Dictionary of Greek and Roman antiquities. Ed. by William Smith. Illustrated by numerous engravings on wood.

62,4 HYSPLENX. JANUA.
trial, the pretended citizen was reduced to slavery,
and his property confiscated. [J. S. M.]
IHYPOCAUSTUM. [BALNEAE, p. 192, b.] I. J.
H YPOCOSME'TAE ( urotcoeu?7vrai), frequentlv
occur in Athenian inscriptions of the time of the JACULATO'RES. [ExERcITus, p. 503, a.]
Roman empire, as assistants of the IKcoo1 SS, who JA'CULUM. [HASTA.]
at that period was the chief officer who regulated JA'NITOR. [JANUA.]
the exercises of the Gymnasium. (Krause, Gym- JA'NUA (;5pa), a door. Besides being applinastik und Algonistik, vol. i. p. 212, &c.) cable to the doors of apartments in the interior of
HYPO'CRITES (Tro KpleTs). [HsSTRIO.] a house, which were properly called ostia (Isid.
I1YPODE'MA (haroi4/a). [CALCEUS.] Orig. xv. 7; Virg. Aen. vi. 43. 81), this term more
HYPOGE'UM. [FuNUs, p. 561,a.] especially denoted the first entrance into the house,
HYPOGRAMMATEUS (nroypayuaTEavshs). i. e. the front or street door, which was also called
[GRAMMATEUS.] anticum (Festus, s,. v.), and in Greek 3apa abesXos,
HYPO GRAPHIS. [PICTURA, No. VI.] ah2AsEa, ahios, avhAia (Od. xxiii. 19; Pind. Neam.
HYPOMEI ONES (h7roetESoYEs). [HoboE]. i. 19 Menand. p. 87, ed. Mein.; Harpocration,
HIYPOMO'SIA (S7roleoo'a). [DIAETETAE; s...; Theophr. Char. 18; Theocrit. xv. 43;
L)IKE. ] Charit. i. 2; Herodian, ii. 1). The houses of the
IHYPO'NOMUS. [EMIssARIvUM] Romans commonly had a back-door, called postiHYPORCHE'MA (67rdpX-qlta), was a lively cUMi, postica, or posticula (Festus, s. v.; Hor. Epist.
kind of mimic dance which accompanied the songs i. 5. 31; Plaut. Most. iii. 3. 27; Sueton. Claud.
used in the worship of Apollo, especially among the 18), and in Greek 7rapdOvpa dim. 7rapaOv5prov.
Dorians. It was performed by men and women. Cicero (post. Red. 6) also calls it pseudothyron,
(Athen. xiv. p. 631.) A chorus of singers at the " the false door," in contradistinction to janua, the
festivals of Apollo usually danced around the altar, front door; and, because it often led into the
while several other persons were appointed to ac- garden of the house (Plaut. Stich. iii. 1. 40-44),
company the action of the song with an appropriate it was called the garden-door (-q7rac'a, Hermip. op.
mimic performance (vropxEaOate). The hypor- At/aen. xv. 6).
chema was thus a lyric dance, and often passed The door-way, when complete, consisted of four
into the playful and comic, whence Athenaeus indispensable parts, the threshold, or sill; the
(xiv. p. 630, &c.) compares it with the cordax of lintel; and the two jambs.
comedy. It had, according to the supposition of The threshold (limen, IlrAbs, o63as) was the obMiller, like all the music and poetry of the Dorians, ject of superstitious reverence, and it was thought
originated in Crete, but was at anl early period in- unfortunate to tread on it with the left foot. On
troduced in the island of Delos, where it seems to this account the steps leading into a temple were
have continued to be performed down to the time of an uneven number, because the worshipper,
of Lucian. (Athen. i. p. 15; Lucian, de Saltat. after placing his right foot on the bottom step,
16;- compare MUller, Dor. ii. 8. ~ 14.) A similar would then place the same foot on the threshold
kind of dance was the ye'pavos, which Theseus on also. (Vitruv. iii. 4.) Of this an example is prehis return from Crete was said to have performed sented in the woodcut, p. 97.
in Delos, and which was customary in this island The lintel (jugumentum, Cat. de Re Rust. 14;
as late as the time of Plutarch. (Thes. 2i.) The supercilium, Vitruv. iv. 6) was also called lizmee
leader of this dance was called yepavoUrAcos. (Juv. vi. 227), and more specifically limen supercuzm,
(HIesych. s. v.) It was performed with blows, and to distinguish it from the sill, which was called
with various turnings and windings (,E pvOy4, linzen infiruni. (Plant. llere. v.. 1.) Being de7repLEAtieLs sKal &veXieSs;EXovrT), and was said to signed to support a superincumbent weight, it was
be an imitation of the windings of the Cretan generally a single piece, either of wood or stone.
labyrinth. When the chorus was at rest, it formed Hence those lintels, which still remain in anlcient
a semicircle, with leaders at the two wings. (Pol- buildings, astonish us by their great length. In
lux, iv. 101.) large and splendid edifices the jambs or door-posts
The poems or songs which were accompanied by (postes, creaO/oi) were made to converge towards
the hyporchem were likewise called hyporchemata. the top, according to certain rules, which are given
The first poet to whom such poems are ascribed by Vitruvius (1. e.). In describing the construcwas Thaletas: their character must have been in tion of temples he calls them antepayn2enta, the
accordance with the playfulness of the dance which propriety of which term may be understood front
bore the same name, and by which they were ac- the ground-plan of the door at p. 241, where the
companied. The fragments of the hyporchemata hinges are seen to be behind the jambs. This
of Pindar confirm this supposition, for their rhythms plan may also serve to show what Theocritus
are peculiarly light, and have a very imitative means by the hollow door-posts (orTaeOfh Kooira
and graphic character. (Bickh, ie Ilheir. Pied. urvpdcao, Idyll. xxiv. 15). In the Augustan age
p. 201, &c., and p. 270.) These chartacteristics it was fashionable to inlay the posts with tortoisemust have existed in a much higher degree in the shell. (Virg. Geory. ii. 4-63.) Although the jamb
hyporchematic songs of Thaletas. (MUller, Hist. was sometimes nearly twice the length of the
c/' Greek Lit. i. p. 23, &c.; compare with p. 160, lintel, it was made of a single stone even in the
&c.) [L. S.] largest edifices. A very striking effect was proHYPOSCE'NIUiM. [THEATRuM.] duced by the height of these door-ways, as well as
IIYPOTHE CA. [PIGNTJs.] by their costly decorations, beautiful materials, and
HYPOTHECA'RIA ACTIO. [PIGNoU.s.] tasteful proportions.
HYPOTRACHE'LIUM. [COLUrINA, p. The door in the front of a temple, as it reached
325, a.] nearly to the ceiling, allowed the worshippers to:IYSPLENX (BorrAXyt). [STADIUAVL] view from without the entire statue of the divinity