The St. George from Großlobming, Styria, in the Belvedere, Wien.
If you make your way to the Belvedere in Vienna, grumble at the steep price for tickets and gawk at the splendid, arrogant promenade sloping down towards the city centre and the lower pavilion, you will find yourself in the marble lobby of the Upper Belvedere. On the upper floors they have the Napoleon Crossing the Alps by David, some colourful paintings by Gustav Klimt, and a lot of softcore nudes for lonely Victorian gentlemen, but the most magnificent work is in a little suite of rooms on the ground floor opposite the gift shop and the cafe: a collection of statues from a little village church in the hills of Styria. I could talk about each of them, but because this blog is what it is, I will focus on the St. George.
Take a few moments to take him in: the expressive arms, the long slender profile with a high narrow waist and a deep rounded chest, the ethereal, emotionless face as he places his lance just right … some of the best things about Latin Christian art at the end of the 14th century in one statue. The little church does not have records of when it was redecorated, so when he was made can only be guessed at: probably sometime within 20 years of 1380.
Paladin Press in the USA, republisher of old military and intelligence manuals and publisher of the only handbook for plate armourers, an early interpretation of Sigmund Ringeck’s teachings on the longsword, and many excited books and videos with “combat” “tactical” “street” or “survival” in the title, is going out of business on 30 November 2017.... Continue reading: Cross-Post: Paladin Press is Shutting Down
A commentator on the Angry Staff Officer’s blog introduced me to Major Digby Tatham-Warter (d. 1993): A Company was then chosen by the battalion’s commanding officer, Lieutenant Colonel John Dutton Frost, to lead the 2nd Parachute Battalion in the Battle of Arnhem, part of Operation Market Garden, because of Digby’s reputation of being an aggressive... Continue reading: Any One Method of Communication Can and Will Fail
The cheekguard of a bronze Chalcidian helmet, in repoussé, by Jeffrey Hildebrandt. Horsey! Jeffrey Hildebrandt is offering several courses on historical metalworking techniques in Saskatoon, Sakatchewan this winter. Schedule for 2017 November 4 – Repoussé. Learn the basics of this venerable art form, creating fine relief work over pitch. $150 + tax... Continue reading: Cross-Post: Historical Metalworking Courses in Saskatchewan
A golden akinakes in a private collection. “Said to be from Hamadan” (ancient Ecbatana), first documented in 1956. 41.27 cm long, 817 g. For details, see Forgotten Empire: The World of Ancient Persia p. 233 no. 430 Courtesy of Samira Amir https://www.pinterest.com/samiraamir/
A time long ago- maybe in Darius’ Ecbatana, maybe in the bazaars of Tehran around the time Mosaddegh was overthrown- someone made this golden dagger. The classical sources let us see what such gifts could mean.
For who has richer friends to show than the Persian king? Who is there that is known to adorn his friends with more beautiful robes than does the king? Whose gifts are so readily recognized as some of those which the king gives, such as bracelets, necklaces, and horses with gold-studded bridles? For, as everybody knows, no one over there is allowed to have such things except those to whom the king has given them.
I don’t know whether Xenophon was correct about that last point: lots of Persians in sculptures from court or cemeteries in the provinces wear golden bracelets and silver torcs (and in fact, in the sculptures at Persepolis the subjects are giving the king jewellery rather than the other way around). But he knew that gifts were a serious matter.
Although a brute beast who does not even know aleph bet gamel, this cat knows exactly what that sign means! A model of clear communication. Photo by Sean Manning, October 2017.
And for me it was worth it just for this footnote: “TeX is pronounced ‘tek’ and is an English representation of the Greek letters τεχ, which is an abbreviation of τέχνη (or technē).” All these years I’ve been saying “tex” (and “latex” for LaTeX) like a doofus! … And LaTeX is pronounced [lɑːtɛk]
Table 1: Special Characters Used for Transcribing Ancient Languages
Character
Name
Approximate Pronunciation
IPA
ḫ
n/a H with breve below
Classical Greek chi, <ch> as in Scots loch, German ich
x
x
n/a x
In Old Persian, <ch> as in German auch (not [ks] as in English hex)
x
One letter in Latinized Akkadian (ḫ) and one in Latinized Old Persian and the International Phonetic Alphabet (x) have the same pronunciation. But look at which pronunciation it is!
One of the streets near the Zentrum für alte Kulturen, Innsbruck. Sorry for the rush-hour traffic, but sun waits for no photographer! This blog is in its fourth year, and I have posted almost every week. But in this fifth year (my years start in September), I have a dissertation to finish and some issues... Continue reading: Change in Plans
There is a new life of Hypatia of Alexandria out for a modest price ($30). Hypatia is a figure who has a significant role in modern pop culture (there is even a good film about her!) and polemics about religion, but comes from a place and time which is not as accessible as Socrates’ Athens or Marcus Aurelius’ imperium. But Alexandria in the fourth century CE was a colorful place, full of faction-fights and nations, sects, and languages all jumbled together. So if you want a look at that world by someone who is more interested in the ancient world than scoring points in modern debates, you might want to check it out (you can find a new or used copy on bookfinder).
Edward J. Watts, Hypatia: The Life and Legend of an Ancient Philosopher. Women in antiquity. New York: Oxford University Press, 2017.. Pp. xii, 205. ISBN 9780190210038. $29.95.
Reviewed by Aistė Čelkytė, Underwood International College, Yonsei University (aiste.celkyte@gmail.com)
This monograph, dedicated to reconstructing the life and career of the Alexandrian mathematician and philosopher Hypatia, is part of the Women in Antiquity series. The study has a strong historical focus, so that little is said about Hypatia’s philosophical views, apart from identifying Hypatia as a Plotinian Platonist, that is, one who did not engage in theurgical practices popular among contemporary Platonists. The choice of a historical focus might seem surprising as the evidence for her life is very sparse, but Watts presents a detailed picture of Hypatia’s career by means of innovative use of a large variety of texts. The book is comprised of introduction, ten chapters and concluding remarks.
Some happy warriors after a historical fencing event in the Midwestern USA.
Quite a few people seem to be finding their way to my post about why I drifted away from the historical fencing movement. While I think it needed to be said, it might leave someone wondering what I found attractive about that world in the first place. Some of the reasons seemed obvious: the historical fencing movement gives people the chance to learn horse archery in Vancouver and a reason to get happy and sweaty with a group of friends (sometimes leading to to other more private happy-sweaty times). Those are wonderful things! And while I am not sure how much we can know about how ancient Greeks or Viking Age Norwegians used their shields, I think that someone who wants to know would be wise to get one and spend time moving it (because Thucydides and Snorri Stirluson wrote for an audience who had all used spear and shield). So this week, I would like to talk about some good things which the community does in 2017.
Like many historians who work with Xenophon, I get very frustrated with the way that his calm, manner-of-fact style can hide evasions of the truth. I don’t think he is more unreliable than most old soldiers (and he does not make any great claims for his own reliability), but he is such a good writer that he often lulls readers into trusting him when they should not. But sometimes, like in a passage which I recently rediscovered, he hints at what he is trying to do.
At the beginning of the Cyropaedia, Xenophon describes Persian institutions for raising young men at some ill-defined time. In their teens and early twenties they spend their time guarding the city, practicing with the bow and javelin, and hunting, and then they graduate to a stage of life where they are expected to engage in more difficult kinds of fighting:
But if soldiering is called for, those who have been educated in this way go soldiering armed not with the bow or even the javelins (palta), but with what is called kit for hand-to-hand combat: body armour (thorax) about the breast, a wicker shield (gerron) in the left hand, just like the Persians are drawn holding, and a machaira or kopis in the right.
Just like the Persians are drawn (γράφονται) holding? Xenophon is appealing to vase paintings for support! This is remarkable, because the crescent-shaped shields and curved swords which barbarians often wield in Attic art are characteristic of the Aegean. They were popular with nations like the Athenians and Thracians and Lydians, not (as far as we know) amongst the Medes or Persians. Moreover, by Xenophon’s day easterners in South Greek art are hard to identify with specific ethnic groups: their clothing and weapons seem to be a mix of Thracian, Scythian, and Anatolian fashions. So what is he doing when he compares the weapons of Cyrus’ Persians to the weapons of generic orientals?
