6

statue stood in the open air by that of Paphia, i.e., Astarte, near Oitylos, a place not far distant on the Messenian Gulf. In Elis, too, their statues stood side by side; that of the Moon-Goddess or Astarte was horned, and that of the Sun had the caput radiatum,' 2 in fact, was Apollon Karneios, the Horned-sun, which, as we have already seen,3 was another non-Aryan phase of the great Dorik solar divinity, another aspect of the multiform and everchanging Iao. This horned and non-Aryan Sun-god appears at Tarsos, a kind of half-way house between Hellas and the East, in forms that yet further illustrate his real origin. Though still called Apollon he is here rayed and winged; in fact, is the winged Sun of Kam and the Orient. One fine radiate head Mr. Birch has recognised as the same as that upon the coins of Rhodes.* It is Helios, or the Sun, and a copy of the Colossus at Rhodes. This radiation was not usual with the Romans and Greeks; but in the present case it admits of an easy explanation. Tarsus, bordering upon Phoenicia, and having ready access to Egypt, would have its mythology tinted with that of its neighbours.' Another point about this so-called Apollon is very significant. There hangs upon the wing a cluster of grapes; grapes were used in the decoration of the great temple of Baalbec, and on the images of Baal grapes are hung round the neck. The grapes, therefore, show the Syrian cast of the mythology of Tarsus.' 5

To recapitulate. The following solar and kindred phases introduced from Thebai and Delphoi do not in

xxiii. 11. The reforming Josiah takes away the horses of the Sun, perhaps dedicated, but at all events used, by the four-faced-Baal-introducing Manasseh, and burns the solar chariots. The dedication of solar horses, as Pausanias observes, was also a Persian custom. Vide Xen.

Kyrop. viii. 3; Anab. iv. 5.

1 Paus. iii. 26.

3

2 Ibid. vi. 24.

Sup. IV. iii. 2.

Cf. inf. sec. iii. Coins of Rhodos. 5 Barker, Cilicia and its Governors, 161-2.

reality belong to the Aryan, but to the Semitic, Sun-god, who is also a kosmogonical divinity :-(1) Agyieus, the Lord-of-the-Way, otherwise Agyïos, the Limbless; image, a block of stone: (2) Kouridios, the Wedded, or of-ripeage; image, a four-armed, four-eared figure: and (3) Karneios, the Horned-sun; image, a human figure, with rays around the head.

The earliest Hellenik statues of Dionysos, then, were conical or columnar stones; then terminal pillars, with a head on the top; then busts, in which the human figure was represented sometimes as far as to the waist; and, lastly, the whole human form divine or statue proper: the entire series forming a chain of evolution in stone. This series, be it observed, is the Hellenik statue-treatment of the god, and does not include the symbolical and monstrous forms which he assumed under other hands. with respect to these latter, it is most instructive to remark that, in accordance with the principle above laid down, the anthropomorphic feeling of the Hellenik sculptor never permits the Horned-god to appear as such 1 in his compositions, though Coins, more faithful to the truth and to his origin, constantly so exhibit him.2 The following are instances of statuary representations of the god, showing the early ideas :

And

I. Female offering a goat in sacrifice to Dionysos Stylos, represented as a column.3

II. Dionysiak Festival.-In the centre the terminal

1 'Ptolemy the Fourth was called Dionysos; and Mithridates of Pontus was also called Dionysos; and Alexander wished to be considered the son of Ammon, and to have his statue made horned by the sculptors-eager to disgrace the beauty of the human form by the addition of a horn' (Clem. Alex. Protrept. iv. 9). Cf. Spence, Polymetis, 129: There is one thing which the poets generally attribute to Bacchus, which I am sur

6

prised not to find commonly in his statues, and that is, his horns. Even these were little and pretty, and Ariadne, in Ovid, mentions them as one reason why she loved this god.'

2 Vide inf. sec. iii. The bullDionysos naturally gave less occasion to the formative art than to the mystic ceremonies' (K. O. Müller, Anct. Art. 489).

3 Sup. sec. i. No. XXXVI.

figure of the god clad in tunic and robe, with long and pointed beard, long curly hair bound with ivy and crowned with a diadem. Above him a mass of ivy, and before him a female figure making a libation from a kanthar: before her a tripod table, on which are round cakes and a piece of flesh : a thyrsos, with an ivy branch fastened to the narthex, leans against the table.1

III. A terminal bearded Dionysos, with flowing hair, the upper part of the column spotted.2

IV. Dionysos was represented at Thebai as a column, overgrown with ivy.8

V. At Kyllene in Elis, as an upright Phallos.—This latter is called a statue of Hermes, but the mistake which connects that god with similar statues has been already noticed.5

VI. The various phallic and other hermai, which, in reality, are statues of Dionysos.--One Prokleides is said to have made an image of a trikephalik Hermes in Ankyle, an Attik village, which statue we are distinctly told was so formed for the express purpose of 'shewing the road, bearing a direction whither one way led and whither another.' The idea of many-headed hermai having been once received, it is applied in purely Hellenik hands in the simplest manner possible, without any occult symbolism, or underlying meaning. No Hellene would ever reverence this image as a representation of divinity; it seems to have been an unique work, and as such to have attracted much notice.

VII. Head of Dionysos Kephallen.?

VIII. Bearded head on pillar: before it a large

1 Brit. Mus. Vase Cat. No. 743.

2 Christie, Disquisitions, 97.
3 K. O. Müller, Anct. Art. 36.
4 Paus. vi. 26.

5 Cf. Clemens Alex. Protrept. iv. 16: 'Consecrating these pillars of

shamelessness, as if they were the images of your gods.'

Vide Philochoros, Frag. lxix.; Souidos, in voc. Trikephalos,

7 Vide sup. VI. i. 3.

amphora, behind which, and fronting the pillar, a cock.1 A very interesting representation, as illustrating the confusion in the mind of the artist between Hermes and Dionysos. The cock is the usual symbol of the former, and the wine-jar of the latter. The cock, however, is sometimes regarded as the solar herald. Montfaucon asks 'Pourquoi ce Vase entre l'Herme et le coq? C'est ce qu'on ne peut savoir sans pénétrer dans la persée de celui qui fit faire cette bague.' The beard, too, belongs rather to Dionysos Katapogon than to Hermes, although the latter appears occasionally as bearded on the Vases.

IX. Terminal figure of the so-called Hermes, bearded and ithyphallic, before which an altar, with blazing fire; over it a youth roasts part of a goat, other portions of which hang on the wall and the head lies under a table, where another figure is cutting up the rest of the animal.3 A thoroughly Dionysiak concept, phallos, goat, beard, pillar.

X. Terminal Dionysos, to which a bull is about to be sacrificed.4

XI. Terminal, bearded, ithyphallic Dionysos, before him an altar, behind him the Bakchik tree. At Naxos the heads of such statues were made of fig, a tree which, according to Sosybios of Lakedaimon, B.c. 250, had been given to man by Dionysos, so the Priapus of the Roman poet declares:

'Olim truncas eram ficulnus, inutile lignum.'8 The later and peculiar phallic connection of the fig-tree with the explanation of the occult phrase, 'a fig for you '9 is

1 Montfaucon, Supplement I. Pł. xxxviii. Fig. 5.

2 Vide inf. sec. iii. Karystos. sec. iv. No. XXXIV.

3 Brit. Mus. Vase Cat. No. 561.
4 Vide inf. sec. iii. Pergamos.
David, Antiquités Grecques, iii.

3.

Fig. Ibid. 126.

7 Athenaios, iii. 5.

8 Hor. Sat. lib. I. viii. 1. Cf. A figo for thy friendship' (Hen. V. iii. 6).

given with much learning and research by the Editor of Payne Knight's Worship of Priapus.1

XII. Two females presenting a mystic chest and casket to a column, symbol of Dionysos.-One holds in her hand a staff, crowned with sesame; 2 bandelets (i.e. the girdle or zone, which is unbound by Eros) appear suspended, and also fastened to the column, on the top of which is a singularly shaped diota, and the Bakchik pine-cone.3

We next come to the statue proper or whole human figure, which, in the case of Dionysos, is divided into two classes: (1) the Elder or Bearded, and (2) the Younger or Beardless, god. The former class represents Dionysos in mature manhood with a stately and majestic form, with a magnificent luxuriance of curly hair restrained by the mitre, gently flowing beard, clear and blooming features, and the oriental richness of an almost feminine drapery, with usually the drinking cup, and a vine-shoot in his hand.' Dionysos Katapogon or Barbatus is sometimes called the Indian Bakchos, from a legend that he was born in India where the men are bearded,5 or that he vowed to let his beard grow during the three years of his Indian expedition. On that ancient and celebrated work of art the Chest of Kypselos, who ruled at Corinthos, B.C. 655-625, the god is represented as bearded, and lying in a cavern holding a golden patern, Stolatus, or clad in a garment reaching to the feet, and surrounded with the vine, apples, and pomegranates. There is a statue of Dionysos Pogonites, the Bearded, in the Vatican.

The last phase of the god in statuary is that of Dionysos Ephebos, the blooming and femininely shaded youth, who has arrived epi Hebe, at Pubertas. Hebe

1 P. 149 et seq. Vide inf. VIII. ii. Fig.

2 Vide inf. VIII. ii. Sesame.

3 David, Antiquités Grecques, iii.

Fig. 49.

4 Westropp, Handbook of Archaeol.

184.

5 Diod. iii. 63.

Vide inf. IX. vii. Indoletes.

7 Paus. v. 19.