tag:blogger.com,1999:blog-81399473627588988442024-02-21T09:11:20.319-08:00Piecing Together Diogenes of OinoandaDiogenes was an Epicurean Greek from the 2nd century AD who carved a summary of the philosophy of Epicurus onto a portico wall in the ancient city of Oenoanda in Lycia. The surviving fragments of the wall, which originally extended about 80 meters, 25,000 words long and filled 260 square meters of wall space. Less than a third of it has been recovered.Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.comBlogger57125tag:blogger.com,1999:blog-8139947362758898844.post-44415988212556100162021-03-01T01:17:00.002-08:002021-03-01T04:09:54.761-08:00The Modern History of Exploration at Oenoanda<p style="text-align: justify;"><span><span style="background-color: white; color: #333333; font-family: verdana;">The Oenoanda Survey project of the British Institute in Ankara was carried out over the course of six seasons between 1974 and 1983. The goal of the survey was to record inscriptions and fragments in and around Oenoanda, with a particular emphasis on recovering as much as possible of the philosophical inscription of Diogenes of Oenoanda.</span></span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: verdana;"><b style="background-color: white;">1974</b></span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: white; font-family: verdana;">The first season in 1974 began in mid-July but was cut down from eight to three weeks due to the Cyprus crisis. In the short time given, however, they were successful in locating and marking as much of the Diogenes’ inscription as possible, which they estimated to comprise approximately 25% of the entire thing. They also completed a measurement of the Esplanade, began recording the non-philosophical inscriptions on site, and photographed many of the public buildings.</span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: verdana;"><b style="background-color: white;">1975</b></span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: white; font-family: verdana;">Between 17 July and 6 September 1975 the team carried out a second season with the intent of continuing the topographical survey of the main site, completing inventories of inscriptions (both Diogenes’ and non-philosophical ones), and studying other major buildings. Their goals were met as major structures were surveyed and incorporated into plans, 47 new fragments of the Diogenes inscription were found and inventoried, non-philosophical inscriptions were documented by Alan Hall, and major buildings were studied by Coulton, and dated to the third century AD.</span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: verdana;"><b style="background-color: white;">1976</b></span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: white; font-family: verdana;">It became clear at this point that in order to learn more about Oenoanda excavation was advisable, and between 18 and 25 August 1976 Hall visited the site three times in order to observe the practicalities of conducting an excavation there. One new inscription was also found belonging to the Diogenes inscription.</span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: verdana;"><b style="background-color: white;">1977</b></span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: white; font-family: verdana;">Between 27 July and 1 September 1977 a team of eight returned to Oenoanda for a fourth season of work. An inventory and study was made of the main buildings. They were successful in completing a detailed survey down the acropolis hill to the early southern wall, studying the development of the site before and after the city walls, discovering ten new fragments of the inscription of Diogenes, as well as some non-philosophical fragments, and further outlining a plan for excavation.</span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: verdana;"><b style="background-color: white;">1981</b></span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: white; font-family: verdana;">No excavation permit was granted, however, by 1981, and so during a brief fifth season other work was carried out: Coulton studied the city’s aqueduct, Smith checked, re-photographed, and recorded two new fragments of the Diogenes Inscription, and Hall studied the Mausoleum of Licinnia Flavilla and its inscription. It was determined that further work was limited without the possibility of an excavation.</span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: verdana;"><b style="background-color: white;">1983</b></span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: white; font-family: verdana;">The sixth season occurred between 17 and 31 August 1983. Hall examined texts found previously and recorded new material, Coulton and Andrew Farrington continued to measure and study and more closely observe buildings of significance, and R. R. R. Smith looked at architectural details. Three new fragments of Diogenes’ inscription were found in a nearby village, and five other inscriptions were recorded.</span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: white; font-family: verdana;">Nothing more was done until 1994, when Stephen Mitchell spent a week accompanied by Martin Smith, Nicholas Milner and Jeremy Rossiter to assess the potential of conducting an excavation there.</span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: verdana;"><b style="background-color: white;">1997</b></span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: white; font-family: verdana;">In 1997, between 31 October and 9 November, Smith collaborated with İbrahim Malkoç, director of Fethiye Museum, in a small excavation on the Esplanade, primarily. Their work produced several substantial new fragments of the philoosphical inscription as well as other discoveries.</span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: verdana;"><b style="background-color: white;">2007</b></span></p><p style="border: 0px; color: #333333; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px 0px 1.5em; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="background-color: white; font-family: verdana;">Work was again suspended until 2007, when the<a href="http://www.dainst.org/en/project/oinoanda?ft=all" style="border: 0px; color: #005d28; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; vertical-align: baseline;"> Deutsches Archäologisches Institut</a>, Istanbuler Abteilung, took over responsibility for restarting the survey and excavation, under the directions of Martin Bachmann and Jürgen Hammerstaedt, in collaboration with Martin Smith and Nicholas Milner.</span></p>Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-68224970917791727762021-03-01T00:34:00.002-08:002021-03-01T00:56:39.491-08:00Fragment 41<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: verdana;">The source here is Ernst Kalinka and Rudolf Heberdey, L'inscription philosophique d'Oenoanda in the Bulletin de correspondance hellénique. Volume 21, 1897. pp. 381.</span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-90195847091303843442021-03-01T00:32:00.000-08:002021-03-01T00:32:15.284-08:00Dating of the Inscription<p style="text-align: justify;"><span style="font-family: verdana;">Martin Ferguson Smith, the main expert on the Inscription, ventures a date for the carving and installation, in a timeline on the creation and rediscovery of Diogenes' work. </span></p><p style="text-align: justify;"><span style="font-family: verdana;">He states: "The approximate date of Diogenes’ inscription is indicated by the so-called «<i>Demostheneia</i> inscription», a 117-line text concerning the establishment of a musical festival at Oinoanda by C. Iulius Demosthenes in 125. The close similarity of its lettering to much of that in the philosophical inscription makes it virtually certain that it is the work of one of the stonecutters employed by Diogenes".</span></p><p style="text-align: justify;"><span style="font-family: verdana;"><br /></span></p><p style="text-align: justify;"><span style="font-family: verdana;"><b>Source:</b></span></p><p><span style="font-family: verdana;">Fifty years of new Epicurean discoveries at Oinoanda, by Martin Ferguson Smith</span></p><p><span style="font-family: verdana;">CRONACHE ERCOLANESI: Bollettino del Centro Internazionale per lo Studio dei Papiri Ercolanesi e del Parco Archeologico di Ercolano, 50/2020, Naples.</span></p>Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-1690370265364469112021-02-28T02:15:00.002-08:002021-02-28T02:26:35.558-08:00The Baths of Oenoanda<p style="text-align: justify;"><span style="font-family: verdana;">There are at least two baths complexes in the city of Oenoanda. The study that covers both of these is of these Andrew Farrington's volume, </span><span style="font-family: verdana;">The Roman Baths of Lycia - An Architectural Study.</span></p><p style="text-align: justify;"><span style="font-family: verdana;">These buildings for lack of a better descriptor are Ml1 and Mk1. These curious namings are the product of the edifices' location on a grid plan used to identify the structures in the city. </span></p><p style="text-align: justify;"><span style="font-family: verdana;"><b>Ml1</b></span></p><p style="text-align: justify;"><span style="font-family: verdana;">This structure is located on the south side of the road leading north-east from the agora towards the so-called Esplanade, and stands opposite Baths Mk1. </span><span style="font-family: verdana;">The building, which was constructed almost entirely of local limestone, </span><span style="font-family: verdana;">consists of a main block with a colonnaded courtyard to the south of it, both </span><span style="font-family: verdana;">standing on a platform terraced into the lower slope of the "acropolis hill" on the </span><span style="font-family: verdana;">north side of the city. It is delimited to the south and east by a terrace wall of </span><span style="font-family: verdana;">polygonal masonry, which on the south side runs parallel to the main block </span><span style="font-family: verdana;">before deviating slightly to meet the street to the south-east at a right angle; while </span><span style="font-family: verdana;">to the north and west the hillside was held back by a massive retaining wall later </span><span style="font-family: verdana;">incorporated in the city-wall. This retaining wall can be distinguished from the </span><span style="font-family: verdana;">rest of the Roman city-wall by its more regular, more monumental masonry (as </span><span style="font-family: verdana;">opposed to the city-wall's somewhat irregular, rubbly internal face).</span></p><p style="text-align: justify;"><span style="font-family: verdana;">The structure had a three-chamber row arrangement with transverse element, with adjoining palaestra (room 5 in plan below, aka Ml2), which was later remodelled. It is not known if the apsidal gallery immediately to the south east of the bath block was part of the bath complex. </span></p><p style="text-align: justify;"><span style="font-family: verdana;">The structure was an orientation of 334</span><span face="arial, sans-serif" style="background-color: white; color: #202124; font-size: 16px; text-align: left;">º</span><span style="font-family: verdana;"> and the ground area of the bath complex is <i>ca </i>290m</span><span style="text-align: left;"><span style="font-family: verdana;">²</span></span><span style="font-family: verdana;">. </span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzcFyIdpn70MYb9KT8M_JOaLNjlFsntqT8s6LxhphXadDFet90ATgbbtxw5rTxRTBy-8w8ulx6RM_e7WBdj8lBdPt0GqQD0XQbHXRhylD7SATZ9k2MavUzbyvbMyG-9IlJONZFj4flp7n2/s806/Baths_M1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="533" data-original-width="806" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzcFyIdpn70MYb9KT8M_JOaLNjlFsntqT8s6LxhphXadDFet90ATgbbtxw5rTxRTBy-8w8ulx6RM_e7WBdj8lBdPt0GqQD0XQbHXRhylD7SATZ9k2MavUzbyvbMyG-9IlJONZFj4flp7n2/w640-h424/Baths_M1.jpg" width="640" /></a></div><span style="font-family: verdana;"><i>Source:Farrington</i></span><p></p><p style="text-align: justify;"><span style="font-family: verdana;">In Farrington's analysis of of the main structure he observes that: "Room1 communicates with palaestra 5 and 2. Northwesterly door between rooms 1 and 2 added at later stage (?) Room 2 communicates with room 3 by two doorways. Southwestern doorway added later (?) Room 3, small apse with single small window in north-west wall. Arch between rooms 3 and 5. Room 4, projecting doorway in north-east wall, small window immediately below springing of vault in south-east wall". </span></p><p style="text-align: justify;"><span style="font-family: verdana;">As for the rooms' functions he posits that room 1 is an <i>apodyterium cum frigidarium</i>, that rooms 2 and 3 are <i>tepidaria</i> (?) and room 4 is a <i>caldarium</i>. </span></p><p style="text-align: justify;"><span style="font-family: verdana;">He also speculates that rooms 3 and 4 have marble blocks forming the wall of plunge pools. </span></p><p style="text-align: justify;"><span style="font-family: verdana;">Of the palaestra, he speculates that the holes in the external wall of room 2 might beam holes of a portico surrounding the palaestra (with a peristyle at some stage). At a later date a door was inserted to the north-east street with a ramp or steps up to the level of the palestra. </span></p><p style="text-align: justify;"><span style="font-family: verdana;">In the centre of the palaestra is a sunken area 8.9m X 8.9m, surrounded by two steps. Fourteen column bases and fragments of columns (of at least 2m in original length) were found lying in the palaestra. There was also evidence of an Ionic capital and entablature. There were at least 6 inscribed statue bases. </span></p><p style="text-align: justify;"><span style="font-family: verdana;">As for the Apsidal gallery, he notes that the north-east end of the gallery terminates in the city wall (the so-called Great Wall) dated to or after the mid third century. </span></p><p style="text-align: justify;"><span style="font-family: verdana;">Finally, </span><span style="font-family: verdana;">Farrington muses that the podium of the palaestra of Mk1, which is on the same orientation may also belong to the same building program.</span></p><p style="text-align: justify;"><span style="font-family: verdana;">As for the dating, he suggests ca 70-90 AD for the bath block, the palaestra might be Several era or before, with the Apsidal gallery being possibly partially post-Severan. </span></p><p style="text-align: justify;"><b style="font-family: verdana;">Mk1</b><span style="font-family: verdana;"> </span></p><p style="text-align: justify;"><span style="font-family: verdana;">This structure is of an entirely greater scale than the aforementioned bath structure. Indeed, in the absence of the demolished stoas of the upper Esplanade, this is the largest extant building of ancient Oenoanda, aside from the theatre.</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Its location is at the north end of the podium on the north-west side of the north-east street running up from the agora. As mentioned it stands opposite the Baths at Ml1.</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Farrington describes the arrangement as an adapted three-chamber row with a central room (2) set at right angles to the axes of the other rooms. He speculates that room 4 was probably not roofed. </span><span style="font-family: verdana;">There is an impressive two-storey arcuated facade standing on a podium, rising from the palaestra. </span></p><p style="text-align: justify;"><span style="font-family: verdana;">The palaestra was added later. The area of the bath block (including room 4) is <i>ca</i> 690</span><span style="font-family: verdana;">m</span><span style="font-family: verdana; text-align: left;">².</span><span style="font-family: verdana;"> </span><span style="font-family: verdana;"> </span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfMdFeCoaRqE433A-GbzY3e-iUt3qy-gJcvUL_fNguiZMbyuxRamOuiXHTIQ0fjMAOMyGw5TWzdFFtuStR2-sUkxlF8F5mCACw9S6DGFbUSbj5caUyuvMMc1sRhrk4XqliICFXNFEQNeD6/s806/Baths_MK1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="806" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfMdFeCoaRqE433A-GbzY3e-iUt3qy-gJcvUL_fNguiZMbyuxRamOuiXHTIQ0fjMAOMyGw5TWzdFFtuStR2-sUkxlF8F5mCACw9S6DGFbUSbj5caUyuvMMc1sRhrk4XqliICFXNFEQNeD6/w640-h424/Baths_MK1.jpg" width="640" /></a></div><span style="font-family: verdana;"><i>Source: Farrington</i></span><br /><p></p><p style="text-align: justify;"><span style="font-family: verdana;">Farrington posits the rooms functions as: room 1 an <i>apodyterium cum frigidarium</i> (?), room 2 as a <i>tepidarium</i>, room 3 as a <i>caldarium</i> and room 4 as, possibly, a <i>nymphaeum</i>.</span></p><p style="text-align: justify;"><span style="font-family: verdana;">The largest room of all was the apsidal hall at the western end of the </span><span style="font-family: verdana;">block. This had a width of about 14m. </span><span style="font-family: verdana;">Ling & Hall comment that</span><span style="font-family: verdana;"> this would have demanded </span><span style="font-family: verdana;">a vault of an unusually large span, unless there were internal divisions or supports </span><span style="font-family: verdana;">of some form; on the possibility that the space was unroofed.</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Below can be seen the current state of the arcade facing the palaestra:</span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWVezcKKA8FGMK5S1Q7SQPCqGKbiNlrb98jCaTTSxbLk3dx1oTkPZPAhh1dfE4DFhIvpPWAq9wJ-jW5saaR_gkGiXNb_XaRuNhuRzGR1FrMgUnq-_0_GUre_tJKvrPCK_7Y47qf1qMiUbf/s706/Building+Mk1_remnant.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="417" data-original-width="706" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWVezcKKA8FGMK5S1Q7SQPCqGKbiNlrb98jCaTTSxbLk3dx1oTkPZPAhh1dfE4DFhIvpPWAq9wJ-jW5saaR_gkGiXNb_XaRuNhuRzGR1FrMgUnq-_0_GUre_tJKvrPCK_7Y47qf1qMiUbf/w640-h378/Building+Mk1_remnant.jpg" width="640" /></a></div><span style="font-family: verdana;"><i>Source: Ling & Hall</i></span><div><br /><span style="font-family: verdana;">Noticeable in the above is the high level of the ground due to the absence of excavation of the palestra.</span><p></p><p style="text-align: justify;"><span style="font-family: verdana;">Below can be seen a reconstruction of how the arcade originally appeared:</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB_K5l4Hrc0Hze6NKLp_gs9Uqe4tWcoUoQvpE0LqfaEx9xCIU8YrN3nXP_6qqJZCA6v1n-lUnywzTuvKN6-iAGkFykdaK2LEyDeYgQxgBFvpB9nd-PBKHC6fvynSTpcOvHcySvusSQ5pVz/s706/Building+Mk1_original.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="484" data-original-width="706" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB_K5l4Hrc0Hze6NKLp_gs9Uqe4tWcoUoQvpE0LqfaEx9xCIU8YrN3nXP_6qqJZCA6v1n-lUnywzTuvKN6-iAGkFykdaK2LEyDeYgQxgBFvpB9nd-PBKHC6fvynSTpcOvHcySvusSQ5pVz/w640-h438/Building+Mk1_original.jpg" width="640" /></a></div><span style="font-family: verdana;"><i>Source: Ling & Hall</i></span><br /><p></p><p style="text-align: justify;"><span style="font-family: verdana;">The colonnade of the palaestra uses </span><span style="font-family: verdana;">free-standing pedestals for the columns. Below can be seen an axionometric view of complex:</span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhePuYAK7igkV0rmE3_olGu5UjEhZU3nRDZ7nmHXQmts9TGs2gQR_FUqn2y8lkQ5nvo1GoUb_wuSfUCiJO3fNg57iWbMD_3EaXHu0_lkjVmiN3y6AQJVfzQMD3bSG-5rP5XCmV1LE4oCqzj/s879/Building+Mk1_axionometric.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="706" data-original-width="879" height="514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhePuYAK7igkV0rmE3_olGu5UjEhZU3nRDZ7nmHXQmts9TGs2gQR_FUqn2y8lkQ5nvo1GoUb_wuSfUCiJO3fNg57iWbMD_3EaXHu0_lkjVmiN3y6AQJVfzQMD3bSG-5rP5XCmV1LE4oCqzj/w640-h514/Building+Mk1_axionometric.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana;"><i>Source: Ling & Hall</i></span></div><br /><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana; text-align: justify;">Farrington suggests a date of the second century for Mk1 and dates the palaestra to the Severan period (due to an inscription. </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana; text-align: justify;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana; text-align: justify;"><b>Third Baths?</b></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana; text-align: justify;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: verdana; text-align: justify;">There is a reference to a Baths of Opramoas in an inscription (TAM 2 no 905 XIX B 13-14), which Farrington identifies as, most likely, Mk1. Coulton comments, "The self-advertising Antonine plutocrat Opromoas of Rhodiapolis lists a donation of 10,000 <i>denarii</i> for a bath building at Oinoanda </span><span style="font-family: verdana; text-align: justify;">among his many benefactions".</span></div><p></p><p style="text-align: left;"><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;">Sources: </span></p><p><span style="font-family: verdana;">The Roman Baths of Lycia - An Architectural Study</span></p><div><div><div class="wDYxhc" data-hveid="CB8QAA" data-md="1001" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQkCkwBHoECB8QAA" style="clear: none;"><div class="Z1hOCe"><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAEegQIHxAB" style="float: left; margin-top: 7px; min-width: 50%;"><span style="font-family: verdana;"><span class="GRkHZd w8qArf" style="color: #70757a; display: inline-block; margin-right: 16px; min-width: 80px;">ISBN:</span><span class="Eq0J8 LrzXr kno-fv" style="color: #3c4043;">9781912090662, 191209066X</span></span></div></div></div></div><div><div class="wDYxhc" data-hveid="CCAQAA" data-md="1001" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQkCkwBXoECCAQAA" style="clear: none;"><div class="Z1hOCe"><br /></div></div></div><div><div class="wDYxhc" data-hveid="CB4QAA" data-md="1001" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQkCkwBnoECB4QAA" style="clear: none;"><div class="Z1hOCe"><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAGegQIHhAB" style="float: left; margin-top: 7px; min-width: 50%;"><span style="font-family: verdana;"><span class="GRkHZd w8qArf" style="color: #70757a; display: inline-block; margin-right: 16px; min-width: 80px;">Published:</span><span class="Eq0J8 LrzXr kno-fv" style="color: #3c4043;">1995</span></span></div></div></div></div><div><div class="wDYxhc" data-hveid="CB0QAA" data-md="1001" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQkCkwB3oECB0QAA" style="clear: none;"><div class="Z1hOCe"><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;"><span style="font-family: verdana;"><span class="GRkHZd w8qArf" style="color: #70757a; display: inline-block; margin-right: 16px; min-width: 80px;"><br /></span></span></div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;"><span style="font-family: verdana;"><span class="GRkHZd w8qArf" style="color: #70757a; display: inline-block; margin-right: 16px; min-width: 80px;">Publisher:</span><span class="Eq0J8 LrzXr kno-fv" style="color: #3c4043;"><a class="fl" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQmxMoADAHegQIHRAC" href="https://www.google.co.uk/search?hl=en&q=inpublisher:%22British+Institute+at+Ankara%22&tbm=bks&sa=X&ved=2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQmxMoADAHegQIHRAC&sxsrf=ALeKk00jFVtWA9TKGYpsX9-8akRXqtQ-Uw:1614425823667" style="color: #1a73e8; text-decoration-line: none;">British Institute at Ankara</a></span></span></div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;"><span style="font-family: verdana;"><br /></span></div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;"><span style="font-family: verdana;"><br /></span></div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;"><span style="font-family: verdana;"><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;">Building Mk1 at Oenoanda</div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;"><br /></div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;">Author(s): Roger Ling and Alan Hall </div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;">Source: Anatolian Studies, Vol. 31 (1981), pp. 31-53 </div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;">Publisher: British Institute at Ankara</div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;"><br /></div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;"><br /></div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;"><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;">The Buildings of Oinoanda</div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;"><br /></div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;">Author(s): J. J. COULTON</div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;">Source: Proceedings of the Cambridge Philological Society, NEW SERIES, No. 29 (209) (1983),pp. 1-20</div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;">Publisher: Cambridge University Press</div></div></span></div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;"><span style="font-family: verdana;"><br /></span></div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;"><span style="font-family: verdana;"><br /></span></div><div class="zloOqf PZPZlf" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQyxMoADAHegQIHRAB" style="float: left; margin-top: 7px; min-width: 50%;"><span style="font-family: verdana;"><br /></span></div></div></div></div><div><div class="wDYxhc" data-hveid="CBwQAA" data-md="1001" data-ved="2ahUKEwiBp-Tt_InvAhWh4YUKHe6ABFMQkCkwCHoECBwQAA" style="clear: none;"><div class="Z1hOCe"><br /></div></div></div></div></div>Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-1722133630570039682018-01-17T09:43:00.002-08:002018-01-17T09:43:51.666-08:00To Be Termessos or Not To Be?<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "verdana" , sans-serif; font-weight: normal;">Controversy has arisen in the past about the subject of the settlement (and its ruins) that lies below Oinoanda on the banks of the Xanthos River. </span></h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA-QEsvZx7rfCX4vUQWVEZ-xd4LJzkZuzWhbOd35Pgv_ZompaOCFUIFCNrhcpgkLSblocWmcr8r_yilqlejVyoopnfgXXYPnAusVDg_-SOwJan7cCyIdaxBtcmqkK7_6Q1JHKpb3so0J2X/s1600/Kemerarasi_map.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1397" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA-QEsvZx7rfCX4vUQWVEZ-xd4LJzkZuzWhbOd35Pgv_ZompaOCFUIFCNrhcpgkLSblocWmcr8r_yilqlejVyoopnfgXXYPnAusVDg_-SOwJan7cCyIdaxBtcmqkK7_6Q1JHKpb3so0J2X/s640/Kemerarasi_map.jpg" width="558" /></a></div>
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<span style="font-family: "verdana" , sans-serif; font-weight: normal;">This site is known in Turkish as </span><span style="font-family: "verdana" , sans-serif; font-weight: 400;">Kemeraras</span><span style="font-weight: 400; text-align: left;"><span style="font-family: "verdana" , sans-serif;">ı</span></span><span style="font-family: "verdana" , sans-serif; font-weight: normal;"> and has been called Termessos.</span></h4>
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<span style="font-family: "verdana" , sans-serif; font-weight: normal;">The <a href="http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0006%3Aalphabetic+letter%3DT%3Aentry+group%3D2%3Aentry%3Dtermessos-2" target="_blank">Princeton Encyclopedia of Classical Sites</a> describes it thus:</span></h4>
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<span style="font-family: "verdana" , sans-serif;">"Site in Lycia, just below that of Oinoanda. Founded as a colony of Termessos Major, apparently during the 3d c. B.C., and presumably with the agreement of the Oinoandans. It is mentioned only by Stephanos Byzantios (who assigns it to Pisidia) and Eustathius; Strabo confuses it with Termessos Major. The site consists of two low mounds, virtually defenseless, between which the present road runs. There are considerable quantities of ancient stones, including some well-cut blocks, but no buildings are standing. The inscriptions of the city, in which it is called Termessos by Oinoanda, were normally erected in Oinoanda, and it seems that under the Empire, if not earlier, Termessos Minor must have been in effect absorbed into that city. It had its own constitution and magistrates, however, and struck its own coins, and a long inscription has recently been found at </span><span style="font-family: "verdana" , sans-serif;">Kemeraras</span><span style="text-align: left;"><span style="font-family: "verdana" , sans-serif;">ı</span></span><span style="font-family: "verdana" , sans-serif;"> containing a letter, as yet unpublished, of Hadrian addressed to the People".</span></div>
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<span style="font-family: "verdana" , sans-serif;">In his article on the Roman bridge that crosses the Xanthos, Milner writes:</span><br />
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<span style="font-family: "verdana" , sans-serif;">"Kemeraras</span><span style="text-align: left;"><span style="font-family: "verdana" , sans-serif;">ı </span></span><span style="font-family: "verdana" , sans-serif;">is known </span><span style="font-family: "verdana" , sans-serif;">to tourists for its Ottoman bridge which still spans the </span><span style="font-family: "verdana" , sans-serif;">Xanthos, and which is now superseded by a </span><span style="font-family: "verdana" , sans-serif;">modem highway bridge, and to ancient historians chiefly </span><span style="font-family: "verdana" , sans-serif;">as the findspot of the Demostheneia festival inscription </span><span style="font-family: "verdana" , sans-serif;">published by Worrle (1988). The old theory that the site </span><span style="font-family: "verdana" , sans-serif;">at </span><span style="font-family: "verdana" , sans-serif;">Kemeraras</span><span style="text-align: left;"><span style="font-family: "verdana" , sans-serif;">ı</span></span><span style="font-family: "verdana" , sans-serif;"> was a separate city of 'Termessus Minor' </span><span style="font-family: "verdana" , sans-serif;">has been scotched by Coulton (1982), who showed that </span><span style="font-family: "verdana" , sans-serif;">Termessus Minor was the name of Oinoanda itself, </span><span style="font-family: "verdana" , sans-serif;">viewed as a colony of Termessus Major".</span><span style="font-family: "verdana" , sans-serif;"> </span><br />
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<span style="font-family: "verdana" , sans-serif;">The Deutsches Archaeologisches Institut published a revised map of the area showing how the road (marked below as <i>antike Strasse</i>) leaving Oinoanda originally went south and then west and then north of the city down to </span><span style="font-family: "verdana" , sans-serif;">Kemeraras</span><span style="text-align: left;"><span style="font-family: "verdana" , sans-serif;">ı.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpCLy75K10Dqt1HU_qyu2bW-wKvRBtxfBbwJSwUMPgho_MvBCr5PeqI4V6Cl4-IXwfNPJGx8Rsd-lwX2iAVyJw4kecJoLnWsl9QELuRipE5_WqUw2u9pb5lLSdmGnzUsaO6gzeXP8H9u6L/s1600/Access_roads.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="916" data-original-width="653" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpCLy75K10Dqt1HU_qyu2bW-wKvRBtxfBbwJSwUMPgho_MvBCr5PeqI4V6Cl4-IXwfNPJGx8Rsd-lwX2iAVyJw4kecJoLnWsl9QELuRipE5_WqUw2u9pb5lLSdmGnzUsaO6gzeXP8H9u6L/s640/Access_roads.jpg" width="456" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">Exploration has been even more minimalist than has been the case in Oinoanda probably because of the same blocking forces. </span></div>
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<span style="font-family: verdana, sans-serif;">Milner in his article on the <i>Termessians at Oenoanda</i> states: "No sarcophagi or other tombs can be seen in the neighbourhood, nor are there any traces of fortification walls. In the main area of the site between the river and the modern road, there are no remains of walls built of carefully dressed, dry laid, masonry; the visible walls are mainly of rubble and mortar, and although there are some dressed blocks, they are neither large nor accurately finished. There are a few uninscribed statue bases and some broken monolithic column shafts of the type common in Oinoanda. On the other side of the road are the remains of a temple-like building with an arcuated "Syrian" pediment; the entablature and what can be seen of the walls are in the classical technique, as at Oinoanda. Beyond that can be seen the remains of a smallish basilical church.</span><br />
<span style="font-family: verdana, sans-serif;"><br /></span>
<span style="font-family: verdana, sans-serif;">It might be argued, of course, that the contrast is not a fair one, on the grounds that the site has not been excavated and so does not give a proper picture of its history, or that, being more accessible than Oinoanda it has been much more severely robbed. Certainly one cannot refute these arguments absolutely, but Oinoanda is also unexcavated, yet does reveal evidence of a long period of architectural, while on the other hand the easily accessible remains of the temple-like building north of the road at </span><span style="font-family: "verdana" , sans-serif;">Kemeraras</span><span style="text-align: left;"><span style="font-family: "verdana" , sans-serif;">ı suggest that if there had been buildings of the same type on the main part of the site, then stone robbers would not have removed all evidence for them. There has indeed been severe disturbance at the site in recent years, but in the absence of a specific description of what was visible earlier, we can only assume it was more of the same type as can be seen now".</span></span><br />
<span style="text-align: left;"><span style="font-family: "verdana" , sans-serif;"><br /></span></span>
<span style="text-align: left;"><span style="font-family: "verdana" , sans-serif;">The arguments seem to be that this site is definitely subsidiary to Oinoanda in importance. Was this a cult site? Oinoanda has always intrigued in that it does not have any temple complex of its own. Maybe these two sites, somewhat in the style of binary stars, were two settlements that had become captured in each other's orbits. Only excavations will tell and up until now the Turkish authorities seem more inclined to leave </span></span><span style="font-family: "verdana" , sans-serif;">Kemeraras</span><span style="text-align: left;"><span style="font-family: "verdana" , sans-serif;">ı</span></span><span style="font-family: verdana, sans-serif;"> to the tender mercies of looters than international researchers. Funny that....</span></div>
<h4 style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-weight: normal;">Citations:</span></h4>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">E. Petersen & F. von Luschan. <u>Reisen in Lykien</u> II (1889) 178; <u>DenkschrWien</u> 45 (1897) 1, 50ff </span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">D. Magie, <u>Roman Rule in Asia Minor</u> (1950) 1377 </span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">G. E. Bean, <u>Turkey's Southern Shore</u> (1968) 122-23</span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">Coulton, J. J. 1982: <u>'Termessians at Oenoanda'</u> </span><span style="font-family: "verdana" , sans-serif;">Anatolian Studies 32: 115-31</span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">N. P. Milner, <u>'</u></span><span style="font-family: "verdana" , sans-serif;"><u>A Roman Bridge at Oinoanda'</u> </span><span style="font-family: "verdana" , sans-serif;">Anatolian Studies, Vol. 48 (1998), 117-123</span></div>
</div>
Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-60822654179434502992018-01-17T05:10:00.000-08:002018-01-17T05:10:11.866-08:00Reconstructing the Stoa of Diogenes<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "verdana" , sans-serif;">A most desirable course of action would be a restoration of the stoa and installation of the Inscription on site. The Stoa of Attalos (pictured below) rebuilt by the American School in Athens in a good example of how sympathetic recreation of ancient structures, from scratch, can be achieved. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimunTBzlScWf5GTVFkcsxoO8NbMXgSNEOh0ZEx0cs1GQ5u7McKDQpmmyP2uzgNbX2SfzTUBptbW4jTHyLfftzGDuon3fyzQWt3hC-3OiJnbS_AbeaY0aoeOgavE1RQx7hoVFe32E9WOqzj/s1600/stoa_attalos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimunTBzlScWf5GTVFkcsxoO8NbMXgSNEOh0ZEx0cs1GQ5u7McKDQpmmyP2uzgNbX2SfzTUBptbW4jTHyLfftzGDuon3fyzQWt3hC-3OiJnbS_AbeaY0aoeOgavE1RQx7hoVFe32E9WOqzj/s320/stoa_attalos.jpg" width="320" /></a></div>
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<span style="font-family: Verdana, sans-serif;">A recent publication by the Deutsches Archaeologisches Institut posited that the inside of the stoa looked like this:</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGww8WO17SXrKt8TgT7o1OMa82yXoKvIxkqvsSZwvM1j3C6Ewxkqxidg8wnDRwL-kEhJkAu0Ui5vgu5rHqaHy3c8ndakUmyF8ponaG299oOsOEqZpIj7PAL8o__i5mPS_icn6M3cFxG05R/s1600/Stoa_inside.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="315" data-original-width="482" height="417" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGww8WO17SXrKt8TgT7o1OMa82yXoKvIxkqvsSZwvM1j3C6Ewxkqxidg8wnDRwL-kEhJkAu0Ui5vgu5rHqaHy3c8ndakUmyF8ponaG299oOsOEqZpIj7PAL8o__i5mPS_icn6M3cFxG05R/s640/Stoa_inside.jpg" width="640" /></a></div>
<i> <span style="font-family: Verdana, sans-serif; font-size: x-small;">Source:DAINST</span></i><br />
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">In 2014, the Institut published a reconstruction of the Esplanade with the structure at the right being a representation of how the stoa with Diogenes' inscription might have looked. This modelling was prepared by Nikolaus Koch of the Karlsruhe Institute of Technology. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5SW2H8ua3zqg19c8JGJw-NrqZKg_PXD8IY130szdR06EeE990CBncsZoAQ32cUr43_PWvvRrE0oPFJsOJ4a7s_LZV_a_uN5AsQORO-iJgG1hlWSd5a4eoJGf-fm0crZzS8mr6SlcBuH4j/s1600/Agora_reconstruction.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="732" data-original-width="1452" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5SW2H8ua3zqg19c8JGJw-NrqZKg_PXD8IY130szdR06EeE990CBncsZoAQ32cUr43_PWvvRrE0oPFJsOJ4a7s_LZV_a_uN5AsQORO-iJgG1hlWSd5a4eoJGf-fm0crZzS8mr6SlcBuH4j/s640/Agora_reconstruction.jpg" width="640" /></a></div>
<span style="font-family: Verdana, sans-serif; font-size: x-small;"><i>Source:DAINST</i></span><br />
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-23515469926664863752018-01-16T02:15:00.001-08:002021-03-01T04:12:58.464-08:00What Needs To Happen at Site<div dir="ltr" style="text-align: left;" trbidi="on">
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<span face=""verdana" , sans-serif" style="font-family: verdana;">Repeated over and over again through the decades since the 1970s has been a litany of not-so-veiled comments from archaeologists and epigraphers over the obstructionist attitude of the Turkish authorities when it comes to the issue of excavation at Oenoanda. </span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;"><br /></span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">As a result of the torpor vital pieces of the Inscription have been left at the mercy of looters and the elements when they could have excavated, recorded and preserved.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;"><br /></span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">Over the period in question there has not been a shortage of esteemed parties (mostly notably the British Institute in Ankara and the Deutsches Archaeologisches Institut in Istanbul) interested in working with Turkish archaeologists on the site with regard to both the Inscription and investigation of the other structures. Cooperation from the Turkish authorities has been minimal and sporadic. </span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;"><br /></span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">Recent years saw the establishment of the program to finally rescue the pieces from the site and rehouse them in a shed down in the valley. This was massively overdue. Even as it was happening there was still prohibition upon lifting some of the stones if they were perceived to be buried or fixed into other structures. What is all this obstructionism about? We can only presume that it is some form of internal power struggle amongst the Turks because everywhere else in Turkey foreign university and research teams are working very happily and productively with their Turkish colleagues. It is unfathomable as to why Oenoanda has been allowed to wallow, when teams are willing and able to fund and help move forward knowledge of the site and preservation of the stones.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;"><br /></span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">It is clear that several things should be prioritised at the site and the investigators have constantly bemoaned the situation to little effect.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;"><br /></span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">Firstly vegetation clearance should be a high priority. This may not be the Mexican jungle but the forest on the site is severely damaging the ruins and makes the exploratory task that much more difficult. Investigators have signalled for decades that roots and branches are undermining and damaging several of the remaining structures and yet nothing is ever done, when local villagers with a chainsaw could solve the problem in the space of two weeks. No-one is talking of denuding the site but certainly there are several score trees and bushes that should be removed from the site to facilitate work and reduce the damage they cause.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;"><br /></span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">Secondly, some elementary site clearance should be undertaken with the focus being on increasing the knowledge of some structures and hopefully precipitating their conversation and partial restoration. The presumed baths/gymnasion at Mk1 has long been a perfect target that has been off-limits to any excavation (except by illegal diggers). Due to its close proximity to the Inscription Stoa it is not beyond the realms of imagination that the courtyard may contain further pieces. The arcade is in danger of collapse from sprouting foliage and the inside of the structure (which is sometimes speculated as being a baths) is filled with rubble from collapsed vault roofing that again the authorities will not allow work to be done on. The dedicatory inscription from the facade is only known in parts and no work is permitted to search for the other pieces.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;"><br /></span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">Thirdly the theatre is a disgrace. Again it has a very large tree growing in the orchestra while the stage is a tumble of debris on which no work is undertaken. The seating is partly buried in scree that would be relatively easy to excavate, sift and remove and yet nothing happens. </span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;"><br /></span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">Fourthly, the late wall needs to be dismantled and the pieces of the Inscription still embedded in it need to be liberated. </span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;"><br /></span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">Fifthly, I get a queasy feeling about the fate of the Inscription. Moving the pieces to a storage facility was long overdue.</span></div><div style="text-align: justify;"><span face=""verdana" , sans-serif" style="font-family: verdana;"> </span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">I get the feeling we may find one day that the Inscription is whisked away to the museum in Fethiye "for preservation" never to be seen in its original context ever again.</span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;"><br /></span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;">Quite literally the Turkish authorities have been putting "stones on the road" to block work at Oenoanda. The situation has become slightly better with the rescue of the obvious pieces of the Inscription lying around, but the effort needs to be greater. </span></div>
<div style="text-align: justify;">
<span face=""verdana" , sans-serif" style="font-family: verdana;"><br /></span></div>
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<span face=""verdana" , sans-serif" style="font-family: verdana;"><br /></span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-16569675513219265192016-08-11T07:58:00.000-07:002016-08-11T07:58:20.556-07:00Diskin Clay's Encounter with Oinoanda<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">I stumbled across what appears to be the unpublished correspondence of Diskin Clay, the American academic that wrote the extensive article in ANRW on Oinoanda.</span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">The chapter on his encounter with the ruins in the early years of the revival of exploration of the site is worth repeating:</span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-variant-caps: small-caps; line-height: 200%; text-align: center;">Oinoanda, 1975 & 1977</span></span></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;">A brief memoir for Angelo Casanova<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;">in <i>Harmonia</i>:
<i>Scritti di Filologia Classica in onore di
Angelo Casanova<o:p></o:p></i></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"> (Florence 2012)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 0.5in;">
<span style="font-family: "verdana" , sans-serif;">I was far from Fetiye and the Xanthos in
Lycian Turkey when I first discovered Oinoanda.
In 1972, I was teaching at l’Université de Lille III (Charles de Gaulle)
and directing a <i>mémoire de maîtrise</i>
on the philosophical inscription of Diogenes of Oinoanda. Claire Millot and I were studying and
perplexed by New Fragment 7 that Martin Ferguson Smith had published the year
before (in the <i>American Journal of
Archaeology</i> 74 [1971], 365-69), an issue in which he published twelve new
fragments to bring the total of new fragments he had discovered since his
second visit to the site in 1969 to sixteen.
New Fragment 7 comes from the Physics Treatise. Smith first interpreted the text (of two
columns and part of a third) to be a description of cosmogony based on the
physics of Democritus. By the unreliable
luck of a philologist, I had just been reading Plutarch’s tract against
Epicurus’ ethical philosophy with the provocative title, “That According to
Epicurus the Pleasant life is not Even Possible.” There I discovered a quotation from a letter
Epicurus wrote to fellow Epicureans in Lampsakos describing a shipwreck he
barely survived on his way to Lampsakos on the Asiatic coast of the Propontis (<i>Moralia</i> 1090E). I wrote to Martin to report my
discovery. With his characteristic
generosity and enthusiasm for Diogenes and his inscription he embraced the
suggestion that I was soon to publish.<o:p></o:p></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 0.5in;">
<span style="font-family: "verdana" , sans-serif;">Eventually my discovery of Epicurus’
shipwreck led to my joining the Oinoanda Survey in the summers of 1975 and
1977. Oinoanda is not easy to reach, but
not as difficult as other parts of the Kibyratis described by George Bean in
his <i>Lycian Turkey</i> (London 1978)
170-175. Oinoanda is a mountain city
dominating the high plain (<i>yayla</i>) of
Seki and the sources of the Xanthos River.
In the early summer of 1975, I had been visiting Turkey with my friend
Charles Kahn, and we had come down from Istambul and the Bosporus for a
Presocratic tour of Ionia. At the end of
our Presocratic tour, I left Charles to catch a bus up to Izmir and I took a <i>dolmush</i> (a share taxi, meaning “it is
said to be full”) to Fethiye. The next
day I took the yellow Ali Jet up to Seki where I was greeted by Martin Ferguson
Smith, Alan Hall of the British Institute of Archaeology at Ankara, and the
architectural expert J. J. Coulton, who was to study the buildings and draw up
a plan of the site.<o:p></o:p></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 0.5in;">
<span style="font-family: "verdana" , sans-serif;">The mountain of ancient Oinoanda is
known locally as Asar Bel, “the ridge with the ruins.” The ascent of the mountain begins at the
small village of Incealiler at the foot of the mountain to the south. It is not a steep climb and takes about
forty-five minutes. The climber has no
sense that he is approaching an ancient city until he encounters the first
limestone joints for the pipes that supplied the city with water carried by an
aquaduct bringing water down to Oinoanda from a lake to the south. The path leads to the impressive and
well-preserved southern walls. Beyond
these lie the agora and a confusion of stone leading to “The Great Wall.” This is a defensive wall to the north of the
city constructed perhaps in the second century A.D. or later. It is fertile with inscriptions from
Diogenes’ stoa, some of which the French had pried out during their campaigns
of 1884, 1885, and 1889. Beyond to the
north is the open space the French called l’Esplanade. It too conceals Diogenes inscriptions, as has
been demonstrated by excavations conducted in 2008 by Martin Smith and Jürgen
Hammerstaedt. Further north is the
theater. Its inscriptions are all
civic. The acropolis on the northern
edge of the city is guarded by the vigilant lions on sarcophagus lids. We would draw up rainwater from the
sarcophagi for our squeezes, being careful to avoid snakes.<o:p></o:p></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 0.5in;">
<span style="font-family: "verdana" , sans-serif;">As luck would have it, on my first day
at the site I discovered a new fragment on the wall enclosing the Esplanade to
the east. In it Diogenes explained how
hail can form in the summer (New Fragment 82 = Fr. 99 of Smith’s <i>The Epicurean Inscription</i>). This is in fact not a fragment but a
“monolithic maxim.” <o:p></o:p></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 0.5in;">
<span style="font-family: "verdana" , sans-serif;">At the beginning of our explorations in
the summer of 1975, we and our young surveyors from the North London
Polytechnic Institute camped out in tents at the top of the mountain. We had three site guards. All were armed with shotguns. The fiercest of these was Mehmet. Mehmet and I would hunt for oregano on the mountainside
to season the omelets I would make for my colleagues and the starving
surveyors. Our sylvan life on the
mountain was not to last long. Late one
afternoon a group of four or five armed men arrived at our camp. With Turkish politeness we greeted them <i>hosh geldinez</i> (“you have come as a
pleasure”). The expected reply should
have been <i>hosh bulduk</i> (“we find you as a pleasure”). We did not receive it. We served tea and they sat with their guns
pointed vaguely but significantly in our direction. They were what the Italians would call <i>tombaroli</i> (tomb-robbers). That night
there was gunfire that seemed to be directed towards our tents. This brought our stay on the mountain to an
end. We moved down to Seki where we stayed
in an austere schoolhouse whose only decoration was a large poster
incongruously illustrating every variety of ocean fish. The Mediterranean (or Ak Deniz, White Sea)
was very far from us.<o:p></o:p></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 0.5in;">
<span style="font-family: "verdana" , sans-serif;">Seki and Incealiler held many
charms. On our way up the mountain we
could sometimes hear the crippled shepherd Sami Bey playing his reed pipe. Then on our way down in the late afternoon
our site guards, Ali and his wife, would offer us <i>ayran</i> (yogurt mixed with cold water), a drink we relished at the
end of a long hot day. Ali’s wife was
the only woman I actually looked at during my two seasons on the mountain above
<i>yayla</i>. The women with their children would work the
fertile plain of Seki with their heads covered.
Sometimes we could sight camels down on the plain, or Ak Dag, the White
Mountain, looming to the east of Seki.
Down on the coast not far south of Fetiye was the Olu Deniz (the Dead
Sea) where we would swim and relax every two weeks. There I came to understand the difference
between the Turks of the Mediterranean and the Turks of the interior.<o:p></o:p></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 0.5in;">
<span style="font-family: "verdana" , sans-serif;">In 1975, I took a bus up to Smyrna where
I stayed at the Grand Ephesos Hotel.
Before swimming in the hotel’s pool I took a much-needed bath. As I washed I discovered a strange lump in my
left armpit. It was an engorged tick
that I had transported from the mountain.
The pool, comfort, and food of the hotel restored me to civilization,
yet I missed the mountain. I flew up to
Istanbul and from Istanbul to Athens and from Athens to what was then home,
Portland, Oregon. My second return from
Turkey in 1977 (now to Baltimore, Maryland), was more sudden and abrupt. Jim Coulton and I were down in Fetyie where
we picked up a copy of the <i>Jumhuryet</i>
(<i>The Republic</i>). There we found the headline “<i>Ankarada Kolera</i>” (Colera in
Ankara”). We immediately returned to
Seki, picked up our belongings, and hurried to Kushadashi for a boat to take us
to Samos and then to the Peiraeus before the Greek authorities imposed a ban on
travelers coming from Turkey. The
prevalent Imbat (a strong wind from the north, in Greek, the <span style="line-height: 200%;">bãthw</span>)
was blasting the sea at 8 Beaufort and the scenes of seasickness were
grisly. I returned to Athens and
America, never to return to Turkey again.
Martin Ferguson Smith still ranges the mountain of Oinoanda with his
daughter and granddaughter, but less often.
He often works in Seki on the plain below. </span><br />
<span style="font-family: "verdana" , sans-serif;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 0.5in;">
<span style="font-family: "verdana" , sans-serif;">The count of new fragments discovered by
2010 came to 138; with the publication of the survey results for which the
Austrian Institute in Ankara is now responsible, the total of new finds mounts
to 190. I dedicate these short memoirs
of my two summers in Oinoanda to my colleague Angelo Casanova who in 1984
published his splendid edition of Diogenes, <i>I
Frammenti di Diogene d’Enoanda</i>. He
has never been to Oinoanda, but there is a fine photograph of Martin Ferguson
Smith, Angelo Casanova, and myself taken at the entrance of the archaeological
site of Herculaneum. He now has a print
of it. <o:p></o:p></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"> A last memory of mountains: On the Olympic peninsula on the
northern shore of in Washington state, there is a nice path that leads to its
western extremity. There I found the
town of Sappho. I did not know then that
I would get to know and write on her poetry or admire her statue on the main square
of the capital of Lesbos. On the Olympic
peninsula I found a poster announcing a dance and assuring us that “Terpsichore
will not be absent.” Sometimes it is
better to take the low road.</span><span style="font-family: "geneva";"><o:p></o:p></span></div>
</div>
Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-15996766152565302842016-08-10T00:23:00.000-07:002016-08-10T00:23:35.795-07:00A BMCR Review - The Epicurean Inscription of Diogenes of Oinoanda: Ten Years of New Discoveries and Research<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "verdana" , sans-serif;">Jürgen Hammerstaedt, Martin Ferguson Smith, <i>The Epicurean Inscription of Diogenes of Oinoanda: Ten Years of New Discoveries and Research</i>. Bonn: Verlag Dr. Rudolf Habelt, 2014. Pp. 288. ISBN 9783774939271. €69.00. </span></h3>
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<b style="background-color: white; color: #222222; font-size: 12.8px;"><b style="font-size: 12.8px;"><span style="font-family: "verdana" , sans-serif;">Reviewed by Pamela Gordon, University of Kansas (<a href="mailto:pgordon@ku.edu" style="color: #1155cc;" target="_blank">pgordon@ku.edu</a>)</span></b></b></div>
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<span style="font-family: "verdana" , sans-serif;">That Epicurus was such a prolific writer irked his ancient detractors. Epictetus thought that Epicurus’ efforts to compose and broadcast his texts contradicted his stance on friendship (<i>Discourses</i> <span class="aBn" data-term="goog_460310456" style="border-bottom: 1px dashed rgb(204, 204, 204); position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">2.20.20</span></span>), and Plutarch claimed that Epicurus’ energetic communications with an array of readers violated the “live unnoticed” precept attributed to him (<i>Moralia</i> 1128). Diogenes of Oinoanda would have caused similar consternation. Faced with human suffering, Diogenes considers it the responsibility of “any good man” (χρηστὸς τις ἀνήρ, fragment 2 II 11-12) to run to the aid of his contemporaries (an intervention he expresses with the pun ἐπικουρεῖν fragment 2 V 7).<a href="https://www.blogger.com/null" name="m_-9125285926589307321_t1"><sup></sup></a><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://bmcr.brynmawr.edu/2016/2016-07-38.html%23n1&source=gmail&ust=1470868422337000&usg=AFQjCNHmfFRSU7ZFDKCT3tbNAkWIinnFdA" href="http://bmcr.brynmawr.edu/2016/2016-07-38.html#n1" style="color: #1155cc;" target="_blank">1</a> This philosophical rescue effort took place not just among small circles of like-minded friends, but on the walls of a stoa in the thick of things in urban Oinoanda (in southwest Asia Minor, now Turkey). Of all known inscriptions from Greek and Roman antiquity, Diogenes’ is the longest. According to the preface by Hammerstaedt and Smith, this limestone inscription of Roman imperial date (“probably the first half of the second century AD”) “may have occupied about 260 square metres of wall-space and contained about 25,000 words” (p. 1). Oenoanda had a rich epigraphic culture, and it seems highly relevant that Diogenes chose the medium favored by other wealthy elites and public benefactors, particularly in the Greek East.</span></div>
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<span style="font-family: "verdana" , sans-serif;">It is fitting that such a generous, affable, and industrious Epicurean should have the expert support of Hammerstaedt and Smith, who have not only devoted considerable effort to the discovery and preservation of the fragments of Diogenes’ dismantled inscription, but who have also published the new fragments and new readings of rediscovered stones within months of their discovery (along with indispensable commentaries and translations). Smith has been the international leader of work on Diogenes of Oinoanda since 1968, and most of this volume presents the fruitful results of his collaboration with Hammerstaedt, a relative newcomer.</span></div>
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<span style="font-family: "verdana" , sans-serif;">In 2007, a new survey-project in Oinoanda began under the directorship of Martin Bachmann, of the Deutsches Archäologisches Institut, Istanbul. Between 2007 and 2012, 76 new fragments were discovered (some of them quite substantial). The editors are optimistic that more fragments will soon emerge, so this is not yet the time to produce a full, consolidated edition of the inscription. The present volume comprises seven previously published articles that present the Greek texts of these new fragments along with photographs, English translations and commentary, and abstracts in Turkish, all of which appeared in <i>Anatolian Studies</i> or <i>Epigraphica Anatolica</i>. In addition, there is a brief but informative preface, a crucial three-page section aptly titled “Finding and Citing the Latest Edition of a Diogenes Fragment,” a previously published article on the text (in German), and a new 25-page section that prints lists of corrections and additions, the “Theological Physics-sequence” as one continuous text (old and new fragments combined, with translation), and Greek indices of all of the fragments and new readings first published in 2003-2012. This new material will be essential to any scholarship on Diogenes, but even the (uncorrected) reprinted articles are valuable, as many university libraries do not subscribe to the journals. Moreover, <i>Epigraphica Anatolica</i> does not appear in the usual online databases and sometimes passes under the radar of Google Scholar. Here I will mention only a few of the new discoveries, and I will refer to the translations rather than to the Greek text.</span></div>
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<span style="font-family: "verdana" , sans-serif;">New Fragment (henceforth NF) 157 and Hammerstaedt’s and Smith’s commentaries will be relevant to any discussion of Epicurean attitudes toward sexuality. In the new fragment, Diogenes seems to say that lovers (“those who are sick with the passion of love”) are not aware “that they derive pleasure to the highest degree from looking even without copulation” (p. 89). Here Hammerstaedt and Smith disagree about the significance of this text, which Smith takes as a statement of an orthodox position that both Epicurus and Lucretius would affirm. Hammerstaedt—rightly, in my opinion—finds Diogenes’ “positive attitude to the pleasure obtained from looking at an attractive person” (p. 90) at odds with Lucretius’ treatment of the connection between vision and erotic desire (Lucr. 4.1937- 1287). The inclusion of Hammerstaedt’s and Smith’s divergent views here will benefit future scholarly debate.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Refuting the notion of divine providence in NF 182, Diogenes refers to thunder, hail, violent winds, and other phenomena (including nighttime) that he pronounces “useless” or “even harmful” (p. 118). Hammerstaedt and Smith note incidentally that a violent storm that damaged the local apple crop coincided with the chance discovery of NF 182. Thus Diogenes’ interest in storms “would have seemed highly appropriate” to the inhabitants of his mountainous region (p. 118).</span></div>
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<span style="font-family: "verdana" , sans-serif;">Also of particular importance is NF 186, which adds a small but significant piece of evidence for the existence of female students of Epicurean philosophy. This fragment “may or may not belong to <i>Letter to Menneas</i>,” one of the “Ten-Line-Column Writings” that may have been in the central course of the apparently seven-course inscription (p.129). Almost an entire column of NF 186 is well preserved, and one feminine pronoun and one feminine participle are clearly legible. Hammerstaedt and Smith translate: “… [I shall help them (?)] [in every] way, when I can. As you know, we do not have better things to offer them (N.B. ‘them’ is feminine) than our own good fare. For indeed they happen already to have done some tasting of the doctrines of Epicurus, but to be sure not in such a way that [the disturbances] that strike [them have been removed]” (p. 130). The commentary suggests plausibly that the addressee is “an Epicurean or Epicurean sympathizer” and that “our own good fare” may refer to Epicurean philosophy (p. 130). Sadly, the next column is too damaged to read more than a few characters. Perhaps future discoveries will reveal whether these women belonged to some sort of circle of seekers or students, or if they were simply two or more acquaintances or correspondents.</span></div>
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<span style="font-family: "verdana" , sans-serif;">In NF 192, addressing “Zeno and Cleanthes, and you, Chrysippus,” Diogenes asserts that the Epicurean <i>telos</i> is not the pleasures of “the masses,” as the Stoics claim, but is like the Stoic <i>telos</i>, though the Stoics “hate the name of pleasure” (p. 153). Diogenes’ naming of Chrysippus, who is not mentioned in other fragments, will be of interest to scholars who think that Epicureanism continued to develop after the lifetime of Epicurus. Chrysippus (born c. 280 BCE) was only a boy when Epicurus died in 270 BCE.</span></div>
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<span style="font-family: "verdana" , sans-serif;">This leads me to one aspect of the fine work of Hammerstaedt and Smith that is not to my taste, though it may bother only a minority of other scholars. I would have liked to see in the commentaries more attention to Diogenes’ particular context in the Epicurean tradition. While acknowledging that later Epicureans seem to have been eager to demonstrate their loyalty to the teachings of Epicurus or, more generally, to the teachings of “The Men” (Epicurus, Hermarchus, Metrodorus, and Polyaenus), I agree with Snyder that Epicurean texts were “not simply a static body of documents to be restored, but a sinuous, evolving entity.”<a href="https://www.blogger.com/null" name="m_-9125285926589307321_t2"><sup></sup></a><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://bmcr.brynmawr.edu/2016/2016-07-38.html%23n2&source=gmail&ust=1470868422337000&usg=AFQjCNFse0_LtlVWaJbJ35nxzUtU87iHCg" href="http://bmcr.brynmawr.edu/2016/2016-07-38.html#n2" style="color: #1155cc;" target="_blank">2</a> Philodemus’ allegiance seems to be to “The Men,” but so far it appears that Diogenes saw himself as a follower solely of Epicurus, whom he mentions eight times in the known fragments if we count one certain and one uncertain reference to “son of Neocles” (the fragment numbers are listed on p. 131). And yet, Diogenes does not deliver wisdom straight from the books of Epicurus, as his inimitable voice and aspects such as his reference to Chrysippus make clear.</span></div>
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<span style="font-family: "verdana" , sans-serif;">But Smith’s approach to these fragmentary texts often involves filling in lacunae with words imported from the texts of Epicurus, though Hammerstaedt and Smith do take care to remind readers that Smith’s restorations are merely suggestions. For example, in the notes on NF 156, they write: “S.’s restoration of the whole maxim…is closely based on the passages in which Epicurus (especially Hdt. 49-50) and Diogenes (especially fr. 9, 43) describe how the images cause vision, thought, and dreams, but of course he does not claim to show how the text went, only how it might have gone” (p. 59). Sometimes the editors have found that “how it might have gone” was clearly not how it went. NF 157 was discovered in 2008 (published expeditiously in 2008), but the full text on the stone was not uncovered until the following season (and then published in 2009). For the 2008 publication, Smith presented restorations and a translation of the text as it had so far been revealed (p. 60). But when the rest of the stone was uncovered a year later, Hammerstaedt and Smith discovered that half of that restored text and most of the translation were incorrect, as the full photograph, text, and translation demonstrate (p. 89). To their credit, Hammerstaedt and Smith call attention to the hazards of restoration by issuing “a mild ‘health warning’” (p. 3) and a list of updates (p. 5) for readers who would otherwise be unaware that a proposed restoration has become untenable.</span></div>
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<span style="font-family: "verdana" , sans-serif;">This book will be essential for scholars and fans of Diogenes of Oinoanda, and the wealth of detail it contains about the extensive recovery, recording, and preservation efforts should make any reader optimistic that Diogenes has even more to tell us.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Table of Contents</span></h4>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 12.8px;">Preface</span><span style="font-size: 12.8px;"> </span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 12.8px;">Abbreviations</span><span style="font-size: 12.8px;"> </span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 12.8px;">Finding and Citing the Latest Edition of a Diogenes Fragment</span><span style="font-size: 12.8px;"> </span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 12.8px;">New Fragments (NF) 136-212, and Some Additions to “Old” Fragments</span><span style="font-size: 12.8px;"> </span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 12.8px;">1. MFS, In praise of the simple life: a new fragment of Diogenes of Oinoanda [=</span><span style="font-size: 12.8px;"> </span><i style="font-size: 12.8px;">Anatolian studies</i><span style="font-size: 12.8px;"> </span><span style="font-size: 12.8px;">54 (2004) 35-46]</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 12.8px;">2. MFS, JH, The Inscription of Diogenes of Oinoanda: New Investigations and Discoveries (NF 137-141)." [=</span><span style="font-size: 12.8px;"> </span><i style="font-size: 12.8px;">Epigraphica Anatolica</i><span style="font-size: 12.8px;"> </span><span style="font-size: 12.8px;">40 (2007) 1-12]</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 12.8px;">3. JH/ MFS, Diogenes of Oinoanda: The Discoveries of 2008 (NF 142-167) [=</span><span style="font-size: 12.8px;"> </span><i style="font-size: 12.8px;">Epigraphica Anatolica</i><span style="font-size: 12.8px;"> </span><span style="font-size: 12.8px;">41 (2008) 1-37]</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 12.8px;">4. JH/ MFS, Diogenes of Oinoanda: The Discoveries of 2009 (NF 167-181)." [=</span><span style="font-size: 12.8px;"> </span><i style="font-size: 12.8px;">Epigraphica Anatolica</i><span style="font-size: 12.8px;"> </span><span style="font-size: 12.8px;">42 (2009) 1-38]</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 12.8px;">5. Hammerstaedt, Jürgen, and M. F. Smith. "Diogenes of Oinoanda: The Discoveries of 2010 (NF 182-190)." [=</span><span style="font-size: 12.8px;"> </span><i style="font-size: 12.8px;">Epigraphica Anatolica</i><span style="font-size: 12.8px;"> </span><span style="font-size: 12.8px;">43 (2010) 1-29]</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 12.8px;">6. Hammerstaedt, Jürgen, and M. F. Smith. "Diogenes of Oinoanda: The Discoveries of 2011 (NF 191-205, and Additions to NF 127 and 130)." [=</span><span style="font-size: 12.8px;"> </span><i style="font-size: 12.8px;">Epigraphica Anatolica</i><span style="font-size: 12.8px;"> </span><span style="font-size: 12.8px;">44 (2011) 79-114]</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 12.8px;">7. Hammerstaedt, Jürgen, and Martin Ferguson Smith. "Diogenes of Oinoanda: new discoveries of 2012 (NF 206-212) and new light on" old" fragments." [=</span><span style="font-size: 12.8px;"> </span><i style="font-size: 12.8px;">Epigraphica Anatolica</i><span style="font-size: 12.8px;"> </span><span style="font-size: 12.8px;">45 (2012) 1-37]</span></span></div>
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<span style="font-size: 12.8px;"><span style="font-family: "verdana" , sans-serif;">Further Contributions</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 12.8px;">8. JH, Zum Text der epikureischen Inschrift des Diogenes von Oinoanda [=</span><span style="font-size: 12.8px;"> </span><i style="font-size: 12.8px;">Epigraphica Anatolica</i><span style="font-size: 12.8px;"> </span><span style="font-size: 12.8px;">39 (2006) 1-48]</span></span></div>
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<span style="font-size: 12.8px;"><span style="font-family: "verdana" , sans-serif;">9. JH / MFS, The Continuous “Theological Physics-sequence” (NF 167 + NF 126/127 + fr. 20 + NF 182)</span></span></div>
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<span style="font-size: 12.8px;"><span style="font-family: "verdana" , sans-serif;">10. JH / MFS, Additions and Corrections</span></span></div>
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<span style="font-size: 12.8px;"><span style="font-family: "verdana" , sans-serif;">11. JH / MFS, Greek Indices</span></span></div>
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<b style="color: #222222; font-size: 12.8px;"><b style="font-size: 12.8px;"><span style="font-family: "verdana" , sans-serif;">Notes:</span></b></b></div>
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<span style="color: #222222; font-size: 12.8px;"><span style="font-family: "verdana" , sans-serif;"><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://bmcr.brynmawr.edu/2016/2016-07-38.html%23t1&source=gmail&ust=1470868422337000&usg=AFQjCNFkHy76yogn36GHrF7a_vgY9sZaRA" href="http://bmcr.brynmawr.edu/2016/2016-07-38.html#t1" style="color: #1155cc; font-size: 12.8px;" target="_blank">1. </a><span style="font-size: 12.8px;"> For the text of this and other fragments discovered before 1993 (through NF 124), see Martin Ferguson Smith, </span><i style="font-size: 12.8px;">Diogenes of Oinoanda. The Epicurean Inscription</i><span style="font-size: 12.8px;">, La scuola di Epicuro, Supplemento 1, Naples, Bibliopolis, 1993. Fragments discovered after that publication (through NF135) can be found in Martin Ferguson Smith, </span><i style="font-size: 12.8px;">Supplement to Diogenes of Oinoanda, The Epicurean Inscription</i><span style="font-size: 12.8px;">, La scuola di Epicuro, Supplemento 3, Naples, Bibliopolis, 1993. The publication under review here includes corrections to those editions. </span></span></span></div>
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<a href="https://www.blogger.com/null" name="m_-9125285926589307321_n1"><span style="font-family: "verdana" , sans-serif;"></span></a><span style="font-family: "verdana" , sans-serif;"><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://bmcr.brynmawr.edu/2016/2016-07-38.html%23t2&source=gmail&ust=1470868422337000&usg=AFQjCNFB_lhRYNeRbUDkZuuOwYeRApt-8g" href="http://bmcr.brynmawr.edu/2016/2016-07-38.html#t2" style="color: #1155cc; font-size: 12.8px;" target="_blank">2. </a><span style="font-size: 12.8px;"> H. Gregory Snyder, </span><i style="font-size: 12.8px;">Teachers and Texts in the Ancient World</i></span><span style="font-size: 12.8px;"><span style="font-family: "verdana" , sans-serif;"> (New York: Routledge, 2000), 53</span><span style="font-family: "arial" , sans-serif;">.</span></span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-4879712850548667052016-03-13T11:11:00.003-07:002021-02-28T09:23:42.689-08:00Fragments 5 & 6<div dir="ltr" style="text-align: left;" trbidi="on">
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<span face=""verdana" , sans-serif" style="font-family: verdana;">These two pieces constitute related parts of the texts and the stones were in excellent condition (except for some obscuring of the text) when Kalinka wrote them up. Unlike fragments 7 & 8 these two do not overlap in their placement. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi56ncbzXKkApIUD9xTNjy6jcwy4G2Pvvr4z0nwTQGoQaVu3JGvL2PAR1F6Hx4oVT4WblgoTEJaqSJGIx93Mi_NtelmuoSYP1LeBRjzBiu3cJ8rQm5tSbfQyKJwmv6G-XEG7iudqZ9sUfl9/s1600/F5&6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi56ncbzXKkApIUD9xTNjy6jcwy4G2Pvvr4z0nwTQGoQaVu3JGvL2PAR1F6Hx4oVT4WblgoTEJaqSJGIx93Mi_NtelmuoSYP1LeBRjzBiu3cJ8rQm5tSbfQyKJwmv6G-XEG7iudqZ9sUfl9/s1600/F5&6.jpg" width="400" /></a></div>
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<span style="font-family: verdana;">Ist Column</span></div><div style="line-height: normal;"><span style="font-family: verdana;"><br /></span></div><div style="line-height: normal;"><div style="line-height: normal;"><span face=""verdana" , sans-serif"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>NONXPHCI</span></div><div style="line-height: normal;"><span face=""verdana" , sans-serif"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>..WCWMATI</span></div><div style="line-height: normal;"><span face=""verdana" , sans-serif"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>..OIC</span><span face=""verdana" , sans-serif">ΠPOCΠE</span></div><div style="line-height: normal;"><span face=""verdana" , sans-serif"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>..NEICΠARAI</span></div><span face="verdana, sans-serif"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>..ΜΑΡΙΚΤΗ</span></div><div style="line-height: normal;"><span style="text-indent: 0.5in;">OAYTOCO...</span></div>
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<span face=""verdana" , sans-serif">BOYΛHNΔ....</span></div>
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<span face=""verdana" , sans-serif">MEΓAΘY...</span></div>
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<span face=""verdana" , sans-serif">PONTON...</span></div>
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<span face=""verdana" , sans-serif">ΓHPAI</span><span face=""verdana" , sans-serif">ΔH...</span></div>
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<span face="verdana, sans-serif"><br /></span><span face="verdana, sans-serif" style="font-family: verdana;">2nd Column </span></div><div class="MsoNormal" style="margin-bottom: 0in; text-indent: 0.5in;"><span face="verdana, sans-serif"><br /></span></div><div class="MsoNormal" style="margin-bottom: 0in; text-indent: 0.5in;"><span face="verdana, sans-serif">ΠΕΠΑΥ</span><span face="verdana, sans-serif"><br /></span></div><div class="MsoNormal" style="margin-bottom: 0in; text-indent: 0.5in;"><span face="verdana, sans-serif">ΓΟΡΗΤ</span><br />
<span face="verdana, sans-serif"><span> </span><span> </span><span> </span>ΔΕΤΟΥ</span><br />
<span face="verdana, sans-serif"><span> </span><span> </span><span> </span>ΠΡΟΚ..</span><br />
<span face="verdana, sans-serif"><span> </span><span> </span><span> </span>ΤΡΑΓ..</span><br />
<div style="line-height: normal;"><span style="font-family: verdana; text-align: justify; text-indent: 0.5in;"><br /></span></div></div></div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="MsoNormal" style="margin-bottom: 0in; text-indent: 0.5in;"><div style="line-height: normal; text-align: left;"><span style="font-family: verdana; text-align: justify; text-indent: 0.5in;">The source here is Ernst Kalinka and Rudolf Heberdey, L'inscription philosophique d'Oenoanda in the Bulletin de correspondance hellénique. Volume 21, 1897. pp. 359.</span></div></div></div><div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: justify;">
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-52327450055639920302016-03-12T08:09:00.002-08:002016-03-12T08:11:24.911-08:00The Economy of Oenoanda<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">It is probably useful to put Oenoanda in context first. It was a hilltop city that was very outside the Roman model, moreover it also was not on any major routes so thus "not on the way to anywhere else". Therefore the city had to rely on its own very small hinterland for its economic prosperity. In this respect its closest parallel in modern times is the Italian hill towns of Tuscany.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Some versions have it that the town takes it name form the Greek word for wine. Certainly the area has not been known for its wine or grape growing for a very long time. However, in a recent report the Hurriyet newspaper reported a reactivation of wine growing at Arycanda, citing evidence of "wine houses" in the region of Oenoanda and claiming that wine in the world had been first grown in the region 4,000 years ago. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Just east of the Esplanade in the upper part of the city, archaeologists have identified what they have termed a screw-press (constructed from spolia) for wine production that dates from a late stage of the city's history, the size of which has been deemed worthy of being shown on maps of the area. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">We can therefore presume that wine and probably olive growing were also profitable economic activities in the area. Though what the surplus for export might have been is unfathomable. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">We might regard the city's "territory" as being the valleys on either side of its mountain eyrie. An inscription relating to the establishment of the <i>Demosthenaia</i> festival notes that there were 35 villages within the territory of Oenoanda. The evidence also suggests that there was summer pasture under the city's control that was a source for sacrificial animals and presumably herds as a food source. </span><br />
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<span style="font-family: "verdana" , sans-serif;">The map below shows the town and the valleys around. Kemerarasi was known as Termessos Minor in ancient times. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfzL7twlROYJBTf_7JE9njgHMHGxDobZO7Nl74gAJyIC327EyZa3hIBKVrbac33SON9_bfm4grM4XoAcHgIOW8y_StCLF5Jo306u09shux3ylRtBQpvbvcOcj89MbQF2DZITvp4E3kCyBe/s1600/Map_oenoanda_valley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfzL7twlROYJBTf_7JE9njgHMHGxDobZO7Nl74gAJyIC327EyZa3hIBKVrbac33SON9_bfm4grM4XoAcHgIOW8y_StCLF5Jo306u09shux3ylRtBQpvbvcOcj89MbQF2DZITvp4E3kCyBe/s640/Map_oenoanda_valley.jpg" width="538" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">What was grown in these valleys in ancient times remains a mystery but a clue may be the ransom that the Romans demanded of the Cabalian League which consisted of 10,000 medimni of wheat. According to </span><i style="font-family: verdana, sans-serif;">A Dictionary of Greek and Roman Antiquities. William Smith, LLD. William Wayte. G. E. Marindin. Albemarle Street, London. John Murray. 1890.</i><span style="font-family: "verdana" , sans-serif;"> an Attic </span><i style="font-family: verdana, sans-serif;">medimnus</i><span style="font-family: "verdana" , sans-serif;"> consisted of 12 imperial gallons (11.556 gallons) or 1 1/2 bushel, though there were different versions that were less. However, for the region to have such a large surplus (hopefully) of wheat to make the payment, this must have been a crop of importance in the valleys of the region. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">Pliny commented upon the cedars of the region, but did not comment as to whether they were cut and traded or not. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">The nature of industries in the city is also unknown at this stage as little effort has gone into exploring the "suburban" parts of the ruined city. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">In the book <i>The Politics of Munificence in the Roman Empire: Citizens, Elites and and Benefactors in Asia Minor by</i></span><i style="font-family: verdana, sans-serif;"> Arjan Zuiderhoek, </i><span style="font-family: "verdana" , sans-serif;"><i>Cambridge University Press, 2009, </i></span><span style="font-family: "verdana" , sans-serif;">it is mentioned that the </span><i style="font-family: verdana, sans-serif;">Demosthenaia</i><span style="font-family: "verdana" , sans-serif;"> festival involved a suspension of tolls and levies with the goal being that during the duration of the festival traders from other areas would come and negotiate their business in the city. A sort of temporary "free-trade zone" to boost the local economy and ensure that the festival goers had a sufficient supply of foods and consumer goods. The author speculates that this might imply that tariffs on trading were high enough or trading good enough in normal times that the city could offer this dispensation at special times. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">Another interesting document is a treaty agreed between the citizens of the nearby city of Tlos and the Termessians. As has been mentioned elsewhere the Termessians may actually be the citizenry of Oenoanda with the city and territory having a different name to the inhabitants. In any case, in the article </span><i><span style="font-family: "verdana" , sans-serif;">Une convention entre cités en Lycie du Nord, </span><span style="font-family: "verdana" , sans-serif;">In: Comptes-rendus des séances de l'Académie des Inscriptions et Belles-Lettres, 140e année, N. 3, 1996. pp. 961-</span></i><i style="font-family: verdana, sans-serif;">980</i><span style="font-family: "verdana" , sans-serif;"> bu Christian Le Roy the author discusses the rights the Tlosians allowed to the Termessians. Amongst these was the cutting of wood from their territory (though whether this was firewood or wood for construction/furniture etc has not been established) and rights of pasturage, which is seemingly summer grazing. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">The author also makes reference to the floating of logs down the Xanthos river from the region of Tlos and Oenoanda to the sea. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">For the forestry resources of the zone he cites </span><span style="font-family: "verdana" , sans-serif;"><i>Revue de Géographie alpine 47, 1959, p. 373-385</i>: <i>"les oliviers ne dépassent pas les 900 m ; Puis, on a les pins </i></span><i><span style="font-family: "verdana" , sans-serif;">rouges, jusque vers 1000 m ; les pins noirs et les chênes vers 1 300 m ; les cèdres et genév</span><span style="font-family: "verdana" , sans-serif;">riers jusque vers 1800 m au sud et 2100 m au nord. Pour le pourtour du massif étudié (audessus </span><span style="font-family: "verdana" , sans-serif;">de la baie de Fethiye et de la plaine de Nif), l'auteur emploie l'expression de « grande </span><span style="font-family: "verdana" , sans-serif;">sylve lycienne » (p. 378). Encore fait-il à bon droit observer que * ces hauteurs sont et ont </span><span style="font-family: "verdana" , sans-serif;">été occupées aux limites de leurs possibilités » et que cette « surcharge pastorale » explique </span><span style="font-family: "verdana" , sans-serif;">« la dévastation absolue de la forêt au-dessus de 1800 m et sa réduction à quelques taches </span><span style="font-family: "verdana" , sans-serif;">au-dessus de 1550 m ». La couverture sylvestre devait être beaucoup plus dense dans l'An</span><span style="font-family: "verdana" , sans-serif;">tiquité".</span></i><br />
<i><span style="font-family: "verdana" , sans-serif;"><br /></span></i>
<span style="font-family: "verdana" , sans-serif;">Thus we might be so daring as to suggest that the known economic activities of Oenoanda might have been trading in general, wood, wheat, wine, olives, animal husbandry. From this might also come woodworking, wool processing and some other as yet unknown manufacturing and value added activities linked to the raw materials it had at its disposal in the zone. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Sources: </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">Pliny, HN 12.61.132, 13.11.52, 16.59.137· Theophrastus, Historia plantarum, 3.12.3.</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">ANADOLU AKDENİZİ, </span><span style="font-family: "verdana" , sans-serif;">Arkeoloji Haberleri, </span><span style="font-family: "verdana" , sans-serif;">2013-11, </span><span style="font-family: "verdana" , sans-serif;">News of Archaeology from </span><span style="font-family: "verdana" , sans-serif;">ANATOLIA’S MEDITERRANEAN AREAS: Oinoanda 2012, </span><span style="font-family: "verdana" , sans-serif;">Report on the 2012 Campaign at Oinoanda, </span><span style="font-family: "verdana" , sans-serif;">Martin BACHMANN</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">Une convention entre cités en Lycie du Nord </span><span style="font-family: "verdana" , sans-serif;">In: Comptes-rendus des séances de l'Académie des Inscriptions et Belles-Lettres, 140e année, N. 3, 1996. pp. 961-</span><br />
<span style="font-family: "verdana" , sans-serif;"></span><br />
<span style="font-family: "verdana" , sans-serif;">980.</span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-81006278144407497392016-03-11T13:18:00.005-08:002021-03-01T04:11:23.209-08:00Donors to the Storehouse Project<div dir="ltr" style="text-align: left;" trbidi="on">
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<span face="Verdana, sans-serif" style="font-family: verdana;">In the Spring of 2010, when the Turkish authorities finally gave permission
for the erection of a storehouse had been granted, the archaeologists launched an international appeal for
funds. The appeal quickly received an extremely generous response. The new structure was placed on the "Esplanade". </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHzfq3j6nFHrYx90G_j4ScSS9gcghLWdqdsnwWzzop0UK3ClXCv6uZV6jR3b9ZdOY_kV9Q7tuykztXaDOFGZewtOrrDUqamZJ64BrqSbAJ0S9qCseQcuR8lTe2m5Sfbnj3C0lVYiLXbSC7/s1600/Storehouse.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHzfq3j6nFHrYx90G_j4ScSS9gcghLWdqdsnwWzzop0UK3ClXCv6uZV6jR3b9ZdOY_kV9Q7tuykztXaDOFGZewtOrrDUqamZJ64BrqSbAJ0S9qCseQcuR8lTe2m5Sfbnj3C0lVYiLXbSC7/s640/Storehouse.jpg" width="640" /></a></div>
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<span face="Verdana, sans-serif" style="font-family: verdana;">By far the largest contribution
was made by The Gilbert de Botton Memorial Foundation, a cultural fund established
under the will of Gilbert de Botton (1935–2000). One of those who administer the fund is his
son, the writer and philosopher Alain de Botton. Immense gratitude is owed to him for making
possible an extraordinary gift. </span></div>
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<span face="Verdana, sans-serif" style="font-family: verdana;"><br /></span></div>
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<span face="Verdana, sans-serif" style="font-family: verdana;">Other principal donors were: </span></div>
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<span face="Verdana, sans-serif" style="font-family: verdana;"><br /></span></div>
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</span><ul style="text-align: left;">
<li style="text-align: justify;"><span face="Verdana, sans-serif" style="font-family: verdana;">MFS </span></li>
<li style="text-align: justify;"><span face="Verdana, sans-serif" style="font-family: verdana;">Gustav Kranck </span></li>
<li style="text-align: justify;"><span face="Verdana, sans-serif" style="font-family: verdana;">Steelteam </span></li>
<li style="text-align: justify;"><span face="Verdana, sans-serif" style="font-family: verdana;">Kulturerhaltprogramm des Auswärtigen Amtes der Bundesrepublik Deutschland </span></li>
<li style="text-align: justify;"><span face="Verdana, sans-serif" style="font-family: verdana;">Klaus Fischer/
Fischer Befestigungssysteme </span></li>
<li style="text-align: justify;"><span face="Verdana, sans-serif" style="font-family: verdana;">John Fraser (Versoix) </span></li>
<li style="text-align: justify;"><span face="Verdana, sans-serif" style="font-family: verdana;">Il Centro Internazionale per lo Studio dei
Papiri Ercolanesi</span></li>
<li style="text-align: justify;"><span face="Verdana, sans-serif" style="font-family: verdana;">Deutsches Archäologisches Institut, Abteilung İstanbul </span></li>
<li style="text-align: justify;"><span face="Verdana, sans-serif" style="font-family: verdana;">The Seven Pillars of
Wisdom Trust </span></li>
<li style="text-align: justify;"><span face="Verdana, sans-serif" style="font-family: verdana;">Societat Catalana d’Estudis Clàssics</span></li>
</ul>
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<span face="Verdana, sans-serif" style="font-family: verdana;"><br /></span></div>
<div style="text-align: justify;">
<span face="Verdana, sans-serif" style="font-family: verdana;">Gratitude is due to all these institutions
and individuals, as well as to numerous friends of Jurgen Hammerstaedt, academic and non-academic, who made
gifts to the Oinoanda project on the occasion of his fiftieth birthday.</span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-59118593709609135422016-03-11T11:10:00.002-08:002016-03-11T11:44:03.664-08:00Oenoanda's Political Context<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">It might be useful to put the "city" of Oenoanda is some sort of political context. Essentially it was a large town, though I am sure it regarded itself as a small city and it did have many of the trappings of a major population centre despite its limited population.</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">What was its political status though?</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;"><b>The Tetrapolis</b></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<br />
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">The political arrangement of Oenoanda prior to 81 BC was that it, and the cities of Balbura, Bubon and Cibyra, belonged to a political alliance known variably as the Tetrapolis, the Cibyratis, or Cabalian League. It was dominated by the city of Cibyra (Kibyra), which formed a league approximately contemporaneously with the Lycian League, to the south. </span><br />
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<span style="font-family: "verdana" , sans-serif;">The main ancient sources on the subject are Polybius and Strabo. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Cibyra ruled the Turkish Lakes Region. It was called Cibyra Megale, "Greater Cibyra," to distinguish it from Cibyra Mikra or "Little Cibyra" (today near Okurcalar) near Side. The lakes region is a string of alpine valleys in the folds of the Taurus Mountains, which have no natural exits. Instead they have collected lakes. Cibyra was on a low hill to the west of Gölhisar Valley and Gölhisar Lake, just north of Gölhisar.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Cibyra dominated an ancient region, Cabalis, which was divided between the later states of Lycia, Pisidia and Lydia, subsequently incorporated in Phrygia. According to Strabo, it spoke four languages, Lydian, even though Lydian had disappeared elsewhere, Greek, Pisidian and "that of the Solymi." Cabalis, which was later divided into Lycian and Asian Cabalis, was the putative home of the Solymi. It included the Milyas District of Lycia, putatively the home of the first Lycians. It is possible that they spoke a form of Anatolian earlier than the attested Lycian, which some have dubbed "Milyan." </span><br />
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<span style="font-family: "verdana" , sans-serif;">Also according to Strabo the Cabalian grouping operated on the basis of each of the cities having one vote with the exception of Cibyra that had two votes. </span><br />
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<span style="font-family: "verdana" , sans-serif;">The Cibyratis was ruled by a succession of deliberately ostentatious and high-handed tyrants. Having become a thorn in the side of Rome, they attracted the attention of Gnaeus Manlius Vulso, commander of the Roman armies successfully fighting the Galatian War of 189 BC. Manlius turned toward Cibyratis with the intent of removing the thorn. The tyrant, Moa'getes, barely escaped with his life and his position by entering the Roman camp dressed in humble clothing, with a handful of similarly dressed assistants, claiming destitution and begging for mercy. He offered a payment of 15 talents. Manlius set the payment at 500 talents, a huge sum, impossible of payment. Finally moved to mercy, he allowed Moa'getes to bargain him down to 100 and 10,000 medimni of wheat, necessary to the Roman commissary.</span></div>
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<span style="font-family: "verdana" , sans-serif;">When the Romans had departed Moa'getes dropped the pretense, and Cibyratis resumed its arrogance. Consequently, when Lucius Licinius Murena (elder) did finally deal with Cibyratis, he had no political mercy.</span><br />
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<span style="font-family: "verdana" , sans-serif;">Strabo says that Bubon and Balbura were transferred to the Lycian League forthwith. He does not mention Oenoanda, but it had been a city of the Lycians anyway. It minted coinage of the League subsequently. There is no evidence that Cibyra was ever admitted to the League, although that assumption sometimes is made. It was in Asian Cabalia and as such was joined to Phrygia later, an event supported by their coin issues. The last tyrant of the Tetrapolis was also named Moa'getes, a different one, unless the term was a title, or Strabo made a mistake.</span><br />
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<span style="font-family: "verdana" , sans-serif;">After the dismemberment of the Cibryatis alliance, Oenoanda was grafted onto the Lycian League. Whethre this involved a loss of relative status was unclear, as it went from being a large city in a small grouping to being yet another city in a much more substantial grouping where it was "outvoted" by cities such as Xanthos. </span><br />
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<span style="font-family: "verdana" , sans-serif;"><b>The Lycian League</b></span><br />
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<span style="font-family: "verdana" , sans-serif;">The Lycian League (</span><i style="font-family: verdana, sans-serif;">Lukiakou systema</i><span style="font-family: "verdana" , sans-serif;"> in Strabo's Greek transliterated, a "standing together") is first known from two inscriptions of the early 2nd century BC in which it honors two citizens. Bryce hypothesizes that it was formed as an agent to convince Rome to rescind the annexation of Lycia to Rhodes. Lycia had been under Rhodian control since the Peace of Apamea in 188 BC. </span><br />
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<span style="font-family: "verdana" , sans-serif;">In 168 BC, Rome took Lycia away from Rhodes and turned over home rule to the League. There was no question of independence. Lycia was not to be sovereign, only self-governing under republican principles. It could neither negotiate with foreign powers nor disobey the Roman Senate. It was not independent. It could govern its own people and for a time mint its own coins as a right granted by Rome. It did not determine its own borders. Land and people could be assigned or taken away by the Senate. Remarking on this protectorate Strabo says of the government:</span></div>
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<span style="font-family: "verdana" , sans-serif;">"Formerly they deliberated about war and peace, and alliances, but this is not now permitted, as these things are under the control of the Romans. It is only done by their consent, or when it may be for their own advantage."</span></div>
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<span style="font-family: "verdana" , sans-serif;">Exactly what such a statement might imply is uncertain. Lycia had not been a sovereign state for some time. Whether the Lycian League as such is meant, implying that it existed anciently, or some other similar government is meant, is not clear. The statement does not say also whether there was a gap between the former sovereign state and the new Lycian League, or whether they are to be conceived as chronologically continuous.</span></div>
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<span style="font-family: "verdana" , sans-serif;">According to Strabo, the league (prior to 81 BC) was comprised of some 23 known city-states as members. </span><span style="font-family: "verdana" , sans-serif;">It was a federal-style government that shared political and economic resources. A “Lyciarch” was elected by a senate (συνέδριον, <i>synedrion</i>, "sitting together") that convened by agreement beforehand at "what city they please." Each member had one, two or three votes (presumably by different representatives), depending on the city's size. The decline of some cities over time caused them to join with the major state in their vicinity to form a <i>sympolity</i>. In that case they lost their vote (if they had one) assuming an influence in the vote of the major city. After election of the Lyciarch the Senate voted for the other public officials and the magistrates. The League's government took precedence, but, as in many federal systems, the issue was not entirely settled, and the resulting civil conflict led to the dissolution of the union.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Strabo identified the major cities of the League; that is, the three-vote cities, as Xanthos, Patara, Pinara, Olympos, Myra, and Tlos, with Patara as the capital. The full complement has been identified by a study of the coins and mention in other texts.</span><br />
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<span style="font-family: "verdana" , sans-serif;">As mentioned earlier the Roman consul, Lucius Licinius Murena (elder) in 81 BC grafted the cities of Balbura, Bubon and Oenoanda onto the league, having stripped from the Cabalian <i>systema</i> to the north. </span><br />
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-23646026428866319822016-03-07T01:37:00.001-08:002016-03-07T08:48:41.988-08:00The Inscription's Debris Field<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "verdana" , sans-serif;">The term "debris field" is most associated today with crashed airliners, rather than archaeological sites. But it is particularly apt in the case of the Great Epicurean Inscription of Oenoanda where a disaster left the once epic construction shattered into a myriad of pieces scattered across a wide area as if it had been smashed by some divine mallet.</span></div>
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<span style="font-family: "verdana" , sans-serif;">I came across this interesting representation of the intensity of the finds from the destroyed stoa. This was created by Konrad Berner of the Deutsche Archaeologisches Institut in Istanbul. </span></div>
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<span style="font-family: "verdana" , sans-serif;">As one can note the most intense occurrence of pieces is around the site of the stoa which stood on the south side of the Esplanade. This is understandable considering where the stoa was located and the fact that many pieces were reused as filler in the defensive wall which was created across the site and may have been the motivation for destruction of the structure in the first instance. </span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-13133284273818616612016-03-06T07:00:00.000-08:002016-03-07T03:26:13.705-08:00The Stoa of Diogenes<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "verdana" , sans-serif;">Alan Hall states "The stoa of Diogenes must have stood on the southern side of the Esplanade - an area which was either the early Agora or the exercise area for the gymnasium - and perhaps extended down the approach road from the later Agora. Secondly, it is clear that the stoa was taken down when the new defensive circuit was constructed around 270 A.D., and that its material was then used in new buildings across the northern half of the site, including the new defensive wall itself. And thirdly, it is evident that a great many more fragments lie close to the surface in this relatively restricted area". </span><br />
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<span style="font-family: "verdana" , sans-serif;">In the book, Epicureanism The Complete Guide edited by Paul Muljadi there is an essay by Guido Reale that states that the stoa consisted of a rectangular piazza surrounded by a portico, and furnished with statues. On one of the smaller sides was placed a portal, with perhaps Diogenes' mausoleum on the opposite side. On the two larger sides Diogenes inscribed a lengthy account of Epicurean doctrines.</span><br />
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<span style="font-family: "verdana" , sans-serif;">Some dispute that the stoa was erected by Diogenes and may have been a pre-existing structure. Martin Ferguson Smith comments in his essay Two New Fragments of Diogenes of Oenoanda, The Journal of Hellenic Studies, Vol. 92 (1972), pp. 147-155 that : "</span><span style="font-family: "verdana" , sans-serif;">The fact that Diogenes, an Epicurean, decided to have his work inscribed in a <em>stoa</em> must have greatly amused his contemporaries. But, although Diogenes, whose work is not without touches of humour, no doubt shared their amusement, he may have had a serious propagandist motive in choosing the stoa; for, although he must have decided upon it primarily because it just happened to contain the wall (or walls) best suited for the carving of the inscription, being spacious and in a public place, it is possible that his choice was influenced partly by a desire to emphasise the anti-Stoic character of his work by having it inscribed in a building of the same kind as that in which Zeno and his successors taught and from which their school derived its name: his verbal attacks on his chief philosophical opponents might seem all the more stinging and effective for being made almost literally on the Stoics' own ground. Moreover, he must have foreseen that news of an Epicurean stoa would spread far and wide, and that many <em>ζενοι</em> would thus be attracted to Oenoanda to see and read his work". </span><br />
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<span style="font-family: "verdana" , sans-serif;">Below can be seen a reconstruction by Nikolaus Koch of DAI, Istanbul (and Karlsruher IT) showing the two-storey North Stoa and the so-called Diogenes Stoa to the right. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMuG8D931v8ABT_x4czFB_RLxQLi9RlR2qWNZNFRWjFYTdTzemZYJEbC3WIkHM7uTQpzROXJRSlWknDyFeQ7rtcczxVdpojsecdlo3YJRGr9n7u_rWNBfgDRMCn6vuU8dPUwkdVLPzb8gc/s1600/Agora_reconstruction.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMuG8D931v8ABT_x4czFB_RLxQLi9RlR2qWNZNFRWjFYTdTzemZYJEbC3WIkHM7uTQpzROXJRSlWknDyFeQ7rtcczxVdpojsecdlo3YJRGr9n7u_rWNBfgDRMCn6vuU8dPUwkdVLPzb8gc/s640/Agora_reconstruction.jpg" width="640" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">The stoa of Diogenes was dismantled in the second half of the third century CE to make room for a defensive wall; previously the site had been undefended.</span>
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<span style="font-family: "verdana" , sans-serif;">More work is required to definitively position the stoa in the ruins of the city. This would require some, though not extensive, excavation. The shame is that so little work has been done at the city and often it has been thwarted by fluctuating interest from the authorities in permitting work by foreign archaeologists. </span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-9731633207550811802016-03-03T04:00:00.000-08:002016-03-12T11:44:47.814-08:00The Theatre At Oinoanda<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "verdana" , sans-serif;">The theatre of the city is believed to date from the 2nd century BC and is located on the northern fringe of the city, build on a natural slope. It ended up outside the walls when the Great Wall separated off the area to be abandoned. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTm5Pk4_PItuxqvwkY95HBBd-zJiNDet3qUY1k5IwVrDDOgC3sfrDNbS2G7x4wihOlGcIdA4l9kpa1kYXa7G1wgxYDQIHSUFYi0-L5ETR8tgAXF1ywhyehq31RFPyL9ckEKN_hv-LxMUPT/s1600/oenoanda_theater1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTm5Pk4_PItuxqvwkY95HBBd-zJiNDet3qUY1k5IwVrDDOgC3sfrDNbS2G7x4wihOlGcIdA4l9kpa1kYXa7G1wgxYDQIHSUFYi0-L5ETR8tgAXF1ywhyehq31RFPyL9ckEKN_hv-LxMUPT/s400/oenoanda_theater1.JPG" width="400" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">It was originally Greek in style (i.e. open on the stage side), but had a scene building added in Roman times, probably the second half of the first century A.D.. The <i>cavea</i>, which was 55 metres in diameter, sat 2,000 and faced</span><span style="font-family: "verdana" , sans-serif;"> south. In shape it exceeded a semicircle and was somewhat horseshoe-shaped. It had only one <i>maeniana</i>, with at least 17 rows of seats in 11 <i>cunei</i>. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv7KqIIOCKHf3SGNs-iooMyk8wzKsUXFFJV8_ZvdX4x6wZlpPBwsOIJLQEdkIj8pUejv8WhEhXCGhk-uzYS3U4wqFRW8ZkFl4IyggBlQBsoa1qZrX7TR8j36exn4skIssdYigOAcrsUwdt/s1600/Theatre_plan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv7KqIIOCKHf3SGNs-iooMyk8wzKsUXFFJV8_ZvdX4x6wZlpPBwsOIJLQEdkIj8pUejv8WhEhXCGhk-uzYS3U4wqFRW8ZkFl4IyggBlQBsoa1qZrX7TR8j36exn4skIssdYigOAcrsUwdt/s320/Theatre_plan.jpg" width="320" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">The orchestra is 17.5 m in diameter, while the <i>frons scenae</i> was 25.5 x 5.75 m with five doorways.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv5rZ5POTe45s2p3boibs_AWtMy5W50c3kNbIQ_LdtuVr4lszT9rnUbUrGR_eY2aIV083eNY_Q5XTJTik9nqWEeV-EbzCnY84GHyEbHmz4BPITnwthqaEDk6R_q_k_KQWLO5cUb1oOvwrM/s1600/Plan_theatre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv5rZ5POTe45s2p3boibs_AWtMy5W50c3kNbIQ_LdtuVr4lszT9rnUbUrGR_eY2aIV083eNY_Q5XTJTik9nqWEeV-EbzCnY84GHyEbHmz4BPITnwthqaEDk6R_q_k_KQWLO5cUb1oOvwrM/s640/Plan_theatre.jpg" width="640" /></a></div>
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<span style="font-family: "verdana" , sans-serif;"><br />The site map above is sourced from </span><span style="font-family: "verdana" , sans-serif;">Building Mk1 at Oenoanda, </span><span style="font-family: "verdana" , sans-serif;">Author(s): Roger Ling and Alan HallReviewed work(s):Source: Anatolian Studies, Vol. 31 (1981), pp. 31-53.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlyOajW7ALTLhf9tFMAuLfebVn-ktL8cNYs2UUmzfhakNzi5dRoCIO0U6sd7OwIQShIWj6s9R9F66tY7x8PZU2TMEmJdIAGMi-Py1qgbiBZsQmMTSeim_BdTvD_J910gs1Umw0oddFCXkE/s1600/Oinoanda_theatre.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlyOajW7ALTLhf9tFMAuLfebVn-ktL8cNYs2UUmzfhakNzi5dRoCIO0U6sd7OwIQShIWj6s9R9F66tY7x8PZU2TMEmJdIAGMi-Py1qgbiBZsQmMTSeim_BdTvD_J910gs1Umw0oddFCXkE/s400/Oinoanda_theatre.JPG" width="400" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">As can be seen from the accompanying pictures the theatre is not in exceptionally bad condition considering the vicissitudes of earthquakes and extended exposure (it snows at site in winter). The <i>frons scenae </i>would appear to have potential for some sort of reconstruction. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3VZxEMHHGTiyU-Pao5FQyOrK0IFW43prIX2xdRVw48r66CYx7QEFgollnM3_TqtvQ6TRxyOXe58ctyTr2_AcqOgxmpY9aq6gFBW76wiJx2h-l4dG57c7ilLxiJkolxk3fR0JYTwU7DkLB/s1600/Theatre_panorama.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3VZxEMHHGTiyU-Pao5FQyOrK0IFW43prIX2xdRVw48r66CYx7QEFgollnM3_TqtvQ6TRxyOXe58ctyTr2_AcqOgxmpY9aq6gFBW76wiJx2h-l4dG57c7ilLxiJkolxk3fR0JYTwU7DkLB/s640/Theatre_panorama.jpg" width="640" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">Sources: Sear, Frank; “Roman theatres: an architectural study”. Oxford University Press, 2006. // Ciancio Rossetto, Paola; Giuseppina Pisani Sartorio (eds); Teatri Greci e Romani: alle origini del linguaggio rappresentato. Rome: SEAT, 1995. // Bean, George; “Lycian Turkey”. London, Ernst Benn, 1978. // Freely, John; “The Western Mediterranean coast of Turkey”. Istanbul, Matbaacilik ve Yayincilik A.S., 1997. // Yilmaz, Yasar; “Anadolu Antik Tiyatrolari”. Istanbul, Yem Yanin, 2010.</span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-61515839190142023112015-08-31T09:33:00.002-07:002021-02-28T09:14:42.010-08:00Fragment 3<div dir="ltr" style="text-align: left;" trbidi="on">
<span face="Verdana, sans-serif" style="font-family: verdana;">Height is 0.385 metres, Width is 0.44 metres</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5fD5nhwhllpGLDEI82WGC0_LeyjsZr8uQP_B__Zlx-rdY60vMPSYhH6_J_P7n_ZLAs4EWpapxq_HNEf-znv196fKxYTjpHBFZqziewI5R5gZ4yk01iC4PBrp7VrJjbSX4MSEgJ9aIqUZJ/s1600/frag3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5fD5nhwhllpGLDEI82WGC0_LeyjsZr8uQP_B__Zlx-rdY60vMPSYhH6_J_P7n_ZLAs4EWpapxq_HNEf-znv196fKxYTjpHBFZqziewI5R5gZ4yk01iC4PBrp7VrJjbSX4MSEgJ9aIqUZJ/s320/frag3.jpg" width="295" /></a></div>
<span face="Verdana, sans-serif">TOYC EΠΙΔHMOYI...</span><br />
<span face="Verdana, sans-serif">TON ZΕΝΟΝ ΦΙΛΑ[N.</span><br />
<span face="Verdana, sans-serif">ΘΡΟΡΟΝ ΕΠΙCΤΑΜΕ</span><br />
<span face="Verdana, sans-serif">ΝΟC ΔΕ ΑΚΡΕΙΒΟC ΟΤΙ</span><br />
<span face="Verdana, sans-serif">ΤΗ ΓΝΟCΕΙ ΤΟΝ ΠΡΑ-</span><br />
<span face="Verdana, sans-serif">ΓMATON ON EN TAIC</span><br />
<span face="Verdana, sans-serif">Y</span><span face="Verdana, sans-serif">ΠOKATO XOPAIC E</span><br />
<span face="Verdana, sans-serif">ΔHAOCA </span><span face="Verdana, sans-serif">ΦYCIKON TE</span><br />
<span face="Verdana, sans-serif">AMA KAI </span><span face="Verdana, sans-serif">ΠA</span><span face="Verdana, sans-serif">ΘHTIK[O]N </span><br />
<span face="Verdana, sans-serif"><br /></span>
<span face="Verdana, sans-serif"><br /></span>
<span face="Verdana, sans-serif" style="font-family: verdana; text-align: justify;">The source here is Ernst Kalinka and Rudolf Heberdey, L'inscription philosophique d'Oenoanda in the Bulletin de correspondance hellénique. Volume 21, 1897. pp. 357.</span></div>
Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-17321983537184959562015-08-31T08:59:00.001-07:002015-08-31T08:59:28.773-07:00Fragment 4<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Verdana, sans-serif;">Found in the early foundation to the north of the Great Wall. Height is 0.37 metres, Width is 0.92 metres. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrc3-zQi7uzBEkxJ9i4GRsXDk98pgsMidXqCwrGwl-Wm1gMriL4NoBwWDBkngmhJBbYIsSPY_642WbAEz5m2WnO7ONceg-Sq-TQBknr7a-0prjwtHDK32puWO5ZdbXrLDIE8GZQ2mfT8fV/s1600/frag_4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrc3-zQi7uzBEkxJ9i4GRsXDk98pgsMidXqCwrGwl-Wm1gMriL4NoBwWDBkngmhJBbYIsSPY_642WbAEz5m2WnO7ONceg-Sq-TQBknr7a-0prjwtHDK32puWO5ZdbXrLDIE8GZQ2mfT8fV/s400/frag_4.jpg" width="400" /></a></div>
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<span style="font-family: Verdana, sans-serif;">ΔΗΜΟΙΠΡΟΚΕΙΤΑΙΚΑΙ</span><br />
<span style="font-family: Verdana, sans-serif;">ΤΟΓΟΠΡΩΤΟΝΕΥΘΕΩC</span><br />
<span style="font-family: Verdana, sans-serif;">ΕΚΕΙΝΟΕCΤΙΝ</span><br />
<span style="font-family: Verdana, sans-serif;">ΕΙΜΕΝΤΙCΤΑCΑΜΑΥ</span><br />
<span style="font-family: Verdana, sans-serif;">ΡΟCΕΙCΤΟΝΓΕΡΟΝΤΟΝ</span><br />
<span style="font-family: Verdana, sans-serif;">ΤΥΦΛΟCΕΙCΛΕξΕΙC</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
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<span style="font-family: Verdana, sans-serif;">CΥΜ......</span><br />
<span style="font-family: Verdana, sans-serif;">CΥΝΤΕΛΟΥΝ.....</span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;">ΕΙCΥΜΒΑΙ...CΙΟ</span><br />
<span style="font-family: Verdana, sans-serif;">ΤΑΤΟCΠΑΝΙΟΝ</span><br />
<span style="font-family: Verdana, sans-serif;">ΤΙΒΟΥΛΟΜΕΝΟΥ</span><br />
<span style="font-family: Verdana, sans-serif;">ΝΑ..ΑΡΒΑΙΝΟΙ</span><br />
<span style="font-family: Verdana, sans-serif;">ΠΡΟCΤΟΥCΜΕ..</span><br />
<span style="font-family: Verdana, sans-serif;">...KAIΓAPO...</span><br />
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<span style="font-family: Verdana, sans-serif;"><br /></span>
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<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">The source here is Ernst Kalinka and Rudolf Heberdey, L'inscription philosophique d'Oenoanda in the Bulletin de correspondance hellénique. Volume 21, 1897. pp. 357.</span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-61677078790436730322015-01-20T10:25:00.001-08:002015-01-20T10:25:34.425-08:00Some Characteristics of the Text - Size Matters<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Verdana, sans-serif;">Most jigsaw puzzles have pieces that are all roughly the same size but in the case of the myriad fragments of the Great Epicurean Inscription the peculiarities of each piece is one of the guides that researchers have used to work out what philosophical part of the document they belong too (e.g. ethics, physics). The two fundamental clues are the text size and the block size.</span><br />
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<span style="font-family: Verdana, sans-serif;">A key thing to remember is that the size of the lettering varies. The principal factor that determined </span><span style="font-family: Verdana, sans-serif;">it was the level at which the writing appeared on the wall of the stoa: those writings that were </span><span style="font-family: Verdana, sans-serif;">displayed at or near eye level were carved in smaller letters than those that were higher up. A </span><span style="font-family: Verdana, sans-serif;">second factor, which sometimes came into play, was the degree of emphasis that Diogenes wished to </span><span style="font-family: Verdana, sans-serif;">give to certain parts of the inscription: thus titles are carved in extra-large letters, and maxims </span><span style="font-family: Verdana, sans-serif;">– both the monolithic Maxims that probably occupied part of the third lowest course of the </span><span style="font-family: Verdana, sans-serif;">inscription, above the Physics, and the continuous line of maxims that underscored the whole </span><span style="font-family: Verdana, sans-serif;">inscription, running through the spacious margin below the columns of the Ethics – are carved in </span><span style="font-family: Verdana, sans-serif;">letters larger than those of the other writings that were displayed at or almost at the same level. </span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">Jurgen Hammerstaedt and Martin Ferguson Smith in their article "</span><span style="font-family: Verdana, sans-serif;">DIOGENES OF OINOANDA: THE DISCOVERIES OF 2008 (NF 142–167)" in the journal</span><span style="font-family: Verdana, sans-serif;"> Epigraphica Anatolica 41 (2008) 1–37 note that "</span><span style="font-family: Verdana, sans-serif;">If </span><span style="font-family: Verdana, sans-serif;">one disregards the titles, with their exceptionally large letters, one can broadly distinguish three </span><span style="font-family: Verdana, sans-serif;">sizes of lettering, which in the descriptions that follow we call “small” (average c. 1.8–1.9 cm.), </span><span style="font-family: Verdana, sans-serif;">“medium” (c. 2.3–2.4 cm.), and “large” (c. 2.9–3.0 cm.)".</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">Also of relevance are the number of columns on each piece and more important the number of lines in each column.</span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">For example the </span><span style="font-family: Verdana, sans-serif;">ethical treatise, the physics treatise, Letter to Dionysus and the Letter to Antipater, are all inscribed in letters </span><span style="font-family: Verdana, sans-serif;">averaging about 1.7-1.8 cm. They also have 14-line columns.</span><br />
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<span style="font-family: Verdana, sans-serif;">Meanwhile the treatise on Old Age, is inscribed in letters </span><span style="font-family: Verdana, sans-serif;">whose usual height is 2.5-3.1 cm. This treatise, which was carved in 18-line columns, </span><span style="font-family: Verdana, sans-serif;">occupied the top three courses of the inscription. The blocks in the topmost course (A) have </span><span style="font-family: Verdana, sans-serif;">a height of 31.5–34 cm., five lines, an upper margin 7–9 cm. tall, and no lower margin; those in </span><span style="font-family: Verdana, sans-serif;">the second course (B) have a height of 36–39 cm., seven or eight lines, and no margin above or </span><span style="font-family: Verdana, sans-serif;">below; and those in the third and lowest course (C) have a height of 45–50 cm., between four </span><span style="font-family: Verdana, sans-serif;">and six lines, no margin above, but a lower margin, 21–25 cm. tall, that includes, at the bottom, </span><span style="font-family: Verdana, sans-serif;">a scored band 10–14 cm tall.</span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<span style="font-family: Verdana, sans-serif;">Then there is the Letter to Mother</span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<span style="font-family: Verdana, sans-serif;">And the Letter to a Friend(s) - </span><span style="font-family: Verdana, sans-serif;"><i>epistula ad </i></span><span style="font-family: Verdana, sans-serif;"><i>amicos data</i> - </span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<span style="font-family: Verdana, sans-serif;">The Will of Diogenes</span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<span style="font-family: Verdana, sans-serif;">The Introduction</span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<span style="font-family: Verdana, sans-serif;">The Ethical Maxims</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">The Monolithic Maxims: Probably composed by Diogenes </span><span style="font-family: Verdana, sans-serif;">himself, almost certainly stood in the third course from the bottom of the inscription, immediately </span><span style="font-family: Verdana, sans-serif;">above the Physics, sharing the course with the Letter to Antipater and Letter to Dionysius. Characteristics of these blocks were: </span><span style="font-family: Verdana, sans-serif;">Height 58 cm., Upper margin 8 cm., lower margin </span><span style="font-family: Verdana, sans-serif;">8 cm., left margin 1.8 cm. Letters “medium”. </span><span style="font-family: Verdana, sans-serif;">Although </span><span style="font-family: Verdana, sans-serif;">the order of the Maxims is not known, it is likely that those concerned with physics preceded </span><span style="font-family: Verdana, sans-serif;">those concerned with ethics, this being the orthodox Epicurean order.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">Of the ten Maxims that are complete, one occupies nine lines, two occupy ten, and seven occupy</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">eleven.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">Some as yet unclassified text is known as </span><span style="font-family: Verdana, sans-serif;">Ten-line-column (TLC) Writings. These are carved on blocks 38–41.5 cm. high and occupied </span><span style="font-family: Verdana, sans-serif;">the central course of the inscription, that is to say the fourth from the top and fourth from the </span><span style="font-family: Verdana, sans-serif;">bottom, with the three courses carrying Old Age above and the Fourteen-line-column Letters (to </span><span style="font-family: Verdana, sans-serif;">Antipater and Dionysius), Maxims, Physics, and Ethics below. Some of the TLC Writings are the </span><span style="font-family: Verdana, sans-serif;">work of Diogenes, others are attributed to Epicurus.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<span style="font-family: Verdana, sans-serif;">While the discussion of positioning of the texts may seem arcane, it is something that is crucial to working out the layout for an eventual mass reconstruction if substantially all of the pieces are eventually recovered.</span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">The thought process is displayed when Martin Ferguson Smith comments with regards to the fragment known as NF 18 that </span><span style="font-family: Verdana, sans-serif;">the block is inscribed with largish letters, and, </span><span style="font-family: Verdana, sans-serif;">assuming that it belongs to the same writing as HK fr. 3, it will have been about 0.38-0.</span><span style="font-family: Verdana, sans-serif;">39 m. high and almost certainly had 10 lines of text and little or no margin above or </span><span style="font-family: Verdana, sans-serif;">below. He reasons that a block with these features would have stood high up in the inscription, but not at the </span><span style="font-family: Verdana, sans-serif;">very highest level, for, although its lowness and largish letters are indicative of a position </span><span style="font-family: Verdana, sans-serif;">high up on the wall of the stoa, there are stones which are less tall (0.335-0.34 m.) and </span><span style="font-family: Verdana, sans-serif;">bear larger letters, and a fragment with no upper margin is unlikely to have stood in the </span><span style="font-family: Verdana, sans-serif;">topmost course. </span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">He therefore deduces that, almost certainly, NF 18 was in the third course of the inscription, </span><span style="font-family: Verdana, sans-serif;">immediately above the course containing the physics treatise. In this connection, it should </span><span style="font-family: Verdana, sans-serif;">be remembered that in HK fr. 3, lines 6-7 Diogenes refers to the proofs of physical and </span><span style="font-family: Verdana, sans-serif;">ethical matters which he has given 'in the places below'.</span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-77121235649926016502015-01-20T04:40:00.002-08:002015-01-20T04:40:33.356-08:00Why a Stoa?<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Verdana, sans-serif;">The opposing philosophical school to the Epicureans was the Stoics. Why then did Diogenes decide to expose his great work to public view in that favorite venue of his philosophical opponents?</span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Martin Ferguson Smith opines that" "the fact that Diogenes, an Epicurean, decided to have his work inscribed in a stoa must have greatly amused his contemporaries. But, although Diogenes, whose work is not without touches of humour, no doubt shared their amusement, he may have had a serious propagandist motive in choosing the stoa; for, although he must have decided upon it primarily because it just happened to contain the wall (or walls) best suited for the carving of the inscription, being spacious and in a public place, it is possible that his choice was influenced partly by a desire to </span><span style="font-family: Verdana, sans-serif;">emphasise the anti-Stoic character of his work by having it inscribed in a building of the same kind as that in which Zeno and his successors taught and from which their school derived its name: his verbal attacks on his chief philosophical opponents might seem all the more stinging and effective for being </span><span style="font-family: Verdana, sans-serif;">made almost literally on the Stoics' own ground. Moreover, he must have foreseen that news of an Epicurean stoa would spread far and wide, and that many <i>ξενοι</i> would thus be attracted to Oenoanda to see and read his work".</span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-24903238327919825472015-01-19T12:36:00.000-08:002015-01-20T05:36:34.237-08:00The Format of the Inscription<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Verdana, sans-serif;">Here we have a hypothetical reconstruction of the left part of the Diogenes inscription using empty, uninscribed blocks as placeholders according to Konrad Berner.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9u2FgcLCFhoVut0JJ9mxWM53ocnAjtkBcNsqx_qOZfCCdzHxyMcBLlL_6x8BrziJJrHMsaUV1K0x6aakqCq00d-68Uh7nzUHEA9zuB8eFiIdjX9b6EtPo43QRGcDjiz4VdNhL93mAqnWi/s1600/block_layout.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9u2FgcLCFhoVut0JJ9mxWM53ocnAjtkBcNsqx_qOZfCCdzHxyMcBLlL_6x8BrziJJrHMsaUV1K0x6aakqCq00d-68Uh7nzUHEA9zuB8eFiIdjX9b6EtPo43QRGcDjiz4VdNhL93mAqnWi/s1600/block_layout.jpg" height="269" width="320" /></a></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">Here we can see the seven courses of the inscription on the stoa wall. The </span><span style="font-family: Verdana, sans-serif;">Ten-line-column (TLC) Writings occupied </span><span style="font-family: Verdana, sans-serif;">the central course of the inscription, that is to say the fourth from the top and fourth from the </span><span style="font-family: Verdana, sans-serif;">bottom, with the three courses carrying Old Age above and the Fourteen-line-column Letters (to </span><span style="font-family: Verdana, sans-serif;">Antipater and Dionysius), Maxims, Physics, and Ethics below.</span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-47951760817029757532014-11-24T12:49:00.004-08:002021-02-28T09:17:37.543-08:00Fragment 9<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: verdana;">There are two pieces known as Fragment 9. The one we shall focus on here is that with Kalinka's numbering. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidW3__YR1ft-o98opWWQUx_LHA9VlFGONlYk7pyiG8eNDWqiDLygq_X_2e6Vlz2UY_0ys8czMx9OUP5024eCXpCGxUrpdrbryAT19zdf7RX50PROp0_uB-ru1jwENjsPAwrva3NyzDVtnv/s1600/Fragment_9_kalinka.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidW3__YR1ft-o98opWWQUx_LHA9VlFGONlYk7pyiG8eNDWqiDLygq_X_2e6Vlz2UY_0ys8czMx9OUP5024eCXpCGxUrpdrbryAT19zdf7RX50PROp0_uB-ru1jwENjsPAwrva3NyzDVtnv/s1600/Fragment_9_kalinka.jpg" width="400" /></a></div>
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<span style="font-family: verdana;">Ist Column</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none; text-indent: 0.5in;"><br />
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<span style="font-family: "Athena Ruby";">ΠΟΛΛΑΚΙΣwΝΕΟΙ<o:p></o:p></span></div>
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<span style="font-family: "Athena Ruby";">ΝΗ ΤΟΝ ΗΡΑΚΛΕΑ<o:p></o:p></span></div>
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<span style="font-family: "Athena Ruby";">ΚΑΙH</span><span style="text-indent: 0px;">Γ</span><span style="font-family: "Athena Ruby"; text-indent: 0.5in;">anakthca</span></div><div class="MsoNormal"><span style="font-family: 'Athena Ruby';">Π</span><span style="font-family: 'Athena Ruby';">Ρ</span><span style="font-family: 'Athena Ruby';">ΟCTOYCOY</span><span style="text-indent: 0px;">Δ</span><span style="font-family: 'Athena Ruby'; text-indent: 0.5in;">e</span><span style="font-family: "Athena Ruby"; text-indent: 0.5in;">Πw</span></div><div class="MsoNormal"><span style="font-family: "Athena Ruby"; text-indent: 0.5in;">men</span><span style="text-indent: 0px;">Γ</span><span style="font-family: "Athena Ruby"; text-indent: 0.5in;">----------- tac</span></div><div class="MsoNormal"><span style="font-family: 'Athena Ruby';"><br /></span></div><div class="MsoNormal"><span style="font-family: verdana; text-align: justify;">2nd Column</span></div><div class="MsoNormal"><span style="font-family: verdana; text-align: justify;"><br /></span></div><div class="MsoNormal"><span style="font-family: "Athena Ruby";">T</span><span style="font-family: "Athena Ruby"; text-indent: 0.5in;">ΕPwcoytwcen</span><span style="font-family: "Athena Ruby"; text-indent: 0.5in;">Πai</span></div><div class="MsoNormal"><span style="font-family: "Athena Ruby"; text-indent: 0.5in;"><span style="text-indent: 0px;">Δ</span>e-a</span><span style="font-family: "Athena Ruby"; text-indent: 0.5in;">Πpobebhkotec</span></div><div class="MsoNormal"><span style="font-family: "Athena Ruby"; text-indent: 0.5in;">wcmhmonone</span><span style="font-family: "Athena Ruby"; text-indent: 0.5in;">Πainen</span></div><div class="MsoNormal"><span style="font-family: "Athena Ruby"; text-indent: 0.5in;">ton</span><span style="font-family: "Athena Ruby"; text-indent: 0.5in;">Πeoct-</span><span style="font-family: "Athena Ruby"; text-indent: 0.5in;">Πhcio-o</span></div></div><div style="text-align: justify;"><span style="font-family: verdana;"><span face="Verdana, sans-serif"><br /></span></span></div><div style="text-align: justify;"><span style="font-family: verdana;"><span face="Verdana, sans-serif">The source here is Ernst Kalinka and Rudolf Heberdey, L'inscription philosophique d'Oenoanda in the Bulletin de correspondance hellénique. Volume 21, 1897. pp. 361.</span><br />
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<span face="Verdana, sans-serif">The other Fragment 9 we have in a photograph form.</span><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh5H7Z2z1pJjeK69j0kojG6OBh_lBaqFhzNLrZsh5NdYgEsGoXXbwLG2-QjkF8mU3hB4ICk2ck3zaYKaGRQSgEMDGdp3_MjOyAueZUyBzUAoTb1Q8hiYJz7N6-CM1Nfo5yjot_bvHFBouj/s1600/frag9.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh5H7Z2z1pJjeK69j0kojG6OBh_lBaqFhzNLrZsh5NdYgEsGoXXbwLG2-QjkF8mU3hB4ICk2ck3zaYKaGRQSgEMDGdp3_MjOyAueZUyBzUAoTb1Q8hiYJz7N6-CM1Nfo5yjot_bvHFBouj/s1600/frag9.gif" width="400" /></a></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-43427347043666764832014-11-24T01:00:00.003-08:002021-02-28T09:25:33.924-08:00Fragment 10<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: verdana;"><span face="Verdana, sans-serif">This is the a piece in fairly good condition that was found in rubble by Kalinka in the square columned hall south of the Great Wall.</span><br /></span>
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<span face="Verdana, sans-serif" style="font-family: verdana;">Despite its good condition some of the text is damaged and obscured. </span><br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: Code2000;">…………</span><span style="font-family: "Athena Ruby"; font-size: 12pt; mso-bidi-font-family: Code2000; mso-fareast-font-family: Code2000;">ετι πολ-<o:p></o:p></span></div>
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<span style="font-family: "Athena Ruby"; font-size: 12pt; mso-bidi-font-family: Code2000; mso-fareast-font-family: Code2000;">γε]γηρακότας<o:p></o:p></span></div>
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<span style="font-family: "Athena Ruby"; font-size: 12pt; mso-bidi-font-family: Code2000; mso-fareast-font-family: Code2000;">τ]οϊς αύτοϊς και<o:p></o:p></span></div>
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<span style="font-family: "Athena Ruby"; font-size: 12pt; mso-bidi-font-family: Code2000; mso-fareast-font-family: Code2000;">ατον άψαμε-<o:p></o:p></span></div>
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<span style="font-family: "Athena Ruby"; font-size: 12pt; mso-bidi-font-family: Code2000; mso-fareast-font-family: Code2000;">5 ων Mηδ' Oτι<o:p></o:p></span></div>
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<span style="font-family: "Athena Ruby"; font-size: 12pt; mso-bidi-font-family: Code2000; mso-fareast-font-family: Code2000;">θ]εϊν, ών είρη-<o:p></o:p></span></div>
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<span style="font-family: "Athena Ruby"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Code2000; mso-fareast-font-family: Code2000;">.... άρτιους</span><span style="font-family: "Athena Ruby";"><o:p></o:p></span></div>
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<span face="Verdana, sans-serif" style="font-family: verdana; text-align: justify;">The source here is Ernst Kalinka and Rudolf Heberdey, L'inscription philosophique d'Oenoanda in the Bulletin de correspondance hellénique. Volume 21, 1897. pp. 362.</span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-20503313246503205062014-11-23T12:37:00.005-08:002021-02-28T09:24:34.428-08:00Fragment 2 - The Preamble<div dir="ltr" style="text-align: left;" trbidi="on">
<span face="Verdana, sans-serif" style="font-family: verdana;">This is the beginning of the text of the great inscription.</span><br />
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<span style="font-family: "Athena Ruby";"> Δίο[γε]νης τοις συνγενέ[σι</span></div>
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<span style="font-family: "Athena Ruby";"> και ο</span><span style="font-family: 'Athena Ruby';">κ</span><span style="font-family: "Athena Ruby";">δίοις και φίλοις τά</span></div>
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<span style="font-family: "Athena Ruby";"> δε εντέλλομαι'</span></div>
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<span style="font-family: "Athena Ruby";"> νοσών ούτως ώστε ptot νΰ[ν</span></div>
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<span style="font-family: "Athena Ruby";">5 <span style="mso-tab-count: 1;"> </span>την του ζην ετι η μτικέτ[ι</span></div>
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<span style="font-family: "Athena Ruby";"> ζην ύπάρχειν κρίσιν</span></div>
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<span style="font-family: "Athena Ruby";"> (καρδιακον γάρ αε διαφο-</span></div>
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<span style="font-family: "Athena Ruby";"> PE</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt; line-height: 115%;">ï</span><span style="font-family: 'Athena Ruby'; font-size: 13.5pt; line-height: 115%;"> πάθος, αν </span><span style="font-family: 'Athena Ruby';"> μ</span><span style="font-family: 'Athena Ruby'; font-size: 13.5pt; line-height: 115%;">εν</span><span style="font-family: 'Athena Ruby';">δ</span><span style="font-family: 'Athena Ruby'; font-size: 13.5pt; line-height: 115%;">ι,αγέ-</span><br />
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<span style="font-family: "Athena Ruby";"> νω</span><span style="font-family: 'Athena Ruby';">μ</span><span style="font-family: "Athena Ruby";">,αι, διδόμενον έ'τι</span></div>
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<span style="font-family: "Athena Ruby";">10 <span style="mso-tab-count: 1;"> </span>Mοi, το ζην ηδε'ως ληρ,ψο-</span></div>
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<span style="font-family: "Athena Ruby";"> Mαΐ"αν</span><span style="font-family: 'Athena Ruby';">μ</span><span style="font-family: "Athena Ruby";">η διαγε'νω</span><span style="font-family: 'Athena Ruby';">μ</span><span style="font-family: "Athena Ruby";">αι, δ', ο</span><br />
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<span face="Verdana, sans-serif" style="font-family: verdana; text-align: justify;">The source here is Ernst Kalinka and Rudolf Heberdey, L'inscription philosophique d'Oenoanda in the Bulletin de correspondance hellénique. Volume 21, 1897. pp. 356.</span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0tag:blogger.com,1999:blog-8139947362758898844.post-49142201212068385942014-11-23T11:34:00.003-08:002014-11-23T12:43:16.195-08:00Fragment 1 - The Title Piece<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Verdana, sans-serif;">This is the title of great inscription and essentially begins with the author/patron's name.</span><br />
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<span style="font-family: "Athena Ruby"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Code2000; mso-fareast-font-family: Code2000;">Διογε'νο[υς
Οΐνοανόέως</span><span style="font-family: "Athena Ruby";"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif; text-align: justify;">The source here is Ernst Kalinka and Rudolf Heberdey, L'inscription philosophique d'Oenoanda in the Bulletin de correspondance hellénique. Volume 21, 1897. pp. 356.</span></div>
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Antiochianhttp://www.blogger.com/profile/00212278817763049213noreply@blogger.com0