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Volume 31 Issue 2 February 1981

Irene Coltman Brown begins this series on the historian as philosopher by taking a look at the Greek historian known as the Father of History.

Comparisons between the English and Scottish witch-hunts have been drawn from as early as 1591. Using recent research on the subject from both sides of the border, Christina Larner offers a timely reassessment of their differences.

Robert Stephens looks at how Nasser left his mark on nearly twenty years of Egyptian, Arab and world history. An anti-colonialist who extended his concern to the newly liberated countries of the Third World, he has been acclaimed as a nationalist liberator - and condemned as a warmonger.

The artistic images of women depicted as witches were varied and constitute unusual 'pieces of history' by preserving a visual record of the intellectual origins of the witchcraze, as Dale Hoak discusses here.

February, 1981 marks the fifth centenary of the inauguration of the Spanish Inquisition. Over the years many myths and misconceptions have grown up around the Inquisition. These are dispelled in this commemorative essay by Henry Kamen, author of The Spanish Inquisition.

Geoffrey Parker concludes our two-part feature on Europe's witch-craze.

David G. Chandler discusses the logistics of Military History.

The career of Colonel Fernando Santos Costa explodes the myth of Salazar's Portugal as a politically stable country with 'no history'. In charge of Portugal's army for twenty-two years, Santos Costa played a powerful and often unscrupulous role within this dictatorship.

Juliet Gardiner continues our Monument series, welcoming the opening of Linley Sambourne’s house in London as one of the few city house museums to show us the habitat of the urban dweller and to satisfy our curiosity about the surroundings of people’s lives in the past.

More witches were executed in the German-speaking territories than in any other part of Europe. Why was the German witch-hunt so assiduously and successfully prosecuted?

Maggie Black looks at the cultural history of three February menus, based as much on show as the cooking.