Courtship Scenes in Attic Vase-Painting Author(S): H. A. Shapiro Source: American Journal of Archaeology, Vol

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Courtship Scenes in Attic Vase-Painting Author(s): H. A. Shapiro Source: American Journal of Archaeology, Vol. 85, No. 2 (Apr., 1981), pp. 133-143 Published by: Archaeological Institute of America Stable URL: http://www.jstor.org/stable/505033 Accessed: 15-04-2015 16:44 UTC

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This content downloaded from 165.124.144.190 on Wed, 15 Apr 2015 16:44:07 UTC All use subject to JSTOR Terms and Conditions Courtship Scenes in Attic Vase-Painting H.A. SHAPIRO

(Pls. 24-28)

Abstract Attic "courtship scenes," as Beazley first termed Scenesof men courtingyouths on Attic black-and them,2 in trying to correlate their content with the red-figure vases of ca. 560-475, first collected by testimonia of Plato, Aristophanes and other writ- in are Beazley 1947, re-examinedwithin their histori- ers, even as Dover himself the cal and societalcontext. Their the though, recognizes, popularityduring bulk of the material is in time Peisistratidperiod is seen as a reflectionof aristo- literary separated from the bulk of the artistic cratic taste fosteredby the Tyrants, especiallyHip- by roughly ioo years.3 parchos.In particular,close ties betweenPeisistratid The purpose of this paper is to re-examine the Athens and Ionian Greece,exemplified by the pres- courtship as a genre scene, focussing in particular ence of the poet Anakreonat the court of Hippias, on a not relevant to Dover's in- the creationof a culturalmilieu in which the question directly suggest or treated earlier scholars. that erastes/eromenosrelationship and its depictionsin quiry by Assuming art might flourish. the love relationship of men and boys was a con- The gradual loss of interest in courtship scenes, spicuous feature of Athenian society throughout starting about 51o and most marked after 480, is the Archaic and Classical periods, what historical, as a reaction interpreted popular against upper-class social and political circumstances might account mores with Peisistratid associations, first under for its in a lim- the new Kleisthenicdemocracy, and especiallydur- depiction vase-painting during only ing the post-Persianmovement toward radical de- ited time period of a little less than a century, ca. mocracy. 560-475 B.C.? First, let us take a brief look at the iconography Sir Kenneth Dover's recent study of Greek of courtship scenes. In 1947, Beazley collected over Homosexuality has provided us with a modern and one hundred examples, and subsequently others judicious treatment of a subject long neglected in were added to his lists, principally by Schauenburg classical scholarship.' The core of the book is com- in I965.' Beazley recognized that the great major- posed of a thorough scrutiny of Aischines i and ity of courting scenes adhere, within rather narrow other written sources, principally of the fifth and limits, to one of several artistic schemata, and on fourth centuries, which relate to the role of homo- this basis he divided them into three main icono- sexual behavior in Greek society. Inevitably, a sec- graphic groups which he labelled alpha, beta and ond important source of information for Dover is gamma. Attic (and occasionally non-Attic) vase-painting of One of the finest of all courtship scenes, on an the sixth and first half of the fifth centuries, which amphora in Wiirzburg attributed to the Phrynos offers ample documentation of the homoerotic re- Painter (pl. 24, fig. i),5 includes all the essential lationship between men and boys practiced in Ath- features of group alpha. The pair stand opposite ens. He gleans some valuable information from the each other, the erastes, or lover, on the left, his be- * Brief versions of this paper were presented to the College des Sokles," AA 1965, 845-67. The same scholar makes further Art Association and at Columbia University in 1977. I am additions in AthMitt 90 (i975) 118, n. 118 and n. I9. Apart grateful to Christoph Clairmont for reading a draft and to from these lists, courtship scenes have seldom received interpre- Ewen Bowie for helpful comments. tative study. It is striking, for example, that T.B.L. Webster, 1 London 1978; hereafter cited as GH. References to illustra- Potter and Patron in ClassicalAthens (London 1972), who re- tions in this book are given not by plate or figure number (for lies heavily on the evidence of kalos inscriptions,and who cata- none are used), but by the numbers assigned in the List of logues and discusses virtually every type of genre scene in Attic Vases, pp. 206-25. vase-painting (including "men and women conversing," "men 2 J.D. Beazley, "Some Attic Vases in the Cyprus Museum," visiting women," "men kissing or embracing women,") omits ProcBritAc 33 (1947) 3-31. any referenceto courtship scenes. 3GH 7. 5 Wiirzburg 241; ABV 169,5; E. Langlotz, Griechische Vasen 4 K. Schauenburg, "Erastes und Eromenos auf einer Schale in Wiirzburg (Munich 1932) pls. 64-65.

This content downloaded from 165.124.144.190 on Wed, 15 Apr 2015 16:44:07 UTC All use subject to JSTOR Terms and Conditions 134 H.A. SHAPIRO [AJA 85 loved, the eromenos on the right. The erastes stands Group gamma represents the culmination of the with knees bent and arms in what Beazley dubbed encounter, with man and youth intertwined. In the "up and down" position: with his left hand he similar scenes on either side of a mid-sixth century chucks the a kind of tactic boy's chin, diversionary amphora in London (pl. 25, figs. 4 and 5),1 an while the lowered hand zeroes in on its tar- right embracing couple in the center is surrounded by on an in get. Once, amphora by Lydos Nicosia,6 other pairs of lovers who are still at the alpha or the blocks the wooer's reach with a boy protective beta stage. For the erastes the sexual climax is but most often his defensive reaction gesture, only reached intercrurally, that is, by rubbing his penis is to the older man's raised left wrist.' Often grasp between the thighs of the boy. As several scholars in scenes of group alpha, including that on the have remarked,"2courtship scenes never become Nicosia amphora, the is composition completed by more than this, in contrast to the the addition of nude men on either side of explicit striking dancing common and scenes of het- the central to the sense of excite- relatively quite explicit pair, heighten erosexual intercourse on Attic a ment.8 vases, point to which I shall return later."3 Beazley's group beta depicts the giving of love The and of gifts, which may be held either by the erastes or chronology frequency courtship scenes, in about have been care- their recipient, depending upon the exact moment starting 560 B.C., worked out. with a few chosen in the encounter. In most cases the gift is a fully Using Beazley's lists, more recent Frel tabulated the fol- gamecock, though hares are second in popularity additions, Jifri and several other animals, including dogs, stags, lowing figures by quarter century: 12 representa- even panther cubs, occur as well. On the front and tions belonging to the second quarter of the sixth back of an amphora in Providence, for example century; 50 in the third quarter; 57 in the last quar- (pl. 24, figs. 2-3),' an overzealous wooer bestows ter, of which about half comprise a group of hastily a virtual bestiary of gifts on his young eromenos. mass-produced skyphoi designated by Beazley the The significance of the cock as the standard love CHC Group, because each has a courtship and a gift may go beyond its practical value-cock-fight- chariot scene; and only nine for the years after 500, ing was a favorite game among the adolescent boys mostly red-figure.'4The very latest fall in the dec- who received such gifts-to assume a deliberately ade of the 470s and include a fine cup by the Bry- erotic connotation. This is the apparent implica- gos Painter in Oxford (pl. 25, fig. 6)"1 and a frag- tion, for example, of a pyxis lid by the Eretria mentary pelike in Mykonos by the Triptolemos Painter in Worcester, Massachusetts, on which Painter.16 gamecocks are released from the hands of two Thus the floruit of courting scenes occupies the youthful Erotes.1o In addition, the cock's age-old years ca. 550-500, when Attic black-figure itself reputation as the exemplar of virile masculinity reached its acme and then went into decline, in among birds would bear a special relevance in the quality though not quantity. Some iconographic present context. differences between earlier and later courtship

6 Nicosia C440; ABV 109,28; Beazley (supra n. 2) pl. i. associations of cock-fighting see also Herbert Hoffmann, "Hah- 7 This is illustrated on the Wiirzburg amphora, pl. 24, fig. 1. nenkampf in Athen, zur Ikonologie einer attischen Bildformel," On a fragmentary thurible in Boston, the youth defends himself RA 1974, 206-209. by grasping the wooer's lowered right hand: Boston o8.31i; 11 British Museum W39; ABV 297,16. ABV 454; GH B342. 12 See K.J. Dover, "Classical Greek Attitudes to Sexual Be- 8 For example, the amphora Munich 1468; ABV 315,3; AA havior," Arethusa 6 (1973) 67, somewhat modified in GH 5 1965, 865. n.5. SProvidence 13.1479; ABV 314,6; G.F. Pinney and B.S. 13 See also GH 98-102 and infra p. 136. Ridgway, eds., Aspects of Ancient Greece (Allentown 1979) 14 J. Frel, "Griechischer Eros," Listy Filologicke 86 (1963) 34-35. 61-62. The numbers would be greater with the additions made 10Worcester 1936.148; ARV2 1250,33; Worcester Art Mu- by Schauenburg (supra n. 4), but the distribution roughly the seum Annual 2 (1936) 28-31. The date is late fifth century, but same. as early as the mid-sixth, scenes of cock-fighting and homo- 15 Oxford 1967.304; Paralipomena 366. sexual courtship occur together on a black-figure plate: Berlin 1G6ARV2 362,21; C. Dugas, Delos 21 (Paris 1952) pl. 3,7; inv. 3267; ABV 90, 6; D. Callipolitis-Feytmans, Les plats at- GH R5o2. The scene on the reverse is not by the Triptolemos tiques a figures noires (Paris 1974) pl. 53,11. On the sexual Painter, but by the Flying Angel Painter: ARV 280,18.

This content downloaded from 165.124.144.190 on Wed, 15 Apr 2015 16:44:07 UTC All use subject to JSTOR Terms and Conditions 1981] COURTSHIP SCENES 135 scenes were first pointed out by Friis Johansen."7 Solon also attests to, and celebrates, the love of By the late sixth century the erastes is often a beard- beautiful boys, in a single elegiac distych: less youth himself, and his eromenos also appears "EuO'i'8q3 br"`avEO younger, sometimes barely pubescent. Both are EpaTO•LULv 7rcuratoLX'Xo-la /IV7pWv LtAtlpWVKat yXVKEppoV^UTOAaLTO.20 now regularly at least partly draped, instead of en- tirely nude as before. The shifts are not absolute, Until in the lovely flower of youth he loves a boy, however. The erastes on the late cup in Oxford Desiring the thighs and sweet lips. is mature, muscular and bearded, (pl. 25, fig. 6) We can, then, be certain that the be- and his eromenos is naked. reasonably by quite of the sixth much Armed with this ginning century (and possibly relatively precise chronology the erastes-eromenos was well and rather neat of I earlier), relationship typology courting scenes, established and should like to to examine their generally accepted. try origin, popular- It remains to ask these encounters are not and decline and as well as cer- why ity, disappearance, documented in before about One tain the vase-painting 560. iconographic features, against background seems that the artistic formula of of Athenian social and in this thing likely, political history scenes, at least of was not This is not to that the courtship group alpha, nearly ioo-year period. say invented an Athenian artist or at this time. A vases can be treated as historical by always documents, vase found at Arkhades on Crete and now in He- rather than as works of art governed by purely ar- raklion, dated to the late seventh century, shows a tistic conventions, though they are so often accurate man wooing a woman, his arms in precisely Beaz- reflections of daily life.'" ley's up and down position.21It would seem, then, We cannot, for example, infer that because court- that an old artistic type was taken over by Attic ship scenes were first represented in Attic art in the painters to introduce into their repertoire repre- second quarter of the sixth century, paederasty, as sentations of a long-established activity, some time it became institutionalized in Athens, did not exist not long before the middle of the sixth century. before this period. On the contrary,various sources, But why, and why then? especially Aischines, attribute to the lawgiver A date around 560 corresponds closely with the Solon, in the sixth legislation on early century, rise to power in Athens of the tyrant Peisistratos, male and which prostitution homosexuality pre- whose first tyranny probably began in 561. This certain well established mores." supposes Specifi- synchronism may in itself have little meaning, but Aischines cites a law a slave to cally, forbidding it is perhaps more significant that the roughly half- have a free-born as his eromenos or to un- youth century of Peisistratid rule (carried on by the ty- dress or anoint himself at the where such palaistra, rant's sons after his death in 528/7) is very nearly formed. The in- liaisons were probably most often coextensive with the period of development and tent of the law, as Plutarch (Solon 1.3) interpreted greatest popularity of courtship scenes.22 it, was "to incite the worthy to that which he for- Unlike most tyrants elsewhere in Greece, Peisi- bade the unworthy," i.e. to encourage the paederas- stratos made it part of his benevolent policies to tic relationship among citizen men and youths. foster good relations with the old noble families of In his other metier, as Athens' earliest melic poet, Attica, and in Athenian society the Peisistratidsap- 17 K. Friis Johansen, "Attic Motives on Clazomenian Sar- instance at least, Plutarch (Solon 1.6) and others all agree with cophagi," From the Collections of the Ny Carlsberg Glyptothek Aischines in ascribing the same legislation to Solon. 3 (1942) 131. 20 Fragment 25 (West). 18 21 Cf. the caveat set forth by Dover: "We do not know the ASAtene 10-I2 (1927-29) 340, fig. 443d; GH CE33. The attitude of the vase's owner to the painting on it, or what rela- pair is often identified as Theseus and Ariadne, e.g. by A. von tion between painting and life was acceptable to him" ("Eros Salis, Theseus und Ariadne (Berlin 1930) 9-11. and Nomos," BICS 11 [19641 40, n. 12). See also Dover's com- 22 The whole period 561-511 is here referred to for conven- ments in GH 8. ience as Peisistratid, although the tyrant spent most of the early 19 The sources for Solon's law on paederasty are collected by years in exile, before firmly establishing his rule, probably in E. Ruschenbusch, ZOA2NOZ NOMOI (Wiesbaden 1966) 97. 546. For a recent treatment of the problems of Peisistratid Elsewhere (p. 53), Ruschenbusch argues for the somewhat ex- chronology, see J. Hind, "The Tyrannis and the Exiles of treme view that, whenever Attic orators refer to Solonian laws, Pisistratus," CQ 24 (1974)1-18. the attribution is always unfounded and usually wrong. In this

This content downloaded from 165.124.144.190 on Wed, 15 Apr 2015 16:44:07 UTC All use subject to JSTOR Terms and Conditions 136 H.A. SHAPIRO [AJA 85 peared to some extent more as the first family by the vases themselves contrasts with the relative among a prosperous nobility than as autocratic scarcityof male/female encounters on sixth century rulers. It is to precisely these leisured, urban upper- vases. The nature of Athenian society simply pre- class families that the erastai and eromenoi be- cluded romantic relationships between young men long.23 and women. The situation is well summed up by There seems little doubt that the love relation- Dover: "Money may have enabled the adolescent ship (as opposed to homosexual activity per se) boy to have plenty of sexual intercourse with girls was limited, by practical considerations of leisure of alien or servile status, but it could not give him time and the wealth that creates it, to the upper the satisfaction . . of being welcomed for his own stratum of society. Though a man of good family sake by a sexual partner of equal status. This is may have owned property in the outlying demes what the Greek boy was offered by homosexual of Attica, as Peisistratos did at Brauron, it was in relations."26 Athens that his life was centered: civic and politi- Here again the vases do seem accurately to illus- cal life in the Agora; religious life on the Akropo- trate a real-life situation. Explicit erotic scenes of lis; and physical and intellectual life at the gym- men and women are especially popular on late nasion and palaistra, which served equally as the Archaic red-figure vases, though they first occur focal points for the education of the young. much earlier.27 As Otto Brendel pointed out,28 The vases testify to the high social status of starting about 530 erotic themes often form part of erastes and eromenos and to their predilection for banquet or symposium iconography. The men may urban places of exercise. On one side of the well be wealthy, cultivated gentlemen, but the women known cup by Peithinos in Berlin (pl. 26, figs. 7- are hetairai, slaves or foreigners hired for the occa- Io),24 for example, youths with incipient beards sion, often as flute players, for group entertainment court younger boys amid all the paraphernalia of and private enjoyment. Their profession and social the gymnasion: sponges, strigils and small aryballoi status are regularly indicated by close-croppedhair, which contained oil. Here, as in many earlier nudity (unthinkable for a respectable woman in black-figure scenes (cf. pl. 24, fig. i), the elaborate this period), and, on close inspection, often a no- coiffures of the boys, as well as the wreaths and ticeably tired and shopworn look. Such erotic scenes fillets they wear, mark them out as the youth of the are pornography in its literal sense, pictures of por- upper class, the same boys who are praised as kalos nai (prostitutes), and a certain element of deliber- in many vase inscriptions. For them the courtship ate fantasy seems apparent in the grotesque posi- was "a characteristicfeature of the daily life of the tions the participantssometimes assume.29 f&tedjeunesse dor&e."25 In homosexual courtship scenes, however, our The seemingly ubiquitous popularity of homo- same Athenian gentleman is paired with a youth sexual courting implied by this apt description and of comparable free-born citizen status and equal 23 On Peisistratos'good relations with the nobility see AthPol cup of the mid-sixth century is an unusual scene of intercourse: Plato's 16.9. Pausanias (Symposium 182B-C) says that (homo- Athens N.M. 408; J.R. Mertens, MM! 9 (1974) 95, fig. 8. sexual) eros was discouraged in Ionia and other areas ruled by 28 "The Scope and Temperament of Erotic Art in the Greco- tyrants. But I believe he is wrong about the more enlightened Roman World," in Theodore Bowie ed., Studies in Erotic Art tyrannies of Peisistratosand Polykrates of Samos. (New York 1970) 19. 24 Berlin 2279; ARV2 115,2. The date is about 500, but any- 29 Cf. the cup Louvre GI3; ARV2 86; Brendel (supra n. 25) thing that might be said about the setting and the figures, ex- fig. 20. Brendel (p. 32) argues that some of these women, cept for the garments they wear, would be true of many earlier though prostitutes,may nevertheless have attained some of "the scenes. What is, of course, exceptional about the vase is the op- virtues of higher cultivation" and "the attraction of worldly re- position of the courtship scene on side A with that on side B, finement." He further argues that the girls who converse with in which young men converse with girls. See infra n. 29. boys on side B of the Peithinos cup (see supra n. GH 25 24; Friis Johansen (supra n. 17) 66. RI96b) are the equals in social status of their companions. At 26 Dover (supra n. 12) 66. On the question to what extent the same time, though, the scene is hardly pornographic, and homosexual behavior was a lasting orientation or only an ado- the girls are not hetairai. In fact the young men with them are lescent phase, see G. Devereux, "Greek Pseudo-homosexuality far more reticent than the youths courting boys on side A and the 'Greek Miracle'," SymbOslo 42 (1967) 69-92. (pl. 26, figs. 7-10). It is hard to imagine where the scene on 27 For example, a bawdy black-figure fragment of the mid- side B could take place--perhaps at a religious festival, one of sixth century from the Akropolis: B. Graef and E. Langlotz, the few occasions on which a respectablegirl might be seen in Die antiken Vasen von der Akropolis zu Athen I (Berlin 1925) public. pl. 85, no. 1639. On the cover of a white-ground, black-figure

This content downloaded from 165.124.144.190 on Wed, 15 Apr 2015 16:44:07 UTC All use subject to JSTOR Terms and Conditions 1981] COURTSHIP SCENES 137 social class. Favors are won with token gifts, have acted as an unofficial "minister of culture" un- rather than money, and the encounter takes place, der the rule of his elder brother Hippias after their at least in its initial stages, in a public place. It is, father's death. Among the activities associatedwith accordingly, governed by a keen sense of dignity this noble, whom Aristotle (Ath.Pol. 18.1) de- and an almost mannered propriety, no doubt fos- scribed as rat8twA8v;KCa•. EpwLKO Kat 4~LXAOovcrog(play- tered and perpetuated by artistic convention.30 ful, amorous, and cultivated), are the institution of If we are to believe ancient biographers and col- recitations from Homer at the Panathenaic Games, lectors of anecdotes, virtually every prominent the beginning of construction of the Olympieion, Athenian of the sixth and fifth centuries was in- and the invitation to Athens of celebrated poets volved in homoerotic liaisons at some time in his from other parts of the Greek world. In addition, life, whether in his youth as the eromenos of some Hipparchos himself wrote poetry, including a se- distinguished man, or later on as the erastes of a ries of epigrams said to have been inscribed on notable beauty, or often both. According to Plu- boundary stones in Attica.34Perhaps one of his cou- tarch (Solon I.2), Solon was passionately in love plets was inscribedon the three-headedherm which with the young Peisistratos, to whom he was also the historian Philochoros said was set up by Hip- related, on their mothers' side. Peisistratos,in turn, parchos' erastes Prokleides."3 became the erastes of a youth called Charmos and It is also no coincidence that the third quarter of at that time dedicated a statue of Eros in the Acad- the sixth century-the Peisistratids now at their Solon And so it down first the of emy (Plutarch, 1.4)." goes, height-saw high point black-figure to the early fifth century, when Themistokles and vase-painting, with Lydos, Exekias and the Amasis Aristeides were rivals for the same boy (Plutarch, Painter, then the invention of the red-figure tech- Themistocles 3); and to the latter part of the cen- nique. The Athenian ceramic industry was a com- tury, with Sophokles Cpa,32 Sokrates the ero- mercial success, exporting east and west, with great 4,xo~p menos of his teacher Archelaos (Xenophon, Memo- artists encouraged by prosperous and appreciative rabilia 2.6.28) and sometime erastes of Alkibiades; patrons. And this wealth of talent was matched by and, in the best documented Athenian homosexual a rich variety of themes and depth of insight. "marriage,"33(a somewhat different phenomenon To see how courtship scenes fit into this artistic from the usual relationship), the playwright Weltanschauung, we must first go back a few dec- Agathon and Pausanias in Plato's Symposium ades. The most immediate inspiration for the ap- of these scenes on vases be in (I93B). pearance may sought Why, then, are courtship scenes limited to a the lyric poetry of Archaic Greece. The refined, roughly 85-year segment of these two centuries, aristocratic and essentially frivolous mood of the and what was it in the intellectual and political finest courting scenes is that exact visual counter- climate of Athens under the Peisistratidsthat made part of the paederastic verse composed by some of the courtship seem a fitting, even a favorite subject the best known elegiac and lyric poets of the sixth for the vase-painter'sart? century. We have already heard Solon extolling Peisistratos and his sons were well known as the love of a beautiful boy.36A much fuller expres- patrons of the arts at a time when Athens experi- sion of this sentiment is to be found among the enced a measure of commercial prosperity neces- verses attributed to Theognis, in the mid-sixth cen- sary for the enjoyment of such luxuries. In particu- tury,37to and about his eromenos Kyrnos. lar Hipparchos, the younger son of Peisistratos, A native of the nearby city of Megara, Theognis interested himself in the arts and appears almost to and his poetry were surely known in Athens, and

30 On the different ethos of heterosexual and homosexual archon of 496/5. He finds it plausible that this Charmos was scenes, Dover (GH ioi) makes the interesting observation that, married to a daughter of Hippias, and thus named his son in their very configuration,the former (especially those showing after the boy's great uncle. anal intercourse, e.g. GH R543 and R545) illustrate the sub- 32 The epithet is recorded by Athenaeus 13.603E. ordinate and "dominated"position of Greek women, while the 33The phrase is Dover's, (supra n. 12) 72, n. 37. latter, with man and youth both erect and facing each other, 34 [Plato], Hipparchos 228C. suggest their social equality. 35 Quoted by Suidas, s.v. rptKErc0aXo. 31 J.K. Davies, Athenian Propertied Families (Oxford 1971) 36 Infra p. 138. 451, identifies this Charmos with the father of Hipparchos, 37 Suidas puts his floruit in the 59th Olympiad (544-541).

This content downloaded from 165.124.144.190 on Wed, 15 Apr 2015 16:44:07 UTC All use subject to JSTOR Terms and Conditions 138 H.A. SHAPIRO [AJA 85 his probable presence there at some time in his 64). Peisistratos'purification of the island of Delos youth is attested by the inscription OE'oyVt Ka6X (Hdt. 1.64), the most holy cult center of Ionian vi Ala on a black-figure lip cup dated to the 550s Greece, symbolized Athens' allegiance to Apollo, and now in Palermo.38 Though amorous, Theo- chief patron of the Ionian race. gnis' tone is at the same time consistently that of a The dichotomy between Ionian and Dorian per- conservative and slightly stuffy aristocrat, and vaded almost every aspect of Greek life, from im- much of the verse addressed to the youth which is portant matters of cult down to matters of tem- not erotic contains rather long-winded admonitions perament, social behavior and dress. The tradition about the character and behavior of a true gentle- that Athenian women gave up wearing the Doric man. In a lighter moment of reverie, the poet de- peplos and adopted the Ionian chiton and himation scribed the "good life" of a gentleman of leisure some time in the sixth century probably had more (I335-36): cultural significance than Herodotos' amusing anecdote would "OLtos, "uTrrtLEpwV- o'KaSE `'•SX v suggest.39 p yvi•vacrEatc \V 7raL One of Peisistratos' alliances was probably with E"SEtL7ravrO7LEpLto'. Ka•, Samos, under the rule of the tyrant Polykrates.40 the man who while in love takes Happy exercise, When Anakreon came to Athens in at the then 522, invitation of Hipparchos, he had already spent a comes home to sleep all day with a beautiful boy. number of years at Polykrates' court where, under The interrelation of the gymnasion and the bed- tyrannical patronage, he had established his repu- room, reflected in so many courtship scenes, is in- tation as a refined and witty voluptuary with an teresting at this early date. But the essential nature avid interest in beautiful boys, all qualities shared of the courtship as a pastime of the upper class and by Polykrates himself. The poet was originally as the chief instrument of the well-bred boy's initia- from Teos, north of Ephesos on the coast of Asia tion into manhood is epitomized in the relation- Minor, where he was born about 570. As a young ship of Theognis and Kyrnos. man, he had emigrated to the new colony of Ab- If Theognis' approach to romance seems at times dera in Thrace for a period, after having first been a bit heavy-handed, a little later in the century summoned to Samos to give Polykrates' young son Athens was penetrated by a much different, Ionian music lessons.41His second sojourn on Samos was spirit coming from East Greece, exemplified in the abruptly ended by the assassination of his tyrant- person of another lyric poet, Anakreon. patron. Peisistratos maintained cordial relations with the Thus Anakreon arrived in Athens a middle-aged Ionian cities of Asia Minor and the islands of the man at the height of his fame. More than any eastern Aegean, and was particularly conscious of other of the Archaic lyric poets he was associated Athens' reaffirming ancestral ethnic ties with the with the carefree world of wine, women and song Greeks. He Ionian installed his friend Lygdamis as -only in addition to women there were boys. of Naxos, after had aided in tyrant Lygdamis Cicero (Tusculan Disputations 4.7I) states drily, Peisistratos' second return from exile (Hdt. 1.6i- "nam Anacreontis quidem tota poesis est amato- 6 and n. 38 IJHS 52 (1932) pl. p. 176, 19. The identification dotos' comment (5.69) that Kleisthenes, head of the Alkmaio- of this with the cannot be Theognis poet proved, but it fits nid family which helped overthrow the tyrants, looked down on and was D.M. Robinson and chronologically accepted by E.J. the Ionians and changed the names of the Attic tribes specifi- Fluck, A Study of the Love Names Greek (Baltimore I937) cally so that they should not be the same as those the Ionians I84. used. 39 Hdt. See M. 5.87-88. Bieber, Entwicklungsgeschichte der 40 Peisistratos' ally Lygdamis of Naxos had aided in the ac- griechischen Tracht2 who (Berlin 1967) 28, comments that the cession to power of Polykrates on Samos. See A. Andrewes, Peisistratids favored the greater luxury of eastern style dress, The Greek Tyrants (London 1956) 112, II8. which had been Solon's previously discouraged by legislation. 41 The chronology and sequence of events are worked out by The changeover to Ionic dress in Athens in the third quar- J.P. Barron, "The Sixth Century Tyranny at Samos," CQ 14 ter of the sixth century is confirmed by the Akropolis korai; the (1964) 221. According to Suidas, Anakreon was born in the last to wear the Doric is the Akr. peplos Peplos Kore, 679, of 52nd Olympiad (572-568), and Barron prefers the earliest pos- ca. the see 530 (on date, E.B. Harrison, Agora i i: Archaic and sible date, 572. On the dates of Anakreon's sojourns on Samos Archaistic Sculpture [Princeton 19651 5). That the Peisistratids see also M.L. West, CQ 20 (1970) 207-208 and B.M. Mitchell, were conspicuously Ionian in outlook is also suggested by Hero- JHS 95 (1975) 80.

This content downloaded from 165.124.144.190 on Wed, 15 Apr 2015 16:44:07 UTC All use subject to JSTOR Terms and Conditions 1981] COURTSHIP SCENES 139 ria." There is, in fact, extant a hymn to Artemis ens, which numbered among its members Solon (fr. i Gentili) which is perhaps the exception that and, two centuries later, Plato.44 proves the rule. At the same time he was enjoying the favor of Apparently Anakreon, like most Greeks, was ec- the tyrants, Anakreon apparently won the hearts lectic and interested in women as well as boys. The of the Athenian demos as well, for we find him pitifully scanty fragments that survive include one again in Athens after the fall of the Peisistratids, addressed to a woman probably playing hard to get even into the 480s, at the end of his long life.45 By as "Thracian filly" (fr. 78 Gentili), and another the mid-fifth century, his memory was so beloved concerns the poet's interest in a girl from Lesbos.42 that a statue of him was set up on the Akropolis, But the numerous comments and anecdotes about beside that of his friend Xanthippos, the father of the poet preserved in later writers refer again and Perikles and hero of the battle of Mykale, in 479.46 again to his infatuations with one boy or another, Along with the elite and the common people, never with women. Maximus of Tyre (24.9) cata- Anakreon caught the fancy of many vase-painters logues the objects of Anakreon's extravagant praise: in Athens, and three labelled representationsof the the hair of Smerdies, the eyes of Kleoboulos, the poet on vases made during his lifetime survive.47 youth of Bathyllos. The most celebrated and often- In addition, nearly thirty other red-figure vases, repeated of the anecdotes concerns Anakreon's ri- many painted after Anakreon's death, show a valry with Polykrates for a youth with especially bearded lyre-player in a long Ionic chiton, hima- beautiful hair (perhaps Smerdies). The tyrant out tion and sakkos, accompanied by similarly dressed of spite had the boy's hair cut off, and Anakreon male companions, whom Beazley tentatively iden- responded by writing a poem in which he cleverly tified as the poet himself with his "boon compan- refrained from accusing his patron, but instead re- ions.""48If these figures are not actually Anakreon proached the boy, with mock indignation, for tak- and his friends, they are nevertheless portrayed, in ing up arms against his own hair.43 their costume, as "revellersof the good old days,""49 While Anakreon did not, of course, introduce Athenians affecting the orientalized clothing and paederasty into Athens from East Greece, he did, accessoriesno doubt worn and made fashionable by one can imagine, capture the fancy of Athenian Anakreon and perhaps other Ionian visitors to Ath- high society-the circle of aristocraticmen around ens. Beazley believed that these men, who often Hipparchos-with the Ionian flair and sophistica- carry parasols and occasionally wear earrings,"5 tion with which he pursued this pastime and glori- were dressing up as women. But recently Keith fied it in poetry. His strongest romantic attach- DeVries has pointed out that the various elements ment during these years in Athens, recorded in a of the costume all occur on men of the Near East, late source, was with a youth named Kritias, a especially Lydians and Lycians, and were undoubt- member of one of the oldest noble families in Ath- edly adopted from them by the Ionian Greeks.51 42 No. 13 Gentili. See B. Gentili, "La Ragazza di Lesbo," in Copenhagen: G. Hafner, "Anakreon und Xanthippos," Jdl Quaderni Urbinati di Cultura Classica (QUCC) 14 (1973) 124- 71 (1956) 1-28. The figure seems in no way an attempt at an 28 and, for a different interpretation, G. Giangrande, "Ana- accurate likeness of the poet, but is instead idealized-in the creon and the Girl from Lesbos," QUCC 14 (1973) 129-33. Cf. heroic nudity and facial features-and "Perikleanized,"-in the Dover's comments in GH 183. shorter hair and beard fashionable in Athens by the mid-fifth 43Athenaeus 12.54oE; Aelian, Hist. Var. 9.4. The associa- century. Thus it bears no relation to the vase representations of tion of love and haircutting is explored in a recent interpretation Anakreon made during his lifetime. of Douris' in Berlin cup (ARV' 428,13) by E. Olshausen, 47 I. Cup by Oltos, London EI8; ARV2 62,86; K. Schefold, "Eros mit dem Barbiermesser," AA 1979, 17-24. Die Bildnisse antiken Dichter, Redner, und Denker (Basel 44 Sch. Aischylos, Prometheus 128. Davies, (supra n. 31) 326, 1943) 51, figs. I and 2; 2. lekythos by the Gales Painter, Syra- identifies this Kritias as the third member of the family to bear cuse 26967; ARV2 36,2; Schefold, p. 51 bottom; 3. calyx-krater the name and supposes that he was born about was by 530, fragments, Copenhagen 13365; ARVV2 185,32; AIA 69 (1965) Anakreon's eromenos shortly before the death of Hipparchos in pl. 42. 514, and was a candidate for ostracism in the 480s. He should 48 L.D. Caskey and J.D. Beazley, Attic Vase Paintings in the probably be identified with the Kritias kalos on a hydria of the Museum of Fine Arts, Boston ii (Boston 1954) 56-60. Leagros Group, London B323; ABV 262,33. 49 Beazley (supra n. 48) 57. 45 Pseudo-Lucian, Longevity 26, says that Anakreon lived to 50 E.g., on a krater, Cleveland 26.549; AR V2 563,9; CVA 85. pl. 25-26. 46 Pausanias 1.25.1. The statue type, sometimes referred to as 51 K. DeVries, "East Meets West at Dinner," Expedition 15 the Anakreon Borghese, is best represented by the Roman copy (1972-73) 32-39. The interpretation (incorrect, as I believe)

This content downloaded from 165.124.144.190 on Wed, 15 Apr 2015 16:44:07 UTC All use subject to JSTOR Terms and Conditions 140 H.A. SHAPIRO [AJA 85 There is, then, no reason to think that the shapeof a penis.5GThe dateof the BomfordCup is "Anakreontic"costume was regarded as effeminate, about 520, the period of Anakreon'sfirst stay in much less transvestite, by Athenians of the late Athens. Its grand proportions(34 cm. diameter), sixth century. It simply looked exotic and foreign, the subjectof the interior,and the rareand witty and partly for that reason so appealed to vase-paint- plastic foot all make one wonder if it was not a ers. There is also no necessary connection between specialcommission, occasioned by an elite drinking the poet's homosexual interests and his adoption of party. Perhapsthe host was Hipparchoshimself, an appearancethat might look at some periods and with the recently arrived,celebrated Ionian poet to some eyes effeminate.52To suggest that would entertainingthe guestswith a selectionof his erotic risk imposing a peculiarly modern prejudice on an verse. ancient society. And in any case, Ionian &3pd'TIr Such a suggestion is perhapsfanciful. But in and TrpV4n (softness, luxuriousness, effeminacy) more general terms,I think that in the late sixth were always well known to, and occasionally centurythere surely existed a consciousconnection mocked or criticized by, the rest of the Greek betweenthe cultivatedIonian manners and mores world without any specific reference to sexual epitomizedin Anakreonand those of an eastward mores.53 looking Athenian aristocracyunder the Tyrants, Nevertheless, though Anakreontic vases in gen- among whom a playful paederastywas an impor- eral give no indication of the erotic interests of the tant componentof daily life, and of art. revellers, this element is explicitly alluded to on the The refinementand polishedwit of this Athe- important black-figureeye-cup recently acquired by nian/Ionianoutlook (as seen,for example,in Hip- the Ashmolean Museum, the so-called Bomford parchos Kat 07LKOKctL are the 7rta&OaS/ Epo ,flXO'ovo-0) Cup.54Around a central Gorgoneion in the tondo, keys to distinguishingit from the brand of male six male revellers recline on couches, three dressed homosexualitycurrent in DorianGreek states, such in Anakreontic style (pl. 27, fig. ii). A lyre hangs as Spartaand Crete,and in Thebes.In theseareas, in the background, and one of the men plays dou- paederastywas essentiallya feature of the local ble pipes. Another threatens a young nude attend- form of militaryorganization, often dictatedand ant, who holds an oinochoe for serving the wine, regulatedby law. So, for example,on Cretea man with a sandal. The erotic and (in a mild form) and boy were pairedinitially for a period of two sado-masochistic connotations of beating someone months together (Ephorosfr. 64), and in Sparta, with a sandal in Archaic art are confirmed by other where the relationshipstarted when the boy was vase representations.55And in this instance, that twelve,the loverwas legallyresponsible for his up- association, as well as the mood of the whole gath- bringingand couldbe punishedfor the boy'sshort- ering, is betrayed by the cup's other singular fea- comings (Plutarch, Lycurgus I7A; I8E). The ture: the foot on which it rests is moulded into the Theban SacredBand basedits militarysuccess on of the Anakreontic costume as transvestite was recently restated made fun of, Agathon replies that a poet should dress with "Artemon by W.J. Slater, and Anacreon: No Text without Ionian refinement, like Ibykos, Anakreon and Alkaios. (Ibykos, Context," Phoenix 32 (1978) I89, n. 14. Another accoutrement though originally from South Italy, also settled, like Anakreon, that could be mentioned in this regard, though unfortunately at the court of Polykrates on Samos.) Having gone out of never on is represented vases, the golden grasshopper said by fashion several generations before, the Anakreontic outfit might to have been Thucydides (I.6) worn, until shortly before his well have seemed to the late fifth century audience strangely own day, by the elders of the upper class in both Athens and anachronistic and, especially on Agathon, effeminate. when bound Ionia, they up their long hair into a KpopwflXos. 53 See, for example, Xenophanes 3- The minus hairstyle, grasshopper, appears in vase representa- 54 Oxford 1974.344; John Boardman, "A Curious Eye Cup," tions of, for example, Hipparchos slain by the Tyrannicides: AA 1976, 281-88. ARV2 Wiirzburg 515; 256,5; Langlotz (supra n. 5) pls. 182-83; 55 Listed by Boardman (supra n. 54) 286-87. See also Her- and of Kroisos the on the Lydian pyre: Louvre GI97; ARV2 bert Hoffmann, Sexual and Asexual Pursuit (Royal Anthropo- EAA ii 238,1; 927. logical Institute of Great Britain and Ireland, Occasional Paper 52 To and Aristophanes his audience in the late fifth century, 34, 1977) 9, n. 27, who suggests that on red-figure vases the for example. In the Thesmophoriazousae (137-39; 253-62) the sandal is "a symbol of homosexual paideia." dramatist who is Agathon, consistently ridiculed for effeminacy 56 Boardman, (supra n. 54) 287, lists three other examples of here and in other plays, wears a costume very much like that a penis-footed cup. Two of the three have scenes of love-mak- of the Anakreontic figures: see J.M. Snyder, "Aristophanes' ing, albeit heterosexual. Agathon as Anacreon," Hermes IO2 (1974) 144-46. When

This content downloaded from 165.124.144.190 on Wed, 15 Apr 2015 16:44:07 UTC All use subject to JSTOR Terms and Conditions 1981] COURTSHIP SCENES 141 the principle that men fight most bravely when in his affectionwas the youth Harmodios,who re- the sight of their lovers. In short, the role in society buffed the advancesof Hipparchosand remained of'paederasty and the attitude toward it in the faithfulto his erastes,Aristogeiton. Hipparchos re- Dorian city-states, as opposed to the Ionian (in- taliated by insulting Harmodios'sister, and the cluding Athens), may be seen as but one character- whole affair ended with the lovers plotting the istic manifestation of the fundamental difference murderof the tyrant Hippias but instead,at the in spirit and way of life summarized by Perikles last minute, cutting down Hipparchoshimself on in his famous comparison of Athens and Sparta the day of the Panathenaia.6oThis was in 514,and 2.37 V 7E yap threeor four yearslater Hippias was deposed,mak- (Thuc. f.):57 •LAOKaXAOVO/E /~C7E4rTEdala Kalt XLAoOoV/OvOV AV aXaKlaq. ing way for the establishmentof a democracyun- It shouldaveU be stressedthat the culturalinfluences der Kleisthenes. did not alwaysmove from east to west, from Ionia The actualrole of the Tyrannicidesin the over- to Athens,but could ratherhave been mutual and throw of Peisistratidrule and the propagandistic reciprocal.If love poetryabout boys was more an value of their deed in subsequentgenerations are Ionian and Aiolian traditionthan an Attic one,58 problematicaland cannotbe fully exploredhere.6' in the visual arts it was the Athenianswho were It is clear,however, that they very quicklybecame the innovators.When Anakreoncame to Athens, known as heroesand martyrsof the new democ- the courtshipmotif in vase-paintingwas already racy and were honoredwith statuesin the Agora forty yearsold, and at aboutthis time we find the which were carriedoff by the Persiansand re- same subject,no doubt inspiredfrom Athens, on placed by a new pair in 477. One might almost the painted terracottasarcophagi of Klazomenai, expect that a new glamor and distinctionwould on the coast of westernAsia Minor just acrossa have attachedto the homosexuallove relationship narrow peninsulafrom Anakreon'sbirthplace of on account of these patrioticexemplars, but the Teos.59 only evidencefor this comesfrom a laterperiod."2 It was, ironically, an amorous intrigue of the The democraticsupporters of Kleistheneswill have playful Hipparchos that backfired and, as most fosteredthe (probablyfalse) belief that the Tyran- later Greeks believed, precipitated the fall of the nicides'motive had been politicalfrom the start,as tyranny in Athens. In this instance, the object of Brunnsaikerhas argued,63and thus played down

57The old idea that the practice of paederasty originated was composing love poems to boys in the late seventh and early among the Dorian Greeks and from them spread to Athens was sixth centuries; see GH 195. thus misguided and unnecessary. See for example W. Kroll in 59 Friis Johansen (supra n. 17). He dates a sarcophagus in RE II.x (1921) s.v. Knabenliebe, 90o; and recently P.H. von Berlin (inv. 30.030; fig. 1-3) with courting pairs of youth to Blanckenhagen refers to homosexual courtship as "the Dorian the middle years of the last quarter of the sixth century (p. custom of fashionable Athenian aristocrats" ("Puerilia," in In 128). Interestingly, Ionia was perhaps not the only area where Memoriam Otto 1. Brendel [Mainz 1976] 38). On the whole Attic courtship scenes inspired imitation. The fragmentary in- question see GH 185-94. In Greece paederasty was surely not terior of a Laconian cup recently excavated at Cerveteri shows something that ever needed to be invented, though it was pre- a nude man and youth facing each other, each holding a hunt- cisely the sort of thing that antiquity would want to attribute ing spear. C.M. Stibbe, who published the fragments and dates to an individual Erfinder. So, in addition to the statement of them 550/40, believes the scene is a Laconian variant of the Aristotle (Politics 2.Io) that King Minos of Crete introduced Attic courtship type, though missing certain standard features, it to combat overpopulation,other later traditions associate the such as the wooer's bent knees and outstretchedarms, and add- origin of male homosexuality with a Theban, Laios (see GH ing the hunting motif (there is also a dog behind each figure) 200) and with two non-Greeks, Thamyris and Orpheus. Both so characteristicof Laconian ware: "Neue Fragmente lakon- the latter two mythical figures were Thracian singers. Apollodo- ischer Schale aus Cervetri," Meded 38 (1976) 7-o0 and pl. I. ros (1.3-3) and others call Thamyris the first erastes, and his I owe this reference to Christoph Clairmont. beloved, according to Apollodoros, was Hyakinthos. Another 60 The story is most fully told by Thucydides, 1.19 and tradition, perhaps Hellenistic in origin but best represented in 6.54-57. Aristotle, AthPol I8, states that it was Thettalos, the Ovid (Metamorphoses10.83-85) held that it was Orpheus, after younger brother of Hippias and Hipparchos, who fell in love the loss of Eurydike, who first turned to the love of boys. In with Harmodios. contrast to this notion that the practice originated among non- 61 See S. Brunnsiker, The Tyrant Slayers of Kritios and Greek barbarians(Thracians), Herodotos (1.135) contends that Nesiotes2 (Stockholm 1971). the Persians learned paederasty from the Greeks, no doubt re- 62 In the mid-fourth century, Aischines (1.132) suggests that ferring to the Ionian Greeks who lived, at times, under Persian Harmodios and Aristogeiton might be held up as examples of rule. the virtues instilled by homosexual love. 58 Alkaios, Sappho's contemporary on the island of Lesbos, 63 Brunnsaker (supra n. 61) 26-27. By the same token, he

This content downloaded from 165.124.144.190 on Wed, 15 Apr 2015 16:44:07 UTC All use subject to JSTOR Terms and Conditions 142 H.A. SHAPIRO [AJA 85 the slightly sordid private affair. This is the tradi- stelai of the sixth century with which, it must have tion reflected by Herodotos, who does not refer to seemed, the aristocracyliked to flaunt its wealth.6" the romantic quarrel narrated at length by Thu- As the courtship gradually disappeared from cydides. vase-painting in the early fifth century, it was re- The ostensible purpose of this gentle distortion placed by a mythological prototype, Zeus and was to elevate, in the eyes of the Athenian demos, Ganymede." In fact Greek mythology had always the status of this pair of heroes, whom these same contained examples of (male) homosexual pairs, democrats had taken the initiative of honoring but it is striking, and to me hard to explain, that with the statues and with free maintenance in the especially in the early fifth century these seem to prytaneion for their descendants. But perhaps the have enjoyed popularity. It was then that Phry- followers of Kleisthenes were also a bit embar- nichos suggested a love interest between Troilos rassed by the relationship of Harmodios and Ari- and Achilles in his Troilos, and Aischylos, in his stogeiton if, as I believe, they were inclined to dis- Myrmidons, made explicit the love of Achilles and parage the institution of paederasty because of its Patroklos only discreetly implied by Homer."8 association with the old aristocracy that flourished Dover remarks on Pindar's bold "homosexualiza- under the Tyrants: not that the institution ceased tion" of the Pelops myth."9 in 510, any more than it had begun in 560. But the The motif depicted in Zeus and Ganymede sharp decrease in courtship scenes from the end of scenes is actually that of pursuit or abduction, the sixth century could well reflect a change in pop- rather than courtship, but certain elements of the ular sensibility which made depictions of this up- older genre scene survive, including the gift of a per class activity less acceptable in an essentially cock frequently held by Ganymede, as on a col- popular art form.64A parallel phenomenon is sug- umn-krater by the Harrow Painter in Naples (pl. gested by the disappearancefrom vase-painting of 27, fig. 12).7o In this period Eros also appears as a scenes of hunting on horseback, clearly an aristo- pursuer of boys, and in three particular instances, cratic pastime, after the late sixth century."6And in all by or close to Douris (pl. 28, figs. 13-14), he is a similar, but more official, manner, a sumptuary aggressively erotic, like the erastai of group gamma law put an end to the elaborately carved grave courting scenes.7"

argues, the oligarchic opposition to Kleisthenes and the friends 68 This at least was the interpretation of Aischines, 1.142. of the Peisistratids will have minimized the political importance 69 Olympian 1.36 ff. See GH 198. of the Tyrannicides' deed, a view picked up by Thucydides. 70 Naples 3152; ARV2 275,60. Frel (supra n. 14) 63 tabulated 64 By contrast, scenes of heterosexual love-making, relatively the frequency of Ganymede scenes as follows: 19 in the first rare before 500, are most popular in the first quarter of the quarter of the fifth century; none of them earlier than ca. 485; fifth century, in the work of such painters as Douris, the 14 in the second quarter, plus five in which Hermes is the Brygos Painter, and the Briseis Painter, before they abruptly pursuer instead of Zeus; and six in the third quarter, which stop, about 470. Frel calls "nur ein Nachklang." He attributes the disappearance 65 See J.K. Anderson, Ancient Greek Horsemanship (Berke- of courtship scenes to the same sort of anti-aristocratic and anti- ley 1961) Ioo-ioi. P1. 30oc illustrates a typical example of a tyrannical sentiment I have suggested, only he connects it with mounted deer-hunt in the predella of a black-figure hydria of the "Polisgesinnung" of the Athenian democracy under Perikles ca. 520 (Louvre F294; ABV 256,18). The body of the vase (62-63). But *in fact the noticeable falling off of courtship shows Herakles about to mount a chariot in which Athena scenes several decades before the rise of Perikles indicates that holds the reins, a scene with distinct Peisistratid associations: see the same objections already existed in the Kleisthenic period, John Boardman, "Herakles, Pisistratos, and Sons," RA 1972, when the memory of Peisistratid tyranny was most fresh. The 57-72. For an exceptional red-figure mounted hunting scene, evidence of Frel's figures showing the Ganymede scenes on the ca. 490/70, see Konrad Schauenburg, Jagddarstellungen auf wane after the mid-century suggests that during the radical griechischen Vasen (Hamburg 1969) pl. 17: mesomphalic democracy of Perikles, perhaps even these, in mythological phiale, Berlin (East) 33II. guise, were too transparent an analogy to the old courtships (cf. 66The decree, for which the only reference in the ancient Theognis likening himself and his eromenos to Zeus and Gany- sources is Cicero, de leg. 2.26,64, has been connected at differ- mede, 1345-50) for the new egalitarian spirit in Athens. ent times with Kleisthenes (ca. 507) and Themistokles (ca. 71Boston 95.31; ARV2 443,25; Caskey and Beazley (supra See H. 487). Hiller, lonische Grabrelie/s der ersten Hdlfte des n. 48) III pl. 71; Boston 13.94; ARV2 1570,30; GH R603; 5. Jahrhunderts v. Chr. (Tiibingen 1975) 15-16. Berlin 2305; ARV2 450,31; Idl 71 (1956) I20. All three are 67 See H. Sichtermann, Ganymed (Berlin 1948) and "Zeus cups. The youths in these scenes have sometimes been called und in Ganymed fruhklassischer Zeit," AntK 2 (1959) 10-15; Zephyros and Hyakinthos, e.g. by Beazley (supra n. 2) 31, and and more recently, S. Kaempf-Dimitriadou, "Zeus und Gany- most recently by S. Kaempf-Dimitriadou, Die Liebe der Gotter med auf einer Pelike des 22 Hermonax," AntK (1979) 49-54. in der attischen Kunst des 5. Jahrhunderts v. Chr., AntK Beiheft

This content downloaded from 165.124.144.190 on Wed, 15 Apr 2015 16:44:07 UTC All use subject to JSTOR Terms and Conditions 1981] COURTSHIP SCENES 143 As Brendel and others have observed, erotic painted in over half a century."7Yet when we con- scenes of any sort are very rare in Attic vase-paint- sider the way sexual mores now seem drastically ing between 470 and 400, and there are virtually to change in the space of a single generation, it is none datable to the first thirty years of that pe- remarkable how nearly some late Archaic courting riod.72It seems, then, that the latest few courtship scenes (e.g. pl. 26, figs. 7-10) seem to illustrate the scenes, in the 470s,73are not only the last in a series opening scenarios of the Charmides and Lysis, and that had been gradually dwindling, for particular capture their spirit. The setting in the palaistra;the political reasons, for a quarter century; they are well-dressed and well-coiffed boys and youths, all also, together with their contemporaryheterosexual well-bred scions of good families; the shy modesty counterparts, the last representatives of essentially of the boys and polite diffidence of their wooers- Archaic genres that found no place amid the re- all emerge equally clearly from both written and strained expression and self-consciously elevated painted scene."7And above all, both Plato and the ideals of Classical Greek art. vase-painters,along with Anakreon and Theognis, Isolated homosexual scenes occur in the late fifth in their different expressions of this quintessen- century, including the curious one by the Dinos tially Greek institution, share a disarming openness Painter recently and convincingly interpreted by and unabashed joie-de-vivre that would confound von Blanckenhagen.74But there are no courtships. centuries of dour Christians. It is an irony typical of the fragmented state of our evidence about antiquity that the fullest and DEPARTMENTS OF ART AND CLASSICAL LANGUAGES most reliable written documentation of the erastes- NEWCOMBCOLLEGE eromenos relationship is in the dialogues of Plato, TULANE UNIVERSITY set in a period when no courtship scenes had been NEW ORLEANS, LOUISIANA 70118

II That was Von n. (1979) I6. interpretation rejected by Sichtermann, 74 Blanckenhagen (supra 57). "Hyakinthos," Jdl 71 (1956) 121, A. Greifenhagen, Griechische 75 On the reliability of Plato's picture, cf. von Blanckenha- Eroten (Berlin 1957) 79-80, and E. Vermeule, "Some Erotica gen's comment, "It seems certain to me that the introductory in Boston," AntK 12 (1969) 14. These three all take the chapters of these two platonic dialogues (viz. Charmides and winged youth to be Eros, but are unable to identify the object Lysis) describe the manners of Athenian kaloikagathoi in the of his affections, who holds a lyre in two of the three scenes, last third of the fifth century rather correctly" (supra n. 57, with a particularmythological figure. That the pursuer is indeed 38, n. 6). Eros is, I think, confirmed by the other scenes of the same 76 One could almost imagine the "odd man out" at the far period which show him chasing a boy, e.g. an aryballos by left on the Peithinos cup (pl. 26, figs. 7-Io) as Plato's Hip- Douris, Athens 15375; ARV2 447,274; Greifenhagen 59 (Eros pothales, when he timidly stood so as to be screenedby the other holds a whip). boys from the view of his beloved Lysis, yet close enough to 72 Brendel (supra n. 28) 29; Frel (supra n. 14) 62. hear him (Lysis 207B). 7 See supra p. 134 and pl. 25, fig. 6.

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FIG. I. Wiirzburg, amphora by the Phrynos Fic. 2. Providence,amphora, front. (Courtesy Fic. 3. Providence,amphora, back Painter. (Courtesy Martin v. Wagner-Museum Rhode Island Schoolof Design, Museumof Art, der Universitit Wiirzburg) Providence,Rhode Island;gift of Mrs. Gustav Radeke)

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FIG. 4. London, amphora. (Courtesy British Museum) FIG. 5. London, amphora

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FIG. 6. Oxford, cup by the Brygos Painter. (Courtesy Ashmolean Museum)

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Museen Preussischer FIGS. 7-IO. Berlin, cup by Peithinos. (Courtesy Antikenmuseum, Staatliche Kulturbesitz, Berlin [West])

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FIG. 14. Boston, cup. (Courtesy Museum of Fine Arts, Boston; 'i-;iiii~i:i--''r~ gift of E.P. Warren)

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