Kleo ̄n (of Kuzikos?) (100? – 20 BCE)
C 6.6.5 reports two of his collyria, one with saffron, poppy-juice and rose oil in gum,
the other of roasted copper, litharge, and squamae aeris quod stomoma appellant (but stomo ̄ma
are iron flakes), in gum. O, Syn. 3.137 (CMG 6.3, p. 102), is still using a variant
of the latter (spodion, lead and sulfur roasted together, and iron flakes in gum),
and A A 7.109 (CMG 8.2, p. 375), says Kleo ̄n’s recipe was known to
D P and A “M” (Kind therefore suggested Kleo ̄n
was a He ̄rophilean); cf. also P A 7.16.36 (CMG 9.2, p. 342), using
pompholux for the spodion, and adding saffron. Other ophthalmologic recipes are pre-
served by Oreibasios, Syn. 3.146 (p. 104), and Paulos 3.22.21 (CMG 9.1, p. 179), 7.16.36, 58
(9.1, pp. 342, 346). A P., in G CMLoc 3.1 (12.636 K.), cites an
ear-remedy, composed of aloes, frankincense, misu, myrrh, and poppy-juice, in vinegar.
Perhaps from Kuzikos, if the same as the Kleo ̄n of Kuzikos credited with speculations about
the salamander as fire-extinguisher by (pseudo?)-A P §74 (p. 75 Ihm).
RE 11.1 (1921) 719–720 (#11), F.E. Kind.
PTK
Kleo ̄n of Surakousai (ca 350 – 270 BCE?)
Wrote On Harbors cited by P D 118, A OM 42 – 50, M-
1.2, and S B. Cf. perhaps K S?
RE 11.1 (1921) 718–719 (#8), F. Jacoby.
PTK
Kleoneide ̄s (100 – 200 CE?)
Author of the most important of a number of handbooks of the Imperial period which
summarized the musical theory of A (others include those of B, the
Dionusios who composed the second half of Bakkheios’ treatise, and G). His
Introduction to Harmonics (Eisago ̄ge ̄ harmonike ̄), ascribed also to E, Zo ̄simos, or P
A in some MSS but now accepted as the work of Kleoneide ̄s, is a précis in 14
short chapters of the principal harmonic doctrines of Aristoxenos. Its structure is simple,
transparent, and uncomplicated: the seven parts of harmonics are treated in turn (notes
[§4], intervals [§5], genera [§§3, 6–7], scale-systems [§§ 8 – 11], tonos [§12], modulation [§13]
and melodic composition [§14]). Consisting mainly of terms and their definitions, the epit-
ome is thus devoid of the richness and sophistication of its original. Much of Kleoneide ̄s’
material was in turn appropriated by Manuel Bryennius in his Harmonics (ca 1300).
Ed.: MSG.
KP 5.1622, D. Najock; J. Solomon, Kleo ̄neide ̄s, Eisago ̄ge ̄ harmonike ̄ (Diss. Chapel Hill, 1980); L. Zanoncelli,
La manualistica musicale greca (1990); BNP 3 (2003) 437, D. Najock; SRMH 1; Mathiesen (1999).
David Creese
KLEONEIDE ̄S