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https://doi.org/10.11588/diglit.14697#0013
Nemesis1. But the most remarkable innovation of the period remains to be
mentioned. The gems in question all represent the nude and agile figure, not
merely with well-marked forelock and smooth occiput, but also with a full beard.
This can only mean that the verbal misuse of kairos for chronos2 has led to a
corresponding typological confusion of Kairos with Chronos.
It is, indeed, likely that confusion became more confounded, since Chronos
was constantly interchanged with Kronos3 and Kronos too appears as a bald-
Fig. 799.
headed god hastening along with a sickle-knife in his hand4. Thus we reach the
singular result that Kairos ' youngest of the sons of Zeus ' has actually been
transformed into a figure resembling that of his own grandfather Kronos5, while
by a further surprising coincidence Kronos, as we have seen0, is derivable from
the same root as Kairos.
Others distinguished the types and continued to portray Kairos as a youthful
god. A relief at Turin (fig. 799)7 shows him, with forelock and tonsure, balancing
1 H. Posnansky Nemesis und Adrasteia Breslau 1890 p. 113. See also supra pp. 99
n. 1, 734 n- 3-
2 C. A. Lobeck in his ed. of Soph. At. Lipsiae 1835 p. 85 n.*.
3 Supra p. 374.
4 Supra p. 550 fig. 426.
5 We are almost reminded of Zagreus the shape-shifter, who appeared now as a
youthful Zeus, now as an aged Kronos {supra i. 398 f., 647).
s Supra p. 549 n. 6.
7 A. Rivautella—J. P. Ricolvi Monumenta Taurinensia Augusts Taurinorum 1747
ii. 4 ff. no. 11 with pi., E. Curtius ' Die Darstellungen des Kairos' in the Arch. Zeit. 1875
xxxiii. 5 f. pi. 1, 1 (photograph of cast = my fig. 799), H. Heydemann Winckelmannsfest-
Progr. Halle 1879 p. 35 Turin : Museo Lapidario no. 1 (thinks the slab a modern copy of
an ancient relief: unconvincing), H. Diitschke Antike BUdwerke in Oberitalien Leipzig
1880 iv. 73 f. no. 117, Friederichs—Wolters Gipsabgiisse p. 751 no. 1897, A. Baumeister
mentioned. The gems in question all represent the nude and agile figure, not
merely with well-marked forelock and smooth occiput, but also with a full beard.
This can only mean that the verbal misuse of kairos for chronos2 has led to a
corresponding typological confusion of Kairos with Chronos.
It is, indeed, likely that confusion became more confounded, since Chronos
was constantly interchanged with Kronos3 and Kronos too appears as a bald-
Fig. 799.
headed god hastening along with a sickle-knife in his hand4. Thus we reach the
singular result that Kairos ' youngest of the sons of Zeus ' has actually been
transformed into a figure resembling that of his own grandfather Kronos5, while
by a further surprising coincidence Kronos, as we have seen0, is derivable from
the same root as Kairos.
Others distinguished the types and continued to portray Kairos as a youthful
god. A relief at Turin (fig. 799)7 shows him, with forelock and tonsure, balancing
1 H. Posnansky Nemesis und Adrasteia Breslau 1890 p. 113. See also supra pp. 99
n. 1, 734 n- 3-
2 C. A. Lobeck in his ed. of Soph. At. Lipsiae 1835 p. 85 n.*.
3 Supra p. 374.
4 Supra p. 550 fig. 426.
5 We are almost reminded of Zagreus the shape-shifter, who appeared now as a
youthful Zeus, now as an aged Kronos {supra i. 398 f., 647).
s Supra p. 549 n. 6.
7 A. Rivautella—J. P. Ricolvi Monumenta Taurinensia Augusts Taurinorum 1747
ii. 4 ff. no. 11 with pi., E. Curtius ' Die Darstellungen des Kairos' in the Arch. Zeit. 1875
xxxiii. 5 f. pi. 1, 1 (photograph of cast = my fig. 799), H. Heydemann Winckelmannsfest-
Progr. Halle 1879 p. 35 Turin : Museo Lapidario no. 1 (thinks the slab a modern copy of
an ancient relief: unconvincing), H. Diitschke Antike BUdwerke in Oberitalien Leipzig
1880 iv. 73 f. no. 117, Friederichs—Wolters Gipsabgiisse p. 751 no. 1897, A. Baumeister