The following are the most important of the existing statues of Zeus by Greek and Roman sculptors. The first in point of artistic worth is a bust of Zeus, in Carrara marble—now in the Vatican Museum at Rome—which was discovered in the last century at Otricoli (Fig. 3). The union of serene majesty and benevolence is the chief feature in the sublime countenance. Next comes a colossal statue in marble, known as the Jupiter of Verospi, also in the Vatican Museum (Fig. 4). Lastly, there is a bust of Zeus, discovered at Pompeii, and now in the Museum at Naples, besides an equally beautiful bronze statue in the British Museum, found at Paramythia in Epirus. On comparing all the extant art monuments of Zeus, we may gather that the object of ancient art was to present him especially as the benign ruler of the universe, sitting enthroned in conscious majesty and blissful ease on the heights of Olympus. His characteristic features are the clustering hair, falling like a mane on either side of his fine arched brow, and the rich wavy beard. His attributes consist of the sceptre, as a symbol of his sovereignty; the thunderbolt; the eagle; the votive bowl, as a symbol of his worship; the ball beneath or near his seat, as a symbol of the universe he rules; and, lastly, a figure of Victory. His head is sometimes adorned with a garland of oak-leaves, the oak being sacred to him; and sometimes with an olive-branch or plain band, the latter being a mark of sovereignty. In Fig. 5 we give an engraving of two coins of Elis, one of which is in the Florentine and the other in the Paris Museum.
2. Hera (Juno).—Hera, according to Homer, was the eldest of the daughters of Cronus and Rhea. She is the feminine counterpart of Zeus, her brother and husband. She represents the air or atmosphere; for which reason she, like Zeus, was supposed to control the phenomena of the air and sky, and, as queen of heaven, shared with him all the honours of his position. Her conjugal relations to Zeus, which form the substance of all the myths that refer to her, afforded the poets a rich and productive material for serious and sportive poetry. They sang of the solemn marriage of Zeus and Hera, the remembrance of which was celebrated at springtide with festive offerings and marriage rites before the shrine of the goddess. Neither did they fail to tell of the conjugal strife of the royal pair, and of the cruel fate which overtook the mortal women who enjoyed the favours of Zeus. It was thus that jealousy and contention became the leading features in the character of the goddess; whereas, both in her worship and in the representations of artists, she appears as a gracious and kindly deity, the especial protectress of her own sex.
The natural signification of Hera appears to have quickly disappeared among the Greeks, and she seems to have been chiefly honoured as the guardian of the marriage tie. The nobleness of the woman who preserves inviolate the sanctity of this bond finds in her its most sublime expression. As the special patroness of marriage, she was supposed to watch over its sanctity, to vouchsafe the blessing of children, and to protect women in childbirth.
Fig. 6.—Barberini Juno. Vatican Museum.
The worship of Hera was originally not very extensive. The cradle of her worship was Argos, on which account she is often termed Argive. Argos, Mycenæ, and Sparta are pointed out in the time of Homer as her favourite towns. Her worship naturally extended as her new character of goddess of marriage became more prominent. In Bœotia and Eubœa her worship was very ancient, but her chief shrine was the Heræum, between Argos and Mycenæ. Here was a most magnificent statue of the goddess, made of ivory and gold, the work of the Sicyonian artist, Polycletus.[[2]]
[2]. Polycletus, a native of Sicyon, was a sculptor, architect, and caster in bronze. He was a contemporary of Phidias, and, next to him, the most celebrated artist of antiquity.
Juno (properly Jovino) takes the same place as goddess of childbirth and patroness of marriage among the Romans as Hera did among the Greeks. In addition to this she was venerated, under the name of Juno Regina, as the tutelary deity of the city and empire of Rome. Her chief shrine was on the Capitol, where she had a separate chapel in the temple of Jupiter. The Matronalia, the chief festival of the goddess, was celebrated on the first day of March, when all the matrons of the city marched in procession to her temple on the Esquiline, and there offered her flowers and libations. The victims usually sacrificed to Juno were young heifers: her sacred birds were the goose and the crow, to which the peacock of the Greek Hera was afterwards added.
Fig. 7.—Head of Hera, perhaps after Polycletus. Naples.