#lydia — Public Fediverse posts

Mit Herz, Verstand und bewegenden Geschichten: der Frauentag des Kirchenkreises Köln-Rechtsrheinisch

Beim Workshop „Herzensanliegen“ suche…
#Koeln #Koln #Cologne #Deutschland #Deutsch #DE #Schlagzeilen #Headlines #Nachrichten #News #Europe #Europa #EU #Köln #["EvangelischeKirche" #Frauenarbeit #frauentag #Germany #Herzensanliegen #KirchenkreisKöln-Rechtsrheinisch #Lydia #MarkuskirchePorz-Eil #Melanchthon-Akademie #Nordrhein-Westfalen #vernetzung #Workshops
https://www.europesays.com/de/1131555/

https://www.europesays.com/es/607477/ La vocalista de Presuntos Implicados, Lydia Rodríguez, abandona la banda y los acusa de «cómplices de maltrato» #abandona #acusa #banda #Celebrities #complices #Entertainment #Entretenimiento #ES #España #Famosos #implicados #lydia #maltratos #presuntos #rodriguez #Spain #vocalista

https://www.fogolf.com/1256287/lydia-kos-perfect-fade-shot/ Lydia Ko’s perfect fade shot! #fade #GolfBalls #GolfBallsVideos #GolfBallsVlog #GolfBallsYouTube #GolfEquipment #GolfEquipmentVideos #GolfEquipmentVlog #GolfEquipmentYouTube #GolfTee #GolfTees #GolfTeesVideos #GolfTeesVlog #GolfTeesYouTube #KOs #LYDIA #PERFECT #Shot

https://www.fogolf.com/1256287/lydia-kos-perfect-fade-shot/ Lydia Ko’s perfect fade shot! #fade #GolfBalls #GolfBallsVideos #GolfBallsVlog #GolfBallsYouTube #GolfEquipment #GolfEquipmentVideos #GolfEquipmentVlog #GolfEquipmentYouTube #GolfTee #GolfTees #GolfTeesVideos #GolfTeesVlog #GolfTeesYouTube #KOs #LYDIA #PERFECT #Shot

https://www.fogolf.com/1231798/lydia-kos-perfect-wedge-10-years-on-the-shot-that-changed-her-place-in-golf-history/ Lydia Ko’s ‘perfect’ wedge 10 years on: The shot that changed her place in golf history #10 #best #Changed #Golf #GolfNews #golfing #have #her #history #in #KOs #LYDIA #on #PERFECT #Place #Shot #Shots #that #The #There #wedge #with #would #YEARS #Zealand

https://www.fogolf.com/1231798/lydia-kos-perfect-wedge-10-years-on-the-shot-that-changed-her-place-in-golf-history/ Lydia Ko’s ‘perfect’ wedge 10 years on: The shot that changed her place in golf history #10 #best #Changed #Golf #GolfNews #golfing #have #her #history #in #KOs #LYDIA #on #PERFECT #Place #Shot #Shots #that #The #There #wedge #with #would #YEARS #Zealand

https://www.fogolf.com/1231798/lydia-kos-perfect-wedge-10-years-on-the-shot-that-changed-her-place-in-golf-history/ Lydia Ko’s ‘perfect’ wedge 10 years on: The shot that changed her place in golf history #10 #best #Changed #Golf #GolfNews #golfing #have #her #history #in #KOs #LYDIA #on #PERFECT #Place #Shot #Shots #that #The #There #wedge #with #would #YEARS #Zealand

https://www.europesays.com/es/?p=503643 «La bacteria se ha comido una vértebra» #bacteria #Celebrities #charly #comido #Entertainment #Entretenimiento #ES #España #explica #Famosos #lozano #lydia #marido #Spain #vertebra

正義女神｜高成彬Lydia好有CP感 劉倬昕喺結局嗌到聲沙
https://www.am730.com.hk/娛樂/1024441/正義女神-高成彬lydia好有cp感-劉倬昕喺結局嗌到聲沙

... anyone else overwhelmed with a sudden surge of nausea and deja vu?

https://piefed.social/c/politicalmemes/p/1881162/anyone-else-overwhelmed-with-a-sudden-surge-of-nausea-and-deja-vu

... anyone else overwhelmed with a sudden surge of nausea and deja vu?

https://piefed.social/c/politicalmemes/p/1881162/anyone-else-overwhelmed-with-a-sudden-surge-of-nausea-and-deja-vu

... anyone else overwhelmed with a sudden surge of nausea and deja vu?

https://piefed.social/c/noncredibledefense/p/1881157/anyone-else-overwhelmed-with-a-sudden-surge-of-nausea-and-deja-vu

... anyone else overwhelmed with a sudden surge of nausea and deja vu?

https://piefed.social/c/noncredibledefense/p/1881157/anyone-else-overwhelmed-with-a-sudden-surge-of-nausea-and-deja-vu

THE BIGLIEST EMPIRE, WOW

https://piefed.social/c/historymemes/p/1881145/the-bigliest-empire-wow

THE BIGLIEST EMPIRE, WOW

https://piefed.social/c/historymemes/p/1881145/the-bigliest-empire-wow

Elton John Oscars watch party: Meet auctioneer Lydia Fenet

https://misryoum.com/us/lifestyle/elton-john-oscars-watch-party-meet-auctioneer-lydia/

“What you’re looking for as an auctioneer is someone who’s truly fearless onstage,” says auctioneer Lydia Fenet. Except when they’re onstage next to Elton John, who hosts his eponymous AIDS Foundation Academy Awards Viewing Party and fundraiser annually, for...

#Elton #John #Oscars #watch #party #Meet #auctioneer #Lydia #Fenet #US_News_Hub #misryoum_com

Where to Find Kopis and Machaira Swords

Over on corporate social media, I often see people looking at copies of Illyrian and Iberian swords to understand Greek cleavers. Long war knives spread from Anatolia to Iberia before the Roman empire, but each culture had its own interpretation of these knives. The Iberian swords are very charismatic with decorative fullers and inlays and deep bends, but different from the Greek version of this weapon. Modern copies always differ from the originals, and most of them are based on other modern copies not the artifacts themselves. So this month I will talk about where to find photos and drawings of the original artifacts, then about why these images take a bit of work to find. I hope that will interest different parts of my readership and that I have time for a different topic in March.

Books with Original Artifacts

People reading this post are probably looking for in the weapons with handguards and hooked pommels in the form of a bird’s head (similar swords from other cultures often have hilts shaped like a horse’s head). However, these grew out of earlier large knives and cleavers which might have been weapons or might have been more tools for butchers and priests sacrificing livestock. Archaeologists are interested in development over time so often cover both the earlier and the later forms.

• Probably the best place to start is Marek Verčík‘s book. He has scaled drawings with cross-sections of 14 weapons, a typology with eight nine groups, and a catalogue of 86 from the Balkans with full citations (although some of the works cited are not in the bibliography).1 They are not highly technical. His drawings and measurements are taken from earlier publications. Marek Verčík, Die barbarischen Einflüsse in der griechischen Bewaffnung (Rahden-im-Westf.: Verlag Marie Leidorf GmbH, 2014)
• There are all kinds of artifacts from northern Greece in the John S. Latsis Public Benefit Foundation e-Library. The online viewer is a bit awkward and there are no downloads but anyone with a high-speed Internet connection can view these books. Ask your favourite library to request a free print copy.
• There are weights, measurements, and cross-section drawings of several from Olympia in: Holger Baitinger, Die Angriffswaffen aus Olympia (De Gruyter, 2001). This is out of print but available in academic libraries and scans of the section on swords are available on the International Hoplite Discussion facebook group under “files.”
• The sanctuary of Apollo at Kalapodi was full of edged weapons when the Persians burned it in 480 BCE. You can find scale drawings and measurements and a typology in Hans-Otto Schmitt, “Die Angriffswaffen” in Rainer C.S. Felsch, ed., Kalapodi: Ergebnisse der Ausgrabungen im Heiligtum der Artemis und des Apollon von Hyampolis in der antiken Phokis, Band II (Philipp von Zabern: Mainz-am-Rhein, 2007) pp. 423-551, Taf. 67-106
• Imma Kilian-Dirlmeier has excellent scale drawings of a few as well as studies of their construction and historical development. This was published in the series Prähistorische Bronzefunde but covers steel swords and long knives as well. Imma Kilian-Dirlmeier, Die Schwerter in Griechenland (ausserhalb der Peloponnes), Bulgarien und Albanien (Franz Steiner Verlag: Stuttgart, 1993)
• There is one very nice kopis from Golyamata Mogila in Daniela Agre, The Tumulus of Golyamata Mogila near the villages of Malomirovo and Zlatinitsa (Sofia: Avalon Publishing, 2011). You can download this book from academia.edu and I have blogged about it.
• There are photos and drawings of a kopis from Sardis on the Sardis Expedition website (Sardis no. M95.007).
• There are photos of another machaira from Seyitömer Höyük in Anatolia in an article by Gökhan Coşkun in the journal Adalya (2017) https://izlik.org/JA22RY85DF
• Yvone Innall has photos and measurements of three from Italy in section 5.3 of her PhD thesis: Yvonne L. Inall, A Typological Assessment of Iron Age Weapons in South Italy (PhD Thesis, University of Sydney, 2009) pp. 123-126 (type 5) http://hdl.handle.net/2123/5464
• Fernando Quesada Sanz covers Italian single-edged swords in his books and articles on their relatives in Iberia, above all: Fernando Quesada Sanz, El Armamento Ibérico. Estudio tipológico, geográfico, functional, social y simbólico de las armas en la Cultura ibérica (siglos VI-I a.C.) (1997). I have not seen this one yet!

There is one more from Asia Minor and many from Illyria (Albania and former Yugoslavia). I’m not going to go into those because the books and websites above will give you plenty to get started and are relatively accessible for English speakers.2 None should give your library’s Interlibrary Loan service too much trouble, but a Bulgarian article from the 1930s might.

What Those Artifacts Look Like When Excavated

Greece is short of marshes, deep muddy rivers, and peat bogs. Most ancient weapons survive because they were buried with the dead or devoted to the gods at temples which were burned down or decided to bury some old offerings to make room for new ones. (At Olympia they used them to fill in wells and reinforce the banks of the stadium).

Its hard to keep iron and steel from rusting for 2500 years. Buried iron is often covered with active red rust as soon as it is exposed to fresh oxygen. And many of these weapons were not in good shape when they entered the ground. Weapons from burials were often ritually destroyed by heating them up and folding them like an accordion or breaking off projecting parts. Many of these were extremely quick and light weapons despite being made of soft steel (no ancient Greek, Roman, or Mesopotamian weapon is known to have been successfully quenched).3 The thinner the steel, the less has to rust away before the weapon falls to pieces. Many were buried in their scabbards which have decayed and left encrustations on the blades. This is good if you study textiles and leather from the traces they left, but frustrating if you want to understand the blade (the famous Kirkburn Sword from the Arras Culture in Yorkshire rusted into its enameled bronze and iron sheath in the 2300 years it spent in a grave). So it takes long and tedious work in the conservation laboratory to preserve these weapons, and after conservation they are blackened, twisted, and misshapen. They often fall apart into several pieces.

One of the technical terms is mineralization: the remains of these weapons are no longer iron and steel, but something like very rich iron ore in the shape of the lost weapon. You can study mineralized iron but its not as easy to work with as wrought iron or bloomery steel.

Archaeologists in the early 20th century were not very interested in rusted lumps of iron, and in southern Greece burials no longer contain weapons by the time that the fighting knives with handguards appear. So early excavations of cemeteries and city centres did not turn up many. In recent times, most archaeological finds are stuck in the country where they were found. Most of the serious archaeology in Greece and Bulgaria is by Greeks, Bulgarians, and Germans. So the original objects are in museums in Greece, North Macedonia, and Bulgaria and published in continental European languages. Photographs are not very helpful, you need to spend hours sitting with the objects and drawing them, after the conservation team spent weeks carefully cleaning the iron and stopping the active rust.

Books with all those drawings and measurements are expensive because they need archival-quality paper and skilled editing and have a limited audience. Tens of thousands of people are not willing to buy books about ancient Greek weapons. Often a few edged weapons are published with hundreds of other artifacts, and the price of the book has to cover all of those. There is not yet a large market of makers and reenactors who study the artifacts like in Viking Age archaeology or Imperial Roman archaeology. Without that large market, print runs remain around 200-400 copies, and the price of each copy is high.

There is now a move towards open access in academia: share the book or article freely online and let those who want a paper copy pay for it. This has only been practical for the past twenty years or so and it raises big questions of how to pay for services like layout and proofreading and image processing. There is also a movement towards open data (making individual images or databases searchable) but that requires even more IT services. In the long run open access will be the solution, but academia moves slowly, especially fields which are being dismantled. The Sardis Expedition database and the journal Adalya above are excellent open-access projects.

Why Some Museums Don’t Publish Their Images Online

Many ancient weapons are in regional museums with very limited budgets and IT staffs. Finds in big museums in national capitals are better known. For example, Peter Connolly painted a kopis from Korfu in the National Archaeological Museum in Athens, and today there are several reproductions of it. The thing that distinguishes this from a dozen other weapons is that its on display in a museum that almost every visitor to Greece sees, whereas only a few people see the regional museum in Korfu. Professional photography with good lighting and a neutral background is not free either, it takes time to set up and clean up and a display area may have to be closed down during visiting hours. The Royal Ontario Museum can afford to digitalize much more than a museum in rural Macedonia, even before the chatbot swarms started to use up expensive bandwidth and drove some sites offline or behind paywalls. Many museums and regional archaeological services have large backlogs of objects that need conserving and cataloguing, so anything else they do has to be better than that. And of course they prioritize sharing things in the language that the taxpayers who fund them speak.

Why Doesn’t Someone Else Do It?

Books on ancient warfare for a general audience, from publishers such as Osprey and Pen & Sword, could print photos and drawings of these objects. I think that one reason they rarely do this is that contacting institutions in another country that speaks a minority language seems intimidating. Museum bureaucracy can be cumbersome at best, and a language barrier makes that even more difficult. People who write books like this are often in a hurry, so they start with big institutions in their own country and objects that people already recognize. Peter Connolly picked an unusually well-preserved kopis to paint, and many people have made copies of that.

Another reason is that people who buy illustrated books want to see pretty things. Bronzes and ceramics are prettier and easier to understand than lumps of rust that were once edged weapons. It takes skill and money to draw a twisted and rusted weapon, and not every book is written by an artist like Peter Connolly, Ewart Oakeshott, or Roland Warzecha who can see what the original was like.

I know two people who have spent time in small museums in northern Greece sketching and weighing and photographing ancient weapons. If you can travel there, it can be done. Some museums have friendly staff, just nobody dedicated to researching ancient weapons.

Its also possible for anyone to start a list like this on a service like WordPress or Pinterest. Fans of other periods do this all the time. Closed services that you have to log in to see are not the best choice, and ‘free’ services have risks too, but anything you share and collaborate on is better than nothing. Just give as much information as you can about where something came from (reverse image search tools like TinEye are your friend).

I previously wrote about how ancient Greek kit is hard to make. Archaeologists have published most of what you need to know to make it, but you have to track down difficult books in foreign languages. You just can’t get all that information with a quick Google search, and it won’t be as easy to interpret as a sixteenth-century sword in a vitrine. That is frustrating in some ways, but its also what makes this a stimulating hobby.

(scheduled 26 February 2026)

Edit 2026-03-05: mentioned missing bibliography entries, nine not eight types

1. The bibliography is missing Eggebrecht 1988 (auf Deutsch), Filow 1934 (auf Deutsch, by the famous Bogdan D. Filow), Jacopi 1929 (in Italiano), Kübler 1954 (auf Deutsch), Mitrevski 1991, Nikolov 1965, Tziafalias 1978 (en ten Helleniken). I have identified most of these, email me if interested. ↩︎
2. I am intrigued by the drawings in Maja Parović-Pešikan. “Grčka mahajra i problem krivih mačeva.” Godišnjak Centra za balkanološka ispitivanja 20 pp. 25-52. I think that her “Greek machairas” in Illyria might be like British copies of an Austro-Hungarian pallasch rather than objects made by Greeks in a style Greeks would recognize. You can download this with free registration from https://www.ceeol.com/search/article-detail?id=750062 ↩︎
3. The place to start is Photos, Euphemia (1987) Early extractive iron metallurgy in N Greece : a unified approach to regional archaeometallurgy. Doctoral thesis , University of London. https://discovery.ucl.ac.uk/id/eprint/1348990/ and Effi Photos, “Metallographic Investigation of Iron Artefacts from EIA Cemetery at Vergina,” Prähistorische Zeitschrift (Berlin) 64 (1989) pp. 146-149 ↩︎

Where to Find Kopis and Machaira Swords

Over on corporate social media, I often see people looking at copies of Illyrian and Iberian swords to understand Greek cleavers. Long war knives spread from Anatolia to Iberia before the Roman empire, but each culture had its own interpretation of these knives. The Iberian swords are very charismatic with decorative fullers and inlays and deep bends, but different from the Greek version of this weapon. Modern copies always differ from the originals, and most of them are based on other modern copies not the artifacts themselves. So this month I will talk about where to find photos and drawings of the original artifacts, then about why these images take a bit of work to find. I hope that will interest different parts of my readership and that I have time for a different topic in March.

Books with Original Artifacts

People reading this post are probably looking for in the weapons with handguards and hooked pommels in the form of a bird’s head (similar swords from other cultures often have hilts shaped like a horse’s head). However, these grew out of earlier large knives and cleavers which might have been weapons or might have been more tools for butchers and priests sacrificing livestock. Archaeologists are interested in development over time so often cover both the earlier and the later forms.

• Probably the best place to start is Marek Verčík‘s book. He has scaled drawings with cross-sections of 14 weapons, a typology with eight groups, and a catalogue of 86 from the Balkans with full citations. They are not highly technical. His drawings and measurements are taken from earlier publications. Marek Verčík, Die barbarischen Einflüsse in der griechischen Bewaffnung (Rahden-im-Westf.: Verlag Marie Leidorf GmbH, 2014)
• There are all kinds of artifacts from northern Greece in the John S. Latsis Public Benefit Foundation e-Library. The online viewer is a bit awkward and there are no downloads but anyone with a high-speed Internet connection can view these books. Ask your favourite library to request a free print copy.
• There are weights, measurements, and cross-section drawings of several from Olympia in: Holger Baitinger, Die Angriffswaffen aus Olympia (De Gruyter, 2001). This is out of print but available in academic libraries and scans of the section on swords are available on thee International Hoplite Discussion facebook group under “files.”
• The sanctuary of Apollo at Kalapodi was full of edged weapons when the Persians burned it in 480 BCE. You can find scale drawings and measurements and a typology in Hans-Otto Schmitt, “Die Angriffswaffen” in Rainer C.S. Felsch, ed., Kalapodi: Ergebnisse der Ausgrabungen im Heiligtum der Artemis und des Apollon von Hyampolis in der antiken Phokis, Band II (Philipp von Zabern: Mainz-am-Rhein, 2007) pp. 423-551, Taf. 67-106
• Imma Kilian-Dirlmeier has excellent scale drawings of a few as well as studies of their construction and historical development. This was published in the series Prähistorische Bronzefunde but covers steel swords and long knives as well. Imma Kilian-Dirlmeier, Die Schwerter in Griechenland (ausserhalb der Peloponnes), Bulgarien und Albanien (Franz Steiner Verlag: Stuttgart, 1993)
• There is one very nice kopis from Golyamata Mogila in Daniela Agre, The Tumulus of Golyamata Mogila near the villages of Malomirovo and Zlatinitsa (Sofia: Avalon Publishing, 2011). You can download this book from academia.edu and I have blogged about it.
• There are photos and drawings of a kopis from Sardis on the Sardis Expedition website (Sardis no. M95.007).
• There are photos of another machaira from Seyitömer Höyük in Anatolia in an article by Gökhan Coşkun in the journal Adalya (2017) https://izlik.org/JA22RY85DF
• Yvone Innall has photos and measurements of three from Italy in section 5.3 of her PhD thesis: Yvonne L. Inall, A Typological Assessment of Iron Age Weapons in South Italy (PhD Thesis, University of Sydney, 2009) pp. 123-126 (type 5) http://hdl.handle.net/2123/5464
• Fernando Quesada Sanz covers Italian single-edged swords in his books and articles on their relatives in Iberia, above all: Fernando Quesada Sanz, El Armamento Ibérico. Estudio tipológico, geográfico, functional, social y simbólico de las armas en la Cultura ibérica (siglos VI-I a.C.) (1997). I have not seen this one yet!

There is one more from Asia Minor and many from Illyria (Albania and former Yugoslavia). I’m not going to go into those because the books and websites above will give you plenty to get started and are relatively accessible for English speakers.1 None should give your library’s Interlibrary Loan service too much trouble, but a Bulgarian article from the 1930s might.

What Those Artifacts Look Like When Excavated

Greece is short of marshes, deep muddy rivers, and peat bogs. Most ancient weapons survive because they were buried with the dead or devoted to the gods at temples which were burned down or decided to bury some old offerings to make room for new ones. (At Olympia they used them to fill in wells and reinforce the banks of the stadium).

Its hard to keep iron and steel from rusting for 2500 years. Buried iron is often covered with active red rust as soon as it is exposed to fresh oxygen. And many of these weapons were not in good shape when they entered the ground. Weapons from burials were often ritually destroyed by heating them up and folding them like an accordion or breaking off projecting parts. Many of these were extremely quick and light weapons despite being made of soft steel (no ancient Greek, Roman, or Mesopotamian weapon is known to have been successfully quenched).2 The thinner the steel, the less has to rust away before the weapon falls to pieces. Many were buried in their scabbards which have decayed and left encrustations on the blades. This is good if you study textiles and leather from the traces they left, but frustrating if you want to understand the blade (the famous Kirkburn Sword from the Arras Culture in Yorkshire rusted into its enameled bronze and iron sheath in the 2300 years it spent in a grave). So it takes long and tedious work in the conservation laboratory to preserve these weapons, and after conservation they are blackened, twisted, and misshapen. They often fall apart into several pieces.

One of the technical terms is mineralization: the remains of these weapons are no longer iron and steel, but something like very rich iron ore in the shape of the lost weapon. You can study mineralized iron.

Archaeologists in the early 20th century were not very interested in rusted lumps of iron, and in southern Greece burials no longer contain weapons by the time that the fighting knives with handguards appear. So early excavations of cemeteries and city centres did not turn up many. In recent times, most archaeological finds are stuck in the country where they were found. Most of the serious archaeology in Greece and Bulgaria is by Greeks, Bulgarians, and Germans. So the original objects are in museums in Greece, North Macedonia, and Bulgaria and published in continental European languages. Photographs are not very helpful, you need to spend hours sitting with the objects and drawing them, after the conservation team spent weeks carefully cleaning the iron and stopping the active rust.

Books with all those drawings and measurements are expensive because they need archival-quality paper and skilled editing and have a limited audience. Tens of thousands of people are not willing to buy books about ancient Greek weapons. Often a few edged weapons are published with hundreds of other artifacts, and the price of the book has to cover all of those. There is not yet a large market of makers and reenactors who study the artifacts like in Viking Age archaeology or Imperial Roman archaeology. Without that large market, print runs remain around 200-400 copies, and the price of each copy is high.

There is now a move towards open access in academia: share the book or article freely online and let those who want a paper copy pay for it. This has only been practical for the past twenty years or so and it raises big questions of how to pay for services like layout and proofreading and image processing. There is also a movement towards open data (making individual images or databases searchable) but that requires even more IT services. In the long run open access will be the solution, but academia moves slowly, especially fields which are being dismantled. The Sardis Expedition database and the journal Adalya above are excellent open-access projects.

Why Some Museums Don’t Publish Their Images Online

Many ancient weapons are in regional museums with very limited budgets and IT staffs. Finds in big museums in national capitals are better known. For example, Peter Connolly painted a kopis from Korfu in the National Archaeological Museum in Athens, and today there are several reproductions of it. The thing that distinguishes this from a dozen other weapons is that its on display in a museum that almost every visitor to Greece sees, whereas only a few people see the regional museum in Korfu. Professional photography with good lighting and a neutral background is not free either, it takes time to set up and clean up and a display area may have to be closed down during visiting hours. The Royal Ontario Museum can afford to digitalize much more than a museum in rural Macedonia, even before the chatbot swarms started to use up expensive bandwidth and drove some sites offline or behind paywalls. Many museums and regional archaeological services have large backlogs of objects that need conserving and cataloguing, so anything else they do has to be better than that. And of course they prioritize sharing things in the language that the taxpayers who fund them speak.

Why Doesn’t Someone Else Do It?

Books on ancient warfare for a general audience, from publishers such as Osprey and Pen & Sword, could print photos and drawings of these objects. I think that one reason they rarely do this is that contacting institutions in another country that speaks a minority language seems intimidating. Museum bureaucracy can be cumbersome at best, and a language barrier makes that even more difficult. People who write books like this are often in a hurry, so they start with big institutions in their own country and objects that people already recognize. Peter Connolly picked an unusually well-preserved kopis to paint, and many people have made copies of that.

Another reason is that people who buy illustrated books want to see pretty things. Bronzes and ceramics are prettier and easier to understand than lumps of rust that were once edged weapons. It takes skill and money to draw a twisted and rusted weapon, and not every book is written by an artist like Peter Connolly, Ewart Oakeshott, or Roland Warzecha who can see what the original was like.

I know two people who have spent time in small museums in northern Greece sketching and weighing and photographing ancient weapons. If you can travel there, it can be done. Some museums have friendly staff, just nobody dedicated to researching ancient weapons.

Its also possible for anyone to start a list like this on a service like WordPress or Pinterest. Fans of other periods do this all the time. Closed services that you have to log in to see are not the best choice, and ‘free’ services have risks too, but anything you share and collaborate on is better than nothing. Just give as much information as you can about where something came from (reverse image search tools like TinEye are your friend).

I previously wrote about how ancient Greek kit is hard to make. Archaeologists have published most of what you need to know to make it, but you have to track down difficult books in foreign languages. You just can’t get all that information with a quick Google search, and it won’t be as easy to interpret as a sixteenth-century sword in a vitrine. That is frustrating in some ways, but its also what makes this a stimulating hobby.

(scheduled 26 February 2026)

1. I am intrigued by the drawings in Maja Parović-Pešikan. “Grčka mahajra i problem krivih mačeva.” Godišnjak Centra za balkanološka ispitivanja 20 pp. 25-52. I think that her “Greek machairas” in Illyria might be like British copies of an Austro-Hungarian pallasch rather than objects made by Greeks in a style Greeks would recognize. You can download this with free registration from https://www.ceeol.com/search/article-detail?id=750062 ↩︎
2. The place to start is Photos, Euphemia (1987) Early extractive iron metallurgy in N Greece : a unified approach to regional archaeometallurgy. Doctoral thesis , University of London. https://discovery.ucl.ac.uk/id/eprint/1348990/ and Effi Photos, “Metallographic Investigation of Iron Artefacts from EIA Cemetery at Vergina,” Prähistorische Zeitschrift (Berlin) 64 (1989) pp. 146-149 ↩︎

Where to Find Kopis and Machaira Swords

Over on corporate social media, I often see people looking at copies of Illyrian and Iberian swords to understand Greek cleavers. Long war knives spread from Anatolia to Iberia before the Roman empire, but each culture had its own interpretation of these knives. The Iberian swords are very charismatic with decorative fullers and inlays and deep bends, but different from the Greek version of this weapon. Modern copies always differ from the originals, and most of them are based on other modern copies not the artifacts themselves. So this month I will talk about where to find photos and drawings of the original artifacts, then about why these images take a bit of work to find. I hope that will interest different parts of my readership and that I have time for a different topic in March.

Books with Original Artifacts

People reading this post are probably looking for in the weapons with handguards and hooked pommels in the form of a bird’s head (similar swords from other cultures often have hilts shaped like a horse’s head). However, these grew out of earlier large knives and cleavers which might have been weapons or might have been more tools for butchers and priests sacrificing livestock. Archaeologists are interested in development over time so often cover both the earlier and the later forms.

• Probably the best place to start is Marek Verčík‘s book. He has scaled drawings with cross-sections of 14 weapons, a typology with eight groups, and a catalogue of 86 from the Balkans with full citations. They are not highly technical. His drawings and measurements are taken from earlier publications. Marek Verčík, Die barbarischen Einflüsse in der griechischen Bewaffnung (Rahden-im-Westf.: Verlag Marie Leidorf GmbH, 2014)
• There are all kinds of artifacts from northern Greece in the John S. Latsis Public Benefit Foundation e-Library. The online viewer is a bit awkward and there are no downloads but anyone with a high-speed Internet connection can view these books. Ask your favourite library to request a free print copy.
• There are weights, measurements, and cross-section drawings of several from Olympia in: Holger Baitinger, Die Angriffswaffen aus Olympia (De Gruyter, 2001). This is out of print but available in academic libraries and scans of the section on swords are available on thee International Hoplite Discussion facebook group under “files.”
• The sanctuary of Apollo at Kalapodi was full of edged weapons when the Persians burned it in 480 BCE. You can find scale drawings and measurements and a typology in Hans-Otto Schmitt, “Die Angriffswaffen” in Rainer C.S. Felsch, ed., Kalapodi: Ergebnisse der Ausgrabungen im Heiligtum der Artemis und des Apollon von Hyampolis in der antiken Phokis, Band II (Philipp von Zabern: Mainz-am-Rhein, 2007) pp. 423-551, Taf. 67-106
• Imma Kilian-Dirlmeier has excellent scale drawings of a few as well as studies of their construction and historical development. This was published in the series Prähistorische Bronzefunde but covers steel swords and long knives as well. Imma Kilian-Dirlmeier, Die Schwerter in Griechenland (ausserhalb der Peloponnes), Bulgarien und Albanien (Franz Steiner Verlag: Stuttgart, 1993)
• There is one very nice kopis from Golyamata Mogila in Daniela Agre, The Tumulus of Golyamata Mogila near the villages of Malomirovo and Zlatinitsa (Sofia: Avalon Publishing, 2011). You can download this book from academia.edu and I have blogged about it.
• There are photos and drawings of a kopis from Sardis on the Sardis Expedition website (Sardis no. M95.007).
• There are photos of another machaira from Seyitömer Höyük in Anatolia in an article by Gökhan Coşkun in the journal Adalya (2017) https://izlik.org/JA22RY85DF
• Yvone Innall has photos and measurements of three from Italy in section 5.3 of her PhD thesis: Yvonne L. Inall, A Typological Assessment of Iron Age Weapons in South Italy (PhD Thesis, University of Sydney, 2009) pp. 123-126 (type 5) http://hdl.handle.net/2123/5464
• Fernando Quesada Sanz covers Italian single-edged swords in his books and articles on their relatives in Iberia, above all: Fernando Quesada Sanz, El Armamento Ibérico. Estudio tipológico, geográfico, functional, social y simbólico de las armas en la Cultura ibérica (siglos VI-I a.C.) (1997). I have not seen this one yet!

There is one more from Asia Minor and many from Illyria (Albania and former Yugoslavia). I’m not going to go into those because the books and websites above will give you plenty to get started and are relatively accessible for English speakers.1 None should give your library’s Interlibrary Loan service too much trouble, but a Bulgarian article from the 1930s might.

What Those Artifacts Look Like When Excavated

Greece is short of marshes, deep muddy rivers, and peat bogs. Most ancient weapons survive because they were buried with the dead or devoted to the gods at temples which were burned down or decided to bury some old offerings to make room for new ones. (At Olympia they used them to fill in wells and reinforce the banks of the stadium).

Its hard to keep iron and steel from rusting for 2500 years. Buried iron is often covered with active red rust as soon as it is exposed to fresh oxygen. And many of these weapons were not in good shape when they entered the ground. Weapons from burials were often ritually destroyed by heating them up and folding them like an accordion or breaking off projecting parts. Many of these were extremely quick and light weapons despite being made of soft steel (no ancient Greek, Roman, or Mesopotamian weapon is known to have been successfully quenched).2 The thinner the steel, the less has to rust away before the weapon falls to pieces. Many were buried in their scabbards which have decayed and left encrustations on the blades. This is good if you study textiles and leather from the traces they left, but frustrating if you want to understand the blade (the famous Kirkburn Sword from the Arras Culture in Yorkshire rusted into its enameled bronze and iron sheath in the 2300 years it spent in a grave). So it takes long and tedious work in the conservation laboratory to preserve these weapons, and after conservation they are blackened, twisted, and misshapen. They often fall apart into several pieces.

One of the technical terms is mineralization: the remains of these weapons are no longer iron and steel, but something like very rich iron ore in the shape of the lost weapon. You can study mineralized iron.

Archaeologists in the early 20th century were not very interested in rusted lumps of iron, and in southern Greece burials no longer contain weapons by the time that the fighting knives with handguards appear. So early excavations of cemeteries and city centres did not turn up many. In recent times, most archaeological finds are stuck in the country where they were found. Most of the serious archaeology in Greece and Bulgaria is by Greeks, Bulgarians, and Germans. So the original objects are in museums in Greece, North Macedonia, and Bulgaria and published in continental European languages. Photographs are not very helpful, you need to spend hours sitting with the objects and drawing them, after the conservation team spent weeks carefully cleaning the iron and stopping the active rust.

Books with all those drawings and measurements are expensive because they need archival-quality paper and skilled editing and have a limited audience. Tens of thousands of people are not willing to buy books about ancient Greek weapons. Often a few edged weapons are published with hundreds of other artifacts, and the price of the book has to cover all of those. There is not yet a large market of makers and reenactors who study the artifacts like in Viking Age archaeology or Imperial Roman archaeology. Without that large market, print runs remain around 200-400 copies, and the price of each copy is high.

There is now a move towards open access in academia: share the book or article freely online and let those who want a paper copy pay for it. This has only been practical for the past twenty years or so and it raises big questions of how to pay for services like layout and proofreading and image processing. There is also a movement towards open data (making individual images or databases searchable) but that requires even more IT services. In the long run open access will be the solution, but academia moves slowly, especially fields which are being dismantled. The Sardis Expedition database and the journal Adalya above are excellent open-access projects.

Why Some Museums Don’t Publish Their Images Online

Many ancient weapons are in regional museums with very limited budgets and IT staffs. Finds in big museums in national capitals are better known. For example, Peter Connolly painted a kopis from Korfu in the National Archaeological Museum in Athens, and today there are several reproductions of it. The thing that distinguishes this from a dozen other weapons is that its on display in a museum that almost every visitor to Greece sees, whereas only a few people see the regional museum in Korfu. Professional photography with good lighting and a neutral background is not free either, it takes time to set up and clean up and a display area may have to be closed down during visiting hours. The Royal Ontario Museum can afford to digitalize much more than a museum in rural Macedonia, even before the chatbot swarms started to use up expensive bandwidth and drove some sites offline or behind paywalls. Many museums and regional archaeological services have large backlogs of objects that need conserving and cataloguing, so anything else they do has to be better than that. And of course they prioritize sharing things in the language that the taxpayers who fund them speak.

Why Doesn’t Someone Else Do It?

Books on ancient warfare for a general audience, from publishers such as Osprey and Pen & Sword, could print photos and drawings of these objects. I think that one reason they rarely do this is that contacting institutions in another country that speaks a minority language seems intimidating. Museum bureaucracy can be cumbersome at best, and a language barrier makes that even more difficult. People who write books like this are often in a hurry, so they start with big institutions in their own country and objects that people already recognize. Peter Connolly picked an unusually well-preserved kopis to paint, and many people have made copies of that.

Another reason is that people who buy illustrated books want to see pretty things. Bronzes and ceramics are prettier and easier to understand than lumps of rust that were once edged weapons. It takes skill and money to draw a twisted and rusted weapon, and not every book is written by an artist like Peter Connolly, Ewart Oakeshott, or Roland Warzecha who can see what the original was like.

I know two people who have spent time in small museums in northern Greece sketching and weighing and photographing ancient weapons. If you can travel there, it can be done. Some museums have friendly staff, just nobody dedicated to researching ancient weapons.

Its also possible for anyone to start a list like this on a service like WordPress or Pinterest. Fans of other periods do this all the time. Closed services that you have to log in to see are not the best choice, and ‘free’ services have risks too, but anything you share and collaborate on is better than nothing. Just give as much information as you can about where something came from (reverse image search tools like TinEye are your friend).

I previously wrote about how ancient Greek kit is hard to make. Archaeologists have published most of what you need to know to make it, but you have to track down difficult books in foreign languages. You just can’t get all that information with a quick Google search, and it won’t be as easy to interpret as a sixteenth-century sword in a vitrine. That is frustrating in some ways, but its also what makes this a stimulating hobby.

(scheduled 26 February 2026)

1. I am intrigued by the drawings in Maja Parović-Pešikan. “Grčka mahajra i problem krivih mačeva.” Godišnjak Centra za balkanološka ispitivanja 20 pp. 25-52. I think that her “Greek machairas” in Illyria might be like British copies of an Austro-Hungarian pallasch rather than objects made by Greeks in a style Greeks would recognize. You can download this with free registration from https://www.ceeol.com/search/article-detail?id=750062 ↩︎
2. The place to start is Photos, Euphemia (1987) Early extractive iron metallurgy in N Greece : a unified approach to regional archaeometallurgy. Doctoral thesis , University of London. https://discovery.ucl.ac.uk/id/eprint/1348990/ and Effi Photos, “Metallographic Investigation of Iron Artefacts from EIA Cemetery at Vergina,” Prähistorische Zeitschrift (Berlin) 64 (1989) pp. 146-149 ↩︎

Where to Find Kopis and Machaira Swords

Over on corporate social media, I often see people looking at copies of Illyrian and Iberian swords to understand Greek cleavers. Long war knives spread from Anatolia to Iberia before the Roman empire, but each culture had its own interpretation of these knives. The Iberian swords are very charismatic with decorative fullers and inlays and deep bends, but different from the Greek version of this weapon. Modern copies always differ from the originals, and most of them are based on other modern copies not the artifacts themselves. So this month I will talk about where to find photos and drawings of the original artifacts, then about why these images take a bit of work to find. I hope that will interest different parts of my readership and that I have time for a different topic in March.

Books with Original Artifacts

People reading this post are probably looking for in the weapons with handguards and hooked pommels in the form of a bird’s head (similar swords from other cultures often have hilts shaped like a horse’s head). However, these grew out of earlier large knives and cleavers which might have been weapons or might have been more tools for butchers and priests sacrificing livestock. Archaeologists are interested in development over time so often cover both the earlier and the later forms.

• Probably the best place to start is Marek Verčík‘s book. He has scaled drawings with cross-sections of 14 weapons, a typology with eight groups, and a catalogue of 86 from the Balkans with full citations. They are not highly technical. His drawings and measurements are taken from earlier publications. Marek Verčík, Die barbarischen Einflüsse in der griechischen Bewaffnung (Rahden-im-Westf.: Verlag Marie Leidorf GmbH, 2014)
• There are all kinds of artifacts from northern Greece in the John S. Latsis Public Benefit Foundation e-Library. The online viewer is a bit awkward and there are no downloads but anyone with a high-speed Internet connection can view these books. Ask your favourite library to request a free print copy.
• There are weights, measurements, and cross-section drawings of several from Olympia in: Holger Baitinger, Die Angriffswaffen aus Olympia (De Gruyter, 2001). This is out of print but available in academic libraries and scans of the section on swords are available on thee International Hoplite Discussion facebook group under “files.”
• The sanctuary of Apollo at Kalapodi was full of edged weapons when the Persians burned it in 480 BCE. You can find scale drawings and measurements and a typology in Hans-Otto Schmitt, “Die Angriffswaffen” in Rainer C.S. Felsch, ed., Kalapodi: Ergebnisse der Ausgrabungen im Heiligtum der Artemis und des Apollon von Hyampolis in der antiken Phokis, Band II (Philipp von Zabern: Mainz-am-Rhein, 2007) pp. 423-551, Taf. 67-106
• Imma Kilian-Dirlmeier has excellent scale drawings of a few as well as studies of their construction and historical development. This was published in the series Prähistorische Bronzefunde but covers steel swords and long knives as well. Imma Kilian-Dirlmeier, Die Schwerter in Griechenland (ausserhalb der Peloponnes), Bulgarien und Albanien (Franz Steiner Verlag: Stuttgart, 1993)
• There is one very nice kopis from Golyamata Mogila in Daniela Agre, The Tumulus of Golyamata Mogila near the villages of Malomirovo and Zlatinitsa (Sofia: Avalon Publishing, 2011). You can download this book from academia.edu and I have blogged about it.
• There are photos and drawings of a kopis from Sardis on the Sardis Expedition website (Sardis no. M95.007).
• There are photos of another machaira from Seyitömer Höyük in Anatolia in an article by Gökhan Coşkun in the journal Adalya (2017) https://izlik.org/JA22RY85DF
• Yvone Innall has photos and measurements of three from Italy in section 5.3 of her PhD thesis: Yvonne L. Inall, A Typological Assessment of Iron Age Weapons in South Italy (PhD Thesis, University of Sydney, 2009) pp. 123-126 (type 5) http://hdl.handle.net/2123/5464
• Fernando Quesada Sanz covers Italian single-edged swords in his books and articles on their relatives in Iberia, above all: Fernando Quesada Sanz, El Armamento Ibérico. Estudio tipológico, geográfico, functional, social y simbólico de las armas en la Cultura ibérica (siglos VI-I a.C.) (1997). I have not seen this one yet!

There is one more from Asia Minor and many from Illyria (Albania and former Yugoslavia). I’m not going to go into those because the books and websites above will give you plenty to get started and are relatively accessible for English speakers.1 None should give your library’s Interlibrary Loan service too much trouble, but a Bulgarian article from the 1930s might.

What Those Artifacts Look Like When Excavated

Greece is short of marshes, deep muddy rivers, and peat bogs. Most ancient weapons survive because they were buried with the dead or devoted to the gods at temples which were burned down or decided to bury some old offerings to make room for new ones. (At Olympia they used them to fill in wells and reinforce the banks of the stadium).

Its hard to keep iron and steel from rusting for 2500 years. Buried iron is often covered with active red rust as soon as it is exposed to fresh oxygen. And many of these weapons were not in good shape when they entered the ground. Weapons from burials were often ritually destroyed by heating them up and folding them like an accordion or breaking off projecting parts. Many of these were extremely quick and light weapons despite being made of soft steel (no ancient Greek, Roman, or Mesopotamian weapon is known to have been successfully quenched).2 The thinner the steel, the less has to rust away before the weapon falls to pieces. Many were buried in their scabbards which have decayed and left encrustations on the blades. This is good if you study textiles and leather from the traces they left, but frustrating if you want to understand the blade (the famous Kirkburn Sword from the Arras Culture in Yorkshire rusted into its enameled bronze and iron sheath in the 2300 years it spent in a grave). So it takes long and tedious work in the conservation laboratory to preserve these weapons, and after conservation they are blackened, twisted, and misshapen. They often fall apart into several pieces.

One of the technical terms is mineralization: the remains of these weapons are no longer iron and steel, but something like very rich iron ore in the shape of the lost weapon. You can study mineralized iron.

Archaeologists in the early 20th century were not very interested in rusted lumps of iron, and in southern Greece burials no longer contain weapons by the time that the fighting knives with handguards appear. So early excavations of cemeteries and city centres did not turn up many. In recent times, most archaeological finds are stuck in the country where they were found. Most of the serious archaeology in Greece and Bulgaria is by Greeks, Bulgarians, and Germans. So the original objects are in museums in Greece, North Macedonia, and Bulgaria and published in continental European languages. Photographs are not very helpful, you need to spend hours sitting with the objects and drawing them, after the conservation team spent weeks carefully cleaning the iron and stopping the active rust.

Books with all those drawings and measurements are expensive because they need archival-quality paper and skilled editing and have a limited audience. Tens of thousands of people are not willing to buy books about ancient Greek weapons. Often a few edged weapons are published with hundreds of other artifacts, and the price of the book has to cover all of those. There is not yet a large market of makers and reenactors who study the artifacts like in Viking Age archaeology or Imperial Roman archaeology. Without that large market, print runs remain around 200-400 copies, and the price of each copy is high.

There is now a move towards open access in academia: share the book or article freely online and let those who want a paper copy pay for it. This has only been practical for the past twenty years or so and it raises big questions of how to pay for services like layout and proofreading and image processing. There is also a movement towards open data (making individual images or databases searchable) but that requires even more IT services. In the long run open access will be the solution, but academia moves slowly, especially fields which are being dismantled. The Sardis Expedition database and the journal Adalya above are excellent open-access projects.

Why Some Museums Don’t Publish Their Images Online

Many ancient weapons are in regional museums with very limited budgets and IT staffs. Finds in big museums in national capitals are better known. For example, Peter Connolly painted a kopis from Korfu in the National Archaeological Museum in Athens, and today there are several reproductions of it. The thing that distinguishes this from a dozen other weapons is that its on display in a museum that almost every visitor to Greece sees, whereas only a few people see the regional museum in Korfu. Professional photography with good lighting and a neutral background is not free either, it takes time to set up and clean up and a display area may have to be closed down during visiting hours. The Royal Ontario Museum can afford to digitalize much more than a museum in rural Macedonia, even before the chatbot swarms started to use up expensive bandwidth and drove some sites offline or behind paywalls. Many museums and regional archaeological services have large backlogs of objects that need conserving and cataloguing, so anything else they do has to be better than that. And of course they prioritize sharing things in the language that the taxpayers who fund them speak.

Why Doesn’t Someone Else Do It?

Books on ancient warfare for a general audience, from publishers such as Osprey and Pen & Sword, could print photos and drawings of these objects. I think that one reason they rarely do this is that contacting institutions in another country that speaks a minority language seems intimidating. Museum bureaucracy can be cumbersome at best, and a language barrier makes that even more difficult. People who write books like this are often in a hurry, so they start with big institutions in their own country and objects that people already recognize. Peter Connolly picked an unusually well-preserved kopis to paint, and many people have made copies of that.

Another reason is that people who buy illustrated books want to see pretty things. Bronzes and ceramics are prettier and easier to understand than lumps of rust that were once edged weapons. It takes skill and money to draw a twisted and rusted weapon, and not every book is written by an artist like Peter Connolly, Ewart Oakeshott, or Roland Warzecha who can see what the original was like.

I know two people who have spent time in small museums in northern Greece sketching and weighing and photographing ancient weapons. If you can travel there, it can be done. Some museums have friendly staff, just nobody dedicated to researching ancient weapons.

Its also possible for anyone to start a list like this on a service like WordPress or Pinterest. Fans of other periods do this all the time. Closed services that you have to log in to see are not the best choice, and ‘free’ services have risks too, but anything you share and collaborate on is better than nothing. Just give as much information as you can about where something came from (reverse image search tools like TinEye are your friend).

I previously wrote about how ancient Greek kit is hard to make. Archaeologists have published most of what you need to know to make it, but you have to track down difficult books in foreign languages. You just can’t get all that information with a quick Google search, and it won’t be as easy to interpret as a sixteenth-century sword in a vitrine. That is frustrating in some ways, but its also what makes this a stimulating hobby.

(scheduled 26 February 2026)

1. I am intrigued by the drawings in Maja Parović-Pešikan. “Grčka mahajra i problem krivih mačeva.” Godišnjak Centra za balkanološka ispitivanja 20 pp. 25-52. I think that her “Greek machairas” in Illyria might be like British copies of an Austro-Hungarian pallasch rather than objects made by Greeks in a style Greeks would recognize. You can download this with free registration from https://www.ceeol.com/search/article-detail?id=750062 ↩︎
2. The place to start is Photos, Euphemia (1987) Early extractive iron metallurgy in N Greece : a unified approach to regional archaeometallurgy. Doctoral thesis , University of London. https://discovery.ucl.ac.uk/id/eprint/1348990/ and Effi Photos, “Metallographic Investigation of Iron Artefacts from EIA Cemetery at Vergina,” Prähistorische Zeitschrift (Berlin) 64 (1989) pp. 146-149 ↩︎

Friend Destiny took us on a day trip to New York City a few years ago, to see "BEETLEJUICE" on Broadway. It was amazing! #newyork #nyc #newyorkcity #beetlejuice #betelguise #ghost #ghosts #ghoststory #ghoststories #lydia #timessquare #broadway #bustrip #daytrip #vacation #hottestdayoftheyear #hightemps #theater #theatre #cococola #musical #musicaltheater #musicals

Friend Destiny took us on a day trip to New York City a few years ago, to see "BEETLEJUICE" on Broadway. It was amazing! #newyork #nyc #newyorkcity #beetlejuice #betelguise #ghost #ghosts #ghoststory #ghoststories #lydia #timessquare #broadway #bustrip #daytrip #vacation #hottestdayoftheyear #hightemps #theater #theatre #cococola #musical #musicaltheater #musicals

https://www.europesays.com/es/388885/ He tenido que alquilar una grúa para poder sentarle #actualiza #charly #Entertainment #Entretenimiento #ES #España #lozano #lydia #marido #Salud #Spain

#LydiaWeltiEscher ist eine Gefangene im Korsett gesellschaftlicher Zwänge und Konventionen – und kämpft gleichzeitig für ein selbstbestimmtes Leben als Frau.

🎞 #Lydia - #AufzeichnungenAusDemIrrenhaus jetzt im kult.kino zu sehen: https://www.kultkino.ch/film/lydiaaufzeichnungenausdemirrenhaus/

Eine Tragödie - zwei Romane - ein Film!

#LydiaWeltiEschers Leben war eine Tragödie. Diese hat die 🖋 Schriftstellerin #StefStauffer & den ✍ Schriftsteller #LukasHartmann 2018 zeitgleich zu einem Roman inspiriert & 🎬 #StefanJung zu einen Film.

Bericht auf SRF: https://www.srf.ch/kultur/literatur/eine-tragoedie-zwei-romane-die-reichste-frau-der-schweiz-landete-im-irrenhaus

🎞 #Lydia - #AufzeichnungenAusDemIrrenhaus im kult.kino: https://www.kultkino.ch/film/lydiaaufzeichnungenausdemirrenhaus/

https://www.fogolf.com/1152774/tournament-of-champions-lydia-ko-and-lottie-woad-share-lead-at-lpga-season-opener-after-round-two/ Tournament of Champions: Lydia Ko and Lottie Woad share lead at LPGA season opener after round two #After #and #at #Champions #Fired #fiveunderpar #Golf #GolfNews #Grab #Halfway #ko #Lead #lottie #LPGA #LYDIA #of #oneshot #opener #round #Season #Share #Stage #tournament #two #Woad

A young girl cosplays as 'Lydia' for "BEETLEJUICE" Night at The Mahoning Drive In Theatre, in Lehighton, Pennsylvania. #art #artwork #drivein #driveintheater #driveinmovietheater #beetlejuice #lydia #mahoningdrivein #lehighton #pennsylvania #outdoors #outofdoors #cosplay

A young girl cosplays as 'Lydia' for "BEETLEJUICE" Night at The Mahoning Drive In Theatre, in Lehighton, Pennsylvania. #art #artwork #drivein #driveintheater #driveinmovietheater #beetlejuice #lydia #mahoningdrivein #lehighton #pennsylvania #outdoors #outofdoors #cosplay

Vous êtes passé du Lydia à Sumeria ? Alors faites attention !
https://mac4ever.com/194150
#Mac4Ever #lydia #sumeria

Vous êtes passé du Lydia à Sumeria ? Alors faites attention !
https://mac4ever.com/194150
#Mac4Ever #lydia #sumeria

Attention : Sumeria (ex-Lydia) met en place des frais d'inactivité de 3 € par mois http://dlvr.it/TQJzwG #Sumeria #Lydia

Attention : Sumeria (ex-Lydia) met en place des frais d'inactivité de 3 € par mois http://dlvr.it/TQJzwG #Sumeria #Lydia

𝗟𝘆𝗱𝗶𝗮 𝗼𝗽𝗴𝗲𝗹𝗶𝗰𝗵𝘁 𝘃𝗼𝗼𝗿 100.000 𝗲𝘂𝗿𝗼 𝗱𝗼𝗼𝗿 '𝗯𝗲𝘀𝗰𝗵𝗮𝗮𝗳𝗱𝗲' 𝗯𝗲𝗱𝗿𝗶𝗲𝗴𝗲𝗿 𝗶𝗻 𝗦𝗰𝗮𝗺 𝗔𝗹𝗲𝗿𝘁: '𝗚𝗲𝗲𝗻 𝘀𝗲𝗰𝗼𝗻𝗱𝗲 𝗮𝗮𝗻 𝗼𝗽𝗹𝗶𝗰𝗵𝘁𝗶𝗻𝗴 𝗴𝗲𝗱𝗮𝗰𝗵𝘁'

Ze dacht haar toekomst veilig te stellen met een slimme investering, maar niets bleek minder waar. In 'Scam Alert: Trap Er Niet In!' doet Lydia (62) haar verhaal over hoe ze niet alleen haar geld, maar ook...

https://www.rtl.nl/boulevard/entertainment/artikel/5542197/lydia-opgelicht-100000-euro-beschaafde-oplichter-scam-alert

#Lydia #oplichting #ScamAlert

𝗟𝘆𝗱𝗶𝗮 𝗼𝗽𝗴𝗲𝗹𝗶𝗰𝗵𝘁 𝘃𝗼𝗼𝗿 100.000 𝗲𝘂𝗿𝗼 𝗱𝗼𝗼𝗿 '𝗯𝗲𝘀𝗰𝗵𝗮𝗮𝗳𝗱𝗲' 𝗯𝗲𝗱𝗿𝗶𝗲𝗴𝗲𝗿 𝗶𝗻 𝗦𝗰𝗮𝗺 𝗔𝗹𝗲𝗿𝘁: '𝗚𝗲𝗲𝗻 𝘀𝗲𝗰𝗼𝗻𝗱𝗲 𝗮𝗮𝗻 𝗼𝗽𝗹𝗶𝗰𝗵𝘁𝗶𝗻𝗴 𝗴𝗲𝗱𝗮𝗰𝗵𝘁'

Ze dacht haar toekomst veilig te stellen met een slimme investering, maar niets bleek minder waar. In 'Scam Alert: Trap Er Niet In!' doet Lydia (62) haar verhaal over hoe ze niet alleen haar geld, maar ook...

https://www.rtl.nl/boulevard/entertainment/artikel/5542197/lydia-opgelicht-100000-euro-beschaafde-oplichter-scam-alert

#Lydia #oplichting #ScamAlert

https://www.europesays.com/es/266096/ Lydia Lozano | La colaboradora se derrumba en directo por la delicada situación de su marido: «No es una tontería» #charly #delicada #derrumba #directo #Entertainment #Entretenimiento #ES #España #lozano #lydia #LydiaLozano #marido #situación #Spain #telecinco

https://www.europesays.com/es/265352/ Crece la preocupación por el estado de salud del marido de Lydia Lozano #Celebrities #CharlyMaridoLydiaLozano #crece #Entertainment #Entretenimiento #ES #España #estado #Famosos #lozano #lydia #marido #preocupación #Salud #Sálvame #Spain

https://www.europesays.com/es/265239/ Máxima preocupación por la salud de Charly, marido de Lydia Lozano #charly #Entertainment #Entretenimiento #ES #España #lozano #lydia #marido #maxima #preocupación #Salud #Spain

Viral! Lydia Ejlael Jadi Sorotan Setelah Aksi Heboh di Konten “Dua Ronde Disiram Dua Kali”

#Terviral - #Viral! #Lydia #Ejlael Jadi #Sorotan Setelah #Aksi #Heboh di #Konten “#Dua #Ronde #Disiram Dua Kali”. Dalam beberapa hari terakhir, dunia maya kembali dihebohkan dengan kemunculan sosok Lydia Ejlael, seorang kreator konten yang mendadak viral setelah aksinya dalam video bertajuk “Dua Ronde Disiram Dua Kali” ramai dibicarakan di berbagai platform media sosial. Video…

https://terviral.id/viral-lydia-ejlael-jadi-sorotan-setelah-aksi-heboh-di-konten-dua-ronde-disiram-dua-kali/

Viral! Lydia Ejlael Jadi Sorotan Setelah Aksi Heboh di Konten “Dua Ronde Disiram Dua Kali”

#Terviral - #Viral! #Lydia #Ejlael Jadi #Sorotan Setelah #Aksi #Heboh di #Konten “#Dua #Ronde #Disiram Dua Kali”. Dalam beberapa hari terakhir, dunia maya kembali dihebohkan dengan kemunculan sosok Lydia Ejlael, seorang kreator konten yang mendadak viral setelah aksinya dalam video bertajuk “Dua Ronde Disiram Dua Kali” ramai dibicarakan di berbagai platform media sosial. Video…

https://terviral.id/viral-lydia-ejlael-jadi-sorotan-setelah-aksi-heboh-di-konten-dua-ronde-disiram-dua-kali/

THE FiSHER KiNG
Realisé par Terry Gilliam
Avec Robin Williams & Jeff Bridges

#film #acteur #chevalier #graal
#reves #realite #radio #cinema
#volonte #NewYork #June
#aboutYou #valse #gare
#fisherKing #Robin
#Terry #Knight
#Lydia #k7
#movie
#Yo

🎶❕️😥❕️👍❕️📼❕️❤️❕️🎙

THE FiSHER KiNG
Realisé par Terry Gilliam
Avec Robin Williams & Jeff Bridges

#film #acteur #chevalier #graal
#reves #realite #radio #cinema
#volonte #NewYork #June
#aboutYou #valse #gare
#fisherKing #Robin
#Terry #Knight
#Lydia #k7
#movie
#Yo

🎶❕️😥❕️👍❕️📼❕️❤️❕️🎙

THE FiSHER KiNG
Realisé par Terry Gilliam
Avec Robin Williams & Jeff Bridges

#film #acteur #chevalier #graal
#reves #realite #radio #cinema
#volonte #NewYork #June
#aboutYou #valse #gare
#fisherKing #Robin
#Terry #Knight
#Lydia #k7
#movie
#Yo

🎶❕️😥❕️👍❕️📼❕️❤️❕️🎙

THE FiSHER KiNG
Realisé par Terry Gilliam
Avec Robin Williams & Jeff Bridges

#film #acteur #chevalier #graal
#reves #realite #radio #cinema
#volonte #NewYork #June
#aboutYou #valse #gare
#fisherKing #Robin
#Terry #Knight
#Lydia #k7
#movie
#Yo

🎶❕️😥❕️👍❕️📼❕️❤️❕️🎙

【Big Tech locks data away. Wikidata gives it back to the internet】中，作者描繪了一場關於知識與權力的角力：「當大型科技公司將資料封鎖在專屬的圍牆內，Wikidata 卻選擇將知識還給世界。」

Wikidata 是維基媒體計畫中的結構化資料庫，同時也是維基百科等計畫背後的串聯資料庫，由全球超過 25,000 名貢獻者共同維護，累積了超過 1.1 億筆資料，每天編輯近 50 萬次。

Wikidata 不僅是開放的、可查詢的，更允許任何人參與、修正與擴充。這種開放性，讓來自全球南方的開發者得以在資源有限的情況下，打造創新的應用——從巴西的事實查核平台、到奈及利亞的政府目錄，再到幫助理解納粹秘密警察暴行的歷史專案。

Wikidata 的負責人 #Lydia Pintscher ( #莉迪亞 · 平徹)強調，與其依賴可能隨時改變政策的企業 API，不如選擇一個由社群驅動、透明且可參與的知識平台。她指出，Wikidata 不僅能呈現世界的複雜與多元，還能讓不同觀點並存，尤其在處理爭議領土或文化差異時，展現出前所未有的包容性。

文中也批判了大型 AI 公司對開放資料的掠奪式使用——它們從像 Wikidata 這樣的公共資源中汲取養分，卻鮮少回饋。Pintscher 呼籲，若我們不積極支持這些開放專案，未來的科技將由黑箱主導，而非民主參與。

這是一篇關於資料自由、技術倫理與社群力量的深刻反思，也是一則提醒：知識的未來，不該被少數人壟斷，而應由眾人共同守護與建構。

完整全文：https://www.fastcompany.com/91391335/big-tech-locks-data-away-wikidata-gives-it-back-to-the-internet

備註：該網站有免費閱覽限制

#Wikidata #維基數據 #維基資料

莉迪亞·平徹在【How Wikidata is Coding for Humanity】一文中提及：「Wikidata 的資料不僅對人類可讀，也符合機器可讀的標準，如 #RDF 與 #JSON 格式，這使得 AI 應用（如 #ChatGPT）能夠輕易存取與運用這些知識。」

#Stephen Harrison 透過與 Wikidata 專案經理 莉迪亞·平徹 ( #Lydia Pintscher) 的訪談，撰寫了【How Wikidata is Coding for Humanity】一文。文中揭示了 Wikidata 這個結構化知識庫如何在幕後支撐維基百科與眾多自由知識計畫的運作。

文章以作者自身的好奇心為起點，描述他如何從一場維基媒體活動中接觸到 Wikidata，並逐步理解其實際用途。Lydia 解釋，Wikidata 與維基百科不同，它不是以文字敘述為主，而是以資料為核心——例如一個城市的人口數、政治人物的職位與任期等，都可以在 Wikidata 中被編輯與查詢。這些資料不僅能被各語言版本的維基百科引用，也能支援其他公共應用。

文中舉出幾個具體例子，包括：
。 #GovDirectory：由 Wikidata 編者創建，幫助民眾快速找到政府部門的聯絡方式與社群帳號。
。 #EqualStreetNames：透過街道命名資料揭示性別不平等，並以地圖視覺化呈現。
。 #Inventaire：一個共享書籍的平台，利用 Wikidata 的資料快速建立作者與書籍資訊。

然而，挑戰也存在。Wikidata 擁有超過一億筆資料，但每月活躍編者僅約兩萬五千人。此外，許多使用 Wikidata 的應用並未標示資料來源，使得其貢獻常被忽略。

文章最後呼籲更多人參與 Wikidata，因為這不只是編輯資料，更是為全球知識基礎建設添磚加瓦。正如 Lydia 所說：「如果你想真正產生影響，就從源頭開始。」

即便 Wikidata 中已經收錄超過一億筆資料，臺灣相關的資料仍相當稀少，Wikidata Taiwan 致力於持續維護臺灣主題的相關資料，歡迎所有臺灣的社群夥伴與我們共同努力！

閱讀完整原文：
https://www.stephenharrison.com/p/how-wikidata-is-coding-for-humanity

#Wikidata #維基數據 #維基資料

Lydia's story: the Holy Spirit opened her heart, leading to baptism and a focus on God's will. We need to listen to what God wants in every moment, just like Lydia. #HolySpirit #Transformation #Lydia #Baptism #Faith #GodsWill #Inspiration #Christianity #Religion #SpiritualGrowth

@geco_de
Es gibt eine europäische Alternative (aus Frankreich 🇫🇷) zu #PayPal, auf die ich vor kurzem gestoßen bin: Lydia https://www.lydia.me/
Hab noch nicht viel Erfahrung damit sammeln können, aber wirkt ganz gut. Und arbeitet bankunabhängig - nicht wie #Wero

Wäre neugierig, was andere davon halten.

#unplugtrump #Europe #finance #lydia

@geco_de
Es gibt eine europäische Alternative (aus Frankreich 🇫🇷) zu #PayPal, auf die ich vor kurzem gestoßen bin: Lydia https://www.lydia.me/
Hab noch nicht viel Erfahrung damit sammeln können, aber wirkt ganz gut. Und arbeitet bankunabhängig - nicht wie #Wero

Wäre neugierig, was andere davon halten.

#unplugtrump #Europe #finance #lydia

🧵 (2/2) #PollOfTheDay #Enquesta #TVPoll #VSeries #V #JaneBadler #JuneChadwick #Diana #Lydia #Lizards

🧵 (2/2) #PollOfTheDay #Enquesta #TVPoll #VSeries #V #JaneBadler #JuneChadwick #Diana #Lydia #Lizards