Now largely forgotten, he was a star of the first decade of the 20th century, a sort of Progressive Era Tom Wolfe — right down to his white suits that set him apart in the newspaper offices where he first made his mark.
"Magnificent Century," a sort of Ottoman-era "Sex and the City" set during the 16th-century reign of Sultan Suleiman the Magnificent and featuring intrigues of the royal court and harem, is hugely popular with ardent fans across Turkey and the Middle East.
And in the past few years there has been a proliferation of Ottoman-themed soap operas, none more popular than "The Magnificent Century," a sort of "Sex in the City" set during the 46-year reign of Sultan Suleiman the Magnificent.
Yet as comics entered their second half-century, a sort of staleness set in. "Continuity strips" like "Mary Worth" looked tired at their inception, while popular franchises like "Barney Google" and "Blondie," once exuberant, grew exhausted and refused to admit it, grinding on, gag after gag.
A few large chandeliers have survived from the 11th and 12th centuries, representing a sort of halfway stage between sculpture and functional objects.
The style of "Death Comes to Pemberley" is a loose approximation of 19th-century prose, a sort of modern equivalent, rather than a painstaking imitation.
Then, it offered a succession of masterworks; now, in its pyramidal incarnation, with lots of formerly archived work on public view, it dilutes the parade of individual geniuses and makes clear the extraordinary fund of artistic craft, tradition, and learning that was built up and passed down through the centuries — perhaps invidiously, a sort of "genius of the system" view of art history.
It's been called bad because it appears to be a truncated, unauthorized version of the play-a sort of seventeenth-century bootleg.
The museum occupies a 17th-century military hospital, a sort of mini-chateau that tourists could easily mistake for an official government residence.
