CALIFORNIA STATE UNIVERSITY, NORTHRIDGE the ORIGIN of the HERMAPHRODI'l'e in GREEK ART a Thesis Submitted in Partial Satisfactio

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

THE ORIGIN OF THE HERMAPHRODI'l'E \.1 IN GREEK ART

A thesis submitted in partial satisfaction of the requirements for the degree of Naster of Arts in

Art by

Irene Marcella Adrian Czako _./

June, 1980 The Thesis of Irene Harcella Adrian Czako is approved:

Albert R. Baca, Ph.D.

Jeahne L. Trabold, Ph.D.

DonaldS. Strong, Ph.D., Cha1rperson

California State University, Northridge

ii. ACKNOWLEDGMENTS

This thesis may not have been undertaken or concluded without the aid and the collaboration of my committee chairman, Dr. Donald·S. Strong. His expert guidance, detailed ctiticisms, helpful suggestions along

·with his sensitiveness to problems of typology and his skilled editorial judgment were invaluable to me in the development of this study.

I also owe a vast indebtness to the other members of my thesis committee, Dr. Jeanne L. Trabold and Dr. Albert R. Baca who were kind enough to take time from their own work to read the manuscript critically and offer helpful suggestions.

Finally, I am particularly grateful to my husband,

Adam Czako, who generously assisted me in foreign transla·tions, editing and assembling the rough drafts and final copy.

iii TABLE OF CONTENTS

Page

ABBPEVIATIONS . . vi

LIST OF PLATES viii

ABSTRACT .xxii

INTRODUCTION. • 1

Chapter

1. THE MOTHER GODDESS AND HER PAREDROS FROM PRE-HISTORIC TO CLASSICAL GREECE. . . • . • 9

Shows the uninterrupted continuity of - ·- the androgynou~ Mother Goddess cult.

2. THE ANDROGYNOUS APHRODITE OF CYPRUS AND OTHER ANALOGOUS NEAR EASTERN DEITIES 2 3

Discusses and· gives support for identi fying the Priest With a Dove sculpture as the bearded Aphrodite of ancient testimony ••. compares and explains the bisexuality of Tutankhamun, Sesostris I, Queen Hatshepsut and the bearded Venus Mylitta.

3. ANDROGYNOUS HIEROS GAMOS FESTIVALS AND THEIR BISEXUAL EFFIGIES . . . . • . • • • • • • • 52

Shows how widespread these festivals were which incorporated a bisexual deity ... similarities and differences •.. suggests the course the bisexual Aphrodite took to come to Athens from.the Near East.

4. HERMAPHRODITE 81

Discusses the Carian legend of Hermaph rodite .•. why Hermes was chosen as Aphrodite paredros .•. cult documentations and monuments of Hermaphrodite.

iv TABLE OF CONTENTS

Chapter Page

5. SUMMARY OF THE ANDROGYNOUS THEME IN CLASSICAL GREEK ART . • . • • • • • 114

Surrunary •.• demonstrates how embedded the androgynous theme was in classical Greek art.

PLATES 124

BIBLIOGRJ>..PHY 170

APPENDIX 184.

v ABBREVIATIONS

A.J.A. American Journal of Archaeology. c.c.F. Cretan Cults and Festivals, R. F. Willetts, (London, New York: Barnes and Noble, 1962).

C.G.S. The Cults of the Greek States, Lewis R. Farnell, 5 Vois., (Chicago: Aegean Press, 1921).

C.M.G. The Cult of the Mother Goddess, E. 0. James, (New York: Barnes and Noble, 1957).

G.F.R.B. Griechische Feste von Religioser Bedeutung, Martin P. Nilsson, (Stuttgart: B. G. Teubner Verlagsgesellschaft, 1957).

H.M.R. Hermaphrodite - Myth and Rites of the Bi sexual Figure in Classical Antiquity, by Marie Delcourt, trans. Jennifer Nicholson, (London: Studio Books, 1961).

H.R. D'Histoire de l'Religion, Charles Picard, Vol. XCVIII, n. 4, (Paris: Universitaire de France, 1928).

H.R.D.P. Hermaphroditea- Rescherches sur l'~tre double promoteur de la fertilit~ dans le monde classique, Marie Delcourt, collection, Latomus, Vol. LXXXVI, (Bruxelles: Revue D'Etudes Latines, 1966).

I.M.G.T. The Interpretation of Mycenaean Greek Texts; Leonard R. Palmer, (London: Oxford ClarendGn Press , 19 6 3 ) .

K.G. Kingship and the Gods, Henri Frankfort, (London, Chicago: University of Chicago Press, 1965).

M.A.G.S. Manuel d'Arch~ologie Grecque la Sculpture, Charles Picard, T. 4, (Paris: Auguste Picard, 1935).

M.H.A.S. Manuels d 1 Histoire de l'Art la Sculpture Antique, Charles Picard, (Par1s, Libra1rie Renouard 6, 1926).

vi ABBREVIATIONS

, 1-l.M. Mycenaeans and Minoans, Leonard R. Palmer, (New York: Alfred A. Knopf, 1963).

M.M.R. The Minoan Mycenaean-Religion, Martin P. Nilsson, (Lund: W.W.K. Gleerup, 1950).

N.L.E.M. New Larousse Encyclopedia of Mythology~ ed. Fel1x Guirand, trans. Richard Aldington and Delano Ames, (London, New York, Sydney, Toronto: Prometheus Press, 1973).

O.G.R. The Origins of Greek Religion, B. C. Dietrich, (Berlin, New York: Walter De Gruyter, 1974).

P.S.G.R. Prolegomena to the Study of Greek Religion, Jane Ellen Harrison, (Cleveland, New York: World Publishing, Meridian Books, 1966).

P.W. Pauly Wissowa - Paulys Real Encyclopadie der Klassischen Alterturnswissenschaft. Neue Bearbeitung unter Mitwirkung zahlreicher Fachgenossen herausgegeben von Georg Wissowa, (Stuttgart: Alfred Druckenmllller Ve~lag, 1912) .

R.L. Roscher - Ausfuhrliches Lexikon der griech ischen und romischen Mythologie, von W. H. Roscher, (Hildesheim: Georg Olms Verlag, 1965).

R.P.G.R. R~pertoire de Peintures Grecque et Romaine, Salomon Reinach, (Paris: Ernest Leroux, 19 22) .

R.S.G.R. R~pertoire de la Statuaire Grecque et Romaine, Salomon Reinach, (Paris: Ernest Leroux, - Vols. 1 and 2, 1897; Vols. 3 and 4, 1904; and Vols. 5 and 6, 1924).

T. Themis - A Study of Social Origins of Greek Religion, Jane Ellen Harrison, (Cleveland, - New York: World Publishing, Meridian Books, 1952).

T.O.L. The Tree of Life - An Archaeological Study 1 E. 0. James, (Leiden: E. J. Brill, 1966).

vii LIST OF PLATES AND SOURCES

Plates Page 1 Frontispiece - A marble, standing nude Hermaphrodite from Pergamum rendered in the version of the schools of Skopas and Praxiteles. Early third century B. C. Height, including plinth, 1.86 m. Museum of Constantinople...... • . . . xxv

Charles Picard, Manuels d'Histoire de l'Art la Sculpture Antique (Paris: Librairie Renouard, 1926) , Figure 94. 2 Map - The Near East and Greece ca. 1400 B. c. 124 Atlas of World History, ed. R. R. Palmer, (New York, Chicago, San Francisco: Rand McNally, 1965), p. 22.

3 Map - The Homeric World. . . . . 125

T. B. L. Webster, From Mycenae to Homer, (New York: Praeger, 1958), Frontispiece.

4 Map - Classical Greece and the Athenian Empire about 450 B. C ...... 126

Atlas of World History, ed. R. R. Palmer, (New York, Chicago, San FrancisCOi Rand McNally, 1965), p. 26.

5 Map - The Roman empire .. 127

Dr. S. De Vries, T. Luykx and w. 0. Hen derson, An Atlas of World History, (Camden: Thomas Nelson and Sons, 1965), p. 14.

6 Figure 1. Clay sculpture of a goddess in sta~ding position with phallus-shaped head and folded arms. New Nikomedeia, Western Macedonia, Greece. ca. 6000 B. C. or earlier. Height 17.5 em...... 128

Harija Gimbutas, The Gods and Goddesses of Old Europe 7000 to 3500 B. C., (Berkeley and Los Angeles: University of California Press 1974), Figure 138, p. 133.

viii Plates Page Figure 2. Terracotta figurine with phallus- shaped head and pinched-up nose, slit eyes; deep incision near the top. ca. 6000 B. c .. Height 4.7 em .. Regional Museum in Pri~tina .. 128

Gimbutas, Figure 139, p. 133.

7 Figure 1. A small, terracotta, Vin~a figurine with female breasts, birds beak and male genitals. Height 5.5 em. Vin~a Vasic collection .....•.. ' . . . . 129 Marija Gimbutas, The Gods and Goddesses of Old Europe 7000 to 3500 B. c. (Berkeley and Los Angeles: University of California Press, 1974), Figure 111, p. 153.

Figure 2. Marble figurine with long phallic neck and pronounced buttocks. Proto-Sesklo, Attica, Greece. Height 22.5 em. Museum of Elet1sis...... 129

Gimbutas, Figure 112, p. 153.

Figure 3. Terracotta figurine of a strongly built youthful goddess from Hacilar, central Anatolia. ca. 6000 B. C. Height 10.2 em. (From J. Mellaart's Excavation at Hacilar.) .. 129

Gimbutas, Figure 99, p. 156.

8 Figure 1. Marble figurine from central Bulgaria. ca. 4000 B. C. ,Height 10 em. Plovdiv Archaeological Museum ...... 130

Marija Gimbutas, The Gods and Goddesses of Old Europe 7000 to 3500 B. C. (Berkeley an.d Los Angeles: University of California Press, 1974), Figure 147, p. 160.

Figure 2. Cycladic marble figurine. Syros. Mid-third millennium B. C. Height 21.6 em ... 130

Gimbutas, Figure 148, p. 161~

Figure 3. Elongated schematized, terra cotta figurine with large pubic triangle. Fourth millennium B. c. Height 15 em. Archeological Museum of the Institute of History, Kishenev, Soviet lfu1davia ...... 130

ix Plates Page Gimbutas, Figure 149, p. 161.

Figure 4. Terracotta figurine with folded arms from late Neolithic. Lerna, eastern Peloponnese. Height 18.2 ern. Argo Museum...... • . . • . 130

Gimbutas, Figure 152, p. 161.

Figure 5. Flat, schernatized, terracotta figurine with large incised pubic triangle. Hole on top for insertion of a goddess head. Vin~a ...... 130

Gimbutas, Figure 153, p. 161.

9 Terracotta sculpture of Goddess and young god. From Hacilar, Anatolia. ca. 5400 B. C. Lenght 0.12 rn. Ankara, Hittite Museum. . 131

George Hanfrnann, Cl.assical Sculpture - ~History of Written Sculpture, (Greenwich, Conn.: New York Graphic Society, 1967), Plate 1.

10 The Gurnelnita 'lovers'. A conjoined female and male terracotta statuette which is supposedly connected with ritual of sacred marriage. East Balkan civilization. Late fifth millennium B. c. Height 6.8 ern. 01 teni ta Archaeological Museum...... 132

Marija Girnbutas, The Gods and Goddesses of Old Europe 7000 to 3500 B. c. I (Berkeley and Los Angeles, University of California Press, 1974), Figure 243, p. 228.

1.1 A standing Priest With a Dove sculpture. Archaic Cypriot style. From Paphos, Cyprus. ca. 500 B. c. Limestone. Height 7'1~". Metropolitan Museum of Art,· New York City ... 133

John L. Hyers, The Metropolitan Museum of Art Handbook of the Cesnola Collection of Antiquities from Cyprus, -(New York: Metro politan ~-1useum of Art, 1914), Figure 1351, p. 215.

X Plates _Page

12 Figure 1. Antenor Kore. Found near north west Erechtheum on the Acropolis in Athens. ca. 530 B. C. Marble. Height, including plinth, 2.155 m. (8'4~"). Athens Acropolis Museun1 • .•.••••••.•••...••.• 134

G.M.A. Richter, Korai - Archaic Greek Maidens, (London, New York: Phaidon, 1970), Figure V.2, pp. 69-70.

Figure 2. Lyon Kore. Pentelic marble. Archaic style. ca. 550 B. C. Lower part - height 65 em. which is in the Acropolis Museum, Athens. Upper part - height 62 em. which is in the Lyon Museum, France. Height of whole 1.13 m...... 134

Richter, Figures 275, 279, p. 89.

13 Figure 1. Coin of Aphrodite with helmet and holding shield in temple on the Acropolis of Corinth. British Museum ...... 135

Percy Gardner, Types of Greek Coins, (London: British Museum, Cambridge University Press, 1883), Plate XV, no. 25.

Figures 2 and 3. Coins (obverse) with a head of Aphrodite wearing a helmet. Corinth. ca. 335 B. C. British Museum...... 135 Gardner, Plate Xll, no. 27, 28.

Figure 4. King Tutankhamun upon a Leopard. Uraeus and sandals are made of gilded bronze; otherwise whole composition carved of wood. The figure of the king is coated with gesso and gilded. Eyes and eyebrows inlaid with glass. Egyptian Dynasty XVIII. Height of king 56.4 em.; height of leopard 19.4 em. Whole height including plinth, 85.6 em. ( 33 11/16") . Cairo, Museum. . . . . 135

Catalog of Treasures of Tutankhamun, ed. Katharine S. Gilbert, Joan K~ Holt and Sara Hudson,. (The Metropolitan Museum of Art, 1976), Plate 21.

xi Plates Page 14 A stone relief on the throne of two statues of Sesostris I, from Lisht. Shows two national gods, Set and Horus tying lily and papyrus around hieroglyph. Egyptian Dynasty XII. Cairo, Museum ..•.. 136

K. Lange and H. Hirmer, Egypt, Architecture Sculpture-Painting in Three Thousand Years, (London: Phaidon Press, 1961), Plate 87.

15 Figure 1. Bas-relief of Queen Hatshepsut wearing the pharaoh's:_:false beard on the_ temple at Deir el-Bahari. . . . . • . . 137

Genevi~ve S~e avec la collaboration de Jean-Pierre Baux, Grandes villes de :1' Egypte antique, (Ivry: Editions Serg, 1974), p. 86.

Figure 2. Statue of Queen Hatshepsut wear ing the pharaoh's false beard. ca. 1500 B. C. New York Metropolitan Museum of Art...... 137

Lionel Casson, Daily Life in Ancient Egypt, (New York: American Heritage, 1975), p. 29.

16 Figure 1. A Cypriot coin depicting Aphro dite's Phoenician temple and sacred cone at Paphos. Roman Imperial date. Cyprus Museum, Nicosia. . . . • ...... 138

Geoffrey Grigscn, The Goddess of Love, (New York: ·Stein and Day, 1977), Plate 9.

Figure 2. An androgynous deity incised on a white agate which is rendered in cone-shape.

Because of its shape 1 is thought to be Astaroth or the bearded Venus rJJ.ylitta. . . . . 138

Thomas Inman, Ancient Pagan and Modern Christian Symbolism, Kennebunkport: Milford House, 1970), Plate IV, no. 3.

17 Figure 1. A marble Artemis and her dog. Only the head is an original by Skopas. ca. 360 B. C. Vatican Bracchio Nuovo, no. 108. . . 139

Andrew F. Stewart, Skopas of Paros, (Park Ridge: Noyes Press, 1977), Plate 33c.

xii Plates Page Figure 2. Bronze statuette of Apollo Sauroktonos which is rendered after Praxiteles' work. ca. 350 B. C. Height 40 Cfll. • Villa Albani, Rome. . • . . . . 139

Charles Picard, Manuel d'Histoire de l'Art la Sculpture Antique, (Paris: Librairie Renouard, 1926), Figure 52.

18 Marble relief of Zeus Stratios of Lebranda. Lower part broken off. Height 0. 28 m. by 0.43 m. wide. Found at Tegea 1868. ca. 351-344 B. C. British Museum, London. . . . . 140

Marie Delcourt, H.M.R., Plate 7.

19 Figure 1. A coin of Tenedos showing a male and female janiform head on obverse and the double axe on the reverse...... 141

Margaret Waites, "The Deities of the Sacred Axe," A.J.A, 27, 1923, Figu-re 2, p. 33.

Figure 2. A bronze figure of Attis. Graeco-Roman. British Museum, London .. 141

Edward Lucie Smith, Eroticism in ~vestern Art, (New York, Washington: Praeger, 1972), Illustration 25.

Figure 3. Bronze mirror case of Pandemos Aphrodite on a goat. ca. 370 B. C. Louvre. 141

Andrew F. Steward, Skopas of Paros, (Park Ridge, New Jersey: Noyes Press, l977), Plate 33a.

20 Figure 1. An Etruscan mirror case showing Aphrodite with an effeminate Adonis in an embrace. ca. 320 B. C. He~mitage Museum, Leningrad. • ...... 142

J. D. Beazley, Journal of H~llenic Sttidies. 1949, Figure 13, pp. 11-12.

Figure 2. Red fig·ured Pel ike with a painting of a woman sprinkling phalluses (Adonis' gardens) with water or grain. British Museum, London...... 142

xiii Plates Page W. Atallah, Adonis - Dans la Litt~rature et l'Art Grecs, (Paris: Librairie C. Klincksieck, 1966), Figure 64.

21 Fiqure l. A marble,nude Praxitelean-type Dionysos with a libation cup leaning on a bearded herm of Hermes. Fourth century B. C. Height 1.73 m. Prado Huseum, Spain .. 143

Charles Picard, Manuel d'Arch~ologie Grecque la Sculpture, T. 4, (Parls: August Picard, 1935), Figure 129.

Figure 2. Mosaic of a Symposium of Heracles and Dionysos. From Antioch. First century A. D. (was inspired by a Hellenistic painting). Worcester Art Museum, Worcester .... 143

George W. Botsford and Charles A. Robinson, Jr., Hellenic History , 3rd ed. (New York: Macmillan, 1948), Plate 97. 22 Painting of the Metamorphosis of Hermaphro- dite and the nymph Salmacis by Jan Gassert (Mabuse) , .a Renaissance artist. Museum Boymans-van Beuningen, Rotterdam...... 144

Michael Grant and John Hazel, Gods and Mortals in Classical Mythology, (Springfield: G and C Merriam, 1973), p. 229.

23 Marble herm of Aphrodite Ourania. Found near the extant remains of temple Ourania in the Agora at Athens. ca. mid-third century B. C. Height 0.32 m. Agora S. 1086...... 145

John Travlos, Pictorial Dictionary of Ancient Athens, (New York, Washington: Praeger, 1971), Plate 105, p. 82.

24 Figure 1. Coin from Melos. Shows Hermes and Aphrodite together on the obverse. ca. 431-355 B. C. British Museum, London. 146

Percy Gardner, Types of Greek Coins, (London: British Museum, Cambridge University Press, 1883), Plate X, Asia Minor, no. 31.

xiv Plates Page Figure 2. Votive Pinax. Terracotta relief from Rosarno in Calabria (so. Italy). Shows a cult of Aphrodite, Eros and Hermes. ca. 450-440 B. c. Antiquarium, Munich. . . 146

R.~., Vol. 1.1, cols. 1352, 1353.

25 Terracotta plaque from Locri (so. Italy). Shows Aphrodite in a chariot with Hermes just mounting. The chariot is drawn by Eros and Psyche carrying a cock and a perfume flask (alabastron). ca. 460 B. C. Height 9 inches. Taranto National Museum. . . .. 147

John Boardman, Greek Art, (New York, Wash ington: Praeger, 1969), Plate 148, p. 163.

26 Figure 1. A bronze, Greek herm of a bearded Hermes which measures 3~" by 2~" (9 x 5' 5 em.). Norbert Schummel collection New York. • . . . • ...... • . . . 148

Edward L. Smith, Eroticism in Western Art, (New York, Washington: Praeger, 1972), Illustration 10. Figure 2. Aphrodite crowning a 'herm' of a bearded Hermes. Hellenistic terracotta figurine from tomb in Greek town Myrina (Anatolia). Second century B. C. British Museum, London. . . . . • . . . . 148

Geoffrey Grigson, The Goddess of Love, {New York, Stein and Day, 1977), Plate 16.

27 A sketch of wall painting from Pompeii "Toilette d 'Hermaphrodite." Depicts Hermaphrodite with Eros, the bearded Aphro ditos and two servants in the background. . 149

Sketch enlarged by author from Reinach, R.P.G.R., p. 98, no. 1.

28 Figure 1. A bronze votive herm of Hermaphro dite with a female breast and a male organ etched on its pillar. Height 8 em. ( 3}4") • Found in Sofia...... 150

XV Plates Page Seure, Revue Arch€ologigue, T. 1, 1913, p. 57. Sketch enlarged by author from Reinach, R.S.G.R., Vol. V, no. 11, p. 262.

Figure 2. A marble vo·tive herm of Hermaph rodite found in Pompeii. Has sculpted feet at the base. Height about 9 em. • . . . . • . 150

Sketch enlarged by author from Reinach, R.S.G.R., Vol. IV, no. 5, p. 331.

Figure 3. Marble ithyphallic, votive herm of Hermaphrodite found in Sarno. Fully clothed except for the erect male organ 11 lifting up the tunic. Height 71 em. (2 7\ ) • • 150

Carl Robert, 11 Satiresca, 11 Annalli dell' Institute di Corrispondenza Archeologica, T. 56, 1884, pp. 88-9. Sketch enlarged by author from Reinach R.S.G.R., Vol. IV, no. 6, p. 331.

29 A Hellenistic, marble, standing Hermaphro dite which is a replica of an earlier Greek work dating back to the fourt.h century_~B. C. Life size. Staatliche Museen, Berlin. . . . . 151

Delcourt, H.M.R., Plate l, p. 4.

30 Bronze statuette of the Epinal Hermaphro dite, found on Mt. Zion. Hellenistic. Epinal Museum, France ...... 152

Salomon Reinach, Catalogue Ill ustr~ du Mus~~e des Antiqu~s Nation ales, (Paris, Mus€es Nationaux, Palais du Louvre, 1921), Figure 95, pp. 178-9.

31 A relief fragment from a large marble, amphora vessel. Shows a Hermaphrodite who turns to look back at the figure following him. It is a larger copy of an Athenian marble plaque with the same type Hermaphro dite of the third century B. C. A small winged Eros precedes the androgynous god. Height of Hermaphrodite 53 em. Height of fragment 58 em. by 45 em. wide. Museum Barraco, Rome...... 153

DelcmJ.rt, H.M.R.,· frontispiece.

xvi Plates· Page 32 A Marble, Hermaphrodite fountain. He wears a tunic which was held up by the now two broken-off hands and arms in order to hold fruit and display the male organ at the same time. Thermes Museum, Rome .... 154

Delcourt, H.R.D.P., Plate III, pp. 30-31.

33 A marble, standing Chablais Hermaphrodite. He holds an Eros in his turned-up robe. Head is restored. The s·tatue is a Roman copy of an earlier Greek work. Height 75 em. (28~"). From the Chablais collection. Capitoline Museum, Rome...... 155

Delcourt, H.R.D.P., Plate I, pp. 21-22.

34 A marble, stm1ding Hermaphrodite wearing a calathos laden with fruit on his head, is holding up his tunic in an anasyrma attitude. National Museum, Stockholm. . • ...... 156

Delcourt, H.M.R., Plate 6, p. 64.

35 Figure 1. Bronze, statuette group Hermaphrodite is caressing the hair of a small boy playing the flute of Pan on the right while his left hand rests on a phallic herrn. Hellenistic. Louvre; Paris...... 157

Delcourt, H.M.R., Plate 4, p. 62.

Figure 2. A bronze, nude, standing Hermaph rodite with left hand raised to hair. Greek style. Height 148m. (4'8"). From the Oppermann collection. Biblioth~que Nationale, Paris ...... 157

E. Babelon and J. Blanchet, ~atalogue des Bronzes Antiques de la Biblioth~que Nationale, (Paris: Ernest Leroux, 1895), Figure 307, p. 136.

36 A patina-bronze, nude Hermaphrodite. Ithyphallic. Height 48 em (20"). The Hall of Bronzes, Museum of Conservators, Rome. . . 158

Del court, H. R~. , Plate II.

xvii Plates Page 37 Figure l. A wall painting of an almost nude, standing Hermaphrodite from Herculaneum. Pompeian third style. Hall 66, National ~1useum, Naple~. 159

Nugae Pompeianorum- Unbekannte·Wand malereien des dritten pompejanischen Stils, (Tilbingen, Verlag, Ernst Wasmuth, 1962), p. 16, Tafel 21.

Figure 2. A bronze-patina Hermaphrodite of the Priapic type. Found in Athens. From Alexander's time. Height 1.1 m. The Oppermann collection, Biblioth~que Nationale, Paris. . . . . • . • • 159

E. Babelon and J. Blanchet, Catalogue des Bronzes Antiques de la Bibliotheque Nationale, (Paris: Ernest Leroux, 1895), Figure _310, p. 137.

38 A Gnathia vase with a painting of a nude Hermaphrodite with wings hovering above a goose. Fourth or third century B. C. Antique collection, Kunsthistorisches Huseum, Vienna. . • ...... 160

Delcourt, H.R.D.P., Plate IV.

39 Figure l. A wingless, terracotta, androgy nous Eros is seen in the movement of dance. From the Greek town of Myrina (Anatolia). Second century B. C. Museum of Fine Arts, Boston...... 161

F1gure 2. A winged, terracotta, androgynous Eros from Hyrina. Second century B. C. Huseum of Fine Arts, Boston...... 161

Delcourt, H.R.D.P., Plates VI and VII.

40 The marble, triple herm Chablais consists of a conjoined Aphrodite, bearded Hermes and Hermaphrodite. Small statues of each (except Hermaphrodite) stand before them at the base. Eros stands before Hermaphrodite. • Third or second century B. C. The Chablais collection, Vatican Museum, Rome. 162

xviii Plates· Page Author enlarged sketch from Reinach, R.S.G.R., Vol. I, no. 2, p. 329;

41 A 1-iarble relief of a large, nude, standing Hermaphrodite holding a winged baby Eros. Hellenistic. Height 1.20 m. by ·0.75 m. wide. Palazzo Colonna, Rome ...... 163

Arthur B. Cook, Zeus - A Study in Ancient Religion, (New York, Biblo and Tannen, 1965), Vol. 2, Figure 91, p. 151. See also Charles Picard, M.H.A.S., Figure 98, p. 255.

42 Figure 1. A marble, recumbent, nude Hermaphrodite. Hellenistic. Length 1.48 m. Uffizi, Florence. • ...... 164

A. De Ridder and W. Deonna, Art in Greece, (New York, Barnes and Noble, 1968), Plate XXIV.

Figure 2. A marble, recuwbent, nude Her maphrodite. Hellenistic. Length 1.45 m. National Museum, Rome...... 164

A. W. Lawrence, Later Greek Sculpture and· its Influence on East and West, (New York: Hacker Art Books, 1969), Plate 32.

43 Figure 1. A marble, recumbent, nude Hermaphrodite. Hellenistic. Museo e Galleria Borghese, Rome. . .. 165

Delcourt, H.M.R., Plate 2.

Figure 2. A marble, recumbent, nude Hermaphrodite. National Museum, P..thens. 165

Delcourt, H.M.R., Plate 3.

44 Figure 1. A recumbent, nude Hermaphrodite restored with bed by Bernini. Louvre, Paris. . . . • • .. 166

1\..nthony Blunt, 11 Gianlorenzo Bernini;" Art History, 1978, Vol. 1, March, 1978, I~igure 31.

xix Plates Page Figure 2. A bronze, nude, kneeling Hermaphrodite. Found at Caylus. Roman work. Height 65 ern. National Bibliotheque, Paris.

E. Babelon and J. Blanchet, Catalogue des Bronzes Antiques de la Bibliotheque Nationale, (Paris: Ernest Leroux, 1895), Figure 30 8, p. 137.

45 Figure 1. Ivory, female goddess statuette from tomb of Dipylon cemetery. ca. 750 B. C. Height 24 ern. ( 9~") • Athens Acropolis Museum. . 167

R. J. Hopper r The Early Greeks, (New York: Harper and Row, 1977), Figures 27 and 28.

Figure 2. Warrior statuette, bronze plate on wooden core. Found at Dreros, Crete. Early half of seventh century B. C. Athens Acropolis museum...... 167

Hopper, Figure 29.

46 Figure 1. Marble, janiforrn bust of Dionysos and Ariadne (?). Athenian .. 168

Arthur Cook, Zeus - A Study in Ancient Religion, (New York: Biblo and Tannen, 1965), Vol. II, Figure 299, pp. 390~92.

Figure 2. Janiforrn Athenian aryballos combining male &!d female Dionysiac heads. Sixth century B. C. Height 0.1125 rn. . . . . 168

Cook, Vol. II, Plate XXI.

Figure 3. Double Herrnai from the Athenian Stadium - excavated 1869-1870...... 168

John Travlos, Pictorial Dictionary of Ancient Athens, (New York, Washington, Praeger, 1971), p. 502, Plate 631.

XX , '

Plates Page 47 Figure 1. Pan and Hermaphrodite. A wall painting which is 91 by 143 em. From Pompeii, regio VI, insula IX, nos. 6-7, House of Dioscuri (atrium) . Fourth style. Reign of Nero .... 169 Michael Grant, Eros in Pompeii - The Secret Rooms of the National Museum of Naples, (New York: William Morrow, 1975), p. 14 7. Figure 2. A Hermaphrodite struggling with a satyr. Marble. Ro~an copy after a late Hellenistic work. Height 35 5/8 inches (90.6 em.). Skulpturensammlung, Dresden. 169

Edward L. Smith, Eroticism in Western Art, (New York, Washington: Praeger, 1972), Plate 23.

xxi ABSTRACT

THE ORIGIN OF THE HERMAPHRODITE

IN GREEK ART

Irene Marcella Adrian Czako Master of Arts ln Art

This thesis gives a religious and historical account for the origin and significance of Hermaphrodite in classical Greek art. The origin of this double form goes back to one of the earliest cults known to mankind, the Mother Goddess. Archaeological evidence demonstrates that Mother Goddesses from Neolithic times were bisexual.

This study shows that the androgynous figure ~ith its ties to the Mother Goddess cult remained ever present in the ancient Western Civilizations from Neolithic times to the end of classical antiquity.

The rendering of bisexual statues is also shown to have been influenced by the hieros gamos rite (part of the Mother Goddess' cult) in its affiliation with divine

xxii kingship. One of these statues is the pharaoh Tutankhamun

on a black leopard and another is a Priest With a Dove from

;Cyprus; their androgynous nature has never before been

'explained. Moreover, this thesis demonstrates tha·t the I ;statue of a Priest With a Dove in the Metropolitan Museum

in New York is in actuality the bearded Aphrodite and

the inmediate forerunner of the Greek Hermaphrodite.

Fertility festivals with their hieros gamos rite

between a Mother Goddess and her paredros (usually imper- -

sonated by the king and queen or their equivalent) were

held annually to renew fertility of all life on earth as

well as life after death (rebirth).. These types of festi-

vals are shown to have been widespread throughout the

ancient Greek communities and very similar in content.

The androgynous Cypriot Aphrodite cult appears to

have come from Crete to Mycenae and then to Athens (ca.

1300 B. C.). According to Greek legend, when the cult of

Aphrodite was instituted in Athens, the paredros of the

. goddess was Dionysos and not Adonis. The first reference

to the Adonis-Aphrodite (bisexual Aphroditos) cult occur-

red in the latter half of the fifth century B. C ..

Shortly afterwards Aphroditos was to be identified with

Hermaphrodites.

The Athenians chose Hermes (rather t.han Adonis)

tQ share in the name and characteristics with Aphrodite

in the creat:ion of a· new deity Herma_ph£odi_!:_:=, their son.

xxiii Although the prototype of Hermaphrodite was a votive herm with characteristics of both Hermes and Aphrodite, he is shown in his visual representations to have become totally anthropomorphic, and to possess, in addition, certain attributes of other deities such as Eros, Demeter,

Dionysos, Priapos and even Isis. These different kinds of

Hermaphrodites suggest that his compound name became identified with androgyny soon after his creation; there fore all bisexual deities, regardless of attributes became known as Hermaphrodites. It is shown in this thesis, however, that his statues, regardless of the various attributes, retained the same meaning as his prototype; i.e., that he was a god of fertility, marriage, a protector of the sexual union and rebirth. The over-all study demonstrates that Hermaphrodite was the final realization of a concept deeply embedded in the ancient world.

xxiv Plate 1. Hermaphrodite from Pergamum. Early 3rd century B. C.

XXV INTRODUCTION

The purpose of this thesis is to account for the origin and the meaning of the Hermaphrodite in classical

Greek art. Although a popular subject in both sculpture and painting in ancient Greece and Rome, the significance 1 of this double natured deity has neither been thoroughly investigated nor explained. Ancient as well as modern writers on this subject, have left much to conjecture concerning the brigin and nature of this god.

Hainly through the efforts of ~1arie Delcourt in this century has Hermaphrodite been given some of his long overdue recognition. She has published two definitive books 2 on the subject: the first (1961) concerned the myths and rites pertaining to bisexuality in ancient Greek thought, which were the pathways that lead to the divine Hermaphro- 3 dite; the second (1966) was a typological study of the double natured god. Although these two books are signifi- cant, they fail to account for the origin of Hermaphrodite

1 Hermaphrodite the offspring of Hermes and Aphrodite is thereby of divine origin. 2 Delcourt, H.H.R.

3Delcourt, H.R.D.P.

1 2

in terms of the cult and rite which produced his bisexual form. Thus, the religious and historical explanation of his origin in Greek art is the primary concern of this thesis.

Several reasons can be given for the long neglect of this bisexual figure in the history of art. First, the only extant literary documents from antiquity which attest to a cult of Hermaphrodite are an inscription on a shrine dedicated to the double god found in Attica, which dates 4 between 400 and 385 B. C.; a passage by Theophrastus in 5 his Characters on "Superstitious Man"; and the mention of 6 Hermaphrodite by Alciphron in one of his Letters. In addition, the numerous visual representations of this deity provide little evidence in terms of his cult significance.

Finally, the only myth from antiquity concerning Hermaphro- 7 dite originated with the Carians in order to explain not

4 J. Kirchner and St. Dow, "Inschriften vom at tischen L?J.nde," Mitteilungen des deutschen archaeologi schen Instituts: athenische Abteilung, t. 62, 1937, p. 7. For the site of the grotto where the shrine was found see M. E. Dunham, "The Cave at Vari," A. J .A. , t. 7, 1903, p •. 263. . 5 Theophrastus Characters 16, 10 6 Alciphron Letters III, 37; II, 35 (ed. M. Schepers). 7 ~vilmon Brewer and Brookes More, Ovid's Meta morphoses in European Culture, (New Hampshire, Marshall Jones Publishing, 1948), pp. 164-165; Nicander of Colophon and Ovid later used this myth in their writings. 3

only the emasculating powers of a pool of water in Caria, near Halicarnassus, but also the double. nature of this god. According to the Carians and certain ancient geo- 8 graphers, any man who bathed in the Carian pool became impotent. This myth shows that the bisexuality of

Hermaphrodite was not a condition of birth but resulted

·from a metamorphosis when he became one with the nymph of the Carian pool while bathing in it. However, Diodorus 9 10 of Sicily, Lucian and others assert that the dual nature of this god had existed from birth; hence, his two- fold name and characteristics derived from his two parents

Hermes and Aphrodite. The compound name "Hermaphrodite" has, only through common usage, been made equivalent to ll n androgyne" . Factors regarding the myths, genealogy and

8 Strabo XIV 2, 16; Vitruvius II 8; Pliny Natural History XXXI 36; see also the Roman epic poet Quintus Ennius, fragment II. 9 Diodorus of Sicily IV. 6, 5.

10 Lucian Deorum Dialogi 15.2; Martianus Capella I 34, p. 18; Palatine Anthology II 102; IX 783. ll Rather than attempt to choose between the terms "androgyne" and "hermaphrodite" which have from time to time been established arbitrarily, the two terms will be used synonymously throughout the text. "Androgyne" is a compound Greek word which is bisexual in itself in that 'andrci' means male and 'gyne' female. Since a true her maphrodite possesses characteristics of both sexes (essentially female breasts and a male genital organ), a her maphrodite (or androgyne) may be considered as either a man or a woman or as neither, in which case, the hermaphro dite would be referred to in the neuter gender as it. See ~lato's Symposium, trans. J. A. Stewart, p. 181: Plato implies.that the terms "androgyne" and "hermaphro dite" are one and the same. 4 the visual representations of Hermaphrodite will be discussed at length in this thesis, as they provide evidence that a cult of Hermaphrodite existed. Some 12 authorities on antiquity believe that representations of this androgynous figure were nothing but fanciful poetic sculptures without cult significance.

There were other earlier androgynous divinities in 13 antiquity. However, their names never imply as does

"Hermaphrodite" the simultaneity of the male and female principle. Archaeological and literary evidence in this study substantiate that double natured deities, such as

Hermaphrodite, had been present fr9m earliest times; thus, they prove that the concept of his dual nature was not new, only his name and the myths associated with him were in actuality an innovation.

Although mystery religions with such ambiguous man/ woman divinities as Dionysos began to penetrate into

Greece as early as the sixth century B. C., the bearded

Aphrodite of Cyprus appears to be the deity which

12 Delcourt, H.R.D.P., pp. 7-8. Delcourt repeats Wilamowitz and Dummler who considered Hermaphrodite might be a fanciful invention of the sculptors. Reinach and Usener thought the sculptures were without cult signifi cance. See also E. Pottier et s. Reinach, La Necropole de Myrina, Vol. I, (France: E. Leroux, 1887), p. 329; and H. Usener, Zwillingsbildungen, kleine Schriften, IV, (Berlin: 1876), p. 491. 13 See Plates 11, 14, 15, 16, 18 and 19. 5

influenced the Athenian Hermaphrodite. Many scholars 14 who have written about the bearded Aphrodite, have agreed that this double natured dei·ty was the forerunner 15 of the Greek Hermaphrodite. Such a bisexual figure is known to have derived from a Mother Goddess cult. The hieros gamos (sacred marriage) rite from this cult in connection with the initiations pertaining to divine kingship, produced at times a double natured deity. The

Mother Goddess cult will be explored in its connection with divine kingship in Cyprus, Egypt and Crete. In addition, the bisexual Aphrodite will be compared with a bisexual Tutankhamun from Egypt and. with a-bearded Venus

Mylitta of Babylonia, not only to show their similarities in derivation but to demonstrate how embedded the Mother

Goddess cult was in the ancient world. Festivals in the

Near East and elsewhere, which incorporated the hieros gamos rite with a deity analogous to the Cypriot bearded

Aphrodite, will also be discussed. These festivals demonstrate approximately when and by what route the. bisexual

Aphrodite came to Athens.

14 Martin P. Nilsson, G.F.R.B., p. 373; See also Farnell, C.G.S., Vol. II, p. 94; Jessen, article "Her maphrodite," P.W., col. 715. 15 - The earlier bisexual deities anticipate the Hermaphrodite as well; but the bearded Aphrodite is considered the immediate forerunner. 6

Moreover, these festivals pertained to the mystery religions in which the Mother Goddess and her paredros (male associate) played an important role in order to ensure the fertility of man, animal and plants.

Such deities represented the life, death and rebirth cycle of nature; hence, they were also the deities of resurrection and were revered as the saviours of mankind.

During the political turbulence of the late fifth and early four~h centuries in Greece, many people of all classes were captivated by the appeal of these rituals.

The initiates of such cults as that of: Adonis and

Aphrodite, Cybele and·Attis, Demeter and Pluto, Dionysos,

Orpheus, Osiris and Isis were bound by silence; and as a result, they have been referred to as mystery cults.

These religions are still much of a mystery today as the authors who were in a position to give information about them were initiates themselves and pledged to secrecy; therefore, much of what is written about these cults is 16 conjectural.

In Athens the "Berm" part of the name "Herma.phrodi te" vlas added to "Aphrodite" forming a compound bisexual

16 Harold R. Willoughby, Paqan Regeneration, (Chicago: Univ. of Chicago Press, 1960), pp. 22, 140-141; see also Jane E. Harrison, T., p. 215; and H. w. Parke, Festiv~ls of the Athenians,-(Ithaca, New York: Cornell Univ. Press, 1977), pp. 23-24. 7

name which became universally identified as androgynous.

This thesis will explain why "Hermes" was chosen over many other names of paredroses to unite with "Aphrodite" in the naming of "Hermaphrodite".

The extant sculptural representations of Hermaphro dite from antiquity show that they were created through the

Roman period. Many of these Roman sculptures, however, go back to an earlier Greek original and present many problems in interpretation which this thesis will attempt to resolve. Most of these later bisexual figures possess attributes of other fertility deities, e.g., Demeter,

Aphrodite, Eros, Dionysos and Priapos, rather than exclu sively the male and female attributes of his parents Hermes and Aphrodite. Further, in the Hellenistic period, the

Greeks had a marked predilection for this figure because of its sensual and erotic appeal. At this time artists made many so-called "decadent" hermaphrodites which were apparently without cu±t significance. The visual repre sentations (mainly sculpture) of Hermaphrodite discussed in this thesis will be classified according to the types formulated by Delcourt.

The Greek artist who created the first prototype of Hermaphrodite was concerned with a great deal more than 8

craftsmanship and imagination. In ancient Greece the visual form of a deity was usually determined by its cult.

A good exarnple of this may be found in Sames where the goddess Hera was represented as a bride, symbolic of her role in the hieros games rite. Accordingly, her image or 17 effigy was that of a bride in a wedding ensemble. This thesis will demonstrate that the dual form of Hermaphro- dite was created·as the result of a cult.

17 Nilsson, G.F.R.B., p. 373. Chapter 1

THE MOTHER GODDESS AND HER PAREDROS FROH PRE-HISTORIC TO CLASSICAL GREECE

The earliest known cult, the Mo·ther Goddess, can be traced back to Paleolithic times, e.g., the Venus of 1 Willendorf {ca. 24000 B. C.). Although this early Venus is not bisexual, some of the later Neolithic Great Mother

Goddesses have been (Plates 6 and 7). These bisexual goddesses are the earliest known archaeological evidence for the Greek Hermaphrodite. It is noteworthy that during the Neolithic period (7000 to 5500 B. C.) there were several types of Mother Goddesses that flourished in conjunction with the bisexual ones, e.g., zoomorphic, 2 enthroned, pregnant and sorrowful goddesses.

Plates 6 and 7 illustrate some of these bisexual goddesses. Fig. 1 of Plate 6 has huge thighs and a phallus-shaped head. Her arms are folded, as wit.h many

1 Several of these early "Venus" figurines have been found. These "Venuses" together with the cave paintings (da·ted between 24000 and 10000 B. C.) depicting fertility dances, indicate that there was a Mother Goddess cult in this early period for the purpose of promoting propagation in humans and animals. 2 For these various types of goddesses see Mari j a Girrbut.as, The Gods and Goddesses of Old Europe, 7000- to 3500 B. c., (Berkeley and Los Angeles: University .r-:-~··:::--:c;::,-:;.:;lJ. O .L \.....Cl..J... .. L_i_\... i.J.. .:. ~ a -Press""" 1 1974'1"

9 10

of the early Mother Goddesses, in order to emphasize the breasts. Fig. 2 is a figurine of a phallus head with slit eyes and a deep incision near the top with a canal down the middle. Fig. 1 of Plate 7 has female breasts, a bird's beak and male genitals. Fig. 2 of same Plate has a long phallic neck and pronounced buttocks; and fig. 3 is an illustration of a Mother Goddess from central Anatolia

(Turkey) wearing a loin-cloth and a conical cap which 3 was symbolic of the phallus and in the late Bronze 4 Age became equated with "Aphrodite's cone". Thus, the cap makes this Mother Goddess bisexual.

These Mother Goddesses were given a double sexual nature in Neolithic times in order to show her absolute 5 power, and as a symbol of life, death and regeneration.

She is the supreme creator who creates from her own substance. Because most of the bisexual Mother Goddesses that have been found date back to Neolithic times, Gimbutas thinks_ that they became divorced from their ma1e attri- 6 butes during the course of the sixth millenium B. C ..

3 Ibid., p. 153; see also Delcourt, H.M.R., p. 29. 4 Infr9: .pp. 45, 46. 5 Gimbutas, PP· 159, 196. 6 Ibid. , P• 196. ll

She goes on, however, to state that the tradition of the dual sexed figures never completely died out as a few phallic figurines with female breasts have been found which 7 date from 4000 B. C.

The Mother Goddess, herself, has always represented woman as a universal womb, the inexhaustible source of life to which a human being returns in order to be born again. She was a magician mother; her anthropomorphic form was an outward symbol of a community concerned with the 8 life, death and rebirth cycle. Plate 8 shows Mother

Goddesses without a double nature which are dated ca. 4000

B. c .. Fig. 1 is a fat rounded goddess who looks like the earth, itself. Figs. 2, 3 and 4 are abstract goddesses with emphasis on the breasts and the pubic triangle in order to emphasize the fertility function; but fig. 5 is a very rounded convincing female representation.

According to Gimbutas, after the sixth millennium

B. C., the Mother Goddess without her male attributes represented the impalpable earth spirit. She was not herself a creative principle only through the interaction 9 of the male god did she become impregnated. Plate 9

7 Ibid., PP• 216, 217. 8 Ibid., pp. 195, 196. 9 Ibid. , P· 196. 12

is a reproduction of a Mother Goddess and her paredros sculpture. They are shown in a symbolical act of coition for the purpose of renewing all life on earth. The earth goddess is fertilized by her young paredros who dies and 10 is revived; her body is stirring to awaken all life.

Moreover, this rituai coition act performed by a Mother

·Goddess and her paredros represented the consu~nation of the hieros gamos rite. Another portrayal of divine lovers connected with the ritual of hieros gamos can be seen in

Plate 10. These two masked, nude deities imply that the 11 moment of coition is about to take place. Masks possessed supernatural powers and protected the capricious life 12 forces in order to assure perpetuation. The female has a large pubic triangle and the male is ithyphallic.

The Mother Goddess cult with its hieros gamos rite became associated with the institution of divine kingship 13 in both Egypt and ~esopotamia. Archaeological investi-

10 · George M. A. Hanfmann, Classical Sculpture - A History of Western Sculpture, ed. John Pope-Hennessy, (Greenwich, Conn.: New York Graphic Society, 1967), p. 309. 11 Gimbutas, p. 228. 12 Ibid., p. 11. 13 Samuel Noah Kramer, The Sacred Harriage Rite, (Bloo~ington, Indiana: Univ. Press, 1969), p. 49; see also Ivan Engnell, §tudies in Divine Kingship in _the Ancient Near East, (Oxford: Basil Blackwell, 1967), pp. 16, 32; and Frankfort, K.G., p. 15, -for kingship in Egypt ca. 3000 B. C., and. pp. 297, 298, says the king was deified during the New Year enthronement festival. 'rhe vie•,v is ·that the ancient kings ruling the Mesopo·tamian 13

gattons have produced a few androgynous sculptures of 14 priest-kings. The priest-king in antiquity was thought to have embodied the Mother Goddess' paredros; thus, he was .:interchangeable with this god in name and function, whereby he was divine. These bisexual statues symbolically represent a consummation of the .Mother Goddess and her priest~king or paredros which took place in the performance of a hieros games rite during the New Year enthronement IS festival. Hence, the dual form of these statues are

city states were merely representatives of the deity on earth; however, according to Engnell, the king was con sidered to be of divine o~igin since he was born of a godaess and had for his father Anu, Enlil, or some other god. At the New Year festival, the king embodied the chief fertility god whereupon he became the divine bride groom to the chief temple goddess. 14 See Plates 11, 13, 14, 15, and 16. 15 See Frankfort, K.G., p. 106, for the Egyptian New Year festival; and Kramer, p. 65, for the Sumer New Year festival. It should be noted that the annual New Year celebrations in the ancient world could be hela in spring, surr@er or autumn depending on the particular calendar. For example, the calendar in ancient Crete and Greece was represented-on an octennial cycle; according to their observation, every eight years the sun and moon were almost in perfect harmony. Thus, this was the year the king either renewed his kingship or was replaced by a younger vigorous king. However, there was a seasonal festival celebrated to renew the king's youth and vigor in relationship to the young year god he impersonat.ed; Sir James G. Fraser, The New Golden Bough, ed. Dr. Theodor H. Gaster, (New York: S. G. Phillips, In6., 1972), p. 234; and R. F. Willetts, c.C.F., pp. 92, 108, 111. 14

rende;red.with the combined physical characteristics of

the priest-king or paredros and ·the Mother Goddess (mainly

only her breasts}, The double natured images as recorded

by these sculptures, similar to the bisexual Mother

Goddesses in Neolithic times, represented the life, death

and rebirth cycle; likewise they depicted absolute power

·Call the life giving forces) which to the worshippers

·meant procreation, propagation and proliferation of all

things on earth.

The ·paredYos (whom the king embodied) of the

Mother Goddess was a subsidiary figure who could appear as

a child, young man, or a bearded god.. He could be at

once her child, brother and husband and he was symbolic 16 o;f growth and decay of vegetative life. Usually the

r1other Goddess and her paredros stood side by side in the

sanctuary of the temple. If the paredros was not repre-

sented with the goddess, or vice versa, the sculptural

image of the single deity would at times be bisexual, and 17 take on characteristics of the opposite sex~ It appears,

according to James, that the dominant sex features of a

bisexual sculpture (i.e., whether the sculpture would

6 Dietrich, O.G,R., pp. 11, 172. 17 J. Wiesner, Olympos; Getter, Hythen und Statten von Hellas, (Nieder ·Ramstadt bei Darmstadt: Verkehrs und Wirtschaftarchiv, E. Techow, 1960), p. 156f. 15

retain the feminine or masculine: name, head, and characteristics) were determined by the preference of the ruler and the nature of the society it belonged to:

•• ·.In the concept of deity male and female elements always have been essential features, and divine androgyny has been a recurrent phenomenon in the God dess cult everywhere reflecting the primeval cosmic unity from which all creation has been thought to have emerged. From this single ultimate androgynous principle or sacredness the contrast between father and mother, active and passive, was differentiated when an all-embracing motherhood as the life producer was brought into a nuptial relationship with the paternal figure of the generator. For life may be sacred in either a masculine or feminine aspect. Under-matriarchal conditions the emphasis naturally will be on ma·ternal potencies, whereas in a patri archal society the male will tend to predominate in his works and ways. 18

Though this interpretation may lead one to believe .that the bisexual figure was a common occurrence in the palace cult, this apparently was not the case, as suggested by 19 the few remaining representations.

The hieros gamos rite, as it was associated with such a cult, originated in the Near East and spread to 20 Cyprus·, <::rete and the .l''lycenaean mainland. 'l'ransla tions of the Mycenaean Linear B Tablets at Knossos, Pylas

18 James, C.M.G., p. 244. 19 The few remaining representations of bisexual figures may be due to the fact that many earlier images were made from wood and thus have long vanished. 20 Dietrich, O.G.R., p. 39. 16

and !Jlycenae (ca. 1450 B. C.} in combination with the 21 archaeological eviC:.ence; have led scholars to conclude 22 that the names Potnia (or vvanassa) and Wanax which appear frequently adjacent to one another on these tablets refer 23 to a Mother Goddess and her paredros or priest king.

Although these Linear B Tablets are mainly inventory

·records, the interpretation made for the names Potnia and Wanax \vas derived at by comparing the texts. Hence, scholars found that these records refer to a large number of: land holdings, cattle, granaries, shrines, and offerings to Potnia and Wanax; but most important they appear together in the ritual texts in a hieros gamos festival which Palmer has referred to as the "Spreading of the Couch". Moreover, the name Wanassa is known as the name of the Cypriot goddess identified with Astarte, 24 and the Wanax or king of Paphos was her priest.

21 Leonard R. Palmer, I_.M.G.T., pp. 381-402~ see a~so E. L. Bennett, The Pylos Olive Tablets, (Prince ton University Press, 1955), p. 26f; and T. B. L. Webster, From Mycenae to Homer, (New York: Frederick A. Praeger, Inc., 1958), pp. 11, 32, 143, 293. 22 The name "Wanassa" appears on Linear B Tablets from Pylos, There is no distinction between this title and "Potnia 11 as both are interpreted to mean "lady" or ''queen'' which was the widespread title of the Mother Godde~s. -Palmer, M.M., pp. 123-124. 23 Pilmer, I.M.G.T., pp. 249, 251; and Dietrich, O.G.R., p. 170. 24 Palmer, I.M.G.T., pp. 91, 192, 214, 254. 17

Thus, -?otnia (or Wanassa) has been interpreted to mean

"lady" or "queen" as Wanax means "king", "the lord" (e.g., 25 Adonis) in Homeric Greek.

Potnia was worshipped from the beginning of the

Minoan period. She was inseparable from her birds and animals which were generally manifestations of her male companion. However, the goddess could also appear as or be represented by any one of her animals such as a bird, goat, lion, etc .. The bull, the animal most commonly associated with Potnia, was interchangeable with the 26 "Divine" male child. Besides Potnia or Wanassa and Wanax on the Linear B Tablets, the names of Poseidon, Zeus,

Dionysos, Hermes, Athena, Hera, Artemis, Demeter and The- seus also appear, all of whom (except Theseus) became the ' 27 well-known separate divinities in classical Greece.

Potnia and Wanax were influential in forming such pairs as:

25 Ibid. I p. 249. 26 ·Dietrich, O.G.R., pp. 171, 183. Infra p. 21, fn. 38, for explanation of the "Divine Child". Dionysos and Zeus were the two divinities who were most commonly depicted in Cretan and Greek art in the shape of a bull and they were also a "Divine Child". 27 Ibid., O.G.R., pp. 176-184; see also Webster, p. 128; Theseus appears on a Linear B Tablet at Pylos. He was considered ·a hero and a king, but not a divinity; and John Chadwick, The Mycenaean World, (London, New York: Cambridge University Press, l97G), p. 99, who says Aphrodite's name does not appear on any Linear B Tablet. 18

Zeus and Hera, Apollo and Artemis, Ariadne and Dionysos or Theseus, Hermes and Aphrodite. These Greek or Olympian pairs in turn were based upon Near Eastern models which had developed from the hieros gamos rite, e.g., Anat and

Baal (Ugarit), Ishtar and Tammuz (Babylonia), Isis and

Osiris (Egypt), Cybeie and Attis (Anatolia), and Aphro- 28 dite (Astarte) and Adonis (Syria and Cyprus).

Basileus is another name that appears although fewer times than Wanax, on the Linear B Tablets. There is no clear distinction between these two names in the texts, 29 since both are titles for a ruler. Nevertheless, during the Dark Ages (1100- 800 B. C.) there was a relative increase in the use of the title Basileus for the noble, military and priestly ruler who governed the various Greek 30 polises which mushroomed during this period. Accordingly, the political powers of Wanax disappeared as did the significance of the close relationship of the king with the goddess who was revered within the palace. The goddess'

28 Dietrich, O.G.R., p. 11; See also James, C.Ivl.G., pp. 228-260; and Hartin P. Nilsson, r1.H.R., p. 403. - 29 Dietrich, O.G.R., p. 184, n. 297. 30 A polis is a Greek term for independent state which.had a. single political center. Athens, with 1000 square miles, ~vas one of the largest Greek states. - Chester Starr, The Ancient Greeks, (Oxford University Press, 1971), p. 45. 19

J?OSi'tion, on the other hand, increased in significance.

The palace o,f Athena, for example, was replaced by a tern}?le and in this way her divine house served the entire 31 city o,f Athens.

Kingship was abolished as a political institution in Athens ca, 700 B. c., although the title of the "King" was still retained for ritual functions. Each year the

Athenians selected three state officials, one of whom was the Basile~s, the "King" (he still kept the original 32 title}, who presided over the religion of the state.

An echo of the former function and position of the king comes not from state ceremonies in Athens, but from a popular cult associated with the ancient festival of the

Anthesteria. This was a three-day festival held in the spring for testing and mixing the new wine. During the third day, the spirits of the underworld were placated 33 through offerings made to Hermes. The first two days of the festival consisted of drinking wine, contests, and a

31 Dietrich, O.G.R., pp. 229, 230, 249. 32 H. w. Parke, Festivals of the Athenians, {Ithaca, New York: Cornell Univ. Press, 1977), p. 17; see also Willetts, C.C.F., p. 83. 33 Hermes, in one of his many capacities was the conductor of the souls of the departed; thus, he was in the Anthesteria considered an intercessor with the Earth Mother on theTr behalf. - Lewis R. Farnell, Greek Hero Cults and Ideas of Immortality, The Gifford Lectures, University of St. Andrews - year 1920, {London: Oxford Clarendon Press, 1921), p. 346. 20

hieros gamos rite between Dionysos and the Basileus' wife, who was called the Basilinna {Queen). It is thought 34 the Basileus, himself, impersonated Dionysos. This festival is similar to those which celebrate the New

Year in western Asia and Cyprus. The purpose of such celebrations was to renew the power of the priest king through communion with his divinity, as well as the granting of new life to nature by means of the hieros 35 gamos rite.

The concept of the sacred marriage (hieros gamos) bet¥7een the god-like ruler and his deity survived into classical and later times (infra fn. 36) not only in the 36 Anthesteria (supra) but in the Eleusinian Mysteries, the

34 Parke, pp. 110-118. 35 Webster, pp. 11, 32, 143, 291 . . 36 The Eleusinian Mysteries remain much of a mystery today, and there have been many speculations made as to what took place during the rituals. It is knmvn, for fact, that a six day fertility festival was held annually in both Eleusis and Athens (the procession with the "Holy Things" went from Eleusis to Athens and back again) at the time of the full moon. Honor was given on the sixth and final day to the plural Mother Goddess - Demeter and Persephone. These goddesses represented the virginal and the maternal aspects of the major goddess. (The Near East and. the t-1inoans were influential for a goddess in mul tiple forms.) Besides the two goddesses, there were Pluto and Persephone (a goddess and her paredros) and Iacchus (Dionysos). The cult was presided over by the King Archon (Basileus) with hereditary priests officiating in the rites. The invocatory title of Potnia from the earlier Minoan- Mycenaean times was applied to Demeter, for during the rituals, the hierophant (priest) called out ''the mighty Potnia has born a son (Pluto)." This complex cult survived until A. D. 395. - Parke, pp 57~71; Dietrich, O.G.R., pp. 167, 286-287. 21

Oscophoria, 37 the legends associated with the "Divine 38 Child" and Homeric episodes, e.g., the Mother Gdddess

Demeter, who, as part of a hieros gamos rite, copulated 39 with Iasion in a thrice-ploughed fallow field. Homer, as well as other ancient Greeks compared the woman to a field which a husband ploughed and sowed to produce 40 legitimate children.

It is known that the cult of the Mother Goddess was originally celebrated in caves in Crete and Mycenae 41 (Zeus, Hermes and Dionysos were born in caves). From

37 Infra pp. 73, 74, 75. 38 The "Divine Child" is a symbol of rebirth and growth, e.g., the· Cretan Zeus, Dionysos, Adonis, Attis, etc. who were born as babes, matured quickly, died and were reborn. They represented the ever-youthful king who was always renewing not only his youth and vigor annually but all life on earth by performing the ritual coition act with his goddess in the hieros gamos rite. 39 Homer The Odyssey 5, l25f. 40 Marcel Detienne, The Gardens of Adonis, trans. Janet Lloyd, (New Jersey: The Humanities Press, 1976), p. 117. See also Aeschylus The Eumenides (trans. H. Jones) Lines 660-665, - In a dialogue, in this play, Apollo discloses an analogy of sowing seeds on the earth and impregnating woman. He pointed out that the mother of a child is only a nurse and not the real parent. Since the embryo sown in her by the male is the spirit of life, the manis the true parent; the woman merely nourishes the embryo with her blood. This is important in explaining why the ancient Greeks placed man on a much higher level than woman. 41 The baby, the birth, the cave in the earth are all symbols of a vegetation cult. 22

these two places, it was eventually transferred- (probably during the Middle Minoan period ca. 2000 B. C. to 1500 42 B. C.) to domestic and palace sanctuaries. In Egypt and

Mesopotamia, however, the Mother Goddess was associated with the palace cult as early as ca. 3000 B. c .. Later this same cult with its hieros gamo~ rite, still bearing

a resemblance to that of the palace cult rite, became a part of the various popular festivals of classical

Greece. Hence, the Mother Goddess cult has an uninterrupted continuity from pre-historic times to the end of classical antiquity. The androgynous figure, too,

remained ever present throughout this time with its ties to this cult.

42 Dietrich, O.G.R., p. 183. Chapter 2

THE ANDROGYNOUS APHRODITE OF CYPRUS Al·JD OTHER ANALOGOUS NEAR EASTERN. DEITIES

The bearded Aphrodite, who is considered by modern scholars to be the immediate forerunner of the Greek Her- 1 maphrodite, existed in Amathus and Paphos on the island of Cyprus. A statue identified as a Priest With a Dove was found in Paphos by Luigi Palma di Cesnola during his 2 stay as United States consul from 1865 to 1877. This statue is now part of the Cesnola collection in the New

York Hetropolitan Museum of Art (Plate 11). It has pro- tuberant breasts suggesting something other than a priest. 3 Myers mentions in his handbook of this collection, that some scholars have thought that the sculpture identified as the Priest With a Dove might be the bearded

1 Supra p. 5, fn. 14. 2 Vassos Karageorgis, The Ancient Civilization of Cyprus, (New York: Cowles Education Corp., 1969), p. 21. Karageorgis writes: "Luigi Palma di Cesnola, an Italian American, fought in Europe and in the American Civil War, after which he was breveted Brigadier-General and appointed U. S. Consul in Cyprus (1865-77). During his period of office on the island he exploited his opportunities to the full and acquired by excavation and purchase a vast col lection of antiquities from all over the island. The New York Metropolitan Museum purchased his collection in 1872, and he was director of the Museum from 1879 until his death in 1904." 3 John L. Myers, The Hetropolitan Museum of Art Handbook. of the Cesnola. CofieCtion of Antiquities from Cypn1~, (NevJ York: Met. Museum of Art, 1914), pp. 214-216.

23 24

Aphrodite of Cyprus of ancient testimony. He further describes this figure as having prominent breasts and long locks of hair falling across the shoulders; yet, he dismisses these features as peculiarities of Cypriot sculpture. Myers further indicates that the dress and the ornaments of this figure are different from other Cypriot female figures in the same collection. He concludes from these peculiarities that the statue is a male priest and 4 not the bearded Aphrodite. His description of this sculpture is as follows:

The helmet is of the framed and pointed kind, and of unusually elaborate design. The frame is colored red, and the griffin's head on. the summit is colored yellow, to represent gold. On the front plates are sacred-tree ornaments in relief, and in the panels are traces of black, red, and yellow, probably to indicate embroidered leather; on the back of the hel met, too, there is much red color, and also on the lips of the figure, and on the borders of tunic and cloak. The features are in Archaic Cypriote style, like the bearded a.nd helmeted head with the prominent nose and primly cut eyes and lips . . . The hair and beard are rendered by rows of small curls; and in front of each shoulder three long wavy locks of hair fall nearly to the breasts. The dress consists of a long tunic with sleeves and a heavily folded mantle. The painted ornament of neck border - crosses with dots between the arms - is common in early Greek representations of textiles, and in decorative designs borrowed from these. The lower hem of the tunic has a border of carved lotos flowers and buds from which falls a deep fringe. The mantle, which has ·a double border enriched with red color, is rendered in far greater detail than on any other figure in the Collection. It is worn like a Doric chi·ton, pinned together on the

4 . Myers, p. 215. 2.5

right shoulder, with a deep overfold; but from the left shoulder it has been unpinned so that it falls in stiff conventional folds across the body, expos ing the under-garment, and is caught up over each forearm. On the left shoulder is an inscription in Cypriot characters which formerly read "of the Paphian Goddess"; but the traces of it are very obscure. About 500 B. C., H. 7ft. l~ in .. 5

Myers writes that the sculpture is in fairly good condition, except that the original arms have been broken off, and that the surfaces at the break have been seriously defaced in the refitting. Consequently, it is impossible· to be certain that the present arms are original but it is known that they are Cypriot and date from about the same time as the rest of the sculpture ..

The cup in the right hand, with its high foot and one small vertical handle has no parallel in the Cesnola collection nor does this form appear among the clay vessels of Cyprus. According to Myers, it is related to the early kylixes with two such handles. Although the kylixes with a high foot go back to Protogeometric times,

Myers thinks the cup is of the same date as two libation bowls in this collection which date from the fifth and sixth century. This cup is held by the stem and foot with a gesture of libation.

Originally there was supposed to have been a dove on the left hand ·which has been broken away. The dove this

5 Ibid. 26

figure now holds is ancient, but has been repeatedly repaired and remains much disfigured; it is Cypriot work 6 of about the same period as the priest's body. Similar votive doves are seen with other sculptures in the Cesnola 7 collection.

The existence of a bearded Aphrodite cult is 8 documented by the literature of the ancients, but no visual representation of such a deity has ever been found on Cyprus. There is evidence which suggests that the so-called Priest With a Dove is in actuality the bisexual

Aphrodite of ancient tradition. The breasts of the sculpture are small and widely separated, similar to the representations of breasts of some Greek archaic Korai of the sixth century B. C .. Plate 12 shows two such 9 archaic Korai: fig. 1 is by the artist Antenor of Athens; and fig. 2 is referred to as the Lyon Kore because its 10 upper torso is located in the Lyon Museum in France.

6 Ibid., pp. 216, 217. 7 Ibid. , p. 217. 8 Infra p. 43. 9 Antenor of Athens was one of the foremost sculp tors of the late Archaic period. 10 This Kore is broken in two pieces -- the top part is located in the Lyon Huseum and·the bottom half may be seen in the Acropolis Museum in Athens (the parts were combined for the photos). See G. M. A. Richter, Korai, (London, New York: Phaidon Press, 1968), figs. 275-279, p. 80. 27

Further, the treatment of the hair of these Korai in

comparison to the "Priest's .. -with the screw curls or waves around the face and the strands of wavy locks

falling down over the shoulders and breasts - is very

similar. The Lyon Kore is carrying a calathos (basket) on her head. As a container for the fruits of the earth,

it became a symbol· of fertility. Like the Priest With

a Dbve, the Lyon Kore holds a dove (but in the right hand)

and has the same conventional stiffness. The Antenor

Kore, however, appears more relaxed and natural in antici-

pation of the style of the Greek early fifth century.

From these comparisons, it can be concluded that

·the Priest With a Dove minus the beard could pass for an

archaic Kore which further substantiates that this

statue is indeed an archaic bearded Aphrodite. Even the helmet worn by this figure is an attribute of Aphrodite,

for she was represented in such places as Corinth, Sparta, 11 Cythera and even Cyprus as an armed deity. A repro-

duction of three coins from Corinth (figs. 1, 2 and 3 of

Plate 13) depict Aphrodite with a helmet. On the first

coin (fig. 1) Aphrodite is represented as an armed guardian

statue in her temple on the Acropolis at Corinth. Because

the "Priest" wears a helmet, "he .. would have been equiva-

11 Farnell, C.G.S., Vol. II, p. 749. 28

lent in function to an armed Aphrodite or Athena, i.e., as the protectoress of the cult, temple, and/or city-state.

However, the major indication that the Cesnola sculpture is in fact the bearded Aphrodite is the Cypriot inscription on the left shoulder which reads: "Of the

11 Paphian Goddess • This appellation was used in conjunc-- tion with Aphrodite as a means of identifying her from the 12 time of Homer to the end of the ancient Greek tradition.

Moreover, other attribu~es of the sculpture provide further evidence of its identification with Aphrodite.

Many of these are of Near Eastern origin, especially the dove which is most sacred~to her. Clay doves have been found with fertility goddesses of the fifth millenium 13 from mounds in cities of Iraq, in early Minoan cities: 14 Knossos, Palikastro, Gournia, Hagia_Triada, and iri

12 Homer ~he Odyssey 8.362; see also Geoffrey Grigson, The Goddess of Love, (New York: Stein and Day, 1977), p. 113. - Grigson repeats Plato in an epigram to Lais, the most beautiful celebrated of all the hetairai of Corinth, when she resigned-·her profession because· her looks had faded. (Aphrodite had an important temple on the Corinthian acropolis as patron goddess to the hetairai~. 11 "Give this mirror to the "Paphian • Since I do no·t wish to see what I am now, and what I was I can't see anymore." 13 Grigson, p. 186, n. 41. 14 Nilsson, M.M.R., p. 336. 29

. 15 S yr1a. In Paphos, the dove was Aphrodite's most common symbol and appeared on the pillars at the side of 16 her temple. The dove, when represented with Aphrodite, 17 usually identifies-·her as the goddess of spring (rebirth) .

There is also a myth of the dove as told by Hyginus which involves Aphrodite: "An egg that fell from heaven was hatched by a dove and from it carne Aphrodite and all the 18 other divinities of Syria."

The sacred·tree (or tree of life) on the front plates of the helmet of the Cesnola statue is also an attribute of Aphrodite. The sacred tree in Mesopotamia and Egypt identified with the pillar and the phallus as 19 early as the third millennium B. C. In the late Bronze

Age, the tree and phallus identified with Aphrodite's cone 20 in Syria and Cyprus. Not only do the lotus blossoms at the lower hem of the tunic, which this statue wears,

15 J arne s , ·c • M. G . , p . 18 4 16 Farnell, C.~.S., Vol. II, p. 674. 17 Ibid. 18 Hyginus Fabulae 197. 19 The sacred tree appears on small stone cylinder seals dated from the third millennium B. C. from Surner. Francis Klingender, Animals in Art and Thought to the end of the Middle Ages, (Cambridge, M.I.T. Press, 1971), pp. 44, 45; see also Ivan Engnell, Studies in Divine Kingship in the Ancient Near East, (Oxford: Basil Blackwell, 1967) .. p. 10; and-·Frankfort, K.G., p. 44. 20 - Plutarch De Iside et Osiride p. 329. 30

show Egyptian influence, but lotus blossoms on Aphrodite depict her with the combined attributes of Isis, the

Egyptian goddess of nature, earth and water. Isis wore lotus flowers on her head as a symbol of life (birth and 21 rebirth} .

Analogous to the Cesnola statue with its prominent breasts, are two identical king/pharaoh statues of Tutankh- amun of Egypt (Plate 13, fig. 4). The pharaoh represented 22 in these statues, identifies with Amon~Re the sun god, but possesses the feminine breasts of a goddess (Isis?).

In addition, the pharaoh is meant to be Osiris as well, for 23 he is carrying the flail and wears the crown of upper

Egypt as in many representations of Osiris. The pharaoh is standing on a black leopard (not a black panther) which indicates that he is in the underworld, the inevitable 24 link between the world of men and eternal life.

21 Grigson, p. 197. 22 Frankfort, K.G., p. 44,- Amon-Re embodied himself in the king; and p. 46, - Gold was the flesh of the gods. Resaid, "My skin is pure gold." 23 Plutarch De Iside et Osiride, p. 495, - Osiris carried the flail and crook which were the royal insignia of the crown. He was also the god of the undel~orld and the·leader of the dead. 24 Frankfort, K.G., p. 118. 31

According to ancient Egyptian belief, the sun god

Amon- Re at the end of each day vJOuld enter the West (a god dess) to be reborn in the underworld; he then passed through it and was reborn again by Nut in the sky to begin 25 a new day. Entrance was made to the sky and underworld by Amon-Re through impregnation of these goddesses. Thus, he was called "he who begets his father" or "the god who begets himself on his own mother". These expressions to the Egyptian signified immortality. The god (or king) was 26 immortal because he could recreate himself. Hence, the pharaoh who embodied Amon-Re assumed the role elsewhere 27 played by the Mother Goddess.

In Egypt, the Mother Goddesses (Neith, Hathor, Nut 28 and Isis) were involved with the rebirth of the divine 29 king after death, but not with his initial birth.

Consequently, it was through the Mother Goddess, who was

25 26 Ibid. I P• 169. Ibid., pp. 169, 180. 27 James, C.M.G., p. 57.

28 These four maternal goddesses are equated with one another in forms and attributes. Their principal function was giving birth to the gdds, suckling the kings and conferring upon them divinity and immortality. James, C.M.G., p. 63. 29 Frankfort, K.G~, p. 175. 32

responsible for rebirth, that iiTmortality was achieved.

Egyptian Mother Goddesses were not conceived in terms of

"~-1other Ear-th" as in western Asia. arid_ the Aegean. The earth god was the male "Geb" from whose back sprouted all the world's vegetation. His spouse and twin sister was the sky goddess Nut, who in visual representations is seen with her body arched over the earth, Geb, whom she touches 30 with her finger-tips and toes·. Eventually, Isis, who was to be identified with almost every goddess in Egypt, became the equivalent of the Great "Earth" Mothers of 31 Mesopotamia, Greece and Rome.

Two long feathers were the.main insignia of the pharaoh's coronation. The feathers represented the breasts of a goddess, who in the form of a woman suckled 32 the king. The feathers were also the emblem on his crown.

The Egyptians insisted that where there was birth there had 33 to be conception, and subsequent to such a birth there had to be nourishment in order to live and grow. Thus, after rebirth of the dead pharaoh, nourishment was as essential as it had been after his earthly birth.

30 James, C.M.G., p. 58; N.L.E.M., p. 10. 31 James, C.M.G., p. 62. 32 Frankfort, K.G., p. 174, repeats the Pyramid Text 729. 33 Ibid., p. 168. 33

Rebirth through the Mother Goddess was connected to 34 the rite of the raising of the Djed pillar. This pillar represented in part a Mother Goddess pregnant with the pharaoh and in part protection for him, as the goddess in pillar f6rm concealed the pharaoh"Amon~Re from his enemies.

The pillar represented Hathor, who was also embodied by the 35 queen mother.

Pharaoh, the son of Osiris, was born by the "throne", 36 Isis, who is therefore called his mother. The living pharaoh was identified with Horus, the son of Osiris and 37 Isis; the dead pharaoh was identified with Osiris. Thus, the dead pharaoh as Osiris continued to benefit the living including his successor with his super human powers.

Pharaoh became the intermediary between man and nature; 38 death did not destroy Egyptian rulers.

34 Ibid., p. 178; N.L.E.M., p. 17, ~The Osiris tradition originally carne from Djedu, the capital of the Ninth Nome, Per~usire, the 'house of Osiris'; the pillar was named for this district. It was originally a trunk of a conifer~ but in classical times it was a pillar with four capitals. 35 Frankfort, K.G., p. 178; James, C.M.G., p. 65. 36 Isis personified the throne, thus, she was the one that made the pharaoh a divine ruler; whereby symbolically she was his mother. -Frankfort, K.G., pp. 43; 44, 108. 37 --- Ibid .. , pp. 4 4, 17 4. 38 Ibid., p. 34. 34

The rites at the New Year festival which the priest-pharaoh conducted, syniDolically represented a journey through the underworld and corresponded to the

"rites of passage", i.e., a sacred marriage, death and rebirth (relating to revivification, divinization, coronation and enthronization). These passages from one state to another were a re-enactment of the journey by

Osiris in which the god died, was resurrected and restored to Isis. The death and resurrection of Osiris was symbolized in the raising of the Djed pillar. The pillar also symbolized the pharaoh and thereby Osiris, and its raising referred to the restoration of the pharaoh's 39 throne, whereupon he became Horus. A hieros gamos rite was performed at the New Year festival between Horus and

Hathor (the goddess whom the queen mother embodied) .

Scenes of this rite are depicted in reliefs on the walls of the court of Amenhoptep III (1349 - 1336 B. C.) the grand- 40 father of Tutankhamun, at Luxor. Instead of the king

39 Engnell, pp. 10-11; Frankfort, K.G., pp. 106r 313. - The New Year festival was held in Egypt to cor respond with the inundating and receding of the Nile which was in early summer and autumn. Isis was identified with the plains that were inundated by the Nile (Osiris). Renewal of kingship· as well as the coronation of a new pharao.h took place at these New Year festivals. 40 James, C.M.G., pp. 64-65; A.M. Blackman, Luxor and its Temples, (London: A and C Black, 1923), pp. 70f. 35

being ·invited to share the nuptial couch as in western

Asia and· the Aegean, it was the Egyptian pharaoh, who in his manifestation as the incarnation of Amon-Re cohabited with the queen (Hathor).

The two identical androgynous statues of Tutankh-

amun represent the pharaoh as a combination of attributes

from the sun god Amon-Re, Osiris and the Mother Goddess

(breasts from either Nut, Hathor or Isis). The breasts

signify both the coronation which made him divine and the queen mother (Hathor) , who gave him sustenance to grow and mature into a virile bull. The concept of the combined male and female principle represented in the pharaoh's

statues is the same as it was in the earlier bisexual

Mother Goddesses; therefore, they are also symbolic of

regeneration. They depict the god-creator pharaoh as vanquishing death and darkness, and assuring rebirth and

sustenance to all who have entered the underworld. The pharaoh in his manifestation as the god-creator is con-

firmed by an inscription on the tomb of Rekhmi-Re, a

vizier at Thebes in the Eighteenth Dynasty (same Dynasty

as Tutankhamun) , which declares "the King of Upper and

Lower Egypt is god by whose dealings one lives, the father 41 and mother of all men alone by himself, without equal."

41 James, T.O.L., p. 94. 36

Tutankhamun wa.s not the only pharaoh in Egypt to be represented as an androgynous being. On a relief from the throne of two statues of Sisostris I {Twelfth

Dynasty) from Lisht, bvo national gods,· Horus and ·Set, are depicted with pendant breasts (Plate 14). The king's name is inscribed on Horus indicating that they are one and the same. These two gods are tying the plant symbols of lower Egypt (papyrus) and upper Egypt ·(lily) around the hieroglyph meaning "unit" or "one". They are also wearing the respective symbols on their heads - papyrus on Set; 42 lily on Horus (on the right) . The relief is seen not only as a representation of the unification of Egypt, but also of the male and female principle in the god (or god- king) who therefore stands as the All in One.

In addition, Queen Hatshepsut (1500 B. C.) was portrayed on many of her statues as a man decked out in male clothing and wearing the pharaoh's tradi tional false beard (Plate 15, figs. 1 and 2), because all life came forth from the dominant male god in Egypt rather than the Mother Goddess. Some of these statues 43 allude to her femininity by portraying her breasts.

42 K. Lange and-"H. Hirmer, Egypt, Architecture Sculpture-Painting in Three Thousand Years, (London: Phaidor. Press, 1961), see Plate 87 ar-d explanation for it. 43 Lionel Casson, Daily Life in Ancient Egypt, (New York: American Heritage Pub. Co., Inc., McGraw-Hill Book Co . , 19 7 5 ) , p . 2 9 . 37

She, like the pharaoh in the New Year enthronement festival, embodied the various gods. Thus, in order to satisfy appearances that were expected of the god-creator pharaoh, she literally represented herself as a "female- king" not only in her visual representations but by sitting on Horus' throne and taking a Horus' name, Usert-kau; 44 and as golden Horus her name was Netert-khau. The queen, like the pharaoh, personified Horus, Osiris, Amon-Re and various other deities.

It is noteworthy that the living pharaohs were often worshipped in company with the statues of the great deities at various festivals. Depictions sometimes show a 45 pharaoh worshipping his own image. In western Asia and elsewhere the statue and not the king was treated as a divinity. The statue was thought to be the embodiment of the deity and the offerings were made to it and not the 46 king.

The explanation which accounts for the bearded

Aphrodite in the Cesnola collection is somewhat similar to that given for the two androgynous statues of Tutankhamun, as they all derived from the hieros games rite in its

44 Pierre Montet, Lives of the Pharaohs, trans. George Weidenfeld and Nicholson Ltd., (Hampshire: Jarrold and Son Ltd., 1968), p. 8lf. 45 N.L.E.M., pp. 10, 43. 46 Frankfort, K.G.·, p. 303. 38

association with divine kingship. Cinyras (probably 47 mythical in origin) was the legendary founder of the city of Paphos in which the priesthood and the supreme power were held by the Cinyrades family. The king of Paphos was celebrated as the priest-king of "Queen Aphrodite" until 48 the time of Alexander.

In Amathus, as well, the family of the Cinyrades were credited with having introduced the cult of Aphrodite 49 and Adonis into Cyprus from Byblos, Syria. Cinyras married Metharme, daughter of Pygmalion, king of the 50 island. They apparently settled first at Amathus and 51 afterwards transferred their power.to Paphos. .Cesnola writes:

. For it was from Amathus, not Paphos that Agamem non drove Cinyras, on account of his breach of faith, and from it may be inferred that Amathus was the seat of government of Cinyras. It is said Agamemnon colonized ·Amathus w~~h a group of his followers return ing home from Troy.

47 Farnell, ~.G.S., Vol. II, p. 640; see also Tacitus Histories ii, 3; Annals iii, 52; Apollodorus r.ibraiY iii, 14, 3; and Pindar Pythia iii, 62. 48 Farnell, C.G.S., Ibid., -seen. (a) on p. 640, Timocharis Echetimos ana Timairos, kings of Paphos, are all priests of Aphrodite. 49 General Louis Palma di Cesnola, Cyprus, (NeT.N York: Harper and Bros., 1878), p. 219. 50 Sir James G. Fraser, The New Golden Bough, fourth printing, (New York: s. Phillips, Inc., 1972), p. 300. 51 Cesnola, p. 219. 52 Ibid., pp. 250-251. 39

Amathus was superseded by Paphos where the priestly

Cinyrades ruled over temporal as well as spiritual matters. 53 A branch of the Cinyrades family remained in Amathus where the ancients also worshipped the bearded Aphrodite.

The Phoenician port of Byblos, where the Adonis and Aphrodite cult originated, was constantly visited by Egyptian ships trading in timber felled in the forests of Lebanon. It is thought by James and Moret that 54 Byblos was the original home of the Osirian cult.

Moreover, Lucian affirms that Adonis came to be regarded 55 as Osiris.

While the cults associated with Osiris and Adonis were very similar, Egypt had a dominant male line of sue- cession to the throne; in Paphos and Amathus, on the other hand, their kings had a female line of succession. The king held office merely by virtue of his marriage with the 56 hereditary princess, who was the real sovereign. This helps to explain why the bearded bisexual figure in these

53 Ibid. 54 James, T.O.L., pp. 38, 42; Alexandre Moret, The Nile and_Egyptian Civilization, (New York, A. A. Knopf, 1927) I P· 81. 55 Lucian De Dea Syria 6-9. 56 Fraser, pp. 300, 301. 40

two places57 was referred to as Aphroditos. The name of the pa:redros (Adonis or priest~king) therefore, has no part tn the name of the divinity which, had this been the case, would have been Adonaphroditos.

:;rndeed, a fragment by Callimachus explains the inferior position of the paredros (or priest~king) to

AJ?hrodite: "Alas to mourn Adonis the slave of the goddess 58 Aphrodite.'' The Hother Goddess usually formed a tempor- ary union with someone much inferior to herself. These

Near Eastern goddesses were essentially mothers, not wives, beside whom their lovers or husbands (some of them important gods)_ faded into comparative insignificance.

A myth was invented to explain the priest-king's identity with Adenis who was loved by Aphrodite. The myth is as follows: Adonis was conceived by an incestuous union between Cinyras (king) and his daughter Myrrha; this 59 relationship was instigated by Aphrodite. When Cinyras

found out what he had done to his own daughter, he pursued~ he.r with his sword, whereupon Myrrha prayed to the gods to make her invisible. The gods in their compassion turned her into a myrrh tree. Thus, Adonis was born from a tree.

57 For Aphrodite and Adonis cult in Amathus - Pausanias Guide to Greece IX 41.2; for this same cult in Paphos - Apollodorus III, 182-185. 58 Callimachus Iambus III, fragment 193.34. ·59 Hyginus Fahulae 58, - The instigation of this in cestuous act was in retaliation to Myrrha's mother who pre ferred the beauty of Myrrha to Aphrodite. 41

While still an infant, Aphrodite hid him in a chest

unknown to the gods and entrusted him to Persephone; but when Persephone beheld his beauty, she refused to give him back. Zeus then divided the year between Persephone

and~Aphrodite: Adonis was to stay four months below the

earth with Persephone and eight months above with Aphro- dite. Adonis grew to be of such beauty that Aphrodite was completely enamoured-·of him. Their celebrated romance

came to an end when Adonis was killed while hunting a .1. 60 boar.

This myth explains how Adonis came into being as

the result of the relationship between the king and his

daughter. It also interprets certain aspects of the rite

of sacred prostitution instituted by Cinyras at Paphos.

The kings of Paphos and ·Amathus played the part of the

divine bridegroom whereby each king had to mate in the 61 temple with one or more of the sacred harlots who, at

times, might be the king's own daughter or sister. The

harlots became Aphrodite to Adonis, the king.

60 Paraphrased from Apollodorus, Library, III, 14.4. and Ovid's !vletamorphosis X, 315-7: 61 R. Harris, Journal of Cuneiform Studies, Vol. 9, 1955, p .. 65,- Harris mentions that the Hythological texts from Ras Shamra (Ugarit) call the brides of Baal and Adonis in the sacred·marriage rite "daughters", who were formerly regarded by historians as sacred prostitutes. 42

The myth which is mainly concerned with the hieros·9'atnos rite of Adonis (the king) with Aphrodite and

~ersephone (Mother Goddesses), signifies in its larger

·meaning the restoration of the t.hrone to the king and the

periodical rebirth and death of vegetative life. The marriage rites which took place at Paphos and Amathus in

a New Year festival, were similar to the rites associated with the New Year celebration in honor of Osiris in Egypt.

Hazel Thurston describes a festival of this type ih

Paphos which could take place in spring, summer and autumn

as the calendar year was based on the cycles of the moon:

"The great spring festival-of Aphrodite was cele brated by the pilgrims in various ways according to their degree of initiation. There were games for the populace on the first day, purification ceremonies and sea-bathing on the second, and bloodless sacrifices to the goddess on the third, culminating in presentations of ritual cake, the Pyramous, by the high priest. In the second degree, the rites of Adonis comprised acts of mourning for the premature death of the golden youth. This was followed by a triumphant and orgiastic celebration of his resurrection. The third degree underwent initiation into the mysteries of both cults, with deves, an obelisk (pillar) and the image of a bearded goddess as the chief symbols. The culmination was the presentation of salt symbolizing Aphrodite's birth from the sea, together with phallic symbols to denote fertility. These were acknowledged·by the pilgrims by payment in coin." 6L

According to Picard, there must have been an exchange of 63 clothing between the sexes at these festivals. Exchange

62 Hazel Thurston, The Travellers' Guide to Cypn~_§_, (Londen: Jonathan Cape Ltd., 1971), p. 268 . . 63 Charles Picard, H.R., Vol. IXVIII, n. 4, p. 63. 43

of clothing was required by the initiates going through rites of passage which included marriage (infra p. 52£.).

The cult of the bearded Aphrodite is attested to by several Latin writers. Macrobius in describing the statue of Venus Barbata writes: "There is in Cyprus a statue of her bearded, but with female dress, with the sceptre and the signs of male nature and they think that the same goddess is both male and female. Aristophanes 64 calls her 'Aphroditos'." Such a statement explains the 65 "duplex Amathusia" in Catullus' Ode; and it is repeated- 66 by Virgil. Servius speaks of a bald Venus in the form 67 of an umbilicus (probably meaning a cone shape). In addition to these Latin writers, John the Lydian mentions that the "Pamphylians paid worship to a bearded Aphro- 68 dite." These are the few remaining testimonies to the

Cypriot bisexual deity cult, and they primarily derive from

Latin sources.

Delcourt suggests that because mainly Latin writers bear witness to this cult it might be of Roman

64 Macrobius Saturnalia III, 8. 65 Catullus Duplex Amathusia 68.51; this ode refers to the double natured deity in A~athus, Cyprus. 66 Virgil Aeneid II, 632. 67 Servius Aeneid I, 720 68 Joannes Lydus Liber De Mensibus IV, 44, 78, 89. 44

origi~.69 Although the hieros gamos rite survived into

Roman times as a popular tradition incorporated into annual festivals and initiations, literature inclined to ignore it. Fertility gods were shunned by Homer, who admitted no deity to Mt~ Olympos or the official cult of the city-state unless the deity first cast off its affiliation 70 with nature religions. The Kings, noble Basileus and elected Archons, who presided over the religious celebration of the Greek city-states after Homer's time, held similar attitudes towards religion. Nevertheless, during the sixth century B. C. the deities of the aristocracy were 71 reconciled with those of the chthonic cults. These chthonic cults, however, were identified as mystery religions and little is known about them except for what has been pieced tog-ether from the visual tradition, dramas and literature. This of£icial attitude by the aristocracy towards fertility deities explains to some extent why Latin writers rather than Greek refer to the bearded Aphrodite of

Cyprus.

Since Cyprus was an Imperial province under Roman 72 rule from 58 B. C. to A. D. 395 (most of the Latin writers who refer to the bearded Aphrodite cult with the

69 Delcourt, H.M.R., p. 25. 70 Dietrich, O.G.R., p. 189; Harrison, T. pp. 444£. 71 Dietrich, O.G~., p. 274. 72 "r:; Thurston, pp. I --' 1 76. 45

exception of Catullus, are of this time or later), the

Romans would have had knowledge of the religious cults on

Cyprus. Many Imperial coins found on Cyprus give further support to this statement. Plate 16, fig. 1, shows an

Imperial bronze coin depicting the Phoenician temple of

Aphrodite at Paphos. It was surmounted by doves on either side, which cannot be seen in this reproduction. In the center of the shrine is the sacred cone representing 73 Aphrodite. Her worshippers anointed it with oil.

Tacitus described the image of Aphrodite in her temple as not being of human but of conical form and her shrine as 74 something like a set of goal posts.

The cone shaped stone related to the pillar. At

Byblos, according to myth, Isis took the tree (or pillar) that grew from Osiris' coffin (she had found· it in Byblos) and anointed it with oil. It remained in the temple of 75 the king and queen at Byblos as a symbol of Osiris.

The Adonis and Astarte (Aphrodite) sanctuary at

Byblos contained a tall cone or obelisk which Griffiths suggests is similar in appearance to the Osirian Djed pillar in Egypt. From the similarity between the two, he

73 Grigson, p. 197. 74 ' Tacitus Annals 3.62i Histories 2.3. 75 Plutarch De Iside e·t Osiride 357.B.l6. 46

deduced that the pillar was now to be identified with 76 Aphrodite's cone.

and it was interchangeable with the 78 'bull' which symbolized virility. Inma·n suggested that 79 the cone in antiquity represented a phallus. Hence, it seems that the androgynous cone appeared long before the anthropomorphic statue of the bisexual Aphrodite. 80 In a legend told by Hesiod, Aphrodite came from the phallus of Uranos, who was emasculated by his son

Kronos. It fell into the sea and as it floated and mixed with water, it gathered foam from which Aphrodite sprang.

At first the waters wafted her near Cythera and then to

Cyprus which became known as her birth place.

The cone was symbolic of pre-historic Aphrodite; and since it embodied all the life-producing forces,· it was equated to the dual sexed statues which derived from the rendering of the consummation of a Mother: Goddess and 81 her paredros. Moreover, the cone was an. omphales whose tip was symbolic of the center of the universe. Thus,

76 Ibid. , p. 32 9. 77 Engnell, p. 10; trhe pillar represented the leafless tree of life. 78 Frankfort, K.G., p. 168. 79 - Thomas Inman, Ancient Pagan and J1.1odern Christian Symbolism, 4th ed., (Kennebunkport, Maine: Milford House Inc., 1970), p. 6. 80 81 Hesiod Theogony 18.190.205. James, T.O.L., p.32. 47

Aphrodite's cone, like Osiris' pillar, had cosmic powers. Subsequently, Aphrodite identified \vi th the planet

Venus. Aeschylus, in one of his fragments from a lost tragedy gives voice to the cosmic powers of Aphrodite:

. The holy heaven yearns to wound the earth and yearning layeth hold on the earth to join in wedlock; the rain, fallen from amorous heaven, impregnates the earth and it bringeth forth for mankind the food and herds and Demeter's gifts; and from the moist marriage rite the woods put on th1ir bloom. Of all these things I am the cause. 8

The ancient Mesopotamian astronomers (later 83 acknowledged by the Greeks) knew that the moon was an intermediary between the sun and the earth. They thought that the moon was the source of all moisture and the 84 contributing agent to the waters of life. Belief in the moon's ability to dispense rain was exploited by magician and priest. Musical instruments which were used in ritual ceremonies associated with water, have been found. They 85 were played evidently to influence the moon. Since the moon was thought to be the source of all moisture, it was,

82 Aeschylus, fragment 24 {trans. H. Smyth). 83 G. Abetti, The History of Astronomy, trans. by Betty Burr Abetti (New York: H. Schuman, 1952), p. 37; See also Aristotle De Caelo 292a5; and Plutarch De Facie 937-938. 84 Aristotle De Generatione Animalium 736b35f. 85 K. Sachs, The History of Musical Instruments, (New York: Meridian Books, 19~0), pp. 50f. 48 according to Plutarch, assigned the role of being responsi- 86 ble for sexual activities. The moon prepared the seminal fluid (rain) for earth's productivity. All vege- 87 tation gods were moon deities, i.e., Adonis, Attis,

Hermes, Osiris, Dionysos, and the bisexual Aphrodite.

Aphrodite is referred to as a moon goddess by

Macrobius, who repeats Philochorus whose book on Attica 88 has been lost. Philochorus says that there was an

Aphrodite who was to be identified with the moon and that worshippers honored her by exchanging clothes vli th the 89 opposite sex. Referring to Philochorus' statement and

Plato's dialogue in the Symposium that the moon is a bisexual being (which also conforms with a remark made in the ninth Orphic hy~~) , Delcourt concludes not only that the Greeks invented this concept, but that it was this tradition that had influenced the bisexual Aphrodite of 90 Cyprus. However, the evidence suggests that it was the

Cretans who invented the concept of the bisexual moon

(infra pp. 59, 60).

86 Plutarch De Iside et Osiride 376.E.63. 87 Robert Briffault, The Mothers, abridged by G. Taylor, (London: G. Allen and Unwin Ltd., 1959), p. 352, n. l. 88 Philochorus was an Athenian historian ca. 300 B. c. 89 Macrobius Saturnalia III.8. 90 Delcourt, H.M.R., p. 28. 49

In Semitic and Egyptian mythology, male gods were the ones to be chiefly identified with the moon, as for 91 example, Sin and Nannar; _in Egypt; Osiris and Thoth. On the other hand Plutarch says Isis was sometimes thought of 92 as the moon. Apparently astral deities were subject to change. The sun, for example, while a male diety for the 93 Akkadians was a female deity for the Ugaritians.

Fig. 2, Plate 16, is a sketch of an androgynous being that is etched on the lower part of a gem which is made in a cone shape. This figure demonstrates that the

Semitics thought of Aphrodite (Venus) as being connected with the moon. It also shows a priest-king united to his chief temple goddess. The gem, a white agate, is believed to be of Babylonian antiquity. The bisexual figure appears 94 to be the bearded Venus Mylitta, for the cone shape of this gem indicates its dedication to Venus.

The following description is paraphrased from

91 . N. L. E. M. , PP. 57 I 58. 92 Plutarch De Iside et Osiride 372D.52, pp. 183, 203. 93 Michael C. Astour, Hellenosemitica, (Leiden: E. J. Brill, 1965), p. 154; this was depicted in the Ugaritic texts first discovered in 1929 at Ras Shamra (ancient Ugarit). 94 The Near Eastern Aphrodite hadmany names: Ishtar, Attar, Astarte, Atargatis, Anat; the female Baal, known as Belit and to the Greeks as My_litta, at Carthage as Tanit and in Rome as Venus. Further, it is thought that the Greek name 'Aphrodite' derived from 'Ashtoreth', but the Mycenaean Greeks, because they were unable to pronounce it, t.urned it into 'Aphthorethe' and finally settled for 'Aphrodite'. ·Farnell, f..:_G.S., Vol._ II, p. 626; Grigson, p. 31. 50

Inman wh o repea t s L aJar. d : 95 On the left side are the objects representing the male principle and on the right side are the objects representing the female principle.

The two snakes show the chthonic aspects of this double natured deity. On the male side, opposite the feet, is an amphora whose mystical significance is heaven fructifying the earth by pouring himself into her. Opposite the female is the crescent moon, which is referred to by the 96 Babylonians as the horned moon. By her foot is a cup which, like the moon, represents the passive element in creation. The bearded Venus Mylitta, with all the surrounding objects, represents a mediator between two opposite poles. It was only through the hieros games rite that opposites were united, i.e., earth and heaven, sun and moon and male and female. The end result always stood for promotion of fertility and continuity.

Thus, the priest-king was interchangeable with a

Earedros (whose name made the priest-king divine) and by performing the hieros gamos rite with a Mother Goddess, he became the divine bridegroom. A statue which sometimes commemorated this event represented the combined attri-

95 Inman, pp. 4-5. Inman took the reproduction and description from Monsieur Lajard's Monumens Figures de _2!~nus, (Paris, 1837), p. 32f. 96 Maurice H. Farbridge, Studies in Biblical and Semitic Symbolism, (New York: KTAV Pub. House, Inc., 1970) ~. 191; on cylinder seals, the god Sin is represented with a cap on his head on which there are horns of the moon. 51

butes of the priest-king or paredros and a Mother God dess (usually her breasts). A good example of this type of statue is the Priest With A Dove in the Cesnola collection (referred to earlier) which really should be identified as the bearded Aphrod~te of Cyprus. Chapte~. 3 ANDROGYNOUS HIEROS GAMOS FESTIVALS AND THEIR BISEXUAL EFFIGIES

Moon worship played a conspicuous role in the development of the Minoan Mother Goddess. Willetts writes that the worship of the moon may have come from the earliest kind of marriage which was the collective marriage 1 of initiates. The cult of the sun and and the moon in early Crete in combination with collective marriage rites of initiates (who had entered the nuptial group) was celebrated at an annual festival that continued into 2 historical times. The collective marriage rite involved a chosen sacred pair. This pair was pre-selected from a special group of young persons attached to the palace.

Marriage, which was conceived as a part of the rite of passage initiation, also symbolized the idea of coronation of 3 the chosen pair. Willetts indicates: "Since a young

Cretan_god is an annually dying god, perhaps the sacred 4 pair were chosen annually." The Cretans linked death

1 R. R. Willetts, ~C.F., p. 181. 2 Ibid. I P• 185. 3 Ibid. I p. 117. 4 Ibid. I p. 197.

52 53

and rebirth, as symbolically experienced by the initiates in these festivals, not only with marriage, but also with the fertility of crops, citizenship and even with their 5 6 calendar (which was based on the cycles of the moon).

These practices were fostered and controlled by leading magistrates in order to ensure the legality of the new citizens.

The collective marriage ceremony, as practiced in Sparta until the fourth century A. D., was similar to 7 that in early Crete. During the ceremony the boy and girl initiates symbolically died and were reborn - like the year gods. The boy cast aside the feminine cloak, which he was forced to wear between thirteen and eighteen years of age while he was one of the "herd" during the period of 8 his transition into manhood. The bride close-cropped

5 Ibid., p. 202. 6 Ibid., pp. 79, 95; The waxing and waning of the moon was a symbol of fertility to the Cretans that involved growth, decay, death, and renewal of life. 7 Ibid., pp. 45-46. 8 Ibid., pp. 46-50; Plutarch, Life of Lycurgus XIII, XIX. .According to Willetts, boys in this age group were placed .in "herds" or camps that \vere headed by a leader called the "ox"; these names derived from cattle worship. The Spartans also had girl "herd" camps. Upon reaching puberty, both boys and girls were obliged to marry in a state controlled public ceremony. 54 her hair,9 dressed in men's clothing and shoes, and waited for her groom, alone and without lights, on a bed of 10 straw. The act of transvestism practiced by the bride is the exact opposite of her groom who discarded the feminine cloak for manhood and marriage. However, putting on or taking off clothing of the opposite sex was a part of the rite of passage - she was to be reborn into a new life by her departure from her group and her entry into marriage. The bride, through her act of transvestism, became one with her husband by taking on some of his nature which the Spartans also believed, mislead the evil 11 spirits on this critical occasion: and thus, fecundity was not hampered. A bride in male's clothing was analogous to the bisexual deity of fertility. According to Plutarch,

Artemis Orthia was the fertility goddess of the Spartan l2 "herds".

9 Willetts, C.C.F., p. 81; A ritual which involved the dedication of the hair to the gods was associated with the initiation rite of puberty in the Minoan age. 10 Plutarch Life of Lycurgus 15, 4-7. 11 Martin P. Nilssen, A History of Greek Religion, New York: W. W. Norton and Co., Inc., -1964), p. 106; Nilsson suggests that the exchange of clothing between the sexes at the marriage ceremonies was to mislead the evil spirits. 12 55

Artemis was the counterpart of her twin brother

Apollo and both were the children of Leto and Zeus. These 13 twtn divinities participated in like-functions, i.e.,

Apollo represented the sun and Artemis the moon. Both were identified with light and when one ceased to shine, the other would take its place. Apollo in certain of his adventures was particularly hostile to women, e.g., after impregnating the mortal woman Coronis, he sent Artemis to . 14 kill her. In like manner, Artemis, according to one myth, was antagonistic towards men; Actaeon, a hunter, came upon her while she was bathing. Offended by being seen naked by a man, Artemis turned him into a stag, and he was killed by his own dogs. Apollo, in other encounters, fell in love with male youths, e.g., Hyacinthus, the son of

13 Homeric Hymn III.l6. The twins Apollo and Artemis probably came from either Lycia, Cilicia or the Hyperborean (an ancient country north of Thrace) to Delos and Crete and-passed over from these islands to the Pel oponnesos. Hyperborean maidens had male counterparts. See J. Rendel Harris, "Apollo and Artemis," The Cult of the Heavenly ~vins, (Cambridge Univ. Press., 1906), p. 137; Pausanias X,9,7; -writes because of a Spartan victory over the Athenians they set up large votive monuments of Apollo, Artemis, and the Dioscouri (also twins) at Delphi. 14 Helen Deutsch, A Psychoanalytic Study of the Hyth of Dionysus and Apollo, (New York: International Univ. Press, Inc., 1969), p. 63; Deutsch in her thesis on Apollo (which is based on the various Apollian myths) reveals his bisexuality and his hatred for women. 56

Amycla~ king of Laconia.l5 Artemis, who bore arms like

Apollo, was a huntress who was jealous and protective of her maidens, e.g., Arethusa (one of her maidens) was turned into a spring by Artemis in order for her to escape 16 Alpheus' advances. Some representations in Greek art depict Artemis bearing arms and wearing a short saffron 17 hunting chiton, like the Amazons to whom whe was a patron goddess (Plate 17, fig. 1). Correspondingly, Apollo always appears as a young man of idealized beauty, with a beardless face and delicate features. His long hair falls in curls across his shoulder, or sometimes freely behind him.

He is generally nude and wears only a chlamys thrown over his shoulder as seen, for example in the sculpture of the

Vatican Apollo Belvedere. The visual representations of

15 N.L.E.M., p. 118 16 Edith Hamilton, Mythology - Timeless Tales of Gods and Heroes, (New York: New A~erican Library Inc., Mentor Bks., 1942), p. 116. 17 There was little distinction between men and women's dress in ancient Greece, except for a slight difference of allowing greater freedom of movement to men. Two types of clothing were the Doric and the Ionic, each consisting of an inner ga~ment, called the peplos and the chi ton respectively, and an outer garment called the· ·hi:ma tion; the chiton and/or peplos is sometimes referred to as a tunic. In Rome there was a distinction made between male and female clothing. A. w. Lawrence, Classical Sculpture, (London: Butler and Tanner Ltd., 1929), pp. 81-85. 57

Apollo turned from a vigorous, manly god with broad chest and slim hips in the fifth century B. c. into lissome, effeminate looking ephebe in the fourth century B. c. (Plate 17, fig. 2) .

In Laconia, Artemis was honored with a festival in which there was a complete exchange of sex roles of the participants._ Men dressed as women, and each of the women who lead the procession, carried-a phallus to the 18 sanctuary of Artemis. Artemis Orthia was known in early

Sparta as Potnia and her cult was of the Near Eastern 19 Mother Goddess type. This suggests that in Laconia,

Orthia and the bisexually ceiebrated.Artemis were one and the same goddess. Unfortunately, there is no ancient

18 Delcourt, H.M.R., p. 13; Delcourt repeats Artemidorus (sec. century A. D.) and Philostratus (third century A. D.) who mentions this festival in honor of Artemis in Laconia. 19 Two ivory fibulae were found in the ancient sanctuary of Artemis Orthia in Sparta dating from the eighth and seventh centuries B. c .. One fibula reveals a goddess with two flanking lions; and the other shows a goddess carrying a calathos on her head with her paredros who is the king. The name inscribed on both is Potnia, but Picard refers to these goddesses as Artemis Orthia. From Linear B Tablets, modern scholars have definitely identi fied the name Potnia with Artemis; however, the name Orthia was attached to this Dorian goddess because her statue was found standing upright in the middle of a thicket (the name means upright). See Charles Picard, M.A.G.S., t. 1, pp. 140, 173- figs. 36 and 49 respectively; and N.L.E.M., p. 122. 58

testimony to verify this speculation. It appears, however, t.hat in portraying her husband, the Spar·tan bride imi- tated Artemis Orthia who possessed certain of the male attributes of Apollo. Wherever an androgynous deity was honored, there was usually an exchange of sex roles.

Moreover, Artemis Orthia of Sparta had an affinity 20 with the Cretan Leto Phytia at Phaestos whose cult was associated with the Ekdysia Festival and the myth of 21 Leukippos. The Cretan Leukippos, although born a girl, was transformed into a man through the prayers of her mother. It was this metamorphosis that the people of

Phaestos commemorated in their sacrificial offering to the goddess, Leto Phytia; for it was she who was responsible 22 for the transformation. This festival brings together elements of fertility, initiation and marriage. The preliminary marriage rites were performed in the sanctuary ~ . in the presence of the bisexual effigy of Leukippos. The 23 bride even slept beside the effigy before the nuptial.

20 Willetts, c.c.F., p. 175. 21 Ibid.; Pausanius III.l6.1; IV.2.4; According to Pausanius, Leukippos was a popular name in Sparta .. and Laconia. In the sanctuaries of Apollo's daughters in Sparta the goddesses and the virgin priestesses were called Leukippides. Leukippos was a legendary king in Laconia whose daughters were raped by the Discouroi. 22 Ovid Metamorphosis 9.66; in this myth Leu kippos is Iphis; see also Antoninus Liberalis, Metamorpho sis 17. 23 Willetts, C.C.F., p. 176; The Cretan New Year began in autumn-when the Ekdysia festival was held- p. 108. 59

Willetts indicates that in earlier times the festival was limited to girl initiates~

• • . and that their later exclusion would have been part of the process whereby the sacred marriage replaced the primitive collective union, and thus coronation becomes a·specialized form of initiation, following on a pre-nuptial ordeal. 24

It would appear that Leukippos' androgyny was due to the sacred marriage of the king with his palace goddess Leto

Phytia. Her paredros, who was identical with the king, was probably Zeus Velchanos (a god of vegetation) of 25 Phaestos. Although Leukippos' bisexual image would seem to have an affinity with the bearded Aphrodite of Cyprus 26 as Farnell suggests, there is, unfortunately, no visual evidence to substantiate this.

Leukippos' parents, Lampros and Galatea, were associated with the moon. Galatea was the daughter of 27 Eurytos, who along with his twin brother Kteatos had two heads, four hands, four feet and ene body. "Their descrip- tive epithet in the sixth century B. c. was equivalent to the bisexual offspring of Lampros and Galatea, Leukippos,"

24 Willetts, C.C.F., p. 176. 25 Arthur B. Cook, Zeus: A Study in Ancient Reli'l gion, (Biblo and Tannenf 1965), Vol. 1, pp. 527-532. 26 Farnell, C.G.S., Vol. II, fn. (c), p. 634. 27 --- Willetts, C.C.F., p. 178; Willetts refers to a commentary on the Iliad 11.709. 60

writes Willetts.28 Eurytos and Kteatos are the bisexual creatures that Plato in his Symposium identifies with the 29 sun, moon and ~·earth. This suggests that Plato did not invent the myth of the bisexual moon but that it probably originated with the Cretans.

In the city of Argos, which is located half way between Athens and Sparta, another peculiar nuptial custom took place in which the brides put on false beards to await 30 their grooms. Such bearded maidens can be compared with the bearded Aphrodite of Cyprus. Plutarch reports that during a celebration of a festival called the Hybristika in

Argos, which occurred during the month of Hermaios, the 31 women and the men exchanged clothing. This festival was

28 Ibid. 29 Plato Symposium trans. J. A. Stewart, pp. 179-182. In relating the myth of the bisexual moon, Plato explains that in the beginning of the world there were three sexes corresponding to the sun, moon and~earth. The man was the sun, the woman the earth and the man/woman the moon, which was made up of sun and earth. (This is noteworthy because the ancients placed so much emphasis on the moon in regards to sex-and fertilizing powers; the bisexual god of the festivals given above was connected to the moon.) These first creatures were round like their parents (sun, moon and earth) on the back and sides, but they had four hands four feet, two faces, four ears and' two sets of genitals. The powerthey possessed was almost equal to the gods; therefore, Zeus split them in two. Now each is looking for· the other's original half with the desire to be one. This pursuit is called love. Plato indicates that mankind was perfect before wickedness (the fall) divided him into two parts, i.e., male and female. 30 Plutarch Moralia, B.64. 31 Ibid. i see also Pausanias Guide to Greece II.20.5. 61

similar to the Cretan Ekdysia, in that rites were performed which symbolically referred to marriage, initiation, and

fertility. The bearded brides and the act of exchanging

clothing between the sexes in the Hybristika suggest a

bisexual cult deity; but neither Plutarch nor Pausanias in

describing this festival mention any such divine power.

Hieros gamos festivals were widespread, as for

example, the Tonaia on the island of Samos. In this festi- 32 val Hera and Zeus were the sacred pair. Hera was con- 33 ceived as a Mother Goddess associated with fertility but

Zeus, as Hera's groom, had no active part in the Tonaia.

The male initiates of this festival donned long white robes which swept the ground, wore their hair loose in golden 34 nets and put on feminine bracelets and necklaces. A

chariot, which carried the statue of the bride Hera, lead 3§ a procession from the city to her temple. At the temple

a preliminary sexual rite was performed on a couch before

the statue, as a prelude to the conjugal rite of the

32 According to some myths, Hera and Zeus procreated without the aid of each other or another consort - Hera gave birth unaided by tender love to Hephaistos and Typhon; and Zeus gave birth to Athena from his head. The myths depict these deities absolute power - they possess the all within. themselves. 33 Dietrich, O.G.R., p. 225. 34 Athenaeus XII, 525. 35 Pausanias, 5.15.5. 62

marriage bed.36

In the city of Lebranda in Caria, there existed a bisexual divinity called Zeus Stratios (lord), who is thought to have been related to the Zeus in Crete, since 37 the double axe was the major attribute of ,both. It may be that Zeus Stratios was indigenous to both Caria and 38 Crete. Delcourt describes an archaic bronze statuette

36 Theocritus Idyl! 17.131; Nilsson, G.F.R.B., pp. 373-374. Nilsson writes: Unsere Erklarung greift nicht so hoch, stiTtzt sich aber auf die Tatsache, dass die Gottheit dem Kult ihre Gestalt verdankt. Daher wird die Ehegottin Hera als Braut dergestellt; auf Samos, wo ihre heilige Hochzeit gefeiert wird, tr~gt das Kultbild den Hochzeitsschmuck. Der Kleidertausch in dem Kult gab Anlass dazu, einen mannlichen Gott in weiblicher Kleidung darzustellen; so die kyprische Venus barbata, die anders als der gewohnliche Hermaphroditentypus aussieht. Es lag nahe, dieses Mannweib auch weiblicher zu gestalten, indem man ihm weibliche Korperformen gab. Dann hat freilich die ungez~gelte Phantasie das wundersame Gesch8pf ergriffen und es zu dem gemacht, was das Wort Hermaphrodites in unserer Vorstellung wachruft. A condensed translation: Our meaning is based on the fact that a deity's form was created by the cult. Therefore, Hera is pictured as a bride on Samos where her sacred marriage is celebrated. Her cult image is a bride in a wedding ensemble. Similarly, a clothing exchange in a cult for rite) gives cause to picture a manly god in female clothing; thus, the bearded Aphrodite looks different than the usual hermaphrodite types. Obviously, this man/woman was made more feminine by giving it female body features. Then, of course, the unbridled fantasy got hold of this wonderful creation and turned it into what the word hermaphrodite means in our mind. 37 Cook, Vol. II, p. 600. 38 Ibid., pp. 586, 592; Herodotus V, 119. 63

of a bisexual Zeus found at Labranda;

••. It represents a beardless deity, with several rows of necklaces, holding the double axe and sceptre, the lower part of the god is wrapped in a net, the upper part bearing four rows of breasts. 39

Because this statuette of Zeus of Lebranda has assimilated the breasts of the Mother Goddess, it has an affini·ty with the androgynous Tutankhamun and the bearded Aphrodite

(priest-king). It also could be mistaken for the many breasted Ephesian Artemis (who had the double axe as her 40 attribute) 1 except that an inscription on a white marble relief found at Tegea identifies such a figure as Zeus

(Plate 18) .

The bearded Zeus, who holds in his right hand a double axe and in his left hand a spear, is in the center.

He wears a long, loose chiton which falls in folds and drapes over his left arm. It has been suggested that the small piece of marble between the head and the upper edge of the panel is a calathos which Zeus carries on his 41 head. Around his neck he wears a necklace. Protruding front his chest are six exposed breasts arranged in a

39 Delcourt, H.M.R., p. 18. 40 Margaret C. Waites, "The Deities of the Sacred Axe," A.J.A., Vol. IIVII, 1923, pp. 30-33; Waites suggests in her article that the double axe represents the male and female principle since several coins from ancient Tenedos bear a male and female janiform head on the obverse and the double axe on the reverse (Plate 19, fig. 1). 41 Delcourt, H.M.R., p. 19. 64

) ' triangle. The double axe, calathos, necklace, and 42 breasts are all symbols of fertility. Zeus is flanked by two smaller figures who look and gesture towards him with adulation. They are identified by the inscription on the panel as Idrieus and Ada who are known to have ruled together in Caria between 351 and 344 B. c .. They were the brother and ~ister of Mausolus, for whom the 43 Mausoleum at Halicarnassus was built.

A cult of the Great Mother Cybele and her androgynous paredros Attis is known to have existed in Caria and 44 Phrygia. In a myth related by Pausanias, Attis in a frenzy castrated himself; and the king (whose daughter Attis 45 was to marry) did likewise. The act of castration performed by the king indicates that he was interchangeable with Attis. It also implies that the divine lovers of 46 Cybele were eunuch priests.

42 Ibid. 43 Cook, p. 593, fig. 497; see also "The Zeus Stratios of Lebranda," A.J.A., (1913), XVII, p. 276. 44 --- Grant Showerman, The Great Mother Goddess, (Chicago: Argonaut, Inc., 1949}, p. 26. 45 Pausanias VII 17, 9-12; Arnobius V, 5-9. 46 Farnell, C.G.S., Vol. III, p. 300f. According to Dr. Farnell the eunuch priests,who were the divine lovers of the Goddess, threw their male organs upon her after their castration in order to increase her powers of fertility. The priests completed their transformation by wearing feminine dress. 65

Plate 19, fig. 2 is of an androgynous Attis in bronze from the Graeco-Roman period. The bronze statue combines a. feminine body with male genitalia. The costume was made to display the sex organs for fertility purposes. Attis is pointing to the conical hat called the 47 tutulus, a phallic symbol.

In one of several versions of the myth, Cybele, the daughter of the king, mourns for the death of her lover,

Attis, whom her king-father has had killedt and mirac- 48 ulously Attis returns to life. Like Adonis he was a year god. The Cybele-Attis cult has been identified with 49 the Aphrodite-Adonis cult of Cyprus, Byblos and Pamphylia.

Sometime during the fifth century B. C. the cult of Cybele and Attis was introduced into Athens; Attis, however, never became popular with the Greeks. Cybele came to be identi- 50 fied~with Demeter and~Rhea.

Fertility cult practices in the Aegean and the

Near East were somewhat similar in that they had a hieros

47 Delcourt, H.M.R., p. 29. 48 It appears that tears had the power of resurrection; Isis wept for Osiris, Demeter for Persephone, and;Aphrodite for Adonis, after which their lovers arose to live a new cycle of life (a rebirth); for this version of the myth see Diodorus of Sicily III, 58, 59. 49 · B~·' Vol. I, p. 716; Strabo 469, 567; and Maarten ,J. Vermaseren, Cybele and At tis - The Myth and Cult, (London: Thames and Hudson, Ltd., 1977), p. 91. -- 50 Vermaseren, pp. 32-35. 66

gamos .rite between a Mother Goddess and ~~r paredros or priest king followed· by an exchange of clothing between the sexes of the initiates. However, the initiations and activities that were incorporated into these fertility cults, varied according to location, e.g., in Amathus,

Cyprus, where the male Aphrodite was worshipped, there was a festival called the Gorpiaeos in which the ancient Minoan goddess Ariadne, who was identified with Aphrodite, was honored. Plutarch referring to the account of Paeon

(a Cypriot historian at the time of the Ptolemies) describes this festival:

there was a grave in a thicket near Amathus called "Aphrodite-Ariadne" in honor of Ariadne who was buried there after she had died in childbirth during the absence of Theseus. In this festival, a youth would lie down on the earth and imitate the dying Ariadne in travail. 51

Ariadne was unique in her role as a nature goddess because in this ceremony it was she who died and not her 52 paredros. Nilsson refers to this festival as an exten- si.on of the Cypriot Aphrodi tos cult in which the sexes exchanged clothing; thus, he thinks that the worshippers acted out opposite sex roles which included the male

51 Plutarch Life of Theseus 20; the above quote is paraphrased by the author. . 52 Willetts, C.C.F., p. 194. 67

realistically performing the act of giving birth.53 A

Hurrian myth which involves the account of Kumarbi, who became a pregnant male, can be traced back to the ancient 54 city of Ugarit (Ras Shamra) which is located on the

Phoenician coast a short distance from Cyprus, see map

Plate 2.

Theseus was an Athenian hero, and thus the

Gorpiaeos festival combines Greek, Cretan and Cypriot elements. The grave site of Ariadne has also been located on the island of Naxos which, according to the Orphic Hymn to Aphrodite, was sacred to Dionysos and "Aphrodite- 55 56 Ariadne". In one of several legends about Theseus~ the hero left Ariadne on the island of Naxos, where

Dionysos found her and married her. In another legend,

Dionysos loved Ariadne before Theseus appeared on the scene; and when she abandoned him in favor of Theseus he had her killed. Another grave site of Ariadne was claimed for the c~ty of Argos where the brides wore beards and the 57 androgynous Hybristika festival was held.

53 Nilsson, G.F.R.B., p. 369. 54 Michael C. Astour, Hellenosemitica, (Leiden: E. J. Brill, 1965), p. 195. 55 Orphic Hymn to Aphrodite 55, 1.22. 56 For the different Theseus legends see Marianne Nichols, Nan, Myth, and Monument, (New York: \.\lilliam Morrow and Co., Inc., 1975), p. 122f. 57 Pausanias II, 23.8. 68

A Theseus-Aphrodite legend directly traceable to

Crete and Greece involves the sacrifice of male animals to

Aphrodite. According to this legend, the Delphic oracle

advised Theseus to make Aphrodite his guide on his journey

to Crete. While he was involved in the act of sacrificing

a goat in honor of the goddess in the preparation for

his journey, the she-goat suddenly became a male. Hence-

forth, the deity was to be known as Aphrodite who rides on 58 a goat. A bronze statue of Aphrodite on a goat, by

Skopas, which originally stood in the temple at Elis is

unfortunately lost, but coins and mirrors (Plate 19, fig. 3) 59 have been found with representations of it.

Aphrodite on a male goat relates not only to the

Cretan Mother Goddess but to the Syrian Mother Goddess

Astarte. According to Lucian, Astarte, when wearing a

bull's head symbolized supreme power and royalty. Lucian 60 also referred to Astarte by the name of "Ourania". The

Ouranian (Aphrodite) cult as reported by Herodotus and

Pausanias, originated in Assyria, was brought to Paphos

in Cyprus, from there was transmitted to Ascalon

in Palestine, and then to Cythera or Crete. Finally it

58 Pausanias I, 1.5; Strabo, 398 59 For a coin of Aphrodite on a goat, see Farnell, Vol. II, Coin Plate "B" 42, p. 687. 60 Lucian De Dea Syria 4. 69

was instituted in Athens by Theseus' father Aegeus who 61 ruled there as king. Crete is known to have maintained her relations with Cyprus from earliest times to long· 62 after the Bronze Age. Moreover, many of Crete's religious traditions were passed on to mainland Greece, some 63 as early as Minoan times.

Herodotus and Pausanias, by mentioning that Aegeus was king when the Ourania cult was instituted in Athens, provide a clue as to when the androgynous Cypriot Aphrodite might have entered Athens. Not only can this be derived from the myth of the Minotaur, which scholars believe orig- 64 inated at the beginning of the thirteenth century B. C. in mythological times, but entries 18 through 21 of the

61 Pausanias I,l4.7; Herodotus The Histories, p. 64. 62 Dietrich, O.G.R., p. 220. 63 Willetts, C.C.F., Chapter 3, "Minoan-Mycenaean Cullits." 64 _Nichols, p. 122f; see also T. B. L. Webster, From Mycenae to Homer, (New York: Frederick Praeger Inc., 1954), p. 62; and H. E. L. Mellersh, Minoan Crete. (London: Evan Bros. Ltd., 1967), p. 131. In the myth of the Minotaur, Theseus, by slaying the monster, liberates the Athenians of their nine-yearly sacrificial ~ffering of 14 young people to Minos. However, his father King Aegeus, believing Theseus had been murdered by the Minotaur, kills himself; thus, Theseus becomes king and rules\Athens for a time. In Homer's Iliad a successor of Theseus leads the Athenian contingent to the Trojan war, while Idomeneus, the son of Minos, leads the Cretan fleet. Homeric reference places the Theseus myth in the late Bronze Age before the Trojan war, for Idomeneus is a contemporary of Odysseus' father (Iliad 13.449-52). • 70

Parian Chronicle indicate that Aegeus was king of Athens from 1307 to 1259. Theseus ruled the city after him 65 through the year 1256.

Pausanias, after describing various temples on the south side of the Acropolis, writes that Theseus introduced the worship of Pandemos Aphrodite and Peitho into

Athens when he transformed it from a cluster of little 66 villages into one great city. Two inscriptions found on the southwest slope of the Acropolis refer to the worship of Pandemos and thereby confirm that there was a temple 67 dedicated to this 'lustful' Aphrodite in Athens. There is little doubt that Pandemos was the Astarte Aphrodite, for Solon, the Athenian lawgiver, dedicated a temple to

Aphrodite Pandemos "the goddess of lust and venal love" in 68 594 B. c.. Up to this time the name Ourania had been

65 The Parian Chronicle is a pre-classical Greek record of events that was incised on a slab on parian marble. On its arrival in London, in A. D. 1627, its text was published by distinguished scholars of antiquities. This chronicle is given in the Appendix II, by Marianne Nichols, pp. 320-324. 66 Pausanias I,22.3. Peitho provokes couples to seduction. 67 Farnell, C.G,S., Vol. II, pp. 658-659; Farnell goe~ by the account of P. Fouc~rt for the inscriptions found on the Acropolis; see P. Foucart, Bulletin de Correspondence Hell~nique, (1889), p. 161. For anc1ent testimony to -this temple see also Athenaeus 571C; Euripides Hippolytus 25. 68 Farnell, C.G.S., Vol. II, pp. 658-659; Athenaeus 569D, 659D. 71

identified with Pandemos, but it now took on a more 69 morally strict significance. The thirteenth century B. c. date for the estab- lishment of the Ourania Aphrodite cult in Athens by Aegeus corresponds to the time of the Trojan war which took place, according to most authorities, ca. 1220 B. c .. Homer indicates in- his epic poems that Aphrodite was the daughter of Dione and Zeus, a Cyprian divinity, the mother of Aeneas, a friend of the heroes of Troy and thereby the enemy of the Greeks. She is not in any clear way related to the Greek deities. Yet, Aphrodite is admitted into the

Greek pantheon because she is the daughter of Zeus and 70 Dione_ (who was a mate of zeus before Her~) . These accounts from the Iliad and the Odyssey lead to the conclusion that Aphrodite had become partly Hellenized sometime before the Homeric period.

Pisistratus, the successor to Solon, became the first tyrannical ruler of Athens. He was bold and success- ful and used the myth of Theseus as a model for his exploits. During his reign (560- 527 B. C.) the Theseus

69 "Aphrodite," _!!arpers Dictionary of Classical Literature and ·Antiquities, ed. Harry 'rhurston Peck (New York: Cooper Square Pub. Inc.,l965), pp. 95-96. 70 Farnell, C.G.S., Vol. II, pp. 621-622. For another version of Aphrodite 1 s birth see p. 46. 72

I' . myth began to grow in popularity in Athens.71 The

program of decoration of the famous Francois vase is the

first visual account of the myth of Theseus and the 72 Minotaur and dates from ca. 560 B. c.. Theseus becomes

increasingly popular as a subject on the red and black 73 figured vases at the end of the sixth century B. C.

It was during Pisistratus' reign that the cult

of Dionysos Eleuthereus was introduced into Athens in 74 whose honor the drama festivals were held. The cult of

Dionysos, not withstanding its fertility, orgiastic and

mystical rites, became respectable in sixth century Athens

and was observed by all classes of society. The ascent of

Dionysos to Olympian status during this period can be

accounted for by the numerous vases on which he and his

followers are represented. There was also a temple

dedicated to him in Athens at the end of the sixth century 75 B. C ••

As the result of the popularization of Theseus and

71 Anne G. Ward and Others, The Quest for Theseus, (New York: Praeger Publishers, 1970), p. 145. 72 Martin P. Nilsson, Cults,.Myths, Oracles and Politics in Ancient Greece, (New York: Cooper Square Pub. Inc. , 19 7 2) , p. 58. 73 Ibid. 74 Ibid., p. 26. 75 Dietrich, O.G.R., p. 274. 73

the recognition of chthonic cults under Pisistratus, a hieros gamos_ festival called the Oscophoria appeared in

Athens. It dates back to the early fifth century B. C., when Cimon an Athenian general, supposedly had the relics of Theseus brought back from Scyros to Athens. The festival was interpreted as a commemoration of Theseus, who returned from Crete with seven maidens and six youths, after having saved them with the assistance of Ariadne from the Minotaur.

The festive procession was headed by two effeminate boys, who were supposedly taught by Theseus to imitate the gait, voice and bearing of maidens, as well as to dress like them. Each boy carried a vinestock laden with grapes 76 in honor of Ariadne and Theseus. They were chosen to lead the procession because they were symbolic of the two boys, who (in feminine dress) were included with the seven maidens and Theseus on their ritual trip to Crete. The origin_of this festival did not involve Theseus, but rather ' a group of male and female initiates who celebrated their passage to maturity by dance, song, contests and marriage.

No doubt, it seems to me, a hieros gamos rite was included in the rites of passage to ensure an abundant harvest

76 Willetts, C.C.F., p. 196. Dionysos had earlier been a bridegroom of Ariadne and was later replaced by Theseus. In the Theseus' legends of desertion, Dionysos and Theseus are interchangeable. Theseus, like Dionysos, was associated with fertility. 74

of the forthcoming vintage crop, as the celebration was 77 held~l according to Harrison, in honor of the vinestock.

The later version of the festival was held in honor of the sacred fig tree (symbol of fertility) and involved a 78 group of male and possibly female nubile initiates.

The Oscophoria has been considered a New Year festival - with the death of the old king, a new king 79 reigns and thus a new year begins. In ancient Greece,

Theseus marks the period of transition between kingship and democracy and becomes the new hero. The transvestism in this festival, as described by Plutarch, was no different from that in the Cretan Ekdysia or the Argive Hybristika.

It was part of the rites of passage - death and then rebirth into a new life. The Near Eastern practice of transvestism which was associated with the bisexual

Aphrodite was also a part of the Oscophoria festival.

The name of Ariadne was used in this festival by the Greeks in recognition of her appearance in the original myth of Theseus. Aphrodite became Ariadne in disguise, as she was associated with Theseus in rituals at Athens 80 and at Phalerum. The procession of this festival went

77 Harrison, T., p. 322. 78 Plutarch Theseus 23; Willetts, C.C.F., pp. 195, 196; Harison, T, p. 319f: 79 - 80 Harrison, !r p. 323. Plutarch Theseus 18 75

from the Athenian temple of Dionysos to the temple of 81 Athena Skiros at Phalera, where there was a statue of 82 Aphrodite. Aphrodite \vas the patron goddess of Theseus.

Both Callimachus and Plutarch reveal that Theseus upon his return from Crete dedicated his temple on Delos to

Aphrodite and placed a statue of her in it that he had 83 received from Ariadne.

Theseus, himself, possessed an androgynous nature as Pausanias relates in a legend:

. . • Theseus entered Athens in a tunic that reached to his feet, hair plaited and nice looking. When he came to the shrine of the Delphians, the builders asked him as a joke, what kind of a girl who is ripe for marriage, is wandering on her own? Theseus flung the oxen out of the cart and threw it over the half built temple. 84

Theseus was only one of several Greek hero/gods who assumed an androgynous nature in Greek legends. Hercules wore women's dress at Cos when he married Chaleiope, as 85 did the other bridegrooms and the priest of Hercules.

81 Ibid., 23 82 Pausanias I,l.l. 83 Plutarch Theseus 21; Callimachus "Delos," ~ and Epigrams 306-13; Pausanias IX,40.3. Pau.sanias says this was a small wooden statue with a square base instead of feet. He also thought it was the statue Ariadne received from the legendary Greek artist Daedalus who was connected to Bronze Age Crete. 84 Pausanias I,l9.1. 85 Plutarch The 58th Greek Question. 76

In another legend Hercules was put in servitude to Omphale,

the Queen of Lydia, and was forced to wear women's dress 86 while Omphale wore his lion's skin. Achilles on 87 Scyros was disguised as a girl, and Dionysos was brought 88 up by Ino and Athamas as a maiden. Conversely, the

Amazons, who took on the attributes of men-of-war, and 89 Artemis (Diana) the huntress, are in their transvestism the female counterparts to the above mentioned male deities.

The gods of transvestism can be compared to the year gods, i.e., Attis, Adonis and Dionysos, whose representations in s~ulpture and painting appear effeminate and

are sometimes explicitly androgynous (Plates 19, 20 and

21). In Athens the effeminate Adonis and Dionysos were venerated chiefly by women who mainly attended their 90 festivals.

The first documentary reference to Adonis in Athens

86 Delcourt, H.M.R., p. ·22. 87 88 Apollodorus III,l3.9. Ibid., III,4.3. 89 Since men and women's dress in ancient Greece was primarily the same (see fn. 17 of this chapter), attributes such as bearing arms is a male characteristic which depicts aggressive and dominant behavior instead of the passive and gentle behavior expected of a female; there fore, these maidens are considered participants in trans vestism. 90 Plutarch Erotikos 756C; Marcel Detienne, The Gardens of Adonis, trans. Janet Lloyd, (New Jersey: The Humanities Press, 1976), p. 114. 77

was made by the comic poet Cratinus (484 B. c. to 419 B. C.) in a comedy that was written before the Peloponnesian war.

This comedyr The Herdsmen, satirizes a re:):.igious archon who refuses approval of a chorus to. Sophocles for one of his dramas but grants one to some poetaster "who was 91 not fit to train a chorus even for the Adonis festival".

Aristophanes, a contemporary of Cratinus, wrote in his comedy Lysistrata that the women's lamentations for Adonis 92 disturbed the debates in the Ecclesia. Lucian referred to the Athenian Adonis festival as being a lascivious, 93 orgiastic ritual.

The low opinions of the Adonis cult suggest that

Adonis was unacceptable to the mainly patriarchal society of Athens. It appears that when the Near Eastern Aphrodite cult was introduced into Athens in the thirteenth century

B. C., Adonis was replaced first by Aegeus and then

Theseus as her paredroses or priest-kings, and that they were also interchangeable with Aphrodite's paredros

91 Athenaeus XIV, 638. See also John Maxwell Edmonds who augmented, edited and trans. Fragments of Comedies after Meineke, Bergk and Kock, Vol. I, (Leiden: E. J. Brill, 1957), frag. 2, p. 29.· Sophocles was a contemporary of Cratinus and Aristophanes. Playwriters sometimes used their contemporaries as characters in their plays as Cratinus did Sophocles in this comedy. 92 Aristophanes Lysistrata 387. 93 Lucian Pseudologista II. 78

f ' Dionysos. 94 In the legends of the desertion of Ariadne,

Dionysbs and Theseus are interchangeable; and in the

Athenian Oscophoria, Theseus takes the place of Dionysos.

Since the comedy writers of the·last half of the fifth century B. C. were the first to mention Adonis, it is believed that the Adonis-Aphrodite cult did not appear 95 in Athens until shortly before this period. It was in this city that women grew "Adonis Gardens" (wheat, barley, lettuce and fennel) in earthern pots. The gardens were planted in potted soil in order to promote quick growth.

In eight days the plants were taken via ladders to the roof-tops where they were exposed to the heat of the high summer sun so that they would-~die quickly. Then the plants were brought down the ladders and cast into the 96 sea. Water meant to the ancients life and-rebirth; thus, the act of throwing wilted plants into the sea was symbolic of the water's power to rejuvenate dead (dormant) plants.

94 Dionysos and Aphrodite, according to one myth, were the parents of Priapos; Delcourt, H.M.R., p. 50; and Michael Grant and John Hazel, Gods and Mortals in Classical Mythology, (Springfield, Mass: G. and c. - Merriam Co., 1973), p. 58. 95 w. Atallah, Adonis - Dans la Litterature et l'Art Grecs, (Paris: Librairie C. Klincksieck, 1966), p. 98; Detienne, p. 3. 96 Detienne, pp. 102-109. I':J

f ' On a red figured-·pelike (Plate 20, fig. 2), plants 97 in the form of phalluses are shown growing in a garden.

A woman is seen either throwing grain on the phalluses or watering them. Garden plants, as erect phalluses, are symbolic of Adonis. The phallus, like a plant, rises and is spent quickly. Adonis died and arose according to the rhythms of nature. The ladder, pillar, cone and an erect phallus had the same connotation to the ancients - they reached from the earth towards the sky and represented the union of earth and sky. The cult practice described above took place during high noon in midsummer at the time of the last full moon of the Attic.year. This also corresponded to the time when the sacred marriage rite was 98 celebrated in many parts of the ancient world.

The Greeks never completely Hellenized Adonis as they did Aphrodite or Dionysos. Adonis and his emasculated 99 priests were too effeminate for the Athenians. More- over, a celebration of the Adonis cult at the time of the

Peloponnesian war was associated with a subsequent defeat of the Athenian fleet in the battle of Syracuse in

97 Atallah, p. 219. 98 Harrison, T., pp. 173, 225, 226. 99 - Farnell, C.G.S., Vol. II, p. 648. 80

. 100 Sicily. The men of the fleet while marching in formation to the harbor to embark, passed by the effigies of Adenis laid out on biers in front of the entrances to the houses. The women were wailing and singing dirges which created an atmosphere of impending doom. The

9reat fleet was overpowered and the Athenians placed the responsibility for this disastrous event not only on the

Adonis festival but on another foreboding occurrence. The phalluses of all the ithyphallic Hermes in Athens had been mysteriously mutilated by someone three months prior to 101 this festival and naval defeat. These events may help to explain why "Hermes" rather than "Adonis" or some other paredros was given the honor of joining "Aphrodite" in the naming of "Hermaphrodite", who was created at about this 102 time.

100 Plutarch Nicias 13; The Adonis festival and the battle took place in August of 415 B. C. 101 Ibid.; The mutiliation of the Hermes took place in May of 415 B. C. 102 It is thought by Delcourt that the first prototype Hermaphrodite was created 'Sometime during_ the latter part of the fifth century B. c .. Chapter 4

HERMAPHRODITE

Ancient writers who have written on the Hermaphro- dite, except for Nicander and Ovid, have agreed that his dual nature existed from birth and that he received his l name from his divine parents: Hermes and Aphrodite.

As mentioned previously (supra p. 3), the myth of Hermaph- rodite was originally invented by the Greek inhabitants . 2 near Halicarnassus, Caria, to explain why a pool caused impotency to any man bathing in it. The first writer to be attracted to this myth was Nicander of Colophon

(second century B. C.) who incorporated it in his

Heteroioumena (Transformations) while adding a number of preliminqry events to it. Ovid in turn borrowed from 3 Nicander and added his own elaborations.

Ovid's myth completely ignores the earlier

. 1 Diodorus of Sicily IV, 6.5; Martianus Capella Ii34; Athenaeus X, 448E; Lucian Deorum Dialogi 15,2. One version of the birth myth of Hermaphrodite is: Aphrodite did not want to accept the advances of Hermes, but Zeus helped him by sending his eagle, which stole her sandal and gave it to Hermes. Aphrodite had to submit to him in order to recover it; she bore him Hermaphroditus who was both male and female. 2 This is the place where the cult of the many breasted Zeus Stratios existed. 3 Wilmon Brewer and Brookes Hore, Ovids' MetamorEho ses in European Culture, (New Hampshire: -·-Marshall Jones Publishing Co. r 1948) I pp. 153, 164.

81 82

explanation of the origin of Hermaphrodite in which the god is said to have been bisexual at birth and not to have become that way because of a later metamorphosis. A 4 summary of Ovid's Carian myth is as follows: Hermaphro- 5 dite, the son of Hermes and Aphrodite was born on Mt. Ida in the Troad. He was raised by nymphs until he was fif- teen, when, according to ancient belief, a boy attained his greatest personal charm. At this time Hermaphrodite left Mt. Ida and wandered southwards into Caria where the nymph of the pool of Salmacis saw him. Because of his great beauty, the nymph was attracted to him. Hermaphro- dite decided to bathe in her pool, and while he was engaged in this activity, she suddenly attempted to embrace him and he resisted. Unable to subdue him, the nymph called upon the gods, and with their help she was made to fuse with the youth into a single body. A Renaissance painter, Jan Gossaert recreated this·scene between

Salmacis and Hermaphrodite (Plate 22).

The miraculous merging of lovers into one being who possesses both sexual natures is conceived by Ovid as a bisexual condition which serves to decrease rather than to

4 Ovid Metamorphosis IV, Lines 215-388. 5 This is not to be confused with Mt. Ida in Crete which was sacred to Zeus and the Kouretes. 83

increase the powers of virility. Hence, the significance of Ovid's version is that it refers to the original myth which was creat,ed to explain the debilitating effect of the pool on male potency. Ovid goes on.to state that

Hermaphrodite in retaliation cursed the pool which was responsible for his metamorphosis (feminine characteristics that usurped his male powers) suggesting that the pool and the nymph are one and the same. Thus, it appears that the

Carian myth has little or nothing to do with Hermaphro- dite's origin in Athens, where he was created as a fertility god undiminished in his virility. The question now arises as to why Hermes, who was but one of the several 6 paredroses of Aphrodite, was chosen to unite with her in the creation of the name and the god Hermaphrodite.

Originally, Hermaphrodite was thought to have been 7 a herm of Aphrodite and this explained how the first part of his name was obtained. Pausanias writes that an

Aphrodite in the form of a herm was to be found outside the walls of the Acropolis called 11 Aphrodite in the Gardens".

6 Besides the already mentioned Adonis, Hermes, Anchises, Aeneas, and Theseus, other paredroses of Aphro dite were: Ares, Hephaestus and Dionysos. 7 A herm (Greek) or a term (Roman) is a sculpt.ured figure. or bust that terminates in a rectangular pillar which tapers-towards the base. Most Greek deities, at one time or anothe:c, "l!vere represented as a herm. Hermes was well-known for his herms and they remained popular through Roman times. 84

' ' He describes the lower part of this herm as being square in shape and bearing the inscription "Heavenly Aphrodite is the oldest of the Fates." This statue "one of the most 8 beautiful sights in Athens" was made by Alkamenes

(a famous fifth century sculptor and a student of Phidias).

A herm of.Aphrodite Ourania (ca. mid-third century B. C.) was found near the remains of her Agora temple in Athens

(Plate 23). This confirms Pausanias' statement that there was such an Aphrodite and gives an idea of the appearance 9 of the cult statue. It seems reasonable that the name of the double natured god derived from the combination of a herm and Aphrodite, but this means that Hermes would have had no part in the creation of the new god. To exclude hinl, would deprive Hermes of his meaning as the

Earedros of Aphrodite.

Hermes and Aphrodite were worshipped together at different sanctuaries; hence, Jessen thought that this 10 might explain why their names were combined. However, this divine pair signifies a Mother Goddess and her paredros who were eventually united into one being.

8 Pausanias 1.19.2. 9 John Travlos, Pictorial Dictionary of Ancient

Athens 1 (New York, Washing.ton: Praeger~Pub1ishing Co., ~971} 1 P• 79. 10 Jessenf "He.rmaph:r-od.ite," _E_.w., col. 718. 85

The two deities are shown together on coins from

Melos (Plate 24, fig. 1}, Aphrodite is standing next to

Hermes and rests on a pillar. One of her hands is on

Hermes shoulder. Fig. 2 of this Plate is a fragment of a terracotta votive pinax from southern Italy on which Hermes,

Aphrodite and Eros are depicted. The plaque was made to hang on a wall, probably in the horne. Hermes and Aphrodite are facing one another in a festive pose. Eros, in the center, stands on Aphrodite's arm and holds a lyre; his arm which is extended towards Hermes is symbolic of 11 Aphrodite's feeling for her lover. Aphrodite holds a rose blossom in her outstretched hand and a thyrniaterion

(incense burner) is sitting in front of her. The head gear of Hermes has been described as a sun hat, but in this example it resembles more the horned moon. Hermes was associated with the moon in the same way as the Near

Eastern Aphrodite. At every new moon Hermes received 12 cakes, wine and smoked offerings.

Plate 25 is a terracotta plaque of Aphrodite and

Hermes (ca. 460 B. C.) from Locri, in southern Italy.

Aphrodit.e is shown on her way to Olyrnpos and rides in a

11 Furtwangler, "Eros," ~.L., cols. 1351, 1352. 12 Karl Ker~nyi 1 Hermes Guide of Souls, trans. Murray Stein (Zurich: Spring Publishing--;1976), p .. 65; and Farnell, C.G.S. 1 Vol. V 1 p. 13. 86

cart which is drawn by Eros (holding Aphrodite's dove) and

Psyche (holding a perfume flask). Hermes steps up behing 13 Aphrodite to point the way.

Sanctuaries of Hermes and Aphrodite were known to be located near the spring of Salmacis, the site which played such an important role in the Carian myth of 14 Hermaphrodite. In Cnidus an inscription was found dedi- 15 cated to Aphrodite and Hermes. In Argos the statues of 16 Hermes and Aphrodite stood next to each other. At 17 Megalopolis they and Eros shared a sanctuary. At Athens the three were celebrated together by a cult in which they were referred to as Hermes Psithyristes (whisperer), 18 Aphrodite Psithyros and Eros Psithyros. An altar which was found on the south side of the Acropolis at Athens and which dates from the first century B. C., has the names of 19 Aphrodite and Hermes inscribed upon it.

In many places both Hermes and Aphrodite were honored as separate deities of the bridal chamber before

13 J. Boardman, Greek Art, (New York, Washington: Frederick Praeger pub., 1969), p. 163. 14 Vitruvius II, 8, 11. 15 16 Pausanias I, 1.3. Ibid., II, 19.6. 17 Ibid., VIII, 32.2. 18 Jessen, P.W., col. 718i Harpocration s.c. Psithyristes. 19 FarnelJ.,., ".Hermes," G.G.~., Vol V, p. 12. 87

they became a pair. Stobaeus tells of Aphrodite presiding over legally sanctioned sexual intercourse of man and 20 woman while Hermes safeguarded married couples from evil 21 influences and assisted in fertility. The ancients, by placing the two together, must have felt confident that they were doubly protected against the powers of evil which might prevail against them in wedlock.

Worshippers before a wedding (or nuptial rite) often visited sanctuaries which honored Hermes and Aphro- dite ~o ask for their protection. Hesiod pointed out that the fourth day of every month was sacred to Hermes and Aphrodite and that this day was propitious for mar- 22 riage. The very superstitious, ancient Greeks preferred that marriage and the ceremony take place in the seventh 23 month of Gamelion (January) at the time of the full moon.

The month of Hermaios (known for the celebration of the androgynous Hybristika festival in Argos) was favorable 24 for marriage like the Attic month of Gamelion. This

Stobaeus 67.20; Farnell, C.G.S., Vol. II, p. 656. 21 Farnell, C.G.S., Vol. V, p. 25. 22 Hesiod Work and Days 800. 23 Robert Flacelier~, Daily Life in Greece, In Time of Pericles, trans. Peter Green, (New York: Macmillan Co., 1975), p. 62. 24 ,Jessen, ~w., col. 715. 88

further substantiates the idea that the Argos festival was a collective wedding celebration.

Plutarch indicates in the proem to his Conjugal

Precepts that Hermes and Aphrodite were invoked not only to bring harmony to a marriage union but to a household as well:

• • .praying to the Muses that they may work together with Aphrodite, for it is their office to bring harmony to a union and to a household. That is why the Ancients joined together the images of Aphrodite and of Hermes with those of Persuasion and the Graces, so that the consorts may agree each with the other by persuasion and without conflict. 25

Hermes in this proem is envisioned by Plutarch as a phallic fertility god.

The phallic monuments of Hermes, consisting mostly of herms, represent a major feature of his cult. In Athens they stood at the entrances of public buildings and beside the frontdoor of private homes. Their purpose was to stimulate (by magic) fertility in plants, animals and humans, and to bring good luck not only in the fertility 26 aspect but life in general. Plate 26, fig. 1, is a reproduction of an ithyphallic herm of the bearded Hermes~

25 Delcourt, H.M.R., p. 47. This is repeated from Delcourt. 26 Arthur B. Cook, Zeus, A Study in Ancient Religion, Vol. II, (New York: Biblo and Tannen, 1965), p. 1091; see also Charles Seltman, The ~velve Olympians.and Their Guests, ed. by Wilfred J. Synge, (London: Max Parrish, 1956), p. 68; Callimachus Iambus p. 139; and Dictionary of Greek and RomanAntiaui ties, ed. ~Villi am Smith, Vol-:--T, (Bost.on: Longwood Press, 1970), p. 603. 89

Fig. 2 of this same Plate is a photo of another herm of the same type which is being crowned with a wreath by a nude Aphrodite. At the foot of Hermes are offerings of 27 grapes and fruit (to ensure fertility).

Hermes possessed various natural and~supernatural powers according to the locality in which he was worshipped. In cities such as Athens, where his herms were 28 most numerous and most venerated, he was not only_ a messenger of the gods and"a conductor of the dead to Hades~ but a deity of commerce, good fortune and a protector of: travellers, patrons of music (he invented the lyre), athletes and thieves. He also presided over popular divination. His function as a deity of gain, honest or dishonest, are natural derivatives of his character as a god of fertility. Hermes in his capacity as a deity of good fortune brought the lover fulfillment of his desires which then was also to be identified with his phallic power.

Hermes may not have held the highest position on

Mt. Olympos, but he was one of the most endearing of the

27 Geoffrey (;rigson, The Goddess of Love, (New York: Stein and Day, 1977), p. 74 28 Dictiona;sy_of Greek and ·Roman Antiquities, p. 603. 90

gods to the Greeks. In classical times the caduceus, one of his attributes, consisted of a rod with two snakes 29 twined into a figure eight open at the top. In visual representations it may be seen with or without wings.

The caduceus, like the god Hermes, possessed many magical powers. The two serpents represent the male and female in an amatory mood, and thus they together become a symbol of 30 copulation and conception. The caduceus was associated also with Asclepius, the god of health, and symbolized the 31 physician who moved from house to house. It is therefore fitting that this symbol belongs to the god of good fortune, wisdom, fertility, health and dispatch.

Important, also, in why Hermes and Aphrodite were chosen by the Athenians to join together in a new invention, Hermaphrodite, was the period involved in his creation in Greek history. The documentary evidence suggests that Hermaphrodite was not created in Athens until 32 the end of the fifth century B.· c. , a time when politics, religion and family life was in an upheaval. The Black

29 Ibid., p. 218; Originally, the caduceus was an olive branch; later it became a configuration of snakes. 30 Gertrude Jobes, Dictionary of Mythology, Folklore and Symbols, (New York: The Scarecrow Press, 1961), p. 267; Thomas Inman, Ancient Pagan and Modern Christian Symbolism, 4th ed. (Kennebunkport, Maine: Milford House, 1970), p. 117. 31 Jobes, p. 267. 32 See pages 2, 95, 96. 91

Plague (430- 429 B. C.) and the Peloponnesian War

(431- 404 B. C.) resulted in a great decline of the

Athenian population. In order to counteract this develop-· ment, every male Athenian, in addition to his legally married spouse, was instructed to mate with another woman 33 in order·to increase the population. The time was propitious for the creation of a new fertility deity as a promoter of the sexual union. What divinity in visual representations could entice people to propagate better than the ithyphallic Hermes or the seductive love goddess

Aphrodite? The Athenian artists, by combining these two to form Hermaphrodite, must have been convinced that his statue would ensure fer.tili ty, prosperity and continuity during a period of crisis. Strangely enough, he did not always retain the characteristics of Hermes and Aphrodite.

Greek artists created several types of Hermaphrodites and his attributes were often derived from other fertility divinities such as Eros, Demeter, Priapos, and Dionysos.

Subsequently, the name Hermaphrodite was considered simultaneously to be both male and~female.

Documentation also shows that there were two cults of Hermaphrodite: an indoor (domestic) and an outdoor

(public) cult. The former was first mentioned by

33 Flaceliere, p. 74. 92

f .

Theophrastus, who wrote about "Superstitious Man" in his Characters, ca. 300 B. C.:

••. The Greek is forever purifying his house. On the fourth and seventh days of every month he has wine mixed for his household, then he goes to the market to buy myrtle boughs, incense, cakes and a holy picture (of Hermaphrodite?). On his return horne he spends the rest of the day sacrificing and garlanding Hermaphrodites. 34

There seems to have been more than one Hermaphrodite in a home. Moreover, the Greek was honoring both personages of Hermaphrodite's double nature: myrtle boughs and

incense were associated with Aphrodite, while cakes and wine were associated with Hermes (they were often included

in offerings to hici- supra p.85) .. In addition, the

fourth day of every month was sacred to Hermes and Aphro- dite (supra p. 87) and was therefore considered propitious

for marriage, while the seventh day was thought of as 35 favorable for births or propagation. Theophrastus,

as cited above, substantiates that the first Hermaphrodites were a combination of Hermes and Aphrodite.

The outdoor cult is mentioned in a letter in the

collection of Alciphron (a contemporary of the Greek writer Lucian of the second century A. D.), in which a

34 Theophrastus Characters, chapter 16. 35 Hesiod Work and Days 800. 93

young ·widow who lived in Athens during the time of Plato is imagined as confiding to her friend Amaracine.

. . . I had woven an eiresione of flowers which I was intending to offer to the Hermaphrodite of Alopece; but all of a sudden I fell into an ambush prepared for me by some daring youths. The ambush served the desires of Moschion who, ever since I lost my poor Phedrias, has constantly pestered me with talk of marriage. For my part., I rebuffed him, both in pity for his youth and in loyalty to Phedrias. I little knew what awaited me: a marriage without ceremonies, in a ditch for a bed ... Violence gave me a husband, very much against my will, but even so I have one .. 3~

The eiresione offering to the Hermaphrodite of Alopece (a suburb of Athens) by the young widow was either to find another husband. or to gain favor from the god for the afterlife of her late husband, Phedrias. Hermaphrodite was a symbol of regeneration as well as of marriage and the sexual union.

An eiresione of entwined flowers is an offering to gain favor of the divinity in front of ~vhose image it is laid. The complete form of the eiresione is a portable

Maybranch which is hung about with wool, acorns, figs, cakes, fruits of all sorts, sometimes wine jars and other symbols of abundance. Such an offering was a purely Greek tradition and could be made to any of the gods; it was also placed on the door of the Athenian household to ensure 37 abundance.

36 Alciphron Letter~ III, 37~ II, 35. (ed. Schepers) 37 Harrison, P.S.G.R., p. 81; Delcourt; !i~.:.R·, p. 49. 94

Besides the two literary documentations of

Hermaphrodite, there is also some evidence that his cult derived from the Adonis-Aphrodite cult in Cyprus. 38 Aristophanes, in a lost play, mentioned an Aphroditos; and according to Hesychius in his Lexikon, Theophrastus ----39 identified Aphroditos as Hermaphrodites. Since these two names are identified as one and the same deity, it further suggests that the Cypriot crilt influenced the creation of this double sexed god. Moreover, a Pompeian ···40 painting identified as "Toilette de l'Hermaphrodite" represents an androgynous Adonis. Another Pompeian paint- 41 ing under the same title (Plate 27) depicts a bearded

Aphrodite (the Cypriot Aphroditos) who, dressed in feminine clothing, offers a mirror to Hermaphrodite. A little

Eros between Aphroditos and Hermaphrodite is probably pouring wine in a dish while two servants are looking on in the background. Although this bearded figure is considered-" to be the Cypriot Aphroditos, Delcourt thinks that it represents a worshipper waiting on Hermaphrodite and is

38 Aristophanes, fragment 702. (ed. J. M. Edmonds) 39 Hesychius s.v., under Aphroditos. 40 Raoul Rochette's, Choix de peintures de _Pompeii, (Paris: Brockhaus, 1844), Planche 10. 41 Reinach, R.P.G.R., p. 98. 95

not the bisexual divinity. Accordingly, the worshipper in this painting would be celebrating a Hermaphroditic feast by donning clothes of the opposite sex to identify with his 42 double natured god.

The literary evidence pertaining to Hermaphrodite is meager, yet, representations of this god were numerous.

Many paintings (especially from Pompeii) and statues attest to the popularity of the subject. But as Delcourt indicates, it is difficult to interpret these works since many are later versions of the divinity and lack cult significance. Many of these representations were intended ·to please and to amuse the patron and not to express the 43 original religious meaning.

However, there is no doubt about the religious function of a minature chapel-shrine (carved from Pentelic marble) found in a cave at Vari near the top of Mt. 44 45 Hymettus, with its inscription to Hermaphrodite. This confirms the outdoor cult that.was mentioned in the

Alciphron· letter of the young widow (supra p. 93). A very small votive figure once stood in the carved-out niche,

42 43 Delcourt, H.M.R., p. 63. Ibid., p. 55. 44 M. E. Dunham, "The Cave at Vari," A.J.A., Vol. VII, (1903), p. 263; the cave is located·near-----a-village not far from the ancient deme of Anagyrus in Attica. 45 J. Kirchner and St. Dow, "Inschriften vom attischen Lande," Mitteilungen des deutschen archaeologi schen Instituts: athenishe Abteilunq, t. 62, 1937, p. 7. 96

which measures 4 em high by 5 em wide and by 3 em deep and is located above a rectangular base. This consecrated 46 shrine to Hermaphrodite has been dated ca. 385 B. C .•

Delcourt suggests several votive figures of

Hermaphrodites which might have been placed in a larger

Varian-type chapel. Plate 28, fig. 3, is a sketch of a marble herm type of a votive, 71 em high, which she discusses. It has a feminine head and displays sensuous

full round lips. A garment modestly covers the essentially

female figure with the exception of the erect male organ which is given emphasis by the drapery which falls in folds 47 on either side of it. This herm·combines the character-

istics of Aphrodite and an ithyphallic Hermes.

Delcourt, similarly, refers to two other votive herm figures. One of marble was found at Pompeii (Plate

28, fig. 2). The upper half of this herm is clearly

female; the lower half consists of a pillar with a male

organ schematically represented. The moulded breasts

are bare and its feet are represented at the base of the 48 pillar. A bronze herm, only 8 em high, similarly

consists of a half-length feminine figure with a male

46 Delcourt, H.R.D.P., p. 15. 47 Ibid., pp. 16-17; Carl Robert, "Satiresca," Annali dell' Instituto di Corrispondenza Archeologica, -t-.~5~6~,--~(~1~8~84)' pp. 88-9. 48 Delcourt, H~R.D.P., p. 17. 97

organ also etched on its pillar base (Plate 28, fig. 1).49

These herms give an idea of the type and the scale of the votive figure that must have stood in the niche of a larger version of the Varian chapel shrine. Some of

these votive statues are ithyphallic, others have only

schematic representations of the male sexual organ, but

all have sculpted female breasts. Chapel shrines with such votive figures varied in their locations, e.g., in caves 50 and along roadsides. There is no doubt that these male/female hermai, like the hermai of Hermes, stood in the

bridal chambers to safeguard married couples or in house-

holds to provide protection from evil influences and to 51 assist in fecundity.

Delcourt has classified the different types of

Hermaphrodites according to characteristics and attributes.

There are three groups under the heading of Dionysos:

Dionysos #1 - consists of young ephebes, noble in bearing, who at times carry a thrysus or some other attribute;

Dionysos #2 - consists of bacchus types which are nude,

carry a thrysus and are frequently depicted with a retinue,

i.e,, satyrs, silenes, baccahantes, etc.; Dionysos #3-

49 Ibid.; Seure, "Un Petit Buste Feminine en Bronze." Revue Arch€ologique, t. 1, p. 57. 50 Delcourt, H.R.D.P., p. 17. 51 Parnell, C.G.S., Vol. V, p. 25. 98

f .

consists of garden and fountain sculptures of the deity who

I. ts usually shown holding fruit in a turned-up tunic. The

remaining Hermaphrodites, according to Delcourt, are

classified under the headings of Demeter, Aphrodite,

Prtapos and Eros. In addition, there are reclining 52 Hermaphrodites and other types which cannot be classified.

According to Pliny a sculptor by the name of 53 Polycles created the first "noble" bronze Hermaphrodite.

Several sculptors of this name succeeded one another at

intervals from the fourth to the second century B~ C.,

Pliny does not specifically identify which one it is, nor

does he describe the statue; thus, the original type of

Hermaphrodite by Polycles is unknown. The Berlin Hermaph-

rodite of the Staatliche Museen (Plate 29) could well be a 54 later variant of the original by Polycles. It is from

Hellenistic times and is a marble replica of an original

of the young ephebian type (Dionysos #1). This statue,

were it no-t for the slightly molded breasts, could be that

52 Delcourt, H.R.D.P., pp. 18-40 53 ~Pliny Natural History 34.80; 52. The word noble that Pliny applied to Polycles' statue has been taken to mean by mos·t writers as being admirable in execution, dignified and stately. See Delcourt, H.M.R., pp. 56, 62. 54 Delcourt, H.M.R., pp. 59, 62. Delcourt agrees with Furtwgngler that his could be a variant of the original by Polycles. 99

f .

of a young man. On the other hand, were it not for the

male organ, it could pass for an adolescent girl. Delcourt

suggests that he could either be getting ready to enter . 55 the bath, or by the appearance of the draped cloth next

to him and the folded piece of cloth on his head, he has

already bathed. He is in a contrapposto pose as if he were

going to take a step, and he held either a thrysus or torch

in his raised hand.

In preparation for a wedding iri ~reece,.as a

purification rite, a bath was taken by the bride. A torch was used in a procession to fetch the water for the sacred

bath which took place the evening before the nuptial. It was at this time that an offering was made to Hermaphrodite who protected the marriage bed and whom the bride would 56 therefore invoke before the marriage ceremony.

Another Hermaphrodite, of the Dionysos #1 type,

is the bronze discovered on Mt. Zion and is now in the

Epinal Museum, France (Plate 30). It has no accessories

and is completely nude. The statue turns its head to look 57 at its back. There are numerous Hermaphrodites which

are represented in this same pose, but they do not seem to

55 Ibid., p. 59 56 Flaceli~re, p. 62. 57 Salomon Reinach, Catalogue Illustr~ du Mus~e Des Antiaues Nationales, (Paris: Mus~e Nationale, Palais du Louv~er 1921), pp. 178-179. 100

be related to one another, and are of different types.

It appears that this Epinal bronze is dancing.

According to Delcourt, the Hermaphrodite on a

fragment from a large marble amphora now located in the

Barraco Museum in Rome (Plate 31) .is an example of the

Dionysos #l type. This nude Hermaphrodite carries a

thrysus and turns to look back towards a dancing figure

which is following him; Hermaphrodite is preceded by a 58 small Eros who holds a lighted torch.

A fountain Hermaphrodite of the Dionysos #3

category, was discovered by M. Alvarez in a corridor in the

Terme Museum (part of the National-Museum in Rome) and was 59 published by Delcourt (Plate 32). Under the feminine

breasts of this fountain sculpture is a narrow girdle that

holds up the wrap-around tunic. A bare left shoulder and

breast are revealed. The garment was pulled up over the

feminine hips by two hands (now broken off) in order to

simultaneously support the fruit and reveal the erect phallus. The head, the legs below the knee and the arms

are broken off. Water at one time spouted out of the bare

breast and phallus.

58 Delcourt, H.R.D.P., p. 30; also see H.M.R., p. 61; Die Stadtischen Sammlungen, Kapitolinische Museen und Museo Barracco, Deutsches Archaeologisches Institut, Zweiter Band,· (Ernst vvasmuth Tubingen, 1966), p. 659. 59 Delcourt, H.R.D.P., p. 30. 101

A marble Chablais Hermarhrodite of a Demetrian 60 type, is in t.he Capitoline Muse:_; in Rome (Plate 33).

It is elongated in its proportions and graceful in its contrapposto stance. The statue is a poor, late Roman copy of a Greek work and it seems to have been restored with a head which does not fit the body. The body is of a young man with narrow shoulders and hips. The left female breast is bare as well as the lower part of the body from the navel on. The phallus is attached to a feminine pubic.

The draped robe is pulled up in an attitude of anasyrma

(a gesture of unveiling which serves to focus on the part of the body being exposed} ·by both hands to Hermaphrodite's small breasts in order for him to hold in its folds a little winged Eros. Delcourt believes that this movement is purely ritualistic, as the duality of this statue's sex is barely noticeable in that the pulled-up drapery CO'Jers 61 one breast and leaves the other barely exposed. The tiny

Eros i~ sculpted with little fidelity to nature; hence, it seems that the sculptor wanted him to appear as an imaginary being like Hermaphrodite. Delcourt indicates that this is an unique statue in Greek sculpture, for instead of suekling the child, as in other representations of the·Mother Goddess, the child is brought near to the

60 61 Ibid., pp. 21-22. Ibid., p. 22. 102

bosom without touching it. Thus, she thinks it could also be a maternalistic representation of Isis as well as that of Demeter, since in Egyptian art Isis is seen standing in an upright position holding Horus similar to this 62 Hermaphrodite carrying Eros.

Demeter as a fertility goddess was of prime importance to the ancient Greeks in the propagation of crops and animal life. They revered her with respect as indicated by the strict initiation taboos that were connected with her Eleusinian Mysteries. An unusual

Hermaphrodite of the dignified Demeterian type but in an anasyrma attitude, is located in the National Museum in

Stockholm (Plate 34). The draped robe modestly covers the back while in front it is raised by two hands to reveal the male genitalia. The legs join to become a pillar, and finely sculpted feet appear at its base. The upper half of the sculpture is a Deme·terian type matron whose head is crowned with a calathos. This statue possesses the sobriety and nobility of Demeter and the lustful nature of 63 a Priapos.

A Hermaphrodite of the Aphrodite type (Plate 35) belongs to a bronze group of statuettes in the Louvre.

The Louvre example is more slender in its porportion and

62 Ibid. 63 Ibid., pp. 18, 19; see also H.M.R., p. 64. 103

more effeminate than the Demeterian type. In fact this

statue represents a young woman except for the male

phallus which protrudes from its feminine groin. The

cloak of Hermaphrodite is held- up by the left extended

arm, the hand of which rests on a phallic herm of Hermes;

therefore the cloak drapes obliquely in a narrow band

across the statue's thighs which exposes most of the body

and the left leg. On the right, Hermaphrodite is caressing

the hair of a small boy who is playing the flute of Pan.

The nebklace which Hermaphrodite is wearing is an accessoTy 64 of Aphrodite and is seen on many bisexual statues.

Figure 2, of this same Plate shows another Hermaphrodite

of an Aphrodite type which has the left hand raised to

touch the hair. Delcourt believes this gesture of touch- 65 ing the hair is symbolic of virility and vigor.

Plate 36 is of an adolescent Aphrodite type of

Hermaphrodite located in the Hall of Bronzes in the Museum

of the Conservators in Rome. The breasts are delicately

moulded like those of a young girl. The arms are extended

far apart in front and presumably at one time both hands

held a cockle shell (a scalloped shell) or "kteis" which

64 Delcourt, H.R.D.P., p. 26 65 Ibid., p. 25. It is noteworthy that Samson in the Bible gained his extraordinary strength and vigor from his hair. See also E. Babelon and J. Blanchet, Bronzes Antiques de la Bibliotheque Nationale, (Paris: Ernest Leroux, 1895), p. 136. 104

in Greek means the female genitalia and is a symbol of 66 Aphrodite. The muscles between the neck and the elbows

are swollen, indicating that the arms were supporting a

heavy load. The statue, with a penis placed in its

feminine pubic, is ithyphallic and emphasizes the sexual

attributes of its double nature. Oxydization of the lower 67 legs suggests that it stood in water.

Plate 37 is of a wall painting of an Aphrodite type of Hermaphrodite from Herculaneum now in the National

Museum of Naples. The painting, of the Third Pompeian

Style, is of an extremely effeminate Hermaphrodite who wears a long veil and stands in a seductive manner. It is nude except that the long veil from the head falls down over a bent left arm which is holding in its hand a fan.

On the right side of this figure the arm is holding up a

cloak over the shoulder which falls down in the back and

across the front thigh of the foreward thrust leg. The elongated body displays feminine hips, breasts, male phallus and a head of which the face is completely girl- 68 like.

66 Grigson, p. 3 8. 67 Delcourt, H.R.D.P., p. 28. 68 Nugae Pompeianorum - Unbekannte Wandmalereien Des Dritten Pompejanischen Stils, (Ernst Wasmuth TUbingen, Tafel 21, p. 16. 105

A corpulent Aphrodite-Eros type of Hermaphrodite with wings is depicted on a Gnathia vase in the Antique

Collection of the Kunsthistorisches Museum in Vienna

(Plate 38). It holds the double necklace of Aphrodite in one hand and a fan in the other, and hovers over a goose 69 which is symbolic of a phallus and which is often depicted with Aphrodite. It is unusual to see Hermaphro- 70 dites on vases.

Plate 37 fig. 2 is an illustration of a Priapos type Hermaphrodite in bronze which was found in Athens in 71 1838. It is ithyphallic and is in the anasyrma attitude.

The raised up tunic holding fruit in conjunction with the 72 erect male organ symbolizes life giving power. Priapos 73 was considered a daimon (lesser god) of rural life.

According to legend he was either the brother or half-

69 Delcourt, H.M.R., p. 60 70 Delcourt, H.R.D.P., p. 56. 7•1 Babelon and Blanchet, fig. 310, p. 137. 72 Plutarch De Iside et Osiride p. 435; Griffiths writes in his commentary on Plutarch that an erect phallus with fruit symbolizes life giving powers as well as renewal of life after death. 73 . Deities whose attributes denote only fertility are considered daimons rather than full-fledged divinities. 106

brother of Hermaphrodite and Eros.74 Priapos made fruits

propagate and the flocks multiply.

Numerous androgynous Eros types (winged and

wingless) have been found, especially at Hyrina (Anatolia)

in tombs (which implies regeneration). These type Eroses

were also placed in homes either in standing or hanging 75 positions. Characteristics of these Jl.1yrian Eroses in.;;;-

elude: a small head in proportion to the body, the back of

an infant, the lower abdomen rounded without any muscula-

ture. The representation is strictly female except for

the male genitalia. Eros has thick feminine thighs and

the small breasts of an adolescent girl. Plate 39, fig. 1

is of an Eros who raises an arm in a dance pose and who

wears an Aphrodite double necklace with a medallion which 76 appears between the breasts. The left arm has been

broken off. Fig. 2 of this Plate is of a nude winged

Eros dancing. It has a more feminine abdomen and hair

style than the other.

74 H. J. Rose, A Handbook of Greek Mythology. (London: Hetheun, 1958), p. 149; Rose says that Priapos was the son of Hermes and Aphrodite; and Cicero The Nature of the Gods III, 59.62, says Eros was the son of Hermes and Aphrodite. Delcourt, H.M.R., p. 50, writes that Priapos was the son of Dionysos and Aphrodite. 75 . Delcourt, H.R.D.P., p. 40 76 Ibid., pp. 57, 59. 107

Eros was a companion of Aphrodite and in some 77 legends he was her son. He was worshipped in several places as a fertility god of vegetation and at Elis he was

honored jointly with the Charities (ancient goddesses of vegetation). He was worshipped with the same Charities 78 at Orchomenos; at Thespiae and a·t Parion he was honored 79 vli th the muses . Eros' power of fertility is celebrated on a vase in Munich where he is hovering over a Mother

Goddess emerging from the earth in order to ensure that the 80 earth bring forth abundant vegetation.

The Chablais triple herm sculpture group at the

Vatican :Museum is unique. The sketch from Reinach shows

three sides of it (Plate 40). This monument has multiple

images. One of the herms represents a clothed Aphrodite

and in front of her stands a tiny nude statue of Aphrodite, which is presented in the same manner as the Medici Venus

in the Uffizi, Florence. The right hand covers the left

77 Cicero The Nature of the Gods III, 59.62; Cicero writes that Hermes with the first Artemis created Eros. In another version of the myth, according to Cicero, Hermes and the second Aphrodite created Eros. Hesiod, however, says that Eros existed before Aphrodite and greeted her at her birth. 78 Delcourt, H.R.D.P., p. 50. 79 Farnell, C.G.S., Vol. II, p. 625. 80 Harrison, P.S.G.R., fig. 71, p. 281. 108

breast, while the other breast remains exposed and the left hand is placed over her genitalia. A second herm of this group is a bearded Hermes whose bust is supported by a tapered pillar which has an inscribed phallus on it.

In front of Hermes stands a small statue of a young, nude

Hermes wearing a chlamys and pl·aying the lyre. Between these two herms described above is a third herm; its bust part consists of a female head and shoulders while the pillar has an inscribed erect penis on it. There is a small statue of an androgynous Eros standing in front of this Hermaphrodite which implies that Eros is synonymous with him. Moreover, Hermaphrodite·is represented in the 81 same scale as his parents which suggests his importance.

Plate 41 is a photo and sketch of a most unusual 82 relief in the Palazzo Colonna in Rome. A large, nude, standing Hermaphrodite of the young ephebian type

(Dionysos #1) holds a baby Eros at the center of the relief. The subject traces back to a Greek original and is filled with symbolism. Eros adjusts the wreath of a bearded herm of a virile, early type Hermes. On the pillar to the right of Hermaphrodite is an early type

81 Delcourt, H.R.D.P., pp. 37, 55; Reinach, R.S.G.R., Vol. I, fig. 2, p. 329. 82 The Colonna relief is shmm in Cook, Vol. II, p. 151; and in Picard, M.H.A.S., p. 255. 109

Artemis wearing an animal skin and carryin~ a fawn on her shoulder. Hermes' phallus had been broken off and restored as has that of Hermaphrodite. Eros' right forearm, the herm's beard, Artemis' head and the fawn's head have also been restored. The baby Eros held by Hermaphro- dite is reminiscent of and may have been influenced by

Praxiteles' infant Dionysos held by Hermes. Eros was known for his ambiguous nature, and in this instance was an infant with indeterminate sex. The infant Eros signifies Hermaphrodite reborn in the same way that a young and old Hermes when represented together depicts the father reborn as the son, or in the way that Persephone relates to Demeter representing the mother reborn as the daughter. The infant refers to the divine child and reveals Hermaphrodite as a god of regeneration.

Since the Artemis depicted in this relief wears an 83 animal skin, she is-probably Thracian. The Thracian 84 Artemis at times was identified with Hecate who was 85 equated with the moon and associated with Hermes.

Rituals were performed in her honor when the moon was 86 full. Although Artemis was considered a virgin, she was invoked by women in labor and maidens of marriageable age

83 Farnell, C.G.S., Vol. II, p. 473. 84 Ibid., p. 509 85 Cook, Vol. II, p. 426. 86 Farnell, C ·-~~-· r Vol. II, p. 110 · 110

(she was the opener of the womb) .87 Attic inscriptions 88 unite Hecate and Artemis with both Hermes and Aphrodite.

In fact, in northern Greece Aphrodite was identified with 89 Hecate-Artemis.

Artemis' pillar-shrine can be seen directly behind her in the background of the relief. The shrine consists of Ionic columns, windows, an entablature and battlements.

It forms a circular enclosure for Artemis' pillar which is protruding from the top of the shrine with two torches bound to it on either side. Torches, pillars and-"the oak tree (all included in the background landscape) symboli- 90 ca1ly refer to Artemis. Moreover, torches were thou9ht to relate to the generative power of the moon, and were 91 carried around freshly sown fields to promote fertility.

The amphora on the Ionic column back of Hermes signifies that the sky pours itself into the earth. The relief in its totality represents fertility in its relationship to the cycle of life, death and regeneration.

87 Ibid., pp. 446, 508; Marija Gimbutas, 'l'he Gods and Goddesses of Old Europe- 7000 to 3500 B. c., (Berkeley and Los Angeles: University of California Press, 19 7 4 } ' pp . 19 7 , 19 9 • 88 Farnell, C.G.S., Vol. II, pp. 507, 509. 89 Ker6 .... nyl,. p. 65. 90 Cook, Vol. II, pp. 147, 150. 91 Gimbutas, p. 198. 111

The numerous extant sculptures of the reclining

Hermaphrodite give evidence of their popularity in Hel- lenistic and Roman times. It is thought by Delcourt that 92 they trace back to an earlier Greek original. These statues depict sensuality because of the way they are posed in their nudity. Some of the reclining Herrnaphro- dites that lie on their backs could alternate with the river gods. On an Egyptian relief in the Museum of Fine

Arts in Boston, e.g., there is a bearded H'apy (Nile river god) with feminine breasts and a swollen abdomen (which indicates pregnancy) lying in this position; thus he is a 93 promoter of fertility.

The greater number of reclining Hermaphrodites lie on their sides with their sexual organs turned towards the earth. Von Romer and Delcourt suggest these sculptures were originally placed on the ground to promote fertili- 9_4 ty. This recalls the sleeping Zeus whose seed fell to the earth where it matured into the double natured < 95 Adgistis. The ancient Greeks compared semen to rain from

92 93 Delcourt, H.R.D.P., p. 3J. Ibid., p. 33. 94 Ibid. I P· 34. 95 Pausanias VII, 17.5. Pausanias writes that Adgistis was a double-sexed monster who was Attis' parent. Adgistis, as well as Attis were Cybele's male equivalent. 112

the sky, in that both were life giving, e.g., Zeus's seed was in the golden rain that fell on Danae and made 96 her pregnant.

These reclining statues are similar in their characteristics. They have small, finely featured faces, hair that is femininely styled, well developed breasts.and slender elonga·ted limbs such as the example from Florence which is lying in an "S" curve (Plate 42, fig. 1). Many lie on their side with their head on their right forearm

(Plates 42, 43, 44). Bernini's restoration of a reclining

Hermaphrodite for Cardinal Scipione Borghese, shows the 97 figure recumbent on a marble mattress; but according to Delcourt it originally lay directly on the ground with 98 the bent knee touching the earth. Herter interprets 99 the bent knee as a phallic symbol. A Hermaphrodite who is kneeling (Plate 44, fig. 2) thereby represents the idea 100 of the male principle in relationship to female Earth.

96 N.L.E.M., p. 105. 97 Anthony Blunt, "Gianlorenzo Bernini,» Art History, Vol. 1. (March 1978), p. 71 98 Delcourt, H.R.D.P., p. 35. 99 Hans Herter, De Priapo, (Giessen: Alfred Topelmann, 1932), p. 98. 100 Babelon and Blanchet, fig. 308, p. 137. 113

All cult representations of the Hermaphrodite were used to promote fertility. In this sense, they were equivalent to the ancient fertility deities such as the male Aphrodite, the many breasted Zeus Lebranda, the androgynous Tutankhamun and the effeminate Attis and

Dionysos. The representations of these gods, including

Hermaphrodite signify to the ancients the life, death and rebirth cycles in the perpetuation and propagation of all earthly life. In addition it offered hope for a new life after both marriage and death. Chapter 5

SUMMARY OF THE ANDROGYNOUS THEME IN CLASSICAL GREEK ART

The preceding discussion has shown that the concept underlying the Greek Hermaphrodite had been well established from the earliest times in the ancient world; only his name and the idea that he was a son of two divinities was an innovation. Hermaphrodite in actuality was a new divinity who had his own cult and monuments independent of his parental deities, Hermes and Aphrodite.

His prototype in art was a votive herm possessing the combined attributes of both his parents which subsequently became totally anthropomorphic but with attributes of other fertility deities such as Eros, Demeter, Dionysos, Priapos and even Isis. It can be concluded from these visual representations of Hermaphrodite, which consisted of the various attributes from the aforementioned deities, that he wa~ synonymous with each of them and thus was the cult divinity for their individual religions (referred to as mysteries) . His compound name had become identified with androgyny, therefore all the bisexual deities, regardless of attributes, became known as Hermaphrodites. However, his statues with the various attributes remained the same as his prototype in symbolic significance, i.e., a fertility god, protector of the sexual union, marriage and rebirth.

114 115

Hermaphrodite was also equivalent to the early bisexual Mother Goddesses, the androgynous pharaohs, the many breasted Zeus Lebranda, bisexual Leukippos, androgynous Attis and the Cypriot Aphroditos (who was worshipped in Paphos and Amathus as well as Pamphylia, Asia Minor).

Although all these foreign deities were his predecessors, it appears that the bisexual Aphroditos (Adonis-Aphrodite cult) from Cyprus was his immediate forerunner. Since shortly after the Adonis-Aphrodite cult entered Athens sometime during the latter half of the fifth century B. C., l the name "Aphroditos" was mentioned by Aristophanes, which 2 is verified by a fragment from one of his lost comedies.

Furthermore, Theophrastus identified "Aphroditos" with 3 "Hermaphrodites".

The "Herm" part of the name came from Hermes, to

Tllhom the Greeks gave the honor not only to share his name· but his characteristics as well with Aphrodite in the creation of Hermaphrodite, who was called their son. There were a number of reasons why these two deities were joined together to form a new fertility god: (l) , Hermes and

1 Nilsson, G.F.R.B., p; 370~ Nilsson writes that the ancient Cyprian historian, Paeon, referred-to the Cyprian male Aphrodite as "Aphroditos". 2 Aristophanes, fragment 702. 3 Hesychius, s.v., under Aphroditos. 116

Aphrodite were honored together in various sanctuanies as deities to be invoked for protection of marriag~ and the sexual union; (2), the fourth day of every month was sacred to both and propitious for marriage; (3), the time period was an important factor; at the end of the fifth century B. c. (the suggested time of Hermaphrodite 1 s creation) in Athens, there was a need for a new god who possessed great fertility powers in order to ensure propagation and continuity during a period of crisis; and

(4), because the concept of the Near Eastern hieros gamos rite (included in the Mother Goddess and her paredros cult) was deeply rooted in Greek thought.

The symbolic coition act of the hieros gamos rite in its affiliation with divine kingship in the ancient

Near East and Egypt, influenced the bisexual visual. representations presented in chapters two and three, i.e.,

Tutankhamun, Sesostris I, Hatshepsut, the Cypriot bearded

Aphrodite, the Babylonian bearded Mylitta, the many breasted Zeus of Lebranda and Attis. In Egypt, the king or queen (Hatshepsut) in the New Year festival identified with several gods in the hieros gamos rite which included Osiris and Isis; but all life came forth from the dominant male god rather than from the Mother Goddess.

In the annual New Year festival held in Mesopo tamia, Syria, Anatolia, Greece and elsewhere, the source of life proceeded from the dominant Mother Goddess rather ,'7 1 ..L J

than her young paredros with whom she mated in the hieros gamos rite. In this rite the king, who identified with her paredros, became her divine bridegroom. Strangely enough, most of the statues shown in the aforementioned chapters, appear to represent the priest-king (or paredros) with only breasts of the Mother Goddess. These statues suggest the importance of the king (or paredros); thus, they appear to have been influenced by the bisexual

Egyptian models. Nevertheless, the dual sexed-form, regardless of the dominant sex features, symbolically meant to the worshippers the renewal of fertility in plant, animal and human life, which in turn inspired hope for immortality.

Although the Mother Goddess cult was originally associated with matriarchal-type kingdoms in the Near

East, the cult was subsequently continued uninterrupted in patriarchal, democratically ruled Athens to the end of classical antiquity. Kingship was abolished in Athens in the eighth century B. c., but the basileus or archon, who was appointed to preside over religious fertility

festivals each year, still retained the title of "The

King". The basileus, like the former king of the Near

East, identified with the paredros while generally his wife "The Queen" embodied the Mot:her Goddess. A hieros

gamos rite 1 included in the festivals, united these t-v;o for the purpose of grAnting new life to nature. 118

Hermes and Aphrodite were, perhaps of all the deities, most endeared to the Greeks. Hermes' ithyphallic herms were more numerous in Athens than anywhere else; and

Aphrodite was popular both as Ourania (a moral cult) and

Pandemos (immoral - bisexual cult) in Athens. Both the

Ourania and Pandemos cults came from the Near East and 4 originally had the same significance when first introduced into Athens by Aegeus and then later by Theseus ca. 1300 B. c .. These two legendary kings, each in turn became her 2aredros. Therefore Theseus became interchangeable with Dionysos in legends and festivals.

Aphrodite did not have to retain Adonis as her paredros in order to have a bisexual cult; however, he was signifi- cant for the Cypriot bisexual Aphrodite which sparked the concept for the creation of Hermaphrodite. Because

Aphrodite was so interwoven in legends concerning Aegeus,

Theseus, Ariadne, and Crete, it appears that her Mother

Goddes_s-paredros cult came from Cyprus to Crete and subsequently was transmitted to Mycenae and to Athens.

Transvestism occurred in hieros gamos rites affiliated with fertility festivals in various communities throughout the Greek world such as Crete, Sparta, Cyprus,

Samos; Argos, Cos, Delos, etc. (Chapter 3). Most of these rites are assumed to have had an androgynous deity who

Supra p. 70, for the difference between Ourania and Pandemos. 119

identified with the bisexual moon. The exchange of cloth ing between the male and the female provided the means for each sex to derive some power from the other in order to promote fertility. Since this act took-place in a rite of passage, the exchange of clothing also meant the taking off of the old and putting on of the new which signified the beginning of a new life. This is exemplified by

Pharaoh Tutankhamun, who was reborri to his throne at the annual New Year festival in rites of passage. Marriage was also considered to be the beginning of a new life.

In ancient Greek theater, Comedy and Tragedy were 5 based on the stages of life, marriage, death, and rebirth which traces back to the year gods - Adonis, Attis, Osiris,

Persephone, Dionysos, etc., who as fertility deities represented the cyclical death and rebirth of the world.

The Dionysos Eleuthereus cult (Dionysos being a patron deity of Greek drama) became firmly established in A-thens in the sixth century B. C.

The idea of androgynism seems to have haunted not only Greek myths but Greek art as well from Archaic through the Graeco-Roman periods. In comparing two early archaic Kore and Kouros, it is seen that both have small breasts set wide apart, wide shoulders and hips, rounded

5 Harrison,~., p. 341. 120

buttocks, small waists and similar faces (Plate 45}. Even many of the later archaic Koroi and Kourai have faces and hair styles which are very similar. In fact, if a head was found detached from the body, restorers have many times been uncertain as to whether the head is feminine or 6 masculine.

In the late sixth and early fifth century B. C.,

Greek potters made janiform aryballoi with male and female heads. In some examples of these, the head of Hermes is 7 adjoined to that of Hestia and Hecate (earth goddesses); and Dionysos is adjoined to Ariadne not only on vases but in sculptured busts as well (Plate 46). The double natured hermae, in whatever form they take, represent the male and female principle.

Many of the representations of the gods, including

Hermes, that had been virile in their ideal formulation of the fifth century B. C. became effeminate in the fourth century, as e.g., the Sauroktonus Apollo, after Praxiteles' original, which, in replacing the earlier virile Apollo, has become an effeminate-looking, sleek and lissome ephebe.

The bearded and clothed Dionysos of earlier times becomes

6 A. De Ridder and w. Deanna, Art in Greece, (New York): Barnes and Noble, 1968), p. 105. Ridder indicates that even as late as 450 B. C. the Athena by Phidias was once considered to be masculine. 7 Art.hur B. Cook, Zeus - A S·tudy in 1\ncient Reli gion, Vol. II, (New York: Biblo and Tannen, 1965), pp: -:nnr;· 39o, 392. 121

a youthful effeminate nude deity (Plates 17 and 21).8

Moreover, a large number of the visual represen·tations of

these effeminate appearing male deities were made for the

patrons of the aristocracy who practiced pederasty. They

delighted in seeing beautiful ephebes manifested as

divinities. Pederasty flourished in Athens and Sparta all

•. 9 through classical antiquity. It is noteworthy that in

many instances, Greek sculpture and paintings represented male and female divinities on the same scale which indi-

cates that they were considered equal counterparts. The

Hermaphrodite represents the final realization of the

androgynous concept which was deeply embedded in Greek

thought, myth, and art of the ancient world.

The cult of Hermaphrodite continued to exist in

affiliation with the mystery religions until the end of

classical antiquity. There were, however, in Hellenistic

times some representations of Hermaphrodite referred to as

"Decadent" as they no longer served the purpose of the cult

but were made for individual patrons who used them as

8 The appearance of clean shaven deities may be due to the fact that during and after the reign of Alexander the Great, the Greeks gave up the custom of wearing beards and followed the clean shaven habits of Egypt and Asia. See Griffiths commentary in Plutarch De Iside et Osiride. p. 26 8. 9 Robert Flaceli~re, Daily Life in Greece at Time of Pericles, trans. Peter Green, (New York: The Macmillan Co., 19 65}-;p. 7 4 • 122

pleasure objects (see Appendix for description of some of thesel.

In addition to the many statuettes, statues and paintings of Hermaphrodite in Hellenistic and Graeco-

Roman times, his image was also seen on jewelery, d:i.;shes, tools, furniture and in bath houses, showing the great 10 partiality of the Greeks and Romans to this figure. ll According to the Palantine Anthology, an epigram inscribed on a Hermaphrodite which served as a sign for a mixed male/female bath read:

For men I am Hermes, and Cyprus for women; I bear the symbols of my two parents. That is why I have been set up, a child of equivocal nature, in these baths where come both men and women.

In considering the symbolic significance of Hermaphrodite's

statues, this one seems to indicate a connection with the physical union of the sexes.

Two common Egyptian symbols which may be considered

synonymous with the Greek Hermaphrodite are the Uroborous 12 (a circular serpent with a tail in his mouth) and the 13 Phoenix bird; which was the manifestation of Amon-Re.

10 Jessen, P.W., col. 719. ll Palatine Anthology IX, 783. 12 Thomas Inman, Ancient Pagan and Modern Christian Symbolism, 4th ed., (Haine: ~lilford House, 1940), p. 90.- 13 Henri Frankfort, Ancient Egyptian Religion, (New York: Columbia ~niversity Press, 1948), p. 97. 123

These.two symbols represent both the male and female principle and signify that life upon th~ earth is rendered perpetual by the existence of the two sexes. Likewise, a single being which combines the male and female principle expresses the aspiration of all living things - perpetua tion.

In conclusion it appears that the concept which underlies the Greek Hermaphrodite had been in existence since the earliest times. Its manifestation in the form of Hermaphrodite, however, arose out of specific historical circumstances. B B

I R A. N c c

R B y A THE NEAR EAST AND GREECE E About 1400 B.C. E WII.U '- = ,_lSS

I I I w )0" ... 3 4 6 7 u I Plate 2. Map of Near East and Greece about 1400 B. c .. ~~f:~~1!;~~~AW3t~I&111~1ili;~J Plate 3. Map of the Homeric World. - ... 2 3 4 5 6 7 8

n n

2 '3 8

Plate 4. Map of Classical Greece and the A·thenian Empire. to 44 ec.

to 2rd century A 0.

OCEANUS

AYLANTICUS

I I I '------· Plate 5. Map of the Roman Empire 128

~~~~~

"· ~t~-,~j ;.· ...

~ ~ ~·-·, ~- ·,~,~. •• " ,-~~~ < ::\,~<:.;~~ f;7~~~~~A~l~~t;=, ";"~ !f ·~· :_. -~:v.. , .-,·.··~-.t -_-)_~;:~:~

Fig. 2

Plate 6. Fig. 1 Clay sculpture of goddess from northern Greece. ca. 6000 B. c. or earlier. Fig. 2 Phallus-shaped head of figurine from Rudnik, southwestern Yugoslavia. ca. 6000 B. C .. Plate 7

Fig. 1 - Vine~ figurine with female breasts, bird '·s beak and male genitals.

Fig. 2 - Marble sculpture with long phallus neck and pro nounced buttocks. From Attica, Greece. Typologic ally Proto-Sesklo.

Fib. 3 - Sketch of a terracotta figurine of a youthful goddess from Hacilar, central Anatolia. ca. 6000 B. C •• 129

Fig~- 2 1

3 CM Fig.3 Plate 8

Fig. 1 - Marble figurine with folded arms from Borets, central Bulgaria. ca. 4000 B. C ..

Fig. 2 - Cycladic figurine. Syros. Mid-third millennium B. C ••

Fig. 3 - Elongated terracotta figurine from the Late Cucuteni cemetery of Vykhvatintsi, Soviet Moldavia. Fourth millennium B. c ..

Fig. 4 - Flat figurine with breasts and enormous triangle. From Vinca.

Fig. 5 - Terracotta figurine with folded arms from Late Neolithic Lerna, eastern Peloponnese. 130

;rl ~\o ! ~:_;, • -t~ }' ~1~.

·.A·>!;Cj ;;r} t..:.-- ~~ l: ~·.

if··'..•.,;. t, i~ 1L~~,J~~~~,. . :·--->--- Fig. 3 Fig. 4 5 , ... ·'

...... -~ .. ----···· and young god. Neolithic Anatolia. Plate 9. Terracotta sculpture of Goddess ca. 5400 B. C •• 132

Plate 10. The Gumelnita '·lovers', or a portrayal con nected with the ritual of 'sacred marriage'. East Balkan civilization. Late fifth millennium B. C. Plate 11 Priest With a Dove sculpture. Archaic Cypriot style. From Paphos, Cyprus. ca. 500 B. c~ 133 134

j I

Fig. 2 F~g. 1

Plate 12. Fig. 1 Marble Kore by Antenor of Athens. ca. 530 B. C •• Fig. 2 - Lyon Kore. Pentelic m9-rble. Archaic style. ca. 550 B. C .. Plate 13

Fig. 1 - Coin depicting Aphrodite with helmet and shield on the Acropolis at Corinth.

Fig. 2 Coin with head of Aphrodite wearing a helmet. From Corinth. ca. 335 B. c .. Fig. 3 - Coin with head of Aphrodite wearing a helmet. From Corinth. ca. 335 B. c .. Fig. 4 - One of two identical statues of Pharoah Tutankh amun upon a black leopard. Eighteenth Dynasty. 135

Fig. 2 Fig. 3

Fig. 4 Plate 14

A stone relief from the throne of two statues of Sesostris I, from Lisht. Twelfth Dynasty. 136 Plate 15

Fig. l - Bas relief of Queen Hatshepsut wearing the pharaoh's false beard. Eighteenth Dynasty.

Fig. 2 - Stone statue of Queen Hatshepsut wearing the pharaoh's false beard. Eighteenth Dynasty. 137

Fig. Fig. 2 --:) 138

Fig. 1

Fig. 2

Plate 16. Fig. 1 A Cypriot coin depicting Aphrodite•s Phoenician temple at Paphos. Roman Imperial date. Fig. 2 An androgynous deity incised on a white agate which is rendered in cone-shape. Thought to be Astaroth or the bearded Venus Mylitta. 139

F~g. 1

Fig. 2

Plate 17. Fig;.: l - A marble Artemis and her dog. . The · head is an original by Skopas. ca. 3:60 B. c .. Fig 2 - Bronze statuette of Apollo Sauroktonos, rendered after Praxiteles'work. ca. 350 B. C .. 140

Plate 18. Marble relief of Zeus Stratios of Lebranda. From Tegea. ca. 351-344 B. C .. 141

Fig. l

Fig. 3

Fig. 2 Plate 19. Fig. l - A coin of Tenedos showing a male and female janiform head on obverse and the double axe on the reverse. Fig. 2 - A bronze Graeco-Roman figure of Attis. Fig. 3 - Bronze mirror case of Pandemos Aphrodite on a goat. ca. 370 B. C .. Plate 20 Fig. 1 - An Etruscan mirror case of Aphrodite and an effeminate Adonis. ca. 320 B. C ..

Fig. 2 - H.ed figured Pelike depicting a woman sprinkling phalluses (Adonis' gardens). 4th century B. c .. 142

Fig. 1

Fig. 2 Fig. 1 Fig. 2

Plate 21. Fig. 1 - A marbl~ nud~ Praxitelean-type Dionysos with a libation cup leaning on a bearded herm of Hermes. 4th century B. C .. Fi·g. 2 - Mosaic of a Symposium of Heracles and Dionysos. From Antioch. 1st century B. C .. 144

Plate 22. Oil on Canvas. Metamorphosis of Hermaphroditus and the nymph Salmacis by Jan Gassert, a Renaissance artist. 145

Plate ·2 3. Marble he·rm of· Aphrodite Ourania. From the ~gor~ at Athens. ca. mid-3rd century B. c .. 146

Fig. 1

---- / \ I I I 1

F~g. 2 Plate 24. Fig. 1 - Coin from Melos which shows Hermes and Aphrodite together on the obverse. ca. 431-355 B. c .. Fig. 2 - Sketch· .and reproduction of a votive Pin ax showing Aphrodite, Eros and Hermes · together. Terracotta relief. ca. 450-440 B. C .. 147

Plate 25. Terracotta plaque from Locri (So. Italy). Shows Aphrodite in a chariot, with Hermes just mounting. The chariot is drawn by Eros and Psyche carrying a cock and a perfume flask. ca. 460 B. C .. 148

Fig. 2

Plate 26. Fig. 1 - A bronze Greek herm of a bearded Hermes, Norbert Schummel collection, New York. Fig. 2 - Hellenistic terracotta figurine of a Aphrodite crowning a herm of a bearded Hermes. From Myrina. 2nd century B. c .. Plate 27

A sketch of a Pompeian wall painting "Toilette d'Hermaphro dite". Shows Hermaphrodite with Eros, the bearded Aphroditos and two servants in the bac~ground. Sketch from Reinach (above) enlarged by author. 149 Plate 28

Fig. 1 - A bronz~ votive herm of Hermaphrodite with a female breast and a male organ etched on its pillar. fTom Sofia.

Fig. 2 - A marbl~ votive herm of Hermaphrodite found in Pompeii. Has a bare feminine breast, a male organ etched on the pillar and sculpted feet at the base.

Fig. 3 - A marbl~ ithyphallic, votive herm of Hermaphrodite found in Sarno.

All figures were enlarged by author from Reinach' s sketches (above). 150

l .~ Fig. 1 -·----~-~-~g.F' ~a!-~~3 l~ 151

Plate 29. Marble, standing Hermaphro dite. Hellenistic, but a replica of an ·earlier Greek work dating back to the fourth century B. C. Staatliche Museen, Berlin. 152

Plate 30. Hellenistic, bronze statuette of the Epinal Hermaphrodite, found on Mt. Zion. 153

Plate 31. A relief fragment from a large marble, amphora vessel - shows a Hermaphro dite who turns to look back at the figure following him. A small winged Eros precedes him. Barraco Museum, Rome. Plate 32. A marble Hermaphrodite fountain. Once held up tunic with fruit by the now broken-off arms and hands to display the male organ. 155

Plate. 33. A marble, standing Hermaphrodite holding an Eros in his turned-up robe. · A Roman copy of an earlier Greek work. From the Chablais. collection I Rome. 156

Plate 34. A Marble, standing Hermaphrodite carrying a calathos laden with fruit on his head. He holds his tunic up in an anasyrma attitude. National Museum, Stockholm. Plate 35

Fig. 1 -A bronze, statuette group with Hermaphrodite caressing the hair of a small boy playing the flute of Pan on the right while his left hand rests on a phallic herm. Louvre.

Fig. 2 - A. bronze, nude, standing Hermaphrodite with his left hand raised to hair. Greek style. 157

Fig. 1 Fig. 2 158

Plate 36. A patina-bronze Hermaphrodite-which is rendered ithyphallic. 159

F~ · g. 1 .

Fig. 2

Plate. 37. Fig. 1 - A' .wa:ll painting of a very feminine Hermaphrodite from Herculaneum. Holds a fan in the left hand. .Pompeian third style. Fig. 2. - A bronze-patina Hermaphrodite rendered with an aita·syrma attitude. Found in Athens and dates from Alexan der 1 s time. 160

P.late 38. A Gnathia vase with a painting of a nude Hermaphrodite with wings hovering above a goose. Fourth or third century B. c~. Plate 39

Fig. 1- A terracotta, androgynous:Eros without wings in the movement of dance. From the Greek town Myrina. 2nd century B. C ..

Fig. 2 - A terracotta, androgynous Eros with wings from Myrina. 2nd cent.ury B. C .. 161

f. b~ ~ '·C-~,__._.,~..-.~~--...:J_::-_..,-.A

Fig. 1

Fig. 2 Plate 40 The marble, triple herm Chablais consists of a conjoined Aphrodite, bearded Hermes and Hermaphrodite. Small statues of each (except Hermaphrodite) stand before them at the base. Eros stands before Hermaphrodite. Third or second century B. C. Chablais collection, Rome. 162

" '

l_ ___ . 163

Plate 41. A sketch and reproduction of a marble relief of a large, standing Hermaphrodite holding a winged baby Eros. Hellenistic. · Plate 42

Fig. 1 - A marble, recumbent, nude Hermaphrodite. Hellenistic. Uffizi, Florence.

Fig. 2 - A back-side and front-side view of a marble, recumbent, nude Hermaphrodite. Hellenistic. National Museum, Rome. 164

F~g. 1

F~g. 2 165

Fig. 1

Fig. 2

Plate 43. Fig. 1 - A marble, recumbent Hermaphrodite. Hellenistic. Museo e Galleria Borghese, Rome. Fig. 2 - A marble, recumbent Hermaphrodite. Hellenistic. National Museum, Athens. 166

Fig. l

Fig. 2 Plate 44. Fig l -A recumbent, nude Hermaphrodite restored with bed by Gianlorenzo Bernini. Fig. 2 - A bronze, nude, kneeling Hermaphrodite. From Cay l us. Roman. 167

Fig. 1 Fig. 2

Plate 45. Fig. 1 - Ivory, female, goddess statuette from tomb of Dipylon cemetery. ca. 750 B. C.··· Fig. 2 - Warrior statuette, bronze plate on wooden core. From Dreros, Crete. Early half of 7th century B. c .. Plate 46

Fig. l - Marble janiform bust of Dionysos and Ariadne (?). Athenian.

Fig. 2 - Janiform Athenian aryballos - combining male and female Dionysiac heads. 6th century B. C ..

Fig. 3 - Double Hermai from the Athenian Stadium which was excavated 1869-1870. 168

F~g. 1 Fig. 2

Q•rpc1 • "t'T'

F~g . . 3 169

Fig. 1

F~g. 2

Plate 47. Fig. 1 - Wall painting of Pan and Hermaphro dite. From Pompeii. Fourth style. Painted during the reign of Nero. Fig. 2 - A marble ca..roup - A Hermaphrodite struggling with a · satyr. Roman copy after a late Hellenistic work. 170

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APPENDIX

A so-called "Decadent" painting of Pan and

Hermaphrodite (Plate 47, fig. ll from Pompeii (derived from a Hellenistic work) is without cult significance and was made to entertain. It was found in the House of

Dioscuri (atrium) and attributed to the "painter of Io" whose activity is witnessed at this house. Because of its refined grace, it is considered to be of the "Fourth 1 Style".

In the painting, Pan has come upon what he thought was a nymph, but to his surprise he finds a double natured being and is repulsed by it. He is trying to make a hasty retreat but the effeminate Hermaphrodite prevents him from doing so. Grant identifies the subject as that of "disap- pointed expectations", a popular theme in the mythological 2 parodies of Hellenistic art.

In late Hellenistic times there was a phase that some hist-orians have referred to as "Rococo" because of its similarities to eighteenth century court art. Plate

41, fig. 2 is such an example in which a Hermaphrodite is depicted struggling with a satyr. This is the best of

1 ~1ichael Grant, Eros in Pompeii, (New York: William and Morrow, 1975), p. 147. 2 Ibid. 185

SD1ne twenty existing copies, and is located in a sculpture collection in Dresden. A seated bearded satyr has his

legs wrapped around the Hermaphrodite whom he has forced

to his knees. With his left foot he tries to lift

Hermaphrodite's right foot from the ground. Hermaphrodite, however, lifts the right foot of the satyr with his left hand and pushes his right hand vigorously into the satyr's

face. The satyr uses both hands trying to push his arm

away. This particular theme of Hermaphrodite was chosen, probably at the behest of the patron, to display the

artist's tour-de-force in creating complex form and 3 movement. The sculpture has no cult meaning.

3 Margaret Bieber, The Sculpture of the Hellenistic Age, (New York: Coluniliia University Press, 1961), p. 147.