DOI Page / Citation link:
https://doi.org/10.11588/diglit.14144#0329
ANALYSTS OF THE GROUP OF DEITIES.
lap, and he supports himself by a staff (jttcvjirTpov ira^i)1 under his
right shoulder. The upper part of his person, which is nude, is dis-
proportionately massive and heavy, like that of a smith, and we have
no difficulty in recognising Hephaestus. In his character of artificer
he has a claim to sit near Athene, whose counsel and assistance he
needed in the fabrication of his wonderful works of art. Here a
slight break occurs in the line of deities, and we then come to four
more intimately associated figures :—
Poseidon (fig. 117,/') is a dignified form, bearded, and with soft
flowing hair ; his lower limbs are wrapped in the himation. The
artist has given the mighty ruler of the seas a proud and aristocratic
bearing, suitable to his lofty rank ; but not the ineffable air of un-
questioned supremacy which breathes in the form of his almighty
brother Zeus.
Dionysus (fig. 117, /). Almost all the archaeologists of the earlier
part of the present century called this figure Theseus, and it has
since then borne successively the names of Apollo, Hephaestus, etc.
It probably represents Dionysus. Both the attitude and the dress,
which differs from that of the other figures, are favourable to this
interpretation. The right arm lies carelessly on the drapery by the
right thigh, and the left is elevated, resting on the t/iyrsos. The
himation, which is drawn closely round the loins, reaches to the feet,
and passing up the back, falls in a broad fold over the left shoulder
and upper arm on to the lap. The soft and dreamy expression of
the face, and the listless effeminate air of the whole figure, corre-
spond with the richer dress ; and the garland indicated by the ten
small holes in the head is characteristic of the voluptuous God of wine
and revel.2
The interpretation of the next group, consisting of two females
and a boy (fig. 117, m, n, 0), is attended with peculiar difficulties.
The earlier archaeologists called the first of these (;//) Aglauros,
and this name was afterwards changed to that of Cora (Proser-
pine). Some of the most eminent writers of the present day3 agree
1 /Had, xviii. 416. l-'lasch,:um Tartli. jS.
'2 Flasch, /. c.
' Michaelis, Conze, Fricck-iichs. file-
name Patho was first suggested by K. O.
Mullet in 1829.
lap, and he supports himself by a staff (jttcvjirTpov ira^i)1 under his
right shoulder. The upper part of his person, which is nude, is dis-
proportionately massive and heavy, like that of a smith, and we have
no difficulty in recognising Hephaestus. In his character of artificer
he has a claim to sit near Athene, whose counsel and assistance he
needed in the fabrication of his wonderful works of art. Here a
slight break occurs in the line of deities, and we then come to four
more intimately associated figures :—
Poseidon (fig. 117,/') is a dignified form, bearded, and with soft
flowing hair ; his lower limbs are wrapped in the himation. The
artist has given the mighty ruler of the seas a proud and aristocratic
bearing, suitable to his lofty rank ; but not the ineffable air of un-
questioned supremacy which breathes in the form of his almighty
brother Zeus.
Dionysus (fig. 117, /). Almost all the archaeologists of the earlier
part of the present century called this figure Theseus, and it has
since then borne successively the names of Apollo, Hephaestus, etc.
It probably represents Dionysus. Both the attitude and the dress,
which differs from that of the other figures, are favourable to this
interpretation. The right arm lies carelessly on the drapery by the
right thigh, and the left is elevated, resting on the t/iyrsos. The
himation, which is drawn closely round the loins, reaches to the feet,
and passing up the back, falls in a broad fold over the left shoulder
and upper arm on to the lap. The soft and dreamy expression of
the face, and the listless effeminate air of the whole figure, corre-
spond with the richer dress ; and the garland indicated by the ten
small holes in the head is characteristic of the voluptuous God of wine
and revel.2
The interpretation of the next group, consisting of two females
and a boy (fig. 117, m, n, 0), is attended with peculiar difficulties.
The earlier archaeologists called the first of these (;//) Aglauros,
and this name was afterwards changed to that of Cora (Proser-
pine). Some of the most eminent writers of the present day3 agree
1 /Had, xviii. 416. l-'lasch,:um Tartli. jS.
'2 Flasch, /. c.
' Michaelis, Conze, Fricck-iichs. file-
name Patho was first suggested by K. O.
Mullet in 1829.