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LUCERNA 100.00%
LIGHTING 100.00%
In the earliest times the rooms of the Greeks were lighted by means of pans filled with dried chips of logs, and strips of resinous wood, or long deal staves tied together with bands of bast, and the like. In later times torches were made of metal or clay cases filled with resinous substances. Or again, wooden staves dipped in pitch, resin, or wax were tied close together and inclosed in a metal casing, inserted in a saucer to catch the ashes and drops of resin. These torches were either carried by a handle under the saucer, or had a long shaft and a stand to set them up on. Resinous torches were in use among the Romans also, in early and later times. They used besides a dry wick of linen or oakum dipped in wax or tallow. Oil lamps, however, were no sooner invented than they became the most general medium of illumination among both Greeks and Romans. The lamp consisted of two parts: (1) A saucer for the oil, sometimes round,sometimes oval, sometimes angular, with a hole in the top for pouring in the oil, often shut with a lid. (2) The wick-holder, a projecting socket (Gr. myxa; Lat. rostrum). Sometimes there was a second hole on the surface of the oil-vessel, through which the wick could be pushed up by means of a needle. If the lamp was to be carried, it had a handle; if to be hung up, it was furnished with one or more ears, to which chains were attached. There were lamps with two, three, four, and sometimes as many as twenty wicks; these were hung upon the roof or set up on a high stand. The material of ancient lamps was clay, mostly of the red sort, and the manufacture of clay lamps formed a principal branch of Italian pottery. (Greek lamps of this material are represented in figs. 1, 2.) The next in frequency is bronze; it is not so common to find lamps of other metals, alabaster or glass. The numerous Roman lamps still preserved generally exhibit ornaments in relief of the most various kinds on the surface and on the handle: images of gods, stories from mythology, scenes of warlike and domestic life, of the circus and the amphitheatre, animals, arabesques, etc. (fig. 3). Some lamps are themselves formed in the shape of gods, men, or objects of different kinds (e.g. fig. 3, b, i). The bronze lamps are specially distinguished by elegance and variety. The opening through which the oil was poured in being small, they had vials specially made for the purpose, with thin necks and a narrow mouth. Special instruments were made for trimming and pulling up the wick · little tongs, or hooked pins, which were sometimes fastened by a chain to the handle. No method of preventing the smoking of the lamps was known to the ancients. Lanterns were made of transparent materials, such as horn, oiled linen, and bladders: the use of glass came in later. (see also CANDELABRUM.)
SARISSA 30.70%
thrusting-lance of the Macedonian hoplites (see PHALANX) and light cavalry, which in the time of Philip and Alexander was 18 feet long, afterwards 14; from this lance the light cavalry were called sarissophori (sarissa-bearers).
PARMA 27.24%
The circular leathern shield of the Roman light infantry. (See SHIELD.)
A body of light infantry in the Spartan army, consisting of the perioeci (q.v.) of the district Sciritis.
LUCINA 24.05%
The Roman title of Juno (q.v.) as the goddess of light and of child-birth; later also of Diana in similar acceptation.
PALTON 19.05%
The lance of the Greek cavalry. (See WEAPONS.) [Also a light spear used by the Persian cavalry (Xen., Cyrop. iv 3, 9; vi 2, 16).]
POEAS 18.56%
King of the Malians at the foot of (Eta. He set light to the pyre of Heracles, in return for which the hero gave him his bow and his poisoned arrows. His son was Philoctetes (q.v.).
LIBURNA 15.78%
A kind of light war-vessel, with two banks of oars and of little draught. Its shape was long and narrow, pointed at both ends. The pattern was taken by the Romans from the Liburnians, a piratical tribe on the Dalmatic coast. (See SHIPS.)
HELIOS 15.62%
In Greek mythology, the Sungod, son of the Titan Hyperion (whose name he bears himself in Homer) and the Titaness Theia; brother of Selene (the Moon) and Eos (Dawn). The poets apply the name Titan to him in particular, as the offspring of Titans. He is represented as a strong and beautiful god, in the bloom of youth, with gleaming eyes and waving locks, a crown of rays upon his head. In the morning he rises from a lovely bay of the Ocean in the farthest East, where the Ethiopians dwell. To give light to gods and men he climbs the vault of heaven in a chariot drawn by four snow-white horses, breathing light and fire; their names are Eoos, Aethiops, Bronte, and Sterope. In the evening he sinks with his chariot into the Ocean, and while he sleeps is carried round along the northern border of the earth to the East again in agolden boat, shaped like a bowl, the work of Hephaestus. He is called Phaethon, from the brilliant light that he diffuses; he is the All-seer (Panoptes) because his rays penetrate everywhere. He is revealer of all that is done on earth; it is he who tells Hephaestus of the love of Ares and Aphrodite, and shows Demeter who has carried off her daughter. He is accordingly invoked as a witness to oaths and solemn protestations. On the island of Trinacria (Sicily) he has seven flocks of sheep and seven herds of cattle, fifty in each. It is his pleasure, on his daily journey, to look down upon them. Their numbers must not be increased or diminished; if this is done, his wrath is terrible. (See ODYSSEUS.) In the 700 sheep and oxen the ancients recognised the 700 days and nights of the lunar year. The flocks are tended by Phaethusa (the goddess of light) and Lampetie (the goddess of shining), his daughter by Neaera. By the ocean Nymsh Perse or Perseis he is father of Aeetes, Circe, and Pasipae, by Clymene the father of Phaethon, and Augeas was also accounted his son. His children have the gleaming eyes of their father. After the time of Euripides, or there-abouts, the all-seeing Sun-god was identified with Apollo, the god of prophecy. Helios was worshipped in man places, among which may be mentioned Corinth and Elis. The island of Rhodes was entirely consecrated to him.. Here an annual festival (Halia) was held during the summer in his honour, with chariot-racing and contests of music and gymnastics; and four consecrated horses were thrown into the sea as a sacrifice to him. In 278 B.C. a colossal bronze statue, by Chares of Lindus, was erected to him at the entrance of the harbour of Rhodes. Herds of red and white cattle were, in many places, kept in his honour. White animals, and especially white horses, were sacred to him; among birds the cock, and among trees the white poplar. The Latin poets identified Helios with the Sabine deity Sol, who had an ancient place of worship on the Quirinal at Rome, and a public sacrifice on the 8th of August. But it was the introduction of the ritual of Mithras which first brought the worshit of the sun into prominence in Rome. (See MITHRAS.)
A Greek grammarian of Alexandria, who lived probably towards the end of the 4th century A.D. He composed, with the assistance of the works of earlier lexicographers (especially that of Diogenianus), a lexicon, which has come down to us in a very confused form, but is nevertheless among the most important sources of our knowledge of the Greek language, and throws much light on the interpretation and criticism of Greek poets, orators, historians, and physicians.
A Greek painter of Athens, about 420 B.C., the first who graduated light and shade in his pictures, whence be received the name of Sciagraphus (shadow-painter). This invention entitled him to be regarded as the founder of a new style, which aimed at producing illusion by pictorial means, and which was carried on further by his younger contemporary Zeuxis. [Pliny, H.N., 35. 60].
A Greek romance-writer of Ephesus, who composed towards the end of the 2nd century A.D. his Ephesian Stories, in five books, which in a light and simple style describe the adventures of a young couple named Atheia and Abrocomes. It has frequently served as a model for later romance-writers, especially for Chariton, and apparently also for Heliodorus.
APOLLO 12.94%
Son of Zeus by Leto (Latona), who, according to the legend most widely current, bore him and his twin-sister Artemis (Diana) at the foot of Mount Cynthus in the island of Delos. Apollo appears originally as a god of light, both in its beneficent and its destructive effects; and of light in general, not of the sun only, for to the early Greeks the deity that brought daylight was Helios, with whom it was not till afterwards that Apollo was identified. While the meaning of his name Apollo is uncertain, his epithets of Phoebus and Lycius clearly mark him as the bright, the life-giving, the former also meaning the pure, holy; for, as the god of pure light, he is the enemy of darkness, with all its unclean, uncouth, unhallowed brood. Again, not only the seventh day of the month, his birthday, but the first day of each month, i.e. of each new-born moon, was sacred to him, as it was to Janus, the Roman god of light; and according to the view that prevailed in many seats of his worship, he withdrew in winter time either to sunny Lycia, or to the Hyperboreans who dwell in perpetual light in the utmost north, and returned in spring to dispel the powers of winter with his beams. When the fable relates that immediately after his birth, with the first shot from his bow he slew the dragon Python (or Delphyne), a hideous offspring of Gaea and guardian of the Delphian oracle, what seems to be denoted must be the spring-god's victory over winter, that filled the land with foul marsh and mist. As the god of light, his festivals are all in spring or summer, and many of them still plainly reveal in certain features his true and original attributes. Thus the Delphinia, held at Athens in April, commemorated the calming of the wintry sea after the equinoctial gales, and the consequent reopening of navigation. As this feast was in honour of the god of spring, so was the Thargelia, held at Athens the next month, in honour of the god of summer. That the crops might ripen, he received firstfruits of them, and at the same time propitiatory gifts to induce him to avert the parching heat, so hurtful to fruits and men. About the time of the sun's greatest altitude (July and August), when the god displays his power, now for good and now for harm, the Athenians offered him hecatombs, whence the first month of their year was named Hecatomboeon, and the Spartans held their Hyacinthia (see HYACINTHUS). In autumn, when the god was ripening the fruit of their gardens and plantations, and preparing for departure, they celebrated the Pyanepsia (q.v.), when they presented him with the firstfruits of harvest. Apollo gives the crops prosperity, and protection not only against summer heat, but against blight, mildew, and the vermin that prey upon them, such as field-mice and grasshoppers. Hence he was known by special titles in some parts of Asia. He was also a patron of flocks and pastures, and was worshipped in many districts under a variety of names referring to the breeding of cattle. In the story of Hermes (q.v.) stealing his oxen, Apollo is himself the owner of a herd, which he gives up to his brother in exchange for the lyre invented by him. Other ancient legends speak of him as tending the flocks of Laomodon and Admetus, an act afterwards represented as a penalty for a fault. As a god of shepherds he makes love to the nymphs, to the fair Daphne (q.v.), to Coronis (see ASCLEPIUS), and to Cyrene, the mother of Aristaeus, likewise a god of herds. Some forms of his worship and some versions of his story imply that Apollo, like his sister Artemis, was regarded as a protector of tender game and a slayer of rapacious beasts, especially of the wolf, the enemy of flocks, and himself a symbol of the god's power, that now sends mischief, and now averts it. Apollo promotes the health and well-being of man himself. As a god of prolific power, he was invoked at weddings; and as a nurse of tender manhood and trainer of manly youth, to him (as well as the fountain-nymphs) were consecrated the first offerings of the hair of the head. In gymnasia and palaestrae he was worshipped equally with Hermes and Heracles; for he gave power of endurance in boxing, with adroitness and fleetness of foot. As a warlike god and one helpful in fight, the Spartans paid him peculiar honours in their Carneia (q.v.), and in a measure the Athenians in their Boedromia. Another Athenian festival, the Metageitnia, glorified him as the author of neighbourly union. In many places, but above all at Athens, he was worshipped as Agyieus, the god of streets and highways, whose rude symbol, a conical post with a pointed ending, stood by streetdoors and in courtyards, to watch men's exit and entrance, to let in good and keep out evil, and was loaded by the inmates with gifts of honour, such as ribbons, wreaths of myrtle or bay, and the like. At sea, as well as on land, Apollo is a guide and guardian, and there, especially under the name Delphinius, taken from his friend and ally the dolphin, the symbol of the navigable sea. Under this character he was widely worshipped, for the most part with peculiar propitiatory rites, in seaports and on promontories, as that of Actium, and particularly at Athens, being also regarded as a leader of colonies. While he is Alexicacus (averter of ills) in the widest sense, he proves his power most especially in times of sickness; for, being god of the hot season, and himself the sender of most epidemics and the dreaded plague, sweeping man swiftly away with his unerring shafts, he can also lend the most effectual aid; so that he and his son Asclepius were revered as the chief gods of healing. As a saviour from epidemics mainly, but also from other evils, the paean (q.v.) was sung in his honour. In a higher sense also Apollo is a healer and saviour. From an early time a strong ethical tinge was given to his purely physical attributes, and the god of light became a god of mental and moral purity, and therefore of order, justice, and legality in human life. As such, he, on the one hand smites and spares not the insolent offender, Tityos for instance, the Aloidae, the overweening Niobe, and the Greeks before Troy; but, on the other hand, to the guilt-laden soul, that turns to him in penitence and supplication, he grants purification from the stain of committed crime (which was regarded as a disease clouding the mind and crushing the heart), and so he heals the spirit, and readmits the outcast into civic life and religious fellowship. Of this he had himself set the pattern, when, after slaying the Delphian dragon, he fled from the land, did seven years' menial service to Admetus in atonement for the murder, and when the time, of penance was past had himself purified in the sacred grove of baytrees by the Thessalian temple, and not till then did he return to Delphi and enter on his office as prophet of Zeus. Therefore he exacts from all a recognition of the atoning power of penance, in the teeth of the old law of vengeance for blood, which only bred new murders and new guilt. The atoning rites propagated by Apollo's worship, particularly from Delphi, contributed largely to the spread of milder maxims of law, affecting not only individuals, but whole towns and countries. Even without special prompting, the people felt from time to time the need of purification and expiation; hence certain expiatory rites had from of old been connected with his festivals. As the god of light who pierces through all darkness, Apollo is the god of divination, which, however, has in his case a purely ethical significance; for he, as prophet and minister of his father Zeus, makes known his will to men, and helps to further his government in the world. He always declares the truth; but the limited mind of man cannot always grasp the meaning of his sayings. He is the patron of every kind of prophecy, but most especially of that which he imparts through human instruments, chiefly women, while in a state of ecstasy. Great as was the number of his oracles in Greece and Asia, all were eclipsed in fame and importance by that of Delphi (q.v.). Apollo exercises an elevating and inspiring influence on the mind as god of Music, which, though not belonging to him alone any more than Atonement and Prophecy, was yet pre-eminently his province. In Homer he is represented only as a player on the lyre, while song is the province of the Muses; but in course of time he grows to be the god, as they are the goddesses, of song and poetry, and is therefore Musagetes Leader of the Muses) as well as master of the choric dance, which goes with music and song. And, as the friend of all that beautifies life, he is intimately associated with the Graces. Standing in these manifold relations to nature and man, Apollo at all times held a prominent position in the religion of the Greeks; and as early as Homer his name is coupled with those of Zeus and Athena, as if between them the three possessed the sum total of divine power. His worship was diffused equally over all the regions in which Greeks were settled; but from remote antiquity he bad been the chief god of the Dorians, who were also the first to raise him into a type of moral excellence. The two chief centres of his worship were the Island of Delos, his birthplace, where, at his magnificent temple standing by the sea, were held every five years the festive games called Delia, to which the Greek states sent solemn embassies; and Delphi, with its oracle and numerous festivals (see PYTHIA, THEOXENIA). Foremost among the seats of his worship in Asia was Patara in Lycia with a famous oracle. To the Romans Apollo became known in the reign of their last king Tarquinius Superbus, the first Roman who consulted the Delphian oracle, and who also acquired the Sibylline Books (q.v.). By the influence of these writings the worship of Apollo soon became so naturalized among them, that in B.C. 431 they built a temple to him as god of healing, from which the expiatory processions (see SUPPLICATIONES) prescribed in the Sibylline books used to set out. In the Lectisternia (q.v.), first instituted in B.C. 399, Apollo occupies the foremost place. In 212 B.C., during the agony of the Second Punic War, the Ludi Apollinares were, in obedience to an oracular response, established in honour of him. He was made one of the chief gods of Rome by Augustus, who believed himself to be under his peculiar protection, and ascribed the victory of Actium to his aid: hence he enlarged the old temple of Apollo on that promontory, and decorated it with a portion of the spoils. He also renewed the games held near it, previously every two years, afterwards every four, with gymnastic and artistic contests, and, regattas on the sea; at Rome he reared a splendid new temple to him near his own house on the Palatine, and transferred the Ludi Soeculares (q.v.) to him and Diana. The manifold symbols of Apollo correspond with the multitude of his attributes. The commonest is either the lyre or the bow, according as he was conceived as the god of song or as the far-hitting archer. The Delphian diviner, Pythian Apollo, is indicated by the Tripod, which was also the favourite offering at his altars. Among plants the bay, used for purposes of expiation, was early sacred to him (see DAPHNE). It was planted round his temples, and plaited into garlands of victory at the Pythian games. The palm-tree was also sacred to him, for it was under a palm-tree that he was born in Delos. Among animals, the wolf, the dolphin, the snow-white and musical swan, the hawk, raven, crow, and snake were under his special protection; the last four in connexion with his prophetic functions. In ancient art he was represented as a long-haired but beardless youth, of tall yet muscular build, and handsome features. Images of him were as abundant as his worship was extensive: there was scarcely an artist of antiquity who did not try his hand upon some incident in the story of Apollo. The ideal type of this god seems to have been fixed chiefly by Praxiteles and Scopas. The most famous statue preserved of him is the Apollo Belvedere in the Vatican (fig. 1), which represents him either as fighting with the Pythian dragon, or with his aegis frightening back the foes who threaten to storm his sanctuary. Other great works, as the Apollo Musagetes in the Vatican, probably from the hand of Scopas, show him as a Citharoedus in the long Ionian robe, or nude as in fig. 2. The Apollo Sauroctonus (lizard-killer), copied from a bronze statue by Praxiteles, is especially celebrated for its beauty. It represents a delicate youthful figure leaning against a tree, dart in hand, ready to stab a lizard that is crawling up the tree. It is preserved in bronze at the Villa Albani in Rome, and in marble at Paris.
SOCCUS 12.50%
A loose slipper, or light, low shoe, fitting either foot, which the Romans adopted from the Greeks. It was the characteristic of comedy, as the cothurnus was of tragedy [Horace, A. P. 80 (of the iambic metre): "Hunc socci cepere pedem, grandesque cothurni"].
LACERNA 11.55%
The Latin term for a coarse, dark-coloured cloak, fastened on the shoulder by a brooch, which was in use as a protection against rain. It was provided with a hood. In later times the name was given to a light and elegant mantle, either white or dyed in Tyrian purple, which was worn over the toga to complete the costume at games or other outdoor occasions. In the time of Augustus, who forbade its use in the Forum or Circus, it formed part of the military uniform. It was afterwards commonly worn even in Rome itself.
A Greek philosopher of the Epicurean school, of Gadara in Palestine. He was a contemporary of Cicero, who praises his learning, and also his taste as a poet [De Finibus ii 119; in Pisonem, 68, 70]. We have thirty-four epigrams by him chiefly on amatory and indelicate subjects: and considerable fragments of a number of prose writings (on music, rhetoric, syllogisms, vices and virtues, piety, anger, etc.), which have come to light among the Herculanean papyri.
A Greek painter born in Egypt in the latter half of the 4th century B.C., a contemporary and rival of Apolles; he probably spent the last part of his life at the court of the first Ptolemy. The ancients praise the lightness and dexterity with which he handled subjects of high art, as well as scenes in daily life. Two of his pictures in the latter kind were especially famous, one of a boy blowing a fire, and another of women dressing wool. From his baving painted a man named Gryllos (- pig) with playful allusions to the sitter's name, caricatures in general came to be called grylloi. [Pliny, H. N., 35. 114, 138].
The shield-bearers in the Greek army, who followed the heavyarmed warriors and carried a portion of their burdensome equipment, principally the shield, the necessary baggage, and the usual provision for three days. Among the, Macedonians the light infantry were so called to distinguish them from the heavy Phalangitae (see HOPLITES), and the archers. They wore a round felt hat (see CAUSIA), a linen jerkin, and had a long dagger and a short hand-pike. They were a standing body of 6,000 men, and in war formed the king's bodyguard. (See AGEMA.)
Flavius Vegetius Ranatus. A Roman writer on military affairs, who, under a commission from Theodosius I, composed, between 384 and 395 A.D., a work in four books on military affairs (Epitome Rei Militaris) consisting of extracts from earlier writers on this subject (especially Cato, Celsus, and Frontinus). He raises no claim to personal knowledge or to stylistic merits, but only to a recognition of his industry. Although it is on the whole an arid and uncritical compilation, the book is valuable for the light it throws on the Roman military system.
Type: Standard
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