- Title Pages
- Notes on Contributors
- Introduction the Greek Gods in the Twentieth Century
- 1 What is A Greek God?
- 2 Canonizing the Pantheon: The Dodekatheon in Greek Religion and its Origins
- 3 Gods in Greek Inscriptions: Some Methodological Questions
- 4 Metamorphoses of Gods into Animals and Humans
- 5 Sacrificing to the Gods: Ancient Evidence and Modern Interpretations
- 6 Getting in Contact: Concepts of Human—Divine Encounter in Classical Greek Art
- 7 New Statues for Old Gods
- 8 Zeus at Olympia
- 9 Zeus in Aeschylus: The Factor of Monetization
- 10 Hephaistos Sweats or How to Construct an Ambivalent God
- 11 Transforming Artemis: From the Goddess of the Outdoors to City Goddess
- 12 Herakles Between Gods and Heroes
- 13 Identities of Gods and Heroes: Athenian Garden Sanctuaries and Gendered Rites of Passage
- 14 Early Greek Theology: God as Nature and Natural Gods
- 15 Gods in early Greek Historiography
- 16 Gods in Apulia
- 17 Lucian's Gods: Lucian's Understanding of the Divine
- 18 The Gods in the Greek Novel
- 19 Reading Pausanias: Cults of the Gods and Representation of the Divine
- 20 Kronos and the Titans as Powerful Ancestors: A Case Study of the Greek Gods in Later Magical Spells
- 21 <i>Homo Fictor Deorum Est</i>: Envisioning the Divine in Late Antique Divinatory Spells
- 22 The Gods in Later Orphism
- 23 Christian Apologists and Greek Gods
- 24 The Materiality of God's Image: The Olympian Zeus and Ancient Christology
- 25 The Greek Gods in Late Nineteenth- and Early Twentieth-Century German and British Scholarship
New Statues for Old Gods
New Statues for Old Gods
- (p.126) 7 New Statues for Old Gods
- The Gods of Ancient Greece
Jan N. Bremmer
- Edinburgh University Press
This chapter addresses the circumstances surrounding the production of monumental new statues of deities in precious materials (such as gold and ivory) in fifth- and fourth-century B.C. Greece. Most famous are the statues of Pheidias—Athena Parthenos and Zeus Olympios—but neither these, nor others (e.g., Aphaia at Aigina, Hera at Argos, Dionysos at Athens, Artemis Laphria at Kalydon) resulted from the needs of new cults. Rather they supplemented older, more venerable statues of lesser materials and/or scale that stood in adjacent temples or even, on occasion, were moved off to the side in the very same temple while the new works received prominent central placement. This chapter seeks to analyze specifically the possible motivations behind and reactions to the supplementation of numinous ancient “cult” statues that often possessed some divine pedigree—such as having fallen from the heavens or been dedicated by a legendary hero—by massive new works fashioned by renowned artists at great expense by mortal artists and explores the role of inter-state competition through the iconography of the precious.
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