Philip II and Alexander the Great: Father and Son ... - Historia Antigua

238 NOTES TO PAGES 16–17
27. On this see Wannagat 2001: 54–55 and especially Schmidt 2007:
106. Compare too the estimate of Le Bohec 1993 for the Argeads with the
age groups as reconstructed by Davidson 2007: 78–82, 482.
28. Cf. Mau 1897: 30–32 with more sources and other examples from
archaic to classical times. The beard as a symbolic token of royalty in the
Indo-European background is analyzed by Miller 2007: 314–15.
29. E.g., Alza la barba are the words that Beatrice ironically uses to address
Dante in the Divine Comedy in order to remind him that he was already
an adult man and should behave as such ( Divina Comedia 2.31.68).
30. Hölscher 1971: 25–31; cf. too Zanker 1996: 248–50. Not without
interest is Alföldi 1955: 15–25, 53 on hairstyle, facial outlook, and the
nature of autocratic power.
31. On the possible Indo-European origins see Miller 1998.
32. Achilles with Briseis, with Lycomedes, and with Chiron: see
Hölscher 1971: 48–49. For the three different representations of the hero
(bearded, beardless, and athletic) compare the illustrations in King
1987, although the Homeric Achilles must have had little more than a
trace of down on his face: see Mau 1897: 30. Pace Stewart 1993: 80, the
Achilles’ outlook on the Attic red-fi gured amphora from Vulci (c. 440)
might hardly have been the best model for the young prince at Pella. In
any event, conjuring up the past meant again selective reconstruction
and even invention of its forms: the Macedonian case is explored by
Cohen 1995.
33. Cf. Stewart 1993: 65–66 for Pericles and also Zanker 1996: 108,
who mentions the beardless statues of Alcibiades. On the erotic associations
of this case, see Dover 1978: 86. As far as I know, the contrast
between Alcibiades and his uncle and tutor Pericles, of the older generation,
has not been duly highlighted, and the comparison between the
pairing Philip-Alexander and Pericles-Alcibiades may be illuminating.
34. Note, for instance, the group of portraits of youths and young men
from the Antonine period, mostly found in Greece, whose long, fl owing
hair and heroic expression have been compared to Alexander’s portraiture.
However, the wearing of a short beard introduces an important differentiation,
which refers to a broader classical source of inspiration. On
this I agree with Zanker 1996: 248–49, as I also agree with Smith 1999:
457 that the image of the long-haired, youthful Christ might be more that
of Christ the king than that of Christ the devotee of learning.
35. Phaedrus Fabulae 5.1: cf. Zanker 1995: 81–82; Smith 1999: 456;
Palagia 2006: 291. Schmidt 2007: 106, 109–12, moreover, has seen the
association of the playwrights’ image with the effeminate appearance of
the unbearded actors in a polis society of bearded men.
36. Flower 1994: 108–11 argues in favor of a historical core of truth in
Theopompus’ description of the homosexual mores at the Macedonian