I am not conquering this offcut of wood as I turn it into two laths for a scabbard core but I hope to get something lasting and valuable out of it
In 2023, Assyriologists specialized in the Achaemenid and Neo-Assyrian empires such as Christopher W. Jones and historians of warfare since 1500 such as Wayne E. Lee are interested in the mechanics of conquest. In the USA this may grow out of their failed adventures in Iraq and Afghanistan (link), while in Europe its part of the attempt to build support for the study of the ancient world. This post contains a bibliography on how people try to turn military success into lasting gains, whether by conquering and governing new subjects, terrorizing the inhabitants into giving periodic tribute, depopulating an area and settling it with their own people, or carrying off slaves and precious goods.
In January the Scholarly Skater reminded me of the panel painting of Christ mocked found in France and attributed to Cimabue of Florence who died in or after 1302. The panel is not in the best shape, but if you have seen the Maciejowski Bible or some 13th century French sculpture its nothing special. Panel paintings from the 13th century are rare but not as rare as many things. So why the fuss?
Martin Rundkvist, Mead-halls of the Eastern Geats: Elite Settlements and Political Geography AD 375–1000 in Östergötland, Sweden (Kungl. Vitterhets Historie och Antikvitets Akademien: Stockholm, Sweden, 2011) academia.edu
The first time I read Martin Rundkvist’s book on early medieval southern Sweden, I realized that Sweden is weird. That is because for the past two or three thousand years, the area has never been conquered or occupied by foreigners bringing an alien language and culture. The closest things to that are the arrival of Christianity and whatever happened in northern Scandinavia between Indo-European speakers, Finno-Urgic speakers, and whoever was there before them. I struggle to think of anywhere else in the world which could say the same. Norway got invaded by outsiders once in 1940, and Denmark sometimes had trouble with (Latin Christian) Carolingians, British, or Prussians, but basically wars in southern Scandinavia were between Southern Scandinavians whom the proverbial Martian would have a hard time telling apart.
In medieval films and TV, bright colours are forbidden on the battlefield and colours other than black, grey, brown, and blue are strongly discouraged. A clip from a Flemish historical drama on the Battle of the Golden Spurs from 1302 (The Story of Flanders / Het Verhaal van Vlaanderen (Bert Ceulemans and Filip Lenaerts directors, 2023)
Something elsewhere made me think of Poul Anderson’s classic essay “On Thud and Blunder” about sword-and-sorcery authors who don’t bother to consider the how and why as well as the what. I wanted to check when it was first published and link to the online text.
It was first published in Andrew J. Offutt (ed.), Swords Against Darkness III (Zebra Books, 1978) and reprinted online by the Science Fiction & Fantasy Writers’ Association. Anderson’s essay was the predecessor to Diana Wyne Jones’ book The Tough Guide to Fantasyland (first edition 1996, revised 2006 – Wikipedia).
Joumala Medlej, Inks & Paints of the Middle East : A Handbook of Abbasid Art Technology. Revised edition (Majnoura: London, 2021) GBP 20 https://majnouna.com/shop/books/
Inks and Paints of the Middle East is a practical summary of six Arabic treatises on making ink and paint dating from roughly 900 to 1400 CE (300 to 800 AH). Rather than translations, it provides illustrated descriptions of the different processes from making brushes and reed pens to gathering and grinding pigments to mixing them with each other and with binders. Endnotes discuss the scholarly details such as the sources for specific recipes (and some practical questions whether lead white pigment is safe to use, p. 115 n. 129). Most of these texts have never been printed or translated into a European language, or the existing translations and editions are inaccurate (few scholars are skilled in both medieval Arabic paleography and in the kitchen chemistry of making paint and ink).
We got some beautiful solid wood bookcases this year, unlike my old Ikea bookcases in Austria
I’ve never been sure how to do these since I switched from reading like a novel-lover (reading books in my native language from cover to cover then sending them back to the library) to reading like a scholar (dipping in and out of books, reading in languages I am not fluent in). Should magazines count? Individual short stories read online? Books and stories heard over the radio or on a mobile computer? And there is no sense making this into another piece of unpaid work keeping records of what I read! But I feel like doing one at the end of this year.
I err on the side of including things which don’t appear in my academic notes and reading list so might otherwise be unrecorded.
I am not including books which I read in manuscript.
This post might include some things from the last week of 2021. See previous discussion about unpaid work!
Lara Broecke, Cennino Cennini’s Il Libro dell’Arte: A New English Translation and Commentary with Italian Transcription (Archetype Publications: London, 2015) ISBN-13 978-1909492288
This summer I am reproducing some ancient shields, and since most face-to-face classes where I live are still closed, I am turning to the best possible teachers: Theophilius (fl. around 1100 CE) and Cennino Cennini (fl. around 1400 CE). Theophilius and Cennino teach almost everything you need to prepare a shield (or a panel) for painting.
The standard way to access Cennini is through three books published by Daniel V. Thompson around 1930 (an Italian text, a translation titled The Craftsman’s Handbook, and a practical handbook called The Practice of Tempera Painting). Lara Broecke has recently published a new edition, translation, and commentary of Cennini. These are thorough and scholarly and synthesize the past 85 years of art-technological research. If you want to know the chemical composition of Cennini’s gesso grosso plaster or giallorino pigment, look here. But Broecke distances herself from people who read Cennini as a textbook (pp. 1, 13, 305). Cennini was not a very good writer, his book may have been incomplete when he died, and none of the surviving copies of his work is a perfect representation of what he wrote. To understand why the old translations and editors of Cennini’s Book of the Art have the quirks which they have, lets turn to the Italian independent scholar Giovanni Mazzaferro:
Seven years after the first volume arrived at my doorstep in the Before Times, Olympia Auctions is accepting pre-orders for Armour of the English Knight, Volume 3: Continental Armour in England, 1435-1500. You can order a copy for a 10 GBP discount from the retail price at the Olympia Auctions website. I have to be... Continue reading: Cross-Post: Capwell’s “Continental Armour in England, 1435-1500” in Pre-Order
Another important detail: A Martyrdom of St. Sebastian in the BNM Munich showing the telltale red belly and yellow back of a bowstave made from the heartwood of a yew tree.
At the moment, many archery enthusiasts are telling anyone who will listen that soldiers’ bows usually had draw weights of 100 lbs and more (Deer hunters today usually use bows with a draw weight on the order of 50 lbs, casual or target archers often use bows about half as heavy, and even hunters of larger game rarely use a bow with a draw weight of 100 lbs or more). In other words, you could draw the bow to its full draw length by hanging it string-down and suspending 100 lbs or more from the middle of the string. If this idea is correct, many men in the ancient world did something which is much more physically demanding than is commonly thought. This week, I would like to post some of the evidence which I know which might be relevant to the strength of bows used in the eastern Mediterranean around the sixth, fifth, and fourth centuries BCE. I hope that some of my readers can suggest more sources.
Back in February, as the evidence grew that Putin was about to commit the great mistake, journalists were sharing stories like this:
Dmytro Skatrovsky said he had not been notified by text but had turned up anyway outside the Svyatoshynskyi recruitment centre, in western Kyiv. He spent three years in the army and took part in the 2014 battle to evict separatists from the port city of Mariupol, he said.
“I’ve bought two sniper complexes with good optics,” he added. “I’ve also ordered a drone on Amazon. It hasn’t turned up yet.” Skatrovsky said a group of friends had chipped in to get the rifles – at a cost of $10,000 (£7,370). US contacts had paid $2,300 for the drone, he said.
Over on corporate social media, I see some people who are amazed and offended to see a wide range of kit in photos from the war in Ukraine, ranging from the latest and most fashionable rifles to Maxim guns on steel carriages and – well, I have not personally seen the 1903 Springfield rifles, and the WW II vintage Panzerfaust may have been stolen from a museum. I am not sure if that is as unusual as they think: the German army which invaded the USSR in 1941 has been described as a military museum on wheels, one of the machine guns in the Citadel at Halifax was removed from the museum collection circa 1991 because the Army needed it again, and an American National Guard veteran claims that his unit invaded Iraq in 2003 with old M3 grease guns last produced in 1945. In fact, if you looked at a random army sometime in the past few thousand years, I think you would see just such a diversity of arms, some bought from private sources, others made in rough workshops, others donated, and yet others purchased by the state.
