δηλαδὴ τρίπους: On Epicharmus fr. 147 K-A (original) (raw)

A Tripod 'Worth Seeing' in the Olympieion at Athens (Paus. 1.18.8)

Journal of Roman Studies, 2023

This study proposes a new reconstruction of the tripod that Pausanias (1.18.8) recorded in the Olympieion at Athens. According to his brief description, the bronze tripod was supported by Persians made from Phrygian marble. A sculptor's sketch found during the excavations of the Athenian Agora is identified as a representation of that monument. The sketch, carved from poros limestone, depicts a standing male figure dressed in eastern attire supporting the foot of a tripod. The figural type finds its closest parallels among the colossal statues from the Forum of Trajan in Rome, suggesting a new date and context for the monument in the Olympieion. The scenario favoured here is that the tripod was dedicated following Trajan's victories in Parthia, perhaps completed or commissioned by Hadrian. Cassius Dio (68.17.2) records that Trajan departed for his Parthian campaigns from Athens, where memories of Persian defeat were actively curated.

Hephaistos and knowledge from below: crooked feet on Mount Olympus, in: M. Mazoyer, V. Faranton (eds.), Homère et l’Anatolie, III, L’Harmattan, collection Kubaba, 2017, pp. 77-112

2017

In this paper I aim to contribute to an investigation, or rather “genealogy”, in Foucault’s (1977) sense, of deformity in the ancient world. I focus on the- iconography of the only Olympian with a physical impairment, Hephaistos, the crippled god of blacksmiths and craftsmen . After some preliminary remarks about the sources of the inventory and the status quaestionis (I.1), I introduce Hephaistos as a god of dichotomies (I.2). The second part ushers in the catalog (II.1) and indexes all Archaic Greek monuments (infra categories A-G) showing the god’s impairment (II.2). As this period yields the most substantial material for the study, I summarize the results according to the myth illustrated, the region of the Greek world the vase comes from, and the shape of the vase (II.3). This is then complemented by a discussion of other possible allusions to impairment, as well as of the disabled dancers on komos vases (II.4). In order to offer more background for this analysis, I also sift through Classical examples (III.1), offer brief comments on the Classical iconography of disability (III.2), and do the same for Hellenistic art (III.3-4), with an appendix on Roman visual metamorphoses (III.5). The fourth part consists of general comments about Hephaistos and the iconography of similarly impaired Greek heroes (IV.1), followed by a final discussion and conclusions (IV.2).

An Attic Geometric Amphora from Argos.The Legacy of Protogeometric Style

Ι. Λεβέντη-Α. Αλεξανδρή (eds), Kαλλίστευμα. Μελέτες προς τιμήν Ολγας Τζάχου Αλεξανδρή, 2001

ΕΥΑ ΣΗΜΑΝΤΩΝΗ-ΜΠΟΥΡΝΙΑ ΞΩΜΠΟΥΡΓΟ ΤΗΝΟΥ: Ο ΑΝΑΓΛΥΦΟΣ ΠΙΘΑΜΦΟΡΕΑΣ ΤΗΣ ΓΕΝΝΗΣΕΩΣ ΕΚΔΟΣΗ ΔΕΥΤΕΡΗ, ΒΕΛΤΙΩΜΕΝΗ 69-84 ΦΩΤΕΙΝΗ ΝΙΚΟΥ ΖΑΦΕΙΡΟΠΟΥΛΟΥ ΚΡΑΤΗΡΟΣΧΗΜΟΣ ΑΜΦΟΡΕΑΣ ΤΟΥ 7ου αι. π.Χ. ΑΠΟ ΤΗΝ ΠΑΡΟ 85-96 ΑΛΕΞΑΝΔΡΑ ΑΛΕΞΑΝΔΡΗ ΝΕΑ ΠΑΡΑΣΤΑΣΗ ΤΗΣ ΚΡΙΣΗΣ ΤΟΥ ΠΑΡΗ ΣΕ ΜΕΛΑΝΟΜΟΡΦΟ ΓΑΜΙΚΟ ΛΕΒΗΤΑ 97-116 ΧΑΡΙΚΛΕΙΑ ΠΑΠΑΔΟΠΟΥΛΟΥ-ΚΑΝΕΛΛΟΠΟΥΛΟΥ ΑΝΑΧΩΡΗΣΗ ΤΟΥ ΑΜΦΙΑΡΑΟΥ ΣΕ ΜΕΛΑΝΟΜΟΡΦΗ ΥΔΡΙΑ 117-120 LUIGI BESCHI UN EXALEIPTRON A FIGURE NERE DAL SANTUARIO ARCAICO DIEFESTIA 121-126 JOHN H. OAKLEY "WHEEL OF FORTUNE" 127-132 JEAN-JACQUES MAFFRE LE PEINTRE DE BRYGOS ET SON CERCLE A ATHENES, A PARIS ET A BALE 133-160 ΕΛΕΥΘΕΡΙΑ ΣΕΡΜΠΕΤΗ ΔΕΚΑΠΕΝΤΕ ΑΤΠΚΕΣ ΛΗΚΥΘΟΙ ΑΠΟ ΤΗΝ ΗΛΙΔΑ 161-198 HENRI METZGER VARIANTES DANS LE CHOIX DU SIEGE DU PERSONNAGE CENTRAL SUR LES "LECYTHES DE PAGENSTECHER" 199-202 ΡΟΖΑ ΠΡΟΣΚΥΝΗΤΟΠΟΥΛΟΥ ΠΗΛΙΝΑ ΓΥΝΑΙΚΕΙΑ ΕΙΔΩΛΙΑ ΕΛΛΗΝΓΣΤΙΚΗΣ ΕΠΟΧΗΣ ΑΠΟ ΤΗΝ ΑΡΧΑΙΑ ΕΠΙΔΑΥΡΟ 203-214 ELENA WALTER-KARYDI DEN FRAUEN ZU EHREN: ARCHAISCHE GRABPLASTIK FUR ATHENERINNEN 215-232 JOHN BOARDMAN PANDORA IN THE PARTHENON: A GRACE TO MORTALS 233-244 ΑΘΗΝΑ Γ. ΚΑΛΟΓΕΡΟΠΟΥΛΟΥ ΕΠΙΤΥΜΒΙΑ ΣΤΗΛΗ ΑΠΟ TON ΜΑΡΑΘΩΝΑ 245-254 ΜΑΡΙΑ ΠΕΤΡΙΤΑΚΗ Ο ΚΛΕΙΤΩΡ, Ο ΑΚΤΑΙΩΝ ΚΑΙ Η ΑΡΤΕΜΙΣ ΣΥΣΧΕΤΙΣΜΟΙ -ΑΛΛΗΛΕΞΑΡΤΗΣΕΙΣ -ΠΡΟΒΛΗΜΑΤΙΣΜΟΙ 255-270 JEAN MARCADE DELYCOSOURAACLAROS 271-284 OLGA PALAGIA SCULPTURES FROM ROMAN SPARTA 285-300 WILLIAM D.E. COULSON AND IPHIGENEIA LEVENTI TWO ATTIC GRAVE RELIEFS OF ROMAN DATE IN THE COLLECTION OF THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS 301-318 ΓΕΩΡΓΙΑ ΚΟΚΚΟΡΟΥ-ΑΛΕΥΡΑ ΔΡΑΣΤΗΡΙΟΤΗΤΕΣ ΤΩΝ ΑΤΤΙΚΩΝ ΕΡΓΑΣΤΗΡΙΩΝ ΓΛΥΠΤΙΚΗΣ ΤΗΝ ΕΠΟΧΗ ΤΗΣ ΡΩΜΑΙΟΚΡΑΤΙΑΣ 319-348 ΜΕΛΠΩ Ι. ΠΩΛΟΓΙΩΡΓΗ Διός κούρος ΕΠΙ ΕΛΕΦΑΝΤΙΝΟΥ ΠΛΑΚΙΔΙΟΥ 349-356 ΕΥΑΓΓΕΛΟΣ ΤΖΑΧΟΣ ΜΙΑ ΕΠΑΝΕΚΤΙΜΗΣΗ ΤΗΣ ΑΘΗΝΑΙΚΗΣ ΤΡΙΗΡΟΥΣ Η ΛΗΚΥΘΟΣ ΑΡ. 9167 ΤΟΥ ΕΘΝΙΚΟΥ ΑΡΧΑΙΟΛΟΓΙΚΟΥ ΜΟΥΣΕΙΟΥ 357-384 ELIZABETH R. GEBHARD VITRUVIUS AND THE PLANNING OF THE GREEK THEATER 385-394 T. LESLIE SHEAR, JR. A TEMPLATE FOR CARVING MOLDINGS 395-402 ΦΑΝΟΥΡΙΑ ΛΑΚΟΡΩΝΙΑ ΑΡΤΕΜΙΣ-ΑΣΠΑΛΙΣ 403-410 VERONIKA MITSOPOULOS-LEON ATHENA ODER ARTEMIS? ZU EINEM ANTEFIXTYPUS VOM TEMPEL DER ARTEMIS IN LOUSOI 411-424 PANTOS A. PANTOS DER TUMULUS IN DER NAHE VON ΝΕΑ ORESTIAS, BEZIRK EVROS, IM GRIECHISHEN THRAKIEN 425-432 ΕΥΑΓΓΕΛΙΑ ΠΡΩΤΟΝΟΤΑΡΙΟΥ-ΔΕΪΛΑΚΗ ΚΑΤΑΣΤΡΟΦΕΣ ΑΠΟ ΣΕΙΣΜΟΥΣ ΚΑΙ ΠΛΗΜΜΥΡΕΣ ΣΤΗΝ ΑΡΧΑΙΑ ΦΕΝΕΟ 433-438 ΚΑΤΕΡΙΝΑ ΚΑΝΤΑ-ΚΙΤΣΟΥ Η ΛΑΤΡΕΙΑ ΤΟΥ ΑΠΟΛΛΩΝΑ ΑΓΥΙΕΑ ΣΤΗΝ ΚΕΡΚΥΡΑ 439-460 STEPHEN G. MILLER CULT TABLES FROM ΝΕΜΕΑ 461-468 ΑΓΓΕΛΙΚΗ ΚΩΝ. ΑΝΔΡΕΙΩΜΕΝΟΥ ΤΟ ΕΡΓΑΣΤΗΡΙΟΝ ΧΑΛΚΟΤΕΧΝΙΑΣ ΤΗΣ ΑΚΡΑΙΦΙΑΣ (830-480 π.Χ.)· ΣΥΜΒΟΛΗ ΕΙΣ ΤΗΝ ΧΡΟΝΟΛΟΓΗΣΙΝ ΕΝΙΩΝ ΤΥΠΩΝ ΚΟΣΜΗΜΑΤΩΝ 469-526 ERIKA SIMON LOKROS 527-532 ΒΙΒΗ ΒΑΣΙΛΟΠΟΥΛΟΥ Η ΑΤΤΙΚΗ ΜΝΑ. ΣΤΑΘΜΙΑ ΤΟΥ ΝΟΜΙΣΜΑΤΙΚΟΥ ΜΟΥΣΕΙΟΥ ΑΘΗΝΩΝ 533-540 ΜΑΝΤΩ ΟΙΚΟΝΟΜΙΔΟΥ ΝΟΜΙΣΜΑΤΙΚΟΣ «ΘΗΣΑΥΡΟΣ» ΑΝΤΙΚΥΘΗΡΩΝ 541-544 BRIAN F. COOK ΛΕΥΚΩΜΑΤΑ 545-548 ΓΕΩΡΓΙΟΣ ΣΤΑΪΝΧΑΟΥΕΡ ΠΡΟΞΕΝΙΚΟ ΨΗΦΙΣΜΑ ΣΑΛΑΜΙΝΙΩΝ ΑΠΟ ΤΟΝ ΠΕΙΡΑΙΑ 549-556 ΒΑΣΙΛΕΙΟΣ Χ. ΠΕΤΡΑΚΟΣ ΕΠΙΓΡΑΦΙΚΑ ΤΟΥ ΡΑΜΝΟΥΝΤΟΣ 557-562 PIERRE DUCREY 35 ANS DE PRESENCE ARCHEOLOGIQUE SUISSE A ERETRIE: REFLEXIONS SUR LE SENS ET LES OBJECTIFS DUN ENGAGEMENT CULTUREL 563-580 ΕΓΧΡΩΜΟΙ ΠΙΝΑΚΕΣ I-VII 583-590

The Theophania of Apollo: A New Approach to the Proem of Parmenides and the Topography of the Sanctuary of Delphi

Erga-Logoi. Rivista di storia, letteratura, diritto e culture dell'antichità, 2023

The advances that have taken place in recent decades in the investigation of the ritual and topographical structure of the Sanctuary of Delphi have brought to light strong correspondences with the narrative structure of the Proem of Parmenides. These correspondences, of a ritual, topographical and narrative nature, could be a sign that Parmenides’ hymn was composed to be performed in a civic and religious festival of ancient Elea that followed the model of the Theophania of Delphi. In this paper I present the signs and evidence in favour of this thesis, which implies not only a revision of the traditional interpretations of the Proem, but also the possibility of using it as historical evidence to improve our knowledge of the religious festivals held at Delphi. According to this interpretation, the Proem would not describe a katabasis or an anabasis, but the epidemia or arrival of Apollo at Delphi from the land of the Hyperboreans. The narrator would be Apollo (and not Parmenides), and the itinerary of his journey, that of the places and stations of the Theophania procession. This reading also offers a consistent interpretation of the sculptures and inscriptions found in the Insula II of Velia. It is quite likely that the pholarchoi were priests of Apollo, whose ritual consecration took place at the festival for which Parmenides’ hymn was composed.