HistoryExtra
type: channel
link: https://www.historyextra.com
description: Home of Britain’s bestselling history magazine and award-winning podcast
date: 2026-03-04T17:22:02.000Z
update period: hourly
update frequency: 1
update base: 2000-01-01T12:00+00:00
items: "Forget AI – never has the role of the historian been more urgent"
items: Was Homer a real person? Michael Wood on the surprising origins of The Iliad
items: Uncontacted peoples: why do nearly 200 groups choose to live outside 'civilisation'?
items: The Book of Kells: "a masterpiece of medieval calligraphy and painting"
items: Michael Wood on the rise and fall of Asian empires
items: Michael Wood on China's immense suffering in the Second World War
items: Michael Wood on women's contributions to the Bayeux Tapestry
items: Michael Wood on lessons on good government from medieval Siena
items: Michael Wood on the struggle of memory against forgetting | "Place names are signposts to the past"
items: Michael Wood on the New Angel | "Few works of 20th-century art have such a distinguished list of past owners"

"Forget AI – never has the role of the historian been more urgent"
type: item
date: 2026-02-27T15:30:44.000Z
creator: Michael Wood
subject: 21st Century
subject: Membership
subject: Period
subject: Column
description: "Great histories have been written under the intense pressure of events", writes Michael Wood
encoded: Recently, I read a news item about the jobs most likely to disappear because of the impact of artificial intelligence (AI). And first among them, along with translators, are historians! Now I’m biased of course, but in times like these, when the president of the United States himself can tell the world that Ukraine started the war with Russia, it seems to me we need historians more than ever. In the face of spreading authoritarian rule and growing rightwing populism, good history is a refuge and a beacon. Complicating matters further, it often seems as if the owners of the mass media, billionaires who wish to shape debates, don’t want historians any more than they want independent journalists. It seems that from their perspective, the less historically literate the people are, the better. But in an open democratic society, we need informed historical perspectives, the painstaking interrogation of sources, and public explanation and interpretation. History is not only entertainment. In an age of lies and disinformation, history acts as our reality check. Read more | Artificial intelligence: a modern advance or an ancient nightmare? And history, don’t forget, is not a fireside job. Great histories have been written under the intense pressure of events, in the moment. Think of Thucydides writing as the Peloponnesian War raged, or Ibn Khaldun, lowered down a wall in a basket to parley with the monstrous Timur (Tamerlane) at the siege of Damascus. Or what about the heroic Emanuel Ringelblum? Samuel D Kassow’s account of Ringelblum’s efforts to record the experiences of those trapped in the Warsaw ghetto – Who Will Write Our History? – is surely one of the most staggering books about why we write. To be a true historian is to make a kind of pact with the living and the dead – and with future generations. We have a duty to tell the truth. A new book brings all this into sharp relief. Jean-Pierre Filiu is a distinguished French historian, the author of The Middle East: A Po…

HISTX-AIHistorian6-WL-8b4a207.jpg
width: 1500
height: 1000

Was Homer a real person? Michael Wood on the surprising origins of The Iliad
type: item
date: 2026-02-04T15:30:02.000Z
creator: Michael Wood
subject: General History
subject: Membership
subject: Period
subject: Column
subject: Historical people
description: " Scholars have applied models used in genetic research to Homer’s Iliad", writes Michael Wood
encoded: Proust’s famous novel is called In Search of Lost Time, and isn’t that the key to why we love history? It’s the urge to recover the lost past. Can we get beyond the mysterious veil to real events and people? Can we even feel how they felt? And as historians, we always hope to find new sources and new ways of seeing. In our time, many new paths have been opened up by science. For example, scientists have adopted techniques used for decoding the genetic history of humans, not only through their genes, but by tracking transformations in language. This form of historical linguistics, known as time depth linguistics, has helped establish the family tree of languages. One branch, the Indo-European languages, has been known since the 18th century, connecting Greek, Latin, Persian and Sanskrit in the east, and English, Welsh and Old Irish in the west. Now we can see when and where the branches on the family tree diverged. It’s been proved, for example, that, as tradition had always said, Sanskrit-speaking migrants – so called ‘Aryans’ – migrated from Afghanistan into north-west India in the late Bronze Age, the period of the earliest Sanskrit texts in the Rig Veda. Scholars have applied the same models used in genetic research to one of the most celebrated texts in western culture, Homer’s Iliad. As a tool kit, they used word lists invented by the linguist Morris Swadesh (1909–67) and other scholars. In this case the focus was key words shared among the Indo-European languages. With the Iliad, science came up with a likely date of composition: 762 BC (plus or minus 50 years). The exactness is perhaps illusory: but it corroborates the older ideas of Homeric scholars that the poem dates from the eighth century BC. Read more | National English: the language that would save England It has long been known that the Iliad is the product of oral composition, a tissue of repeat phrases that allowed the poet to improvise his story. In fact, the Homeric epics came out of centuries of …

WoodFemke-de-Jong-HistEx-Homer6-0dc3ba5-e1770048051831.jpg
width: 1500
height: 1000

Uncontacted peoples: why do nearly 200 groups choose to live outside 'civilisation'?
type: item
date: 2026-01-12T15:30:12.000Z
creator: Michael Wood
subject: General History
subject: Membership
subject: Period
subject: Civil rights
subject: Column
subject: Historical people
description: "These are the last humans who have stayed outside 'civilisation'", writes Michael Wood
encoded: A new report by Survival International, Uncontacted Peoples: At the Edge of Survival, is the latest accounting of the human story – and it is a historical document of unparalleled power. It reveals that at least 196 groups in the world are still uncontacted, most of them gravely threatened by logging, mining and drilling for oil. These are the last human beings who have stayed outside ‘civilisation’ since the violence of the West reached across the globe after 1492. The report cast my mind back 25 years to when we made a series of four films telling the story of the Spanish conquest of the Americas. Cortés, Pizarro, Orellana, Cabeza de Vaca: these were men who experienced some of the most incredible adventures in human history. We tracked them on the ground, following in their footsteps over the Andes, up Inca trails to lost cities, and rafting down the Amazon. The third film was especially powerful in its implications for the here and now, as well as the events of the 16th century. It told the story of the expedition led out of Quito in 1541 by Gonzalo Pizarro (younger half-brother of Francisco, who spearheaded the conquest of the Inca empire). Its goal was to find the fabled El Dorado – ‘the Golden Man’ – a mythical city of gold believed to exist somewhere in the jungles beyond the Andes. The city was, in fact, unfindable – because it never existed. In trackless terrain, the expedition ran into disaster: soaked by incessant rains, running out of food, the men were reduced to eating their horses and cooking their boot leather. Francisco Orellana pushed onward in a home-made boat to scout what lay ahead, but such was the speed of the river that he couldn’t make his way back to the rest of the men. Read more | “Indigenous Americans who travelled across the Atlantic were horrified by inequalities in European society” After untold sufferings, the survivors of the main army made it back to Quito nearly a year and a half later. Meanwhile, after many adventures, Orellana …

Femke-illo-7fb33e3.jpg
width: 1500
height: 1000

The Book of Kells: "a masterpiece of medieval calligraphy and painting"
type: item
date: 2025-12-12T08:55:00.000Z
creator: Michael Wood
subject: Medieval
subject: Membership
subject: Period
subject: Celts
subject: Column
subject: Medieval life
description: "The Book of Kells is a masterwork of medieval calligraphy and painting", writes Michael Wood
encoded: The Book of Kells, one of the greatest pieces of medieval art, is today displayed in the library of Trinity College Dublin. This illuminated gospel book is named after the monastery in County Meath where it was kept in the Middle Ages. It’s a masterwork of medieval calligraphy and painting, with its Celtic knot patterns, scintillating colour, and the staggering intricacies of the display pages and canon tables – all smoky golden magnificence. An Irish annalist called the book “the great Gospel of Columcille [Columba], the chief relic of the western world”. It may be the work described by the historian Gerald of Wales in the 1180s, in his book on Ireland. “Look more keenly at it and you will penetrate to the very shrine of art,” he wrote. “You will make out intricacies so delicate and so subtle… that you might say that all this were the work of an angel, and not of a man.” The book survived war, plunder and the English – Cromwell’s troops were once billeted in Kells. In the 19th century, it was a huge influence on the Celtic revival movement in the arts, and today is seen as the pinnacle of the western tradition of illuminated manuscripts. Read more | Michael Wood on amazing insights into medieval daily life The book was produced around the end of the eighth century, just at the moment Britain and Ireland were about to be changed forever by the arrival of the Vikings. It was long believed to have been created on Iona. But in The Book of Kells: Unlocking the Enigma, published in October, Victoria Whitworth suggests that it was actually written at the Pictish monastery of Portmahomack on the Moray Firth in north-east Scotland. This is one of the least known areas of the medieval British Isles. The Pictish monasteries were destroyed in the Viking age, and with them virtually all written records. The kingdom of the Picts became part of the Scottish kingdom of Alba in the ninth century, and gradually the memory of the Picts faded, leaving many unsolved mysteries. One key …

Femke-de-Jong-Kellswebready-41cfeb5-e1765365539960.jpg
width: 1500
height: 1000

Michael Wood on the rise and fall of Asian empires
type: item
date: 2025-11-28T09:00:39.000Z
creator: Michael Wood
subject: General Early Modern
subject: Membership
subject: Period
subject: Column
subject: Historical people
description: "Emperor Jahangir and Shah Abbas literally bestride the world like colossi", writes Michael Wood
encoded: Watching the recent spectacle of those latter-day emperors President Xi of China and India’s Narendra Modi hugging each other at the summit in Tianjin, my mind cast back to an earlier image of a pan-Asian summit. There’s a wonderful painting from 1618 of the Mughal emperor Jahangir embracing Shah Abbas of Iran – one of several such pictures painted for the Indian ruler. These heads of two superpowers were in fact not bosom buddies but intense geopolitical rivals, especially in the Kandahar region of south-west Afghanistan, then under Mughal control. Framed by a huge golden halo, in an image of peace, one stands on a lamb, the other on a lion, both on a globe whose surface extends from the strait of Gibraltar to the South China Sea: they literally bestride the world like colossi. In the foreground of the map, a product of the new science of cartography, are shown north Africa, India and south-east Asia, with the Nile, the Ganges and the Yangtze accurately depicted. The painting is allegorical; the hoped-for meeting never actually took place. But the timing, and the details, have much to tell us. In the painting, western Europe lies, unseen, over the horizon. Yet at that moment the small, aggressive maritime powers on the edge of the Eurasian landmass were already extending their influence and carving up the New World – and were now threatening the old powers in the Asiatic heartland of civilisation. The Spanish had begun colonisation of the Philippines in 1565, the Portuguese leased Macao in 1557, the English East India Company was founded in 1600, and the Dutch East India Company was established two years later. Elizabeth I had earlier sent an ambassador to Jahangir’s father, Akbar, to negotiate trade links. In another painting, Jahangir greets a Sufi mystic in the presence of the Ottoman Sultan and King James VI & I – not an imaginary likeness but one taken from a portrait brought to India by the ambassador Thomas Roe in 1616. In an uncanny touch by the painter, Ja…

FFA3XK-CMYKWeb-Ready-64d2902.jpg
width: 2211
height: 1474

Michael Wood on China's immense suffering in the Second World War
type: item
date: 2025-10-29T09:00:55.000Z
creator: Michael Wood
subject: Membership
subject: Period
subject: Second World War
subject: Historical events
description: "China suffered horrendous losses, second only to the Soviet Union", writes Michael Wood
encoded: The Second World War still plays a massive role in our national mythology in Britain. But if I were to ask you: “Who was the fourth ally?” I imagine that most readers would have to think twice. The answer is China. China fought the entire war – and longer – and suffered horrendous losses, second only to the Soviet Union. Frank Capra’s Why We Fight documentaries, which included a 1944 film called The Battle of China, saw the war with Japan as part of “the struggle of freedom against slavery, civilisation against barbarism”. Films in the series close with the hope that a victory for the democracies – Republican China in the 1930s, don’t forget, had been a fledgling democracy – will bring about “the utter defeat of the war machines of Germany and Japan”. Today, history is a big deal in China. Since 1949, the Chinese view of modern history has centred on the ‘century of humiliation’ following the First Opium War (1839–42), when foreign powers carved up the country. But more recently, the Second World War has assumed a powerful new role in Chinese nationalism. There’s a museum to the war in Beijing, the Museum of the War of Chinese People’s Resistance Against Japanese Aggression, and a harrowing memorial to the 1937–38 Nanjing Massacre. At the China Modern History Museum in Nanjing, you can dress up in nationalist Kuomintang or communist uniforms and have your photo taken in wartime dioramas. The Chinese view of the conflict has shifted towards showing the country as a heroic participant in a war that was moral and just. The Chinese had been engaged in hostilities with Japan since 1931, when the Japanese invaded Manchuria. The conflict proper lasted from July 1937 until 2 September 1945 – the 80th anniversary of the conflict’s end is being marked this year. So the Second World War effectively started earlier, and lasted longer, here than in Europe. And without China, the course of the wider war might have been very different. Read more | Michael Wood on amazing insights …

BBCH-China-Invited-Femke-de-Jong-dd9570e.jpg
width: 1500
height: 1000

Michael Wood on women's contributions to the Bayeux Tapestry
type: item
date: 2025-09-17T08:00:01.000Z
subject: Medieval
subject: Membership
subject: Period
subject: Historical events
subject: Historical people
subject: Medieval battles
subject: Medieval kings and queens
description: "We should remember the unknown women who made the Tapestry", writes Michael Wood
encoded: Like all readers, I am sure, I was thrilled to hear the news that the Bayeux Tapestry is coming to England next year. 1066 is the most important date in British history, and the Tapestry is the greatest single source, taking the tale from the last days of Edward the Confessor through the drama of Harold and William, the Norman invasion, and the defeat and death of Harold at Hastings. The Tapestry has been in Bayeux since the Middle Ages and has never left, save briefly during the Franco-German War and under Napoleon and the Nazis, who both sought to weaponise it prior to their own invasion attempts. But it was made in England in the aftermath of the Conquest, probably at Canterbury by English needlewomen. Scholars think that it was commissioned by the Conqueror’s brother Odo, bishop of Bayeux, who features prominently on the Tapestry along with his followers. One of those, Vitalis, is singled out and named, shown mounted and in full armour, reporting to William the whereabouts of the English army. Perhaps he was the leader of a scouting detachment who had gone ahead of the Norman army. Read more | The Bayeux Tapestry is finally coming home to Britain – and you can see it next year The artistic inspiration was the English school of manuscript painting in Canterbury, but there may have been Roman models, too. Trajan’s Column, in particular, depicts the emperor’s Dacian campaigns in a similar manner – like a strip cartoon. Odo himself had been to Rome; so, too, had Scolland, abbot of St Augustine’s Abbey, who may have designed the Tapestry – perhaps using a sketch book from his travels? It’s a huge artwork, some 68.3 metres long, but damaged at the end: perhaps as much as 3 metres is missing. It is generally agreed that the Tapestry originally finished with William’s crowning at Westminster at Christmas 1066 – a mirror image to the opening panel of the enthroned Edward the Confessor. Based on that assumption, a brilliant full-scale reconstruction has been completed by …

FEMKE-DE-JONG-Bayeuxwebbready-2645820.jpg
width: 1500
height: 1269

Michael Wood on lessons on good government from medieval Siena
type: item
date: 2025-08-21T08:00:14.000Z
creator: Michael Wood
subject: Medieval
subject: Membership
subject: Period
subject: Medieval life
description: "When justice is sovereign, the wicked are stripped of all power", writes Michael Wood
encoded: Siena is one of the great historic cities – a living vision of the medieval world found now in very few places. Here is the architecture and street plan of a medieval city-state, the oldest bank in the world, and one of the oldest universities. Siena was even the first place to ban the car, in 1966! In its centre, the great square called the Campo hosts the famous Palio horse race twice a year. It’s a place to relish the continuance of the past into the present. In the Middle Ages, Siena was run by the Nine, who rotated every two months as a bulwark against tyranny. They met in the council hall in the Palazzo Pubblico (Public Palace) on the Campo. On the first floor is a room adorned with some of the most extraordinary paintings in western art. Three fresco panels, painted by Ambrogio Lorenzetti in 1338, offer a vibrant vision of life in town and country on the eve of the Black Death. This huge work, known as The Allegory of Good and Bad Government, covers three walls. In the dim light, the eyes need a moment to take in the scale and the colour – the deep, luminous ultramarine skies created with a paint made from ground lapis lazuli. It’s the last great creation of the school of painting in Siena that came to an abrupt end when the plague struck Italy in 1348, killing half the city’s population – including Lorenzetti and his elder brother, Pietro. These extraordinary frescoes came to mind while visiting the National Gallery’s fabulous Siena exhibition this summer. The focus there was on four painters: Duccio, Simone Martini and the Lorenzettis. It encapsulated an exquisite, idiosyncratic moment, with none of the advances of Renaissance art: perspective, anatomy, realism. Instead, as the cultural historian Erin Maglaque eloquently remarks, we saw “silk, gold, and suspended emotion – an embrace of mystery that feels archaic and alien”. Read more | Michael Wood on amazing insights into medieval daily life Florence lies close by, but the Sienese were seduced by the sole…

BBCHSiena-c-Femke-de-Jong-9a844c8.jpg
width: 1772
height: 1181

Michael Wood on the struggle of memory against forgetting | "Place names are signposts to the past"
type: item
date: 2025-07-29T08:00:44.000Z
creator: Michael Wood
subject: General History
subject: Membership
subject: Period
subject: Column
description: "Place names are signposts to the past. And how revealing they are", writes Michael Wood
encoded: I was recently back in Devon. Long ago, on childhood holidays from the industrial north, this seemed to me the ‘real’ England. Still today, a rusting cast-iron signpost peeping through the foliage in a sunken lane gives me an inexplicable thrill. It’s the idea that the deep past might still be touched, just around the corner. Place names are signposts to the past. Chulmleigh, Woolfardisworthy, Nymet Rowland… what names! And how revealing they are. Take Ipplepen, a village with Roman and Iron Age roots in the hills near Torquay. A recent dig here turned up a small post-Roman cemetery, in use till the eighth century, and a Roman butchers shop, with coins and broken amphorae that once held olive oil, wine and fish sauce imported from the Mediterranean. The name Ipplepen was first recorded in the 10th century, and contains a personal name that appears to be Roman-British or Celtic: Epilus or Ipela. In a region where the Celtic (pre-Welsh) language may have died out only after 1066, the name of the pre-English landowner was, incredibly, passed down. Read more | The Romans were blamed for massacring these Iron Age warriors. But did they actually murder themselves? In the Home Counties, ancient British (or Welsh) place names are mainly gone – except for river names. Here they linger, from the Thames to smaller watercourses such as the wonderfully named Rib, Beane and Maran (or Mimram) in Hertfordshire. Sometimes English newcomers didn’t understand these words. Avon, of course, has the same derivation as afon, Welsh for river. Bredon Hill includes no fewer than three words with the same meaning: bre is Welsh and dun is Old English, both translating as ‘hill’. So: Hill-hill Hill! Some place names tell of events. You can track the first phase of Viking settlement in hybrid names such as Grimston, denoting an English settlement (or village) taken by Grim, a leading member of the Great Army that invaded Britain from 865. Then, with the second wave of migration, came the names e…

Wood-BBCH-July25-Femke-de-Jong-d4b9231.jpg
width: 1772
height: 1181

Michael Wood on the New Angel | "Few works of 20th-century art have such a distinguished list of past owners"
type: item
date: 2025-06-24T09:54:54.000Z
creator: Michael Wood
subject: 20th Century
subject: Membership
subject: Period
subject: Column
subject: Historical events
description: "It’s an iconic image for the 20th century, certainly, but for our own century, too", writes historian Michael Wood
encoded: A postwar baby boomer and a late sixties student, in my adult life I naturally grew up optimistic. I believed in progress. I witnessed the civil rights movement, feminism, decolonisation, the beginning of ‘Reform and Opening Up’ in China at the end of the seventies, and the break-up of the communist tyranny in Europe a decade later. Not that there weren’t bad things in the world: horrific wars in Vietnam and Biafra (Nigeria), the ravages of international capitalism, the first manifest intimations of climate disaster. But, despite terrors in far-off places, it seemed that – to paraphrase Martin Luther King – the long arc of the moral universe was indeed bending to justice. But now? On the wall in my student room I had a black-and-white copy of a monoprint by the artist Paul Klee. He served as a soldier in the German army in the First World War – a conflict in which a number of his friends, including fellow artists such as August Macke and Franz Marc, were killed. When the war was over, Klee returned to his art, and in 1920 created the picture that I put on my wall. Read more | Michael Wood on amazing insights into medieval daily life He called it Angelus Novus – New Angel – and it is now the subject of a compelling new exhibition at the Bode-Museum in Berlin, displayed alongside images and sculptures of angels from Berlin museums that were smashed by bombing in the Second World War. There are excerpts, too, from Wim Wenders’ famous film Wings of Desire (1987), in which two mournful angels stand watch over the people of a divided Berlin, and in which Klee’s picture is namechecked. More than 100 years on from its creation, Angelus Novus is now seen as one of the seminal artworks of the 20th century. It shows a strange, deformed creature – a weird, scrawny, transparent homunculus, wings raised, hair like parchment scrolls, cloven bird feet, opaque eyes looking sideways at something that causes distress (or is it wonder?). Behind him are eddying clouds of chaos. The titl…

BBCH-Angel-4b17457.jpg
width: 451
height: 301