American Journal of Archaeology, 1912, Vol. 16 (Classic Reprint)

Excerpt from American Journal of Archaeology, 1912, Vol. 16<br><br>The earliest mythological representation in Etruria is to be found, according to Petersen, in one of the four archaic paintings which decorate the Etruscan chamber-tomb near Veii known as the Grotta Campana. The fresco in question (Fig. 1) depicts a rider with two attendants on foot, one of whom walks beside the horse, holding the animal's rein, while the other is in advance of the party, with a double axe on his shoulder; on the croup of the horse behind the rider sits a leopard or panther, and under the horse is a dog. Petersen maintains that this represents a well-known subject, the return of Hephaestus to Olympus under the escort of Dionysus. This theory, which, as far as I can learn, has not been discussed in print, seems to me untenable, and I should like to present the case against it and in favor of another interpretation of the picture.<br><br>What is there in the Veian painting to suggest the return of Hephaestus Little but a slight general similitude resting on the fact that it portrays a rider under escort. The only argument that can be brought for the identification of the rider with Hephaestus is the presence of a double axe in the picture, and the panther is the only conceivable indication of the Dionysiac rout. Though the double axe is frequently an attribute of Hephaestus, it is not confined to him, and here, moreover, we find it in the hands, not of the supposed Hephaestus, but of an attendant.<br><br>About the Publisher<br><br>Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com<br><br>This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.