(Hellenica4.4.2) of the massacre which took place on the last day of its celebration in
spring 392 BC. The day was specifically chosen by the revolutionaries because they
thought ‘‘there would be more people in the marketplace to kill,’’ and many people
were killed while watching musical or dramatic competitions. At Athens, on the other
hand, Fair Fame seems to be quite independent of Artemis, with a temple of her own
which was ‘‘a dedication from the Persians who fought at Marathon’’ (Pausanias
1.14.5); this should be somewhere in or near the agora, although it has not been
identified on the ground. Fair Fame appears together with Lawfulness (Eunomia) on
a number of vases of ca. 410–400 BC, which provide some support for the suggestion
that a joint cult of the two personifications began at Athens in the late fifth century,
although it is only in the late hellenistic period that we have firm evidence for this, in
the form of inscriptions mentioning a priest and a sanctuary of the pair. It has been
suggested that the Athenian cult might have derived from the Plataean one, or that it
was influenced by a joint cult on the island of Aegina (Shapiro 1993:70–8), although
the latter is attested only by an allusion in Bacchylides to Aegina being guided
by Virtue together with ‘‘crown-loving Fair Fame and wise Lawfulness’’ (Odes
13.182–6; ca. 480 BC).
Health (Hygieia) likewise appears in cult before we find her represented in art or
literature. Her early history in the Peloponnese is hazy, but we have unusually clear
evidence for her introduction into Athenian cult alongside the healing god Asclepius.
The event is actually recorded on the early fourth-century ‘‘Telemachus Monument,’’
a stele with relief sculpture and inscriptions (IGii^2 4960), which gives precise years
for various stages of the sanctuary’s development, beginning in 420/419 BC: ‘‘Tele-
machus founded the sanctuary and altar to Asclepius first, and Health, the sons of
Asclepius and daughters ... .’’ The stele was found on the south slope of the Acropolis
to the west of the Theater of Dionysus, on the site of Asclepius’ sanctuary, which
seems to have been substantially developed in the middle of the fourth century.
Asclepius’ sons are the healing heroes Podaleiros and Machaon, his daughters usually
named as Health, Cure-All (Panakeia), Iaso, and Akeso (both names related to words
for ‘‘healing’’). Pride of place clearly goes to Health, both on the Telemachus
Monument and in other textual references to the family, and it is Health whom we
see most frequently in art. Her appearance on half a dozen or so Attic vases of ca.
420–400 BC may well be due to her recent arrival as a cult figure, but more
significant of her divine status are the seventy or more votive reliefs of the late fifth
and fourth centuries on which she features. This category of relief sculpture is by
definition from a cult context and the images employ the convention of representing
deities on a larger scale than humans, which confirms that Health is regarded as on a
par with the god Asclepius whom she accompanies. Some of these reliefs are from the
Athenian Asclepieion, and Health’s important role here is further indicated by her
pairing with Asclepius in later inscriptions: ‘‘it is the ancestral custom of the phys-
icians who are in the service of the state to sacrifice to Asclepius and to Hygieia twice
each year on behalf of their own bodies and of those they have healed’’ (IGii^2 772.9–
13; ca. 250 BC). In addition to the reliefs, the image of Health appeared in sanctu-
aries of Asclepius all over the Greek world from the mid-fourth century onwards in
the form of statues. Art historians divide these into a number of iconographical types,
but in all of them Health is a young woman, demurely dressed, with a snake around
her shoulders or beside her, which she feeds from a shallow dish: for the first time, a
Ogden / Companion to Greek Religion 1405120541_4_004 Revise Proof page 80 30.10.2006 4:25pm80 Emma Stafford