In Byzantium there were two overlapping systems of dress: a semiotic one whereby dress was a code for rank and wealth, and a fashion system where dress was based on the desire to look a certain way. This book explains secular dress from the eighth to the twelfth centuries through an examination of painted representations.

315 renderings of Doric and Ionic styles of dress for women, gracefully arranged Roman togas, vestments of the Eastern Orthodox Church, hairdressing, jewelry, and other decorative elements. Includes instructions and flat patterns.

As absolute as Hitler's control over the German war machine was, it depended on the ability, judgment and unquestioning loyalty of the senior officers charged with putting his ideas, however difficult, into effect.Top military historian James Lucas examines the stories of fourteen of these men: all of different rank, from varied backgrounds, and highly awarded, they exemplify German military prowess at its most dangerous. Among his subjects are Eduard Dietl, the commander of German forces in Norway and Eastern Europe; Werner Kampf, one of the most successful Panzer commanders of the war; and Kurt Meyer, commander of the Hitler Youth Division and one of Germany's youngest general officers.The author, one of the leading experts on all aspects of German military conduct of the Second World War, offers the reader a rare look into the nature of the German Army a curious mix of individual strength, petty officialdom and pragmatic action.

Clothing styles from all classes during the Byzantine Empire are depicted here in more than 80 drawings. Included are examples of royal wedding garb, a shepherd in a short tunic, a court dancer, a court dignitary, a merchant, a naval officer, body armor of Roman warriors, a priest, and the robes of the Emperor Constantine. Captions accompany the illustrations.

This examination of realia in Byzantine religious painting provides valuable information on Byzantine dress, household effects and implements, while introducing at the same time an alternative, literally 'objective', approach to the study of the formative processes of Byzantine art.

This volume brings together a group of international scholars in new explorations of the world of Byzantine women in the period 800-1200. The specific aim of this collection is to investigate the participation of women - non-imperial women in particular - in supposedly 'masculine' fields of operation. Contributions focus on women's participation in the street life of Constantinople, their appearance in Byzantine fiscal documents, their monastic foundations, their costume and engagement with entertainment at the imperial court, and the way heroines are portrayed in the Byzantine novels.

Originally presented as the author's thesis (doctoral)--University of Illinois at Urbana-Champaign, 2002.

The Perfect Servant reevaluates the place of eunuchs in Byzantium. Kathryn Ringrose uses the modern concept of gender as a social construct to identify eunuchs as a distinct gender and to illustrate how gender was defined in the Byzantine world. At the same time she explores the changing role of the eunuch in Byzantium from 600 to 1100. Accepted for generations as a legitimate and functional part of Byzantine civilization, eunuchs were prominent in both the imperial court and the church. They were distinctive in physical appearance, dress, and manner and were considered uniquely suited for important roles in Byzantine life. Transcending conventional notions of male and female, eunuchs lived outside of normal patterns of procreation and inheritance and were assigned a unique capacity for mediating across social and spiritual boundaries. This allowed them to perform tasks from which prominent men and women were constrained, making them, in essence, perfect servants. Written with precision and meticulously researched, The Perfect Servant will immediately take its place as a major study on Byzantium and the history of gender.

This volume brings together a group of international scholars, who explore many unusual aspects of the world of Byzantine women in the period 800-1200. The specific aim of this collection is to investigate the participation of women - non-imperial women in particular - in supposedly 'masculine' fields of operation. This new research across a range of disciplines attempts to provide an analysis of the activities of and attitudes towards Byzantine women in this period. Using evidence from sources as diverse as tax registers, monastic foundation documents, twelfth-century novels, historical texts, art history and the writings of women themselves, such as the hymnographer Kassia and the historian Anna Komnene, these papers elucidate the context in which Byzantine women lived. They emphasize the variety of female experiences, the circumstances that shaped women's lives, and the ways in which individual women were perceived by their society. Contributions focus on women's dress, their participation in the street life of Constantinople, their appearance in Byzantine fiscal documents, their monastic foundations, their engagement with entertainment at the imperial court, and the way heroines are portrayed in the Byzantine novels. Analysis of the writings of the hymnographer Kassia, the networking of Mary 'of Alania' and the ways she overcame the disadvantages of being a foreign-born empress, and the family values reflected in Anna Komnene's Alexiad, draw attention to specific problems. All these aim to expand our understanding of the circumstances that shaped women's lives and expectations in the Middle Byzantine period and to analyze the range of women's experiences, the roles they played and the impact they made on society.

With over 200 color illustrations, Byzantine Silk on the Silk Roads examines in detail the eclectic iconography of the Byzantine period and its impact on design and creativity today. Through an examination of the extraordinary variety of designs in these captivating silks, an international team of experts reveal that Byzantine culture was ever-moving and open to diverse influences across the length of the Silk Road. Commentaries from curators at key collections – including the Museum of Arts, Boston, the Smithsonian (Cooper Hewitt), the V&A and the Vatican – reveal the spread of silk embroidery and designs from East to West, and from West to East, from China to Rome, and from Constantinople to Korea. Drawing on exclusive imagery from worldwide collections within museums, churches and archives as case studies, their analysis of these unique woven silks explores the relationship between color and power, material culture and status, and offers broader insight into Byzantine culture, trade, society and ceremony. Byzantine Silk ... takes us on a journey from the past to the present, too, where Byzantine story-telling and image-making is revisited, through color, imagery and pattern, in contemporary fashion collections. Exploring Byzantine culture through a contemporary filter, the book shows how the Byzantine era still influences textile and fashion designers today in their choices of materials and colors, and their utilization of images and patterns, acting as a unique source of inspiration to designers and creators in the 21st century.