according to various versions of the legend, he either rebuilt a city on the site of Troy, or settled at Cyrene, or became the founder of Patavium.
ANTEQUERA (the ancient Anticaria), a town of southern Spain, in the province of Málaga; on the Bobadilla-Granada railway. Pop. (1900) 31,609. Antequera overlooks the fertile valley bounded on the S. by the Sierra de los Torcales, and on the N. by the river Guadalhorce. It occupies a commanding position, while the remains of its walls, and of a fine Moorish castle on a rock that overhangs the town, show how admirably its natural defences were supplemented by art. Besides several interesting churches and palaces, it contains a fine arch, erected in 1595 in honour of Philip II., and partly constructed of inscribed Roman masonry. In the eastern suburbs there is one of the largest grave-mounds in Spain, said to be of prehistoric date, and with subterranean chambers excavated to a depth of 65 ft. The Peña de los Enamorados, or “Lovers’ Peak,” is a conspicuous crag which owes its name to the romantic legend adapted by Robert Southey (1774–1843) in his Laila and Manuel. Woollen fabrics are manufactured, and the sugar industry established in 1890 employs several thousand hands; but the majority of the inhabitants are occupied by the trade in grain, fruit, wine and oil. Marble is quarried; and at El Torcal, 6 m. south, there is a very curious labyrinth of red marble rocks. Antequera was captured from the Moors in 1410, and became until 1492 one of the most important outposts of the Christian power in Spain.
ANTEROS, pope for some weeks at the end of the year 235. He died on the 3rd of January 236. His original epitaph was discovered in the Catacombs.
ANTHELION (late Gr. ἀνθήλιος, opposite the sun), the luminous ring or halo sometimes seen in Alpine or polar regions surrounding the shadow of the head of an observer cast upon a bank of cloud or mist. The halo diminishes in brightness from the centre outwards, and is probably due to the diffraction of light. Under favourable conditions four concentric rings may be seen round the shadow of the observer’s head, the outermost, which seldom appears, having an angular radius of 40°.
ANTHEM, derived from the Gr. ἀντίφωνα, through the Saxon antefn, a word which originally had the same meaning as antiphony (q.v.). It is now, however, generally restricted to a form of church music, particularly in the service of the Church of England, in which it is appointed by the rubrics to follow the third collect at both morning and evening prayer, “in choirs and places where they sing.” It is just as usual in this place to have an ordinary hymn as an anthem, which is a more elaborate composition than the congregational hymns. Several anthems are included in the English coronation service. The words are selected from Holy Scripture or in some cases from the Liturgy, and the music is generally more elaborate and varied than that of psalm or hymn tunes. Anthems may be written for solo voices only, for the full choir, or for both, and according to this distinction are called respectively Verse, Full, and Full with Verse. Though the anthem of the Church of England is analogous to the motet of the Roman Catholic and Lutheran Churches, both being written for a trained choir and not for the congregation, it is as a musical form essentially English in its origin and development. The English school of musicians has from the first devoted its chief attention to this form, and scarcely a composer of any note can be named who has not written several good anthems. Tallis, Tye, Byrd, and Farrant in the 16th century; Orlando Gibbons, Blow, and Purcell in the 17th, and Croft, Boyce, James Kent, James Nares, Benjamin Cooke, and Samuel Arnold in the 18th were famous composers of anthems, and in more recent times the names are too numerous to mention.
ANTHEMION (from the Gr. ἀνθέμιον, a flower), the conventional design of flower or leaf forms which was largely employed by the Greeks to decorate (1) the fronts of ante-fixae, (2) the upper portion of the stele or vertical tombstones, (3) the necking of the Ionic columns of the Erechtheum and its continuation as a decorative frieze on the walls of the same, and (4) the cymatium of a cornice. Though generally known as the honeysuckle ornament, from its resemblance to that flower, its origin will be found in the flower of the acanthus plant.
ANTHEMIUS, Greek mathematician and architect, who produced, under the patronage of Justinian (A.D. 532), the original and daring plans for the church of St Sophia in Constantinople, which strikingly displayed at once his knowledge and his ignorance. He was one of five brothers—the sons of Stephanus, a physician of Tralles—who were all more or less eminent in their respective departments. Dioscorus followed his father’s profession in his native place; Alexander became at Rome one of the most celebrated medical men of his time; Olympius was deeply versed in Roman jurisprudence; and Metrodorus was one of the distinguished grammarians of the great Eastern capital. It is related of Anthemius that, having a quarrel with his next-door neighbour Zeno, he annoyed him in two ways. First, he made a number of leathern tubes the ends of which he contrived to fix among the joists and flooring of a fine upper-room in which Zeno entertained his friends, and then subjected it to a miniature earthquake by sending steam through the tubes. Secondly, he simulated thunder and lightning, the latter by flashing in Zeno’s eyes an intolerable light from a slightly hollowed mirror. Certain it is that he wrote a treatise on burning-glasses. A fragment of this was published under the title Περὶ παραδόξων μηχανημάτων by L. Dupuy in 1777, and also appeared in 1786 in the forty-second volume of the Hist. de l’Acad. des Inscr.; A. Westermann gave a revised edition of it in his Παραδοξογράφοι (Scriptores rerum mirabilium Graeci), 1839. In the course of constructions for surfaces to reflect to one and the same point (1) all rays in whatever direction passing through another point, (2) a set of parallel rays, Anthemius assumes a property of an ellipse not found in Apollonius (the equality of the angles subtended at a focus by two tangents drawn from a point), and (having given the focus and a double ordinate) he uses the focus and directrix to obtain any number of points on a parabola—the first instance on record of the practical use of the directrix.
(T. L. H.)
ANTHESTERIA, one of the four Athenian festivals in honour of Dionysus, held annually for three days (11th–13th) in the month of Anthesterion (February–March). The object of the festival was to celebrate the maturing of the wine stored at the previous vintage, and the beginning of spring. On the first day, called Pithoigia (opening of the casks), libations were offered from the newly opened casks to the god of wine, all the household, including servants and slaves, joining in the festivities. The rooms and the drinking vessels in them were adorned with spring flowers, as were also the children over three years of age. The second day, named Choës (feast of beakers), was a time of merrymaking. The people dressed themselves gaily, some in the disguise of the mythical personages in the suite of Dionysus, and paid a round of visits to their acquaintances. Drinking clubs met to drink off matches, the winner being he who drained his cup most rapidly. Others poured libations on the tombs of deceased relatives. On the part of the state this day was the occasion of a peculiarly solemn and secret ceremony in one of the sanctuaries of Dionysus in the Lenaeum, which for the rest of the year was closed. The basilissa (or basilinna), wife of the archon basileus for the time, went through a ceremony of marriage to the wine god, in which she was assisted by fourteen Athenian matrons, called geraerae, chosen by the basileus and sworn to secrecy. The days on which the Pithoigia and Choës were celebrated were both regarded as ἀποφράδες (nefasti) and μιαραί (“defiled”), necessitating expiatory libations; on them the souls of the dead came up from the underworld and walked abroad; people chewed leaves of whitethorn and besmeared their doors with tar to protect themselves from evil. But at least in private circles the festive character of the ceremonies predominated. The third day was named Chytri (feast of pots, from χύτρος, a pot), a festival of the dead. Cooked pulse was offered to Hermes, in his capacity of a