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)

Addenda

I I 2 I

restored ground-plan of the fourth-century temple of Apollon, on which is marked the
exact position of the side-chapel. Id. id. 'Addenda et Corrigenda' p. (2) amends the
facsimile of the inscription on the omphalos (my fig. 120) by prolonging the first stroke
of the alpha so that it crosses the second. But there is no doubt that the letter intended
was A.

F. Chapouthier in the Rev. Ft. Gr. 1929 xlii. 336 draws attention to the curious
resemblance of the inscription engraved on an amphora from Mykenai (A. J. Evans
Scripta Minoa Oxford 1909 i. 58 fig. 33).

P. de la Coste-Messeliere—R. Flaceliere ' Une statue de la Terre a Delphes ' in the
Bull. Corr. Hell. 1930 liv. 283—295 figs, i, 2 and pi. 14 publish a limestone base
inscribed retrograde AA=Ta on its upper surface and TA in later lettering on its front.
The base shows four holes for the two feet of a bronze statue. It was found near Kastalia
just opposite the big plane-tree, which local tradition identifies with that of Agamemnon.
With this base were found five other blocks which may have come from the same
monument (?), one inscribed retrograde ^IM30 = 9^A"s on its upper surface and OEM I?
in fourth-century letters on its front, another with nothing above but KAAAISTD. in
fourth-century style in front, a third with the artist's signature \. AO.QM followed by
EPTOH (F. Courby in the Fouilles de Delphes ii La Terrasse du Temple 2. 163—165).
On the whole it seems clear that the bases of Ge and Themis must be connected and
prove a joint cult at Kastalia. A deep cavity between the two statues was meant for a
large bronze tree-trunk, perhaps a bay (cp. Paus. 10. 5. 9).

ii. 176 n. 2 the Delphic E. This famous symbol continues to provoke lively discussion.
H. Diels Die Fragmenle der Vorsokratiker3 Berlin 1912 ii. 214 n. regards it as ' vermutlich
eine xXeis kpvittt), die zunachst als eine Erfindung geweiht, dann symbolisch gefasst und
endlich als E gedeutet wurde. Denn das Balanosschliissel sieht einem archaischen E sehr
ahnlich.' F. Dornseiff Das Alphabet in Mystik und Magie (2T0IXEIA vii) Leipzig-
Berlin 1922 p. 23 cites with approval Diels' explanation, but notes as an alternative
possibility R. Eisler's suggestion that we have here to do with 'kleine Tempelmodellchen:
im Sohar wird der Buchstabe n hejkal = babyl. E-GAL = ekallu Tempel genannt,' etc.
W. H. Roscher in the Berl. philol. Woeh. Dez. 23, 1922 pp. 1209—1211 still insists
that E is el=l'0i 'komm, tritt ein !' (id. 'Neue Beitrage zur Deutung des delphischen E'
in Hermes 1901 xxxvi. 470—489). W. N. Bates 'The E of the Temple at Delphi' in the
Am. Journ. Arch. 1925 xxix. 239—246 takes it to be a Cretan character, which on a
gem in New York is associated with two bulls and two double axes and hence is probably
to be read as a symbol of the Cretan Zeus or of the Cretan goddess, at Delphi called
Gaia. Sir T. Zammit Prehistoric Malta Oxford 1930 p. 92 f. with pi. 23, 7 publishes an
oval stone pebble, bored as a pendant and incised with JTI, from a neolithic site in
Malta: significance unknown. C. Fries ' De E Delphico' in the Rhein. Mus. 1930
lxxix. 343 f. claims that the symbol derives from Sumer: 'Jeremias...interroganti mihi
scribit, E in Sumerorum lingua idem esse quod aedem vel cameram vel domum id quod
sescenties in Sumerorum inscriptionibus inveniatur.' Finally, R. Demangel ' Triglyphes
bas' in the Bull. Corr. Hell. 1937 lxi. 421—438 with 17 figs, (especially pp. 426—428
fig. 9 f.) reverts to my explanation, and extends it in some directions beyond my purview.

ii. 183 n. 3 Rhapso. See U. von Wilamowitz-Moellendorff in Hcmies 1926 lxi. 281
(cp. pai/'wi5oi').

ii. 187 the omphalds as a mound (?). S. H. Hooke in Folk-Lore 1936 xlvii. 24 f.
derives the omphalos and its agrenon from 'early Sumerian seals of the "mountain" in
which the dead god is imprisoned.'

ii. 187 n. 8 Zeus and Aigina. Zeus in pursuit of a young woman, a not infrequent
scene on red-figured Attic vases, is often by a process of elimination labelled ' Zeus
pursuing Aegina' (e.g. L. D. Caskey—J. D. Beazley Attic Vase Paintings in the Museum
of Fine Arts, Boston Oxford 1931 i. 13 ff. no. 17 pi. 6, 43 no. 48 pis. 22 and 26, 45 no. 50
pi. 23). That is very possibly right, but the interpretation is secure only when accom-
panied by names, or at least by one name—that of the heroine. Thus a stdmnos from
Vulci, now in the Vatican (H 504), attributed to the painter Hermonax (c. 470—455 B.C.),
shows lEV£ with sceptre held horizontally just overtaking AIAINA, whose sisters
hasten to tell their father ASOPOS (Mus. Etr. Gregor. ii. 5 pi. 20, 1 and 1 a, Over-
beck Gr. Kunstmyth. Zeus p. 400 f. no. 4. Atlas pi. 6, 1, Miiller—Wieseler—Wernicke
Ant. Denkm. i. 65 f. pi. 6, 4, Hoppin Red-fig. Vases ii. 36 no. 37, J. D. Beazley
Attische Vasenmaler des rotfigurigen Stils Tubingen 1925 p. 300 no. 8), while a column-

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