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 Virgin Sacrifice in Classical Art

“This refreshing, multi-faceted approach to analyzing visual

representations of a most intriguing topic is a powerful
argument for using myth, depicted both in art and literature, as
a means for understanding how women and men in the classical
Mediterranean world saw themselves and each other.”
Keely Elizabeth Heuer, State University of New York at New Paltz

The Trojan War begins and ends with the sacrifice of a virgin
princess. The gruesome killing of a woman must have captivated
ancient people because the myth of the sacrificial virgin resonates
powerfully in the arts of ancient Greece and Rome. Most scholars
agree that the Greeks and Romans did not practice human sacrifice,
so why then do the myths of virgin sacrifice appear persistently in
art and literature for over a millennium? Virgin Sacrifice in Classical
Art: Women, Agency, and the Trojan War seeks to answer this
question.
This book tells the stories of the sacrificial maidens in order to
help the reader discover the meanings bound up in these myths for
historical people. In exploring the representations of Iphigeneia and
Polyxena in Greek, Etruscan, and Roman art, this book offers a
broader cultural history that reveals what people in the ancient world
were seeking in these stories. The result is an interdisciplinary study
that offers new interpretations on the meaning of the sacrificial
virgin as a cultural and ideological construction. This is the first
book-length study of virgin sacrifice in ancient art and the first to
provide an interpretive framework within which to understand its
imagery.

Anthony F. Mangieri is Associate Professor of Art History and

Coordinator of the Women, Gender, and Sexuality Studies program
at Salve Regina University in Newport, Rhode Island, USA. He holds
a Ph.D. in Greek and Roman art from Emory University. Mangieri has
lectured widely and published articles on Greek art.
 Routledge Research in Gender and Art

Routledge Research in Gender and Art is a new series in art

history and visual studies, focusing on gender, sexuality, and
feminism. Proposals for monographs and edited collections on this
topic are welcomed.

Representing Duchess Anna Amalia’s Bildung

A Visual Metamorphosis from Political to Personal in Eighteenth-
Century Germany
Christina K. Lindeman

Virgin Sacrifice in Classical Art

Women, Agency, and the Trojan War
Anthony F. Mangieri
 Virgin Sacrifice in Classical Art
Women, Agency, and the Trojan
War

Anthony F. Mangieri
 First published 2018
by Routledge
711 Third Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa
business
© 2018 Taylor & Francis
The right of Anthony F. Mangieri to be identified as author of this
work has been asserted by him in accordance with sections 77 and
78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or
reproduced or utilised in any form or by any electronic, mechanical,
or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or
retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be
trademarks or registered trademarks, and are used only for
identification and explanation without intent to infringe.
Library of Congress Cataloging in Publication Data
A catalog record for this book has been requested
ISBN: 978-0-415-30135-0 (hbk)
ISBN: 978-1-315-23082-5 (ebk)
Typeset in Sabon
by Florence Production Ltd, Stoodleigh, Devon, UK
For my parents and Ron Hockensmith
 in her eyes lies all the history of the Trojan War.

Pollianus describing Polyxena about to be sacrificed on a lost

monumental wall painting, Greek Anthology 16.150
(translated by W.R. Paton)
Contents

List of Figures
List of Abbreviations
Permissions to Reprint Translations
Acknowledgments
1 Introduction: Virgin Sacrifice in Classical Art and
Society
Just a Man’s World? The Patriarchal, Monolithic Male Gaze
The Public and Private “Lives” of Iphigeneia and Polyxena
Organization of the Study
2 What Makes a Virgin Sacrifice?
Towards a Definition of Virgin Sacrifice
Killing a Woman: Terminology and Relation to Animal
Sacrifice
Traditions of Human Sacrifice in the Near East
Jephthah’s Daughter: Virgin Sacrifice in the Bible
3 The Sacrifice of Iphigeneia
Iphigeneia in Greek Art
Iphigeneia in Etruscan Art
Iphigeneia in Roman Art
4 The Sacrifice of Polyxena
Polyxena in Greek Art
Polyxena in Etruscan Art
Polyxena in Roman Art
5 War and Womanhood: Virgin Sacrifice and the
Trojan War
The Sacrificial Virgins and Helen of Troy
The Brygos Painter’s Louvre Iliupersis Cup
Iconographic Ambiguity: Who Is Represented?
Between Sisters: Kassandra and Polyxena
The Sacrificial Virgin in Iliupersis Tableaux
Polyxena and Troilos
 The Heroines Pyxis in London: The Art of Pairing Women
The Trojan War on Italian Soil: Resonances in the Roman
World
Virgin Bodies: Framing the Trojan War
Beyond the Trojan War: The Defiant Antigone
Mythological Women, Representation, and Womanhood
6 The Sacrificial Virgins and Female Agency
Consent, Resistance, and the Measure of a Maiden
Agency and Context in Etruscan and Roman Art
Polyxena the Aristocrat: Agency, War, and Tripods
Victims and Rebels: Recovering Ancient Women’s
Resistance
7 Conclusion: The Princess and the Knife
The “Afterlives” of Iphigeneia and Polyxena: Their Legacy
After the Sacrifice and Further Questions
Conclusion

Bibliography
Catalog of Representations of Iphigeneia and Polyxena in
Greek, Etruscan, and Roman Art
Index
Figures

Color Plates
1 IPH 49: Naples, Museo Archeologico Nazionale di Napoli
9112.
2 POL 1: London, British Museum 1897.7-27.2 (detail).
3 IPH 1: Palermo, Museo Archeologico Regionale di Palermo
1886 (NI1886).
4 IPH 4: London, British Museum F159.
5 IPH 50: Private collection (ex-New York market,
Christie’s).
6 IPH 62: Ampurias, Museo Monográfico de las
Excavaciones.
7 POL 3: Berlin, Antikensammlung F1902 (detail).
8 POL 8: Paris, Musée du Louvre G152 (side A).
Black and White Illustrations
1.1 POL 1: London, British Museum 1897.7-27.2.
1.2 POL 18: Çanakkale, Archaeological Museum. The
Polyxena Sarcophagus.
2.1 New York, Metropolitan Museum of Art 20.192.16.
2.2 Viterbo, Museo Civico.
2.3 Newell Collection of Babylonian Seals 153, Yale
Babylonian Collection.
3.1 IPH 3: Kiel, Antikensammlung Kunsthalle zu Kiel B 538.
3.2 IPH 49: Naples, Museo Archeologico Nazionale di Napoli
9112 (detail).
3.3 IPH 6: New York, Metropolitan Museum of Art 31.11.2.
3.4 IPH 6: New York, Metropolitan Museum of Art 31.11.2.
3.5 IPH 8: Berlin, Staatliche Museen 3161q.
3.6 London, British Museum E120.
3.7 IPH 14: Perugia, Museo Nazionale 18.
 3.8 IPH 24: Perugia, Museo Nazionale 34 (114).
3.9 IPH 27: Rome, Museo Nazionale Etrusco di Villa Giulia
50311.
3.10 IPH 42: Destroyed in World War II (ex-Mannheim,
Reiss-Museum Bc2).
3.11 IPH 75: Paris, Musée du Louvre S 4033.
3.12 IPH 54: Florence, Uffizi Gallery 612. The Altar of
Kleomenes.
3.13 IPH 63: Antakya, Hatay Archaeological Museum 961.
3.14 IPH 83: Naples, Museo Archeologico Nazionale di
Napoli 9022.
4.1 POL 3: Berlin, Antikensammlung F1902.
4.2 POL 4: Callimanopulos Collection.
4.3 POL 4: Callimanopulos Collection.
4.4 POL 17: Leiden, Rijksmuseum van Oudheden I.1896-
12.1.
4.5 POL 9: London, British Museum B70.
4.6 POL 16: Once Berlin, Staatliche Museen 3161p
(destroyed).
4.7 POL 18: Çanakkale, Archaeological Museum. The
Polyxena Sarcophagus (detail).
4.8 POL 37: Paris, Musée du Louvre CA 1743.
4.9 POL 28: Basel, loan (formerly lent to Boston, Museum
of Fine Arts 6.67).
4.10 POL 2: Berlin, Antikensammlung F1698.
4.11 POL 5: Rome, Museo Nazionale Etrusco di Villa Giulia
121110.
4.12 New York, Metropolitan Museum of Art 45.11.2.
4.13 POL 35: Toledo (OH), Toledo Museum of Art 47.62.
4.14 POL 49: Paris, Musée du Louvre E 703.
4.15 POL 22: Orvieto, Museo Claudio Faina.
4.16 POL 48: Cerveteri, Museo Archeologico 19539. Vaso
dei Gobbi.
4.17 POL 61: Berlin, Staatliche Museen 6889.
4.18 POL 62: Berlin, Altes Museen 489.
4.19 POL 26: Madrid, Museo del Prado.
 4.20 POL 66: Paris, Cabinet des Médailles.
5.1 POL 8: Paris, Musée du Louvre G152.
5.2 Odessa, Museum of Western and Eastern Art 21972.
5.3 POL 31: Malibu, J. Paul Getty Museum 80.AE.154.
5.4 Munich, Staatliche Antikensammlungen und Glyptothek
SH 1383 (J75).
5.5 Florence, Museo Archeologico Etrusco 3777.
5.6 Berlin, Antikensammlung F2205.
5.7 Boston, Museum of Fine Arts 13.186.
5.8 Florence, Museo Archeologico Etrusco 3777.
5.9 POL 42: Mykonos, Archaeological Museum 2240.
5.10 POL 42: Mykonos, Archaeological Museum 2240
(detail).
5.11 POL 39: London, British Museum F160.
5.12 POL 10: Switzerland, private collection.
5.13 POL 31: Malibu, J. Paul Getty Museum 80.AE.154
(tondo).
5.14 IPH 2: London, British Museum E773.
5.15 POL 24: Rome, Museo Capitolino, Palazzo Nuovo.
Capitoline Tabula Iliaca.
5.16 POL 24: Capitoline Tabula Iliaca (detail).
5.17 London, British Museum F175.
5.18 Ber`lin, Antikensammlung inv. 1504.
6.1 Compiègne, Musée Vivenel 1090.
7.1 Paris, Bibliothèque nationale de France MS fr. 12420.
Folio 46v.
7.2 Warburg Institute, panel 6 of Aby Warburg’s Picture
Atlas Mnemosyne.
 Abbreviations

Abbreviations for periodicals and standard reference works follow

the conventions of the American Journal of Archaeology, available
online at www.ajaonline.org/ submissions/abbreviations. Below is a
list of the abbreviations used most commonly.
ABV Beazley, J.D. 1956. Attic Black-figure Vase-painters . Oxford: Clarendon
Press.
Addenda2 Carpenter, Thomas H. et al. 1989. Beazley Addenda2: Additional
References to ABV, ARV2 and Paralipomena . Second edition. Oxford:
Oxford University Press for the British Academy.
AG Furtwängler, Adolf. 1900. Die antiken Gemmen . 3 vols. Berlin: Gesecke
and Devrient. Reprint, Amsterdam: Adolf M. Hakkert, 1964.
AGD Antike Gemmen in Deutschen Sammlungen. Bd. 1. Staatliche
Münzsammlung München . Munich: Prestel Verlag. 1.2. by Elfriede Brandt
and Evamaria Schmidt, 1970; 1.3 by Brandt, Schmidt, et al., 1972.
ARV2 Beazley, J.D. 1963. Attic Red-figure Vase-painters . Second edition.
Oxford: Clarendon Press.
BAPD Beazley Archive Pottery Database.
CFST Todisco, Luigi, et al. 2003. La ceramica figurata a soggetto tragico in
Magna Grecia e in Sicilia . Archaeologica 140. Rome: Giorgio
Bretschneider.
Exh. cat. Exhibition catalog
IA Euripides’ Iphigeneia at Aulis .
IT Euripides’ Iphigeneia Among the Taurians .
LCS Trendall, Arthur Dale. 1967. The Red-figured Vases of Lucania, Campania,
and Sicily . 2 vols. Oxford: Clarendon Press.
LIMC Lexicon Iconographicum Mythologiae Classicae . 1981–99. Zurich and
Munich: Artemis Verlag.
LIMC Suppl. Lexicon Iconographicum Mythologiae Classicae . Supplementum 2009.
2009 Düsseldorf: Artemis and Winkler.
Paralipomena Beazley, J.D. 1971. Paralipomena: Additions to Attic Black-figure Vase-
painters and to Attic Red-figure Vase-painters . Second edition. Oxford:
Clarendon Press.
RVAp Trendall, Arthur Dale, and Alexander Cambitoglou. 1978. The Red-figured
Vases of Apulia . 2 vols. Oxford: Clarendon Press.
ThesCRA Thesaurus Cultus et Rituum Antiquorum . 2004–11. Los Angeles: The J.
Paul Getty Museum.
 Permissions to Reprint
Translations

AESCHYLUS, VOL. II, translated by Herbert Weir Smyth, Loeb

Classical Library Volume 146, Cambridge, MA: Harvard University
Press, first published 1926. Loeb Classical Library® is a registered
trademark of the President and Fellows of Harvard College.

EURIPIDES, VOL. II, edited and translated by David Kovacs, Loeb

Classical Library Volume 484, Cambridge, MA: Harvard University
Press, Copyright © 1995 by the President and Fellows of Harvard
College. Loeb Classical Library® is a registered trademark of the
President and Fellows of Harvard College.

EURIPIDES, VOL. VI, edited and translated by David Kovacs,

Loeb Classical Library Volume 495, Cambridge, MA: Harvard
University Press, Copyright © 2002 by the President and Fellows of
Harvard College. Loeb Classical Library® is a registered trademark of
the President and Fellows of Harvard College.

SENECA, VOL. VIII: TRAGEDIES, VOL. I, edited and translated by

John G. Fitch, Loeb Classical Library Volume 62, Cambridge, MA:
Harvard University Press, Copyright © 2002 by the President and
Fellows of Harvard College. Loeb Classical Library® is a registered
trademark of the President and Fellows of Harvard College.
 Acknowledgements

This book began as my doctoral dissertation at Emory University

entitled, “The Virgin Sacrificed: Images of Iphigeneia and Polyxena
in Greek and Roman Art” (2008). For their support and mentorship
during my time at Emory and beyond, I thank my advisors Bonna
Wescoat, Jasper Gaunt, and Eric Varner. I will always be grateful to
Bonna Wescoat for sharing her passion for research and discovery.
At Emory, I also learned much from working with Dorinda Evans,
Rebecca Stone, and C. Jean Campbell. I would not have studied
ancient art without the tutelage of Mary B. Moore at Hunter College,
and I thank her for her kind friendship.
I have long admired the work of Norma Broude and Mary
Garrard, and their scholarship on female agency has clearly
influenced my thinking. I benefited greatly from having the honor to
present some of my ideas on the agency of the sacrificial virgins at
the First Feminist Art History Symposium honoring Professors Broude
and Garrard at American University in 2010. I also wish to thank
both Ann Steiner and Ann Gunter for offering feedback on a
conference paper on Helen and the sacrificial virgins for a CAA
session on repetition in ancient art in 2010. All errors that remain
are my own.
Several awards facilitated my research and writing at various
stages. A Dissertation Completion Fellowship from the Fox Center for
Humanistic Inquiry at Emory University allowed me to complete the
initial draft of this project. At the FCHI, I especially want to thank
Martine Watson Brownley and the staff of the center, as well as the
fellows with who I had the privilege of spending time. Since then, I
have rewritten the manuscript during the intervening years. This
project was also funded (in part) through a Savannah College of Art
and Design, Inc. Presidential Fellowship for Faculty Development.
This allowed me to spend time working at the American Academy in
Rome as an Affiliated Fellow, from which I benefited greatly. At
The result is a cultural history of the figure of the sacrificial virgin in
Classical art. The stories of Iphigeneia and Polyxena do not change that
much over time. It is the where, when, in which media, and why that
artists depict different parts of their stories that merit further attention.
The sacrifices of Iphigeneia and Polyxena are intimately linked in
functioning as “bookends” to the Trojan War. We will see that their
deaths both frame the narrative of the Trojan War and derive meaning
from its particular cultural and epic context.
To explore virgin sacrifice as a cultural and ideological construction, I
develop an interdisciplinary approach that combines feminist, literary,
and cultural methodologies to come to a richer understanding of the
figure of the sacrificial virgin. In believing that ancient images have the
power to illuminate abstract cultural ideas, my thinking is indebted to the
“French School,” represented by scholars such as Louis Gernet, Jean-
Pierre Vernant, Marcel Detienne, Pierre Vidal-Naquet, Claude Bérard, and
François Lissarrague. Although there are differences in their approaches,
these scholars draw on methodologies in the fields of literary studies,
linguistics, and anthropology to discover new associations of how
material culture reflects Greek modes of thinking.16
While my approach builds upon the interpretive framework pioneered
by these French scholars, my work diverges from some of their interests
in structuralism. I hope to move beyond the strictures of binary
opposition imposed by structuralist dichotomies, especially as it informs
the dialectic of the masculine and feminine, and to contextualize works
of art within the historical and cultural circumstances of their creation. In
the landmark book A City of Images, François Lissarrague and Christiane
Bron observe that through the images on Athenian vases, “the city
displays itself and stages its own fantasies.”17 The representation of the
sacrificial virgin in Greek art is one such fantasy. The images of
Iphigeneia and Polyxena convey meanings and ideas that are not
preserved elsewhere in the literary or historical record.
What are the meanings and ideas attached to the myth of virgin
sacrifice and how can we recover these from the representation of
Iphigeneia and Polyxena in art? Issues of female agency and self-
fashioning—the two themes that appear throughout the chapters of this
book—help us to interpret the figure of the sacrificial virgin and what she
embodied for historical people. Women in myth present paradigms or
Another random document with
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very little more effort than is required to paddle it. The use of the pole
necessitates a standing position, but this is neither risky nor difficult
for any canoeist who understands the knack of balancing a canoe,
and none but an experienced canoeist has any business in swift,
white water. The setting pole is gripped with the left hand near the
top, with the right hand held stationary about 2 ft. lower, and as the
canoe travels past the pole, firmly planted on the river bottom, the
poler leans forward and makes use of his weight and strength to give
a quick push. The pole is again shoved forward as quickly as
possible, that the craft may lose as little headway as possible, and a
new grip secured for the next push. After a little experience with the
pole, the canoeist will find it an easy matter to swing his craft across
the current and avoid rocks and other obstructions as easily as when
paddling. When contemplating a long trip up a stream where the
water is heavy and the current swift, the use of two poles will make
the work easier. Both persons should pole from the same side, the
man in the bow doing the steering while the stern man adds his
straight-ahead push to force the canoe upstream.
 Shifting the Paddle from One Side of the Canoe to The Other

The Track Line

The average wilderness stream of the North has enough “tight”

places which judgment tells the traveler to avoid by making a detour
by land rather than risk a capsize and a possible loss of the outfit. To
“tote” the outfit overland means more or less hard work, and as
every canoeist will avoid portaging if there is a fair chance of getting
the canoe through a bad stretch of water, the tracking line will come
in handy very often. The usual ring in the bow of the canoe is far too
flimsy for hauling the loaded craft, and sufficient length of stout rope
should be carried along to pass through the painter eye, and then
carried aft and half-hitched to the first and second thwarts. One man
can pull the canoe up a swift stream by walking along the bank while
his partner takes up the opposite side and steers the craft away from
rocks by using a stern line. With a heavily loaded canoe in very swift
and shallow water, both men must often wade, and a tump line
rigged up as a breast or shoulder strap will make it easier work for
the man at the bow line.

Paddling a Canoe Single-Handed

The open, or Canadian-model, canoe is, of course, handled more

easily and with better speed with two paddlers but there are
occasions when the canoe is used single-handed. When out for a
few hours’ paddle, the canoeist usually balances the craft by sitting
on the bow seat—or kneels on the bottom with his back against the
bow-seat brace—and using the stern for the bow. This brings the
paddler’s weight nearer the center and keeps the canoe better
balanced than when paddling from the stern with the bow high in the
air. However, when the canoe is loaded, many canoeists stow their
camp duffle forward and paddle from the stern, the weight of the
outfit keeping the craft on an even keel. This answers well enough
for smooth-water going, but when the water is rough, or a stretch of
rapids is run single-handed, the stern position is by no means a good
one since the craft is more difficult to control, and much more
strength is required to drive it forward. The Indian manner of
paddling a canoe alone is the only correct one, for he always sits
amidships—kneeling in the center—and if a load is carried, it is
placed in front and back of him so that the craft is balanced on an
even keel. Consequently the canoe draws less water and can be
paddled faster with the same effort, while the paddler has the craft
under perfect control. But the experienced line paddler does not
kneel in the center, he moves out until his body is close to the
gunwale. This makes the craft heel at a decided angle, it is true, but
this position makes for better speed because it enables the paddle to
be held almost vertical, and the more nearly perpendicular the
paddle is swung the more efficient will be the stroke.
 In using the double blade, the paddler dips first on one side, then
on the other, and to make the blades travel through the air with the
least resistance, it is customary to set them at right angles to each
other. The motion is really a push and pull, the shaft of the paddle
being rotated in the hands so that the blade will enter the water with
the full breadth facing the canoeist. Rubber cups, to catch the drip as
the paddle rises in the air when making the stroke, are sometimes
used by novices, but these are unnecessary if the paddles are set at
right angles, and the paddler will bend his wrist a trifle to throw the
drip ahead and to one side. At the beginning, the novice will very
likely throw a little water in the canoe, but a little practice will soon
master the knack.

Care and Repair of the Canoe

The canvas-covered cedar canoe will stand a vast amount of hard

service, but it should not be dragged over the ground or over the
boarding of the landing float, neither should it be so placed that any
strain will come amidships while the ends are well supported. When
storing for the winter, keep it under cover, resting bottom side down
on a floor, or turn it bottom side up and support it with boxes, or other
standards, at the center as well as at the ends. While unused at the
camp, turn it bottom side up on the bank. Birch bark must be kept
out of the sun, and the paint of canvas-covered canoes will last
longer if kept in the shade. When the paint becomes rough,
sandpaper it down smooth, and give it a couple of coats of canoe
paint. When the paint is worn off and exposes the canvas, give the
bare cloth a couple of coats of shellac before painting.
 Paddling should be Done on the Knees When Traveling Where High Winds
and Seas are Encountered

A repair kit should be taken along on all long trips, consisting of a

small can of white lead, a can of orange shellac, and a sheet of oiled
silk. For small cuts in the canvas, a coat or two of shellac will suffice,
but for bad gashes, cut off the loose threads of canvas and rub on a
little white lead under the raised portion near the hole and on the
surface, cut a patch of the oiled silk to cover it, and paste it in
position. When the lead is dry, give it a couple of coats of shellac.
For making quick repairs, a roll of electrician’s tape will come in
handy. The birch canoe is quickly repaired in the same manner as
suggested for the canvas-covered craft, and as the shellac is
waterproof and dries quickly, all ordinary repairs may be made by the
stream side with but little loss of time.
 Oiling Tool for Clocks
Jewelers use a little tool for oiling clocks and watches that could
be used profitably by others for the same and similar work. It
consists of a steel wire, bluntly pointed on the end and set into a
wood handle. Very often the only thing that is the matter with a clock
which does not keep good time, is that it is dirty and dry. If this is the
case, any person handy with tools can fix it at practically no cost.
Remove the works, which are usually held with four screws, from the
case, immerse them in kerosene and allow them to stand for a few
minutes, then remove and drain. This will clean out the dirt.

The Tool will Pick Up a Drop of Oil and Deposit It Where Wanted

The oiling tool is dipped in light oil and a drop applied to each
bearing. Replace the works in the case and the job is finished. A
reliable jeweler will charge very little for this work, but the more crafty
ones may ask a good price for this “mysterious” process. If the works
are not dirty, apply the oil with the tool. Anyone who has tried to oil a
clock with an ordinary spout oilcan knows the futility of the attempt.
The object of the tool is to pick up and carry a drop of oil and deposit
it where wanted. A can, a feather, or a match will do, but any one of
them is apt to carry dirt, flood the dry part, or smear up nonmoving
parts.
Easily Constructed Wall Shelves
 Shelves for Books Supported with Picture-Frame Wire to the Wall

All that is necessary to make and support the simple set of wall
shelves, shown in the illustration, is lumber for the shelves, four
screw eyes, four screw hooks, sufficient picture-frame wire to form
the braces and supports, and wood screws for attaching the wire. On
the top side of the upper shelf are fastened the four screw eyes, two
near the wall edge and the others near the outer edge. To support
the upper shelf four screw hooks are used; two placed in the wall
and spaced to match the set of screw eyes nearest the wall, the
others being placed above the first and connected to the outer set of
screw eyes with the wire, thereby forming strong inclined supports.
The remaining shelves can be hung to suit by the supporting wires,
which are fastened with screws to the end of each shelf.
 Showing the Strength of a Giant
This trick is not so well known as it might be, although for a while it
was quite a popular drawing attraction for circus side shows and
other amusement places. It is one of the favorite Hindu tricks. The
performer passes for examination two pieces of rope 10 ft. long. In
one end of each rope a large ring is fastened. Taking a ring in each
hand the performer commands three or four men at each end of the
rope to take hold of it and at a signal they pull as hard as possible.
They pull until they are exhausted as in a tug of war, but the
performer only appears a trifle exerted and finds no difficulty in
holding the men.

The Performer Seems to Hold the Ones Pulling on the Ropes without Any
Effort, Producing an Effect That cannot be Readily Understood, and Making
an Excellent Trick for the Lawn Party

The secret is in the use of a piece of flexible wire, which passes up

the right sleeve of the performer, across the back and down the left
sleeve, lying just inside of the coat sleeve. At the ends of the wire
are small hooks. When about to perform this trick the performer puts
on a pair of gloves. The gloves are slit in the palms to allow the
hooks to pass through. The hooks are covered with cloth, colored to
match the gloves. An essential point to remember in performing the
trick is to keep the fingers well around the rings to prevent the ropes
from dropping in case of a slack-up on the tension.
 The Tricks of Camping Out
By STILLMAN TAYLOR

PART I—The Camping Outfit

Toouter
enjoy a vacation in the woods thoroughly, it is essential that the
be provided with the right kind of an outfit. The
inexperienced are likely to carry too much rather than too little to the
woods; to include many unnecessary luxuries and overlook the more
practical necessities. However, camp life does not mean that one
must be uncomfortable, but rather implies plain and simple living
close to nature. An adequate shelter from the sun and rain, a
comfortable bed, a good cooking kit, and plenty of wholesome food,
are the important things to consider. No man or woman requires
more, and if unwilling to share the plain fare of the woodsman, the
pampered ones should be left at home, for the grouchy, complaining
individual makes, of all persons, the very worst of camping
companions.
The Old Hand at the Camping Game Prefers
to Cut Poles on the Camping Site and Set
Them Up on the Outside for the Camp-Fire
Tent

The Wall Tent may be erected with the

Regular Poles, or, When Ordered with Tapes
along the Ridge, It can be Set Up with Outside
Tripod or Shear Poles
 The Choice of a Tent

There are tents and tents, but for average outings in what may be
considered a permanent camp, the regulation wall, or army, tent is
generally used to make a comfortable shelter. It is a splendid utility
tent, with generous floor space and plenty of headroom. For the
permanent camp, the wall tent is often provided with a fly, which may
be set up as an extra covering for the roof, or extended over the front
to make a kind of porch. An extension may also be purchased to
serve the same purpose. The 7 by 9-ft. wall tent will shelter two
persons comfortably, but when the camp is seldom moved, the 9 by
12-ft. size, with a 3¹⁄₂-ft. wall, will afford more room. The regulation 8-
oz. duck is heavy enough, or the same tent may be obtained in tan
or dark green khaki, if preferred. In any case the tent should have a
sod cloth, from 6 to 12 in. wide, extending around the bottom and
sewed to the tent. An extra piece of canvas or floor cloth is desirable,
but this as well as the fly are extras, and while convenient, are by no
means necessary. The wall tent may be erected with the regular
poles, or it may be ordered with tapes along the ridge and erected by
suspending between two trees. The old hand at the camping game
rarely uses the shop poles supplied with most tents, but prefers to
cut them at the camping site and rig them up on the outside, one
slender pole fastened with tapes along the ridge and supported at
either end in the crotch formed by setting up two poles, tripod or
shear-fashion.
The “Baker” style is a popular tent, giving a large sleeping
capacity, yet folding compactly. The 7 by 7-ft. size, with a 2-ft. wall,
makes a good comfortable home for two, and will shelter three, or
even four, if required. The entire front may be opened to the fire by
extending it to form an awning, or it may be thrown back over the
ridge to form an open-front lean-to shelter.
The “Dan Beard,” or camp-fire, tent is a modification of the Baker
style, having a slightly steeper pitch, with a smaller front opening.
The dimensions are practically the same as the Baker, and it may be
pitched by suspending between two trees, by outside poles, or the
regular poles may be used.
 For traveling light by canoe or pack, a somewhat lighter and less
bulky form of tent than the above styles may be chosen, and the
woodsman is likely to select the forester’s or ranger types. The
ranger is a half tent with a 2-ft. wall and the entire front is open; in
fact, this is the same as the Baker tent without the flap. If desired,
two half ranger tents with tapes may be purchased and fastened
together to form an A, or wedge, tent. This makes a good tent for two
on a hike, as each man carries his own half, and is assured a good
shelter in case one becomes separated from his companion, and a
tight shelter when the two make camp together.
The forester’s tent is another good one, giving good floor space
and folding up very compactly, a 9 by 9-ft. tent weighing about 5¹⁄₂ lb.
when made of standard-weight fabric. It may be had either with or
without hood, and is quickly erected by using three small saplings,
one along the ridge, running from peak to ground, and one on each
side of the opening, to form a crotch to support the ridge pole, shear-
fashion. These tents are not provided with sod or floor cloths,
although these may be ordered as extras if wanted.
The canoe or “protean” tents are good styles for the camper who
travels light and is often on the move. The canoe tent has a circular
front, while the protean style is made with a square front, and the
wall is attached to the back and along the two sides. Both tents are
quickly set up, either with a single inside pole or with two poles set
shear-fashion on the outside. A 9 by 9-ft. canoe or protean tent with
a 3-ft. wall makes a comfortable home in the open.
Whatever style of tent is chosen, it is well to pay a fair price and
obtain a good quality of material and workmanship. The cheaper
tents are made of heavier material to render them waterproof, while
the better grades are fashioned from light-weight fabric of close
weave and treated with a waterproofing process. Many of the
cheaper tents will give fair service, but the workmanship is often
poor, the grommets are apt to pull out, and the seams rip after a little
hard use. All tents should be waterproofed, and each provided with a
bag in which to pack it. An ordinary tent may be waterproofed in the
following manner: Dissolve ¹⁄₂ lb. of ordinary powdered alum in 4 gal.
of hot rain water, and in a separate bucket dissolve ¹⁄₂ lb. of acetate
of lead—sugar of lead—in 4 gal. of hot rain water. The acetate of
lead is poisonous if taken internally. When thoroughly dissolved, let
the solution stand until clear, then pour the alum solution into a tub
and add the lead solution. Let the solution stand for an hour or two,
then pour off the clear water and thoroughly soak the fabric in the
waterproofing mixture by rubbing and working the material with the
hands. Hang the cloth up without wringing it out.
The Forester’s Tent is Quickly Erected by
Using Three Small Saplings, One along the
Ridge, and One on Each Side of the Opening
to Form a Crotch for the Ridge Pole
The Ranger’s or Hiker’s Tent Comes in The Canoe or Protean Tents
Halves. Each Half may be Used Are Good Styles for the
Independently as a Lean-To Shelter for One Camper Who Travels Light
Man, or Both Joined Together to Make Room and Is Often on the Move,
for Two Persons and They can be Quickly Set
Up with a Single Inside Pole

How to Pitch a Tent

It is, of course, possible to pitch a tent almost anywhere, but for

the sake of comfort, it is well to select a site with natural drainage.
Many campers dig a shallow trench around the tent to prevent water
from running in during a heavy rain. This is a good idea for the
permanent camp, but is not often necessary if the soil is sandy or
porous, or where a sod cloth is used.
It is rarely necessary to carry the regular poles to the camping
ground, and they may be omitted excepting when en route to a
treeless region. The wall and other large tents may be pitched in
several ways. In some places the woodsman cuts a straight ridge
pole, about 3 ft. longer than the tent, and two crotched uprights, 1 ft.
or more longer than the height of the tent. The ridge pole is passed
through the opening in the peak of the tent, or fastened to the
outside of the ridge with tapes sewed to the cloth. The two upright
stakes are then firmly planted in the ground, one at the back and the
other in front, and the ridge pole is lifted and dropped into these
crotched supports. Set up the four corner guys first to get the tent in
shape, then peg down the side guys and slide them taut so that all of
them will exert an even pull on the tent. Another good method for
setting up the side guys is to drive four crotched stakes, each about
4 ft. long, somewhere near 3 ft. from each corner of the tent, and
drop a fairly heavy pole in the rest so formed, then fasten the guy
ropes to this pole. When a sod cloth is provided it is turned under on
the inside, the floor cloth is spread over it and the camp duffel
distributed along the walls of the tent, to hold it down and prevent
insects and rain from entering.
To overcome the disadvantage of placing the poles in the center of
the entrance, the uprights may be formed by lashing two poles
together near the top to make a crotch and spreading the bottoms to
form a pair of shears. Poles may be dispensed with entirely,
providing the tent is ordered with tapes for attaching a rope to
suspend the ridge of the tent between two trees. In a wooded
country this manner of setting a tent is generally preferred.
Where a wall tent is used in a more permanent camp, it is a good
plan to order a fly, a couple of sizes larger than the tent. This should
be set up by using separate poles and rigged some 6 or 8 in. higher
than the ridge of the tent, thus affording an air space to temper the
heat of the sun and also serving to keep things dry during long,
heavy rains.

The Camping Kit

The camping kit, including the few handy articles needed in the
woods, as well as the bedding and cooking outfit, may be either
elaborate or simple, according to the personal experience and ideas
of the camper. In making up a list, it is a good plan to remember that
only comparatively few articles are really essential for a comfortable
vacation in the wilderness. A comfortable bed must be reckoned one
of the chief essentials, and one may choose the de-luxe couch—the
air mattress or sleeping pocket—use the ordinary sleeping bag, or
court slumber on one of the several other styles of camp beds. The
fold-over combination bed, the stretcher bed, or a common bag
made of ticking, 6¹⁄₂ ft. long by 2 ft. wide, which is stuffed with
browse or leaves, will suffice for the average person. Folding camp
cots, chairs, tables, and other so-called camp furniture, have their
places in the large, fixed camps, but the woodsman can manage to
live comfortably without them. A good pair of warm blankets should
be included for each person, providing the sleeping bag is not taken
along. The regulation army blankets are a good choice and
reasonable in price, or the blankets used at home may be pressed
into service.
A good ax is the woodsman’s everyday companion, and a good-
weight tool, weighing 3 or 4 lb., and a smaller one of 1¹⁄₂ lb. should
be carried. When going light, the belt ax will suffice.
The oil lantern is only suited for the fixed camp, since the fuel is
difficult to transport unless it is placed in screw-top cans. The
“Stonbridge” and other folding candle lanterns are the most
convenient for the woods and give sufficient light for camp life.
The aluminum cooking outfits are light in weight, nest compactly,
and will stand many years of hard usage, but like other good things,
they are somewhat expensive. A good substitute, at half the price,
may be obtained in tin and steel, having the good feature of nesting
within each other, but, of course, not being quite so light nor so
attractive in appearance as the higher-priced outfits. Both the
aluminum and steel outfits are put up in canvas carrying bags, and
an outfit for two includes a large and a small cooking pot coffee pot;
frying pan with folding or detachable handle; two plates; cups knives;
forks, and spoons. Outfits may be bought for any number of persons
and almost all sporting-goods stores carry them. The two-man outfit
in heavy aluminum will cost $9 or $10, while the same outfit
duplicated in steel is priced at $3.35.