Graphtreon is awesome! Patreon is awesome! But Patreon is also another giant institution which we are are asked to trust but don’t have a way to verify
Patreon is essential for funding many types of digital creations. Patreon is not the best at processing payments or building and running websites. So a lot of us are very interested in them as a business because they offer an alternative to surveillance advertising and creating merchandise or face-to-face services to sell, but they seem kind of flimsy. Because they are a private business, we have to guess a lot. One of the things we have to guess about is whether they are a $24 million / year business or a $120 million / year business. (All sums in this post are in US dollars).
Some architectural terracotta moulding from the House of the Black Room, Pompeii c/o BBC
There are many things to talk about the excavations at the House of the Black Room in Pompeii, from the awesome Parthian Perseus to the poor bakery workers who may have been locked in their quarters to die when the volcano erupted. Onetime Bookandswordblog commentator Sophie Hay gets to work there! One thing which I like is this piece of terracotta architectural decoration with painting which is colourful but not fussily precise.
From the pleiades-community mailing list: Free summer training sessions on using the #PleiadesGazetteer of ancient places are now open for registration at https://pleiades.stoa.org/events There are two classes, each offered three times over the course of the summer: Finding and Using: Learn how the gazetteer is organized, what it contains, and how to search and use... Continue reading: Cross-Post: Pleiades Project Training
Do you need a second pair of eyes on that book, paper, or project report? I have been editing business and academic writing since 2013. Aside from ancient world studies and medieval studies, I have experience creating software documentation and a background in academic computer science. Because of my time living in Austria, I have experience with the challenges of writing in a second language or a new field.
One reason why I like Fernando Quesada Sanz’ Weapons, Warriors, and Battles of Ancient Iberia (publisher’s website) is that he looks east to the Punic world as well as the Greek and Roman worlds. Whereas specialists in archaic and classical Greece rarely pay much attention to any kind of barbarians, Quesada Sanz reminds readers that Iberia has been influenced by people who arrived by sea from the east since the 9th century BCE. A good example is what he has to say about the Iberian disc cuirasses.
My interest in linen armour lead me to texts from around the year 1000. Chrétien de Troyes died leaving one of his works incomplete, and sometime around 1190 to 1210, someone wrote the first surviving attempt to fill in the missing attempts. In one of these passages, an Arthurian hero is arming. The narrator mentions an unusual way of helping a woman in labour deliver:
Then they girdled a sword Such that in all the world there was no woman in labour, Who when struck on the head With the flat of that naked sword (1048) Would not immediately give birth, As she hung between death and life.
My translation. Text after William Roach and R.H. Ivy, eds., The Continuations of the Old French Perceval of Chrétien de Troyes. Volume II. The First Continuation: Redaction of MSS EMQU. Romance Languages and Literatures, Extra Series, No. 10. (Philadelphia: University of Pennsylvania, Department of Romance Languages, 1950), 32-33, 485-486, 548-549. https://catalog.hathitrust.org/Record/000883809 There are complete translations of the continuation in Ross G. Arthur, tr., Three Arthurian Romances: Poems from Medieval France (London: Dent, 1996) and Nigel Bryant, tr., Chrétien de Troyes, The Complete Story of the Grail: Chrétien de Troyes‘ Perceval and its Continuations. Arthurian Studies 82 (Cambridge: Boydell & Brewer, 2015), 87; my translation is influenced by this one, especially in the last five lines.
In April and May I have been making a domed round shield from start to finish. I decided to post a tidied-up version of my lab notes on my Patreon page. If scheduling goes right, my post should be visible here. Part 2 on the gessoing and painting should arrive in early June!
This terracotta statuette from Babylon is one of very few images of a woman in the ‘Elamite robe’ or Faltengewand from the Achaemenid period. Photo of Staatliche Museen zu Berlin, Vorderasiatisches Museum, object VA Bab 00405 by Olaf M. Teßmer CC BY-SA 4.0 https://id.smb.museum/object/2060160/bekleidete-frau-auf-einem-postament-stehend
To establish the ownership history of a manuscript, you need to do archival research in auction catalogues and library catalogues and lists of bookplates and stamps. This history will usually have gaps, because ownership is not a physical property of an object which leaves indelible traces, but a social agreement. People steal books and manuscripts, people sell books and manuscripts which don’t belong to them, people forge evidence that a book or manuscript belonged to someone famous, and people burn the records of grandpa’s used books business to tidy up after his death. Its hard to track the ownership of Greek manuscripts during the fifteenth century for the same reason its hard to track the ownership of antiquities during the 1940s. And if you are using a manuscript to understand the ancient world, the ownership history is not really important. Let me explain.
Over on another site, Anoneuoid asked how to track down the past owners of a manuscript of a classical text such as the “A” manuscript of Herodotus in Florence (manuscript Laurentianus 70.3).
The first place to start when tracking down the manuscripts of a classical text is a critical edition (that is, an edition in the original language with notes in the margins about how the manuscripts are different from each other and the printed text). I have the Clarendon edition by Karl Hude which was last updated in 1927 but still seems to be the standard edition of Herodotus (the 2015 edition by N.G. Wilson has some updates). Hude discusses the manuscripts in Latin because until recently that was the best way to give a classicist in Egypt and a classicist in Norway equal access to his thoughts. He does not say much on the history of the manuscripts because he is more interested in which are most useful for reconstructing what Herodotus actually wrote.
You can find a much more detailed discussion of the manuscripts of another ancient text and their owners in Philip Rance, “Aineias Tacticus in Byzantine Military Literature,” in Nick Barley and Maria Pretzler, eds., Brill’s Companion to Aineias Tacticus. Brill’s Companions in classical studies (Leiden and Boston: Brill, 2017).
The first part of my three-part series on medieval linen armour has appeared in Medieval Clothing and Textiles 18. Whereas in some periods linen armour is commonly showed in paintings and sculptures, there are very few pictures of fabric armour from western Europe between 500 and 1250 CE. No quilted garment survives from Europe in this period either. So I discuss about thirty texts from this period. I work with texts in Greek, Latin, Old French, Ibero-Romance, Irish, Middle High German, Old Norse, and Arabic, and provide my own translations of the Greek, Latin, Romance languages, and Middle High German. Whereas most books summarize and allude to a few of these texts, I put them in context and give both the original language and a translation.
