Page:Archaeologia Volume 13.djvu/349
much embroidered, the term being derived from the verb ωασσειν, which Eustathius, in his Commentary on Homer, explains by ωοικιλλειν.
Comm. in Hom. p. 1239.
The word is fully explained in the Etymologicum Magnum[1], and by an anonymous scholiast[2] upon Homer. II. III. 12,6. Of the beauty and magnificence of the ωσοὶ the best idea may be formed from a passage in Xenophon Ephesius, where, in describing the bed which was prepared for Abrocomas and Anthia, he informs us that it was decorated with a great variety of figures and devices[3].
Two circumstances, much dwelled upon in the present inscription, are, that the deceafed died young, and had experienced none of those ceremonies, which usually accompanied the celebration of a marriage. Nothing among the ancients was a greater object of pity than a young person who died unmarried; and whenever such a misfortune did happen, it was customary to paint it in strong colours upon the tomb-stone of the deceased. A remarkable instance of this custom may be seen in the following inscription published by Fleetwood:
- ↑ Παςτὸς, ἡ ἐκ παραπετασμάτων ποικίλων κατεσκευασμένη σκηνή, ἥτίς ἐστι πεποικιλμένη· Κὰι νυμφικὸς ͂ὀικος, παρὰ τὸ πάσσειν. ἐξ οὐ καὶ τὸ—πολέας ἐνέπασσεν ἀέθλους, Ιλιαδος γ, ἀντὶ τοῦ ἐνεπόικιλλεν.
Etym. Mag. in loco.
- ↑ Ἐνέπασσεν, ἐνεπόικιλλεν, ἐνέπλεκεν, όθεν κὰι τὰ ποικίλα παραπετάσματα παςτοὶ καλοῦνται.
Homeri Interp. Pervetust. Edit. Romæ, 1517. fol.
- ↑ Ἦν δὲ ἀυτ͂οις ὁ θάλαμος πεποιημένος, κλίνη χρυσή στρώμασιν ἔστρωτο πορφυρ͂οις, καὶ ἐπὶ της κλίνης Βαβυλωνία ἐπεποίκιλτο σκήνη· παίζοντες ἔρωτες, ὁι μὲν Ἀφροδίτην θεραπέυοντες. ἦν δὲ κὰι Αφροδίτης ἐικὼν. ὁι δὲ ἱππείοντες ἀναβάται στρουθ͂οις. ὁι δὲ στεφάνοις πλέκοντες. ὁι δὲ ἄνθη φέροντες· Τᾶυτα ἐν τῷ ἑτέρῳ. Ἄρης ἦν οὐκ ὡπλισμένος, ἀλλ' ὡς πρὸς ἐρωμένην τὴν Ἀφροδίτην κεκοσμημένος. ἐςτεφανωμένος. χλαμύδα ἔχων. Ἔρως ἀυτὸν ὡδήγει λαμπάδα ἔχων ἡμμένην·
Lib. I. p. 10. edit. Cocchii.
Μοιρη