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.
Detail from a New Kingdom relief of soldiers in the Museo Civico, Bologna. Photo by Sean Manning September 2018.
I have said that the ‘hoplite debate’ from 1989 to 2013 was an argument between people who were very similar to each other. One way they were the same was that they were almost all men. Is that because academic military history in general is male-dominated? That would not be a very good argument because military history is so marginal at universities that most people who do it have another research field. But more importantly, I can think of about two dozen40 fifty women who have made significant contributions to the study of war in the ancient and medieval worlds. From my point of view, a doctoral dissertation, scholarly book, or several influential articles are enough to be significant.
People who are interested in martial arts from the 14th century onwards can work from books meant to describe those arts. But that does not mean that other types of evidence suddenly become irrelevant. A fundamental principle of historical research is that claims should be backed by multiple kinds of evidence. We can study arms and armour, the culture of violence, and poems about people training. And we can also study pictures of people fighting. The painter of a book of Old Testament stories in Fulda (Hochschul- und Landesbibliothek Fulda, manuscript Aa 88) shows many things which resemble fencing manuals painted a few decades later. The library in Fulda estimates that it dates around 1350-1375 and that seems about right to me.
The self-taught scholars in the historical fencing world do many things well, but their translations of arms-and-armour terms are not always the best. A story from ancient Persia, how Artabanus murdered the king and his older sons and then was killed in turn by the young son he meant to use as a figurehead, helps us improve our translations. This story is available in the original Latin and in French and Italian translations written and illustrated during Fiore’s lifetime, so we can compare the Latin terms to the French or Italian terms to the paintings.
In Fiore’s sword in armour, both Tom Leoni and Colin Hatcher translate lo camaglio as “the mail coif.” It obviously means “camail: drape of mail hanging from a headpiece to protect the throat and the sides of the head.” Warriors in Fiore’s day no longer wore a complete hood of mail, but they often wore a camail to protect their faces and necks. In the picture above, two soldiers in the background have blue steel camails attached to their grey headpieces. Perhaps the blue indicates that the mail has been quenched in water and tempered by reheating to around 650-700 degrees Fahrenheit (Giambattista della Porta describes this in Natural Magic, book 13, chapter 4).
Like me, this European wall Lizard (Podarcis muralis) lives here because its ancestors were brought here and have been living here ever since! According to Thompson Rivers University these are an invasive species on the Saanich Peninsula. Photo by Sean Manning, May 2021
The wars I mean are those fought between two widely separated races accustomed to a different physical environment. Then it may naturally happen that each race or nation has developed an armament and a style of fighting suitable to the nature of the country in which it dwells, and is practically unable to alter its national arms and tactics. …
The best examples which history offers of this are the great struggles in ancient or mediaeval times between East and West. Here as a rule the opposing armies differ entirely in character. The Western nation is apt to rely on solid masses of heavy-armed warriors, the Eastern on cavalry and archers skirmishing in open order. This contrast is nowhere better seen than in the Persian War, but something like the same difference meets us again in later history, in the wars of Rome with Parthia, or in the Crusades, though in them, while the Orientals still trust to light horse and archers, the men of the West rely no longer solely or mainly on infantry, but on heavy-armed horsemen, supported by infantry armed with missiles.
News of the first strikes against Afghanistan indicate that a tested Western response to Islamic aggression is now well under way. It is not a crusade. The crusades were an episode localised in time and place, in the religious contest between Christianity and Islam. This war belongs within the much larger spectrum of a far older conflict between settled, creative productive Westerners and predatory, destructive Orientals. –
In the latest issue of Desperta Ferro Antigua y Medieval (link if you read Spanish) I wrote about how many people telling the story of Xerxes’ Ionian War want one side to be a lavishly equipped professional army and the other to be a gang of ragged freedom-fighters, but they can’t decide which side should be the Greeks and which side should be the Persians. If the Persians are the mighty imperial army with the latest equipment and training, they are not the peoples overcome by European firepower and drill in recent times. If the ancient Greeks are the quarreling aristocrats and aggressive amateurs which they tell us they were, they are not Mr. Kipling’s army in skirts. People want to identify with the underdog, but they also want to believe that superhuman forces make their side’s victory inevitable. Its hard to reconcile those two wishes.
There is also a simile where Greeks battling Persians are like crusaders battling the Turks. The people who make this analogy know as little of one as the other, but it sounds impressive. And this kind of rhetoric also has some contradictions which you can see if you read the words of an obscure lieutenant of cavalry.
