Zeus : a study in ancient religion - Warburg Institute

Gradual elimination of the thunderbolt 739
Klearchos of Rhegion (c. 520 B.C.) and still to be seen at Sparta in
the time of Pausanias^ Klearchos was said to have learnt his craft
from the Cretans Dipoinos and Skyllis ; and the type that he em-
ployed for Zeus was presumably descended from that of the
'Minoan' fighter with right hand raised to hurl the lance and left
outstretched to carry the shields
When archaic sculpture shook off the trammels of strict fron-
tality {c. 500 B.C.), one of the first types to attain comparative
freedom was that of the fighting-man. A small bronze from Dodona*
shows him in full armour advancing against the foe, his right arm
raised for a spear-thrust, his left extended to support a notched
shield. The type again served to represent Zeus the thunderer.
Another brilliant little bronze from Dodona (fig. 669)^ detailed and
delicate work, the colour of lapis lazuli, gives us Zeus in a similar
pose as conceived by some Aeginetan artist c. 490 B.C. Statuettes
of the sort were multiplied during the early decades of the fifth
century {supra i. 84 ff. figs. 52— 54), the outstretched hand of the
vd^os Phot., Na^tos Souid.) Trayxp>J(ye^! eifti Ko\o(Tcr6s, \
k.t.\.
The schol. Plat. Phaedr.
p. 962 a 44
vowed that, if they recovered their power, they would dedicate to the god at Olympia X/Of-
fF. asserts that the sons of Kypselos, when driven out by the Corinthians,
aovv dvdpidvTa. . .6\6(T(pvpoi'. Hence in fulfilment of their vow dvideaaviKetae (JLiyicxTov dya\/j.a
Xpv