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Author: Sean McLachlan

Sean McLachlan is a former archaeologist who has excavated in the Middle East, Europe, and the United States. Now a full-time writer, he specializes in history, travel, and fiction. He won the 2013 Society of American Travel Writers Award for his Iraq reportage. Sean is busy working on three fiction series: Toxic World (post-apocalyptic science fiction), House Divided (Civil War horror), and the Trench Raiders action series set in World War One. Half of Sean's time is spent on the road researching and writing. He's traveled to more than 30 countries, interviewing nomads in Somaliland, climbing to clifftop monasteries in Ethiopia, studying Crusader castles in Syria, and exploring caves in his favorite state of Missouri. Sean is always happy to hear from his readers, so drop him a line via his blog!
The Death of the Classical World: Reading The Darkening Age by Catherine Nixey

The Death of the Classical World: Reading The Darkening Age by Catherine Nixey

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The destroyers came out from the desert. Palmyra must have been expecting them: for years, marauding bands of bearded, black-robed zealots, armed with little more than stones, iron bars and an iron sense of righteousness had been terrorizing the east of the Roman Empire.

Thus starts the controversial new history of the pagan/Christian transition by Classics scholar Catherine Nixey. Making a deliberate parallel between the early Christians and ISIS is a bold move, intended to shock and turn our historical and cultural presumptions upside down.

It’s only the first of many. For 250 pages, Nixey makes a full-on assault against the dominant narrative that Christians were brutally oppressed by the Roman Empire, before peacefully taking over by winning the debate against an exhausted and decadent paganism.

In Palmyra c. AD 385, a horde of black-robed monks swarmed out of their desert caves and crude shelters to break into the city’s temple of Athena. There they came upon a graceful, larger-than-life statue of the goddess. They hacked the head from its shoulders, then battered at the head where it lay on the ground. When they left, their rage satiated, the head lay where they had left it for centuries until uncovered by modern archaeologists.

All across the Late Roman Empire, this scene was played out again and again with increasing frequency as Christians grew in number and confidence.

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Finding Galileo in Florence

Finding Galileo in Florence

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Galileo’s tomb in Santa Croce, Florence

Florence was the birthplace of the Italian Renaissance and home to countless great names in art, literature, and science. For me, though, one figure towers over them all–Galileo Galilei. He was a man who profoundly changed how we look at the universe, a true genius whose impact is still felt today.

So I and my astronomer wife went searching for him in Florence. Call it a pilgrimage if you want. It certainly felt that way to me.

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Traces of Byzantium in Florence

Traces of Byzantium in Florence

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The dome of the Baptistry of St. John, Florence

When we think of Italian art, we tend to think of Ancient Rome and the Italian Renaissance, and forget the periods in between. Considering the achievements of those two high points of human civilization, that’s hardly surprising, but the Middle Ages contained the inspiration of Renaissance art, and much of that inspiration came from further east–from the Byzantine Empire.

Byzantium owned parts of Italy until 1071, and left a legacy of beautifully decorated churches and public buildings. These influences endured, and can be found in some of the most famous buildings and art collections of the Renaissance. This interesting article from Oxford University goes into greater depth about specific important influences.

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The Gorgeous and the Grotesque: The Ceilings of the Uffizi Gallery, Florence

The Gorgeous and the Grotesque: The Ceilings of the Uffizi Gallery, Florence

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As I mentioned in my last post, I got to explore Florence for a few days, absorbing as much of the Italian Renaissance (and modern pizza) as I could.

So of course I went to the Uffizi Gallery, one of Italy’s most renowned museums. While I knew I would be seeing a treasure trove of Da Vincis and Caravaggios, I didn’t realize that portions of the building itself are a work of art.

Specifically, the ceilings of the upper Eastern Corridor. These are decorated with bright, lively frescoes painted by Alessandro Allori in 1580 and 1581. Each section is a different theme or subject such as military affairs or exploration, and taken together they act as a window into the thoughts and imagination of Florence in the late Renaissance.

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Pickpockets and Stendhal Syndrome: First Impressions of Florence

Pickpockets and Stendhal Syndrome: First Impressions of Florence

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The fortified palace of the Medici

I love being married to a scientist.

My wife was giving a seminar at Arcetri Astrophysical Observatory in Florence last week and instead of staying home and writing like I probably should have, I decided to tag along. It was my fourth time in Italy and I still feel like I’ve barely scratched the surface.

Four days in Florence didn’t change that.

The birthplace of the Italian Renaissance is a visual overload of beauty, so much so that when I gave a talk yesterday on using setting in writing, I gave Florence as an example of a place that’s impossible to describe without having an intimate knowledge of it. The entire trip I suffered from Stendhal Syndrome, a condition named after the 19th century French author who fell into a swoon from all the beauty he was exposed to in Florence. It was impossible to take it all in.

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Exploring the Mithraeum of Roman London

Exploring the Mithraeum of Roman London

Bloomberg London

A glass walkway allows you to get inside the temple without touching
it. You are then treated to a rather cheesy sound and light show.

London is a massive city with 2,000 years of history behind it. It’s hard to tell these days, but the banking and financial center of it all, with its frantic building, insider wheeling and dealing, and massive cocaine consumption, is actually the oldest neighborhood. This center of commerce is called “the City”, and its area corresponds to the Roman city of Londinium, founded around 43 AD.

Not much has survived the centuries, just a section of the original city wall and a few traces in the cellars of later buildings. In 1954, however, a subterranean temple was found that belongs to one of the ancient empire’s foremost mystery religions — Mithraism. Little is known for certain about this religion since its rites were private and most written accounts are by early Christians seeking to destroy the faith.

The cult centered around worship of the god Mithras, who originated in Persia. One common scene in Mithraic iconography shows Mithras being born out of a rock, and this may be why his temple, called a mithraeum, is generally located underground. It was a secretive religion that only accepted men, and this is one of the reasons it eventually lost out to the more inclusive Christianity.

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Magical Tomes and Witch Hunting Manuals at the Ashmolean Museum

Magical Tomes and Witch Hunting Manuals at the Ashmolean Museum

Last week I looked at the new exhibition at the Ashmolean Museum in Oxford, Spellbound: Magic, Ritual & Witchcraft. It’s such a compelling collection of folk magic through the ages that I wanted to look a bit more in detail at a few of the magic books that were included in the exhibition, along with some of the art that belief in witchcraft inspired in pre-modern times.

Microcosmic man (c) Wellcome Library, London

The “microcosmic man” in a German manuscript, c. 1420. © Wellcome Library,
London. The idea that man is a smaller reflection of the greater universe
goes back to Plato and Aristotle, and in the Middle Ages was developed by
astrologers into a system in which certain parts of the body correspond
to signs of the Zodiac. Medical texts used these charts to know whether
or not to bleed a patient. If the moon was in the sign corresponding to
the body part, it was unhealthy to bleed them.

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Magical Items at Oxford’s Ashmolean Museum

Magical Items at Oxford’s Ashmolean Museum

 Bull's heart (c) Pitt Rivers Museum, University of Oxford

Bull’s heart pierced with iron nails and thorns as a protection
against witches. Found in a chimney at Shutes Hill Farm, Somerset,
date unknown (c) Pitt Rivers Museum, University of Oxford.

A new exhibition at Oxford’s Ashmolean Museum showcases 180 real-life magical items.

Spellbound: Magic, Ritual & Witchcraft explores the history of magic from the early modern era to the present day through objects ranging from Renaissance crystal balls to folk charms against witchcraft. It looks at basic human needs such as fear of death and desire for love, and how people have used magic to try to get what they need.

The exhibition also turns the question of magic and superstition back on the viewer. In the entrance hallway, you are invited to step under a ladder or go around it. The museum is counting how many people dare to tempt fate. I did, and I hope they post the statistics when the exhibition is over!

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Wargaming with my Twelve-Year-Old

Wargaming with my Twelve-Year-Old

Outpost Gamma-small Outpost Gamma-back-small

It may be turning into an annual tradition here at the McLachlan-Alonso household–beating the Madrid heat by playing tabletop wargames. I first introduced my son to the concept of wargames with Soldiers 1918, an old Strategy & Tactics game.

This summer it was Outpost Gamma, an old Dwarfstar Games science fiction wargame available free online. Just download it, take it to your local printshop to get the board and chits on suitable card stock, and bingo! Old school fun.

This is a simple game, perfect for a kid who hasn’t done many wargames. The rules are clear and straightforward, and the game is pretty fast moving. Game time took about an hour.

Earthers have placed mining colonies on a distant planet ravaged by electrical storms. The native species isn’t too happy about it and decides to kick the miners and the space marines out. What results is basically a colonial warfare game, with a few heavily armed soldiers trying to beat off a superior force of poorly armed natives.

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Tolkien Manuscripts and Artwork On Display in Oxford

Tolkien Manuscripts and Artwork On Display in Oxford

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Bilbo comes to the Huts of the Raft-elves, a watercolor Tolkien
painted for the first edition of The Hobbit, published in 1937.
Bilbo is seen sitting astride a barrel floating down the forest river,
having helped the dwarves (who are hidden inside the wine barrels) to
escape from the dungeons of the Elvenking. This was Tolkien’s favorite
watercolor and he was disappointed to find that it had been omitted from
the first American edition. Credit: © The Tolkien Estate Limited 1937.

The University of Oxford’s Bodleian Library has launched the largest exhibition on J.R.R. Tolkien in a generation.

Tolkien: Maker of Middle-Earth showcases the library’s extensive collection of Tolkien’s papers, manuscripts, letters, and artwork, the largest of its kind in the world. The exhibition, which includes some 200 items, also brings together items from private collections and Marquette University’s Tolkien Collection.

J.R.R. Tolkien (1892–1973) spent most of his adult life in Oxford. He came to Oxford University in 1911, aged nineteen, to study Classics at Exeter College, but later switched to English. After serving in France during World War One, he returned to Oxford to work on the New English Dictionary (later the Oxford English Dictionary), while tutoring in English. After five years at Leeds University as Reader and then Professor of English Language, he returned to Oxford in 1925 and remained there for the rest of his working life, first as Professor of Anglo-Saxon from 1925 to 1945, and later as Professor of English Language and Literature from 1945 to 1959. He is buried with his wife, Edith, in Wolvercote Cemetery in Oxford.

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