While getting involved in a land war in Asia and going in against a Sicilian when death is on the line are classic blunders, most scholars agree that quilting a garment before you have made sure that you really have one right and one left breast is a good one too. Fortunately, that is a mistake which just costs time and thread to fix.
Solution below the fold.
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Some of my hobbies are making me think about fabric. I used to think that fabric containing both cotton and linen was a product of the last thousand years, as cotton production spread west from India into areas with a strong tradition of weaving linen. In the second half of the middle ages, cities in Italy began importing cotton from Egypt and Turkey and Syria and weaving it themselves, and the trade slowly spread north across the Alps. The basic idea was that cotton was cheap and absorbed dye well, while linen was strong but hard to colour. Some weavers found that if they used cotton for the warp threads, they tended to snap. So a mixed cloth with a linen warp and cotton weft was both strong and colourful. In the middle ages these cloths were known by names such as English fustian, Italian fustagno (from the suburb of Fustat in Egypt) or German Barchent. Today weavers are comfortable with a cotton warp, and artificial dyes can colour pure linen any imaginable colour, but cloth with cotton running one way and linen threads the other is still used for shirts and other items. I did not think that these mixed cloths existed before the middle ages. But now read this!
The finds of archaeological linen textiles display a wide range of qualities in ancient Greece. However, they are primarily burial finds and thus no adequate source for the topic of clothing practice. Nothing, however, suggests that linen textiles were rare, or associated only with female burials or those of foreigners. Linen textiles occur much more frequently than wool textiles in the archaeological record in Greece, as Moulherat and Spantidaki have observed, but this only reflects the preservation conditions in Greece, and does not denote a choice of fibre. A linen textile of impressive size came to light in Eleusis: it measures 220 cm × 50 cm. It was found in a bronze vessel dating to the mid-5th century BC. Preserved linen textiles with 100 threads per cm are not unknown in classical Greece. From the 5th century BC such a linen textile was found in a tomb at Kerameikos; another 5th century linen fabric of similar quality comes from Kalyvia Thorikos. In another 5th century Kerameikos grave, linen textiles with remains of stitch holes from embroidery and fabrics decorated with purple were recovered. The original assumption of silk fabrics has now been proven wrong in new analyses by Christina Margariti and colleagues who demonstrated that there are four different fabrics of which two are of made of linen, while another fabric is probably made of cotton, and the last is woven of linen warp and cotton weft.
That quote comes from an article by Marie-Louise Nosch where she argues that scholars have been too hasty in following a passage in Herodotus and dismissing the use of linen in classical Greece (Hdt. 2.105 tr. A.D. Godley):
I hope that everyone reading a blog like this has read the late John Keegan’s Face of Battle. In 1976, Keegan interrupted the quiet field of military history with some rude questions: Why was it that so many “battle pieces,” however detailed and colourful they sounded, did not explain what happened and how? Just where did the idea of the decisive battle come from? How much did we really know about famous battles? Using a few carefully chosen examples, he demonstrated how conventionalized and unrealistic many stories about battles were, even those by “serious historians” writing “technical accounts.” And then he suggested that two things had to be done: historians needed to study the “battle piece” as a genre and consider the tropes and assumptions which shaped it, and they needed to ask what individuals and small groups actually did in battle. He then explained that he did not have the energy, skills, and ambition to write a history of the battle piece as genre. Thus the next three chapters of his book are studies of what happened on three different battlefields in northern France, beginning with a sketch of the strategic situation and the course of the battle then narrowing in to focus on how and why the men on both sides fought. He borrowed some exciting new ideas from psychology and sociology and literary criticism, and added a fifth chapter with an extended comparison between soldiering and mountaineering to make the point that for the last century or so combat had come to demand more and more of soldiers to the point that it was difficult to envision what a clash between two modern armies would look like, even before the first nuclear weapon went off.
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Since 1933, it has been well known that the forces of madness have an affinity with unusual topology. In the case of this style of garment, layers of flat cloth are assembled into a three-dimensional garment shaped like an hourglass, using a saddle-shaped curve along the high waistline. From this stage onwards it is hard to lay the assemblies flat for photographing, because the whole point of assembling them is to stretch flat planes into a three-dimensional shape. I used some books to support the edges of the seam across the small of the back to help create the right effect for the camera.
The ground has been surveyed, the walls measured, and the materials gathered. Now it is time to build the siege ramp for this sartorial siege, or less metaphorically to quilt endless rows of stitches.
Not even the weapons of Erra and the scornful ghosts of the Innsbrucker Schneiderkunst can stop this madness.
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Although military history fills the television screens, YouTube channels, and bookstore history aisles in Canada just as in other countries, its presence at universities is very modest indeed. Until October 2015 I did not know of anyone who studies any aspect of warfare before the nineteenth century who teaches history at a Canadian university to fund his research. At least a hundred faculty are paid to teach history before the nineteenth century at a Canadian university [1], but very few chose to publish on the military aspects. This week I thought I would list the determined scholars who insist on working on this topic at an advanced level at Canadian universities.
On the great central relief of the North Staircase at Persepolis, which was presented front and center to visitors approaching the palace for an audience, a weapon bearer stands in the background with the royal axe and bow. His axe has a long, narrow head like a pick. A clever craftsman has formed the socket into the head of a strange creature, and the blade into something which comes from its mouth, while the back-spike becomes its tail. Several iron or bronze axeheads of this type survive, but none is so beautifully formed.
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(Due to some events in my private life, this post is late and pulled out of my file of drafts)
Gui Minhai, a Chinese Suetonius who did not wait until his targets were safely dead, was disappeared in October 2015. In January 2016 he appeared on Chinese state TV to make a confession then vanished again.
A character sketch of Edward Luttwak, another of those curious American academics-cum-policymakers whom my readers may know for his Grand Strategy of the Roman Empire and Grand Strategy of the Bzyantine Empire.
A watercolour of Innsbruck in 1495 courtesy of Albrecht Dürer. He sat to sketch a little bit downstream from Conrad Seusenhofer’s house.
In December 2015, Steven Payne made a pilgrimage on foot from Southhampton to Canterbury in fourteenth-century kit.
L. Sprague de Camp’s historical novels set in the Mediterranean between the fifth and the second centuries BCE have been reprinted in codex and ePub by Phoenix Pick. One of them imagines the events which might lie behind the very detailed description of an elephant in Aristotle; readers who enjoy stories about the gifting of large animals over long distance might enjoy reading up on the elephant Harun al-Rashid gave to Charlemagne, the elephants Nadir Shah sent to St. Petersburg for Emperess Anna of Russia, or the giraffe which Sultan Faraj of Egypt sent to Samurkand for Tamurlane.
