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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#1068

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964 General Conclusions with regard to

Xenios and Ktesios and Epikdrpios and countless other appellations,
all of them good1....

The speech, which had risen like a rocket, might have concluded
with that burst of stars, lingering awhile in memory as a galaxy of
glittering points. But the speaker, being Greek, prefers to end on
a note of greater quietude and self-restraint. He does so very
simply, very effectively, by contrasting the human workman, a
Fheidias or a Polykleitos, who has made the most of his paltry
materials and trumpery tools, with Zeus the creator of the universe,
whom Pindar2 addresses as—

' Mighty Lord of Dodona, Best of all Artificers, our Father.'

How comes it that this great statue, for centuries the acknow-
ledged masterpiece of ancient religious art, has not, like many
others of less merit, left behind it a trail of Greek and Roman
copies? Apart from the wonderful Zeus of Mylasa {supra ii pi.
xxviii), a fourth-century head of modified Pheidiac style3, there is
hardly an extant marble or bronze in which we can trace with
certainty the influence of the original at Olympia4.

1 Id. ib. p. 237 Dindorf. L. Francois 'Dion Chrysostome critique d'art: le Zeus de
Phidias' in the Rev. £,t. Gr. igij xxx. 105—116 regards this list of epithets as a Stoic
cliche", comparing Kleanthes' Hymn to Zeus [supra ii. 855 ff.], [Aristot.] de mundo 7. 401 a
12 ff., Dion Chrys. or. 1 p. 9 Dindorf, Aristeid. or. 1. 8 (i. 10 f. Dindorf). The theme is
handled in greater detail by J. Amann Die Zeusrede des Ailios Aristeides Stuttgart 1931
pp. 99—109 ('Die t-n-iKh-qatis des Zeus').

2 Pind. frag. 57 Schroeder ap. Dion Chrys. or. 12 p. 239 Dindorf 8e iravv d-aAws
ttoitit7]5 irpoi€tiT€if erepos, ' Awc»curate [xey&ffOeves | dpiarbrex1'^ 7rdrep.' k.t.X. (as supra U-
693 n- 3)- Bergk ad loc. conjectured that the next line in Pindar's paidn was Alicas
da/xiocpye Kai evi>o/j.la$—a restoration based on Plout. praec. ger. reip. 13 6 bk ttoKitlkos,
apiarorexvas rts toe, Kara Tllvbapov, Kai 87jp.iovpybs euvofxias Kal btKys, k.t.X., de ser. nun1-'
vind. 4 Kai Hivdapos efiapTvpi]crej>, dpLUTOT^xvav dvaKa\oti[i€vos rbv dpxovra Kai Kvpioy
airavTijiv deov, cos 8i] Siktjs bvra 5-qp.wvpybv, de fac. in orb. lun. 13 ?) riVos ykyove Troin}Tiis
Kai irarrip Sijfuovpybs 6 Zeds 6 dpitXTorexvas. The passage evidently haunted the memory
of Plutarch, who quotes it again in his symp. 1. 2. 5 Kai rbv 8ebv bpajs, 80 apusrortx}"il'
7]p.wv 6 Xlbdapos ■n-poaeiirev, k.t.\. and adv. Stoic. 14 6 Si Uarpqios Kai "Tiraros K"1
Qe/j-lffrios Zeus, Kai dpLCTTOT^xvas Kara ULvSapov, ov dpdjxa b-qirov jxiya Kai ttoikI\op
7ro\vpLades 57]p.iovpyG>v rbv Kbap.ov, dWa dewv Kai avvpumuv darv Koivbv, GvvvojX'(]0'o}i.&tj3V
fierd SIkt}s Kai dperris b/j.oXoyov/iii'us Kai /xaKapiws, k.t.A. See also Clem. Al. stroll''
5. 14 p. 395, 2 f. Stahlin Kai iva rbv rovruiy 5i)p.iovpybv, 8c 'dpuTTOT^x"^" ira-ripa' Af7el
(sc. b Uivbapos) = Euseb. praep. ev. 13. 13. 27 and C. B. Hase in Stephanus Thes. G'•
Ling. i. 2. 1972 A—B.

3 Supra ii. 597 f.

i A marble head in the Hermitage (L. Stephani in the Compte-rendu St. Pit. I^?5
pp. 187—200 Atlas pis. 6 and 7, 1), the Otricoli head in the Vatican (Brunn—Brucknia"'1
Denim, der gr. tend rom. Sculpt, pi. 130, cp. pi. 605, G. Lippold in Amelung Scwf^
Vatic, iii. t. no—113 Sala Rotonda no. 539 pi. 36), the Jacobsen head at Ny Carlsbe
(P. Arndt La glyptothique Ny-Carlsberg Munich 1896 p. 17 f. Atlas pi. 13, Ny Carlsb™
Glyptotek: Billedtavler til Kataloget over Antihe Kunslvcerker Kjjiibenhavn 1907 p'-
241), and a bronze head at Vienna (H. Schrader in the Jahresh. d. oest. arch. Inst. iy
 
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