DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.14144#0330
294
in calling her Peitho (Suadela), the Goddess of Persuasion. The
great, and to my mind insuperable, objection to this appellation is
the extreme unlikelihood that the artist would give to a mere per-
sonification, an adjunct and living attribute of Aphrodite, so very
distinguished a place among the great Gods of Olympus. Nor is it
easily conceivable that he should allot three places, in the very
limited space at his disposal, to one Goddess and her train.1 This last
objection has been strongly urged by Dr. Flasch, but his own suggestion
that Demeter is here represented appears hardly more satisfactory.2
The name of the grave, solemn (a-efivrj), afflicted mother of Persephone
is almost the last which would rise to our lips on looking at this
beautiful and voluptuous form, with the waving hair and partially
uncovered breast. We should certainly take her for Aphrodite were
it not that the boy in the group, generally named Eros, leans not
against her but her neighbour. Notwithstanding this great diffi-
culty, we are inclined to call fig. 117, m, Aphrodite, fig. 117, n,
Demeter, and the boy (fig. 117, 0) Triptolemos:' Or we may suppose
that for artistic reasons Eros was not placed close to his beautiful
mother.
Aphrodite (?) (generally called Demeter) (fig. 117, /) is dressed
in chiton and himation. The former has fallen a little from the
shoulder of the left arm, which hangs by her side and reveals the
upper part of the bosom. Her raised right hand rests lightly on the
top of her chiton.1 Her hair is wavy, and the back of the head is
bound with a cloth in the shape of a very becoming cap.
Demeter (?), Aphrodite? (fig. 117, u). Michaelis, Conze, and
Friederichs agree in calling this figure Aphrodite, and Dr. Flasch
concurs. It is difficult to resist such a weight of authority, but
she appears both in dress and demeanour to be very unlike the
wanton, laughter-loving Goddess. She is more completely covered
1 Praxiteles, the favourite of Aphrodite,
might do this, but not Pheidias.
2 Flasch, zitm Parth. p. 33. Dr. Flasch
speaks of her ' Iandliche Einfachhcit und
Anspruchslosigkeil,' rustic simplicity and
modesty! It is with no small apprehen-
sion that we differ from Dr. F., who
attributes 'the ears of Midas' to all who
dispute his theory. ' It is ill arguing with
one who wears such very thick boots.'
3 Botticher(Zopborvs am Parthenon, p. 206)
denies the wings, on which the name of Eros
rests.
< Dr. Flasch sees in her negligent attire the
comfortable carelessness of the matron as com-
pared with the anxious modesty of the virgin .'
in calling her Peitho (Suadela), the Goddess of Persuasion. The
great, and to my mind insuperable, objection to this appellation is
the extreme unlikelihood that the artist would give to a mere per-
sonification, an adjunct and living attribute of Aphrodite, so very
distinguished a place among the great Gods of Olympus. Nor is it
easily conceivable that he should allot three places, in the very
limited space at his disposal, to one Goddess and her train.1 This last
objection has been strongly urged by Dr. Flasch, but his own suggestion
that Demeter is here represented appears hardly more satisfactory.2
The name of the grave, solemn (a-efivrj), afflicted mother of Persephone
is almost the last which would rise to our lips on looking at this
beautiful and voluptuous form, with the waving hair and partially
uncovered breast. We should certainly take her for Aphrodite were
it not that the boy in the group, generally named Eros, leans not
against her but her neighbour. Notwithstanding this great diffi-
culty, we are inclined to call fig. 117, m, Aphrodite, fig. 117, n,
Demeter, and the boy (fig. 117, 0) Triptolemos:' Or we may suppose
that for artistic reasons Eros was not placed close to his beautiful
mother.
Aphrodite (?) (generally called Demeter) (fig. 117, /) is dressed
in chiton and himation. The former has fallen a little from the
shoulder of the left arm, which hangs by her side and reveals the
upper part of the bosom. Her raised right hand rests lightly on the
top of her chiton.1 Her hair is wavy, and the back of the head is
bound with a cloth in the shape of a very becoming cap.
Demeter (?), Aphrodite? (fig. 117, u). Michaelis, Conze, and
Friederichs agree in calling this figure Aphrodite, and Dr. Flasch
concurs. It is difficult to resist such a weight of authority, but
she appears both in dress and demeanour to be very unlike the
wanton, laughter-loving Goddess. She is more completely covered
1 Praxiteles, the favourite of Aphrodite,
might do this, but not Pheidias.
2 Flasch, zitm Parth. p. 33. Dr. Flasch
speaks of her ' Iandliche Einfachhcit und
Anspruchslosigkeil,' rustic simplicity and
modesty! It is with no small apprehen-
sion that we differ from Dr. F., who
attributes 'the ears of Midas' to all who
dispute his theory. ' It is ill arguing with
one who wears such very thick boots.'
3 Botticher(Zopborvs am Parthenon, p. 206)
denies the wings, on which the name of Eros
rests.
< Dr. Flasch sees in her negligent attire the
comfortable carelessness of the matron as com-
pared with the anxious modesty of the virgin .'