Delphic Hymns and ancient Greek music

My first discovery of Greek musical annotations happened in 2012 when I saw the Seikilos column at the Allard Pierson Museum in Amsterdam. This temporary exhibition held a copy of the Seikilos Epitaph from Copenhagen that showed ancient Greek music (see: Revealing ancient Greek music, the Seikilos Epitaph). It was presented as the oldest surviving example of musical composition in the world, dating back to between 200 BC and 100 AD. At that time, I learned that older Greek music inscriptions existed but only fragmentarily, as is the case for the Delphic Hymns. 

While the Seikilos Epitaph is the only complete song we have, the Delphic Hymns are simply the oldest surviving examples so far, dating from the 2^nd century BC. These Hymns were carved on the southern wall of the Treasury of the Athenians in Delphi. They contain hymns praising Apollo, his birth, his life, and his protection of Athens and Delphi, with music to be played on a shrill-sounding flute and a golden, sweet-sounding cithara. These hymns to Apollo were performed during the Pythian Games, a major venue for musical contests that originally focused on art and dance. 

The two inscriptions from the Treasury of the Athenians, now exhibited at the Museum of Delphi, belong to a series of about fifty similar hymns from ancient Greece. A study revealed that these songs of praise or triumph were composed for the Pythian Games of 128 BC, i.e., the ritual procession of the Athenians towards Delphi. Apollo is also hailed for his help in fighting the Galatians in 189 BC, as the Romans won the battle against these Celtic tribes in Asia Minor. 

Like the Seikilos inscriptions, the Delphic Hymns hold musical symbols for the instruments and other notations for the singing voice next to the lyrics. We owe the interpretation of these symbols to Alypius of Alexandria, a musicographer who lived in the 3^rd century AD. 

I followed the history of ancient Greek music and the reconstruction of ancient instruments, mainly the lyre/cithara and the flute, from 2016 onward, with several updates after Reconstructing ancient Greek music, an impossible task? We still find it difficult to accept that Homer's epics or the tragedies of Sophocles and Euripides originally were sung partially or in their entirety.

The sounds produced by ancient instruments are a far cry from today’s music, even from what is considered classical music or medieval troubadours. Modern music is mostly loud, to be heard beyond the daily noises of traffic, airplanes, and too many people attending the open-air events with screaming amplifiers. It is hard to imagine a quiet, tranquil spot in nature where we could catch the sound of a faraway flute or a string instrument floating on the wind. The basic essence of musical notes no longer reaches us.

With new discoveries and future in-depth research, we may expect to learn more about the music played in antiquity that could have been familiar to Alexander. I hope.

[Pictures from the Delphi Archaeological Museum]

Herodes Atticus, more than a name

Herodes Atticus is best known for his theater at the foot of Athens’ Acropolis. For most people, it is only a name to define this historic monument, forgetting who he was and what he achieved in life.

Herodes Atticus was born in Marathon, Greece, into a family of Athenian descent in 101 AD. He is known as an Athenian rhetorician and a Roman senator, spending time between Greece and Italy.

 

He was exceptionally wealthy and moved in the highest social circles. Emperor Hadrian, for instance, appointed him Prefect of the free cities in the Roman Province of Asia in 125 AD. A good year later, he was elected archon (high magistrate) of Athens. And in 140 AD, Emperor Antoninus Pius invited him to Rome to educate his adopted sons, the future Emperors Marcus Aurelius and Lucius Verus. As a Roman citizen, he was appointed Consul of Rome in 143 AD.

 
When he was 40 years old, he married Appia Annia Regilla, a 14-year-old aristocrat related to the family of Antoninus Pius’ wife.
 
Herodes Atticus was a philanthropic magnate and patron of many public works. What comes immediately to mind is the theater in Athens, which he financed in 161 AD to honor his wife, Regilla. Watching a Greek play performed within these walls or attending a popular or classical concert is a gratifying experience!

However, thousands and perhaps even millions of visitors have left their marks on the white marble construction. It calls for an extensive restoration and conservation process that is expected to take at least three years. During that time, the summer Athens Epidaurus Festival will be relocated elsewhere.

 
The overall deterioration consists of cracks in the Pentelic marble due to the variations in temperature and rainwater infiltration. Another problem is the plants that root in crevices and hold water. The theater had been destroyed in 267 AD and was in ruins until the 1950s, when the seating area and orchestra were restored. These repairs are now in dire need of improvement and require a comprehensive conservation plan.
 
The list of buildings Herodes Atticus funded is quite extensive. The ancient Panathenaic Stadium in Athens,  with a capacity of 50,000 seats, for instance, was one of his projects executed in 144 AD. Elsewhere in Greece, we owe him the Theater of Corinth, the Stadium of Delphi, the Baths of Thermopylae, and a splendid Nymphaeum in Olympia.
 
I was very surprised to read Herodes Atticus' name and his wife’s in Olympia. The Nymphaeum stands at the entrance to the Stadium. The two-story-high back wall was filled with statues of Herodes Atticus and several Roman Emperors like Antoninus Pius, Hadrian, Marcus Aurelius, and their family members. 

Most statues have been moved to the Museum of Olympia. Among them, I noticed Athenais, one of Herodes Atticus’ daughters. She married Lucius Vibullius Rufus, and the couple had six children, but only three survived to adulthood. The eldest daughter, Elpinice, was born in 142 AD and died in 165 AD. The son, Atticus Bradua, was born in 145 AD and was the only child to survive his father. Herodes Atticus was heavily disappointed by his son and left him nothing after his death.

 
Also exhibited in Olympia’s Museum is a life-size bull, which carries an inscription left by Regilla reading: "Regilla, priestess of Demeter offers the water and appendices to Zeus." This brings history to life!
 
Outside Greece, aqueducts donated by Herodes Atticus can be found in Canusium, Puglia region in Italy, and in Alexandria Troas, Asia Minor. In my blog post of February 2024, I mentioned the Baths and Gymnasium of Alexandria Troas built by Herodes Atticus in 135 AD. They were surrounded by vaulted corridors with marble walls, and water was delivered thanks to the aqueducts on the northeast side of town. Most of the building remained intact until it was destroyed by the severe earthquake in the winter of 1809-1810.
 

At the National Archaeological Museum in Athens, I encountered a statue of Polydeukes, also Vibullius Polydeukion, the adopted son of Herodes Atticus, dated to circa 150 AD. Wikipedia, however, mentions the boy as his pupil and lover in a relation resembling that of Hadrian and Antinous. Polydeukes died around 173-174 AD. His loss greatly affected Atticus, who built a Heroon in his memory.

 
Herodes Atticus lived to be 76 years old in 177 AD. Regilla had died in 160 AD, after being brutally kicked in the abdomen while eight months pregnant.  Her brother accused Herodes Atticus of having ordered one of his freedmen to beat her to death. At the trial that ensued, Herodes Atticus was acquitted by Emperor Marcus Aurelius, his former tutor.
 
I’m sure we’ll look at the Theater of Herodes Atticus with different eyes next time we walk through Athens.

Polygyros in Chalcidice

Polygyros in Chalcidice is in the news since its Archaeological Museum has reopened after being closed for twelve years to upgrade it to today's standards. 

Chalcidice is the three-fingered peninsula just east of Thessaloniki in Northern Greece, famous for its exotic beaches and natural landscapes. It is a popular vacation destination for people from Balkan countries, Austria, and Germany. 

Polygyros is situated at the peninsula's center, with easy access to notorious antique sites like Olynthus, Potidea, and Stagira. It is also close to the narrow where King Xerxes I of Persia dug a canal across the most easterly finger (Mount Athos Peninsula) during the Second Persian War in 480 BC (see: Stagira, the Birthplace of Aristotle). 

I vividly remember visiting the Museum of Polygyros when I toured around Chalcidice. I was determined to see the arrowheads from Olynthus (see: Olynthus and its houses), with their unique inscription ΦΙΛΙΠΠO (Philippou), meaning from Philip. It had taken Philip of Macedonia nearly two years to conquer Olynthus, and his army apparently had quite a sense of humor. The siege ended in 348 BC, after which Philip razed the city to the ground. 

Another treasure at the museum is the surviving part of Philip's treaty with the Chalcideans. Alarmed by Philip's policy after he occupied Amphipolis in 357 BC, the Chalcidean allies and the Olynthians concluded a treaty with Philip against Athens, who had refused an earlier proposition. To seal their agreement on the treaty's terms, the two parties solemnly swore by Zeus, Gaia, Helios, and Poseidon. 

Three copies of this treaty were made, and the Chalcideans would display theirs at the Temple of Artemis in Olynthus, and Philip would do the same in the Temple of Zeus in Dion. They jointly would exhibit a third copy in Delphi after having it ratified by the gods. 

Strolling further through this small museum, I discovered several artifacts worth my attention. There was, for instance, a terracotta Niké from Sane, 6^th century BC, a lion spout from the Temple of Ammon-Zeus in Kallithea, 5^th century BC, and a piece of cornice from an archaic sanctuary in Stagira, 6^th century BC. Last but not least, an exciting collection of silver and copper coins that was unearthed in Stagira, mainly carrying effigies of Macedonian kings. There were also coins from other cities like Akanthos (modern Ierissos), Sermyle, Skione, and Ouranopolis on the Chalcidice, and from more distant Amphipolis, Pella, Thessaloniki, Corinth, etc. 

These treasures may be dwarfed in the museum that has been enlarged to accommodate an extensive donation of more than one thousand artifacts. The generous benefactor is Iraklis Lambropoulos, who donated the collection his father, Ioannis, had gathered in the 1930s. In fact, he gave it to the Greek State, provided it would be displayed at the Archaeological Museum of Polygyros. 

Today's visitor will see finding from excavations carried out throughout Chalcidice dating from the Palaeolithic to the Archaic, Classic, Hellenistic, and Roman eras. Special attention is drawn to an unfinished kouros, which may have escaped my attention or is entirely new. Noteworthy is also a marble head of Dionysos from Aphytos, 4^th century BC, two marble grave statues from the Heroon of Stratoni, 1^st century BC, and the artifacts unearthed in Olynthus and its cemetery. 

It is obvious that I should visit this museum the next time I am in Chalcidice.

Recent excavations in Selinunte

Recent excavations in Selinunte (ancient Selinus), one of Sicily’s most precious sites, have exposed what appears to be the largest Agora of the ancient world. 

This trapezoidal Agora covering more than 3 hectares, lies at the heart of the ancient settlement that goes back to the 6^th century BC. It was surrounded by shops and houses, revealing that the city traded goods with the entire Mediterranean. So far, only one archaeological feature was discovered under the agora: an empty tomb in the middle of the square, perhaps belonging to its founder. 

During the pandemic, all activities had stopped, but the archaeologists resumed digging in the area of the Acropolis in June 2022. 

The excavations started at the southern end and were centered on two temples defined as A and O. In my earlier blog Selinunte died tragically not unlike Pompeii, I explained that temples in Selinunte were named using a letter since they had not been closely identified. 

For many years, it was believed that temples A and O had been built at the same time, i.e., between 490 and 460 BC. They were, in fact, almost identical to each other. Both were 40.20 meters long and 16.20 meters wide, with columns rising up to 6.23 meters. They were tentatively attributed to the Dioscuri and Poseidon. New excavations provided evidence that Temple A is actually older than Temple O. Besides, Temple O was never finished because a landslide interrupted its construction. Interestingly, the pronaos of Temple A yielded Punic statuettes, such as that of the goddess Tanit. 

Back in 2018, the plans were to re-erect the first columns of Temple G, which is situated further east and outside the precinct of the Acropolis. The temple is tentatively attributed to Zeus because of its imposing size: 109 meters long and 45 meters wide. The huge drums of the columns lie around randomly, and the cost of repositioning one column is estimated at 180,000 euros. I have no idea whether this operation was successful. 

Temple R (also known as E) from the 6^th century, possibly rebuilt after being destroyed by the Carthaginians in 409 BC, yielded one-half of a sizable stone mold used to create a bronze scepter. This is an exciting find because ten years ago, the other half of this mold was found nearby. It appears that, being such a precious artifact, the two halves were buried in a different location to avoid replication. Other discoveries were an amulet in the shape of a falcon representing Horus made of Egyptian blue and arriving from Egypt in the 7^th century BC, and the refined miniature of an ivory siren, probably from the 6^th century BC from Greece since its quality is comparable to similar finds at the Oracle of Apollo in Delphi. 

[Picture from Ansa Italia]

Further excavations around Temple R exposed remains of a boundary wall from 610 BC, i.e., not long after the first colonists’ arrival. 

More importantly, is the discovery of an underground aquifer under the foundations of Temple A. It confirms that the initial Greek colonists settled precisely south of the Acropolis, meaning that ancient Selinunte was born here. 

On the other hand, thermal images have revealed an original water system running from Temple M on the west bank of the Selino River down to the harbor, supplying water to the houses of the early Greek settlers.  The Greeks certainly knew how to divert water courses. The thermal scans also exposed the ancient shoreline, placing Greek Selinunte between two ports located immediately east and west of the city’s Acropolis. 

Selinunte was a true megalopolis in western Sicily that flourished from the 7^th century BC until the end of the 3^rd century BC. It was known for the richness of its farmlands and majestic temples, which we can only remotely imagine. Water management most certainly contributed to its wealth.

What do we know about Arrian of Nicomedia?

Although Arrian is quoted repeatedly by many historians, ancient and modern alike, we don’t know precisely when he was born or died. He lived during the reign of two great emperors, Trajan and Hadrian, when the Roman Empire experienced its most remarkable expansion.

He was a versatile man and prolific writer, but he was a historian most of all. How he found the time to pen down his many books besides pursuing a military career, holding public offices, and becoming a famous philosopher is commendable. 

Arrian, whose full name was Lucius Flavius Arrianus, was born in Nicomedia (modern Izmit, Turkey), a province of Bithynia ruled by Rome. Consequently, he was probably a Roman citizen. He grew up in an aristocratic family, was well-educated, and held the post of governor of Cappadocia from approximately 131 until 137 AD. Since the culture in Asia Minor was still very Greek, he grew up with this dual identity, making him a true Graeco-Roman. 

Arrian was the perfect person to write about Alexander the Great, having such a background. With his upbringing in Nicomedia, he realized that Alexander left behind so much Greek culture (he didn’t use the word Hellenistic!) He absorbed it all, even though he looked at it from a Roman perspective several centuries later. 

As a young man, c.108 AD, he moved to Nicopolis, Greece (earlier in Epirus), to stay with Epictetus. Epictetus considered philosophy a way of life, meaning that whatever happened was beyond our control, and we should accept events as they unfolded. His main philosophy was self-knowledge, similar to the Delphic maxim, know thyself. These wise words were visible in the pronaos of the Temple of Apollo in Delphi and were spread by Aeschylus, Socrates, and Plato. It is unknown whether Epictetus based his thoughts on this inscription, as no writings from his hand have survived. It was Arrian who wrote down Epictetus’ lectures in his Discourses of Epictetus and Enchiridion. 

The philosopher considerably influenced Arrian’s education and introduced him to important political people. The most notable figure probably was the later Emperor Hadrian – himself a pupil of Epictetus - whom he befriended in 126 AD. Hadrian appointed Arrian to the Roman Senate around 130 AD and promoted him to the governor of Cappadocia about a year later. During his governorate, he successfully stopped the invasion of the Alani in 135 AD. This was when Arrian documented his victory by writing his Ectaxis contra Alanos (Order of Battle against the Alans), which provides us with a unique insight into the Roman army in action that still bore “the stamp of Macedon.” Aware of the difference between the Macedonian and Roman phalanx, Arrian drew parallels between them. He underscored that the phalanx was not something of the past but still an active weapon in the contemporary military. His military career took him to many countries away from his native Bithynia, where he saw very different animals and plants from his familiar homeland. 

Arrian’s military career probably started earlier as he led an army to the Caspian Gates during Emperor Trajan's rule (98-117 AD). As governor of Cappadocia, Arrian commanded two Roman legions, which was when he wrote his Ars Tactica (The Tactical Arts). Experiencing the strategies and maneuvers firsthand, he described cavalry tactics and praised military innovations. In both Ectasis and Tactica, he mixed Greek and Roman military theories.

Arrian has a great interest in geography and a keen eye for details. Under Hadrian, he wrote the Periplus of the Euxine Sea (Sailing around the Black Sea) to inform the emperor about the region he considered exploring. Besides helpful information about ports, rivers, and cities, he included specific details about the viability and landscapes. In his Cynegeticus, which is an addition to Xenophon’s work, he stated, for instance, that Mysia (northwest Turkey), Dacia (mainly all of present Romania), Scythia, and Illyricum (the greater Balkans) had plains that were “adapted for riding.” 

Clearly, our historian started writing at a very young age. However, many of his works are lost or only survive fragmentarily, leaving us with titles alone. Besides the titles already mentioned above, he wrote:

- Biographies like Lives of Dion, Timoleon, and Tillorobus

- several volumes dedicated to his homeland, the Bithyniaca

- a history of the Parthians, the Parthica

- a history of the Alans, Historia Alanica

- an essay on maneuvers, On Infantry Exercises

- an essay about astronomy, On Nature, Composition, and Appearances of Comets

- And, most interestingly, a volume focusing on the events after the death of Alexander, The History of the Successors – sadly lost to humanity forever! Imagine the twists history could take if we had this book!

When or where exactly Arrian wrote his famous Anabasis or The History of the Wars and Conquests of Alexander the Great remains obscure. It is generally accepted as his most outstanding work, together with the Indica addendum about India. With these two books, Arrian is, to this day, our most precious and reliable source about Alexander. The historian could project his own military experiences and campaigns into his vision of Alexander. Arrian also had a profound fascination with Persia and Persian customs, which he lavishly shares in his Anabasis. 

Notably, he could rely on several sources, from first-rank witnesses to Alexander’s campaigns. These were generals and close Companions who had access to Alexander’s Royal Journal – men like Ptolemy, Nearchus, and Megasthenes. Another precious source was Eratosthenes, a librarian at the rich Library of Alexandria. Aristobulus also served under Alexander and later wrote a history of Alexander, including careful observations on geography, ethnography, and natural science. Aristobulus’ notes about which plants grew in specific regions of the lands Alexander conquered were vital because it gives us a glimpse of Alexander’s knowledge of plants and animals based on Aristotle’s lessons. 

It is still being determined what happened to Arrian at the end of his governorship in Cappadocia in 137 AD. Still enjoying the favors of Hadrian, he most probably became governor of Syria between 135 and 150 AD.

Towards the end of his life, he moved to Athens, where he became archon, probably in 145 or 146 AD. Other sources, however, state that Arrian retired to Nicomedia, where he was appointed priest to Demeter and Persephone. 

Arrian died some time during the reign of Marcus Aurelius, 121-180 AD, who was the last of the so-called good emperors. 

Witnessing how meticulous and objective Arrian proceeds in his Anabasis to describe Alexander’s campaigns, not only the sieges and the battlefields but also the geography and the nature and habits of the people, it is easy to realize how much information is lost in his other works.

Wreaths and crowns of leaves or gold

Exploring the rooms of an archaeological museum, one inevitably comes across a concentration of gold and silver jewelry. Among them, the gold crowns with their quivering leaves call for our attention. 

The gold wreaths and crowns originated in ancient times when leaves and flowers were commonly used to mark festive occasions like processions or special dinners. Golden crowns were the privilege reserved for honors on behalf of the community or as funerary reverence. 

Wreaths of leaves were recognized as prizes for those victorious at competition games, marking a moment of triumph for the athlete. The most famous event was the Olympic Games, where the winner received a crown of olive leaves. Variants are laurel, Apollo’s sacred tree, at Delphi, dried celery at the Isthmian games, and green celery at the Nemean games. 

However, they were also appropriate on many other occasions. Those attending a Symposium would wear wreaths made of roses, violets, or myrtle leaves. Such wreaths appear clearly in Oliver Stone's movie Alexander in the wedding scene of King Philip.

They were also a sign of exceptional merit and military conduct and were worn by orators and priests as they performed their sacrifices. The Maenads and other followers of Dionysus wore wreaths of ivy or vine leaves, and so did the Chorus in ancient Greek theater. 

The ritual of crowning even extended to altars, statues, and temples. Wreaths were also part of funerary practices as the deceased would be crowned; the urns containing their ashes had a wreath, or the wreath was placed inside the tomb. 

Many such examples made in gold have reached us and found their way to the museums. For instance, the crown of oak leaves and acorns discovered in the tomb of King Philip in Aegae and the silver funerary urn from an unspecified Macedonian tomb are at the Museum of Vergina. 

However, most of the finds are on display at the Archaeological Museum of Thessaloniki (see: Exploring the Archaeological Museum of Thessaloniki). The wreaths come, for instance, from Cassandreia, Apollonia, Sedes, Aenea, and the greater area around Thessaloniki and ancient Aegae. These precious grave goods may be the legacy of Alexander’s conquests and the wealth Macedonia amassed in his wake. 

It is a pure pleasure to wander through the museum’s rich collections to find, for instance, two myrtle wreaths, one splendidly executed with colored flowers, and another funerary one with bronze gilt leaves and clay gilt fruit (Aenea) from 350-325 BC. Two olive crowns, one from Tomb A and another very elaborated one with the knot of Heracles from Cassandreia (3rd century BC). The gold ivy wreath was found in Apollonia and dated 350-325 BC. The gold oak crown, very typical for the Macedonian court, was also unearthed in Cassandreia and carried the fascinating knot of Heracles as well. 

Although Athens holds far fewer examples, they may be kept in their reserves. The National Archaeological Museum exhibits a myrtle wreath with berries from the 4th century BC. The lesser-known Benaki Museum displays an oak leaves crown from the late 2nd/early 1st century BC found in Alexandria and another crown with gold ivy and flowers from Macedonia, 1st century BC. 

Eventually, wreaths appeared on funerary monuments or were painted on their walls. In time, a wreath might be carved on the tomb to mark the site. 

It is noteworthy that wreaths were sacred objects. It was a sacrilege to wear somebody else’s crown without authorization. It was also forbidden to remove a wreath or dispose of it if you were not supposed to touch it. 

Crowns were not a privilege of Greece. Earlier Thracian gold wreaths were found in Bulgaria and are now at the Museum of Sofia. 

A most striking and uncommon crown surfaced at Tillya-Tepe in northern Afghanistan (see: Bactrian Gold, the Hidden Treasures from the Museum of Kabul). The burial site belongs to some steppe people. It has been dated to the first century AD revealing a true mixture of art from the steppes (possibly Scythian art), Greek, Indian, and Chinese art. The princess’ crown is a travel crown with gold spangles and flowers. It can be taken apart as it consists of five separate pieces mounted around a tiny stem holding flattened branches that fit into the band of the crown itself. The spangles are gently shaking as people walk by, so imagine this crown out in the open steppe where the wind can play freely with every tiny detail! A true gem! 

How many more such treasures remain hidden, waiting for us to discover them?

[Picture from Oliver Stone's movie Alexander. The crown from Tillya Tepe is from the Australian]

The sanctuary of Astarte in Motya

The island of Motya (modern Mozia) off the west coast of Sicily holds several remarkable places of interest: the Villa Withaker with its museum, the Phoenician or Punic cemetery, and the sanctuary of Khoton dedicated to the goddess Astarte.

Joseph Whitaker was an intellectual entrepreneur from Palermo who excavated the island in the first two decades of the 20th century. He organized his rich collection of ceramics, glass, coins, vases, jewelry, terracotta artefacts, and mosaics in separate rooms of his estate. This display shows how a private collector could present his precious finds to his friends and guests. At the same time, it is a unique view of archaeology on Motya that yielded so many Punic artifacts.

The museum's pride is the white marble statue of a charioteer that was found buried in a shallow grave on the road to the sanctuary (see: Amazing charioteers). Remarkably, this statue was made almost simultaneously as the bronze charioteer of Delphi, whose body was more static and elongated, probably to fit better inside his chariot.

 

When visiting the Tophet, the Punic cemetery at the northern end of the island, one can only be impressed by the many child graves. The remains were either put inside a terracotta urn or buried in a rectangular box whose lids are generally lost. A very moving confrontation! The nearby necropolis was used from the end of the 8th century until the end of the 6th century BC.

At the seaside, one recognizes the two gate towers from the 5th century BC. Here, we have to imagine the now inundated road that is connected to the mainland. By low tide, carts with larger wheels could cross the isthmus, giving the impression to walk on water. It has been dated to the 6th-5th century BC.

 

At the other end of the island, the artificial basin of Khoton has been exposed, actually a sacred area that goes back to the 8th century BC. It is here that a large temple facing the water was discovered. Inside this temple, there were initially two upright steles and an obelisk. Viewing the night sky at the winter equinox, the stones framed the constellation of Orion, which corresponds to the Phoenician god Baal. During the spring equinox, the temple's portal framed the same divinity, together with Venus, the Phoenician Astarte. Terracotta remains of a female statue were unearthed inside the temple. They belonged to the goddess Astarte, establishing that the temple was dedicated to her.

 

Also known as Anahita, Innana, or Ishtar, Astarte embodies the qualities of water, especially the fertilizing flow of water (see: The powerful goddess Anahita in Persia). The pool in front of her temple clearly refers to these qualities. She is also linked to the night sky, fertility, fecundity, and war. Besides Babylon, her main centers of worship in and around the Mediterranean were Sidon, Tyre, and Byblos, as well as Malta and Sardinia. As mentioned in my post about Anahita in Persia, we should remember that Alexander must have been well-aware of the role Anahita played in the realm of the Persian gods. Like so many other Greeks of his days, he may have assimilated her with Aphrodite.

During the latest excavation campaign, a beautiful head of the goddess Astarte was found. It was made of terracotta covered with a shiny layer of white on her face, red for her curly hair, and gold for her divine diadem. It could be dated to between 520 and 480 BC. The head was discovered inside a round votive pit and a relief rosette that shows traces of gilding. The rosette is one of the most widespread and popular symbols in the eastern Mediterranean and further inland, confirming the Phoenician goddess's presence. Also, the mold of a dolphin with a large naive eye was discovered.

The face of Astarte represents an astral goddess (based on the rosette) and a marine goddess (based on the dolphin). She is the Lady of life, goddess of fertility, love, and the sea and navigation, of fresh and seawater. The terracotta is Greek, although made in Sicily as was customarily done by the Phoenicians of Motya.

Recent archaeological investigations have shed new light on Motya as the oldest city in Sicily. This sacred area of the Kothon is set around a rectangular pool 52.5 m long. It was bordered by a circular temenos measuring 118 m in diameter, encircling three larger temples. The Kothon was dedicated to Baal, the main Phoenician god, lord of the sea, god of the storm and fertility, and to his companion, the goddess Astarte who had her own little temple there. Eventually, the mighty Astarte/Aphrodite of Motya survived as she merged with the goddesses of the peoples who already lived here.

 

Once again, it makes me wonder how much Alexander knew about these western territories and their beliefs. The fact is that we may never find the answer.

[Except for the first two pictures, the next ones come from The Archaeology News Network]