- Greek Lyres
The Greeks had lyres of various kinds, more or less differing in construction, form, and size, and distinguished by different names; such as lyra, 30kithara, chelys, phorminx, etc. Lyra appears to have implied instruments of this class in general, and also the lyre with a body oval at the base and held upon the lap or in the arms of the performer; while the kithara had a square base and was held against the breast. These distinctions have, however, not been satisfactorily ascertained. The chelys was a small lyre with the body made of the shell of a tortoise, or of wood in imitation of the tortoise. The phorminx was a large lyre; and, like the kithara, was used at an early period singly, for accompanying recitations. It is recorded that the kithara was employed for solo performances as early as B.C. 700. - Greek Flutes
The flute, aulos, of which there were many varieties, was a highly popular instrument, and differed in construction from the flutes and pipes of the ancient Egyptians. Instead of being blown through a hole at the side near the top it was held like a flageolet, and a vibrating reed was inserted into the mouth-piece, so that it might be more properly described as a kind of oboe or clarionet. The Greeks were accustomed to designate by the name of aulos all wind instruments of the flute and oboe kind, some of which were constructed like the flageolet or like our antiquated flûte à bec. - Greek figures in a solemn dance. From a vase at Berlin
Amongst the earliest representations that are comprehensible, we have certain Egyptian paintings and some of these exhibit postures that evidently had even then a settled meaning, and were a phrase in the sentences of the art. Not only were they settled at such an early period (B.C. 3000) but they appear to have been accepted and handed down to succeeding generations, and what is remarkable in some countries, even to our own times. - Greek Figure
From Hope's "Costume of the Ancients." With the Greeks the tunic was the principal article of attire. It was worn next to the skin, and was of a light tissue. In the earlier time it was composed of wool, in later periods of flax, and in the latest periods it was either of flax mixed with silk or of pure silk. The illustration given will serve to show its construction. It was a simple square bag, open at the two ends, made sufficiently wide to admit of the folds being ample, and sufficiently long to allow of its being gathered up about the waist and breasts. It was kept in its place by various means, either by a simple girdle round the waist or by cords drawn crosswise between the breasts, over the shoulders, looped at the back, and again drawn round the waist, or by an arrangement of cords or ribbons drawn over each shoulder and attached to the girdle. - Greek Figure
- Grecian harp and lyre
The representation of Polyhymnia with a harp, depicted on a splendid Greek vase now in the Munich museum, may be noted as an exceptional instance. This valuable relic dates from the time of Alexander the great. The instrument resembles in construction as well as in shape the Assyrian harp, and has thirteen strings. Polyhymnia is touching them with both hands, using the right hand for the treble and the left for the bass. She is seated, holding the instrument in her lap. Even the little tuning-pegs, which in number are not in accordance with the strings, are placed on the sound-board at the upper part of the frame, exactly as on the Assyrian harp. If then we have here the Greek harp, it was more likely an importation from Asia than from Egypt. In short, as far as can be ascertained, the most complete of the Greek instruments appear to be of Asiatic origin. - From the François Vase
From the François Vase - For two days and two nights the boat was tossed hither and thither
One day the guards saw the babe on his mother’s knee. Here was the grandson about whom the king had hoped that he would never be born. In great alarm they hastened to the palace to tell the king the strange tidings. Acrisius was so frightened when he heard their story that he flew into a passion, and vowed that both Danae and Perseus, as her little son was named, should perish. So he ordered the guards to carry the mother and her babe to the seashore, and to send them adrift on the waters in an empty boat. For two days and two nights the boat was tossed hither and thither by the winds and the waves, while Danae, in sore dismay but with a brave heart, clasped her golden-haired boy tight in her arms. The child slept sound in the frail bark, while his mother cried to the gods to bring her and her treasure into a safe haven. - Double Pipes
- Demeter rejoiced for her daughter was by her side
So for six glad months each year Demeter rejoiced, for her daughter was by her side, and ever it was spring and summer while Persephone dwelt on earth. But when the time came for her to return to Hades, Demeter grew ever cold and sad, and the earth too became weary and grey. It was autumn and winter in the world until Persephone returned once more. - Dancing Bacchante
Dancing Bacchante. From a vase in the British Museum. According to some authorities, one of the most primitive of the first class, attributed to Phrygian origin, was the Aloenes, danced to the Phrygian flute by the priests of Cybele in honour of her daughter Ceres. The dances ultimately celebrated in her cult were numerous: such as the Anthema, the Bookolos, the Epicredros, and many others, some rustic for labourers, others of shepherds, etc. Every locality seems to have had a dance of its own. Dances in honour of Venus were common, she was the patroness of proper and decent dancing; on the contrary, those in honour of Dionysius or Bacchus degenerated into revelry and obscenity. - Daedalus and Icarus
The story of Dædalus and Icarus also tells us that man believed flying was somehow possible. Dædalus was a very clever man who lived with his son Icarus on the Island of Crete. The king of this island requested Dædalus to build a labyrinth or maze for him. Dædalus constructed the labyrinth so cleverly that only the king, who had the clue to the winding passages, could find his way out. One day the king became very angry at Dædalus and threw both him and his son Icarus into the labyrinth, intending that they should perish. Dædalus, who had been dreaming of flying, fashioned wings from wax and feathers, with which he and Icarus could fly to freedom. He cautioned Icarus that he must not fly too high or the sun would melt the wax in his wings. Icarus, impatient to escape, scarcely listened. Like birds the two flew into the air, quickly leaving the walls of the labyrinth. Dædalus, flying low, safely crossed the sea and reached Sicily. Icarus, unfortunately, failed to heed his father’s warning. Flying was so much fun that he rose higher and higher. Suddenly feathers began to drop one by one. Too late Icarus realized that the sun had melted the wax in his wings. Down, down he fell into the sea. - Combat between Menelaus and Hector
Combat between Menelaus & Hector (in the Iliad) From a platter ascribed to the end of the seventh century in the British Museum. This is probably the earliest known vase bearing a Greek inscription. Greek writing was just beginning. Note the Swastika. - Athenian Foot-soldier
Monument of Athenian foot soldier found near Marathon. - Athene of the Parthenon
Goddess Athene of the Parthenon - Archaic Horses and Chariots
Archaic Horses and Chariots (from an archaic Greek Vase) - Alexander the Great
Alexander the Great (silver coin of Lysimachus, 321-281 B.C.) - Achilles bandaging Patroclus,
A kylix from the Berlin Museum of about 490 b. c. It bears the inscription ΣΟΣΙΑΣ ΕΠΟΙΗΣΕΝ, Sosias made (me), and represents Achilles bandaging Patroclus, the names of the two heroes being written round the margin. The painter is Euphronios, and the work is regarded as the masterpiece of that great artist. The left upper arm of Patroclus is injured, and Achilles is bandaging it with a two-rolled bandage, which he is trying to bring down to extend over the elbow. The treatment of the hands, a department in which Euphronios excelled, is particularly fine. Achilles was not a trained surgeon, and it will be observed, from the position of the two tails of the bandage, that he will have some difficulty when it comes to its final fastening! - A Muse with a Harp, and two others with Lyres
A Muse with a Harp, and two others with Lyres. From a Greek vase in the Munich Museum The design on the Greek vase at Munich represents the nine Muses, of whom three are given in the engraving, viz., one with the harp, and two others with lyres. Some of the lyres were provided with a bridge, while others were without it. The largest was held probably on or between the knees, or were attached to the left arm by means of a band, to enable the performer to use his hands 30without impediment. The strings, made of catgut or sinew, were more usually twanged with a plektron than merely with the fingers. The plektron was a short stem of ivory or metal pointed at both ends. - A Greek Clinic of 400 BC
A Greek Clinic of 400 BC In the centre sits a physician holding a lancet and bleeding a patient from the median vein at the bend of the right elbow into a large open basin. Above and behind the physician are suspended three cupping vessels. To the right sits another patient awaiting his turn; his left arm is bandaged in the region of the biceps. The figure beyond him smells a flower, perhaps as a preservative against infection. Behind the physician stands a man leaning on a staff; he is wounded in the left leg, which is bandaged. By his side stands a dwarfish figure with disproportionately large head, whose body exhibits deformities typical of the developmental disease now known as Achondroplasia; in addition to these deformities we note that his body is hairy and the bridge of his nose sunken; on his back he carries a hare which is almost as tall as himself. Talking to the dwarf is a man leaning on a long staff, who has the remains of a bandage round his chest. - A Goddess
This Doric chiton is often seen on statues and paintings of Greek goddesses. The shoulders and breast part were usually surmounted by the "AEgis," a sort of scaled cape-cuirass. Athena is generally represented wearing it - A diaulos
The single flute was called monaulos, and the double one diaulos. A diaulos, which was found in a tomb at Athens, is in the British museum. The wood of which it is made seems to be cedar, and the tubes are fifteen inches in length. Each tube has a separate mouth-piece and six finger-holes, five of which are at the upper side and one is underneath.