The Parthenon Enigma (88 page)

97.
See W. Burkert,
Homo Necans: The Anthropology of Ancient Greek Sacrificial Ritual and Myth
, trans. P. Bing (Berkeley: University of California Press, 1983), 154–58, for New Year’s festival; see Robertson, “Origin of the Panathenaea,” 240–81, for celebration of new fire.

98.
Robertson, “Origin of the Panathenaia,” 232.

99.
See Vian,
La guerre des géants
, 246–59; Ferrari Pinney, “Pallas and Panathenaea”; Shear, “Polis and Panathenaia,” 29–33. Aristotle, frag. 637 (Rose); quoted by the scholiast to Aristides,
Panathenaic Oration
362 (Lenz and Behr) = Dindorf 3:323 = Jebb 189, 4; cf. scholiast to Aristophanes,
Knights
566a (II); repeated by
Suda
, s.v. πέπλος.

100.
Homer,
Iliad
3.257–897.

101.
See W. Raschke, ed.,
The Archaeology of the Olympic Games
(Madison: University of Wisconsin Press, 1988).

102.
Thompson, “Panathenaic Festival,” 227.

103.
Cicero,
On the Nature of the Gods
3.19, 49–50.

104.
Wesenberg, “Panathenäische Peplosdedikation und Arrhephorie”; Barber, “
Peplos
of Athena”; Ridgway, “Images of Athena”; Barber,
Prehistoric Textiles;
Mansfield, “Robe of Athena”; B. Nagy, “The Peplotheke: What Was It?,” in
Studies Presented to Sterling Dow on His Eightieth Birthday
, ed. K. J. Rigsby (Durham, N.C.: Duke University Press, 1984), 227–32; W. Gauer, “Was geschieht mit dem Peplos?,” in Berger,
Parthenon-Kongreß Basel
, 220–29; D. M. Lewis, “Athena’s Robe,”
Scripta Classica Israelica
5 (1979–1980): 28–29.

105.
H. Goldman, “The Acropolis of Halae,”
Hesperia
9 (1940): 478–79; H. Goldman, “Inscriptions from the Acropolis of Halae,”
AJA
19 (1915): 448; S. J. Wallrodt, “Ritual Activity in Late Classical Ilion: The Evidence from a Fourth Century
B.C.
Deposit of Loomweights and Spindlewhorls,”
Studia Troica
12 (2002): 179–96. S. J. Wallrodt, “Late Classical Votive Loomweights from Ilion,”
AJA
105 (2001): 303 (abstract); L. Surtees, “Loomweights,” in
Stymphalos: The Acropolis Sanctuary
, ed. G. P. Schaus (Toronto: University of Toronto Press, forthcoming); L. Surtees, “The Loom as a Symbol of Womanhood: A Case Study of the Athena Sanctuary at Stymphalos” (master’s thesis, University of Alberta, 2004), 68–85. I am indebted to Laura Surtees for sharing information and bibliography on ritual weaving with me.

106.
Alkman,
Parthenion
61; Pausanias,
Description of Greece
3.16.2, 5.16.2, 6.24.10; Hesychios,
Lexicon
, s.v. γεραράδες. The
Palatine Anthology
(6.286) records in its inventory lists dedications of clothing to the gods. Homer,
Iliad
6.269–311, describes the ritual offering of a peplos placed on the knees of Athena’s cult statue.

107.
Norman, “The Panathenaic Ship,” 41–46; Barber, “
Peplos
of Athena,” 114; Hurwit,
Athenian Acropolis
, 45; Mansfield, “Robe of Athena,” 51–52, 68. Shear, “Polis and Panathenaia,” 145–46, discusses the fragment of Strattis (writing around 400
B.C.
): “and ths peplos, the men without number, hauling with the rigging, drag to the top, just like the sail on a mast,” Strattis frag. 31 (
PCG
), quoted by Harpokration s.v. τοπεˆιον. For a full discussion of the Panathenaiac ship, see Shear, “Polis and Panathenaia,” 143–55.

108.
Scholia on Aristophanes’s
Knights
566a (II).

109.
Plutarch,
Life of Demosthenes
10.5 and 12.3.

110.
Ridgway, “Images of Athena on the Acropolis,” 124.

111.
Heliodoros,
Aethiopika
5.31.

112.
For full discussion see I. Mylonopoulos, ed.,
Divine Images and Human Imaginations in Ancient Greek and Rome
(Leiden: Brill, 2010); I. Mylonopoulos, “Divine Images Versus Cult Images: An Endless Story About Theories, Methods, and Terminologies,” in ibid., 1–19.

113.
More precisely, 11.54 meters, or 37 feet 10 inches.

114.
The statue is cast from a composite of gypsum cement and ground fiberglass from multiple molds that were assembled inside the Parthenon by A. LeQuire in 1982–1990. The statue was gilded in 2002. A. LeQuire, “Athena Parthenos: The Re-creation in Nashville,” in Tsakirgis and Wiltshire,
Nashville Athena
, 8–10. B. Tsakirgis and S. F. Wiltshire, eds.,
The Nashville Athena: A Symposium
(Nashville, 1990); Ridgway, “Parthenon and Parthenos.”

115.
Pliny,
Natural History
36.18; Pausanias,
Description of Greece
1.24.5–7; Plutarch,
Life of Perikles
31.4; Ridgway, “Images of Athena,” 131–35; Ridgway, “Parthenon and Parthenos,” 297–99; Lapatin,
Chryselephantine Statuary;
K. D. S. Lapatin, “Pheidias ἐλεφαντουργός,”
AJA
101 (1997): 663–82; Lapatin, “Ancient Reception of Pheidias’ Athena Parthenos and Zeus Olympios.”

116.
Farnell,
Cults of the Greek States
, 1:361, maintained that Pliny’s text is corrupt and that he probably never saw the statue. See L. Berczelly, “Pandora and Panathenaia: The Pandora Myth and the Sculptural Decoration of the Parthenon,”
Acta ad Archaeologiam et Atrium Historiam Pertinentia
8 (1992): 53–86; A. Kosmopoulou,
The Iconography of Sculptured Statue Bases in the Archaic and Classical Periods
(Madison: University of Wisconsin Press, 2002), 112–17. Hurwit, “Beautiful Evil,” 173, 175; Jeppesen, “Bild und Mythus an dem Parthenon,” 59; J. J. Pollitt,
Art and Experience in Classical Greece
(Cambridge, U.K.: Cambridge University Press, 1972), 98–99; J. J. Pollitt, “The Meaning of Pheidias’ Athena Parthenos,” in Tsakirgis and Wiltshire,
Nashville Athena
, 1–23; Loraux,
Children of Athena
, 114–15.

117.
Hesiod (
Works and Days
80;
Theogony
560–71) tells us that when Prometheus
stole fire from heaven, Zeus took revenge by causing Hephaistos to make a woman out of earth, a terrible woman who by her charms and beauty would bring misery upon the human race. According to some mythographers, Pandora and Epimetheus had two children, Pyrrha and Deukalion (Hyginus,
Fabulae
142; Apollodoros,
Library
1.7.2; Proklos,
On Hesiod’s “Works and Days”;
Ovid,
Metamorphoses
1.350). But according to others, Pandora was the daughter of Pyrrha and Deukalion (Eustathios,
Commentary on Homer
23).

118.
Jane Harrison stressed that this Attic Pandora is an Earth-Goddess in the kore form, entirely humanized and vividly personified in myth; see Harrison, “Pandora’s Box,” and Harrison,
Prolegomena
, 281–85. For the two distinct aspects of Pandora, see Hurwit, “Beautiful Evil,” 177. Significant differences also can be found between the Attic version of the Prometheus story and Hesiod’s account of it.

119.
West,
Hesiodic Catalogue of Women
, F2/4, F5n20; for date of catalog, see 130–37.

120.
Hesiod, F2/4 and F5; West,
Hesiodic Catalogue of Women
, 50–56.

121.
In fact, a scholiast to Aristides,
Panathenaic Oration
85–87 (Lenz and Behr) = Dindorf 3:110, line 9, and 3:12, lines 10–15, identifies Aglauros, Herse, and Pandrosos as the daughters of Erechtheus, rather than as the daughters of Kekrops.

122.
See Ridgway,
Prayers in Stone
, 196–98.

123.
G. P. Stevens suggested a height of ca. 0.90 meters for the Athena Parthenos base; see “Remarks upon the Colossal Chryselephantine Statue of Athena in the Parthenon,”
Hesperia
24 (1955): 260.

124.
Pliny,
Natural History
36.18. See Leipen,
Athena Parthenos
, 24–27, plate 86C; see also W.-H. Schuchhardt, “Zur Basis der Athena Parthenos,” in
Wandlungen: Studien zur antiken und neueren Kunst: Ernst Homann-Wedeking gewidmet
(Waldsassen-Bayern: Stiftland, 1975), 120–30, plates 26–27; C. Praschniker, “Das Basisrelief der Parthenos,”
JOAI
39 (1952): 7–12; Becatti, “Il rilievo del Drago e la base della Parthenos”; Hurwit, “Beautiful Evil”; Hurwit,
Athenian Acropolis
, 187–88; A. Kosmopoulou,
The Iconography of Sculptured Statue Bases in the Archaic and Classical Periods
(Madison: University of Wisconsin Press, 2003), 113–24.

125.
Leipen,
Athena Parthenos
, plate 86.

126.
London, British Museum E 467, GR 1856.1213.1, by the Niobid Painter, ca. 460–450 b.c.;
ARV
²
601, 23;
Addenda
²
266;
LIMC
7, s.v. “Pandora,” no. 2.

127.
Euripides,
Erechtheus
F 360.34–45 Kannicht.

128.
London, British Museum D 4,
ARV
²
869, 55;
LIMC
7, s.v. “Pandora,” no. 1; ca. 460
B
.
C
., from Nola. See Bremmer, “Pandora,” 30–31; E. D. Reeder,
Pandora: Women in Classical Greece
(Baltimore: Walters Art Museum, 1995), 284–86. A fragment of a crocodile rhyton by the Sotades Painter (BM E 789;
ARV
²
764.9;
LIMC
1, s.v. “Anesidora,” no. 3), ca. 460–450
B
.
C
., shows the lower portion of what seems to be a similar scene, with a girl standing frontally at center, flanked by Athena and a male figure.

129.
The Anesidora/Pandora relationship is first discussed by Jane Harrison, “Pandora’s Box”; Harrison,
Prolegomena
, 281–85; J. E. Harrison,
Themis: A Study of the Social Origins of Greek Religion
(Cambridge, U.K.: Cambridge University Press, 1912), 295, 298–99. See also West,
Works and Days
, 164–65; Bremmer, “Pandora,” 30–31; Boardman and Finn,
Parthenon and Its Sculptures
, 249–50.

130.
C. Bérard,
Anodoi: Essai sur l’imagerie des passages chthoniens
(Rome: Institut Suisse de Rome, 1974), 161–64. A chthonic nature is attested for Pandora in Hipponax 104.48 W, where she receives an offering of a potted plant at the Thargelia, as celebrated in Ephesos. The name Anesidora has been attested as an epithet for Demeter, since she sends up the fruits of the earth; see Sophokles, frag. 826, 1010, and discussion in Bremmer, “Pandora,” 30–31. At the very end of the surviving fragments of Euripides’s
Erechtheus
, Demeter’s name appears, see F 370 102 Kannicht.

131.
Harpokration A 239 Keaney 101 on E 85: Πανδρόσῳ KM, Πανδῴρα ep QNP (
var. lect. KM).
FGrH
3 Β Ι 276–77. For sacrifices to Pandora see Farnell,
Cults of the Greek States
, 1:290;
RE
(1949), s.v. “Pandora.”

132.
Aristophanes,
Birds
971.

133.
In Homer,
Odyssey
3.371.2, Athena metamorphoses into a sea eagle or vulture.

134.
Aristophanes,
Wasps
1086.

135.
Plutarch,
Life of Themistokles
12.1.

136.
See Kroll,
The Greek Coins
, no. 182,
A.D.
120–150.

137.
Ferrari,
Figures of Speech
, 7–8, 55, 72–73; G. Ferrari, “Figure of Speech: The Picture of Aidos,”
Métis
5 (1990): 186–91.

138.
Homer,
Iliad
17.567; Hesiod,
Theogony
886–900.

139.
See Korshak,
Frontal Face in Attic Vase Painting
, for a full treatment of the subject.

140.
London, British Museum 2003, 07180.10. H. Frankfort, “The Burney Relief,”
Archiv für Orientforschung
12 (1937): 128–35; E. G. Kraeling, “A Unique Babylonian Relief,”
Bulletin of the American Schools of Oriental Research
67 (1937): 16–18; E. Porada, “The Iconography of Death in Mesopotamia in the Early Second Millennium
B.C.
,” in
Death in Mesopotamia: Papers Read at the XXVI
^e
Rencontre Assyriologique Internationale
, ed. B. Alster, Mesopotamia 8 (Copenhagen: Akademisk, 1980), 259–70. For the view that the relief is a modern forgery, see P. Albenda, “The ‘Queen of the Night’ Plaque: A Revisit,”
Journal of the American Oriental Society
125 (2005): 171–90; and rebuttal, D. Collon, “The Queen Under Attack—a Rejoinder,”
Iraq
69 (2007): 43–51.

141.
London, British Museum E 477, GR 1772, 0320.36, by the Hephaistos Painter.
ARV
²
1114;
Addenda
²
331;
LIMC
6, s.v. “Kephalos,” no. 26. Harrison,
Mythology and Monuments of Ancient Athens
, lxix, fig. 14.

142.
Translation: G. Ferrari,
Alcman, First Parthenion
, 70–71, 156. The bibliography is vast. See C. Calame, ed.,
Alcman: Introduction, Texte critique, témoinage, traduction, et commentaire
(Rome: 1983), Calame,
Les choeurs des jeunes filles.

143.
G. Ferrari,
Alcman
, 90-92, 121. See N. Loraux,
The Mourning Voice
(Ithaca, N.Y.: Cornell University Press, 2002).