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Headword:
*)aga/qarxos
Adler number: alpha,109
Translated headword: Agatharkhos, Agatharchos, Agatharchus
Vetting Status: high
Translation: A proper name. He was an outstanding painter from nature, the son of Eudemos, of Samian stock.
Greek Original:*)aga/qarxos: o)/noma ku/rion. h)=n de\ zwgra/fos e)pifanh\s, *eu)dh/mou ui(o\s, to\ de\ ge/nos *sa/mios.
Notes:
After the initial gloss, this entry derives from Harpokration s.v., commenting on
Demosthenes 21.147 (web address 1).
The other primary sources on A. (translated in Pollitt, below) are
Plutarch,
Life of Pericles 13.2 (web address 2);
Plutarch,
Life of Alcibiades 16.4 (web address 3);
Vitruvius,
On Architecture 7, praef. 1l (web address 4).
According to tradition, A. was the first painter to make a theatrical
skene (for
Aeschylus).
OCD(4) s.v. (p.35)
J.J. Pollitt, The Art of Ancient Greece (Cambridge 1990) 145-6 (with 188)
Associated internet addresses:
Web address 1,
Web address 2,
Web address 3,
Web address 4
Keywords: art history; biography; definition; geography; rhetoric; science and technology; stagecraft; tragedy
Translated by: Elizabeth Vandiver on 1 October 1999@23:24:55.
Vetted by:
Headword:
*)/agalma
Adler number: alpha,131
Translated headword: decoration, delight, ornament, statue
Vetting Status: high
Translation: Anything in which someone takes delight.[1]
"And he [A] gives silver, so that he [B] might complete the statue with the utmost artisanry, adding the size and prescribing the nature of the stone."[2]
Greek Original:*)/agalma: pa=n e)f' w(=| tis a)ga/lletai. kai\ di/dwsin a)rgu/rion, i(/na e)kponh/sh| to\ a)/galma a)/kras te/xnhs, prosqei\s to\ me/geqos kai\ proseipw\n th=s li/qou th\n fu/sin.
Notes:
Keywords: art history; comedy; definition; economics; epic; ethics; science and technology; trade and manufacture
Translated by: William Hutton on 22 June 2000@01:06:06.
Vetted by:David Whitehead (added note; cosmetics) on 9 February 2001@09:59:18.
David Whitehead (augmented notes and keywords; cosmetics) on 18 February 2011@06:57:00.
David Whitehead (another note; more keywords; tweaks) on 23 December 2011@03:46:34.
Catharine Roth (updated reference in note 2) on 28 January 2012@19:11:34.
Headword:
*)/agalma
*)aqhna=s
Adler number: alpha,132
Translated headword: statue of Athena
Vetting Status: high
Translation: Look under "Athena's"[1]; and see "statue, desolating abomination" under "Antiochos".[2] And see "statue of Apollo" under "Apollo's statue".[3] And see "statue of Dionysus" under "Auxentios".[4]
Greek Original:*)/agalma *)aqhna=s: zh/tei e)n tw=| *)aqhna=s: kai\ zh/tei a)/galma bde/lugma th=s e)rhmw/sews e)n tw=| *)anti/oxos: kai\ zh/tei a)/galma *)apo/llwnos e)n tw=| *)apo/llwnos a)/galma: kai\ zh/tei a)/galma *dionu/sou e)n tw=| *au)ce/ntios.
Notes:
This entry, more of a set of cross references than anything else, appears as a marginal gloss in two of the better manuscripts, Adler's A (= Parisinus 2625) and M (=
Marcianus 448).
[1]
alpha 727.
[2]
alpha 2693, where the text actually reads "idol (
ei)/dwlon), abomination of desolation". For the meaning of the phrase see
Dan. 11.31.
[3]
alpha 3425.
[4]
alpha 4450.
Translated by: William Hutton on 12 January 1999@12:36:32.
Vetted by:
Headword:
*)aga/lmata
Adler number: alpha,133
Translated headword: delights, ornaments, statues
Vetting Status: high
Translation: [Meaning] the likenesses of the gods, and anything that is decorative in some way.
Homer [writes]: "but it is stored away as a delight for the king."[1] And Hesiod calls a necklace an "ornament";[2] but
Pindar uses this term for the decoration on a tomb,[3] and
Euripides uses it for the adornments for corpses.[4]
Also something in which someone takes delight.[5]
Also [sc. a term for] image, wooden statue, delight, beauty, ornament, source of pride, palm leaves,[6] [human] statues, [honorific?] inscriptions.
Paintings and [human] statues are also called
agalmata.[7]
agalmation [is] the diminutive form.
*)aga/lmata: ta\ tw=n qew=n mimh/mata, kai\ pa/nta ta\ ko/smou tino\s mete/xonta. *(/omhros: basilh=i+ de\ kei=tai a)/galma. kai\ *(hsi/odos to\n o(/rmon a)/galma kalei=: *pi/ndaros de\ th\n e)pi\ ta/fou sth/lhn ou(/tw kalei=, *eu)ripi/dhs to\n e)pi\ nekroi=s ko/smon. kai\ e)f' w(=| tis a)ga/lletai. kai\ to\ ei)/dwlon, bre/tas, xa/rma, kallonh\, ko/smos, kau/xhma, qalloi\, a)ndria/ntes, e)pigrafai/. *)aga/lmata de\ kai\ ta\s grafa\s kai\ tou\s a)ndria/ntas le/gousin. *)agalma/tion de\ u(pokoristikw=s.
Notes:
The (neuter) headword is the plural of
alpha 131 (and cf.
alpha 132). It is perhaps, though not necessarily, quoted from somewhere.
[1]
Homer,
Iliad 4.144 (web address 1), on an ivory cheek-piece for a horse.
[2] This fragment of Hesiod (142 Merkelbach-West, 233 Rzach) is not known from any other source. It may pertain to the story of Europa in the
Catalogue of Women.
[3]
Pindar,
Nemean Odes 10.125 (67 Bowra): web address 2.
[4]
Euripides,
Alcestis 613: web address 3.
[5] Already at
alpha 131.
[6] Used as prizes for victors in competition.
[7] Same material in
Photius (Lexicon alpha92 Theodoridis) and elsewhere; cf. Kassel-Austin, PCG II p.365 (on
Antiphanes fr.102).
Web address 1,
Web address 2,
Web address 3
Keywords: art history; athletics; comedy; definition; dialects, grammar, and etymology; epic; ethics; mythology; poetry; religion; trade and manufacture; tragedy
Translated by: William Hutton on 12 January 1999@12:39:04.
Vetted by:
Headword:
*)agalmatopoioi/
Adler number: alpha,135
Translated headword: statue-makers, sculptors
Vetting Status: high
Translation: That is, craftsmen; these [are] in the strict sense Lysippus, Polycleitus, Pheidias.[1]
Greek Original:*)agalmatopoioi/: toute/sti xeirourgoi/: ou(=toi a)kribei=s *lu/sippos, *polu/kleitos, *feidi/as.
Notes:
The headword, a nominative plural, is presumably quoted from somewhere; perhaps
Herodotus 2.46.2, but it may just be an internal cross-reference to
chi 266.
[1] Or meaning these three are outstandingly precise (as, apparently, at
chi 266).
See web address 1, web address 2, and web address 3 for information on these three sculptors of the C5 and (Lysippus) C4 BC.
Web address 1,
Web address 2,
Web address 3
Keywords: art history; biography; definition; dialects, grammar, and etymology; trade and manufacture
Translated by: William Hutton on 9 February 2000@02:47:56.
Vetted by:
Headword:
*)aglaofw=n
Adler number: alpha,267
Translated headword: Aglaophon
Vetting Status: high
Translation: A proper name.
Greek Original:*)aglaofw=n: o)/noma ku/rion.
Note:
Pausanias (10.27.4, see web address 1) quotes an epigram of
Simonides, naming Aglaophon as the father of the painter Polygnotos. See also
pi 1948.
Associated internet address:
Web address 1
Keywords: art history; biography; definition; poetry
Translated by: Roger Travis on 4 October 2000@12:50:21.
Vetted by:
Headword:
*)/agousan
Adler number: alpha,316
Translated headword: having the weight of, weighing
Vetting Status: high
Translation: Being equal in weight.
"So having prepared a golden Victory, having the weight of 10,000 gold coins, he sent ambassadors to Rome to convey it to the people."[1]
Greek Original:*)/agousan: i)sostaqmou=san. dio/per kataskeua/sas *ni/khn xrush=n, a)/gousan o(lkh\n xrusi/wn muri/wn, e)cape/steile presbeuta\s ei)s th\n *(rw/mhn tou\s tau/thn komiou=ntas tw=| dh/mw|.
Notes:
The headword, presumably extracted from the quotation given, is the present active participle, feminine accusative singular, of the verb
a)/gw. (For this sense of it, see LSJ s.v., VI.)
[1]
Diodorus Siculus 33.28a; cf.
epsilon 3786,
lambda 865.
Translated by: Malcolm Heath on 11 June 1999@11:10:56.
Vetted by:William Hutton (Modified headword, added keywords, set status.) on 23 October 2000@22:06:44.
David Whitehead (augmented note) on 29 April 2002@07:33:34.
David Whitehead (expanded primary note; more keywords; cosmetics) on 6 January 2012@04:49:35.
Headword:
*)ada/m
Adler number: alpha,425
Translated headword: Adam
Vetting Status: high
Translation: The first human, he who was shaped by the hand of God and formed in the image and likeness of the Creator and Founder; he was also deemed worthy of a dwelling in Paradise. He could justly be called the first wise man, since he was the first likeness created and an image wrought by God, and also because he had a full share of all the graces that exist. And all the senses of the body and the soul he possessed in a pure and unadulterated state. For rays of a certain sort, so to speak, flashed from the soul of that man, rays teeming with divine thoughts and energies, and they coursed through all nature, accurately and unerringly anticipating the particular virtue of each thing. Those who judged him were not men, who often make judgments in an erroneous fashion, but the God of everything, who makes every decision and judgment correctly, and, before his mind was stirred to action, by the soul, which labors over such things and gives birth to ideas. And as Scripture says: "God made all the domesticated and wild animals and the things that crawl and the winged things, and he brought them before Adam to see what he would call them, and whatever Adam called them, that was their name."[1] And what is more perfectly clear than this statement and this testimony? What more sublime than this wisdom and this discrimination? He gave names to nature itself, as though prescribing the essence of each animal, without practice, without prior consideration, with no preparatory effort at the things which people take pains to learn. And although many, nay, innumerable species were brought before him no one has managed to change the name even of some insignificant animal, nor did anyone manage to attain even a fraction of his great wisdom and discrimination. Instead all humans scattered across the entire earth continue following his pronouncements unaltered. And the first-born one's surpassing judgment in all things did not stop there, but also extended to the varieties of seeds and plants and the uses of roots and herbs. And whatever in the way of prevention and treatment nature assigned to each of the living things he determined and made clear. He, the first to see woman, spoke about her not as with a human mouth. As though he were echoing some divine pronouncement he uttered incisively that celebrated and awe-inspiring saying: "this now is bone of my bones and flesh of my flesh. She will be called woman, because she was taken out of her man."[2] He, moreover, is the one who assesses each thing and establishes rules, precise standards, and incontestable boundaries for all. His are the crafts and letters, his are rational and non-rational sciences, his are prophethoods, priesthoods, purifications and laws both written and unwritten; his are all discoveries and doctrines and whatever needs and regimens are essential for life. He is the first representation of mankind, the image summoned from God; all image-making among men starts out from him as a model, though more and more they sink to a level inferior to his blessed and God-like image, which had no starting point upon which one who molded or painted images after him might depend; to such an extent that the Abomination, the Apostate, the deceiving Devil toppled him from his original foundation and position and caused him to be borne headfirst into pit-like and unlit places which reach all the way down to the joyless recesses of Hades. And from this point human nature became caricatured and falsified and was stamped with the shapings and designs of the Tyrant. From this source that bastard wisdom had its beginnings, for divine wisdom had made its escape and had flown up toward heaven, whence it had previously started out. Whence the Imposter expropriated the name of God and dealt it out it in many directions, giving himself different names, such as "Kronos" and "Zeus", and -- the most wicked thing of all -- the Criminal even had the gall to drag down the blessed and ineffable nature [of God] and associate it with names that were female and unworthy of respect, such as those "Rheas" and "Aphrodites" and "Athenas" and thousands of others, and into strange forms and shapes of illogical things which the Creator of Evil and the Hatcher of Heresy invented and carved out. Hence the wretched tales of the Egyptians about Osiris and Typhon and Isis, and the chicanery of the Persian Magi, and the gymnosophistry and impertinent fantasies of the Brahmans, the fabled sayings of the Skythians and the orgies of the Thracians and the flutes and Corybantes of the Phyrgians. Hence the deceitful and damaging astrology of the Chaldaeans. Hence poetry, the midwife of lies, the pretentious diction of Greek storytelling. Hence Orpheus and
Homer and that portrayer of improper begettings, Hesiod. Hence the reputation of
Thales and the glorious
Pythagoras and Socrates the wise and
Plato, the much-ballyhooed pride of the Academy of the Athenians. Hence the Parmenideses and the Protagorases and the Zenos. Hence the Stoas, and the Areopaguses and the Epicureans. Hence the dirges and breast-beatings of the tragedians and the jestings and raillery of the comics. Hence the dishonest divinations of Loxias the liar[3] and the remaining shenanigans and omen-mongering of Greek sophistication. And lest I prolong my essay by getting caught up in rotten and malodorous myths, the Imposter, having taken the burden of the entirety of creation on himself, and having taken man under his control as though he were a slave, went through all that is below heaven and patrolled the earth and kept watch over everything like a hen on her eggs, as he himself says in his lying fashion. He thought that it was necessary to set his throne above the clouds of heaven and to be equal to the Highest One. But the only begotten Son of God, the primordial Word, took pity on mankind since it had been deceived by the serpent, removed himself from the lap of the Father and became flesh by the Holy Spirit and by the Holy Virgin and Mother of God, Mary. He defeated his rival through the hallowed cross and through his suffering and went down to the lowest reaches of the earth and from there dragged back the fallen first-formed one, restoring the primordial beauty to his image and the original worth to his nature. And at that point the entire regime and conformity of the Tyrant vanished, as the light of piousness beamed more brightly than the rays of the sun on the entirety of creation. From this light the godly wisdom once again shone through and gave voice to the tongues of the fishermen and made the unwise teachers of the wise. From this came the birth of thunder, as follows: "In the beginning was the word."[4] It flashed forth from heavenly clouds and thundered and brought light to the entire inhabited world. And through this light Paul is carried to the Third Heaven and sees the unseeable and hears the unspoken sayings and speeds across the entire earth like a bird bringing the Gospel of Jesus in mid air. Thence Peter named Christ the son of the living God, and he is entrusted with the keys of the kingdom of the heavens, so that he may open the entrance to the divine palace for those who believe and lock it against those who do not. Thence flocks of martyrs cast down idols and hasten readily toward their death, displaying their wounds as crowns and their blood as robes of purple, beautiful in victory. The first-formed one should be considered the one who directs this writing, in my opinion and judgment at any rate, as a river the spring and the sea, and roots and branches and shoots, and as the one who originates all human nature, the beginning offerings and the first-fruits.
From Adam until the flood: 2242 years; from the flood until the building of the tower [sc. of Babel], 525 years; from the building of the tower until Abraham, 425. From Abraham until the Exodus of the sons of Israel from Egypt, 430. From the Exodus until the building of the Temple of Solomon, 757 years. From the building of the temple until the captivity of Israel, 425. Altogether 4880 years.[5] From the captivity until king Alexander [sc. the Great], 318. From Alexander until Christ our God, 303. Altogether 5500 years.[6] From Christ until Constantine the Great, 318. From Constantine until Michael son of Theophilos, 555. The whole span altogether 6375 years.[7] From Michael to Romanos son of Constantine Porphyrogennetos ... years.[8] From Porphyrogennetos to the death of John Tzimiskes ... years.[9]
Also [sc. attested is the adjective]
Adamiaios, [meaning he who is descended] from Adam.
*)ada/m: o( prw=tos a)/nqrwpos, o( xeiri\ qeou= plasqei\s kai\ kata\ th\n ei)ko/na kai\ o(moi/wsin morfwqei\s tou= dhmiourgou= te kai\ kti/santos, o( kai\ timhqei\s th\n ei)s para/deison oi)/khsin. ou(=tos dikai/ws a)\n prw=tos kaloi=to sofo\s w(s prwto/ktiston a)/galma kai\ ei)kw\n ou)=sa qeo/grafos, w(s tw=n xari/twn o(/lwn u(pa/rxwn a)na/plews kai\ pa/nta kaqara\ kai\ a)ki/bdhla perife/rwn ta\ yuxh=s te kai\ sw/matos ai)sqhth/ria. marmarugai\ ga/r tines, w(s ei)pei=n, e)k th=s e)kei/nou yuxh=s a)pastra/ptousai kai\ qei/wn e)nnoiw=n te kai\ e)nergeiw=n plh/qousai kata\ pa=san ei)se/trexon fu/sin eu)sto/xws kai\ a)namarth/tws to\ oi)kei=on e(ka/sths pleone/kthma fqa/nousai. o(\s ou) para\ a)nqrw/pwn e)dokima/sqh tw=n ta\s kri/seis polla/kis e)pisfalw=s poioume/nwn, a)lla\ para\ tou= tw=n o(/lwn qeou= tou= pa=san gnw=sin kai\ kri/sin o)rqw=s poioume/nou kai\ pro\ tou= ta\s e)nnoi/as kinhqh=nai para\ th=s w)dinou/shs ta\ toiau=ta yuxh=s kai\ a)potiktou/shs noh/mata. kai\ h(=| fhsin h( grafh/: e)poi/hsen o( qeo\s pa/nta ta\ kth/nh kai\ ta\ qhri/a kai\ ta\ e(rpeta\ kai\ peteina\ kai\ h)/gagen au)ta\ pro\s to\n *)ada\m i)dei=n, ti/ kale/sei au)ta/. kai\ o(\ e)ka/lesen *)ada\m, tou=to o)/noma au)tw=|. ti/ th=s fwnh=s tau/ths kai\ marturi/as a)ridhlo/teron; ti/ th=s sofi/as tau/ths kai\ diagnw/sews u(yhlo/teron; e)ka/lesen o)no/mata th\n fu/sin au)th\n kai\ th\n u(po/stasin e(ka/stou zw/|ou w(/sper u(pografo/menos, ou) meleth/sas, ou) proskeya/menos, ou)de/n ti propeponqw\s tw=n o(/sa metamanqa/nousin a)/nqrwpoi. kai\ pollw=n kai\ a)nari/qmwn genew=n paradramousw=n ou)k i)/sxusen ou)dei\s u(palla/cai ka)\n tou= tuxo/ntos zw/|ou to\ o)/noma, ou)de\ th=s e)kei/nou dra/casqai megalonoi/as kai\ diagnw/sews. ma=llon me\n ou)=n me/nousin a(/pantes oi( kata\ pa=san e)sparme/noi th\n gh=n a)/nqrwpoi toi=s e)kei/nou stoixou=ntes a)metaqe/tois qespi/smasi. kai\ ou)de\ me/xri tou/twn e)/sth tou= prwtogo/nou a)nqrw/pou to\ u(perba/llon e)n pa=sin a)ci/wma, a)lla\ kai\ sperma/twn kai\ futw=n diafora\s r(izw=n te kai\ botanw=n duna/meis, kai\ o(/sa ei)s a)nti/lhyin kai\ qerapei/an h( fu/sis e(ka/stw| prosarmo/ttei tw=n zw/|wn, die/krine/ te kai\ e)sa/fhsen. ou(=tos kai\ th\n gunai=ka prw=tos i)dw\n ou)x w(/sper e)k sto/matos a)nqrwpi/nou peri\ tau/ths e)fqe/gcato, a)ll' w(s e)/k tinos qei/as o)mfh=s e)nhxou/menos eu)sto/xws to\ poluu/mnhton e)kei=no kai\ qaumasto\n a)pefoi/base lo/gion: tou=to nu=n o)stou=n e)k tw=n o)ste/wn mou kai\ sa\rc e)k th=s sarko/s mou. au(/th klhqh/setai gunh\, o(/ti e)k tou= a)ndro\s au)th=s e)lh/fqh. ou(=tos toi/nun e)sti\n o( dokima/sas e(/kasta kai\ pa=si kano/nas kai\ sta/qmas a)kribei=s kai\ o(/rous a)nantirrh/tous e)narmo- sa/menos. tou/tou te/xnai kai\ gra/mmata, tou/tou e)pisth=mai logikai/ te kai\ a)/logoi, tou/tou profhtei=ai, i(erourgi/ai kai\ kaqarismoi\ kai\ no/moi graptoi/ te kai\ a)/grafoi, tou/tou pa/nta eu(rh/mata kai\ dida/gmata, kai\ o(/sai kata\ to\n bi/on a)nagkai=ai xrei=ai/ te kai\ di/aitai. ou(=to/s e)stin o( prw=tos a)ndria\s, to\ qeo/klhton a)/galma, a)f' ou(=per a)peuqu/nontai pa=sai a)nqrw/pwn a)galmatourgi/ai, ka)\n pro\s to\ h(=tton ma=llon kai\ ma=llon e)kpi/ptwsin e)kei/nou tou= makari/ou kai\ qeoeidou=s a)peika/smatos mhdemi/an e)/xontos a)formh\n, h(=s a)\n e)pila/boito o( met' e)kei=non diaplatto/menos h)\ zw|grafou/menos, e(/ws o( palamnai=os kai\ a)posta/ths kai\ pla/nos dia/bolos tou=ton e)ceku/lisen e)k th=s oi)kei/as i(dru/sew/s te kai\ sta/sews kai\ kata\ tou= pranou=s ei)/ase fe/resqai pro\s baraqrw/deis tina\s kai\ a)lampei=s xw/rous kai\ me/xri tw=n a)meidh/twn tou= a(/|dou keuqmw/nwn e)ggi/zontas. ka)nteu=qen h)/rcato fu/sis h( tw=n a)nqrw/pwn paraxara/ttesqai kai\ diakibdhleu/esqai kai\ tupou=sqai toi=s tou= tura/nnou morfw/masi/ te kai\ sxh/masin. e)nteu=qen h( no/qos sofi/a ta\s a)forma\s e)/labe, th=s qei/as drapeteusa/shs kai\ pro\s ou)rano\n a)napta/shs, o(/qen to\ pro/teron h)=n a)formh/sasa. o(/qen o( pla/nos to\ tou= qeou= sfeterisa/menos o)/noma ei)s polla\ kateme/rise, *kro/nous te kai\ *zh=nas kai\ *poseidw=nas e(auto\n metakalw=n: kai\ to\ dh\ pa/ntwn a)nosiw/taton, ei)s o)no/mata qh/lea/ te kai\ a)/semna th\n makari/an kai\ a)/rrhton sugkataspa/sai fu/sin o( a)lith/rios kateto/lmhsen, ei)/s te ta\s *(re/as e)kei/nas kai\ *)afrodi/tas kai\ *)aqhna=s kai\ ei)s a)/llas muri/as kai\ a)lloko/tous a)lo/gwn i)de/as te kai\ morfa\s, a(\s o( kaki/as dhmiourgo\s kai\ th\n a)postasi/an nosh/sas e)pe/xrwse/ te kai\ diexa/racen. e)nteu=qen *ai)gupti/wn ta\ peri\ *)/osirin kai\ *tufw=na kai\ *)/isin moxqhra\ dihgh/mata kai\ *persw=n magika\ magganeu/mata kai\ *braxma/nwn gumnosofisti/ai kai\ a)/kairoi fantasi/ai kai\ h( qaumazome/nh *skuqw=n r(h=sis kai\ ta\ *qra|kw=n o)/rgia kai\ oi( *frugw=n au)loi\ kai\ *koru/bantes. e)nteu=qen h( *xaldai/wn a)stronomi/a h( sfalera/ te kai\ poluw/dunos. e)nteu=qen h( tou= yeu/dous loxeu/tria poi/hsis, h( tw=n *(ellhnikw=n lhrhma/twn semnomuqi/a. e)nteu=qen *)orfeu/s te kai\ *(/omhros kai\ o( tw=n a)qemi/twn gonw=n zw|gra/fos *(hsi/odos. e)nteu=qen h( *qa/lhtos do/ca kai\ o( kleino\s *puqago/ras kai\ o( sofo\s *swkra/ths kai\ *pla/twn, to\ th=s *)aqhnai/wn *)akadhmi/as poluqru/lhton semnolo/ghma. e)nteu=qen oi( *parmeni/dai kai\ *prwtago/rai kai\ *zh/nwnes. e)nteu=qen ai( *stoai\ kai\ oi( *)/areioi pa/goi kai\ *)epikou/reioi. e)nteu=qen oi( tragw|dw=n qrh=noi kai\ kopetoi\ kai\ ta\ kwmikw=n pai/gnia kai\ twqa/smata. e)nteu=qen ta\ dolera\ tou= *loci/ou kai\ yeudhgo/rou qespi/smata kai\ h( loiph\ tw=n *(ellhnikw=n komyeuma/twn e)resxeli/a kai\ teratei/a. kai\ i(/na mh\ makro\n a)potei/nw to\n lo/gon ei)s saprou/s te kai\ o)dwdo/tas mu/qous e)nasxolou/menos, pa=san ei)s e(auto\n th\n kti/sin o( pla/nos e)mfortisa/menos kai\ labw\n u(po\ xei=ra to\n a)/nqrwpon w(s a)ndra/podon kai\ dierxo/menos th\n u(p' ou)rano\n kai\ peripatw=n th\n gh=n kai\ w(s w)a\ pa/nta kate/xwn, w(s au)to/s pou/ fhsin a)lazoneuo/menos, w)/|eto dei=n to\n e(autou= qro/non qh/sein e)pa/nw tw=n nefelw=n tou= ou)ranou= kai\ e)/sesqai o(/moios tw=| *(uyi/stw|. a)ll' o( tou= qeou= monogenh\s ui(o\s kai\ lo/gos o( proaiw/nios oi)ktei/ras to\n a)/nqrwpon w(s h)pathme/non u(po\ tou= dra/kontos e)k tw=n tou= patro\s ko/lpwn e(auto\n e)ke/nwse kai\ sarkwqei\s e)k pneu/matos a(gi/ou kai\ e)k th=s a(gi/as parqe/nou kai\ qeoto/kou *mari/as, kai\ dia\ tou= timi/ou staurou= kai\ tou= pa/qous au)tou= katabalw\n to\n a)nti/palon kai\ kataba\s ei)s ta\ katw/tata me/rh th=s gh=s e)kei=qen ei(/lkuse to\n parapeso/nta prwto/plaston, a)podou\s th=| ei)ko/ni to\ prw=ton ka/llos kai\ th=| fu/sei to\ a)rxai=on a)ci/wma. ka)nteu=qen h)fa/nistai pa=sa h( tou= tura/nnou dunastei/a kai\ summorfi/a tou= th=s eu)sebei/as fwto\s diauga/santos pa/sh| th=| kti/sei tw=n h(liakw=n marmarugw=n thlauge/steron. e)k tou/tou tou= fwto\s h( kata\ qeo\n sofi/a pa/lin die/lamye kai\ glw/ssas a(lie/wn e)sto/mwse kai\ tw=n sofw=n didaska/lous tou\s a)so/fous ei)rga/sato e)nteu=qen o( th=s bronth=s go/nos, to\: e)n a)rxh=| h)=n o( lo/gos, e)c ou)rani/wn nefelw=n a)pastra/yas e)bro/nthse, kai\ pa=san th\n oi)koume/nhn e)la/mprune. ka)k tou/tou tou= fwto\s *pau=los ei)s tri/ton ou)rano\n a)nafe/retai kai\ qea=tai ta\ a)qe/ata kai\ tw=n a)rrh/twn u(pakou/ei logi/wn kai\ diatre/xei pa=san th\n gh=n w(s pthno\s kai\ a)e/rios to\n *)ihsou=n eu)aggelizo/menos. e)nteu=qen o( *pe/tros to\n *xristo\n ui(o\n qeou= tou= zw=ntos w)no/mase kai\ ta\s klei=s th=s tw=n ou)ranw=n pisteu/etai basilei/as, i(/na a)noi/gh| me\n toi=s pistoi=s, a)poklei/h| de\ toi=s a)pi/stois tw=n qei/wn a)nakto/rwn th\n ei)/sodon. e)nteu=qen a)ge/lai martu/rwn kataba/llousin ei)/dwla kai\ tre/xousin e(/toimoi pro\s to\n qa/naton, w(s stefa/nous ta\s plhga\s kai\ w(s porfu/ras ta\ e(autw=n ai(/mata perife/rontes oi( kalli/nikoi. e)/stw gou=n o( prwto/plastos a)rxhgo\s tou=de tou= gra/mmatos, kata/ ge to\n e)mo\n o(/ron kai\ lo/gon, w(s potamo\s phgh/ te kai\ qa/latta kai\ r(i/za kai\ kla/doi kai\ o(/rphkes kai\ pa/shs u(pa/rxwn th=s a)nqrwpi/nhs fu/sews a)parxh\ kai\ prwto/leion. o(/ti a)po\ *)ada\m e(/ws tou= kataklusmou= e)/th #22bsmb#. a)po\ de\ tou= kataklusmou= e(/ws th=s purgopoii/+as e)/th fke#. a)po\ de\ th=s purgopoii/+as e(/ws tou= *)abraa\m uke#. a)po\ de\ tou= *)abraa\m e(/ws th=s e)co/dou tw=n ui(w=n *)israh\l e)c *ai)gu/ptou ul#. a)po\ de\ th=s e)co/dou e(/ws th=s oi)kodomh=s tou= *solomwntei/ou naou= e)/th ynz#. a)po\ de\ th=s oi)kodomh=s tou= naou= e(/ws th=s ai)xmalwsi/as tou= *)israh\l uke#. o(mou= e)/th #22dwp#. a)po\ de\ th=s ai)xmalwsi/as e(/ws *)aleca/ndrou basile/ws tih#. a)po\ de\ *)aleca/ndrou e(/ws *xristou= tou= qeou= h(mw=n tg#. o(mou= e)/th #22ef#. a)po\ de\ *xristou= e(/ws tou= mega/lou *kwnstanti/nou tih#. a)po\ de\ *kwnstanti/nou me/xri *mixah\l ui(ou= *qeofi/lou fne#. o(mou= ta\ pa/nta e)/th #22#2toe#. a)po\ de\ *mixah\l e(/ws *(rwmanou= ui(ou= *kwnstanti/nou tou= *porfurogennh/tou e)/th ... a)po\ de\ tou= *porfurogennh/tou e(/ws th=s teleuth=s *)iwa/nnou tou= *tzimiskh= e)/th ... kai\ *)adamiai=os, a)po\ *)ada/m.
Notes:
The great bulk of this entry -- 104 lines out of 117 in the printed edition -- is a
tour de force of polemic by an unidentifiable scholar quite outside the type of neutral reticence which characterises most of the contributors to the Suda (although Küster suggests a comparison with the entry on Job at
iota 471). His self-styled "essay" (
logos), unparalleled in this form and content elsewhere, is a tirade on two levels: explicitly, against the great men of pagan culture(s), and also implicitly, in that its determination to enhance the significance of Adam to extraordinary levels rests in part upon an almost Pelagian exculpation of him from the taint of original sin.
[1] A paraphrase of
Genesis 1.20 and 2.19.
[2]
Genesis 2.23; the wordplay between "man" and "wo-man" in English, is also present in the original Hebrew איש
ʾīš and אישה
ʾīššah, but not in the Greek.
[3] i.e. Apollo (
lambda 673).
[4]
John 1.1.
[5] The actual sum of the numbers given up to this point is 4804 (
dwd) instead of the 4880 (
dwp) of the mss.
[6] The actual sum of all the numbers given so far is 5432; adding merely the last two numbers to the previous summation yields 5528.
[7] 6373, counting from the last summation. The actual total of all individual numbers is 6305. (Up to this point the chronology is taken from George the Monk,
Chronicon 804.1-20; and cf. generally
phi 45. The two time-spans which now follow are odd, in that the chronology stops being linear.)
[8] Romanus (II) died in 963.
[9] John died in 976.
Translated by: William Hutton on 23 April 2001@15:37:44.
Vetted by:
Headword:
*)adai=on
Adler number: alpha,431
Translated headword: unfired, Adaios, Adaeus
Vetting Status: high
Translation: [Meaning] unburnt.[1]
Also [sc. attested is] Adaios, a proper name.[2]
Greek Original:*)adai=on: a)/kauston. kai\ *)adai=os: o)/noma ku/rion.
Notes:
Same material, according to Adler, in the
Ambrosian Lexicon (484, 414).
[1] The primary headword, evidently quoted from somewhere, is masculine accusative singular or neuter nominative/accusative singular of this adjective. The glossing interprets it as if derived from
dai/w, "burn" (
delta 112); however, the only entry in LSJ for
a)dai=os (web address 1 below) connects it with
a)/dhn, "sufficiently", and translates it as "producing surfeit", citing
Sophron 137.
[2] The individual in question is probably the C4 BCE Macedonian general of this name, nicknamed Rooster. See principally
Theopompus FGrH 115 F249 (quoted by
Athenaeus), with N.G.L. Hammond & G.T. Griffith,
A History of Macedonia 2 (Oxford 1979) 441. But for another possibility see under
alpha 594.
Web address 1
Keywords: biography; comedy; definition; dialects, grammar, and etymology; historiography; history; military affairs
Translated by: William Hutton on 6 November 2000@13:43:37.
Vetted by:
Headword:
*)aei/delon
Adler number: alpha,613
Translated headword: dark, obscure, invisible
Vetting Status: high
Translation: [Meaning] unseen.[1]
Also [sc. attested is] a)eide/s ["deformed/unsightly"], [meaning something] painful.[2]
Also [sc. attested is] a)eide/steron ["more/rather shapeless"], [meaning] formless.
"[Craftsmen] who take the formless and rather shapeless copper and stretch and fashion it into shape."[3]
Greek Original:*)aei/delon: a)o/raton. kai\ *)aeide\s, luphro/n. kai\ *)aeide/steron, a)/morfon. to\n xalko\n a)/morfon paralabo/ntes kai\ a)eide/steron ei)s morfh\n e)ntei/nousi kai\ katasxhmati/zousi.
Notes:
[1] Similarly in other lexica. This primary headword itself is masculine accusative singular or neuter nominative/accusative singular of the poetic adjective
a)ei/delos. It has perhaps been extracted from somewhere in this form; alternatively it has been generated by Hesiod's use of this adjective (noted in lexica, where a neuter plural is quoted: fr. 67b) to mean unseen.
[2] Neuter singular. Same lemma and gloss transmitted at
Photius alpha406 Theodoridis, though the former should be
a)hde/s.
[3]
Damascius, quoted from
delta 436.
Translated by: Carl Widstrand on 12 January 2000@18:30:22.
Vetted by:David Whitehead (added keywords; cosmetics) on 8 May 2002@07:35:07.
David Whitehead (tweaked tr; augmented notes and keywords; betacoding and other cosmetics) on 16 August 2006@04:43:33.
David Whitehead (augmented notes and keywords; tweaks and cosmetics) on 12 January 2012@08:33:22.
David Whitehead (expanded n.2) on 19 August 2013@06:21:57.
David Whitehead on 30 April 2015@09:25:26.
Headword:
*)aei\
toi=s
e)rw=sin
su/nesmen
Adler number: alpha,643
Translated headword: always we associate with love(r)s
Vetting Status: high
Translation: Aristophanes [sc. says this] about birds.[1] Because lovers give noble birds to please their beloveds. And the nuthatch or some other sort of bird appears fortunate for lovers.[2] "I, o Leukippe, [am] a fortunate nuthatch."[3]
The [bird] now, I think, called a
sitaris.
Greek Original:*)aei\ toi=s e)rw=sin su/nesmen: *)aristofa/nhs peri\ o)rni/qwn. dia\ to\ tou\s e)rasta\s o)/rniqas eu)genei=s xari/zesqai toi=s e)rwme/nois. kai\ h( si/tth de\ kai\ ei)/ ti toiou=ton o)/rneon decia\ pro\s tou\s e)/rwtas fai/netai. e)gw\ me\n, w)= *leuki/pph, decia\ si/tth. h( nu=n oi)=mai legome/nh sita/ris.
Notes:
[1]
Aristophanes,
Birds 704 (without 'always': web address 1 below). The
scholia there supply the material which now follows; see further below, n.3.
[2] So on vase-paintings: see Dunbar [below] 447. (For this sense of
dexios, with particular reference to birds, see LSJ s.v., II.)
[3]
Poetae Lyrici Graeci 3.695. (The scholiast's version is somewhat different, e.g. the addressee is male: Leukippos.)
Aristophanes, Birds, edited with introduction and commentary by Nan Dunbar (Oxford 1995)
Associated internet address:
Web address 1
Keywords: art history; comedy; gender and sexuality; poetry; women; zoology
Translated by: Jennifer Benedict on 18 March 2001@16:13:29.
Vetted by:David Whitehead (modified translation; augmented notes; added keyword) on 19 March 2001@05:20:48.
David Whitehead (another keyword; cosmetics) on 15 August 2006@04:51:02.
Jennifer Benedict (updated link) on 16 March 2008@03:32:50.
David Whitehead (modified aspects of tr; expanded n.2; tweaks and cosmetics) on 12 January 2012@11:02:24.
David Whitehead (tweaked and expanded notes) on 1 May 2015@04:01:00.
Headword:
*)aqhna=s
a)/galma
do/ru
kratei=
Adler number: alpha,727
Translated headword: Athena's statue holds a spear
Vetting Status: high
Translation: Because of the steadfastness and masculinity [sc. of such an attribute]; likewise also a shield, from her turning-away every treachery through her wisdom; for [wisdom] is [close] to intelligence. And they gave her a helmet because of her being the invisible[1] summit of wisdom; also an olive-tree, as being of the purest essence; for the olive-tree [is] the stuff of a man. And they gave her a
Gorgon on her breast because of the swiftness of her intelligence.[2]
*)aqhna=s a)/galma do/ru kratei=: dia\ to\ staqero\n kai\ a)ndrei=on: o(moi/ws kai\ a)spi/da para\ to\ pa=san e)piboulh\n dia\ th=s sofi/as a)pwqei=sqai: h( au)th\ ga/r e)sti tw=| nw=|. kai\ perikefalai/an dido/asin au)th=| dia\ to\ ei)=nai th=s sofi/as to\ a)kro/taton a)qe/aton: kai\ e)lai/an, w(s kaqarwta/ths ou)si/as ou)/shs: fwto\s ga\r u(/lh h( e)lai/a. kai\ gorgo/nhn dido/asin e)pi\ tou= sth/qous au)th=| dia\ to\ taxu\ tou= nou=.
Notes:
ps.-Codinus,
Patria Constantinopoleos 2.3 (Preger,
Scriptores originum Constantinopolitanarum 152).
See already
alpha 132.
[1] Or: secret.
[2] cf.
gamma 394,
gamma 395.
Translated by: Jennifer Benedict on 3 February 2000@00:22:31.
Vetted by:
Headword:
*)aka/kios
Adler number: alpha,783
Translated headword: Akakios, Acacius
Vetting Status: high
Translation: The patriarch of Constantinople, he was revered as no other. For he was the guardian of orphans, and it was evident to all that he managed the affairs of the orphans well and with pleasure. Moreoever, he became an acquaintance of the emperor Leo with whom he found immense favor. He [Leo] confided his affairs, both public and private, to this man first of all. When he assembled the senate, he invited this man as well and turned the beginning of every discussion over to him.
This Akakios realized the savagery of Leo Makelles[1] toward those who had offended him in some way and had accurately divined his character; but because this was something only those who flattered him had the opportunity to observe, he made a habit of marvelling at all that he did. Nevertheless he was readily able to rein [Leo] in and easily made him slacken his anger. He also brought about the salvation of many who ran afoul of him, and managed to have those sentenced to life-long exile recalled to their homeland.
After the death of Gennadios, patriarch of Constantinople, he was nominated to serve in that priesthood with the backing of Zenon. Since he was a natural leader and took all the churches under his direct control, he exercised a deliberate discrimination concerning those who were appointed to the churches. They in gratitude dedicated images of him in their prayer chambers. Thus, when images of him appeared in all the churches, some people began to think that he, in a pursuit of empty glory, had ordered their dedication, and no small confirmation of this suspicion was supplied by the mosaic image fashioned in the church by the harbor. For although the entire work had been completed in the time of Gennadios, in a conspicuous place in the temple they portrayed [Akakios] and after him the Savior saying to Gennadios 'destroy this temple', and over him 'after you I will raise him up.'[2] As a result of such images, then, Akakios, though he was generous and a capable leader, nevertheless seemed to all to be excessively ambitious.[3]
See concerning this man under Basiliskos.[4]
Greek Original:*)aka/kios: o( patria/rxhs *kwnstantinoupo/lews, ai)de/simos h)=n w(s ou)k a)/llos tis. o)rfanotro/fos ga\r gegonw\s kai\ kalw=s ta\ tw=n o)rfanw=n dioikw=n pa=sin e)fai/neto kaq' h(donh/n. kai\ dh\ kai\ tw=| basilei= *le/onti sunh/qhs gegonw\s u(perfuw=s h)/reske kai\ tou/tw| prw/tw| a)ei\ pa/nta a)nekoinou=to ta/ te koina\ kai\ ta\ i)/dia. kai\ o(/te th\n boulh\n h)/qroize, suneka/lei kai\ tou=ton kai\ th=s ske/yews a)rxh\n e)c au)tou= pa/shs e)ti/qeto. o(\s *)aka/kios th\n tou= *le/ontos tou= *make/llh w)mo/thta sunidw\n pro\s tou/s ti luph/santas kai\ to\ h)=qos a)kribw=s to\ e)kei/nou fwra/sas, o(/ti toi=s e)painou=si mo/non u(pa/rxei eu)a/lwton, e)peth/deue pa/nta ta\ e)kei/nou qauma/zein. toigarou=n peiqh/nion au)to\n ei)=xen e(toi/mws to/n te qumo\n au)tou= r(a|di/ws kate/stelle kai\ polloi=s proskekrouko/si th\n swthri/an e)pragmateu/eto kai\ tou\s e)cori/an a)i/+dion e)/xontas a)nekalei=to pro\s th\n patri/da. ou(=tos meta\ qa/naton *gennadi/ou, patria/rxou *kwnstantinoupo/lews, spoudh=| *zh/nwnos i(era=sqai proeblh/qh. o(\s w)\n a)rxiko\s kai\ pa/sas ta\s e)kklhsi/as u(f' e(auto\n poih/sas pefrontisme/nws tw=n e)n au)tai=s keklhrwme/nwn e)poiei=to th\n khdemoni/an, oi(\ eu)xaristou=ntes e)n grafai=s a)ne/qhkan au)to\n kata\ tou\s eu)kthri/ous oi)/kous. e)pei/per ou)=n a)qro/on e)n pa/sais tai=s e)kklhsi/ais e)dei/xqhsan au)tou= ei)ko/nes, w)|h/qhsa/n tines kenodocou=nta th\n a)na/qesin prostetaxe/nai ou) mikra\n e)/xontes th=s u(ponoi/as pi/stwsin, th\n e)k yhfi/dwn grafh\n dhmiourghqei=san e)n th=| pro\s tw=| newri/w| e)kklhsi/a|. tou= ga\r e)/rgou panto\s e)pi\ *gennadi/ou telesqe/ntos ei)s to\n e)pifanh= to/pon e)cetu/pwsan au)to\n tou= new\ kai\ metacu\ tou=de to\n *swth=ra le/gonta tw=| *gennadi/w|, lu=son to\n nao\n tou=ton, kai\ e)pi\ tou=, meta/ se e)gerw= au)to/n. e)k tw=n toiou/twn ou)=n ei)ko/nwn *)aka/kios, ei) kai\ eu)meta/dotos h)=n kai\ prostatiko\s, a)lla\ docomanh\s pa=sin e)/docen u(pa/rxein. zh/tei peri\ tou=ton e)n tw=| *basili/skos.
Notes:
On Acacius or Akakios, see web address 1.
[1] Leo "the Butcher": see
lambda 267 and biography (by Hugh Elton) at web address 2.
[2] cf. John 2.19.
[3] Valesius (Henri de Valois 1603-1676) attributed this entry to
Malchus (on Theodore the Reader 167); now accepted as
Malchus fr.2b Cresci.
[4]
beta 164.
Web address 1,
Web address 2
Keywords: architecture; art history; biography; children; Christianity; chronology; ethics; geography; historiography; history; law; religion
Translated by: William Hutton on 1 June 2001@11:30:21.
Vetted by:
Headword:
*)akrwth/rion
Adler number: alpha,1031
Translated headword: extremity
Vetting Status: high
Translation: [no gloss]
Greek Original:*)akrwth/rion.
Notes:
Comparable entry, according to Adler, in the
Ambrosian Lexicon (1061).
The neuter noun is used in various contexts: top of a mountain, promontory of land, ornament of ship's stern-post, ornament on the angle of the pediment of a building; (in the plural) extremities of the limbs (hands, feet, fingers, toes). See LSJ entry at web address 1.
cf.
alpha 1030.
Web address 1
Keywords: architecture; art history; dialects, grammar, and etymology; geography; medicine; military affairs
Translated by: Catharine Roth on 16 February 2001@21:20:37.
Vetted by:
Headword:
*)akulhi/+a
Adler number: alpha,1043
Translated headword: Aquileia
Vetting Status: high
Translation: A populous city of Italy, lying on [= by] the sea.
Also [sc. attested are] 'Aquileians', [meaning] the citizens [of it].[1]
Greek Original:*)akulhi/+a: po/lis *)itali/as polua/nqrwpos, prokeime/nh e)n qala/tth|. kai\ *)akulhi/+sioi, oi( poli=tai.
Notes:
OCD(4) p.129; Barrington Atlas map 19 grid F4. (NB: the present gloss makes it clear that this is not the smaller
Aquileia in Germany: ib. map 12 grid D4.) See also
alpha 938.
Aquileia has a strategic location at the head of the Adriatic Sea, controlling roads over the Alps. Gauls occupied the site in 186 BC. The Romans ejected them and founded a Latin colony in 181 BC (Livy 39.22, 54; 40.34).
Aquileia was a large military, commercial, and industrial city under the empire. The amber trade was especially important (
Strabo 4.207f.; 5.214). A Christian church council was held there in 381 with Ambrose presiding. Attila sacked the city in 452 but did not destroy it.
Aquileia's bishop became a patriarch in the 6th century and the patriarchate continued influential through the middle ages. Information on councils held at
Aquileia may be found on the Catholic Encyclopedia web site (web address 1). Excavations of the basilica have revealed remarkable 4th-century floor mosaics (see UNESCO World Heritage Site page at web address 2).
[2]
Stephanus of
Byzantium s.v. gives the ethnikon as
*\Akulh/ios, but the Suda's form is the norm in (e.g.) Herodian's History.
Web address 1,
Web address 2
Keywords: architecture; art history; Christianity; definition; geography; historiography; history; religion; trade and manufacture
Translated by: Catharine Roth on 2 July 2000@17:17:08.
Vetted by:
Headword:
*)alabastoqh/kas
Adler number: alpha,1050
Translated headword: perfume-bottle boxes, scent-bottle boxes
Vetting Status: high
Translation: Demosthenes calls boxes of scent-bottles [this].[1] In common parlance they call them
murothekai ["unguent-boxes"].
Alabastoi are flasks of which one cannot take hold because of [their] smoothness.[2]
Aristophanes [writes]: "into the scent-bottle one ladle of peace". As if he was saying one spoonful.[3]
Greek Original:*)alabastoqh/kas: ta\s qh/kas tw=n a)laba/stwn *dhmosqe/nhs le/gei. e)n th=| sunhqei/a| muroqh/kas kalou=sin. a)la/bastoi de/ ei)si lh/kuqoi, w(=n ou)k e)/sti labe/sqai dia\ leio/thta. *)aristofa/nhs: e)s to\n a)la/baston ku/aqon ei)rh/nhs e(/na. w(sei\ e)/lege koxlia/rion e(/n.
Notes:
The first part of this entry comes from Harpokration s.v., but
Photius and the Suda convert his nominative plural headword into an accusative plural.
[1]
Demosthenes 19.237 (web address 1).
[2] See
alpha 1051.
[3]
Aristophanes,
Acharnians 1053 (web address 2), with scholion. The "ladle" (kuathos,
kappa 2574) was a standard Attic measure.
Web address 1,
Web address 2
Keywords: art history; comedy; daily life; definition; dialects, grammar, and etymology; imagery; rhetoric; trade and manufacture
Translated by: Catharine Roth on 3 July 2000@18:19:41.
Vetted by:
Headword:
*)ala/bastron
Adler number: alpha,1051
Translated headword: alabastron, unguent-flask
Vetting Status: high
Translation: [Meaning a] vessel of [= for] unguent,[1] without handles, [made] of stone,[2] or a stone unguent-box.
Greek Original:*)ala/bastron: a)/ggos mu/rou mh\ e)/xon laba\s liqi/nou h)\ li/qinos muroqh/kh.
Notes:
Same or similar material in other lexica.
The earlier Attic form is
a)la/bastos (see
alpha 1050). Derivation:
a)- "not" and
labh/ "handle" (from
labei=n "take hold").
[1] For
mu/ron ('sweet oil, unguent, perfume': LSJ) cf.
mu 1449,
mu 1450,
mu 1452.
[2] In Adler's text this adjective is in the genitive case, i.e. agreeing with 'unguent'; it should obviously be accusative, agreeing with 'vessel' (as in ms. M and other lexica).
Translated by: Catharine Roth on 16 February 2001@22:14:03.
Vetted by:
Headword:
*)allaca/menos
Adler number: alpha,1070
Translated headword: having chosen, having exchanged
Vetting Status: high
Translation: [Meaning he] having preferred.
"For the sake of profit the unfortunate man having chosen mutilation; and [this] was an example and a lesson to all, not to risk or to profit by similar things".[1]
Greek Original:*)allaca/menos: protimh/sas. u(pe\r tou= ke/rdous o( kakodai/mwn th\n ph/rwsin a)llaca/menos: kai\ h)=n para/deigma kai\ pai/deuma pa=sin w(/ste mh\ tolma=n mhde\ kerdai/nein paraplh/sia.
Notes:
For this headword see already
alpha 1069. Here again it is presumably extracted from the quotation given (where, oddly, this aorist participle functions as a finite verb).
[1]
Aelian fr. 65e Domingo-Forasté, 62 Hercher (a wicked sculptor).
Translated by: Jennifer Benedict on 31 March 2000@18:03:26.
Vetted by:
Headword:
*)alkame/nhs
Adler number: alpha,1269
Translated headword: Alkamenes, Alcamenes
Vetting Status: high
Translation: A proper name.
The Lemnian.
Greek Original:*)alkame/nhs: o)/noma ku/rion. o( *lh/mnios.
Note:
A sculptor, Lemnian or Athenian (the confusion arises because
Lemnos was an Athenian overseas possession), of the second half of the C5 BC; pupil of
phi 246. See OCD(4) s.v. (pp.50-1).
J.J. Pollitt, The Art of Ancient Greece (Cambridge 1990) 65-66
Keywords: art history; biography; definition; geography
Translated by: Jennifer Benedict on 11 May 2000@21:17:44.
Vetted by:
Headword:
*)ama/xios
Adler number: alpha,1513
Translated headword: Amachios, Amachius
Vetting Status: high
Translation: This man was the chief official of a small Phrygian city under Julian the Apostate,[1] and a fanatical pagan. As the shrines were open, a certain Makedonios and Theodoulos and Tatianos[2] in zeal for Christianity burst in at night and destroyed the statues. They endured many hardships and punishments on account of this and were set upon grills and punished by fire. They showed their valour then by saying: "Amachios, if you want to get a taste of roast meat, turn us over on our other sides lest we seem to you half-roasted to the taste." And thus they died.
Greek Original:*)ama/xios: ou(=tos e)pi\ *)ioulianou= tou= paraba/tou a)/rxwn h)=n mikra=s po/lews *frugi/as, *(/ellhn gorgo/s. tw=n i(erw=n a)noigome/nwn, *makedo/nio/s tis kai\ *qeo/doulos kai\ *tatiano\s zh/lw| tou= *xristianismou= nukto\s e)sphdh/santes suntri/bousi ta\ a)ga/lmata. oi(\ polla\s ai)ki/as kai\ timwri/as dia\ tou=to u(pomei/nantes e)sxa/rais te e)piteqe/ntes kai\ puri\ e)timwrou=nto. th\n de\ a)ndri/an u(pe/deican thnikau=ta ei)po/ntes: ei) e)pequ/mhsas, w)= *)ama/xie, o)ptw=n krew=n a)pogeu/sasqai, stre/yon h(ma=s kai\ ei)s ta\s e(te/ras pleura/s, i(/na mh\ ei)s th\n geu=sin h(mi/optoi o)fqw=me/n soi. kai\ ou(/tws e)teleiw/qhsan.
Notes:
Keywords: art history; biography; Christianity; chronology; ethics; food; geography; historiography; history; religion
Translated by: Jennifer Benedict on 23 March 2001@08:41:32.
Vetted by:
Headword:
*)amfi/qeton
fia/lhn
Adler number: alpha,1731
Translated headword: set-about bowl, set-about phiale
Vetting Status: high
Translation: On every part of it when it is placed, [it is] without a base.
Not the drinking vessel that we use, but a type of basin, which is able to rest on every side.
Greek Original:*)amfi/qeton fia/lhn: kata\ pa=n me/ros au)th=s tiqeme/nhs, a)pu/qmenon. ou) to\ par' h(mi=n poth/rion, a)lla\ ge/nos le/bhtos, e)k panto\s me/rous duna/menon e(/dran e)/xein.
Notes:
The two-word phrase in the accusative case which forms the present headword -- reversed at
phi 283 -- occurs in
Homer,
Iliad 23.270 (web address 1; nominative case at line 616). The second gloss here comes from the
scholia there (and the first gloss from
Photius and other lexica). In fact ancient commentators could not agree whether the adjective meant able to stand on both ends or with a handle on each side: see
Athenaeus,
Deipnosophists 11.500F-501D (11.103 Kaibel), and summarily in LSJ s.v.
For the shallow
phiale cf.
phi 284.
Web address 1
Keywords: art history; daily life; definition; dialects, grammar, and etymology; epic; trade and manufacture
Translated by: William Hutton on 24 April 2001@23:59:09.
Vetted by:
Headword:
*)amfistefe/es
Adler number: alpha,1770
Translated headword: crowned-around, surrounding like a crown
Vetting Status: high
Translation: [Meaning ones which are] brim-full, entwined with each other.
Greek Original:*)amfistefe/es: pa/ntoqen plh/reis, peripeplegme/nai a)llh/lais.
Note:
Same or similar entry in other lexica; references at
Photius alpha1369 Theodoridis. The nominative plural headword is a variant reading at
Homer,
Iliad 11.40 (web address 1): referring to the three heads of the serpent on Agamemnon's shield.
Web address 1
Keywords: art history; definition; dialects, grammar, and etymology; epic; military affairs; science and technology; zoology
Translated by: Jennifer Benedict on 10 August 2000@14:16:55.
Vetted by:
Headword:
*)anagalli/s
Adler number: alpha,1817
Translated headword: Anagallis
Vetting Status: high
Translation: [Anagallis],[1] the female grammarian from Corcyra, who attributes the invention of ball-games to Nausicaa, the daughter of
Alcinous.[2]
*)anagalli/s, h( *kerkurai/a grammatikh\, h(/tis th\n th=s sfai/ras eu(/resin *nausika/a| th=| *)alkino/ou qugatri\ a)nati/qhsin.
Notes:
cf.
omicron 671 and
sigma 1720.
[1] RE Agallis(1); and see next note for the form of the name.
[2] cf.
Athenaeus,
Deipnosophists 1.14D [1.25 Kaibel], with the correct form of the name, Agallis. Nausicaa (for whom see generally
nu 70) plays ball in
Homer,
Odyssey 6.99-117;
Athenaeus says that Agallis names her as the originator of doing so out of partiality for a fellow-countrywoman (but for doubts about the orthodox identification of Scheria with Corcyra/Corfu see OCD(4) p.1325). Agallis is also known for the theory that the two cities portrayed on the Shield of Achilles (
Homer,
Iliad 18.490-540) were
Athens and
Eleusis (scholion T to
Iliad 18.483-606, scholion D to
Iliad 18.490;
Eustathius on
Iliad 18.490).
Translated by: Malcolm Heath on 7 June 2000@11:10:21.
Vetted by:
Headword:
*)anakei=sqai
Adler number: alpha,1898
Translated headword: to be erected, to be set up
Vetting Status: high
Translation: In reference to statues. But katakei=sqai and katakekli/sqai [are used] in reference to [sc. reclining at] table.[1]
And[2] a)nakei=sqai [is said] often instead of katakei=sqai.
Greek Original:*)anakei=sqai: e)pi\ a)ndria/ntwn. katakei=sqai de\ kai\ katakekli/sqai e)pi\ trape/zhs. kai\ *)anakei=sqai polla/kis a)nti\ tou= katakei=sqai.
Notes:
[1] (Again at
kappa 572.) See for this distinction
Athenaeus,
Deipnosophists 1.23C-D (1.42 Kaibel).
[2] The conjunction could have been 'But ...', since this addendum effaces the distinction just made.
Translated by: Jennifer Benedict on 28 March 2001@06:54:47.
Vetted by:
Headword:
*)anapolhkou=n
Adler number: alpha,2032
Translated headword: snapping
Vetting Status: high
Translation: The image making sounds with its fingers, striking [them] together, so that it is snapping with its fingers; also search under Sardanapalos.[1]
Greek Original:*)anapolhkou=n: to\ ei)/dwlon krotou=n toi=s daktu/lois, a)nakrotalou=n, w(/st' a)napolhkou=n toi=s daktu/lois: kai\ zh/tei e)n tw=| *sardana/palos.
Note:
Keywords: art history; biography; definition; dialects, grammar, and etymology
Translated by: Jennifer Benedict on 18 October 2000@22:32:10.
Vetted by:
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