Inventions by Hero of Alexandria

The best-known works by Hero of Alexandria are his Pneumatica and Mechanica in which he described how “Automata” actually works. “Automata” is a Greek word meaning as much as “self-moving”, “self-acting” or “self-willed” which is familiar in our modern world. It may be debated whether the inventions were truly his or if he collected them from other sources available at the Library of Alexandria.  

[Reconstruction inside of Alexandria's Library]

Hero lived in the 1^st century BC, and his Pneumatica was widely read far into the Middle Ages. More than 100 manuscripts have survived, illustrating how ancient texts can live a long life. The earliest surviving copy is kept in the Bibliotheca Marciana in Venice, Italy, and dates from the 13^th century, i.e., 1400 years after it was initially written! 

The inventor’s Mechanica has survived thanks to one single Arabic translation made between 862 and 866 AD, preserved at the Library of Leiden University, the Netherlands. 

His most striking invention, in my eyes, is his steam engine, which I already developed in a separate post, A steam engine in antiquity. 

Another of his inventions is a coin-operated dispenser for Holy Water in Egyptian temples. Worshippers who visited the temple needed this water for their ritual washing. Dropping a coin into the slot of the dispenser would set a chain reaction into motion. The weight of the coin would tilt a metal lever which would open a valve through which the water flowed into the cup held by the worshiper. As the coin slipped off the lever, the valve was closed. This invention eventually led to the modern vending machine. 

Hero took his ingenuity one step further when he conceived a series of mechanisms for the Greek theater. He orchestrated a mechanical puppet show using a system of ropes, knots, and simple machines operated by a rotating cylindrical cogwheel. To add the sound of thunder, he used metal balls released at timed intervals onto a hidden drum. 

Another marvel Hero described in detail is the automatic temple door opener (see: Automatic doors, a 2,000-year-old invention), another way for the priests to collect money. 

He also invented the first wind-powered organ using a small wind wheel, probably not unlike the windmills used by the early modern colonists in Australia and the American Far West. The wind wheel powered a piston and forced air through the organ pipes creating sounds resembling a flute.

This mechanism includes the ‘hydraulis,’ which first appeared in Alexandria also, said to have been built by Ctesibius. It was operated by compressed air channeled through a container of water to equalize the pressure. A row of pipes of different lengths produced the sound. More control was acquired with the keyboard-wind instrument as replicated at the Museum of Dion, Greece (see: Close encounter with an ancient Water-Organ). 

I’d like to pick out one more of Hero's inventions from a list that may have counted up to 80, the syringe. The device is much larger than the one we know today since its purpose was entirely different. It was used to control the delivery of air or fluid with precision. Yet the principle of the antique version is the same: the plunger forced the liquid or air out in a controllable quantity. Something to remember next time we get an injection!

We will never know if the concept of creating a center of knowledge in Alexandria was Alexander’s idea or a later addition by Ptolemy. In my opinion, the concept was too vast for Ptolemy while it would perfectly fit Alexander’s thrive to melt East and West together as initiated at the Susa Wedding. 

We cannot imagine the impact of the Museum of Alexandria and its Library on the world’s history. Philosophers, mathematicians, botanists, writers, poets, historians, physicists, anatomists, astrologists, investors, and engineers from all over the then-known world would mingle and exchange their scholarship and wisdom. No other city in the world has ever reunited so many bright minds, not even in the Renaissance. Today’s digital world is the first to come close to attaining this level of universality.

Spolia, giving stones a second life

Spolia most commonly appear as simple stone blocks or column drums used to quickly and cheaply build larger walls at a later date. 

Ruins from antiquity are readily available quarries used in the construction of city walls, houses, or larger buildings. Basically, and beyond the best-known examples, everything goes from bits of statues, capitals, and reliefs to inscriptions. 

Strolling through the remains from antiquity, we often come across monuments that have been partially dismantled. The larger or heavier pieces are left behind to trigger our imagination to mentally reconstruct the buildings. I have encountered many such examples, mostly in remote regions with little or no control by the authorities. 

Spotting spolia is always very rewarding. One of my first artifacts was a statue of Aegle, the Greek goddess of radiant good health, and an adjacent head in the Byzantine city wall of Dion in Greece. 

Another striking spolia was a list of Greek gods in the back of the mosque of Dodurga, a settlement sitting on top of ancient Sidyma in Lycia. The mosque had been carefully plastered and covered in soft yellow paint but the marble slab, although inserted sideways, was kept in its pristine white marble. Some reverence to the ancient gods, I wonder? 

Recently a spolia in the west facade of the Church St. Anna in Oleveni near Bitola and Florina in the Republic of Macedonia was brought to my attention. It carries a seriously weathered but still readable inscription that has been recognized as a letter by Philip II of Macedonia dated from June 345 BC. It was addressed to the Katlestai, either a military unit or a small mountain community in Illyria. Philip’s whereabouts at that time are obscured by his intense transpopulation of peoples aiming to subdue them and secure his own borders. Hence, it is unclear who the Katlestai exactly were. 

The inscription reads: to those of the Katlestai who stood in battle with Philip the king against the Dardanians and conquered. Here too, a pagan text has been used in a Greek-Orthodox church. 

Especially in the cases of Dodurga and Oleveni the builders either could not read the inscription on the spolia or, if they could, they did not understand it. 

Anyway, precious information is being saved this way for posterity as it is of particular interest to historians and archaeologists alike.

How Macedonian is a Macedonian shield?

When talking about Macedonian shields, our thoughts automatically turn to those carrying a 16-rayed star like the one on the lid of King Philip's golden larnax displayed at the Museum of Vergina. 

What should be simple and straightforward, in reality, isn't. 

The first king to use the Macedonian sun emblem may be Archelaus (413-399 BC), i.e., well before Philip II came to power. In Alexander's days, the number of sun rays varied from eight to twelve or sixteen. Alternatively, the center of the shield could be a disc that remained blank or was filled with a Gorgon's head, the face of Heracles, etc. Such a disc was usually surrounded by a varying number of crescents. Other shields may seem unadorned, but it has been documented that many were painted only. That would make sense when looking at the row of armor and shields lining the street in Dion. The monument was commissioned by Alexander after his victory at the Granicus. 

As I have come across many examples of shield decorations, either on paintings, reliefs, coins, or other works of art, it might be interesting to highlight some examples. 

For a start, today's flag of the Republic of Macedonia shows a sun with 16 rays, the so-called "Vergina-Sun." 

A bucranium found in Apollonia Pontica, modern Sozopol, Bulgaria, shows an eight-rayed star, which leads that country to claim that the origin of the "Vergina-Sun" is theirs (see: The Origin of the Macedonian star was Thracian?)

The excavations in Albania have so far yielded several examples of shields they call Illyrian but look very Macedonian at first glance. I was told that the difference with a Macedonian shield was the curving. Whether that is true or not, I don't know (see: Looking for Illyrian remains in Albania).

At the small Museum of Apollonia, Albania, I saw my first Illyrian shield from the 4th century BC that looked very much like the Macedonian one. A series of triple crescents surrounds the central Medusa head with shiny eyes.

The Skanderberg Museum proudly exhibits an Illyrian shield with similar half-crescents but with a six-rayed star at its center.

Two Illyrian shields are embossed on a leather belt buckle at the Archaeological Museum of Tirana. In this case, we see a central disc surrounded by respectively four and five larger double crescents. 

From the same period, a striking limestone mold for a leather shield cover was found in Egypt. It was made for the soldiers of Ptolemy in 330 BC. It has typical Macedonian features with a central Medusa head surrounded by triple concentric circles holding a small eight-rayed Macedonian star (see: Alexander's Legacy. Allard Pierson Museum in Amsterdam). 

The Tomb of Agios Athanasios from the era of Alexander has been attributed to a Macedonian nobleman. Although looted in antiquity, the narrow frieze above the entrance holds precious information about Macedonian daily life and its army in blazing colors. The lively scenes have been photographed in detail and digitally restored for all to examine at the Archaeological Museum of Thessaloniki (see: The Macedonian Tomb of Agios Athanasios in Thessaloniki). Of particular interest are the three shields, two of which show an eight-rayed star surrounded by a broad-colored rim. These shields are painted, as are other examples on the walls of grave monuments. It remains an intriguing question whether shields used in combat were painted as well. Color coding may have contributed to bringing soldiers of the same unit together. Still, I fail to see how Alexander's Macedonians would have carried paint to maintain the distinctive coding during the many skirmishes and battles.

A unique set of shields can be admired inside the Tomb of Lyson and Kallikles in Lefkadia, Greece (see: Alexander's schooling at Mieza). The one painted in the north lunette has a blue eight-rayed star at its center and is edged with a crown of leaves. The shield in the south lunette is defined as the 'familiar Macedonian' shield with an empty disc at its center and surrounded by eight crescents. The tomb is dated to c.250 BC. 

Another specimen is a bronze shield from the collection of the Getty Museum in Malibu, California. It definitely has a Macedonian look because of the central six-rayed star (see: A magnificent Greek shield). The inscription reveals that it was made in Pontus on the Black Sea for King Pharnaces I. Since we do not know when exactly Pharnaces died, we can only assume it was made between 160 and 154 BC, when his brother Mithridates IV succeeded him to the throne. 

From the cities that disappeared under the ashes of Mount Vesuvius after the eruption of 79 AD, I like the fresco from Boscoreale, now at the Archaeological Museum of Naples (see: Fresco of a Macedonian at Boscoreale). The painting, based on a mid-3rd century BC original, was retrieved from the Villa of P. Fannius Synistor and shows a scene in which the principal figure sits next to an eight-rayed Macedonian shield resting at his feet. According to some sources, it would depict Antigonus II Gonatas (the son of Demetrios I of Macedonia) with his mother, Phila, or simply be the personification of Macedonia and Asia/Persia.

Another magnificent fresco is still in situ at the Villa of Poppea, Nero's wife, in nearby Oplontis. A life-size view of the Temple of Apollo with eight-rayed Macedonian shields painted between the columns covers a wall in the large sitting room. Wow! 

Later rulers and countries held Alexander and Macedonia in great esteem, and the Romans' admiration is an obvious example!

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.

About the Olympian gods

Walking through the history of Greece, we cannot escape the ever presence of the gods – in this case, the Olympian gods. Besides the written history, they all came to us in many shapes and forms, such as statues, reliefs, mosaics, and even paintings which are widely lost. Some of those earthly creations are true masterpieces, which I'd like to share at present.

The Greek pantheon counted twelve gods: Zeus, Hera, Athena, Apollo, Artemis, Poseidon, Ares, Demeter, Aphrodite, Dionysos, Hermes, and Hephaistos. This number, however, was flexible, and at times one of the lesser gods was replaced by another one.

We will remember how King Philip, Alexander's father, proclaimed himself the 13th god when he made his triumphal entry into the Theater of Aegae, where he was murdered that same day.

The Greek gods were very human and constituted one big family.

Zeus was the father of the gods, and as such, he ruled over heaven and earth. He was the god of thunder, so he is generally depicted holding a thunderbolt in his hand. The most magnificent rendition, in my opinion, is the bronze Zeus from the Sea of Artemisia, c. 450 BC, that dominates the room at the National Archaeological Museum of Athens.

Hera was Zeus' wife and Queen of Mount Olympus. She was the goddess of marriage and the family. Although she was a very jealous spouse, she remained faithful to Zeus despite his many escapades. Her temple in Olympia left us with many unusual artifacts, among which there is this (restored) terracotta Acroterium, which is now displayed in the local museum.

Athena was born from the head of Zeus and was the goddess of war and wisdom. Her name is closely tied to Athens after she donated the olive tree to symbolize peace and plenty. A sacred olive tree stood on the Acropolis, where a more recent specimen had replaced its ancestor. In her honor, the famous Temple of the Parthenon was built in the 5^th century BC. The New Museum of the Acropolis exhibits a relatively uncommon marble statue of a striding Athena that was part of the pediment of the archaic temple from c. 520 BC.

Apollo is the most loved of the gods and is generally associated with music. He also stands for youth, beauty, and the source of life and healing. Delphi was one of his favorite places of worship. Still, I was very impressed by the larger-than-life statue of Apollo playing the Lyre exhibited at the Archaeological Museum of Tripoli in Libya. It was retrieved from the Bath of Hadrian in Leptis Magna, Libya.

Artemis was the twin sister of Apollo, and often her temple stood right next to her brother's – as we know from Didyma and Letoon (Turkey), for instance. She was best known as the protector of women in childbirth, although she was also famous as the goddess of hunting. We'll remember that Artemis was so occupied in assisting the birth of Alexander that she neglected her tasks in Ephesos and let her temple burn down that same night. She is represented in the archaic eastern form with many breasts in this city, but that is not my favorite picture. There is, of course, the nearly intact Diana, the Roman version, at the Louvre in Paris, but I'd prefer this cute little hairnet from the National Archaeological Museum in Athens.

Poseidon, the later Roman Neptune, is best known as the god of the sea. He was famous for bringing floods and storms but was also responsible for earthquakes. Yet, he had a good side also since he protected the seafarers. My favorite is this relief from the 1^st or 2^nd century AD on display at the Museum of Burdur (famous for the artifacts retrieved in Sagalassos) in Turkey.

Ares was the son of Zeus and Hera and a very bellicose god with a quick temper. His beauty and courage made him the perfect seducer of women, the most famous of which was Aphrodite. This scene is beautifully depicted in a fresco from the House of Lucretius Fromto in Pompeii, exhibited at the National Archaeological Museum of Naples, Italy.   

Demeter was Zeus' sister and the mother of Persephone, who was raped by the god of the underworld, Hades. She was one of the oldest gods in the Greek pantheon, and as such, she provided the earth's fertility and protected the harvest. The votive relief from Eleusis is probably the most famous picture, but I have a special connection with this remarkable relief tucked away in the Museum of Dion in Greece.

Aphrodite was born on the island of Cyprus near the city of Paphos – where her memory is still alive. According to some sources, she is said to be the daughter of Zeus. Aphrodite, who later became the Roman Venus, is widely known as the goddess of love, beauty, and sex. She not only protected the courtesans and prostitutes but also the seafarers. Quite uniquely, she was a favorite among men and women alike and played an essential role in commerce, politics, and warfare. There are very many statues of Aphrodite and Venus to entice us. After in-depth comparisons, however, I chose this one from the Louvre in Paris.

Dionysos was another son of Zeus but from his liaison with Semele. Hera was very jealous of that relationship and killed Semele. However, Zeus took the unborn child and reared him in his thigh. Dionysus turned out to be the bad boy of Olympus and is best known as the god of wine – always playful and good-natured. He is often represented in the presence of a Satyr, and the example from Sagalassos exhibited at the Museum of Burdur is one of the finest Hellenistic statues.

Hermes. In the crowded family on Mount Olympus, Hermes was another son of Zeus but this time by the nymph Maia. He is often seen in the company of Pan, his son, and is the patron of the shepherds. He was engaged in many fields and was the god of commerce and thieves, clearly illustrating his colorful personage. He also was active as the god of travel, wealth, luck, and language. His later Roman name Mercury highlights his versatility. The most perfect rendition is the splendid Hermes with the child Dionysus Praxiteles created for the Temple of Hera in Olympia.

Hephaistos was the brilliant blacksmith on Mount Olympus. He was the god of fire and metallurgy. Since he was born to Hera without a father, he appeared as an ugly figure – the only one among the overall near-perfect gods and goddesses. That may be why I didn't find (or photograph) a statue of Hephaistos, who has left us his well-preserved temple in Athens.

Alexander’s battle outfit

Except for the famous mosaic from the House of the Faun in Pompeii, now on display at the Archaeological Museum of Naples (see: The Alexander mosaic), we have no picture of Alexander’s outfit. Although this mosaic gives only a partial view and is made two centuries after his death, it is the closest we can get to visualizing the details.

True, there are a few equestrian bronzes of Alexander that were copied from one and the same original that once stood in the sanctuary of Dion. The Alexander figure belonged to a group of at least 25 Companion cavalry who died during the Battle of the Granicus in 334 BC. This memorial in honor of the dead was erected upon the king’s instruction and occupied a place of honor for some four hundred years. In 148 BC, when Macedonia was reduced to a mere Roman province, Consul Quintus Caecilius Metellus moved the group to Rome. It has been argued that the monument was part of Alexander’s propaganda campaign and was recognized as such by the Romans.

Plutarch is the only author from antiquity to give us a detailed description of Alexander’s outfit. He speaks of the king wearing a coat of Sicilian make. Over that coat, he wore a tight girth and a corselet of thickly quilted linen. In the mosaic, Alexander seems to wear a long-sleeved garment underneath his breastplate, but the image is too garbled to make it out. David Karunanithy (see: The Macedonian War Machine) states that the tunic, which now appears as faded purple-grey, was once deep purple. This is very credible since the king reportedly wore purple for everyday use. By extension, a purple tunic does not look out of place.

The mosaic also shows Alexander wearing a cloak that is held in place by a round gold fibula. This cloak has been recognized as a long antique epiporpoma.  It was made by a certain Helicon and given to him by the citizens of Rhodes as a mark of their respect. The belt Alexander wore in all engagements was from the same origin. It showed much richer craftsmanship than the rest of his outfit and was probably adorned with precious stones.

[Picture from the movie Alexander by Oliver Stone]

The linen corselet apparently was taken as war booty after the Battle of Issus, but Plutarch does not tell us who the original owner was. This linothorax carries strong Greek features, meaning that it may have belonged to someone fighting with the Allied Greek army, or it may have been taken from one of the Greek mercenaries in Persian service. The face of the Gorgon as depicted on Alexander’s corselet on the mosaic is rather cute and animated. He seems to take part in the attack with his eyes turned towards the action.

Alexander’s helmet, which is totally absent from the mosaic, was another eye-catcher. His entire army, as well as his enemies, knew exactly where he was because of his ostentatious headgear. It is very probable that the king had more than one conspicuous helmet, but in all cases, Alexander had to be seen from afar. At least one of his helmets was created by Theophilus, clearly an expert maker otherwise unknown. It was made of iron so thoroughly polished that it looked like silver. It was fitted to a gorget made of the same material, set with precious stones.

On the battlefield, Alexander was recognizable by this characteristic helmet that had large plumes of white feathers attached to either side of the crest. We’ll remember how during the Battle of the Granicus, Spithridates hit the king’s helmet with his battle-axe, cutting off the crest and one of the plumes. The blow barely missed his scalp. It is obvious that under these circumstances, Alexander needed another helmet. It had to be consistent with the image he had projected so far. The two distinctive white plumes that set him apart from other commanders and generals in the field were a must.

In the mosaic, Alexander is handling a spear, and his sword is still sheathed. Plutarch described the sword as exceptionally light and well-tempered. It was a masterpiece given to him by the King of Citium on the island of Cyprus. By the 4^th century BC, Cyprus had a long-established history of talented armorers.

The Macedonians basically used two forms of swords. The straight sword with a double-edged blade was the most popular. On average, it was about 60-70 cm long and had a cruciform hilt, usually made of bone or wood. Some fine specimens had ivory handles enhanced with gold or silver decorations. The blade was exceptionally efficient because of the swelling toward the sword’s tip. It added weight and momentum to each blow. It was particularly indicated to hit the enemy with downward strokes, causing more severe injuries. Another advantage of the straight sword was that it could be used by cavalry and infantry alike, as it functioned as well for hacking and stabbing.

The kopis, or saber-shaped sword with the crooked hilt, was less common. The blade was 40-60 cm long, and only the curved inside had a cutting edge. Xenophon tells us that the kopis was more effective for fights on horseback since the rider could deliver a heavy blow from above.

During his lifetime, Alexander added several foreign or Asian features to his outfit and battledresses as he moved further east.

Over the centuries, artists and movie-makers have fitted Alexander according to their inspiration, influenced by the fashion of their own time. Modern archaeology, especially from grave finds, has revealed many pictures of Macedonian soldiers and commanders. Nowadays, it is easier to recreate a more faithful image of Alexander’s outfit, although the entire picture will always elude us.

Alexander caring for the wounded and the dead

Battlefields always revolve around numbers and tactical moves. The human aspect is generally left out, simply because it is an inevitable by-product of war. Modern warfare is far more clinical, and statistics of the number of dead and wounded are kept pretty accurately.

In antiquity, the situation was entirely different. A person’s life was of little value. Men died in battle, women died in childbirth, and if they managed to escape that fate, they could fall victim to raids from a neighboring town and finally die as slaves. Not the happiest prospect for any being, unless you belonged to the upper class of society. But still.

The Greeks considered that dying on the battlefield was an honorable death, but they were not ready to sacrifice their lives for that sole purpose.

When I watched Oliver Stone’s picture of the aftermath of the Battle of Gaugamela with hundreds and thousands of corpses spread over the battlefield, I remembered a similar shot of Atlanta in the movie Gone with the Wind. In both scenarios, I wondered about the smell of the decaying bodies of men and beasts, the puddles of blood and excrement, the buzzing of the flies, and the vultures uttering their guttural screams. There is nothing glorious left on a battlefield after the victory is claimed by one party.

Following Alexander on his major confrontations at the Granicus, at Issus, at Gaugamela, and on the Hydaspes, our sources from antiquity wind up producing the strangest figures when it comes to counting the dead. Numbers on either side have been distorted. They were either to make the losses on the enemy’s side much higher than they were or to reduce the casualties on Alexander’s side to a questionable minimum. It is impossible to verify any of the information that has reached us through Arrian, Plutarch, Diodorus, Curtius, or Justin, more so because it was penned down centuries after the facts.

As to the wounded, it seems they were not accounted for, or only in exceptional cases. Counting the dead on a battlefield did not equate to the ultimate number of casualties. Many of the wounded were bound to die afterward. 

Hygiene was a foreign word in antiquity, and if there was any basic knowledge, it was a far cry from our modern concept. We should remember, however, that Alexander had a great interest in medicine and learned from Aristotle everything he could. Healing illnesses with plants and specific concoctions was one aspect, but stitching the soldiers’ cuts back together and cleaning their wounds was another.

If we consider the many cases of trepanation that were successfully carried out since the Neolithic, we must admit that the knowledge available in antiquity is far beyond what we might think. Philip, Alexander’s father, lost an eye and survived the operation quite well. So did Antigonus Monophthalmus. Speaking of eyes, it is known that cataract surgeries were performed as early as 4,000 BC by the Egyptians. The list of medical wonders is probably endless, but the point I am trying to make is that the physicians in Alexander’s army were far more knowledgeable than we may believe. Cleanliness certainly was one of the main requirements. 

Early last century, for instance, it was essential to wash a bleeding wound with water and soap. This has been done for centuries and may well have been applied by the caretakers in antiquity. In my own youth, when a wound was infected, it was to be soaked repeatedly in hot water and soda crystals. The ancients may well have used something similar. The technique of cauterization was known long before the early trappers in the American West, and that knowledge was inherited from earlier generations. A hot knife, dagger, or even a sword would seal the wound and kill the bacteria at the same time.

It has been reported that Alexander visited the wounded after the battle. Going from one soldier to the next, he listened to their report, how they had been injured, acknowledged their courage, and showed them respect. I am sure that the king checked their wounds and how they were treated. The caretakers and physicians were watched closely by Alexander because he, himself, had considerable knowledge of healthcare and medicine. In the end, he gave his soldiers and the caretakers a huge boost in morale. There cannot have been a better medicine than that. In the end, this may well be the secret to justify the low rates of mortality among the Macedonian troops.

What about the wounded enemies, one might wonder? Well, I don’t think that the Macedonians were inclined to show much pity, if any, to their adversaries. They were not in for half measures, just as Alexander wasn’t. For them, the enemy had to be eliminated. I would doubt if any of the wounded were left behind with some breath in their lungs. 

When the enemy, however, asked to retrieve their dead to give them a proper burial, Alexander did not refuse. We’ll remember how he even sent the body of Darius III back to his mother to accomplish the funeral according to Persian customs. On an earlier occasion, at Issus, the king had also given the Queen Mother permission to bury the Persians from the battlefield. The recovery of wounded enemy soldiers is never mentioned.

The soldiers who died in Alexander’s service always received an appropriate burial with full honors. After the Battle of the Granicus, Alexander instructed Lysippos to create a bronze memorial for the 25 cavalrymen who had fallen on the battlefield. For several centuries, it stood in Dion, the sanctuary of Macedonia.

The list of lavish and expensive burials is a long one. I relied on Frank Holt’s account, as mentioned in his book “The Treasures of Alexander the Great”. For the soldiers as a group, there was a burial at Issus in 333 BC, Ecbatana in 330 BC, on the Polytimetus River in 329 BC, and Sangala in 326 BC. Personal and more elaborate funerals took place in honor of his generals/companions, Hector in Egypt in 331 BC, Nicanor in Alexandria Ariana in 330 BC, Philip and Erigyius in Sogdiana in 327 BC, Demaratus in 327 BC, and Coenus on the Hydaspes River in 326 BC. Also to be mentioned is the gymnosophist and sophist Calanus from Taxila, who immolated himself in Susa in 324 BC. Last but certainly not least was the expensive funeral pyre that Alexander had built for his dearest Hephaistion, who died in Ecbatana in 324 BC.

Clearly, nothing was too good for the dead.

[The picture of the battlefield is from Oliver Stone's movie Alexander]