Montanist Epitaphs at Usak Gibson, Elsa Greek, Roman and Byzantine Studies; Winter 1975; 16, 4; ProQuest pg. 433
Montanist Epitaphs at U~ak
Elsa Gibson
I PRESENT here four unpublished gravestones from the museum of
U~ak, en the border ofPhrygia and Lydia in western Asia Minor.l
U~ak is a modern commercial town, long noted for its carpets,2 to
which inscriptions and coins have found their way from several ancient
sites.3 The first three inscriptions (PLATES 3-5), however, belong to a
group of which the distinguishing relief has been observed only at
U~ak: the representation of a cross or communion paten within a
circular wreath, the whole above an altar or communion table.4
Photographs of two previously published monuments of this group
are presented in PLATES 6 and 7, since only drawings were given by
their editors, J. Keil and A. von Premerstein. The exact provenance
of this group of inscriptions is unknown, but as they are carved to
represent a door or doors, a form of funerary stele distinctive ofPhry
gia, they must derive from this region.s Their style of lettering is
1 I wish to thank Dr Hikmet Giirc;:ay, Director of Antiquities in Turkey, for granting me
permission to work in the U~ak Museum; Dr Nezih FlratlI, for calling my attention to the
presence in the museum of the broken stone (PLATE 7); Mr Sava~ Sava, director of the U~ak
Museum, for his hospitality and assistance; Professor Sterling Dow, for his aid and advice;
Dr Thomas Drew-Bear, for criticism and references; and Professor Ihor Sevcenko, for
interpreting the motif which distinguishes the first three epitaphs presented here.
2 On the carpets and carpet industry ofU~ak see B. Atalay, Turk Haitcl/tgi ve U~ak Halllan
(Tilrkiye i~ Bankasl Killtilr Yaymlan 1967).
3 For inscriptions at U~ak see notably Ph. LeBas and W. H. Waddington, Inscriptions
grecques et latines recueillies en Asie Mineure (Paris 1870, repro Hildcsheim 1972) nos. 713-29;
S. Reinach,REG 3 (1890) 5oTEKVOV, 'cousin'.
436 MONT ANIST EPITAPHS AT U~AK
"Deiogas (erected this monument) out of church funds to the bishop
Artemidoros, in memory of him."
The name Diogas is a hypocoristic for Diogenes.9 The spelling
i{3tCK07TOC occurs in another inscription of Diogas (see below p. 437).
Doubtless Diogas was the successor of Artemidoros, but not yet
appointed at the time this inscription was carved because in it he bears
no title. He buries his predecessor with church funds. Although the
phrase iK TOU KVPUtKoU is unattested, to my knowledge, I think that it
means 'from ecclesiastical money' or, properly, 'from the Lord's
money'. The church did finance some burials: it owned several tombs
at Korykos in Cilicia.10 Our expression employs the singular, not the
plural as do parallel formulas: for example, €K TaW l8twv, TWV -rijc
I A A 8 ............ ...... , ~ , ...... ,~ , f' ,
KWI-'7JC, TWV TOV EOV, TWV KO£VWV 7TpOCOOWV, EK TWV wtWV V7TapXOVTWV,
7Tpoc68wv, XP7Jl-'aTWV, avaAWl-'aTWV, KTA. Nevertheless, the construction
is an easy one and a number of substantives can be understood. I do
not believe that the word is itself a substantive, KVptaK6v 'church',n
although the .....
I:i:I
[JJ
o
z
"0
r
;:t. ...,
m
'"
PLATE 8 GIBSON
DOORSTONE FUNERARY STELE NO. 4, U~AK MUSUEM
ELSA GIBSON 439
preachers a salary: 6 caAapLCt. XOPYJYwv 'TOLe KTJPVCCOVCtV aV70v 70V
Aoyov (Apollonius in Eusebius, Hist.Eccl. 5.18.2). This innovation was
contrary to the doctrine and custom of the Orthodox Church, whose
prophets, preachers and clergy were given support in kind,20 and the
Montanist practice naturally gave rise to accusations of greed.21
The ll1ason was confused about the word iavrfi and in fact wrote it
twice, the first time eliminating the upsilon, the second time writing
the second person CECt.V'Tfj. The elimination of upsilon was probably
caused by confusion as to the spelling because of a common pronuncia
tion Ea'Tofi, Ea'TifJ, etc. 22 To rectify his error the mason improvised a
V-shaped upsilon (not his usual form), which he fitted in by joining it
to the preceding alpha so that the right bar of the alpha forms the left
bar of the upsilon: no space was originally left for this letter on the
stone. For CEaV'Tfj (without ligature) see another inscription in this
series, Keil and von Premerstein, Zweite Reise no.261; the editors note
the form but find it unique and puzzling.23 It appears that the mason,
uncomfortable with the simple third-person pronoun, which had long
served for the second person,24 added a hypercorrect, and here in
correct, second person c€avTfj. The coexistence of both forms in our
inscription, referring to the same person, demonstrates the difficulty
experienced by the redactor with their use.
NUMBER 4 (PLATE 8)
White marble double doors tone damaged at top left corner and
more extensively at top right. The first three lines of the inscription
are on a projecting fascia, and the fourth line is on the shaft of the
stone above the doors; the doors are in a recessed panel. Height 1.22
m.; width 1.01 m.; thickness of top 0.42 m.; thickness of shaft 0.33 m.;
letter~height 0.029 m. Between the doors and to right and left of them
20 Apollonius in Euseb. Hist.Eccl. 5.18.4. Cf Didache 11-13, 15.1-2; Matt. 10.9-10; I Cor.
9.8; I Tim. 3.3, 8; Titus 1.7, II.
21 e.g., Apollonius in Euseb. Hist.Eccl. 5.18.2, 4-7, 9,11.
12 A. N. jannaris, An Historical Greek Grammar (London 1897) §546. It is met very frequent
ly in inscriptions.
23 "Flir den Gebrauch von ("aUTW statt €aVTW vermogen wir, falls hier nicht etwa blosse
Verschreibung vorliegt, keine Analogien beizubringen." Cf the form C£aTCt' read by R.
Mouterde on an inscription in Syria (J. and L. Robert, BullEpigr 1953, no.214).
24 The third-person form €CtUTOv, etc., had begun to replace the second person CftXUTOV,
etc., as early as the fourth century B.C.: jannaris, op.at. (supra n.22) §1406; E. Mayser,
Grammatik der griechischen Papyri aus der Ptolemiierzeit 1.2 (Berlin/Leipzig 1938) p.64.
440 MONTANIST EPITAPHS AT U~AK
are engaged pilasters. Within the left door are displayed a mirror
above a bottle (to left) and a comb (to right). The right-hand door
displays an open pair of tablets and an open roll. Above both doors
on the main part of the stone and on the faces of the pilasters are
carved stylized tendrils with leaves. Filling the transom above each
door are stylized leaves. Between each transom and the surface on
which the tendrils are carved is a trio of arched, stepped, plain bands.
[K€]~Tat KaAOC Exovca Kp[------]
[E]~tn}pa ~Oovc Jl-EV Cf.Jl-vov St' 8 K[A'l10f.ic']
OK'TWKatSEKa'TOV E'TOC 7T~'l1povca, 7TPOJl-[ otpa].
KA1}JI-'l1C -rfi 8vya7"p~ E431}PCf Jl-v7JJI-'l1c XapLV
'-" -- ---
"Here lies beautiful ... Severa, of sober character, according to which
[she was named]. She died at eighteen years of age, before her time.
Clemens (erected this monument) to his daughter Severa, in memory
of her. "
The first three lines, those on the fascia, are in hexameters, but
their spatial arrangement is peculiar. The first line contains all of the
first hexameter as well as part of the first foot of the second hexameter.
The second and third lines begin close to the edge of the fascia, and
each has space for about ten letters at the end. Either the mason
intentionally arranged the lines thus to accommodate a date or a
signature, or he wished in principle to inscribe each verse in a separate
line.25
The orthographic variant (KaAoc) does not affect the meter, for this
word scans as if correctly spelled. The beginning of the third hexam
eter was rendered unmetrical by insertion of the age of Severa in
place of the metrically appropriate elements which stood in the origi
nal verse from which this was copied.
Of the word 7TPOJl-OtpOC E. Griessmair remarks that it occurs very
seldom in literature, although it is relatively common in epitaphs
from the third century B. c. to the third Christian century and is more
frequently found there than awpoc; he notes too that age is most often
precisely expressed in the extreme situations of premature death, as
25 The piece is a fine one, but even when a stone is signed it happens that the placement
of the inscription is not planned in advance: if. for example G. Mendel, Catalogue des
sculptures I Constantinople (Istanbul 1914) no.l077 (certainly from the region of Kiitahya),
and W. M. Calder. AnatSt 5 (1955) 31 (Kiitahya Museum), both bearing the sculptor'S
signature.
ELSA GIBSON 441
here, and old age.26 I. Kajanto points out a prosaic explanation for the
frequency of age records in children's epitaphs at Rome: the parents
knew the age of their own child, whereas it was often difficult for an
adult to know his own exact age.27 Of course the shortness of life of
the deceased was moving, but equally important is the fact that his
age was known exactly.
Another inscription first seen at U~ak and now in the museum
there reads :28
Tanavoc v Kat KA~fLTJC v rIC]K01T€AALaV~ 1T[a}rpt
yAvKVTaTCfJ Kat J-LTJTpl. Eeov v ~p~ {wen fLv~fLTJC xaPLJI
This must be the epitaph of Severa's paternal grandparents; she was
named for her grandmother. Her grandfather, Skopellianos, bears a
name well attested at Temenothyrai: Avp. EKO[1T]EAALavoc Zevb80c
was a bouleutes of Temenothyrai29 and the name is attested on coins
of Temenothyrai during the reign of Marcus Aurelius.30 The ultimate
provenance of the above epitaph and hence of Severa must be Te
menothyrai.
Severa's sober, upright character accords well with her name, and I
believe that this appropriateness is pointed out by the poet in line 2
of the epitaph. A manifestation of her .ry8oc CEJ-LVOV was her literacy,
illustrated by the right-hand door of her gravestone; note that the
ability to read and the ability to write are indicated separately, the
former by a roll and the latter by wax tablets. Both are common
motifs on gravestones in Phrygia. Severa's beauty, spoken of in the
26 Das Motiv von Mors Immatura in den griechischen metrischen Grabinschnften (Innsbruck
1966) 15-16.
27 On the Problem of the Average Duration of Life in the Roman Empire (AnnAcFenn 153.2
[1968] 13-16.
28 Keil/von Premerstein, Zweite Reise no.262, with photograph (there said to be from
Ahat Kay: see supra n.5). The editors date the inscription to the late second or early third
century on the basis of the letter forms, and the absence of Aurelii (see follOWing note)
confirms this opinion. On the prothetic iota in ['Ic]KoT/"€'\'uavcp see L. Robert, RevPhil 17
(1943) 113 n.8 (=Opera Minora Selecta I [Amsterdam 1969] 366), and J. and L. Robert,
BullEpigr 1973, p.75.
29 Inscription copied at U~ak by E. Legrand and J. Chamonard, BCH 17 (1893) 265 no. 49
(Ramsay, op.cit. [supra n.3] 612 no.517). The name Aurelios places the date of the inscrip
tion after A.D. 212: see most recently P. Herrmann, Chiron 2 (1972) 519-30. (Two generations
after the Constitutio Antoniniana, however, the pseudopraenomen Aurelios was no longer a
novelty and was often not used.)
30 BM Catalogue Phrygia (London 1906) p.cii; the coins, ibid. pp. 407f, 412, Inv. Waddington
5320. This is probably Severa's grandfather.
442 MONT AN 1ST EPITAPHS AT USAK
first line of the epitaph, is illustrated by the objects in the left-hand
door: mirror, bottle (probably for perfume; it is different from the
jugs in nos. 1 and 3 above), and comb.
That the stone has two doors does not obviate its ascription to only
one deceased. Tombstones were largely prefabricated. This stone
seems to have been originally intended for a married couple: in fact,
it is very similar in form to that of Severa's own grandparents. How
ever, the words of the epitaph have been chosen to point out the suita
bility to Severa of the reliefs on both of the doors. We do not know
whether the stone was deliberately chosen for her as illustrating her
beauty, character and accomplishments, or no other stone being
available Clemens was obliged to buy this one and, having done so,
chose verses which would describe the appropriateness of both panels
to Severa.
TBHRAN
AUgust, 1975