History of Ancient Pottery: Greek, Etruscan, and Roman. Volume 2 (of 2)Walters, H. B. (Henry Beauchamp)
History
History of Ancient Pottery: Greek, Etruscan, and Roman. Volume 2 (of 2)
Walters, H. B. (Henry Beauchamp)
Mythology, Classical, in art; Pottery, Ancient; Pottery, Etruscan; Pottery, Greek; Pottery, Roman
A tendency to assimilation of aspirated consonants, always avoided in
literary Greek, is seen in such forms as [ΘΑΛΘΥΒΙΟΣ] for Ταλθύβιος,
[ΧΑΧΡΥΛΙΟΝ] for Καχρυλίων, and [ΦΑΝΦΑΙΟΣ] for Πάμφαιος. The reverse
tendency is curiously illustrated in [ΚΑΡΙΘΑΙΟΣ] for Χαριταῖος.
Unassimilated forms occur, as in the case of [ΑΝΧΙΠΟΣ] for
Ἄγχιππος.[2224] Another peculiarity is the omission of nasals before
consonants, as in [ΑΤΑΛΑΤΕ] for Ἀταλά(ν)τη, [ΤΥΤΑΡΕΟΣ] for
Τυ(ν)δαρέως,[2225] [ΙΑΦΥΙ] for Νύ(μ)φαι, [ΛΑΠΟΝ] for Λά(μ)πων, and
[ΕΚΕΛΑΔΟΣ] for Ἐ(γ)κέλαδος. There is also a tendency to avoid double
consonants, as in [ΜΕΣΙΛΑ] for Μνήσιλλα, [ΑΡΙΑΝΕ] for Ἀριάδνη,
[ΚΛΥΤΑΙΜΕΣΤΡΑ] for Κλυταίμνηστρα, [ΠΕΡΟΦΑΤΑ] for Περσέφαττα[2226]; this
is especially common in the case of double Λ or double Σ, as in
[ΟΛΥΤΕΥΣ] and [ΜΕΣΙΛΑ] just quoted. On the other hand, on later vases
consonants are often doubled without reason, as in [ΚΑΣΣΤΟΡ] for
Κάστωρ,[2227] [ΤΡΙΠΠΤΟΛΕΜΟΣ] for Τριπτόλεμος, [ΜΕΜΜΝΟΝ] for Μέμνων,
this being commonest with [fourline Σ] and [Π]. [Χ] and [Chalcidian Χ],
originally absent from the Attic alphabet, are represented usually by
[ΞΣ] and [ΘΣ], exceptionally by [ΚΣ] and [ΠΣ], as in [ΧΑΡΟΠΣ],
[ΚΣΕΝΟΚΛΕΣ][2228]; also occasionally by metathesis, as [ΕΛΡΑΣΦΕΝ],
[ΣΧΑΝΘΟΣ], [ΠΙΣΤΟΣΧΕΝΟΣ].[2229] Attic contractions, such as [ΧΑΤΕΡΟΣ]
for καὶ ἕτερος and [ΚΑΜΟΙ] for καὶἐμοί, are also found.[2230]
Among peculiarities of inflection (some of which may of course be mere
misspellings) may be mentioned [ΗΥΙΥΣ] = υἱύς for υἱός, [ΠΑΥΣ] for
paῖs, [ΘΕΣΥΣ] for Θησεύς, and [ΠΕΡΣΕΣ] for Περσεύς; also the open form
-εες for -hς, as in [ΗΕΡΑΚΛΕΕΣ], [ΧΣΕΝΟΚΛΕΕΣ], and the form πίει for
πίε; to some of these allusion has already been made.
* * * * *
From this mass of detail it is possible to deduce certain chronological
results,[2231] which are not without their value for the dating of the
various Athenian fabrics. Excluding the doubtful Dipylon vase, the
inscriptions extend from the seventh century[2232] down to the time of
Xenophantos and the late Panathenaic amphorae, a period of over three
hundred years.
Public-domain text, read in full here on John Shaqi.
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