Εμφανίζονται 9 τίτλοι με αναζήτηση: Βιογραφίες στην ευρύτερη περιοχή: "ΤΕΓΕΑ Αρχαία πόλη ΑΡΚΑΔΙΑ" .
ΤΕΓΕΑ (Αρχαία πόλη) ΑΡΚΑΔΙΑ
Cheirisophus (Cheirisophos), a statuary in wood and probably in stone. A gilt
wooden statue of Apollo Agyieus, made by him, stood at Tegea, and near it was
a statue in stone of the artist himself, which was most probably also his own
work (Paus. viii. 53.3). Pausanias knew nothing of his age or of his teacher;
but front the way in which he mentions him in connexion with the Cretan school
of Daedalus, and from his working both in wood and stone, he is probably to be
placed with the latest of the Daedalian sculptors, such as Dipoenus and Scyllis
(about B. C. 566). Bockh, considers the erection by the artist of his own statue
as an indication of a later date; but his arguments are satisfactoily answered
by Thiersch, who also shews that the reply of Hermann to Bockh, that Pausanias
does not say that Cheirisophus made his own statue, is not satisfactory. Thiersch
has also observed, that the name of Cheirisophus, like many other names of the
early artists, is significant of skill in art (cheip, sophos). Other names of
the same kind are, Daedalus (Daidalos) the son of Eupalamus (Eupalamos), Eucheir
(Eucheir), Chersiphron (Chersiphron), and others. Now, granting that Daedalus
is nothing more than a mythological personage, and that his name was merely symbolical,
there can be no doubt that others of these artists really existed and bore these
names, which were probably given to them in their infancy because they belonged
to families in which art was hereditary. Thiersch quotes a parallel case in the
names taken from navigation among the maritime people of Phaeacia (Hom. Od. viii.
112, &c.).
Pausanias mentions also two shrines of Dionysus, an altar of Cora,
and a temple of Apollo, but the way in which he speaks leaves it doubtful whether
Cheirisophus erected these, as well as the statue of Apollo, or only the statue.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Κιθαρωδός, ο πρώτος που καθιέρωσε το σόλο κιθάρας χωρίς τραγούδι.
Clonas (Klonas), a poet, and one of the earliest musicians of Greece, was claimed by the Arcadians as a native of Tegea, but by the Boeotians as a native of Thebes. His age is not quite certain; but he probably lived a little later than Terpander, or he was his younger contemporary (about 620 B. C.). He excelled in the music of the flute, which he is thought by some to have introduced into Greece from Asia. As might be expected from the connexion between elegiac poetry and the flute music, he is reckoned among the elegiac poets. Among the pieces of music which he composed was one called Elegos. To him are ascribed the invention of the Apothetos and Schoenium, and of Proshodiai. Mention is made of a choral song in which he used all the three ancient modes of music, so that the first strophe was Dorian, the second Phrygian, and the third Lydian. (Plut. de Mus.; Heracl. Pont.; Paus. x. 7.3).
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Nov 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Νομοθέτες της Τεγέας. Ανάγλυφη παράστασή τους υπήρχε στο Ναό της Αφροδίτης "μέσα στο πλινθίον" στην αγορά της Τεγέας (Παυσ. 8,48,1).
Anyte, of Tegea (Anute Tegeatis), the authoress of several epigrams in the Greek Anthology, is mentioned by Pollux (v. 5) and by Stephanus Byzantinus (s. v. Tegea). She is numbered among the lyric poets by Meleager (Jacobs, Anthol. i. 1, v. 5), in whose list she stands first, and by Antipater of Thessalonica (Ibid. ii. 101, no. 23), who names her with Praxilla, Myro, and Sappho, and calls her the female Homer (Thelun Homeron), an epithet which might be used either with reference to the martial spirit of some of her epigrams, or to their antique character. From the above notices and from the epigrams themselves, which are for the most part in the style of the ancient Doric choral songs, like the poems of Alcman, we should be disposed to place her much higher than the date usually assigned to her, on the authority of a passage in Tatian (adv. Graecos, 52), who says, that the statue of Anyte was made by Euthycrates and Cephisodotus, who are known to have flourished about 300 B. C. But even if the Anyte here mentioned were certainly the poetess, it would not follow that she was contemporary with these artists. On the other hand, one of [p. 220] Anyte's epigrams (15, Jacobs) is an inscription for a monument erected by a certain Damis over his horse, which had been killed in battle. Now, the only historical personage of this name is the Damis who was made leader of the Messenians after the death of Aristodemus, towards the close of the first Messenian war (Paus. iv. 10.4, 13.3). We know also from Pausanias that the Arcadians were the allies of the Messenians in that war. The conjecture of Reiske, therefore, that the Damis mentioned by Anyte of Tegea is the same as the leader of the Messenians, scarcely deserves the contempt with which it is treated by Jacobs. This conjecture places Anyte about 723 B. C. This date may be thought too high to suit the style and subjects of some of her epigrams. But one of these (17) bears the name of "Anyte of Mytilene" and the same epigram may be fixed, by internal evidence, at 279 B. C. (Jacobs, xiii.). And since it is very common in the Anthology for epigrams to be ascribed to an author simply by name, without a distinctive title, even when there was more than one epigrammatist of the same name, there is nothing to prevent the epigrams which bear traces of a later date being referred to Anyte of Mytilene.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Aristarchus. Contemporary also with Sophocles and Euripides was Aristarchus of Tegea, who lived to be a centenarian, to compose seventy pieces and to win two tragic victories. Only the titles of two of his plays, with a single line of the text, have come down to us, though his Achilles was freely borrowed by Ennius. Among his merits seems to have been that of brevity; for, as Suidas relates, he was "the first one to make his plays of the present length."
Alfred Bates, ed.
This text is cited Sept 2003 from the TheatreHistory URL below.
Aristarchus (Aristarchos), of Tegea, a tragic poet at Athens, was contemporary
with Euripides, and flourished about 454 B. C. He lived to the age of a hundred.
Out of seventy tragedies which he exhibited, only two obtained the prize (Suidas,
s. v.; Euseb. Chiron. Arnen.). Nothing remains of his works, except a few lines
(Stobaeus, Tit. 63.9, tit. 120.2; Athen. xiii.), and the titles of three of his
plays, namely, the Asklepios, which he is said to have written and named after
the god in gratitude for his recovery from illness (Suidas), the Achilleus, which
Ennius translated into Latin (Festus, s. v. prolato aere,) and the Tantalos (Stobaeus,
ii. 1.1).
Lycomedes (Lukomoedes). A Mantinean, according to Xenophon and Pausanias, wealthy, high-born, and ambitious. Diodorus calls him in one passage a Tegean; but there can be no question (though Wesseling would raise one) of the identity of this Lycomedes with the Arcadian general whom he elsewhere speaks of as a Mantinean. (Xen. Hell. vii. 1. 23; Paus. viii. 27; Diod. xv. 59, 62; Wess. ad Diod. xv. 59; Schneider, ad Xen. Hell. vi. 5. 3). We first hear of him as one of the chief founders of Megalopolis in B. C. 370, and Diodorus (xv. 59.) tells us that he was the author of the plan, though the words of Pausanias (viii. 27, ix. 14.) would seem to ascribe the origination of it to Epaminondas. (Comp. Arist. Pol. ii. 2, ed. Bekk.; Xen. Hell. vi. 5. 6, &c.). In B. C. 369 Lycomedes was general of the Arcadians and defeated, near Orchomenus, the forces of the Lacedaemonians under Polytropus. (Xen. Hell. vi. 5. 14; Diod. xv. 62). In the following year we find symptoms of a rising jealousy towards Thebes on the part of the Arcadians, owing in great measure to the suggestions and exhortations of Lycomedes, who reminded his countrymen of their ancient descent as the children of the soil, of their numbers, their high military qualifications, and of the fact that their support was quite as important to Thebes as it had been to Lacedaemon; and it is possible that the spirit thus roused and fostered in Arcadia may have shortened the stay of Epaminondas in the Peloponnesus on this his second invasion of it. The vigour exhibited in consequence by the Arcadians under Lycomedes and the successes they met with are mentioned by Xenophon and Diodorus, the latter of whom however places these events a year too soon. Thus it was in B. C. 369, according to him, that Lycomedes marched against Pellene in Laconia, and, having taken it, made slaves of the inhabitants and ravaged the country. (Xen. Hell. ii. 1. 23, &c.; Diod. xv. 67; Wess. ad loc.). The same spirit of independence was again manifested by Lycomedes in B. C. 367, at the congress held at Thebes after the return of the Greek envoys from Susa; for when the rescript of Artaxerxes II. (in every way favourable to Thebes) had been read, and the Thebans required the deputies of the other states to swear compliance with it, Lycomedes declared that the congress ought not to have been assembled at Thebes at all, but wherever the war was. To this the Thebans answered angrily that he was introducing discord to the destruction of the alliance, and Lycomedes then withdrew from the congress with his colleagues. (Xen. Hell. vii. 1. 39). In B. C. 366, the loss of Oropus having exasperated the Athenians against their allies, who had with-held their aid when it was most needed, Lycomedes took advantage of the feeling to propose an alliance between Athens and Arcadia. The proposal was at first unfavourably received by the Athenians, as involving a breach of their connection with Sparta; but they afterwards consented to it on the ground that it was as much for the advantage of Lacedaemon as of Athens that Arcadia should be independent of Thebes. Lycomedes, on his return by sea from Athens, desired to be put on shore at a certain portion of the Peloponnesian coast, where there happened to be collected a number of Arcadian exiles; and by these he was murdered. (Xen. Hell. vii. 4. 2, 3)
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2006 from The Perseus Project URL below, which contains interesting hyperlinks
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