,illustration3 ,,the ,,venus ,,of ,,milo ,,the ,,venus ,,of ,,milo ,,an ,,archeological ,,study ,,of ,,the ,,goddess ,,of ,,womanhood ,,by ,,paul ,,carus ,,illustrated --,,homeric ,,hymn4 ,,chicago ,,london ,,the ,,open ,,court ,,publishing ,,company #aiaf ,,copyright ,,by ,,the ,,open ,,court ,,publishing ,,company #aiaf ,,contents4 ,,page ,list of ,illustrations v ,the ,discovery of a ,rare ,art ,treasure #a ,dumont d',urville's ,report #e ,viscount ,marcellus on his 8,souvenirs0 #aa ,debay's ,drawing #ae ,description of the ,statue #bb ,restorations #bg ,recent ,theories #db ,what the ,facts ,reveal #ea ,the ,meaning of 8,aphrodite0 #fb ,the ,cult of ,aphrodite #fh ,the ,goddess of ,war #gg ,the ,descent into ,hades #hc ,the ,magna ,dea of the ,nations #if ,the ,origin of ,woman #aba ,aphrodite in ,art #ade ,classical ,hymns #aga ,index #agi ,,list ,,of ,,illustrations4 ,,page ,the ,venus of ,milo 7,frontispiece74 ,the ,field of ,yorgos ,bottonis #b ,the ,site of ,melos from the ,port #f ,fragments ,found at ,melos #ab ,debay's ,drawing of ,venus #af ,head of the ,venus of ,milo #ah ,the ,head of ,tralles #ai ,the ,venus of ,milo #bc ,a ,mutilated ,statue of ,eros #bh ,venus with ,shield and ,pencil #bi ,venus with ,mirror #cj ,venus as ,victory #ca ,drawing by ,hasse and ,henke #cb ,restoration by ,furtwaengler #cc ,saloman's ,latest ,restoration #cd ,restoration by ,saloman #ce ,venus ,sending out the ,dove #cf ,the ,mother of the ,gods4 ,painting by ,francisca ,p4 ,del ,mar #ch ,venus on the ,swan #ee ,head of ,venus of ,milo4 ,profile view #eg ,head of ,venus of ,milo4 ,front view #ei ,heavenly and ,worldly ,love4 ,by ,titian #ff ,birth of ,venus4 ,ludovisi relief #gj ,detail from the ,ludovisi ,relief #gb ,winter and ,summer #gc ,venus and ,anchises #ge ,venus ,victrix #gg ,eros in the ,underworld #hd ,carrying in ,procession the ,symbol of ,istar #ig ,isis and ,horus #ii ,egyptian ,representation of the ,dead ,man and ,his ,soul #ii ,astarte and the ,dove #ajj ,the ,human-,headed ,bird #aja ,amulet of the ,mycenaean ,period #ajb ,isis and the ,fish #ajb ,aphrodite with ,rabbit #ajc ,relief from ,boghaz-,ki #ajd ,a ,later ,astarte #aje ,a ,leaden ,idol #aje ,astarte in ,cyprus #ajf ,the ,goddess of ,navigation #ajg ,sargent's ,astarte #ajh ,the ,immaculate ,conception4 ,by ,murillo #aji ,kwan-,yon and the ,fish #aaa ,a ,poem on ,kwan-,yon #aab ,benten1 ,the ,japanese ,goddess of ,divine ,love #aac ,kwan-,yon4 ,by ,li ,lung-mien #aad ,kwan ,yon as the ,buddha #aae ,t'ien ,hou1 ,queen of ,heaven #aaf ,freya #aai ,adam and ,eve ,called to ,account #acc ,the ,creation of ,woman #acf ,detail from ,ghiberti's ,doors #acg ,the ,creation of ,woman4 ,by ,michelangelo #ach ,adam and ,eve in ,paradise4 ,by ,gustave ,dor #aci ,the ,first ,family4 ,by ,schnorr von ,carolsfeld #adj ,primitive ,man4 ,by ,gabriel ,max #adb ,babylonian ,clay ,figures #ade ,the ,venus of ,brassempouy #adf ,lakshmi #adg ,coins of ,cilicia1 ,tarsus1 ,gaulos and ,perga #adh ,coins of ,perga in ,pamphylia #adi ,three ,artemis ,medals #adi ,coin of ,antiochus ,euergetes #aej ,istar on a ,coin of ,tarsus #aej ,coins of ,emesa1 ,iasos ,caria1 ,paphos and ,lydia #aea ,the ,diana of ,ephesus in the ,vatican #aeb ,the ,diana of ,ephesus in ,naples #aec ,cyprian ,aphrodite #aed ,archaic ,aphrodite with ,dove #aee ,archaic ,venus in ,pompeian ,style #aee ,aphrodite ,sosandra by ,kalamis #aef ,aphrodite and ,ares #aeg ,attic ,sculpture of the ,fifth ,century ,b4 ,c4 #aeh ,aphrodite of ,alcamenes1 ,known as ,venus ,genetrix #aei ,head of the ,cnidian ,venus4 ,profile #afj ,the ,cnidian ,venus of ,praxiteles #afa ,the ,venus of ,praxiteles on a ,cnidian ,coin #afb ,head of the ,crouching ,venus #afc ,venus ,crouching in the ,bath #afd ,venus with the ,unguent ,jar #afe ,the ,venus of ,panderma4 ,front view #afg ,the ,venus of ,panderma4 ,rear view #afh ,the ,venus ,head in the ,museum of ,bardos #afi ,head of the ,cnidian ,venus4 ,front view #agb ,another ,view of the ,cnidian ,venus #age ,,the ,,discovery ,,of ,a ,,rare ,,art ,,treasure4 ,melos 7,italian ,milo71 one of the smallest ,greek islands1 would scarcely be known at all except to specialists in geography or ancient history1 had not a happy accident brought to light on one of its hillsides that most beautiful piece of sculpture which ever since its discovery has been known as the ,venus of ,milo4 ,melon means apple1 and the island of ,melos 7the 8apple island07 belongs to the ,cyclades1 being the most southern and western member of that group4 ,it lies almost straight west from the southern tip of the ,peloponnesus and in a direction south to south-west from ,athens4 ,melos was inhabited in ancient times by ,dorians who sympathized with ,sparta against ,athens1 but when the ,athenians conquered it after a most stubborn resistance they slaughtered the entire ,dorian male population and replaced them by ,athenian colonists4 ,since then the island remained absolutely faithful to ,athens1 in fact it was the last possession which still belonged to ,athens when the ,ionian confederacy broke up1 and the friendly relations between ,melos and her metropolis continued even after ,greece had become a ,roman province4 ,illustration3 ,,the ,,field ,,of ,,yorgos ,,bottonis4 ,cross shows where the ,venus was found4 7,from the ,century ,magazine1 #ahha1 ,vol4 ,i1 p4 #ii47 ,on this island of ,melos1 a peasant by the name of ,yorgos ,bottonis and his son ,antonio1 while clearing away the stones near the ruins of an ancient theater in the vicinity of ,castro1 the capital of the island1 came accidentally across a small underground cave1 carefully covered with a heavy slab and concealed1 which contained a fine marble statue in two pieces1 together with several other marble fragments4 ,this happened in ,february1 #ahbj4 ,the ,rev4 ,oiconomos1 the village priest who guided the finder in this matter1 invited ,m4 ,louis ,brest1 the ,french consul of ,melos1 to see the statue and offered it to him 7in ,march of the same year7 for #bj1jjj francs4 ,m4 ,brest does not seem to have been in a hurry to buy1 but he claims to have written to the ,french minister at ,constantinople4 ,one thing is sure1 no answer had come by ,april when ,his ,french ,majesty's good ship 8,chevrette0 happened to cast anchor in the harbor at ,melos and an ensign on board1 ,monsieur ,dumont d',urville1 went to see the statue4 ,the inability to sell it had brought the price down1 and the finder was willing to part with it to the young ,frenchman for only #abjj francs4 ,m4 d',urville was more energetic than ,m4 ,brest and as soon as he reached ,constantinople the ,french ,minister at once authorized a certain ,count ,marcellus1 a member of the ,french embassy1 to go to ,melos and procure the statue4 ,count ,marcellus arrived on the ,french vessel 8,estafette0 in ,may1 but found that the statue in the meantime had been sold to a certain ,nikolai ,morusi for #dhjj francs and had just been placed aboard a little brig bound for ,constantinople1 the home of the buyer4 ,at this juncture the three ,frenchmen1 ,m4 ,brest1 ,m4 d',urville and ,count ,marcellus1 decided not to let their treasure so easily escape them1 so ,m4 ,brest protested before the ,turkish authorities that the bargain had been concluded1 declaring that ,bottonis had no right to sell his prize to any other party4 ,they even threatened to use force and1 being backed by the ,french mariners of the 8,estafette10 said that under no conditions would they allow the statue to leave the harbor4 ,while the three ,frenchmen claimed that ,france was entitled to have the statue for #abjj francs they were willing to pay not only #dhjj francs1 the price promised by ,morusi1 but #fjjj francs4 ,the new buyer had not yet paid and so the peasant was satisfied with the cash offered him1 while the ,turkish authorities did not care either way4 ,thus it came to pass that the valuable marble was transferred to the ,french warship on ,may #be1 #ahbj1 7so at least runs the original report without the fantastic story of a battle7 and after much cruising was carried to ,constantinople where it was placed on the 8,lionne10 another ,french ship bound for ,france and destined to bring home the ,french ,minister1 ,marquis de ,rivire4 ,the 8,lionne0 reached ,france in ,october1 #ahbj1 and the statue was delivered at the ,louvre in ,february1 #ahba4 ,,dumont ,d',,urville',s ,,report4 ,the most important passage of ,dumont d',urville's report#a about the discovery of the statue reads in an ,english translation thus3 8,the ,chevrette set sail from ,toulon on ,april #c 7#ahbj7 in the morning1 and anchored on the sixteenth in the roadstead of ,milo4444 8,on the #aith ,i went to look at some antique pieces discovered at ,milo a few days before our arrival4 ,since they seem to me worthy of attention ,i shall here record the result of my observation in some detail4444 8,about three weeks before our arrival at ,milo a ,greek peasant digging in his field 444 came across some stones of considerable size4 ,as these stones 444 had a certain value1 this consideration encouraged him to dig still further1 and so he succeeded in clearing out a sort of recess in which he found a marble statue together with two hermae and some other pieces1 likewise of marble4 ,illustration3 ,,the ,,site ,,of ,,melos ,,from ,,the ,,port4 ,white cross shows where the ,venus was found4 7,from the ,century ,magazine1 #ahha1 ,vol4 ,i1 p4 #ii7 8,the statue was in two pieces joined in the middle by two small iron tenons4 ,fearing he would lose the fruit of his toil1 the ,greek had the upper part of the two hermae carried away and deposited in a stable4 ,the rest were left in the cave4 ,i examined all very carefully1 and the various pieces seemed to me in good taste1 as far as my slight acquaintance with the arts permitted me to judge of them4 8,i measured the two parts of the statue separately and found it very nearly six feet in height2 it represented a nude woman whose left hand was raised and held an apple1 and the right supported a garment draped in easy folds and falling carelessly from her loins to her feet4 ,both hands have been mutilated and are actually detached from the body4 ,the hair is coiled in the back and held up by a bandeau4 ,the face is very beautiful and well preserved except that the tip of the nose is injured4 ,the only remaining foot is bare2 the ears have been pierced and may have contained pendants4 8,all these attributes would seem to agree well enough with the ,venus of the judgment of ,paris2 but in that case where would be ,juno1 ,minerva and the handsome shepherd8 ,it is true that a foot clad in a cothurnus and a third hand were found at the same time4 ,on the other hand the name of the ,island ,melos has a very close connection with the word which means apple4 ,might not this similarity of the words have indicated the statue by its principal attribute8 8,the two hermae were with it in the cave4 ,beyond this fact there is nothing remarkable about them4 ,their height is about three feet and a half4 ,one is surmounted by the head of a woman or child and the other by the face of an old man with a long beard4 8,the entrance to the cave was surmounted by a piece of marble four feet and a half long and about six or eight inches wide4 ,it bore an inscription of which only the first half has been respected by ,time4 ,the rest is entirely effaced4 ,this loss is inestimable2 444 at least we might have learned on what occasion and by whom the statues had been dedicated4 8,at any rate ,i have carefully copied the remaining characters of this inscription and ,i can guarantee them all except the first1 of which ,i am not sure4 ,the space which ,i indicate for the defaced part has been measured in proportion to the letters which are still legible3 344444444444 4444444444444 8,the pedestal of one of the hermae also bore an inscription but its characters had been so mutilated that it was impossible for me to decipher them4 8,at the time of our passage to ,constantinople the ambassador asked me about this statue and ,i told him what ,i thought about it1 and sent to ,m4 de ,marcellus1 secretary of the embassy1 a copy of the inscription just given4 ,upon my return ,m4 de ,rivire informed me that he had acquired the statue for the museum and that it had been put on board one of the vessels at the landing4 ,however1 on our second trip to ,milo in the month of ,september ,i regretted to learn that the affair was not yet ended4 ,it seems that the peasant1 tired of waiting1 had decided to sell this statue for the sum of #gej piasters to a neighboring priest who wished to make a present to the dragoman of the ,captain ,pacha1 and ,m4 de ,marcellus came just at the moment when it was being shipped to ,constantinople4 ,in despair at seeing this fine piece of antiquity about to escape him he made every effort to recover it1 and thanks to the mediation of the primates of the island the priest finally consented1 but not without reluctance1 to abandon his purchase and give up the statue4444 8,on ,april #be in the morning we doubled the promontory indicated44440 ,i understand from ,m4 ,dumont d',urville's report that the statue was in 8two parts0 each about three feet high1 that both hands were mutilated and detached from the body10 and that he had reason to believe that the 8left hand was raised and held an apple and the right supported a garment40 ,i say 8he had reason to believe0 it1 but he positively speaks as if he had seen it although this cannot be the case1 for he contradicts this fact by the unequivocal statement that the hands 8are actually detached from the body40 ,he says1 8it represented a nude woman1 etc40 and the word 8represented0 need not mean that it was complete with all the limbs intact and in their proper places4 ,obviously ,m4 d',urville here describes the statue restored with the fragments which were found in the cave1 were bought of the finder1 the peasant ,bottonis1 and are now preserved in a glass case in the ,louvre at ,paris4 ,one of these fragments is a hand holding an apple1 and there is also a portion of an arm4 ,this interpretation is important in so far as discussions have arisen in later years as to the original position of the hands when attempts to restore the statue were made1 and then the claim was made that the statue had been found complete1 that it had been broken by the ,french sailors in its transportation and that the ,french authorities had been careless in handling the whole affair4 ,,viscount ,,marcellus ,,on ,,his 8,,souvenirs40 ,it is important to know the facts with regard to the debris found together with the so-called ,venus of ,milo1 as stated by a second eye witness1 the ,viscount ,marcellus4 ,he wrote his reminiscences on the ,venus of ,milo in a book entitled ,souvenirs1 and the second edition of this was reviewed by ,lenormant4 ,in answer to some objections of the latter the ,viscount published 8a last word on the ,venus of ,milo40#b ,in this he enumerates as follows the objects brought away from the cave where the ,venus had been found3 8,no4 #a4 ,the nude upper part of the statue4 8,no4 #b4 ,the lower draped portion4 8,yorgos1 their original owner 444 gave me at the same time three small accessories of the statue found in a field near by4444 ,these were3 8,no4 #c4 ,the top of the hair commonly called the chignon1 etc4 8,no4 #d4 ,a shapeless and mutilated fore-arm4 8,no4 #e4 ,part of a hand holding an apple4 8,the last two objects seemed to me to be of the same kind of marble and of a grain near enough like that of the statue1 but ,i could not tell whether they could reasonably be assumed to belong to a ,venus whose attitude ,i no longer remembered4444 ,illustration3 ,,fragments ,,found ,,at ,,melos4#c ,nos4 #d and #e of ,viscount ,marcellus's list4 8,the primates at the same time sent me the three hermae 7,nos4 #f1 #g and #h7 which were still at ,castro1 and a left foot in marble 7,no4 #i7 which had been found in the neighborhood of the field of ,yorgos lower down toward the valley where the burial caves are4 8,they wished also to give me the inscription found in the same locality which ,i had already seen in their town4 ,it is the one which commences with the ,greek words3 4444 8,i here repeat that with this exception ,i took away from ,milo everything which had been taken from the ground with the ,venus or near by1 and ,i have no remembrance of having seen there1 much less of having received or acquired myself1 any other ,greek inscription which made mention of a sculptor with a mutilated name1 etc4 ,of course ,i would be eager enough with anything that might be able to throw light on the discovery1 and since in my ,souvenirs de l',orient 7,i1 p4 #bdi7 ,i cite an epigraph of almost no significance ,i would not wittingly or negligently have omitted any ,greek letters near the excavation or relating to its details4 ,neither should it be forgotten that in fact ,i indicate only #8three hermae1 some pedestals and other bits of marble debris' 7,i1 p4 #bcg7 as the result of ,yorgos's successive excavations2 and further down 7p4 #dh7 these same hermae and other antique fragments without ever speaking of any inscription40 ,the inscription more completely mentioned by ,dumont d',urville has also been published by ,clarac with only a few insignificant variations4 ,he adds the missing ,b at the beginning1 reads ,i in place of ,e1 and has two 's4 ,it is a votive inscription which has no connection with our ,venus4 ,being of little value1 the authorities of the ,louvre did not take good care of it and it is now lost4 ,the probable meaning of the inscription is 8,bakchios1 7son of7 ,atios the subgymnasiarch 7has donated7 the arcade and the 444 he has erected according to a vow to ,hermes1 ,heracles1 4440 99 99 99 99 99 ,these reports of two eye-witnesses are important not so much for what they contain as for what they do not contain4 ,neither ,m4 ,dumont d',urville nor ,viscount ,marcellus mentions the name of the artist of the statue4 ,an inscription is copied by both in which ,bacchus1 ,hermes and ,heracles are mentioned1 but no reference is made to the name of ,agesander or ,alexander of ,antioch as having been seen on a fragment of the pedestal--an artist who makes his appearance in a mysterious way and whose acquaintance we shall make in the next chapter4 ,moreover1 since other pieces of debris were found either in the cave or in a neighboring field1 there is no reason whatever that any one of them1 let alone the left hand holding an apple1 should have been attached to our statue4 ,we shall have occasion to refer to these points again4 ,,debay',s ,,drawing4 ,the famous ,french painter ,david happened to be in exile at the time of the discovery of the ,venus of ,milo1 and1 taking an especial interest in this wonderful piece of ancient art1 he induced one of his disciples1 a certain ,debay1 to have his son ,auguste ,debay1 a young art student1 make a drawing of the statue as soon as it was put up in the ,louvre4 ,this drawing was afterwards published by ,m4 de ,clarac in his 8,notice0 and we here republish it on account of the importance it has gained as a document in the history of the statue4 ,debay's drawing shows a plinth bearing an inscription and also exhibiting a square hole in the ground near the left foot of the statue4 ,the angle of vision is indicated by the line 8xx0 which shows the height from which the statue was viewed by ,m4 ,debay4 ,the point a corresponds to the place of the eye projected horizontally at a distance in front which cannot have been more than one and one-half times the height of the statue4 ,geometrically this place is determined by the intersection of two lines ,illustration3 ,,debay',s ,,drawing ,,of ,,venus4 from a and b constructed in a horizontal plane at right angles to the vertical axis of the statue4 ,the inscription on the pedestal of ,m4 ,debay's drawing reads3 444-- 444 8 444 andros son of ,menides of ,antiochia on the ,maiandros40 ,since of the last missing letter before the the lowest stroke of a ,greek or of an is discernible in the drawing1 the name must have read 8,alexandros0 or 8,agesandros40 ,this man cannot have lived before the third century ,b4 ,c4 because his native city ,antioch on the ,maeander was founded by ,antiochus ,i1 the second of the ,diadochs 7#bhj-bfa ,b4 ,c47 ,according to ,professor ,kirchhoff's view the character of the letters belongs to the first century and may in his opinion be dated back at most to the middle of the second century ,b4 ,c4 ,we have no information whatever why the plinth was joined to the statue4 ,all we know about it is that it appears on the ,debay drawing and is lost now1 but it continues to be a mystery to archeologists4 ,some consider it as genuine and denounce the authorities of the ,louvre for their extraordinary carelessness in having allowed so important a document to be lost1 and others see no reason why this ,illustration3 ,,head ,,of ,,the ,,venus ,,of ,,milo4 ,illustration3 ,,the ,,head ,,of ,,tralles4 piece of marble which possessed no significance whatever should be so highly treasured4 ,if the piece of the pedestal with the inscription belonged to the statue1 for which assumption1 as we have seen1 there is no reason whatever1 the statue would be of a comparatively late date1 but we really do not know what the plinth bearing the name 8 444 andros0 has to do with the statue4 ,archeologists have discovered other heads showing a remarkable similarity in their features to the ,venus of ,milo4 ,among them is a head discovered in ,tralles1 ,asia ,minor1 which shows almost the same face as the ,venus of ,milo4 ,so close is the resemblance that both seem to have been made after the same model4 ,it may be that one has been copied from the other or both chiseled from a common prototype4 ,we here reproduce the heads of both1 after half-tone pictures published by ,saloman4#d ,overbeck believes that the ,venus of ,milo is not an original4 ,he says3 8,it seems permissible to doubt the originality of this composition1 and to refer it back to an older original which we can no longer determine1 as the common prototype of the statue of ,milo and of other similar statues4 ,for this reason there would be no objection to assigning the origin of our statue to the period of imitation4 ,although ,i deem the dependence of the statue upon an older original assured1 ,i am disinclined to deny a certain degree of originality1 but in those very features which ,i deem to be original are the very marks of a late revision40 ,conze#e compares our ,venus of ,milo with the style of the ,pergamene sculptures1 and in his essay on the results of the excavation at ,pergamum1 page #ga1 he calls attention to the fact that the warm tone of the skin and the sketchy method of the treatment of the hair seem characteristic of a later period1 pointing out the similarity of a piece of ,pergamene sculpture with the head of the ,venus of ,milo4 ,shall we assume that this head of ,tralles is older than the ,venus of ,milo and that we must look upon the art of ,pergamum as the school in which our artist1 ,agesander or ,alexander or whoever he may have been1 drew his inspiration8 ,we have no positive proof on either side but internal evidence speaks in favor of regarding the ,venus of ,milo as original1 and we cannot place any confidence in the genuineness of the plinth in the ,debay drawing1 so may regard the statue as the work of a classical1 though unknown1 ,athenian artist1 or at least one who worked for ,athens and her temples4 ,a ,,description ,,of ,,the ,,statue4 ,we have before us in the statue of the ,venus of ,milo one of the greatest masterpieces of ancient ,hellas1 and it is of secondary importance whether or not it was the artist's intention to represent the goddess of love and beauty4 ,surely this work of art represents womanhood at its best--a noble feminine figure in full maturity1 not a maiden but fully developed1 a wife or mother2 and yet not as a mother with a child1 nor as a wife with her husband1 but simply as a woman4 ,there is nothing frivolous about her1 no coquetry1 nothing amorous4 ,her eyes betray not the slightest touch of a sensual emotion1 not that sentimental moistness1 as the ,greeks called it1 and thereby the artist succeeded in transfiguring naked beauty by a self-possessed chastity unrivaled in the art of statuary4 ,the consensus of art admirers1 which is almost1 though not quite1 universal1 sees in this marble the great mother-goddess1 das ewig ,weibliche1 idealized femininity1 the goddess of beauty and love1 whom the ,greeks called ,aphrodite and the ,romans ,venus4 ,illustration3 ,,the ,,venus ,,of ,,milo4 ,the goddess 7if we may so call her7 stands before us erect in queenly dignity4 ,her dress is falling down leaving the upper body entirely uncovered1 and yet in spite of the nudity of the figure we are struck with its unparalleled purity and nobility of expression4 ,the statue has suffered many injuries4 ,both arms have been broken off and are now lost1 and so is the left foot4 ,the tip of the nose has been restored1 and there are scratches and cudgel marks all over the body which could not be mended without destroying the original work in the general treatment of the skin4 ,the ears are pierced1 so there must originally have been earrings which robbers had torn away before the statue was secreted in the cave4 ,a line in the hair of the statue shows holes which prove plainly that on top of the head there must have been a coronet like that commonly worn by ,greek goddesses and called by the ,greeks 1 8sling10 because with the strings attached it resembles a sling4 ,it was worn especially by the ,queen of ,heaven1 ,hera 7the ,juno of the ,roman pantheon74 ,since the arms have been broken off and lost1 the artist's conception with regard to the posture can only be surmised4 ,the face is calm and without passion4 ,it wears a commanding expression1 apparently with a suggestion of surprise1 even of self-defence4 ,judging from the muscles of the left shoulder the left arm must have been raised4 ,sometimes it has been claimed that the broken hand with the apple1 which with other debris was found in the neighborhood1 belonged to the statue2 and that the apple being the emblem of ,venus and at the same time that of the island of ,milo as well1 the statue represented the patron goddess of the island1 but this is very doubtful4 ,archeologists are not in full accord upon this point for the mere reason that the fragment of the hand with the apple is of rough workmanship and is commonly judged as not worthy of the statue2 at best it might be regarded as the work of an ancient restoration4 ,all critics1 however1 are pretty well agreed that the right hand must have grasped for the falling garment1 preliminarily held up by the raised knee4 ,the ,venus of ,milo is at present the pride of the ,louvre at ,paris1 and the place where she stands on account of her presence alone may be likened to an ancient pagan shrine1 comparable to the room in the ,dresden gallery where the ,sistine ,madonna stands1 the latter being a ,christian counterpart of the former4 ,our ,blessed ,lady of ,milo1 as we may call this beautiful representative of ,greek paganism in imitation of ,veit ,valentin's name ,die hohe ,frau von ,milo1 has always a group of admiring visitors sitting quietly before her1 and there is often a hush in the room which recalls the sanctity of religious chapels attended by quiet worshipers4 ,there is a sacred atmosphere surrounding the statue and even the hurried globe-trotter feels that he has come into the presence of some divinity that exerts her influence upon the world not by might1 but by beauty1 grace and loveliness4 ,,restorations4 ,many attempts have been made to restore the statue of the ,venus of ,milo1 and we here reproduce a number of them1 but none of them have proved successful4 ,it almost seems1 as the ,german poet ,heinrich ,heine somewhere says1 that the ,venus of ,milo in her helpless condition with her arms broken off appeals more to our sympathy than in her original condition of glory when she received the homage of faithful worshipers1 and it is true the very mutilated form is extremely attractive in its present dilapidated state4 ,broken by fanatics of a hostile faith1 she represents in dignity and beauty the natural charm of ,greek religion at its best4 ,the hordes of bigoted monks vented their hatred with especial wrath against the goddess of love and also against her son1 ,eros1 as may be seen from a figure of this god represented in his daintiest youthfulness4 ,here too the marks of the clubs of a furious mob are visible1 betraying the same spirit as in the treatment of the ,venus of ,milo4 ,it is the fanaticism of ascetic frenzy in the bitterness ,illustration3 ,a ,,mutilated ,,statue ,,of ,,eros4 of its wrath against nature in general and love in particular that showed itself in these iconoclastic demonstrations4 ,illustration3 ,,venus ,,with ,,shield ,,and ,,pencil4 ,we regret now the destruction of the ,greek idols as a barbaric warfare waged upon art4 ,we have begun to sympathize with the vanquished gods1 and archeologists are trying to restore what early ,christianity ruthlessly destroyed or mutilated4 ,illustration3 ,,venus ,,with ,,mirror4 ,those restorers of the ,venus of ,milo who reject the genuineness of the right hand holding an apple enjoy the greatest liberty in their work of reconstruction1 and we find some of them representing our ,venus as holding a shield on her knee and writing upon it4 ,others assume that her right hand holds a mirror1 while still others who claim that there is no necessity of interpreting the statue to be a ,venus1 believe her to be a ,victory or ,nik1 and put wreaths in her hands4 ,illustration3 ,,venus ,,as ,,victory4 ,probably by ,t4 ,bell4 ,illustration3 ,,drawing ,,by ,,hasse ,,and ,,henke4 ,hasse and ,henke have treated the problem of restoration from the standpoint of anatomy1 and plausibly claim that the left hand should be raised higher than other restorers have proposed4 ,illustration3 ,,restoration ,,by ,,furtwaengler4 ,the restoration of ,furtwngler1 according to which the goddess rests her left arm on a column and holds an apple in her hand1 has for a long time ,illustration3 ,,saloman',s ,,latest ,,restoration4 been considered the most probable1 and yet even this can scarcely be regarded as satisfactory4 ,illustration3 ,,restoration ,,by ,,saloman4 ,mr4 ,geskel ,saloman1 a ,swedish archeologist1 also places a column at her left side and uses it for her elbow to rest on4 ,in consideration of some ancient descriptions of a dramatic ceremony performed ,illustration3 ,,venus ,,sending ,,out ,,the ,,dove4 ,vase picture after ,creuzer1 ,deutsche ,schriften1 #ahdf1 ,i1 ,,ii1 p4 #bch4 ,reproduced from the ,erbach ,collection4 at ,corinth he places a dove on her right hand4 ,the idea is that having received the apple as the prize of beauty she sends out the dove to her worshipers to announce her triumph and inform them that they may celebrate the victory4 ,veit ,valentin attempts to construct his restoration out of the data furnished by the marble itself and seems to come nearest to the truth4 ,he assumes that the goddess1 when in the act of undressing for a bath1 finds herself surprised by an intruder4 ,there is no fear or alarm in her attitude1 but she raises her hand in protest with a self-poised assurance and grasps with her right hand the falling garment which she attempts to support by a hurried motion of her left knee4 ,we regret that we have not seen either a picture or a statue of this restoration1 but we are deeply impressed that this idea is most probably correct4 ,the latest restoration comes from ,francisca ,paloma ,del ,mar 7,frank ,paloma7 who places a child on the left arm of the goddess1 and this conception is defended in a special pamphlet by ,alexander ,del ,mar4#f ,mr4 ,del ,mar brings out the idea that the reverence in which the great mother goddess was held among the pagans was not substantially different in piety from ,christian ,madonna worship1 and this view is brought out in the painting by the artist ,illustration3 ,,the ,,mother ,,of ,,the ,,gods4 ,from a painting by ,francisca ,p4 ,del ,mar4 ,frank ,paloma here reproduced4 ,mr4 ,del ,mar thinks that the pagan goddess served the inhabitants of ,melos as a ,christian ,virgin4 ,he says3 8,what more natural than for the pious islanders of ,melos1 terrified by the harsh edicts of ,theodosius1 to simply burn the pedestal and inscription belonging to their pagan goddess1 and continue to worship under another name the same embodiment of that holy sentiment of love and maternity which they had hitherto been accustomed to adore40 ,mr4 ,del ,mar relies on the testimony of ,count ,marcellus who finally concluded the bargain in the name of the ,french government and quotes him as saying in his ,souvenirs de l',orient1 ,i1 #bee3 8,it can be demonstrated that the statue represented the ,panagia or ,holy ,virgin of the little ,greek chapel whose ruins ,i saw at ,milo40 ,it seems to us that the statue cannot have carried a child on her left arm because the marble would show more trace of pressure where the mother must have touched the babe1 even when we make allowance for a polishing in the restored portions2 and we would suggest further that the arm carrying the child would be held farther down4 ,when a mother carries a child1 her upper and lower arms are naturally at right angles and the position of having them at a very acute angle at the elbow appears quite artificial4 ,the haloes placed upon the heads of mother and child and the apple of empire in the infant's hand are attributes belonging to the ,christian era and so constitute other objections to ,mr4 ,del ,mar's restoration4 ,the halo is of late pagan origin1 and in the form of rays it was first used to characterize gods of light1 as for instance ,helios and ,selene4 ,the round form of the nimbus is later still and seems to have arisen with the development of the art of painting4 ,the apple of empire was not used in the days of antiquity but appears frequently in ,constantinople and in early ,christian symbolism4 ,without entering into details we leave it to the taste of the reader whether he would select any of these restorations as a possible solution of the problem3 we prefer to admire the statue as it appears now2 for after all the broken figure still remains dearer to us in its wonderful and appealing beauty than any of the restorations4 ,we ourselves believe that modern man will come to the conclusion that in this image in its present shape we have a noble martyr of ancient paganism4 ,even the original statue itself in all its perfection1 if it could be restored to us as it came fresh from the artist's workshop1 could not replace the torso as we know it now4 ,this is the reason why we do not take a great interest in the various restorations of the ,venus of ,milo1 and therefore are not inclined to undertake a close study of them or to enter into an elaborate recapitulation of these otherwise quite laudable attempts4 ,we can only say that none of the restorations here discussed seems to solve the problem4 ,nevertheless we do not believe the problem to be beyond the possibility of solution1 and we will state briefly what in our opinion the facts suggest4 ,we believe that among all the propositions made by restorers the simplest one1 that of ,veit ,valentin1 alone deserves our interest4 ,if we consider the dominating motive of the statue we must grant that it neither belongs to the very earliest times in which ,venus was fully dressed1 nor to the latest in which nudity1 intensified in its suggestiveness by prudery1 had nearly become the most characteristic feature of the deity of love4 ,it takes its place in the midst of ,greek art development when the first attempt was made to show the human form1 and this is done in such a way as not to go to the extreme of a complete denudation but only suggests it and1 as it were1 with a protest on the part of the goddess4 ,for the attitude of the statue plainly indicates that the goddess endeavors to retard the falling garment so as to give the right arm a moment's time to grasp it and to hold it up4 ,it is more than merely probable that the left arm was raised toward an unexpected intruder in warning not to approach4 ,there is no fear in the expression of the face1 no fright1 no anticipation of danger4 ,the whole attitude makes us suspect that the missing left hand was raised with a forbidding gesture1 expressing the command1 ,ne prorsum6 ,ne plus ultra6 ,noli me tangere6 ,,recent ,,theories4 ,the statue discovered on the island of ,milo acquired a fame beyond the greatest expectations1 and the intense interest taken in it frequently gave rise to bitter discussions about its history and the causes of its mutilation4 ,thus it happened that the authorities of the ,louvre1 or even the ,french government itself1 were held responsible for the sad state of desolation in which it now appears4 ,accusations were made that this venerable piece of classic art had been treated with inexcusable neglect1 that important inscriptions belonging to it had been lost1 and the claim was even made that the statue was whole at the time it was found4 ,the dissatisfied parties interpreted ,m4 ,dumont d',urville's report in the sense that he had seen the statue whole1 quoting from his description3 8,it represented a nude woman whose left hand was raised and held an apple and the right supported a garment draped in easy folds and falling carelessly from her loins to her feet40 ,this in their opinion meant that ,m4 d',urville had seen the statue complete in this posture when he bought it4 ,the sentence which runs1 8,both hands have been mutilated and are actually detached from the body10 according to this contention is to be interpreted that this must have happened before the ,french party delivered the statue to the ,louvre1 probably at the time when the ,french marines forced its transfer from the ,turkish brig to the ,french warship 8,estafette40 ,the points raised in this discussion overlook some significant facts which if duly considered dispose of the claim that the statue was whole and unmutilated when discovered and sold to ,m4 ,dumont d',urville4 ,viscount ,marcellus enumerates the objects discovered in the cave and mentions fragments of the statue found in the field nearby4 ,could he1 an eye witness1 have believed that it was whole and unmutilated when he assumes that a number of separate fragments belonged to it8 ,it is not impossible that the quarrel between the ,french marines and the ,turks was a regular fight2 that they came to blows1 but scarcely to shots4 ,if there had been any fatalities we would have heard of it in the first report of the acquisition of the statue2 but no serious wounds in the struggle are mentioned even in the later report1 although in it we learn of a fight on the beach about the possession of the statue1 and this later became humorously exaggerated into a battle involving drawn cutlases and a bleeding ear4 ,the discussion was renewed in #aiab by ,m4 ,alcard who laid much emphasis upon the testimony of ,lieutenant ,matterer1 a comrade of ,m4 ,dumont d',urville4 ,he is claimed to have felt such disgust about the endless disputes on the original form of the ,venus of ,milo that he wished to put an end to them4 ,he says3 8,when ,i saw the statue in the hut of ,yorgos ,bottonis on whose field it was found1 the left arm was attached to the bust and held an apple over her head40 ,this positive statement stands in plain contradiction to the older records and it seems that the imagination of the valiant naval officer played his memory a trick after the lapse of nearly half a century4 ,perhaps it is impossible to evolve the exact truth definitely1 but it seems to me that we must not estimate these later testimonies too highly1 for it would be more difficult then to explain the actual condition of the statue and its agreement with the older descriptions1 than now to account for these later depositions of a few excitable and imaginative men who feel that they have something of great importance to declare4 ,moreover1 the most important witness1 ,lieutenant ,matterer1 is characterized in these accounts as 8an officer of great merit but no literary cultivation10 which does not seem to make his opinion especially reliable4 ,the ,sunday ,record-,herald of ,chicago 7,nov4 #bd1 #aiab7 contains a summary of this later phase of the discussion as to the condition of the ,venus of ,milo from which we quote a few passages that in spite of the sensational character of the account may be of interest4 ,the ,american reporter1 relying on his ,french sources1 says3 8,the great ,thiers began his start in journalism by a study of this ,venus and the riddle of her arms4 ,so when he became president of the ,french republic he ordered the ambassador to ,greece1 ,jules ,ferry1 to make a trip to ,melos and pick up local tradition4 ,ferry did better4 ,he found the son and nephew still alive1 ,antonio and ,yorgos ,jr4 #8,they have grown to be beautiful old men--white-bearded1 ruddy1 robust and bright-eyed1' reported ,ferry4 #8,examined separately before the ,french vice-consul at ,castro they declared steadily1 with minute details and explanatory gestures and poses1 that ,venus1 when they found her1 was standing upright on her pedestal1 her right arm sustaining her draperies and her left arm raised and extended1 its hand holding an apple4'0 ,i assume that the old ,greek peasants spoke ,greek1 and so ,m4 ,ferry probably understood their meaning mainly from their 8explanatory gestures and poses0 which might as well have expressed their idea of the original attitude of the statue as the way in which they actually saw it4 8,the popular story of the countryside also10 continued ,ferry's report1 8is a tale of battle4 ,at fifty years' distance the recollection remains and tradition is not yet born4 ,the discovery of the ,venus ,victrix1 the dispute of which she was the object1 the fight on the beach1 the victory of the ,french and her final abduction violently impressed the islanders--and the impression remains40 8,the battle of the beach0 is described in sensational terms4 ,the ,french war-schooner 8,estafette0 had reached ,melos in ,may #ahbj1 when her commander ,robert saw the ,greek brig 8,galaxidion0 7flying the ,turkish flag7 anchored nearby1 and to the consternation of himself and ,marcellus1 the secretary of the ,french embassy at ,constantinople1 there appeared on shore at the foot of the hill a crowd of ,greek and ,turkish sailors laboriously transporting the upper half of the statue toward that same ,turkish brig4 ,the account continues3 8,the ,greeks and ,turks advanced slowly1 changing shifts and reposing4 ,marcellus and ,robert looked in each other's eyes4 #8,there's just time1' said ,robert4 ,they armed a long-boat full of marines1 ,marcellus and ,robert with them in command1 and reached the shore just as men from a ,turkish long-boat came running to protect their brethren4 ,from the hill of ,castro ,m4 ,brest1 the ,french vice-consul1 was making good time to the mle4 ,cutlasses and clubs opened the dance4 8,the ,turks dropped the marble idol4 ,around ,venus it was slash and parry1 kick1 bite1 jab1 gouge and roll4 ,a cutlass takes off a ,turkish ear4 ,enough carnage6 ,when you fly the ,turkish flag you don't soak the sands with your life-blood for a graven image made against the law of the ,prophet4 ,the ,turks pull for the brig4 ,the ,french have copped the peerless one1 ,venus ,victrix1 impassive1 stares past them at the white-capped sea1 where she was born4 ,is there a faint smile of satisfaction on the lovely lips8 8,the stretcher had been injured4 ,all were excited4 ,hurry1 the ,turks may return in force6 ,that stretcher is no good4 ,put rollers under the flat of the block4 ,pull on the ropes6 ,attention6 ,the bust is slipping6 ,malheur1 she's on her back8 ,tant pis66 ,now1 my children1 yet another effort6 ,good old long-boat6 ,embark6 ,it was hot work1 but she's ours4 ,best say as little as possible about it4 ,monsieur le ,vice-,consul1 you will please to arrange the settlement of this annoying episode diplomatically6 8,negotiations lasted two days4 ,finally the ,turkish brig ceded to the ,french the lower part of the statue2 but when the #8,estafette' sailed for ,piraeus4 ,venus bore irreparable wounds4 8,so they say4 ,such is said to be the secret--or part of it4 ,among fragments of marble gathered up after the battle of the beach were debris of her arms--in particular of the beautiful left arm which ,,mm4 d',urville and ,matterer had seen entire on her shoulder1 lifting the triumphal apple60 ,the report of ,m4 ,ferry makes the trip from ,paris to ,melos worth while and may have pleased the learned president of the republic1 ,m4 ,thiers4 ,the ,american reporter's account throws light on the theory suggested by the results of ,m4 ,ferry's trip3 8,venus ,victrix was received in ,paris by the ,count de ,clarac1 curator of the ,louvre1 then ,royal ,museum4 ,did he know of the fight8 ,perhaps4 ,was it to forestall a possible hint that a ,french war-ship could attack and plunder the war-ship of a friendly power in profound peace1 or to prevent a dream of the impossible possibility that the marvelous statue could have been mutilated in any ,french hands1 by accident or otherwise1 that he assumes ,venus to have been dug up in its present condition80 ,the official report of ,count de ,clarac when the statue was received at the ,louvre runs as follows3 8,bust and front have scarcely suffered from the ravages of time4 ,they keep the velvety skin of a master of the great ,greek period1 who1 after polishing1 once more skimmed the chisel over the perfect work4 ,but here and there are slight lesions1 due1 probably1 to careless pickstrokes in digging her up4 ,the shoulders have been much damaged1 traces of cords indicate that she was dragged along the shore toward the ,turkish brig1 and in that fatal passage the shoulders and haunches were scraped and worn1 several finger breadths being taken off the former40 ,the fertile imagination of the account changes the ,greek brig 8,galaxidion0 into a ,turkish man-of-war so as to impress the reader that there is a diplomatic secret to be hidden which might involve the ,french authorities into a war with ,turkey4 ,the cause1 being about the goddess of love1 would be quite romantic but a war is serious enough to make the authorities wish to avoid it and prefer to cast a shadow of mystery over the whole affair4 ,we shall see later that the mutilations of the statue need not have originated from careless handling on the part of the ,french marines when they took possession of the statue4 ,here is another passage which describes the nature of the injuries of the ,venus statue without1 however1 being proof of the battle of the beach3 8,the shoulder has been broken1 not merely scraped and worn1 by dragging4 ,and the author of another report1 ,m4 ,lange1 chief restorer of the ,royal ,museum in #ahbj1 specialist of vast experience and a workman to boot1 notes certain exfoliations or scrapings of the left arm fragments #8running straight up on to the shoulder of the statue1 and found also on the back of the hand fragment1 which show that these different parts formed one with the shoulder2 and these straight scratches could only have been made1 all following the same direction1 when the left arm was entire6'0 ,this quotation is made to prove that the arm was still connected with the statue before it was scraped along the ground1 but may not this scraping have taken place before it was hidden in the cave8 ,the ,louvre's acquisition of the ,venus of ,milo proved in some respects a misfortune to the ,count de ,clarac4 ,charles ,lenormant1 the archeologist1 in a contribution to the ,correspondant in #ahed mercilessly attacked the director of the ,louvre and his staff1 saying 7as reported in the ,record-,herald73 8,i have always believed that from the beginning to better accredit a production which is its own best proofs1 they designedly caused to disappear accessories which might derange the idea that they had just conquered a chef-d'oeuvre of the grand epoch of ,greek art4 ,thus1 besides the arms1 they suppressed the debris of an inscription40 ,can we entertain the suspicion that the authorities of the ,louvre purposely destroyed the inscription assumed to have been found with the debris of the ,venus of ,milo and that they suppressed facts or the knowledge of facts which might bear testimony against their cherished theories as to the provenience of their favorite piece of art8 ,scarcely6 ,the inscription1 as we have seen1 was doubtless lost because nobody cared for it1 for there was no evidence that it belonged to the statue4 ,,what ,,the ,,facts ,,reveal4 ,of all the statues of classical antiquity the ,venus of ,milo is the greatest favorite1 not only with the public at large but with art critics as well1 and it is strange that the statue has acquired this popularity1 for it is by no means perfect in conception nor has it been made by any one of the famous artists4 ,the sculptor is either not known at all or1 if the pedestal bearing the name of ,agesandros or ,alexandros actually belonged to the statue1 he was a man unknown to fame1 and it seems difficult to point out the reasons which give to this most badly wrecked piece of marble its peculiar charm4 ,we cannot help thinking that the artist worked after a living model and followed details pretty faithfully4 ,it has been noticed for instance that the feet of the ,venus are larger than those of the average woman of to-day and the head is unusually small4 ,in fact this close adherence to actual life may be the main secret of the charm of the statue1 for on account of this reality there is a personal element in it1 and we can almost read the character of the woman who stood as a model4 ,we see at once an absence of any and every lascivious trait quite common to ,venus figures of a later period1 and in the face there is a remarkable unconsciousness of self4 ,we may assume that the artist belonged to the famous school of ,rhodes or to the group of those artists who made ,pergamum famous with their work1 but no statement can be made with certainty4 ,upon archeological grounds we cannot place the date of the statue earlier than about #djj ,b4 ,c41 nor later than the first part of the second century ,b4 ,c41 and this opinion is mainly based upon the excellent workmanship1 the peculiar warmth of the skin as well as the classical simplicity of the statue as a whole4 ,it appears that this valuable piece of art is worthy of a ,phidias1 a ,praxiteles1 a ,lysippos1 or a ,scopas4 ,having searched art books in vain for an explanation of the history of the ,venus of ,milo and its tragic fate1 we will here briefly recapitulate what the simple facts of the statue1 its workmanship1 its sad and mutilated condition and also its place of discovery1 can teach us4 ,the statue shows a few scratches which indicate that it may have been dragged along the ground1 but the marble bears innumerable indentations which can scarcely be explained otherwise than as due to blows with heavy sticks or clubs4 ,the story of ,m4 ,ferry recapitulated in the foregoing chapter does not suffice4 ,some mutilations may be due to a rough handling in transportation1 but the scratches are few and the cudgel marks are many4 ,apparently the statue has stood an attack of a mob of infuriated enemies who hated the goddess and regarded her as a devil--as the patron deity of the worst of sins4 ,she must have endured a terrible persecution at the hands of implacable enemies1 and these enemies can only have been ,christians4 ,it is obvious that the statue has been hidden1 and we need not doubt that it was concealed by pagan worshipers who wanted to preserve the effigy of the goddess4 ,the marks of brutal treatment visible all over the body of the statue indicate that the fair goddess had been most furiously belabored as if in corporeal chastisement with rods and any weapons that happened to be at hand4 ,the arms are broken and we must assume that the statue was upset and thrown from its pedestal4 ,probably the goddess fell on her right shoulder which is crushed1 while the left arm exhibits a smooth fracture as if it had been broken by the concussion of the fall4 ,if the arms are not the fragments enumerated by ,count ,marcellus and now preserved in the ,louvre1 they must have been lost2 possibly they were smashed to small fragments4 ,can we assume that the provincial population of a small island could have produced the greatest piece of art of antiquity8 ,could a few farmers have engaged a sculptor who must have been the equal of ,phidias and ,scopas8 ,if the statue had represented the tutelary goddess of the island1 would not some ,greek author have alluded to its existence2 would not ,pausanias have mentioned the fact8 ,the idea that the statue was of indigenous workmanship is a mere assumption and by no means probable4 ,but whence can the statue have come1 and how did it find its way to this little island in the gean ,sea8 ,this question is not unanswerable2 we need only consider the history of the island and its political connections4 ,the island of ,milo was too small a place to have a temple that could afford a statue of such extraordinary value1 and we must assume that it was carried thither on a ship4 ,athens is the only place that we can think of which might have been its original home4 ,the early centuries of the ,christian era were troublesome times4 ,lawlessness prevailed and a general decadence had set in1 which was due to the many civil wars in both ,greece and ,italy4 ,the establishment of the ,roman empire checked the progress of degeneration but only in external appearance4 ,in reality a moral and social deterioration continued to take an ever stronger hold upon the people4 ,the old religion broke down and the new faith was by no means so ideal in the beginning as it is frequently represented by writers of ecclesiastical history4 ,our notions concerning the vicious character of ,illustration3 ,,venus ,,on ,,the ,,swan4 ,a kylix from ,capua4 ancient paganism are entirely wrong4 ,even the worship of ,aphrodite and of the ,phenician ,astarte was by no means degraded by that gross sensualism of which the fathers of the church frequently accuse it4 ,wherever we meet with original expressions of the pagan faith we find deep reverence and childlike piety4 ,in many respects the worship of ,istar in ,babylonia and ,astarte in ,phenicia1 of ,isis in ,egypt1 of ,athene1 ,aphrodite and ,hera in ,greece1 of the ,roman ,juno1 and ,venus1 the special protectress of the imperial family1 was noble in all main features1 and did not differ greatly from the cult of the ,virgin ,mary during the ,middle ,ages4 ,we shall discuss this phase in a subsequent chapter and here reproduce an ancient platter which is ascribed by archeologists to the fourth century ,b4 ,c41 and shows a noble and serene ,venus who is fully draped and flying on a swan4 ,when ,christianity spread over the ,roman empire1 the city of ,athens was the last stronghold of paganism1 but even there the mass of the population had become ,christian4 ,there was a time in the development of ,christianity when it was hostile not only to ancient pagan mythology but also to pagan science and to pagan art4 ,this was the age in which almost all the statues of the ,greek gods were either destroyed1 or maltreated and shattered so that not one has come down to us unmutilated4 ,prof4 ,f4 ,c4 ,conybeare of ,university ,college1 ,oxford1 describes conditions of that age in his translation of the ,apology and ,acts of ,apollonius and ,other ,monuments of ,christianity1 as follows3 8,the obvious way of scotching a foul demon was to smash his idols2 and we find that an enormous number of martyrs earned their crown in this manner1 especially in the third century1 when their rapidly increasing numbers rendered them bolder and more ready to make a display of their intolerance4 ,illustration3 ,,head ,,of ,,the ,,venus ,,of ,,milo4 ,profile view4 ,sometimes the good sense or the worldly prudence of the ,church intervened to set limits to so favorite a way of courting martyrdom2 and at the ,synod of ,elvira1 c4 ,a4 ,d4 #cje1 a canon was passed1 declaring the practice to be one not met with in the ,gospel nor recorded of any of the ,apostles1 and denying to those who in future resorted to it the honors of martyrdom4 ,but in spite of this1 the most popular of the saints were those who had resorted to such violence and earned their death by it2 and as soon as ,christianity fairly got the upper hand in the fourth century1 the wrecking of temples and the smashing of the idols of the demons became a most popular amusement with which to grace a ,christian festival4 ,as we turn over the pages of the martyrologies1 we wonder that any ancient statues at all escaped those senseless outbursts of zealotry40 ,it must have been in one of these 8outbursts of zealotry0 that one of the temples of ,aphrodite was attacked and the statue of the goddess brutally assaulted4 ,the mutilated statue presumably lay prone upon the ground at the foot of its pedestal at the overturned altar1 and had to suffer under the clubs of fanatical zealots4 ,when night broke in and the rioters sought their homes1 the few friends of paganism1 perhaps the priests1 perhaps some well-to-do philosophers and admirers of the ancient ,greek civilization1 came to the rescue4 ,they met stealthily at the place of the tumult and with the assistance of ,illustration3 ,,head ,,of ,,the ,,venus ,,of ,,milo4 ,front view4 their servants had the statue carried away down to a ship at anchor in the harbor4 ,before the riot could be renewed on the next morning the ship set sail for the island of ,milo where the devotees of the goddess may have had friends1 or where possibly one of their own number possessed a farm4 ,there they hid the statue1 and it is certain that the act of concealment was done in the greatest haste1 for it was only lightly covered over1 and a mark1 discovered later on by careful investigation of the place of hiding1 was scratched into the curbstone on the wayside to indicate the spot4 ,this explanation seems to me simple enough to be acceptable4 ,the facts seem to tell it4 ,consider the age when paganism broke down2 consider the fanaticism of the early ,christians1 the uncultured mobs led by fanatical monks1 mobs capable of tearing to pieces a noble woman--,i refer to ,hypatia--in the conviction that they were doing a good deed pleasing in ,god's sight4 ,other statues of pagan gods have received exactly this treatment4 ,is it possible to explain the cudgel marks on the statue of the ,venus of ,milo differently8 ,it seems strange that this explanation has not been offered before4 ,the data of the conditions in which the statue was found1 the place of hiding1 the political relation of ,melos to ,athens1 and the character both of the few pagans and of the multitudes of ,christians who lived in the beginning of the ,christian era1 tell us the story of the statue1 its sad fate and why it found here a safe place of concealment4 ,the pagan remnant was small and kept quiet for fear of persecution1 but we may very well imagine how they lived in the hope that paganism would celebrate a revival1 that the storms of these barbarous outbursts would pass by and the temples of the gods would be restored in all their ancient glory4 ,then would come the time to bring the goddess back to her ancient dwelling place1 to raise her altar again and light the sacrifice anew4 ,but though the riots ceased and the authorities restored order1 though for a short time a pagan emperor sat again on the throne of ,csar1 the ancient gods never returned and ,christianity permanently replaced paganism4 ,the devotees of the lost cause died without seeing their hope fulfilled4 ,the desecrated statue remained hidden and their secret was buried with them in the grave4 ,,the ,,meaning ,,of 8,,aphrodite40 ,the etymology of the name ,aphrodite is doubtful4 ,the ,greeks derived it from the word foam1 because the goddess was said to have risen from the foam of the sea4 ,this wild guess of ancient ,greek philology may have been responsible for the fable that ,uranus 7,heaven7 nightly embraced ,gaia 7,earth7 until he was attacked and mutilated by his rebellious son ,kronos4 ,uranus1 deprived of his creative ability1 retired to the outskirts of the world4 ,mythologists assume that herewith the creation of the raw material of the universe ceased1 but that the generative principle being now mingled with the sea changed into foam1 whence rose the goddess that represents all fertility and creativeness in both vegetable and animal domains4 ,if this legend of the origin of ,aphrodite is not simply the product of the wrong etymology of her name#g it is assumed to have been imported from ,phenicia4 ,the only other similar myth known is found among the ,south ,sea islanders where ,rangi 7,heaven7 and ,papa 7,earth7 embraced one another so closely that no life could originate1 ,rangi being regarded as a great blue canopy of stone4 ,then ,tane ,mahuta1 their youngest son1 corresponding to ,kronos1 the youngest child of ,uranus and ,gaia1 cruelly separated the couple and forced his father upward and pressed his mother down1 thus becoming the creator of life on earth4#h ,the ancient ,greeks were poor philologists and similar failures of etymological speculation are quite common among them4 ,thus they explained the origin of names like ,heracles as 8the fame of ,hera10 or ,amazon as 8the woman without breasts10 or ,prometheus as 8the forethinker10 etc4 ,all these derivations are wild and obviously wrong guesses1 nor may our modern philologists1 though more scientific1 be always exactly correct4 ,we are taught now by comparative philology that ,prometheus1 the firebringer1 is the ,sanskrit word pramathyus1 8the driller10 denoting the hard stick#i which by a swift rotation in a soft piece of wood produces the spark that calls forth the beneficent flame4 ,this explanation seems probable but we cannot say that our etymologies of other names have been equally successful4 ,one recent interpretation of 8,aphrodite0 would make us regard the name as an ,egyptian importation1 explaining the word to mean ,apharadat1 8the gift of ,ra10 the sun-god1 derived from ,pha ,raa ,da-t with the prosthetic ,a2 but this1 like the suggested derivation of ,psyche from ,pha ,sakhu1 8the mummy10 seems to be a mere accident of homophony4 ,other ,greek names such as ,elysion from ,aalu1 the ,elysian ,fields of the ,egyptians1 ,charon from ,kere1 driver or skipper 7ferryman71 are better attested1 but if the name ,aphrodite came from ,egypt the cult of a goddess by that name and character has been lost or obliterated4 99 99 99 99 99 ,originally ,aphrodite was the same figure as ,hera or ,juno1 ,artemis or ,diana and ,pallas ,athene or ,minerva4 ,these female deities are differentiations of the idealized and personified activities of womanhood3 ,hera as the queen of heaven1 the protectress of wifehood2 ,diana of girlhood and virginity2 ,athene as the goddess of battles1 as protectress of arts and sciences1 as wisdom personified2 ,aphrodite1 the personification of beauty and love4 ,the ancient pagans were not so very unlike the ,christians2 e4 g41 ,istar1 like the ,virgin ,mary1 represented at the same time eternal virginity and motherhood1 and the name of the temple on the ,acropolis might truly be translated 8,church of the ,holy ,virgin10 for ,parthenon is derived from 1 8virgin40 ,in prehistoric times there was more reverence for the female deity than for the male god4 ,so ,ares 7or ,mars7 is the god of fight1 of combativeness1 while ,athene is the teacher of the art of warfare1 of generalship1 of strategy in battle4 ,the character of ,aphrodite as a universal principle was never lost sight of4 ,she was and remained the giver of life1 joy1 love1 loveliness1 grace1 fertility1 increase1 exuberance1 rejuvenescence1 springtime1 restoration of life1 immortality1 prosperity and the charm of existence1--and all this she was in one1 all as a universal principle and in its cosmic significance4 ,the same idea is also expressed in ,eros1 called in ,latin ,amor or ,cupido1 who is regarded as the oldest and at the same time the youngest of the gods1 represented as a beautiful youth4 ,this same ,eros is said to have existed prior to ,aphrodite1 for when she rose out of the sea1 ,eros met her at the shore1 while according to another version he was regarded as her son4 ,the notion that ,aphrodite is the cosmic principle of love has found expression in poetry and philosophy1 but her mythical nature has never been definitely settled4 ,homer1 who calls ,aphrodite ,cypris 77 speaks of her in the ,iliad 7,v1 #cab7 as the daughter of ,zeus#aj and ,dione1 the goddess ,illustration3 ,,heavenly ,,and ,,worldly ,,love4 ,by ,titian4 who in olden times was worshiped on the ,acropolis in ,athens1 in ,dodona1 and in other localities1 as the wife of the ,olympian ruler and as his female counterpart4 ,dione is probably the same word as ,hera's ,latin name ,juno4 ,as her daughter1 ,aphrodite is called ,diona 77 and also by her mother's name ,dion4 ,being the goddess of sexual love1 ,aphrodite was also held responsible for all relations between men and women1 and philosophers felt the need of distinguishing between heavenly love and vulgar passion1 calling the former 8,aphrodite ,urania10 the latter 8,aphrodite ,pandemos40 ,in ,plato's ,symposium 7#ahj ,d7 the heavenly love is described as 8the older one1 born without mother1 the daughter of heaven10 while the younger and less divine ,aphrodite is the daughter of ,zeus and ,dione4 ,the same contrast is brought out in the age of the ,renaissance by ,titian in his famous picture of heavenly and worldly love4 ,the distinction between celestial and earthly love however is artificial and has certainly not influenced the cult of the goddess4 ,it is a later thought1 invented by philosophers for the purpose of teaching a lesson4 ,,the ,,cult ,,of ,,aphrodite4 ,polytheism is not a stable religion4 ,it changes with the growth of civilization1 and we do not know a time in which it was not constantly in a state of transition4 ,the myths which connect ,aphrodite in one place with ,adonis1 in others with ,mars1 ,hephstos1 ,anchises and other gods or mortals1 were originally several different developments of the same fundamental idea1 the love story of the goddess of love4 ,this is quite natural and ought to be expected1 but when in the days of a more international communication these myths were told in different shapes in all localities1 they in their combination served greatly to undermine the respect for the goddess and to degrade the conception of her even as early as in the time when the ,homeric epics were composed4 ,nevertheless1 since the sarcasm remained limited for a long time to the circle of heretics and scoffers1 the noble conception of ,aphrodite was preserved down to the latest days of paganism4 ,in other words ,venus was originally the mother of mankind4 ,she was at once the ,queen of ,heaven or ,juno1 the ,magna ,mater or ,venus ,genetrix1 the educator and teacher or ,pallas ,athene1 the eternal virgin or ,diana1 and the all-nourishing earth-goddess1 ,demeter or ,ceres2 and this view had better be stated inversely1 that the original mother of mankind became differentiated in the course of history into these several activities of womanhood1 as ,juno1 ,venus1 ,diana1 ,ceres and ,athene1 which divinities were again reunited in ,christianity in the form of ,mary1 the ,queen of ,heaven1 the ,mother of ,god1 the ,lady as an authority and guide in life1 and the ,eternal ,virgin4 ,aphrodite was worshiped in a prehistoric age1 and the origin of her cult is plainly traceable to the ,orient1 especially to ,phenicia and further back to ,pamphylia1 ,syria1 ,canaan and ,babylon4 ,the ,phenician ,astarte was imported to the islands of the gean ,sea1 to ,cythera1 ,paphos and ,amathus4 ,hence even in the ,hellenistic age she was still honored with the names ,cytherea1 ,paphia and ,amathusia4 ,from the gean islands the cult of ,aphrodite spread rapidly to ,sparta1 ,athens and other ,greek centers4 ,the barbaric origin of the ,aphrodite cult is in evidence in the myth of ,aphrodite's birth as the foam-born1 but it is difficult to say whom we shall deem responsible for the legend--perhaps the inhabitants of the islands4 ,certainly we cannot lay the burden of the invention of the story upon ,illustration3 ,,birth ,,of ,,venus4 ,relief found in the ,villa ,ludovisi4 the ,asiatics1 at least not on the ,syrians1 for according to an account of ,nigidius ,figulus1#aa the fish of the ,euphrates found a large egg in the floods and pushed it ashore1 where it was brooded upon by a dove until the ,syrian goddess came forth from it4 ,an exquisitely graceful relief pictures the birth of ,venus from the foam of the ocean4 ,she appears as a young maiden covered with a diaphanous garment1 and is being lifted out of the water by the ,graces4 ,the marble is preserved in the ,national ,museum at ,rome and was discovered by excavations in the grounds of the ,villa ,ludovisi in #ahhg4 ,the ,oriental goddess was originally the queen of the starry heaven1 either the moon or the morning star1 and as such she was the same figure which in other places gave rise to the development of ,artemis4 ,we may emphasize here that like the ,christian ,mary the pagan female divinity was at the same time both the eternal virgin and the celestial mother4 ,mythology cannot stand the application of logical rationalism1 and we must not try to make the traditional legends rigidly consistent4 ,while we recognize a strong ,oriental influence in the ,greek construction of the ,aphrodite cult1 we must acknowledge that in ,greece we have a new and independent origin of the divine ideal of femininity4 ,in ,mesopotamia ,istar was a very popular deity1 and innumerable idols have been found in the shape of a naked woman1 commonly called ,illustration3 ,,detail ,,from ,,the ,,ludovisi ,,relief4 8,beltis0 or 8,lady10 but this conception of the goddess of femininity cannot be regarded as the prototype of the ,greek ,aphrodite who at an early period assumed a definitely ,greek figure and character4 ,without detracting from her universal significance as the cosmic principle of generation1 the artistic conception of the ,greek mind at once idealized her as the incarnation of loveliness and grace1 and from ,phidias down to the end of paganism she has retained this ideal4 ,illustration3 ,,winter4 ,,summer4 ,end pieces of the ,ludovisi relief4 ,in ,cnidos ,aphrodite was worshiped in three forms3 as gift-giver 771 as goddess of the high places 77 and as the lucky sailor 771 and we learn that bloody sacrifices were not permitted 7,tac41 ,hist41 ,,ii1 #c71 even on the main altar in ,paphos4 ,originally1 ,aphrodite was not only love1 grace and beauty1 but the mistress1 the lady1 the queen2 and so she is represented in ,cythera as fully armed4 ,the same is true in ,sparta and in ,corinth where her temple was erected on the highest place of the city1 called ,acrocorinthus4 ,the sensual features of the ,aphrodite cult were certainly not absent in ancient ,hellas4 ,we know that in ,corinth there were large numbers of hierodules in the temple who helped to make the ceremonies gorgeous and impressive1 but judging from the language used by schylus and ,pindar they were highly respected and received public acknowledgment for their fervent prayers during the ,persian wars4 ,in the early imperial time of ,rome1 the authority of ,venus was promoted by the fact that she was the tutelary deity of ,csar1 who through the similarity of his name 8,julius0 with 8,julus10 the son of neas1 was encouraged to derive his legendary pedigree from neas1 the mythical founder of the ,latin race1 the son of ,anchises and ,aphrodite4 ,with the rise of ,christianity the worship of ,venus naturally deteriorated very rapidly1 and the fathers of the church referring to all the different versions of her love affairs maligned her in the eyes of the world by identifying the ,venus ,urania with the ,venus ,vulgaris1 and their views have contributed a good deal to disfigure her picture in later centuries4 ,illustration3 ,,venus ,,and ,,anchises4 ,in the times of ,csar she was still the great goddess whose domain was not limited to beauty and love nor even to the procreation of life1 in which capacity she was called ,venus ,genetrix1 but she was also ,venus ,victrix1 or the goddess who in battle assures victory4 ,yea1 more than all this1 she was the goddess of life and immortality connected with the chthonian gods--the powers of death in the underworld4 ,her emblem1 the pomegranate1 is also found in the hands of ,persephone1 indicating a kinship between ,aphrodite and the daughter of ,demeter4 ,it is not accidental that ,aphrodite as the goddess of love and generation is also the queen of the underworld4 ,she begets life1 she restores to life2 she leads into ,hades and back out of ,hades into the world of life4 ,it is for this reason that1 according to ,pausanias 7,,ii1 #aj1 #d71 her statue in the temple at ,sicyon carries the chthonian symbols1 the apple and the poppy1 in her hands1 and there her priestesses were bound by a vow of chastity4 ,the chthonian aspect of the ,aphrodite cult appears in the legend of the death of ,adonis with all its details of funeral lamentations and ceremonies and the great hope of his resurrection4 ,istar herself descends to the underworld1 as we shall see further down 7see pp4 #he-ie71 and we know at least that in ,cyprus a tomb of ,aphrodite has been shown4#ab ,,the ,,goddess ,,of ,,war4 ,one special function of the mother goddess was leadership in war4 ,it was a custom among the ,arabians until recent times that the warriors of a tribe were led in battle by a girl riding at their head with breast exposed1 inspiring them in their attack to the display of irresistible courage2 and if it was a common practice in prehistoric times1 we may assume that this function of womanhood established the character of ,istar as the goddess of war1 later on differentiated as the ,greek ,pallas ,athene and the ,roman ,bellona4 ,illustration3 ,,venus ,,victrix499 ,after ,hirt1 ,bilderbuch1 ,plate ,,vii1 #aa4 99 ,engraving on a gem representing the statue of ,venus ,erycina on the ,capitoline4 ,this interpretation does not exclude other possibilities4 ,certainly the attitude of little ,eros is artistic and pleasing4 ,we may be sure that the character of ,aphrodite as ,venus ,victrix is by no means a late ,roman invention of the days of ,csar but dates back to the most ancient days of ,babylonian tradition4 ,she was from the start of history the great ,magna ,mater1 the ,all-,mother and ,queen to whom the people appealed in all their needs1 especially in war4 ,in ,greece she is frequently addressed as 1 bringer of victory4 ,a penitential psalm on the destruction of the ancient city of ,erech has been preserved in a fragment which in ,theodore ,g4 ,pinches's translation reads thus3#ac 8,how long1 my ,lady1 shall the strong enemy hold thy sanctuary8 ,there is want in ,erech1 thy principal city2 ,blood is flowing like water in ,e-ulbar1 the house of thine oracle2 ,he1 the enemy1 has kindled and poured out fire like hailstones on all thy lands4 ,my ,lady1 sorely am ,i fettered by misfortune2 ,my ,lady1 thou hast surrounded me1 and brought me to grief4 ,the mighty enemy has smitten me down like a single reed4 ,not wise myself1 ,i cannot take counsel2#ad ,i mourn day and night like the fields4 ,i1 thy servant1 pray to thee40 ,as ,venus ,victrix1 the warlike goddess akin to the ,greek ,pallas ,athene1 ,istar1 appears to ,asurbanipal in a vision1 recorded in a cuneiform inscription of the annals of this powerful ,assyrian king1 and refers to the invasion of ,tiumman1 ,king of ,elam4 ,the passage reads in ,h4 ,fox ,talbot's translation thus3#ae 8,in the month ,ab1 the month of the heliacal rising of ,sagittarius1 in the festival of the great ,queen ,istar daughter of ,bel1 ,i ,asurbanipal1 ,king of ,assyria1 was staying at ,arbela1 the city most beloved by her1 to be present at her high worship4 8,there they brought me news of the invasion of the ,elamite1 who was coming against the will of the gods4 ,thus3 8#8,tiumman has said solemnly1 and ,istar has repeated to us the tenor of his words3 thus3 8,i will not pour out another libation until ,i have gone and fought with him40' 8,concerning this threat which ,tiumman had spoken1 ,i prayed to the great ,istar4 ,i approached to her presence1 ,i bowed down at her feet1 ,i besought her divinity to come and save me4 ,thus3 8#8,o goddess of ,arbela1 ,i am ,asurbanipal1 ,king of ,assyria1 the creature of thy hands1 chosen by thee and thy father ,asur to restore the temples of ,assyria1 and to complete the holy cities of ,akkad4 ,i have gone to honor thee1 and ,i have gone to worship thee4 ,but he ,tiumman1 ,king of ,elam1 never worships the gods4444 ,here some words are lost4 8#8,o thou ,queen of queens1 ,goddess of war1 ,lady of battles1 ,queen of the gods1 who in the presence of ,asur thy father speakest always in my favor1 causing the hearts of ,asur and ,marduk to love me4444 ,lo6 now1 ,tiumman1 ,king of ,elam1 who has sinned against ,asur thy father1 and has scorned the divinity of ,marduk thy brother1 while ,i ,asurbanipal have been rejoicing their hearts4 ,he has collected his soldiers1 amassed his army1 and has drawn his sword to invade ,assyria4 ,o thou archer of the gods1 come like a thunderstorm 444 in the midst of the battle1 destroy him1 and crush him with a fiery bolt from heaven6' 8,istar heard my prayer4 #8,fear not6' she replied1 and caused my heart to rejoice4 #8,according to thy prayer thine eyes shall see the judgment4 ,for ,i will have mercy on thee6' 99 99 99 99 99 8,in the night-time of that night in which ,i had prayed to her1 a certain seer lay down and had a dream4 ,in the midst of the night ,istar appeared to him1 and he related the vision to me1 thus3 8#8,istar who dwells in ,arbela1 came unto me begirt right and left with flames1 holding her bow in her hand1 and riding in her open chariot as if going to the battle4 ,and thou didst stand before her4 ,she addressed thee as a mother would her child4 ,she smiled upon thee1 she ,istar1 the highest of the gods1 and gave thee a command4 ,thus3 8take this bow10 she said1 8go with it to battle6 ,wherever thy camp shall stand ,i will come40 8#8,then thou didst say to her1 thus3 8,o ,queen of the goddesses1 wherever thou goest let me go with thee60 ,then she made answer to thee1 thus3 8,i will protect thee6 and ,i will march with thee at the time of the feast of ,nebo4 ,meanwhile eat food1 drink wine1 make music1 and glorify my divinity1 until ,i shall come and this vision shall be fulfilled40 8#8,thy heart's desire shall be accomplished4 ,thy face shall not grow pale with fear3 thy feet shall not be arrested3 thou shalt not even scratch thy skin in the battle4 ,in her benevolence she defends thee1 and she is wroth with all thy foes4 ,before her a fire is blown fiercely1 to destroy thy enemies4'0 ,mr4 ,talbot makes the following editorial comment on the historical event connected with ,asurbanipal's narrative3 8,the promises which the goddess ,istar made to the king in this vision of the month ,ab were fulfilled4 ,in the following month 7,elul7 ,asurbanipal took the field against ,tiumman1 and his army speedily achieved a brilliant victory4 ,tiumman was slain1 and his head was sent to ,nineveh4 ,there is a bas-relief in the ,british ,museum representing a man driving a rapid car1 and holding in his hand the head of a warrior1 with this inscription1 ,kakkadu ,tiumman1 #8,the head of ,tiumman4'0 ,,the ,,descent ,,into ,,hades4 ,as the goddess of love ,venus is the restorer of life1 and as such she descends into the underworld and brings the dead back to life4 ,lewis ,richard ,farnell in his ,cults of the ,greek ,states#af reproduces a remarkable votive tablet which shows ,hermes the soul-dispatcher 7psychopompos7 confronting a woman holding in her outstretched hand a pomegranate blossom 7the symbol of both the chthonian ,aphrodite and ,persephone7 and ,eros1 the god of love1 on her arm4 ,the obvious meaning of the tablet indicates that it is love which redeems from death4 ,this conception of the great goddess found a fit expression in the myth of ,demeter's daughter ,persephone 7called in ,latin 8,proserpina07 who1 after being snatched away by ,pluto1 the ruler of ,hades1 is allowed to return to earth4 ,so life on earth with its bloom of vegetation dies off each winter but returns annually in the spring4 ,this idea became a symbol of human immortality in the ,eleusinian mysteries1 presumably derived from older sources which go back to religious cults in ,babylonia and ,asia ,minor1 and the ,christian doctrine is apparently derived from the same tradition4 ,paul says 7#a ,cor4 xv4 #cf-ch73 ,illustration3 ,,eros ,,in ,,the ,,underworld4 ,votive terra-cotta tablet4 8,thou fool1 that which thou sowest is not quickened except it die4 ,and that which thou sowest1 thou sowest not that body that shall be1 but bare grain1 it may chance of wheat1 or of some other grain4 ,but ,god giveth it a body as it hath pleased him1 and to every seed his own body40 ,jesus echoes the same argument and uses the same simile of the grain of wheat in ,john xii4 #bd3 8,verily1 verily1 ,i say unto you1 ,except a corn of wheat fall into the ground and die1 it abideth alone2 but if it die1 it bringeth forth much fruit40 ,the most important document still at our command relating to the chthonian ,venus is a fragmentary poem called 8,istar's ,descent to ,hell40 ,the main subject is introduced in order to justify the possibility of conjuring the dead from ,sheol4 ,dr4 ,jeremias#ag explains the situation as follows3 8,a man grieves over the death of his sister4 ,he consults a magus as to how to release the spirit of the deceased from the prison of ,hades4 ,the priest tells him the story of ,istar's descent to ,sheol for the sake of proving that the gates of ,sheol are not unconquerable1 and advises him to address ,istar1 the conqueror of ,hades1 and ,tammuz her consort1 with prayer and sacrifice1 in order to gain their assistance4 ,he is requested to comply with funeral ceremonies at the coffin of the dead and to begin his mourning with the assistance of the ,uhats1 the companions of ,istar4 ,the spirit of the dead1 hearing the lamentations of her brother1 requests him to rescue her from the horrors of ,sheol through mourners' music and sacrifices in the days of ,tammuz1 which is the time when the people sing and weep1 as told by ,ezekiel viii4 #ad1 and mourn for their dead under the shape of ,tammuz4 ,the concluding lines of the poem1 which are summed up in these words1 form the core of the whole1 while the legend of ,istar's descent to ,sheol is only an introduction to it1 and constitutes a part of the conjuration of the dead4 ,from other documents of ,babylonian literature we learn that on the names of ,istar and ,tammuz1 the hero and heroine of the legends of the descent to ,sheol1 depend the hopes of a rescue from ,sheol40 7,loc cit41 pp4 #g-h47 ,it appears that people celebrated with special preference the days of the god ,tammuz1 who represented the disappearance of vegetation and its resurrection to life4 ,the legend of ,istar's descent#ah to ,sheol reads in the translation based on ,dr4 ,jeremias's version as follows3 7,,obverse ,,of ,,the ,,tablet47 8,to the land of no return1 to the land which thou knowest 7871#ai ,istar1 the daughter of the moon-god1 meditated to go4 ,the daughter of the moon-god meditated to go ,to the house of darkness1 to the seat of ,irkalla1 ,to the house whose visitor never returns1 #e4 ,on the path the descent of which never leads back1 ,to the house whose occupants are removed from the light1 ,to the place where dust is food1 and dirt is meat1 ,where they 7the occupants7 see no light1 where they dwell in darkness1 ,where they are clothed like birds1 dressed with wings1#bj4 #aj4 ,where upon gate and bolt dust is spread4 8,when ,istar had reached the gate of the land of no return1 ,she spake to the keeper of the gate3 #8,keeper of the waters1 open thy gate1 ,open thy gate1--,i wish to enter6 #ae4 ,if thou openest not1 if ,i cannot enter1 ,i shall demolish the gate1 ,i shall break the bolt1 ,i shall smash the threshold1 ,i shall break the doors2 ,i shall lead out the dead1 shall make them eat and live1 ,and unto the crowds of the living the dead shall ,i join4' #bj4 8,the keeper opened his mouth and spake ,in reply to the sublime ,istar3 #8,stay1 my lady1 do not upset the door6 ,i will announce thy name to ,queen ,allatu4' 8,the keeper entered and spake to ,queen ,allatu3 #be4 #8,the water has been crossed by thy sister ,istar44440 ,the goddess ,allatu is greatly agitated about ,istar's appearance in ,sheol4 ,the poem continues3 8,when ,goddess ,allatu heard this4444 ,like unto a tree cut down4444 ,like unto reeds mowed down she drooped and spake3 #cj4 #8,what has driven her heart1 what4444 ,these waters have ,i made encompass ,sheol 444 ,like the inundation of the deluge1 like the swelling 787 waters of a great flood1 ,i will weep over the men who left their wives4 ,i will weep over the wives who were taken from their consorts1 #ce4 ,over the little children ,i will weep1 who prematurely were taken away4#ba ,go1 keeper1 open the gate1 ,and strip her according to the primordial decree4' ,the keeper went1 he opened the door to her3 #8,enter1 my lady1 let the underworld ,ktu rejoice2 #dj4 ,let the palace of the land of no return rejoice at thy arrival6' 8,through the first door he bade her enter and1 stripping her1 ,took off from her head the golden crown4 #8,why1 ,o keeper1 takest thou from my head the golden crown8' #8,step in1 my lady1 for such are the commands of the mistress of the earth4'#bb ,through the second door he bade her enter and1 stripping her1 #de4 ,took off the ornaments from her ears4 #8,why1 ,o keeper1 takest thou the ornaments from my ears8' #8,step in1 my lady1 for such are the commands of the mistress of the earth4' ,through the third door he bade her enter and1 stripping her1 ,took off the chains from her neck4 #8,why1 ,o keeper1 takest thou the chains from my neck8' #8,step in1 my lady1 for such are the commands of the mistress of the earth4' #ej4 ,through the fourth door he bade her enter and1 stripping her1 ,took off the ornaments from her breast4 #8,why1 ,o keeper1 takest thou the ornaments from my breast8' #8,step in1 my lady1 for such are the commands of the mistress of the earth4' ,through the fifth door he bade her enter and1 stripping her1 ,took off the gem-covered belt from her hips4 #8,why1 ,o keeper1 takest thou the gem-covered belt from my hips8' #ee4 #8,step in1 my lady1 for such are the commands of the mistress of the earth4' ,through the sixth door he bade her enter and1 stripping her1 ,took off the bracelets from her hands and feet4 #8,why1 ,o keeper1 takest thou the bracelets from my hands and feet8' #8,step in1 my lady1 for such are the commands of the mistress of the earth4' ,through the seventh door he bade her enter and1 stripping her1 #fj4 ,took off the robe from her body4 8,why1 ,o keeper1 takest thou the robe from my body8' #8,step in1 my lady1 for such are the commands of the mistress of the earth4' ,now1 when ,istar was descended to the land of no return-- ,allatu beheld her1 and vehemently upbraided her2 ,istar1 forgetful1 assaulted her4444 #fe4 ,then ,allatu opened her mouth and spake4 ,addressing ,namtar1 her servant1 giving him this command3 #8,go1 ,namtar1 open 787 my4444 ,let her out 444 the goddess ,istar1 ,with a disease on her eyes punish her1 #gj4 ,with a disease on her hips punish her1 ,with a disease on her feet punish her1 ,with a disease on her heart punish her1 ,with a disease on her head punish her1 ,upon her whole person inflict diseases4' #ge4 ,when ,istar1 the lady1 was thus afflicted1 ,the bull no longer covered the cow1 the he-ass the she-ass1 ,the lord no longer sought the maiden of the street4 ,the lord fell asleep in giving command1 ,the maid-servant fell asleep44440 #hj4 ,,reverse ,,of ,,the ,,tablet4 8,pap-sukal1 the servant of the great gods1 scratched his face before ,samas1 ,clothed in mourning and filled with4444 ,samas went3 he went to ,sin1 his father and wept2 ,before ,ea1 the king1 he shed tears2 #8,istar has descended into the land and has not returned4 #e4 ,since ,istar descended into the land of no return1 ,the bull no longer covers the cow1 ,the jack-ass no longer covers the she-ass1 ,a man no longer seeks the maiden of the street1 ,the lord falls asleep in giving command1 ,the maid-servant falls asleep4444 #aj4 ,then ,ea in the wisdom of his heart created a male being1 ,he created ,uddusunmir1#bc the servant of the gods3 #8,go forth1 ,uddusunmir6 to the door of the land of no return turn thy face1 ,the seven doors of the land of no return shall open before thee1 ,let ,allatu see thee1 let her rejoice at thy arrival4 #ae4 ,when her heart has become calm1 and her soul is comforted1 ,conjure her in the name of the great gods1#bd ,lift up thy head over the source of waters 7871 make up thy mind 7and speak73 #8,not1 ,o my lady1 shall the spring be debarred from me2 from its waters ,i will drink4' ,when ,allatu heard this1 #bj4 ,she smote her loins and bit her finger#be 7and spake73 #8,thou hast made a demand which cannot be fulfilled-- ,hence1 ,uddusunmir1 ,i will confine thee in the great prison1 ,the slime of the city shall be thy food1 ,the gutters of the street shall be thy drink1 #be4 ,the shadow of the wall shall be thy habitation4 ,the thresholds1 thy dwelling-place1 ,prison and confinement shall break thy strength4 ,allatu curses ,uddusunmir1 but the conjuration which he uttered is too powerful1 and she must obey4 ,thus the power of the realm of death is broken and ,istar is free4 ,allatu opened her mouth and spake1 ,to give command to ,namtar1 her servant3 #cj4 #8,go1 ,namtar1 demolish the eternal palace1 ,demolish the pillars1 make the thresholds quake2 ,lead out the ,anunnaki1 put them upon the golden throne1#bf ,sprinkle upon ,goddess ,istar the water of life2 ,take her away from me6' #ce4 ,namtar went and demolished the eternal palace1 ,he demolished the pillars and made the thresholds 787 quake1 ,he led out the ,anunnaki and placed them upon the golden throne1 8,he sprinkled upon ,goddess ,istar the waters of life and led her away3 ,through the first door he led her and replaced the robe upon her body2 #dj4 ,through the second door he led her and replaced the bracelets upon her hands and feet2 ,through the third door he led her and replaced the gem-covered belt upon her hips2 ,through the fourth door he led her and replaced the ornament upon her breast2 ,through the fifth door he led her and replaced the chains upon her neck2 ,through the sixth door he led her and replaced the ornaments in her ears2 ,through the seventh door he led her and replaced upon her head the golden crown40 #de4 ,the conjurer here addresses the brother and promises the release of his dead sister from the power of ,allatu4 ,the poem continues3 8#8,when she 7,allatu7 does not afford release1 turn to her 7to ,istar7 thy face4 ,to ,tammuz1 the consort of her youth1 ,pour pure water and costly balm 444 invite a priest4 ,cover him with the sacrificial robe1 a crystal flute may he blow4 ,let the ,uhats weep with grievous lamentations4 #ej4 ,let the goddess ,belili break the precious utensil#bg 444 ,with diamonds shall be filled thy44440 ,now the spell takes effect4 ,the spirit of the departed sister rises from ,sheol3 8,thus she heard the lamentations of her brother1 the goddess ,belili broke the precious utensil1 ,with diamonds were filled the 444 and the departed spirit said3 #8,my only brother1 let me not perish1 #ee4 ,in the days of ,tammuz play the crystal flute1 ,play the instrument4444 ,in those days play to me1 the male mourners and the female mourners ,let them play upon instruments4444 ,let them breathe incense44440 #fj4 ,,the ,,magna ,,dea ,,of ,,the ,,nations4 ,though we may fairly well assume that in prehistoric ages all nations revered a ,magna ,mater1 historical development points to the ,orient as the place whence the cult of ,aphrodite was imported into ,greece2 there it found the soil prepared by the common belief in a mother goddess1 a world-creatrix1 a lady divine and supreme4 ,the ,greek ,aphrodite was the same as the ,astarte of the ,tyrians1 the 8great goddess0 of the ,syrians and the ,istar of the ,babylonians4 ,it is quite certain that the cult of this goddess-mother played a more important part in the world of primitive mankind than the cult of a ,god the ,father1 the male deity of a later age4 ,the goddess of love and life under whatever name she may have been known1 as ,our ,lady1 the ,queen of ,heaven1 the ,mistress of the ,world1 the holy mother genetrix of all living creatures1 the ,dea optima maxima or ,most ,high ,goddess1 was practically the same all over the world4 ,we may not be mistaken if we attribute the height of her worship to the age of matriarchy4 ,in prehistoric times the ,magna ,dea was looked up to with awe and reverence1 possibly even with a devotion more ardent than in a later period4 ,the ,ancient of ,days or ,jupiter1 i4 e41 ,diespiter1 the father of time and light1 was symbolized by the all-embracing sky and also by the sun4 ,the ,greeks called him ,zeus1 a name pronounced dzeus1 connected with the ,latin deus and dies1 and ,sanskrit deva1 the creator and ruler of the world4 ,the ,magna ,dea was the all-mother1 and it is but to be expected that when the social conditions of matriarchy changed into the age of the patriarchs the reverence for an all-mother was superseded by the worship of an all-father4 ,illustration3 ,,carrying ,,in ,,procession ,,the ,,symbol ,,of ,,istar ,the ,magna ,dea was all in all to mankind4 ,her emblem as the goddess of vegetation and of the sustenance of life was the apple or pomegranate4 ,as the goddess of the human soul she is represented as a bird like the ,egyptian representation of the soul1 a human-headed hawk2 or as a dove1 the symbol which later on represents the gnostic ,sophia1 the mother of the child-god1 and in ,christian dogmatology1 the ,holy ,ghost4 ,originally the deity was triune in ,india1 in ,egypt1 and in other countries4 ,in ,india we become acquainted with ,brahma1 ,vishnu and ,shiva1 the ,creator1 the ,revealer 7or ,avatar71 and the ,transformer 7i4 e41 the one who destroys and renews74 ,in ,babylon the universe is divided into the three kingdoms of ,heaven1 ,water and ,earth under the three rulers1 ,anu1 ,ea and ,marduk2 and in ,egypt men worshiped ,god the father or ,osiris1 ,god the mother or ,isis1 and ,god the child or ,horus4 ,similar trinities are met with in other religions1 and the ,christian ,trinity1 although not taught by ,jesus1 is one of the oldest doctrines of the ,christian church4 ,here indeed the ,egyptian conception of ,god as father1 mother and child makes its first appearance in the apocryphal writings1 for there are passages in heretical gospels where ,jesus speaks of the ,holy ,ghost as his mother4 ,this idea might have been accepted as an orthodox thought if the age had not been strongly ascetic and dualistic1 but on that account the feminine character of the ,holy ,ghost became offensive to the fathers of the church4 ,in ,hebrew the ,holy ,ghost as ,ruah was still conceived as a brooding pigeon1 but among the ,gentile ,christians the conception of the third person of the ,trinity was translated by the neuter noun and in ,latin by the masculine spiritus4 ,nevertheless the old symbol of the brooding pigeon was retained and a feminine designation such as ,sophia1 the consort of ,god1 was occasionally tolerated in the ,greek church and among the ,gnostics4 ,illustration3 ,,isis ,,and ,,horus4 ,from ,lenormant4 ,illustration3 ,,egyptian ,,representation ,,of ,,the ,,dead ,,man ,,and ,,his ,,soul4 ,wings have always been the symbol of thought1 ,illustration3 ,,astarte ,,and ,,the ,,dove4 and serve as a simile to represent the soul not only in ,egyptian mythology but also in ,babylon and on the ,greek islands4 ,a human-headed bird attributed to a primitive period of ,babylonian civilization has ,illustration3 ,,the ,,human-,,headed ,,bird4 ,a figure unearthed among the ruins of ,babylon4 ,from ,lenormant4 been interpreted as the soul of ,semiramis1 and may represent either a dead person or the goddess of the dead1 and the same idea is expressed in a little figurine of the ,greek islands which shows us a ,illustration3 ,,amulet#bh ,,of ,,the ,,mycenaean ,,period4 ,illustration3 ,,isis ,,and ,,the ,,fish4 female deity with a dove on her head4 ,we can scarcely be mistaken if we interpret this little figurine as an amulet denoting the goddess whose emblem is the dove4 ,whether the figure represent the goddess herself with her emblematic bird or whether it be the portrait of a dead person protected by the dove1 is of secondary importance4 ,the main truth on which we insist here is that the dove is the emblem of the great goddess to whom people look for salvation in the dark beyond4 ,thus flocks of pigeons enjoyed great liberties in ,hierapolis1 the holy city of ,syria1--probably in the same way that the pigeons in ,st4 ,mark's place are befriended in ,venice both by the inhabitants and by foreign visitors4 ,another emblem of the goddess of womanhood is the fish1 as is fully described in ,lucian's most interesting treatise 8,on the ,syrian ,goddess40 ,in ,egypt ,isis has been represented with a fish surmounting her head as an emblematic ornament4 ,in some parts of ,greece the hare or rabbit has also been sacred to ,aphrodite1 unquestionably on account of the fertility of that animal4 ,even to-day in ,christian times the ,easter hare and the egg are the symbols of spring1 and the ,easter festival cannot be celebrated without them4 ,illustration3 ,,aphrodite ,,with ,,rabbit4 ,a remarkable monument has been discovered in ,boghaz-,ki in ,cappadocia4 ,it represents a procession of gods standing on their symbolic animals1 and what interests us mainly is that it portrays the meeting of a god and a goddess1 he standing on human beings1 she on an animal which is apparently a lioness4 ,among her followers is a man on a leopard and two figures standing on a double-headed eagle4 ,the idea of this symbol was carried to ,europe by crusaders and became the emblem ,illustration3 ,,relief ,,from ,,boghaz-,,koei4 of the ,holy ,roman empire2 it is still retained in the imperial arms of ,austria and has also been accepted by the ,czar of ,russia4 ,the subject of this monument in ,cappadocia is still considered as under question4 ,there is no explanation and there are no ancient books that can throw light upon it4 ,but the composition speaks for itself4 ,we see here the great goddess meeting the heroic god--whatever names they may have borne4 ,illustration3 ,a ,,later ,,astarte4 ,illustration3 ,a ,,leaden ,,idol4 ,marduk 7or ,melkarth or ,bel or ,baal7 is a deity who rises to sovereignty through his victory over the powers of evil1 and the climax of his life consists ,illustration3 ,,astarte ,,in ,,cyprus4 ,from ,ohnefalsch-,richter1 ,kypros4 in his marriage4 ,can this great sculpture refer to any other topic than the festive occasion of the victorious god's marriage ceremonial when he meets the great bridal goddess8#bi ,the name ,istar has been traced also in the ,phenician word ,astarte4 ,the goddess was held in high esteem in ,phenicia and was regarded also as the patroness of navigation4 ,coins represent her standing on the prow of a ship1 and1 strange to say1 very frequently she carries a ,latin cross in her arms4 ,beside the cross her emblems are also the moon and the swastika1 and the latter is frequently found on her dress1 and in one very archaic leaden figurine discovered by ,schliemann in the ruins of ,troy1 the swastika is placed on her body to indicate the mysterious power of procreation4 ,the idol was apparently intended to be carried in the hand1 for its lower part ends in a shapeless stick4 ,illustration3 ,,the ,,goddess ,,of ,,navigation4 ,sidonian coins reproduced from ,calmet ,no4 #f4 ,from the excavations of ,cyprus we reproduce ,illustration3 ,,sargent',s ,,astarte4 ,reproduction with the permission of ,curtis and ,cameron4 ,altered from their copyright photograph4 ,illustration3 ,,the ,,immaculate ,,conception4 ,by ,murillo4 the picture of a well-preserved statue of ,astarte which must have been the recipient of offerings before an altar in some of the ancient temples 7p4 #ajf74 ,a beautiful modern picture of ,astarte has been worked out by ,sargent in his frescoes on the walls of the ,boston ,public ,library1 and we can see on this very picture her similarity to ,murillo's ideal of ,mary in his many paintings of the 8,immaculate ,conception40 99 99 99 99 99 ,there is a counterpart of the western ,magna ,dea in eastern ,asia1 but we no longer know it in its primitive form and have it only as it is represented in art in the shape of a ,buddhist deity1 a kind of female ,buddha1 called in ,china ,kwan-,yon and in ,japan1 ,benten4 ,here again in some cases we find that the fish is her symbol as it is that of the ,syrian goddess1 and she frequently presents a remarkable similarity to the ,christian ,virgin ,mary4 ,she is never pictured naked like the ,greek ,aphrodite but is always dressed in the most scrupulously decent fashion4#cj ,one picture of ,kwan-,yon with the fish bears an inscription which is a poetical expression of wonder at the mystery of incarnation1 and following a literal translation we render it into ,english as follows3 ,illustration3 ,,kwan-,,yon ,,and ,,the ,,fish4 ,in the ,pei-lin at ,singan-fu4 ,after a ,chinese color-print4 8,untidy o'er her temples ,falls her disheveled hair4 ,the maid is easy-going-- ,in sooth she does not care4 ,not decked in precious jewels ,nor dressed in gaudy lace1 ,she carries in her basket ,a fish to the market place4 ,who thinks that ,buddha were ,made human form in her60 ,illustration3 ,a ,,poem ,,on ,,kwan-,,yon4 ,paper impression of a carving in stone4 ,the ,chinese deity ,kwan-,yon may1 for all we know1 be the ,magna ,mater of most primitive ,china4 ,at least she was an ancient popular goddess4 ,when ,buddhism was introduced into the ,middle ,kingdom she was too dear to the people to be abandoned or degraded in rank1 and so she was interpreted to be a female incarnation of the ,buddha himself4 ,some pictures or statuettes represent her as denoting motherly love by holding a baby in her arms1 which ,illustration3 ,,benten1 ,,the ,,japanese ,,goddess ,,of ,,divine ,,love4 ,from a relief preserved in the ,field ,museum ,chicago4 ,illustration3 ,,kwan-,,yon ,by ,li ,lung-mien 7#aath cent47 ,from the original painting in the collection of ,charles ,l4 ,freer in ,detroit4 gives her an obvious resemblance to the ,christian ,mary1 the mother of ,christ4 ,illustration3 ,,kwan-,,yon ,,as ,,the ,,buddha4 ,in the ,muse ,guimet4 ,the ancient ,chinese were rich in divinities of all kinds and among them there is a goddess who ,illustration3 ,t',,ien ,,hou1 ,,queen ,,of ,,heaven4 in one way or other might easily have developed into the ,buddhist ,kwan-,yon4 ,this is the ,queen of ,heaven or ,holy ,mother1 who is worshiped with great fervor in some localities4 ,emperor ,k'ang ,hi bestowed upon her the high title of ,t'ien ,hou1 that is1 8,heaven's ,ruler10 but we may very well assume that she did not originate in his days but existed since older times4 ,she1 or some figure like her1 must have been known before the importation of ,buddhism1 and ,kwan-,yon presupposes the primitive existence of a female deity of love1 charity and universal goodwill4 99 99 99 99 99 ,the northern ,venus1 called ,freya1 the mother-goddess of the ,teutons and in fact of all the ,teutonic races1 did not share the fate of the ,venus of classical antiquity4 ,she never deteriorated into the goddess of sensuality4 ,it is strange that we descendants of the ,germanic nations are better posted on the national gods of ,greece and ,rome than on those of our own ancestors4 ,these are mainly remembered from the names of the week days and even there the god of war1 ,tiu1 has become quite unintelligible in ,tuesday4 ,freya's day1 ,friday1 is easily recognizable as the ,latin dies ,veneris or vendredi1 and it is peculiar that on that very day ,christian custom still retains the fish diet of the ancient ,astarte4 ,the motive of course is changed1 and the fish is no longer thought of as the emblem of ,astarte but is eaten in remembrance of the death of ,christ on the cross4 ,fish has become the diet of fasting4 ,such is the logic of tradition1 which persists after the reason for it has gradually been forgotten4 ,h4 ,a4 ,guerber in his ,myths of ,northern ,lands describes ,freya as follows3 8,although goddess of love1 ,freya was not soft and pleasure-loving1 for the ancient northern races said that she had very martial tastes1 and that as ,valfreya#ca she often led the ,valkyrs down to the battle-fields1 choosing and claiming one-half the heroes slain4 ,she was therefore often represented with corselet and helmet1 shield and spear1 only the lower part of her body being clad in the usual flowing feminine garb4 8,freya transported the chosen slain to ,folkvang1 where they were duly entertained1 and where she also welcomed all pure maidens and faithful wives1 that they might enjoy the company of their lovers and husbands even after death4 ,the joys of her abode were so enticing to the heroic northern women that they often rushed into battle when their loved ones were slain1 hoping to meet with the same fate2 or they fell upon their swords1 or were voluntarily burned on the same funeral pyre as the beloved remains4 8,as ,freya was inclined to lend a favorable ear to lovers' prayers1 she was often invoked by them1 and it was customary to indite love songs in her honor1 which were sung on all festive occasions1 her very name in ,germany being used for the formation of the verb freien1 i4 e41 #8to woo4'0 ,illustration3 ,,freya4 ,from ,guerber's ,myths of ,northern ,lands4 ,when the conception of the mother goddess of antiquity began to decay1 a new faith spread and under a new name the old ideal was revived as ,mary1 ,mother of ,god1 ,maria ,theotokos2 the star of the sea1 or ,stella ,maris2 and the ,italian fishermen sing to her the beautiful lines1 8,o sanctissima1 ,o piissima1 ,dulcis mater amata40 ,,the ,,origin ,,of ,,woman4 ,the problem of womanhood has found different expressions in different ages4 ,in prehistoric times all great questions were answered mythologically4 ,cosmogeny and anthropogeny1 including gynecogeny1 were expressed in stories of gods1 while in later periods the same facts remained and found different solutions in religious dogmas and still later in scientific investigations4 ,the same subjects have been treated in a different spirit during the ,christian era and again differently still under the influence of a scientific world-conception4 ,socrates respected the gods but he no longer believed in them as personalities4 ,he explained them as signifying some facts of experience4 ,to him love found expression in a belief in ,aphrodite and in her powerful son1 ,eros4 ,further1 his disciple ,plato explains to us the significance of love and devotes a special dialogue to a discussion of its meaning in every aspect4 ,this dialogue of ,plato's1 the ,symposium1 may truly be characterized as the most poetical and most interesting discussion of ,greek philosophy4 ,it tells of a banquet to which ,agathon has invited his friends1 among whom we find the philosopher ,socrates1 the poet ,aristophanes 7the disciple of ,socrates71 ,pausanias1 ,phaedrus and some others4 ,after dinner ,phaedrus proposes to make speeches in honor of love1 and ,pausanias begins by drawing a distinction between heavenly and earthly love1 extolling the former and giving scant praise to the latter4 ,aristophanes is the next speaker1 but1 being prevented by a severe hiccup from taking up the discussion1 gives precedence to ,eryximachus1 the physician4 ,this speaker approves the distinction made by ,pausanias1 but generalizes the conception of love by regarding it as a universal principle1 bringing about the harmony that regulates nature in the course of the seasons in its relations of moist and dry1 hot and cold1 etc41 and whose absence is marked by diseases of all sorts4 ,aristophanes1 having recovered from his hiccup1 proposes to offer a new explanation setting forth a novel theory of the origin of human nature4 ,we quote extracts from the translation of ,jowett3 8,primeval man was round1 his back and sides forming a circle2 and he had four hands and four feet1 one head with two faces1 looking opposite ways1 set on a round neck and precisely alike2 also four ears1 two privy members and the remainder to correspond4 ,he could walk upright as men now do1 backward and forward as he pleased1 and he could also roll over and over at a great pace1 turning on his four hands and four feet1 eight in all1 like tumblers going over and over with their legs in the air2 this was when he wanted to run fast4444 ,terrible was their might and strength1 and the thoughts of their hearts were great1 and they made an attack upon the gods2 of them is told the tale of ,otys and ,ephialtes who1 as ,homer says1 dared to scale heaven1 and would have laid hands upon the gods4 ,doubt reigned in the celestial councils4 ,should they kill them and annihilate the race with thunderbolts1 as they had done the giants1 then there would be an end of the sacrifices and worship which men offered to them2 but1 on the other hand1 the gods could not suffer their insolence to be unrestrained4 ,at last1 after a good deal of reflection1 ,zeus discovered a way4 ,he said3 #8,methinks ,i have a plan which will humble their pride and improve their manners2 men shall continue to exist1 but ,i will cut them in two and then they will be diminished in strength and increased in numbers2 this will have the advantage of making them more profitable to us4 ,they shall walk upright on two legs1 and if they continue insolent and will not be quiet1 ,i will split them again and they shall hop about on a single leg4' ,he spoke and cut men in two1 like a sorb-apple which is halved for pickling1 or as you might divide an egg with a hair2 and as he cut them one after another1 he bade ,apollo give the face and half of the neck a turn in order that the man might contemplate the section of himself3 he would thus learn a lesson of humility4 ,apollo was also bidden to heal their wounds and compose their forms4 ,so he gave a turn to the face and pulled the skin from the sides all over that which in our language is called the belly1 like the purses which draw in1 and he made one mouth at the center which he fastened in a knot 7the same which is called the navel72 he also moulded the breast and took out most of the wrinkles1 much as a shoemaker might smooth leather upon a last2 he left a few1 however1 in the region of the belly and navel1 as a memorial of the primeval state4 ,after the division the two parts of man1 each desiring his other half1 came together1 and throwing their arms about one another1 entwined in mutual embraces1 longing to grow into one1 they were on the point of dying from hunger and self-neglect1 because they did not like to do anything apart2 and when one of the halves died and the other survived1 the survivor sought another mate1 man or woman as we call them--being the sections of entire men or women--and clung to that40 ,this ingenious theory of primitive man as a union of two human creatures is perhaps older than ,plato and may not be original with him4 ,at any rate the ,biblical passage in ,gen4 i4 #bg and ,gen4 ii #ba-bb may also have been given the interpretation of man's creation of ,adam and ,eve4 ,the oldest texts read plainly3 8,and ,god created man in his image1 in the image of ,god created he him1 male and female created he them02 but it has been pointed out that the same primitive man is here spoken of1 first in the singular as 8him10 and then at the end of the verse in the plural1 8them40 ,the idea that originally ,adam comprised in himself the nature of ,eve as well is suggested by the story that ,eve was taken out of the side of ,adam and was formed from one of his ribs4 ,obviously the idea expressed here in this passage of ,genesis is ultimately the same as that of the ,greek poet ,aristophanes1 and from the standpoint of modern physiology neither man nor woman is an individual1 but the combination of two1 viz41 the father and mother4 ,each one of them1 man alone or woman alone1 is but a one-sided half of human existence4 ,each1 by itself alone1 is doomed to die2 both together are immortal4 ,the ,genesis story of the creation of woman is portrayed in many of the artistic representations of the creation of ,eve4 ,suggestions made to explain the original story of the creation of man in the sense suggested by ,aristophanes in ,plato's ,symposium1 may not be tenable but they are not altogether senseless4 ,we must consider that primitive legends have originated from curiosity with regard to some problem that has presented itself to man in the childhood of the race4 ,in our present case we have to deal with the question why the ribs of man's chest do not entirely enclose the body1 but leave unprotected an opening in the middle1 the so-called procardium1 where they turn upward4 ,the primitive answer to this problem was the story we have been discussing1 and thence the notion seems implied that before ,eve1 the feminine portion of man1 had been taken out of his side he must have been an androgynous being1 and we will add that there is a scientific truth underlying this primitive idea4 ,living substance is originally asexual1 or rather bisexual1#cb and in its primitive state it is immortal4 ,a moner does not experience what we call death2 unless it is crushed or destroyed by poison1 it lives on and grows4 ,when it outgrows its proper size it divides into two parts4 ,it does not die2 nor does it beget a young moner2 it divides4 ,there are two new moners1 but there is not a mother and a child2 the two are coordinate4 ,both are mothers and both are children4 ,death is not the original lot of life4 ,death comes into the world by birth4 ,life in itself can be destroyed by physical violence or by chemical means1 but if it is not thus destroyed it is unending2 or1 in other words1 immortality is a fact4 ,the differentiation of life into two sexes places a limit upon the existence of the differentiated parts4 ,each individual grows to a definite size and is limited to a definite span of duration3 8,the days of our years are threescore years and ten2 and if by reason of strength they be fourscore years1 yet is their strength1 labor and sorrow40 ,the story of the garden of ,eden was given a symbolical interpretation at an early date4 ,we read in ,origen's refutation of ,celsus 7,book ,,iv1 ,chapter ,,xxxviii73 8,in the next place1 as it is his object to slander our scriptures1 he ,celsus ridicules the following statement3 #8,and ,god caused a deep sleep to fall upon ,adam1 and he slept2 and he took one of his ribs1 and closed up the flesh instead thereof2 and the rib1 which he had taken from the man1 made he a woman1' and so on2 without quoting the words which would give the hearer the impression that they are spoken with a figurative meaning4 ,he would not even have it appear that the words were used allegorically1 although he says afterward1 that #8the more modest among ,jews and ,christians are ashamed of these things1 and endeavor to give them somehow an allegorical signification4'0 ,it is not an accident that the fruit of the tree of life was conceived by ,christians at an early date as an apple or pomegranate1 the symbol of ,aphrodite4 ,we must assume that the apples of the ,hesperides which ,hercules was requested to obtain1 and also the apples of ,iduna bestowing immortality upon the ,teutonic gods1 possess ultimately the same significance as the apple of ,eve4 99 99 99 99 99 ,we do not mean to gather here all the traditions about the origin of woman1 but we will quote two accounts from a modern book of ,hindu tales1 called ,a ,digit of the ,moon and ,other ,love ,stories from the ,hindu1 and translated from the original manuscripts by ,f4 ,w4 ,bain4 ,here we are told of a king who falls in love with a princess when he sees her picture4 ,he leaves his kingdom in the hands of his ministers and travels out in search of his love1 accompanied by his faithful companion ,rasaksha4#cc ,the passage containing the story of the origin of woman reads thus3 8,one day1 as they rested at noon beneath the thick shade of a ,kadamba#cd tree1 the ,king gazed for a long time at the portrait of his mistress4 ,and suddenly he broke silence1 and said1 #8,rasaksha1 this is a woman4 ,now1 a woman is the one thing about which ,i know nothing4 ,tell me1 what is the nature of women8' ,then ,rasaksha smiled1 and said3 #8,king1 you should certainly keep this question to ask the ,princess2 for it is a hard question4 ,a very terrible creature indeed is a woman1 and one formed of strange elements4 ,a propos1 ,i will tell you a story3 listen4 8#8,in the beginning1 when ,twashtri#ce came to the creation of woman1 he found that he had exhausted his materials in the making of man1 and that no solid elements were left4 ,in this dilemma1 after profound meditation1 he did as follows3 ,he took the rotundity of the moon1 and the curves of creepers1 and the clinging of tendrils1 and the trembling of grass1 and the slenderness of the reed1 and the bloom of flowers1 and the lightness of leaves1 and the tapering of the elephant's trunk1 and the glances of deer1 and the clustering of rows of bees1#cf and the joyous gaiety of sunbeams1 and the weeping of clouds1 and the fickleness of the winds1 and the timidity of the hare1 and the vanity of the peacock1 and the softness of the parrot's bosom1 and the hardness of adamant1 and the sweetness of honey1 and the cruelty of the tiger1 and the warm glow of fire1 and the coldness of snow1 and the chattering of jays1 and the cooing of the kkila1#cg and the hypocrisy of the crane1 and the fidelity of the chakrawka2#ch and compounding all these together1 he made woman and gave her to man4 ,but after one week man came to him and said3 ,lord1 this creature that thou hast given me makes my life miserable4 ,she chatters incessantly1 and teases me beyond endurance1 never leaving me alone3 and she requires incessant attention1 and takes all my time up1 and cries about nothing1 and is always idle2 and so ,i have come to give her back again1 as ,i cannot live with her4 ,so ,twashtri said3 ,very well3 and he took her back4 ,then after another week1 man came again to him1 and said3 ,lord ,i find that my life is very lonely since ,i gave back that creature4 ,i remember how she used to dance and sing to me1 and look at me out of the corner of her eye1 and play with me1 and cling to me2 and her laughter was music1 and she was beautiful to look at1 and soft to touch3 so give her back to me again4 ,so ,twashtri said3 ,very well3 and gave her back again4 ,then after only three days1 man came to him again1 and said3 ,lord1 ,i know not how it is2 but after all1 ,i have come to the conclusion that she is more of a trouble than a pleasure to me3 so please take her back again4 ,but ,twashtri said3 ,out on you6 ,be off6 ,i will have no more of this4 ,you must manage how you can4 ,then man said3 ,but ,i cannot live with her4 ,and ,twashtri replied3 ,neither could you live without her4 ,and he turned his back on man and went on with his work4 ,then man said3 ,what is to be done8 for ,i cannot live either with or without her4' 8,and ,rasaksha ceased1 and looked at the ,king4 ,but the ,king remained silent1 gazing intently at the portrait of the ,princess40 ,another story1 of like character1 is told in the same book1 on pages #cgb-cgd1 only with the difference that it points out a lesson for woman that she must cleave to her husband because she possesses no independent existence by herself4 7,the same1 however1 in the ,indian story is not true of man47 ,this is the explanation the faithful wife ,wanawallari gives to the ,brahman who tempts her to leave her husband4 ,she says3 8,once there was a time when there were neither men nor women1 but the universe existed alone4 ,and then one day1 when the ,creator was meditating with a view to further creation1 he said to himself3 #8,something is wanting to complete the creation which ,i have created4 ,it is blind1 and unconscious of its own curious beauty and excellence4' ,thereupon he created a man4 ,and instantly the creation became an object of wonder and beauty1 being reflected like a picture in the mirror of the mind of the man4 ,then the man roamed alone in the world1 wondering at the flowers and the trees and the animals1 and at last he came to a pool4 ,and he looked in and saw himself4 ,then full of astonishment1 he exclaimed3 #8,this is the most beautiful creature of all4' ,and he hunted incessantly through the whole world to find it1 not knowing that he was looking for himself4 ,but when he found that in spite of all his endeavors he could never do more than see it on the surface of pools1 he became sad and ceased to care about anything4 ,then the ,creator1 perceiving it1 said to himself3 #8,ha6 this is a difficulty which ,i never foresaw1 arising naturally from the beauty of my work4 ,but now1 what is to be done8 ,for here is this man1 whom ,i made to be a mirror for my world1 snared in the mirror of his own beauty4 ,so ,i must somehow or other cure this evil4 ,but ,i cannot make another man1 for there would be two centers to the circle of the universe4 ,neither can ,i add anything to the circumference of nature1 for it is perfect in itself4 ,there is necessary1 therefore1 some third thing3 not real1 for then it would disturb the balance of the universe2 nor unreal1 for then it would be nothing3 but poised on the border between reality and nonentity4' ,so he collected the reflections on the surface of the pools1 and made of them a woman4 ,but she1 as soon as she was made1 began to cry4 ,and she said3 #8,alas6 alas6 ,i am1 and ,i am not4' ,then said the ,creator3 #8,thou foolish intermediate creature1 thou art a nonentity only when thou standest alone4 ,but when thou art united to the man1 thou art real in participation with his substance4' ,and thus1 ,o ,brahman1 apart from her husband a woman is a nonentity and a shadow without a substance3 being nothing but the mirror of himself1 reflected on the mirror of illusion40 99 99 99 99 99 ,early ,christian art took little or no interest in the parents of mankind4 ,so far as we can discover neither the catacombs of ,rome nor ,christian sarcophagi are adorned with representations of ,adam and ,eve4 ,wherever they may occur they are rare exceptions4 ,there is no trace of them in the fondi d'oro 7gold-bottomed glasses71 nor in the mosaics4 ,in painting they become more and more frequent in the beginning of the ,middle ,ages1 and we reproduce here1 as one of the oldest representations of the subject1 a picture from the so-called ,alcuin ,bible preserved in the ,british ,museum4 ,illustration3 ,,adam ,,and ,,eve ,,called ,,to ,,account4 ,from the so-called ,alcuin ,bible 7#ith cent47 ,the name 8,alcuin ,bible0 is not justified1 for the work dates from some time after ,alcuin2 but after all it comes from his school1 and the book was produced in ,tours about the middle of the ninth century1 still showing the influence of the brilliant scholar of ,charlemagne's court4 ,we will say here that the so-called ,alcuin ,bible is severely criticized by ,anton ,springer on account of 8the ugliness of its figures10 but there is more to be seen in this picture than mere awkwardness of style4 ,the psychology of the picture here reproduced is exceedingly good4 ,the eyes of ,adam and ,eve1 and of the ,lord in rebuking them1 show real appreciation of the mental processes of the individuals4 ,god walks into the garden with his finger raised1 like a teacher who rebukes children caught stealing apples4 ,god's finger is not straight1 a fact which presupposes a close observation of life4 ,his eyes express kindliness as well as admonition1 while ,adam and ,eve stand conscience-stricken by the side of the tree4 ,they do not dare to look into the face of ,god1 and ,adam1 with his clumsy hand1 points to ,eve as the cause of the evil1 while her face expresses admission1 though in her turn she lays the blame on the snake which stands erect at her left4 ,it is true that the technique is abominable4 ,the heads are ridiculously large1 and the hands are out of proportion4 ,the bodies do not express the beauty generally credited to both ,adam and ,eve as the most perfect handiwork of ,god4 ,the paints in the picture are reported to be no better than the drawing4 ,the flesh is of a gray color shaded with maroon streaks4 ,in contrast to the sickly and poverty-stricken appearance of the human couple the good ,lord is dressed in gold1 like a wealthy nobleman of the age1 and the scene is shown to be in ,paradise by the trees too being overlaid with gold4 ,nevertheless the situation is very clearly a garden1 copied from nature1 and the very story1 with all its details1 could be reconstructed from this picture4 ,in time1 with the advance of art1 the figures of ,adam and ,eve come more and more to assume the artistic appearance of natural beauty4 ,adam and ,eve represent mankind in its primitive state1 devoid of spirituality but perfect in health and vigor4 ,it is noteworthy that ,christian art portrays in them paganism in its rudeness and ignorance1 and so they acquire a certain relationship to ,greek antiquity4 ,in the ,renaissance we reach a perfection in the figures of ,adam and ,eve which attains the ideal of classical beauty4 ,every painter believed it his duty to represent the two fatal scenes1 the fall of man and the expulsion from ,paradise4 ,similar scenes also begin to appear in sculptured reliefs4 ,a scene on one side of the large pillars in the front of the cathedral at ,orvieto is devoted to the subject of ,eve's creation4 ,the creation of man and woman is the first scene portrayed on ,ghiberti's great bronze entrance-doors of the baptistery at ,florence4 ,these beautiful ,illustration3 ,,the ,,creation ,,of ,,woman4 ,relief on the cathedral of ,orvieto 7#adth cent47 reliefs represent the beginning of a new and greater period of art4 ,it is ,ghiberti's merit to have created an originally ,christian conception quite different from the classical reliefs of plastic art4 ,we observe in his work evidence of a close study of garments and draperies1 and the attempt to bring out not only bodily beauty but a spiritual expression and allegorical meaning4 ,most of the characters presented are plainly portraits of men and women who have served as living models4 ,illustration3 ,,detail ,,from ,,ghiberti',s ,,doors4 ,first panel4 ,in the lower left corner of this panel on ,ghiberti's door ,god is creating man4 ,in the center he is raising ,eve from the side of the sleeping ,adam1 who lies prostrate on the ground4 ,god is here always surrounded and assisted by angels1 who lift up ,eve while the good ,lord watches her rise4 ,in the middle left part of the picture we see ,adam and ,eve taking the apple from the serpent which is entwined about the tree between them4 ,in the right corner our unfortunate ancestors are being driven out of ,paradise4 ,eve stands in despair1 while ,adam is visible in the rear4 ,illustration3 ,,the ,,creation ,,of ,,woman4 ,by ,michelangelo 7#aeth cent47 ,illustration3 ,,adam ,,and ,,eve ,,in ,,paradise4 ,by ,gustave ,dor4 ,illustration3 ,,the ,,first ,,family4 ,by ,schnorr von ,carolsfeld4 ,michelangelo's ,creation of ,eve is represented on the ceiling of the ,sistine ,chapel in the ,vatican1 and is perhaps the most vigorous expression of the original strength of the mother of mankind4 ,it will be observed that here too ,eve comes from ,adam's side1 although the picture seems to show her fully grown4 ,from among the more modern pictures we reproduce a drawing by ,gustave ,dor representing ,adam and ,eve4 ,here we see them in their state of innocence1 ,eve being pictured as reclining on the ground1 while ,adam looks upon her in love and admiration4 ,of the more recent pictures we will mention only those of ,schnorr von ,carolsfeld1 who has succeeded most effectively in striking the proper traditional note in ,bible illustrations4 ,he represents ,adam and ,eve according to the dogmatic belief of ,protestant ,christianity4 ,in the scene here reproduced they are portrayed after their expulsion from ,paradise in their comfortable primitive home1 where ,adam1 leaning on his hoe1 rests from his labors while ,eve sits in the background with a distaff in her hand1 and their two sons are playing about them4 99 99 99 99 99 ,and now1 in conclusion1 the question as to the place of this theme in the art of the future4 ,has not the present generation lost interest in our ancestors8 ,since the legend is no longer believed literally1 our artistic imagination is not attracted so strongly by it4 ,the story of the fall of man has become an allegory1 an interesting tale1 but it is no longer a truth4 ,we believe now in evolution1 and so ,gabriel ,max has pictured a new ,eve for us which is the mother of modern man1--the mother who bequeaths to her son a deeper comprehension of life and a truer insight into the nature of things4 ,illustration3 ,,primitive ,,man4 ,by ,gabriel ,max4 ,the picture is at first sight repulsive1 but the more we look at it and the more we study the artist's intentions1 the more it grows on us4 ,here is a primitive couple of the ape-man type1 fossil remains of which have been found in the ,neanderthal1 in ,cannstatt and in ,spy4 ,they must have been very savage1 and we shudder at their appearance4 ,how unpleasant it would be to meet such creatures in a lonely forest6 ,the male is very brutish while the female shows traces of a dawning intelligence4 ,verily1 we discover in this scene represented by ,gabriel ,max a close resemblance to pictures of the holy family4 ,and considered rightly1 the similarity is by no means fortuitous1 for here we have indeed a holy family4 ,it is an uncultured primitive couple of a speechless tribe of forest men1 yet the hope of progress and a brave determination to take up the battle of life for the sake of the babe that is born to them becomes visible in the mother's eyes4 ,after all1 the wife of homo alalus1 of the primitive speechless man1 is still the same ,eve4 ,there is the same sacrifice of motherlove1 the same determination of bringing to life the man of the future1 the higher1 better1 nobler man1 whose life will be much more worth living than was her own4 ,this is the secret of life1 that we live not for ourselves but for others4 ,if mankind were one great immortal being1 how monotonous life would be2 how egotistical would all our aspirations become6 ,but nature renders all egotism futile4 ,none of us finds an abiding home here on earth2 we pass away and new generations fill the places we leave vacant4 ,daily the world grows older1 and yet it remains ever young4 ,there is the same happiness1 the same bliss and joy that ever thrilled the heart of a mother4 ,christianity has abolished ,venus1 the great mother goddess1 but ,eve has taken her place2 and if ,eve too is to be deposed1 mankind will still cling to the old idea of eternal womanhood1 the patron of love and loveliness1 of wifehood and of motherhood4 ,,aphrodite ,,in ,,art4 ,illustration3 ,,babylonian ,,clay ,,figures4 ,the oldest assured statues of ,venus1 of an all-nourishing mother goddess1 are perhaps the little figurines frequently found in ,mesopotamia representing 8the ,lady0 or ,beltis 7the feminine of ,bel1 8the ,lord07 in the shape of a naked woman1 sometimes with a child in her arms2 but we may fairly well assume that even the artists of the stone age took up this all-absorbing subject1 and if this be the case we may be justified in calling the torso of a naked female figure discovered in ,brassempouy1 a ,venus1--so far the oldest ,venus that has come down to us4 ,illustration3 ,,the ,,venus ,,of ,,brassempouy4 ,illustration3 ,,lakshmi4 ,in the ,muse ,guimet4 ,illustration3 ,a ,,cilician ,,coin4 ,illustration3 ,,coin ,,of ,,tarsus4 ,illustration3 ,,coin ,,of ,,gaulos4 ,illustration3 ,,coin ,,of ,,perga4 ,in ,india the goddess of beauty was revered under the name of ,lakshmi1 and we need not doubt that she still finds worshipers among the ,hindu population of to-day1 but there are no statues left of the age of ancient ,brahmanism4 ,all monuments are of comparatively late origin2 in fact the large mass of ,hindu idols is quite modern1 although it represents art and religious notions of a typically primitive character4 ,another and1 as it seems1 independent development can be traced from the worship of stone pillars or bethels4 ,a bethel1 i4 e41 8house of ,god10 well known from the ,bible as a monument of divine revelation1 developed gradually into the representation of a stiff female figure like the ,diana of ,ephesus1 but we cannot doubt that the primitive idea of it was the worship of an all-nourishing mother4 ,from her the ,greek conception of the chaste moon goddess1 the virgin ,artemis or ,diana1 developed in course of time2 but the ,diana of ,ephesus still preserves symbols of a pantheistic conception of the ,all under the allegory of a mother goddess4 7,for illustrations see pages #aeb and #aec47 ,illustration3 ,,coins ,,of ,,perga ,,in ,,pamphylia4 ,illustration3 ,,three ,,artemis ,,medals4 ,among the ,semites the oldest bethels1 or houses of ,god1 were pillars of stone4 ,we need not assume that they were gods or goddesses1 for judging from ,biblical information they may be interpreted as monuments marking a holy place1 i4 e41 a spot where a deity had revealed himself in some way4 ,the primitive form of a bethel1#ci or as the ,greeks transcribed the ,phenician term1 1 has often been represented on coins4 ,sometimes two columns are placed1 one on each side1 and the stone is frequently accompanied with the symbols of the goddess1 fruit and eggs2 sometimes doves perch on the sanctuary2 sometimes the pillar is covered with a temple roof4 ,we know one instance in which it bears the symbol of a ,latin cross and gradually it assumes in a coarse style the features of a woman4 ,such is the beginning of the manufacture of idols which at first are extremely stiff and assume only gradually--indeed very slowly--an artistic shape4 ,illustration3 ,,coin ,,of ,,antiochus ,,euergetes4 ,illustration3 ,,istar ,,on ,a ,,coin ,,of ,,tarsus4 ,illustration3 ,,coin ,,of ,,emesa4 ,illustration3 ,,coin ,,of ,,iasos ,,caria4 ,illustration3 ,,coin ,,of ,,paphos1 ,,cyprus4 ,illustration3 ,,coin ,,of ,,iulia ,,gordus1 ,,lydia4 ,at the dawn of the historic age the oldest ,greek statues and paintings of ,venus show her fully robed and draped4 ,great numbers of ,aphrodite amulets of small size and made of glazed terra-cotta have been found mainly on the gean islands where her cult had spread from ,babylon and ,syria4 ,they resemble the ,babylonian ,beltis statuettes in having ,illustration3 ,,the ,,diana ,,of ,,ephesus ,,in ,,the ,,vatican4 ,after a photograph4 ,illustration3 ,,the ,,diana ,,of ,,ephesus4 ,alabaster statue now in the museum of ,naples4 7,roscher1 ,lex41 ,i1 col4 #ehh47 the arms crossed over the breast1 but as a rule their hips are unnaturally broad4 ,some of them have a bird's 7possibly a pigeon's7 head and all have large ears with earrings4 ,the very oldest real statues of ,aphrodite1 products of primitive manufacture1 have been lost1 and none of the temple idols have survived ,christian iconoclasm1 but we have information that ,kanachus#dj in the sixth century before ,christ1 and ,kalamis1 ,phidias and ,alcamenes in the fifth1 have represented the goddess as dignified and severe4 ,we reproduce here drawings of archaic statues fully dressed4 ,some of them are still awkward but give evidence of the artist's reverence4 ,an archaic ,venus of the style familiar in ,pompeii was formerly regarded as a ,moera but to-day after ,gerhard's interpretation it is considered as a ,venus ,proserpina4 ,illustration3 ,,cyprian ,,aphrodite4#da ,the statue by ,kalamis which once stood upon the ,acropolis at ,athens and was called ,aphrodite ,sosandra#db is also fully dressed1 but much more graceful4 ,a veil is tied about her hair1 and in her right hand the goddess is clasping some folds of her upper garment1 while her extended left hand holds a pomegranate blossom4 ,illustration3 ,,archaic ,,aphrodite ,,with ,,dove4 ,roscher1 ,lex41 ,i1 #dji4 ,illustration3 ,,archaic ,,venus ,,in ,,pompeian ,,style4 ,among the ,attic votive reliefs there is one interpreted as ,aphrodite and ,ares1#dc which shows ,illustration3 ,,aphrodite ,,sosandra ,,by ,,kalamis4 ,from ,roscher1 ,lex41 ,i1 col4 #dab4 ,aphrodite unveiling her face to ,ares4 ,she holds a pitcher in her right hand and is pouring its contents into a vessel in his hands4 ,it is also to be noted that the action takes place above an empty altar4 ,the child behind her in this connection can only represent her son ,eros4 ,in the ,national ,museum at ,rome there is an ,attic sculpture of the fifth century which is somewhat bolder in showing the outlines of the figure4 ,this ,aphrodite is clad in a very diaphanous garment1 the left breast being quite uncovered4 ,illustration3 ,,aphrodite ,,and ,,ares4 ,votive relief from ,monuments grecs1 ,pl4 ,i4 ,in the beautiful statue by ,alcamenes1 a copy of ,illustration3 ,,attic ,,sculpture ,,of ,,the ,,fifth ,,century ,b4 ,c4 ,in the ,national ,museum at ,rome4 which is still preserved in the ,louvre1 the dress seems to be of slightly heavier texture and the posture more simple and dignified4 ,in her left hand the goddess holds a pomegranate and is lifting with ,illustration3 ,,aphrodite ,,of ,,alcamenes1 ,,known ,,as ,,venus ,,genetrix4 her right hand a corner of her drapery above her right shoulder4 ,illustration3 ,,head ,,of ,,the ,,cnidian ,,venus4 ,it was in the days of the highest development of ,illustration3 ,,the ,,cnidian ,,venus ,,of ,,praxiteles4 ,in the ,vatican ,museum at ,rome4 ,greek art that the greatest artists dared to show the goddess of love in perfect nudity4 ,the statues of ,phidias still retain the severe expression of her divine character1 but ,praxiteles endeavors to show her beauty as in primitive times without any dress1 in a careless but graceful and artistic pose4 ,so at least appears the most authoritative record of her appearance on the ,cnidian coin4 ,other statues1 especially the ,vatican marble known as the ,venus of ,praxiteles1 are partly dressed4 ,it is assumed that many replicas of ancient masterpieces did not follow their originals in all details4 ,illustration3 ,,the ,,venus ,,of ,,praxiteles ,,on ,a ,,cnidian ,,coin4 ,from ,roscher1 ,lex41 ,i1 col4 #daf4 ,this statue of ,praxiteles was ordered by the ,cnidians from the artist for public worship1 and when finished they placed it in the temple of ,aphrodite ,euploia built especially to serve as a shrine for ,illustration3 ,,head ,,of ,,the ,,crouching ,,venus4 this piece of art4 ,the goddess was the patroness of the island of ,cnidos and therefore her image was impressed upon the ,cnidian coins as the great artist had depicted her4 ,the best copies of the ,cnidian ,illustration3 ,,venus ,,crouching ,,in ,,the ,,bath4 ,in the ,vatican4 ,aphrodite are preserved in the ,vatican and in the ,glyptothek at ,munich4 ,illustration3 ,,venus ,,with ,,the ,,unguent ,,jar4 ,in the ,vatican4 ,the ,vatican is rich in ,venus statues of a similar type which have been worked out in the spirit of ,praxiteles1 and we here reproduce photographs of what has been called the crouching ,venus and also the ,venus with the unguent jar4 ,these statues of ,aphrodite in the ,vatican and most others produced in the latter portion of the classical period of ,greek art are entirely nude1 but with the exception of the very latest ones we must grant that they are endowed with divine dignity4 ,an improper feature enters only when nudity betrays either an intentional display1 with a pretense of prudery1 or an obvious purpose to excite sensuality4 ,originally these features are foreign to the ,greek goddess and develop only with the decay of ,hellenic civilization4 ,they appear obtrusively in the so-called ,venus of ,medici1 and worse still in the so-called ,venus ,kalypygos1 in this way justifying to some extent the harsh opinion of ,christian pietists who have vitiated our notion of ,greek deities down to the present day4 ,from the standpoint here taken ,i may be permitted to omit entirely any reproduction of pictures of this latest phase of the artistic conception of ,venus4 ,among the portrayals of ,venus we deem two recent discoveries worthy of reproduction on account of their sweetness and gracefulness4 ,one is the ,venus of ,panderma and the other a bust found in a wrecked ship by sponge divers at the bottom of the sea off the ,african coast in the ,mediterranean4 ,the former was found in a shipwreck near the coast ,illustration3 ,,the ,,venus ,,of ,,panderma4 ,front view4 of ,panderma in the year #ahhd1 together with coins of the time of ,lysimachos4 ,it is made of ,parian marble and shows the goddess standing near a small pillar over which her garment is hung4 ,she is represented at the moment when her hands are tying a long ribbon around her head to hold up her curly hair which falls back behind the ears4 ,furtwngler and ,salomon ,reinach have devoted much attention to the statue1 the latter in his ,rpertoire de la statuaire grecque et romaine1 and both praise highly the beauty of the goddess4 ,illustration3 ,,the ,,venus ,,of ,,panderma4 ,rear view4 ,the head of the goddess ,venus now preserved in the museum at ,bardos near ,tunis must have lain hidden for over two thousand years4 ,it had ,illustration3 ,,the ,,venus ,,head ,,in ,,the ,,museum ,,of ,,bardos4 probably been ordered by lovers of art living in ,africa and never reached its place of destination4 ,the shells which cover part of the bust have happily not attacked the features of the goddess and so the beauty of the face is left unmarred4 ,,classical ,,hymns4 ,the worship of ,aphrodite in the days of classical paganism is best characterized by two hymns attributed to ,homer1 but it must be understood that this whole class of poetry constitutes ,homeric apocrypha of a comparatively late date4 ,we quote the original from the ,teubner edition3 1 1 ' ' 4 1 1 3 ' 4 ' 4 ,a versified translation of our own reads thus3 8,my verse shall praise thee1 goddess fair and mighty1 ,great ,queen of ,cyprus1 glorious ,aphrodite ,who unto mortals love's sweet gift bestowest ,and in the charm of richest beauty glowest4 ,thou holdest in thy hand the magic flower ,whose spell subjects us to thy gentle power4 ,hail1 gracious lady1 soother of all woes1 ,who conquerest by pleasing smiles thy foes4 ,illustration3 ,,head ,,of ,,the ,,cnidian ,,venus4 ,front view4 ,as we thy beauty worship and admire ,inspire my song with thy celestial fire4 ,so shall my muse forever honor thee ,and her whom thou commendest unto me40 ,here is another hymn1 not less charming3 1 1 1 1 3 ' 1 ' 3 ' ' 1 3 ' 3 ' ' 1 1 ' 4 1 3 ' ' ' 1 4 1 3 ' 1 ' 4 ' 4 ,translated into ,english verse the hymn reads3 8,the venerable ,lady ,i adore1 ,queen ,aphrodite1 owner of the shore ,of seagirt ,cyprus4 ,thither ,zephyr's breeze ,had wafted her as babe with gentle ease4 ,while yet unborn1 in briny foam lay she ,floating on billows of the surging sea1 ,whence she came forth4 ,the ,seasons young and fair ,with gold-embroidered bridles guided her1 ,they took her to their arms and they caressed ,the little maid and had her beauty dressed ,in garments of ,ambrosian fabric wrought4 ,and then a crown of golden weight they brought1 ,three-handled1 which above her head they placed4 ,her soft white neck with carcanets was graced1 ,the strands of which her silver breast adorn ,in such a way as by the ,seasons worn ,at dances in sylvestrian resort ,or in ,olympus at their father's court4 ,they carried up the babe so fair and wee ,to the immortals1 who in ecstacy ,began at once to hug and fondle her ,and kiss her hands4 ,all vowed that they would wear ,the sacred flower of this divine fair maid ,at ,hymen's feast in festival parade4 ,yea1 such great charm the ,gods e'en never saw2 ,they gazed and wondered and they stood in awe4 ,o goddess1 dark-browed1 sweet of voice1 ,in thee my song shall glory to rejoice6 ,on us poor mortals here on earth below ,life's palm and heaven's happiness bestow4 ,illustration3 ,,another ,,view ,,of ,,the ,,cnidian ,,venus4 ,praised be forever thy divinity1 ,and the fair sex which representeth thee40 ,the nature of ,venus as the mother of the universe1 the mistress of existence1 and the representative of all that is charming and lovely endeared her to the philosopher as well as to the poet1 and so in ,rome at a later day even the freethinker among classical poets1 ,titus ,lucretius1 dedicated to her his philosophical book of poetry1 ,de rerum natura1 in these often quoted words3#dd 8,mother of ,rome1 delight of ,gods and men1 ,dear ,venus that beneath the gliding stars ,makest to teem the many-voyaged main ,and fruitful lands--for all of living things ,through thee alone are evermore conceived1 ,through thee are risen to visit the great sun-- ,before thee1 ,goddess1 and thy coming on1 ,flee stormy wind and massy cloud away2 ,for thee the dedal ,earth bears gentle flowers2 ,for thee wide waters of the unvexed deep ,smile1 and the hollows of the srene sky ,glow with diffusd radiance for thee6 ,for soon as comes the springtime face of day1 ,and procreant gales blow from the ,west unbarred4 ,first fowls of air1 smit to the heart by thee1 ,foretoken thy approach1 ,o thou ,divine1 ,and leap the wild herds round the happy fields ,or swim the bounding torrents4 ,then amain1 ,seized with the spell1 all creatures follow thee ,whithersoever thou walkest forth to lead2 ,and thence through seas and mountains and swift streams1 ,through leafy homes of birds and greening plains4 ,kindling the lure of love in every breast1 ,thou bringest the eternal generations forth4 ,kind after kind4 ,and since 'tis thou alone ,guidest the ,cosmos1 and without thee naught ,is risen to reach the holy shores of light1 ,nor aught of joyful or of lovely born1 ,thee do ,i crave co-partner in that verse ,which ,i presume on ,nature to compose ,for ,memmius mine1 whom thou hast willed to be ,peerless in every grace at every hour-- ,wherefore1 indeed1 ,divine one1 give my words ,immortal charm4 ,lull to a timely rest ,o'er sea and land the savage works of war1 ,for thou alone hast power with public peace ,to aid mortality2 since he who rules ,the savage works of battle1 puissant ,mars1 ,how often to thy bosom flings his strength1 ,o'ermastered by the eternal wound of love-- ,and there1 with eyes and full throat backward thrown1 ,gazing1 my ,goddess1 open-mouthed at thee1 ,pastures on love his greedy sight1 his breath ,hanging upon thy lips8 ,him thus reclined ,fill with thy holy body1 round1 above6 ,pour from those lips soft syllables to win ,peace for the ,roman1 glorious ,lady1 peace6 ,for in a season troublous to the state ,neither may ,i attend this task of mine ,with thought untroubled1 nor may mid such events ,the illustrious scion of the ,memmian house ,neglect the civic cause40 99 99 99 99 99 ,the temples of ,aphrodite lie in ruins1 and her worship is abandoned2 but the ideal of womanhood which she represented has remained to this day1 and will remain so long as mankind will continue to exist on earth4 ,the artist of the statue of ,milo has left us an unsurpassed interpretation of this ideal which even in its mutilated condition is noble and beautiful4 ,at the same time nature does not cease to actualize the type in every living woman that has been born into the world4 ,each one of them with all her individual traits1 her preferences and even her feminine faults is a specimen of the eternal ideal of womanhood--the divinity of love1 of grace1 of charm1 of beauty1 a source of inspiration as well as of physical and intellectual creativeness4 ,the ancient paganism has passed away and will never come back1 but because its superstitions are gone we need no longer scorn its gods4 ,we can recognize their grandeur1 their nobility1 their beauty1 yea their truth2 and if we contemplate the representation of their ideals in ,greek art1 we must own that the ,venus of ,milo is not the least among them4 ,,index4 ,adonis1 ,death of1 #gf4 neas1 #gd4 schylus1 #gd4 ,agesander or ,alexander of ,antioch1 #ad1 #ag1 #bj1 #ba1 #ea4 ,alcamenes1 #aed1 #aeg-aei4 ,alcard1 #dd4 ,alcuin ,bible1 #acc-ace4 ,amazon1 ,etymology of1 #fc4 ,anchises1 #fh2 and ,aphrodite1 #gd1 #ge4 ,antiochus ,euergetes1 #aej4 ,antiochus ,soter1 #ag4 ,aphrodite1 and ,ares1 #aee-aeg2 as a universal principle1 #fe1 #gc2 ,birth of1 #fb1 #fi2 ,cypris1 #fe2 ,etymology of the name1 #fb1 #fd2 ,euploia1 #afb2 ,pandemos1 #fg2 ,sosandra1 #aed1 #aef2 ,urania1 #fg1 #gd2 ,worship of1 #ee1 #fh-ge4 ,apple1 emblem of mother-goddess1 #ih2 emblem of ,venus1 #be2 held in hand1 #g1 #i1 #aj1 #ab1 #ad1 #be1 #cj1 #cc1 #dd1 #de1 #dg2 ,melos means1 #a1 #be2 of empire1 #ci-dj4 ,archaic ,venus1 #aed-aee4 ,ares1 ,aphrodite and1 #aee-aeg4 ,artemis1 #adi4 ,astarte1 #fi1 #ajg2 ,a later1 #aje2 and the ,dove1 #ajj2 in ,cyprus1 #ajf1 #aaj2 ,sargent's1 #ajh1 #aaj2 ,worship of1 #ee4 ,asurbanipal1 #gi1 #hj4 ,athene1 #fi1 #gg1 #gi2 ,worship of1 #ef4 ,athens1 #ed1 #ef1 #fg4 ,babylon1 ,trinity in1 #ih4 ,bacchus1 #ad4 ,bain1 ,f4 ,w41 #abh4 ,bajot1 #en4 ,bardos1 #afh1 #afi4 ,battle on the beach1 #dc1 #df-dg1 #di4 ,bell1 ,t41 #ca4 ,bellona1 #gg4 ,beltis1 #gc1 #ade1 #aea4 ,benten1 #aaj1 #aac4 ,bethel1 #adh-aej4 ,birth1 of ,aphrodite1 #fb1 #fi1 #gj2 of ,syrian goddess1 #ga4 ,boghaz-,ki1 #ajc-aje4 ,bottonis1 ,antonio1 #b1 #de4 ,bottonis1 ,yorgos1 a ,greek peasant1 #b1 #e1 #i1 #aj1 #aa1 #ac1 #dd4 ,bottonis1 ,yorgos1 ,jr41 #de4 ,brassempouy1 ,venus of1 #adf4 ,brest1 ,louis1 #c1 #df4 ,buddha1 ,kwan-,yon as the1 #aab1 #aae4 ,csar1 #gd1 #ge4 ,capua1 #ee4 ,carolsfeld1 ,schnorr von1 #adj-ada4 ,carus1 ,the ,bride of ,christ1 #ajg2 ,soul of ,man1 #abf4 ,castro in ,melos1 #b1 #ab1 #de1 #df4 ,century ,magazine1 #b1 #f4 ,charm of statue1 #bf1 #bg4 8,chevrette10 #c1 #e4 ,christian ,trinity1 #ih-ii4 ,christianity1 #ef1 #gd1 #add4 ,chthonian ,venus1 #ge1 #hc1 #he4 ,clarac1 ,count de1 #ac1 #ae1 #ej2 ,report of1 #dh4 ,cnidian ,venus1 #afj-afc1 #agb4 ,cnidos1 #gc1 #afc4 ,condition of statue1 #i-aj1 #bd1 #dc1 #de1 #dh1 #di4 ,conybeare1 ,f4 ,c41 #ef4 ,conze1 #ba4 ,corinth1 ,hierodules in1 #gd4 ,coronet1 #bd4 ,creation1 ,greek legend of1 #fb2 ,maori legend of1 #fcn4 ,creuzer1 #cf4 ,crouching ,venus1 #afc1 #afd1 #aff4 ,cyprian ,aphrodite1 #aed4 ,cyprus1 #gf1 #ajg2 ,astarte in1 #ajf1 #aaj4 ,date of statue1 #bj1 #eb4 ,david1 #ae4 ,debay1 ,auguste1 #ae2 ,drawing of1 #af1 #ba4 ,del ,mar1 ,alexander1 #cg1 #ci-dj4 ,del ,mar1 ,francisca ,paloma1 #cg1 #ch4 ,demeter1 #fi4 ,descent into ,hades1 #gf1 #hc-ie4 ,description of statue1 #f-h1 #bb-be1 #da1 #db1 #de1 #ea1 #eb4 ,diana of ,ephesus1 #adi1 #aeb-aec4 ,diona1 #fg4 ,dione1 #fe4 ,discovery of statue1 #b1 #e-f1 #dd4 ,dodona1 #fg4 ,dor1 ,gustave1 #aci1 #ada4 ,dove1 #ih1 #ajb2 ,astarte and the1 #ajj2 ,venus sending out the1 #cf1 #cg4 ,egypt1 ,trinity in1 #ih4 ,eleusinian mysteries1 #hc4 ,ephesus1 ,diana of1 #adi1 #aeb-aec4 ,epithets of ,aphrodite1 #fe1 #fg4 ,eros1 #bg1 #bh1 #fe1 #ggn1 #hc2 in the underworld1 #hd2 ,statue of1 #bh4 8,estafette10 #c1 #d1 #dc1 #df1 #dg4 ,eve1 ,adam and1 in art1 #acb-ada2 ,apple of1 #abg1 #ach2 ,creation of1 #abe1 #abg1 #ace1 #ach1 #adj4 ,fanaticism1 #bg1 #fj4 ,farnell1 ,lewis ,richard1 #hc4 ,ferry1 ,jules1 #eb2 ,report of1 #de-dg4 ,figulus1 ,nigidius1 #ga4 ,fish1 #ajc2 ,isis with the1 #ajb2 ,kwan-,yon with the1 #aaj-aaa2 of the ,euphrates1 #ga2 on ,friday1 #aag4 ,foam-born1 #fb1 #fi4 ,fragments1 #b1 #f1 #aj1 #aa1 #abn1 #ac1 #dc1 #dg1 #ec4 ,freer1 ,charles ,l41 #aad4 ,freya1 #aag-abj4 ,furtwngler1 #afg2 ,restoration by1 #cc4 8,galaxidion10 #df1 #dh4 ,gauttier1 #en4 ,gerhard1 #aed4 ,ghiberti1 #ace-ach4 ,gilchrist1 ,edward1 #hfn4 ,glyptothek1 #afe4 ,greek1 legend of creation1 #fb2 philology1 #fc2 religion1 #bg4 ,guerber1 ,h4 ,a41 #aag1 #aai4 ,hades1 ,descent into1 #gf1 #hc-ie4 ,halo1 #ci-dj4 ,hasse and ,henke1 #cb1 #cc4 ,hawk1 ,human-headed1 #ih4 ,heine1 ,heinrich1 #bg4 ,helios1 #dj4 ,hephstos1 #fh4 ,hera 7,juno71 #bd2 ,worship of1 #ef4 ,heracles1 #ad1 #abg2 ,etymology of1 #fc4 ,hermae1 #f1 #g1 #h1 #ac4 ,hermes1 #ad2 7psychopompos71 #hc4 ,hesiod1 #fb4 ,hesperides1 ,apple of the1 #abg4 ,hierapolis1 #ajb4 ,hirt1 #gg4 ,history of the statue1 #eb-fj4 ,holy ,ghost1 #ih4 ,homer1 #fe4 ,homeric hymns1 #aga-agf4 ,hypatia1 #fj4 ,idols1 ,beginning of1 #aej4 ,iduna1 ,apples of1 #abg4 ,india1 ,trinity in1 #ih4 ,inscription1 on plinth1 #ae1 #ag2 ,votive1 #h1 #ac-ad1 #ej4 ,isis1 and ,horus1 #ii2 and the fish1 #ajb1 #ajc2 ,worship of1 #ee4 ,istar1 #ga1 #gi1 #hj1 #ha1 #ajg2 and ,tammuz1 #hf2 ,carrying in procession the symbol of1 #ig2 on coin of ,tarsus1 #aej2 ,worship of1 #ee4 ,istar's ,descent to ,hell1 #he-ie4 ,jeremias1 ,dr4 ,alfred1 #he4 ,jesus1 #hd4 ,jowett1 #abb-abf4 ,kalamis1 #aed1 #aef4 ,kalypygos1 ,venus1 #aff4 ,kanachus1 #aed4 ,k'ang ,hi1 #aaf4 ,kirchhoff1 #ag4 ,kronos1 #fb4 ,kwan-,yon1 as the ,buddha1 #aab1 #aae2 by ,li ,lung-mien1 #aad2 ,poem on1 #aab2 with the fish1 #aaj-aaa4 ,lady1 #fi1 #gc1 #gh1 #if1 #ade4 ,lakshmi1 #adg4 ,lang1 ,andrew1 #fcn4 ,lange1 ,m41 #di4 ,lenormant1 ,charles1 #aa1 #ej4 ,lenormant1 ,f41 #ii1 #aja4 ,leonard1 ,william ,ellery1 #agfn4 ,life1 ,secret of1 #adc4 8,lionne10 #d4 ,louvre1 #d1 #aj1 #ab1 #be1 #dc1 #dh1 #di1 #ec1 #aeh2 ,authorities of the1 #ad1 #ag1 #db1 #ej4 ,love1 ,goddess of1 #bb1 #ci1 #fd1 #gd1 #ge1 #gf1 #hc1 #aag-abj1 #add1 #agh2 ,goddess of sexual1 #fg4 ,lucian1 #ajc4 ,lucretius1 ,titus1 #agf4 ,ludovisi relief1 #gj-gc4 ,lung-mien1 ,li1 #aad4 ,lysimachos1 #afg4 ,lysippos1 #eb4 ,magna ,dea1 #if;ff4 ,man1 ,origin of1 #abb2 ,primitive1 #adb4 ,maori legend of creation1 #fcn4 ,marcellus1 ,viscount1 #c1 #i1 #ad1 #ci1 #dc1 #ec2 ,report of1 #aa-ac4 ,marduk1 #aje4 ,mary1 ,virgin1 #fd1 #fi1 #ga1 #aaj1 #aae1 #abj2 ,worship of1 #cg1 #ef4 ,matriarchy1 #if1 #ig4 ,matterer1 ,lieutenant1 #dd1 #dg4 ,max1 ,gabriel1 #ada-adc4 ,measurements of statue1 #g-h4 ,medici1 ,venus of1 #aff4 ,melos1 #a1 #b1 #de1 #df1 #dg2 ,inhabitants of1 #ci1 #ec2 ,name of1 #a1 #g2 ,site of1 #f4 ,michelangelo1 #ach1 #adj4 ,mirror1 ,venus with1 #cj1 #ca4 ,montaiglon1 ,m4 ,a41 #en4 ,morusi1 ,nikolai1 #c1 #d4 ,mother-goddess1 ,the1 #bb1 #fh1 #gg1 #if;ff1 #aag1 #abj1 #add4 ,murillo1 #aji1 #aaj4 ,mutilation of statue1 #g1 #bd1 #bg1 #dj1 #db-dc1 #di1 #ec4 ,national ,museum1 #aeg1 #aeh4 ,navigation1 ,goddess of1 #ajg4 ,nebo1 #ha4 ,nudity in art1 #aff2 of statue1 #bb1 #bd1 #da4 ,ohnefalsch-,richter1 #ajf4 ,oiconomos1 #c4 ,open ,court1 #aaj4 ,oriental influence1 #gj-ga1 #if4 ,original1 ,statue an1 #bj-ba4 ,orvieto1 #ace1 #acf4 ,overbeck1 #bj4 ,paganism1 #ee1 #ace1 #agh2 ,end of1 #fj1 #fh1 #gc4 ,panderma1 ,venus of1 #aff-afh4 ,paphos1 #gc4 ,paul1 ,st41 #hd4 ,pausanias1 #ed1 #gf1 #aedn4 ,pedestal1 #ad1 #ag1 #bj4 ,penitential psalm1 #gh4 ,pergamum1 #ba1 #eb4 ,persephone1 #gf2 ,myth of1 #hc4 ,phidias1 #eb1 #ed1 #gc1 #aed1 #afb4 ,philology of ,greeks1 #fc4 ,pinches1 ,theodore ,g41 #gh4 ,pindar1 #gd4 ,plato1 #fb1 #fg1 #aba1 #abd1 #abhn4 ,pluto1 #hc4 ,polytheism1 #fh4 ,pomegranate1 #hc1 #ih1 #abg2 emblem of ,venus1 #gf2 held in hand1 #aeh4 ,pompeian ,venus1 #aed-aee4 ,praxiteles1 #eb1 #afj-afc4 ,preller1 #gfn1 #aed4 ,prometheus1 ,etymology of1 #fc4 ,purchase of statue1 #c-d1 #i4 ,queen of heaven1 #fd1 #fi1 #gd1 #if1 #aaf4 ,rabbit1 #ajc4 ,record-,herald1 #dd1 #ej4 ,reinach1 ,salomon1 #afg4 ,restorations1 #bg-da4 ,rivire1 ,marquis de1 #d1 #i4 ,robert1 ,commander1 #df4 ,roscher1 #fcn1 #gan1 #aec1 #aedn1 #aeen1 #aef1 #afb4 ,sailors1 ,french1 #d1 #aj1 #di2 ,turkish1 #df4 ,saloman1 ,geskel1 #bj2 ,restorations by1 #cd1 #ce4 ,sargent's ,astarte1 #ajh1 #aaj4 ,schliemann1 #ajg4 ,scopas1 #eb4 ,sculptor of the statue1 #ac1 #ba1 #ea1 #eb1 #ec4 ,selene1 #dj4 ,semiramis1 #aja4 ,shield and pencil1 ,venus with1 #bi1 #ca4 ,sistine ,madonna1 #be4 ,socrates1 #aba4 ,sophia1 #ii2 ,the gnostic1 #ih4 ,soul1 ,egyptian1 #ih1 #ii4 ,springer1 ,anton1 #acd4 ,star of the sea1 #abj4 ,steinthal1 ,h41 #fcn4 ,swastika1 #ajg4 ,syrian goddess1 #if1 #ajc2 ,birth of1 #ga4 ,tacitus1 #gc4 ,talbot1 ,h4 ,fox1 #gi1 #ha4 ,tammuz1 #hf4 ,taylor1 #fcn4 ,theodosius1 #ci4 ,thiers1 #de1 #dg4 ,t'ien ,hou1 #aaf4 ,titian1 #ff1 #fg4 ,tiumman1 #gi1 #hj2 ,head of1 #hb4 ,tomb of ,aphrodite1 #gf4 ,toulon1 #e4 ,tralles1 ,head of1 #ai1 #bj1 #ba4 ,tree of life1 #abg4 ,trinities1 #ih4 ,turkish brig1 #dc1 #df1 #dh4 ,unguent jar1 ,venus with the1 #afe1 #aff4 ,uranus and ,gaia1 #fb4 ,urville1 ,dumont d'1 #c1 #ac1 #ad1 #db-dc1 #dd1 #dg2 ,report of1 #e-i4 ,valentin1 ,veit1 #be2 ,restoration by1 #cg1 #da4 ,vatican1 #aeb1 #afj-afc1 #afd1 #afe4 ,venice1 ,doves of1 #ajc4 ,venus ,erycina1 #ggn2 ,genetrix1 #fi1 #ge1 #aei2 ,kalypygos1 #aff2 of ,milo2 full figure1 #af1 #bc2 of ,milo2 head1 fr41 #ah1 #eg1 #ei2 of ,milo2 restored1 #bi1 #cj1 #ca1 #cb1 #cc1 #cd1 #ce1 #ch2 on the swan1 #ee1 #ef2 ,proserpina1 #aed2 ,urania1 #gd2 ,victrix1 #ge1 #gg1 #gh1 #gi2 ,victrix1 ,statue called1 #de1 #dg1 #dh2 ,vulgaris1 #gd4 ,victory1 ,venus of ,milo as1 #ca4 ,war1 ,goddess of1 #gg-hb4 ,wings1 #ii4 ,woermann1 #ajbn4 ,woman1 ,origin of1 #abg-acb4 ,zealotry1 ,outbursts of1 #eh4 ,zeus1 #fe4 ,,footnotes3 #a ,published under the title 8,relation d'une expdition hydrographique dans le ,levant et la mer-,noire de la gabarre de ,sa ,majest la ,chevrette1 commande par ,m4 ,gauttier1 capitaine de vaisseau1 dans l'anne #ahbj10 in ,annales maritimes et coloniales de ,bajot1 #ahba1 and reprinted in ,archives de l'art franais1 publis sous la direction de ,m4 ,a4 ,montaiglon1 ,,ii series1 ,vol4 ,,ii1 #ahfc1 pp4 #bjb;ff4 #b 8,un dernier mot sur la ,venus de ,milo10 in the ,revue ,contemporaine1 #ahci1 ,,xiii1 pp4 #bhi;ff4 #c ,these fragments are preserved in a glass case at the window in the same room of the ,louvre where the ,venus of ,milo stands4 #d ,geskel ,saloman1 ,die ,restauration der ,venus von ,milo1 den ,manen de ,claracs gewidmet4 ,stockholm1 #ahie4 ,plate ,,iv4 #e ,conze1 ,die ,ergebnisse der ,ausgrabungen zu ,pergamon4 #f ,the ,venus di ,milo1 ,its ,history and ,its ,art4 ,new ,york1 ,cambridge ,encyclopedia ,co41 #aijj4 #g ,as we might suppose in reading ,hesiod1 ,th41 #aie;ff1 and ,plato1 ,crat41 #djf c4 #h ,taylor mentions this ,maori legend in his ,new ,zealand1 #aai4 ,cf4 ,andrew ,lang1 ,myth1 ,ritual and ,religion1 ,i1 #cjb1 and ,roscher1 ,lex41 s4 v4 8,kronos10 col4 #aedb4 #i ,h4 ,steinthal1 8,die ,sage von ,prometheus10 in ,zeitschrift fr ,vlkerpsychologie und ,sprachwissenschaft1 ,,ii1 ii1 #h-i4 #aj 4 #aa ,as reported in ,roscher's ,lexikon1 s4 v4 8,aphrodite40 #ab ,preller1 ,griechische ,mythologie1 ,i1 p4 #cfd4 #ac ,the original is written in a ,sumerian dialect with a translation into the ,semitic ,babylonian4 ,see ,records of the ,past1 ,new ,series1 ,vol4 ,i1 p4 #he4 #ad ,literally1 8,i do not take counsel1 myself ,i am not wise40 #ae ,records of the ,past1 ,vol4 ,,vii1 p4 #fg4 #af ,,ii1 ,pl4 ,,xlviii1 p4 #fig4 #ag ,for further details see ,dr4 ,alfred ,jeremias1 who publishes the text of the passages here quoted and offers a literal ,german translation with editorial notes and other explanations4 ,the conception of the document as set forth in the quoted passages is based upon the interpolation of ,dr4 ,jeremias1 which he justifies in his critical notes4 ,dr4 ,jeremias's interpretation of the concluding words is justified by another cuneiform tablet which while relating a conjuration of the dead begins with the same description of ,sheol as does the legend of ,istar's descent to ,hell4 #ah ,the ancient poem of ,istar's descent to ,hades has been cast into poetic form by ,edward ,gilchrist4 ,see ,the ,monist1 ,april1 #aiab4 7,vol4 ,,xxii1 pp4 #bei-bfg47 #ai ,the passages in brackets are mutilated in the original and the words are suggested by the context or sometimes by parallel passages4 #bj ,perhaps the dress of wings is an expression of the belief that the soul is winged1 found also in ,egypt1 where the soul of man is compared to a human-headed hawk1 in which form it is at liberty to visit other places4 #ba ,why the goddess ,allatu proposes to weep is not quite clear4 ,perhaps it is a promise to have all the funeral rituals with their wailings and lamentations properly attended to for the sake of preventing further attempts at having the dead reclaimed4 #bb ,the goddess ,allatu4 #bc ,uddusunmir means 8his light will illumine40 ,the significance of this being does not seem to be clear4 ,perhaps he is a mere puppet1 an automaton to bear the curse of ,allatu without suffering harm4 #bd ,the name of the great gods is the most powerful means of conjuration1 and ,ea alone1 the god of unfathomable wisdom1 seems to have command of it4 ,the ,babylonian origin of the ,talmudic and cabalistic belief in the power of the mysterious name is fully established4 #be ,the same gestures of grief are recorded in ,jeremiah xxxi4 #ai for the ,hebrews1 in ,odyssey ,,xxxi1 #aih for the ,greeks4 ,in a similar way1 we read of ,ea in another document1 8when he heard this he bit his lip0 7cf4 ,a4 ,s4 ,k4 ,t41 ,,lxxxvi1 #bd74 #bf ,the context does not reveal why the ,anunnaki1 the seven evil spirits of ,sheol1 should be placed upon the golden throne4 #bg ,the significance of ,belili's breaking a precious utensil in the ritual of lamentation is not clear4 #bh ,from ,woermann's ,geschichte der ,kunst4 #bi ,for further details with regard to this relief see the author's ,the ,bride of ,christ1 p4 #h4 #cj ,see the author's article4 8,the ,fish as a ,mystic ,symbol in ,china and ,japan10 ,the ,open ,court1 ,july1 #aiaa4 #ca ,val means 8the battle-field02 the name ,valkyrie designates 8the one who chooses10 viz41 the maiden of ,odin who selects heroes for ,valhall1 the great hall of the god of battles4 ,the root ,val is still preserved in the modern ,german word ,wahlstatt1 8place of battle40 #cb ,see the author's ,soul of ,man1 pp4 #cii;ff4 #cc ,pronounce ,russaksh4 ,the name refers to the part he will play in the story2 it means both 8a ball of mercury10 and 8a treasure of taste1 wit1 literary sentiments or flavors10 a sort of walking encyclopedia4 ,the ,king's companion is a salient figure in ,hindu drama3 he is a sort of ,sancho ,panza1 minus the vulgarity and the humor4 #cd 8,a tree with orange-colored fragrant blossoms40 #ce ,the ,hindu ,vulcan1 sometimes1 as here1 used for the ,creator1 dhatri ,plato's 4 ,sanskrit literature is the key to ,plato2 much of his philosophy is only the moonlike reflection of ,hindu mythology4 #cf ,hindu poets see a resemblance between rows of bees and eye-glances4 #cg ,the ,indian cuckoo4 ,the crane is a by-word for inward villainy and sanctimonious exterior4 #ch ,the chakrawka1 or ,brahmany drake1 is fabled to pass the night sorrowing for the absence of his mate and she for him4 #ci #dj ,terra-cotta in ,berlin ,museum 7,roscher1 ,lex41 ,i1 col4 #djg74 #da ,see ,pausanias #b1 #aj1 #d4 #db ,cf4 ,roscher1 ,lex41 ,i4 cols4 #daa-dab1 and ,preller4 ,gr4 ,m41 ,i1 p4 #chc4 #dc ,see ,roscher1 ,lex41 ,i1 col4 #djf1 and ,monuments grecs1 ,pl4 #a4 #dd ,from ,dr4 ,william ,ellery ,leonard's translation4