| Aphrodite, the goddess of erotic love, was said by Hesiod to have sprung from the foam that gathered about the severed genitals of Ouranus as they floated through the sea to the island of Cyprus. The Greek's associated Aphrodite's name with "aphros", sea foam. | The scene of Aphrodite first rising from the sea first appears in around 460 BC on Attic red figure vases. Eros, her son, is often present to greet her. Eros receiving Aphrodite was one of the subjects depicted by Pheidias on the base of the throne of Zeus at Olympia, and a silver gilt medallion, right, may reflect this work. |   |
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It seems likely that the Ludovisi Throne may show the birth of Aphrodite. The central figure seems to be helped up by attendants who are waiting to wrap her in a cloak or cloth, as seen on contemporary vase paintings. The central figure appears to be wet, and the attendants are standing on a pebble beach which is a rudimentary indication of a seashore. The attendants may be Horai (Seasons) who sometimes accompany Aphrodite on red figure vases, or Morai (fates). |
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The two figures on the side panels could illustrate the contrast between the two ways of serving Aphrodite. In literature and vase painting, a flute girl was commonly a hetaira (a courtesan), and the nudity of the figure (one of the first female nudes in Greek Art) stresses this. The veiled propriety could represent a matron or a priestess. This could stress the contrast between the two ways of serving Aphrodite: In her role as Aphrodite Pandemos - Vulgar. In her role as Aphrodite Ourania - Celestial.
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| This seems to be the most likely reading of the Ludovisi Throne. If Aphrodite is represented, this would link the throne to the cults of Locri, to which the throne can also be stylistically linked. |
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