Discoveries in the Attic Derne of Ikaria, 1888 [1 ed.] 9781607244806, 1607244802

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Discoveries in the Attic Deme of Ikaria, 1888

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A n a l e c t a Gorgiana

251 Series Editor George Kiraz

Analecta Gorgiana is a collection of long essays and

short

monographs which are consistently cited by modern scholars but previously difficult to find because of their original appearance in obscure publications. Carefully selected by a team of scholars based on their relevance to modern scholarship, these essays can now be fully utili2ed by scholars and proudly owned by libraries.

Discoveries in the Attic Derne of Ikaria, 1888

Carl D. Buck

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1 gorgias press 2009

Gorgias Press LLC, 180 Centennial Ave., Piscataway, NJ, 08854, USA www.gorgiaspress.com Copyright © 2009 by Gorgias Press LLC

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1

ISBN 978-1-60724-480-6

ISSN 1935-6854

Extract from The A-merican Journal of A^rchaeology, vols. 4 & 5 (1888,1889).

Printed in the LTnited States of America

A M E R I C A N SCHOOL O F C L A S S I C A L S T U D I E S AT ATHENS. DISCOVERIES IN T H E ATTIC DEME OF I K A R I A . 1888. In order to secure for the most important results of excavations a speedier publication than can be made in the volumes of the Papers of the School, it has been decided to accept for that purpose the offer of the use of its pages made by this Journal, which has been constituted an official organ of the School. The excavations on the site of Ikaria, commenced last winter by the School, and the success of which was chronicled in the J o u e n a l (vol. iv, pp. 44—46), have been resumed under the direction of Mr. Carl D. Buck, who conducted the former investigations. A first instalment of the epigraphic acquisitions made last winter is presented in the four inscriptions edited in the following paper. A u g u s t u s C . M e r e i a m , ) t> , r .. ,, ... _ 'J-Publication Committee T Thomas W . L u d l o w , J

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I N S C R I P T I O N S F R O M IKARIA. N o . 1.

Public decree of the deme of Ikaria inscribed across the middle of a gable-top marble stele : total height, 0.765 met.; width at bottom, 0.32 ; width at top, 0.29 ; height of letters, 0.005. KAAA I n n O S E inEH E T H t l S0A I I K A P I E Y S I M E i l A I H E S A I M KAHATOHAHMA p x o n k a I S T E A IKITTO^TErAHAIKAl AM EI P E l MTOM K H P Y K A O T I STE AH 0 Y S I H I KAP I E I 5 M K-T\MAKAI O A H M O S O I K A P I E-^MTOr 4 A HMAPXOHOTI KAAASKA IA IK A I A ? T A | A I 0 r4 Y S-Ti I T H M E O P T H H E n O I H 5 E M K A ITOM A T-TY M A E II A I H E S A I AE KA I T O Y S X OPH T O S E f l I K P A T H H K A I i l P A I I AMKAISTEA r ^ S A I K I T T 0 5 T E t A 1 ^ 1 K A I AHE I n E I H KA 0 A n E P T O H AHMAPXOM KaXA.i7T7ro? elirev • e\jrr)(j)iaOai, lKapiev i, p. 638). The second point to be observed in connection with the two inscriptions given above is the fact that there is no evidence that the stone upon which they are inscribed ever bore a tripod. On the other hand, there is, so far as I know, no positive evidence that it did not; and as this is an inscription with the official phraseology, if we feel compelled to believe that all choregoi received the same prize, we must believe also that this stone held a tripod. Now Plutarch (Them., 5) states that Themistokles gained a victory as choregos for a tragic chorus, and set up a iriva% of victory with the inscription, ©e/wo-To/cX?}? pedppio$ e-yoprjryei,

i W ^ o ? ¿SiSacrice,,ASelfiavTo^r/p^ev.

B u t nrival;

is an extraordinary word to use, if it was literally a tripod which Themistokles set up.13 The inscription given in the text is probably a copy of a genuine inscription (the manuscripts, of course, retain no sign of the pre-Eukleidean alphabet), since an inscription on a choregic monument dedicated by a certain Aristeides and quoted by Plutarch ( i r i s teid. 1) has actually been found, and it agrees word for word with the text. We learn also, from Plutarch's remarks on this inscription, that it was customary even in his time to pay very careful attention to both the phraseology and the palaeography of an inscription, using these as criteria for dating them, just as is the practice now. Accepting it, then, as a genuine inscription, we observe that it presents the same phraseology as the two given above, except that here the archon's name is added for the purpose of dating it. As it belongs to the period before the archonship of Kallias, one choregos only is mentioned. Here, then, are three inscriptions set up by dramatic choregoi, as to two of which there is no evidence that they were on a monument supporting a tripod, while, as to the third, it seems certain that the object dedicated was not a tripod. Is there anything in literature to show that dramatic choregoi received tripods as prizes ? Theophrastos characterizes a mean man as one who, when he had gained a victory with a tragic chorus, would dedicate a wooden taenia to Dionysos and put his name upon it.14 This seems to imply that it was optional with a tragic 13

[It may have been a relief representing a tripod, in marble or in bronze. Cf. C. I. A., 11, 766, 835, 680, 683 C; LOEWY, Inschriften gr. Bildhauer, No. 533; ARISTOT., Pol., viii. 6 (1341 a).—T. W. L.] 14 [oioi VIK4), KT\. Now, we have seen that the choregia in the case of dramatic differs in some respects from the choregia in case of lyric choruses. The prize was not the same in both cases, and an important change in the dramatic choregia was introduced without affecting the system of the lyric choregia. It is true that the appointment of the choregoi is a more important feature, but, if we can rid our minds of the presumption that the choregia was a consistently invariable institution, the same for choregoi of both kinds, we see how little evidence there is to show that dramatic choregoi were appointed in any way by the tribe. Having thus stated the most important features of the choregia for the city festivals, we may ask, What do we know of the choregia for the rural festivals? Especially for the Rural Dionysia, the most ancient of all the festivals of Dionysos, celebrated during the month of Poseideon (Dec.-Jan.) in the various country demes, and perhaps nowhere, except at Peiraieus, with so much brilliancy as at Ikaria, so intimately connected with the myth of Dionysos, the birthplace of Thespis and the primitive home of both tragedy and comedy. The meagre information which we possess on this point has been collected by Haussoullier. 22 Two decrees of the deme of Aixone, in praise

TOV ^opeyrou, 11. § 156, rpayaiSoTs fctxoprfyTjKt iro0' OVTOS, eycc

Mirepl 11

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Vie Municipale en Attique, p. 169.

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avArjTtus avSpdirtv.

THE CHOBEGIA IN ATHENS AND AT IKABIA.

27

of their two choregoi for having performed their duties, constitute the sum total of the epigraphic material which M. Haussoullier found at his disposal; and from this he concludes that two choregoi were regularly appointed each year, in exactly what manner he does not attempt to say, but probably from the few wealthy citizens, and without any special formalities. He then raises the question, whether there was a contest between the choregoi, and answers this in the negative,23 stating, as his reasons for this belief, that the choregoi at the city festivals contested as representatives of their respective tribes, while in the country festivals all the choregoi were members of the same deme, and, being comparatively few in number, would be likely to make common cause in giving as brilliant a spectacle as possible. This view of Haussoullier simplifies matters considerably; but, if we should find that there actually was a contest, many questions would spring up. Was there any distinction between official and private dedications ? Was there any distinction between monuments dedicated by dramatic choregoi and those dedicated by lyric choruses ? Indeed, were there in the rural demes both dramatic and lyric choruses ? What was the object dedicated ? In one of the inscriptions of Ikaria already published,24 the deme praises its two choregoi, as is done in the two Aixonean decrees, and thus adds nothing to our information. The following three inscriptions are, however, the first of their kind, and constitute an important addition to our material. INSCRIPTIONS FROM IKARIA.

NO. 5. Upon the edge of a marble slab (indicated in Figure 2), found in the wall of the church : height of letters, 0.012. They are roughly cut, and the T has an apex giving it somewhat the appearance of P. This is seen also in the inscription of the Lysikrates monument. MHHSIAOXOPMfHSIWAOY MvV o-i\o%o[?] MvvCkov TPAr/^-IAOISXOPHr^NiEMIKA Tpayaihol r

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TOPOGRAPHY

OF THE IKARIAN

DISTRICT.

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quities, Mr. Kabbadias, furnished to Professor Merriam in the autumn of 1887, giving directions for finding the site, the name was written [ Bij/íot&v ]at avToîa{i ?) è^0fi6cr[aaôai 7rp]fUTO^ÔpOtÇ ¡JLr¡ •7T[/>]Ò ] . . . eyava irévre «ai[

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