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)

The birth of Athena in art 705

The gap between Aphrodite and the extant marbles from the
northern angle is wider, and requires three figures to fill it. At first
SIght this might seem a yet more hopeless task. But in point of
fact we are here much helped by the floor-traces and by certain
a priori reasonings. The traces in the floor appear to show1 that
the two blocks behind Aphrodite were occupied by one figure
standing and another advancing from right to left. The remaining
block was covered by a mass of marble supporting a third figure,
which probably faced right, since the drawing attributed to Carrey
and now preserved in the Bibliotheque Nationale has the head of
tne nearest seated goddess turned towards the left as if in con-
versation2 (pi. lvii, 1).

Now the vase-paintings regularly represent two witnesses of the
birth for whom room has not so far been found—Hermes holding

ls caduceus and Apollon playing his kithdra. Several modern critics
accordingly have suggested that Hermes should be installed next
to the extant figures on the north: he would thus balance the

asting female ('Iris') on the south. To this position he has
been relegated by A. Furtwangler3, E. A. Gardner4 (pi. lvii, 2),
Schwerzek5 (pi. lvii, 3), J. N. Svoronos6 (pi. lviii, 1), and
th ^S ^arPenter?- It bas not, however, been noticed how admirably
e Hermes of the Villa Giulia vase is adapted to fill the space.

2°8ff'^<' ^ar's 19°7 P- 34- CP- F- P- Johnson Lysippos Duke Univ. Press 1927 pp. 53 f.,
\n ^ ' P'1 41)- But Lysippos, as P. Gardner locc. citt. has urged, was alike in style and
bee 6 °'oser to Skopas than is commonly assumed. And both sculptors appear to have
"ifluenced strongly and permanently by the Parthenon marbles. It is therefore by
C;Wio'eanS 'mPro'3a'>le that the Lansdowne Herakles is a Lysippean or Scopaic modifi-
•flay " °^ an or'S5'na' t0 be sought among the missing figures of the east pediment. If we
the Qt^''^e '™m 'be Villa Giulia vase on the one hand and the Lansdowne statue on
L„ • er* 'be Pheidiac Herakles turned his head towards the Standbein, whereas the
CW t n °r ^c0Paic modification looked towards the Spielbein. But that is a change

"ai-acteri

r'stic of the transition from fifth-century to fourth-century sculpture in general.

k'ock "S" aliUr Rhys Carpenter in Hesperia 1933 ii. 68 ff., 81. He holds that on
latter • W3S a stano^'ng Muse, on block 18 a seated Apollon (both recoverable, the
a Heri!* a r'yht-for-left turn, from the Mantinean base), and on block 19 probably

2 L ^ ^CSS P'°kau'y an W5) funning or moving rapidly towards the right.
^raPhic ?ja'10r(^e Allienes aux xve,xvi' et xvii' siecles Paris 1854 i. 132 pi. (a litho-
E>enkm acsimile in red and black, the colours of the original). Fraenkel in the Ant.
*' PnLi 2 p1' 6 A' 2 and Si H. Omont Ath'mes au XV11* si'ecle: Dessins des Sculptures
• X I""*1 Pa"3i898 pi. ,.

4 E' AUrtwinBler intermezzi Leipzig—Berlin 1896 p. 28 f. tig.

5 £ ' Ga"lner Ancient Athens London 1902 p. 307 f. fig.

^arth„, lweizek Erlauterunzen zu item Vcrsuch einer Rekonstruktion des bstlichen
«j ;:^Wien,9o4p.3tpl. ,.

7 Rhv pV°ronos Rejourn. Intern, d'Arch. Num. [912 xiv. 258 ff. pi. 19'.
yS Lai'Penter in Hesperia 19,3 ii. 81.
c Hi.

45