The epileptology of Theodore Herpin (1799-1865)

The Frenchman, Theodore Herpin (1799-1865), in Des Acces Incomplets d'Epilepsie, published posthumously in 1867, provided a very detailed account of a wide range of the possible manifestations of nonconvulsive epileptic seizures. However, he did not note the presence of absence seizures in any of his 300 patients who had experienced, at least in some of their attacks, what he considered were incomplete manifestations of epilepsy, the word epilepsy being taken to refer to full generalized tonic-clonic seizures. In the one patient, Herpin recognized that all epileptic seizures, whether complete or incomplete, began in the same way, and deduced that they must originate in the same place in that patient's brain. He did not develop the latter idea further. His observations, and his interpretation of them, seem to have preceded John Hughlings Jackson's independent development of similar concepts, but Jackson's more extensive intellectual exploration of the implications of his observations made him a more important figure than Herpin in the history of epileptology.

Cavalry uniforms on the Parthenon frieze?

In examining the horsemen on the Parthenon frieze, particularly those on the south side, several commentators have flirted more or less openly with the concept of a cavalry 'uniform', either for different tribes or for different festivals. Through an examination of relevant literature, small-scale art, and the Parthenon frieze itself, I argue that the idea is without strong foundation. literature, vases, and small-scale reliefs indicate that cavalry dress was not prescribed at either state or tribal level but was the responsibility of each cavalryman. Variety rather than uniformity was the natural result. Even when we sense that artists are depicting cavalrymen as types, there is considerable variation in the detail of their dress, and there are significant differences between the small-scale depictions and the Parthenon frieze. The south frieze of the Parthenon does indeed distinguish ranks or riders by employing distinctive dress, but the north frieze employs a different method, concentrating upon foregrounding and pose. One cannot theorize from the south frieze alone. The degree to which the frieze may be used a a documentary source is called into question.