camp stools

“You look dreadful, little brother,” Maedhros said wryly.

Despite his weariness and the awful blackness of the humour, Maglor smiled. He’d missed Maedhros horribly over the long years of his absence but it had become an abstract sort of sorrow. It was well to be reminded it was a person that he loved, sardonic and self-possessed, beneath the layers of bandages and nostalgia. “I don’t think the crown suited me,” he said, sitting down upon the camp stool beside the bed. “You have no idea what a relief it is to be rid of it.”

“I might,” Maedhros said, glancing to where it sat upon its stand. “It’s not as though it suits me any better. I’m sorry to have dropped it upon you, though by all accounts you bore up admirably under the weight. For what little it’s worth, I’m proud of you.”

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asoiaf meme (minor characters): 2/3 events ~ the siege of riverrun

“The siege drags on. The Blackfish sits inside the castle, we sit outside in our camps. Bloody boring, if you want the truth.” Ser Daven seated himself upon a camp stool. “Tully ought to make a sortie, to remind us all we’re still at war. Be nice if he culled some Freys too. Ryman, for a start. The man’s drunk more oft than not. Oh, and Edwyn. Not as thick as his father, but as full of hate as a boil’s full of pus. And our own Ser Emmon … no, Lord Emmon, Seven save us, must not forget his new title … our Lord of Riverrun does nought but try to tell me how to run the siege. He wants me to take the castle without damaging it, since it is now his lordly seat.” // vildan atasever as genna lannister, xavier samuel as daven lannister

Rare Attic Black-Figure Pelike by the Plousios Painter, C. 520-510 BC

This is an important work of art as only four other vases are known by this painter.

The same scene, with but slight variation in detail, decorates both sides of the vase. Two bearded males, each with stick in hand and himation wrapped closely about legs and waist, sit opposite one another at a gaming table. A large skyphoid krater, with oddly shaped handles, stands at their feet; a sapling in the background betokens a setting outdoors; and a small camp-stool contrasts with a more elaborate chair at right, whose curved back terminates in a duck’s head. One player has thrown a two; he signals two with the index and middle fingers of his raised right hand. His companion bends forward to retrieve the dice and take his turn. Gaming with six-sided dice or four-sided knucklebones was a popular pastime in ancient Greece. The nonsense inscriptions are scattered about the figured panels. There is a graffito under the foot.

Dr Dietrich von Bothmer has recognized the hand of the painter of the Borowski pelike on four other vases: pelikai in the Louvre and the Vatican; and neck-amphorae in Boston and Haifa (the latter two once assigned by J. D. Beazley to a “Smithy Painter”). Bothmer has christened his artist the Plousios Painter after an invocation to Zeus for wealth inscribed on the Vatican example.

The four to six young aides usually slept in one room, often two to a bed, then worked long days in a single room with chairs crowded around small wooden tables. Washington typically kept a small office off to the side. During busy periods, the aides sometimes wrote and copied one hundred letters per day, an exhausting grind relieved by occasional dances, parades, and reviews. At night, the aides pulled up camp stools to a dinner table and engaged in lively repartee. Hamilton, though the youngest family member, was nevertheless Washington’s “principal and most confidential aide,” as the general phrased it. Instead of resenting him, the other aides treated Hamilton affectionately and nicknamed him “Ham” or “Hammie.” For an orphaned boy from the Caribbean, what better fate to become part of this elite family?

Ron Chernow

“Hammie” though… I’m weak

(also maybe Alex and John were sleeping in the same bed okay bye)


Archaeological Museum of Heraklion:

The “camp-stool fresco” renders scenes of ceremonial banqueting. It probably mirrored actual banquets held in the upper hall of the west wing of the palace. The panel shows standing and seated on camp-stools figures raising cups and kylikes.

A female figure with Mediterranean features and vivid make-up, named “La Parisienne” by A. Evans was also part of the composition. Her larger size and the “sacral knot” bunched up behind indicate that she was probably a leading priestess. 

Knossos, Palace, Final Palatial period (1450-1350/1300 BC)


… a lady was sitting, holding out a paper as though to look at it at arms length. I supposed her to be sketching, and to have brought her own camp-stool. It seemed as though she must be making a study of trees, for they grew close in front of her, and there seemed to be nothing else to sketch. She saw us, and when we passed close by on her left hand, she turned and looked full at us.

It was not a young face, and (though rather pretty) it did not attract me. She had on a shady white hat perched on a good deal of fair hair that fluffed round her forehead. Her light summer dress was arranged on her shoulders in handkerchief fashion … Her dress was long-waisted, with a good deal of fullness in the skirt, which seemed to be short. I thought she was a tourist, but that her dress was old-fashioned and rather unusual (though people were wearing fichu bodices that summer). I looked straight at her; but some indescribable feeling made me turn away annoyed at her being there.

–Charlotte Moberly and Eleanor Jourdain, An Adventure, 1913.