DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14696#0813
Gradual elimination of the thunderbolt 737
is found again, with a suggestion of greater repose, on the be\\-krater
from Falerii in the Villa Giulia at Rome, a vase attributed by G.
Nicole1, P. Ducati2, and J. C. Hoppin3 to the ' Talos painter,' and
referable to the period of the Peloponnesian War (fig. 668)4. Its
obverse design represents Herakles, his labours over at last, entering
the presence of Zeus. Herakles is followed by Hebe, in whose ear
Eros whispers of her coming wedlock. Hera, proud and resentful,
will not look at Herakles, but turns her head away and addresses
Hermes. Zeus in an attitude of dignified ease worthy of Pheidias5
receives his heroic son. Wreath, sceptre, throne are there, and
rightly there. But the thunderbolt would be out of place, and the
god's right hand is empty.
The same transition from might to right in the popular con-
ception of Zeus can be equally well illustrated from the remains
of ancient sculpture. His earliest extant effigy, a bronze statuette
from Mount Lykaion (s, vii B.C.), shows a nude bearded god standing
erect with a thunderbolt in his raised right hand and an eagle on
his outstretched left {supra i. 84 fig. 51). It is thus in all probability
that we should conceive of such images as the Zeus in hammered
gold dedicated at Olympia by Kypselos, tyrant of Corinth (655—
625 B.C.)6, or the Zeus Hypatos in hammered bronze made by
fig. 667), Reinach Rep. Vases i. 222, 1—5, A. Furtwiingler in Roscher Lex. Mylh. i. 2238 f.
%•
1 G. Nicole Meidias et le styleJleuri dans la ceramique altique Geneve 1908 p. 93 ft.
pi. 6, 3.
2 P. Ducati I vast dipinti nello stile del ceramista Midia Roma 1909 p. 50, id. in the
Rom. Mitth. 1906 xxi. 126.
3 Hoppin Red-fig. Vases ii. 450 no. 4.
4 Furtwangler—Reichhold Gr. Vasenmalerei i. 87 ft", pi. 20 ( =my fig. 668) Villa Giulia
no. 2382. Height o"40m.
5 Sup7'a i. 91 f., infra § 9 (h) ii (6).
6 Plat. Phaedr. 236 b 7rap& to Kv\f/e\i5£jv avadt)p.a afivprfKaTos ev '0\vp,Tria ardd^TL,
Strab. 353 u>v i\v ko.1 6 xpucroO? TcpvprfKaros Zevs, av6.8rn.Lo. KvtpeXov, tov Kopivdiwv Tvpdwov,
378 tov be wept tov olkov tovtov tt\ovtov /xapTvpiov to 'OAi'fiirLao~iv avadrifxa K.vipe\ov, o~<pv-
prjXaTos xPV0~°vs avopias ev/j.eyedr]s. Kypselos vowed to Zeus that, if he became master of
Corinth, he would dedicate all the property of the Corinthians. On becoming master, he
bade them draw up a list of their possessions, took a tenth part from each citizen, and told
them to trade with the remainder. As each year came round he did the same thing, till
in ten years he had kept his vow (Aristot. oec. 2. 2. 1346 a 32 ft.). A Platonic gloss in
Phot. lex. s.v. Kv\pe~Kidiov avddri/j.a=Somd. s.v. Kvxf/eXLdicv avadrj/ua quotes further from
Agaklytos TrepVO\vp.nias {Frag. hist. Gr. iv. 288 Miiller) the statement that the golden
colossus dedicated by Kypselos was kept in the old temple of Hera, from Didymos a
moralising account to the effect that Periander made the colossus in order to limit the
luxury and audacity of the Corinthians, from Theophr. rrepi Kaip&v 2 (frag. 128 Wimmer)
a similar allusion, and finally a current epigram (Cougny Anth. Pal. Append. 1. 4) on the
colossus et p:r) (so Cobet for dpi Phot., avTos Souid.) eyui xpucoOs acpvprfkaTO's eipu ko\oo~lt6s, j
i^ccXrjs €lt) Kv\pe\ioojv yevea together with the variant given by Apellas Pontikos frag. 6
(Frag. hist. Gr. iv. 307 Midler) et /xtj (so Cobet for et/xt) iyia vaaTos (so S. A. Naber for
C. II.
47
is found again, with a suggestion of greater repose, on the be\\-krater
from Falerii in the Villa Giulia at Rome, a vase attributed by G.
Nicole1, P. Ducati2, and J. C. Hoppin3 to the ' Talos painter,' and
referable to the period of the Peloponnesian War (fig. 668)4. Its
obverse design represents Herakles, his labours over at last, entering
the presence of Zeus. Herakles is followed by Hebe, in whose ear
Eros whispers of her coming wedlock. Hera, proud and resentful,
will not look at Herakles, but turns her head away and addresses
Hermes. Zeus in an attitude of dignified ease worthy of Pheidias5
receives his heroic son. Wreath, sceptre, throne are there, and
rightly there. But the thunderbolt would be out of place, and the
god's right hand is empty.
The same transition from might to right in the popular con-
ception of Zeus can be equally well illustrated from the remains
of ancient sculpture. His earliest extant effigy, a bronze statuette
from Mount Lykaion (s, vii B.C.), shows a nude bearded god standing
erect with a thunderbolt in his raised right hand and an eagle on
his outstretched left {supra i. 84 fig. 51). It is thus in all probability
that we should conceive of such images as the Zeus in hammered
gold dedicated at Olympia by Kypselos, tyrant of Corinth (655—
625 B.C.)6, or the Zeus Hypatos in hammered bronze made by
fig. 667), Reinach Rep. Vases i. 222, 1—5, A. Furtwiingler in Roscher Lex. Mylh. i. 2238 f.
%•
1 G. Nicole Meidias et le styleJleuri dans la ceramique altique Geneve 1908 p. 93 ft.
pi. 6, 3.
2 P. Ducati I vast dipinti nello stile del ceramista Midia Roma 1909 p. 50, id. in the
Rom. Mitth. 1906 xxi. 126.
3 Hoppin Red-fig. Vases ii. 450 no. 4.
4 Furtwangler—Reichhold Gr. Vasenmalerei i. 87 ft", pi. 20 ( =my fig. 668) Villa Giulia
no. 2382. Height o"40m.
5 Sup7'a i. 91 f., infra § 9 (h) ii (6).
6 Plat. Phaedr. 236 b 7rap& to Kv\f/e\i5£jv avadt)p.a afivprfKaTos ev '0\vp,Tria ardd^TL,
Strab. 353 u>v i\v ko.1 6 xpucroO? TcpvprfKaros Zevs, av6.8rn.Lo. KvtpeXov, tov Kopivdiwv Tvpdwov,
378 tov be wept tov olkov tovtov tt\ovtov /xapTvpiov to 'OAi'fiirLao~iv avadrifxa K.vipe\ov, o~<pv-
prjXaTos xPV0~°vs avopias ev/j.eyedr]s. Kypselos vowed to Zeus that, if he became master of
Corinth, he would dedicate all the property of the Corinthians. On becoming master, he
bade them draw up a list of their possessions, took a tenth part from each citizen, and told
them to trade with the remainder. As each year came round he did the same thing, till
in ten years he had kept his vow (Aristot. oec. 2. 2. 1346 a 32 ft.). A Platonic gloss in
Phot. lex. s.v. Kv\pe~Kidiov avddri/j.a=Somd. s.v. Kvxf/eXLdicv avadrj/ua quotes further from
Agaklytos TrepVO\vp.nias {Frag. hist. Gr. iv. 288 Miiller) the statement that the golden
colossus dedicated by Kypselos was kept in the old temple of Hera, from Didymos a
moralising account to the effect that Periander made the colossus in order to limit the
luxury and audacity of the Corinthians, from Theophr. rrepi Kaip&v 2 (frag. 128 Wimmer)
a similar allusion, and finally a current epigram (Cougny Anth. Pal. Append. 1. 4) on the
colossus et p:r) (so Cobet for dpi Phot., avTos Souid.) eyui xpucoOs acpvprfkaTO's eipu ko\oo~lt6s, j
i^ccXrjs €lt) Kv\pe\ioojv yevea together with the variant given by Apellas Pontikos frag. 6
(Frag. hist. Gr. iv. 307 Midler) et /xtj (so Cobet for et/xt) iyia vaaTos (so S. A. Naber for
C. II.
47