Old Age Among The Ancient PDF

Old age among the ancient Greeks; the Greek portrayal of old age
in literature, art, and inscriptions, with a study of the duration of

life among the ancient Greeks on the basis of inscriptional evidence,
by Bessie Ellen Richardson.
Richardson, Bessie Ellen, 1901-
Baltimore, The Johns Hopkins Press, 1933.
http://hdl.handle.net/2027/mdp.39015025361588
Public Domain, Google-digitized

http://www.hathitrust.org/access_use#pd-google
We have determined this work to be in the public domain,

meaning that it is not subject to copyright. Users are
free to copy, use, and redistribute the work in part or
in whole. It is possible that current copyright holders,
heirs or the estate of the authors of individual portions
of the work, such as illustrations or photographs, assert
copyrights over these portions. Depending on the nature
of subsequent use that is made, additional rights may
need to be obtained independently of anything we can
address. The digital images and OCR of this work were
produced by Google, Inc. (indicated by a watermark
on each page in the PageTurner). Google requests that
the images and OCR not be re-hosted, redistributed
or used commercially. The images are provided for
educational, scholarly, non-commercial purposes.
ancient
OlX> AGE
LONDON: HUMPHREY MILFORD
OXFORD UNIVERSITY PRESS
/
<
i
1 p
2
OLD AGE AMONG THE ANCIENT GREEKS
^XISHWY M1LPORD
.WSRSTCY PRESS
LONDON: HUMPHREY MILFORD
OXFORD UNIVERSITY PRESS
Figure 1.
Macle. aND GKra8 « a PElicE In ThE LOCvrK

« THe GKra8 PaIHXEH.
Photo, Giraudon.
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, 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, Ph. D.

Sometime Fellow in Archaeology, The Johns Hopkins University,
formerly Instru<tor in Latin, Greek and History of Art,
The State University of Iowa
BALTIMORE
THE JOHNS HOPKINS PRESS
1933
Copyright 1933, The Johns Hopkins Press
PRINrED IN THE UNITED STATES OF AMERICA

BT J. H. FURSr 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 1
Terms Applied to Old Age 5
Relation to Physical Infirmities 8
Comparison of Old Age and Youth 11
Greek of Death
Conception 13
II. The Mental and Emotional Endowments op Old

Age 15
The Qualities Inherent in this Period of Life. ... 16
The Function of the Chorus of Elders and the
Messenger in Tragedy 19
The Interpretation of Prophecies, Oracles, and
Visions 21
Parental Affection and Guidance 25
III.Duties and Interests of the Elderly Citizen 31
In Public Life 31
In Warfare 33
In Religion 39
In Private Life 40
IV. The Attitude op the Greeks toward the Aged. . . 48
Reverence for Elders 49
Comparison with Ancient Peoples of other Lands 53
Legislation in regard to Treatment and Mainte
nance of Parents 55
V. The Idealization Youth and Deathlessness . .
op 59
Process of Rejuvenation on Black-Figured and
Red-Figured Vases 60
The Rejuvenation Motive in Literature 66
VI. The Personification op Geras 72
Cult of Geras 72
Heracles and Geras on Bronze Reliefs 74
The Old Age Painter 74
VII. The Representation op Old Age in Greek Vase

Painting 81
Divinities 82
Kings 89
Heroes 98
Seers 101
Warriors 102
Old Men of the Common Ranks of Life 104
Old Women 118
ix
X O0NTENT8
CHAPTER PAGE
VIII. Decorative and Architectural Sculpture op Early

Times 121
Temple of Zeus at Olympia 121
Parthenon Frieze 123
Lvcian Monuments 125
Sculptured Reliefs 126
IX. The Portrayal op Old Age in the Statuary op
the flpth and fourth centuries and op
the Hellenistic Age 130
Portraits of Poets, Historians, and Philosophers. 131
Grave Reliefs 163
Realistic Portraits of Aged Men and Women in
Daily Toil 168
X. Terra-cottas, Coins, Gems, and Intaglios 173
XI. Aged Silens and Centaurs 182
On Vases of the Black-Figured and Red-Figured
Style 183
Terra-cotta Figurines 201
On Coins and Gems 203
Small Works of Bronze 204
Iu Sculpture. 206
XII. Outstanding Examples op Longevity 215
In Literature 215
In Inscriptions 224
XIll. The Average Duration op Lipe among the Greeks
on the Basis op Inscriptional Evidence 231
appendices :
I. Concordance and Index to Literature 237

H. Concordance and Index to Art 244
A. Vases 244
B. Sculpture 264
C. Small Works of Bronze 272
D. Terracottas 273
E. Coins 275
F. Gems 275
HI. Catalogue op Inscriptions 277
Abbreviations 361
Bibliography 363
General Index 373

LIST OF ILLUSTRATIONS
TO PACE
FIG. PAGE
1. Heracles and Geras on a Pelice in the Louvre by the
Oeras Painter (Photo, Giraudon) Frontispiece
2. Priam Entering the Tent of Achilles on a Cotyle in
Vienna Attributed to the Brygos Painter (Furt-
wangler-Reichhold, Griechische Vasenmalerei, pi.
84) 90
3. Bougyzes Displaying the Plough to Cecrops on a
Crater by the Painter of the Naples Hephaestus in
Professor Robinson's Collection. (Courtesy of Pro
fessor Robinson) 90
4. Linus Teaching Music to Iphicles on a Cotyle in
Schwerin by Pistozenus (Furtwangler-Reichhold,
Griechische Vasenmalerei, pi. 163) 100
5. Servant Woman on the Same Vase 100
6. Procession of Old Men on a Cylix in Boston (Hartwig,
Die Griechischen Meisterschalen, pi. 40) 114
7. Old Seer on the Olympian Pediment (Buschor and
Hamann, Olympia, pi. 23) 122
8. Panathenaic Procession on the Parthenon Frieze, East
Side (Fougeres, L'Acropole, Le Parthenon, pi.
125) 122
9. Old Woman on the Boston Counterpart of the Ludovisi
Altar (Photo, The Boston Museum of Fine Arts) . . 126
10. Return of Odysseus on a Terra-cotta Relief (Photo,
The Metropolitan Museum of Art) 128
11. Bust of Homer in Naples (Arndt-Bruckmann, Griech
ische und Romische Portrats, pi. 1019) 132
12. Bust of Aeschylus in Rome, Capitoline Museum
(Arndt-Bruckmann, Griechische und Romische Por
Ill)
trats, pi. 132
13. Bust of Socrates in Rome, Villa Albani (Arndt-
Bruckmann, Griechische und Romische Portrats,
pi. 1045) 144
14. Head of Chrysippus (Photo, The Metropolitan Mu
seum of Art) 144
si
xii LIST OF ILLUSTRATIONS
TO PACE
FIG. PAGE
15. Head of Epicurus (Photo, The Metropolitan Museum
of Art) 150
16. Early Hellenistic Portrait of an Unknown Person in
the Ny Carlsberg Glyptothek (Frederik Poulsen,
Jahrb. d. arch. Inst. XLVII, 1932, pi. 1) 160
17. Drunken Old Woman in Munich (Brunn-Bruckmann,
Denkmaler Griechischer und Romischer Sculptur,
pi. 394) 150
18. Old Woman Carrying a Lamb in the Museo dei Con
servator! (Brunn-Bruckmann, Denkmaler Griech
ischer und Romischer Sculptur, pi. 393 a) 170
19. Old Fisherman in the Museo dei Conservatori (Brunn-
Bruckmann, Denkmaler Griechischer und Romischer
Sculptur, pi. 393 b) 170
20. Comic Actor of Old Comedy. Terra-cotta from Olyn-
thus (Courtesy of Professor Robinson) 178
21. Terra-cotta from Olynthus Showing Pan Represented
as an Old Man Playing the Double Flute (Courtesy
of Professor Robinson) 178
22. Terra-cotta Figure of a Grotesque Old Man from
Olynthus ( Courtesy of Professor Robinson ) 178
23. Old Peasant Woman Bringing the Products of her
Farm to Market (Photo, The Metropolitan Museum
of Art) 178
24. Old Silen Playing the Double Flute Accompanied by
a Maenad on an Amphora in Munich (FurtwSngler-
Reichhold, Griechische Vasenmalerei, pi. 45) 190
25. Old Silen on a Scyphus in Professor Robinson's
Collection (Courtesy of Professor Robinson) 190
26. Papposilenus and the Infant Dionysus on a Crater
in the Vatican (Furtwangler-Reichhold, Griechische
Vasenmalerei, pi. 169) 196
27. Centaur and Lapith on a Metope of the Parthenon,
South Side (Fougeres, L'Acropole, Le Parthenon,
pi. 30) 212
PREFACE
The Greeks with their delicate sense of symmetry and

extraordinary interest in the athletic type have produced
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
trymen were of antiquity. An aged priest said, "rCl 2oA<ov,
1
SoAwv, "EAAijws att -muSis tart, yipmv oe "EXh/v ovk lanv."
This expression, no doubt intended to emphasize the youthful-
ness of the Greek state as compared with the national
antiquity of the Egyptians, is often quoted to prove that it
was only the man in his prime who could find a happy abode
in the Greek world.
To my knowledge the interest of the Greeks toward the
aged type in art has never been made a matter of thorough
investigation, nor has the place of the elderly citizen in the
community, nor the attitude of the Greeks toward old age
per se been sufficiently studied. In our attempt it will be
necessary to tear away the veil of idealism with which Greek
thought is traditionally invested and lay bare the actual life
of the ordinary man with all its tragedy as well as its occa
sional playfulness and light-heartedness. This work will be
three-fold. First, the references to the various aspects of
old age in Greek literature of all periods will be considered
as thoroughly 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
Xiv PREFACE
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,
but it is hoped that the references given 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
dissertation, I
desire to express my sincere appreciation for
many suggestions, stimulating guidance, and criticism of the
manuscript and proof. Not only in this undertaking, but
also in class work, his love of the classics and sympathic inter
est in his students have been a never-failing source of inspira
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
university during the time that I
held a teaching position
there. A considerable part of the material dealing with
Greek literature was collected at that time. I
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
*
Cf. Sophocles, Antigone, 605-10.
J*
PEEFACE XV
Arthur L. Keith of the University of South Dakota who

pointed out to me the function of aged characters in Euri
pides. Thanks also are expressed to Dr. Mary E. Armstrong,
Professor of Latin and Greek in Olivet College, who has read
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,
1868, and Eugene S. McCartney's article on
" Longevity and
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
There is much diversity of opinion in fixing the begin
nings of old age, although in a sense the term readily explains
itself. Undoubtedly it is a matter which cannot be decided
by definite chronology. Holmes 1 is unmatched as a stimulus
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 lines between the eyebrows.
He makes further annual visits, leaving another card each
time, until he is let in or forces his way in through the front
2
door or windows. Emerson 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.'
1 Oliver Wendell Holmes, Autocrat of the Breakfast Table, I, 7 ;

cf. Goethe, Faust, second part, V, 3, 25-28: Nun hat das tuckische
Alter mich /
mit seiner Kriicke getroffen; /
ich stolpert' fiber Grabes
Thtlr, /
warum stand sie just offen!; Shakespeare, All's Well that
Ends Well, V, 3, 40-42, dwells upon the rapidity with which age
steals on :
" For we are old, and on our quick 'st decrees the inaudi
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. 114-18.
1
2 OLD AGE AMONG THE ANCIENT GEEEKS
Solon divided life into ten stages of seven years each ; Aris
4
gives only three —youth, the prime of life, and old

5
totle
age, for none of which he gives limits. The Spartans had
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<T0a 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
seems to contain at least a grain of truth, we might inquire
to what extent the Greeks were conscious of the physical
shortcomings coincident with the inroads of time. Here
almost uniformly paints a gruesome picture.
Greek literature
Nestor can no more box nor wrestle for
" grievous old age "
•Solon, Bergk, Poetae Lyrici Graeci, II, 27; Herodotus, I, 32, 10.
' Aristotle,
Rhetoric, II, 1389 a 2.
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
garrison duty was their only responsibility; cf. Hor. Ars Poet. 153-
178. The Ages of Man apparently were not used as a decorative
motive during the Greek and Roman period, but they were common
in the Middle Ages.
THE PHYSICAL ASPECTS OP SENESCENCE 3
(xaAtwov weighs heavily upon him.7

yrjpai) 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
live only sixty years and that free from care and disease ; he
complains of
" painful and unseemly old " Kal
age (apyaXtov
Sftofxfmv yr)pa<>), while he longs for "precious youth" (^17

Ti/iTjtami) which is like a " dream of short duration "
(6\iyoxp6viov . . . Svap).10 Anacreon, 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
Persians the chorus tear the white hair of their beard in
anguish.17 Nowhere is there a more pathetic picture of dod
dering, desiccating senility than in the Oedipus 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
and then death, cf. Bergk, II, 20 (21).
"Mimnermus, Bergk, II, 5(3).
"Anacreon, Bergk, III, 77 (81).
18 Anacreon,
Bergk, III, 43 (41).
" Pindar, Nem. IX, 44 ; cf . 01. V, 21 ; 0l. I, 83.
14 Pindar, 0l. VIII, 67-71.
"Pindar, Nem. XI, 13-16.
" Aeschylus, 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.
4 OLD AGE AMONG THE ANCIENT GREEKS
where the one-time king, disabled by lack of strength and "

lack of sight,18 banished from his native city 20
is dragging
out a powerless, unsocial, friendless existence, clad in squalid
raiment,21 and carrying a slender pittance to stave the pangs
of hunger.22 Hecuba, childless, cityless, destitute, fallen from
her royal estate, the most miserable of mortals,23 prays that
her aged feet may lead her to the tent of Agamemnon, as she
leans upon her bending staff.24 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
" Sophocles, Oed. Col. 14; 501-2; 610; 1225-1247. Plato (Rep.
I, 329 b-d) must hold a mistaken view in representing that Sophocles
pictures old age happily. Cf. Eurip. Phoen. 1719.
"Sophocles, Oed. Col. 21; 34; 299. Oedipus is also represented
as blind in Eurip. Phoen. 1699. Plutus is blind, Arist. Plutus, 13.
'•
Sophocles, Oed. Col. 184.
'1
Sophocles, Oed. Col. 555.
**
Sophocles, Oed. Col. 5-6 ; 349. Poverty is frequently given as
an 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
complains of the unjust distribution of wealth, Arist. Plutus,
1050-1; cf. Anonymous, Stadtmtlller, Anthologia Graeca, II, 336:
yjpdi ko.1 ireWn rtTpvpivo! ; cf. Juvenal's dismal picture of old age, X,
188-209.
" Rurip. nee. 140-147.
"Eurip. 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. Theo-
doridas, Paton, Greek Anthology, II, 7, 732, cites the remarkable
instance of an old man going to Hades without a staff; Callicrates,
Paton, op. cit. IIl,
7, 224, mentions an old woman of one hundred
and five years who never rested on a staff. The staff often appears to
represent authority, Arist. Plut. 272; Eerondas, VIII, 50-60;
Lucian, Dial. Mort. XI, 3.
" Eurip. Heracl. 597-607. *i Eurip. Ion, 1039-42.
" Eurip. Heracl. 105-6. i•
Eurip. Iph. in Aul. 3-5.
THE PHYSICAL ASPECTS OF SENESCENCE 6
the summons of King Agamemnon hastily because his old age

29
is sleepless and ever wakefui. Euripides calls an old man
a shadow; Oedipus has the strength of a dream.80 The
expression avSpbs yripevToi iroWov a<pavpoTtpo's is of frequent
occurrence.81 Jocasta drags her steps trembling with age
within their advising her son from the experience
mansion,82
inherent in old age to desist from seeking kingly power.
Creon asks his son, Menoeceus, to guide the tottering steps
of the aged seer, Teiresias,88 since an old man, whenever he
travels, requires from others. The old man Pheres
help
advances to the house of Admetus
" on aged foot." 84 The
chorus of old Acharnians running in hot pursuit of Amphi-
theus 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
but is retarded by feebleness. Aristophanes gives consider
able emphasis to the physical infirmities of the chorus in a
ludicrous Socrates hesitates to prolong his days
manner.
lest he be forced to pay the penalties of old age — to see and
hear less keenly, and to fail in intellectual power.87 De
mosthenes chooses exile instead of imprisonment, both because
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 aged,89 which reveals the need for physical stimuli.
It seems to be customary for a slighted lover to pray that
*•
Eurip. Nauck, 512: <mA yipuv &rl\p.
"Eurip. Phoen. 1720-22.
"Cf. Xenophanes, Bergk, II, 8; cf. Herondas, I, 15-16: t4 yip
yijpas I i/pias
Ka0i\sti irapioniKW.
Ki/ <r/<i7>
"Eurip. Phoen. 301-354.
" Eurip. 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.
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 care, thus bringing hasty old age.42Nothing is worse
than a bad wife for she consigns a man to unripe old age."
The Greek writers frequently present very realistic por
traits of aged men. Athena causes Odysseus to assume the
guise of an old beggar.44 She withers his fair skin, makes
waste his yellow hair, wraps him in a foul garment, and
bestows upon him a staff, the symbol of decrepitude. The
author of the Odyssey succeeds equally well in the portrayal
of the aged Laertes.45 Odysseus finds his father alone in the
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.
Crates "
pictures an old hunchback (Kupiw) advancing to
the house of Hades, stooped on account of old age (kwôs 8ta
yfipa-s). Another never-to-be-forgotten picture is that of the
philosopher, Menippus,49 an old fellow, bald, forever laugh-
"Julianus, Stadtmtiller, Anthologia Chraeca, I, 297; cf. Rufinus,

Paton, V, 92.
41
Julianus, Stadtmtiller, I, 233.
" Palladas of Alexandria, Paton, III, 165.
" Hes. Works and Days, 702-05.
"Hom. Od. XIII, 397-403.
" Hom. Od. XXIV, 223-34.
"Homeric Hymn 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.
"Lucian, Dial. Mori. I, 2, 25-30. According to Lucian (Dial.
Afort. XX, 4, 75-7) all the men in Hades are bald and snub-nosed.
w
ing, with a little old cloak with many a hole, exposed to every
wind of heaven, and variegated with rags and tatters. Lu-
60
cian gives an amusing account of the dignified old man
who was indignant at trudging to Hades on foot and wanted
a horse furnished. Teiresias is a blind, little old man, sallow,
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
(dora^tSts).62
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/<Aijs is a dirty old fellow
with unkempt hair and long goatee, his face more wrinkled
than a leather pouch. The Cynic ILiy/<pa-n^ has a huge oak
staff studded with brass nails, and a wide gaping wallet. Of
a similar nature is the description of the deaf old woman who
comes bringing soft grains of wheat (ttvpoi) when she is told
to bring cheeses (rupoL), and a bow (to£ov) instead of vinegar
(#w)."
Many writers speak in a general way of old age as being
a destructive, deadly force without mentioning definite char
acteristics. It is an
" altar of ills " M it is a
(£<u/ios Kastiv) ;
workshop toward everything evil pertaining to man

which
goes regularly." Old age bears a name of ill omen (hwniwpov
yrjpa*).63 It is "destructive, deadly" (oiXopivov) ; a "
"Lucian, Dial. Mort. XXVII, 3, 77-84.
" Lucian, Menippus, 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, I, 5, 20.
" Lucian, Dial. Mort. VI, 2, 39-45.
" Alciphron, Ep. Parasit. XIX, 2-10.
•• Nicarchus, Paton, IV, 74.
••
Antiphanes, Kock, Comicorum Atticorum Fragmento, II, 255.
" Antiphanes, Kock, II, 240b.
•• Eurip. Nauck, 575.
" Theognis, Bergk, II, 1021.
"great evil" (mu<ov /ueya) ;

80
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
mvrjpoTepov) .61 Old age is desired by all, but when it comes
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
old man always becomes evSe^s (deficient, poor, weak).68
There is no good connected with old age (<!>s oioev ayaOov) ;
there is "much that is annoying and painful" (8wxw
7rdAA' . . . Kal Xvmjpd) .67
The scientific curiosity about man's physical appearance

began to be awakened in the fifth century when writers on
geography and travel began to note with much detail the
distinctive features of races and study the relation of physique
to geographical environment. Herodotus 88 records that both
men and women of the Argippaei are bald from birth; they
are considered sacred and inviolable. The Egyptians are less
subject to baldness than other nations because their skulls
are extremely hard, due to shaving and exposure to the sun.89
70
Apollodorus was called the Phalerian which may be a play
of words on <f>aX<ip6i. Bald-headed men are sometimes called
Myconians because baldness is prevalent on the island of
Myconus.71 With the people of Moon-land, beauty consists in
a bald head and hairless body.72 The Curetes cut their hair
M Crates, Bergk, II, 19.

" Theognis, Bergk, II, 271-274.
"Eurip. Nauck, 1080; Antiphanes, Kock, II, 94.
" Eurip. Nauck, 637.
"Simonides, Bergk, III, 36 (51).
•• Herondas,
Bergk, II, 1.
•• Menander, Kock, HI, 592.
" Menander, Kock, III, 555.
"Herod. IV, 23; cf. Herod. lll,
114, 134; VII, 70; Arist. De Gen.
Anim. V, 782a, 9-20.
"Herod. IIl, 12, 6-15.
70
Plato, Sympos. I, 172.
« Strabo, X, 7-10. " Lucian, Vera Hist. I, 23.
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.
it, The Comic poet Eupolis had twitted him
with 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
grayness results. Men the temples first 75
grow gray on
because the back of the head empty of moisture owing to
is
its containing no brain, and the Pptyfia has great deal of
a
moisture. The hair on the temples lying between the two
has neither little moisture that can concoct
it
extremes so
the liquid nutriment necessary for the growth of the hair

nor so much that cannot decay. It not easy to find
it
is
a
sea-faring man with gray hair, because long life belongs only
to those living on land 74 and hard to find brave
it
is
a
;
Achaean who has survived till his hair Aristotle,78

is
gray.77
"Strata, X, 6; Horn. II. II, 542, speaks of the Abantes as

3,
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
regards baldness as shameful. Cf. the bald Thersites in Smith,
Vases the Brit. Mus. pi. lll,
of
7.
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")
b,
earthy, connecting with yv, because the earth fails and the
it
is
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
1,
9,
baldness as an affliction almost as bad as blindness. For the curing

of baldness cf. Epidaurus inscription in Dittenberger, Sylloge8, 1168,
173 ff., and the tfaC/ia 'Air<SXX«»o» at Delphi, Klio, XV, 1918, p. 46.
Cf. also Lucian, Alex. 59, and Babrius, 188.
"Arist. Hist. Anim. lll,
518a, 26-28; cf. Theocr. XIV, 68: dxo
wivTts 71700X6)1, Kol fri<rgssA yivvv tpwu
is
Kporiupwv Trt\6neir$a
/
/
,
\evKalvwv xpins.
6
" Phalaecus, Paton, III, " Damagetus, Paton, III,

7,
438.
7,
650.
"Arist. Hist. Anim. lll, 518a, 10-23; Bacchylides, Bergk, III,
3,
cites the first gray hairs as signs of advancing age; Jebb, Bacc.
fr. 21.
10 OLD AGE AMONG THE ANCIENT GBEEK8
however, informs us that in the majority of cases gray

hairs are white from the beginning, and this is a proof that
grayness of hair does not necessarily imply withering or
78
decrepitude. Megasthenes asserts that there is a race in
India which becomes gray-haired at birth ; such was the case
with the Graeae.80 Hair is more likely to turn gray when it
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
find a release.84 Prayers for release are common. 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
may not die untimely like their mother.88 Eurytus perished
too soon and old age did not come upon him in his halls,87
while Nestor was fortunate to have an opportunity to grow
into a smooth old age.88 Peleus dragged out a miserable and
solitary old age
89
while Thetis dwelt in the sea.
in the halls
Xerxes wept because none of his men would live to be a hun-
" Megasthenes, II, 30.

•0Hes. Theog. 270-76; Hermann, Opuso. 2, 179, says: Tpeu'ai sunt
undae quae littori allisae spumas agunt; Aeschylus, Prom. 819,
calls them KVKv6nop<poi from their hair.
•1 Arist. Hist. Anim. lll, 518 a, 10-23.
" Arist. De Gen. Anim, 782 a, 9-12.
"Theognis, Bergk, II, 1187-1190; cf. Eurip. Ale. 112-136; Hor.
Odes, II, 14, 1-4; Solon, Bergk, II, 24 (5).
m Cf. the •* Horn. Od. VIII,
myth of Tithonus. 226-27.
M Horn. Od. XIII, 59-60. 88 Horn. Od. IV, 209-11.
••
Eurip. Alo. 167-169.
" Apollodorus, III, 13, 6.
THE PHY8ICAL ASPECTS OP SENESCENCE 11
dred years old, but his uncle Artabanus warned him of the
calamities inherent in old age.90
Many are the sighs for departing youth. Euripides81
expresses the view that the gods should bestow a two-fold
92
youth as a reward to virtuous men. Theognis bewails the
quick passing of
" bright
youth
" (dyAaos 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 wrinkles
less conspicuous,98 and sometimes had their eyebrows polled
and painted.97 There is some evidence that they dyed their
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
100
hale, vigorous old age. Euripides insinuates that there are
other evils besides those inherentin old age (although old
age is a great evil). There is occasionally an example of a
man with extraordinary strength. Nestor alone could raise'
the goodly cup which fair-tressed Hecamede brought.101 In
102
the W asps Ephudion is cited as an example of a gray-
headed old man who contended bravely in the pancratium.
Pindar104 refers to a happy eld as a period of steadfast
strength with children's children to inherit one's wealth and
fame. Aristotle 104 describes happiness in old age as the
M Herod. VII, 46, 4-18. " Lucilius, Paton, IV, 69.

,l
Eurip. Her. Fur. 639-664. " Anonymous, Paton, V, 76.
" Theognis, Bergk, II, 985. 100
Eurip. Phoen. 528-530.
"Theognis, Bergk, II, 1129-32. 101 Horn. II. XI, 632-37.
"Mimnermus, Bergk, n, 5 (3). "'Arist. Wasps, 1190-94.
" Sappho, Bergk, III, 26 (135). Pindar, Nem. VII, 98-101.
" Arist. Plut. 1064-5. 101
Arist. Rhet. I, 1361 b, 15.
Arist. Eccles. 904-6.
coming of old age slowly and painlessly. It arises from a

good constitutionand from good luck. On the cup that the
goatherd promised Thyrsis the most prominent
place as a
decorative motive given to an ancient fisherman who
was
drags a great net and labors stoutly with the strength of
youth.105 A late writer108 sings the praises of a certain
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 that this conception of
old age had a very small place in the Greek mind.
Since is commonly considered the necessary
senescence
prelude to natural death
107
the question of death is closely
connected with old age. The Greek ideas of death are none
108
too consistent. Mimnermus seems to cite the view gen
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
is a dreadful recess; the way down is painful, and the re
turn difficult.109 Charon draws on those struggling to live.110
Admetus strikes the key-note in chiding Pheres for his un
willingness to die :
Manjv ap' ol ytpovris tvôvrai Oavtiv,

yrjpas iptyovTts Kal fxaKpbv y^povov jilov.
rjv 8' *yyv% Oa.va.TOS, ovSeis /JouAtrai

m
$vyaKuv, to yrjpas 8' ovkIt' tot' avrols /3apv.
Anacreon 112
breathes the same spirit : the joys of life are
»• Theoc. I, 39-44.
Agathias Scholasticus, Paton, I, 5, 282.
loa
Cf. Soph. Oed. Tyr. 961 : oiuKpb iraXmi au/i«r' tivi^ti

Certain veiled meanings have a sort of piquancy as, for example, the
words of Sophron (Frag. 52, Kaibel, Com. Graeo. Frag.) with regard
"
to the old man with hair as white as snow waiting ready to put
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. 692-3.
"•Anacreon, Bergk, III, 43 (41).
THH PHYSICAL ASPECTS OP SENESCENCE 13
sweeter as death approaches nearer. Lucian 118

pictures the
excessive desire for life on the part of a very old crippled
man. Demonax114 administered laughing consolation, bid
ding old men not to forget how soon their troubles would he
over. Âthenaens
115
feels that death is welcome only when it
comes in old age. Some writers express the opposite view.
Menecrates 118
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
a man has reached his age in life
118
he ought not to be repin
ing at the approach of death.119 overpowers the Pain soon
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
he was viewing the games, because he was so old he could not
see.121 Leonidas of Tarentum
pictures an old man sup
122
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
always ûngrateful" (axapurroi) , for although old age is a
7c
great evil" (kokov /Uya), yet when Death comes we are
cured. It seems likely that Socrates who calmly drank hem
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, 65-72; cf. Soph. Nauck, 63:

tov fijc yap oiielt us 6 yitpaaKuv ipg..
114 Lucian,Demonax, 8, 104.
115 Athenaeus,Deipnosoph. IV, 45, 157 d.
Menecrates, Stadtmiiller, Anthologia Graeca, III, 55.
117 Pindar,
0l. VIII, 67-71.
1,8
Socrates was seventy, Plato, Apol. 17 d; cf. Suidas, s. v. Zw/<pirijt.
1" Plato, Onto, 43 b. 1,0
Plato, Phaedo, 66 e-67 b.
Diogenes Laertius, Paton, III, 85.
1,1
Leonidas of Tarentum, Paton, II, 731.

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
unfavorable side of the last years. It was a journey along a
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 it was
actually sent by Zeus as such. The Greeks did not sing with
Browning :
Grow old along with, me,
The Best is yet to be,
but rather:
Trjpas hrav phi airjj iras euxerai, 8t iror* iXBn
fUfi<f>€Tai. 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
framework, and the subtle charms of grace, strength, and
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
1Plato, Rep. I, 328-31; cf. Cic. De Seneot. lll, 7: Bed omnium
istius modi querelarum in moribus est culpa, non in aetate. Mod-
erati 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,
. . . , tud tpoprlav ptyiarov. dXX* 8s av <ptpv/ iyvwn6vnn aSS', olr6t
iorlw afr<ot. ovS' tticSkm, IvIqtt KoifUfa* roiei, / pera\apîvuv hnMfr'
airov rbv rpiirov, / Ximj» t' i/paipuv i/Sorftv re wpoaridtlt,
/ Xuttij» N
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; cf. Tennyson, By an Evolu
tionist, 17-20:
I have climb'd to the snows of Age, and I

gaze at a field in the Past, 1
Where I
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;
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
is man's dispositions," he says, "which render old age bear

able or the reverse
"
(dAAa Kal tovt<ov ntpi kcu twv ye wpb<s tous
oUelovi fiia tl<s airia itrriv, oil to yijpas, u> 'S,<!>Kpart<s}aAA' 6 Tpoiros
t<ov avOpannov, Rep. I, 329 d). It is a picture of calm, peace
ful, if not happy old age (&v fitv yap k6o-(uoi koI cvkoXol wai, k<u
to yfipas fitrplmt iarlv hrlirovov "

moderately burdensome Rep.
I, 329 d). Cephalus5 love of conversation, his affection, his
indifference to riches, even his garrulity are interesting traits
of character. A landscape which is a perfect gem at the
beginning of the Laws2 forms a background for the aged
sages of that dialogue to converse on many moral and political
subjects. Envy, hatred, and other disturbing passions are
conspicuously absent; they have schooled themselves into
peace and submission. They have 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 intellectual qualities, prudence, discretion, mature
judgment, and the like are the natural heritage of old age,8
and that it is the duty of the old to impart these attributes
8
to the young.4 Nestor was the wisest of men ; Homer the
* Plato, Laws, I, 624.

*
Soph. Nauck, 603 : yijpat SiSioKti iravra Kal xp6vov rpi/ty ;
Cf.
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
their experience (Thucyd. I, 8-27); cf. Menander, Kock, III,
639: oix Tp^X" wowBoiv al XevKai <ppovtiv, dXX' A TpAiroj ivtuv iarl
Ttf 4>vati yipiav.
4
Plato (Laws, II, 659 d-e) expresses the view that the experi
MENTAL AND EMOTIONAL ENDOWMENTS OF OLD AGE 17
wisest and most divine of poets.6 Socrates suggests that

Protagoras should know more than he because he is older.7
Erinna 8
paints a charming picture of old ladies with silvery
hair, gifted with golden thoughts. In matters pertaining to
law older men have better judgment, and those fifty
above
are called upon to address the assembly first.9 Although they
cannot speak like the ablest orators, elder men always excel
the younger in counsel 10 and they possess better understand-
ence of the old is valuable in constrainingand directing youths;

Demosth. (Ep. II, 1469, implores the elders to inform the
10)
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 (Theophy-
lactus Simocatta, 65-73).
• Cf.
Soph. Philoct. 422-23 : ofrot yip ri /
yt Kehav (i. e. the enemy)
kik iiipvKt, pov\tiuv oo<pi; Plato (Lotos, IV, 711) gives Nestor
power, wisdom, and temperance, and deplores the need of such a
man in those times ; cf . Plato, Lesser Bippios, 364 c ; Plato, Eryxias,
394 a-d; Nestor does not mourn about Antilochus' corpse because
the wise man's soul endures bravely. (Quint. Smyrn. IIl, 9.)
' Plato, 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
dKpoar^t i vdot. iweipot yip ruv Kara rbv plov wpaêiav; 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.
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
celeritate 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:
matters of detail relating to punishments and modes of procedure,
summons, and witnesses to summons.
"Quint. Smyrn. V, 152-6.
2
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 (<ppovi/w:) for prudence can come only from experi
ence. Elder men restrain the insurgents in political strife.18
Philo " asserts that gray hair not accompanied by good judg
ment is a reproach. 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
which the superior understanding was exercised.16 Many
Indian tribes accorded no honor to the old unless they
possessed unusual wisdom,17 but we do not find this 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
dowed. Two old people possess sufficient insight to guide
the wanderings of the sons of Heracles, driven from Greece
by Eurystheus.18 Danaiis was the prudent captain of the
"Demosth. Exordia, 1452, 12-18; cf. Plato, Lavas, IV, 715 d: riot
piv y&p &v teas ivSponrot r4 toiouto iptJKiraTa airis aurou ipf, fipuv
6t d^vrara.
"Arist. Nicomach. Eth. VI, 8, 1142, a 10-15.
" Thucyd. VIII, 92, 2-4.
14 Philo, Paton, IV, 419.
"Solon, Bergk, II, 18(10): ytipiosa 6' del iroMA tiSaoKSptvot ;
Plato (Rep. VII, 536 b-d) believes Solon is mistaken. Youth is

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
kindisch, wie man spricht, /
es findet uns nur noch als wahre Kinder.
" Cf . Pherecrates, Kock, I, 248 : <5 yvpas . . . ir v 7»P oiSiv
SvvafieO' otb" UrxioiLtr, av ttivikhvB' .fj/J-is irpoSiSicKeis ev tppovtir; cf.
Eurip. Nauck, 619: to -plpat . . . riiv vtwripuv ipptvwv oo<pd>Ttpov.
. . . ipirtipla rt rijs d7reip/os Kparti; cf. Arist. Rhet. II, 8, 1385, b 4.

" Megasth. II, 27, 39-43.
1§Eurip. Heracl. 84-85; 92-93; cf. Pythagoras, Wachsmuth-Hense,
Joannis Stobaei Florttegium, V, p. 1031, 28: iroef 4 l*iv rt6rat
£yx"/")™/<<ij, t4 Si yVpas irpovoariiabi ; cf . Il. III, 108-11: alel 6'
ir\oripoiv avSpuv Qpivti êpiSovrai. / oh 6' & yipwv neriTjair i.pa trptiOBa
voyage of his fifty daughters.19 The king of Argos, though

"aged in experience" (ox/iiyovos) , is advised to learn wisdom
from his youngers.20 Both the old man Danaiis and the
chorus of the Suppliants act in accordance with the principles
of good judgment An old servant gives advice
(<ppovovvr<os) .w
to Creusa.22 Creon showedfirst, in his dogged deter
a.<ppuxrvvrl,
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
age.23 Upon the implication of the chorus that the burial of
Polynices may be the work of the gods, Creon warns them to
cease lest they be found foolish old men.24 Aegisthus,
accused of plotting the murder 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 expresses a willingness to learn
aright if they hold mistaken views.26 The chorus of the
Eumenides has ira\xu6<ppova (" ancient wisdom") ;
" the chorus
Kai itrlaaw / \tiaati, Strut Sx' tptOTa per' aa<poripotai yivifrai; cf.
Eccles. XI, 10: Therefore remove sorrow from thy heart, and put
away evil from thy flesh ; for childhood and youth arc vanity.
" Aesch. Suppl. 176-77 : iraiStt, <ppoveir xph- &r <tipovovrrt 8' fl/<t re /
ttiotiZ yipovri rytt vavK\ripy irarpl.
•0
Aesch. Suppl. 361.
" Aesch. Suppl. 204 ; cf. Democritus, Diels, Fragmente der Vorso-
kratiker, p. 458, no. 294: tox&s koI eipuip<plv w4ti)tos ayaSi, y/ipaos
Si awttipoavvr\ S.vBot.
" Eurip. /on, 974-78.
"Soph. Antig. 1348-53: iroXXqi rb Qpovtiv tiSaiuovlas / irpwrov
iiripxet. Xp$ " rd y' is Stobt / uifSiv iaeirrttv: ptya\ot Si \6yot /
HeyA\as ir\rryat tuv itrepaixuv iirortta avm I yfipt t6 <ppoveiv iSi$a£av.
"Soph. Antig. 280-81.

"Aesch. Agam. 1617-20; in 1657 Clytaemnestra bids the chorus
yield to the power of destiny lest it come to harm.
*' Aesch. Agam. 583-84.
*r Aesch. Eum.
838.
of Birds, possessing the power of prophecy connected with old

age, propounds counsels for feeble mortals.26 Atossa, alarmed
for the safety of Xerxes, seeks the counsel of the chorus, her
aged trusty servants (yrjpakta mo-rwfw.Ta) 28 and the ghost of

Darius inquires of the chorus what disaster has come to the
Persian kingdom.80 The chorus of Argive elders, on hearing
the cries of Agamemnon smitten by a mortal blow, takes
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
the
principles are brought face to face. The chorus directs the
contest and proclaims the result. Even though the members
of the chorus are as far as possible impartial when the con
test begins it often happens that their minds are changed
when they hear new arguments.88 Aristophanes depreciates the
Si
once honored wisdom of elders. The chorus of the Knights
consists of weak old dotards easily deceived. Chremylus and
Blepsidemus are two old dotards, "partners in nonsense and
folly " (frvduHTorra rav Arjptlv Kal irapaTraieiv) .85 Strepsiades has
a bad memory, is dull of comprehension,86 and too old to
learn the subtleties of philosophical disquisitions.87 The old
man, Peisthetaerus, is called aaoûr/ia, Kvppa, rplp-pa, munn\rjp.'
" Arist. Birds, 722: </>avtpat ir/uit iplv tapiv /lamim 'Aw6\\a>v.
&p' oi
" Aesch. Pers. chorus itself endeavors to devise deeply
171; the
pondered counsel regarding the welfare of Xerxes, 939-40.
*0
Aesch. Pers. 681-82. The chorus is addressed : <5 wiari. niarwv.
•l Aesch. Agam. 1346-47.
" Aesch. Eum. 848-50 : ipyas £vvot<rw aoi. ytpairtpa yip tl. Kal re? /
ptv tl at) Kipr' iiiov oo<paripa, /
<ppovtiv St Kipol Zeus tSuKtv ov kokiDj.
•* The chorus of the Lysistrata consists of
twelve old men and
twelve old women, who acted as two opposed companies with different
characters; the chorus of the PUitus consists of old country people.
"Arist. Knights, 251-52.
"Arist. Plutus, 508; cf. Clouds, 1417: h& it y' ivTtlwoiu' av
C>s SU waiSa ol ytpovrts.
" Arist. Clouds, 129-30. " Arist. Clouds, 794-96.
oAo».88 He is complimented on his good judgment in accept

ing the rule of the birds instead of the gods; it will not be
necessary to build temples for the birds. Aeschylus and
Euripides place conservative views in the mouths of the aged
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
supernatural magic forces. This view was commonly held
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
fore, it is but natural that the Greeks should try to foretell
the future from dreams. A dream appeared to Agamemnon
in the form of aged Nestor,88 telling him how he might take
wide-streeted Troy. The old lord Halitherses excelled the
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. Od. II, 157-59.
41 Hom. Il. XVII, 553-60.
" Hom. Od. IX, 506-10.
48
He prophesies to Odysseus in the Lower World that his death
will 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:
I wish I
were as in the days of old,
While yet the blessed daylight made itself
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
often
ages.43 An old man of the Lampsaceni interpreted the
enigmatical message of King Croesus ordering the release of
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$futv tc /
KiSaipvi-os (aBioio. / rtlô-i Tptroyo « (vXiyov &&m tvpvora Zew /
Hovrov a-*6p$r1ror TtXiOar, to at riKra t* oVijo-a.43 Arimnestus,
general of the Plataeans, thought he was accosted by Zeus
in a dream inquiring what the Hellenes decided to do.4'
When he awoke he summoned the oldest and most experi
enced of his fellow-citizens. In 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. Soph. Oed. Tyr. 1009; cf. Eurip. Ion, 742-13.
'• Cf.
Eurip. Ion, 808.
" Cf. Hom. It XXTV, 322-8.
" Herod. VI, 37.
"Herod. VTI, 141, l6-20.
" Pint. A rit t ides, II, 325 c-d.
*• Strabo, VII, frag. 1 and 1 a.
™ Strabo, VII,
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.
"Callim. I, 1-16. " Pans. IV, 26, 5.
a base against the Lacedaemonians. 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 a prophecy
from the blood. During the battles they would beat on the
hides stretched 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; (2) a person of age and experience may interpret
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
reached that period The commission of certain
of life.
crimes (robbing the gods and performing acts of treason)
was excusable in a state of madness, or when affected by dis
ease, or under the influence of extreme old age, or in a fit of
childish wantonness.88 According to Solon's laws " a man
could bequeath his property to whomsoever he wished, pro
vided his judgment was not influenced
by physical pain,
violence, drugs, old age, or the persuasion of a woman.
Socrates cleverly explains that Cratylus' argument about
" Plut. Alex. 26, 679 d-e; cf. Hom. Od. IV, 354-7.
" Paus. IX, 23, 2.
" Strabo, VII, 2, 3.
"Hom. Il. IV, 310-16; cf. Herod. III, 134.
"Plato, Lotos, IX, 864 d-e.
"Plut. Solon, 21.
falsehood is too subtle for an old man to understand,80 but

he does not consider himself too old to learn, and asks to
become the pupil of Euthydemus and Dionysodorus.81 Lysi-
machus has a bad memory; he resigns the argument re
garding the education of his son to Nicias and Laches.82
Socrates thinks it fitting for them all to learn 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 characteristics wherein he differed from other men.
In a few instances Sophocles and Euripides represent old age
as being deprived of reason, and we have seen that Aristo
phanes regularly does so. Extreme old age made Oedipus
bereft of wit.85 Euripides, with his customary dismal atti
tude toward senility, perhaps gives the oldsters the severest
blow: vous 8' owe tvtoriv, olofKfTda 8' ev <f>pov€lv.M Menoecus is
inclined 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,
says Herondas,88 striking a humorous vein. In the same spirit
89
Alciphron portrays the stupid old judge who sends his son
to learnfrom the philosophers. From the need of legislation
•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, 201 b.
•*
Soph. Oed. Col. 930-31 : Kal a* i irX7)0i!<i>i> xp6voj / yipovS' ifuv
tMi}<™ koI rov vov Kev6v; Cic. De Senect. VII, 21, confirms the state
ment that the memory is impaired unless one keeps it in practice.
"
Eurip. Nauck, 25.
•7Eurip. Phoen. 994-95.
" Herondas, I, 67-82.
••
Alciphron, Ep. Parasit. XXVTII, 1-2.
on such matters it appears evident that 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 ;
71
his moaning at the
72
news of his son's death ; the resistance of his wife's persua
78
sions ; and lastly his extraordinary courage in daring to
enter the hut of Achilles to ransom his Likewise, son.74
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
77
of the journeys of his son ; and Odysseus' heart is touched
as he perceives the sad plight of his father.78 The old man
" Horn. II. XXII, 77-89.
" Horn. /1. XXII, 54-77.
" Horn. II. XXII, 405-28.
" Horn.II. XXTV, 217-28.
"Horn. II. XXIV, 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 outburst of the old Deraa-
ratus as he declared that those Hellenes were deprived of great
pleasure who had died before seeing Alexander seated on the throne
(Plut. Alex. 37, 687 a). Plutarch mentions this as a trait of old
men, but it does not appear to be so in the earlier periods.
" Horn, n, XXIV, 361-71. "
Horn. Od. XXIV, 315-8.
" Horn. II. XXIV, 503-12. " Horn. Od. XXIV, 232-34.
Peleus must eke out an existence by a lone hearth mourning

the death of Achilles.79 Quite different from the happy old
woman who closed her eyes in the arms of her children60
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
tion. Lycurgus to blend the ages in the public
was careful
mess rooms because the younger members would gain much
valuable information regarding honorable acts performed in
relation to the state.82 During the age when home relations
were merging into those 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
ing their pursuits. Callimachus®8 writes of an old man in
whom the boys delight who grows old lightly (iXa<fipoTepov) .
Priam marvels at young heroes.84 The old lady, Hecale,

caresses Theseus when he goes after the Marathonian boar.85
The elders rejoice in sports and merrymaking because it
awakens memories of their youth,89 with which is usually
associated a desire to boast of their former exploits. Nestor
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
loved their husbands and children, Diotimus, Paton, II, 733.
81
Lucian, Tyrannic 21.
" Xen. Pol. of the Lacedaenu 5, 5.
"Callim. Frag. 11. " Plut. Thes. XIV, 3.
"Hom. Il. IIl, 181-243. •• Plato, Laws, II,
657.
used to be when he fought the Eleans." 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
not particularly stressed. While some writers assert that a
man's sense of religion deepens in proportion as he grows

older, the term virtue is used in a more general sense.That
virtue should be; enhanced in advanced years was generally
agreed. For the young to err was more pardonable than for
the old ; M an old man should do nothing for which he would
"1
be ashamed.80 that old age pays a
There is a suggestion
more courteous visit to the virtuous man ; for this reason the
old age of Agesilaus was
" mightier than the youth of other
men "." 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
rites as will be discussed in the next chapter.
If
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
•7
Hom. Il. XI, 671-73.
"Arist. Wasps, 1060-70.
"Arist. Clouds, 1416-19; cf. Aesch. Nauck, 391: yijpat yap fl/9ift
iarlv ivStKWTtpov.
"Arist. Nicomach. Eth. IV, 1128, b 20; cf. Eur. Ale. 727: t» yijpat
us ivaiStlat ir\iuv.
" Adespota, Nauck, 467 : taffkov yap ivSpis yijpat tinrpourtyopov.
"Xen. Agesil. II, 14-15; 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.
loves, hates, sympathies, and prejudices are accentuated at

8S
this period of life. Aristotle sums up the characteristics of
both old and young men. Young men tend to gratify strong
passions they are hot-tempered ; eager for superiority ; care
;
little for money ; and disobey the precept ixr)obi ayav. Elderly
men are uncertain, cynical, distrustful, selfish, and slaves of
gain. Friendship subsists to a less degree among austere
and elderly men.94 Friendships of utility only are interesting
to them; the young are more liberal in friendships. These
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
96
morose, testy, deaf ; Strepsiades is peevish and stingy.87
Dicaeopolis has the additional features of rusticity and
boorishness (aypou<ia) ,m 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 these characteristics occurs in
Sophocles, but is more developed in Euripides. The father
of Ajax will be passionate, peevish, and wrathful when he
discovers the body of his son.100 Menelaus, however, reminds
Tyndarus that anger at his age would not be wisdom.101
"Arist. Rhet. II, 1389, a-1390 b, 15.

"Arist. Nicomach. Eth. VIII, 1158, a 1-14; 1158, a 28-36; old age
and all infirmities make men 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, Arjôs trvKvlTTft, Sv<rko\ov ytpSvnov / vir6K(ji<pov ;
cf. Soph. Nauck, 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. 28-42.
"Arist. Wasps, 106-17; cf. Eurip. Androm. 727-28: irpt<rPvrCiv
yivn I
koX Svaipi\aKTOv A£v$vplas Giro.
lm
"•Soph. A jaw, 1008-20. Eurip. Orestes, 490.
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
to wickedness and turpitude.108 In Alciphron 104 the surly
old guardian boxes the ears of his wards whose merrymaking
is beyond the range of his appreciation. Old men, although
they devote their time to amorous pursuits, particularly in
108
the later periods express antipathy toward the love affairs
of the young.106 Old women are frequently very contrary.107
The old women in Aristophanes are regularly drunken,
morose, and shrewish.108 Boys up to eighteen may not taste
wine; up to the age of thirty it should be used only in
moderation; but after the age of forty, wine may be taken
to lessen the moroseness of old age.109 Then the soul becomes
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
keen and
retentive. Where temper, intellect, and health
combine there is a sense of unfading youth even in the sun
set of life.
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
"* Eurip. Bacch. 1251-2.
Demosth. Conon, 1267, 34.
104AIciph. Ep. Parasit. VII, 4.
Cf. Alciph. Ep. Amat. XV, 2.
1MCf. Paus. VII, 192; cf. Hes. Theog. 600-9.
107
Cf. Menander, Grotius and Clericus, Menandri et Philemonis
Reliquae, fr. 124: wo\b x'1?*" few iptSlaai ypaiv i) Kvva; cf. Anti-
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
4, quoting
as wine; writer (Paton, III, 127) mentions that, as
an anonymous
sweet wine when left turns to vinegar, so the old man is sour-
tempered because he has emptied his life.
less admirable traits of stinginess, sullenness, and loss of

memory occur. It of the traditions of the
was not a part
Platonic dialogue to present in the speakers a series of faith
ful portraits from which all imaginary coloring had been
rigidly excluded. Therefore, it is likely that Plato repre
sented the type of old age which some, but not all, attained,
but which was the Greek ideal. There is undoubtedly some
truth in Aristotle's 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 life.
"•Arist. Nicomach. Eth. VII, 1143, b5-9.

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
Xenophon
2
believes that it is better for a young man to give
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, and the hundred and one concerns
of 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 by lot, to one of whom the magistrate
could refer any private suit before bringing it before the
^Xtmrrat.' Any suit in which the amount at issue exceeded
ten drachmas must be handed over to the arbitrators. Any
one who did not arbitrator when he had arrived at
serve as
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
1
Cf . Eurip. Nauck, 511: tpya pir vtwrtpuv, I
/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 Înscriptions Grecques,
1028; /. G. n, 943.
31
ye'povrcs were appointed for life, and represented the collec

tive traditional wisdom; of the group; they were to exhibit
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
of twenty-eight members presided over by two kings.8 Hero
7
dotus records also that the five oldest citizens who pass out
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 On the other hand, charges of in
' Xen. Pol. of the Lacedaem. X, 1 ; Demosth. The Law of Leptines,

119, 89; Plato, Laws, III, 691e-692a; cf. Cic. De Senect. VI, 20:
Apud Lacedaemonios quidem ei qui amplissimum magistratum
permit, ut sunt, sic etiam nominantur senes. At Rome senatores
were distinct from senes, whereas the Spartans contented themselves
with the one word .ytpovrtt. In India there was also a college of
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, X, 4-18; Lucian, Anacharsis, 39, 78-82, mentions that
Solon made these laws in his old age after returning from Crete
because he had heard that the Cretan laws were the best and were
devised by Minos after counsel with Zeus.
• Plato, Laws, XI, 924 c. "
Plato, Laws, IX, 878 e.
X
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
prisonment. If in doubt about indicting his aged
a son was
father for insanity he should first lay the case before the
eldest guardians of the law.12 The minister of education
should be an old man, but since he would have a great deal
of work he should have plenty of assistants, both male and
female.18 Seventy should be the retirement age in important
governmental positions.14 There appears to have been no pen
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 see whether he cannot help
him contrive some device to ward off evil from the Danaans.15
Nestor, the clear-voiced orator of the Pylians, "from whose
M
tongue flowed discourse sweeter than honey," 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 the men into tribes and clans,18 and spurs on the
heroes to deeds of prowess until Agamemnon wishes for ten
11 Plato, Laws, XI, 932 b-c.

" Plato, Laws, XI, 929 e.
"Plato, Laws, VII,
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
men as their ministers.
14
Plato, Laws, VI, 755 a.
"Horn. II. X, 17-20.
"Horn. II. I, 247-49; cf. Nicarchus, Paton, III, 159.
"Horn. II. TV, 291-311. "Horn. II. II, 362-68.
3
such counselors.18 Nestor avows that it is the right of elders

to urge the horsemen by counsel and words; but the young
man shall wield the spear.20 When the Greeks rush into
battle he warns them to be mindful of their wives, children,
and parents.21 He plans how to Achilles for taking
appease
Briseis ; " 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
Pandarus regret that he did not obey the advice of
expresses
his father, Lycaon, to mount his chariot and lead the Trojans
in a violent The ancient lord Bcheneiis, an elder
contest.28
of the Phaeacians, was excellent in speech and skilled in
wisdom.27 Theomnestus, in a suit at law, calls Apollodorus
to be his advocate because he is an older man and has more
experience in speaking.28 Pericles laments the death of
"Hom. Il. II, 370-2.

'0 Hom. Il. IV, 322-24 : ilXXo Kal <5j Iirirtiat lurtacopai i)«4 Ke\ti<ru /
/9ouXn Kal piSoiai. t4 yap yipas icrl yepdvrwv, / afx/i^* 8' alxp&coovai
vtuTtpot. Cf. Job, XXXII, 7 : I said, Days shall speak and multitude
of years shall teach wisdom.
"
Hom. Il. XV, 660-666.
"Hom. /1. IX, 94-114.
" Hom. Il. VII, 324-43.
" Hom.
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). IIl,
" Hom. Il. IX, 690-710. "
Hom. /J. V, 197-204.
"Hom. Od. VTI, According to Lucian (Heracles, 1-5)
154-8.
the Gauls connected not with Hermes as the Greeks but
eloquence
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.
"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. IIl,
Gertrude Smith, "Homeric Orators and Auditors," Cl. XXII J.
(1926), pp. 355-64.
DUTIES AND INTEEESTS OF THE ELDERLY CITIZENS 35
Anaxagoras because he will be bereft of such, an excellent

counselor in the conduct of the state.29 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 it but kept silent. In
the Ajax 81
a messenger from the Greek camp brings the in
formation 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
which had been attacked, and sought an interview with the
Hellenic assembly.88 It appears to be the prerogative of elo
quence that it reaches perfection in old age. Oratorical
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.
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 may
have been accorded out of respect.
" Xen. Anal. V, 7, 17.
immediate voice in determining the public policy, the most

obvious and indispensable 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
office of elders.86 This implies that old men might serve as
messengers. Old men seem to have acted as guards or watch
men of the city. Hector orders the assembly of Trojans to
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
Paris.88 When Achilles is slaying the Trojans, the old man
Priam stands on the tower ; then he descends and gives orders
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
Mantineans and Argives rush upon them.41 On the shield
that Hephaestus makes for Achilles he puts a besieged city.
On the wall stand the wives, children, and old men.42 On the
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,
considers himself city ; 44 all the Mes-
too old to found a
senians took part in founding the colony of Cyllene except
those prevented by old age.48
"Horn. II. IX, 421-26. 41

Thucyd. V, 72, 3.
"Horn. II. X, 139; cf. 167-72. " Horn. II. XVIII, 490-516.
"Horn. II. lll, 146-56. **
Hes. Scut. Her. 242-48.
" Horn. II. XXI, 526-36. " Herod. TV, 150.
" Strabo, VI, 3, 3. " Paus. IV, 23, 14-18.
DUTIES AND INTERESTS OF THE ELDERLY CITIZENS 37
We recall that in the war of 1870 between France 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 sixty-
seven. among the Greeks, there are examples of
Likewise,
activity in warfare extending into later years, although war
fare was not considered a duty of the old. Here again
Nestor, whom Homer no doubt meant to make the exempli
ficationof every virtue, is the most active. He awakens
Odysseus in the night when trouble besets the Achaeans.48
He deplores his lost strength ; 47 then Hector would find his
combat. He selects the men who are to be sent to the hut of
Achilles to 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
with his chariot to the He mounts the car of Dio-
ships.51
medes and lashes the horses; the horses are turned to flight
at the injunction of Nestor.52 When Agamemnon seeks out
Nestor for advice, he is in bed, but the glittering girdle with
which he was wont to gird himself when he led the host in
battle lies beside him." The cry of battle does not escape
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, 162-81. "Horn. II. X, 157-61.
"Horn. II. VI, 66-71. "Horn. II. XI, 510-21.
" Horn. II. VIII, 139-44 ; cf. Anonymous, Paton, V, 43.
" Horn. It X, 73-79.
look.64 In the catalog of ships Nestor is the leader of ninety

ships.55 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
Cheirisophus
erals, and the rear to the two youngest.69 It was the old
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 of the files and decades. King Attalus of
Pergamum 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 and died on the way home.
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. II. XIV, 1-8.
" Horn. II. II, 601-2. ••
Xen. Anab. lll, 2, 37-38.
" Horn. II. IX, 438-43. " Xen. Hel. lll, 3, 1.
"Horn. II. XVI, 196. "Thucyd. V, 71, 1.
" Horn. Od. XXIV, 498-501. " Polyb. XVIII, 41, 8.
••Plut. Ages. 36, 18b; Diod. XV, 93, 2-3; Paus. lll, 10. Xen.
Agesil. 2, 29. " Xen. Hel. lll, 3, I a-b.
M
Plut. Philopoemen, 18, 367. " Paus. X, 22, 5.
DUTIES AND INTEEE8T8 OP THE ELDEELT CITIZENS 39
up as if girding themselves to perform the duties of the

young.87 When the Athenians defeated the Corinthians in a
cavalry battle, the other half of the Corinthians keeping
guard at Cenchreae together with the old men instantly has
tened to the spot.88 The soldiers of Eumenes, who had served
under Philip and Alexander, were seventy years old, and not
a man younger than sixty.88
In warfare the elders were of service to the state in giving
advice; 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.
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 to render services in connection with prayer,
sacrifice, and the pledging of oaths. Agamemnon slays a
fat bull to mighty Zeus and calls upon the elders to make
sacrifice.70 Nestorprays Zeus to avert calamity from the
Achaeans.71 He performs the first rites of the washing of
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
and priestesses should not be less than sixty years of age.
•7
Lycurg. Contr. Leocrat. 153, 39. 7* Hom. Od. IIl, 444-46.
" Thucyd. IV, 44, 4. " Hom. Il. I, 457-74.
" Plut. Bum. 16, 593 d. " Hom. Od. VII, 179-94.
7'Hom. Il. II, 402-11. "Hom. Il. III, 104-10.
" Hom. Il. XV, 370-76. 7• Plato, Laws, VI, 759 d.
Women, too, have 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
women knew the mysteries of religion.77 Hector calls the
Trojans to go into battle while he goes to Ilium to bid the
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
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,
they are the best critics of these amusements.82 In entertain
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 act
in his own play.84 Old women were as fond of wine as men.85
" Paus. II, 35, 7-8. " Horn. 1l. VI, 86-101.
" Horn. II. VI, 110-5. Plato, Laws, II, 653 a.
»0
•lCf. Athen. DeipnosopK X, 31; X, 3; IV, 12; Agathias

Scho-
lasticus, 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. Od. IIl, 385-96. MPlut. Solon, 29, 95 b-c.
"Athen. Deipnosoph. 32; cf. XI, 11; cf. Antipater of Sidon,
XI,
Paton, II, 353; Aristo, Paton, II, 457; Nicarchus, Paton, IV, 73.
DUTIES AND INTEBESTS OF THE ELDEELY 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
young was of greater attraction than a torch-race.87 Plato 88
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
to gossip and play dice,92 but Plato suggests that the dis
cussion of arithmetical problems would be a better amuse
ment.98 At Rome ball seems to have been a favorite pursuit.9'
A few examples of more vigorous activity in athletic contests
are recorded.95 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
" Plato, Laches, 179 ; cf. Timostratus, Kock, III, fr. 6 ; cf. Cic.
De Senect. IX, 28.
" Plato, Rep. I, 328 a.
»•Plato, Laws, II, 658 d.
"Theophrast. Char. VIII (XXVII).
M Cf. Horn.
Od. XVII,
in alel riv bpoiov iyti 0eis in t4» ipoiov.
218:
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.
" Eurip. Medea, 67-72. •• Plato,
Lawg, VII, 820 c.
"Cic. De Senect. XVI, 58; Pliny, Ep. IIl, 1, 8, tells of a man
of seventy-seven who still played.
"Cf. Porphyrius, Paton, V, 360; V, 359.
"Philost. Apoll. of Tyana, 131, 11.
"Longinus, On the SuU. 9, 11.
42 0U> AGE AMONG 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
of vases will also indicate.8'
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
young sons of high born Greek families. The tutor of the
sons of Medea 1<a
is a faithful old servant devoted to the
M Arist. Eecles. 276-79.

"Cf. Furtwangler-Reichhold, Gr. Vas. pi. 163, for cotyle in
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 are very common in the late b. f. and r. f. styles.
Cf. C. V. A. Villa Giulia, III H e,
pi. 2, No. 4.
",Soph. Electro, 3; 23; 73; and 1354-59; cf. /. G. II, 3473; and
/. G. II, 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
pedagogue, 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,
p. 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.
DUTIES AND INTERESTS OF THE ELDERLY CITIZENS 48
service of his young charges. Euripides often takes the part

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
the classic period attributed to those of nobler station. In
102
the Phoenissae the tutor answers the questions of Antigone.
In the Ion10' 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 to Representations
Argos.105 of
pedagogues on vases and terra-cottas are numerous and will
be 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
108
critus describes the toilsome life of two old fishermen who
have strewn the dry sea-moss in their wattled cabin.
for a bed
Beside them are strewn the instruments of their toilsome
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 be
cause they are unable to use them longer. In 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.
"•Theoc. 6-18; cf. Tullias Laureas, Paton, II, 294; Anti-
XXI,
pater 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.
Herondas, VII, 38-87.
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
men, horny-handed and hardened by rustic toil, engaged in
fishing. Philetas, the oldest of the cowherds (here, too, old
age has precedence), is called upon to decide whether the old
fisherman's 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
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
already observed in Aristophanes. In Alciphron 118 the dis
gusting old lover of eighty is trying to be young again by
courting new loves; or the old parasite acts as a go-between,
111
fawning upon rich patrons ; or the cross old money lender
adds new perplexities.115
The activities of women mentioned in Greek literature be
long chiefly to the domestic sphere. The old nurse, deeply
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 a
picture of family comfort.118 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.

,0*
110
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.
"•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
an aged dame 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
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
a
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 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
death 128
if it were the most severe sorrow she had ever
as
encountered. An aged woman wtih a cloud upon her brow
brings tidings of the death of Deianeira.127 Perhaps Euripides
m Horn. Od. VII, 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.
,,0
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.
Plato, Rep. V, 452 a-b. Paus. X, 26, 9.
Aesch. Choeph. 743-65 ; Callimachus, 51, cites an example of an
old nurse who was honored by a statue.
Soph. Trach. 870.
has succeeded best in the characterization of the old nurse

in the Medea. Her interest is divided 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
standing. She philosophizes on kingship and democracy;128
on moderate means and great wealth ; 129 and on the mis
131
application of music.180 Phaedra's nurse in the Hippolytus
is also a model of sympathy and faithfulness. In the Plu-
183
tus 182
as well as the Ecclesiazusae we find the motive of
the old woman and young man who rejects her advances. The
same characterization continues in Lucian.184
The old nurse Polyxo in the Argonautica 185 eagerly hobbles
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
lacking the discretion of her predecessors, excels them in
good-natured chattering and conviviality. Herondas,187 who
was especially skillful in the drawing of subordinate char
acters from low life, vies with Menander in the portrayal of
the old bawd. 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
•"Eurip. Medea, 119-23.

"• Eurip. Medea, 123-30.
150
Eurip. Medea, 190-203. 135
Apoli. Ehod. Argonaut. I, 667-74.
1,1 1M
Eurip. Hippol. 267. Men. Samia, 60-70.
1M
Arist. PUtt. 1042-96. "7 Herond. I, 13-90.
"•Arist. Eocles. 877-84.
1M
Lucian, Dial. Deor. XII, 58, 2.
,MCf. Plaut. True. 899; Ter. Andr. 229; Apui. Met. IX, 187
(622) ; Ovid. Amor. I, 8; Hor. Epod. II;
and the terrible curse of
Propertius (V, 5, 1-2) : Terra tuum spinis obducat, Una, scpulcrum, /
Et tua, quod non vis, sentiat umbra sitim.
"'Leonidas of Tarentum, Paton, II, 726; cf. Philippus, Paton, I,
247, for the old woman who dedicated her loom to Athena.
DUTIES AND INTERESTS OF THE ELDEELY CITIZENS 47
distaff near the door of gray old age. In Alciphron140 the

watchful old nurse turns the parasites out of the house.
Old age is likely to find few champions because it is gen
erally regarded as a period of uselessness and cessation from
duties.141 Yet it is quite evident there 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
lighted. Increase in years brings about a change in status.
Old age plays the andante movementin 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
equal importance in the social group. The oft-discussed
question of the potentialities of old age in literary endeavors
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 </ipovSot, tpy' dxpeia, Qporrtta sevat.
Jean Paul F. Richter, Hesperus, 20, mentions that there are in man,
in the beginning and at the end, as in books, two blank bookbinder's
leaves — childhood and old age.
CHAPTER IV
THE ATTITUDE OF THE GREEKS TOWAED

THE AGED
All great and good men have been affectionate toward their
aged parents, realizing that they may soon be called upon to
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
this respect.
Aeschylus gives as the three great statutes to
which supreme honor is due: (1) to worship the gods, (2)
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
State ; the second to the gods below ; the third honor to heroes
and ancestral gods; next comes honor to parents, living or
dead. Among things that are to be considered honorable and
noble (ae/tva Kal KaXo.) Demosthenes 3 mentions discretion, dis
cipline, reverence for parents, and respect of the young for
their elders.
Nowhere perhaps in Greek literature is this spirit more
prevalent than in its earliest remains. At the funeral games
of Patroclus the fifth prize is awarded to Nestor4 although
he has been unable to contend for it. In his acceptance he
compliments Achilles on remembering the
" honor wherewith
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. Achilles even respects his enemy
1Aesch. Supp. 680-9.

i Plato, Laws, TV, 717 a-b.
•
Demosth. Contr. Aristog. I, 776-777.
4
Hom. Il. XXIII, 615-24. •
Hom. Il. XXIII, 625-50.
48
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 in Homeric times. Andromache refers to
the voice of her 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
be because the experience and information of those of ad
vanced years was considered valuable. When Telemachus calls
an assembly of the Achaeans, Aegyptius, bowed with age and
skilled in numerous arts, speaks first.9 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
pears to be a title of respect. Achilles in the Lower World
inquiresanxiously of Odysseus about his father Peleus.11
The question that lies nearest his heart is whether his old
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
to 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 :
•Horn. II XXIV, 659-69.

7Horn. II. XXII,
71; cf. II. XV, 204: oloP, At xptapvrtpouriv
ipivves altv cf. Leviticus, XIX, 32s
twovrai; Thou shalt rise up
before the hoary head, and honor the face of the old man; cf. Horn.
Od. XIII, 141 : xoXeTri» Si Ktv ttrj /
wpeaftirarov Kal ipurrov drifUgw
liWeiv; cf. Proverbs, XVI, 31: The hoary head is a crown of glory
if it be found in the way of righteousness; cf. Chilo (Diog. Laert. I,
3, 2, 70) : yypas Tinav; cf. Philemon, Kock, II, 199: poi\ov yovtlt
wpiiTiarov XX, 12: Honor thy father
iv ripait ^xew; cf. Exodus,
and mother; cf. Shakespeare, Macbeth, V, 3: And that which
should accompany old age, as honor, love, obedience, and troops of
friends.
•Horn. II. XXII, 451. "Horn. Od. XI, 494-7.
•Horn. Od. II, 15-16. "Tyrtaeus, Bergk, II, 12 (8), 39-42.
10
Horn. Od. II, 40-1.
4
50 OTJ> AGE AMONG THE ANCIENT GEEEKS
Oiotv tv av$p<!nrou7i lrarpos ko! /M/rpos a/uivov

iirXitO', 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
old.14 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
made it a popular story. -When Peisistratus asked on what
in his attempt to break down the tyranny,
protection he relied
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
the former 6eems the more likely interpretation. Eeverence
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
one's Antilochus performs a supreme act of filial
father.18
devotion in buying with his own life the rescue of his father
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 and pines over the songs and
"Theognis. Bergk. II, 131-2. " Pindar, Pyth. VI, 43-47.

"Theognis, Bergk, II, 821-2. » Pindar, Pyth. VI, 32-34.
" Theognis, Bergk, II, 1200-15. "Soph. Oed. Col. 345-51.
" Plut. Solon, 31 c; Diod. IX, 4. "Soph. Electra, 431-34.
" Pindar, Pyth. VI, 19-27.
THE ATTITUDE OF THE GREEK8 TOWARD THE AGED 51
dances held in honor of her father's decease.22 Of course this

is natural, but it receives a lofty tone from the language of
Sophocles. Oedipus would threaten the old seer Teiresias
with revenge for plotting against his throne if 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 Ti/xuuTtpov
ayaXfi'av KTilaai/uOa irarpbi Kal irpoiraVopos Trapei/xfvwv y^pa tat
,29
in)rip)iiv ttlv ainiiv Svvaiuv expvtriiv ) and no statue can be more

potent to obtain one's requests than they only one shows if
3l
them true service.80 Plato would advocate
that every one
who does not marry by the age of thirty-five should pay fine
a
and should not share in the honors which the young men in
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
" Soph. Electra, 279-83.

" Soph. Oed. Tyr. 480.
"Arist. Knights, 520-30; Achar. 676-712.
"Arist. Knights, 530-9; 881.
" Arist. Wasps, 540-45.
"Arist. Achar. 713-18.
"Plato, Laws, IV, 717 b-d; in Gorgias 461c it is shown that the
young should have a kindly attitude toward the mistakes of the
old; in Laws, XI, 917 c, Plato says that parents are to be treated
as the superiors of their offspring.
" Plato, Laws, XI, 931 d.
" Plato, Laws, IV, 721 b-d.
" Plato, Laws, XI, 931 a.
" Arist. Pol. VII, 1335, 2-4.
a
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
it,
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
tioned they behaved dutifully toward their
as to whether
parents.88 Aristogiton accused of having no pity for chil
is
dren, mothers, and aged women.84 Every good citizen ought
to have the same regard for his fellow-citizens as child for
a
his parents; he should take them as he finds them and bear
with their humors.85 In general the Greeks were continually
holding up the deeds of their forefathers as worthy stand
a
ard of emulation. Demosthenes constantly draws compari
sons between the achievements of former days and those of
his own time in public works, conduct in private affairs, poli
tics, and leadership in battle.84 Socrates exhorts the sons of
those 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
40
nish the virtues of their race.89 Xenophon 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,
Athens, 55.
of
*1
Demosth. Contr. Aristog.
I,
795.
"Demosth. Ep. IIl, 1485-1486.
"Cf. Demosth. Olynth. lll,
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,
3,
524-6; Plut. Waehsmuth-Hense, V, 1024, fr. 19: viou Si (n\uriov

p.
roiit yipovras.
"Plato, Menex. 247 a. "Thucyd. IV, 92, 7; 118, 3.
"Thucyd. VI, 17, " Xen. Anab. lll,
7.
2,
11.
THE ATTITUDE OF THE GEEEKS TOWARD THE AGED 53
ence to age as in their own country, but some examples of

such are cited. Strabo " relates that the Albanians were sur
passingly respectful to old age, not merely to parents, but to
all old people. The Lusitanians seated themselves according
to age and rank when they dined.42 Herodotus mentions "
that the Issedones were accustomed to gild the head of their
father when dead and to treat it as a sacred image. Megas-
thenes 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
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
as 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~das-
tard.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
to leave his body to be devoured by dogs.60 When Neopto-
lemus has rescued Philoctetes from battle the latter says that
41
Strabo, XI, 4, 8.
" Strabo, III, 3, 7.
"Herod. IV, 26, 1-9.
"Megasth. IV, Frag. 59; cf. Aei. Hist. Anim. XVI, 2, 1-23.
" Soph. Ajaw, 470-72. « Hom. Il. XIX, 419-22.
" Soph. A jaw, 558. " Hom. Il. XIX, 334-37.
« Hom- Il. XXII, 508-10. " Hom. Il. XXII, 338-43.
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.
If 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
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 obedience to a
sire the best of laws.59 Mentor, an old man, is entrusted by
81
Soph. PhUoct. 663-65.
" Horn. II. I, 22-32. M Xen. Hel. lll, 2, 21.
" Horn. Od. II, 177-86. " Xen. Anab. I, 9, 5.
" Apoll. Rhod. Argonaut. I, 306-16. " Horn. II. IX, 160-61.
"Cf. Thucyd. VII, 29, 4. "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
gods. Iris goes to Poseidon with a message from Zeus bidding
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
before the courts.84 If any one was convicted of ill-treatment
of parents he was put in prison and brought before the Heli-
astic tribunal. If convicted, the Heliastic tribunal determined
88
what punishment he should suffer.85 Hesiod says that Zeus
is wrathful and lays a bitter penalty upon him who wrongs
orphan children and reproaches an aged parent. Plato
8T
says
thatif any one smites one who is twenty years his senior he
who is near should separate them or be disgraced by law.
"Horn. Od. II,

225-8; cf. Horn. II. I, 259: d\\a TriSeoS' ' an<pw Si
naripa iorbv iptio; cf. Peter I, 5: Likewise, ye younger submit
yourselves unto the elder.
"Paus. VI, 11, 2-3.
" Horn. II. XV, 176-85.
"Lucian, 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 Timo-
crates 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.
If the spectator is equal in age he shall defend the injured

party. He who smites an elder should be tried for assault,
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. IX, (Oeoon. VII, 19),
1165, a 15-35; Xen.
mentions the need of sons and daughters to support one in old age;
cf. Demosth. Philippics, IV, 141, 40-142, 41. Arist. (Hist. Anim. IX,
615, b 23-S ) , tells how animals care for their aged parents and says it
should be the same with human beings; cf. Oppian, Cyneget. II, 344-
78 ; cf . Simonides, Pat on, III, 647 ; Leonidas of Tarentum, Paton, III,
466; Anonymous, Paton, V, 131.
" Plato,Law; IV, 717 b-c
"Plato, Iairs, XI, 923b; Cic. De Senect. VII, 22.
7*
Demosth. Contr. Con. 1263.
THE ATTITUDE OF THE GREEKS TOWARD THE AGED 57
care of his parents because he died an untimely death.7' In

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
bewailed their woes.75 A behest is given to Teucer to take
Ajax's child to his (Ajax's) parents that he may prove the
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
to him,82 yet his father would not die for him. One of the
charges made against Aristogiton is that he allowed his father
to die in debt and his mother was sold as a slave.88 In Heron-
das 84
a desperate mother brings to the school-master a truant
"Horn. II. XVII, 301-03; cf. II. IV, 477-79; Hesiod, Works and
Days, 185-88; Oppian, HaUeut. V, 84-98, refers to the duty
330-35.
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.
"Hes. Works and Days, 182-92. "Eurip. Medea, 1204-10.
"Aesch. Pers. 576-84. "Eurip. Alo. 621-22.
" Soph. Ajaa, 566-70. " Eurip. Alo. 662-64.
"Soph. Ajax, 848-51; 623-26. Eurip. Alo. 658-61.
"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
that purpose (Demosth. Contr. Timoth. 1204, 79-80) ; Socrates (Xen.
Mem. II, 8, 3) advises Eutherus to make provision for old age.
" Herond. IIl,
1-2.
with whom neither 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
played so large a part in government, yet it is evident that it
must have been quite widespread. Perhaps it is noteworthy
that the verb jrpar/foW which has " to be older
" as its
primary
meaning has also the meaning to honor
" " e., to treat as
(i.
an elder), and "to be an ambassador." In their attitude
toward the aged and orphans we see a most redeeming feature
in the character of the Greeks. To find definite legislation
in regard to maintenance and treatment of parents unusual.
is
In less civilized race deference to the aged might be con
a
strued as due to fear — to the uncanny sentiment connected

with old age. But in people of so high degree of culture,
a
must be the result rather of mildness and good manners.

it
We note the absence of friendly societies established for provi

dent and benevolent purposes, and institutions for the care
of the aged, and pensions, but likely that contributions
it
is
friends for these purposes as the need arose.

by
were made
" Alciph. Ep. Rust. XIII, 1-3.

" Longus, Daphnis and Chloe, III, 9.
CHAPTER V
THE IDEALIZATION OF YOUTH AND

DEATHLESSNESS
The fear -ef-old age rests not so much on the burden of
years as on its increasing infirmities, and for that reason
prolongation or perpetuation of yonthfulness has always been
an outstanding human desire. No man wants to feel old;
few wish to appear so. 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
made for a fountain of youth or a potent charm to stay the
encroachments of age. The fountain of eternal youth has
never been located and all signs point to the fact that it does
not exist. Furthermore, it is undoubtedly to the best interest
of the human elixir of life has not and probably
race that the
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
comes increasingly less.
There was no native tradition of a fountain of youth among
the Greeks, but they knew of foreign traditions about the
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, and one of Sadness, and beside whose banks
grew large fruit trees.1 Those tasting the fruit of the trees
1Aei. For. Hist. IIl, 18.
59
beside the river of Pleasure returned to the height of strength,

then to youth.
On several black-figured and red-figured vases a peculiar
process of rejuvenation can be clearly observed. The fame of
the sorceress Medea has reached the ears of King Pelias, and
2
on a British Museum vase Medea is boiling the ram in the
presence of Peliasand his two daughters. The old king,
seated on an okladias and leaning on his staff, has already
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
pression suggestive of old age. He wears an embroidered
8
chiton and mantle. On a vase of the finest Greek style in
the British Museum the youth of Jason is being renewed by
Medea. The head and forelegs of a young ram are just ap
pearing above the cauldron. On the opposite side of the tri
pod stands Jason, represented with white hair and beard,
clothed in the sleeved talaric chiton and mantle, holding a
staff in his left hand, while he extends the right in the direc
tion of the ram. On a vase in the Bibliotheque Nationale 1
we also have the subject of the rejuvenation of the ram. The
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
daughters; for the latter cf. Baumeister, Denkmaler des Klass.
Alter. II, 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. V. A. Brit. Mus. lll I
c, pi. 70, 4.
*A. De Ridder, Cat. des Vases Feints de la Bibl. Nat. I, p. 177,
No. 268; C. V.A. Bibl. Nat. Ill
Hf, pi. 62, 12.
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
his body is nude. He wears hair and
a red band around his
the beard is painted in red. 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
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
costume holding a small box. She has just persuaded the
daughters of Pelias to kill their old father by boiling. One
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
forever. Another version ' states that Tithonus asked Eos
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
des funften Jahrhunderts (Carl Blumel), pp. 46-47, K. 186, pi. 78.
r Brunn-Bruckmann, Denkm&ler Griechischer und Rdmischer Sculp-
tur, pi. 341b. Paus. (X, 30, 8) describes a painting of Polygnotus
in the Lesche near the fountain of Cassotis at Delphi representing
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: I wither slowly in thine arms,
Here at the quiet limit of the world,
A white hair'd shadow roaming like a dream.
10
Hor. Cam. II, 16, 20 : Longa Tithonum minuit senectus.
OLD AGE AMONG THE ANCIENT GBEEKS
to transform 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
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.
11
Gardner 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
resenting Eos' pursuit of Cephalus. A red-figured vase in
12
Naples is similar.
Eos, a winged figure, hastens forward
with Tithonus stands looking
a cantharus and an oenochoe.
about him, holding the sceptre in his right hand. He wears
the chiton, mantle, and a fillet around his hair. Scenes from
the 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
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
become 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
18
been advocated to ensnare longer life. Herodotus 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 Gardner, J.H.S. XIII, 1893, p. 137; C.V.A. Oxford, III,

1, pi. 17, 7; 18, 3.
" H. Heydemann, Die VasensamnU. des Mus. Naz. zu Neapel, p.
685, No. 220 (Sammlung Santangelo).
" Herod. IV, 187.
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 "
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
It is related 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
taken away he died. relates that the Ethiopians
Herodotus
prolonged their life to one hundred and twenty years by bath
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
enced neither old age nor sickness.21 In the Silver Age chil
dren did not reach maturity till the hundredth year, but they
died soon afterward.22 In the Golden Age there were no ills,
harsh labor, or painful diseases which cause men to grow old,
"Galen, 14, 567.

15
Stat. Achill. I, 269-71 ; Servius on Verg. Aen. VI, 57.
" Lycophron, Alex. 450-61.
17
Athen. Deipnosoph. II, 46.
" Herod. lll, 23.
19
Megasthenes, II, Frag. 25, 21-6.
*0
Theopompus, Mueller, Frag. Hist. Graec. I, 77.
81 Pindar, Pyth. X, 37-44.
" Hes. Works and Days, 130-9.
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
instinctively shrinks. Hence immortality was given to cer
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
ject neither to old age nor death.24 The Nereids are the
deathless daughters of the Sea.25 The nymph Calypso knows
28
neither age nor death ; she promises to make Odysseus so.27
28 29
Circe and Proteus are deathless. Hector wishes to be
immortal and ageless.80 Two of the Hesperides (Stheno and
Euryale) are immortal and ageless.81 Zeus makes Ariadne
immortal and insusceptible to old age when she becomes the
wife of Dionysus.82 Demeter would have made Demophobn
ageless 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
song.84 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
Ino has allotted to her deathless life beneath the sea.86 Zeus
offers to Polydeuces an opportunity to escape death and griev-
"Hes. Works and Days, 90-95; 109-15.

"Horn. 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,
8-9; XII, 8-9; XXI, 518; XI1J, 524-25; III, 296; IV, 127-28;
Homeric Hymn to Hermes, 9; 468; Homeric Hymn to Demeter, 22;
Soph. Oed. Col. 608; /. G. 1366. lll,
•• Horn.
II. XVIII, 83-8. "
Horn. Od. IV, 384-85.
"Horn. Od. V, 218. "Horn. II. VIII, 538-41.
" Horn. Od. VII, 257.
" Hes. Theog. 277-78.
" Horn. Od. XII, 293.
" Hes. Theog. 947-49.
" Homeric Hymn to Dem, 256-74; Apollod. Bibl. I, 5, 1.
" Homeric Hymn to Apollo, 257-66.
Homerio Hymn to Aphrodite, 196-208.
" Pindar, Ol. LT, 51.
i
THE IDEALIZATION OP YOUTH AND DEATHLESSNES8 65
ous old age and dwell in Olympus.87 Cheiron prefers Hades

to Heaven and immortality and is permitted to transfer his
deathlessness to Prometheus.88 Hesiod regards Heracles as
happy when he has finished his work among mankind and
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 and his contemporaries, but it appears again in
later times. The Hours and Gaea put nectar and ambrosia on
the lips of Aristaeus 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
to make Tydeus immortal.48 Glaucopia makes Diomedes im
mortal ; 44
Zeus makes Amphiaraus immortal in Hades.48
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 him
by day with ambrosia.47 Isis puts the infant son of 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
valor; Heracles and Dionysus through virtue.80 Diodorus 81
49
makes the generalization that gods were originally men who

had performed great services to mankind.
"Pindar, Nem. X, 83-85.

*• Lucian, Dial. Mori. XXVI ; Apollod. II, 5, 4.
"Hes. Theog. 954-5.
"Arist. Metaphys. II, 1000, a 7-18.
" Pindar, Pyth. IX, 62-66.
"Philostr. Apoll. of Tyana, III, 25, 116.
48
Apollod. Bibl. HI, 6, 8.
44
Schol. Pindar's Nem. Odes, X, 12.
45
Apollod. Bibl. lll,
6, 8.
44
Apollod. Bibl. I, 7, 5.
"Apoll. Rhod. Argonaut. IV, 868-77; Apollod. Bibl. lll, 13, 6;
Schol. II. XVI, 37.
44
Plut. Mor. 357 c. " Plut Pelop. 16, 7.
44
Schol. Pindar's Nem. Odes, X, 2. 41
Diod. I, 73, 2.
5
Perpetual and immortality were not confined to

youth
human beings alone, but animals and even material objects
shared this favor. The horses of Patroclus are deathless and
ever young.82 The golden sandals of Athena 6S and of Her
mes " wax notold. 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
youth by decoction.83 The seer Polyeidus restores the dead
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
" Hom. Il. XVII, 443-44.

" Hom. Il. I, 97. " Hom. Il. XVI, 667-75.
" Hom. Od. V, 47.
" Hes. Theog. 304-05.
" Hom. Od. VIII, 91-4. " Homeric Hymn to Dem. 17-18.
" Hom. Il. II, 445-9.
*0
Hom. Od. XVI, 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. IIl,
3, 1; Hyg. Fao. 136. In a
mediaeval romance (P. S6billot, Le Folk-Lore de France, III, p. 529)
a weasel having 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
maiden works on her the same miracle of resurrection.
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 but in the end are transformed into youths. In
••
the Wasps 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
old age and becomes a youthful Plutus is
bridegroom.88
rejuvenated in recovering his eyesight.89 Demus was a grim,
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
transformation, and apparently Demus was boiled.71 Corn-
™
ford has discovered that the rejuvenation motive occurs in
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
the last mentioned
shake off old age and become more active.78 There is a re
markable instance of the stimulating power of wine in Euri
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; 1450-81; 1474-82.
" Arist. Clouds, 510-17.
"Arist. Peace, 859-63. "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, 1321-2; 1336.
7*
Cf. Cornford, Origin of Attic Comedy, pp. 91-2, for a discus
sion of the rejuvenation motive in Aristophanes' plays.
"Arist. Lysistrata, 665-75.
"Eurip. Bacch. 174-77; 204-09; 248-57.
Aristo, the Chian, a pupil of Zeno the Stoic, wrote a work

on Old Age in which he assigned the discourse to Tithonus.75
76
Aristophanes had
play called Old Age ;
a the comic poet
Plato wrote a play called Uptofiw (Elders);77 and Phere-
crates a play called Old Women."" Although Cicero in the De
Senectute reproduces parts of the Republic and Phaedo of
Plato,79 the form of dialogue is Aristotelian rather than Pla
tonic, and it is possible that a work of Aristotle of this type
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
fragments seem to indicate that a cook was a character in
the play, and possibly rejuvenated the old men by peeling off
their skins as if they were snakes.88 Thus the serpent becomes J
" Cic. De Senect. I, 3.
" For a discussion of this play cf. Cornford, op. cit. pp. 90-1 ;
134; cf. Kock, I, p. 425.
77
Athen. Deipnosoph. VI, 229. The Elders were probably Envoys.
"Athen. Deipnosoph. VI, 246.
78
Chapters and II III
of the De Senect. are a close imitation of
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
used again. Aristotle (Hist. Anim. VIII, 17, 600 b, 15-601 a) names
the animals that slough their "old age": the gecko, midge, eoleop-
tera, 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.
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
Itis an illuminating fact that in both Greek and Latin
the words for old age, yrjpas and senectus, are used to desig
nate the casting off of the skin of an animal. In Aristotle
(Hist. Anim. VIII, 17, 600, b 17) we have: i<m Sk tovto
(SC. to to taxaTOv iipfm km to irepi Tas ytviaw Ki\v<f>o<s.
yfjpa<i)
Homer uses the same type of expression for casting off old
age (II. IX, 446) : yfjpai airofuo-as.
At the present time a dietary regime is most frequently
advocated as a means of prolonging life. That the Greeks
had some thoughts along this line is evinced by the conversa
tion of Socrates and Glaucon 85 in which they discourse on the
advantages diet consisting of barley meal and wheat flour,
of a
boiled roots and herbs, wine in moderation, and for a relish —

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
Persians on hearing that the barbarian host is lost in its
attack on Athens.88 The chorus of the Oedipus Colonus says
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
as soon as possible.87 Alcestis was willing to meet an untimely
death in sacrifice for her husband.88 Molpinus 89 states that
u E. Maass, Analecta Eratosthenica, 6.

" Plato, Rep. II, 372 a-c.
" Aesch. Persians, 265-67.
"Soph. Oed. Col. 1210-33.
" Eurip. Ale. 52-9.
" Herondas, X, 1-4; cf. Antipater of Thessalonica (Paton, III, 309)
for the epigram on the old woman who was spared old age by
dropping dead at the noise of the thunder.
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 Cas-
00
pians and Ceans 81 parents who lived beyond seventy were
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
ans, 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
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
strangled and buried.94 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
prey to dogs.95 When one of the Thracians died he was buried
with rejoicing since he had escaped earthly troubles.98 The
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
allow them to fall into the hands of the enemy. The destroy
ing of the aged may be due partly to fear of old age, or to
"Strabo, XI, 11, 8.

"Strabo, XI, 11, 3; cf. X, 5, 6; Ael. Var. Hist. lll, 37; Val. Max.
II, 6, 8.
" Strabo, X, 5, 6-7.
"Strabo, XI, 8, 6; Herod. I, 216.
"Strabo, XI, 11, 8; Ael. Var. Hist. IV, 1.
"Strabo, XI, 11, 3. "Herod. lll, 99.
"Herod. V, 4-10. "Ael. Var. Hist. IV, 1.
1
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
the Greek held moreadvantages than for the barbarian.
Elderly persons could also be of greater service in Greece.
We are much interested in prolonging life today. Many
books are 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.
Everyone wants remedies for old age. Yet they would no
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
cacy for the cure of disease by irrational means are not pure
Greek but largely Orientai. The Greeks believed that it was
the gods alone to whom exemption from old age and death
was given, or in early times they seem to have placed some
credence 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
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
transformed itself into living beings.
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
tion of an inherent, dynamic force of divine nature. The
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 obtinuit; cf. L. Deubner,
t. v. Personiflkationen, Roscher, Lexikon, III, pp. 2068-2169.
•Philostr. A poll, of Tyana, V, 4, 190: y^pwt oSv pufibv tSpvvrai;
cf. Herondas, II, 71 : <5 Tvpas, vol Svlru.
72
%
THE PERSONIFICATION OF GEEAS 73
follows with with ugly face, bristly

a club a fleeing figure
hair, and hooked nose. 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
not Geras. On a second fragment of the same relief is a
battle of Heracles and Triton with the inscription OXurs ytpwv.4
The latter is characterized by his bald forehead as being ad
vanced in years.
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
pelice (Fig. 1) from Capua in the Louvre (G 234) is a curious
picturepainted by the artist whom Beazley has christened
the Old Age Painter representing Heracles clubbing Geras,
of Old Age, under the form of a feeble
the personification
and emaciated dwarf.5 The eye is not distinctly in profile,
but has almost reached that degree of attainment. This vase
probably belongs to the second half of the fifth century.
Therefore, the grotesque, caricature representations are not
as some would have us believe an invention 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
contending with Triton, "The Old Man of the Sea". Triton is
represented as an old man who shrinks and cowers under the hero's
grasp. Luce, I. o. pp. 185 ff., gives a list of vases portraying
" The
Old Man of the Sea."
•Hartwig, Philoi. L (1891), pp. 185-90, Taf. I; Roscher, p. III,
2083, Fig. R. F. I, p. 466 ; Pottier, C. V. A. Louvre, III
2 ; Hoppin,
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.
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
ute of Geras. The fact that the artist has represented this
creature as larger than his opponent seems only to increase
the realistic of a dread, gruesome monster, and there
effect
seems no reason to doubt his identity since his features and
attributes accord with known representations of Geras.
The fact that Beazley has created an Old Age painter is
interesting for our present study. The following vases are
assigned by him to this painter.9
Pelices
1. Louvre G 224. Pottier, plate 130. A, Death of Ac-

taeon; B, Zeus attended by Ganymede.
2. Athens 1413 (CC. 1176). A, a man offering a hare to
a boy ; B, a man.
3. Cabinet des Medailles, 391. Froehner, Musees de France,
plate 8. A, Dionysus and Silen; B, Dionysus and
maenad.
7
A Furtwangler, Roscher, I, p. 2215.
•P. Hartwig, Philol. L (1891), p. 185.
•J. D. Beazley, Att. Vasm. (Tubingen, 1925), pp. 109-10; cf.
Beazley, V. A. p. 57.
THE PERSONIFICATION OF GEEAS 75
4. Berlin 2117. El Cer. 3, plate 47. A, Triptolemus and

Demeter; B, a man offering a hare to a boy.
5. New York GR 578. A, Dionysus; B, Silen.
6. Louvre, G 234. A, Philologus 1891, plate l = Pfuhl
Fig. 493. A, Pottier, plate 131. A, Heracles and
Geras; B, Poseidon.
7. Oxford, 283. A, a man with a helmet; B, youth.
8. Villa Giulia (C.). A, a man with a helmet; B, youth.
9. Berlin, 2173. A, a woman at a spring; B, a silen run
ning toward a spring.
10. Fogg Art Museum, Cambridge, Mass. C. V. A. Hoppin
Collection, III
1 c, pi. 12, 3 and 4. A, Heracles with
an amphora ; B, a silen at a draw-weli.
11. Earlier Durand Collection. Gerhard, A B, plate 117,
2-3. A, Theseus and Minotaur ; B, Nike.
12. Vienna, Inv. 728. A. Laborde I, plate 83. A, Birth of
Athena; B, youth and boy.
Amphora
13. Vienna, Inv. 905. Laborde II, plate 29. A, Nike and
Victor; B, Discus-thrower.
14. Munich 2327 (J. 251). Annali 1839, plate Q. A,
Heracles; B, Acheloiis.
Hydria
15. Athens 1176 (CC. 1172). Man and boy.
Craters
16. Cabinet des Medailles, 415. De Bidder, 306. A, Her

acles and Athena; B, modern.
17. Munich, 2382 (J. 783). A, Heracles and the Cercopes;
B, Artemis.
Oenochoe
18. Naples, 126056. Pan.

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
ences in style slight and scarcely insurmountable, but
are
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
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
sourcesof color and skillful drawing at their disposal there
came in a striving after ingenious personification with more
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
over disease. This likely interpretation.
seems a It would
also befitting to represent Heracles in this manner on account
of the oft-repeated idea of the struggle of death and the
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
acles is frequentlyrepresented as seizing a white-haired figure
represented with human form who holds a sceptre and a fish
and is closely draped. Sometimes the sea divinity is repre
sented as pisciform, i. e., with human body, usually with
10
0. Gruppe, Griech. Myth. I, p. 454; II, p. 772; cf. W. H. Roscher,
" Die Hundekrankheit der PandareostSchter und andere mythische
Krankheiten," Rhein. Mus. LIII (1898), p. 179.
THE PERSONIFICATION OF GEEA8 77
white hair terminating in the tail of a fish. Both Nereus

and Triton are found in this connection. In the Biblio-
theque 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
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
god,14 as 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
be affected by some such process of development to which the
Tithonus myth and others their existence.
owe
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
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 with long hair above the forehead.15 In the right hand
11
Baumeister, Denkmaler, II, p. 1017, Fig. 1222; cf. C.V.A. Bibi.
Nat. IIl
H e, pi. 60, 2.
"Paus. III, 21, 9.
l,A.Z. XVIII (1859), plate 125.
14
In Hom. Il. V, 395, 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
he carried a razor. 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
a 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
of the archon Callias which dates it 406-405 B. C. Such
activity must have been fairly prominent in the fifth and
fourth centuries.
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 the
refers to a precept thrice aged.18 Frequently yipmv is per
sonified in connection with olvoi, for example by Alexis 18
(Meineke, Frag. Comic. Oraec. p. 460) : Ill,
" 2or<u koI pA\a
/
tj&v^ y', oSoVras ovk ixmv> V^V <rawrpos, / Aty<ov yipmv ye Saipovuivs."
From the plant world we have a fragment of Sophocles
(Nauck, 784) : "ypaias aKavOnj-; irainros ws <pvou>p£vo<i." The
shadow is personified with reference to age in the riddle of
Theodectes (Nauck, 18) : aAA* iv pxv ycvlati irpunocnropw an-i
Heyicrrrj, / ev fit fjjlrraxi <u</uus fuKpd, yr/pa Si irpos ahria / p.op<prj Kal
fitylOti (iel£<av
iraXj-v
Icrnv anravrmv. The World is a little old
man.20 Time itself is personified by the use of yijpas,
Aus. Epig. XXXIII; Callistratus, Descript. VI; Himerius, Eclog.

XIV, 1; Phaedrus, Fab. V, 8; Poseidippus, Anth. Pal. XVI, 275;
Tzetzes, Chil. X, 266-72; VIII, 416-34. The last author describes
him as both deaf and bald.
18
SchBne, Griechische Reliefs, pi. 9, 53.
"Horn. II. IX, 502-03.
" Aesch. Choeph. 313.
" Cf. Eubul. Kock, II, 124-25: Qioiov j} Xtov Xa/Siw j) Xiopiov /
yipovra. vtKTapoaTayij ; Juv. XIII, 214: Albani veteris pretiosa senec-
tus.
" Aristophanes uses Demus as a character in the Knights, and
represents him as an old man. Cf. Arist. Knights, 42; 752; cf.
THE PERSONIFICATION OF GERAS 79
An unknown poet ( Jac. Anth. Or. IV,

yr/pdaKtiv21 and iroX1o*.22
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
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
vice. These qualities were relegated to vague personifications
representing superhuman qualities. The creative imagination
and speculative spirit of the Greeks allowed every event to
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
were borrowed and elaborated upon until the boundary be
tween divinity and bare abstraction almost disappeared.
Usener 24 is probably correct in assuming that these abstract
Shakespeare, As You Like It, IV, 1 : The poor world is almost six
thousand years old.
n Cf . Aesch. Prom. 981 : i\\'
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.
308: 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<ri yTipioKeiv t<f>v
wX^v in fo<m rijs ivaiSttas pAm.
" Arist. Knights, 1301 ; cf. Theocr. XXI, 12.
" Cf. Soph. Oed. Col. 954 (of wrath) : Svpov yhp oMfa yvpat ianv
iWo irX^f / Savtiv; Aesch. Suppl. 673 (of laws) : ts xoXiw v6iu? alaav
6pSoi; Aesch. ChoSph. 314: rpryipav nvSot; Cic. Brut. 2, 8.
"Usener, Gottemamen (Bonn, 1896), p. 364.
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 little feared or reverenced as a spirit in the
background of consciousness, because he was too vaguely
great to be entirely comprehensible. His demoniac nature
stands well in the foreground, and Heracles' powerful efforts
to crush the ugly old man, the child of night,27 indicate that
he was considered a malevolent force. There is no reason to
suppose the existence of a Greek Cacus (for so the Brit. Mus.
vase was once described), 28
but only to recall Mimnermus'
apyaXlov k<u afiopôv 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. Theog. 123; 211; Hyg. Fab. I, 3; Cic. De Nat. Deor.

IIl, 17, 44.
" Cf. Cecil Smith, J. H. S. IV, 1883, p. 96.
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
tumes and situations. Vases have more freedom in this
artistic standing.
respect than sculpture because of the lack of
At first Orient in the forms
the Greeks were influenced by the
and decoration, but they constantly put up a struggle for
something better until the vegetable and animal world was
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
ambitions were beginning to essay greater subjects. After
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
belong. In the black-figured style personages are at first
anonymous, then mythological and heroic, until we reach the
period when the black-figured style merges into the red-
figured when the activities represented on vases become as
extended as life itself. Since, in many cases, certain types
of subjects are begun in the black-figured style but continued
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
The great gods and of Greek mythology are
goddesses
regularly in the prime of life.
represented as men and women
Those who can make any claims to inclusion in our subject
must be classed as minor divinities. Of these, Hades or Pluto,
Charon, Nereus, and Achelous will be considered in turn.
Hades or Pluto
On a black-figured amphora in the British Museum (B 261 )
the return of Persephone from Hades is represented.1 On
the left is Pluto or Hades, ava£ ivipwv,* partly bald, with white
beard, and long tresses bound by a fillet. He wears a long
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
demon T as literature suggests. Representations of Hades
1
C. V. A. Brit. Mus. IIl
H e, pi. 64, 3a and 3b. A vase in Munich
(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
kingdom. Cf. Pindar, 01. IX, 28.
*
*
A. Murray, Designs from Greek Votes in the Brit. Mus. pi. 15.
S.
•
Cf. Smith, Catalogue of the Greek and Etruscan Vases in the
British Museum, III, p. 108. ' Cf. Eurip. Ale. 260-1.
r Cf. Eurip. Alu. loc. oit. Homer
(Il. IX, 158) represents him as
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
white lecythi. In literature he is conceived as the dark,
grisly old man, 6 ytptuos iropfyitvs, who ferries souls across
Acheron for an obol.8 The earliest representation of a Charon
scene is perhaps that 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
glaze, and a round felt cap (niAos).10 His rough, unkempt
hair is in striking contrast to the face of Hermes and the
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 a gesture of lamentation. Berlin
11
3160 is a later representation 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
•Eurip. (Ale. 440) calls him yipav. Paus. (X, 28), in describing
the paintings 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. II
(1886),
p. 399, No. 11, and pi. 12, 2.
"J.H.8. XIX (1899), p. 182, Fig. 7.
rule by this time. The position of Charon is varied by raising

one foot to the edge of the boat, a posture credited to Polyg-
notus. The influence of Polygnotus is seen also in the
abundance of reeds on an unpublished Charon lecythus in
Baltimore. The vase in Athens, Private Collection (Fair
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
12
as does also one in the Lou
vre (Fairbanks, II, p. 29, No. 25). On the last mentioned
vase Charon bends forward leaning on his pole, and seems on
the point of leaving the boat. He wears a green exomis and
high red cap; the hair around his face is made by separate
straight strokes. On the later vases Charon is seated or stands
resting on a 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, with Charon, Hermes, and the dead person : Fairbanks,
II, 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
Collection) ;14 Fairbanks, II, p. 85, No. 10 (lecythus in
Brussels, Mus. Cinq. A 903).
II, with Charon, the dead person, and an attendant other
than Hermes: Fairbanks, II, p. 85, No. 7 (lecythus in New
York, Metropolitan 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,
where the attendant is a youth) ;
18
Fairbanks, II, p. 84, No. 6
"Pottier, Lie. Blancs Att. pi. 3; B.C.H. lll

(1879), p. 177,
No. 2.
" Cf.
Fairbanks, II, pp. 218-41.
"Pottier, Lie. Blancs Att. pi. 3; K. D. Mylonas, B.C.H. lll
(1879), p. 177, No. 2. "
Stackclhcrg, Gr&b. der Hell. Taf. 48.
M Bethe, Ant. Denk. I, Taf. 23, 2 ; Daremberg-Saglio, Fig. 3333.
OLD AGE IN GKEEK VASE PAINTING 85
(lecythus in Athens, Nat. Mus. 1758, with a child as atten

dant) ;
17
and Fairbanks, II, p. 85, No. 8 (lecythus in Athens,
Nat. Mus. 1814, which also has a child as attendant) .18
III, with Charon and the dead person only : Gardner, Greek
Vases in the Ashmolean Museum, p. 20, No. 264, and Fair
banks, II, p. 137, No. (lecythus in the Ashmolean Museum) ;
7
Fairbanks, II, p. 86, No. 11 (lecythus in Athens, Nat. Mus.

1891); C.V.A. Athens, Nat. Mus. III J
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. III J 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
622) ;
20
Fairbanks, II, p. 162, No. 1 (lecythus in the Louvre,
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) ; Wat-
zinger, Griechische Vasen in Tubingen, p. 43, No. 1721 (lecy
" Ant. Denk. I, Taf. 23, 1; A. J. A. II (1886), pi. 12, 2.

1' Ant. Denk. I, Taf. 23, 3.
" B.C.H. I (1877), p. 40, and pi. 2; Dumont-Chaplain, I, pi. 34, 2.
" Pottier, Lie. Wanes Att. p. 150, No. 75.
nA.Z. XXXIX (1881), p. 259; Furtwangler, Beschreibung der
Vasensammlung im Antiquarium. II, p. 765.
"Furtwangler, II, p. 765; cf. F. von Duhn, " Charondarstellun-
gen," A. Z. XLIII (1885), pp. 2-23, and Taf. 2; cf. Otto Waser,
Charon, Charun, Chares, pp. 40-60; Rocco, Il
Afilo di Caronte,
passim, on the whole subject of Charon.
thus in Tubingen) ; and C.V. A. Scheurleer, III J c, pi. 2,

2 (fragment in Scheurleer Museum).
Sometimes Charon is drawing the boat to the shore 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
on vase 2680 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.
Nereus
Nereus is probably called the old man of the sea2* on

account of the association of the quality of hoariness with
the sea. On the Francois vase in Florence 24 white-haired
Nereus wears a long oriental robe. His thin erect form,
wrinkled neck, and wrinkled, somewhat bald forehead indi
cate great age. On a black-figured amphora in the Oesterreich-
2,1
isches Museum in Vienna (226) Nereus is advancing to meet
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
(C. V. A. Bibl. Nat. Ill
H e, pi. 60, 2) where we see Nereus
clothed in a long chiton ornamented with dots and a cross
pattern, and a himation over the shoulder.26 He is bearded
"Cf. Horn. II. XIII, 682; XV, 190; XXI, 59; Hen. Theog. 234;
Paus. lll,21.
"
F. R. Taf. 1 and 2.
**
Masner, Die Sammlung Antiker Vasen und Terracotten im K. K.
Oesterreich. Museum, p. 26, No. 226.
" 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 Mus. lll
H e, pi. 55, 3a) with the same scene. A Brit.
Mus. r. f. hydria (C.V. A. Brit. Mus. lll
Ic, pi. 70, 3) represents
Heracles seizing Nereus who is holding a fish by the tail.
OLD AGE IN GBEEK VASE FAINTING 87
and somewhat bald in front, while the hair falls over his
shoulder in three curls. On the red-figured cylix in the Lou
vre attributed to the Brygos Painter (Pottier, Vas. Antiq.
Louvre, III,p. 186, No. G155) Heracles had seized the tri
dent of Nereus in order to force the sea god to give a wished-
for prophecy.27 The figure of Nereus with widely outstretched
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 red-
figured 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
the combat of Heracles and 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
himation, and staff.
Nereus occurs quite frequently on vases featuring the rape
of Thetis by Peleus, and the flight of the Nereids toward
the god Nereus and his wife Doris to announce the abduction.
A good example of this scene is the red-figured cylix in the
Louvre (Pottier, Vas. Antiq. Louvre, III, p. 162, No. G 116)
painted by Douris 29 in which the entire drama has for its
theatre the sea coast, and for actors the marine divinities.80
"Cf. Schol. Apoll. Rhod. IV, 1396; Apollod. II, 5, 11.

"Brit. Mus. B 223 (b. f. amphora) : C.V.A. Brit. Mus. IIl He,
pi. 55, 2b; Brit. Mus. B 311 (b. f. hydria) : C.V.A. Brit.
Mus. lll
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.
A. Louvre, III He, pi. 45, 8).
*•
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
dans 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
Here, however, Nereus is not represented as an old man as he

is in many instances, but the artist seems rather to wish to
emphasizes 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
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
tunny fish. Sometimes he holds a dolphin or rides a hippo-
camp and holds the trident.84
Achelous
The Achelous was the largest river in Epirus and Aetolia,
in which quarters were the early settlements of the Pelasgic
race, from whom the Greeks derived so much of their religion
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. On a late black-figured amphora in Berlin (Furtwan-
gler, I, p. 344, No. 1851) Achelous strides along with open
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,
lAeblingsinschriften, p. 66; Graef, Jahrb. d. arch. Inst. (1886), p. I
202, No. 61 ; Smith, III, p. 45.
**
Hoppin, R. F. I, p. 63.
"As (Pellegrini, p.
on a celebe in Bologna 84, No. 216).
"A cylix in the Brit. Mus. (Walters,
b. f. II, p. 227, No. B 428)
represents him in this fashion.
OLD AGE IN GREEK VASE FAINTING 89
any attempt to ward off his opponent.85 On a British Mu

seum hydria (Walters, II, p. 182, No. B313; C. V.A. Brit.
Mus. III
H e, pi. 79, 2.) the river god is about to hurl a rock
at his antagonist. The eye is in the archaic form with the
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
style of Pamphaeus.86 Heracles has thrown himself upon the
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
s8
figures is that on the Francois vase in Florence on which
"Cf. the Louvre b. f. amphora (F 211): Pottier, Vas. Antiq.

Louvre, II, p. 116.
"Beazley, V.A. p. 9, No. 4. Other vases similar to this are:
b. f. amphora: C. V.A. Brit. Mus. IIl He, pi.
56, 2a and 2b; b. f.
hydria : C. V. A. Brit. Mus. IIl
H e, pi. 79, 2 ; b. amphora in Berlin :
f.
Furtwiingler, I, 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
flow. The contest is described by Soph. (Trach. 519-22) ; Diod. IV,
35.
" F. R. Taf. 11 and 12. A r. f. cylix in Boston (98.933) attri
buted to Brygos might be cited as a parallei. The walls of Ilium
serve as a background; Achilles is pursuing Hector while Priam,
Hecuba, and Athena are spectators : Hoppin, R. F. I, p. 126 ; Beaz
ley, V. A. p. 91; Luckenbach, Das Verkaltniss der Griechischen Vasen-
bilder, p. 516, 3.
Achilles pursues Troilus before the walls of Troy. Priam sits

stiffly on a Oano? outside the walls, gazing fixedly at the
scene before him as if scarcely able to believe his eyes. The
sceptre is held obliquely in the right hand. The gown is
white, covered with a mantle with a border of several colors.
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
back part is smooth. His white pointed beard stands out
rather abruptly with black lines around the edge. The right
arm is bare to the elbow ; otherwise there is full drapery with
graceful folds. See our Fig. 2.
The most frequently represented scene in which Priam
"P. R. Taf. 84; Perrot and Chip. X, p. 617, Fig. 344; Hoppin,
R.F. I,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,
Vases Grecs et Italo-Grecs, p. 43, No. 68) of the r. f. fine style shows
a scene preceding this event in which Priam is mounting a chariot
ready to 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.
Priam Entering Tent of Achilles on a C'otyle in Vienna Attributed
to the brygos painter.
FurtwSngliT-Reichhold, GricchUche Vaarnmalerci, pl. 84.
Courtesv of D. M. Robinson.
FIGl'RE .'(.
Bouoyzes Displaying the Plough to ( ecrops on a Crater by the Painter

of the Naples Hephaestus in Professor Rohinson's Collection.
OLD AGE IN GllEBK VASE FAINTING 91
figures is the death of Priam at the altar of Zeus Herkeius.

It occurs in the black-figuredstyle, in the transition style,
the red-figured style, and even in the Apulian style.41 Neop-
tolemus usually stands in the center in a lofty visored helmet,
embroidered chlamys and greaves, stabbing Priam with a
spear. Priam has a white beard, hair falling over his shoul
ders in long white tresses, incised wrinkles, and long chiton
and embroidered himation. He falls across the altar and
looks back, raising his hand to deprecate the wrath of Neop-
tolemus, who is about to hurl to the ground young Astyanax
whom he grasps by the leg with his right hand. On a vase in
Naples p. 298, No. 2422) Priam raises both
(Heydemann,
hands to his head which is bleeding violently; blood also
streams from a wound in his right shoulder. On a vase in the
Louvre (F 222) Neoptolemus is brandishing the body of little
Astyanax and with it beating the aged Priam on the altar of
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, p. 1013, No. 3996) ; amphora in the
Louvre (C.V.A. Louvre, III
He, pi. 41, 8). Of the r. f. style the
following: hydria in Berlin (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.
style." Usually a quadriga is ready for departure, and at the

horses' heads is Priam seated on an okladias, his hand ex
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
shoulders. An amphora in the British Museum (C.V.A.
Brit. Mus. III
He, pi. 31, 4b) is slightly different in that
Hector is about to place a parting gift in the hands of young
Astyanax, and Priam stands behind Astyanax, leaning on a
staff and extending his hand in fareweli. Priam is present
also in scenes representing the arming of Hector,44 or of
Hector and Paris.46 On an amphora in Munich (Jahn 378)
by Euthymides
" he is bald on the forehead with black snake
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
Vases, I, No. 563) has a scyphus in the black-figured
p. 197,
style representing Hector and Achilles fighting, while at the
left stands Priam nude with extended arms.
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
Bibliotheque Nationale (C.V.A. IIl
He, pi. 34, 5); and neck-
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. IIl
I c, pi. 31, 3). An amphora in
the British Museum is the same except that the departure of Troilus
is represented (cf. C. V.A. Brit. Mus. IIl
He, pi. 25, 2a.
" F. R. Taf. by Euthymides.
14
"Cf. Hoppin, R.F. I, p. 62 for a stamnus in Munich (2406).

"F. 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.
OLD AGE IN GEEEK VASE PAINTING 93
chises, 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
Troy is plunged. The arms of Aeneas are placed behind
his back to furnish a support for his father, and the artist
succeeds in showing by his heavy step the weight under which
he is laboring. Anchises has white hair and beard, both of
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
by the staff held in the hand. He wears a himation with few
folds. The eye is in full front, but the face is in profile. On
many vases " Anchises does not raise his hand in prayer,
but clasps his arm around the neck of Aeneas. A white
lecythus in the Navarra Collection, Terra Nova,49 is more
original than the others. 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.
" Cf. C. V. A. Cambridge, Fitzwilliam Mus. IIl H, IV B, pi. 14,
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,
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
III
style of Nicosthenes) ; C. V. A. Louvre, H e, pi. 52, 2, and Pottier,
Vas. Antiq. Louvre, II, p. 121 (b. f. amphora); and C.V.A Villa
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.
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 can-

the
50
tharus containing 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
carries the sceptre. His demeanor appears to be that of an
aged man.
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.
65). The hair and beard are white; the chiton and himation
touched with red. One hand is raised in despair.52
Aegeus
On an amphora in the British Museum (C.V.A. Brit.
Mus. Ill I
c, pi. 7, 1 b) in the fine Greek style is portrayed
the recognition of Theseus on his arrival at Athens. The hero
grasps the hand of his aged father, Aegeus, while his mother,
Aethra, stands before him, placing both hands under his chin.
Aegeus' white flowing hair is bound with a diadem. He
stoops forward resting his body against the staff. He wears
the talaric chiton.
"Hoppin, R.F. I, p. 298; Reinach, Repertoire, I, p. 286, 2; p.

287, 1; Roscher, III, p. 295, 5(B).
•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.
Oeneus
Sometimes, as on the British Museum hydria (C. V. A.
Brit. Mus. III H e, pi. 79, 2), Oeneus is seated on an okladias
as a spectator at the contest of Heracles 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
tresses. 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 gray-
bearded man, somewhat bald, clad in chiton and himation.54
Erechtheus
An oenochoe of the severe red-figured style by the Pan
Painter,55 now in the British Museum (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
around the head indicates a fillet. The eye is of the archaic
type with the inner angle open. A red-figured vase from Tar-
quinia, now in Berlin (Furtwangler, II, p. 718, No. 2537),
" Gaz. Arch. I (1875), pis. 20, 21. A vase with an analogous
scene is in theBrit. Mus. B 278.
'•Robinson, Harcum, and Iliffe, Cat. No. 269, pp. 108-11, and pi.
32; No. 312, pp. 132-35, and pi. 6.
"Hoppin, R. F. II, p. 315; Beazley, V.A. p. 116, Fig. 72 bis;
Smith, III,
p. 311. A vase on which the same scene is represented
in the same way is a r. f. vase in Naples (Heydemann, p. 599, No.
3352).
has as its subject the birth of Erichthonius. Behind Qe is Ce-

crops, a bearded, noble man with curly hair and laurel wreath
in a chiton with fine folds, supporting himself proudly on a
long staff. The lower part of the body is in the form of a
snake, a sign of his primitive origin. Erechtheus is also
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 old man
approaches, holding out a branch to his daughter. Near him
is a cushioned chair.
Cecrops
The beautiful red-figured bell-shaped crater, painted by the
Painter of the Naples Hephaestus Crater, now in Dr. Robin
son's 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
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
has brought upon him. 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
"D. M. Robinson, A.J. A. XXXV (1931), pp. 152-60. Cf. our

Fig. 3.
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 " belonging to the fourth century
B. C,
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 amphora
58
in the Louvre (F 99) attributed to Nicosthenes which
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, III
I 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.
" F. R. Taf. 10.

"B.C.H. XVII (1893), pp. 439-40, and Figs. 10-12; C. V.A. Lou
vre, III H e, pi. 32, 5.
7
No. 324 in 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
under a red band. The king 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
youthful strength and vigor. Those heroes which belong to
our study are chiefly of the mythological variety who are
portrayed with bodies half-human and half-bestial.
Antaeus and Actaeon

On a red-figured cylix of the severe style in the Oester
reichisches Museum (Masner, p. 41, No. 322) Heracles is
striking with his club giant who lies on the ground. An
a
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
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
presence of Artemis. It is slightly archaic, preceding the
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. p. 109; Pottier, Vas. Antiq. Louvre, Taf. 130;

Pottier, C. V. A. Louvre, III I c, pi. 44, Nos. 3, 8, 10. On representa
tions of Actaeon cf. Marburger Jahrbuch fur Kunstwissenschaft, V,
pp. 1-23.
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
to have been very fond of representing grizzly, extraordinary
monsters investing them with old age characteristics and
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
vase in the Cabinet des Medailles have almost identical char
acteristics. The anatomy of the legs, and the form and size
of the body in general are the same. The posture is the same
except for a few necessary changes. Heracles in both cases
has black curly hair around his face, and the type of head
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
tators in heroic scenes. On a red-figured cylix from Vulci
60
in the British Museum (B 44) made by Euphronius
"F. R. Taf. 23; Murray, Designs, p. 10, No. 27, Fig. 4(A);
Hoppin, R. F. I, Perrot and Chip. X, pp. 425-7, Figs. 248-50;
p. 388;
Meier, A. Z. 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
is pictured one of the well known feats of Heracles — the

bringing of the Erymanthian boar to Eurystheus. Eurys-
theus 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
prey to the same terror. There is a certain freshness and
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.
head resembling a wig, and has wrinkles
In Heracles' struggle with Apollo for the tripod an old
bald-headed man draped in a mantle and resting on a cane
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
Phoenician alphabet into Greece is quite a different type
of hero. He seems to have combined the art of the ordinary
school master with that of music teacher. In Schwerin is
an interesting red-figured cotyle from Caere made by Pisto-
82
xenus representing Linus teaching music to Iphicles.
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. lll,
67.
"F.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 Vasen-
bildern " in Berichte der Sachsischen Gesellschaft der Wissenschaften,
1853, pp. and the myth is mentioned by several authors:
145-50) ;
Diod. IV, 10; II, 4, 9; Ael. Var. Hist.
Apollod. lll,
32; Paus. IX,
29, 5. In the Bibl. Nat. (De Ridder, II, p. 469, No. 811) is a vase
which perhaps represents the punishment inflicted on Linus. A
(a) Lints Teaching Music to Iphicles on a Cotyle
IX SchWERIN BY l'ISTOXENTS.
Furtwlngler-Reichhold, Oriechiaehe Yasenmalerei, pi. 163.
Figure 5.
(b) Old Servant Woman on the Cotyle in

SCHWERIN BY PlSTOXENUS.
L
Linus is a bald old man of distinguished aspect, wearing a

carefully draped tunic and mantle, and seated on a chair
with a back such as painters assign to heroes and divinities.
The eyes appear large and almond shaped and could be better
rendered. In spite of his white hair and bald Linus head
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
vances to take his lesson, conducted by an old servant
woman ; M he carries a long spear which announces his tastes.
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. She has a crooked nose, hollow cheeks,
toothless mouth, and upturned chin. In order to increase
the witch-like effect the artist has put some tattooing on her
arms and feet. 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 and himation and carries a long
staff. In the British Museum is 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; Per-
rot and Chip. (X, pp. 585-7), Hartwig (Die Griechischen Meister-
schalen, 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. Werk-
statt Hierons, pp. 1-27, Taf. 1-3.
IV, p. 254, No. G 104) representing scenes from the Phoe-

nissae of Euripides in which Creon is falling in supplication
before Teiresias.65 A cylix from the Van Branteghem collec
tion now in the British Museum (cf . Murray, White Athenian
Vases in the British Museum, pi. 16) represents the seer
Polyeidus and the boy Glancus, son of Minos. According to
tradition the seer was shut in the boy's tomb to bring him to
life. When bring herbs to revive a dead snake,
he saw a 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
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, II
p. 145, No. 1291) appears a
white-haired and white-bearded head with a red helmet and
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
him news of in which he is interested. On a black-
a victory
figured 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
" Cf. 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
cross-bar pattern is wrapped tightly around him.

rather
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
the left stand Diomede and Nestor. Due to the archaic type
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
(C. V. A. Brit. Mus. Ill
H e, pi. 86, 3) featuring the quarrel
of Achilles and Agamemnon, Achilles is held back by Patro-
clus and an aged figure, probably Phoenix. Between the
contending chiefs is another aged 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
Phoenix 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
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
the back part of his head. His chin is supported on a knotted
stick. He looks at a similar white-haired man, Nestor,
standing near who accompanies his conversation with the
gestures of his outstretched hand. He also supports himself
on a knotted stick. No. E 76 (Smith, III,
p. 102) in the
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. 2.

" Robert, A. Z. XXXIX (1881), pp. 137-54.
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 Scenes
The most common 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
ordinary men. 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 :
" F.R, Taf. 104.

"Hoppin, R. F. I, p. 250; Reinach, I, p. 203; Mon. d. Inst. X,
pis. 23-4; Baumeister, III, pi. 93, Fig. 2400; Perrot and Chip. X,
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. lll
He, pi. 72, 2a;
C. V. A. Brit. Mus. lll He, pi. 66, 2b; C. V. A. Brit. Mus. IH He,
pi. 63, lb; C.V.A. Brit. Mus. lll
He, pi. 33, 3b; C.V.A. Brit.
Mus. lll He, pi. 60, 2b); r. f. pelice in the British Museum by
I. A warrior in the act of bidding farewell to his 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, III
He, pi.
11, 3) ; b. f. hydria in Madrid (C. V. A. Madrid, III
He, pi. 8, 5) ;
r. f. crater from the Hope Collection (Tillyard, p. 74, No. 126) ;
b. f. amphora from the Hope Collection(Tillyard, p. 33, No. 21);
r. f. cylix in Berlin 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
Studniczka, Jahrb. d. arch. Inst. XXVI (1911), p. 133); and a
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.
Mus. 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,
/■
The aged figure is usually seated on an okladias, clad in a

chiton and himation, while his white tresses 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, home-
loving qualities of the Greeks. Often as for instance on a
black-figured amphora in the British Museum (0. V.A. Brit.
Mus. Ill I
c, pi. 24, 1 a and 1 b) a bird flies near the face cf
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. lll
Ic, pi. 14).
Class III: b. f. hydria in Cambridge, Fitzwilliam Museum
(C. V. A. Cambridge, IIIH, pi. 13, 2) ; two b. f. hydriae in Rome,
Villa Giulia (cf. C. V. A. Villa Giulia, III
He, pi. 55, 1, and
C. V. A. Villa Giulia, III H e, pi. 2, 1 ) ; b. f . celebe in Bologna
(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) ;
b. f. amphora in the British Museum (C. V. A. Brit. Mus. He, lll
pi. 68, la); two b. f. hydriae in the British Museum (cf. C. V. A.
Brit. Mus. lll He, pi. 93, 2, and C. V. A. Brit. Mus. lll
He, pi.
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,
HI Ic, pi. 6, 7, and C. V. A. Louvre, III
He, pi. 27, 5) ; r. f.
stamnus by the Master of the Berlin Amphora in the Louvre (Pot-
tier, 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.
Class IV: b. f. amphora in Copenhagen (0. V. A. Copenhagen,
III H, pi. 102, 2a) ; b. f. amphora in the British Museum (C. V.A.
Brit. Mus. IIl He, pi. 31, 4b) ; amphora
of Panathenaic shape in
Cambridge, Fitzwilliam Museum (C. V. A. Cambridge, H, IV B, III
pi. 15, lb); and a r. f. amphora in the Louvre (C V. A. Louvre,
III Id, pi. 31).
will (</xi«s) or of his soul (ûx7)), which seems to dart ahead

impatient to arrive on the field of battle. Often a libation
scene is connected.74
Scenes Connected with Religion and Death

These reveal a father's devotion toward his family as well
as his patriotism and pride in his son's achievements. The
most frequently represented scene of this type is that of the
dead warrior in which the old white-bearded, bald-headed old
man supported on his staff looks sadly at the bier.78 On a
Berlin amphora (1888) appears a group of seven men singing
around a bier, the third from the left being an old man.
Sometimes he is seated with his head in his hand 76 or
mourning over the stele of his son.77 On a red-figured vase
in Naples (S A3) a white-haired old man sits on an altar
and holds a vase from which he appears to be making an
offering.
Athletics
78
Beazley describes a prize Panathenaic amphora from
7' Cf. F. R. Taf. 52 (amphora in Munich).

"A b. f. cantharus in the Bibi. Nat. (C. V. A. Bibi. Nat. III He,
pi. 71, 9) is a good example.
"As on the b. f. amphora in the Scheurleer Mus. (C. V. A.
Scheurleer, IIIHe, pi. 3, 3).
" Athens, Nat. Mus. 2021 (Fairbanks, Ath. White Lekythoi, II, p.
20). The Acropolis Museum has a fragment of a vase with a fine
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
the Cleophrades Painter.
" Beazley,
" Notes on the Vases in Castle Ashby," Papers
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 for boys; one in Berlin (1832:
Gerhard, Ant. Bildwerke, pis. 5-6) with men sprinting; and one in
the Vatican with a youth's foot race (Mus. Greg. 2, pi. 43, 1).
Beazley has decided that these all 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.
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
rivals. 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
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.
1655) an old man is witnessing a horse race. He sits upon
the ground, bends forward the upper part of the body, and
strikes his brow with his right hand in an attitude of for-
boding 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
two warriors running.80 Sometimes, as on a black-figured
" Hoppin, R. F. I, p. 200.

*°
Hoppin, R. F. I, p. 85. A Nolan amphora in the Brit. Mus.
(E 310) by the Masteri of the Berlin Amphora represents an old
man watching a. young warrior pursuing a woman: Hoppin, R. F.
I, p. 69.
amphora in the Oesterreichisches Museum (Masner, p. 25,

No. 224), he acts as peacemaker in a duei.
Conversation Scenes
The large number of vases on which old men appear
engaged in conversation is a testimony of the friendly, hos
pitable nature of the Greeks. An old man in conversation
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 to fill space or pro
duce symmetry. In the British 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
rests his left hand on a staff, and extends his right toward the
door. He wears the sleeveless talaric chiton with a band of
maeander and tasseled fringe around the hem, and a hima-
tion 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
8,
Beazley, V. A. p. 94 ; Hoppin, R. F. I, p. 458 ; Hartwig, p. 388
(attributed to the Diogenes Master).
"Hoppin, R. F. I, p. 101; J. H. S. XXXIV (1914), p. 194, n. 13 ;
Murray, Designs, 29, No. 52; Hartwig, pi. 42, 2.
"Bologna has a r. f. celebe (Pellegrini, p. 84, No. 216) with an
old man between two youths.
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 appearance are conversing with
two bearded men who are not quite so old and are standing.
The faces are inexpressive ; the positions are stiff and angular.
One of the seated figures holds a staff, and has longer hair
which appears white. Another by Hartwig's Bald Head
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. The
seated man wears a sleeved talaric chiton, himation over the
left shoulder, and a wreath, and rests his left arm on a crutch-
handled staff. The eyes have the pupil set against the inner
angle.
Conversation in which a woman is included are
scenes
numerous also. In
British Museum is a red-figured hydria
the
(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
"Hoppin, R. F. I, p. 102.
"Hoppin, B. F. p. 296, No. 97; Pottier, B. C. H. XVII (1893), pp.
439-40, Figs. 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, III
H,
seated. In Boston is
beautiful a
red-figured stamnus
8S
(01.8031) from Orvieto representing an old man of quiet,
distinguished bearing leaning back on a chair. He is clothed
in a finely draped chiton and mantle ; his white hair is orna
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
emotion. A more famous vase is the cylix from Vulci by
89
Euphronius in the British Museum (E 44) representing an
old man and a hetaira. 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
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. III H e, pi. 33, 3b) where an aged figure advances, staff
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
amphora in the Ashmolean Museum (C. V. A. Oxford, I, III
pi. 17, 3) a man of dignified appearance clad in the sleeved
pi. 120, 6 a) with a conversation scene between four men and two
women; a pelice in Munich representing an old man (whom Furt-
wangler, 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).
/
chiton and himation, and his head bound with a taenia, holds
a patera from which he drinks.90 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,
and a woman is standing before a pillar. In Munich (586)
a man in chiton and mantle sits on an okladias with white
cushions, and a cupbearer advances to him.92
Pedagogues
The old pedagogue plays a very important part in the red-
figured style and in the Apulian style. On a Naples vase
(Heydemann, pp. 94-97, No. 1769) representing the abduc
tion of Chrysippus, a white-haired hastens up in a
pedagogue
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,
and mantle, wears the petasus, and holds a small crooked staff
in his lowered left hand. Vase No. 1757 in the Naples Mu
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 (Heydemann, pp. 495-99) we have
Europa and the bull, and several companions of Europa."
An elderly stands by, thoughtfully supporting his
pedagogue
chin and both hands on a long knotted stick. On another vase
in the Naples Museum (Heydemann, pp. 584-91, No. 3255)
representing the funeral of Archemorus, a white-haired old
•0 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.
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
lyre and crutch-handled cane.94 The murder of the sons of
Medea is painted on a Nolan amphora in the Cabinet des
Medailles (Jahn, A. Z. 1867, p. 60)." In the upper right-
hand corner the pedagogue appears. A more famous vase is
the great amphora in Munich (F. R. pi. 90) on which Creusa
or Glauce has fallen across a chair, and an elderly male figure
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 and variety are more necessary in comedy
than in tragedy. The majority of dramatis personae of com
edies are elderly, bald-pated, gray-bearded old men who reveal
traits both disagreeable and ridiculous. This influence is
present in the late red-figured style and continues into the
Italian wares.
An Attic red-figured crater from the Hope Collection (Till-
yard, 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
riga at full speed. Behind comes a pedagogue who is quite bald,
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
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 a torch to the torch held by the
old actor. An old comic actor with bent nose, pointed beard,
and the forepart of his forehead bald appears on a vase in
Naples (Heydemann, p. 605, No. 3368). His dress consists
of a close-fitting garment with sleeves and tight trousers
(dra£iipi'8es) over which a short narrow chiton is worn. He
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, p. 723, No.
SA368) represents from a comedy.
a scene These types
appear to be more common in the Campanian style than in
any other.
Scenes of Revelry
The for our purpose is the red-
best example of this type
figured stamnus in Madrid (Leroux, p. 82, No. 155) repre
senting a procession and dance of old men.98 All are bearded
and wear a peculiar plaited head-dress and rather effeminate
plaited and striped chiton. The hair is twisted in a knot.
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 on the vase in Leningrad ( Ruvo Jatta Coli. ) ,

F. R. Taf. 110.
" A vase in 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.
./
.'
:'<
:'
tn
ID (
'::
r,;
or
'.'
It
"W-
:>
'
"I
mi
nia
H:
''!!
ie]
h-,
'>.:
and plays the eithara ; the third has a parasol and a scyphus ;
the 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
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 has a black-figured 56) which
amphora (F
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 also.108
It
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, Taf. 40; Hoppin, R. F. II, p. 46.

100 Pottier, Vas. Antiq. Louvre, II, A. Louvre,
p. 94, pi. 67 ; C. V.
III I d, pi. 29, 1.
101 A
b. f. amphora in Rome, Villa Ginlia (C. V. A. Villa Giulia,
III 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
Berlin, 1893). pp. 421-43.
master a number of barbarian figures in Scythian 105

costume
occurring on a vase in Orvieto, Faina Collection (Hartwig,
Taf. 39), who wear tight-fitting fur garments sprin
38 and
kled with black dots (indicating gold) and trimmed with a
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
of the Scythian customs, because bald heads are not charac
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
the
manner of treating the hair which is acquired by placing
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
distinguished demeanor ; 109 the vase representing a man
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

Scythians (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.
"•Hartwig, pi. 42, I; Gerhard, Trinkschalen und Gefasse, Taf.
E, F.
procession of old men ; and several others.107 Although the ex

pression of the eyes is somewhat similar to those in Scythian
costume,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
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
are from the hand of the same master. The Scythians also
have a different type of cane. The others all have long loop-
handled canes instead of the upright knotted cane. Some of
these vases are assigned by Beazley to the Briseis master since
the main scenes in some instances represent episodes in the
life of Briseis and the siege of Troy. Many of the other vases
can be assigned to other painters, and it is very doubtful
whether there ever was such a painter as Hartwig has created.
Miscellaneous
A Greek vase of red clay with in relief in
ornamentation
the Cairo Museum (Edgar, Catalogue General des Antiquites
Egyptiennes du Musbe du Caire: Greek Vases, p. 55, No.
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; on the other is a vessel suspended by
three cords. It may be an old hawker or beggar. Vienna
(Masner, p. 51, No. 335) has an interesting vase portraying
an old fisherman with his son, catching fish. The fisherman
is in crouched position on a rock, in his left hand a basket,
a
in his right a fishing rod on which he holds a fish high in the
air. The old fisherman wears a short mantle wound around
107
Hartwig assigns fourteen vases to this master and thinks there
may be more. Beazley assigns many of these to the Briseis Painter.
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
are many examples of old men represented as spectators,
whose characteristics are not definitely discernible from
museum catalogs.
OLD WOMEN ON VASES

Old women rarely represented on vases.
are Two have
already been noticed — the old witchlike servant who conducts
Heracles to his music teacher, Linus, and the old woman who
stands by the bier of the young Archemorus on a red-figured
vase in Naples. In Madrid is a red-figured cylix by Aeson
representing Theseus and the wild boar of Crommyon.109
The agednymph supports her left hand on a stick and
stretches out the other imploringly toward Theseus. Her hair
is white her figure is stooped ; she wears a sleeved chiton with
;
double black border on the side ; and her arms show traces of
tattooing. The mother of Niobe is represented on a red-fig
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. She is a white-haired old woman
in chiton, mantle, and 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
10*
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
point of merging into the fine style.
1M Leroux,
p. 110, No. 196; Hoppin, R. F. I, p. 14; cf. Cecil
Smith, J. H. 8. II (1881), pp. 57-64, and pi. 10; Elderkin, A. J. A.
XIV (1910), pp. 185-92; Bethe, Arch. Anz. VIII (1893), p. 8;
Bethe, Ant. Denkmaler, II, pi. 1; cf. Plut. Theseus, IX.
rank. Elderly personages were introduced timidly into vase

painting and it was not until the latter part of the black-
figured style that we see much interest in the direction of
rendering individual characteristics. Little opportunity was
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 red-
figured style, especially about the year 480, we see a new
impetus in this direction, and it is remarkable how many
famous painters — Euphronius, Macron, Douris, Pis-
vase
toxenus, Nicosthenes, the Master of the Berlin Amphora, to
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
several
were not given the features of old men until about this time.
A comic element to some extent contingent upon their social
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
at their best and most attractive stage. But before the
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
on the east pediment 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
remarkable creation. The artist is ahead of his time in
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 breasts are exposed.
The drapery which covers the lower part of the body follows
a twisty snake-like line with thick and somewhat meaningless
folds.3 It has entirely broken away from the strict sym
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 render-
1
Buschor and Hamann, Olympia, pi. 23 ; Bninn-Bruckmann, pis.
449-50. Cf. our Fig. 7.
*
Waldstein, Essays on the Art of Pheidias, p. 426.
*
Walston, Aleamenes, pp. 109-10.
121
ing the human form, but has not yet mastered the difficult
problem of combining it with drapery. The shallow folds
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
dispute. Some have seen in him Myrtilus, the charioteer of
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
Pausanias 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
as Walston ' and others —a
who according to
believe seer
poetry and legend looked into the future. His attitude is
akin to that of the old men whom we have seen on vases con
sulting omens to determine the issue of battle. His eyes
seem expressive of sad foreboding 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
pediment, but these appear to betray the technique of a later
age.8 The upper eyelid overlaps the under at the corner
instead of meeting it at an angle as in the other figures ; the
old woman on the south end is modelled from Pentelic marble
while the wedge-shaped bed on which she rests is Parian.
It is likely that these are intended to characterize barbarian
slaves,or perhaps they are servants of the bride. Walston 7
has noted that the three ages are portrayed on this pediment,
though it does not appear that this factor entered into the
artistic consciousness of the artist. In the center are the
4
Paus. V, 10, 6.
•Walston, Alcamenes, p. 103; cf. Gisela M. Richter, The Sculp
ture and Sculptors of the Greeks, pp. 123-4, 237-8.
*
Cf. A. W. Lawrence, Classical Sculpture, p. 170.
* Walston, Alcamenes,
p. 141.
FlOl'RE 7.
Old Seek on the Olympian Pediment.

Biwchor :ind Hamaun,
Olympia, pi. iA.
FlOurE 8.
Panathenaic Procession on the Parthenon Frieze.

Fougtrca, L'Aeropole, Le Parthhum, pi. 125.
(-.
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 age. The
eye is no longer the conventional almond shape, but has ex
pressive curves. Much realism is portrayed on the east pedi
ment, but more on the west. The faces of the old women
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
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
a gap 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
age portrayal is again evident. In the Panathenaic proces
sion old men, young men, women, and young girls are repre
sented. On the side among the group of eponymous
east
heroes is an example of extreme senility— an old man bent
over as 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
leg and thus reveals an element of physical weakness. The
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.
•
Fougftres, L'Aoropole, Le Parthenon, pis. 119 and 125. 0,1. our
Fig. 8.
apparently strong, he grasps the staff; with the left hand he

fingers his drapery. The folds of the drapery are firm and
sharp, directed by the changing curves of the body. The
indication of the texture of the drapery, which has begun to
be a leading feature of Greek art, is already visible. The
throwing of the drapery over the left shoulder increases the
expression of weakness. The hair is treated in waves of
rather short single locks which hang slightly down the nape
of the neck. The beard is rather long; and the nose is
flattened. 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
so that the features are not so readily distinguishable, but he
appears to have a surly expression. A 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 spear. The barbarian is not yet dead but raises
"The date fixed by Furtwangler (4. Z. XL, 1882, p. 359) is gen

erally accepted.
11
Brunn-Bruckmann, pi. 217; A. H. Smith, Cat. Sculpture in the
Brit. Mus. II, p. 13, No. 854.
DECORATIVE AND AECHITECTUEAL SCULPTUBE 125
his body and crosses his legs convulsively. The second frieze
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
as 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
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
sacrificing.14 At the right is an aged king, perhaps Priam,
a lion or panther
seated on a throne, supported on his sceptre,
sleeping at his feet. Near him a servant holds a parasol over
his head as on the Nereid frieze. On the opposite side is a
" Brunn-Bruckmann,pi. 217; A. H. Smith, Cat. Sculpture in the

Brit. Mus. II, p. 24, No. 879; Percy Gardner,
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.
Ill; p. 131.
"A.H. Smith, Cat. Sculpture in the Brit. Mus. II, p. 31, No. 903.
14
Brunn-Bruckmann, pi. 486 ; Benndorf -Niemann, Das HeroSn von
Gjolbaschi-Trysa, p. 59, pi. 22.
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,
but they are perhaps of lesser importance. On the north
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
flower.17 This monument dates before the time when artists
were learning to represent the distinguishing characteristics
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, of Anc. Sculpture, p. 414) believes also
that it is a goddess.
" 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;
S. Reinach,
" Le deuxieme ' trone Ludovisi ' au Musee de Boston,"
R. A. XVI (1910), 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.
Ficiiii:
i).
Old Woman on the Boston Counterpart of the Lunovisi Altar.

Photo, The Boston Museum 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 Fate.20 In 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
nose; 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
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
ends and adjoining pieces of a couch altar made for the
sanctuary of the Lycomids at Phlya in Attica bring vividly
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. J.
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, Dec. 1930, pp.
279-80. Cf. also Jacobsthal, Die Melischen Reliefs, p. 67, No. 88,
pi. 50 and p. 219. Cf. our Fig. 10.
.
in the guise of hand

a beggar leans on his stick and grasps the
of Penelope who sits with bowed head in an attitude of
mourning. Behind her are Telemachus and the herdsman
Eumaeus, while in the background stands the aged Laertes,
supporting himself on his stick, and gazing upon the scene
inthe 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.
24
Plutarch records that Pheidias was accused of placing on
the shield portraits of himself as a bald-headed old man,
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, as it were, influenced perhaps by
the growing 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
structure, and these may also be considered under decora
tive sculpture. On a late Greek votive relief to Artemis
Bendis in the British Museum train of figures led by two
a
elderly bearded men is approaching a female deity.25 The

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 Sculptures of the Parthenon, p. 138 ;

Fougferes, Le Parthenon,
L'Acropole, pi. 136; Collignon, he Par
thenon, pi. 22.
" Plut. Pericles, 31, 27-42.
" A. H. Smith, Cat. of Sculpture in the Brit. Mus. Ill, p. 226, No.
2155; C. Smith, CI. Rev. XIII (1899), p. 230.
Figure 10.
Return of Odysseus on a Terra-Cotta Relief in the

Metropolitan Museum.
Photo, The Metropolitan Museum of Art.
—— .
*»
DECORATIVE AND ARCHITECTURAL SCULPTURE 129
Achilles.24 Priam clothed in trousers, sleeved tunic, and

Phrygian cap approaches the seated figure of Achilles in a
supplicatory attitude. In the Boston Museum 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
a stoneslab and Neoptolemus is pulling him to the left as
Priam extends his right arm frantically. Since this was a
favorite subject among painters and vase painters of the

great age it is possible that a painting served as a model.
The fifth century origin of this Graeco-Roman work is re
vealed in the treatment of drapery and the comparatively
calm and inexpressive faces.
The Greeks had struggled with the old age type in an
effort to represent Heracles contending with Triton, " the
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, Cat. of Sculpture in American Coll. p. 149.
9
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
began gradually to decompose and the restraining influence
of classical religious art was on the wane, art made new con
quests. 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,
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 quoque graviarem

dicitur refagisse nihil ausus ultra levea genas.
130
OLD AGE IN STATUAKY 131
giving up of much of the restraint so marked 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 age.
In the Hellenistic age was created a stronger impulse to
ward portraiture. 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
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 a particularly promising
field of endeavor. In the next few pages we shall review
some of the portraits and
of aged Greek poets, historians,
philosophers.
Homer
In numerous Roman copies there exists an important work
of Hellenistic times which on account of the indication of
blindness, the aged appearance, and especially the expres
sion of poetic vision has come to be associated with the name
of Homer. Older portraits emphasize the venerability of the
aged poet 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
lines. There are two distinct types of Homer. The first is
2
best represented by a head in Munich in which blindness is
indicated by the closed eyelids. This type goes back to
the fifth century. The second type which exists in numerous
*
Furtwftngler, Beschreibung der Glyptothek, I, p. 273; Bernoulli,
Gr. Ikon. I, 19; Bernoulli, Jahrb. d. arch. Inst. XI (1896), p. 169;
Robert, Hermes, XXXV (1900), p. 656; H. Magnus, Ant. BUsten des
Homer, p. 13. A head of this type has been found recently in the
Athenian agora.
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 eyes indicates blindness. The eye
ball is small and placed deep in the sunken sockets, 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
sentiment of nobility and mildness. The Boston head re
sembles most closely those in the Louvre 4 and in Schwerin.6
In the Schwerin bust the vertical wrinkles over the nose are
very conspicuous. The Louvre head shows indications of
great senility. The cheeks and eyes are deeply sunken and
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; Chase, Gr. and Rom. Sculpt, in
American Coll. p. 132, Fig. 164.
pi. 1011; Bernoulli, Gr. Ikon. I, p. 8; Hekler,
4
Arndt-Bruckmann,
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.
•A. H. Smith, Cat. of Sculpture,
7
Bernard
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, III, p. 129, No. 1825; Bernoulli,
Jahrb. d. arch. Inst. XI (1896), p. 161, No. 13; Bernoulli, Gr. Ikon.
I, p. 8.
< P
O
0
X
E
OLD AGE IN STATUABY 133
9
Museum at Naples bears a rather
pathological expression
with lines that may be indicative
of long suffering. The
corners of the mouth are drawn down and we find wrinkles
on the chin, which is rather unusual. 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
Pythagoras, but Poulsen agrees with Lippold in going back
to the old explanation supported by the coins of Amastris in
Paphlagonia which suggests that it is Homer. The head
of Homer in the Prado has only a few lines on the forehead
in comparison with the others.12 The herm in the Capitoline
Museum, although somewhat sunken around the eyes, has a
younger appearance in other respects.18 A marble relief in
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 representations
that classic art has left us. In the lowest row at the left is
Homer throned on Mt. Parnassus receiving the adoration of
the spirits of Time, Humanity, and numerous others." The
altar flame is kindled by History, behind whom come the
personifications 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
originated in the Alexandrian age. The praises of his divine
nature and intellectual excellence are so well known as to
• Arndt-Bruckmann, pi. 1019. Cf. our Fig. 11.

10
Poulsen, Gr. and Rom. Portraits in English Country Houses, p.
45, No. 18; Michaelis, Ancient Marbles in Great Britain, p. 680,
No. 46.
"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
wrinkles across the forehead, cf. Poulsen, From the Collections of
the Ny Carlsberg Glyptothek, 1931, pp. 93-94, and Fig. 73.
18
Arndt-Bruckmann, pi. 1015.
18
14
Smith, Catalogue of Sculpture in the British Museum, III, pp.
244-54, No. 2191 ; Brunn-Bruckmann, pi. 50.
become proverbial.15 It is customary to honor like a god the

most famous, the oldest, and most experienced, and Homer
eclipses all other poets in this respect. He is a citizen of the
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
ceived in the formerly in the Villa Borghese and
seated statue
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
dancing step.18 Anacreon reached the great age of eighty-five
years, 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.
Aeschylus
The Capitoline Museum
possesses a statue of a man of
advanced years with high bald head, contracted brows appear-
18
Of all the encomiums on Homer that of Aristotle (Poetics, 24,
47-55) is perhaps the most striking. Besides other merits he attri
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. 11.
" Lucian, 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,
shattering his skull.21 Studniczka,23 however, has discredited
this statue as a portrait of the tragedian ; and Bernoulli 28 is
inclined think Pheidias is represented. That Aeschylus
to
has becomealmost a blank in Greek portraiture when his
portraits were very famous in antiquity is peculiar. Plu
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
the time of Pausanias the original statue had been replaced
by another of a different style which he did not group with
the Lycurgan Sophocles and Euripides. Studniczka 26 sug
gests 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
in the development of stage properties.The Florentine
replica27 is perhaps the best. The head is long in propor-
»0 Arndt-Bruckmann,
pi. 111. Cf. our Fig. 12.
"Sotades as cited by Stobaeus, 38, 9; Val. Max. IX, 12; Pliny,
N. H. X, 3.
"Studniczka, Neue Jahrbiicher fiir das kl. Alt. IIl (1900), pp.
166-76.
" Bernoulli, Gr. Ikon. I, p. 103; Jahrb. d. arch. Inst. V (1890), p.
162.
"Plut. Vit. X Orat., Lyourg. 11.
" Paus. I, 21, 1-2.
" Studniczka, loo. ext.
"J. 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.
tion to its breadth and the high forehead is especially con

spicuous. The hair lies in short thick locks over the head
with no trace of thinness except around the temples. Both
the hair of the head and that of the chin show a decided
trend toward the left. In the best copies the brow is traversed
by two furrows, and deep lines run down from the nostrils
around the lower part of the face. The bearded head crowned
by a fillet must It probably is not
be that of a poet. earlier
than the middle of the fifth century when portraits of this
type began to be made, and the style points rather to the
fourth century. Since the other great tragic poets are 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) is given as one of the characteristics of
Aeschylus. The knit brow, the eager eyes, the irascible mouth
in these copies proclaim spirit. The story that
a man of this
he wrote while drunk, thus accounting for the frenzied energy
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
88
Although Sophocles attained the age of ninety or more
he is usually represented as a man in the prime of life and
" Aristophanes,Frogs, 844 ; 1006-8.

" Plut.Quaest. Conv. VII, 10, 2. 81 Anth.
Pal. II, 17.
*0 88
Aristophanes, Frogs, 804. Suidas, s. v. Af<rxi>Xot.
88
From antiquity is preserved a sketch by Aristoxenus called the
X<xpoK\tovs plot (Christ-Schmid, Geschichte der griechischen IAttera-
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
not indifferent to his personal appearance. The statue in the

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
also reveals a beautiful-bodied, perfect man of spiritually high
standing, and firm, quiet attitude.86 In almost all the heads
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
deep lines about the mouth.88 Another copy in the British
Museum (of bronze) shows two prominent wrinkles in the
brow.40 The Berlin statue is a coarse, badly mutilated work
" Arndt-Bruckmann, pi. 983 ; Amelung, Die Sculpturen des Vati-
canischen Museums, I, p. 104, No. 89, and pi. 15 ; Bernoulli, I, p. 130,
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,
p. 348, 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;
J. H. 8. XLIV, 1924, pp. 281-85.
cf. Studniczka,
"Arndt-Bruckmann, pi. 987; Bernoulli, I, p. 129 (2)
; 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, pi. 981. "Arndt-Bruckmann, pi. 989.
with the hair brought forward over the face so as to consti

tute almost a horizontal 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
pletely, while only thin strands cover the forehead. The
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
less forceful,more idealized, and hence less individualistic.
The statue of Euripides in Berlin bears an expression of sad
ness although no lines are visible on the forehead, and there
is no evidence of baldness. Euripides did not live to be so
old as Sophocles, the length of his life being set at seventy-
four to seventy-nine years.44
11
*2 Arndt-Bruckmann, pi. 121; Furtwangler-Urlichs-Taylor, Gr. and
Rom. Sculpture, p. 213; Bernoulli, I, pp. 148-58; Hekler, op. ext.
pi. 10. The head of Euripides in Budapest resembles the Naples
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.
cit. p. 79, and Fig. 61 for a bust in Copenhagen of the same type
as that in Naples. Cf. the reliefs in the Louvre and Constantinople,
Lippold, Griechische Portratstatuen, p. 50 and Fig. 5. For the relief
in Constantinople, cf. also Mendel, Catalogue des Sculptures
Grecques, Romaines et Byzantines, II, pp. 296-98; and Bates, Euri
pides, pi. 1.
" Suidas, s. v. Eip<ir/8i[i ; Gellius, XV, 20. From antiquity was a
yivot Eipiicldov Kai plot ( Christ-Schmid, p. 346). Cf. Marm. Par.
Ep. 63.
OLD AGE IN STATU ASY 139
Aristophanes and Menander

Difficulty has arisen in regard to portraits of Aristophanes,
due both to the small number of extant copies and to the pre
vailing opinion that Aristophanes was bald, or at least it is
assumed that he was bald at the time he wrote the Peace in
421 B. C.45when he was only about twenty-nine years old.
In Wilton House is a replica of a herm in Bonn representing
Menander and probably
Aristophanes.48 Menander, how
ever, is represented as bald-headed, while Aristophanes is not.
The identity of Menander is certain, and it is conjectured
that it would 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
sessed of the qualities which we should like to attribute to
Aristophanes, while the latter is a bearded figure crowned
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, Peace, 767 : Kai rolt tpaXaKpoioi wapaaoSiuv /
48
Anc. Marbles, p. 679, No. 35. For a similar herm in
Michaelis,
the 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, Ikono-
graphische Miscellen, p. 45.
47 Suidas,
schol. Plato, Apol. 19 c. Roland G.
*. v. 'Apiaro<pimis;
Kent (CI. Rev. XX, advances the opinion that the
1906, pp. 153-55)
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
the latter to public favor. On this point, cf. also Croiset, Hist, de
Aratus
48
Although Aratus reached only the age of sixty-five
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 finest hairs as his greatest age mark.48 The very short
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 also represent an old man nearly
bald with the head bent forward and sunk between the
shoulders so as to appear almost deformed.50 The one has a
convincing likeness to a bust on the coins of Soli which is
called alternately Aratus, the poet of astronomy, and Chrysip-
pus, the philosopher.51 The one head is turned slightly to
the left; the other is turned slightly to the right while the
look is directed upward.
Epimenides
Epimenides was the half-mythical seer who according to
62
Diogenes Laertius came to Athens in the forty-sixth
Olympiad 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
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 Litt. Grecque, III, p. 531. Christ-Schmid (Gesch. der gr. Lit.' p.

416) thinks that he died before 384, thus living to about the age of
sixty-five years.
"
Suidas, «. v. "Aporot. *• Arndt-Bruckmann, pi. 995.
"A. H. Smith, Cat. of Sculpt, m the Brit. Mug. lll, p. 138, No.
1846, and p. 139, No. 1847.
"Bernoulli, II, pp. 150-4; Gercke, Arch. Am. V (1890), p. 56
(who calls it Chrysippus).
"Diog. Laert. I, 110.
"Plato, Laws, I, 642 d. "Diog. Laert. I, 111.
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
erenced almost as a god because of his services in averting
pestilence
" is represented in the British Museum by the por
trait bust of with short curling
an elderly man, nearly bald,
beard, heavy brows, and wrinkled forehead.68 This head has
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
of its realistic character. In the Villa Albani copy the upper
lip is slightly raised revealing a row of rather broken teeth.82
The forehead is indented by a long wrinkle, and the top of
the head is very bald. But a sort of divine light gleams in
8S
the dilated pupils. Soranus gives his age at the time of
death as eighty-five or ninety years, but some authorities
grant him a longer life, even beyond one hundred years.
Herodotus
Herodotus must have been a very conservative individual if
we may judge from his portrait in the Vatican.84 The eyes are
** Arndt-Bruckmann, pi. 421 ; Bernoulli, I, pp. 35-6.
"Pliny, N. H. VII, 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 the Brit. Mus. III, p. 134, No.
1836 (Towneley Coli.).
"Ctercke, Arch. Anz. V (1890), p. 56. "Bernoulli, I, p. 168.
" 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.
142' OLD AGE AMONG THE ANCIENT GBEEKS
directed upward. 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
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
dotus.88 The latter is a late Roman copy of an original
attributed to the fourth century and brings well before us
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
personality. He found his main delight in the pleasures of
conversation, friendship, and service to the community.
Several passages in literature throw light on Socrates' per-
" Suidas, «. v. '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 Met. Mus. of Art, CI. Coll. p. 274, and
Fig. 192.
OLD AGE IN 8TATTTAKY 143
sonal appearance. In the Theaetetus 70

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
due no doubt to the humorous in the Symposium 71
passage
in which Alcibiades asserts that toward the end of his life
Socrates recalled by his baldness, his flat nose, and bushy
beard, the traditional type of silen. In Xenophon's Sym
posium Socrates gives the reason for his prominent eyes being
better adapted for seeing than Critoboulus V2 He also claims
for his nose.78 Lucian M makes him
special advantages
especially distinguishable in Hades by his baldness, and
™
Sidonius Apollinaris also refers to that trait.
A few years ago the British Museum acquired a marble
76
statuette of Socrates, the original of which Walters dates
7T
about 300 B. C. but which Amelung about seventy-
dates
five 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
highly-polished, waxy surface of the flesh, and other technical
details. The body is enveloped in an ample himation with
graceful folds. The expression is that of alertness and erect-
ness. 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 Plato, Theaetetus, 143 e: trpoaioiKe Si col ti)>i t« cifibrtira sal to

t(a twv ipparoiv. JJttov Si i) cii TaCr" fxti.
" Plato, Symposium, 215 b: <pripX yap Si) bnoibraTov . . . ai iou<irai
airbv ru aaripw t<ji ilapcva. Sri piv oSv rb yt eTJoj 8/iotos el roiroa, &
SiiKparej, oiS' airbi Si irov d/i0«r0JfTiJ<rai!.
** 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, pis. 10-13;
" W. Amelung, A.J. A. XIII
(1927), pp. 281-96.
haughtiness of soul which is lacking in the silen. The hair is

thick and slightly curly. The moustache falls in a symmet
rical curve on either side of the mouth, and the beard falls in
separate curls. The expression combines thoughtfulness and
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
it,
puts Typus der Schdnheit mannlicher

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
a
at the corner of the left eye.78 The example in Berlin repre

sents him with sparse hair, trifle wrinkled but the wrinkles
a
are not deeply indented, and scowling expression with
a
mouth half open and the tip of the tongue showing between
the teeth.80 The statue in the Vatican shows two very narrow
horizontal wrinkles and two vertical wrinkles.81 The best
example for study in old age portrayal that in the Villa
is
a
Albani which must be truly Hellenistic work on account of

a
the sunken eyes, surly mouth, and deep wrinkles.82 In Aqui-

leia, Museo Archeologico, replica of the Villa Albani So
is
a
crates.88 Other examples as that in the Capitoline Museum 84

and that in Munich 85 reveal bright, sparkling individual
a
without the slightest trace of age marks. Bernoulli 88 gives

the types of the Socrates portrait. The age at which Socrates
" P. Schuster, Cher die erhaltenen Portr&ts der griechischen Philo-

sophen, 1876, p.
9.

" Arndt-Bruckmann, pi. 1045. Cf. our Fig. 13.
" F. Poulsen, Portratstudien in norditalienisohen Provim-Museen,
p. 13, No. 13, Abb. 22-3.
••
Arndt-Bruckmann, pi. 1031. " Bernoulli, Gr. Ikon.
I,
p. 184.
a
./.
a
* $
a °
O 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<oVa 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
the appearance of paleness 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
there is a general resemblance to heads of the bearded
Dionysus. Plato was one of the noblest, wealthiest, and most
aristocratic of philosophers, a man of deep feeling but radical
wili. A certain nobility is expressed by the high brow, broad
chest,and proud bearing — a decided contrast in gentility to
the beggar and cynic Diogenes. Plutarch 90 twice refers to
his bent neck which almost gave him the appearance of a
hunchback, but this may have been in extreme old age. In
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;
cf. Suidas, s. v. ZwKpinfi.
"Diog. Laert. III, 25; cf. Preuner, Athen. Mitt. XXVIII (1903),
p. 349; Wilamowitz, Plato, II, pp. it.;
Lippold, Griechische Por-
tratstatuen, pp. 55-6.
••
Plut. Quomodo adol. poetas aud. debeat, 26 b and De discern,
adul. ah amic. 53 c.
M Poulsen, Gr. and Rom. Portraits in English Country Houses,
pp. 32-3.
10
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 made The Berlin bust, which is
by Silanion.
a mutilated copy, in
has more of a resemblance to Socrates
the trend of the moustache and the waves of the beard." The
face is narrower and the wrinkles less pronounced. Plato
attained the age of eighty-one years.94
Aristotle
The characteristics of the statues of Aristotle in the set up
gymnasiums are frequently mentioned, but the qualities attri
buted to each are not clear enough to constitute a recognizable
guide. The herm in Athens of Hadrian's day has the
epigram: Yi]ov NotOfi[a]xou <nxjiti)^ i\murropa irdxrrp: orrjtrev /
'AA<£i[v8]/ios dtiov ['AI/hotWaO].95 The busts of Aristotle
appear to go back to a sort of insipid portrait in the codex
Capponianus which has been reproduced by Rubens.98 Stud-
niczka97 gives a list of preserved heads of Aristotle, citing
both the certain and the doubtful examples. The copy in the
National Museum in Athens reveals deep-set pupils, somewhat
reminiscent of Homer, but a greater profusion of wrinkles,t"
"Poulsen, J. H. S. XL (1820), p. 190.

"Diog. Laert. IIl, 2; cf. Pliny, N. H. XXXIV, 51; Lucian,
Macrob. 21.
" I. G. IIl, 946.
" F. Studniczka, Das Bildnis des Aristoteles, Leipzig, 1908, p. 15.
Studniczka, op. cit. 21-30. "Studniczka, op. cit. Taf. IIl, 2, 3.
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
brow." The attitude is that of contemplation. The copy in
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
templation.102 He appears to have been walking and to have
sat down for a moment to ponder some question. The right
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
mantle leaving the right part of the body exposed. The
sandals complete the picture of a weary traveller seated for
a moment of rest. 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
" Studniczka, op. cit. Taf. III, 5, 6.

100 Studniczka,
op. cit. Taf. II, 3.
101 Studniczka, op. cit. Taf. II, 6.
"• Arndt-Bruckmann, pi. 378.
"•Bernoulli, II, pp. 8-13. Studniczka (Rom. Mitt. V, 1890, pp.
12-15) also regards it as a statue of Aristippus.
the National Museum, Rome. Aristotle lived to be sixty-three

104
years old according to Diogenes Laertius or seventy years
old according to Suidas.105 The majority of his portraits are
those of a man nearing sixty.
Zeno
Zeno, the founder of the Stoic school, is described by
Diogenes Laertius
106
as a man of gloomy disposition, very
frugal, and much given to minute discussions. Diogenes 107
also refers to his sunburnt face and weak constitution.
108
Sidonius Apollinaris refers to his contracted brow, and
109
Cicero to his growling, snarly disposition. Zenodotus 110
mentions Zeno as a revered, gray-browed sage. The statue
in Naples resembles the Homer portraits a little but is less
godlike.111 The contracted brows are evident as well as
two short wrinkles set closely together in the forehead. The
hair recedes at the temples giving only a slight suggestion of
baldness. The beard is trimmed squarely at the corners.
The sunken cheeks give it quite a senile appearance, and
the nose is almost deformed. In the copy in the Capitoline
Museum the tufts of hair over the center of the forehead and
the short wrinkles above the contracted brows again are
characteristic features.112 The modelling about the forehead
and mouth is bad. One sees in the portraits of Zeno the
Stoic calmness and constancy of purpose as well as a certain
chilliness. In example, however, he is hold
the Capitoline
ing a scroll in the right hand which gives him more of the
104
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. IIl,
17, 38 : senex ille acriculus.
110 Zenodotus, Paton, III,
117.
111 Arndt-Bruckmann,
pi. 235; Bernoulli, I, pp. 119-20.
118
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.
attitude of Sophocles or of an orator. Diogenes Laertius118

and Lucian 114 agree that he lived to the age of ninety-eight
years. Diogenes relates further that he died without any
disease and continued in good health to the end, having
presided over his school for forty-eight years. As he was
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
I immediately he strangled
himself.115
Chrysippus
118
Diogenes Laertius informs us that the Stoic philosopher
Chrysippus (280-207 B. C.) was slight in person as was
plain from his statue in the Ceramicus which was partly
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
are very clear in this example also. The copy in the Capi-
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. VII, 25. "« Lucian, Maorob. 19.

115
Lucian (loo. cit.) states that he starved.
"• Diog. Laert. VII, 4.
Arndt-Bruckmann, 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
losophy. Cf. our Fig. 14.
'"Arndt-Bruckmann, pi. 935.
whiskers, 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
on the coins of Soli, but Gercke maintains the claims of
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
of the forehead. The brows are very shaggy, and the nose
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
posture.128 The head is bent forward in an attitude of
thought, and the toothless mouth stands somewhat open. It
is a good example of Hellenistic art. Chrysippus died at the
124
age of seventy-three years according to Suidas and
Diogenes Laertius,120 and his portraits might well be those
of an older man. The latter relates that he was seized with
giddiness as a result of drinking sweet unmixed 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,
serene figure of a bearded man past middle life, but with no
distinct age marks.128 The corners of the mouth are drawn
down very slightly. The same characteristics are noted in
the Capitoline head.127 The Roman copy of the head in the
118 Br.
Cat. of the Museo Capitolino, Sch. at Rome, p. 234, No. 38.
120
Bottari, I, p. 42.
in Gercke, Arch. Am. V (1890), p. 56.
"• Arndt-Bruckmann, pi. 933.
"' Furtwangler, Beschreibung der Glyptothek, p. 322, No. 296 ;
Bernoulli, I, p. 108, No. 70.
1" Suidas, «. v. Xpiaimrot.
i25
Diog. Laert. VII, 7.
"* Arndt-Bruckmann, pi. 38. 1" Arndt-Bruckmann, pi. 1084.
y.
of,
1 o
° I
S a
SB 2
2 1
s I
«
O 5
a:
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 Blun-
dell Hall is a line statuette of Epicurus,12* a copy of the head
of a statuette in the Villa representing the phil
Albani,180
osopher seated in a beautifully decorated seat, clad only in
a himation, deep in thought after reading. One foot is ad
vanced and the other is drawn back. With the right hand
he probably was stroking his long beard, while the left hand
is restored with a roll. 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
in this statue or in that in the Capitoline Museum.188 A
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 "prob-
Arndt-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. Portrat-
statuen, 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
of the Greeks, p. 85, and Fig. 241. Cf. Hekler, Die Bildniskunst
dcr Griechen und Romer, pi. 102, for a bust of Hermarchus in the
National Museum in Athens; cf. Bernoulli, Gr. Ikon. II, pp. 139-41.
Cf. also for bust of Hermarchus, formerly in possession of David M.
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
or shrunken muscles and shrivelled skin of old age. The
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
tual force. It simplicity and pose as
has the same dignified
that of the famous portrait of Demosthenes in the Vatican,
as Miss Richter suggests, we can imagine that this
if,
and
represents Hermarchus at the time when he became head of
the Epicurean school in 270 B. C.1S5 would place the two
it
creations only few years apart. Very little known of
is
a
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 and he adds the assertion that he
;
was an eminent man. The fame of Hermarchus does not

seem to have outlasted antiquity and none of his writings
survive.
Theophrastus
The Villa Albani has very good portrait of Theophrastus,
a
the friend and follower of Aristotle.187 The character of the

head very different from that of Aristotle. One recognizes
is
an attitude of stateliness and smile of superiority which

a
tell us that he was man of great confidence, always carry

a
ing conviction, and that he was also agreeable, witty, and

cautious. The portrait rendered very realistically with two
is
horizontal and two vertical wrinkles in the forehead, and
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. X, 13. "* Diog. Laert. loo. oit.
1" Arndt-Bruckmann, pi. 231; Bernoulli, II, pp. 99-101, and
pi. 13.
OLD AGE IN 8TATUAHY 153
very deep lines under the eyes and around the mouth.
188
Diogenes Laertius tells us that Theophrastus died at the
great age of eighty-five and he adds on the authority of
Phavorinus that when he was very old he used to be carried
about in a litter.189
Comrades
In Holkham Hall is a brilliant portrait of an elderly man
with high, wrinkled bald pate, deep eye cavities with ex
pressive animated eyes.140 Poulsen 141 suggests that perhaps
the statue of the philosopher erected jointly by Attalus II
of Pergamum and Ariarathes V of Cappadocia which stood in
the Stoa of Attalus at Athens was the original of this statue,
for both of these princes had studied in Athens and had
attended the lectures of Carneades.142 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
was a man of such powerful voice that the president of the
Gymnasium sent to him once to desire that he would not
shout so loudly. Carneades lived to the age of eighty-five
148
years, and died from poison administered by himself.148
"'Diog. Laert. V, 11.

1M
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.
Diog. Laert. IV, 65.
144
144
Diog. Laert. IV, 3.
144
Diog. Laert. IV, 7 ; Lucian, Macroo. 20.
144
Diog. Laert. loo. oit.
Learning that Antipater had died from poison he felt a de

sire to imitate his mode of departure.
Antisthenes
The Vatican has a portrait of Antisthenes, the founder of
the Cynic school and the teacher of Diogenes.147 The mouth
is surly and all the lines combine to produce an impression of
moroseness, obstinacy, and peevishness. It is strange that
Plato developed from the teachings of Socrates the positive
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
aged. That he died from disease is stated by Diogenes
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.
53-55, and 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
us that he always had a shining appearance from his habit

of anointing himself,150 and that he was the first person to
it,
double up his cloak out of necessity to sleep on and to
carry wallet in which to keep his food.151 The Villa Albani
a
statue shows humpbacked, bald-headed man of cynical
a
expression, observing eyes, and remiss gait, but the muscles
of the chest and waist which are well modelled indicate
strength rather than physical weakness. The copies in
162 158
Berlin and in the Capitoline Museum are good old age
representations with very straggly beard and wrinkles, but
are less characteristic of Diogenes. Lucian 154 and Diogenes
155
Laertius are in substantial agreement as to the length of
Diogenes' life. The former states that he lived to the age of
eighty-eight, the latter that he died when he was nearly
ninety. Diogenes Laertius states that there were different
accounts of his death. Some said that he ate an ox's foot
raw and died others, among them Cercidas, Megalopolitan
a
;
or Cretan, said that he died of holding his breath for several

days while third account stated that he was bitten through
a
;
the tendon of his foot as he was distributing polypus to his

dogs. His greatest friends like Antisthenes sanctioned the
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.
tan Museum Studies, II, Nov. 1929, pp. 29-39. The Metropolitan
Museum has a small statue of Diogenes, but is a modern forgery,
it
dating from the late seventeenth or eighteenth century. Cf. The

Met. Mus. of Art, Cl. Coll, pp. 341-42.
1,0
181
"» Arndt-Bruckmann, pi. 325.
1,4
Lucian, Macrob. 20. 158
Lysias
The head of Lysias in Naples appears to be that of a man
wearied by many activities 158
if we may thus interpret the
sagging eyes and puffy cheeks. Three long wrinkles and one
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
very severely; the top of the head is entirely bald. The
profile resembles that of Aeschylus somewhat but the face
is narrower. Lysias died at the age of eighty-three.158
Isocrates
159
Pausanias 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 self-
restraint 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,
though the hair and beard are rather sparse.180 The fore
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
to Plutarch,181 or ninety-nine according to Lucian.182
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.
Plut. Vit. X Orat., Lysias, 9. "* Paus. I, 18, 8.
1.0
Arndt-Bruckmann, pi. 135; Bernoulli, II, pp. 14-16.
1.1
Plut. Vit. X Orat., Isocrat. 14. Paus (loc. cit.) mentions his
teaching till he was ninety-eight years old. "* Lucian, Macrob. 23.
Demosthenes
Many statues of Demosthenes have been erected but none
appears to have been so famous as that of Polyeuctus, the
style of which 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
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
have possessed to overcome his physical handicaps. Helbig 185
sees in the retreating underlip an indication of stammering.
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
Plut. Demosth. 31.

1M
For a discussion of the various types and possible restorations
of statues of Demosthenes cf. Chas. H. Weller, A. A. I (1914), pp.
47-50. The modern hands have now been removed from the Vatican
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.
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
nomy receive the clearest emphasis. The central wrinkles
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
also very definite. Casson maintains that this head must
be very near to the original because it resembles so closely
the Piombino amethyst which gives great emphasis to all
these details, and a gemcutter would naturally emphasize,
almost to exaggeration, the most characteristic elements of
his original. The head in the Ashmolean Museum gives
important information about the nose, for in the majority of
examples it has been restored. The nose turns crookedly
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
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. 138. Arndt-Bruckmann, pi. 136.
noticeable feature is the wrinkles running obliquely from the

corners of the eyes down the cheek. This herm as well as
the head 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
getic middle-aged orator.172 The Petworth head is very re
mote from any known original, for the cheek seems to
have been supported by the left hand.178 These variations
show that many portraits of Demosthenes must have been
cut in antiquity.174 Suidas 175 states that Demosthenes lived
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 a remarkable contrast to his more famous opponent. The
busts in Copenhagen,177 and in the Vatican,178 represent him
in the prime of life, with soft, plump cheeks, hair smoothly
rendered, and no indication of wrinkles. The standing figure
in Naples appears aged only in the fact that the eyes have
1,1
Arndt-Bruckmann, pis. 1118-1119. Cf. also pi. 1117 for a
Demosthenes head in Athens.
l"Arndt-Bruckmann, pi. 1120.
"* Casson, op. cit. p. 78, Fig. 5.
"* Bernoulli (II, pp. gives the various groups of known
66-84)
portraits. Cf. also Elmer Suhr, Sculptured Portraits of Greek
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. tospaathw-
Plut. Vit. X Orat., Demosth. 9.
"1 Arndt-Bruckmann, pi. 643. "' Arndt-Bruckmann, pi. 641.
a look of sadness and the mouth is sunken.179 A herm was

found among the marbles in the 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
appears to be accompanying his gestures with words. The
lower part of the body is draped, the upper part is nude
except for a portion of the mantle which falls over the left

1.0
J. H. 8. XXIV (1904), p. 92, Fig. 3; cf. also Miss MeDowall's
discussion of this herm, pp. 90-93. In general for portraits of
Aeschines, cf. Suhr, op. oit. pp. 36-38.
1.1 Christodorus, Ecphr. 13 ff.
1,8
Suidas, s. v. AUrxlvys.
," Arndt-Bruckmann, 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 _
shoulder. 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
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
a portion of the existing portraits of aged men produced from
the fourth century onward. The process of identification is
slow, difficult, and in 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
wrinkles.185 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.
As to the identity of this unknown Greek, it would be pre
sumptuous to essay even a guess. He does not appear to
belong to the class of peasants or fishermen who are so
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 (Poul-
sen, Jahrb. d. arch. Inst. XLVII (1932), pp. 77-78, and pi. 1 ;
cf. our Fig. 16).

In the Palazzo dei Conservatori is a Hellenistic portrait
herm, probably of the first century B. C, representing a beard-
1,1
Suidas, s. v. A.VKovpyot.
11
less man of advanced age.188 The style of the hair recalls

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 He is thought to be a philosopher. An early
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 bust which is commonly supposed to be that of
a Hellenistic ruler is found in the Vatican.198 It 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.
"'Casson, Cat. of the Acropolis Mus. II, p. 223, No. 1315.
Casson, Cat. of the Acropolis Mus. II, p. 222, No. 1313.
1.0 Cat. of the Museo Capitolino, Br. School at Rome, p. 355, No.
89; Bottari, I, p. 74.
1.1 Arndt-Bruckmann,
pi. 330.
1"Bernoulli, II, p. 16; Arndt-Bruckmann, pi. 588; Hekler, op.
cit. pi. 27 a.
"* W. Amelung, Die Sculpturen des Vaticanischen Museums, II,
Taf. 63.
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
warrior in Venice described by Overbeck.1" He is almost
reclining, but seems to be looking at his adversary with a de
termined glance as if he were almost ready to pounce upon
him. He wears a garment of strong, coarse material which
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
on account of 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
fore the Persian Wars; (2) the fifth and fourth centuries;
and (3) the later age. In the reliefs of tombs which date
before the fourth century the persons represented usually
merge their individual peculiaritiesand appear as types.
Portrait sculpture made considerable progress in the fourth
century, and from the fourth century onward funerary sculp-
Overbeck, Geschichte der Grieohischen Plaatik, p. 179.

ture shared this spirit and aimed at greater realism. Not

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
an armchair 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
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 The old man is standing in a position of ease
artist.
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
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
staff but 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.
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
son appear to be represented.197 The old bearded man (An
todicus) is clad in a mantle and leans on a stick as he ex
tends the other hand to his horse and to a man in a short
chiton and chlamys. On another stele in the Athens Na
tional Museum of similar style a bearded old man supported
on a plastic stick raises the left hand as if addressing a boy
189
who stands near.198 Conze 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 them. A large lecythus with a family picture
200
is also published by Conze on which are represented a
half-grown boy, a matronly woman, an old bearded man bent
over 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
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
high relief.201 The old man also has a bald head. Such
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 of the
aged man is emphasized by his seated position form the most
"7Conze, Die Attischen Grabreliefs, II,p. 215, No. 1011, Taf. 197.
"•Conze, op. cit. II, p. 217, No. 1022, Taf. 200; Mylonaa, B. C. H.
II (1878), p. 364, No. 2.
"•Conze, op. cit. II, p. 247, No. 1138 and Taf. 241.
"0Conze, op. cit. II, p. 243, No. 1126, Taf. 233.
"1 Conze, op. cit. lll, p. 276, No. 1263.
J numerous class. An excellent one representing an old father

'
and a warrior son is that of Procleides 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
as if bidding him farewell ;*" in a few instances it is a
woman to whom he extends his hand.204
Sometimesthe old man merely gazes thoughtfully at a
youth, without the support of his cane or his armchair. The
most beautiful example of this type is the stele found in the
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,
his hand on his chin. 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 (Theo-
dotus) extends his right hand to a bearded old man in a
"* Brunn-Bruckmann,pi. 518; Conze, II, p. 153, No. 718, Taf.

141; Winter, Jahrb. Inst. VI (1891), p. 153.
d. arch.
""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.
OLD AGE IN STATU AET 167
mantle, who is probably his father.308 On the lecythus of

Nausistratus and Promachus in the National Museum in
Athens an elderly man clasps the hands of a younger man
in a languid manner.207 The energy of movement of the
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
loss of a loved one.
The occupant of
an expression of the needs of the departed.208
the tomb was represented as surrounded by slaves and taking
part in a great banquet. The Greeks made a stele that
would show a man's occupation. In the fourth century the
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
thenon frieze
Lysippus. The Greeks were not interested in representing
faces drawn with suffering and covered with tears, but rather
sympathy and affection. The Romans were different. Their
thoughts of conquest are revealed in their huge stone sar
cophagi, which though beautiful are less apt.
After the death of Alexander, the Greek world was under
going great changes in thought, language, and society. It
was a strange, rushing life, leaving far behind it the quiet
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. This age profited by its glorious heritage;
it used the ideals of the past age, but applied them to changed
conditions. The sculptors of this age represented men just
as they lived and walked among them, giving the characteris
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 the Poet, X
of
(1911), pp. 203-12.
168 OLD AGE AMONG THE ANCIENT GEEEK.S
in Dresden.20* 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
as is characteristic in the Hellenistic age. The emaciated
neck and stammering tongne are also masterly effects. The
grotesque exaggeration of natural defects was very popular
in Alexandria. A cap fastened in front by a knot bedecks
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
see
of this type.210 She squats on the ground and raises a wine
flask in an almost convulsive rapture. The right hand holds
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
fourth finger of the left hand a ring is visible. The original
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.
i11
Pliny, .V. H. XXXVI, 32.
"• Cat. Museo Capitolino, Br. Sch. at Rome, p. 590, Fig. 191.
ing the products of her farm for sale.218 This is a Hellenistic

original and not a Roman copy as so many believe. The
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.
214
Chase believes that 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
spite of bodily decay. The mantle is thrown about the
body with the disorder appropriate to a low condition of life
so that the right breast and side are exposed. She is slightly
bent and leans on the staff for assistance. The look in the
eye is acute but kindly and she looks 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
be that she is intended to be a peasant woman.218 An old
woman in the Capitoline Museum is looking to the left with
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. The statue
evidently formed part of a genre group. We do not find
"'Brunn-Bruckmann, pi. 730; Lawrence, Later Greek Sculpture,

pi. 68. Cf. our Fig. 23.
*" 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.
VV.
Taf. 74; Lucas, Jahrb. d. arch Inst. XV (1900), p. 41.

698, No. 580,
'"Cat. Museo Capitolino, Br. Sch. at Rome, p. 288, No. 22;
Bottari, III, p. 62.
old women portrayed in sculpture in the round until the

Hellenisticage, while in vase paintings they appeared at about
the same time as old men. However, as soon as sculptors be
came interested in the portrayal of the wasted female form
they found a fertile field of endeavor, and examples of old
women in sculpture are much more numerous than on vases.
This is also due to the fact that Greek activity in vase paint
ing came to an end at about the time that sculpture began to
essay these types. 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
on coins, and are considered briefly in the next chapter.
Antiochus and Antiochus III, however, are represented by
I
very realistic portrait heads, the former in the Vatican and
the latter in the Louvre.219 The Vatican head shows deep
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 for Caesar, but has
none of his air of superiority. It 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
flowery meadows. In the smaller works we often get a fresh
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 (1930), pp. 21-22,
and Figs. 9-10; and p. 24, and Figs. 11 and 12.
O
« ft
a q
S s :c
iJ w .«
2 .<
9 S :=
o||
5 to E
s i
v~
r;
d 1
The old fisherman in the Louvre deserves careful study on

account of its truth to nature.220 The head is the coarse
peasant type with every wrinkle visible. The nude body
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
bringing part of the body into play to accomplish the
every
desired result. The expression of the dark eyes is that of a
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. Brunn-
Bruckmann, 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.
a gigantic the king of the waves, the hair

head of Acheloiis,
encircled with a crown made of vine branches and of beauti
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 There is also preserved the lower
part of a man's statue which is standing with the left foot
advanced. Cumont conjectures that this statue represents
Heracles supporting with the left hand his club on the head
of Acheloiis whom he has killed. In Ince Blundell Hall is a
colossal head of a water god which, like the head in the
Vatican, probably 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
furrow the brow give it an aged appearance. In the
across
same mansion is a bronze mask of a water god with the
corners of the mouth drawn down, thus producing the effect
of sadness.227 The spirit is Greek and the idea of trans
ferring an expanse of sea into human form is a Greek crea
tion, but works of this kind continued to be made in Roman
times in countless numbers.
The Hellenistic Nike
age was the age that produced the
of Samothrace, the great altar of Pergamum, the Aphrodite
of Melos, the peer of all women in beauty, but the same
accurate observation which allowed it to produce these types
also permitted it to bring to perfection the aged peasant and
the toiler on the sea.
2'*
Lechat, Sculptures Grecques Antiques, p. 202, No. 99.
"•Cumont, Musies Royaux du Cinquantenaire, p. 19, No. 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
because lessdignity is expected and consequently more free
dom permitted. This is especially true of a study of this
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
has 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
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
chiton. The grotesque figure of a decrepit old woman por
trayed in a sitting posture is quite a common mode of repre
sentation.8 She usually has large pendulous breasts, thick
lips, and prominent cheek bones. Among the terra-cottas in
the British Museum is an old woman in bed.4 She lies on her
leftside, 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-
1 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,
Taf. 82, 2.
* Walters, Cat. of Terra-cottas in the Br. Mus. p. 204, No. C 208.
173
tesque, big-bellied old women often veiled or draped. The

creations of comedy certainly had a great influence on these
representations. In Professor Robinson's recent excavations
at Olynthus many terra -cottas have been found, some of which
belong to our field of study. Olynthus appears to have been an
important centre for the manufacture of figurines. In one
room of a house were found several moulds which seem to
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
the furrowed lines of age distinctly. She is draped in a
himation which falls to the ground both at the front and
rear. 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
of the Hellenistic motive of the drunken old woman in
marble. The head is bent and has almost no neck. The
face with long eyebrow ridges and thick mouth.
is wide,
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
•
D. M. Robinson, Excavations at Olynthus, Part TV, The Terra
cottas, p. 70, pi. 38, No. 364. For parallels to this figure cf. Winter,
Typen, II, p. 421, No. 8; Dumont-Chaplain, Les Ceramiques de la
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, GEMS, COINS, AND INTAGLIOS 175
mask. Since figurines were so small and so easily trans

ported, they are likely to show considerable foreign influence
also. Sometimes an elderly female actor occurs with long
hair and long chiton.8 Comic masks of old women also
appear with open mouths, shaggy eyebrows, and high cheek
bones.10 In the Louvre is an old woman with the head of
a sow who plays on a dulcimer with her forked 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
chest with an expression of affected shyness.18 These prob
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
effect and for this reason old nurses and pedagogues are a
favorite type. An old woman in Madrid is seated on a cubic
seat holding in her left arm a child.14 The old woman has a
badly proportioned head, deeply sunk eyes, puckered eye
brows, and hair that is quite prominent around the forehead
and on the temples. She resembles an old woman in the
British Museum who is seated on a cushioned seat and holds
a child.15 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
Heuzey, Les Figurines Antiques du Musie tlu Louvre, p. 30, pi.
55, Fig. 2.
12
Heuzey, Les Figurines Antiques du Musie du Louvre, p. 18, pi.
27, Fig. 1.
" Heuzey, Les Figurines Antiques du Musie du Louvre, p. 28, pi.
51, Fig. 4. 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.
smiling face, and thick curling hair. It belongs to the

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
another.18 At Olynthus was found a terra-cotta 17
representing
a nurse with The nurse's head is missing.
a baby. She is
well bent over and heavily draped. Old women do not occur
very frequently on gems, and when they do they are more
dignified conceptions, 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 II
age since it agrees with her more youthful portraits on coins.18
A veil covers the back part of her head, and a band encircles
her head. The great eyes with slightly drawn eyebrows are
strikingly rendered. It is an excellent Hellenistic work.
A typical example of the old pedagogue with child is a
afforded by a terra-cotta in Madrid.18 He stands with one

leg bent, his back a little humped. The skull appears quite
bald but the lines are not very distinct. He is clad in the
talaric chiton and himation, but his feet are bare. Perhaps
even more characteristic
is the old pedagogue described by
20
Pottier 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
treated with a slight spirit of caricature as on the vase paint
ings of the red-figured style, but are often carried to the
point of exaggeration. This old man wears a bonnet of
21
exotic form. Heuzey figures a curious representation which
" Walters, Cat. of Terra cottas in the Br. Mus. p. 438, No. E. 30.
" D. M. Robinson, op. cit. p. 76, pi. 41, No. 378.
" Furtwangler, Antike Gemmen, II, p. 154, Taf. 31.
18 Laumonier, Catalogue de Terre Cuites du Musie de Madrid, p.
18, pi. 9, No. 1 ; cf. F. Winter, Die Typen der figiirlichen Terrakot-
ten, II, p. 403, No. 5.
,0
E. Pottier, Les Statuettes de Terre Cuite dans VAntiquiti,
p. 149.
81
Heuzey, Fig. Antiq. du Musie du Louvre, p. 30, pi. 56.
TEEEA-COTTAS, GEMS, COINS, AND INTAGLIOS 177
is characteristic 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
boys. 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
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
figure.28 Unfortunately the band around his head does not
reveal his identity. De Eidder 24 lists the bust of an old man
whose skull is entirely bald. An archaic terra-cotta relief in
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 Gems in the Br. Mus. p. 67, No. 323.
" Sieveking, Die 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,
p. 46, No. 74; cf. Georg Lippold, Gemmen und Kameen dee Alter-
tums und der Neuzeit, p. 67.
"Walters, Cat. of Terra-cottas in the Br. Mus. p. 135, No. B 376.
"Furtwangler, Antike Gemmen, II, p. 135, Taf. 27.
•7
Furtwangler, Antike Gemmen, II, p. 141, Taf. 28, No. 47.
"Furtwangler, Antike Gemmen, II, p. 141, Taf. 28, No. 48.
"Cf. Furtwangler, Antike Gemmen, II, p. 141, Taf. 28, Nos. 45
and 46.
12
A terra-cotta in Madrid represents little old man;

a nude
bent over, with a great bearded head and large nose.30 One in
the Louvre represents a grotesque old man, supporting him
self on his stick,31 and several from Olynthus (for one ex
ample, cf. our Fig 22) belong to this class of grotesque old
men. A very careful Hellenistic terra-cotta in Madrid
represents a hunchbacked old man.32 His abundant beard
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,
wearing 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
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 Some of the tragic masks of elderly
•0
Laumonier, Catalogue de Terres Cuites du Musie de Madrid,
p. 19, pi. 19, No. 19.
81
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,
p. 63, pi. 11, No. 23.
" D. M. Robinson, op. cit. p. 88, pi. 45, No. 406.
" D. M. Robinson,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,
Antike Gemmen, II, p. 196, Taf. 41, No. 14.
E a
ib a
8.9
8 8 1
<N j
E-
C
pa
c
w
t-
p
►j
>.
a
c
p
a
/V
TEREA-COTTAS, GEMS, COINS, AND INTAGLIOS 179
men resemble the heads of silens or the bearded heads of

Acheloiis. The head of Acheloiis, which occurs on coins,37
80
bronzes,88 and gems is that of an elderly man with flowing
hair, except for the projection of horns. Some are gro
tesque, 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
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
a mould for a seated papposilenus 41 holding a child (prob
ably Dionysus), which belongs to the first half of the fourth
century B. C. He is a fat, bald-headed, almost bow-legged
creature, clad in long trousers and shaggy chiton, and his big
head with small eyes bends tenderly over the child.
Mythical scenes involving the portrayal of aged figures
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,

*7
part 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-
rum ', p. 282. These range in date from the fourth to the second
century B. C.
"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.
Bieber, Die Antiken Sculpturen und Bronzen des kSniglichen
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. p. 28,
No. 32.
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
quadriga is holding fast the arm of Persephone." The chla-
mys is thrown up over his head. In the Louvre is a small
piece of delicate workmanship representing the figure of a
winged woman supporting a medallion with the bust of a
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
long sleeves and patterns of rings, and shoes. His hair is
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
the back of Aeneas.47 These extend in date from the end
of the sixth century to far into the Koman Empire. Anchises
is usually bare-headed and wears the chlamys. These occur
most frequently on coins from A'vaa which, 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.

" Musie 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.
212; Max Bernhart, Antike Miinzbilder, p. 215; Head, Historia
Numorum*, p. 189; Furtwangler, Antike Gemmen. p. 137, Taf. 27,
No. 55.
4' Cf. E. Babelon, I, Part 2, p. 1111, No. 1556, and pi. 49, Fig. 15.
A
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
few are represented as elderly personages. One portrait of
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
Alexandrian in all
age when the ideal gives place to the real
departments of art we note still greater variety and expression
of feeling, often carried to the point of exaggeration in facial
features, 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.
" 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.
For portraits of Hellenistic kings on coins, cf. Guy Dickins, J. H. 8.
XXXIV (1914), pp. 293-308.
"Macdonald, Greek Coins in the Hunterian Coll. II, p. 326, No.
11; p. 374, No. 164; L. Forrer, The Weber Coll. lll,
part 1, p.
322, No. 6279, pi. 221 ; John Ward, Greek Coins and their Parent
Cities, p. 103, No. 669.
"Macdonald, Greek Coins in 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
old satyrs.Similarly the author of the Etymologicum Mag
num 2
says that aged satyrs are called sileni, and Servius '
says that sileni before they grow old are satyrs. 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, and tasted the wells according to age.
The satyr's well for the young, Pan's for the middle-aged,
was
and that of Silenus for the elderly. In another instance *
the silens are described by Lucian as bald old men with snub
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, are mentioned in the Hymn to
Aphrodite.'' But their influence in literature is chiefly in
1
Paus. I, 23, 5 ; cf. Frazer, n. ad loo.
'S.v. 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
acters were often on the stage bald.
brought Such were
—
parasites, buffoons, and jesters a convention which has sur
vived until today. 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
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
of low cunning. Artemidorus 10 supposes that if ever one
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 served to enhance this
effect.
A black-figured cylix in the Bibliotheque Nationale repre
sents five silens picking grapes.11 Two are dancing, a third
is holding on his shoulders a fourth who is picking grapes,
and the last is turning upside down a basket full of grapes.
Two of these silens are bald, the beard and the hair on the
•Cf. Arist. Peace, 767; 771; Plut. Mor. II, 634 d. Cf. also above,
p. 9.
" Artemidorus, I, 42.
• Horn. II. II, 216. 11 De
Ridder, II, p. 224, No. 324.
nape 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
British Museum contains a frieze of five silens.14 Two are
standing around a crater. One of these has white hair and
beard and is playing on a double flute. Others are playing lyres
or running. On a black-figured amphora in Bologna, Diony
sus stretches out his goblet to a silen who is nude and partly
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
on the lyre with a plectrum. Behind him is a maenad in an
12
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.
A. Brit. Mus. lll
H e, pi. 34, 1 a and 1 b.
15 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.
lll H e, pi. 74, 1.
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
is brought into connection with silens and nymphs in the
Hymn to Aphrodite 18 he does not appear in this relationship
on vases until the time of the transitional style.
In the older period age differences are not so clearly
shown. By the time of the fine style in the middle of the
fifth century there comes a greater difference, and from the
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
favorite type for this purpose. On a red-figured cylix in
Wiirzburg by Epictetus a white-haired silen is squatting
in a meditative attitude, with the expression of disgust so
characteristic of silens.19 A plate in Berlin (2315) signed
by the potter Sosias represents an old silen crouching, with
hands laid upon the knees to produce a comic effect.20 The
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
toward him. In Boston (13.193) is a vase by Euthymides
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.

" Hoppin,Handbook of R. F. Vases, I, p. 336 ; Nichols, A. A. J.
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
(1878), p. 142, pi. 25. "
De Ridder, II, p. 504, No. 852.
" Ann. Rep. Mus. F. A. 1913, p. 89 ; Hoppin, R. F. I, p. 440.
Beazley, V. A. p. 31, Fig. 15.
him with unusually deep wrinkles. 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.
These inseparable boon companions of Dionysus usually
appear in a state of intoxication or as the personification of
coarse and gross sensuality 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
The central figure is a silen dressed as a herald in a chlamys,
petasus, and high endromides. Two silens advance from
either side toward one who has fallen backwards on his fingers
and toes with a cantharus; a silen on the right pours wine
from an oenochoe into the cantharus. The other holds for
ward another cantharus. Farther along we see two silens
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
mouth into a cylix resting on the ground. The other strides
toward him holding his left hand far back behind him and
extending the right hand admiringly. Another silen has
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,
and from an oenochoe by another. It is interesting to note
that all the silens except the herald and the last described
are bald on the crown, and all except the one wearing a wreath
have a fillet fastening the hair in a knot behind. The ana
tomical knowledge is precise and certain. The physiognomy
of the silens is a little bestial, but malicious and amusing —
an impression which is increased by the marks of age.
"F. R. Taf. 48; Hoppin, R. F. I, p. 243; Pottier, Douris, Fig.

14; Hartwig, p. 226; Per. and Chip. X, p. 529, Figs. 296-7;
Buschor, p. 175, Fig. 125; Buschor, Jahrb. d. arch. Inst. XXXI
(1916), p. 80; C. V. A. Brit. Mus. IIl, I c, pi. 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 an old bald silen who has an oenochoe
and blazing torch.25 On a vase in the Bibliotheque Nationale
an old silen with arched eyebrows and short beard is holding
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 wine.27 A
very beautiful cylix in the British Museum rep
resents seven silens, all of whom are bald on the forehead
and crowned with drunken gestures.28
with ivy, revelling
One sits on the ground dangling an amphora in the air and
throwing up the left leg. Two carry amphorae on their
shoulders. The remainder are represented in other intoxi
cated attitudes. The form of the skull with very high cra
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
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, p. 37, No. F 46.
" De Ridder, II, p. 495, No. 845.
" Smith, Cat. IIl, p. 79, No. E 55.
•t Smith,
Cat. IIl, p. 61, No. E 35.
"Hoppin,R. F. I, p. 206; Beazley, V. A. p. 52; Hartwig, p. 385
(attr. to Foundry Painter).
*0 Furtwangler, Beschreibung der Vasensammlung, II,
p. 632, No.
2337.
" Pellegrini, op. cit. p. 48, No. 152.
..
while another silen dances in a disorderly manner, waving

his arms violently. An old bald-headed silen on a scyphus
in the Bibliotheque Nationale is holding a cantharus and wine
skin.32 His hair is collected at the back of his neck and
this, as well as his beard, is fringed at the ends. On a cylix
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
a pointed amphora.83 His arms are in a grotesque attitude
and he appears about to rise. He has heavy eyebrows and
very abundant black beard. His mouth is open and he
appears to be emitting a peculiar sound. Another cylix in
Boston,34 painted by Epictetus, represents a bald-headed silen
riding on a wine skin, and holding a horn. 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
oenochoe 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
"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
skin and oenochoe; the celebe in Bologna (C. V. A. Bologna, III
I c, pi. 30, 5) representing a bald silen holding a wine skin and
thyrsus; the hydria in Bologna (Pellegrini, p. 57, No. 168) repre
senting two intoxicated silens, one of whom carries a wine skin
while the other extends a hand to his companion ; the scyphus in the
Bibi. Nat. (De Ridder II, p. 500, No. 849) representing a bald-
headed silen holding a cantharus and thyrsus; a lecythus in Berlin
( Furtwangler, II, p. 689, No. 2469) where a silen with a small bald
spot is striding along with a wine skin and cantharus.
"Hoppin, R. F. I, p. 424; A. H. Meier, A. Z. XLIII (1885), p.
179, pi. 10; 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.
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
wine skin which he back with his right
balances on his
hand.38 The bent figure creates an impression of age. Some
times we have a bald silen going to a fountain as if to
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
wild and pathetic voice of wind instruments. Then, at some
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, p. 337; Beazley, V. A. p. 131.

"Hoppin, R. F. I, p. 407; Jahn, Philol. XXVI (1867), p. 230;
Hartwig, p. 131.
" Hoppin, R. F. I, Beazley, Att. Vasm. p. 109. With refer
p. 466 ;
drinking Pausanias (III, 25, 11-18) says
ence to the silen's love for
that there was at Pyrrichus a conduit in the market place which
they believed that they owed to Silenus.
" Farnell, 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.
A. Brit. Mus. IIl I c, pi. 19, 3 b).
s
tionale.42 On Nolan amphora from the Hope Collection n

a
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
sus. The mule and the donkey often appear because they are
the customary animals for carrying burdens. On a lecythus
in Berlin are two silens painted wholly white who dance in
the opposite direction both turning toward one another and
"De Ridder, II, p. 317, No. 426; cf. a bell-crater in the Brit. Mus.
(Walters, IV, p. 51, No. F78) representing a silen partly bald hold
ing a tympanum; and a r. f. oxybaphon in Bologna (Pellegrini, p.
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 24.
Old Silen Playing Double Flute and Maenad. Amphora in Munich.
Furtwlngler-Reichhold, QriechUche Yaacnnuderci, pl. 46.
FlgVRE 25.
Old Silen on a Scyphus in Professor Robinson's Collection.
Courtesy of D. M. Robinson.
rtasmr ax n-w.* TrWr ai;i mm. TT.irS" -ins in
— HieL t- ^npr wm vetc nwn>°- jim. ~nif ^mnmi - nf

h°t^ Tl;m— nf ~t>^tt Iir -fn* wtt IE Hi??.
AT V-T^l 31ilt5HiiLS n**TT ~Ti» T:mi»"»:iiR "iw nf aiiSL

rn tubs ni rsi-inr?i ^ ^.
~ i"'in tL—
' i:rvi t -o=rr jrjH laiir sine '±£sssr zr 'ait 3s
'
H at ~—
mi: cf T^fix. ii"^"mn,.i> -phiwiiii r.i. nf
'
KTir inf g THE! «mf ~ILXT

tf»Tiy snjCTL *~~ 1 *»'£
g i°T^ ^msnhbi as* T'mwf cnasfj-r mpwJwr- 'fiHJL "^h^
OBllHt. mif jHHfjx ZL 9B33Ii£ W- IE ~Trm gTT-Ji -ftSt "*"il£

T:b„l f nf -UK- frTun EEUSS Vti 1i tH»~;rTfT ~L Tii-liwr." Iif- ait
7T:h°Trnr», 1T Uit fijHL » J. £ SJinT EDX "il"1
nnrâr™ issnxrs b » ar hie: mm tl Kiirast
m.
dL
<" Joe. i-£ . T"e -32c i» TurnrifL -nEira n itinr -a* imx
» liwiy s 7<assZu£ ±i 2k zr^seii!* nf -ait TiEnrnrj mwrraf
ct a irift T?l~— inrrei Brrzcna zx "zeh- Z". M HLaizDsn: Oil—

j*r'Dia ra. j-.iel r- "±a H:ck±iff Xusreh. Jfx. i-T i
:rBf i -rr:C '.r -±k XaBUT-- C»:i; '.rvj n 2* nHnli
rrtEV.ni. -fi* iivtx*ji t~* t^zirjs: ,ei~?»L7" zaLz. '~i bl umzaarx
TT TTo- J,J; a;iirtnii X'y'7'"t~ T*<fn-rîn 3HBS-
SSt?: »d a g>ii>» it ?»£jatrrnx Ml Sl i«t «y

»Ci ZiattHy. .5 rt rm ?. 2*:: I*t Kate H 7. «1T. 5^.
iir m -not: wmr" anr nii,«r. amt si»ac uf rranasicxLus.
A
AGED SILEN8 AND CENTAUBS 191
raising an arm.48 Their snub noses and 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
representations on vases of the red-figured Hieron al
style.
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 Euphro-
nius 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
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 as possible in the presence of the haughty maenad
cause his forehead to become puckered into deep wrinkles.
Few old silens 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. On an amphora
in the Bibliotheque Rationale representing
Dionysus, mae
nads, and silens, one of the silens is a hunchback with flat
48
Furtwangler, Beschreib. der Vasensammlung, II, p. 523, No.
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.
nose, bald head, and large chest.60 A red-figured amphora in

Tarquinia (6845) Phintias, representing a revel of silens
by
and maenads, shows several 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
to Cleophrades containing frieze of Dionysus, silens, and
a
maenads is one which Furtwangler 68 calls a work of the first

rank. Dionysus in the center holding a branch of grapes
is surrounded by group of obtrusive silens and maenads.84
a
One of the silens blows the shrill flute with great zeal, drawing
the 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
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
peplos. On either side of her several of these lusty wood
spirits dance gaily. Beazley57 calls it a "woodland counter-
"De Ridder, LT, p. 258, No. 357; cf. a vase in Bologna (Pelle
grini, p. No. 310) where Dionysus is holding a cantharus
153,
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.
" Furtwangler-Reichhold, I, pp. 233-5, and pis. 44-5.
"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.
153; Bienkowski, Oesterr. Jahreshefte, III (1900), pp. 70-71;
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;
Hoppin, R. F. II, p. 339. Beazley, V. A. p. 130, Fig. 81.
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.68On the opposite side a
nymph meets silen
an obtrusive 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
(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 Oes-
terreichisches 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, bald-
headed silen wearing a garland of berries on a bell-crater
by the Nicias Painter from the Hope Collection is crawling
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 K. K.
Oesterreich. Museum, p. 54, No. 340.
" Tillyard, The Hope Vases, p. 90, No. 150.
13
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 bald-
headed 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
nose that is almost lacking and raised eyebrows. A cylix in
the British Museum (E 815) by Pamphaeus shows a dance
of silens and maenads.65 One of the silens holds a keras and
looks toward 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
at the ends. In 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, one arm on
the maenad to stay her advances. She has almost touched the
torch to his bald head. His beard is very shaggy and hi9
thin hair bears an uncouth appearance. "Der Meister
mit dem Kahlkopf " 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, Cat. dei Vast Dipinti, p. 199, No. 415.

" Pellegrini, 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, II, p.
193, 1-2 ; Wieseler, Theater geb. pi. 6, No. 5.
" Hartwig, pi. 43.
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
nich.68 Three silens are partly bald, and one who is on the
point of grasping a maenad is completely bald. On another
vase in Munich representing a Bacchic thiasus, Dionysus is
holding a cantharus in one hand and a branch in the other
and looking back toward an aged silen and maenad.68 The
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 ephedris-
mos,70 which is described by Pollux.71 On no other
a game
monument does one see this game so plainly as on this beauti
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 white-
haired, bald-headed silen with a spear and panther's skin.72
The Trtpifaiia (apron) and corselet which he wears lead us
" F. R. pi. 46.

" F. R. pi. 44.
" Marburger Jahrbuch fur Kunstwissenschaft, V, p. 5, Fig. 7.
"Pollux, IX, 119.
"Hoppin, R. F. I, p. 48; Hartwig, pp. 636-7, Fig. 69.
to think that we have here a scene in a play. His arms are

drawn up in ridiculous attitude which may be intended to
a
represent cowardice. In Harrow (55) is an amphora by the
Cleophon Painter of the ripe archaic period representing two
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
more grotesque. Four satyrs on a calyx-crater in the British
Museum (E 467) by the Niobid Painter appear to be playing
some game in which two ride on the shoulders of two others.74
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 and licentious silen
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
the sculptors could take for models. On a vase in Berlin of
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 a beast's skin is resting on a rock on a celebe
in Bologna.77 Dionysus approaches from a distance. In the
Hope Collection (Tillyard, p. 85, No. 142) was a bell-crater

representing a silen sitting on a leaning his back
rock
against an amphora, and playing the double flute with dis
tended cheeks. He is naked, bearded, and a little bald. A
maenad stands beside him.
On earlier vases we occasionally find here and there the
"Hoppin, R. F. II, p. 142, No. 17; J. H. 8. XXXVI (1916), p.

123, pi. 6, Figs. 1 and 2.
"Hoppin, R. F. II, p. 239; J. H. 8. XI (1890), p. 278, pis. 11
and 12; Petersen, Rom. Mitt. XIV (1891), p. 273.

"Pollux, IX, 119.
Furtwanglcr, Beschreib. der Vasensammlung, II, p. 690, No.
2471.
" Pellegrini, p. 71, No. 190.
Figure 2(5.
Papposii.f.nus and the Infant Dionysus. Crater in

the Vatican.
Furtw&ngler-Reiehhold, Griechische Vasenmalerei, pi. Ifi9.
fi
i 1
AGED SILEN8 AND CENTAUES 197
whole body covered with hair which may be taken as the

forerunner of the papposilenus type. On the archaic vases
the papposilenus lacking and the bodies of the
is entirely
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
his hand to a low altar containing cakes and bread on a late
red-figured vase in Naples.™ 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
on another vase in the same museum.81 The silenus is a
shaggy creature wearing the white-sleeved chiton and anaxy-
rides, 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 infant Dionysus is a frequent motive. This brings
forward 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
age depicted in every movement.83 A nymph supports his
shoulder and upper arm by both her hands as if to steady
" Cf. Cornford, Origin of Attic Comedy, p. 184.

" Heydemann, DieVasensammlungen 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.
**
Artemidorus (II, 12, 97), calls him fiturm Satpuv.
" 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).
him. 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 benevolent, fatherly expression. Another nymph
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
a bald-headed silen playing on the six-stringed lyre.84 There
comes at the right with lingering weary step a gray-haired
silen, wearing a knotted chlamys and deer skin. His left
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 a red-figured
vase in Naples a bearded papposilenus with a wine skin is
walking gaily to the left supporting himself on a staff in the
presence of Dionysus, Ariadne, and a small Eros.85 On
another vase in Naples a white-haired papposilenus fingers a
string of pearls as he springs gaily in front of a maenad
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 The boy has pointed satyr ears but
is still without a 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.

2402.
" Heydemann, p. 563, No. 3249.
" Heydemann, p. 609, No. 3382.
" Furtwangler, Beschreib. der Vasensammlung, II, p. 725, No.
2550.
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
silen with white beard and tail.88 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
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, R. F. I, p. 179.

"Tillyard, 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
amphora in the Brit. Mus. (C. V. A. Brit. Mus. lll
I c, pi. 65, la)
representing an old silen in a himation.
and mock tail, impersonating a silen.92 A very bald-headed

silen with thin long beard stands in an intimidated attitude
before Heracles 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
papposilenus dressed in theatre costume, surrounded by three
maenads and two dancing silens.94 A cylix by the Brygos
Painter in the British Museum represents a satyric drama in
which Hera, Iris, and silens take part.9* All the silens wear
ivy wreaths and all are very bald. A silen with one foot on an
altar leaps forward to seize Iris, while two other silens also
rush toward her. On the other side four silens advance to
seize Hera and are confronted by Hermes.The last silen in a
crouching position on all fours reveals his bald head very
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
altar, thus producing a comic effect.98 Dramatic art has a

psychological motivation which causes it to work more endur-
ingly 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
sonating the foibles and weaknesses of old men.
" 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.
"
Furtwangler, Beschreib. der Vasensammlvng, n, p. 714, No.
2534. crater in the Bibl. Nat. (De Bidder, II, p. 305, No. 415)
A
resembles this except for the presence of Athena.
"Pottier, Vas. Antiq. Louvre, III, p. 274, pi. 151; Beazley, V. A.
p. 402, No. 9.
"Hoppin, R. F. I, p. Ill;
F. B. pp. 238-42, pi. 47; Beazley,
V. A. p. 189; Bayet and Collignon, p. 197, Fig. 77; Per. and Chip.
X, pp. 563-4, Figs. 322-4.
M Furtwangler, Beschreib. der Vasensammlung, II, p. 704, No.
2523.
AGED SILENS AND CENTAUE8 201
In Marsyas who is always represented as a silen we find the

Greek silen blended with a Phrygian river god. He pos
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 Polygno-
tus 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.
" Furtwangler, Beschreibung der Vasensammlung, II, p. 748, No.
2638.
"Heydemann, p. 450, No. 2991.
100
E. Kuhnert, s. v. Satyros in Roscher, Lex. der Griech. u. Rom.
Myth. IV, p. 495.
101 Walters,
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.
which dates earlier than the others, about the sixth century
B. C, representing an old silen with bald and flattened skull
in 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 a spirited animal. Masks of aged silens are rather
numerous. 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
give the impression of senility.100 A terra-cotta of poor work
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, a benevolent aspectmay be emphasized by white hair
and a kindly smile. Three terra-cotta figures in the British
Museum represent Silenus with the infant Dionysus. One
shows 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
1M
De Ridder, Les Terres Cuites et les Verres, p. 43, No. 66, pi.
1; cf. Walters, Cat. of Terracottas in the Brit. Mus. p. 118, No.
B 276.
Sieveking, Terrakotten im Sammlung Loeb, I, p. 4, Taf. 6, 1;
104
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; Pot-
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.
with his left hand and supporting a pitcher on his head with
his right hand.108 A wrinkled forehead and shaggy beard
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
is 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
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 see the silen on coins
110
either alone 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,
mountain-dwelling creature, but in the fourth century we
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
"• Walters, Cat. of Terracottas in the Brit. Mus. p. 214, No. C 281.
109
Walters, Cat. of Terracottas in the Brit. Mus. p. 225, No. C 406.
110
Cf. Barclay V. Head, Historia Numorum*, p. 211; L. For-
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
118
der Sammlung War-
ren, p. 82, No. 505.
114 Imhoof-Blumer,
Kleinasiatische Miinzen, III, p. 483, No. 31.
in Sicily.115 He is very bald and the eyebrows are puckered

considerably. 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
ness. A gem of the fifth century in the British Museum
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 work, repre
sents a bald-headed silen stooping wearily over a 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 condition,holding the
thyrsus and wearing a mantle, boots, and ivy wreath. Old
age is verydistinctly 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
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
George F. Hill, Select Gr. Coin*, p. 35, pi. 1, No. 1.
1X8
Beazley, The Lewes House Coll. of Anc. Gems, p. 10, No. 15.

118
1.0
1.1
I
and holding a crater before him in both hands.122 The

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
the old silen was very hairy. In Berlin is a bronze figure
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. It is not until the second half
of the fourth century that we note the appearance of an
elderly silen on a monumental structure. On the frieze of the
choregic monument of Lysicrates, dating 335-334 B. C. por
traying the chastisement of the Tyrrhenian pirates who had
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.
1M
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
M. Bieber, Die Antiken Skulpturen und Bronzen des konig-
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.
VIII (1893), pp. 42-55.
against the giants; and finally when Dionysus is carried off

by pirates he sets out in search of him.
In sculpture the representations of the mythical contest be
tween Athena or Apollo and Marsyas occur in several copies.
On the reliefs from Mantinea, now in the National Museum
at Athens, the violent blowing
of the flutes produces deep
wrinkles in the brow of Marsyas making him look like an old
man.128 In the statue in the Palazzo dei Conservatori the
artist has chosen moment immediately preceding the
the
flaying inflicted for his failure in the musical contest.129 The
twisted mouth, swollen veins, and the tension of the chest
and ribs make it a masterpiece of mental and physical agony
springing from defeat as well as from the dread of approach
ing torture. In the Roman copy of the famous statue of
Marsyas in the Lateran by Myron, where he is drawing away
from Athena, the brow is very wrinkled and the hair quite
bristly.180 Like the Discobolus it shows Myron's predilection
for representing intense action, but the Marsyas is later than
the Discobolus because in the latter the expression of the
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
several of statues of the hanging Marsyas.
copies The type
is perhaps most clearly shown in the copy in the Capitoline
Museum but two similar torsos in the Boston Museum of Fine
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 Brunn-Bruckmann, pi. 468.

1,1
Cat. of the Palazzo dei Conservatori, p. 165, No. 18.
1.0 Brunn-Bruckmann, pi. 208. Cf. Lawrence, Classical Sculpture,
pp. 180-1.
1.1
Gr. and Rom. Sculpture in Am. Coll. pp.
Chase, 124-5; Cat.
of the Boston Museum of Fine Arts, p. 64, No. 82.
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 a new type in sculpture.183 The Bacchic
quality is lost and fatherliness, mildness, 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, while the old bald head 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
"•Johnson, Lysippos, p. 184.
1.4
Johnson (loo. cit.) lists the known copies.
1.5
1M
Furtwangler, Beschreibung der Glyptothek, p. 221.
1" Brunn-Bruckmann, pi. 198 ; Amelung, Die Sculpturen des
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).
heavy beard as indications of age.188 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
Palazzo with tangled beard, bushy brows,
dei Conservatori
and thick, flat nose.189 The old ivy-crowned silen in Deep-
dene is holding a goblet in his right hand.140 Another Hel
lenistic statue in Deepdene represents a silen making a
parody of Heracles.141 He would resemble the Farnese Rest
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
slung about the middle of the body increases the realistic
effectand serves as a reminder of the aged peasant type so
generally favored by Hellenistic artists.
The earlier representations of centaurs have all the
grotesque characteristics of the
" man of the woods," but in
Attic vase paintings of the red-figured style they, like the
silens, sometimes partake of the physical characteristics of
old men. A in the Villa Giulia shows several centaurs
vase
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
1,8
Bernard Ashmole, Cat. of the Anc. Marbles in Ince Blundell
Hall, 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, II, p.
435, Taf. 52, No. 259a.
F. R. Taf. 15; Hoppin, R. F. I, p. 419.
AGED SILENS AND CENTATTRS 209
the skin which encircles his neck. The interior of a vase in

Munich shows a very good representation of an old centaur
struggling forlife.144 He lies prostrate on the ground with
his hand extended to touch his great bald forehead. Pain
is indicated in every line of the wrinkled forehead and
grimaced face. On the exterior a young warrior has grasped
the long beard of an old centaur. The latter has turned
upward 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
at the first opportunity. A cylix in Orvieto in the Faina Col
lection 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
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 red-
figured Celebes representing a ceritauromachy in which bald-
headed centaurs 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
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. 95, No. 2; Hart-
wig, pp. 550-53, Fig. 64.
'"Pellegrini, Cat. dci Vasi Dipinti, p. 119, No. 275.
"7 C. V. A. Brit. Mus. III I c, pi. 73, 4.
"• Pellegrini, Cat. dci Van Dipinti, p. 72, Nos. 192 and 194 ; No.
237.
l" De Ridder, II, p. 540, No. 913.
14
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 long hair they
cannot be described as definitely belonging to the old age
type. On late coins (about the first century B. C.) centaurs
158
occasionally appear blowing the double flute or the horn,154
thus encroaching upon the activities of the Bacchic cycle.
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 from Lapith princes early found
their way from Thessaly to Attica and settled in amity.
Hence there grew up the legend of the intimate friendship
Bobert-Preller, Gr. Myth. II, p. 501; cf. Diod. IV, 70. For
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
painting cf. Sidney Colvin,
" Centaurs in Greek Vase Painting,"
J. 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.
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. IIl,
p. 722,
No. 11.
"« Cf. Macdonald, Gr. Coins in the Hunterian Coll. lll,
p. 725.
AGED SILENS AND CENTAUBS 211
between the Lapith king Peirithous and the Athenian hero

Theseus. Inpottery this phase of the myth did not receive
attention 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
found on early sarcophagi. The long thin bodies of the cen
taurs, their angular, awkward gestures and strict observance
of the profile position point to a date too early to receive
separate treatment in our study. The battle between the
Lapiths and centaurs at 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. On the opposite side another centaur grapples
with a hero into whose arm he is biting. The draped parts
are 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.
On the frieze of the temple of Bassae erected about 450
B. C. is also represented the great mythical combat of
the contest of Greeks with centaurs.157 Two women have
fled to an idol for protection, but one is already seized
by a lusting centaur. Both the centaurs and Lapiths on
this monument exhibit a brutality far removed from the
spirit of the Parthenon, which represents the same sub-
"•Per. and Chip. Histoire de VArt dans I'Antiquiti, VIII, p.

256, Fig. 102; George H. Chase, Gr. and Rom. Scttlpt. in Am. Coll.
pp. 24-5.
"* Buschor-Hamann, pi. 63; Brunn-Bruckmann, pi. 454. This
scene is described by Paus. V, 10, 8.
1,7
ject by a contemporary artist. On the long south side of

the Parthenon the first twelve and the last twelve metopes
were consecrated to the battle between the Lapiths and
centaurs. Each presents either a centaur and a
metope
woman whom he has seized or a Lapith against whom he is
fighting. On the fourth slab on the south side a centaur who
is partly bald is ready to sling a rock at a crouching
Lapith.158 Another centaur who is very bald has short wrin
kles in his forehead, and his puckered face produces deep age
lines around the mouth.159 On the ninth slab of the south
side a very bald centaur of serene countenance is being seized
by a Lapith.180 On the thirty-first slab is an old centaur
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
faces 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
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 of a frieze
158
Fougeres, L'Acropolt, be Parthenon, pi. 28 ; Brunn-Bruck-
mann, pi. 185.
"•Fougeres, pi. 30; Brunn-Bruckmann, pi. 184; cf. our Fig. 27.
1.0
Fougeres, pi. 31.
1.1
pi. 182. In general cf. Murray, The Sculp
Brunn-Bruckmann,
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 27.
Cental'r on a Metope ok the Parthenon.

Foumari's, L'Arropole, Le Parthenon, pl. 'AO.
1 ^
184
representing the battle of Lapiths and centaurs but these
parts are too badly demolished to be of value in our 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 centauro-
machy, the importance of these episodes in the mythological
history of the Greeks becomes evident immediately. As long
as the Greeks took in earnest the ancestral traditions of their
race and saw in the struggle of the Greek heroes against
these monsters the struggle of civilization against barbarism
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 days of the Greek imagiD"*ion. In the
Palazzo dei Conservatori is the head of an old centaur
with abundant hair, thick moustache and beard, but the
two wrinkles going part way across the brow in the middle
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
an old man.185 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
1" Percy Gardner, Sculptured Tombs

of Hellas, p. 233.
144 Brunn-Bruckmann,
pi. 535.
monster. The bearded centaur made by Aristeas and Papias

portrays the despair of the elderly victim of love tormented
by a little Eros on his back.18' The hair is disheveled, the
corners of the mouth drawn down, and the right hand placed
on the horse's back in an attitude of despair. It is dignified
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
ghastly forms as the Greek writers. But certainly there was
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, pi. 392 ; Lawrence, Classical Sculpture,
p. 296; Dickins, Hellenistic 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 some instances a definite
chronology cannot be
established because the date of the birth or the death of the
individual is in question or can be conjectured only from
inferences in his works, but an approximate age can usually
be ascertained. Examples of longevity from inscriptions
will also be cited, relating for the most part to unimportant
persons, and probably representing nearly every station of
1
Achaeus, tragic poet seventy-four years
2
Aelius Aristides, philosopher. . . sixty years
8
Aeschines, orator sixty years
4
Aeschylus, tragic poet . . sixty-nine years
5
Agesilaus, king and general . eighty-four years
8
Alexander Polyhistor, historian sixty-five years
. . .
Alexis of Thurii, middle comedy .... one hundred six years 7
8
Anacreon, poet , . eighty-five years
Anaxagoras, philosopher. . seventy-two years9
11
10
Anaximander, philosopher . . sixty-four years
1
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. II, 26-27.
*
Cf. Suidas, s. v. 'A\QavSpot KopvijXiof.
7
Cf . Plut. Defect. Orac. 420 e ; Plut. An Seni Res Publica Gerenda
Sit, 785 b.
•Cf. Lucian, Macrob. 26.
*
Cf . Diog. Laert. II, 3 ; Plato, Phaed. 97 c ; Arist. Met. I, 3.
10
Cf. Apollodorus in Diog. Laert. II, 4.
215
Antigonus Codes, king of Macedonia. . . .eighty-one years11

12
Antiphanes, comic poet seventy-four years
Antiphon, philosopher sixty-nine years
ll
14
Antisthenes, philosopher advanced age
Apollodorus of Pergamum, rhetorician. . .eighty-two years15
Apollonius of Rhodes, poet ca. eighty years
"
Apollonius of Tyana, philosopher .... eighty years or more
17
18
Appian, historian ca. eighty years
19
Aratus, poet sixty-five years
,0
Arcesilans of Pitane, philosopher seventy-five years
Archimedes, mathematician seventy-five years
"
22
Arion, poet ca. seventy years
23
Aristarchus, critic ca. seventy-two years
24
Aristophanes of Byzantium, grammarian . . ca. seventy years
Aristophanes, comic poet sixty-five years
"
Aristotle, philosopher H
sixty-three years
Arrian, historian ca. eighty years "
Athanasius, Christian writer
2S
seventy-eight or seventy-nine years
29
Athenodorus, philosopher eighty-two years
11
Cf. Lucian, Macrob. 11; Diod. Sic. XVIII, 650.
" Cf. 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 ) .
" Cf .
Athen. VII, 283 ; Suidas, t. v. 'AiroXX<ixiot.
"Cf. Philostr. Apoll. Tyana, VIII, 29, 341.
" Cf. Suidas, s. v. 'AiririavSt; Phot. Cod. 57.
" Cf. Suidas, s. v. "Aparot.
,0
Cf. Diog. Laert. IV, 20.
"Cf. Plut. Marcell. 19; Tzetzes, Chil. II, 103-56; Livy, XXV, 31.
"Cf. Schoi. Pind. 01. XIII, 25; Herod. I, 23.
" Cf. Suidas, t. v. 'Apicrapx0'-
" Cf. Suidas, t. v. ' Apuiro'p6.vri\ Bvfdvriot.
" Cf. Schoi. Plato, Apol. 19 c; Suidas, 8. v. 'Apumxpivrit.
" Cf. Diog. Laert. V, 3 ; Dionys. of Halic. Epist. ad Amm. 5.
" Cf. Lucian, Alex. 2, 55 ; Suidas, s. v. ''Ap'juavtt.
" Cf. Hieron. De Viris Illustr. 87-88 ; Suidas, s. v. 'A$avA<rios.
" Cf. Lucian, Macrob. 21.
*
OUTSTANDING TRAMPLES OF LONGEVITY 217
80
Attalua of Pergamum, king eighty-two years
S1
Bacchylides, poet ca. seventy-five years
82
Callimachus, poet ca. seventy years
33
Carneades, philosopher ca. eighty-five years
Cassius Dio, historian eight-five years
34
Choerilus, tragic poet ca. seventy years "

3B
Choerilus of Samoa, epic poet ca. eighty years
37
Chrysippus, philosopher seventy-three years
38
Cleanthes, philosopher eighty to ninety-nine years
39
Crates, philosopher eighty years
40
Cratinus, comic poet ninety-seven years
Critolaus, philosopher eighty-two years 41
Ctesibius, historian one hundred twenty-four years44

43
Demades, orator sixty-six years
Demochares, orator and historian sixty years
"
Democritus of Abdera, philosopher
46
one hundred years or more
Demosthenes, orator sixty-six to seventy years48
Dio Chrysostom, rhetorician and philosopher
47
seventy-two years
"Cf. Lueian, Macrob. 11.

"Cf. Suidas, s.v. BokxiAW^s; Aei. Var. Hist. IV, 15.
" Cf . Suidas, s. v. KaWlpaxot.
"Cf. Diog. Laert. IV, 7; Lueian, Macrob. 20; Vai. Max. VIII, 7
(gives 90 years).
" Cf. Suidas, s. v. AW; Phot. Cod. 71.
" Cf. Suidas, s. v. Xoipi\os; Euseb. Chron. 01. 74, 2.
" Cf. Plut. Lys. 18.
" Cf . Diog. Laert. VII, 7 ; Suidas, t. v. Xpvatinrot.
"Cf. 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,
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
Diodorus Siculus, historian sixty-nine years48

49
Diogenes, philosopher eighty-eight or ninety years
Duris, historian ca. eighty years60
51
Empedocles, philosopher seventy-seven years or more
Epicharmu8, old comedy ninety to ninety-seven years52
Epictetus, philosopher seventy years"
54
Epicurus, philosopher ca. seventy-two years
55
Epimenides, poet and seer very advanced age
Eratosthenes, grammarian and geographer
56
eighty to eighty-two years
57
Eunapius, historian sixty -eight years
Euphorion, poet eighty-nine years58
Euripides, tragic poet —seventy-four to seventy-nine years
59
60
Eusebius, theologian seventy-five years
61
Euthymus, Olympian victor advanced age
62
Galen, scientist seventy years
Gorgias, philosopher
68
. . . .one hundred five to one hundred nine years
"Cf. Diod. I, 1-5; XVI, 7.

"Cf. Diog. Laert. VI, 11; Lucian, Macrob. 20.
80
Cf. Plut. Alcibiades, 32; Athen. IV, 128; Paus VI, 13, 3; Pliny,
N. H. VIII, 40.
61
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
as 109.
"Harm. Par. Ep. 55; Diog. Laert. VIII, 18; Lucian, Macrob. 25;
Ael. Var. Hist. II, 34.
"Cf. Aulus Gellius, VII, 19; Suidas, s.v. "iwUmros.
" Cf. 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. Philostr. Vit. Soph. I, 9; Dionys. Hal. Epist. ad, Pomp. 2;
I
OUTSTANDING EXAMPLES OF LONGEVITY 219
•4
Hecataeus, logographer seventy to seventy-five years
'5
Hermarchus, philosopher advanced age
66
Herodian, historian advanced age
67
Herodotus, historian ca.fifty-nine years
68
Hieronymus of Cardia, historian . . one hundred four years
'9
Himerius, orator and sophist seventy-one years
70
Hippocrates, physician eighty-five to ninety years
Hyperides, orator ca. sixty-seven years
"
™
Iamblichus, philosopher ca. seventy years
7S
Ibycus, poet ca. seventy years
Ion of Chios, tragic poet sixty-eight years
"
™
Isocrates, orator ninety-eight or ninety-nine years
Lucian, satirist advanced age "
Lycon, philosopher seventy-four years
"
7B
Lycurgus, lawgiver eighty-five years
79
Lysias, orator eighty-three years
Xenophon, Anab. II, 6, 16; Lucian, Maorob. 23; Quint. I, 125; Vai.
Max. Vin, 14.
" Suidas, s. v. 'EitoToiot.
" Diog. Laert. X, 13.
" Cf. Herodian, I, 1, 3; II, 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; Plut.
Demosth. 28.
" Cf. Eunapius, Vit. Soph. 57 ; Suidas, t. v. 'lApp\ixot.
"Cf. Plut. De Garrul. 610 a; Antip. Sid. Epig. 78; Brunck,
Analecta Vetemm Poetamm Graecorum, II, p. 27.
"Cf. Arist. Peace, 835; Suidas, t. v. "law Xiot.
"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;
Suidas, s. v. AovKiav6t. In regard to Lucian there is considerable
difference of opinion. It is generally assumed that he lived to
about the age of seventy.
77
Cf. Diog. Laert. VI, 7.
" Cf. Lucian, Macrob. 27.
"Cf. Plut. Vit. X Orat., Lysias, 9.
OLD AGE AMONG THE ANCIENT GEEEKS
80
Lysimachus, king of Macedonia eighty years
Nestor, king and warrior three generations 81
Origen, theologian sixty-seven to sixty-nine w

years
Panaetius, philosopher seventy-five years
"
Parmenides, philosopher advanced age 84
Philemon, new comedy, .ninety-seven to ninety-nine years85
Philistus, historian seventy-four years
86
Philochorus, rhetorician and historian

ca. seventy-four years "
88
Philopoemen, general seventy years
88
Phocion, orator ca. eighty-five years
80
Phrynicus, tragic poet sixty-four years
9l
Pindar, poet eighty years
Pisistratus, tyrant advanced age 82
Pittacus of Mytilene, wise man

93
between seventy and eighty years
Plato, philosopher eighty-one years
94
Plotinus, philosopher ca. sixty-six years

"
Plutarch, biographer ca. seventy-five years ""
•0Cf. Lucian, Macrob. 11; Justinus, XVII, 1.

81
Cf. Homer, Il. I, 250 ; Lucian, Macrob. 3.
" Cf. Porphyrius in Eusebius, Hist. Eocl. VI, 19, 7; Hieron. De
Viris Illustr. 54.
"Cf. Cic. De Orat. I, 11; Suidas, s. v. Hoi-o/tiot.
"Cf. 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. J.
P. XXV (1904), pp. 187-88.
"Cf. Plut. Nic. 19; Plut. Dio, 35.
" Cf. Suidas, s. v. Qi\6xopot.
"Cf. Plut. Philop. 18; Polybius, XXIII, 12, 1-8.
" Cf. Suidas, s. v. iuKluv.
*0
Cf. Schoi. Arist. Frogs, 941 ; Suidas, s. v. Qpivixot.
"Cf. Suidas, s. v. UMapot; Photius, Bibl. 104 b.
" Cf . Thucyd. VI, 54.
"Cf. Diog. Laert. I, 79; Suidas, s. v. IIiTToî.
"Cf. Diog. Laert. IIl, 2; Lucian, Macrob. 21; Pliny, N.H.
XXXIV, 51. "Cf. Porphyr. Vit. Plotini, 1, 2; 1, 15.
" Cf . Plut. Antonius, 87 ; Plut. De E apud Delphoa, I; Suidas
s. v. H\oirapxot.
Polemo, philosopher ca. eighty years97

Polybius, historian eighty-two to ninety years9'
89
Porphyry, philosopher . . seventy-one to seventy-three years
Posidonius, philosopher eighty-four years100
101
Potamo, rhetorician ninety years
102
Proclus, philosopher seventy-seven years
109
Procopius, historian sixty-two years
Protagoras, philosopher seventy years104
Ptolemy, historian and king eighty-four years109
104
Pyrrho, philosopher ninety years
107
Simonides of Ceos, poet eighty-nine or ninety years
104
Socrates, philosopher seventy years
109
Solon, lawgiver and poet eighty to one hundred years
110
Sophocles, tragic poet ninety to ninety-five years
111
Stesichorus, poet eighty to eighty-five years
119
Stilpo, philosopher ca. eighty years
"Suidas, s.v. IIo\tnav; Diog. Laert. IV, 8; 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<oViot.
"« Cf . Plato, Meno, 91 ; Apollodorus in Diog. Laert. IX, 7.
1,4
Cf. Lucian, Macrob. 12.
Cf. Diog. Laert. IX, 3.
107
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.
Par. Ep. 66.
Eighty years is given by Diog. Laert. I, 15, and by Schol. Plato,
Rep. X, 599; cf. Solon, Bergk, Poeti Lyrici Graeci, 20. Lucian,
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<rixopoj) gives 80 years; Lucian (Macrob. 26)
gives 85 years.
118
Cf . Suidas, s. v. XtC\wuh. Hermippus in Diog. Laert. II, 10
mentions that he died at an advanced age.
111
Strabo, historian advanced age
114
Teiresias, seer six generations
118
Thales, philosopher seventy-eight years or more
Theaetetus of Rhodes, statesman eighty years
117
Themistius, orator sixty years
118
Theognis, poet advanced age
118
Theophrastus, philosopher eighty-five years
120
Timaeus, historian ninety-six years
121
Timon, philosopher ca. ninety years
122
Timotheus of Miletus, lyric poet ninety years
128
Xenocrates, philosopher eighty-four years
124
Xenophanes, philosopher ca. ninety-two years
125
Xenophilus, musician one hundred five years
126
Xenophon, historian seventy-nine to ninety years
127
Zeno, Stoic philosopher ninety-eight years
Zenodotus, critic sixty-five years
128
We have given examples of twenty-nine poets, forty-two

philosophers,
eighteen historians, ten orators, eight rhetori
cians, grammarians, and critics, three theologians, two sci-
Cf. Strabo, XII, 561; XVII, 828.

1,8
1,4
Cf. Lucian, Maorob. 3.
118 Cf.
Apollodorus in Diog. Laert. I, 10. Lucian, Macrob. 18 gives
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.
1.1
Antigonus and Sotion in Diog. Laert. IX, 3.
"'Cf. Marm. Par. Ep. 77; Suidas gives 97 years.
188
Cf. Lucian, Maorob. 20.
1,4
Cf . Apollodorus in Diog. Laert. IX, 3 ; Clem. Alex. Strom. I,
130.
"•Cf. Lucian, Macrob. 18; Val. Max. VIII, 14.
1,8
Cf . Demetrius the Magnesian in Diog. Laert. II, 49-59 ; Lucian,
Macrob. 21; Athen. V, 17.
""Cf. Diog. Laert. VII, 25; Lucian, Macrob. 19.
188
Cf. Suidas, s. v. Zij»Wotot.
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, twenty-
three lived from sixty to seventy years, thirty-seven from
seventy to eighty years, while the remainder, about half
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
distinguished men who lived beyond the hundredth 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
select individuals to join their ranks.
In Greece it appears that those who have attained to length
of years have taken time to cultivate their more human
tastes, and have developed their potentialities so that when
superannuation comes their souls are not bankrupt. When
we consider the number of great writers who have lived to
be octogenarians the exhibit of longevity in the ranks of
authorship becomes very striking. These aged men can be
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
is centered on great ideal to which his life's work is given
a
may live longer. The influence of mind over the state of

bodily well-being is frequently stressed, but that the mental
faculties can of themselves protect the individual against
disease or against the natural processes of senescence ade
quate proof is lacking.
These instances of remarkable energy in the last years
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.

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. The
poet has been pictured as a creature frail in body, supersensi
tive in emotion, unpractical in ideas, with a fatal tendency
toward physical weakness. When this theory is put to the
test of biography the contradiction between theory and fact
is amazing, at least as far as the Greek writers are concerned,
and the citation of these examples may be of value in causing
us to revise our conception of the pathology of poets. Why
should not the poet be rather a man blessed with length of
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
men. Sophocles wrote all his plays after he was fifty. Lyric
poetry is frequently at its best in youth and early manhood,
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
a few even exceeding the century mark. The oldest man
recorded in Greek inscriptions who has come to the writer's
"0Fabian Franklin, "On Old Age," CI. Weekly, XXIII (1930),

pp. 103-4.
I
attention is a certain Pancharius who lived to the age of one

hundred ten years.181 He is described as the father of the
Elaean synagogue, a man who loved his people (<ÂoAaos),
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
at Home. Another example of a person whose name has
been obliterated but who lived the same number of years
was found in an inscription from Telmessus in Lycia.182
Glaucias who loved his children (</iiAot€kvos) and was honor
able lived to the age of one hundred two.188
(xpqo-ros) This
is one of the numerous Greek inscriptions from Egypt, and it
dates from the first century A. D. Three examples (two women
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
13*
found at Sidon
and she is described as good and happy
(xprla-rq /<ai aXvirm) ; the second is that of a certain Callibia
from the Cyrenaica; 185 and the third is an inscription from
Rome.188
also from the Cyrenaica, attained the same age
Dionysius,
as Philemon and Isocrates and seemed to have lived to a
healthy old age, for the inscription says : OvrlaKu 8' oi vovvoun
&¥t*U.m As Professor Robinson (loc. cit.) says, it reminds
us of the epigram of another Dionysius for the Cyrenaean
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, representing an old man standing facing
181
C. /. G. IV, 9904.
"' S. E. G. II,
Cf. Phleg, Macrob. 89 Keli.
690.
1" Breccia,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.
"• C. /. G. IV, 9907.
1,7
D. M. Robinson, A.J. A. XVII (1913), p. 170, No. 35.
"'Anth. Pal. VII, 78.
15
full front, his head surmounted by an eagle with wings out

1W
spread. He was a very devout person as the inscription
says:
iraxn Otoli &vo<k ko.1 mt$m wavron W 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
years.140 Ptollio, a dealer in clothes, lived to the age of
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 (vAâs
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
beautiful life (fto-as koAov fiiov). This, however, is a late
Christian inscription as is apparent from the fanciful epi
graphy and the sign of the cross, and it introduces the
Christian mode of thinking, namely, that a beautiful life is
to be found 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
"»Kaibel, Epigr. No. 134; I. G. lll, 1362.

140
Ch. Fossey, B. C.H. XXI (1897), p. 48, No. 30.
"" Preisigke, Sammelbuch griechischer Vrkunden aus igypten,
III, 6835.
141
C. I. G. I, 1030. C. I. G. TV, 9486.
/. G. XII, 7, 304. 144
8. B. 0. TV ( 1929) , 15.
was unusual in those days. It is a Christian inscription

found at Syracuse. An inscription found at Termessus in
Pisidia, with a beautiful thought that is characteristically
Greek, is that of certain Aurelius Acinaces "6 of the third
a
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 <is IjihofirjKovTa /<at
Tttjvdpaiv tr&v). Something of the same spirit is found in
149
the inscription of Sarapio (found in Egypt) who died at
the age of seventy, a gymnasiarch who loved his wife, chil
dren, and friends, was cheerful (ev<fip6owos) , caused no pain
or grief (dAwros), and was honorable (x/nj<mis). It belongs
to the third or fourth century A. D. as do a large number of
the inscriptions dealing with length of life, for the Greeks
were not so fond of recording ages as the Romans, but did so
to a greater extent after they came in contact with them.
The number of persons between the ages of sixty and
seventy is so large (one hundred twenty-two examples have
been found) that the reader is referred to the Catalogue of
Inscriptions for a more complete list.
Often in inscriptions no definite age is given, but the
length of married life is mentioned. In some cases we can
assume that the parties concerned lived to old age, although
on the whole they seem to have married young. For instance
a sepulchral inscription to a certain Cerillia Phortounata
(Fortunata), records that she lived with
by her husband
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
ried twenty-eight years, one twenty-five years,150 and a very
US t
XXIII (1899), p. 170, No. 9.
'C. Cousin, B.C.H.
"* Catalogue Gineral des Antiquitis
Breccia, Egyptiennes du
Musie d'Alexandrie: Iscristioni Greche e Latvne, p. 181, No. 371;
Preisigke, Sammdbuch griechischer Urkunden aus Agypten, I, 411.
"7I.G. XIV, 1746. ll'S.E.G. IV, 143.
"•/.G. XIV, 1582; C. I. G. IIl, 6743 ; S. E. G. II, 384.
"0I.G. XIV, 1653.
large number for lesser periods.151 A case is recorded in

which one brother (Aurelius Pacorus) erects a sepulchre to
another (Aurelius Merithates) with whom he has lived fifty-
six years ; 152 and another person by the name of Glycon 15S
who has lived with his brother sixty years, but these are both
inscriptions of the late Koman period.
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
ary of old age, and has experienced few griefs ;
"4 and
Democles, son of Democles of Smyrna, has lived to a good
old age;155 as has also the lady, Philoxene, of Athens.158
Cydimachus, 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
a prop to their aged parents is found just as it has been seen
in 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 the beauties
151 For
a few examples cf. C. I. G. IIl, 6437 (20 years) ; /. G. XIV,
1922 (17 years); I.G. XIV, 2054 (14 years); I.G. XIV, 1850
(14 years) ; C.I. II,
3722b, Addenda et Corrigenda (15 years) ;
G.
C.I.G. IIl, years).
6571Other examples are included in the
(10
Catalogue of Inscriptions at the end of this study.
"• C. III, 6559.
I. G.
"'I.G.R. IIl, 1412; Mendel, B.C.H. XXV (1901), p. 59, No. 205.
1,4
/. G. II, 3412; Kaibel, Epigr. Gr. 88.
"• C. /. G. II, 3256 ; /. G. IV, 9804.
"'I.G. IIl, 1313.
1,7
1. G. II, 2081 ; cf . /. G. II, 2541 ; II, 3682 ; 3903.
"• C. I. G. III, 6768.
"' /. G. XII, 9, 1174; cf. C. I. G. IIl, 5394 for another mention of a
beneficent old man.
1.0 /.G. XIV, 2437.
1.1
I.G. XIV, 1863; C.I.G. IIl, 6262. "'I. G. XII, 2, 383.
of old age and the calamity that would befall one if he did
1M
not grow old :
Kakov to yrlpav Kal to py yjlpav Tpli [a]«'[t']ii) KaKov. KaXov to
6vi]o-Ktiv oh to {jf vfipiv <pipti. irap[6]v to y^/)[o]s Kal <f,ifict
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 age,164 and sometimes it is called a
glorious old age (ew<Atiw yijpas).185 We occasionally find the
opposite view expressed as in an inscription from Smyrna,
which speaks of old age as a time when many heap reproaches
upon you and you are reduced to want.166 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
1B7
yrlpal Tpvxo/utvos) ; an old man whose name is not given
but whose inscription has been found at Rome lies burdened
by 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"
(yipovri) ;
170
and another says that it marks the grave of a
gray-haired old woman.171 Many of these are Greek inscrip
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. XVIII (1898), p. 327, No. 47.
,,t
Cf. /. G. XII, 3, 47.
1M
C. I. G. II, 3397.
"7/. G. XII, 5, 62; cf. /. G. IX, 256.
"• C. I. G. IIl, 6305; cf. /. G. R. I, 368.
1"Cf. /. G. XIV, 2288; /. G. II, 2724; /. G. II, 2718; IV, 395;
I. G. IX, 164; /. G. VII, 1885.
1,0
C. /. G. IV, 9804. "i /. G. XIV, 1703.
reached a great age. The 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
a life of several generations ;
178
hence to live the life of a
crow also became proverbial for long life. The phoenix was
also remarkable for longevity, perhaps because of its fabulous
renewal of life. Its age is given all the way from five hun
174
dred years by Herodotus to seven thousand years by
Tzetzes.1™. Besides the eagle, crow, and phoenix, we have
the stag,178 the raven,177 the swan,178 and the elephant179
given as long-lived.
Having made a study of longevity among the Greeks,180 an
effort will be made in the final chapter to determine as far as
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 possession of a long life.
"•Arist. Hist. Anim. IX, 32, 619 b.

,T*
Hesiod (fr. 171) gives nine generations, as does also Ovid
(Met. VII, 274); Aristophanes (Birds, 609) gives its life as five
generations. 174
Herod. II, 73.
"•Tzetzes, 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
cause one to think. In for this chapter the
preparation
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
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 Total Number
Number of years Examples of Examples
233 11.52
7.27
180 8.90
14.54
13.25
8.85
124 6.13
5.64
58 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
231
Eighty-six to ninety 16 .79

Ninety-one to ninety-five 5
Ninety-six to one hundred 0 .30
One hundred to one hundred ten 3 .15
A glance at the table reveals the fact that the mortality

among children and young adults was decidedly higher than
now. 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
between 1 and 5 years come next. It is likely, however, that
the deaths of small children may not always have been re
corded and the group may be larger than we suppose. We
have 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
actuallyadvanced 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
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
half-formulated impression that longevity is a matter which
goes with superiority in other respects. The examples cited
from literary sources mentioned in Chapter XII are not
included in the calculation made in this chapter, because in
many cases authorities 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
Marble where we have information about several important
Greek writers, then he is included on the basis of the inscrip-
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

a random sample, but they involve a careful study of the
Corpus of Greek Inscriptions and the principal books and
journals in that field.
The diagram below is a graphic representation of mortality
rates among the ancient Greeks based on the inscriptions
studied.
JO tf© SO io 7° 10 /» //«
Life Table 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
are included in the first group.1 If we observe the general

sweep of the curved line, we perceive that 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
we divide
examples, a quotient of 29.43 is obtained as the average ex
pectancy of life. In our own country at the present time the
expectancy of life at birth is 55.33 for males and 57.52 for
females.2 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
according to the number of inscriptions used, but the pro
portion would always remain fairly constant. One is led to
suspect that the Greeks were in the habit of recording ages
by units of fives, for the number of examples of persons dying
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
each instance we have used of years that the
the number
inscription states. It is possible that cremation may some
times have been used for children, that death rates among
the extreme poor may have been higher, and that many of the
poor may have been buried without inscriptions. We do not
know to just what extent considerations of this kind may
enter.
It might be of interest also to endeavor to ascertain whether
there were any parts of the Greek world which appear to
1
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 DURATION OF LIFE AMONG THE GREEKS 235
have been more healthful and therefore more conducive to

life. In referring to the examples of longevity in Chapter
XII 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, Cephal-
lenia, 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
are purely Greek or closely related to the Greek. From the
wide range of these inscriptions one can get a clearer per
ception of the distant provinces in which Greek was the
spoken language. Bilingual inscriptions (in Greek and
Latin) have been included only 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
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, Anaxandrides, Kock, Comicorum

Greek Anthology, II, 305, 43. Atticorum Fragmenta, 53, 15.
Aelian, Historia Animalium, XVI, Anonymous, Jacobs, Anthology,
2, 1-23, 53 ; Varia Historia, III, IV, 174, Nauck, Tragi
79;
18, 59; III,
32, 100; IV, I, 70; eorum Graecorum Fragmenta',
IV, 15, 217; VIII,
18, 218; 25, 5; Nauck, 467, 27; 508,
XIII, 11, 219; XIX, 18, 66. 79; Paton, Greek Anthology,
Aeschines, De Legationibus, 22, III, 20, 137; Paton, V, 43, 37;
258, 35; Timarchus, 23-24, 17. V, 76, 11; V, 131, 56; Stadt-
mttller, Anthologia Graeca, II,
Aeschylus, Agamemnon, 72-75, 3;
336, 4.
80, 4; 583-84, 19; 1346-47, 20;
1617-20, 19; 1657, 19; Cho- Antipater of Sidon, Paton, Greek
ephori, 313, 78; 314, 79; 743, Anthology, II, 353, 40; Paton,
45; Eumenides, 838, 19; 84S- II, 498, 43.
50, 20; Nauck, Tragieorum Antipater of Thessalonica, Paton,
Graecorum Fragmenta', 45, 68; III, 309, 69.
Nauck, 391, 27; Persians, 171, Antiphanes, Kock, Comicorum
20; 265-67, 69; 576-84, 57; Atticorum Fragmenta, II, 86,
681-82, 20; 744-52, 17; 1056, 12; Kock, II, 94, 8; II, 240 b,
3; Prometheus, 819, 10; 981, 7; II, 255, 7.
79; Suppliants, 176-77, 19; 204,
Antiphilus, Paton, Greek An
19; 361, 19; 673, 79; 680-89,
48.
thology, III, 263, 29.
Agathias Scholasticus, Paton, Apollodorus, I, 5, 1, 64; I, 7, 5,

Greek Anthology, I, 5, 282, 12. 65; I, 9, 27, 60; II, 4, 9, 100;
II, 5, 4, 65; II, 5, 11, 87; III,
Alciphron, Epistulae Amatoriae, 3, 1, 66, 102; III, 6, 8, 65;
XIV, 19, 44; XV, 2, 29; Epis III, 13, 6, 10, 65.
tulae Parasiticae, VII, 4, 29;
XI, 1-5, 44; XIX, 2-10, 7; Apollonius Rhodius, Argonautica,
XXVI, 47; XXVIII, 1-2, 24; I, 306-16, 54; I, 667-74, 46; II,
XXXVI, 2-3, 44; Epistulae 178-84, 14; IV, 868-77, 65.
Rusticae, V, 2, 44; VII, 2, Apuleius, Metamorphoses, IX,
44; XIII, 1-3, 58. 187 (622), 46.
Alcman, Bergk, Poetae Lyrici Aristo, Paton, Greek Anthology,
Graeci, III,
26 ( 12 ) , 3. II, 457, 40.
Alexis, Meineke, Fragmenta Aristophanes, Acharnians, 28-42,
Comicorum Graecorum, III, 28; 210-22, 5; 676-712, 51;
460, 78. 682, 4; 713-18, 51; Birds, 430,
Anacreon, Bergk, III, 43 (41), 21; 609, 230 ; 722, 20; 1347-57,
3, 12; III, 77 (81), 3. 55; Clouds, 129-30, 20; 510-17,
237
OLD AGE AMONG THE ANCIENT GREEKS
67; 754-55, 28; 773-74, 28; Callicrates, Paton, Greek An

794-96, 20; 1416-19, 27; Eccle- thology, in, 7, 224, 4.
siazusae, 276-79, 41; 877-84, Callimachus, 1,1-16,22; XXXIX,
46; 884-89, 44; 904-06, 11; 26; LI, 45.
Frogs, 804, 136; 844, 136;
1006-08, 136; Knights, 42, 78; Callistratus, Descriptiones, VI,
251-52; 20; 520-30, 21; 530-39, 78.
51; 752, 78; 881-83, 51; 1301, Censorinus, De Die Natali, 14,
79; 1321, 66, 67; 1336, 67; 15, 1-5, 2.
Lysistrata, 665-75, 67; Peace, Chaeremon, Nauck, Tragicorum
765,9; 767,138,183; 771,183; Graecorum Fragmenta ', 38, 28.
835, 219; 859-63, 67; Plutus,
Christodorus, Ecphrasis, 13, 160.
13, 4; 257-60, 5; 272, 4; 508,
20; 634-36, 67; 1042-96, 46; Cicero, Brutus, 2, 8, 79; De Na-
1050-51,4; 1064-65,11; Wasps, tura Deorum, II, 23, 61, 72;
106-17, 28; 540-45, 81; 1060- III, 17, 44, 80; De Oratore, I,
70, 27; 1190-94, 11. II, 217, 220; De Senectute, I,
3, 68; II, 4, 15; III, 7, 15;
Aristotle, Constitution of Athens, III, 9, 27; V, 14, 4; VI, 17,
14, 8-15, 35; 53, 4, 31; 55, 52;
6-8, 17; VI, 20, 1-2, 31, 32;
56, 6-7, 55; De Generatione
VII, 21, 17, 24; VII, 22, 8,
Animalium, V, 782a, 8, 10;
56; IX, 28, 34, 41; XIV, 46,
V, 783b, 9; V, 784a-785a, 9;
41 ; XVI, 58, 41 ; Tusculan Dis
Historia Animalium, III, 518a, putations, III, 17, 38, 148.
9, 10; III, 518a, 9; VIII,
600b-601a, 68; IX, 615a, 230; Clement of Alexandria, Ad Stro-
IX, 615b, 56; IX, 619b, 230; mata, I, 130, 222.
Metaphysics, II, 1000a, 65; Crates, Bergk, Poetae Lyrici
Nicomachean Ethics, I, 1095a, Graeci, II, 14, 6; II, 19, 8, 13.
17; IV, 1121a, 28; IV, 1128b,
Damagetus, Paton, Greek An
27; VI, 1142a, 18; VII, 1143b,
thology, III, 7, 438, 9.
30; VIII, 1158a, 28; IX, 1165a,
56; Politics, II, 1271a, 32; Demetrius, De Elocutione, 262,
VII, 1335a, 51; Rhetoric, I, 6; 285, 1-7, 52.
1361b, 11; II, 1385b, 18; II, Democritus, Diels, Fragmente
1389a, 2; II, 1389a-1390b, 28. der Vorsokratiker, p. 458, No.
294, 19.
Arrian, Indika, 14, 230.
Demosthenes, Aristogiton, I, 776-
Artemidorus, I, 42, 183; II, 12,
777, 48; I, 790, 57; I, 795, 52;
97, 197.
Conon, 1263, 56; 1267, 29; De
Athenaeus, Deipnosophists, II, 4, Corona, 96-100, 52; 203-205,
29; II, 46, 63; IV, 12, 40; IV, 52; 296, 52; 312-13, 52; 317,
44, 216; IV, 47,13; V, 17,222; 52; 319, 52; Epistulae, II, 1472,
VII, 19, 216; IX, 79, 116; X, 17-20, 5; II,
1469, 10, 17; III,
31, 40; X, 34, 9; X, 40, 217; 1485-1486, 52; Exordia, 1452,
XI, 11, 40; XI, 15, 220; XI, 12-18, 18; Law of Leptines,
32, 40; XIII, 61, 217. 119, 89, 32; Meidias, 566-67,
XV, 52; Neaera, 1349-1350, 34;
Aulus Gellius, X, 28, 2; 20,
III,
XVII, Olynthiacs, 23-26, 52;
138; 21, 217.
Philippics, IV, 141-142, 56;
Ausonius, Epigrammata, Timocrates, 701, 55; 732, 55;
XXXIII, 78. 733, 57; 1204, 57.
r
Bacchylides, Jebb, fr. 21, 9. Dio Chrysostom, Oratio, 45, 217.
CONCORDANCE TO LITEEAET PASSAGES
Diodorus, I, 1-5, 218; I, 73, 2, 22; 808, 22; 925-30, 42; 947,
65; III, 67, 100; IV, 10, 100; 42; 967, 43; 974-78, 19; 1039-
IV, 35, 89; IV, 51, 86; IV, 52, 42, 4; Iphigenia in Aulis, 3-5,
60; IX. 4, 50; XV, 93, 38; 4; 34-41, 43; Medea, 49, 42;
XVIII, 48, 217. 67-72, 41; 119-23, 46; 123-30,
Diogenes Laertius, I, 3, 2, 49; I, 46; 190-203, 46; 1012, 42;
7, 56; I, 4, 218; I, 10, 222; I, 1204-10, 57; Nauck, Tragi-
15, 221; I, 79, 220; I, 110, oorum Graecorum Fragmenta* ,
140; I, 111, 140; II, 3, 215; 25, 24; Nauck, 511, 31; 512, 5;
II, 10, 221; III, 2, 146, 220; 575, 7; 619, 18; 637, 8; 1080,
111,25, 145; IV, 3, 153; IV, 7, 8; Orestes, 490, 28; Phoenis-
153, 217; IV, 8, 221; IV, 20, sae, 142, 43; 159, 43; 170, 43;
216; IV, 65, 153; V, 3, 148, 301-354, 5; 528-30, 11; 834-40,
216; V, 11, 153, 222; V, 12, 21; 845-48, 5; 845-929, 102;
153; VI, 10, 154, 216; VI, 11, 994-95, 24; 1699, 4; 1719, 4;
218; VI, 87, 217; VII, 1, 148; 1720-22, 5; Suppliants, 170,79.
VII, 3, 155; VII, 4, 149; VII, Eusebius, Chronicle, 74, 2, 217;
7, 150, 217; VII, 11, 155; VII, 126, 4, 221; Historia Eccle-
14, 155; VII, 16, 148; VII, 25, siastica, VI, 19, 7, 220.
149, 222; VIII,
11, 218; VIII, Galen, XIV, 567, 63.
18, 218; IX, 3, 220, 221, 222;
IX, 7, 217, 221; X, 9, 151, Geoponica, X, 79, 67.
218; X, 13, 152, 219. Herodian, I, 1, 3, 219; II, 15, 7,
219.
Dionysius of Halicarnassus, De
Compositione Verborum, 3, 25, Herodotus, I, 23, 216; I, 67, 32;
52; E pis tula e ad Ammaeum, 5, I, 216, 70; II, 73, 230; III, 12,
216; Epistulae ad Pompeium, 8; III, 99, 70; III, 114, 8; III,
2, 218. 134, 8, 23; IV, 23, 8, 116; IV,
26, 53; IV, 109, 116; IV, 150,
Diotimus, Paton, Greek Anthol
36; IV, 187, 62; V, 4-10, 70;
ogy, II, 733, 26.
V, 95, 31; VI, 37, 22; VII, 46,
Erinna, Bergk, Poetae Lyrioi 11; VII, 70, 8; VII, 141, 22.
Graeci, III,
2, 17.
Herondas, I, 15, 3, 5; II, 71, 72;
Eubulus, Kock, Comicorum Atti- III, 1-2, 57; VII, 38-87, 43;
corum Fragmenta, II, 124-25, VIII, 50-60, 4; X, 1-2, 8; X,
78. 1-4, 69.
Eunapius, Vitae Sophistorum, Hesiod, Shield of Heracles, 242-
9, 219; 57, 219. 48, 36; Theogony, 123, 80; 211,
Euripides, Alcestis, 52-59, 69; 80; 234, 88; 270-76, 10; 277-
112-36, 10; 167-69, 10; 252-56, 78, 64; 304-305, 66; 600-609,
83; 260-61, 82; 440, 83; 611, 29; 947-49, 64; 954-55, 65;
5; 621-22, 57; 658-61, 57; 662- Works and Days, 90-95, 64;
64, 57; 669-72; 692-93, 12; 109-15, 64; 130-39, 63; 182-92,
Andromache, 727-28, 28; Bac- 57; 330-35, 55, 57; 702-05, 6.
chae, 170-77, 21, 67; 204-09, Hieronymus, De Viris Illustri-
67; 248-57, 67; 258, 79; 1251- bus, 54, 220; 87-88, 216.
52, 29; Cyclops, 13, 182; 27,
182; 82, 182; 269, 182; He
Himerius, Eclogues, XIV, I, 78.
cuba, 59-66, 4; 140-47, 4; Her Homer, Iliad, I, 22-32, 54; I, 97,
cules Furens, 84-85, 18; 92-93, 66; I, 247-49, 33; I, 250, 220;
18; 105-06, 4; 597-607, 4; 639- I, 259, 55; I, 380, 28; I, 457-
64, 11; Hippolytus, 267, 46; 74, 39; II, 20-22, 21; II, 216,
Ion, 71, 42; 700, 79; 742-43, 183; II, 218, 9; II, 362-68, 33;
II, 370-72, 34; II, 402-411. 39; V, 447, 64; VII, 7-13, 45;
11, 445-49, 66; II, 542, 9; II, VII, 154-58, 34; VII, 179-94,
601-02, 38; III, 108-11, 18; 39; VII, 199, 64; VII, 257, 64;
III, 146-56, 36; III,169-70, VIII, 91-94, 66; VIII, 225, 64;
94; III, 181-243, 26; III,
296, VIII, 226-27, 10; VIII, 306,
64; IV, 127-28, 64; IV, 291- 64; VIII, 343, 64; VIII, 350-
311, 33; IV, 310-16, 83; IV, 54, 64; IX, 106-08, 64; IX,
318-21, 37; IV, 322-24, 34; IV, 506-10, 21; XI, 133, 64; XI,
477-79, 57; V, 197-204, 34; V, 134-36, 21; XI, 494-97, 49;
395, 77; VI, 66-71, 37; VI, 86- XIII, 59-60, 10; XIII,
141,
101, 40; VI, 110-15, 40; VII, 49; XIII, 397-403, 6; XVI,
162, 229, 321, 94; VII, 324- 172-74, 66; XVI, 265, 64;
43, 34; VII, 406, 94; VIII, XVII, 218, 41; XVIII, 169,
139-44, 37; IX, 52-59, 34; IX, 45; XIX, 386-96, 45; XXII,
66-71,94; IX, 158, 82; IX, 162- 394-96, 45; XXIII, 1-4, 45;
81,37; IX, 421-26,36; IX, 438- XXIII, 63, 64; XXIII, 81, 64;
43,38; IX, 502-03, 78; IX, 524- XXIV, 223-34, 6; XXIV, 232-
26,52; IX, 690-710, 34; X, 17- 34, 25; XIV, 315-18, 25;
20, 33; X, 73-79, 37; X, 138, XXIV, 388-92, 44; 498-501, 38.
37; X, 139, 36; X, 164-67, 37; Homeric Hymn to Aphrodite, 145-
X, 167-72, 36; XI, 510-21, 37; 54, 185; 196-208, 64; 218-38,
XI, 632-37, 11; XI, 671-73, 27; 61; 262, 182, 185.
XII, 8-9, 64; XII, 293, 64;
XIII, 524-25, 64; XIII, 682,
Homeric Hymn to Apollo, 257-66,
64.
86; XIV, 1-8, 38; XV, 176-85,
55; XV, 188, 82; XV, 190, 86; Homeric Hymn to Demeter, 17-
XV, 370-76, 39; XV, 660-66, 18, 66; 22, 64; 101-78, 45;
34; XVI, 196, 38; XVI, 667- 256-74, 64; 296-304, 67.
75, 66; XVII, 301-03, 57; XVII, Homeric Hymn to Hermes, 9, 64;
443-44, 66; XVII, 553-60, 21; 90-93, 6; 468, 64.
XVIII, 83-88, 64; XVIII, 490- Honestus, Paton, Greek Anthol
516, 36; XIX, 334-37, 53; ogy, I, 5, 20, 7.
XIX, 419-22, 53; XX, 61, 82;
XXI, 59, 86; XXI, 518, 64; Horace, Ars Poetica, 153-78, 2;
XXI, 526-36, 36; XXII, 8-9, Epodes, II, 46; Odes, II, 14,
64; XXII, 54-77, 25; XXII, 71, 1-4, 10; II, 16, 20, 61.
49 ; XXII, 77-89, 25 ; XXII, 338- Hyginus, Fabulae, I, 80; 136, 66.
43,53; XXII, 405-28,25; XXII, Julianus, Paton, Greek Anthol
451, 49; XXII, 508-10, 53; ogy, III, 446, 17; Stadtmtiller,
XXIII, 615-24, 48; XXIII, 623, Anthologia Graeca, I, 25, 43;
3; XXIII, 625-50, 48; XXIV, I, 233, 6; I, 297, 6.
150-52, 43; XXIV, 217-28, 25;
XXIV, 322-28, 22; XXIV, 361- Justinus, XVII, 1, 220.
71, 25; 475-8, 90; XXIV, 503- Juvenal, X, 188-209, 4; XIII,
12, 25; XXIV, 561-72, 25; 214, 78.
XXIV, 659-69, 49; Odyssey, I, Leonidas of Tarentum, Paton,
428-31, 45; II, 15-16, 49; II, Greek Anthology, II, 295, 43;
40-41, 49; II, 157-59, 21; II, II, 726, 46; III, 466, 56.
177-86, 54; II,
225-28, 55;
II, 345-76, 45; III, Livy, XXV, 31, 216.
23-24, 17;
III, 385-96, 40; III,403-12, Longinus, On the Sublime, 9, 11,
37; III, 444-46, 39; IV, 204- 41.
05, 34; IV, 209-211, 10; IV, Longus, Daphnis and Chloe, II,
354-57, 23; IV, 384-85, 64; V, 3, 41, 44; II, 14, 44; III, 9,
47, 66; V, 73, 64; V, 218, 64; 58; IV, 35, 44.
CONCORDANCE TO LITERARY PASSAGES 241
Lucian, Alexandras, 59, 9; Ana- Oppian, Cynegetica, II, 344-78, 56.

charsis, 39, 32; Bis Accusatus, Ovid, Amores, I, 8, 46; Meta
32,219; Concilium Deorum,l,1 - morphoses, VII, 274, 230; VII,
9,55; IV, 182; Demonaw, VIII, 309-21, 60.
104, 13; Dialogi Deorum, XII,
Pacuvius, Ribbeck, Die Romische
58, 46; Dialogi Mortuorum, I,
2, 25-30, fi; IV, 2, 83; V, 1,
Tragbdie, p. 304, 79.
81, 44; VI, 2, 39-45, 7; VII, Palladas of Alexandria, Paton,
95,44; X, 1,83; XI, 3,4; XX, Greek Anthology, III,
165, 6.
4, 6, 143; XXVI, 65; XXVII, Paulus Silentiarius, Paton, Greek
3, 77-84, 7; XXVII, 65, 72; Anthology, I, 262, 47.
Dionysus, 6, 182; Heracles,
Pausanias, I, 18, 8, 156, 219; I,
1-5, 34; Hermotimus, 13, 219;
21, 1-2, 135; I, 23, 5, 182; II,
MacroUi, 3, 220, 222; 11, 216, III, III,
35, 7-8, 40; 10, 38; 21,
217, 220; 12, 221; 18, 217, 221,
222; 19, 149, 217, 222; 20, 153,
9, 77, 86; III,
25, 11-18, 189;
IV, 26, 5, 22; V, 10, 6, 122;
155, 217, 221, 222; 21, 146,
216, 220, 222; 22, 222, 217,
VI, 11, 2-3, 55; VII, 10, 78-85,
219, 221; 23, 156, 216, 219.
230; VII, 21, 2, 22; 11, VIII,
2-3, 60; IX, 23, 2, 23; IX, 29,
221; 24, 136, 221; 25, 217,
5, 100; X, 22, 5, 38; X, 26,
220; 26, 134, 215. 221; 27, 218,
219; Menippus, 21, 90-98, 7; 45; X, 28, 83; X, 30, 13, 94;
X, 30, 8, 61 ; X, 30, 9, 201 ; X,
Tyrannicida, 5, 23-25, 7; 21,
31, 9, 45.
26; Vera Historia, I, 23, 8.
Lucilius, Paton, Greek Anthol Phaedrus, Fabulae, V, 8, 78.
ogy, 69, 11; IV, 256, 60.
IV, Phalaecus, Paton, Greek Anthol
Lycophron, Alexander, 450-61,63. ogy, III, 7, 650, 9.
Lycurgus, Leocrates, 153, 39, 39. Pherecrates, Kock, Comicorum
Macedonius, Stadtmuller, Antho- Atticorum Fragmenta, I, 248,
logia Graeca, I, 27, 43; I, 30, 18.
43. Philemon, Kock, II, 199, 49.
Marinus, Vita Procli, 6, 221. Philippus, Paton, Greek Anthol
Martial, I, 5, 3, 79. ogy, I, 247, 46.
Megasthenes, I, 2, 230; II, 25, Philo, Paton, IV, 419, 18.

21-26, 65; II, 27, 39-43, 18; II, Philodemus, Paton, IV, 41, 17.
30, 10; IV, 59, 53.
Philostratus, Apollonius of Ty-
Meleager, Paton, Greek Anthol ana, II, 12, 230; III, 16, 107,
ogy, II, 417, 41. 32; III, 25, 116, 65; III, 49,
Menander, Kock, Comicorum At- 230; V, 4, 190, 72; VIII, 29,
ticorum Fragmenta, III, fr. 555, 341, 216; Vitae Sophistorum,
8; Kock, III,
fr. 592, 8; III, I, 7, 217; I, 9, 218; I, 15,216;
fr. 639, 16; Samia, 60-70, 46. II, 1, 14, 218; II, 9, 215.
Menecrates, Meineke, Stobaei Photius, Biblioteca, 104b, 220;
Florilegium, IV, 27, 14; Stadt- Codex, 57, 216.
miiller, Anthologia Graeca, III, Odes, VI, 15,
Pindar, Isthmian
79; Nemean Odes, VII, 98-101,
55, 13.
Mimnermus, Bergk, Poetae Lyrici 11; IX, 28, 82; IX, 44, 3; X,
Graeci, 11,2 (2), 12; 11,5 (3), 83-85, 65; XI, 13-16, 3; Olym
3, 11; II, 6 (6), 3. pian Odes, I, 83, 3; II, 51, 64;
Nicarchus, Paton, Greek Anthol V, 21, 3; VIII, 67-71, 3, 13;
ogy, III, 159, 33; IV, 73, 40; IX, 29, 77; Pythian Odes, VI,
IV, 74, 7. 19-27, 50; VI, 32-34, 50; VI,
16
43-47, 50; IX, 62-66, 65; X, 28, 219; 31, 157; Dio, 35, 220;
37-44, 63. Eumenes, 16, 593d, 39; Lycur-
Plato, Alcibiades, II,
147c, 17; gus, 21, 11-15, 2; 26, 1, 32;
Apology, 17, 13,
146, 221; Ly sander, 18, 217; Marcellus,
Cratylus, 429e, 24; Crito, 43b, 19, 65; Moralia, 69c, 65; 357c,
13; 51, 221; Eryxias, 394a-d, 35; 634d, 128; Nicias, 19, 38,
17; Euthydemus, 272, 24; Gor 220; Pelopidas, 16, 7, 219;
gias, 461c, 51; Laches, 179, Pericles, 16, 162b, 128; Philo-
41; 189c, 24; 201b, 24; Laws, poemen, 18, 38, 220; Phocion,
I, 624, 16; I, 642d, 140; II, 29, 219; Quaestionum Convi-
653a, 40; II,657d, 26; II, valium, VII, 10, 2, 136; Quo-
658d, 41; II,659d-e, 16; II, modo Adolescens Poetas Audire
665d, 40; II, 665e, 31; 666 II, Debeat, 26b, 145; Solon, 21,
a-c, 29; III,
691e-692a, 32; III, 23; 29, 95b-c, 40; 31c, 50;
692a, 32; IV, 711, 17; IV,715d, Theseus, IX, 118; XIV, 3, 26;
18; IV, 717a-b, 48; IV, 717, Vitae Decern Oratorum, Demos
51, 56; VI, 755a, 33; VI, 759d, thenes, 9, 159, 217; Hyperides,
39; VI, 761c, 5; VII, 813, 33; 12, 219 ; Isocrates, 14, 156. 219 ;
VII, 820c, 41; VII, 82 le, 16; Lycurgus, 11, 135; Lysias, 9,
VIII, 846c, 17; IX, 864d-e, 23; 156, 219; Wachsmuth-Hense,
IX, 878e, 32; IX, 880a-b, 55; Joannis Stobaei Anthologium,
XI, 917c, 51; XI, 923b, 56; XI, V, p. 1024, fr. 19, 52.
924c, 32; XI, 929e, 33; XI, Pollux, IV, 142, 182; IX, 119,
931, 51; XI, 932b-c, 33; XII, 195, 196.
956c, 31 ; XII, 964e, 33 ; Lesser XXIII,
Polybius, 12, 1-8, 220;
Hippias, 364c, 17; Menexenus, XXX, 22, 5-6, 222.
247a, 52; Meno, 91, 221; Par-
menides, 127b, 220; Phaedo, Porphyrius, Paton, Greek Anthol
66e-67b, 13; 72e-73b, 68; 78a- ogy, V, 359, 41; V, 360, 41;
80a, 68; Phaedrus, 97c, 215; Vita Plotini, I, 2, 220; I, 15,
240a-241a, 44; 275c-276d, 17; 220.
Republic,!, 328-31, 15; I, 328a, Posidippus, Palatine Anthology,
41; I, 329, 4, 16; II,
372a-c, XVI, 275, 78.
69; V, 452a-b, 45 ; VII, 536b-d, Propertius, V, 5, 2, 46.
18; Symposium, I, 172, 8; I, Wachsmuth-Hense,
Pythagoras,
215b, 143; Theaetetus, 143e,
Joannis Stobaei Anthologium,
143; 171d, 17; 183e, 220.
V, p. 1031, No. 28, 18.
Plautus, Truculentus, 899, 46.
Quintilian, Institutiones Ora-
Pliny, Epistulae, III, 1, 8, 41; toriae, I, 125, 219; XII, 10, 8,
Natural History, VII, 123, 141 ;
VII, 171, 141; VIII,
10, 230;
130.
X, 3, 135; X, 4, 230; XXXIV, Quintus Smyrnaeus, I, 361-62, 25 ;

51, 146, 220; XXXV, 9, 134;
III, 9, 17; in, 450-57, 26; III,
XXXVI, 32, 168. 518-20, 94; V, 152-56, 17.
Plutarch, AgesUaus, 36, 9-38, 215; Rufinus, Paton, Greek Anthology,

Alexander, 26, 679d-e, 23; An V, 92, 6.
Seni Res Publico Gerenda Sit, Sappho, Bergk, Poetae Lyrici
785b, 215; Antonius, 87, 220; Graeci, III, 26 (135), 11.
Aristides, II, 325c-d, 22; De Seneca, Quaestiones Naturales,
Defectu Oraculorum, 420e, 215 ; VII, 6, 217.
De Discemendo Adulatore ab
Amico, 53c, 145; De E apud Sidonius Apollinaris, Epistulae,
Delphos, I, 220; De Garruli-
IX, 9, 148; IX, 14, 143.
tate, 610a, 219; Demosthenes, Simonides, Bergk, Poetae Lyrici
CONCORDANCE TO LITERARY PASSAGES 243
Graeci, III, 36, 8; Paton, Greek 50; II, 172-82, 4; II, 271-74,8;
Anthology, III, 647, 66. II,821-22, 50; II,
985, 11; II,
Solon, Bergk, Poetae Lyriei 1021, 7; II, 1129-32, 94; II,
Graeci, II, 18 (10), 18; II, 20 1187-90, 10; II, 1200-15, 50.
(21), 3, 221; II, 24 (5), 10; Theopompus, Mttller, Fragmenta
II, (3), 2.
27 Historicorum Graecorum, I, 77,
Sophocles, Ajax, 470-72, 53; 506- 63.
09, 57; 556-70, 57; 558, 53; Theophrastus, Characters, VIII,
623-26, 57; 719-22, 35; 731-32, 41.
35; 848-51, 57; 1008-20, 28; Simocatta, 65-73,
Theophylactus
Antigone, 280-81, 19; 988-90,
17.
21; 1348-53,19; Electra, 3, 42;
23, 42; 73, 42; 279-83, 51; Thucydides, I, 8-27, 16; I, 9, 94;
431-34,50; 1354-59,41; Nauck, IV, 44, 4, 39; IV, 92, 7, 52;
Tragicorum Graecorum Frag IV, 118, 3, 52; V, 72, 3, 36;
ments, 63, 13; 603, 16; 784, VI, 17, 7, 52; VI, 54, 220; VII,
78; 808, 28; 863, 47; Oedipus 29, 4, 54; VIII,
92, 2-4, 18.
Colonus, 5-6, 4; 14, 4; 21, 4; Timostratus, Kock, Comicorum
34, 4; 184, 4; 299, 4; 345-51, Atticorum Fragmenta, III, 6,
50; 349, 4; 501-2, 4; 555, 4; 41.
608, 64; 610, 4; 930-31, 24;
Tullias Laureas, Paton, Greek
954, 79; 1210-33, 69; 1225-47,
Anthology, II, 294, 43.
4; Oedipus Tyrannus, 480, 51;
961, 12; 1009, 22; Philoctetes, Tyrtaeus, Bergk, II, 12 (8), 39-
422-23, 17; 663-65, 54; Trachi- 42, 49.
niac, 9-13, 89; 172, 22; 184, Tzetzes, Chiliades, II, 103-56, 216;
43; 519-22, 89; 870, 45; 1177- V, 387, 230; VIII, 416-34, 78;
78, 54. X, 266-72, 78.
Sophron, Kaibel, Comicorum Valerius Maximus, V, 2, 217;
Graecorum Fragmenta, 52, 12. VIII, 7, 217, 219, 221; VIII,
Statius, Achilleis, I, 269-71, 63. 14, 282; IX, 12, 135.
Strabo, III, 3, 7, 53; VI, 3, 3, Vergil, Aeneid, VI, 298, 83; VI,
36; VII, 2, 3, 23; VII, fr. 1 608, 55.
and la, 22; VII, fr. 2, 22; X, Xenophanes, Bergk, Poetae Ly
3, 6, 9; X, 4-18, 32; X, 5, 6, riei Graeci, II, 8, 5.
70; X, 7, 10, 8; XI, 4, 8, 53;
XI, 8, 6, 70; XI, 11, 3, 70; Xenophon, Agesilaus, II, 14-15,
XI, 11, 8, 70; XV, 43, 230; 27; II, 24, 35; II, 29, 38;
XVII, 6, 222. Anabasis, I, 9, 5, 54; II, 6, 16,
219; III, 2, 11, 52; V, 7, 17,
Terence, Andria, 229, 46.
35; Hellenica, III,
2, 21, 54;
Theocritus, I, 39-44, 12; I, 45, III, 3, 1, 38; Memorabilia, I,
171; XIV, 68, 9; XXI, 6-18, 2, 35-36, 2; II, 8, 3, 57; III,
43; XXI, 12, 79. 1, 4, 94; IV, 8, 8, 5; Oecono-
Theodectes, Nauck, Tragicorum micus, VII, 19, 56; On Horse
Graecorum Fragmenta ', 12, 79 ; manship, 2, 1, 31; Polity of
18, 78. the Lacedaemonians, II, 1, 43;
Theodoridas, Paton, Greek An V, 5, 26; X, 1, 32; Symposium,
thology, II, 7, 732, 4. V, 5, 143; V, 6, 143.
Theognis, Bergk, Poetae Lyriei Zenodotus, Paton, Greek Anthol

Graeci, I, 876-79, 29; II, 131, ogy, III, 17, 148.
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 PAGE
Representations of Geras and the Geras Painter
Berlin — Furtwangler, Cot. I, p. 405, No. 1927; Furtwangler in
Roscher, I, p. 2215; Hartwig, Philol. L (1891), p. 185.
B. F. cylix. Heracles clubbing Geras ( 1 ) 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) ;
C. V.A. lll Ic, pi. 48, 2a; Smith, J.H.8. IV (1883),
pp. 96-110, pi. 30; Deubner in Roscher, III, p. 2083,
Fig. 1; p. 2215; p. 2234. Nolan amphora. Heracles
clubbing Geras ( ?) 73
Louvre — C.V.A. lll I c, pi. 48, 1 and 2; Pottier, Vas. Antiq.
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
Geras Painter. Heracles clubbing Geras 73,75
Louvre — C. V. A. lll I c, pi. 44, Nos. 3, 8. and 10; Pottier, Vas.
Antiq. Louvre, Roscher, III, p. 2083, Fig. 2; Beazley,
Att. Vasm. p. 109. R. F. pelice by the Geras painter.
Death of Actaeon 74,98
Munich — Jahn, Cat. No. 251; Beazley, Att. Vasm. p. 110. R.
F. amphora by the Geras Painter, (a) Heracles, (b)
Achelolls 75,89
Oxford —Hoppin, R. F. I, p. 467 ; Beazley, V. A. p. 109. R. F.
pelice. Old silen in hat and coat 199
The So-called Bald Head Master

Boston — Hartwig, Die griechischen Meisterschalen, pi. 40;
Hoppin, R.F. II, p. 46. R. F. cylix from the Van
Branteghem Collection. Dance of old men 115, 116
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 AND INDEX TO AET 245
Scenes Relating to Rejuvenation and Immortality

Bibliotheque Nationale — De Ridder, Cat. I, p. 177, No. 268;
C. V. A. IIl H f, pi. 62, 12. B. F. oenochoe. Rejuvena
tion of the ram 60
British Museum — Inventory No. E 163 (Smith, Cat. III, p.
148); C.V.A. IIIIc, pi. 70, 4. R. F. hydria. Medea
and the rejuvenation of the ram 60
British Museum — Inventory No. B 221 (Walters, Cat. II, p.
145) ; Baumeister, Denkmaler des kloss. Alter. II, p.
1201. B. F. hydria. Medea boiling the ram in the pres
ence of Pelias 60
190). B. F. hydria. Medea boiling the ram in the pres
ence of Pelias 60
Munich— Jahn, Cat. No. 343; Hoppin, R.F. I, p. 201. R. F.
stamnus by the Painter of the Copenhagen Amphora.
Rejuvenation of Pelias 61
Naples, Santangelo Collection — Heydemann, Cat. p. 685, No.

220. R. F. amphora. Eos and Tithonus 62
Oxford, Ashmolean Museum — Gardner, Cat. No. 275; Gardner,
J.H.S. XIII (1893), p. 137; C. V.A. IIl, I, pi. 17, 7;
pi. 18, 3. R. F. amphora by the Master of the Berlin
Amphora. Eos and Tithonus 62
Palermo — F. R. pi. 59. R. F. crater in the style of Meidias.
Sappho and Phaon 66
Divinities
Athens, National Museum — Cat. No. 1757 (Fairbanks, Athen
ian White Lekythoi, II, p. 84); Ant. Denk. I, Taf. 23,
2; Daremberg-Saglio, Fig. 3333. White lecythus.
Charon, dead person, and youth 84
Athens, National Museum — Cat. No. 1758 (Fairbanks, II, p.
84); Ant. Denk. I, Taf. 23, Fig. 1; A.J. A. II
(1886),
pi. 12, Fig. 2. White lecythus. Charon, dead person,
and child 83, 84
85 ) ; Ant. Denk. I, Taf. 23, Fig. 3. White lecythus.
Charon, dead person, and child 85
Athens National Museum — Cat. No. 1891 (Fairbanks, II, p.
86 ) . White lecythus. Charon and dead person 85
163 ) . White lecythus. Charon 85
Athens, National Museum. Cat. No. 1926 (Fairbanks, II, p.
29). White lecythus. Charon, Hermes, and dead person 84
Athens, National Museum. Cat. No. 1927 (Fairbanks, II, p.
38). White lecythus. Charon and dead person 85
Athens, National Museum — C.V.A. IIl J
d, pi. 15, Nos. 5-6;
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 85
Athens, National Museum — C.V.A. IIIJ d, pi. 15, 7; Fair

banks, II, p. 137, No. 6, and pi. 24, 1. White lecythus.
Charon and dead person 85
136). White lecythus. Charon and dead person 85
Athens, Private Collection — Fairbanks, II, p. 13; Pottier, Lie.
Blancs Attiques, pi. 3. White lecythus. Charon,
Hermes, and dead person 84
Baltimore, Collection of D. M. Robinson — White lecythus.
Charon 84
Berlin— Furtwangler, Cat. I, p. 344, No. 1851. B. F. amphora.
Acheloiis in combat with Heracles 88
Berlin— Furtwangler, Cat. II, p. 765, No. 2680; Fairbanks, II,
p. 163; G. Treu, A. Z. XXXIX (1881), p. 259. R. F.
lecythus. Charon, mourner, and dead person 85, 86
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 .... 85
C. V.A. lllHe, pi. 60, No. 2; Baumeister, Denkmaler,
II, p. 1017, Fig. 1222; Daremberg-Saglio, III, p. 95,
Fig. 3767 ; Bloch in Roscher, III, p. 242, Fig. 1. B. F.
hydria. Nereus and Heracles 86
Bologna — Pellegrini, Cat. p. 74, No. 196. R. F. celebe. Nereus
fleeing from Heracles 87
Bologna — Pellegrini, Cot. p. 84, No. 216. R. F. celebe. Nereus

holding dolphin 88
Boston —Inventory No. 6545 (Fairbanks, I, p. 191, No. 8).
White lecythus. Charon, Hermes, and dead person 84
133). B. F. amphora. Combat of Heracles and Triton,
with Nereus as spectator 87
146) ; C. V. A. lll
H e, pi. 55, 2b. B. F. amphora. Com
bat of Heracles and Triton, with Nereus as spectator ... 87
British Museum —Inventory No. B 224 (Walters, Cat. II, p.
146) . B. F. amphora. Combat of Heracles and Triton,
with Nereus as spectator 87
British Museum — Inventory No. B 225 (Walters, Cot. II, p.
147) ; C.V.A. lllHe, pi. 55, 3a. B. F. amphora.
Nereus and Heracles 86
148) ; C.V.A. lllHe, pi. 56, 2a and 2b. B. F. am
phora. Heracles and Acheloiis 89
161 ) ; C.V. A. lll
H e, pi. 64, Nos. 3a and 3b. B. F. am
phora. Pluto in scene picturing return of Persephone
from Hades 82
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 ... 87
181) ; C. V.A. IIl He, pi. 79, 2. B. F. hydria. Combat
of Heracles and Triton, with Nereus as spectator 89
227 ) . B. F. cylix. Nereus riding hippocamp 88
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
of abduction of Thetis to Nereus 88
British Museum — Inventory No. E82 (Smith, Cat. IIl, p. 108).
R. F. cylix. Pluto and Persephone 82
British Museum —Inventory No. E 162 (Smith, Cat. IIl, p.
148) ; C. V. A. IIl I c, pi. 70, 3. R. F. hydria. Heracles
seizing Nereus 86
British Museum — Inventory No. E437 (Smith, Cat. IIl, p.
266); C.V. A. IIl I c, pi. 19, Nos. la, lb, and lc; Beaz-
ley, V. A. p. 9, No. 4. R. F. stamnus in the style of
Pamphaeus. Heracles and Achelous 89
Brussels, Musees Royaux du Cinquantenaire — Cat. No. A 903
(Fairbanks, II, p. 85). White lecythus. Charon,
Hermes, and dead person 84
Florence — F. R. Taf . 1 and 2. B. F. crater ( Francois vase ) .
Nereus at wedding of Thetis and Peleus 86
Louvre — Inventory No. F211 (Pottier, Vas. Antiq. Louvre, II,
p. 116). B. F. amphora. Heracles and Achelous 87
Louvre— Inventory No. F 235 (C.V. A. IIlHe, pi. 45, 8).
R. F. amphora. Combat of Heracles and Triton, with
Nereus as spectator 89
Louvre — Inventory No. G 10 (Pottier, Vas. Antiq. Louvre, II,
p. 137) ; Hoppin, R. F. I, p. 342. R. F. cylix assigned to
Epilycus. Heracles and Achelous 89
Louvre — Inventory No. G 116 (Pottier, Vas. Antiq. Louvre, III,
p. 162); Hoppin, R. F. I, p. 247 ; Pottier, Courts, p. 65 ;
pp. 80-84, Fig. 13; Perrot and Chipiez, Hist, de l' Art
dans V Antiq. X, p. 539, Fig. 307. R. F. cylix by Douris.
Nereus and the rape of Thetis 87
p. 126). R. F. cylix by Hieron. Nereus receiving news
of the rape of Thetis 87
p. 186). R. F. cylix attributed to Brygos. Heracles and
Nereus 87
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 85
Louvre — Inventory No. N 3449 (Fairbanks, II, p. 29). White
lecythus. Charon 84
/
Munich — Cat. No. 209 ( Jahn) ; Fairbanks, I, p. 189; R. C.

Bosanquet, J.H.8. XIX (1899), p. 182, Fig. 6. White
lecythus. Charon 83, 84
Naples — Heydemann, Cat. p. 294, No. 2421. R. F. amphora.
Nereus receiving news of the rape of Thetis 87
New York, Metropolitan Museum — Inventory No. GR619
'
(Fairbanks, II, p. 85). White lecythus. Charon, dead
person, and child 84
Oxford, Ashmolean Museum —Gardner, Cat. p. 20, No. 264;
Fairbanks, II, p. 137. White lecythus. Charon and
dead person 85
Philadelphia, University Museum — S. B. Luce, A. J. A. XXVI
(1922), pp. 174-92. B. F. scyphus. Heracles and Triton. 73
J
Scheurleer Museum, Hague — C. V. A. lll c, pi. 2, 2. White
lecythus. Charon 86
Schwerin — Hoppin, R. F. II, p. 319. Nolan amphora by the
Pan Painter. Nereus receiving news of the rape of
Thetis 88
Tubingen —Watzinger, Cat. p. 43, No. 1721. White lecythus.
Charon 85
Van Branteghem Collection — Fairbanks, II, p. 14, No. 19.
White lecythus. Charon, Hermes, and dead person 84
Vienna, Oesterreichisches Museum — Masner, Cat. p. 26, No.
226. B. F. amphora. Nereus and Cheiron 86
Kings
Baltimore, Md.— D. M. Robinson, A. J. A. XXXV (1931), pp.
152-60. R. F. bell-crater by the Painter of the Naples
Hephaestus. Bougyzes exhibiting the plough to Cecrops. 9b
Berlin — Furtwangler, Cat. I, p. 222, No. 1685. B. F. amphora.
Death of Priam at altar of Zeus Herkeius 91
Berlin— Furtwangler, Cat. I, p. 352, No. 1862; Robert, A. Z.
XXXVII (1879), p. 24. Nolan amphora. Aeneas carry
ing Anchises 93
Berlin — Furtwangler, Cat. II, p. 496, No. 2175. R. F. hydria.
Priam at altar of Zeus Herkeius 91
Berlin— Furtwangler, Cat. II, p. 516, No. 2281; A.Z. XXXVII

(1882), pi. 3. R. F. cylix. Priam at altar of Zeus
Herkeius 91
Berlin— Furtwangler, Cat. II, p. 718, No. 2537. R. F. cylix.
Cecrops and Erechtheus at birth of Erichthonius 95
Berlin — Furtwangler, Cat. II, p. 1009, No. 3988; Wiener
Vorlegeblatter, Series VIII, Taf. 4. R. F. amphora.
Berlin — Furtwangler, Cat. II, p. 1013, No. 3996; Hoppin, R.F.

II, p. 125. R. F. amphora by the Iliupersis Painter.
Bibliotheque Nationale — De Ridder, Cot. I, p. 117, No. 207;
C. V. A. lll
H e, pi. 34, No. 5. B. F. amphora. Priam
viewing departure of Hector 92
CONCORDANCE AND INDEX TO ART 249
Bibliotheque Nationale — De Ridder, Cat. I, p. 173, No. 261.

B. F. oenochoe. Aeneas carrying Anchises 93
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 94
Boston — Inventory No. 98. 933 (Hoppin, R.F. I, p. 126) ; Beaz-
ley, V. A. p. 91 ; Kretschmer, Die griechischen Vasen-
vnschriften, 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 89
Boston — Inventory No. 99. 532 (Fairbanks, Cat. p. 197). B.
F. scyphus. Priam viewing combat of Hector and
Achilles 92
British Museum — C.V.A. IIl I c, pi. 7, lb; Inventory No.
E264 (Smith, Cat. III, p. 199). R.F. amphora.
Aegeus at son's arrival in Athens 94
British Museum — C.V.A. IIl He, pi. 31, 4b; Inventory No.
B 171 (Walters, Cat. II, p. 119). B. F. amphora. Priam
at departure of Hector 92
108); C.V.A. III He, pi. 25, No. 2a. B. F. amphora.
Departure of Troilus 92
135). B. F. amphora. Priam at altar of Zeus Herkeius. 91
153); C.V.A. IIl He, pi. 59, Nos. la and lb. B. F.
amphora. Priam at altar of Zeus Herkeius 91
British Museum — Inventory No. B313 (Walters, Cat. II, p.
182); Gaz. Arch. I (1875), pis. 20 and 21; C.V.A.
IIl H e, pi. 79, No. 2. B. F. hydria. Oeneus as spectator
at contest of Heracles and Acheloiis 95
249). Amphora of transition period. Priam at altar of
Zeus Herkeius 91
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 95
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 95
Cambridge, Fitzwilliam Museum — C. V. A. IIl H, IV B, pi. 14,
2a. B. F. amphora. Aeneas and Anchises 93
Florence — F. R. Taf. 11 and 12. B. F. crater (Francois vase).
Priam watching Achilles and Troilus 89
Hope Collection —Tillyard, Cat. p. 29, No. 14. B. F. amphora.
Aeneas carrying Anchises 93
Hope Collection —Tillyard, Cat. p. 50, No. 87. R. F. neck-am
phora. Priam viewing departure of Hector 92
Leningrad — Hoppin, R. F. II, p. 453. R. F. cylix by the Tele-

phus Painter. Priam at altar of Zeus Herkeius 91
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 97
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 93
Louvre — Inventory No. F 122 ( Pottier, Vas. Antiq. Louvre, II,
p. 107) ; Hoppin, B.F. p. 258, No. 51; Perrot and Chi-
piez, X, p. 248, Fig. 157; p. 249, Fig. 158. B.F. cylix
by Nicosthenes. Aeneas carrying Anchises 93
p. 119); C.V.A. lll
He, pi. 41, 8. B.F. amphora.

pi. 81); C.V.A. lll
He, pi. 52, 2. B.F amphora.
Aeneas carrying Anchises 93
p. 145, pi. 93); C.V.A. lll
I c, pi. 31, 3. R. F. am
phora attributed to the Nicoxenus Painter. Priam at
departure of Hector 92
Louvre —Inventory No. G 152 (Pottier, Vas. Antiq. Louvre, III,
p. 182); F. R. Taf. 25; Hoppin, R. F. I, p. 119;
Kretschmer, Die griechischen Vaseninschriften, p. 140;
Rayet and Collignon, p. 193, Fig. 76(a); Luckenbach,
p. 524. R. F. cylix by the Brygos Painter. Priam at
altar of Zeus Herkeius 91
Louvre — Inventory No. G 236 (C.V.A. lll I
c, pi. 49, 4).
King with phiale 97
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 94
Madrid —Leroux, Cat. p. 43, No. 68; Weiszacker in Roscher,
III, p. 2957, Fig. 6; Heydemann, Jahrb. d. arch. Inst.
IV (1889), pp. 260-65, and pi. 10. R. F. hydria. Priam
90
Munich — F. R. Taf. 10. R. F. amphora. Rhadamanthus as
judge in the Lower World 97
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
by Euthymides. Priam and the arming of Hector 92
Munich— Hoppin, R.F. I, p. 62; F.R. pi. 106, Fig. 2. R. F.
stamnus. Priam at the arming of Hector and Paris. . . . 92
Naples —Heydemann, Cat. p. 298, No. 2422; F. R. Taf. 34.
Nolan amphora. Priam at altar of Zeus Herkeius 91
Naples —Heydemann, Cat. p. 520, No. 3225. R. F. vase (shape

not indicated) . Cepheus and Andromeda 96
Naples— Heydemann, Cat. p. 599, No. 3352. R. F. vase (shape
not indicated). Boreas seizing Oreithyia in presence of
Erechtheus 95
Naples — Heydemann, Cat. p. 814, No. SA 708. R. F. amphora.
Cepheus and Andromeda 96
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 91
Oxford, Ashmolean Museum —Gardner, Cat. p. 23, No. 270.
R. F. amphora. King with patera and sceptre 97
Rome, Vatican — Beazley, V. A. p. 172; Hoppin, R.F. II, p. 14,
No. 6; Reinach, Ripertoire, II, p. 94, Nos. 8 and 9.
B. F. neck-amphora by the Hector Painter. Priam view
ing departure of Hector 92
Rome, Villa Giulia — Hoppin, R. F. II, p. 125. Column-crater.
Death of Priam 91
Rome, Villa Giulia— C. V. A. IV B r, pi. 13, 1, 2, 3. B. F. am

phora. Aeneas and Anchises 93
Terra Nova, Navarra Collection — Fairbanks, I, p. 247, No. 75.
White lecythus. Aeneas guiding steps of Anchises 93
Toronto — Robinson, Harcum, and Iliffe, Cat. No. 269, pp. 108-
11, and pi. 32. B. F. hydria. Oeneus witnessing the bat
tle of Heracles and Nessus 95
Toronto — Robinson, Harcum, and Iliffe, Cat. No. 312, pp.
132-35, and pi. 46. B. F. amphora. Oeneus witnessing
rape of Deianeira 95
TUbingen —Watzinger, Cat. p. 24, No, 2451. B. F. amphora.
Aeneas and Anchises 93
324. R. F. cylix by Douris. King witnessing a contest
of warriors 98
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.
R. F. cotyle in the style of the Brygos Painter. Priam
entering tent of Achilles 90
Heroes
Bibliotheque Nationale— De Ridder, Cat. II, p. 469, No. 811;
Engelmann, R. A. IX (1907), pp. 84-93. R.F. cylix.
Punishment of Linus 100
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.
185, No. 9; Studniczka, Jahrb. d. arch. Inst. II
(1887),
p. 162, No. 22; Hartwig, p. 444; E. Radford, J.H.S.

XXXV (1915), p. 120; Kalkmann, Jahrb. d. arch. Inst.
XI (1896), p. 30, Fig. 12. R. F. cylix by Euphronius.
(a) Bringing the Erymanthian boar to Eurystheus; (i)
old man and hetaira 99, 111
British Museum —Inventory No. E318 (Smith, Cat. IIl, p.
225 ) ; C.V. A. IIl
I c, pi. 58, 3b. R. F. amphora by the
Alcimachus Painter. Heracles struggling with Apollo
for the tripod, with an old man as spectator 100
London, Stewart Hodgson Collection — Hoppin, B. F. p. 210, No.
24. B. F. amphora. Old men as spectators 99
Munich —J. Maybaum, Jahrb. d. arch. Inst. XXVII (1912), pp.
24-37, and pis. 5-8. R. F. crater. Punishment of Linus. 101
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
Iphicles; (b) servant conducting Heracles 42,100,118
—
Vienna, Oesterreichisches Museum Masner, Cat. p. 41, No.
322. R. F. cylix of the severe style. Heracles and
Antaeus 98
Seers
Boston —Hoppin, 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
a palace 101
British Museum —Murray, White Athenian Vases in the British
Museum, pi. 16. White Athenian cylix. Seer Polyeidus
and boy Glaucus 102
British Museum — Inventory No. G 10 (Walters, Cat. IV, p.
238). Megarian bowi. Creon falling in supplication
before Teiresias 101
Warriors
Athens, Acropolis Museum — Graef, Cat. II, p. 145, No. 1291.
B. F. scyphus. Aged warrior 102
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 103
Berlin— Furtwangler, Cat. pp. 537-41, No. 2264; R. Weil,
A. Z. XXXVII (1879), p. 183. R. F. cylix. Phoenix
and Nestor joining hands with Achilles 104
British Museum— H. B. Walters, J.H.S. XVIII (1898), pp.
281-86, No. 2. B. F. amphora. Phoenix and Nestor at
the sacrifice of Polyxena 103
British Museum — Inventory No. E 76 (Smith, Cat. III, p. 102).
R. F. two-handled cup. Briseis led away by Achilles,
with Phoenix as spectator 103
British Museum — Inventory No. B 327 (C.V.A. IIl

He, pi.
86, 3 ) . B. F. hydria. Patroclus and Phoenix witness
ing quarrel of Achilles and Agamemnon 103
Louvre — Inventory No. F 340 (Hoppin, B.F. p. 346). B. F.
oenochoe. Nestor viewing strife of Ajax and Odysseus. 102
Naples — Heydemann, Cat. p. 361, No. 2643. R. F. amphora.
Old man and Nike 102
Naples — Heydemann, Cat. p. 579, No. 3254. R. F. vase (shape
not indicated). Phoenix and Nestor witnessing the ran
som of Patroclus 103
Wiirzburg — F. R. Taf. 104. R. F. amphora. Phoenix with war
rior in arming scene 104
Old Men in the Common Pursuits of Life

(a) Departure scenes
Berlin — Furtwangler, Cat. II, p. 716, No. 2536. R. F. amphora.
Departure scene 105
Bologna— Pellegrini, Cat. p. 21, No. 50; C. V. A. IIl
I c, pi. 29,
No. 2. R. F. celebe. Departure scene 106
Bologna — Pellegrini, Cat. p. 86, No. 223. R. F. celebe. De
parture scene 105
Bologna — Pellegrini, Cat. p. 97, No. 244; C.V.A. IIl
I c, pi.
23, 4. R. F. celebe. Departure scene 105
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 105
103) ; C. V. A. IIl I c, pi. 24, la and lb. B. F. amphora.
Warrior taking omens in presence of old man 106
119); C. V. A. IIlHe, pi. 31, 4b. B. F. amphora. War
rior taking omens in presence of old man 106
125); C.V. A. IIl He, pi. 33, 3b. B. F. amphora. De
parture Scene 104
126). B. F. amphora. Departure scene 104
127); C. V. A. IIIHe, pi. 45, 7b. B. F. amphora. Arm
ing and departure scene 105
156); C.V.A. IIl He, pi. 60, 2b. B.F. amphora. De
parture scene 104
British Museum— Inventory No. B 255 (Walters, Cat. II, p.
159); C. V. A. IIl He, pi. 63, lb. B. F. amphora. De
parture scene 104
163); C. V. A. IIl H e, pi. 66, 2b. B. F. amphora. De
parture scene 104

166) ; C. V.A. IIl He, pi. 68, la. B. F. amphora. War
rior mounting chariot in presence of father 106
170) ; C. V. A. IIl He, pi. 71, 2a. B. F. amphora. De
parture scene 104
183) ; C. V. A. IIl H e, pi, 79, 4. B. F. hydria. Warrior
mounting chariot in presence of father 104
British Museum — Inventory No. B 320 ( Walters, Cat. II, p.
185) ; C. V. A. IIl H e, pi. 82, 4. B. F. hydria. Warrior
mounting chariot in presence of father 106

200); C.V.A. IIl He, pi. 93, 2. B. F. hydria. War
rior mounting chariot in presence of father 106
204. B. F. celebe. Warrior mounting chariot in pres
ence of father 106
British Museum — Inventory No. E 16 (Smith, Cat. IIl, p. 51).
R. F. cylix attributed to Oltus. Departure scene 105
British Museum — Inventory No. E 361 (Smith, Cat. IIl, p.
238) ; Hoppin, R. F. I, p. 194. R. F. pelice. Departure
scene 105
British Museum — Inventory No. E413 (Smith, Cat. IIl, p.
258). R. F. cylix by the Painter of the Ethiop Pelice.
Departure scene 104
Brussels — Inventory No. R 307 (Hoppin, R. F. I, p. 59, No. 4).
Nolan amphora by the Master of the Berlin Amphora.
Departure scene 105
Cambridge, Fitzwilliam Museum — C. V. A. IIl
H, IV B, pi. 15,
lb. Amphora of Panathenaic shape. Warrior taking
omens in presence of old man 106
Cambridge, Fitzwilliam Museum —C. V. A. III
H, pi. 13, 2. B.
F. hydria. Warrior mounting chariot in presence of
father 106
Copenhagen — Inventory No. 3241 (C.V.A. IIl
H, pi. 102, No.
2a. B. F. amphora. Warrior taking omens in presence
of old man 106
Dresden — Hoppin, R. F. I, p. 5, No. 16. Nolan amphora by the
Achilles Painter. Departure scene 105
Gallatin Collection — C. V. A. IIlI c, pi. 14. R. F. stamnus.
Arming scene 106
Hope Collection — Tillyard, Cat. p. 33, No. 21. B. F. amphora.
Departure scene 105
Hope Collection—- Tillyard, Cat. p. 74, No. 126. B. F. crater.
Departure scene 105
Leningrad —Hoppin, R. F. II, p. 213, No. 10. R. F. pelice by
the Nausicaa Painter. Departure scene 105
p. 87) ; C. V.A. IIl
He, pi. 11, 3. B. F. amphora. De
parture scene 105
Louvre — Inventory No. F215 (Pottier, Vas. Antiq. Louvre, II,

p. 117) ; A.
C. V. IIl
H e, pi. 27, 5. B. F. amphora. De
parture scene 106
Louvre —Inventory No. G 46 (Pottier, Vas. Antiq. Louvre, II,
p. 145, pi. 93) ; C. V. A. III I
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 106
p. 148) ; C. V. A. III I
c, pi. 6 ,7. R. F. stamnus by the
Master of the Berlin Amphora. Warrior mounting
chariot in presence of father .| 106
Madrid— Leroux, Cat. p. 45, No. 69 ; C. V. A. III H e, pi. 8, 5.
B. F. hydria. Departure scene 105
Munich-^Jahn, Cat. No. 411; F. R. Taf. 52. R. F. amphora.
Departure and libation scene 107
Naples —Heydemann, Cat. p. 387, No. 2777. B. F. vase (shape
not indicated). Warrior mounting chariot in presence
of father 106
not indicated). Warrior mounting chariot in presence
of father 106
Naples — Heydemann, Cat. p. 482, No. H3150. Nolan amphora
by the Master of the Berlin Amphora. Arming scene . . . 105
Naples — Heydemann, Cat. p. 662, No. SA 122. White lecythus.
Departure scene 105
Naples — Heydemann, Cat. p. 807, No. SA 700. R. F. crater by
Macron. Arming scene 105
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 .... 105
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 105
Oxford, Ashmolean Museum —Gardner, Cat. p. 25, No. 280. R.
F. amphora. Departure scene 105
Rome, Vatican — Inventory No. 490 (Hoppin, R.F. I, p. 73, No.
93). R. F. amphora by the Master of the Berlin Am
phora. Departure scene 105
Rome, Vatican — Inventory No. 522 (Hoppin, R. F. II, p. 164,
No. 9). R. F. pelice by the Lycaon Painter. Departure
scene 105
Rome, Vatican — Inventory No. 541 (Hoppin, R.F. I, p. 289,
No. 100). R. F. cylix attributed to Douris. Departure
scene 105
Rome, Vatican — Inventory No. 576 (Hoppin, R.F. I, p. 139,
No. 95). R. F. cylix attributed to the Brygos Painter.
Arming scene 106
Rome, Villa Giulia — Inventory No. 910; C.V.A. IIl He, pi.
2, 1. B. F. hydria. Departure scene 106
-
Rome, Villa Giulia — InventoryNo. 5198 (C. V. A. III

He, pi.
55, la). B. F. hydria. Departure scene 100
Rome, Villa Giulia — InventoryNo. 25000 (C.V.A. III
He, pi.
5, 5). R. F. pelice by the Master of the Chicago Stam-
nus. Departure scene 105
Toronto — Robinson, Harcum, and Iliffe, Cat. p. 131, No. 309,
and pi. 44. B. F. amphora. Departure scene 106
Toronto — Robinson, Harcum, and Iliffe, Cat. p. 276, No. 632,
and pi. 103. B. F. cylix. Departure scene ( ?) 106
(b) Scenes connected with religion and death

Athens, Acropolis Museum — Graef, Antike Vasen. von der Akro-
polis, II, No. 336, pi. 24; Beazley, Att. Vasm. p. 76,
No. 71. Fragment of r. f. cylix attributed to the Cleo-
phrades Painter. Old priest 107
Athens, National Museum — Inventory No. 2021 (Fairbanks, II,
p. 20). White lecythus. Father at stele of son 107
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 167
Group singing around bier 107
C.V.A. III He, pi. 71, 9. B. F. cantharus. Dead war
rior and old father 107
Naples — Heydemann, Cat. p. 624, No. SA 3. R. F. vase (shape
not indicated). Old man making offering 107
Naples — Conze, II, p. 215, No. 1011, and Taf. 197. White lecy
thus of Autodicus of Phalerum. Father leaning on stick,
and son 165
Naples — Conze, II, p. 230, No. 1066, and Taf. 217. White lecy
thus. Youth (Theodotus) extending hand to father... 166
Scheurleer Museum, Hague — Inventory No. 3507 (C.V.A. IIl
H e, pi. 3, 3. B. F. amphora. Father mourning death
of son 107
(c) Athletics
Old man witnessing a horse race 108
Berlin— Furtwangler, Cat. I, p. 329, No. 1832. B. F. amphora.
Old men sprinting 107
British Museum — Inventory No. E 277 (Smith, Cat. IIl, p.
206); C.V.A. IIl
Ic, pi. 46, Nos. la and lb; Hoppin,
R. F. I, p. 85. R. F. amphora by the Painter of the
Boston Phiale. Old man watching warriors running .... 108
British Museum — Inventory No. E 310 (Smith, Cat. III, p.
221); C.V.A. IIl
I c, pi. 56, Nos. la and lb. Nolan
amphora by the Master of the Berlin Amphora. Old
man watching a warrior pursue a woman 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
buted to the Berlin Painter. Foot race 107
—
Copenhagen Inventory No. 125 (Hoppin, R. F. I, p. 200).
R. F. amphora. Old man walking attended by black boy. 107
Goluchow — Beazley, Vases in Poland, pis. 1 and 2. Pana

thenaic amphora. Foot race 107
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 108
224. B. F. amphora. Old man as peacemaker in a duel. 108
(d) Conversation
Athens, Acropolis Museum — Graef, I, p. 84, Cat. No. 681. R.
F. crater. Conversation and libation scene Ill
Bologna — Pellegrini, Cat. p. 84, No. 216. R. F. celebe. Con
versation scene 109
Bologna — Pellegrini, Cat. p. 95, No. 239. R. F. celebe. Aged

men in conversation 109
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 Ill
125); C.V.A. IIl He, pi. 33, 3b. B. F. amphora.
Aged men receiving guests ill
British Museum — Inventory No. E 72 (Smith, Cat. p. 96).lll,
R. F. cylix. Youth talking to elderly figure 109
British Museum — Inventory No. E211 (Smith, Cat. p. lll,
170). R. F. hydria. Men and women in conversation.. 110
Copenhagen — C.V.A. lll H, pi. 120, 6a. B. F. pyxis. Con
versation scene 110
London, Charles Ricketts and Charles Shannon Collection —
Hoppin, R.F. I, p. 102; Beazley, J.H.8. XXXIV
(1914), p. 194, n. 13. R. F. Nolan amphora. Elderly
man watching boy playing 109
p. 100) ; C. V. A. lll
H e, pi. 32, Nos. 1, 2, 3, 4, 5, and
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.. 110
Louvre— Inventory No. G236; C.V.A. lll
I c, pi. 49, Nos.
2, 4, 5, and 6; Beazley, Att. Vasm. p. ill,
No. 6. R. F.
amphora by the Argos Painter. Man with phiale 112
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 112 ^ ■ >.
Munich — Jahn, Cat. No. 2650; Beazley, V. A. p. 94; Hoppin,

R.F. I, p. 458; Hartwig, p. 388 (attributed to the Dio-
17
genes Master). R. F. cylix by the Foundry Painter.

Youth and old men in conversation 109
Oxford, Ashmolean Museum —Gardner, Cat. p. 23, No. 270;
C. V.A. IIlI, pi. 17, 3. Nolan amphora. Libation scene 111
Tarquinia, Mus. Tarquiniense — Inventory No. 6846 (Hoppin,
R.F. I, p. 129, No. 51). R. F. cylix attributed to the
Brygos Painter. Libation scene 112
329. R. F. cotyle. Old man and hetaira I11
(e ) Pedagogues
Bibliotheque Nationale — De Ridder, II, p. 519, No. 876. Nolan
amphora. Pedagogue at death of sons of Medea 113
Munich — Jahn, Cat. No. 810; F. R. pi. 90. R. F. cylix. Peda
gogue and two boys at death of Creusa 42, 113
not indicated). Pedagogue followed by woman 112
Naples — Heydemann, Cat. pp. 79-81, No. 1757. R. F. vase
(shape not indicated). Pedagogue in scene represent
ing abduction of Adonis 112
(shape not indicated). Pedagogue in scene featuring
abduction of Chrysippus 112
Naples — Heydemann, Cat. pp. 495-99, No. 3218. R F. vase
(shape not indicated). Pedagogue and Europa 112
(shape not indicated). Pedagogue and old lady ap
proaching bier of Archemorus 112, 118
Naples — Heydemann, Cat. p. 752, No. SA 526. R. F. vase
(shape not indicated). Pedagogue at death of Creusa
or Glauce 112
(f) Scenes of revelry

Berlin — Furtw&ngler, Cat. I, p. 219, No. 1676. B. F. amphora.
Old men conversing over wine 115
Berlin — Furtwangler, Cat. I, p. 456, No. 2086; Hoppin, R.F.
I, p. 68. Nolan amphora by the Master of the Berlin
Amphora. Old komast 115
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
circle. Old komast and boy 42, 115
Boston — Hartwig, Taf. 40; Hoppin, R.F. II, p. 46. R. F.
cylix by Hieron. Dance of old men 115
Hope Collection — Tillyard, Cat. p. 71, No. 121. R. F. calyx-
crater. Two old actors and silens 113
Leningrad — F. R. Taf. 110. R. F. crater. Comic actor 114
p. 94, and pi. 67); C.V.A. III
Id, pi. 29, 1. B. F.
amphora. Marriage procession led by old men 115
»
'
CONCOHDANCE AND INDEX TO AET 259
Madrid — Leroux, Cat. p. 82, No. 155. R. F. sta minis. Proces

sion and dance of old men 42, 114
not indicated). Old comic actor 114
Naples —Heydemann, Cat. p. 723, No. SA368. R. F. vase
(shape not indicated). Old comic actor 114
Rome, Castellani — Hartwig, Taf. 29. R. F. cylix by Hieron.
Procession and dance of old men 114
Rome, Villa Giulia— Inventory No. 772; C.V.A. IIl He, pi.
2, 4. B. F. amphora. Return from a banquet 42
Miscellaneous
Cairo Museum —Inventory No. 26279 (Edgar, Cat. p. 55).
Red clay with ornamentation in relief. Old hawker or
beggar 117
p. 273). R. F. pelice by the Pan Painter. Old man
leading pig to altar 118
Vienna, Oesterreichisches Museum —Masner, Cat. p. 40, No.
321. R. F. cylix. Old man leading pig to altar 117
Vienna, Oesterreichisches Museum —Masner, Cat. p. 51, No.
335. R. F. pelice. Old fisherman and son 117
Old Women on Vases

Madrid — Leroux, Cat. No. 196; J.H.S. pi. 10; Elderkin,
A.J. A. XIV (1910), pp. 185-92; Bethe, Arch. Anz.
VIII (1893), p. 8. R. F. cylix. Theseus, wild boar of
Krommyon, and aged nymph 118
not indicated) . Mother of Niobe 118
Aged Silens
Athens, Acropolis Museum — Inventory No. 1500 (Graef, Cat.
IIl, p. 163). B. F. cylix. Silen picking grapes 184
Baltimore, Johns Hopkins University, D. M. Robinson Collec
tion on loan — R. F. scyphus by the Painter of London
E 777. Silen dancing 191
Berlin —Furtwangler, Cat. II, p. 522, No. 2240. R. F. lecythus.

Silen with amphora 188
Berlin — Furtwangler, Cat. II, p. 523, No. 2242. R. F. lecy
thus. Silen dancing 190
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 189
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 185
Berlin — Furtwangler, Cat. II, p. 632, No. 2337. Nolan am

phora. Silen with Dionysus holding oenochoe 187
Berlin — Furtwftngler, Cat. II, p. 663, No. 2402. R. F. crater.
Silen playing lyre before Dionysus 198
Berlin — Furtwangler, Cat. II, p. 689, No. 2469. R. F. lecythus.
Silen with wine skin and cantharus 188
Berlin — Furtwangler, Cat. II, p. 690, No. 2471. R. F. ary-
ballus. Silen reclining 196
Berlin— Furtwangler, Cat. II, p. 704, No. 2523. R. F. cylix.
Silen before altar 200
Berlin — Furtwangler, Cat. II, p. 714, No. 2534. R. F. cylix.
Old silen and Heracles 200
Berlin— Furtwangler, Cat. II, p. 723, No. 2548. R. F. cylix by
the Penthesilea Master. Silen and nymph 193
Berlin— Furtwangler. Cat. II, p. 725, No. 2550. R. F. cylix.
Silen and satyr boy 198
Berlin— Furtwangler, Cat. II, p. 732, No. 2591. R. F. cotyle
by the Penthesilea Master. Silens holding cantharus
and wine skin 188
Bibliotheque Nationale — De Ridder, Cat. II, p. 224, No. 324.
B. F. cylix. Silens picking grapes 183
R. F. amphora. Silens, maenads, and Dionysus 192
R. F. amphora. Dancing silen and maenad 194
Bibliotheque Nationale— De Ridder, Cat. II, p. 317, No. 426.

R. F. crater. Silen with lyre and plectrum 189
Bibliotheque Nationale — De Ridder, Cat. II, p. 364, No. 492;
C. V. A.lll I a, pi. 95, Nos. 1, 3, and 4. R. F. lecythus.
Silen and nymph 193
Bibliotheque Nationale — De Ridder, Cat. II, p. 382, No. 509;
Klein, Jahrb. d. arch. Inst. VI (1891), p. 256, No. 15.
R. F. cylix. Silen with flute 190
R. F. cylix. Silen and nymph 193
R. F. cylix. Silen dancing 191
R. F. cylix. Old silen playing lyre with small silens. . . 199

R. F. scyphus. Silen holding cantharus and wine skin. 188
R. F. scyphus. Old silen with cantharus 187
R. F. scyphus. Silen with cantharus and thyrsus 188
R. F. rhyton. Silen holding wine skin 185
Bologna— Pellegrini, Cat. p. 12, No. 20; C.V.A. lll He, pi.
16, 4. B. F. amphora. Silen, wine skin, and Dionysus. 184
Bologna — Pellegrini, Cat. p. 48, No. 152. R. F. amphora.

Silen running toward pithos 187
Bologna— Pellegrini, Cat. p. 57, No. 168. R. F. hydria. Silen
with wine skin 188
Bologna — Pellegrini, Cot, p. 71, No. 190. R. F. celebe. Silen
resting on rock 196
Bologna— Pellegrini, Cat. No. 255; C.V.A. lll Ic, pi. 30, 5.
R. F. celebe. Silen holding wine skin and thyrsus 188
Bologna — Pellegrini, Cat. p. 153, No. 310. R. F. oxybaphon.
Silen and maenad dancing 192
Bologna— Pellegrini, Cat. p. 164, No. 326. R. F. oxybaphon.
Silen playing lyre 190
Bologna —Pellegrini, Cat. p. 173, No. 352. R. F. oenochoe.
Silen dancing 190
Bologna— Pellegrini, Cat. p. 198, No. 415. R. F. cylix. Silen
and maenad in conversation 193
Bologna — Pellegrini, Cot. p. 208, No. 447. R. F. cylix. Silen
receiving grapes from another silen 194
Boston — Inventory No. 76. 46 (Hoppin, R. F. I, p. 179. R. F.
neck-amphora. Old silen on shoulders of another silen. . 1J>0
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.
cotyle by the Penthesilea Master. Silen dancing toward
maenad 193
Boston —Inventory No. 10. 179 (Hoppin, R.F. I, p. 424);
A. J. Meier, A.Z. XLIII (1885), p. 179, pi. 10; Buschor,
p. 163, Fig. 116. R. F. cylix by the Panaetius Master.
Silen sitting on amphora 188
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.
13. R. F. plate attributed to Euthymides. Silen with
rhyton and flute 185
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 193
Boston — Inventory No. 95. 34 (Ann. Rep. Mus. F. A. 1895,
p. 20, No. 22); Hoppin, R.F. I, p. 339; Klein, L.1.
p. 62, No. 8, Fig. 7. R. F. cylix by Epictetus. Silen
riding on wine skin 188
118); C.V.A. lll He, pi. 34, la and lb. R. F. am
phora. Silen blowing flute 184
British Museum —Inventory No. B 300 (Walters, Cot. II, p.
174); C.V.A. lll He, pi. 74, 1. R. F. hydria. Silens
playing musical instruments before Dionysus 184
British Museum — Inventory No. E 35 (Smith, Cot. lll, p. 61).
R. F. cylix. Seven revelling silens 187
British Museum — Inventory No. E 55 (Smith, Cot. lll,p. 79).
R. F. cylix. Dionysus and old silen with thyrsus 187
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 .... 200
British Museum — Inventory No. E 261 (Smith, Cat. lll, p.
197); C.V.A. lll
Ic, pi. 4, Nos. 2a and 2b; Hoppin,
R.F. I, p. 206; Beazley, V. A. p. 52; Hartwig, p. 385
(attributed to Foundry Painter. R. F. amphora by the
Diogenes Painter. Silen with ascus 187
British Museum — Inventory No. E 467 (Smith, Cat. p.lll,
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 196
British Museum — Inventory No. E 768 ( Smith, Cot. p.lll,
363) ; C.V.A. lll
I c, pi. 105, No. la-d; F. R. Taf. 48;
Hoppin, R.F. I, p. 243; E. Pottier, Douris, Fig. 14;
Hartwig, p. 226; Perrot and Chipiez, X, p. 529, Figs.
296-97; Buschor, p. 175, Fig. 125; Buschor, Jahrb. d.
arch. Inst. XXXI (1916), p. 80. R F. Psycter by Douris.
Eleven revelling silens 186
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 . . 194
British Museum — Inventory No. F 46 (Walters, Cot. IV, p. 37).
R. F. bell-crater. Silen with oenochoe and torch 187
British Museum — Inventory No. F 80 (Walters, Cat. IV, p. 52).
R. F. amphora. Silen playing flute 189
Copenhagen —Marburger Jahrbuch fiir Kunstwissenschaft, V,
p. 5, Fig. 7. R. F. cylix. Two silens playing ephedris-
mos 195
Harrow— Hoppin, R.F. II, 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 196
Hope Collection — Tillyard, Cot. p. 51, No. 90. Nolan Amphora
by the Pan Painter. Silen dancing 190
Hope Collection —Tillyard, Cat. p. 52, No. 91a. Nolan am
phora. Silen playing lyre 190
Hope Collection —Tillyard, Cat. p. 64, No. 115. R. F. volute-
crater by the Altamura Painter. Silen playing lyre. ... 190
Hope Collection— Tillyard, Cot. p. 76, No. 130. R. F. column-
crater. Tiny silen on shoulders of elderly silen 199
Hope Collection —Tillyard, Cot. p. 79, No. 136. R. F. bell-
crater. Old actor impersonating a silen 200
Hope Collection —Tillyard, Cot. p. 85, No. 142. R. F. bell-
crater. Silen sitting on rock 196
Hope Collection— Tillyard, Cat. p. 90, No. 150. R. F. bell-
crater by the Nicias Painter. Silen and maenads 193
CONCORDANCE AND INDEX TO ART
Louvre —Inventory No. G478 (Pottier, Vas. Antiq. Louvre, III,

p. 273,pi. 151); C.V.A. IIlId, pi. 31, 6; Beazley,
Att. Vasm. p. 448, No. 7. R. F. crater. Hermes bring
ing Dionysus child to old papposilenus 197
Louvre — Inventory No. G481 (Pottier, Vas. Antiq. Louvre, III,
p. 274, pi. 151); Beazley, Att. Vasm. p. 402, No. 9.
R. F. crater. Papposilenus in theatre costume 200
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, III(1900), pp.
70-71. R. F. amphora by Andocides. Silens 192
Munich— Jahn, Cat. No. 2344; F. R. Taf. 44; Hoppin, R.F.
II, p. 145, No. 26. R. F. amphora attributed to Cleo-
phrades. Dionysus, silens, and maenads 192, 195
Munich — F. R. Taf. 46. R. F. amphora by Hieron. Maenads
and silens romping 195
not indicated). Papposilenus and Dionysus 197
Naples — Heydemann, Cot. p. 105, No. 1707. R. F. vase (shape

not indicated). Papposilenus holding out garland to
Dionysus 197


not indicated). Marsyas, Apollo, and Nike 201
Naples — Heydemann, Cot. p. 535, No. 3235. R. F. vase (shape

not indicated). Marsyas and Olympus 201
not indicated). Papposilenus with wine skin, in pres
ence of Ariadne and Eros 198
Naples — Heydemann, Cat. p. 609, No. 3382. R F. vase (shape

not indicated). Papposilenus fingering string of pearls 198
Naples — Heydemann, Cat. p. 458, No. H 3051 ; Hoppin, R.F.

II, p. 208. R. F. pelice attributed to Myson. Silen hold
ing cylix 188
Naples — Heydemann, p. 698, Cat. No. SA283. R. F. vase

(shape not indicated). Hermes bringing Dionysus child
to papposilenus 197
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 190
Rome, Vatican — F. R. pi. 169. R. F. crater. Hermes bringing
Dionysus child to papposilenus 197
Tarquinia —Hoppin, R. F. II, p. 356 ; and his Fel
Euthymides
lows, p. 96, pi. 26; F. R. pi. 91. R. F. amphora by
Phintias. Revel of silens and maenads 192
r
Toronto — Inventory No. C 366 (Robinson, Harcum, and Iliffe,

Cat. No. 358, p. 170, and pi. 61). R. F. cantharus.
Maiden and bald-headed silen 193
Tlibingcn — Watzinger, Cat. p. 41, No. 1345. B. F. amphora.
Silens with red wreaths 184
Vienna, Hofmuseum — Hoppin, R. F. I, p. 25, No. 27. R. F.
calyx-crater by the Altamura Painter. Maenad threat
ening silen with torch 194
340. R. F. amphora. Silen, maenad, and Pan 193
Wurzburg— Hoppin, R.F. I, p. 336; Nichols, A. J. A. VI
(1902), p. 328, No. 9; J.H.S. XXIX (1909),
Walters,
p. 110, No. 10. R. F. cylix by Epictetus. Squatting
silen 185
Aged Centaurs
R. F. pelice. Cheiron receiving Peleus and infant
Achilles 209
Bologna— Pellegrini, Cat. p. 72, No. 192; C.V.A. c, pi. IIl I
29, 1, 2, and 3. R. F. celebe. Centauromachy 209
Bologna — Pellegrini, Cat. p. 94, No. 237. R. F. celebe. Centau
romachy 209
Bologna — Pellegrini, Cat. p. 119, No. 275. R. F. crater. Cen
taurs and warriors 209
Munich— F. R. Taf. 86; Hoppin, R.F. I, p. 426. R. F. cylix.
Centaurs and warriors 209
Orvieto, Faina Collection — Hoppin, R.F. I, p. 415; Beazley,
V.A. p. 95, No. 2; Hartwig, pp. 550-53, Fig. 64. R. F.
cylix by the Onesimus Painter. Battle of centaurs and
Lapiths 209
Rome, Villa Giulia— Inventory No. 3577 (C.V.A. III I c, pi.
3, Nos. ], 2, and 3. R. F. psycter. Centaurs and Greek
warriors 208
B. Sculpture
(a) Sculpture in the round
Aquileia, Museo Archeologico — Poulsen, Portratstudien in
norditalienischen Provinz-Museen, p. 13, No. 13, Abb.
22-23. Socrates 144
Aranjuez, Casa del Labrador — Arndt-Bruckmann, pi. 1120.
Demosthenes 159
Athens, Acropolis Museum — Casson, Cat. p. 222, No. 1313.
Unknown personage 162
L Athens, Acropolis Museum —Casson,

Unknown personage
Cat. p.
Athens, National Museum — Studniczka, Das Bildnis des Aris-

223, No. 1315.
162
toteles, Taf. 3, Nos. 2 and 3. Aristotle 146
^^■^■^x
Athens, National Museum — Hekler, Die Bildniskunst der Grie-

chen und Romer, p. 102; Bernoulli, Gr. Ikon. II, pp.
139-41. Hermarchus 151
Berlin — Arndt-Bruckmann, pi. 5. Plato 146
Berlin —Arndt-Bruckmann, pi. 31. Sophocles 137
Berlin —Arndt-Bruckmann, pi. 138. Demosthenes 158
Berlin — Arndt-Bruckmann, pi. 323. Diogenes 155
Berlin — Arndt-Bruckmann, pi. 1035. Socrates 144
Boston — Caskey, Cat. No. 115; Chase, Greek and Roman
Sculpture in American Collections, p. 132, Fig. 164.
Homer 132
British Museum — Arndt-Bruckmann, pi. 931; Gisela M.
Richter, The Metropolitan Museum of Art, Cl. Coll.
p. 212, Fig. 146. Chrysippus 149
British Museum — Arndt-Bruckmann, pi. 935. Chrysippus 149
British Museum — Arndt-Bruckmann, pi. 981. Sophocles 137
Briitsh Museum — Arndt-Bruckmann, pi. 989. Sophocles 137
British 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 143
British Museum — Smith, Cat. II, p. 232, No. 1404. Unknown
personage 162
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 132
British Museum — Smith, Cot. IIl, p. 130, No. 1826. Homer 132
British Museum — Smith, Cat. IIl, p. 134, No. 1836. Hippocrates. 141
British Museum — Smith, Cat. IIl, p. 138, Nos. 1846 and 1847.
Aratus 140
British Museum, TownelyCollection — Smith, Cat. HI, No.
1836; Bernoulli, I, p. 168. Hippocrates 141
Budapest — Hekler, Die Sammlung Antiker Skulpturen, p. 54,

No. 46. Hermarchus 151
Copenhagen — Arndt-Bruckmann, pi. 38. Epicurus 150

Copenhagen — Arndt-Bruckmann, pi. 505. Carneades 153
Copenhagen — Arndt-Bruckmann, pi. 643. Aeschines 159
Copenhagen — Arndt-Bruckmann, pis. 1111-1114; 1118-19. De
mosthenes 157, 159
Copenhagen — Bernoulli, I, p. 79; Brunn-Bruckmann, pi. 477.
Anacreon 134
Copenhagen — Bernoulli, I, pi. 9; Brunn-Bruckmann, pi. 426.
Anacreon 134
Copenhagen — Poulsen, From the Collections of the Ny Carls-
berg Glyptothek, p. 50, and Fig. 41. Aristotle 147
Copenhagen — Poulsen,
op. cit. Fig. Plato 34. 146
—
Copenhagen Poulsen, Jahrb. d. arch. Inst. XL VII (1932), pp.
77-78, and pi. 1. Unknown Greek 161
Deepdene — Michaelis,Anc. Marbles in Great Britain, p. 286,

No. 18.Silen represented as Heracles 208
Deepdene — Michaelis, p. 286, No. 19. Ivy-crowned silen 208
Dresden — G. Pipkins, Hellenistic Sculpture, p. 29, Fig. 22;
Brunn-Bruckmann, pi. 395. Old woman's head 167
Florence— Katharine A. McDowall, J.H.S. XXIV (1904),
pi. 2. Aeschylus 135
Holkham Hall— Poulsen, Gr. and Rom. Portraits in English
Country Houses, pp. 27-29, No. 1. Thucydides 142
Holkham Hall — Poulsen, op. cit. pp. 32-33; Poulsen, J.H.S.
XL ( 1920) , pp. 190 f. Plato 145
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 153
Ince Blundell Hall — Poulsen, Gr. and Roman Portraits in Eng
lish Country Houses, p. 43, No. 16; Poulsen, Ik. Mis-
cellen, p. 73; Lippold, Gr. Portratstatuen, p. 79, Fig.
17; Michaelis, p. 352, No. 44. Epicurus 151
Ince Blundell Hall— Ashmole, Cat. p. 43, No. 92, pi. 20. Old
drunken silen 208
Ince Blundell Hall— Ashmole, Cat. p. 50, No. 115, pi. 29;
Poulsen, Gr. and Rom. Portraits in English Country
Houses, p. 19. Homer 132
Ince Blundell Hall— Ashmole, Cat. p. 53, No. 123, pi. 20.
Water god 172
Ince Blundell Hall — Ashmole, Cat. p. 77, No. 208, pi. 29.
Sophocles 137
Louvre —G. Dickins, Hellenistic Sculpture, p. 29; Alessandro
della Seta, Il
Nudo nell' Arte, I, Fig. 190; Reinach,
Ripertoire, I, p. 165. Old fisherman 171
Louvre — Arndt-Bruckmann, pi. 64. Silenus and infant Dio
nysus 207
Louvre — Arndt-Bruckmann, pi. 424. Marsyas 207
Louvre — Pfuhl, Jahrb. d. arch Inst. XLV (1930), p. 24, and
Figs. 11 and 12. Antiochus in 170
Louvre — Arndt-Bruckmann, pi. 1011; Bernoulli, I, p. 8; Hekler,
pi. 117. Homer 132
Madrid, Prado —Arndt-Bruckmann, pi. 1015. Homer 133
Mantua— Arndt-Bruckmann, pi. 35. Euripides 138
Munich — Furtwangler, Beschreibung der Glyptothek, I, p. 221,
No. 221. Wine-heavy silen 207
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),
p. 656; H. Magnus, Ant. Bust en des Homer, pp. 13 I.
Homer 131
Munich — Furtwangler, Beschreibung der Glyptothek, p. 322,
No. 297. Chrysippus 150
Munich —Arndt-Bruckman, pi. 136. Demosthenes 158
m^.
Munich— Arndt-Bruckmann, pi. 330. Unknown personage.... 162
Munich— Brunn-Bruckmann, pi. 394; Furtwiingler, Beschrei-

bung der Glyptothek, I, p. 387, No. 437; P. Hermann,
Arch. Anz. XIII(1898), p. 61, No. 11; Annual of the
British School at Athens, X, p. 103. Drunken old woman. 168
Munich — Arndt-Bruckmann, pi. 1031. Socrates 144
Musees Royaux du Cinquantenaire — Cumont, Musies Royaux
da Cinquantenaire, p. 19, No. 14. Mask of Achelotis. . . 172
Naples, National Museum — Bernoulli, I, p. 159. Herodotus and
Thucydides 142
Naples, National Museum —Arndt-Bruckmann, pi. 116. Aes-
chines 159
Naples, National Museum — Arndt-Bruckmann, pi. 121; Furt
wangler and Urlichs, Gr. and Rom. Sculpture, p. 213;
Bernoulli, I, pp. 148-58. Euripides 138
Naples, National Museum — Arndt-Bruckmann, pi. 130. Thucy
dides 142
Naples, National Museum — Arndt-Bruckmann, pi. 131; Ber
noulli, II, pp. 1-3, and Taf. 1 ; Hekler, pp. 25-26. Lysias. 156
Naples, National Museum — Arndt-Bruckmann, pi. 235; Ber
noulli, I, pp. 119-20. Zeno 148
Naples, National Museum — Arndt-Bruckmann, pi. 1019. Homer. 133
Naples, National Museum —Arndt-Bruckmann, pi. 1033. So
crates 144
Naples, Villa of the Pisos — Katharine
A. McDowall, J. H. S.
XXIV (1904), p. 92, Fig. 3. Aeschines 160
New 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,
Roman, and Etruscan Bronzes, p. 70, No. 120. Her-
marchus 151
New York, Metropolitan Museum —Gisela M. Richter, The

Metropolitan Museum of Art, Cl. Coll. p. 274, and Fig.
192. Herodotus 142
New York, Metropolitan Museum —Gisela M. Richter, op. cit.
p. 276. Old fisherman 171
New 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.. . 168
New York, Metropolitan Museum — Arndt-Bruckmann, pi. 1124.
Epicurus 150
Oxford, Ashmolean Museum — S. Casson, J.H.S. XLVI (1926),
pp. 72-79. Demosthenes 158
Rome, Capitoline Museum — British School at Rome, Cat. p.
288, No. 22. Old woman (perhaps actor) 169
234, No. 38. Chrysippus 149

355, No. 89; Bottari, I, p. 74. Unknown personage 162
Rome, Capitoline Museum — British School at Rome, Col. p.
590, Fig. 191. Drunken old woman 168
Rome, Capitoline Museum — Arndt-Bruckmann, pi. I11; Studni-
czka, Neue Jahrb. IIl
(1900), pp. 161-76; Bernoulli,
I, p. 103; Winter, Jahrb. d. arch. Inst. V (1890), pp.
162-63. Aeschylus 134
Rome, Capitoline Museum —Arndt-Bruckmann, pi. 133. Lysias 156
Rome, Capitoline Museum — Arndt-Bruckmann, pi. 325. Dio
genes 155
Rome, Capitoline 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.
Zeno 148
Rome, Capitoline Museum — Brunn-Bruckmann, pi. 392; Dick-
ins, Hellenistic Sculpture, p. 51, Fig. 38; Lawrence,
Classical Sculpture, p. 296. Bearded centaur by Aristeas
and Papias 214
Rome, Capitoline Museum — Arndt-Bruckmann, pi. 987 ; Ber
noulli, Gr. Ikon. I, p. 129; British School at Rome, Cat.
p. 307, No. 67. Sophocles 137
Rome, Capitoline Museum —Arndt-Bruckmann, pi. 1013. Homer. 133
Rome, Capitoline Museum —Arndt-Bruckmann, pi. 1043. So
crates 144
Rome, Capitoline Museum — Arndt-Bruckmann, pi. 1084. Epi
curus 150
Rome, Capitoline Museum — Arndt-Bruckmann, pi. 1091. Her-
marchus 151
Rome, Museo Ludovisi — Studniczka, Das Bildnis des Aris-
toteles, Taf. III, 5 and 6. Aristotle 147
Rome, Palazzo dei Conservatori — British School at Rome, Cat.
p. 70, No. 8. Unknown personage 162
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. . . . 171
Rome, Palazzo dei Conservatori — British School at Rome, Cot.
p. 165, No. 18. Marsyas 206
Rome, Palazzo dei Conservatori — Brunn-Bruckmann, pi. 393 ;
Alessandro della Seta, Il Nudo nell' Arte, I, p. 584 ; Col-
lignon, II, pp. 554-55; British School at Rome, Cot. p.
145, No. 28. Old woman carrying lamb 169
Rome, Lateran —Arndt-Bruckmann, pi. Benndorf
113; and
Schone, Cot. No. 237, and Taf. 24; Springer, Kunst-
geschichte ", p. 348, Fig. 653 ; T. Reinach, J. H. S. XLII
(1922), pp. 281-85. Sophocles 137
Rome, Lateran — Brunn-Bruckmann, pi. 208; Lawrence, Classi-
cal Sculpture, pp. 180-81 ; Collignon, Histoire de la

Sculpture Grecque, I, Fig. 243. Marsyas and Athena.. 206
Rome, Lateran — Arndt-Bruckmann, pi. 1093. Hermarchus. . . . 151
Rome, National Museum —R. Paribeni, Notizie degli Scavi,
VII (1929), pp. 351-53, and Taw. 16 and 17; Poulsen,
Ikonographische Miscellen, p. 45. Aristophanes 139
Rome, Palazzo Sciarra — Matz-von Duhn, Antike Ilildwerke in
Rom, I, p. 122, No. 473. Corpulent old silen 208
Rome, Palazzo Spada —Arndt-Bruckmann, pi. 378; Bernoulli,
II, pp. 8-13. Aristotle 147
Rome, Studio Jerichau —Matz-von Duhn, Antike Bildwerke in
Rom, I, p. 142, No. 545. Ivy-crowned silen 207
Rome, Vatican — Pfuhl, Jahrb. d. arch. Inst. XLV (1930), pp.
21-22, and Figs. 9-10. Antiochus 1 170
Rome, Vatican — Amelung, Cat. II, p. 435, Taf. 52, No. 259 a.
Old silen hastening to left 208
Rome, Vatican — Amelung, II, Taf. 63. Unknown Hellenistic
ruler 162
Rome, Vatican — Amelung, Cat. I, p. 698, No. 580, Taf. 74;
Lucas, Jahrb. d. arch. Inst. XV (1900), p. 41. Old
peasant woman 169
Rome, Vatican — H. Lechat, Sculptures Grecques Antiques, p.
202, No. 99. AcheloUs 172
Rome, Vatican — Arndt-Bruckmann, pi. 129. Herodotus 141
Rome, Vatican — Brunn-Bruckmann, pi. 196. The Nile 171
Rome, Vatican — Brunn-Bruckmann, pi. 198; Amelung, Cat.
II, p. 516, No. 321. Stout old silen 207
Rome, Vatican — Arndt-Bruckmann, pi. 421 ; Bernoulli, I, pp.
35-36. Epimenides 141
Rome, Vatican — Arndt-Bruckmann, p. 431. Lycurgus 160
Rome, Vatican — Arndt-Bruckmann, pi. 441 ; Bernoulli, II, pp.
4-7. Antisthenes 154
Rome, Vatican — Arndt-Bruckmann, pi. 574; C. H. Weller, A.
A. I
(1914), pp. 47-50; Helbig, Filhrer, I, p. 30; Hart-
wig, Jahrb. d. arch. Inst. XVIII (1903), pp. 32 f. De
mosthenes 152, 157
Rome, Vatican — Arndt-Bruckmann, pi. 641. Acschines 159
Rome, Vatican — Arndt-Bruckmann, pi. 776. Plato 145
Rome, Vatican — Arndt-Bruckman, p. 933. Chrysippus 150
Rome, Vatican —Arndt-Bruckman, pi. 983 ; Amelung, Cat. I, p.
104, No. 89, and Taf. 15; Bernoulli, I, p. 28, and p.
130, No. 13. Sophocles 137
Rome, Vatican —Arndt-Bruckmann, pi. 1047. Socrates 144
Rome, Villa Albani — Arndt-Bruckmann, pi. 135; Bernoulli, II,
pp. 14-16. Isocrates 156
pp. 99-101, and pi. 13. Theophrastus 152
Rome, Villa Albani —Arndt-Bruckmann, pi. 321; Bernoulli, II,
46-52; Gisela M. Richter, Metropolitan

pp. Museum
Studies, Nov. 1929, pp. 29-39. Diogenes 154
p. 49, and pi. 8. Epicurus 151
Rome, Villa Albani —Arndt-Bruckman, pi. 917. Unknown per
sonage 161
Rome, Albani — Arndt-Bruckman, pi. 975. Hippocrates...
Villa 141
Rome, Albani —Arndt-Bruckmann, pi. 995. Aratus
Villa 140
Rome, Albani —Arndt-Bruckmann, pi. 1045. Socrates
Villa 144
Rome, Mattei — Studniczka, Das Bildnis des Aristoteles,
Villa
Taf. II, 6. Aristotle 147
Schwerin —Arndt-Bruckmann, pi. 1017; Furtwangler, Gr. and
Rom. Sculpt, p. 225, Fig. 72. Homer 132
Toronto, Royal Ontario Museum — D. M. Robinson, Bulletin of
the Royal Ontario Museum of Archaeology, Jan. 1926,
pp. 2-6. Menander 139
Venice — Overbeck, Geschichte der griechischen Plastik, p. 179.
Gallic warrior 163
Vienna — Studniczka, Das Bildnis des Aristoteles, Taf. n, 3.
Aristotle 147
Wilton House —Michaelis, p. 679, No. 35. Menander and Aris
tophanes 139
Wilton House — Michaelis, Bernoulli, I, p. 11,
p. 680, No. 46;
No. 13; Poulsen, Gr. and Rom. Portraits in English
Country Houses, p. 45, No. 18; Lippold, Rom. Mitt.
XXXIII (1918), p. 11. Homer 133
(b) Sculpture in relief

Athens, National Museum — Brunn-Bruckmann, pi. 41 ; Percy
Gardner, Sculptured Tombs of Hellas, p. 141. Old man,
dog, and grasshopper. Stele by Alxenor of Naxos 164
Athens, National Museum — Schone, Griechische Reliefs, pi. 9,
53. Athena and city of Cios personified 78
Athens, National Museum — Brunn-Bruckmann, pi. 468. Con
test between Athena and Marsyas. Reliefs from
Mantinea 206
Athens, National Museum — Brunn-Bruckmann, pi. 469; Col-
lignon, IjCs Statues Funeraircs du Vth, et du IVth.
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 166
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 166
Athens, National Museum — Brunn-Bruckmann, pi. 728. Old
man and woman 166
Athens, National Museum — Conze, Die Attischen Grabreliefs,
I, p. 162, No. 754, Taf. 143. Old man and woman 166
V
CONCORDANCE AND INDEX TO ABT 271
Athens, National Museum — Conze, II, p. 155, No. 728, Taf. 130.
Old man and son 166
Athens, National Museum — Conze, II, p. 156, No. 730. Old
man and woman 166
Athens, National Museum — Conze, II, p. 159, No. 744, Taf. 131.
Old man and son 166
Athens, National Museum — Conze, II, p. 162, No. 753. Old
man and woman 166
Athens, National Museum — Conze,. II, p. 217, No. 1022, Taf.
200; Mylonas, B.C.H. II (1878), p. 364, No. 2. Old
man addressing boy 165
Athens, National Museum — Conze, II, p. 276, No. 1263. Aged
man with stick 165
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. 213
Temple of Bassae (frieze) — Brunn-Bruckmann, pi. 91. Contest
of Greeks and centaurs 211
Boston — Chase, Cat. of Sculpture in American Coll. p. 149.
Death of Priam at capture of Troy 129
British Museum — Brunn-Bruckmann, pi. 50; Smith, Cat. lll,
pp. 244-54, No. 2191. Homer receiving adoration of His
tory, Time, Humanity, etc. by Archelaus of Priene 133
British Museum — Smith, Cat. lll, p. 226, No. 2155; Smith,
CI. Rev. XIII (1899), p. 230. Train of figures approach
ing a deity 128
British Museum, Towneley Collection — Smith, Cat. lll, p. 271,
No. 2217. Visit of Priam to Achilles 128
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 212
Heroon of Gjolbaschi-Trysa — Brunn-Bruckmann, pi. 486; Benn-
dorf-Niemann, Heroon von Gjolbaschi-Trysa, p. 59, pi.
22. Aged king on throne with parasol 125
Harpy Tomb (north frieze) — Brunn-Bruckmann, pi. 146;
Reinach, Repertoire de Reliefs Grecs et Romains, I, pp.
470-71. Young warrior offering helmet to seated old man. 125
Harpy Tomb (east frieze) — Boy offering cock to old man seated
on throne 125
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; Studnicz-
ka, Jahrb. d. arch. Inst. XXVI (1911), pp. 50-192, and
Taf. I; Gisela M. Richter, J.H.8. XL (1920), pp. 113-
21; 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 126
Monument of Lysicratcs (frieze) — Lawrence, CI. /Sculpture, p.
267; De Cou, A.J. A. VILT (1893), pp. 42-55. Silen

leaning on tree trunk 205
Naples — Brunn-Bruckmann, pi. 416. Old man and dog. Stele. 164
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 124
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.
218. Eastern king in Persian costume 125
Nereid Monument (fourth frieze) — Smith, Cat. of Sculpture in
the British Museum, II, p. 31, No. 903. Man reclining,
approached by elderly man 125
Temple of Zeus at Olympia (east pediment) — Buschor and
Hamann, Olympia, pi. 23 ; Brunn-Bruckmann, pi.
449-50. Old seer viewing chariot race of Pelops and
Oenomaus 121, 122
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, 123
Temple of Zeus at Olympia (west pediment) — Buschor and
Hamann, pi. 63 ; Brunn-Bruckmann, pi. 454. Battle of
Lapiths and centaurs 211
Parthenon (east frieze) — Fougeres, L'Acropole, Le Parthenon,
pis. 119 and 125. Old men in Panathenaic procession. 123, 124
Piraeus, Collection Meletopulus — -Conze, n, p. 152, No. 714.
Old man and son 166
Theseum (frieze) — Brunn-Bruckmann, pis. 407-08. Battle of
Lapiths and centaurs 212
Toulouse Museum — Conze, II, p. 160, No. 751. Old man and son. 166
C. Small works of Bronze

Berlin — Bieber,Die Antiken Skulpturen und Bronzen des K6-
niglichen Museum Fridericianum, p. 64, No. 171. Silen
dancing 205
Berlin— Bieber, p. 92, No. 417. Acheloiis 179
Bibliotheque Nationale — Babelon and Blanchet, Cat. p. 35.
Acheloiis 179
Bignon Park, Sussex — Michaelis, Ancient Marbles in Great
Britain, p. 212. Aphrodite and Anchises 180
British Museum —Walters, Cat. p. 3, No. 10, and pi. 1. Bronze
lamp in form of aged silen 205
British Museum —Walters, Cat. p. 20, No. 211. Acheloiis 179
British Museum —Walters, Cat. p. 35, No. 269. Marsyas 205
British Museum —Walters, Cat. p. 40, No. 287. Cast of bronze
relief of Aphrodite and Anchises 180
Fouquet Collection —Perdrizct, Bronzes Grecs d'Egypte de la
Coll. Fouquet, p. 17, No. 19, pi. 9. Bust of silen in a

flower 205
Ince Blundell Hall — Ashmole, Cat. No. 121 a, pi. 51. Bronze
mask of water god 172
Louvre — Musee du Louvre, Cat. des Marbres Antiques, p. 122,
No. 1627. Charon, deceased person, and winged woman. 180
New York, Metropolitan Museum —Gisela M. Richter, Greek,
Etruscan, and Roman Bronzes in the Metropolitan Mu
seum, p. 69, No. 112. Disk with head of silen 205
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 (?) 73
Bronze Relief from Olympia —Heracles and Triton 73
Rome, Lateran — Brunn-Bruckmann, pi. 341b. Medea 61
D. Terra-cottas
British Museum — Inventory No. A 151 (Walters, Cat. p. 27).
Mask of old man 178
British Museum — Inventory No. B 376 (Walters, Cat. p. 135).
Old man and dog 177
British Museum —Inventory No. C 46 (Walters, Cat. p. 192).
Mask of old silen 178
British Museum — Inventory No. C 74 (Walters, Cat. p. 196).
Silenus with infant Dionysus 202
British Museum — Inventory No. C 208 (Walters, Cat. p. 208,
pi. 34). Old woman in bed 173
Old woman in basket 173
Nurse 175
Elderly woman on plinth 173
British Museum — Inventory No. C414 (Walters, Cat. p. 227).
Head of old man 178
Ascus representing silen holding tympanum 201
British Museum —Inventory No. C 467 (Walters, Cat. p. 233).
Ascus in form of silen holding amphora and scyphus. . . 201
Mask of old silen 178
Elderly woman on plinth 173
Old woman in sitting posture 173
18
British Museum — Inventory No. C 749 (Walters, Cot. p. 273).

Mask of old woman 175
British Museum — Inventory No. C 825 (Walters, Cot. p. 285).
Elderly female actor 175
British Museum — Inventory No. E 30 (Walters, Cot. p. 438).
Nurse 176
Clercq Collection —De Ridder, Cat. p. 43, No. 66, and pi. 1.
Squatting silen 202
Clercq Collection — De Ridder, Cat. p. 46, No. 74. Bust of old
man 177
Clercq Collection —De Ridder, Cat. p. 47, No. 76. Mask of old
man 177
Loeb Collection — Sieveking, Terrakotten im Sammlung Loeb, I,
p. 4, Taf. 6, 1. Silen on mule 202
Loeb Collection— Sieveking, Loeb, II, p. 10, Taf. 75, 5, and Taf.
75, 6. Bearded old man 177
Loeb Collection — Sieveking, II, p. 19, Taf. 82, 2. Old woman
in sitting posture 173
Louvre — Heuzey, Figurines Antiques du Musie du Louvre, p.
18, pi. 27, Fig. 1. Haughty old lady 175
Louvre — Heuzey, p. 28, pi. 51, Fig. 4. Old woman adjusting
mantle 174
Louvre — Heuzey, p. 30, pi. 54, Fig. 3. Grotesque old man lean
ing on stick 178
Louvre — Heuzey, p. 30, pi. 56. Grotesque demon 176
Madrid — Laumonier, Cat. p. 18, pi. 9, No. 1. Old pedagogue. . 176
Madrid — Laumonier, Cat. p. 19, pi. 19, No. 45. Humpbacked
man 178
Madrid — Laumonier, Cat. p. 166, No. 784. Nurse 175
New York, Metropolitan Museum —Bulletin of the Metropolitan
Museum of Art. Dec. 1930, pp. 279-80. Relief portray
ing return of Odysseus 127
Olynthus — Robinson, Excavations at Olynthus, IV, p. 70, No.
364, pi. 38. Grotesque draped old woman 174
Olynthus — Robinson, op. cit. IV, p. 76, No. 378, pi. 41. Nurse. 176
Olynthus — Robinson, IV, p. 80, No. 386, pi. 42. Pan 179
Olynthus — Robinson, IV, p. 83. No. 398, pi. 44. Old woman
hugging brown jug 174
Olynthus— Robinson, IV, p. 86, No. 403, pi. 45. Humpbacked
old woman 174
Olynthus — Robinson, IV, p. 87, No. 405, pi. 45. Head of old
man (perhaps negro) 178
Olynthus — Robinson, IV, p. 88, No. 406, pi. 45. Aged negro
head 178
Olynthus — Robinson, IV, p. 100, No. 421, a-d, pis. 60-61. Mould
for head of comic actor 178
Olynthus —Robinson, IV, p. 100, No. 422, AB, pi. 62. Mould
for papposilenus holding child 179
Olynthus— Robinson, A.J. A. XXXVI (1932), p. 133, Fig. 22.

Comic actor 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 180
British Museum —G. F. Hill, Cat. of the Greek Coins of Phoe
nicia, p. 1, No. 1, and pi. 1. Acheloiis 179
Brussels, Royal Library — George F. Hill, Select Greek Coins,
p. 35, pi. 1, No. 1. Head of bald silen 204
Hunterian Collection — Macdonald, Cat. I, p. 389, No. 5. Silen
and nymphs 203
Hunterian Collection — Macdonald, Cat. II, p. 205, No. 1. Homer
crowned with taenia 181
Hunterian Collection — Macdonald, Cat. II, p. 321, No. 1. Hades

and Persephone 180
Hunterian Collection — Macdonald, Cat. II, p. 326, No. 11. Homer
holding book 181
Hunterian Collection —Macdonald, Cat. II, p. 374, No. 164.

Homer holding book 181
Hunterian Collection — Macdonald, Cat. lll, p. 722, No. 11. Cen
taur blowing flute 210
Hunterian Collection —Macdonald, Cat. lll, p. 725, No. 13. Cen
taur blowing horn 210
Naples — E. T. Newell, Coinages of Demetrius Poliorcetes, p.
131, No. 143. Demetrius Poliorcetes 181
Warren Collection — Regling, Cat. p. 82, No. 505. Silen hold

ing cantharus 203
Warren Collection — Regling, Cat. p. 98, No. 606. Silen and
nymphs 203
Weber Collection — Forrer, Cat. I, p. 264, Nos. 1263 and 1264,
pi. 8. Silen 203
Weber Collection — Forrer, Cat. II, p. 144, No. 2506, pi. 96.
Silen and nymphs 203
Weber Collection — Forrer, Cat. lll,
p. 322, No. 6279, pi. 221.
Homer holding book 181
F. Gems
Berlin — FurtwSngler, Antike Gemmen, II, p. 135, Taf. 27. Old
man leaning on a staff, and youth 177
Berlin — FurtwSngler, Antike Gemmen, II, p. 137, Taf. 27, No.
55. Aeneas and Anchises 180
Berlin — FurtwSngler, Antike Gemmen, II, p. 141, Taf. 28, Nos.
45 and 46. Old shepherd 177
Berlin — FurtwSngler, Antike Gemmen, II, p. 141, Taf. 28, No.
47. Old shepherd 177
British Museum — FurtwSngler, Antike Gemmen, II, p. 43, No.
5. Acheloiis 179
276 OLD AGE AMONG THE AXCIEXT GREEKS
British Museum — Furtwangler, Antike Gemmen, II, p. 45, Taf.

9, Xo. 27. Si Ion carrying leather bag 204
36, Xo. 1. Silen carrying another silen 204
41, Xo. 13. Silen with goblet and can 204
British Museum — Smith, Cat. p. 67, Xo. 323. Pedagogue 177
Florence —Furtwangler, Antike Gemmen, II, p. 197, Taf. 41,
Xo. 34. Silen reposing with cup 204
Ionidat Collection — Furtwangler, Antike Gemmen, II, p. 154,
Taf. 31. Arsinoe II 176
Leningrad — Furtwangler, Antike G II, p. 135, Taf. 27,
No. 23. Silen in mantle and boots 204
Leningrad — Furtwangler, Antike Gemmen, II, p. 141, Taf. 28,
No. 48. Old shepherd 177
Lewos House Collection — Beazley, Cat. p. 10, Xo. 15. Dance of
nymph and silen 204
New York, Metropolitan Museum — Richter, Cat. of Engraved
Gems, p. 28, Xo. 32. Hades seizing Persephone 179
Southesk Collection — Inventory Xo. E 32 ( Lady Helena Car
negie, Cat. I, p. 44). Priam 180
APPENDIX III
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
average duration of life among the ancient Greeks. We have kept
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 e in
feminine names, and y for u.
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).
Aurelius Ion, aged 11 months. C.I. G. 6553; lll,
I.G. XIV, 1465.
Florence.
Bonifatia, aged 11 months. C.I.G. IV, 9830. Rome.
Eunoe, aged 11 months. I. G. XIV, 1607. Rome.
Euphranor, son of Euphranor, aged 5 days. C. I. G. 5288. Teu- lll,
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,
2541. Spain (Merida).
Makarea, aged 5 months. /. G. XIV, 2297. Transpadana ( Medio-
lanum ).
Maximilla, aged 10 months. C. I. G. IV, 9818. Rome.
Octabius Euklites, son of Octabius Trophimus, aged 8 months. /. G.
XIV, 1889. Rome.
Phelikissima,1 aged 8 months. C.I.G. lll, 6525; I.G. XIV, 2063.
Rome.
Rhoma, of Eudaimon and Hygia, aged 12 days.
daughter /. G.
XIV, Rome.
1596.
Solon, aged 6 months. Michel, Recueil d' Inscriptions Grecques,
Supplement, 1-2, p. 188, No. 1810; T. D. Goodell, Papers of
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 distinctly its Roman

This name, as well as many others, shows
origin.
277
Theophilus, aged 5 months. C. I. 6. IV, 9802. Rome.

Tyche, daughter of Helione, aged II
months. C. I. G. HI, 5849; /. G.
XIV, 813. Naples.
, daughter of Ar[ ]midais, aged 11 months. I.G. XIV,
2122. Rome.
, aged 4 months. C. I. G. lll, 6248. Rome.
, aged 5 months. /. G. XIV, 2196. Rome.
, aged 5 months. C. I. G. IV, 9618; G. XIV, 2183. Rome.
One Year
Achillia, year, 5 months. C. I. G. IV, 9810. Rome.
aged 1
Antiochis, aged 1 year, 7 months, 4 days. C. I. G. IV, 9577. Rome.
Antonia Mamctina, aged 1 year, 2 months. I.G. It. 1100. Syria lll,
(Sldon).
Apollonius, son Apollonius and Matrona, aged 1
of the physician
year, 7 months,days. Evaristo Breccia, Catalogue Gineral
19
des Antiquitis Egyptiennes du Musie d'Alexandrie: Iscrizioni
Greche e Latine, p. 230, No. 515; Friedrich Preisigke, Sammel-
buch griechischer Vrkunden aus Agypten, I, 3472. Egypt
(Alexandria) .
Aulus Nerius Aphrodisius, aged 1 year. /. G. XIV, 1871. Rome.
Dionysodorus, aged months.
15 C.I.G. Ill, 6371. Rome.
Doryphorus, aged 1 year, 4 months. 0. /. G. IIl, 5397. Syracuse.
Euemerus, son of Glycon, aged 1 year. C. I. G. lll,
6388 ; /. G. XIV,
1523. 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,
3013; C.I.G. lll,
6407; /. G. XIV, 2060. Rome.
Herakleius, son of Eirene, aged one year. /. G. XIV, 1639. Rome.
Herakles, aged 1 year, 7 months. Title given by a " peaceful mother
to her sweetest son." C. I. G. 6237. Rome. lll,
Ioulianus, son of Ioulianus, aged 1 year, 6 months. Federico Halb-
herr, A.J. A. XI (1896), p. 591, No. 75. Crete (Genna).
Kalemerus, aged 1 year. /. G. XIV, 1725. Rome.
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.
Mati , aged 16 months. I.G. XIV, 2279. Liguria (Vercellae).
Nike, aged 1 year. /. G. XIV, 801. Naples.
Petron, aged 1 year, 40 days. C.I.G. lll, 6633; XIV, 1941.
Tusculum.
Phelikissimus, aged 1 year, 10 months. C. I. G. IV, 9587. Rome.
CATALOGUE OF INSCRIPTIONS 279
Primiteibus, aged 1 year. /. G. XIV, 1967. Rome.

Prokla, daughter of Proklus Suries, aged 19 months. C. I. G. in,
6277; /.G. XIV, 1970; /. G. R. I, 339. Rome.
Sainius Epaphrodeitus, aged 1 year, 8 months, 20 days. C. I. G. lll,
5857. Baiae.
Sekoundeinus, son of Epicharis, aged 1 year, 8 months. C. I. G. lll,
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
( Arsinoe) .
Symphorion, son of Chalcedon, aged 1 year, 4 months. /. G. XIV,
2108; C. I. G. IV, 9597. Rome.
, daughter of Isas, aged 18 months. I.G. XII, 299; Radet
and Paris, B. C.H. XV (1891), p. 600, No. 33. Minoa.
, daughter of Stephanus, aged 1 year, 21 days. C.I.G. IV,
9709. Rome.
, aged 1 year. /. G. XIV, 1562. Rome.
, aged 1 year. /. G. XIV, 2269. Florence.
Two Years
Amelius, son of Amelius and Maria. C. I. G. 6337. Rome. lll,
Am , brother of Chresimus, F. Preisigke, Sammelbuch griechi-
scher Vrkunden aus Agypten, I, 729. Egypt (Abydus).
Anthus, son of Hermogcnes and Phyrma. C.I.G. IIl, 6205. Italy
(Alba).
Aphrodeisa. D. M. Robinson, A.J. A. XVII (1913), p. 196. Cyre-
naica (Tokra or Teucheira).
Apoleius Nikostratus. /. G. IX, 963. Corcyra.
Asklas, son of Chrestus. 8.E. G. I, No. 324; Ath. Mitt. XL (1923),
p. 115, No. 28. Nicopolis.
Aurelia Zosima, daughter of Satorinus. C. I. G. 6544. Rome. lll,
Aurelius Alcxandrus, son of Aurelius Alypus and Phabia Tyche.
C. I. G. lll, 6540. Rome.
Aurelius Strato. 632 ; /. G. lll, 1443. Athens.
C. I. G. I,
Auxanon, son of Menophilus. C. I. G. IV, 9567. Rome.
Beneris, aged two years, 10 months, 27 days. C. I.G. IV, 9684.
Rome.
Diogenes. Preisigke, Sammelbuch griechischer Vrkunden aus
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.
Eirana, daughter of Kapiton. C. I. G. lll, 5200 b. Cyrene.

Epanodius, son of Likinius Posidonius. /. G. XIV, 1807. Home.
Eutyches. C. I. G. II, 1815. Xicopolis.
Geteupion. F. Preisigke, Hammelbuch griechischer Vrkunden a us
Agypten, III, 7255. Egypt ( Tel-el-Yahoudiyeh ).

Helladius, son of Eikonius. I.G. lll, 1343; C.I.G. I, 942; Kaibel,
Epigr. Gr. 136. Athens.
Ioulius, son of Ioulius Daphnus and Ioulia Chresteina. /. G. XIV,
1676.Rome.
Kainis, daughter of Erymanthus and Soteria. C. I. G. lll, 6423 ;
/. G. XIV, 1724. Rome.
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. C. I. G.
IV, Rome.
9662.
Neikolaus, son of Neikolaus. /. G. XII, 36. Minoa.
Nikanor, son of Artemidorus. C. I. G. lll, 4476 b. Syria.
Oualerius Diogenianus, son of Titus Oualerius Darius. /. G. XIV,
1903. Rome.
Philesia. /. G. XIV, 2067. Rome.
Philoxenus. I. G. V, 801. Laconia.
Rhoupha Tyche. I.G. XII, 365; F. Osann, Philol, IX (1854), p.
391, No. 11. Minoa.
Rhouphinus, son of Lubeikus. /. G. XIV, 1975. Rome.
Sainius Epaphrodeitus, son of Sainius Epaphrodeitus and Sainia
Eukarpia. /. G. XIV, 878. Baiae.
Satorninus, son of Aurelia Zosima, aged 2 years, 9 months. C. I. G.
IV, 9729; I.G. XIV, 1991. Rome.
Sirika. C. I. G. IV, 9650. Rome.
Thaesis, alias Isis, daughter of Thalamus, son of Chresimus, aged
2 years, 11 months. F. Preisigke, Sammelbuch griechischer
Vrkunden aus Agypten, III, 6125. Place unknown.
Theodoretus, son of Libanus Polemon. Anderson, Cumont, and
Gregoire, Studio Pontica, III, p. 209, No. 216. Pontus
'
(Elwan-Tchelebi).
Theodorus, aged 2 years, 8 months, 14 days. C. I. G. IV, 9527; /. G.
XIV, Syracuse.
4123.
Zosimus, aged 2 years, 1 month, 25 days. C. I. G. IV, 9817. Rome.
, aged 2 years. C. I. G. IV, 9808. Rome.
CATALOGUE OF INSCBIPTIONS 281
Three Years
Aineas, son of Artemidorus. C. I. G. lll, 5246. Cyrene.
Alexandria. C. I. G. IV, 6873. Place uncertain.
Artemidora, daughter of Trompabeithis. F. Preisigke, Sammelbuch
griechischer Vrkunden aus Agypten, I, 1626. Kgypt (Sohag).
Asphalio. /. G. XIV, 2390. Histria.
Aurelius Phlabius Seouerus. I.G.R. lll, 1340. Arabia (Medouar-
Nol).
Biktoreina. I.G. XIV, 530. Sicily (Catana).
Ep . Evaristo Breccia, Catalogue General des Antiquitis
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.
Gaius Apricius. C. I. G. 6657. lll,
Rome.
Gaius Ioulius Agathyrsus. /. G. XIV, 1669. Rome.
Gelasis. /. G. XIV, 846. Campania (Puteoli).
Germanikus Priskus, aged 3 years, 4 months. C. I. G. IIl, 6220.
Rome.
Glykera. /. G. XIV, 1367. Rome.
Glykon. 8.B. 0. VI (1932), 18. Galatia.
Hypsikle, 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.
Meton, son of Phlaouius. /. G. XIV, 2078. Rome.
Nikon, son of Niko and Charis, aged 3 years, 11 months. C. /. G. II,
3783. Nicomedeia.
Pathotes, son of Thosus. Preisigke, Sammelbuch griechischer Vr-
kunden aus Agypten, I, 92. Egypt (Acoris).
Pepes. Gustave Lefebvre, B.C.H. XXVII (1903), p. 373, No. 109.
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).
Philippus,* who died untimely (iupn). H. La rumens, Le Music

Beige, VI (1902), p. 106. Syria (Homs).
Poplius, son of Poplius. C. I. G. IIl, 5240. Cyrene.
Prosdokimus, son of Asklepias. /.G. XII, 303; Ath. Mitt. XVI
( 1891 ) , p. 174, No. 5. Minoa.
Saloukina, daughter of Phokas. C. I. G. IV, 9731. Rome.
Septimia Iouliana, daughter of Septimius Aitetus and Septimia
Rhouphina. C. /. G. IV, 9888; /. G. XIV, 2534. Lugdunum.
Tharsus Porphyrius. B.C.H. XXI (1897), p. 40, No. 4. Syria
(Saham).
Theaitetus. /. G. IX, 954. Corcyra.
Theodotus Sogenus. C. /. G. IIl, 5344. Cyrene.
Thetus. F. Preisigke, Sammelbuch griechischer Urkundcn ous
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.
, son of Oualentinus. /. G. XIV, 949 a. Rome.
, 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. /. G. XIV, 1495. Rome.
Aurelia Theodora, daughter of Aurelius Heliodorus, a freedman of
Sebastus,and of Epipodia. C. I. G. IIl, 6667. Reate.
Eklektus, 57 months, 20 days. C.I.G. III, 6224; I.G. XIV, 1565.
Rome.
Erns. /. G. XIV, 1592. Rome.
Eudaimon. C. I. G. IIl, 6386 ; /. G. XIV, 1597. Rome.
Eusebia. C. I. G. IV, 9692. Rome.
Euthykrates Egnatianus I.G. XIV, 2353. Venetia (Aquileia).
Eutychianus. Evaristo Breccia, Catalogue Gineral des Antiquitis
Egyptiennes du Musê d'Alexandrie: Iscrizioni Greche e
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.
Glykon. Roman d'Orbeliani, J.H.S. XLIV (1924), p. 30, No. 20.

Galatia.
Hatres, son of Haruotes and Senatres. F. Preisigke, Sammelbuch
griechischer Urkunden aus Agypten, I, 1177. Egypt (place
unknown ) .
Herakleides, who died untimely and is to be pitied ( &wpos, i\tivos ) .
F. Preisigke, Sammelbuch griechischer Urkunden aus
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. Paph-
lagonia ( Ak-tasch-schehr ) .
Hillarus. C. I. G. IV, 9807. Rome.
Iason, son of Iason and Margaris. /. G. XII, 298 ; B. C. H. XVI
(1892), p. 303, No. 2.
Leukius Minikins Anthimianus, son of Leukius Minikius Anthimus
and Skreibobia Pheleikissima. C. /. G. II, 3272. Smyrna.
Loupoula, daughter of Loupoulus. I.G. XIV, 1818; C.I.G. IIl,
6510. Rome.
Luka, daughter of Synphorus. /. G. IX, 937; Lolling, Ath. Mitt. XII
(1887), p. 351, No. 116. Pelasgiotis (LarissaK
Menekrates, son of Apollonius. C. I. G. IIl, 6257. Rome.
Menophilus, son of Menophilus. /. G. IX, 960. Corcyra.
Nardio, who was very worthy ( xpV"r6s ) . Preisigke, Sammelbuch
griechischer Urkunden aus Agypten, III, 7255. Egypt (Tel-
el-Yahoudiyeh ) .
Onesima. C. I. G. IV, 9720. Rome.
Oualerianus. Gustave Lefebvre, B.C.H. XXVII (1903), p. 348,
No. 8; Preisigke, Sammelbuch griechischer Urkunden aus
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.
Petemcnophis, son of Pabus. l.G.R. I, 123; C.I.G. IIl, 4825;
Preisigke, Sammelbuch griechischer Urkunden aus Agypten, I,
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.
Syntrophio. Anderson, Cumont, and Gregoire, Studia Pontica, III,
p. 177, No. 170. Amasia (Aladjouk).
Theodotus. C. I. G. II, 8793. Bithynia (Chalcedon).
284: OLD AGE AMONG THE ANCIENT GREEKS
Thraso, son of Thraso, son of Diogenes. C. I. G. II, 3293. Bithynia

(Nicomedeia).
Tryphonianus. /. G. IX, 651. Pelasgiotis (Larissa).
Tyche. /. G. XIV, 2052. Rome.
Zotika, daughter of Tiberius Neikomedes. C. I. G. IIl, 6405. Rome.
, child of Hermagoras and Aineia. C. /. G. IIl, 6214. Rome.
. I.G. XIV, 509. Sicily (Catana).
Five Years
Alexandrus. C. I. G. IV, 6874. Place uncertain.
Ammonius Kastor. Gustave Lefebvre, B.C.H. XXVII (1903), p.
355, No. 37. Egypt (Acoris).
Appolenaius, son of Ptolemaius. S. E.G. I, 557. 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, daughter of Ballius Narkissus and Iouuia
Olympias. C. L 0. III, 6441 b. Rome.
Chrozousa. C. I. G. IIl, 5414. Syracuse.
Demetrius, son of Demetrius. /. G. XIV, 1535. Rome.
Dexiphanes, son of Thraso, son of Diogenes. C. I. G. II, 3293.
Smyrna.
Dionysius, son of Akylius Epityches and Akylia Zosima. C. I. G. III,
6369. Rome.
Ep . E. Catalogue General des Antiquitis Egyp-
Breccia,
tiennes du if usee
d'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.
Euprepes, son of Tyche. I.G. XIV, 1611. Rome.
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.
156, No. 7; Preisigke, Sammelbuch griechischer Urkunden aus
Agypten, IV, 7312. Egypt (place unknown).
Gaius, son of Loukius Poplikius Rhouphus of Pergamum. C. I. O.
IIl, 6498. 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.
Kreskes, son of Kreskes. S. A. Xanthoudidis, A.J. A. II (1898), p.

75, No. 6 a.Crete (Lyttus).
Loukius Ioulianus, alias Ninnarus. C.I.G. 6736; I.G. XIV, lll,
1715. Ravenna.
Nepotilla. C.I.G. lll,
5854 f, Addenda et Corrigenda; I.G. XIV,
851. Campania (Puteoli).
Onnophris Harouenophris. Gustave Lefebvre, B. C. H. XXVII
(1903), p. 353, No. 30. Egypt (Acoris).
Ouariana. /. G. XIV, 1908. Rome.
Pauleina, daughter of Euploius. /. G. XIV, 1936. Rome.
Pekusis. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,
I, 3501. Egypt (place unknown). Now in the Louvre.
Philomelus, son of Asklepiakus. I. G. lll, 1307. Athens.
Pireithus. /. G. XII, suppl. 1648. Thera.
Politta. Ana. Gr. Inscriptions in the Br. Mus. IV, 1075. Egypt
(Memphis) .
Preimus. 0./.G.ll,3513. Lydia (Thyateira).
Preiskiana. I. G. XIV, 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. XXI
(1897), p. 45, No. 23. Syria (Yedoueh).
Sekoundus, son of A o and Chresteina. /. G. XIV, 1996. Rome.
Sozousa. XIV, 49. Sicily (Syracuse).
/. G.
Stephaninus. O. /. G. IV, 9590. Rome.
Thallus. I.G. XIV, 350. Sicily (Cephaloedium).
Theophanes. O. I. O. IV, 9425. Epirus.
Theophilus, son of Dionysius of the Marathonian tribe. /. G. lll,
1460; Dittenberger, Sylloge Inscriptionum Graecarum', II,
1245. Athens.
Tineia Hygeia, daughter of Philtatus and Alexandra. /. G. XIV,
2040; C.I.G. 6201. Rome. lll,
Tyche. /. O. XII, 214; Baumeister. Philol. IX (1854), p. 390, No. 9.
Arcesine.
Tyche, daughter of Gaius Hermogenes. O. /. O. II, 3025. Lydia
(Marathcsium ) .
Zosima. 0. /. O. 5627. lll,
Sicily (Messana).
tes, son of Arabia. C.I.G. IV, 9878; I.G. XIV, 2360.
Venetia (Aquileia).
, daughter of Kastor and Hygia. /. G. XII, 361; Pollak, Ath.
Mitt. XXI (1896), p. 202. Minoa.
Titus Alexandrus. E. Breccia, Catalogue General des An
tiquitis Egyptiennes du Musie d'Alexandrie : Iscrizioni

Greche e Latine, p. 185, No. 380. Alexandria.
. 0./.G. lll, 6193. Rome.
, (a loving daughter). C.I.G. IV, 9699. Rome.
. /. G. IX, 972. Corcyra.
. I.G. XII, 391. Mytilene.
. I. G. XII, 392. Mytilene.
Six Years
Ailia Zmyrna. I. G. lll,
1336; Kaibel, Rpigr. Gr. 143. Athens.
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<ri'0iXot ) . Preisigke, Sammelbuch griechischer
Herpaga. C. I. G. IV, 9676. Rome.
Klaudia Mctrodora, daughter of Klaudius Metrodorus and Philippa.
C.I. G. lll,
6602; /. G. XIV, 1772. Rome.
Kosmia, daughter of Kosmus and Theodota. C.I.G. IIl, 6757; I.G.
XIV, Transpadana (Verona).
2308.
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, Gri-
goire, Studia Pontica, III, p. 96, No. 75. Pontus (Vezir-
Keupru ) .
Oualerius, son of Athenodorus. /. G. XII, 444 ; Mendel, B. C. H.
XXIV (1900), p. 280, No. 23. Thasos.
Pctronius. I. G. XIV, 545. Sicily (Catana).
Pheleikita, son of Hermodorus. I.G. XIV, 416; C.I.G. lll, 5634.
Sicily (Messana).
Phlorus, son of Kaikilius. C.I. G. lll, 6296; /. G. XIV, 1722. Rome.
Phoibianus. De Ridder, B.C.H. XXI (1897), No. 25, No. 15.
Naxos.
Pontiana, daughter of Chr[est]odorus and Marina. Aristite Fontrier,
B.C.H. VI (1882), p. 443, No. 4. Tomi.
Senpebus, daughter of Ap[ol]lonius. Preisigke, Sammelbuch grie
chischer Vrkunden aus Agypten, I, 815. Egypt. Cairo
Museum.
Sorapiada. daughter of Serapiakus. /. G. XIV, 2005 ; C. I. G. lll,
6289. Rome.
Teimandra, daughter of Kypara. C. I. G. lll, 6291 b; I.G. IV, 2037.
Rome.
Tphout, daughter of Heraklius, son of Soter. C.I.G. lll, 4826;

I. G.K. I, 1234. Egypt (Gournah).
. /. G. IX, 451 ; G. Fougeres, B. C. H. XIII ( 1889 ) , p. 405, No.
22. Pelasgiotis (Larissa).
Seven Years
Agatho. /. G. XIV, 444. Sicily (Tauromeniuni).
Ailia Prota, daughter of Poublius Ailius Abaskantus. C. I. G. lll,
6279; /. G. XIV, 1973. Rome.
Amarantus. C. I. G. lll, 5207. Cyrene.
Antipatra. /. G. XIV, 1396. Rome.
Aristo. /.G. XIV, 769. Campania (Naples).
Aurelius Antonius, son of Aurelius Onesimus and Aurelia Antoneia.
C. I. G. lll, 6206. Rome.
Berous. I.G.R. 1139; Lefebvre, B.C.H. XXVII (1903), p. 345;
Preisigke Sammelbuch griechischer Vrkunden aus Agypten, I,
81. Egypt (Acoris).
Demetrius, son of Demophilus. I. G. XII, 973. Tenos.
Deuterus, nephew of Telesphorus. C. I. G. 6362. lll,
Eirana. /. G. XIV, 1563. Rome.
Erpis. I. G. XII, 444. Mytilene.
Euphraino. I. G. XIV, 580. Sicily (Centuripa).
Gaius. I. G. XIV, 2431. Rome.
Hermaius, son of Pootus. I. G. R. I, 1140; Lefebvre, B. C. 77. XXVII
(1903), p. 345. Egypt (Acoris).
Herophilus. /. G. XIV, 1642. Rome.
Hygeia, sister of Pauleinus. I. G. XIV, 1935. Rome.
Ioanna. C. I. G. IV, 9865. Rome.
Ioulia Domitia. C. I. G. lll, 5704. Sicily (Catana).
Kallistagoras. I.G. XII,
B.C.H. VII (1883), p.
4971; Latichev,
253, No. 5.Tenos.
Lysanias, son of Krito. 0. I. G. lll,
5360. Teucheira (Arsinoe).
Maximus Iasonus. I.G. XIV, 325. Sicily (Thermae Himeraeac).
Memmia Pothina. C.I.G. II, 1910b, Addenda et Corrigenda.
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.
Siburtius. /.G.ll,4135. Athens.
Telesphorus, son of Telesphorus and Eirene. G. Mendel, B. C. 77.
XXXIII (1909), p. 281, No. 41. Isnik.

Thaesis, son of [E]rus the potter. G. Lefebvre, B.C.H. XXVII

(1903), p. 347, No. 5. Egypt (Acoris).
Thelymithres, son of Aurelius Demetrius. Buresch, Aus Lydien, p.
57, No. 32. Lydia (Indschikler).
Theomnestus Aristonus. Georges Seure, B.C.H. XXIV (1900), p.
159, No. 1. Thrace (Silivri).
Thesmophanes. C. I. G. I, 956; /. G. 1337; lll,
Kaibel, Epigr. Gr.
153. Athens.
Tryphera, niece of Klaudius Lampter. I. G. XIV, 1758. Rome.
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
Abreliana, daughter of Iustus. C.I.G. lll,
6709; I.G. XIV, 1492;
I.G.R. I, 231. Borne.
Agatho. /. G. XIV, 1321. Rome.
Ailia Loukillis. /. G. XIV, 1339. Rome.
Amerimnus. C. I. G. lll,
6338; /. G. XIV, 1379. Rome.
Aphrikana. Ane. Gr. Inscriptions in the British Museum, IV, 1103.
Agrigentum.
Attalionus, son of Diogenes, son of Attalus and Ammia. Georges
Seure, B.C.H. XXIV (1900), p. 397, No. 69. 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).
Didymus. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, I, 370. Alexandria.
Dorotheus. C. I. G. IV, 9580. Rome.
Euandras. /. G. XIV, 1530. Rome.
Eutyches. I. G. XIV, Rome.
1617.
Gallikius Pollio. A.J. A. XVII (1913), p. 173,
D. M. Robinson,
No. 38. Cyrenaica.
Georgius. C. I. G. lll,
6756. Italy (Verona).
Heraklitus, son of Aurelius Xanthias. C. I. G. 6408. Ill,
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. lll,
6251. Rome.
Markion, who was an accomplished fellow (mp^fa). Preisigke,

Sammelbuch griechischer Vrkunden aus Agypten, III, 6124.
Place unknown.
Markus, son of Poplius. C. I. G. 5240. Cyrene. lll,
Menophilus. 0. /. G. lll, 6259 ; G. XIV, 1858.
I. Rome.
Montanill[a]. Beaudouin and Pottier, B.C.H. Ill (1879), p. 261,
No. 6.
Sparta.
Oktabius Hermes, son of Oktabius Trophimus. /. G. XIV, 1889.
Rome.
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; son of Zenokleia, daughter of Nikar-
chus. /. G. II, 4040 b; B. C. H. XVII (1893), p. 194. Piraeus.
Protas. /. G. XIV, 624. Rhegium.
Sarap[io]n. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, I, 394. Alexandria.
Satria Tyche. C. I. G. 6637. Rome.lll,
Stephanus. /. G. XTV, 506. Sicily (Catana).
Thalassis, daughter of Aristokrates. C. I. G. Ill, 5294. Teucheira
( Arsinoe ) .
Therapo. /. G. IX, 955. Corcyra.
Tryphon, son of Trophimas. C. I. G. II, 3388. Smyrna.
Zosima, daughter of Zosimus. /. G. XII, 210; Homolle, B. C. H. 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 of Eirena, daughter of Soterus. G. Doublet,
B. C.H. XIII (1889), p. 65, No. 6. Crete (Lyttus).
Nine Years
Agapeta, daughter of Hermaus and Klaudia. G. Mendel, B. C. H.
XXIV (1900), p. 376, No. 21. Bithynia (Kourschounlou) .
Aimilia Hermione. C. T. G. lll,
6537; I.G. XIV, 1354. Rome.
Akindoinus. /. V,
Laconia.
G. 803.
Alexandras. I.G. IX, 639. Pelasgiotis (Larissa).
Arimnus Kallisthenes. C./.G.Ill,5261. Pelasgiotis (Larissa).
Asklepiades. G. Mendel, B.C.H. XXXIII (1909), No. 416, No. 423.
Bithynia (Prusa).
Dionysias, son of Akylius Epityches and Akylia Zosima. I. G.
XIV, 1361. Rome.
Esoeris. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,
I, 3827. Place unknown. Now in the British Museum.
19
Gratilla, daughter of Titus 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).
Kalliro[eies]. B.C.H. IIl
(1879), p. 44, No. 2; Kaibel, Epigr, Gt.
199. Telos.
Oulpia. I.G. XIV, 155. Sicily (Syracuse).
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.
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. XIV, 2204. Rome.
. /. G. 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).
Heraklea. /. G. IX, 1085. Pelasgiotis (Campus Dotius).

Herodotus. /. 0. XII, 519. Thasos.
Lysandra who was excellent (xpi<m}). Breccia, Catalogue General
Egyptiennes du Musie d'Alexandrie : Iscrizioni
des Antiquities
Greche e Latins, p. 176, No. 351. Alexandria.
Oporeinus. C. I.0. lll,
5718; /. 0. XIV, 4932. Sicily (Catana).
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.
Praxagora, daughter of Euphanes. C. I. 0. 5226. Cyrene. Ill,
Theon. Seymour de Ricci, Revue Epigraphique, I (1913), p. 152,
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.
Tiraunus. Lefebvre, B. C. H. XXVII (1903), p. 381, No. 134. Egypt.
(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. lll,
5854 f, Addenda et Corrigenda. Puteoli.
, son of Agathopous. Mendel, B.C.H. XXXIII (1909), p.
327, No. 80. Place unknown.
. /. G. XIV, 2126. Rome.
. /. G. II, 2722. Attica.
. /. G. V, 177. Tegea.
. 8. E.G. I, 572. Egypt (Leontopolis).
Eleven Years
Apollonis. G. Lefebvre, B.C.H. XXVII (1903), p. 350, No. 15.
Egypt (Acoris).
Apollonius. D.M. Robinson, A.J. A. XVII (1913), p. 186, No. 78.
Cyrenaica.
Asklepiodotus, son of Markianus of Nicomedeia. I.0. R. I, 204;
/. 0. XIV, 1429. Rome.
Aurelia Artemeisia, daughter of Zosimus. /. 0. XII, 612. Thasos.
Damokrates, son of Dionysius. G. Cousin, B.C.H. X (1886), p.
178, No. Acarnania.
3.
Elpis. C. I. G. IV, 9849. Rome.
Euodia, daughter of Euodus. Anderson, Cumont, and Gregoire,
Studia Pontica, III, p. 71, No. 62. Neoclaudiopolis.
Eutaxas, son of Zosimus. C. I. G. lll, 5287. Cyrene.

Eutyehianus, son of Eutychides and Pardala. /. G. IIl, 1350; Kaibel,
Epigr. Gr. Olympia.
167.
Eutychius. C. I. G. 6395. lll,
Rome.
Hygiaro. R. Vallois, B. C.H. XL (1926), p. 170, No. 2. Tegea.
Iakoubus, who was clever (Konftt). Preisigke, Sammelbuch grie
chischer Vrkunden aus Agypten, I, p. 8, No. 11. Egypt (Tel-
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).
Neikopolis. G. Mendel, B. C. H. XXV (1901 ), p. 278, No. 19. Tegea.
Oualerius, son of Oualerius. G. Mendel, B.C.H. XXIV (1900), p.
280, No. 23. Thasos.
Philoumenus. /. G. XIV, 1336; C. I. G. lll, 6485. Rome.
Porphyris. C. I. G. IV, 9581. Rome.
Psais, son of letus. Preisigke, Sammelbuch griechischer
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.
Tiberius Plotius Zosimas, brother of Tiberius Plotius Ioustus. C.I.
G. lll,
6634. Rome.
. I. G. XII, 216. Arcesine.
. C. I. G. IV, 9870. Italy (Ravenna).
Twelve Years
Ailia Ailiana. /. G. XIV, 1344; 0./.G.llI,6535. Rome.
Alkibiades, son of Kornelius Alkibiades and Chresta. /. G. XIV,
1783 ; 0. /. O. Ill,
6336 b. Rome.
Apollus. Preisigke, Sammelbuch griechischer Vrkunden aus ILgypten,
I,1917. Egypt (Memphis).
Asiaticus. H. A. Ormerod and E. S. G. Robinson, J. 77. 8. XXXIV
(1914), p. 15. Lycia (Xanthus).
Asklepiades. /. G. XIV, 1426; 0./.G.lll,6345. Rome.
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.
Bassia Ploteina. Georges Seure, B.C.H. XXXVI (1912), p. 619,

No. 76. Thrace.
Biktorina, wife of Hilarus. C. I. G. 6497. Borne. lll,
Breiseis, daughter of Eugenis and Sekounda. /. G. XII, 446.
Thasos.
Eusebius, son of Helainus and Sotera. C. I. G. IV, 9604. Rome.
Eutychus, 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
(Thelpusa).
Ispes. /.G. XIV, 48. Sicily (Syracuse).
Kalatia. C. 1. G. lll, 5207. Cyrene.
Kallitychus, son of Onesimus. /. G. XIV, 1894. Rome.
Kreske. S. A. Xanthoudidis, A. J. A. II (1898), p. 75, No. 6. Crete
(Lyttus).
Leontis. Ch. Fossey, B. C.H. XXI (1897), p. 2, No. 14. Syria.
Maria. G. Doublet, B.C.H. XIII (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.
/. G. XIV, 1906; C. I. G. lll,
6626; /. G. R. I, 322. Rome.
Ouarion. /. G. XIV, Sicily (Tauromenium).
437 a.
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 ) .
Ponpesia Aukta. I. G. XIV, 1953. Rome.
Quintus Latinus Pyramus. C. I. G. 6794. lll,
Gallia Lugdunensis.
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.
Now in Sofia Museum. Found at Nowa Sagora.
Spendophorus. /. G. XIV, 2015. Rome.
Zenaria, daughter of Sosipatrus. /. G. V, 1280. Laconia (Hippola).
Zosima. C. I. G. IV, 9617. Rome.
, son of Agapomenus. /. G. XIV, 1436. Rome.
, son of Abaskantus. D. G. Hogarth, J.H.8. VIII (1887),
p. 366, No. 9. Salonica.
akkius. C. I. G. 5274. lll,
Cyrene.
, daughter of uichas. I.G. VII, 1882. Boeotia
(Thespiae).
. /. G. XIV, 2136. Rome.

. E. Kalinka, Antike Denkmaler in Bulgarian, p. 258, No. 327.
Now in Sofia Museum.
. 8.E.G. VI (1932), 137. Phrygia (Azani).
Thirteen Years
Ammonius. G. Lefebvre, B.C.H. XXVLT (1903), p. 348, No. 7.
Egypt (Acoris).
Antigonus, son of Aristarchus. D. M. Robinson, A. A. XVII J.
(1913), p. 192, No. 110. Cyrenaica.
Ateimetus, son of Gaius Iounis Ateimetus. /. G. XIV, 1716. Rome.
Hermione. D. M. Robinson, A.J. A. XVII (1913), p. 179, No. 53.
Cyrenaica (Wady Tabouna).
Iopa. /. G. II, 685. Teos.
Ioulia, daughter of Pouphus. C. I. G. lll, 5317. Cyrene.
Kailius Kueintus Philopator II. /. G.R. I, 278; Notizie degli Scavi,
1892, p. 345. 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. Rome.
Luka, daughter of Techne. l.G. IX, 820; Lolling, Ath. Mitt. XI
Matrona, daughter of Charito and Kalligenia. C. I. G. II, 3807.
Bithynia.
Muro, 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.
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 (^1X6X0705),
son of Preiska and Orpheus. 8. E.G. TV ( 1929) , 111. Notizie
degli Scavi, 1925, p. 164. Rome.
Sarapias, wife of Muropnous. I.G. XIV, 1749. Rome.
Tagapa, a happy maiden (/ioKopio wapSivot). Preisigke, Sammelbuch
griechischer Vrkunden aus Agypten, I, 1562. Egypt (Antino-

polis).
Theoteimus, son C.I.G. III,
of Myrinus and Hygieia. 5867; I.G.
XIV, Italy (Stabiae).
700.
Titus Ailius Biktoreinus. 0. /. G. IV, 9477. Catana.
Trophimas. /. G. lll, 1467. Athens.
Ziburna, daughter of Hygeia. /. G. IX, 968 ; Durrbach, B. C. H. X
, son (or daughter) of Dositheus. C.I.G. lll, 5343. Teu-
cheira (Arsinoe).
-ne. /. G. V, 1215. Laconia (Gythium).
. E. S. Forster, Annual of the British School at Athens, X
(1903-4), p. 187, No. 18. Laconia.
. C.I.G. lll,
6271. Rome.
. /. G. IX, 968. Corcyra.
Fourteen Years
Achilleus, of Pos[e]idoniu[s], son of Polyxenus and Kreousa.
son
Basilius Latyschev, Inscriptiones Antiquae, IV, p. 20, No. 33.
Olbia.
Alauiena, an actress. C. I. G. 11l, 6335. Rome.
Antonia Isidora, daughter of Iou[l]ia Pontiana. Anderson, Cumont,
and Gregoire, Studia Pontica, III, p. 62, No. 49 a. Neoclaudio-
polis.
Apa Ion. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, I, 5962. Now in Berlin.
Charitosa. 0./.G.ll1,5850; /. G. XIV, 824. Naples.
Demetrius, son of Didyma. /. G. XIV, 1539. Rome.
Eision. Paton and Hicks, Inscriptions of Cos, p. 220, No. 343.
Asphendiu.
Eutychia, daughter of Agathopous and Italia. G. Mendel, B. 0. H.
XXXIII (1909), p. 327. Prusa.
Hygeia, daughter of Menodorus. /. G. IIl,
1463. Athens.
Hymnis, wife of Lykrates. B.C.H. XXVII (1903), p. 331, No. 40.
Bithynia ( Pompeiopolis ) .
Ioanes. 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.
Klaudia, a stout-hearted maiden (r\vnuv wapBtvadi ) , daughter of
Prokles. B.C.H. XXV (1901), p. 22, No. 157. Bithynia
(Osan).
Kouintus, son of Kopria. C. I. G. IIl, 5712. Sicily (Catana).

Lais, son of Aphrodeisius. /. G. XII, 211. Arcesine.
Markellus, son of Xenophon. S. E.G. I, 423; A. Salac, B.C.B.
XLVII (1923), p. 83, No. 2. Macedonia (Philippi).
Markus Argenaius Eutaktus. C.I.G. III, 6341; I.G. XIV, 1413;
/. G. R. I, 200. Rome.
Markus Demetrianus. C. I. G. IIl, 5216 b. Cyrene.
Markus Maikilius Sekondus. D. M. Robinson, A.J. A. XVII (1913),
p. 173, No. 38. Cyrenaica.
Modestus, son of Tiberius Klaudius Logikus of Smyrna. I.G. IX,
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.
Olympias, daughter of Patroklcs and Olympias. C.I.G. II, 3118.
Teos.
Petetriphis, son of Psenosiris and Sensansvos. Preisigke, Sammel-
ouch griechischer Urkunden aus Agypten, I, 3929. Now in
Berlin.
Phausteina. /. G. IIl, 1469. Athens.
Philostrata. /. G. IV, 196. Corinth ( Crommyon ) .
Polus.t I.G. VII, 3449. Boeotia (Chaeronea).
Rhianus Kres. /. G. V, 725. Laconia.
Seilikia Mellousa. /. G. XIV, 337. Sicily (Thermae Himeraeae).
Septimia Pausilupa, daughter of Akeilia. /. G. XIV, 1358 ; C. I. G.
IIl, 6637 b. Rome.
Tereueis, son of Petesouchus. G. Lefebvre, B. C. H. XXVTI ( 1903 ) ,
Thelpousa. S.E. G. I, 179; Hondius, Annual of the British School
at Athens, XXIV (1919-20; 1920-21), p. 143, No. 130.
Laconia.
Theudas, son of Peteaus, who loved his mother (<tii\ofiriTu•p) , his
friends (<tii\6tpi\ot) , and his brother (<pi\iSt\<pos) ; and was
unmarried ( iyapos). E. Breccia, Catalogue General des
Antiquitis Egyptiennes du Musie d'Alexandrie, p. 177, No.
353. Alexandria.
Zollus. /. G. VII, 3449. Boeotia (Chaeronea).
Zosima. I.G. XIV, 31; C.I.G. IIl, 5401. Sicily (Syracuse).
. O. I. G. IIl, 4597. Palaestina (El Hait).
. Anderson, Cumont, and Gregoire, Studia Pontica, III, p.
18, No. 10 b. Amisus.
* Polus and of fourteen years.

Zollus are mentioned as two warriors
It is assumed that each is fourteen years.
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.
Aimilius, son of Asklepiades Neikerotus. B. C. H. XXV ( 1901 ) , p.
46, No. 190. Bithynia (Tcharchamba-Djoumaisi).
Ammonis. Ch. Fossey, B. C. H. XXI (1897), p. 41, No. 7. Syria.
Apollonius, son of Oiolukus. C. I. G.
Cyrene. lll, 5258.
Arsinoa, daughter of Eudaimon. C. I. G. 5264 b. Cyrene. lll,
Attalus. E. S. Forster, Annual of the British School at Athens,
X (1903-04), p. 186, No. 14; I.G. V, 1186. Laconia
(Gythium).
Aurelia Phlaouia Arria of Nikomedeia. /. G. XIV, 837 ; /. G. R. I,
427. Puteoli.
Aurelius Rouphinus. C.I. G. lll, 6563; I.G. XIV, 1349. Rome.
A us. C. I. G. IIl, Cyrene.
5253.
Demo Kottias. Paton and Hicks, Inscriptions of Cos, p. 228, No.
355. Ruined church in the village of Pyli.
Dionysodorus. /. G. XIV, 1554. Rome.
Eemnaious, a maiden who died untimely (owpos). E. Breccia,
Catalogue General des Antiquitis Egyptiennes du Musie
d'Alexandrie: Iscrizioni Greche e Latine, p. 175, No. 347.
Alexandria.
Euarestus. /. G. XIV, 1594. Rome.
Euterpe. C. I. G. IV, 9524. Syracuse.
Gaius Anpelis. C. I. G. lll,
5300. Cyrene.
Gamikus, the comedian. /. G. XIV, 874. Misenum.
Gregoria. I.G. IX, 661; Lolling, Ath. Mitt. VII (1882), p. 235.
Pelasgiotis (Larissa).
Hypatus. /. G. XIV, 902. Capri.
Ioubinus. /. G. XIV, 125. Sicily (Syracuse).
Kallineikus. I.G. XIV, 1726 ; C. I. G. HI, 6425. Rome.
Kallippus. /. G. VII, 2343. Boeotia (Thisbe).
Eokkeia. C. I. G. II, 3343. Smyrna.
Korinna, daughter of Diphilus. /. G. XII, 362; Radet, B.C.H. XII
(1888), p. 237, No. 10. Minoa.
Krispina. 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).
Megethis, daughter of Olympias. Ch. Avezou and Ch. Picard,
B.C.H. XXXVII (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).
Pompeia, daughter of Markus Pompeius Lukus. C.I.G. II, 1817.
Epirus.
Ptolemais. C. I. G. IV, 6913. Rome.
Sambus, who loved his children (tpiKirKvot) t and was honorable
( XpVaTS* ) . E. Breccia, Catalogue Giniral des Antiquitis
Egyptiennes du Music d' Alexandrie : Iscrizioni Greche e
Latine, p. 181, No. 369. Egypt (Behera).
Smyrus, son of louus. C. I. G. IIl, 5233. Cyrene.
Syntyche, who was excellent ( xP1<rT^) > and was the daughter of
Karpus. J. Hatzfeld, B.C.H. XXXVI (1912), p. 216, No.
44. Delos.
Syrio. C. /. G. IV, 6897. Place uncertain.
Taurope, who was excellent (xpV<rr/i). S. E.G. IV (1929), 32.
Sicily (Syracuse).
Theagenes. G. Mendel, B.C.H. XXXIII (1909), p. 416, No. 423.
Bithynia (Prusa).
Thcodotus, son of Euphranor. D. M. Robinson, A. J. A. XVII ( 1913 ) ,
p. 197. Cyrenaica.
Tlaktota. S. E.G. I, 563. Egypt (KOm Abou Bellou).
, son of Ailia Biktoriana. C. I. G. IIl, 6534. Rome.
. /. G. V, 789. Laconia.
. C. I.G. IIl, 5360. Teucheira (Arsinoe).
Sixteen Years
Agathenor, son of Kleanor, a hero. Kalinka, Antike Denkmaler in
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'lnscrip-
tions Grecques, Supplement, 1-2, p. 187, No. 1809. Attica.
Gaius Ioulius Agatho, son of Aude. C.I.G. IIl, 6574; I.G. XIV,
1670. Rome.
Gaius Vibius Licinianus. C. I. G. III, 6789. Gallia Narbonensis
(Nemausus).
Herakleides. C. I. G. II, 3326. Smyrna.
Iulianus. /. G. XIV, 1714. Rome.
Kassius Hermes. Ch. Avezou and Ch. Picard, B. C. H. XXXVII

(1913), p. 103, No. 13. Macedonia (Saloniki).
Klaudia Aphrodeisia. D. M. Robinson, A. J. A. XVII (1913), p.
173, No. 38. Cyrenaica.
Kleomenes, brother of Lucius Ioulius [Ph]oib[i]on.4 C.I.G. lll,
6428; I.G. XIV, 1779. Rome.
Kointus. C./.G.Il,2006. Macedonia (Bitoglia).
Kommagenus. I.G. XIV, 2550; Carolus Zangemeister, Ephemeris
Epigraphica, VII (1892), p. 306, No. 952. Verterae.
Leon, son of Ailius Kuin[tili] us. Basilius Latyschev, Inscrip-
tiones Antiquae, I, p. 152, No. 124. Olbia.
Maria, alias Patrikia. C.I.G. IV, 9302; Welcker, Rhein. Mus. X
(1845),
p. 43. Aegina.
Markus, 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 Stratonei-
kus of Nicomedeia. /. G. R. I, 548. Senia.
Neikopolis. I. G. V, 181 ; Mendel, B.C.H. XXV (1901), p. 278, No.
19. Tegea.
Patraia, alias Ioulia. Gr. Inscriptions in the British Mu
Ancient
seum, IV, Place uncertain.
1124.
Petechon. G. Lefebvre, B.C.H. XXVII (1903), p. 351, No. 18.
Egypt (Acoris).
Phlabianua, son of Dorus. C.I.G. 6295; I.G. XIV, 2100; lll,
/. G. R. I, 365. Rome.
Reginus. E. Breccia, Catalogue General des Antiquitis tgyptiennes
du Musie d'Alexandrie: Iscrizioni Greche e Latine, p. 180,
No. 367. Alexandria.
Sabbathis. 8. E. G. I, 576 ; Preisigke, Sammelbuch griechischer
Vrkunden aus Agypten, 6653. III,
Egypt (Tel-el-Yahou-
diyeh ) .
Sensaus. C. I. G. ID., 4828 ; I. G. B. I, 1232. Egypt (Thebes).
Stateius Eutyches. C.I.G. in, 5649b; I.G. XIV, 439. Sicily
(Tauromenium).
Symphonia. I. G. IX, 641. Pelasgiotis (Larissa).
Tapaeik. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten.
I, 3559; Egypt (place unknown).
Titus Ailis Biktoreinus. I. G. XIV, 527. Sicily (Catana).
Zeaina Arimma. C. I. G. lll, 5321. Cyrene.
•The reading given in C.I.G. lll, 6428, is [*oi/9[i]w»; that of

/. G. XIV, 1779 is [Blippa,*.
— ', sonof Ailis Achi Ileus and Stratonike. C.I.G. lll, 5699;
I.G. XIV, 466. Sicily (Catana).
mona. E. Breccia, Catalogue General des Antiquitis Egyp-
tiennes du Musie d'Alexandrie: Iscrizioni Greche e Latine, p.
. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,
III, 6649; 8. E. G. I, 572. Leontopolis.
Seventeen Years
Aetius, brother of Aristophanes and Elpidius. H. S. Cronin, J. H. 8.
XXII (1902), pp. 373-74, No. 148. Pisidia.
Agathandrus, son of Ioulianus and Regeina. Ancient Gr. Inscrip
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).
Artemisia, daughter of Artemidorus. I.G.R. IV, 1526; Buckler and
Robinson, Sardis, VII, 1, Greek and Latin Inscriptions, No. 113.
Asklepiades, son of Apollonius Phlakkillianus and Sokratia, II
daughter of Apollonius and Hesperis. Buresch, Aus Lydien,
p. 86, No. 44; J. Keil and Anton von Premerstein, Bericht
iiber eine Reise in Lydien, p. 86, No. 185. Lydia (Kula).
Aurelius Diokleides, son of Aurelius Diokleides and Aurelia Tertia.
C.I.G. lll, 6769; /. G. XIV, 2436. Gaul (Massilia).
Demetria. /. G. XII, 347. Minoa.
Eponychus. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, I, 3543. Place unknown. Now in the Louvre.
Eudaimon. G. Lefebvre, B.C.H. XXVII (1903), p. 369, No. 95;
Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,
I, 118.Egypt (Acoris).
Glykonis, wife of Zethus, son of Philiskus, who lived honorably
(manias). H. Lechat and G. Radet, B.C.H. XII (1888), p.
203, No. 17. Bithynia (Ghemlek).
Ioulius Theodorus, son of Ioulius Kallimorphus and Ioulia Agathe.
C. I. G. IV, 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, and sister of
Hippotes. G. Mendel, B.C.H. XXIV (1900), p. 17, No. 115.
Bithynia (Ark).
Markus Domitius Sabeinus. /. G. R. IV, 1447. Smyrna.

Neo, son of Xenophon. C. I. G. lll, 8450; /. G. XIV, 1886. Rome.
Pantheia. C. I. G. I, 1505 ; /. G. V, 799. Sparta.
Pankarpus. /. G. XII, 436. Mytilene.
Patrobius, son of Karpus. /. G. XIV, 1741. Rome.
Pauleinus, son of Loukius. C./.G.11, 3755. Bithynia (Nicaea).
Pheilokleia. I. G. lll,
536 b, Addenda et Corrigenda. Sidon.
Phlabia Gemella. C. I. G. IV, 9552. Rome.
Pl[e]nis. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, I, 3511. Egypt (place unknown). Now in the
Louvre.
Poluouchus, son of Achilleus. C. I. G. lll, 5220. Cyrene.
Poplia. C. I. G. lll, 5333. Cyrene (Arsinoe).
Ptolemaius. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, III, 6238. Alexandria.
Sadda, daughter of Tautus Bagratus. C. I. G. lll, 4519. Damascus.
Silanus, son of Solon, son of Zometherus. C. I. G. II, 1833.
Illyricum.
Tasia. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,
I,
5970. Place unknown.
Telesphorus. I. G. XIV, 1435. Rome.
us, son of Loukius. E. L. Hicks, J. H. S. ( 1887 ) , p. 433, VIII
No. 44.
. I.G. XIV, 819. Campania (Naples).
. C. I. G. lll, 5824 b, Addenda et Corrigenda. Naples.
Eighteen Years
Achilleus. B.C.H. XV
(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 ) ,
p. 323, No. 21. Bithynia (Sasak).
Aphrodisis. C. I. G. IV, 9589. Rome.
Aristokles, a hero. E. Kalinka, Antike Denkmaler in Bulgarien, p.
263, No. 335. Varna.
Artemeisia. C.I.G. IV, 9683. Rome.
Asklepiodorus. C.I. G. lll, 6209; I.G. XIV, 1432; Kaibel, Epigr.
Gr. 606. Rome.
Atalanta, freedwoman of Margarites. I.G. XIV, 1832; I.G.R. I,
207.Rome.
Basileides, son of Menestheus. G. Mendel, B. C.H. XXIV (1900), p.
391, No. 52. Bithynia (Isnik).
Chrestus, who was a citizen of Thessaly, Larissa, and Pelasgiotis,
son of Protus. C.I. G. I, 1723. Phocis (Delphi).
Demetria, daughter of Chresimus. C. I. G. III, 5196. Cyrene.

Dionytas, brother of Dionysis. C.I.G. III, 6372; I.G. XIV, 1547.
Rome.
Dorus Sardinianus. A. Frontrier, B.C.H. VII (1883), p. 503, No. 4.
Dosas, who died untimely (iwpot) , was worthy ( xpnarin ) , and
loved by all ( iraa /0iXos ) ; husband of Teuphila. Preisigke,
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;
Seymour de Ricci, Revue Epigraphique, I (1913), p. 145.
Egypt. Place unknown.
Ioulius idius, husband of Pakata. Anderson, Cumont, and
Gregoire, Studio Pontica, III, p. 194, No. 195. Pontua
( EuchaTta ).
Isidora. E. Breccia, Catalogue Gineral des Antiquitis Egyptiennes
du Musie d' Alexandria: Iscrizioni Greche e Latine, p. 177,
Iulia Dioskore ( ?). I.G. XIV, 844. Puteoli.
Kalliope. /. G. XIV, 543. Sicily (Catana).
Kallisto, daughter of Zoiis Eleuseinius. I. G. XII.
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. Cen-
chreae.
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 Dio-
dorus. C.I. G. IIl, 6643; I.G. XIV, 1926; I.G.R. I, 326.
Rome.
Melanippus. A. M. Woodward, Annual of the British School at
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).
Oualerianus. E. Breccia, Catalogue Giniral des Antiquitis tgyp-

tiennes du Mus6e d'Alexandrie: Iscrizioni Greche e Latine, p.
179, No. 362. Abydus.
Pardalis, wife of Philagathus. F. Halbherr, A.J. A. XI (1896), p.
590, No. 72.
Crete (Genna).
Peteminis, son of Psenosipis and of Sensansnos. Preisigke, Sammel
buch griechischer Vrkunden aus Agypten, I, 2099. Egypt.
Place unknown. Now in Berlin.
Philoromaius, son of Abaius and Domettia. Anderson, Cumont, and
Gregoire, Studio Pontica, III,
p. 207, No. 212. Pontus
(Euchalta).
Philotechnus, son of Kalotychus. /. G. XII, 373. Minoa.
Salamis. E. Breccia, Catalogue General des Antiquity's tgyptiennes
du Musie d'Alexandrie: Iserizioni Greche e Latine, p. 180,
Salbia. /. XIV, 382. Sicily (Tyndaris).
G.
Sammoukia Markia, daughter of Petronius Antigonus and Aphrania
Markia. 0./.G.lIl,6618; I. G. XIV, 1988. Rome.
Sarrha, daughter of Telesistratus. O. /. G. lll, 5340. Teucheira
(Arsinoe).
Sosikrateia. /. G. V,
1222. Laconia (Teuthrone).
Soter, alias Saoua. Preisigke, Sammelbuch griechischer Vrkunden
aus Agypten, I, 821. Egypt (Fayence).
Stratoneikes. E. Legrand and J. Chamonard, B.C.H. XVII (1893),
p. 290, No. 97. Phrygia (Surlu).
gynegdemus, alias Billus, son of Synegdemus. C. I. G. lll, 4322.
Lycia (Chelidoniae Insulae).
Taapeis, daughter of Anoubion, teacher of gymnastics. Preisigke,
Egypt. Cairo Museum.
Tachoumise. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, I, 5973. Place unknown.
Tapia. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,
I, 5962. Place unknown.
Tauropa. /. G. XIV, 255. Sicily (Licodia).
Thalassis, daughter of Euphranor. C. I. G. 5293. Cyrene. lll,
Theodorus. 0./.G.Ill,6413; /. G. XIV, 1649. Rome.
Theodosia, daughter of Dorotheus. /. O. XIV, 1648; I.G.R. I, 263.
Rome.
Theodotus, son of Doryphorianus. /. G. XIV, 1559; O./. G. lll,
6410. Rome.
Theupropus. 0. /. O. 5298.IIl,
Cyrene.
Tyrannus, the comedian, son of Chryserus. /. O. XTV, 2050; /. G. R.
I, 358, Rome.
Xenophon, son of Xenophon. /. G. XIV, 1886. Rome.

Zena, who caused no pain ( iXviros ) , who died untimely ( iupos ) , and
was loved by all (waai<pi\ii) . Preisigke, Sammelbuch grie-
chischer Vrkunden aus Agypten, I, 5974. Place unknown.
Zopyrus, son of Alexandrus. Hiller von Gaertringen, with the col
laboration of C. Fredrich, H. von Prott, H. Schrader, Th. Wie-
gand, and H. Winnefeld, Inschriften von Priene, p. 159, No.
312. Priene.
Zosima. C. I. G. lll, 6401 ; I. G. XIV, 1632. Rome.
Zosima. /. G. IX,Corcyra.950.
, daughter of Dorotheus. C.I.G. 6239. Rome. lll,
, son of Eutychus and Dionysia. G. Doublet, B. C. H. XIII
(1899), p. 65, No. 6. Crete (Lyttus).
, son of Aristokrate. A Salac, B. C.H. LI (1927), p. 399, No.
26; W. Ramsay, J. H. 8. Ill
(1882), p. 126. Phrygia Epictetus
(Nacoleia).
, son of [D]o[r]yphorus. G. Mendel, B.C.H. XXIV (1900),
p. 417, No. 116. Bithynia (Ark.).
. C. I. G. lll, 3847 e, Addenda et Corrigenda. Assarlar.
. I.G. IX, 616. Cephallenia.
. C. I. G. II, 3019. Ephesus.
Nineteen Years
Agathapous. I.G. V, 178; Kaibel, Rhein. Mus. XXXIV (1879), p.
186, No. 479 a; Romaeus, B.C.H. XXXVI (1912), p. 380.
Tegea.
Androneikus, of Agathokles.
son I. G. XIV, 835. Puteoli.
Apollonius, son of Soter. B. C. H. XXXVI ( 1912), p. 381. Tegea.
Arabic C. I. G. IV, 9665. Rome.
Asklepiodotus, son of Markianus of Nicomedeia. C. I. G. 6346. IIl,
Rome.
Aster. /. G. V, 950. Laconia.
Aurelia Markianus, son of Salloustius. I. G. XIV, 2330. Venetia
(Concordia) .
Besis, son of Apollus and Taripis. E. Breccia, Catalogue General
des Antiquitis dgyptiennes du Musie d'Alexandrie : Iscrizioni
Greche e Latine, p. 230, No. 516.
Diogenes, son of Herakleides of Macedon. /. G. IX, 367. Pelas-
giotis (Larissa).
Dokimus. C. I. G. IV, 9764. Rome.
Epagathus. E. Breccia, Catalogue Giniral des Antiquitis Egyp-
tiennes du Musie d'Alexandrie: Iscrizioni Greche e Latine, p.
Eutychus, son of Eutychus, the servant of Troilus Mousaius. B. C. H.

XVI (1892), p. 439, No. 81. Lycia (Baindir).
Gaius Ioulius Sosibius, son of Petronius Serenus. /. G. XIV, 1691 ;
/. G. R. I, 272. Rome.
Glykerus, son of Antonius. M. Schede, Ath. Mitt. XXXVI (1911),
p. 104, No. 15; G. Mendel,» B.C.H. XXIV (1900), p. 393,
No. 56. .
Grammateus. C. I. G. IV, 6904. Place uncertain.
Kallieteira, daughter of Antigonus. D. M. Robinson, A. J. A. XVII
(1913), p. 192, No. 109. Cyrenaica (Tokra or Teucheira).
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 ) .
Nymphidia, wife of Protoktetus. /. G. XIV, 1974. Rome.
Oursikinus Anatolikus. /. G. XIV, 2561. Germany (Trier).
Pauleina, wife of the physician Andronikus. /. G. XIV, 1937; /. G. R.
I, 329; C. I. G. lll,
6735. Ravenna.
Penelopeia, wife of Philagathus. /. G. XII, 66. Naxos.
Sambathin, who died untimely (4«poj), was childless [irtKvos), and
was loved by all (iro<ri^/Xi;). Preisigke, Sammelbuch grie-
chiscKer Vrkunden aus Agypten, III, 6170. Tel-el-Yahoudiyeh.
Sarapias, alias Ammia Laodikis. /. G. XIV, 807. Naples.
Sensichol, daughter of Plenis, son of Psurus. Preisigke, Sammel
buchgriechischer Vrkunden aus Agypten, I, 3523. Egypt
unknown ) . Now in the Louvre.
( place
Sophrosyne, wife of Nept [ia]kes. J. Martha, B.C.H. IX (1885),
p. 501, No. 7. Naxos (Ehalki).
Soter. /. G. XIV, 2027. Rome.
Tamuthes the younger, daughter of Peseiris son of Krairius and of
Tites. Preisigke, Sammelbuch griechischer Vrkunden aus
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, daughter of Ones. G. Lefebvre, B. C. H. XXVII
(1903), p. 351, No. 17. Egypt (Acoris).
Tkoualatcinus, son of Eponychus. Preisigke, Sammelbuch grie-
•
The reading here is T\VKtiot instead of T\iKtpos.
20
THB AKCIBKT GEEEKS
306 OLD AGE AMONG
r , T 2611 Egypt (place
at8
unknown). ,,. i n««.chitcJier Urkunden
Agypten, I, J»4^. *•
Museum. v „621 Rome. .
Chersonesus Taurica.
Kome
wife oi Bargus. C-'-»- lv- »< A»c~n«
, Tai„arus.
**Z£SJS^"-
^
; daughter of 870. Athens.
the «mM* ■"
Or inscription* tn ^
. /G.VII,2541. Boeotia (Thebes) .
; {. a. m, mo,
Preisigke, Samnvelbuch
i2J52£TXiiI
0nec/it*c*er
a-
Twenty Years
««>,
Abgarus.- C. /. ff. HI. I. G. XIV,
Agathe, wife of Probinkiales.
«^ m
C.I. O.I". 6325;
1972-
vKTe. „ TTr ie
—
HI, 5360 Teucheira (Arsinoe).
Agatho. C. /. G.
53»u.
'ff£™
IV u46. Smyrna.
sr= as: tssrîi s.

son of Archelaus.
AâthoUes, Cyrene.
ASn^^S-.îaB^.p.^Ko.lO.
Syîa
(Khisfln). ._ 5293 Cyrene.

Alexandra, son of Aux.mus. C.
i. w. uj . Teucheira ( Arsinoe)
-
Alypatus, son of Bachis.

Amerus, son of Bestorus. C.
C^
/. ». ^ *
"^
i Preisigke,
Sammelbuc*
place uncertain.
pfeftfeofcer Urfcunden au» *• .W*«.
Tfcessalonica.
Sarmates of
C./-ftD.
Andron ^
Aniochus, son of Tydes
Thessalomca^
Aneiketus, son of Ane.ketus
J**"^
*£*=££,. ê.
C £e.
Antonia, wife of Pouphs. C.. I.

»• ■
.», *». fc
Antonius, son of Antomus. C. /.
O.J.w. ,
Aphrodeisius, an Alexandrian.
than twenty years, but does
Z
• The .
inscription says he «M more
v- was
not give the precise number.
Archedemus, son of Dositheus. C. I. 0. lll, 4778 c. Egypt (Thebes).

Arrianus. l.G.R. TO, 1383; Kaibel, Epigr. Gr. 434. Arabia
(Petra).
Aurelia Krispiniana. C./.G.ll1,4106. Galatia (Tschorum).
Balerius Sokrates. /.G. XIV, 410; 0./.G. lll, 5632. Sicily
( Messana ) .
Bassus Ouiktorus, a general. I.G.R. 1304. Arabia (Aloun). lll,
Berneika. /. G. XIV, 1506. Pisaumm.
Chairemon. D. M. Robinson, A.J. A. XVII (1913), p. 197; 0./. G.
lll,
5204. Cyrenaica (Tokra or Teucheira).
Chresta, daughter of Eugamon and Sympherousa. C.I. G. 6489; IIl,
I. G. XIV, 2119. Rome.
Damo, daughter of Kognitius and Deiogeneia. /.G. lll, 1353;
Kaibel, Epigr. Gr. 142. Athens.
Deo. /.G. lll, 1311; Kaibel, Epigr. Gr. 116; 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.
Eision, son of Prothymus of Miletus. /. G. 1339. Dipylon. lll,
Epaphrodeite, wife of Megetho. F. Halbherr, A.J. A. XI (1896), p.
Epyllon, father of Nikanor. I. G. IX, 1247. Perrhaebi (Phalanna).
Euagrius. O. /. G. IV, 9523. Sicily (Motyca).
Eudaimon Basso. C. I. G. 5271. Cyrene. lll,
Eutychus. O. /. G. I, 948. Athens.
Gabeinia, the excellent sister of Gabeinius Herennianus. Anderson,
Cumont, and Gregoire, Studia Pontica, p. 175, No. 167. III,
Amasia.
Helius. /. G. XIV, 1637. Rome.
Hermes. C. I. G. lll, 5854 b, Addenda et Corrigenda ; /. G. XIV, 842.
Puteoli.
Homonaea, wife of Atimetus. /. G. XIV, 1892. Rome.
Hordionia Polla. C. I. G. lll, 6200. Rome.
Hygeinus, son of Hygiazon. /. G. XII, 372. Minoa.
Ioulia. /. G. IX, 638. Cephallenia.
Ioulia Ailiane. /. G. XIV, 478. Sicily (Catana).
Ioulia Stratonike, wife of Ioulius Pankarpus. I. G. XIV, 1689.
Rome.
Ioustus. /. G. XIV, 33. Sicily (Syracuse).
Irena, wife of Timothes. /.G. XIV, 177. Sicily (Syracuse).
308 OLD AGE AMONG THE ANCIEXT GREEKS
Kallityehe. I.G. VII, 1883; Welcker, Rhein. if us. IV (1845), p.

238, No. 7; 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
(Nicopolis) .
Klaudius Demetrius. 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).
Kosstantia. I.G. XIV, 142. Sicily (Syracuse).
Kouintus Lollius Charidemus. /. G. XII, 643. Tenedos.
Krispius. Ancient Gr. Inscriptions in the British Museum. II, 390.
Cyprus.
Leosthenes Lepidus. alias Erasmius. C. I. G. Ill, 5403 ; I. G. XIV,
40. Sicily (Syracuse).
Loukius Mourdius Neraklas. C. /. G. II, 3325. Smyrna.
Loukius Narkissus. C. I.G. lll, 6443 ; /. G. XIV, 1874. Rome.
Lysandrida. I.G. V, 797; Collitz and Bechtel, Sammlung der
griechischen Dialekt-Inschriften, III, p. 42, No. 4505. La-
conia.
Markarius. Preisigke, Sammelbuch griechischer Vrkunden aus
Markella. /. G. XIV, 1835; C. I. G. 6253. Rome.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, 1829; C. I. G.
lll, 6511. Rome.
Melitina, daughter of Hesyehus. /. G. IX, 965. Pelasgiotis (La-
rissa ).
Metrodorus. son of Aniketus. /. G. XII, 363; Pollak, Ath. Mitt. XXI
(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 ; /. G. XIV, 1866. Rome.
Nike. C.I. G. IV, 6916. Place uncertain.
Nikephorus, 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. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, I, 3885. Now in the British Museum.
Petisia Stephanephoria. C.I.G. Ill, 6469; l.G. XIV, 1940.

Florence.
Philostorgus, son of Neike. S. Reinach, B. C. H. VIII (1884), p. 448,
No. 12. Amorgos (Arcesine).
Phlaouius Pistikus, son of Phlaouius Patroinus. C. I. G. 6649 ; lll,
/. G. XIV, 2068. Home.
Phortounata. C. I. G. IV, 9525; /. G. XIV, 184. Sicily (Syracuse).
Phoulbius, son of Praitoreinus. D. M. Robinson, A. J. A. IX (1905),
p. 317, No. 50. Sinope.
Phoulkennia Phausta. /. G. IX, 966. Corcyra.
Plotena Asia. D. M. Robinson, A.J. A. XVII (1913), p. 182, No. 65.
Cyrenaica.
Pompeus. Buckler, Calder, and Cox, J.R.8. XIV (1924), p. 64,
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. C. I. G. lll, 6531. Rome.
Prima. l.G. IX, 849.Pelasgiotis (Larissa).
Primerus.7 Ancient Gr. Inscriptions in the British Museum, IV,
830; Kaibel, Epigr. Gr. 287. Cnidos.
Satianus Agathangelus, son of Thalamus. G. Mendel, B. C. H.
XXIV (1900), p. 392, No. 55. Bithynia (Isnik).
Seuereinus, son of Seouerus, son of Abonoteicheites. /. G. 1462. lll,
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. lll,
4655. Palaestina ( Schmerrin ) .
Bozo. l.G. lll, Kaibel, Epigr. Gr. 171. Athens.
1378;
Strymon, son of Neikanor. /. G. IX, 806 ; Lolling, Ath. Mitt. XII
Takitus, son of Kassius. C. I. G. 5334. lll,
Cyrene.
Theodosia Philo. C. I. G. 5293. lll,
Cyrene.
Theodotus, son of Ptolemaius. C. I. 0. 5296. Teucheira lll,
( Arsinoe ) .
T
The inscription says that he died before the 20th year, and that
he lived with good cheer and laughter, and was much missed by his
friends.
Thmosius, daughter of Sansnus, son of Psentphus. Preisigke, Sam-

mclbuch griechischer Vrkunden aus Agypten, I, 2632. Now
in Berlin.
Tiberius Pctronius Kapito. C. I. G. lll, 5172. Cyrene.
Timo[th]e[us] Apollon[i]u[s]. C. I. G. lll, 5190. Cyrene.
Timoxenus.' A. Jarde and M. Laurent, B.C.H. XXVI (1902), p.
330, No. 35. Boeotia (Larymna).
Zeno, son of Heliodorus. /. Gf. IX, 878. Corcyra.
Zoseimus, a hero. G. Mendel, B. C. H. XXVII (1903), p. 332, No. 48.
Bithynia (Ayandinn).
Zosima, wife of Cheius. C. I. G. 6402. Rome.lll,
," wife of Aristandrus and daughter of Harpolis. /. G. LX,
874; Kaibel, Rhein. Mits. XXXIV (1879), p. 182, No. 184 a.
Corcyra.
, brother of Philippianus. C.I. G. IV, 9615; I.G. XIV, 2072.
Rome.
, slave of Aphrodiseus. Anderson, Cumont, Gregoire, Studia
Pontics, III, p. 139, No. 115. Amasia.
, who served two years in the army. /. G. R. 1342. lll,
Arabia (Gerasa).
. I. G. V, 769. Sparta,
. /. G. XII, 143. Qani-dere.
. I. G. XII, 554. Thasos.
. /.O. XIV, Sicily (Syracuse).
196.
. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, III, 6706. Egypt (Karanis).
.,0 /. G. IX, 660. Pelasgiotis (Larissa).
Twenty-One Years
Agathopous, son of Mnasius. H. A. Ormerod and E. S. G. Robinson,
Annual of the British School at Athens, XVII (1910-11), p.
244. Pamphylia.
Aimilius Regeinus. C. I. G. lll, 4453 ; Cauer, Ephemeris Epi
graphies, IV, p. 419, No. 89. Hierapolis.
Aisius, son of Hermogenes. G. Mendel, B.C.H. XXIV (1900), p.
383, No. 31. Bithynia (Tcheltiktchi).
•
The reading is Surah l£ Muv w\vaiptvos StKiSas. It is doubtless
to be regarded as tmesis, and in prose it would read: Siaais
i Kw\rjadui vus iriav SeKaSas.
' The 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.
CATALOGUE OF INSCEIPTION8 311
Attika, daughter of Helius. G. Mendel, B.C.H. XXVII (1905), p.

319, No. 8. Bithynia (plain of Boli).
Aurelius Ptolemus, alias Epimachus. Preisigke, Sammelbuch grie-
chischer Vrkunden aus Agypten, I, 1430. Egypt. Now in the
museum at Gizeh.
Aurelius Triptolemus, alias Epimachus. Preisigke, Sammelbuch
griechischer Vrkunden aus Agypten, I, 835. Egypt, Cairo
Museum.
Demetrius. C.I.G. III, 6364; I.G. XIV, 1536; I.G.R. I, 241.
Rome.
Elemon. C. I. G. lll, 4709. Upper Egypt (Lycopolis).
Eukarpia, wife of Zosimion. C.I.G. lll,
6389; I.G. XIV, 1605.
Rome.
Eukrates, son of Andrion. I.G. XII, 51. Carystus.
Eutychas. /. G. XIV, 2355. Venetia (Aquileia).
Galeria. 0./.G.ll,3341. Smyrna.
Hippotes, son of Chresta, daughter of Hippokrates. G. Mendel,
B.C.H. XXIV (1900), p. 417, No. 115. Bithynia (Ark.).
Ioulia of Antioch, a reverend woman who loved her husband
(<pl\avSpos /<ol otpurl)). 8.E.G. IV (1929), 9. Sicily (Syra
cuse).
Karpio, husband of Chresta. Lechat and Radet, B.C.H. XII (1888),
p. 202. Bithynia (Ghemlek).
Korellia Aigle, daughter of Dionyttas. I.G. XIV, 1782. Rome.
Kosseinius Bassus. I. G. R. IV, 1067. Cos.
Lukaphaius. C. I. G. lll, 5215. Cyrene.
Maria. G. Lefebvre, B.C.H. XXVI (1902), p. 462, No. 26. Egypt
( Akhmim ).
Markia Loukilia. 0./.G.llI,5714. Sicily (Catana).
Maurus, son of the most distinguished Biktorinus. I. G. 3435. lll,
Lydia ( Philadelphia ) .
Menekrates, son of Apollonius. G. Mendel, B.C.H. XXXIII (1909),
p. 314, No. 68. Bithynia (Seldjouk-glazi) .
Neikomachus, brother of Poublius Ailius Bolanus. /. G. R. IV, 587.
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. G. Mendel, B.C.H. XXIV (1900),
p. 409, No. 93. Bithynia (Arydjaklar).
Psemaiti, a carpenter, son of Besis. Preisigke, Sammelbuch grie
chischer Vrkunden aus Agypten, I, 3886. Now in the British
Museum.
Rhoupheinus. C. I. G. IV, 9852 ; /. G. XIV, 2259. Etruria (Lorii).

Sensansnus. Preisigke, Sammelbuch griechischer Vrkunden ous
Louvre.
Spouda. /. G. XII, 296. Minoa.
Tbekis. G. Lefebvre, B.C.H. XXVI (1902), p. 463, No. 27. Egypt
( Akhmim ) .
Telesphorus. C. I. G. lll, 5411 ;/. G.
XIV, 2205. Sicily (Syracuse).
, son of Kos[seini]us, son
of Bassus the physician. Paton
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).
. /. G. XIV, 2205. Rome.
. /. G. XIV, 2299. Transpadana.
Twenty-Two Years
Alonius Zoticus, husband of Allonia Marcella. I.G. XIV, 1369;
/. G.B. I, 189. Rome.
Arteimeleia, daughter of Demetrius. /. G. XII, 205 ; Homolle,
B.C.H. XV (1891), p. 672, No. 9. Arcesine (Kolophana).
Asklepiodota, daughter of Aurelia Maxeimeiana. /. G. XIV, 2346.
Venetia (Aquileia).
Aurelia Basilika, daughter of Aurelius Earinus and Aurelia Dio-
geneia. C. I. G. II, 3774. Nicomedeia.
Aurelia Sparteiana of Lilybaeum. /. G. XIV, 339 ; /. G. R. I, 505.
Sicily (Thermae Himeraeae).
Benedikta. 8. E.G. IV (1929), 135. Rome.
Domitia Kalliope, daughter of Demophilus. /. G. XII, 973. Tenos.
Eidomeneus. C. I. G. lll, 6418. Rome.
Eudemus, son of Euphanes of Aphidna. /. G. II, 1908 ; Kaibel,
Epigr. Gr. 74. Athens.
Eulogus, a writer of shorthand. Anderson, Cumont, Gregoire,
Studia Pontica, III, p. 8, No. 3 a. Amisus.
Euterpe. I.G. XIV, 112. Sicily (Syracuse).
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. C.I. G. 6417; I.G. XIV, 1568. lll,
Rome.
Iakoubus. Preisigke, Sammelbuch griechischer Vrkunden aus
Ioulius Trophimion. /. G. XIV, 1693. Rome.
Kasandrus. /. G. XIV, 1321. Rome.
Kassianus, son of Abedsimius. I.G. XIV, 2560. Germany (Trier).

Klaudia Atalanta Kyrilla. C. I. G. lll, 3846 y, Addenda et Corri
genda. Phrygia (Azani).
Klaudius Rhouphus. C. I. G. II, 1807. Epirus (Ambracia).
Klaudius Synergus, son of Klaudius Zosimus a physician of Ephesus-
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. XXVII
(1903), p. 356, No. 39. Egypt (Acoris).
Kornelia. /.G. XIV, 581. Sicily (Centuripa).
Korukiotes. C.I. G. lll, 5830; I.G. XIV, 841; I.G.R. I, 424.
Naples.
Kumaion. C. I. G. Ill, 5860 b ; /. G. XIV, 868. Cumae.
Kyriaka, wife of Kalpurnis Piso, and freedwoman of Zeno. C. I. G.
lll,
6674; I.G. XIV, 1731. Rome.
Loukius Gellius Petikianus of Tyndaris. C.I.G. lll, 6616 d, Ad
denda et Corrigenda; /. G. R. I, 236. 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
genda. Sicily (Catana).
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 (1926), p. 170, No. 1. Tegea.
Olympia. 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.
65. Cyrenaica.
Panakia, daughter of Kallon. C.I.G. II, 2151; I.G. XII, 1039.
Euboea (Chalcis).
Penelopeia, wife of Philometor. /. G. XII, 65. Naxos.
Phlaouia Kalemera, wife of Serapas and daughter of Titus Phlaouius
Pergamus. C. I. G. lll,
6647 ; /. G. XIV, 2095. Rome.
Popaius Sabeinus. C. I. G. HI, 5225. Cyrene.
Popillius Loutatianus of Sinope, son of Popillius Ouphikianus and of

Sestia Markiana. D. M Robinson, A.J. A. IX (1905), p. 331,
No. 88; 7.G. lll,
1450; C. I. G. I, 897. Sinope.
Protogonus, son of Metrodorus. /. G. XII, 536. Thasos.
Rhoupheinus, the augur, son of Germanus. /. G. XII, 528 ; Mendel,
B. C.H. XXIV (1900), p. 275, No. 19. Thasos.
Sabbation, who was excellent [xpv<rr/i), died untimely (4wpot), and
was loved by all ( ica<ri<pi\v ) . Preisigke, Sammelbuch grie-
chischer Vrkunden aus Agypten, III, 7254. Egypt (Tel-el-
Yahoudiyeh).
Sabeina Nono. A. H. M. Jones, J. R. S. XX (1930), p. 53, No. 72.
Jerash.
Senareia daughter of Sontoous and Magus.
eia, Preisigke,
Sammelbuchgriechischer Vrkunden aus Agypten, I, 807.
Egypt, Cairo Museum.
Senbesis, daughter of Haruotes, son 'of Psenamouvis and Sen-
petemivis. 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
(Chaeronea) .
Syntrophus. I.G. lll,
1198. Athens.
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
(place unknown). Now in Berlin.
Tel, son of Proueus. G. Lefebvre, B.C.H. XXVII (1903), p. 379,
No. 129. Egypt (Acoris).
Theokritus, son of Theokritus, a shipmaster. /. G. R. I, 645. 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. Egypt (Acoris).
Zoe. I.G. XIV, 30. Sicily (Syracuse).
Zotica, daughter of Bassia and wife of Euphrosynus. /. G. XTV,
1634. Rome.
lia Sparteiana of Lilybaeum. /. G. XIV, 339. Sicily (Ther
mae Himeraeae).
, daughter of Alexandreia, priestess of Dionysus and Isis.
C. I. G. 1n, 6202; Welcker, Rhein. Mus. IIl
(1845), p. 253,
No. 30. Florence.
. C. I. G. II, 2321. Rheneia.
44
CATALOGUE OP INSCRIPTIONS 315
, child of Oualerus. 0. /. G. IV, 9829. Rome.

III, 6171. Place unknown.
. C. 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. XII (1887), p. 353, No.
123. Pelasgiotis (Larissa).
Twenty-Three Years
Abidius Antiochus, son of Hieronymus and Laodike. /. G. R. lll,
1350. Syria (Semsidia).
Agathangelus, son of Phoibus. C. I. G. 6486 lll, ; I. G. XIV, 2103.
Rome.
Ailia Beroneika, wife of Theudianus. C.I.G. lll, 6529; I.G. XIV,
Rome.
1345.
Ammonius, son of Petesouchus. G. Lefebvre, B. C.H. XXVTI (1903),
Anthus, son of Stratoneike. G. Radet, B.C.H. XI (1887), p. 450,
No. 10. Lydia (Yeni-Keul).
Apion, son of Bion. C. I. G. II, 3273. Smyrna.
Ariousa. /. G. V, 767. Laconia.
Arkadio. C. I. G. I, 1490; /. G. V, 790. Laconia.
Attikus, G. Mendel, B.C.H. XXVII (1905), p. 319,
son of Helius.
No. 8. Bithynia (plain of Boli).
Basileides. C. I. G. II, 1888. Corcyra.
Beithynidus, son of Glaukus. /. G. IX, 884. Corcyra.
Demetrius. E. Breccia, Catalogue General des Antiquitis tgyp-
tiennes du Musie d'Alexandrie : Iscrizioni Greche e La tine, p.
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.
Epaphras, son of Phelikus. C.I.G. II, 1820. Epirus (Vathi).
Euthenia. Preisigke, Sammelbuch griechischer Vrkunden aus
Eutyches. I.G. V, 1201. Laconia (Gythium).
Herodes, son of Herakleides. /. G. XII, 629. Thasos (Kasawiti).
Horion. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,
I, Place unknown. Now in the Louvre.
3532.
Idomeneus, son of Demetrius. D. M. Robinson, A.J. A. XVII
(1913), p. 193, No. 114. Cyrenaica (Tokra or Teucheira).
Iosephus, son of Phomounis. Preisigke, Sammelbuch griechischer

Vrkunden aus Agypten, III, 6231.Place unknown.
Ioulia, who was chaste (&yrt). Preisigke, Sammelbuch griechischer
Vrkunden aus Agypten, I, 2481. Egypt (Alexandria).
Kleophon, son of Anaxippus. /. G. XII, 1017, Addenda et Corri
genda. Naxos.
Kointus, son of Tyrmeides of Athens. C. I. G. I, 778 ; Ancient Gr.
Inscriptions in the British Museum, I, 94. Athens.
Longus, son of Sossianus Longus the senator. C. I. G. II, 3754.
Nicaea.
Mario[n]. Preisigke, Sammelbuch griechischer Vrkunden aus
Markiana, wife of Neon. G. Mendel, B. C. H. XXXIII (1909), p. 281,
No. 40. Moudania.
Maximus, son of Didymus. C.I. G. lll,
5583; /. G. XIV, 324.
Sicily (Thermae Himeraeae) .
Mekius Ioulianus of the Sebastian tribe. Anderson, Cumont,
Gregoire, p. 9, No. 3 b. Amisus.
Neikokles. /. G. V, 505. Megalopolis.
Oualerius, son of Oualerius the grammarian. /. G. II, 3513. Lydia
(Thyateira).
Pauleina, daughter of Gaianus. C.I. G. 4112. lll,
Galatia (Tekia).
Philostratus, son of Kallo. D. M. Robinson, A.J. A. XVII (1913),
Philousa. /. G. V, 764. Laconia.
Phlaouianus Maximus. C. I. G. lll,
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,
B.C.H. I
(1877), p. 387, No. 17. Laconia.
Sotimidas, son of Philippus. /. G. VII, Laconia.
1280.
Theokles, son of Theokles. /. G. V, 748.Laconia.
Thienouseiris. G. Lefebvre, B.C.H. XXVII (1903), p. 355, No. 38;
E. Breccia, Catalogue Gineral des Antiquitis tgyptiennes du
Musie d'Alexandrie : Iscrizioni Creche e Latine, p. 202, No.
431. Alexandria.
Tkaua the younger, daughter of Surus. Preisigke, Sammelbuch
griechischer Vrkunden aus Agypten, I, 3524. Egypt (place
unknown). Now in the Louvre.
Trophimus, son of mus and Ioulia. C. I. G. II, 3445. Lydia
(Kula).
Zanthippus. C. I. G. II, 3435. Lydia (Philadelphia).
Zosimus, son of Kleon. I. G. XII, 357. Minoa.
[oue] teranus. I.G.R. IV, 589. Phrygia (Azani).
, daughter of Helene. /. G. XII, 380. Minoa.

. C. I. G. lll, 3846 z, Addenda et Corrigenda. Phrygia
(Azani) .
I, 721. Egypt (Tel-el-Yahoudiyeh).
. C. I. G. IV, 9743. Rome.
. /. G. V,
Laeonia.
784.
. Preisigke, Sammelbuch griechiseher Vrkunden aus Agypten,
III, 6162. Tel-el-Yahoudiyeh.
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.
Apollonius, son of Klaudius Postumus. C. I. G. 4974 ; Preisigke, lll,
Sammelbuch griechischer Vrkunden aud Agypten, I, 1635.
Elpidephorus. C.I. G. lll,
6376; I.G. XIV, 1566; I.G.R. I, 248.
Rome (near the Mulvian Bridge).
Epaphras, a Cretan, son of Antipolius. /. G. 6377 ; /. G. XIV, lll,
1575; I.G.R. I, 250. Rome.
Ioulia Sekounda, wife of Zmaragdus. /. G. XIV, 1709. Rome.
Kassiodorus. C. I. G. lll,
4466 ; Ancient Gr. Inscriptions in the
British Museum, IV, 1048. Syria (Antioch).
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).
Louppiana, who died untimely (4«pot), who loved her brother
(îXdSeX0oj), 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.
Naples.
Poublius Aelius Sabinus, son of Antonia Tisipho. /. G. XIV, 2277.
Liguria (Dertona or Tortona).
Triadelphus, son of Sarapus. C. I. G. lll, 4977. Egypt.
Twenty-Five Years
Abenia, daughter of Bassaris. C. I. G. 6755. Verona. lll,
Agathamerus, son of Sosibius and Pregissa. /. G. XII, 1065. Pho-
legandrus.
Agatheinus, a citizen of Athens, of Antioch, and of Prusa. G.

Doublet, B.C.H. XIII
(1899), p. 308, No. 15; C.I. G. Ill,
4155. Paphlagonia. (Pompeiopolis) .
Alias. G. Lefebvre. B.C.H. XXVII (1903), p. 369, No. 96; E.
Breccia, Catalogue Gineral des Antiquitis tgyptiennes du
Musie d'Alexandrie, p. 217, No. 478; Prcisigke, Sammelbuch
griechischer Vrkunden aus Agypten, I, 119. Egypt (Acoris).
Ammonius. C. I. G. IIl, 5189. Cyrene.
Antonia. I.G. XIV, 1404. Rome.
Apollonius, son of Apollonius. G. Mendel, B.C.H. XXXIII (1909),
p. 413, No. 417. Bithynia (Prusa).
Apronia. E. Kalinka, Antike Denkmaler in Bulgarien, p. 267, No.
337 ; Kaibel, Epigr. Gr. 540. Varna.
Artemidorus, the lawyer. C. /. G. lll, 3846 z 27, Addenda et Corri
genda. Phrygia (Azani).
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
lived honorably (Koaulas). J. Pargoire, B.C.H. XXII (1898),
p. 496, No. 5. Phrygia (Heracleia).
Aurelia Rhoda Teniaka, wife of Andrion. I.G. XII, 206; Homolle,
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).
Beithynius, son of Beithynius. G. Seure, B.C.H. XXV (1901), p.
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).
Chrysogonus, brother
of Zoilus and son of Louppus. G. Mendel,
B.C.H. XXIV (1900), p. 396, No. 68. Bithynia (Akhissar).
Daphnus. C. I. G. IV, 9651. Rome.
Dedalus. 0./.G.llI,5702; /. O. XIV, 1529. Rome.
Deius, son of Deius. O. /. O. II, 3780 ; /. G. R. IIl,
13. Bithynia
(Nicomedeia),
Do8aris. 8. E. G. I, 575 ; Preisigke, Sammelbuch griechischer Vrkun-
den aus A gypten, III, 6652. Egypt ( Tel-el- Yahoudiyeh ) .
Dosistheus. E. Breccia, Catalogue General des Antiquitis Egyp-
tiennes du Itusle d'Alexandrie : Iscrizioni Greche e Latine, p.
167, No. 323; Preisigke, Sammelbuch griechischer Vrkunden
aus Agypten, III,
6165. Egypt (Kom-el-Ghizeh) .
CATALOGUE OF INSCBIPTIONS 319
Eidomeneus, a servant. /. G. XIV, 166; /. G. R. I, 247. Rome.

Eleazarus. Seymour de Ricci, Revue Epigraphique, (1913), p. 147, I
No. 9; Preisigke, Sammelbuch griechisoher Vrkunden aus
Agypten, IV, 7293. Egypt ( Tel-el- Yahoudiyeh ) .
Epaphrys. /. G. V, 1188. Laconia (Gythium).
Epiktas, husband of Martha. F. Halbherr, A.J. A. XI (1896), p.
Epiktas Chairon. 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),
p. 602, No. 1. Amorgos.
Euterpe, daughter of Theudotus. C. I. G. 5265. lll,
Cyrene.
Galatianus. E. Breccia, Catalogue Gineral des Antiquit&s Egyp-
tiennes du Musie d'Alexandrie : Iscrizioni Greche e Latine, p.
Hadista, wife of Hermodorus. 8. E. G. I, 365. Illyricum.
Harpaesis,11 son of Chomus. G. Lefebvre, B.C.H. XXVII (1903),
Hegilla, daughter of Philagrus. C.I.G. II, 1687; Kaibel, Epigr.Gr.
78. Athens.
Herakleius, son of Hermius. C.I.G. lll, 4976. Egypt (place uncer
tain ) .
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, Rhein.
Mus. VI (1847), p. 95, No. 17. Cumae.
Ioulius Orthrus, brother of Sozomena. Ch. Avezou and Ch. Picard,
Melanges d'Archiologie et d'Histoire, XXXII (1912),
p. 359,
No. 1. Thessalonica.
Ioustus, son of Nigrus. /. G. XIV, 322. Sicily (Thermae Hi-
meraeae).
Kalinikus. C. I. G. TV, 9786. Rome.
Kalityche. /. G. V, 228. Tegea.
Kapito, daughter of Parmenio. I. G. XII, 301 ; Radet and Paris,
B. C.H. XV (1891), p. 602, No. 43; Zingerle, Philol. LIII
(1894), p. 348.
Kleobiua, who was blameless 4/ui/iijroj E. Breccia,
( ). Catalogue
11The numeral has been partly restored. The reading is Irav

[«t]e' years.
General des Antiguitcs tgyptiennes du Musie d'Alexandrie :

Kynaka. G. Lefebvre, B.C.H. XXVII (1903), p. 372, No. 107.
Egypt. ( Acoris ) .
Laeus. G. Lefebvre, B.C.H. XXVII (1903), p. 374, No. 112. Egypt
(Acoris) .
Lakon, son of Platoura. I. G. IX, 953; Lolling, Ath. Mitt. VLTI
Loe, who was good (x/"!ff"?), and was loved by all (ira<ri0iXi;) .
Preisigke, Sammelbuch griechischer Vrkunden a us Agypten,
Loukius, son of Petronius. /. G. V, 761. Laconia.
Matrona, daughter of Mokimus. C.I. 0. IV, 9887; /. G. XIV, 2491.
Gallia (Vienna).
Metrodofrus], a freedman, brother of Herm[es]. I.G.R. I, 644.
Moesia (Tomi).
Minoukia Sikela. C. I. G. lll, 6622; /. G. XIV, 1859; I. 0. R. I, 308.
Rome.
Modestus, a sophist. Radet and Paris, B.C.H. X (1886), p. 157,
No. 5. Pamphylia (Attaleia).
Neikea, wife of Tychis. 8. E. G. II, 385. Illyricum (Pojani).
Neiketes, son of Euphrosynus. /. G. XII, 444. Aegiale.
Nepos Kallichrysus of Byzantium. I. G. XIV, 687. Apulia
(Barium).
Nymphius, son of Thalamus. C. I. G. II, 3123. Teos.
Nysa, daughter of Bius. C.I. G. 6449;lll,
I.G. XIV, 1885. Rome.
Onesimus. 8. E. G. VI ( 1932) , 144. Phrygia (Azani).
Oualentis, a general, son of the senator Dentoupes Beithuus.
Perdrizet, B.C.H. XXI (1897), p. 534, No. 3. Macedonia
(Thracian frontier).
Oursoulus. C.I. G. TV, 9483; /. G. XIV, 544. Sicily (Catana).
Pabeus, son of Psennesis and Senpetechonsis. Preisigke, Sammel
buch griechischer Vrkunden ou« Agypten, III, 6139. Now in
Copenhagen.
Panthero. I.G. IX, 943; Lolling, Ath. Mitt. XI (1886), p. 56,
No. 35. Pelasgiotis (Larissa).
Patrobius. D. G. Hogarth, J.H.8. VIII (1887), p. 365, No. 8.
Salonica.
Paula. I.G. XIV, 159. Sicily (Syracuse).
Philippus Kleonus, son 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.
[Pl]akida. Preisigke, Sammelbuch griechischer Vrkunden aus

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
donia (Melnica).
Poublius Ailius Epaphroditus. 0. I. G. lll, 6531. Rome.
Rhoupheinus, son of Damokritus, 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.
Sa[b]inus, general of the legion. I.G.R. lll,
1169; Ch. Fossey,
B.C.H. XXI (1897), p. 44, No. 20. Syria (Tell-ech-Chehab) .
Senpasemis. Preisigke, Sammelbuch griechischer Vrkunden aus
Louvre.
Sergius Attikus. C./.G.Ill,5845; /. G. XIV, 808. Naples.
Seuerus. I.G. V, 1254. Laconia (Taenarum).
Taesis, who showed discretion (ou<ppoovvv) and love for her hus
band (<pi\a»tpla) . E. Breccia, Catalogue General des An-
tiquitis tgyptiennes du Musie d'Alexandrie : Iscrizioni Greche
e Latine, p. 183, No. 375. Alexandria.
Taoutis. 8.E.G. I, 580; Preisigke, Sammelbuch griechischer
Vrkunden aus Agypten, III, 6657. Egypt ( Tel-el -Yahoudiyeh ) .
Tatianus, son of Aurelia Tatias and brother of Markianus. Radet,
B.C.H. XI (1887), p. 475, No. 48. Lydia (Mousadja).
[Ter]en[ti]a Ma[rke]. Anderson, Cumont, and Gregoire, Studia
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 ) .
Tycha. 8.E.G. I, 431; G. I. Kazarow, B.C.H. XLVII (1923), p.
282, No. 2. Macedonia (Melnica).
. /. G. V, 507. Megalopolis.
. 8. E. G. II, 177. Laconia (Gythium).
. /. O. V, 944. Laconia (Cythera).
. /. G. V, 1299. Laconia (Oetylus).
. /. G. XII, 129. Arcesine.
21
Twenty-Six Years
Abragus, brother of Antoneinus. I.G. XIV, 1315; I.G.R. I, 179.

Rome.
Aelia Sabeina. /. G. XIV, 1983. Rome.
Agias, son of Agathokles. D. M. Robinson, A. A. XVIII (1914), J.
p. 65, No. 24; Buckler and Robinson, Sardis, VII, 1, Greek
and Latin Inscriptions, No. 106. Sardis.
Augazon. Beaudouin and Pottier, B.C.H. (1879), p. 260, No. lll
3. Sparta.
Dioskora. C. I. G. I, 1495. Laconia.
Eirene. Seymour de Ricci, Inscriptions Grecques d*figypte, Revue
tpigraphique, I
(1913), p. 156, No. 6; Preisigke, Sammel
buch griechischer Vrkunden aus Agypten, IV, 7311. Gizeh.
Euphrantikus, brother of Epaphrodeitus and Zmaragdus. 0. /. G. lll,
6740; I.G. XIV, 1622. Pannonia.
Euthenia. C. I. G. lll, 4975 b. Egypt (place unknown).
Eutyches. C. I. G. IV, 9472 ; /. G.XIV, 236. Sicily ( Acrae ).
Grania Hygeia. /. G. XIV, 1527. Rome.
Ioulius Hilarus, son of Ioulia Pia. /. G. XIV, 1681 a, Rome.
Kouintiana. C. I. G. IV, 9924. Rome.
Makedonis. E. Breccia, Catalogue General des Antiquitis Egyp-
tiennes du Musee d'Alexandrie : Iscrizioni Greohe e Latine, p.
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 18
the Alexandrian, a harpist. C. I. G. lll, 6651 ;
I.G. XIV, 2088; I.G.R. I, 362. Rome.
Sabeina. C. I. G. 6285. lll,
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).
Synpherousa, daughter of Oinophorus. I.G. XII, 368; Radet,
B.C.H. XII (1888), p. 237, No. 11. Minoa.
Thermoutharion. Preisigke, Sammelbuch griechischer aus Agypten
III, 6829. Place unknown.
" Terpnus was a harpist during the reign of Nero, cf. Suet
Neron. Vit. 20.
i
Zeno, son of Heliodorus. /. G. IX, 878. Corcyra.

. E. S. Forster, Annual of the British School at Athens, X
(1903-04), p. 183, No. 6. Laconia (Gythium).
Twenty-Seven Years
Annius Souperus. I.G.R. I, 624. Moesia (Tomi).

Antonius. /. G. XIV, 1400. Rome.
Asklepeiades, son of Apollonius. G. Mendel, B. C. H. XXXIII
(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, B. C. H. XXI
(1897), p. 593, No. 5. Delphi.
Dikaiopolis Lukida. I.G. IX, 419; W. J. Woodhouse, J.H.8. XIII
(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).
Kratylla. I.G. IX, 655; G. Fougferes, B.C.H. XIII
(1889), p. 393,
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).
Pankarpus. /. G. IX, 640. Cephallenia.
Pappiona. 8. E. G. I, 582 ; Preisigke, Sammelbuch griechischer
Vrkunden aus Agypten, III, 6659. Egypt ( Tel-el- Yahoudiyeh ) .
Pauleinus. C. I. G. lll,
6273 ; /. G. XIV, 1935. Rome.
Plenis the younger, son of Plenis. Preisigke, Sammelbuch grie
chischer Vrkunden aus Agypten, I, 3508. Egypt (place un
known). Now in the Louvre.
Serapion. E. Breccia, Catalogue General des Antiquitis Egyptiennes
du Musi d' Alexandre: Iscrizioni Greche e La tine, p. 182, No.
373. Alexandria.
Sozo. /.
n1, G. G. Kaibel, Epigr. Gr. 171. Athens.
1378;
Telethumus. /. G.
256. IX,
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.
Tiberius Elaudius Gentilianus. C. I. G. lll, 4058. Ancyra.
Titus Hostilius, freedman of Titus Callistus. C.I.G. HI, 6816.

Illyricum (Pola).
Turinna. /. G. II, 2258. Samos.
Twenty-Eight Years
Achilleus, son of Sarapion. Preisigke, Sammelbuch griechischer

Vrkunden aus Agypten, I, 704. Egypt (place unknown).
Ailius Kleisthenes of Nicomedeia, a rhetorician. /. G. 1438. Ill,
Athens.
Ailius Soteas. Paton and Hicks, Inscriptions of Cos, p. 193, No.
261. Kermeti.
Aiolus. E. Breccia, Catalogue General des Antiquitis tgyptiennes
du Musie d'Alexandrie: Iscrizioni Greche e La tine, p. 170,
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).
Elpis. /. G. R. IV, 1736. Attalea.
Harpochrous. /. G. XIV, 1418 a, Addenda et Corrigenda. Kome.
Hermas. /. G. XIV, 579. Sicily (Centuripa).
Ioannes. C. I. G. TV, 9876; /. G. XIV, 2314. Venetia (Vicetia).
Kapitolinia. /. G. XIV, 2295. Transpadana (Pavia).
Kaprus. I. G. IX, 440. Acarnania (Coronta).
Katillia Gauriana Neikaena. C.I. G. II, 3763; /. G. XIV, 790; An
cient Gr. Inscriptions in the British Museum, IV, 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. lll,
6616; I.G. XIV, 1808. Rome.
Lysimachus, son of Menophilus. Buckler and Robinson, A. A. J.
XVIII (1914), p. 64, No. 23. Buckler and Robinson, Sardis,
VII, 1, Greek and Latin Inscriptions, No. 123.
Markianus. Ancient Gr. Inscriptions in the British Museum, IV,
No. 1122. Place uncertain.
Markus. /. G. V, 1201. Laconia ( Gythium ) .
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.
Nymphodotus. /. G. V, 781. Laconia.
Pamphyliu8. Melanges d'Archiologie et d'Eistoire, XL (1923), p. 6.

Rome. Now in the Lateran.
Pekous. G. Lefebvre, B.C.H. XXVII (1903), p. 351, No. 19.
Egypt ( Acoris ) .
Phlabius Rhoumanus of the Herakleotian tribe. G. Seure, B. C. H.
XXXVI (1912), p. 626, No. 82. Thrace (Perinthus).
Preimus. I.G. V, 327. Mantinea.
Ptolemus. W. J. Moulton, A.J. A. VIII (1904), p. 284, No. 3.
Sidon.
Sostratua, son of Macedon. I.G. IX, 952; Lolling, Ath. Mitt. XI
Thaesis. G. Lefebvre, B.C.H. XXVII (1903), p. 376, No. 120.
Egypt (Acoris).
Zosima, wife of Cheius. /. G. XIV, 2113. Rome.
Sulla. C. I. G. lll,
, son of Ioulius Zotikus. C.I.G. IIl, 5708; I.G. XIV, 476.
Sicily (Catana).
. C.I.G. IV, 9732. Rome.
. W. Dennison, A.J. A. II(1898), p. 389, No. 40. Pozzuoli.
Twenty-Nine Years
Addus, brother of Soaidus, son of Malechus. /. G. R. lll, 1247.

Arabia (El-Malka).
Demetria. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, I, 725. Egypt (Sakkara or Abydus).
Ebciosa. C. I. G. TV, 9294. Elis.
Elenxus. /. G. V, 783. Laconia.
EupCorus].1* D. M. Robinson, A.J. A. IX (1905), p. 314, No. 41;
C.I.G. lll,
4160. Sinope.
Helena, daughter of Pepekusis. G. Lefebvre, B. C. H. XXVII (1903),
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).
Hypomnema, daughter of Markellus. C. I. G. TV, 6958. Place uncer
tain.
Markus Aurelius Polynikes. /. G. XIV, 1474. Rome.
Muro. /. G. V, 753. Laconia.
" Dr. Robinson to the fact that the reading in

calls attention
C.I.G. lll, but that an examination of the
4160 is Ei[vop]i[av6s],
sarcophagus and of a squeeze shows that there is not room enough
for that name.
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. lll,
6456 ; /. G. XIV, 1933. Rome.
Phlaouia. C. I. G. lll,
4622. Syria (Palaestina).
Suri[us]. D. M. Robinson, A.J. A. IX
(1905), p. 315, No. 46;
G. Doublet, B.C.H. XIII
(1899), p. 304, No. 9. Sinope.
Tasent, daughter of Harouothis. G. Lefebvre, B. C. H. XXVII
(1903), p. 350, No. 14. Egypt (Acoris).
, mistress of Margares. E. Breccia, Catalogue Generai des
Antiquitis tgyptiennes du Musie d'Alexandrie: Iscrueioni
Greche e La tine, p. 142, No. 270. Alexandria.
. /.G. XIV, 346. Sicily (Thermae Himeraeae).
Thirty Years
Ablabes, son of Photinus. C. I. G. IV, 9578. Rome.
Addus, son of Zeno. Ch. Fossey, B.C.H. XXI (1897), p. 49, No. 34.
Syria (Da'el).
Antonius Dionysianus of Berytus. C. I. G. II, 1833 b, Addenda et
Corrigenda. Illyricum (Salona).
Apollophanes. C. I. G. lll,
6207; /. G. XIV, 1409. Rome.
Apollus. E. Breccia, Catalogue General des Antiques tgyptiennes
du Musie d'Alexandrie: Isorizioni Greche e Latine, p. 231, No.
522. Alexandria.
Aurelius Autokles, son of Autokles. /. G. XII, 117. Arcesine.
Aurelius Diodorus. /. G. XIV, 1457. Rome.
Aurelius Olbanus, son of Alexandrus. /. G. XIV, 2332. Venetia.
( Concordia ) .
Beipsanius Zoticus. C.I. G. Tll, 5709; I.G. XIV, 495. Sicily
( Catana ) .
Biktoreina. C. I. G. IV, 9492. Sicily (Catana).
Didymes, son of Herakleides. G. Lefebvre, B.C.H. XXVI (1902),
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 of Zosimus. /. G. XII, 3, Addenda et Corrigenda.
Minoa.
Dionysius. /. G. XIV, 676 a. Brundisium.
Domitius Philetus. I. G. IX, 967. Corcyra.
Epaphroditus. I. G. XIV, 27. Syracuse.
Eutaktus. C. I. G. I, 1497; /. G. V, 795. Laconia.
Galenus, father of Agaklytus. 8. E.G. IV (1929), 110; G. Mancini,
Notizie degli Scavi, 1924, p. 55, No. 7. Rome.
Geminus. C. I. G. lll,
6219. Rome.
4
Heras, son Herakleides, clerk of the market.

of Heras Preisigke,
Place unknown. Now in the British Museum.
Hierax. E. Breccia, Catalogue General des Antiquitis Egyptiennes
du Musie d'Alexandrie : Iscrizioni Greche e Latine, p. 177, No.
355. Alexandria.
Hieris. /. G. lll, 1316; Kaibel, Epigr. Gr. 98. Athens.
Ioane, a bride, daughter of Ioanus. Preisigke, Sammelbuch grie
chischer Urkunden aus Agypten, I, p. 8, No. 10. Egypt (Tel-
el- Yahoudiyeh ) .
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),
p. 327, No. 80. Place unknown. Now in the Louvre.
Kallistratus. C. I. G. IV, 6946. Place uncertain.
Kephloa. G. Lefebvre, B.C.H. XXVII (1903), p. 348, No. 9. Egypt
(Acoris) .
Kerdon. I.G. XII, 302; Radet and Paris, B.C.H. XV (1891), p.

604, No. 44. Amorgos (Minoa).
Klaudia Italia, wife of Klaudius Hermias. /. G. XIV, 1770. Rome.
Klaudius. 0. /. G. lll, 6611. Rome.
Koartana, bride of Kotychus. C. I. G. IV, 9788. Rome.
Kyrillus, son of Domnus. G. Mendel, B.C.H. XXXIII (1909),
p. 424, No. 428. Bithynia (Aikirikdji).
Lukus, son of Ioulius Balerius. C. I. G. lll, 5270. Cyrene.
Malichatha, daughter of Obedus. Ch. Fossey, B.C.H. XXI (1897),
p. 49, No. 35. Syria (Da'el).
Manta, daughter of Rheskoubitus. Paul Perdrizet, B. C. H. XXIV
(1900), p. 307, No. 3. Macedonia (Philippi).
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 aus Agypten, I, 1191. Place unknown.
Now in Berlin.
Metrodorus, son of Metrodorus. G. Mendel, B.C.H. XXXIII (1909),
p. 413, No. 16. Bithynia (Prusa).
Mnes . /. G. IV, 135. Aegina.
Myrtale, wife of Eornelius Agathemorus. C.I.G. lll, 5717; I.G.
XIV, 492. Sicily (Catana).
Neikaso, daughter of Herakleides. Basilius Latyschev, Inscriptionet

Antiquae, IV, p. 307, No. 465. Chersonesus.
Neikodemus. C. I. G. 6447. Rome. lll,
Nike. Seymour de Ricci, Revue Epigraphique, I (1913), p. 147,
No. 8; Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, IV, 7292. Egypt (Tel-el-Yahoudiyeh). Now in the
Museum of the Academy in Braunsberg.
Petesouchus, son of A[ ]tus. G. Lefebvre, B.C.H. XXVII
(1903), p. 355, No. 35. Egypt (Acoris).
Pieris. I.G. II, 4316; Kaibel, Epigr. Gr. 98; I.G. lll, 1316.
Athens.
Poleitarchus. I. G. IV, 649. Argos.
Poplius Phlauius Rhespekt[i]anus Sab[ei]nus, son of Rhespekt[ia]-
nus Threptus. E. Kalinka, Antike Denkmaler in Bulgarien,
p. 252, No. 316. Silistra.
Prima, daughter of Poublius. C.I.G. lll, 6518; I.G. XIV, 1965.
Rome.
Rhachelis, who was prudent (auxppuv), and loved by all ( tr<uri<pl\r\ ) .
8. E.G. I, 573; Preisigke, Sammelbuch griechischer Vrkunden
aus Agypten, III, 6650. Egypt ( Leontopolis ) .
Rhoda, wife of Aloipus. C. I. G. 6462; lll,
/. G. XIV, 1370. Rome.
Rhoskia Hermione, wife of Zosimus. C. I. G. 5631 ; /. G. XTV, lll,
414. Sicily (Messana).
Saturonides. C. I. G. II, 2032. Thrace, near mouth of the river
Athyras.
Simon. /. G. V, 325. Mantinea.
Sosthenes. G. Mendel, B.C.H. XXXIII (1909), p. 421, No. 427.
Bithynia (Aikirikdji).
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. E.G. IV (1929), 5. Sicily (Syracuse).
Theudotus. C.I. G. II, 3328. Smyrna.
Titus Phlabius Diadoumenus. /. G. XII, 348. Minoa.
Trygeta. I.G. XIV,
255a, Addenda et Corrigenda. Sicily (Licodia).
Tykikus, son of Tykikus. /. G. XII, 371. Minoa.
Zoe. G. Seure, B.C.H. XXV (1901), p. 308, No. 1. Thrace
( Philippopolis ) .
A
Zosimion. C. I. G. lll, 6403. Rome.

Zosimus. /. G. XII, 295. Minoa.
, son of Andronikus. C. I. G. lll, 6721. Tusculum.
. /. G. XIV, 2255. Umbria (Arimini).
. I. G. XII, 306. Minoa.
. C. I. G. lll, 5824. Naples.
. /. G. XII, 521. Thasos.
. /. G. IX, 339. Thasos.
Thirty-One Years
Agaris. E. S. Forster, Annual of the British School at Athens, X

(1903-04), p. 171, No. 11. Laconia (Oetylus).
Agathe. /. G. XIV, 523. Sicily (Catana).
Agathopous, brother of Pethilemena. C. I. G. lll, 6328 ; /. G. XIV,
1943. Rome.
Alphius Klodius, son of Loukius and Kaikeilia. I. G. XIV, 235 ;
/. G. R. I, 497. Sicily ( Acrae) .
Amethystus. /. G. XIV, 1376. Rome.
Aurelia Chrestiniana Roupheina, wife of Aurelius Sokratianus Pasi-
krates. G. Mendel, B.C.H. XXV (1901), p. 88, No. 219.
Bithynia ( Uskub-Eassaba ).
Damokrates. I. G. XIV, 676. Brundisium.
Demetrius. I.G.V, 1253. Laconia (Taenarum).
Isaro, freedwoman of Apollonidus. I. G. XIV, 1721 a, Addenda et
Corrigenda. Rome.
Kle . C. I. G. 5213. Cyrene. lll,
Petesouchus, son of Petemichontes. G. Lefebvre, B. C. H. XXVII
(1903), p. 357, No. 44. Egypt (Acoris).
Phileinus. I. G. V, 490. Megalopolis.
Phouria. C. I. G. lll, 5413. Sicily (Syracuse).
Spe, wife of Klaudianus. /. G. XIV, 1776. Rome.
Tanektherus, who lived his children (<pi\6TtKvot). Preisigke, 8am-
melbuch griechischer Vrkunden aus Agypten, I, 714. Place
unknown.
. C.I. G. IV, 9510. Catana.
Thirty-Two Years
Admetus Theokleidas. I.G. XII, 868; Kaibel, Epigr. Gr. 192.
Thera.
Agatho. /. G. V, 772. Laconia.
Damns. I.G.V.
1187. Laconia (Gythium).
Dionysius, of Theot[id]us,
son a hero. E. Kalinka, Antike Denk-
maler in Bulgarien, p. 254, No. 321. Varna.
Dioskorous, daughter of Herakleides, son of Strouthus. Preisigke,

Place unknown.
Eutychus. C. I. G. IV, 6858. Place uncertain.
Gaius Hostilius Agathopous of Nicaea. /. G. XIV, 1901 ; C.I. G. lll,
6625; /. G. R. I, 320. Rome.
Herakleides. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, I, 695. Egypt (Abu Ballu).
Ioulius Kallineikus, the shipmaster. A. Salac, B. C. H. XLIV
(1920), p. 356. Sinope.
Ioulia Gemella. /. G. XIV, 843. Puteoli.
Ioulia Pontiana. Anderson, Cumont, and Gregoire, Studia Pontica,
III, p. 97, No. 77. Neoclaudiopolis.
Ithaca. C. I. G. lll, 6507. Rome.
Kleopatra, wife of Dionysius, son of Dionysius. Ancient Gr. Inscrip
tions in the British Museum, IV, 1049. Northern Syria.
Markus Kokkeius Marsikus of Prusa, brother of Markus Kokkeius
Kornelianus. G. Mendel, B.C.H. XXV (1901), p. 53, No.
Bithynia
197. ( Aktche-Chehir) .
Markus Tullius , a citizen of Bithynia, Athens, and Corinth.

/. G. lll, 128. Athens.
Nikas Kalchedonias. C. I. G. lll, 5253. Cyrene.
Phlabia Sopha, wife of Neinealus. C.I.G. II, 3738. Cios (Ghem-
blick).
Popillius Loutatianus of Sinope, son of Popillius Ouphikianus. /. G.
lll, 1450. Athens.
Saboukis Kallimorphus, father of Saboukis Zoilus. C. I. G. lll,
5726; I.G. XIV, 501. Sicily (Catana).
Sentia, wife of Kassandrus. /. G. XIV, 1743. Rome.
Soaidus, son of Malechus, captain of the auxiliaries. I. G. R. lll,
1247. Arabia (El-Malka).
Tekandi. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,
I, 699. Egypt (Abu Ballu).
Theonilla. G. Lefebvre, B.C.H. XXVII (1903), p. 378, No. 124.
Egypt (Acoris).
Theukleides. C. I. G. II, 2467, Oddenda et Corrigenda. Thera.
. /. G. IV, 649. Argos.
. G. Lefebvre, B.C.H. XXVII (1903), p. 385, No. 153.
Egypt (Acoris).
na. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, IV, 7295. Egypt (Tel-el-Yahoudiyeh).
Thirty-Three Years
Horaia, daughter of Ktesilaus. Preisigke, Sammelbuch griechischer
Vrkunden aus Agypten, III,
8. B. G. I, 569.
6646 ; Egypt
(Leontopolis) .
Ioulia Eklekta, wife of Diodorus and mother of Antigonidas. C. I. G.
lll,
6579; I.G. XIV, 1543. Rome.
Ioulia Galena. /. G. XIV, 479. Sicily (Catana).
Klaudia Epigone. /. G. V, 506. Megalopolis.
Loukius Killienus Aniketus. D. M. Robinson, A. J. A. XVII (1913),
p. 192, No. 111. Cyrenaica (Teucheira).
Loukius Kornophikius Aktius. C. I. G. IV, 6948. Place uncertain.
Nikomachus. /. G. V, 1481. Messene.
Pasikles, son of Sosus. C. I. G. 5329. Cyrene. lll,
Philippus of Galatia, son of the elder Alypius. C. I. G. IV, 9579.
Rome.
Phretensia Statia Skreibonia. C.I.G. lll,
5470; l.G. XIV, 54;
/. G. R. I, 494. Sicily (Syracuse).
Plenis, son of Pebus, son of Loulous the elder. Preisigke, Sammel
buch griechischer Vrkunden aus Agypten, I, 3503. Egypt
(place unknown). Now in the Louvre.
Primus, son of Kassius. C. /. G. 5334. lll,
Cyrene.
Suries of consular rank and a general. C. I. G. IV, 4266 a. Lycia
(Sidyma).
Tholomaius, son of Thaimallus. /. G. XIV, 842 a, Addenda et Corri
genda. Puteoli.
nona. /. G. XII, 498. Amorgos.
. C.I.G. I, 1555. Achaia (Patrae).
Thirty-Four Years
Alphius Klodis. C. I. G. lll, 5465. Sicily (Acrae).
Dorymachus. I.G. V, 946. Laconia (Cythera).
Mettia Satournina. /. G. XIV, 1856. Rome.
Oualeria Politta. E. Breccia, Catalogue General des Antiquitis
Egyptiennes du Musie d'Alexandrie: Iscrizioni Greche e
Latine, p. 179, No. 361. Alexandria.
Phabia Laeta. /. G. XIV, 1479. Rome.
Philoxenus, who was blameless ( d/ui/iirros ) . E. Breccia, Catalogue
Gineral des Antiquitis tgyptiennes du Musie d'Alexandrie :
. C. I. G. lll, 6620. Rome.
. I.G. IX, 1023; F. Lenormant, Rhein. Mus. XXI (1866),
p. 525, No. 372. Place uncertain.
Thirty-Five Years
Agathemerus. I.G. V,
1307. Laconia (Oetylus).
Agathoneike. S. E. 0. I, 364. Illyricum (Pojani).
Agemona, daughter of Aristodemus. C. I. G. 5174. Cyrene. lll,
Aincia, wife of Hermagoras. C. 1. G. 6214. Rome. lll,
Ammonius. E. Breccia, Catalogue General des Antiquitis tgypti-
ennes du Musie d'Alexandrie: Iscrizioni Greche e Latine, p.
Aphrodeite. /. G. XIV, 1495. Rome.
A[ ]this, daughter of Sabb[a]tais.
Preisigke, SammelbucK grie-
chischer 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. Preisigke, Sammelbuch griechischer Vrkunden aus
Dositheus, son of Stoetis. Preisigke, Sammelbuch griechischer
Ek . /. G. XIV, 2331. Venetia (Concordia).
Eustachis. 8. E.G. IV (1929), 12. Sicily (Syracuse).
Eutychianus. C. I. G. IV, 9494. Sicily (Catana).
Hedona. C. I. G. lll, 6334. Rome.
Herais. /. G. XII, 297 ; C. I. G. II, 2264 r, Addenda et Corrigenda ;
Kaibel, Epigr. Gr. 282. Minoa.
Ioulius Antipatrus. /. G. IX,946. Corcyra.
Ithamas, 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
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. /. G. XIV, 1375. Rome.
Manouel Comnenus. C. I. G. IV, 9262. Nicaea.
Markia. /. G. XIV, 272. Sicily (Selinus).
Markus Bipsanius Zosimus. I.G. XIV, 494. Sicily (Catana).
Markus Kokkius Marsikus of Prusa. J. Pargoire, B. C. H. XXII
(1898), p. 9, No. 4. Phrygia (Heracleia).
Markus Ulpius Charito. /. G. lll, 6299; /. G. R. I, 325; /. G. XIV,
1915. Rome.
Melitina, wife of Tiberius Klaudius Demosthenes. C. I. G. lll, 6437;
/. G. XIV, 1845. Rome.
CATALOGUE OF INSCEIPTI0N8 333
Mikkus, son of Methanis. Preisigke, Sammelbuch griechischer

Vrkunden aus Agypten, I, 720. Egypt ( Tel-el-Yahoudiyeh ) .
Neike, alias Markelleina Apamissa. I.G. XIV, 1874; I. G.B. I,
311. Rome.
Oualerius Phlaouius, a soldier. I.G.B. I, 1089; Breccia, Catalogue
G&neral des Antiquitis Egyptiennes du Musie d'Alexandrie:
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. lll
(1879), p. 197, No. 7. Sparta.
Petronius Klymenus. I. G. XIV, 1874 ; C. I. G. 6443. Rome. lll,
Petronius Rhestitoutus. /. G. XIV, 381. Sicily (Tyndaris).
Phallousa, wife of Chrestus, and mother of 4 children. C. I. 0. lll,
4107. Galatia.
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.
[P]. Ailius Heraklianus. Basilius Latyschev, Inscriptiones
Antiguae, I, p. 205, No. 214. Chersonesus.
Pouplius the Macedonian, husband of Markia. I. G. XIV, 1962;
/. G. R. I, 337. Rome.
Sabbatis. C. I. G. IV,
Rome. 9910.
Senplenis. Preisigke, Sammelbuch griechischer Vrkunden aus
Louvre.
Serapous, daughter of Polion. Preisigke, Sammelbuch griechischer
Silouanus, a soldier. Breccia, Catalogue Gtniral des Antiquitis
tgyptiennes du Musie d'Alexandrie: Iscrizioni Greche e
Latine, p. 183, No. 374 b. Alexandria.
Sosineika, daughter of Philokratus and Oraia. /. G. XII, 120.
Arcesine.
Soueris, daughter of Manres. Preisigke, Sammelbuch griechischer
Vrkunden aus Agypten, I, 71. Egypt (Acoris).
Stratonikus. 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.
Tsenphenmantis. Preisigke, Sammelbuch griechischer Urkunden ous

mia Seouera, wife of Markus Kele[r], commander of a legion.
I.G.B. in, 1426; Mendel, B.C.H. XXVII (1903), p. 333,
No. 51. Bithynia (Istifan).
ia, daughter of Aristoniku[s]. M. Schede, Ath. Mitt. XXXVI
(1911), p. 104, No. 16. Bithynia (Istifan).
, wife of Chrestus. C.I.G. lll, 4107. Galatia (Tschorum).
. V. Chapot, B.C.H. XXVI (1902), p. 168, No. 7. Syria
(Maralazik).
Thirty-Six Years
Androbius Lukius. C.I.G. lll, 5625; I.0. XIV, 404. Sicily
( Messana ).
Argupis, wife of Trophimus. C. I. G. IV, 9851 ; /. G. XIV, 1415.
Rome.
Klaudia Rhouphilla. D. M. Robinson, A. J.
A. XVII (1913), p. 173,
No. 38. Cyrenaica.
Kopria. E. Breccia, Catalogue General des Antiquitis Egyptiennes
du Musie d'Alexandrie: Iscrizioni Greche e La tine, p. 176,
Ktistapollon, son of Orion. Preisigke, Sammelbuch griechischer
Plenis, a fuller, son of Lolous the younger, son of Plenis. Preisigke,
Egypt (place unknown). Now in the Louvre.
Senplenis. Preisigke, Sammelbuch griechischer Vrhunden aus
Agypten, I, 3518. Egypt (place unknown).
Senuris. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,
I, 3515.Egypt (place unknown). Now in the Louvre.
Sokratea. C.I. G. II, 2415; /. G. XII, 310. Paros.
Titus Ailius Eutychion. C. I. G. lll,
6532; I. G. XIV, 1336. Rome.
Thirty-Seven Years
Annius Statorianus. C. I. G. IV, 9551. Aricia.

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 ; /.O. XIV, 150. Sicily ( Syracuse ) .
Oulpia Apousia, wife of Poplius Beibius. C. I. G. II, 1931. Cephal-
lenia.
Poublius Ailius Pergamenus, husband of Ailia. I.G.R. lll, 215;

Walenta, Att. Mitt. XXI (1896), p. 466, No. 1.
Poublius Pinnius Ioustus, senator of Amastris. /. G. B. I, 933 ;
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,
No. 74. Bithynia.
styla padora. Preisigke, Sammelbuch griechischer
Vrkunden aus Agypten, I, 1565. Egypt (Achmim).
, son (or daughter) of Sonikus. I.G. XII, 124. Arcesine.
Thirty-Eight Years
Agathokles. 8. E. G. I, 573 ; Preisigke, Sammelbuch griechischer
Vrkunden aus Agypten, III, 6650. Egypt ( LeontopoliB ) .
Berullus. C. I. G. lll,
6355. Rome.
Bius, son of Senpemaous, a ruler. Preisigke, Sammelbuch griechi
Eutychidas. /. G. V, 221. Tegea.
Hygiainus Apollonius. C. I. G. lll, 5179. Cyrene.
Hyperbatus. I.G. XIV, 181. Sicily (Syracuse).
Kalopous, son of Kalopous. /. G. XII, 359. Minoa.
Kestia Biktoria Phlorentia, 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 (1903), p. 352,
Stephanus. C.I.G. lll,
5729. Sicily (Catana).
Theodora. H. Lammens, he Musie Beige, VI (1902), p. 55, No. 110.
Lydia (Balbak).
, wife of Aurelius Agatho, who lived 38 years and was mar
ried 8 years. C. I. G. lll, 6545. Rome.
Thirty-Nine Years
Artabasdcs, son of Ariobarzanes, king of the Medes. C. I. G. lll,
6342 b; /. G. XIV, 1674. Rome.
Baleris Theuphilus. C. I. G. 5214. lll,
Cyrene.
Postoumia Sekounda, sister of Postoumius Metrodorus. C. I. G. lll,
6635; /. G. XIV, 1959. Rome (Appian Way).
Forty Years
Agatho. /. G. XIV, 18. Syracuse.
Agathokles, son of Onesimus. Breccia, Catalogue General des An-
tiquitis tgyptiennes du Musie d'Alexandrie : Iscrizioni Greche
e La tine, p. 170, No. 329. Alexandria.
Akilis Epaphroditus. C. I. G. IV, 6919. Place uncertain.
Alexandria, priestess of Isis. I.G. XIV, 1366; I.G.R. I, 187.
Rome.
Alexandrus. C. I. G. 6334. lll,
Rome.
Amnis, son of Markus. I.G.R. I, 1108. Egypt ( Leontopolis ).
Aurelia Aschona Kanauthena. I.G.R. lll, 1334. Arabia (Bostra).
Blasta. C. I. G. IV, 6897. Place uncertain.
Boulkania Terentia. C.I.G. 5412; lll, I.G. XIV, 45. Sicily
( Syracuse ) .
Demetria. I.G. XII,
600; Kaibel, Epigr. Gr. 325. Thasos.
Dorylaus, of Dorylaus, father of Klemes.
son Anderson, Cumont,
and Gregoire, Studio Pontica, HI, p. 172, No. 160; Th.
Reinach, Rev. Et. Gr. VIII (1895), p. 80, No. 5. Amasia.
Eilara. /. G. XII, 499. Amorgos.
Eraseinus, a servant. C. I. G.lll,6663 j /. G. XIV, 1577 ; /. G. R. I,
251. Rome.
Euphrosyna. 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,
237. Rome.
Geminas. I.G. XIV, 1517. Rome.
Hermaida. Anderson, Cumont, and Gregoire, Studia Pontica, III,
p. 70, No. 61. Pontus (Neoclaudiopolis).
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.
Kalotychus, son of Eutyches. /. G. XII, 308. Minoa.
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, 314. Rome.
[Kljaudia, having lived a life that was holy (atuvis). Anderson,
Cumont, and Gregoire, Studia Pontica, III, p. 67, No. 57.
Neoclaudiopolis.
Klaudius Agathemerus of Nicomedeia. I. G. XIV, 1766. Rome.
Klaudius Pomponius, husband of Aphrodeisia. C.l.G. lll, 6610;

/. 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. G. Lefebvre, B.C.H. XXVII (1903),
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.
Markus Apoustius Agrippas. /. G. R. I, 803 ; G. Seure, B. C. H.
XXXVI (1912), p. 614, No. 72. Thrace (Heracleia).
Markus Aurelius Seilius Markianus, director of the games. G.
Mendel, B.C.H. XXV (1901), p. 54, No. 198. Bithynia
(Aktche-Chehir).
Markus Septimius. /. G. XIV, 853. Puteoli.
Mekali (?) Soulpikius Aniketus. C. I. G. lll, 5586. Sicily (Thermae
Himeraeae).
Mnaseas, descendant of Lartius. I. G. IX, 880 ; Kaibel, Epigr. Gr.
185. Corcyra.
Nike, daughter of Bales. I. G. XII, 289. Minoa.
Noumenius. C. I. G. lll, 6266. Rome.
Olynpias, wife of Staphylus and mother of Olynpus, who lived blame
lessly ( intpirrus ) . Buresch, Aus Lydien, p. 57, No. 33.
Lydia (Indschikler) .
Onesima, daughter of Phengo. I.G. XII, 126. Arcesine (Kolo-

phana).
Onesiphorus, son of Ameimetus. /. G. XII, 212 ; Baumeister, Philol.
IX (1854), p. 389, No. 2. Arcesine (Kolophana).
Otakillia Serapias, wife of Loukretis Antiakus. C. I. G. lll, 6516.
Rome.
Patipelilo. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, I, 3865. Place unknown. Now in the British
Museum.
Pauleina, daughter of Hermogenes of Nicomedeia. C. I. G. II, 3784.
Bithynia (Nicomedeia).
Phaustus. /. G. V, 733. Laconia.
Philo. 8. E. G. I, 581. Preisigke, Sammelbuch griechischer Vr
kunden aus Agypten, III, 6658. Egypt ( Leontopolis ) .
Phlabius, son of Stalakkius. C. I. G. lll,
5239. Cyrene.
Phonteius Phortis Asklepiades, husband of Egnatia Briseis. C. I. G.
lll,6297; I. G. XIV, 2104; /. G.R. I, 366. Rome.
22
338 OLD AGE AMONG THE ANCIENT GKEEKS
Plenis, son of Amphiomis. Preisigke, Sammelbuch griechischer Ur

kunden aus Agypten, I, 3504. Egypt (place unknown). Now
in the Louvre.
Plenis, son of Kametis the high-priest. Preisigke, Sammelbuch
griechischer Vrkunden aus Agypten, I, 3502. Egypt (place
unknown). Now in the Louvre.
Ponponia Maxima. /. G. XIV, 333; C.I. G. IIl, 5581. Sicily (Ther
mae Himeraeae).
Rhodanus. C. I. G. lll, 5474. Sicily (Gela).
Senamenothes. Preisigke, Vrkunden aus
Sammelbuch griechischer
Agypten, I, 1189. Now in Berlin.
Egypt (place unknown).
Senapollonia, daughter of Plantas. Preisigke, Sammelbuch griechi
scher Vrkunden aus Agypten, I, 1187. Egypt (place un
known). Now in Berlin.
Sogenes. C. I. G. II, 2322 b. Rheneia.
8oulpikius Aniketus. C. I. G. lll,5749; /. G. XIV, 338. Sicily (Ther
mae Himeraeae ) .
Stephanephoria, daughter of Elpidius. I. G. XII, 292. Minoa.
Stibadio. I. G. XIV, 169. Sicily (Syracuse).
Titha, wife of Asklepas, son of Klarus. G. Mendel, B. C. H. XXIV
(1900), p. 388, No. 43. Bithynia (Borjalidja) .
Tsansnus. Preisigke, Sammelbuch griechischer Vrkunden aus
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.
, wife of Euodus. I.G. IX, 882; Kaibel, Epigr. Gr. 261.
Corcyra.
, husband of Kurilla. I. G. lll,
4179 ; Anderson, Cumont, and
Gregoire, Studia Pontica, III,
p. 100, No. 81. Gazelone.
, daughter of Posidonius. /. G. XII, 377. Minoa.
. /. G. V, 473. Megalopolis.
Forty-One Years
Ploution, a Seymour de Ricci, Revue Epi-

Christian
martyr.
I
(1913), p. 158, No. 10. Egypt (place unknown).
graphique,
Salona, daughter of Gadia. C. I. G. IV, 9909. Rome.
Forty-Two Years
Alezandreia. C. I. G. ILT, 6333. Rome.
Alexandrus, son of Ischurion. Preisigke, Sammelbuch griechischer

Aurelius Kolouthus. G. Lefebvre, B.C.H. XXVII (1903), p. 307,
Didymes, son of Dioskourides. C.I.G. lll, 4975. Egypt (place un-
\ known ) . ,
Krispus. C. I. G. lll, Syracuse.
5402 b.
Leontiskus. /. G. IX, 988, Appendix.
Xaupactus.
Logus of Nicaea. C. I. G. I, 1501. Messenia.
Markia Attia. C.I. G. lll,
6617; /. G. XIV, 1837. Rome.
Merkouriales. C.I. G. lll,
5716; I.G. XIV, 1852. Sicily (Catana).
Neikephorus. C.I.G. I, 1503. Sparta.
Petesouchus, son of Thotsuthmis. G. Lefebvre, B. C. H. XXVII
(1903), p. 354, No. 31. Egypt (Acoris).
Tanisgenes. Seymour de Ricci, Revue Epigraphique, (1913), p. I
152, No. 21 ; Preisigke, Sammelbuch griechischer Vrkunden
aus Agypten, IV, 7305. Egypt (Akhmim).
Forty-Three Years
Arsenius. Preisigke, Sammelbuch griechischer Urkunden aus
Hero. C./.G.1ll,6800; I. G. XIV, 2556. Germany ( Divodurum ) .
Rhoskia Nike, wife of Ourbikus. /. G. XIV, 1981. Rome.
Sekounda, wife of Tertius, son of Tertius. G. Mendel, B. C. H. XXIV
(1900), p. 409, No. 997. Bithynia (Chahanlar).
. 8. E.G. IV (1929), 108. Rome (catacombs of St. Calix-
tus).
Forty-Four Years
Abiania, daughter of Lukus. C. I. G. lll,
Agasio. 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,
Helena, daughter of Menches. G. Lefebvre, B.C.H. XXVII (1903),
Kuntianus, a Jew. C. I. G. IV, 9926. Rome.
Maskoulinus, son of Herakleides. Preisigke, Sammelbuch griechi
Nikomedes. C. I. G. lll,
6265; /. G. XIV, 1879; I. G. R. I, 313. Rome.
Petepsois. G. Lefebvre, B.C.H. XXVII (1903), p. 356, No. 40.
Egypt (Acoris).
Senchonsis. C.I.G. lll, 4827; I.G.R. I, 1231. Egypt (Gournah).
Forty-Five Years
Artemidorus, son of Artemidorus. Buckler and Robinson, Sardis,
VI, Greek and Latin Inscriptions, No. 112; Conze, A.Z.
1,
XXVIII (1880), p. 38.
Aurelius, who had been married 10 years to Aurelia Rhegeina. C. I. G.
lll,
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-
throne ).
Euelpistus. I. G.C. II, 1930 g, Addenda et Corrigenda; I. G. IX, 640.
Cephallenia.
Halys, 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.
Klaudia Satyra. 0./.G.lll,6603; /. G. XIV, 1774. Rome.
Loukius om — . Anderson, Cumont, and Gregoire, Studia
Pontica, III, p. 19, No. 10 c. Amisus.
Lukus, son of Stalakkius. C. I. G. 5216. lll,
Cyrene.
Manas. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,
Mosseus, son of Azizus, the horseman. /. G. 72. 1308. Arabia lll,
( Orman ) .
Onat[us.] 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
sigke, Sammelbuch griechischer Vrkunden aus Agypten, I,
790. unknown ) .
Egypt ( place
Poplius Ignatius Onesiphorus of Sinope. /. G. R. I, 897. Panti-
capaeum.
Poublius 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. The-
sprotia.
Prebbio. Preisigke, Sammelbuch griechischer Vrkunden aus
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, XXIV (1919-20; 1920-21), p. 171, No. 7.
Macedonia.
CATALOGUE OF INSCEIPTIONS 341
Septimia Aurelia Ophelima, wife of Markus Oualerius. J. A. R.

Munro, J.H.8. XVII (1897), p. 274, No. 19. Mysia
( Pandemia ) .
Sophro. C.I. G. I, 1505; I.G. V, 799. Laconia.
Sosiphanes, tragic poet. I.G. XII, 444 (il arm. Par. Ep. 116).
Stalakkius. J.
0./.G.1ll,5216; D. M. Robinson, A. A. XVII ( 1913),
p. 198. Cyrenaica (Tolmeta).
Titus Ioulius Klemens, husband of Klaudia Therina. C. I. G. II,
1829 e, Addenda et Corrigenda. Illyricum (Apollonia).
, mother of Akoutus. /. G. XIV, 1359 a. Rome.
. /.G. XIV, 468. Sicily (Catana).
. /. G. V, 967. Laconia (Cotyrta).
III,6234. Egypt (place unknown).
. Basilius Latyschev, Inscriptiones Antiquae, IV, p. 97, No.
145. Chersonesus Taurica.
Forty-Sin Years
Ischurio. Breccia, Catalogue General des Antiquity Egyptiennes
du Musie d'Alexandrie: Inscrizioni Greche e Latine, p. 229,
Pekusis. Preisigke, Sammelbuch griechischer Vrkundcn aus Agypten,
I, 3853. Place unknown. Now in the British Museum.
Forty-Seven Years
Antonia Sabeina, wife of the sculptor Gaius. Th. Reinach, R. A.

lll (1916), p. 335, No. 2. Sinope.
Elpis, wife of Ianarius the dyer. J. Pargoire, B. C. H. XXII ( 1898),
Markus Aurelius Gregorius Melas, the horseman. I.G. XIV, 1454;
/. G. R. I, 214. Rome.
Forty-Eight Years
Anoubion, son of Harpokration. Preisigke, Sammelbuch griechi
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.
Euphrosynus. /. G. XIV, 1623. Rome.
Kointus Likinnius Phrougis, a tradesman. D. M. Robinson, A. J. A.
IX (1905), p. 315, No. 45; D. M. Yerakis, Revue des Etudes
Anciennes, III
(1901), p. 353, No. 6; Th. Reinach, R. A. lll
(1916), p. 333, No. 1. Sinope.
Pagenes, the younger, son of Psaitus the younger. Preisigke, Sam-

mclbuch griechischer Vrkunden aus Agypten, I, 3859. Place
unknown. Now in the British Museum.
Phlabia Dosithea. C. I.
5238. Cyrene.
G. lll,
Poublius Antonius, son of Ptolemaius. 0. /. G. 5250. Cyrene. lll,
Salbia Dosithea. D. M. Robinson, A.J. A. XVII (1913), p. 198;
C. I. G. lll,
5238. Cyrenaica.
Sarapodorus, son of Ktistes, son of Kales. Preisigke, Sammelbuch
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. I. G.R.I, 1091. Egypt (Siyouf).
. C. I. G. IV, 9886. Allobroges (Vienna).
Forty-Nine Years
Empeiria Eiatreina, wife of Gaius Ioulius Bettianus. C. I. G. II,
3736. Cios.
Kassia Lusias, daughter of Philoxenus. C. I. G. lll, 4528 e, Addenda
et Corrigenda. Botrys.
Magna. Beaudouin and Pottier, B.C.H. lll (1879), p. 260, No. 4.
Sparta.
Sarapias. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,
1, 1327. Alexandria.
Syntrophus. /. G. XIV, 171. Sicily (Syracuse).
Taou[o]n. Seymour de Ricci, Revue Epigraphique, I (1913), p. 157,
No. 9. Gizeh.
Fifty Years
Agathe. C. I. G. TV, 9480. Catana.
Agathopous, son of Agathopous. /. G. XII, 345. Minoa.
Amachis, the faithful son of Alexandrus and Ammiane. Th.
Macridy and J. Ebersolt, B.C.H. XL VI (1922), p. 358, No. 1.
Constantinople.
Ammonius. 8. E.G.I, 564. Egypt (K6m Abou Bellou).
Anphio, son of Anphio. C. I. G. 5251. Cyrene.lll,
Apollus, a prophet. Preisigke, Sammelbuch griechischer Vrkunden
aus Agypten, I, 3837. Place unknown. Now in the British
Museum.
Apomonius. G. Mendel, B.C.H. XXIV (1900), p. 404, No. 81.
Bithynia (Goel-bazar) .
Asklepiodotus, son of Theodorus of Nicomedeia. I.G. XIV, 1430;

/. G. R. I, 205. Rome.
CATALOGUE OF IN8CKIPTIOK8 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 ) .
Aurelius Zeno, husband of Phlabia Rhe to whom he was mar
ried 37 years. /. G. XIV, 2096 a. Rome.
Barchias, son of Barchias. Preisigke, Sammelbuch grieehiseher
Vrkunden aus Agypten, I, 717. Egypt ( Leontopolis ) .
Betia Kornelia. I. G. XIV, 582. Sicily (Centuripa).
B . C. I. G. IV, 9751. Rome.
Chresimus. /. G. XIV, 188.
Sicily (Syracuse).
Chrestus, husband of Aurelia Chreste, daughter of Apollonides. G.
Mendel, B.C.H. XXIV (1900), p. 377, No. 24. Bithynia.
Damas, father of Proklus. C.I. G. lll, 3860. Phrygia (Azani).
Elesabel. C. I. G. IV, 9866. Sardinia.
Elpidia. /. G. IX, 951. Corcyra.
Enkarpius. I.
G. XIV, 473. Sicily (Catana).
Epiktetus, son of Kallikrates. /. G. XII, 351. Minoa.
Eudemonis. 8. E.G. I, 559; Preisigke, Sammelbuch griechischer
Vrkunden aus Agypten, III, 6589. Tanta, Municipal Museum.
Euporus, son of Aristoboulus. /. G. XII, 352. Minoa.
Eurytus, son of Zezeilius Berineikeianus. /. G. XII, 353. Minoa.
Eutyche. /. G. XII, 518, Addenda et Corrigenda. Amorgos.
Gaius Ouetranus. C. I. G. 5221. lll,
Cyrene.
Gazourius, son of Metrodorus. Basilius Latyschev, Inscriptiones
Antiquae, IV, p. 76, No. 105. Chersonesus Taurica.
Georgias. /. G. XIV, 675. Brundisium.
HelUdius. C. I. G. IV, 9137. Tripoli.
Helle. I.G. IX, 956; C. 1. G. II, 1890. Corcyra.
Heraiskus, of Kyrus.
son G. Lefebvre, B.C.H. XXVII (1903),
Heraklas, son of Herakleides of Alexandria. /. G. XIV, 678.
Brundisium.
Hippias, son of Kokeius. E. Kalinka, Antike Denkmaler in Bul
garian, p. 247, No. 305. Kosarsko.
Ignatius Marianus. /. G. XIV, 299. Sicily ( Pannormus ) .
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).
Likinnia Kaisellia. D. M. Robinson, A.J. A. IX (1905), p. 317, No.

50. Sinope.
Loimas. C. I. G. 5636. lll,
Sicily (Messana).
Lyseichus, son of Lysimachus. D. M. Robinson, A. A. XVII J.
(1913), p. 182, No. 64; Preisigke, Sammelbuch griechischer
Vrkunden aus Agypten, I, 5907. Cyrenaica.
Hakeisteia Asia. D. M. Robinson, A.J. A. XVII (1913), p. 182,
No. 65.
Cyrenaica.
Maris. S.E.G. I, 574; Preisigke, Sammelbuch griechischer Vr
kunden aus Agypten, III, 6651. Egypt (Leontopolis).
Markellina. /. G. XIV, 148. Syracuse.
Mne8thus, son of Epicbareinus. C. I. G. Ill,
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
(Verona).
Philo, son of Straton. C.I.G. Ill, 5351. Teucheira (Arsinoe).
Phylis Basso. C.I.G. Cyrene. lll, 5271.
Prokopa, wife of Poublius Ailius Pompeius, a centurion. Cagnat
and Besnier, L'Annie Epigraphique, 1916, p. 33, No. 121.
Thrace.
Prokopius, a Galatian. /. G. XIV, 2358. Venetia (Aquileia).
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).
Souphenas, son of Alexandrus. C. I. G. lll, 5234. Cyrene.
Th[eod]ora, wife of Chrestus. Basilius Latyschev, Inscriptiones
Antiquae, IV, p. 307, No. 466.
Zeines, son of Zordesiosus. E. Kalinka, Antike Denkmaler in Bul-
garien, p. 247, No. 306. Bulgaria ( Abtat-Kalesi ) .
, of Galatia. C. I. G. IV, 9738. Rome.
, a coppersmith. G. Lefebvre, B.C.H. XXVII (1903), p.
381, No. 135. Egypt (Acoris).
kolis. C. I. G. IV, 9753. Rome.
. C. I. G.IV, 9500. Catana.
. /. G. XIV, 418 a, Addenda et Corrigenda. Sicily (Messana).
. D. M. Robinson, A.J. A. IX (1905), p. 322, No. 58; D. C.

Hesseling, B. C. H. XIII ( 1893), p. 305, No. 12; D. M. Yerakis,
Revue des Etudes Anciennes, III (1901), p. 356, No. 15.
Sinope.
. /. G. XII, 137. Arcesine.
. /. G. II, 4318. Athens.
Fifty-One Years
Euphrosyne, daughter of Theodotus. C. I. G. lll, 5289. Cyrene.
Kallikrates. C. I. G. II, 2264 s, Addenda et Corrigenda. Minoa.
Lakaina or Leaina, daughter of Ptolemaius. C. I. G. lll, 5267.
Cyrene.
Sabeinus, son of Sabeinus. /. G. IX, 651 ; C. I. G. II, 1932. Cephal-
lenia.
Fifty-Two Years
Asinnia Ioukounda, sister of Kointus Kourtius of Nicomedeia. C. I. G.
II, 3781. Nicomedeia.
Hierax. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,
III, 6833. Royal Ontario Museum.
Ioulius Serenus. C. I. G. II, 3692. Cyzicus.
Menandrus, father of Diopeithes. C. I. G. 6084. Rome. lll,
Orteseinus, son of Orteseianus, husband of Phlabia Phesta with
whom he lived 19 years. /. G. R. I, 319. Rome.
Oulpia Makaria, wife of Theagenes, son of Chrestion. C. /. G. II,
2100; Basilius Latyschev, Inscriptiones Antiquae, I, p. 206,
No. 215. Chersonesus.
Thaesis, son of Psentopeus and Sensisois. Preisigke, Sammelbuch
griechischer Vrkunden aus Agypten, I, 5999. Now in the
Louvre.
. /. G. XII, 141. Place uncertain.
Fifty-Three Years
Euangelus. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, III, 6020. Now in Munich.
Glykera. /.G. XIV, 578. Sicily (Centuripa).
Kleopatrus. C. I. G. II, 1902; /. G. IX, 958. Corcyra.
Makarius. Preisigke, Sammelbuch griechischer Vrkunden aus
Sergius. /. G. XIV, 629. Rhegium.
philon. W. J. Moulton, A. J. A. VIII (1904), p. 285, No. 5.
Sidon.
Fifty-Four Years
Klaudius Kolanthus, son of Dioskoras and Kollothis. Preisigke,

Now in Oxford, Bodleian Library.
Kuntianus, a senator. C. I. G. IV, 9902. Rome.
Menophantus, son of Mithres, son of Menekrates. Buckler and
Robinson, Sardis, VII, 1, Greek and Latin Inscriptions, No.
132. Sardis.
Statia, daughter of Statiu[s], wife of Aristokles, with whom he
lived 38 years. W. M. Ramsay, B.C.H. VII (1883), p. 25,
No. 16. Galatia (Ancyra).
Theanous. Preisigke, Sammelbuch griechischer Vrkunden aus
Agypten, I, 3843. Place unknown. Now in the British
Museum.
. G. Lefebvre, B.C.H. XXVII (1903), p. 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,
142. Neoclaudiopolis.
Anoubas, son of Sarapion and Eudaimonis, who died untimely
(fiwpot).11 Preisigke, Sammelbuch griechischer Vrkunden aus
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.
aus Agypten, IV, 7301. Now in the Museum of the Academy
in Braunsberg.
Eia, wife of Thalamus. G. Mendel, B.C.H. XXIV (1900), p. 392,
No. 55. Bithynia ( Isnik ) .
Epigone. /. G. IV, III. Aegina.
Euporus, freedman of Epinikus. /. G. IX, 420 ; W. J. Woodhouse,
J.H.8. XIII (1893), p. 354, No. 32. Aetolia (Thestia).
Gerus, a physician. <?. IX, 313. Histiaeotis (Tricca).
Herakleon, son of Herakleides, a shipowner. Preisigke, Sammelbuch
griechischer Vrkunden aus Agypten, I, 2050. Alexandria.
14 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.
Markus OulpiusDionysius. J. Pargoire, B.C.H. XXII (1898),

Menianus, son of Akylas and Oualeria. /. G. R. IV, 616. Cilicia
(Flaviopolls).
Mucius, son of Orestes. Buckler and Robinson, Sardis, VII, 1, Greek
and Latin Inscriptions, No. 124. Sardis.
Oualerius, an elder in the church. C. I. G. IV, 9434. Salona.
Philoxenus, the dithyrambic poet. I.G. II, 2374; I.G. XII, 444
(Marm. Par. Ep. 69).
Phlabius Maximus, son of Samethus, husband of Aurelia Antonia.
I.G.R. IIl, 1310. Arabia (Gaisama).
Plenis, son of Pkater. Preisigke, Sammelbuch griechischer Ur-
kunden aus Agypten, I, 3548. Place unknown. Now in the
Louvre.
Sarapio, son of Hermaiskus. C.I.G. IIl, 4976 c. Egypt (place
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, daughter of Dioskorus. Preisigke, Sammelbuch griechischer
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,
Sammelbuch griechischer Urkunden aus Agypten, I, 173;
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),
Fifty-Seven Years
Diophantes, of Heliodorus, son of Heliodorus.
son 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).
Fifty-Eight Years
Agathokles, son of Tryphon. /. G. XIV, 834. Puteoli.

Akindynus, son of Akindynus and Ephesia. C. I. G. lll, 3850.
Phrygia (Azani).
Apollonius, son of Apollonius. C. I. G. II, 2197, Addenda et Corri
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. lll,
4163 ; D. M. Robinson, A. A. J.
IX (1905), p. 314, No. 42. Sinope.
[Tr]yphaina, daughter of Gaius. G. Mendel, B.C.E. XXIV (1900),
p. 409, No. 93. Bithynia (Arydjaklar) .
Zosimus, a teacher. C. I. G. IV, 9710. Rome.
Sixty Years
Agathe. /. G. XIV, 524. Sicily (Catana).
Alexandrinus Serammon. C. I. G. IIl, 6284. Ficulea.
Amarantus. D. M. Robinson, A. J. A. XVII (1913), p. 197; C.I. G.
lll, 5207. Cyrenaica.
Ammonis, son of Paichikthis. G. Lefebvre, B.C.H. XXVII (1903),
Annulei (?). I.G. XIV, 2300. Transpadana ( Mediolanum ) .
Aprikius Threptus. /. G. XIV, 1410. Rome.
Aristokrates, son of Agesilaus. C. I. G. 5263. Cyrene. lll,
Aurelia Chrysogone, daughter of Neiketus. /. G. XII, 376. Minoa.
Aurelius Prokles, husband of Klaudia Mariniane with whom he
lived 10 years. C. I. G. lll,
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.
Dionysius, son of Euboulus, victor in the games. C.I.G. II, 1889;
/. G. IX,Corcyra.
948.
Domnus, a man of every virtue, who was conspicuous among his
fellow-men and lived honorably; husband of Kyrilla. G.
Mendel, B.C.H. XXXIII (1909), p. 424, No. 428. Bithynia
(Aikirikdji).
Ebeidas, son of Abdionus. Ch. Fossey, B. C. H. XXI ( 1897 ) , p. 58,

No. 61. Syria (Dulbeh).
Eisidoras. /. G. XII, 288. Minoa.
Epikrates, son of Epikrates of Nicomedeia, /. G. XIV, 841 a. Puteoli.
Eutychus. C. I. G. I, 1498. Laconia.
Glaphyrus. /.G. XIV, 400. Sicily (Lipara).
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, son of Klarus. Anderson, Cumont, and Gregoire,
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 Agypten, III, 6648. Egypt
( Leontopolis) .
Ioulia, wife of Theodotus. G. Mendel, B.C.H. XXIV (1900), p.
395, No. 64. Bithynia (Ak-hissar).
Kastor, son of Hermes. /. G. XII, 360. Minoa.
Komylus. /. 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,
373. Ficulea.
Lanpionus, a general. B. C.H. XV (1891), p. 451. Amorgos.
Loukius Audi us Kamereinus. /. G. XIV, 1574. Rome.
Manius Phoulbius Pakatus. D. M. Robinson, A.J. A. IX (1905),
p. 317, No. 50. Sinope.
Markus Aurelius Proklus of Nicomedeia. /. G. XIV, 1475. Naples.
Markianus, son of the renowned Neikianus. Henri Gregoire, B. C. H.
XXXIII
(1909), p. 63, No. 43. Cappodocia.
Maximus, son of Iason. C.I.G. lll, 5582. Sicily (Thermae
Himeraeae ) .
Memmia Memphis. C. I. G. II, 1906. Corcyra.
Memmia Potheina. I. G. IX, II, 1910b, Addenda et
964; C.I.G.
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
raeae ) .
Niger, who wears the sabre. G. Lefebvre, B.C.H. XXVII (1903),
Oncsikrates of Nicomedeia. /. G. XIV, 876 a, Addenda et Corri
genda. Misenum.
Paulus, the Egyptian. I.G. XIV, 2298. Transpadana (Medio-

lanum) .
Paulus, of Helias the house-steward.

son G. Lefebvre, B. C. H.
XXVII(1903), p. 371, No. 102. Egypt (Acoris).
Phlabia, the Athenian. /. G. XIV, 2089. Rome.
Phlaouius Alexandrus. /. G. XIV, 2079. Rome.
Phrates. C.I.G. 4199.lll,
Lycia (Telmissicus) .
Plenis. Preisigke, Sammelbuch griechischer Vrkunden aus Agypten,
I, 4285. Now in New York, Metropolitan Museum.
Ponticus, son of Nemerius, a man of Heracleia. Basilius Latyschev,
Inscriptiones Antiquae, IV, p. 80, No. 112. Chersonesus
Taurica.
Psenthbus. Preisigke, Sammelbuch griechischer Vrkunden aus
[Sa]batais, son of Ekdemus. Preisigke, Sammelbuch griechischer
Sabbathus. Seymour de Ricci, Revue Epigraphique, (1913), p. I
aus Agypten, TV, 7291. Egypt (Leontopolis) . Now in the
Museum of the Academy in Braunsberg.
Senplenis the elder. Preisigke, Sammelbuch griechischer Vrkunden
aus Agypten, I, 3519. Egypt (place unknown). Now in the
Louvre.
Stephanephorus. /. G. XII, 366. Minoa.
Theodorus, son of Herakleides. Preisigke, Sammelbuch griechischer
Theomnestus, son of Aristo. G. Seure, B.C.H. XXXVI (1912), p.
612, No. 69. Thrace (Silivri).
Titus Nasidius Basileides. I. G. XIV, 301. Sicily (Panhormus).
Tyche. /. G. XII, 290. Minoa.
Zopyra. I.G. IX, 1037. Pelasgiotis (Larissa).
, son of Ateilus. /. G. XII, 379. Minoa.
. C. I. G. IV, 9495. Catena.
. /. G. XII, 315. Minoa.
. I.G. XIV, 578a, Addenda et Corrigenda. Sicily (Centu-
ripa).
Sixty-One Years
Bithynus, a physician. I.G. IX, 1276; Kaibel, Epigr. Gr. 509.

Perrhaebi.
Sixty-Two Years
Eponychus, son of Eponychus. Preisigke, Sammelbuch griechischer
Vrkunden aus A gyp ten, I, 2019. Egypt (place unknown).
Now in Turin.
Kallityche. C. I. G.
5358. lll,
Cyrene.
K. Ponpeius Pollio. D. M. Robinson, A.J. A. XVII (1913), p. 173,
No. 38. Cyrenaica.
Lysanias, son of Erato. C. I. G. lll, 5278. Cyrene.
Pomptilla. G./. XIV,
607 ; V. Crespi, Ephemeris Epigraphica, IV,
p. 492, No. 10. Sardinia.
Seouerus, son of Solaimus. C.I.G. lll, 1309. Arabia (Orman).
Sixty-Three 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
13 and with whom she lived 50 years. C. I. G. 6252; I. G. lll,
XIV, 1831. Rome.
Kastrus. H. Lammens, Le Musie Beige, VI (1902), p. 55, No. 109.
Syria (Horns).
Klaudia Soteris. /. G. XIV, 36. Sicily (Syracuse).
Kollouthes, son of Sokrates. Preisigke, Sammelbuch griechischer
Now in Berlin.
Kornelia Hesychia. /. G. XIV, 1784; C. I. G. lll, 6613. Pisaurum.
Patrikius. C. I. G. IV, 9616. Rome.
Petenoupis, son of Pemsaeis. G. Lefebvre, B.C.H. XXVII (1903),
Sporus. /. G. V, 771. Laconia.
Zeno. H. Lammens, Le Musie Beige, VI (1902), p. 55, No. 111.
Syria (Horns).
Sixty-Four Years
Memmia Neike. /. G. IX, 962. Corcyra.
Sogenes, son of Dositheus. I. G. lll, 5344. Cyrene.
C.
Tithetion. G. Lefebvre, B.C.H. XXVII (1903), p. 349, No. 12.
Egypt (Acoris).
SUcty-Five Years
Agallomena. /. G. IV, 109. Aegina.

Antigonus. /. G. IV, 110. Aegina.
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.
Dionysas. /. G. IV, 108. Aegina.
Eutychus. C. I. G. I, 1498; /. G. V, 1235; Ancient Gr. Inscriptions in
the British Museum, II, 146 ; Kaibel, Epigr. Gr. 479. Laconia.
Helikon, son of Charidemus. /. G. XII, 1106. Syrus.
Hieron of Nicomedeia, helmsman of Markus. I.G. XIV, 880; I.G.
R. I, 417. Baiae.
Ioulius Alexandrus. /. G. XIV, 1671. Rome.
Kornelia Theonis. C. I.G. II, 1816. Epirus (Nicopolis).
Loukius Likinius Tereus. C. I. G. II, 1829 b, Addenda et Corrigenda.
Illyricum (Apollonia).
Loukius Ouettius Gordianus. D. M. Robinson, T.A.P.A. LVTI
(1926), p. 219, No. 40. Asia Minor ( Alti-Kapou ) .
Markus Gellius. I.G. V, 757; Martha, B.C.H. I (1877), p. 387,
No. 18. Laconia.
Mebia Maxima. C. I. G. IV, 9537 ; /. G. XIV, 348. Sicily (Thermae
Himeraeae) .
Mounatius, son of Nagathus. Ch. Fosaey, B.C.H. XXI (1897),
p. 39, No. 1. Syria (Deir-Eyoub).
Philo. W. J. Moulton, A. J. A. VIII (1904), p. 285, No. 6. Sidon.
Poplius Ailius Thursus. I. G. IX, 957. Corcyra.
Theagenes, son of Chrestion. C.I.G. II, 2100; Basilius Latyschev,
Inscriptiones Antiquae, I, p. 206, No. 215. Chersonesus.
Tnouoes. Preisigke, Sammelbuch griechischer Vrkunden ous
Tryphon, son of Isidorus, of the tribe Alibalis. Buckler and Robin
, son of Herakleides, Basilius Latyschev, Inscriptiones An
tiquae, I, p. 206, No. 215. Chersonesus.
. /. G. XII, 520, Addenda et Corrigenda. Amorgos.
. C. I. G. I, 1498; Ancient Gr. Inscriptions in the Br. Museum,
II, 146. Laconia.
Sixty-Six Years
Epaphrodeitus. /. G. XII, 349. Minoa.
Euthymis Andromenes. /. G. XII, 281. Anaphe.
Sixty-Seven Years
Demetrius, father of the priest Apollonius. /. G. XI, 1299. Deloa.

CATALOGUE OF INSCEIPTION8 353
Ptolema. W. J. Moulton, A.J. A. VIII (1904), p. 283, No. 1. Sidon.

Soterida. I.G. V, 765. Laconia.
. I.G. V, 1364; Keil, Rhein. Mus. XIV (1859), p. 529.
Pherae.
Sixty-Eight Years
Apollonides, son of Soter, son of Kornelius. Preisigke, Sammelbuch
griechischer Vrkunden aus Agypten, I, 3930. Now in Berlin.
Harphbichis. 8. E. G. I, 565. Egypt (K6m Abou Bel lou) .
Horionus, son of Plenis, a herdsman. Preisigke, Sammelbuch grie
chischer Vrkunden aus Agypten, I, 3535. Place unknown.
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
Aischylus, the tragic poet. I. G. II, 2374; I.G. XII, 444 (Jf arm.
Par. Ep. 58). Paros.
Apio. 8. E.G.I,
530. Syria ( Arethusa ) .
Dionysodorus Agathokles, son of Dionysodorus. Buckler and Robin
Ioulia Alexandra. I. G. IX, 596; C./.G.ll,1924. Leucas.
Pathotes Harmaius." G. Lefebvre, B.C.H. XXVII (1903), p. 353,
Seventy Years
Ak Androniko. C. I. G. lll, 5289. Cyrene.

Anteigenia, who lived discreetly. B.C.H. XXIV (1900), p. 372.
No. 11. Prusa.
Antonius. C. I. G. IV, 9496 ; I. G. XIV, 528. Sicily ( Catana ) .
Aristomenes. C. I. G. IV, 9490. Catana.
Asklepiades Neik[er]otu[s], brother of Chrestus. B.C.H. XXV
(1901), p. 46, No. 190. 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.
Dentysukus. G. Seure, B.C.H. XXV (1901), p. 315, No. 13.
Thrace (Konjevo).
Dionysius, son of Demosthenes, a citizen of Heracleia. E. Kalinka,
Antike Denkmaler in Bulgarien, p. 249, No. 310. Varna.
18
The numeral is restored.
23
Dionysius, son of Poseidonius. A. Fontrier, B.C.H. VII (1883),

p. 279.Smyrna.
Euphrosynus Demetrianua. C. I. G. 5201. Cyrene. lll,
Euschemosyna, daughter of Epauxesis. /. G. XII, 354. Minoa.
Gaius Bianorus of Nicaea, a carpenter of the tribe Kapitoleines.
/. G. I, 590; Kalinka, Antike Denkmaler in Bulgarien, p. 249,
No. 311. Nicopolis.
Gaius Sentes, son of Agathon. C. I. G. 5342. Cyrene. lll,
Herakleitus. 7. G. IX, 529 ; C. I. G. II, 1794 d. Acarnania.
Kleopatra. C. I. G. II, 1994 g, Addenda et Corrigenda. Thessalonica.
Magoulnia Spes. C.I. G. lll,
5404; I.G. XIV, 42. Syracuse.
Men[as]. G. Mendel, B.C.H. XXV (1901), p. 47, No. 191. Bithy-
nia (Tachtadji-keui).
Menis, a physician. A. Wilhelm, B.C.H. XXIX (1905), p. 13.
Bithynia.
Metrodorus, son of Aniketus. G. Radet, B.C.H. XII (1888), p.
237, No. 10. Amorgos (Khora).
Ouaissurus. C. I. G. IV, 9726. Rome.
Prepousa. 0. I. G. lll,
G. XIV, 46. Syracuse.
5409; /.
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, 8am-
melbuch griechischer Vrkunden aus Agypten, I, 411. Egypt
(place unknown).
Sokrates, the philosopher. I.G. II, 2374; I.G. XII, 444 (Marm.
Soukessus. C. I. G. lll,
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.
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.
. C. I. G. II, 2006. Bitoglia.
. /. G. V, 804. Laconia.
. /. G. XIV, 522. Catana.
Seventy-One Yean
Euboulia. C. I. G. lll, 5284. Cyrene.
Titus Sestius Domitius. C. I. G. Ill, 5276. Cyrene.
Seventy-Two Years
Aurelius Theodoulus, husband of Kekilia Maria. 8. E.G. IV (1929),

p. 127. Rome.
Ioustus, son of Seilus. /. G. XIV, 2428. Gallia Narbonensis (An-
tipolis).
Lanthanousa. C. I. G. lll,
5471 ; /. G. XIV, 254. Sicily (Licodia).
Psenthbus the younger. Preisigke, Sammelbuch griechischer Vrkun-
den aus Agypten, I, 3529. Place unknown. Now in the Louvre.
Tatetriphius, son of Pelilis. 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),
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
Ariagna. 8.E.G. IV (1929), 15. Sicily (Syracuse).

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,
l, 5967. 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).
Phlaouius Zeno, father of Zeno. /. G. R. I, 552. Salona.
Rhouphus, son of Athus. /. G. R. Ill, 1336. Arabia ( Sammet-el-

Berdan).
Satorneinus, son of Azeizus. Ch. Fossey, B.C.H. XXI (1897), p. 45,
No. 24. Syria (Yedoudeh) .
Tryphaina, daughter of Philippus. C. I. G. 5350. Cyrene. lll,
, son of Ba . I.G. XIV, 2267. Florence.
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. /. G. R. lll, 1373. Arabia

( Gerasa ) .
Hermogenes, son of Charidemus the physician. C.I.G. II, 3311.
Smyrna.
Loukius Phlabius Kladus. 0. /. G. IV, 9862; /. G. XIV, 2083. Florence.
Silbanus, son of Kornelia Theonis. C.I.G. II, 1816. Epirus (Nico-
polis).
Tiberius 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.
Seventy-Eight Years
Aruotes, son of Aroutes, son of Bes. Preisigke, Sammelbuch grie-

chischer Urkunden aus Agypten, III,6138. Now in Copenhagen.
Seventy-Nine Years
Euripides, the tragic poet. I.G. II, 2374; I.G. XII, 444 (Marm.
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).
Chrysion, daughter of Dionysius. I.G. XII, 215; Homolle, B.C.H.
XV (1891), p. 672, No. 11. Arcesine.
Erato, son of Hermon. 0. /. G. lll, 5278. Cyrene.
The numeral is partly restored.

Eutyches, son of Eutyches. /. G. XII, 2, Addenda et Corrigenda.

Minoa.
Galates. 0. /. G. lll, 5701 ;/.
G. XIV, 467. Sicily (Catana).
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).
Mardepleous. C. I. G. IV, 9914. Rome.
Menoitus. Buckler and Robinson, A.J. A. XVIII (1914), pp. 46-49,
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 ) ,
Photina. /. G. XIV, 187. Sicily (Syracuse).
Ptolemaius, son of Theodotus. C. I. G. 5344. Cyrene. lll,
Sekkius Trophimus. /. G. XIV, 1702. Rome.
Simon ides of Ceos, the poet. I.G. II, 2374; I.G. XII, 444 (Marm.
Theodora, daughter of Phlakkus. /. G. XII, 553. Thasos.
Tychemus. /. G. XIV, 551. Sicily (Catana).
Zeno, son of Pesistratus. G. Mendel, B.C.H. XXIV (1900), p. 391,
No. 53. Bithynia (Isnik).
Zosima, daughter of Philodamus. /. G. XII, 508. Phacussa.
, husband of Markella. Anderson, Cumont, and Gregoire,
Studia Pontica, III, p. 72, No. 64. Neoclaudiopolis.
. /. G. XII, 304. Minoa.
. I.G. V, 775. Laconia.
Eighty-One Years
Klaudius Damas, who possessed the gift of prophecy. C. I. G. II,

Didyma.
2809.
Klaudius Tornius Phronto, son of Athenadorus. C. I. G. lll, 5240.
Cyrene. ,
Mesora Hermodika. C. I. G. lll, 5272. Cyrene.
Tryphon, son of Tryphon. Preisigke, Sammelbuch grieehischer TJr-
kunden aus Agypten, 6123. III, Place unknown.
Eighty-Two Years
Beibiarius Anius. C. I. G. lll, 5272. Cyrene.
Ptollion, sonof Euangelus. Preisigke, Sammelbuch grieehischer
Vrkunden aus Agypten, III, 6835. Royal Ontario Museum.
Tiberius Klaudius Alkimus, a healer. C. I. G. lll, 6604 ; /. G. XTV,

1751 ; /. G. R. I, 283.
Rome.
, a senator, who was married 60 years to Eleutheria. 0. /. G.
I, 1030; Kaibel, Epigr.Gr. 120; Ancient Gr. Inscriptions in
the British Museum, I, No. 131. Athens.
. G. Mendel, B.C.H. XXIV (1900), p. 414, No. 108. Bi-
thynia (Aklar).
Eighty-Three 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).
p. 346, No. 2; Breccia, Catalogue Ceneral des Antiquites
Egyptiennes du Musee d'Alexandrie: Iscrisioni Greche e
La tine, p. 192, No. 402. Alexandria.
Eighty-Four Years
Killienus Kallimachus. D. M. Robinson, A.J. A. XVII (1913), p.
193, No. 115. Cyrenaica (Tokra or Teucheira).
Eighty-Five Years
Ammia Eioudea of Laodoceia. C. I. G. TV, 9916. Rome.
Damis. I. G. IX, 947. Corcyra.
Memmius Symphorus. C.I.G. II, 1910b, Addenda et Corrigenda;
I. G. IX, 964. Corcyra.
Nikia, daughter of Nikas. C. I. G. 5326. lll,
Cyrene.
Philotechnus, son of Philotechnus. I. G. XII, 374. Minoa.
Serrenus Aneinas, a man of very noble descent. Ch. Fossey, B. C. H.
XXI (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. I.G. XIV, 1702; l.G.R. I, 344. Rome (on the
Esquiline) .
Eighty-Seven Years
Herakleides, son of Philomousus. /. G. XII, 629. Thasos ( Kasa-

witi).
Eighty-Eight Years
Alexandrus, son of Psenosiris, son of Petesouchus and Thermouthis.
Preisigke, Sammelbuch griechischer Urkunden aus Agypten, I,
738. Egypt (place unknown).
Diodorus. Ancient Gr. Inscriptions in the British Museum, IV,
1122b. Cyprus (Salamis).
Ninety Years
Artemidorus Per[gaius], /. G. XII, 1350, Sup

son of Apollonius.
plement. 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.
Petronius. C./.G.111,5720. Sicily (Catana).
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.
IIl, 6668. Rome.
. I.G. IIl, 1362; Kaibel, Epigr. Gr. 134. Athens.
Ninety-One Years
Sophocles, tragic poet. I.G. II, 2374; I.G. XII, 444 (Marm, Par.
Ep. 64). Paros.
Ninety-Three Years
Dekmus Serouilius. C. I. G. IIl, 5821 ; /. G. XIV, 809. Naples.
Peskennis Kalatychus. C./.G.111,5719. Sicily (Catana).
Ninety-Four Years
Sus, the Preisigke, Sammelbuch
elder. griechischer Urkunden aus
Tamer. C. /. G. IV, 9121. Nubia ( Colasucia ) .
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.
' C1
^m . 1
£
Ninety-Six Years
Senpetermouthes, daughter of Artemis and Chemsneus. Preisigke,
Egypt ( place unknown ) . Now in Berlin.
Soter. C. I. G. IV, 6855 d, 33. Place uncertain.
Ninety-Eight Years
Dionysius. D. M. Robinson, A. J. A. XVII (1913), p. 170, No. 35.
Cyrene.
One Hundred Years
Kallibia. D. M. Robinson, A.J. A. XVII (1913), p. 197. Cyrenaica..

Rhouphilla. W. J. Moulton, A.J. A. VIII
(1904), p. 286, No. lO.
Sidon.
. C. I. G. IV, 9907. Rome.1'
One Hundred Two Years
Glaukias. Breccia, Catalogue General des Antiquitis Egyptiennes <fu

Musie d'Alexandrie: Iscrizioni Greche e Latine, p. 174, No.
342. Egypt (Leontopolis).
One Hundred Ten Years
Pancharius, father of the Elaean synagogue. C. I. G. IV, 9904.

Rome.
. 8. E.G. I, 690. Lycia (Tehnessus) .
"The reading is i[iuir6v].

ABBREVIATIONS
A. A. Art and Archaeology

A. J. A. American Journal of Archaeology
A. J. P. American Journal of Philology
Ann. Rep. Mus. F.
A. Annual Report Museum of Fine Arts, Boston
Arch. Anz. Archaeologischer Anzeiger
Ath. Mitt. Athenische Mitteilungen
A. Z. Archaeologische Zeitung
Baumeister Baumeister, Denkmaler des klassischen Alter-
tums
B. C. H. Bulletin de Correspondance Hellenique
Beazley, Att. Vasm. Beazley, Attische Vasenmaler
Beazley, V. A. Beazley, Attic Red-Figured Vases in American
Museums
Bernoulli Bernoulli, Griechische Ikonographie
Buschor Buschor, Greek Vase-Painting
c. i. a. Corpus Inscriptionum Graecarum
en. J. Classical Journal
Cl.PhU. Classical Philology
0l. Rev. Classical Review
Cl. Weekly Classical Weekly
C. V. A. Corpus Vasorum Antiquorum
Eph. Arch.
F.R. Furtwangler-Reichhold, Griechische Vasenmal-
erei
Gaz. Arch. Gazette Archiologique
Hartwig Hartwig, Die griechischen Meisterschalen
Hoppin, B. F. Hoppin, A Handbook of Attio Black-Figured
Vases
Hoppin, R. F. Hoppin, A Handbook of Attic Red-Figured
Vases
I.0. Inscriptiones Graecae
I. G. R. Inscriptiones Graecae ad Res Romanas Perti-
nentes
Jahrb. d. arch. Inst. Jahrbuch des deutschen archaeologischen
Instituts
Jahrb. class. Philol. Jahrbiicher fur classische Philologie
J. H. S. Journal of Hellenic Studies
J.RL8. Journal of Roman Studies
361
Klein, L. /. Klein, Die griechischen Vasen mit Lieblingsin-

schriften
Kock Kock, Comicorum Atticorum Fragmenta
Meineke Meineke, Fragmenta Comicorum Graecorum
Miiller Miiller, Fragmenta Historicorum Graecorum
Murray, Designs Murray, Designs from Greek Vases in the
British Museum
Nauck Nauck, Tragicorum Graecorum Fragmenta
Neue Jahrb. Neue Jahrbiicher fiir das klassische Altertum
Oesterr. Jahresheft. Jahreshefte des Oesterreichischen archaeologi-
schen Institutes in Wien
Philol. Philologus
Pottier, Leo. Blames
Att. Pottier, Les Lioythes Blancs Attiques
Pottier, Vas. Antiq.
Louvre Pottier, Vases Antiques du Louvre
R.A. Revue ArchMogique
Reinach, Repertoire Reinach, Repertoire des Vases Peints Grecs et
Etrusques
Rev. Et. Grec. Revue des Etudes Grecques
Rhein. if us. Rheinisches Museum fiir Philologie
Rom. Mitt. Rjjmische Mitteilungen
Roscher Roscher, Ausfiihrliches Lexikon der Griechis
chen und Romischen Mythologie
8. E. G. Supplementum Epigraphioum Graecum
T. A. P. A. Transactions American Philological Association
Vogel, Seen. Eur. Vogel, Scenen Euripideischer Tragbdien in
Trag. griechischen Vasengemalden
CORRIGENDA
P. 8, line 4 from bottom, read <pa\ap6s for tpakap&s.
P. 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.
SELECTED BIBLIOGRAPHY
A. Literature
Nearly all the Greek authors have been consulted.
B. Archaeology
(a) Catalogues
Amelung, W., Die Sculpturen des Vaticanischen Museums: Berlin,
G. Reimer (1903-8). 2 vols., with 204 plates.
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 + 764.
Beazley, J. D., Greek Vases in Poland: Oxford (1928). Pp. xvi +
87.
, The Lewes House Collection of Ancient Gems: Oxford
(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
Antique Gems: London, B. Quaritch (1908). 2 vols., with 28
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
Museum: Cambridge, University Press (1912-21). 2 vols.
Chase, George H,
Greek and Roman Sculpture in American Collec
tions: Cambridge, Harvard University Press (1924). Pp. xiv -|-
222.
Deonna, W., Les Statues de Terre Cuite en Grtce: Paris (1906).
Pp. 72.
De Ridder, A., Catalogue des Vases Peints de la Bibliothique
Nationale: Paris, Ernest Leroux (1901). 2 vols.
' , lies Terres Cuites et les Verres: Paris, Ernest Leroux
(1909). Pp. 323, with 32 plates.
Forrer, L., The Weber Collection of Greek Coins: London, Spink and
Son (1929). 3 vols.
363
FurtwSngler, A., Beschreibung der Glyptothek: Munich, A. Buchholz

(1910) . 2 vols.
, Beschreibung der Yasensammlung im Antiquarium: Berlin,
W. Spemann (1885). 2 vols.
, Die Antiken Gemmen: Leipzig, Berlin, Giesecke, and
Devrient (1900). 3 vols.
Gardner, Ernest A., A Catalogue of the Greek Vases in the Fitz-
William Museum: Cambridge (1897). Pp. xxi + 91, with 41
plates.
Gardner, Percy, Greek Vases in the Ashmolean Museum: Oxford,
Clarendon Press (1893). Pp. ix + 43, with 26 plates.
Graef, Botho and Langlotz, Ernest, Die Antiken Vasen con der
Akropolis zu Athen: Berlin (1925). 4 vols.
Head, Barclay V., Historia Numorum': Oxford, Clarendon Press
(1911) . Pp. 966.
Hekler, A., Die Sammlung Antiker Skulpturen, Museum der Bilden-
denKiinste in Budapest : Vienna, Krystall (1929). Pp. 179 +
176 illustrations.
Helbig, Fuhrer durch die offentlichen Sammlungen Klassischer Alter-
tumer in Rom: Leipzig, B. G. Teubner (1899). 2 vols.
Heuzey, Leon, Figurines Antiques du Musie du Louvre: Paris,
Morel and Cie. (1883). Pp. iv + 30, with 56 plates.
Heydemann, H., Die Vasensammlungen des Museo Nazionale zu Nea-
pel: Berlin, Georg Eeimer (1872). Pp. vi + 923, with 22 plates.
Hill, George F., Catalogue of the Greek Coins of Arabia, Mesopo
tamia, and Persia: London, Longmans and Co. (1922). Pp.
359,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).
Pp. 61, with 64 plates.

Jacobsen, Carl, La Glyptotheque Ny-Carlsberg : Munich (1912). Pp.
230,with 220 plates.
Jones, H. Stuart, A Catalogue of the Ancient Sculptures in the
Municipal Collections of Rome: Oxford, Clarendon Press (1926).
Pp. ix + 405.
, Sculptures of the Museo Capitolino: Oxford, Clarendon
Press (1912).93 plates.
, Sculptures
of the Palazzo dei Conservatori: Oxford, Claren
don Press (1926). 124 plates.
Laumonier, Alfred, Catalogue de Terres Cuites du Musie Archi-
ologique de Madrid: Bordeaux (1921). Pp. xi + 249, with
134 plates.
SELECTED BIBLIOGRAPHY 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 72 plates.
Masner, Karl, Die Sammlung Antiker Vasen und Terracotten im
K. K. Oesterreich. Museum: Wien (1892). Pp. xxv + 104,
with 10 plates.
Mendel, Gustav, Catalogue des Sculptures Grecques, Romaines, et
Byzantines: Constantinople (1912). 3 vols.
Michaelis, Adolph, Ancient Marbles in Great Britain, translated
from the German by C. A. Fennell : Cambridge, University Press
(1882). Pp. xxvi + 834.
Newell, Edward T., The Coinages of Demetrius Poliorcetes: London,
Oxford University Press (1927). Pp. ix + 174, with 18 plates.
Perdrizet, P., Bronzes Grecs d'tgypte de la Collection Fouquet:
Paris, Bibliotheque d'Art et d'Archeologie (1911). Pp. xxi +
97, with 40 plates.
Pottier, E., Catalogue Vases Antiques de Terre Cuite: Paris,
des
May and Motteroz (1896). 2 vols.
, Vases Antiques du Louvre : Paris, Hachette and Cie. ( 1897-
(1922). 3 vols., with 160 plates.

Richter, Gisela M. A., Catalogue of Engraved Gems: New York,
Metropolitan Museum of Art (1920). Pp. xxiv + 232, with
88 plates.
, and Roman Bronzes in the Metropolitan
Greek, Etruscan,
Museum: 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.
n, 108 plates.
Sieveking, J., Die Bronzen der Sammlung Loeb: Munich (1913).
Pp. vi + 86.
, Die Terrakotten der Sammlung Loeb: Munich, A. Buchholz
(1916). 2 vols.
, and Hackl, Die Konigliche Vasensammlung zu Miinchen:
Munich, J. B. Obervetter (1912). 2 vols.
Smith, A. H., A Catalogue of Sculpture in the Department of Greek
and Roman Antiquities: London (1892-1904). 3 vols.
Strong, Eugenie, Catalogue of the Greek and Roman Antiques in the

Possession of the Right Honorable Lord Melchett: Oxford Uni
versity Press (1928). Pp. x -f 55, with 42 plates.
Tillyard, E. M., The Hope Vases: Cambridge, University Press
(1923). Pp. x + 178, with 43 plates.
Walters, H. B., Catalogue of the Bronzes in the British Museum -
London (1899). Pp. xx + 394, with 4 plates.
, Catalogue of the Greek and Roman Lamps in the British
Museum: London (1914). Pp. xxxvi -f- 240, with 43 plates.
, Catalogue of the Greek and Etruscan Vases in the British
Museum: London (1896-1925). 4 vols.
Ward, John, Greek Coins and Their Parent Cities: London, J.
Murray (1902). Pp. xxxvi + 464, with 22 plates.
Watzinger, Carl, Griechische Vasen in Tubingen: Tubingen (1924).
(b) Otheb Modern Books of Reference

Babelon, Ernest, Traiti des Monnaies Grecques et Romaines: Paris,
E. Leroux (1901). 3 vols., with 185 plates.
Baumeister, August, Denkm&Xer des Klassischen Altertums: Munich
and Leipzig, R. Oldenbourg (1885-88). 3 vols.
Beazley, J. D., Attic Red-Figured Vases in American Museums:
Cambridge, Harvard University Press (1918). Pp. x + 236.
, Attische Vasenmaler des Rotfigurigen Stils: Tubingen
(1925). Pp. 612.
Benndorf, O., and Niemann, F., Das Heroon von Gjblbaschi-Trysa:
Wien (1889). Pp. 262, with 34 plates.
Bernoulli, J. J., Griechische Ikonographie: Munich, F. Bruckmann
(1901). 2 vols.
Buschor, Ernst, Greek Vase Painting, translated by G. C. Richards:
New York, E. P. Dutton and Co. (1922). Pp. xii + 179, with
96 plates.
Christ, Wilhelm, Geschichte der Griechischen Litteratur', revised by
Stahlin and Schmid, Handbuch der klassischen Altertumswis-
senschaft, Iwan von Mttller: Munich, C. H. Beck'sche (1920).
Collignon, Maxine, Les Statues Fun&raires dans I' Art Grec: Paris,
E. Leroux (1911). Pp. vii + 404.
Conze, A., Die Attischen Grabreliefs: Berlin and Leipzig (1893-
1922). 4 vols., with 473 plates.
Corpus Vasorum Antiquorum. Many fascicles have appeared and
many more are to appear. Paris, Champion.
Daremberg, Chas., and Saglio, E., Dictionnaire des Antiquitis
Grecques et Romaines: Paris, Hachette and Cie. (1875-1919).
Dickins, Guy, Hellenistic Sculpture: Oxford, Clarendon Press

(1920). Pp. xiv + 99, with 53 illustrations.
Dumont, Albert, and Chaplain, C, Les Ceramiques de la Grece:
Paris, Firmin Didot and Cie. (1888-90). 2 vols.
Fairbanks, Arthur, Athenian White Lekythoi, University of Michigan
Studies, Humanistic Series, vols. 6 and 7: New York, Mac-
millan Co. (1907).
Flickinger, Roy C, The Greek Theatre and Its Drama': University
of Chicago Press (1926). Pp. xxviii + 358.
Furtwangler, A., Die Bronzefunde aus Olympia: Berlin (1880).
Pp. 106.
, and Urlichs, H. L., Denkmaler Griechischer und Romischer
Skulptur: Munich (1904). 2 vols.
, Masterpieces of Greek Sculpture: London, W. Heinemann
(1895). Pp. xxiii + 487.
Gardner, Percy, Sculptured Tombs of Hellas: London, Macmillan
and Co. (1896). Pp. xix + 259, with 30 plates.
Gruppe, Otto, Griechische Mythologie: Munich, C. H. Beck'sche
(1897-1906). 2 vols.
Hekler, Anton, Die Bildniskunst der Griechen und Rbnwr: Stutt
gart, J. Hoffman (1912). Pp. xlviii + 336.
Hoppin, J. C, Euthymides and His Fellows: Cambridge, Harvard
University Press (1917). Pp. xvi + 186, with 86 plates.
, A Handbook of Attic Red-Figured Vases: Cambridge, Har
vard University Press (1919). 2 vols.
, A Handbook of Attic Black-Figured Vases: Paris, E.
Champion (1924). Pp. xxiii + 508.
Huddilston, J., Greek Tragedy in the Light of Vase Painting: Lon
don, New York, Macmillan and Co. (1898). Pp. xx + 183.
Jacobsthal, P., Die Melischen Reliefs: Berlin, Heinrich Keller (1931).
Johnson, Franklin, Lysippos: Durham, N. C, Duke University
Press (1927). Pp. xii + 334, with 61 plates.
Klein, Wilhelm, Die Griechischen Vasen mit Lieblingsinschriften:
Leipzig, Viet and Co. (1898). Pp. vii + 178.
Lawrence, A. W., Classical Sculpture: London, J. Cape (1929).
Lawrence, A. W., Later Greek Sculpture: Harcourt Brace and Co.
(1927). Pp. xvii + 158.
Lechat, Henri, La Sculpture Grecque: Paris, Payot and Cie. (1922).
Pp. 153.
, Sculptures Grecques Antiques : Paris (1925). Pp. 207, with
100 plates.
'
368 OLD AGH AMONG THE ANCIENT GREEKS
Lippold, Georg, Griechische Portr&tstatuen: Munich, F. Bruchmann

(1912). Pp. 109.
L5wy, E., Griechische Plastik: Leipzig, Klinkhardt and Biennann
(1911). 2 vols.
Marburger Jahrbuch fiir Kunsttcissenschaft : Marburg-Lahn, vol. 5.
Murray, A. Designs from Greek Vases in the British Museum:
S.,
London, Longmans and Co. (1894). Pp. 31, with 15 plates.
, The Sculptures of the Parthenon: London, J. Murray
(1903). Pp. 173, with 17 plates.
From the Collections of the Ny Carlsberg Glyptothek: Copenhagen,
Levin and Munksgaard (1931). Pp. 196.
Overbeck, J., Geschichte der Griechischen Plastik: Leipzig (1869-
70). 2 vols.
Pauly, A., and Wissowa, G., Real-eneyclop&die der classischen Alter-
tumswissenschaft: Stuttgart, J. B. Metzler (1894-?).
Perrot, G. and Chipiez, C, Histoire de l'Art dans L'Antiquiti:
Paris, Hachette and Cie. (1882-1911). 10 vols.
Pottier, Edmond, Douris et les Peintres de Vases Grecs: Paris, H.
Laurens (1904). Pp. 126, with 24 plates.
, Étude sur les Licythes Blancs Attiques: Paris, E. Thorin
(1883). Pp. 160, with 4 plates.

Poulsen, Frederik, Greek and Roman Portraits in English Country
Houses: Oxford, Clarendon Press (1923). Pp. 112, with 112
plates.
, Ikonographische Miscellen: Copenhagen (1921). Pp. 94,
with 16 plates.
, Portràtstudien in Norditalienischen Provinz-Museen : Copen
hagen (1928). Pp. 81, with 117 plates.
Rayet, O., and Collignon, M., Histoire de la Ciramique Grecque:
Paris, G. Decaux (1888). Pp. xvii + 420, with 16 plates.
Reinach, S., Recueil de Têtes Antiques: Paris, Gazette des Beaux
Arts (1903). Pp. vii + 230, with 276 plates.
, Ripertoire des Vases Peints Grecs et Etrusques: Paris,
E. Leroux (1899-1900). 2 vols.
, Ripertoire de la Statuaire Grecque et Romaine: Paris, Leroux
(1897-1924). 5 vols.
Richter, Gisela, M. A., The Sculpture and Sculptors of the Greeks:
New Haven, Yale University Press (1930). Pp. xxxiv + 606,
with 767 illustrations.
Robinson, D. M., Excavations at Olynthus, Part IV, The Terra
cottas: Baltimore, The Johns Hopkins Press (1931). Pp.
xii '+' 105, with 63 plates.
Roscher, Wilhelm H., Ausfiihrliches Lexikon der Griechischen und
Romischen Mythologie: Leipzig, B. G. Teubner (1884-1924).
Schuster, P., Die Portrats der Griechischen Philosophen: Leipzig

(1876). Pp. 27, with 4 plates.
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.
Suidae Lexicon, Graece et Latine, recensuit Godofredus Bernhardy:
Halis and Brunsvigae (1853). 2 vols.
Suidae Lexicon, Graece et Latine, indicesque auctorum et rerum
adjecit Ludolphus Kusterus: Cantabrigiae (1705). 3 vols.
Vogel, Julius, Scenen Euripideischer Tragodien in Griechischen
Vasengemalden : Leipzig (1886). Pp. 156.
Waldstein, Sir Charles, Essays on the Art of Pheidias: New York,
Century Co. (1885). Pp. xix + 431, with 16 plates.
Walston, Sir Charles, Alcamenes: Cambridge (1926). Pp. xix +
254.
Walters, H. B., History of Ancient Pottery: London, J. Murray
(1905). 2 vols., with 69 plates.
Winter, F., Die Typen der Figiirlichen Terrakotten: Berlin and
Stuttgart (1903). 3 vols.
(c) Articles
Amelung, W., " Notes on Representations of Socrates and of Dio
genes and Other Cynics," A.J. A. XIII
(1927), pp. 281-96.
Bernoulli, J. J., " Ikonographisches," Jahrb. d. arch. Inst. XI (1896),
pp. 160-77.
Bienkowski, P., " Zwei Attische Amphoren in Madrid," Oesterr.
Jahreshefte, III
(1900), pp. 62-72.
Buschor, Ernst, "Neue Duris GefSsse," Jahrb. d. arch. Inst. XXXI
(1916), pp. 74-95.
Caskey, L. D., "The Ludovisi Relief and Its Companion Piece in
Boston," A. J. A. XXII (1918), pp. 101-45.
Casson, S., " A New Copy of a Portrait of Demosthenes," H. S. J.
XLVI (1926), pp. 72-79.
Clark, E. W., "Greek Grave Reliefs," Records of the Past, X (1911),
pp. 203-12.
Colvin, " On Representations of Centaurs in Greek Vase
Sidney,
Painting," J. H. 8. I (1881), pp. 107-67.
Duhn, F. von, " Charondarstellungen," A.Z. XLIII (1885), pp. 2-23.
Elderkin, George W., " Notes on Greek Vase Paintings," A. J. A. XIV
(1910), pp. 185-92.
Eldridge, L. G., "An Unpublished Calpis," A. J. A. XXI (1917), pp.
38-54.
Franklin, Fabian, "On Old Age," Cl. Weekly, XXIII (1930), pp.
103-04.
84
3T0 OLD AGK AMOXG THE ANCIENT GREEKS
Gardner, " Tithonus on a H. 8. XHT J.

Percy, Red-Figured Vase,"
(1893), pp. 137-38.
Graef. Botho,
" Peleus and Thetis." Jahrb. d. arch. Inst. (1886), I
pp. 192-204.
Hartwig. P., " Herakles und Geras," Philol. I (1891), pp. 185-90.
.
" Zur Statue des Demosthenes," Jahrb. d. arch. Inst. XVTII
(1903), pp. 25-33.
Heydemann, H..
" Homerische Vasendarstellungen," Jahrb. d. arch.
Inst. (1889). pp. 260-5.
Jahn, Otto, "Kottabos auf Vasenbildern," Philolog. XXVI (1867),
pp. 201-40.
Karo. Georg, " Notes on Amasis and Ionic Black -Figured Pottery,"
H. 8. XIX ( 1899) , pp. 135-64.
Koerte, G., "Vase des Hermonax aus Orvieto," A.Z. XXXVI (1878),
pp. 111-15.
Lehnerdt, M., "Herakles und Achelous," A.Z. XLIII (1885), pp.
106-20.
Lippold, G., " Zur Arbeitsweise Romischer Kopisten," Rom. Mitt.
XXXIII (1918), pp. 95-117.
J., " Der Becher des Pistoxenos im Schweriner Museum,"
Maybaum,
Jahrb. d. arch. Inst. XXVII (1912), pp. 24-37.
"
McCartney, Eugene S., Longevity and Rejuvenation in Greek and
Roman Folklore," Papers of the Michigan Academy of Science,
Arts, and Letters. V (1925), pp. 37-72.
,
" On the Shedding of Skins by Human Beings," CI. Weekly,
XXII (1929), p. 176.
Nichols. May L.,
" Origin of the Red-Figured Technique in Attic
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 Hellen-
istischen Kunst." Jahrb. d. arch Inst. XLV (1930), pp. 1-61.
Pottier, E., " Documents Ceramiques du Musee du Louvre," B. C. H.
XVII (1893), pp. 439-40.
Poulsen, F., "A New Portrait of Plato," J.H.8. XL (1920), pp.
190-6.
Radford, Evelyn,
" Euphronios and His Colleagues," H. 8. XXXV J.
(1915), pp. 107-39.
Ravaisson, Felix, "Vase Funeraire Attique," Gaz. Arch. (1875), I
pp. 41-61.
'* ' '
Reinach, S., Le Deuxieme Tr6ne Ludovisi au Musee de Boston,"
R.A. XVI (1910), pp. 338-40.
Richter, Gisela M. A.,
" The Subject of the Ludovisi and Boston
Reliefs," J.H.8. XL (1920), pp. 113-21.
I
Richter, Gisela M. A., "One or Two Statuettes of Diogenes?" Met.

if u«.
Studies, Nov. 1929 (II), pp. 29-39.
Robert, Carl, " Zur Miinze von Aineia mit der Flucht des Aineias,"
A.Z. XXXVII (1879), pp. 23-6.
Robinson, David M., " Notes on the Delian Choregic Inscriptions,"
A. J.P. XXV (1904), pp. 184-91.
, "Inscriptions from the Cyrenaica," A.J. A. XVTI (1913),
pp. 157-200.
Roscher, W. H., " Die Hundekrankheit der Pandareostochter und
andere mythische Krankheiten," Rhein. Mus. LIII
(1898), pp.
169-204.
Schneider, Arthur, "Andokides," Jahrb. d. arch. Inst. IV (1889),
pp. 195-207.
Smith, Cecil, " Vase with Representation of Herakles and Geras,"
J.H.8. IV (1883), pp. 96-110.
Studniczka, F., " Das Gegenstiick der Ludovisischen Thronlehne,"
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 (1915),
pp. 398-417.
Walters, H. B., "On Some Black-Figured Vases," J.H.8. XVIII
(1898), pp. 281-301.
, "A Portrait Statue of Socrates," J.H.8. XLV (1925), pp.
255-61.
Waters, Wm. E., "The Old Age of a Horse," CI. Phil. XVII (1922),
pp. 87-8.
Weller, Chas. H., " A New Restoration of the Statue of Demos
thenes," A. A. I
(1914), pp. 47-50.
(d) Plates
Arndt-Bruckmann, Griechische und Romische Portrats: Munich, F.
Bruckmann (1909).
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, Paris, A. Morance'
(1910).
Furtwfingler-Reichhold, Griechische Vasenmalerei: Munich, F.
Bruckmann (1901).
Hartwig, Paul, Die Griechischen Meisterschalen der Bliithezeit des
strengen rothfigurigen Stiles : Stuttgart and Berlin (1893).
C. Books On Epigraphy
Anderson, J. G. C, Cumont, Franz, and Gregoire, Henri, Studia
Pontica: Brussels (1910). Vol. III.
Breccia, E., Catalogue General des Antiquitis E gyptiennes du Musie
d'Alexandrie, Iscrizioni Greche e Latine: Cairo (1911). Pp.
xxx i + 273, with 59 plates.
Buckler, W. H., and Robinson, David M., Sardis, VII, 1, Greet and
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,
Inscriptions Graecae ad Res Romanas Pertinentes: Paris,
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 Dialekt-
Inschriften: Gottingen, Vandenhoeck and Ruprecht (1899-
1915). 4 vols.
Corpus Inscriptionum Graecarum : Berlin (1828-1877).
*
Dittenberger, Guilelmus, Sylloge Inscriptionum Graecarum : Leipzig
(1915-21). 4 vols.
Frankel, Max, with the collaboration of Ernst Fabricius and Carl
Schuchhardt, Die Inschriften von Pergamon: Berlin, W. Spe-
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:
Oxford, Clarendon Press (1874-1893). 4 vols.
Hondius, J. J. E., Supplementum Epigraphicum Graecum: Leyden
(1923—).
Inscriptiones Graecae: Berlin, 1873-1929.
Kaibel, Georgius, Epigrammata Graeca: Berlin, G. Reimer (1878).
Pp. xxiv + 703.
Kalinka, Ernst, Antike Denkmaler in Bulgarien: Wien, Alfred
Holder (1906). Pp. 439.
Michel, Charles, Rccueil d' Inscriptions Grecques: Brussels, H. Lamer-
tin (1900). Pp. xxiv + 1000.
Paton, W. R. and Hicks, E. L., Inscriptions of Cos: Oxford, Claren
don Press ( 1891 ) . Pp. vi + 407.
Preisigke, Friedrich, Sammelbuch griechischer Vrkunden aus
Agypten: Berlin and Leipzig (1922). 4 vols.
Robinson, D. M., Ancient Sinope: Baltimore (1906).

GENERAL INDEX
Achaeus, 215. Athena Promachus, shield of, 213.

Acheloiis, 88-89, 171-72. Athenodorus, 216.
Actaeon, 98-99. Athletics, 107-08.
Aegeus, 94. Atossa, 20.
Aegisthus, 19. Aurelius Acinaces, 227.
Aegyptius, 49. Autodicus of Phalerum, lecythus
Aeschines, statues of, 159-60. of, 165.
Aeschylus, inscriptions concern
ing, 215, 353 ; statues of, 134-36. Bacchylides, 217.
Agamemnon, 94. Bacon, Youth and Age, 17.
Ages of man, 2. Bald Head Master, 109 n., 110,
Agesilaus, 27, 35, 38. 115-17, 194.
Alcman, 3. Baldness, 8-9, 44, 73, 79, 87-88,
Alexander Polyhistor, 215. 95-98, 101, 107-08, 112-17, 121,
Alexis of Thurii, 215. 132-33, 135-39, 141, 143, 148-49,
Alxenor of Naxos, 164. 153, 155-56, 161, 164-65, 171,
Anacreon, 3, 12, 215; statues of, 177-78, 181, 183, 185-96, 198-
134. 205, 207-08, 211, et passim.
Anaxagoras, 35. Bassae, temple of, 211.
Anaximander, 215. Beazley, 73-74, 99, 107-09, 181,
Anchises, on bronzes, coins, and 185, 192, 204.
gems, 180; on vases, 92-94. Black-figured, 60,73-74,76,81-82,
Antaeus, 98. 86, 88, 91-92, 97, 102, 104-06,
Antisthenes, 216; statues of, 154. 108, 110, 115, 183-84, et pas
Antiphanes, 216. sim.
Antiphon, 216. Blepsidemus, 20.
d<ppuavjnj, 1 9. Browning, 14.
Apollodorus, of Pergamum, 216; Brygos, 87, 112, 118.
the Phalerian, 8.
Apollonius, of Rhodes, 216; of Calchas, 101.
Tyana, 216. Callibia, 225.
Appian, 216. Callimachus, 217.
Aratus, 216; statues of, 140. Carle, 6.
Arcesilaus of Pitane, 216. Carneades, 149, 217; statues of,
Archimedes, 216. 153-54.
Argippaei, 8. Cassius Dio, 217.
Arion, 216. Cecrops, 96-97.
Aristarchus, 216. Centaurs, 182, 208-14; on coins
Aristo, the Chian, 68. and gems, 210; in sculpture,
Aristophanes, of Byzantium, 216; 211-14; on vases, 208-10.
comic poet, 216; statues of, Cephalus, 15-16.
139. Cepheus, 96.
Aristotle, 216; statues of, 146- Cerilla Phortounata, 227.
48. Charon, on medallions, 180; on
Arrian, 216. vases, 83-86.
Artabanus, 11. Choerilus of Samos, 217.
Artemis Bendis, votive relief to, Choerilus, tragic poet, 217.
128. Chorus, 5, 19, 21, 27, 68, 78, 192,
Assembly, 49. 199.
Athanasius, 216. Chremylus, 20.
373
Chryses, 39, 54. Eratosthenes, 218, 225.

Chrysippus, 217; statues of, Erechtheus, 95-96.
149-50. Eumenes, 39.
Cicero, De Senectute, 4 n., 15 n., Eunapius, 218.
24 n., 223 n. Euphorion, 218.
Cleanthes, 217. Euripides, 43, 218; statues of,
Cleonicus, 228. 138.
Comic actors, 113-14. Eurystheus, 18.
Conversation scenes, 109-12. Eurytus, 10.
Counsel, 17, 33. Eusebius, 218.
Crates, 6, 13. Euthymus, 218.
Cratinus, 217. Experience, 18, 23.
Creon, 19.
Creusa, 19. Filial devotion, 48, 50-53.
Critolaus, 217. Fisherman, 12, 43-44; in the
Ctesibius, 217. Louvre, 171 in the Metropoli
;
Curetes, 8. tan, 171 n.; in the Palazzo dei
Cydimachus, 228. Conservatori, 171.
Danaiis, 19. Gaius Mounatius, 229.

Darius, 20. Galen, 218.
Death, 12-13, 64-65, 107. Geras, and words related to,
3,
Demades, 2l7. 9n., 11, 16, 49, 50, 51, 54,
7,
Demetrius Poliorcetes, 181. 69, 77, et passim; cult of, 72;
Demochares, 217. personification of, 72-80; Geras
Democritus of Abdera, 217. Painter, 73-76, 89, 99, 189, 195,
Democles, 228. 199.
Demonax, 13.\
Demosthenes, 217; statues of, yepovala, 31-32.
157-59. Gjolbaschi-Trysa, heroon of, 125-
Demus, 28. 26.
Departure Scenes, 104-07. Glaucias, 225.
Siairvral, 31. Oorgias, 218.
Dio Chrysostom, 217. Graeae, 10.
Diodorus Siculus, 218. Grave reliefs, 163-67.
Diogenes, 218; statues of, 154- Gray hair, 10, 18, 23-25, 29, 49,
55. 76-77, 61 n., 82, 86-87. 89-94,
Dionysius, 225. 97, 101, 184-85, 188, 195, 197-
Discretion, 16. 99, et passim.
Dreams, 21-22. Greek state, preface, xiii, 48, 52.
Duris, 218. Guards, 36.
Echenefls, 34. Hades, 12, 65, 76-77, 82, 179-80.

Egypt, preface, xiii. Halitherses, 21.
Eloquence, 35. Harpy Tomb, 126.
Emerson, Essay On Old Age, 1 n., Hecataeus, 219.
.r>
1 n. Hecuba, 4.
Empedocles, 218. iJXioirTa/, 31, 55.
Ephudion, 11. Hermarchus, 219; statues of,
Lpicharmus, 218, 235. 151-52.
Epictetus, 218. Herodian, 219.
Epicurus, 218; statues of, 150- Herodotus, 62, 219; statues of,
8,
51. 141-42.
Epimenides, 218; statues of, Herondas, 24, 43, 57.
140-41. Hieronymus, 219.
GENERAL INDEX 375
Himerius, 219. Nile, statues of, 171.

Hippocrates, 219, 235; statues of, Nurse, 44-47, 101, 175-76.
141.
Homer, 16, 183, et passim; on Oedipus, 24, 177.
coins, 181 ; statues of, 131-34. Oeneus, 95.
Hyperides, 219. Old age, 1-2, 10, 13, 15-16, 18, 32,
36, 39-40, 47, 57-59, 61, 63-64,
Iamblichus, 219. 66-71, 73-74, 70, 80, 115, 126,
Ibycus, 219. 129-30, 138, 140, 144-45, 162,
Immortality, 16, 61-62, 64-66. 165, 169, 204, 206, 210, et pas
Infancy, 2. sim.
Insanity, 33. Old Age Painter, see Geras
Iolaus, 4. Painter.
Ion of Chios, 219. Old Comedy, 20, 174, 178.
Isocrates, 219, 225; statues of, Old women, an gems, 176; in
156. sculpture, 167-70; in terra
cottas, 173-76; on vases, 118.
Jocasta, 5. Olympia, bronze relief from, 72-
Judgment, 16-18, 23. 73; temple of Zeus at, 121-23.
Judicial affairs, 31-33. Origen, 220.
Knowledge of the world, 18. Pain, 13, 23.

Panaetius, 220.
Laertes, 6, 25, 38, 128. Pancharius, 225.
Leonidas of Tarentum, 13. Pandarus, 34.
Linus, 100-01. Papposilenus, 197.
Lucian, 7, 44, 219. Parents, devotion to, 48-53; mal
Ludovisi Altar, Boston counter treatment of, 33.
part of, 126-27. Parmenides, 220.
Lycon, 219. Parthenon, frieze of, 123-24, 211-
Lycurgus, 26, 219; statues of, 12.
160-01. Pedagogue, 42; on gems, 177; in
Lysias, 6, 219; statues of, 156. terra -cottas, 176; on vases,
Lysicrates, choregic monument 112-13.
of, 205. Peleus, 10, 25-26, 38, 53.
Lysimachus, 220. Pelias, 60-61.
Pensions, 33, 58.
Magic, 21, 71. Pheres, 12, 57.
Marsyas, 201, 205-07. Philemon, 220, 225.
Megasthenes, 10. Philetas, 44.
Melite, 12. Philistus, 220.
Henander, 46; statues of, 139. Philochorus, 220.
Menecrates, 13, 14 n. Philopoemen, 220.
Menippus, 6. Philoxene, 228.
Messenger, 22, 36, 39, 43. Phocion, 220.
Mimnermus, 3, 11, 12. Phoenix, 21, 34, 38, 41, 103-04.
Minister of education, 33. Phrynichus, 220.
Myconos, 8. Physical infirmities, 2, 8, 11, 13-
14, 48, 165.
Negroes, 178. Pindar, 3, 11, 13, 23, 50, 220.
Nereid Monument, friezes of, Peisistratus, 35, 50, 220.
124-25. Pittacus of Mytilene, 22, 220.
Nereus, 76-77, 86-88. Plato, 27, 30, 32, 39, 40-41, 45,
Nestor, 10-11, 16, 21, 26, 34, 37- 51, 55-56, 154, 220; statues of,
38, 40-41, 48, 102-04, 220. 145-46.
Plotinus, 220. awppoavvTi, 19.

Plutarch, 128, 145, 157-59, 220. Spartans, 32.
Pluto, 76-77, 82-83. Spiritual gains, 15.
Polemo, 221. Staff, 4, 7, 60, 95-96, 101, 107-12,
Polybius, 221. 114, 116, 164.
Polygnotus, 45, 76, 84, 119. Stesichorus, 221.
Porphyry, 221. Stilpo, 221.
Posidonius, 221. Strabo, 53, 222.
Potamo, 221. Strepsiades, 28, 67.
Poverty, 4 n. Symmachus of Chios, 228.
Priam, 25, 27, 89-92, 125, 128-
29, 181. Teiresias, 5, 7, 21, 51, 67, 222;
Private life, old men and women Tennyson, Tiresias, 21-22.
in, 40-47. Tennyson, By an Evolutionist,
Procleides, stele of, 166. 15.
Proclus, 221. ThaJes, 222.
Procopius, 221. Theaetetus of Rhodes, 222.
Protagoras. 17, 221. Themistius, 222.
Prudence, 16, 18. Theocritus, 43, 170-71.
Ptolemy, 221. Theognis, 11, 49-50, 222.
Ptollio, 226. Theomnestus, 34.
Pyrrho, 221. Theophrastus, 41, 152-53, 222.
Thucydides, 38; statues of, 142.
Red-figured, 00, 62, 73, 81, 88, 90-
Timaeus, 222.
91, 94-99, 102, 104-08, 110, 113-
Timon, 222.
14, 118-19, 185, 187, 189-92,
Timotheus of Miletus, 222.
209, et passim.
Tithonus, 61-62, 68.
Rejuvenation, 60-61, 67-68.
Triton, 73, 77, 87, 129.
Religion, 39-40, 107.
Retirement, age of, 33. Trygaeus, 67.
Tyche, 228.
Revelry, scenes of, 114-15.
Reverence, 27, 48, 50.
Tychemus, 226.
Rhadamanthus, 97.
Warfare, 33-39.
Rouphilla, 225.
Warriors, 71, 98, 102-04.
Sappho, 11. Wine, 29, 39-40.
Sarapio, 227. Wisdom, 16, 18-20, 32.
Seers, 101-02, 122-23. Wrinkles, 6, 11, 78, 100, 104, 111,
Senectus, 4 n., 69. 141, 146-47, 149-50, 152-53, 156,
Serrenus, 226. 158, 160-62, 186, 172, 178, 192,
Shakespeare, All's Well That 203, 208-09, et passim.
Ends Well, 1.
Silens, 182-208; in bronzes, 204- Xenocrates, 222.
05; on coins, 203-04; on gems, Xenophanes, 222.
204; in sculpture, 207-08; on Xenophilus, 222.
terra-cottas, 201-04; on vases, Xenophon, 31, 52, 222.
182-200. Xerxes, 20.
Simonides of Ceos, 221, 235.
Socrates, 13, 17, 23-24, 26, 41, Youth, 11, 66, 71, 120; fountain
67, 154, 221; statues of, 142- of, 59, 71.
45.
Solon, 18, 23, 40, 56, 221. Zeno, 68, 222; statues of, 148-49.
Sophocles, 21, 28, 42, 78, 221, Zenodotus, 222.
224; Oedipus Colonus, 3-4, 69; Zeus, 13-14, preface xiv, 39, 55,
statues of, 136-38. 61, 64, 66, 88.
THE UNIVERSITY OF MICHIGAN
GRADUATE UBRARY

Old Age Among The Ancient PDF

Hochgeladen von

Dokumentinformationen

Originaltitel

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Old Age Among The Ancient PDF

Hochgeladen von

Copyright:

Verfügbare Formate

Old age among the ancient Greeks; the Greek portrayal of old age

in literature, art, and inscriptions, with a study of the duration of

Public Domain, Google-digitized

We have determined this work to be in the public domain,

Macle. aND GKra8 « a PElicE In ThE LOCvrK

EDITED BY DAVID M. ROBINSON

OLD AGE AMONG THE

with a Study of the Duration of Life among the Ancient Greeks

BESSIE ELLEN RICHARDSON, Ph. D.

PRINrED IN THE UNITED STATES OF AMERICA

DAVID MOORE ROBINSON

For age is opportunity no less

II. The Mental and Emotional Endowments op Old

VII. The Representation op Old Age in Greek Vase

VIII. Decorative and Architectural Sculpture op Early

I. Concordance and Index to Literature 237

General Index 373

The Greeks with their delicate sense of symmetry and

obvious being the lack of chronological boundaries for the

Arthur L. Keith of the University of South Dakota who

THE PHYSICAL ASPECTS OF SENESCENCE

1 Oliver Wendell Holmes, Autocrat of the Breakfast Table, I, 7 ;

gives only three —youth, the prime of life, and old

"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<T0a 7roAAai Kappovts*

The Greeks evidently, then, had in mind some such division

(xaAtwov weighs heavily upon him.7

Sftofxfmv yr)pa<>), while he longs for "precious youth" (^17

where the one-time king, disabled by lack of strength and "

the summons of King Agamemnon hastily because his old age

the countenance of his proud sweetheart may become rough

"Julianus, Stadtmtiller, Anthologia Chraeca, I, 297; cf. Rufinus,

workshop toward everything evil pertaining to man

"great evil" (mu<ov /ueya) ;

The scientific curiosity about man's physical appearance

M Crates, Bergk, II, 19.

short in front but wore it long behind to prevent the enemy

the liquid nutriment necessary for the growth of the hair

Achaean who has survived till his hair Aristotle,78

"Strata, X, 6; Horn. II. II, 542, speaks of the Abantes as

M Arist. De Gen. Anim. V, 784 a, 31-785 a, 6. Arist. De Gen. Anim.

moisture along with it; Athenaeus, Deipnosoph. X, 34, mentions

baldness as an affliction almost as bad as blindness. For the curing

" Phalaecus, Paton, III, " Damagetus, Paton, III,

however, informs us that in the majority of cases gray

" Megasthenes, II, 30.

M Herod. VII, 46, 4-18. " Lucilius, Paton, IV, 69.

coming of old age slowly and painlessly. It arises from a

Manjv ap' ol ytpovris tv^ovrai Oavtiv,

rjv 8' *yyv% Oa.va.TOS, ovSeis /JouAtrai

Cf. Soph. Oed. Tyr. 961 : oiuKpb iraXmi au/i«r' tivi^ti

sweeter as death approaches nearer. Lucian 118

ported only on a stick, like a vine on a stake, who gladly

"»Lucian, Dial. Mort. XXVII, 65-72; cf. Soph. Nauck, 63:

Leonidas of Tarentum, Paton, II, 731.

From these gleanings we may conclude that the Greeks

Trjpas hrav phi airjj iras euxerai, 8t iror* iXBn

fUfi<f>€Tai. tan 8' ati KptUrcrov o<£eiAo/wov .125

We must not confine ourselves, however, to this one aspect.

THE MENTAL AND EMOTIONAL ENDOWMENTS