The Sholes and Glidden typewriter was the first commercially successful typewriter. Principally designed by Christopher Latham Sholes, it was developed with the assistance of fellow printer Samuel W. Soule and amateur mechanic Carlos S. Glidden. After several short-lived attempts to manufacture the device, the machine was acquired by E. Remington and Sons in early 1873. An arms manufacturer seeking to diversify, Remington further refined the typewriter before finally placing it on the market on July 1, 1874. During its development, the typewriter evolved from a crude curiosity into a practical device, the basic form of which became the industry standard. The machine incorporated elements which became fundamental to typewriter design, including a cylindrical platen and a four-rowed QWERTY keyboard. Several design deficiencies remained, however. The Sholes and Glidden could print only upper-case letters—an issue remedied in its successor, the Remington No. 2—and was a "blind writer", meaning the typist could not see what was being written as it was entered. Initially, the typewriter received an unenthusiastic reception from the public. Lack of an established market, high cost, and the need for trained operators slowed its adoption. Additionally, recipients of typewritten messages found the mechanical, all upper-case writing to be impersonal and even insulting. The new communication technologies and expanding businesses of the late 19th century, however, had created a need for expedient, legible correspondence, and so the Sholes and Glidden and its contemporaries soon became ubiquitous office fixtures. (more...)

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A poster advertising a ca. 1896 American production of Georges Bizet's opéra comique Carmen, which premiered in Paris on March 3, 1875. Although it was initially quite unsuccessful, a second production in October 1875 after Bizet's death achieved critical and commercial success. Since then, it has been one of the world's most performed operas. Based on the novella of the same title by Prosper Mérimée, Carmen, with its alternating comic or sentimental scenes found traditionally in opéra comique with stark realism, virtually eliminated the opéra comique genre and nourished the verismo movement in opera.

Poster: Liebler & Maass; Restoration: Adam Cuerden

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