Biographies MANTINIA (Province) ARCADIA - GTP - Greek Travel Pages

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Biographies (38)

Ancient comedy playwrites


  Respecting Phormis we fortunately possess some very important facts. In the first place, like Epicharmus he was neither a born Megarian nor even a Sicilian, and was most certainly not a Dorian, for we know from Pausanias that he was a native of Maenalus in Arcadia, that from thence he emigrated to Sicily to the court of Gelon, son of Deinomenes, and that by distinguishing himself in the campaign of that king and afterwards in those of his brother Hieron, he attained to such wealth that he was able to set up certain dedications at Olympia seen there by Pausanias, and others also at Delphi. Those at Olympia were statues of two horses, each with a groom beside it. There were also three statues of Phormis himself in a row, confronting in each case a foeman. The legend on these set forth that they were dedicated by Lycortas of Syracuse, apparently a friend and admirer. Like Aeschylus, the true founder of Attic tragedy, and Cyril Tourneur, one of the most potent spirits of the Elizabethan drama, Phormis was thus a soldier as well as a dramatist. Indeed, in view of the fact that the Arcadians in every age went forth in considerable numbers from their native mountains, like the Highlanders of Scotland, to take service with any one who wanted a man who could wield a good spear and draw a good sword, it was probable in such a capacity that Phormis went to seek and found his fortune at the court of Gelon. According to Suidas he became a member of that monarch's household and tutor to his children, and wrote eight comedies--Admetus, Alcinous, The Fall of Ilium, Perseus, Cepheus or Cephaleia, Alcyones, Hippus and Atalanta. From their names it is obvious that his plays were all burlesque of familiar epic and tragic themes, not excepting that on his own national heroine, Atalanta. He was the first who arrayed a (comic) actor in a robe reaching to the feet, and employed a background (skene) adorned with skins dyed red. The use in Comedy for the first time of long dignified robes was probably, like the plot, a consequence of the burlesquing of heroic themes.

Alfred Bates, ed.
This text is cited July 2003 from the TheatreHistory URL below.

...Among them are those dedicated by the Maenalian Phormis. He crossed to Sicily from Maenalus to serve Gelon the son of Deinomenes. Distinguishing himself in the campaigns of Gelon and afterwards of his brother Hieron, he reached such a pitch of prosperity that he dedicated not only these offerings at Olympia, but also others dedicated to Apollo at Delphi. The offerings at Olympia are two horses and two charioteers, a charioteer standing by the side of each of the horses. The first horse and man are by Dionysius of Argos, the second are the work of Simon of Aegina. On the side of the first of the horses is an inscription, the first part of which is not metrical. It runs thus:
Phormis dedicated me, An Arcadian of Maenalus, now of Syracuse.
...Among these offerings is Phormis himself opposed to an enemy, and next are figures of him fighting a second and again a third. On them it is written that the soldier fighting is Phormis of Maenalus, and that he who dedicated the offerings was Lycortas of Syracuse. Clearly this Lycortas dedicated them out of friendship for Phormis. These offerings of Lycortas are also called by the Greeks offerings of Phormis. The Hermes carrying the ram under his arm, with a helmet on his head, and clad in tunic and cloak, is not one of the offerings of Phormis, but has been given to the god by the Arcadians of Pheneus. The inscription says that the artist was Onatas of Aegina helped by Calliteles, who I think was a pupil or son of Onatas.

This extract is from: Pausanias. Description of Greece (ed. W.H.S. Jones, Litt.D., & H.A. Ormerod, 1918). Cited June 2004 from The Perseus Project URL below, which contains comments & interesting hyperlinks.


Romeos Konstantinos

, , 1874 - 1966


Tsiolis Stavros

, , 1937
  Born in Tripolis (Arcadia) in October 1937, he completed his studies in Athens. He began his film career in 1958 working as an assistant director on 54 films. In 1968 he made his first full-length feature for Finos Film The Young Runaway. Panic and The City Jungle followed in 1969. In 1970 his film Abuse ofAuthoritγ became the biggest Greek box office hit ever made and was screened in thirty-six countries. That same year he stopped making films. Stavros Tsiolis returned to filmmaking in 1985 with Such a Long Absence. It was followed by About Vassilis (1986), Invincible Lovers (1988), Love Under the Date-Tree (1990), Please, Ladies, don’t Cry (1992) which he co-directed with the late Christos Valakopoulos and The Lost Treasure of Hursit Pasha (1995).
•Invincible Lovers
•Love Under the Date-Tree
•Please Ladies,
•Don't Cry Such A Long Absense
•The Lost Treasure of Hursit Pasha

This text is cited Apr 2003 from the Hellenic Ministry of Culture URL below.


Nikolaos Lagopatis

Fighters of the 1821 revolution

Theodoros Kolokotronis




TEGEA (Ancient city) ARCADIA
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


Antiphanes, Crisus, Tyronidas and Pyrrhias

Tegean law-givers.

Members of the Filiki Etairia (Society of Friends)

Anthimos Skalistiris


Sekeris Panagiotis

, , 1783 - 1846


Agelaus, 6th century BC

TEGEA (Ancient city) ARCADIA
Singer and guitar-player, the first to establish the guitar solo without the accompaniment of singing.


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


Panou Giannis

, , 1943 - 1998


Glinos Antonios

, , 1936 - 1998


Diotima of Mantineia

Diotima, a priestess of Mantineia, and the reputed instructor of Socrates. Plato, in his Symposium, introduces her opinions on the nature, origin, and objects of life, which in fact form the nucleus of that dialogue. Some critics believe, that the whole story of Diotima is a mere fiction of Plato's, while others are inclined to see in it at least some historical foundation, and to regard her as an historical personage. Later Greek writers call her a priestess of the Lycaean Zeus, and state, that she was a Pythagorean philosopher who resided for some time at Athens. (Lucian, Eunuch. 7, Imag. 18; Max. Tyr. Dissert. 8 ; comp. Hermann, Gesch. u. System. d. Plat. Philos. i.; Ast, Leben u. Schriften Platos)

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

, 470 - 410
  Diotima was likely a legendary character although she may have been modeled on Aspasia of Miletus. In Plato’s Symposium Socrates refers to Diotima in his speech on the nature and origin of love: [...]


Lastheneia, a native of Mantineia, in Arcadia, mentioned by Iamblichus (Vit. Pyth. 36) as a follower of Pythagoras. Diogenes Laertius (iii. 46, iv. 2), on the other hand, speaks of her as a disciple of the Platonic philosophy, which is confirmed by other authorities. (Clemens Alex. Strom. iv.; Athen. xii., vii.)


Synadinos Panagiotis

, , 1878 - 1959



TEGEA (Ancient city) ARCADIA


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).


Giannis Talaganis-Zevgos


Labrakis Grigoris

, , 1912 - 1963

Papanastassiou Alexandros

, , 1876 - 1936

Deligiorgis Epaminondas

, , 1829 - 1876
Six times prime minister of Greece.

Palamidis Rigas

, , 1794 - 1872
Politician of the 1821 Revolution.



TEGEA (Ancient city) ARCADIA
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

Kossos Ioannis

, , 1830 - 1873
The first statue-maker of modern Greece.


Hieronymus and Eucampidas

Maenalians, founders of Megalopolis (Paus. 8.27.2)

Eucampidas, (Eukampidas), less properly Eucalpidas (Eukalpidas), an Arcadian of Maenalus, is mentioned by Demosthenes as one of those who, for the sake of private gain, became the instruments of Philip of Macedon in sapping the independence of their country. Polybius censures Demosthenes for his injustice in bringing so sweeping a charge against a number of distinguished men, and defends the Arcadians and Messenians in particular for their connexion with Philip At the worst, he says, they are chargeable only with an error of judgment, in not seeing what was best for their country; and he thinks that, even in this point, they were justified by the result, --as if the result might not have been different, had they taken a different course. (Dem. de Cor.; Polyb. xvii. 14.) Eucampidas is mentioned by Pausanias (viii. 27) as one of those who led the Maenalian settlers to Megalopolis, to form part of the population of the new city, B. C. 371.

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


Paroritis Kostas (real name Soureas Leonidas)

, , 1878 - 1931
Fiction and short-story writer.

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