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The sixth-century statue of Apollo on Delos held the three Graces in one of his hands, and they were equipped, one with a lyre, one with a panpipe, and one with auloi.129 These three instruments are said to have accompanied the ceremonial bringing of sacred objects to Delos from the Hyperboreans; and in the Ephesian cult of Artemis, too, the panpipe may have become established in the ritual.130 In Athenian life, however, the panpipe seems to have played almost no part. It is seldom represented in Attic vase-painting, and never (so far as I know) in scenes from real life. It is more popular with the fourth-century Italian painters, but usually in the hands of Pan, Silenus, etc. In the later poets and novelists it is often brought in as a picturesque feature of bucolic and other rustic settings. |
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The number of tubes shown in art varies between three and nine in the Archaic period, four and ten in the Classical period, and four and eighteen in the Hellenistic period. Two Greek sources mention a panpipe with nine 'voices', while seven is the conventional number in Latin verse.131 The Classical Greek panpipe had a rectangular shape, all the tubes being cut to the same length and then blocked with wax to the depth necessary to give the required notes.132 This is also the shape represented in the early Cycladic figurine and in the Syrian relief mentioned above. The Hallstatt and Etruscan representations, on the other hand, show the tubes graded in length, and in the later Hellenistic period this became the usual form of the Greek as of the Roman instrument.133 |
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The pipes are regularly described as being stuck together with wax. The assembly was reinforced by a cloth binding or a wooden frame or spars.134 Sometimes, at least in the Hellenistic and Roman ages, panpipes were made from a solid block of wood, ivory, or other |
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129 Ps.-Plut. De mus. 1136a; cf. Frazer on Paus. 9. 35. 3. |
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130 Ps.-Plut. De mus. 1136 ab; Call. Dian. 243. |
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131 Ps.-Theoc. Id. 8. 18, cf. Gow ad loc.; Longus, Daphnis and Chloe 1. 15; Verg. Ecl. 2.36, Ov. Met. 2.682, Calp. 4.45. |
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132 See PI. 29; ps.-Arist. Pr. 19. 23; ps.-Theoc. Id. 8. 19 with schol.; A. Furtwängler, Kleine Schriften, i (Munich, 1912), 157f.; G. Haas, Die Syrinx in der griechischen Bildkunst (Vienna, 1985). |
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133 Ps.-Theoc. Syrinx, Poll. 4.69, Achilles Tatius 8. 6. 4; Verg. Ecl. 2. 36, Or. Met. 1. 711, etc.; A. S. F. Gow, Journ. Phil. 33 (1913-14), 135f. and Theocritus (Cambridge, 1952), ii. 554. There is one isolated example of the graded type from the Classical period (Louvre CA 1959, c. 460 BC; Haas, op. cit. fig. 94). For examples of other, irregular shapes see Reinach in Dar.-Sag. iv. 1598; Haas, op. cit. The name pteron 'wing' given to a blown instrument by Anon. Bellerm. 17 must refer to an asymmetrical panpipe, the shape of which Poll. 4. 69 likens to a bird's wing. |
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134 Poll. 4. 69, Hsch. S.V. plastinx; Reinach, loc. cit. 1596f.; Paquette, 63 f. |
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