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Alkamenes' Sculptures for the Hephaisteion: Part III, Iconography and Style

The reconstruction to which our investigation has led' has a remarkable degree of internal consistency and by the same token admits no compromise with the theory that the Hephaisteion is identical with the so-called Theseum. The original of the Erichthonios relief cannot have belonged to the Eleusinian stone base in the Theseum, whose orthostates are at least io cm. too low for it.2 If one claims the Theseum as the Hephaisteion, one must therefore say either that the Eleusinian stone base does not belong to the Theseum or that the Erichthonios relief did not belong to the statue base of the Hephaisteion. The first would be difficult to maintain in view of the fact that the Eleusinian stone orthostates were found in the modern east wall replacing the apse of the Christian church in the Theseum. It is likely, therefore, that the strongest proponents of the identification will elect to keep the Eleusinian stone base and throw out the Erichthonios relief. This, too, is an unhappy solution, however, since the relief is uniquely appropriate in date, style, and content for the base of a pair of statues of Athena and Hephaistos made in 421-415 B.C. The only other shrine for which it might conceivably be appropriate in subject matter and date is the Erechtheion, and there is no place for it there. The anthemon cannot be thrown out, though its precise form may well be discussed. Proponents of the Theseum as the Hephaisteion will presumably resist its reconstruction in columnar form, since this would combine unattractively with the interior colonnade carried across the back of the cella. They will be left with the problem of what to do with half a ton of bronze in a form that could be called "anthemon" and is somehow intimately associated with the group of statues and their base. These problems are not ours. We are proceeding on the assumption that this assemblage of statues, anthemon, and Erichthonios base was set up in a temple of suitable size but as yet undetermined location which was in fact called the Hephaisteion. From the assemblage one can read some things about the conception of Athena and Hephaistos that the temple and its cult must have embodied. Let us sum them up briefly, looking at some details on the way. The Erichthonios relief presents Athena and Hephaistos as the mother and father of the Athenians, even though Athena was, strictly speaking, a foster mother. The group around the child really looks like a Holy Family, something rare in classical art, where the divine child was most often reared by strangers. This kindly, fostering nature of the divinities on the base also finds expression in the statues themselves; the aspect of both gods is more mild than awesome. The threatening strength of both is gathered into the gorgoneion, contained in the circle of the shield and suspended on the tree-like anthemon. Thus the theme of peaceful fruitfulness is common to base and statues, while the actual powers of the gods are more fully expressed in the statues than on the base. The fact that the group was begun in the first year of the Peace of Nikias allows us to believe that the suspended shield, the libation of the goddess, and the celebration of fertility (in the earth-born child and the flower-like tree) were all parts of a program celebrating peace. In this sense, Athena, the foster mother of Erichthonios, is a forerunner of Eirene, the mother of Ploutos. Indeed, it might be more correct to call Eirene also a foster mother,3 for we have seen that Ge is represented with Ploutos in her arms in a scheme directly copied from the Erichthonios base.4 If the anthemon had, as seems