Cook, Arthur B.: Zeus: a study in ancient religion (Band 3,1): Zeus god of the dark sky (earthquake, clouds, wind, dew, rain, meteorits): Text and notes (Cambridge, 1940)

82 The Clouds personified in Cult and Myth

Alkimachos painter' of the late archaic period (Hoppin Red-fig. Vases i. 18 no. 2,
J. D. Beazley Altische Vasenmaler des rotfigurigen Stils Tubingen 1925 p. 298 no. 25).

(4) A south-Italian vase, now lost, but seen by A. L. Millin at Naples in private
possession ('Vaso che si trova in casa del Sre d. Genn. Patierno, restauratore, alia salita
de' Reggj Studj, n. 63: altezza, palmi i\; diametro, 1 palmo, 3J oncie') and drawn for
him (drawing extant in the Cabinet des Estampes of the Bibliothecjue Nationale), is
described by R. Rochette Choix de peintures de Pompei Paris 1848—1856 p. 81 with n. 4,
recorded by L. Stephani in the Compte-rendu St. Pit. 1861 p. 13, and published by
F. Lenormant in the Gaz. Arch. 1880 vi. 72—74 with two figs, (of which the first = my
fig- 25)- In the upper register is Zeus, seated on a throne with a footstool. He wears a
himdtion (scaled aigist) and a bay-wreath, and holds a thunderbolt in his right hand, an
eagle-tipped sceptre in his left. From his right thigh emerges a diminutive Dionysos.
The boy stretches out his arms to Eileithyia, who bends towards him, holding in readiness
a cloth or garment. Behind Zeus stand a Bacchant (thyrsos) and a Maenad (panther-skin,
torch (?))—hardly Apollon and Artemis. In the lower register, on rocky ground, is Athena
(Gorgoneion, helmet (?), shield, spear) conversing with two Maenads (thyrsos, torch)—
hardly Demeter and Hekate. Athena was perhaps made out of a third Maenad (timbrel (?),
thyrsos). The reverse of the same vase depicts the madness of Lykourgos, who brandishes
a club (?) in the midst of four Satyrs. Both designs have been copied ' par une main
singulierement maladroite et inexperimentee'.

(5) A volute-hratdr of c. 415 B.C. from Caelia (Ceglie), now at Taranto, fully published
in the Joum. Hell. Stud. 1934 liv. 175 ff. pis. 8 and 9 by A. D. Trendall, to whose
kindness I owe my pi. xiii.

(6) A red-figured fragment at Bonn (inv. no. 1216. 19) (Trendall loc. cit. fig. i = my
pi. xiii, 3).

3 Plin. nat. hist. 35. 140 Ctesilochus, Apellis discipulus (but cp. Souid. s.v. 'Aire\-
\?7S,...d<5eA06s Krqaibxov, Kai a"To!> faypa<P~ov), petulanti pictura innotuit, love Liberum
parturiente depicto mitrato et muliebriter ingemescente inter obstetricia dearum. H. Hey-
demann Dionysos' Geburt und Kindheit (Winckelmannsfest-Progr. Halle 1885) p. 5 f.
regards this curious effort as 'ein humoristisches oder vielmehr parodisches Bild' and
would date it c. 300 B.C. See also Miss E. Sellers (Mrs A. Strong) on Plin. loc. cit.

The precise part played by Zeus in Philostratos' picture of Semele (supra ii. 28, 828)

is not clear (Philostr. mai. imagg. 1. 14. 2 f.
Trvpds v6(p(\rj Trepurxovaa -rds 6?}/3as eis t?jc roD
Kafyxou ar^yqv pyyvvrai Kup-daavros ewi T7)v
2e/t&ij» tov Aids, Kal cnrbWvrai p.iv, lis
5oKovp.ev, -tj Se^Ai;, TltcreTtu be Aiivvaos ol/xai
(O. Benndorf cj. oTp.ai, < Kal >) vij Ala Trpbs to
irvp. Kal to p.iv t9)s 'Zep.iXjjs elSos a/j.v5pbt>
oiaipalveTai loitrijs es ovpavbv, Kal at MoOtrai
avri]v £k€i ^.(roifrai, 6 de Aibvvaos r^s fxei> /ATjrpbs
eKffpipiTKei paydays tt)v yacrripa, to de irvp &x-
Xvwbes epydfrrai (paidpbs (C. L. Kayser cj.
(jiaibpov) aurbs o'lov daryp res airaaTpairrtw (so
codd. F. P. ao-rpaiTTUiv vulg.). biaaxovaa be t)
0Xi^ dvrpov ti t<£ Aiovvaip OKtaypa<f>eT iravrbi
Tjbiov 'Affffvplov re Kal Avdtov k.t.X.). A.
Bougot Philostrate Vancien Paris 1881 p. 265 f.
cites for comparison and contrast a fresco said to have been found in Rome and formerly
owned by Prince Gagarin (Memorie Romane di Antichita e di Belle Arti ed. L. Cardinali
Roma 1824—1827 iii pi. 13): Zeus, with gray beard and hair, sits enthroned on a cloud.
His head is surrounded by a halo of rays; his legs are wrapped in an ample wind-swept
himdtion of flame-coloured fabric. His eagle is perched beside him. With his right hand
he grasps a thunderbolt, with his left he reaches towards the undersized babe ('als Em-
bryo gekrUmmt,' says Gerhard) of Semele, who half-clad in a yellow robe lies dead on
the couch before him. This painting, accepted without hesitation by E. Gerhard (Hyper-

Fig. 26.