Star Wars and History
Page 27
In the twentieth century, private transportation and the introduction of the automobile as an affordable commodity brought a new measure of freedom for many people, and the private vehicle is clearly playing the same role in Star Wars. We see on Coruscant traffic flowing at multiple levels in Attack of the Clones, obviously the result of particularly detailed planning of the population’s needs.
The crowded city of Coruscant, a whole planet for a city, is much bigger than any of the mega cities we have on Earth today. The challenges faced, in terms of environmental pollution and public health, have obviously been resolved on Coruscant. Its traffic of airspeeders and taxis is much like the World of Tomorrow envisaged at the World’s Fair in the 1950s. It demonstrates the planning of skyscrapers and dense urban populations.
Airspeeder traffic lanes on Coruscant. (Attack of the Clones)
The City of Tomorrow
Cities with aerial transport to the downtown area would be very different from cities today. In the early days of aviation, such personal air transport was envisaged. Although we now have large-scale long-distance aviation, the trend has been toward building airports farther out of downtown metro areas, making it less convenient than early planners had imagined. Indeed, original plans for the Empire State Building envisaged a docking site for zeppelins at the top.15 Many images of the urban future anticipated downtown landing spots and personal aircraft, such as this one from science-fiction illustrator Frank Paul. The closest thing to the flying car in general use remains the helicopter, which is both impractical and uneconomic for most people. Rather, as cities have grown, we have seen a need for more public transport.
What can the worlds of Star Wars teach us about our own relationship with cities? It is apt that we should look to film to learn about cities. It was the medium of cinema in the early part of the twentieth century that first gave people a chance to see cities in different parts of the world, in movies and newsreels. Although photos were published in books and newspapers, the whirl of the urban experience is captured more fully on film. Indeed, some of the earliest footage still in existence shows us street scenes: horse-drawn carriages, bicycles, and pedestrians flickering past the lens.
One of the greatest urban theorists of the twentieth century, Lewis Mumford, wrote that cities themselves transcended reality:
This metropolitan world, then, is a world where flesh and blood is less real than paper and ink and celluloid. It is a world where the great masses of people, unable to have direct contact with more satisfying means of living, take life vicariously, as readers, spectators, passive observers: a world where people watch shadow-heroes and heroines in order to forget their own clumsiness or coldness in love, where they behold brutal men crushing out life in a strike riot, a wrestling ring or a military assault, while they lack the nerve even to resist the petty tyranny of their immediate boss: where they hysterically cheer the flag of the political state, and in their neighbourhood, their trades union, their church, fail to perform the most elementary duties of citizenship.16
Flying cars and skyscrapers inhabit this 1942 vision of a futuristic city.
Science fiction has always been a way to explore our hopes and fears of the future—Star Wars, although set “a long time ago,” exists in a different time from ours, past, present, and future. There are millions of observers of the urban space, in person and remotely through the media, and it is in fact the digital that has created the final layer of the city as spectacle. This has been associated with Tokyo, but we can see hints of it emerging in discussions of other Asian cities, such as Shanghai and Singapore. Tokyo is often the focus of the positive imaginings of future urban settlements and is associated with the notion of technology and economic success. Many of the popular images of Tokyo involve bullet trains or pod hotels, which represent the ultimate in social isolation or alienation. Cities offer anonymity, the chance to hide in a crowd and to explore new identities. The digital city of the future may remove human contact altogether.
Cities have given us freedoms and opportunities, as the contact of groups has sparked new creativity. Cities created problems to be solved (transportation, housing, sanitation) and then supplied creative solutions. Cities of our world have changed our lifestyle, our approach to socializing, our work and career opportunities. Yet we can make our own cities, too: as Shakespeare wrote, “The people are the city.”17 Our rural-urban relationships have varied over time and in different parts of the world. Overall, though, the trend has been toward urbanization. Star Wars manages to reflect some of these differences between capital and outpost, city and frontier.
The built environment of a city is “collectively consumed.”18 Our conceptions of urban space have changed with the means we use to travel through them. Cities change us, too. In cities, we live cheek-by-jowl with strangers, surrounded by the sights, sounds, and smells of thousands of other lives, unfolding right next to our own. Yet the anonymity of the urban offers its own privacy, as we saw on Coruscant and Cloud City. I may pass thirty people on the street where I live, but I know none of them. We became city people and continue to do so, as the world becomes increasingly urbanized. If you’re reading this, chances are you live in a city somewhere, too.
Notes
1. Louis Wirth, “Urbanism as a Way of Life,” in Richard Sennett, ed., Classic Essays on the Culture of Cities (New York: Appleton-Century-Crofts, 1969), 143–164.
2. Tacitus, Annals, Book XV, chap. 44.
3. Jane Jacobs, The Death and Life of Great American Cities (New York: Random House, 1961).
4. Richard Sennett, Flesh and Stone: The Body and the City in Western Civilization (New York, London: W. W. Norton & Co , 1994), 263.
5. Georg Simmel, “The Metropolis and Mental Life,” http://www.altruists.org/static/files/The%20Metropolis%20and%20Mental%20Life%20%28Georg%20Simmel%29.htm.
6. Fernand Braudel, Civilization and Capitalism, 15th–18th Century, vol. 3: The Perspective of the World, translated by Sian Reynold (Berkeley: University of California Press, 1992), 32.
7. William Dunbar, “London, Thou Art of Townes a Per Se,” in The Poems of William Dunbar (London: Blackwood, 1893), 276–278.
8. James Boswell, Life of Johnson (New York: Charles Scribner’s Sons, 1917), 341.
9. Benjamin Disraeli, Tancred (London: Henry Colburn, 1847); Ralph Waldo Emerson, Essays and English Traits; Harvard Classics Vol. 5 (New York: P. F. Collier & Son, 1909)
10. Richard Dennis, Cities in Modernity: Representations and Productions of Metropolitan Space, 1840–1930 (Cambridge, UK: Cambridge University Press, 2008), 51
11. Sam Bass Warner Jr., “Slums and Skyscrapers: Urban Images, Symbols, and Ideology,” in Lloyd Rodwin and Robert M. Hollister, eds., Cities of the Mind: Images and Themes of the City in the Social Sciences (New York and London: Springer, 1984), 181–195.
12. Jane Austen, Mansfield Park, (New York: W W. Norton & Co, 1998).
13. Ezra Pound, “Patria Mia,” New Age 11, no. 21, September 19, 1912, 492.
14. Thomas Wolfe, The Web and the Rock (Voices of the South) (Baton Rouge: Louisiana State University Press, 1999).
15. Christopher Gray, “Not Just a Perch for King Kong,” New York Times, September 23, 2010, RE9.
16. Lewis Mumford, The Culture of Cities (London: Routledge, 1997), 258.
17. William Shakespeare, Coriolanus, act III, scene 1, line 200.
18. David Harvey, Consciousness and the Urban Experience (Baltimore: Johns Hopkins University Press, 1985), 47.
THE JEDI COUNCIL
William J. Astore, a retired lieutenant colonel (USAF), is a professor of history at the Pennsylvania College of Technology. A Star Wars fan since 1977, he still has his collection of STARLOG magazines from his teen days. His doctorate in modern history is from the University of Oxford.
Kevin S. Decker is an associate professor of philosophy and the director of the philosophy program at Eastern Washington University, where he plays the role of Obi-Wan Kenobi on Halloween. His research i
nterests include American pragmatism, ethics, and social and political philosophy, and his work has appeared in both scholarly journals and magazines such as Wired and Inked. He is the coeditor of Star Wars and Philosophy, Star Trek and Philosophy, and Terminator and Philosophy, and his work on philosophy and popular culture has appeared in books on the work of Stanley Kubrick and Tim Burton and on diverse films and television shows, including 30 Rock and Doctor Who.
Paul Finkelman is the President William McKinley Distinguished Professor of Law and Public Policy at Albany Law School. He is currently the John Hope Franklin Visiting Professor of American Legal History at Duke Law School. His doctorate is from the University of Chicago, and he was a fellow at Harvard Law School (1982–1983). He has published about thirty books, including Millard Fillmore (2011), Slavery and the Founders: Race and Liberty in the Age of Jefferson (2001), and A March of Liberty (2011). The U.S. Supreme Court has cited his Bill of Rights scholarship. He has published op-ed pieces in the New York Times, USA Today, the Washington Post, and Huffingtonpost.com. He has appeared on PBS, on the History Channel, on C-Span, and in the movie Up for Grabs. He was an expert witness in the Alabama Ten Commandments Monument Case and also in the lawsuit over the ownership of Barry Bonds’s seventy-third home run ball. In 2009, he gave the annual Nathan I. Huggins Lecture at the W. E. B. Du Bois Center at Harvard University.
Katrina Gulliver holds a Ph.D. in history from the University of Cambridge. She is the author of Modern Women in China and Japan and presents the podcast “Cities in History.”
Mark Higbee is a professor of history at Eastern Michigan University, where he teaches courses in American and African American history. His Ph.D. is from Columbia University. He saw the first Star Wars film on the day it opened in 1977, in his hometown of Indianapolis.
Paul Horvath is an award-winning teacher of mathematics at Eastern Michigan University, where he also earned his graduate degree in mathematics. His love of Star Wars is exceeded only by (in no order of importance) mathematics, his children, fishing, and the most beautiful of wives.
Tony Keen teaches classical studies courses for the Open University in Great Britain, for which he has also taught film history. He is active in science fiction fandom as well. His book Martial’s Martians and Other Stories: Studies in Science Fiction and Fantasy and Greece and Rome is forthcoming from Beccon Press in 2013. It was in a cinema in Buxton, England, in 1978 that an Imperial Star Destroyer first flew over his head.
Michael Laver is an assistant professor of history at the Rochester Institute of Technology, where he teaches East Asian history, as well as classes on European interaction with Asia. His research focuses primarily on the Dutch East India Company and, more broadly, on early modern Japan. His most recent work is titled The Sakoku Edicts and the Politics of Tokugawa Legitimacy, published by Cambria Press in 2011. Michael lives in Rochester with his wife, Annie, and his two boys, Bennie and Old Hambone, who are new and eager explorers of the Star Wars galaxy.
Janice Liedl is an associate professor of history at Laurentian University in Sudbury, Ontario. She has a doctorate from the University of Toronto and has published on English intellectual and women’s history. The editor of Wiley’s forthcoming The Hobbit and History, she’s collected Star Wars memorabilia since she first spotted the novelization of A New Hope.
Terrance MacMullan is a professor of philosophy and honors at Eastern Washington University. He received his doctorate in philosophy from the University of Oregon in 2002 and has since published on a wide range of topics, including Latin American philosophy, the philosophical relevance of The Daily Show, and pragmatist solutions to racism. The Force is so strong in him that as a five-year-old, he persuaded his parents to take him to see A New Hope a total of twenty-six times in three different nations.
Lori Maguire, a professor of British and American studies at the University of Paris 8 (Vincennes-St Denis), received her doctorate at St. Antony’s College, Oxford University, and her habilitation (advanced doctorate) at the University of Paris IV (Sorbonne). She has published a large number of articles and books on the political history of Great Britain and the United States, notably on their foreign policy. Professor Maguire has been a fan of Star Wars since she saw (even more times than her friends) the first film in 1977.
Nancy R. Reagin is the chair of the Department of Women’s and Gender Studies at Pace University in New York City, where she is also a professor of history. She holds a doctorate in European history from Johns Hopkins University and has sundry publications in modern German history and European women’s history; she is also the editor of Wiley’s Pop Culture and History Series. She camped out in line for much longer than her parents thought reasonable, in order to see A New Hope the day it opened in Los Angeles in 1977; the moment the music started and the opening crawl began, she knew it was all worth it.
ACKNOWLEDGMENTS
Making History That Spans Galaxies
“A long time ago in a galaxy far, far away . . . .”
The words that open every Star Wars movie speak to historians: they tell you that here is someone who understands how history shapes worlds and lives. Consequently, our first and foremost acknowledgment is to George Lucas, whose creative force launched us all on this journey. He generously shared insights into how he drew on a wide range of world history to build the stories of the Star Wars galaxy. We were equally fortunate in the historians who contributed to this volume. They combined their own scholarship with an abiding respect for Star Wars to produce fabulous chapters that exceeded our expectations, time and again. We also thank our husbands, Bill Offutt and Mike Myatt, whose endless patience and knowledge of history, American and ancient, helped us improve this collection. When research questions took us further afield, many others stepped in with timely guidance. We particularly benefited from the expertise and generosity of Anne Rubenstein, James Fallone, Pamela Fuentes, and David Leeson, who answered all of our questions.
This book would not have been possible without the help of our cunning and resourceful editors at Wiley: Eric Nelson, Connie Santisteban, Lisa Burstiner, and Becky Yeager. They helped with thousands of important tasks that turned this volume from a good idea into a beautiful reality and kept us both on track during the long process. We are also profoundly grateful to J. W. Rinzler of Lucasfilm, whose encyclopedic knowledge of the Star Wars galaxy and elegant way with words saved us, time and again.
Finally, we thank our fellow fans who’ve been with us every step of the way, from the very first time a Star Destroyer cast its shadow across the screen. In movie theaters and in bookstores, at conventions and online, we’ve come together through the joy we’ve found in following the stories of Jedi and Sith, smugglers and royalty. Star Wars has inspired generations of fans who’ve enriched our lives with their creativity and enthusiasm. This collection is our way of giving back to the fans who have been an integral part of our lives for decades. May the Force be with you . . . always!
ILLUSTRATION CREDITS
Pages 8–9, 10 (inset), 11, 16–17, 18–19, 21, 24, 27, 29, 33, 36, 38, 39, 40–41, 42, 46, 49, 51 (right), 52, 56, 61, 62, 64, 66–67, 68–69, 74–75, 77, 78 (right), 79, 83, 84–85, 86–87, 89, 91, 92, 94–95, 98–99, 105, 109, 110, 114–115, 116, 121, 124–125, 130, 131, 133, 136, 141, 144 (bottom), 145, 148–149, 150–151, 154, 161, 167, 171, 174, 176–177, 183, 185, 186–187, 190, 192, 196, 198–199, 200, 202–203, 205, 208, 209, 215, 216, 218, 222, 224–225, 228–229, 241, 243, 244, 246, 249, 250, 254–255, 259, 261 (inset), 264, 267, 269, 272, 276–277, 282–283, 286 (top), 287, 290 (top), 290–291, 294 (top), 299, 300–301, 302, © Lucasfilm Ltd. & TM. All Rights Reserved; 10, courtesy of William J. Astore, Lt. Col., USAF (Ret.); 14, the National Archives and Records Administration, General Services Administration, National Archives and Records Service, Office of Presidential Libraries, Office of Presidential Papers (01/20/1969–ca. 12/1974), National Archives Identifier: 194759; 17 (inset), Library of Congress, Prints & Photographs Division, New York World-T
elegram and the Sun Newspaper Photograph Collection, [LC-USZ62-128858]; 20, Library of Congress, Prints & Photographs Division, the American Revolution in drawings and prints, a checklist of 1765–1790 graphics in the Library of Congress / compiled by Donald H. Cresswell, with a foreword by Sinclair H. Hitchings, Washington: [For sale by the Supt. of Docs., U.S. Govt. Print. Off.], 1975, no. 275., [LC-USZ62-39564]; 22, Library of Congress, Prints & Photographs Division, British Cartoon Prints Collection, [LC-USZC4-5286]; 28, the National Archives and Records Administration, ARC Identifier 530624 / Local Identifier 111-C-CC53045; 33 (inset), the National Archives and Records Administration, General Services Administration, National Archives and Records Service, Office of Presidential Libraries, Office of Presidential Papers (01/20/1969–ca. 12/1974), National Archives Identifier: 194759; 36 (inset), the United States Army, creativecommons.org/licenses/by/2.0/deed.en; 43, Eugène Delacroix, Liberty Leading the People, Louvre Museum, creativecommons.org/licenses/by-sa/3.0/; 44, Library of Congress, Prints & Photographs Division, United States Treasury Department, [ILC-USZC4-9551]; 45, Library of Congress, Prints & Photographs Division, G60288 U.S. Copyright Office, [ILC-USZ62-121205]; 48, photo by Hunter Kahn; creativecommons.org/licenses/by-sa/3.0/; 50, Library of Congress, Prints & Photographs Division, Brady-Handy Photograph Collection, [LC-DIG-cwpbh-01246]; 51 (left), the National Archives of the UK, Ref. Inf 3/229; 55, Donald I. Grant / Canada. Dept. of National Defence / National Archives of Canada / PA-166396; 58, Australian War Memorial online catalogue ID Number: P00885.001; 60, image courtesy of the Art Renewal Center ©, (ARC) www.artrenewal.org; 64 (inset), © (6094), CONACULTA. INAH-SINAFO-FN-Mexico; 71, KongFu Wang, creativecommons.org/licenses/by-sa/2.0/deed.en; 73, Meir Shahar, The Shaolin Monastery, 2008, ISBN 9780824831103, p. 127; 74 (inset), Bodhidharma on Elephant, color on silk hanging scroll, Yiran Xingrong, Inscription by Yinyuan, Kobe City Museum; 76–77, Enrico H. Miquiabas; 78 (left), Terry Bennett, Early Japanese Images (Rutland, VT: Charles E. Tuttle Co., 1996), 75; 79 (inset), Library of Congress, Prints & Photographs Division, David Murray collection, [LC-DIG-jpd-01046]; 80, Library of Congress, Prints & Photographs Division, Enryosai Shigemitsu, [LC-DIG-jpd-01722]; 84 (inset), Barbara Kabel, creativecommons.org/licenses/by-sa/3.0/deed.en; 87, Livre des Echecs (Libro de Ajedrez, dados y tables), Biblioteca del Monasterio de El Escorial, ms T. I 6, fol. 25, Patrimonio Nacional, Spain; 90, Project Gutenberg; 93, Bibliotheque Nationale de France; 94, British Library, Ms Royal 20C VII fo.44; 100, title page of John Taylor, A Dialogue, or, Rather a Parley (London: 1643); 101, Library of Congress Rare Book and Special Collections Division, Illus. in: M’Fingal: A Modern Epic Poem, in Four Cantos by John Trumbull, embellished with nine copper plates, designed and engraved by E. Tisdale, New York, printed by John Buel, 1795, [LC-USZ62-7708]; 102, Library of Congress, Prints & Photographs Division, from disbound album of James Maxwell Pringle’s business trip to Russia and Asia for First National City Bank of New York, [ILC-DIG-ppmsca-31328]; 105 (inset), Library of Congress, Prints & Photographs Division, Lincoln’s Photographs: A Complete Album by Lloyd Ostendorf (Dayton, OH: Rockywood Press, 1998), pp. 176–177, [LC-DIG-ppmsca-19305]; 107, Library of Congress, Prints & Photographs Division, Frank Leslie’s illustrated newspaper, vol. 33, no. 836 (1871 Oct. 7), p. 61; 109 (inset), Billy Hathorn, creativecommons.org/publicdomain/zero/1.0/deed.en; 115, Library of Congress, Prints & Photographs Division, Purchase, William A. Gladstone, 1995 (DLC/PP-1995:113.21), [LC-DIG-ppmsca-10900]; 117, Library of Congress, Prints & Photographs Division, Brady-Handy Photograph Collection, [LC-DIG-cwpbh-01159]; 118, Library of Congress, Prints & Photographs Division, Grant and Lee, the Virginia Campaigns by William Frassanito (New York: Scribner’s, 1983), [LC-USZ61-903]; Library of Congress, Prints & Photographs Division, [LC-USZ62-15887]; 127, Augustus of Prima Porta, Vatican Museums, Chiaramonti Museum, Braccio Nuovo (New Wing), photo by Till Niermann, creativecommons.org/licenses/by-sa/3.0/deed.en; 128, The Death of Caesar, Jean-Lon Gérôme, Walters Art Museum; 129, Library of Congress, Prints & Photographs Division, BI, Shelf, sources checked: LC/MUMS, [LC-USZ62-84591]; 130 (inset), Cicero (106–43 BC) in the Senate Accusing Catiline of Conspiracy on 21st October 63 BC, 1889 (fresco), Maccari, Cesare (1840–1919) / Palazzo Madama, Rome, Italy / Ancient Art and Architecture Collection Ltd. / The Bridgeman Art Library; 137, Antony and Cleopatra, Sir Lawrence Alma-Tadema, Private Collection; 140, Coronation of Emperor Napoleon I and Coronation of the Empress Josephine in the Notre-Dame de Paris, December 2, 1804, Jacques-Louis David, Louvre Museum; 142, the Yorck Project; gnu.org/licenses/fdl.html; 143, the National Archives and Records Administration, Heinrich Hoffmann–National Socialist Pictures Press/Press Illustrations Hoffmann; 144 (top), courtesy of Jim Payne at throughtheireyes2.co.uk; 147, Library of Congress, Prints & Photographs Division, Germany Nuremburg 1934, Nazis . . . Meetings, parades, rallies, etc., BI (3), Shelf, Himmler, H-, 1900–1945, Hitler, A-, 1889–1945, Lutze, V-, 1890–1943, [LC-USZ62-76094]; 154 (inset), Library of Congress, Prints & Photographs Division, Plate no. 4.LC no. 5, [LC-USZ62-115872]; 160, H. F. Helmolt, History of the World, vol. VII (Dodd Mead, 1902), plate between pp. 524 and 525; 164, Library of Congress, Prints & Photographs Division, [LC-USZ62-116782]; 169, Library of Congress, Prints & Photographs Division, Rice, James Rogers, [LC-DIG-pga-02485]; 171 (inset), Jacoba of Bavaria (1401–1436), Countess of Holland and Zeeland, Zeelandic Museum; 173, Library of Congress, Prints & Photographs Division, [LC-USZ62-105895], © Edgeworth; 178, Portrait of Machiavelli, Santi di Tito, Palazzo Vecchio; 180, Ludovisi Collection, photo by Jastrow; 181, William C. Morey, Outlines of Greek History (Chicago: American Book Co., 1903), 125; 182, Library of Congress, Prints & Photographs Division, Athens, Egypt, Rhine, Switzerland, Tyrol, Salzburg, opposite p. 19, left side, [LC-USZ62-108943]; 189, Bust of Cicero, Musei Capitolini, Rome, photo by Glauco92, creativecommons.org/licenses/by-sa/3.0/deed.en; 193, statue of Niccolò Macchiavelli (Serie “the Great Florentines”), by Lorenzo Bartolini, Uffizi gallery, Florence, Italy, photo by Jebulon, creativecommons.org/publicdomain/zero/1.0/deed.en; 194, Library of Congress, Prints & Photographs Division, 40180 U.S. Copyright Office, reproduction of painting by Federico Faruffini (1833–1869), [LC-USZ62-100795]; 204 (top), United States Senate; 204 (bottom), the National Archives and Records Administration, ARC Identifier 198535, Collection RR-WHPO: White House Photographic Collection, 01/20/1981–01/20/1989; 206, Getty Images, Omikron Omikron; 208 (inset), Federal Government of the United States; 210, Library of Congress, Prints & Photographs Division, [LC-USZ62-70080], © Chase-Statler, Washington; 214, Service Depicted: Air Force; 219, National Archives and Records Administration; 226, the National Archives and Records Administration. National Archives Identifier: 541900, Local Identifier: 306-NT-901B(3), U.S. Information Agency; 230, Slave Combing a Girl’s Hair, Herculaneum, Third Style (fresco), Roman, (1st century AD) / Museo Archeologico Nazionale, Naples, Italy / the Bridgeman Art Library; 232, Library of Congress, Prints & Photographs Division, Saint-Mémin and the Neoclassical profile portrait in America / Ellen G. Miles. Washington, D.C.: National Portrait Gallery, 1994, no. 657, [LC-USZ62-54941]; 234, Library of Congress Rare Book and Special Collections Division, LOT 4422-A-1, [LC-USZ62-34160]; 236, Library of Congress, Prints & Photographs Division, The Graphic, London, June 7, 1884, p. 548, [LC-DIG-ppmsca-15836]; 247, Library of Congress, Prints & Photographs Division, Lincoln’s Photographs: A Complete Album by Lloyd Ostendorf (Dayton, OH: Rockywood Press, 1998), pp. 6–7, [LC-USZ62-36582]; 248, Attic red-figure cup depicting Cassandra chased by Ajax seeking refuge by a xoanon of Athena, c. 430 BC (pottery), Greek, (5th century BC) / Louvre, Paris, France / Giraudon / the Bridgeman Art Library; 252, Henry London’s free papers, Port Royal, SC, 22 August 1862 (pen & ink on paper), American School, (19th century) / Private Collection / Courtesy of Swann Auction Galleries / the Bridgeman Art Library; 260, Library of Congress, Prints & Photographs Division, Japanese prints and drawings, [LC-DIG-jpd-00378]; 261, Library of Congress, Prints & Photographs Division, Japanese prints and drawings, [LC-DIG-jpd-00083]; 26
4 (inset), “In Busy Life: Traces of the VOC in the Old Church,” Summer 2002, De Oude Kerk, Amsterdam; 266, The Capture of Kochi and Victory of the Dutch V.O.C. over the Portuguese in 1656, on the Coast of Mallabar, 1682, Coenraet Decker, Atlas van der Hagen, Koninklijke Bibliotheek; 268, John Ogilby, Asia: Being an Accurate Description of Persia, and the Several Provinces Thereof (1673); 276 (top), Defeat of the Peishwas Army before Jhansi by General Rose on 1st April 1858, from The History of the Indian Mutiny published in 1858 (engraving), English School (19th century) / Private Collection / Ken Welsh / the Bridgeman Art Library; 280, Library of Congress, Prints & Photographs Division, Chadbourne collection of Japanese prints, [LC-USZC4-9983]; 286 (bottom), Roman Kirillov, creative commons.org/licenses/by-sa/3.0/deed.en; 288, the Yorck Project: 10.000 Meisterwerke der Malerei; 292, Library of Congress, Prints & Photographs Division, Subways NY NYC 1901, NY NYC Union Sq., NY NYC Views 1901, Photog. I., NY NYC Transit systems 1901, Geogr., Shelf, [LC-USZ62-63514]; 294 (bottom), © Stephen Power; 300 (bottom); Library of Congress, Prints & Photographs Division, New York World-Telegram and the Sun Newspaper Photograph Collection, [LC-USZ62-120810]; 303, used with the acknowledgment of the Frank R. Paul Estate