The vast accumulations of treasure in the various temples naturally
demanded careful cataloguing, labelling and supervision on the part
of the temple officials (see examples of marble labels from the
sacred enclosure of Demeter at Cnidos). From time to time elaborate
inventories were drawn up, and (after the manner of ancient documents)
inscribed on stone. Such inventories have been discovered in large
numbers at Delos, Athens, and elsewhere. An example is shown in the
lower part of Case 97, being an inventory (No. =111=) of various
garments dedicated to Artemis Brauronia, who had a shrine upon the
acropolis of Athens. We know that it was the custom of women after
childbirth to dedicate garments to Artemis, and in particular to
Artemis Brauronia. That the garments were often anything but new is
shown by the fact that several are described as "in rags." A typical
extract from the inscription may be given: "A purple dress, with
variegated chequer pattern. Dedicated by Thyaene and Malthake." The
entries range in date from 350 to 344 B.C.
The principal objects here exhibited as illustrating the ancient
custom of dedication may now be mentioned. In Wall-Case 96 is an
inscription of the fifth century B.C. (No. =112=) found in the ruins
of the temple of Poseidon on Cape Taenaron in Lakonia. It records
the dedication by one Theares of a slave named Kleogenes to the
temple-service of Poseidon. The names of an _ephoros_, probably an
official of the temple, and of a witness are added. In some cases the
dedication of a slave to a god is equivalent to enfranchisement.
Among votive offerings specially appropriate to the god, we have
already mentioned the reliefs dedicated for a good voyage (No. =82=)
and the Theoxenia relief (No. =99=). The pedestal (No. =112*=),
with an inscription that it was restored "whether sacred to god or
goddess," is a parallel to the altar inscribed with a dedication "to
an unknown god," which caught the eye of St. Paul when he was viewing
the antiquities of Athens.
Public-domain text, read in full here on John Shaqi.
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