bluuebunny/crossref_metadata_2025_split huggingface dataset:
Notes of Travel in Paphlagonia and Galatia
Authors: Hirschfeld Gustav 
Published: May 2006

When I undertook in the months of August, September, and October, 1882, my last excursion into Asia Minor, my principal object was to explore some very little known districts in the northern part of that country. Of these Paphlagonia has hitherto been almost a blank on all critical maps, traversed only by two or three routes of Hamilton, Ainsworth, and Tchichatcheff which gave no hint whatever as to the configuration, the present condition, and the ancient remains of the province. The adjacent parts of Galatia, the inferior course of the Halys, the tract lying between this river and the Iris, the source and length of the famous Thermodon, had all likewise remained unexplored until the present day. No doubt their lack of historical interest must be held to account for their neglect by recent travellers. There were even some important points on the coast-line, such as Kytoros and Kinolis, which had not been visited since Tavernier, two centuries ago.My starting point was Ineboli, the ancient Abonu teichos Paphlagoniae, lying about the centre of the northern coast of Asia Minor. Hence I explored, as far as was possible in the course of a rapid ride, the western half of the province as far as the river Parthenius. The mountainous character of the country proved very unfavourable for travelling. The mountains were crowded as it were very closely together, separated only by narrow ravines, while the ascents were of extraordinary steepness. Indeed the paths were on the whole far more difficult than I had met with before even in the Taurus of Pisidia and Cicilia.
Notes on (1) The Trilogy, (2) Certain Formal Artifices of Aeschylus
Authors: Bury John B. 
Published: May 2006

1. The interesting Prolegomena zu Aeschylus' Tragödien of R. Westphal (1869), which contains the germ of the idea worked out in Mezger's recent edition of Pindar, suggested to me to inquire why Aeschylus and the other pre-Sophoklean tragedians wrote tetralogies,—for this is the form in which Westphal's book suggests the question. But it becomes soon apparent that the real problem is why it was the habit to write a trilogy + a satyric drama; and this question contains two distinct parts: (1) why tragedy took the form of a trilogy— not a dilogy, tetralogy, or single drama; (2) why a satyric drama was also performed. Of these questions the latter has been discussed and adequately answered in every treatise on Greek drama.Westphal was seriously misled through not keeping the satyric drama separate from the three plays that preceded it. These formed a connected whole and were really equivalent to one consecutive drama of three acts, from which the satyric piece was quite distinct, albeit its subject usually had some external connexion with them. He connected the tetralogical form with the fact first noticed by him that every Aeschylean play contains four χορικά, so that Aeschylus, he supposes, used a quadruple division as his artistic τϵθμός, in the same way as the Terpandric nomos was based on a seven-fold division.
The Discovery of Naukratis
Authors: Petrie W. M. Flinders 
Published: May 2006

[The Honorary Secretaries of the Egypt Exploration have handed us for publication the following summary, drawn up by Mr. Petrie, of the results of his year's excavation at Nebireh. It may serve as an acknowledgment by the Committee of the Fund of the aid already received from the Society of Hellenic Studies; and as an invitation to further co-operation in the future.—Ed.]The season which is now drawing to a close has been one of great interest in the work here, though of an interest which would scarcely be expected, since not Egyptian but Greek antiquities claim our attention.
The Islands of Telos and Karpathos
Authors: Bent Theodore 
Published: May 2006

Having visited these two outlying islands of the Sporadic group last winter, and having spent in them over two months, I propose to put together a few notes on the antiquities to be found in each. They are islands which are very difficult of access and rarely visited by foreigners, and are consequently peculiarly retentive of customs and myths which bear the stamp of extreme antiquity. Both these islands appear to have had a much more considerable population in ancient times than they have now, though much behind their neighbours on Rhodes and Kos in the arts and civilisation.The principal feature of the small island of Telos is a precipitous mountain which rises directly behind the chief of the two modern villages of the island, on the summit of which is a fortress covering a triangular plateau about three quarters of a mile in circumference; the foundation of the walls of this fortress are Hellenic, on which during the Middle Ages more modern walls have been constructed. In the centre of this fortress there stands an Hellenic temple now converted into a church, and almost buried on two sides by the débris of Hellenic masonry covered with brushwood. From the gateway which enters the walls on the south side, a broad approach with steps flanked on either side by huge blocks of stone leads straight to the temple; the form of the proaulion is easily distinguished, and the north wall of the temple is almost intact and built of neatly fitting stones without mortar of a coarse bluish marble.
Historical Notes on Certain Modern Greek Folk-Songs
Authors: McPherson Florence 
Published: May 2006

The historical interest and value of many of the folk-songs of Modern Greece has been often acknowledged, and historians have not disdained to quote them as evidence either of facts or of popular feeling. It is therefore desirable in the case of any ballad supposed to relate some historical event to determine as exactly as possible to what event it really refers.In Passow's most valuable work, as was inevitable in so large a, collection of popular traditional poetry, a few errors seem to have been made in naming, dating and classifying the pieces. Some apparent cases of such error I propose here to examine.Three ballads numbered by Passow cxciv., cxcv., cxcvi. are headed Literally translated they run as follows:—
Two Cylices relating to the Exploits of Theseus
Authors: Harrison Jane E. 
Published: May 2006

The subject of the exploits of Theseus as seen on Greek vase-paintings has recently been treated by Professor Milani in a long and interesting paper in the Museo Italiano di antichità classica (iii. 1, p. 236). I propose therefore to set aside all general consideration of the myth and its typography, and to confine myself to the discussion and elucidation of two hitherto unpublished vases (plates I., II.), one of them included in Professor Milani's list, one entirely unknown to him, and both, as I hope to show, having strong claims on the attention of archaeologists. They are (1) a red-figured vase, which for convenience sake I shall call from its owner the Tricoupi cylix; (2) the fragments of a red-figured cylix from the De Luynes collection in the Bibliothèque Nationale, Paris.1. The Tricoupi cylix, plate I. When I was in Athens in the spring of 1888, Miss Tricoupi with her accustomed kindness, so familiar to all visitors to Athens, allowed me to examine at my leisure her brother's collection of antiquities. I found to my surprise that it contained a vase which I have reason to believe is from the hand of Duris, and of which, so far as I am aware, no mention has been made in the numerous discussions of vases dealing with the exploits of Theseus, and which therefore, I suppose to be entirely unknown. I record here my grateful thanks to Miss Tricoupi for her kind permission to publish the vase, and for her goodness in facilitating its exact reproduction. The drawing from which plate I. is facsimiled was made for me by M. Gilliéron under my own personal supervision, and I can therefore vouch for its perfect accuracy. I was specially anxious to secure its.immediate publication as, though the vase is at present in such safe hands, the security of antiquities in private collections is always precarious.
The Judgment of Paris: Two Unpublished Vases in the Graeco-Etruscan Museum at Florence
Authors: Harrison Jane E. 
Published: May 2006

My object in the following paper is two-fold; first, to comment on two hitherto unpublished vases relating to the myth of the Judgment of Paris; secondly, to discuss the typography of the myth generally, and in particular to offer some suggestions as to the origin of its early art form.First as to the unpublished vases. Both the amphora and the pinax are now in the Graeco-Etruscan Museum at Florence. The drawings and photographs were executed under the kind supervision of the Director of the Museum, Sig. Milani; he was however unable to tell me where the vases were found: they are manifestly both of Attic work. It is fortunate that they both are now in the same Museum, as they present certain well-marked analogies in treatment, evident at the most cursory glance.A detailed description of the two vases is superfluous, as accurate reproductions lie before the reader, but I would call attention to one or two points. The amphora (Plate LXX. and Fig. 1) I should class as belonging to very early black-figured manner—before the regular B. F. Attic style is fully established—with reminiscences of the so-called ‘Chalcidian’ and of the ‘Corinthian’ styles. We note especially the curiously cut cloaks of the women, which appear frequently on Corinthian vases, of which there are numerous examples in the Louvre; and we note also the rosettes on the animal frieze and the very ‘Chalcidian’ horror vacui, e.g. the little owl between the feet of Hermes.
C. Julius Theupompus of Cnidus
Authors: Hirschfeld Gustav 
Published: May 2006

‘Es ist das schoene Vorrecht der historischen Forschung, die Verstorbenen in der Erinnerung der Nachwelt wieder aufleben zu lassen. Erscheint es billig, dass die Namen derer, welche sich hohe Verdienste um ihr Volk erworben, der Vergessenheit nicht anheimfallen, so ist es menschlich, denen überhaupt nachzuforschen, welche einst in weiten Kreisen von der Mit- und Nachwelt genannt und gefeiert worden sind.’With these words, used by Dr. Koehler in regard to the once famous ‘condottiere,’ Diogenes, in the third century B.C., I beg to introduce to the reader a personage who, although perhaps of limited interest, was once celebrated and powerful and had the honour of calling himself the friend of Julius Caesar. His son moreover did his best to prevent a deed, the failure of which would probably have changed the direction of the history of the world,—the murder of Caesar.The passages in ancient writers which relate to the man of whom I speak are well known, but they have not hitherto been rightly connected with one another, or thoroughly understood.
The Argive Hera of Polycleitus
Authors: Waldstein Charles 
Published: May 2006

Of all the renderings of the goddess Hera, the gold and ivory statue by Polycleitus in the Heraeum near Argos was the most famous, and was considered by the ancients one of the most beautiful works of Greek art. It certainly held its place beside the masterpieces of Phidias, and is even called by Strabo the most beautiful of all.As in the case of the Zeus and Athene of Phidias, and the Cnidian Aphrodite of Praxiteles, it is most natural that numerous attempts were made in the past to identify this Polycleitan Hera with some extant monument. And, as the most beautiful Aphrodite extant, the Melian Aphrodite in the Louvre, was at once singled out as representing the most famous statue of which there is record in ancient authors, so the famous colossal mask of Hera, known as the Juno Ludovisi, was the first to be identified with the great Polycleitan statue. This identification has been abandoned. Then followed the so-called Farnese Hera, the claims of which were powerfully upheld by Brunn.
The Double Axe and the Labyrinth
Authors: Rouse W. H. D. 
Published: May 2006

In the paper on ‘Mycenaean Tree and Pillar Worship,’ (above, pp. 99 foll.) and in the various discussions of the Cretan discoveries, several theories and interpretations are put forth which have been too hastily accepted. I do not propose to deal with the whole question here, but to call attention to the fact that a great part of the evidence has been overlooked. It is not unnatural that, in the enthusiasm of a great discovery, the happy discoverer should be taken by an interpretation which is ingenious and in many respects alluring, since it offers a key to mysteries long unexplained. Nevertheless there are other facts to be reckoned with.The theories I refer to are these: (1) that the double axes carved in the Cnossian palace have a religious significance; (2) that they are the symbol of Zeus; (3) that the pillar upon which several of these signs are carved was worshipped; (4) that the Labyrinth derives its name from the word the Carian name for an axe of this kind, and (5) that the palace of Cnossos was the Labyrinth, which means the House of the Double Axe. These theories are supported by the following evidence: (1) that the statue of Zeus at Labranda in Caria was described as holding in his hand a double axe, the local name for which was (Plutarch, Quaest. Gr. 45); (2) that double axes of bronze were found in the Dictaean Cave, where Zeus was worshipped; (3) Mr. Evans also collects a large number of facts to illustrate the worship of pillars, and apparently of axes also.
The Σχῆμα Τριαίνης in the Erechtheion
Authors: Nilsson Martin P. 
Published: May 2006

The two cultus monuments whose existence is bound up with the solid rock on which the Erechtheion stands have always been eagerly sought for in the hope that they might be used as fixed points from which to determine the complicated plan of the temple.Perhaps the ‘salt spring’ has attracted less attention than the ‘trident-mark.’ Boetticher supposed it to lie at the lowest part of the middle chamber, where a hollow in the rock, communicating with a still deeper cleft, even now collects water after a shower. As Pausanias states that the ‘spring,’ was ἔνδον this is perhaps the most likely spot, unless we prefer to locate it in the West Hall, and to suppose that it was destroyed when the cistern was built. It is true that J. Fergusson placed the ‘spring’ in the north-west angle of the West Cella, but this is quite an arbitrary hypothesis, and appears untenable, because the rock has here a fall towards the outside through the opening which pierces the north wall and leads into the crypt under the north porch.
Aurae. The Xanthian Heroon and an Attic Astragalos
Authors: Six J. 
Published: May 2006

It is a generally accepted opinion that the marble figures which adorned the intercolumniations of the most magnificent amongst the Xanthian sepulchral monuments, now in the British Museum, represent the chorus of the Nereids, though there is as general a discord amongst those who have treated the question as to the meaning of their presence there. This seems a sufficient reason for questioning the accepted theory.Let us state in a few words the subject: young maidens, clad in the thinnest garments, sailing by aid of their mantles over sea and shore, indicated by a fish, a dolphin, a waterfowl, a crab and a shell. They do not soar as high as the Nike of Paionios, who leaves the eagle beneath her in her flight, but they hover over the water without touching it, as is especially to be seen by the swimming waterfowl beneath one of them.
The Gong at Dodona
Authors: Cook Arthur Bernard 
Published: May 2006

The Greeks had a proverb which compared talkative persons to ‘the gong at Dodona.’ Menander (342–291 B.C.) in his Arrephoros made one of his characters remark:‘Give this creature Myrtile the merest touch or simply call nurse, and there's no end to her talking. To stop the gong at Dodona, which they say sounds all day if a passer-by lays a finger on it, would be an easier job than to stop her tongue; for it sounds all night as well.’A fragment of Kallimachos (c. 310–c. 240 B.C.) implies the same proverb:… ‘lest it might be said that I was but awakening the echoes of the bronze at Dodona.’
A Proto-Attic Vase
Authors: Smith Cecil 
Published: May 2006

The term Proto-Attic, which is our equivalent to the German Frühattisch, and is formed on the analogy of Proto-Corinthian, is of course only a loose definition, intended to apply exclusively to a small class of Attic vases which fall between the periods represented on the one hand by the Dipylon, and on the other by the vases of the stereotyped Attic black-figure style.For this later limit the François vase would naturally be the typical representative, were it not that, as we now know, the white on that vase is laid direct upon the clay instead of in the true Attic manner upon a prepared black surface. Within these two limits we should strictly speaking place the Vourva, Marathon, and the Menidi vases, as well as the large series of ‘Tyrrhenian amphorae’; and possibly yet other classes of the same kind may be found among the Acropolis fragments; but for our purpose these may be regarded rather as tributaries of the main stream, and not as proto-Attic in the limited sense.
An Inscribed Basis from Cyzicus
Authors: Hasluck F. W. 
Published: May 2006

In the course of a visit to Cyzicus, made last December at the invitation of Mr. de Rustafjaell, Mr. Bosanquet and I had the opportunity of copying and taking impressions of two inscriptions from a marble pedestal (Fig. 1), known to the peasants as ‘Balik Tash’ or ‘Fish Stone’ from the reliefs carved upon it.The stone lies in a vineyard on the low ground of the isthmus in the central harbour of Panormus. Originally discovered by Mr. Tito Carabella of Constantinople, it was seen in January 1880 by Lolling, who published such copies of the inscription as it was possible to obtain without cleaning away the lichen and carbonate of lime which covered many of the letters. These imperfect copies were recently discussed by Dr. Wilhelm who had enquired for the stone at Constantinople and failed to discover its whereabouts. Last summer it was re-excavated by Mr. de Rustafjaell: we succeeded in removing the incrustation and obtained more complete readings.
The Early Christian Art of Isaura Nova
Authors: Ramsay A. Margaret 
Published: May 2006

The following paper is due entirely to the suggestion, advice, and guidance of my father. But he wishes me to say that he has given me simply the same help that he has already given to many and is anxious to give to others still.The aim of this paper is to show by examples that there is a native and indigenous art peculiar to a certain part of Asia Minor, the only part I have yet seen, namely, the district around the city of Nova Isaura. It has already been observed both by Prof. Ramsay and by others, that certain artistic forms are characteristic of certain districts of Asia Minor. In many places these forms have persisted from ancient times down almost to the present day. Thus all the carpets and embroideries woven at the village of Ladik (the ancient Laodicea Katakekaumene), nine hours north of Iconium, until the middle of last century, when the old manufacture ceased, show a vase of particular shape, while another vase of a different form is peculiar to the carpets made at Mudjur in Cappadocia.
An Ionian Dedication to Isis
Authors: Edgar C. C. 
Published: May 2006

The inscription of which a facsimile is given below is incised on the base of a bronze statuette which has lately been acquired by the Cairo Museum: The statuette itself represents Isis seated on a throne suckling the child Horus. It is an ordinary Egyptian type and there is nothing Greek about the work except the inscription. Its provenance unfortunately is unknown.The letters run round the four sides of the plinth (as shown in the facsimile), those in front being bordered by two horizontal strokes. In the second line the surface is injured between the Τ and the O, but nothing appears to be lost. What ἐλύσατο means is not clear: one would naturally take the inscription to be a dedication, in which case the verb might be interpreted as ‘offered in fulfilment of a vow’ possibly, however, the words refer to some particular incident, such as the rescue of the sacred image from an enemy. The alphabet is Ionian: so too are the proper names and the genitive-ending Ἔσιος. The best known Pythermos of whom there is any record is the Phocaean ambassador who figures in a characteristic episode in Herodotus (i. 152). A Graeco-Egyptian inscription in the Alexandria Museum (Botti, Cat. p. 253) mentions another Neilon, the father of a certain Pythogeiton: in this case the family came from Samos.
The Policy of Sparta
Authors: Grundy G. B. 
Published: May 2006

In two papers published within the last year, one in the Classical Quarterly of October, 1911, and the other in the last number of this Journal, Mr. Dickins has put forward certain views with regard to the main lines of the policy of Sparta in the latter half of the sixth and in the fifth century B.C.Inasmuch as his two articles aim at refuting certain views put forward by myself and others in this Journal and elsewhere, I should like to reply to his arguments.In the first place Mr. Dickins, who has had and has used special opportunities for acquiring information with regard to the antiquities of Sparta, adduces a large number of new facts. For this part of his work every student of Greek History must be grateful to him. It is in the conclusions which he draws from the new evidence, and the scant courtesy with which he treats some of the old, that the main defects of his arguments lie. He uses some of the evidence of Herodotus, and ignores the rest. That of Thucydides he treats in the same way. As for that of Aristotle, he appears to regard it as wholly misleading, with regard to both Sparta in early times and Sparta in the fifth century. It seems to me that it is not unreasonable to assume that Aristotle in the fourth century before Christ had access to better evidence in support of his statements with regard to the Spartan state of the fifth century than we in the twentieth century after Christ either possess or are ever likely to possess.
Tsade and Sampi
Authors: Foat F. W. G. 
Published: May 2006

In my contribution on the ‘Sematography of Greek Papyri’ (J.H.S. xxii, 1902) I included the Ptolemaic symbol Τ or = 900 among those of whose origin no satisfactory explanation could be offered (p. 138); although on p. 145 I identified the symbol with the later minuscule symbol ‘sampi’ or = 900, and pointed out the improbability of any association of the latter with either Pi or San-Sigma, whether in forms or arithmetical values. For the rest, as I said, ‘we must wait until we are in possession of ante-Ptolemaic documents, or of some facts yet to be supplied by epigraphy.’This paper is the report of a more thorough survey of the field of Greek and general archaeology on all the questions and problems involved in the explanation of the sign. These are in the best sense trivial, lying at the crossing of the ways of nob a few important theories, to which the foremost scholars have recently devoted much investigation—the composition and history of the Greek alphabet, particularly as regards its application for numeration, the enigmatical Tsade, the mutual relations of the ancient alphabets, the antiquity of S. Semitic (Arabian), Minaean, and Sabaean inscriptions, and the place of the Phoenician alphabet in the history of primitive Hellas.