DOI chapter:
Divison D: The Acropolis, from the Propylaea to the statue of Athene Lemnia
DOI chapter:Section XVI
DOI Page / Citation link:https://doi.org/10.11588/diglit.61302#0580
406
MYTHOLOGY AND MONUMENTS
DIV. D
however, has turned them upside down. If the scholiast were
wandering round nowadays he would probably copy the sculptor’s
signature and leave the dedication, hidden in grass and nettles,
unread-
/X A I P E Δ E Μ Ο i EV ΛΑΛΕ A\^ E Q E K E N
Ιτρολλυιιον/επο I E ί E N
Χαψίδημοτ Εύαγγίλου ίχ ΚοίληΕ άνί'θηκΕν. | Στρογγυλίων £ποίη«ν.
—(“ Strongylion made it”). They were wise to choose Strongylion,
for, as Pausanias tells us elsewhere, he was the best man at doing
bulls and horses. The Birds was brought out 414 B.C., and the
letters of the inscription fall a little before this date (note the ).
It would be quite in the manner of Aristophanes to allude to the
horse as a recent novelty. Finding the slabs here in the Artemis
precinct, it is tempting to suppose Pausanias saw them there.
Moreover, at a certain festival of the rhapsodes Hesychius 64 tells
they came to recite Homer within the precinct, and it seems likely
the horse may have been a votive offering connected with this
festival.
The basis of the statue of Epicharinos 65 has also been found in
the excavations of 1838 between the Propylaea and the Parthenon.
It is of Pentelic marble, quadrangular (height 0-31, length 0-63,
breadth 0-92). It bears traces of colour, and has marks which
show it supported a statue. The inscription runs-
■ kJ? J T I G5 I* A I A E s E
e /v
Έπιχαρϊνοι [άνέ]θηκεν δ - - - - -
Kpnioc και Νηειώτηε έπο[ιηί]άτην.
—(“Epicharinos dedicated it the . . . Kritios and Nesiotes
made it ”). We have, of course, to emend the Kritias of Pausanias
to Kritios. It shows how the traditions of art were fading,
that a pair of sculptors so famous as Kritios and Nesiotes
should be so handled—the name of one omitted, of the other
misspelt.
The only difficulty about the inscription is the word following
“ dedicated” (άνέ^κεν) ; it should naturally be the name of the
father. Wilamowitz 66 thinks that the “ hoplite racing ” (όττλιτο-
MYTHOLOGY AND MONUMENTS
DIV. D
however, has turned them upside down. If the scholiast were
wandering round nowadays he would probably copy the sculptor’s
signature and leave the dedication, hidden in grass and nettles,
unread-
/X A I P E Δ E Μ Ο i EV ΛΑΛΕ A\^ E Q E K E N
Ιτρολλυιιον/επο I E ί E N
Χαψίδημοτ Εύαγγίλου ίχ ΚοίληΕ άνί'θηκΕν. | Στρογγυλίων £ποίη«ν.
—(“ Strongylion made it”). They were wise to choose Strongylion,
for, as Pausanias tells us elsewhere, he was the best man at doing
bulls and horses. The Birds was brought out 414 B.C., and the
letters of the inscription fall a little before this date (note the ).
It would be quite in the manner of Aristophanes to allude to the
horse as a recent novelty. Finding the slabs here in the Artemis
precinct, it is tempting to suppose Pausanias saw them there.
Moreover, at a certain festival of the rhapsodes Hesychius 64 tells
they came to recite Homer within the precinct, and it seems likely
the horse may have been a votive offering connected with this
festival.
The basis of the statue of Epicharinos 65 has also been found in
the excavations of 1838 between the Propylaea and the Parthenon.
It is of Pentelic marble, quadrangular (height 0-31, length 0-63,
breadth 0-92). It bears traces of colour, and has marks which
show it supported a statue. The inscription runs-
■ kJ? J T I G5 I* A I A E s E
e /v
Έπιχαρϊνοι [άνέ]θηκεν δ - - - - -
Kpnioc και Νηειώτηε έπο[ιηί]άτην.
—(“Epicharinos dedicated it the . . . Kritios and Nesiotes
made it ”). We have, of course, to emend the Kritias of Pausanias
to Kritios. It shows how the traditions of art were fading,
that a pair of sculptors so famous as Kritios and Nesiotes
should be so handled—the name of one omitted, of the other
misspelt.
The only difficulty about the inscription is the word following
“ dedicated” (άνέ^κεν) ; it should naturally be the name of the
father. Wilamowitz 66 thinks that the “ hoplite racing ” (όττλιτο-