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Artemision Bronze
The Artemision Bronze (often called the God from the Sea) is an ancient Greek sculpture that was recovered from the sea off Cape Artemision, in northern Euboea. It represents either Zeus〔Identified as Zeus in, ''e.g.'' John Boardman, "Greek art and architecture", in John Boardman, J. Griffin and O. Murray, eds. ''Greece and the Hellenistic World'' (''Oxford History of the Classical World'', vol. I), 1988, illus. p. 284.〕 or Poseidon,〔The loosely held fingers of the right hand have been variously interpreted as suited for wielding a separately-cast thunderbolt or a separate trident. A cogent summary of technical and iconographic arguments for Zeus was presented by George E. Mylonas, "The Bronze Statue from Artemision", ''American Journal of Archaeology'' 48.2 (April 1944), pp. 143-160.〕 is slightly over lifesize at 209 cm,〔Woodford, Susan. (1982) ''The Art of Greece and Rome''. Cambridge: Cambridge University Press, p. 15. ISBN 0521298733〕 and would have held either a thunderbolt, if Zeus, or a trident if Poseidon. However, the iconography of Ancient Greek pottery portrays Poseidon wielding the trident, when in combat, in more of a stabbing motion (similar to a fencing stance or an 'advance-lunge'); Zeus is depicted fighting with his arm raised, holding the thunderbolt overhead, in the same position as the Artemision Bronze (see 'Poseidon and the Giant Polybotes' an Attic Red Figure Stamnos attributed to the Trolios Painter, as well as 'Zeus hurling his lightning at Typhon' ca. 550 BC which is a black-figured Chalcidian hydria). The empty eye-sockets were originally inset, probably with bone, as well as the eyebrows (with silver), the lips, and the nipples (with copper). The sculptor is unknown.〔 The ''Poseidon/Zeus'' is a highlight of the collections in the National Archaeological Museum of Athens.〔Inv. no. 15161.〕
==The sculpture's subject==
The debate over whether the statue represents Poseidon or Zeus hinges on the lost attribute held in the figure's right hand. As Caroline Houser writes, "Sometimes the Artemision protector is called 'Poseidon'. Those who would do so have been known to argue that the image must be that of the great sea god since the statue was found in the Mediterranean. But like other statues of totally different subjects, this one went into the sea simply because it was on board a ship that sank. Others cite the example of the Poseidonia coins, overlooking the much weightier evidence presented by the numerous surviving statuettes of Zeus launching his thunderbolt in a pose matching that of the Artemision figure."〔Houser in ''Greek Monumental Bronze Sculpture'', Houser, C., and Finn, D. 1983. New York: The Vendome Press. p. 79.〕
A major additional problem with that hypothesis is that a trident would obscure the face, especially from the profile view, which most scholars (even those who have supported an identification as Poseidon) have held to be the most, or even the only, important view. Iconographic parallels with coins and vase painting from the same time period show that this obscuring pose is extremely unlikely. However, the trident may have been unusually short, avoiding the problem. On the other hand, the statue is essentially a larger version of an extensive series of smaller solid bronze figurines extending back into the late 7th century, all of which strike the same pose and represent Zeus.〔E.g., the (so-called Dodona Zeus )〕 On the basis of this and other iconographic parallels with vase-painting,〔Such as (this vase in France ), in which Poseidon holds his trident below, so as to avoid obscuring the face, while Zeus adopts the same pose as the Artemision bronze.〕 most scholars presently think it is a Zeus. However, opinion remains divided.
The god is caught at the moment of pause in the full potentiality of his coming movement, described by Carol Mattusch: "the figure has the potential for violence, is concentrating, poised to throw, but the action is just beginning, and we are left to contemplate the coming demonstration of strength."〔Mattusch 1988:151f.〕 It is an original work of great strength in the Severe style that preceded the fifth-century classical style, dated to ca. 460 BCE. A comparison can be made with the Charioteer of Delphi, a roughly contemporaneous bronze.
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