The Parthenon Enigma (80 page)

41.
Harrison, “Web of History,” 198–202, and Wesenberg, “Panathenäische Peplosdedikation und Arrhephorie,” see this as the folding up of the old peplos rather than the presentation of the new one at the Panathenaia.

42.
Inconsistencies between the
testimonia
and the images on the frieze were first noted by Petersen,
Die Kunst des Pheidias
, cited by Michaelis,
Parthenon
, 209. See S. Rotroff, “The Parthenon Frieze and the Sacrifice to Athena,”
AJA
81 (1977): 379–80; Holloway, “Archaic Acropolis”; Boardman, “Parthenon Frieze,” 214; Connelly, “Parthenon and
Parthenoi
,” 54.

43.
For
kanephoroi
, see Connelly,
Portrait of a Priestess
, 33–39, with bibliography.

44.
Efforts to find a basket bearer in the east frieze come up short, though some have seen the tray-like object held in the hands of a “marshal” on the east frieze (E49
in the Louvre) as a basket. It is imagined that the girls before him, E50–51, have just handed him a
kanoun
, making one of the girls a
kanephoros:
Brommer,
Der Parthenonfries
, 148; J. Schelp,
Das Kanoun: Der griechische Opferkorb
(Würzburg: K. Tritsch, 1975), 55ff.; L. J. Roccos, “The Kanephoros and Her Festival Mantle in Greek Art,”
AJA
99 (1995): 641–66; Neils,
Parthenon Frieze
, 157.

45.
Mansfield, “Robe of Athena,” 68–78; Norman, “The Panathenaic Ship.” The hoisting of the great tapestry peplos as the “sail” of the Panathenaic ship pulled on a wheeled cart during the Panathenaic procession is first attested in the third quarter of the fourth century
B.C.
See Plutarch,
Life of Demetrios
10.5, 12.3. Elizabeth Barber suggests the practice might have begun much earlier, possibly just after the Persian Wars when one of the ships from the Battle of Salamis might have been lifted from the water and paraded before the citizenry to remind them of how Athens was saved from the Persian foe; see Barber, “
Peplos
of Athena,” 114. A fourth-century marble relief found in the Athenian Plaka shows the Panathenaic ship-cart; see A. Spetsieri-Choremi, “Θραύσμα αναθηματικού αναγλύφου από την περιοχή του αθηναϊκού Ελευσινίου,”
ArchEph
139 (2000): 1–18.

46.
See Thucydides,
Peloponnesian War
6.58. For the omission of hoplites on the frieze, see Michaelis,
Parthenon
, 214; Boardman, “Parthenon Frieze,” 210–11; Boardman, “Another View,” 43–44; Connelly, “Parthenon and
Parthenoi
,” 69.

47.
Boardman, “Another View,” 42–45, and Boardman, “Parthenon Frieze,” 215.

48.
There is a double anachronism here, in that we would not expect to see soldiers riding astride horses in the Late Bronze Age, when horses were used for pulling wheeled carts and chariots but not for riding. I thank Nicola Di Cosmo for this observation.

49.
The question is raised by M. Robertson in “Sculptures of the Parthenon,” 56; Boardman, “Parthenon Frieze,” 211; Holloway, “Archaic Acropolis,” 223; Kroll, “Parthenon Frieze as Votive Relief”; and, of course, Lawrence,
Greek and Roman Sculpture
, 144.

50.
Lissarrague, “Fonctions de l’image”; Lissarrague and Schnapp, “Imagerie des Grecs”; Connelly, “Parthenon and
Parthenoi
,” 55; Connelly,
Portrait of a Priestess
, 20–21; Ferrari,
Figures of Speech
, 17–25; Webster, “Greek Theories of Art and Literature”; Marconi, “Degrees of Visibility,” 172; J. Svenbro,
La parole et le marbre
(Lund: Studentlitteratur, 1976); Sourvinou-Inwood,
“Reading” Greek Death
, 140–43; Steiner,
Images in Mind
, 252–59.

51.
Lawrence, “Acropolis and Persepolis,” 118.

52.
Lawrence,
Greek and Roman Sculpture
, 144.

53.
Kardara, “Glaukopis,” 119–29.

54.
Jeppesen, “Bild und Mythus an dem Parthenon.”

55.
For a reading of the frieze as a “general display of religiosity,” see Ridgway,
Fifth Century Styles
, 77–78; for multiple meanings, see Jenkins,
Parthenon Frieze
, 31–42; for the frieze as “evocation of all the ceremonies, contests, and forms of training that made up the cultural and religious life of Classical Athens,” see Pollitt, “Meaning of the Parthenon Frieze,” 63.

56.
Fehr,
Becoming Good Democrats and Wives
, especially 7–8, and 104–11, for the central scene on the east frieze.

57.
First presented in a talk at Bryn Mawr College (December 11, 1991) on the occasion of the retirement of Phyllis Pray Bober, dean of the Graduate School of Arts and Sciences; followed by a lecture at New York University on November 21, 1992, “Parthenon and
Parthenoi:
A Mythological Interpretation of the Parthenon Frieze,” at the symposium “Athens: Cradle of Democracy,” held in honor of Homer A. Thompson and sponsored by the Alexander S. Onassis Center of Hellenic Studies. Later that year (December 28, 1992), I presented “The Parthenon Frieze and the Sacrifice of the Erechtheids: Reinterpreting the ‘Peplos Scene’ ” at the Archaeological Institute of America’s annual meeting in New Orleans; abstract published in
AJA
97 (1993): 309–10. In 1996,
I published a full treatment of the reinterpretation in “Parthenon and
Parthenoi:
A Mythological Interpretation of the Parthenon Frieze,”
AJA
100 (1996): 53–80. See Chaniotis, “Dividing Art–Divided Art,” 43; Deacy,
Athena
, 117; Jouan and Van Looy,
Fragments: Euripides
, 95–132; Ridgway,
Prayers in Stone
, 201; Spivey,
Understanding Greek Sculpture
, 146–47.

58.
Noted by Boardman in “Another View,” 41, and in “Naked Truth.”

59.
Connelly, “Sacrifice of the Erechtheids”; Connelly, “Parthenon and
Parthenoi
,” 58–66.

60.
J. Barringer, “The Temple of Zeus at Olympia, Heroic Models, and the Panhellenic Sanctuary,” in Barringer,
Art, Myth, and Ritual
, 8–58; J. Hurwit, “Narrative Resonance in the East Pediment of the Temple of Zeus at Olympia,”
Art Bulletin
69 (1987): 6–15; Säflund,
East Pediment of the Temple of Zeus at Olympia
.

61.
Schnapp, “Why Did the Greeks Need Images?” For recent scholarship on divine images, see M. Gaifman,
Aniconism in Greek Antiquity
(Oxford, U.K.: Oxford University Press, 2012); P. Eich,
Gottesbild und Wahrnehmung: Studien zu Ambivalenzen früher griechischer Götterdarstellungen (ca. 800 v. Chr.–ca. 400 v. Chr.)
(Stuttgart: Franz Steiner, 2011); V. Platt,
Facing the Gods: Epiphany and Representation in Graeco-Roman Art, Literature, and Religion
(Cambridge, U.K.: Cambridge University Press, 2011); I. Mylonopoulos, “Divine Images Behind Bars: The Semantics of Barriers in Greek Temples,” in
Current Approaches to Religion in Ancient Greece
, ed. J. Wallensten and M. Haysom (Stockholm: Svenska Institutet i Athen, 2011), 269–91; I. Mylonopoulos, ed.,
Divine Images and Human Imaginations in Ancient Greece and Rome
(Leiden: Brill, 2010); S. Bettinetti,
La statua di culto nella pratica rituale greca
(Bari: Levante, 2001); Lapatin,
Chryselephantine Statuary;
Steiner,
Images in Mind;
T. S. Scheer,
Die Gottheit und ihr Bild: Untersuchungen zur Funktion griechischer Kultbilder in Religion und Politik
(Munich: Beck, 2000); D. Damaskos,
Untersuchungen zu hellenistischen Kultbildern
(Stuttgart: Franz Steiner, 1999); Donohue,
Xoana;
I. B. Romano, “Early Greek Cult Images and Cult Practices,” in Hägg, Marinatos, and Nordquist,
Early Greek Cult Practice
, 127–34.

62.
Contra Shear, “Polis and Panathenaia,” 729–61; Osborne, “Viewing and Obscuring,” 99–101.

63.
Simon,
Festivals of Attica
, 67; Parke,
Festivals of the Athenians
, 40; Mansfield, “Robe of Athena,” 291; Dillon,
Girls and Women
, 45–47; Marconi, “Degrees of Visibility,” 167; Neils,
Parthenon Frieze
, 16; Sourvinou-Inwood,
Athenian Myths and Festivals
, 294; Hurwit,
Age of Pericles
, 230, and Hurwit,
Athenian Acropolis
, 225, who identifies the woman as either the priestess of Athena Polias or as the
basilinna
.

64.
Mantis, Προβλήματα της εικονογραφίας, 28–65; Connelly,
Portrait of a Priestess
, 92–104.

65.
Berlin, Staatliche Museen, Antikensammlung K 104. Connelly,
Portrait of a Priestess
, 95–96.

66.
Mansfield, “Robe of Athena,” 291, 346; Simon,
Festivals of Attica
, 66; Boardman, “Another View,” 41; Mantis, Προβλήματα της εικονογραφίας, 78, 80–96. Sourvinou-Inwood,
Athenian Myths and Festivals
, 296, suggests that he is the priest of Zeus Polieus. Steinhart, “Die Darstellung der Praxiergidai,” 476–77, argues he is neither a priest nor the archon basileus but that he and the child are members of the Praxiergidai clan, the
genos
closely connected with the peplos.

67.
Robertson,
Shorter History of Greek Art
, 100; Connelly, “Parthenon and
Parthenoi
,” 60; Connelly,
Portrait of a Priestess
, 187ff.; Boardman and Finn,
Parthenon and Its Sculptures
, 222–23.

68.
Images listed by Brommer,
Der Parthenonfries
, 268; Mantis, Προβλήματα της εικονογραφίας, 78, 80, 82–96.

69.
Athens National Museum 772; Mantis, Προβλήματα της εικονογραφίας, plate 38a; Connelly, “Parthenon and
Parthenoi
,” 59, fig. 2; A. Conze,
Attischen Grabreliefs
(Berlin: Spemann, 1893), 197, no. 920, plate 181.

70. Stuart and Revett,
Antiquities of Athens
, 2:12.

71.
Robertson and Frantz,
Parthenon Frieze
, 308. For Venus rings, see Boardman, “Notes on the Parthenon Frieze,” 9–10.

72.
Boardman, “Notes on the Parthenon Frieze,” 9–11. See also Boardman, “Parthenon Frieze,” 214; Boardman, “Another View,” 41; Boardman, “Naked Truth.”

73.
Those who believe the child is a boy: Fehr,
Becoming Good Democrats and Wives
, 104–6; J. Neils, “The Ionic Frieze,” in Neils,
Parthenon
, 203; Hurwit,
Age of Pericles
, 230; Neils,
Parthenon Frieze
, 168–71; Steinhart, “Die Darstellung der Praxiergidai,” 476; Jenkins,
Parthenon Frieze
, 35; Clairmont, “Girl or Boy?”; Harrison, “Time in the Parthenon Frieze,” 234; Simon,
Festivals of Attica
, 66–67; Brommer,
Der Parthenonfries
, 269–70n137, 264, table; Parke,
Festivals of the Athenians
, 41; Kardara, “Glaukopis.” Those who identify the child as a girl: Dillon,
Girls and Women
, 45–47; Boardman, “Closer Look,” 314–21; Connelly, “Parthenon and
Parthenoi
,” 60; Connelly, “Sacrifice of the Erechtheids”; J. Pedley,
Greek Art and Archaeology
(London: Cassell, 1992), 246; Boardman, “Naked Truth”; Stewart,
Greek Sculpture
, 155, 157; Boardman, “Notes on the Parthenon Frieze,” 9–10; Mansfield, “Robe of Athena,” 293–94; Boardman, “Parthenon Frieze”; Robertson and Frantz,
Parthenon Frieze
, 34. For a summary, see Berger and Gisler-Huwiler,
Fries des Parthenon
, 158–59, 172–74; Ridgway,
Fifth Century Styles
, 76–83; and Sourvinou-Inwood,
Athenian Myth and Festivals
, 284–307 and 307–11.

74.
Red-figured krater in Bari, Museo Civico 4979,
ARV
²
236.4, from Rutigliano. C. Bérard, “L’ordre des femmes,” in Bérard et al.,
La cité des images
, fig. 127.

75.
Brommer,
Der Parthenonfries
, 269–70, sees the child as the temple boy responsible for the holy snake. See Simon,
Festivals of Attica
, 66; Hurwit,
Age of Pericles
, 230. Jenkins,
Parthenon Frieze
, 35, points to the example of Ion, who acts as temple servant to Apollo in Euripides’s tragedy. As a male deity Apollo would, of course, be served by male temple servants with the exception of his female prophetesses. But the idea that the virgin goddess Athena would similarly be served by a little boy is wholly out of keeping with Greek cult practice, which would demand that she, as a virgin goddess, be attended by girls and women; see Connelly,
Portrait of a Priestess
, 73–74.

76.
Connelly, “Parthenon and
Parthenoi
,” 60; Robertson,
Shorter History of Greek Art
, 100; Mansfield, “Robe of Athena,” 243.

77.
Connelly,
Portrait of a Priestess
, 39.

78.
Homer,
Iliad
6.297–310; see Connelly,
Portrait of a Priestess
, 173.

79.
Mansfield, “Robe of Athena,” 294; Connelly,
Portrait of a Priestess
, 31–32, with bibliography.

80.
W. Burkert, “Kekropidensage und Arrhephoria,”
Hermes
94 (1966): 1–25; Robertson, “Riddle of the Arrephoria at Athens.”

81.
Harpokration A 239 Keaney (quoting Dinarchus, frag. VI 4 Conomis) speaks of four
arrephoroi
. Pausanias,
Description of Greece
1.27.3, speaks of two
arrephoroi
.

82.
Apollodoros,
Library
3.15.4.