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Alexandros-Philippos-Kleitos O Melas ΤΑΦΟΣ ΦΙΛΙΠΠΟΥ /PHILIP’s TOMB: ALEXANDROS-PHILIPPOS-KLEITOS O MELAS *<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<> =<>=<>=<>=<><>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>= <>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>* *<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<> =<>=<>=<>=<><>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>= <>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>=<>* Elias Kapetanopoulos Professor Dr. (Greece-Rome) Department of History Central Connecticut State University New Britain, CT 06050-4010 (USA) Telephone: (860) 832-2820 (offic (860) 229-9960 (home) E-mail: [email protected] Home Page: http://www.history.ccsu.edu/elias/elias.htm Areas of Research: Attic epigraphy-Athenian institutions of the Roman period (200 B.C.- 3rd c. A.D.), and early Makedon(ia)/Makedones. ========================================= CENTER FOR ATHENIAN-MAKEDONIAN STUDIES: MAKEDONIS A' = MAKEDONIS I ALEJANDROS – FILIPPOS - KLEITOS O MELAS 21 ÉIanouar€ou 1999 > 21 January 1999 = 11 Noeµbr€ou 2011 > 11 November 2011 The Greek font is Athenian [+Unicode]. All rights reserved. -------------------------------------------------------------------------- ADAIOU ÉHµay€hn ˘w pr«tow §w êrea b∞sa F€lippow Afiga€hn ke›µai b«lon §fessãµenow, =°jaw oÂÉ oÎpv basileÁw tÚ pr€n: efi d° tiw aÈxe› µe›zon §µeË, ka‹ toËyÉ a·µatow ≤µet°rou. The Greek Anthology. The Garland of Philip and Some Contemporary Epigrams, ed. A.S.F. Gow and D.L. Page, I (Cambridge 1968) 6, IV. ------------------------------------------------------------------------------------------ TOPIC: Façade fresco of a hunt painted on the frieze of what has been identified (others reject) as Philip II's tomb, discovered by Manolis Andronikos on the 11th of November 1977 under the great tumulus at Vergina (ancient Aigai[ai]). Since the tomb has been identified as that of Philip II, the young hippeus (flppeÊw), center of fresco, has been recognized as Alexander [M. Andronikos, N.G.L. Hammond], and indeed the young man must be Alexander at about sixteen years old, and his central position in the façade painting celebrates his entrance into adulthood and the assumption of the regency at sixteen (Plutarch, Alex. 9.1: Fil€ppou d¢ strateÊontow §p‹ Buzant€ouw, ∑n µ¢n •kkaidekãthw ı ÉAl°jandrow, époleifye‹w d¢ kÊriow §n Makedon€& t«n pragµãtvn ka‹ t∞w sfrag›dow, ktl. [one may ask why depict this particular event in Alexander's life, but this event is the most intimate one vis-à-vis his father Philip and Alexander's "rush" at the lion speared by Philip symbolizes his [Alexander’s] initiation into basileÊein]). To his right [left from viewer's perspective] there is a tall, square pillar with three miniature figures (?) at the top, which must be a country shrine, dedicated to some deity [Hekate? However, because of the scene, Artemis would be more appropriate]. A pillar with an amphora at the top appears, for example, in the Polydeukion relief [A.D. 173/4] from Loukou (Thyreatis Kynourias), as well as the tree motif next to the young man, but the tree shows life [below] (ALKMHNH NTATSOULH-STAURIDH, GLUPTA APO THN YUREATIDA KUNOURIAS [AYHNA 1993] P€n. 40, with description on p. 51). To the right (left) of this young hippeus an older hippeus is depicted about to spear a lion [which differs in appearance from the usual African lions]. This older hippeus, who has been identified as king Philip II [N.G.L. Hammond], is not shown in a heroic manner as the rest of the men therein, but displays a shorter stature which would accord with the reconstructed skeleton recovered from the tomb [taking also into account pyre shrinkage of bones]. Philip's skeleton was viewed on the 22-9-92, and perhaps the split damage, [sxisµØ] µaurisµ°nh s¢ µ°rh, on the upper right eye-socket may perhaps be "pyre inflicted", but with the strong caveat that the eye involved is the same as Philip's injured eye and the injury is also indicated on the same eye in the ivory portrait of Philip recovered from his tomb at Vergina. As to the woman in the same tomb [below], it is probably Phila who would have been older than Kleopatra and Eurydike, as indicated by the bones [cf. the silver (wine) strainer found in the tomb, which belonged to Machatas (inscribed MAXATA) who was Phila's brother (Manolis Andronikos, Berg€na, ofl basiliko‹ tãfoi ka‹ êllew érxaiÒthtew [AyÆna 1984=1989] 148, Fig. 108, and 156-157; in Petros G. Themelis/Ioannes P. Touratsoglou, OI TAFOI TOU DERBENIOU (AYHNA !997) 172-173, Machatas is identified as the maker of the silver strainer: ΜΑΧΑΤΑ DDDD8)]. [A letter of this writer about the tomb at Vergina, as recalled, was published, but not seen, in the TO BHMA [1979], and Manolis Andronikos discussed it with a sunoµÆlikow of this writer (as informed by the sunoµÆlikow, summer 1991), but the letter's contents are not recoverable at this time, since the copy of the letter had been discarded then on the assumption it had not been published, and TO BHMA cannot trace it without a definite date] ***<<similar circumstances to the letter to H KAYHMERINH, which apparently the paper did not publish>>***). The fresco's background shows a range of hills [Pierian-Bermian mountains-hills?], but the action takes place on a level ground, with scattered boulder-stones on the right. The trees are probably oaks (drËw) [and not birch (Ùju°w), for example] , and this is perhaps also true for the grove of trees behind the lion scene [the grove is thick, and consequently the trees have tall, bare trunks with foliage at the top]. The "dead" tree next to young Alexander [his left side] resembles in a way the tree [by the left side of Alexander] in the Alexander Mosaic [which E. Badian below would call the Darius Mosaic. It is true that Dareios' figure stands tall, but Dareios appears to be in a state of anxiety, whereas Alexander with a fixed look eyes the enemy, as he spears through a Persian with his long sarissa. For Alexander's pose, cf., e.g., The Archaeology of Athens and Attica under the Democracy, eds. W.D.E. Coulson, O. Palagia, T.L. Shear, Jr., H.A. Shapiro and F.J. Frost (Oxbow Monograph 37, 1994) 132, Fig. 2. Bl°pontew µØ bl°pein, Polybios 12.24.6: bl°pontaw µØ bl°pein, and Luke’s gospel, 8.10: ·na bl°pontew µØ bl°pvsin ka‹ ékoÊontew µØ sun€vsin. Cf. Plutarch, Isis and Osiris, 381 B: Àste bl°pein µØ blepÒµenon (crocodile)]. This motif of 'Alexander-"dead"tree' appears also in a close parallel in the lion hunt mosaic from Palermo (Cohen, below, 77, Fig. 48), for the young rider by the dead tree about to spear the lion has been identified as Alexander (Cohen, below, 76). The "dead" tree by Alexander is an artistic motif of identification, and one may recall Alexander's oak tree at Chaironeia mentioned by Plutarch in Alexander 9.2: ¶ti d¢ ka‹ kay' ≤µçw §de€knuto palaiå parå tÚn KhfisÚn ÉAlejãndrou kalouµ°nh drËw, prÚw ¥n tÒte kateskÆnvse, ka‹ tÚ poluãndrion oÈ pÒrrv t«n MakedÒnvn §st€n. Moreover, the "dead" tree projects Alexander's image more than a living tree with foliage would have done, and at the same time the Persian concentration magnifies Alexander's odds of victory. As for Alexander being depicted there bare-headed, cf. Nikolaos of Myra in Andrew Erskine, “Life after Death: Alexandria and the Body of Alexander, Greece&Rome 49.2 (October 2002) 176: <<… He (=Alexander) built his city (=Alexandria) near the sea, which he himself stands near. And the form of the statue reveals his nature. First, he is carried riding high on a horse; not a horse that anyone could easily ride, but one suitable to the dangers that he faced. And the animal’s vehemence evokes the speed of his campaigns. Next, he has no helmet on his head. For he who intends to subdue and survey the whole earth has no need of helmets. Everything he has seized in his advance seems to lie in his eyes. … His hair, unconfined, streams in the wind and onward rush of the horse. Its locks appear like the rays of the sun. …>>. [Note 54: Ps. Libanius, Progymnasmata 27, etc.] [For the helmet in the mosaic, almost direcly below Alexander’s right arm, which some would identify as Alexander’s, cf. Homer, Iliad 16.791-803: st∞ dÉ ˆpiyen [=ÉApÒllvn], pl∞jen d¢ µetãfrenon eÈr°e tÉ \µv/ xeir‹ kataprhne›, strefed€nhyen d¢ ofl ˆsse [=PatrÒklou]./ toË dÉ épÚ µ¢n kratÚw kun°hn bãle Fo›bow ÉApÒllvn:/ ≤ d¢ kulindoµ°nh kanaxØn ¶xe poss‹n ÍfÉ ·ppvn/ aÈl«piw trufãleia, µiãnyhsan d¢ ¶yeirai/ a·µati ka‹ kon€˙si. pãrow ge µ¢n oÈ y°µiw ∑en/ flppÒkoµon pÆlhka µia€nesyai kon€˙sin,/ éllÉ éndrÚw ye€oio kãrh xar€en te µ°tvpon/ =ÊetÉ ÉAxill∞ow: tÒte d¢ ZeÁw ÜEktori d«ken/ √ kefalª for°ein, sxedÒyen d° ofl ∑en ˆleyrow./ pçn d° ofl §n xe€ressin êgh dolixÒskion ¶gxow,/ briyÁ µ°ga stibarÚn kekoruyµ°non: aÈtår épÉ \µvn/ ésp‹w sÁn telaµ«ni xaµa‹ p°se terµiÒessa. A broken spear and other arms are also shown scattered at the feet of the horses.] Cf. also Q. Curtius Rufus, 8.1.20. Hic [=Clitus] erat qui apud Granicum amnem nudo capite regem dimicantem clipeo suo texit et Rhosacis manum capiti regis imminentem gladio amputavit, ... (Note: nudo capite) The battle scene must be Arbela or Gaugamela (as also indicated elsewhere) [but cf. Curtius, 3.11.7-12], and the helmet can be seen below Alexander’s right arm. The top€on of the fresco hunting scene is surely Makedonian [hills, oak trees], and the hunted animals, too, are part of the Makedonian experience. The wild boar is still being hunted in the mountains of Orestis [Pindos-Boion-Grammos], for example; the bear [right end] is still there, and it can be encountered in Orestis, area of Pentalophos (locations of Nikorinna, Taliaros [ancient Talares? (Strabon 9.5.11 and 12 C434)]).
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