Iron Age

The Man from Arados

A relief map of the eastern Mediterranean showing Rhodes off the southwest coast of Turkey (ancient Caria) and Arados off the coast of Syria opposite Cyprus
Modified from a map by the Ancient World Mapping Center http://awmc.unc.edu/wordpress/free-maps/mediterranean-physical/ Version 1 date 22 November 2004

In the time of Antigonos the One-Eyed, an ingenious character named Kallias of Arados came to Rhodes and impressed the city fathers with his knowledge of all the latest engines for defending a city, and some which were so new that nobody had yet turned his sketches and models into a full-sized prototype. Kallias did such a good job of impressing them that they gave him an office in place of a Rhodian and funds to turn his ideas into reality. When Demetrius the Sacker of Cities arrived outside of the walls, Kallias executed his office until the Rhodians found out that his favourite machine, a crane for lifting siege towers as they approached the wall, would never work in full-size as well as it did on a model.

There are a lot of things which could be taken from this story, and a lot of details which could be imagined in turning this fable about the square-cube law back into the story about human beings which lies behind it. The detail which I want to point out is that Arados is an island off the Phoenician coast, whereas Rhodes is an island off Caria.

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Snark or Piety on an Assyrian Muster Roll

Carving of two bare-headed scribes, one beardless with a scroll and one bearded with a writing boardin several leaves, in a grove of date palms.
Scribes take notes as an officer rewards a soldier for taking enemy heads. An Assyrian relief from Nineveh, late 7th century BCE. British Museum, Number 124955. Image courtesy of the British Museum here.

Tel Halaf 23 = Aaron Dornauer, Das Archiv des assyrischen Statthalters Mannu-kī-Aššur von Gūzāna/Tall Ḥalaf. (Harrasowitz Verlag: Wiesbaden, 2014) no. 21 Truppen vor Hūˀa-dīdu pp. 53, 54

This little, undated tablet is a list of names with a note every dozen lines. It was written sometime around the 8th century BCE. Texts like this are rarely exciting, but if one pays attention details sometimes leap out.

Meˀīsu, his son
Hannān, his son
2 son (sic) of Zannānu
Adda-sakā, 2 sons
(5) “God as my witness, she’s really a daughter”: Sîn-iprus
Saˀīlu, 5 sons
Kuwayni, 2 sons
Manānu, his brother
Qatarā, 2 sons
(10) Nanî, Igilu
Total: 25 troops
who are before Hūˀa-dīdu

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The Shoulder-Flap-Cuirass from Golyamata Mogila

A photo of an armour comprising a Chalcidian helmet with hinged cheeks, a leather gorget covered in iron scales, and a leather cuirass with a skirt of feathers and two shoulder-flaps (aka. Jarva type IV/tube-and-yoke/linothorax) completely covered with iron scales
From Daniela Agre, “The Tumulus of Golyamata Mogila near the villages of Malomirovo and Zlatinitsa” (Sofia: Avalon Publishing, 2011) p. 73

Although many scholars grumble about reviews of academic books in academic journals, those reviews can still be valuable. In a review of that valuable but frustrating book from the Midwest, Raimon Graells i Fabregat mentioned some relevant evidence which the authors did not discuss:

In chapters 3 and 4, the author’s experiment is described, with a commentary on the materials and techniques used to reconstruct linen body armor. What is surprising is the absence of an analysis of the two iron cuirasses designed in the same way as linothorakes, one from Tumulus II of Vergina and the other from Burial III of Aghios Athanasios or even the complete linothorax from the Golyamata Mogila near Malomirovo and Zlanitsa. These metal cuirasses would doubtless have provided useful support and verification for technical aspects of the reconstruction.

The third armour was excavated a few years ago in modern Bulgaria (ancient Thrace), and pictures have been floating around on the Internet for some time. Fabregat cites the book in which it has been published with parallel Bulgarian and English text. It is made of one layer of medium-weight leather covered with iron scales. The collar should remind readers of the Alexander historians of a certain passage, and the difference between the right and left shoulders should make readers of Xenophon on horsemanship 12.6 ponder. The author has posted her book on academia.edu where it is available for free download (link). Download both files with the Roman numeral III in the title, and start at page 72.
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The Cult Wagon from Strettweg bei Judenburg

A bronze model of a four-wheeled wagon with several dozen naked men and women and horses standing on it and a central figure, twice as tall, holding a flat dish over her head with the help of two X-frames
The “Kult-” or “Kesselwagen.” Archaeologisches Musuem Graz, Schloss Eggenberg, no. 184. Photo by Sean Manning, September 2015.

This blog has been wordy of late, so this week I decided to post about one of the strangest relics I saw on my recent trip to Graz. It comes from a grave of the so-called Halstatt Culture which was discovered in 1851, and it was deposited there sometime around the end of the seventh century BCE. Since I know so little about the Iron Age in central Europe, I can’t be tempted to make a lot of wordy comments.

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A Third of a Metre of Linen, Some Thread, and a Few Spare Hours

Two 7 inch by 7 inch patches of cloth on a plastic cutting board marked with a grid.  One is quilted vertically every 1 cm with white thread, and one is quilted horizontally every 1 cm with purple thread
Two test patches, eight layers of linen quilted with thick white cotton thread (left) and seven layers quilted with thin silk thread (right). Photo by Sean Manning, January 2016.

Lately I have been trying to spend less time online and more working with my hands. For another project I wanted to practice my stab stitch and see how organic thread compares to the cotton-coated synthetic which I usually use. While I was doing that, I thought I would take a few hours to learn some things about a type of armour which many people today find difficult to understand, namely layered cloth. This post has many photos; don’t forget that you can click on them to see a larger version.

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The Armour of Patroklos

A painting of a circle withing which a man in Greek armour is crouching and bandaging the arm of a second who is sitting on his round shield
A Red Figure Vase of Achilles and Patroclus, painted around 500 BCE. Courtesy of Wikimedia Commons https://en.wikipedia.org/wiki/File:Akhilleus_Patroklos_Antikensammlung_Berlin_F2278.jpg

I am sick again this week and have not been able to finish a craft project which I wanted to talk about, so I thought I would post half a thought about armour instead. The vase painting above is one of the most famous. Pottery geeks try to assign it to a group of paintings from the same workshop, students of mythology appreciate that Akhilles and Patroklos are labeled, and students of material culture enjoy the details of military equipment. The view of the shoulder-piece springing upwards as soon as it is untied, and of the skirt of ‘feathers’ stopping above the genitals, have shaped many modern ideas about Greek armour. Long ago Peter Connolly repainted it for his Greek Armies.

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This is Not a Translation of the Gadal-iama Contract

Although respectable German and French translations of the Gadal-iama contract were available by 1952, they were published in journals for specialists. As a result, many English-speaking readers first encounter this text as quoted or paraphrased in books on other topics. One of the most widely read versions was published in a life of Alexander by Robin Lane Fox and quoted by Paul Rahe in his article “The Military Situation in Western Asia on the Eve of Cunaxa.” But as with some other things in Lane Fox’s life of Alexander, this version is not exactly what it leads readers to think it is:

In one remarkable document, the problems are set out in detail. In 422 King Artaxerxes had summoned his colonists to attack the city of Uruk, but the summons had caught the Jewish owner of a land grant off his guard. Probably because of financial embarassment, the Jew’s father had been forced to adopt a member of the Murasu bank as his son, so that the banker could inherit a share in the family allotment, and as the land grant could only be owned by members of the family, adoption was the one means of evading the king’s law and endowing an outsider. When the father died, the adopted banker held one part of the farm, the true male heirs the rest. … Fortunate in his banking ‘brother,’ the Jew had struck an advantageous bargain; the wild cat bankers would not fancy fighting and so their adopted agent would finance the armour, silver tax, horse and, very probably, the groom, while the Jew would ride out at the risk of his life.

In the joy of his heart, Gadal-Iama the Jew has spoken thus to the son of the Murasu: the planted and plowed fields, the horse land of my father, you now hold because my father once adopted your father. So give me a horse with a groom and harness, a caparison of iron, a helmet, a leather breastplate, a buckler, 120 arrows of two sorts, an iron attachment for my buckler, two iron spears and a mina of silver for provisions, and I will fulfill the service-duties which weigh on our lands.

As the horseman owned no bow, the arrows were presumably to be handed in to the cashier and then distributed to owners of bow and chariot land.

– Robin Lane Fox, Alexander the Great, The Dial Press n.p. 1974 ch. 11 p. 159

Robin Lane Fox seems to have composed this version on the basis of the French and German translations which he cited. However, it is missing things in both of them, and contains things which neither does.

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The Reconstruction of an Iron Age Building

A path running through light woods with a building at the side with a lower story built from fieldstone and an upper story built from logs with their ends crisscrossed at the corners
A Rhaetian house reconstructed on the original foundations at the Ganglegg. Near Schluderns, Vinschgau, in Italy. Photo by Sean Manning, May 2015.

If you head up the valley of the stream which runs below Schloss Churburg, cross the river a short way past the wading pool which the Vinschgauers built for bathers who want enough water to get wet in in the summer drought or won’t dare the slippery stones of the streambed, and ascend the path which snakes up the right bank amidst jingling cowbells, you eventually reach an archaeological park on the mound called the Ganglegg. Aside from the uncovered foundations and picknick tables and aluminum signs, the designers of the park also decided to reconstruct a handful of buildings. But that decision was not without controversy amongst the archaeologists.

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The Thrust of an Argument

See caption
Impression of a seal on clay: a warrior in a Median hood and a cuirass with a tall projection behind the neck with a piercing axe thrust into it pulls an enemy’s shield down and stabs overhand into his chest as the enemy brandishes a club. From Erich F. Schmidt with contributions by Sydney P. Noe et al., Frederick R. Matson, Lawrence J. Howell, and Louisa Bellinger, Persepolis II: Contents of the Treasury and Other Discoveries. Oriental Institute Publications 69. Chicago: The University of Chicago Press, 1957 plate 9 seal 30. http://oi.uchicago.edu/research/publications/oip/oip-69-persepolis-ii-contents-treasury-and-other-discoveries

Sometime in the sixteenth year of Xerxes great king (circa 468/7 BCE in our calendar), someone at Persepolis turned a tablet with Elamite writing on end and rolled his seal along it. A conversation with Josho Brouwers of Karwansaray BV recalled it to memory. Because this seems to show the style of body armour with a tall neck-guard and flaps over the shoulders which is often understood as distinctively Greek and said to have been invented about a hundred years before Xerxes based on its appearance in Greek vase paintings. But there is no hint of the Aegean in this scene, and this armour is missing the skirt of pteryges around the waist which usually appear in depictions of armour with this cut from the Aegean.


Showing where this style of armour was invented and how it spread and changed is more difficult than it sounds. It is true that the earliest evidence is painted pottery from mainland Greece in the early sixth or perhaps the late seventh century BCE. But in the sixth century BCE, it happens that we have much more evidence for arms and armour from the Aegean than from anywhere in the neighbourhood. The people there painted armoured men on their pots with durable glazes and carved them on stone, and they deposited large amounts of armour and weapons in graves and especially temples. So it is very dangerous to say that the Greeks invented an object just because it is first depicted in the Aegean, especially if that object is one which does not survive well in the ground. It is usually thought that the first armours with this cut were of cloth or felt or hide, and none of those materials survives 2500 years in the ground unless the conditions are just right. Although by the second century BCE armour with this cut was being worn all around the Mediterranean and made in every possible material, not a single fragment made from cloth or hide has been identified. So while this style of armour was probably invented somewhere in or near to the Aegean around the sixth century BCE, its hard to say for sure that it was invented by Greeks.

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