The Hierbs Gdmos

1057

(fileklron, kithdra, bay-wreath), Artemis (bow, quiver), Zeus (thunderbolt, eagle-
sceptre), Athena (spear, owl, helmet, aigt's); Poseidon (trident), Hera (sceptre),
Hephaistos (shorter staff), Demeter (corn-ears, sceptre); Ares (spear, helmet,
breastplate), Aphrodite (small oval fruit between fingers of right hand), Hermes
(caduccus, ptlos), Hestia (fi/iidle, sceptre). The twelve form three fours, the
divisions between them being marked by the fact that the leader of the second
and third group turns to address his immediate follower—an action repeated by
the final pair. Throughout the line god alternates with goddess. But it is to be
observed that Hera's place next Zeus is usurped by Athena—a variation which,
as in the case of a black-figured vase already mentioned1, points to the patriotic
design of an Athenian craftsman.

The same arrangement in three fours appears five centuries later on the
so-called ara Borghese in the Louvre (fig. 852, a—c)-. This triangular base
of Pentelic marble, meant to support a candelabrum or a tripod, is embellished
with two ranges of divine figures. Above we see the twelve gods grouped as
follows from left to right: Zeus (thunderbolt) with Hera (sceptre, bridal veil)
and Poseidon (trident) with Demeter (corn-ears?); Apollon (fllcktron, kithdrai
—wrongly restored as a goddess3!) with Artemis (arrow?, quiver?, bow) and
Hephaistos (pincers—again wrongly restored as a goddess !) with Athena (spear,
aigh, helmet?, shield?); Ares (spear, shield, helmet?, breastplate?) with Aphro-
dite (dove) and Hermes {caduceus, talaria) with Hestia (veil, sceptre). Below
on a larger scale are the three Charites (joining hands for the dance); the three
Horai (flower, grapes, corn); the three Moirai (sceptres). The general effect is
that of an archaizing santa conversazione. But it is clear that Zeus and Hera
head the assembly, and that the Charites4, the Horai5, the Moirai6 are all intro-
duced in relation to Zeus.

The arrangement in fours underlies also the grouping of the twelve on the
fiuleal Albani, a well-mouth of Roman date formerly in the Albani collection
but now in the Capitoline Museum (fig. 853)7. This relief, of Greek marble
but Roman design8, divides the gods into two unequal companies, eight moving
towards the right, four towards the left. On the one hand we have Zeus
(thunderbolt, sceptre), Hera (sicp/idnc, bridal veil), Athena (aigis, helmet, spear),

1 Supra p. 1049 n. 1.

2 Clarac Mus. de Scidpt. ii. 1. 170—181 pis. 172—174 figs. 11 — i7 = Keinach Rep.
Stat. i. 65 f., Miiller—Wieseler Denkm. d. alt. Kunst i. 8 pi. 12, 43 and 44, pi. 13, 45
( = my fig. 852, a, c, b), Frohner Sculpt, du Louvre i. 3 ff. no. 1. Height: 2-o89m.

3 O. Jahn in the Ber. sticks. Gesellsch. d. Wiss. Phil.-hist. Classe 1868 p. 193 pi. 5,
1—3 published sketches of the base, made by Pighius c. 1500 A.D., which show the

es without the misleading alterations. A. Baumeister in his Denkm. iii. 2137 with
figs. 2394—2396 inserts the sketches of Pighius into the drawings of Muller—Wieseler.

4 Supra i. 155, ii. 232 n. o fig. 160, iii. 955.

5 Supra ii. 37 n. 1, 94 n. 2, 232 n. o, 372 f., 1138 n. 5, iii. 955.
0 Supra ii. 231 n. 8, 1138 n. j.

Stuart Jones Cat. Scidpt. Mus. Capit. Rome p. 106 ff. Galleria no. 31 b pi. 29 (six
photographs, each showing two deities), Muller—Wieseler Denkm. d. alt. Ktinst ii.
'37 ff- pi. 18, 197 (=my fig. 853), W. Helbig Fithrer durch die ojjentlichen Sammlungen
kiasstsclier Altertiimer in Rom3 Leipzig 1912 i. 431 ff. no. 783 (who notes that, according
to old drawings, the present restored head of Aphrodite should have been looking back-
wards to link up with the other company), O. Weinreich in Roscher Lex. Myth. vi. 798 f.
with fig. 4. Height: 0-493™.

F. Schmidt Archaistische Kunst in Gricchenland und Rom Mtinchen 1922 p. 25 f.
( flavische Zeit ist mir das wahrscheinlichste, hadrianische das spateste mogliche Datum').

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