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.

In Byzantium two overlapping systems of dress existed: 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. Courtiers participated in a semiotic system of dress, but fashion crept into their prescribed outfits; the nobility chose their clothing based primarily on individual taste, but status was encoded within their fashions. This book elucidates secular dress from the eighth to the twelfth centuries through an examination of painted representations, helping the reader to envision an entire society of dressed citizens.

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.