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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

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https://doi.org/10.11588/diglit.14698#0246

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The birth of Erichthonios 187

The central medallion has Heos as a winged goddess bearing off
Kephalos.

Finally Hephaistos ceases to be reminiscent of Zeus and
appears in his own right on a krater from Chiusi, now at Palermo, to
be dated c. 400 B.C. (pi. xxiv)1. Ge, who emerges more and more from
the soil, as usual hands Erichthonios to Athena. This takes place
beneath a conspicuous olive-tree, three young shoots of which spring
from the earth in the foreground2. Behind Athena is Kekrops with
coiled tail. Behind Ge Hephaistos, with supported foot3, shoulders

1 T. Panofka in the Bull. d. Inst. 1837 p. 22, E. Braun ii. 1838 p. 82 f., id. 'II
nascimento d' Erittonio' in the Ann. d. Inst. 1841 xiii. 91—98, Mon. d. Inst, iii pi. 30
( = my pi. xxiv), Reinach Rep. Vases- i. 113, 4, Lenormant—de Witte Fl. mon. cA: i.
272, 288—290 pi. 85 A.

The reverse design (inset on pi. xxiv) shows Heos in pursuit of Kephalos, one of whose
brothers (Apollod. 1. 9. 4 7rtu5ts Si Alverds, "Aktu>p, QuXcikos, Ke#aXos) escapes towards
the left.

Fig. 96. - Fig. 97. Fig. 98. Fig. 99.

2 Possibly the famous olive-tree on the Akropolis, called by the comedians the dcn-ij
Aaia (Poll. 9. i7, Hesych. s.v. &<stt) Aula, Eustath. in Od. p. 1383, 7 f.) or Tr&yKvtpos
(Aristoph./ai. incert.frag. 234 (Frag. com. Gr. ii. 1217 Meineke) ap. Poll. 6. 163,

He

sych. s.w. iaTT) Aai'a and TrdyKV<pos), together with the /j-opiai, which were believed to
be offshoots from it (Aristoph. nub. 1005 with schol. ad loc., Istros frag. 27 (Frag. hist.
Gr. i. 422 Miiller) and Aristot. frag. 345 Rose ap. schol. Soph. O.C. 701, Apollod. frag.
34 (Frag. hist. Gr. i. 434 Mtiller) = frag. 120 (Frag. gr. Hist. ii. 1076 Jacoby) ap. schol.
S°ph. O.C. 705 cited supra ii. 20 n. 4, Poll. 1. 241, 5. 36, Bekker anecd. i. 280, 16,
Hesych. s.v. fiopiai, Phot. lex. s.v. ixopiai, Souid. s.v. p.oplai, et. Gud. p. 398, 23 ff., et.
'""g. p. 590, 42 ff., Zonar. lex. s.v. popta, Favorin. lex. pp. 85, 7 f., 611, 31, 1273, 53, 1643,
18 ff-)- See further Boetticher Baumkulttis pp. 107—111, L. Stephani in the Compte-
retidu St. Pit. 1872 p. 5 ff. with figs. 1—4 and Atlas pi. r, Frazer Pausanias ii. 343 (.,
393 f.

The sacred olive appears in various forms on the imperial bronze coinage of Athens
(see e.g. Brit. Mus. Cat. Coins Attica etc. p. 96 ff. pis. 16, 7, 8, II, 17, 1, 2, 4—6,
McClean Cat. Coins ii. 365 pi. MI, I, 4, 5. Imhoof-Blumer and P. Gardner Num.
Comm. Paus. Hi. ,2g ff. pi. z, 8, 11—19, pi. AA, 16, «, and for longer series J. N.

or°nos Les Monnaies(TAthines Munich 1923—1926 pis. 84, 8, 36—40, 85, 32—37, 87,
t5^"43> 89, 1—25, 90, 1—34). Figs. 96—99 are from specimens in my collection.

* K. Lange Das Motiv des aufgestiitzten Fusses in d. antiken Kunst und dessen
s'atuarische Verwendung dtirch Lysippos Leipzig 1879 pp. 1—64 with pi., E. Lciwy
tysipp und seine SttUung in der griechischen Plastik Hamburg 1891 p. 9 ff- figs- 4 and 5>
~~c> M. Collignon Lysippc Paris (190s) pp. 71, 116, W. Deonna in Varchiohgte, sa
y**r, ses mithodes Paris 1912 i. 278 ff, F. P. Johnson Lysippos Durham (Ivorth
! Duke University Press 1927 pis. 6, 24, 30 f.

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