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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#0805

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712 The birth of Athena in art

The naming and restoring of the two seated goddesses beyond
Eileithyia is an easy task, thanks to F. Studniczka and G. Dickins.
Studniczka1 in 1904 showed that the goddesses are sitting, not on
stools or low thrones, but on square hinged chests, so that they
must be identified, not as P. O. Brondsted2 in 1830 suggested with
Pindar's 'well-throned Horai3,' but with Demeter and Persephone
on their mystic boxes (kibotoz)1. Dickins5 in 1906—1907 after a
brilliantly successful6 restoration of Damophon's group at Lykosoura
observed that the Messenian sculptor's Demeter and Despoina were
direct adaptations of the seated goddesses in the Parthenon
pediment7. This discovery not only enables us to decide with
regard to the Parthenon pair that Demeter is the goddess on our
left, Persephone the goddess on our right, but further justifies us in
restoring Persephone with a long sceptre. Enough of Demeter s
right hand remains to make it certain that she was not grasping a
torch but, at most, holding a bunch of corn-ears and poppies as in
the Chiaramonti statuette8. Damophon, transforming the pediment-
group to a cult-monument, put a long torch into the hand of
Demeter in order that it might balance the long sceptre in the
hand of Persephone. I have given Persephone corn-ears in her
right hand rather than a basket (Jtiste) like that of Despoina
because I conceive that Despoina's basket was the equivalent of the
box on which Persephone is sitting. Damophon had to make his

Akad. d. Wiss. Phil.-hist.'Classe 1874 ii. 19, by Furtwangler Masterpieces of Gk. Sculf^
p. 465, and by C. Picard La sculpture antique Paris 1926 ii. 18 fig. 9, -21 ('Iris ou plu'ot
Hebe sans doute').

1 F. Studniczka in the Jahrb. d. kais. deutsc/i. arch. Inst. 1904 xix. 3 ff. figs. 1—6 pi-
Cp. Furtwangler—Reichhold Gr. Vasenmalerei i. 215.

2 P. O. Brondsted Voyages dans la Grece accompagnis de recherches
Paris 1S30 ii p. xi ('des trois Heures (Saisons)').

3 Pind. Pyth. 9. 105 evBpovois'Qpaiai (for context see supra p. 267). ^

4 Paus. 10. 28. 3 (Polygnotos' painting of the Underworld in the Cnidian Lesche
Delphoi showed Tellis and Kleoboia on board Charon's boat) KXe6/3ota di tn Trap6&oS>
tya Se en rots ybvaai /ajSwroc oiroias iroieiaffat vofil^ovin ArnJ.i]rpL... KXeo/Soiac M es Qo.aov
Spyia ttjs Aij/tT/rpos eve-yKeiv irpiiiTt)V etc Hapov (pairly. g

5 G. Dickins in the Ann. Brit. Sch. Ath. 1906—1907 xiii. 357 ff. figs. 1—23, 25 '2
pis. 12—14. '

6 Dickins' restoration of the whole cult-group was triumphantly vindicated by
oronze coin of Megalopolis published by B. Staes in the Journ. Intern, a"Arch. N'1'"'
1912 xiv. 45—47 pi. 0', 1—3 and further discussed by Dickins in the Ann. Brit- •->
Ath. 1910—1911 xvii. 80 ff. figs. 1—6.

7 Damophon's group had already been brought into connexion with the Parthen
figures by E. Petersen Die Kunst des Pheidias am Parthenon und zu OlyMp1"
1873 p. 125 n. 3 and by Overbeck Gr. Kunstmyth. Demeter—Kora pp. 423 n. b» 43 j

8 Overbeck Gr. Kunstmyth. Demeter—Kora p. 473 f. Atlas pi. 14, 16, Ame
Sculpt. Vatic, i. 362 f. no. 81 pi. 38.
 
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