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@historyfit
Evening Dress
c. 1889
by House of Worth
The Metropolitan Museum of Art
by Louise Dolan
Sappho, fragment 147 trans. Anne Carson
god this makes me feel some new type of emotional. i live for wlw positivity
Hedvig Elisabet Charlotta (1759-1818), Princess of Sweden, Duchess of Södermanland, later Queen of Sweden and Norway
Artist: Alexander Roslin (Swedish, 1718-1793)
Date: 1775
Medium: Oil on canvas
Collection: National Museum, Stockholm, Sweden
Hedvig Elisabeth Charlotte of Holstein-Gottorp
Hedwig Elisabeth Charlotte of Holstein-Gottorp (1759 – 1818) was the queen consort of Charles XIII of Sweden and II of Norway. She was also a famed diarist, memoirist and wit.
Drawing of Andromeda in full royal garb.
I used the Egyptian depiction of Nubians as inspiration for this piece. The mural of the 18th dynasty shows Nubians paying tribute and a princess (left) is present, so I based the clothing of Andromeda on her.
Initially I interpreted the object above her head as a feather headdress, but later on I saw some pictures that restorated it as an umbrella.
If this is really an umbrella, then the headpiece I show in my drawing is not accurate. The men in front of her also wear feathers, so I thought it was logical that she would also wear a feather headdress, but I might have done some cultural projection or something like that. In my town we really like feathers, they reminded me of one of our traditional folkoric costumes, so I saw the headdress and it just really made sense to me.
The motifs on her sedan chair are based on traditional Kerma Nubian pottery decoration
And the extra necklace with the beads was based on this Kerma necklace dated around 1700-1550 BC:
Surrounded by staff members, United State Line operating manager Thomas H. Rossbottom receives a message from the SS America in his office on Broadway, March 5, 1922. It was the first time that a radio telephone had been used by a United States Line vessel to make its noon report.
Photo: Paul Thompson via FPG/Archive Photos/Getty Images
#BlackHistoryFact - African American Inventor Mary Beatrice Davidson Kenner is known for developing the sanitary pad
MEFeater Magazine
The Forgotten Black Woman Inventor Who Revolutionized Menstrual Pads
Mary Beatrice Davidson Kenner was a self-taught inventor who created the sanitary belt and filed five patents in her lifetime.
The photo is a bit misleading, what she patented was an improved version of a sanitary belt in 1954 that was more adjustable and less prone to leaking and chafing, the pads in the above picture wouldn’t be invented until about 1970 by someone else.
The first company that came to her about producing her sanitary belt backed out when they learned she was black. Her other parents mostly consisted of devices to make life easier for her sister with multiple sclerosis.
Mary only passed away in 2006 at the age of 93, many of us were alive at the same time as her
first rule of Cite Club: tell everyone where you learned about Cite Club
invizigothx. (2026, January 30). first rule of Cite Club: tell everyone where you learned about Cite Club [Text post]. Tumblr. https://www.tumblr.com/invizigothx/807189844216446977/first-rule-of-cite-club-tell-everyone-where-you?source=share
studying ancient history & archaeology is awesome because you get to follow citations like a little trail of breadcrumbs 😌 and when you reach the end you realize everyone else has been playing the worlds worst game of telephone
I would personally love to hear about the dipylon oenochoe!
well, i’m glad you asked! [opens can of worms]
this is my best friend, the dipylon oinochoe. its a beautiful little wine jug from the late geometric period. 22cm tall. you may know it from such hits as “paper talking about the early greek alphabet,” or “paper talking about the early greek alphabet,” etc etc. i’ve been researching him for a project lately. and i think i’m the only one who understands him now.
anyways it’s one of the oldest longer inscriptions we have from the late 8th/early 7th cent BCE. everyone and their mother wants to translate this little guy. they’re all reading it and going “oh wow! its got a perfect hexameter at the start! ‘whoever of the dancers dances most delicately!’" and then they all go "Wait What Do Those Last Signs Mean.”
there are 24 different interpretations. but thats fine. whatever. beef over the last signs seems normal enough. you see that a lot. personally i think its too broken to really tell for certain (those fractures are a bit unfortunately placed tbh) but i fear i am also just a very skeptical guy when it comes to definitive translations so my take on that should be considered with a grain of salt.
but because im researching this oinochoe, i'm reading all these articles arguing over what it Means and what the Implications Are. and you would think… its 2025… we’ve kinda all agreed “pots aren’t people” for several decades… surely there’s an analysis somewhere that focuses Solely On This Pot’s Context... idk like trying not to focus solely on its inscription for once???
but no. no, this is too much to ask for apparently. everyone’s going “well it must've belonged to a dancer! lets talk about dance competitions and homer and the gymnasium how this is all reflected in this one jug!” someone even dropped this one line theorizing it was “passed around at a party,” like it has just been consistently assigned as belonging to a dancer you cannot escape this idea. i tried to find any different ideas. i could not.
so i’m stuck here going “Where Is The Context” because it seems to be, uh, Not Discussed Anywhere. every article is citing back towards stephanos koumanoudes (the guy who purchased it in 1880) but they are Also saying “yeah it was found in 1871! source: koumanoudes!” But He’s Not The Guy That Excavated It, Guys, Where Is It From? nobody is giving me the answer. my favorite one is culhed, he just says “under obscure circumstances,” which is quite possibly the least helpful way to describe this somehow nebulous provenance. but then culhed offhandedly cites someone else. just in the footnotes, as you do. and that someone is yannis galanakis, my new hero.
now yannis galanakis (2011) does not give a single flying fuck about the dipylon oinochoe. he is here for one thing and one thing only: an unpublished stirrup jar that was bought by a totally different guy. most of his article is just concerned about this stirrup jar, how it was sold with a skull (??), and Who Sold That Skull. but galanakis’ stirrup jar is, coincidentally, from this same excavation in 1871. so in his article, where he’s referencing all these people associated with private excavations northeast of the dipylon gate (around modern-day plateia eleutherias), galanakis casually drops the line “among the finds associated with these excavations are some of the most important examples of late geometric pottery, like the dipylon oinochoe.” this is 1) more than Literally Everyone Else I Have Been Reading has been saying and 2) PROVIDING PRIMARY SOURCES FOR THIS DIG?
and these sources.... these primary sources have never been mentioned in Any Other Publications re: the dipylon oinochoe??? except MAYBE one from 2013 (coulié) thats in french, apparently only available in print, and the nearest copy is a library 2hrs away from me (so i cant actually verify what she says yet). but every other article about the dipylon oinochoe is basically like “yeah, see powell 1988” -> “yeah, see koumanoudes 1880” -> “i bought this from some guy named ioannes, lol” and its just created this Massive Echo Chamber where the provenance is "Koumanoudes" and the context is "Dancer." when... we have... two publications... written by people who were actually involved in this private excavation (which to be clear here was very much illegal at some points, but ioannes palaiologos do not care abt the government saying Stop Excavating Please). these two sources are hirschfeld (1872) and rayet (1888).
the provenance that these 1870s/80s accounts are providing isnt Actually That Detailed, but there are parts that line up pretty well (ie, swords/spears/knives being found in the graves, murex on top, several layers of successive tombs) which are Totally Absent from later articles talking about the purpose of this vessel, of its inscription, and of its owner/transcriber (which i dont think can be determined Anyways [cf Arrington 2024, this is just a Normal Take i think] but like whatever i guess Pots Are People Now, according to Powell 1988+Binek 2017+Osborne 2006). i phrased it in my paper and my presentation as “its like this oinochoe been totally disconnected from its context” and its to the point where its so egregious that someone will, in one article, drop a reference to galanakis’ research on the excavation of 1871 (where he cites two eyewitness accounts) and not. Not Once have they looked into it.
because if they had. and this is the fucking crazy part ok this is where i Lost My Shit For A Solid Week. there is, in hirschfeld 1872, an identical oinochoe (number 48, page 147 in this journal) with the same damn height (22.5cm; powell 1988 says the dipylon oinochoe is about 23cm) and decoration (a grazing deer) and concentric lines its a goddamn identical piece just judging from the description of it (and hirschfeld very unhelpfully did Not include this jug among his plates). deers grazing arent very common in late geometric pottery, its mostly just the dipylon workshop cranking them out AND theres only a few oinochoe attributed to dipylon workshop so This Is Quite Possibly The Same Vessel (or so i thought, we'll get to that). the one problem is that this vessel is just NOT from dipylon??? its from the old military hospital in athens??? which was built south of the acropolis in 1834??? and they found roman mosaics during that construction??? so this mentioned vessel could actually have been found in the 1830s??? and again nobody has said jack fucking shit about this connection, afaik i am the only one who has ever actually sat down with these Implications all lined up in a row, so i had to try and disprove myself on my own like it was 5d chess. i was the “I Want To Believe” meme but if it was about the dipylon oinochoe being from somewhere near dipylon.
and i'm digging through as many sources as i possibly can find to prove there's a mysterious second jug that might be from this hospital area (which, granted, was still a funerary space during the geometric period). i went through all of hirschfeld's references to alexander conze's plates showing pottery shapes, but they just ended up also being oinochoe, which made me lose my mind even more. hirschfeld would be like "yeah this deer was in this position from conze taf VII-2" and you go "ok so whats conze taf vii-2 look like? oh my fucking god its a GRAZING ANIMAL AGAIN." at some point i ended up reading a phd dissertation from the national and kapodistrian univerisity of athens to know more about this military hospital?? and then i switched gears and went searching through coldstream 1968’s list of geometric pottery (it might be outdated now, but it was the only thorough source i could find atp) and went through Every Single Oinochoe from the dipylon workshop and almost every single one was totally different. like they just could not be this mystery oinochoe (in which case, I Would Have Some Really Bad News About The Dipylon Oinochoe).
until i found my second best friend. munich CVA 3 taf 112. who literally nobody except me gives a shit about. its taf description is 2 paragraphs long. its the exact same height as these two aforementioned oinochoe. it has the exact same deer grazing motif. fuck it, its even got an unknown provenance because it was acquired from Some Guy Named Paul in 1907 (who also has connections to people like furtwängler [most unfortunate last name ever], another guy who wrote about the dipylon oinochoe in 1881). so in my quest to achieve some sort of emotional resolution here i possibly found a sister vessel to the dipylon oinochoe??? and maybe even that jug's provenance. who knows. i dont wanna say anything definitive yet. also if anyone has access to paul julius arndt's personal papers and especially his financial records, hit me up, because where the fuck did he get this identical looking jug.
however. most modern scholarship about the dipylon oinochoe does not care about munich cva 3 taf 112 (and its similarities to the dipylon oinochoe), or the few references to the 1871 excavations at palatia eleutherias several blocks northeast of the dipylon gate (and what little context/descriptions they provide of funerary remains), because they do not care about the dipylon oinochoe. they care about the letters inscribed on it, and they want to debate the meanings of those letters in a self-inflicted vacuum devoid of all other evidence beyond 35 legible signs and 11 fragmentary/illegible ones.
this seems to me to be a futile endeavour, especially seeing as everyone just keeps citing each other as to where the vessel came from & who to look at for more information & cutting it all off at koumanoudes (or, slightly better, galanakis). and i cannot for the life of me fathom why they have all stopped at koumanoudes or galanakis, if they're so desperate to find this concept of a person behind the oinochoe, because they could actually gain some possible insight into that person through the few grave descriptions provided. but they're only citing others who are citing others who are going off of koumanoudes' limited description from an article's addendum in 1880. and i'd argue that this sort of circular discussion strangles any attempt to actually examine the Dipylon oinochoe in a meaningful sense.
the most elegant dismissal of “why are there pyramids all over the world” that I’ve heard was “what’s the easiest structure to build? A pile of stuff. What if you wanted to make the pile stable? You’d turn it into a pyramid shape” and I forgot where I heard this but it reminds me of “notice how there’s flood myths all over the world” feels a lot less interesting if you ask “notice how civilizations that leave written records are often located next to rivers or other bodies of water and what’s a catastrophic natural disaster that can happen to cities next to bodies of water”
#BlackHistoryFact - African American Inventor Mary Beatrice Davidson Kenner is known for developing the sanitary pad
MEFeater Magazine
The Forgotten Black Woman Inventor Who Revolutionized Menstrual Pads
Mary Beatrice Davidson Kenner was a self-taught inventor who created the sanitary belt and filed five patents in her lifetime.
THANK YOU, MARY
so thank you to hungryroot for sponsoring this video as we deep dive into the obscure origin of a peasent-dish-turned-fast-food phenomenon and make the original honey busterd pickled sea fuck meal. this time on tasting history
Y'all wanna see some medieval mobility aides in manuscripts?
There are clues in the margins of medieval manuscripts to suggest that disabled people in the past made long pilgrimages, and were helped on
Obsidian blade, Teotihuacan, 200-900 AD
from The Penn Museum
Florence Hines deserves recognition in the long line of queer, Black, stud performers, from Gladys Bentley to Lena Waithe.
So it is with Florence Hines, a Black singer and drag king who got her start on the stage sometime around 1891, when she began to receive particular notice for her performances with Sam T. Jack’s Creole Burlesque. When the show came to Paterson, NJ, on November 23, 1891, “hundreds were turned away from the doorway” before the Creole Burlesque was even scheduled to take the stage, according to the Paterson Daily Caller. In their review, they called out Hines in particular for being an “excellent male impersonator.” The Creole Burlesque was a standard minstrel show, featuring all Black performers, led by a white manager, giving skits, songs, and scenes that featured standard variety acts (everything from clog dancing to drag) set in a pre-Civil War Southern plantation fantasy. But within a few years, Sam T. Jack would launch The Creole Show, an important milestone in Black performance in America. For the first time, an all-Black revue was presented as a modern, staged performance — not as an “authentic” recreation of Black life. According to Whiting Up, a history of white face entertainment by Black theater historian Marvin McAllister, The Creole Show was “a major outlet for Black artists interested in… developing a comedic tradition that was racially grounded but not riddled with stereotyping.” In another important departure from tradition, instead of hiring a man to play the traditional lead role of interlocutor or master of ceremonies, Sam T. Jack hired Florence Hines. As a drag king, Hines performed a routine that made mock of the “dandy” — flashy, modern, young men who drank and dated openly, and wore the latest clothes. One of her most famous numbers was “Hi Waiter! A Dozen More Bottles,” whose first verse went: Lovely woman was made to be loved, To be fondled and courted and kissed; And the fellows who’ve never made love to a girl, Well they don’t know what fun they have missed. I’m a fellow, who’s up on the times, Just the boy for a lark or a spree There’s a chap that’s dead stuck on women and wine, You can bet your old boots that it’s me. Many white drag kings of the day also performed this song, and similar dandy characters. For these performers, the dandy was a way to needle the men in the audience. But for Black performers, taking on a dandy role was also a way of resisting degraded depictions of Black people that were common on stage at the time. As Kathleen B. Casey wrote in The Prettiest Girl on the Stage is a Man, “when worn by a Black performer, the tuxedo with tails, cane, cape and a top hat countered the image of the ragged, shoeless plantation slave.” Thus, Hines made a natural choice for a show that wanted to show an entirely new kind of Black performance. By 1904, The Indianapolis Freeman would report that Hines “commanded the largest salary paid to a colored female performer.” In their book, Out of Sight: The Rise of African American Popular Music, 1889-1895, Lynn Abott and Doug Seroff wrote that “Hines’s male impersonations provided the standard against which African American comediennes were compared for decades.”
