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Sacrifice of an animal while two young boys play the aulos and the lyre, c. 540 BC, National Archaeological Museum. One of four paintings on a piece of wood that survived, found in the village Pitsa (inside a cave ?) (Corinth) in the region around Sikyon.
Those familiar with Christian church services might assume that Greek hymns were sung inside ‘god’s house’, i.e. his temple, perhaps before the cult image itself which was (usually) placed seated in the cella. But Greek religion was conducted largely out of doors: processions and sacrifice –both typically accompanied by hymn-singing – focussed on the spatial transition from town to temple and in particular on the altar erected outside the temple entrance. Aristophanes (Clouds 307, cf. Peace 397) mentions ‘most holy processions to the gods’ (prosodoi makarwn ierwtatoi). According to Pausanias (4.4.1) processional hymns (prosodia) were current from the beginning of the archaic period, as Eumelos composed one for the Messenians when they wanted to send a theoria to Delos.81 One of the painted wooden tablets from Pitsa in Corinthia (6th c. BC) depicts precisely the scene of a prosodos to an altar, with hymn-singing to lyre and aulos music William D. Furley and Jan Maarten Bremer, Selected Cult Songs from the Archaic to the Hellenistic period
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