Spartan Society Research Task

HSC Ancient History: Task 1
Spartan Society Research Task Rachel Zhao
Section 1: ART
Through examining Greek painted pottery vessels of Sparta, its evident that the Spartan civilisation had a rich cultural life. The richness of the decoration and technical ability is apparent in their manufacture; even everyday objects were painted a glossy black and occasionally adorned with an ornament. The sequence called Lakonian can be identified in the 7th and 6th centuries. Source: [Brennan, B, 2007, Spartan Society, Ancient History Seminars, Sydney] Aspect of the Sequence of Lakonian painted pottery vessels y Description
Lakonian I (7th century BC): y y
Lakonian II (early 6th century BC):
y Lakonian III (Late 6th century BC):
The first vessels are characterised by geometric decoration. Objects were decorated with bands of lines and dots and various combinations including human or animal figures but they were always a part of a larger decorative scheme. This decorative pattern is evident in pyxis from the Amyklaion showing male dancers and geometric plans from the National Archaeological Museum in Athens. Artists were influenced from other places (eg. Corinth). Characterised by many friezes, decorative bands made of animals or birds or a decorative patterning made of fish and dolphins as in the case of the kylix (drinking vessel) found in Tarentum, a colony of Sparta. The cups decorated with stylised water birds around it and a series of decorative bands. The fish adorning this artefact have been arranged in a wheel fashion and each layer of animals depicted is different and rhythmic so when water or wine is poured into the cup it seems like they are swimming. Characterised by a narrative scene which decorates the vessel, usually taken from mythology. Lakonian III decorations provide an insight into scenes showing hunting, riding, and banquets and fighting. For example, the Arkesilas cup found in Vulci Etruria shows King Arkesilas in a ship and it is known it is him due to the inscription of his name on the edge of the cup.
Source: [Fitzhardinge, L.F, 1980, The Spartans, Thames & Hudson, London, p. 57-69] Aspect of Bone & Ivory Description

Carving y y 200+ ivory carvings (complete and incomplete); contexts ranging from the Geometric layers to Laconia II (span of ~100 years) After this excavation, others have been found, notably at Perachora and at Samos. These are older and of higher artistic quality than anywhere else, but none are outstanding. They show a school of competent Spartan craftsmen for at least 3 generations. Biggest group (160): small statues of mostly crouching animals (domestic sheep) on a rectangular base. Oriental sphinx, abstract/decorative patterns, legendary beasts, gods, animals, few human subjects (grotesque dancers, peasant going off to work). Uses are uncertain; most have drilled holes above the base, (pendants? during ritual dances dedicated to goddesses), or as the plethora of sheep suggests substitutes for live sacrifices; the hole suspending them in the temple. Goddess of Wild Things associated with the cult of Orthia. No foreign ivories ever found in Sparta, but a few Spartan ones went to other temples (Argos, Perachora) Disappeared from Greece (Mycenaean civilisation), but was in Syria. By the 8th century, 2 schools formed. Early 7th century: reappears, related to a famous temple whose ceremonies market. Ivories were religious and associated with 1 shrine Orthia Ivory came from the East, needed special tools & techniques. Immigrant craftsmen taught their art to local apprentices (style became more Greek, never losing its oriental feel) First pictorial reliefs (7th century): rectangular plates (brooches; fibulae) that helped fasten Dorian costumes at the shoulder; part of ceremonial costumes for dances. Geometric period: Spartan carvers made Spartan works. Subjects are all supernatural/exotic (winged deities, mythical monsters, lions) The Daedalic style (mid 7th century) showed an interest in humanity; monsters still common (throughout Greek Archaic art), however theyre tamed no longer awe-inspiring but benevolent, grotesque /simply decorative. Became 3D, allowed figures to be made frontally, consecutive illustrations of several figures in action on larger plates joined by several ivory pieces. Around 750BC: most prolific period of Spartan ivory carving, continued until the end of the century. Early in the 6th century, import and use of ivory stopped in Sparta and Greece (maybe as a result of the Assyrian invasions of Syria?) Bone used as a cheap replacement (esp. for mass-produced articles like copies of Orthia) same techniques were used to make ornamental bone plates for furniture decoration. But it never truly replaced ivory, as this was done by bronze.
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y Orthia
y Disappearance & reappearance Ivory y
y y Chronological info y

Source: [Fitzhardinge, L.F, 1980, The Spartans, Thames & Hudson, London, p. 70-88] Aspect of Sculpture y Introduction Most of Spartas stone sculptures are gone (Sparta acted as a quarry for limeburners and local marble was hard to work & unsuitable for delicacy). Then, more elaborate supports for lustral basins (perirrhanteria) needed by temples built throughout Greece in the 2nd half of the 7th century. Basins were supported by 3 or 4 goddesses around a central column or back-to-back, wearing a flat cap (polos) and a long gown (peplos) lightly belted at the waist. Each stands on a lion lying on the base, which she holds on a leash (sometimes by the tail). The whole support (excluding the basin) was carved from a block of stone. Most likely, all products came from ONE workshop in Sparta (similarities in supportsbluish marble characteristic of Laconian work). Subject of the lion-taming goddess appropriate to Sparta, similar in style to Spartan terracottas and ivories. The one found in Sparta is alike to the style and material of that in the temple of Hera at Olympia, where we know from roof tiles - Spartan craftsmen were employed. Changes to the Archaic style, with 3D approaches, sculptural moulding of limbs and drapery, & the return to frontal treatment, was abrupt. Next period, reliefs: usually of a popular character, unsophisticated style and often conservative, extremely hard to date. After 575 BC, many open-air shrines of popular deities & heroes were adorned with reliefs. A number have survived. The oldest is different from the rest, being a 4 sided pyramid cut off at the top. 2 wider sides carry episodes from the story of Helen and Menelaus; on the narrow sides a snake curls upwards. Mid 6th century a new phase. Simplicity of early reliefs is softened, forms become rounded and drapery more flowing. Most famous and the numerous series of Spartan reliefs (hero reliefs): dont begin until well into the 2nd half of the century. In them, a beared male sits on an elaborately carved chair, holding a cup of special shape (kantharos) Of sculpture in the round from the 6th century, scarcely any remains. The most interesting is a nude Eitheithyia (goddess of birth), helped by 2 attendant sprites, 1 who plays a pair of pipes to drown her cries. Associated with the cult of Orthia. One undoubted masterpiece of Spartan sculpture belongs to the 1st quarter of the 5th century: statue of a hoplite found near the Roman theatre, known by the name of Leonidas. Represents a warrior, calm and determined, lunging forward. No original sculpture from Sparta of the later 5th century, and in the
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Description
Made by Spartans y
y Chronological info y y

4th, and later the well-to-do adorned their mansions with mosaics and with copies/imported specimens of fashionable styles. Source: [Brennan, B, 2007, Spartan Society, Ancient History Seminars, Sydney] Sparta reached its climax of artistic sophistication during the 7th and 6th century BC and produced objects of great complexity however, archaeologists have detected signs of cultural stagnation (not making progress) and austerity by the end of the 6th century BC and almost disappearance of production completely in the 5th century BC. Aspect of Bronze Work y Description Spartans excelled in this area and the manufacture of the huge statue of Apollo at Amyklai was famous in antiquity and is considered art. Sparta made many small and very fine objects. From sites such as Italy and France, bronze vessels with Laconian design has been found, leading to the conclusion that Sparta may have exported its works. Evidence suggests that the alloy was extensively used and might also be a means of displaying wealth Bronze objects were sometimes of such good structure that they were used as diplomatic gifts. Laconian ivory was also used as a significant export commodity Votive male athlete figures have been found in Amyklaion and at places such as Olympia. It depicts nude male athletes with wreaths around their heads during festivals such as the Karneia. These statuettes were used as religious offerings and to commemorate the athletic nature of youth. Herodotus provides literary evidence for the production of large bronze vessels. Eg. The Spartan state in the 6th century BC had a huge bronze bowl that was a present for the ridiculously rich King Kroisos of Lydia (Asia Minor). The Grchwil hydria (late 7th early 6th century BC): as its name suggests, it carries water. However it wasnt for everyday use, it was a status statement and was supposed to be impressive. Pesaro hydria ( ): from a grave at Treia, Italy, the central figure on the vessels neck is a helmeted hoplite soldier in full armour. Vix krater (mid 6th century BC): vessel for mixing water & wine, finest Lakonian bronze work discovered; massive and designed to be displayed than be practical used. Weighs ~200 kg and can hold 1200L.
Introduction
Further information
Notable bronze vessels

Section 2: ARCHITECTURE (Amyklaion, Menelaion, Sanctuary of Artemis Orthia)

Source: [Brennan, B, 2007, Spartan Society, Ancient History Seminars, Sydney + Lawless, Cameron, et al, Ancient Societies * refer to the yellow HSC Ancient History booklet for written and archaeological evidence and artefacts] Aspect of Architecture y No remains of Spartan houses have been excavated and Thucydides remarks that if Sparta was deserted and if only the temples and foundations of buildings were left, nobody would believe that Sparta was once a powerful state. Foundations of the temples of Athena Chalkioikos (Athena of the bronze house) and first 2 temples of Artemis Orthia still exist. Outside the city, the foundation of the shrine of the Menelaion and the base of the Throne of Apollo at Amyklai near Sparta. Pausanias describes buildings in the Spartan agora (marketplace), roughly built between the 6th and 5th century BC. Spartas golden age of art and culture was supposedly during the 6th century BC. The agora functioned as the social centre of the komai (villages) that made up the polis of Sparta. Although the agora hasnt been excavated, Pausanias describes the skias (canopy) which functioned as an assembly hall. In the 5th Century BC after the Persian Wars, a commemorative stoa (colonnade) was erected. The choros (dancing place) was also built in the agora and it was here where boys danced in the Gymnopaidiai. Out of site near the Eurotus River 2 temples dedicated to Artemis. The 1st dated to ~700BC and was small, long and only 4.5m wide, made out of bricks and wood on a stone foundation. Archaeologist R.M Dawkins described it as a frame house with columns of timber along the sides. The gabled roofs covered with painted tiles and a raised dais was found inside, possibly where the ancient image of the goddess was placed. A 2nd temple was built around 580 BC after flooding from the Eurotas River. It was sited over the earlier one and land had new sand as protection against flooding. The new construction votive offerings and other objects sealed under its foundations. Sturdy foundations remain and were used in rebuilding and remodelling right down to the Roman times (?). R.M Dawkins concluded the 2nd temple had Doric columns and a gabled roof with a painted stone lion on top. Gross fact from Paul C: Spartans built a semicircular amphitheatre, to give sado-tourists a view of the flogging ritual of
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Description
Introduction y
y y
Temple/Sanctuary y of Artemis Orthia y

y y
The Menelaion
y The Amyklaion y
diamastigsis, where ph boi (young boys) stole cheeses. Plutarch & Xenophon mention this: And after making it a matter of honour for them to snatch just as many cheeses as possible from Orthia, [Lykourgos] commanded others to whip, wishing to demonstrate thereby the point that a short period of pain may be compensated by the enjoyment of long lasting prestige. Believed to part of fertility cult (A.O = fertility goddess); modern historians interpret this as being more than just an endurance test. Fragments of auloi (wind instrument) made of animal bone found AKA: shrine of Menelaos and Helen, located 5km NE from Sparta and was small but monumental, the earliest of its kind in Laconia. It featured a pedimental roof tiled with terracotta. An acreoterion (painted terracotta ornament) was found along with various roof fragments It can be surmised (guessed) that early in the 5th century BC this building was demolished and rebuilt, the new shrine reaching a height of 8 metres with the parapet of the building faced with blue limestone and white marble. The building was also consolidated with a terrace used to display large dedications and designed to hold water for the shrine. Described by Pausanias as a shrine to Apollo and the tomb of Hyakinthos although, also according to him, its main function was to serve as a throne for the ancient cult statue of Apollo. The statue itself was described as crude figurine. Pausanias mentions that in front of the throne and behind it rose two statues, on the left stood Echidna which was a half woman half serpent and her consort the monster Typhon. On the right stood Tritons a half man half fish figure. All statues appear to be free standing. At the statues base: altar or block that was believed where Hyakinthos was buried. The most baffling aspect: continuous frieze that shows numerous mythological scenes. The friezes purpose and its possible connection with the statue & throne is unknown. Building fragments were recovered but theres insufficient evidence to show its appearance. Some pieces with sections of lotus and palmette frieze show a strong Asia Minor influences; historians assume that building incorporated Imported Ionian styles and Doric styles. Historians can only make educated hypotheses based upon Pausanias descriptions. Various historians such as Fiechter and Buschor have published drawings based upon the descriptions by Pausanias but the buildings appearance as a whole is still uncertain.

Section 3: WRITING & LITERATURE (Alcman & Tyrtaeus)

Source: [Fitzhardinge, L.F, 1980, The Spartans, Thames & Hudson, London, p. 124-135] Aspect of writing & literature Introduction y y Fairly extensive fragments of the works of 2 7th century poets, Tyrtaeus & Alcman. Soldiers poet of Sparta: poetry sung by Spartiates. Themes of patriotism & courage, honour to the brave, disgrace to cowards. Purpose was didactic (propaganda), he stresses the virtues of courage, discipline & manliness. Elegist who wrote political poetry Wrote in the 2nd half of the century around the time of the 2nd Messenian War Except for songs, Tyrtaeus wrote in the elegiac metre evolved from the hexameter in Ionia earlier, and in the Ionia dialect appropriate to that metre. Perhaps why, Plato in the Laws calls him an Athenian who became a Spartan citizen. Tyrtaeus calls hoplites panoploi (fully armoured men), contrasting them with gymnetes, unarmoured marksmen who covered the ends of the line from behind its shields. FITZHARDINGE: Tyrtaeus is our earliest and most explicit exponent of the practice and values of hoplite warfare, which about the beginning of the seventh century was soon to spread all over Greece. Tyrtaeus praises Eunomia (good rule comes when theres obedient people and kings & elders have the power to rule) in a poem. FITZHARDINGE: We can see that Tyrtaeus was a strong supporter of the monarch, which he invests with religious sanction and in which he perhaps saw a bulwark against the pretensions of the aristocracy. He seems to minimize the place of the nobles, and gives a small but definite place to the new hoplite class. It is significant that neither here nor, we may be certain; elsewhere did Tyrtaeus mention Lycurgus; had he done so the reference could not have escaped the notice of later writers like Plutarch, desperate for any scrap of authentication for that elusive character. FITZHARDINGE War holds no glamour for Tyrtaeus. It is a grim business, as his shows in his graphic description of an old soldier whose joints are no longer supple, deserted by the younger men who should have covered him.nor is there room for direct intervention of the gods; courage is something a man must impose on himself, not something inspired from outside, a function of his own character, not an accident.
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Description
y y
Tyrtaeus y

Alcman
y y
Poet of the maiden chorus/songs, sang and danced by girl choirs at festivals of deities. Choir-master who works for girls, accompanying them on his lyre. Knew them well; referred to them by name in his poems. Poet sensitive to natural attractions, and writes lines that beautifully evoke Spartas towering mountains, seasons and the twittering of birds. Believed to be a Spartan (born in Lakonia) First Greek choral poet whose works have come down to us. He wrote not, like Tyrtaeus, in an imported literary language, but basically in the local Dorian dialect, to which he gave new breadth and poetic respectability while still keeping in touch with the colloquial language of the people. FITZHARDINGE - If Tyrtaeus is the poet of barrack Sparta, the familiar Sparta of the later tradition in shaping which poems played an important part, Alcan depicts the other swinging Sparta, care-free, beauty-loving, with wide intellectual interests and geographical horizons. Alcmans assumed to be earlier than Tyrtaeus, as he represented a short lived burst of prosperity following the original conquest of Messenia, while Tyrtaeus expressed the narrow militarism evoked by the second war and never thereafter relaxed. However a commentary on Alcman shows he mentioned King Leotychidas, who reigned in the last part of the 7th century, more consistent with archaeology. Thus, Tyrtaeus is more contemporary with the austere style of Laconia I pottery and early Daedalic reliefs...while Alcman coincides with the more exuberant pottery, abundance of personal ornaments in ivory and bronze and expanding exports of Laconia II.

Section 4: DAILY LIFE & LEISURE

Aspect of daily life & leisure
y
Description
Spartiates were full-time professional soldiers; forbidden to engage in agriculture/trade/professional work. Perioeci manufactured items, food and agriculture was under the responsibility of helots. Women did not prepare/cook food, make clothes or do the housework, neither did they spin/weave; helot women did that. Therefore, they had a lot of time on their hands. Cartledge: women ran races then danced by night to worship deities. By day, they threw the javelin and discuss, wrestled (allegedly with boys). Notable exercise: bibasis (jumping up & down with heels touching buttocks) Parthenoi (virgins on the threshold of marriage) sang and danced competitively. Choruses invention of a new genre in Greek poetry, the parthenion (maiden song); invented by Alcman. Gun (adult married women) sang songs of scorn around an altar to shame reluctant bachelors into taking a bride.
Introduction
y y
Women (exercising/song & dance/festivals/Olympics) y

y y
Attended the annual Hyacinthia festival in honour of Apollo and Hyacinthus. Werent allowed to participate, let alone watch the Olympics (gender bias). According to Cartledge, women could participate in equestrian events; not as the driver/rider but as the owner of chariots and teams.
Plutarch: except when they were on campaign, they attended choral dances, festivals, feasts, hunting expeditions, physical exercise and conversation. Cartledge: Gymnopaediae a competition between 3 age choruses old men beyond military age, warriors of military age, sub military youths. Hunting: highly dangerous pastime, that was a suitable test for andreia (manliness), Music was very important in Spartan culture and society. Fragments of auloi (wind instrument) found @ Sanctuary of A.O Cartledge: Pratinas of Elis amusingly likened every Spartan to a cicada always seeking a chorus.
Males (Gymnopaediae/hunting)
y y y
General information
y

Section 5: FOOD & CLOTHING

Aspect of food H.D.F.Kitto/ introduction/quintessential diet Description y According to him, Greece was poor; even though it was undoubtedly richer in antiquity, sustaining a large population but not in luxury. The typical diet consisted of: barley meal, olives, a little wine, fish as a relish, meat only on holidays. y At the heart of the Spartans politeia (political system) was their practice of communal dining or messing (syssitia). Prestigious, candidates had to be 20+. Main mess meal was in the evening. Hunting was symbolically significant in Sparta, developing military skills and yielded game to supplement frugal mess rations such as black broth (provided individually by members, natural produce such as grain, olive oil & wine produced by Helots.) y According to PC, Spartans were notoriously abstemious and controlled wine-drinkers unlike their fellow Greeks. They didnt celebrate symposia (formal drinking parties), but drank krasi in moderation, during syssitia. Only people in Sparta allowed to get disgustingly drunk = Helots. *reasons obvious y Instruments: kratr (mixing bowl) held krasi diluted with water, kylix and skyphos (drinking cups) y Krasi never drunk neat, (believed only barbarians did). y Wine drunk by wealthy and poor alike, but not usually by women. y Cambridge University Professor Nigel Rogers: reputedly made partly from blood and so disgusting that other Greeks gagged on it y Before going on military expeditions, large quantities of the broth would be mixed and carried by helots, to give Spartiates the consolation of home cooking in foreign parts. y Plains where most of them were grown Thessaly, Laconia, Messenia y Wheat, barley, olives, veggies and fruits like figs. y Pigs, goats, sheep and poultry were raised, wine & cheese were made. y Mt. Taygetus provided game such as wild boars, deer and hares. The port of Gytheum, also provided shellfish (murex) y Helots grew all food y ph boi were fed sparingly to encourage them to steal food. y Spartan life demanded a healthy population = healthy diet.
Paul Cartledge/messing/hunting
Wine (krasi)
Black broth
Crops/more food
More info
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Aspect of clothing y Men y
y Women
Description Plutarch: boys undergoing the agoge at the age of 12, never wore a tunic or shoes, had close shaven heads and only 1 cloak/year. War clothing: hoplites (soldiers) wore a Corinthian style, long red coat (symbol of Spartan militarism), helmet, spear, cuirass (chest garment), greaves (shin pads), lambda (symbol for Laconia) on their hoplon (shield), and a short sword. Plutarch: women wore a peplos (slit dress that allowed them to move freely) during physical activities, quite a stark contrast compared to the conservative attire of other Greek women. Called thigh-showers by Ibycus in the 6th century BC According to Lykurgus the legendary lawgiver, they were forbidden to wear cosmetics, jewellery, perfume, or even dye their clothes. They dressed plainly even though they were beautiful (Spartas austerity), and had short hair.
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Bibliography:
y y y y y y Fitzhardinge, L.F, 1980, The Spartans, Thames & Hudson, London Brennan, B, 2007, Spartan Society, Ancient History Seminars, Sydney Cartledge, Paul, 2002, The Spartans (An Epic History), Macmillan, New York Kitto, H.D.F, 1951, The Greeks, Penguin Books, England Lawless, Cameron, et al, Ancient Societies Rodgers, Nigel, 2010, Everyday Life in Ancient Greece: People & Places, Hermes House, London y Stevens V., Merchant, W., Hampson. M, Bradshaw, G., 2006, Macquarie Revision Guide: HSC Ancient History, Macmillan Education, Malaysia y y y http://www.pbs.org/empires/thegreeks/educational/lesson1.html http://www.ancientgreece.co.uk/sparta/explore/exp_set.html http://classics.mit.edu/Plutarch/lycurgus.html
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HSC Ancient History: Task 1