Cook, Arthur B.: Zeus: a study in ancient religion (Band 1): Zeus god of the bright sky (Cambridge, 1914)

Talos in Sardinia

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suns, or stars1, and such may have been the original signifi-
cance of the stone-throwing Kyklops of the eastern2 and western
islands3, though other interpretations are equally possible and
perhaps more probable.

A magnificent krater with volute-handles, found in the nekro-
polis of Ruvo and now in the Jatta collection, represents the
death of Talos (pi. xli)4. This vase is of special interest to the
mythologist, because it appears to depict a form of the story not
otherwise preserved to us5. The Argonauts have reached the
Cretan coast. Zetes and Kalais are. seen still on board their
vessel. But a landing-ladder is put out from her stern across
the water, which is suggested by a dolphin. A young hero,
shrinking back in alarm from the central scene, springs up the
ladder. On shore Kastor and Polydeukes with their horses have
already pursued and caught Talos6. Polydeukes grasps him,
still attempting to run, within the circle of Medeia's magic
spells. Medeia herself stands by, fixing her victim with her
evil eye, while she holds a basket full of potent herbs and
mutters her fatal formula. Talos, overcome despite himself,
falls backwards in a swoon. The nymph Krete flees in terror
at the death of her watcher. Above her, in the background,
appear Poseidon and Amphitrite as patrons of Argonautic prowess.

ii. Talos in Sardinia.

Two different versions of the Talos-myth are attributed to
Simonides. On the one hand, he is said to have stated that
Talos before coming to Crete had dwelt in Sardinia, where he
had destroyed many persons, that they grinned when they died,
and that this was the origin of the expression a 'sardonic smile7.'
On the other hand, Simonides is reported to have affirmed that,
when the Sardinians tried to cross the sea to Minos, Talos, being
wrought of bronze by Hephaistos, sprang into a fire, clasped them
to his breast, and slew them gaping8. Both versions agree in
connecting Talos with the Sardinians.

The matter was sufficiently sensational to appeal to the imagi-
nation of the later Greeks, and further information is forthcoming.

1 See W. Drexler in Roscher Lex. Myth. ii. 2751 n., and cp. supra pp. 493 ff., 524.

2 Supra p. 309 n. 5. 3 Supra pp. 313 n. 8, 320, 323.
1 Furtwangler—Reichhold Gr. Vasenmalerei i. 196—203 pis. 38—39.

5 See O. Jessen in Pauly—Wissowa Real-Enc. ii. 784.

6 Talos, unlike the other figures in this exceedingly skilful composition, is painted
white, the modelling of his body being indicated in a thin brown varnish. The artist
has thus sought to mark him out from the rest as the man of bronze.

7 Zenob. 5. 85. 8 Souid. s.v. Hapddvios ye\ws, cp. schol. Plat. rep. 337 A.

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