Bellerophon

Abstract: The Peirene Fountain as described by its first excavator, Rufus B. Richardson, is "the most famous fountain of Greece." Here is a retrospective of a wellspring of Western civilization, distinguished by its long history, service to a great ancient city, and early identification as the site where Pegasus landed and was tamed by the hero Bellerophon. Spanning three millennia and touching a fourth, Peirene developed from a nameless spring to a renowned source of inspiration, from a busy landmark in Classical Corinth to a quiet churchyard and cemetery in the Byzantine era, and finally from free-flowing Ottoman fountains back to the streams of the source within a living ruin. These histories of Peirene as a spring and as a fountain, and of its watery imagery, form a rich cultural narrative whose interrelations and meanings are best appreciated when studied together. The author deftly describes the evolution of the Fountain of Peirene framed against the underlying landscape and its ancient, medieval, and modern settlement, viewed from the perspective of Corinthian culture and spheres of interaction. Published with the assistance of the Getty Foundation. Winner of the 2011 Prose Award for Professional and Scholarly Excellence in the category of Archaeology/Anthropology. The Prose Awards are given annually by the Professional and Scholarly Publishing division of the American Association of Publishers.

Abstract: Ever since the discussion of Orpheus in Bosio's Roma Sotterranea (1632, 627 ff) the problem of pagan mythological figures in early Christian art has aroused much attention. Until quite recently, however, it was generally believed that Orpheus was the only such figure to appear, so that discussion naturally centred on his peculiar acceptability to the Christians. But the discovery of important new material and the renewed interest amongst scholars in the pagan element in early Christian art have recently led to the consideration of other pagan gods and heroes in this light. Some of these characters appear only once or twice in Christian settings, or may have a Christian significance only on isolated occasions. But for all the five figures that will be studied here—Orpheus, Bellerophon, Sol, Ulysses, and Hercules—some kind of sustained Christian interpretation has been proposed, and in each case several representations are involved. The purpose of this paper is to collate the claims made for these various mythological figures, to re-assess some of the conclusions which were reached in earlier studies and have now been rendered out-of-date by the discovery of new examples, and to attempt some general conclusions about the role of these pagan mythological figures in early Christian art up to the mid sixth century.

Abstract: Abstract: A consensus has formed over the last 30 years that Diagoras was not really an atheist and that the famous Apopurgizontes Logoi were falsely attributed to him at a later stage. This note argues that the evidence is consistent with the view that Diagoras was indeed an atheist and did indeed compose the Apopurgizontes. Further hints in other sources allow us to reconstruct, albeit speculatively, aspects of Diagoras’ thought and self-presentation.