![]() I contend that devotion to the city’s gods and heroes and knowledge of their mythology were essential parts of the religious and ideological instruction of Athenian ephebes. 53.4-7) who played an important role in the Athenian military and socio-political system. I make the case that Codrus was one of the forty-two eponymous age-set heroes (Ath. In doing so, it offers a solution to the puzzle of Lycurgus’ calling Codrus one of the ἐπώνυμοι τῆς χώρας (Lycurg. This paper seeks to contextualize Lycurgus’ use of the historical example of King Codrus’ self-sacrifice within Athenian social memory and public discourse. The depiction of Pan together with a warrior-hoplite directly creates the allusion that the artist wanted to represent a scene from the battle of Marathon, capturing the moment that the Athenian army, in phalanx formation, is thrown to the barbarians at the double. This never before seen engraving dates back to the first half of the 5th century B.C. After a short presentation of the Arcadian god Pan, the paper deals with the spread and establishment of his cult in Attica, his connection with the battle of Marathon and his role in the final victorious outcome. Pan is the one who precedes, and the hoplite the one that follows. The figures are standing in line and have been identified with the god Pan and a hoplite. Recently, on a rocky plateau of Faskomelia hill, the rock engravings of two figures were detected. They have been attributed mainly to shepherds, and their existence directly points to the rural use of the place. Α significant number of various inscriptions has been found at the semi-mountainous areas of the deme. The geomorphological environment and the ancient architectural remains outline the deme's rural character and provide evidence for a prosperous economy based on agriculture and fishery. ![]() ![]() The ancient deme of Aixonides Halai flourished on the southwestern slopes of Mount Hymettus, Attica. ![]()
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