Old Age Among The Ancient.pdf

Old age among the ancient Greeks; the Greek portrayal of old age in literature, art, and inscriptions, with a study of the duration of life among the ancient Greeks on the basis of inscriptional evidence, by Bessie Ellen Richardson. Richardson, Bessie Ellen, 1901Baltimore, The Johns Hopkins Press, 1933. http://hdl.handle.net/2027/mdp.39015025361588

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LONDON:

HUMPHREY MILFORD

OXFORD UNIVERSITY PRESS

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OLD AGE AMONG THE ANCIENT GREEKS

^XISHWY .WSRSTCY

M1LPORD PRESS

LONDON:

HUMPHREY MILFORD

OXFORD UNIVERSITY PRESS

Figure

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THE JOHNS HOPKINS UNIVERSITY STUDIES IN ARCHAEOLOGY No.

16

EDITED BY DAVID M. ROBINSON

OLD AGE AMONG THE ANCIENT GREEKS THE GREEK PORTRAYAL OF OLD AGE IN LITERATURE, with

a Study

ART, AND INSCRIPTIONS

of the Duration of Life among the Ancient Greeks on the Basis

of Inscriptional Evidence

BY

BESSIE ELLEN RICHARDSON,

Ph. D.

Fellow in Archaeology, The Johns Hopkins University, formerly Instru
Sometime

i

BALTIMORE

THE JOHNS HOPKINS

1933

PRESS

Copyright

PRINrED BT

J.

1933,

The Johns Hopkins Press

IN THE

H. FURSr

STATES OF AMERICA UNITED COMPANY, BALTIMORE, MARYLAND

TO

DAVID MOORE ROBINSON AND

ROY

C.

FLICKINGER

I

31

For

age

is opportunity no less

Than youth itself, tho' in another dress,

And

as the evening

twilight fades away The sky is filled with stars, invisible by day. Longfellow, Morituri Salutamus,

281-84.

CONTENTS PAGE

Prepack

xiii

CHAPTER

I. The Physical Aspects op Senescence Revealed by the Greek Writers Terms Applied to Old Age Relation to Physical Infirmities Comparison of Old Age and Youth

of Death The Mental and Emotional Endowments Greek

II.

Conception

Age

op

Old

The Qualities Inherent in this Period of Life. ... The Function of the Chorus of Elders and the Messenger in Tragedy The Interpretation of Prophecies, Oracles, and

Visions Parental Affection and Guidance

19 21

Duties and Interests of the Elderly Citizen In Public Life In Warfare In Religion In Private Life IV. The Attitude op the Greeks toward the Aged. Reverence for Elders

31

31 33 39

40 . .

48 49

Comparison with Ancient Peoples of other Lands Legislation in regard to Treatment and Mainte nance of Parents

53

The Idealization Youth and Deathlessness . . Process of Rejuvenation on Black-Figured and Red-Figured Vases The Rejuvenation Motive in Literature

59

op

VI. The Personification

VII.

15 16

25

III.

V.

1 5 8 11 13

op Geras

55

60 66 72

Cult of Geras Heracles and Geras on Bronze Reliefs The Old Age Painter The Representation op Old Age in Greek Vase

Painting

72 74 74 81

Divinities

82 89 98 101 102

Kings

Heroes Seers

Warriors Old Men of the Common Ranks of Life Old Women

104

118

ix

X

O0NTENT8

CHAPTER

VIII.

IX.

PAGE

Decorative and Architectural Sculpture

op

Early

Times Temple of Zeus at Olympia Parthenon Frieze Lvcian Monuments Sculptured Reliefs The Portrayal op Old Age in the Statuary op the flpth and fourth centuries and op the Hellenistic Age

121

Portraits of Poets, Historians, and Philosophers. Grave Reliefs Realistic Portraits of Aged Men and Women in Daily Toil

131 163

and Intaglios

X. Terra-cottas, Coins, Gems, Aged Silens and Centaurs On Vases of the Black-Figured

XI.

XII.

In Inscriptions The Average Duration op Lipe among the Greeks on the Basis op Inscriptional Evidence

168 173

183

201 203 204 206 215 215 224 231

:

I. Concordance and Index to Literature H. Concordance and Index to Art A. Vases B.

Sculpture C. Small Works of Bronze D. Terracottas E. Coins

F.

HI.

130

and Red-Figured

Style Terra-cotta Figurines On Coins and Gems Small Works of Bronze Iu Sculpture. Outstanding Examples op Longevity

appendices

123 125 126

182

In Literature

XIll.

121

Gems

Catalogue op Inscriptions

237 244 244 264 272 273 275 275 277

Abbreviations

361

Bibliography

363

General Index

373

LIST OF ILLUSTRATIONS TO PACE PAGE

FIG. 1.

2.

3.

4.

5. 6.

7. 8.

Heracles and Geras on a Pelice in the Louvre by the Oeras Painter (Photo, Giraudon) Frontispiece Priam Entering the Tent of Achilles on a Cotyle in Vienna Attributed to the Brygos Painter (Furtwangler-Reichhold, Griechische pi. Vasenmalerei, 84) Bougyzes

90

fessor

90

Displaying the Plough to Cecrops on a Crater by the Painter of the Naples Hephaestus in Professor Robinson's Collection. (Courtesy of Pro

Robinson) Linus Teaching Music to Iphicles on a Cotyle in Schwerin by Pistozenus (Furtwangler-Reichhold, Griechische Vasenmalerei, pi. 163) Servant Woman on the Same Vase Procession of Old Men on a Cylix in Boston (Hartwig, Die Griechischen Meisterschalen, pi. 40) Old Seer on the Olympian Pediment (Buschor and Hamann, Olympia, pi. 23) Panathenaic Procession on the Parthenon Frieze, East Side (Fougeres, L'Acropole, Le Parthenon, pi.

10. 11. 12.

Old Woman on the Boston Counterpart of the Ludovisi Altar (Photo, The Boston Museum of Fine Arts) . . Return of Odysseus on a Terra-cotta Relief (Photo, The Metropolitan Museum of Art) Bust of Homer in Naples (Arndt-Bruckmann, Griech ische und Romische Portrats, pi. 1019) Bust of Aeschylus in Rome, Capitoline Museum (Arndt-Bruckmann, Griechische und Romische Por trats, pi. Bust of Socrates in Rome, Villa Albani (ArndtBruckmann, Griechische und Romische Portrats, pi. 1045) Head of Chrysippus (Photo, The Metropolitan Mu seum of Art)

Ill)

13.

14.

114 122

122

125) 9.

100 100

si

126 128 132

132

144

144

xii

FIG. 15.

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

26.

27.

LIST OF ILLUSTRATIONS TO PACE PAGE

Head of Epicurus (Photo, The Metropolitan Museum of Art) Early Hellenistic Portrait of an Unknown Person in the Ny Carlsberg Glyptothek (Frederik Poulsen, Jahrb. d. arch. Inst. XLVII, 1932, pi. 1) Drunken Old Woman in Munich (Brunn-Bruckmann, und Romischer Sculptur, Denkmaler Griechischer pi. 394) Old Woman Carrying a Lamb in the Museo dei Con servator! (Brunn-Bruckmann, Denkmaler Griech ischer und Romischer Sculptur, pi. 393 a) Old Fisherman in the Museo dei Conservatori (BrunnBruckmann, Denkmaler Griechischer und Romischer Sculptur, pi. 393 b) Terra-cotta from OlynComic Actor of Old Comedy. thus (Courtesy of Professor Robinson) Terra-cotta from Olynthus Showing Pan Represented as an Old Man Playing the Double Flute (Courtesy of Professor Robinson) Terra-cotta Figure of a Grotesque Old Man from Olynthus ( Courtesy of Professor Robinson ) Old Peasant Woman Bringing the Products of her Farm to Market (Photo, The Metropolitan Museum of Art) Old Silen Playing the Double Flute Accompanied by a Maenad on an Amphora in Munich (FurtwSnglerReichhold, Griechische Vasenmalerei, pi. 45) Old Silen on a Scyphus in Professor Robinson's Collection (Courtesy of Professor Robinson) Papposilenus and the Infant Dionysus on a Crater in the Vatican (Furtwangler-Reichhold, Griechische Vasenmalerei, pi. 169) Centaur and Lapith on a Metope of the Parthenon, South Side (Fougeres, L'Acropole, Le Parthenon, pi. 30)

150

160

150

170

170

178

178 178

178

190 190

196

212

PREFACE The Greeks with their delicate sense of symmetry and interest in the athletic type have produced extraordinary works of art which for the most part breathe the spirit of youthful vigor and spontaneity, and which are the supreme expression of their wondrous sense of beauty. In the Timaeus we are told that Solon went to Egypt, conversed with the Egyptian priests, and learned how ignorant he and his coun An aged priest said, "rCl 2oA
as possible;

secondly, the influence and repre

sentation of aged figures in Greek sculpture, vase painting, and minor works of art will be traced ; and lastly there will be taken into consideration

the epigraphical

evidence

bearing

upon the question of longevity among the Greeks. Several difficulties have been encountered, one of the most 1

Plato, Timaeus,

22 B 4-5.

xiii

PREFACE

Xiv

obvious being the lack of chronological boundaries for the periods of man's existence, and secondly, the difficulty of dealing with an indefinite and abstract term which does not yield to investigation so readily as one of more concrete desig nation. Owing to the nature of the subject, it has in many instances been impossible to give an exhaustive treatment,

it is hoped that the references given

but

are

sufficient for

illustration. It was originally intended to make some mention of Zeus, the Father of Gods and Men, but rather extended investiga tion in both literature and art revealed the fact that the Greek and Hebrew conceptions of the Supreme Being are at variance in just the respect under consideration. To the Greeks Zeus was the Sky God, whose joy was in thunder; he was also lord of counsei. But he was a potentate to whom time brought not old age.2 To Dr. David M. Robinson,

Professor

of Archaeology

and

Epigraphy and Lecturer on Greek Literature in the Johns Hopkins University, who suggested the subject of this mono graph which was prepared in the main as the author's doctoral desire to express my sincere appreciation for dissertation, many suggestions, stimulating guidance, and criticism of the Not only in this undertaking, but manuscript and proof. in class also work, his love of the classics and sympathic inter est in his students have been a never-failing source of inspira

I

tion.

I

desire also to express

my appreciation

to Professor

Roy C. Flickinger of the University of Iowa for permitting me to use the very good collection of Greek authors in that held a teaching position university during the time that A considerable part of the material dealing with there. Greek literature was collected at that time. desire to thank Professor Norman W. De Witt of the University of Toronto for his kindly interest and good cheer, as well as for several valuable suggestions of a general nature; and Professor

I

I

*

Cf. Sophocles, Antigone,

J*

605-10.

PEEFACE

Arthur

L. Keith of

the University of South Dakota pointed out to me the function of aged characters in pides.

Thanks

Professor of

XV

who

Euri

to Dr. Mary E. Armstrong, and Greek in Olivet College, who has read

also are expressed

Latin

the manuscript

and made some suggestions. Among published works which have been of the greatest assistance should be mentioned especially C. C. Hense's Poetische Personification in Oriechischen Dictungen, Halle, " Longevity and 1868, and Eugene S. McCartney's article on Rejuvenation in Greek and Roman Folklore " in the Papers of the Michigan Academy of Sciences, Arts, and Letters for 1925.

Monsieur E. Pottier of the Louvre, Miss Gisela M. Richter of the Metropolitan Museum, and Dr. Lacey Caskey of the Boston Museum have been so courteous as to send me photo graphs of certain objects of art in those museums, and

I

desire also to thank all others who have given permission to reproduce photographs for this study. Gratitude is especially due to the Brunn-Bruckmann Firm in Munich for permission to reproduce their plates. In other cases credit is given below the illustrations. Thanks also should be rendered to the

librarians of The Johns Hopkins University, the State Uni versity of Iowa, and the University of Chicago for generous help in the selection of books and illustrative material. Finally, to the syndics of The Johns Hopkins Press I desire to express my sincere appreciation for their patience and their careful work.

OLD AGE AMONG THE ANCIENT GREEKS CHAPTER

I

THE PHYSICAL ASPECTS OF SENESCENCE EEVEALED BY THE GREEK WEITEES is much diversity of opinion in fixing the begin nings of old age, although in a sense the term readily explains There

Undoubtedly it is a matter which cannot be decided Holmes 1 is unmatched as a stimulus by definite chronology. itself.

of ideas in the discussion of such a subject.

Old

age is rep

resented as never forcing himself upon a man's recognition until he has known him at least five years. The first time he leaves

a card —three straight

the eyebrows. another card each

lines between

He makes further annual visits, leaving time, until he is let in or forces his way in through the front door or windows.

Emerson

2

also reminds us that we do not

count a man's years until he has nothing else to count. The tradition that the course of man's journey along the road of life is divided into different periods is an oft-recur

ring theme in the literature of all times

and

nations.'

Oliver Wendell Holmes, Autocrat of the Breakfast Table, I, 7 ; cf. Goethe, Faust, second part, V, 3, 25-28: Nun hat das tuckische mit seiner Kriicke getroffen; ich stolpert' fiber Grabes Alter mich Thtlr, warum stand sie just offen!; Shakespeare, All's Well that Ends Well, V, 3, 40-42, dwells upon the rapidity with which age " For we are old, and on our quick 'st decrees the inaudi steals on : 1

/

/

/

ble and noiseless foot of Time steals ere we can effect them." * Ralph Waldo Emerson, Essay on Old Age. * Cf . Franz Boll, Die Lebensalter, Leipzig, 1913; cf. Cornelia Harcum, Classical

Weekly,

VIII,

1914, pp. 1

114-18.

2

OLD AGE AMONG

THE ANCIENT

GEEEKS

divided life into ten stages of seven years each ; Aris totle gives only three —youth, the prime of life, and old The Spartans had age, for none of which he gives limits. 4

Solon

5

three choirs at their festivals corresponding to the three ages, and the choir of old men would sing : "Afi/xc; ttok' rllw: aXxifioi vtavtai.

Then the choir of young men would respond "Afi/its

Se

y' tl/Uv.

al

Si.

:

Ajs, iriipav Aa/Jt.

And the third choir, that of the boys would sing "A/i/ies &' y'

iav6fx.e
:

7roAAai Kappovts*

The Greeks evidently, then, had in mind

some such

division

which corresponds more or less roughly to our four divisions of infancy, youth, middle age, and old age, but they were not entirely agreed as to the number of periods, nor were the chronological limits of each determined with certainty. Since the familiar maxim that a man is as old as he feels at least a grain of truth, we might inquire to what extent the Greeks were conscious of the physical Here shortcomings coincident with the inroads of time. seems to contain

almost uniformly paints a gruesome picture. " grievous old age " Nestor can no more box nor wrestle for Greek literature

•Solon, Bergk, Poetae Lyrici Graeci, Rhetoric, II, 1389 a 2.

' Aristotle,

II,

27; Herodotus,

I,

32, 10.

Plut. Lycurg. 21, 11-15; Xen. Mem. I, 2, 35-6, defines the young as under thirty, but he does not define the limits of old age; Censorinus, De Die Natali, 14, 15, 1-5, states that the Etruscans described life as consisting of twelve ages, each lasting seven years; Aui. Geli. X, 28 records that the Romans made the following divisions for military purposes : those less than seventeen were called pueri; those from seventeen to forty-six were iuniores, and were drafted for service; those older than forty-six were seniores, and cf. Hor. Ars Poet. 153garrison duty was their only responsibility; •

The Ages of Man apparently were not used as a decorative 178. motive during the Greek and Roman period, but they were common in the Middle Ages.

THE PHYSICAL

ASPECTS

OP SENESCENCE

3

weighs heavily upon him.7 Alcman,8 no longer able to move his limbs, prays that he may become pos sessed of the spirit of a halcyon. Mimnermus 8 wishes to yrjpai)

(xaAtwov

live only sixty years and that free from care and disease complains of Sftofxfmv

" painful and unseemly old

while he longs for "precious

yr)pa<>),

which

Ti/iTjtami)

(6\iyoxp6viov

.

age

"

.

is .

like a

Svap).10

" dream

Anacreon,

of

(apyaXtov

youth"

short

he

;

Kal (^17

duration

"

who seldom dwells on

scenes more serious than love and wine, bewails the

mirror's

reflection of withered locks,11 hoary temples,12 decayed teeth, and the near approach of death. The aristocratic Pindar 18 finds in old age a period of calm satisfaction in the knowl edge that the gods have granted glory and a goodly store of wealth; and the belief that one's descendants are continuing to win favor gives strength to combat old age.14 Yet we do find a suggestion of mortal weakness.15 The chorus of Argive

elders in the Agamemnon,

incapable of warlike service on account of their aged frames, support on their triple feet a "strength like unto a child's" (ixrxpv wroVaiSa).14 In the the chorus tear the white hair of their beard in

Persians anguish.17

dering,

Nowhere is there a more pathetic picture of dod

desiccating

senility

in the Oedipus

than

Colonus

7Horn. II. XXIII, 623; cf. John, 21, 18: When thou wast young, thou girdest thyself, and walkedest whither thou wouldest; but when thou shalt be old, thou shalt stretch forth thy hands, and others shall gird thee, and carry thee whither thou wouldest not. •Alcman, Bergk, III, 26 (12). • Mimnermus, Bergk, II, 6 ( 6 ) ; Solon prays for eighty years death, and then cf. Bergk, II, 20 (21).

"Mimnermus, Bergk, II, 5(3). "Anacreon, Bergk, III, 77 (81).

Bergk, III, 43 (41). Nem. IX, 44 ; cf . 01. V, 21

18 Anacreon,

" Pindar,

14

Pindar, 0l.

"Pindar,

VIII,

;

0l. I,

83.

67-71.

Nem. XI, 13-16. Agam. 72-75 ; Gyllis compares her strength to that of a fly, Herondas, I, 15 : ha 3* Spa.hu pvi' iaov. 17 Aeschylus, Pert. 1056.

" Aeschylus,

OLD AGE AMONG

4

THE ANCIENT

GREEKS

"

where the one-time king, disabled by lack of strength and 20 lack of sight,18 banished from his native city is dragging out a powerless, unsocial, friendless existence, clad in squalid and carrying a slender pittance to stave the pangs Hecuba, childless, cityless, destitute, fallen from of hunger.22 raiment,21

her royal estate, the most miserable of mortals,23 prays that her aged feet may lead her to the tent of Agamemnon, as she

Iolaus refuses to cease his dejection because he is weak from the ravages of age.25 He is advised not to contend with Eurystheus for it often hap pens that one's spirits are young while one's body is weak.26 The old pedagogue in the Ion2'' summons his aged foot to be active; the old man in the Iphigenia in Aulis23 answers leans upon her bending staff.24

" Sophocles,

I,

Oed.

Col. 14;

501-2; 610;

1225-1247.

329 b-d) must hold a mistaken view in representing

Plato (Rep. that Sophocles

Cf. Eurip. Phoen. 1719. pictures old age happily. "Sophocles, Oed. Col. 21; 34; 299. Oedipus is also represented as blind in Eurip. Phoen. 1699. Plutus is blind, Arist. Plutus, 13. '• '1 **

Sophocles, Oed. Col. 184. Sophocles, Oed. Col. 555. Sophocles, Oed. Col. 5-6 ; 349.

Poverty is frequently given as attendant of senility. Theognis, Bergk, II, 172-182, gives poverty and hoary age as the two great evils; Cic. De Senect. V, 14, gives the same view (paupertas et senectus) ; a wrinkled old woman Plutus, complains of the unjust distribution of wealth, Arist. 1050-1; cf. Anonymous, Stadtmtlller, Anthologia Graeca, II, 336: yjpdi ko.1 ireWn rtTpvpivo! ; cf. Juvenal's dismal picture of old age, X, an

188-209.

" Rurip.

nee.

140-147.

Hec. 59-66. In the Acharnians (682) the staff is the only source of safety for the aged chorus; Aeschylus, Agam. 80, refers to advanced age tottering along its three-footed path. Theodoridas, Paton, Greek Anthology, II, 7, 732, cites the remarkable instance of an old man going to Hades without a staff; Callicrates, Paton, op. cit. 7, 224, mentions an old woman of one hundred and five years who never rested on a staff. The staff often appears to

"Eurip.

IIl,

Arist. represent authority, Lucian, Dial. Mort. XI, 3.

" Eurip. " Eurip.

Heracl. Heracl.

597-607. 105-6.

Plut.

272;

Eerondas,

VIII,

*i Eurip. Ion, 1039-42.

i•

Eurip. Iph. in Aul.

3-5.

50-60;

THE PHYSICAL the summons of

ASPECTS

OF SENESCENCE

King Agamemnon hastily

6

because his old age 29

is sleepless and ever wakefui. calls an old man Euripides a shadow; The Oedipus has the strength of a dream.80 expression avSpbs yripevToi iroWov a<pavpoTtpo's is of frequent occurrence.81

within their

Jocasta drags her

steps

trembling

with

age

advising her son from the experience inherent in old age to desist from seeking kingly power. Creon asks his son, Menoeceus, to guide the tottering steps

of the

mansion,82

aged seer, Teiresias,88 since an old man, whenever he

from others. The old man Pheres " on aged foot." 84 The advances to the house of Admetus chorus of old Acharnians running in hot pursuit of Amphitheus laments vehemently the heavy weight of years and stif fened joints.85 They contrast the helplessness of age with the cleverness and shamelessness of youth. In the Plutus 88 the chorus makes a show of hastening with active movements travels,

help

requires

but is retarded by feebleness. Aristophanes gives consider infirmities of the chorus in a able emphasis to the physical Socrates hesitates to prolong his days lest he be forced to pay the penalties of old age — to see and De hear less keenly, and to fail in intellectual power.87 mosthenes chooses exile instead of imprisonment, both because ludicrous

manner.

the latter would

be disgraceful

and because

on

account of

his age he could not endure the bodily pains and privations attending it.88 In Plato's ideal state are to be warm baths

for the

It *•

aged,89 which reveals the need

seems to be

customary for

Eurip. Nauck, 512:

"Eurip.

"Cf. yijpas

Xenophanes, Ka0i\sti

I i/pias

"Eurip.

" Eurip.

<mA

Phoen. 1720-22. Bergk,

for physical stimuli.

a slighted lover to pray that

yipuv &rl\p.

II,

8; cf. Herondas,

I,

15-16:

t4 yip

irapioniKW. Ki/

Phoen. 301-354.

Phoen. 845-848. "Eurip. Alcest. 611. The Greeks seem very fond of this term; cf. Nauck, Adespota, 25 : rbv 6irioSopAniv ir6Sa. Arist. Achar. 210-222. Arist. Plut. 257-260. Dem. Epiet. II, 17-20. Xen. Mem. IV, 8, 8. Plato, Latoa, VI, 761 c.

" " "

" "

OLD AGE AMONG

6

THE ANCIENT

GREEKS

the countenance of his proud sweetheart may become rough and wrinkled.40 Greek women in general seem to have hated the testimony of wrinkles.41 Occasionally we get a humorous touch about the cause of old age. Woman is given to man in exchange for fire because she burns up and withers him

with

thus bringing hasty old

care,

than a bad wife for she consigns a

Nothing is worse man to unripe old age."

age.42

The Greek writers frequently present very realistic por traits of aged men. Athena causes Odysseus to assume the She withers his fair skin, makes guise of an old beggar.44 waste his yellow hair, wraps him in a foul garment, and

The upon him a staff, the symbol of decrepitude. author of the Odyssey succeeds equally well in the portrayal of the aged Laertes.45 Odysseus finds his father alone in the bestows

terraced vineyard digging about a plant. He is clothed in a filthy doublet, patched and unseemly, with clouted leggings of oxhide and long sleeves over his hands as a protection against the brambles, and a goatskin cap. Hermes, hasten

ing away from the theft of the fifty oxen, was espied by an old hunchbacked carle trimming his vineyard hedge.46 " Lysias is said to have remarked to an old woman's lover that

it was easier to count her teeth than her fingers.

"

pictures an old hunchback (Kupiw) advancing to the house of Hades, stooped on account of old age (kw^os 8ta Another never-to-be-forgotten picture is that of the yfipa-s). Crates

philosopher,

"Julianus,

Menippus,49 an old fellow, bald, forever laughStadtmtiller,

Paton, V, 92.

Anthologia

I,

41

Julianus, Stadtmtiller,

"

of Alexandria, Paton, Hes. Works and Days, 702-05.

" Palladas "Hom.

" Hom.

Od.

XIII,

Od.

XXIV,

"Homeric

Hymn

233.

III,

Chraeca,

I,

297; cf. Rufinus,

165.

397-403. 223-34. to Hermes,

90-93.

The rearing

of grapes and

vines seems to be a veritable joy of old age. Quoted by Demetrius, De Eloc. 262. Crates, Bergk, II, 14. According to Lucian (Dial. Lucian, Dial. Mori. I, 2, 25-30. Afort. XX, 4, 75-7) all the men in Hades are bald and snub-nosed.

" "

"

w

THE PHYSICAL

ASPECTS

OF SENESCENCE

7

ing, with a little old cloak with many a hole, exposed to every wind of heaven, and variegated with rags and tatters. Lucian

60

gives an amusing account of the dignified old man who was indignant at trudging to Hades on foot and wanted Teiresias is a blind, little old man, sallow,

a horse furnished.

and shrill-voiced.61

Those over sixty are so deaf they cannot hear as they are called to embark, and Hermes slyly applies the term "full-ripe" (ireVapoi), while Charon rejoins, "Kai-

sins"

Lucian™ gives a vivid picture of the millionaire nonagenarian with only three teeth left in his head, crouching and leaning upon the shoulders of his four domestics, his nose stuffed with phlegm, and his eyes with rheum, with no further perception of pleasure. Alciphron's " vivid portrayal of the philosophic gentry at a party might also be included. The Stoic 'Erto/
(#w)." Many writers

speak

in

a destructive, deadly force

It

acteristics.

a general way of old age as being

without mentioning

" altar of ills "

is an

(£
definite char

Kastiv)

;

M

it is

a

everything evil pertaining to man workshop Old age bears a name of ill omen (hwniwpov goes regularly." a It is "destructive, deadly" (oiXopivov) ; yrjpa*).63 toward

which

"

"Lucian, Dial. Mort. XXVII,

" Lucian,

Menippus,

3, 77-84.

21, 90-98.

The voice of the doting old bard

of the Knights (532-533) has a rasping dissonance. Lucian, Tyrann. 5, 23-25 ; cf. Honestus, Paton,

"

" Lucian,

"

Dial. Mort. VI, 2, 39-45. Alciphron, Ep. Parasit. XIX, 2-10.

••

Nicarchus,

••

Antiphanes,

••

Eurip. Nauck,

" Antiphanes,

Paton,

IV,

5, 20.

74.

Kock, Comicorum Kock, II, 240b. 575.

I,

Atticorum Fragmento,

" Theognis,

Bergk,

II,

II, 1021.

255.

THE ANCIENT

OLD AGE AMONG

8

"great evil"

(mu
80

GREEKS

the "most evil of all

things"

among mortals (t<5v wovtwv kokuttov), and "more grievous than death and all diseases " (Oavdrov rt/iuu Traxrtwv vovoiav eorl Old age is desired by all, but when it comes mvrjpoTepov) .61

it is viewed with animosity,62 because it brings many mala dies; 48 it is toilsome even to those descended from the gods.84 The light of life is dimmed after the sixtieth sun.85 The man always becomes evSe^s (deficient, poor, weak).68 There is no good connected with old age (s oioev ayaOov) ;

old

there is "much 7rdAA' . .

.

that is annoying

Kal Xvmjpd)

and

painful" (8wxw

.67

The scientific curiosity about man's physical appearance to be awakened in the fifth century when writers on geography and travel began to note with much detail the began

distinctive features of races and study the relation of physique Herodotus 88 records that both to geographical environment. men and women of the Argippaei are bald from birth; are considered sacred and inviolable.

subject to baldness than

they

The Egyptians are less because their skulls

other nations

are extremely hard, due to shaving and exposure to the sun.89 70 which may be a play Apollodorus was called the Phalerian of words on aX
With the

Myconus.71

people of Moon-land,

a bald head and hairless body.72

beauty consists in

The Curetes cut their hair

II, 19. Bergk, II, 271-274.

M Crates, Bergk,

" Theognis,

Nauck, 1080; Antiphanes, Kock, II, 94. Nauck, 637. "Simonides, Bergk, III, 36 (51). •• Herondas, Bergk, II, 1. •• Menander, Kock, HI, 592. Menander, Kock, III, 555. 114, 134; VII, 70; Arist. De Gen. "Herod. IV, 23; cf. Herod.

"Eurip.

" Eurip. "

lll,

Anim. V, 782a, 9-20.

"Herod. 70

«

IIl,

12, 6-15.

Plato, Sympos. I, 172. Strabo, X, 7-10.

" Lucian,

Vera Hist.

I,

23.

THE PHYSICAL

ASPECTS

OF SENESCENCE

9

with

it,

short in front but wore it long behind to prevent the enemy from catching them by the front hair.78 Baldness is a fixed trait of the parasite in the comedies of Aristophanes, who was bald himself. The Comic poet Eupolis had twitted him and Aristophanes answers in the parabasis of the Peace (765). Gray hair Tesults from weakness and deficiency of heat,74 and baldness comes from overdeveloped sex feeling, according to Aristotle. The liquid nutriment in the hair decays and the temples first 75 because the back of the head empty of moisture owing to its containing no brain, and the Pptyfia has great deal of Men

grow

on

gray

a

is

grayness results.

The hair

on the temples

has neither

extremes

lying

between

little moisture that

so

it

moisture.

the two

can concoct a

is

it

the liquid nutriment necessary for the growth of the hair nor so much that It not easy to find cannot decay.

till his hair

a

is

Achaean who has survived

is

;

it

sea-faring man with gray hair, because long life belongs only to those living on land 74 and hard to find brave Aristotle,78

gray.77

3,

"Strata, X, 6; Horn. II. II, 542, speaks of the Abantes as letting their hair grow long behind. Priests wear their hair long everywhere except in Egypt, Herod. II, 36, 1-2. In II. II, 218, Homer Cf. the bald Thersites in Smith, regards baldness as shameful. Vases Brit. the Mus. pi. M Arist. De Gen. Anim. V, 784 a, 31-785 a, 6. Arist. De Gen. Anim. V, 783 3-8, says that old age as the word denotes (yvp*t ' ' yvpi") with yv, because the earth fails and the earthy, connecting

is

7.

it

b,

of

lll,

9,

1,

moisture along with it; Athenaeus, Deipnosoph. X, 34, mentions that old men get drunk more easily on account of the small quantity of natural warmth. Plutarch, Quaest. Conv. II, probl. speaks of baldness as an affliction almost as bad as blindness. For the curing of baldness cf. Epidaurus inscription in Dittenberger, Sylloge8, 1168, 'Air<SXX«»o» at Delphi, Klio, XV, 1918, p. 46. 173 ff., and the tfaC/ia Cf. also Lucian, Alex. 59, and Babrius, 188. 518a, 26-28; cf. Theocr. XIV, 68: dxo "Arist. Hist. Anim. yivvv tpwu wivTts 71700X6)1, Kol fri
III, lll,

cites the first gray hairs

fr.

21.

650.

" Damagetus,

is

Paton,

III,

518a, 10-23; Bacchylides, Bergk, as signs of advancing age; Jebb,

438.

III,

3,

"Arist.

Paton, Hist. Anim.

7,

xpins.

" Phalaecus,

7,

\evKalvwv

6

,

/

/

lll,

Bacc.

10

THE ANCIENT

OLD AGE AMONG

however, informs

GBEEK8

in the majority of

us that

hairs are white from the beginning,

cases

gray

and this is a proof that

grayness of hair does not necessarily

imply withering or asserts that there is a race in decrepitude. Megasthenes India which becomes gray-haired at birth ; such was the case with the Graeae.80 Hair is more likely to turn gray when it 78

is covered than when exposed to the action of the outer air.81 Men grow bald on the front of the head but turn gray first on the temples.82 Some such affections occur in a correspond ing manner in all animals which have something correspond ing to hair, as the feathers of birds and scales of fish. The

Greek mind seems to have

been

imbued

with the

inevitability of the approach of old age. No one by paying a ransom can escape it unless Fate imposes an issue.88 There seems to be some notion that

in occasional instances Fate can

Prayers for release are common.

find a release.84

The feel

ing is also prevalent that to be visited by old age is the nor mal thing; failure to arrive at old age was a misfortune. Old age, however, should pay as brief a visit as possible.

Odysseus asks that Arete may fare well till old age comes which visits all mankind.88 Alcestis prays that her children

Eurytus perished may not die untimely like their mother.88 too soon and old age did not come upon him in his halls,87 to have an opportunity to grow Peleus dragged out a miserable and

while Nestor was fortunate into a smooth old

age.88

89 while Thetis dwelt in the sea. solitary old age Xerxes wept because none of his men would live to be a hun-

in the halls

" Megasthenes, II,

30.

Theog. 270-76; Hermann, Opuso. 2, 179, says: Aeschylus, undae quae littori allisae spumas agunt; calls them KVKv6nop<poi from their hair. •0Hes.

•1

Arist. Hist. Anim.

" Arist.

lll,

Tpeu'ai

sunt

Prom.

819,

518 a, 10-23.

De Gen. Anim, 782 a, 9-12. cf. Eurip. Ale. 112-136; "Theognis, Bergk, II, 1187-1190; Odes, II, 14, 1-4; Solon, Bergk, II, 24 (5). •* Horn. Od. VIII, m Cf. the 226-27. myth of Tithonus. 88 Horn. Od. IV, 209-11. M Horn. Od. XIII, 59-60. ••

Eurip. Alo.

167-169.

" Apollodorus, III,

13, 6.

Hor.

THE PHY8ICAL

ASPECTS

OP SENESCENCE

dred years old, but his uncle Artabanus calamities inherent in old

Many

11

warned him of the

age.90

the sighs for departing youth. Euripides81 the view that the gods should bestow a two-fold

are

expresses

92

youth as a reward to virtuous men. Theognis " bright " (dyAaos quick passing of youth

bewails the

He

cares not

for life-destroying

poverty, nor the slander of hostile men; but fjfir) Ipa-nj is his all in all, while he bewails "painful old age" (dpyaAtoi' yijpas).98 To Mimnermus94 also life is 9S joyous, old age doleful, harassed by cares, scorned. Sappho recalls the happy memories of youth —its songs, dances, and sweet friendships. It appears that the Greek women, in

an effort to appear

youthful

as long as possible, sometimes

used a substance resembling white lead to render the less conspicuous,98

wrinkles

and sometimes had their eyebrows polled that they dyed their

There is some evidence

and painted.97

hair 98 and wore false hair.99 After recounting the woes connected with old

age, one may

justly wonder whether the Greeks had any conception of a hale, vigorous old age. Euripides other evils besides those inherent

100

insinuates that there are

in old age (although old is is a great evil). There occasionally an example of a age man with extraordinary strength. Nestor alone could raise'

In the goodly cup which fair-tressed Hecamede brought.101 102 the W asps Ephudion is cited as an example of a grayheaded

old man who contended bravely in the pancratium. refers to a happy eld as a period of steadfast

Pindar104

strength with children's children to inherit one's wealth and fame. Aristotle 104 describes happiness in old age as the M Herod.

,l

VII,

46, 4-18.

Eurip. Her. Fur.

" Theognis,

Bergk,

639-664.

II, 985. II, 1129-32.

"Theognis, Bergk, "Mimnermus, Bergk,

" Sappho, Bergk, III, " Arist. Plut. 1064-5. Arist. Eccles.

904-6.

n,

5

(3).

26 (135).

" Lucilius, Paton, IV, 69. " Anonymous, Paton, V, 76. 100

Eurip. Phoen.

101 Horn.

"'Arist.

II. XI,

528-530.

632-37.

Wasps, 1190-94.

Pindar, Nem. VII, 98-101. 101 Arist. Rhet. I, 1361 b, 15.

12

OLD AGE AMONG

THE ANCIENT

GREEKS

It arises from a coming of old age slowly and painlessly. and from good luck. On the cup that the

good constitution

Thyrsis the most prominent

goatherd promised

place as a given to an ancient fisherman who drags a great net and labors stoutly with the strength of A late writer108 sings the praises of a certain youth.105 decorative motive

was

Melite who, though on the threshold of old age, has not lost the grace of youth. Her eyes sparkle and her girlish spirits survive.

It

can readily

be observed

old age had a very small place

that this conception of

in the Greek mind.

is commonly considered the necessary 107 the question of death is closely prelude to natural death connected with old age. The Greek ideas of death are none Since

senescence

Mimnermus

too consistent.

108

to cite the view gen

seems

erally accepted by the Greeks that when the fleeting hours of youth have sped, it.is better to die than to live a day. Hades

turn

the way down is painful, and the re Charon draws on those struggling to live.110

recess;

is a dreadful

difficult.109

strikes the key-note in chiding Pheres for his un

Admetus

to die

willingness

:

Manjv ap' ol ytpovris yrjpas

iptyovTts

rjv 8' *yyv%

$vyaKuv,

Anacreon

112

»• Theoc.

I,

to

Kal

tv^ovrai Oavtiv, fxaKpbv y^povov jilov. ovSeis /JouAtrai ovkIt' tot' avrols /3apv.

Oa.va.TOS,

yrjpas 8'

breathes the same spirit

:

m

the joys of life are

39-44.

Agathias Scholasticus, Paton, I, 5, 282. iraXmi au/i«r' tivi^ti Cf. Soph. Oed. Tyr. 961 : oiuKpb Certain veiled meanings have a sort of piquancy as, for example, the words of Sophron (Frag. 52, Kaibel, Com. Graeo. Frag.) with regard " ready to put to the old man with hair as white as snow waiting loa

out to sea."

"•Mimnermus, Bergk, II, 2 (2). "•Anacreon, Bergk, III, 43 (41). Antiphanes, Kock, II, 86. U1 Eurip. AIo. 669-672; cf. Eurip. Alo. "•Anacreon, Bergk, III, 43 (41).

692-3.

THH PHYSICAL sweeter

OP SENESCENCE

death approaches nearer.

as

excessive

man.

ASPECTS

Lucian

118

13

pictures the

desire for life on the part of a very old crippled laughing consolation, bid

Demonax114 administered

ding old men not to forget how over.

^Athenaens

comes

in old

Menecrates

115

age.

118

soon their troubles would he

feels that death is welcome only when it Some writers express the opposite view.

writes that

if

any person prays to live he is

worthy to grow old and infirm for many tens of years. Pindar's117 view is that the grave is forgotten by those who have won fame

in life.

Socrates is of the opinion that when 118 he ought not to be repin

a man has reached his age in life ing at the approach of death.119

Pain

overpowers the desire of life, and old age is laid to sleep almost in a moment, like a child.120 Zeus was praised for carrying off Thales as soon

he was viewing the games, because he was so old he could not

of Tarentum

122

pictures an old man sup ported only on a stick, like a vine on a stake, who gladly hears the call of Orcus. Crates 128 remarks aptly thaLwe j.re see.121

Leonidas

always ^ungrateful" (axapurroi) , for although old age is a great evil" (kokov /Uya), yet when Death comes we are cured. It seems likely that Socrates who calmly drank hem

7c

lock at seventy must be regarded as an exception. The atten tion of the Greeks appears to have been fixed chiefly on the f present life, except in a few instances, or in late writers. I

Their view of the next world was never clear and strong enough to be of much avail against the pessimism that clouded the closing scenes of life's drama in bright Hellas. "»Lucian,

Dial.

Mort.

XXVII,

tov fijc yap oiielt us 6 yitpaaKuv

65-72;

cf.

Soph.

Nauck,

63:

ipg..

114 Lucian,

Demonax, 8, 104. Deipnosoph. IV, 45, 157 d. Menecrates, Stadtmiiller, Anthologia Graeca,

115 Athenaeus, 117 Pindar,

0l.

VIII,

III,

55.

67-71.

1,8 Socrates was seventy, Plato, Apol. 17 d; cf. Suidas, s. v. Zw/
Crates, Bergk,

II,

19.

14

^,

OLD AGE AMONG

THE ANCIENT

GBEEKS

From these gleanings we may conclude that the Greeks confined themselves quite largely to the delineation of the

It was a journey along a unfavorable side of the last years. dusty, shadeless road. The Greeks seem to have been con

scious of all the infirmities of age due to physical environ ment. Old age seems to have been considered a punishment, and in some cases

124

there seems to be the belief that

actually sent by Zeus as such.

Browning

it

was

The Greeks did not sing with

:

Grow old along with, me, The Best is yet to be,

but rather: Trjpas hrav fUfi€Tai.

8t iror* iXBn phi airjj iras euxerai, tan 8' ati KptUrcrov o<£eiAo/wov .125

We must not confine ourselves, however, to this one aspect. In the following chapters we shall search for more redeeming features. 1"

A lingering old age came upon Phineus, son of Agenor, for re vealing the prophecies of Zeus: Apoll. Rhod. Argonaut. II, 178-184. 1M Menecrates, Meineke, Stobaei Florilegium, IV, 27.

CHAPTER

II

THE MENTAL AND EMOTIONAL ENDOWMENTS OF OLD AGE While the daws of Time strike

deep furrows in the physical and the subtle charms of grace, strength, and framework, bloom recede, what recompenses did the Greeks find in the

autumn days? What are the spiritual gains, the mental achievements connected with this period of life?

The opening chapters of the Republic 1 reveal a veritable renaissance of heart and will. Cephalus, the just and blame less old man, sitting with a garland around his head discours ing on the advantages of old age, is a charming idyll. " It

lll,

Plato, Rep. I, 328-31; cf. Cic. De Seneot. 7: Bed omnium istius modi querelarum in moribus est culpa, non in aetate. Moderati enim et nec dimciles nec inhumani senes tolerabilem senectutem agunt; importunitas autem et inhumanitas omni aetati molesta est; cf. XVIII, 65, 1-3: At sunt morosi, et anxii, et iracundi, et dimciles senes: si quaerimus, etiam avari. Sed haec morum vitia sunt, non senectutis; cf. Anaxandrides, Kock, II, 53: oSroi tA yijpis ioriv, iyvwn6vnn aSS', olr6t dXX* 8s av
/

/

/

toiuv, efri Svak6\us ?xei > cf. Cic. De Senect. II, 4 : Quibus enim nihil est in ipsis opis ad bene beateque vivendum, eis omnis aetas gravis est; qui autem omnia bona, a se ipsi petunt, eis nihil potest malum videri quod naturae necessitas adferat; tionist, 17-20:

cf. Tennyson, By an Evolu

I

I

gaze at a field in the Past, sank with the body at times in the sloughs of a low desire, But I hear no yelp of the beast, and the Man is quiet at last As he stands on the heights of his life with a glimpse of a height that is higher; have climb'd to the snows of Age, and

Where

I

cf. Emerson, Essay on Old Age: And if the life be true and noble, we have quite another sort of seniors than the frowzy, timorous, peevish dotards, who are falsely old. 15

1 \

/

16

OLD AGE AMONG

is man's dispositions," able or the reverse oUelovi fiia

tl<s

t
ful,

if

he says,

"

329

Rep.

I,

329

not happy old age

d).

GBEEKS

"which render old

age bear

(dAAa Kal tovt 'S,Kpart<s}aAA' 6 Tpoiros

d). It is

Cephalus5

a picture

(&v fitv yap k6o-(uoi

to yfipas fitrplmt iarlv hrlirovov

I,

THE ANCIENT

"

of calm, peace

koI cvkoXol wai,

moderately burdensome

k
Rep.

love of conversation, his affection, his

indifference to riches, even his garrulity are interesting traits A landscape which is a perfect gem at the of character. beginning of the Laws2 forms a background for the aged sages of that dialogue to converse on many moral and political

Envy, hatred, and other disturbing passions

subjects.

conspicuously absent; peace and submission.

they have

They

have

are

schooled themselves into the feelings

of old

age

about youth; they discuss matters pertaining to the state; and to immortality. Old men find their pulses quicken and their intellects stimulated by such discourses. There appears to be a general idea among the Greeks, still prevalent to some extent among most peoples today, that certain and that

qualities, prudence, discretion, mature and the like are the natural heritage of old age,8

intellectual

judgment,

it is the duty of the old to impart

to the young.4 *

Plato, Laws, I,

*

Cf.

these attributes

Nestor was the wisest of men

;

8

Homer the

624.

Soph. Nauck, 603 : yijpat SiSioKti iravra Kal xp6vov rpi/ty ; Dionys. of Halicar. (I, 21-28) expresses the view that the perfect grasp of things in all their bearings belongs to a matured under standing and an age disciplined by gray hairs; the Athenian stranger (Plato, Laws, VII, 821 e) did not understand the nature of the

universe in his youth, but he can explain it in a short time now that he is older; the Athenian embassy begs the Lacedaemonian assembly to take time to deliberate, reminding the elders of their superior knowledge and informing the young of what lay beyond I, 8-27); cf. Menander, Kock, III, their experience (Thucyd. Tp^X" wowBoiv al XevKai
4>vati 4

yipiav.

Plato (Laws,

II,

659 d-e)

expresses

the view that the experi

MENTAL AND EMOTIONAL ENDOWMENTS OF OLD AGE

17

wisest and most divine Protagoras

Erinna

of poets.6 Socrates suggests that should know more than he because he is older.7

8

paints a charming picture of old ladies with silvery In matters pertaining to hair, gifted with golden thoughts. law older men have better judgment,

and those

are called upon to address the assembly first.9

fifty Although they above

cannot speak like the ablest orators, elder men always excel the younger in counsel 10 and they possess better understandence of the old

is valuable in constraining

and directing youths; implores the elders to inform the younger generation of his services in defending the state against the calumnies of Python of Byzantium; the reading of history allows youth to partake of the hoariness of experience (Theophylactus Simocatta, 65-73). • Cf. yt Kehav (i. e. the enemy) Soph. Philoct. 422-23 : ofrot yip kik iiipvKt, pov\tiuv oo
(Ep.

II,

1469,

10)

ri

/

and deplores the need of such a power, wisdom, and temperance, man in those times ; cf . Plato, Lesser Bippios, 364 c ; Plato, Eryxias, 394 a-d; Nestor does not mourn about Antilochus' corpse because (Quint. Smyrn. IIl, 9.) Alcib. II, 147 c. 7 Plato, Theoet. 171 d; cf. Bacon, Youth and Age: Generally youth is like the first cogitations, not so wise as the second; cf. Arist. Nicomach. Eth. I, 1095, a 1-2: Sib rrjs n-oXiriK^j ovk fariv efmioj the wise man's soul endures bravely.

' Plato,

i vdot. iweipot yip ruv Kara rbv plov wpa^eiav; Teleraachus is "untried in wisdom" ( wtmprmivot miKivoiai luiioiow, Horn. Od. lll, 23-4); cf. Julianus, Paton, III, 446; Philodemus, Paton, IV, 41; Darius, reflecting on the destruction of the Trojans (Aesch. Pers.

dKpoar^t

744-52), informs

Atossa that his son brought this to pass through

youthful recklessness and wrongly directed ambition. • Erinna, Bergk, III, 2 ; cf. Phaedrus, 275 c-276 d for Plato's com ments on writing as a preservative against the forgetfulness of old age; cf. Cic. De Senect. VI, 17, 6-8: non viribus aut velocitate aut corporum res magnae geruntur, sed consilio, auctoritate, sententia, quibus non modo non orbari, sed etiam augeri senectus solet; cf. VII, 21, 1-2. • Aeschin. Timarchus, 23-4; Plato (Laws, VIII, 846 c) mentions the following matters which do not require maturity of judgment: celeritate

matters of detail relating to punishments summons, and witnesses to summons.

"Quint. 2

Smyrn. V, 152-6.

and modes

of procedure,

18

THE ANCIENT

OLD AGE AMONG

GREEKS

ing a gained from experience and knowledge of the world. Aristotle " calls attention to the fact that while a youth may be a geometrician or a mathematician that does not make him prudent (
"

Solon

expresses

the view that old age

of itself does not bring wisdom, but one must continue to learn in old age. Greek writers refer in countless instances to the wisdom of old age without giving specific respects in was exercised.16 the superior understanding Many

which

Indian

accorded no honor

tribes

unusual

possessed

wisdom,17

unless

they

but we do not find this

to the old

true

among the Greeks. In drama we find abundant opportunity for a study of this particular trait with which old age was believed to be en

Two old people

dowed.

sufficient insight to guide

possess

the wanderings of the sons of Heracles, driven from Greece Danaiis was the prudent captain of the by Eurystheus.18 "Demosth. Exordia, piv y&p

&v

teas

cf. Plato, Lavas, IV, 715 d: riot r4 toiouto iptJKiraTa airis aurou ipf, fipuv

1452, 12-18;

ivSponrot

6t d^vrara.

"Arist.

VI,

Nicomach. Eth.

" Thucyd. VIII,

14 Philo,

Paton,

8, 1142, a 10-15.

92, 2-4.

IV,

419.

6' del iroMA tiSaoKSptvot ; Bergk, II, 18(10): ytipiosa VII, 536 Youth is (Rep. Plato b-d) believes Solon is mistaken. the time for study; state offices should be held by the young, not the old; cf. Goethe, Faust, Vorspiel, 180-181 : Das Alter macht nicht es findet uns nur noch als wahre Kinder. kindisch, wie man spricht, Cf . Pherecrates, Kock, I, 248 : <5 yvpas . . . ir v 7»P oiSiv

"Solon,

/

"

SvvafieO'

otb"

UrxioiLtr,

Eurip. Nauck, 619: . . .

ipirtipla

rt

rijs

" Megasth. II,

av

to

ttivikhvB' -plpat

d7reip/os

. . .

Kparti;

.fj/J-is

riiv

irpoSiSicKeis vtwripuv

cf. Arist. Rhet.

ir\oripoiv

t4

II,

cf.

ooTtpov.

8, 1385, b 4.

27, 39-43.

1§Eurip. Heracl. 84-85; 92-93; cf. Pythagoras, Joannis Stobaei Florttegium, V, p. 1031, 28: £yx"/")™/<
ev tppovtir;

ipptvwv

Si yVpas

irpovoariiabi ;

avSpuv Qpivti ^epiSovrai.

/

cf .

Wachsmuth-Hense, iroef 4 l*iv rt6rat

Il. III,

108-11:

alel

6'

oh 6' & yipwv neriTjair i.pa trptiOBa

MENTAL AND EMOTIONAL ENDOWMENTS OF OLD AGE of his fifty daughters.19

voyage

"aged in experience"

19

The king of Argos, though

(ox/iiyovos) , is advised to learn wisdom

his youngers.20 Both the old man Danaiis and the chorus of the Suppliants act in accordance with the principles

from

An old servant gives advice first, in his dogged deter mination to prevent Antigone from performing the burial of Polynices, and second, in his inhuman punishment of her disobedience. Therefore, he must learn wisdom in his old the Upon implication of the chorus that the burial of age.23 of good judgment

(
Creon showed

to Creusa.22

a.
Polynices may be the work of the gods, Creon warns them to cease

lest

they

be

found

foolish

of plotting the murder

accused

old

men.24

Aegisthus,

of Agamemnon,

warns the

chorus that, old as they are, they shall learn prudence.25 This implies that aoxppoo-avq was expected of those of mature years, but, there might be occasions when it was not possessed, or when, as in the present instance, the opinions of the speakers regarding such might be at variance. The chorus of Argive elders in the Agamemnon

aright

if

they hold mistaken

Eumenides has Kai itrlaaw

Eccles.

XI,

ira\xu6
/ \tiaati, 10:

a willingness

expresses

views.26

to learn

The chorus of the

(" ancient wisdom")

;

" the chorus

Sx' tptOTa per' aa<poripotai yivifrai; cf. sorrow from thy heart, and put for childhood and youth arc vanity. iraiStt,
Strut

Therefore

away evil from thy flesh ; Aesch. Suppl. 176-77 : ttiotiZ yipovri rytt vavK\ripy

"

remove

/

irarpl.

•0

Aesch. Suppl. 361. Suppl. 204 ; cf. Democritus, Diels, Fragmente der Vorsokratiker, p. 458, no. 294: tox&s koI eipuip
" Aesch.

Si awttipoavvr\

S.vBot.

" Eurip.

/on, 974-78.

"Soph.

Antig.

iiripxet. HeyA\as

Xp$

"

1348-53:

rd y' is

iroXXqi Stobt

/

rb

uifSiv

Qpovtiv

iaeirrttv:

ir\rryat tuv itrepaixuv iirortta avm

"Soph. Antig. 280-81. "Aesch. Agam. 1617-20;

in

yfipt t6

1657

Clytaemnestra

it

come to harm.

yield to the power of destiny lest *' Aesch. Agam. 583-84. *r Aesch. Eum. 838.

I

/

tiSaiuovlas irpwrov ptya\ot Si \6yot

/


bids the chorus

OLD AGE AMONG

20

THE ANCIENT

GEEEKS

of Birds, possessing the power of prophecy connected with old

for

age, propounds counsels

for

feeble mortals.26

Atossa, alarmed

the safety of Xerxes, seeks the counsel of the chorus, her

(yrjpakta mo-rwfw.Ta) 28 and the ghost of Darius inquires of the chorus what disaster has come to the aged trusty servants

The chorus of Argive elders, on hearing

Persian kingdom.80 the

cries of Agamemnon

smitten

blow, takes

by a mortal

counsel as to the plan of action.81

Athena, although she con

fesses that she has no mean understanding,

acknowledges the

superior wisdom of the aged chorus.82

In

Old Comedy the representatives of two opposing principles are brought face to face. The chorus directs the the

contest and proclaims the result.

Even though the members

of the chorus are as far as possible impartial when the con test

it often happens that their minds

begins

The chorus of the Knights

consists of weak old dotards easily deceived. Blepsidemus

changed

Aristophanes depreciates the

when they hear new arguments.88 once honored wisdom of elders.

are

are two old dotards,

Chremylus and

"partners in

folly "

(frvduHTorra rav Arjptlv Kal irapaTraieiv)

a bad

memory, is dull of comprehension,86

learn the subtleties of philosophical

.85

Si

nonsense

and

Strepsiades has and too old to

disquisitions.87

The old

man, Peisthetaerus, is called aao^ur/ia, Kvppa, rplp-pa, munn\rjp.'

" Arist. Birds, " Aesch. Pers.

avtpat ir/uit iplv tapiv /lamim 'Aw6\\a>v. chorus itself endeavors to devise deeply pondered counsel regarding the welfare of Xerxes, 939-40. *0 Aesch. Pers. 681-82. The chorus is addressed : <5 wiari. niarwv.

722:

171;

•l Aesch. Agam.

" Aesch.

&p'

oi

the

1346-47.

/

Kal re? Eum. 848-50 : ipyas £vvot
characters;

/

the chorus of the PUitus consists of old country people.

"Arist. Knights, "Arist. Plutus,

C>s SU

251-52.

508;

waiSa ol ytpovrts.

" Arist.

Clouds, 129-30.

cf. Clouds,

1417:

" Arist.

h& it y'

ivTtlwoiu' av

Clouds, 794-96.

MENTAL AND EMOTIONAL ENDOWMENTS OF OLD AGE

21

He is complimented on his good judgment in accept ing the rule of the birds instead of the gods; it will not be to build temples for the birds. necessary Aeschylus and Euripides place conservative views in the mouths of the aged

oAo».88

choruses to combat the radical views of younger men. Sopho cles, who was an old man himself when he wrote his plays, does not make use of the chorus of elders.

Aristophanes holds up to ridicule the weakened mental faculties of older men and allows the more up-to-date views of the rising generation to

triumph.

A few shreds of evidence show that the Greeks had

a tend

ency to regard old people of either sex as representatives of This view was commonly held supernatural magic forces. among primitive peoples, and even in the modern world the wide-spread notion that witches and fortune tellers must be represented in the character of old women still prevails. Dreams have a divinatory value in all lands and ages. There

it is but natural that the Greeks should try to foretell the future from dreams. A dream appeared to Agamemnon fore,

in the form of aged Nestor,88 telling him how he might take The old lord Halitherses excelled the wide-streeted Troy. Achaeans in knowledge of birds (i.e. prophecy).40 Athena stood over Menelaus in the guise of old Phoenix, telling him not to let dogs tear the body of Patroclus.41 Telemus waxed old as a seer among the Cyclops.42 Teiresias, the famous blind seer, figures throughout

Greek literature."

In

tragedy the

" Arist. Birds, 430. " Hom. Il. II, 20-22. "Hom. 41 Hom.

" Hom.

Od.

II,

157-59.

Od.

IX,

506-10.

Il. XVII,

553-60.

48

He prophesies to Odysseus in the Lower World that his death come from the sea (Hom. Od. XI, 134-36) ; he warns Creon of approaching evil (Soph. Antig. 988-90); cf. Eurip. Phoen. 834-40; cf. Eurip. Bacchae, 170-77; cf. Tennyson, Tiresias, 1-8:

will

I

I

were as in the days of old, While yet the blessed daylight made itself wish

22

THE ANCIENT

OLD AGE AMONG

GREEKS

function of the messenger is often performed by an elderly man." A servant of slow foot and poor eyesight, but active mind,4'

accompanies and comforts the chief person An old man of the Lampsaceni interpreted the ages.43 enigmatical message of King Croesus ordering the release of often

Miitiades under pain of destruction like a pine tree.47 Old men interpret the famous oracle sent to the Athenians: twt aXXur yap dAiOxo/icrwr, ooo. KtKpoxoi ovpos oros i\ti Ktv$futv tc KiSaipvi-os

(aBioio.

/

/ rtl^o-i

Tptroyo « (vXiyov

TtXiOar, to at riKra t*

Hovrov a-*6p$r1ror

&&m

tvpvora

oVijo-a.43

Zew

/

Arimnestus,

general of the Plataeans,

thought he was accosted by Zeus what the Hellenes decided to do.4'

in a dream inquiring

When he awoke he summoned the oldest and most experi enced

In

of his fellow-citizens.

the language of the Molos-

sians, Thresprotians. and Macedonians, old women are called iriXaai and old men xiAom.50 It is likely that the pigeons in the Dodonaean oak tree were not birds, but three old women.

The dignitaries among those tribes were called xtAi-yo»w.61 A stranger from Atarneus sought the advice of the aged sire, Pittacus, the Mitylenaean." An old man appeared in a vision to Epaminondas 5* when in doubt what city he should build as Roddy

thro' both the roofs of sight, and woke These eyes, now doll, bat then so keen to seek The meanings ambush'd under all they saw, The flight of birds, the name of sacrifice, What omens may foreshadow fate to man And woman, and the secret of the Gods.

'*Cf. '• Cf.

Soph. Oed. Tyr. 1009;

Eurip. Ion, 808. Cf. Hom. It XXTV,

" " Herod.

VI,

322-8.

37.

"Herod. VTI, 141, l6-20. " Pint. A rit t ides, II, 325 *•

Strabo,

cf. Eurip. Ion, 742-13.

VII, VII,

frag.

1

c-d.

and

1 a.

frag. 2; cf. the term iipomt applied to the Spartan senators. For the priestesses at Dodona, called tAnai or y*\tio*et. cf. Herod, II. 53; Soph. Trach. 172; Pans. VII, 21, 2. ™

Strabo,

"Callim. I,

1-16.

" Pans.

IV,

26, 5.

MENTAL AND EMOTIONAL ENDOWMENTS OF OLD AGE the Lacedaemonians.

a base against

23

A venerable man with

hoary locks reciting verses from the Iliad stood over Darius advising him to found a city on the island of Pharos.64

Pindar appeared to an old woman in a dream and recited his hymn to Proserpina which a vision had induced him to write.68 The Cimbri were attended on their expeditions by gray-haired priestesses who were seers, clad in white.68 They would cut the throats of the prisoners and draw

from the blood. hides

stretched

a prophecy on the would beat the battles they During over the wicker wagons and produce an

unearthly noise. Thus we see that old men and women seem to have two main functions in prophecy and visions: (1) the vision itself may appear in the form of an old man or woman;

a person of age and experience may interpret

(2)

the vision or oracle.

There is some evidence pointing to the fact that superior mental endowments were not necessarily the property of old age per se, but belonged to certain individuals while others at this period of life showed a decline in this direction. Homer alludes to the fact that the powers revealed by Nestor are his own

"

and not the common property of all who have

The commission of certain the gods and performing acts of treason)

reached that period crimes

of life.

(robbing was excusable in a state of madness, or when affected by dis

of extreme old

ease, or under the influence

childish

According to Solon's laws

wantonness.88

could bequeath his property vided his judgment violence,

drugs,

Socrates

cleverly

"

a

fit of

a man

not influenced

by physical pain, or the persuasion of a woman. age, explains that Cratylus' argument about was

cf. Hom. Od.

IV,

III,

134.

"Hom. Il. IV, 310-16; cf. Herod. "Plato, Lotos, IX, 864 d-e. Solon, 21.

in

to whomsoever he wished, pro

old

" Plut. Alex. 26, 679 d-e; " Paus. IX, 23, 2. " Strabo, VII, 2, 3. "Plut.

age, or

354-7.

24

OLD AGE AMONG

THE ANCIENT

GBEEKS

falsehood is too subtle for an old man to understand,80 he does not consider himself become the

but

too old to learn, and asks to

pupil of Euthydemus

and Dionysodorus.81

Lysi-

he resigns the argument re of his son to Nicias and Laches.82

machus has a bad memory; the education

garding

it fitting for them all to learn

Socrates thinks

more,88 and

Lysimachus, being the oldest, is the most eager to learn.84 However, it was a peculiarity of Socrates to assume that he possessed no wisdom and was ready to learn.

Therefore,

we

cannot place too much credence in his statements in this respect, but rather must take into consideration the indi vidual

In

characteristics

wherein he differed

a few instances Sophocles and

as being deprived

phanes regularly

Euripides represent old

age

of reason, and we have seen that Aristo does

tude toward senility, blow:

other men.

so.

old age made

Extreme

Oedipus

Euripides, with his customary dismal atti

bereft of wit.85

perhaps gives the oldsters the severest

vous 8' owe tvtoriv,

inclined

from

olofKfTda 8'

ev

Menoecus is

pov€lv.M

to pardon his father for pronouncing

the sentence

of banishment upon him because he is an old man.87 White hair, by dulling the mind, causes one to become fickle in love,

striking

says Herondas,88

a humorous vein.

In

the same spirit

89

Alciphron portrays the stupid old judge who sends his son from the philosophers. From the need of legislation

to learn •0

Plato, CratyUts, 429 e. Cratylus presses him with the old sophistical argument that falsehood is saying that which is not, and therefore saying nothing. 81 Plato, Euthydemus, 272 e. Plato, Laches, 189 c.

" " Plato,

Laches, 201 b.

M

Plato, Laches,

•*

Soph. Oed.

tMi}<™

201 b.

i

Col. 930-31 : Kal a* koI rov vov Kev6v; Cic. De Senect.

irX7)0i!i> xp6voj

VII,

ment that the memory is impaired unless one keeps Eurip. Nauck, 25. •7Eurip. Phoen. 994-95.

"

" Herondas,

••

I,

67-82.

Alciphron, Ep. Parasit. XXVTII,

1-2.

/ yipovS'

ifuv

21, confirms the state

it in

practice.

MENTAL AND EMOTIONAL ENDOWMENTS OF OLD AGE on such matters

it appears evident that

25

cases must have some

times existed, no doubt in extreme old age, when senility produced a decline in mental powers. In the Alexandrian age we note a tendency,

of which Euripides and Aristophanes

form the prelude, of representing old age thus. Greek literature gleams with examples of love of parents for their offspring, and regard of children for parents. That trait which is known as parental affection may properly be considered here, while filial devotion will be treated in con nection with the Greek attitude toward aged persons. No doubt Homer wished to make Priam exemplify this virtue to the fullest extent in his supreme act of devotion in braving the presence

of the slayer of his son.

We have the tragic

picture of the old man plucking his hoary hair as his son goes to battle,70 his beating upon his head as he entreats his son to desist from the contest with Achilles news of his son's death ;

sions

;

78

and lastly

72

;

71

his moaning at the

the resistance of his wife's persua courage in daring to

his extraordinary

Likewise, Hermes sees in Priam a similitude to his own father.7' Priam moves the iron heart of Achilles by recalling his own father, Peleus.76 Old Laertes, too, mourns pitifully when he hears enter the hut of Achilles to ransom his

of the journeys of his son as he perceives the sad

" Horn. " Horn. " Horn. " Horn.

II. XXII,

77-89.

/1.

54-77.

XXII, II. XXII,

II. XXTV, "Horn. II. XXIV,

;

77

son.74

and Odysseus' heart is touched

plight of his

father.78

The old man

405-28. 217-28.

561-72; cf. Quint. Smyrn. I, 361-2; cf. vase in Vienna, Oesterreich. Mus. No. 328 (F. R. Taf. 84) where the vase painter has followed very closely the account in the Iliad; cf. the self-restraint

of Priam with the tearful

ratus

declared that

as

he

those

outburst

Hellenes

of the old Deraa-

deprived of great seated on the throne

were

pleasure who had died before seeing Alexander (Plut. Alex. 37, 687 a). Plutarch mentions this as a trait of old men, but

" Horn, " Horn.

it does not n, XXIV, II. XXIV,

appear to be so in the earlier periods. Horn. Od. XXIV, 315-8. 361-71.

"

503-12.

" Horn.

Od.

XXIV,

232-34.

26

THE ANCIENT

OLD AGE AMONG

GEEEKS

Peleus must eke out an existence by a lone hearth mourning Quite different from the happy old her eyes in the arms of her children60

the death of Achilles.79

woman who closed

is the old man whom Lucian

8l

describes

in whom

excessive

paternal affection had become a mania to the extent that he kills himself when he finds his son dead. Perhaps in no nation have there ever existed the wholesome associations between men who are aging and young men and boys that we find among the Greeks. Socrates found his most congenial

companions

among those

of the younger genera

to blend the ages in the public mess rooms because the younger members would gain much tion.

Lycurgus

was careful

honorable acts performed in

valuable information regarding relation to the state.82 were

merging into

During the

those

age when home relations

of citizenship

it

was assumed

that

every well-bred young male must have an older man as his mentor, and to be without one was to some degree discredit able.

The old men felt it

was

a part of

their duty to the

community and to the state to respond to such advances, and even to make them. There was little meddling with the active

life of youths, but rather a delight in watching and encourag Callimachus®8 writes of an old man in ing their pursuits. whom the boys delight who grows old lightly

Priam marvels

at

young

heroes.84

(iXa
.

The old lady, Hecale, Marathonian boar.85

caresses Theseus when he goes after the

The elders rejoice in sports and merrymaking because it awakens memories of their youth,89 with which is usually Nestor associated a desire to boast of their former exploits. confides to Patroclus the wish that his strength were what it "Quint. Smyrn. IIl, 450-7. "Callim. XXXIX; cf. epigram

to two old women of eighty who

their husbands and children, Diotimus, Paton, II, 733. 81 Lucian, Tyrannic 21. " Xen. Pol. of the Lacedaenu 5, 5. " Plut. Thes. XIV, 3. "Callim. Frag. 11. •• Plato, Laws, II, 657. "Hom. Il. IIl, 181-243.

loved

MENTAL AND EMOTIONAL ENDOWMENTS used to be when he fought

the Eleans."

OF OLD AGE

27

The chorus in the

Wasps83 discourses about its former strength in dances and war. The elders evidently thought that they were fulfilling a

certain part of their duties in life when they watched the activities of the young and guided them in the right direction. They too, however, had their own line of interests. The idea that old age brings deeper reverence and piety is

While

not particularly stressed.

man's sense of religion deepens

some writers

in proportion

that

assert

a

as he grows

older, the term virtue is used in a more general sense.

That in was virtue should be; enhanced advanced years generally For the young to err was more pardonable than for agreed. the old ; M an old man should do nothing for which he would "1

that old age pays a more courteous visit to the virtuous man ; for this reason the ashamed.80

be

There is a suggestion

old age of Agesilaus was men

"."

" mightier than the youth of other

The old, then, guided their lives by reasoning more

than by moral feeling.

On account of a certain sanctity con

nected with old age, however, they had certain functions to perform in connection with sacrifices and other religious

will be discussed in the next chapter. Plato's statement that old age is endured according to individual temperaments and dispositions be accepted we should expect to find many less attractive characteristics represented. Not all would possess the calm persuasiveness of a Priam ; in some cases one's strongest idiosyncrasies, one's rites as

If

•7

Il. XI,

Hom.

"Arist. "Arist.

iarlv

671-73.

Wasps, 1060-70. Clouds, 1416-19;

cf. Aesch. Nauck,

391: yijpat

yap fl/9ift

ivStKWTtpov.

"Arist. us ivaiStlat

Nicomach. Eth. ir\iuv.

" Adespota, "Xen.

IV,

Nauck, 467 : Agesil. II, 14-15;

1128, b 20; cf.

taffkov

Eur. Ale. 727: t» yijpat

yap ivSpis yijpat tinrpourtyopov.

cf. Cic. De Seneoi.

IIl,

9: Aptissima omnino sunt arma senectutis artes ezercitationesque virtutem quae in omni aetate cultae, cum multum diuque vixeris, mirificos efferunt fructus.

THE ANCIENT

OLD AGE AMONG

28 loves,

hates, sympathies, and prejudices

this period of life.

Aristotle

8S

GREEKS are

accentuated at

sums up the characteristics of

Young men tend to gratify strong

both old and young men.

passions they are hot-tempered ; eager for superiority ; care little for money ; and disobey the precept ixr)obi ayav. Elderly ;

cynical, distrustful, selfish, and slaves of

men are uncertain,

Friendship subsists to a less degree among austere and elderly men.94 Friendships of utility only are interesting These to them; the young are more liberal in friendships. remind us of the type represented in Aristophanes rather than the more pleasing type of the Homeric period.85 The traits of the old man recur regularly in Aristophanes. Demus is gain.

morose, testy, deaf

;

96

Strepsiades

Dicaeopolis

has the

boorishness

(aypou
additional

is peevish and stingy.87 of rusticity and

features

The old dicast Philocleon

has

a

harsh and sturdy disposition, and stinging wrath and peevish ness.88 The chorus of Wasps represents irritable old men, as irascible as wasps.

A trace of

occurs in

these characteristics

Sophocles, but is more developed in Euripides.

of Ajax will

The father passionate, peevish, and wrathful when he

be

discovers the body of his

II,

"Arist.

Rhet.

"Arist.

Nicomach. Eth.

Menelaus, however, reminds

son.100

Tyndarus that anger at his 1389, a-1390

VIII,

and all infirmities make men

age

would

not be wisdom.101

b, 15. 1158, a 1-14;

1158, a 28-36; old age

illiberal, Arist. Nicomach.

Eth. IV,

1121, a 20-21.

" The

old priest Chryses, however, turned away in anger when his ransom was not accepted, Hom. Il. I, 380. "Arist. Knights, 40-43: ryv yip ion Sarir6-rnt typoiKot ipyiiv, KvapoTpul,

dxpaxoXot,

Arj^os

trvKvlTTft,

/

Sv
ytpSvnov

cf. Soph. Nauck,

/ vir6K(ji<pov ;

808; cf. scholium Eurip. Orest. 490: oweXffouo-a t<3 y^pa aov ^ 6pyii iiraiSevriv ci iroiei; cf. Chaeremon, Nauck, 38: yipuv yip ipyxi irdj vmipertiv KaKit.

"Arist. ••

Clouds, 754-55; and 773-74.

Arist. Achar.

"Arist.

I

Wasps,

28-42. 106-17;

cf. Eurip.

yivn koX Svaipi\aKTOv A£v$vplas "•Soph. A jaw, 1008-20.

Androm.

727-28:

Giro.

lm

Eurip.

Orestes,

490.

irpt
MENTAL AND EMOTIONAL ENDOWMENTS

OF OLD AGE

29

To Euripides old age is morose and sullen (SwkoAov . . . aKvdpomov) .102 Diotimus, Archebiades, and Chaeretimus have a frown on their brows, and pretend to laconize, and are given In Alciphron 104 the surly to wickedness and turpitude.108 old guardian boxes the ears of his wards whose merrymaking is beyond the range of his appreciation. Old men, although

their time to amorous pursuits,

they devote

the later periods

108

express antipathy

particularly in

toward the love affairs

of the young.106 Old women are frequently very contrary.107 The old women in Aristophanes are regularly drunken, and shrewish.108

morose,

wine; up to the

age

Boys up to eighteen may not taste

of thirty it should

be used

only in

but after the age of forty, wine may be taken to lessen the moroseness of old age.109 Then the soul becomes moderation;

softer like iron melted in the fire.

It

is a glorious spectacle to see the hoary-haired come through all the warping strains of life's experiences declining so gradually

that

it is hardly perceptible, with memory still

retentive. Where temper, intellect, and health there is a sense of unfading youth even in the sun combine and

keen

This seems to be particularly true of those who find pleasure in literary pursuits. Where these qualities are lacking, instead of the more rational and softened aspect, the set of

life.

"* Eurip.

Bacch. 1251-2.

Demosth. Conon, 1267, 34.

Ep. Parasit. VII, 4. Cf. Alciph. Ep. Amat. XV, 2.

104AIciph.

1MCf. Paus. VII, 192; cf. Hes. Theog. 600-9. Cf. Menander, Grotius and Clericus, Menandri et Philemonis Reliquae, fr. 124: wo\b x'1?*" few iptSlaai ypaiv i) Kvva; cf. Anti107

philus, Paton, III, 263. 1M Cf. Cornford, Origin of Attic Comedy, 171-2. Plato, Laws, II, 666 a-c. Theognis (Bergk, I, 876-9) mentions that wine will dispel the harsh cares of old men ; Athen. Deipnosoph.

II,

Alexis, says that old men do not improve by old age writer (Paton, III, 127) mentions that, as sweet wine when left turns to vinegar, so the old man is sour4, quoting

as wine;

an anonymous

tempered

because he has emptied his life.

OLD AGE AMONG

30 less

admirable

THE ANCIENT

traits of stinginess,

It

GREEKS

sullenness,

and loss of

of the traditions of the in the Platonic dialogue to present speakers a series of faith ful portraits from which all imaginary coloring had been rigidly excluded. Therefore, it is likely that Plato repre memory occur.

was not a part

sented the type of old age which some, but not all, attained,

but which was the Greek ideal.

truth in Aristotle's

There is undoubtedly

some

110

statement that a man may be wise by — nature may have the power of deciding rightly by innate

intelligence

—while it

is customary to think that these attri

butes are attendant upon a certain period of

"•Arist.

Nicomach. Eth.

VII,

1143, b5-9.

life.

CHAPTER

III

DUTIES AND INTERESTS OF THE ELDERLY CITIZEN In Public Life The superior mental endowments with which older men and women were believed to be invested enhanced the im portance of the former in legislative and judicial affairs.1 2 believes that it is better for a young man to give Xenophon heed

to his own health of body, and he suggests

horseman

ship as a proper pursuit; but the older man has his town property and his friends,

of

and the hundred and one concerns

state and war on which to employ his time.

The

huurrjrai

at Athens were a body of men in the sixtieth year of their age, chosen annually

could refer ^Xtmrrat.'

by lot, to one of whom the magistrate

any private

suit before bringing it before the

Any suit in which the amount at issue

exceeded

Any arbitrator when he had arrived at the necessary age lost his civil rights. Private Suurrrrai also existed chosen by the parties and invested with such powers as the parties agreed upon. The Spartan yipovaia was par ticularly famous, and appears to have possessed more power than under the more democratic Athenian system. The ten drachmas must be handed over to the arbitrators. one who

did not

serve as

I

1 Cf . Eurip. Nauck, 511: tpya pir vtwrtpuv, /tavXal 8- tx<moi tuv ytpatripuv Kpiros; Plato (Laws, II, 665 e) suggests that a chorus of

old men could give the best and fairest

strains

as well as the most

usefui. Xen. On Horsemanship, 2, I. Cf. Arist. Constitution of Athens, 53, 4; Plato, Laws, XII, 956 c; Herod. V, 95; Cic. De Seneot. VI, 20, recalls that the greatest *

*

commonwealths have been overthrown by young men, and supported and restored by old; cf. Ch. Michel, Reoueil ^Inscriptions Grecques, 1028; /. G. n, 943. 31

32

OLD AGE AMONG were

ye'povrcs

THE ANCIENT

GREEKS

appointed for life, and represented the collec

of the group; they

tive traditional wisdom;

to exhibit

were

in their lives the virtue which was the basis of the state, and to be educated in every kind of knowledge which would enable them to fulfill their office.4 In them the Spartans hoped to find a principle of stability, and to invest old age with greater honor. The senators were first appointed by Lycurgus himself, but

he arranged that any vacancy caused

by death should be filled by the man elected as most deserving out of those over sixty years of

age.5

The

ytpowria

consisted

members presided over by two kings.8 Hero records also that the five oldest citizens who pass out

of twenty-eight dotus

7

of the ranks of the knights each year were sent on errands by the Spartan state.

The Cretans also had

a senate by the same

name.8

In Plato's

ideal state the care of orphans was to be en

trusted to the fifteen eldest guardians of the law.9 Charges of maltreatment brought by children against parents were to be decided by those more than sixty years of age, having children

of their own.10

' Xen. Pol. 119, 89;

On the other hand, charges of in

of the Lacedaem. X, 1 ; Demosth. The Law of Leptines, III, 691e-692a; cf. Cic. De Senect. VI, 20:

Plato, Laws,

magistratum Apud Lacedaemonios quidem ei qui amplissimum At Rome senatores permit, ut sunt, sic etiam nominantur senes. were distinct from senes, whereas the Spartans contented themselves In India there was also a college of with the one word .ytpovrtt. sages (Philostratus, Apollonius of Tyana, III, 16, 107). •Plut. Lycurg. 26, 1; Arist. (Pol. II, 1271, 1-9) disapproves of the method in which the Spartans elect their elders. The person elected

should not canvass for the office;

the worthiest

should

be

appointed whether he chooses or not. • Plato, Laws, III, 692 a. r Herod. I, 67, 6.

'

Strabo,

Solon made because

X

he had heard that the Cretan

laws were the best and were

by Minos after counsel with Zeus. Plato, Laws, Plato, Laws, XI, 924 c.

devised •

X, 4-18; Lucian, Anacharsis, 39, 78-82, mentions that these laws in his old age after returning from Crete

"

IX,

878 e.

DUTIES AND INTERESTS OF THE ELDEBLY CITIZENS

33

sufficient care given to aged parents should be brought before a court composed of the eldest citizens, who might inflict any punishment they wished

if the guilty parties were over thirty

(in the case of a man) or forty (in the case of a woman).11 If under this age the penalty should be scourging or im

If

in doubt about indicting his aged father for insanity he should first lay the case before the eldest guardians of the law.12 The minister of education prisonment.

a son was

should be an old man, but since he would have a great deal of work he should have plenty of assistants, both male and Seventy should be the retirement age in important There appears to have been no pen governmental positions.14

female.18

sion system, and no philanthropic institutions to care for the aged.

In Warfare The counsel of

those of mature years appears to have been

of value to the Greeks in other fields of endeavor, especially in time of war, as well as in legislative and judicial matters. Agamemnon

goes to Nestor

to

him contrive

some device to ward off evil from the Danaans.15

see

whether he cannot help

Nestor, the clear-voiced orator of the Pylians,

"from

tongue flowed discourse sweeter

M

than honey,"

whose

being well

skilled of yore in battles, arranges his comrades in line of battle and charges them well ; ir he shows Agamemnon how to separate heroes 11

the men into tribes and clans,18 and spurs on the wishes for ten

to deeds of prowess until Agamemnon

Plato, Laws, XI,

" Plato,

Laws, Laws,

XI,

932 b-c.

VII,

929 e.

813; Plato (Laws, XII, 964 e) compares the city to a tree trunk. The younger guardians of the laws, chosen for natural gifts, look about the city and inform the elders of all that happens. The latter take counsel and make use of the younger

"Plato,

as their ministers. Plato, Laws, VI, 755 "Horn. II. X, 17-20.

men

14

"Horn. II. I, "Horn. 3

II.

a.

247-49; cf. Nicarchus, Paton, TV, 291-311. "Horn.

III, 159. II. II, 362-68.

34

THE ANCIENT

OLD AGE AMONG

Nestor avows that

such counselors.18

GREEKS

it is the right of elders

to urge the horsemen by counsel and words; but the young When the Greeks rush into man shall wield the spear.20 battle he warns them to be mindful of their wives, children,

He plans how to

Achilles for taking he weaves counsels regarding the burial of the dead.23 Diomedes is the best among his equals in years in counsel, but is too young to compare with Nestor in this respect.24 Phoenix tries to persuade Achilles not to go home.26 and parents.21

Briseis ; "

appease

regret that he did not obey the advice of his father, Lycaon, to mount his chariot and lead the Trojans Pandarus

in

expresses

The ancient lord Bcheneiis, an elder of the Phaeacians, was excellent in speech and skilled in wisdom.27 Theomnestus, in a suit at law, calls Apollodorus a violent

contest.28

to be his advocate experience

in

Kal piSoiai.

vtuTtpot.

Pericles

speaking.28

"Hom. Il. II, '0 Hom. Il. IV, /9ouXn

he is an older man and has more

because

Cf. Job,

laments

the

death

of

370-2. 322-24 : ilXXo t4 yap

XXXII,

yipas 7 :

I

Kal <5j Iirirtiat lurtacopai

icrl

yepdvrwv,

/

i)«4 Ke\ti
/

afx/i^* 8' alxp&coovai

said, Days shall speak and multitude

of years shall teach wisdom. Hom. Il. XV, 660-666.

"

"Hom.

" Hom. " Hom.

IX, 94-114. Il. VII, 324-43.

/1.

Il. IX, 52-59 ; Menelaus tells Peisistratus, son of Nestor, that he speaks like one older than his years (Hom. Od. IV, 204-5) ; Telemachus also speaks like an elder (Hom. Od. 124-25). Hom. Il. IX, 690-710. Hom. /J. V, 197-204.

"

"Hom.

"

VTI,

IIl,

According to Lucian (Heracles, 1-5) not with Hermes as the Greeks but with Heracles. He was represented as bald in front and gray behind. He had a hole bored through his tongue and drew men along with their ears tied to his tongue.

the Gauls

Od.

connected

154-8.

eloquence

"Demosth. Contra Neaer. 1349, 19-1350, 5; Cic. De Senect. IX, 28, is a gift not of mind only, but also of lungs

1-7, says that eloquence

and strength; yet there is a certain graceful style of eloquence in an old man which often wins many listeners; cf. Il. 150; cf. Gertrude Smith, "Homeric Orators and Auditors," Cl. XXII (1926), pp. 355-64.

IIl,

J.

DUTIES AND INTEEESTS OF THE ELDERLY CITIZENS Anaxagoras

because

he

will

of

be bereft

counselor in the conduct of the state.29

such, an

35

excellent

When Solon was

a

very old man he opposed Peisistratus' request for a bodyguard, declaring that in so doing he was proving himself wiser than half the people and braver than the rest 80—wiser than those who did not

see

that Peisistratus

designed to make himself

tyrant, and braver than those who saw the

Ajax

81

formation

a messenger

it but kept silent.

In

from the Greek camp brings the in

that Teucer has come to the generals' quarters in

mid-camp and is being reviled by all the Greeks at once ; when the strife is at its height it is allayed by the soothing words of elders.82

Agesilaus, debarred from active service on foot or

horse at the battle of Leuctra on account of old age, seeing that his country was chiefly in need of financial assistance, set off on foreign service in the capacity of ambassador.88 When Aeschines served on the embassy sent to Macedonia for an audience with Philip the eldest spoke first and the rest in order of

age.84

Three elderly men came from Cerasus, a town

with the Hellenic assembly.88 It appears to be the prerogative of elo Oratorical quence that it reaches perfection in old age. ability was considered on a par with prowess in battle. The two qualities iiAyri and ayopd made the ideal hero. The wisdom which belongs to old age was indispensable for the orator. which had been attacked, and sought an interview

In

the small

states

of Greece,

where each

citizen

had an

"Plut. Pericles, 16, 162 b. There were not many philanthropic measures taken by the Greeks to relieve poverty and suffering. Pericles, however, gave aid to many poor* men, among whom was Anaxagoras. "Arist. Athen. Const. 14, 8-15. 81 Soph. Ajaic, 719-22. Soph. Ajax, 731-32. Xen. Agesil. II, 24. Aeschin. De Legat. 22, 258. This may have been due to the fact

" " "

that the elders were more skilled in speaking, or the privilege have been accorded out of respect.

" Xen.

Anal. V,

7, 17.

may

THE ANCIENT

OLD AGE AMONG

36

immediate voice in determining obvious and indispensable

GBEEKS

the public policy, the most

qualification

was ability to speak

well and persuasively. For the young man of good birth it was a natural career to look forward to, and his importance in this respect was increased in advancing years. There

are

other ways in which

elderly men could be of

service in time of war besides acting as counselors.

Achilles

dismisses the messengers sent to appease him and tells them to give his answer to the prince of the Achaeans, as is the This implies that old men might serve as office of elders.86

Old men seem to have acted as guards or watch men of the city. Hector orders the assembly of Trojans to messengers. have

messengers

proclaim

that young maidens and old men

of hoary

heads should camp around the city on the battle ments lest an ambush enter the city.87 The elders sit on the

Scaean gates to watch the contest between Menelaus and When Achilles is slaying the Trojans, the old man Priam stands on the tower ; then he descends and gives orders Paris.88

to the warders.80

When the Lacedaemonians

set out on the

expedition against Messene, they leave behind the youngest and oldest of the citizens to guard the city.40 The elder men of the Lacedaemonians are guarding the wagons when the On the shield and Argives rush upon them.41 that Hephaestus makes for Achilles he puts a besieged city. On the wall stand the wives, children, and old men.42 On the Mantineans

shield of Heracles

are shrieking

women

on the towers, and

elders before the gates.48 Colonization is a labor not to be exacted from the old. Grinus, the old king of the Theraeans,

city ; 44 all the Messenians took part in founding the colony of Cyllene except considers himself

too old to found

a

those prevented by old age.48

"Horn. II. IX, 421-26. "Horn. II. X, 139; cf.

167-72.

"Horn. II. lll, 146-56. " Horn. II. XXI, 526-36. " Strabo, VI, 3, 3.

41

Thucyd. V, 72, 3.

**

Hes. Scut. Her. 242-48. Herod. TV, 150.

" Horn. II. XVIII, "

" Paus.

IV,

23,

490-516.

14-18.

DUTIES

AND INTERESTS OF

THE ELDERLY CITIZENS

We recall that in the war of 1870 between

France

37

and

Germany the campaign was planned and led by elderly men. The emperor William was in his seventy-fourth year; von

Moltke, the masterly strategist of the war, was seventy-one; and Bismarck, the master mind in the larger field, was in his fifty-sixth year. In the World War many leaders were in the late sixties. General Joffre was sixty-two when the war began; Count von Huelsen-Haeseler seventy-eight; and General von Hindenburg who was regarded as the ablest of the German commanders on the Eastern front was sixtyamong the Greeks, there are examples of activity in warfare extending into later years, although war Here again fare was not considered a duty of the old. Likewise,

seven.

Nestor, whom Homer no doubt meant to make the exempli

He awakens of every virtue, is the most active. Odysseus in the night when trouble besets the Achaeans.48 He deplores his lost strength ; 47 then Hector would find his

fication

combat.

He

Achilles

to

selects the men who are to be sent to the hut of appease

him with

gifts.48

He calls out to the

Argives not to take thought of spoils, but to slay the foe.49 When expecting an attack from the Trojans he is the first to hear a sound.50 At the command of Idomeneus he drives

He mounts the car of Dioand lashes the horses; the horses are turned to flight When Agamemnon seeks out injunction of Nestor.52 for advice, he is in bed, but the glittering girdle with he was wont to gird himself when he led the host in lies beside him." The cry of battle does not escape

with his chariot to the medes

at the Nestor which battle

ships.51

him even when at his wine, but he goes to a place of out-

"Hom. n. X,

138; cf. 164-67;

in Od.

lll,

403-12,

Nestor, warder

of the Achaeans, arose from his bed and sat on the smooth stones before his door with the staff in his hands. "Horn. II. TV, 318-21.

"Horn. /1. IX, "Horn. II. VI,

"Horn. II. X, 157-61. "Horn. II. XI, 510-21.

162-81. 66-71.

" Horn. II. VIII, 139-44 " Horn. It X, 73-79.

;

cf. Anonymous, Paton, V, 43.

38

OLD AGE AMONG

In

look.64 ships.55

THE ANCIENT

GBEEKS

the catalog of ships Nestor is the leader of ninety

The old knight Phoenix, to whom Achilles

was sent by

Peleus to learn war and speech,58 is represented as the leader of one of the companies.57

Laertes and Dolius, grayheaded

as they are, don their armor to contend against the avengers

of the suitors.58 entrusts the two wings to the two eldest gen It was the old erals, and the rear to the two youngest.69 Cheirisophus

soldiers of Brasidas who were signalled by Agis (the Lacedae monian general) to make a lateral movement lest the left

wing be surrounded.60 Thucydides 61 advocates choosing the front rank men from those ripest in age and strength ; after these

a corresponding

number

should be chosen

from

the

oldest and most sagacious members of the squadron to form the rear-rank Pergamum

of the files and

King Attalus of

decades.

died in the midst of a most glorious

campaign

fighting for the liberty of the Greeks.62 Agesilaus took up his conspicuous leadership in behalf of the liberty of the Hellenes when he was past eighty.68 He went to Egypt and engaged in the services of Tachus and Nectanabis to recruit the

finances

of his

country

on the way home.

and died

Philopoemen frequently rode out against the enemy to spare his young men.64 Agis, the Lacedaemonian, was an old man when carrying on war against the Eleans.65 After the battle of Thermopylae, when the Galatians had plundered the houses and temples and set fire to Callium, old men inspirited by the crisis mingled with the young to swell the army.66 At the time of the battle of Chaeronea old and infirm men were walk

ing about the

streets

of Athens with their mantles doubled

" Horn. " Horn. " Horn.

II. XIV, 1-8. II. II, 601-2. II. IX, 438-43. "Horn. II. XVI, 196. " Horn. Od. XXIV, 498-501. ••Plut. Ages. 36, 18b; Diod. Agesil. 2, 29. M

Plut. Philopoemen,

18, 367.

••

lll, 2, lll, 3, 1.

Xen. Anab.

" Xen.

Hel.

"Thucyd.

V,

71, 1.

" Polyb. XVIII,

XV,

93, 2-3;

" Xen.

" Paus.

37-38.

41, 8.

Paus.

Hel.

lll,

X,

22, 5.

lll, 10. I a-b.

3,

Xen.

DUTIES AND INTEEE8T8 OP THE ELDEELT CITIZENS up as

if girding

When the Athenians

young.87

battle,

cavalry

themselves to perform

the other

39

the duties of the

defeated the Corinthians in a

half of the Corinthians keeping with the old men instantly has

guard at Cenchreae together tened to the spot.88

The soldiers of Eumenes, who had

Philip and Alexander,

under

were seventy

served

years old, and not

a man younger than sixty.88

In

warfare the elders were of service to the state in giving

in acting as messengers or ambassadors if ability would permit; in encouraging the young soldiers by re minders of pristine valor; in acting as guards and watchmen at the city gates; sometimes in planning the line of attack, drawing upon the experience of former years; and in a few instances in taking an active part in leading campaigns. advice;

In Religion Due to a certain sanctity surrounding old age, even though the old were not necessarily given to piety, they were often called upon

services in connection

to render

with prayer,

sacrifice, and the pledging of oaths. Agamemnon slays a fat bull to mighty Zeus and calls upon the elders to make prays Zeus to avert calamity from the He performs the first rites of the washing of

Nestor

sacrifice.70 Achaeans.71

hands and the sprinkling of meal in sacrifice to Athena.74 The old priest Chryses burns the slices of thigh and makes libation,73 while the young men hold the five-pronged forks, and crown the bowls with wine. King Alcinous calls together the elders to entertain

Odysseus and sacrifice to the gods.74

The Trojans call upon Priam to pledge a trusty oath while Paris and Menelaus fight.75 According to Plato,78 priests should not be less than sixty years of age. and priestesses •7

Lycurg.

Contr. Leocrat.

" Thucyd. IV, 44, 4. " Plut. Bum. 16, 593 d. 7'Hom.

" Hom.

Il. II,

Il. XV,

402-11. 370-76.

153, 39.

7*

Hom. Od.

" Hom.

IIl,

444-46.

Il. I, 457-74. " Hom. Od. VII, 179-94. "Hom. Il. III, 104-10. 7•

Plato, Laws, VI,

759 d.

40

OLD AGE AMONG

THE ANCIENT

GBEEKS

similar functions connected with prayer and sacrifice. Four old women just inside the temple of Demeter at Hermione helped in sacrifice and only these old Hector calls the women knew the mysteries of religion.77 battle while he to Ilium to bid the Trojans to go into goes Elders and the women pray to the gods and vow hecatombs.78 Helenus, son of Priam, bids Hector go to the city and bid their mothers gather the aged dames at Athena's temple and Women, too, have

vow twelve sleek kine

if

she

will

have mercy on the city.78

In Private Life We have examined the pursuits of elderly men in the more serious affairs of life — in statecraft, in war, and in religion.

Let us now inquire how their leisure moments were spent. Plato 80 advocates music and gymnastics for the young, but drinking parties for their elders.81 Although the old are not so desirous of taking an active part in dancing and music, In entertain they are the best critics of these amusements.82 ments the fondness for wine is often emphasized perhaps as a part of the rites of hospitality in which the older men engaged freely since they were often released from the more arduous duties. The old man Nestor mixed for Telemachus and his companions a bowl of sweet wine which was then in the eleventh year from the vintaging.88 Solon engaged in leisurely amusement more in his old age than ever before ; he became fond of wine and song and went to see Thespis

Old women

in his own play.84

" Paus. II, " Horn.

II. VI,

were as fond of wine as men.85

" Horn.

35, 7-8.

act

1l.

VI,

86-101.

Plato, Laws, II, 653 a. X, 31; X, 3; IV, 12; Agathias »0

110-5.

•lCf. Athen. DeipnosopK Scholasticus, Paton, IV, 57. •* Plato, Laws, II, 665 d. He stresses the fact that the old cannot be induced to join in song unless they have been enlivened by drinking.

"Horn. "Athen. Paton,

II,

Od.

IIl,

385-96.

353;

MPlut. Solon,

29, 95 b-c.

32; cf. XI, 11; cf. Antipater of Sidon, Aristo, Paton, II, 457; Nicarchus, Paton, IV, 73.

Deipnosoph.

XI,

AND INTEBESTS OF THE ELDEELY

DUTIES

CITIZENS

41

The elders were interested in the education of the young 88 since they had arrived at the time of life when they themselves could sit still and look on. To Socrates conversation with the Plato 88 young was of greater attraction than a torch-race.87 cites the entertainment suited to various ages. Small children enjoy a puppet-show

;

older children comedy ; educated people

in general like tragedy ; but old men would have the greatest pleasure in hearing a rhapsodist recite well the Iliad and Odyssey, or one of the Hesiodic poems. Theophrastus 89 men tions pursuits not to be encouraged in old age. He scorns late learning; discourages exercise in the palaestra for old men ; and ridicules old men's efforts at dancing and singing. Men in declining years must have b ien fond of assembling 00 91

and play dice,92 but Plato suggests that the dis cussion of arithmetical problems would be a better amuse

to gossip ment.98

At Rome ball

seems to have been a favorite pursuit.9'

A few examples of more vigorous activity in athletic

contests

The reason for Achilles' attachment to Nestor and Phoenix was because they were fond of story telling.98 Longinus 9T cites as proof that the Odyssey was written in Homer's old age the fact that in this work he reveals a genius for marvelous tales. That old men must have been fond of

are recorded.95

" Plato, De Senect.

" Plato,

Laches, 179

IX,

28.

Rep.

I,

;

cf. Timostratus,

Kock,

III,

fr.

6 ;

cf. Cic.

328 a.

Plato, Laws, II, 658 d. "Theophrast. Char. VIII »•

XVII,

(XXVII).

in alel riv bpoiov iyti 0eis in t4» ipoiov. On the desire for conversation cf. Cic. De Senect. XIV, 46. 81 Cf . Longus, Daphnis and Chloe, II, 3 ; cf . Meleager's epigram on the loquacious old man who prays that all may reach a loquacious old age, Paton, II, 417. •• Plato, Eurip. Medea, 67-72. Lawg, VII, 820 c. M Cf. Horn. Od.

218:

"

De Senect. XVI, 58; Pliny, Ep. of seventy-seven who still played. "Cf. Porphyrius, Paton, V, 360; V, 359. "Philost. Apoll. of Tyana, 131, 11.

"Cic.

"Longinus, On

the

SuU.

9, 11.

IIl,

1,

8, tells

of a man

42

AGE AMONG

0U>

THE ANCIENT

GEEEKS

singing is intimated in the Ecclesiazusae™ for Praxagora urges the women to steal into the assembly leaning on their staffs and singing an old man's song. At the festival of Pan old Philetas yields eagerly to an invitation to play the pipes, though railing frequently at the short breath of old age. This

trait appears to be emphasized more from the beginning of the fifth century on into the Hellenistic age, as the testimony

will also indicate.8'

of vases

Beginning about the middle of the fifth century the place of the old pedagogue receives considerable emphasis. Sopho cles 100 pictures beautifully the protecting, kindly character of the faithful pedagogue or slave always attendant upon the The tutor of the young sons of high born Greek families. 1
Arist. Eecles.

276-79.

"Cf.

Gr. Vas. pi. 163, for cotyle in Furtwangler-Reichhold, Schwerin by Pistoxenus representing Linus giving a music lesson to Iphicles-. and Hoppin, II, p. 336, for Boston cylix (No. 10. 193) repre senting an old komast and a boy. An Attic r. f. vase in Madrid (No. 155) represents a procession and dance of old men. Cf. Leroux. Vases Grecs et Italo-Grecs, pp. 82-83. On an Attic late b. f. vase in the Museo di Villa Giulia (No. 772) an old man and a youth are returning from a banquet; they are preceded by the sound of the double flute and they carry drinking horns. Conversation and

drinking

scenes

Cf. C. V. A.

/.

",Soph. G.

II,

are very common

in the late b. f. and r. f. styles. pi. 2, No. 4. 3; 23; 73; and 1354-59; cf. /. G. II, 3473; and

Villa Giulia, Electro,

III

H e,

3888.

1,1

Eurip. Medea, 49; 1012. On the famous Medea vase in Munich (F. R. pi. 90) where the death of Creusa or Glauce is represented the dramatic

element is increased by the presence of a sturdy old clad in short chiton and high boots, hastening to the palace. The poet does not represent him in the death scene. On another vase which represents Creusa's death (Jahn, A. Z. 1867, pedagogue,

59) the pedagogue is hurrying away the two boys wrapped in cloaks. This is a reminiscence of vs. 1157. On a Nolan amphora in the Cabinet des Medailles in Paris (De Ridder, Cat. des Vases Peints, II, p. 519, No. 876) representing the death of the boys the pedagogue appears in the upper right hand corner carrying an oil cruse. His left hand is raised to his head in an expression of sorrow. p.

DUTIES AND INTERESTS OF THE ELDERLY CITIZENS

48

Euripides often takes the part service of his young charges. of the more humble citizens against the more powerful, thus anticipating the time when Hellenistic art and literature

will take pleasure in the needy life of the humble fisherman and peasant, and often grant to them sentiments as noble as In the classic period attributed to those of nobler station. the Phoenissae

In

102

the Ion10'

the tutor answers the questions of Antigone.

the

sympathetic

old

servant

accompanies

Creusa's every step. An old man performs the function of messenger in the Trachiniaej104 and an old man carries a letter

from Agamemnon

pedagogues

to

Representations on vases and terra-cottas are numerous and Argos.105

of

will

considered in the chapters on those topics. In the Hellenistic age we get quite a different picture of the activities of old men from that in the earlier periods. Theo

be

critus

108

describes the toilsome life of two old fishermen who

in their wattled cabin. strewn the instruments of their toilsome

have strewn the dry sea-moss

Beside them are

for

a bed

hands, the fishing nets, the rods of reed, the hooks, the sails bedraggled with sea-spoil. There are recorded many exam ples107 of old fishermen

dedicating

their working tools

cause they are unable to use them longer.

In

be

Herondas108

1M

Eurip. Phoen. 142; 159; and 170. One of the laws of Lycurgus (Xen. Pol. of the Lacedaem. II, 1) stated that at Sparta as soon as children were of an age to understand what was said to them they should be placed immediately under the charge of pedagogues and sent to school to learn oratory, music, and the activities of the palaestra. "•Eurip. Ion, 71; 925-30; 947; 967. An elder herald accom panies Priam to ransom his son, Horn. II. XXIV, 150-2. 104 Soph. Trach. 184.

Eurip. Iph. in Aul.

34-41.

6-18; cf. Tullias Laureas, Paton, II, 294; Antipater of Sidon, Paton, II, 498; Addaeus of Mytilene, Paton, II, 305; Leonidas of Tarentum, Paton, II, 295. ,07 Cf. Macedonius, the consul, Stadtmtlller, I, 27; 30; Julianus, Stadtmliller, I, 25. "•Theoc.

XXI,

Herondas,

VII,

38-87.

44

THE ANCIENT

OLD AGE AMONG

GREEKS

the old bald-headed cobbler brings out his wares as if they were the work of some great artist. In the pleasant picture of Longus 108 we have a delightful portrait of two stout old and hardened by rustic toil, engaged in Philetas, the oldest of the cowherds (here, too, old

men, horny-handed fishing.

age has precedence), is called upon to decide

whether the old

boat has been loosened from its moorings by mischievous human hands or by a goat.uo The old neatherd watches the youthful frolics with sympathetic interest as he fisherman's

112 pipes on the hilltops.111 Lucian represents fawning satel lites in the persons of clever old parasites and legacy hunters outdone by rich, infirm nonagenarians, traits which we have

In Alciphron 118 the dis already observed in Aristophanes. gusting old lover of eighty is trying to be young again by courting new loves; or the old parasite acts as a go-between, fawning upon rich patrons

;

111

or the cross old money lender

adds new perplexities.115 The activities of women mentioned in Greek literature be

The old nurse, deeply long chiefly to the domestic sphere. attached to her master or mistress and in full sympathy with them, plays a large part in Greek literature of all periods, as well as in terra-cottas which will be considered in a later chapter.

In

the old Sicilian servant of Laertes we have

picture of family comfort.118

a

She calls her husband and sons

from the fields at the noon hour and diligently cares for Laertes now that the hand of age is laid heavily upon him. When Odysseus is received at the house of King Alcinous, Longus, Daphnis and Chloe, II, 14. Cf. also Longus, Daphnis and Chloe, IV, 35, where Megacles was seated at the head of the table in honor of his silver hair. 111 Longus, Daphnis and Chloe, II, 3. ,0*

110

"•Lucian, Dial. Mart. V, 81; VII, 95. 1M Alciph. Ep. Amat. XIV, 19 ; Ep. Rust. VII, 2 ; cf . Arist. Eccles. 884-89 ; cf . Plato, Phaedrus, 240 a-241 a. "1Alciph. Ep. Parasit. XI, 1-5; Ep. Paroait. XXXVI, 2-3. Alciph. Ep. Ruat. V, 2.

""

Horn. Od.

XXIV,

388-92.

DUTIES

AND INTEEE8TS

OF THE ELDERLY

CITIZENS

45

from Aperaea kindles the fire.1" Telemachus confides to the old nurse, Eurycleia, his desire to go in search of his father but asks her not to reveal the secret.118 The old nurse washes the feet of Odysseus when he returns,119 and, recognizing him by the scar on his foot, she laughs with joy to tell her mistress that her dear lord has come.120 The house wife of Penelope is Eurynome; she comforts her when about an aged dame

to meet the suitors.121

Demeter likens herself to an aged dame and describes the tasks that befit an old servant — she could carry in her arms

little child, and watch the house, and teach women folk their duties.122 Plato 124 advocates the same education for women as for men —music, gymnastics, and the art of war — and adds with a touch of humor that it will be a

a great joke to see them

riding

on horseback and

carrying

weapons, and that the sight of an old wrinkled woman show ing her agility in the palaestra will not be a vision of beauty.

In

the paintings of Polygnotus which Pausanias 124 describes in the famous Lesche at Delphi are three women, one of whom

is advanced in years, carrying water in a broken pitcher. In another is Medusa, an old woman carrying a child in her arms.128

The old nurse plays an important part in Greek drama. The Cilician nurse of Orestes mourns bitterly his supposed

if it were the most severe sorrow she had ever An aged woman wtih a cloud upon her brow encountered. death

128

as

brings tidings of the death of Deianeira.127 m Horn.

Od.

VII,

Perhaps Euripides

7-13.

Horn. Od. II, 345-76 ; for testimonies of the honor in which old nurses were held, cf. /. G. II, 3522; I. G. II, 3111; I. G. n, 3167. Horn. Od. XIX, 386-96. Horn. Od. XXHI, 1-4; cf. XXII, 394-6; and I, 428-31. 1 1 Horn. Od. XVIII, 169. 1*4 Paus. X, 1"Horn. Hymn to Dem. 101-78. 31, 9. Paus. X, 26, 9. Plato, Rep. V, 452 a-b. Aesch. Choeph. 743-65 ; Callimachus, 51, cites an example of an old nurse who was honored by a statue. ,,0

Soph. Trach. 870.

OLD AGE AMONG

46

THE ANCIENT

has succeeded

best in the characterization

in the Medea.

Her interest is divided

GEEEKS

of the old nurse

between

her attach

ment to her mistress and her fondness for the children, and, as is often the case, she is an individual of no meager under She philosophizes on kingship and democracy;128 on moderate means and great wealth ; 129 and on the mis standing.

131 application of music.180 Phaedra's nurse in the Hippolytus In the Pluis also a model of sympathy and faithfulness.

tus

182

as

well

as the Ecclesiazusae

183

we find the motive of

The in Lucian.184 same characterization continues The old nurse Polyxo in the Argonautica 185 eagerly hobbles the old woman and young man who rejects her advances.

upon her staff and feebly raises her head to address the 1S6 assembly just before the heroes start. Menander portrays very realistically the type of old nurse who, while perhaps of her predecessors, excels them in Herondas,187 who good-natured chattering and conviviality. in was especially skillful the drawing of subordinate char

lacking the discretion

acters from low life, vies with Menander

in the portrayal of

Her age, her skill in magic arts, and par ticularly her drunkenness are emphasized, and these traits survive to a large extent in the Eoman period.188 We almost imagine we are in the last decade of the nineteenth century of our era as we read of old Platthis 189 singing a tune to her the old bawd.

•"Eurip.

Medea, 119-23.

"• Eurip. Medea, 123-30. 150 Eurip. Medea, 190-203. 1,1 Eurip. Hippol. 267. 1M Arist. PUtt. 1042-96.

135 1M

Apoli. Ehod. Argonaut. Men. Samia, 60-70.

"7 Herond.

I,

I,

667-74.

13-90.

"•Arist.

Eocles. 877-84. 1M Lucian, Dial. Deor. XII, 58, 2. ,MCf. Plaut. True. 899; Ter. Andr. 229; (622)

;

Ovid. Amor.

Propertius (V,

Et

I,

5, 1-2) :

II;

Apui. Met.

IX,

187

8; Hor. Epod. and the terrible curse of Terra tuum spinis obducat, Una, scpulcrum,

tua, quod non vis, sentiat umbra sitim. "'Leonidas of Tarentum, Paton, II, 726; cf. Philippus, Paton, 247, for the old woman who dedicated her loom to Athena.

/

I,

DUTIES AND INTERESTS OF THE ELDEELY CITIZENS distaff near the door of gray old age. In Alciphron140 old nurse turns the parasites out of the house.

47

the

watchful

Old

age is

likely to find few champions

erally regarded as a period of uselessness duties.141

Yet it is quite evident there

because

it is gen

and cessation from

were

in the Greek

state

certain responsibilities that fell primarily upon the shoulders of older men and women, in which they possessed an acknow ledged superiority, just as there were certain pastimes in which the older members of the community particularly de Increase in years brings about a change in status. lighted.

in the human concerto ; its key note is rest. Youth is glowing with energy and eager for achievement; it plays the allegro vivace. Both are of The oft-discussed equal importance in the social group. question of the potentialities of old age in literary endeavors Old

age plays the andante movement

seems

of

sufficient

importance

to

receive

more

extended

treatment in a later chapter.

"'Alciph. Ep. Parasit. XXVI; for the watchful old nurse cf. Paulus Silentiarius, Paton, I, 262. 141 Cf . Soph. Nauck, 863 : vovs
— childhood

and old age.

CHAPTER IV THE ATTITUDE OF THE GREEKS TOWAED THE AGED All

great and good men have been affectionate toward their realizing that they may soon be called upon to parents, aged share their infirmities. All nations that have lived long or whose culture has exercised a potent influence have shared this spirit.

Not only

have the Greeks not been an exception

to this rule but they seem to have a peculiar

pre-eminence

in

x

Aeschylus gives as the three great statutes to which supreme honor is due: (1) to worship the gods, (2) this respect.

to honor parents, (3) to hurt neither man nor beast. Plato,2 in enumerating those to whom honor is to be paid, says that the first honor is to be paid to the gods of Olympus, and of the ; the second to the gods below ; the third honor to heroes ancestral and gods; next comes honor to parents, living or dead. Among things that are to be considered honorable and

State

noble (ae/tva Kal KaXo.) Demosthenes 3 mentions discretion, dis cipline, reverence for parents, and respect of the young for their elders. perhaps in Greek literature is this spirit more prevalent than in its earliest remains. At the funeral games Nowhere

of Patroclus the fifth prize is awarded to Nestor4 although he has been unable to contend for it. In his acceptance he

" honor wherewith compliments Achilles on remembering the it is meet that such as he be honored," 5 which perhaps is a reference to the fact that he is deserving of honor on account of his age, although in this case many worthy achievements

might

be added to the

list.

1Aesch. Supp. 680-9. i Plato, Laws, TV, 717 a-b. • Demosth. Contr. Aristog. 4

Hom.

Il. XXIII,

I,

Achilles

even respects

776-777. •

615-24.

48

Hom.

Il. XXIII,

his enemy

625-50.

THE ATTITUDE OP THE GEEEKS

TOWAED

THE AGED

49

in holding back the battle till after Hector's funeral.* For/ youths to die in battle is considered honorable, but for dogs' to disfigure the hoary head and beard of the old man is the worst misery that can come to mortals.7 Even mothers-in-lawt are held

in

esteem

the voice of her

in Homeric times. Andromache refers to

alSolry:

oropi/s.8

In

the Odyssey respect is shown

to old age chiefly by granting the right to speak first in assem bly. This may be a manner of showing deference, or it may the experience and information of those

be because

vanced years was considered valuable.

of ad

When Telemachus calls

an assembly of the Achaeans, Aegyptius,

skilled in numerous arts, speaks first.9

bowed with age and Likewise when Tele

machus is given an opportunity to speak in the assembly he addresses Aegyptius first. He uses the title ytpov 10 which ap Achilles in the Lower World pears to be a title of respect. anxiously of Odysseus about his father Peleus.11 The question that lies nearest his heart is whether his old inquires

father is still honored among the Myrmidons. Tyrtaeus 12 calls attention to the fact that one who is grow ing old is distinguished among the citizens; no one wishes

hurt him, in point of respect or justice. One of the maxims of Theognis states that nothing is better than a father and mother to whom holy justice is due : to

•Horn.

II

XXIV, II. XXII,

659-69.

71; cf. II. XV, 204: oloP, At xptapvrtpouriv cf. Leviticus, XIX, 32s ipivves Thou shalt rise up before the hoary head, and honor the face of the old man; cf. Horn. wpeaftirarov Kal ipurrov drifUgw Od. XIII, 141 : xoXeTri» Si Ktv ttrj liWeiv; cf. Proverbs, XVI, 31: The hoary head is a crown of glory 7Horn.

altv

twovrai;

/

if it

be

found in the way of righteousness; cf. Chilo (Diog. Laert. I, Kock, II, 199: poi\ov yovtlt

3, 2, 70) : yypas Tinav; cf. Philemon, wpiiTiarov iv ripait ^xew; cf. Exodus,

XX, 12: Honor thy father mother; cf. Shakespeare, Macbeth, V, 3: And that which should accompany old age, as honor, love, obedience, and troops of friends. and

•Horn.

II. XXII,

10

Horn. 4

451.

II, 15-16. Od. II, 40-1.

•Horn. Od.

"Horn. Od. XI, 494-7. "Tyrtaeus, Bergk, II,

12

(8),

39-42.

50

OTJ rel="nofollow">

Oiotv tv iirXitO',

THE ANCIENT

AGE AMONG av$p
GEEEKS

lrarpos ko! /M/rpos a/uivov

OTots hair), Kvpvt, iU/ilt/Xt Sun;,13

and he declares vehemently that there is no place of esteem for those who dishonor their parents when they are growing

The old Incognito (Aethon) in Theognis,15 who is an exile, is thinking of his parents, and hoping they will not be abused. This note is to be particularly observed in The ognis who was constantly sighing for bright youth, and la menting grievous old age. Solon's neat and dignified reply to Peisistratus and the pathetic courage it expressed have old.14

made

it

a popular

story.

-When

Peisistratus

asked

on what

in his attempt to break down the tyranny, Solon replied, ™ y^p?-18 Peisistratus was so astonished that he refrained from injuring him. This may mean that Solon expected mercy as the natural right of age, or it may imply that he thought he could outwit Peisistratus by cleverness in speaking or other arts in which the old are more skilled, but protection he relied

Eeverence the former 6eems the more likely interpretation. for parents next to the gods is one of the precepts enjoined by Cheiron upon Achilles.17 Thrasybulus is honored by Pin dar because he has come nearest to the standard of duty to

Antilochus performs a supreme act of filial devotion in buying with his own life the rescue of his father

one's

father.18

by hastening to his side when he is entangled by his horse.19 Among the dramatists Sophocles makes more of this mo tive than the others, the climax of which is reached in the lovely characters of Antigone and Ismene who bear their hap less father's burdens, and guide his weary steps, placing

their

father's care above the comforts of home.20 Electra reverences her father's memory by forbidding her sister to put the gifts and libations of the unfaithful Clytaemnestra on the tomb of her father,21

and she weeps

"Theognis. Bergk. "Theognis, Bergk,

" Theognis, Bergk, " Plut. Solon, 31 c; " Pindar,

II, II, II,

Pyth. VI,

and pines over the songs

131-2. 821-2. 1200-15.

Diod. 19-27.

IX,

4.

" Pindar, Pyth. VI, 43-47. » Pindar, Pyth. VI, 32-34. "Soph. Oed. Col. 345-51. "Soph. Electra, 431-34.

and

THE ATTITUDE OF THE GREEK8

THE AGED

TOWARD

51

in honor of her father's decease.22 Of course this is natural, but it receives a lofty tone from the language of dances held

Sophocles.

with

would

Oedipus

threaten

the old seer Teiresias

if

for plotting against his throne

revenge

he were

not

an old man.28 Aristophanes' old men complain that their former deeds are forgotten 24 and the public does not care for them in old age ; 25 they are jeered in the streets 26 and perse

cuted by the young.27 Plato 28 says that through the whole course of life it is right to hold the kindest language toward one's parents, for Nemesis, the messenger of Justice, has been appointed to look after such things. The gods are honored in their lifeless images, but no image is more honored by the gods than a father or mother stricken in years (oiStv irpos dtw av KTilaai/uOa irarpbi Kal irpoiraVopos Trapei/xfvwv

Ti/xuuTtpov y^pa

tat

,29

ayaXfi'

if

and no statue can be more in)rip)iiv ttlv ainiiv Svvaiuv expvtriiv ) obtain than to one's potent requests they only one shows

Plato

3l

would advocate

that every one who does not marry by the age of thirty-five should pay fine and should not share in the honors which the young men in a

them true service.80

the state give to the aged. Aristotle "2 disparages youthful marriages because the children will be wanting in respect to parents, who will seem to be their contemporaries, and dis putes will arise in the management of the household. Family and political considerations had much weight in the matter of

"Arist. "Arist.

" Arist.

"Arist. "Plato,

Electra,

279-83.

Tyr. 480. Knights, 520-30; Knights, 530-9;

Oed.

Achar. 676-712. 881.

Wasps, 540-45. Achar. 713-18. Laws, IV, 717 b-d; in Gorgias 461c

young should have a kindly attitude

old; in Laws,

XI,

as the superiors

" Plato,

" Plato,

Laws, Laws,

917 c,

Plato

says

of their offspring.

XI, XI,

931 d. 931 a.

toward

it

is shown that the

the mistakes

that parents are to

" Plato,

" Arist.

Laws,

Pol.

IV,

VII,

of the

be treated

721 b-d. 1335,

a

" Soph. " Soph.

2-4.

THE ANCIENT

OLD AGE AMONG

52

GREEKS

it,

marriage among the Greeks. To prevent the extinction of his race was a duty which the Greek owed to the State, to him self, and to the memory of his ancestors. A religious senti ment was mingled with

in that

he wished to leave those

behind who would continue to perform the religious worship of the family due not only to the gods but to the Manes of the departed.

At the examination of the nine archons they

were

ques

they behaved dutifully toward their accused of having no pity for chil parents.88 Aristogiton dren, mothers, and aged women.84 Every good citizen ought as to whether

is

tioned

a

child for to have the same regard for his fellow-citizens as his parents; he should take them as he finds them and bear holding up the

In

general the Greeks were continually

deeds of their forefathers

as

a

with their humors.85

worthy stand

ard of emulation.

Demosthenes constantly draws compari the achievements of former days and those of his own time in public works, conduct in private affairs, poli sons between

tics, and leadership in battle.84 those

Socrates exhorts the sons of

who died at Salamis so to order their lives as not to

abuse the reputation of their ancestors.87 Thucydides writes of the warlike prowess of forefathers and the perils to which they were exposed,88 and urges the younger ones not to tar

nish the virtues of their

race.89

Xenophon

40

tells his soldiers

that they must meet the enemy in the spirit of their fathers. In general the Greek writers who travelled in other lands did not find the existence of the same spirit as regards defer**

Aristotle, Const,

of

Athens, 55. Demosth. Contr. Aristog. 795. "Demosth. Ep. IIl, 1485-1486. "Cf. Demosth. Olynth. 23-26; De Cor. 312-3; 319; 317; 296; 203-5; 96-100; Contr. Meid. 566-567; Demetr. De Eloo. 285, 1-7; Dionys. of Halic. De Comp. Verborum, 25; Horn. II. IX, 524-6; Plut. Waehsmuth-Hense, V, 1024, fr. 19: viou Si (n\uriov

I,

*1

p.

3,

lll,

roiit yipovras. 17,

"Thucyd. IV,

" Xen.

Anab.

92, 7; 118, 3.

lll,

2,

Menex. 247 a. 7.

"Plato,

"Thucyd. VI,

11.

THE ATTITUDE

OF THE GEEEKS

TOWARD

THE AGED

53

in their own country, but some examples of cited. Strabo " relates that the Albanians were sur

ence to age as

such are

passingly respectful to old age, not merely to parents, but to all old people. The Lusitanians seated themselves according mentions Herodotus to age and rank when they dined.42

"

that the Issedones were accustomed to gild the head of their

it as a sacred image. Megasthenes tells a story of a boy in India who showed such re gard for his parents that when they succumbed to fatigue and died, he cut off his own head with a sword. Aelian tells father when dead and to treat

how the people in India as a rule not only did not have the same attitude toward old people as in Greece, but not even did the birds there have the same plumage nor the same habits

in Greece.44 Valiant performance of duties in war was considered a means of honoring one's parents. Ajax is desirous of going to the Trojan camp to attack it alone and meet a noble death, for thus he can prove to his aged sire that he is DDt.a~dastard.45 He reminds his son Eurysaces that when he is older he must show his father's enemies of what sire he is born." To perish in warfare away from one's parents was considered a dreadful misfortune. Andromache laments that Hector will perish by the beaked ships far from his parents.47 Achilles tells his horse Xanthus that he is destined to perish far from his dear father and mother.48 Achilles mourns for his father Peleus who is waiting for news of him and fearing that per haps he is dead.49 When Hector is about to be killed by Achilles he implores him by his life and by his parents not as

to leave his body to be devoured by dogs.60 When Neoptolemus has rescued Philoctetes from battle the latter says that 41

Strabo,

XI,

" Strabo, III,

4, 8. 3, 7.

"Herod. IV, 26, 1-9. "Megasth. IV, Frag. 59; cf. Aei. Hist. Anim. XVI,

" Soph.

" Soph.

« Hom-

Ajaw, 470-72. A jaw, 558.

Il. XXII,

508-10.

«

Hom. Hom.

" " Hom.

2, 1-23.

Il. XIX, 419-22. Il. XIX, 334-37. Il. XXII, 338-43.

54

OLD AGE AMONG

THE ANCIENT GREEKS

Neoptolemus alone has given him life and the hope of seeing his aged father again.51 Evidences of dishonor

paid to those of advanced age are

few in Greek literature 6f all periods if we grant exception to comedy and satire, which could not be expected to portray the true spirit. Agamemnon sends away the old priest Chryses with harsh words.52 The young man Eurymachus scorns the prophecy concerning the birds made in the assembly by the old man Halitherses, telling him that he prates idly.58 In 51 Apollonius Rhodius is noted an example of disrespect. When Jason goes forth from the city followed by a throng of people an old priestess Iphias meets him but she is brushed aside by the crowd before she has a chance

to speak a word. a town is ruthlessly sacked the historians often remark that not even the old and the young were spared.55 Lichas was scourged by the Eleans because he crowned his chariot

If

which he had consigned to the Thebans.58 Whenever indig nities are placed upon age it is usually mentioned as an un usual circumstance or is done because the individual has revealed

unpatriotic motives.

Thus Lichas was scourged in

spite of the fact that he was an old man

(avSpa ytpovra).

There is not so much evidence that obedience

was exacted

from the younger members of society though this was doubt less implied in the notion of superiority attached to old age, and perhaps it was not necessary to emphasize this factor in a commonwealth in which such pleasant relations existed be tween the young and old. Cyrus is eulogized because he ren dered an obedience to his elders which exceeded that of many

of his inferiors.57 Agamemnon expects submission from Achil les because he is more royal and older than he.68 Heracles exacts

obedience

from his son Hyllus, calling

sire the best of laws.59 81

Mentor,

Soph. PhUoct. 663-65.

" Horn. II. I, 22-32. " Horn. Od. II, 177-86. " Apoll. Rhod. Argonaut. "Cf.

Thucyd.

VII,

29, 4.

obedience

an old man, is entrusted by Xen. Hel. lll, 2, 21. " Xen. Anab. I, 9, 5. " Horn. II. IX, 160-61.

M

I,

306-16.

to a

"Soph. Traoh.

1177-78.

THE ATTITUDE OF THE GEEEKS

TOWARD

THE AGED

55

Odysseus with his house and all must obey him.80 In a story told by Pausanias 61 the authority of an old man prevents the

killing of

a lad

(Theagenes)

for carrying

home

one of the

statues of the gods. Seniority is regarded even among the Iris goes to Poseidon with a message from Zeus bidding gods. him desist from battle or he will show his might since he is the elder born.82

In

the convention

of the gods Lucian88

represents the gods as speaking according to age and quali fications.

To strike a parent was a grave offence, or to refuse to main^ tain him in indigence, or to neglect the duty of burial. In jury to parents was one of the indictments which was referred to the archon and after a preliminary hearing, was brought If any one was convicted of ill-treatment before the courts.84 of parents he was put in prison and brought before the Heliastic tribunal. If convicted, the Heliastic tribunal determined what punishment he should suffer.85

Hesiod

88

says that Zeus

is wrathful and lays a bitter penalty upon him who wrongs 8T says orphan children and reproaches an aged parent. Plato

if any one smites one who is twenty years his senior he who is near should separate them or be disgraced by law. that

II,

225-8; cf. Horn. II. I, 259: d\\a TriSeoS' ' naripa iorbv iptio; cf. Peter I, 5: Likewise, ye younger yourselves unto the elder.

"Horn.

Od.

"Paus. VI,

" Horn. II. "Lucian,

an
submit

11, 2-3.

XV,

176-85.

Deor. Concii.

I,

7-9.

M

Arist. Ath. Const. 56, 6-7. "Demosth. Contr. Timocr. 732; Vergil (Aeneid VI, 608), finds a place for the violator of this law of nature in a place of active torment in Hades; Demosth. (Contr. Timocr. 701) charges Timocrates with taking away corporal punishment in favor of committers of theft and sacrilege, strikers of parents, and homicides. "Hesiod, Works and Days, 330-35. "Plato, Laws, IX, 880 a-b; Peisthetaerus (Arist. Birds, 1347-57) complains that if a youngster throttles and beats his father he is considered quite a man, but among the birds is a law that the young must maintain

the old.

56

THE ANCIENT

OLD AGE AMONG

GREEKS

If

the spectator is equal in age he shall defend the injured He who smites an elder should be tried for assault, party. and

if

he is

found guilty

he should be imprisoned

for at least

a year.

Besides the simple acts of showing deference and obedience to one's parents and to all old people and refraining from per sonal injury, rather definite things were expected in the way

of maintenance of aged parents. One of the sections of the laws of Solon regulated the relationship between members of the family. A legitimate son was obliged to maintain his parents in old age; and penalty for failure to do so was loss of citizenship.88 He was exempted from this duty if his father had not taught him a trade. Aristotle 69 explains how retribution should be made to parents. It is especially neces sary to supply them with nutriment, and honor should be paid to parents as to the gods. Honor should be paid to every elderly man according to his age by rising from one's seat and resigning it to him. Plato 70 gives the three ways in which one must minister to an aged parent: (1) in his prop erty, (2) in his person, and (3) in his soui. He also advo cates legislation by the state to assist the old in caring for their property.71 It was the duty of the parents, however, to bring up their children and train them in good citizenship, and thereby exact respect.72 For parents to lose their children

was a sad misfortune

for there would be no one to maintain them in their old age. Patroclus did not have an opportunity to pay back the early

" Diog. Laert. I, 7, 55. " Arist. Kicomach. Eth.

(Oeoon. VII, 19), mentions the need of sons and daughters to support one in old age;

cf. Demosth. Philippics,

IX,

IV,

1165, a 15-35; Xen.

141, 40-142, 41.

Arist. (Hist. Anim.

IX,

for their aged parents and says it should be the same with human beings; cf. Oppian, Cyneget. II, 34478 ; cf . Simonides, Pat on, III, 647 ; Leonidas of Tarentum, Paton, III, 466; Anonymous, Paton, V, 131.

615, b 23-S ) , tells how animals care

" Plato,

Law; IV, 717 b-c "Plato, Iairs, XI, 923b; Cic. 7*

Demosth. Contr. Con. 1263.

De Senect.

VII,

22.

THE ATTITUDE OF THE GREEKS

TOWARD

THE AGED

57

In untimely death.7' the degenerate iron age parents will quickly be dishonored and will not be repaid the price of nurture.74 After the battle of Salamis parents bereft of their children in their old age care of his parents because he died an

bewailed their

woes.75

A

is given to Teucer to take parents that he may prove the

behest

Ajax's child to his (Ajax's) comfort of their old

age.76

When Ajax is about to

fall upon

the sword his last thought is for his parents,77 particularly his mother. Tecmessa, wife of Ajax, begs him not to go to the stronghold of the Trojans, but rather to have thought for his father whom he is forsaking in a drear old age, and for his mother who often prays for his safe return.78 The hapless father of Glauce, hastening into the apartment falls upon the corpse

with

groans.78

Pheres rejoices that he has escaped an

old age of childlessness,80 and is quite ready to honor Alcestis for saving his life and that of his son. Admetus refuses to succor his aged father, and to deck him out when dead.81 He emphasizes the fact that he has been particularly respectful One of the to him,82 yet his father would not die for him. charges made against Aristogiton is that he allowed his father to die in debt and his mother was sold as a slave.88 In Herondas

84

a desperate

mother brings to the school-master a truant

"Horn. II. XVII,

301-03; cf.

II. IV,

477-79; Hesiod, Works

and

Oppian, HaUeut. V, 84-98, refers to the duty of a son to repay the price of his nurture, and to offer his father 78 an arm in the street. Soph. Ajax, 506-09. "Eurip. Medea, 1204-10. "Hes. Works and Days, 182-92. "Eurip. Alo. 621-22. "Aesch. Pers. 576-84. Days, 185-88;

330-35.

" Eurip. Alo. 662-64. Ajaa, 566-70. Eurip. Alo. 658-61. "Soph. Ajax, 848-51; 623-26. "Demosth. Contr. Aristog. 790, 77-9; cf. Shakespeare, King Lear, I, 4: How sharper than a serpent's tooth it is to have a thankless \ child; cf. Demosth. Contr. Timocr. 733, 24-9. It appears, however, that the Greeks often made provision for old age, for Timotheus is charged with having provided a larger estate than necessary for " Soph.

that purpose (Demosth. Contr. Timoth. 1204, 79-80) II, 8, 3) advises Eutherus to make provision Herond. 1-2.

Mem.

"

IIl,

;

Socrates (Xen. for old age.

58

OLD AGE AMONG

with whom neither

THE ANCIENT GREEKS

she nor the incapable old father

can do

anything, and begs that he be given instruction in the hope that she may have a support in old age. In Alciphron 85 the son is urged to stay on the

farm and be a comfort to his

parents in their old age. Myrtale and Lamon are congratu lated on having such a goodly prop for their old age.88 Neither the freshness of youth nor the sobriety of age was in the least a bar to the deepest sort of sympathy existing between parents

and children in the Greek states.

Although this spirit of rever

ence may have been borrowed from Sparta where the ytpomia

"

toward the aged and orphans we in the character of the Greeks.

see

a

to honor meaning has also the meaning an elder), and "to be an ambassador."

"

(i.

played so large a part in government, yet it is evident that it must have been quite widespread. Perhaps it is noteworthy " as its that the verb jrpar/foW which has " to be older primary e., to treat as

In their

attitude

most redeeming feature

To find definite legislation

a

is

in regard to maintenance and treatment of parents unusual. In less civilized race deference to the aged might be con a

a

strued as due to fear — to the uncanny sentiment connected with old age. But in people of so high degree of culture,

it

must be the result rather of mildness and good manners. We note the absence of friendly societies established for provi dent and benevolent purposes, and institutions for the care is

by

it

of the aged, and pensions, but likely that contributions were made friends for these purposes as the need arose.

" Alciph. " Longus,

Ep. Rust. XIII, 1-3. Daphnis and Chloe,

III,

9.

CHAPTER V THE IDEALIZATION

OF YOUTH AND

DEATHLESSNESS The fear years as

old age rests not so much on the burden of on its increasing infirmities, and for that reason -ef-

prolongation or perpetuation of yonthfulness has always been an outstanding human desire. No man wants to feel old;

The opinion is generally held that the cause of old age lies in the gradual wearing out of the cells of the human body resulting in a diminution of the energy of the power of growth. Hence many searches have been few wish to appear so.

made for a fountain of youth or a potent charm to stay the The fountain of eternal youth has encroachments of age. never been located and all signs point to the fact that it does Furthermore, it is undoubtedly to the best interest

not exist.

elixir of life has not and probably never will be compounded. Primitive man was little con cerned about the length of time he had to live. The struggle for existence occupied most of his time and there was little opportunity for reflection, introspection, or speculation about anything but the present. As man ascended higher in the evolutionary scale he became curious about his span of life. However, as specialized functions of the various organs be come the rule, as today, the capacity for rejuvenescence be of the human

race that the

increasingly less. There was no native tradition of a fountain of youth among the Greeks, but they knew of foreign traditions about the comes

power of certain waters to impart youthful vigor and vitality. Beyond the region of the Hyperboreans and the Meropes was the land of Anostus, around which flowed broad rivers, one of Pleasure, grew large

and one of Sadness, and beside

fruit

1Aei. For. Hist.

trees.1

IIl,

Those tasting the

18.

59

whose

banks

fruit of the trees

60

THE ANCIENT

OLD AGE AMONG

GREEKS

beside the river of Pleasure returned to the height of strength,

then to youth. On several black-figured and red-figured vases a peculiar The fame of process of rejuvenation can be clearly observed. the sorceress Medea has reached the ears of King Pelias, and on a British Museum vase

2

Medea is boiling the ram in the and his two daughters. The old king, presence seated on an okladias and leaning on his staff, has already of Pelias

forgotten the enfeeblements of age in the reflected transports of the moment. A diadem, too large for his head, encircles the white flowing locks, giving to the features a pinched ex

He wears an embroidered pression suggestive of old age. 8 mantle. On vase the finest Greek style in and a of chiton the British Museum the youth of Jason is being renewed by Medea. The head and forelegs of a young ram are just ap On the opposite side of the tri pearing above the cauldron. pod stands Jason, represented with white hair and beard, clothed in the sleeved talaric staff in his left

chiton and mantle, holding a right in the direc

hand, while he extends the

On a vase in the Bibliotheque Nationale 1 we also have the subject of the rejuvenation of the ram. The

tion of

the ram.

ram is just coming out of the cauldron as on the last men tioned vase, but other variations are introduced. Medea stands at the left in an attitude of command.

A man

bends over to

poke the fire, and another person is present whose identity H. B. Walters, Cot. of Vases in the Brit. Mus. II, p. 98, No. 540 ; Nos. 466 and 221 are similar except for the omission of the two for the latter cf. Baumeister, Denkmaler des Klass. daughters; II, Alter. p. 1201; on the Brit. Mus. vase No. 328 Jason is also present. Lucilius (Pa ton, IV, 256) has an epigram on an old woman of a hundred who spends a long time in the bath in the hope that she will grow young like Pelias by being boiled; cf. Apollod. I, 9, »

27; Paus. VIII, 11, 2-3; Ovid. Met. VII, 309-21; Diod. IV, 52, 295. * c, pi. 70, 4. C. V. A. Brit. Mus. *A. De Ridder, Cat. des Vases Feints de la Bibl. Nat. I, p. 177, Hf, pi. 62, 12. No. 268; C. V.A. Bibl. Nat.

lll I

Ill

THE IDEALIZATION

OP YOUTH

AND DEATHLESSNESS

61

is uncertain, but probably is not Pelias, since it does not accord with other known representations. The upper part of

hair and On a Munich stamnus by the Painter of the Copenhagen Amphora 5 the daughters of Pelias are talking to him in an effort to persuade him to allow the He wears

his body is nude.

a red band around his

the beard is painted in red.

process

of rejuvenation

to be tried on him.

This theme occurs also in sculpture. In Berlin 6 is a copy of a work of the fifth century representing Medea in oriental She has just persuaded the costume holding a small box. of to kill Pelias their old father by boiling. One daughters daughter stands thoughtfully with the sword in her hand. The other is busying herself about the cauldron. Another important Roman copy is in the Lateran, truer to the original in details but not so well preserved.7 Tithonus was granted the boon of immortality. According to one version 8 Eos requested Zeus to make Tithonus live Another version ' states that Tithonus asked Eos forever. for immortality. However, the request for eternal youth was forgotten, and Tithonus became so weighed down with years that he was the last person in the world of fact or fable to make men wish to reach old age.10 Then he asked the goddess • •

J. C. Hoppin, A Handbook of Attic R. F. Vases. I, p. 201, 8. Staati. Mus. zu Berlin, RSmische Kopien Griechischer Skulpturen

funften Jahrhunderts (Carl Blumel), pp. 46-47, K. 186, pi. 78. Brunn-Bruckmann, Denkm&ler Griechischer und Rdmischer Sculptur, pi. 341b. Paus. (X, 30, 8) describes a painting of Polygnotus in the Lesche near the fountain of Cassotis at Delphi representing des

r

Pelias with hoary hair and beard seated next to Orpheus, but it does not bring in the rejuvenation motive. 8 Homerio Hymn to Aphrodite, 218-38. • Schol. /(. XI, 5. For a fine rendering of the story of Tithonus see Tennyson's

Tithonus,

5-8:

Me only cruel immortality Consumes: wither slowly in thine arms, Here at the quiet limit of the world,

I

10

A white hair'd shadow roaming like a dream. Hor. Cam. II, 16, 20 : Longa Tithonum minuit senectus.

OLD AGE AMONG

THE ANCIENT

GBEEKS

him into a cicada. This was probably a later addition to the story. The cicada sloughs its skin, hence there may grow up a connection with immortality. In the Oxford Museum (No. 275) is a vase of the red-figured style of 480-470 B. C, assigned to the Master of the Berlin to transform

Amphora, picturing Eos and Tithonus. Eos is a winged figure with flowing hair running to the right with outstretched arms.

Tithonus is bald except for a thin line of hairs, and his head is bound with a red taenia. He is wrapped in a himation. Gardner

11

points out that the main interest of the vase lies in its subject, for the love of Eos and Tithonus is almost un represented in ancient art. Artists are fond, however, of rep A red-figured vase in resenting Eos' pursuit of Cephalus. 12

is similar.

Eos, a winged figure, hastens forward Tithonus stands looking about him, holding the sceptre in his right hand. He wears the chiton, mantle, and a fillet around his hair. Scenes from Naples

with

a cantharus and an oenochoe.

Tithonus myth occur occasionally on Etruscan metal work where Tithonus is represented as a youth or as an old man lying on a couch. It appears that it was chiefly in Homeric the

times that Tithonus was represented as the husband of Eos. On Attic vases from the fifth century onwards as a rule it is Cephalus who is the object of the passions of Eos, but occa sionally a lingering memory of the ancient tradition recurs as on our vase after the time when vase painters

began

to

interested in old age subjects. In man's desire to escape the inevitable as long as possible, many bizarre, amusing, and even ridiculous measures have become

been advocated to ensnare longer

life.

Herodotus

18

relates

that the Libyans burn the veins on the crown of the head of their four-year-old children, and sometimes the veins in the temples, with the grease of sheep's wool to prevent humours

"Percy 1,

pi.

17,

" H.

Gardner, 7; 18, 3.

1893, p. 137;

C.V.A.

Oxford,

III,

Heydemann, Die VasensamnU. des Mus. Naz. zu Neapel, p. (Sammlung Santangelo). Herod. IV, 187.

685, No. 220

"

J.H.S. XIII,

THE IDEALIZATION

OF YOUTH AND DEATHLESSNESS

63

from flowing down from the head. For this reason they are the healthiest of all men. A complex preparation consisting of

" mountain squill "

It

is related

is said to have been employed by So man emperors to prolong their lives.14 Thetis dipped Achilles in the Styx.15 Heracles wrapped a lion's skin around Ajax, and it made him invulnerable where the skin touched him.18 17

that Democritus of Abdera after he had deter

mined to rid himself of life on account of extreme old age was besought by the women of his household not to die while th* Thesmophorian festival was being held. He ordered a vessel of honey to be set near him and in this way he lived many days with no other support than honey. When the honey was 18

relates that the Ethiopians hundred and twenty years by bath their life to one prolonged ing in a fountain whence issued an odor as of violets. To be able to arrest the hand of time was considered a blessing second only to immortality. It was chiefly those in distant lands who were endowed with special boons concerning the prolongation of life, as we learn from Greek and Koman sources. The comments made about these phenomena by the writers reveal their interest. The Seres lived more than two hundred years.19 One tradition says that beyond Europe, Asia, and Libya was a continent where men were twice as tall and lived twice as long as other men.20 The Hyperboreans experi In the Silver Age chil enced neither old age nor sickness.21 dren did not reach maturity till the hundredth year, but they died soon afterward.22 In the Golden Age there were no ills, taken away he died.

Herodotus

harsh labor, or painful diseases which cause men to grow old, "Galen, 14, 567. 15 Stat. Achill. I,

" Lycophron, 17

Athen. Deipnosoph.

" Herod. lll, 19 *0

269-71 ; Servius on Verg. Aen.

Alex. 450-61.

II,

46.

23.

Megasthenes, II, Frag. 25, 21-6. Theopompus, Mueller, Frag. Hist. Graec.

81 Pindar,

" Hes.

Pyth. X,

37-44.

Works and Days, 130-9.

I,

77.

VI,

57.

64

OLD AGE AMONG

THE ANCIENT

GBEEKS

but Pandora lifted the lid from the vessel in which these evils were contained and dispersed them.28

Death was, and still is, a mystery from which the individual Hence immortality was given to cer instinctively shrinks. tain individuals by the kindness of the gods. This was more particularly true in Homer's time when they were looking

|

tout upon a world that was young, and the feeling of wonder

and mystery was ever present. The gods themselves are sub The Nereids are the ject neither to old age nor death.24 deathless daughters of the Sea.25 The nymph Calypso knows 28 neither age nor death ; she promises to make Odysseus so.27 Circe

28

and Proteus

29

are deathless.

Hector wishes to

be

Two of the Hesperides (Stheno and immortal and ageless.81 Zeus makes Ariadne

immortal

and ageless.80

Euryale)

are

and insusceptible to old age when she becomes the wife of Dionysus.82 Demeter would have made Demophobn immortal

and deathless by placing him in the fire, had not Metaneira raised a cry.88 The Ionians appear immortal and ageless when celebrating the honors of Apollo with dance and ageless

Tros, the father of Ganymede, grieves when he learns that his son has been carried off by Zeus, but when he is told that his son will be deathless and unaging his heart is glad.85 song.84

Ino

has allotted to her deathless

offers to Polydeuces an opportunity

life beneath

the sea.86 Zeus

to escape death and griev-

"Hes.

Works and Days, 90-95; 109-15. Od. XVI, 265; XXIII, 63; XXIII, 81; V, 447; V, 73; VII, 199; VIII, 225; 306; 343; 350-4; IX, 106-8; XI, 133; II. XXII, III, 296; IV, 127-28; 8-9; XII, 8-9; XXI, 518; XI1J, 524-25; Homeric Hymn to Hermes, 9; 468; Homeric Hymn to Demeter, 22; 1366. Soph. Oed. Col. 608; /. G. •• Horn. II. XVIII, 83-8. Horn. Od. IV, 384-85.

"Horn.

lll,

"Horn.

Od.

V,

218.

" Horn. Od. VII, " Horn. Od. XII, " Homeric Hymn " Homeric Hymn "

257. 293.

"

"Horn. II.

" Hes. " Hes.

VIII,

538-41.

Theog.

277-78.

Theog.

947-49.

to Dem, 256-74; Apollod. Bibl. to Apollo, 257-66. Homerio Hymn to Aphrodite, 196-208. Pindar, Ol. LT, 51.

I,

5, 1.

i

THE IDEALIZATION

OP YOUTH AND DEATHLESSNES8

65

in Olympus.87 Cheiron prefers Hades to Heaven and immortality and is permitted to transfer his deathlessness to Prometheus.88 Hesiod regards Heracles as he when has finished his work among mankind and happy

ous old age and dwell

with the gods is passing his days untroubled and unaging.80 The idea that partaking of the food and drink of the gods would enable one to escape death was attributed by Aristotle 40 to Hesiod later times.

and his contemporaries,

The Hours and

the lips of Aristaeus

but it appears again in

Gaea put nectar and ambrosia on

to make him immortal.41

Tantalus

wishes to make men immortal by sharing with them the nectar and ambrosia of the gods.42 Athena begs medicine of Zeus Glaucopia makes Diomedes im immortal in Hades.48 Amphiaraus

to make Tydeus immortal.48

mortal ;

44

Zeus

makes

Endymion wishes to sleep forever and be youthful.48 Thetis tries to make Achilles immortal by burning out by night the mortal element inherited from his father and anointing Isis puts the infant son of by day with ambrosia.47

him

King

Byblus on the fire, but is interrupted before the charm is com plete.48 Through noble acts apotheosis and deification could sometimes be secured.

Diomedes

is made

a god through

Heracles and Dionysus through virtue.80 Diodorus 81 makes the generalization that gods were originally men who

valor;

49

had performed great services to mankind.

"Pindar, *•

Lucian,

Nem. X, 83-85. Dial. Mori. XXVI ; Apollod.

"Hes. Theog. 954-5. "Arist. Metaphys. II, 1000, " Pindar, Pyth. IX, 62-66. "Philostr. Apoll. of Tyana,

II,

5, 4.

a 7-18.

III,

Apollod. Bibl. HI, 6, 8. 44 Schol. Pindar's Nem. Odes, X,

25, 116.

48

lll,

45

12.

6, 8. Apollod. Bibl. 44 Apollod. Bibl. I, 7, 5. "Apoll. Rhod. Argonaut. IV, 868-77; Schol. II. XVI, 37. 44 Plut. Mor. 357 c. 44 Schol. Pindar's Nem. Odes, X, 2. 5

Apollod.

" Plut 41

Diod.

Bibl.

lll,

Pelop. 16, 7.

I,

73, 2.

13,

6;

66

OLD AGE AMONG

THE ANCIENT

GEEEKS

and immortality were not confined to human beings alone, but animals and even material objects shared this favor. The horses of Patroclus are deathless and Perpetual

youth

The golden sandals of Athena 6S and of Her mes old. The golden and silver hounds of Alcirious are free from death and age.55 The golden-tasseled aegis of Athena knows neither age nor death.66 Zeus bids Apollo clothe the dead Sarpedon in garments that wax not old.67 The echidna is immortal and insensible to age.68 The steeds of King Pluto, Host of Many, are immortai.59 Numerous examples are recorded where various individuals have managed to cast off old age and become youthfui. Athena restores the youthful appearance to Odysseus with a touch of her wand.80 Aphrodite gives to Phaon a salve to impart beauty and youth.61 Medea changes her own looks from an old woman to a maid.82 Her husband, Jason, the nurses of Dionysus with their husbands, and others are restored to The seer Polyeidus restores the dead youth by decoction.83 Glaucus to life by laying on him a magical herb which he has seen a serpent apply with similar effect to a dead serpent.84 ever young.82

" wax not

" Hom. " Hom. " Hom. " Hom.

Il. XVII, Il. I, 97. Od. Od.

V,

47.

VIII,

" Hom. Il. II,

443-44.

91-4.

445-9.

" Hom.

Il. XVI,

667-75.

" Hes. Theog. 304-05. " Homeric Hymn to Dem. *0

Hom. Od.

XVI,

17-18.

172-4.

61 Cf. F. R. Taf . 59, for a Greek crater in the style of Meidas in Palermo, Sicily; D. M. Robinson, Sappho and Her Influence, pp. 107 ff., pis. 4, 5; Aei. For. Hist. XIX, 18; Serv. on Verg. Aen. in,

279.

"Diod. IV,

51, 5.

"Arist. Knights,

1321.

**

Cf. cylix in Brit. Mus : Murray, White Athenian Vases in the Brit Mus. pi. 16; Apollod. 3, 1; Hyg. Fao. 136. In a mediaeval romance (P. S6billot, Le Folk-Lore de France, III, p. 529)

IIl,

been killed by the blow of a stick, his mate brings a red flower and places it in the mouth of the dead weasel, which at once returns to life. The same flower thereafter applied to a dead a weasel having

maiden works on her the same miracle of resurrection.

THE IDEALIZATION

OF YOUTH

AND

DEATHLESSNESS

67

Demeter throws off old age and breathes beauty all around

her." Aristophanes makes considerable use of the rejuvenation motive. A curious feature of Aristophanes' plays is that they present a whole series of heroes who behave as old men in the beginning

the Wasps

but in the end are transformed

into youths.

In

••

Bdelycleon converts his old parent to the dress and manners of a smart young man about town. Strepsiades in the Clouds" goes to school instead of his son and exceeds the fashionable

youths in culture.

Trygaeus

is divested of

Plutus is Demus was a grim, rejuvenated in recovering his eyesight.89 deaf, old ruffian, but at the end he is fragrant with myrrh,70 is hailed as King of Hellas, and arrayed in Ionian attire such as he wore when he dined with Aristides and Miltiades. The sausage-seller exercises his art as cook in order to effect the Corntransformation, and apparently Demus was boiled.71 ™ ford has discovered that the rejuvenation motive occurs in old age and becomes

a

youthful

bridegroom.88

eight out of the eleven extant plays of Aristophanes,

while of

the remainder, one (the Frogs) leads up to the rejuvenation of the elder poet, another (the Lysistrata) has no male hero.

In

play, however, the chorus desires to There is a re shake off old age and become more active.78 markable instance of the stimulating power of wine in Euri the last mentioned

pides where Cadmus and Teiresias are seized with a desire of dancing and forget that they are old.74 "Homerio Hymn

to Dem. 296-304.

"Arist.

Wasps, 1299-1325; Arist. Clouds, 510-17. "Arist. Peace, 859-63.

"

1450-81;

1474-82.

"Arist. Plutus, 634-36. "Trees struck by lightning are also revived when anointed with myrrh (Geoponica, X, 79). Reference is also made to myrrh in the case of Trygaeus

(Arist. Peace, 862).

"Arist. Knights, 7*

Cf. Cornford,

1321-2;

sion of the rejuvenation

"Arist. Lysistrata,

"Eurip.

1336.

Origin of Attic Comedy,

pp.

motive in Aristophanes' 665-75.

Bacch. 174-77;

204-09; 248-57.

91-2,

plays.

for

a discus

68

on

OLD AGE AMONG

Aristo, the Chian, Old Age in which

a

THE ANCIENT GREEKS

pupil of Zeno the Stoic, wrote

a

work

he assigned the discourse to Tithonus.75

76 the comic poet play called Old Age ; a play called Uptofiw (Elders);77 and Pherecrates a play called Old Women."" Although Cicero in the De Senectute reproduces parts of the Republic and Phaedo of

had

Aristophanes Plato wrote

Plato,79

a

the form of dialogue is

Aristotelian rather than Pla work of Aristotle of this type

tonic, and it is possible that a existed in Cicero's day as is thought, and perhaps some of the other works on Old Age were extant at that time. Aristo

phanes' play seems to have turned principally on the motive of old men renewing their youth and behaving outrageously. The chorus appears to have consisted of old men who threw off their age as the serpent casts his slough.80 Meineke 81 de duces from the fragments that the old hero expelled his wife from the house and married a young woman. Two of the 82 seem to indicate that a cook was a character in fragments the play, and possibly rejuvenated the old men by peeling off

their skins as

" Cic. " For 134; 77

cf.

if they

were snakes.88

the serpent becomes

De Senect. I, 3. a discussion of this play cf. Cornford,

Kock, I,

p. 425.

Athen. Deipnosoph.

VI,

"Athen. Deipnosoph. VI, 78

Thus

II

III

229.

op.

cit. pp. 90-1

;

The Elders were probably Envoys.

246.

and of the De Senect. are a close imitation of Chapters the conversation between Socrates and Cephalus at the beginning of the Rep.; in Chapter 21 is reproduced one of the most striking por tions of the Phaedo (72e-73b; 78a-80a).

"Dind. fr. 178. McCartney ("On Shedding of Skins by Human Beings," CI. Weekly, XXIII, 1929, p. 176) points out that there is still a belief in the renewal of youth by sloughing the skin. An Indian squaw expressed the belief that Indians do not die but shed their skins like snakes; the old skins are burned so they can be Aristotle (Hist. Anim. VIII, 17, 600 b, 15-601 a) names used again. the animals that slough their "old age": the gecko, midge, eoleoptera, crawfish, lobster, crabs, but above all serpents. n Meineke, Frag. Com. Graec. II, 994; Dind. fr. 192. "Dind. fr. 184 and 185 a. "Cf. Aesch. Nauck, 45: KaSalponai yrjpas. tVSi'ojuai.

J

THE IDEALIZATION

]

OF YOUTH AND DEATHLES8NES8

69

the symbol of old age and of Asclepius who renewed the bodies

l of

men through the healing art.84 is an illuminating fact that in both Greek and Latin

It

the words

for old

age, yrjpas and senectus,

are used to desig

nate the casting off of the skin of an animal. (Hist. Anim. VIII, 17, 600, b 17) we have: (SC.

to

Homer age

In Aristotle i<m

Sk

tovto

to taxaTOv iipfm km to irepi Tas ytviaw Ki\vo<s. uses the same type of expression for casting off old

yfjpa
(II. IX,

446)

:

yfjpai airofuo-as.

At the present time advocated

as

a means

regime is most frequently of prolonging life. That the Greeks a dietary

had some thoughts along this line is evinced by the conversa tion of Socrates and Glaucon 85 in which they discourse on the diet consisting of barley meal and wheat flour, boiled roots and herbs, wine in moderation, and for a relish — advantages

of

a

salt, olives, and cheese,- and for desert— figs, peas and beans, roasted myrtle berries and acorns. On such a diet one might expect to live in peace and health to a good old age.

Self-preservation, or the desire to live, may be considered a universal attribute of the Greeks, yet there are occasionally isolated examples where this desire to live has ceased. In the case of receiving news of a great calamity one sometimes ex presses

grief that

he has lived so long, as the chorus of the

on hearing that the barbarian host is lost in its attack on Athens.88 The chorus of the Oedipus Colonus says

Persians

that he cleaves to folly who is not content with a modest span of life. Not to be born is best, but the next best thing is to die Alcestis was willing to meet an untimely Molpinus 89 states that death in sacrifice for her husband.88 as soon as possible.87

u E. Maass, Analecta Eratosthenica,

" Plato, " Aesch.

Rep. II, 372 a-c. Persians, 265-67.

6.

"Soph. Oed. Col. 1210-33. " Eurip. Ale. 52-9. " Herondas, X, 1-4; cf. Antipater of Thessalonica (Paton, for the

III,

309)

epigram on the old woman who was spared old age by dropping dead at the noise of the thunder.

70

THE ANCIENT GBEEKS

OLD AGE AMONG

when one has passed the sixtieth sun it is better to live no longer. Other examples have been cited in Chapter I. Among savages the practice of devouring aged kinsfolk was often regarded as the most respectful

method of dispos ing of their remains. At the time of Strabo among the Cas00 and Ceans 81 parents who lived beyond seventy were pians shut in and starved to death. Earlier there had been a law among the Ceans that those over sixty should drink hem This was when they were being besieged by the Atheni

lock.92

and it is likely that the ordinance was formulated in order that the food might be sufficient for the rest. The Massagetae considered it the best kind of death to be chopped ans,

up with the flesh of cattle and eaten mixed with that flesh.98

If

they died of disease they were cast out. When men of the Derbiccae were seventy years old they were slaughtered and their flesh consumed by the nearest of kin; women were

Until the custom was broken up by Alexander, those among the Bactrians who had become help less because of old age or sickness were thrown out alive as

strangled and buried.94

prey to

When one of the Thracians died he was buried

dogs.95

The with rejoicing since he had escaped earthly troubles.98 Padaeans (an Indian tribe) put to death and ate old men and any one who was sick.97 At seventy the Sardinians thrust their old men over the cliff amid laughter.98 The stories about the killing of aged men are likely reminiscences of the days when the old and feeble were put to death during invasions and war when it was necessary either to abandon them or to The destroy allow them to fall into the hands of the enemy. ing of the aged may be due partly to fear of old age, or to

II,

"Strabo, XI, "Strabo, XI,

11, 11,

8.

3; cf. X, 5, 6; Ael. Var. Hist.

lll,

37; Val. Max.

6, 8.

" Strabo,

"Strabo, "Strabo, "Strabo, "Herod.

X,

5, 6-7.

XI, XI, XI, V,

8, 6; Herod. 11, 11,

4-10.

I,

216.

8; Ael. Var. Hist. 3.

IV,

1.

"Herod.

"Ael.

lll,

99.

Var. Hist.

IV,

1.

1

THE IDEALIZATION

OF YOUTH AND

DEATHLESSNESS

71

contempt for physical weakness among a nation of warriors. There is no evidence of such a tradition among the Greeks for they regarded old age with too much respect, and old age for advantages than for the barbarian. Elderly persons could also be of greater service in Greece. We are much interested in prolonging life today. Many

the Greek

books are

held

more

written on the subject.

The medical world is busy

trying to find means to combat disease. We see that the aspira tions of the ancients in that direction were the same as ours. Yet they would no Everyone wants remedies for old age. doubt feel a little thrill of nervousness if they were suddenly taken to a fountain of youth and invited to partake of its waters.

In

Homer's

day, although youth and deathlessness were worshipped as at no other period, there was no idea of curing disease or prolonging life by magic. Most of the magic which has survived to us from antiquity in the form of spells and conjurations as well as recipes endowed with mysterious effi

for the cure of disease by irrational means are not pure The Greeks believed that it was Greek but largely Orientai. the gods alone to whom exemption from old age and death cacy

in early times they seem to have placed some in the fact that the gods could bestow this gift upon whom they might elect. With the Greeks it was not that they wished to regain youth for youth's sake for the condition of the old seems to have been fairly tolerable in Greece, but rather that they might escape the enfeeblements of age of which they had an extraordinary dread. They were interested in obtaining a long life if they might retain good health and activity. Long life without these blessings possessed no was given, or

credence

charm.

CHAPTER VI THE PERSONIFICATION

OP GEEAS

Personification is the giving of life to inanimate objects or the raising of abstract conceptions to human or divine

rank and endowing them with personal characteristics.1 The Greeks were not limited to imagining their gods under human appearance. The Greeks understood under human forms and pure ideas thousands of analogies which escape us. Bodily characteristics were added to abstract ideas and everything

itself into living beings.

transformed

An altar

was erected

by the people of Gades to Geras

2

and

there is some evidence that there must have been a cult of Geras there.

Having

a cult,

however, does not necessarily

imply that its worshippers had a clear and well defined idea of its nature. In fact cults were more likely to exist for the worship of beings whose nature was incomprehensible, but for whom there was a feeling of mysterious awe or dread, or, on the other hand, of beings toward whom there was a feeling of beneficence for favors rendered. It was a recogni

The tion of an inherent, dynamic force of divine nature. cult of Geras was probably a cult of only local significance. How far it had crept into the religious consciousness of the people is difficult to surmise. Probably it was only a product of subjective invention springing from a semipoetical fancy. The oldest possible representation of Geras is on a bronze relief from Olympia dating about 600 B. C. where Heracles 1 Cic. (De Nat. Deor. II, 23, 61) makes some short remarks on investing abstract conceptions with divinity: Tum autem res ipsa, in qua vis inest maior aliqua, sic appellatur, ut ea ipsa vis nominetur deus. . . . Quarum omnium rerum quia vis erat tanta, ut sine deo

regi non posset, ipsa res deorum nomen t. v. Personiflkationen, Roscher, Lexikon, •Philostr. A poll, of Tyana, V, 4, 190: cf. Herondas, II, 71 : <5 Tvpas, vol Svlru. 72

%

obtinuit; cf. L. Deubner,

III,

pp. 2068-2169.

y^pwt oSv pufibv

tSpvvrai;

THE PERSONIFICATION

with

OF GEEAS

73

with ugly face, bristly The features, however, resemble more closely those of a gorgon than a human being and it seems likely that Furtwangler 3 is correct in conjecturing that it is follows

a club a fleeing figure

hair, and hooked nose.

not Geras.

On a second

fragment

of the same relief

is a

Triton with the inscription OXurs ytpwv.4 The latter is characterized by his bald forehead as being ad vanced in years. battle of Heracles and

In

the twelve labors of Heracles his battle with Geras is not

mentioned

;

therefore

it is wholly forgotten in literature.

This

more popular, burlesque feature of the tradition is best recog nized on several black-figured and red-figured vases. On a

(Fig. 1) from Capua in the Louvre (G 234) is a curious

pelice

painted by the artist whom Beazley has christened the Old Age Painter representing Heracles clubbing Geras, picture

of Old Age, under the form of a feeble and emaciated dwarf.5 The eye is not distinctly in profile,

the personification

This vase but has almost reached that degree of attainment. probably belongs to the second half of the fifth century. Therefore,

the grotesque, caricature

as some would

have

us believe

representations

an invention

are

not

of the Alexan

drian Age, but had begun to be practiced in the fifth century. On an amphora in London (864) is a similar representa tion of Heracles and Geras belonging to the same period.9 • A Furtwangler, Die Bronzen von Olympia, p. 94 ; Furtw&ngler in Roscher, I, p. 2215; G. Loeschcke (A. Z. XXXIX, 1881, pp. 32-40, Taf. 12, 3) proposes Geras as the subject of this relief. ' The TJ. Museum in Philadelphia has an Attic b. f . scyphus which Luce (A. J. A. XXVI, 1922, pp. 174-92) believes represents Heracles

Triton is contending with Triton, "The Old Man of the Sea". represented as an old man who shrinks and cowers under the hero's " The grasp. Luce, I. o. pp. 185 ff., gives a list of vases portraying Old Man of the Sea." •Hartwig, Philoi. L (1891), pp. 185-90, Taf. I; Roscher, p.

III,

R. F. I, p. 466 ; Pottier, C. V. A. Louvre, III 1 c, pi. 48, 1 and 2; Pottier, Vas. antiq. Louvre, HI, p. 212, pi. 131; Pfuhl, Malerei und Zeichnung der Griechen, Fig. 493. •Cecil- Smith, J. H. S. IV (1883), p. 96 and pi. 30; L. Deubner in Roscher, III, p. 2083, Fig. 1; 2215; 2234. 2083,

Fig.

2 ; Hoppin,

74

OLD AGE AMONG

THE ANCIENT

GREEKS

Heracles is at the point of leaping toward Geras and striking him down with a club, while Geras stretches out his hand imploringly. Geras is represented as nude and weaponless, and characterized by an emaciated body, thin hair, and wrinkles on the forehead, but is rather agile. The inscrip tion proves his identity. A vase in Berlin (1927) of the late black-figured style is placed in this category by Furtwangler,7 but Hartwig 8 points out that since the figure which Heracles is clubbing is larger than himself it scarcely seems a suitable characterization of Old Age. The figure has long hair and beard which is not white, but has a shaggy appearance. He has sunk deeply on his knee, and stretches out both arms imploringly to Heracles.

At the right is

a thick knotted stick, which he has probably

dropped, and which we have noticed as a characteristic attrib The fact that the artist has represented this creature as larger than his opponent seems only to increase

ute of Geras.

of a dread, gruesome monster, and there seems no reason to doubt his identity since his features and

the realistic

effect

attributes accord with known representations of Geras. The fact that Beazley has created an Old Age painter is The following vases are interesting for our present study. assigned by him to this painter.9 Pelices

G 224. Pottier, plate 130. A, Death of Actaeon; B, Zeus attended by Ganymede. A, a man offering a hare to Athens 1413 (CC. 1176). Louvre

1.

2.

a boy ;

B,

Cabinet des Medailles, 391.

3.

plate maenad. 8.

7

a man.

A

Furtwangler,

Froehner, Musees de France,

A, Dionysus and Silen; B, Dionysus and Roscher,

I,

p. 2215.

•P. Hartwig, Philol. L (1891), p. 185. •J. D. Beazley, Att. Vasm. (Tubingen, Beazley, V. A. p. 57.

1925), pp.

109-10;

cf.

THE PERSONIFICATION

OF GEEAS

El

4.

Berlin

5.

New

6.

Louvre, G 234. A, Philologus A, Pottier, plate Fig. 493. Geras; B, Poseidon.

2117.

Demeter;

Cer. 3, plate 47. A, Triptolemus and B, a man offering a hare to a boy.

York GR

578.

Oxford,

8.

Villa Giulia (C.).

9.

A, a woman at Berlin, 2173. ning toward a spring.

11.

12.

A,

A, Dionysus; B, Silen.

7.

10.

75

283.

a

1891, 131.

l = Pfuhl

plate

A, Heracles and

man with a helmet; B, youth.

A,

with

a man

B, youth. spring; B, a silen run

a

a helmet;

Fogg Art Museum, Cambridge, Mass. C. V. A. Hoppin A, Heracles with 1 c, pi. 12, 3 and 4. Collection, an amphora ; B, a silen at a draw-weli. Earlier Durand Collection. Gerhard, A B, plate 117, 2-3. A, Theseus and Minotaur ; B, Nike.

III

I,

Vienna, Inv. 728. A. Laborde Athena; B, youth and boy.

plate 83.

A, Birth of

Amphora 13.

Vienna, Inv. 905. Laborde Victor; B, Discus-thrower.

14.

Munich 2327 (J. 251). Heracles; B, Acheloiis.

II,

plate 29.

Annali

1839,

A, Nike and plate

Q.

A,

Hydria 15.

Man and

Athens 1176 (CC. 1172).

boy.

Craters 16.

Cabinet des Medailles,

17.

Munich, 2382 B, Artemis.

acles and

415.

De Bidder, 306.

Athena; B, modern.

(J.

783).

A, Heracles and the Cercopes;

Oenochoe 18.

A, Her

Naples, 126056.

Pan.

76

THE ANCIENT GREEKS

OLD AGE AMONG

We note that only one of the personifications of Old Age (Louvre G 234) is included in the list, and we might wonder whether the other representations of the personifications of Old Age might not belong to the same master. The differ

in style

slight and scarcely insurmountable, but when we recall that one is in the black-figured style (Berlin 1927) which had gone out of use by 530 B. C. while the others belong to the second half of the fifth century, that becomes rather unlikely, although there were a few artists who worked in both styles. It seems reasonable to suppose that there ences

are

might have been a school of vase painters about this time who delighted in allegorical representations of this type. With the coming of Polygnotus about 470 B. C. and the varied re of color and skillful drawing at their disposal there came in a striving after ingenious personification with more sources

success than had been the case earlier.

Gruppe10 considers this conquering of Geras by Heracles a remnant of the old representation of Heracles, the god of healing, triumphant

It would likely interpretation. manner on Heracles in account this fitting to represent of the oft-repeated idea of the struggle of death and the over

disease.

This

seems a

also be

winning of immortality

by

this hero.

Closely related to scenes in which Heracles contends with Geras are those in which he contends with Nereus and with Hades or Pluto.

Geras, Nereus, and Hades are remarkably similar. We speak of the hoary sea; so white hair would be suitable for our conception thereof. Thus Geras and Nereus would be connected.

Old age and death are near akin; so

this establishes a connection between Geras and Hades.

Her

represented as seizing a white-haired figure with human form who holds a sceptre and a fish represented and is closely draped. Sometimes the sea divinity is repre sented as pisciform, i. e., with human body, usually with acles is frequently

10 0. Gruppe, Griech. Myth. I, p. 454; II, p. 772; " Die Hundekrankheit der PandareostSchter und Krankheiten," Rhein. Mus. LIII (1898), p. 179.

cf. W. H. Roscher, andere

mythische

THE PERSONIFICATION

OF GEEA8

white hair terminating in the tail of a fish. and Triton are found in this connection.

77

Both Nereus In the Biblio-

Nationale (255) is a black-figured vase representing Heracles surrounding with his arms the waist of Nereus who carries his right hand to his head.11 Nereus is clothed in a long chiton ornamented with dots and a cross pattern, and a himation like a shawl over his shoulder. He is bearded and somewhat bald and wears a red head-band. According to Pausanias,12 Nereus was given the name Tipuv by the in habitants of Gythium. Hence a confusion with Geras often theque

arose.

Of a similar nature are scenes in which Heracles contends with Hades or Pluto. An early vase from Argos represents Heracles carrying a bow and quiver and throwing a stone at nades who has risen from his throne and is fleeing, looking back.13 The personifications of Hades and Pluto, though co incident to a certain point are really separable. Hades is the earlier type and Pluto the later. In the early mentions of the

in the early representations, scant courtesy is ac corded him as if he were an evil spirit, or at enmity with mankind. It is very different from the conception of the later Pluto, the powerful god of Eleusis. These myths may

god,14 as

be affected by some such process

Tithonus myth and others

of development to which the

their existence. Besides the personification of Geras itself instances occur in which other allegories are personified in the character of old men. Lysippus made a celebrated figure of Eairos, Op owe

portunity, which, although represented

as a youth resting the

toes of his winged feet on a ball, was bald on the back of his head 11

with long hair

above the forehead.15

Baumeister, Denkmaler,

IIl

II,

p. 1017,

Fig.

In

1222;

the right hand cf.

C.V.A. Bibi.

H e, pi. 60, 2. "Paus. III, 21, 9.

Nat.

l,A.Z. XVIII (1859), 14 In Hom. Il. V, 395,

plate 125. Heracles wounds him with an arrow; in

Pindar, 01. IX, 29, he threatens him with a club. " P. P. Johnson, Lysippos, pp. 163-5. This figure is described in

78

THE ANCIENT GREEKS

OLD AGE AMONG

In

this intimation that opportunity is easy to catch at the right moment, but difficult when the time is past, can be seen a personification of great originality by he carried

a razor.

famous fourth century artist. In Athens 18 is an Attic decree showing Athena and the city of Cios personified as an old man draped in his himation. Under the relief is the name a

of the archon Callias which activity must have fourth centuries.

been

dates

it 406-405 B. C.

Such

in the fifth and

fairly prominent

In

literature countless inanimate objects and abstract quali ties are personified in the character of aged men or women. There is a greater vigor and intensity when meanings are thus conveyed in a few words. Prayers are wrinkled and lame in allusion

to their tardiness.17

The chorus of

Cho'ephori refers to a precept thrice aged.18 Frequently yipmv is per sonified in connection with olvoi, for example by Alexis 18 " 2or
Ill,

tj&v^ y', oSoVras

ovk ixmv>

V^V
/

the

/

Aty
yipmv ye Saipovuivs."

From the plant world we have a fragment of Sophocles The (Nauck, 784) : "ypaias aKavOnj-; irainros ws p£vo
fitylOti man.20

/

ev

fit fjjlrraxi


fuKpd, yr/pa Si irpos ahria

/

p.op<prj

Kal

Icrnv anravrmv. The World is a little old Time itself is personified by the use of yijpas,

(iel£
iraXj-v

Aus. Epig. XXXIII; Callistratus, Descript. 1; Phaedrus, Fab. V, 8; Poseidippus,

XIV,

VI; Anth.

Himerius,

Tzetzes, Chil. X, 266-72; VIII, 416-34. The last author him as both deaf and bald. 18 SchBne, Griechische Reliefs, pi. 9, 53.

"Horn. II. IX,

Eclog.

Pal. XVI, 275; describes

502-03.

" Aesch. Choeph. 313. " Cf. Eubul. Kock, II,

yipovra. vtKTapoaTayij ;

Juv.

124-25:

XIII,

/

Qioiov j} Xtov Xa/Siw j) Xiopiov 214: Albani veteris pretiosa senec-

tus.

" Aristophanes

represents him

uses as

an

Demus as a character in the Knights, and old man. Cf. Arist. Knights, 42; 752; cf.

THE PERSONIFICATION

OF GERAS

79

An unknown poet ( Jac. Anth. Or. IV, p. 174) represents M<3/ios (Blame) as an old man lying upon the earth supporting his bald head with his aged right hand.28 Ships are personified as old women.24 The Greeks were very fond of personifying all abstractions such as favor, friend

yr/pdaKtiv21 and iroX1o*.22

ship, wrath, laws, virtue, vice, etc., and the term yqpaaKtiv is usually employed to denote the increase in their power,25 but this is too comprehensive a subject to be treated in detail here.

In

Homer's time the gods were too human to allow of

their embodying any distinct abstract qualities of virtue

and

These qualities were relegated to vague personifications representing superhuman qualities. The creative imagination and speculative spirit of the Greeks allowed every event to vice.

center around some godlike fancy. This tendency began with Homer; was almost lost when the purer and higher concep tion of the gods came in the time of Pheidias ; and reached its highest point in the early Alexandrian age when personal gods had no high meaning. When the Romans became the heirs of the old poetic treasures most of the Greek figures borrowed and elaborated upon until the boundary be divinity and bare abstraction almost disappeared. Usener 24 is probably correct in assuming that these abstract

were

tween

Shakespeare, As You Like It, IV, 1 : The poor world is almost six thousand years old. n Cf . Aesch. Prom. 981 : iKSiSiaKti irav6' b yvpioKwv xP^vo* '• Eum. 286: XP1"05 KaSaipti wivra ytipiaKuv 4/io5; Adespota, Nauck, 508: fiera t%» aKiav Tixwra fijpiaKii xp^»ot; Pacuvius, Ribbeck, p.

i\\'

quamquam aetas senet; Martial, I, 5, 3: nec se miretur, Caesar, longaeva vetustas." Shakespeare, Richard the Second, V, 1 : The Time shall not be many hours of age more than it is. "Pindar, Isth. VI, 15: yrjpit . . . wo\i6v; cf. Eurip. Suppl. 170; Bacch. 258; /on, 700. Cf. Theodectes, Nauck, 12: Suravr' iv avSpiiiroiv wX^v in fo<m rijs ivaiSttas pAm. 308:

"

" Arist. Knights, 1301 ; cf. Theocr. XXI, 12. " Cf. Soph. Oed. Col. 954 (of wrath) : Svpov yhp iWo irX^f / Savtiv; Aesch. Suppl. 673 (of laws) : ts 6pSoi;

Aesch. ChoSph.

oMfa

yvpat

314: rpryipav nvSot; Cic. Brut. 2, 8. (Bonn, 1896), p. 364.

"Usener, Gottemamen

ianv

xoXiw v6iu? alaav

80

OLD AGE AMONG

THE ANCIENT

GEEEK8

deities are not to be taken too seriously, but are used rather as an expedient for poetry and pictorial art. As regards Geras, he was probably

background

little feared or reverenced

of consciousness, because

he

as a

spirit in the

was

too vaguely

His demoniac nature great to be entirely comprehensible. well in the stands foreground, and Heracles' powerful efforts to crush the ugly old man, the

child of

he was considered a malevolent force.

night,27

indicate that

There is no reason to

the existence of a Greek Cacus (for so the Brit. Mus. 28 vase was once described), but only to recall Mimnermus' suppose

apyaXlov

k
afiop^ov yfjpai, and the general

attitude

of the

Greeks toward the physical inconveniences caused by age. The facetiousness of the vase representations partakes of the nature of caricature, and recalls the Greek genius for touch

ing up the most serious occasions with a sparkle of humor. It was in this spirit that old age was personified in art, and it is this influence which it bequeathed to literature. "Hes.

IIl,

Theog.

123;

17, 44.

" Cf.

Cecil Smith,

211;

Hyg.

J. H. S. IV,

Fab.

I,

1883, p. 96.

3;

Cic.

De Nat. Deor.

CHAPTER VII THE REPRESENTATION OF OLD AGE IN GREEK VASE PAINTING Among the ancient Greeks alone was cultivated the art of pottery with brilliant success, for neither in Egypt nor

Assyria did painted vases claim to be works of fine art. Literature represents the world of ideas; art portrays the conditions of the body, permitting us to collect the precious traditions

of more obscure episodes and to get the exact cos Vases have more freedom in this

tumes and situations.

artistic standing. Orient in the forms and decoration, but they constantly put up a struggle for something better until the vegetable and animal world was respect than sculpture because of the lack of

At first

the Greeks were influenced by the

no longer sufficient.

In

the black-silhouette

man of early

art with triangular torso and angular gestures one can dis tinguish no details, but these stiff images reveal artists whose After ambitions were beginning to essay greater subjects. the archaic period literature

becomes

less important

and art

more important for the representation of human activities. In the early black-figured Attic vases Oriental influence is often present, and the archaic technique and the attitude of stateliness conceal the period of life to which the subjects In the black-figured style personages are at first belong. anonymous, then mythological and heroic, until we reach the when the black-figured style merges into the redfigured when the activities represented on vases become as Since, in many cases, certain types extended as life itself. of subjects are begun in the black-figured style but continued period

into the red-figured it seems best to divide our illustrations into types of subject rather than into styles of vase painting, but we shall endeavor to point out what types are prevalent in each style and the characteristics of each type. 6

81

82

OLD AGE AMONG

TEE ANCIENT

GREEKS

DIVINITIES of Greek mythology are in the prime of life. regularly Those who can make any claims to inclusion in our subject Of these, Hades or Pluto, must be classed as minor divinities. Charon, Nereus, and Achelous will be considered in turn. The great gods and

goddesses

represented as men and women

Hades or Pluto On a black-figured amphora in the British Museum (B 261 ) On the return of Persephone from Hades is represented.1 white with bald, the left is Pluto or Hades, ava£ ivipwv,* partly

He wears a long beard, and long tresses bound by a fillet. embroidered chiton and himation, and holds the sceptre, his characteristic

attribute.3

On a British Museum cylix (E 82) of the late fine style Pluto is reclining on a couch, at the foot of which Persephone is seated.4 Pluto holds in one hand the horn, which becomes his emblem in the later period, in the other hand a drinking cup.6 This scene represents the banquet of the gods, and each god accompanied by his consort is seated on a couch.

Pluto

is no longer represented with white hair. Although he ap pears slightly decrepit his hair and beard are black. His face wears a scowling expression, while in the earlier period we find little suggestion of his unrelenting nature or of his blazing eyes,6 and there is no evidence that he is a winged Representations of Hades demon T as literature suggests.

IIl

1 H e, pi. 64, 3a and 3b. A vase in Munich C. V. A. Brit. Mus. (Gerhard, A. V. 87) representing Sisyphus with Pluto and Perse phone seated on each side may be cited as a parallei. 'Hom. Il. XV, 188; XX, 61. In Homer, Hades is the name of the god, but in later times it was transferred to his house, abode, or

Cf. Pindar, 01. IX, 28. Murray, Designs from Greek Votes in the Brit. Mus. pi. 15. • Cf. Smith, Catalogue of the Greek and Etruscan Vases in the ' Cf. Eurip. Ale. 260-1. British Museum, III, p. 108. r Cf. Eurip. Alu. loc. oit. Homer (Il. IX, 158) represents him as kingdom. *

A.

S.

an object of aversion.

*

OLD AGE

IN

GREEK

VASE PAINTING

83

and Pluto are not very numerous on vases of any period for the gloomy nature of his realm did not offer much field for the legends in which Greek fancy delighted.

Charon The representations of Charon appear chiefly on Athenian

In literature he is conceived as the dark, lecythi. grisly old man, 6 ytptuos iropfyitvs, who ferries souls across Acheron for an obol.8 The earliest representation of a Charon white

in Munich (209). The ferryman, throw ing his weight against the pole 9 and dressed in the ordinary garb of a toiler of the sea, is plying his task vigorously. He wears a reddish-brown exomis, the fold-lines of which are in His rough, unkempt glaze, and a round felt cap (niAos).10 hair is in striking contrast to the face of Hermes and the scene is perhaps that

woman whom he is conducting to the other world. We note the repulsive features of the ferryman — his high cheek bones, pointed nose, and thin disheveled beard. On several vases, as for example one in the Athens National Museum (1758),10* a tpvxr)

flies toward Charon with

3160 is a later representation

a

gesture of lamentation.

Berlin

11

and affords an interesting con trast to the vase in Munich in that the face of Charon follows the same general type, but is less ugly, and more realistic. We miss Hermes, for the limitation to two figures has become a 440) calls him yipav. Paus. (X, 28), in describing of Polygnotus in the famous Lesche at Delphi reveals the fact that Polygnotus represented Charon as old; Vergil (Aen. VI, 298) represents him as a robust old man of a severe, though animated, countenance, with eyes glowing like flame, and vestments of a dingy color, stained with the mire of the stream. Vergil's con ception is probably colored by Etruscan influence. •Cf. Eurip. Ale. 252-6; Lucian, Dial. Mort. IV, 2; X, 1. 10 R. C. Bosanquet, J.H.8. XIX (1899), p. 182, Fig. 6; Fairbanks, University of Michigan Studies, Humanistic Series, VI, Athenian White Lekythoi, I, p. 189; Stackelberg, Grab, der Hell, plate 40. "•Fairbanks, op. cit. II, p. 84; J. H. Wright, A. J. A. (1886), p. 399, No. 11, and pi. 12, 2. XIX (1899), p. 182, Fig. 7.

•Eurip. (Ale.

the paintings

II

"J.H.8.

84

OLD AGE AMONG

THE ANCIENT GREEKS

rule by this time. The position of Charon is varied by raising one foot to the edge of the boat, a posture credited to PolygThe influence of Polygnotus is seen also in the notus. abundance of reeds on an unpublished

lecythus in

Charon

The vase in Athens, Private Collection (Fair Baltimore. banks, Athenian White Lekythoi, II, p. 13, No. 16) shows Charon with the dignified appearance of a god in contrast to the boatman of the earlier vase vre

(Fairbanks,

II,

12

p. 29, No.

in

as does also one

25).

the

Lou

On the last mentioned

vase Charon bends forward leaning on his pole, and seems on

He wears a green exomis and hair around his face is made by separate

the point of leaving the boat.

high red cap; the

On the later vases Charon is seated or stands straight strokes. on a resting pole, or extends one hand to the approaching woman. On lecythi with the drawing in matt color, the same scene 18 appears in four forms :

I,

II,

with Charon, Hermes, and the dead person

:

Fairbanks,

p. 29, No. 24 (lecythus in Munich, 209) ; Fairbanks, I, p. 191, No. 8 (lecythus in Boston, 6545) ; Fairbanks, II, p. 14, No. 19 (lecythus from the Van Branteghem Collection) ; Fairbanks, II, p. 29, No. 24 (lecythus in Athens, Nat. Mus. 1926)

;

Fairbanks,

II,

p. 13, Nos. 16 and 17 (Athens Private Fairbanks, II, p. 85, No. 10 (lecythus in

Collection) ;14 Brussels, Mus. Cinq.

II,

with Charon,

than Hermes:

A 903). the dead person, and an attendant other

Fairbanks,

II,

p. 85, No. 7 (lecythus

in New

Museum, G R 61, where the attendant is a child) ; Fairbanks, II, p. 29, No. 25 (lecythus in the Louvre, N 3449, where the attendant is an old man) ;15 Fair banks, II, p. 84, No. 5 (lecythus in Athens, Nat. Mus. 1757,

York, Metropolitan

where the attendant is

"Pottier, Lie.

Blancs

a

youth)

;

18

Fairbanks,

Att. pi. 3; B.C.H.

II,

p. 84, No. 6

lll

(1879), p. 177, Fairbanks, II, pp. 218-41. "Pottier, Lie. Blancs Att. pi. 3; K. D. Mylonas, B.C.H. Stackclhcrg, Gr&b. der Hell. Taf. 48. (1879), p. 177, No. 2. M Bethe, Ant. Denk. I, Taf. 23, 2 ; Daremberg-Saglio, Fig. 3333.

" Cf.

No. 2.

"

lll

IN GKEEK

OLD AGE

PAINTING

VASE

85

(lecythus in Athens, Nat. Mus. 1758, with a child as atten 17 and Fairbanks, II, p. 85, No. 8 (lecythus in Athens, dant) ;

Nat. Mus. 1814, which also III, with Charon and the Vases

in

the Ashmolean

banks, II, p. 137, No. Fairbanks, II, p. 86,

has a

child

as attendant)

dead person only

:

.18

Gardner, Greek

Museum, p. 20, No. 264, and

Fair

(lecythus in the Ashmolean Museum) ; No. 11 (lecythus in Athens, Nat. Mus. 1891); C.V.A. Athens, Nat. Mus. d, pi. 15, 7, and Fairbanks, II, p. 137, No. 6, and pi. 24, 1 (lecythus in Athens, Nat. Mus. 1759) ; Fairbanks, II, p. 136, No. 2 (lecythus in Athens, Nat. Mus. 2000) ; Fairbanks, II, p. 38, No. 13 (lecy thus in Athens, Nat. Mus. 1927) ; Fairbanks, II, p. 137, No. 5; Dumont-Chaplain, Les Ciramiques Grecques, I, pi. 34, 1 (lecythus in Athens, Nat. Mus. 2028) ; C. V. A. Athens, Nat. Mus. d, pi. 15, 6, and Fairbanks, II, p. 136, No. 1 (lecy thus in Athens, Nat. Mus. 1999) ; 18 Fairbanks, II, p. 39, No. 14 (lecythus in Athens, Nat. Mus. 1946); Fairbanks, II, p. 85, No. 9 (lecythus in Vienna, Oesterreich. Mus. 1086) ; Fairbanks, II, p. 136, No. 3 (lecythus in the Louvre, MNB 20 Fairbanks, II, p. 162, No. 1 (lecythus in the Louvre, 622) ; CA537); and Fairbanks, II, p. 308, No. 11 (lecythus in Athens, Dealer's Shop). IV, with Charon, the mourner, and usually a dead person : two red-figured lecythi in Berlin, No. 2680,21 and No. 2681.82 Three fragments represent Charon only : cf . Fairbanks, II, p. 163, No. 4 (fragment in Athens, Nat. Mus. 1916) ; Watzinger, Griechische Vasen in Tubingen, p. 43, No. 1721 (lecy 7

III

J

III J

" Ant. 1'

Denk.

Ant. Denk.

I, Taf. I, Taf.

23, 1; A.

J. A. II

(1886), pi. 12, 2.

23, 3.

" B.C.H. I (1877), p. " Pottier, Lie. Wanes

40, and pi. 2; Dumont-Chaplain,

Att.

p. 150, No. 75.

I,

pi. 34, 2.

nA.Z. XXXIX (1881), p. 259; Furtwangler, Beschreibung der Vasensammlung im Antiquarium. II, p. 765. "Furtwangler, II, p. 765; cf. F. von Duhn, " Charondarstellungen," A. Z. XLIII (1885), pp. 2-23, and Taf. 2; cf. Otto Waser, Charon, Charun, Chares, pp. 40-60; Rocco, Afilo di Caronte, passim, on the whole subject of Charon.

Il

OLD AGE AMONG

86

thus in Tubingen) ; and 2

THE ANCIENT

C.V. A.

GREEKS

Scheurleer,

(fragment in Scheurleer Museum). Sometimes Charon is drawing the

III J c,

boat to the

pi.

shore

2,

to

receive the dead person ; or at other times he is about to push his boat out from the reeds as a soul flies to meet him. In the later vases the representations

of Charon in the boat are

occasionally combined with scenes at the grave where a woman brings a canister and alabastron. Great originality is shown

in Berlin, mentioned above, where a woman standing before a stele holds in her left hand a flat plate con taining four green pomegranates, and offers the fruit to Charon who stands in his boat. on vase 2680

Nereus Nereus is probably called the old man of the sea2* on account of the association of the quality of hoariness with On the Francois vase in Florence 24 white-haired the sea. Nereus

wears

a

long oriental

wrinkled neck, and wrinkled, cate great age. isches Museum

robe.

His thin

erect

form,

somewhat bald forehead indi

On a black-figured amphora in the Oesterreich2,1 Nereus is advancing to meet

in Vienna (226)

Cheiron, carrying his customary staff, and clothed in the white chiton. Heracles is surrounding with his arms the waist of Nereus on a black-figured vase in the Bibliotheque Nationale

Ill

H e, pi. 60, 2) where we see Nereus (C. V. A. Bibl. Nat. clothed in a long chiton ornamented with dots and a cross He is bearded pattern, and a himation over the shoulder.26 "Cf. Horn. II. XIII, 682; XV, 190; XXI, 59; Hen. Theog. F. R. Taf. 1 and 2. Paus. 21. ** Masner, Die Sammlung Antiker Vasen und Terracotten im Oesterreich. Museum, p. 26, No. 226.

"

lll,

234;

K. K.

" De Ridder,

Cat. des Vases Prints de la Bibl. Nat. I, p. 166, No. 255; Baumeister, Denkmaler, II, p. 1017, Fig. 1222; Gerhard, A. V. II, pp. 99-100, pi. 112; Daremberg-Saglio, III, p. 95, Fig. 3767; Roscher, III, p. 242, s. v. Nereus. The Brit. Mus. has a b. f. amphora

(C 7. A. Brit

lll

H e, pi. 55, 3a) with the same scene. A Brit. Mus. Ic, pi. 70, 3) represents r. f. Mus. hydria (C.V. A. Brit. Mus. Heracles seizing Nereus who is holding a fish by the tail.

lll

OLD AGE

IN

GBEEK

VASE FAINTING

87

and somewhat bald in front, while the hair falls over his On the red-figured cylix in the Lou Brygos Painter (Pottier, Vas. Antiq.

shoulder in three curls. vre

attributed

III,

to the

p. 186, No. G155) Heracles had seized the tri dent of Nereus in order to force the sea god to give a wishedfor prophecy.27 The figure of Nereus with widely outstretched Louvre,

arms is one of the most frequently repeated types of Brygos ; and the combat of Heracles and Nereus is the scene in which Nereus occurs most frequently on vases. On the Bologna redfigured celebe (Pellegrini, Catalogo dei Vasi Greci Dipinti, p. 74, No. 196) Nereus is fleeing from Heracles and looking back with a threatening look. A number of vases 28 represent

Triton with Nereus as a spectator. Nereus is represented as bald in front, with white hair falling down his back, white beard, long chiton, and embroidered

the combat of Heracles and

himation,

and staff.

Nereus occurs quite frequently on vases featuring the rape of Thetis by Peleus, and the flight of the Nereids toward

Doris to announce the abduction. example of this scene is the red-figured cylix in the (Pottier, Vas. Antiq. Louvre, III, p. 162, No. G 116) by Douris 29 in which the entire drama has for its the sea coast, and for actors the marine divinities.80

the god Nereus and his wife

A good Louvre painted theatre

"Cf. Schol. Apoll. Rhod. IV, 1396; "Brit. Mus. B 223 (b. f. amphora)

Apollod.

II,

5, 11.

C.V.A. Brit. Mus. hydria) : C.V.A. Brit. :

IIl

He,

lll

Mus. pi. 55, 2b; Brit. Mus. B 311 (b. f. He, pi. 78, 4; Brit. Mus. B 224: Walters, II, p. 146 (amphora of transition period); Brit. Mus. B 201 (b. f. amphora) : Walters, II, p. 133 in which both Nereus and Proteus are present as spectators; and Louvre F 235 in which Nereus and a Nereid are present (C. V. He, pi. 45, 8). A. Louvre, *• Hoppin, Handbook of Attio R. F. Vases, I, p. 247; Pottier, Douris, p. 65; pp. 80-4, Fig. 13; Perrot and Chipiez, Hist, de I'Art

III

I'AntiquiU, X, p. 539, Fig. 307; Graef, Jahrb. d. arch. Inst. I (1886), p. 202, No. 67. "This subject is repeated on another cylix of the Louvre (Pottier, Vas. Antiq. Louvre, III, p. 168) by the Macron Painter, and on a r. f. vase from Ruvo now in Naples (Heydemann, Die Vasensamm

dans

OLD AGE AMONG

88

THE ANCIENT GREEKS

Here, however, Nereus is not represented as an old man as he is in many instances, but the artist seems rather to wish to

kingly majesty. Traces of archaism remain; a certain stiffness is evident in the gestures of the women, and the figures possess a sublime quality and a richness of detail emphasizes

which make them interesting. Nereus and his wife are seated on ornamental seats like a Zeus or Hera, which prepares us

for

the celebrated motive of the Parthenon

frieze.

Hermes

and the Nereids are bringing the news to Nereus on a cylix from Vulci in the British Museum (E 9) 81 and on a stamnus

in Palermo

(1503) of the severe red-figured style by the Master of the Berlin Amphora.82 Nereus is represented as a bald, wreathed old man in a long chiton and himation sitting on a square base, holding in one hand a wand, in the other a 88 or rides a hippotunny fish. Sometimes he holds a dolphin camp and holds the trident.84

Achelous The Achelous was the largest river in Epirus and Aetolia, were the early settlements of the Pelasgic race, from whom the Greeks derived so much of their religion

in which quarters

and mythology. Hence the name of the stream is associated with some of the oldest religious rites. Achelous in the form of a bull with human face is pictured in combats with Her acles.

I,

On a late black-figured amphora in Berlin (Furtwanp. 344, No. 1851) Achelous strides along with open

gler, mouth and stretches out his hand imploringly without making

lungen des Museo Nazionale aii Neapel, p. 294, No. 2421). The old man on the Nolan amphora in Schwerin 1295 (Hoppin, R.F. II, p. 319) by the Pan Painter may be Nereus. "Hoppin, R.F. I, p. 371; A. S. Murray, Designs, pi. 6; Klein, (1886), p. lAeblingsinschriften, p. 66; Graef, Jahrb. d. arch. Inst. 202, No. 61 ; Smith, **

Hoppin, R. F.

"As

I,

III,

I

p. 45.

p. 63.

(Pellegrini, p. cylix in the Brit. Mus. (Walters, represents him in this fashion.

"A

on a celebe in Bologna

b. f.

84, No. 216).

II,

p. 227, No.

B

428)

OLD AGE

IN

GREEK

VASE

FAINTING

89

On a British Mu

any attempt to ward off his opponent.85

hydria (Walters, II, p. 182, No. B313; C. V.A. Brit. H e, pi. 79, 2.) the river god is about to hurl a rock Mus. The eye is in the archaic form with the at his antagonist. dotted pupil; so it probably dates not far from 520 B. C. Heraoles is struggling with Acheloiis on an amphora in Mu nich (Beazley, Att. Vasm. p. 110) by the Old Age Painter. The British Museum has a good representation in the finest seum

III

Heracles has thrown himself upon the style of Pamphaeus.86 body of Acheloiis and bends forward compressing the river god's throat with one hand, while with the other he tries to break off his horn. Acheloiis has the bust of a silen or centaur and the long scaly body of

a snake ;

long white hair

and beard, a squat nose and horse's ears."

KINGS Priam

A

scene connected

with the

siege of

Troy in which Priam

figures is that on the Francois vase in Florence

"Cf. Louvre,

the Louvre

II,

b.

f. amphora

s8

(F 211): Pottier,

on which

Vas. Antiq.

p. 116.

"Beazley, V.A.

p.

9, No.

V.A. Brit.

4.

Other vases

IIl

similar to this are:

He, pi.

56, 2a and 2b; b. f. f. H e, pi. 79, 2 ; b. amphora in Berlin : hydria : C. V. A. Brit. Mus. I, Furtwiingler, p. 345, No. 1852; r. f. cylix assigned to Epilycus: Pottier, Vas. Antiq. Louvre, II, p. 137, No. G 10. "Soph. (Trach. 9-13) describes Achelofis as a monster capable of taking three forms: a visible bull, a coiled gleaming snake, and sometimes partly man down whose shaggy beard fountains of water b. f. amphora:

flow.

C.

IIl

Mus.

The contest is described by Soph. (Trach.

35.

"

519-22)

;

Diod.

IV,

F. R. Taf. 11 and 12. A r. f. cylix in Boston (98.933) attri The walls of Ilium buted to Brygos might be cited as a parallei. Achilles is pursuing Hector while Priam, serve as a background; Hecuba, and Athena are spectators : Hoppin, R. F. I, p. 126 ; Beaz ley, V. A. p. 91; Luckenbach, Das Verkaltniss der Griechischen Vasenbilder, p. 516,

3.

90

OLD AGE AMONG

THE ANCIENT

Achilles pursues Troilus before

the walls of

GREEKS

Troy.

Priam sits

stiffly on a Oano? outside the walls, gazing fixedly at the The scene before him as if scarcely able to believe his eyes. is held obliquely in the right hand. The gown is white, covered with a mantle with a border of several colors. sceptre

The

vase which probably awakens

the strongest appeal is a

red-figured cotyle found at Caere, now in Vienna, in the style of the Brygos Painter 8" where Priam followed by his attend ants enters the tent of Achilles to ransom the body of Hector.

This is one of the most celebrated episodes of the Iliad.40 The artist wishes to represent the attitude of personages at the short moment before Priam utters the pathetic prayer which will touch the heart of the hero. Achilles is reclining, holding in his hand the knife which has served to cut his food. Priam stands supported on his staff in an attitude that is calm and dignified in spite of the tumult in his soul. His mouth is half open about to utter the words which will stir the filial piety of the murderous hero. He has white hair, the front part of which is loose on the top of the head in small locks lending softness to the wrinkled brow, while the

His white pointed beard stands out back part is smooth. rather abruptly with black lines around the edge. The right arm is bare to the elbow ; otherwise there is

full drapery with

See our Fig. 2. graceful folds. most The frequently represented scene in which

Priam

"P.

R. Taf. 84; Perrot and Chip. X, p. 617, Fig. 344; Hoppin, p. 140; Buschor, p. 172, Fig. 123; Baumeister, I, p. 738, Fig. 791; Beazley, V. A. p. 90; Hartwig, p. 363; Roscher, III, p. 2959, 8(A); Luckenbach, op. cit. p. 508 D. A vase in Madrid (Leroux,

R.F. I,

Vases Grecs et Italo-Grecs, p. 43, No. 68) of the r. f. fine style shows this event in which Priam is mounting a chariot to ready depart for the camp of the Greeks. He is again represented with white hair, and beard. This time his himation is striped with red; Roscher, s. v. Priamos, p. 2957, Fig. 6; H. Heydemann, Jahrb. d. arch. Inst. TV (1889), pp. 260-5, pi. 10; cf. Bulas, Les Illustra tions Antiques de I'lliade pp. 23-28, and Figs. 12-17. "Horn. II. XXTV, 475-8. Here the artist has followed the text of Homer more closely than usual. a scene preceding

Priam Entering

Tent of Achilles on a C'otyle to the brygos painter. FurtwSngliT-Reichhold,

GricchUche

FIGl'RE

in Vienna Attributed

Vaarnmalerci,

pl.

Courtesv

84.

of D. M. Robinson.

.'(.

Displaying the Plough to ( ecrops on a Crater by the Painter of the Naples Hephaestus in Professor Rohinson's Collection.

Bouoyzes

OLD AGE

IN GllEBK

VASE FAINTING

91

figures is the death of Priam at the altar of Zeus Herkeius.

It

style, in the transition style, the red-figured style, and even in the Apulian style.41 Neoptolemus usually stands in the center in a lofty visored helmet, embroidered chlamys and greaves, stabbing Priam with a occurs in the black-figured

spear.

Priam

has a white beard,

hair falling

over his shoul

ders in long white tresses, incised wrinkles, and long chiton He falls across the altar and and embroidered himation. looks back, raising his hand to deprecate the wrath of Neoptolemus, who is about to hurl to the ground young Astyanax whom he grasps by the leg with his right hand.

On

a vase

in

p. 298, No. 2422) Priam raises both hands to his head which is bleeding violently; blood also streams from a wound in his right shoulder. On a vase in the Naples

(Heydemann,

(F 222) Neoptolemus is brandishing the body of little Astyanax and with it beating the aged Priam on the altar of

Louvre

Zeus." A vase in Berlin (Furtwangler, I, p. 222, No. 1685) has the same features except that a woman seizes Priam by his left arm, and another woman stretching forward both arms embraces

his neck.

Priam is present in scenes picturing the departure of Hec tor on vases of the black-figured style and of the red-figured 1,

As examples of the b. f. style the following may be cited : am phora in the British Museum (Walters, II, p. 135, No. B205); amphora in the British Museum (C.V.A. IIl He, pi. 59, la and lb); three amphorae in Berlin (Furtwangler, I, p. 222, No. 1685;

II,

p. 1009, No. 3988; and

II,

III

p. 1013, No. 3996) ; amphora

in the

He, pi. 41, 8). Of the r. f. style the (Furtwangler, II, p. 496, No. 2175); cylix in Berlin (Furtwangler, II, p. 516, No. 2281); amphora in New York, 06. 1021. 99 (cf. Beazley, V. A. p. 25, No. 8, who assigns it to the Nicoxenus Painter; and Hoppin, R.F. II, p. 233) ; cylix in Leningrad, No. 658, assigned to the Telephus Painter (Hoppin, R.F. II, p. 453) ; hydria in Naples (F. R. Taf. 34) ; column-crater in Rome, Villa Giulia, H R 1793, by the Iliupersis Painter (Hoppin, R.F. II, p. 125); and cylix in the Louvre, Q 152, by the Brygos Painter (F. R. Taf. 25). " F. R. Taf. 25; Pottier, Vas. Antiq. Louvre, II, p. 119, pi. 80.

(C.V.A. Louvre, following: hydria in Berlin

Louvre

92

OLD AGE AMONG

THE ANCIENT

GREEKS

a quadriga is ready for departure, and at the is Priam seated on an okladias, his hand ex

style." Usually horses' heads

tended toward Hector, and his eye cast down in a dejected atti tude. He is clad in the talaric chiton and mantle, his white hair bound with a diadem and falling in long tresses on his

An amphora in the British Museum (C.V.A. He, pi. 31, 4b) is slightly different in that Hector is about to place a parting gift in the hands of young

shoulders.

Brit. Mus.

III

Astyanax, and Priam stands behind Astyanax, leaning on a Priam is present staff and extending his hand in fareweli. or of also in scenes representing the arming of Hector,44

Hector and Paris.46

" he

On an amphora in Munich

(Jahn 378) black snake is bald on the forehead with

by Euthymides like curls at the back and sides.

In

the left hand he holds a

knotted stick; the forefinger of the other hand is carried to his mouth in an attitude of warning. The Boston Museum of Pine Arts (Fairbanks, Catalogue of Greek and Etruscan

I,

No. 563) has a scyphus in the black-figured style representing Hector and Achilles fighting, while at the left stands Priam nude with extended arms. Vases,

p. 197,

Anchises

It

is chiefly in the black-figured style and the transitional period that Aeneas is represented carrying his father, An-

" The

following are examples of the b. f. style : amphora in the He, pi. 34, 5); and neckBibliotheque Nationale (C.V.A. amphora in the Vatican, 521 (Beazley, V. A. p. 172, and Hoppin, R. F. II, p. 14 ) . In the r. f. style the following examples may be cited: neck -amphora from the Hope Collection (Tillyard, The Hope Vases, p. 50, No. 87 ) ; amphora in the Louvre, G 46, attributed to the Nicoxenus Painter (C.V.A. I c, pi. 31, 3). An amphora in the British Museum is the same except that the departure of Troilus He, pi. 25, 2a. is represented (cf. C. V.A. Brit. Mus.

IIl

IIl

" F.

IIl

R. Taf.

by Euthymides. "Cf. Hoppin, R.F. I, p. 62 for a stamnus in Munich (2406). R. Taf. 14; Hoppin, R. F. I, p. 432; Perrot and Chip. X, p. 456, Fig. 260, 261; A.Z. XLII (1884), p. 252; Buschor, Greek Vase-Painting, p. 116, Fig. 105; Luckenbach, op. eit. p. 542.

"F.

14

OLD AGE

IN GEEEK

VASE PAINTING

93

on his shoulders on the last night of Troy. On a cylix in the Louvre (F 122) by Nicosthenes " the gesture of the old man is particularly to be noted as he raises his arm to heaven to protest against the conflagration into which The arms of Aeneas are placed behind Troy is plunged. his back to furnish a support for his father, and the artist succeeds in showing by his heavy step the weight under which Anchises has white hair and beard, both of he is laboring. which are rather sparse; the hair is indicated by gray dots. He holds himself in a crouched position, and his attitude is that of weakness and helplessness, which is further emphasized He wears a himation with few by the staff held in the hand. folds. The eye is in full front, but the face is in profile. On many vases " Anchises does not raise his hand in prayer, chises,

but clasps his arm around the neck of Aeneas. lecythus in the Navarra Collection, Terra Nova,49

original than the others.

A white is more

Here Aeneas is not carrying

his

father, but the old man is walking by his side. Aeneas clasps his wrist and keeps looking back as if guiding his steps. Anchises appears blind ; he walks with hesitating steps feeling his way with a cane. The hair is realistically rendered with black points on a gray basis. The long chiton is brown with darker fold lines; the himation drawn up over the back of

" Hoppin,

A Handbk. of Attic B. F. Vases, p. 258, No. 51 ; Perrot and Chip. X, p. 248, Fig. 157; p. 249, Fig. 158; on the Vivenzio hydria in Naples (F. R. Taf. 34) both hands are raised to the head in an attitude of despair. H, IV B, pi. 14, Cf. C. V. A. Cambridge, Fitzwilliam Mus. 2a (b. f. amphora dating about 500 B. C.) ; Watzinger, p. 24, No. 2451 (b. f. amphora) ; Tillyard, p. 29, No. 14 (b. f. amphora) ; De Ridder, I, p. 173, No. 261 (b. f. oenochoe) ; Furtwangler, I, p. 352,

"

IIl

No. 1862 (b. f. amphora) ; Pottier, Vas. Antiq. Louvre, II, p. 106, No. F 118, and Hoppin, B.F. p. 297, No. 99 (b. f. oenochoe in the H e, pi. 52, 2, and Pottier, style of Nicosthenes) ; C. V. A. Louvre, Vas. Antiq. Louvre, II, p. 121 (b. f. amphora); and C.V.A Villa

III

Giulia, IV Br, pi. 13, 1, 2, and 3 (b. f. amphora). "Fairbanks, Ath. White Lekythoi, I, p. 247, No. 75; Benndorf, Griech. Sic. Vas. Taf. 46, 1.

94

OLD AGE AMONG

THE ANCIENT

GREEKS

the head is white with a brown edge; and the shoes are black.

The representation is particularly interesting in that it breaks from the traditional crude picture of Aeneas carrying his father on his back, and shows the solicitude of Aeneas hurry ing on his father and watching his steps. It gives the picture a touch of tenderness not ordinarily found in early vase

paintings.

In

Cabinet des Medailles (851) is a red-figured cancontaining a fully draped figure of Agamemnon represented with the customary kingly bearing with which we are familiar from literature.51 He wears the crown and the

tharus

50

carries the sceptre. aged man.

His demeanor appears to

be that of an

Eurytus

Eurytus, the aged king of Oechalia, is present as a spec tator in the combat of Heracles against the son of Eurytus on a black-figured

amphora in Madrid (Leroux, p. 39, No. are white; the chiton and himation

The hair and beard

65). touched with red.

One hand is raised in despair.52 Aegeus

On an amphora in the British Museum (C.V.A. Brit. Mus. c, pi. 7, 1 b) in the fine Greek style is portrayed the recognition of Theseus on his arrival at Athens. The hero

Ill I

grasps the hand of his aged father, Aegeus, while his mother, Aethra, stands before him, placing both hands under his chin.

He Aegeus' white flowing hair is bound with a diadem. forward wears his the staff. He stoops resting body against the talaric chiton. "Hoppin,

R.F. I,

287, 1; Roscher,

III,

p. 298; p. 295,

Reinach, Repertoire,

5(B).

I,

p. 286,

2; p.

•lCf. Horn. II. VII, 162; 229; 321; 406; IX, 66-71; Quint. Smyrn. 1n, 518-20; Xen. Mem. 1n, 1, 4 (quoting Horn. 1l. lll, 169-70); Paus. X, 30, 13; Thuc. I, 9. "L5wy, R6m. Mitt. (IX) 1894, pi. 83.

IN GEEEK

OLD AGE

VASE PAINTING

95

Oeneus Sometimes,

Brit. Mus.

the British

as on

III H e, pi. 79,

hydria (C. V. A.

Museum

2), Oeneus is

as a spectator at the contest of Heracles

seated on an okladias

with Acheloiis for the

hand of Deianeira.65 He is also represented as seizing Agrius as on another hydria in the British Museum (0. V. A. Brit. Mus.

IV E

a, pi. 3, 3)

.

A large ivy wreath binds his long white

He is wrapped in an embroidered himation and carries the sceptre. The only difference in apparel is that the endromides with the studs are worn in the latter case. Some times, as on the two black-figured vases in Toronto, Oeneus stands in the background with Deianeira, a spear in the left hand and a staff in the right, viewing the combat of Heracles and Nessus. He is represented as a gray-haired and graybearded man, somewhat bald, clad in chiton and himation.54 tresses.

Erechtheus

An

oenochoe

of the severe red-figured

Painter,55 now in the British Museum

style by the Pan

(E

512), represents

Boreas seizing Oreithyia with her aged father Erechtheus as spectator. He is a bearded bald old man seated on a rock, closely muffiled in a himation which conceals the mouth and the lower part of the head. He looks downward in an attitude

of dejection, touching his forehead with his right hand, while his left rests on a crutch-handled staff. A thin black line The eye is of the archaic around the head indicates a fillet. type with the inner angle open. A red-figured vase from Tarquinia, now in Berlin (Furtwangler, II, p. 718, No. 2537),

" Gaz.

Arch. I (1875), pis. 20, 21. A Brit. Mus. B 278. '•Robinson, Harcum, and Iliffe, Cat. No.

vase

with an analogous

scene is in the

269, pp. 108-11, and pi. No. 312, pp. 132-35, and pi. 6. "Hoppin, R. F. II, p. 315; Beazley, V.A. p. 116, Fig. 72 bis; A vase on which the same scene is represented Smith, p. 311. in the same way is a r. f. vase in Naples (Heydemann, p. 599, No.

32;

III,

3352).

96

THE ANCIENT GREEKS

OLD AGE AMONG

has as its subject the

birth of Erichthonius. Behind Qe is Cewith curly hair and laurel wreath

crops, a bearded, noble man

in

with fine folds, supporting himself proudly on a The lower part of the body is in the form of a sign of his primitive origin. Erechtheus is also

a chiton

long staff. snake,

a

present, leaning on a long sceptre. Cepheus Cepheus is represented on two red-figured vases in Naples (Heydemann, p. 520, No. 3225, and p. 814, No. SA 708). On the former Andromeda sits on a footstool, her head lowered. At her right is her old father, Cepheus, who weakly supports himself on a crutch-handled cane which is held by a servant from behind. His face is turned toward the sister of Andromeda and the sorrowing mother, Cassiopeia. Cepheus is clad in the long chiton and white mantle, richly orna mented Phrygian cap and shoes. The latter vase represents the

deliverance of Andromeda.

The white-haired

holding out a branch to his daughter. is a cushioned chair. approaches,

old man

Near him

Cecrops

The beautiful red-figured bell-shaped crater, painted by the Painter of the Naples Hephaestus Crater, now in Dr. Robin Collection,

contains the only known representation of Bougyzes in ancient art, and he is pictured there in the act of displaying the first plough to Cecrops." The old man is son's

bald-headed except for a few gray hairs on the back of his head. The white paint has worn off his beard. In deep interest his eyes are fastened upon the hero and the new invention as he leans forward on his straight Attic staff to get a clearer view and to lessen the infirmities which old age

His amazement is expressed by the parted lips, the raised right arm, and the outstretched open hand. Here Cecrops is probably conceived as the early king has brought upon him.

"D. Fig.

3.

M. Robinson,

A.J. A. XXXV

(1931),

pp.

152-60.

Cf. our

OLD AGE

IN GEEEK

VASE

PAINTING

97

of Athens, living in late Helladic or Mycenaean days, while Bougyzes is an old Attic hero, the founder of agriculture and the first lawgiver of the Athenians. Rhadamanthus On a vase in Munich

B.

C,

"

belonging

to the fourth century

Ehadamanthus is represented sitting beside Triptolemus and Aeacus as one of the judges in the Lower World. His

figure is slightly bent, but he has the appearance of a person of keen intellect. Minos, the mythical king and lawgiver of Crete, who was made a judge in the Lower World as a reward for his just rule on earth occurs on a number of vases but he is never represented as aged.

Anonymous Kingly Figures

For

seated figures may be cited the black-figured

in the Louvre

attributed

to Nicosthenes

amphora which

58

(F 99) represents a bearded man with a sceptre seated between four standing bearded men. All have stiff angular positions as if doing deference to the one seated person. Two of the stand ing figures are bald, and they wear straight tight-fitting robes in contrast to the long flowing robes of later times. The seated figure has long white hair which is treated as a mass without being curled or separated into strands. The outer garment is black, and there appears to be a white inner garment. The stiff pose and alert appearance recall Egyptian statues. A red-figured amphora, Louvre G 236 (C. V. A. Louvre, c, pi. 49, 4), represents a king sitting with a phiale, and a woman coming with an oenochoe to fill it. On a red-figured amphora in the Ashmolean Museum (Gardner, p. 23, No. 270) is a king clad in a sleeved chiton and himation, his head bound with a red taenia. He holds a metal patera in his right hand, and a sceptre in the left.

III

I

" F.

R. Taf. 10.

"B.C.H. XVII vre,

III

H

7

e,

(1893), pp. 439-40, and Figs. 10-12;

pi. 32, 5.

C.

V.A. Lou

98

OLD AGE AMONG

No. 324 in

THE ANCIENT GREEKS

the Oesterreichisches Museum

in Vienna (Mas-

ner, p. 43) by Douris represents a king viewing a contest of warriors. The head is very realistically portrayed with a bald spot near the forehead, while the hair behind is gathered up

The king

under a red band.

raises

his right hand as

if

to

exhort the warriors; in the left hand is a sceptre ending in a palmette.

Many other examples might be included if we were to mention those in the early period which have an aged appear ance as a result of the employment of archaic technique.

HEROES

It

is obvious that heroic deeds are usually associated with Those heroes which belong to youthful strength and vigor. our study are chiefly of the mythological variety who are portrayed with bodies half-human Antaeus

and half-bestial.

and Actaeon

On a red-figured cylix of the severe style in the Oester reichisches Museum (Masner, p. 41, No. 322) Heracles is

giant who lies on the ground. An taeus has already given up all resistance, and his head and arm are sinking. He has a rugged appearance. His head is bald in front and the hair on the back of the head is in flat striking with his club

a

lumps. On a red-figured

pelice in the Louvre (G 224) by the Old Age Painter 89 Actaeon is being devoured by dogs in the It is slightly archaic, preceding the presence of Artemis. work of Euthymides and Phintias. In spite of a certain stiffness of manner the work is well rendered and expressive. At the left is the cruel, immovable goddess, richly clad, in her hands bows and arrows; at the right the hoary, grizzly "Beazley, V. A. Pottier,

p.

109;

C. V. A. Louvre,

Pottier, Vas. Antiq. Louvre, Taf.

III I c,

tions of Actaeon cf. Marburger pp. 1-23.

130;

pi. 44, Nos. 3, 8, 10. On representa Jahrbuch fur Kunstwissenschaft, V,

OLD AGE

IN

GREEK

VASE

PAINTING

99

Actaeon lacerated by four dogs. Over his back is the skin of a stag. His bearded head sinks as he yields to the pres sure of the dog.

This master who must have worked about 450 B. C. seems fond of representing grizzly, extraordinary monsters investing them with old age characteristics and to have been very

representing them as being overcome by a superior force. We have already noted this striking originality in the per sonification of Geras. There seems little reason for ques

tioning Beazle/s judgment in assigning these to the same master. The Heracles and Athena vase in the Cabinet des Medailles (De Bidder, II, p. 316, No. 415, Fig. 69) reveals the same qualities noted in the Heracles on the Geras vase in the Louvre. The pupil of the eye is turned toward the center. The eyes are wide open and much more expressive than those of the painter whom Hartwig has christened the Bald Head Master. The heads of all the figures are slightly lowered at about the same angle. Similar traits are visible in the figure of Athena.

The Heracles of the Louvre

vase and that of the

in the Cabinet des Medailles have almost identical char The anatomy of the legs, and the form and size of the body in general are the same. The posture is the same Heracles in both cases except for a few necessary changes. has black curly hair around his face, and the type of head vase

acteristics.

gear as well as the style and markings of the chiton are almost identical on both vases. There is a similarity also in the treatment of the hair and beard of Actaeon, Acheloiis,

and

the Geras figure.

It is more customary to find aged men appearing as spec On a red-figured cylix from Vulci tators in heroic scenes. in the British

"F.

Museum

(B 44)

made

by

Euphronius

60

Murray, Designs, p. 10, No. 27, Fig. 4(A); Perrot and Chip. X, pp. 425-7, Figs. 248-50; XLIII (1885), p. 185, n. 9; Studniczka, Jahrb. d. arch Inst. II (1887), p. 162, n. 22; Hartwig, p. 444; E. Radford, J.H.S. XXXV (1915), p. 120; Kallmann, Jahrb. d. arch. Inst. XI (1896), p. 30, Fig. 12. On a vase in London in the Stewart Hodgson R. Taf. 23;

Hoppin, R. F. Meier, A. Z.

I,

p. 388;

OLD AGE AMONG

100

is pictured

one

THE ANCIENT GREEKS

of the well known

feats of Heracles — the

bringing of the Erymanthian boar to Eurystheus. Eurystheus terrified at the sight of the monster has hidden himself in

a great pithos, while behind him a woman and an aged man, perhaps the father and mother of Eurystheus, are a There is a certain freshness and prey to the same terror.

vigor in the comic despair of the old man who tears his hair looking away from the scene. The shoulder of the old man is lowered too much and has the effect of a shoulder put out of joint. The head is too large and the profile clumsy. The old man has a bent figure and carries a knotted cane. He is bald in front with a few black curls scattered over the fore

in his brow. In Heracles' struggle with Apollo for the tripod an old bald-headed man draped in a mantle and resting on a cane head resembling a wig, and has wrinkles

stands by as a spectator on a red-figured amphora of the late archaic period in the British Museum (C. V. A. Brit. Mus.

Ill I c, pi.

58, 3

b) by

the Alcimachus

Painter.

Linus Linus who

was credited by

tradition with introducing the

81 is quite a different type alphabet into Greece He seems to have combined the art of the ordinary

Phoenician of hero.

school master with that of music teacher.

In

Schwerin

is

red-figured cotyle from Caere made by Pistorepresenting Linus teaching music to Iphicles.

an interesting

xenus

82

Coll. (Hoppin, B.F. p. 210, No. 24) by Nicosthenes several old men appear aa spectators of the fight of Heracles with the Nemean lion. « Diod. 67. R. Taf. 163; Hoppin, R. F. II, p. 372; Beazley, V. A. p. 64; Hartwig, pp. 375-9, Fig. 52. The myth of Linus appears to have been represented several times on the Attic stage in the fifth cen tury according to Otto Jahn ( " Einige Abenteuer des Her. auf Vasenbildern " in Berichte der Sachsischen Gesellschaft der Wissenschaften,

lll,

"F.

and the myth is mentioned by several authors: II, 4, 9; Ael. Var. Hist. 32; Paus. IX, II, the Bibl. Nat. (De Ridder, p. 469, No. 811) is a vase A perhaps represents the punishment inflicted on Linus.

1853, pp.

Diod. 29, 5.

which

IV, In

145-50) ; 10;

Apollod.

lll,

(a)

Lints Teaching Music to Iphicles IX SchWERIN Furtwlngler-Reichhold,

on a Cotyle

BY l'ISTOXENTS.

Oriechiaehe

Figure

Yasenmalerei,

pi.

163.

5.

(b) Old Servant Woman on the Cotyle in SCHWERIN BY PlSTOXENUS.

L

OLD AGE

Linus is

IN

GREEK

VASE

PAINTING

101

bald old man of distinguished aspect, wearing a draped tunic and mantle, and seated on a chair

a

carefully with a back such as painters assign to heroes and divinities. The eyes appear large and almond shaped and could be better

In spite of his white hair and bald

Linus is not thought of in the sense of weakness and infirmity, but as a stately older man. Humor is shown by the satyr-like bald head encircled by a wreath. Both Linus and Iphicles have the head moved forward, and both hold the lyre and their hands play with the cords. Behind Iphicles, Heracles ad rendered.

head

conducted by an old servant lesson, M woman ; he carries a long spear which announces his tastes. vances

to take his

It

is quite likely that the old woman is a nurse. Both her fatigue and her bad humor are evident from her gait and fa cial expression. Bent with age she aids herself with a cane as bent as her body. toothless mouth, the

witch-like

arms and feet.

She has a crooked nose, hollow

and upturned

chin.

cheeks,

In order to increase

effect the artist has put some tattooing on her

Cf. our Figs.

4 and 5.

SEERS Boston has a cylix (98.931) by Macron 44 on which the old seer Calchas is coming out of a palace with Ionic columns and seizes Telephus by the chin as he sits on an altar. Calchas wears the chiton staff.

In

the

and himation

British Museum is

and carries a long

a Megarian

bowl (Walters,

young man is brandishing a stool over the head of an old man seated on an altar: Engelmann, R. A. IX (1907), pp. 84-93; and there is another such vase in Munich ( I. o. p. 87 ) . On the Schwerin vase cf. Jahrh. d. arch. Inst. XXVII (1912), p. 24, pis. 5-8. "Helbig (Annali, 1871, pp. 86-96) has recognized a eunuch; Perrot and Chip. (X, pp. 585-7), Hartwig (Die Griechischen Meisterschalen, p. 377), and J. Maybaum ("Der Becher des Pistoxenus im Schweriner Museum," Jahrb. d. arch. Inst. XXVII, 1912, pp. 24-37) recognize a woman both from her figure and from the name Gerophso which has a feminine termination. "Hoppin, R. F. II, p. 48; Walters, Hist, of Anc. Pottery, II, p. 125; Beazley, V. A. p. 108, No. 2; Pollak, Zwei Vasen aus d. Werkstatt Hierons, pp. 1-27, Taf. 1-3.

102

OLD AGE AMONG

THE ANCIENT GREEKS

IV,

p. 254, No. G 104) representing scenes from the PhoeEuripides in which Creon is falling in supplication A cylix from the Van Branteghem collec before Teiresias.65 nissae of

tion now in the British Museum (cf . Murray, White Athenian Vases in the British Museum, pi. 16) represents the seer According to Polyeidus and the boy Glancus, son of Minos. tradition the seer was shut in the boy's tomb to bring him to

life. When

bring herbs to revive a dead snake, he succeeded in bringing Glaucus to life by the same herb." On the vase Polyeidus has purple drapery with black touches. He is in a kneeling position and thrusts his spear into the snake with great effort so that every sinew and muscle reveals he saw a snake

his activity.

WARRIORS Representations of aged warriors on vases are, of course, rather rare since it was not the duty of the elderly citizen to take an active part in warfare. Here as in literature Nestor and Phoenix

are the conspicuous examples. On a black-fig ured scyphus in the Acropolis Museum (Graef, Die Antiken Vasen von der Akropolis, p. 145, No. 1291) appears a white-haired and white-bearded head with a red helmet and

II

remains of a shield and spear, which would appear to indicate that this is an aged warrior. On a red-figured vase in Naples (Heydemann, p. 361, No. 2643) stands an old man toward whom Nike is approaching with outstretched arms. This may not indicate, however, that victory has crowned the endeavors of the aged man, but it may indicate that she is bringing to

in which he is interested. On a blackfigured oenochoe in the Louvre (F340) from Etruria67 attributed to Taleides, Nestor is witnessing the strife of Ajax and Odysseus who are contending for the arms of Achilles. A fillet encircles the long white hair which hangs in two strands toward the right side. His eyes are raised in wonder. With the right hand he grasps the staff. A chiton with a him news of

" Cf.

a victory

Eurip. Phoen.

845-929

where Creon begs that his son Menoe-

ceus may not have to die to save the state.

" Apollod.

Bibl.

m,

3.

" Hoppin,

B.

F.

p. 346.

OLD AGB

IN GBEEK

VASE PAINTING

103

tightly around him. On a black-figured amphora in the British Museum 68 repre senting the sacrifice of Polyxena we see Phoenix moving away on the extreme right with clenched right hand and spear ; on Due to the archaic type the left stand Diomede and Nestor. cross-bar

pattern

is wrapped

rather

of drawing, Nestor is not so elderly here as on some vases, and his hair and beard are black. He wears the long white

linen chiton of the charioteer, and holds a spear. On a British Museum hydria of the black-figured period H e, pi. 86, 3) featuring the quarrel (C. V. A. Brit. Mus. of Achilles and Agamemnon, Achilles is held back by Patro-

Ill

clus and an aged figure, probably contending chiefs is another aged

Phoenix.

Between the

figure, perhaps Nestor, pressing them back with his arms. Phoenix and Nestor are both bearded. Nestor wears a mantle and a diadem. Phoenix has his loins girt with drapery and wears a band over his forehead. On a red-figured hydria in Berlin (Furtwangler,

II,

p. 498, No. 2176) representing the embassy to Achilles0' we have Achilles and Odysseus talking while the old man sits at the left on a simple straight chair without a back. He stretches out his arms in an admonishing manner; in his right hand is a knotted crutch-handled cane. He wears Phoenix

a long chiton over which is thrown a kind of shawl. He has white hair and a white beard. On a Naples vase (Heydemann, p. 579, No. 3254) where Achilles is ransoming the body of

Patroclus

a white-haired

and white-bearded

man, Phoenix,

sits on a bed in the tent wrapped in a mantle which covers His chin is supported on a knotted stick. He looks at a similar white-haired man, Nestor,

the back part of his head.

near who accompanies his conversation with the gestures of his outstretched hand. He also supports himself on a knotted stick. No. E 76 (Smith, p. 102) in the standing

III,

British Museum belonging to the fine style shows Briseis being led away from Achilles. Behind Achilles stands an elderly

"H.

B. Walters, J.H.8. XVIII (1898), pp. 281-6, No. A. Z. XXXIX (1881), pp. 137-54.

" Robert,

2.

104

OLD AGE AMONG

THE ANCIENT

GREEKS

figure, Phoenix, with long pointed beard, holding in the right hand a spear. He wears a diadem, chiton, mantle, and sandals. Phoenix is represented with a warrior in an arming scene on a vase in Wiirzburg.70 Nestor who played such an outstanding part in Homer's narration of the Trojan war appears on a

cylix from Tarquinia by Oltus 71 representing scenes from the Iliad. Achilles is holding out his hand to Nestor in the presence of Iris, Phoenix, and Antilochus. Often a more friendly spirit is revealed. For example, on a Berlin red-figured vase (2264) Phoenix and Nestor are join ing hands with Achilles.72 Nestor is especially well portrayed here. He is clothed in a mantle which leaves the right side free; he carries a stick. He is represented as an old man whose brow is corrugated with wrinkles. His hair and beard are white; on the nape of the neck the locks are outlined in relief lines.

OLD MEN OF THE COMMON RANKS OF LIFE Departure

The most common

Scenes

scene is the departure

of the warrior.

In many instances the idealized type is so thoroughly human ized that it is difficult to distinguish between heroes and Usually the inscription is an indication, but occasionally the artist sees fit to enhance his theme by attach ing heroic names to ordinary citizens. Departure scenes may 78 be divided into four types : ordinary men.

" F.

R, Taf. 104. "Hoppin, R. F. I, pis. 23-4;

p. 250;

Baumeister,

III,

I, p. 203; Mon. d. Inst. X, Fig. 2400; Perrot and Chip. X,

Reinach,

pi. 93,

pp. 468-71, Figs. 267-70.

7•Weil, A. Z. XXXVII (1879), p. 183. The following vases may be cited as typical of these groups : Class I: six b. f. amphorae in the British Museum (cf. Walters, II, p. 126, No. B186; C. V. A. Brit. Mus. He, pi. 72, 2a; He, pi. 66, 2b; C. V. A. Brit. Mus. IH He, C. V. A. Brit. Mus. He, pi. 33, 3b; C.V.A. Brit. pi. 63, lb; C.V.A. Brit. Mus. He, pi. 60, 2b); r. f. pelice in the British Museum by Mus.

"

lll

lll

lll

lll

IN GEEEK

OLD AGE

I. A

VASE

PAINTING

warrior in the act of bidding farewell to his

105 aged father,

the father often conversing or extending a hand.

II. A

warrior putting on his armor. Usually the mother stands by and hands it to him, and the old father looks on in dejection.

III.

A warrior

mounting

a chariot

in the

presence

of his

father. the Painter of the Ethiop Pelice (cf. Smith, III, p. 258, No. E 413, and Hoppin, R. F. I, p. 349 ) ; r. f . pelice in the British Museum by the Master of the Chicago Stamnus (cf. Smith, III, p. 238, No. E361, and Hoppin, R. F. I, p. 194); r. f. cylix in the British Museum (Smith, III, p. 51, No. E 16, and Hoppin, R. F. II, p. 255); b. f. amphora in the Louvre (C.7.1. Louvre, He, pi. He, pi. 8, 5) ; 11, 3) ; b. f. hydria in Madrid (C. V. A. Madrid, r. f. crater from the Hope Collection (Tillyard, p. 74, No. 126) ;

III

III

(Tillyard, p. 33, No. 21); Furtwangler, II, p. 716, No. 2536) b. f. amphora in Bome, Villa Giulia (C. V. A. Villa Giulia, III He, pi. 5, 5) ; b. f. vase in Naples (Heydemann, p. 662, No. SA 122) ; r. f. cylix in Bome, Vatican 541, attributed to Douris (Hoppin, R. F. I, p. 289, No. 100) ; r. f. amphora in the Ashmolean Museum (Gardner, p. 25, No. 280) ; r. f. Nolan amphora in Dresden by the Achilles Painter (Hoppin, R. F. I, p. 5, No. 16) ; r. f. pelice in Leningrad by the Nausicaa Painter (Hoppin, R. F. II, p. 213, No. 10); three r. f. celebes in Bologna (cf. C. V. A. Bologna, III Ic, pi. 23, 4; C.V. A. Bologna, III Ic, pi. 29, 2; and Pellegrini, p. 86, No. 223) ; r. f. pelice by the Lycaon Painter in Bome, Vatican 522 (Hoppin, R. F. II, p. 164, No. 9) ; r. f. amphora by the Master of the Berlin Amphora in Bome, Vatican 490 (Hoppin, R. F. I, p. 73, No. 93) ; r. f. Nolan amphora by the Master of the Berlin Amphora, Brussels B307 (Hoppin, R. F. I, p. 59, No. 4) ; r. f. stamnus by Macron in Boston, 10. 177 (Ann. Rep. Mus. F. A. 1910, p. 62, and and a Studniczka, Jahrb. d. arch. Inst. XXVI (1911), p. 133); fragment of a r. f. loutrophorus by the Painter of the Brussels Oenochoe in New York, 07. 286. 70 (Hoppin, R. F. I, p. 104, No. 5). Class II: b. f. amphora in the British Museum (C. V. A. Brit. b. f. amphora from

r.

f.

the Hope Collection

cylix in Berlin

(

IIl

He, pi. 45, 7b); r. f. crater by Macron in Naples (Hop pin, R. F. II, p. 102, and Heydemann, p. 807, No. SA700) ; Nolan amphora in Naples, attributed to the Master of the Berlin Amphora (Hoppin, R. F. I, p. 71, No. 79, and Heydemann, p. 482, No. 3150) ; r. f. crater by the Pan Painter in New York, 10. 210. 14 (Hoppin, Mus.

/■

106

OLD AGE AMONG

The chiton

THE ANCIENT

aged figure is usually

and himation,

GREEKS

seated on an okladias, clad

while

his

white

tresses

in

a

fall on his

shoulders.

IV. A warrior taking

omens

in

the presence

of an old man.

These scenes occur on both black-figured and red-figured vases as well as on grave steles and reveal well the quiet, homeloving qualities of the Greeks. Often as for instance on a black-figured amphora in the British Museum (0. V.A. Brit. Mus. c, pi. 24, 1 a and 1 b) a bird flies near the face cf

Ill I

the warrior,

the personification

perhaps of his desire or of his

R. F. II, p. 316, No. 36) ; r. f. cylix attributed to Brygos in Rome, Vatican 576 (Hoppin, R. F. I, p. 139, No. 95); and r. f. stamnus in the Gallatin Collection (C. V. A. Gallatin Coll. Ic, pi. 14).

lll

III:

Class b. f. hydria in Cambridge, Fitzwilliam Museum H, V. two ; A. b. f. hydriae in Rome, 13, Cambridge, pi. (C. 2) He, pi. 55, 1, and Villa Giulia (cf. C. V. A. Villa Giulia, H e, pi. 2, 1 ) ; b. f . celebe in Bologna C. V. A. Villa Giulia, (Pellegrini, p. 21, No. 50) ; b. f. vase in Naples (Heydemann, p. 387, No. 2777) ; r. f. vase in Naples (Heydemann, p. 503, No. 3220) ; He, b. f. amphora in the British Museum (C. V. A. Brit. Mus. two b. f. hydriae in the British Museum (cf. C. V. A. pi. 68, He, pi. 93, 2, and C. V. A. Brit. Mus. He, pi. Brit. Mus. 82, 4) ; b. f. celebe in the British Museum (Walters, II, p. 204, No. B 360) ; two b. f. amphorae in the Louvre (cf. C. V. A. Louvre, He, pi. 27, 5) ; r. f. HI Ic, pi. 6, 7, and C. V. A. Louvre, stamnus by the Master of the Berlin Amphora in the Louvre (Pottier, Vas. Antiq. Louvre, II, p. 148, No. G 56, and Hoppin, R. F. I, p. 64, No. 38) ; b. f. amphora in Toronto, C 323 (Robinson, Harcum, and Iliffe, A Catalogue of the Greek Vases in the Royal Ontario Museum of Archaeology, Toronto, p. 131, No. 309, and pi. 44). A b. f. cylix in Toronto, C 950 (Robinson, Harcum, and Iliffe, pp. 276-77, No. 632, and pi. 103) may contain a scene of this type, but it is badly mutilated.

III

III

III

lll

la);

lll

lll

III

Class

III

IV:

H, pi. Brit. Mus.

b. f. amphora

IIl

(0. V. A. Copenhagen, British Museum (C. V.A.

in Copenhagen

102, 2a) ; b. f. amphora in the He, pi. 31, 4b) ; amphora

of Panathenaic shape in H, IV B, Cambridge, Fitzwilliam Museum (C. V. A. Cambridge, pi. 15, lb); and a r. f. amphora in the Louvre (C V. A. Louvre, Id, pi. 31).

III

III

OLD AGE

will

IN GEEEK

VASE

PAINTING

107

(
impatient

to arrive on the field of battle.

Often a libation

scene is connected.74

with Religion and Death

Scenes Connected

These reveal a father's devotion toward his family as well as his patriotism and pride in his son's achievements. The most frequently dead

represented scene of this type is that of the

warrior in which the old white-bearded, bald-headed old

On a man supported on his staff looks sadly at the bier.78 Berlin amphora (1888) appears a group of seven men singing around

a bier, the

third from the left being an old man. with his head in his hand 76 or

Sometimes he is seated

mourning over the in Naples (S A3)

stele of his son.77 a white-haired

On a red-figured vase old man sits on an altar

and holds a vase from which he appears to be making

an

offering.

Athletics Beazley 7' Cf.

"A

78

describes a prize

F. R. Taf.

Panathenaic

in Munich). in the Bibi. Nat. (C. V. A. Bibi. Nat.

52 (amphora

b. f. cantharus

amphora

from

III

He,

pi. 71, 9) is a good example. "As on the b. f. amphora

in the Scheurleer Mus. (C. V. A. He, pi. 3, 3). Scheurleer, Athens, Nat. Mus. 2021 (Fairbanks, Ath. White Lekythoi, II, p. The Acropolis Museum has a fragment of a vase with a fine 20). old bald-headed priest's head, which resembles that of Priam on the vase in Vienna, cf. Graef, Antike Vasen von der Akropolis, II, No. 336, pi. 24; cf. Beazley, V. A. p. 76, No. 71, where it is attributed to

"

III

the Cleophrades Painter. " Notes on the Vases in Castle Ashby," Papers Beazley, of the British School at Rome, XI (1929), pp. 12-14, Fig. 7. Beazley cites as a parallel a vase in Goluchow (Beazley, Vases in Poland, pi. 1 and

"

2) which represents a foot race Gerhard, Ant. Bildwerke, pis. 5-6) the Vatican with a youth's foot Beazley has decided that these all

for boys;

with

men

one in Berlin (1832: sprinting; and one in

race (Mus. Greg. 2, pi. 43, 1). reflect the influence of the Berlin Painter, and if not all by his own hand, at least the spirit, the taste, and the manner are his.

108

OLD AGE AMONG

THE ANCIENT

GREEKS

Vulci, now in Castle Ashby, dating about 480-70 B. C. and attributed to the Berlin Painter, on the reverse of which a foot race for men is represented. An old man who is taking part in the dolichodromos is the best preserved figure. He is striding along with chest out, arms doubled at his sides, using every particle of energy. Beazley remarks that the bald head is rather touching. His efforts do seem rather pathetic as he endeavors to keep up with his younger and more vigorous

His head is extremely bald in front with only a trifle of hair suggested around the edge of the remainder of the head. The projecting knee with two lines bounding the knee rivals.

cap is very prominent. Occasionally we find an example of an old man taking a quiet stroll, as for example on the red-figured vase in Copen hagen (125) of the ripe archaic period where the old man is out walking attended by a black boy 79 or the beautiful vase in New York (F. R. Taf. 93) representing a man with the

profile of a Semite clothed in an elaborately embroidered chiton, leaning upon a knotted cane, and quietly leading a dog or possibly a porcupine. Instead of taking an active part in athletics the man far advanced in years often appears as an interested spectator. On a black-figured

vase

in Berlin (Furtwangler,

I,

p. 205,

No.

He sits upon 1655) an old man is witnessing a horse race. the ground, bends forward the upper part of the body, and strikes his brow with his right hand in an attitude of forboding reminiscent of the old seer on the Olympian pediment. His nose is bent; his beard short and stubby. A long white chiton and red mantle with folds envelop the body. On the amphora in the British Museum (E277) by the Painter of the Boston Phiale an old man rests quietly on a staff watching Sometimes, as on a black-figured two warriors running.80

" Hoppin, *°

(E

Hoppin, 310)

R. F. I, p. 200. R. F. I, p. 85.

by

man watching

I,

p. 69.

the a.

A Nolan amphora in the Brit. Mus. Masteri of the Berlin Amphora represents an old young warrior pursuing a woman: Hoppin, R. F.

IN

OLD AGE

GREEK

VASE

amphora in the Oesterreichisches

No. 224),

he acts as peacemaker

PAINTING

Museum

in

Conversation

109

(Masner,

p.

25,

a duei.

Scenes

The large number of vases on which old men appear engaged in conversation is a testimony of the friendly, hos An old man in conversation pitable nature of the Greeks. with a youth is perhaps the most common type. On the reverse of a red-figured vase in Munich (2650) by the Foundry Painter 81 are represented a youth and old men in conversa tion. Some are seated; and some are standing. The seated men hold knotted sticks and support themselves upon them. The main scene deals with the making of the wooden horse.

A conversation

scene is often introduced

In

the British

to

fill

space or pro

Museum is a cylix

(E 75) 82 assigned by Beazley to the Briseis Painter representing an old man addressing a youth at the door. The eye is of the transitional type disclosing the inner angle. The old man duce

symmetry.

left hand on He wears the

right toward the talaric chiton with a band of

rests his

a staff, and extends his

door.

sleeveless

fringe around the hem, and a himation leaving the right arm free. The short, stubby beard is indicated by rows of short strokes in light brown, and he has a scanty fringe of short hair at the back of the head and around the ears. In the British Museum is a cylix of the fine style (Smith, III, p. 96, No. E72) representing a youth talking to an elderly figure who stretches out his forefinger in warning.88 Sometime he is watching some harmless sport in which the young are engaged and perhaps speaking a friendly word as on the London vase in the Collection of maeander and tasseled

8,

Beazley, V. A. p. 94 ; Hoppin, R. to the Diogenes Master). "Hoppin, R. F. I, p. 101; J. H. S.

(attributed

Murray, Designs, "Bologna has

a r. f. celebe

old man between

two youths.

29, No. 52;

F. I,

p. 458 ;

XXXIV

Hartwig,

p. 388

(1914), p. 194, n.

Hartwig, pi. 42, 2. (Pellegrini, p. 84, No.

216)

13 ;

with an

110

OLD AGE AMONG

THE ANCIENT GREEKS

Charles Ricketts and Charles Shannon where an old man is watching a boy playing with a hoop.84 Almost as frequently an aged man appears in conversation with a bearded man more nearly his own age. An excellent example of this type is the black-figured amphora in the Louvre (F 99) attributed to Nicosthenes 85 on which two aged seated men of distinguished

two bearded

The

appearance are conversing with men who are not quite so old and are standing.

faces are inexpressive ; the positions are stiff and angular.

One of the seated figures holds a staff, and has longer hair Another by Hartwig's Bald Head appears white.

which

Painter,86 or more probably by the Briseis Painter, is a cylix in the British Museum (E76) with an old man seated in

conversation with another man with whom he apparently does not agree. Since the main scene deals with Briseis it is possible that this conversation scene may be concerned with some episode in the councils of the Greeks. The short, stubby beard of the more elderly personage is indicated by rows of short strokes in light brown, and he has a scanty fringe of short hair at the back of the head around the ears. seated man wears a sleeved talaric

The

chiton, himation

over the

left shoulder, and a wreath, and rests his left arm on handled staff. The eyes have the pupil set against

a crutch-

angle. Conversation

the inner

in which a woman is included are British Museum is a red-figured hydria (E 211) on which an old man is holding a flower in his right hand and conversing with two women.87 All the figures are

numerous also.

scenes

In

the

"Hoppin, R. F. I, p. 102. "Hoppin, B. F. p. 296, No. 97; Pottier, B. 439-40,

Figs.

C.

H.

XVII

(1893), pp.

10-12.

"Hartwig, p. 426, pis. 41; 42, 1; Hoppin, R. F. I, p. 101; Murray Designs, p. 30, No. 53, pi. 14; Robert, A. Z. XXXIX (1881), p. 151. A cylix in Bryn Mawr (Hoppin, R. F. I, p. 101 ) resembles this, and is attributed to the same master. On a r. f. vase in Bologna (Pelle grini, p. 95, No. 239) there is an old man between two draped figures. Cf . a b. f. pyxis in Copenhagen [C. V. A. Copenhagen, H,

"

III

OLD AGE

In

Boston

IN GEEEK

PAINTING

111

beautiful stamnus red-figured an man of old representing quiet, (01.8031) distinguished bearing leaning back on a chair. He is clothed in a finely draped chiton and mantle ; his white hair is orna seated.

is

VASE

from Orvieto

a

8S

mented by a wreath; he holds a sceptre in the right hand. Three maidens hasten to him in a lively manner as if anxious to relate some extraordinary

incident.

The old man raises

his countenance to the speaker, but receives the news without A more famous vase is the cylix from Vulci by emotion. 89

in the British Museum (E 44) representing an The old man is stooping and holding out his hand to accompany with a gesture the words he is speaking. His head is bald and wrinkled in front, but he has black hair on the back part of the head. The upper part of Euphronius

old man and a hetaira.

the body is nude but the lower part is draped; a staff rests upon his left arm. The woman, as is indicated by the lyre in her possession, is a musician. Sometimes an old man is represented in a more hospitable attitude as he advances to receive his guests, as on the black -figured amphora in the British Museum (C.V.A. Brit. Mus. H e, pi. 33, 3b) where an aged figure advances, staff

III

in hand, to receive five persons. Libation scenes are closely connected with these. On a vase in the Acropolis Museum (Graef, I, p. 84, No. 681) an old man is advancing on a staff to a vessel into which wine is being poured. On a Nolan I, amphora in the Ashmolean Museum (C. V. A. Oxford, pi. 17, 3) a man of dignified appearance clad in the sleeved

III

pi. 120, 6 a) with a conversation scene between four men and two women; a pelice in Munich representing an old man (whom Furtwangler, Griechische Vasenmalerei, p. 139, calls an Attic burgher) conversing with two women. "Hoppin, R. F. II, p. 20; KSrte, A. Z. XXXVI (1878), p. 11I. F. R. Taf. 23 ; Hartwig, p. 444 ; Hoppin, R. F. I, p. 388 ; Murray,

"

Designs, p. 10, No. 27; Meier, A. Z. XLIII (1885), p. 185, n. 9; Perrot and Chip. X, pp. 425-27, Figs. 248-50; Studniczka, Jahrb. d. arch. Inst. II. (1887), p. 162, n. 122; Radford, J. H. S. XXXV (1915), p. 120. Cf. the old man and girl on the r. f. scyphus in the Oesterreich. Mus. (Masner, p. 48, No. 329).

/

112

OLD AGE AMONG

THE ANCIENT

GEEEK8

chiton and himation, and his head bound with a taenia, holds On a cylix in Tarquinia 91 (Mus. Tarquiniense, 6846) attributed to the Brygos Painter is a libation scene in which a white-haired old man is seated, a patera from

which he drinks.90

and a woman is standing before a pillar. In Munich (586) in chiton and mantle sits on an okladias with white

a man

cushions, and a cupbearer advances to him.92 Pedagogues

The old pedagogue plays a very important part in the redfigured style and in the Apulian style. On a Naples vase (Heydemann, pp. 94-97, No. 1769) representing the abduc hastens up in a frightened manner just as Laius lays his hand on the shoulder of the boy. He is clad in high boots (evSpo/u'&s), short chiton, tion of Chrysippus,

a white-haired

pedagogue

and mantle, wears the petasus, and holds a small crooked staff Vase No. 1757 in the Naples Mu

in his lowered left hand.

seum (Heydemann, pp. 79-81) perhaps represents the abduc tion of Adonis by Aphrodite. As the couple drive away on the chariot, beside the horses hastily appears a white-bearded, bald-headed pedagogue raising the right hand in a frightened

manner.

His garments

are

of the

same type as those

men

tioned above. No. 766 in the Naples Museum (Heydemann,

p.

31) shows a pedagogue walking with a sad, anxious expres sion, his brow furrowed with wrinkles. He is followed by a woman.

On No. 3218

Europa and the bull, and

An elderly

pp. 495-99) we have companions of Europa."

(Heydemann, several

stands by, thoughtfully supporting his chin and both hands on a long knotted stick. On another vase pedagogue

in the Naples Museum (Heydemann, representing

the funeral

pp. 584-91, No. 3255) a white-haired old

of Archemorus,

In the Louvre (C. V. A. Louvre, III I c, pi. 49, 4) is a man, per haps a king, sitting with a phiale, and a woman with a jar, by the Argus Painter. "Hartwig, p. 362; Hoppin, R. F. I, p. 129, No. 51. "Studniczka, Jahrb. d.arch. Inst. V (1890), p. 142; Karo, J. H. S. XIX (1899), p. 146; Athen. Mitt. XXXIII (1898), p. 60. •• Cf. Kinkel, Euripides und die bildende Kunst, p. 62. •0

OLD AGE

IN

GBEEK

VASE PAINTING

113

lady, a nurse, in chiton and mantle covering the back of the head, stands near the bier, while she lays her left hand on the breast of the dead youth and is about to decorate him with a wreath. Behind the bier the old white-haired pedagogue comes up hastily

with

sad, melancholy expression, carrying

a

The murder of the sons of lyre and crutch-handled cane.94 Medea is painted on a Nolan amphora in the Cabinet des Medailles (Jahn, A. Z. 1867, p. 60)." In the upper righthand corner the pedagogue

appears.

A more famous

vase is

in Munich (F. R. pi. 90) on which Creusa or Glauce has fallen across a chair, and an elderly male figure the great amphora

and an elderly woman, probably her father and mother, hasten toward her.88 To the left is the pedagogue and a female attendant. These vases are influenced by tragedy in which the pedagogue

is a stock character.

Comic Actors Individuality than in tragedy.

and variety

are

more necessary

The majority of dramatis

in comedy

personae

of com

edies are elderly, bald-pated, gray-bearded old men who reveal

This influence is traits both disagreeable and ridiculous. present in the late red-figured style and continues into the Italian wares. An Attic red-figured crater from the Hope Collection (Tillyard, p. 71, No. 121) represents two actors and two silens. M

Many other examples might be cited, but they belong chiefly to the Apulian style. A good example is that representing the death of Hippolytus (A. Z. XLI, 1883, Taf. 6). He is driving in a quad Behind comes a pedagogue who is quite bald, riga at full speed.

with a little white hair at the sides, and a white beard. He wears a yellow chlamys with broad purple border fastened by a fibula. Cf. Euripides, Hippol. V, 1173 ff. ; V, 1213 ft"., where the death of Hip polytus is described but no mention is made of the pedagogue. M Cf. also Huddilston, Gr. Trag. in the Light of Vase Painting, pp. 169-70; De Ridder, n, p. 519, No. 876, and Pig. 126. "Cf. Huddilston, op. cit. p. 145; Vogel, Seen. Eur. Trag. p. 151. Naples has a vase (Heydemann, p. 752, No. SA526) with a scene that is nearly identical except that the attendant is absent. 8

OLD AGE AMONG

114

THE ANCIENT

GREEKS

The first actor, a middle-aged bearded man, holds a torch. The second actor, who is very old, is smaller, beardless, and nearly bald, with a face of the negro type. He wears a skin fastened on the right shoulder and walks by the aid of a staff.

A silen tiptoes up and applies old actor.

a torch to the torch held by the

An old comic actor with bent

nose, pointed beard,

of his forehead bald appears on a vase in His dress consists (Heydemann, p. 605, No. 3368).

and the forepart

Naples of a close-fitting garment with sleeves and tight trousers He (dra£iipi'8es) over which a short narrow chiton is worn. also has the padded stomach (aw/jAnov) but is otherwise

thin

and withered.87 It may be that the bald-headed, snub-nosed man with thick stomach and sword-belt who has fled to an altar on a Naples red-figured vase (Heydemann,

from a comedy. SA368) represents appear to be more common in the Campanian a scene

p. 723,

No.

These types style than in

any other. Scenes of Revelry

for our purpose is the redin Madrid stamnus (Leroux, p. 82, No. 155) repre figured senting a procession and dance of old men.98 All are bearded The

best example of this type

and wear a peculiar plaited head-dress and rather effeminate The hair is twisted in a knot. plaited and striped chiton.

The beard and brown hair are indicated by diluted black. An old man is marching toward the right, holding in the left hand a parasol; he places a scyphus on the shoulder of the next man ; the second and third march in the same direction, both carrying parasols; the fourth raises both hands above his head and dances. On the reverse an old man is walking toward the right with a parasol over the left shoulder, holding a little osier basket by the handle; a second holds a parasol *7

Cf . the

scene

F. R. Taf. 110. " A vase in

on the vase

in Leningrad

( Ruvo

Jatta

Coli.

) ,

Rome, Castellani ( Hartwig, Taf. 29 ) by Hieron represents an analogous scene but there is only one man who could be classified as old.

Figure

0.

Procession of Old Men on a Cvlix in Boston. Hartwig,

Die

Oriechischen

Mciatcrschalcn,

pi.

40.

./

.'

:'<

:

:'

H

tn ID (

r,;

':: or

It

'.'

:>

"W-

"I

'

mi nia H: ''!!

ie] h-, '>.:

OLD AGE

IN

VASE PAINTING

GREEK

115

; the third has a parasol and a scyphus ; fourth turns around and raises his right hand. A cylix of Hieron formerly in the Van Branteghem collection,99 now in Boston, also represents a procession of old men. They all carry canes. The oldest man is very bent; his nose and chin are pointed and bony; his eyes look upward. He holds his staff as if it were a real support, and not simply an attri bute of old age. He wears a black-bordered, white garment with many folds, the ends of which are thrown over his left

and plays the eithara

the

arm.

Petersen (Jahrb. 1917, p. 137) interpreted the scene as the seizure of Salamis by Solon and his followers. Cf. our

Fig.

6.

The Louvre

(F

56) which furnishes an example of a marriage procession being led by an old man.100 There are various examples of old men returning from banquets to the sound of the double flute,101 or of old men conversing over their wine.102 Old komasts are

fairly frequent

It

has

a black-figured

amphora

also.108

has been noted that Hartwig104 has assigned several vases representing old men in conversation scenes or in scenes

of revelry to the Bald Head Master.

He

asserts

that the

frequent appearance of bald-headed figures gives this master an artistic individuality, and in default of other criterions may be taken as characteristic

of him.

He assigns to this

" Hartwig,

II,

100

p. 94, pi. 67 ; C. V.

Taf. 40; Hoppin, R. F. Pottier, Vas. Antiq. Louvre, II,

p. 46.

A. Louvre, pi. 29, 1. 101 A b. f. amphora in Rome, Villa Ginlia (C. V. A. Villa Giulia, He, pi. 2, 4) is an example. 108 Cf. the b. f. amphora in Berlin (1676) : Gerhard, A. V. Taf. 9. 108 Examples : Nolan amphora in Berlin (2086) by the Master of the Berlin Amphora: Hoppin, R. F. I, p. 68, No. 67; r. f. cylix in Boston (10.193) : Hoppin, R. F. II, p. 336 (attributed to Peithinus of the Euphronian cycle) ; Ann. Rep. Mus. F. A. 1910, p. 63; Hart wig, pp. 251-60, Taf. 26; Beazley, V. A. p. 98. 101 Paul Hartwig, Die griechischen Meisterschalen (Stuttgart and

III I d, III

Berlin, 1893).

pp. 421-43.

116

OLD AGE AMONG

THE ANCIENT GBEEKS

master a number of barbarian figures in Scythian occurring on a vase in Orvieto, Faina Collection

105

costume

(Hartwig, 39), who wear tight-fitting fur garments sprin kled with black dots (indicating gold) and trimmed with a Taf.

38 and

fringe, and carry knotted staffs (indicated by a zigzag pat tern in black and white) crowned with a knob of foliage. All the figures have long beards and scanty hair. He thinks that the artist must be a Greek who has gained a knowledge the Scythian customs, because bald heads are not charac

of

teristic of the Scythians, and he advances

the rather ridicu

lous hypothesis that this master must have been bald-headed since he paints bald-headed figures. He calls attention to the fact that the style resembles that of the Brygos Painter

in

outstretched hands and outspread fingers; the loose manner of treating the hair which is acquired by placing the

darker waves

or locks on a brown foundation; the intense

expression of the eyes; and the flat form of skull. The char acteristics of Macron are revealed in the well developed chin and the hanging underlip. Hartwig particularly emphasizes the manner of walking, or the manner of standing still, with the feet placed closely together, as characteristic of this master.

But he also attributes to the same master the vase in the British Museum representing a kindly, affable old man in a seated position with long flowing garments and a wreath, engaged in conversation with a standing figure of equally demeanor ; 109 the vase representing a man distinguished conversing with a youth in front of a door mentioned above (p. 109)

;

the

Van Branteghem

vase

in Boston representing

a

He is basing his assumption on Herodotus' description of the (IV, 23). As for the fur he explains that Herod. (IV, 109) describes the Scythians as being fond of hunting beavers and otters as well as scalping their enemies. Cf. also Athenaeus, IX, 410, for a Scythian hair cut. Scythians

"•Hartwig, E, F.

pi. 42,

I;

Gerhard,

Trinkschalen

und Gefasse,

Taf.

OLD AGE

IN

VASE PAINTING

GREEK

117

procession of old men ; and several others.107 Although the ex pression of the eyes is somewhat similar to those in Scythian and they all have a certain stiffness and severity, this may be attributed rather to the period in which these artists worked. The differences in treatment of drapery and in man costume,

nerisms, the drawing of the lower part of the face (the old man at the door has large square jaws ; the oldest man in the procession has a decidedly pointed profile), and even in the rendering of the bald head (the Scythians are either all bald or have tall caps; the others are bald only in front) are so great that it seems rather presumptuous to assume that they The Scythians also are from the hand of the same master.

The others all have long loophandled canes instead of the upright knotted cane. Some of these vases are assigned by Beazley to the Briseis master since

have a different type of cane.

the main scenes

in

life of Briseis and can

some instances represent episodes

the siege of

Troy.

be assigned to other painters,

whether there ever was such a painter

in the

Many of the other vases and it is very doubtful as

Hartwig

has created.

Miscellaneous

A Greek

in relief in the Cairo Museum (Edgar, Catalogue General des Antiquites Egyptiennes du Musbe du Caire: Greek Vases, p. 55, No. vase of red clay with

ornamentation

26279) represents a rather unique scene reminiscent of the daily life of the people so often seen in Hellenistic sculpture. An elderly man is carrying a pole over his left shoulder with a basket on one end;

three cords. (Masner,

It

p. 51,

on the other is a vessel suspended by

Vienna portraying

may be an old hawker or beggar.

No. 335)

has an interesting

an old fisherman with his son, catching fish.

vase

The fisherman

crouched position on a rock, in his left hand a basket, in his right a fishing rod on which he holds a fish high in the is in

a

air.

The old fisherman

107

may

wears

vases to this master and thinks there Beazley assigns many of these to the Briseis Painter.

Hartwig assigns fourteen be more.

a short mantle wound around

118

OLD AGE AMONG

THE ANCIENT GREEKS

the body. In general Greek fishermen had to be young and strong, cf. Radcliffe, Fishing from the Earliest Times, and

Butler, Sport in Classic Times, pp.

118-131.

Several vases show an old man leading a pig to the altar, probably for sacrifice. A red-figured cylix in Vienna (Masner, p. 40, No. 321) recalls the naturalness of the ancient art of the Corinthian animal bands and wild boar hunts.108

There

many examples of old men represented as spectators, whose characteristics are not definitely discernible from are

museum catalogs.

OLD WOMEN ON VASES Old women

Two have rarely represented on vases. — the old witchlike servant who conducts already been noticed Heracles to his music teacher, Linus, and the old woman who are

stands by the bier of the young Archemorus on a red-figured In Madrid is a red-figured cylix by Aeson vase in Naples. representing Theseus and the wild boar of Crommyon.109

The

nymph supports her left hand on a stick and stretches out the other imploringly toward Theseus. Her hair aged

her figure is stooped ; she wears a sleeved chiton with double black border on the side ; and her arms show traces of is white

;

The mother of Niobe is represented on a red-fig tattooing. ured vase (Heydemann, p. 558, No. 3246) in Naples, sitting at a distance from a temple toward which she turns her face and outstretched left hand.

in chiton, mantle, and

She is a white-haired old woman

shoes.

In

early art intercourse with the Orient and the introduc tion of articles bearing Oriental designs furnished a good basis for the representation of elderly personages of noble

A parallel to this vase may be found in the pelice in the Louvre (Pottier, Vas. Antiq. Louvre, III, p. 273, No. G477) by the Pan Painter. It is a good example of the severe r. f. style just on the 10*

point of merging into the fine style. 1M Leroux, Hoppin, R. F. I, p. 14; cf. Cecil p. 110, No. 196; (1881), pp. 57-64, and pi. 10; Elderkin, A. J. A. Smith, J. H. 8. XIV (1910), pp. 185-92; Bethe, Arch. Anz. VIII (1893), p. 8; Bethe, Ant. Denkmaler, II, pi. 1; cf. Plut. Theseus, IX.

II

OLD AGE

IN

GREEK

VASE

PAINTING

119

Elderly personages were introduced timidly into vase painting and it was not until the latter part of the blackfigured style that we see much interest in the direction of Little opportunity was rendering individual characteristics. afforded for the representation of aged persons until artists had learned to represent the human face in a greater variety of aspects, and until more was known of the anatomy of the human frame from a closer study of nature. The growing desire for originality is revealed in the treatment of the indi vidual locks of hair on the forehead. For the representation of aged, bald, or partially bald figures, dots of black paint were often added, giving the curls the appearance of low re lief, or the surface of the hair was covered with occasional dots of white. In the black-figured style monsters, half man and half beast, were given old age characteristics. The human figure when represented as aged was usually seated, clad in the long, flowing chiton, but with the increased interest in old age, representations the old man took an active part in almost all the episodes of human life. In the severe redrank.

style, especially about the year 480, we see a new impetus in this direction, and it is remarkable how many figured

painters — Euphronius, Macron, Douris, Pistoxenus, Nicosthenes, the Master of the Berlin Amphora, to famous

vase

mention only those of more pronounced activity —took up the representation of the hitherto almost unessayed old age type. The coming of Polygnotus too must have lent its influence,

for in

instances we have noted that gods or heroes were not given the features of old men until about this time. A comic element to some extent contingent upon their social several

rank runs through the members of the lower

classes of society,

such as slaves, flute-players, and hetairae, often making us smile by their lack of dignity. These classes attract the attention

of the ceramist before that of the sculptors

and

painters because the ceramist himself belongs to these classes and counts them among his clients. In the latter part of the fourth century and the third century the influence of the

120

OLD AGE AMONG

THE ANCIENT

GBEEKB

theatre brings in theatrical costumes and a tendency to ex aggeration and showiness, giving the artist an opportunity to display the traits of the old man in a burlesque light. Sculp ture is too severe and confined to reproduce the dramatic and pathetic with great success. The Greeks learned to represent old age before they learned to represent extreme youthfulness.

CHAPTER VIII DECORATIVE AND AECHITECTUEAL SCULPTURE OF EARLY TIMES Until the early part of the fifth century the Greeks con fined themselves quite closely to the representation of ideal and dignified conceptions. Human forms must be portrayed But before the at their best and most attractive stage. middle

of the fifth century

the idea of representing

aged

figures had spread to the extent that figures of this type appear on some of the most important buildings of the time. It must indeed have been considered an innovation to behold

of the temple of Zeus at Olympia, erected about 465 B. C, an old, bald-headed, wrinkled man of portrait-like features sitting by the side of Oenomaus and viewing with interest and foreboding the mythical chariot race about to take place between Pelops and Oenomaus for the possession of the latter's daughter.1 This old man is a The artist is ahead of his time in remarkable creation. on the east pediment

creating a conception which resembles later reliefs where this type of old man frequently reclines in a contemplative atti tude watching a scene* The rolls of fat beneath the chest contribute

to make him realistic.

The drapery which

The breasts

are exposed.

covers the lower part of the body follows

line with thick and somewhat meaningless has entirely broken away from the strict sym

a twisty snake-like

folds.3

It

metrical folds of the archaic period, but has not yet reached the point where the body can be felt through

the drapery,

nor is the texture of the drapery suggested. The artist has devoted his attention chiefly to the important task of render1

Buschor and Hamann, Olympia, pi. 23 ; Bninn-Bruckmann, pis. Cf. our Fig. 7. Waldstein, Essays on the Art of Pheidias, p. 426. Walston, Aleamenes, pp. 109-10.

449-50. * *

121

122

OLD AGE AMONG

THE ANCIENT

GREEKS

ing the human form, but has not yet mastered the difficult The shallow folds problem of combining it with drapery. of the drapery call to mind the early red-figured vase paint ings which survive as a reminiscence of the greater wall paintings of the first half of the fifth century B. C. The identity of the old man has always been a matter of Some have seen in him Myrtilus, the charioteer of dispute. Oenomaus. His high boots are the only thing that might cause him to be taken for a driver; but it is not at all likely that a charioteer would be represented as an aged, inactive man of quiet, pensive mien, resting his head upon his hand. 4

describes the sculptured group and appears to con jecture that the old man is a groom, but this interpretation is likewise inapplicable. It is more likely that he is a seer

Pausanias

as Walston

' and others

—a

who according to His attitude is poetry and legend looked into the future. akin to that of the old men whom we have seen on vases con believe

seer

sulting omens to determine the issue of battle. His eyes mingled with terror as he sees swift destruction coming upon his master although he is incapable of preventing it. Two old women recline next to the end figures on the west

seem expressive of sad foreboding

pediment, but these appear to betray the technique of a later The upper eyelid overlaps the under at the corner age.8 instead of meeting it at an angle as in the other figures ; the old woman on the south end is modelled from Pentelic marble the wedge-shaped bed on which she rests is Parian. is likely that these are intended to characterize barbarian

while

It

or perhaps they are servants of the bride. Walston 7 has noted that the three ages are portrayed on this pediment, slaves,

though

it

does not appear that this factor

artistic consciousness of the artist.

In

entered into the

the center are the

4

Paus. V, 10, 6. •Walston, Alcamenes, p. 103; cf. Gisela M. Richter, ture and Sculptors of the Greeks, pp. 123-4, 237-8. * Cf. A. W. Lawrence, Classical Sculpture, p. 170. * Walston, Alcamenes, p. 141.

The Sculp

FlOl'RE

7.

Old Seek on the Olympian Pediment. Biwchor :ind Hamaun, Olympia, pi. iA.

Panathenaic

8.

Procession on the Parthenon

Fougtrca,

L'Aeropole, Le Parthhum,

pi.

Frieze.

125.

(-.

FlOurE

DECORATIVE

AND ARCHITECTURAL

SCULPTURE

123

more youthful heads of Apollo and Theseus; then the more mature features of one of the women from the left angle of the pediment;

and lastly we come to the aged female figures

at either angle.

The

best preserved figure gives expression

to profound grief as she tears her hair with her hand.8 They have wrinkles, tumbled hair, and plain garments; the folds of the skin and the agonized expression indicate eye is no longer the conventional

The

age.

almond shape, but has ex

Much realism is portrayed on the east pedi The faces of the old women ment, but more on the west. seem so strange and so unlike our preconceived ideas of what the Greeks did during this age, even though the old seer affords a starting point in this direction, that it is possible

pressive curves.

that these figures may have been introduced

a century or so

later, when art was leaning toward a representation of pathos and anxiety, to take the place of earlier figures. At any rate

it

creates an interesting problem. The old seer represents at its best a new phase of interest springing into existence in the larger works of art, and the Olympian pediments fill up

in the history of Greek sculpture just before it reached its prime in the age of Pheidias. On that supreme example of Athenian architecture, the Parthenon, erected 447-432 B. C, a growing interest in old a gap

is again evident. In the Panathenaic proces sion old men, young men, women, and young girls are repre

age portrayal sented. heroes

On the

side among the group of eponymous is an example of extreme senility— an old man bent east

if

he were almost a paralytic.8 The upper part of the body seems to be held up only by means of a staff which props the right shoulder. The right knee is bent over the left

over as

The leg and thus reveals an element of physical weakness. eyes have lost their brightness; the mouth is slightly open as if walking were an effort. With a right hand, which is

' Buschor •

and Hamaira, Olympia, pis. 37, 76, and 77. Le Parthenon, pis. 119 and 125.

Fougftres, L'Aoropole,

Fig.

8.

0,1.

our

OLD AGE AMONG

124

THE ANCIENT

GREEKS

apparently strong, he grasps the staff; with the left hand he The folds of the drapery are firm and fingers his drapery. sharp, directed by the changing curves of the body. The of the texture of the drapery, which has begun to The be a leading feature of Greek art, is already visible. increases the left shoulder of the over the drapery throwing indication

The hair is treated in waves of expression of weakness. rather short single locks which hang slightly down the nape of the neck. The beard is rather long; and the nose is The man at his right is rather old, but might be five years younger than his comrade. His right arm leans on the shoulder of a younger person; with the left he holds his staff and looks directly at the older man. The upper part of the body is nude ; the lower part is draped. The treat ment of hair is the same as in the case of the other. The second figure beyond this to the left is quite bent over, though more robust than the first mentioned. The face is damaged flattened.

so that the features are not so readily distinguishable,

appears to have a surly expression.

A

but he

cane which he is not

holding in his hand supports his left side. It appears that he is resting for a minute as he allows the cane to lean against his arm. The drapery is held in the left hand ; the other arm is nude and hangs freely at his side. On the first frieze of the richly adorned Ionic structure called the Nereid Monument discovered by Sir Charles Fel lows at Xanthus in Lycia dating from the latter part of the fifth century10 is represented a nude young Greek with greaves and shield seizing a horse,

in the

presence of a bearded

elderly figure with bare head.11 At the right a bearded Greek peltast stands over an elderly bearded barbarian, probably the dismounted rider. The Greek has thrust him through the head

with his

"The erally 11

spear.

The barbarian is not yet

date fixed by Furtwangler (4. Z.

XL,

dead but raises

1882, p. 359) is gen

accepted.

Brunn-Bruckmann,

Brit. Mus.

II,

pi. 217; A. H. Smith, Cat. Sculpture

p. 13, No. 854.

in

the

DECORATIVE

AND AECHITECTUEAL

SCULPTUBE

125

The second frieze his body and crosses his legs convulsively. appears to be a historical scene representing the siege and capture of a city.12 In the scene of capitulation the central figure is an Eastern ruler in Persian costume seated on a kind of throne with lion's legs and a footstool. He is a weak old king who needs protection from the rays of the sun, for an attendant stands behind him holding an umbrella over him. He is approached by two dignified elderly men who are representatives of the city. They are in civil costume and raise their right hands in salutation or entreaty. On the fourth frieze on which a banquet scene is represented, a dignified bearded figure is reclining and an elderly man stands near the head of the couch and speaks in his ear.18 Attendants

stand around and a dog lies beneath the couch

in the usual type of sepulchral relief. Another magnificent Lycian monument which indicates so well the spread of Attic art is the splendid heroum of Gjolbaschi discovered by J. A. Schonborn dating from the second half of the fifth century. It shows the influence of the Ionic painters on sculpture, and we see carved in stone many myths recorded by the Homeric poets, known hereto fore only through vase paintings. The third frieze repre as

senting the walls and ramparts of a besieged city resembles the second frieze of the Nereid Monument. Behind the ram parts is a warrior, perhaps Hector, and near him a man At the right is an aged king, perhaps Priam, sacrificing.14 a lion or panther at his Near him feet. a servant holds a parasol over sleeping his head as on the Nereid frieze. On the opposite side is a seated on a throne, supported on his sceptre,

" Brunn-Bruckmann,

pi. 217; A. H. Smith, Cat. Sculpture in the Sculptured Tombs of Hellas, p. 218; in general cf. Lawrence, CI. Sculpture, pp. 232-3; Richter, The Sculpture and, Sculptors of the Greeks, pp. 102-3; p.

Brit. Mus.

Ill;

II,

p. 131.

"A.

p. 24, No. 879; Percy Gardner,

H. Smith, Cat. Sculpture in the Brit. Mus. II, p. 31, No. 903. Brunn-Bruckmann, pi. 486 ; Benndorf -Niemann, Das HeroSn von Gjolbaschi-Trysa, p. 59, pi. 22. 14

126

OLD AGE AMONG

THE ANCIENT

GREEKS

woman described by Benndorf -Niemann 15 as Helen, but since she is seated on a higher throne it seems more probable that she is a goddess.18

The warriors who

press

around indicate

the warlike

nature of the scene. There are examples of old age portrayal of an earlier date, On the north but they are perhaps of lesser importance. frieze of the so-called Harpy Tomb dating from the latter part of the sixth century a young warrior is offering a helmet to a seated old man. On the east frieze a boy appears to be offering a cock to an old man seated on a throne holding a

This monument dates before the time when artists learning to represent the distinguishing characteristics

flower.17 were

of old age. Hence this aged figure may be simply one of the deities of the Lower World. These sculptured family tombs

furnish evidence of the extent and quality of the art in Lycia during this age, and reveal the same trend toward the de velopment of old age representations as began to appear in Greece in the earlier part of the fourth decade of the fifth century.

Old

age is represented on sculptured reliefs even before the

representation of this type of figure had made sufficient head way to be included in the larger works of art. On one side of the Boston counterpart of the Ludovisi Altar in Rome is an old barefoot woman clad in a sleeveless

Doric chiton

seated on the ground clasping an object which has been chiselled away.18 According to Studniczka 19 the old woman is the nurse of Myrrha, the mother of Adonis, but it seems

" Op.

tit.

p. 145.

"Miss Mitchell (Hist, that it is a goddess.

"

of Anc. Sculpture,

p.

414)

believes

also

Brunn-Bruckmann, pi. 146 ; S. Reinach, Repertoire, de Reliefs Grecs et Romains, I, pp. 470-1. 18 George H. Chase, Greek and Roman Sculpture in American Col lections, p. 50; Cat. Museum of Fine Arts, Boston, p. 42, No. 17; " Le deuxieme ' trone Ludovisi ' au Musee de Boston," S. Reinach, (1910), R. A. XVI pp. 338-40, Fig. 2. Cf. our Pig. 9. F. Studniczka, " Das Gegenstttck der Ludovisischen Thronlehne," Jahrb. d.arch. Inst. XXVI (1911), pp. 50-192, Taf. 1.

"

Old Woman

on

i).

Ficiiii:

the Boston Counterpart Photo, The Boston

Museum

of the Lunovisi Altar.

of Fine Arts.

A

DECORATIVE

AND ARCHITECTURAL

8CULPTURE

127

more likely that these reliefs are intended to represent the whole of

life: birth, marriage, and

In

Fate.20

the middle

of the part in Boston is a winged figure supposed to be Eros or Fate; on either side are figures being weighed in balances to decide the young lady's destiny. Along the sides are a nude male figure playing the lyre and an old lady. It is a remark able picture of old age for the period (480-470 B. C.) just preceding the temple of Zeus and may be regarded as analo gous to that. The profile of the old woman reveals a hooked

; the lips suggest toothless gums ; the cheeks are slightly sunken; the chin sags; and the bones of the shoulder almost show through the wasted flesh. The hair is bobbed, and

nose

treated in rather severe straight waves. It is a picture of respectable old age, not the courtesan type, and the bobbed

hair may

be taken as a sign of mourning.

Another point to

be noted is that the old woman is not only represented as old

but as belonging to a humble station, and in this respect serves as a precursor of the Hellenistic age, a century and a half away.

These reliefs which Mrs. Hawes

21

thinks formed the

and adjoining pieces of a couch altar made for the sanctuary of the Lycomids at Phlya in Attica bring vividly ends

before us the successful struggle which the sculptors of the transitional age were making toward a more truthful ren dering of nature. A recent acquisition

of the Metropolitan Museum in the form of a so-called Melian relief in terra-cotta belonging to the first half of the fifth century portrays the whole epic of the return of Odysseus." The hero who is scantily clothed

"Of. Gisela M. A. Richter, "The Subject of the Ludovisi and Boston Reliefs," J. H. S. XL (1920), pp. 113-21; cf. L. D. Caskey, A. J. A. XXII (1918), pp. 101-45. Harriet B. Hawes, " Ludovisi Throne and Boston Relief," A. A. XXVI (1922), pp. 278-306, pi. 3. For other references cf. Caskey, Cot. of Greek and Roman Sculpture t» the Museum of Fine Arts

"

(Boston), No. 17. " Bulletin of the Metropolitan Museum of Art, Cf. also Jacobsthal, Die Melischen Reliefs, 279-80. pi. 50 and p. 219. Cf. our Fig. 10.

J.

1930,

pp.

67, No.

88,

Dec. p.

.

128

OLD AGE AMONG

in the guise of

THE ANCIENT

GREEKS

hand of Penelope who sits with bowed head in an attitude of Behind her are Telemachus and the herdsman mourning. Eumaeus, while in the background stands the aged Laertes, a beggar leans on his stick and grasps the

himself

supporting

on his stick, and gazing upon the scene

in

the quiet, detached way of the aged. On the shield of Athena Parthenos was sculptured in relief a battle of Greeks and Amazons. One of the Greeks is a

nude, bald-headed old man, wielding a battle axe." Another beside him has his arm raised to strike, concealing his face.

Plutarch the

24

records that Pheidias

shield portraits

of himself

was accused

of placing on old man,

as a bald-headed

and of Pericles with his arm raised to conceal his face. Since no bald-headed Greek was introduced in existing representa tions of the battle of the Greeks and Amazons, it is likely that the idea was due to the ingenuity of the artist, to his desire for experimentation, the growing

as

it were, influenced perhaps by

sentiment in that direction

although he himself

preferred the other type. In the later period of Greek art occur more examples of reliefs large enough to have served possibly to ornament some and these may also be considered under decora tive sculpture. On a late Greek votive relief to Artemis structure,

Bendis in the British Museum

train of figures led by two The elderly bearded men is approaching a female deity.25 men are draped in mantles, which leave the right arm and shoulder bare, and the foremost carries a torch used in con nection with the worship of this goddess. A late relief of Parian marble in the Towneley Collection in the British Museum represents the visit of Priam to

" A.

S.

Murray,

The

a

Sculptures

of the Parthenon, pi. 136; Collignon,

Le Parthenon, thenon, pi. 22. Plut. Pericles, 31, 27-42. A. H. Smith, Cat. of Sculpture in the Brit. Mus. 2155; C. Smith, CI. Rev. XIII (1899), p. 230. Fougferes,

" "

L'Acropole,

Ill,

p.

138 ;

he Par

p. 226, No.

Figure

10.

Return of Odysseus on a Terra-Cotta Metropolitan Museum. Photo, The Metropolitan Museum

Relief in the

of Art.

—— .

*»

DECORATIVE

AND ARCHITECTURAL

SCULPTURE

Priam

clothed in trousers,

sleeved

Achilles.24

Phrygian

cap approaches the seated

supplicatory

attitude.

In

129

and

tunic,

figure of Achilles in

the Boston

Museum

a

is a relief

representing the death of Priam at the capture of Troy.27 The old man with downcast face and white hair is seated on slab and Neoptolemus is pulling him to the left Priam extends his right arm frantically. Since this was

a stone

as a

favorite

subject among painters and vase painters of the it is possible that a painting served as a model. The fifth century origin of this Graeco-Roman work is re

great age vealed

in the treatment of drapery and the comparatively

calm and inexpressive faces. The Greeks had struggled

with the old

age type

in

Triton, " the

an

effort to represent Heracles contending with old man of the sea", on an early pediment from the acropolis, but without marked success. We have traced their develop ment in this direction

in

the

architectural

and decorative

sculpture of the sixth and fifth centuries and are now ready to take up the sculpture of the fourth and third centuries in which the interest in old age portrayal burst into full bloom.

"A.

H. Smith, Cat. of Sculpture

in the Brit. Mus.

lll,

p. 271,

No. 2217. *7

George H. Chase,

9

Cat. of Sculpture in American Coll. p. 149.

CHAPTER IX THE PORTRAYAL OF OLD AGE IN THE STATUARY OF THE FIFTH AND FOUKTH CENTURIES AND OF THE HELLENISTIC AGE

It

was not

until about

480 or 470

B. C. that

an adequate

naturalistic treatment of all elements combined to estab lish the old age type. As long as art was bound up with religion the artist was concerned with the representation of the young but mature figure, but as soon as the old faith gradually to decompose and the restraining influence of classical religious art was on the wane, art made new con began

The tendency corresponding to idealism is prior to that of realism. Polyclitus who was so directly concerned with the classical type was criticized by Quintilian for limit ing his subjects to the representation of youthful figures and avoiding the stronger characterization of advanced age.1 The fifth century was a transitional period preparatory to the full establishment of the old age type. At the end of the fifth century Greek art was changing from the typically beauti ful to the individually characteristic. As the glorious art of the fifth century could no longer endure under changed con ditions it gave way to that of the fourth century which was concerned with pathos. Then in the last epoch of Greek art, quests.

created

under the influence of Alexander the Great and last

ing from his death in

323

B. C. to the rise of the Roman

dominion in Greece in 146 B.

C,

sculpture lost its old ideals with the decline of the intellectual and artistic activity of

Athens, and in spite of the persistence of the fondness for the human figure there was a weakening of the passion for beauty and the idealizing tendency. The striving for new effects, the 1Quint. Inst. Orat. 12, 10, 8: Quin aetatem dicitur refagisse nihil ausus ultra levea genas. 130

quoque

graviarem

OLD AGE

giving up of much of

IN STATUAKY

the restraint so marked

131

in

the sculpture

of the great period furthered by the continuation of the in tensity and emotional qualities of Scopas produced figures which were the opposite of the calm and dignified types of the Periclean

In

age.

the Hellenistic age was created a stronger impulse to Theatres, libraries, and other public build ings were decorated with statues, usually imaginary, of men of former greatness. The great works of art brought home ward portraiture.

from Greece in 146 B. C. opened the eyes of the Romans to the wealth of the Greeks in work of this kind and created a demand for great statues. The tendency toward greater realism and a more exact expression of individual traits be came stronger after the Roman conquest, and in portrait statues

and busts the Romans found

field of endeavor.

In

some of the portraits

a

particularly promising

the next few pages we shall review and

of aged Greek poets, historians,

philosophers.

Homer

In numerous Roman

copies there exists an important work which on account of the indication of of Hellenistic times

the aged appearance, and especially the expres come to be associated with the name sion of poetic vision has Older portraits emphasize the venerability of the of Homer. blindness,

with long flowing beard and slightly wavy hair. Blindness is indicated by lowering the lids over the eyes, thus producing a solemn tranquil face with broad simple The first is lines. There are two distinct types of Homer. 2 in which blindness is best represented by a head in Munich indicated by the closed eyelids. This type goes back to The second type which exists in numerous the fifth century. aged poet

Furtwftngler, Beschreibung der Glyptothek, I, p. Gr. Ikon. I, 19; Bernoulli, Jahrb. d. arch. Inst. XI Robert, Hermes, XXXV (1900), p. 656; H. Magnus, Homer, p. 13. A head of this type has been found Athenian agora. *

273; Bernoulli, (1896), p. 169; Ant. BUsten des recently in the

OLD AGE AMONG

132

THE ANCIENT

GREEKS

replicas which vary only a little in treatment of details prob ably goes back to a common original of the Hellenistic period.

A peculiar modelling of the ball is small

eyes indicates blindness.

The

and placed deep in the sunken sockets,

eye

thus

giving a vacant look. In Boston 8 is a bust of heroic size with the neck bent forward to give an indication of senility. The front of the skull is nearly bald except for a small tuft of hair above the middle of the forehead. The lines and fur rows in the forehead, the sunken cheeks, and the sinews showing through the wrinkled skin of the neck are carved with the utmost realism. In the head, however, is no indica tion of senility,

but rather a great intellectual

force, and a

The Boston head re sentiment of nobility and mildness. most closely those in the Louvre 4 and in Schwerin.6

sembles

In

the Schwerin bust the vertical wrinkles over the nose are

very conspicuous.

The Louvre

head

shows

indications

of

The cheeks and eyes are deeply sunken and great senility. deep age marks are visible around the eyes. The head of the terminal bust of Homer in the British Museum is that of a man of advanced age with deeply wrinkled face.9 In Ince Blundell Hall is a herm of Homer which is more aged-look ing than the usual type, with bony nose, two horizontal wrinkles in the brow, and several under the eyes.7 Another

British Museum copy reveals strongly contracted eyebrows and slightly parted lips.8 The example in the National * Cot. Boston Museum, p. 115; American Coll. p. 132, Fig. 164.

Chase,

Gr. and Rom. Sculpt,

in

4 Arndt-Bruckmann, pi. 1011; Bernoulli, Gr. Ikon. I, p. 8; Hekler, Die Bildniskunst der Griechen und Romer, pi. 117. » Furtwangler, Gr. and Rom. Sculpt, p. 225, Fig. 72 ; Arndt-Bruck mann, pi. 1017.

III, p. 130, No. 1826. Ashmole, Cat. of the Anc. Marbles at Ince Blundell Hall, p. 50, No. 115, pi. 29; Poulsen, Gr. and Rom. Portraits in English Country Houses, p. 19. •A. H. Smith, Cat. of Sculpture,

7

Bernard

•A. H. Smith, Cat. of Sculpture, Jahrb. d. arch. Inst. XI (1896), p.

I,

p. 8.

III,

p. 129, No. 1825;

161, No. 13;

Bernoulli,

Bernoulli, Gr. Ikon.

<

P

O

X

0

X

c

E

OLD AGE

Museum

at Naples

9

bears

IN STATUABY

133

a rather

pathological expression of long suffering. The corners of the mouth are drawn down and we find wrinkles

with lines that may

be indicative

The very sparse hair gives an impression of baldness. In Wilton House is a head much injured and retouched, identified by Bernoulli 10 as 11 in going back Pythagoras, but Poulsen agrees with Lippold to the old explanation supported by the coins of Amastris in The head Paphlagonia which suggests that it is Homer. of Homer in the Prado has only a few lines on the forehead in comparison with the others.12 The herm in the Capitoline on the chin, which is rather unusual.

Museum,

although somewhat sunken around the eyes, has a

A marble relief in younger appearance in other respects.18 the British Museum resembling landscape painting and done by Archelaus of Priene is interesting because of the subject and because

it is

one of the few allegorical

that classic art has left us.

In

representations the lowest row at the left is

Homer throned on Mt. Parnassus receiving the adoration of

spirits of Time, Humanity, and numerous others." The flame is kindled by History, behind whom come the

the

altar

of Poetry, Tragedy, Comedy, and Nature. The type employed for the representation of Homer in Greek sculpture is naturally an ideal conception whose best examples personifications

originated in the Alexandrian age. The praises of his divine nature and intellectual excellence are so well known as to •

pi. 1019. Cf. our Fig. 11. Poulsen, Gr. and Rom. Portraits in English Country Houses, p. 45, No. 18; Michaelis, Ancient Marbles in Great Britain, p. 680, No. 46. Arndt-Bruckmann,

10

"Lippold, RSm. Mitt. XXXIII (1918), p. 11. For a bust of Homer in Copenhagen which also belongs to the type of the Amastris coins, and represents Homer in a less idealized manner with deep across the forehead, cf. Poulsen, From the Collections of 1931, pp. 93-94, and Fig. 73. 18 Arndt-Bruckmann, pi. 1015. 18 Arndt-Bruckmann, pi. 1013. 14 Smith, Catalogue of Sculpture in the British Museum, III, pp. 244-54, No. 2191 ; Brunn-Bruckmann, pi. 50.

wrinkles the

Ny Carlsberg Glyptothek,

OLD AGE AMONG

134

THE ANCIENT

GBEEKS

become proverbial.15 It is customary to honor like a god the most famous, the oldest, and most experienced, and Homer He is a citizen of the eclipses all other poets in this respect.

world to whom all reach out their hands. Pliny 18 mentions the case of Homer as one of those in which a longing fancy supplies the portrait that has not been handed down.

Anacreon Anacreon was a cheerful old man who in spite of whitened hair did not refrain from love and wine. So he is con

formerly in the Villa Borghese and now in Copenhagen.17 In the left hand he holds a lyre whose strings he is in the act of touching; with the right hand he holds a plectrum. The arm follows the expressive inclination of the head as in statues of Apollo as a musician. A corner of the garment is thrown over the left shoulder and hangs down the back so that it does not hinder the movement of the arm. In the standing statue in Copenhagen he is making gestures with the left hand, and appears about to execute a ceived

in the

seated statue

Anacreon reached the great age of eighty-five step.18 according to Lucian,1' but he appears to have re mained a man of personal charm and to have soothed his age with wine and song. dancing

years,

Aeschylus

The Capitoline possesses a statue of a man of advanced years with high bald head, contracted brows appearMuseum

18

Of all the encomiums on Homer that of Aristotle (Poetics, 24, Besides other merits he attri 47-55) is perhaps the most striking. butes to Homer the quality of being the only poet who recognizes what part he should take himself. He says as little as possible in his own person, but his characters say much. "Pliny, N. H. XXXV, 9. " Brunn-Bruckmann, pi. 477 ; Bernoulli, I, p. 79. "Bernoulli, I, pi. 9; Brunn-Bruckmann, pi. 426; A. Z. XLII (1884), pi. Lucian,

"

11.

ifacrob.

26.

OLD AGE

IN STATUAEY

135

ing to reveal

a peculiar bony formation, and long beard, the strands of which curl at the tips.20 This was long identified as a statue of Aeschylus,

chiefly on account of the baldness, for a familiar legend records that an eagle who was carrying a tortoise in its claws let it fall on the bald head of Aeschylus, Studniczka,23 however, has discredited shattering his skull.21 this statue as a portrait of the tragedian ; and Bernoulli 28 is

think Pheidias is represented. That Aeschylus almost a blank in Greek portraiture when his Plu portraits were very famous in antiquity is peculiar. tarch 24 refers to a statue set up by Lycurgus in the Stoa Poikile where he appeared as one of the warriors of Mara thon. Pausanias 26 in describing the statues of the three dramatists in the theatre mentions Aeschylus apart from the other two, from which the inference may be drawn that in inclined

has

to

become

the original statue had been replaced by another of a different style which he did not group with Studniczka 26 sug the Lycurgan Sophocles and Euripides. the time of Pausanias

that in the statue in the Vatican holding a scroll and mask we may have a copy of the Lycurgan Aeschylus. The tragic mask may be an acknowledgment of the part he played gests

in the development

of

stage

replica27 is perhaps the best.

The Florentine The head is long in proporproperties.

»0 Arndt-Bruckmann, pi. 111. Cf. our Fig. 12. "Sotades as cited by Stobaeus, 38, 9; Val. Max. N. H. X, 3. "Studniczka, Neue Jahrbiicher fiir das kl. Alt.

166-76.

" Bernoulli,

Gr. Ikon.

I,

p. 103;

Jahrb.

d. arch.

IX,

IIl

12;

Pliny,

(1900),

pp.

Inst. V (1890), p.

162.

"Plut. Vit. X

"

"

Orat., Lyourg. Paus. I, 21, 1-2. Studniczka, loo. ext.

"J.

11.

H. 8. XXIV (1904), pl. 2; cf. also Miss McDowall's discus sion of the portraits of Aeschylus, pp. 81-98; and Poulsen, From the Collections of the Ny Carlsberg Glyptothek, p. 66, Fig. 50, for a bust of Aeschylus in Naples, in which he is represented as a man on the threshold of old age.

136

OLD AGE AMONG

THE ANCIENT

GBEEKS

tion to its breadth and the high forehead is especially con The hair lies in short thick locks over the head spicuous.

with no trace of thinness except around the temples. Both the hair of the head and that of the chin show a decided

In the best copies the brow is traversed two and furrows, by deep lines run down from the nostrils around the lower part of the face. The bearded head crowned trend toward the left.

It probably is not than the middle of the fifth century when portraits type began to be made, and the style points rather fourth century. Since the other great tragic poets are by a

fillet must

be that of a poet.

earlier

of this to the identi

fied with a fair degree of certainty it appears more than probable that this is Aeschylus. Direct allusions to the poet's personal appearance are practically lacking, except for the tradition of baldness, and that need not necessarily point to the fact that this was a characteristic throughout life. In 28

the Frogs,

6pyr)

Aeschylus.

The knit brow, the

in

is given

one

of the characteristics of

eager eyes, the irascible mouth

spirit. The story that wrote while drunk, thus accounting for the frenzied energy

these copies proclaim

he

as

a man of this

of his plays, is told by Plutarch.29 Aristophanes 80 refers to his habit of bending his head downward. The epitaph on himself speaks not of his tragedies but of his part in the battle of Marathon.81

Aeschylus must have reached the age of about

sixty-nine years.82 Sophocles

Although Sophocles attained the he is usually

age of ninety

or more

88

represented as a man in the prime of life and

" Aristophanes,

Frogs, 844 ; 1006-8. 81 Anth. VII, 10, 2. Conv. Pal. II, 17. Quaest. 88 *0 Suidas, s. v. AfXot. Aristophanes, Frogs, 804. 88 From antiquity is preserved a sketch by Aristoxenus called the X<xpoK\tovs plot (Christ-Schmid, Geschichte der griechischen IAttera-

" Plut.

tur,' p. 309) and according to Suidas («. v. Xo<poK\ijs) Philochorus wrote a work in 5 vols, entitled ntpl t&v 2o<poK\tovt uvSuv which gives him a life of about ninety years. Lucian [Macrob. 24) lets him live to the age of ninety-five. The statement that he choked on a grapestone is more frequently associated with Anacreon.

.J

IN STATUABY

137

not indifferent to his personal appearance.

The statue in the

OLD AGE

Vatican

84

represents a standing figure in a short-sleeved chiton and himation covering the lower part of the body and the

left

side, the end of which is thrown over the shoulder and

hangs down the back. The foot which is slightly advanced is clad in a dainty boot with leather strap about the ankle, and a fillet encircles the proud head.85 The Lateran Sophocles perfect man of spiritually high In almost all the heads standing, and firm, quiet attitude.86

also reveals a beautiful-bodied,

Sophocles has curly hair and his arm is veiled by the mantle. The slightly bent nose, the downward projection of the moustache, the oval proportion of the head are also common features. The statue in the Capitoline Museum is that of a man of intense expression and more aged appearance.87 In Ince Blundell Hall is a head of Sophocles represented as an old man.88

The head is slightly lowered

as

if in

an attitude

of deep thought, but the eyes are raised as if in inquiry. Both horizontal and vertical wrinkles appear on the forehead. The head is bound with a fillet, and the hair and beard are

in the style of Hadrian's day. The British Museum has a copy representing Sophocles with very sunken cheeks and Another copy in the British deep lines about the mouth.88 Museum (of bronze) shows two prominent wrinkles in the brow.40 The Berlin statue is a coarse, badly mutilated work

" Arndt-Bruckmann, I,

pi. 983 ; Amelung, Die Sculpturen des Vatip. 104, No. 89, and pi. 15 ; Bernoulli, I, p. 130,

canischen Museums, No. 13. "An anonymous poet (Paton, III, 20) refers to Sophocles as the flower of poets, crowned with the purple clusters of Bacchus. "Arndt-Bruckmann, pi. 113; Anton Springer, Kunstgeschichte, No. 653; Benndorf und Schone, Die antiken Bildwerke des Lateranensischen Museums, p. 153, No. 237, Taf. 24; Reinach (J. H. 8. XLII, 1922, pp. 50-69) maintains that this is a statue of Solon; p. 348,

J. H. 8. XLIV, 1924, pp. 281-85. "Arndt-Bruckmann, pi. 987; Bernoulli, I, p. 129 (2)

cf. Studniczka,

; Cat. Museo Capitolino, p. 307, No. 67. Bernard Ashmole, Cat. of the Anc. Marbles at Ince Blundell Hall, p. 77, No. 208, pi. 29. Arndt-Bruckmann, "Arndt-Bruckmann, pi. 989. pi. 981.

"

"

138

OLD AGE AMONG

THE ANCIENT

with the hair brought forward over the tute almost a horizontal

GREEKS

face so as to consti

roll,41 thus producing

the effect of

severity.

Euripides The finest of numerous statues of Euripides is that in the National Museum in Naples where he is represented as a man of advanced years, almost on the threshold of old age.42 On both sides of the head hang symmetrical masses of curly hair which reach to the neck and cover the temples and ears com The pletely, while only thin strands cover the forehead. rather long and not too carefully trimmed beard grows right up to the hair on either side. It is a face marked by serious ness and thoughtfulness,

which expression is enhanced by the

lowered glance of the deep-set eyes with their overshadowing brows, the arched forehead, and the furrows above the nose.

The example in Mantua48

resembles

the Naples

copy but is

and hence less individualistic.

more idealized, The statue of Euripides in Berlin bears an expression of sad ness although no lines are visible on the forehead, and there less forceful,

is no evidence of baldness. Euripides did not live to be so old as Sophocles, the length of his life being set at seventyfour to seventy-nine years.44 11

Arndt-Bruckmann, pi. 31. Arndt-Bruckmann, pi. 121; Furtwangler-Urlichs-Taylor, Gr. and Rom. Sculpture, p. 213; Bernoulli, I, pp. 148-58; Hekler, op. ext. The head of Euripides in Budapest resembles the Naples pi. 10. herm. For the Budapest head, cf. Hekler, Die Sammlung Antiker Skulpturen in Budapest, p. 54, No. 44, and pi. 44. " Arndt-Bruckmann, pi. 35 ; Foulsen, From the Collections of the Ny Carlsberg Glyptotheh, pp. 77-79, and Fig. 58. Cf. Poulsen, op. *2

cit. p. 79, and Fig. 61 for a bust in Copenhagen of the same type in Naples. Cf. the reliefs in the Louvre and Constantinople, Lippold, Griechische Portratstatuen, p. 50 and Fig. 5. For the relief in Constantinople, Sculptures cf. also Mendel, Catalogue des Grecques, Romaines et Byzantines, II, pp. 296-98; and Bates, Euri as that

pides, pi. 1. Suidas, s. v. Eip
"

OLD AGE

IN

Aristophanes

Difficulty

has arisen

STATU ASY

139

and Menander

in regard to portraits of Aristophanes, of extant copies and to the pre

due both to the small number

vailing opinion that Aristophanes 421

B.

was bald, or at least

it is

that he was bald at the time he wrote the Peace

assumed

in

when he was only about twenty-nine years old. House is a replica of a herm in Bonn representing

C.45

In Wilton

Menander, how Aristophanes.48 ever, is represented as bald-headed, while Aristophanes is not. The identity of Menander is certain, and it is conjectured Menander

that

and

it would

probably

be logical to group a representative

of the Old

Comedy with one of the New Comedy. Besides being bald, Menander has a wrinkled forehead, and in general is pos which we should like to attribute to the latter is a bearded figure crowned

sessed of the qualities

Aristophanes, while with the fillet. The execution of the skull is not very care

ful, and it is possible that the artist who was evidently not one of the first rank did not take the trouble to bring out the particular feature for which modern scholars have con stantly looked.

Aristophanes

lived to about the age of sixty-

five years.47 45

Cf. Aristophanes,

48

Michaelis,

Peace, 767

:

Kai

rolt tpaXaKpoioi wapaaoSiuv

/

Anc. Marbles, p. 679, No. 35. For a similar herm in National Museum in Rome, found along the Appian Way, cf. R. Paribeni, Notizie degli 8cavi di Antichiti, VII (1929), pp. 351-3, and Taw. 16 and 17, and Poulsen, From the Collections of the Ny Carlsberg Glyptothek, pp. 26-28, and Fig. 21; cf. David M. Robin " A Portrait Head of Menander," Bulletin son, of the Royal Ontario Museum of Archaeology, Jan. 1926, pp. 2-6; cf. Poulsen, Ikonothe

graphische Miscellen, p. 45. 47 Suidas, *. v. 'Apiaro
schol. Plato, Apol. 19 c. Roland G. advances the opinion that the Cocalus and the Aeolosicon could not have appeared before 375, and that these were presented in the poet's lifetime on account of his desire to represent them as the work of his son and thus commend On this point, cf. also Croiset, Hist, de the latter to public favor.

Kent (CI. Rev. XX,

1906, pp. 153-55)

140

OLD AGE AMONG

THE ANCIENT

GEEEKS

Aratus Although Aratus reached only

of sixty-five

48

years his portraits are, generally speaking, those of an elderly man, and of rather questionable identity. The herm in the Villa Albani in Rome gives a very long straggly beard tapering to the age

The very short the finest hairs as his greatest age mark.48 neck gives the shoulders a humped appearance. Although the lower part of the cheeks is much sunken, the absence of wrinkles portends a peaceful old age. Two busts of Aratus

(?) in the British Museum with the

bald

shoulders convincing

head

also represent an old man nearly

bent forward

and

sunk

the

between

The one has a appear almost deformed.50 likeness to a bust on the coins of Soli which is

so as to

called alternately Aratus, the poet of astronomy, and ChrysipThe one head is turned slightly to pus, the philosopher.51 the left;

the other is turned slightly to the right while the

look is directed upward. Epimenides the half-mythical seer who according to Laertius in the forty-sixth came to Athens

Epimenides Diogenes

was

62

or the beginning of the sixth century, and accord ing to Plato 58 came ten years before the Persian Wars, or about a century later. Diogenes gives the length of his Olympiad

"

life

as one hundred fifty-seven years, but states that the Cretans give it as two hundred ninety-nine years. Art rep resents him as a sleeping seer with closed eyes as in the la

Christ-Schmid Grecque, III, p. 531. (Gesch. der gr. Lit.' p. thinks that he died before 384, thus living to about the age of

Litt.

416)

sixty-five years. Suidas, «. v. "Aporot.

"

"A.

*•

Arndt-Bruckmann,

H. Smith, Cat. of Sculpt, m the Brit. Mug.

lll,

pi. 995. p. 138, No.

1846, and p. 139, No. 1847.

"Bernoulli, II, pp. 150-4; (who calls it Chrysippus). "Diog. Laert. I, 110. "Plato, Laws, I, 642 d.

Gercke, Arch.

"Diog.

Am. V (1890),

Laert.

I,

111.

p.

56

OLD AGE

IN STATUAET

141

statue in the Vatican,55 and with a very venerable appear ance resembling Homer.

Hippocrates Hippocrates,

the princeps

medicinae™

whom Greece

rev

almost as a god because of his services in averting " is represented in the British Museum by the por pestilence erenced

trait bust of

with short curling beard, heavy brows, and wrinkled forehead.68 This head has an elderly man, nearly bald,

a certain resemblance to the head of Hippocrates on the coins of Cos and a slight resemblance to a portrait on the coins of Soli. 59 Bernoulli ao dates it as a late fifth century or early

fourth century type, but

Smith,81

dates

it later on account

In the Villa Albani copy the upper is raised lip slightly revealing a row of rather broken teeth.82 The forehead is indented by a long wrinkle, and the top of of its realistic character.

the head is very bald. the dilated pupils.

But

a sort of divine

light gleams in

8S

gives his age at the time of or ninety years, but some authorities

Soranus

death as eighty-five grant him a longer life, even beyond one hundred years.

Herodotus Herodotus must have been a very conservative individual if portrait in the Vatican.84 The eyes are

we may judge from his

Arndt-Bruckmann, pi. 421 ; Bernoulli, I, pp. 35-6. VII, "Pliny, N. H. 171. *7 Pliny, N. H. VII, 123 : Pestilentiam praedixit discipulosque ad auxiliandum circa urbcs dimisit, quod ob meritum honores Mi quos **

Herculi decrevit Graecia. "A. H. Smith, Cat. of Sculpt, in 1836 (Towneley Coli.).

the

Brit. Mus.

III,

p. 134, No.

"Bernoulli, I, p. 168. "Ctercke, Arch. Anz. V (1890), p. 56. A. H. Smith, Cat. of Sculpt, in the Brit. Mus., loc. cit. "Arndt-Bruckmann, pi. 975. "Soranus, plot larpuv, V, 175-7. Christ-Schmid [Gesch. der gr. Lit.' p. 884) states that some say that he lived to the age of ninety years, while others give it as eighty-five. Suidas (t. v. 'IinroKpdrifj ) lets him live to the age of one hundred and four years. Arndt-Bruckmann, pi. 129.

"

"

OLD AGE AMONG

142'

THE ANCIENT

GBEEKS

The hair is arranged and plastered down on the forehead with great care. The beard is divided in the centre. All the features combine to produce an impression of calmness and reserve. Herodotus lived to be only about directed upward.

fifty-nine years old,95 but, since only approximate dates can be given in his case, we may perhaps assume that he may have lived to see his sixtieth birthday. Although the portrait of Thucydides in Naples86 as well as that in Holkham Hall" appears more aged than that of Herodotus, Thucydides did not live long enough to be included in our study. In Naples there is also a double herm of Herodotus

and Thucydides,68

and the Metropolitan Museum has a single herm of Hero The latter is a late Roman copy of an original attributed to the fourth century and brings well before us dotus.88

the personality

of the great imaginative

historian.

Socrates

The well-known head of Socrates, the father of philosophy, is often found on bas-reliefs, stones, caskets, and on busts. His appearance marked the dawn of a new era in philosophy. Before his time the conditions were lacking which were neces sary to precipitate Greek thought into well-defined concepts.

The task of forging the intellectual

framework

in the

shape

of abstract ideas or generalizations was given a decided im petus by the genius of Socrates. The influence of Socrates was due, however, not so much to definite philosophical

doc

trines advanced by him as to the influence of an impressive He found his main delight in the pleasures of personality. conversation, friendship, and service to the community. Several passages in literature

" Suidas,

«. v.

throw light on Socrates' per-

'Hp6SoTot.

•*

Arndt-Bruckmann, pi. 130. F. Poulsen, Gr. and Rom. Portraits in English Country Houses, pp. 27-9, No. 1.

"

" Bernoulli I, p. 159. " Gisela M. Richter, The

Fig.

192.

Met. Mus. of Art, CI. Coll. p. 274, and

OLD AGE

sonal appearance.

In

IN

8TATTTAKY

the Theaetetus

70

143

the snub nose and

the eyes of the young man who gives his name to the dialogue are compared with those of the philosopher. Attention is often called to the fact that Socrates resembled a silen, a fact

in the Symposium 71 asserts that toward the end of his life

due no doubt to the humorous

in which Alcibiades

passage

Socrates recalled by his baldness, his flat nose, and bushy In Xenophon's Sym beard, the traditional type of silen. posium Socrates gives the reason for his prominent eyes being better adapted for seeing than Critoboulus V2 He also claims special

for his nose.78 in Hades distinguishable

advantages

especially

Sidonius Apollinaris

A few years

™

Lucian by his

also refers to that

ago the

M

makes him

British Museum acquired

a marble

statuette of Socrates, the original of which Walters about 300 B. C. but which

Amelung

7T

and

baldness,

trait. 76

dates

about seventyfive years earlier, pointing out, however, that the copy is the work of the early Antonine period, judging from the render ing of the pupils, the contrast of the rough drapery with the dates

highly-polished, waxy surface of the flesh, and other technical details. The body is enveloped in an ample himation with graceful folds. ness.

The expression is that of alertness and erect-

Although Socrates is not represented

as an

old man, his

brow is heightened by baldness, and a couple of wrinkles

are

visible in the high forehead.

The snub nose is very pro nounced, but there is rendered a cunning curiosity and 70

t(a

Plato, Theaetetus,

143 e:

trpoaioiKe Si col ti)>i t« cifibrtira

twv ipparoiv. JJttov Si i) cii TaCr"

" Plato,

fxti.

Symposium, 215 b: <pripX yap Si) bnoibraTov . . airbv ru aaripw t<ji ilapcva. Sri piv oSv rb yt eTJoj 8/iotos SiiKparej, oiS' airbi Si irov d/i0«r0JfTiJ
. el

sal to

ai iou
Xcnophon, Symposium, V, 5.

Xenophon, Symposium, V, 6. Lucian, Dial. Mort. XX, 4. Sidonius Apollinaris, Ep. IX, 14. "H. B. Walters, J. H. S. XLV (1925), pp. 255-61, Arndt-Bruckmann, pi. 1049. (1927), pp. 281-96. W. Amelung, A.J. A. **

" " "

XIII

pis.

10-13;

THE ANCIENT

OLD AGE AMONG

144

GREEKS

haughtiness of soul which is lacking in the silen. The hair is thick and slightly curly. The moustache falls in a symmet

a

a

is

a

a

is

a

a

a

it,

rical curve on either side of the mouth, and the beard falls in The expression combines thoughtfulness and separate curls. benevolence, and it is likely that it is a true life-like picture as he must have appeared to the citizens day by day in Athens. Courage, obduracy, as 'well as a sense of inner worth and natural ability are painted there, but he is, as Schuster " der aniike Typus der Schdnheit mannlicher puts Hasslichkeit." 78 Of the many representations of Socrates the majority repre sent him at about the age of fifty. The Naples copy shows pleasant, smiling countenance with three-forked crow's-feet at the corner of the left eye.78 The example in Berlin repre sents him with sparse hair, trifle wrinkled but the wrinkles are not deeply indented, and scowling expression with mouth half open and the tip of the tongue showing between the teeth.80 The statue in the Vatican shows two very narrow The best horizontal wrinkles and two vertical wrinkles.81 that in the Villa example for study in old age portrayal Albani which must be truly Hellenistic work on account of the sunken eyes, surly mouth, and deep wrinkles.82 In Aquileia, Museo Archeologico, replica of the Villa Albani So crates.88 Other examples as that in the Capitoline Museum 84 and that in Munich 85 reveal bright, sparkling individual without the slightest trace of age marks. Bernoulli 88 gives the types of the Socrates portrait. The age at which Socrates Schuster, Cher die erhaltenen Portr&ts der griechischen Philo1876, p.

9.

" P. sophen,

" Arndt-Bruckmann,

pi. 1033.

" Arndt-Bruckmann, pi. 1035. " Arndt-Bruckmann, pi. 1047. " Arndt-Bruckmann, pi. 1045. Cf. our Fig. 13. " F. Poulsen, Portratstudien in norditalienisohen

Provim-Museen,

" Arndt-Bruckmann, ••

Arndt-Bruckmann,

pi. 1043. pi. 1031.

" Bernoulli,

Gr. Ikon.

I,

p. 13, No. 13, Abb. 22-3. p. 184.

a ./.

a

*

$

O

a

° h

1

I

U

P-

2 =

<

.=

r'

OLD AGE

IN STATUARY

145

died (seventy years) and the circumstances surrounding

his

death are well related by Plato.87

Plato

In the Academy in Athens Mithridates placed a statue of Plato with the inscription: MtflptSanjs 6 'PoSo/Jai-ou ntpo-qt Mouoms

[eu
avidiro JlXdriavo'S,

t/v] XtXavuov

oroii/o-*.88

Accord

ing to tradition Silanion mixed silver with bronze for the face both to satisfy his aesthetic tastes and to give the face in contrast to the rest of the body. The breadth of the shoulders and face of the Plato bust in the Vatican 89 recalls the tradition that Plato acquired his dowry of physical strength by participation in gymnastic ex ercises. The hair is treated in rather severe symmetrical waves; the beard and moustache are slightly curly; and the appearance of paleness

there

is

a

Dionysus. aristocratic

wili.

A

general

resemblance

to heads

of

the bearded

Plato was one of the noblest, wealthiest, and most

of philosophers, a man of deep feeling but radical certain nobility is expressed by the high brow, broad

and proud bearing — a decided contrast in gentility to the beggar and cynic Diogenes. Plutarch 90 twice refers to

chest,

almost gave him the appearance of a hunchback, but this may have been in extreme old age. In his bent neck which

Holkham Hall is a statue which Poulsen 91 regards as a copy from a second original contemporaneous with the well-known portrait of Plato. The essential features such as the shape of the forehead and the chest are repeated, and the peculiar 87

Plato (Apology, 17 d) states that he was in his seventieth year; s. v. ZwKpinfi. Suidas, cf. "Diog. Laert. III, 25; cf. Preuner, Athen. Mitt. XXVIII (1903), Plato, II, pp. Lippold, Griechische Porp. 349; Wilamowitz, tratstatuen, pp. 55-6. Arndt-Bruckmann, pi. 776. •• Plut. Quomodo adol. poetas aud. debeat, 26 b and De discern,

it.;

"

adul. ah amic. 53 M Poulsen, pp. 32-3.

10

c.

Gr. and Rom. Portraits

in English Country

Houses,

146

OLD AGE AMONG

THE ANCIENT

GREEKS

fold of skin over the root of the nose which is very indi vidualistic agrees exactly with that in the Vatican. The nose, which is broad-ridged in the Vatican copy is sharp-ridged, narrow, and curved here, and deeper furrows are ploughed in the cheeks. Poulsen 92 used to think that the Holkham Hall copy goes back to the original of Silanion, while the other is derived from a sepulchral portrait. However, in his recent work (From the Collections of the Ny Carlsberg Glyptothek, pp. 41-42) Poulsen states that he has changed his opinion and that in the head of Plato in Copenhagen (op. cit. Fig. 34) he is inclined to find the origin of the portrait of Plato

in the statue

The Berlin bust, which is in the trend of the moustache and the waves of the beard." The face is narrower and the wrinkles less pronounced. Plato

a mutilated

by Silanion.

made

has more of a resemblance to Socrates

copy,

attained the age of eighty-one years.94

Aristotle The characteristics of the statues of Aristotle gymnasiums are

in the frequently mentioned, but the qualities attri set up

buted to each are not clear enough to constitute a recognizable The herm in Athens of Hadrian's day has the guide.

/

epigram:

Yi]ov NotOfi[a]xou
J.

H. S.

" Arndt-Bruckmann, "Diog.

IIl,

Laert.

Macrob. 21. I. G. IIl, 946. F. Studniczka,

" "

Studniczka,

XL pi. 2;

of wrinkles,t"

(1820), p. 190. 5.

cf. Pliny,

N. H.

XXXIV,

Das Bildnis des Aristoteles,

op. cit. 21-30.

"Studniczka,

51;

Leipzig, op. cit.

Lucian,

1908, p. 15.

Taf.

IIl,

2, 3.

OLD AGE

IN STATUARY

147

and is the best example for our purposes. That in Eome in the Museo Ludovisi has a more pointed face and emaciated chin, with one long wrinkle and one short one across the

The copy in brow." The attitude is that of contemplation. Vienna has two wavy wrinkles rather close together, very straggly hair, and a broken nose which gives an impression of senility ; 100 while that in the Villa Mattei in Rome has two wrinkles farther apart, hair less bristly, eyes that gaze up ward, a strongly arched brow with earnest thought lines, and an aquiline nose.101 The example in Copenhagen (Poulsen, From the Collections of the Ny Carlsberg Glyptothek, p. 50, and Fig. 41) is a characteristic picture of a desiccated, clois tered sage, but the lines are not so clearly drawn as in some copies, and it is difficult to determine at what period of life the artist may have intended to represent his subject. In the Palazzo Spada in Rome is an excellent full-length sitting figure resting on a stone bench in an attitude of con He appears to have been walking and to have templation.102 The right sat down for a moment to ponder some question. elbow rests on the knee which is slightly raised, and with the

forefinger he scratches his head just behind the ear as if endeavoring to recall some forgotten fact. The veins in the hand are remarkably well done, and these together with the

wrinkles in the forehead give the clearest indication of age. The hair is cropped quite closely to the head ; the nose is the pointed type. The left arm is enveloped in a rather plain The mantle leaving the right part of the body exposed. for traveller seated sandals complete the picture of a weary This statue is often regarded as that of Aristotle, but Bernoulli 103 calls it Aristippus. The head and face appear to resemble somewhat the statue of Aristotle in a moment of rest.

" Studniczka,

Taf. III, cit. Taf. II, cit. Taf. II,

op. cit.

100 Studniczka,

op.

101 Studniczka,

op.

"• Arndt-Bruckmann, "•Bernoulli, II, pp. 12-15)

also regards

it

5, 6. 3. 6.

pi. 378. 8-13. Studniczka (Rom. Mitt. V, 1890, pp. as a statue of Aristippus.

THE ANCIENT GREEKS

OLD AGE AMONG

148

National Museum, Rome.

Aristotle lived to be sixty-three 104 or seventy years years old according to Diogenes Laertius old according to Suidas.105 The majority of his portraits are the

those of a man nearing sixty.

Zeno Zeno, the founder of the Stoic school, is described by 106 as a man of gloomy disposition, very Diogenes Laertius frugal, and much given to minute discussions. Diogenes 107 also refers to his sunburnt face and weak constitution.

Sidonius Apollinaris

108

refers to his contracted brow, and

to his growling, snarly disposition. Zenodotus 110 mentions Zeno as a revered, gray-browed sage. The statue Cicero

109

in Naples

resembles

The contracted

godlike.111

two short wrinkles

hair

the Homer portraits brows

giving only

The beard is trimmed The sunken cheeks give it quite baldness.

little but is

evident

are

set closely together

recedes at the temples

a

as

well

in the forehead. a

less as

The

slight suggestion of

squarely

at the corners.

a senile appearance,

and

In the copy in the Capitoline Museum the tufts of hair over the center of the forehead and

the nose is almost deformed. the

short

wrinkles

characteristic

above

the contracted

brows

again

are

The modelling about the forehead One sees in the portraits of Zeno the

features.112

and mouth is bad.

Stoic calmness and constancy of purpose as well as a certain chilliness.

In

example, however, he is hold ing a scroll in the right hand which gives him more of the 104

the Capitoline

Diog. Laert. V, 3. Suidas, «. v. 'Apurrori\vt. Diog. Laert. VLT, 16.

"1 Diog. Laert. VII, L 10* Sidon. Apoll. Ep. IX, 9 : Zenon fronte contracts. Cicero, Tusc. Disp. 17, 38 : senex ille acriculus. 110 Zenodotus, Paton, III, 117.

IIl,

pi. 235; Bernoulli, I, pp. 119-20. Cat. of the Museo Capitolino, Brit. Sch. at Rome, p. 254, No. 86 j Gercke, Arch. Am. V (1890), p. 55; Bottari, II Museo Capi tolino, I, p. 4; Bernoulli, II, pp. 138-39; Arndt-Bruckmann, pi. 327. 111 Arndt-Bruckmann, 118

OLD AGE

IN STATUARY

149

attitude of Sophocles or of an orator. Diogenes Laertius118 and Lucian 114 agree that he lived to the age of ninety-eight Diogenes relates further that he died without any years. disease and continued in good health to the end, having As he was presided over his school for forty-eight years. going out of his school he tripped and broke one of his toes

and striking the ground with his head he repeated the words, " come ; why call me ? " and immediately he strangled

I

himself.115

Chrysippus Diogenes Laertius

118

informs us that the Stoic philosopher B. (280-207 C.) was slight in person as was plain from his statue in the Ceramicus which was partly Chrysippus

hidden by the equestrian statue near it; on which account Carneades called him Cryxippus (from Kpvirru>, to hide, and

Imroi, horse). The portraits of Chrysippus are uniformly those of a man of advanced years. One of the replicas in the British Museum might represent an old round-shouldered man of eighty.117 The round face is deeply indented with wrinkles which run in nearly all directions. The upper part of the head is entirely bald. The attitude seems to be that

of kindness and tolerance. Another statue in the British Museum shows him with lowered head and one eyebrow raised slightly.118

Lowering the head produces the

effect

of even

greater baldness, while the vertical wrinkles between the brows The copy in the Capiare very clear in this example also. toline Museum is a portrait of a man of advanced age with bald head, deep-set eyes gazing keenly ahead, close beard and Diog. Laert. 115

VII,

25.

Lucian (loo. cit.) states that

"• Diog. Laert.

VII,

"« Lucian, Maorob.

19.

he starved.

4.

pi. 931; cf. Gisela M. Richter, The Met. Mus. of Art, CI. Coll. p. 212, Fig. 146, for a head of Chrysippus. This head in the Metropolitan Museum is perhaps the best extant representation of this eager, argumentative exponent of Stoic phi Arndt-Bruckmann,

Cf. our Fig. '"Arndt-Bruckmann,

losophy.

14.

pi. 935.

OLD AGE AMONG

150

THE ANCIENT

GBEEKS

thin, sinewy neck, and prominent chin.118 The original, which is dated in the third century B. C. was identi fied by Bottari 120 as Aratus from its resemblance to heads 121 maintains the claims of on the coins of Soli, but Gercke whiskers,

Chrysippus

because

his date is somewhat later than that of

Aratus and is more consistent with the style of the head. The copy in the Vatican appears to represent him in a less agree able mood.122 Three crooked wrinkles run the entire length The brows are very shaggy, and the nose of the forehead. is cramped. Only a little hair appears by the temples, while the treatment of the upper part of the head is the same as in the other examples. The statue in Munich, which is some times regarded as Aratus, also represents a figure with bad The head is bent forward in an attitude of posture.128

It thought, and the toothless mouth stands somewhat open. is a good example of Hellenistic art. Chrysippus died at the age

of

years

seventy-three

according

to

Suidas

124

and

Diogenes Laertius,120 and his portraits might well be those of an older man. The latter relates that he was seized with giddiness

of drinking sweet unmixed

as a result

wine at a

sacrifice to which he had been invited by his pupils and died five days later.

Epicurus The statue of Epicurus in Copenhagen

reveals

the slender,

life, but with no The corners of the mouth are drawn The same characteristics are noted in The Roman copy of the head in the

serene figure of a bearded man past middle

distinct

age marks.128

down very slightly. the Capitoline 118 120

in

head.127

Cat. of the Museo Capitolino,

Bottari, I,

Br.

Sch. at Rome, p. 234, No. 38.

p. 42.

Gercke, Arch. Am. V (1890), p. 56. "• Arndt-Bruckmann, pi. 933. der Glyptothek, Beschreibung Furtwangler, Bernoulli, I, p. 108, No. 70. 1" Suidas, «. v. Xpiaimrot.

"' i25

Diog. Laert.

VII,

"* Arndt-Bruckmann,

7.

pi. 38.

p.

322,

1" Arndt-Bruckmann,

No.

296 ;

pi. 1084.

y. of,

1

o

°

I

S

a 2

SB

2

1

O

5

s I «

a:

OLD AGE

IN STATUABY

151

Metropolitan Museum is the best of numerous portraits of Epicurus who is drawn as a man of nobility and thought in advanced age, though he bears signs of the long physical suffering which he underwent in later life.128 In Ince Blundell

Hall is

a line statuette of Epicurus,12* a copy of the head

Villa

of a statuette in the

representing the phil osopher seated in a beautifully decorated seat, clad only in One foot is ad a himation, deep in thought after reading. Albani,180

vanced and the other is drawn back. he probably was stroking

is restored with a roll.

With the right hand

his long beard, while the left hand Epicurus died at the age of seventy-

two.181

Hermarchus The portrait of Hermarchus in the Lateran resembles Zeno in the narrowness of the profile, but it is milder, kinder, less tense.182 The protruding lower lip is very noticeable. The hair grows all around the face in a circle from the hair of the head to the beard. There is little suggestion of age either A in this statue or in that in the Capitoline Museum.188 better example is the bronze statuette in the Metropolitan Museum where Hermarchus

is represented as an old bearded

man standing in a thoughtful attitude, with head bent and turned somewhat to the left.184 Miss Richter calls it "probArndt-Bruckmann, pi. 1124. Cf. our Fig. 15. Poulsen, Gr. and Rom. Portraits in English Country Houses, p. 43, No. 16; Poulson, Ik. Miscellen, p. 73; Lippold, Gr. Portratstatuen, p. 79, Fig. 17; Michaelis, p. 352, No. 44. 1.0

Arndt-Bruckmann,

pi. 321-2;

Bernoulli, Gr. Ikon.

II,

p.

49

and pi. 8. 1.1 Diog. Laert. X, 9.

1"Arndt-Bruckmann, pi. 1093. "»Arndt-Bruckmann, pi. 1091. 1" Gisela M. Richter, Handbook the CI. Coll. of the Met. Mus. of of Art, p. 192, Fig. 131; Metropolitan Museum of Art, Greek, Roman, and Etruscan Bronzes, p. 70, No. 120; The Sculpture and Sculptors Cf. Hekler, Die Bildniskunst of the Greeks, p. 85, and Fig. 241. for a und 102, bust of Hermarchus in the Romer, pi. dcr Griechen National Museum in Athens; cf. Bernoulli, Gr. Ikon. II, pp. 139-41. Cf. also for bust of Hermarchus, formerly in possession of David M.

OLD AGE AMONG

152

THE ANCIENT

GREEKS

ably the finest Greek portrait on a small scale now in exist ence." He wears a large mantle which has fallen from both shoulders to below the breast and is draped loosely about the figure giving the artist an opportunity to represent the fallen The or shrunken muscles and shrivelled skin of old age.

right arm hangs easily at the side; the left is bent

at the

elbow to catch the folds of the drapery, producing an atti tude of great dignity and creating an impression of intellec

It

simplicity and pose as that of the famous portrait of Demosthenes in the Vatican, as Miss Richter suggests, we can imagine that this and has the same dignified

if,

tual force.

it

represents Hermarchus at the time when he became head of the Epicurean school in 270 B. C.1S5 would place the two a

is

few years apart. known of creations only Very little the personality of Hermarchus. Neither the dates of his 186 birth nor of his death are certain. Diogenes Laertius states that he was an old man when he died and that paralysis ;

was the cause of his death was

an eminent

seem to have

man.

and he adds the assertion that he

The fame of Hermarchus

does not

outlasted antiquity and none of his writings

survive. Theophrastus a

The Villa Albani has very good portrait of Theophrastus, The character of the the friend and follower of Aristotle.187 a

is

very different from that of Aristotle. One recognizes an attitude of stateliness and smile of superiority which

head

he was

man of great confidence, always carry and that he was also agreeable, witty, and a

ing conviction, cautious. The portrait horizontal

rendered very realistically with two and two vertical wrinkles in the forehead, and is

tell us that

Robinson in Baltimore, but now in Budapest, Hekler, Die Sammlung Antiker Skulpturen in Budapest, 1929, p. 54, No. 46. Arndt-Lippold, Gr. und Rom. Portrats, text to pis. 1091-1094, give a list of replicas. 1,8 "* Diog. Laert. loo. oit. Diog. Laert. X, 13. 1" Arndt-Bruckmann, pi. 231; Bernoulli, II, pp. 99-101, and pi. 13.

IN 8TATUAHY

OLD AGE

very

lines

deep

under

the

eyes

and

around

153

the mouth.

188

tells us that Theophrastus died at the Diogenes Laertius great age of eighty-five and he adds on the authority of

Phavorinus that when about in a litter.189

he was very old he used to be carried

Comrades

In Holkham Hall

is a brilliant portrait of an elderly man wrinkled bald pate, deep eye cavities with ex

with high,

Poulsen 141 suggests that perhaps pressive animated eyes.140 the statue of the philosopher erected jointly by Attalus of Pergamum and Ariarathes V of Cappadocia which stood in

II

the Stoa of Attalus at Athens was the original of this statue, for both of these princes had studied in Athens and had

The Copenhagen copy represents a very old man with four wrinkles across the fore head and puffy bags under the eyes.148 The lines about the eyes circle around until they meet the wrinkles in the brow. The sharp, curved bridge of the nose, the heavy folds of the lower eyelid, and the steep lower lip are very individualis tic. By comparison the Holkham Hall copy is more lively and more expressive. Diogenes Laertius 144 gives the interest ing information that he was so devoted to the investigation of ethical subjects that he let his hair and nails grow; and he attended the lectures of Carneades.142

was a man of such powerful

Gymnasium

voice that the president of the sent to him once to desire that he would not

shout so loudly. years,

148

Carneades lived to the age of eighty-five

and died from poison administered

"'Diog.

by himself.148

Laert. V, 11. Diog. Laert. V, 12. 1,0 Poulsen, Gr. and Rom. Portraits in Eng. Country Houses, p. 46, No. 20; Michaelis, p. 318, No. 51; Bernoulli, II, p. 181, and pi. 24. 141 Poulsen, loo. ext. 1M

Diog. Laert. IV, 65. Arndt-Bruckmann, pi. 505. 144 Diog. Laert. IV, 3. 144 Diog. Laert. IV, 7 ; Lucian, 144

144

Diog. Laert. loo. oit.

Macroo. 20.

154

OLD AGE AMONG

THE ANCIENT

GBEEKS

Learning that Antipater had died from poison

he

felt

a de

sire to imitate his mode of departure. Antisthenes

The Vatican has

portrait of Antisthenes, the founder of The mouth is surly and all the lines combine to produce an impression of a

the Cynic school and the teacher of Diogenes.147

It is strange that obstinacy, and peevishness. Plato developed from the teachings of Socrates the positive

moroseness,

doctrine of divine ideas transcending all reality while Antis thenes drew from the same source the negative Cynic philo sophy with its denial and contempt of the values of actuality.

No

one seems to know how long

Antisthenes

lived but his

attitude toward life has a tendency to make his portraits look That he died from disease is stated by Diogenes

aged.

Laertius.148

Diogenes Whatever was serious and profound in the pedagogical zeal of Antisthenes was carried to an extreme and often to absur

dity by Diogenes. The Cynics cast aside all ties which might connect them with the rest of the world and placed them selves deliberately outside the current of this world's life. Independence and intellectual pride in their physical poverty were their dominant characteristics. The Villa Albani has a splendid full-length portrait of Diogenes represented with his characteristic nudeness, his wallet, his dog, and his cudgel.149 Diogenes Laertius informs "7 Arndt-Bruckmann, pi. 441 ; Bernoulli, II, pp. 4-7. Copenhagen has a herm in which Antisthenes appears to be represented as a rather elderly gentleman, but it is not quite so good for our study as the lines about the mouth and forehead seem to be those resulting from a pessimistic attitude toward life rather than from age (cf. Poulsen, From the Collections of the Hy Carlsberg Glyptothek, pp.

Fig. 42). Diog. Laert. VI, 10. Arndt-Bruckmann, pi. 321; cf. Bernoulli, II, pp. 46-52; cf. " One or Two Statuettes of Gisela M. Richter, Diogenes," Metropoli

53-55, and

OLD AGE

IN STATUABY

155

it,

us that he always had a shining appearance from his habit of anointing himself,150 and that he was the first person to double up his cloak out of necessity to sleep on and to a

a

wallet in which to keep his food.151 The Villa Albani statue shows humpbacked, bald-headed man of cynical expression, observing eyes, and remiss gait, but the muscles carry

of the chest strength

Berlin

and waist

rather

162

than

which

are

physical

well

and in the Capitoline Museum

representations

modelled

The

weakness. 158

indicate copies

in

are good old age

with very straggly beard and of Diogenes. Lucian 154 in substantial agreement as to The former states that he lived

wrinkles,

but

are less characteristic

and Diogenes

155

the length of to the age of

Laertius

are

Diogenes' life.

the latter

eighty-eight, ninety.

that

Diogenes Laertius

accounts of his death.

died when he was nearly

he states

that there were

different

Some said that he ate an ox's foot

others, among them Cercidas, Megalopolitan or Cretan, said that he died of holding his breath for several ;

a

raw and died

a

;

third account stated that he was bitten through days while the tendon of his foot as he was distributing polypus to his His greatest friends like Antisthenes sanctioned the dogs. story that he died from holding his breath. His friends came to his home, and found him with his head covered, and as they did not suppose that he was asleep, since he was not much subject to the influence of sleep, they drew away the cloak from his face and found him no longer breathing. And they thought he had done this on purpose in order to escape the remainder of his life.

it

The Metropolitan tan Museum Studies, II, Nov. 1929, pp. 29-39. is a modern forgery, Museum has a small statue of Diogenes, but or eighteenth century. Cf. The dating from the late seventeenth Met. Mus. of Art, Cl. Coll, pp. 341-42. 1,0 Diog. Laert. VII, 14. Diog. Laert. VII, 3. Arndt-Bruckmann, pi. 323. "» Arndt-Bruckmann, pi. 325. 1,4 Lucian, Macrob. 20.

181

158

Diog. Laert.

VII,

11.

156

THE ANCIENT

OLD AGE AMONG

GREEKS

Lysias

The

Lysias in Naples appears

head of

wearied by many activities

158

if

to be that of a man

we may thus interpret

the

Three long wrinkles and one sagging eyes and puffy cheeks. shorter one are visible across the forehead. The top of the head is very bald; the beard is sparse but the hair of the beard grows far up on the face. The corners of the mouth turn down somewhat. The ears are so small as to be scarcely visible. The head in the Capitoline Museum represents a rather older man with three very deep wrinkles and slightly cynical expression.157 The hair around the temples is treated The very severely; the top of the head is entirely bald. profile

that of Aeschylus somewhat but the face Lysias died at the age of eighty-three.158

resembles

is narrower.

Isocrates Pausanias

159

states

that the memory of Isocrates was re

markable for three things: (1) his diligence in continuing to teach to the end of his ninety-eighth year; (2) his selfrestraint in keeping aloof from politics and from interfering

with public affairs; and (3), -bis love of liberty in dying a voluntary death, distressed at the news of the battle of Chaeronea. His statue stood on a pillar within the precincts of the sanctuary of Olympian Zeus. The bust of Isocrates in the Villa Albani is not that of an extremely old man,

The fore though the hair and beard are rather sparse.180 head is high and smooth. The face is thin and peaked, and the penetrating glance of the eyes reminds one of Hippo crates.

Isocrates died at the age of ninety-eight according according to Lucian.182

to Plutarch,181 or ninety-nine

Arndt-Bruckmann, pi. 181 j Bernoulli, II, pp. 1-3, and Taf. 1; Hekler, Die Bildniskunst der Griechen und Romer, pi. 26. "7Arndt-Bruckmann, pi. 133; Hekler, pi. 25. "* Paus. I, 18, 8. Plut. Vit. X Orat., Lysias, 9. 1.0 Arndt-Bruckmann, pi. 135; Bernoulli, II, pp. 14-16. 1.1

Plut. Vit.

teaching

till

X

Orat., Isocrat.

he was ninety-eight

14. Paus years old.

(loc. cit.) mentions his "* Lucian, Macrob. 23.

OLD AGE

IN STATUARY

157

Demosthenes

Many statues of Demosthenes have appears to have been

so

been erected

but none

famous as that of Polyeuctus,

the

is described by Plutarch.185 It appears to have been a standing figure with hands clasped together.1" The best representation of Demosthenes is the standing figure style of which

in the Vatican which is distinguished by the strong projec tion of the upper lip, the haggard, wrinkled face, and the intense expression.165 The physical constitution, particularly the

narrow

chest,

shows how much determination

he must

his physical handicaps. Helbig 185 underlip an indication of stammering.

have possessed to overcome

in the retreating The forearms and the hands are modern. The principal variation of this statue from that described by Plutarch is the restored posture of the hands. In 1903 Hartwig discovered in the gardens of the Barberini Palace a pair of clasped hands of marble which upon being applied to a cast of the Vatican statue completed the figure in a satisfactory manner but varied just enough to show that they were not the original hands of the statue in the Vatican.167 This makes it prob able that it belonged to another replica which varied but little from that in the Vatican. The restoration with the scroll emphasizes his literary eminence rather than his brave and patriotic struggle for his fatherland, and it breaks up the flow of the folds of the robe. The restoration with clasped hands gains in meaning because it gives an expression of sees

Plut. Demosth. 31. For a discussion of the various types and possible restorations of statues of Demosthenes cf. Chas. H. Weller, A. A. I (1914), pp. The modern hands have now been removed from the Vatican 47-50. 1M

copy.

Arndt-Bruckmann, pi. 574. The copy in Copenhagen (op. cit. pis. 1111-1114) is wrongly restored with a scroll in the hands. For a bronze statuette with the hands clasped, which Professor Robinson saw in Constantinople and whose genuineness he suspects, now in America, cf. op. cit. pis. 1115-1116. 1•• Helbig, FHhrer, I, p. 30.

"7Hartwig, Jahrb.

d. arch.

Inst.

XVIII

(1903), p. 32.

158

OLD AGE AMONG

THE ANCIENT

GREEKS

inner conflict which the orator is bendiDg all his energies to repress.

It

also makes a complete circle of the arms and is

more artistic,

as

well as confirming

Plutarch's story about

the

soldier dropping a coin in the hands and finding it there later, showing Demosthenes' incorruptibility. The Ashmolean Museum acquired in 1923

a

head of De

mosthenes which on account of the excellent workmanship and sparing use of the drill is dated not far from 280 B. C.,1" which makes

it nearly contemporaneous with the famous por

trait of Polyeuctus.

In this

copy certain details of the physiog the clearest emphasis. The central wrinkles

nomy receive with three furrows

between the eyes caused by the contrac tion of the eyebrows are very strongly marked. The lines from the corner of the nose to the sides of the mouth are

Casson maintains that this head must very definite. be very near to the original because it resembles so closely the Piombino amethyst which gives great emphasis to all also

these

details, and a gemcutter

would

naturally emphasize,

almost to exaggeration, the most characteristic

elements of

The head in the Ashmolean Museum gives important information about the nose, for in the majority of The nose turns crookedly examples it has been restored. toward the left and almost has the effect of a nose put out of joint. This peculiarity is also evident in the Berlin copy which has a great many wrinkles at the base of the nose.189 In both copies the hair almost stands up straight, a factor

his original.

which

increases considerably

the impression

of fiery vigor.

The herm in Munich is a coarse, plain copy which reveals little of the unstinting vigor of the orator.170 The most 1MS. Casson, J. H. 8. XLVI (1926), pp. 72-9. Another replica of the head of the famous statue known from the Vatican copy, but which has a face which is fuller and less worn is to be found in the collection of the late Lord Melchett (Eugenie Strong, Catalogue of the Greek and Roman Antiques in the Possession of the Right Hon orable Lord Melchett, p. 27, and pi. 29), and another is in Copen hagen (cf. Poulsen, R. A. VI (1917), pp. 328-32, and Figs. 1 and 2). Arndt-Bruckmann, pi. 136. Arndt-Bruckmann, pi. 138.

OLD AGE

IN STATUARY

159

noticeable feature is the wrinkles running obliquely from the corners of the eyes down the cheek. This herm as well as

in Copenhagen 171 differ from the others in having hair in a style that indicates more directly a flat bronze original. The locks are flat with parallel grooves cutting their surfaces, and much use has been made of the chisel. The copy in Aranjuez, Casa del Labrador, represents the ener The Petworth head is very re getic middle-aged orator.172 mote from any known original, for the cheek seems to have been supported by the left hand.178 These variations the head

show that many portraits of Demosthenes must have been Suidas 175 states that Demosthenes lived cut in antiquity.174 to the age of sixty-two years, while Plutarch 179 asserts that he was commonly believed to have lived to the age of seventy

years, or at least sixty-seven. His portraits may be those of a man between fifty and sixty but the deep lines of care make

him look

a

little older. Aeschines

The portraits of Aeschines

are not very satisfactory because

the features are softened almost into weakness, thus present

ing

The represent him hair smoothly

a remarkable contrast to his more famous opponent.

busts in Copenhagen,177 and in the Vatican,178 in the prime of life, with soft, plump cheeks, The standing figure rendered, and no indication of wrinkles.

in Naples appears

aged only

in the fact that the

1,1

Arndt-Bruckmann, pis. 1118-1119. Demosthenes head in Athens. Arndt-Bruckmann, pi. 1120.

Cf.

also

pi.

eyes have 1117

for

a

l"

"* Casson, op. cit. "* Bernoulli (II,

p. 78,

Fig.

5.

gives the various groups of known Cf. also Elmer Suhr, Sculptured Portraits of Greek portraits. Statesmen, pp. 38-45. An interesting Demosthenes head has been located in Washington and will be published soon by Professor A. D. Fraser in the A. J. A. Suidas, «. o. tospaathwpp.

66-84)

Plut. Vit. X Orat., Demosth. "1 Arndt-Bruckmann, pi. 643.

9.

"' Arndt-Bruckmann,

pi. 641.

160

OLD AGE AMONG

a look of sadness

THE ANCIENT

and the mouth is sunken.179

among the marbles in the

found

GREEKS

A

herm was

Villa of the Pisos which

differs from the others in representing the orator later in life when care and thought had left their mark on him.180 It is the representation of

a

bearded man who has only a few locks

in the middle of his wrinkled forehead, straight, knit brows, and upward glance. The eyes have crow's-feet at the outer corners, four furrows cross the forehead, and deep lines run from the nostrils to the outer corners of the mouth. The locks of hair are short and disarranged; the beard is closely cut. This herm suits better the character of the man as he appeared in his writings and it accords better with the de scription by Christodorus 181 of a bronze statue of him in Constantinople in which he was portrayed in the height of action. Since Aeschines seems to have lived for more than sixty years (the exact length of his life is unknown) 182 it seems likely that portraits of him in later life must have existed.

Lycurgus Of the orator Lycurgus little is left but a memory. His best representation in art is perhaps the full-length portrait statue in the Vatican where he appears to be making an ora torical gesture with the left hand, while the right is also somewhat advanced.188 The mouth is slightly open and he The appears to be accompanying his gestures with words. lower part of the body is draped, the upper part is nude except for a portion of the mantle which falls over the left Arndt-Bruckmann,

1.0

J.

H.

8.

XXIV

pi. 116. (1904), p. 92, Fig. 3;

discussion of this herm, pp. 90-93. Aeschines, cf. Suhr, op. oit. pp. 36-38. 1.1 Christodorus, Ecphr. 13 ff. 1,8 Suidas, s. v. AUrxlvys.

," Arndt-Bruckmann,

In

cf. also Miss MeDowall's general for portraits of

pi. 431. A replica in the collection of the late Lord Melchett (Eugenie Strong, op. cit. p. 26, No. 20, and pi. 28) has sufficient resemblance to the Vatican head to make it prob able that it too is a head of Lycurgus.

FlGI'BE Hi.

Early Hellenistic Portrait

Head of an I'nk.nown Person in the Ny Carlsbero Glyftothek, Copenhagen.

Frrderik

PouUi-n,

Jahrh.

d. Arch. /in*.

XI.VII,

1932.

pi.

1.

t

A

_

OLD AGE

IN STATUARY

161

The forehead contains a couple of wrinkles not very vividly drawn. The head is hald except for a tiny par ticle of hair in the middle of the forehead. Lycurgus appears shoulder.

to have lived beyond the age of sixty years but the exact date of his birth and death is unknown.184

Portrait Statues of Aged Unknown Greeks The statues of poets, philosophers, and orators furnish only portion of the existing portraits of aged men produced from the fourth century onward. The process of identification is in slow, difficult, and some instances uncertain, and in the case of aged men it happens that some of the best portraits are unidentified. We shall now review some of these examples. The best example of any kind that has come to our atten tion in this study is a bust in the Villa Albani representing an old man whose brow is completely corrugated with a

There are six or seven main lines extending the whole length of the forehead, with a couple more going half way across. The lines are very fine but deeply indented. wrinkles.185

As to the identity of this unknown

Greek,

it would

be pre

to essay even a guess. He does not appear to belong to the class of peasants or fishermen who are so sumptuous

numerous in the Hellenistic period, but that it is a Hellenistic work appears very likely from the exceedingly realistic treat ment.

He appears to

be a man of the middle

class and pos

sibly one of the group of moderately famous men of whom literature and art have left but scant traces. Another excellent example of this type is the head of an unknown person in Copenhagen, belonging to the early Hellenistic period (Poulsen,

Jahrb.

d. arch.

cf. our Fig. 16). In the Palazzo

Inst.

XLVII

(1932), pp. 77-78, and pi.

dei Conservatori

herm, probably of the first century B. 1,1

Suidas, s. v. A.VKovpyot. Arndt-Bruckmann, pi. 917. 11

1 ;

is a Hellenistic portrait

C,

representing a beard-

OLD AGE AMONG

162

THE ANCIENT

GREEKS

The style of the hair recalls less man of advanced age.188 that of the pseudo-Seneca. The eyes are deep set, and the face is thin and marked hy deep furrows from the nostrils to the chin.

In

the British Museum is

a

beardless old man

with strongly marked features, wearing a tunic and mantle, while a taenia encircles his curling hair.187 A head in the Acropolis Museum is somewhat similar to this in that the aged man wears a wreath of olive.188 He has full locks of hair, beard, and moustache. Another bust in the Acropolis Mu seum represents an old man with flowing hair encircled by a wreath.188 An early He is thought to be a philosopher. Hellenistic work in the Capitoline Museum portrays a man of advanced years with sinewy neck, prominent Adam's apple, much wrinkled forehead, and thin hair confined by a narrow fillet.190 Munich has a portrait statue of an aged man which is claimed to be an original from Greece dating from the third or second century B. Cm It is a slender old man whose flabby flesh and limp manner of holding the head signify old age. The Palazzo dei Oonservatori has an excel lent portrait of an elderly gentleman of the philosopher type.192 The hair is worked in short locks leaving the crown bald ; the forehead is broad and much wrinkled ; the eyes are set closely together and somewhat obliquely; the head is turned slightly to the left. a

A bust which is commonly supposed to

Hellenistic ruler is found in the

Vatican.198

It

be that of

is an excel-

1M

Cat. of the Palazzo dei Conservatori, Br. School at Rome, p. 70, No. 8. "1A. H. Smith, Cat. of Sculpt, in the Brit. Mus. II, p. 232, No. 1404.

the Acropolis Mus. II, p. 223, No. 1315. Casson, Cat. of the Acropolis Mus. II, p. 222, No. 1313. Cat. of the Museo Capitolino, Br. School at Rome, p. 355, No.

"'Casson, Cat. of 1.0

89; Bottari, I, p. 74. 1.1 Arndt-Bruckmann,

1"Bernoulli,

II,

cit. pi. 27 a. "* W. Amelung,

Taf.

63.

p.

pi. 330. Arndt-Bruckmann,

16;

Die Sculpturen

des

pi. 588;

Vaticanischen

Hekler,

op.

Museums,

II,

OLD AGE

IN STATUARY

163

lently worked head of an old man with short regularly waved hair, deep-set eyes, and soft, delicate features. The forehead is repeatedly furrowed with wrinkles and a wreath of leaves encircles the head. A more interesting portrait, and one that illustrates well the art of Pergamum, is that of the old Gallic He is almost warrior in Venice described by Overbeck.1" reclining, but seems to be looking at his adversary with a de

termined glance as if he were almost ready to pounce upon He wears a garment of strong, coarse material which him. does not reach quite to the knee. The type of face and bristly

hair show the barbarian character. This panorama of Greek portraits gives

a faint glimpse of the sculptures throughout the museums which by vigorous treatment and conception give evidence either of Hellenistic origin, or belong a century earlier when artists were just

beginning to feel their way into the study of individual traits, and were beginning to realize that nobleness of aspect de pends little on symmetry of features or proportions of form, and that a certain dignity of presence clothes the elderly man as well as the god or youthful hero of action. The makers of the statues were often Romans but they aimed to express Greek ideas in a Roman way.

Another field of endeavor for the Greek sculptor during this period was found in the carving of grave reliefs, many of which are primarily portraits. The sepulchral monuments of Greece proper are all on a modest scale and noteworthy

their beauty of design and charm of sentiment/ rather than for costliness or magnificence. In the history of grave reliefs three periods may be recognized: (1) that be on account of

fore the Persian Wars;

(2) the fifth and fourth centuries; In the reliefs of tombs which date

and (3) the later age. before the fourth century merge their individual

the persons represented usually and appear as types.

peculiarities

Portrait sculpture made considerable progress in the fourth century, and from the fourth century onward funerary sculpOverbeck, Geschichte der Grieohischen Plaatik, p. 179.

OLD AGE AMONG

164

THE ANCIENT

GREEKS

Not ture shared this spirit and aimed at greater realism. until the Hellenistic age did the artist take the trouble to reproduce faithfully the traits of the dead and to express the character that belongs to the age and condition of the dead. For the sake of convenience the representations of aged figures

on grave reliefs

may be divided

into

three types

according to the manner in which the elderly personage is represented: (1) those in which the aged figure leans on a staff and views with contemplation a youthful person or some object; (2) those in which a man of advanced years sits in extending his hand to some one; and (3) those in which an aged man clasps hands with a younger person. As an example of the first class no monument is more im pressive than the stele made by the artist Alxenor of Naxos.195 It has still a trace of the grotesque aspect pro an armchair

duced by the archaic eye, and is undoubtedly of early date. It shows not only technical skill but the conception is truly wonderful and indicates a great forward step on the part of

The old man is standing in a position of ease and teasing a dog with a grasshopper. The long staff on which he leans forces itself up into the folds of his long cloak and he looks down at the dog with an expression of kindness. The long mantle is draped around him in graceful the

artist.

folds.

There appears to be an indication of baldness above the fillet with which his head is bound. Although he is sad, it is a passive sort of grief in which no trace of violent emo tion is present.

In

Naples is a relief with the same subject

with

several variations.198 The elderly man leans on a long but staff he wears only the exomis which leaves the greater part of the body nude; and the dog has no grasshopper. It

is likely that the Naples relief dates a little later, for more attention is given to anatomy and less to drapery. The "* Brunn-Bruckmann,

pi. 41 ; Percy Gardner, Sculptured Tombs of Hellas, p. 141; cf. also the similar stele of Anaxander in Sofia, Arch. Am. XLVII, 1932, pp. 98 f. Brunn-Bruckmann, pi. 416.

IN STATUARY

OLD AGE

165

anatomy is not entirely correct, however, for the left shoulder is awkwardly rendered. Only the most prominent muscles are represented and no attempt is made

as yet to represent

veins and the more delicate details of anatomy. On the lecythus of Antodicus of Phalerum a father and

The old

son appear to be represented.197

bearded

man

(An

is clad in a mantle and leans on a stick as he ex

todicus) tends the other hand to his horse and to a man in a short chiton

On another stele in the Athens

and chlamys.

Na

tional Museum of similar style a bearded old man supported on a plastic stick raises the left hand as if addressing a boy who stands

Conze

near.198

189

suggests

that three generations

are represented on a stele representing a strong man

(Dion)

extending his right hand to his father (Dion) who is clothed in a mantle and leans forward on his staff, with a young boy between

is also

published

half-grown

A large lecythus with

them.

by Conze

boy, a matronly

a

family picture

200

on which are represented a woman, an old bearded man bent

with his hand enveloped in a mantle, leaning on a plastic stick, and a young feminine figure. These scenes of family life were very dear to the Greeks and the representation of over

such on their grave stones no doubt afforded them no small measure of comfort. Sometimes the aged man rests the stick under his chin as on a great grave stele in Athens in The old man also has a bald head. Such high relief.201 representations as these reveal the fact that these seemingly minor details in the portrayal of old age had caught the eye of even the lesser artists of this period.

The grave reliefs

on which

the physical

weakness

aged man is emphasized by his seated position

II

"7Conze, Die Attischen "•Conze, op. cit. II, p. (1878), p. 364, No. 2. "•Conze, op. cit. II, p. "0Conze, op. cit. II, p. "1 Conze, op. cit.

lll,

Grabreliefs,

247, No.

form the most

II,

217, No. 1022,

p. 215, No. 1011, Taf. 197. Taf. 200; Mylonaa, B. C. H.

1138 and

243, No. 1126,

p. 276, No. 1263.

of the

Taf.

Taf. 233.

241.

166

OLD AGE AMONG

J numerous class. '

THE ANCIENT

An excellent

GREEKS

one representing

and a warrior son is that of Procleides

an old father

where an old man

with long beard and wrinkled forehead sits in an armchair and extends his hand to a warrior standing beside him clad in a coat of maii.202 The garment falls over the right shoulder leaving the breast bare. In the background the mother views them with an air of pensive gravity. In the majority of cases the old man extends his hand to a young bearded man

if bidding him

as

farewell

;*" in

a few

instances

it is

a

woman to whom he extends his hand.204 the old man merely gazes thoughtfully at a The youth, without the support of his cane or his armchair. most beautiful example of this type is the stele found in the Sometimes

bed of the Ilissus.208

A young man supported against

a

pillar

occupies the left part. On the steps is a young boy, perhaps his son, plunged in grief. Opposite is the father — an aged bearded man in a himation—viewing the scene with sadness,

The deep set eye of the Scopas type is a prominent feature. This stele must date more than a century later than that by Alxenor of Naxos. The bent figure of the old man contrasts strikingly with the splendid physical development of the youth, but in the face of the former dignity and grief are blended most impressively. The artist may have been one of the greater masters. On a lecythus in the National Museum in Naples a youth (Theodotus) extends his right hand to a bearded old man in a his hand on his chin.

"*

pi. 518; Conze, II, p. 153, No. 718, Taf. Inst. VI (1891), p. 153. ""The following examples may be cited; Conze, Die Attischen Grabreliefs, II, p. 160, No. 751; Conze, II, 159, No. 744, Taf. 131; Conze, II, 152, No. 714; Conze, II, 154, No. 179; Conze, II, 160, No. 748; Conze, II, 155, No. 728, Taf. 130. "•Examples: Brunn-Bruckmann, pi. 728; Conze, I, 162, No. 754, Taf. 143; Conze, II, 162, No. 753; Conze, II, 156, No. 730. 305 Brunn-Bruckmann, pi. 469 ; Collignon, Les Statues Funeraires du Vth et du IVth Siecle, p. 150, Fig. 82; P. Gardner, Sculptured Tombs of Hellas, p. 152, pi. 15. 141;

Brunn-Bruckmann,

Winter, Jahrb.

d. arch.

OLD AGE

IN

STATU AET

167

On the lecythus of mantle, who is probably his father.308 Nausistratus and Promachus in the National Museum in Athens an elderly man clasps the hands of a younger man The energy of movement of the a languid manner.207

in

young man is in marked contrast to that of his father. Perhaps no experience is so difficult to portray as sorrow

for the

The ancient Egyptian tomb was The occupant of the tomb was represented as surrounded by slaves and taking The Greeks made a stele that part in a great banquet. would show a man's occupation. In the fourth century the loss of a loved one.

an expression of the needs of the departed.208

Greeks excelled in this type of sculpture. It was not the work of the greatest sculptors; therefore the sculpture was often poor although the idea was beautiful. The earlier reliefs of the fourth century show the qualities of the Par

; the later reliefs the influence of Praxiteles and The Greeks were not interested in representing faces drawn with suffering and covered with tears, but rather Their sympathy and affection. The Romans were different. thoughts of conquest are revealed in their huge stone sar

thenon frieze

Lysippus.

cophagi, which though beautiful are less apt. After the death of Alexander, the Greek world was under

in thought, language, and society. It rushing life, leaving far behind it the quiet

going great changes was

a strange,

simplicity and unconscious spontaneity of earlier days. In spite of political unrest the art activity of the third century was tremendous, but art could not pass unchanged through these vicissitudes.

it

This

age profited by its glorious heritage;

used the ideals of the past age, but applied them to changed

conditions.

The sculptors of this

just giving the characteris

age represented men

as they lived and walked among them,

tics of form and face

with startling realism. One of the finest examples of this type is the splendid old woman's head Conze, II, p. 230, No. 1066, Taf. 217. *" Conze, II, p. 231, No. 1069, Taf. 196. ,0,E. W. Clark, "Greek Grave Reliefs," Records of

(1911), pp. 203-12.

the Poet,

X

168

in

OLD AGE AMONG

Dresden.20*

THE ANCIENT

GEEEK.S

The treatment of the withered head and the

ivy wreath remind one of the reliefs of this time. The eyes are set very deep in their sockets and heavily overshadowed at the inner corners by the strong projection of the brow The emaciated as is characteristic in the Hellenistic age.

The tongne are also masterly effects. grotesque exaggeration of natural defects was very popular in Alexandria. A cap fastened in front by a knot bedecks neck and stammering

the head allowing a few strands of hair to be visible at the temples, and a veil is laid over the back part of the head.

In

the drunken old woman in Munich we

another example of this type.210 She squats on the ground and raises a wine flask in an almost convulsive rapture. The right hand holds see

the narrow neck of the flask; the left clasps the body of it. She wears a girdled chiton with a mantle over the left shoulder

and around

the lower part of the body.

On the The original

fourth finger of the left hand a ring is visible. was identical with an anus inebria referred to by Pliny m which was at Smyrna and was a work of a Hellenistic sculptor by the name of Myron. The veins of the neck of the drunken old woman in the Capitoline Museum are very well rendered and are readily seen because her head is turned far to one side, but the face cannot be examined so closely.212

The artists delighted in subjects which gave them a chance to exhibit their own skill or fancy. Idyllic verse was busying itself with the rural classes, —shepherds, hunters, and fisher men, — and art kept pace. The Metropolitan Museum has a remarkably good example representing a peasant woman stooping over with old, weary face and shrunken skin, offer '*•

Guy Dickins, Hellenistic Sculpture, p. 29, Fig. 22; Jahrb. d. arch. Inst. IV (1889), p. 99; Brunn-Bruckmann, pi. 395. Furtwangler, Betchreibung der Glyptothek, I, p. 322, Xo. 297; Arch. Anz. XIII (1898), p. 61; Annual of the Br. Sch. at Athens, X, p. 103; Brunn-Bruckmann, pi. 394. Cf. our Fig. 17.

'"

Pliny, .V. H. XXXVI, 32. "• Cat. Museo Capitolino, Br. Sch. at Rome, i11

p. 590,

Fig.

191.

OLD AGE

IN STATUARY

169

ing the products of her farm for sale.218 This is a Hellenistic The original and not a Roman copy as so many believe. lowered left hand grasps a couple of chickens and a basket of fruit. The hair is confined by a veil and a wreath of ivy. Chase

214

that

believes

the wreath

suggests

a

festival

of

Dionysus to which the old woman has brought her wares. The statue of the old woman carrying a lamb in the Palazzo dei Conservatori is a masterpiece of scientific anatomy.215 The skeleton framework

strongly indicates the leanness of old age; but it is a case where the energy of the spirit is alert in The mantle is thrown about the spite of bodily decay. body with the disorder appropriate to a low condition of life

right breast and side are exposed. She is slightly bent and leans on the staff for assistance. The look in the is acute but and she looks kindly eye straight at the spectator as if having her picture taken. In the Vatican is a statuette from a Hellenistic original representing an old woman who stands in a somewhat bent attitude, but wears shoes and chiton of fine material. Since the garment is short it may so that the

to be a peasant woman.218 An old woman in the Capitoline Museum is looking to the left with be that she is intended

evident apprehension as if she were an actor in a comedy.217 She wears boots, a girded chiton with long sleeves and mantle,

the crossfolds of which she holds in one hand. evidently

formed

part of a genre group.

"'Brunn-Bruckmann, Cf. our Fig. 23.

pi. 730;

The statue

We do not find

Lawrence, Later Greek Sculpture,

pi. 68.

*"

Chase, Gr. and Rom. Sculpt, in Amer. Coll. p. 127; Miss Richter (The Met. Mus. of Art, CI. Coll. p. 278) is also of this

opinion. Brunn-Bruckmann, pi. 393 ; Alessandro della Seta, II Nudo nell' Arte, I, p. 584; Cat. Palazzo dei Conservatori, Br. Sch. at Rome, p. 145, No. 28; Overbeck, II, p. 566, Fig. 201. Cf. our

Fig.

18.

Amelung, Die Sculpturen des Vaticanischen Museums, I, p. Taf. 74; Lucas, Jahrb. d. arch Inst. XV (1900), p. 41. '"Cat. Museo Capitolino, Br. Sch. at Rome, p. 288, No. 22; VV.

698, No. 580,

Bottari,

III,

p. 62.

OLD AGE AMONG

170

THE ANCIENT

GREEKS

in sculpture in the round until the in while vase paintings they appeared at about age, the same time as old men. However, as soon as sculptors be came interested in the portrayal of the wasted female form old women portrayed

Hellenistic

they found a fertile field of endeavor, and examples of old women in sculpture are much more numerous than on vases.

This is also ing came to essay

due to the fact that Greek activity

types.

these

in

vase paint

an end at about the time that sculpture began to

Demetrius

of Alopece

who made

very

realistic portraits in the fourth century is said to have made a famous statuette of Lysimache, the aged priestess of Athena, which was almost a caricature.218 Perhaps this was the start ing point for the portrayal of old women.

The portraits of Hellenistic rulers appear for the most part briefly in the next chapter. and Antiochus III, however, are represented by Antiochus realistic portrait heads, the former in the Vatican and very The Vatican head shows deep the latter in the Louvre.219

on coins, and are considered

I

wrinkles and a sharp nose ; the head is crowned by a stephane as if Antiochus were meant to represent a priest of Dionysus.

The head in the Louvre

used to be taken

none of his air of superiority.

It

for Caesar, but

has

is a masterpiece of refined

realism, dating about 200 B. C, without undue exaggeration or pathos. Although two wrinkles traverse the forehead and the eyes are sunken, the features as a whole are not those of an extremely old man ; and in general it can be said that the rulers of the Hellenistic kingdoms are not represented as aged persons, although they lived in a period that was interested in the portrayal of old men and women.

The inhabitants of Alexandria were so far from nature that they longed for wooded mountains, bubbling brooks, and

In the smaller works we often get a fresh flowery meadows. ness and humor which remind us of the poems of Theocritus. "* Lawrence, Classical Sculpture, pp. 237-8. *" Cf. Ernst Pfuhl, Jahrb. d. arch. Inst. XLV and Figs. 9-10;

and p. 24, and Figs.

11

and 12.

(1930), pp. 21-22,

O

«

ft

o

a

q

S

iJ

s

:c

w

.«

2

.<

9 5

S

:= E

o|| s

to

i

v~

r;

d

1

OLD AGE

IN STATUABY

171

The old fisherman in the Louvre deserves careful study on account of its truth to nature.220 The head is the coarse The nude body peasant type with every wrinkle visible. covered only with a loin cloth allows the artist a splendid opportunity for the portrayal of the swelling of the veins, the feeble,

hollow chest,

and skin that is slack by long wading

in the water.

The raised ribs and wrinkled abdomen are added features. The artist has now learned not only how to represent bald heads and toothless mouths but is capable of

part of the body into play to accomplish the desired result. The expression of the dark eyes is that of a

bringing

every

man of humble bearing. In the Palazzo dei Conservatori

is a statuette of an old

fisherman who seems to be carrying a net or rod over his left shoulder.221 The lined and weather-beaten face and the stooping gait call to mind the akirpvros yepav of Theocritus.222 The exomis is characteristic of the craftsman or artisan. The age of the man is well shown

in the worn and wrinkled skin,

the scowling brows, and bent body. Connected with the increased interest in the seafarer came stronger notions of the personification of the sea, and statues of the Nile and heads of Acheloiis became quite numerous. The statue of the Nile in the Vatican reclining with a cor nucopia is a good example of the former,228 but the latter reveals better the characteristics

of old age.

In

the Vatican is

"0Dickins, Hell. Sculpt, p. 29; Alessandro della Seta, II Nudo nell' Arte, I, Fig. 190; Reinach, Repertoire, I, p. 165; cf. BrunnBruckmann, pi. 164, for a similar representation in the Vatican, and Gisela M. Richter, The Met. iCus. of Art, CI. Coll. p. 279, for a representation in the Metropolitan Museum. Unfortunately the old fisherman in the Metropolitan Museum is headless, but he is repre sented in a very realistic manner, with shrunken skin and bent body. "l Cat. Palazzo dei Conservatori, Br. Sch. at Rome, p. 144, No. 27; Alessandro della Seta, II Nudo nell' Arte, I, p. 586, Fig. 189; Reinach, II, p. 556, No. 5; E. Loewy, Griech. Plastik, p. 120, Fig. 247; Brunn-Bruckmann, pi. 393; Cf. our Fig. 19.

"'Theocritus,

I,

45.

'"Brunn-Bruckmann,

pi. 196.

THE ANCIENT

OLD AGE AMONG

172

GREEKS

the king of the waves, the hair encircled with a crown made of vine branches and of beauti a gigantic

head of Acheloiis,

ful clusters of grapes, and two horns just peering

out.224

The

great bearded mask in the Musees Itoyaux du Cinquantenaire is a splendid example, for the eyebrows are knit and the face is lined with wrinkles.226

part of

There is also preserved the lower

a man's statue which is standing

advanced.

Cumont

conjectures

statue represents

he has

colossal head of a

Vatican, probably

with the left foot

with the left hand his club on the head killed. In Ince Blundell Hall is a water god which, like the head in the

Heracles supporting

of Acheloiis whom

that this

once

served

as the ornament

of a foun

tain, the mouth having been open to emit a jet of water.22* The bristly hair shading from dark to light, and the deep

the brow give it an aged appearance. In the same mansion is a bronze mask of a water god with the

furrow

across

corners of the mouth drawn down, thus producing the effect The spirit is Greek and the idea of trans of sadness.227

ferring

of sea into human form is a Greek crea

an expanse

tion, but works of this kind continued to be made in Roman times in countless numbers.

The Hellenistic

Nike of Samothrace, the great altar of Pergamum, the Aphrodite of Melos, the peer of all women in beauty, but the same age was the age that produced the

it to produce these types it to bring to perfection the aged peasant and

accurate observation which allowed also permitted

the toiler on the sea. 2'*

Lechat, Sculptures

"•Cumont, Musies

Grecques Antiques, p. 202, No. 99. du Cinquantenaire, p. 19, No.

Royaux

14;

Reinach, Rep. II, p. 796, 6. "• Bernard Ashmole, Cat. of the Anc. Marbles at Ince Blundell Hall, p. 53, No. 123, pi. 20. Bernard Ashmole, Cot. of the Anc. Marbles at Ince Blundell Hall, 52, No. 121 a, pi. 51.

CHAPTER X TEERA-COTTAS, GEMS, COINS, AND INTAGLIOS Although the minor works of art may

possess less charm

than the more famous monuments, a complete study must contain the lesser as well as the greater, and a more truthful representation often finds its way into the smaller works

dignity is expected and consequently more free dom permitted. This is especially true of a study of this

because less

nature.

The makers of terra-cottas seem to have had a peculiar predilection for grotesque old women represented in a variety of attitudes. The British Museum has a terra-cotta repre senting an old woman seated on a basket scratching her chin with her left hand and resting her elbow on her knee.1 She a wrinkled face, sunken eyes, and thick, rough hair. She wears a long chiton and himation. Another shows an elderly woman standing on a plinth with her left leg slightly has

bent, holding a large flute in each hand.2 The hair is arranged in a double knot over the forehead, and she wears a long girt The grotesque figure of a decrepit old woman por chiton. trayed in a sitting posture is quite a common mode of repre sentation.8 She usually has large pendulous breasts, thick cheek bones. Among the terra-cottas in and prominent lips, the British Museum is an old woman in bed.4

She lies on her

left

side, her head pillowed on her left arm, and the right arm thrown over the edge of the bed. The head is covered with a cap.

A very curious

class

of terra-cottas

is formed by gro-

Walters, Cat. of Terra-cottas in the Br. Mus. p. 206, No. C 216. Walters, Cat. of Terra-cottas in the Br. Mua. p. 262, No. C 681 ; No. C 333 (p. 223) is the same type. * Cf. Walters, Cat. of Terra-cottas in the Br. Mus. p. 267, No. C 709; Sieveking, Die Terrakotten der Sammlung Loeb, II, p. 19, 1

*

Taf. *

82, 2.

Walters,

Cat. of Terra-cottas

in the Br. Mus. p. 204, No. C 208. 173

OLD AGE AMONG

174 tesque,

THE ANCIENT GREEKS

The

old women often veiled or draped.

big-bellied

creations of comedy certainly had a great influence on these In Professor Robinson's recent excavations

representations.

at Olynthus many terra -cottas have been found, some of which belong to our field of study. Olynthus appears to have been an important

In one of figurines. found several moulds which seem to

centre for the manufacture

room of a house

were

indicate that there may have been a terra-cotta factory there. Very interesting is the figurine of gray clay belonging to

the first part of the fourth century B. C, representing a gro tesque draped old woman of the Old Comedy.5 With the right hand she pulls up her drapery with the intention of covering the lower part of her face. The hair rises in a knot at the top and is waved down on either side of the face. We see a realistic rendering of feeble old age in the figure of a bent old woman with hands raised to her face.8

Her face

shows

lines of age distinctly. She is draped in a himation which falls to the ground both at the front and the furrowed

It

is a comic figure, almost a caricature. Another important one is the statuette vase in the form of a seated old lady hugging her little brown jug,7 which is a forerunner rear.

of the Hellenistic marble.

motive

of the drunken

old woman

The head is bent and has almost no neck.

in The

with long eyebrow ridges and thick mouth. The hair is arranged in a knot on the top of the head. In the Louvre are several grotesque old women raising a veil from their face.8 The face has the character of a scenic face

is wide,

• D. M. Robinson, Excavations at Olynthus, Part TV, The Terra cottas, p. 70, pi. 38, No. 364. For parallels to this figure cf. Winter, Les Ceramiques de la Typen, II, p. 421, No. 8; Dumont-Chaplain, Grece, pi. 24, No. 3; Heuzey, Catalogue des Figurines, Nos. 185-92; R. A. Old Series, V, p. 651, pi. 105; Bieber, Denkmaler zum Theater-

wesrn, pi. 75. • D. M. Robinson, op. cit. p. 86, pi. 45, No. 403. • D. M. Robinson, op. cit. p. 83, pi. 44, No. 398. ' Heuzey, Les Figurines Antiques du Musie du Louvre, p. 28, pi. 51, 3; p. 28, pi. 51, 1; p. 28, pi. 51, 2. The rugosity of the face of the last mentioned might cause her to be taken for a man.

TEEEA-COTTAS,

mask.

Since figurines

GEMS, COINS, AND INTAGLIOS so small

were

175

and so easily trans

ported, they are likely to show considerable foreign influence Sometimes an elderly female actor occurs with long hair and long chiton.8 Comic masks of old women also also.

appear with open mouths, shaggy eyebrows, and high cheek In the Louvre is an old woman with the head of bones.10 a sow

with her forked

who plays on a dulcimer

foot.11

On

the other hand, there exist occasional examples of old women

of the proud and noble type. A veiled terra-cotta lady in the Louvre from Tanagra is holding her hand to her chest ;

"

another is inclining the head and putting her mantle on her These prob chest with an expression of affected shyness.18 ably date rather early and may represent goddesses, or are at least borrowed from that type. Works made of terra-cotta naturally produce a rather droll are a effect and for this reason old nurses and pedagogues favorite type. seat

An old woman in Madrid is

holding in her left arm

badly

proportioned

The old woman has

a child.14

head, deeply sunk

brows, and hair that is quite prominent and on the temples.

British Museum who is a child.15

She resembles

seated on a cubic

eyes,

puckered

a

eye

around the forehead

an old woman

in the

seated on a cushioned seat and holds

The latter is very realistically rendered, with fat,

•Walters, Cat. of Terra-cottas

in the British Mus.

p.

285,

No.

C 825. 10

Cf. Walters,

Cat. of Terra-cottas

in

the

British Mus.

p. 273, No.

C 749. 11

55,

Heuzey, Les Figurines Antiques

Fig.

12

Heuzey, Les Figurines Antiques

27,

Fig.

51,

Fig.

du Musie tlu Louvre, p. 30, pi.

2.

du Musie du Louvre, p. 18, pi.

1.

" Heuzey, 4.

Les Figurines Antiques du Musie du Louvre, p. 28, pi. On veiled ladies, cf. Caroline Gait, A. J. A. XXXV

(1931), pp. 373-93. 14 Laumonier, Catalogue de Terres Cuites du Musie de Madrid, p. 166, No. 784; cf. F. Winter, Die Typen der figiirlichen Terrakotten, I, p. 153, No. 8. "Walters, Cat. of Terra-cottas in the Br. Mus. p. 214, No. C 279; cf. Heuzey, Fig. Antiq. du Musie du Louvre, pi. 39, Fig. 2.

OLD AGE AMONG

176

THE ANCIENT

GREEKS

It belongs to the smiling face, and thick curling hair. fourth century. Another old woman in the same museum with similar features wears a Phrygian cap with thick brim and flaps, and holds a phiale in one hand and a child in At Olynthus

another.18

with

was found a terra-cotta

17

representing

The nurse's head is missing. She is well bent over and heavily draped. Old women do not occur a nurse

a baby.

very frequently dignified

on gems,

conceptions,

and when they do they are more

representing

persons of noble birth.

The portrait of an old lady on an amethyst in the Ionidas Collection of Brighton may represent Arsinoe in her old age since it agrees with her more youthful portraits on coins.18

II

A veil

covers the back part of her head, and a band encircles

The great eyes with slightly drawn eyebrows are rendered. It is an excellent Hellenistic work. strikingly her head.

A typical example of the old pedagogue with

child is afforded by a terra-cotta in Madrid.18 He stands with one The skull appears quite leg bent, his back a little humped. He is clad in the bald but the lines are not very distinct. talaric chiton and himation, but his feet are bare. Perhaps a

is the old pedagogue described by who is accompanying a small boy to school and carrying his lyre with an attitude of humility. These scenes of education in which the pedagogue plays a leading part are even

more characteristic

Pottier

20

treated with a slight spirit of caricature as on the vase paint ings of the red-figured style, but are often carried to the

This old man wears

point of exaggeration. exotic form.

Heuzey

21

Antike

of

figures a curious representation which

" Walters, Cat. of Terra cottas in the Br. Mus. p. " D. M. Robinson, op. cit. p. 76, pi. 41, No. 378. " Furtwangler,

a bonnet

Gemmen,

II,

p. 154,

Taf.

438, No.

E.

30.

31.

Catalogue de Terre Cuites du Musie de Madrid, p. Terrakot18, pi. 9, No. 1 ; cf. F. Winter, Die Typen der figiirlichen ten, II, p. 403, No. 5. ,0 E. Pottier, Les Statuettes de Terre Cuite dans VAntiquiti, 18

Laumonier,

p. 149. 81

Heuzey, Fig. Antiq. du Musie du Louvre, p. 30, pi. 56.

TEEEA-COTTAS,

is characteristic

GEMS, COINS, AND INTAGLIOS

177

of the fabric of Cyrenaic terra-cottas in the

form of

a grotesque demon, bald, big-bellied, and short, with bestial ears and smiling face surrounded by four or five small

In him he sees a minor deity who acts as the protector of male children. A scarab representing the meeting of Orestes and Iphigeneia in Tauris also contains the figure of boys.

an old bearded man who may be a pedagogue.22

Some of the terra-cotta heads have almost the individuality of marble portraits.

In

the Loeb collection

is an excellent

portrait of a bearded old man in the attitude of a seated Unfortunately the band around his head does not figure.28 reveal his identity. De Eidder 24 lists the bust of an old man An archaic terra-cotta relief in whose skull is entirely bald. the British Museum, which represents an old man out walking with his dog, reminds us of the old Semite and dog that we saw (p. 108) in vase painting; 25 and a gem in Berlin of the Hellenistic or early Koman period representing an old seated man leaning on his staff and examining

a nude youth stand

ing before him calls to mind the many conversation scenes on vases in which elderly men and youths are connected.28 A very interesting type of elderly portrait is that in which an old shepherd is portrayed in a very realistic fashion leaning on his shepherd's crook and carrying a kid in his arms,27 or tending a flock of sheep.28 Often he finds a child exposed, which brings to mind the Oedipus myth.2* Many of the por traits of aged men partake more of the nature of caricature.

" Smith, Cat. of " Sieveking, Die

Br. Mus. p. 67, No. 323. Terrakotten der Sammlung Loeb, II, p. 10, Taf. 75, 5; Taf. 75, 6, is similar, but quieter in execution and earlier. De Ridder, Les Terres Cuites et les Verres, Collection de Clercq, 46, No. 74; cf. Georg Lippold, Gemmen und Kameen dee Alterp. Gems in the

"

tums und der Neuzeit, p. 67. "Walters, Cat. of Terra-cottas

in the Br. Mus. p. 135, No. B 376.

Antike Gemmen, II, •7 Furtwangler, Antike Gemmen, II, "Furtwangler, Antike Gemmen, II, "Cf. Furtwangler, Antike Gemmen, "Furtwangler,

and 46. 12

p.

135,

p. 141, p. 141,

II,

p.

Taf. 27. Taf. 28, No. 47. Taf. 28, No. 48. 141, Taf. 28, Nos.

45

OLD AGE AMONG

178

THE ANCIENT

A terra-cotta in Madrid represents

GREEKS

little old man; One in bent over, with a great bearded head and large nose.30 the Louvre represents a grotesque old man, supporting him self on his stick,31 and several

from

a nude

Olynthus

(for

one ex

Fig 22) belong to this class of grotesque old A very careful Hellenistic terra-cotta in Madrid His abundant beard represents a hunchbacked old man.32 ample, cf. our

men.

is curled evenly, and the hair falls in great waves on the brow and temples. The elongated eyes give an impression of severity. A terra-cotta from Olynthus 33 portrays the head of an old negro with wrinkled, receding forehead, and another has been found which may be a negro. It is a very real istic representation of an old man with mouth wide open,

"

a stephane on his head. Deep wrinkles cross the forehead and appear under the eyes, and the cheeks are some what sunken. Heads and masks of comic and tragic actors

wearing

are to be found

in many places,

as well as many interesting

full-length figurines representing old men in an actor's pose (cf. A. J. A. XXXVI, 1932, p. 133, Fig. 22, and our Fig. 20 which represents an actor of the Old Comedy). The expres sion is often that of wrath, the eyebrows being knit, and a furious look being concentrated in the eyes.35 Sometimes they are bald-headed.38 •0

Laumonier,

Catalogue

Some of the tragic masks of elderly de

Terres

Cuites

du Musie de Madrid,

p. 19, pi. 19, No. 19.

Heuzey, Fig. Antiq. du Musie du Louvre, p. 30, pi. 54, Fig. 3 ; cf. De Ridder, Les Terres Cuites et let Verres, p. 46, No. 75; Walters, Cat. of Terra-cottas in the Br. Mus. p. 227, No. C 414. Laumonier, Catalogue de Terres Cuites du Musie de Madrid, 81

"

p. 63, pi. 11, No. 23.

" D. " D.

M. Robinson, op. cit. p. 88, pi. 45, No. 406. op. cit. p. 87, pi. 45, No. 405. '•Cf. Perdrizet, Greek Terra-cottas in Egypt, p. 73, pi. 27, No. 106; Cat. of Terra-cottas in the Br. Mus. p. 192, No. C 46; p. 27, No. A 151; p. 242, No. C 517; D. M. Robinson, op. cit. p. 100, pis. 60-61, No. 421 a-d. Cf. De Ridder, Les Terres Cuites et les Verres, p. 47, No. 76. These bald-headed masks also occur on gems: cf. Furtwangler,

M. Robinson,

"

Antike

Gemmen,

II,

p. 196,

Taf.

41, No. 14.

E

a

ib

a 8.9 8 8 1


j EC pa

c

w t-

p

►j >.

a c

p

a

U

/V

TEREA-COTTAS,

men resemble

GEMS, COINS, AND

the heads

INTAGLIOS

179

of silens or the bearded heads

of

The head of Acheloiis, which occurs on coins,37 80 is that of an elderly man with flowing Some are gro hair, except for the projection of horns. Acheloiis.

bronzes,88 and gems

others are noble expressing the grand sentiment that Hellenistic art had of the majesty of the sea. Pan is scarcely ever represented as old enough to be included in a work of tesque,

this kind, but a terra-cotta mask from Olynthus 40 makes him a very realistic deity of the woods with high bald skull and crescent horns, sunken lines and deep furrows above the pro truding eyebrows, and a sardonic smile which gives him the appearance of an actor. Professor Robinson has also found mould for a seated papposilenus 41 holding a child (prob ably Dionysus), which belongs to the first half of the fourth a

century B. C. He is a fat, bald-headed, almost bow-legged creature, clad in long trousers and shaggy chiton, and his big

with small eyes bends tenderly over the child. Mythical scenes involving the portrayal of aged figures

head

occasionally find a place on gems and coins. On a scaraboid in the Metropolitan Museum, Hades is seizing Persephone.42 Hades is bearded and wears a long chiton over his shoulders. Cf. E. Babelon, Traiti des Monnaies Grecques et Romaines, IV, 3, p. 18, Nos. 7, 11, 13 and 14; p. 20, No. 16; p. 22, Nos. 17 and 18; p. 26, No. 24; p. 27, Nos. 26 and 27; G. F. Hill, Cat. of the Gr. Coins of Phoenicia, pi. 1, 1 ; Babelon, IV, part 2, p. 14, Nos. 1-6; Bernhart, Antike MUnzbilder, p. 185; Head, Historia Numo*7

part

rum ', p. 282. century B. C.

These range in date from the fourth to the second

"Walters, Cat. of Bronzes in the Br. Mus. p. 20, No. 211; Babe lon et Blanchet, Cat. des Bronzes Antiq. de la Bibl. Nat. p. 35; M. kSniglichen und Bronzen des Bieber, Die Antiken Sculpturen Museum Friedericianum in Cassel, p. 92, No. 417. Cf. Furtwangler, Antike Gemmen, II, p. 43, No. 5. D. M. Robinson, op. cit. p. 80, pi. 42, No. 386. Cf. also out Fig. 21 from Olynthus for a terra-cotta figure of Pan represented as an

" "

old man playing the double flute. 41 D. M. Robinson, op. cit. p. 100, pi. 62, No. 422 AB. "Gisela M. Richter, Cat. of Engraved Gems, Met. Mus. No. 32.

p.

28,

180

OLD AGE AMONG

THE ANCIENT

GREEKS

Hades' chariot is not present as in most of the representa tions of the rape of Persephone. This is a careful work of the transitional period dating about 460 B. C. On a Greek coin in the Hunterian collection which, however, dates as late as the reign of Antoninus Pius, Hades in a galloping

The chlaquadriga is holding fast the arm of Persephone." mys is thrown up over his head. In the Louvre is a small piece

of delicate workmanship

representing the figure of a a medallion with the bust of a

winged woman supporting deceased person. Below is Charon in his barque between per sonifications of the ocean and the land.44

The figure of Anchises occurs on bronzes, coins, and gems. The cast of a bronze relief probably from a mirror case shows a picture of Aphrodite and Anchises.45 Aphrodite is drawing her veil back with her right hand. On the right is Anchises with one hand thrown back behind his head. He is clad in a Phrygian costume consisting of cap, short loosely-girt chiton with empty hanging sleeves, jerkin, and anaxyrides with His hair is long sleeves and patterns of rings, and shoes. arranged in long formal curls. Beneath him is a dog curled up. The original is now at Bignor Park, Sussex.4' But coins and gems represent him in the traditional manner, borne on These extend in date from the end the back of Aeneas.47 of the sixth century to far into the Koman Empire. Anchises is usually bare-headed and wears the chlamys. most frequently on coins from A'vaa which,

These occur according

to

legend, was founded by Aeneas after the war with Troy." A gem in the Southesk collection represents a bearded profile

" Greek

coins in the Hunterian Coll. II, p. 321, No. 1. du Louvre, Cat. des Marbres Antiques, p. 122, No. 1627. Walters, Cat. of Bronzes in the Br. Mus. p. 40, No. 287. 4' Michaelis, Ano. Marbles in Great Britain, p. 212. Cf. G. F. Hill, Cat. of the Greek Coins of Phoenicia, p. 84, No. Head, Historia 212; Max Bernhart, Antike Miinzbilder, p. 215;

"

"

Musie

"

Numorum*,

p.

189;

No. 55. 4' Cf. E. Babelon,

A

p. 137,

Taf.

27,

2, p. 1111, No. 1556, and pi. 49,

Fig.

15.

Furtwangler, Antike

I, Part

Gemmen.

TEKBA-COTTAS,

GEMS, COINS, AND

INTAGLIOS

181

of Priam, crowned with laurel.49

The hair falls in masses over the shoulders and extends far down over the brow. A cap spangled with stars covers the head. This gem shows a great deal of true Greek spirit in its reposeful dignity. An early sixth-century intaglio represents an unknown king, bearded and hook-nosed, holding a lion by the mane and brandishing a mace.50 He wears a helmet and a long gown. In front of him a naked man, bald and snub-nosed, crawls up a hill. Beazley sees in this a contamination of two motives, the slaughter of a lion and the slaughter of an enemy. Numerous portraits of Hellenistic kings occur on coins, but One portrait of few are represented as elderly personages. Demetrius Poliorcetes on a tetradrachm represents him as an elderly man with diadem and bull's horns.51 Homer occurs on many coins. Sometimes he is holding a book or unrolling a

scroll

;

52

other

representations

show

him crowned with

the taenia.58

The minor works of art

were free to represent the old age

type sooner than other works of art.

Bald

heads

appear as

early as the beginning of the sixth century while other types of art keep the long flowing hair till about 480 B. C. In the

in all still departments of art we note greater variety and expression of feeling, often carried to the point of exaggeration in facial Alexandrian

age when the ideal gives place to the real

gestures, and costumes, which the old not only shared with the young, but the artist actually employed aged figures to enhance the effect of the ludicrous. features,

" Cat. of the Southesk Coll. of Antique Gems, I, p. 74, E 32. " Beazley, The Lewes House Collection of Anc. Gems, p. 6, No. 9. " E. T. Newell, Coinages of Demetrius Poliorcetes, p. 131, No. 143.

kings on coins, cf. Guy Dickins, J. H. 8. (1914), pp. 293-308. Macdonald, Greek Coins in the Hunterian Coll. II, p. 326, No. L. Forrer, The Weber Coll. 11; part 1, p. p. 374, No. 164; 322, No. 6279, pi. 221 ; John Ward, Greek Coins and their Parent Cities, p. 103, No. 669.

For portraits of Hellenistic

XXXIV

"

"Macdonald, Greek Coins in

lll,

the

Hunterian Coll.

II,

p. 215, No. 1.

CHAPTER XI AGED S1LENS AND CENTAURS According to Pausanias,1 Silenus is the name given to all Similarly the author of the Etymologicum Mag

old satyrs. num

2

says that aged

satyrs are called sileni,

says that sileni before they grow old are satyrs.

and Servius

'

The distinc

tion is not always maintained in the common parlance, and the name satyr is often used to indicate the old as well as the young members of that fabulous stock.4 Lucian 5 tells us that in the territory of the Machlaeans who occupied the left bank of the Indus there was a grove in which were three springs called the satyr's well, Pan's well, and that of Silenus. The Indians entered the grove once a year at the festival of Dionysus,

The satyr's well

and tasted the wells according to age.

for the young, Pan's for the middle-aged, and that of Silenus for the elderly. In another instance * the silens are described by Lucian as bald old men with snub was

noses.

The small works of art —coins, gems, and especially vases — give a good opportunity for the study of silens and satyrs. The literary tradition is much more scanty than the archaeological on the whole.

These mountain

and forest spirits, as well as

the centaurs with whom they are connected, begin to be of interest in the heroic period, and although they are foreign to the

Iliad and Odyssey,

Aphrodite.'' 1

Paus.

'S.v.

I,

are mentioned in the Hymn to But their influence in literature is chiefly in

23, 5 ;

cf. Frazer, n. ad loo.

ZwXsptfs.

Servius on Vergil's Eclogue, VI, 14. Pollux, IV, 142, speaks of a " hoary satyr ", but in Euripides (Cyclops, 13; 27; 82; and 269) Silenus speaks of the satyrs as his children. * Lucian, Dionysus, 6. *

*

* *

Lucian, Deor. Concil. 4. Homeric Hymn to Aphrodite,

262.

182

AGED SILENS AND

CENTAURS

183

connection with satyr plays. The main features of the silen type are held with extraordinary constancy through the whole archaeological tradition. The silens are half animals, half human beings, but so pictured that they have a wholly human form with horses' ears, horses' tails, frequently also horses' legs or at least hooves.

In

order to emphasize still more the

animal nature the body is wholly or partly covered with hair, and the flat nose, large mouth, and round eyes give a bestial expression.

In

the black-figured style silens are here and there repre sented with bald heads. Baldness among the Greeks was regarded as a fair subject for ridicule,8 even though old age as such was respected, and ridiculous and contemptible char on the stage bald. Such were — parasites, buffoons, and jesters a convention which has sur acters

were

often

brought

The conception of the general appearance of baldness and its connection with ugliness dates as far back as Homer's Thersites, the ugliest of the Greeks,9 who besides

vived until today.

being bandy-legged and stooped, had a head covered with only a small amount of thin, downy hair. Besides being connected

with ugliness, baldness connoted sometimes a certain degree Artemidorus 10 supposes that if ever one of low cunning. dreams of having a large growth of hair on hands, tongue, or other parts of the body those organs will be condemned to idleness. A man with short hair and thick short beard was supposed to be witty, cunning, and tricky, while a with ered

expression and heavy eyebrows

to enhance

served

this

effect.

A black-figured cylix in the Bibliotheque Nationale repre sents five silens

picking

Two are dancing, a third fourth who is picking grapes,

grapes.11

is holding on his shoulders a and the last is turning upside down a basket

Two of

•

Horn.

hair on the

these silens are bald, the beard and the

•Cf. Arist. Peace, 767; 771; Plut. Mor. p. 9.

full of grapes.

II.

II,

II,

634 d.

" Artemidorus,

216.

11 De

Ridder,

I,

II,

Cf. also above, 42.

p. 224, No. 324.

184 nape

OLD AGE AMONG

THE ANCIENT

GREEKS

of the neck are white, while the beard and the hair of

their companions are red. An old snub-nosed, white-haired and white-bearded silen on a cylix in the Acropolis Museum is stretching out both arms far in front of him for a bunch of grapes.12

After observing silens picking grapes or looking after the vintage it is only a step to representing the deeds and prac tices of the silen as a human tippler. A black-figured am phora in Tubingen represents several silens wearing red wreaths around their bald heads.18

One balances a scyphus on the sole of his upraised right foot and looks around while he raises his right hand in an animated manner. Another silen holds a wine skin and drinking horn. An amphora in the a frieze of five silens.14 Two are

British Museum contains

standing around a crater. One of these has white hair and beard and is playing on a double flute. Others are playing lyres On a black-figured amphora in Bologna, Diony sus stretches out his goblet to a silen who is nude and partly or running.

bald, holding the wine skin.15 For a time they romp carelessly about Dionysus and the god appears to take only slight notice of them, but as time goes on they serve and entertain him as on a hydria in the British Museum where several silens are playing on musical instruments before Dionysus.18 They are garlanded and bald except for a tiny tuft of hair

in front, but the hair hangs down the back in curls.17 At the side of Dionysus is an aged silenus, crowned with ivy, playing Behind him is a maenad in an on the lyre with a plectrum. Graef, Antike Vasen von der Akropolis zu Athen, HI, p. 163, No. 1500. 18 Watzinger, Griechische Vasen in Tubingen, p. 41, No. 1345. "Walters, Brit. Mus. Cat. of Vases, II, p. 118, No. B 167; C. V. 12

lll

H e, pi. 34, 1 a and 1 b. Pellegrini, Cat. dei Vasi Dipinti, p. 12, No. 20; C. V. A. Bologna, III He, pi. 16, 4. "Walters, Brit. Mus. Cat. of Vases, II, p. 174, No. B 300; Rev. Phil. II (1847), p. 490; Wiener Vorlegebl. D, 6. " Cf. also C. V. A. Brit. Mus. H e, pi. 74, 1. A. Brit. Mus. 15

lll

AGED SILEN8 AND CENTAUBS

185

embroidered chiton and peplos and panther's skin. The con nection between the silens and nymphs was established early both in literature and art, but in spite of the fact that Hermes

into connection with silens and nymphs in the Aphrodite 18 he does not appear in this relationship until the time of the transitional style.

is brought

Hymn

to

on vases

In

the older

shown.

period

By the time of

age

differences

are

not

so

clearly

in the middle of the greater difference, and from the

the fine style

fifth century there comes a treatment of hair and attitude silens come to be more dis tinctly marked out as old men. Even in the severe style by the time of Euphronius and Hieron there is a marked trend in this direction. In the interior of early cups it was cus

tomary to draw a single figure whose action should adapt itself to the circular space prescribed. The uncouth gestures of the silen suited the artists' purpose and made him a On a red-figured cylix in type for this purpose. silen is squatting a white-haired Wiirzburg by Epictetus in a meditative attitude, with the expression of disgust so favorite

characteristic

of silens.19

A plate in Berlin (2315) signed

by the potter Sosias represents an old silen crouching,

with The

hands laid upon the knees to produce a comic effect.20 base is still in the black-figured style. On a red-figured rhyton in the Bibliotheque Nationale a bald-headed silen is crouching and holding a wine skin.21 A maenad is creeping In Boston (13.193) is a vase by Euthymides toward him. representing a silen crouching in a circle, holding a rhyton

in

one hand and a flute

in the

other.22

Beazley

28

represents

"Horn. Hymn

to Aphrodite, 145-54; 262. Handbook of R. F. Vases, I, p. 336 ; Nichols, A. A. VI (1902), p. 328, No. 9; A. Z. XLIII (1885), p. 253, pi. 16; Walters, J. H. 8. XXIX (1909), p. 110, No. 10. "Perrot and Chipiez, X, p. 513, Fig. 286; Hartwig, p. 242 (attr. to Peithinus) ; Hoppin, R. F. II, p. 426; De Witte, Gaz. Arch. IV De Ridder, II, p. 504, No. 852. (1878), p. 142, pi. 25.

" Hoppin,

" Ann.

J.

"

Rep. Mus. F. A. 1913, p. 89 Beazley, V. A. p. 31, Fig. 15.

;

Hoppin, R.

F. I,

p. 440.

186

OLD AGE AMONG

him with unusually

THE ANCIENT

deep wrinkles.

GREEKS

He is bald in front, but

the hair hangs down the back in curls on the right side. The upturned nose is very broad; the moustache sticks up straight. boon companions of Dionysus usually of intoxication or as the personification of

These inseparable appear in

a state

in face and figure. The supreme example is the psycter by Douris with eleven silens who exe cute the wildest orgies with wine skins and drinking vessels.24

coarse and gross sensuality

The central figure is a silen dressed as a herald in a chlamys, Two silens advance from petasus, and high endromides. either side toward one who has fallen backwards on his fingers and toes with a cantharus; a silen on the right pours wine

into the cantharus. The other holds for Farther along we see two silens ward another cantharus. dancing on each side of a cantharus on the ground. The one on the left is kicking up behind him his right leg and dancing. The other, wreathed with ivy, balances himself with his arms extended behind him and flourishes his right foot over the cantharus. At the left a silen with legs in the air supports himself on his right hand and left forearm and lowers his The other strides mouth into a cylix resting on the ground. him his hand far back behind him and toward left holding Another silen has extending the right hand admiringly. fallen backwards upon his hands and into his open mouth he has the wine poured from a wine skin by a silen on the left, from an oenochoe

and from an oenochoe

by another.

that all the silens except the herald

It

is interesting

to note

and the last described

all except the one wearing a wreath fillet fastening the hair in a knot behind. The ana The physiognomy tomical knowledge is precise and certain. of the silens is a little bestial, but malicious and amusing — are bald on the crown, and have a

an impression which is increased by the marks of age.

"F.

R. Taf. 48; Hoppin, R. F. I, p. 243; Hartwig, p. 226; Per. and Chip. X, Buschor, p. 175, Fig. 125; Buschor, Jahrb. (1916), p. 80; C. V. A. Brit. Mus. IIl, I c, pi. 14;

Pottier, Douris, Fig. p. d.

529, Figs. 296-7; arch. Inst. XXXI

105, 1 a-1 d.

AGED SILENS AND

CENTAUES

187

Many artists of the red-figured style have essayed more simple types of the old silen holding an oenochoe or wine skin. Another vase in the British Museum represents Dionysus holding the cantharus to and blazing torch.25

an old bald silen who has an oenochoe

On a vase in the Bibliotheque

Nationale and short beard is holding

an old silen with arched eyebrows a cantharus and has a serpent curled around his arm.2'

A

cylix in the British Museum of the fine style shows Dionysus followed by an old silen bearing a thyrsus, on the other side of whom is another old silen carrying a keras and ascus full

of

A

very beautiful cylix in the British Museum rep resents seven silens, all of whom are bald on the forehead wine.27

with drunken gestures.28 One sits on the ground dangling an amphora in the air and throwing up the left leg. Two carry amphorae on their The remainder are represented in other intoxi shoulders. The form of the skull with very high cra cated attitudes. nium and huge bald spot of an old silen on an amphora of the severe red-figured style in the British Museum by the Diogenes Painter is very characteristic of the toper type.29 He moves toward Dionysus with an ascus over the shoulder, raising one hand in surprise. It resembles an amphora in Berlin representing Dionysus holding a cantharus and looking at an old silen who is holding an oenochoe.30 Dionysus often stretches out the cantharus in the right hand and strides and crowned

with ivy, revelling

proudly between a group of silens, his whole bearing proclaim ing him the master and the silens his servants.

The forehead of a silen on an amphora in Bologna is en tirely nude.81 He is running toward an enormous pithos, *•

Walters,

Brit. Mus. Cat. of Vases, IV,

" De Ridder, II, p. 495, No. 845. " Smith, Cat. IIl, p. 79, No. E 55. •t Smith, Cat. IIl, p. 61, No. E 35.

p. 37, No.

F

46.

R. F. I, p. 206; Beazley, V. A. p. 52; Hartwig, p. 385 Foundry (attr. to Painter). *0 Furtwangler, Beschreibung der Vasensammlung, II, p. 632, No. " Pellegrini, op. cit. p. 48, No. 152. 2337.

"Hoppin,

..

188

OLD AGE AMONG

while

another silen dances

THE ANCIENT

in

GREEKS

a disorderly

manner,

An old bald-headed silen on

his arms violently.

waving

a scyphus

in the Bibliotheque Nationale is holding a cantharus and wine His hair is collected at the back of his neck and On a cylix this, as well as his beard, is fringed at the ends. in Boston by the Panaetius Master a silen who is bald except for a little black hair on the back of the neck is sitting on His arms are in a grotesque attitude a pointed amphora.83 and he appears about to rise. He has heavy eyebrows and skin.32

very abundant

black

beard.

His mouth is

appears to be emitting a peculiar Boston,34

riding

painted by Epictetus, represents holding a horn.

on a wine skin, and

open

and he

Another cylix in

sound. a

bald-headed silen

A silen with long

white hair and beard on a lecythus in Berlin carries a red pole on both ends of which he balances a great amphora.35

A

pelice in Naples

(H

3051) attributed to Myson represents an old bald-headed silen, crowned with ivy, holding a cylix in his left hand and pouring wine on the ground from an which he holds in his right hand.36 The silens holding the cantharus and wine skin on a Berlin cotyle (2591) from Nola by the Penthesilea master are very emaciated and oenochoe

"De Ridder, II, p. 499, No. 818; cf. the pelice in the Bihi. Nat. (De Ridder, II, p. 283, No. 390) on which an old silen holds a wine the celebe in Bologna skin and oenochoe; (C. V. A. Bologna, I c, pi. 30, 5) representing a bald silen holding a wine skin and the hydria in Bologna (Pellegrini, p. 57, No. 168) repre thyrsus; senting two intoxicated silens, one of whom carries a wine skin

III

while the other extends a hand to his companion ; the scyphus in the Bibi. Nat. (De Ridder II, p. 500, No. 849) representing a baldheaded silen holding a cantharus and thyrsus; a lecythus in Berlin II, p. 689, No. 2469) where a silen with a small bald ( Furtwangler, spot is striding along with a wine skin and cantharus. "Hoppin, R. F. I, p. 424; A. H. Meier, A. Z. XLIII (1885), p. Buschor, p. 163, Fig. 116. "Hoppin, R. F. I, p. 339; Ann. Rep. Mus. F. A. 1895, p. 20, No. 22; Klein, L. I. p. 62, No. 8, Fig. 7. ** Furtwangler, Beschreibung der Vasensammlung, II, p. 522, No. 179, pi. 10;

2240. t•

Hoppin, R. F. 11, p. 208.

AGED SILENS AND

CENTAURS

189

lean, with great bald spots on the forehead and thin hair behind.37 The old silen on a cylix in Berlin (2270), attributed to Euphronius, is very stooped and he strides along carrying a large drinking horn and bowed under the load of a full back with his right hand.38 The bent figure creates an impression of age. Some times we have a bald silen going to a fountain as if to wine

skin

which

he

balances on his

quench his thirst as on a pelice in Berlin (2173) by the Geras Painter.39

The silen, at first a shy, mysterious creature, later reveals his love for music and dancing. The artist is pleased to represent these lewd and capricious demons running through the forests on the trail of Dionysus, then stopping to make the lyre resound with the songs that inebriation inspires. Dionysus was from of old a god interested in music, loving the

Then, at some wild and pathetic voice of wind instruments. time before the fifth century, the lyre came into his hand, probably from his partnership with Apollo.40 So we see the silens playing on the lyre in the presence of the god ; and on various vases of the later period Dionysus himself is repre sented as playing on it or singing to it. On a British Museum amphora of the fine style is an old silen with bald head and long pointed beard, playing the double flute in the presence of Dionysus.41

A bald-headed, bearded silen

squeezes

his

lyre tightly with the left hand as he holds the plectrum in the right on a red-figured crater in the Bibliotheque Na-

" Hoppin,

R.F. II, "Hoppin, R. F. I, Hartwig,

A. Jahn, Philol.

p. 337; Beazley, V. p. 407;

p. 131.

XXVI

(1867), p. 230;

p. 131.

" Hoppin,

R. F. I,

Beazley, Att. Vasm. p. 109. With refer drinking Pausanias (III, 25, 11-18) says that there was at Pyrrichus a conduit in the market place which p. 466 ;

ence to the silen's love for

that they owed to Silenus. Greek Cults, V, p. 263. 41 Walters, Brit. Mus. Cat. of Vases, IV, p. 52, No. F 80. A simi lar representation occurs on a stamnus in the same museum (C. V. they believed

" Farnell,

A. Brit. Mus.

IIl I

c, pi. 19, 3

b).

s

190

OLD AGE AMONG

On

THE ANCIENT

GREEKS

Nolan amphora from the Hope Collection n bald, bearded silen plays a large five-stringed lyre with pro phylactic eyes.48 An aged silen with right hand before his chest and the left holding a flute can be seen on a lecythus in the Bibliotheque Nationale.44 His very long bony fingers and thin hair are particularly in evidence. The silens as worshippers of Dionysus seek also by ecstatic dances to lose their own personalities and become merged in the deity they love. The old quite as readily as the young join in the merriment and cast aside dull care, joining in useless tricks and rather glorious exploits as gay companions of the god of wine. A Nolan amphora by the Pan Painter from the Hope Collection shows a nude silen with long beard and hair, but bald in front, wearing a thin ivy wreath, and danc ing.46 Two bald, garlanded silens are dancing for the enter tainment of a reclining Dionysus on a column-crater formerly in Deepdene but now in the Ashmolean Museum by the Flying Angel Painter.48 A red-figured oenochoe in Bologna repre sents a bald, very wrinkled silen dancing in equal time as a goat leaps.47 The goat and the bull belong directly to Diony The mule and the donkey often appear because they are sus. the customary animals for carrying burdens. On a lecythus in Berlin are two silens painted wholly white who dance in tionale.42

a

the opposite direction

"De

Ridder,

(Walters,

IV,

II,

both turning toward one another and

p. 317, No. 426;

p. 51, No.

F78)

cf. a bell-crater

representing a silen

in the Brit. Mus. partly bald hold

and a r. f. oxybaphon in Bologna (Pellegrini, p. ing a tympanum; 164, No. 326) representing a bald silen picking the cords of a lyre. "Tillyard, The Hope Vases, p. 52, No. 91 a; cf. p. 64, No. 115, for a similar scene by the Altamura Painter; cf. De Ridder, II, p. 406, No. 539.

"De Ridder, II, p. 382, No. 509; Klein, Jahrb. d. arch. Inst. VI (1891), p. 256, No. 15. Tillyard, The Hope Vases, p. 51, No. 90. ** Hoppin, R. F. I, p. 452; Reinach, II, p. 329, 2; Beazley, V. A. p. 59, No. 9. Pellegrini, p. 173, No. 352.

"

"

Fioure Old Silen Playing Double Flute Furtwlngler-Reichhold,

24.

and Maenad.

QriechUche

Amphora

Yaacnnuderci,

in Munich.

pl. 46.

FlgVRE 25.

Old Silen on a Scyphus in Professor Robinson's Collection. Courtesy

of D.

M. Robinson.

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AGED SILEN8 AND CENTAUBS

raising an arm.48

Their snub

noses and

191

thick lips

are very

pronounced. Since the connection between silens and nymphs was estab lished early they both went together into the company of Dionysus, and silens, many of them bearing the marks of age, f rolicing with maenads form the most numerous class of silen

Hieron al ready pictures some silens with bald heads, with their hair falling down the back in long strands frequently with a long lock hanging down behind the ear. Douris and Brygos also favor the bald-headed silen type, while the silens of Euphronius have a very large bald spot. Later in the red-figured style their exuberance breaks out afresh, favored by the strong coming to the front of the orgiastic elements of the Dionysus cult, and old silens romp and play like children. At first representations on vases of the red-figured

style.

silens and maenads are placed quietly together, then they dance, and lastly in the second half of the fine style the wild nature of the silen causes him to delight in tormenting the maenads. An old silen with a large bald spot and very expressive features is to be found on an amphora in Munich (cf . Fig. 24) . We see that his playful efforts to blow the flute as

lustily

cause

as possible

in the

his forehead to become

Few old silens

of the haughty maenad puckered into deep wrinkles.

presence

possess the liveliness and sprightliness

of those

on a fine red-figured scyphus in the D. M. Robinson Col lection on loan in the Johns Hopkins Museum (cf. Fig. 25) painted in the grand style by the Painter of London E 777, who was a pupil of the Penthesilea Master.49 Contrary to the usual custom the heads are almost entirely bald.

in the Bibliotheque

On an amphora

Rationale representing

Dionysus, mae nads, and silens, one of the silens is a hunchback with flat Beschreib. der Vasensammlung, II, p. 523, No. Furtwangler, 2242; cf. a celebe in Bologna (Pellegrini, p. 99, No. 248) with only one bald, ithyphallic silen (lancing and singing. "Cf. Beazley, Att. Vasm. p. 281; cf. De Ridder II, p. 417, No. 558, for a vase of similar subject and mode of representation. 48

OLD AGE AMONG

192

THE ANCIENT

nose, bald head, and large chest.60

Tarquinia (6845)

GREEKS

A red-figured amphora in

Phintias, representing a revel of silens silens with wrinkled foreheads and heads crowned with garlands, dancing or holding flutes.51 It is suggested by Perrot and Chipiez 62 that the thick lips with heavy moustache and beard look as if they were copied from the masks of the chorus of those taking part in the Bacchic festivals. An amphora in Munich (2344) attributed by

and maenads, shows several

frieze of Dionysus, silens, and maenads is one which Furtwangler 68 calls a work of the first to Cleophrades containing rank.

Dionysus

is surrounded by

a

in the center holding

a branch

of grapes

group of obtrusive silens and maenads.84 One of the silens blows the shrill flute with great zeal, drawing a

forehead high in horizontal wrinkles. Andocides who shows well the first awkward gropings of the red-figured technique has painted several elderly silens on an amphora the

in Madrid

(63) with beautiful firmness and delicacy of design.55 A cotyle in Boston (01.8032) by the Penthesilea Painter represents a maenad with a cantharus in her hand and a thyrsus over her left shoulder moving hastily to the left and looking at a bald-headed silen who dances toward her.58 In the center Persephone rises from the earth clad in a Doric On either side of her several of these lusty wood peplos. spirits dance gaily. Beazley57 calls it a "woodland counter-

"De

LT, p. 258, No. 357; cf. a vase in Bologna (Pelle No. 310) where Dionysus is holding a cantharus between a silen and maenad dancing. Hoppin, R. F. II, p. 356; F. R. pi. 91 ; Hoppin, Euthymides and his Fellows, p. 96, pi. 26. Per. and Chip. X, p. 463. I, pp. 233-5, and pis. 44-5. Furtwangler-Reichhold, "Hoppin, R. F. II, p. 145, No. 26. "Hoppin, R. F. I, p. 35; Beazley, V. A. p. 6; Per. and Chip. X, p. 797; Walters, Hist, of Ancient Pottery, I, p. 386; Buschor, p. Bienkowski, (1900), pp. 70-71; 153; Oesterr. Jahreshefte,

grini,

Ridder,

p.

153,

"

" "

III

Schneider, Jahrb. d. arch. Inst. IV (1889), p. 196, Figs. 8 and 9. "Swindler, A.J. A. XIX (1915), p. 412, No. 15, Figs. 8 and 9; Beazley, V. A. p. 130, Fig. 81. Hoppin, R. F. II, p. 339.

AGED SILENS AND CENTAUES

193

part to that gracious sea piece, the Birth of Aphrodite, on the Ludovisi Altar." A cylix from Nola by the Penthesilea Master,

now in Berlin

(2548), represents

a nymph

before

whom bounds in vigorous motion a silen with a large bald spot on his head, red lips, and a red band around each wrist to increase the grotesque effect.68

On the opposite side a silen nymph holding the thyrsus in one hand and a burning torch in the other. The head is treated in the same manner as the other. Another cylix in Boston meets

an obtrusive

(13.84) by the Penthesilea Painter represents two pairs of maenads and silens approached by a bald-headed, bearded silen with pinched nose, moving slyly toward a maenad and offering his hand.68

At the right another silen who is almost

bald is approaching a second maenad. On a vase in the Oesterreichisches Museum a maenad lies on a couch.80 At the head sits a silen, the forepart of his head bald with a white wreath in his hair, and an animal's skin around his neck.

He looks toward Pan who is creeping up. A bearded, baldsilen wearing a garland of berries on a bell-crater by the Nicias Painter from the Hope Collection is crawling

headed

inside a cave where some nymphs or maenads are bathing.81 A maenad with a thyrsus on a vase in Bologna is listening attentively

to an old bald-headed silen whose face is drawn

"Hoppin, R. F. II, p. 337; Beazley, V. A. p. 131. With this vase may be compared one in the Bibi. Nat. (De Ridder, II, p. 413, No. 543) ; a cylix in Bologna (Pellegrini, p. 184, No. 370) ; a pelice from the Hope Collection (Tillyard, p. 58, No. 100) ; a lecythus in the Bibi. Nat. (De Ridder, II, p. 364, No. 492) ; a celebe in Bologna (Pellegrini, p. 104, No. 260) ; and a cantharus in Toronto (Robinson, Harcum, and Iliffe, Cat. p. 170, No. 358) on which the design con sists of a lively bald-headed, snub-nosed silen chasing a maiden. He wears a purple wreath, and has a panther's skin tied in front of his neck and falling down behind. "Hoppin, R. F. II, p. 340; Swindler,

A.J. A. XIX

(1915),

p.

400, pi. 24; Beazley, V. A. p. 132. *0 Masner, Die Sammlung antiker Vasen und Terracotten im Oesterreich. Museum, p. 54, No. 340. Tillyard, The Hope Vases, p. 90, No. 150.

"

13

K. K.

194

OLD AGE AMONG

THE ANCIENT

GREEKS

in three-quarters view and who is speaking to her in an animated manner and looking at her intently.62 His right hand is carried to his breast and the left hangs by his side. Behind them is a rock. On another vase in Bologna a baldheaded silen sitting on a seat is receiving a bunch of grapes from a silen.68 A nude silen with curious bald head, with scant hair hanging down the nape of the neck, is dancing with his arm on the shoulder of a maenad on an amphora in the Bibliotheque Nationale.64 On the reverse is a silen run ning to the left with bald head, very low arched forehead, a lacking and raised

nose that is almost

the British Museum

(E 815) by Pamphaeus

of silens and maenads.65 looks toward

eyebrows.

A cylix in

shows

a dance

One of the silens holds a keras and

a maenad

swinging castanets and a thyrsus. Another silen is clapping his hands. The third is a very old

silen with bald, wrinkled forehead and heavy eyebrows, hold ing a thyrsus. The hair falls behind in single locks which curU

In

at the ends.

the

Hof museum in Vienna (415) is

a

calyx-

crater by the Altamura Painter in the early fine style repre senting a maenad threatening an old silen with a torch.66

The silen is crouched in an imploring position, the maenad to stay her advances. torch to his bald head.

thin hair bears mit dem Kahlkopf

an

"

one arm on

She has almost touched the

His beard is very shaggy and hi9

uncouth

appearance.

"Der

Meister

has painted a vase in the British Mu

seum representing maenads and silens

in

a

lively

dance, some

dancing, others blowing flutes.87 One who is completely bald except for a little hair around the ears is blowing the flute lustily. Another silen who is nearly as bald is raising one

" Pellegrini, " Pellegrini,

Cat. dei Vast Dipinti, p. 199, No. 415. Cat. dei Vasi Dipinti, p. 208, No. 447. De Ridder, II, p. 274, No. 375. — Hoppin, R. F. II, p. 294 ; Beazley, V. A. p. 23. "Eldridge, A.J. A. XXI (1917), p. 43, No. 13; Reinach, 193, 1-2 ; Wieseler, Theater geb. pi. 6, No. 5.

"

" Hartwig,

pi. 43.

II,

p.

AGED SILENS AND CENTAUBS

195

hand and stretching out the other toward a fleeing maenad. Several maenads and silens, some with wine skins, and one

with an amphora

are romping

on a vase by

Hieron in Mu

Three silens are partly bald, and one who is on the point of grasping a maenad is completely bald. On another

nich.68

in Munich representing a Bacchic thiasus, Dionysus is holding a cantharus in one hand and a branch in the other The and looking back toward an aged silen and maenad.68 silen's bald spot covers more than half his head, but the hair falls in long strands down his back. His mouth is open and in a playful, lustful manner he tries to snatch the folds of the maenad's gown as she wards him off with her thyrsus. Another maenad in the distance is sauntering up quietly. Elderly silens also appear in subjects in which silens par ody the action of heroes or of scenes in daily life such as footraces or arming scenes. The Geras Painter whose work has been discussed in Chapter VI also painted silens. On a vase in Copenhagen two bald old silens are playing ephedrisvase

which is described by Pollux.71 On no other monument does one see this game so plainly as on this beauti mos,70

a game

ful vase. It appears that it is played by setting a stone and aiming at it with a ball or another stone. He who cannot upset it must carry the one who has upset it with eyes blindfolded until he comes to the stone which is called dioros. On this vase one old silen is carrying the other and boosting him up by

holding on to his leg. He goes ahead bravely, but his parted lips reveal the effort that it is costing him. The silen who is being carried holds his hands over the eyes of the other, and hangs on with grim determination and a twinkle in his eye. A cylix attributed to Apollodorus represents an old whitehaired, bald-headed silen with a spear and panther's skin.72

The

Trtpifaiia

(apron) and corselet which

" F. R. pi. 46. " F. R. pi. 44. " Marburger Jahrbuch

"Pollux, IX, 119. "Hoppin, R. F. I,

fur

p. 48;

Kunstwissenschaft,

Hartwig,

pp. 636-7,

he wears lead us

V,

p. 5,

Fig.

69.

Fig.

7.

196

OLD AGE AMONG

to think that we have here drawn up in

THE ANCIENT

in

a scene

GREEKS

His arms

a play.

are

ridiculous attitude which may be intended to In Harrow (55) is an amphora by the Cleophon Painter of the ripe archaic period representing two a

represent cowardice.

silens, one holding the greaves and helmet, the other a spear and shield.78 They are bald-headed with a little tuft of hair hanging down the back with a ribbon to make them appear

Four satyrs on a calyx-crater in the British (E 467) by the Niobid Painter appear to be playing game in which two ride on the shoulders of two others.74

more grotesque.

Museum some

An old silen who is taking a less active part holds out a ball to the mounted satyrs. This may also represent the game of ephedrismos described by Pollux.76 In the time of Pheidias the brutal

silen

and licentious

acquired softened traits and noble gestures, and learned to rest quietly on a rock or repose peacefully on a hilltop. On the vases at this time can be seen admirable examples which On a vase in Berlin of

the sculptors could take for models.

the fine style an old silen is lying on the ground, basking in the sunshine, and supporting his hand against the ground.76 He is bald and wears the ivy wreath. A silen who is entirely bald and wears

in

Bologna.77

a beast's

Dionysus

Hope Collection representing

skin is resting on a rock on approaches from a distance.

(Tillyard, p. sitting

silen

a

85,

No. 142) was

on

a

a celebe

In

the

bell-crater

a

leaning his back the double flute with dis rock

against an amphora, and playing He is naked, bearded, and a little bald. tended cheeks. maenad stands beside him. On earlier vases we occasionally "Hoppin,

R. F.

123, pi. 6, Figs.

1

II,

p. 142, No.

17;

find here and there the

J.

H.

8.

XXXVI

(1916), p.

and 2.

R. F. II, p. 239; J. H. 8. XI (1890), p. 278, pis. Petersen, Rom. Mitt. XIV (1891), p. 273.

"Hoppin, and 12;

A

"Pollux, IX,

119.

Furtwanglcr, Beschreib. der Vasensammlung, 2471.

" Pellegrini,

p. 71, No. 190.

II,

p.

690,

11

No.

Figure Papposii.f.nus

2(5.

Infant Dionysus. the Vatican.

and the

Furtw&ngler-Reiehhold,

Griechische

Vasenmalerei,

Crater in pi.

Ifi9.

fi

i

1

AGED SILEN8 AND

whole body covered forerunner

CENTAUES

with hair which may

of the papposilenus

type.

197 be taken

as the

On the archaic vases

lacking and the bodies of the silens are usually slender. Later they sometimes have thick stomachs like the characters in comedy, and the papposilenus becomes quite a frequent type in later art as well as on the stage." An old papposilenus with white beard and white wool chiton creeps toward Dionysus and Ariadne, stretching out the

papposilenus

is entirely

his hand to a low altar containing red-figured

vase

in Naples.™

cakes and bread on a late

On another vase in Naples

a

white-haired

papposilenus, a small, thickset figure wearing the nebris and shoes, rests his hand on the knee of Dionysus and raises up a garland to him.80 Dionysus, Ariadne, and several bearded actors, one of whom is a papposilenus appear The silenus is a on another vase in the same museum.81

shaggy creature wearing the white-sleeved chiton and anaxyrides, and carrying a tiger's skin over his shoulder. He is characterized as an old man by his flagging movements and tired bearing which make necessary the use of a long staff. The old silenus crowned with ivy with arms outstretched to receive the

forward

infant Dionysus is

a frequent motive.

This brings

the other side of the silen nature, making

him

a

mild god, friendly to men.82 Probably the best example of this kind is the vase in the Vatican (cf. our Fig. 26) with Hermes bringing the Dionysus child to an old papposilenus seated wearily on a rock, holding the thyrsus as if it were a cane, old A nymph supports his age depicted in every movement.83 shoulder and upper arm by both her hands as

" Cf. Cornford, " Heydemann,

Origin of Attic

Comedy,

steady

p. 184.

Vasensammlungen des Museo Nazionale zu Neapel, p. 61, No. 929. No. 2847 in the same museum is similar. •0 Heydemann, p. 105, No. 1707. 81 Heydemann, p. 547, No. 3240 ; Wieseler, Theatergebaude, pi. 6, No. 12. ** (II, 12, 97), calls him fiturm Satpuv. Artemidorus F. R. pi. 169. Other vases of this type are 8 A 283 in Naples (Heydemann, p. 698) and G 478 in the Louvre (C. V. A. Louvre,

"

III

Id.pi. 31,6).

Die

if to

OLD AGE AMONG

198

him.

THE ANCIENT

GREEKS

Hair is indicated all over the body by white dots.

A

white beard, long snowy white hair with just an animal's ear peeking out, and white eyebrows complete the picture. Hermes is bringing the child to whom he stretches out his hand with

a

Another nymph

benevolent, fatherly expression.

sits on a rock at a distance.

On a vase in Berlin of the latter

part of the fine style Dionysus is reclining and listening to There a bald-headed silen playing on the six-stringed lyre.84 at the right with lingering weary step a gray-haired His left silen, wearing a knotted chlamys and deer skin.

comes

hand rests at his side, but with his right hand he supports himself on a knotted stick. His knees also are somewhat bent.

His tail, hair, and beard

are white.

On the other side

follows a second gray silen with the nebris wrapped around him, and leaning comfortably on a stick propped against his left shoulder. He stretches out his hand longingly to ward a cantharus which a nymph holds.

On

red-figured wine skin is

a

in Naples a bearded papposilenus with a walking gaily to the left supporting himself on a staff in the of Dionysus, Ariadne, and a small Eros.85 On presence another vase in Naples a white-haired papposilenus fingers a string of pearls as he springs gaily in front of a maenad vase

who is playing the flutes.88 A silen of great baldness is kneel ing on uneven ground and balancing a satyr boy on his head with an expression of anxiety on a red-figured vase of the fine style in Berlin.87 is still without

a

The boy has pointed satyr ears but tail. The creation of the youthful satyr

type belongs to the general rejuvenating process to which it was subjected in the latter part of the fifth century. Before that the silens all appeared as contemporaries, but afterward artists seeking greater variety made use of silens of three ages.

" Furtwangler,

Beschreib.

der Vasensammlung,

II,

p.

663,

No.

II,

p.

725,

No.

2402.

" Heydemann, " Heydemann, " Furtwangler,

2550.

p. 563, No. 3249. p. 609, No. 3382.

Beschreib.

der Vasensammlung,

AGED 8ILENS AND CENTAUBS

199

Boston has a neck-amphora from Capua (76.46) representing a bearded silen on whose shoulders sits an old white-haired

It was painted by the Charmides Painter. On a vase from the Hope Collection is an example of a tiny bald-headed silen riding on the shoulders silen with white beard and tail.88

of an older silen who is blowing the double flute.89 On a vase in the Bibliotheque Nationale of quite an early date are represented several

small silens and a bald-headed old silen

playing the lyre, his hair wound up in

a corkscrew at the

nape of his neck, a knotted nebris thrown over his shoulders, and high boots.90

In

the satyr plays the silenus

was

separated from

the

satyr choir and distinguished from it by a special costume. It was necessary to place him in some definite relation to the chorus.

Therefore,

the silen was made old, and the chorus

of satyrs young in order that he might appear to be the father of the satyrs. The satyric drama which must have been in vogue in Athens early in the fifth century, since Pratinas with whose name it is especially associated was a contemporary of Aeschylus, and which continued to be popular for some time, brought to the foreground the human traits of the silen, and elderly silens appear in a variety of roles. After about 460 B. C, when it comes to the rendering of old people as such, the prevailing type gives way to greater realism, and the com pletely naturalistic and realistic rendering of silens and satyrs in comedy approaches scenes from real life. In Oxford (283) is a vase painted by the Geras Painter representing an old silen clothed in a cloak and a hat of the petasus type.91 In the Hope Collection is a bell-crater representing a platform on which stands an actor with a bald, horned wig, beard,

" Hoppin, "Tillyard,

R. F.

I,

p. 179.

p. 76, No. 130.

M De Ridder,

II,

p. 434, No. 576.

"Hoppin, R. F. I,

p. 467; Beazley, V. A. p. 109; cf. the Nolan I c, pi. 65, la) amphora in the Brit. Mus. (C. V. A. Brit. Mus. representing an old silen in a himation.

lll

200

THE ANCIENT

OLD AGE AMONG

GREEKS

and mock tail, impersonating a silen.92 A very bald-headed silen with thin long beard stands in an intimidated attitude equipped with the lion's skin, club, and cantharus on a cylix in Berlin.98 A crater in the Louvre (G481) is an excellent one for our study for it represents a

before Heracles

papposilenus dressed in theatre costume,

surrounded by three cylix by the Brygos

maenads and two dancing silens.94 A Painter in the British Museum represents

satyric drama in All the silens wear a

Iris, and silens take part.9* wreaths and all are very bald. A silen with one foot on an ivy altar leaps forward to seize Iris, while two other silens also which Hera,

rush toward her.

On the other side four silens advance

to

The last silen in a all his fours reveals bald head very crouching position on clearly. An Attic red-figured vase of the fine style in Berlin represents a silen of great baldness and snub nose standing in a long chiton and mantle and holding a twig solemnly over an seize

Hera and

are confronted by Hermes.

altar, thus producing a comic effect.98 Dramatic art has a psychological motivation which causes it to work more enduringly and more firmly on the public than other branches of art, and it is likely that the Greeks derived a great deal of merriment

out of watching silens come on the stage imper the foibles and weaknesses of old men. sonating

" Tillyard,

p. 79, No. 136. Vases with representations from satyr plays are discussed by Flickinger, The Greek Theatre and iti Drama ', pp. 25 f. Cf. also D. M. Robinson, A. J. A. XXI, 1917, pp. 86-87; XXXVI, 1932, pp. 401-406; on influence of the stage and aged figures on vases, cf. Sechan, Etudes sur la Tragidie Grecque, es pecially pp. 38-46; Rom. Mitt. XLVII, 1932, pp. 122 ff. Beschreib. der Vasensammlvng, n, p. 714, No. Furtwangler,

"

crater in the Bibl. Nat. (De Bidder, II, p. 305, No. 415) this except for the presence of Athena. "Pottier, Vas. Antiq. Louvre, III, p. 274, pi. 151; Beazley, V. A. p. 402, No. 9. F. B. pp. 238-42, pi. 47; Beazley, "Hoppin, R. F. I, p. V. A. p. 189; Bayet and Collignon, p. 197, Fig. 77; Per. and Chip.

2534.

A

resembles

Ill;

X,

pp. 563-4, Figs. 322-4. M Furtwangler, Beschreib.

2523.

der Vasensammlung,

II,

p.

704,

No.

AGED SILENS AND CENTAUE8

201

In Marsyas who is always represented as a silen we find the He pos Greek silen blended with a Phrygian river god. sesses as his principle trait the silen's love of music. The wise silen is represented as the teacher of the youthful Olympus on a vase in Naples.97 Marsyas sits before him crowned, represented as a bearded, bald-headed figure with snub nose, pointed ears, and taii.

Marsyas is also represented as bald on a crater in Berlin on which he stands opposite Apollo and stretches out his hand to him,98 but on

a vase

in Naples

on

which he lays his head painfully on his shoulder the hair stands up almost straight in separate strands as we see it in sculpture, producing the effect of writhing in anguish.99 Terra-cotta figures of silens are often found in graves. Kuhnert 100 thinks that these terra-cotta figures of the squat ting or kneeling silen which are found especially in graves from the seventh to the fifth century represent him as a pro tective power, and that these figurines were preserved for generations in a family. As early as the sixth century these figures reveal definitely senile characteristics, and in the fifth and fourth centuries terra-cottas in the form of aged silens in a variety of positions become very numerous. An ascus in the British Museum in the form of a silen represents him as a bald-headed old man wearing high boots and hold ing an amphora and a scyphus.101 Another shows him as a bald old man with curls behind, standing on a plinth hold ing a tympanum, and drawing aside the edge of his himation with his left hand.102 In the Bibliotheque Nationale is one •7

Heydemann, p. 535, No. 3235. Among the paintings of Polygnotus in the Lesche at Delphi, Pausanias (X, 30, 9) describes a picture of Marsyas seated on a stone and near him Olympus, a handsome boy, learning

to play the pipe. Beschreibung

" Furtwangler,

der Vasensammlung,

II,

p. 748, No.

2638.

"Heydemann, p. 100 E. Kuhnert, s. Myth.

IV,

v. Satyros

in Roscher, Lex. der Griech. u. Rom.

p. 495.

101 Walters,

"*

450, No. 2991.

Cat. of Terracottas in the Brit. Mus. p. 233, No. C 467. Walters, Cat. of Terracotta* in the Brit. Mus. p. 232, No. C 456.

202

OLD AGE AMONG

THE ANCIENT GREEKS

which dates earlier than the others, about the sixth century

B. in

C,

representing an old silen with bald and flattened skull a squatting position.108 The old silen on a mule in the

Loeb Collection makes an amusing composition.104 The rider has an arrogant manner in spite of his bald head, and he is

riding quite numerous.

a spirited animal. Masks of aged silens are rather One in the British Museum represents a silen who

is bald on the top of his head, and his heavy overhanging eye brows and heavy beard arranged in parallel twisted tresses A terra-cotta of poor work give the impression of senility.100 manship in the Bibliotheque Nationale represents Eros hold ing the mask of a bearded, bald-headed silen.108 Silen masks emphasize the apotropaic nature of the silen and imply that the Greeks saw in him a wild, hostile demon who with his repulsive, bestial features could frighten or harm evil spirits. The more aged he was the more gruesome the effect. In terra-cottas the old silen is also represented as the protector and tutor of the infant Dionysus. Therefore, he was a crea ture that worked both good and evil, and just as age marks if rightly applied may bring out the bestial characteristics, so, too,

may be emphasized by white hair Three terra-cotta figures in the British One represent Silenus with the infant Dionysus.

a benevolent

aspect

and a kindly smile. Museum

him holding the infant in his arms.107 He is bald and covered by a hairy skin indicated by stippling, and wears a garment twisted around the waist which he holds in one hand. The second, which is of very good fourth-century workmanship, represents him leading the young Dionysus shows

1M

De Ridder, 1; cf. Walters, B 276.

Les Terres Cuites et les Verres, p. 43, No. 66, pi. Cat. of Terracottas in the Brit. Mus. p. 118, No.

Sieveking, Terrakotten im Sammlung Loeb, I, p. 4, Taf. 6, 1; cf. Winter, Die Typen der fiffiirlichen Terrakotten, I, p. 223, 4. 105 Walters, Cat. of Terracottas in the Brit. Mus. p. 287, No. C 829. 10*De Ridder, Les Terres Cuites et les Verres, p. 15, No. 19; Pot104

tier-Reinach, La Nicropole de Myrina, pp. 341-3, pi. 18, 1. 107 Walters, Cat. of Terracottas in the Brit. Mus. p. 196, No. C 74.

AGED SILENS AND

203

CENTAUES

with his left hand and supporting a pitcher on his head with A wrinkled forehead and shaggy beard his right hand.108 mark him as an old man. He is clothed in a chiton reach ing to the knee with a girdle, and a blue chlamys. The third apparently a caricature of the Hermes of Praxiteles. Silenus, a short squat figure with wrinkled forehead and snub nose, stands with knees bent and face upturned holding a bunch, of grapes in his right hand.109 The infant leans is

against his shoulder and extends one hand for the grapes. The silenus is covered all over with a shaggy skin which has been painted

pink, and

a blue chlamys

falls over his left

arm.

In

the sixth and fifth centuries we 110

see

the silen on coins

or paired with nymphs.111

Later, about the middle of the fifth century, we see him carrying off nymphs.112 In the sixth century he usually has long hair until under the influence of the red-figured Attic vases the bald style becomes prevalent. On early coins he appears to have little connection with Dionysus, but is rather a wild, uncouth, creature, but in the fourth century we mountain-dwelling see him assuming his role in the Bacchic thiasus as on a coin from Thrace in the Warren Collection where a bald-headed silen is holding the cantharus in his hand,118 or on a coin from Cilicia where a silen with bald forehead kneels in front of the wagon which is carrying the youthful Dionysus.114 In the Royal Library in Brussels is an excellent head of a bald silen wreathed with ivy on a silver tetradrachm from Catana

either alone

"• Walters, Cat. of Terracottas in the Brit. Mus. 109 Walters, Cat. of Terracottas in the Brit. Mus. 110 Cf. Barclay V. Head, Historia Numorum*,

p. 214, No. C 281. p. 225, No. C 406.

L. Forp. 211; rer, Weber Coll. of Gr. Coins, I, p. 264, No. 1263 and 1264. 111 Cf. Kurt Regling, Die Griechischen Miinzen der Sammlung Warren, p. 98, No. 606, Taf. 15. 11' Cf. Macdonald, Gr. Coins in the Hunterian Coll. I, p. 389, No. 5; L. Forrer, Weber Coll. of Gr. Coins, II, p. 144, No. 2506, pi. 96.

Kurt Regling, Die Griechischen Miinzen ren, p. 82, No. 505. 114 Imhoof-Blumer, Kleinasiatische Miinzen, 118

der Sammlung

III,

War-

p. 483, No. 31.

204

in

OLD AGE AMONG

Sicily.115

considerably.

THE ANCIENT

GREEKS

He is very bald and the eyebrows are puckered The lines of the beard are rendered vividly.

The ear is pointed to give an impression of alertness and the eyes are extremely expressive as if concentrating on some

thing in the distance. Although the fifth century

saw the broadening of the activi

ties of aged silens on vases, the old silen is treated grudingly on the gems and plastic arts of this period. A few examples are to be found, however, on gems, but many more during the Hellenistic period. Beazley118 describes a scarab dating from the middle of the sixth century on which is represented a nymph dancing with a silen who has a depression near the middle of the forehead which gives the appearance of bald A gem of the fifth century in the British Museum ness. represents two bald-headed silens carrying a third bald-headed silen who is brandishing the thyrsus.117 Another gem in the

British Museum, which is

a splendid fifth-century

sents a bald-headed silen stooping wearily

over a

work, repre

full leather

bag while he holds fast to the mouth of the bag with his left hand.118 Furtwangler 119 describes a Hellenistic gem with a

bald, bearded silen in an intoxicated thyrsus and wearing a mantle, boots,

holding the and ivy wreath. Old

condition,

distinctly stamped on the body and head of a silen reposing with the cup in his right hand, and the left hand raised in a demonstrative way.120 Another Hellenistic gem shows an excellent mask of a silen with ivy crowned bald-head age is very

and taenia.121

It

delighted the artist to represent small works of bronze also in the form of aged silens. The British Museum has a bronze lamp in the form of an old bald-headed silen squatting 115 1X8

118

1.0 1.1

George F. Hill, Select Gr. Coin*, p. 35, pi. 1, No. 1. Beazley, The Lewes House Coll. of Anc. Gems, p. 10, No. Furtwangler, Antike Gemmen, II, p. 174, Taf. 36, No. 1. Furtwangler, Furtwangler, Furtwangler, Furtwangler,

Antike Antike Antike Antike

Gemmen, Gemmen, Gemmen, Gemmen,

II, II,

II, II,

p. 45, Taf. 9, No. 27. p. 135, p. 197, p. 195,

I

Taf. 27, No. 23. Taf. 41, No. 34. Taf. 41, No. 13.

15.

AGED SILENS AND

205

CENTAUES

The and holding a crater before him in both hands.122 Metropolitan Museum has a concave disk of high grade work manship of the fourth century B. C. ornamented with the head of an old silen.123 He is represented in full front with long beard, moustache, and wavy locks. In the Fouquet Col lection is a very unique work representing the bust of an old silen in a flower.124 Some incisions on the chest recall that

In Berlin is a bronze figure the old silen was very hairy. of a very bald-headed silen executing the movements of a dance.128 The complicated movement shows that it is a work of Hellenistic times, and

it can

be compared

stylistically with

the bronze figure of Marsyas in the British Museum.128 The frolicing silens were scarcely a suitable subject for architecture, this role being played much better by their more serious cousins, the centaurs. of the fourth century elderly silen on

a

It

is not until the second half

that we note the appearance of an

monumental structure.

On the frieze of the

dating 335-334 B. C. por traying the chastisement of the Tyrrhenian pirates who had

choregic monument of Lysicrates, offended Dionysus,

an aged, bearded silen, clad

in

a beast's

skin, leans on a tree trunk and feebly waves the thyrsus.127 Young satyrs are grouped round about and in the middle the

youthful Dionysus is playing with his panther. At the right are three analogous figures, first a couple of young satyrs, finally an old, bearded silen raising in his hand a full jar. In all the trials and all the sufferings that his master has en dured Silenus has taken his part generously. He has served him as a foster father ; he has shared the dangers of the wars "* Walters,

Cat. of Bronzes in the Brit. Mus. p. 3, No. 10, pi. 1. Gisela M. Richter, Greek, Etruscan, and Roman Bronzes in the Metropolitan Museum, p. 69, No. 112. 1" P. Perdrizet, Bronzes Grecs d'tgypte de la Coll. Fouquet, p. 17, No. 19, pi. 9. 1,6 und Bronzen des konigM. Bieber, Die Antiken Skulpturen lichen Museum Friedericianum in Cassel p. 64, No. 171. Walters, Cat. of Bronzes, p. 269. 187 Lawrence, Classical Sculpture, p. 267; Henry De Cou, A. J. A. 1M

VIII

(1893), pp. 42-55.

OLD AGE AMONG

206

THE ANCIENT

GREEKS

against the giants; and finally when Dionysus by pirates he sets out in search of him.

In

tween

is carried off

sculpture the representations of the mythical contest be Athena or Apollo and Marsyas occur in several copies.

On the reliefs from Mantinea,

now in the National Museum

of the flutes produces deep wrinkles in the brow of Marsyas making him look like an old at Athens,

the violent blowing

In

man.128

the statue in the Palazzo

Conservatori

the

moment immediately preceding the his failure in the musical contest.129 The flaying inflicted for twisted mouth, swollen veins, and the tension of the chest artist

has chosen

dei

the

it a masterpiece of mental and physical agony springing from defeat as well as from the dread of approach In the Roman copy of the famous statue of ing torture. Marsyas in the Lateran by Myron, where he is drawing away from Athena, the brow is very wrinkled and the hair quite Like the Discobolus it shows Myron's predilection bristly.180 for representing intense action, but the Marsyas is later than the Discobolus because in the latter the expression of the and ribs make

countenance is quite unaffected by the violent movement of the body. This partial representation of old age features is unusual in sculpture in the round in the fifth century, and is an

indication of

the emancipation

of Greek art.

There are

of statues of the hanging Marsyas. The type is perhaps most clearly shown in the copy in the Capitoline Museum but two similar torsos in the Boston Museum of Fine several

copies

Arts show a brow corrugated with rows of wrinkles, while the hair matted with perspiration and the drawn muscles of the chest both reveal his struggle to release himself and stamp his body with the marks of age.181 On the statue of the 1M 1,1 1.0

Brunn-Bruckmann, pi. 468. Cat. of the Palazzo dei Conservatori, p. 165, No. 18. Brunn-Bruckmann, pi. 208. Cf. Lawrence, Classical Sculpture,

pp. 180-1.

Gr. and Rom. Sculpture in Am. Coll. pp. of the Boston Museum of Fine Arts, p. 64, No. 82. 1.1

Chase,

124-5;

Cat.

AGED 8ILEN8 AND

CBNTAUBS

207

hanging Marsyas in Paris the expression of agony also makes the age wrinkles very visible.182 In the group of the old Silenne and the infant Dionysus,

Lysippus created quality

in

a new type

is lost and fatherliness,

sculpture.183

mildness,

The Bacchic

and wisdom

are

emphasized until he resembles

more the portrait of a poet or philosopher with a posture suggestive of the Farnese Heracles.

The group representing Silenus with the infant Dionysus exists in several copies.184 In the copy in Paris the old silen holds the child in his arms lovingly and looks down at him with a benevolent expression.185 The face bears no wrinkles, but the shrunken muscles, white hair, and beard suggest ad vanced years, as well as the support against which he leans.

The plump wine-heavy old silen was also a favorite type in Hellenistic times. In Munich is a statue of a stout silen standing quietly, heavy with wine.188 His right arm rests on a

full leather

bag,

the old bald head

while

has sunk

wearily on his breast. In the bust of a silen in the Vatican the artist has brought out well the gluttonous, animal nature of the old silen.187 The breast and shoulders around which a panther's

skin

is knotted

are

wholly

covered

with shaggy

hair, and the thick head sits deeply on the shoulders making him resemble an old humpbacked philosopher. Thin strands

of hair fall down in front of the ears, and a heavy wreath of flowers with grapes intermingled surrounds the head. The old silen in Ince Blundell Hall characterized as a drunken songster is entirely bald, as well as possessing deep lines around the mouth, furrows in the forehead, and an extremely 1,8

Brunn-Bruckmann,

"•Johnson, Lysippos, 1.4 1.5 1M

pi. 424. p. 184.

(loo. cit.) lists the known copies. Brunn-Bruckmann, pi. 64. Furtwangler, Beschreibung der Glyptothek, Johnson

p.

221.

1" Brunn-Bruckmann, des pi. 198 ; Amelung, Die Sculpturen Vaticanischen Museums, II, p. 516, No. 321. This resembles a statue of an old ivy -crowned silen in the Studio Jerichau (Matz-von Duhn,

Antike Bildwerke

in Rom. I,

p.

142, No. 545).

OLD AGE AMONG

308

heavy beard as indications

THE ANCIENT of

age.188

GBEEKS

There is a scornful,

defiant look in the half-open eyes and half-open mouth. This may be compared with the bust of the bald silen in the

with tangled beard, bushy brows, and thick, flat nose.189 The old ivy-crowned silen in Deepdene is holding a goblet in his right hand.140 Another Hel lenistic statue in Deepdene represents a silen making a He would resemble the Farnese Rest parody of Heracles.141 ing Heracles if hia head were not so bald and the inclina tion of the body so exaggerated. The aged body is rendered well in a beautiful specimen in the Vatican representing an old silen with bent knees endeavoring to hasten to the left.142 The front part of the head is bald, and the panther's skin Palazzo

dei Conservatori

slung about the middle of the body increases the realistic and serves as a reminder of the aged peasant type so generally favored by Hellenistic artists. effect

The earlier

representations grotesque characteristics of the

of

centaurs

" man

have

all

the

of the woods," but in

vase paintings of the red-figured style they, like the silens, sometimes partake of the physical characteristics of

Attic

A

in the Villa Giulia shows several centaurs with very deep wrinkles and bald heads contending with Greek heroes.148 One grasps the shield of a young warrior, another with markedly senile features hurls a boulder, while a third of very forlorn appearance turns clear around and strikes in dead earnestness against a Greek who is grasping old men.

1,8

Hall,

Bernard

vase

Ashmole,

Cat. of the Anc. Marbles

in Ince Blundell

p. 43, No. 92, pi. 20.

Cat. of the Palazzo dei Conservatori, Br. Sch. at Rome, p. 291, No. 22. 140 Michaelis, Anc. Marbles in Gr. Britain, p. 286, No. 19. The corpulent old silen in the Palazzo Sciarra (Matz-von Duhn, Antike Bildwerke in Rom. I, p. 122, No. 473) holds a wine flask in his left hand. 1,1

Michaelis, Anc. Marbles in Gr. Brit. p. 286, No. 18. "2 Amelung, Die Sculpturen des Vaticanischen Museums, 435, Taf. 52, No. 259a. F. R. Taf. 15; Hoppin, R. F. I, p. 419.

II,

p.

AGED SILENS AND CENTATTRS

the skin which encircles his neck.

Munich shows struggling for

209

The interior of

a very good representation

a vase

in

of an old centaur

life.144 He lies prostrate on the ground with Pain his hand extended to touch his great bald forehead. is indicated in every line of the wrinkled forehead and

On the exterior a young warrior has grasped grimaced face. The latter has turned the long beard of an old centaur.

his wrinkled face as if pleading for mercy, but at the same time he is holding tightly a branch with many leaves and seems to be summoning all his strength to hurl it A cylix in Orvieto in the Faina Col at the first opportunity. upward

by the Onesimus Painter, representing a battle of centaurs and Lapiths, portrays very wrinkled centaurs with white beards and pinched expressions. They are all bald

lection

with

a

little tuft of hair

behind.145

On a crater in Bologna a

Greek warrior Peirithous is assailing a bald-headed centaur who wears a lion's skin.146 A red-figured hydria of the fine style in the British Museum represents Heracles seizing by the throat the centaur Dexamenus who is attempting to carry off Deianeira.147 The centaur is partially bald with a patch of hair on his forehead, shaggy beard and eyelashes, horses' ears and a face of the silen type. In Bologna are two redfigured Celebes representing a ceritauromachy in which baldcentaurs play a leading r61e.1" On a red-figured pelice in the Bibliotheque Nationale on which Peleus is bring ing the infant Achilles to Cheiron, contrary to the usual cus headed

tom Cheiron

is represented with a wrinkled forehead and a

long beard.149 Cheiron, due to his kindly and tolerant nature, is usually represented with a friendly smile leaving his

"' F.

R. Taf. 86; Hoppin, R. F. I, p. 426. "•Hoppin, R. F. I, p. 415; Beazley, V.A. p. wig, pp. 550-53, Fig. 64. '"Pellegrini, Cat. dci Vasi Dipinti, p. 119, No. "7 C. V. A. Brit. Mus. III I c, pi. 73, 4. "• Pellegrini, Cat. dci Van Dipinti, p. 72, Nos. 237.

l" De

Ridder, 14

II,

p. 540, No. 913.

95, No.

2;

Hart-

275. 192 and 194 ; No.

210

OLD AGE AMONG

THE ANCIENT

GREEKS

countenance devoid of age marks. Preller 150 suggests that the two good centaurs, Pholus and Cheiron, may represent the peaceful and beneficient aspect of mountain floods and the multitude of bad centaurs may represent the turbulent and desolating aspects. On coins and gems centaurs appear carrying off women, hurling rocks, or shooting arrows, sometimes with stars intro duced to show that the centaur is conceived as the repre sentation of the constellation of Sagittarius as on a beautiful archaic gem in the Metropolitan Museum,151 or by the fourth century a centauress occasionally appears,152 but although these centaurs are heavily bearded and have

cannot be described as definitely

belonging

long hair they to the old age

On late coins (about the first century B. C.) centaurs 158 or the horn,154 occasionally appear blowing the double flute thus encroaching upon the activities of the Bacchic cycle.

type.

Centaurs are of rare occurrence in terra-cottas and when they do appear they are not represented as old men. This was due to the fact that the centaurs were connected with the oldest and gravest epic and heroic legends, while the silens who were mischievous and freakish would lend themselves better to this mode of representation. People claiming

descent

their way from Thessaly

from Lapith princes early found to Attica and settled in amity.

Hence there grew up the legend of the intimate

friendship

Bobert-Preller, For Gr. Myth. II, p. 501; cf. Diod. IV, 70. Cheiron's tutelage of Achilles, cf. Apollod. Bihl. IIl, 13, 6; Pindar, Pyth. Odes, III, 45; Nem. Odes, 1n, 53; Horn. II. IV, 217-20. For the episodes of the centaur myth habitually illustrated in vase " Centaurs in Greek Vase Painting," painting cf. Sidney Colvin,

H. 8. I ( 1881 ) , pp. 107-67. In general cf . Baur, Centaurs in Ana Art, Berlin, 1912; H. Oelschig, De centauromachiae in arte graeca figuris, Halle, 1911; Tarbell, A. J. A. XXIV (1920), pp. 226-31.

J.

151 Bichter,

Cat. of Engraved Gems, p. 24, No. 23, pi. 6. Cf. Furtw&ngler, Antike Gemmen, II, p. 60, No. 41. "*Cf. Macdonald, Gr. Coins in the Hunterian Coll. p. 722, No. 11. "« Cf. Macdonald, Gr. Coins in the Hunterian Coll. p. 725.

"*

IIl,

lll,

AGED SILENS AND CENTAUBS between

the

Theseus. attention

In

211

Lapith king Peirithous and the Athenian hero

pottery this phase of the myth did not receive so much as with monumental sculptors because

the aim was

to provide

acceptable

wares for sale

in the

markets of the colonial settlements belonging to all races of Greeks. The slabs from the temple of Assos dating from the

third quarter of the sixth century

show centaurs

with the entire

figure of a man joined to the body of a horse,155 as are often The long thin bodies of the cen

found on early sarcophagi.

taurs, their angular, awkward gestures and strict observance of the profile position point to a date too early to receive treatment

separate

in our study.

Lapiths and centaurs

at

The battle between the the wedding of Peirithous and Dei-

dameia occupies a prominent place on the west pediment of the temple of Zeus at Olympia.168 The centaur Eurytion who is represented with a smooth bald head appears to be carrying off Deidameia who pushes off her foe with all her might. On one side a centaur comes out of the background with a boy as his victim.

with

a

On the opposite side another centaur grapples hero into whose arm he is biting. The draped parts

lacking in vigor, but the muscles of the chest are well rendered. This work which may typify the struggle between civilization and barbarism is very pictorial and full of a burst ing realism struggling for expression. are

On the frieze of the temple of Bassae erected B. C. is also represented the great mythical the

contest of Greeks with centaurs.157

about 450 combat of

Two women

have

fled to an idol for protection, but one is already seized Both the centaurs and Lapiths on by a lusting centaur. this

monument

exhibit

spirit of the Parthenon, "•Per. 256, Fig.

a

brutality far which

removed

from

represents the same

the sub-

and Chip. Histoire de VArt dans I'Antiquiti, VIII, p. 102; George H. Chase, Gr. and Rom. Scttlpt. in Am. Coll.

pp. 24-5.

"*

Buschor-Hamann,

pi. 63; Brunn-Bruckmann, by Paus. V, 10, 8. Brunn-Bruckmann, pi. 91.

scene is described 1,7

pi.

454.

This

OLD AGE AMONG

212

THE ANCIENT

GEEEKS

On the long south side of ject by a contemporary artist. the Parthenon the first twelve and the last twelve metopes the Lapiths and were consecrated to the battle between

Each

presents either a centaur and a woman whom he has seized or a Lapith against whom he is On the fourth slab on the south side a centaur who fighting. centaurs.

is

partly

Lapith.158

metope

is ready to sling a rock at a crouching Another centaur who is very bald has short wrin

bald

kles in his forehead, and his puckered face produces deep age On the ninth slab of the south

lines around the mouth.159

side a very bald centaur of serene countenance is being seized

On the thirty-first slab is an old centaur by a Lapith.180 with abundant hair treated rather severely, but he has many wrinkles running clear across his forehead.181 Although many of the centaurs on the Parthenon have bald heads, their do not possess the habitual air of savagery; the beard is less shaggy; and the traits are more those of a man than of a beast. The centaurs on the west frieze of the so-called faces

Theseum are excellent in design and execution, and the scene is almost a reproduction of the metopes of the Parthenon, but they are more bushy and brusque,182 portraying the char acteristics of an earlier technique. A corner block of a sculp tured pier of the great temple of Ephesian Artemis dating about 356 B. C. shows a part of a combat between a male figure (perhaps Heracles or Theseus) and a centaur,188 and on the Mausoleum

erected

to Mausolus

by his widow Arte

misia dating about 353 B. C. are scanty vestiges 158

Fougeres, mann, pi. 185.

L'Acropolt,

be

Parthenon,

"•Fougeres, pi. 30; Brunn-Bruckmann, 1.0 1.1

Fougeres, pi. 31. Brunn-Bruckmann,

pi.

28 ;

pi. 184;

of a frieze Brunn-Bruck-

cf. our

Fig.

27.

pi. 182. In general cf. Murray, The Sculp tures of the Parthenon, p. 64; Lechat, Sculptures Grecques An tiques, p. 88, No. 41 ; Collignon, he Parthenon, pp. 131-43, especially Fig. 48; Brit, if us. Sculptures of the Parthenon, pi. 16, 2. 1M Brunn-Bruckmann, pis. 407-8; cf. Paus, I, 17, 2. 1»A. H. Smith, Cat. of Sculpt, in the Br. Mus. II, p. 174, No. 1205.

Figure Cental'r on Foumari's,

a Metope L'Arropole,

27. ok

Le

the Parthenon.

Parthenon,

pl.

'AO.

1

^

AGED SILENS AND CENTAUES

213

184 but these representing the battle of Lapiths and centaurs too are of demolished to be value in our parts badly study.

Enough examples have been cited to show the activity of the Greek imagination in the portrayal of these gross half -human monsters, and to discover the period at which the artist began to feel that the introduction of features belonging to aged men might better serve his purpose. When we recall that even on the sandals of Athena Parthenos Pheidias sculp tured

a

minature

battle of centaurs and Lapiths and the

shield of Athena Promachos was decorated with a centauromachy, the importance of these episodes in the mythological As long history of the Greeks becomes evident immediately. as

the Greeks took in earnest the ancestral traditions of their

and saw in the struggle of the Greek heroes against these monsters the struggle of civilization against barbarism race

the representation of the battle between the Lapiths and centaurs occupied a prominent place. But in the second half of the fourth century when the spirit of art was trans formed and a playful or pathetic invention took the place of the old ethical seriousness artists were less likely to look in this direction for suitable subjects for architectural purposes. Although centaurs appear early in terra-cottas, they do not appear in sculpture in the round until the Hellenistic age when the heroic myths had lost their power and weight

in the declining Palazzo with

dei

days of the Greek imagiD"*ion.

Conservatori

is the head

of

an

old

In

the

centaur

hair, thick moustache and beard, but the going part way across the brow in the middle

abundant

two wrinkles

with two short rows

on

either side,

the crow's-feet

at the

corners of the eyes, and the curious pucker above the eyes created by the upturned eyebrows establish his identity as

The turning downward of the corners of the mouth and the upward glance of the eyes focused a little to the left give the appearance of a savage and unapproachable an old man.185

1" Percy Gardner, Sculptured Tombs of Hellas, p. 233. 144 Brunn-Bruckmann, pi. 535.

214

OLD AGE AMONG

THE ANCIENT GREEKS

The bearded centaur made by Aristeas and Papias the portrays despair of the elderly victim of love tormented The hair is disheveled, the by a little Eros on his back.18' monster.

corners of the mouth drawn down, and the right hand placed It is dignified on the horse's back in an attitude of despair. yet playful — a conception perfectly in the taste of the Alex andrines. Although it belongs to the Antonine age it pro ceeds

from

a

first century original.

Scarcely any nation appears to have felt the dread of ap proaching senescence or to have clothed its victims in so many

But certainly there was ghastly forms as the Greek writers. no country where caricature existed so continuously and where the aptitude

for seizing the ridiculous and the promptitude

for making the most out of

a bad situation

were so much a

part of the national customs. 1M

Brunn-Bruckmann,

p. 296;

pi.

Dickins, Hellenistic

Lawrence, Classical Sculpture, 392 ; Sculpture, p. 51, and Fig. 38.

CHAPTER

XII

OUTSTANDING EXAMPLES OF LONGEVITY In this chapter will be given a list of distinguished Greeks, the majority being philosophers, historians, and poets, whose remarkable vitality preserved their life to the age of sixty or more.

In

chronology cannot be established because the date of the birth or the death of the some

instances a definite

individual is in question or can be conjectured only from inferences in his works, but an approximate age can usually ascertained.

be

will

of

Examples

persons, and probably

from

longevity

representing

nearly every station

Achaeus, tragic poet

Aelius Aristides, philosopher.

1

sixty years

2

. .

Aeschylus, tragic poet Agesilaus, king and general

Alexis of Thurii, middle Anacreon,

sixty years

8

sixty-nine years

4

Anaximander, 1

* *

' * 7

Sit,

years

5

sixty-five years hundred six years

8

eighty-five years

8

.

comedy

.... one

poet

Anaxagoras,

*

. .

Polyhistor, historian

eighty-four

. . .

, .

philosopher.

. .

sixty-four years

Cf. Suidas, «. v. 'KxaiAt. Cf. Philostr. Vit. Soph. II, 9. Cf. Suidas, s. v. Alax^s. Cf . Suidas, «. v. AftrxuXoj ; Marm. Par. Ep. 58. Cf. Plutarch, Agesil. 36, 9-38 ; Xenophon, Agesil. Cf. Suidas, s. v. 'A\QavSpot KopvijXiof. 420 e ;

7

seventy-two years9

.

philosopher

Cf . Plut. Defect. Orac.

of

seventy-four years

Aeschines, orator

Alexander

inscriptions

for the most part to unimportant

also be cited, relating

II,

26-27.

Plut. An Seni Res Publica

Gerenda

785 b.

•Cf. Lucian, Macrob. 26. Cf . Diog. Laert. II, 3 ; Plato, Phaed. 97 10 Cf. Apollodorus in Diog. Laert. II, 4.

*

215

c ;

11 10

Arist. Met. I,

3.

THE ANCIENT

OLD AGE AMONG

216

Antigonus Codes, king of Macedonia. Antiphanes,

GEEEKS

.eighty-one years11

. .

comic poet

seventy-four

years

sixty-nine

years

Antiphon, philosopher Antisthenes, Apollodorus

philosopher of Pergamum,

advanced age rhetorician.

Apollonius of Rhodes, poet Apollonius of Tyana, philosopher Appian, historian Aratus,

.

.eighty-two

ca. eighty years

18

Aristarchus,

seventy-five years ca. seventy

critic

years

ca. seventy-two years

Aristophanes of Byzantium, grammarian Aristophanes,

years

seventy-five years

Arion, poet

. .

ca. seventy years

comic poet

sixty-five years

Aristotle, philosopher Arrian, historian Athanasius, Christian writer

sixty-three

years

ca. eighty years

seventy-eight or seventy-nine years Athenodorus,

philosopher

" 17

sixty-five

of Pitane, philosopher Archimedes, mathematician

14

years or more

poet

Arcesilans

ll

years15

ca. eighty years

.... eighty

12

eighty-two

years

19

,0

"

22 23 24

" H

"

2S 29

Cf. Lucian, Macrob. 11; Diod. Sic. XVIII, 650. Athenaeus, IV, 156 c. "Cf. Philostr. Vit. Soph. I, 15; Suidas, s. v. 'AvTitpur. 14 Cf. Diog. Laert. VI, 10. Lucian, Macrob. 23 (authority of Athenodorus ) . 11

" Cf.

" " Cf .

Athen. VII, 283 ; Suidas, t. v. "Cf. Philostr. Apoll. Tyana, VIII,

" Cf. " Cf. ,0

Suidas, s. v. Suidas, s. v.

Cf. Diog. Laert.

'AiroXX
'AiririavSt; Phot. Cod. 57. "Aparot.

IV,

20.

"Cf. Plut. Marcell. 19; Tzetzes, Chil. II, "Cf. Schoi. Pind. 01. XIII, 25; Herod. I,

" Cf. " Cf. " Cf.

" Cf.

" Cf. " Cf. " Cf.

*

103-56;

Livy, XXV,

23.

Suidas, t. v. 'Apicrapx0'Suidas, t. v. ' Apuiro'p6.vri\ Bvfdvriot. Schoi. Plato, Apol. 19 c; Suidas, 8. v. 'Apumxpivrit. Diog. Laert. V, 3 ; Dionys. of Halic. Epist. ad Amm. 5. Lucian, Alex. 2, 55 ; Suidas, s. v. ''Ap'juavtt. Hieron. De Viris Illustr. 87-88 ; Suidas, s. v. 'A$avA
31.

TRAMPLES OF LONGEVITY

OUTSTANDING

years

80

ca. seventy-five years

S1

Attalua of Pergamum, king Bacchylides,

eighty-two

poet

Callimachus,

217

82

ca. seventy years

poet

years

33

Cassius Dio, historian

eight-five years

34

Choerilus, tragic poet

ca. seventy years

Carneades, philosopher

ca. eighty-five

Choerilus of Samoa, epic poet Chrysippus,

ca. eighty years

seventy-three years

philosopher

Crates, philosopher Cratinus, comic poet

years

39

eighty-two sixty-six

Demochares, orator and historian Democritus

years

one hundred twenty-four

Demades, orator

37

eighty years ninety-seven years

Critolaus, philosopher Ctesibius, historian

3B

38

eighty to ninety-nine

Cleanthes, philosopher

"

40 41

years44

years

sixty years

43

"

of Abdera, philosopher one hundred

Demosthenes, orator

sixty-six

years or more

to seventy

46

years48

Dio Chrysostom, rhetorician and philosopher seventy-two years

"Cf. "Cf.

" Cf .

Lueian, Macrob. 11. Suidas, s.v. BokxiAW^s; Aei. Var. Hist. Suidas, s. v. KaWlpaxot.

"Cf. Diog. Laert. (gives 90 years). Cf. Suidas, s. v.

IV,

" " Cf.

Suidas,

" Cf .

Plut. Lys. 18. Diog. Laert. VII,

" Cf.

7; Lueian,

AW;

IV,

47

15.

Macrob. 20; Vai. Max.

VIII,

7

Phot. Cod. 71. Euseb. Chron. 01. 74, 2.

s. v. Xoipi\os;

7 ; Suidas, t. v. Xpvatinrot. Diog. Laert. VII, 7; Lueian, Macrob. 19; Vai. Max. VIII, 7. Cf. Diog. Laert. VI, 87; Athen. X, 432 c; Plut. Mor. 69 c. 40 Cf. Lueian, Macrob. 25. "Cf. Lueian, Macrob. 20; Cic. De Orat. I, 11. Cf. Apollodorus in Lueian, Macrob. 22. "Cf. Diod. XVIII, 48; Athen. XIII, 591. Cf. Suidas, s. v. d.riiui%apitt. "Cf. Diog. Laert. IX, 7; Aulus Gellius, XVII, 21; Seneca,

"Cf.

"

"

"

Quaest. Nat. VII, 6; Lueian, Macrob. 18; Vai. Max. V, 2. 46 Cf. Plut. Vit. X Orat., Demosth. 9 ; Suidas, s. v. Ai»»*r«nn. Cf . Dio Chrysostom, Or. 45, 203 ; Philostr. Vit. Soph. I, 7.

"

r

OLD AGE AMONG

218

THE ANCIENT

GREEKS

Siculus, historian

Diodorus

seventy-seven

years or more

49

51

ninety to ninety-seven years52

old comedy

philosopher

Epictetus,

years48

ca. eighty years60

Empedocles, philosopher Epicharmu8,

sixty-nine

eighty-eight or ninety years

Diogenes, philosopher Duris, historian

seventy

years"

seventy-two years

54

Epimenides, poet and seer very advanced age Eratosthenes, grammarian and geographer eighty to eighty-two years

55

Eunapius, historian sixty -eight Euphorion, poet eighty-nine Euripides, tragic poet —seventy-four to seventy-nine

57

Epicurus, philosopher

Eusebius,

theologian

Euthymus,

Olympian

ca.

years

56

years58 years

59

seventy-five years

60

advanced age

61

years

62

victor

Galen, scientist

seventy

Gorgias, philosopher . . .

"Cf. "Cf.

Diod.

.one hundred five to one hundred nine years

I,

1-5;

XVI,

7.

Diog. Laert. VI, 11; Lucian, Macrob. 20. 80 Cf. Plut. Alcibiades, 32; Athen. IV, 128; Paus N. H.

VIII,

68

VI,

13, 3;

Pliny,

40.

Neanthes of Cyzicus in Diog. Laertius, VIII, 11 states that he died at the age of 77, but Diogenes says that others give the age 61

as 109.

"Harm. Par. Ael. Var. Hist.

Ep. 55; Diog. Laert.

II,

VIII,

18; Lucian,

Macrob. 25;

34.

Gellius, VII, 19; Suidas, s.v. "iwUmros. Diog. Laert. X, 8. *• Diog: Laert. I, 4 states that he lived 157 years, but says that the Cretans give his age as 299 years. Cf . Lucian, Macrob. 27; Censorinus, 4; Suidas, s.v. 'EparooSevvs. Cf. Philostr. Vit. Soph. II, I, 14. ** Cf. Suidas, s. v. Ev<popluv. Marm. Par. Ep. 63 (gives 79) ; Suidas, s. v. EipiwlSitt (gives 74) . •0 Cf. Suidas, «. v. Eiaepiot. « Cf. Strabo, VI, 255 ; Ael. Var. Hist. VIII, 18. Cf. Suidas, s. v. Ta\vv6s.

"Cf. Aulus

" Cf.

" " "

" " Cf.

Philostr. Vit. Soph. I, 9; Dionys. Hal. Epist.

ad,

Pomp. 2;

I

OUTSTANDING

EXAMPLES OF LONGEVITY

Hecataeus, logographer

to seventy-five years

seventy

Herodian, Herodotus,

historian

'5

fifty-nine years hundred four years

67

ca.

of Cardia, historian

Hieronymus

. .

one

Himerius, orator and sophist Hippocrates, Hyperides,

seventy-one years eighty-five to ninety years

physician orator

Iamblichus,

ca. sixty-seven years

philosopher

Ibycus, poet

Ion of Chios, tragic poet Isocrates, orator

ninety-eight

Lucian, satirist Lycon,

philosopher

Lycurgus, Lysias,

Xenophon, Anab. II, 6, 16; Max. Vin, 14. Suidas, s. v. 'EitoToiot.

68

'9 70

" ™

ca. seventy

years

7S

sixty-eight

years

or ninety-nine

years

"

™

advanced age " " seventy-four years eighty-three

Lucian, Maorob. 23;

" " Diog. Laert. X, 13. " Cf. Herodian, I, 1, 3; II,

66

ca. seventy years

eighty-five years

lawgiver orator

•4

advanced age advanced age

Hermarchus,

philosopher historian

219

Quint.

I,

years 125;

7B 79

Vai.

15, 7.

•7

Cf. Suidas, s. v. 'HpAJorot. Cf . Lucian, Macrob. 22 (authority of Agatharchus). Cf. Eunapius, Vit. Soph. 9 ; cf. Suidas, s. v. 'lnifii.ot. Cf. Soranus, ptoi larpHv, V, 175-77. 71 Cf. Plut. Vit. X Orat., Hyperides, 12; Plut. Phoc. 29;

" " "

Demosth. 28. Cf. Eunapius, Vit. Soph. 57 ; Suidas, t. v. 'lApp\ixot. "Cf. Plut. De Garrul. 610 a; Antip. Sid. Epig. 78; Analecta Vetemm Poetamm Graecorum, II, p. 27. "Cf. Arist. Peace, 835; Suidas, t. v. "law Xiot.

Plut.

"

Brunck,

"Cf. Paus. I, 18, 8; Plut. Vit. X Orat., Isocrat. 14; Lucian, Maorob. 23; Aei. Var. Hist. XIII, 11. Cf. Lucian, Dialog. Bis. Accvs. 32; Lucian, Hermotimus, 13; In regard to Lucian there is considerable Suidas, s. v. AovKiav6t.

"

difference of opinion. It about the age of seventy. 77

is generally

Cf. Diog. Laert. VI, 7. Lucian, Macrob. 27.

" Cf.

"Cf. Plut. Vit. X

Orat., Lysias,

9.

assumed

that

he

lived

to

OLD AGE AMONG

THE ANCIENT

Lysimachus, king of Macedonia Nestor, king and warrior

eighty years three generations

sixty-seven to sixty-nine

Origen, theologian Panaetius,

GEEEKS

philosopher

years

seventy-five years

80 81

w

"

advanced age 84 Philemon, new comedy, .ninety-seven to ninety-nine years85 86 Philistus, historian seventy-four years Parmenides,

philosopher

Philochorus, rhetorician

and historian years

seventy

years

88

ca. eighty-five

years

88

sixty-four years

80

eighty years

9l

advanced age

82

Philopoemen, Phocion,

general orator

Phrynicus, tragic poet Pindar, poet Pisistratus, tyrant Pittacus of Mytilene,

wise

"

ca. seventy-four

man

between

Plato, philosopher Plotinus, philosopher Plutarch, biographer

seventy

and eighty years

93

eighty-one years

94

ca. sixty-six

years

"

ca. seventy-five years ""

•0Cf. Lucian, Macrob. 11; Justinus, XVII, Cf. Homer, Il. I, 250 ; Lucian, Macrob. 3. Cf. Porphyrius in Eusebius, Hist. Eocl.

1.

81

"

Viris Illustr.

"Cf. "Cf.

VI,

19, 7;

Hieron.

De

54.

Cic. De Orat. I, 11; Suidas, s. v. Hoi-o/tiot. Diog. Laert. IX, 3; Plat. Parm. 127b; Theaet. 183 e; Athen. XI, 15, 505; Schoi. Arist. Metaph. I, 536, 8. "Cf. Lucian, Macrob. 25. Cf. D. M. Robinson, "Notes on the Delian Choregic Inscriptions," A. P. XXV (1904), pp. 187-88. "Cf. Plut. Nic. 19; Plut. Dio, 35. Cf. Suidas, s. v. Qi\6xopot.

J.

"

"Cf. Plut. Philop.

18; Polybius, XXIII, 12, 1-8. Suidas, s. v. iuKluv. *0 Cf. Schoi. Arist. Frogs, 941 ; Suidas, s. v. Qpivixot. "Cf. Suidas, s. v. UMapot; Photius, Bibl. 104 b.

" Cf.

" Cf .

"Cf. "Cf.

XXXIV,

" Cf .

Thucyd. VI, 54. Diog. Laert. I, 79; Diog. Laert. IIl, 51.

Plut. Antonius,

s. v. H\oirapxot.

87 ;

Suidas, s. v. IIiTTo^i. 2; Lucian, Macrob. 21;

"Cf.

Pliny,

Porphyr. Vit. Plotini, Plut. De E apud Delphoa,

1,

I;

N.H.

2; 1,

15.

Suidas

OUTSTANDING

EXAMPLES OF LONGEVITY

ca. eighty years97

Polemo, philosopher Polybius, historian

Porphyry, philosopher Posidonius, Potamo,

to ninety years9'

eighty-two . .

seventy-one

to seventy-three years

eighty-four

philosopher

rhetorician

Proclus, philosopher Procopius,

historian

Solon, lawgiver and poet Sophocles, tragic poet Stesichorus, poet

years

102

years

109

seventy years104 eighty-four eighty-nine

years109

ninety years

104

or ninety years

107

years

104

seventy

eighty to one hundred

years

ninety to ninety-five

years

eighty to eighty-five years

Stilpo, philosopher s.v. IIo\tnav;

years100 101

sixty-two

Pyrrho, philosopher Simonides of Ceos, poet Socrates, philosopher

89

ninety years seventy-seven

Protagoras, philosopher Ptolemy, historian and king

"Suidas,

221

ca. eighty Diog. Laert.

IV,

8;

years

109 110 111 119

Euseb. Chron. 01.

126, 4.

"Cf.

Lucian, Macrob. 22; Polybius, XXV, 7-9. Cf. Eunapius, Vit. Soph. 455; Porphyrius, Vit. Plot. 4, 99; Suidas, s. v. Hopfipun. 100 Cf. Lucian, Macrob. 20; Suidas, s.v. IlooeiSavios. 101 Cf. Lucian, Macrob. 23. "* Cf. Marinus, Vit. Procli, 6 ; Suidas, s. v. HpoVXoj. 101 Cf. Suidas, s. v. U/xh
Cf. Diog. Laert. IX, 3. Cf. Marm. Par. Ep. 57 (age of 90) ; Lucian, Macrob. 26 (above 90) ; Suidas (age of 89). "4Cf. Plato, Apol. 17; Otto, 51; Suidas, s.v. XuKpirw; Marm. 107

Par. Ep. 66. Eighty years is given by Diog. Laert. I, 15, and by Schol. Plato, Lucian, Rep. X, 599; cf. Solon, Bergk, Poeti Lyrici Graeci, 20. Macrob. 18 gives 100 years. 110 Marm. Par. Ep. 64 (gives 91) ; Lucian, Maorob. 24 (gives 95) ; Val. Max. VIII, 7 (almost 100). 111 Suidas (s.v. Znj
222

OLD AGE AMONG

THE ANCIENT GREEKS advanced age six generations

111

seventy-eight years or more Theaetetus of Rhodes, statesman eighty years Themistius, orator sixty years

118

advanced age

118

Strabo, historian Teiresias,

seer

Thales, philosopher

Theognis,

poet

Theophrastus, Timaeus,

philosopher

eighty-five years

historian

Timon, philosopher Timotheus of Miletus, lyric poet

ninety-six

years

ca. ninety

years

ninety years

Xenocrates,

philosopher

eighty-four

years

Xenophanes,

philosopher

ca. ninety-two

years

Zeno,

historian

117

118 120 121 122 128 124

one hundred five years

125

seventy-nine to ninety years

126

Xenophilus, musician Xenophon,

114

Stoic philosopher

Zenodotus, critic

years

127

sixty-five years

128

ninety-eight

We have given examples of twenty-nine poets, forty-two eighteen historians, ten orators, eight rhetori

philosophers,

cians, grammarians,

and critics,

three theologians, two sci-

Cf. Strabo, XII, 561; XVII, 828. Cf. Lucian, Maorob. 3. 118 Cf. Apollodorus in Diog. Laert. I, 10. Lucian, Macrob. 100 years or more. 118 Cf. Polybius, XXX, 22, 5-6. Cf. Suidas, «. v. Qenlarun. "* Cf. Suidas, s. v. Qtoyvii and s. v. Qukv\ISijs. n,Cf. Diog. Laert. V, 11. 1.0 Cf. Lucian, Maorob. 22; Suidas, s.v. Ti/uuos. 1,8

1,4

Antigonus and Sotion in Diog. Laert. IX, 3. Marm. Par. Ep. 77; Suidas gives 97 years. 188 Cf. Lucian, Maorob. 20. 1,4 Cf . Apollodorus in Diog. Laert. IX, 3 ; Clem. Alex.

18

gives

1.1

"'Cf.

Strom.

I,

130.

Lucian, Macrob. 18; Val. Max. VIII, 14. Cf . Demetrius the Magnesian in Diog. Laert. Macrob. 21; Athen. V, 17.

"•Cf. 1,8

Diog. Laert. VII, 25; Lucian, Cf. Suidas, s. v. Zij»Wotot.

""Cf.

188

II,

Macrob. 19.

49-59 ; Lucian,

EXAMPLES OF LONGEVITY

OUTSTANDING

223

entists, as well as a few representatives from other fields, all among the most famous men that Greece produced, who at tained the age of sixty years or more. Of the one hundred twenty-eight examples cited from literary sources, twentyto seventy years, thirty-seven from years, while the remainder, about half

three lived from sixty

seventy to eighty the total, attained the eightieth year or more.

Although

we

find no such instances of prolonged life as among the early patriarchs of the Bible, seven examples have been cited of men who lived beyond the hundredth

distinguished

year, two

of these being historians, two philosophers, one a poet, one a seer, and one a musician, which makes it appear that it is with considerable capriciousness that the gods of longevity

individuals to join their ranks.

select

In

Greece

it appears that

of years have tastes,

taken

time

those who have attained to length

to cultivate

their more human

and have developed their potentialities so that when When comes their souls are not bankrupt.

superannuation we consider

the number of great writers who have lived to the exhibit of longevity in the ranks of These aged men can be becomes very striking.

be octogenarians

authorship

claimed with pride as examples of worthy

manhood conse

crated to high ideals, and it is surprising how many of them continued their labors almost till the end of life. Cicero129 gives proper care and attention to intellectual pursuits as a health preservative, and it is possible that a man whose soul great ideal to which his life's work is given The influence of mind over the state of may live longer. bodily well-being is frequently stressed, but that the mental is centered on

faculties

a

can of themselves protect the individual

against

or against the natural processes of senescence ade quate proof is lacking. These instances of remarkable energy in the last years disease

bring us to quite a different conclusion than that attributed to Dr. Osier relative to the fact that all the valuable work "• Cic. De Senectute, XI,

36-38.

224

OLD AGE AMONG

THE ANCIENT

GREEKS

in the world is done by men under forty, to which Mr. Franklin 180 aptly replied that the impulse toward these great achievements comes in earlier years and old men are not so ready to begin new things, but a man of fiery energy may redouble his efforts at the prospect of their cessation in his anxiety to bring to completion what has been started. That poets die young seems to be a popular fallacy. poet has been pictured as a creature

tive in emotion, unpractical

The

frail in body, supersensi

in ideas, with

a

fatal tendency

When this theory is put to the the contradiction between theory and fact

toward physical weakness.

test of biography is amazing, at least as far as the Greek writers are concerned, and the citation of these examples may be of value in causing

of the pathology of poets. Why rather a man blessed with length of

us to revise our conception

should not the poet be years as a result of keeping his imagination, sympathies, and emotions young as long as he lives? Comparatively little of the great literature of the world has been written by young

Sophocles wrote all his plays after he was fifty. Lyric poetry is frequently at its best in youth and early manhood, men.

but the great works of philosophy, history, and criticism necessitate the imaginative grasp and understanding of long experience.

Inscriptions Since the number of examples of longevity in inscriptions is so large, only some of the most interesting ones will be noted here, but more will be listed in the Catalogue of Inscrip tions found at the end of this study and arranged according to the years of life. Here again no examples of extreme longevity such as one reads of in fables have been found, but a considerable number who lived

reasonably long period of time have been listed, a few even exceeding the century mark. The oldest man recorded in Greek inscriptions who has come to the writer's a

"0Fabian Franklin, "On Old Age," CI. Weekly, pp. 103-4.

I

XXIII

(1930),

EXAMPLES OF LONGEVITY

OUTSTANDING

225

attention is a certain Pancharius who lived to the age of one ten years.181 He is described as the father of the Elaean synagogue, a man who loved his people (<^AoAaos),

hundred

loved the commandments

(^lAtn-oAos)

,

and as one who had

lived a good life (koAws /Jiuxras). However, it is not an inscrip tion of Greek times, but a late Christian inscription found

Another example of

at Home.

obliterated

been was

a person

whose

but who lived the same number

in an inscription from Telmessus

found

name has

Glaucias who loved his children

(
in

of years Lycia.182

and was honor

lived to the age of one hundred two.188 This is one of the numerous Greek inscriptions from Egypt, and it dates from the first century A. D. Three examples (two women able

(xpqo-ros)

and the other an unknown person) may be mentioned of those who lived to the age of one hundred years. One is that of a woman named Rouphilla whose sepulchral inscription was found

at Sidon

13*

and she is described as good and happy (xprla-rq /
Dionysius,

as

geographer Eratosthenes who also lived to a good old age.188 An interesting grave stele is one of the second century A. D. found

at Athens,

"' S.

/. G. IV, E. G. II,

"•

/.

181

C.

representing

an old man standing

facing

9904.

Cf. Phleg, Macrob. 89 Keli. Catalogue General des Antiquitis Egyptiennes du Musie d'Alcxandrie: Iscrizioni Greche e Latine, p. 174, No. 342. "4W. J. Moulton, A. J. A. VIII (1904), p. 286, No. 10. 1"D. M. Robinson, A. J. A. XVII (1913), p. 197. 1" Breccia,

1,7

C.

G.

IV,

690.

9907.

D. M. Robinson,

"'Anth. Pal. VII, 15

A.J. 78.

A.

XVII

(1913), p. 170, No. 35.

OLD AGE AMONG

226

full front, his

head

He was

spread.

THE ANCIENT GREEKS

surmounted by an eagle with wings out

a very devout person as the

says: Otoli &vo
iraxn

ko.1

mt$m wavron

W

inscription

1W

avTwv

eh rvvftov Kti/iai ivvta i\wv StxaSts.

Vollgraff (B. C. H. XLVIII, 1924, p. 27) has called atten tion to the fact that the eagle symbolizes mystery, and that the words are not to be understood in a literal but in a mystical sense.

There seems no sound reason, however, why

the actual reading of the stone should not be accepted.

A

certain Serrenus whose inscription was found in Syria (Da'el) had it recorded on his tombstone that he was of very noble descent

(tvytvioraTos) and lived to the age of eighty-five a dealer in clothes, lived to the age of

Ptollio,

years.140

eighty-two years and was a righteous man according to an inscription from Egypt of the first or second century A. D.140' A certain senator whose name is not recorded but whose stele was found at Athens lived to the age of eighty-two and was married sixty years.141 An old man from Minoa on the island of Amorgos had completed eighty years of sweet life (vA^as oySorjKovra en; yXxKtpw fiwToto) ,142 which recalls the desire to

live so inherent in the Greeks. Likewise a Greek inscription from Catana 148 speaks of a certain Tychemus who lived a

life (fto-as Christian inscription

beautiful

koAov

fiiov).

This, however, is a late from the fanciful epi

as is apparent

and the sign of the cross, and it introduces the mode of thinking, namely, that a beautiful life is

graphy

Christian

in the worship of Christ rather than merely in ordinary healthful living. An old woman of seventy-five has had recorded on her grave the fact that she had but one husband,144 which perhaps to be found

"»Kaibel, Epigr. No. 134; I. G. lll, 140 Ch. Fossey, B. C.H. XXI (1897),

"" Preisigke,

III,

Sammelbuch

1362. p. 48, No. 30.

Vrkunden

griechischer

aus igypten,

6835.

141

C.

I.

/.

G.

G.

I,

XII,

1030. 7, 304.

C. 144

I.

8. B.

G. TV, 9486.

0. TV

( 1929) , 15.

EXAMPLES OF LONGEVITY

OUTSTANDING

unusual

was

in

those

days.

It

227

is a Christian inscription

An inscription found at Termessus in

found at Syracuse. Pisidia, with a beautiful

thought

that is characteristically

certain Aurelius Acinaces "6 of the third Greek, is that of century A. D., who was an old man of seventy-four still young in spirit and wished that the passers-by, like himself, might die young in old age {airtOava yap veos u.v
dren, and friends, was cheerful (ev
Inscriptions for a more complete list. Often in inscriptions no definite length of married life is mentioned. assume

age

In

is given, but the some cases we can

that the parties concerned lived to old age, although For instance

on the whole they seem to have married young. a sepulchral inscription to a certain Cerillia

Phortounata records that she lived with (Fortunata), him forty years without a quarrei.147 Cattia Ammias, daughter of Menophilus, was married thirty-four years.148 Three examples "9 have been found of persons who were mar by her husband

ried twenty-eight

years, one twenty-five

years,150

and a very

XXIII (1899), p. 170, No. 9. Catalogue Gineral des Antiquitis Egyptiennes du Musie d'Alexandrie: Iscristioni Greche e Latvne, p. 181, No. 371; Preisigke, Sammdbuch griechischer Urkunden aus Agypten, I, 411. 'C. Cousin, B.C.H.

US t

"*

Breccia,

"7I.G. XIV,

"•/.G. XIV,

"0I.G. XIV,

1746. 1582; 1653.

C.

I.

G.

IIl,

ll'S.E.G. IV,

6743 ;

S.

E.

G.

143.

II,

384.

THE ANCIENT GREEKS

OLD AGE AMONG

228

A case is recorded in large number for lesser periods.151 which one brother (Aurelius Pacorus) erects a sepulchre to another (Aurelius Merithates) with whom he has lived fiftysix years ; 152 and another person by the name of Glycon 15S who has lived with his brother sixty years, but these are both of the late Koman period.

inscriptions

Many times references are made to advanced age with no indication as to the number of years. For instance, an old man, Symmachus of Chios, has come to the extreme bound "4 and ary of old age, and has experienced few griefs ; Democles, son of Democles of Smyrna, has lived to a good old age;155 as has also the lady, Philoxene, of Athens.158 whose sepulchral inscription was found in the Piraeus, was happy in life, and lived to see his children's chil dren and old age without grief.1" The idea of children being

Cydimachus,

a

in

prop to their aged parents is found just as it has been seen literature.158

Cleonicus was esteemed by the citizens and left wealth and children behind.150 Tyche sheds a tear for her aged mother.180 Sometimes there is a picture of an old woman tearing her white hair over the grave of a child 181 or a husband.182 An

inscription from Eumenia in Phrygia dwells on 151 For

1922

(17

a few examples cf. C.

C.I.

I.

I.G. XIV,

years);

G.

IIl,

2054

II,

the beauties

(20 years) ; /. G. XIV, years); I.G. XIV, 1850

6437

(14

3722b, Addenda et Corrigenda (15 years) ; Other examples are included in the years). Catalogue of Inscriptions at the end of this study. (14 years) ;

C.I.G.

IIl,

G.

6571

(10

III, 6559. IIl, "'I.G.R. 1412; "•

1,4

"•

C.

I.

G.

/.

G.

II,

C.

/.

G.

3412;

II,

"'I.G. IIl, 1,7

"•

"'

1. G. C.

I.

/.

G.

beneficent 1.0 1.1

II,

G.

3256 ;

/.

G.

IV,

1313. 2081 ;

III,

XII,

cf . /. G.

9804.

II,

9, 1174;

cf. C.

I.

II,

2541 ;

6768. G.

IIl,

3682 ;

3903.

5394 for another mention of a

old man.

G. XIV, I.G. XIV,

/.

Mendel, B.C.H. XXV (1901), p. 59, No. 205. Kaibel, Epigr. Gr. 88.

2437. 1863;

C.I.G.

IIl,

6262.

"'I.

G.

XII,

2, 383.

EXAMPLES OF LONGEVITY

OUTSTANDING

of old

age and the calamity

not grow old

that would befall

one

if

he did

1M

:

Kakov to yrlpav Kal to py yjlpav Tpli [a]«'[t']ii) KaKov.

{jf

oh to

6vi]o-Ktiv

229

vfipiv

KaXov to

irap[6]v to y^/)[o]s Kal



irpoo-\ai~\irtiov.

This bears out the idea frequently found in literature, that to grow old is natural and failure to arrive at old age is a curse, and that old age is by no means unbearable but rather pleasant if the individual wishes to make it so. In some in stances

an

inscription

says that a certain person lived a good

life and arrived at old

and sometimes it is called a

age,164

glorious old age (ew
Some references

to baneful, loathsome old age are found. Gaius Mounatius,

an

aged man from Naxos, is worn out by gloomy old age (A.uypoi yrlpal Tpvxo/utvos)

1B7

;

an old man whose

name is not given

but whose inscription has been found at Rome lies burdened old age (yrlpa fStfiapripIvos) i 1G8 arid many inscriptions have been found in which old age is mentioned.189 An inter esting one from Rome is merely inscribed, "To the Old Man" by

(yipovri)

;

and another says that it marks the grave of a old woman.171 Many of these are Greek inscrip

170

gray-haired tions from Rome, though some come from Greek lands, such as Phocis, Boeotia, Ephesus, Corinth, and Athens.

Besides examples of aged men and women, it might be appropriate to mention certain animals who traditionally

in C. I.

G. IIl, 3902 r. Cf. V. W. Yorke, J.H.S. ,,t Cf. /. G. XII, 3, 47. 1M

C.

"7/. "•

C.

I.

G.

I.

G.

1"Cf. /.

I.

G. 1,0

IX, C.

/.

II,

G.

5, 62; cf.

IIl,

G.

164;

(1898), p. 327, No. 47.

3397.

XII,

G.

XVIII

6305;

XIV, /.

IV,

G.

2288;

VII,

9804.

/.

cf.

G.

IX,

256.

/. G. R. I, 368. /. G. II, 2724; /. 1885.

"i /.

G.

II,

2718;

XIV,

1703.

G.

IV,

395;

OLD AGE AMONG

230 reached

a great

The

age.

THE ANCIENT GREEKS eagle

was long lived,1"

and to

attain the age of an eagle was a proverbial expression signify ing a hale and vigorous old age. To the crow was attributed 178 hence to live the life of a a life of several generations ; crow also became proverbial for long life.

The phoenix

was

renewal of life.

for longevity, perhaps because of its fabulous Its age is given all the way from five hun

dred

Herodotus

also remarkable

years by

to

seven

thousand

years

by

Besides the eagle, crow, and phoenix, and the elephant179 swan,178

we have

Tzetzes.1™.

the

174

stag,178

the raven,177 the

given as long-lived.

Having effort will

among the Greeks,180 an be made in the final chapter to determine as far as

made a study of longevity

the inscriptional evidence at our disposal will permit whether men and women as a whole in ancient Greece were so happy

in the prospect of the "•Arist. Hist. ,T*

Hesiod

(Met. VII, generations. "•Tzetzes,

Anim.

possession

IX,

of a long life.

32, 619 b.

(fr. 171) gives nine generations, as does also Ovid 274); Aristophanes (Birds, 609) gives its life as five

174 Herod. II, 73. Chil. V, 387. Pliny (N. H. X, 4) gives its age as five hundred forty years; likewise Philostr. (Apoll. Tyana, III, 49.) Paus. VII, 10, 78-85. Hesiod, fr. 171. Arist. Hist. Anim. IX, 12, 615 a. Writers who travelled in other countries frequently mention the old age of the elephant, cf. Arrian, Indika, 14; Megasthenes, fr. I, 2; Pliny, N. H. VIII, 10. Strabo (XV, 705) states that elephants lived

as long as 300 years, and in rare cases 500 years; Aristotle (Hist. Anim. VIII, 9) says 200 to 300 years; and Philostratus (Apoll. Tyana, II, 12) claims that one of Porus' elephants lived 350 years after his battle with Alexander. On the proverbial estate of the old horse, cf. Wm. E. Waters, CI. Phil. XVII (1922), pp. 87-88. 1,0 When this was in proof it was learned that Mr. Magnuson of Chicago is preparing a monograph on the age at death of people in Latin inscriptions. Our study, however, is confined to inscriptions written in Greek, although many of them were found in Roman provinces, and some of the people, as is indicated by some of the names, perhaps belonged to the Latin race but had enough familiarity with Greek to desire to have the data recorded on their tombstones in that language.

CHAPTER

XIII

THE AVERAGE DURATION OF LIFE AMONG THE GREEKS ON THE BASIS OF INSCRIPTIONAL EVIDENCE Since we have examined a considerable number of instances of long life,

it might

be

of interest to inquire whether the

general expectancy of life among the Greeks was so great as the lives of the famous philosophers and historians might one

to think.

In

for this chapter the sepulchral inscriptions of 2022 persons have been studied with a view toward ascertaining as far as the limited means at our disposal will permit the average duration of life among the ancient Greeks. The names of these persons, together with cause

preparation

the reference and the place where the inscription was found, are tabulated in the Catalogue of Inscriptions at the end of this study. Table

L Percentage of

Number of years

Number of Examples

Total Number

233

11.52

of Examples 7.27

180

8.90 14.54 13.25 8.85

124

6.13 5.64

58

231

2.87

93

4.60

49

2.42

77

3.81

45

2.23

48

2.37

29

1.44

35

1.73

19

.94

232

OLD AGE AMONG

Eighty-six to ninety Ninety-one to ninety-five Ninety-six to one hundred One hundred to one hundred ten

THE ANCIENT GREEKS 16

.79

5 0

.30

3

.15

A

glance at the table reveals the fact that the mortality among children and young adults was decidedly higher than Those dying between the ages of 16 and 20 form the largest number of examples; those completing 21 to 25 years form the next largest group; and infants under 1 year and now.

It is likely, however, that 1 and 5 years come next. the deaths of small children may not always have been re corded and the group may be larger than we suppose. We

between

progressed a great deal in general improvements, and medicine in our own day has won many triumphs in the saving of child life, but it is doubtful whether we have have

advanced much in checking the diseases of adults. It appears that those of the Greeks who happened to reach maturity had a good chance of living to a ripe old age. There

actually

does not appear to be much difference in the relative vitality of men and women, there being examples of both who lived a long life. Since it is only a relatively small number of

persons out of the total number in any population who reach the grand age of 80, 90, or 100 years, the Greeks are indeed fortunate to have had so many literary men enrolled in these ranks. Perhaps this may have a slight connection with the impression that longevity is a matter which The examples cited goes with superiority in other respects. from literary sources mentioned in Chapter XII are not

half-formulated

made in this chapter, because in differ and only the approximate num ber of years can be ascertained. But if the same author is mentioned in inscriptions, as for instance in the Parian

included in the calculation many cases authorities

where we have information about several important Greek writers, then he is included on the basis of the inscripMarble

tional information. All other inscriptional data mentioned in Chapter XII are included whenever the reference may without doubt be taken as pertaining to the actual number

AVERAGE

DURATION

OF

LIFE

AMONG

THE GREEKS

233

of years that the individual lived.

These examples are not sample, but they involve a careful study of the of Greek Inscriptions and the principal books and

a random

Corpus

journals in that field. The diagram below is

a graphic representation of

rates among the ancient

Greeks based

mortality

on the inscriptions

studied.

JO

tf©

SO

Life Table

io

7°

10

/»

Diagram.

The vertical line represents the number of individuals whose deaths are recorded at the various periods of life, the hori zontal line shows the years of life. In the table above the examples are grouped by periods of five years, but in the graph in order to save space they are grouped by ten-year periods. Those under one year in both the table and graph

//«

234

OLD AGE AMONG

in the first

are included

If

group.1

of the curved line,

sweep

THE ANCIENT GREEKS

we

we observe

perceive

that

the general

it rises to its

greatest height at about the age of 20 where the mortality was evidently highest among the Greeks, then descends only a

little to the

age of 30, then sweeps

rapidly downward to

40,

and thereafter the line of survivors falls off by slow degrees until we come to the few who passed beyond the century mark.

If

the total number of years by the number of examples, a quotient of 29.43 is obtained as the average ex pectancy of life. In our own country at the present time the we divide

expectancy of life at birth is 55.33 for males and 57.52 for

The large number of deaths occurring in childhood and early adult life among the Greeks is the factor which lowers the rate for them. The figures might vary a trifle

females.2

according to the number of inscriptions used, but the pro One is led to portion would always remain fairly constant. that the Greeks were in the habit of recording ages by units of fives, for the number of examples of persons dying suspect

at the ages of 30, or 65, for example, or at any age ending in zero or five is relatively large, while the number dying at 31, or 66, for instance, or at any other age within the limit of fives is considerably smaller. It is possible then that the Greeks may have sometimes put down the nearest unit into which the age of an individual would fall, but this would vary only a little from the actual number of years. However, in of years that the inscription states. It is possible that cremation may some times have been used for children, that death rates among each

instance we have

used

the number

the extreme poor may have been higher, and that many of the We do not poor may have been buried without inscriptions. know to just what extent considerations enter.

It

might

of this kind may

be of interest also to endeavor to ascertain whether

there were

any parts of the Greek world which

1

appear to

The diagram is constructed after the general plan of Professor Raymond Pearl, The Biology of Death, p. 81, Fig. 18, which is based on calculations for modern peoples.

'Cf. World

Almanac

(1932), p. 441.

AVERAGE have

OF

LIFE

AMONG

THE

235

GREEKS

healthful and therefore more conducive to referring to the examples of longevity in Chapter

been more

In

life.

XII

DURATION

it appears that many of the

aged persons whom we know

from literature lived, or were born, on the islands surrounding Greece, or in parts of Asia Minor settled by Greeks. We recall

that

Simonides

was born

on

the

island

of

Ceos;

Epicharmus and Hippocrates on the island of Cos ; Philemon either in Cilicia or Sicily. Among the examples from inscrip tions we note that Catana in Sicily is given as the residence of several persons living beyond 80 years, and Didymae also has some octogenarians, while of the islands Aegina,

Cephallenia, Thasos, Corcyra, and Arcesine all furnish examples of extreme old age. Of the two examples who lived to the age of 110 one comes from Rome and the other from Telmessus in Lycia; of the three who lived to the age of 100 one is from the Cyrenaica, one from Sidon, and one from Rome.

The number of Greek inscriptions from Egypt is large, and some contain names which obviously are not Greek, but

if it

is clear that reference is made to the age of the individual they are included in our study because the inscription itself is written in Greek and we know that this region was quite widely settled by Greeks, while others contain names which From the are purely Greek or closely related to the Greek. wide range of these inscriptions one can get a clearer per ception of the distant provinces in which Greek was the spoken

Latin)

language.

Bilingual

have been included only

inscriptions (in Greek and in cases where Greek was the

first language given. These inscriptions cover several cen turies, and for that reason are not to be taken as a criterion for any one century or smaller period of time. The number of early inscriptions recording ages is extremely small, and the majority are Greek inscriptions of the late Greek and early Soman periods, but some date rather far into the

Christian epoch. Many of the names are indicative of the fact that the persons were probably Romans who were accus tomed to use the Greek language. Not all the names are necessarily those of residents of the districts in which the

236

OLD AGE AMONG

THE ANCIENT GREEKS

inscriptions are found, but the majority probably are. Of course in such a study there is always a possibility that more inscriptions of this nature may come to light which could well be of service, but it is hoped that a sufficient number have been included to make it possible for us to compare the tendencies of those times with our own day. At least they furnish an interesting sidelight because they are representa tive of all classes of people, the aristocrat and the poor man, the intellectual

and the humble laborer.

APPENDIX I CONCORDANCE TO LITERARY PASSAGES Below are cited the passages from Greek and Latin authors to which reference is made in this study, together with the page of this monograph in black-faced type on which each is treated. The Oxford or the Teubner text is used as the basis of citation except where otherwise stated.

Addaeus

of Mytilene, Paton, Greek Anthology, II, 305, 43. Aelian, Historia Animalium, XVI,

III,

2, 1-23, 53 ; Varia Historia, 18, 59; 32, 100; IV, I, 70; IV, 15, 217; 18, 218; 11, 219; XIX, 18, 66.

III,

VIII,

XIII,

Aeschines, De Legationibus, 22, 258, 35; Timarchus, 23-24, 17. Aeschylus, Agamemnon, 72-75, 3; 80, 4; 583-84, 19; 1346-47, 20; 1617-20, 19; 1657, 19; Choephori, 313, 78; 314, 79; 743, 45; Eumenides, 838, 19; 84S50, 20; Nauck, Tragieorum Graecorum Fragmenta', 45, 68; Nauck, 391, 27; Persians, 171, 20; 265-67, 69; 576-84, 57; 681-82, 20; 744-52, 17; 1056, 3; Prometheus, 819, 10; 981, 79; Suppliants, 176-77, 19; 204, 19; 361, 19; 673, 79; 680-89, 48.

Agathias

Scholasticus, Paton, Greek Anthology, I, 5, 282, 12. Alciphron, Epistulae Amatoriae, XIV, 19, 44; XV, 2, 29; Epis tulae Parasiticae, VII, 4, 29; XI, 1-5, 44; XIX, 2-10, 7; XXVI, 47; XXVIII, 1-2, 24; XXXVI, 2-3, 44; Epistulae Rusticae, V, 2, 44; VII, 2, 44; XIII, 1-3, 58. Alcman, Bergk, Poetae Lyrici Graeci, 26 ( 12 ) , 3. Alexis, Meineke, Fragmenta III, Comicorum Graecorum,

III,

460, 78.

Anacreon, 3, 12;

Bergk,

III,

77

III,

43

(81), 3.

(41), 237

Kock, Comicorum Atticorum Fragmenta, 53, 15.

Anaxandrides,

Jacobs, Anthology, Nauck, Tragi eorum Graecorum Fragmenta', 25, 5; Nauck, 467, 27; 508, 79; Paton, Greek Anthology, III, 20, 137; Paton, V, 43, 37; V, 76, 11; V, 131, 56; Stadtmttller, Anthologia Graeca, II,

Anonymous,

IV,

174,

79;

336, 4.

Antipater of Sidon, Paton, Greek

II,

Anthology,

II,

353, 40;

Paton,

498, 43.

Antipater of Thessalonica, Paton,

III,

309, 69.

Kock,

Antiphanes,

Comicorum

Atticorum Fragmenta, 12;

7;

Kock,

II,

II,

94, 8;

II,

II,

86, 240 b,

255, 7.

Antiphilus, thology,

Paton,

III,

Greek

An

263, 29.

Apollodorus, I, 5, 1, 64; I, 7, 5, 65; I, 9, 27, 60; II, 4, 9, 100; II, 5, 4, 65; II, 5, 11, 87; III, 3, 1, 66, 102; III, 6, 8, 65;

III,

13, 6, 10, 65.

Apollonius Rhodius, Argonautica, I, 306-16, 54; I, 667-74, 46; II, 178-84,

14;

IV,

868-77,

65.

Apuleius, Metamorphoses, 187 (622), 46. Aristo,

II,

Paton,

IX,

Greek Anthology,

457, 40.

Aristophanes, Acharnians, 28-42, 28; 210-22, 5; 676-712, 51; 682, 4; 713-18, 51; Birds, 430, 21; 609, 230 ; 722, 20; 1347-57, 55; Clouds, 129-30, 20; 510-17,

OLD AGE AMONG

THE ANCIENT GREEKS

67; 754-55, 28; 773-74, 28; 794-96, 20; 1416-19, 27; Ecclesiazusae, 276-79, 41; 877-84, 46; 884-89, 44; 904-06, 11; Frogs, 804, 136; 844, 136; 1006-08, 136; Knights, 42, 78; 251-52; 20; 520-30, 21; 530-39, 51; 752, 78; 881-83, 51; 1301, 79; 1321, 66, 67; 1336, 67; Lysistrata, 665-75, 67; Peace, 765,9; 767,138,183; 771,183; 835, 219; 859-63, 67; Plutus, 13, 4; 257-60, 5; 272, 4; 508, 20; 634-36, 67; 1042-96, 46; 1050-51,4; 1064-65,11; Wasps, 106-17, 28; 540-45, 81; 106070, 27; 1190-94, 11.

Aristotle, Constitution

Paton,

in,

Greek

7, 224, 4.

Callimachus, 1,1-16,22; 26; LI, 45.

Callistratus, Censorinus, 15,

De Die

Natali,

Arrian, Indika,

I,

Artemidorus,

Cicero, Brutus, 2, 8, 79; De Natura Deorum, II, 23, 61, 72; III, 17, 44, 80; De Oratore, I, II, 217, 220; De Senectute, I, 3, 68; II, 4, 15; III, 7, 15; III, 9, 27; V, 14, 4; VI, 17, 6-8, 17; VI, 20, 1-2, 31, 32; VII, 21, 17, 24; VII, 22, 8, 56; IX, 28, 34, 41; XIV, 46, 41 ; XVI, 58, 41 ; Tusculan Dis putations, III, 17, 38, 148.

183;

II,

12,

97, 197.

Athenaeus, Deipnosophists, II, 4, 29; II, 46, 63; IV, 12, 40; IV, 44, 216; IV, 47,13; V, 17,222; VII, 19, 216; IX, 79, 116; X, 31, 40; X, 34, 9; X, 40, 217; XI, 11, 40; XI, 15, 220; XI, 32, 40; XIII, 61, 217.

Aulus Gellius, X, 138;

XVII,

Ausonius,

XXXIII,

28, 2; 21, 217.

Ad Stro-

Crates, Lyrici Poetae Bergk, Graeci, II, 14, 6; II, 19, 8, 13. Greek An Damagetus, Paton, thology, III, 7, 438, 9. Demetrius, De Elocutione, 6; 285, 1-7, 52.

262,

Fragmente p. 458, No.

294, 19.

14, 230. 42,

14,

Chaeremon, Nauck, Tragicorum Graecorum Fragmenta ', 38, 28. Christodorus, Ecphrasis, 13, 160.

Diels, Democritus, der Vorsokratiker,

II, 1385b, 18; II, II, 1389a-1390b, 28.

VI,

1-5, 2.

1361b, 1389a,

11;

XXXIX,

Descriptiones,

Clement of Alexandria, mata, I, 130, 222.

2;

An

78.

of Athens, 35; 53, 4, 31; 55, 52; 56, 6-7, 55; De Generatione Animalium, V, 782a, 8, 10; V, 783b, 9; V, 784a-785a, 9; Historia Animalium, III, 518a, III, 518a, 9; VIII, 9, 10; 600b-601a, 68; IX, 615a, 230; IX, 615b, 56; IX, 619b, 230; II, 1000a, 65; Metaphysics, Nicomachean Ethics, I, 1095a, 17; IV, 1121a, 28; IV, 1128b, 27; VI, 1142a, 18; VII, 1143b, 30; VIII, 1158a, 28; IX, 1165a, 56; Politics, II, 1271a, 32; VII, 1335a, 51; Rhetoric, I, 14, 8-15,

r

Callicrates, thology,

XV,

20,

Epigrammata, 78.

Bacchylides, Jebb, fr. 21, 9.

Aristogiton, I, 776Demosthenes, 777, 48; I, 790, 57; I, 795, 52; Conon, 1263, 56; 1267, 29; De Corona, 96-100, 52; 203-205, 52; 296, 52; 312-13, 52; 317, 52; 319, 52; Epistulae, II, 1472, 17-20, 5; 1469, 10, 17; 1485-1486, 52; Exordia, 1452, 12-18, 18; Law of Leptines, 119, 89, 32; Meidias, 566-67, 52; Neaera, 34; 1349-1350, 23-26, Olynthiacs, 52; Philippics, IV, 141-142, 56; Timocrates, 701, 55; 732, 55; 733, 57; 1204, 57.

II,

III,

III,

Dio Chrysostom, Oratio, 45, 217.

CONCORDANCE

TO LITEEAET

Diodorus, I, 1-5, 218; I, 73, 2, 65; III, 67, 100; IV, 10, 100; IV, 35, 89; IV, 51, 86; IV, 52, 60; IX. 4, 50; XV, 93, 38;

XVIII,

48, 217.

Diogenes Laertius, I, 3, 2, 49; I, 7, 56; I, 4, 218; I, 10, 222; I, I, 79, 220; I, 110, 15, 221; 140; I, 111, 140; II, 3, 215; II, 10, 221; III, 2, 146, 220; 111,25, 145; IV, 3, 153; IV, 7, 153, 217; IV, 8, 221; IV, 20, 216; IV, 65, 153; V, 3, 148, 216; V, 11, 153, 222; V, 12, 153; VI, 10, 154, 216; VI, 11, 218; VI, 87, 217; VII, 1, 148;

VII,

3, 155; VII, 4, 149; VII, 7, 150, 217; VII, 11, 155; VII, 14, 155; VII, 16, 148; VII, 25, 149, 222; 11, 218; VIII, 18, 218; IX, 3, 220, 221, 222; IX, 7, 217, 221; X, 9, 151, 218; X, 13, 152, 219.

VIII,

De Dionysius of Halicarnassus, Compositione Verborum, 3, 25, 52; E pis tula e ad Ammaeum, 5, 216; Epistulae ad Pompeium, 2, 218.

Diotimus, ogy,

II,

Paton,

Greek Anthol

733, 26.

Poetae Lyrioi Bergk, Graeci, 2, 17. Eubulus, Kock, Comicorum Atticorum Fragmenta, II, 124-25,

Erinna,

III,

78.

Vitae Sophistorum, Eunapius, 9, 219; 57, 219. 69; Alcestis, 52-59, Euripides, 112-36,

10;

167-69, 10;

252-56,

83; 260-61, 82; 440, 83; 611, 5; 621-22, 57; 658-61, 57; 66212; 64, 57; 669-72; 692-93, Andromache, 727-28, 28; Bacchae, 170-77, 21, 67; 204-09, 67; 248-57, 67; 258, 79; 125152, 29; Cyclops, 13, 182; 27, 182; 82, 182; 269, 182; He cuba, 59-66, 4; 140-47, 4; Her cules Furens, 84-85, 18; 92-93, 18; 105-06, 4; 597-607, 4; 63964, 11; Hippolytus, 267, 46; Ion, 71, 42; 700, 79; 742-43,

PASSAGES

22; 808, 22; 925-30, 42; 947, 42; 967, 43; 974-78, 19; 103942, 4; Iphigenia in Aulis, 3-5, 4; 34-41, 43; Medea, 49, 42; 67-72, 41; 119-23, 46; 123-30, 46; 46; 1012, 42; 190-203, 57; Nauck, Tragi1204-10, oorum Graecorum Fragmenta* , 25, 24; Nauck, 511, 31; 512, 5; 575, 7; 619, 18; 637, 8; 1080, 8; Orestes, 490, 28; Phoenissae, 142, 43; 159, 43; 170, 43; 301-354, 5; 528-30, 11; 834-40, 21; 845-48, 5; 845-929, 102; 994-95, 24; 1699, 4; 1719, 4; 1720-22, 5; Suppliants, 170,79. Eusebius, Chronicle, 74, 2, 217; 126, 4, 221; Historia Ecclesiastica, VI, 19, 7, 220. Galen, XIV, 567, 63. Geoponica, X, 79, 67. Herodian, I, 1, 3, 219;

II,

15, 7,

219.

Herodotus, I, 23, 216; I, 67, 32; I, 216, 70; II, 73, 230; III, 12, 8; III, 99, 70; III, 114, 8; III, 134, 8, 23; IV, 23, 8, 116; IV, 26, 53; IV, 109, 116; IV, 150, 36; IV, 187, 62; V, 4-10, 70; V, 95, 31; VI, 37, 22; VII, 46, 11; VII, 70, 8; VII, 141, 22. Herondas, I, 15, 3, 5; II, 71, 72; III, 1-2, 57; VII, 38-87, 43; VIII, 50-60, 4; X, 1-2, 8; X, 1-4,

69.

Hesiod, Shield of Heracles, 24248, 36; Theogony, 123, 80; 211, 80; 234, 88; 270-76, 10; 27778, 64; 304-305, 66; 600-609, 29; 947-49, 64; 954-55, 65; Works and Days, 90-95, 64; 109-15, 64; 130-39, 63; 182-92, 57; 330-35, 55, 57; 702-05, 6. De Viris IllustriHieronymus, bus, 54, 220; 87-88, 216. Himerius,

Eclogues,

XIV, I,

78.

Homer, Iliad, I, 22-32, 54; I, 97, 66; I, 247-49, 33; I, 250, 220; I, 259, 55; I, 380, 28; I, 45774, 39; II, 20-22, 21; II, 216, 183; II, 218, 9; II, 362-68, 33;

OLD AGE AMONG

240

II,

THE ANCIENT

370-72, 34; II, 402-411. 39; 542, 9; II, 445-49, 66; 18; 38; 601-02, 108-11, 146-56, 36; 169-70, 94; 296, 181-243, 26; 64; IV, 127-28, 64; IV, 291311, 33; IV, 310-16, 83; IV, 318-21, 37; IV, 322-24, 34; IV, 477-79, 57; V, 197-204, 34; V, 395, 77; VI, 66-71, 37; VI, 86101, 40; VI, 110-15, 40; VII, 162, 229, 321, 94; VII, 32443, 34; VII, 406, 94; VIII, 139-44, 37; IX, 52-59, 34; IX, 66-71,94; IX, 158, 82; IX, 16281,37; IX, 421-26,36; IX, 43843,38; IX, 502-03, 78; IX, 52426,52; IX, 690-710, 34; X, 1720, 33; X, 73-79, 37; X, 138, 37; X, 139, 36; X, 164-67, 37; X, 167-72, 36; XI, 510-21, 37; XI, 632-37, 11; XI, 671-73, 27; XII, 8-9, 64; XII, 293, 64; 524-25, 64; 682, 86; XIV, 1-8, 38; XV, 176-85, 55; XV, 188, 82; XV, 190, 86; XV, 370-76, 39; XV, 660-66, 34; XVI, 196, 38; XVI, 66775, 66; XVII, 301-03, 57; XVII, 443-44, 66; XVII, 553-60, 21; XVIII, 83-88, 64; XVIII, 490516, 36; XIX, 334-37, 53; XIX, 419-22, 53; XX, 61, 82; XXI, 59, 86; XXI, 518, 64; XXI, 526-36, 36; XXII, 8-9, 64; XXII, 54-77, 25; XXII, 71, 49 ; XXII, 77-89, 25 ; XXII, 33843,53; XXII, 405-28,25; XXII, XXII, 508-10, 53; 451, 49; XXIII, 615-24, 48; XXIII, 623, 3; XXIII, 625-50, 48; XXIV, 150-52, 43; XXIV, 217-28, 25; XXIV, 322-28, 22; XXIV, 36171, 25; 475-8, 90; XXIV, 50325; XXIV, 561-72, 25; 12, XXIV, 659-69, 49; Odyssey, I, 428-31, 45; II, 15-16, 49; 40-41, 49; 157-59, 21; II, 177-86, 225-28, 55; 54; II, 345-76, 45; 23-24, 17; 385-96, 40; 403-12, 444-46, 39; IV, 20437; 05, 34; IV, 209-211, 10; IV, 354-57, 23; IV, 384-85, 64; V, 47, 66; V, 73, 64; V, 218, 64;

II, III,

11,

III,

III,

XIII,

III,

III,

XIII,

II,

III,

III,

II,

II, III, III,

GREEKS

VII, 7-13, 45; 447, 64; 154-58, 34; VII, 179-94, 39; VII, 199, 64; VII, 257, 64; 91-94, 66; VIII, 225, 64; VIII, 306, 226-27, 10; 64; VIII, 343, 64; VIII, 35054, 64; IX, 106-08, 64; IX, 506-10, 21; XI, 133, 64; XI, XI, 494-97, 49; 134-36, 21; 59-60, 10; 141, 49; 6; XVI, 397-403, 66; XVI, 265, 64; 172-74, XVII, 218, 41; XVIII, 169, 45; XIX, 386-96, 45; XXII, 394-96, 45; XXIII, 1-4, 45; XXIII, 63, 64; XXIII, 81, 64; XXIV, 223-34, 6; XXIV, 232XIV, 315-18, 25; 25; 34, XXIV, 388-92, 44; 498-501, 38. V,

VII,

VIII, VIII,

XIII,

XIII,

XIII,

Homeric Hymn to Aphrodite, 14554, 185; 196-208, 64; 218-38, 61; 262, 182, 185. Homeric Hymn to Apollo, 257-66, 64.

Homeric Hymn to Demeter, 1718, 66; 22, 64; 101-78, 45; 256-74, 64; 296-304, 67. Homeric Hymn to Hermes, 9, 64; 90-93, 6; 468, 64. Honestus, Paton, Greek Anthol

I,

ogy,

5, 20, 7.

Horace, Ars Poetica, 153-78, Epodes, II, 46; Odes, II, 1-4, 10;

II,

2; 14,

16, 20, 61.

Hyginus, Fabulae, I, 80; 136, 66.

Julianus,

III,

ogy,

Greek Anthol Stadtmtiller, Graeca, I, 25, 43;

Paton,

446, 17;

Anthologia I, 233, 6;

I,

297, 6.

Justinus, XVII, 1, 220. Juvenal, X, 188-209, 4;

XIII,

214, 78.

Leonidas of Tarentum, Paton, Greek Anthology, II, 295, 43; II, 726, 46; III, 466, 56.

Livy, XXV,

31, 216.

On the Sublime, 9, 11,

Longinus, 41.

Longus, 3, 41,

58;

Daphnis 44; II,

IV,

35, 44.

and Chloe, 44;

14,

III,

II, 9,

CONCORDANCE

TO

Lucian, Alexandras, 59, 9; Anacharsis, 39, 32; Bis Accusatus, 32,219; Concilium Deorum,l,1 -

9,55; IV, 182; Demonaw, VIII, 104, 13; Dialogi Deorum, XII, 58, 46; Dialogi Mortuorum, I, 2, 25-30, fi; IV, 2, 83; V, 1,

VI,

81, 44;

2, 39-45,

7;

VII,

95,44; X, 1,83; XI, 3,4; XX,

4, 6, 143; XXVI, 65; XXVII, 3, 77-84, 7; XXVII, 65, 72; Heracles, 6, 182; Dionysus, 1-5, 34; Hermotimus, 13, 219; MacroUi, 3, 220, 222; 11, 216, 217, 220; 12, 221; 18, 217, 221, 222; 19, 149, 217, 222; 20, 153, 155, 217, 221, 222; 21, 146, 216, 220, 222; 22, 222, 217, 219, 221; 23, 156, 216, 219. 221; 24, 136, 221; 25, 217, 220; 26, 134, 215. 221; 27, 218, 219; Menippus, 21, 90-98, 7; Tyrannicida, 5, 23-25, 7; 21, 26; Vera Historia, I, 23, 8.

Lucilius,

Paton, Greek Anthol 69, 11; IV, 256, 60. ogy, Lycophron, Alexander, 450-61,63. Lycurgus, Leocrates, 153, 39, 39. Macedonius, Stadtmuller, Anthologia Graeca, I, 27, 43; I, 30,

IV,

43.

Vita Procli,

Marinus,

Martial, I,

6, 221.

5, 3, 79.

Megasthenes, I, 2, 230; II, 25, 21-26, 65; II, 27, 39-43, 18; II,

IV,

30, 10;

Paton,

Meleager, ogy,

II,

59, 53.

Greek Anthol

417, 41.

Menander, Kock, Comicorum Atticorum Fragmenta, III, fr. 555, 8; Kock, fr. 592, 8; III, fr. 639, 16; Samia, 60-70, 46. Menecrates, Meineke, Stobaei Florilegium, IV, 27, 14; Stadtmiiller, Anthologia Graeca, III,

III,

55, 13.

Mimnermus, Bergk, Poetae Lyrici Graeci, 11,2 (2), 12; 11,5 (3), 3, 11;

II,

Nicarchus, ogy,

IV,

III,

6

74, 7.

16

(6),

3.

Paton, Greek Anthol 159, 33; IV, 73, 40;

LITERARY

241

PASSAGES

Oppian, Cynegetica, II, 344-78, 56. Ovid, Amores, I, 8, 46; Meta morphoses, VII, 274, 230; VII, 60.

309-21,

Pacuvius, Ribbeck, Die Romische Tragbdie, p. 304, 79. Paton, Palladas of Alexandria, 165, 6. Greek Anthology, Paulus Silentiarius, Paton, Greek Anthology, I, 262, 47. Pausanias, I, 18, 8, 156, 219; I,

III,

21, 1-2, 135; I, 23, 5, 182; II, 21, 10, 38; 35, 7-8, 40; 25, 11-18, 189; 9, 77, 86; IV, 26, 5, 22; V, 10, 6, 122; VI, 11, 2-3, 55; VII, 10, 78-85, 11, 230; VII, 21, 2, 22; 2-3, 60; IX, 23, 2, 23; IX, 29, 5, 100; X, 22, 5, 38; X, 26, 45; X, 28, 83; X, 30, 13, 94; X, 30, 8, 61 ; X, 30, 9, 201 ; X, 31, 9, 45.

III,

III, III,

VIII,

Phaedrus, Fabulae, V, 8, 78. Phalaecus, ogy,

III,

Pherecrates,

Paton, Greek Anthol 7, 650, 9.

Kock,

Comicorum

I,

Atticorum Fragmenta,

248,

18.

Kock, II, 199, 49. Philippus, Paton, Greek Anthol

Philemon, ogy,

I,

247, 46.

Philo, Paton, IV, Philodemus,

419, 18.

Paton,

IV,

41, 17.

Philostratus, Apollonius

of Tyana, II, 12, 230; III, 16, 107, 32; III, 25, 116, 65; III, 49, 230; V, 4, 190, 72; VIII, 29, 341, 216; Vitae Sophistorum, I, 7, 217; I, 9, 218; I, 15,216; II, 1, 14, 218; II, 9, 215.

Photius, Codex,

Biblioteca, 57, 216.

104b,

220;

Odes, VI, 15, 79; Nemean Odes, VII, 98-101, 11; IX, 28, 82; IX, 44, 3; X, 83-85, 65; XI, 13-16, 3; Olym pian Odes, I, 83, 3; II, 51, 64; V, 21, 3; VIII, 67-71, 3, 13; IX, 29, 77; Pythian Odes, VI, 19-27, 50; VI, 32-34, 50; VI,

Pindar, Isthmian

242

OLD AGE AMONG

IX,

43-47, 50; 37-44, 63.

Plato, Alcibiades,

62-66,

THE ANCIENT X,

65;

II,

147c, 17; 221; 146, 429e, 24; Crito, 43b, 13; 51, 221; Eryxias, 394a-d, 17; Euthydemus, 272, 24; Gor gias, 461c, 51; Laches, 179, 41; 189c, 24; 201b, 24; Laws, I, 624, 16; I, 642d, 140; II, 657d, 26; II, 653a, 40; 658d, 41; 659d-e, 16; II, 665d, 40; II, 665e, 31; 666 691e-692a, 32; a-c, 29; 692a, 32; IV, 711, 17; IV,715d, 18; IV, 717a-b, 48; IV, 717, 51, 56; VI, 755a, 33; VI, 759d, 39; VI, 761c, 5; VII, 813, 33; VII, 820c, 41; VII, 82 le, 16; VIII, 846c, 17; IX, 864d-e, 23; IX, 878e, 32; IX, 880a-b, 55; XI, 917c, 51; XI, 923b, 56; XI, 924c, 32; XI, 929e, 33; XI, 931, 51; XI, 932b-c, 33; XII, 956c, 31 ; XII, 964e, 33 ; Lesser Hippias, 364c, 17; Menexenus, 247a, 52; Meno, 91, 221; Par127b, 220; Phaedo, menides, 66e-67b, 13; 72e-73b, 68; 78a80a, 68; Phaedrus, 97c, 215; 44; 275c-276d, 17; 240a-241a, Republic,!, 328-31, 15; I, 328a, 372a-c, 41; I, 329, 4, 16; 69; V, 452a-b, 45 ; VII, 536b-d, 18; Symposium, I, 172, 8; I, Theaetetus, 143e, 143; 215b, 143; 171d, 17; 183e, 220.

Apology, Cratylus,

17,

13,

II, II,

II,

III,

III,

II,

Plautus,

Truculentus,

899, 46.

Pliny, Epistulae, III, 1, 8, 41; Natural History, VII, 123, 141 ;

VII,

VIII,

10, 230; 171, 141; X, 3, 135; X, 4, 230; XXXIV, 51, 146, 220; XXXV, 9, 134; XXXVI, 32, 168.

Plutarch, AgesUaus,

36, 9-38, 215; Alexander, 26, 679d-e, 23; An Seni Res Publico Gerenda Sit, 785b, 215; Antonius, 87, 220; Aristides, II, 325c-d, 22; De Defectu Oraculorum, 420e, 215 ; De Discemendo Adulatore ab Amico, 53c, 145; De E apud Delphos, I, 220; De Garrulitate, 610a, 219; Demosthenes,

GREEKS

28, 219; 31, 157; Dio, 35, 220; Eumenes, 16, 593d, 39; Lycurgus, 21, 11-15, 2; 26, 1, 32; Ly sander, 18, 217; Marcellus, 19, 65; Moralia, 69c, 65; 357c, 35; 634d, 128; Nicias, 19, 38, 220; Pelopidas, 16, 7, 219; Pericles, 16, 162b, 128; Philopoemen, 18, 38, 220; Phocion, 29, 219; Quaestionum Convivalium, VII, 10, 2, 136; Quomodo Adolescens Poetas Audire Debeat, 26b, 145; Solon, 21, 23; 29, 95b-c, 40; 31c, 50; Theseus, IX, 118; XIV, 3, 26; Vitae Decern Oratorum, Demos thenes, 9, 159, 217; Hyperides, 12, 219 ; Isocrates, 14, 156. 219 ; Lycurgus, 11, 135; Lysias, 9, Wachsmuth-Hense, 156, 219; Joannis Stobaei Anthologium,

V,

fr.

p. 1024,

IV,

Pollux,

195, 196.

Polybius,

XXX,

19,

142,

52.

182;

XXIII,

12,

IX, 1-8,

119, 220;

22, 5-6, 222.

Paton, Greek Anthol V, 359, 41; V, 360, 41; Vita Plotini, I, 2, 220; I, 15,

Porphyrius, ogy,

220.

Posidippus,

XVI,

Palatine Anthology,

275, 78.

Propertius,

V,

5, 2, 46.

Wachsmuth-Hense, Pythagoras, Joannis Stobaei Anthologium, V, p. 1031, No. 28, 18.

Quintilian, Institutiones Oratoriae, I, 125, 219; XII, 10, 8, 130.

I, 361-62, 25 ; 450-57, 26; 152-56, 17.

Quintus Smyrnaeus,

III,

9, 17; 518-20, 94;

in, V,

III,

Rufinus, Paton, Greek Anthology, V, 92, 6. Sappho, Bergk, Poetae Lyrici Graeci, III, 26 (135), 11. Seneca, Quaestiones Naturales,

VII,

6, 217.

Sidonius

IX,

Apollinaris, Epistulae,

9, 148;

IX,

14, 143.

Simonides, Bergk, Poetae Lyrici

CONCORDANCE

TO

Graeci, III, 36, 8; Paton, Greek Anthology, III, 647, 66. Solon, Bergk, Poetae Lyriei Graeci, II, 18 (10), 18; II, 20 (21), 3, 221; II, 24 (5), 10;

II,

(3), 2. Sophocles, Ajax, 27

470-72, 53; 50609, 57; 556-70, 57; 558, 53; 623-26, 57; 719-22, 35; 731-32, 35; 848-51, 57; 1008-20, 28; Antigone, 280-81, 19; 988-90, 21; 1348-53,19; Electra, 3, 42; 51; 23, 42; 73, 42; 279-83,

431-34,50; 1354-59,41; Nauck, Graecorum Frag Tragicorum

ments,

63,

13;

603,

16;

784,

78; 808, 28; 863, 47; Oedipus Colonus, 5-6, 4; 14, 4; 21, 4; 34, 4; 184, 4; 299, 4; 345-51, 50; 349, 4; 501-2, 4; 555, 4; 608, 64; 610, 4; 930-31, 24; 954, 79; 1210-33, 69; 1225-47, 4; Oedipus Tyrannus, 480, 51; 961, 12; 1009, 22; Philoctetes, 422-23, 17; 663-65, 54; Trachiniac, 9-13, 89; 172, 22; 184, 43; 519-22, 89; 870, 45; 117778, 54.

Sophron,

Kaibel, Comicorum Graecorum Fragmenta, 52, 12.

Statius, Achilleis, I, 269-71, 63. Strabo, III, 3, 7, 53; VI, 3, 3, 36; VII, 2, 3, 23; VII, fr. 1 and la, 22; VII, fr. 2, 22; X, 3, 6, 9; X, 4-18, 32; X, 5, 6, 70; X, 7, 10, 8; XI, 4, 8, 53; XI, 8, 6, 70; XI, 11, 3, 70; XI, 11, 8, 70; XV, 43, 230;

XVII,

6, 222.

Terence, Andria, 229, 46. Theocritus, I, 39-44, 12; I, 45, 171; XIV, 68, 9; XXI, 6-18, 43; XXI, 12, 79. Theodectes, Nauck, Tragicorum Graecorum Fragmenta ', 12, 79 ; 18, 78.

Theodoridas, Paton, Greek An thology, II, 7, 732, 4. Theognis, Bergk, Poetae Lyriei Graeci, I, 876-79, 29; II, 131,

LITERARY

243

PASSAGES

II, 172-82, 4; II, 271-74,8; 985, 11; 821-22, 50; 1021, 7; II, 1129-32, 94; II, 1187-90, 10; II, 1200-15, 50. 50;

II,

II,

II,

Theopompus, Mttller, Fragmenta Historicorum Graecorum, I, 77, 63.

Theophrastus,

Characters,

VIII,

Simocatta,

65-73,

41.

Theophylactus 17.

I, 8-27, 16; I, 9, 94; 44, 4, 39; IV, 92, 7, 52; 118, 3, 52; V, 72, 3, 36; 17, 7, 52; VI, 54, 220; VII, 92, 2-4, 18. 29, 4, 54;

Thucydides,

IV, IV, VI,

VIII,

Kock, Comicorum Atticorum Fragmenta, III, 6,

Timostratus, 41.

Tullias

Laureas, Paton, Anthology, II, 294, 43.

II,

Bergk,

Tyrtaeus,

12

Greek

(8),

39-

42, 49.

Tzetzes, Chiliades, II, 103-56, 216; V, 387, 230; VIII, 416-34, 78;

X,

266-72,

Valerius

VIII,

7, 217,

282;

14,

Vergil,

78.

V, 2, 219, 221; 12, 135.

Maximus,

IX,

Aeneid,

VI,

217;

VIII,

298, 83;

VI,

608, 55.

Xenophanes, Bergk, Poetae riei Graeci, II, 8, 5.

Ly

Xenophon, Agesilaus, II, 14-15, 27; II, 24, 35; II, 29, 38; Anabasis, I, 9, 5, 54; II, 6, 16, 219; III, 2, 11, 52; V, 7, 17, 2, 21, 54; 35; Hellenica, III, 3, 1, 38; Memorabilia, I, 2, 35-36, 2; II, 8, 3, 57; III, 1, 4, 94; IV, 8, 8, 5; Oeconomicus, VII, 19, 56; On Horse manship, 2, 1, 31; Polity of the Lacedaemonians, II, 1, 43; V, 5, 26; X, 1, 32; Symposium,

III,

V,

5, 143;

V,

6, 143.

Zenodotus, Paton, ogy,

III,

17, 148.

Greek Anthol

APPENDIX

II

CONCORDANCE AND INDEX TO ART Herein is tabulated each object of art used in this study, with the publication in which it occurs, its classification, and the museum in which it is to be found, together with the page of this study on which it is mentioned.

A- Vases Representations

Berlin — Furtwangler,

of Geras and the Geras Painter

PAGE

Cot. I, p. 405, No. 1927; Furtwangler in Roscher, I, p. 2215; Hartwig, Philol. L (1891), p. 185. Heracles clubbing Geras ( 1 ) B. F. cylix. 74 Berlin — Furtwangler, Cat. II, p. 494, No. 2173; Beazley, Att. Vasm. p. 109. R. F. pelice by the Geras Painter, (a) Woman at spring; (b) old silen running to spring... 75, 189 British Museum — Inventory No. E 290 (Smith, Cat. IIl, p. 213) ; Ic, pi. 48, 2a; Smith, J.H.8. IV (1883), C. V.A. Deubner in Roscher, III, p. 2083, pp. 96-110, pi. 30; Heracles Nolan amphora. Fig. 1; p. 2215; p. 2234. 73 clubbing Geras ( ?) I c, pi. 48, 1 and 2; Pottier, Vas. Antiq. Louvre — C.V.A. Louvre, III, p. 212, pi. 131; Hartwig, Philol. L (1891), pp. 185-90, Taf. I; Deubner in Roscher, III, p. 2083, Fig. 2; Beazley, Att. Vasm. p. 109. R. F. pelice by the 73,75 Geras Painter. Heracles clubbing Geras I c, pi. 44, Nos. 3, 8. and 10; Pottier, Vas. Louvre — C. V. A. Antiq. Louvre, Roscher, III, p. 2083, Fig. 2; Beazley, Att. Vasm. p. 109. R. F. pelice by the Geras painter. 74,98 Death of Actaeon Munich — Jahn, Cat. No. 251; Beazley, Att. Vasm. p. 110. R. F. amphora by the Geras Painter, (a) Heracles, (b) 75,89 Achelolls

lll

lll

lll

Oxford —Hoppin, R. F. I, p. 467 ; Beazley, V. A. p. 109. Old silen in hat and coat pelice.

R. F. 199

The So-called Bald Head Master Boston — Hartwig, Die griechischen Meisterschalen, pi. 40; R. F. cylix from the Van Hoppin, R.F. II, p. 46. Dance of old men 115, 116 Branteghem Collection. British Museum —Hartwig, p. 426, pis. 41 and 42, I; Hoppin, R.F. I, p. 101; Robert, A.Z. XXXIX (1881), p. 151. R.F. cylix. Aged men in conversation 110,116 British Museum — Hartwig, pi. 42, 2; Hoppin, R.F. I, p. 101; J.H. 8. XXXIV (1914), p. 194, n. 13. R. F. cylix by the Briseis Painter. Man addressing youth at a door 109 Orvieto, Faina Collection — Hartwig, pp. 421-43, and pi. 38. R.F. cylix. Barbarian figures in Scythian costume 116

244

CONCORDANCE Scenes

Relating

AND INDEX

to Rejuvenation

TO

AET

245

and Immortality

Bibliotheque Nationale — De Ridder, Cat. I, p. 177, No. 268; H f, pi. 62, 12. B. F. oenochoe. Rejuvena C. V. A. tion of the ram British Museum — Inventory No. E 163 (Smith, Cat. III, p. Medea 148); C.V.A. pi. 70, 4. R. F. hydria. and the rejuvenation of the ram British Museum — Inventory No. B 221 (Walters, Cat. II, p. 145) ; Baumeister, Denkmaler des kloss. Alter. II, p. B. F. hydria. Medea boiling the ram in the pres 1201. ence of Pelias British Museum — Inventory No. B 328 (Walters, Cat. II, p. Medea boiling the ram in the pres 190). B. F. hydria. ence of Pelias Munich— Jahn, Cat. No. 343; Hoppin, R.F. I, p. 201. R. F. stamnus by the Painter of the Copenhagen Amphora. Rejuvenation of Pelias Naples, Santangelo Collection — Heydemann, Cat. p. 685, No. 220. R. F. amphora. Eos and Tithonus Oxford, Ashmolean Museum — Gardner, Cat. No. 275; Gardner, (1893), p. 137; C. V.A. IIl, I, pi. 17, 7; J.H.S. pi. 18, 3. R. F. amphora by the Master of the Berlin Eos and Tithonus Amphora. Palermo — F. R. pi. 59. R. F. crater in the style of Meidias. Sappho and Phaon

IIl

60

IIIIc,

60

60

60

61

62

XIII

62 66

Divinities National Museum — Cat.

No. 1757 (Fairbanks, Athen Athens, ian White Lekythoi, II, p. 84); Ant. Denk. I, Taf. 23, 2; White lecythus. Fig. 3333. Daremberg-Saglio, Charon, dead person, and youth II, p. Athens, National Museum — Cat. No. 1758 (Fairbanks, (1886), 84); Ant. Denk. I, Taf. 23, Fig. 1; A.J. A. Charon, dead person, pi. 12, Fig. 2. White lecythus. 83, and child Athens, National Museum — Cat. No. 1814 (Fairbanks, II, p. White lecythus. 85 ) ; Ant. Denk. I, Taf. 23, Fig. 3. Charon, dead person, and child Athens National Museum — Cat. No. 1891 (Fairbanks, II, p. Charon and dead person 86 ) . White lecythus. Athens, National Museum — Cat. No. 1916 (Fairbanks, II, p. White lecythus. Charon 163 ) . Cat. No. 1926 (Fairbanks, II, p. Athens, National Museum. 29). White lecythus. Charon, Hermes, and dead person Cat. No. 1927 (Fairbanks, II, p. Athens, National Museum. 38). White lecythus. Charon and dead person d, pi. 15, Nos. 5-6; Athens, National Museum — C.V.A. Fairbanks, II, p. 136; B.C.H. I (1877), p. 40, pi. 2; Dumont-Chaplain, Les Ctramiques de la Grece, I, pi. 34, Fig. 2. White lecythus. Charon and dead person

84

II

IIl J

84

85 85 85 84 85

85

OLD AGE AMONG

246

THE ANCIENT GEEEKS

IIIJ

Athens, National Museum — C.V.A. d, pi. 15, 7; Fair banks, II, p. 137, No. 6, and pi. 24, 1. White lecythus. Charon and dead person Athens, National Museum — Cat. No. 2000 (Fairbanks, II, p. 136). White lecythus. Charon and dead person Athens, Private Collection — Fairbanks, II, p. 13; Pottier, Lie. Attiques, Charon, Blancs White pi. 3. lecythus. Hermes, and dead person Baltimore, Collection of D. M. Robinson — White lecythus. Charon Berlin— Furtwangler, Cat. I, p. 344, No. 1851. B. F. amphora. Acheloiis in combat with Heracles Berlin— Furtwangler, Cat. II, p. 765, No. 2680; Fairbanks, II, G. Treu, A. Z. XXXIX (1881), p. 259. p. 163; R. F. 85, lecythus. Charon, mourner, and dead person Berlin— Furtwangler, Cat. II, 765, No. 2681; Fairbanks, II, p. 162; F. von Duhn, A. Z. XLIII (1885), pp. 2-23, and Taf. 2; Otto Waser, Charon, Charun, Charos, pp. 40-60. White lecythus. Charon, mourner, and dead person .... Bibliotheque Nationale — De Ridder, Cat. I, p. 166, No. 255; He, pi. 60, No. 2; Baumeister, Denkmaler, C. V.A. II, p. 1017, Fig. 1222; Daremberg-Saglio, III, p. 95, Fig. 3767 ; Bloch in Roscher, III, p. 242, Fig. 1. B. F. Nereus and Heracles hydria. Bologna — Pellegrini, Cat. p. 74, No. 196. R. F. celebe. Nereus fleeing from Heracles

85 85

84 84 88

86

85

lll

Bologna — Pellegrini, Cot. p. 84, No. 216. R. F. celebe. Nereus holding dolphin I, p. 191, No. 8). Boston —Inventory No. 6545 (Fairbanks, White lecythus. Charon, Hermes, and dead person

British Museum — Inventory No. B 201 (Walters, Cat. II, p. Combat of Heracles and Triton, 133). B. F. amphora. with Nereus as spectator British Museum — Inventory No. B 223 (Walters, Cat. II, p. H e, pi. 55, 2b. B. F. amphora. Com 146) ; C. V. A. bat of Heracles and Triton, with Nereus as spectator ... British Museum —Inventory No. B 224 (Walters, Cat. II, p. Combat of Heracles and Triton, 146) . B. F. amphora.

86 87

88 84

87

lll

with

Nereus as spectator No. B 225 (Walters, Cot. II, p. He, B. F. amphora. C.V.A. pi. 55, 3a. ; 147) Nereus and Heracles

British Museum — Inventory

lll

British

Museum — Inventory

148) ;

phora.

No. B 228 (Walters, He, pi. 56, 2a and 2b. C.V.A. Heracles and Acheloiis

lll

Cat. II, p. B. F. am

British Museum — Inventory No. B 261 (Walters, Cat. II, p. 161 ) ; C.V. A. H e, pi. 64, Nos. 3a and 3b. B. F. am Pluto in scene picturing return of Persephone phora.

87

87

86

89

lll

from

Hades

82

CONCORDANCE

AND INDEX

TO

AET

British Museum — Inventory No. B311 (Walters, Cat. II, p. 181 ) ; C.V. A. III H e, pi. 78, No. 4. B. F. hydria. Com bat of- Heracles and Triton, with Nereus as spectator ... British Museum — Inventory No. B 312 (Walters, Cat. II, p. He, pi. 79, 2. B. F. hydria. Combat 181) ; C. V.A. of Heracles and Triton, with Nereus as spectator British Museum — Inventory No. B 428 (Walters, Cat. II, p. 227 ) . B. F. cylix. Nereus riding hippocamp British Museum —Inventory No. E9 (Smith, Cat. IIl, p. 45); Murray, Designs, pi. 6; Hoppin, R. F . I, p. 371; Klein, L.I. p. 66; Graef, Jahrb. d. arch. Inst. I (1886), p. 202, No. 61. R. F. cylix. Hermes and Nereids bringing news

247

87

IIl

of abduction of Thetis to Nereus

British Museum — Inventory No. E82 (Smith, Cat. IIl, p. 108). R. F. cylix. Pluto and Persephone British Museum —Inventory No. E 162 (Smith, Cat. IIl, p. Heracles 148) ; C. V. A. IIl I c, pi. 70, 3. R. F. hydria. seizing Nereus

British Museum — Inventory No. E437 (Smith, Cat. IIl, p. 266); C.V. A. IIl I c, pi. 19, Nos. la, lb, and lc; Beazley, V. A. p. 9, No. 4. R. F. stamnus in the style of

Heracles and Achelous Pamphaeus. Brussels, Musees Royaux du Cinquantenaire — Cat. No. A 903 II, p. 85). White lecythus. Charon, (Fairbanks, Hermes, and dead person Florence — F. R. Taf . 1 and 2. B. F. crater ( Francois vase ) . Nereus at wedding of Thetis and Peleus Louvre — Inventory No. F211 (Pottier, Vas. Antiq. Louvre, II, Heracles and Achelous p. 116). B. F. amphora. He, pi. 45, 8). Louvre— Inventory No. F 235 (C.V. A. R. F. amphora. Combat of Heracles and Triton, with Nereus as spectator Louvre — Inventory No. G 10 (Pottier, Vas. Antiq. Louvre, II, p. 137) ; Hoppin, R. F. I, p. 342. R. F. cylix assigned to Heracles and Achelous Epilycus. Louvre — Inventory No. G 116 (Pottier, Vas. Antiq. Louvre, III, p. 162); Hoppin, R. F. I, p. 247 ; Pottier, Courts, p. 65 ; Perrot and Chipiez, Hist, de l' Art pp. 80-84, Fig. 13; dans V Antiq. X, p. 539, Fig. 307. R. F. cylix by Douris. Nereus and the rape of Thetis Louvre — Inventory No. G 126 (Pottier, Vas. Antiq. Louvre, III, R. F. cylix by Hieron. Nereus receiving news p. 126). of the rape of Thetis Louvre — Inventory No. G 155 (Pottier, Vas. Antiq. Louvre, III, Heracles and p. 186). R. F. cylix attributed to Brygos. Nereus Louvre— Inventory No. MNB 622 (Fairbanks, II, p. 136) ; Pot tier, Lie. Blancs Attiques, p. 150, No. 75. White lecy thus. Charon and dead person Louvre — Inventory No. N 3449 (Fairbanks, II, p. 29). White Charon lecythus.

IIl

89 88

88 82

86

89

84 86 87

89

89

87

87

87

85 84

/

OLD AGE AMONG

248

THE ANCIENT

GREEKS

— Cat. No. 209 ( Jahn) ; Fairbanks, I, p. 189; R. C. Bosanquet, J.H.8. XIX (1899), p. 182, Fig. 6. White 83, 84 Charon lecythus. R. F. amphora. Naples — Heydemann, Cat. p. 294, No. 2421. Nereus receiving news of the rape of Thetis 87 — Inventory Museum No. GR619 New York, Metropolitan ' White lecythus. Charon, dead (Fairbanks, II, p. 85). 84 and child person, Oxford, Ashmolean Museum —Gardner, Cat. p. 20, No. 264; White lecythus. Charon and Fairbanks, II, p. 137. Munich

dead

person

Philadelphia, University Museum — S. B. Luce, A. J. A. XXVI (1922), pp. 174-92. B. F. scyphus. Heracles and Triton. Scheurleer Museum, Hague — C. V. A. lll c, pi. 2, 2. White

J

Charon lecythus. Nolan amphora by the Schwerin — Hoppin, R. F. II, p. 319. Nereus receiving news of the rape of Pan Painter. Thetis

Tubingen —Watzinger, Cat. p. 43, No. 1721. White lecythus. Charon II, p. 14, No. 19. Van Branteghem Collection — Fairbanks, White lecythus. Charon, Hermes, and dead person Vienna, Oesterreichisches Museum — Masner, Cat. p. 26, No. B. F. amphora. Nereus and Cheiron 226.

85 73 86

88 85 84 86

Kings

J. A. XXXV (1931), pp. R. F. bell-crater by the Painter of the Naples Hephaestus. Bougyzes exhibiting the plough to Cecrops. Berlin — Furtwangler, Cat. I, p. 222, No. 1685. B. F. amphora. Death of Priam at altar of Zeus Herkeius Berlin— Furtwangler, Cat. I, p. 352, No. 1862; Robert, A. Z. XXXVII (1879), p. 24. Nolan amphora. Aeneas carry ing Anchises Berlin — Furtwangler, Cat. II, p. 496, No. 2175. R. F. hydria. Priam at altar of Zeus Herkeius Berlin— Furtwangler, Cat. II, p. 516, No. 2281; A.Z. XXXVII R. F. cylix. Priam at altar of Zeus (1882), pi. 3. Herkeius Berlin— Furtwangler, Cat. II, p. 718, No. 2537. R. F. cylix. Cecrops and Erechtheus at birth of Erichthonius Cat. II, p. 1009, No. 3988; Wiener Berlin — Furtwangler, Series VIII, Taf. 4. R. F. amphora. Vorlegeblatter, Priam at altar of Zeus Herkeius Berlin — Furtwangler, Cat. II, p. 1013, No. 3996; Hoppin, R.F. II, p. 125. R. F. amphora by the Iliupersis Painter. Priam at altar of Zeus Herkeius Bibliotheque Nationale — De Ridder, Cot. I, p. 117, No. 207; C. V. A. H e, pi. 34, No. 5. B. F. amphora. Priam viewing departure of Hector Baltimore,

Md.— D. M. Robinson, A.

152-60.

9b 91

93 91

91

95

91

91

lll

92

AND INDEX

CONCORDANCE

TO

ART

Bibliotheque Nationale — De Ridder, Cat. I, p. 173, No. 261. B. F. oenochoe. Aeneas carrying Anchises Bibliotheque Nationale — De Bidder, Cat. II, p. 501, No. 851; Hoppin, R.F. I, p. 298; Reinach, Ripertoire, I, p. 286, No. 2; p. 287, No. 1; Weizsacker in Roscher, III, p. 295, No. 5(b). R.F. cant liar us. Agamemnon Boston — Inventory No. 98. 933 (Hoppin, R.F. I, p. 126) ; Beazley, V. A. p. 91 ; Kretschmer, Die griechischen Vasenvnschriften, p. 118; p. 186, No. 2; Luckenbach, Das Verhdltniss der griechischen Vasenbilder, p. 516, No. 3. R. F. cylix attributed to the Brygos Painter. Priam viewing combat of Hector and Achilles Boston — Inventory No. 99. 532 (Fairbanks, Cat. p. 197). B. F. scyphus. Priam viewing combat of Hector and Achilles British Museum — C.V.A. I c, pi. 7, lb; Inventory No. E264 (Smith, Cat. p. R.F. amphora. 199). Aegeus at son's arrival in Athens He, pi. 31, 4b; Inventory No. British Museum — C.V.A. B 171 (Walters, Cat. II, p. 119). B. F. amphora. Priam at departure of Hector British Museum — Inventory No. B 153 (Walters, Cat. II, p. 108); C.V.A. He, pi. 25, No. 2a. B. F. amphora. Departure of Troilus British Museum — Inventory No. B 205 (Walters, Cat. II, p. 135). B. F. amphora. Priam at altar of Zeus Herkeius. British Museum — Inventory No. B 241 (Walters, Cat. II, p. He, pi. 59, Nos. la and lb. B. F. 153); C.V.A. amphora. Priam at altar of Zeus Herkeius British Museum — Inventory No. B313 (Walters, Cat. II, p. 182); Gaz. Arch. I (1875), pis. 20 and 21; C.V.A. H e, pi. 79, No. 2. B. F. hydria. Oeneus as spectator at contest of Heracles and Acheloiis British Museum — Inventory No. B 522 (Walters, Cat. II, p. 249). Amphora of transition period. Priam at altar of Zeus Herkeius British Museum —Inventory No. E 512 (Smith, Cat. III, p. 247); Hoppin, R.F. II, p. 315; Beazley, V. A. p. 116, Fig. 72 bis. R. F. oenochoe by the Pan Painter. Boreas seizing Oreithyia with Erechtheus as spectator British Museum — Inventory No. F 155 (Walters, Cat. IV, p. 76); C.V.A. IV E a, pi. 3, 3. R.F. hydria. Oeneus seizing Agrius H, IV B, pi. 14, Cambridge, Fitzwilliam Museum — C. V. A. 2a. B. F. amphora. Aeneas and Anchises

IIl

249

93

94

89

92

III,

IIl

94

92

III

92 91

IIl

91

IIl

IIl

Florence — F. R. Taf. 11 and 12. B. F. crater (Francois vase). Priam watching Achilles and Troilus Hope Collection —Tillyard, Cat. p. 29, No. 14. B. F. amphora. Aeneas carrying Anchises Hope Collection —Tillyard, Cat. p. 50, No. 87. R. F. neck-am phora. Priam viewing departure of Hector

95

91

95

95 93 89 93 92

OLD AGE AMONG

250

THE ANCIENT GREEKS

Leningrad — Hoppin, R. F. II, p. 453. R. F. cylix by the TelePriam at altar of Zeus Herkeius phus Painter. Louvre — Inventory No. F 99 (Pottier, Vas. Antiq. Louvre, II, p. 100) ; Pottier, B.C.H. XVII (1893), pp. 439-40, Figs. 10-12. B. F. amphora attributed to Nicosthenes. Aged king between four bearded men Louvre — Inventory No. F 118 (Pottier, Fo«. Antiq. Louvre, II, p. 106) ; Hoppin, B.F. p. 297, No. 99; Loeschcke, A. Z. XXXIX (1881), p. 36. B.F. oenochoe attributed to Nicosthenes. Aeneas carrying Anchises Louvre — Inventory No. F 122 ( Pottier, Vas. Antiq. Louvre, II, p. 107) ; Hoppin, B.F. p. 258, No. 51; Perrot and Chipiez, X, p. 248, Fig. 157; p. 249, Fig. 158. B.F. cylix by Nicosthenes. Aeneas carrying Anchises Louvre — Inventory No. F 222 (Pottier, Vas. Antiq. Louvre, II, He, pi. 41, 8. B.F. amphora. C.V.A. p. 119); Priam at altar of Zeus Herkeius Louvre — Inventory No. F 256 ( Pottier, Vas. Antiq. Louvre, II, He, pi. 52, 2. B.F amphora. C.V.A. pi. 81); Aeneas carrying Anchises

91

97

93

93

lll

lll

Louvre

Louvre

No. G 46 (Pottier, Vas. Antiq. Louvre, II, I c, pi. 31, 3. R. F. am p. 145, pi. 93); C.V.A. Priam at phora attributed to the Nicoxenus Painter.

— Inventory

lll I

Louvre — Inventory

c, pi. 49, 4). No. G 236 (C.V.A. King with phiale Madrid — Leroux, Cat. p. 39, No. 65; L6wy, Rom. Mitt. IX (1894), pi. 83. B.F. amphora. Eurytus as spectator in combat of Iphitus and Heracles

III, IV

93

lll

departure of Hector —Inventory No. G 152 (Pottier, Vas. Antiq. Louvre, III, F. R. Taf. 25; Hoppin, R. F. I, p. 119; p. 182); Kretschmer, Die griechischen Vaseninschriften, p. 140; Rayet and Collignon, p. 193, Fig. 76(a); Luckenbach, R. F. cylix by the Brygos Painter. Priam at p. 524. altar of Zeus Herkeius

Madrid —Leroux, Cat.

91

92

91 97

94

p. 43, No. 68;

Weiszacker in Roscher, p. 2957, Fig. 6; Heydemann, Jahrb. d. arch. Inst. Priam (1889), pp. 260-65, and pi. 10. R. F. hydria.

R. F. amphora. Munich — F. R. Taf. 10. Rhadamanthus as judge in the Lower World Munich—Jahn, Cat. No. 378; F. R. Taf. 14; Hoppin, R. F. I, p. 432; Perrot and Chipiez, X, p. 456, Figs. 260 and 261; P. J. Meier, A. Z. XLII (1884), p. 252; Buschor, p. 150, Fig. 106(a) ; Luckenbach, p. 542. R. F. amphora Priam and the arming of Hector by Euthymides.

Munich— Hoppin, R.F. I, p. 62; F.R. pi. 106, Fig. 2. R. F. stamnus. Priam at the arming of Hector and Paris. . . . Naples —Heydemann, Cat. p. 298, No. 2422; F. R. Taf. 34. Nolan amphora. Priam at altar of Zeus Herkeius

90 97

92 92 91

CONCORDANCE

AND

INDEX

TO

AET

251

Naples —Heydemann, Cat. p. 520, No. 3225. R. F. vase (shape not indicated) . Cepheus and Andromeda Naples— Heydemann, Cat. p. 599, No. 3352. R. F. vase (shape not indicated). Boreas seizing Oreithyia in presence of Erechtheus Naples — Heydemann, Cat. p. 814, No. SA 708. R. F. amphora. Cepheus and Andromeda New York, Metropolitan Museum — Inventory No. 06. 1021. 99 (Beazley, V. A. p. 25, No. 8) ; Hoppin, R. F. 11, p. 233. R. F. amphora assigned to the Nicoxenus Painter. Priam at altar of Zeus Herkeius Oxford, Ashmolean Museum —Gardner, Cat. p. 23, No. 270. R. F. amphora. King with patera and sceptre Rome, Vatican — Beazley, V. A. p. 172; Hoppin, R.F. II, p. 14, No. 6; Reinach, Ripertoire, II, p. 94, Nos. 8 and 9. Priam view B. F. neck-amphora by the Hector Painter. ing departure of Hector Rome, Villa Giulia — Hoppin, R. F. II, p. 125. Column-crater. Death of Priam Rome, Villa Giulia— C. V. A. IV B r, pi. 13, 1, 2, 3. B. F. am phora. Aeneas and Anchises Terra Nova, Navarra Collection — Fairbanks, I, p. 247, No. 75. White lecythus. Aeneas guiding steps of Anchises

— Robinson,

Harcum, and Iliffe, Cat. No. 269, pp. 10811, and pi. 32. B. F. hydria. Oeneus witnessing the bat tle of Heracles and Nessus Toronto — Robinson, Harcum, and Iliffe, Cat. No. 312, pp. B. F. amphora. 132-35, and pi. 46. Oeneus witnessing rape of Deianeira B. F. amphora. TUbingen —Watzinger, Cat. p. 24, No, 2451. Aeneas and Anchises Vienna, Oesterreichisches Museum — Masner, Cat. p. 43, No. R. F. cylix by Douris. King witnessing a contest 324. of warriors Vienna, Oesterreichisches Museum — Masner, Cat. p. 45, No. 328; F. R. Taf. 84; Hoppin, R.F. I, p. 140; Perrot and Chipiez, X, p. 617, Fig. 344 ; Buschor, p. 172, Fig. 123; Baumeister, I, p. 738, Fig. 791; Hartwig, p. 363; Roscher, III, p. 2959, Fig. 8(a); Luckenbach, No. 508. Priam R. F. cotyle in the style of the Brygos Painter. entering tent of Achilles Toronto

96

95 96

91 97

92 91

93 93

95

95 93

98

90

Heroes Bibliotheque Nationale— De Ridder, Cat. II, p. 469, No. 811; R.F. cylix. Engelmann, R. A. IX (1907), pp. 84-93. Punishment of Linus British Museum — Inventory No. E 44 (Smith, Cat. IIl, p. 68) ; F. R. Taf. 23; Murray, Designs, p. 10, No. 27, Fig. 4(a); Hoppin, R.F. I, p. 388; Perrot and Chipiez, X, pp. 425-27, Fig. 248-50; Meier, A. Z. XLIII (1885), p. (1887), 185, No. 9; Studniczka, Jahrb. d. arch. Inst.

II

100

OLD AGE AMONG

252

THE ANCIENT

GREEKS

Hartwig, p. 444; E. Radford, J.H.S. (1915), p. 120; Kalkmann, Jahrb. d. arch. Inst. XI (1896), p. 30, Fig. 12. R. F. cylix by Euphronius. (i) (a) Bringing the Erymanthian boar to Eurystheus; 99, 111 old man and hetaira British Museum —Inventory No. E318 (Smith, Cat. IIl, p. I c, pi. 58, 3b. R. F. amphora by the 225 ) ; C.V. A. Alcimachus Painter. Heracles struggling with Apollo 100 for the tripod, with an old man as spectator London, Stewart Hodgson Collection — Hoppin, B. F. p. 210, No. 99 24. B. F. amphora. Old men as spectators Munich —J. Maybaum, Jahrb. d. arch. Inst. XXVII (1912), pp. 101 Punishment of Linus. 24-37, and pis. 5-8. R. F. crater. Schwerin— F. R. Taf. 163; Hoppin, R. F. II, p. 372; Beazley, V. A. p. 64; Hartwig, pp. 375-79; Perrot and Chipiez, X, pp. 585-87; Hartwig, p. 377, and Fig. 52; J. May baum, Jahrb. d. arch. Inst. XXVII (1912), pp. 24-37. R. F. cotyle by Pistoxenus. (a) Linus teaching music to 42,100,118 Iphicles; (b) servant conducting Heracles — Vienna, Oesterreichisches Museum Masner, Cat. p. 41, No. 322. R. F. cylix of the severe style. Heracles and 98 Antaeus p.

162, No. 22;

XXXV

IIl

Seers

R. F. II, p. 48; Walters, History of Anc. Pottery, II, p. 125; Beazley, V. A. p. 108, No. 2; Pollak, Zwei Vasen aus der Werkstatt Hierons, pp. 1-27, and Taf. 1-3. R. F. cylix by Macron. Calchas coming out of

Boston —Hoppin,

a

101

palace

British Museum —Murray, White Athenian Vases in

the

British

Seer Polyeidus Museum, pi. 16. White Athenian cylix. and boy Glaucus British Museum — Inventory No. G 10 (Walters, Cat. IV, p. Creon falling in supplication Megarian bowi. 238). before Teiresias

102

101

Warriors Museum — Graef,

Cat. II, p. 145, No. 1291. Aged warrior Berlin— Furtwangler, Cat. II, p. 498, No. 2176; C. Robert, A. Z. XXXIX (1881), pp. 137-154. R. F. hydria. Phoe nix at embassy to Achilles Cat. pp. 537-41, No. 2264; R. Weil, Berlin— Furtwangler, R. F. cylix. Phoenix A. Z. XXXVII (1879), p. 183. and Nestor joining hands with Achilles British Museum— H. B. Walters, J.H.S. XVIII (1898), pp. Phoenix and Nestor at B. F. amphora. 281-86, No. 2. the sacrifice of Polyxena British Museum — Inventory No. E 76 (Smith, Cat. III, p. 102). Briseis led away by Achilles, R. F. two-handled cup. with Phoenix as spectator

Athens, Acropolis B. F. scyphus.

102

103

104

103

103

CONCORDANCE

AND INDEX

TO

AET

IIl

British Museum — Inventory B. F. hydria. 86, 3 ) .

He, pi. No. B 327 (C.V.A. Patroclus and Phoenix witness ing quarrel of Achilles and Agamemnon Louvre — Inventory No. F 340 (Hoppin, B.F. p. 346). B. F. Nestor viewing strife of Ajax and Odysseus. oenochoe. R. F. amphora. Naples — Heydemann, Cat. p. 361, No. 2643. Old man and Nike

Naples — Heydemann, Cat. p. 579, No. 3254. R. F. vase (shape not indicated). Phoenix and Nestor witnessing the ran som of Patroclus

Wiirzburg — F. R. Taf. rior in arming

104. R. scene

253

F. amphora.

103 102 102

103

Phoenix with war 104

Old Men in the Common Pursuits of Life (a) Departure

scenes

Cat. II, p. 716, No. 2536. R. F. amphora. scene Departure I c, pi. 29, Bologna— Pellegrini, Cat. p. 21, No. 50; C. V. A. No. 2. R. F. celebe. Departure scene R. F. celebe. De Bologna — Pellegrini, Cat. p. 86, No. 223. parture scene I c, pi. Bologna — Pellegrini, Cat. p. 97, No. 244; C.V.A. 23, 4. R. F. celebe. Departure scene Boston —Inventory No. 10.177 (Ann. Rep. Mus. F. A. 1910, p. 62); Studniczka, Jahrl. d. arch. Inst. XXVI (1911), p. 133, Fig. 35. R. F. celebe. Departure scene British Museum — Inventory No. B 147 (Walters, Cat. II, p. I c, pi. 24, la and lb. B. F. amphora. 103) ; C. V. A. Warrior taking omens in presence of old man British Museum — Inventory No. B 171 (Walters, Cat. II, p. 119); C. V. A. He, pi. 31, 4b. B. F. amphora. War rior taking omens in presence of old man British Museum — Inventory No. B 184 (Walters, Cat. II, p. 125); C.V. A. He, pi. 33, 3b. B. F. amphora. De parture Scene British Museum — Inventory No. B 186 (Walters, Cat. II, p. 126). B. F. amphora. Departure scene British Museum — Inventory No. B 189 (Walters, Cat. II, p. 127); C. V. A. He, pi. 45, 7b. B. F. amphora. Arm ing and departure scene British Museum — Inventory No. B 246 (Walters, Cat. II, p. He, pi. 60, 2b. B.F. amphora. De 156); C.V.A. parture scene British Museum— Inventory No. B 255 (Walters, Cat. II, p. 159); C. V. A. He, pi. 63, lb. B. F. amphora. De parture scene British Museum — Inventory No. B 267 (Walters, Cat. II, p. 163); C. V. A. H e, pi. 66, 2b. B. F. amphora. De parture scene

Berlin — Furtwangler,

IIl

IIl

IIl

105 106 105 105

105

106

IIl

106

IIl

III

IIl

104 104

105

104

IIl

104

IIl

104

OLD AGE AMONG

254

THE ANCIENT GREEKS

British Museum — Inventory No. B 275 166) ; C. V.A. IIl He, pi. 68, la. rior mounting chariot in presence British Museum — Inventory No. B 292 170) ; C. V. A. IIl He, pi. 71, 2a. parture

(Walters, Cat. II, p. B. F. amphora. War of father (Walters, Cat. II, p. B. F. amphora. De

scene

No. B 316 (Walters, Cat. II, p. B. F. hydria. Warrior e, pi, 79, 4. mounting chariot in presence of father British Museum — Inventory No. B 320 ( Walters, Cat. II, p. H e, pi. 82, 4. B. F. hydria. Warrior 185) ; C. V. A. mounting chariot in presence of father British Museum — Inventory No. B 344 (Walters, Cat. II, p. He, pi. 93, 2. B. F. hydria. War 200); C.V.A. rior mounting chariot in presence of father British Museum — Inventory No. B 360 (Walters, Cat. II, p. 204. Warrior mounting chariot in pres B. F. celebe. ence of father British Museum — Inventory No. E 16 (Smith, Cat. IIl, p. 51). R. F. cylix attributed to Oltus. Departure scene British Museum — Inventory No. E 361 (Smith, Cat. IIl, p. Departure 238) ; Hoppin, R. F. I, p. 194. R. F. pelice.

British Museum — Inventory 183) ; C. V. A. IIl H

106

104

104

IIl

IIl

scene

British Museum — Inventory No. E413 (Smith, Cat. IIl, p. 258). R. F. cylix by the Painter of the Ethiop Pelice.

Departure scene Brussels — Inventory No. R 307 (Hoppin, R. F. I, p. 59, No. 4). Nolan amphora by the Master of the Berlin Amphora. Departure scene H, IV B, pi. 15, Cambridge, Fitzwilliam Museum — C. V. A. lb. Warrior taking Amphora of Panathenaic shape. omens in presence of old man H, pi. 13, 2. B. Cambridge, Fitzwilliam Museum —C. V. A. F. hydria. Warrior mounting chariot in presence of father H, pi. 102, No. Copenhagen — Inventory No. 3241 (C.V.A. 2a. B. F. amphora. Warrior taking omens in presence of old man Dresden — Hoppin, R. F. I, p. 5, No. 16. Nolan amphora by the Achilles Painter. Departure scene Gallatin Collection — C. V. A. I c, pi. 14. R. F. stamnus.

IIl III

IIl

Arming

IIl

scene

Hope Collection — Tillyard, Cat. p. 33, No. 21. B. F. amphora. Departure scene Hope Collection—- Tillyard, Cat. p. 74, No. 126. B. F. crater. Departure scene Leningrad —Hoppin, R. F. II, p. 213, No. 10. R. F. pelice by the Nausicaa Painter. Departure scene Louvre — Inventory No. F 12 (Pottier, Vas. Antiq. Louvre, II, He, pi. 11, 3. B. F. amphora. De p. 87) ; C. V.A. parture scene

IIl

106

106

106 105

105

104

105

106

106

106 105 106 105 105 105

105

CONCORDANCE Louvre

— Inventory p. 117) ;

parture

AND INDEX

TO

ART

255

No. F215 (Pottier, Vas. Antiq. Louvre, II, H e, pi. 27, 5. B. F. amphora. De A.

C. V. scene

IIl

—Inventory

No. G 46 (Pottier, Vas. Antiq. Louvre, II, p. 145, pi. 93) ; C. V. A. d, pi. 31, Nos. 2, 3, 5, and 8; Hoppin, R.F. II, p. 233, No. 9; Beazley, V. A. p. 25; Att. Vasm. p. 91, No. 2. R. F. amphora attributed to Nicosthenes. Warrior taking omens in presence of old man Louvre — Inventory No. G 56 (Pottier, Vas. Antiq. Louvre, II, c, pi. 6 ,7. R. F. stamnus by the p. 148) ; C. V. A. Master of the Berlin Amphora. Warrior mounting chariot in presence of father .| Madrid— Leroux, Cat. p. 45, No. 69 ; C. V. A. H e, pi. 8, 5. B. F. hydria. Departure scene Munich-^Jahn, Cat. No. 411; F. R. Taf. 52. R. F. amphora. Departure and libation scene Naples —Heydemann, Cat. p. 387, No. 2777. B. F. vase (shape not indicated). Warrior mounting chariot in presence of father Louvre

106

III I

106

III I

III

Naples —Heydemann, Cat. p. 387, No. 3220. R. F. vase (shape not indicated). Warrior mounting chariot in presence of father

Nolan amphora Naples — Heydemann, Cat. p. 482, No. H3150. Arming scene . . . by the Master of the Berlin Amphora. Naples — Heydemann, Cat. p. 662, No. SA 122. White lecythus. Departure scene Naples — Heydemann, Cat. p. 807, No. SA 700. R. F. crater by Macron. Arming scene New York, Metropolitan Museum — Inventory No. 07. 286.70 (Hoppin, R. F. I, p. 104, No. 5). R. F. fragment by the Painter of the Brussels Oenochoe. Departure scene .... New York, Metropolitan Museum— Inventory No. 10.210. 14 (Hoppin, R.F. II, p. 316, No. 36). R. F. crater by the Pan Painter. Arming scene Oxford, Ashmolean Museum —Gardner, Cat. p. 25, No. 280. R. F. amphora. Departure scene Rome, Vatican — Inventory No. 490 (Hoppin, R.F. I, p. 73, No. R. F. amphora by the Master of the Berlin Am 93). phora. Departure scene Rome, Vatican — Inventory No. 522 (Hoppin, R. F. II, p. 164, No. 9). R. F. pelice by the Lycaon Painter. Departure

105 107

106

106 105 105 105

105

105 105

105

scene

105

scene

105

Rome, Vatican — Inventory No. 541 (Hoppin, R.F. I, p. 289, No. 100). R. F. cylix attributed to Douris. Departure Rome, Vatican — Inventory No. 576 (Hoppin, R.F. I, p. 139, No. 95). R. F. cylix attributed to the Brygos Painter. Rome,

106

Arming scene Villa Giulia — Inventory No. 910; C.V.A. 2, 1. B. F. hydria. Departure scene

IIl

106

He, pi. 106

-

THE ANCIENT

OLD AGE AMONG

256

GREEKS

III

Villa Giulia — Inventory la). B. F. hydria. Villa Giulia — Inventory

He, pi. No. 5198 (C. V. A. Departure scene He, pi. Rome, No. 25000 (C.V.A. 5, 5). R. F. pelice by the Master of the Chicago Stamnus. Departure scene Toronto — Robinson, Harcum, and Iliffe, Cat. p. 131, No. 309, and pi. 44. B. F. amphora. Departure scene Toronto — Robinson, Harcum, and Iliffe, Cat. p. 276, No. 632, and pi. 103. B. F. cylix. Departure scene ( ?)

Rome,

55,

(b) Scenes connected

III

100

105 106 106

with religion and death

Athens, Acropolis Museum — Graef, Antike Vasen. von der Akropolis, II, No. 336, pi. 24; Beazley, Att. Vasm. p. 76, No. 71. Fragment of r. f. cylix attributed to the CleoOld priest phrades Painter. Athens, National Museum — Inventory No. 2021 (Fairbanks, II, White lecythus. Father at stele of son p. 20). Athens, National Museum — Conze, Die Attischen Grabreliefs, II, p. 231, No. 1069, and Taf. 196. White lecythus of Nausistratus and Promachus. Elderly man clasping hand of youth Berlin — Furtwangler, Cat. I, p. 373, No. 1888. B. F. amphora. Group singing around bier Bibliotheque Nationale — De Ridder, Cat. I, p. 243, No. 353; He, pi. 71, 9. B. F. cantharus. Dead war C.V.A. rior and old father

107 107

167 107

III

Naples — Heydemann, Cat. p. 624, No. SA 3. R. F. vase (shape not indicated). Old man making offering Naples — Conze, II, p. 215, No. 1011, and Taf. 197. White lecy thus of Autodicus of Phalerum. Father leaning on stick, and son

Naples — Conze, II, p. 230, No. 1066, and Taf. 217. White lecy thus. Youth (Theodotus) extending hand to father... Scheurleer Museum, Hague — Inventory No. 3507 (C.V.A. H e, pi. 3, 3. B. F. amphora. Father mourning death of son

IIl

107 107

165 166

107

(c) Athletics

Berlin — Furtwangler,

Cat. I, Old man witnessing a Berlin— Furtwangler, Cat. I, Old men sprinting British Museum — Inventory

p. 205, No. 1655. horse race

B. F. amphora.

p. 329, No. 1832.

B. F. amphora.

108

No. E 277 (Smith, Cat. IIl, p. Ic, pi. 46, Nos. la and lb; Hoppin, 206); C.V.A. R. F. I, p. 85. R. F. amphora by the Painter of the Old man watching warriors running .... Boston Phiale. British Museum — Inventory No. E 310 (Smith, Cat. III, p. 221); C.V.A. I c, pi. 56, Nos. la and lb. Nolan Old amphora by the Master of the Berlin Amphora. man watching a warrior pursue a woman

107

IIl

108

IIl

108

CONCOBDANCE

AND INDEX

TO

AET

257

Castle Ashby — Beazley, Papers of the British School at Rome, XI, pp. 12-14, and Fig. 7. Panathenaic amphora attri Foot race buted to the Berlin Painter. — 125 (Hoppin, R. F. I, p. 200). Copenhagen Inventory No. R. F. amphora. Old man walking attended by black boy. Pana Goluchow — Beazley, Vases in Poland, pis. 1 and 2. Foot race thenaic amphora. New York— Inventory No. 07.286.47 (Hoppin, R.F. II, p. 10) ; F. R. Taf. 93. R. F. cylix by Hegesiboulus. Semite strolling with dog or porcupine Vienna, Oesterreichisches Museum — Masner, Cat. p. 25, No. 224. B. F. amphora. Old man as peacemaker in a duel. (d)

R. Athens, Acropolis p. 84, Cat. No. 681. F. crater. Conversation and libation scene Con Bologna — Pellegrini, Cat. p. 84, No. 216. R. F. celebe. versation scene Bologna — Pellegrini, Cat. p. 95, No. 239. R. F. celebe. Aged men in conversation Boston — Inventory No. 01.8031 (Hoppin, R.F. II, p. 20); G. Korte, A. Z. XXXVI (1878), p. 111. R. F. stamnus. Aged men in conversation British Museum — Inventory No. B 184 (Walters, Cat. II, p. He, pi. 33, 3b. B. F. amphora. 125); C.V.A. Aged men receiving guests British Museum — Inventory No. E 72 (Smith, Cat. p. 96). R. F. cylix. Youth talking to elderly figure British Museum — Inventory No. E211 (Smith, Cat. p. Men and women in conversation.. 170). R. F. hydria.

IIl

lll,

lll,

— C.V.A.

lll

107

107

108 108

Conversation

Museum — Graef, I,

Copenhagen

107

H, pi.

120, 6a.

B. F. pyxis.

Ill 109

109

Ill ill 109 110

Con

versation scene London, Charles Ricketts and Charles Shannon Collection — R.F. I, p. 102; Beazley, J.H.8. XXXIV Hoppin, (1914), p. 194, n. 13. R. F. Nolan amphora. Elderly man watching boy playing Louvre — Inventory No. F 99 ( Pottier, Vas. Antiq. Louvre, II, H e, pi. 32, Nos. 1, 2, 3, 4, 5, and p. 100) ; C. V. A. 6 ; Hoppin, B. F. p. 296, No. 97 ; Pottier, B. C. H. XVII (1893), pp. 439-40, and Figs. 10-12. R. F. amphora attributed to Nicosthenes. Aged men in conversation.. I c, pi. 49, Nos. Louvre— Inventory No. G236; C.V.A. 2, 4, 5, and 6; Beazley, Att. Vasm. p. No. 6. R. F. Man with phiale amphora by the Argos Painter. Munich — Jahn, Cat. No. 586; Studniczka, Jahrb. d. arch. Inst. V (1890), p. 142; Karo, J.H.8. XIX (1899), p. 146. B. F. amphora. Libation Munich — Jahn, Cat. No. 2650; Beazley, V. A. p. 94; Hoppin, R.F. I, p. 458; Hartwig, p. 388 (attributed to the Dio-

110

109

lll

lll

17

110

ill,

112

112

^

■ rel="nofollow">.

258

OLD AGE AMONG

THE ANCIENT GREEKS

R. F. cylix by the Foundry Painter. genes Master). Youth and old men in conversation

Museum —Gardner, Cat. p. 23, No. 270; I, pi. 17, 3. Nolan amphora. Libation scene C. V.A. Tarquinia, Mus. Tarquiniense — Inventory No. 6846 (Hoppin, R.F. I, p. 129, No. 51). R. F. cylix attributed to the Brygos Painter. Libation scene Vienna, Oesterreichisches Museum — Masner, Cat. p. 48, No. 329. R. F. cotyle. Old man and hetaira Oxford,

109

Ashmolean

IIl

(e )

111

112

I11

Pedagogues

— De

Ridder, II, p. 519, No. 876. Nolan Bibliotheque Nationale amphora. Pedagogue at death of sons of Medea Munich — Jahn, Cat. No. 810; F. R. pi. 90. R. F. cylix. Peda 42, gogue and two boys at death of Creusa Naples — Heydemann, Cat. p. 31, No. 766. R. F. vase (shape not indicated). Pedagogue followed by woman R. F. vase Naples — Heydemann, Cat. pp. 79-81, No. 1757. (shape not indicated). Pedagogue in scene represent ing abduction of Adonis R. F. vase Naples — Heydemann, Cat. pp. 94-97, No. 1769. (shape not indicated). Pedagogue in scene featuring abduction of Chrysippus R F. vase Naples — Heydemann, Cat. pp. 495-99, No. 3218. (shape not indicated). Pedagogue and Europa R. F. vase Naples — Heydemann, Cat. pp. 584-91, No. 3255. (shape not indicated). Pedagogue and old lady ap 112, proaching bier of Archemorus R. F. vase Naples — Heydemann, Cat. p. 752, No. SA 526. (shape not indicated). Pedagogue at death of Creusa or Glauce

Berlin — Furtw&ngler,

(f)

Scenes

113 113 112

112

112 112

118

112

of revelry

Cat. I, p. 219, No. 1676. B. F. amphora. Old men conversing over wine Berlin — Furtwangler, Cat. I, p. 456, No. 2086; Hoppin, R.F. I, p. 68. Nolan amphora by the Master of the Berlin Old komast Amphora. Boston — Inventory No. 10.193 (Ann. Rep. Mus. F. A. 1910, p. 63) ; Hoppin, R.F. II, p. 336; Beazley, V.A. p. 98. R. F. cylix attributed to Peithinus of the Euphronian 42, circle. Old komast and boy R. F. Boston — Hartwig, Taf. 40; Hoppin, R.F. II, p. 46. cylix by Hieron. Dance of old men Hope Collection — Tillyard, Cat. p. 71, No. 121. R. F. calyxcrater. Two old actors and silens Leningrad — F. R. Taf. 110. R. F. crater. Comic actor Louvre — Inventory No. F 56 ( Pottier, Vas. Antiq. Louvre, II, Id, pi. 29, 1. B. F. C.V.A. p. 94, and pi. 67); amphora. Marriage procession led by old men

115

115

115 115 113 114

III

»

'

115

CONCOHDANCE

AND

INDEX

TO

AET

259

Madrid — Leroux, Cat.

p. 82, No. 155. R. F. sta minis. Proces 42, sion and dance of old men Naples — Heydemann, Cat. p. 605, No. 3368. R. F. vase (shape not indicated). Old comic actor R. F. vase Naples —Heydemann, Cat. p. 723, No. SA368. Old comic actor (shape not indicated). Rome, Castellani — Hartwig, Taf. 29. R. F. cylix by Hieron. Procession and dance of old men He, pi. Rome, Villa Giulia— Inventory No. 772; C.V.A. 2, 4. B. F. amphora. Return from a banquet

IIl

114 114 114 114 42

Miscellaneous Museum —Inventory No. 26279 (Edgar, Cat. p. 55). Red clay with ornamentation in relief. Old hawker or beggar Louvre — Inventory No. G 477 (Pottier, Vas. Antiq. Louvre, Old man R. F. pelice by the Pan Painter. p. 273). leading pig to altar Vienna, Oesterreichisches Museum —Masner, Cat. p. 40, No. Old man leading pig to altar 321. R. F. cylix. Vienna, Oesterreichisches Museum —Masner, Cat. p. 51, No. R. F. pelice. Old fisherman and son 335. Cairo

III,

117

118 117 117

Old Women on Vases

Madrid — Leroux,

J.H.S. pi. 10; Elderkin, Cat. No. 196; (1910), pp. 185-92; Bethe, Arch. Anz. R. F. cylix. Theseus, wild boar of p. 8. Krommyon, and aged nymph Naples —Heydemann, Cat. p. 558, No. 3246. R. F. vase (shape not indicated) . Mother of Niobe

J. A. XIV VIII (1893),

A.

118 118

Aged Silens Athens, Acropolis Museum — Inventory No. 1500 (Graef, Cat. IIl, p. 163). B. F. cylix. Silen picking grapes Baltimore, Johns Hopkins University, D. M. Robinson Collec tion on loan — R. F. scyphus by the Painter of London E 777. Silen dancing Berlin —Furtwangler, Cat. II, p. 522, No. 2240. R. F. lecythus. Silen with amphora Berlin — Furtwangler, Cat. II, p. 523, No. 2242. R. F. lecy thus. Silen dancing Berlin — Furtwangler, Cat. II, p. 545, No. 2270; Hoppin, R.F. I, p. 407; Jahn, Philol. XXVI (1867), p. 230; Hartwig, p. 131. R. F. cylix attributed to Euphronius. Silen carrying wine skin Berlin — Furtwangler, Cat. II, p. 614, No. 2315; Perrot and Chipiez, X, p. 513, Fig. 286; Hartwig, p. 242; Hoppin, R.F. II, p. 426; J. De Witte, Gaz. Arch. IV (1878), p. 142, and pi. 25. Plate of transition period by Sosias. Old silen crouching

184

191

188 190

189

185

260

OLD AGE AMONG

THE ANCIENT GREEKS

Cat. II, p. 632, No. 2337. Nolan am phora. Silen with Dionysus holding oenochoe Berlin — Furtwftngler, Cat. II, p. 663, No. 2402. R. F. crater. Silen playing lyre before Dionysus Berlin — Furtwangler, Cat. II, p. 689, No. 2469. R. F. lecythus. Silen with wine skin and cantharus Berlin — Furtwangler, Cat. II, p. 690, No. 2471. R. F. aryballus. Silen reclining Berlin— Furtwangler, Cat. II, p. 704, No. 2523. R. F. cylix. Silen before altar Berlin — Furtwangler, Cat. II, p. 714, No. 2534. R. F. cylix. Old silen and Heracles Berlin— Furtwangler, Cat. II, p. 723, No. 2548. R. F. cylix by the Penthesilea Master. Silen and nymph Berlin— Furtwangler. Cat. II, p. 725, No. 2550. R. F. cylix. Silen and satyr boy Berlin— Furtwangler, Cat. II, p. 732, No. 2591. R. F. cotyle Silens holding cantharus by the Penthesilea Master. and wine skin Bibliotheque Nationale — De Ridder, Cat. II, p. 224, No. 324. Silens picking grapes B. F. cylix. Bibliotheque Nationale — De Ridder, Cat. II, p. 258, No. 357. R. F. amphora. Silens, maenads, and Dionysus Bibliotheque Nationale — De Ridder, Cat. II, p. 274, No. 375. R. F. amphora. Dancing silen and maenad Bibliotheque Nationale— De Ridder, Cat. II, p. 317, No. 426. R. F. crater. Silen with lyre and plectrum Bibliotheque Nationale — De Ridder, Cat. II, p. 364, No. 492; I a, pi. 95, Nos. 1, 3, and 4. R. F. lecythus. C. V. A. Silen and nymph Bibliotheque Nationale — De Ridder, Cat. II, p. 382, No. 509; Klein, Jahrb. d. arch. Inst. VI (1891), p. 256, No. 15. Silen with flute R. F. cylix. Bibliotheque Nationale — De Ridder, Cat. II, p. 413, No. 543. R. F. cylix. Silen and nymph Bibliotheque Nationale— De Ridder, Cat. II, p. 417, No. 558. R. F. cylix. Silen dancing Bibliotheque Nationale— De Ridder, Cat. II, p. 434, No. 576. R. F. cylix. Old silen playing lyre with small silens. . . Bibliotheque Nationale — De Ridder, Cat. II, p. 499, No. 818. R. F. scyphus. Silen holding cantharus and wine skin. Bibliotheque Nationale— De Ridder, Cat. II, p. 495, No. 845. R. F. scyphus. Old silen with cantharus Bibliotheque Nationale — De Ridder, Cat. II, p. 500, No. 849. R. F. scyphus. Silen with cantharus and thyrsus Bibliotheque Nationale — De Ridder, Cat. II, p. 504, No. 852. R. F. rhyton. Silen holding wine skin He, pi. Bologna— Pellegrini, Cat. p. 12, No. 20; C.V.A. 16, 4. B. F. amphora. Silen, wine skin, and Dionysus.

Berlin — Furtwangler,

187 198 188 196

200 200 193

198

188

183 192 194

189

lll

lll

193

190 193 191 199

188 187

188 185 184

CONCORDANCE

AND INDEX

TO

ART

R. F. amphora. Bologna — Pellegrini, Cat. p. 48, No. 152. Silen running toward pithos Silen Bologna— Pellegrini, Cat. p. 57, No. 168. R. F. hydria. with wine skin Silen Bologna — Pellegrini, Cot, p. 71, No. 190. R. F. celebe. resting on rock Ic, pi. 30, 5. Bologna— Pellegrini, Cat. No. 255; C.V.A. R. F. celebe. Silen holding wine skin and thyrsus R. F. oxybaphon. Bologna — Pellegrini, Cat. p. 153, No. 310. Silen and maenad dancing Bologna— Pellegrini, Cat. p. 164, No. 326. R. F. oxybaphon. Silen playing lyre R. F. oenochoe. Bologna —Pellegrini, Cat. p. 173, No. 352. Silen dancing Silen Bologna— Pellegrini, Cat. p. 198, No. 415. R. F. cylix. and maenad in conversation Silen Bologna — Pellegrini, Cot. p. 208, No. 447. R. F. cylix. receiving grapes from another silen Boston — Inventory No. 76. 46 (Hoppin, R. F. I, p. 179. R. F. neck-amphora. Old silen on shoulders of another silen. . Boston —Inventory No. 01.8032 (Hoppin, R. F. II, p. 339); Mary H. Swindler, A. J. A. XIX (1915), p. 412, No. 15, Figs. 8 and 9; Beazley, V. A. p. 130, Fig. 81. R. F. Silen dancing toward cotyle by the Penthesilea Master. maenad Boston —Inventory No. 10. 179 (Hoppin, R.F. I, p. 424); A. J. Meier, A.Z. XLIII (1885), p. 179, pi. 10; Buschor, R. F. cylix by the Panaetius Master. p. 163, Fig. 116. Silen sitting on amphora Boston —Inventory No. 13. 193 (Ann. Rep. Mus. F. A. 1913, p. 89) ; Hoppin, R.F. I, p. 440; Beazley, V. A. p. 3, No. Silen with 13. R. F. plate attributed to Euthymides. rhyton and flute Boston — Inventory No. 13. 84 (Hoppin, R.F. II, p. 340; Mary H. Swindler, A.J. A. XIX (1915), p. 400, pi. 2; Beaz ley, V. A. p. 132. R. F. cylix by the Penthesilea Master. Maenads and silens Boston — Inventory No. 95. 34 (Ann. Rep. Mus. F. A. 1895, Hoppin, R.F. I, p. 339; Klein, L.1. p. 20, No. 22); R. F. cylix by Epictetus. Silen p. 62, No. 8, Fig. 7. riding on wine skin British Museum — Inventory No. B 167 (Walters, Cat. II, p. He, pi. 34, la and lb. R. F. am 118); C.V.A. Silen blowing flute phora. British Museum —Inventory No. B 300 (Walters, Cot. II, p. He, pi. 74, 1. R. F. hydria. Silens 174); C.V.A. playing musical instruments before Dionysus British Museum — Inventory No. E 35 (Smith, Cot. lll, p. 61). R. F. cylix. Seven revelling silens British Museum — Inventory No. E 55 (Smith, Cot. p. 79). R. F. cylix. Dionysus and old silen with thyrsus

lll

261

187 188 196 188 192 190 190 193 194 1J>0

193

188

185

193

188

lll

lll

lll,

184

184 187 187

262

OLD AGE AMONG

THE ANCIENT GREEKS

British Museum — Inventory No. E 65 ( Smith, Cat. Ill, p. 87 ) ; Hoppin, R.F. I, p. Ill; F. R. pp. 238-42, and pi. 47; Beazley,

V. A.

p.

189;

Rayet

and Collignon,

p.

197,

Fig. 77; Perrot and Chipiez, X, pp. 563-64, Figs. 322-24. R. F. cylix by the Brygos Painter. Satyric drama .... British Museum — Inventory No. E 261 (Smith, Cat. lll, p.

lll

Ic, pi. 4, Nos. 2a and 2b; Hoppin, Beazley, V. A. p. 52; Hartwig, p. 385 R. F. amphora by the (attributed to Foundry Painter. Silen with ascus Diogenes Painter. British Museum — Inventory No. E 467 (Smith, Cat. p. 285); Hoppin, R.F. II, p. 239; J.H.8. XI (1890), p. 278, and pis. 11 and 12; E. Petersen, Rom Mitt. XIV (1891), p. 273. Calyx-crater by the Niobid Painter. Silens playing game British Museum — Inventory No. E 768 ( Smith, Cot. p. I c, pi. 105, No. la-d; F. R. Taf. 48; 363) ; C.V.A. Hoppin, R.F. I, p. 243; E. Pottier, Douris, Fig. 14; Hartwig, p. 226; Perrot and Chipiez, X, p. 529, Figs. Buschor, p. 175, Fig. 125; Buschor, Jahrb. d. 296-97; arch. Inst. XXXI (1916), p. 80. R F. Psycter by Douris. Eleven revelling silens British Museum —Inventory No. E 815 (Smith, Cot. in, p. 386) ; Hoppin, R.F. II, p. 294; Beazley, V. A. p. 23. R. F. cylix by Pamphaeus. Dance of silens and maenads . . British Museum — Inventory No. F 46 (Walters, Cot. IV, p. 37). R. F. bell-crater. Silen with oenochoe and torch British Museum — Inventory No. F 80 (Walters, Cat. IV, p. 52). R. F. amphora. Silen playing flute V, Copenhagen —Marburger Jahrbuch fiir Kunstwissenschaft, Two silens playing ephedrisp. 5, Fig. 7. R. F. cylix. 197);

R.F. I,

C.V.A.

p. 206;

lll,

lll,

lll

mos

Harrow— Hoppin,

200

R.F. II,

187

196

186

194 187 189

195 p.

142, No.

17;

J.H.8. XXXVI

(1916), p. 123, pi. 6, Figs. 1 and 2. R. F. amphora by the Cleophon Painter. Silens holding greaves and helmet

Hope Collection — Tillyard, Cot. p. 51, No. 90. Silen dancing by the Pan Painter.

196

Nolan Amphora

Nolan am Hope Collection —Tillyard, Cat. p. 52, No. 91a. phora. Silen playing lyre Hope Collection —Tillyard, Cat. p. 64, No. 115. R. F. volutecrater by the Altamura Painter. Silen playing lyre. ... Hope Collection— Tillyard, Cot. p. 76, No. 130. R. F. columncrater. Tiny silen on shoulders of elderly silen —Tillyard, Cot. p. 79, No. 136. R. F. bellCollection Hope crater. Old actor impersonating a silen

R. F. bellHope Collection —Tillyard, Cot. p. 85, No. 142. crater. Silen sitting on rock Hope Collection— Tillyard, Cat. p. 90, No. 150. R. F. bellSilen and maenads crater by the Nicias Painter.

190 190 190 199 200 196 193

CONCORDANCE

AND INDEX

TO

ART

No. G478 (Pottier, Vas. Antiq. Louvre, III, Id, pi. 31, 6; Beazley, C.V.A. pi. 151); Att. Vasm. p. 448, No. 7. R. F. crater. Hermes bring ing Dionysus child to old papposilenus Louvre — Inventory No. G481 (Pottier, Vas. Antiq. Louvre, III, Beazley, Att. Vasm. p. 402, No. 9. p. 274, pi. 151); R. F. crater. Papposilenus in theatre costume Madrid —Leroux, Cat. p. 36, No. 63; Hoppin, R. F. I, p. 35; Beazley, V. A. p. 6; Perrot and Chipiez, X, p. 797; Walters, History of Ano. Pottery, I, p. 386 ; Buschor, p. 153; Bienkowski, Oesterr. Jahreshefte, (1900), pp. R. F. amphora by Andocides. 70-71. Silens Munich— Jahn, Cat. No. 2344; F. R. Taf. 44; Hoppin, R.F. II, p. 145, No. 26. R. F. amphora attributed to Cleo192, phrades. Dionysus, silens, and maenads Munich — F. R. Taf. 46. R. F. amphora by Hieron. Maenads and silens romping Naples — Heydemann, Cat. p. 61, No. 929. R. F. vase (shape not indicated). Papposilenus and Dionysus Naples — Heydemann, Cot. p. 105, No. 1707. R. F. vase (shape not indicated). Papposilenus holding out garland to Dionysus Naples — Heydemann, Cat. p. 403, No. 2847. R. F. vase (shape not indicated). Papposilenus and Dionysus Louvre

—Inventory

IIl

p. 273,

III

Naples — Heydemann, Cat. p. 450, No. 2991. R. F. vase (shape not indicated). Marsyas, Apollo, and Nike — Heydemann, Cot. p. 535, No. 3235. R. F. vase (shape Naples not indicated). Marsyas and Olympus Naples — Heydemann, Cat. p. 546, No. 3240. R. F. vase (shape not indicated). Papposilenus and Dionysus — Heydemann, Cat. p. 563, No. 3249. R. F. vase (shape Naples not indicated). Papposilenus with wine skin, in pres ence of Ariadne and Eros Cat. p. 609, No. 3382. R F. vase (shape not indicated). Papposilenus fingering string of pearls Naples — Heydemann, Cat. p. 458, No. H 3051 ; Hoppin, R.F. II, p. 208. R. F. pelice attributed to Myson. Silen hold ing cylix Naples — Heydemann,

R. F. vase Naples — Heydemann, p. 698, Cat. No. SA283. Hermes bringing Dionysus child (shape not indicated). to papposilenus Oxford, Ashmolean Museum — Hoppin, R. F. I, p. 452 ; Reinach, Ripertoire, II, p. 329, No. 2. R. F. crater by the Fly ing Angel Painter. Dancing silens Rome, Vatican — F. R. pi. 169. R. F. crater. Dionysus child to papposilenus

Tarquinia —Hoppin, R. F.

II,

200

192

195 195 197

197 197

201 201 197

198 198

188

197

190

Hermes bringing

and his Fel lows, p. 96, pi. 26; F. R. pi. 91. R. F. amphora by Phintias. Revel of silens and maenads p. 356 ;

197

197

Euthymides

192

r

264

OLD AGE AMONG

THE ANCIENT

GREEKS

Toronto — Inventory No. C 366 (Robinson, Harcum, and Iliffe, R. F. cantharus. Cat. No. 358, p. 170, and pi. 61). Maiden and bald-headed silen

193

Tlibingcn — Watzinger, Cat. p. 41, No. 1345. Silens with red wreaths

184

B. F. amphora.

R. F. Vienna, Hofmuseum — Hoppin, R. F. I, p. 25, No. 27. calyx-crater by the Altamura Painter. Maenad threat ening silen with torch Oesterreichisches Museum — Masner, Cat. p. 340. R. F. amphora. Silen, maenad, and Pan

Vienna,

Wurzburg— Hoppin,

I,

R.F.

336; Walters, p.

A.

Nichols,

54,

194

No.

J. A. VI

J.H.S. XXIX (1909), (1902), p. 328, No. 9; R. F. cylix by Epictetus. 110, No. 10. Squatting silen

193

p.

185

Aged Centaurs Bibliotheque

R.

F.

— De

Ridder, Cat. Nationale Cheiron receiving pelice.

II,

p.

540, No.

Peleus

and

913.

infant

Achilles c, pi. Bologna— Pellegrini, Cat. p. 72, No. 192; C.V.A. 29, 1, 2, and 3. R. F. celebe. Centauromachy Bologna — Pellegrini, Cat. p. 94, No. 237. R. F. celebe. Centau romachy Bologna — Pellegrini, Cat. p. 119, No. 275. R. F. crater. Cen taurs and warriors Munich— F. R. Taf. 86; Hoppin, R.F. I, p. 426. R. F. cylix. Centaurs and warriors Orvieto, Faina Collection — Hoppin, R.F. I, p. 415; Beazley, V.A. p. 95, No. 2; Hartwig, pp. 550-53, Fig. 64. R. F. Battle of centaurs and cylix by the Onesimus Painter.

IIl I

Rome,

Lapiths Villa Giulia— Inventory No. 3577 (C.V.A. III I c, pi. 3, Nos. ], 2, and 3. R. F. psycter. Centaurs and Greek warriors B.

^^■^■^x

209 209 209 209

209

208

Sculpture

(a) Sculpture in

L

209

the round

Museo Archeologico — Poulsen, Portratstudien in Aquileia, Provinz-Museen, norditalienischen p. 13, No. 13, Abb. 22-23. Socrates

144

Casa del Aranjuez, Demosthenes

159

Labrador

— Arndt-Bruckmann,

pi.

1120.

Museum — Casson,

Cat.

p.

222,

No.

1313.

Athens, Acropolis Museum —Casson, Unknown personage

Cat.

p.

223,

No.

1315.

Athens, Acropolis Unknown personage

162

Athens, National Museum — Studniczka, Das Bildnis des Aristoteles, Taf. 3, Nos. 2 and 3. Aristotle

162 146

CONCORDANCE

INDEX

AND

TO

AET

265

Athens, National Museum — Hekler, Die Bildniskunst der GrieBernoulli, Gr. Ikon. II, pp. chen und Romer, p. 102; 139-41. Hermarchus Berlin — Arndt-Bruckmann, pi. 5. Plato

Berlin —Arndt-Bruckmann, Berlin —Arndt-Bruckmann, Berlin — Arndt-Bruckmann, Berlin — Arndt-Bruckmann,

pi. 31.

Sophocles Demosthenes pi. 138. pi. 323. Diogenes pi. 1035. Socrates

146 137 158 155

Chase, Boston — Caskey, Cat. No. 115; Greek and Roman Sculpture in American Collections, p. 132, Fig. 164. Homer M. British Museum — Arndt-Bruckmann, Gisela pi. 931; Richter, The Metropolitan Museum of Art, Cl. Coll. Chrysippus p. 212, Fig. 146.

British Museum — Arndt-Bruckmann, British Museum — Arndt-Bruckmann, Briitsh Museum — Arndt-Bruckmann,

151

144

132

149

pi. 935.

Chrysippus

149

pi. 981.

Sophocles

137

pi. 989. Sophocles Museum— H. B. Walters, J.H.S. XLV (1925), pp. 255-61, and pis. 10-13; W. Amelung, A.J. A. XIII (1927), pp. 281-96. Socrates British Museum — Smith, Cat. II, p. 232, No. 1404. Unknown personage British Museum — Smith, Cat. IIl, p. 129, No. 1825; Bernoulli, Jahr. d. arch. Inst. XI (1896), p. 161, No. 13; Ber noulli, Gr. Ikon. I, p. 8. Homer British Museum — Smith, Cot. IIl, p. 130, No. 1826. Homer British Museum — Smith, Cat. IIl, p. 134, No. 1836. Hippocrates. British Museum — Smith, Cat. IIl, p. 138, Nos. 1846 and 1847.

137

British

Aratus

Collection — Smith, Cat. HI, No. 1836; Bernoulli, I, p. 168. Hippocrates Budapest — Hekler, Die Sammlung Antiker Skulpturen, p. 54, No. 46. Hermarchus Copenhagen — Arndt-Bruckmann, pi. 38. Epicurus — Arndt-Bruckmann, Copenhagen pi. 505. Carneades

British

Museum,

143 162

132 132 141

140

Townely

Copenhagen — Arndt-Bruckmann, Copenhagen — Arndt-Bruckmann,

pi. 643. pis.

Aeschines

1111-1114;

Copenhagen — Bernoulli, Anacreon

Copenhagen — Bernoulli, Anacreon

De 157,

I,

p.

79;

Brunn-Bruckmann,

pi. 477.

I,

pi. 9;

Brunn-Bruckmann,

pi. 426.

150 153

159 134

Copenhagen — Poulsen, From the Collections of the Ny Carlsberg Glyptothek, p. 50, and Fig. 41. Aristotle Copenhagen — Poulsen,

Plato op. cit. Fig. — Copenhagen Poulsen, Jahrb. d. arch. Inst. XL VII (1932), pp. 77-78, and pi. 1.

151

159

1118-19.

mosthenes

141

Unknown

134 147

34.

146

Greek

161

266

OLD AGE AMONG

THE ANCIENT GREEKS

— Michaelis,

Anc. Marbles in Great Britain, p. 286, Silen represented as Heracles Deepdene — Michaelis, p. 286, No. 19. Ivy-crowned silen Dresden — G. Pipkins, Hellenistic Sculpture, p. 29, Fig. 22; Brunn-Bruckmann, pi. 395. Old woman's head Florence— Katharine A. McDowall, J.H.S. XXIV (1904), pi. 2. Aeschylus Holkham Hall— Poulsen, Gr. and Rom. Portraits in English Country Houses, pp. 27-29, No. 1. Thucydides Holkham Hall — Poulsen, op. cit. pp. 32-33; Poulsen, J.H.S. XL ( 1920) , pp. 190 f. Plato Holkham Hall — Poulsen, Gr. and Rom. Portraits in English Country Houses, p. 46, No. 20; Michaelis, p. 318, No. 51 ; Bernoulli, p. 181, and pi. 24. Carneades Deepdene

No.

18.

Ince Blundell Hall — Poulsen, Gr. and Roman Portraits in Eng lish Country Houses, p. 43, No. 16; Poulsen, Ik. Misp. 79, Fig. cellen, p. 73; Lippold, Gr. Portratstatuen, Epicurus 17; Michaelis, p. 352, No. 44. Ince Blundell Hall— Ashmole, Cat. p. 43, No. 92, pi. 20. Old drunken silen Ince Blundell Hall— Ashmole, Cat. p. 50, No. 115, pi. 29; Poulsen, Gr. and Rom. Portraits in English Country Houses, p. 19. Homer Ince Blundell Hall— Ashmole, Cat. p. 53, No. 123, pi. 20. Water god Ince Blundell Hall — Ashmole, Cat. p. 77, No. 208, pi. 29. Sophocles Louvre —G. Dickins, Hellenistic Sculpture, p. 29; Alessandro Nudo nell' Arte, I, Fig. 190; Reinach, della Seta, Ripertoire, I, p. 165. Old fisherman Silenus and infant Dio Louvre — Arndt-Bruckmann, pi. 64. nysus Louvre — Arndt-Bruckmann, pi. 424. Marsyas Louvre — Pfuhl, Jahrb. d. arch Inst. XLV (1930), p. 24, and Figs. 11 and 12. Antiochus Louvre — Arndt-Bruckmann, pi. 1011; Bernoulli, I, p. 8; Hekler, pi. 117. Homer Madrid, Prado —Arndt-Bruckmann, pi. 1015. Homer Mantua— Arndt-Bruckmann, pi. 35. Euripides Munich — Furtwangler, Beschreibung der Glyptothek, I, p. 221, No. 221. Wine-heavy silen Munich— Furtwangler, op. cit. I, p. 297, No. 273; Bernoulli, Gr. Ikon. I, p. 19; Bernoulli, Jahrb. d. arch. Inst. XI (1896), pp. 169 f.; Robert, Hermes, XXXV (1900), H. Magnus, Ant. Bust en des Homer, pp. 13 I. p. 656; Homer Munich — Furtwangler, Beschreibung der Glyptothek, p. 322, No. 297. Chrysippus Munich —Arndt-Bruckman, pi. 136. Demosthenes

Il

in

m^.

208 208 167 135 142 145

153

151

208

132 172 137

171 207 207 170 132 133 138

207

131

150 158

CONCORDANCE

Munich— Arndt-Bruckmann,

AND INDEX

pi. 330.

TO

Unknown

AET personage....

267 162

Munich— Brunn-Bruckmann,

pi. 394; Furtwiingler, Beschreider Glyptothek, I, p. 387, No. 437; P. Hermann, (1898), p. 61, No. 11; Annual of the Arch. Anz. British School at Athens, X, p. 103. Drunken old woman. bung

XIII

Munich — Arndt-Bruckmann, pi. 1031. Socrates Musees Royaux du Cinquantenaire — Cumont, Musies Royaux da Cinquantenaire, p. 19, No. 14. Mask of Achelotis. . . Naples, National Museum — Bernoulli, I, p. 159. Herodotus and Thucydides pi. 116. AesNaples, National Museum —Arndt-Bruckmann, chines pi. 121; Furt Naples, National Museum — Arndt-Bruckmann, wangler and Urlichs, Gr. and Rom. Sculpture, p. 213; Bernoulli, I, pp. 148-58. Euripides pi. 130. Thucy Naples, National Museum — Arndt-Bruckmann, dides Ber pi. 131; Naples, National Museum — Arndt-Bruckmann, noulli, II, pp. 1-3, and Taf. 1 ; Hekler, pp. 25-26. Lysias. pi. 235; Ber Naples, National Museum — Arndt-Bruckmann,

noulli, I,

pp.

119-20.

Zeno

Naples, National Museum — Arndt-Bruckmann, pi. 1019. Homer. So pi. 1033. Naples, National Museum —Arndt-Bruckmann, crates

of the A. McDowall, J. H. S. (1904), p. 92, Fig. 3. Aeschines York, Metropolitan Museum — Gisela M. Richter, The Metropolitan Museum of Art, Cl. Coll. p. 192, Fig. 131; Gisela M. Richter, Metropolitan Museum of Art, Greek, HerRoman, and Etruscan Bronzes, p. 70, No. 120. marchus York, Metropolitan Museum —Gisela M. Richter, The Metropolitan Museum of Art, Cl. Coll. p. 274, and Fig. 192. Herodotus York, Metropolitan Museum —Gisela M. Richter, op. cit. Old fisherman p. 276. York, Metropolitan Museum — Brunn-Bruckmann, pi. 730; Lawrence, Later Greek Sculpture, pi. 68; Gisela M. Richter, The Metropolitan Museum of Art, Cl. Coll. p. 278; Chase, Greek and Roman Sculpture in American Collections, p. 127. Peasant woman going to market.. . York, Metropolitan Museum — Arndt-Bruckmann, pi. 1124.

Naples,

Villa

XXIV

New

New

New New

New

Pisos — Katharine

Epicurus

Oxford, Ashmolean Museum — S. Casson, J.H.S. XLVI (1926), Demosthenes pp. 72-79. Rome, Capitoline Museum — British School at Rome, Cat. p. 288, No. 22. Old woman (perhaps actor) Rome, Capitoline Museum — British School at Rome, Cat. p. 234, No. 38. Chrysippus

168 144 172 142 159

138 142 156 148 133 144 160

151

142 171

168 150 158 169 149

268

OLD AGE AMONG

THE ANCIENT GEEEKS

Rome, Capitoline Museum — British School at Rome, Cat. p. 355, No. 89; Bottari, I, p. 74. Unknown personage Rome, Capitoline Museum — British School at Rome, Col. p. 590, Fig. 191. Drunken old woman Rome, Capitoline Museum — Arndt-Bruckmann, pi. I11; StudniBernoulli, czka, Neue Jahrb. (1900), pp. 161-76; I, p. 103; Winter, Jahrb. d. arch. Inst. V (1890), pp. 162-63. Aeschylus Rome, Capitoline Museum —Arndt-Bruckmann, pi. 133. Lysias Rome, Capitoline Museum — Arndt-Bruckmann, pi. 325. Dio

162 168

IIl

genes

Museum — Arndt-Bruckmann, pi. 327 ; Ber noulli, II, p. 140; British School at Rome, Cat. No. 86; Gercke, Arch. Anz. V (1890), p. 55; Bottari, I, p. 4.

134 156 155

Rome, Capitoline Zeno

Rome, Capitoline Museum — Brunn-Bruckmann, pi. 392; Dickins, Hellenistic Sculpture, p. 51, Fig. 38; Lawrence, Classical Sculpture, p. 296. Bearded centaur by Aristeas and Papias Rome, Capitoline Museum — Arndt-Bruckmann, pi. 987 ; Ber noulli, Gr. Ikon. I, p. 129; British School at Rome, Cat. p. 307, No. 67. Sophocles Rome, Capitoline Museum —Arndt-Bruckmann, pi. 1013. Homer. So Rome, Capitoline Museum —Arndt-Bruckmann, pi. 1043. crates Rome, Capitoline Museum — Arndt-Bruckmann, pi. 1084. Epi curus Rome, Capitoline Museum — Arndt-Bruckmann, pi. 1091. Hermarchus Rome, Museo Ludovisi — Studniczka, Das Bildnis des Aristoteles, Taf. III, 5 and 6. Aristotle Rome, Palazzo dei Conservatori — British School at Rome, Cat. p. 70, No. 8. Unknown personage Rome, Palazzo dei Conservatori — British School at Rome, Cot. p. 144, No. 27; Alessandro della Seta, Il Nudo nell' Arte, I, p. 586, Fig. 189; Reinach, Ripertoire, II, p. 556, No. 5; Loewy, Die griechische Plastik, p. 120, Fig. 247; Brunn-Bruckmann, pi. 393. Old fisherman with net. . . . Rome, Palazzo dei Conservatori Marsyas p. 165, No. 18.

— British

—Arndt-Bruckmann,

Benndorf and Schone, Cot. No. 237, and Taf. 24; Springer, Kunstgeschichte ", p. 348, Fig. 653 ; T. Reinach, J. H. S. XLII (1922), pp. 281-85. Sophocles Rome, Lateran — Brunn-Bruckmann, pi. 208; Lawrence, ClassiLateran

pi.

214

137 133

144 150 151 147

162

171

School at Rome, Cot.

Rome, Palazzo dei Conservatori — Brunn-Bruckmann, pi. 393 ; Alessandro della Seta, Il Nudo nell' Arte, I, p. 584 ; Collignon, II, pp. 554-55; British School at Rome, Cot. p. 145, No. 28. Old woman carrying lamb Rome,

148

206

169

113;

137

CONCORDANCE

Rome, Rome,

Rome, Rome,

AND INDEX

TO

AET

269

cal Sculpture, pp. 180-81 ; Collignon, Histoire de la Sculpture Grecque, I, Fig. 243. Marsyas and Athena.. Lateran — Arndt-Bruckmann, pi. 1093. Hermarchus. . . . National Museum —R. Paribeni, Notizie degli Scavi, VII (1929), pp. 351-53, and Taw. 16 and 17; Poulsen, Ikonographische Miscellen, p. 45. Aristophanes Palazzo Sciarra — Matz-von Duhn, Antike Ilildwerke in Rom, I, p. 122, No. 473. Corpulent old silen Palazzo Spada —Arndt-Bruckmann, pi. 378; Bernoulli,

II,

pp.

8-13.

Aristotle

Rome, Studio Jerichau —Matz-von Duhn, Antike Bildwerke in Rom, I, p. 142, No. 545. Ivy-crowned silen Rome, Vatican — Pfuhl, Jahrb. d. arch. Inst. XLV (1930), pp. 21-22, and Figs. 9-10. Antiochus 1 Rome, Vatican — Amelung, Cat. II, p. 435, Taf. 52, No. 259 a. Old silen hastening to left Rome, Vatican — Amelung, II, Taf. 63. Unknown Hellenistic

ruler

Rome, Vatican — Amelung, Cat. I, p. 698, No. 580, Taf. 74; Lucas, Jahrb. d. arch. Inst. XV (1900), p. 41. Old peasant woman Rome, Vatican — H. Lechat, Sculptures Grecques Antiques, p. 202, No. 99. AcheloUs Rome, Vatican — Arndt-Bruckmann, pi. 129. Herodotus Rome, Vatican — Brunn-Bruckmann, pi. 196. The Nile Rome, Vatican — Brunn-Bruckmann, pi. 198; Amelung, Cat. II, p. 516, No. 321. Stout old silen Rome, Vatican — Arndt-Bruckmann, pi. 421 ; Bernoulli, I, pp. 35-36. Epimenides Rome, Vatican — Arndt-Bruckmann, Lycurgus p. 431. Rome, Vatican — Arndt-Bruckmann, pi. 441 ; Bernoulli, II, pp. Antisthenes 4-7. Rome, Vatican — Arndt-Bruckmann, pi. 574; C. H. Weller, A. (1914), pp. 47-50; Helbig, Filhrer, I, p. 30; HartA. wig, Jahrb. d. arch. Inst. XVIII (1903), pp. 32 f. De

206 151

139 208 147

207 170 208 162

169 172 141 171

207 141

160 154

I

mosthenes

Rome, Vatican — Arndt-Bruckmann, Rome, Vatican — Arndt-Bruckmann,

152,

pi. 641. pi. 776.

Acschines

Plato

Rome, Vatican — Arndt-Bruckman, p. 933. Chrysippus Rome, Vatican —Arndt-Bruckman, pi. 983 ; Amelung, Cat. I, p. Bernoulli, I, p. 28, and p. 104, No. 89, and Taf. 15; 130, No. 13. Sophocles Rome, Vatican —Arndt-Bruckmann, pi. 1047. Socrates Rome, Villa Albani — Arndt-Bruckmann, pi. 135; Bernoulli, II, Isocrates pp. 14-16. Rome, Villa Albani — Arndt-Bruckmann, pi. 231; Bernoulli, II, Theophrastus pp. 99-101, and pi. 13. Rome, Villa Albani —Arndt-Bruckmann, pi. 321; Bernoulli, II,

157 159 145 150

137

144 156 152

OLD AGE AMONG

270

THE ANCIENT

GREEKS

46-52; Gisela M. Richter, Metropolitan Museum Studies, Nov. 1929, pp. 29-39. Diogenes Rome, Villa Albani — Arndt-Bruckmann, pi. 322; Bernoulli, II, p. 49, and pi. 8. Epicurus Rome, Villa Albani —Arndt-Bruckman, pi. 917. Unknown per pp.

sonage

Albani — Arndt-Bruckman, pi. 975. Hippocrates... Albani —Arndt-Bruckmann, pi. 995. Aratus Rome, Rome, Albani —Arndt-Bruckmann, pi. 1045. Socrates Rome, Mattei — Studniczka, Das Bildnis des Aristoteles, Taf. II, 6. Aristotle Rome,

Villa Villa Villa Villa

Schwerin —Arndt-Bruckmann, pi. 1017; Furtwangler, Gr. and Rom. Sculpt, p. 225, Fig. 72. Homer Toronto, Royal Ontario Museum — D. M. Robinson, Bulletin of the Royal Ontario Museum of Archaeology, Jan. 1926, Menander pp. 2-6. Venice — Overbeck, Geschichte der griechischen Plastik, p. 179.

Gallic warrior

Vienna

— Studniczka,

Das Bildnis des Aristoteles,

Aristotle Wilton House —Michaelis, tophanes

Wilton House — Michaelis, No. 13; Country

XXXIII

Taf.

n,

154 151 161 141 140 144 147 132

139 163

3. 147

p. 679, No. 35.

Menander and Aris 139

Bernoulli, I, p. 11, Poulsen, Gr. and Rom. Portraits in English Houses, p. 45, No. 18; Lippold, Rom. Mitt. p. 680, No. 46;

(1918), p. 11.

Homer

(b) Sculpture

133

in relief

Athens, National Museum — Brunn-Bruckmann, pi. 41 ; Percy Gardner, Sculptured Tombs of Hellas, p. 141. Old man, Stele by Alxenor of Naxos dog, and grasshopper. Athens, National Museum — Schone, Griechische Reliefs, pi. 9, 53. Athena and city of Cios personified Athens, National Museum — Brunn-Bruckmann, Con pi. 468. test between Athena and Marsyas. from Reliefs Mantinea Athens, National Museum — Brunn-Bruckmann, pi. 469; Coldu Vth, et du IVth. lignon, IjCs Statues Funeraircs Stdcfe, p. 150, Fig. 82; P. Gardner, Sculptured Tombs of Hellas, p. 152, pi. 15. Old man gazing at youth. Re lief from bed of Ilissus Athens, National Museum — Brunn Bruckmann, pi. 518; Conze, Die Attischen Grabrelicfs, II, p. 153, No. 178, Taf. 141; Winter, Jahrb. d. arch. Inst. VI (1891), p. 153. Old man and warrior son. Grave relief of Procleides Athens, National Museum — Brunn-Bruckmann, Old pi. 728. man and woman Athens, National Museum — Conze, Die Attischen Grabreliefs, I, p. 162, No. 754, Taf. 143. Old man and woman

V

164 78

206

166

166 166 166

CONCORDANCE

AND INDEX

TO

ABT

271

Athens, National Museum — Conze, II, p. 155, No. 728, Taf. 130. Old man and son Athens, National Museum — Conze, II, p. 156, No. 730. Old man and woman Athens, National Museum — Conze, II, p. 159, No. 744, Taf. 131. Old man and son Old Athens, National Museum — Conze, II, p. 162, No. 753. man and woman Athens, National Museum — Conze,. II, p. 217, No. 1022, Taf. 200; Mylonas, B.C.H. (1878), p. 364, No. 2. Old man addressing boy Athens, National Museum — Conze, II, p. 276, No. 1263. Aged man with stick Athens, National Museum — A. S. Murray, The Sculptures of the Parthenon, p. 138; Fougeres, L'Acropole, Le Par thenon, pi. 136; Collignon, Le Parthenon, pi. 22. Bat tle of Greeks and centaurs. Shield of Athena Parthenos. Temple of Bassae (frieze) — Brunn-Bruckmann, pi. 91. Contest of Greeks and centaurs Boston — Chase, Cat. of Sculpture in American Coll. p. 149. Death of Priam at capture of Troy British Museum — Brunn-Bruckmann, pi. 50; Smith, Cat. Homer receiving adoration of His pp. 244-54, No. 2191. tory, Time, Humanity, etc. by Archelaus of Priene British Museum — Smith, Cat. p. 226, No. 2155; Smith, CI. Rev. XIII (1899), p. 230. Train of figures approach ing a deity British Museum, Towneley Collection — Smith, Cat. p. 271, No. 2217. Visit of Priam to Achilles Temple of Ephesian Artemis (pier) — Smith, Cat. of Sculpture in the British Museum, II, p. 174, No. 1205. Combat of Heracles (or Theseus) and a centaur Heroon of Gjolbaschi-Trysa — Brunn-Bruckmann, pi. 486; Benndorf-Niemann, Heroon von Gjolbaschi-Trysa, p. 59, pi. 22. Aged king on throne with parasol pi. 146; Harpy Tomb (north frieze) — Brunn-Bruckmann, Reinach, Repertoire de Reliefs Grecs et Romains, I, pp. 470-71. Young warrior offering helmet to seated old man. Harpy Tomb (east frieze) — Boy offering cock to old man seated on throne Ludovisi Altar (Boston counterpart) — G. H. Chase, Greek and Roman Sculpture in American Collections, p. 50; Caskey, Cat. Museum of Fine Arts, Boston, p. 42, No. 17; Reinach, R. A. XVI (1910), pp. 338-40, Fig. 4; Studniczka, Jahrb. d. arch. Inst. XXVI (1911), pp. 50-192, and Taf. I; Gisela M. Richter, J.H.8. XL (1920), pp. 11321; Caskey, A.J. A. XXII (1918), pp. 101-45; Harriet B. Hawes, A.J. A. XXVI (1922), pp. 278-306, and pi. 3. Old woman clasping an object Monument of Lysicratcs (frieze) — Lawrence, CI. /Sculpture, p.

II

lll,

lll,

lll,

166 166 166 166

165 165

213 211 129

133

128 128

212

125

125 125

126

272

THE ANCIENT GREEKS

OLD AGE AMONG

267; De Cou, A.J. A. VILT (1893), pp. 42-55. Silen leaning on tree trunk pi. 416. Old man and dog. Stele. Naples — Brunn-Bruckmann, Nereid Monument (first frieze) — Brunn-Bruckmann, pi. 217; Smith, Cot. of Sculpture in the British Museum, II, p. 13, No. 854. Young Greek seizing horse in presence of an elderly figure Nereid Monument (second frieze) — Brunn-Bruckmann, pi. 217; Smith, Cat. of Sculpture in the British Museum, II, p. 24, No. 879; Gardner, Sculptured Tombs of Hellas, p. Eastern king in Persian costume 218. Nereid Monument (fourth frieze) — Smith, Cat. of Sculpture in the British Museum, II, p. 31, No. 903. Man reclining, approached by elderly man Temple of Zeus at Olympia (east pediment) — Buschor and Hamann, Olympia, Brunn-Bruckmann, pi. pi. 23 ; 449-50. Old seer viewing chariot race of Pelops and Oenomaus

121,

Temple of Zeus at Olympia (west pediment) — Buschor and Hamann, Olympia, pis. 37, 76, and 77; Lawrence, CI. Sculpture, p. 170. Two old women reclining 122, Temple of Zeus at Olympia (west pediment) — Buschor and Hamann, pi. 63 ; Brunn-Bruckmann, pi. 454. Battle of Lapiths and centaurs Parthenon (east frieze) — Fougeres, L'Acropole, Le Parthenon, pis. 119 and 125. Old men in Panathenaic procession. 123, Piraeus, Collection Meletopulus — -Conze, n, p. 152, No. 714. Old man and son Theseum (frieze) — Brunn-Bruckmann, Battle of pis. 407-08. Lapiths and centaurs

Toulouse Museum — Conze, C.

II,

p. 160, No. 751.

Old man and son.

205 164

124

125

125

122

123

211 124 166 212 166

Small works of Bronze

Berlin — Bieber,

Die Antiken Skulpturen und Bronzen des K6niglichen Museum Fridericianum, p. 64, No. 171. Silen dancing Berlin— Bieber, p. 92, No. 417. Acheloiis Bibliotheque Nationale Acheloiis Bignon

— Babelon

and Blanchet,

Cat.

Park, Sussex — Michaelis, Ancient Marbles Britain, p. 212. Aphrodite and Anchises

British Museum —Walters, Cat.

179

p. 3, No. 10, and pi. 1. p. 20, No. 211. p. 35, No. 269.

179

35.

in Great

lamp in form of aged silen

British Museum —Walters, Cat. British Museum —Walters, Cat. British Museum —Walters, Cat.

p.

205

180

Bronze 205

Acheloiis Marsyas Cast of bronze

p. 40, No. 287. relief of Aphrodite and Anchises Fouquet Collection —Perdrizct, Bronzes Grecs d'Egypte

179 205 180

de la

CONCORDANCE

AND

INDEX

TO

AET

Coll. Fouquet, p. 17, No. 19, pi. 9. Bust of silen in a flower Ince Blundell Hall — Ashmole, Cat. No. 121 a, pi. 51. Bronze mask of water god Louvre — Musee du Louvre, Cat. des Marbres Antiques, p. 122, No. 1627. Charon, deceased person, and winged woman. Museum —Gisela M. Richter, Greek, New York, Metropolitan Etruscan, and Roman Bronzes in the Metropolitan Mu seum, p. 69, No. 112. Disk with head of silen Bronze Relief from Olympia — FurtwSngler, Die Bronzen von Olympia, p. 94; Furtwangler in Roscher, I, p. 2215; Loeschcke, A. Z. XXXIX (1881), pp. 32-40, and Taf. 12, No. 3. Heracles and Geras (?) Bronze Relief from Olympia —Heracles and Triton Rome, Lateran — Brunn-Bruckmann, pi. 341b. Medea

273

205 172 180

205

73 73 61

D. Terra-cottas British Museum — Inventory

No. A 151 (Walters, Cat. p. 27). Mask of old man British Museum — Inventory No. B 376 (Walters, Cat. p. 135). Old man and dog British Museum —Inventory No. C 46 (Walters, Cat. p. 192). Mask of old silen British Museum — Inventory No. C 74 (Walters, Cat. p. 196). Silenus with infant Dionysus British Museum — Inventory No. C 208 (Walters, Cat. p. 208, pi. 34). Old woman in bed British Museum — Inventory No. C 216 (Walters, Cat. p. 206). Old woman in basket British Museum — Inventory No. C 279 (Walters, Cat. p. 214). Nurse British Museum — Inventory No. C 281 (Walters, Cat. p. 214). Silenus with infant Dionysus British Museum — Inventory No. C 333 (Walters, Cat. p. 223). Elderly woman on plinth British Museum — Inventory No. C 406 (Walters, Cat. p. 225). Silenus with infant Dionysus British Museum — Inventory No. C414 (Walters, Cat. p. 227). Head of old man British Museum — Inventory No. C 456 (Walters, Cat. p. 232). Ascus representing silen holding tympanum British Museum —Inventory No. C 467 (Walters, Cat. p. 233). Ascus in form of silen holding amphora and scyphus. . . British Museum — Inventory No. C 517 (Walters, Cat. p. 242). Mask of old silen British Museum — Inventory No. C 681 (Walters, Cat. p. 262). Elderly woman on plinth British Museum — Inventory No. C 709 (Walters, Cat. p. 267). Old woman in sitting posture 18

178 177 178 202 173 173

175 203 173 203 178 201 201 178 173 173

274

OLD AGE AMONG

British Museum — Inventory Mask of old woman

THE ANCIENT

No. C 749 (Walters,

GREEKS Cot. p. 273).

British Museum — Inventory No. C 825 (Walters, Cot. Elderly female actor British Museum — Inventory No. E 30 (Walters, Cot.

175

p. 285). 175

p. 438).

Nurse Clercq Collection —De Ridder, Cat. p. 43, No. 66, and pi. 1. Squatting silen Clercq Collection — De Ridder, Cat. p. 46, No. 74. Bust of old man Clercq Collection —De Ridder, Cat. p. 47, No. 76. Mask of old man Loeb Collection — Sieveking, Terrakotten im Sammlung Loeb, I, p. 4, Taf. 6, 1. Silen on mule Loeb Collection— Sieveking, Loeb, II, p. 10, Taf. 75, 5, and Taf. 75, 6. Bearded old man Loeb Collection — Sieveking, II, p. 19, Taf. 82, 2. Old woman in sitting posture Louvre — Heuzey, Figurines Antiques du Musie du Louvre, p. 18, pi. 27, Fig. 1. Haughty old lady Louvre — Heuzey, p. 28, pi. 51, Fig. 4. Old woman adjusting mantle Louvre — Heuzey, p. 30, pi. 54, Fig. 3. Grotesque old man lean ing on stick Louvre — Heuzey, p. 30, pi. 56. Grotesque demon Madrid — Laumonier, Cat. p. 18, pi. 9, No. 1. Old pedagogue. . Madrid — Laumonier, man Madrid — Laumonier,

Cat. p. 19, pi.

19,

No. 45.

176

202 177 177

202 177 173 175

174 178 176

176

Humpbacked 178

Cat. p. 166, No. 784. Nurse New York, Metropolitan Museum —Bulletin of the Metropolitan Museum of Art. Dec. 1930, pp. 279-80. Relief portray ing return of Odysseus Olynthus — Robinson, Excavations at Olynthus, IV, p. 70, No. 364, pi. 38. Grotesque draped old woman Olynthus — Robinson, op. cit. IV, p. 76, No. 378, pi. 41. Nurse. Olynthus — Robinson, IV, p. 80, No. 386, pi. 42. Pan Olynthus — Robinson, IV, p. 83. No. 398, pi. 44. Old woman hugging brown jug Olynthus— Robinson, IV, p. 86, No. 403, pi. 45. Humpbacked old woman Olynthus — Robinson, IV, p. 87, No. 405, pi. 45. Head of old man (perhaps negro) Olynthus — Robinson, IV, p. 88, No. 406, pi. 45. Aged negro head

Olynthus — Robinson, IV, p. 100, No. 421, a-d, pis. 60-61. for head of comic actor Olynthus —Robinson, IV, p. 100, No. 422, AB, pi. 62. for papposilenus holding child

175

127 174 176 179 174 174 178 178

Mould 178

Mould 179

AND

CONCORDANCE Olynthus— Robinson, Comic actor

INDEX

A.J. A. XXXVI

TO

(1932),

AET

275

133,

p.

Fig.

22. 178

E. Coin* Berlin — E. Babelon, Traiti des Monnaies Grecques et Romaines, I, Part 2, p. 1111, No. 1556, and pi. 49, Fig. 15. Aeneas and Anchises

British Museum —G. F. Hill, Cat. of

180 the Greek Coins of Phoe

nicia, p. 1, No. 1, and pi. 1. Acheloiis Brussels, Royal Library — George F. Hill, Select Greek Coins, p. 35, pi. 1, No. 1. Head of bald silen Hunterian Collection — Macdonald, Cat. I, p. 389, No. 5. Silen and nymphs Hunterian Collection — Macdonald, Cat. II, p. 205, No. 1. Homer crowned with taenia Hunterian Collection — Macdonald, Cat. II, p. 321, No. 1. Hades and Persephone Hunterian Collection — Macdonald, Cat. II, p. 326, No. 11. Homer holding book Hunterian Collection —Macdonald, Cat. II, p. 374, No. 164. Homer holding book Hunterian Collection — Macdonald, Cat. lll, p. 722, No. 11. Cen taur blowing flute Hunterian Collection —Macdonald, Cat. lll, p. 725, No. 13. Cen taur blowing horn Naples — E. T. Newell, Coinages of Demetrius Poliorcetes, p. 131, No. 143. Demetrius Poliorcetes Warren Collection — Regling, Cat. p. 82, No. 505. Silen hold ing cantharus Warren Collection — Regling, Cat. p. 98, No. 606. Silen and nymphs Weber Collection — Forrer, Cat. I, p. 264, Nos. 1263 and 1264, pi. 8. Silen Weber Collection — Forrer, Cat. II, p. 144, No. 2506, pi. 96. Silen and nymphs Weber Collection — Forrer, Cat. p. 322, No. 6279, pi. 221. Homer holding book

lll,

179 204 203 181

180 181 181

210 210 181

203 203 203 203 181

F. Gems Berlin — FurtwSngler,

Antike Gemmen, II, p. 135, Taf. 27. Old man leaning on a staff, and youth Berlin — FurtwSngler, Antike Gemmen, II, p. 137, Taf. 27, No. 55. Aeneas and Anchises Berlin — FurtwSngler,

Antike

Gemmen,

Berlin — FurtwSngler,

Antike

Gemmen,

45 and 46. 47.

Old

Old shepherd

shepherd

British Museum — FurtwSngler, 5.

Acheloiis

Antike

II,

II,

Taf.

p. 141,

177

180

28, Nos. 177

p. 141,

Gemmen,

Taf.

II,

28, No. 177

p. 43, No. 179

276

OLD AGE AMONG

British Museum — Furtwangler, 9, Xo. 27.

Antike

Gemmen,

Antike

Gemmen,

leather bag

Si Ion carrying

British Museum — Furtwangler, 36, Xo. 1.

THE AXCIEXT

Silen carrying

GREEKS

II, II,

another silen

p. 45,

Taf.

p. 174,

Taf.

204

British Museum — Furtwangler, Antike Gemmen, II, p. 195, Taf. 41, Xo. 13. Silen with goblet and can British Museum — Smith, Cat. p. 67, Xo. 323. Pedagogue Florence —Furtwangler, Antike Gemmen, II, p. 197, Taf. 41, Xo. 34.

Silen reposing with cup

Ionidat Collection — Furtwangler, Taf. 31. Arsinoe II Leningrad — Furtwangler, Antike

Antike G

Gemmen,

II,

II,

204 204 177 204

p.

154,

Taf.

27,

176 p.

135,

No. 23. Silen in mantle and boots Leningrad — Furtwangler, Antike Gemmen, II, p. 141, Taf. 28, No. 48. Old shepherd Lewos House Collection — Beazley, Cat. p. 10, Xo. 15. Dance of nymph and silen Museum — Richter, Cat. of Engraved New York, Metropolitan Gems, p. 28, Xo. 32. Hades seizing Persephone Southesk Collection — Inventory Xo. E 32 ( Lady Helena Car Priam negie, Cat. I, p. 44).

204 177 204 179 180

III

APPENDIX

CATALOGUE OF INSCRIPTIONS Below are cited the names, respective ages, geographical location, and references for the personages taken into consideration in the construction of the graph on page 233 and the calculation of the We have kept average duration of life among the ancient Greeks. the reading of the inscriptions except for the change of os to us for masculine names, and in some instances we have used a for feminine names, and y for u.

e

in

Under One Year Agathe, aged 10 months. C. I. G. IV, 9475. Sicily (Catana). Ambrosius, son of Gordianus, aged 50 days. H. S. Cronin, J. H. 8. XXII (1902), pp. 369-70, No. 143a. Pisidia (Sindjerli Khan). 6553; I.G. XIV, 1465. Aurelius Ion, aged 11 months. C.I. G.

lll,

Florence. Bonifatia, aged

11

months.

C.I.G. IV,

Rome.

9830.

Eunoe, aged 11 months. I. G. XIV, 1607. Rome. 5288. TeuEuphranor, son of Euphranor, aged 5 days. C. I. G. cheira (Arsinoe). Eutychion, aged 11 months. /. G. XIV, 1620. Rome. Hermione, daughter of Pisinna, aged 10 months. /. G. XIV, 1587. Rome. Ioulianus, son of Sosthenes and Gaiena, aged 7 months. /. G. XIV,

lll,

Spain (Merida). /. G. 5 months.

2541.

Makarea,

XIV,

aged

lanum

Maximilla,

).

aged 10 months.

Octabius Euklites,

XIV,

1889.

Phelikissima,1

aged

C.

I.

G.

Transpadana

2297.

IV,

9818.

son of Octabius Trophimus,

Rome. 8

months.

C.I.G.

lll,

( Medio-

Rome. aged 8 months.

/. G.

I.G. XIV,

2063.

6525;

Rome.

/. G. of Eudaimon and Hygia, aged 12 days. Rome. Michel, Recueil d' Inscriptions Grecques, Solon, aged 6 months. Supplement, 1-2, p. 188, No. 1810; T. D. Goodell, Papers of Rhoma,

daughter

XIV,

1596.

the American School, VI (1879), p. 440, and Fig. 6. Athens. Now at the American School. Theodora, aged 11 months. /. G. XIV, 1652; /. G.R. I, 264. 1

This

name,

as well as many others, shows

origin. 277

distinctly its Roman

OLD AGE AMONG

278

THE ANCIENT

GREEKS

Theophilus, aged 5 months. C. I. 6. IV, 9802. Rome. months. C. I. G. HI, 5849; Tyche, daughter of Helione, aged XIV, 813. Naples. ]midais, aged 11 months. I.G. , daughter of Ar[

II

Rome. aged 4 months. aged 5 months. aged 5 months.

2122. , , ,

C.

/. C.

I.

G.

lll, 6248.

XIV, I. G. IV, G.

One

2196. 9618;

/. G.

XIV,

Rome. Rome. G.

XIV,

2183.

Rome.

Year

year, 5 months. C. I. G. IV, 9810. Rome. Antiochis, aged 1 year, 7 months, 4 days. C. I. G. IV, 9577. Rome. 1100. Syria Antonia Mamctina, aged 1 year, 2 months. I.G. It.

Achillia,

aged

1

lll,

(Sldon). Apollonius and Matrona, aged 1 days. Evaristo Breccia, Catalogue Gineral des Antiquitis Egyptiennes du Musie d'Alexandrie: Iscrizioni Greche e Latine, p. 230, No. 515; Friedrich Preisigke, Sammelaus Agypten, I, 3472. buch griechischer Vrkunden Egypt

Apollonius,

year,

son

7

of the physician

months,

19

(Alexandria) . Aulus Nerius Aphrodisius,

/. G. XIV, 1871. Rome. aged 1 year. Ill, months. C.I.G. Rome. 6371. Dionysodorus, aged IIl, 1 4 months. 0. /. G. 5397. year, Syracuse. Doryphorus, aged 6388 ; /. G. XIV, Euemerus, son of Glycon, aged 1 year. C. I. G. 15

lll,

Rome. Euposia, aged 1 year. /. G. XIV, 1609. Rome. Glykonis, aged 21 months. I.G. V, 1255. Laconia (Taenarum). Herakleides, son of Phaustus, aged 18 months, 1 day. C.I.G. II, 6407; /. G. XIV, 2060. Rome. 3013; C.I.G. Herakleius, son of Eirene, aged one year. /. G. XIV, 1639. Rome. 1523.

lll,

Herakles, aged 1 year, 7 months. Title given by a " peaceful mother 6237. Rome. to her sweetest son." C. I. G. Ioulianus, son of Ioulianus, aged 1 year, 6 months. Federico Halbherr, A.J. A. XI (1896), p. 591, No. 75. Crete (Genna). Kalemerus, aged 1 year. /. G. XIV, 1725. Rome.

lll,

Loukius Ailius Melitinus,

son of Muro and Phelika, aged 13 months. G. XIV, 1337. Rome. Maria Mamaiane, daughter of Marius Bassus, aged 1 year. /. G. XIV, 1833. Rome. I.G. XIV, 2279. Liguria (Vercellae). Mati , aged 16 months.

/.

Nike, aged 1 year. /. G. XIV, 801. Naples. C.I.G. Petron, aged 1 year, 40 days. Tusculum. Phelikissimus, aged 1 year, 10 months. C. I. G.

lll,

6633;

IV,

9587.

XIV,

1941.

Rome.

OF INSCRIPTIONS

CATALOGUE Primiteibus,

aged

1

/.

year.

G.

XIV,

1967.

279

Rome.

Prokla, daughter of Proklus Suries, aged 19 months. 6277; /.G. XIV, 1970; /. G. R. I, 339. Rome.

C.

I.

G.

in,

lll,

Sainius Epaphrodeitus, aged 1 year, 8 months, 20 days. C. I. G. Baiae. 5857. Sekoundeinus, son of Epicharis, aged 1 year, 8 months. C. I. G. 6524; I.G. XIV, 1999. Rome. Semoel, aged 1 year, 5 months. C. I. G. IV, 9917. Rome. Serenilla, aged 1 year, 10 months. C.I. G. IV, 9636. Rome. Sotia, daughter of Magus, aged 1 year. C. I. G. lll, 5344. Teucheira

lll,

( Arsinoe) . Symphorion, son of Chalcedon, aged 1 year, 4 months. /. G. XIV, 2108; C. I. G. IV, 9597. Rome. I.G. XII, 299; Radet , daughter of Isas, aged 18 months. and Paris, B. C.H. XV (1891), p. 600, No. 33. Minoa. , daughter of Stephanus, aged 1 year, 21 days. C.I.G. IV, Rome. 9709. , aged

1

, aged

1

year. year.

/.

G.

/.

G.

XIV, XIV,

1562. 2269.

Two Years

Rome. Florence.

lll,

Amelius, son of Amelius and Maria. C. I. G. 6337. Rome. Sammelbuch griechi, brother of Chresimus, F. Preisigke, Am scher Vrkunden aus Agypten, I, 729. Egypt (Abydus). Anthus, son of Hermogcnes and Phyrma. C.I.G. IIl, 6205. Italy

(Alba).

D. M. Robinson, A.J. A. XVII (1913), p. 196. CyreAphrodeisa. naica (Tokra or Teucheira). /. G. IX, 963. Corcyra. Apoleius Nikostratus. Asklas, son of Chrestus. 8.E. G. I, No. 324; Ath. Mitt. XL (1923), p. 115, No. 28. Nicopolis. Aurelia Zosima, daughter of Satorinus. 6544. Rome. C. I. G. Aurelius Alcxandrus, son of Aurelius Alypus and Phabia Tyche.

lll,

C.

I.

G.

lll,

6540.

Rome.

632 ; /. G. lll, 1443. Athens. Auxanon, son of Menophilus. C. I. G. IV, 9567. Rome. Beneris, aged two years, 10 months, 27 days. C. I.G. IV, 9684. Rome. griechischer Sammelbuch Vrkunden aus Preisigke, Diogenes. Agypten, I, 705. Egypt (Tel Basta). Diomedes, son of Zoilus, son of Philippus. Buckler and Robinson, Sardis, VI, 1 (1932), Greek and Latin Inscriptions, No. 136. Droseris, aged 2 years, 11 months, 10 days. C.I.G. IIl, 6223b; /. G. XIV, 1560. Rome.

Aurelius Strato.

C.

I.

G.

I,

OLD AGE AMONG

280

THE ANCIENT GREEKS

lll,

Eirana, daughter of Kapiton. C. I. G. Epanodius, son of Likinius Posidonius. Eutyches.

C.

I.

G.

II,

1815.

Cyrene.

5200 b.

/.

G.

XIV,

Xicopolis. Hammelbuch griechischer

F. Preisigke, Geteupion. Agypten, III, 7255. Egypt Helladius, son of Eikonius. I.G.

( Tel-el-Yahoudiyeh

lll,

1343;

).

C.I.G. I,

942; Kaibel,

1676.

and Soteria.

a us

Vrkunden

Epigr. Gr. 136. Athens. Ioulius, son of Ioulius Daphnus and Ioulia Chresteina. Rome. Kainis, daughter of Erymanthus /. G. XIV, 1724. Rome.

Home.

1807.

I.

C.

G.

/.

XIV,

G.

lll,

6423 ;

Kornution, aged 2 years, 2 months, 2 days. /. G. XIV, 1787; Kaibel, Epigr. Gr. 702; D. M. Robinson, A. J. A. IX (1905), p. 332, No. 92.

Sinope.

Markus Ioulius. C. I. G. IIl, 5176. Cyrene. Maria. C. I. G. IV, 9541 ; /. G. XIV, 528. Rhegium. Mousikus. /. G. IX, 970. Pelasgiotis (Larissa). Narkissus,

son of Sabiniana, aged 2 years, 9 months, 10 days.

IV,

Rome. Neikolaus, son of Neikolaus. Nikanor, son of Artemidorus. 9662.

/. G. C.

I.

XII, G.

36.

lll,

I.G. XII,

G.

Minoa.

Diogenianus, son of Titus Oualerius 1903. Rome. Philesia. /. G. XIV, 2067. Rome. Philoxenus. I. G. V, 801. Laconia. Tyche.

I.

Syria. Darius.

4476 b.

Oualerius

Rhoupha

C.

365; F. Osann, Philol,

IX

/.

G.

XIV,

(1854), p.

391, No. 11.

Minoa. son of Lubeikus.

Rhouphinus, Sainius Epaphrodeitus,

Eukarpia. Satorninus,

IV, Sirika.

son 9729;

C.

I.

G.

/.

G.

XIV,

of Sainius

/. G. XIV, 878. Baiae. of Aurelia Zosima, aged

I.G. XIV, 1991. IV, 9650. Rome.

1975.

Rome.

Epaphrodeitus 2

years,

9

and Sainia

months.

C.

I.

G.

Rome.

Isis, daughter of Thalamus, son of Chresimus, aged 11 months. F. Preisigke, Sammelbuch griechischer

Thaesis, alias

years, Vrkunden

2

Theodoretus,

son

son

Gregoire,

III, 6125. Place unknown. of Libanus Polemon. Anderson, Cumont, and III, p. 209, No. 216. Pontus Studio Pontica,

aus Agypten,

(Elwan-Tchelebi). Theodorus, aged 2 years,

'

8 months, 14 days. C. I. G. IV, 9527; /. G. Syracuse. Zosimus, aged 2 years, 1 month, 25 days. C. I. G. IV, 9817. Rome. , aged 2 years. C. I. G. IV, 9808. Rome.

XIV,

4123.

OF INSCBIPTIONS

CATALOGUE

281

Three Years Aineas, son of Artemidorus.

Alexandria.

C.

I.

G.

IV,

C.

6873.

I.

G.

lll,

5246.

Cyrene.

Place uncertain.

F. Preisigke, Sammelbuch daughter of Trompabeithis. griechischer Vrkunden aus Agypten, I, 1626. Kgypt (Sohag).

Artemidora,

/. G. XIV, 2390. Histria. Aurelius Phlabius Seouerus. I.G.R.

Asphalio.

lll,

1340.

Arabia (Medouar-

Nol).

Biktoreina. I.G. XIV, 530. Sicily (Catana). . Evaristo Breccia, Catalogue General des Antiquitis Ep Egyptiennes du Musie d'Alexandrie: Iscrizioni Greche e Latine, 226. Alexandria. Eutyches, son of Hera. C. I. G. II, 1894. Corcyra.

Eutychus, son of Synegdemus. /. G. XII, 389. Mytilene. Rome. 6657. Gaius Apricius. C. I. G. /. G. XIV, 1669. Rome. Gaius Ioulius Agathyrsus.

lll,

Gelasis. /. G. XIV, 846. Campania (Puteoli). Germanikus Priskus, aged 3 years, 4 months. Rome. Glykera. Glykon.

C.

I.

G.

IIl,

6220.

/. G. XIV, 1367. Rome. 8.B. 0. VI (1932), 18. Galatia.

who was worthy and died untimely (xRvrris koI Siapot). H. Lammens, Le Musee Beige, VI (1902), p. 54, No. 104. Syria (Horns). Kelulis [TJhotiugchis. Gustave Lefebvre, B.C.H. XXVII (1903), p. 353, No. 28. Egypt (Acoris). Kuriakus, son of Kuriakus and Salbia. /. G. XIV, 139. Syracuse. Laurentis. C. I. G. IV, 9883. Venetia (Aquileia). Leo. /. G. V, 766. Laconia. Leontia. I.G. XIV, 543. Sicily (Catana). Makaria, daughter of Ioannes. /. G. XIV, 2265. Florentia. Markus, son of Artemas. C.I.G. lll, 5317. Teucheira (Arsinoe). Matrona. 8. B. ff. VI (1932), 125. Phrygia. /. G. XIV, 2078. Rome. Meton, son of Phlaouius. Nikon, son of Niko and Charis, aged 3 years, 11 months. C. /. G. II, Hypsikle,

3783. Nicomedeia. Pathotes, son of Thosus. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 92. Egypt (Acoris). Gustave Lefebvre, B.C.H. XXVII (1903), p. 373, No. 109. Pepes.

Egypt (Acoris). Phelikianus. /. G. XIV, 2062. Rome. Phidelia, daughter of Phidelia and Athenaius. J. Keil and Anton von Premerstein, Bericht tiber eine Reise in Lydien, p. 43, No. 89. Lydia (Alaschehir).

OLD AGE AMONG THE ANCIENT GREEKS

282 Philippus,* Beige,

who died untimely VI (1902), p. 106.

(iupn). Syria

H.

La rumens,

Le Music

(Homs).

Poplius, son of Poplius. C. I. G. IIl, 5240. Cyrene. /.G. XII, 303; Ath. Mitt. XVI Prosdokimus, son of Asklepias. ( 1891 ) , p. 174, No. 5. Minoa. Saloukina, daughter of Phokas. C. I. G. IV, 9731. Rome. Septimia Iouliana, daughter of Septimius Aitetus and Septimia /. G. XIV, 2534. Lugdunum. C. /. G. IV, 9888; Rhouphina. B.C.H. XXI (1897), p. 40, No. 4. Syria Tharsus Porphyrius. (Saham). Theaitetus. /. G. IX, 954. Corcyra. C. /. G. IIl, 5344. Theodotus Sogenus. Cyrene. griechischer Urkundcn ous F. Preisigke, Sammelbuch Thetus. Agypten, III, 6654; S.E.G. I, 577. Egypt (place unknown). Titus Ailius Sokrates, son of Klaudia Sokratia. C. I. G. IIl, 6566 ; /. G. XIV, 1775. Rome. Zethus. C. I. G. IIl, 6398. /. G. XIV, 1626. Rome. /. G. XIV, 949 a. Rome. , son of Oualentinus. , daughter of sius. I.G. XIV, 857. Campania (Puteoli). . C, I. G. IV, 9514. Catana. , daughter of . C.I.G. II, 3731. Cios. , son of s and Eirene, aged 3 years, 10 months. S. E. G. IV (1929), 131. Rome.

Four Years /.

Aineia. Aurelia

G.

XIV,

1495.

Rome.

Theodora, daughter of Aurelius Heliodorus, a freedman and of Epipodia. C. I. G. IIl, 6667. Reate.

Sebastus,

Eklektus,

57 months,

20 days.

C.I.G. III,

6224;

I.G. XIV,

of

1565.

Rome.

Erns. /. G. XIV, 1592. Rome. Eudaimon. C. I. G. IIl, 6386 ; /. G. XIV, 1597. Eusebia. C. I. G. IV, 9692. Rome.

Rome.

I.G. XIV, 2353. Venetia (Aquileia). Euthykrates Egnatianus Evaristo Breccia, Catalogue Gineral des Antiquitis Eutychianus. Iscrizioni Greche e Egyptiennes du Mus^e d'Alexandrie: Latine, p. 176, No. 349. Alexandria. * The numeral is written yji. Therefore, there is a possibility that it may be meant for 43 years, written in reverse order. It seems more likely to assume that the last letter may have been intended as an abbreviation for fi^vat, and the lapidary may have omitted the number of months. This would fit better with iupot, for 43 years would scarcely have seemed untimely.

CATALOGUE

OF

INSCRIPTIONS

283

Roman d'Orbeliani, J.H.S. XLIV (1924), p. 30, No. 20. Glykon. Galatia. F. Preisigke, Sammelbuch Hatres, son of Haruotes and Senatres. griechischer Urkunden aus Agypten, I, 1177. Egypt (place unknown ) . Herakleides, who died untimely and is to be pitied ( &wpos, i\tivos ) . Urkunden aus griechischer F. Sammelbuch Preisigke, Agypten, III, 6121. Place unknown. Hermias. Th. Wiegand, Ath. Mitt. XXXIII (1908), p. 156, No. 16. Smyrna. Hermolaus. /. G. IX, 952. Corcyra. Hieron. G. Doublet, B.C.H. XIII (1889), p. 314, No. 22. Paphlagonia ( Ak-tasch-schehr ) . Hillarus. C. I. G. IV, 9807. Rome. /. G. XII, 298 ; B. C. H. XVI Iason, son of Iason and Margaris. (1892), p. 303, No. 2. Leukius Minikins Anthimianus, son of Leukius Minikius Anthimus and Skreibobia Pheleikissima. C. /. G. II, 3272. Smyrna. I.G. XIV, 1818; C.I.G. IIl, Loupoula, daughter of Loupoulus. 6510.

Rome.

Luka, daughter of Synphorus. /. G. IX, 937; Lolling, Ath. Mitt. (1887), p. 351, No. 116. Pelasgiotis (LarissaK Menekrates, son of Apollonius. Rome. C. I. G. IIl, 6257.

XII

Menophilus, son of Menophilus. /. G. IX, 960. Corcyra. Nardio, who was very worthy ( xpV"r6s ) . Preisigke, Sammelbuch griechischer Urkunden aus Agypten, III, 7255. Egypt (Telel-Yahoudiyeh ) . Onesima.

C.

I.

G.

IV,

9720.

Rome.

Oualerianus. Gustave Lefebvre, B.C.H. XXVII (1903), p. 348, griechischer Urkunden aus No. 8; Preisigke, Sammelbuch Agypten, I, 34. Egypt (Acoris). Ourbana, daughter of Ourbikus and Nike. /. G. XIV, 1919. Rome. Paula, daughter of Paulus. C. I. G. IV, 9542 ; /. G. XIV, 823. Naples. l.G.R. I, 123; C.I.G. IIl, 4825; Petemcnophis, son of Pabus. griechischer Urkunden aus Agypten, I, Preisigke, Sammelbuch 3931. Egypt (Gournah). Phileta, daughter of Klaudia Sabeina. /. G. IIl, 1464. Athens. Poimenius, son of Eugenis and Hesychis. C. I. G. IIl, 6457. Rome. Serenus, son of Phouskinus and Gaon. /. G. XIV, 2008. Rome. Sozomenus, daughter of Paramona. C. I. G. IV, 9663. Rome. Anderson, Cumont, and Gregoire, Studia Pontica, III, Syntrophio. p. 177, No. 170. Amasia (Aladjouk). Theodotus. C. I. G. II, 8793. Bithynia (Chalcedon).

OLD AGE AMONG

284:

THE ANCIENT GREEKS

Thraso, son of Thraso, son of Diogenes.

C.

I.

G.

II,

3293.

Bithynia

(Nicomedeia). /. G. IX, 651. Pelasgiotis (Larissa). Tryphonianus. Tyche. /. G. XIV, 2052. Rome. Zotika, daughter of Tiberius Neikomedes. C. I. G. IIl, 6405. , child of Hermagoras and Aineia. C. /. G. IIl, 6214.

I.G. XIV,

.

509.

Rome. Rome.

Sicily (Catana). Five Years

Alexandrus. C. I. G. IV, 6874. Place uncertain. Ammonius Kastor. Gustave Lefebvre, B.C.H. 355, No. 37. Egypt (Acoris). Appolenaius, son of Ptolemaius. S. E.G. I, 557.

XXVII

(1903), p.

Egypt (Kom Abou

Bellou). Aurelius Alexandrus, son of Aurelius Aioutor. Ch. Avezou and Ch. Picard, B.C.H. XXXVII (1913), p. 104, No. 15. Macedonia

(Saloniki). Ballia Narkissiana,

Iouuia and daughter of Ballius Narkissus Olympias. C. L 0. III, 6441 b. Rome. Chrozousa. C. I. G. IIl, 5414. Syracuse. Demetrius, son of Demetrius. /. G. XIV, 1535. Rome. C. I. G. II, 3293. Dexiphanes, son of Thraso, son of Diogenes. Smyrna. C. I. G. III, Dionysius, son of Akylius Epityches and Akylia Zosima. 6369.

Rome.

Catalogue General des Antiquitis Egypd'Alexandrie : Iscrizioni Greche e Latine, p. 125, No. 226. Alexandria. Epanodus. I.G. XII, 445; Thumb, Ath. Mitt. XVI (1891), p. 173, No. 3; Radet and Paris, B.C.H. XV (1891), p. 605, No. 47. Aegiale. son of Tyche. I.G. XIV, 1611. Rome. Euprepes, Eutyches. C. I. G. IIl, 6394. Rome. E , who died untimely (iiopos). Seymour di Ricci, "Inscrip tions Grecques d'£gypte," Revue Epigraphique, I (1913), p. griechischer Urkunden aus 156, No. 7; Preisigke, Sammelbuch Agypten, IV, 7312. Egypt (place unknown). Gaius, son of Loukius Poplikius Rhouphus of Pergamum. C. I. O. Ep

.

E.

tiennes

IIl,

Breccia,

du

6498.

if usee

Rome.

Gaius Ouedousius. /. G. XIV, 1909. Rome. [Hi]ppolenaius, son of Pto[l]em[a]ius, who died untimely (fiwpo*). Preisigke, Sammelbuch griechischer Urkunden aus Agypten, III, 6586; S. E. G. I, 557. Tanta, Municipal Museum. Ioulius Paramonio. /. (/. IIl, 1465. Athens.

OF INSCRIPTIONS

CATALOGUE Kreskes, son of Kreskes.

A.J. A. II

A. Xanthoudidis,

S.

285 (1898), p.

Crete (Lyttus). Loukius Ioulianus, alias Ninnarus. 6736; I.G. XIV, C.I.G. 1715. Ravenna. C.I.G. 5854 f, Addenda et Corrigenda; Nepotilla. I.G. XIV, 851. Campania (Puteoli). Onnophris Lefebvre, Gustave Harouenophris. B. C. H. XXVII (1903), p. 353, No. 30. Egypt (Acoris). 75, No. 6 a.

lll,

lll,

Ouariana. /. G. XIV, 1908. Rome. /. G. XIV, 1936. Rome. Pauleina, daughter of Euploius. Pekusis. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,

I,

Egypt (place unknown).

3501.

son of Asklepiakus.

Philomelus,

I.

G.

lll,

Now in the Louvre. 1307. Athens.

Pireithus. /. G. XII, suppl. 1648. Thera. Politta. Ana. Gr. Inscriptions in the Br. Mus. IV,

(Memphis) . Preimus. 0./.G.ll,3513.

I.

Preiskiana.

XIV,

G.

1075.

Egypt

Lydia (Thyateira).

1969.

Rome.

Prokla, daughter of Beno. /. O. XIV, 1971. Rome. Prokla, daughter of Charito. O. I. G. lll, 6278. Florence. Rhodina. 0. /. O. IV, 9484 ; /. G. XIV, 548. Sicily ( Catana ) . Sato[r]nilu[s], son of [Au]phidianus. Ch. Fossey, B.C.H. (1897), p. 45, No. 23. Syria (Yedoueh).

A o and Chresteina. /. G. XIV, XIV, 49. Sicily (Syracuse). Rome. O. /. G. IV, 9590. Stephaninus. Thallus. I.G. XIV, 350. Sicily (Cephaloedium). Theophanes. O. I. O. IV, 9425. Epirus. Sekoundus, son of Sozousa.

/.

Theophilus, 1460; 1245.

1996.

XXI Rome.

G.

/. G. of Dionysius of the Marathonian tribe. Dittenberger, Sylloge Inscriptionum Graecarum', Athens.

son

lll, II,

/. G. XIV, Hygeia, daughter of Philtatus and Alexandra. Rome. 2040; C.I.G. 6201. Tyche. /. O. XII, 214; Baumeister. Philol. IX (1854), p. 390, No. 9. Arcesine. O. /. O. II, 3025. Lydia Tyche, daughter of Gaius Hermogenes. Tineia

lll,

(Marathcsium ) . Zosima. 0. /. O. 5627. Sicily (Messana). tes, son of Arabia. C.I.G. IV, 9878; I.G. XIV, 2360. Venetia (Aquileia). /. G. XII, 361; Pollak, Ath. , daughter of Kastor and Hygia. Mitt. XXI (1896), p. 202. Minoa. E. Breccia, Catalogue General des An Titus Alexandrus.

lll,

286

OLD AGE AMONG

tiquitis Greche

. . .

Egyptiennes du Musie d'Alexandrie : Latine, p. 185, No. 380. Alexandria.

0./.G.

. ,

e

THE ANCIENT GREEKS

lll,

6193.

Rome.

C.I.G. (a loving daughter). /. G. IX, 972. Corcyra. I.G. XII, I. G. XII,

391. 392.

IV,

9699.

Rome.

Mytilene. Mytilene.

lll,

Ailia

Iscrizioni

Six Years

I. G. 1336; Kaibel, Rpigr. Gr. 143. Athens. Zmyrna. Antigona, daughter of Nikias. C. I. G. lll, 5253. Cyrene. Autoboulus, son of Phila and Demophilus. /. G. IX, 1277 ; Kaibel, Epigr. Gr. 510. Perrhaebi. Deuterus, nephew of Telesphorus. /. G. XIV, 2033. Rome. Helarion, son of Philippus, who died untimely and was loved by all [iwpot, 7ra
lll,

6602; /. G. XIV, 1772. Rome. C.I. G. Kosmia, daughter of Kosmus and Theodota. C.I.G.

XIV,

IIl,

I.G.

6757;

Transpadana (Verona). Krispina, daughter of Strato and Akylina. C.I.G. IV, 9555; I.G. XIV, 1793. Rome. Kurikus, son of Likkinius, son of Pius. Anderson, Cumont, GriPontus (Vezirgoire, Studia Pontica, III, p. 96, No. 75. 2308.

Keupru ) .

of Athenodorus. /. G. XII, 444 (1900), p. 280, No. 23. Thasos.

Oualerius,

son

Pctronius. Pheleikita,

son of Hermodorus.

XXIV

I.

G.

XIV,

545.

Sicily (Messana). Phlorus, son of Kaikilius. De Ridder, Phoibianus. Naxos.

Sicily (Catana).

I.G. XIV,

416;

;

B. C. H.

Mendel,

C.I.G.

C.I. G. lll, 6296; /. G. XIV, B.C.H. XXI (1897), No.

lll,

1722.

5634.

Rome.

No.

25,

15.

Pontiana, daughter of Chr[est]odorus and Marina. Aristite Fontrier, B.C.H. VI (1882), p. 443, No. 4. Tomi. Preisigke, Sammelbuch grie daughter of Ap[ol]lonius. Senpebus, chischer Vrkunden aus Agypten, I, 815. Cairo Egypt. Museum. daughter of Serapiakus. 6289. Rome. Teimandra, daughter of Kypara. C. Rome.

/.

Sorapiada.

I.

G.

G.

XIV,

lll,

2005 ; C.

6291 b;

I.

G.

I.G. IV,

lll, 2037.

CATALOGUE Tphout,

of Heraklius, son

daughter

I. G.K. I, . /. G. IX,

451 ;

287

lll,

C.I.G.

of Soter.

Egypt (Gournah). G. Fougeres, B. C. H.

1234.

Pelasgiotis

22.

OF INSCRIPTIONS

XIII

4826;

( 1889 ) , p. 405,

Seven

Years

/. G. XIV, 444. Sicily (Tauromeniuni). Ailia Prota, daughter of Poublius Ailius Abaskantus. 6279; /. G. XIV, 1973. Rome. Agatho.

Amarantus.

C.

I.

G.

No.

(Larissa).

lll,

5207.

C.

I.

G.

lll,

Cyrene.

Antipatra. /. G. XIV, 1396. Rome. Aristo. /.G. XIV, 769. Campania (Naples). Aurelius Antonius, son of Aurelius Onesimus and Aurelia Antoneia. C.

Berous.

I.

G.

lll,

I.G.R.

6206. 1139;

Rome. Lefebvre,

B.C.H. XXVII

(1903),

p.

345;

Preisigke Sammelbuch griechischer Vrkunden aus Agypten, 81. Egypt (Acoris). Demetrius, son of Demophilus. I. G. XII, 973. Tenos. Deuterus, nephew of Telesphorus. 6362. C. I. G. Eirana. /. G. XIV, 1563. Rome.

I,

lll,

I. G. XII, 444. Mytilene. I. G. XIV, 580. Sicily (Centuripa). Euphraino. Gaius. I. G. XIV, 2431. Rome. Hermaius, son of Pootus. I. G. R. I, 1140; Lefebvre, B. C. Erpis.

(1903), p. 345. Egypt (Acoris). /. G. XIV, 1642. Rome. Herophilus. I. G. XIV, 1935. Hygeia, sister of Pauleinus. Ioanna. C. I. G. IV, 9865. Rome.

Ioulia Domitia. C. I. Kallistagoras. I.G.

G.

lll,

XII,

5704.

77.

XXVII

Rome.

Sicily (Catana).

B.C.H. VII (1883), p. Tenos. 5360. Teucheira (Arsinoe). Lysanias, son of Krito. 0. I. G. Maximus Iasonus. I.G. XIV, 325. Sicily (Thermae Himeraeac). Memmia Pothina. C.I.G. II, 1910b, Addenda et Corrigenda. 253, No. 5.

4971; Latichev,

lll,

Corcyra. Ou[ales], son of Phaeius.

Ch. Fossey, B.C.H. XXI (1897), p. 48, No. 33. Syria (Da'el). Phlaouia Aphrodeisa Tralliana. I. G. XIV, 2092 ; C./.G.lIl,6645. Rome. Priskus. C. I. G. I, 997. Athens.

/.G.ll,4135. Athens. Siburtius. Telesphorus, son of Telesphorus and Eirene. XXXIII (1909), p. 281, No. 41. Isnik.

G. Mendel,

B. C.

77.

OLD AGE AMONG

288

THE ANCIENT

GREEKS

G. Lefebvre, B.C.H. XXVII son of [E]rus the potter. (1903), p. 347, No. 5. Egypt (Acoris). Buresch, Aus Lydien, p. Thelymithres, son of Aurelius Demetrius. 57, No. 32. Lydia (Indschikler). Theomnestus Aristonus. Georges Seure, B.C.H. XXIV (1900), p. 159, No. 1. Thrace (Silivri). Kaibel, Epigr. Gr. 1337; Thesmophanes. C. I. G. I, 956; /. G. 153. Athens. Thaesis,

lll,

I. G. XIV, 1758. Rome. Tryphera, niece of Klaudius Lampter. Xenophon. /. G. V, 922. Laconia. . Frankel, with the collaboration of E. Fabricius and C. Schuchhardt, Die Inschriften von Pergamon, p. 377, No. 609. Pergamum. Now in Berlin. Eight Years

lll,

6709; I.G. XIV, 1492; daughter of Iustus. C.I.G. I.G.R. I, 231. Borne. /. G. XIV, 1321. Rome. Agatho. Ailia Loukillis. /. G. XIV, 1339. Rome. Amerimnus. C. I. G. 6338; /. G. XIV, 1379. Rome. Ane. Gr. Inscriptions in the British Museum, IV, 1103. Aphrikana. Abreliana,

lll,

Agrigentum. son of Diogenes, son of Attalus and Ammia. Seure, B.C.H. XXIV (1900), p. 397, No. 69.

Attalionus,

Georges

Bithynia

(Pachalar). Basilius, son of Makreinus.

/. G. XIV, 1502. Rome. Domna, daughter of Tertulus. Anderson, Cumont, and Gregoire, Studio, Pontica, III, p. 163, No. 147; Th. Reinach, Rev. tt. Gr.

VIII (1895), p. 78, No. 7. Amasia (Mersivan). Sammelbuch griechischer Vrkunden Preisigke, Didymus. Agypten, I, 370. Alexandria. Dorotheus. C. I. G. IV, 9580. Rome. Euandras.

/.

Eutyches.

I.

G. G.

XIV, XIV,

1530.

aus

Rome.

Rome. D. M. Robinson, 1617.

A.J. A. XVII (1913), p. 173, No. 38. Cyrenaica. Georgius. C. I. G. 6756. Italy (Verona). Heraklitus, son of Aurelius Xanthias. C. I. G. 6408. Rome. Hierakiaina, daughter of Pouebis. Preisigke, Sammelbuch griechi scher Vrkunden aus Agypten, I, 776. Egypt (place unknown). Kamena. I.G. V, 1324; Laconia (Thalamae). Loukius Saturius, son of Loukius Saturius. /. G. Ill, 665. Rome. Makreinus, son of Makreinus. C. I. G. 6251. Rome. Gallikius Pollio.

lll,

Ill,

lll,

OF INSCRIPTIONS

CATALOGUE

289

who was an accomplished fellow (mp^fa). Markion, Sammelbuch griechischer Vrkunden aus Agypten, Place unknown. Markus, son of Poplius. 5240. C. I. G. Cyrene. 0.

Menophilus.

/.

lll,

G.

6124.

lll,

G. XIV, 1858. and Pottier, B.C.H.

6259 ;

Beaudouin

Montanill[a].

Preisigke,

III,

I.

Rome.

Ill

(1879), p. 261,

No. 6.

Sparta. Oktabius Hermes, son Rome.

of Oktabius

Trophimus.

/.

G.

XIV,

1889.

Ouedia Paulla, daughter of Poplius. Paton and Hicks, Inscription* of Cos, p. 219, No. 337. Asphendiu. Petrus. C. I. G. IV, 9569. Rome.

Phoinikus who was drowned; Protas.

daughter of Nikar(1893), p. 194. Piraeus.

son of Zenokleia,

/. G. II, 4040 b; B. C. H. XVII /. G. XIV, 624. Rhegium.

chus.

Sarap[io]n.

Sammelbuch griechischer Preisigke, Agypten, I, 394. Alexandria. Satria Tyche. C. I. G. Rome. 6637.

Vrkunden

aus

lll,

Stephanus. /. G. XTV, 506. Sicily (Catana). Thalassis, daughter of Aristokrates. C. I. G. ( Arsinoe ) . Therapo. /. G. IX, 955. Corcyra. Tryphon, son of Trophimas. C. I. G. Zosima, daughter of Zosimus. /. G.

II,

Ill,

5294.

Teucheira

Smyrna. 210; Homolle, B. C. H.

3388.

XII,

XV

(1891), p. 672, No. 7. Arcesine. , son of Paulus. I.G. XIV, 160. Sicily (Syracuse). . /. G. Xn, 217; Baumeister, Philol. IX (1854), p. 389, No. 3. Arcesine. daughter B. C.H. ,

of

XIII

Eirena, daughter of Soterus. G. (1889), p. 65, No. 6. Crete (Lyttus).

Doublet,

Nine Years G. Mendel, B. C. H. daughter of Hermaus and Klaudia. XXIV (1900), p. 376, No. 21. Bithynia (Kourschounlou) . Aimilia Hermione. C. T. G. 6537; I.G. XIV, 1354. Rome.

Agapeta,

lll,

/.

Akindoinus.

V,

Laconia. Alexandras. I.G. IX, 639. Pelasgiotis (Larissa). C./.G.Ill,5261. Pelasgiotis (Larissa). Arimnus Kallisthenes. G. Mendel, B.C.H. XXXIII (1909), No. 416, No. 423. Asklepiades. G.

803.

Bithynia (Prusa). son of Akylius

Dionysias,

XIV,

Esoeris.

I,

1361.

Epityches

and

Akylia

Zosima.

I.

G.

Rome.

Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, Place unknown. Now in the British Museum.

3827.

19

290

OLD AGE AMONG

Gratilla, daughter of Titus

THE ANCIENT GREEKS Phlaouius

Kolon.

C. I. G.

IIl,

6499.

Rome.

Heliodora Gaiona. /. G. XIV, 1638. Rome. Heliodorus, son of Heliodorus. /. G. IX, 951. Pelasgiotis (Larissa). Isak. G. Lefebvre, B.C.H. XXVII (1903), p. 369, No. 98. Egypt (Acoris). (1879), p. 44, No. 2; Kaibel, Epigr, Gt. Kalliro[eies]. B.C.H. 199. Telos. I.G. XIV, 155. Sicily (Syracuse). Oulpia. Philo, son of Kallipoleitus. /. G. XII, 48. Telos. Poses, son of Anphion. C. I. G. III, 5250. Cyrene. Poublius Alphenus Martialis of Laodiceia. I.G. XIV, 1372; J.G.R.

IIl

I,

191.

Rome.

Preimiteibus. C./.G.111,5722. Sicily (Catana). Prima, daughter of [KJuintus [Ail]ius Bas[s]us. G. Mendel, B.C.H. XXIV (1900), p. 376, No. 22. Bithynia. Sarapias. /. G. IIl, 976 b. Place uncertain. Soteriehus, son of Soterichus. I. G. XIV, 2029. Zoe, daughter of Cheius. I. G. XIV, 2112. Pisaurum. , eon of Epiktetus. C.I.G. II, 3024. Lydia (Marathesium). , son of Philoumenus. I. G. XIV, 2077 a, Addenda et Corri genda.

Rome.

.

/.

.

/. G.

G.

XIV, 2204. Rome. IX, 960. Pelasgiotis

(Larissa).

Ten Years Ailourion. Seymour de Ricci, Revue Epigraphique, I (1913), p. 157, No. 8; Preisigke, Sammelbuch griechischer Urkunden aus Agypten, IV, 7313. Leningrad. Alexandrus, freedman of Alexandrus and Kurilla. G. Mendel, B.C.H. XXV (1901), p. 21, No. 155. Bithynia (Keupekler). Cheia, daughter of Kouintus Sossis and Petronia Sossia. C. I. G. III, 5728. Sicily (Catana). Chresimus who was worthy and died untimely (dyaOSt. &aipot). Preisigke, Sammelbuch griechischer Urkunden aus Agypten, I, 729. Egypt (Abydus). Dorus, son of Demophon the Chian. Preisigke, Sammelbuch grie chischer Urkunden aus Agypten, III, 6661. Egypt (place unknown). Eiseidorus, son of Phileippus. I.G. IX, 758; Lolling, Ath. Mitt. XI (1886), p. 59, No. 46. Pelasgiotis (Larissa). Epigenes, son of Makedonikus. /. G. XII, 518. Thasos. Eusebia.

/.

G.

XIV,

2559.

Germany (Trier).

OF INSCRIPTIONS

CATALOGUE

/. G. IX, 1085. Pelasgiotis /. 0. XII, 519. Thasos.

Heraklea. Herodotus.

291

(Campus Dotius).

who was excellent (xpi<m}). Breccia, Catalogue General Egyptiennes du Musie d'Alexandrie : Iscrizioni Greche e Latins, p. 176, No. 351. Alexandria. 5718; /. 0. XIV, 4932. Sicily (Catana). Oporeinus. C. I.0. Lysandra

des Antiquities

lll,

Peius. /. G. XIV, 851. Campania (Puteoli). Ploteinus, a neophyte. Anderson, Cumont, and Gregoire, Studia Pontica, III, p. 24, No. 14. Amisus. Pontianus, son of Chr[est]odorus and Marina. Aristote Fontrier, B. C. H. VI ( 1882) , p. 443, No. 4. Tomi. 5226. Praxagora, daughter of Euphanes. C. I. 0. Cyrene. Theon. Seymour de Ricci, Revue Epigraphique, I (1913), p. 152,

Ill,

No. 20; Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, IV, 7304. Museum of the Academy in Braunsberg. Thodourus, son of Iannus. Pargoire, B.C.H. XXIII (1899), p. 417. Chalcedon. Lefebvre, B. C. H. XXVII (1903), p. 381, No. 134. Egypt. Tiraunus.

(Acoris).

Zauas Zoandrus. C. I. G. lll, 5247. Cyrene. sianus, son of Markianus. C. I. G. IV, 9781. Rome. . C. /. G. lll, 5734. Catana. . C. I. G. 5854 f, Addenda et Corrigenda. Puteoli. Mendel, B.C.H. XXXIII (1909), , son of Agathopous. 327, No. 80. Place unknown. . /. G. XIV, 2126. Rome.

lll,

. .

/. /.

. 8.

G.

II,

2722.

G.

V,

177.

E.G. I,

p.

Attica. Tegea.

Egypt (Leontopolis).

572.

Eleven Years G. Lefebvre,

Apollonis.

B.C.H. XXVII

Egypt (Acoris). D.M. Robinson, Apollonius. Cyrenaica. Asklepiodotus, son

/. 0. XIV,

A.J. A. XVII

of Markianus Rome.

of Dionysius. Acarnania. G. IV, 9849. Rome. son

178, No.

Elpis.

C.

Euodia,

I.

p.

350,

No.

15.

(1913), p. 186, No. 78.

of Nicomedeia.

1429.

Aurelia Artemeisia, daughter of Zosimus. Damokrates,

(1903),

/. 0.

G. Cousin,

XII,

I.0. R. I, 612.

B.C.H. X

204;

Thasos. (1886),

p.

3.

daughter of Studia Pontica,

Euodus.

III,

Anderson,

p. 71, No. 62.

Cumont,

and Gregoire,

Neoclaudiopolis.

THE ANCIENT

OLD AGE AMONG

292

Eutaxas, son of Zosimus.

C.

I.

Epigr. Gr.

G.

lll,

5287.

and Pardala.

son of Eutychides

Eutyehianus,

GREEKS Cyrene.

/.

G.

IIl,

1350; Kaibel,

Olympia. 6395. Rome. C. I. G. Eutychius. R. Vallois, B. C.H. XL (1926), p. 170, No. 2. Tegea. Hygiaro. Iakoubus, who was clever (Konftt). Preisigke, Sammelbuch grie chischer Vrkunden aus Agypten, I, p. 8, No. 11. Egypt (Tel167.

lll,

el- Yahoudiyeh

).

Kallistus. /. G. XIV, 1728. Rome. Kassia Benousta. /. G. XIV, 483. Sicily (Catana). Markiana, who was honorable and blameless (atnvi\ Kai tutpinot) . /.G. XIV, 238. Sicily (Acrae). G. Mendel, B. C. H. XXV (1901 ), p. 278, No. 19. Tegea. Neikopolis. son of Oualerius.

Oualerius,

280, No. 23.

/.

G.

I.

G.

Philoumenus. Porphyris. Psais, son

C.

G. Mendel,

Thasos.

XIV, 1336; C. I. IV, 9581. Rome.

G.

B.C.H. XXIV

lll,

6485.

(1900), p.

Rome.

Sammelbuch griechischer of letus. Preisigke, Vrkunden aus Agypten, I, 1193. Now in Berlin. Quintus Sulpicius, son of Quintus Sulpicius Eugrammus and Licinia Ianuaria. /. G. XIV, 2012. Rome. Sebera Melitina. 0. /. G. IV, 9717. Rome.

Simplikia. C. I. G. IV, 9622. Rome. Theodora, daughter of Theodora. Preisigke, Sammelbuch griechi scher Vrkunden aus Agypten, I, 3899. Now in the British Museum. C.I. Tiberius Plotius Zosimas, brother of Tiberius Plotius Ioustus. G. 6634. Rome. . I. G. XII, 216. Arcesine.

lll,

.

C.

I.

G.

IV,

9870.

Italy (Ravenna). Twelve Years

Ailia Ailiana. Alkibiades, 1783 ;

Apollus.

/.

G.

Preisigke,

I,1917.

XIV,

1344;

0./.G.llI,6535.

of Kornelius Alkibiades 0. /. O. 6336 b. Rome.

son

Ill,

Rome.

and Chresta.

/.

G.

XIV,

Sammelbuch griechischer Vrkunden aus ILgypten,

Egypt (Memphis). Asiaticus. H. A. Ormerod and E. S. G. Robinson, J. 77. 8. XXXIV (1914), p. 15. Lycia (Xanthus). /. G. XIV, 1426; 0./.G.lll,6345. Rome. Asklepiades. Ateimetus, son of Agapomenus and Kouinta. /. O. XIV, 1436. Rome. Aurelius Psentasaie, son of Tano. Preisigke, Sammelbuch griechi scher Vrkunden aus Agypten, I, 3883. British Museum.

CATALOGUE

OF INSCRIPTIONS

293

Ploteina. Georges Seure, B.C.H. XXXVI (1912), p. 619, No. 76. Thrace. Biktorina, wife of Hilarus. C. I. G. 6497. Borne. /. G. XII, 446. Breiseis, daughter of Eugenis and Sekounda. Thasos. Bassia

lll,

Eusebius, son of Helainus and Sotera. C. I. G. IV, 9604. Rome. son of Tyrannis. I. G. XII, 501. Amorgos. Heliopolis, daughter of Orsinianus and Phlorentia. Legrand and Chamonard, B.C.H. XVII (1893), p. 269, No. 56. Phrygia. Ioulia Pauleina. /. G. XIV, 1527. Rome. Ioulia Pothousa. I.G. V, 413; Kaibel, Epigr. Gr. 80. Arcadia Eutychus,

(Thelpusa).

/.G. XIV,

Ispes.

Kalatia. C. Kallitychus, Kreske.

1. G.

48.

lll,

Sicily (Syracuse). 5207.

S. A. Xanthoudidis,

(Lyttus). Leontis.

Maria.

Cyrene.

son of Onesimus.

Ch. Fossey, B. C.H. G. Doublet, B.C.H.

/. A.

G.

XIV,

J. A. II

XXI

XIII

1894. Rome. (1898), p. 75, No. 6.

Crete

(1897), p. 2, No. 14. Syria. (1889), p. 309, No. 16. Paphla-

gonia ( Pompeiopolis ) . Maximus, victor in the games. /. G. R. I, 351. Rome. Oualeria Olympias, daughter of Oualerius Menandrus of Laodiceia. 6626; /. G. R. I, 322. Rome. /. G. XIV, 1906; C. I. G.

lll,

/.

XIV,

Sicily (Tauromenium). Papeiria Pantheia, wife of Papeirius Hermes. C. I. G. lll, 6631. Rome. Philistheus, son of Phlaouius Soubitillus and Phlaouia Theonoe. C.I. G. IIl, 6483; /. G. XIV, 2087. Rome. Podio, son of Kointhus. G. Doublet, B.C.H. XIII (1889), p. 57, No. 3. Crete ( Hierapytna ) . Ouarion.

G.

437 a.

I. G. XIV, 1953. Rome. Ponpesia Aukta. Gallia Lugdunensis. C. I. G. 6794. Quintus Latinus Pyramus. Salo , son of Kallisthenes. C. I. G. in, 5250. Cyrene. Sekounda, an unwedded maiden who perished from disease. E. Kalinka, Antike Denkmaler in Bulgarien, p. 268, No. 338.

lll,

Now in Sofia Museum. Found at Nowa Sagora. /. G. XIV, 2015. Rome. Spendophorus. Zenaria, daughter of Sosipatrus. /. G. V, 1280. Laconia Zosima. C. I. G. IV, 9617. Rome. of Agapomenus. /. G. XIV, 1436. of Abaskantus. D. G. Hogarth, Salonica. p. 366, No. 9. akkius. C. I. G. 5274. Cyrene. , son , son

lll,

daughter (Thespiae).

,

of

uichas.

I.G.

(Hippola).

Rome.

J.H.8. VIII

(1887),

VII,

Boeotia

1882.

294

OLD AGE AMONG . .

THE ANCIENT GREEKS

/. G. XIV, 2136. Rome. E. Kalinka, Antike Denkmaler in Bulgarian,

Now in Sofia Museum. . 8.E.G. VI (1932), 137.

Phrygia (Azani).

Thirteen Ammonius.

G. Lefebvre,

p. 258, No. 327.

Years

B.C.H. XXVLT

(1903),

No. 7.

348,

p.

Egypt (Acoris). son of Aristarchus. Antigonus,

J.

A. XVII D. M. Robinson, A. (1913), p. 192, No. 110. Cyrenaica. /. G. XIV, 1716. Rome. Ateimetus, son of Gaius Iounis Ateimetus. Hermione. D. M. Robinson, A.J. A. XVII (1913), p. 179, No. 53. Cyrenaica Iopa.

/.

G.

II,

(Wady Tabouna).

685.

Teos.

Ioulia, daughter of Pouphus. Kailius Kueintus Philopator 1892, p. 345.

C.

II.

I. G. lll, 5317. Cyrene. /. G.R. I, 278; Notizie

degli Scavi,

Rome.

Katulleinus. /. G. XIV, 1745. Rome. [Kl]audia Sebera. Georges Seure, B.C.H. XXXVI (1912), p. 619, No. 75. Thrace (Perinthus). Klaudius Aigialus, son of Tiberius Klaudius Neikomachus of Mile tus.

I.

G.

XIV,

1760.

Luka, daughter of Techne.

Rome.

l.G. IX,

820;

Lolling, Ath. Mitt.

(1886), p. 129, No. 182. Pelasgiotis (Larissa). Matrona, daughter of Charito and Kalligenia. C. I. G.

II,

XI

3807.

Bithynia.

son of Ptolemaius. A. W. Van Buren, J.H.8. XXVIII (1908), p. 200, No. 39. Cyrenaica. Neikomachus of Miletus. /. G. XIV, 1760. Rome. Neilus. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 2482; Neroutsus, R. A. XVIII (1891), p. 339. Alexandria. Pabis, son of Horus, son of Pankapetus and of Senpabis. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 787.

Muro,

Place unknown. Pachoumius Psaitus. Preisigke, Sammelbuch griechischer Vrkunden ous Agypten, I, 799. Egypt (place unknown). Now in the Cairo Museum. Pieus Theon. G. Lefebvre, B.C.H. XVII (1903), p. 372, No. 105.

Egypt (Acoris). Poplius Larkius Orphitus, who was fond of learning son of Preiska and Orpheus. 8. E.G. TV ( 1929) ,

(^1X6X0705), 111.

Notizie

degli Scavi, 1925, p. 164. Rome. I.G. XIV, 1749. Rome. Sarapias, wife of Muropnous. Tagapa, a happy maiden (/ioKopio wapSivot). Preisigke, Sammelbuch

OF INSCRIPTIONS

CATALOGUE griechischer Vrkunden

aus Agypten,

I,

295 Egypt

1562.

(Antino-

polis).

C.I.G. III, Italy (Stabiae). Titus Ailius Biktoreinus. 0. /. G. IV, 9477. Catana. /. G. lll, 1467. Athens. Trophimas. /. G. IX, 968 ; Durrbach, Ziburna, daughter of Hygeia. Theoteimus,

son

XIV,

of Myrinus and Hygieia.

(1886), p. 450, No. 10. Pelasgiotis , son (or daughter) of Dositheus. cheira (Arsinoe).

/.

-ne. .

5867;

I.G.

700.

E.

G. V, 1215.

S. Forster,

Laconia

Annual of

B. C. H.

(Larissa).

C.I.G.

lll,

5343.

X

Teu-

(Gythium). the British School at Athens, X

(1903-4), p. 187, No. 18. Laconia. C.I.G. 6271. Rome.

lll,

.

/.

.

G.

IX,

968.

Corcyra. Fourteen

Years

of Pos[e]idoniu[s], son of Polyxenus and Kreousa. Basilius Latyschev, Inscriptiones Antiquae, IV, p. 20, No. 33.

Achilleus,

son

Olbia. Alauiena, an actress.

C. I. G. 11l, 6335. Rome. Anderson, Cumont, Antonia Isidora, daughter of Iou[l]ia Pontiana. and Gregoire, Studia Pontica, III, p. 62, No. 49 a. Neoclaudiopolis. Vrkunden griechischer Ion. Sammelbuch Preisigke, Agypten, I, 5962. Now in Berlin. 0./.G.ll1,5850; /. G. XIV, 824. Naples. Charitosa. Demetrius, son of Didyma. /. G. XIV, 1539. Rome. Paton and Hicks, Inscriptions of Cos, p. 220, No. Eision.

Apa

aus

343.

Asphendiu. G. Mendel, B. 0. H. Eutychia, daughter of Agathopous and Italia. Prusa. (1909), XXXIII p. 327. 1463. Athens. Hygeia, daughter of Menodorus. /. G. (1903), p. 331, No. 40. B.C.H. XXVII wife of Lykrates. Hymnis,

IIl,

Bithynia

( Pompeiopolis ) . D. M. Robinson, A. J. A. XVII (1913), p. 186, No. 80. Cyrenaica. Ioulia Germana. I.G. XIV, 80. Sicily (Catana). Ealligonus, brother of Ioulius Kallineikus, who lived nobly (eiryevut). A. Salac, B. C. H. XLIV ( 1920) , p. 356. Sinope. Kallityche. /. G. XIV, 846. Puteoli.

Ioanes.

Klaudia,

a

stout-hearted

Prokles. (Osan).

maiden (r\vnuv wapBtvadi ) , daughter of (1901), p. 22, No. 157. Bithynia

B.C.H. XXV

OLD AGE AMONG

296

THE ANCIENT GEEEK8

Sicily (Catana). C. I. G. IIl, 5712. son of Kopria. /. G. XII, 211. Arcesine. Lais, son of Aphrodeisius. A. Salac, B.C.B. S. E.G. I, 423; Markellus, son of Xenophon. (Philippi). XLVII (1923), p. 83, No. 2. Macedonia C.I.G. III, 6341; I.G. XIV, 1413; Markus Argenaius Eutaktus. /. G. R. I, 200. Rome. Markus Demetrianus. C. I. G. IIl, 5216 b. Cyrene. D. M. Robinson, A.J. A. XVII (1913), Markus Maikilius Sekondus. Kouintus,

p. 173, No. 38. Cyrenaica. I.G. IX, Modestus, son of Tiberius Klaudius Logikus of Smyrna. 969; F. Durrbach, B.C.H. X (1886), p. 49, No. 8; Lolling, Ath. Mitt. XII (1887), p. 351, No. 117. Pelasgiotis (Larissa). Myrsus. C. I. G. IIl, 5209. Cyrene. C.I.G. II, 3118. Olympias, daughter of Patroklcs and Olympias. Teos.

Petetriphis, ouch

Preisigke, son of Psenosiris and Sensansvos. griechischer Urkunden aus Agypten, I, 3929.

Sammel-

Now in

Berlin. Phausteina. /. G. IIl, 1469. Athens. /. G. IV, 196. Corinth ( Crommyon ) . Philostrata. Polus.t I.G. VII, 3449. Boeotia (Chaeronea). Rhianus Kres. /. G. V, 725. Laconia. Seilikia Mellousa. /. G. XIV, 337. Sicily (Thermae Himeraeae). /. G. XIV, 1358 ; C. I. G. Septimia Pausilupa, daughter of Akeilia.

IIl,

6637 b.

Rome.

B. C. H. XXVTI ( 1903 ) , G. Lefebvre, Tereueis, son of Petesouchus. p. 354, No. 33. Egypt (Acoris). Thelpousa. S.E. G. I, 179; Hondius, Annual of the British School 130. 1920-21), p. 143, No. at Athens, XXIV (1919-20; Laconia. Theudas, son of Peteaus, who loved his mother (
his was des

No.

III,

18, No. 10 b.

It

p.

Amisus.

* Polus and Zollus are mentioned as two warriors is assumed that each is fourteen years.

of fourteen years.

OF INSCRIPTIONS

CATALOGUE

297

Fifteen Years Agapetio, son of Eudaimon and Hygeia, and freedman of Ioulius Seouerus. C.I. G. IV, 9668; I.G. XIV, 1596. Rome. Ailius Philokalus. I. G. XIV, 1348; /. G. I, 184. Rome. B. C. H. XXV ( 1901 ) , p. Aimilius, son of Asklepiades Neikerotus.

Bithynia (Tcharchamba-Djoumaisi). Ch. Fossey, B. C. H. XXI (1897), p. 41, No.

46, No. 190.

Ammonis.

I.

G.

lll,

7.

Syria.

Cyrene. Apollonius, son of Oiolukus. 5264 b. Cyrene. C. I. G. Arsinoa, daughter of Eudaimon. Attalus. E. S. Forster, Annual of the British School at Athens, X (1903-04), p. 186, No. 14; I.G. V, 1186. Laconia C.

(Gythium). Aurelia Phlaouia Arria of Nikomedeia. Puteoli. Aurelius Rouphinus. A us. C. I. G. 427.

C.I.

IIl,

G.

lll,

6563;

5258.

lll,

/. G. XIV,

837 ;

I.G. XIV,

1349.

Cyrene. Paton and Hicks, Inscriptions of Cos, Demo Kottias. 355. Ruined church in the village of Pyli.

/.

G.

R. I,

Rome.

5253.

p. 228, No.

/. G. XIV, 1554. Rome. Dionysodorus. (owpos). E. Breccia, Eemnaious, a maiden who died untimely du Musie Egyptiennes Catalogue General des Antiquitis d'Alexandrie: Iscrizioni Greche e Latine, p. 175, No. 347. Alexandria.

/. G. XIV, 1594. Rome. Euarestus. Euterpe. C. I. G. IV, 9524. Syracuse. 5300. Cyrene. Gaius Anpelis. C. I. G. Gamikus, the comedian. /. G. XIV, 874. Misenum. I.G. IX, 661; Lolling, Ath. Mitt. VII Gregoria.

lll,

Pelasgiotis

(1882),

p.

235.

B.C.H.

XII

(Larissa).

/. G. XIV, 902. Capri. /. G. XIV, 125. Sicily (Syracuse). Kallineikus. I.G. XIV, 1726 ; C. I. G. HI, 6425. Kallippus. /. G. VII, 2343. Boeotia (Thisbe). Eokkeia. C. I. G. II, 3343. Smyrna.

Hypatus. Ioubinus.

Korinna, daughter of Diphilus. (1888), p. 237, No. 10.

/.

G.

Minoa.

XII,

Rome.

362; Radet,

I.G. XIV, 39. Sicily (Syracuse). Laronianus, son of Loupus. G. Mendel, B.C.H. XXIV (1900), p. 395, No. 64. Bithynia (Ak-hissar). Leonto, daughter of Metropolis. I. G. IX, 649. Pelasgiotis (Larissa). Matrona, wife of Markianus. Calder, Monument a Asiae Minoris Antiqua, I, p. 160, No. 301. Phrygia (Atlandy). Ch. Avezou and Ch. Picard, Megethis, daughter of Olympias. Krispina.

298

AGE AMONG

OLD

B.C.H.

XXXVII

THE ANCIENT GREEKS

(1913),

p.

113,

No.

27.

Macedonia

(Saloniki).

Nikopolis, wife of Alexandras. /. G. IX, 408. Pelasgiotis (Scotussa). Petemounus, son of Mesoeris. Preisigke, Sammelbuch griechischer Urkunden aus Agypten, I, 84. Egypt (Acoris). C.I.G. II, 1817. Pompeia, daughter of Markus Pompeius Lukus. Epirus. Ptolemais. C. I. G. IV, 6913. Rome. Sambus, who loved his children (tpiKirKvot) t and was honorable E. Breccia, Catalogue Giniral des Antiquitis ( XpVaTS* ) . Greche Egyptiennes du Music d' Alexandrie : Iscrizioni e Latine, p. 181, No. 369. Egypt (Behera). louus. C. I. G. IIl, 5233. Cyrene. Smyrus, son of Syntyche, who was excellent ( xP1 and was the daughter of J. Hatzfeld, B.C.H. XXXVI (1912), p. 216, No. Karpus. 44.

Delos.

Syrio. C. /. G. IV, 6897. Place uncertain. S. E.G. IV (1929), 32. Taurope, who was excellent (xpV
Kalinka, Antike Denkmaler in Agathenor, son of Kleanor, a hero. Bulgarien, p. 231, No. 286. Varna. Blastus. /. G. IIl, 1466. Piraeus. Diotimus, son of Sosagoras. I.G. XII, 115; Polak, Mnemosyne, XV (1887), p. 246. Arcesine. Eutychides, the sculptor, son of Zoilus of Miletus. C.I.G. I, 710: III, 1308; Kaibel, Epigr. Grace. 42; Michel, Recueil d'lnscriptions Grecques, Supplement, 1-2, p. 187, No. 1809. Attica. Gaius Ioulius Agatho, son of Aude. C.I.G. IIl, 6574; I.G. XIV, 1670.

Gaius

Rome.

Vibius

Licinianus.

(Nemausus). Herakleides. C. I. G. Iulianus.

/.

G.

XIV,

II,

C. 3326.

1714.

I.

G.

III,

Smyrna.

Rome.

6789.

Gallia

Narbonensis

OF INSCRIPTIONS

CATALOGUE

Kassius Hermes.

Ch. Avezou

and Ch.

Picard,

299

XXXVII

B. C. H.

(1913), p. 103, No. 13. Macedonia (Saloniki). Klaudia Aphrodeisia. D. M. Robinson, A. J. A. XVII 173, No. 38. Cyrenaica. Kleomenes, brother of Lucius Ioulius [Ph]oib[i]on.4 6428; I.G. XIV, 1779. Rome. Kointus. C./.G.Il,2006. Macedonia (Bitoglia).

(1913),

C.I.G.

p.

lll,

I.G. XIV, 2550; Carolus Zangemeister, Ephemeris Kommagenus. Epigraphica, VII (1892), p. 306, No. 952. Verterae. Leon, son of Ailius Kuin[tili] us. Basilius Latyschev, Inscriptiones Antiquae, I, p. 152, No. 124. Olbia. Maria, alias Patrikia. C.I.G. IV, 9302; Welcker, Rhein. Mus. X (1845),

Aegina. p. 43. brother of Markia. Paul Perdrizet, B. CH. XVIII (1894), p. 438, No. 5; P. Papageorgiu, Ath. Mitt. XXXVI (1911), p. 279, No. 2. Macedonia (Berga). Markus Klaudius Markeianus, son of Markus Klaudeius Stratoneikus of Nicomedeia. /. G. R. I, 548. Senia. Markus,

I.

Neikopolis. 19.

G.

V,

181 ;

Mendel,

B.C.H. XXV

(1901), p. 278, No.

Tegea.

Patraia, alias Ioulia.

Gr. Inscriptions in the British Mu Place uncertain. Petechon. G. Lefebvre, B.C.H. XXVII (1903), p. 351, No. 18. Egypt (Acoris). Phlabianua, son of Dorus. 6295; I.G. XIV, 2100; C.I.G. /. G. R. I, 365. Rome. seum,

IV,

Ancient

1124.

lll,

E. Breccia, Catalogue General des Antiquitis tgyptiennes Reginus. du Musie d'Alexandrie: Iscrizioni Greche e Latine, p. 180, No. 367. Alexandria. Sammelbuch griechischer 8. E. G. I, 576 ; Preisigke, Sabbathis. 6653. Vrkunden aus Agypten, Egypt (Tel-el-Yahou-

III,

diyeh ) . C. I. G. ID., 4828 ; C.I.G. Stateius Eutyches. Sensaus.

I. G. B. I,

in,

1232.

5649b;

Egypt (Thebes).

I.G. XIV,

439.

Sicily

(Tauromenium). I. G. IX, 641. Pelasgiotis (Larissa). Symphonia. Tapaeik. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten. I, 3559; Egypt (place unknown).

Titus Ailis Biktoreinus. Zeaina Arimma. •The reading

/.

G.

XIV,

C.

I.

I.

G.

given in

G.

lll,

XIV,

5321.

C.I.G.

1779 is [Blippa,*.

527.

Sicily (Catana).

Cyrene.

lll,

6428,

is [*oi/9[i]w»;

that of

300

—

OLD AGE AMONG of Ailis I.G. XIV, 466.

', son

THE ANCIENT

Achi Ileus and Stratonike.

GREEKS

C.I.G.

lll,

5699;

Sicily (Catana).

E. Breccia, Catalogue General des Antiquitis Egyptiennes du Musie d'Alexandrie: Iscrizioni Greche e Latine, p.

mona.

Alexandria. Preisigke, Sammelbuch griechischer Vrkunden III, 6649; 8. E. G. I, 572. Leontopolis. 180, No. 367.

.

Seventeen

aus Agypten,

Years

Aetius, brother of Aristophanes and Elpidius. H. S. Cronin, XXII (1902), pp. 373-74, No. 148. Pisidia.

J. H. 8.

Ancient Gr. Inscrip Agathandrus, son of Ioulianus and Regeina. tions in the British Museum, II, 179. Thrace (Kustenji). Aileutheris, son of Pantheia. F. Halbherr, A.J. A. XI (1896), p. 591, No.

73. Crete (Genna). I.G.R. IV, 1526; Buckler and daughter of Artemidorus. Robinson, Sardis, VII, 1, Greek and Latin Inscriptions, No. 113. and Sokratia, Asklepiades, son of Apollonius Phlakkillianus

Artemisia,

II

Buresch, Aus Lydien, daughter of Apollonius and Hesperis. p. 86, No. 44; J. Keil and Anton von Premerstein, Bericht iiber eine Reise in Lydien, p. 86, No. 185. Lydia (Kula).

Aurelius Diokleides,

Aurelius Diokleides and Aurelia Tertia. XIV, 2436. Gaul (Massilia).

son of

I.G. lll, 6769; /. Demetria. /. G. XII, 347. C.

G.

Minoa. Sammelbuch griechischer Vrkunden aus Preisigke, Eponychus. Agypten, I, 3543. Place unknown. Now in the Louvre. Eudaimon. G. Lefebvre, B.C.H. XXVII (1903), p. 369, No. 95; Sammelbuch

Preisigke,

I,

griechischer

Vrkunden

aus Agypten,

Egypt (Acoris). Glykonis, wife of Zethus, son of Philiskus, who lived honorably H. Lechat and G. Radet, B.C.H. XII (1888), p. (manias). 118.

203, No. 17.

Ioulius Theodorus, C.

I.

G.

IV,

Bithynia (Ghemlek). Ioulius Kallimorphus and Ioulia Agathe.

son of

9568;

I.

G.

XIV,

1682.

Rome.

Iulianus. C. I. G. lll, 6593 b. Florence. Kaikina Rogata, daughter of Kaikina Euemerus. C. I. G. lll, 6503 ; /. G. XIV, 1723. Rome. Klaudia Doxa. C. I. G. lll, 5197. Cyrene. Loukius Iounius Ammonis. I.G. XIV, 1716a, Addenda et Cor rigenda.

Rome.

Markia, daughter of Chreste, daughter of Hippokrates, Hippotes.

G. Mendel,

Bithynia (Ark).

B.C.H. XXIV

and sister of (1900), p. 17, No. 115.

OF INSCRIPTIONS

CATALOGUE

Markus Domitius Sabeinus. Neo, son of Xenophon. C. Pantheia. C. I. G. I, 1505

/.

G.

I.

G.

;

/.

R. IV,

lll,

G.

Smyrna.

1447.

XIV,

8450; /. G.

V,

301

1886.

Rome.

Sparta.

799.

/. G. XII, 436. Mytilene. Pankarpus. Patrobius, son of Karpus. /. G. XIV, 1741. Rome. Pauleinus, son of Loukius. C./.G.11, 3755. Bithynia (Nicaea). Sidon. Pheilokleia. I. G. 536 b, Addenda et Corrigenda.

lll,

Phlabia Gemella. C. I. G. IV, 9552. Rome. griechischer aus Sammelbuch Vrkunden Preisigke, Pl[e]nis. Now in the Agypten, I, 3511. Egypt (place unknown). Louvre. Poluouchus, son of Achilleus.

Poplia.

C.

I.

G.

lll,

5333.

C.

I.

G.

lll,

5220.

Cyrene.

Cyrene (Arsinoe). Sammelbuch griechischer

Ptolemaius. Preisigke, Agypten, III, 6238. Alexandria. Sadda, daughter of Tautus Bagratus. C. I. G. Silanus, son of Solon, son of Zometherus.

lll,

Vrkunden 4519.

I.

C.

G.

aus

Damascus.

II,

1833.

Illyricum. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, Place unknown. 5970. I. G. XIV, 1435. Rome. Telesphorus. us, son of Loukius. E. L. Hicks, J. H. S. ( 1887 ) , p. 433,

Tasia.

I,

VIII

No. 44. . .

I.G. XIV, 819. C. I. G. lll, 5824

Eighteen Achilleus.

B.C.H. XV

Aristokles,

a hero.

(Naples).

Campania

b, Addenda et Corrigenda.

Naples.

Years

(1891), p. 49. Phocis (Delphi). Aphia, daughter of Troilus, son of Theokles, and of Eumeneia, daughter of Menandrus. G. Mendel, B. C. H. XXVII ( 1903 ) , Bithynia (Sasak). p. 323, No. 21. C. I. G. IV, 9589. Rome. Aphrodisis. 263, No. 335.

Artemeisia.

E. Kalinka, Antike Denkmaler in Bulgarien, Varna.

C.I.G. IV, 9683. Rome. C.I. G. lll, 6209; I.G. XIV,

Asklepiodorus. Gr. 606.

1432;

p.

Kaibel, Epigr.

Rome.

Atalanta, freedwoman of Margarites. Rome. Basileides, son of Menestheus.

I.G. XIV,

1832;

I.G.R. I,

207.

391, No. 52.

Chrestus,

who was a citizen

son of Protus.

G. Mendel, B.

C.H. XXIV

(1900), p.

Bithynia (Isnik).

C.I.

G.

of Thessaly, Larissa, and Pelasgiotis, 1723. Phocis (Delphi).

I,

302

OLD

AGE AMONG THE ANCIENT GREEKS

Demetria, daughter of Chresimus. C. I. G. III, 5196. C.I.G. III, 6372; Dionytas, brother of Dionysis.

Cyrene.

I.G. XIV,

1547.

Rome.

Dorus Sardinianus. A. Frontrier, B.C.H. VII (1883), p. 503, No. 4. who died untimely (iwpot) , was worthy ( xpnarin ) , and Preisigke, loved by all ( iraa /0iXos ) ; husband of Teuphila. Sammelbuch griechischer Drkunden aus Agypten, III, 6172. Elpis. /. G. V, 385; /. G. XIV, 1569; /. G. R. I, 249. Rome. Heliodorus, son of Heliodorus. Basilius Latyschev, Inscription** Antiquae, II, p. 71, No. 86. Kertch. Herakleidianus, son of Herus. C. I. G. IV, 6942. Place uncertain. Herois. P. Roussel, Revue des Etudes Anciennes, XVI (1914), 349; Dosas,

Seymour de Ricci, Revue Epigraphique, I (1913), p. 145. Place unknown. Egypt. Anderson, Cumont, and idius, husband of Pakata. Ioulius Pontua Gregoire, Studio Pontica, III, p. 194, No. 195. ( EuchaTta

).

Isidora. E. Breccia, Catalogue Gineral des Antiquitis Egyptiennes du Musie d' Alexandria: Iscrizioni Greche e Latine, p. 177, No. 355. Alexandria. Iulia Dioskore ( ?). I.G. XIV, 844. Puteoli.

/. G. XIV, 543. Sicily (Catana). Kallisto, daughter of Zoiis Eleuseinius. I. G. XII.

Kalliope.

38. Lemnos. Klaudius Epiktetus. J.G. V, 1192. Laconia (Gythium). Leonteus, son of Eupydikus. /. G. XII, 447. Aegiale. Loionto, daughter of Synphorus. I.G. IX, 658; Lolling, Ath. Mitt. VII (1882), p. 234. Pelasgiotis (Larissa). Loukius Ioulius Neikostratus, the Sardinian. /. G. IV, 206. Cenchreae.

Mark us. son of Poplius. C. I. G. IIl, 5240. Cyrene. Markus Ailius Korn[e]lianus Taurus, son of Markus Kokkeius Archedemus. G. Mendel, B.C.H. XXIV (1900), p. 420, No. 125. Bithynia. Markus Titius Ianouapius, the Sardinian, son of Papias, son of Diodorus. C.I. G. IIl, 6643; I.G. XIV, 1926; I.G.R. I, 326. Rome.

A. M. Woodward, Annual of the British School at Melanippus. Athens, XVIII (1911-12), p. 157, No. 26. Macedonia. Melitho. C/.G. IIl, 5839; /. G. XIV, 798. Naples. Menekrates, son of Apollonphanes. W. H. Buckler and D. M. Robin son, Sardis, VII, 1, Greek and Latin Inscriptions, No. 119. Nometora. C. I. G. IV, 9915. Rome. Nonius. C. I.G. II, 3715. Bithynia (Medania).

CATALOGUE

OF INSCRIPTIONS

Giniral

des Antiquitis tgypIscrizioni Greche e Latine, p.

E. Breccia, Catalogue Oualerianus. tiennes du Mus6e d'Alexandrie: 179, No.

362.

Abydus.

Pardalis, wife of Philagathus.

303

A.J. A. XI

F. Halbherr,

(1896), p.

590, No. 72.

Crete (Genna). Peteminis, son of Psenosipis and of Sensansnos. Preisigke, Sammel Egypt. aus Agypten, I, 2099. buch griechischer Vrkunden Place unknown. Now in Berlin. Anderson, Cumont, and Philoromaius, son of Abaius and Domettia. Pontus p. 207, No. 212. Gregoire, Studio Pontica,

III,

(Euchalta). Philotechnus,

son of Kalotychus.

/.

XII,

G.

Minoa.

373.

E. Breccia, Catalogue General des Antiquity's tgyptiennes Salamis. du Musie d'Alexandrie: Iserizioni Greche e Latine, p. 180, No. 368. Alexandria. Salbia.

XIV, 382. Sicily (Tyndaris). Markia, daughter of Petronius Antigonus and Aphrania Markia. 0./.G.lIl,6618; I. G. XIV, 1988. Rome. /.

G.

Sammoukia Sarrha,

daughter

of Telesistratus.

O.

/.

G.

lll,

5340.

Teucheira

(Arsinoe). /. G. V,

1222. Laconia (Teuthrone). Soter, alias Saoua. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 821. Egypt (Fayence). E. Legrand and J. Chamonard, B.C.H. XVII (1893), Stratoneikes.

Sosikrateia.

Phrygia (Surlu). Billus, son of Synegdemus. Lycia (Chelidoniae Insulae). p. 290, No. 97.

gynegdemus, alias

Taapeis, daughter of Anoubion, Sammelbuch griechischer

C.

I.

G.

lll,

4322.

teacher of gymnastics. Preisigke, Vrkunden aus Agypten, I, 822.

Cairo Museum. Egypt. aus Tachoumise. Sammelbuch griechischer Vrkunden Preisigke, Agypten, I, 5973. Place unknown. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, Tapia. I, 5962. Place unknown. /. G. XIV, 255. Sicily (Licodia). Tauropa. Thalassis, daughter of Euphranor. C. I. G. 5293. Cyrene. Theodorus. 0./.G.Ill,6413; /. G. XIV, 1649. Rome. Theodosia, daughter of Dorotheus. /. O. XIV, 1648; I.G.R.

lll,

Rome. Theodotus, son of Doryphorianus. 6410. Rome.

/.

G.

XIV,

1559;

O./.

I,

263.

G.

lll,

IIl,

0. /. O. 5298. Cyrene. Theupropus. comedian, son of Chryserus. Tyrannus, the I, 358, Rome.

/.

O.

XTV, 2050; /.

G.

R.

304

OLD AGE AMONG

THE ANCIENT GREEKS

Xenophon, son of Xenophon. /. G. XIV, 1886. Rome. Zena, who caused no pain ( iXviros ) , who died untimely ( iupos ) , and was loved by all (waai
312.

Zosima.

C.

I.

Zosima.

/.

G.

lll,

IX,

6401 ;

I.

G.

XIV,

1632.

Rome.

Corcyra. 6239. Rome. , daughter of Dorotheus. C.I.G. and Dionysia. G. Doublet, B. C. H. , son of Eutychus (1899), p. 65, No. 6. Crete (Lyttus). A Salac, B. C.H. LI (1927), p. 399, No. , son of Aristokrate. 26; W. Ramsay, J. H. 8. (1882), p. 126. Phrygia Epictetus 950.

lll,

XIII

Ill

(Nacoleia). , son of [D]o[r]yphorus. G. Mendel, B.C.H. p. 417, No. 116. Bithynia (Ark.). .

C.

I.

G.

lll,

.

I.G. IX,

.

C.

I.

(1900),

Assarlar.

Cephallenia. 3019. Ephesus.

616.

II,

G.

3847 e, Addenda et Corrigenda.

XXIV

Nineteen Years

I.G.

Agathapous.

No.

186,

V,

178;

479 a;

Kaibel, Rhein. Mus.

Romaeus,

XXXIV

B.C.H. XXXVI

(1879), p.

(1912),

p.

380.

Tegea.

of Agathokles. I. G. XIV, 835. Puteoli. B. C. H. XXXVI ( 1912), p. 381. Tegea. Apollonius, son of Soter. Arabic C. I. G. IV, 9665. Rome. C. I. G. 6346. Asklepiodotus, son of Markianus of Nicomedeia. Androneikus,

son

IIl,

Rome.

/. G. V, 950. Aurelia Markianus, Aster.

Laconia. son

of Salloustius.

I.

G.

XIV,

2330.

Venetia

(Concordia) Besis, son of Apollus .

des

and Taripis. E. Breccia, Catalogue General Antiquitis dgyptiennes du Musie d'Alexandrie : Iscrizioni

Greche e Latine, p. 230, No. 516. Diogenes, son of Herakleides of Macedon. giotis (Larissa). Dokimus. C. I. G. IV, 9764. Rome.

/.

G.

IX,

367.

Pelas-

E. Breccia, Catalogue Giniral des Antiquitis EgypEpagathus. tiennes du Musie d'Alexandrie: Iscrizioni Greche e Latine, p. 175, No. 348.

Alexandria.

CATALOGUE

OF INSCRIPTIONS

305

Eutychus, son of Eutychus, the servant of Troilus Mousaius. XVI (1892), p. 439, No. 81. Lycia (Baindir). Gaius Ioulius Sosibius, son of Petronius

/. Glykerus, p.

G.

R. I,

272.

/.

Serenus.

Rome.

M. Schede, Ath. Mitt. 15; G. Mendel,» B.C.H. XXIV

son of Antonius. 104, No.

No. 56. . Grammateus. C. I. G.

IV,

6904.

G.

B. C. H.

XIV,

1691 ;

XXXVI

(1911),

(1900),

p. 393,

Place uncertain. D. M. Robinson, A. J. A. XVII Cyrenaica (Tokra or Teucheira).

Kallieteira, daughter of Antigonus. (1913), p. 192, No. 109.

Klodius. /.O. XIV, 134. Sicily ( Syracuse ) . Loukia Antoneina, wife of Titus Loukius Latinus.

/.

G.

XIV,

1816.

Rome.

Loukius Petronius Symphorus. C. I. G. TV, 6995. Place uncertain. Menekrates, son of Menekrates and Iounia. J. Keil and Anton von Premerstein, Bericht iiber eine Rcise in Lydien, p. 45, No. 93. Lydia ( Sarytscham ) . /. G. XIV, 1974. Rome. Nymphidia, wife of Protoktetus. Oursikinus Anatolikus. /. G. XIV, 2561. Germany (Trier). Pauleina, wife of the physician Andronikus. I, 329; C. I. G. 6735. Ravenna.

lll,

/.

G.

XIV,

1937;

/.

G. R.

/. G. XII, 66. Naxos. Penelopeia, wife of Philagathus. Sambathin, who died untimely (4«poj), was childless [irtKvos), and was loved by all (iro
( place

Soter. /. G. XIV, 2027. Rome. Tamuthes the younger, daughter of Peseiris son of Krairius and of aus Tites. Sammelbuch griechischer Vrkunden Preisigke, Agypten, I, 3884. Now in the British Museum. Theodota, who was excellent (x/"lff'"}). E. Breccia, Catalogue General des Antiquitis Egyptiennes du Musie d'Alexandrie: Iscrizioni Greche e Latine, p. 176, No. 351. Alexandria. Thermouthis, G. Lefebvre, B. C. H. XXVII daughter of Ones. (1903), p. 351, No. 17. Egypt (Acoris). Tkoualatcinus, son of Eponychus. Sammelbuch griePreisigke, •

The reading here is T\VKtiot instead of T\iKtpos. 20

THB AKCIBKT GEEEKS OLD AGE AMONG , Egypt r T 2611

306

unknown). Agypten,

i

,,.

I,

J»4^.

n««.chitcJier

(place

Urkunden

at8

*•

Museum.

v

.

Rome.

„621

Taurica. Kome C-'-»- lv- »< Bargus. A»c~n« oi wife , Tai„arus. Athens. 870. ; daughter of the «mM* ■" Or inscription* tn ^ Boeotia (Thebes) . /G.VII,2541. . Chersonesus

**Z£SJS^"-

;

{. a.

m, mo,

i2J52£TXiiI 0nec/it*c*er

Preisigke, Samnvelbuch

a-

^

Twenty Years ««>, Abgarus.- C. /. ff. HI. Probinkiales. of wife Agathe,

m «^ C.I. O.I".

6325;

I. G. XIV,

1972-

(Arsinoe). Teucheira ie HI, 5360 vKTe. „ TTr 53»u. Agatho. C. /. G. IV u46. Smyrna. of Archelaus. son A^athoUes, Cyrene.

—

'ff£™

sr= as: tssr^ii s.

ASn^^S-.^iaB^.p.^Ko.lO. (Khisfln). Alexandra, son of Aux.mus.

C.

C^

i. w.

._ uj

5293 .

Cyrene.

Sy^ia

-

Teucheira ( Arsinoe) Sammelbuc* i Preisigke, place uncertain.

Alypatus, son of Bachis. /. ». ^ * Amerus, son of Bestorus. C. "^ *• au» . Urfcunden pfeftfeofcer Tfcessalonica. C./-ftD. of Sarmates Andron ^ Thessalomca^ Aneiketus, son of Ane.ketus C £e. Aniochus, son of Tydes ■ »• Antonia, wife of Pouphs. C.. I. fc .», *». Antonius, son of Antomus. C. /. , O.J.w. Aphrodeisius, an Alexandrian.

W*«.

J**"^ *£*=££,. ^e.

Z

• The

.

inscription

not give the precise

says

v- was «M more he

number.

than twenty

years, but does

CATALOGUE

OF INSCRIPTIONS

307

C. I. 0. lll, 4778 c. Egypt (Thebes). l.G.R. TO, 1383; Kaibel, Epigr. Gr. 434. Arabia Arrianus. (Petra). Aurelia Krispiniana. C./.G.ll1,4106. Galatia (Tschorum). Balerius Sokrates. /.G. XIV, 410; 0./.G. lll, 5632. Sicily

Archedemus, son of Dositheus.

( Messana ) . Bassus Ouiktorus, a general. I.G.R. 1304. Arabia (Aloun). /. G. XIV, 1506. Pisaumm. Berneika. D. M. Robinson, A.J. A. XVII (1913), p. 197; 0./. G. Chairemon. 5204. Cyrenaica (Tokra or Teucheira). Chresta, daughter of Eugamon and Sympherousa. C.I. G. 6489;

lll,

lll,

I. Damo, Deo.

IIl,

XIV,

G.

daughter

Rome.

2119.

/.G. lll,

Kognitius and Deiogeneia.

of

Kaibel, Epigr. Gr. 142. Athens. /.G. lll, 1311; Kaibel, Epigr. Gr.

116;

1353;

Michel, Recueil d'In-

scripticms Grecques , Supplement, 1-2, p. 187, No. 1807. Athens. Domneinus Tyranus, son of Herakleides of noble ancestry, son of Aurelius Herakleides and Madagaua. E. Kalinka, Antike Denkm&ler in Bulgarien, p. 275, No. 346. Varna. Eiseidora, wife of Oneseimus. O./.G. 6422; /.G. XIV, 1896.

lll,

Rome.

lll,

son of Prothymus of Miletus. /. G. 1339. Dipylon. Epaphrodeite, wife of Megetho. F. Halbherr, A.J. A. XI (1896), p. 592, No. 76. Crete (Genna). Epyllon, father of Nikanor. I. G. IX, 1247. Perrhaebi (Phalanna). O. /. G. IV, 9523. Euagrius. Sicily (Motyca). Eudaimon Basso. C. I. G. 5271. Cyrene.

Eision,

lll,

O. /. G. I, 948. Athens. Eutychus. Anderson, Gabeinia, the excellent sister of Gabeinius Herennianus. Cumont, and Gregoire, Studia Pontica, p. 175, No. 167.

III,

Amasia.

/.

Helius. Hermes.

G.

C.

I.

XIV, G.

1637.

lll,

Rome.

5854 b, Addenda et Corrigenda ;

Puteoli. Homonaea, wife of Atimetus.

Hordionia Polla.

C.

I.

G.

lll,

/.

G.

6200.

XIV,

1892.

/.

G.

XIV,

842.

Rome.

Rome.

/. G. XII, 372. Minoa. son of Hygiazon. Ioulia. /. G. IX, 638. Cephallenia. Ioulia Ailiane. /. G. XIV, 478. Sicily (Catana). Ioulia Stratonike, wife of Ioulius Pankarpus. I.

Hygeinus,

G.

XIV,

Rome.

/. G. XIV, 33. Ioustus. Irena, wife of Timothes.

Sicily (Syracuse). /.G. XIV, 177. Sicily (Syracuse).

1689.

308

OLD AGE AMONG

I.G. VII,

Kallityehe.

1883;

THE ANCIEXT Rhein.

Welcker,

GREEKS

if us. IV

(1845),

p.

Kaibel, Epigr. Gr. 497. Boeotia (Thespiae). Kapito, third son of Kapito. Anderson, Cumont. Gr£goire, Studio Pontica, III, p. 171, No. 158. Amasia (Deli-Keui). Kekilianus. C. I. G. IV. 9487 ; /. G. XIV, 541. Sicily ( Catana ) . Klaudius Blast us. C. I. G. II, 1821 b, Addenda et Corrigenda. Epirus 238, No. 7;

(Nicopolis)

.

D. M. Robinson, A. J. A. XVII (1913), p. 173, No. 38. Cyrenaica. Klaudius Onaranes, a general. I.G. It. III. 1330. Arabia (Bostra). Kolouthus. C. /. G. in, 6323. Italy (Volaterrae).

Klaudius Demetrius.

I.G. XIV, 142. Sicily (Syracuse). Kouintus Lollius Charidemus. /. G. XII, 643. Tenedos. Krispius. Ancient Gr. Inscriptions in the British Museum. Kosstantia.

Cyprus. Leosthenes Lepidus.

alias Erasmius.

C.

I.

G.

Ill,

5403 ;

I.

II, G.

Sicily (Syracuse). Loukius Mourdius Neraklas. C. /. G. II, 3325. Smyrna. Loukius Narkissus. C. I.G. lll, 6443 ; /. G. XIV, 1874. Rome. I.G. V, 797; Collitz and Bechtel, Sammlung Lysandrida. griechischen Dialekt-Inschriften, III, p. 42, No. 4505.

390.

XIV,

40.

der

La-

conia.

Markarius.

Sammelbuch griechischer Vrkunden Preisigke, Agypten, I, 5963. Place unknown. Markella. /. G. XIV, 1835; C. I. G. 6253. Rome.

aus

lll,

Markia. /. G. XIV, 1839. Rome. Markia Loukilia. I.G. XIV, 490. Sicily (Catana). Markiana Helika. C. I. G. lll, 6254. Rome. Maxima, daughter of Maximus and Eirene. /. G. XIV,

lll,

6511.

Melitina, daughter of Hesyehus. rissa

1829;

C.

I.

G.

Rome.

/.

G.

IX,

965.

Pelasgiotis

(La-

).

/. G. XII, 363; Pollak, Ath. Mitt. XXI Metrodorus. son of Aniketus. (1896), p. 202. Minoa. Mikka, daughter of Euphemus. C. /. G. II, 3797 b. Nicomedeia. Myronis, wife of Panthes, who had been married 7 years. 0. I. G. IV, 6203 ;

Nike.

C.I.

/.

G.

G.

IV,

XIV,

6916.

Rome. Place uncertain.

1866.

son of Soterichus. /. G. V, 732. Laconia. Pamphile, a bride. /. G. II, 4054. Promontory of Sunium near the village of Laurium. Petetriphi[s], son of Sokrates and of Tphoou, daughter of Saipsis. Cf. griechischer Sammelbuch Preisigke, Vrkunden aus Agypten, I, 3885. Now in the British Museum.

Nikephorus,

OF INSCRIPTIONS

CATALOGUE Petisia

C.I.G.

Stephanephoria. Florence.

Ill,

6469;

309

l.G.

XIV,

1940.

Philostorgus, son of Neike. S. Reinach, B. C. H. VIII (1884), p. 448, No. 12. Amorgos (Arcesine). 6649 ; C. I. G. Phlaouius Pistikus, son of Phlaouius Patroinus. /. G. XIV, 2068. Home. Phortounata. C. I. G. IV, 9525; /. G. XIV, 184. Sicily (Syracuse). D. M. Robinson, A. J. A. IX (1905), Phoulbius, son of Praitoreinus.

lll,

p. 317, No. 50. Sinope. /. G. IX, 966. Corcyra. Phoulkennia Phausta. Plotena Asia. D. M. Robinson, A.J. A. XVII (1913), p. 182, No. 65. Cyrenaica. Buckler, Calder, and Cox, J.R.8. XIV (1924), p. 64, Pompeus.

No. 79. Isauria (Alisa). Pontika, wife of Philoponides. C.I.G. lll, 6459; l.G. XIV, 2077. Italy (place uncertain). Poplius Ailius Phaidrus, son of Ailius Theophilus, and of Kekropia. C.I. G. I, 765; l.G. lll, 1335; Kaibel, Epigr. Gr. 152. Athens. Poublius Ailius Ditianus.

l.G. IX,

Prima.

C.

I.

G.

lll,

6531.

Rome.

Pelasgiotis (Larissa). Gr. Inscriptions in the British Kaibel, Epigr. Gr. 287. Cnidos.

Primerus.7

849.

Ancient

830;

Museum,

IV,

son of Thalamus. G. Mendel, B. C. H. Agathangelus, (1900), p. 392, No. 55. Bithynia (Isnik). Seuereinus, son of Seouerus, son of Abonoteicheites. /. G. 1462. Athens. Sidetes, son of Domna. /. G. XIV, 1558; /. G. R. I, 349. Rome. Sophokles. /. G. XII, 441. Thasos. Sotion, slave of Stratolaus. /. G. XII, 116; Baumeister, Jahrb. class. Philol. LXXV (1857), p. 352. Eretria (Tamynae). Soubaithius. C. I. G. 4655. Palaestina ( Schmerrin ) .

Satianus

XXIV

l.G.

lll,

lll,

lll,

Kaibel, Epigr. Gr. 171. Athens. /. G. IX, 806 ; Lolling, Ath. Mitt. XII Strymon, son of Neikanor. (1887), p. 350, No. 112. Pelasgiotis (Larissa). Takitus, son of Kassius. C. I. G. 5334. Cyrene. Theodosia Philo. C. I. G. 5293. Cyrene. Theodotus, son of Ptolemaius. C. I. 0. 5296. Teucheira ( Arsinoe ) . Bozo.

1378;

lll,

T

The inscription

says

he lived with good cheer

friends.

lll,

lll,

that he died before the 20th year, and that and laughter, and was much missed by his

OLD AGE AMONG

310

THE ANCIENT GREEKS

Thmosius, daughter of Sansnus, son of Psentphus. Preisigke, mclbuch griechischer Vrkunden aus Agypten, I, 2632.

Sam-

Now

in Berlin. Tiberius Pctronius

Kapito. C. I. G. lll, 5172. Cyrene. C. I. G. lll, 5190. Cyrene. Apollon[i]u[s]. Timo[th]e[us] A. Jarde and M. Laurent, B.C.H. XXVI (1902), p. Timoxenus.' Boeotia (Larymna). 330, No. 35. /. Gf. IX, 878. Corcyra. Zeno, son of Heliodorus. Zoseimus, a hero. G. Mendel, B. C. H. XXVII (1903), p. 332, No. 48. Bithynia (Ayandinn).

lll,

6402. Rome. Zosima, wife of Cheius. C. I. G. /. G. LX, ," wife of Aristandrus and daughter of Harpolis. Kaibel, Rhein. Mits. XXXIV (1879), p. 182, No. 184 a. 874;

Corcyra. , brother of Philippianus.

C.I.

G.

IV,

9615;

I.G. XIV,

2072.

Rome. Anderson, Cumont, Gregoire, Studia , slave of Aphrodiseus. Pontics, III, p. 139, No. 115. Amasia. two years in the army. /. G. R. 1342. , who served

lll,

Arabia (Gerasa). I. G. V, 769. Sparta, . . /. G. XII, 143. Qani-dere. .

I. G. XII, /.O. XIV,

554.

Thasos.

Sicily (Syracuse). griechischer Sammelbuch Preisigke, Agypten, III, 6706. Egypt (Karanis).

.

196.

.

/. G. IX,

.,0

660.

Pelasgiotis

Vrkunden

aus

(Larissa).

Twenty-One Years Agathopous, son of Mnasius.

Annual of

the

H. A. Ormerod and E. S. G. Robinson, XVII (1910-11), p.

British School at Athens,

Pamphylia. Cauer, C. I. G. lll, 4453 ; Regeinus. IV, graphies, Hierapolis. p. 419, No. 89. Aisius, son of Hermogenes. G. Mendel, B.C.H. 383, No. 31. Bithynia (Tcheltiktchi). 244.

Aimilius

Ephemeris

XXIV

• The reading is Surah l£ Muv w\vaiptvos StKiSas. to be regarded as tmesis, and in prose it would

i Kw\rjadui

' The

vus

iriav

Epi

(1900),

p.

It

is doubtless read: Siaais

SeKaSas.

inscription says that she has completed twice ten years and has started on the third decade. 10 The reading on the stone is opav elKis oiS' ini which may be meant for ovirus irwv etKoai.

OF INSCEIPTION8

CATALOGUE

311

XXVII

Attika, daughter of Helius. G. Mendel, B.C.H. 319, No. 8. Bithynia (plain of Boli).

(1905), p.

Preisigke, Sammelbuch grieAurelius Ptolemus, alias Epimachus. chischer Vrkunden aus Agypten, I, 1430. Egypt. Now in the museum at Gizeh. Sammelbuch alias Epimachus. Aurelius Triptolemus, Preisigke, griechischer

Elemon.

I.

C.

G.

aus Agypten,

Vrkunden

Museum. Demetrius. C.I.G. Rome.

III,

lll,

6364;

4709.

Eukarpia, wife of Zosimion.

I.G. XIV,

I.G. XII, Venetia

XIV,

2355.

0./.G.ll,3341.

I.G.R. I,

lll,

/.

G.

1536;

51.

Cairo

Egypt,

835.

Upper Egypt (Lycopolis). 6389; I.G. C.I.G.

Rome. Eukrates, son of Andrion. Eutychas. Galeria.

I,

XIV,

241.

1605.

Carystus.

(Aquileia).

Smyrna. G. Mendel, of Chresta, daughter of Hippokrates. B.C.H. XXIV (1900), p. 417, No. 115. Bithynia (Ark.). Ioulia of Antioch, a reverend woman who loved her husband /

Hippotes,

son

cuse).

Karpio, husband of Chresta. Lechat and Radet, B.C.H. XII (1888), Bithynia (Ghemlek). p. 202. Korellia Aigle, daughter of Dionyttas. I.G. XIV, 1782. Rome. Kosseinius Bassus. I. G. R. IV, 1067. Cos. C. I. G. Lukaphaius. Maria. G. Lefebvre, ( Akhmim

Markia Loukilia.

).

lll,

5215.

Cyrene. (1902), p. 462, No. 26.

B.C.H. XXVI

0./.G.llI,5714. Sicily (Catana).

Egypt

lll,

son of the most distinguished Biktorinus. I. G. 3435. Lydia ( Philadelphia ) . Menekrates, son of Apollonius. G. Mendel, B.C.H. XXXIII (1909), Bithynia (Seldjouk-glazi) . p. 314, No. 68. Neikomachus, brother of Poublius Ailius Bolanus. /. G. R. IV, 587. Maurus,

Phrygia (Azani). Petemenophis, son of Kornelius Pollius and Kleopatra, daughter of Ammonius. C. I. G. Tll, 4824; /. G. R. I, 1229. Egypt (Gour-

nah). Philo[pat]or,

son of Dorotheus.

p. 409, No. 93.

G. Mendel,

B.C.H. XXIV

(1900),

Bithynia (Arydjaklar).

Psemaiti, a carpenter, son of Besis. Preisigke, Sammelbuch grie chischer Vrkunden aus Agypten, I, 3886. Now in the British Museum.

312

THE ANCIENT

OLD AGE AMONG

GREEKS

C. I. G. IV, 9852 ; /. G. XIV, 2259. Etruria (Lorii). ous Vrkunden Sensansnus. Sammelbuch griechischer Preisigke, Agypten, I, 3522. Egypt (place unknown). Now in the Louvre. Spouda. /. G. XII, 296. Minoa. Tbekis. G. Lefebvre, B.C.H. XXVI (1902), p. 463, No. 27. Egypt ( Akhmim ) . Rhoupheinus.

lll,

;/. G.

XIV, 2205. Sicily (Syracuse). Paton of Bassus the physician. and Hicks, Inscriptions of Cos. Garden of Hadjantoni. , who was blessed with possessions (eS/uoipot) . B. C.H. XXVI (1902), p. 462, No. 24. Egypt (Assouan).

Telesphorus.

.

/. /.

G.

5411

of Kos[seini]us, son

, son

.

I.

C.

XIV, XIV,

G. G.

2205.

Rome.

2299.

Transpadana. Twenty-Two

Years

Alonius Zoticus, husband of Allonia Marcella. I.G. XIV, 1369; /. G.B. I, 189. Rome. Arteimeleia, /. G. XII, 205 ; Homolle, daughter of Demetrius. B.C.H. XV (1891), p. 672, No. 9. Arcesine (Kolophana). /. G. XIV, 2346. Asklepiodota, daughter of Aurelia Maxeimeiana. Venetia (Aquileia). Aurelia Basilika, daughter of Aurelius Earinus and Aurelia DioC.

geneia.

I.

G.

II,

Nicomedeia.

3774.

Aurelia Sparteiana of Lilybaeum. /. Sicily (Thermae Himeraeae). Benedikta.

E.G. IV

8.

(1929),

XIV,

G.

Rome.

135.

Domitia Kalliope, daughter of Demophilus. Eidomeneus. Eudemus,

C.

son

I.

G.

lll,

of Aphidna.

Epigr. Gr. 74. Athens. Eulogus, a writer of shorthand.

III,

Studia Pontica,

/.

G.

Rome.

6418.

of Euphanes

339 ;

/.

G.

/.

XII, II,

G. R.

I,

505.

973.

Tenos.

1908 ;

Kaibel,

Anderson, Cumont, Amisus.

Gregoire,

p. 8, No. 3 a.

I.G. XIV, 112. Sicily (Syracuse). Euterpe. Germanus, son of Rhouphenus the augur, son of Germanus. /. G. R. I, 839; G. Mendel, B. C.H. XXIV (1900), p. 275, No. 19. Thasos. Iachus, husband of Elpineike. 6417; I.G. XIV, 1568. C.I. G.

lll,

Rome. Iakoubus. Sammelbuch griechischer Preisigke, Agypten, III, 6175. Place unknown.

Ioulius Trophimion. Kasandrus.

/.

G.

/.

XIV,

G.

XIV,

1321.

1693.

Rome.

Rome.

Vrkunden

aus

CATALOGUE

OF INSCRIPTIONS

313

son of Abedsimius. I.G. XIV, 2560. Germany (Trier). Klaudia Atalanta Kyrilla. C. I. G. lll, 3846 y, Addenda et Corri Phrygia (Azani). genda. Klaudius Rhouphus. C. I. G. II, 1807. Epirus (Ambracia). Klaudius Synergus, son of Klaudius Zosimus a physician of Ephesus-

Kassianus,

I.G. XIV,

1755;

I.G.R. I,

284.

Rome.

Kointius Telesphorus. C. I. G. IV, 6974. Place uncertain. Kollautis, daughter of Mesoeris. G. Lefebvre, B. C. H. (1903), p. 356, No. 39. Egypt (Acoris). Kornelia. /.G. XIV, 581. Sicily (Centuripa).

lll,

Korukiotes.

C.I.

G.

Naples. Kumaion. C.

I.

Ill,

G.

I.G. XIV,

5830;

5860 b ;

/.

G.

XIV,

I.G.R. I,

841;

868.

424.

Cumae.

Kyriaka, wife of Kalpurnis Piso, and freedwoman of

lll,

6674; I.G. XIV, 1731. Rome. Loukius Gellius Petikianus of Tyndaris. denda et Corrigenda; /. G. R. I, 236.

XXVII

C.I.G.

Zeno.

lll,

C.

6616 d,

I.

G.

Ad

Rome.

Lou[k]ius Pakoni[us], son of Aulus, a hero. Paton and Hicks, Inscriptions of Cos, p. 219, No. 337. Asphendiu. Maria, daughter of Ioulius. C.I.G. lll, 5311. Cyrene. Markia Hermais. C. I. G. lll, 5584. Sicily ( Thermae Himeracae ) . Marturius. C.I.G. IV, 9486; I.G. XIV, 543a, Addenda et Corri Sicily (Catana). genda. Meno[ph]a[n]tus. Paul Perdrizet, B.C.H. XXIV (1900), p. 229. Macedonia ( Philippi ) . Mesora. C. I. G. Ill, 5358. Teucheira (Arsinoe). Neikanora, daughter of Epaphro of Tegea. R. Vallois, B. C. H.

L

Olympia.

(1926), p. 170, No. 1. Tegea. C. I. G. HI, 6267 ; /. G. XIV, 1890;

I.G.R. I,

311.

Rome.

Oulpia Kurilla. /. G. XIV, 1917. Rome. Pachois. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 3546. Place unknown. Now in the Louvre. Paisis, son of Dizapolis the Thracian. 8. E. G. I, 556 ; Preisigke, Sammelbuch griechisoher Vrkunden aus Agypten, III, 6660. Egypt (Al-Qariah bil Dueir). Paizo. /. G. Xn, 1104. Syros. Pakonia Paulla. D. M. Robinson, A.J. A. XVII (1913), p. 182, No. Cyrenaica. daughter of Kallon. Euboea (Chalcis). 65.

Panakia,

C.I.G. II,

2151;

I.G. XII,

1039.

/. G. XII, 65. Naxos. Penelopeia, wife of Philometor. Phlaouia Kalemera, wife of Serapas and daughter of Titus Phlaouius C. I. G. Pergamus. 6647 ; /. G. XIV, 2095. Rome. Popaius Sabeinus. C. I. G. HI, 5225. Cyrene.

lll,

OLD AGE AMONG

314

THE ANCIENT GBEEKS

of Sinope, son of Popillius Ouphikianus and of D. M Robinson, A.J. A. IX (1905), p. 331, Sestia Markiana. 1450; C. I. G. I, 897. Sinope. No. 88; 7.G. /. G. XII, 536. Thasos. Protogonus, son of Metrodorus. Rhoupheinus, the augur, son of Germanus. /. G. XII, 528 ; Mendel, B. C.H. XXIV (1900), p. 275, No. 19. Thasos.

Popillius Loutatianus

lll,

Sabbation, who was excellent [xpv
Yahoudiyeh). A. H. M. Jones, Jerash.

Sabeina Nono.

J.

R. S. XX (1930),

p. 53, No. 72.

daughter of Sontoous and Magus. Preisigke, Vrkunden griechischer aus Agypten, I, 807. Egypt, Cairo Museum. Senbesis, daughter of Haruotes, son 'of Psenamouvis and Senpetemivis. Preisigke, Sammelbuch grieohischer Vrkunden aus Agypten, I, 1195. Egypt (place unknown). Now in Berlin. Sextus Klaudius Autoboulus, son of Sextus Klaudius Autoboulus, who has showed every virtue in life. /. G. VII, 3425. Boeotia Senareia

eia,

Sammelbuch

(Chaeronea) . I.G. 1198. Athens. Syntrophus. Tatipe, daughter of Pekusis. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 3874. British Museum. Teisira, daughter of Psenosiris and Senpelilus. Preisigke, Sammel buch grieohischer Vrkunden aus Agypten, I, 1203. Egypt

lll,

Now in Berlin. (place unknown). Tel, son of Proueus. G. Lefebvre, B.C.H. No. 129. Egypt (Acoris). Theokritus, son of Theokritus, a shipmaster.

XXVII /.

G.

(1903),

R. I,

645.

p. 379,

Moesia

(Tomi). Theotimus, a literary slave. Preisigke, Sammelbuch grieohischer Vrkunden aus Agypten, I, 2648. Cairo, Egyptian Museum. Thermouthas, daughter of Herodes. G. Lefebvre, B. C. H. XXVII (1903), p. 356, No. 42.

Zoe.

I.G. XIV,

Zotica,

30.

Egypt (Acoris). Sicily (Syracuse).

daughter of Bassia Rome.

and wife of Euphrosynus.

/.

G.

XTV,

1634.

lia Sparteiana

of Lilybaeum. /. G. XIV, 339. Sicily (Ther Himeraeae). , daughter of Alexandreia, priestess of Dionysus and Isis. C. I. G. 1n, 6202; Welcker, Rhein. Mus. (1845), p. 253, No. 30. Florence. . C. I. G. II, 2321. Rheneia. mae

IIl

44

OP INSCRIPTIONS

CATALOGUE ,

315

Rome. 0. /. G. IV, 9829. Sammelbuch griechischer Vrkunden aus Agypten,

child of Oualerus.

.

Preisigke,

III, .

. . . .

6171.

Place unknown.

I. G. I, 1508. Sparta. I.G. XII, 378. Minoa. I. G. V, 818. Laconia. /. G. V, 813. Laconia. I.G. IX, 887; Lolling, Ath. Mitt. C.

Pelasgiotis

123.

XII

(1887), p. 353, No.

(Larissa). Twenty-Three

Years

Abidius Antiochus, son of Hieronymus 1350. Syria (Semsidia).

lll,

6486 C. I. G. Agathangelus, son of Phoibus. Rome. Ailia Beroneika, wife of Theudianus. C.I.G.

I.

;

lll,

Rome. Ammonius, son of Petesouchus.

/.

and Laodike. G.

6529;

G.

R.

XIV,

lll, 2103.

I.G. XIV,

1345.

p. 352, No. 23.

G. Lefebvre, B. C.H.

Egypt (Acoris).

Anthus, son of Stratoneike. G. Radet, B.C.H. No. 10. Lydia (Yeni-Keul). Apion, son of Bion. C. I. G. II, 3273. Smyrna. Ariousa.

/.

G.

Arkadio. Attikus,

C.

I.

V, G.

767.

I,

XI

XXVTI

(1903),

(1887), p. 450,

Laconia.

1490;

/.

G.

V,

790.

Laconia.

G. Mendel, B.C.H. XXVII (1905), p. 319, No. 8. Bithynia (plain of Boli). Basileides. C. I. G. II, 1888. Corcyra. /. G. IX, 884. Corcyra. Beithynidus, son of Glaukus. E. Breccia, Catalogue General des Antiquitis tgypDemetrius. tiennes du Musie d'Alexandrie : Iscrizioni Greche e La tine, p. son of Helius.

161, No. 312. Alexandria. Didymus, son of Hierax the elder. Preisigke, Sammelbuch grie chischer Vrkunden aus Agypten, I, 3881. British Museum. Diokles, son of Chrestus. I.G. V, 1190. Laconia (Gythium). Eirenaia, daughter of Annius Kypris. /. G. XIV, 677. Brundisium. C.I.G. II, 1820. Epirus (Vathi). Epaphras, son of Phelikus.

Sammelbuch griechischer Euthenia. Vrkunden Preisigke, aus Agypten, III, 6092. Place unknown. I.G. V, 1201. Laconia (Gythium). Eutyches. Herodes, son of Herakleides. /. G. XII, 629. Thasos (Kasawiti). Horion.

Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, Place unknown. Now in the Louvre. Idomeneus, son of Demetrius. D. M. Robinson, A.J. A. XVII (1913), p. 193, No. 114. Cyrenaica (Tokra or Teucheira).

I,

3532.

316

THE ANCIENT

OLD AGE AMONG

Iosephus, son of Phomounis. Vrkunden aus Agypten,

Sammelbuch

Preisigke,

III,

GREEKS griechischer

Place unknown. Preisigke, Sammelbuch griechischer

Ioulia, who was chaste (&yrt).

6231.

Vrkunden aus Agypten, I, 2481. Egypt (Alexandria). /. G. XII, 1017, Addenda et Corri Kleophon, son of Anaxippus. Naxos. genda. Kointus, son of Tyrmeides of Athens. C. I. G. I, 778 ; Ancient Gr. Inscriptions in the British Museum, I, 94. Athens. C. I. G. II, 3754. Longus, son of Sossianus Longus the senator. Nicaea.

aus Vrkunden griechischer Sammelbuch Preisigke, III, Agypten, 6168. Place unknown. Markiana, wife of Neon. G. Mendel, B. C. H. XXXIII (1909), p. 281, No. 40. Moudania. 5583; /. G. XIV, 324. C.I. G. Maximus, son of Didymus. Mario[n].

lll,

Sicily (Thermae Himeraeae) . Mekius Ioulianus of the Sebastian

tribe. Anderson, Cumont, Gregoire, p. 9, No. 3 b. Amisus. /. G. V, 505. Megalopolis. Neikokles. /. G. II, 3513. Lydia Oualerius, son of Oualerius the grammarian.

(Thyateira).

lll,

4112. C.I. G. Galatia (Tekia). daughter of Gaianus. son of Kallo. D. M. Robinson, A.J. A. XVII (1913), Cyrenaica. p. 190, No. 105. Philousa. /. G. V, 764. Laconia. Phlaouianus Maximus. C. I. G. 5317. Cyrene. Praktinus, a kinsman of Ioulia Ploutis. I. G. XIV, 1963. Rome. Sakerdotus, brother of Philiskus. /. G. XIV, 2073. Rome. Soterichus, who was a good man ( iya$6s ) . I.G. V, 762 ; J. Martha,

Pauleina,

Philostratus,

lll,

I

B.C.H. (1877), p. Sotimidas, son of Philippus. Theokles, son of Theokles. Thienouseiris. G. Lefebvre, E. Breccia, Catalogue Musie d'Alexandrie : 431. Alexandria.

Laconia.

387, No. 17.

/. /.

G.

G.

VII,

V,

B.C.H.

Laconia. Laconia. XXVII (1903), p. 355, No. 38; 1280.

748.

Gineral des Antiquitis tgyptiennes du Iscrizioni Creche e Latine, p. 202, No.

Tkaua

the younger, daughter of Surus. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 3524. Egypt (place Now in the Louvre. unknown). mus and Ioulia. C. I. G. II, 3445. Lydia Trophimus, son of

(Kula).

C. I. G. II, 3435. Zanthippus. Lydia (Philadelphia). Zosimus, son of Kleon. I. G. XII, 357. Minoa. [oue] teranus. I.G.R. IV, 589. Phrygia (Azani).

CATALOGUE ,

I.

G.

(Azani) .

/.

daughter of Helene. C.

.

lll,

OF INSCRIPTIONS

3846 z,

XII,

G.

Minoa.

380.

Addenda

et

317

Corrigenda.

aus Agypten,

Preisigke, Sammelbuch griechischer Vrkunden

I,

721.

.

C.

I.

/.

G.

Phrygia

.

Egypt (Tel-el-Yahoudiyeh). G.

V,

IV,

9743.

Rome.

Laeonia. . Preisigke, Sammelbuch griechiseher Vrkunden aus Agypten, III, 6162. Tel-el-Yahoudiyeh. .

784.

Twenty-Four Years Agela, who had been married 3 years. Buresch, Aus Lydien, p. 14, No. 11. Philadelphia. Alkestis. C.I. G. 1n, 6336; I.G. XIV, 1368; I.G.R. I, 188. Rome.

lll,

C. I. G. 4974 ; Preisigke, Apollonius, son of Klaudius Postumus. Sammelbuch griechischer Vrkunden aud Agypten, I, 1635. 6376; I.G. XIV, 1566; I.G.R. I, 248. C.I. G. Elpidephorus. Rome (near the Mulvian Bridge). 6377 ; /. G. XIV, Epaphras, a Cretan, son of Antipolius. /. G.

lll,

1575;

I.G.R. I,

lll,

250.

Rome.

Ioulia Sekounda, wife of Zmaragdus. /. G. XIV, 1709. Rome. 4466 ; Ancient Gr. Inscriptions in the Kassiodorus. C. I. G. British Museum, IV, 1048. Syria (Antioch).

lll,

Klaudis Achillas. C. I. G. lll, 5198 b. Cyrene. Klaudis Drakon. C. I. G. lll, 5198 a. Cyrene. Klaudius Pompeius Elpistus. /. G. XIV, 45 a, Addenda et Corrigenda. Sicily (Syracuse).

(4«pot), who loved her brother who died untimely Louppiana, (^iXdSeX0oj), and was devout ( ei«/3ij j ) . Preisigke, Sammel buch griechischer Vrkunden aus Agypten, I, 713. Place unknown. Ouenaria, servant of Amethystus. C. I. G. nl, 6680; /. G. XIV, 1910. Rome. Ouera, wife of Kornelianus.

C.I.G.

HI,

5820;

I.G. XIV,

803.

XIV,

2277.

Naples.

Poublius Aelius Sabinus, son of Antonia Tisipho. Liguria (Dertona or Tortona). Triadelphus,

son of Sarapus.

C.

I.

G.

Twenty-Five

lll,

4977.

/.

G.

Egypt.

Years

lll,

Abenia, daughter of Bassaris. C. I. G. Verona. 6755. Agathamerus, son of Sosibius and Pregissa. /. G. XII, 1065. legandrus.

Pho-

OLD AGE AMONG

318

THE ANCIENT

GEEEKS

Agatheinus, a citizen of Athens, of Antioch, and of Prusa. Doublet, B.C.H. (1899), p. 308, No. 15; C.I. G.

XIII

G.

Ill,

Paphlagonia. (Pompeiopolis) . G. Lefebvre. B.C.H. XXVII (1903), p. 369, No. 96; E. du Breccia, Catalogue Gineral des Antiquitis tgyptiennes Musie d'Alexandrie, p. 217, No. 478; Prcisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 119. Egypt (Acoris). 4155.

Alias.

Ammonius. Antonia. Apollonius,

C. I. G. IIl, 5189. Cyrene. I.G. XIV, 1404. Rome. son of Apollonius.

G. Mendel,

B.C.H.

XXXIII

(1909),

Bithynia (Prusa). E. Kalinka, Antike Denkmaler in Bulgarien, p. 267, No. Apronia. 337 ; Kaibel, Epigr. Gr. 540. Varna. C. /. G. lll, 3846 z 27, Addenda et Corri Artemidorus, the lawyer. Phrygia (Azani). genda. Asklep[iodo]rus. G. Mendel, B.C.H. XXV (1901), p. 48, No. 190. Bithynia (Tcharchamba-Djouma-aisi) . Athur. C. I. G. lll, 5198. Cyrene. Aurelia Dionysiana Tryphosa, wife of Herakleides the younger, who p. 413, No. 417.

lived honorably (Koaulas). J. Pargoire, B.C.H. XXII (1898), p. 496, No. 5. Phrygia (Heracleia). I.G. XII, 206; Homolle, Aurelia Rhoda Teniaka, wife of Andrion. B.C.H. XV (1891), p. 672, No. 8. Arcesine (Kolophana). Bassus, son of Plakenteinus. G. Mendel, B.C.H. XXIV (1900), p. 385, No. 40. Bithynia (Keremed). G. Seure, B.C.H. XXV (1901), p. Beithynius, son of Beithynius. 316, No. 14. Thrace (Sofia). Besas, son of Sisois, a carver of hieroglyphics. Preisigke, Sammel buch griechischer Vrkunden aus Agypten, I, 249. Cairo, Egyptian Museum. Charis Bassaris. I.G. XIV, 2307. Transpadana (Verona). of Zoilus and son of Louppus. G. Mendel, (1900), p. 396, No. 68. Bithynia (Akhissar). 9651. Rome. Dedalus. 0./.G.llI,5702; /. O. XIV, 1529. Rome. Deius, son of Deius. O. /. O. II, 3780 ; /. G. R. 13. Bithynia (Nicomedeia), Do8aris. 8. E. G. I, 575 ; Preisigke, Sammelbuch griechischer Vrkunden aus A gypten, III, 6652. Egypt ( Tel-el- Yahoudiyeh ) . Chrysogonus,

brother

B.C.H. XXIV Daphnus. C. I. G. IV,

IIl,

Dosistheus. E. Breccia, Catalogue General des Antiquitis Egyptiennes du Itusle d'Alexandrie : Iscrizioni Greche e Latine, p. 167, No. 323; Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, 6165. Egypt (Kom-el-Ghizeh) .

III,

OF INSCBIPTIONS

CATALOGUE

319

/. G. XIV, 166; /. G. R. I, 247. Rome. Seymour de Ricci, Revue Epigraphique, (1913), p. 147, 9; Preisigke, Sammelbuch griechisoher Vrkunden aus Agypten, IV, 7293. Egypt ( Tel-el- Yahoudiyeh ) . /. G. V, 1188. Laconia (Gythium). Epaphrys. Epiktas, husband of Martha. F. Halbherr, A.J. A. XI (1896), p. 591, No. 74. Crete (Genna). Eidomeneus, a servant.

I

Eleazarus. No.

I.G. V, 1300. Laconia (Oetylus). Eubius, son of Andromachus. Ancient Gr. Inscriptions in the British Museum, TV, 1077. Egypt (Sudan). Euphrosyna, wife of Kastresius, son of Ioulius Phronto. I. G. R. I, 627. Moesia (Tomi). Euphrosynus, son of Neiketes. Radet and Paris, B. C.H. XV (1891), Epiktas Chairon.

p. 602, No. 1. Amorgos. Euterpe, daughter of Theudotus. C. I. G. 5265. Cyrene. E. Breccia, Catalogue Gineral des Antiquit&s EgypGalatianus. tiennes du Musie d'Alexandrie : Iscrizioni Greche e Latine, p. 173, No. 341. Alexandria. Hadista, wife of Hermodorus. 8. E. G. I, 365. Illyricum. Harpaesis,11 son of Chomus. G. Lefebvre, B.C.H. XXVII (1903),

lll,

p. 352, No. 25.

Egypt (Acoris).

daughter of Philagrus. C.I.G. 78. Athens. Herakleius, son of Hermius. C.I.G. Hegilla,

II,

lll,

tain ) .

1687;

4976.

Kaibel, Epigr.Gr.

Egypt (place uncer

Hermes, son of Hermes. I. G. XII, 107. Nisyrus. Herus, son of Herus. /. G. XII, 291. Minoa. Hyakinthus. 0./.G.lll,5860; /.O. XIV, 870; Welckerus, Mus. VI (1847), p. 95, No. 17. Cumae.

Rhein.

Ioulius Orthrus, brother of Sozomena. Ch. Avezou and Ch. Picard, Melanges d'Archiologie et d'Histoire, XXXII (1912), p. 359, No. 1. Ioustus, son

Thessalonica. of Nigrus. /. G.

XIV,

322.

meraeae).

Kalinikus.

C.

I.

G. TV, 9786.

Kalityche.

/.

G.

V,

228.

C.H. XV

(1891),

p.

(1894), p. 348. Kleobiua, who was blameless 11The

numeral

[«t]e' years.

has been

(Thermae

Hi-

Rome.

Tegea.

Kapito, daughter of Parmenio. B.

Sicily

I. 602,

(

G.

XII,

No. 43;

4/ui/iijroj

).

partly restored.

and Paris, Zingerle, Philol.

301 ; Radet

E. Breccia,

LIII

Catalogue

The reading

is Irav

320

THE ANCIENT GREEKS

OLD AGE AMONG

General des Antiguitcs tgyptiennes du Musie d'Alexandrie : Iscrizioni Greche e Latine, p. 167, No. 323. Alexandria. Kynaka. G. Lefebvre, B.C.H. XXVII (1903), p. 372, No. 107. Laeus.

Egypt. ( Acoris ) . G. Lefebvre, B.C.H.

(Acoris) Lakon,

son

XXVII

.

of Platoura.

I.

G.

IX,

Egypt

(1903), p. 374, No. 112.

953; Lolling, Ath. Mitt. VLTI

(1883), p. 121, No. 42. Pelasgiotis (Larissa). Loe, who was good (x/"!ff"?), and was loved by all (ira
/.

Loukius,

son of Petronius.

Matrona,

daughter of Mokimus.

G.

V,

Laconia. 9887; /. G.

761.

C.I. 0. IV,

Gallia (Vienna). Metrodofrus], a freedman, brother of Herm[es]. Moesia (Tomi). Minoukia Sikela. C. I. G. lll, 6622; /. G. XIV, 1859; Rome. Modestus, a sophist. Radet and Paris, No. 5. Pamphylia (Attaleia).

B.C.H. X

XIV,

2491.

I.G.R. I, I. 0. R. I, (1886),

p.

644. 308. 157,

Illyricum (Pojani). Neikea, wife of Tychis. 8. E. G. II, 385. /. G. XII, 444. Aegiale. Neiketes, son of Euphrosynus. Nepos

Kallichrysus (Barium).

of

Byzantium.

I.

XIV,

G.

687.

Apulia

Teos. C. I. G. II, 3123. Nymphius, son of Thalamus. I.G. XIV, 1885. Rome. 6449; Nysa, daughter of Bius. C.I. G. Onesimus. 8. E. G. VI ( 1932) , 144. Phrygia (Azani). of the senator Dentoupes Beithuus. Oualentis, a general, son (1897), p. 534, No. 3. Macedonia XXI Perdrizet, B.C.H.

lll,

(Thracian frontier). C.I. G. TV, 9483; /. G. XIV, 544. Sicily (Catana). Oursoulus. Preisigke, Sammel Pabeus, son of Psennesis and Senpetechonsis. Now in buch griechischer Vrkunden ou« Agypten, III, 6139. Copenhagen. Panthero. I.G. IX, 943; Lolling, Ath. Mitt. XI (1886), p. 56, No. 35. Pelasgiotis (Larissa). D. G. Hogarth, J.H.8. VIII (1887), p. 365, No. 8. Patrobius. Salonica. Paula.

I.G. XIV,

Philippus Kleonus,

159. son

Sicily (Syracuse). of Damarchus.

I.

G.

V,

1220.

Laconia

(Teuthrone). Phlaouia Tyche. C.I. G. in, 6652; /. G. XIV, 2099. Tusculum. Photina, a servant of Christ. Anderson, Cumont, and Gregoire, Studia Pontica, III, p. 25, No. 14 a. Pontus.

CATALOGUE

OF INSCRIPTIONS

321

Vrkunden aus Sammelbuch griechischer Preisigke, Agypten, III, 6239. Egypt (Ramleh). Plenis. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 185. Egypt (place unknown). Now in Berlin. Polla. G. I. Kazarow, B. C.H. XL VII (1923), p. 284, No. I. Mace

[Pl]akida.

donia (Melnica). 0. Poublius Ailius Epaphroditus. Rhoupheinus, son of Damokritus,

I.

G.

lll,

6531.

Rome.

who lived honorably ( Koaului ) . Lechat and Rayet, B. C.H. XII (1888), p. 198, No. 9. Prusa. Sabbataius, son of Somoelus. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 9. Egypt ( Tel-el -Yahoudiyeh ) . Sabinus. C. I. G. II, 1912; I. G. IX, 965. Corcyra. 1169; Ch. Fossey, Sa[b]inus, general of the legion. I.G.R. B.C.H. XXI (1897), p. 44, No. 20. Syria (Tell-ech-Chehab) . aus Sammelbuch griechischer Vrkunden Preisigke, Senpasemis. Now in the Agypten, I, 3517. Egypt (place unknown).

lll,

Louvre.

Sergius Attikus. C./.G.Ill,5845; /. G. XIV, 808. Naples. Seuerus. I.G. V, 1254. Laconia (Taenarum). Taesis, who showed discretion (ou
B.C.H. XI

(1887), p. 475, No. 48. Lydia (Mousadja). Anderson, Cumont, and Gregoire, Studia [Ter]en[ti]a Ma[rke]. Pontica, III, p. 105, No. 89. Neoclaudiopolis. Toimbus, son of Auxanon. C. I. G. IV, 9466 ; I. G. XIV, 166. Sicily (Syracuse) . Tryphera, wife of Hermerus, son of Aristomachus, and daughter of Eutychides and Kilikia. C. I. G. I, 1012. Athens. Tullius, son of Markus. 0./.G.lll,5349. Teucheira ( Arsinoe ) . 8.E.G. I, 431; G. I. Kazarow, B.C.H. XLVII (1923), p. Tycha. 282, No. 2. Macedonia (Melnica). .

/.

G.

V,

.

8.

E.

G.

. . .

507.

II,

Megalopolis. Laconia (Gythium). Laconia (Cythera).

177.

/. O. V, 944. /. G. V, 1299. Laconia (Oetylus). /. G. XII, 129. Arcesine. 21

322

OLD AGE AMONG

THE ANCIENT GREEKS

Twenty-Six

I.G. XIV,

of Antoneinus.

Abragus, brother Rome.

Years 1315;

I.G.R. I,

179.

/. G. XIV, 1983. Rome. A. XVIII (1914), D. M. Robinson, A. Agias, son of Agathokles. p. 65, No. 24; Buckler and Robinson, Sardis, VII, 1, Greek and Latin Inscriptions, No. 106. Sardis. (1879), p. 260, No. Beaudouin and Pottier, B.C.H. Augazon. Aelia Sabeina.

J.

lll

3.

Sparta.

Dioskora. Laconia. C. I. G. I, 1495. Eirene. Seymour de Ricci, Inscriptions Grecques d*figypte, Revue (1913), p. 156, No. 6; Preisigke, Sammel tpigraphique, buch griechischer Vrkunden aus Agypten, IV, 7311. Gizeh. Euphrantikus, brother of Epaphrodeitus and Zmaragdus. 0. /. G. 6740; I.G. XIV, 1622. Pannonia.

I

lll,

Euthenia.

C.

Eutyches.

C.

I. I.

G.

lll,

G.

IV,

4975 b. 9472 ;

/.

Egypt (place unknown). XIV, 236. Sicily ( Acrae

G.

Grania Hygeia. /. G. XIV, 1527. Rome. Ioulius Hilarus, son of Ioulia Pia. /. G. XIV, Kouintiana. C. I. G. IV, 9924. Rome. Makedonis.

E.

Breccia,

Catalogue

General

des

1681 a,

).

Rome.

Antiquitis

tiennes du Musee d'Alexandrie : Iscrizioni Greohe

e

Egyp-

Latine,

p.

163, No. 318.

Alexandria. Markus Aurelius Artemidorus of Setta. /. G. XIV, 738. /. G. R. I, 443. Naples. Pekusis, son of Pekusis and Sentais. Preisigke, Sammelbuch grie chischer Vrkunden aus Agypten, I, 238. Now in London, Hilton Price Collection. Philostorgus, son of Neike. /. G. XII, 123. Arcesine. Phlaouius

Terpnus

I.G. XIV, Sabeina. C. I. G.

18

the Alexandrian,

2088;

lll,

I.G.R. I,

362.

a harpist.

C.

I.

G.

lll,

6651 ;

Rome.

6285. Rome. Sabeinus, a painter. I.G.R. I, 1123; Preisigke, Sammelbuch grie chischer Vrkunden aus Agypten, I, 682. Egypt (Haouarah). Soudius, son of Manta. Paul Perdrizet, B.C.H. XXIV (1900), p. 306, No. 2. Macedonia (Philippi).

daughter of Oinophorus. I.G. XII, XII (1888), p. 237, No. 11. Minoa. Thermoutharion. Preisigke, Sammelbuch griechischer III, 6829. Place unknown. Synpherousa,

B.C.H.

" Terpnus

was

a

harpist during

Neron. Vit. 20.

i

the

reign

368;

Radet,

aus Agypten

of Nero,

cf. Suet

CATALOGUE Zeno,

OF INSCRIPTIONS

323

/. G. IX, 878. Corcyra. Annual of the British School at Athens, X 183, No. 6. Laconia (Gythium).

son of Heliodorus.

E.

.

S. Forster,

(1903-04), p.

Twenty-Seven

Years

Annius Souperus. I.G.R. I, 624. Moesia (Tomi). Antonius. /. G. XIV, 1400. Rome. G. Mendel, B. C. H. Asklepeiades, son of Apollonius. (1909), p. 314, No. 68. Bithynia (Prusa). Bruousa. C.I. G. II, 1818. Epirus (Nicopolis). Damousa. /. G. V, 779. Laconia. Daochus, son of Hagias of Pharsalus. M. Homolle, (1897), p. 593, No. 5. Delphi.

XXXIII

B. C. H.

XXI

XIII

Dikaiopolis Lukida. I.G. IX, 419; W. J. Woodhouse, J.H.8. (1892-93), p. 354, No. 32. Aetolia (Phistyum). Domitia Euphrosyne. /. G. XIV, 850. Puteoli. Heraklia, daughter of Zosous. C.I.G. II, 2001. Bitoglia. Kallistratus, son of Aisschrion. I.G. IX, 419; W. J. Woodhouse, J.H.8. XIII (1892-93), p. 354, No. 31. Aetolia (Phistyum). (1889), p. 393, Kratylla. I.G. IX, 655; G. Fougferes, B.C.H. No. 12. Pelasgiotis (Larissa). Markus Pakonius Paulleinus, a hero, son of Aulus. Paton and Hicks, Inscriptions of Cos, p. 219, No. 337. Asphendiu. Orbanilla. 0. /. G. II, 3796. Chalcedon. Oursola, wife of Rogatus. I.G. XIV, 2455. Gallia (Massilia).

XIII

/. G. IX, 640. Cephallenia. Pankarpus. 8. E. G. I, 582 ; Preisigke, Pappiona. Sammelbuch griechischer Vrkunden aus Agypten, III, 6659. Egypt ( Tel-el- Yahoudiyeh ) . Pauleinus. C. I. G. 6273 ; /. G. XIV, 1935. Rome. Plenis the younger, son of Plenis. Preisigke, Sammelbuch grie chischer Vrkunden aus Agypten, I, 3508. Egypt (place un

lll,

Now in the Louvre. known). Serapion. E. Breccia, Catalogue General des Antiquitis Egyptiennes du Musi d' Alexandre: Iscrizioni Greche e La tine, p. 182, No. 373.

Alexandria.

G. Kaibel, Epigr. Gr. 171. Athens. 256. Halae. Teuphia. Preisigke, Sammelbuch griechischer Vrkunden aus Agyp ten, III, 6176. Place unknown. Theopeistus, son of Teles. Jarde and Laurent, B. C. H. XXVI (1902), p. 332, No. 36. Locris.

/.

n1, Telethumus. /. Sozo.

G.

1378;

G.

IX,

Tiberius Elaudius Gentilianus.

C.

I.

G.

lll,

4058.

Ancyra.

OLD AGE AMONG

324

THE ANCIENT GREEKS

C.I.G. HI,

Titus Hostilius, freedman of Titus Callistus. Illyricum (Pola). Turinna. /. G. II, 2258. Samos. .

I,

6816.

Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, Place unknown.

5965.

Twenty-Eight

Years

son of Sarapion. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 704. Egypt (place unknown). /. G. Ailius Kleisthenes of Nicomedeia, a rhetorician. 1438.

Achilleus,

Ill,

Athens.

Ailius Soteas. 261.

Paton

Inscriptions of Cos,

and Hicks,

p.

No.

193,

Kermeti.

Aiolus.

E. Breccia, Catalogue General des Antiquitis tgyptiennes du Musie d'Alexandrie: Iscrizioni Greche e La tine, p. 170, 331. No. Alexandria. Attika, daughter of Chryserus. C. I. G. II, 2041 ; Ancient Gr. In scriptions in the British Museum, IV, 1011. Byzantium. Deius, son of Deius. C. I. G. II, 3780. Nicomedeia. Domna. C. I. G. IV, 9482 ; /. G. XIV, 532. Sicily (Catana).

/. G. R. IV, 1736. Attalea. /. G. XIV, 1418 a, Addenda et Corrigenda. Kome. Harpochrous. Hermas. /. G. XIV, 579. Sicily (Centuripa). Ioannes. C. I. G. TV, 9876; /. G. XIV, 2314. Venetia (Vicetia).

Elpis.

Kapitolinia. Kaprus. I.

/.

G.

G.

IX,

XIV,

440.

Katillia

2295. Transpadana (Pavia). Acarnania (Coronta).

Gauriana Neikaena. cient Gr. Inscriptions

C.I. in

G. II, 3763; the British

/.

G.

XIV,

Museum,

790;

IV,

An 1013.

Naples. Kensoria Preima, wife of Dioteimus.

/. G. XIV, 1748. Rome. Libius. I.G. XIV, 488. Sicily (Catana). Likinia Chrysoroe, wife of Titus Likinius Onesimus. C. I. G. 6616; Lysimachus,

I.G. XIV,

XVIII

VII,

1,

1808.

Rome.

J.

of Menophilus. Buckler and Robinson, A. A. (1914), p. 64, No. 23. Buckler and Robinson, Sardis, Greek and Latin Inscriptions, No. 123.

son

Ancient Gr. Inscriptions in the British No. 1122. Place uncertain. Markus. /. G. V, 1201. Laconia ( Gythium ) . Markianus.

lll,

Museum,

IV,

Melitina, alias Ourania, alias Akte. I.G. XIV, 1844; Ancient Gr. Inscriptions in the British Museum, IV, 1138. Rome. Memmius, son of Philtina. C. I. G. lll, 5265. Cyrene. /. G. V, 781. Laconia. Nymphodotus.

OF INSCRIPTIONS

CATALOGUE

325

Melanges d'Archiologie et d'Eistoire, XL (1923), p. 6. Pamphyliu8. Rome. Now in the Lateran. XXVII (1903), p. 351, No. 19. Pekous. G. Lefebvre, B.C.H. Egypt ( Acoris ) . Phlabius Rhoumanus of the Herakleotian tribe. G. Seure, B. C. H.

XXXVI (1912), I.G. V, 327.

Preimus. Ptolemus.

W.

J.

Thrace

p. 626, No. 82.

Mantinea. Moulton, A.J. A.

Sidon. Sostratua, son of Macedon.

VIII

I.G. IX,

(Perinthus).

(1904),

284,

p.

952; Lolling, Ath. Mitt.

(1886), p. 130, No. 85. Pelasgiotis (Larissa). Thaesis. G. Lefebvre, B.C.H. XXVII (1903), p. 376,

Egypt (Acoris). Zosima, wife of Cheius. ,

/.

G.

lll,

XIV,

No.

3.

XI

No.

120.

XIV,

476.

Rome.

2113.

Sulla. C. I. G. 5359. Teucheira (Arsinoe). son of Ioulius Zotikus. C.I.G. IIl, 5708; I.G.

Sicily (Catana). .

C.I.G. IV,

.

W. Dennison,

9732.

A.J.

Rome. A. (1898), p. 389, No. 40.

II

Twenty-Nine brother

Addus,

of Soaidus,

Pozzuoli.

Years

son of Malechus.

/.

G. R.

lll,

1247.

Arabia (El-Malka).

griechischer Vrkunden aus Sammelbuch Demetria. Preisigke, Agypten, I, 725. Egypt (Sakkara or Abydus). Ebciosa. C. I. G. TV, 9294. Elis. Elenxus. /. G. V, 783. Laconia. D. M. Robinson, A.J. A. IX (1905), p. 314, No. 41; EupCorus].1*

lll,

4160. C.I.G. Sinope. Helena, daughter of Pepekusis. G. Lefebvre, B. C. H. XXVII (1903), Egypt (Acoris). p. 349, No. 13. Herennius, who was excellent (xw^1), and lived without causing sorrow (i\vwos). H. Lammens, Le Music Beige, VI (1902), p. 55, No. 108. Syria (Horns). C. Hypomnema, daughter of Markellus. tain.

Markus Aurelius Polynikes. /. Muro. /. G. V, 753. Laconia.

" Dr.

XIV,

G. TV, 6958.

1474.

Place uncer

Rome.

to the fact that the reading in but that an examination of the sarcophagus and of a squeeze shows that there is not room enough for that name.

C.I.G.

Robinson

G.

I.

lll,

calls attention

4160 is Ei[vop]i[av6s],

326

THE ANCIENT

OLD AGE AMONG

GREEKS

Neikomedes, who served 1 1 years in the army. G. Mendel, B. C. H. XXIV (1900), p. 369, No. 4. Bithynia (Prusa). Pasineikus. C. I. 0. 6456 ; /. G. XIV, 1933. Rome.

lll, lll,

C. I. G. 4622. D. M. Robinson, Suri[us]. G. Doublet, B.C.H.

Phlaouia.

Syria (Palaestina).

A.J. A. IX

(1905), p. 315, No. 46; (1899), p. 304, No. 9. Sinope. G. Lefebvre, B. C. H. XXVII Harouothis.

XIII

daughter of (1903), p. 350, No. 14. Egypt (Acoris). E. Breccia, Catalogue Generai des , mistress of Margares. Iscrueioni Antiquitis tgyptiennes du Musie d'Alexandrie: Greche e La tine, p. 142, No. 270. Alexandria.

Tasent,

.

/.G. XIV,

Sicily (Thermae Himeraeae).

346.

Thirty Years Rome. C. I. G. IV, 9578. Ablabes, son of Photinus. B.C.H. XXI (1897), p. 49, No. 34. Addus, son of Zeno. Ch. Fossey,

Syria (Da'el). Antonius

of Berytus.

Dionysianus

C.

I.

II,

G.

1833 b, Addenda

et

Illyricum (Salona). Corrigenda. 6207; /. G. XIV, 1409. Rome. C. I. G. Apollophanes. E. Breccia, Catalogue General des Antiques tgyptiennes Apollus. du Musie d'Alexandrie: Isorizioni Greche e Latine, p. 231, No.

lll,

522.

Alexandria.

Aurelius Autokles, Aurelius Diodorus. Aurelius Olbanus,

/.

son of Autokles.

/. son

( Concordia ) .

Beipsanius Zoticus. ( Catana ) .

G.

XIV,

1457.

of Alexandrus.

C.I.

Tll,

G.

G.

XII,

Arcesine.

117.

Rome.

/. G. XIV,

5709;

2332.

I.G. XIV,

495.

Venetia.

Sicily

Biktoreina. C. I. G. IV, 9492. Sicily (Catana). G. Lefebvre, B.C.H. XXVI (1902), Didymes, son of Herakleides. p. 448, No. 8; Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 19. Egypt (place unknown). Dionysia, wife of Ioulianus. /. G. IX, 656. Pelasgiotis (Larissa). Dionysis, son Minoa.

of Zosimus.

/.

G.

XII,

3,

Addenda

et Corrigenda.

/. G. XIV, 676 a. Brundisium. Dionysius. Domitius Philetus. I. G. IX, 967. Corcyra. I. G. XIV, 27. Syracuse. Epaphroditus. Eutaktus. C. I. G. I, 1497; /. G. V, 795. Laconia. 8. E.G. IV (1929), 110; G. Mancini, Galenus, father of Agaklytus. Notizie degli Scavi, 1924, p. 55, No. 7. Rome. Geminus. C. I. G. 6219. Rome.

lll,

4

OF INSCRIPTIONS

CATALOGUE

327

Preisigke, Herakleides, clerk of the market. I, 3844. aus griechischer Agypten, Vrkunden Sammelbuch the Museum. Now in British Place unknown. E. Breccia, Catalogue General des Antiquitis Egyptiennes Hierax. du Musie d'Alexandrie : Iscrizioni Greche e Latine, p. 177, No. Heras,

of Heras

son

Alexandria.

355.

Hieris. Ioane,

/.

lll,

G.

1316;

Kaibel, Epigr. Gr.

98.

Athens.

Preisigke, Sammelbuch grie daughter of Ioanus. chischer Urkunden aus Agypten, I, p. 8, No. 10. Egypt (Telel- Yahoudiyeh ) . a bride,

Ioudas, son of Ioudas. Preisigke, Sammelbuch griechischer Urkun den aus Agypten, I, 722. Egypt ( Tel -el -Yahoudiyeh ) . Ioulia, daughter of Heliodorus. G. Davies, J.H.8. XV (1895), p. 101, No. 2. Lycia (Arymaxa).

Ioulia Marmarina. /. G. XIV, 1641. Rome. Ioulius Ioustus. I.G. XIV, 310. Sicily (Panhormus). Italia, wife of Agathopous. G. Mendel, B.C.H. XXXIII (1909), Now in the Louvre. p. 327, No. 80. Place unknown. Kallistratus. C. I. G. IV, 6946. Place uncertain. G. Lefebvre, B.C.H. XXVII (1903), p. 348, No. 9. Egypt Kephloa. (Acoris)

.

I.G. XII,

Kerdon.

302;

B.C.H. XV

Radet and Paris,

604, No. 44. Amorgos (Minoa). Klaudia Italia, wife of Klaudius Hermias. Klaudius. 0. /. G. lll, 6611. Rome.

/.

G.

XIV,

(1891), p.

Rome. C. I. G. IV, 9788. bride of Kotychus. of Domnus. G. Mendel, B.C.H. XXXIII

Koartana,

Kyrillus,

son

Bithynia (Aikirikdji). p. 424, No. 428. Lukus, son of Ioulius Balerius. C. I. G. lll, 5270. Cyrene. Ch. Fossey, B.C.H. XXI Malichatha, daughter of Obedus. p. 49, No. 35.

Manta,

Syria (Da'el).

Paul Perdrizet, daughter of Rheskoubitus. (1900), p. 307, No. 3. Macedonia (Philippi).

Rome.

1770.

(1909),

(1897),

XXIV

B. C. H.

Markia, wife of Alypio. C. I. G. TV, 9586. Rome. Markus Aurelius Alexus, son of Theon. /. G. V, 817. Laconia. Matrona, wife of Apollonius the physician. Preisigke, Sammelbuch griechischer Vrkunden Now in Berlin. Metrodorus,

son of Metrodorus.

p. 413, No. 16.

Mnes

aus Agypten, G. Mendel,

I,

1191.

B.C.H.

XXXIII

/. G. IV, 135. Aegina. wife of Eornelius Agathemorus.

XIV,

492.

C.I.G.

lll,

(1909),

Bithynia (Prusa).

.

Myrtale,

Place unknown.

Sicily (Catana).

5717;

I.G.

THE ANCIENT

OLD AGE AMONG

328

GREEKS

Basilius Latyschev, Inscriptionet Neikaso, daughter of Herakleides. Antiquae, IV, p. 307, No. 465. Chersonesus. Rome. 6447. Neikodemus. C. I. G. I (1913), p. 147, Nike. Seymour de Ricci, Revue Epigraphique, No. 8; Preisigke, Sammelbuch griechischer Vrkunden aus Now in the Agypten, IV, 7292. Egypt (Tel-el-Yahoudiyeh).

lll,

Museum of the Academy in Braunsberg. G. Lefebvre, Petesouchus, son of A[ ]tus. (1903), p. 355, No. 35. Egypt (Acoris). Pieris. I.G. II, 4316; Kaibel, Epigr. Gr. 98; Athens.

I.

Poleitarchus.

IV,

G.

649.

B.C.H. I.G.

XXVII

lll,

1316.

Argos.

Poplius Phlauius Rhespekt[i]anus Sab[ei]nus, son of Rhespekt[ia]E. Kalinka, Antike Denkmaler in Bulgarien, nus Threptus. 252, No. 316. Silistra. p. Prima, daughter of Poublius. C.I.G. lll, 6518; I.G. XIV, 1965. Rome. Rhachelis, who was prudent (auxppuv), and loved by all ( tr
aus Agypten, III, 6650. Egypt ( Leontopolis ) . Rhoda, wife of Aloipus. C. I. G. 6462; /. G. XIV, 1370. Rome. Rhoskia Hermione, wife of Zosimus. C. I. G. 5631 ; /. G. XTV,

lll,

lll,

Sicily (Messana).

414.

Saturonides.

C.

I.

G.

II,

Thrace,

2032.

near mouth

of the river

Athyras.

/.

Simon.

V,

G.

325.

G. Mendel,

Sosthenes.

Mantinea.

B.C.H.

Bithynia (Aikirikdji).

XXXIII

(1909),

p.

421,

No. 427.

Soteles, son of Ophelimus. /. G. V, 326 ; Fougeres, B. C. H. XX (1896), p. 163, No. 33. Mantinea. Soteria. /. G. XII, 446; Kaibel, Epigr. Gr. 276; Keil, Rhein. Mus. XX (1865), p. 559. Aegiale. Timotheus, son of Daseis. C.I.G. II, 2127; Basilius Latyschev, Inscriptiones Antiquae, II, p. 201, No. 383. Phanagoria. Theiophila,

daughter of Nikias.

/.

G.

XII,

675 ;

Kaibel, Epigr. Gr.

212. Syrus.

Theodora.

8.

Theudotus.

E.G. IV I. G. II,

C.

(1929), 5. 3328.

Sicily (Syracuse).

Smyrna.

/. G. XII, 348. Minoa. 255a, Addenda et Corrigenda. Sicily (Licodia). Trygeta. Tykikus, son of Tykikus. /. G. XII, 371. Minoa. Zoe. XXV (1901), p. 308, No. 1. Thrace G. Seure, B.C.H.

Titus Phlabius Diadoumenus.

I.G. XIV,

( Philippopolis ) .

A

OF INSCRIPTIONS

CATALOGUE Zosimion. Zosimus.

C.

/.

lll,

G.

XII,

Rome. Minoa.

6403.

295.

of Andronikus.

, son

G.

.

/. I.

.

C.

I.

.

/.

G.

.

/.

G.

.

I.

G.

XIV,

XII,

G.

G.

C.

I.

G.

lll,

6721.

Tusculum.

Umbria (Arimini).

2255.

Minoa.

306.

lll,

329

Naples. Thasos. Thasos.

5824.

XII, 521. IX, 339.

Thirty-One

Years

E. S. Forster, Annual of the British School at Athens, (1903-04), p. 171, No. 11. Laconia (Oetylus).

Agaris. Agathe.

/.

XIV,

G.

Sicily (Catana).

523.

lll,

brother of Pethilemena. C. I. G. 1943. Rome. Alphius Klodius, son of Loukius and Kaikeilia. /. G. R. I, 497. Sicily ( Acrae) .

Agathopous,

I.

G.

XIV,

XIV,

235 ;

/.

6328 ; G.

X

/. G. XIV, 1376. Rome. Amethystus. Aurelia Chrestiniana Roupheina, wife of Aurelius Sokratianus Pasikrates. G. Mendel, B.C.H. XXV (1901), p. 88, No. 219. Bithynia

I.

Damokrates.

G.

I.G.V,

Demetrius. Isaro,

( Uskub-Eassaba

XIV,

).

Brundisium. Laconia (Taenarum).

676.

1253.

freedwoman of Apollonidus. Rome. Corrigenda.

I.

G.

XIV,

1721 a, Addenda

lll,

. C. I. G. 5213. Cyrene. Petesouchus, son of Petemichontes. G. Lefebvre, (1903), p. 357, No. 44. Egypt (Acoris).

Kle

Phileinus.

Phouria.

XXVII

B. C. H.

I. G. V, 490. Megalopolis. I. G. lll, 5413. Sicily (Syracuse). of Klaudianus. /. G. XIV, 1776. Rome. C.

Spe, wife Tanektherus,

who lived his children

melbuch griechischer unknown. .

et

C.I.

G.

IV,

9510.

(
Vrkunden

aus Agypten,

Preisigke,

I,

714.

8amPlace

Catana.

Thirty-Two Years Admetus Theokleidas. Thera. Agatho. Damns.

/.

G.

V,

I.G.V.

772.

I.G. XII,

868;

Kaibel, Epigr.

Gr.

192.

Laconia.

Laconia (Gythium). 1187. Theot[id]us, of a hero. E. Kalinka, Antike DenkDionysius, maler in Bulgarien, p. 254, No. 321. Varna. son

330

THE ANCIENT GREEKS

OLD AGE AMONG

Dioskorous, daughter of Herakleides, son of Strouthus. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 5960. Place unknown. C. I. G. IV, 6858. Place uncertain. Eutychus. Gaius Hostilius Agathopous of Nicaea. /. G. XIV, 1901 6625; /. G. R. I, 320. Rome.

Herakleides.

I,

the

(1920), p. 356. Ioulia Gemella. /. G.

G.

Vrkunden

Egypt (Abu Ballu).

695.

Kallineikus,

Ioulius

griechischer

Sammelbuch

Preisigke,

Agypten,

C.I.

;

A.

shipmaster.

aus

XLIV

B. C. H.

Salac,

lll,

Sinope.

XIV,

Puteoli.

843.

Ioulia Pontiana.

III,

Ithaca.

Anderson, Cumont, and Gregoire, Studia Pontica, p. 97, No. 77. Neoclaudiopolis.

I.

C.

G.

lll,

Rome.

6507.

Kleopatra, wife of Dionysius, son of Dionysius. tions in the British Museum, IV, 1049.

Ancient Gr. Inscrip Northern

Syria.

Markus Kokkeius Marsikus of Prusa, brother of Markus Kokkeius Bithynia Markus Tullius

( Aktche-Chehir)

197.

/.

lll,

G.

B.C.H. XXV

G. Mendel,

Kornelianus.

,

128.

(1901),

of Bithynia, Athens,

a citizen Athens.

53, No.

p.

.

and Corinth.

Nikas Kalchedonias. C. I. G. lll, 5253. Cyrene. Phlabia Sopha, wife of Neinealus. C.I.G. II, 3738. Cios (Ghemblick). Popillius Loutatianus of Sinope, son of Popillius Ouphikianus. /. G.

lll,

1450.

Athens.

Saboukis Kallimorphus, father of Saboukis Zoilus. 5726; I.G. XIV, 501. Sicily (Catana). Sentia, wife of Kassandrus. Soaidus, son of Malechus,

I,

G.

captain

XIV,

1743.

I.

G.

lll,

I.

G.

R.

lll,

Rome.

of the auxiliaries.

Arabia (El-Malka).

1247.

Tekandi.

/.

C.

Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,

Egypt (Abu Ballu). G. Lefebvre, B.C.H.

699.

Theonilla.

XXVII

(1903),

p.

378,

No.

124.

Egypt (Acoris). Theukleides. .

/.

.

G.

I. IV,

C. G.

G.

II,

649.

Lefebvre,

2467, Oddenda et Corrigenda.

Thera.

Argos.

B.C.H.

XXVII

(1903),

p.

385,

No.

153.

Egypt (Acoris). griechischer Sammelbuch Vrkunden Preisigke, Agypten, IV, 7295. Egypt (Tel-el-Yahoudiyeh). na.

aus

OF INSCRIPTIONS

CATALOGUE

331

Thirty-Three Years Horaia,

daughter of Ktesilaus. Vrkunden aus Agypten,

Sammelbuch griechischer

Preisigke,

III,

8. B. G. I, 569. (Leontopolis) . Ioulia Eklekta, wife of Diodorus and mother of Antigonidas. 6579; I.G. XIV, 1543. Rome.

Egypt

6646 ;

C.

lll,

I.

G.

Ioulia Galena. /. G. XIV, 479. Sicily (Catana). Klaudia Epigone. /. G. V, 506. Megalopolis. Loukius Killienus Aniketus. D. M. Robinson, A. J. A. XVII (1913), Cyrenaica (Teucheira). p. 192, No. 111. Loukius Kornophikius Aktius. C. I. G. IV, 6948. Place uncertain. Nikomachus. /. G. V, 1481. Messene.

lll,

Pasikles, son of Sosus. C. I. G. 5329. Cyrene. Philippus of Galatia, son of the elder Alypius. C. Rome.

I.

G.

IV,

9579.

lll,

5470; l.G. XIV, 54; Phretensia Statia Skreibonia. C.I.G. /. G. R. I, 494. Sicily (Syracuse). Plenis, son of Pebus, son of Loulous the elder. Preisigke, Sammel aus Agypten, I, 3503. buch griechischer Vrkunden Egypt Now in the Louvre. (place unknown). Primus, son of Kassius. C. /. G. 5334. Cyrene. Suries of consular rank and a general. C. I. G. IV, 4266 a. Lycia

lll,

(Sidyma). Tholomaius,

son of Thaimallus.

genda.

Puteoli.

nona.

/.

.

G.

XII,

C.I.G. I,

/.

G.

XIV,

842 a, Addenda et

Corri

Amorgos. Achaia (Patrae).

498.

1555.

Thirty-Four Years Alphius Klodis.

C.

I.

G.

lll,

5465.

Sicily (Acrae).

I.G. V, 946. Laconia (Cythera). Dorymachus. /. G. XIV, 1856. Rome. Mettia Satournina. E. Breccia, Catalogue General Oualeria Politta. Egyptiennes du Musie d'Alexandrie: Latine, p. 179, No. 361. Alexandria. Phabia Laeta. /. G. XIV, 1479. Rome. Philoxenus, who was blameless ( d/ui/iirros ) .

des

Iscrizioni

Antiquitis Greche

e

E. Breccia, Catalogue Gineral des Antiquitis tgyptiennes du Musie d'Alexandrie : Iscrizioni Greche e Latine, p. 185, No. 381. Alexandria. . .

I. G. lll, 6620. Rome. I.G. IX, 1023; F. Lenormant,

C.

p. 525, No. 372.

Place uncertain.

Rhein. Mus.

XXI

(1866),

332

THE ANCIENT GREEKS

OLD AGE AMONG

Thirty-Five Years

I.G. V,

Laconia (Oetylus). 1307. S. E. 0. I, 364. Agathoneike. Illyricum (Pojani). Agemona, daughter of Aristodemus. C. I. G. 5174. Cyrene. Aincia, wife of Hermagoras. C. 1. G. 6214. Rome. Ammonius. E. Breccia, Catalogue General des Antiquitis tgyptiennes du Musie d'Alexandrie: Iscrizioni Greche e Latine, p. 170, No. 332. Alexandria. Agathemerus.

lll,

lll,

/. G. XIV, 1495. Rome. ]this, daughter of Sabb[a]tais.

Aphrodeite.

A[

Preisigke, SammelbucK griechischer Vrkunden aus Agypten, III, 6227. Place unknown. Chrysippus, son of Hedylus of Nicaea, brother of Hedylus, Apphous, and Chrestus. G. Seure, B.C.H. XXV (1901), p. 321, No. 22. Thrace (Karaorman). Dorotheus. Sammelbuch griechischer Vrkunden aus Preisigke, Agypten, III, 6246. Place unknown. Dositheus, son of Stoetis. Sammelbuch griechischer Preisigke, Vrkunden aus Agypten, III, 6166. Place unknown. Ek . /. G. XIV, 2331. Venetia (Concordia). Eustachis. 8. E.G. IV (1929), 12. Sicily (Syracuse).

Eutychianus. Hedona. C.

C.

I.

G.

I.

G.

lll,

IV,

Sicily (Catana).

9494.

Rome.

6334.

/. G. XII, 297 ; C. I. Kaibel, Epigr. Gr. 282. Ioulius Antipatrus. /. G. IX,

Herais.

G.

II,

2264 r, Addenda et Corrigenda ;

Minoa.

946. Corcyra. the shipmaster of Leptemagnites. 8.E.G. IV (1929), 21. Sicily (Syracuse). Keler Maximas. Woodward and Wace, Annual of the British School at Athens, XXIV (1919-20; 20-21), p. 171, No. 7. Mace

Ithamas,

donia.

Klaudia Helione. /. G. XIV, 2079. Rome. Klaudius loses. /. G. XIV, 949. Ostia. Kointus. O. /. G. II, 2006. Bitoglia. Lalus, brother of Amethystus and Hymnis. Manouel Comnenus.

C.

I.

G.

IV,

9262.

/.

G.

XIV,

1375.

Rome.

Nicaea.

Markia. /. G. XIV, 272. Sicily (Selinus). Markus Bipsanius Zosimus. I.G. XIV, 494. Sicily (Catana). J. Pargoire, B. C. H. XXII Markus Kokkius Marsikus of Prusa. (1898), p. 9, No. 4. Phrygia (Heracleia). /. G. lll, 6299; /. G. R. I, 325; /. G. XIV, Markus Ulpius Charito. 1915.

Rome.

Melitina, wife of Tiberius Klaudius /. G. XIV, 1845. Rome.

Demosthenes.

C.

I.

G.

lll,

6437;

CATALOGUE

Mikkus,

son

of

Vrkunden Neike,

Oualerius

333

Methanis. Sammelbuch griechischer Preisigke, aus Agypten, I, 720. Egypt ( Tel-el-Yahoudiyeh ) .

Markelleina Apamissa.

alias 311.

OF INSCEIPTI0N8

Rome. Phlaouius,

I.G. XIV,

I.G.B. I,

a soldier.

1089;

1874;

I. G.B. I,

Breccia, Catalogue

G&neral des Antiquitis Egyptiennes du Musie d'Alexandrie: Iscrizioni Greche e Latine, p. 179, No. 364. Alexandria. Pachoumis, son of Petermouthus. Preisigke, Sammelbuch griechi scher Vrkunden aus Agypten, I, 283. Place unknown. Pardalis, wife of Soterichus. I.G. V, 732; J. Martha, B.C.H. (1879), p. 197, No. 7. Sparta. Rome. I. G. XIV, 1874 ; C. I. G. 6443. Petronius Klymenus.

lll

lll,

Petronius

Rhestitoutus.

Phallousa,

/.

G.

XIV,

381.

Sicily (Tyndaris).

wife of Chrestus, and mother of Galatia.

4

children.

C.

I.

0.

lll,

4107.

Philadelphia. I.G. XIV, 51. Syracuse. Phortounata. C. I. G. IV, 9747. Rome. Plenis the younger. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 287. Place unknown. Now in New York, Abbott Collection. Poublius Ailius Antigenidas, a citizen of Nicomedeia and Naples, and a flutist. /. G. XIV, 737. Naples. Basilius Latyschev, Inscriptiones [P]. Ailius Heraklianus. Antiguae, I, p. 205, No. 214. Chersonesus. Pouplius the Macedonian, husband of Markia. I. G. XIV, 1962;

/.

G.

Sabbatis.

R. I,

337.

I. G. IV,

Rome.

Rome. griechischer Sammelbuch Vrkunden aus Senplenis. Preisigke, Now in the Agypten, I, 3520. Egypt (place unknown). Louvre. Preisigke, Sammelbuch griechischer Serapous, daughter of Polion. Vrkunden aus Agypten, I, 636. Egypt (place unknown). Silouanus, a soldier. Breccia, Catalogue Gtniral des Antiquitis C.

9910.

du Musie d'Alexandrie: Iscrizioni tgyptiennes Latine, p. 183, No. 374 b. Alexandria. Sosineika, daughter of Philokratus and Oraia. /. G. Arcesine. Soueris, daughter of Manres. Vrkunden aus Agypten,

I,

Preisigke, 71.

Sammelbuch

Egypt (Acoris).

Greche

XII,

120.

griechischer

0./.G.lll,6471; I. G. XIV, 1431. Rome. Synegdemus, son of Kladus. /. G. XII, 367. Minoa. Tiberius Klaudius Protogenes of Salamis. /. G. V, 758. Laconia. Tiberius Klaudius Sanktianus. I. G. XIV, 907. Caieta. Stratonikus.

e

334

OLD AGE AMONG

THE ANCIENT GBEEKS

Preisigke, Sammelbuch griechischer Urkunden ous Tsenphenmantis. Agypten, I, 3527. Place unknown. Now in the Louvre. mia Seouera, wife of Markus Kele[r], commander of a legion.

I.G.B. in,

Mendel, B.C.H. XXVII (1903), 1426; No. 51. Bithynia (Istifan). ia, daughter of Aristoniku[s]. M. Schede, Ath. Mitt. (1911), p. 104, No. 16. Bithynia (Istifan).

333,

p.

XXXVI

lll,

, .

C.I.G. wife of Chrestus. V. Chapot, B.C.H. XXVI

Galatia (Tschorum). 4107. (1902), p. 168, No. 7. Syria

(Maralazik). Thirty-Six Years

C.I.G.

lll,

wife of Trophimus.

C.

Lukius. Androbius Messana ( ). Argupis,

I.0. XIV,

5625;

I.

G.

IV,

Rome.

9851 ;

/.

Sicily

404.

G.

XIV,

1415.

J.

A. XVII (1913), p. 173, D. M. Robinson, A. No. 38. Cyrenaica. Kopria. E. Breccia, Catalogue General des Antiquitis Egyptiennes du Musie d'Alexandrie: Iscrizioni Greche e La tine, p. 176, No. 359. Alexandria. Preisigke, Sammelbuch griechischer Ktistapollon, son of Orion. Vrkunden aus Agypten, I, 780. Egypt (place unknown). Plenis, a fuller, son of Lolous the younger, son of Plenis. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 3509.

Klaudia Rhouphilla.

Now in the Louvre. Egypt (place unknown). griechischer Sammelbuch Vrhunden Preisigke, Senplenis. Agypten, I, 3518. Egypt (place unknown).

aus

Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, Now in the Louvre. Egypt (place unknown). Sokratea. C.I. G. II, 2415; /. G. XII, 310. Paros. 6532; I. G. XIV, 1336. Rome. Titus Ailius Eutychion. C. I. G. Senuris.

I,

3515.

lll,

Thirty-Seven

Annius Statorianus.

C.

I.

G.

IV,

Years

9551.

Aricia.

/.O. XIV,

150.

Berekon. Seymour de Ricci, Bevue Epigraphique, I (1913), p. 158, No. 10. Egypt (Gizeh). Kestia Biktoria of Florence, wife of Apollonius. /. G. XIV, 1747. Rome. Labois, son of Petus. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, III, 6232. Place unknown. Markianus.

C.

I.

G.

IV,

9526 ;

Oulpia Apousia, wife of Poplius Beibius. lenia.

C.

I.

Sicily G.

II,

(

Syracuse

1931.

) .

Cephal-

OF INSCRIPTIONS

CATALOGUE

335

lll,

215;

I,

933 ;

I.G.R. Poublius Ailius Pergamenus, husband of Ailia. Walenta, Att. Mitt. XXI (1896), p. 466, No. 1. /. G. B. Poublius Pinnius Ioustus, senator of Amastris. Numidia (Sicca). Seberas, son of Lillon. Basilius Latyschev, Inscriptiones

Antiquae, TV, p. 81, No. 114. Chersonesus Taurica. Titus Phlaouius Peison. G. Mendel, B.C.H. XXIV (1900), p. 400,

Bithynia.

No. 74.

padora. Preisigke, aus Agypten, I, 1565. son (or daughter) of Sonikus.

styla Vrkunden ,

Sammelbuch

griechischer

Egypt (Achmim).

I.G. XII,

124.

Arcesine.

Thirty-Eight Years 8. E. G. I, 573 ; Agathokles. Vrkunden aus Agypten,

lll,

Preisigke,

III,

Sammelbuch

Egypt

6650.

griechischer

( LeontopoliB ) .

Berullus. 6355. Rome. C. I. G. Bius, son of Senpemaous, a ruler. Preisigke, Sammelbuch griechi scher Vrkunden aus Agypten, I, 145. Place unknown.

/. G. V, Hygiainus Apollonius.

Eutychidas.

I.G. XIV,

Hyperbatus. Kalopous,

221.

Tegea.

I.

C.

G.

181.

son of Kalopous.

Kestia Biktoria Phlorentia,

lll,

5179.

Cyrene.

Sicily (Syracuse). /. G.

XII,

359.

Minoa.

wife of Apollonius.

C.

I.

G.

HI,

6245.

Rome.

Klaudia Magna, wife of Tiberius Klaudius Diognetus. Ancient Gr. Inscriptions in the British Museum, III, 636. Ephesus. Koprianus Agathemerus. C. l. G. lll, 5695 ; /. G. XIV, 485. Sicily (Catana) . Markus Akeileianus. I. G. XIV, 20. Syracuse. Peteeus, son of His. G. Lefebvre, B.C.H. XXVII No. 22. Egypt (Acoris).

(1903),

p. 352,

lll,

5729. Stephanus. C.I.G. Sicily (Catana). Theodora. H. Lammens, he Musie Beige, VI (1902), p. 55, No. 110.

Lydia (Balbak). , wife of Aurelius Agatho, who lived ried 8 years.

C.

I.

G.

lll,

6545.

38 years and was mar

Rome.

Thirty-Nine Years Artabasdcs,

son

6342 b;

/.

of Ariobarzanes, king of the Medes. G. XIV, 1674. Rome.

C.

I.

G.

lll,

C.

I.

G.

lll,

lll,

Baleris Theuphilus. C. I. G. 5214. Cyrene. Postoumia Sekounda, sister of Postoumius Metrodorus. 6635; /. G. XIV, 1959. Rome (Appian Way).

336

THE ANCIENT GREEKS

OLD AGE AMONG

Forty Years /. G. XIV, 18. Syracuse. Agatho. Agathokles, son of Onesimus. Breccia, Catalogue General des Antiquitis tgyptiennes du Musie d'Alexandrie : Iscrizioni Greche e La tine, p. 170, No. 329. Alexandria. Akilis Epaphroditus. Place uncertain. C. I. G. IV, 6919. Alexandria, I.G. XIV, 1366; I.G.R. I, 187. priestess of Isis. Rome.

lll,

Alexandrus. C. I. G. 6334. Rome. Amnis, son of Markus. I.G.R. I, 1108. Aurelia Aschona Kanauthena. I.G.R.

Egypt

lll,

Blasta.

G. IV, 6897. Place uncertain. 5412; Terentia. C.I.G.

I.

C.

Boulkania

(

Leontopolis

lll,

).

Arabia (Bostra).

1334.

I.G. XIV,

45.

Sicily

( Syracuse ) .

I.G. XII,

600; Kaibel, Epigr. Gr. 325. Thasos. Anderson, Cumont, of Dorylaus, Dorylaus, father of Klemes. and Gregoire, Studio Pontica, HI, p. 172, No. 160; Th. Reinach, Rev. Et. Gr. VIII (1895), p. 80, No. 5. Amasia. Demetria.

son

Eilara.

/.

G.

XII,

499.

Eraseinus, a servant. 251. Rome.

C.

Amorgos. I. G. 6663 j

lll,

/.

G.

XIV,

1577 ;

/.

G. R.

I,

C.I.G. IV, 6932; I.G. XIV, 29. Syracuse. Euphrosynus, son of Hermus. /. G. XII, 305. Minoa. Gaius, son of Enpeirikus. /. G. XII, 390. Mytilene. Gemellus, who was married 9 years. I.G. XIV, 1516; I.G.R. I, Rome. 237. Geminas. I.G. XIV, 1517. Rome. Hermaida. Anderson, Cumont, and Gregoire, Studia Pontica, III, Euphrosyna.

Pontus (Neoclaudiopolis). p. 70, No. 61. Hermione, daughter of Herastus. /. G. XII, 209. Arcesine. Ioulia Eudora, wife of Phlabius Rhouphus. C. I. G. II, 3712. Bithynia

(Apamia). Ioulius Maximus. I.G.R. lll, 1218. Arabia (Merdocha). Kallistus, a soldier, son of Epaphrodeitus. /. G. XII, 503. Thera. /. G. XII, 308. Minoa. Kalotychus, son of Eutyches. Kilikas. H. Seyrig, B.C.H. LI (1927), p. 147, No. 6. Cyprus (Citium) .

Kilix,

an Athenian.

I.G. XIV,

1883;

I.G.R. I,

[Kljaudia,

having lived a life that was holy Cumont, and Gregoire, Studia Pontica, Neoclaudiopolis.

Klaudius Agathemerus of Nicomedeia.

I.

G.

314.

Rome. Anderson, p. 67, No. 57.

(atuvis).

III,

XIV,

1766.

Rome.

OF INSCRIPTIONS

CATALOGUE

337

C.l.G. lll, 6610; Klaudius Pomponius, husband of Aphrodeisia. /. 0. XIV, 1763. Rome. Kleina, wife of Zeno. I.G. XIV, 1627; I.G.R. I, 258. Rome. Klodia Balenteina, wife of Ignatis Karikus. C. I. G. lll, 5396 ; /. G. XIV, 484. Sicily (Catana). Kodratus. W. J. Moulton, A.J. A. VIII (1904), p. 284, No. 2. Sidon.

Kolouthus,

son

of Paesius.

B.C.H. XXVII

G. Lefebvre,

(1903),

Egypt (Acoris). Kurio, son of Herakleides. /. G. XIV, 679. Brundisium. Lollius, an illustrious man. /. G. R. I, 1389. Rome. Loukius Beibiarius Rhoustikus. C. I. G. lll, 5338. Cyrene. /. G. R. I, 803 ; G. Seure, B. C. H. Markus Apoustius Agrippas. XXXVI (1912), p. 614, No. 72. Thrace (Heracleia). G. Markus Aurelius Seilius Markianus, director of the games. Bithynia Mendel, B.C.H. XXV (1901), p. 54, No. 198. p. 373, No. 108.

(Aktche-Chehir). Markus Septimius. /. G. XIV, 853. Puteoli. Mekali (?) Soulpikius Aniketus. C. I. G. lll, Himeraeae). Mnaseas, descendant of Lartius.

I.

G.

IX,

Sicily (Thermae

5586.

880 ;

Kaibel, Epigr. Gr.

185. Corcyra. Nike, daughter of Bales. I. G. XII, 289. Minoa. 6266. Rome. Noumenius. C. I. G. Olynpias, wife of Staphylus and mother of Olynpus, who lived blame Buresch, Aus Lydien, p. 57, No. 33. lessly ( intpirrus ) .

lll,

Lydia (Indschikler) Onesima,

daughter

.

of Phengo.

phana). Onesiphorus, son of Ameimetus. IX (1854), p. 389, No. 2.

I.G. XII, /.

G.

XII,

Arcesine

126.

212 ;

Arcesine

Baumeister, Philol.

(Kolophana).

Otakillia Serapias, wife of Loukretis Antiakus.

(Kolo-

C.

I.

G.

lll,

6516.

Rome.

Patipelilo.

Vrkunden aus Sammelbuch griechischer Preisigke, Now in the British Place unknown. Agypten, I, 3865. Museum. C. I. G. II, 3784. Pauleina, daughter of Hermogenes of Nicomedeia.

Bithynia (Nicomedeia). Phaustus. /. G. V, 733. Laconia. Philo. 8. E. G. I, 581. Preisigke, Sammelbuch griechischer kunden aus Agypten, III, 6658. Egypt ( Leontopolis ) . C. I. G. 5239. Phlabius, son of Stalakkius. Cyrene. C. Phonteius Phortis Asklepiades, husband of Egnatia Briseis. 6297; I. G. XIV, 2104; /. G.R. I, 366. Rome.

Vr

lll,

lll,

22

I.

G.

THE ANCIENT

OLD AGE AMONG

338

GKEEKS

son of Amphiomis. Preisigke, Sammelbuch griechischer Ur Now kunden aus Agypten, I, 3504. Egypt (place unknown). in the Louvre. Sammelbuch Plenis, son of Kametis the high-priest. Preisigke, griechischer Vrkunden aus Agypten, I, 3502. Egypt (place Now in the Louvre. unknown).

Plenis,

/.

Ponponia Maxima.

XIV,

G.

333;

C.I.

G.

IIl,

5581.

Sicily (Ther

mae Himeraeae).

Rhodanus.

I.

C.

G.

lll,

Sicily (Gela).

5474.

griechischer

Vrkunden aus Now in Berlin. Preisigke, Sammelbuch griechi Senapollonia, daughter of Plantas. scher Vrkunden aus Agypten, I, 1187. Egypt (place un Now in Berlin. known). Agypten,

C.

Sogenes.

Sammelbuch

Preisigke,

Senamenothes.

I.

I,

G.

Egypt (place unknown).

1189.

II,

2322 b.

Aniketus. C. mae Himeraeae ) .

8oulpikius

I.

G.

Rheneia. 5749; /. G.

lll,

XIV,

338.

Sicily (Ther

Stephanephoria, daughter of Elpidius. I. G. XII, 292. Minoa. I. G. XIV, 169. Sicily (Syracuse). Stibadio. Titha, wife of Asklepas, son of Klarus. G. Mendel, B. C. H. XXIV (1900), p. 388, No. 43. Bithynia (Borjalidja) . griechischer Tsansnus. Vrkunden aus Sammelbuch Preisigke, Agypten, I, 3526. Place unknown. Now in the Louvre. Tyche, daughter of Zosimus. I.G. XII, 369. Amorgos (Minoa). Zenodota. I.G. XII, 294. Amorgos (Minoa). Zosima, daughter of Archelaus. C. I. G. IV, 6948. Place uncertain. Zosimus, son of Eutychio. I. G. XII, 356. Minoa. , ,

mother of Dionysius. /. G. XIV, 941. Ostia. of Euodus. I.G. IX, 882; Kaibel, Epigr. Gr.

wife

261.

Corcyra. I. G. , husband of Kurilla. 4179 ; Anderson, Cumont, and Gregoire, Studia Pontica, p. 100, No. 81. Gazelone. , daughter of Posidonius. /. G. XII, 377. Minoa.

lll, III,

.

/.

G.

V,

473.

Megalopolis. Forty-One

Ploution,

Years

martyr. Seymour de Ricci, Revue Epi(1913), p. 158, No. 10. Egypt (place unknown). Salona, daughter of Gadia. C. I. G. IV, 9909. Rome. a

Christian

graphique,

I

Forty-Two Years Alezandreia.

C.

I.

G. ILT, 6333.

Rome.

OF INSCRIPTIONS

CATALOGUE Alexandrus,

son

Vrkunden

\

of Ischurion. aus Agypten,

Preisigke,

III,

6120.

339

Sammelbuch griechischer Place unknown.

Aurelius Kolouthus. G. Lefebvre, B.C.H. No. 99. Egypt (Acoris).

XXVII

Didymes, son of Dioskourides. known ) . ,

4975.

Krispus.

C.

I.

G.

/.

G.

lll,

C.I.G.

lll,

(1903),

p. 307,

Egypt (place un-

Syracuse. Xaupactus. I, I. 1501. Messenia. of Nicaea. C. G. Logus 6617; /. G. XIV, 1837. Rome. Markia Attia. C.I. G. 5716; I.G. XIV, 1852. Sicily (Catana). Merkouriales. C.I. G. C.I.G. I, 1503. Sparta. Neikephorus. Petesouchus, son of Thotsuthmis. G. Lefebvre, B. C. H. XXVII (1903), p. 354, No. 31. Egypt (Acoris). (1913), p. Tanisgenes. Seymour de Ricci, Revue Epigraphique, 152, No. 21 ; Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, IV, 7305. Egypt (Akhmim). Leontiskus.

5402 b.

IX,

988, Appendix.

lll, lll,

I

Forty-Three Years aus griechischer Urkunden Sammelbuch Arsenius. Preisigke, Agypten, I, 5968. Place unknown. Hero. C./.G.1ll,6800; I. G. XIV, 2556. Germany ( Divodurum ) . /. G. XIV, 1981. Rome. Rhoskia Nike, wife of Ourbikus. Sekounda, wife of Tertius, son of Tertius. G. Mendel, B. C. H. XXIV (1900), p. 409, No. 997. Bithynia (Chahanlar). Rome (catacombs of St. Calix8. E.G. IV (1929), 108.

.

tus). Forty-Four Years

lll,

5358. Teucheira (Arsinoe). daughter of Lukus. C. I. G. I.G. V, 785; H. J. W. Tillyard, Annual of the British School at Athens, XII (1905-06), p. 475, No. 35. Laconia. Aleka. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 5962. Place unknown.

Abiania, Agasio.

Helena, daughter of Menches. G. Lefebvre, B.C.H. XXVII (1903), p. 353, No. 30. Egypt (Acoris). Kuntianus, a Jew. C. I. G. IV, 9926. Rome. Maskoulinus, son of Herakleides. Preisigke, Sammelbuch griechi scher Vrkunden aus Agypten, I, 5960. Place unknown. Nikomedes. C. I. G. 6265; /. G. XIV, 1879; I. G. R. I, 313. Rome.

lll,

Petepsois.

G. Lefebvre,

B.C.H. XXVII

Egypt (Acoris). Senchonsis.

C.I.G.

lll,

4827;

I.G.R. I,

(1903), 1231.

p.

356,

No. 40.

Egypt (Gournah).

340

OLD AGE AMONG

THE ANCIENT GREEKS

Forty-Five Years Artemidorus,

son

of Artemidorus.

and Robinson,

Buckler

Sardis,

Greek and Latin Inscriptions, No. 112; Conze, A.Z. XXVIII (1880), p. 38. Aurelius, who had been married 10 years to Aurelia Rhegeina. C. I. G. 6571. Rome. Aurelius Archelaus, son of Alexio. G. Mendel, B. C. 77. XXIV (1900), p. 414, No. 109. Bithynia. Epikratis, daughter of Damarchus. /. G. V, 1220. Laconia (Teu-

VI,

1,

lll,

throne

).

I. G. Euelpistus. Cephallenia. C.

II,

1930 g, Addenda et Corrigenda;

I.

G.

IX,

640.

a negotiator, husband of Aurelia Rhegeina with whom he lived 10 years. /. G. XIV, 1371 ; I. G. R. I, 190. Rome. Hermogenes. C. I. G. IV, 9689 ; /. G. XIV, 1588. Rome.

Halys,

Klaudia Satyra. 0./.G.lll,6603; /. G. XIV, 1774. Rome. Anderson, Cumont, and Gregoire, Loukius om — . Studia

Pontica, III, p. 19, No. 10 c. Amisus. Lukus, son of Stalakkius. C. I. G. 5216. Cyrene. Manas. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 5972. Place unknown. Mosseus, son of Azizus, the horseman. /. G. 72. 1308. Arabia

lll,

lll,

( Orman ) .

8. E.G. I, 174; /. G. V, 967; Hondius, Annual of the British School at Athens, XXIV (1919-20; 1920-21), p. 140. Laconia (Cotyrta). Pammenes, son of Aphrodeisius and Taapis the soothsayer. Prei

Onat[us.]

sigke, Sammelbuch

griechischer

Vrkunden

unknown ) . Poplius Ignatius Onesiphorus of Sinope. 790.

Egypt

( place

/.

G.

aus Agypten,

R. I,

897.

I,

Panti-

capaeum.

Bruttius Optatus, son of Poublius of the tribe Sabatina. Buckler and Robinson, Sardis, VII, 1, Greek and Latin Inscrip tions, No. 105. Sardis. Poublius Naibius. C.I.G. II, 1822 b, Addenda et Corrigenda. ThePoublius

sprotia. griechischer Sammelbuch Prebbio. Vrkunden aus Preisigke, Agypten, III, 6163. Place unknown. Sebethois, son of Psonsneus. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, III, 6230. Cairo. Sebias Maximas. Woodward and Wace, Annual of the British School at Athens, Macedonia.

XXIV

(1919-20;

1920-21), p. 171, No. 7.

CATALOGUE

OF INSCEIPTIONS

341

Septimia Aurelia Ophelima, wife of Markus Oualerius. Munro, J.H.8. XVII (1897), p. 274, No. 19. ( Pandemia ) . Sophro. C.I. G. I, 1505; I.G. V, 799. Laconia.

J.

A. R.

Mysia

Sosiphanes, tragic poet. I.G. XII, 444 (il arm. Par. Ep. 116). 0./.G.1ll,5216; D. M. Robinson, A. A. XVII ( 1913), Stalakkius.

J.

p. 198.

Cyrenaica

Titus Ioulius Klemens,

(Tolmeta). husband of Klaudia

,

/. G. XIV, 1359 /.G. XIV, 468. Sicily (Catana). /. G. V, 967. Laconia (Cotyrta).

mother of Akoutus.

. .

Therina.

C.

I.

G.

II,

Illyricum (Apollonia).

1829 e, Addenda et Corrigenda.

a.

Rome.

Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, 6234. Egypt (place unknown). . Basilius Latyschev, Inscriptiones Antiquae, IV, p. 97, No. 145. Chersonesus Taurica. .

III,

Forty-Sin Years Ischurio. du

Breccia,

Catalogue

General

des

Antiquity

Musie d'Alexandrie: Inscrizioni Greche

e

Egyptiennes Latine, p. 229,

No. 513. Alexandria. Pekusis. Preisigke, Sammelbuch griechischer Vrkundcn aus Agypten, I, 3853. Place unknown. Now in the British Museum. Forty-Seven

Years

Sabeina, wife of the sculptor Gaius. Th. Reinach, R. A. (1916), p. 335, No. 2. Sinope. Elpis, wife of Ianarius the dyer. J. Pargoire, B. C. H. XXII ( 1898), p. 494, No. 3. Phrygia (Heracleia). Markus Aurelius Gregorius Melas, the horseman. I.G. XIV, 1454; /. G. R. I, 214. Rome. Antonia

lll

Forty-Eight Years Anoubion,

son of Harpokration. Preisigke, Sammelbuch griechi scher Vrkunden aus Agypten, I, 5996. Place unknown. Arrhianus, son of Doidalsus. C. I. G. II, 3779. Nicomedeia. Eia, wife of Neikerus, son of Sosikrates. G. Mendel, B. C. H. XXIV 1900), p. 397, No. 70. Bithynia.

/. G. XIV, 1623. Rome. Kointus Likinnius Phrougis, a tradesman. Euphrosynus.

D. M. Robinson, A. J. A. (1905), p. 315, No. 45; D. M. Yerakis, Revue des Etudes Anciennes, (1901), p. 353, No. 6; Th. Reinach, R. A. (1916), p. 333, No. 1. Sinope.

IX

III

lll

342

OLD AGE AMONG

THE ANCIENT

GEEEKS

the younger, son of Psaitus the younger. Preisigke, Sammclbuch griechischer Vrkunden aus Agypten, I, 3859. Place unknown. Now in the British Museum.

Pagenes,

Phlabia Dosithea.

I.

lll,

5238. Cyrene. 5250. Poublius Antonius, son of Ptolemaius. 0. /. G. Cyrene. Salbia Dosithea. D. M. Robinson, A.J. A. XVII (1913), p. 198; C.

G.

lll,

lll,

5238. C. I. G. Cyrenaica. Preisigke, Sammelbuch Sarapodorus, son of Ktistes, son of Kales. griechischer Vrkunden aus Agypten, I, 144. Place unknown. Taiais the younger. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 3852. Place unknown. Now in the British Museum. Tiberius Klaudius Euprepes, freedman of Klaudius Postoumus, a

centurion. .

C.

I.

G.

I. G.R.I, IV, 9886.

Egypt (Siyouf). Allobroges (Vienna). 1091.

Forty-Nine Years Empeiria Eiatreina, wife of Gaius Ioulius Bettianus. Cios.

3736.

Kassia Lusias, daughter of Philoxenus. et Corrigenda. Botrys. Beaudouin and Pottier, Magna.

B.C.H.

C.

I.

lll

G.

lll,

C.

I.

G.

II,

4528 e, Addenda

(1879), p. 260, No. 4.

Sparta. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, Alexandria.

Sarapias. 1,

1327.

/. G. XIV, 171. Sicily (Syracuse). Seymour de Ricci, Revue Epigraphique, No. 9. Gizeh.

Syntrophus.

Taou[o]n.

Fifty

I

(1913), p. 157,

Years

Agathe. C. I. G. TV, 9480. Catana. /. G. XII, 345. Minoa. Agathopous, son of Agathopous. Amachis, the faithful son of Alexandrus Th. and Ammiane. Macridy and J. Ebersolt, B.C.H. XL VI (1922), p. 358, No. 1. Constantinople. 8. E.G.I, 564. Ammonius.

Egypt (K6m Abou Bellou).

lll,

C. I. G. 5251. Anphio, son of Anphio. Cyrene. Apollus, a prophet. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 3837. Place unknown. Now in the British Museum. G. Mendel, B.C.H. XXIV (1900), p. 404, No. 81. Apomonius.

Bithynia (Goel-bazar) Asklepiodotus,

/.

G.

son

R. I,

.

of Theodorus

205.

Rome.

of Nicomedeia.

I.G. XIV,

1430;

OF IN8CKIPTIOK8

CATALOGUE

343

Attikus. Q. Lefebvre, B.C.H. XXVI (1902), p. 460, No. 21. Egypt (Baouit). Aurelius Eropus. C. I. G. IV, 9875. Transpadana (Verona). Aurelius Inpetratus. I. G. XIV, 698. Campania ( Sorento ) . to whom he was mar Aurelius Zeno, husband of Phlabia Rhe ried 37 years. /. G. XIV, 2096 a. Rome. Sammelbuch grieehiseher Barchias, son of Barchias. Preisigke, Vrkunden aus Agypten, I, 717. Egypt ( Leontopolis ) . Betia Kornelia. I. G. XIV, 582. Sicily (Centuripa). . B C. I. G. Chresimus. /. G.

IV, 9751. XIV, 188.

Rome.

Sicily (Syracuse). G. Chrestus, husband of Aurelia Chreste, daughter of Apollonides. Mendel, B.C.H. XXIV (1900), p. 377, No. 24. Bithynia. Damas, father of Proklus. Elesabel. C. I. G. IV, 9866.

Elpidia. /. Enkarpius.

IX,

G.

I.

C.I.

G.

lll,

951.

G. XIV, 473. Sicily (Catana). son of Kallikrates. /. G. XII, 351.

Epiktetus, Eudemonis.

8.

E.G. I,

559;

Preisigke,

Vrkunden aus Agypten, III, 6589. /. G. XII, Euporus, son of Aristoboulus. Eurytus, son of Zezeilius Berineikeianus. Eutyche.

Phrygia (Azani).

3860.

Sardinia. Corcyra.

/.

XII,

G.

Minoa.

Sammelbuch griechischer Tanta, Municipal Museum. Minoa. 352.

/.

G.

XII,

518, Addenda et Corrigenda.

lll,

353.

Minoa.

Amorgos.

Gaius Ouetranus. 5221. C. I. G. Cyrene. Gazourius, son of Metrodorus. Basilius Latyschev, Inscriptiones Antiquae, IV, p. 76, No. 105. Chersonesus Taurica. Georgias. /. G. XIV, 675. Brundisium.

HelUdius. Helle.

C.

I.

I.G. IX,

G.

IV,

956;

9137.

C. 1. G.

Tripoli.

II,

1890.

Corcyra.

of Kyrus. G. Lefebvre, B.C.H. XXVII (1903), Egypt (Acoris). p. 380, No. 131. Heraklas, son of Herakleides of Alexandria. /. G. XIV, 678. Brundisium. E. Kalinka, Antike Denkmaler in Bul Hippias, son of Kokeius. garian, p. 247, No. 305. Kosarsko. Ignatius Marianus. /. G. XIV, 299. Sicily ( Pannormus ) . Heraiskus,

son

Ioulianus. C. I. G. IV, 9489 ; /. G. XIV, 539. Sicily (Catana). Ioulius, son of Gaius. I.G. IX, 650. Pelasgiotis (Larissa). Kalikrates. I.G. XII, 300. Minoa. Kointus Meniskus. G. Mendel, B.C.H. XXV (1901), p. 35, No. 180. Bithynia (Bartin). Leontis. Ch. Fossey, B.C.H. XXI (1897), p. 42, No. 11. Syria (Khisfin).

344

OLD AGE AMONG

Likinnia Kaisellia. 50.

THE ANCIENT GREEKS

A.J. A. IX

D. M. Robinson,

(1905), p. 317, No.

Sinope.

lll,

Loimas. C. I. G. 5636. Sicily (Messana). D. M. Robinson, A. A. XVII Lyseichus, son of Lysimachus. (1913), p. 182, No. 64; Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 5907. Cyrenaica. Hakeisteia

Asia.

J.

A.J. A. XVII

D. M. Robinson,

(1913),

p.

182,

No. 65.

Cyrenaica. Maris. S.E.G. I, 574; Preisigke, Sammelbuch griechischer kunden aus Agypten, III, 6651. Egypt (Leontopolis).

Vr

/. G. XIV, 148. Syracuse. Mne8thus, son of Epicbareinus. C. I. G. 5716 b. Sicily (Catana). Neopoies, a hero, son of Amphikrates. C. I. G. II, 3358. Smyrna. Nepheroeis, son of Paon. Preisigke, Sammelbuch griechischer Vr kunden aus Agypten, I, 97. Egypt (Acoris). Petrus. /. G. XIV, 2310 a, Addenda et Corrigenda. Transpadana

Markellina.

Ill,

(Verona). Philo, son of Straton. Phylis Basso. C.I.G.

C.I.G.

lll,

Ill,

5351.

Teucheira

(Arsinoe).

Cyrene. Prokopa, wife of Poublius Ailius Pompeius, a centurion. Cagnat and Besnier, L'Annie Epigraphique, 1916, p. 33, No. 121. Thrace. 5271.

/. G. XIV, 2358. Venetia (Aquileia). Prokopius, a Galatian. Psais, son of Habaninis, son of Pensenpeleilius, a herdsman. Prei sigke, Sammelbuch griechischer Vrkunden aus Agypten, III, 6007. Place unknown. Ptollas Thotarchistus, son of Dionysia. Preisigke, Sammelbuch grie chischer Vrkunden aus Agypten, III, 6006. Now in the British Museum. Sansnus, son of Pepeminis and Thatres. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 1609. Egypt (Sohag). Soteris. C. I. G. IV, 9481 ; /. G. XIV, 550. Sicily (Catana). C. I. G. lll, 5234. Cyrene. Souphenas, son of Alexandrus. Th[eod]ora, wife of Chrestus. Basilius Latyschev, Inscriptiones Zeines,

Antiquae, IV, p. 307, No. 466. son of Zordesiosus. E. Kalinka, Antike Denkmaler garien, p. 247, No. 306. Bulgaria ( Abtat-Kalesi ) . ,

of Galatia.

C.

I.

G.

IV,

9738.

G. Lefebvre, coppersmith. 381, No. 135. Egypt (Acoris). kolis. C. I. G. IV, 9753. Rome. , a

.

C.

I.

.

/.

G.

IV, 9500. Catana. XIV, 418 a, Addenda et

in Bul-

Rome.

B.C.H. XXVII

(1903),

p.

G.

Corrigenda.

Sicily (Messana).

CATALOGUE . D. M. Robinson, Hesseling, B. C. H. Revue des Etudes

Sinope. .

/.

G.

.

/.

G.

XII, 137. II, 4318.

OF INSCRIPTIONS

345

A.J. A. IX (1905), XIII ( 1893), p. 305, Anciennes,

III

p. 322, No. 58; D. C. No. 12; D. M. Yerakis, (1901), p. 356, No. 15.

Arcesine. Athens.

Fifty-One Years Euphrosyne, daughter of Theodotus.

C.

I.

G.

lll,

Cyrene. Minoa.

5289.

Kallikrates. C. I. G. II, 2264 s, Addenda et Corrigenda. C. I. G. Lakaina or Leaina, daughter of Ptolemaius. Cyrene. Sabeinus, son of Sabeinus. lenia.

/.

G.

IX,

651 ;

C.

I.

G.

II,

lll,

1932.

5267.

Cephal-

Fifty-Two Years Asinnia Ioukounda, sister of Kointus Kourtius of Nicomedeia.

II,

Hierax.

C.

I.

G.

Nicomedeia.

3781.

Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, 6833. Royal Ontario Museum.

III,

Ioulius Serenus. C. I. G. II, 3692. Cyzicus. 6084. Rome. C. I. G. Menandrus, father of Diopeithes. Orteseinus, son of Orteseianus, husband of Phlabia Phesta whom he lived 19 years. /. G. R. I, 319. Rome.

lll,

Makaria, wife of Theagenes, son of Chrestion. Basilius Latyschev, Inscriptiones Antiquae,

Oulpia

2100;

No. 215. Chersonesus. Thaesis, son of Psentopeus and Sensisois. Preisigke, griechischer Vrkunden aus Agypten, I, 5999. Louvre. .

/.

XII,

G.

141.

C.

I,

/.

with G.

II,

p. 206,

Sammelbuch Now in the

Place uncertain.

Fifty-Three Years Sammelbuch griechischer Euangelus. Preisigke, Agypten, III, 6020. Now in Munich.

/.G. XIV,

Glykera. Kleopatrus. Makarius.

C.

I.

G.

578.

II,

Preisigke, Agypten, I, 5964.

Sergius.

/.

G.

philon. Sidon.

XIV, W.

J.

aus

Sicily (Centuripa). /. G. IX, 958. Corcyra.

1902;

griechischer Sammelbuch Place unknown.

Rhegium. Moulton, A. J. A.

629.

Vrkunden

VIII

Vrkunden

aus

(1904), p. 285, No. 5.

OLD AGE AMONG

346

THE ANCIENT GREEKS

Fifty-Four

Years

Preisigke, son of Dioskoras and Kollothis. Sammelbuch griechischer Vrkunden aus Agypten, I, 4236. Now in Oxford, Bodleian Library. Kuntianus, a senator. C. I. G. IV, 9902. Rome. Buckler and Menophantus, son of Mithres, son of Menekrates. Klaudius Kolanthus,

Robinson,

Sardis,

VII,

Sardis. Statia, daughter of Statiu[s],

1,

Greek and Latin Inscriptions, No.

132.

wife

of Aristokles,

lived 38 years. W. M. Ramsay, No. 16. Galatia (Ancyra).

B.C.H.

VII

griechischer Theanous. Sammelbuch Preisigke, Place unknown. Now Agypten, I, 3843. Museum. .

G.

Lefebvre,

B.C.H. XXVII

(1903),

p.

with

whom he

(1883), p. 25, Vrkunden

aus

in the British 380,

No.

132.

Egypt (Acoris). Fifty-Five

Tears

Ailius Poulcher, a senator who lived well. Anderson, Cumont, and Gregiore, Studia Pontica, III, p. 56, No. 41; I.G.R. HI, Neoclaudiopolis. of Sarapion and Eudaimonis, who died untimely griechischer (fiwpot).11 Sammelbuch Vrkunden aus Preisigke, Agypten, I, 1429. Now in the Gizeh Museum. Aurelius Silouanus, son of Antiochus and Euandreia. 8. E. G. IV (1929), 126. Rome (cemetery of St. Calixtus). Biktorinius. Seymour de Ricci, Revue Epigraphique, I (1913), p. 151, No. 17; Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, IV, 7301. Now in the Museum of the Academy 142.

Anoubas,

son

in Braunsberg. Eia, wife of Thalamus. G. Mendel, B.C.H. XXIV (1900), p. 392, No. 55. Bithynia ( Isnik ) . /. G. IV, III. Aegina. Epigone. Euporus, freedman of Epinikus. /. G. IX, 420 ; W. J. Woodhouse, J.H.8. XIII (1893), p. 354, No. 32. Aetolia (Thestia). Gerus, a physician.
son of Herakleides, a shipowner. griechischer Vrkunden aus Agypten,

I,

Preisigke, Sammelbuch 2050. Alexandria.

It is unusual to have this adjective applied to one of 55 years, this being the only example; but it helps to show us that the Greeks were accustomed to think in terms of a long life. 14

CATALOGUE

OF INSCRIPTIONS

347

J. Pargoire, B.C.H. XXII (1898), Dionysius. Phrygia (Heracleia). /. G. R. IV, 616. Cilicia Menianus, son of Akylas and Oualeria. (Flaviopolls). Buckler and Robinson, Sardis, VII, 1, Greek Mucius, son of Orestes. and Latin Inscriptions, No. 124. Sardis. Oualerius, an elder in the church. C. I. G. IV, 9434. Salona. I.G. II, 2374; I.G. XII, 444 Philoxenus, the dithyrambic poet. (Marm. Par. Ep. 69). Phlabius Maximus, son of Samethus, husband of Aurelia Antonia. I.G.R. IIl, 1310. Arabia (Gaisama). Plenis, son of Pkater. griechischer UrPreisigke, Sammelbuch kunden aus Agypten, I, 3548. Place unknown. Now in the Louvre. C.I.G. IIl, 4976 c. Egypt (place Sarapio, son of Hermaiskus. Markus

Oulpius

p. 494, No. 3.

unknown). Sostia. C. I. G. IIl, 5232. Cyrene. Strato, son of Kallistratus. I.G. IX, 419; W. J. Woodhouse, J.H. S. XIII (1893), p. 354, No. 31. Aetolia (Soponikus). Stratoneike, wife of Aurelius Heimeris with whom he lived 30 years. C.

I.

G.

IV,

9704.

Rome.

Tais,

griechischer daughter of Dioskorus. Preisigke, Sammelbuch Urkunden aus Agypten, I, 3456. Alexandria. Titus Aurelius Kalpournianus Apollonides, governor of Gallia Akouitanikes, of Lower Mysia, of Thrace, of Dalmatia, and of Egypt. J. G. Milne, J.H. S. XXI (1901), p. 291; Preisigke, griechischer Urkunden aus Agypten, I, 173; Sammelbuch I.G.R. I, 1107. Egypt (Mendes). Tkoilis, daughter of Tlakanes. Preisigke, Sammelbuch griechischer Urkunden aus Agypten, I, 3525. Place unknown. Now in the Louvre. eia, daughter of Menekrates. C. I. G. II, 3762. Nicaea. , mother of Brinkazeis and Aulouzenis. G. Seure, B. C. H. XXV (1901), p. 315, No. 13. Thrace.

Fifty-Six Years Antonius Eutychestatus. I.G. XIV, 767. Campania (Naples). Poublius Herennius Kapito. D. M. Robinson, A.J. A. XVII (1913), Cyrenaica. p. 173, No. 38. Fifty-Seven

Years

of Heliodorus, son of Heliodorus. E. L. Hicks, J.H. S. X (1889), p. 60, No. 12. Lycia. Orsenouphis, son of Haremephis and Thesis. Preisigke, Sammelbuch griechischer Urkunden aus Agypten, I, 784. Egypt (Fayum). Diophantes,

son

348

THE ANCIENT GREEKS

OLD AGE AMONG

Fifty-Eight Agathokles,

son of Tryphon.

Akindynus,

son

of

/.

G.

Years

XIV,

and

Akindynus

834.

Ephesia.

Puteoli. C.

I.

G.

lll,

3850.

Phrygia (Azani).

C. I. G. II, 2197, Addenda et Corri Apollonius, son of Apollonius. genda; I. G. XII, 378. Mytilene. Peleis, son of Apollonius. Preisigke, Sammelbuch griechischer Vr-

kunden ous igypten, I, 4288. Now in New York, Abbott Collection. Pontikus, son of Thallus. C. I. G. 4163 ; D. M. Robinson, A. A. IX (1905), p. 314, No. 42. Sinope. [Tr]yphaina, daughter of Gaius. G. Mendel, B.C.E. XXIV (1900), Bithynia (Arydjaklar) . p. 409, No. 93.

lll,

Zosimus, a teacher.

C.

I.

IV,

G.

J.

Rome.

9710.

Sixty Years Agathe. /. G. XIV, 524. Alexandrinus Serammon.

C.

I.

G.

D. M. Robinson, A.

Amarantus.

lll,

Sicily (Catana).

5207.

IIl,

6284.

J. A. XVII

Ficulea. (1913), p. 197;

C.I.

G.

Cyrenaica.

Ammonis, son of Paichikthis. G. Lefebvre, B.C.H. XXVII (1903), Egypt (Acoris). p. 352, No. 26. Annulei (?). I.G. XIV, 2300. Transpadana ( Mediolanum ) . /. G. XIV, 1410. Rome. Aprikius Threptus. Aristokrates, son of Agesilaus. C. I. G. 5263. Cyrene. Aurelia Chrysogone, daughter of Neiketus. /. G. XII, 376. Minoa. Aurelius Prokles, husband of Klaudia Mariniane with whom he

lll,

lll,

lived 10 years. C. I. G. 6561 ; /. G. XIV, 1771. Rome. Bassa, wife of Papianus, who lived so as to merit no blame. G. Mendel, B.C.H. XXIV (1900), p. 402. Bithynia (Kadja-

viran ) .

Bassus, son of Theodorus. I.G. XIV, 2293. Transpadana (Pavia). Chrestus, brother of Asklepiades. G. Mendel, B.C.H. XXV (1901), p. 46, No. 190. Bithynia ( Tcharchamba ) . Damala. /. G. XIV, 578 a. Sicily (Centuripa). Didoima. I. G. XII, 208. Arcesine (Kolophana). Dionysia, an attendant of Isis. /. G. V, 472. Megalopolis. C.I.G. Dionysius, son of Euboulus, victor in the games.

/.

G.

IX,

II,

1889;

Corcyra. Domnus, a man of every virtue, who was conspicuous among his husband of Kyrilla. fellow-men and lived honorably; G. Mendel, B.C.H. XXXIII (1909), p. 424, No. 428. Bithynia 948.

(Aikirikdji).

OF INSCRIPTIONS

CATALOGUE

Ebeidas, son of Abdionus. Ch. Fossey, B. C. H. No. 61. Syria (Dulbeh). Eisidoras. /. G. XII, 288. Minoa. Epikrates, son of Epikrates of Nicomedeia, /. G. C. I. G. I, 1498. Laconia. Eutychus.

349

XXI XIV,

( 1897 ) , p.

841 a.

58,

Puteoli.

/.G. XIV, 400. Sicily (Lipara). Glaphyrus. Glykon, brother of Dionysius, and husband of Merkia, with whom he lived 40 years. G. Mendel, B.C.H. XXV (1901), p. 59, No. 205. Bithynia ( Kara-Alilar ) . Herakleides, Anderson, Cumont, and Gregoire, son of Klarus. Studia Pontica, III, p. 13, No. 7 a. Amisus. Hermes, son of Hesperus. I.G. XII, 125. Arcesine (Kolophana). Iesous, son of Phameis. 8.E.G. I, 571; Preisigke, Sammelbuch griechischer

Vrkunden

aus

III,

Agypten,

( Leontopolis) . Ioulia, wife of Theodotus. G. Mendel, B.C.H. 395, No. 64. Bithynia (Ak-hissar). Kastor, son of Hermes. /. G. XII, 360. Minoa.

6648.

XXIV

Egypt

(1900),

p.

/. 0. XIV, 487. Sicily (Catana). Kornelius Pollio, brother of Gaius Kornelius Ioustus of Nicomedeia. /. G. R. I, 587. Nicopolis. Kronius, alias Artemidorus Euodius. I.G. XIV, 1794; I.G.R. I, Komylus.

Ficulea.

373.

Lanpionus,

B.

a general.

C.H. XV

Manius

Phoulbius

Pakatus.

p. 317, No. 50.

(1891), p. 451. Amorgos. Rome. A.J. A. IX (1905),

/. G. XIV, 1574. D. M. Robinson,

Loukius Audi us Kamereinus. Sinope.

Markus Aurelius Proklus of Nicomedeia. Markianus,

/.

son of the renowned Neikianus.

XXXIII

(1909), p. 63, No. 43. Maximus, son of Iason. C.I.G. Himeraeae ) . Memmia Memphis. Memmia Potheina.

C.

I.

G.

II,

1906.

G.

XIV,

1475.

Naples.

Henri Gregoire, B.

C.

H.

Cappodocia.

lll,

5582.

Sicily

(Thermae

Corcyra.

II, 1910b, Addenda et Corrigenda. Corcyra. Menodorus, son of Apollonius. Basilius Latyschev, Inscriptiones Antiquac, II, p. 150, No. 298. Panticapaeum. Mounatius Philippus. I.G. XIV, 328. Sicily (Thermae Hime I.

G.

raeae ) .

IX,

964;

C.I.G.

G. Lefebvre, B.C.H. XXVII (1903), Niger, who wears the sabre. 351, No. 20. Egypt p. (Acoris). Oncsikrates of Nicomedeia. /. G. XIV, 876 a, Addenda et Corri genda.

Misenum.

350

OLD AGE AMONG

Paulus,

the

I.G. XIV,

Egyptian.

lanum)

THE ANCIENT GREEKS 2298.

Transpadana

G. Lefebvre, of Helias the house-steward. (1903), p. 371, No. 102. Egypt (Acoris). Phlabia, the Athenian. /. G. XIV, 2089. Rome. Phlaouius Alexandrus. /. G. XIV, 2079. Rome. Paulus,

(Medio-

.

son

XXVII

B. C.

H.

lll,

Phrates. C.I.G. 4199. Lycia (Telmissicus) . Plenis. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 4285. Now in New York, Metropolitan Museum.

Basilius Latyschev, Ponticus, son of Nemerius, a man of Heracleia. Chersonesus Inscriptiones Antiquae, IV, p. 80, No. 112. Taurica. griechischer Psenthbus. Vrkunden Sammelbuch aus Preisigke, Agypten, I, 3530. Place unknown. Now in the Louvre. [Sa]batais, son of Ekdemus. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, III, 6229. Place unknown. (1913), p. Sabbathus. Seymour de Ricci, Revue Epigraphique, 146, No. 7; Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, TV, 7291. Egypt (Leontopolis) . Now in the

I

Museum of the Academy in Braunsberg. Preisigke, Sammelbuch griechischer Vrkunden I, 3519. Egypt (place unknown). Now in the

Senplenis the elder. aus Agypten, Louvre.

/. G. XII, 366. Minoa. Stephanephorus. Theodorus, son of Herakleides. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, III, 6122. Place unknown. Theomnestus, son of Aristo. G. Seure, B.C.H. XXXVI (1912), p. 612, No. 69.

Thrace

(Silivri).

Titus Nasidius Basileides. I. G. XIV, Tyche. /. G. XII, 290. Minoa. Zopyra.

I.G. IX,

, son . . . . .

1037.

of Ateilus.

C. I. /. G. I. G. I. G. I.G.

G.

IV,

XII, XII, XII,

XIV,

350.

Sicily (Panhormus).

Pelasgiotis (Larissa). G. XII, 379. Minoa.

/.

9495. 315.

301.

Catena. Minoa. Minoa.

Minoa. 578a, Addenda et Corrigenda.

381.

ripa).

Bithynus, a physician. Perrhaebi.

Sixty-One

Years

I.G. IX,

1276;

Sicily (Centu-

Kaibel, Epigr. Gr.

509.

OF INSCRIPTIONS

CATALOGUE

351

Sixty-Two Years Eponychus, son of Eponychus. Vrkunden aus A gyp ten, Now in Turin.

Kallityche.

K.

I.

Sammelbuch griechischer

Preisigke,

I,

Egypt (place unknown).

2019.

lll,

G.

5358. Cyrene. Ponpeius Pollio. D. M. Robinson, A.J. A. No. 38. Cyrenaica. C.

son of

Lysanias,

Pomptilla.

/.

Erato.

C.

XIV,

I.

lll,

G.

XVII

(1913), p. 173,

Cyrene.

5278.

IV,

V. Crespi, Ephemeris Epigraphica,

G. 607 ; Sardinia. p. 492, No. 10. C.I.G. Seouerus, son of Solaimus.

lll,

Sixty-Three

1309.

Arabia (Orman).

Years

Chrestus Philoteimus, son of Philokalus, of the Aigikorean tribe. Ancient Gr. Inscriptions in the British Museum, II, 178. Thrace (Tomi). Euenus, wife of Margaris, to whom she was married at the age of 6252; I. G. 13 and with whom she lived 50 years. C. I. G. XIV, 1831. Rome. Kastrus. H. Lammens, Le Musie Beige, VI (1902), p. 55, No. 109.

lll,

Syria (Horns). Klaudia Soteris. /. G. XIV, Kollouthes,

son

Sicily (Syracuse).

36.

of Sokrates.

Vrkunden aus Agypten, Now in Berlin.

I,

I.

G.

lll,

6613.

Pisaurum.

B.C.H. XXVII

(1903),

Egypt (Acoris).

/. G. V, 771. Laconia. H. Lammens, Le Musie Beige, Syria (Horns).

Sporus. Zeno.

C.

G. Lefebvre,

son of Pemsaeis.

p. 356, No. 41.

griechischer

Egypt (place unknown).

1186.

Kornelia Hesychia. /. G. XIV, 1784; Patrikius. C. I. G. IV, 9616. Rome. Petenoupis,

Sammelbuch

Preisigke,

VI

(1902),

p.

55, No.

111.

Sixty-Four Years Memmia Neike. Sogenes,

Tithetion.

/.

G.

IX,

962.

son of Dositheus.

G. Lefebvre,

Corcyra.

I. G. lll, 5344. Cyrene. B.C.H. XXVII (1903), p. 349, C.

Egypt (Acoris). SUcty-Five

/. G. IV, 109. Aegina. Agallomena. /. G. IV, 110. Aegina. Antigonus.

Years

No.

12.

352

OLD AGE AMONG

THE ANCIENT GBEEKS

Aulus Pakonius Phlam[ma]s, son of Aulus. Paton and Hicks, Inscriptions of Cos., p. 218, No. 337. Asphendiu. Aurelis Bitales. /. G. XIV, 463. Sicily (Catana). Aurelius Herakleides, son of Herakleides, a senator. J. Pargoire, B. C. H. XXII (1898), p. 496, No. 5. Phrygia (Heracleia). Aurelius Prokklus. /. G. XIV, 2384. Histria. /. G. IV, 108. Aegina. Dionysas. C. I. G. I, 1498; /. G. V, 1235; Ancient Gr. Inscriptions in Eutychus. the British Museum, II, 146 ; Kaibel, Epigr. Gr. 479. Laconia. /. G. XII, 1106. Syrus. Helikon, son of Charidemus. Hieron

I.G. XIV,

of Nicomedeia, helmsman of Markus. 417. Baiae.

R. I,

880;

I.G.

/. G. XIV, 1671. Rome. Ioulius Alexandrus. Kornelia Theonis. C. I.G. II, 1816. Epirus (Nicopolis). Loukius Likinius Tereus. C. I. G. II, 1829 b, Addenda et Corrigenda. Illyricum (Apollonia). D. M. Robinson, T.A.P.A. LVTI Loukius Ouettius Gordianus. (1926), p. 219, No. 40. Asia Minor ( Alti-Kapou ) . I.G. V, 757; Martha, B.C.H. I (1877), p. 387, Markus Gellius. No.

Laconia.

18.

Mebia Maxima.

C.

I.

G.

IV,

9537 ;

/.

G.

XIV,

Sicily (Thermae

348.

Himeraeae) . Mounatius, son of Nagathus. Ch. Fosaey, Syria (Deir-Eyoub). p. 39, No. 1.

B.C.H. XXI

Philo. W. J. Moulton, A. J. A. VIII (1904), p. I. G. IX, 957. Corcyra. Poplius Ailius Thursus.

285, No. 6.

(1897), Sidon.

C.I.G. II, 2100; Basilius Latyschev, son of Chrestion. Inscriptiones Antiquae, I, p. 206, No. 215. Chersonesus. griechischer Sammelbuch Vrkunden Tnouoes. Preisigke, ous Agypten, I, 5969. Place unknown. Tryphon, son of Isidorus, of the tribe Alibalis. Buckler and Robin son, Sardis, VII, 1, Greek and Latin Inscriptions, No. 127. , son of Herakleides, Basilius Latyschev, Inscriptiones An tiquae, I, p. 206, No. 215. Chersonesus. Theagenes,

.

/.

G.

XII,

C.

I.

520, Addenda et Corrigenda.

.

G.

1498; Ancient Gr.

II,

146.

I,

Amorgos.

Inscriptions in

the

Br. Museum,

Laconia.

Sixty-Six Years

/. G. XII, 349. Minoa. Epaphrodeitus. Andromenes. /. G. XII, 281.

Euthymis

Sixty-Seven

Anaphe.

Years

Demetrius, father of the priest Apollonius.

/.

G.

XI,

1299.

Deloa.

OF INSCEIPTION8

CATALOGUE

353

J. Moulton, A.J. A. VIII (1904), p. 283, No. 1. Sidon. G. V, 765. Laconia. I.G. V, 1364; Keil, Rhein. Mus. XIV (1859), p. 529. W.

Ptolema. Soterida.

I.

.

Pherae.

Sixty-Eight Years Apollonides, son of Soter, son of Kornelius. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 3930. Now in Berlin. 8. E. G. I, 565. Egypt (K6m Abou Bel lou) . Harphbichis. Horionus, son of Plenis, a herdsman. Preisigke, Sammelbuch grie Place unknown. chischer Vrkunden aus Agypten, I, 3535. Now in the Louvre. Klellius, who was worthy and caused no sorrw. H. Lammens, Le Musie Beige, VI (1902), p. 54, No. 105. Syria (Horns).

Sixty-Nine Years the tragic

Aischylus,

Par. Ep. 58).

E.G.I,

I.

poet.

II,

G.

2374;

I.G. XII,

444

(Jf arm.

Paros.

530. Syria ( Arethusa ) . Buckler and Robin Dionysodorus Agathokles, son of Dionysodorus. son, Sardis, VII, 1, Greek and Latin Inscriptions, No. 106. Ioulia Alexandra. I. G. IX, 596; C./.G.ll,1924. Leucas.

Apio.

8.

Pathotes Harmaius." G. Lefebvre, No. 27. Egypt (Acoris).

B.C.H. XXVII

(1903), p. 353,

Seventy Years

Ak

Androniko.

Anteigenia, No. Antonius.

C.

I.

G.

lll,

C.

Aristomenes.

I. C.

G.

I.

IV, 9496 ; I. IV, 9490.

G.

Asklepiades Neik[er]otu[s], (1901), p. 46, No. 190.

Cyrene.

5289.

who lived discreetly. 11. Prusa. G.

B.C.H. XXIV

XIV,

Catana. brother of

528.

(1900),

Sicily

p.

372.

( Catana ) .

B.C.H. XXV

Chrestus.

Bithynia (Tcharchamba).

Aurelius Amphiktyon. C.I. G. lll, 6204; I.G. XIV, 1448. Italy (Velitrae). Aurelius Markellinus, leader of the Hundred, husband of Aurelia Bassa. I. G. R. lll, 1204. Palestina. G. Seure, Dentysukus. Thrace (Konjevo). Dionysius,

B.C.H.

son of Demosthenes,

XXV

a citizen

Antike Denkmaler in Bulgarien, 18

The numeral is restored. 23

(1901),

p.

of Heracleia.

p. 249, No. 310.

315,

No.

13.

E. Kalinka, Varna.

354

THE ANCIENT GBEEKS

OLD AGE AMONG

Dionysius,

A. Fontrier,

of Poseidonius.

son

B.C.H. VII

(1883),

Smyrna. 5201. C. I. G. Euphrosynus Demetrianua. Cyrene. /. G. XII, 354. Minoa. Euschemosyna, daughter of Epauxesis. Gaius Bianorus of Nicaea, a carpenter of the tribe Kapitoleines. /. G. I, 590; Kalinka, Antike Denkmaler in Bulgarien, p. 249, No. 311. Nicopolis. p. 279.

lll,

lll,

C. I. G. 5342. Gaius Sentes, son of Agathon. Cyrene. Herakleitus. 7. G. IX, 529 ; C. I. G. II, 1794 d. Acarnania. Thessalonica. C. I. G. II, 1994 g, Addenda et Corrigenda. Kleopatra. C.I. G. 5404; I.G. XIV, 42. Syracuse. Magoulnia Spes. Men[as]. G. Mendel, B.C.H. XXV (1901), p. 47, No. 191. Bithynia (Tachtadji-keui).

lll,

Menis,

a

A. Wilhelm, B.C.H.

physician.

XXIX

Bithynia. Metrodorus,

son of Aniketus.

237, No.

Ouaissurus.

C.

Amorgos

10.

I.

G.

IV,

lll,

G. Radet,

B.C.H.

(1905),

XII

p.

(1888),

13.

p.

(Khora). Rome.

9726.

G. XIV, 46. Syracuse. Primogenes. 1.G. XIV, 546. Sicily (Catana). Sarapion, son of Sarapion, a gymnasiarch. Breccia, Catalogue Gen eral des Antiquity Egyptiennes du Musie d'Alexandrie: Iscrizioni Greche e Latine, p. 181, No. 371; Preisigke, 8ammelbuch griechischer Vrkunden aus Agypten, I, 411. Egypt

0.

Prepousa.

I.

G.

/.

5409;

(place unknown). Sokrates, the philosopher. I.G. II, 2374; I.G. XII, 444 (Marm. Par. Ep. 64). Paros. Soukessus. C. I. G. 5846 ; /. G. XIV, 810. Naples. Teibis, daughter of Petessouchus. G. Lefebvre, B. C. H. XXVII 1903), p. 347, No. 3. Egypt (Acoris). Theodoras, son of Eutychus. C. I. G. II, 1925 f. Ithaca.

lll,

Theodotus Loupus, son of Agathokles. G. Mendel, B. C. H. XXIV (1900), p. 395, No. 64. Bithynia (Ak-hissar). Zeno of Aphrodisias, a maker of statues, husband of Klymena. C. I. G. IIl, 6233. Rome. . . .

II,

C.

I.

/. /.

G.

V,

G.

XIV,

G.

2006.

804.

Bitoglia.

Laconia.

522.

Catana. Seventy-One Yean

Euboulia.

C.

I.

G.

lll,

Titus Sestius Domitius.

5284. C.

I.

Cyrene. G.

Ill,

5276.

Cyrene.

OF INSCRIPTIONS

CATALOGUE

Seventy-Two

Years

Aurelius Theodoulus, husband of Kekilia Maria. Rome. son of Seilus.

p. 127.

Ioustus,

tipolis).

/. G. XIV,

355

8.

E.G. IV

(1929),

Gallia Narbonensis

2428.

(An-

lll,

Lanthanousa. C. I. G. 5471 ; /. G. XIV, 254. Sicily (Licodia). Psenthbus the younger. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 3529. Place unknown. Now in the Louvre. son of Pelilis. Tatetriphius, Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, I, 1173. Place unknown. Now in Berlin. nonna.

C.

I.

G.

IV,

9752.

Rome.

Seventy-Three

Years

Domestikus, a Christian and a healer. 0. /. G. IV, 9451. Sicily. Eutyches Hera. /. Gf. IX, 953. Corcyra. Pekoous, son of Mesoeris. G. Lefebvre, B.C.H. XXVII (1903), p. 348, No. 6. Egypt (Acoris). Peskennis Kalatichus. I.G. XIV, 496. Sicily (Catana). Zenonis.

C.

I.

G.

IV,

6934.

Place uncertain.

Seventy-Four

Years

Aurelius Akinakes. G. Cousin, B. C.H. XXIII (1899), p. 170, No. 9. Pisidia (Termessus). Gaius Ioulius Herakleides. C. I. G. lll, 5176. Cyrene. Oualerius Markus, a horseman. I.G.R. lll, 1110. Syria (Apheca). Titus Ioulius Hermadion, husband of Philonika. /. G. XIV, 1677. Rome. Seventy-Five

Years

8.E.G. IV (1929), 15. Sicily (Syracuse). Ariagna. Aurelius Herodotus, son of Paramonus, an Athenian magistrate. C. I. 0. II, 2163b; /. G. XII, 608. Thasos. Dioskurus, the master of a ship. C. I. G. IV, 9867; /. G. XIV, 2252. Pisaurum.

Isakius.

Preisigke, Sammelbuch griechischer Vrkunden aus Agypten, Place unknown. Louppus, father of Zoilus. G. Mendel, B. C.H. XXIV (1900), p. 396, No. 68. Bithynia (Ak-hissar). Philiskus. /. G. II, 3760. Nicaea. Phlaouius Oulpianus, who lived well. Ch. Fossey, B. C. H. XXI (1897), p. 58, No. 62. Syria (Damas).

l,

Phlaouius

5967.

Zeno,

father of Zeno.

/.

G. R.

I,

552.

Salona.

356

OLD AGE AMONG

Rhouphus,

son

/.

of Athus.

THE ANCIENT GBEEK8

Ill,

G. R.

Arabia

1336.

(

Sammet-el-

Berdan). Satorneinus, son of Azeizus. Ch. Fossey, B.C.H. XXI (1897), p. 45, No. 24. Syria (Yedoudeh) . 5350. Cyrene. Tryphaina, daughter of Philippus. C. I. G. XIV, Ba . Florence. son of I.G. , 2267.

lll,

Seventy-Site Years Domestikus. /. G. XIV, 604. Sicily (Gozzo). Theodorus, son of Eutychus. /. G. IX, 681. Ithaca. , daughter of Apollonius. C. I. G. II, 3624. Mysia

( Kum-kevi

) .

Seventy-Seven Years Oermanus, a winner in athletic contests. ( Gerasa ) . Hermogenes, son

of Charidemus

/.

G. R.

/.

G.

II,

Arabia

1373.

C.I.G. II,

the physician.

Smyrna. Loukius Phlabius Kladus. 0. /. G. IV, 9862; Silbanus, son of Kornelia Theonis. C.I.G.

lll,

XIV, 1816.

2083.

3311.

Florence.

Epirus (Nico-

polis). Klaudius Kylindrus, son of Mneasus. Breccia, Catalogue Gineral des Antiquitis E gyptiennes du Musie d'Alexandrie : Iscrizioni GrecHe e Latine, p. 185, No. 379. Alexandria.

Tiberius

Seventy-Eight Aruotes,

son of Aroutes, son of Bes. chischer Urkunden aus Agypten,

Years Preisigke, Sammelbuch grie6138. Now in Copenhagen.

III,

Seventy-Nine Years Euripides,

the tragic

Par. Ep. 63).

I.G.

poet.

II,

2374;

I.G. XII,

444

(Marm.

Paros.

Eighty Years Antiochis.

/.

G.

V,

1494.

Messene.

Apate, daughter of Epiktesis. C. I. G. II, 2143 c, Addenda et Corri genda; /. G. IV, 78. Aegina. Bettius Maurikus." /. G. XIV, 308. Sicily (Panhormus). daughter of Dionysius. (1891), p. 672, No. 11. Erato, son of Hermon. 0. /. G.

Chrysion,

XV

I.G. XII,

lll,

The numeral is partly restored.

215;

Arcesine. 5278.

Cyrene.

Homolle,

B.C.H.

OF INSCRIPTIONS

CATALOGUE

/. G.

Eutyches, son of Eutyches. Minoa.

XII,

357

2, Addenda

et

Corrigenda.

;/.

G. XIV, 467. Sicily (Catana). Galates. 0. /. G. lll, 5701 Kallistion. W. J. Moulton, A. J. A. VIII (1904), p. 286. Sidon. Kleopatra Ammonio. C. I. G. lll, 5310. Cyrene. Kollauthis, daughter of Mesoeris. G. Lefebvre, B.C.H. XXVII (1903), p. 351, No. 21. Egypt (Acoris).

Rome. C. I. G. IV, 9914. Mardepleous. Buckler and Robinson, A.J. A. XVIII (1914), pp. 46-49, Menoitus. No. 14; Buckler and Robinson, Sardis, VII, 1, Greek and Latin Inscriptions, No. 116. Sardis. Neike. I.G. XII, 119; A. Thumb, Ath. Mitt. XVI (1891), p. 175, No. 8. Arcesine. Petechnoubis, son of Harpaesis. G. Lefebvre, B. C. H. XXVII ( 1903 ) , Egypt (Acoris). p. 335, No. 34. Photina. /. G. XIV, 187. Sicily (Syracuse). 5344. Ptolemaius, son of Theodotus. C. I. G. Cyrene. XIV, Rome. /. G. Sekkius Trophimus. 1702. Simon ides of Ceos, the poet. I.G. II, 2374; I.G. XII, 444 (Marm. Par. Ep. 57). Paros. /. G. XII, 553. Thasos. Theodora, daughter of Phlakkus.

lll,

/.

Tychemus. Zeno,

G.

XIV,

Sicily (Catana).

551.

son of Pesistratus.

B.C.H. XXIV

G. Mendel,

(1900), p. 391,

No. 53. Bithynia (Isnik). /. G. XII, 508. Phacussa. Zosima, daughter of Philodamus. Anderson, Cumont, and Gregoire, , husband of Markella. Studia Pontica, III, p. 72, No. 64. Neoclaudiopolis. . /. G. XII, 304. Minoa. . I.G. V, 775. Laconia. Eighty-One

Klaudius Damas, who

possessed

Didyma. Klaudius Tornius Phronto,

Years

the gift of prophecy.

C.

2809.

Cyrene. Mesora Hermodika.

C.

I.

son of Athenadorus.

G.

lll,

C.

I.

G.

I.

lll,

G.

II,

5240. ,

5272.

Preisigke, Tryphon, son of Tryphon. kunden aus Agypten, 6123.

III,

Cyrene. Sammelbuch grieehischer

TJr-

Place unknown.

Eighty-Two Years Beibiarius

Ptollion,

Anius.

C.

I.

G.

lll,

of Euangelus. Vrkunden aus Agypten, son

Cyrene. Preisigke, Sammelbuch grieehischer III, 6835. Royal Ontario Museum. 5272.

THE ANCIENT GREEKS

OLD AGE AMONG

358 Tiberius

Klaudius Alkimus, /. G. R. I, 283.

a healer.

C.

I.

G.

lll,

6604 ;

/.

G.

XTV,

Rome. 0. /. G. , a senator, who was married 60 years to Eleutheria. I, 1030; Kaibel, Epigr.Gr. 120; Ancient Gr. Inscriptions in 1751 ;

I, No. 131. Athens. B.C.H. XXIV (1900), p. (Aklar).

the British Museum, .

G. Mendel,

thynia

Eighty-Three

414,

No.

108.

Bi-

Years

Diona, daughter of Dionus. G. Mendel, B. C.H. XXIV (1900), p. 370, No. 6. Gains Kassius Philiskus, son of Gaius Kassius Asklepiodotus. C. I. G. II, 3759. Nicaea. Kollouthes, son of Onnophris. G. Lefebvre, B.C.H. XXVII (1903). Breccia, Catalogue Ceneral des Antiquites p. 346, No. 2; Egyptiennes du Musee d'Alexandrie: Iscrisioni Greche e La tine, p. 192, No. 402. Alexandria.

Eighty-Four Years Killienus Kallimachus. 193, No. 115.

D. M. Robinson, A.J. A. XVII (Tokra or Teucheira).

(1913),

p.

Cyrenaica

Eighty-Five Years Ammia Eioudea of Laodoceia. C. Damis. I. G. IX, 947. Corcyra.

I.

G. TV, 9916.

Rome.

C.I.G. II, 1910b, Addenda et Corrigenda; Symphorus. IX, 964. G. Corcyra. Nikia, daughter of Nikas. C. I. G. 5326. Cyrene. Philotechnus, son of Philotechnus. I. G. XII, 374. Minoa. Serrenus Aneinas, a man of very noble descent. Ch. Fossey, B. C. H. Memmius

I.

XXI

lll,

(1897), p. 48, No. 30.

Syria (Da«el).

Eighty-Six Years Aristodamus, son of Eukles, who was not wealthy, but outstanding in the estimation of his fellow-men. /. G. XII, 10. Syme. Loukius Rhouphus, son of Helbius Rhouphus. D. M. Robinson, A.J. A. XVII (1913), p. 173, No. 38. Cyrenaica. Sekkius Trophimus, husband of Ioulia Krispeina, who lived with her 12 years. Esquiline)

I.G. XIV,

l.G.R. I,

1702;

Eighty-Seven Herakleides,

witi).

son

344.

Rome

(on the

Thasos

( Kasa-

.

of Philomousus.

/.

Years G.

XII,

629.

CATALOGUE

OF INSCRIPTIONS

Eighty-Eight

359

Years

Alexandrus, son of Psenosiris, son of Petesouchus and Thermouthis. griechischer Urkunden aus Agypten, I, Preisigke, Sammelbuch 738. Egypt (place unknown). Diodorus. Ancient Gr. Inscriptions in the British Museum, IV, 1122b.

Cyprus

(Salamis). Ninety

Years

/. G. XII, 1350, Sup Per[gaius], Thera. Chairion, son of Nikylion. Michel, Recueil d' Inscriptions Grecques, Supplement, I-II, p. 185, No. 1796; J. Dragatsis, Eph. Arch. 1910, p. 65. Piraeus. Epicharmus, comic poet. /.G.II,2374; I. G. XII, 444 (Marm. Par. Ep. 55). Paros. Horion the younger,17 son of Heliodorus. Preisigke, Sammelbuch griechischer Urkunden aus Agypten, I, 3534. Place unknown. Now in the Louvre. Memmius Taurus. C. I. G. IV, 7000. Place uncertain. Oulpia Apousia. /. G. IX, 652. Cephallenia. C./.G.111,5720. Sicily (Catana). Petronius. Timotheus of Miletus, lyric poet. /. G. II, 2374; I. G. XII, 444 ( Marm. Par. Ep. 77 ) . Paros. , husband of Aglais Klaudia, freedwoman of Balbillus. C. I. G. Artemidorus

son of Apollonius.

plement.

IIl,

.

6668.

I.G.

IIl,

Rome. 1362;

Kaibel, Epigr. Gr. 134.

Athens.

Ninety-One Years tragic poet. Ep. 64). Paros.

Sophocles,

I.G. II,

I.G. XII,

2374;

444

(Marm, Par.

Ninety-Three Years Dekmus Serouilius. C. I. G. IIl, 5821 ; /. G. XIV, 809. Naples. C./.G.111,5719. Sicily (Catana). Peskennis Kalatychus. Ninety-Four

Years

griechischer Urkunden aus Preisigke, Sammelbuch Agypten, I, 3538. Place unknown. Now in the Louvre. Tamer. C. /. G. IV, 9121. Nubia ( Colasucia ) . Sus,

the

elder.

17 Ninety is given as an approximate age. The Greek says, iiniKovra ir\ilov t\arop. Preisigke, No. 3533 gives also a certain Horion who lived to the age of ninety-six.

^m

'

C1

.

1

£

OLD AGE AMONG

360

THE ANCIENT

GREEKS

Ninety-Six Years Senpetermouthes, daughter of Artemis and Chemsneus. Sammelbuch griechischer Vrkunden aus Agypten, Egypt ( place unknown ) . Now in Berlin. Soter.

C.

I.

G.

IV,

6855 d, 33.

Preisigke, I, 1194.

Place uncertain.

Ninety-Eight Years D. M. Robinson, A.

Dionysius.

J. A. XVII

(1913), p. 170, No.

35.

Cyrene. One Hundred

Kallibia.

Years

D. M. Robinson, A.J. A. XVII (1913), p. 197. Cyrenaica.. (1904), p. 286, No. lO. J. Moulton, A.J. A.

W. Rhouphilla. Sidon. . C. I. G.

VIII

IV,

Rome.1'

9907.

One Hundred

Two Years

Breccia, Catalogue General des Antiquitis Egyptiennes
Glaukias.

One Hundred

father Pancharius, Rome. .

"The

8.

E.G. I,

of 690.

the Elaean

Ten Years synagogue.

Lycia (Tehnessus)

reading is i[iuir6v].

.

C.

I.

G.

IV,

9904.

ABBREVIATIONS Art

A. A. A. J. A. A. J. P.

and Archaeology

American American

Ann. Rep. Mus.

F.

Journal of Archaeology Journal of Philology

Annual Report Museum of Fine Arts, Boston

A.

Baumeister

Archaeologischer Anzeiger Athenische Mitteilungen Archaeologische Zeitung Baumeister, Denkmaler des klassischen Alter-

B. C. H.

Bulletin

Arch. Anz. Ath. Mitt. A. Z.

tums Beazley, Att. Vasm. Beazley, V. A.

Bernoulli Buschor

c. i. a. en.

J.

Classical Journal Classical Philology Classical Review Classical Weekly Corpus Vasorum Antiquorum

Cl.PhU. 0l. Rev. Cl. Weekly C. V. A. Eph. Arch.

F.R.

Griechische VasenmalFurtwangler-Reichhold, erei Gazette Archiologique Hartwig, Die griechischen Meisterschalen Hoppin, A Handbook of Attio Black-Figured

Gaz. Arch. Hartwig Hoppin, B. F. Hoppin, R. F.

I.0.

I.

G. R.

Jahrb.

d. arch.

Inst.

Jahrb. class. Philol. J. H. S.

J.RL8.

de Correspondance Hellenique Beazley, Attische Vasenmaler Beazley, Attic Red-Figured Vases in American Museums Bernoulli, Griechische Ikonographie Buschor, Greek Vase-Painting Corpus Inscriptionum Graecarum

Vases Hoppin, A Handbook of Attic Red-Figured Vases Inscriptiones Graecae Inscriptiones Graecae ad Res Romanas Pertinentes Jahrbuch deutschen archaeologischen des

Instituts Jahrbiicher fur classische Philologie Journal of Hellenic Studies Journal of Roman Studies 361

362

OLD AGE AMONG

THE ANCIENT GBEEK8

Klein, Die griechischen Vasen mit Lieblingsin-

Klein, L. /. Kock Meineke

Miiller Murray, Designs

schriften Kock, Comicorum Atticorum Fragmenta Meineke, Fragmenta Comicorum Graecorum Miiller, Fragmenta Historicorum Graecorum

Murray, Designs from British Museum

Greek

Vases

in

the

Nauck Neue Jahrb.

Nauck, Tragicorum Graecorum Fragmenta Neue Jahrbiicher fiir das klassische Altertum

Oesterr. Jahresheft.

Jahreshefte schen

Philol. Pottier, Leo. Blames Att. Pottier, Vas. Antiq. Louvre

R.A. Reinach, Repertoire

G.

T. A. P. A. Vogel, Seen. Trag.

archaeologi-

Philologus

Pottier, Les Lioythes Blancs Attiques Pottier, Vases Antiques du Louvre Revue ArchMogique Reinach, Repertoire des Vases Peints Grecs

Eur.

Roscher, Ausfiihrliches Lexikon der Griechis chen und Romischen Mythologie Supplementum Epigraphioum Graecum Transactions American Philological Association Tragbdien in Euripideischer Vogel, Scenen griechischen Vasengemalden

CORRIGENDA P. 8, line 4 from bottom, read <pa\ap6s for tpakap&s. 12, last line of Greek, read Sv$aKeiv for flnjoxei». P. 28, note 96, read yiipQ aov 1) ipyii iwalStvr6v ae roia. Pp. 136 and 215 read Alaxi\ot for AfrxvXos. P. 165, line 5 read Autodicus for Antodicus. P. 220, line 11 read Phrynichus for Phrynicus. P. 279, line 3 from bottom, read VII for VI.

P.

et

Rheinisches Museum fiir Philologie Rjjmische Mitteilungen

Roscher

E.

Oesterreichischen

Etrusques Revue des Etudes Grecques

Rev. Et. Grec. Rhein. if us. Rom. Mitt.

8.

des

Institutes in Wien

SELECTED

BIBLIOGRAPHY

A. Literature Nearly all the Greek authors have

been consulted.

B. Archaeology (a) Catalogues Berlin, Amelung, W., Die Sculpturen des Vaticanischen Museums: 2 vols., with 204 plates. G. Reimer (1903-8). Ashmole, Bernard, A Catalogue of Ancient Marbles at Ince Blundell Hall: Oxford, Clarendon Press (1929). Pp. 139, with 51 plates. Babelon, E., and Blanchet, J., Catalogue des Bronzes Antiques de la Bibliothique Nationale: Paris, Ernest Leroux (1895). Pp.

xlv +

Beazley,

J.

764.

D., Greek Vases in Poland:

Oxford

(1928).

Pp. xvi +

87. , The Lewes House Collection Oxford of Ancient Gems: (1920). 2 vols. Bieber, M., Die Antiken Skulpturen und Bronzen in Cassel : Marburg (1915). Pp. 116, with 59 plates. Bliimel, Carl, Eatalog der Griechischen Skulpturen: Berlin (1928). 3 vols. Carnegie, Lady Helena, Catalogue of the Southesk Collection of 2 vols., with 28 Antique Gems: London, B. Quaritch (1908).

plates. Caskey, L. D., Catalogue of Greek and Roman Sculpture: Boston, Harvard University Press (1925). Pp. ix + 233. Casson, Stanley, and Dickins, Guy, Catalogue of the Acropolis 2 vols. Cambridge, University Press (1912-21). Greek and Roman Sculpture in American Collec tions: Cambridge, Harvard University Press (1924). Pp. xiv -|-

Museum: Chase,

George

H,

222.

Deonna, W., Les Statues De

Pp. 72. Ridder,

A.,

de Terre

Catalogue

des

Cuite en Grtce:

Vases

Nationale: Paris, Ernest Leroux

Peints

(1901).

de

Paris

(1906).

la Bibliothique

2 vols.

Paris, Ernest Leroux , lies Terres Cuites et les Verres: (1909). Pp. 323, with 32 plates. Forrer, L., The Weber Collection of Greek Coins: London, Spink and 3 vols. Son (1929). '

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THE ANCIENT GREEKS Munich, A. Buchholz

A., Beschreibung der Glyptothek:

(1910) . 2 vols. , Beschreibung der Yasensammlung

im Antiquarium:

W. Spemann (1885). 2 vols. , Die Antiken Gemmen: Leipzig,

Berlin,

Berlin,

Giesecke,

and

Devrient (1900). 3 vols. Gardner, Ernest A., A Catalogue William

Museum:

of the Greek Vases in the FitzCambridge (1897). Pp. xxi + 91, with 41

plates. Oxford, Gardner, Percy, Greek Vases in the Ashmolean Museum: Clarendon Press (1893). Pp. ix + 43, with 26 plates. Graef, Botho and Langlotz, Ernest, Die Antiken Vasen con der Akropolis zu Athen: Berlin (1925). 4 vols. Head, Barclay V., Historia Numorum': Oxford, Clarendon Press (1911) . Pp. 966. Hekler, A., Die Sammlung Antiker Skulpturen,

Museum der Bilden-

Kiinste in Budapest : Vienna, Krystall (1929). Pp. 179 + 176 illustrations. Helbig, Fuhrer durch die offentlichen Sammlungen Klassischer Altertumer in Rom: Leipzig, B. G. Teubner (1899). 2 vols. Heuzey, Leon, Figurines Antiques du Musie du Louvre: Paris, Morel and Cie. (1883). Pp. iv + 30, with 56 plates. den

Heydemann, H., Die Vasensammlungen des Museo Nazionale zu Neapel: Berlin, Georg Eeimer (1872). Pp. vi + 923, with 22 plates. Hill, George F., Catalogue of the Greek Coins of Arabia, Mesopo tamia, and Persia: London, Longmans and Co. (1922). Pp.

with 55 plates. Catalogue of the Greek Coins of Phoenicia: London, Long mans and Co. (1910). Pp. 360, with 45 plates. , Select Greek Coins: Paris and Brussels, G. Vanoest (1927). 359, ,

Pp. 61, with 64 plates. Jacobsen, Carl, La Glyptotheque Ny-Carlsberg : Munich

(1912).

Pp.

with 220 plates. Jones, H. Stuart, A Catalogue of the Ancient Sculptures in the Municipal Collections of Rome: Oxford, Clarendon Press (1926). Pp. ix + 405. , Sculptures of the Museo Capitolino: Oxford, Clarendon 230,

Press (1912). , Sculptures

93 plates. Oxford, Claren of the Palazzo dei Conservatori: 124 don Press (1926). plates. Laumonier, Alfred, Catalogue de Terres Cuites du Musie Archi-

ologique

de

134 plates.

Madrid:

Bordeaux

(1921).

Pp.

xi +

249,

with

BIBLIOGRAPHY

SELECTED

365

Lechat, Henri, University de Lyon, Collection de Moulages: Lyons, A. Key and Cie. (1911). Pp. 232. Lippold, Georg, Gemmen and Kameen des Altertums und der Neuzeit:

Stuttgart. Pp. 189, with 167 plates. Macdonald, George, Greek Coins in the Hunterian Collection: Glas gow (1899). 3 vols. Marshall, F, H., Catalogue of the Jewelry, Greek, Etruscan and Roman, in the British Museum : London (1911). Pp. xii + 400, with

Masner,

72 plates.

Karl, Die Sammlung

K. K.

Antiker Vasen und Terracotten Wien (1892). Pp. xxv +

Museum:

Oesterreich.

with 10 plates. Mendel, Gustav, Catalogue

des

Sculptures

Grecques,

Romaines,

im 104, et

Byzantines: Constantinople (1912). 3 vols. Michaelis, Adolph, Ancient Marbles in Great Britain, translated from the German by C. A. Fennell : Cambridge, University Press Pp. xxvi + 834. (1882). London, Newell, Edward T., The Coinages of Demetrius Poliorcetes: Oxford University Press (1927). Pp. ix + 174, with 18 plates. Perdrizet, P., Bronzes Grecs d'tgypte de la Collection Fouquet:

Paris, Bibliotheque 97, with 40 plates. Pottier, E., Catalogue

d'Art et d'Archeologie

(1911).

Pp. xxi +

Vases Antiques de Terre Cuite: Paris, May and Motteroz (1896). 2 vols. , Vases Antiques du Louvre : Paris, Hachette and Cie. ( 1897(1922). 3 vols., with 160 plates.

Richter,

Gisela

des

M. A., Catalogue

Metropolitan

Museum

of

Art

of Engraved Gems: New York, Pp. xxiv + 232, with (1920).

88 plates.

and Roman Bronzes in the Metropolitan New York, Gilliss Press (1915). Pp. x + 491. , The Metropolitan Museum of Art, Handbook of the Classical Collection: New York (1930). Pp. Hi -f 380. Robinson, Harcum, and Iliffe, Greek Vases at Toronto: The Uni versity of Toronto Press (1930). 2 vols. Vol. I, pp. 288; Vol. ,

Greek, Etruscan,

Museum:

n,

108 plates.

J., Die Bronzen der Sammlung Loeb: Munich (1913). Pp. vi + 86. der Sammlung Loeb: Munich, A. Buchholz , Die Terrakotten

Sieveking,

2 vols. (1916). , and Hackl, Die Konigliche Vasensammlung zu Miinchen: 2 vols. Munich, J. B. Obervetter (1912). Smith, A. H., A Catalogue of Sculpture in the Department of Greek

and Roman Antiquities:

London

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3

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Strong, Eugenie, Catalogue of the Greek and Roman Antiques in the Oxford Uni Possession of the Right Honorable Lord Melchett: versity Press (1928). Pp. x -f 55, with 42 plates. Tillyard, E. M., The Hope Vases: Cambridge, University Press Pp. x + 178, with 43 plates. (1923). Walters, H. B., Catalogue of the Bronzes in the British Museum London (1899). Pp. xx + 394, with 4 plates. , Catalogue of the Greek and Roman Lamps in the British Museum: London (1914). Pp. xxxvi -f- 240, with 43 plates. , Catalogue of the Greek and Etruscan Vases in the British

Museum: Ward, John,

London (1896-1925). 4 vols. Greek Coins and Their Parent Cities: London, J. Murray (1902). Pp. xxxvi + 464, with 22 plates. Watzinger, Carl, Griechische Vasen in Tubingen: Tubingen (1924). Pp. 71, with 50 plates. (b)

Otheb Modern Books of Reference

Paris, Babelon, Ernest, Traiti des Monnaies Grecques et Romaines: E. Leroux (1901). 3 vols., with 185 plates. Baumeister, August, Denkm&Xer des Klassischen Altertums: Munich and Leipzig, R. Oldenbourg (1885-88). 3 vols. J. D., Attic Red-Figured Vases in American Museums: Pp. x + 236. Cambridge, Harvard University Press (1918). Vasenmaler des Rotfigurigen Stils: , Attische Tubingen

Beazley,

(1925). Pp. 612. Benndorf, O., and Niemann, F., Das Heroon von Gjblbaschi-Trysa: Wien (1889). Pp. 262, with 34 plates. Bernoulli, J. J., Griechische Ikonographie: Munich, F. Bruckmann 2 vols. (1901).

Buschor, Ernst, Greek Vase Painting, translated by G. C. Richards: New York, E. P. Dutton and Co. (1922). Pp. xii + 179, with 96 plates. Christ, Wilhelm, Geschichte der Griechischen Litteratur', revised by Stahlin and Schmid, Handbuch der klassischen Altertumswissenschaft, Iwan von Mttller: Munich, C. H. Beck'sche (1920). Collignon, Maxine, Les Statues Fun&raires dans I' Art Grec: Paris, E. Leroux (1911). Pp. vii + 404. Conze, A., Die Attischen Berlin and Leipzig (1893Grabreliefs: 1922). 4 vols., with 473 plates. Vasorum Antiquorum. Many fascicles have appeared and many more are to appear. Paris, Champion. des Antiquitis Daremberg, Chas., and Saglio, E., Dictionnaire Grecques et Romaines: Paris, Hachette and Cie. (1875-1919). Corpus

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Dickins,

Oxford, Clarendon Press Sculpture: Guy, Hellenistic (1920). Pp. xiv + 99, with 53 illustrations. Dumont, Albert, and Chaplain, C, Les Ceramiques de la Grece: Paris, Firmin Didot and Cie. (1888-90). 2 vols. Fairbanks, Arthur, Athenian White Lekythoi, University of Michigan Studies, Humanistic Series, vols. 6 and 7: New York, Macmillan Co. (1907). Flickinger, Roy C, The Greek Theatre and Its Drama': University of Chicago Press (1926). Pp. xxviii + 358. Berlin (1880). Furtwangler, A., Die Bronzefunde aus Olympia: Pp. 106. , and Urlichs, H. L., Denkmaler Griechischer und Romischer Skulptur: Munich (1904). 2 vols. London, W. Heinemann , Masterpieces of Greek Sculpture: (1895). Pp. xxiii + 487. Gardner, Percy, Sculptured Tombs of Hellas: London, Macmillan and Co. (1896). Pp. xix + 259, with 30 plates. Munich, C. H. Beck'sche Gruppe, Otto, Griechische Mythologie: (1897-1906).

2 vols.

Hekler, Anton, Die Bildniskunst der Griechen und Rbnwr: Stutt gart, J. Hoffman (1912). Pp. xlviii + 336. Cambridge, Harvard Hoppin, J. C, Euthymides and His Fellows: University Press (1917). Pp. xvi + 186, with 86 plates. , A Handbook of Attic Red-Figured Vases: Cambridge, Har vard University Press (1919). 2 vols. Vases: Paris, E. , A Handbook of Attic Black-Figured

Champion (1924). Pp. xxiii + 508. Huddilston, J., Greek Tragedy in the Light of Vase Painting: Lon don, New York, Macmillan and Co. (1898). Pp. xx + 183. Jacobsthal, P., Die Melischen Reliefs: Berlin, Heinrich Keller (1931). Pp. 219, with 77 plates. Durham, N. C, Duke University Lysippos: Johnson, Franklin, Press (1927). Pp. xii + 334, with 61 plates. Klein, Wilhelm, Die Griechischen Vasen mit Lieblingsinschriften: Leipzig, Viet and Co. (1898). Pp. vii + 178. Lawrence, A. W., Classical Sculpture: London, J. Cape (1929). Pp. 419, with 160 plates. Lawrence, A. W., Later Greek Sculpture: Harcourt Brace and Co. (1927). Pp. xvii + 158. Lechat, Henri, La Sculpture Grecque: Paris, Payot and Cie. (1922). Pp. 153. , Sculptures Grecques Antiques : Paris (1925). Pp. 207, with 100 plates.

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Murray, A.

S.,

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Miscellen: Copenhagen (1921). Pp. 94, with 16 plates. Provinz-Museen : Copen , Portràtstudien in Norditalienischen Pp. 81, with 117 plates. hagen (1928). Rayet, O., and Collignon, M., Histoire de la Ciramique Grecque: Paris, G. Decaux (1888). Pp. xvii + 420, with 16 plates. Reinach, S., Recueil de Têtes Antiques: Paris, Gazette des Beaux Arts (1903). Pp. vii + 230, with 276 plates. , Ripertoire des Vases Peints Grecs et Etrusques: Paris, E. Leroux (1899-1900). 2 vols. , Ripertoire de la Statuaire Grecque et Romaine: Paris, Leroux (1897-1924). 5 vols. Richter, Gisela, M. A., The Sculpture and Sculptors of the Greeks: New Haven, Yale University Press (1930). Pp. xxxiv + 606,

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XIII

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84

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pp.

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OLD AGK AMOXG

GREEKS

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(1867),

pp. 201-40.

Karo. Georg, " Notes on Amasis and Ionic Black -Figured Pottery," H. 8. XIX ( 1899) , pp. 135-64. Koerte, G., "Vase des Hermonax aus Orvieto," A.Z. XXXVI (1878), pp. 111-15. Lehnerdt, M., "Herakles

und Achelous,"

A.Z.

XLIII

(1885),

pp.

106-20.

Lippold, G., " Zur Arbeitsweise

XXXIII

Romischer

Kopisten," Rom. Mitt.

(1918), pp. 95-117. " Der Becher des Pistoxenos im Schweriner J., Maybaum, Jahrb. d. arch. Inst. XXVII (1912), pp. 24-37.

Museum,"

" McCartney, Eugene S., Longevity and Rejuvenation in Greek and Roman Folklore," Papers of the Michigan Academy of Science, Arts, and Letters. V (1925), pp. 37-72. " On the Shedding of Skins by Human Beings," CI. Weekly, ,

XXII (1929), p. 176. " Origin of the Red-Figured Technique in Attic Nichols. May L., Vases," A.J. A. VI (1902), pp. 327-37. Petersen, E., " Griechische Bronze," Rom. Mitt. VI (1891), pp. 270-78.

Pfuhl, E., " Ikonographische BeitrSge zur Stilgeschichte der Hellenistischen Kunst." Jahrb. d. arch Inst. XLV (1930), pp. 1-61. Pottier, E., " Documents Ceramiques du Musee du Louvre," B. C. H.

XVII

Poulsen,

(1893), pp. 439-40. "A New Portrait

F.,

190-6.

of Plato,"

J.H.8. XL

(1920),

pp.

J.

" Euphronios and His Colleagues," H. 8. XXXV Evelyn, (1915), pp. 107-39. (1875), Ravaisson, Felix, "Vase Funeraire Attique," Gaz. Arch.

Radford,

I

pp. 41-61.

' ' Le Deuxieme Tr6ne Ludovisi au Musee de Boston," R.A. XVI (1910), pp. 338-40. " The Subject of the Ludovisi and Boston Richter, Gisela M. A., Reliefs," J.H.8. XL (1920), pp. 113-21.

Reinach, S.,

'*

I

SELECTED

BIBLIOGRAPHY

371

Gisela M. A., "One or Two Statuettes of Diogenes?" Met. Studies, Nov. 1929 (II), pp. 29-39. Robert, Carl, " Zur Miinze von Aineia mit der Flucht des Aineias," Richter,

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J.

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David

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pp. 157-200.

Roscher, W. H., " Die Hundekrankheit der Pandareostochter und andere mythische Krankheiten," Rhein. Mus. (1898), pp.

LIII

169-204.

Schneider, Arthur,

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Inst.

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Swindler, Mary H., "The Penthesilea Master,"

A.J. A. XIX

pp. 398-417.

Walters, H. B., "On Some Black-Figured (1898), pp. 281-301. , "A Portrait Statue of Socrates,"

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J.H.8. XVIII

J.H.8. XLV

(1925), pp.

255-61.

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XVII

(1922),

pp. 87-8.

Weller, Chas. H., " A New Restoration thenes," A. A. (1914), pp. 47-50.

I

(d)

of the Statue

of Demos

Plates

Arndt-Bruckmann, Griechische und Romische Portrats: Bruckmann (1909).

Munich,

F.

Brunn-Bruckmann, Denkmaler Griechischer und Romischer Sculptur: Munich, F. Bruckmann (1897). Buschor, E., and Hamann, R., Die Skulpturen des Zeustempels zu

Olympia: Marburg-Lahn (1924). Le Parthenon:

Fougeres, Gustave, L'Acropole, (1910). Furtwfingler-Reichhold, Bruckmann (1901).

Paris, A. Morance' Munich,

F.

Hartwig, Paul, Die Griechischen Meisterschalen der Bliithezeit strengen rothfigurigen Stiles : Stuttgart and Berlin (1893).

des

Griechische

Vasenmalerei:

372

OLD AGE AMONG

C. Anderson,

J.

G.

C,

THE ANCIENT GEEEKS

Books On Epigraphy

Cumont,

Franz,

and Gregoire,

Henri, Studia

(1910). Vol. III. Breccia, E., Catalogue General des Antiquitis E gyptiennes du Musie Pp. d'Alexandrie, Iscrizioni Greche e Latine: Cairo (1911). xxx i + 273, with 59 plates. Buckler, W. H., and Robinson, David M., Sardis, VII, 1, Greet and

Pontica: Brussels

Latin Inscriptions: E.

J. Brill,

Leyden

(1932).

Pp. 198, with

212 figures, and 13 plates. Cagnat, R., with the collaboration of J. Toutain and P. Jouguet, Paris, Inscriptions Graecae ad Res Romanas Pertinentes: Ernest Leroux (1906-11). 5 vols. Calder, W. M., Monument a Asiae Minoris Antiqua: London, Long

mans, Green and Co. (1928). Vol. I. Pp. xxviii + 239. Collitz, H. and Hoffmann, O., Sammlung der Griechischen DialektVandenhoeck and Ruprecht Gottingen, (1899Inschriften: 1915). 4 vols. Corpus Inscriptionum Graecarum : Berlin (1828-1877). Dittenberger, Guilelmus, Sylloge Inscriptionum Graecarum

*

:

Leipzig

4 vols.

(1915-21). Frankel, Max, with the collaboration of Ernst Fabricius and Carl Berlin, W. SpeSchuchhardt, Die Inschriften von Pergamon: mann (1895). 2 vols. Gaertringen, Hiller von, with the collaboration of C. Fredrich, H. von Prott, H. Schrader, Th. Wiegand, and H. Winnefeld, Insohriften von Priene: Berlin, W. Spemann (1895). 2 vols. Hicks, E. L., Ancient Greek Inscriptions in the British Museum: (1874-1893). 4 vols. Graecum: E., Supplementum Epigraphicum

Oxford, Clarendon Press Hondius,

J. J.

(1923—). Inscriptiones Graecae: Berlin, 1873-1929. Kaibel, Georgius, Epigrammata Graeca:

Berlin, G. Reimer

Leyden

(1878).

Pp. xxiv + 703.

Kalinka,

Ernst, Antike Denkmaler in Bulgarien: Wien, Alfred Holder (1906). Pp. 439. Michel, Charles, Rccueil d' Inscriptions Grecques: Brussels, H. Lamertin (1900). Pp. xxiv + 1000. Paton, W. R. and Hicks, E. L., Inscriptions of Cos: don Press ( 1891 ) . Pp. vi + 407. Friedrich, Sammelbuch griechischer Preisigke, 4 vols. Agypten: Berlin and Leipzig (1922). Robinson, D. M., Ancient Sinope: Baltimore

(1906).

Oxford, Claren Vrkunden

aus

GENERAL INDEX Achaeus, 215. Acheloiis, 88-89, 171-72. Actaeon, 98-99. Aegeus, 94. Aegisthus, 19. Aegyptius, 49. Aeschines, statues of, 159-60. concern Aeschylus, inscriptions ing, 215, 353 ; statues of, 134-36. Agamemnon, 94. Ages of man, 2. Agesilaus, 27, 35, 38. Alcman, 3. Alexander Polyhistor, 215. Alexis of Thurii, 215. Alxenor of Naxos, 164. Anacreon, 3, 12, 215; statues of, 134.

Anaxagoras, 35. Anaximander, 215. Anchises, on bronzes, coins, and 180;

gems,

on vases,

92-94.

Antaeus, 98. Antisthenes, 216; statues of, 154. Antiphanes, 216. Antiphon, 216. d
1 9.

Apollodorus, of Pergamum, 216; the Phalerian, 8. of Rhodes, 216; of Apollonius, Tyana, 216. Appian, 216. Aratus, 216; statues of, 140. Arcesilaus of Pitane, 216. Archimedes, 216. Argippaei, 8.

Arion,

216.

Aristarchus, 216. Aristo, the Chian, 68. Aristophanes, of Byzantium, 216; comic poet, 216; statues of, 139.

Aristotle, 216; statues of,

Bacchylides, 217. Bacon, Youth and Age, 17. Bald Head Master, 109 n.,

110, 194. Baldness, 8-9, 44, 73, 79, 87-88, 95-98, 101, 107-08, 112-17, 121, 132-33, 135-39, 141, 143, 148-49, 153, 155-56, 161, 164-65, 171, 177-78, 181, 183, 185-96, 198205, 207-08, 211, et passim. Bassae, temple of, 211. Beazley, 73-74, 99, 107-09, 181, 185, 192, 204. 115-17,

Black-figured,

sim. Blepsidemus, 20. Browning, 14. Brygos, 87, 112, 118. Calchas, 101.

Callibia,

216.

128.

Assembly, 49. Athanasius, 216. 373

225.

Callimachus, 217. Carle, 6. Carneades, 149, 217; statues of, 153-54.

Cassius Dio, 217. Cecrops, 96-97. Centaurs, 182, 208-14; on coins and gems, 210; in sculpture, 211-14; on vases, 208-10. Cephalus, 15-16. 96.

Cerilla Phortounata,

227. on medallions, 180; on vases, 83-86. Choerilus of Samos, 217. Choerilus, tragic poet, 217. Chorus, 5, 19, 21, 27, 68, 78, 192, 199. Chremylus, 20.

Charon,

Artabanus, 11. Artemis Bendis, votive relief to,

60,73-74,76,81-82,

86, 88, 91-92, 97, 102, 104-06, 108, 110, 115, 183-84, et pas

Cepheus, 146-

48.

Arrian,

Athena Promachus, shield of, 213. Athenodorus, 216. Athletics, 107-08. Atossa, 20. Aurelius Acinaces, 227. Autodicus of Phalerum, lecythus of, 165.

OLD AGE AMONG

Chryses, 39, 54. 217; Chrysippus,

THE ANCIENT GBEEKS

of,

statues

149-50. 15 n.,

Eurystheus,

Eurytus,

228.

Demonax,

13.\

Filial devotion, 48, 50-53. Fisherman, 43-44; in the 12, Louvre, 171 in the Metropoli tan, 171 n.; in the Palazzo dei Conservatori, 171. Gaius Mounatius, 229. Galen, 218. Geras, and words related to, 9n., 11, 16, 49, 50, 51, 54, 69, 77, et passim; cult of, 72; personification of, 72-80; Geras Painter, 73-76, 89, 99, 189, 195,

3,

7,

199.

217; statues Demosthenes, 157-59. Demus, 28. Departure Scenes, 104-07. Siairvral, 31. Dio Chrysostom, 217. Diodorus Siculus, 218. Diogenes, 218;

of,

statues of, 154-

.r>

heroon of, 125-

Glaucias, 225. Oorgias, 218. Graeae, 10. Grave reliefs, 163-67. Gray hair, 10, 18, 23-25, 29, 49, 76-77, 61 n., 82, 86-87. 89-94, 97, 101, 184-85, 188, 195, 19799, et passim. Greek state, preface, xiii, 48, 52. Guards, 36.

Echenefls, 34. Egypt, preface, xiii. Eloquence, 35. Emerson, Essay On Old Age,

1 n.,

n.

Empedocles, 218. Ephudion, 11. Lpicharmus, 218, 235. Epictetus, 218. Epicurus, 218; statues of, 15051. 140-41.

31-32.

26.

Dionysius, 225. Discretion, 16. Dreams, 21-22. Duris, 218.

Epimenides,

yepovala,

Gjolbaschi-Trysa,

55.

1

18.

10.

Eusebius, 218. Euthymus, 218. Experience, 18, 23.

Danaiis, 19. Darius, 20. Death, 12-13, 64-65, 107. Demades, 2l7. Demetrius Poliorcetes, 181. Demochares, 217. Democritus of Abdera, 217. Democles,

of,

138.

;

Cicero, De Senectute, 4 n., 24 n., 223 n. Cleanthes, 217. Cleonicus, 228. Comic actors, 113-14. Conversation scenes, 109-12. Counsel, 17, 33. Crates, 6, 13. Cratinus, 217. Creon, 19. Creusa, 19. Critolaus, 217. Ctesibius, 217. Curetes, 8. Cydimachus, 228.

Eratosthenes, 218, 225. Erechtheus, 95-96. Eumenes, 39. Eunapius, 218. Euphorion, 218. Euripides, 43, 218; statues

Hades, 12, 65, 76-77, 82, 179-80. Halitherses, 21. Harpy Tomb, 126. Hecataeus, 219. Hecuba, 4. iJXioirTa/,

31, 55.

Hermarchus,

219;

statues

Herodian, 219. Herodotus, 62, 219; statues of, 141-42.

218;

statues

of,

of,

151-52. 8,

374

Herondas, 24, 43, 57. Hieronymus, 219.

GENERAL INDEX Himerius, 219. Hippocrates, 219, 235; statues of,

375

Nile, statues of,

171.

Nurse, 44-47, 101, 175-76.

141.

Homer, 16, 183, et passim; on coins, 181 ; statues of, 131-34. Hyperides, 219. Iamblichus, 219. Ibycus, 219.

Immortality,

16, 61-62,

64-66.

Infancy, 2.

Oedipus, 24, 177. Oeneus, 95. Old age, 1-2, 10, 13, 15-16, 18, 32, 36, 39-40, 47, 57-59, 61, 63-64, 66-71, 73-74, 70, 80, 115, 126, 129-30, 138, 140, 144-45, 162, 165, 169, 204, 206, 210, et pas

Jocasta, 5. Judgment, 16-18, 23. Judicial affairs, 31-33.

sim. Old Age Painter, see Geras Painter. Old Comedy, 20, 174, 178. Old women, an gems, 176; in in terra 167-70; sculpture, cottas, 173-76; on vases, 118. Olympia, bronze relief from, 7273; temple of Zeus at, 121-23. Origen, 220.

Knowledge of the world, 18.

Pain,

Insanity,

33.

Iolaus, 4. Ion of Chios, 219. Isocrates, 219, 225;

statues of,

156.

Laertes, 6, 25, 38, 128. Leonidas of Tarentum,

Linus,

13.

100-01. Lucian, 7, 44, 219.

Ludovisi Altar, Boston counter part of, 126-27. Lycon, 219. Lycurgus, 26, 219;

statues

of,

160-01. Lysias, 6, 219;

statues of, 156. choregic monument Lysicrates, of, 205. Lysimachus, 220. Magic, 21, 71. Marsyas, 201, 205-07. Megasthenes, 10. Melite, 12. Henander, 46; statues of, 139. Menecrates, 13, 14 n. Menippus, 6. Messenger, 22, 36, 39, 43. Mimnermus, 3, 11, 12. Minister of education, 33. Myconos, 8. Negroes, 178. Monument, Nereid

13, 23.

Panaetius, 220. Pancharius, 225. Pandarus, 34. Papposilenus, 197. Parents, devotion to, 48-53; mal treatment of, 33. Parmenides, 220. Parthenon, frieze of, 123-24, 21112.

Pedagogue, 42; on gems, 177; in terra -cottas, 176; on vases, 112-13.

Peleus, 10, 25-26, 38, 53. Pelias, 60-61. Pensions, 33, 58. Pheres, 12, 57. Philemon, 220, 225. Philetas, 44.

Philistus,

14, 48, 165. 3, 11, 13, 23, 50, 220. Peisistratus, 35, 50, 220. Pittacus of Mytilene, 22, 220. Plato, 27, 30, 32, 39, 40-41, 45, 51, 55-56, 154, 220; statues of, 145-46.

Pindar, friezes

220.

Philochorus, 220. Philopoemen, 220. Philoxene, 228. Phocion, 220. Phoenix, 21, 34, 38, 41, 103-04. Phrynichus, 220. Physical infirmities, 2, 8, 11, 13of,

124-25. Nereus, 76-77, 86-88. Nestor, 10-11, 16, 21, 26, 34, 3738, 40-41, 48, 102-04, 220.

376

OLD AGE AMONG

Plotinus, 220. Plutarch, 128, 145, Pluto, 76-77, 82-83.

157-59,

THE ANCIENT

220.

Staff, 4,

221.

29,

25, 181.

27,

Private life, old

101, 107-12,

Symmachus of Chios, 228.

89-92,

125,

128-

men and women

in, 40-47. Procleides, stele of, 166. Proclus, 221. Procopius, 221. Protagoras. 17, 221. Prudence, 16, 18. Ptolemy, 221.

Ptollio, Pyrrho,

15.

7, 60, 95-96,

114, 116, 164. Stesichorus, 221. Stilpo, 221. Strabo, 53, 222. Strepsiades, 28, 67.

Posidonius, 221. Potamo, 221. Poverty, 4 n.

Priam,

awppoavvTi, 19. Spartans, 32.

Spiritual gains,

Polemo, 221. Polybius, 221. Polygnotus, 45, 76, 84, 119.

Porphyry,

GREEKS

226. 221.

Red-figured, 00, 62, 73, 81, 88, 9091, 94-99, 102, 104-08, 110, 11314, 118-19, 185, 187, 189-92, 209, et passim. Rejuvenation, 60-61, 67-68. Religion, 39-40, 107. Retirement, age of, 33. Revelry, scenes of, 114-15. Reverence, 27, 48, 50. Rhadamanthus, 97. Rouphilla, 225.

Sappho, 11. Sarapio, 227. Seers, 101-02, 122-23. Senectus, 4 n., 69. Serrenus, 226.

Shakespeare, All's Well That Ends Well, 1. Silens, 182-208; in bronzes, 20405; on coins, 203-04; on gems, 204; in sculpture, 207-08; on terra-cottas, 201-04; on vases, 182-200.

Simonides of Ceos, 221, 235. Socrates, 13, 17, 23-24, 26, 41, 67, 154, 221; statues of, 142-

Teiresias, 5, 7, 21, 51, 67, 222; Tennyson, Tiresias, 21-22. Tennyson, By an Evolutionist, 15.

ThaJes, 222. Theaetetus of Rhodes, 222. Themistius, 222. Theocritus, 43, 170-71. Theognis, 11, 49-50, 222. Theomnestus, 34. Theophrastus, 41, 152-53, 222. Thucydides, 38; statues of, 142. Timaeus, 222. Timon, 222. Timotheus of Miletus, 222. Tithonus, 61-62, 68.

Triton,

73, 77, 87, 129.

Trygaeus, 67. Tyche, 228. Tychemus, 226.

Warfare, 33-39. Warriors, 71, 98,

102-04.

Wine, 29, 39-40. Wisdom, 16, 18-20, 32. Wrinkles, 6, 11, 78, 100, 104, 111, 141, 146-47, 149-50, 152-53, 156, 158, 160-62, 186, 172, 178, 192, 203, 208-09, et passim.

Xenocrates, 222. Xenophanes, 222. Xenophilus, 222. Xenophon, 31, 52, 222. Xerxes, 20. Youth, 11, 66, 71, 120; fountain of, 59, 71.

45.

Solon, 18, 23, 40, 56, 221. Sophocles, 21, 28, 42, 78, 221, 224; Oedipus Colonus, 3-4, 69; statues of, 136-38.

68, 222; statues of, 148-49. Zenodotus, 222. Zeus, 13-14, preface xiv, 39, 55, Zeno,

61, 64, 66, 88.

THE

UNIVERSITY GRADUATE

OF MICHIGAN UBRARY