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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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ancient OlX> AGE
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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aND GKra8
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PElicE In ThE LOCvrK Photo, Giraudon.
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PaIHXEH.
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 onaX
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 wsp£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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A
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 +
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D., Greek Vases in Poland:
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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 -|-
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Deonna, W., Les Statues De
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A.,
de Terre
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des
Cuite en Grtce:
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Peints
(1901).
de
Paris
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la Bibliothique
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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, ,
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de
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Madrid:
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249,
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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
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Richter,
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M. A., Catalogue
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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. ,
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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
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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)
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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
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XLIII
(1885),
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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.
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Poulsen,
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190-6.
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" Euphronios and His Colleagues," H. 8. XXXV Evelyn, (1915), pp. 107-39. (1875), Ravaisson, Felix, "Vase Funeraire Attique," Gaz. Arch.
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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.,
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I
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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,
if u«.
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LIII
169-204.
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Jahrb. d. arch. Inst. XXVI (1911), pp. 50-192. ' , "Zum Kapitolinischen Aischylos,' " Neue Jahrb. V (1900), pp. 166-76.
Swindler, Mary H., "The Penthesilea Master,"
A.J. A. XIX
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J.H.8. XLV
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255-61.
Waters, Wm. E., "The Old Age of a Horse," CI. Phil.
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
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ancient OlX> AGE
LONDON:
HUMPHREY MILFORD
OXFORD UNIVERSITY PRESS
/
<
(
i
1
2
p
OLD AGE AMONG THE ANCIENT GREEKS
^XISHWY .WSRSTCY
M1LPORD PRESS
LONDON:
HUMPHREY MILFORD
OXFORD UNIVERSITY PRESS
Figure
Macle.
aND GKra8
«
a
1.
PElicE In ThE LOCvrK Photo, Giraudon.
«
THe GKra8
PaIHXEH.
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
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
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
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.
oo
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
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\v
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
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 avSpiiiroi
"
" 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. Af
" 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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A
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
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). '
363
364
OLD AGE AMONG
FurtwSngler,
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,
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Robinson, D. M., Excavations at Olynthus, Part IV, The Terra cottas: The Johns Hopkins Press (1931). Baltimore, Pp. xii '+' 105, with 63 plates. Roscher, Wilhelm H., Ausfiihrliches Lexikon der Griechischen und Romischen Mythologie: Leipzig, B. G. Teubner (1884-1924).
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P., Die Portrats der Griechischen Philosophen: Leipzig 27, with 4 Pp. plates. (1876). Seta, Alessandro, II Nudo nell'Arte: Milan and Rome, Bestetti and Tumminelli (1930). Pp. 653, with 200 plates. Studniczka, F., Das Bildnis des Aristoteles: Leipzig (1908). Pp. 35, with 3 plates.
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Swindler, Mary H., "The Penthesilea Master,"
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(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
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Fougeres, Gustave, L'Acropole, (1910). Furtwfingler-Reichhold, Bruckmann (1901).
Paris, A. Morance' Munich,
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Hartwig, Paul, Die Griechischen Meisterschalen der Bliithezeit strengen rothfigurigen Stiles : Stuttgart and Berlin (1893).
des
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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
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J. Brill,
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Pp. 198, with
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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
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Pp. xxiv + 703.
Kalinka,
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Oxford, Claren Vrkunden
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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.
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