¹ Inv. no. 13641. Maximum preserved height with plinth, 75.8 cm. Maximum width, 4.4 cm. Maximum thickness, 33 cm. Height of plinth in front, 8 cm.; back, 10 cm. Length of right lower leg, 49 cm. Estimated original height of the figure, 1.65–1.70 m. Right and left indicate the figure's proper right and left. The fragment is unpublished but for brief references in the following: Homann-Wedeking, 209, no. 5; 211 (Roman copy of the Corinth/Mocenigo type); Dörig, J. in Boardman, J., Dörig, J., Fuchs, W. and Hirmer, M., Greek Art and Architecture (New York, n.d.), 276Google Scholar (Roman copy of an Athena); de Lachenal, 360 (copy of the Corinth/ Mocenigo type); Landwehr, 48 n. 257 (copy of the Corinth/ Mocenigo type).

² Be it noted, however, that not all sculptures found on the Athenian Acropolis need have originally stood there, as witness the numerous grave-reliefs and fragments of sarcophagi: Walter, O., Beschreibung der Reliefs im kleinem Akropolismuseum (Vienna 1923), 163–82.Google Scholar

³ Morrow, K.D., Greek Footwear and the Dating of Sculpture (Madison 1985), 56Google Scholar and Appendix I, figs, b—e.

⁴ The use of the Archaistie himation fastened on one shoulder is examined in detail by Harrison, E.B., Archaic and Archaistic Sculpture, Athenian Agora XI (Princeton 1965), 54–7.Google Scholar See also Bielefeld, E., ‘Torso Mazarin im Louvre’, API 12, 1973, 98–9Google Scholar; Fullerton, M., ‘The Hellenistic Perirrhanteria of Attica’, Hesperia 55. 1986, 208–9CrossRefGoogle Scholar, pl. 41; id., ‘Archaistie Statuary of the Hellenistic Period’, AM 102, 1987, 263 n. 20.

⁵ E.g. a) calyx-krater. New York 07.286.66 (PI. 47d). Beazley, ARV ² 617,2; Para 398; Add 132; Richter and Hall, no. 127, pl. 126; Demargne, no. 545; LIMC II (1984) s.v. Ares, no. 88 (Ph. Bruneau). With Kadmos. c. 450 B.C. The himation is fastened on the right shoulder, ungirded. In the absence of an aegis, Athena is identified through her helmet and spear.

b) calyx-krater, Ferrara 44893. Beazley, ARV ² 1680; Schefold, K., Die Göttersage in der klassischen und hellenistischen Kunst (Munich 1981)Google Scholar, fig. 131. Gigantomachy. c. 440 B.C. The himation is pinned on the right shoulder under the aegis, ungirded.

c) oinochoc, Ferrara 2512. Beazley. ARV ² 1206,2; Para 463; Add 169; Lezzi-Hafter, A., Der Shuwalow-Maler (Mainz 1976), S 37, pl. 103e.Google Scholar With Perseus, c. 430–425 B.C. The himation is fastened on the left shoulder and forms a short, loose overfall. In the absence of an aegis, Athena is identified by her helmet and spear.

d) calyx-krater, Adolphseek, Sehloss Fasanerie 77. Beazley, ARV ² 1346,11; Para 482: Add 183; Simon, E., Die griechischen Vasen (Munich 1976), pls. 226–7Google Scholar; Kron, U., Die zehn attischen Phylenheroen, AM Beiheft 5 (Berlin 1976), 61–3, pl. 5,1.Google Scholar Athena is shown as Polias, with Kekrops, Erichthonios in a basket and olive tree, c. 410–400 B.C. The himation is clasped on the left shoulder under the aegis, no overfall.

⁶ E.g. a) volute-krater, Boston 00.347. Beazley, ARV ² 616,1; Caskey, L.D. and Beazley, J.D., Attic Vase Paintings in the Museum of Fine Arts, Boston 2 (London 1954), pl. 61Google Scholar; LIMC II (1984) s.v. Apollon, no. 651 (M. Daumas). With Leto and Apollo, c. 450–440 B.C. The himation is fastened on the right shoulder, ungirded.

b) cup, British Museum E 81. Beazley, , ARV ² 1024, 150Google Scholar; LIMC II, s.v. Artemis, no. 1349 (L. Kahil and N. Icard). Artemis is shooting, c. 440–430 B.C. The himation is fastened on the right shoulder and girded over the overfall. Artemis exceptionally dons the diplax in the 4th century too, cf. the Artemis of Gabii, Louvre 529, Picard, Ch., Manuel d'archéologie grecque, la sculpture IV, 1 (Paris 1954) 243–50, figs. 101–6.Google Scholar

⁷ E.g. volute-krater, Perugia, Museo Civico. Beazley, ARV ² 603,34; Peschlow-Bindokat, A., ‘Demeter und Perse phone in der attischen Kunst des 6.bis 4.Jahrhunderts v. Chr.’, JdI 87, 1972, 85, fig. 18.Google Scholar The departure of Triptolemos. c. 450 B.C. The himation is fastened on the left shoulder and has a short, loose overfall.

⁸ E.g. volute-krater, New York 27.122.8. Beazley, ARV ² 1171,2; Richter and Hall, no. 154, pl. 154. c. 420 B.C. The himation is fastened on the right shoulder, ungirded.

⁹ Maenads: stamnos, New York 06.1021.192. Beazley, ARV² 1077,1 and 1682; Richter and Hall, no. 111, pl. 112. The himation is fastened on the left shoulder, ungirded. Brides and bridesmaids: a) loutrophoros, Athens, National Museum 1453, Beazley, ARV ² 1127,18; Deubner, L., Attische Feste (Berlin 1932), pl. 19. c. 410–400 B.C.Google Scholar The himation is pinned on the right shoulder, ungirded. b) calyx-krater, Athens 1388. Beazley, ARV ² 1317,1; AE 1905, pls. 6–7. Wives and lovers: a) hydria, New York 06.1021.192. Beazley, ARV ² 630,32; Richter and Hall, no. 103, pl. 105. Woman pursued by youth, c. 450 B.C. The himation is fastened on the left shoulder, loose overfall, b) volute-krater, Boston 33.56. Beazley, ARV ² 600,12; Para 395; Add 130; Simon, E., ‘Polygnotan Painting and the Niobid Painter’, AJA 67, 1963, 57–9CrossRefGoogle Scholar, pl. 11, figs. 7–8; LIMC I (1981) s.v. Achilleus, no. 176 (A. Kossatz-Deissmann). Wife bids farewell to departing warrior (Deidameia and Achilles on Skyros ?). c. 450 B.C.

¹⁰ E.g. a) amphora, Würzburg H 4533. Beazley, ARV ² 611,32; LIMC II, s.v. Apollon, no. 653 (Daumas). c. 450 B.C. The himation is fastened on the right shoulder, ungirded.

b) hydria, Bern 12409. Beazley, ARV ² 1212,5; Lezzi-Hafter, op. cit. (n. 5), S 85, pl. 133. c. 430–420 B.C. The himation is fastened on the right shoulder, ungirded.

Compare also: a) Boeotian red-figure krater, Athens, National Museum 1385. Lullies, R., ‘Zur boiotisch rotfigurigen Vasenmalerei’, AM 65, 1940, 13, pl. 9Google Scholar; LIMC II, s.v. Apollon, no. 654 (Daumas). c. 440–430 B.C. b) Thasian relief, Louvre MA 696, LIMC II, s.v. Apollon, no. 716 (G. Kokkorou-Alewras). c. 470 B.C. The himation is pinned on the right shoulder, ungirded.

¹¹ E.g. bell-krater, Syracuse 23508. Beazley, ARV ² 613,6; Para 397; Add 131. The himation is pinned on the right shoulder and girded over the long overfall.

¹² Brommer, F., The Sculptures of the Parthenon (London 1979), pl. 127.Google Scholar

¹³ Despinis, pl. 19, 1–2.

¹⁴ Cf. Palagia, O., ‘Les Techniques de la sculpture grecque sur marbre’, Marbres Helléniques (Brussels 1987), 86–7.Google Scholar The lack of traces of the running drill I do not consider a dating indication, for, in the same article (ibid.), I reached the tentative conclusion that, for prac tical reasons, the running drill was not used extensively at any time. It was merely employed to cut short channels, particularly in the hair of Hellenistic and Roman figures.

¹⁵ Boardman, J. and Finn, D., The Parthenon and its Sculptures (London 1985), pls. 35 and 61Google Scholar; Brommer, op. cit. (n. 12), pl. 110.

¹⁶ Acropolis Museum 1117 + 1126, Parthenon-Kongress Basel (Mainz 1984), pl. 31,3.Google Scholar

¹⁷ The most recent reviews of the problems involved in the study of the Corinth/Mocenigo goddess are to be found in de Lachenal, 359–63, no. VIII, 1 and Landwehr, 47–56. See also Paribeni, E. in Giuliano, A. (ed.), Museo nazionale romano, le sculture (Rome 1981), 333–4, no. 37.Google Scholar

¹⁸ The plaster cast is now fully published by Landwehr, 47–60, pls. 13a, 14b, d, 15a, 16a, 17, 18, 20a, b, d, 21, 22, 23d, 24a.

¹⁹ Poulsen, V.H., Der Strenge Stil (Copenhagen 1937), 133Google Scholar; Ridgway, B.S., ‘Sculpture from Corinth’, Hesperia 50, 1981, 439–40CrossRefGoogle Scholar and Roman Copies (Ann Arbor 1984), 90–1.

²⁰ Height, 2.025 m without the neck and head. Johnson, 14–15, no. 7; Poulsen, loc. cit. (n. 19); Dörig, loc. cit. (n. 1), pl. 169 right; Ridgway, B.S., The Severe Style in Greek Sculpture (Princeton 1970), 71–2Google Scholar; ead., Hesperia 50, 439–40, pl. 95b; ead., Roman Copies, 90–1, pls. 129–31; Vierneisel-Schlörb, B., Glyptothek München, Katalog der Skulpturen 2, (Munich 1979), 9–10Google Scholar; Landwehr, 53–4, pls. 12, 13b, 14a, 15b, 19a, c, 20c, 23a, e, 24b.

²¹ Height, 1.62 m without the head and neck. Homann-Wedeking, 208–14, rig. 7, pl. 23; Muthmann, F., Statuenstützen (Heidelberg 1951) 1 55–7Google Scholar; Paribeni, 97–102; G. Hafner, ‘Ein vergessenes Meisterwerk’, ΘΕΩPΙΑ Festschrift für W.-H. Schuchhardt (Baden-Baden 1960), 84 n. 11c; Heibig⁴ III 2204 (D. Willers); Dörig, J., Onatas (Leiden 1977), 9Google Scholar; de Lachenal, 359–63, no. VIII,1; Landwehr, pls. 13d, 14c, 15d, 16d, 19d, 20e, 23c. Landwehr suggests that the Terme statue may have come from Greece because of the Greek origin of many of the ancient statues in Venice. The provenance of this figure, however, is the art market of Rome (owned by Sangiorgi, 1924), whence it was taken to Venice briefly, to be acquired by the Terme Museum in 1963: see de Lachenal, 359.

²² Fragment from the Colosseum: Homann-Wedeking, 209, pl. 22. Fragments of the upper torso: a) Vatican. Amelung, W., Die Skulpturen des Vatikanischen Museums i (Berlin 1903), 825Google Scholar, no. 28, pl. 91. b) Once in the Antiquarium Comunale, Rome. Paribeni, 97, fig. 3.

²³ Paribeni, 97–102; Helbig⁴ II 1870 (H. v. Steuben) and III 2254 (v. Steuben). I). Candilio, in Giuliano, A. (ed.), Museo nazionale romano, le sculture I, i (Rome 1979), 207–8Google Scholar, no. 129; Landwehr, 47 n. 52.

²⁴ Berger, E., ‘Der Basler Athenakopf aus der Sammlung Ludwig’, AntK 17, 1974, 135 n. 23.Google Scholar Corinth S 2668 found in the sanctuary of Demeter and Kore: Stroud, R.. ‘The Sanctuary of Demeter and Kore on Acrocorinth. Preli minary Report: 1961–1962’, Hesperia 34, 1965, 20–1, pl. 10a.CrossRefGoogle Scholar For the lindspot of Corinth S 68 see below, n. 27. See also Beschi, no. 192.

²⁵ Parthenon, North metopes 25 and 32, Berger, , Der Parthenon in Basel, Dokumentation zu den Metopen (Mainz 1986), pls. 22 and 34.Google Scholar Aspasia/Europa, Dörig, op. cit. (n. 1), pl. 170; Robertson, M., A Shorter History of Greek Art (Cambridge 1981), 57Google Scholar, fig. 81. Prado Athena, Dörig, op. cit. (n. 1), pl. 169 left; Blanco, A., Catalogo de la Escultura i (Madrid 1957), no. 24, pl. 6,7Google Scholar; LIMC II, s.v. Athena/Minerva, no. 139 (F. Canciani).

²⁶ As has been remarked by Landwehr, 55–6.

²⁷ For the circumstances of discovery see Tucker, J. Jr, ‘Various Statues from Corinth’, AJA 6, 1902, 424–38, pl. 16.CrossRefGoogle Scholar On the uncertain identification of Corinth S 67: Peschlow-Bindokat, op. cit. (n. 7), 133–4. Corinth S 67 accepted as Demeter: Beschi, no. 53. It was rather unfairly relegated to the realm of classicising creations by Poulsen, loc. cit. (n. 19); Homann-Wedeking, 214; Raeder, J., ‘Eine klassizistische Frauenfigur in Rom’, JdI 93, 1978, 252–76Google Scholar; Ridgway, , Hesperia 50, 440.Google Scholar

²⁸ Homann-Wedeking, 208–14. For Demeter Melaina see also Beschi, no. 11.

²⁹ Paribeni, 97–102; Ridgway, Severe Style, 72; de Lachenal, 362 (with previous literature); Landwehr, 56. Dörig, loc. cit. (n. 1) attempted instead to associate the type with Kalon's Demeter or Kore at the Amyklaion near Sparta. Peschlow-Bindokat, loc. cit. (n. 27), not only questioned the identification of the Corinth/Mocenigo type with Kore, but also pointed out that no securely identified statuary type of Kore has come down to us from the 5th century B.C. The horse as a manifestation of the deceased was advocated by Malten, L., ‘Das Pferd im Totenglauben’, JdI 29, 1914, 179–255.Google Scholar

³⁰ Thönges-Stringaris, R.N., ‘Das griechische Toten mahl’, AM 80, 1965, 18–19 and 57–8.Google Scholar

³¹ Landwehr, 57–60, pl. 25 dates the type of the Baiae torches to C. 450 B.C. and argues that the position of her arms indicates that she holds torches by analogy with the record relief Eleusis 5093 (IG I² 81), where, however, Kore's arms are lowered. The identification of the Corinth/Mocenigo goddess with Kore on account of the torch fragments of Baiae is repeated in Beschi, no. 53.

³² Helbig⁴ III 2204.

³³ Geschichte der griechischen Religion ³ i (Munich 1976), 382–3.

³⁴ So Dentzer, J.-M., Le Motif du banquet couché (Rome 1982), 490–3.Google Scholar

³⁵ Muthmann, F., Statuenstützen (Heidelberg 1951), 55–7.Google Scholar

³⁶ Reinach, S., Répertoire de la statuaire (Paris 1897–1924) 1, 169, 7 and V, 43, 2.Google Scholar

³⁷ Muthmann, loc. cit. (n. 35). The horse head is usually associated with a naked Dioskouros type going back to the Polykleitan School (Arnold, D., Die Polykletnachfolge (Berlin 1969) 101Google Scholar). For a list of statues of Dioskouroi with horse heads see LIMC III (1986) s.v. Dioskouroi, nos. 52–4 (A. Hermary); s.v. Dioskouroi/Castores, nos. 29–33 and p. 630 (F. Gury).

³⁸ Cf. a) pedimental relief, Krokeai Town Hall, late 1st century A.D., A.D., III, s.v. Dioskouroi, no. 63; b) votive relief, Sparta Museum 9, 2nd century A.D., LIMC III, s.v. Dioskouroi, no. 50; c) relief, Tunis, Bardo 3119, 2nd century A.D., LIMC III, s.v. Dioskouroi/Castores, no. 27; d) relief, Djemila Museum, LIMC III, s.v. Dioskouroi/Castores, no. 27a; e) relief pilaster from ‘Las Incantadas’, Louvre 1392, early 3rd century A.D., LIMC III, s.v. Dioskouroi, no. 51.

³⁹ Isolated horse protomai collected in LIMC III, s.v. Dioskouroi, no. 52. Of these, only the examples in Cyrene (Paribeni, E., Catalogo delle sculture di Cirene [Rome 1959] no. 387, pl. 172Google Scholar) and Corinth (Johnson, no. 203) are attached to bare feet.

⁴⁰ The horse head is free on all sides, being unfinished at the back. The copy may be dated to the 2nd century A.D. Published as a fragment of a Dioskouros by Picard, Ch., ‘Sur un groupe mutilé d'Eleusis’ BCH 82, 1958, 435–65, figs. 1–3.CrossRefGoogle Scholar

⁴¹ Homann-Wedeking (210, fig. 4) also discusses the possibility that the feet belong to a male figure. According to Morrow, op. cit. (n. 3), 55–6, thin soles are characteristic of men's sandals in the second half of the 5th century B.C. Two prominent examples of male gods in himatia wearing strap less sandals with thin soles in the 5th and 4th century B.C. are the Dresden Zeus (Despinis, 137–42, pl. 106) and the Asklepios, Eleusis 50 (Adam, S., The Technique of Greek Sculpture in the Archaic and Classical Periods [Oxford 1966], pls. 50–1Google Scholar).

⁴² Cult of Poseidon in Eleusis: Paus. 1.38.6 (Poseidon Pater); Clinton, K., The Sacred Officials of the Eleusinian Mysteries (Philadelphia 1974), 51, lines 16–17.Google Scholar Poseidon father of Eumolpos, mythical ancestor of the Eumolpidai: Apollod. 3.15.4; Aristid. 22.4 (Keil); of Hippothoon, one of the eponymous heroes of Attica: Kron, op. cit. (n. 5), 177–82. The stance of the Eleusis fragment is reminiscent of the Dresden Zeus, identified with Agorakritos' Hades by Despinis, n. 41 above.

⁴³ This myth is encountered at both Thelpousa (Demeter Erinys) and Phigalia (Demeter Melaina, who is said to have given birth to Despoina instead) in Arcadia. See Paus. 8.25.4–7 and 42.1–3; Nilsson, op. cit. (n. 33), 448 and 479–80; Jost, M., Sanctuaries et cultes d'Arcadie (Paris 1985) 64, 89–90, 301–17Google Scholar; Beschi, no. 20.

⁴⁴ Burkert, W., Greek Religion (Oxford 1985), 138.Google Scholar See also n. 43 above.

⁴⁵ According to Corinthian legend, Athena tamed and bridled Pegasos for Bellerophon: Paus. 2.4.1; Pi. O. 13.65; Corn. ND 39.5. Athena's invention of the chariot is mentioned in the Homeric Hymn to Aphrodite, 13; Harp. s.v. ‘Hippia Athena’; Cic, ND 3.59. Athena was also said to have helped Epeios build the wooden horse (Od. 8.493); this however, recalls her capacity as patroness of carpenters. For a general discussion of Athena and the horse see Yalouris, N., ‘Athena als Herrin der Pferde’, MusHelv 7, 1950, 19–101Google Scholar; Burkert, op. cit. (n. 44), 141; Jost. op. cit. (n. 43), 388–9.

⁴⁶ Paus. 5.15.6.

⁴⁷ Paus. 8.47.1.

⁴⁸ Soph. O.C. 1070–1; Paus. 1.30.4.

⁴⁹ Paus. 1.31.6.

⁵⁰ Paus. 2.4.1. See also Williams, Ch. K. II, Pre-Roman Cults in the Area of the Forum of Ancient Corinth (diss. Pennsylvania 1978), 41–3Google Scholar; id. and Zervos, O.H., ‘Corint.¹, 1983: The Route to Sikyon’, Hesperia 53, 1984, 103.Google Scholar

⁵¹ Blümel, C., Griechische Bildhauerarbeit JdI EH XI (Berlin 1927), 66Google Scholar, no. 35, pl. 37 (erroneously described as a reliei).

⁵² Demargne, p. 974 and nos. 174–80, 234, 385–6, 430, 443–4, 595.

⁵³ Cf. the west pediment of the Parthenon (Demargne, no. 234) and possibly the Lucanian red-figure pelike in Policoro, Museo Nazionale 35304 (Trendall, A.D., The Red-figured Vases of Lucania, Campania and Sicily (Oxford 1967) 55, no. 282, pl. 25,3–4Google Scholar; Demargne, no. 177). See also Binder, J., ‘The West Pediment of the Parthenon: Poseidon’, Studies Presented to Sterling Dow (Durham, North Carolina 1984) 15–22.Google Scholar

⁵⁴ Beazley, , ARV ² 776, 1 and 1669Google Scholar; Add 141; Demargne, no. 48.

⁵⁵ Beazley, ARV ² 838,30; Demargne, no. 49. The scene has been interpreted as Athena building the wooden horse: Yalouris, op. cit. (n. 45), 48, fig. 8.

⁵⁶ Athena holding out owl: compare Attic red-figure cup, Munich 2648, Beazley, ARV ² 441,185; Para 521; Add 118; Demargne, no. 187. c. 480–470 B.C. Athena with spear in her lowered right hand: compare Attic rf. pelike, British Museum E 372, Beazley, ARV ² 1218,1; Add 173; Demargne, no. 480, 440–430 B.C. and Myron's Athena of the mid 5th century B.C., Schauenburg, B. and Schauenburg, K., ‘Torso der Myronischen Athena Hamburg’, API 12, 1973, 47–65Google Scholar, figs. 1–42, pls. 8–14; Demargne, no. 623; Daltrop, G., Bol, P.C., Athena des Myron (Frankfurt 1983).Google Scholar Myron's Athena is sometimes thought to have held a flute in each hand: Klein, B.M., ‘Die Myronische Athena – im Weggehen begriffen?’, Boreas 11, 1988, 43–7.Google Scholar Athena with spear in her lowered left hand: Attic rf. oinochoe, West Berlin F 2418, Demargne, no. 618 and Daltrop, Bol, op. cit., fig. 8, c. 450 B.C. Attic rf. stamnos, Louvre G 370, Beazley, ARV ² 639,54; Demargne, no. 452, c. 450 B.C.; Attic record relief, Acropolis 1333, Demargne, no. 607; IG II² 1; 403/2 B.C.

⁵⁷ Myron's Athena: see n. 56 above. ‘Mourning Athena’: Demargne, no. 625.

⁵⁸ Demargne, no. 205.

⁵⁹ See n. 5 above.

⁶⁰ The only copy is in Rome, Villa Albani 1012. Ianglotz, E., Der triumphierende Perseus (Cologne and Opladen 1960), 9–15, pls. 1–4 and 11CrossRefGoogle Scholar; Mathiopoulos, 69–75 and 102–10; Heibig⁴ IV 3243 (W. Fuchs); Raeder, J., Die statua rische Ausstattung der Villa Hadriana bei Tivoli (diss. Frankfurt 1983), 161, Kat. III 56.Google Scholar

⁶¹ Named after the copies Hope in Los Angeles, County Museum of Art 51.18.12 and Farnese (Albani) in Naples, Museo Nazionale 6024. Preyss, A., ‘Athena Hope und Pallas Albani-“Farnese”’, JdI 27, 1912, 88–128Google Scholar; Mathio poulos, 48–69 and 102–10; Helbig⁴ II 1778 (H.v. Steuben); Despinis, 151–5, pls. in —12; Waywell, G.B., The Lever and Hope Sculptures (Berlin 1986) 67–8Google Scholar, pl. 46, fig. 9; Fuchs, M., Untersuchungen zur Ausstattung römischer Theater (Mainz 1987), 51, pl. 10,1–2.Google Scholar

⁶² See n. 5 above.

⁶³ Furtwängler, A., Meisterwerke der griechischen Plastik (Leipzig-Berlin 1893), 113–15, figs. 19–20Google Scholar, identified her with Agorakritos' Athena Itonia on account of the hound cap. The head, however, is dissociated from the body by both Langlotz (who attributes it to Perseus) and Mathiopoulos (see n. 60 above).

⁶⁴ Paus. 1.23.4; Pliny, nat. hist. 34.80; Plut. Per. 13.12. Studniczka, , AA 1899, 134–5Google Scholar; id., Kalamis (Leipzig 1907), 56, fig. 12. This theory has been criticised particularly by Despinis, 153, who attempted to associate the Athena Hope/Farnese with Agorakritos' Itonia. For the base of the Athena Hygieia see Raubitschek, A.E., Dedications from the Athenian Acropolis (Cambridge, Mass. 1949), no. 166 and p. 523.Google Scholar Fragments of a Roman copy of the Athena Hope/Farnese were found on the Athenian Acropolis: Karanastassis, P., ‘Untersuchungen zur kaiserzeitlichen Plas tik in Griechenland II’, AM 102, 1987, 382–3 and 426, B VI 2, pl. 52.Google Scholar

⁶⁵ Mathiopoulos associates this type with the Polias: 108–10 and 116–20. Athena in chiton and himation fastened on one shoulder with the Lateran Poseidon on Roman medallions, gems and reliefs: LIMC II, s.v. Athena/Minerva, no. 345. An impossible claim that the group derives from an original by Alkamenes on the Acropolis is made by Ghedini, F., ‘Il gruppo di Athena e Poseidon sull'Acropoli di Atene’, RdA 7, 1983, 12–36.Google Scholar The trial of Orestes in Roman art: LIMC II, s.v. Athena/Minerva, nos. 388–96; Gauer, W., ‘Eine Athenastatuette des Athener Nationalmuseums: zum “Iudicium Orestes”’, AA 1969, 76–88Google Scholar; de Luca, G., I Monumenti antichi di Palazzo Corsini in Roma (Rome 1976), 127–32.Google Scholar For a Roman statue of Isis based on this type see British Museum 1545, LIMC I (1981)Google Scholar, s.v. Alexandria, no. 75 (M.-O. Jentel).

⁶⁶ For a recent discussion of the xoanon of Athena Polias see Kroll, J.H., ‘The Ancient Image of Athena Polias’, Hesperia Suppl. XX, 1982, 65–76.CrossRefGoogle Scholar

⁶⁷ For examples of contemporary copies or duplicate originals see Brommer, F., ‘Vorhellenistische Kopien und Wiederholungen von Statuen’, Studies Presented to D.M. Robinson I (St. Louis 1951), 674–82Google Scholar; Karouzou, S., ‘Ἀγαλμάτιο Ἀθηνᾶς στὸ Ἐθνίϰὸ Μουσεῖο’, API 12, 1973= 37–45Google Scholar; Strocka, V.M., ‘Variante, Wiederholung und Serie in der griechischen Bildhauerei’, JdI 94, 1979, 143–73Google Scholar; Palagia, , ‘In Defense of Furtwängler's Athena Lemnia’, AJA 91, 1987, 84CrossRefGoogle Scholar, figs. 3–4.