Cook, Arthur B.: Zeus: a study in ancient religion (Band 3,2): Zeus god of the dark sky (earthquake, clouds, wind, dew, rain, meteorits) (Cambridge, 1940)

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Appendix P

Rep. Reliefs iii. 151 no. I, L. Stephani loc. cit. p. 60 no. 3, F. Hauser op. cit.
p. 97 no. 21, Helbig Guide Class. Ant. Rome ii. 38 f. no. 769, W. Helbig Fiihrer
durch die offentlichen Sammlungen klassischer Aliertumer in Rom3 Leipzig
1913 ii. 422 f. no. 1867, F. Weege op. cit. p. 46 with fig. 52 from a photograph (my
fig. 817, H. Licht Sittengeschichte Griechenlands Dresden—Zurich 1925 i. 73 fig.),
which shows that—as Hauser observed—the kdlathoi are largely restored. The
restoration affects the left hand of the dancer on the right, both hands, the right
foot, and the lower part of the left leg of the other dancer, together with the
rocky foreground and portions of the architectural background. Height o'8jm).
A finely worked relief of Pentelic marble in the Lateran collection preserves the
single headless figure of a similar dancer turned towards the right in front of a
wall with pilasters (Matz—Duhn Ant. Bildiv. in Rom iii. 19 no. 3499). A frag-
ment now in the Sala Lapidaria of the Arcivescovado at Ravenna also gives a
single halalh/shos-dancev from the knees upwards with the remains of a flat
pilaster and wall (H. Heydemann op. cit. p. 65 no. 5, C. Ricci in Ausonia iv. 258
with fig. 10). Another in the Palazzo Farnese shows a single dancer of the same
sort (Matz—Duhn op. cit. iii. 19 no. 3499"). Finally, a marble puteal in the
Palazzo Doria represents two pairs of kalatliiskos-d-Axicexi fronting each other
amid a fine growth of tendrils. They are here assimilated to Nikai by having
large wings on their shoulders (Matz—Duhn op. cit. iii. 112 no. 3678, cp. Comm.
Datti in the Bull. d. Inst, i860 p. 98).

Looking back over the evidence thus detailed we gather that the kalathiskos-
dancers of the Arretine sherds, the Roman mural terra cottas, and the neo-Attic
reliefs are archaistic derivatives of similar types already existing in the second
half of s. v B.C.—witness the Naples hydria, the door-jambs at Trysa, and the
coins of Abdera. Furtwangler acutely conjectured that the original from which
they are all descended was a famous masterpiece (in archaising bronze relief?)
by Kallimachos, the sallantes Lacaenae described by Plin. nat. hist. 34. 92 as 'a
work of faultless technique, but one which has lost all charm through over-
elaboration' (Furtwangler Masterpieces of Gk. Sculpt, p. 438). This conjecture
has been widely accepted and is indeed highly probable. But the further
attempt to name the dancers Karyatides and to connect them with architectural
'Caryatids' in general (P. Wolters in the Zeitschrift fiir bildende Kunst Neue
Folge 1895 vi. 36—44 after Visconti Mus. Pie- Clem, iii pi. b, ii, F. Weege op.
cit. p. 44 ff.) is in my judgment a mistake (cp. supra ii. 535 n. 2). I incline to
the following solution of the problem. Alkman, who came to Sparta SapSiav
an' aKpav (Alkm. frag. 24. 5 Bergk4, 2. 5 Edmonds, 13. 5 Diehl ap. Steph. Byz.
s.v. 'Epvarixrj, cp. Anth. Pal. 7. 709. 1 ff. (Alexandras (of Aitolia?)), 7. 18. 3 ft
(Antipatros of Thessalonike), Krates (of Mallos?) ap. Souid. s.v. 'AXk/iuv), is
known to have composed parthe'neia for Artemis and other deities. Moi'eover, he
wrote for the Spartan Gymnopaidiai songs to be sung by boys and men wearing
'Thyreatic' crowns made of palm-leaves (Sosibios of Sparta frag. 5 (Frag. hist.
Gr. ii. 626 Miiller) ap. Athen. 678 B cited supra p. 996 f.). Such a poet can hardly
have failed to import into Sparta the famous kalathiskos-dzxvce. of his own
Sardeis. It was perhaps formerly figured on an inscribed but mutilated stele of
j. iii B.C., found in the Amyklaion (B. Schroder in the Ath. Mitth. 1904 xxix.
29, 31 with fig. 2). Identical with it, or at least akin to it, was a dance performed
at the Spartan festival of Promacheia (Nilsson Gr. Feste p. 470), when the
Perioikoi as distinct from the Spartiatai wore a crown of reeds (Sosibios of
Sparta frag. 4 (Frag. hist. Gr. ii. 626 Miiller) =frag. 1 Tresp ap. Athen. 674 A
kcu yap icat AaKedcupovwi KtiKdfia crrccpavovi'Tai iv rrj rcov Tlpopa^tcov eopTjj, wsKprjcri