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.
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.
John A. Lynn, Battle: A History of Combat and Culture. Updated with a new epilogue. Westview Press: New York, 2008. ISBN-13: 978-0-8133-3372-4 (Bookfinder link)
This week I am going to talk about a book written by a specialist in the wars of Louis XIV of France, only two of whose eight chapters deal with ancient warfare in the broadest sense. That is because the book is one of the few which does the work of demolishing one of the most influential and least accurate ideas which an ancient military historian has ever presented to the public: the Western Way of War. Yet rather than be purely destructive, it goes on to sketch a scientific approach to war and culture, and even presents a model which scholars can apply to other cases. It does all that in an affordable volume written for lay readers in the United States where belief in a western way of war is strongest.
Capo Ferro’s engraver illustrates the perils of lifting one’s shield to parry a feint to the high left, giving one’s opponent a chance to strike low unseen (Gran Simulacro, Siena 1610 edition, plate 42). Photo c/o Wiktenauer http://www.wiktenauer.com/wiki/File:Capo_Ferro_42.jpg
A discussion on another blog revised an old controversy, namely what size of sword the Italian master Ridolfo Capo Ferro expected his students to use. I am not a student of any seventeenth-century art, whether rhetoric or fencing, so I can’t contribute to the discussion with a perspective on what length of sword works best with his techniques, or what length was most common in northern Italy in 1610. I am a student of ancient literature, so this week I will talk about some things from the ancient world which help me to interpret his manual.
A votive statue of Chai-Hapi (a thousand of bread, a thousand of beer, a thousand of all good things to him!) excavated from the remains of Roman Vienna. Carved from gneis. In the style of late 19th Dynasty Heliopolis. Wien, Kunsthistorisches Musem, Ägyptische-Orientalische Sammlung, Inv. Nr. Äs 64. Photographed on special exhibition at Schloss Ambras by Sean Manning.
When Tutankhamun’s tomb was opened, the excavators found a copper trumpet and a silver trumpet. The British looked at them and thought a bit and decided that the obvious thing to do was to play them for the BBC. The recording is now available on YouTube (c/o Bronze Age Centre)
Last week I discussed how two cuneiform tablets in the British Museum preserve an account of Alexander’s invasion of Babylonia. These tablets are very important, because they are contemporary (not written hundreds of years later like the surviving Greek and Latin accounts) and by Babylonians (also unlike most of our written sources). Yet just like any ancient text, their contents must be interpreted, and scholars with different backgrounds can interpret them in different ways.
It is notorious that few stories about Alexander the Great written during his lifetime survive. The embroidered narratives by Greek and Latin writers which form the basis of most modern accounts were written 300 to 500 years later. A few of Alexander’s coins and inscriptions have been preserved, but they naturally give his point of view. A few chance references in Greek literature give a sense of the shock which many contemporaries felt that the king of a land on the edge of civilization suddenly overthrew the greatest power which had ever existed and conquered places which were little more than legends. One of the few long stories about Alexander which does survive in a version written during his lifetime is a cuneiform text, the Astronomical Diary for Gaugamela. This week I thought that I would write an introduction to the Diary and what is involved in reading such a text. Next week I will talk about two different ways of reading them as represented in articles by R.J. van der Spek (English: Darius III, Alexander the Great, and Babylonian Scholarship) and by Robert Rollinger and Kai Ruffing (German: ‘Panik’ im Heer: Dareios III, die Schlacht von Gaugamela, und die Mondfinsternis vom 20. September 331 vor Christ). I hope that the second will be helpful for readers who are interested in ancient history but not comfortable reading German.
A number of people are trying to recreate prehistoric European martial arts: ones which have left neither a living tradition, nor manuals. One of the most serious attempts focuses on early medieval combat with sword and shield and is lead by Roland Warzecha:
Torso in a Hellenistic tube-and-yoke cuirass (on display in Palazzo Te, Mantua; photo Sean Manning)
One category of evidence central to this issue [of the abuse of civilians by soldiers] is the large number of petitions directed to officials, where in one sample roughly a third were directed to centurions acting in a local police role (Hobson 1993 = ‘The Impact of Law on Village Life in Roman Egypt,’ in B. Halpern and D. Hobson (eds.), Law, Politics and Society in the Ancient Mediterranean World. Sheffield, pp. 193-219). The sheer number of petitions suggests that abuse was widespread. A still further complication could be that a centurion was petitioned concerning abuse by a soldier. How likely is fairness in this regard? Such was the case for Aurelius Sarapion in a petition to the centurion Aurelius Marcianus:
there is nothing more dreadful or harder to bear than maltreatment. At the time of life I have reached, being over eighty years, I served faithfully as an Arab archer. A sow having escaped from my daughter in the village and being reported to be at the house of the soldier Julius, I went to him to demand his oath about this matter, and he laying hands on me, despite my age, in the village in the middle of the day, as if there were no laws, laboured me with many blows. (P. Graux 4 [248])
He goes on to list witnesses and to seek redress.
From Colin Adams, “War and Society in the Roman Empire” in B. Campbell and L. A. Tritle eds., The Oxford Handbook of Warfare in the Classical World (Oxford University Press: Oxford 2013) p. 267
(I do not have access to that volume of P. Graux, so I cannot give the original text)
Adams uses this papyrus to ask a question about how often Roman centurions (who often acted as judges and police in the countryside) gave justice when a civilian accused a soldier. Today I will ask another question. In this passage an ancient person tells us a great deal about who he was, or who he wanted to be seen to be. So what was Sarapion’s ethnicity? I would encourage my learned readers to really think about this whether or not they click “more” to see my opinion.
The last few copies of Philip de Souza ed., The Ancient World at War seem to have reached bookstores and are selling at a discount. My copy was well worth the reduced price. This book contains some good chapters and beautiful photos, although some of the ideas and illustrations are familiar from other books for... Continue reading: Some Thoughts On “The Ancient World at War”
