Όδυσσεύς (fr. 34)

161

1 των ζωγράφων See introduction to Ζωγράφοι ή Γεωγράφοι. Note
the emphatic position.
χειρουργία A prosaic word (like other forms of the compound), used
elsewhere in poetry at Ar. Lys. 67359 (metaphorical). The abstract is used for
the concrete; cf. Gildersleeve 1900-1911 §41.
2 έν τοΐς πίναζιν Edmonds translates ‘in the picture-gallery’60; a sec-
ond possibility is to take έν τοΐς πίναξιν closely with χειρουργία and translate
‘handiwork on boards.’ But examples such as Ar. Nu. 1065 ούκ των λύχνων; V.
789 έν τοΐς ίχθύσιν (cf. MacDowell 1971 ad loc.\, Eup. fr. 327 (further examples
at Agora III, pp. 193-205); and Poll. 9.47 make it clear that the idiom is used
exclusively for places where an item is sold. For the πίνακες themselves, see
above on fr. 14; cf. Wilkins 2000. 341.
3 αύτη δέ I. e. άλιευτική (or άλιέων) χειρουργία (or τέχνη). Note the
explicit contrast with των ζωγράφων μέν. Although strict grammatical par-
allelism in μέν/δέ clauses is usual, it is not necessary; cf. X. An. 1.10.12 πεζοί
μέν ... των δέ ιππέων; Denniston 1954. 369 n. 1.
έκ λοπάδος A broad, shallow, lidded cooking dish with a broad flaring
rim, which Agora XII, p. 227 aptly characterizes as ‘a flattened version of the
lidded chytra’; see Agora XII, pp. 227-8, pl. 95; Sparkes 1962. 130-1; Olson-
Sens 2000 on Archestr. fr. 24.7 (SH154); Dedousi 2006 on Men. Sam. 365. Here,
as often, the same dish is used for cooking and serving. As often with the
names of vessels, the λοπάς is named for a marine animal (here the limpet);
e.g. έλέφας (Damox. fr. 1.1); έχϊνος (Ar. V. 1436); λεπαστή (Antiph. fr. 47.3).
In regard to this phenomenon, Agora XII, p. 3 n.4 suggests that ‘the comic
dramatists ... were perhaps satirizing a vogue, for few of the names seem to
have had a long life’. But this is not true in the case of λοπάς, as with many
other similarly named vessels, since the name is used for at least a century
(e.g. Ar. Eq. 1034; Men. Sam. 365). An apparent variant of the name, λοπάδη,
occurs at Agora XXI, B 14.
4 άπό τού ταγήνου Apparently a heavy, flat-bottomed griddle with a
low, vertical rim, although few examples survive; see Agora XII, p. 228, pl. 96;
Sparkes 1962. 129; Olson-Sens 2000 on Archestr. fr. 11.8 (SH 140). Normally

59 In Dunbar’s concordance to Aristophanes, for Σ. 672 read Λ. 673.
60 His note ad loc. makes it clear that he is thinking of a museum, not a gallery where
paintings for sale are displayed. Edmonds’ citation of Polemon’s Περί των έν τοΐς
Προπυλαίοις πινάκων to support his interpretation instead reinforces the fact
that this area of the Propylaia had no separate name in antiquity and seems never
have been referred to as anything other than simply the Propylaia; Pinakotheke,
the modern name for this area of the Propylaia, has no ancient basis.