Wikimedia Commons // Public Domain
Wikimedia Commons // Public Domain

The Original Telephone: The Bizarre Musical Language of Jean-François Sudre

Wikimedia Commons // Public Domain
Wikimedia Commons // Public Domain

There’s a famous dispute over who invented the telephone. According to some, it was Alexander Graham Bell. According to others, Elisha Grey got there first. Then there’s the German inventor Philipp Reis and his “Reis telephone,” which was based on an earlier idea by the French scientist Charles Bourseul. And no discussion of 19th century inventors would be complete without Thomas Edison, who patented his “carbon microphone” in 1877, which led to a patent fight that reached the Supreme Court.

But before all of them was the little-known French musician and inventor Jean-François Sudre. His invention may have little (if anything) in common with a modern electronic telephone, but Sudre is nevertheless credited with coining the word telephone and attaching it to a remarkable system he devised for transmitting messages in the early 1800s.

Sudre was a violinist, composer, and music teacher who had been educated at the prestigious Conservatoire de Paris. It was his musical background that in 1827 led Sudre to devise a system of communication in which different combinations of the seven different notes of the musical scale—doh, re, mi, fa, sol, la, and ti—were assigned to all the words in the language. Playing these different combinations of notes could ultimately be used to send musically coded messages on practically any musical instrument. 

In Sudre’s system, on their own the seven notes of the scale represented seven basic, high-frequency words: no (doh), and (re), or (mi), at or to (fa), if (sol), the (la) and yes (ti). Forty-nine possible two-note combinations were used for pronouns, prepositions, and other high-frequency words, like I (doh-re), good (mi-sol), what (fa-doh), and thank you (sol-ti). And 336 three-note combinations were reserved for days (Monday = sol-sol-doh), months (August = re-re-mi), seasons (winter = doh-doh-fa), units of time (year = doh-re-la), and dozens more commonly used words like water (doh-sol-ti) and bread (doh-sol-mi).

As the combinations of notes lengthened, Sudre divided the language into broad thematic categories designated by their first note, or “key.” So all the words in “the Key of Doh” were concerned with “physical and moral aspects of men” (eye = doh-re-mi-re, superstition = doh-mi-ti-ti), while the Key of Re was reserved for “family, household, and dress” (umbrella = re-doh-sol-ti, rent = re-mi-fa-ti). Nouns were pluralized by lengthening their final syllable, while the feminine equivalents of masculine words were produced by accenting or stressing the final syllable—so the combination ti-sol meant sir or Mr, while ti-SOL was madame or Mrs.

Sudre called his system Solrésol, his musical translation of the word “language.” He spent years championing it and publicizing it at demonstrations all over Europe, in which he would ask for random words and phrases from the audience, play them on stage on his violin, and then, to the audience’s amazement, have his assistant—who was positioned outside of normal speaking range—come to the stage and accurately relay the messages word for word. 

As neat an idea as Solrésol was, however, it had two principal drawbacks. Firstly, the person receiving your coded message would have to have perfect pitch in order to correctly interpret the notes you’re playing—and even then the margin for error was terrifically small. Mishear the first note of Sudre’s word for asthma (fa-la-la-sol) as one note higher than it actually is, for instance, and you’ll translate it as excrement (sol-la-la-sol). Hear the “res” in his word for buttons (sol-re-re-do) as “mis,” and it’ll become the Solrésol word for scab (sol-mi-mi-do). Not only that, but the distance over which you can transmit your message in Solrésol is obviously limited by how loud the instrument you’re playing it on is. Sudre’s backstage assistant might be able to hear, but how could you communicate a message from, say, one town to another, or between two ships at sea? 

To get around these issues, Sudre spent years compiling an entire dictionary of Solrésol [PDF] published three years after his death, in 1865, and eventually elaborated his system so that words could be communicated not just using the seven different notes of a scale, but the seven different colors of the rainbow. But in order to solve the issue of transmitting messages over distances, Sudre conceived of an enormous musical instrument, capable of playing the different notes and different musical nuances required to communicate Solrésol messages, which he called the téléphone—a combination of the Greek words for far and sound.

Although both Sudre’s “telephonic system” of musically encoding messages and his enormous musical foghorns failed to catch on, he can at least be credited with the invention of the word telephone—two decades before Alexander Graham Bell was even born. 

A Very Brief History of Chamber Pots

Some of the oldest chamber pots found by archeologists have been discovered in ancient Greece, but portable toilets have come a long way since then. Whether referred to as "the Jordan" (possibly a reference to the river), "Oliver's Skull" (maybe a nod to Oliver Cromwell's perambulating cranium), or "the Looking Glass" (because doctors would examine urine for diagnosis), they were an essential fact of life in houses and on the road for centuries. In this video from the Wellcome Collection, Visitor Experience Assistant Rob Bidder discusses two 19th century chamber pots in the museum while offering a brief survey of the use of chamber pots in Britain (including why they were particularly useful in wartime).

Photo illustration by Lucy Quintanilla, Mental Floss. Saint Nicholas: HULTON ARCHIVE, GETTY IMAGES. Skulls, backgrounds: iStock
Tomb Raider: The Story of Saint Nicholas's Stolen Bones
Photo illustration by Lucy Quintanilla, Mental Floss. Saint Nicholas: HULTON ARCHIVE, GETTY IMAGES. Skulls, backgrounds: iStock
Photo illustration by Lucy Quintanilla, Mental Floss. Saint Nicholas: HULTON ARCHIVE, GETTY IMAGES. Skulls, backgrounds: iStock

Throughout history, corpses have been bought and sold, studied, collected, stolen, and dissected. In Rest in Pieces: The Curious Fates of Famous Corpses, Mental Floss editor Bess Lovejoy looked into the afterlife of numerous famous corpses, including Saint Nicholas, one of the many canonized bodies whose parts were highly prized by churches, thieves, and the faithful.

Don't tell the kids, but Santa Claus has been dead for more than sixteen hundred years. No, his body is not at the North Pole, and he's not buried with Mrs. Claus. In fact, his remains are thousands of miles away, on Italy's sunny Adriatic coast. And while Santa might be enjoying his Mediterranean vacation, he's probably not too happy about what happened to his remains. They were stolen in the eleventh century, and people have been fighting over them ever since.

Of course, the Santa Claus of folklore doesn't have a skeleton. But his inspiration, Saint Nicholas, does. That's about all we can say for sure about Nicholas: he was a bishop who lived and died in what is now Turkey in the first half of the fourth century. Legend tells us that he was born into a rich family and delighted in giving gifts. Once, he threw three bags of gold into the window of a poor family's house, saving the three daughters who lived there from a life of prostitution. Another time, he raised three children from the dead after a butcher carved them up and stored them in a vat of brine. He also protected sailors, who were said to cry out his name in rough seas, then watch the waves mysteriously smooth.

The sailors spread Nicholas's cult around the world. Within a century of his death, the bishop was worshipped as a saint, lending his name to hundreds of ports, islands, and inlets, and thousands of baby boys. He became one of the best-loved saints in all of Christendom, adopted by both the Eastern and Western traditions. Christmas probably owes something to his December 6 feast day, while Santa Claus’s red outfit may come from his red bishop’s robes. "Santa Claus" is derived from "Sinterklaas," which was how Dutch immigrants to New Amsterdam pronounced his name.

As one of the most popular saints in the Christian world, Nicholas had a particularly powerful corpse. The bodies of saints and martyrs had been important to Christianity since its beginning: the earliest churches were built on the tombs of saints. It was thought that the bodily bits of saints functioned like spiritual walkie-talkies: you could communicate with higher powers through them, and they, in turn, could manifest holy forces on Earth. They could heal you, protect you, and even perform miracles.

Sometimes, the miracles concerned the saints' own bodies. Their corpses would refuse to decay, exude an inexplicable ooze, or start to drip blood that mysteriously solidified and then reliquefied. So it was with Nicholas: at some point after his death, his bones began to secrete a liquid called manna or myrrh, which was said to smell like roses and possess potent healing powers.

The appearance of the manna was taken as a sign that Nicholas’s corpse was especially holy, and pilgrims began flocking by the thousands to his tomb in the port city of Myra (now called Demre). By the eleventh century, other cities started getting jealous. At the time, cities and churches often competed for relics, which brought power and prestige to their hometowns the way a successful sports team might today. Originally, the relics trade had been nourished by the catacombs in Rome, but when demand outstripped supply, merchants—and even monks—weren't above sneaking down into the crypts of churches to steal some holy bones. Such thefts weren't seen as a sin; the sanctity of the remains trumped any ethical concerns. The relics were also thought to have their own personalities—if they didn't want to be stolen, they wouldn't allow it. Like King Arthur's sword in the stone, they could only be removed by the right person.

That was how Myra lost Saint Nicholas. The culprits were a group of merchants and sailors from the town of Bari, located on the heel of Italy's boot. Like other relic thefts, this one came at a time of crisis for the town where the thieves lived, which in this case had recently been invaded by a horde of rapacious Normans. The conquerors wanted to compete with the Venetians, their trading rivals to the north, who were known for stealing the bones of Saint Mark (disguised in a basket of pork) from Alexandria in 827. And when the Normans heard that Myra had recently fallen to the Turks, leaving Nicholas’s tomb vulnerable, they decided to try stealing a saint for themselves.

According to an account written shortly after the theft by a Barian clerk, three ships sailed from Bari into Myra's harbor in the spring of 1087. Forty-seven well armed Barians disembarked and strode into the church of Saint Nicholas, where they asked to see the saint’s tomb. The monks, who weren't idiots, got suspicious and asked why they wanted to know. The Barians then dropped any pretense of politeness, tied the monks up, and smashed their way into Nicholas's sarcophagus. They found his skeleton submerged in its manna and smelled a heavenly perfume wafting up from the bones, which "licked at the venerable priests as if in insatiable embrace."

And so Nicholas of Myra became Nicholas of Bari. The relics made the town, and the men who stole them. The thieves became famous in the area, and for centuries their descendants received a percentage of the offerings given on the saint’s feast day. The townspeople built a new basilica to hold the remains, which drew thousands of pilgrims throughout the Middle Ages. Even today, Bari remains a major pilgrimage site in southern Italy, visited by both Roman Catholics and Orthodox Christians. Every May an elaborate festival, the Feast of the Translation, celebrates the arrival of Nicholas’s relics. As one of the highlights, the rector of the basilica bends over Nicholas’s sarcophagus and draws off some of the manna in a crystal vial. The fluid is mixed with holy water and poured into decorated bottles sold in Bari's shops; it is thought to be a curative drink.

But Bari is not the only place that boasts of the bones of Saint Nicholas. If you ask the Venetians, they will say their own sailors visited Myra during the First Crusade and stole Nicholas’s remains, which have been in Venice ever since. For centuries, both Bari and Venice have claimed the saint's skeleton.

In the twentieth century, scientists waded into the dispute. During renovations to the basilica of Bari in 1953, church officials allowed University of Bari anatomy professor Luigi Martino to examine the remains— the first time the tomb had been opened in more than eight hundred years. Martino found the bones wet, fragile, and fragmented, with many of them missing. He concluded that they had belonged to a man who died in his seventies, although because Martino was given only a short time with the bones, he could say little more.

Four decades later, Martino and other scientists also studied the Venetian bones. They concluded that those relics and the ones in Bari had come from the same skeleton, and theorized that the Venetian sailors had stolen what was left in Myra after the Barians had done all their smashing.

As for Demre, all they have is an empty tomb. And they want their bones back. In 2009, the Turkish government said it was considering a formal request to Rome for the return of Nicholas's remains. Though the bones have little religious significance in a nation that’s 99 percent Muslim, there’s still a sense in Turkey that the centuries-old theft was a cultural violation. Its restitution would certainly be an economic benefit: according to local officials, tourists in Demre frequently complain about the barren tomb, and they weren't satisfied by the giant plastic sculpture of Santa Claus that once stood outside Nicholas’s church. Even though Santa has become an international cultural icon, his myth is still rooted in a set of bones far from home.

From REST IN PIECES: The Curious Fates of Famous Corpses by Bess Lovejoy. Copyright © 2013 by Bess Lovejoy. Reprinted by permission of Simon & Schuster, Inc.


More from mental floss studios