Welcome to this Easter edition of the column that collects various treats and bizarre delicacies from the internet. Depicted above is a party I’d really feel comfortable, painted by an anonymous seventeenth-century Tuscan artist.
And we’re off and running!

• Let us begin with a short collection of last words spoken on the guillotine stage.
• And here is a bridge of ants.
• During the work to rebuild the Notre-Dame Cathedral, after a fire devastated it three years ago, a mysterious leaden sarcophagus was unearthed. The casket in all probability dates back to the 14th century, and it will be opened shortly: who knows if it contains a hunchbacked skeleton.
• How would you react if, searching for your home on Google Street View, you saw mom and dad sitting on the porch… who have been dead for years? Would that image distress you, make you suffer? Or, on the contrary, would you look at it with emotion and affection, because that picture still makes you feel close to them? Would you ask Google to remove the image, or keep it forever in memory? With the growth of Street View, this sort of thing is happening more and more often, and it’s just one of the many ways the internet is changing grief processing.

• The gentleman above is one of the founding fathers of the United States, Gouverneur Morris, who had a particularly odd and eventful life: at the age of 28 he was run over by a carriage and lost a leg; he later helped write the Constitution, then was sent to France where he had a string of lovers and managed to escape the Revolution unscathed. Back in the US, he finally decided to put his head straight and marry Ann Cary Randolph, his housekeeper, who incidentally some years before had been accused of infanticide. In short, how could such a man close his existence with a flourish? In 1816 Gouverneur Morris, who suffered from prostate, died as a result of internal injuries caused by self-surgery: in an attempt to unblock the urinary tract, he had used a whale bone as an improvised catheter. (Thanks, Bruno!)
• Ten years ago I posted an article (Italian only)  about the Dylatov Pass incident, one of the longest-running historical mysteries. In 2021, two Swiss researchers published on Nature a study that would seem to be, so far, the most scientifically plausible explanation for the 1959 tragedy: the climbers could have been killed by a violent and anomalous avalanche. Due possibly to the boredom of last year’s lockdown, this theory did once again trigger the press, social media, conspiracy theorists, romantic fans of the abominable snowmen, and so on. Before long, the two researchers found themselves inundated with interview requests. They therefore performed three new expeditions to Dylatov Pass and published a second study in which, in addition to confirming their previous findings, they also report in an amused tone about the media attention they received and the social impact of their publication.
• An autopsy was held last October in Portland in front of a paying audience. The great Cat Irvin, who is curator of anatomical collections at the Surgeons’ Hall in Edinburgh, was interviewed on the ethical implications of pay-per-view autopsies. (Cat also runs a beautiful blog called Wandering Bones, and you can find her on Instagram and Twitter)
• Below, Archduke Franz Ferdinand of Austria dressed as a mummy for a souvenir photo, (circa 1895). Via Thanatos Archive.

• If a tree falls in the forest and no one hears it, does it make a sound? What if a bear plays the piano in an empty house?
• A tweet that offers a novel (and, frankly, kind of gross) perspective on our skeleton.
• On April 22, 1969, the most hallucinatory and shocking opera of all time was staged at London’s Queen Elizabeth Hall: Eight Songs for a Mad King, by Peter Maxwell Davies. The protagonist of the drama is King George III, who suffered from an acute mental illness: consequently, the entire composition is intended to be a depiction of the schizophrenic cacophony inside his head. The six musicians (flute, clarinet, percussion, piano/harpsichord, violin and cello) played inside gigantic birdcages; interpreting the verses, the cries and the sudden changes of mood of the mad King, was a baritone with 5 octaves of extension (!) dressed in a straitjacket. The opera, lasting half an hour, was a completely unprecedented assault on conventional rules, as well as on the ears of the spectators who had certainly never heard anything like it: the one-act play culminated in the moment when the king stole the violin from the player and tore it to pieces. If you have 28 minutes and want to try your hand at this disturbing representation of madness — a unique example of classical punk music, at least for its attitude — here is a 2012 video in which the solo part is played by Kelvin Thomas who, at the time of filming, was 92 years old.

• A Twitter thread of mine about manga artist Shintarō Kago.
• One of the most controversial Christian iconographic motifs is the so-called ostentatio genitalium, in which Jesus on the cross is depicted with a, um, fairly obvious manhood.(Thanks, Silvia!)
• In 2008 in Karanovo, Bulgaria, a Thracian chariot almost 2000 years old was found, complete with two horse skeletons still harnessed to it. Unfortunately, although this type of burial is quite common in the area, grave robbers often get there before archaeologists; an estimated 150 such chariots have been stolen in recent years.
• The butterfly chrysalises Tithorea tarricina are futuristic design objects:

Now, two pieces of slightly more personal news.
The first is that my upcoming online lecture (in English) for Morbid Anatomy will take place on May 14, and will focus on the cult of the dead in Naples.
Info and tickets here.

Secondly, if you can read Italian, I would like to remind you that the Almanacco dell’Italia occulta, edited by Fabrizio Foni and Fabio Camilletti, has been published by Odoya: following the line of the previous Almanacco dell’orrore popolare, this volume collects several contributions by different authors. If the first book, however, focused on the rural dimension of our country, this new anthology examines the urban context, exploring its hidden, fantastic and “lunar” face. Among the essays by more than 20 authors included in the Almanacco there is also my study of the weirdest, most picturesque and unexpectedly complex newspaper in the history of the Italian press: Cronaca Vera, which with its pulp and fanciful titles has left an indelible mark on our imagination.

In conclusion, I wish you all the best and I take my leave with an Easter meme.
Until next time!