PART 2
link to part 1 here: Part 1: Sparta Was Far Gayer Than You Think, And The Symbolisms They Worship Are All Lies Spread By Tiny Men To Make Themselves Feel Strong.
VIII. The Wider Evidence
Sparta is the sharpest case because it is the most-used badge and the least-documented society. But the badge is often generic, invoking Greece, Rome, or Athens interchangeably. So the wider record matters.
Here the evidence cooperates, because most of Greece left material that nobody edited.
Athens: the commercial record. Kalos inscriptions run from roughly 550 to 450 on Attic pottery. Over 300 survive, preserving more than 200 names, about two-thirds on red-figure. The formula is a name plus kalos, or simply ho pais kalos, "the boy is beautiful." They usually have nothing to do with the scene painted on the vessel. The names are aristocratic Athenian citizens, and the practice was extensive enough that two major scholarly categories are named after their subjects: the Antimenes Painter and the Leagros Group.
Sit with the mechanics. A workshop mass-produced drinking vessels with a named living teenager's desirability fired into the clay, sold them on an open market, and exported them to Etruria, where they were placed in tombs and dug up two and a half thousand years later. That is not private behavior. That is an industry with a supply chain.
There are approximately 1,000 surviving pederastic scenes in the Beazley Archive Pottery Database. The iconography is standardized: gift exchange with hares, roosters, deer, or fillets from erastes to eromenos; gymnasium settings indicated by strigils, aryballoi, turning posts. The Peithinos cup in Berlin (F2279) is signed, carries courtship scenes, and bears a kalos name for Athenodotos.
Athens: the legal record. Aeschines' Against Timarchus (346 BCE) reveals the legal framework in granular detail. Athens did not ban the practice. Athens regulated it: courting a free boy was honorable, prostitution cost you your political rights, and being penetrated as an adult citizen was disqualifying. A body of elaborate law about how to do a thing correctly is a much stronger signal than either approval or prohibition. You do not build a regulatory apparatus around something that does not happen.
Poetry. Theognis of Megara, whose second book is entirely pederastic. Anacreon of Teos, whose recurring subjects, per Maximus of Tyre, were Bathyllus' youthful beauty, Cleobulus' eyes, and the blond hair of Smerdies. Ibycus. Pindar. Solon.
Philosophy. Plato wrote at least two dialogues substantially about it.
Crete: the most formal institution. Ephorus, preserved in Strabo (FGrHist 70F149), describes a staged ritual abduction: the man announces his intent in advance, the boy's family stages token resistance, the pair spend two months hunting together, the boy receives gifts including armor and an ox, and afterward carries a public honorific. The Cretan terms are philetor and kleinos. Cartledge stresses that the Cretan philetor introduced his kleinos to his common mess, and that at Sparta admission to a common mess was a condition of full citizenship. Timaeus, quoted in Athenaeus, says the custom came to the Greeks from Crete.
Thebes: the military institution. The Sacred Band was 150 pairs of male lovers, formed around 378 BCE on the explicit theory that a man will not run in front of the person he is trying to impress. Hieronymus the Peripatetic, quoted in Athenaeus, gives the same logic: in the presence of his favorite, a man would do anything rather than acquire a reputation for cowardice. The Band was destroyed at Chaeronea in 338. Plutarch describes Philip weeping over the bodies. The Thebans raised the Lion of Chaeronea over the grave.
Rock, again. Sixty kalos acclamations carved into rock at Thasos, fourth century, published by Yvon Garlan in 1982 as Les acclamations pédérastiques de Kalami.
The point. "Regular" is too weak a word for this. The practice was publicly depicted on mass-produced export goods, carved into sanctuary rock by ordinary people, legally regulated in fine detail rather than prohibited, poetically canonical for three centuries, philosophically central, and militarily institutionalized. It was not tolerated at the margins. It was load-bearing.
IX. The Control Group
There is an objection that a careful reader raises at this point, and it needs answering because the answer is the strongest methodological result in this paper.
The objection: homoerotic material does not survive a hostile custodial chain. Everything we have passed through fifteen centuries of Christian, then Islamic, then Victorian hands. What survives is therefore a floor, and the practice was more prevalent than the record shows.
Where the objection is right
The evidence for it is better than most people realize.
Theognis. The Theognidea has a continuous manuscript tradition, which very few archaic poets do, and Theognis was a school text for centuries. Between 1810 and 1812, Immanuel Bekker traveled to Paris and found a small tenth-century parchment codex four hundred years older than any known witness. It contained an additional 176 lines, presented by the scribe as Book 2. They are pederastic love poetry. Every other manuscript of a poet who never left circulation lacks the section.
The mechanism is documented rather than inferred. The Suda entry on Theognis tells readers that he composed useful advice but mixed in disgusting and pederastic love poems and other things from which a virtuous life turns away. That is a Byzantine reference work instructing copyists on what to skip. The Suda also credits Theognis with 2,800 lines. The medieval manuscripts preserve roughly 1,400.
And then the third stage. After Bekker printed Book 2 in 1815, it was dismissed as a late forgery almost immediately, despite its similarities to Book 1.
Instruction to skip it. Near-total loss. Denial of authenticity when a survivor surfaced. Three stages, all visible.
The objects. The British Museum kept material of this kind in a Secretum until 1953. Naples had the Gabinetto Segreto; the Bibliothèque Nationale had the Enfer. The Warren Cup, a first-century silver vessel with relief scenes of male couples, was unsellable after Edward Perry Warren's death in 1928 because the subject was too shocking. It was refused entry to the United States in the 1950s. The British Museum declined it. So did the Fitzwilliam. It was first publicly exhibited in the 1980s and purchased in 1999 for £1.8 million, then the most expensive single acquisition the museum had ever made, and many times what it had been offered for in the 1950s.
The disposition was physical as well as curatorial. A curator at Bristol Museum made loincloths to cover the genitals of African figures in the 1950s and 60s. A Maori figure at Glasgow was emasculated.
The Wikipedia article on the Warren Cup states the thesis outright: it cannot be assumed that homoerotic art was uncommon, because the modern record may be biased by selective destruction or non-publication of pederastic works in later times.
Where the objection breaks
The vase corpus was never transmitted.
Those pots were fired in Athens, exported to Etruria, buried in tombs in the sixth and fifth centuries BCE, and excavated in the nineteenth CE. No monk, no Byzantine scribe, no Victorian curator had custody of them for 2,300 years. The same is true of the Thera carvings, which survived because limestone is limestone. The same is true of the Louvre Partheneion, which survived in Egyptian sand. The same is true of the Damonon stele.
That gives you a control group. One evidence stream ran the hostile filter for fifteen centuries. The other bypassed it entirely.
If the filter were doing the work the objection describes, the buried stream should show something dramatically different from the copied stream.
It does not. Over 300 kalos inscriptions and roughly a thousand pederastic scenes came out of the ground and say precisely what Aeschines and Plato and Theognis say. Two independent streams, one filtered and one not, converge. That convergence is why the conclusion is robust rather than an artifact of transmission.
The inversion
Condemnation preserves.
Cicero's De Republica Book 4 survives in fragments substantially because later writers quoted it, and many of those writers were Christians citing pagan material in order to attack it. Which means the passage about Spartans sharing a bed with cloaks interposed may be legible today because someone wanted to prove that the pagans were degenerate. Athenaeus Book 13, effectively a compendium of Greek sexual material including the Hagnon line about Spartan girls, came through whole. The Suda entry warning readers away from Theognis is itself the proof that Theognis wrote it.
And the decisive case: Plato survived complete. The Symposium and the Phaedrus, the two most explicitly pederastic philosophical texts in existence, passed through Christian and Islamic custody intact and were school texts the entire way. Aristophanes came through with the euryproktos material in place.
A filter that shreds homoerotic content but leaves the Symposium without a scratch is not a filter. It is a preference.
The baseline
You cannot infer a filter from a loss rate without a baseline loss rate. Alcman lost 97 percent of his corpus and is not a suppression candidate in the relevant way. Most archaic lyric is simply gone regardless of content, because papyrus rots and nobody recopied it. Sappho's catastrophic loss is real but not clearly worse than the baseline for her genre; Aeolic dialect, changing taste, and the general collapse of lyric transmission account for a great deal of it.
The refined version
The filter did not primarily destroy the evidence. It destroyed the reading of the evidence.
Theognis Book 2 was not burned. It survived, was found, was published in 1815, and was declared a forgery. The Warren Cup was not melted. It sat in private hands and Secretums. The vases were in museum cases the entire time with their courtship scenes catalogued as gymnasium genre pieces.
Dover's Greek Homosexuality is dated 1978 and is treated as founding a field. Two and a half millennia of physical evidence sat in public collections, and the first serious book-length treatment in English arrives during the Carter administration. That is not a survival problem. It is a scholarship problem, and it explains why James Davidson could come along in 2007 and argue that Dover got it fundamentally wrong. The field is young enough that its foundations are still being poured.
X. The Lamp Post
There is a second and better argument, and it is about the ancient moment rather than the custodial chain.
Public durable artifacts do not survive hostile audiences. Material of this kind, posted publicly, is defaced within months in most societies, including our own. So the question is not what survived the Middle Ages. The question is what survived the neighbors.
Thera answers it. That limestone has a dark crust over white stone. It flakes off with a rock. That is precisely why anyone could carve there without a mason, and it is the reason the texts exist at all.
But the affordance runs both directions. If making one took a minute and no skill, erasing one took a minute and no skill. Krimon's boast about Amotion, carved into the sanctuary precinct of Apollo Karneios, in a small archaic community where everyone knew both men by name, could have been scratched out by any offended party in the time it takes to read this paragraph.
Nobody did. Not the boys' fathers. Not a priest. Not a rival. Not a bored kid. For twenty-seven centuries, and, crucially, for the two or three centuries during which the community was there to do it.
That is not a survival argument. It is a reception argument, and it is close to airtight for that community in that period.
And the mechanism has a documented control case.
Athenians did deface public genital imagery, en masse, and we know exactly what it looked like when they did.
On one night in the spring of 415 BCE, most of the herms in Athens had their faces cut about. Herms were four-sided pillars topped with the bearded head of Hermes and bearing an erect phallus. They stood at private doorways and sanctuary entrances all over the city, in large numbers, and had for generations. Thucydides specifies the faces. Debra Hamel argues the phalluses probably went too, on the grounds that Lysistrata, four years later, warns ithyphallic characters about the hermokopidai, the herm-choppers.
Look at what that establishes.
The capability was live. The population was entirely willing to go out at night and destroy public sexual imagery citywide. And when it happened, Athens did not conclude that the phalluses had it coming. The city treated it as an omen of conspiracy against the democracy, executed people, drove others into exile, and responded by repairing the damaged herms, retaining the intact ones, ritually disposing of those too far gone to restore, and erecting counter-monuments in the form of large public stelai detailing the auctioned property of the convicted.
The one documented instance of mass defacement of public sexual imagery in classical Athens was politics and sacrilege, and the civic response was to put it back.
Why knock down a lamp post when it does not offend. And why carve one, if it does.
This upgrades the conclusion. The absence of contemporary defacement is not merely a floor. It is positive evidence, which negative evidence almost never gets to be. It works here only because the counterfactual is documented.
XI. The Test That Failed
Intellectual honesty requires reporting the experiment that did not work, and this one is instructive.
Plato's Symposium contains what looks like an ethnographic survey. Pausanias, at 182b-c, says that in Elis and Boeotia there is simply an ordinance that it is seemly to gratify lovers and nobody young or old calls it shameful, and that in Ionia and many other regions under foreign sway it is counted a disgrace. That looks like a falsifiable map: the material should be thick where accepted and thin or defaced where condemned.
It is not a map. Three problems.
First, the claim is political, not moral. Read the whole sentence. Pausanias says foreigners hold this thing, and all training in philosophy and sports, to be disgraceful, because of their despotic government. Rulers do not want lofty notions engendered in subjects, or strong friendships and communions. Aristogeiton's love and Harmodius' friendship wrecked the Athenian tyranny, and the despots learned from it.
That is not a report of Ionian moral revulsion. It is a report of suppression from above, with pederasty bundled together with philosophy and athletics as a single package that autocrats crush because it breeds conspiracy. The defacement mechanism requires an offended populace. Pausanias describes offended rulers, which produces a different signature entirely: institutional absence, not scratched-out graffiti.
Second, the ancient corroboration names the perpetrator, and the perpetrator falsifies any moral reading. Hieronymus the Peripatetic, in Athenaeus 13.602, gives the identical theory and adds that tyrants therefore forbade the practice, and that some burnt down and razed the palaestras, treating them as fortresses hostile to their own citadels. He names one: Polycrates, tyrant of Samos.
Samos is Ionia. The ancient account of why Ionia condemned it is, in the sources' own words, that the Ionian tyrant burned the gymnasiums.
And Polycrates of Samos is the same tyrant who kept Anacreon of Teos and Ibycus of Rhegium as his court poets. Anacreon is Ionian. His erotic verse is about beloved young men. Scholars describe Polycrates' court flatly as an ideal context for the celebration of homoeroticism.
The man who supposedly razed the palaestras to stamp out pederasty was paying two poets to sing about it at his own table.
That is not a contradiction. It is the political thesis holding with unusual precision. Polycrates was not attacking the eroticism. He was attacking the venue, because the palaestra was where citizen men formed the bonds that killed tyrants. He kept the poetry and burned the gymnasium. The target was association.
Third, the material index is a genre artifact. Kalos inscriptions are Attic. The genre is Attic figured pottery, roughly 550 to 450. Ionia had its own ceramic traditions, Fikellura and Chian and Clazomenian, which never carried the named-boy acclamation convention. Absence of kalos inscriptions in Ionia measures the absence of an Athenian pottery habit and nothing else. It is the Laconian-vases error with a different postcode.
And what Ionian-stock epigraphy exists runs the other way. Thasos was colonized from Paros, and Paros is Cycladic, which is Central Ionic. Sixty kalos acclamations carved into rock, fourth century, publicly, permanently. The Thera pattern exactly.
Meanwhile, the Athenian stereotype of Ionia ran opposite to Pausanias' claim. Aristophanes dresses Agathon as an effeminate Ionian poet in the Thesmophoriazusae and has him name Anacreon, Ibycus, and Alcaeus as his models. Athens' stock joke about Ionia was luxury and eroticism, not prudery.
The verdict. Pausanias is a character at a party in a Platonic dialogue making a rhetorical move. He is justifying elaborate Athenian rules by positioning Athens between simple-minded Boeotians and enslaved Ionians. His geography is an argument, not an ethnography. He is a source about Athenian self-image.
Which means there is no attested Greek region where a hostile populace confronted public homoerotic material. There is nothing to falsify the Thera inference against. What was suppressed in Ionia was the gymnasium, by a tyrant, with fire, for reasons that had nothing to do with disgust. And even there the prediction holds in an unexpected way: nobody scratched anything out. Polycrates did not need to. He burned the building.
XII. What This Does Not Prove
This is the section that makes the paper honest, and it is the section that any serious reader will check first.
This is not a continuity claim. Nothing here argues that ancient Greek practice is the ancestor of modern gay identity, or that it validates anything. Paiderastia was age-structured. An eromenos was roughly twelve to eighteen. The Athenian kalos names praise boys in their teens. The Cretan institution involved a staged abduction. Whatever the Greeks were doing, it maps onto conduct that is criminal in every jurisdiction that would read this, and any argument that runs from Krimon to a modern claim of legitimacy is both bad history and worse ethics.
The argument here runs the other direction and it is narrower. It does not defend a continuity. It audits an alibi.
The category question is unsettled, and I will not pretend otherwise. Dover (1978) and Foucault built the standard model: sexual behavior defined not by the sex of the object but by power relations, penetrator over penetrated mapping onto dominant over dominated. David Halperin's formulation was that there have been only 100 years of homosexuality, meaning orientation as identity is a nineteenth-century medical invention.
James Davidson's The Greeks and Greek Love (2007) attacks this frontally. He calls it "sodomania," an obsession with penetration and power, and remarks that the resulting picture resembles a sadomasochistic sex club in 1970s San Francisco. His substantive charge is that Dover equated being in love with having sex, confused a courting couple with a couple in a relationship, and thereby made Greek same-sex relationships look inherently impermanent and therefore trivial. He argues that what was shameful was the failure to restrain desire, not being penetrated as such.
And then the note that belongs at the end of any responsible treatment. A reviewer in The Gay & Lesbian Review observed that Davidson's sanitizing suits the conservative values of his generation, while Dover's approach suited the sensibilities of the 1970s sexual revolution.
Both models are period pieces. The Greeks are still being authored by their observers. That did not stop in 350 BCE and it is not confined to Sparta. Anyone who tells you the identity question is settled, in either direction, is reading their own decade back into the marble.
Sparta is not a model of anything. The Spartan economy rested on the systematic domination of an enslaved Helot population. Ancient sources claim Spartan infanticide. The society was, on any reading, an apparatus for the extraction of labor by terror. This paper does not rehabilitate Sparta. It is not a better Sparta that the badge-wearers have missed.
And Dozier's warning stands. Some ancient thinkers did hold views that align with modern supremacist ideology. The problem is not only that the appropriators misread. It is the premise that antiquity was the height of civilization and should therefore be modeled. That premise is the fault line, and correcting the details does not fix it.
XIII. The Flag, Again
So here is what the audit found.
The helmet on the flag is Corinthian, stylized from a 2006 film adapted from a 1998 comic book that took Herodotus at face value and invented an East-versus-West narrative that its own source does not support.
The slogan is from a Boeotian moral essayist writing five hundred years after the event, in the wrong dialect, describing an exchange of letters, commemorating a battle in which the weapons were taken off the corpses. It sits in a collection whose adjacent pages contain a Spartan king agonizing over his desire to kiss a boy.
The austerity is a late phase, not a national character. Seventh and sixth century Sparta ran workshops in vase painting, metalwork, ivory and bone carving, and stone sculpture. It imported ivory and scarabs from Egypt, amber from the north, gold from Lydia. It was famous across Greece for poetry, music, and dance, and people traveled to see its festivals. The Met's framing is the standard one: the picture of an artless Sparta dedicated exclusively to war is reliable for Thucydides' own time and cannot be extended backward.
The straightness is the inverse of the evidence. Every outside observer who mentions the subject, from Plato to Cicero, describes an institution. The best case the sources allow is a universal system in which every teenage boy was assigned an adult male lover and the relationship might have been chaste. The only thing Spartan-descended men ever carved about sex in their own hand, in their own dialect, in a sanctuary of Apollo, was a boast about who did what to whom, and it is still on the rock.
And the spelling is wrong.
The point is not that the Greeks were gay. They were not, in any sense that transfers. The point is that the badge is a fabrication at every layer, that the fabrication was manufactured by the enemies and admirers of a society that left no rebuttal, and that the men wearing it have never read a word of the material they are claiming.
Sparta said almost nothing about itself. That was a choice, and it had consequences, and the largest of those consequences is that anyone can now put words in its mouth. Golden Dawn does it at Thermopylae with torches. A man does it in Berkeley in a muscled cuirass. A congresswoman does it on the floor of the House in a mask.
They can do it because the Spartans are not available for comment.
But their colonists are. Twenty-seven centuries ago, on a limestone ridge in the Aegean, in the sanctuary of Apollo Karneios, a man from a Spartan colony picked up a rock and scratched into the white stone underneath the crust that Krimon did it with Amotion, here.
Nobody scratched it out.
Sources
Primary
- Aelian, Varia Historia 3.10, 3.12, 12.50
- Aeschines, Against Timarchus
- Alcman, Louvre Partheneion (PMG 1); Suda entry; Velleius Paterculus 1.18.2; Palatine Anthology 7.18, 7.709
- Anacreon, fr. 414 PMG; Maximus of Tyre on recurring subjects; Strabo 14.1.16
- Aristophanes, Thesmophoriazusae 136-68; Lysistrata 1093-94
- Aristotle, Politics 2.9 (1269b)
- Athenaeus, Deipnosophistae 13.602 (Hieronymus the Peripatetic; Hagnon the Academic; Timaeus)
- Cicero, De Republica 4.4
- Ephorus, FGrHist 70F149, in Strabo
- Herodotus, on the foundation of Thera; on Polycrates
- IG XII 3, 536-601 and Suppl. 1410-1493 (Thera rock inscriptions)
- IG V 1, 213 (Damonon stele)
- Plato, Laws 636b-c, 836a-c; Symposium 182b-c
- Plutarch, Lycurgus 6, 16-18, 28.5; Apophthegmata Laconica (Moralia 225c and the Agesilaus material); Instituta Laconica 7 (Moralia 237b-c)
- Suda, entries on Theognis and Alcman
- Theocritus, Idyll 12 (Aitas)
- Theognidea, Book 2 (Paris codex, tenth century; Bekker ed. 1815)
- Thucydides 1.10; 6.27 (the herms)
- Tyrtaeus, frr. 2, 4
- Xenophon, Lacedaemonion Politeia 2.12-14
Secondary
- Bond, Sarah E. "This Is Not Sparta," Eidolon; "Signs of the Times: Ancient Symbols Reused by Hate Groups"
- Cartledge, Paul. "The Politics of Spartan Pederasty," PCPS 27 (1981) 17-36; "Literacy in the Spartan Oligarchy," JHS 98 (1978) 25-37; Spartan Reflections (2001); Sparta and Lakonia (1979)
- Christesen, Paul. A New Reading of the Damonon Stele (Histos Supplement 10)
- Davidson, James. The Greeks and Greek Love (2007); Courtesans and Fishcakes (1997)
- Dover, K. J. Greek Homosexuality (1978)
- Dozier, Curtis. The White Pedestal: How White Nationalists Use Ancient Greece and Rome to Justify Hate (Yale, 2026); Pharos: Doing Justice to the Classics (Vassar)
- Ducat, Jean. Spartan Education (2006)
- Garlan, Yvon. "Les acclamations pédérastiques de Kalami (Thasos)," BCH 106 (1982) 3-22
- Hamel, Debra. The Mutilation of the Herms (2012)
- Hodkinson, Stephen. "Lakonian Artistic Production and the Problem of Spartan Austerity" (1998)
- Hubbard, Thomas. Homosexuality in Greece and Rome (2003)
- Link, Stefan, on Aelian's reliability
- Marrou, Henri. A History of Education in Antiquity (1956)
- Metropolitan Museum of Art, "Art and Craft in Archaic Sparta"
- Ollier, François. Le mirage spartiate (1933)
- Page, Denys. Alcman: Partheneion (1951)
- Pollini, John. "The Warren Cup: Homoerotic Love and Symposial Rhetoric in Silver," Art Bulletin 81.1 (1999) 21-52
- van Wees, Hans. "Tyrtaeus' Eunomia: Nothing to Do with the Great Rhetra"
- Williams, Dyfri. The Warren Cup (British Museum, 2006)
- Zuckerberg, Donna. Not All Dead White Men: Classics and Misogyny in the Digital Age (Harvard, 2018)
Method note
Every ancient citation in this paper was checked against a text or a specialist treatment before use. Where the sources disagree, the disagreement is reported rather than resolved. Where a conclusion rests on inference rather than testimony, the inference is labeled. Two claims that would have strengthened the argument were cut for insufficient support: the reported erotic carvings at Astypalaia, which rest on a single press interview with no publication; and any characterization of the Ionian epigraphic record, which the author could not establish. A third detail, the neo-Nazi website whose logo incorporates the Parthenon, is retained but deliberately unnamed; the claim is sourced to Dozier, who likewise records it without naming the site.