Various practical addenda from Plataea 2022

Well, Plataea 2022 ended on Saturday and although there's a lot to be said, I'm limiting myself to some observations to bear in mind about all the stuff I brought out there:

-  A four-inch-wide (internal), eight-foot-long PVC pipe with caps held on by duct tape makes a very protective package for spears, but it's so heavy and awkward (particularly when you already have two suitcases and a rifle case with your bows and arrows in it), and expensive to ship, that I wound up leaving both it and all my spears spears with other reenactors who felt they'd have a use for them and less difficulty/expense transporting them.  I will not travel with spears in the future.  If I send any more to Greece, I'll send them well ahead of time by the cheapest service available and leave them with a trusted friend.

-  Under the (to my Pennsylvanian standards) quite aggressive heat and sun, the film of linseed oil-beeswax sealer I applied on top of the oil paint on my crescent shield softened and rubbed off.  Specifically, the area on top of the dark red ochre-painted part of the shield; the area on top of the white edge was somewhat more resistant (presumably because the film is transparent and the dark paint heated up in the sun faster).  The same mixture used as a paint binder on my new gorytos was also more resistant, but did soften after prolonged exposure, allowing thicker bits to be scraped off.  The rosin-beeswax glue attaching the leather facing of my new akinakes scabbard also softened.  By contrast, anything treated, bound or sealed with only linseed oil or rosin (the ochre paint on the shield, the spear handles, and the sinew wrappings of my arrows) were all fine.  So basically anything containing beeswax was in danger of melting.

-  The buff leather weapon belt performed admirably.  The chrome-tanned belt sagged and became uncomfortable.  I'm not sure whether this is because the holes I punched in the buff belt allowed it to be laced tighter or because it's a thicker leather, but I suspect both.  The belt being nice and snug was definitely helpful.

-  As I suspected, the smaller bow and commensurately smaller gorytos and arrows were much easier to carry.  The search for an accurately Classical-styled bow of less than 36 inches strung continues.

-  The 1/2-inch-thick wooden crescent shield is at least as heavy as larger wicker ones in the same style.  This, too, needs improvement.  I also threw together a round wicker mat with pelta-style grips and a suede facing, which at 16 inches in diameter (about the size of the smallest Scottish targes, and barely large enough to cover my arm from elbow to knuckles with fingers closed around the handgrip) is so light I barely notice I'm wearing it, but I'd have felt much, much better about it if it were crescent-shaped.

-  A 12-ounce ceramic bottle, while convenient to carry, is only around a quarter as much water as I need to drink over the course of a Greek midsummer day in the field.  Also, water left out becomes as hot as the surrounding air in just a few hours.  What I wound up doing was to take a two-liter plastic bottle of water and keep it overnight in the hotel minifridge where it half-froze, wrapped it in spare clothing and kept it in my tent in my suitcase.  That way I could still at least refill my ceramic bottle with slightly cool water by the end of the day.  A proper cooler with ice blocks would've been better.

-  Food must be kept elevated or it will be invaded by ants.  A table of some kind, a crate, a box, anything will help.

Plataea 2022 is on

The 2,500th anniversary commemoration of the Battle of Plataea will be on July 26-31 next year.  That gives just over seven months to prepare, so for anyone who's dawdling about working on their kit (myself included), now's the time to get cracking.

Pre-Registration open for Plataea 2021

Mark your calendars for June 28-July 5, 2021 and click here to let Hoplologia know you'll be there!

Many thanks to Christian G. Cameron for the link.

Plataea 2021

Two days ago, Christian Cameron of Hoplologia and the Amphictyonic League announced a tentative date of June 28 to July 4 to mark the 2,500th anniversary of the Battle of Plataia, one of the largest battles and major turning points of the Greco-Persian Wars.  Get your arrows ready and join us!

See you at Schinias Beach?

Discussions are up at Amphictyonia's Facebook page on the topic of the next major reenactment in Greece.  If you want to keep up with the discussions as they happen - and I highly recommend it, as it's difficult to summarize an ongoing conversation - contact Christian Cameron or Giannis Kadoglou and ask to be added to the group.  As of now, ideas are on the table for events at both Marathon and Plataea, with several people leaning toward a Marathon 2018 event and Giannis Kadoglou proposing an immersive event for Plataea, with less public time.

Minnetonka, the final chapter

Earlier this year, I noted that the Minnetonka "classic fringe" boot could be improved by replacing the laces with flat thongs, and more recently that the side openings are actually accurate for the standard Medo-Persian shoe.

Art from the period of Darius to the Alexander Sarcophagus does not indicate shoelaces run through slits or eyelets.  Thus, to the best of my knowledge, the thongs should probably be just stitched around the upper edge of the shoe.  So this is what I've done.

Before doing this, I also managed to pull off the heel layers.  I believe that this is the maximum extent to which this particular model can be improved.  I tend to work slowly, and I estimate the total time in this case to have been about six hours.

Conclusion:  If you find yourself in a hurry, the earlier slit method is still okay, but otherwise what you see above is what I'm going to recommend if you don't have the skills to make shoes yourself.  (Again, the hardsole version seems to have been discontinued; softsole boots can be used as-is or you can tunnel-stitch or glue a leather or rawhide hard sole to them.)  The significant remaining flaws are that the soft sole wraps too high up the sides, resulting in something of a "moc toe" look, and that the forward edges of the quarter slant forward instead of backward.

Making a wooden akinakes scabbard, part III

Next up is finishing the tab.  Drilling a large enough hole for the attachment is simple enough.  But since the little ear where the suspension is actually attached looks like a weak point to me, and furthermore pine is a rather weak wood to begin with, I'm trying to reinforce it, using sheet brass and epoxy.  I don't know of any evidence for this sort of feature; probably the originals were made of a stronger wood.  But it'll be covered with something (probably leather).

The chape is proving problematic.  The originals were most commonly made of bronze and sometimes bone.  Since I can't cast bronze yet and am having trouble finding a useable lump of bone (it should probably be made of the knuckle end of a cow, sheep or goat leg bone) here I'm using wood as a stopgap measure.  Wood is only this side of allowable on the precedent of the scabbard from Egypt, and it should be replaced presently.

 

Again it's the very common goat motif, though others are sometimes attested.  Unfortunately, what I thought was maple has turned out to be something quite a bit softer and more open-grained, also of less uniform hardness, so this carving is cruder than I'd like.  I'll probably attach it with rubber cement so it can be easily pulled off when the time comes.  A good friction fit will do most of the job, but a little adhesive is necessary, as I learned by nearly losing my pewter chape in the sand at Marathon 2011.

Leather and shoes, further updates

I've been in a lengthy and very informative discussion about leathers over at RAT, and it seems that grained leather may be on the table again.  This is not inconsistent, since what I've read from brain-tanners is only that it's not easy to get the same softness from a hide without scraping the grain off; they never said it was impossible.  Member Ivor (Crispianus) brought to my attention two things I found surprising:  a modern repro of an Iron Age shoe, tanned with fish oil with the outer grain intact, and a detail from a piece of Hellenistic statuary showing a pair of Iranian shoes from the side.

It is a scan from Skulpter des Hellenismus.  It shows that the ankle shoe in this period was made not from a one-piece upper (a la the Plains moccasins and Hedeby shoes I'd been using as a model), but from a separate vamp and quarter.  This allows the quarter to rise as high or low as you like, whereas a one-piece upper has to have extensions sewn on if more than a certain height is desired.

(It further means that the Minnetonka moccasin boots are less inaccurate than I thought, and with a little modification, are actually the only off-the-shelf shoes I've seen that are anything like acceptable.  I managed to pull the heels off mine recently, but since they only appear to be available in soft sole now, you could just glue or tunnel-stitch your own leather/rawhide soles without having to potentially rip the bottoms up.)

For comparison, I went searching for high-res pictures of the Alexander Sarcophagus, which is one of the best sources for Persian clothing at the transition of the Achaemenid and Hellenistic periods.  In the restored-color versions by Vinzenze Brinkmann and Ulrike Koch-Brinkmann, the straps appear to encircle the ankle like those on Median shoes on the reliefs at Persepolis, but without the "branches" going down the sides.  However, there is an extreme closeup over at Wikipedia which appears to show a faint vertical ridge on the central figure's shoe.

With regards to the Persepolis reliefs, Ivor pointed out that the vertical branches could easily be interpreted as strips of reinforcement running down the front edges of the quarter.  The ankle strap itself - as he demonstrated by sewing an example - was probably just stitched to the top edge of the quarter rather than running through slits (as per moccasins).

The later example above is slightly modified, with the lace running through a single pair of eyelets, essentially making it a very simple chukka.  In this configuration, the eyelets are under much more stress than in the first, since they are pulled forward to hold the top around the ankle, whereas when running the thong around the ankle (either through slits or sewing it on) doesn't pull the shoe leather, but merely squeezes it against the ankle, like a drawstring.  Therefore, the later configuration would do well to have a reinforced eyelet.

Making a wooden akinakes scabbard, part II

Various personal business forced me to postpone further work until Monday, but work's progressed quickly since then.  The core is essentially complete.  I won't boother with photos of the front shell in progress because it's exactly the same process as the back shell.

It's still somewhat too thick in several places, most obviously the lower body, considering how thin the blades are.  I may do a little further sanding, though the very hard knot you see near the lower end has made reducing by hand evenly pretty difficult.

Although the amount of wood removed on the inside wasn't much, it still fit the blades too loosely, so I glued down a strip of felt to make it more snug before gluing the shells together - a solution cribbed from European swordmakers (though sheep and goat hide are said to be preferable, as a pointed blade could eventually catch in the felt, tear it loose and shove it down the inside, where it would be difficult or impossible to remove  - quite an awful scenario).  If the fit is correct, you can hold the scabbard upside-down without the sword falling out, yet still draw it easily.

Making a wooden akinakes scabbard, part I

Yep, I finally decided to cave and make a proper, solid wood scabbard, since I happen to have access to a band saw and belt sander this season.  Mine will be based loosely on the tamarisk wood scabbard from Egypt, but I hope to make a separate chape.  I also plan to cover it with something organic, possibly linen or rawhide, rather than the metal facing that once covered the Egypt find, because in my research it seems that isolated chapes far outnumber metal scabbard facings, and so I believe that most scabbards were entirely biodegradable other than the chape.

You'll also notice that it's considerably longer than the one from Egypt.  Although often described as swords, the few genuine findings of Achaemenid iron fighting akinakai I know of were actually small-ish daggers, so the 12-inch blade on mine is really pushing it as far as historical accuracy.  Perhaps the skill required and thus (presumably) high price demanded for forging a symmetrical double-edged sword was responsible for the preference of Persians (imputed by Greek pottery, at least) for the single-edged kopis, but I'm just running at the mout at this point.  Anyway, on with the show.

We start with a nice big sheet of sketch paper and a 1x6x48-inch plank.  On the right is my molded leather scabbard from last year.

After tracing the main sections of the scabbard, I cut out the expanded part of the throat and traced additional sections for it on the main plank as well as on a 1/4-inch linden board, as the full inch-thick reinforcement seemed like too much.  I didn't wind up using either of them; the main pieces seem to be thick enough on their own.

The pine wood is soft and cut easily even with just a manual saw, which made me wonder about its sturdiness.  These initial cuts were done just to make it easier to carry.  I plan to use the excess for a really cool retro raygun stock.

Since the band saw is best at straight cuts, I tried to get the most out of it with a set of lines for the first cutting-out phase.

The belt sander helped reduce the manual workload, but it can only take you so far.  On the bottom/left is the front blank after initial cutting and sanding; on the top/right is the back after ah hour of whittling.

Four days and literally hours of whittling, filing and Dremel-ing later, the back shell is finally done.

I know it sounds like I'm complaining, but I just want to be straightforward with you:  It is a lot of work if you don't have specialized tools.

It's at this point that I question the wisdom of asking everyone to have wooden scabbards for their akinakai.  If molded leather must be ruled out, I think a rawhide scabbard would still be a possibility, and it seems far easier.  I also suspect that a moldable material is the origin of the balloon-like expanded throat of Achaemenid scabbards.

Possible spearhead?

Museum Replicas Limited has recently introduced a Greek javelin head which just might fit the bill for our sharp spearheads as well.  It has a blade of less than five inches, a 7/8-inch socket, and weighs six ounces.  If I was sure from the site photo that it had a distinct mid-rib, I'd recommend it out of hand as a cheap option.

Easy improvements for the Minnetonka ankle boot

In the past I've suggested the Minnetonka fringe hardsole boot as a quick option for Medo-Persian shoes.  These are what I wore at Marathon 2011.

As noted previously, they tend to pick up dust and the two-piece construction (vamp and quarter) leaves side openings that let sand in the sides (not present on Medo-Persian shoes, which were probably like Plains moccasins in construction, i.e. one-piece uppers).  Since I'm now aware that period leather likely had a rough finish more often than not, the dust is not an issue.  The side openings are but I'm looking into stitching them up or perhaps adding fabric panels.

In the meantime, another quick way of improving the boots' appearance, after you've cut the fringe off, is to replace the laces with flat suede thongs.  Art stores such as Michael's (in the U.S. and Canada) sell strips of 1/2 by 36 inches, which is just about right for our use.

Undo the laces and pull them out.  With a seam ripper or a craft knife with an angled blade, cut the stitches holding on the upper strip of leather forming the "tunnel" through which the lace was inserted.  There are two seams, one inside and one outside of the shoe.

To the now-exposed upper part of the quarter, add vertical slits through which you can insert the thong - not, of course, too close to the upper edge; about a third of an inch away should be safe.  I find a double slit at the back of the quarter and a single slit on each side of the front to be sufficient to hold the thong in place while leaving most of it exposed (as was the case with the thongs on Achaemenid shoes).  Tie the thongs in square knots rather than bows, and trim them as you see fit.

Update 4 (and hopefully last) on belts

I have Mom to thank for this one.

Hypothesis:  The so-called "flower buckle" (as seen in OIP 69) is not a buckle at all, but exactly what it appears to be - a concho.  The early Achaemenid weapon belt laces closed and the lace also attaches the round object, but as a purely decorative element.

We have no solid evidence for this hypothesis, but given the lack of contrary evidence, it should work with what we do know.

Playing with the kidaris or tiara

Personally, I don't find the look of the standard tiara appealing, but it is the most commonly-attested headwear for Persians in Greece, and is very easy to make at home.

A tiara pattern for a large head, with moderate-length neck flap (left).
If you choose felt, all you need to do is cut out the "blank," stitch up the front seam and turn the hat inside-out.

Persians appear to have sometimes worn tiaras tied around the crown with a cord of some kind.  On this practice run, I'm just using a bit of leftover cotton belting.

If you don't like the look of the long earflaps, they may be tied up Cappadocian-style, like a modern hunting cap or ushanka.

For an even tidier look, the flaps can be tucked into themselves.

From the back.

 

I'm going to have to rescind my words about the fabric needing to be soft enough for the peak to lay to one side.  It appears that even the very soft polyester felt I used on this prototype isn't flimsy enough for that purpose.  I'd guess that the flopped-over look was probably achieved using a fine woven cloth, either wool or linen.

Again, for the Graeco-Persian wars, I have only heard of felt being used.  Greek art typically shows Persian (or possibly Scythian, etc.) soldiers wearing tiaras with rather stiff-looking peaks that are often curled, but not flopped, forward.  So it's possible that the stiff peak is okay for our purposes.

A further note on leather sheaths

Remember back in May when I wrote on how to make a scabbard?  Recently while making the sheath for a factory-sharpened knife I discovered that the instructions I gave for the all-leather, side-seamed sheath back then are only fine as they are if your weapon is unsharpened.

Otherwise, you need to include a welt, which is a strip of leather glued around the inside of the sheath between anywhere a sharp edge and seam might touch.  This will prevent the blade slicing through the stitching.  It also, as a bonus, gives the sheath a less flat shape.

Instructions can be found all over the Web; as an example, see steps 4 and 13 here.

Native Way G202

While the socketed trilobate arrowhead is the most common and preferred type for our period, Native Way's model G202 (their G200 looks very similar) belongs to a type attested from findings at Persepolis and is therefore an option for the Achaemenid reenactor.  I also happen to find it very cool-looking.

It's molded from an original and cast in a "lightly leaded" tin bronze which as you can see cleans up very nicely.  It is unfortunately cast rather thick and heavy at 12 grams, but filing and trimming the tang (above, I've cut the tang down by about a third) will help, and also let you define the mid-rib more clearly.  I've managed to get the one I've worked on down to around 9g and could go further.  Because the dust contains lead, I'm guessing your should avoid high-speed power sanding.

The best thing about these, along with being perfectly authentic, is they're very inexpensive as far as reproduction arrowheads go:  Rough-cast, they retail for $3 each, and for the U.S.-based reenactor, shipping costs are far lower than overseas options.  If you don't mind doing some of the work yourself, these are a great option for the reenactor on a budget.

Over the months it's become hard to deny that, although (as I've observed below) the variety of arrowheads acceptable for use is much wider than I initially thought, the acceptable options available on the market remain sadly limited and that the good replicas available are a bit pricey for new reenactors to buy by the dozen.

To rectify this situation, we might consider working with bronze casters to develop new products.  As a demo I've made a handful of wax prototypes based on illustrations from OIP 69.  It's easy.  The challenging part will be to make them accurate by finding and examining originals firsthand.  Since shipping and handling overseas increases costs, I'd further recommend that these ventures by carried out separately in whichever continents significant numbers of archers are interested.

L-R:  Socketed two-blade, tanged two-blade, socketed triangular and tanged three-blade.  Personally I like the tanged two-blade best, but that may be because it's by far the easiest to make in wax.  I imagine it would also be the easiest to cast.

As always, send feedback to xerxesmillion@yahoo.com.  Thanks for your interest.

Further thought on the domed hat

When I first examined low-res images of the Mede domed hat, I believed that the hat was bound around the outside.  However, having continued to examine the high-res images at Nirupars (such as the first and second images on this page) I'm forced to concede that the band is internal.  Possibly the edge of the hat was folded in and stitched down over it, but an easier method might be to sew small patches to the inside (like belt loops).  Either way, the band then passes through a hole in the back and is tied into a slipknot on the outside.

Update 2: Spears

Antonis Aliades at RAT has directed me to Armes Antiques, which has a couple of spearheads which look like they would suit our period.  Item SP154 looks good if a bit big, and SP163 is especially eye-catching, being similar to the kite shape commonly shown at Persepolis.

Update: Axes

While you're at Hun Archery, you might also want to check out one of their range of bronze Scythian axes.