsed in 1407); the towers on the West Front were built 1432-72, after which the Minster was consecrated.

Because of the length of time taken to build the Minster, the architecture shows the development of the Gothic style from Early English to Perpendicular.

The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.

The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.

View of the courtyard of the museum

After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."

Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.

In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."

In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.

The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.

Rignac is a small village, that in medieval times may have served the pilgrims heading to (still) famous Rocamadour (10kms west). The church Saint-Germain, known already since the 12th century, got damaged during the 100 Years War, but got completely reconstructed in the second half of the 15th century.

I met a friendly, polyglot lady inside the church, who showed me around. Behind the sacristy, she had laid out a garden, where she had planted many plants, that either are mentioned in the bible or having names, connected to the bible.

Merci beaucoup Madame!

The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.

The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.

View of the courtyard of the museum

After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."

Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.

In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."

In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.

The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.

→ 124 →

[illustration] | [illustration] | THE GREAT POLYGLOT BIBLES | INCLUDING

A LEAF FROM THE | COMPLUTENSIAN OF ACALÁ,

1514–1517 | BY BASIL HALL, LECTURER IN ECCLESIASTICAL |

HISTORY, THE UNIVERSITY OF CAMBRIDGE | [illustration] |

PUBLISHED FOR | ITS MEMBERS BY | THE BOOK CLUB OF CALIFORNIA

| SAN FRANCISCO, 1966 | [illustration] | [illustration]

15 × 10 ¾. 52 pp.—blank (i–vi), half-title (vii), blank (viii), title (ix), blank (x),

page of limitation (xi), blank (xii), illustration (xiii), blank (xiv), facsimile page

with original leaf tipped on (xv), blank (xvi), divisional title (1), blank (2), text

(3–27), acknowledgments and notes (28), blank (29–36).

Title in red and black, divisional title in violet and black, marginal running

titles in red, initial letters in text in violet. Reproductions of illustrations and

decorations throughout text from the Complutensian Bible and other early 16th

century Spanish books. Type Italian Old Style, monotype. Paper mold made.

Presented in the “continental” manner, according to the printers, with unsewn

folded sheets enclosed in a terra cotta handmade paper cover with publisher and

title in violet and decoration in brown on front cover. The first and last gatherings

are enclosed in brown handmade paper covers. The entire work is further enclosed

in a violet cloth-covered hinged box with terra cotta labels printed in black

and violet on front cover and violet on back. A laid in card explains the correct

perusal of the unsewn sheets. 400 copies printed at the Allen Press (Lewis and

Dorothy Allen). Price $47.50.

One of the most famous books of the sixteenth century and the first of the great

polyglot Bibles, the so-called Complutensian Bible is paid full homage in this

sumptuous leaf book. The paper, a beautiful Rives mold made, was printed damp.

The type, although set by monotype, was respaced and reset by the Allens in an

attempt to realize a more perfect word spacing. In the new errata to the Club’s

reprinting of The Allen Press Bibliography (1986, #180, p. 121) the Allens speculate

that the dropped l in Alcalá on the title page may have been the single loose letter

of one galley referred to in their printing of the Bibliography (p. 62).

Oldie Literary Lunch;

Jeremy John Durham Ashdown, Baron Ashdown of Norton-sub-Hamdon, GCMG, KBE, PC (born 27 February 1941), usually known as Paddy Ashdown, is a British politician and diplomat. He is currently the Chair of the Liberal Democrats 2015 General Election Team.

After service as a Royal Marine and as an intelligence officer for the UK security services, Ashdown was a Member of Parliament (MP) for Yeovil from 1983 to 2001, and leader of the Liberal Democrats from 1988 until August 1999; later he was the international High Representative for Bosnia and Herzegovina from 27 May 2002 to 30 May 2006, following his vigorous lobbying for military action against Yugoslavia in the 1990s. A gifted polyglot, Ashdown is fluent in Mandarin Chinese and other languages. He was made a Knight Grand Cross of the Most Distinguished Order of Saint Michael and Saint George (GCMG) in the New Year Honours 2006.

The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.

The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.

View of the courtyard of the museum

After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."

Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.

In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."

In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.

The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.

The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.

The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.

View of the courtyard of the museum

After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."

Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.

In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."

In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.

The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.

The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.

The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.

View of the courtyard of the museum

After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."

Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.

In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."

In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.

The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.

Coburg Carnivale event at Victoria St Mall on Saturday 4 October 2014. Featured Polyglot Theatre giant ants, a triplet of musical cows, Westside circus, two dancing zebras, the Positive Charge polar bear, balloon sculptor, and various acrobats and entertainers.

"A good place to start is La Vielleuse, the corner cafe outside the Metro station at the intersection of the Boulevards de la Villette and Belleville...Though now rehoused in a modern building, La Vielleuse is a relic of a vanished working-class Paris, with its mirror shattered by a shell from Big Bertha in World War I. Where once toughs might have drawn knives and fought over a woman, the cafe is now a safe rendezvous of the polyglot community. A group of old women chat in Armenian. A Chinese child fetches cafe au lait and croissant for his father, while at a nearby table a young African woman, breakfasting late and alone, looks fashionable in an orange wool hat with maroon bandanna, matching shawls of silk and wool, and a long orange and black skirt over a lacy black petticoat."

JULIAN MORE, NEW YORK TIMES ARTICLE AUGUST 1988

Will-power. Energy. Example. What has to be done, is done... without hesitation, without more worrying.

Otherwise, Cisneros would not have been Cisneros; nor Teresa of Avila, Saint Teresa; nor Iñigo of Loyola, Saint Ignatius.

God and daring! Regnare Christum volumus! — 'We want Christ to reign!'

_________

In an 'Instruction' of March 1934: "We must give all the glory to God. He wants us to: 'my glory I give to no other' (Is 42:8). This is why we want Christ to reign, since 'per ipsum, et cum ipso, et in ipso, est tibi Deo Patri Omnipotenti in unitate Spiritus Sancti omnis honor et gloria – through him, with him, in him, in the unity of the Holy Spirit, all glory and honour is yours, almighty Father' (Roman Canon)."

The expression 'Regnare Christum volumus' has a central place in St Josemaría's understanding of the salvific economy. The theme was a live one in those years. The encyclical, Quas primas, on Christ's royalty, had been published (1925), and the solemnity of the Feast of Christ the King had been decreed. In the Catholic world, especially in Latin countries, there was a resurgence of devotion to Christ the King, united in a more or less diffuse way, to specific choices of a temporal character, including political ones. It is interesting to note that in the Author's thinking, ‘Regnare Christum volumus’ always had only a spiritual significance.

St Teresa of Avila and St Ignatius of Loyola, for whom St Josemaría had great personal devotion, appear here and in other places in the book, as eminent figures of saintliness; here, in particular, showing a dedication without reserve, which is proposed to readers.

Cardinal Cisneros (1436-1517), an energetic character, was the first promoter of the Catholic Reformation in Spain: he fostered the spiritual reform of the religious orders, the University of Alcala, the polyglot Bible, etc.

(cf. "The Way": Critical-historical edition prepared by P. Rodriguez)

Thank you for the translation, dear polyglot father of mine!

R.A.G. (Gordon) Stuart, polyglot, late of Colliston Castle, photographed for the Arbroath Herald's Portrait Gallery series of interviews in July, 1991. (Photograph - Colin Wight)

In 1991, Török wrote that the bathhouse was one of the largest in Europe, visited by 2 million people each year. I don't know how it is currently ranked in size, but I can only imagine that the number of guests has increased exponentially with the rise of foreign tourism. It happens to be the most famous co-ed bathhouse in town, complete with floating games of chess, and has several parts. When I visited, these including a gym area and two major bathing areas: one is the medical baths, designed by Gyõzõ Czigler and Ede Dvorzsák (from 1909-13), and built before the other parts. The dome of the main entrance has a huge art nouveau mosaic on the inside. Török adds that the northern wing of the building was designed by Imre Francsek, and built in 1927 with a neo-baroque interior. I don't remember if I saw anything like this, but I did see a great changing area with classic wooden doors, by an open-air passage that leads to the immense complex of outdoor pools. You can swim laps, play, or just enjoy the hot jets if you're lucky enough to find one available. Listen to the polyglot of languages as you wander around to the indoor complex of baths: these range in temperature from frigid to scalding, and one of them even has a motorized whirlpool that whips you all around like a carnival ride. The current is fast and strong enough that it can actually be difficult to climb back out! This was my favorite. :)

Click here to see all my photos of this beautiful and historic place.

Some links:

Official-ish page: www.spa.hu/angol/szechenyispa_en.html

Insider tips: www.virtualtourist.com/travel/Europe/Hungary/Budapest_Fov...

... guests of friendly and polyglot Anita and Felix Klein for three nights at "La Combette".

They offered us a great room, all informations needed - and phanatstic food. They even had snowshoes! And they really love cheese! Merci beaucoup!

www.cevennes-mont-lozere.com/mont-lozere/default-en.htm

Colloqvia et dictionariolvm septem lingvarvm, Belgicæ, Anglicæ, Teutonicæ, Latinæ, Italicæ, Hispanicæ, Gallicæ ... = Colloques ou dialogues auec vn dictionaire en sept languages, Flamen, Anglois, Alleman, Latin, Italien, Espaignol & Francois ... = Colloquien oft samenspreckingen met eenen vocabulaer in seuen spraken, Neerduntsch, Engelsch, Hoochduntsch, Latin, Italien, Spaens ende Fransois

Printed: Leodii (Liège) 1604

Printer:Apud Henricum Hovium, 1604

NLA RBRS ALS 115

for this piece i was thinking of the idea of forgiveness and its difuse powers as our fundemental dichotomy, the images surrounding the classic art matrix and its account of predecessors, greek and roman, although highly altered by the ONe god and polyglot paradigm shift, have always treated the theme of forgiveness as a devine research if not soley as theorey, i think this is because the principle motives of passion pass into an abstract that although grounded in common ethics gives way to the animal spirit, a theme highly touched apon if not in a subterfuge or purely grafic manner by the masters of art history. Social position although an interesting way of inesting powers in new ways and enviornments is highly circumstantial and i am learning that crappy grafitti holds up the same priciples of forgiveness and truth as say a 250 billion dollar painting by Felacio Botero Vin Deisil Visa co., forgivness and its resulting manipulation produce a very strong individual responsability to interpret reality with a tenderness unseen and unbought, something that is just there, able to do anything, this is art.

The journal Science recently published an article in which scientists described the first meaningful exchange between a ficus tree and a human being that could, in a broader sense, be considered a conversation. The insightfully envisioned experiment required utmost patience and full commitment from both parties: over the course of eighteen years (2025-43), the young ficus tree (Ficus benjamina) and the human had to negotiate a shared code of signs. The linguist and polyglot M.L. began the experiment by establishing a basic set of communication signs. Like all plants, ficus trees maintain rigorous control over the amount of water they absorb through the roots by opening and closing leaf pores. Each ficus leaf has thousands of such tiny openings, called stomata. M.L.’s idea was to read stomata just as people who can read lips. Photo: miha_Fras_presented@Kersnikova

The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.

The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.

View of the courtyard of the museum

After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."

Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.

In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."

In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.

The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.

Just as the International Zone was coming to an end..... This section of the grand Socco was packed with small businesses catering for the mixed community of Moroccans, French, Spanish, British, Jewish etc, and the polyglot signs reflect this.

The Kaffal Shashi mausoleum stands at the northwest corner of the Khast-Imam square, a cluster of historical buildings that comprises the heart of old Tashkent. It commemorates the life of Kaffal Shashi. No trace of the original building survives as it was replaced by the current building constructed when Tashkent fell under the rule of the Shaybanids.

Kaffal Shashi: Abu Bakr Muhammad ibn Ali ibn Ismail Al-Kaffal Al-Kabir as-Shashi (also known as Abu Bakr as-Shashi) 904-979, was born into a family of locksmiths (kaffal means locksmith), became renowned as a spiritual successor to the hadith scholar Muhammad al-Bukhari (810-870); a poet, polyglot, and the author of many books on Islamic Law. After studying in Baghdad he finally returned to Tashkent to become the first Tashkent Imam. The Square was named in his honour.

Carved by Grinling Gibbons (1648-1721), this is a memorial to Richard Sterne (c.1596–1683), Archbishop of York (1664-83). Sterne was on the frontline of c.17th religion and politics; he was chaplin to Archbishop Laud, he was arrested and imprisoned by Parliamentarians in 1642,he is believed to have assisted in revising the Book of Common Prayer and the English Polyglot Bible, as well as his own Summa Logicae.

York Minster, also known as 'The Cathedral and Metropolitical Church of St Peter in York'.

There has been a church in York dedicated to St Peter since the 630s, with a stone church built by Oswald of Northumbria in 637. This church was developed in the 670s with the addition of a school and library (a Minster being an Anglo-Saxon missionary teaching church); in 741 the building burned down and was rebuilt, holding 30 altars. During the Anglo-Saxon period (when York was Eoforwic), and then Viking period (Jorvik) there were a series of Benedictine Archbishops including including Wulfstan (d. 956), Saint Oswald (d.992), and Ealdred (d. 1069).

The cathedral was damaged in 1069 and repaired in 1070 by its first Norman archbishop, Thomas of Bayeux (d. 1100); in 1075 the church was destroyed by the Danes, but rebuilt from 1080, the new building was in the Norman style, with white and red rendering.

Following being made Archbishop of York in 1215, Walter de Gray (d. 1255) ordered the construction of a gothic structure. Work began in 1220, with the North and South Transepts completed in the 1250s in the Early English Gothic Style. The Chapter House was began in the 1260s, completed 1296; the nave was began in 1280s, building on Norman foundations, the outer roof was built in the 1330s, with the vaulting completed in 1360s. The choir (the last Norman structure) was demolished in 1390s, and was replaced 1405. The Central (Lantern) Tower was built from 1420 (replacing a c.13th tower that collapsed in 1407); the towers on the West Front were built 1432-72, after which the Minster was consecrated.

Because of the length of time taken to build the Minster, the architecture shows the development of the Gothic style from Early English to Perpendicular.

Khazrati Imam is named after Kaffal Shashi (Abu Bakr Muhammad ibn Ali ibn Ismail al-Kaffal al-Kabir as-Shashi, also known as Abu Bakr as-Shashi) 904-979, who was born into a family of locksmiths (kaffal means locksmith), became renowned as a spiritual successor to the hadith scholar Muhammad al-Bukhari (810-870); a poet, polyglot, and the author of many books on Islamic Law. After studying in Baghdad he finally returned to Tashkent to become the first Tashkent Imam.

The origins of the madrasa date to the death of Barak Khan's father, Suyunidzh-khan (Suyunich-khan), who was one of the grandsons of the Timurid ruler Ulugh Begh (1394-1449). Upon his death, Suyunidzh was buried in Tashkent to the south of the Kaffal Shashi Mausoleum in a mausoleum comprising a domed chamber and a nearby khanqah (Sufi lodge). Another small mausoleum was built beside it, likely for a Muslim cleric whose name has not survived. In the 1550s Barak Khan added a madrasa and integrated the two mausoleums and the khanqah into one harmonious whole, entered via a monumental pishtaq.

Patron: Barak Khan, an alternate name for Muhammad Shaybani Khan, c.1451-1510, an Uzbek leader who consolidated various Uzbek tribes and laid the foundations for their ascendance in Transoxiana and the establishment of the Khanate of Bukhara. He was a Shaybanid or descendant of Shiban, the fifth son of Jochi, Genghis Khan’s eldest son. After displacing the Timurids, Barak Khan was appointed ruler of Tashkent at the behest of the ruling khans. Over time, he gained greater autonomy and took the helm of the dynasty itself, ruling as the supreme Khan from 1551-56.

Rocinante is available for print on various apparel, case, print, and other options via RedBubble and TeePublic. Get yours now and remember the Cant!

- - - - - - - - - - - - - - - - - -

More EXPANSE prints…

- - - - - - - - - -

3/23/2016. Update.

Donkey Balls! This Rocinante tee is discounted again at TeePublic for three days in TP's March Madness sale! (Lots of other Expanse designs available, too, if you're into that sort of thing.)

- - - - - - - - - -

3/14/2016. Update.

Roci's on sale again at TeePublic (part of a "new tees" sale) for three days! Standard Earther/Belter/Martian size tees are $14, regularly $20. Price varies based on style and size (and don't forget shipping).

Polyglottal! =)

- - - - - - - - - -

3/11/2016.

Get this shirt at TeePublic!

On sale (as in discounted) this weekend (thru Sunday night, 3/13).

- - - - - - - - - - - - - - - - - -

When I couldn’t find an EXPANSE tee featuring Amos’s Rocinante bombshell pin-up art, I went ahead and re-created it myself—clunkily and chunkily, it's true, but I rather like it! =)

It's now available for print on various shirt options and swag via TeePublic. That means you can get a tee, hoodie, or phone case for your favorite Earther, Belter, or Martian featuring the hottest little number in THE EXPANSE! (Next to Holden and Naomi, that is =)

So, grab one now if you dig it!

AMOS: I like it. I knew a lady named Rocinante…She was good to me.

Flip and burn!

aka

Keep on keepin' on~

P.S. Donkey balls!

Celestial Planisphere, bottom center:

Hypothesis Copernicana.

Nicolaus Copernicus (19 February 1473 – 24 May 1543) was the first astronomer to formulate a comprehensive heliocentric cosmology, which displaced the Earth from the center of the universe. His epochal book, De revolutionibus orbium coelestium (On the Revolutions of the Celestial Spheres), published in 1543 just before he died, is often regarded as the starting point of modern astronomy and the defining epiphany that began the Scientific Revolution. His heliocentric model, with the sun at the center of the universe, demonstrated that the observed motions of celestial objects can be explained without putting the Earth at rest in the center of the universe. His work stimulated further scientific investigations, becoming a landmark in the history of modern science that is now often referred to as the Copernican Revolution.

Among the great polymaths of the Renaissance, Copernicus was a mathematician, astronomer, physician, quadrilingual polyglot, classical scholar, translator, artist, Catholic cleric, jurist, governor, military leader, diplomat and economist. Among his many responsibilities, astronomy figured as little more than an avocation — yet it was in that field that he made his mark upon the world.

Slideshow with progress shots: bighugelabs.com/slideshow.php?id=66409

The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.

The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.

View of the courtyard of the museum

After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."

Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.

In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."

In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.

The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.

Kostas Katsouranis

... from a Venusian polyglot - appropriately enough, to be seen in the place where Norwich had its first proper fire station!

Oldie Literary Lunch;

Jeremy John Durham Ashdown, Baron Ashdown of Norton-sub-Hamdon, GCMG, KBE, PC (born 27 February 1941), usually known as Paddy Ashdown, is a British politician and diplomat. He is currently the Chair of the Liberal Democrats 2015 General Election Team.

After service as a Royal Marine and as an intelligence officer for the UK security services, Ashdown was a Member of Parliament (MP) for Yeovil from 1983 to 2001, and leader of the Liberal Democrats from 1988 until August 1999; later he was the international High Representative for Bosnia and Herzegovina from 27 May 2002 to 30 May 2006, following his vigorous lobbying for military action against Yugoslavia in the 1990s. A gifted polyglot, Ashdown is fluent in Mandarin Chinese and other languages. He was made a Knight Grand Cross of the Most Distinguished Order of Saint Michael and Saint George (GCMG) in the New Year Honours 2006.

In 1991, Török wrote that the bathhouse was one of the largest in Europe, visited by 2 million people each year. I don't know how it is currently ranked in size, but I can only imagine that the number of guests has increased exponentially with the rise of foreign tourism. It happens to be the most famous co-ed bathhouse in town, complete with floating games of chess, and has several parts. When I visited, these including a gym area and two major bathing areas: one is the medical baths, designed by Gyõzõ Czigler and Ede Dvorzsák (from 1909-13), and built before the other parts. The dome of the main entrance has a huge art nouveau mosaic on the inside. Török adds that the northern wing of the building was designed by Imre Francsek, and built in 1927 with a neo-baroque interior. I don't remember if I saw anything like this, but I did see a great changing area with classic wooden doors, by an open-air passage that leads to the immense complex of outdoor pools. You can swim laps, play, or just enjoy the hot jets if you're lucky enough to find one available. Listen to the polyglot of languages as you wander around to the indoor complex of baths: these range in temperature from frigid to scalding, and one of them even has a motorized whirlpool that whips you all around like a carnival ride. The current is fast and strong enough that it can actually be difficult to climb back out! This was my favorite. :)

Click here to see all my photos of this beautiful and historic place.

Some links:

Official-ish page: www.spa.hu/angol/szechenyispa_en.html

Insider tips: www.virtualtourist.com/travel/Europe/Hungary/Budapest_Fov...

Find the full post — here

The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.

The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.

View of the courtyard of the museum

After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."

Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.

In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."

In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.

The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.

youtu.be/lmBsGmAVM3A Part 1

youtu.be/pKAxRxW3l9U Part 2

Starring Eric Porter, Hildegard Knef, Suzanna Leigh, Tony Beckley, Nigel Stock, Neil McCallum, Ben Carruthers, Victor Maddern, and Norman Eshley. Directed by Michael Carreras, and Leslie Norman.

The Lost Continent is a crazy-quilt of a film, with chunks of several unrelated plotlines sewn together willy nilly. Eric Porter plays Lansen, the captain of a tramp steamer who has agreed to deliver contraband dynamite for a hefty price. His passengers are a polyglot of the good, the bad and the worse. Shipwrecked on an mysterious isle in the Sargasso Sea, Lansen and party find themselves prisoners of a bizarre inbred colony still governed by the long-abandoned edicts of the Spanish Inquisition. The film is no more coherent than the original Dennis Wheatley novel Uncharted Seas, but that doesn't detract from its endearing wackiness. To their credit, the cast members of Lost Continent play the script straight, which merely adds to the kinky fun.

review

It would be exaggerating to call The Lost Continenht a very good film, but it's a strangely appealing one. This is especially true for those who are fans of science fiction films, especially of the "lost world" sub-genre. Aficionados may argue that Continent doesn't actually belong in that "lost world" category as, despite its title, the voyagers don't really discover a long-lost continent so much as encounter a strange civilization existing in the Sargasso Sea -- but that's splitting hairs. Continent has giant sea creatures, man-eating seaweed, people walking on snowshoes while being held aloft by balloons, and a group who still thinks the Spanish Inquisition is going on -- more than enough to satisfy any fan. Granted, it's totally ridiculous and immensely silly, and granted that the melodrama is piled on with a sledgehammer; yet that somehow adds to Continent's appeal. (For young male viewers, it also doesn't hurt that Continent features some very attractive women among its cast members.) The filmmakers have so much fun setting up this strange world and the exploring it that it's rather contagious -- so much so that most viewers won't mind the crudity of some of the special effects. Continent is a good picture to approach on a rainy day when the viewer has just popped some corn and feels like something that will make him feel like a wide-eyed 10-year-old again.