Listed 38 sub titles with search on: Biographies for wider area of: "MANTINIA Province ARCADIA" .
MENALOS (Ancient city) FALANTHOS
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.
VOURVOURA (Village) SKYRITIDA
1874 - 1966
TRIPOLI (Town) ARCADIA
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).
Films
•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.
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
Tegean law-givers.
TRIPOLI (Town) ARCADIA
1783 - 1846
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
TRIPOLI (Town) ARCADIA
1943 - 1998
1936 - 1998
MANTINIA (Ancient city) ARCADIA
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.)
KATO ASSEA (Settlement) VALTETSI
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).
KERASSITSA (Village) TEGEA
1912 - 1963
LEVIDI (Small town) MANTINIA
1876 - 1936
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
MENALOS (Ancient city) FALANTHOS
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
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