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)

The Hierds Gdmos

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that he looks to the left and she to the right1. But such transposition is due to
mere love of variety2.

(8) Zeus with Hera on the frieze of the Parthenon.
The ' Kodros painter,' as Professor Beazley3 put it, was ' Parthenonian' in
his effects. But the Parthenon itself on its eastern frieze4 combined in one
triumphant synthesis all three traditional types—the tandem, the side-by-side,
and the face-to-face arrangement. The deities are mostly seen en echelon. Hera
is thus behind Zeus, and yet beside him, while with a gesture characteristic of
the bride5 she turns herself to face her bridegroom. Zeus, alone of the gods, sits
on a throne with back and arms : its top-bar terminates in a circular disk and
its side-rail is supported on a winged Sphinx. His attitude is one of dignified
easeG. The right arm, sceptre in hand, rests on his lap ; the left leans on the
back of his throne. He wears a wreath or fillet in his hair, a himdtion about
his legs, and sandals on his feet. Hera sits on a stool, wearing sandals, a Doric
fieplos, and a large outspread veil. She too has a wreath, which is composed
of pointed and serrated leaves—probably those of her sacred tree, the willow7.
At her side in a Doric pdplos stands Iris8, who raises her left hand to adjust a
mass of hair and in her right probably held a fillet or garland. In this complex
Pheidias—for the design was surely his—has given faultless expression to the
current Athenian belief about the wedlock of Zeus and Hera. Moreover, as in
the vase-paintings, so on the frieze the group of Zeus and Hera is extended to
include a series of other seated deities.

1 (1) A red-figured slaninos, formerly with Depoletti at Rome, latterly with Kaleb-
djian in Paris, and now attributed to the painter Hermonax (F. T. Welcker in the Ann.
d. Inst. 1861 xxxiii. 293—298, Mon. d. Inst, vi—vii pi. 58, 1 ( = my fig. 848), id. Alt.
Denkm. v. 360, 362 ff. pi. 24/', Reinach Rep. Vases i. 157, 1, J. D. Beazley AttischeVasen-
maler des rotfigurigen Sti/s Tubingen 1925 p. 476 no. 12 bis) arranges from left to right:
a goddess (quis?), Dionysos (kdntharos, vine-staff), Aphrodite (swan, apple), Poseidon?
(restored as Dionysos), Plouton {cornu copiae), Hera (sceptre), Iris rather than Nike
{oinochde, caduccus), Zeus (phidle, sceptre).

(2) A red-figured kylix in the British Museum, assigned to the 'Kodros painter'
{Brit. Mils. Cat. Vases iii. 108 ff. no. E 8a, E. Braun in the Ann. d. Inst. 1853 xxv-
103—113, Mon. d. Inst, v pi. 49 ( = my fig. 849), A. Baumeister in his Denkm. iii. 2141 f.
pi. 92 fig. 2401, Reinach Rip. Vases i. 143, 1 f., Hoppin Red-fig. Vases ii. 154 no. 3,
J. D. Beazley op. cit. p. 425 no. 5), depicts a symposium of the gods. Outside, A Amphi-
trite (dipper, aldbaslron), Poseidon (trident, phidle), Hera (sceptre), Zeus (sceptre,
phidle), Ganymedes (strainer seen edgewise): B Aphrodite (smematothekei), Ares (spear,
phidle on table), Ariadne (love-gesture of fingers, cp. C. Sittl Die Gcbdrden dcr Griechen
und Romer Leipzig 1890 pp. 256, 287 n. 2), Dionysos {phidle, thyrsos), Komos. Inside,
Pherrephatta (love-gesture of fingers?), Plouton {phidle, cornu copiae).

2 Cp. supra p. 694 fig. 502.

3 J. D. Beazley op. cit. p. 425 ' Sehr feine Schalen mit Anklangen an Parthenon-
isches.'

4 Supra ii. 1135 n. 5 with pi. xliv.

6 Cp. supra p. 1038 fig. 834. 6 Supra i. 9 c f. fig. 64.

7 Supra p. 1028 ff. So already A. H. Smith A Guide to the Sculptures of the Parthenon
London 1908 p. 76.

8 The choice lies between Nike (Overbeck Gr. Plastik1 i. 444, F. Studniczka Die
Siegesgoettin Leipzig 1898 p. 20 pi. 9, 39—40) and Iris (J. Stuart and N. Revett The
Antiqttitics of Athens London 1787 ii. 13 pi. 24, followed by most modern critics).
Somewhat in favour of the former is her long clothing ; but decisive for the latter is
her position next Hera, not Zeus.