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)

690 The birth of Athena in art

by showing that the central marks required, not one colossal figuie.
but two large-sized figures of about equal weight1. E. Pfuhl 111
1926 improved upon this by arguing from a fresh consideration of
the same data that, of the two central figures, the left was heaviei
than the right and apparently rectangular in plan.

It will be observed that the citation of the Standspuren was by
no means fatal to the relevancy of the Madrid puteal. Indeed l'

Rhys Carpenter, deaf to derision, revives Six' central group in the Am. Journ. Aid1
1925 xxix. f32 f. pi. 3, A with a drawing which E. Pfuhl in the Jahrb. d. kais. dcu ^
arch. Inst. 1926 xli. 168 n. 2 condemns as incompatible with the floor-traces 'und a1'
sonst unmoglich.' Unperturbed by hard words, Rhys Carpenter returns to the chaige
Hesperia 1933 ii. 1, 34—39 with fig. 7 and pi. 1 (=mypl. Iviii, 2), where he still advocate^
a colossal Zeus sitting in guasi-profile to the right on a central throne ' not set quite Pa,a^aS
to the tympanon but at this slight angle of about 30. By this minute turn the throne
swung sufficiently to suggest that the pose was not a pure profile, and the torsion W -
upper body of Zeus was made more natural. The narrowness of the pediment preve _
a more thoroughgoing displacement. On the Madrid puteal relief the throne of Zeiis
drawn with exactly this slight but indispensable obliquity.' na

Many of the older authorities assumed a central Zeus enthroned en face with A ^
either emergent above his head (R. Schneider op. cil. pi. 2 Quatremere de Quincyi P^
E. Gerhard) or in close proximity to him (ib. pi. 5 C. R. Cockerell, pi- 6 L. D,os
The model exhibited in the Metropolitan Museum of New York is of this latter
(W. H. Appleton in Art and Archaeology 1916 iv. 11 with pi. on p. 20). ks

1 Rhys Carpenter in Hesperia 1933 ii- 30—39 discusses in great detail the flooi-'
of the pediment, which he regards as pointing clearly and unmistakably to the ex

of a single central statue of formidable weight—Zeus enthroned to the right as ^
Madrid puteal. This arrangement is plausible and, I suppose, possible. But 11 s ^e
from three serious drawbacks. It involves a grave discrepancy with the scheme
western pediment, which had two central figures, not one. It makes Zeus bulk t0 ^
in a temple that belonged to Athena. And it is eked out by a grouping of the .
which to me at least is very unconvincing (see e.g. the criticisms of C. Picard 1H
Arch. 1933 i. 272). gauer's
A. Furtwangler Intermezzi Leipzig—Berlin 1896 p. 22 f. had likewise dispute ^ to
conclusion, arguing that the two stout iron bars converging on block 13 were B1 ,torso
support the plinth of a heavy central figure. He proposed to find that figure m ,301-)
Medici' of the Ecole des Beaux Arts at Paris. But later (Aegina Mlinchen l' Ur^/r
he confessed himself convinced by further argumentation on the part of Sauer ^er. t0 his
Laborde'sche Kopf und die Giebelgrtippen des Parthenon Giessen 1903) and reve _0lis.
original view that the ' torso Medici' is a copy of the so-called 1 Promachos' of the ^fee,

2 E. Pfuhl in the Jdhrb. d. kais. deutsch. arch. Inst. 1926 xli. 169 f. 1 Der j-^st
dass beide Barren (sc. embedded in the central getson-blocU no. 13) die g1 s jje
trugen, steht im Widerspruch mit alien Analogien beider Giebel. Diese lehren, ^tji
lange und die quadratische Randbank zum linken Barren, der kleine Rand 'a"gt jjief<
vorn rechts neben der langen Randbank zum rechten Barren gehort. F°'»'.'Cg[^11dplsllte
fast genau in der Mitte des Giebels, die Grenze zwischen zwei Statuen. £>ie ejn'V°r"
der rechten Statue zeichnet sich durch Leere, Randbanke und zwei Dttbel, die e^.es£;r
kippen verhinderten, deutlich ab; zu ihr gelidrt ein Stabloch vor dem ^arre'gt£ltue
nahm dem Geisonblock 13 das Gewicht der von 14 her auf ihn ubergreifenden recllts
denn 13 war von 12 her schwer belastet. Dem entspricht der grosse Barren g ]\litte
auf 12 : er trug an derselben schweren Last mit. Wir haben also jec'e'se't^erade l"lC'
zwei ungleiche Gestalten; die linke war schwerer und allem Anschein nach 0
rechtwinklig begrenzt.'