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)

Hephaistos and Athena

205

But the Anesidora-cup is not the only witness. The fact is that
from the beginning of the fifth century1 onwards classical art shows
a well-marked tendency to bring together the craftsmen's god and
the craftsmen's goddess. A fragmentary design from the outside of
a red-figured kylix painted in the style of Euphronios (fig. 125)2 has
Hephaistos seated with a pliidle in his right hand and a double axe
or hammer in his left. By his side stands Athena with helmet, aigis,
and spear. Her hair and bracelet, like his phidle, are in gilded relief,
and suggest that this is no trivial occasion. Equally impressive is the
eastern frieze of the Parthenon (supra ii pi. xliv). which again shows
Hephaistos seated, but this time with Athena seated too. He turns
towards her, as Hera towards Zeus, the pre-Hellenic exactly
balancing the Hellenic pair. A broken relief from Epidauros, carved
Ir* Pentelic marble c. 400 B.C. and now preserved in the National
Museum at Athens (fig. 126)3, has another masterly composition.

^> C). Of these I reproduce the earliest, a black-figured Ukythos at Paris (De Bidder
Cat. Vases de la Bibl. Nat. i. 197 f. no. 298, Lenormant—de Witte £.1. mon. cer. i. 162 ff.
P'- 52> Welcker Alt. Denkm. iii. 201 ff. pi. 15, 1, W. Frontier Les Musees de France Paris
J^73 p- 72 (L) col. pi. 22 (= my fig. 122)), which shows the head and lifted hands of Ge
rising from the ground in response to the hammerers, and the most elaborate, a red-
figured hydrla in the Louvre (W. Frohner Choix de vases grecs inidits de la collection du
Prince NapoUon Paris 1867 p. 24 ff. pi. 6, id. Les Musies de France Paris 1873 p. 68 ff. col.
Pi- 2i = my fig_ I23), which transforms the men with mallets into Silenoi with mattocks
and makes Ge emerge from the broken soil as a great white head in three-quarter
Position, welcomed by a pair of hovering Erotes and a sudden growth of leaf and
tendril. Such a scene could be easily re-interpreted as the making of a large female

Sure, cp. the title of Sophokles' Satyr-play llavSiipa ij acpupoKbiroi (Soph. frag.
441 445 Nauck2, 482—486 Jebb). It was in fact modified to express the making of

andora out of earth (Hes. theog. 571 yalris, o.d. 61 7a?oi' C5ei <pvpeiv, 70 4k 70(175)
or clay (Soph. frag. 441 Nauck2, 482 Jebb Kcd Trpwrov apxov ir-q\bv opya'Smv xepotc,
j?" Apollod. 1. 7. 2 (ir\aaav, Hyg. fab. 142 ex luto), as may be seen from a red-

gured volute-M^r at Oxford (P. Gardner in the fourn. Hell. Stud. 1901 xxi. 1 ff.
P ' 1 (= my fig. 124), J. E. Harrison Proleg. Gk. Rel* p. 280 f. fig. 71, C. Robert
.n Herjnes iqi4 xljx. ,y ff. fig.), on which Pandora emerges from the ground quite
'he manner of Ge, and her maker Epimetheus—a somewhat cynical doublet of
prometheus {"*pra i. 329 n. 4)—still holds a large-sized mallet; the hovering Eros marks
flora as Epimetheus' bride. All the figures named on this vase, Zeus, Hermes,
bePclmetheUS' Pandora are Hellenic. The British Museum kylix (pi. xxvii) is of interest
In ^USE 11 lransfers the Hellenic myth to the pre-Hellenic deities Athena and Hephaistos.
th 6 Process Pandora, re-named Anesidora, becomes less like the emergent Ge, while
e gilded hammer of Hephaistos is less reminiscent of the countryman's rude tool.

L. Malten in Pauly—Wissowa Keal-Enc. viii. 348 cites in this connexion a black-

i888ed-Sherd fr°m thC AkroPolis at A'hens noted by w- Dorpfeld in the Ath. Mitth.
xui. IC,9 f. But this is not ad rem: see Graef Ant. Vasen Alhen p. 67 no. 601 b
• 28 ('wahrscheinlich von einer Athenageburt').
Red fi Wolters in the At,u Mitth- 1888 xiii. 104 f. fig. (= my fig. 125. Scale \), Hoppin
T.iv- Vases ■• 4°7 no- 18 bis, T. D. Beazley Attische Vasenmaler des rotfigitrigen Slils
lub3'ngenI925 p.6lno. 13.

A. Furtwangler in the Silzungsber. d. kais. bayr. Akad. d. Wiss. Phil.-hist. Classe