DOI Page / Citation link:
https://doi.org/10.11588/diglit.14696#0821
Gradual elimination of the thunderbolt 745
manners1) must be viewed as a concession to the increasing luxury
of the age.
In general, the striding god was superseded either by the stand-
ing or by the seated god. The transition from stride to stand can
be well seen in a Greek bronze from the Peloponnese, now at Paris
(fig. 684)1 The left arm with the eagle is still outstretched, but the
right with the thunderbolt is already lowered.
Fig. 683.
A whole group3 of bronze statuettes, presupposing a famous
original statue, represents Zeus standing in an attitude that bespeaks
both strength and tranquillity. A large clilamys falling over the left
shoulder serves to set off his powerful chest. His right arm, grasping
the bolt, has dropped to his side. His left, bent at the elbow, held a
long sceptre. The finest extant example of this type, which derives
from some great Attic sculptor of the fifth century4, is in the Uffizi
in II. p. 599, 32 ff.) and even allegorised {id. ib. pp. 600, 3 ff., 719, 21 ff.) ; but later
parallels appear to be lacking.
Greek sculptors rarely represented Zeus in chiton and himdtion (supra i. 86 f. fig. 55
a seated statuette in bronze from Mt Lykaion, c. 550—500 B.C.). Greek vase-painters,
however, often did so : cp. Spartan vases (' Laconian iv') c. 550—500 B.C. (supra i. 92 f.
fig- 65, 782 pi. xlii) and Attic vases both black-figured (e.g. infra § 9 (h) ii (#)) and red-
figured (e.g. supra i. 707 n. 2 fig. 524, ii. 24 fig. 10, 273 fig. 177, 733 ff. fig. 665 f.). See
further Overbeck Gr. Kunstmyth. Zeus p. 32 f., p. 124 ff. nos. 19—21, p. 129 no. 24,
p. 181 ff. A—D, Farnell Cults of Gk. States i. 124, 133.
1 E.g. Zeus Sarapis (supra i. 188 f. fig. 137), Iupiter Heliopolitanus (i. 570 ff. pi. xxxiii,
fig. 440 ff.), the Syrian Zeus (i. 590 fig. 452), Zeus Dolichaios (i. 606 f. fig. 478, cp. p. 611 ff.
fig. 480 ff.), Zeus at Maionia (i. 731 f. fig. 540), Zeus Kataibdtes at Kyrrhos (ii. 16 fig. 3 f.),
Zeus Sabdzios (ii. 282 n. 2 pi. xix, fig. 179 f.), Zeus at Laodikeia (ii. 3r9 f. fig. 201 ff.), the
Carian Zeus (ii. 573 ff. fig. 475 ff., 593 fig. 497, 597 f. pi. xxviii), etc.
2 De Ridder Cat. Bronzes du Louvre i. 25 no. 128 pi. 14 ( = my fig. 684), Reinach
R£p. Stat. ii. 1 no. 3. Height: o'lij"1.
3 Overbeck Gr. Kunstmyth. Zeus pp. 145—147 ('Achte Gruppe') nos. 45—54.
4 Witness the mild, majestic face with its abundant but not over-abundant tresses, the
head turned towards the supporting leg, the correct and clearly-marked musculature of
manners1) must be viewed as a concession to the increasing luxury
of the age.
In general, the striding god was superseded either by the stand-
ing or by the seated god. The transition from stride to stand can
be well seen in a Greek bronze from the Peloponnese, now at Paris
(fig. 684)1 The left arm with the eagle is still outstretched, but the
right with the thunderbolt is already lowered.
Fig. 683.
A whole group3 of bronze statuettes, presupposing a famous
original statue, represents Zeus standing in an attitude that bespeaks
both strength and tranquillity. A large clilamys falling over the left
shoulder serves to set off his powerful chest. His right arm, grasping
the bolt, has dropped to his side. His left, bent at the elbow, held a
long sceptre. The finest extant example of this type, which derives
from some great Attic sculptor of the fifth century4, is in the Uffizi
in II. p. 599, 32 ff.) and even allegorised {id. ib. pp. 600, 3 ff., 719, 21 ff.) ; but later
parallels appear to be lacking.
Greek sculptors rarely represented Zeus in chiton and himdtion (supra i. 86 f. fig. 55
a seated statuette in bronze from Mt Lykaion, c. 550—500 B.C.). Greek vase-painters,
however, often did so : cp. Spartan vases (' Laconian iv') c. 550—500 B.C. (supra i. 92 f.
fig- 65, 782 pi. xlii) and Attic vases both black-figured (e.g. infra § 9 (h) ii (#)) and red-
figured (e.g. supra i. 707 n. 2 fig. 524, ii. 24 fig. 10, 273 fig. 177, 733 ff. fig. 665 f.). See
further Overbeck Gr. Kunstmyth. Zeus p. 32 f., p. 124 ff. nos. 19—21, p. 129 no. 24,
p. 181 ff. A—D, Farnell Cults of Gk. States i. 124, 133.
1 E.g. Zeus Sarapis (supra i. 188 f. fig. 137), Iupiter Heliopolitanus (i. 570 ff. pi. xxxiii,
fig. 440 ff.), the Syrian Zeus (i. 590 fig. 452), Zeus Dolichaios (i. 606 f. fig. 478, cp. p. 611 ff.
fig. 480 ff.), Zeus at Maionia (i. 731 f. fig. 540), Zeus Kataibdtes at Kyrrhos (ii. 16 fig. 3 f.),
Zeus Sabdzios (ii. 282 n. 2 pi. xix, fig. 179 f.), Zeus at Laodikeia (ii. 3r9 f. fig. 201 ff.), the
Carian Zeus (ii. 573 ff. fig. 475 ff., 593 fig. 497, 597 f. pi. xxviii), etc.
2 De Ridder Cat. Bronzes du Louvre i. 25 no. 128 pi. 14 ( = my fig. 684), Reinach
R£p. Stat. ii. 1 no. 3. Height: o'lij"1.
3 Overbeck Gr. Kunstmyth. Zeus pp. 145—147 ('Achte Gruppe') nos. 45—54.
4 Witness the mild, majestic face with its abundant but not over-abundant tresses, the
head turned towards the supporting leg, the correct and clearly-marked musculature of