DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18216#0123
EAST PEDIMENT OF PARTHENON.
109
limbs in a rich composition of folds. On the right wrist
of the figure nearest the angle (E) is a dowel hole,
probably for the attachment of a bracelet. Her com-
panion (F), who wore metal fibulae on each shoulder,
extends her left arm towards the figure, which is advancing
towards her. Her head has been broken off at the base
of the neck, but it has probably been turned towards her
companion, who rests her left arm affectionately on her
shoulder, and who probably looked towards her, perhaps
as if listening to the news brought by Iris. The seats,
on which are laid folded carpets, are carved out of the
marble with great care and delicacy of finish, the regular
geometrical lines being valuable in opposition to the
varied undulations of the drapery. In the sides and
backs of both seats are oblong sunk panels, in one of
which several archaeologists have tried unsuccessfully to
read the name of an artist (see Michaelis, p. 174; Brunn,
Griech. Kiinstler, i., p. 104). Most of the writers on the Par-
thenon, from Visconti downwards, have named this group
Demeter and Persephone, two deities, whose cult in Attica
ranked second only to that of Athene herself. This
attribution would be strengthened if the reclining male
figure could be identified with Dionysos, a deity whoso
worship in Attica was closely connected with that of the
Eleusinian goddesses. The composition of the group has
suggested to other archaeologists a sisterly rather than
a filial relation between the figures. Brondsted ( Voyages
et Becherches, ii., p. xi.) suggested that these two figures,
with G, were the three Horae or Seasons, worshipped in
Attica under the names Thallo, Auxo and Karpo. Brunn
(followed by Waldstein) supposes that the two figures are
Horae, but that they must be viewed as the warders of
the gates of Olympos (Horn. II., v., 749) rather than as
Attic deities. On this theory the position of figure G,
if it represents Iris, would indicate that she is on the
109
limbs in a rich composition of folds. On the right wrist
of the figure nearest the angle (E) is a dowel hole,
probably for the attachment of a bracelet. Her com-
panion (F), who wore metal fibulae on each shoulder,
extends her left arm towards the figure, which is advancing
towards her. Her head has been broken off at the base
of the neck, but it has probably been turned towards her
companion, who rests her left arm affectionately on her
shoulder, and who probably looked towards her, perhaps
as if listening to the news brought by Iris. The seats,
on which are laid folded carpets, are carved out of the
marble with great care and delicacy of finish, the regular
geometrical lines being valuable in opposition to the
varied undulations of the drapery. In the sides and
backs of both seats are oblong sunk panels, in one of
which several archaeologists have tried unsuccessfully to
read the name of an artist (see Michaelis, p. 174; Brunn,
Griech. Kiinstler, i., p. 104). Most of the writers on the Par-
thenon, from Visconti downwards, have named this group
Demeter and Persephone, two deities, whose cult in Attica
ranked second only to that of Athene herself. This
attribution would be strengthened if the reclining male
figure could be identified with Dionysos, a deity whoso
worship in Attica was closely connected with that of the
Eleusinian goddesses. The composition of the group has
suggested to other archaeologists a sisterly rather than
a filial relation between the figures. Brondsted ( Voyages
et Becherches, ii., p. xi.) suggested that these two figures,
with G, were the three Horae or Seasons, worshipped in
Attica under the names Thallo, Auxo and Karpo. Brunn
(followed by Waldstein) supposes that the two figures are
Horae, but that they must be viewed as the warders of
the gates of Olympos (Horn. II., v., 749) rather than as
Attic deities. On this theory the position of figure G,
if it represents Iris, would indicate that she is on the