The Parthenon Enigma (87 page)

50.
N. B. Crowther, “Reflections on Greek Equestrian Events, Violence, and Spectator Attitudes,”
Nikephoros
7 (1994): 121–33; D. Bell, “The Horse Race κέλης in Ancient Greece from the Pre-classical Period to the First Century
B.C.
,”
Stadion
15 (1989): 167–90; Shear, “Polis and Panathenaia,” 279–89; J. McK. Camp,
Horses and Horsemanship in the Athenian Agora
, Agora Picture Book 24 (Princeton, N.J.: American School of Classical Studies at Athens, 1998); V. Olivová, “Chariot Racing in the Ancient World,”
Nikephoros
2 (1989): 65–88.

51.
Plato,
Laws
7.815a; E. L. Wheeler, “Hoplomachia and Greek Dances in Arms,”
GRBS
23 (1982): 223–33; J.-C. Pousat, “Une base signée du Musée National d’Athènes: Pyrrhichistes victorieux,”
BCH
91 (1967): 102–10; Ferrari Pinney, “Pallas and Panathenaea,” 468–73; Shear, “Polis and Panathenaia,” 323–30.

52.
Dionysios of Halikarnassos,
Roman Antiquities
7.72.7; see Ferrari Pinney, “Pallas and Panathenaea”; Shear, “Polis and Panathenaia,” 38–43 (for
pyrrhike
as victory dance following Gigantomachy) and 323–31 (for Panathenaic event); P. Ceccarelli,
La pirrica nell’antichit à greco romana: Studi sulla danza armata
(Pisa: Istituti Editoriali e Poligrafici Internazionali, 1998).

53.
E. Vanderpool, “Victories in the Anthippasia,”
Hesperia
43 (1974): 311–13; Xenophon,
Hipparchikos
3.10–131; Shear, “Polis and Panathenaia,” 315–18.

54.
Shear, “Polis and Panathenaia,” 340–45.

55.
Crowther, “Male Beauty Contests”; Shear, “Polis and Panathenaia,” 331–34; Boegehold, “Group and Single Competitions at the Panathenaia,” 95–103.

56.
Aristotle,
Athenian Constitution
60.3;
IG
II
²
2311; Crowther, “Male Beauty Contests,” 286.

57.
We do hear of three other sites (Rhodes, Sestos, and Sparta) where male beauty
contests took place. Crowther, “Male Beauty Contests,” 286–88. Crowther mentions
euandria
at five festivals (including the Panathenaia and the Theseia at Athens).

58.
Pseudo-Andokides,
Against Alkibiades
4.42.

59.
See scholiast on Plato,
Phaidros
231e, for references to ephebes and altar of Eros; and Plutarch,
Life of Solon
1.4, again, for altar of Eros. See Shear, “Polis and Panathenaia,” 335–39; J. R. S. Sterrett, “The Torch-Race: A Commentary on the Agamemnon of Aeschylus vv. 324–326,”
AJP
22 (1901): 393–419; Graf, “Lampadedromia”; Kyle,
Athletics in Athens
, 190–93; Deubner,
Attische Feste
, 211–13; Simon,
Festivals of Attica
, 53–54, 63–64; Parke,
Festivals of the Athenians
, 45–46, 150–51, 171–73.

60.
IG
II
²
2311.88–89; Shear, “Polis and Panathenaia,” 335–39.

61.
For night festivals, see C. Trümpy, “Feste zur Vollmondszeit: Die religiösen Feiern Attikas im Monatlauf und der vorgeschichtliche attische Kultkalendar,”
ZPE
(1998): 109–15. For
pannychis
at the Small Panathenaia, see Shear, “Polis and Panathenaia,” 83–84, who argues that the pannychis was held, in fact, later in the week and after the sacrifices on 28 Hekatombaion. It does seem plausible that all-night dancing might take place after the feast, rather than before it. Shear points to the Bendideia (Plato,
Republic
1.328a) as a festival that concluded with a
pannychis
.

62.
Plato,
Laws
672e. See Calame,
Choruses of Young Women
, 222–38, on the socializing function of the chorus; Connelly, “Towards an Archaeology of Performance,” 324–39.

63.
Connelly, “Towards an Archaeology of Performance,” 331–33.

64.
L. B. Holland, “Erechtheum Paper II: The Strong House of Erechtheus,”
AJA
28 (1924): 142–69; L. B. Holland, “Erechtheum Papers III: The Post-Persian,”
AJA
28 (1924): 402–25; L. B. Holland, “Erechtheum Papers IV: The Building Called the Erechtheum,”
AJA
28 (1924): 425–34; Lesk, “Erechtheion and Its Reception,” 88, 114, 115, 225, 226. For discussion of staircases and performance space, see I. Nielsen,
Cultic Theatres and Ritual Drama: A Study in Regional Development and Religious Interchange Between East and West in Antiquity
(Aarhus: Aarhus University Press, 2002), 69–73, 86–128, 167–74; Mylonopoulos, “Greek Sanctuaries,” 94–99.

65.
Euripides,
Ion
492–505.

66.
For Kekropids, see Apollodoros,
Library
3.14.6. For Erechtheids, see Apollodoros,
Library
3.15.4; Euripides,
Ion
277–82; Hyginus,
Fabulae
46. A few fragmentary phrases from the
Erechtheus
, translated in Collard and Cropp’s Loeb edition,
Euripides VII: Fragments
, 388–393, might possibly allude to the suicide of the older daughters in jumping off the Acropolis. See
Erechtheus
F 370.37, “to you the dear one of my daughters”; F 370.38–39, “funeral rite”…“I have looked upon your … limbs(?)”

67.
Translation: Kovacs,
Euripides: Children of Heracles
, 84–87, with minor changes. J. Wilkins offers a commentary on these lines, Euripides,
Heraclidae
(Oxford: Clarendon Press, 1993), 151–52.

68.
C. Seltmann,
“Group H” in Athens: Its History and Coinage
(Cambridge, U.K.: Cambridge University Press, 1924), 72–78, 189–92. I am grateful to Dr. Peter van Alfen for helpful discussions of this material.

69.
C. M. Kraay,
Archaic and Classical Greek Coins
(Berkeley: University of California Press, 1976), 63–77.

70.
Euripides,
Erechtheus
F 350 Kannicht.

71.
Euripides,
Erechtheus
F 351 Kannicht.

72.
See G. Nagy,
Homer the Preclassic
(Berkeley: University of California Press, 2010), 239, for women of Troy ululating as they extend their hands in a choreographed ritual gesture to Athena: “with a cry of ololu! all of them lift up their hands to Athena” (
Iliad
6.301). Nagy points out that
ololuzein
is characteristic of female choruses on Lesbos (and elsewhere); in Alkaios, the word
ololuge
is described as
hiere
, “sacred.” I thank Greg Nagy for very helpful conversations and for sharing bibliographical references.

73.
American Heritage Dictionary
, 4th ed., s.v. “ululate”;
Online Etymology Dictionary
, s.v. “ululation,”
http://www.etymonline.com/index.php?term=ululation
.

74.
Pliny,
Natural History
10.33. I thank David S. Levene for drawing this to my attention.

75.
For ululation in Greek antiquity, see Diggle,
Euripidea
, 477–80; E. Calderón, “A propósito de ὀλολυγών (Arato, Phaenomena 948),”
Quaderni Urbinati di Cultura Classica
67 (2001): 133–39; L. Gernet,
Les grecs sans miracle
(Paris: La Découverte, 1983), 247–57; L. Deubner,
Kleine Schriften zur klassischen Altertumskunde
(Hain: Königstein/Ts, 1982), 607–34; J. Rudhardt,
Notions fondamentales de la pensée religieuse et actes constitutifs du culte dans la Grèce classique
(1958; Paris: Picard, 1992), 178–80. I am grateful to Jan Bremmer for sharing bibliographical references and for helpful discussions of this material.

76.
I am indebted to Anton Bierl for making this point.

77.
Boutsikas, “Astronomical Evidence for the Timing of the Panathenaia,” 307.

78.
Boutsikas writes: “If observed from the north porch of the Erechtheion or nearby, these movements of Draco would have been an impressive sight as the constellation is one of the largest in the sky. The constellation, although not particularly bright today, would have been extremely prominent in an era before widespread light pollution.”

79.
Boutsikas and Hannah, “Aitia, Astronomy, and the Timing of the Arrhēphoria,” 238.

80.
A. Choisy takes up the ancient experience of space on the Acropolis, discussing circulation patterns and directions of movement in
Histoire de l’architecture
(Geneva: Slatkine Reprints, 1899), 327–34, 409–22, especially in a long paragraph subtitled: “Le pittoresque dans l’art grec: Partis dissymétriques, pondération des masses: Exemple de l’Acropole d’Athènes.” I thank Yves-Alain Bois for drawing this to my attention. See also T. Mandoul,
Entre raison et utopie: L’histoire de l’architecture d’Auguste Choisy
(Wavre: Mardaga, 2008), 222–28, 234–47.

81.
Deubner,
Attische Feste
, 22–35; Simon,
Festivals of Attica
, 55–72; Parker,
Athenian Religion
, 91; Shear, “Polis and Panathenaia,” 75–76, 87–90, 120–66; Parker,
Polytheism and Society
, 253–69; Sourvinou-Inwood,
Athenian Myths and Festivals
, 263–311; L. Maurizio, “ ‘The Panathenaic Procession: Athens’ Participatory Democracy on Display?,” in
Democracy, Empire, and the Arts in Fifth-Century Athens
, ed. D. Boedeker and K. A. Raaflaub (Cambridge, Mass.: Harvard University Press, 1998), 297–317; Connolly and Dodge,
Ancient City;
Graf, “Pompai in Greece.”

82.
Connelly,
Portrait of a Priestess
, 33–39.

83.
Stavros Nearchos Collection, ca. 560–550
B.C. LIMC
2, s.v. “Athena,” no. 574; L. I. Marangou,
Ancient Greek Art from the Collection of Stavros S. Niarchos
(Athens: N. P. Goulandris Foundation, Museum of Cycladic Art, 1995), 86–93, no. 12, with full bibliography. Of course, this cannot represent a historical Panathenaic procession, as we see no hecatomb of cattle but a sow and a pig instead, unheard-of at the Panathenaia. For full discussion, see Connelly,
Portrait of a Priestess
, 187–89.

84.
Connelly, “Towards an Archaeology of Performance,” 320–24.

85.
Karyatids of even earlier date, ca. 540–530
B.C.
(Delphi inv. 1203), are sometimes attributed to the Knidian Treasury; see Ridgway,
Prayers in Stone
, 145–50; Croissant,
Les protomés féminines archaïques
, 71–82. For the Siphnian Treasury karyatids, ca. 530–525
B.C.
, see Ridgway,
Prayers in Stone
, 147–48, 168–69n11; Croissant,
Les protomés féminines archaïques
, 106–8.

86.
Connelly,
Portrait of a Priestess
, 124–25; Connelly, “Towards an Archaeology of Performance,” 320-21.

87.
Connelly,
Portrait of a Priestess
, 125; Connelly, “Towards an Archaeology of Performance,” 321–23.

88.
As Angelos Chaniotis has pointed out (personal communication), this same strategy can be seen in the Nike Apteros, or “Wingless Victory,” whose wings
were clipped to keep it from flying away, rendering Victory ever present within the sanctuary.

89.
See, for example, in the Victoria and Albert Museum,
A Temple Procession at Night
, Company School, Tanjavur (Tanjore), Tamil Nadu, ca. 1830.

90.
See C. Branfoot, “Approaching the Temple in Nayaka-Period Madurai: The Kūţal Alakar Temple,”
Artibus Asiae
60 (2000): 197–221; C. Branfoot,
Gods on the Move: Architecture and Ritual in the South Indian Temple
(London: Society for South Asian Studies, 2007). I thank Tamara Sears for alerting me to helpful bibliography.

91.
Demosthenes,
Erotikos
23–29. N. B. Crowther, “The Apobates Reconsidered (Demosthenes lxi 23–9),”
JHS
111 (1991): 174–76; M. Gisler-Hurwiler, “À propos des apobates et de quelques cavaliers de la frise nord du Parthénon,” in Schmidt,
Kanon
, 15–18; Shear, “Polis and Panathenaia,” 299–310; Neils and Schultz, “Erechtheus and the Apobates.” Thompson, “Panathenaic Festival,” 227, suggests that the
apobates
event dates back as early as the eighth or seventh century
B.C.
on the basis of late Geometric vases showing armed chariot riders.

92.
Plato Comicus, F 199 Kassel-Austin; Plutarch,
Life of Themistokles
32–35.

93.
Shear, “Polis and Panathenaia,” 339–40.

94.
S. R. F. Price,
Rituals and Power: The Roman Imperial Cult in Asia Minor
(Cambridge, U.K.: Cambridge University Press, 1984), 3–4.

95.
Based on Kallisthenes,
FGrH
124 F 52. The first identification of the Panathenaia as a celebration of Athena’s birthday was advanced by L. Preller and C. Robert,
Griechische Mythologie I: Theogonie und Götter
, 4th ed. (1894; Berlin: Weidmann, 1967), 212n2; W. Schmidt,
Geburtstag im Altertum
(Giessen: A. Töpelmann, 1908), 98–101; Deubner,
Attische Feste
, 23n10, summarized by Shear, “Polis and Panathenaia,” 29–30. See also Parke,
Festivals
, 33; Simon,
Festivals of Attica
, 55; Neils,
Goddess and Polis
, 14–15; V. Wohl, “Εὐσεβείας ἕνεκα καὶ φιλοτιμίας: Hegemony and Democracy at the Panathenaia,”
ClMed
47 (1996): 25.

96.
A. Mommsen,
Feste der Stadt Athen im Altertum: Geordnet nach Attischem Kalendar
, 2nd ed. (Leipzig: B. G. Teubner, 1898), 158. For a review of relevant ancient testimonia see Mikalson,
Sacred and Civil Calendar
, 23, and Shear, “Polis and Panathenaia,” 37. It should be said that the practice of marking birthdays is much more popular in late Hellenistic and Roman times than in the Archaic or classical Greek periods.