Cook, Arthur B.: Zeus: a study in ancient religion (Band 2,2): Zeus god of the dark sky (thunder and lightning): Appendixes and index (Cambridge, 1925)

I 200

Appendix N

rolls in their hands. Two (nos. 12 and 9 on fig. 1008) show the right arm wound
with phylactery-bands (?)*. Finally, the upper part of the shell is encircled by a
narrow strip of thin silver, to which are attached fifty-eight rosettes2.

It should be noticed that the chalice, long after it was made, came to be
gilded, and that at two different dates—at first with pale whitish gold, and later
with deep reddish gold. The first gilding affected the whole outer surface of the
shell ; the second did not extend to its lower part, and was carried out in much
thicker gold leaf. Both layers of gold are largely worn away by the fingering of
reverent hands, especially in the case of persons and objects that would be
deemed most sacred. There are no inscriptions on the chalice. But, between
the first and second gildings, upon many of the chairs (perhaps upon all) were
added poorly scratched graffiti representing a variety of emblems3, which—if
they can be deciphered—may help to show how the seated figures were inter-
preted4 at some doubtful date before the final gilding.

1 See Dr Eisen in the Am. Journ. Arch. 1917 xxi. 182 ff. fig. 5 and e contra
Prof. F. C. Burkitt in The Cambridge Review 1923—1924 xlv. 254 (long tight sleeves,
not phylacteries).

2 G. A. Eisen The Great Chalice of Antioch pp. 7, 19 f., 125 claims that the rosette
above the hand of Christ on the obverse side of the chalice is in reality a six-pointed star,
the Star of the Nativity.

3 Dr Eisen in the New Era Magazine for June 1920 p. 415 figures four of the graffiti
from the chairs of nos. 2 (two crossed bars or keys), 6 (tree? or ankhl [amulet a. b.c.]),
7 (water jug), 9 (arch with circle [coin C. Renz] above it). The rest are less distinct and
as yet undeciphered. See further The Great Chalice of Antioch p. 29 f.

4 In his initial publication of the chalice Dr Eisen held that its twelve figures portray
Christ in older and younger form together with ten of his Apostles. He noted also the
suggestion that they are the Baptist with the Lamb at his side, and Christ with ten
Apostles. But the number ten was hard to justify; and careful study of the features of
each portrait led to the conviction that figures 1 and 8 are related, that figures 2 and 5
possess much in common, and that the heads of figures 10 and 11 are quite different in
formation from the rest. Satisfied that the two central figures 1 and 8 are indeed Christ
as a man and Christ as a youth, Dr Eisen next observed that 2 closely resembles St Peter
as portrayed in the Catacombs (J. Wilpert Die Malereien der Katakomben Roms Freiburg
1903 pi. 94) and in the Viale Manzoni Hypogeum at Rome {Not. Scavi 1920 p. 123 ff.)—an
identification seemingly confirmed by the discovery on seat 2 of the graffito representing
two crossed bars or keys. The identity of the other figures remained doubtful till it
was remarked that no. 6, unlike the rest, has a band round his head but no side-lock of
hair. This suggested a Greek as distinct from a Jew, and in that case he must necessarily
be St Luke. But, if so, the figures are not all Apostles. Those grouped with St Luke may
then be St Matthew (9), St Mark (7), and St John (to). At this point again graffiti were
helpful. Tradition said that St Mark had been a water-carrier (Alexandros Monachos-
(s. vi a.d.) landatio S. Barnabae Apost. 1. 13 in the Acta Sanctorum edd. Bolland.
Antverpiae 1698 Junius ii. 440d Actios yap rjXdev els i]fj.as awb yepovrwv on 6 to Kepa.fj.10v
fiaffra^wv tov vBaros, di KaraKoXovdrjaai ivpoaera^ev 6 Kvpios rots fxad-qTals, 3Iap/cos rjv 6 vibs
ttjs fxa/capias Ma/was, Severus Bishop of El-Eschmounein in Upper Egypt History of the
Patriarchs of the Coptic Church of Alexandria trans. B. T. A. Evetts Paris 1907 1. 1 p. 17
in the Patrologia Orientalis i. 139 'And he (sc. Mark) was among the servants who poured
out the water which our Lord turned into wine, at the marriage of Cana in Galilee. And it
was he who carried the jar of water into the house of Simon the Cyrenian, at the time of
the sacramental Supper'); and on his chair is scratched a water-jar. St Matthew sat at the
receipt of custom; his graffito is an archway with a circle above it, presumably the city-
gate with a coin in evidence. St Luke, as a physician, has for his emblem an obvious