While I try to get something meaningful up every day, some days I just can't due to time restraints. Today is one of those days. As such, I leave with a promise for an actual post tomorrow, and a very interesting (abide somewhat slow) video series on the development of ancient Hellenic theater.

History of Theatre 1 - From Ritual to Theatre
 
History of Theatre 2 - Development of Classical Greek Tragedy
 
History of Theatre 3 - From Satyr Play to Comedy
 

History of Theatre 4 - From Greek to Roman Theatre (architecture)  
As I'm slowly coming full circle on a year of blogging, I realize I have spoken about many of the festivals that occur throughout the year, and which are now reoccurring. The Arrephoria is the first of the festivals which comes upon me while I have already written about it, and so I must find a way to deal with this now. I have decided to make a reminder post about the festival--sometimes as an extra post for the day, sometimes as a stand-alone post if I have anything new to add to the festival or a topic surrounding it. The posts will look something like this:

Today, 3 Skirophorion, the Arrephoria was celebrated in ancient Hellas. The Arrephoria was a rite of passage for young priestesses of Athena Polias. The rite itself, where the girls journeyed into a cave with baskets on their heads, filled with something the girls were not informed of, was most likely celebrated at the start of Skirophorion. The date of the rite would most likely have varied, although we place it on the third of the month--Athena's sacred day--for convenience sake. The rite was most performed when the first dew settled on Athena's sacred olive tree on top of the Acropolis--very near where the girls were housed--as one of the most important functions of the rite was to ask Athena for a successful olive harvest--for which the first dew around this time of year was vitally important.

The term the Arrephoroi served, as well as the Arrephoria itself taught these children, often no older than ten years old, the most important aspects of the work of women; weaving (through the peplos they created throughout the year), baking (through the cakes they prepared for various festivals of Athena), and caring for children (through the carrying of the baskets in secret during the Arrephoria). They were taught responsibility, and service to the divine. After they were dismissed, the girls were too young to partake in the next step phase of their lives--marriage--and so they went back home, where they waited to be old enough to perform for Artemis and leave their childhood behind.

Read more about the festival: here.

Extra information: throughout their year of service, the Arrephoroi wore white and were not allowed to have any gold jewelry or ornamentation as that was thought of as sensual.
The Archaeology News Network kicks off with a post on the Acropolis Educational Resources Repository today. The article is not very clear to me (wasn't the resource digitally available before today? Or just not for everyone?) but it did introduce me to the Acropolis Educational Resources Repository, which I had never heard of before.


In the words of the Archaeology News Network:

"The Acropolis Educational Resources Repository includes educational resources produced by the Information and Education Department of the Acropolis Restoration Service. Teachers, students and families can search the open access repository and enrich their teaching with valuable material related to the archaeological site and the Acropolis Museum, namely printable documents, brochures, photos, films, publications, digital games etc.
The user can choose a category (Educator, Visitor, Family, Student) and navigate through the repository’s content. This way students can easily find reference materials, teachers have free access to rich material and sources of inspiration to plan their lesson, and parents and visitors can get informed to prepare themselves for a visit to the archaeological site and the Museum of Acropolis."

I've been taking a look around the repository, and although some of the files are just leaflets, and some of the information is only available in Greek, the repository is still a massive source of information; even if you just look at the images. English translations have been provided for some of the most awesome resources, like the museum kit book on The Twelve Olympian Gods, and the leaflets on the restoration works being carried out on the Acropolis.

For anyone in education, who has kids looking to study the ancient Hellenes and their monuments, and for everyone else who loves clear cut chunks of information, the Acropolis Educational Resources Repository is for you.
Two months ago, I decided that on the day of the Hene Kai Nea, I'd post a monthly update about things that happened on the blog. Then, the month after it, the Deipnon fell on a Friday, so I posted a Pagan Blog Project post. The day after, it was time for a mix-tape, so it didn't happen then either. Feeling the window to get away with an update had come and gone, I let it be for the time being. This month, I'm catching up on my updates, so it will be two month's worth.

Changes to the blog:
Statistics:
Anything else?
I will update the Google festival calendar this month, as it runs out with the start of the new Hellenic year. For the next month, it's still usable.

The post on the male statues' packages hit 1600 views on my PaganSquare blog, where I usually get between two and three-hundred views on a single post. I love reader questions: they make me look into things I might otherwise have missed, or would never have bothered to explain. Again, if you have a question you would like to ask about Hellenismos, ancient Hellas, Hellenic mythology, or anything else this blog covers, you can always contact me. If you would like me to write about a specific topic because you wonder about it, feel free as well. I would love to hear what's going on in your heads, and if I can help answer your questions in any way, it would be my pleasure. For now, thank you for the visit and until tomorrow, when we discuss household worship in ancient Hellas, modern times, and the Theoi that preside over it. 
It's time for another constellation, and we are moving on to one of the larger ones: the sixth largest of Ptolemy's constellations, in fact. This one represents something that definitely exists: the Po river in northern Italy, or the Istros of Hungry, which was located in the mythical northern land of Hyperborea. The ancient Hellenes called the river 'Eridanos', and that's the name of the constellation as well.
Eridanos (Ηριδανος) is a river God, and one mostly identified with the story of Hēlios and His son Phaëton, which I will come to in a bit. This association comes from a possible translation of the name: 'early burnt'. Phaëton's myth, in fact, is the only myth this river s identified with, but not even in a big way. Lets look at the myth first:

The most famous piece of mythology concerning Hēlios regards His son Phaëthon (Φαέθων), by Klymene (Κλυμένη). The story is told to us by Ovid, a roman poet. In it, Klymene boasts to Phaëthon that his father is the sun God Himself, and so, Phaëthon goes up to Olympus to confirm. To prove His paternity, Hēlios swears of the river Styx to give Phaëthon anything he desires. Phaëthon grabs this opportunity to demand of his father to let him drive his golden chariot the next time the sun rises.

Hēlios tries to talk His son out of it, claiming that not even Zeus would attempt to drive the chariot, as it is hot with fire and the horses wild and fire breathing. Phaëthon will hear none of it, and so Hēlios must let him get on. He rubs his son's body with magical oil that will protect him from the heat and as Eos and Apollon leave the gates, so does Phaëthon.

The four horses of the chariot--Pyrois, Aeos, Aethon, and Phlegon--sensed Phaëthon's weaker hand and became virtually unsteerable. First, Phaëthon drove them too high, and the Earth below cooled and the people suffered. Then, he flew too low and entire cities burned, lakes and rivers dried up, and even the seas were affected. Mighty Poseidon tried to stop Phaëthon, but had to flee from the heat. It was Zeus who threw His lightning bolt and killed Phaëthon. In some versions of the myth, Phaëthon's burning body landed in the Eridanos river. The following example is from Philostratus the Elder's 'Imagines', a Greek writer who lived in the third century AD:

"Now the youth is thrown from the chariot and is falling headlong – for his hair is on fire and his breast smouldering with the heat; his fall will end in the river Eridanus and will furnish this stream with a mythical tale." [1.11]

Hygenius identifies Eridanos with another river: the Nile. From his 'Astonomica':

"Some call this the Nile, though many call it Ocean. Those who advocate the Nile point out that it is correctly so called on account of the great length and usefulness of that River, and especially because below the sign is a certain star, shining more brightly than the rest, called Canopus. Canopus is an island washed by the river Nile." [II.32]

Eridanos is visible at latitudes between +32° and −90°, and best visible at 21:00 (9 p.m.) during the month of December.
In modern religious worship, 'liturgy' often means a form or formulary according to which public religious worship, especially Christian worship, is conducted. It's seen as an established ceremony prescribed by a religion. The term is based upon the ancient Hellenic word 'leitourgia' (λειτουργία), which had nothing to do with established ceremony, and everything with money. It is leitourgia we will be talking bout today.

Leitourgia comes from the ancient Helenic word 'leitos' (from leos, people) meaning public, and, 'ergo', 'to do'. As such, a leitourgos was 'a man who performs a public duty'; a public servant. Leitourgia were semi-voluntary financial contributions made by the most wealthy of citizens and métoikos in order to finance the state's public expenses in areas of war, theater, and religious worship. The practice was not just prevalent in ancient Athens, it stretched all the way to Rhodos and beyond. The system dates back to the early days of Athenian democracy, but gradually fell into disuse by the end of the 4th century BC. Liturgies came in two main categories; religious and military.

Cities were capable of creating new liturgies in accordance with their immediate needs, or of suppressing them temporarily or permanently. Many of the liturgies were religious in nature, and most were recurring. Examples of the religious leitourgia include:
  • the gymnasiarchia (γυμνασιαρχία): the management and financing of the gymnasium
  • the choregia (χορηγία): the maintenance of the choir members at the theater for dramatic competitions
  • the hestiasis (ἑστίασις): funding of a public dinner for the tribe to which the liturgist belonged during the Panathenaia
  • the architheoria (ἀρχιθεωρία): to lead delegations to the four sacred Panhellenic Games
  • the arrephoria (ἀρρηφορία): to cover the cost of taking care of the arrhephoroi
By comparison, the military liturgies were used only when needed, but they covered the cost of most--if not all--war expenses. Again, some examples:
  • the trierarkhia: maintaining and captaining a war ship (trireme) and its crew for a year; a concession could be paid to make this post solely financial
  • the hippotrophia (ἱπποτροφία): maintaining the horses of the cavalry; it is unsure if this office actually existed, but it was speculated to exist after the Persian Wars.
Demosthenes, a prominent statesman and orator in ancient Hellas, estimated the number leitourgia in ancient Athens to be sixty around 355 BC, but he might have been on the low side, as we know the following numbers were most likely correct: the Dionysia required 23-32 choregoi and ten hestiatores, the Panathenaia ta mikra required at least 19 liturgists per year, and the Panathenaia ta magala around 30 - 40, the Lenaia annually had 5 choregoi, and the Thargelia 10. Some liturgists were also required for other religious holidays, which must be added to the theoroi (sacred messengers, θεωροὶ) of the Panhellenic Games and the oracle of Delphi. It is estimated therefore that and average year required at least 97 civilian leitourgia in Athens, and at least 118 in years of the Panathenaia ta magala.

Leitourgoi were selected by various governmental organs. For most, the Archōn Epōnymos was responsible, but the selection of certain others fell to the Archōn Basileus (most notably the choregoi for the comedy competitions during the Lenaia), and to the strategos (most notably the symmoiai). Hestiatores were appointed by the tribe they belonged to. Decisions on who should become leitourgos were made based on wealth of the person, their ability to lead and their willingness for the post. The financial investment required of the leitourgos varied, but was always substantial, and there were several systems in place that assured breaks between terms served by the leitourgos. Even so, many men had to borrow money in order to pay his leitourgia.

Men became leitourgoi because of the prestige it brought to them and their family. It was a matter of honor to take part in the practice. The leitourgoi to the festival or war effort were loudly declared, and often plaques with their name on it were put up to show everyone who had financed the affair. Still, many were exempt from serving, and others tried to get out of it at all cost.

Demosthenes' 'Against Leptines' gives us the mot information on the ancient leitourgia. In it, he lists some notable exemptions for the post of leitourgos: orphans, females without a legal guardian, minors, those below the age requirement, archōns in office, citizen soldiers, and invalids are amongst them. Some leeway was given to those who had rendered exceptional services to the city. One could not be forced to undertake two liturgies at once, or to take on the same civil liturgy two years in a row, but you were allowed to do so if you wished. A trierarch was entitled to a respite of two years. There were two other ways to get out of serving: either by hiding the fact that you were wealthy, or by suing someone wealthier and forcing them to take on the position. This practice was called 'antidosis' (ἁντιδοσις, 'exchange'), and happened quite often.

The system functioned very well until the Peloponnesian War, when the amount of leitourgoi (especially trierarchs) required begun to weigh down even the wealthiest of citizens. Resistance rose, and the system was abandoned for a voluntary system of gift-giving to the people, called 'euergetism'. This system preserved at least partially the honor system tied to the leitourgia, and helped cover state expenses.
After writing yesterday's blogpost, I took to Youtube and found the video you see below, explaining a bit more about the Erechteion and the karyatides. It's very informative, and yes, I probably should have Youtubed this before I posted yesterday's blog post about the karyatides. Sorry about that. I was going to go back and edit the blog post, but I don't like doing that, so you're getting it today under the label 'this is not a real blog post'. Better work from me tomorrow, everyone, excuzes moi.

 
The video was made by professor Kenney Mencher as a part of his lecture series. From his website:
 
"Originally from New York, NY, Kenney Mencher earned a BA and MA in Art History from City University of New York and University of California, Davis, respectively, following which he went on to obtain a MFA in painting from the University of Cincinnati in Ohio. He has taught at a number of institutions including the University of Chicago and Texas A&M University, and now teaches at Ohlone College in Fremont, California. He is the author of a text book Liaisons: Readings in Art, Literature and Philosophy. His exposure via solo and group exhibitions is extensive nationwide."