Pollux on Bronze Casting: A New Look at "kanabos" [Greek] Mattusch, Carol C Greek, Roman and Byzantine Studies; Fall 1975; 16, 3; ProQuest pg. 309

Pollux on Bronze Casting: 
A New Look at 1(ava~oc 

Carol C. Mattusch 

THE TECHNICAL TERM Kava~oc is used in a variety of contexts. It 
appears in late lexicographical entries concerning bronze 
casting, in fifth-century B.C. tragic and comic fragments, and in 

passages describing the human body. In many cases, Kava{Joc is used 
metaphorically and, as a result, it has been variously interpreted and 
translated, It will be seen, however, to have a consistent meaning that 
can be applied to all of its uses, 

The only full definition of Kava{Joc is given in the second century by 
Pollux, in a description of bronze casting, 'TO J.LE:V 8~ gv~ov c;, 1TEpt-

'\ I ''\ ,r '\ 'f} I Q '\ ~ <If} \ ~ I 
1TIHX'T'TOVCt 'TOV 1TTJI\OV Ot KOP01TI\CX Ot, Kava,..oc Kal\Et'Tat' 0 EV Kat ":"'Tpa'T'TtC 

, A K I \ ~ , '" \ \" I Q \ A """ EV 'Tip tV'Y]oq, 'TOV ..:..avvvpLwva ota 'TTJV LCXVO'TTJ'Ta Kava,..ov Kal\Et' au'TO OE 

\ 1\ c\ ''\ J. \ '\ f} I I c\ " A , 

'TO 1TTJI\LVOV, 0 1TEpLELI\TJ<fJE 'Ta 1Tl\aC EV'Ta KTJptVa, a Ka'Ta 'TTJV 'TOV 1TVpOC 

J. \ I ''\'\'" I , '\' '\' '" 1Tpoc<fJopav 'TTJKE'TaL KaL 1TOl\l\a EKEtVip 'TpV1TTJJ.La'Ta EVa1TOI\EL1TE'Tat, I\LyOOC 

KaAE£'Tat' ollEv Kat EOrpOKMjc Erp7J EV AlXJ.LaAwncLv' 

, , \ • \ '\' '" c\ Al 
aC1TLC J.LEV TJJ.L7J I\LyoOC wc 1TvKvoJ.LJ.La'TEt, 

1 Poll. Onom. 10.189. The text is Belhe's except for ..\ty8oc (twice) and 7TvKVop.p.aT€"i, for 
which I follow Bekker, Nauck and Bentley respectively: the first Myl>oc Bekker; plA,yooe 
codd., acc. Bethe; T]p.~ Aly80c Nauck, Pearson; iJp.Du.yooc codd. The word )'ly80c is problematic. 
It appears elsewhere, meaning 'mortar' (Nic. Ther. 589, 618; also as iy&c Sol. 39,Damocr. 
ap. Gal. 14.130, Dsc. 5.89, AP 9.642 [Agath.], or ry~ Hdn.Gramm. Tech. 2.523, Hippoc. 
Mul. 1.103), or 'lye' (Eust. 1229.27; also as ..\ty8a Hsch.). The definite article does not make 
sense in the Sophoclean fragment. p.Duy8oc probably < TJP.TJALy8oc through iotacism; the 
first use of p.Du.yl>oc in this passage may be the result of ascribe's misunderstanding of the 
Sophoclean fragment. We are left with >.ty8oe, i'y3tC, iyi3TJ; only the first is suitable here. In 
the passage in Pollux, the meaning of ..\ty8oc is clearly 'mould'. 'lTVKVop.p.aT€"i Bentley, ace. 
Bekker, Pearson; 7TvK"wp,an, 'lTVKlJO" 7Tan, eodd.; mJK"wp,a T£ Bethe. 7TVKIJOp.p,aT££ agrees with 
Pollux's paraphrase and is an acceptable emendation if the phrase is taken to refer to a 
mould used in bronze casting. 

Pollux uses Ka"afJoc in one other passage (7.164), which does not necessarily refer to 
bronze casting: 7T£pl 8 8.1 o[ Toue 7TTJAll'oVC 7TAaTTOIJT€C TO" 7T"IAO" 'IT£p£811JT£C 'lTAUTTOVC£, TOVTO TO 
~VA7J.p£O" Ka"afJoc KaA£iTa£ ... "The wooden stick around which the sculptors model the 
clay is called the Kal'afJoc." 7TT}AL"OVC, 7T7)AL8ouc, 7T>.t.,oOVC, 'lTl8ouc eodd. Only 7TTJAL"ovc makes 
sense in this context, and the other forms may be explained as corruptions of 7T7)AL"ove. 

309 

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310 POLLUX ON BRONZE CASTING 

"The wood around which the image-makers2 work the clay (core) is 
called the KaVa-{Joe. Hence Strattis in (his work) Kinesias calls Sannyrion 
a KaVa-{JOC because of his thinness. But the clay that surrounds the 
modeled wax, which melts by the application of fire and leaves 
behind many holes in the clay, is called the mould (Aty8oc). Hence 
Sophocles said in (his work) The Captives: <My shield is like a mould, 
for it is full of holes'."3 

Pollux mentions a clay mould, modeled wax, and the melting of 
the wax, three major characteristics of bronze casting by the direct 
lost-wax method;4 it is clearly this process to which he refers. Briefly, 
this is the process of bronze casting in which a wax model is formed 
over a clay core and covered by a mould. Baking burns out the wax, 
destroying the model; molten metal is then poured into the hollow 
left by the burnt-out wax. Only one casting can be made from a 
model; if the casting fails, the model must be formed again. 

The problem in this passage of Pollux is that no earlier literary 
source refers to the use of wood in the casting process. In fact, a 
number of Greek bronze statues, such as the Delphi Charioteer5 and 
the Peiraeus Kouros, preserve a metal armature, which is usually 
regarded as another typical feature of a casting prepared by the direct 
lost-wax process in both ancient and modern procedure. This frame­
work supports the clay core and the surrounding wax as they are 
built up to form the figure. But Pollux and two later lexicographers' 
suggest that wood may be used for an armature. 

s KOp<nrM.8o, is commonly used to refer to the makers of terracotta figurines (PI. Tht. 
147B; Isoc. 15.2; Lucian, Lex. 22), but here it should mean those who practice bronze 
casting because it is only in this way that the passage is consistent, since clay, wax and fire 
are all mentioned in connection with the Kop<nrM8o,. The word may have been used here 
to describe the technicians involved with bronze casting because of a lack of a more specific 
term. 

a The statement in Sophocles that a mould is full of holes has been left unexplained by 
philologists and archaeologists alike. It may very well derive from the following. When 
the mould is baked, the wax model and the wax rods that form the gate system (pouring 
channels for the bronze) are burned out. This leaves the mould cavity empty to receive 
the molten bronze at the pour. 

, H. Bliimner, Technologi£ und Terminologi£ IV (Leipzig 1887) 326 n.2, cites this passage 
and remarks that today the indirect method of casting is known, as well as the direct. 
C. C. Edgar, Greek Moulds (Cairo 1903) xi, refers to Bliimner's remark and suggests that 
"the Greeks are not likely ... to have restricted themselves to the one variety of the eire 
perdue method to which the description of Pollux presumably refers." 

5 F. Chamoux, L'Aurige, FdeD IV.5 (Paris 1955) 61. 
8 Hsch. II p.407 Latte S.\'. K&IIa{Jo,: Ta ev>"a, 'JT€p~ & TO 1TpWTOII Ol1TMCTat TOil KTJPOII TdUaav' 

080 Kal ot .\€'IM'O~ Kal acapKo, K&'vafJo, .vYOVTat, "the wood around which modelers first put 

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CAROL C. MATTUSCH 311 

It could perhaps be argued that Pollux confused lost-wax casting 
with the sphyrelaton process of making bronze statuary, which was 
still known in later antiquity. Here wood probably formed the entire 
core for cold-hammered sheets of metal (Paus. 3.17.6), as it did also 
for some xoanon-like figures (Paus. 3.19.2, 9.12.4). That Pollux was not 
thinking of the relatively solid core of a spTtyrelaton statue, however, 
is shown by his reference to the analogy between Kavaf30c and a thin 
man. 

If Pollux had not mentioned wax, the passage might be explained 
as referring to the making of terracotta sculpture, where a wooden 
core or framework could have been used, since openings are left in a 
terracotta to allow gases to escape during baking.7 But even before 
firing, the contraction of the drying clay would be impeded by a 
rigid wooden core and the clay might crack. 

No other literary source confirms Pollux's reference to wood, nor 
is there yet any archaeological evidence for it. An explanation, how­
ever, may be found in modern bronze casting. Today wood can be 
used as an armature for a direct lost-wax casting. (It is not a universal 
practice, nor is it commonly mentioned in technical handbooks.) A 
core is built up over the armature and the wax is added. With the 
core completely enclosing the armature, the burning out of the wood 
results in a tubular structure that is highly resistant to pressure from 
outside. An alternative method is to hang the wax directly on the 
armature and then to pour the core. With the armature and the wax 
touching, once the wood has burned out, the bronze flows into the 
space where the armature was, giving the sculpture a form of bronze 

the wax, whence thin and fleshless people are called Kava{Jo,"; and s. v. KavaP£(v)oc K'YJpoc: <P 
XPWVTCU ot avllp£aVTo7To£Ot 7TPOC 7T~ac£v, "that which the sculptors use for modeling." Photo 
Lex. I p.139.15 Porson S.V. Kavapoc: TO 7TPWTOV TdUp.€VOv ~t$~ov .mo TWV 7T~acTwv' w£P' C; TOV 
1T7}~ov T£9M£c 7T~accovc£v, "the wood put first by the modelers, around which they place the 
day in modeling." Hesychius omits the day from the process; Photius restores the day but 
omits the wax. Neither lexicographer adds to our knowledge of the process. See also 
Stephanus, TGP (1865, rpt. Graz 1954) S.V. Kava{3oc. 

7 Prehistoric terracotta statues of about two-thirds lifesize found in Keos were built up 
partially with rings of day like pithoi, but the torso and often the shoulders were formed 
around wooden posts. These are published only in a preliminary report: J. Caskey, Hesperia 
35 (1966) 370. Large-scale terracotta sculptures of the archaic and classical periods have 
been discovered by Ronald S. Stroud and Nancy Bookidis in the Sanctuary of Demeter and 
Kore on Acrocorinth; see Hesperia 34 (1965) 1-24,37 (1968) 299-330, 38 (1969) 297-310, and 
41 (1972) 283-331. For the techniques used to produce terracotta figurines see R. A. Higgins, 
Greek Terracottas (London 1967) 1-3. 

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312 POLLUX ON BRONZE CASTING 

armature.S This modern analogy verifies Pollux's reference to a 
wooden rather than a metal armature in what is the only ancient 
description of the direct lost-wax process.9 

The central part of the passage in Pollux does not pose any prob­
lems if Kava{1oc is interpreted as an armature. Here Pollux writes that 
in Kinesias Strattis called Sannyrion a KeXva{1oc because of his thinness 
(lcxv6T7]Ta); there is other ancient authority for Sannyrion's comic 
thinness, for Aristophanes tells us that Sannyrion, Meletos and 
Kinesias are all exceedingly thin.lo Sannyrion is hardly a 'block­
figure', as Edmonds has suggested,u but rather so thin as to be 
skeletal. If Kava{1oc is indeed the term for an armature, then the word 
immediately suggests the skeletal appearance of a very thin and 
fleshless man like Sannyrion. An epigram said to have been written 
by Lucillius in the first century draws the same analogy. 

AlYE{pOV CPUAAqI 'TrEcpOp7]f.Ll.vc.p ~~ avl.f.LotD 
\ 'X ' PI '/:'8 'Tr1\7]YELC aLp7]Jl.WV V'Tr'rLOC E!,ETa 7]. 

... ~ .... T ... , \ , ..,\' KELTa£ 0 7] LTVqI EVal\£yKLoc, 7J 'Tral\£ KaJl.'TT'[}, 
• \' ' ''''''' 1(1 12 a'Trl\wcac KaTa Y7JC cWf.La TO Kavvap£vov. 

"Hit by a black poplar leaf borne along by the wind, Chairemon fell 
on his back. He lies (there) like Tityos or like a caterpillar, spreading 
out his Kavva{1wov body on the ground." The meaning of this epigram 
has been obscured by difficulties in interpreting Kava{1oc. As a result, 
Paton, although he translates the end of the last line correctly as "his 
skeleton body," gives the wrong interpretation to Kava{1oc as the 
"block around which a sculptor moulds his clay."13 Beckby wrongly 
translates Kavva{1wov as meaning <rein Modellkern so diinn."14 
Neither interpretation is possible, for a skeleton cannot be described 
as a block, and a clay core is certainly not thin. The meaning of the 
epigram is instead that Chairemon, like the armature of a statue, is so 
thin or skeletal that he can be knocked down by a leaf. 

8 For this information I am grateful to Mr Harvey Moore, a Washington, D.C., bronze 
sculptor and founder. 

• It should be pointed out, however, that ancient bronze casting cannot be reconstructed 
entirely on the basis of modern practice, primarily because of the different mould materials 
and the technologically advanced furnaces in use today. 

10 Kook, CAF I p.428 frr.149-50. 
11 J. M. Edmonds, The Fragments of Attic Comedy I (Leiden 1957) 813 [hereafter, EDMONDS]. 

11 Anth.Pal. XI 107, ed. F. Diibner II (Paris 1872) 304. 
13 The Greek Anthology, ed. W. R. Paton, IV (LCL, London/New York 1918) 123 n.l. 
14 Anthologia Graeca, ed. H. Beckby, TIl (Munich 1958) p.599. 

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CAROL C. MATTUSCH 313 

Aristotle uses Kava{3oc in contexts that are not related to bronze 
casting: twice he employs the word to explain the construction of the 
animal or human body. The first passage reads: 'EK SE Tfic KapSlac at 

cpAE{3€C 8,aT€TaJLEVat, Ka()a1T€p ot Toue Kava{3ove ypacpoVT€C €V TOLe 
, ,\ I \' " ~ I , , 15 TOLXOLC Ta yap JLEpTJ 1TEpL TaVTac Ecnv, aT€ YLYVOJLEva EK TOVTWV. 

"Frotn. the heart the blood vessels extend, just like the K&.VCXf30t that 

they draw on walls, for the (fleshy) parts surround them because they 
are formed from them." Apparently Aristotle envisions the outer 
parts of the body as surrounding the blood vessels, which form a kind 
of framework for the outer body. His parallel with Kava{3oL drawn on 
walls suggest that the blood vessels are a kind of framework for the 
body. Arthur Platt, in fact, translates Kava{30t here as "anatomical 
diagrams."16 The concept of an anatomical sketch, or of a stick-figure 
to be filled out, brings to mind the guide lines used in ancient paint­
ing,17 a practice later carried to an extreme in the meticulous nine­
teenth-century method of painting a figure by drawing the skeleton, 
covering that with the nude body, and finally painting on top of all 
this the figure's clothing. This concept is a direct two-dimensional 
parallel for the three-dimensional concept of an armature over which 
a statue is constructed. 

Aristotle compares blood vessels to Kava{3oL a second time: al JLEv 
\ ,/.. \ 'Q ., , ~ ,/..' '{3 \ ~, " yap >yI\EfJEC, WC1T€P €V TOtC ypa-r0IUVotC Kava otC, TO TOV CWJLaTOC EXovn 

cxfjJLa 1Tav-roc OVTWC WCT' €V TOLC ccpo8pa AEAE1TTVCJLEVOtC 1TavTa TOV OYKOV 
cpalV€eOaL 1TA~PTJ cpAEfJlwv (ytYV€Tat yap <> aVToc T01TOC AE1TTWV /LEV ov-rwv 
cpAEfJLa, 1Taxvv(UVTWV SE capKEc) . •• 18 "For the blood vessels, just as in 
the drawn KavafJoL, have the form of the whole body, so that in 
extremely slender people the whole volume of the body seems to be 
full of blood vessels (the same space in thin people is filled with blood 
vessels, and in fat people with flesh) ... " Here KavafJoc has been 
explained by Tricot as a sculptor's sketch.19 But again, Aristotle seems 
to see the blood vessels as a kind of framework, which becomes 

15 Arist. Gen.An. 743aZ (p.78 ed. H. J. Drossaart Lulofs). 
16 Arist. Gen.An. 743aZ, The Works of Aristotle, edd. J. A. Smith and W. D. Ross, trans. 

A. Platt, V (Oxford 196Z). Similarly, Peck translates KavafJo, as 'skeleton models' drawn on 
the wall and writes that "there seems to be no justification for interpreting KavafJo, as a 
mere outline or sketch" (p.219 n.d), meaning that they are something that reveals the 
interior structure upon which the outlines are based. 

17 See J. V. Noble, The Techniques of Painted Attic Pottery (New York 1965) 50 figs. 191-93. 
For large.scale guide lines see M. Mellink, AJA 75 (1971) Z5Z. 

18 Arist. HA 515a34if (I p.186 ed. A. L. Peck). 
19 Arist. HA S1Sa3S (I p.179 ed. J. Tricot). 

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314 POLLUX ON BRONZE CASTING 

visible in a thin person whose interior form is not well concealed by 
flesh. 

In another passage, Aristotle is more explicit about the relation of 
flesh to blood vessels: ... TtcC cfoMfJac 1TEP~ &c Jx: 1TEP~ {J1Toypacfo~v TO 
dJfta 1TEptKEtTat TO TWV capKwv,20 H ••• the blood vessels, around which 
lies the flesh of the body, as around a framework ({J1Toypacfo-IJ)." The 
analogy with a framework is still with a drawing or a sketch,21 but the 
passage leaves no doubt that Aristotle sees blood vessels as a frame­
work or armature around which the structure of the body is built up. 
Aristotle refers to the same kind of framework in all of these passages, 
whether it is a flat sketch on a wall or a real framework like the 
armature that is used in bronze casting. It is for this reason that 
Aristotle is able to draw parallels between the fine lines of blood 
vessels in a solid body and a drawing on a flat surface. 

Aristotle uses one more analogy to explain the way in which the 
body is built up over a framework, but this time it is a framework of 
bones rather than of blood vessels. The parallel is drawn with the 
work of clay modelers. WC1TEP ytcp Ol1TAChTOVTEC €K 1T7]AOV 'qJov 7f Tt.VOC 
"\ \ .... , . ./........ ... , "()'" 
alV\7'JC vypac CVCTaCEWC v.,.tCTaCt TWV CTEpEWV Tt CWftaTWV, Et.1 OVTW 

\' ""'./..' ~ ~, ,... ... 
1TEpt1Tl\aTTOVCt. TOV aVTOV TP01TOV 7'J .,.VCtC OE07'J/LLOVpY7'JKEV EK TWV capKWV 

, r'" ...,,, .. \ \., ,...... , ~ , 22 
TO <:.<P0V. TOtC /LEV OVV alV\OtC V1TEC'TW OCTa TOtC CapKWOf!Ct /Loptmc ••• 

<]ust as the modelers (making) an animal from clay or some other 
pliant substance place under (it) some solid body and then mould 
around it, in the same way nature fabricates an animal out of flesh, 
for with one exception [the stomach] bones are under the fleshy 
parts ... " Although the general picture of pliant flesh being moulded 
around a firm support of bones is clear, it is not easy to discover the 
process with which Aristotle is drawing an analogy. His mention of 
clay seems to suggest the manufacture of terracotta figurines. but, so 
far as we know, ancient terracottas did not contain truly skeleton-like 
supports.23 In bronze casting. as we have seen, a clay core is modeled 

10 Arist. Gen. An. 764b29ff (p.137 ed. Drossaart Lulofs). 
11 woyfX14n1 must here mean a sketch or diagram of the sort that illustrated the tactics of 

Asclepiodotus (11.7). Similar uses of the word appear in Arist. Mete. 346a32, Int. 2Za22, 
HA 510a30; and in PI. Resp. 5040,5480, Leg. 7370. 

n Arist. Part.An. 654bz9ff (pAl ed. B. Langkavel). 
18 A terracotta figurine was made from a mould (matrix) taken from a solid clay model 

(patrix). Since this solid model was removed from the terracotta mould after the impres­
sion was made, it could not have served as a support for it. Monumental terracottas are 
also hollow, and were apparently not made over any form of core except for the early 

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CAROL C. MATTUSCH 315 

around an armature which, if it is not wood, may remain in the center 
of the bronze statue. But Aristotle's language does not imply that the 
animal made of clay or some other plastic material is a preliminary 
step rather than a final product, and a skeleton-like armature is not 
likely to be described as a CTEpdv cWf'a. Perhaps Aristotle's analogy 
with the human skeleton simply means that a figure made of a plastic 
substance must have a firm basis, just as a body has its skeleton for 
stability. Once the passage is seen in this way, both the model for a 
terracotta and the armature for a bronze are possible cTEpEa ccfJILaTa, 

since each functions as a firm basis, and as such is generally comparable 
to the skeletal basis of the animal body. 

As we have seen, a similar interpretation also fits the two passages 
in which Aristotle actually mentions the word Kava{3oc. A human 
body is three-dimensional, whereas the drawings from which Aristotle 
draws his parallels are two-dimensional: a framework can be planar 
or solid without losing the quality of being a framework. 

A derivative of K&va{3oc used by Aristophanes in association with 
ancient bronze working can be explained once K&va{3oc is interpreted 
as an armature. In Aristophanes fr.699 Kava{3EVJ.L&TWV is used meta­
phorically as a source of jokes or clever remarks. 

~ " ,,/, , , I ,,~ , 
P7JJ.LaTa TE K0J.L.,..a Kat 7Ta',)lVt E7T'OHKvvva, 

I " " .I.. I " {3 I 24 7TaVT a7T aKpo.,..vCtwV Ka7TO Kava EVJ.LaTWV 

"To show off clever words and tricks, direct from the bellows mouth 
and armature." Kava{3WJ.L&TwV has been translated as 'foundry 
mould',25 used here in conjunction with aKp0cfvclwv 'bellows nozzle'. 
Beyond their connection with the foundry, the bellows and the 
mould (the latter commonly called Aly8oc) are vaguely related in that 
bellows fan the fire that heats the mould. Edmonds, however, in 
suggesting that Kava{3EVJ.Ld.TWV means 'mould', attributes to a word 
probably derived from K&va{3oc a meaning that is not related to the 
common significance of K&va{3oc as a skeletal framework or armature. 
The passage may be interpreted as meaning witticisms which are as 
unspoiled as the air blowing from the bellows nozzle26 and as un­
examples from Keos (see n.7 supra). Nancy Bookidis has pointed out to me a rare example 
of a cored terracotta sculpture from Corinth: a male left shoulder was built around a 
bundle of straw; it fired badly, which may be why the procedure was not repeated. 

24 CAF I p.562 fr.699 . . 6.7ToKlvva{J£v,roTwV codd.; Kava{JruJL&:rwv Kock. See LSJ, IClva{J£VJLa. 

26 Edmonds I 767. 
26 So Edmonds I 767. 

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316 POLLUX ON BRONZE CASTING 

trammeled as the armature upon which a statue has yet to be formed. 
On the other hand, Kop.t/Ja can have the slightly derogatory connota­
tion of subtle words. Hesychius defines K,vafl€vp.a:ra as'TTavovpy€VP.aTa 
<knavish' or <evil tricks', while Photius defines K£vaflwp.aTwv as 
'TToV7Jpevp.aTwv <villainies'. The passage may thus be derogatory, 
referring to words and tricks that are overly subtle and that resemble 
the air blown from the bellows and need the support of an armature.27 

Either of these interpretations of the fragment would accord with the 
meaning of Kavafloc as framework or armature as found in other 
ancient authors.28 

In all of the passages examined Kavafloc can be interpreted as 
<framework'. This framework can be two-dimensional, as {J'TTo'Ypacp1}, 
or it can be three-dimensional, as a skeleton or as an armature for a 
bronze. In either case the basic concept is the same. So understood, 
this meaning of Kavafloc clarifies Pollux's account of bronze casting, 
our only ancient full description of the direct lost-wax technique.29 

UNIVERSITY OF NORTH CAROLINA, CHAPEL HILL 

May, 1975 

27 I am indebted to Professor Ronald S. Stroudf or this idea. 
28 Although much more needs to be known about ancient iron- and bronze-working, it 

is clear that the tools and procedures necessary for working iron are distinct from those 
used in a bronze foundry (see Bliimner, op.dt. [supra n.4] IV 278-90, 340-74). Thus it is not 
difficult to imagine a craftsman who specialized in preparing iron Kava{3o, for the founders 
of such bronzes as the Peiraeus Kouros and the Delphi Charioteer. Such a profession may 
be intended by the word Kava{3,O(V)pyoc (LSJ 'maker of Ka.va{3o,') applied to a man named 
Kittos, upon whom bad luck is wished in a fourth-century B.C. Attic .ufixio (IG rna 87). 

L. Robert, however, has interpreted Kava{3,ovpyoc as 'hemp-worker' (Noms indigenes dans 
L' Asie-Mineurf greco-rotMine I [Paris 1963] 146); cf. T. Drew-Bear, Glona 50 (1972) 78-79. 

II I am grateful to Professors Henry R. Immerwahr, James R. McCredie, David 
Sider and Mr Richard S. Mason, for their helpful suggestions concerning the content 
and organization of this paper. 

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