The Tiara of Saitaphernes

Our April Fool’s Day story is the tale of an elaborate hoax. It starts with the Scythians and how their artifacts became highly prized in 19th century Europe, and ends with an artist who came into fame as a result of his part in a forgery. 

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Episode Transcript

Speaker 1 (00:01):
Welcome to Stuff You Missed in History Class, a production
of I Heart Radios How Stuff Works. Hello, and welcome
to the podcast. I'm Holly Fry and I'm Tracy Wilson.
I promise we'll shut up about it soon. But we're
going to Paris. We are. I'm sure my friends wish

(00:23):
I would also shut up about it, because they're like,
we know you are lucky and you're going to Pariss. Uh,
you can come with us. There is a tiny amount
of time that you can still squeak in under the
wire on your booking. They're also a very limited slots,
so there's a possibility if you don't move very fast
that those slots will have been taken by the time
you get there. So we all sold out. If you

(00:43):
have been hesitating, now is the time to go check. Yeah.
April third, last day to do it. Yep, that's it.
So you have two days left. Uh So today being
April one, means you've got to jump on it. This
is not an April fool's joke. You have limited time.
We're gonna be there from June second to the ninth,

(01:04):
and we are doing essentially a French Revolution tour of Paris.
But there's also plenty of free time baked in so
you can explore on your own. And if you're just
a single person and you're like, I want to go
to Europe, but not by myself, you're gonna be on
the whole group. We're all gonna be together. It's fine.
Uh So we encourage you come and join us. It's
going to be a blast. We also are going to
do a live show in Indianapolis as part of the

(01:26):
kickoff for the Midwestern Roots Conference that is on July.
Uh So, if you're interested in getting tickets to that,
you can go to our website and look at the
click on the link that says live shows, and that
will give you the info. If you want to get
to that Paris information, you can go to our website,
click on the link that says Paris trip exclamation point
due to excitement, and that will also give you all

(01:47):
the info you might need to do that. So we
hope to see people at both of those events. There
are more events coming. You'll get that news as we
have it. But today it's April fools Day. It is
April Fool's Day. If you're listening on the day that
the episode came out. Uh, it's one of the days
of the year that I want to love the most.

(02:08):
But I find that I am a little bit picky
about the level of tomfoolery that I get. It has
to be really good or wah wah. I don't want
your sad trombone mediocre pranks. I want really good one.
But because it is April Fool's Day, if you're listening
to this the day that it publishes, uh, we have

(02:30):
this auspicious calendar situation. So I thought it would be
fun to cover a historical hoax. And as I was
rummaging around for options, by blind luck, I ran across
one for which the date of April one actually figures
into the story. And this is the story of the
Tiara of Cia Taphernes. And this story sort of places
out in three acts. So first we're gonna talk about

(02:52):
the Scythians and how their artifacts became highly prized in
nineteenth century Europe. And then we're going to talk about
the hoax itself and that all went down. And finally
we're going to talk about an artist who came into
fame as a result of his sort of accidental part
in this whole thing. In eighteen thirty, the archaeological site
known as cool Oba was discovered excavation started there. So

(03:16):
this site is on the Crimean Peninsula, six kilometers to
the west of the modern day city of Kirch and
it was a burial mound. The cool Oba site really
fascinated the world when it was discovered because it was
a Scythian burial site. So the Scythians were in the
height of their culture from nine hundred to two hundred
b C. And as a nomadic, tattoo covered warrior culture,

(03:40):
they touched many areas of Central Asia. Herodotus wrote about
their fear skills in battle, and they created weapons, particularly bows,
that were far advanced over those of other cultures. They
were so fast and mobile that they were able to
swoop in upon enemy territory and deliver serious damage almost
before anyone realized what was happening, and then they would

(04:03):
vanish back into their own territory, leaving destruction in their wake.
Even though they had a really nomadic culture, Scythiens had
elaborate burial rituals. Their burial sites were very deep, with
internal structures down in the pit, almost like cabins, and
the coffins were placed into these. They wanted the dead

(04:23):
to have everything they might need in the afterlife, so
they also sacrificed horses to include in the burial so
that the deceased would have mounts with them, and then
all of that in place, the site would be buried
under a mound. And the Scythians, because of their warrior
reputation and because there are still many gaps in our
knowledge about them, remain a source of fascination for historians,

(04:47):
and in the eighteen thirties, that fascination and the discovery
of the cool Oba site sparked a huge interest in
the collection of Scythian artifacts. Many of the items that
were excavated from Cooloba were beautiful, intricate gold pieces, and
they ranged in size from small pieces of jewelry to
larger works of often sculptural art. So there was just

(05:09):
a scramble to try to attain these pieces, and they
weren't always being sold through the proper channels to museums.
They also wound up being sold off to private collectors,
kind of on the download and the fact that the
documentation of the artifacts that had been recovered from the
site wasn't as meticulous as it should have been. I

(05:29):
meant that the knowledge that was pieced together from this
effort became just kind of a picture with big missing pieces.
That meant that it was not clear exactly what had
been at the site, and that also hindered the analysis
and the study of the culture itself that might have
been gained from the discovery if things had been more
meticulous and regulated. Yeah, I mean even today, like when

(05:52):
we have spoken with archaeologists, they talked about how imperative
it is to document everything in catalog everything and its place,
and in this case that was not happening very well
at all. It was pretty scratchy and kind of catches
catch can when things actually got notated. And as a consequence,
there's a lot of nebulous sort of theoretical stuff that

(06:15):
people don't have any real evidence to back up. And
all we have the study of the Cythians are these
grave sites, which are called Kurgan's by the way, which
if it makes you think of highlander me too. Because
of their nomadic culture, they just they didn't have things
like cities or permanent settlements. So the Kurgans are the
only physical evidence that's left behind and after Cooloba. There

(06:37):
were more Kurgan's unearthed more than thirty years after this
site was discovered. Another one was found at Schertomic in
sixty eight. Yet another site, this one with multiple mounds,
was called Seven Brothers and that was found near the
Kuban River in the eighteen seventies. Both of these excavations
even more captured the public imagination. Music ems were extremely

(07:01):
eager to get their hands on artifacts from the city
and nomads, and it seemed like there could just never
be enough excavation or discovery to satisfy this demand for artifacts.
There became this really romanticized and kind of fetishized culture,
so no matter what was discovered, people wanted more artifacts. Yeah,

(07:21):
it was uh, there was a little, a little bit
of city and fever going on in nineteenth century Europe.
And as the nineteenth century was coming to a close
and all of this fervor was still carrying out, a
very short article ran in a newspaper in Vienna, and
this brief write up told the story of a peasant.
Sometimes you will see this written as though it was

(07:42):
peasants plural from the Crimea Peninsula who had made an
astonishing find of historical significance. So important was this item
that they had found that the discoverer or discoverers fled
Russia fearing that this thing, which was not detailed, was
going to be taken away by the government. A few
months later, the Huckman brothers, who were antiquities dealers, held

(08:04):
an exhibit in Vienna, Austria, that was in February of
Their exhibit featured a number of rare items that were
alleged to have been recently discovered in Russia. Just to
be clear, a lot of the places that we're talking
about in this episode, if if we were talking about today,
that would be Ukraine, but at the time it was Russia. Correct.

(08:25):
Among these was a tiara, And this is not a
tira like you would think of in the modern sense
of the word, with some kind of delicate or maybe
ornate little diadem. It was a small domed helmet that
was seven inches or seventeen point eight centimeters tall. It
weighs about a pound, and it's made of solid gold. Yeah,

(08:45):
and it was ornate, just not in the way we
would think of say a tierra. We might see on
um one of the lovely wives of the princes of England.
So the widest band of decoration on this era show
scenes from the Iliad in carved relief, and then the
lower band, which is not quite as as wide or tall,

(09:06):
depending on how you want to describe it, show scenes
of life in the Scythian culture. And there's also an
inscription inside the tiara in Greek indicating that it is
a gift from the people of the Crimean city of
Olbia to the king of the Scythians Ciataphernese. It was
a fascinating piece and it was shopped around by a
dealer by the name of Vogel with the story of

(09:29):
this clandestine journey out of Crimea, and he told this
story to several museums in Europe. Vienna's Imperial Court Museum
did not want this artifact, neither did the British Museum,
but the Louver did want it and did not hesitate
when it was offered the opportunity to acquire it. So
on April one, eight six, the Louver bought this tiara

(09:51):
for two hundred thousand francs. Yeah, that's the April first
tie in. It doesn't go any further than that. It
just is a nice bit of happenstance and kind of prophetic. Yes.
So now, the reason that the British Museum and the
Imperial Court Museum would pass on what sounds like an
amazing find is pretty simple. Both institutions believed that it

(10:11):
was a fake uh in the case of the British Museum,
there had not even been an inspection. Simply the claim
that it was from Olbia had a roused suspicion in
London because that had often been used by forgers as
a city of origin for fake antiquities. It was at
this point roughly the antiquities trade version of saying you
have a girlfriend in Niagara falls that no one has met,

(10:32):
and that perception that a tiara was not genuine wasn't
exactly a secret. As a consequent, the press and France
started running stories questioning the authenticity of this new acquisition
at the Louver, and the museum's reputation was also in question,
so this started a very public battle over the whole issue.
On August eighth of the periodical The Nation ran an

(10:55):
article titled the Disputed Tiara in the Louver, written by
French archaeologist Solomon Rainoch. It opened with the following paragraph quote.
Seldom has public attention been roused as it is just
now by a question of archaeological criticism. The Tiara of
Piataphernes and the gorgeous necklace purchased together with it for
the large sum of two thousand francs, have become a

(11:18):
favorite topic of conversation. People talk about them and judge
them who had never heard the existence of Olbia, nor
of the extension of Greek civilization to the northern shores
of the Black Sea. Of course, as the daily papers
have taken the matter in hand, much nonsense has already
been printed about the Tiara, and it is probable, the
debate having only just begun, that we shall hear a

(11:40):
great deal more of it. There was a lot of
squabbling that erupted around this tierra, and we will get
into some more of it in just a moment, but
first we will pause for a quick sponsor break. There
were many nix who said that the Tira was a forgery.

(12:03):
Um a professor of Vasolowski of St. Petersburg and German
archaeologist at Alfred Wangler were two of the most prominent
professor of Vassolowski, who taught Byzantine in Turkish History at
the University of St. Petersburg was actually the first to
publish a claim that the tiarra was fake. Vasulovsky had
a good reputation, and even one of the supporters of

(12:23):
the tierra as a true relic wrote, quote, Professor of
Vassolowski is not an urchin. He cannot have written such
a note without having serious reasons to give. Fort Wangler
made the case that the tiara of Sayataphanes was incongruous
with other genuine city and finds from Crimea because it
was dated much later. The vast majority of items that

(12:46):
had been excavated up to that point where from the
fourth and fifth centuries b c e. And this one
was supposedly from the third century BC. Fort Wangler's position
was questioned because it was common knowledge that fake antiquities
were coming out of Crimea, but he admitted he had
not seen any of them himself. Yes, And people were
kind of like, so you say it's a fake just

(13:07):
based on like the numbers, but you have never seen
a fake to know whether or not this compares to them. Uh.
The August issue of Cosmopolis featured an article by Adolf
Ford Wrongler dismissing any possibility that this tira could be
a genuine third century BC artifact, and then the next
month a counter to that article was published, written by

(13:29):
the Louvers curator of Greek and Roman antiquities, Monsieur Fosse,
and so began a year's long back and forth between
believers and detractors. Critics brought up the pretty glaring fact
that this piece looked way too pristine to date back
to the time of the Citians. There was virtually none

(13:49):
of the damage that you would anticipate when examining something
that old. Ford. Wangler did concede that some of the
tiara was legitimately old. He thought that the two brass
nails that were used in its construction were indeed antique.
Even outside the louver there were people who believed that
the tiara was the real deal. That article that I

(14:11):
quoted just before the Break from the Nation goes on
to state quite plainly that the author believed that the
tiara and the necklace it was purchased with both were
quote perfectly genuine antiques. And the trs backstory grew and
gained more detail as its status was hashed out, including
in that article so, according to Rhinock, the item came

(14:32):
into the possession of a dealer at Otakov, who tried
to sell it to account Tuskevitch before moving to Lemberg
and then to Vienna for the exhibit that we mentioned earlier.
Renach made the case that no one questioned the tr
is authenticity when it was on display, and that it
was only once money got involved that people started claiming
it was a fake. He also said that he had

(14:53):
been on hand for the meeting at the Louver where
the purchase was approved, and that the committee present did
very carefully consider the possibility of a forgery, given the
knowledge that crime and fakes were becoming more and more commonplace.
He also pointed out that a lot of the Tiaras
detractors changed their minds once they had seen this piece
in person. Ryknoch went on to mention that the French

(15:15):
public was prone to dismissing their countrymen as experts in
anything and deferring to foreign scholars. When he shifted from
his critique a third Wonglar to discussing Vesselovski quote, the
public at large believed in the Russians assertion first because
a Russian in contemporary France is something more than an
ordinary mortal. And secondly, because our public is always ready

(15:37):
to believe that the officials of its own country are
lazy or ignorant. I love that quote. I did so
because Vesslovski was Russian and Ford Wongler was German. The
Louve dismissed their writings on the matter that this was
just an issue of national jealousy. This perfect and tidy

(15:57):
nature of the piece had been the primary clue to
its youth for its critics, but the lou claimed that
made it all the more special as part of their
collection because they had this relic that was in Christine condition.
The press continued to skewer the museum, though for more
than six years, over its insistence that the Tira was
the real deal. Eventually, an editor at the newspaper Lan Trengs,

(16:21):
again named on Re Rochefort, made the case to the
museum that everything would be settled if they just launched
to throw investigation and determined the trs origin and as
that was going on, the Tiara and whether it was
a forgery was international news, and what had initially begun
as a debate in antiquity circles over these six years

(16:41):
eventually reached even the smallest towns in the world, and
that spread of information was what brought about a revelation
in the matter in the form of a jeweler from
Russia named lift Shoots. When this jeweler heard about the
inquiry into the helmet's history, he remembered seeing a colleague
working on a piece that really matched this tiara. His
account of having seen the creation of the item that

(17:04):
had been the center of so many public disagreements was
printed in the newspaper let in Paris, and the man
that he named as the creator was Israel Rushmovsky, because
he had a reputation for excellent work. Rushmowsky actually had
briefly come up as a possible antiquities forger several years
before all of this. In even a man named Monsieur

(17:27):
de Stern allegedly visited Odessa, where Rushmovsky lived, and started
a rumor that this man was creating forgeries. Rushmowsky wrote
a letter to the journald Dabad firmly asserting that he
was doing no such thing, and that letter was published
on October three of eight But none of this had
connected the artist to the tiara. It was just a

(17:49):
case of a general accusation being leveled based on the
fact that Rushmowsky was a very skilled metal smith working
in an area that was well known at that point
for producing forgery. The naming of a specific artist and
a witness claiming that the Tira was fake was just explosive.
Monsieur Ronde de vi Fos made a formal request to

(18:11):
the French Minister of Public Instruction for permission to pull
the Tiara out of the collection and do a full inquiry.
The minister granted the request and ordered a judicial inquiry
as well. Once Rushmowsky's name was in the mix in
the Tira controversy, the Louve brought him to Paris for
questioning as well, and as Rushmowsky told his tale of

(18:31):
creating this intricate helmet, it implicated the Hawkman brothers. Rushmowsky
said that the Hawkman's had approached him about creating the
Tiara as a commission, claiming that they wanted it as
a gift for a friend who was an archaeologist, and
he was given reference material books featuring Greco Sydney and
discoveries to base his design on. He was paid eighteen

(18:53):
hundred roubles for this work. It is unclear what, if anything,
by the way, happened to the Hawkman's as a result
of all of this. They may have been long gone
because their name doesn't seem to come up in any
accounts of what happened with this whole story. After this,
Rusmovsky described in detail the design and construction process he
had used to create the faux artifact. He made it

(19:14):
in three separate pieces that were fitted together and soldered
in a way that was really carefully hiding the seams.
Then he used a hammer to create some dents in
the piece. Although he was really skilled and exacting in
his work, these were the exact details that an expert
would have noticed and factored into an analysis of the piece.
One of the characteristics of the dents, which was cited

(19:35):
as being an indicator of a fake, was the fact
that none of the denting damage had been done to
any of the detailed sections, only the pieces that didn't
have any design on them. And then there wasn't any
weathering other than the minor dings here and there. Yeah,
the backstory that was kind of being used when this
was sold was like, oh, those dents are from like

(19:55):
a moldering crypt falling apart, and it's like, really, because
they have great aim. Um, you would think that an
artist coming forward and describing exactly how he made this
forgery would close the case, but it did not. Not
quite yet. We're going to tell you what happened next
and how all of this impacted Rushmowsky's life. After we
hear a quick word from one of the sponsors that

(20:17):
keep stuff you missed in history class going. While the
artist admitting to the work that he had done on
this forgery would seem to be a fairly conclusive bit
of testimony, the Louver wanted more proof, so Rushmovski was

(20:38):
given a sheet of gold and asked to create a
piece of a fake city and Tiara basically create another one,
And before witnesses he did exactly that, and that proved
the embarrassing fact that the Louver had bought and defended
a forgery. To be fair. When compared to other forgeries,
Rushmovski's work was so far superior and more convincing in

(20:58):
simply trying to make the best possible commission that he could,
he had outdone those who had actually been trying to
pass off their work as ancient as all of this
information about the hoax was circulating through the press around
the globe, so with something else, and that was a
universal admiration for Rushmowsky's work. Since he hadn't known that
his creation was going to be shopped around as a

(21:21):
historically significant find, and since he had been entirely forthright
under questioning, his reputation was not harmed, so people didn't
brand him a forger. That was sort of an unintended
side effect of his making this thing. His work was
described in articles as quote a very fine piece of
Goldsmithery Rushmowsky sort of smartly brought one of his other

(21:44):
works to Paris when he traveled there on the business
of the Tiara of Sayataphanes, so that he could enter
that other piece into the nineteen o three Paris Salon
Exhibition of Decorative Arts. That piece that he brought is
probably one that you have seen photos of because it
occasionally gets passed around on social media kind of every
couple of years. It's a tiny, tiny skeleton made of gold.

(22:07):
It's only three point five inches long, it's about nine centimeters,
but it has more than one hundred fifty parts and
it's fully articulated. Even the jaw moves and it is
highly detailed. The skeleton took him almost five years to make.
He worked on it from eighteen ninety two to eighteen
ninety six, and then once he was done with it,
he thought it needed a proper encasement. So to hold

(22:30):
this skeleton, he also made a tiny ornate coffin out
of silver with a blue velvet lining. He worked on
that for the next five years, and then made additional
edits over several more years after the three salon. The
coffin that the skeleton goes in is so small. It's
four and three eight inches long, which is eleven point

(22:50):
two centimeters. It's so beautiful. It's one of those things.
Have you run into it on social media years So
maybe it's just me because I run in um, you know,
HALLOWEENI Gothy spooky circles, but um, it always comes up.
And I've had it sent to me many times where
people are like, this is right up your alley. I'm
like it is. Um. It is so spectacularly beautiful and

(23:14):
Rushmowsky was awarded a gold medal at the exhibition in Paris,
and moreover, he gained the attention and favor of a
number of wealthy art patrons, including the Baron James de Rothschild,
and when Rushmowski headed home to Odessa, he took with
him several commissions for more of his astonishing and beautiful work.
From nineteen o three to nineteen o six, programs destroyed

(23:36):
much of the Jewish community in Russia. Hundreds of Jews
were killed during a program in Odessa in nineteen o five.
Ruslmovsky and his family managed to survive. But when he
returned to Paris in nineteen o six too once again
exhibit his work in the Salon, he had an eye
toward the future. He really felt that he needed to
get his family out of Russia for their safety, and

(23:59):
he wanted to really kate to Paris. Yes, since he
already had kind of a client base developing there, it
just seemed like the smartest move. But it still took
several years for Rushmowsky to execute his plan and get
everything arranged, but in nineteen ten finally he and his
family permanently moved to Paris. He wrote his memoir in
Yiddish uh and those were published in the late nineteen twenties,

(24:22):
and then he died in Paris in nineteen thirty four
at the age of seventy four. Before he died, the
artist created a miniature headstone for himself and his wife,
in which he engraved a happy man was I in life?
Peace and quiet, Bread and clothing were always found in
my home. I loved my work, my wife, and my home.
Even after my death, my spirit will prevail as the

(24:44):
work of my hands that I have left behind. The
skeleton that Rushmovsky made changed hands from one collector to
another over the years. In both it and the t
r Oh were included in an exhibit in Jerusalem titled
The Secret of the in Tiara Works by Israel Rosbowski.
On April twenty nine of two thousand thirteen, that tiny

(25:06):
skeleton was auctioned by Saucepies and it was expected to
sell for a hundred and fifty thousand to two hundred
and fifty thousand dollars, but when the bidding was all done,
it went for three hundred and sixty five thousand dollars.
The Louve did not get rid of the Tiara of
Saatophanes after it was revealed to be a forgery. Initially,

(25:26):
they kept it tucked away in the museum archive. It
was widely presumed that it would never see the light
of day again, but in the years since then, its
status as a famous fake has led to some public
interest in seeing it. In nineteen fifty four, the Louve
turned the institution's embarrassment into an exhibit and included the
tiara in their salon of fakes that they assembled for

(25:48):
a limited run. Yeah, they're also I didn't write down
the number, but I think there were eight fake Mona
Lisa's included in that exhibit as well, um, which I
thought was a pretty good pr move. Actually, the Louver
does mentioned the tira briefly on its website as of
today in its section on the history of the institution.
In its section titled Sadness of the bellapoc Is, the

(26:10):
note quote too unfortunate incidents seem to sum up this
difficult period. The purchase of the tiara of Saya Taphanes,
which proved to be a fake, and the theft of
the Mona Lisa in nineteen eleven embarrassing at the time,
but I feel like because everyone recognizes what a beautiful
piece of work it was at this point a hundred

(26:30):
plus years later, people are like, no, that's a valid
museum piece. Now I wish I wish we had a
better picture of it available to put on our website.
Uh were the ones that we have access to our
don't They're not particularly crisp, so they don't show all
the beautiful detail. Yeah, there are better pictures of it
floating around the internet, but we do not have rights

(26:52):
to use them. So if you want to see more
of it in its full gold glory, you can do that.
The British Museum also has a copy of it that
has some pretty detailed photographs on their website. So uh yeah.
It's a interesting thing to think about an artist accidentally
being so good at his work that he makes it
very easy for a museum to be fooled without ever

(27:13):
intending to do so. He just wanted to make the
best possible gift for that archaeologist that was imaginary that
he could, and uh yeah, it's a consequence all kinds
of craziness erupted and fights and people. It's very very funny.
Um that Reichmon article that I refer to talks about like,

(27:34):
you know, the deplorable articles of other people that will
not accept that this is the real thing. It's very funny.
People got very very head up over this whole. Yeah,
this whole, and it reminds me a little bit of
the pilt down Man. Uma. How fun it was fun.
But also you know, it's it's uh disheartening that human

(27:56):
nature is what it is sometimes, but it was it
was fun to read articles about the pilt down Man
that was just people talking with utter confidence about what
this meant from a scientific perspective when it was in
fact completely fake. Yeah. I mean there are are long
discussions even now about like what percentage of of pieces

(28:19):
in museums are forgeries, because odds are this is you know,
one of of many that passed over the years. There
are museums that have purchased pieces that you know, have
turned out to be um forgeries, or there are lots
of pieces that we probably don't even know our forgeries.
Um and there are plenty in contention all day, every

(28:41):
day as we speak. But again, so gorgeous that, in
my opinion, it belongs in a museum anyway. Um. We're
doing a little bit of a very brief postcard round
up for for listener mail today. Nice just because I
want to get a couple you know included when I can,
because Like I said, we get many, many many. I
feel bad that we can only read them here and there.

(29:02):
The first one is very short. It's from our listener Kate,
who writes, Deer, Holly and Tracy, my family is currently
enjoying our spring break in Savannah. The city is filled
with so much history. Any chance of future episodes featuring
Savannah maybe um. Our list is very long, and I
think I have some Savannah stuff online. But you never
know when we'll get to it, or if we'll find

(29:22):
enough information to merit a full episode. Uh. We always try. Uh.
The other one is from our listener may Have, and
she writes, Deer, Holly and Tracy, sorry for not getting
around to this sooner. Don't apologize you got around to
it eventually. That's better than I do most of the time.
I have been all over the world this year. I
meant to send a postcard to you from Edinburgh and Dublin.

(29:42):
Your podcast has gotten me through many a long layover
during my travels. I particularly love your podcast on Mary,
Queen of Scott's Uh. In Edinburgh, I saw where she
gave birth to James the first It was such a
small room. This postcard comes from Russell also known as
the Hellhole of the Pacific, and then she describes some
of the the interesting historical sites that are there. She
also asked about, um, if we're doing any podcasts on

(30:06):
that area. We did one on the one Tangy Treaty.
Is that a two parter? I'm trying to remember it
is only one? Okay, uh yeah, so that's in there
if you want to look it up maybe. Um. She
also says thank you for making my favorite podcast. That
is so sweet, and thank you again to this beautiful
postcard from New Zealand. I want to go. Um. If
you would like to write to us, you can do

(30:27):
so at History podcast at how stuff works dot com.
You can also find us everywhere on social media as
missed in History and online at mist in history dot com.
You would like to subscribe to the show, I think
that sounds like a great idea. You can do that
on the I Heart Radio app, at Apple Podcasts, or
wherever you listen to podcasts. Stuffy Missed in History Class

(30:50):
is a production of I Heart Radios how stuff Works.
For more podcasts for my heart Radio, visit the iHeart
Radio app, Apple Podcasts, or wherever you listen to your
favorite shows,