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)

972 General Conclusions with regard to

beardless type was by far the more common, the bearded was rare
and exceptional. But scenes of judgment, law-giving, and teaching,
in which stress was laid on the majesty of the central figure,
gradually popularised the maturer type1 until it almost superseded
the more youthful. It seems probable that both were to some extent
influenced by pre-existing pagan types. I have already suggested
that the boyish figure of Christ on the chalice of Antioch is
reminiscent of the child Zeus or Dionysos2. And Furtwangler3,

/ monumenti del museo cristiano Pio-Lateranense Milano 1910 p. 22 pi. 29, 2, 2 a, 2B)
has preserved on its right-hand side a faithful copy of the Paneas bronze. If so, the
figure of Christ was of the bearded type. Asterios, bishop of Amaseia, ap. Phot, bibl.
P- 5°5 b 5 ff- states that the bronze was destroyed by Maxirainus, i.e. Galerius Valerius
Maximums (305—314 a.D.). But Philostorg. hist. eccl. 7. 3 (lxv. 537 c—539 c Migne)
puts its demolition in the time of Julian (361—363 a.d.), as does Sozom. hist. eccl. 5. 21
(lxvii. 12S0B—c Migne) adding a story that, when Julian set up a statue of himself in
its stead, this was struck by lightning: Philostorgios claims that the head of Christ was
separately preserved by the Christians; Sozomenos, that the fragments of the whole
figure were piously put together and bestowed in the church. See for details E. von
Dobschlitz Christusbilder Leipzig 1899 p. 250* ff.

The hypogaeum discovered at Rome in 1919 close to the Viale Manzoni was decorated
with paintings which range from the second half of s. ii to the first half of s. iii A-D-
(G. Bendinelli in the Not. Scavi 1920 pp. 123—141 with figs. 1—8 and pis. 1—4, Am-
Joum. Arch. 1921 xxv. 304, R. Paribeni Antichissime Pitture Crisliane a Roma Milan0
1921, R. Lanciani in The Illustrated London News for Jan. 14, 1922 p. 54 f. with 7 figs-)'
These include fine portrait-figures of the eleven Apostles, four representations of the
Good Shepherd carrying a ram on his shoulders, and some more problematic landscape
scenes. The most impressive of the second-century paintings shows a bearded man sitting
on a wooded or bushy hillside with an open roll in his hand: below him sheep and kids
are assembled (Bendinelli/^. cit. p. 131 f. pi. 3, M. H. Swindler Ancient PaintingYale
Univ. Press 1929 p. 402 fig. 621, E. Strong Art in Ancient Rome London 1929 ii- 'S'
with fig. 492). We can hardly fail to recognise the Shepherd-Judge and Divine Rule''
(supra ii. 1208 f.). And Bendinelli does well to recall the epitaph of Aberkios /j.a.0vT7>s
■jroi/iffos ayvov, \ Ss /36<r/cei jrpo/3drwc ay^Xas opeaiv TreStois re, | 6tp0aXp.ovs 8s e^ei /Mytt-Xov*
iravT-q KaSopCivras. \ ovtos yap /i' iSldal-e < > yp6.fl/j.tt.Ta wKTrd (text and comnienta'y
in C. M. Kaufmann Handbuch der christlichen Archdologie Paderborn 1913 pp. 717 7 5
and more fully in F. J. DSlger IXQYC Miinster in Westf. 1922 ii. 4=4—507).

As to the bearded type in the Catacomb of Domitilla, J. Sauer in the Strena Bulician
p. 310 observes: 'Es findet sich in der Domitilla-Katakombe, Cubiculum III (Wilpe^
Taf. 40, 2; 54, 2 und S. 107) aus der 1. Hiilfte des 3. Jahrhunderts: der Heiland is
hier als Richter oder Lehrer dargestellt mit langem Haupthaar und kurzem aber vo
Barthaar. An der Identitat dieser Figur ist trotz der Einwendungen von Victor Schu ■
[Grundriss der christlichen Archdologie p. 141] nicht zu zweifeln; die Nachweise Wilpel
hiefiir [Wilpert p. 406] sind unseres Erachtens vollig uberzeugend.'

1 J. Sauer in the Strena Buliciana p. 319 ff. 'lledet
- Supra ii. 1209^ For other possible influences see L. Dietrichson Christ"^'1 e
Kjjrfbenhavn 1880 p. 146 ff. (Zeus, Apollon, Dionysos, with their ' Nebenfiguren' SaiaPg;|
Asklepios, Orpheus), H. Holtzmann in the Jahrbiicher fur protestantische Theology
x. 93 ff. (Orpheus, Hermes), A. Furtwangler in the Milanges Perrot Paris I9°2 P"
(Triptolemos or Eubouleus, Bonus Eventus). . rno2

A. Furtwangler 'Vom Zeus des Phidias' in the Milanges Perrot

pp.

109—120. Cp. V. Schultze Archdologie der altchristlichen Kunst MUnchen