DOI Page / Citation link:
https://doi.org/10.11588/diglit.37251#0084
52
SALA DEI TRIONFI 6
visible round the arms and at the feet, round which it spreads fan-like to
form as it were a basis for the figure. This undergarment is aiso seen at
the back from feet to waist, where it is pulled above the shoulders and
brought to the front, covering the round disk behind the goddess's head
something after the manner of a veil. In other replicas the drapery is
kept to the back; in the present instance the sculptor by a curious mis-
understanding has shown the four Z^Z77Zzz<? of griffins with dogs' heads
which in other copies belong to the disk, as issuing from the veil. Over
the thin pleated undergarment the goddess wears a complicated array of
ornaments, which Dr. Hogarth in discussing the character of the actual
Ephesian temple statue (ZTrrzyzz/zhzzy Z))^Mzzy, vol. i, pp. 323 ff.) and
Dr. Meurer in his recent discussion of the replica in Naples (Ghzz'Zz, 66g)
have succeeded in explaining with reasonable certainty. Immediately
below her neck and covering all the upper part of the breast the goddess
wears a crescent-shaped pectoral (presumably of metal) upon which are
carved in low relief five signs of the Zodiac (&zyzz7%?'zzz.f, Zz'<5r%,
Ez'ryc, and Z^o), and above these in high relief four winged Victories in
long <rA'Z7;.f standing two on each side of a low altar. Just below the
Victories hangs a long garland of fruit fastened on each shoulder. The
pectoral is finished off by a border resembling a fillet from which hang
tassels/ and between these tassels appear the yrohwzzn? of four horses, with
front paws resting on the topmost row of what have generally been taken
to be breasts, twenty-two in number. Minucius Felix ((ZZz&. 22. 5)
speaks of Zh'%72% . . . Z/ZyA 77zzz77z77zz*y 7zzzz//zv Z zzAzv'Zzv ^yZzzr/zz, and
Jerome (Azf ZV;?;/! (ed. Vale.) vii, p. 339) quotes the Greek term
7roXv/7,acr7-os. These passages leave no doubt with regard to the current
interpretation of these features. But it has been pointed out by Hogarth
that these * pendant dugs' are never treated in a naturalistic manner on
the numerous coins which represent the cult figure, whilst in some instances
the whole body is covered with such protuberances (e. g. Z*. ZZ Cozm*,
Z?7zziz, xiv. 2). They are also found on the figures of Zeus Labraundeus,
as represented on coins of Euromosin Caria (Z. ZZ CczVy, Czzrzh, xvii. 8),
where the whole body is thus decorated, and on that of Zeus Stratios on
a votive slab from Tegea recently acquired by the British Museum, pub-
lished by P. Foucart in ZZ773. Zzh/, xviii (1910), p. 1910, and by M. Meurer
in Ztwz. ZZZ. xxix (1914), p. 203, fig. 2. Meurer explains them as
developed from rows of chains with large pendants, originally flat (as in
Egyptian statues) then gradually increasing in bulk (as in certain terra-
cotta statuettes, where they already have a mastoid shape) till they attain
to the size given them in these late statues of the Ephesian goddess.
V. Muller (Zr. rz?.) derives them from a shield with bosses hung by straps
from the neck. There is no indication of a nipple, and their bag-like shape
is very unlike that of the human breast. That the original artist did not
think of these mastoid appendages as the breasts of the goddess is further-
more evident from the fact that they are in all cases placed ozw- the drapery
(as in the relief from Tegea mentioned above), and also that whereas the
flesh parts are invariably of some dark material, the so-called breasts are
always of a piece with the dress and ornaments. At the same time it is
possible that the copyist, perhaps rather uncertain as to the exact meaning
* Or a necklace' of tubular beads with pendant drops at intervals.
SALA DEI TRIONFI 6
visible round the arms and at the feet, round which it spreads fan-like to
form as it were a basis for the figure. This undergarment is aiso seen at
the back from feet to waist, where it is pulled above the shoulders and
brought to the front, covering the round disk behind the goddess's head
something after the manner of a veil. In other replicas the drapery is
kept to the back; in the present instance the sculptor by a curious mis-
understanding has shown the four Z^Z77Zzz<? of griffins with dogs' heads
which in other copies belong to the disk, as issuing from the veil. Over
the thin pleated undergarment the goddess wears a complicated array of
ornaments, which Dr. Hogarth in discussing the character of the actual
Ephesian temple statue (ZTrrzyzz/zhzzy Z))^Mzzy, vol. i, pp. 323 ff.) and
Dr. Meurer in his recent discussion of the replica in Naples (Ghzz'Zz, 66g)
have succeeded in explaining with reasonable certainty. Immediately
below her neck and covering all the upper part of the breast the goddess
wears a crescent-shaped pectoral (presumably of metal) upon which are
carved in low relief five signs of the Zodiac (&zyzz7%?'zzz.f, Zz'<5r%,
Ez'ryc, and Z^o), and above these in high relief four winged Victories in
long <rA'Z7;.f standing two on each side of a low altar. Just below the
Victories hangs a long garland of fruit fastened on each shoulder. The
pectoral is finished off by a border resembling a fillet from which hang
tassels/ and between these tassels appear the yrohwzzn? of four horses, with
front paws resting on the topmost row of what have generally been taken
to be breasts, twenty-two in number. Minucius Felix ((ZZz&. 22. 5)
speaks of Zh'%72% . . . Z/ZyA 77zzz77z77zz*y 7zzzz//zv Z zzAzv'Zzv ^yZzzr/zz, and
Jerome (Azf ZV;?;/! (ed. Vale.) vii, p. 339) quotes the Greek term
7roXv/7,acr7-os. These passages leave no doubt with regard to the current
interpretation of these features. But it has been pointed out by Hogarth
that these * pendant dugs' are never treated in a naturalistic manner on
the numerous coins which represent the cult figure, whilst in some instances
the whole body is covered with such protuberances (e. g. Z*. ZZ Cozm*,
Z?7zziz, xiv. 2). They are also found on the figures of Zeus Labraundeus,
as represented on coins of Euromosin Caria (Z. ZZ CczVy, Czzrzh, xvii. 8),
where the whole body is thus decorated, and on that of Zeus Stratios on
a votive slab from Tegea recently acquired by the British Museum, pub-
lished by P. Foucart in ZZ773. Zzh/, xviii (1910), p. 1910, and by M. Meurer
in Ztwz. ZZZ. xxix (1914), p. 203, fig. 2. Meurer explains them as
developed from rows of chains with large pendants, originally flat (as in
Egyptian statues) then gradually increasing in bulk (as in certain terra-
cotta statuettes, where they already have a mastoid shape) till they attain
to the size given them in these late statues of the Ephesian goddess.
V. Muller (Zr. rz?.) derives them from a shield with bosses hung by straps
from the neck. There is no indication of a nipple, and their bag-like shape
is very unlike that of the human breast. That the original artist did not
think of these mastoid appendages as the breasts of the goddess is further-
more evident from the fact that they are in all cases placed ozw- the drapery
(as in the relief from Tegea mentioned above), and also that whereas the
flesh parts are invariably of some dark material, the so-called breasts are
always of a piece with the dress and ornaments. At the same time it is
possible that the copyist, perhaps rather uncertain as to the exact meaning
* Or a necklace' of tubular beads with pendant drops at intervals.