Liturgy, and the joy of antidosis

A lot of modern church terms come direct from the civic administration of ancient Athens. The classic example is the ecclesia, which was the world's first democratic parliament, but today means a collection of priests (and the root word means gathering). Likewise, an episcopos was a public inspector in ancient Athens. These days episcopal means relating to oversight by a bishop.

Here's another one for you: liturgy.

Liturgy to us means public worship. Liturgy to the ancient Greeks meant a public service, to do something or make a donation, for the public good.

The first liturgy probably happened when a few wealthy men donated to the state out of the goodness of their hearts, but by classical times the liturgy had become a formal institution. Every year the archons--those are the city magistrates--would decide what liturgies needed to be performed--in effect, they declared a public works program--and then they waited for volunteers to take on the jobs. In return for performing a liturgy, the volunteer would receive great honour and kudos.

There were certain standard liturgies, and some were more popular than others.

The wealthy and powerful probably queued up for the privilege of being a choregos. That meant funding and putting on a play at one of the great arts festivals. All the famous Greek tragedies were funded as a liturgy. The honour of being choregos was so great that I wouldn't be surprised if sometimes money changed hands, or unscrupulous deals were done to win the job.

Pericles got a choregos gig very early in his career. He hired Aeschylus, the inventor of tragedy, to write and put on a play called The Persians. Pericles and Aeschylus between them probably designed the play to score a political point about the superiority of the Greeks. Interestingly, The Persians is the oldest play to survive to modern times, so in a very real sense it's the beginning of drama.

Likewise, sports fanatics very happily volunteered to manage the athletics teams. That liturgy was called the gymnasiarchy and was done at the gymnasium.

The liturgy called the trierarchy was of the greatest importance, because it meant to maintain a trireme in the Athenian Navy. The wealthy man who took this on became the ship's captain for the year, and was entitled to call himself Trierarch. Who wouldn't want to be captain of Salaminia or Paralos, the two most famous warships of the ancient world? The modern equivalent would be if, say, Bill Gates paid for a nuclear powered aircraft carrier out of his own pocket, and then became it's captain in return.

The liturgy of the trierarch gets a mention in passing in my second book. Nico is being wafted to a vital mission aboard Salaminia, and he says this to the captain:
"Have you been a sailor all your life, sir?"

The Trierarch laughed. "Me? A sailor? Poseidon protect me, no."

"Then, why are you...that is, what–"

"What am I doing here? I paid for the ship, young man; every board, every rope, every fitting, every plank. It's my gift to the state, because I am wealthy, part of my obligations under the liturgy, the convention that says wealthy men must spend their wealth to the benefit of the state. So I get to call myself Trierarch, and strut about the deck as if I know what I'm doing. The truth is, the best sailor on this ship is him," the Trierarch pointed to the helmsman; a grizzled, burnt, unsmiling man. "I'm the one who gets the glory of command; he's the one who gives the orders when it really matters."

The Trierarch wandered off to do some more strutting and glorying.
But not everyone wanted to do a liturgy. These things cost a fortune and not everyone is public-spirited. After the popular liturgies were taken there'd always be leftovers. What happened then was, the archons assigned them to the richest men who hadn't volunteered.

Usually the victim just sighed and paid the money. To this extent, the liturgy was like a wealth tax.

But the law gave him another option. The victim could name another man wealthier than himself to do the job, someone who didn't already have a liturgy assigned.

A man who's been assigned a liturgy--let's call him Ariston--could point out a fellow citizen--let's call him Braxas--and say, "Braxas over there has more money than me, so he should fund the public feasts."

If Braxas really did have more money, then the law required him to take on the liturgy, and Ariston didn't have to pay a thing. So the liturgy was like a wealth tax with some elements of a hot potato.

But if Braxas refused, and said Ariston was the richer, then Ariston could either give up and pay the liturgy, or else he could invoke the rule of antidosis. Antidosis means "to give in exchange". This rule said that if Ariston still maintained that Braxas had more money, and if Braxas insisted that he didn't, then the two men were required by law to swap everything they owned. Every. Single. Thing. They. Owned.

Ariston was then required to pay for the liturgy, but since he now, by his own insistence, has more money than he did before, he's hardly in a position to complain.

Antidosis meant that Ariston would have to be dead sure of his facts, or he'd end up with less wealth and still have to pay the liturgy anyway. Conversely, Braxas would have to be honest about his holdings, or he might avoid the liturgy at the cost of losing even more wealth.

I imagine that when antidosis got invoked, it must have been a tense situation, and caused both parties to eye the other's property in minute detail. The antidosis rule effectively outsourced to private citizens the much hated problem of tax auditing, in such a way that you knew they'd do it with great accuracy.

You can imagine how much fun everyone else would have had watching one of these cases in process. We only know of antidosis being invoked a few times, and every time the man on the Braxas side backed down. But there surely must have been more cases than we know of.

I'd love to see the liturgy and the rule of antidosis in use today. It's a tax system that doesn't cost the state a cent (or a drachma) to administer, because the citizens themselves do all the enforcement. Even amongst all the genius ideas that the Athenians came up with, this surely must be one of their greatest.


Dwine is my word of the day

Did you know that dwine is a verb closely related to dwindle? It means to pine, or waste away.

Dwine is totally going into my next book. I can't wait to see my editor's reaction.

The Altar of the Twelve Gods

Archaeologists working in Athens think they've found the Altar of the Twelve Gods. If so, there are going to be some very excited antiquarians. The problem is, the location is smack underneath the train line, and the train people are less than keen about digging up the line and thus halting the trains while the archaeologists do their thing.

The twelve gods we're talking about here are Zeus, Hera, Poseidon, Demeter, Hestia, Apollo, Artemis, Hephaestus, Athena, Ares, Aphrodite and Hermes.

In ancient Athens, in the middle of the agora, was an altar dedicated to the whole crew. The Altar of the Twelve Gods was considered the centre of the city. Here's Nico describing the agora. I wrote this in my first book:
The open space in the middle was covered in a jumble of stalls, each little more than a rough plank resting upon a barrel at each end, with perhaps an awning to keep the vendors and their goods in the shade. I walked past the many stalls selling produce from the farms. These stalls were covered with jars and baskets of olives, olive oil, figs and grapes, corn, goat’s cheese and, rarely, smoked goat meat. Behind every stall stood a farmer, his skin leathery and dark from years working in the sun, his hands calloused, wearing rough clothes and a floppy sheepskin hat, shouting his products or dealing with a customer. These weren’t men to care much of politics; it was all they could do to scratch a living from the stony soil.
Barely visible, fenced off from the chaos, was the Altar of the Twelve Gods. The altar was the very center of Athens, the point from which all distances are measured. It was the only place in Athens dedicated to all twelve Gods, and so especially sacred: a place of sanctuary for anyone who could make it inside the fence before their pursuers reached them. The altar stone was made of marble, flat on top, and somewhat weathered though it had been set in place only sixty years before.
When I wrote that, no one knew what the for real altar looked like, so I made something up. If the archaeologists win the battle to dig the location, this promises to be the first time a later discovery shows something I wrote to be wrong, or, if I'm incredibly lucky, right.

Two interesting reviews of The Pericles Commission

I don't post all the reviews of The Pericles Commission on this blog, because there are a lot of them (surprisingly) and I don't want to bore you all to death with relentless self-promotion.  (You may think it hard to believe, but the marketing side of this business I personally find somewhat cringeworthy.)   I do forward every review I come across to my literary agent and publishers, to prove what a terrific guy I am and give them more reasons to send me another contract. 

But I can't resist showing you these two.  The first comes from Williamsburg Regional Library in the US.  I've supplied the link in that last sentence and you can pop over to read it if you like.  The lines I particularly loved were these:
I have to admit, having studied Greek and Latin at college, I grabbed this book off the shelf the second I saw it. But I also have to admit, my hopes were not high. I was convinced that I would spend the whole time complaining and finding fault. Well, Gary Corby, you have my apologies. The book is well-researched, and the author seamlessly weaves in facts about Athens—the history, culture, and politics—without becoming tedious.
That, to me, is a victory song.  There could be no greater compliment for an historical writer.

The second review comes from the Canberra Times.  There's no online version so here's a scan, and thanks to one of my wife's sharp-eyed friends who spotted it and kept a copy.  What interests me about this one is they asked an historian and archaeologist to do the review.  Clearly a very literary archaeologist.



Your factoid of the day:  Canberra is the capital of Australia.  When the country became independent, Sydney and Melbourne squabbled endlessly over which city should be the capital.  So someone got out a map, drew a line between Sydney and Melbourne, and marked off the exact midpoint.  And that's where they built Canberra.

The mysterious coin

If you have the Australian edition of The Pericles Commission, then you've got a bonus mystery on the cover.  

Here's a detail:


This is the coin that peeps over the bottom edge.  The coin isn't an artist's impression; it's a for-real coin.  The clever designers at Penguin acquired the picture from an image library, and then layered it over the artist's very cool textured background.

When I saw this I emailed Belinda the Publisher to say, "You realize this isn't an Athenian coin, don't you?"  I knew that because all ancient Athenian coins were stamped with an owl, a minerva owl in fact, which is the sacred bird of the goddess Athena.  If you're interested, I once wrote an article about Athenian coins, where you'll see an example.

Neither Penguin nor I were too fussed about it.  The lovely gold coin looked great on the cover and that's what mattered, but out of sheer curiousity, Belinda the Publisher asked in that case, where did the coin come from?

It was a terrific question, because there are a lot of odd things about that coin.  To start with, the face is staring straight out.  Almost all ancient coins showed faces in profile.  Secondly, it's a gold coin, and gold coins were quite unusual; even Athens at her height stuck to silver.  Thirdly, the image library labeled it as a head of Zeus, dated to 360BC.  But there's no way that's a picture of Zeus; and that's an amazingly detailed stamp for 360BC.

I guessed it might be a picture of Helios, a sun god, as you can tell from the name.  Helios didn't get much air time in the classical period, but he was more popular in Hellenistic times.

The coin was unquestionably from a Greek speaking locale, because around the bottom edge, although you can't see it on the cover, are six Greek letters:

Α Υ Ε ... that's Alpha - Upsilon - Epsilon on the left; and

Ι Ο Σ ... that's Iota - Omicron - Sigma on the right.

I can't show you the entire image because I don't own the copyright, but those are the letters.  And those had to be mint maker marks.

Back then, all the Greek cities minted their own coins, and all the mints stamped the first three letters of their city name on their coins.  All Athenian coins, for example, had Α Θ Ε: the first three letters of the name Athens.  You can read off the origin of a coin by matching the three letters on the coin to the first three letters of a known Greek city.

But this coin had two mint names.  It was bizarre.  I went looking for cities whose names began ΑΥΕ, or ΙΟΣ.  To add to the mystery, I couldn't find a single city that might conceivably match such an obviously expensive gold coin.

What in Hades was this thing?

It probably wasn't from the Greek mainland.  I guessed, based on the style of the detailed stamp, the gold, the outward facing, and the non-Zeus-maybe-Helios, that this coin was from the late Hellenistic period, probably from Egypt or somewhere in what is now the Middle East.  The Late Hellenistic period is when Rome ruled, but Greek culture held sway almost everywhere, and Egypt and surrounds at that time was rich enough to be minting with gold.

That was my guess.  I sent the image off for an expert opinion, to an acquaintance who is a for-real expert on the economics of the ancient world.  She had better remain anonymous, because this is an unofficial opinion, but she came back with interesting news:

The coin is a fake!

The Greek letters made no sense to her, either, and didn't match any known ancient mint.  The face doesn't match any known god; it's definitely not Zeus (I got that right, at least!), and it's probably not Helios.

So I checked the database of the image library.  The original picture was taken from a collection, presumably private, 20 or 30 years ago.  Sitting in someone's collection, somewhere, is what is probably a forged coin.

That's where it stands.  We left the coin on the cover of course, because having a forged coin on the cover of a crime novel is just too cool.