⁂ For Corrigenda et Addenda to the whole work see end of Vol. II.
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FOOTNOTES
[1] To these must now be added Diehl’s beautifully illustrated work, Justinien et la civilization Byzantine au VIe siècle, Paris, 1901. The leading motive is that of art, and it is replete with interesting details, but the conception is too narrow to allow of its fully representing the age to a modern reader.
[2] Radium was unknown in 1901 when the above was written.
[3] In presenting this history to the modern reader I shall not imitate the example of those mediaeval stage-managers, who, in order to indicate the scenery of the play, were content to exhibit a placard such as “This is a street,” “This is a wood,” etc. On the contrary, on each occasion that the scene shifts in this drama of real life, I shall describe the locality of the events at a length proportionate to their importance.
[4] Schliemann found neolithic remains at Hissarlik, not far off (Ilios, p. 236, 1880).
[5] In the sixteenth century, as we are told by Gyllius (Top. CP., iv, 11), the Greeks of Stamboul were utterly oblivious of the history of their country and of the suggestiveness of the remains which lay around them. But an awakening has now taken place and the modern Greeks are among the most ardent in the pursuit of archaeological knowledge. They have even revived the language of Attica for literary purposes, and it may be said that an Athenian of the age of Pericles could read with facility the works now issued from the Greek press of Athens or of Constantinople—a unique example, I should think, in the history of philology. Through Paspates (Βυζαντινὰ Ανάκτορα, pp. 95, 140), we are made aware of the difficulties the topographical student has to encounter in the Ottoman capital, where an intruding Giaour is sure to be assailed in the more sequestered Turkish quarters with abuse and missiles on the part of men, women, and children.
[6] Alluded to by both Homer and Hesiod (Odyss., xii, 69; Theog., 992). It was one of those unknown countries which, as Plutarch remarks (Theseus, 1), were looked on as a fitting scene for mythical events.
[7] Pindar, Pythia, iv, 362; P. Mela, i, 19, etc.