As noted in the previous comment, which analyzes the wider narrative, the narrower narrative about the making of the shield begins at I.18.478 and comes full circle at I.18.608, followed by an announcement of the completion at I.18.609. For the wider narrative, see again the comment on I.18.468–613. As for the narrower narrative here, the analysis will require a different perspective. As the camera zooms in, as it were, on the world of images that are being worked into the surface of the shield by the divine metalworker Hephaistos, the artistic microcosm that we now see being pictured here represents a physical macrocosm that turns out to be the Homeric cosmos itself, defined by the world-encircling river Ōkeanos as its outer limit. The cosmic essence of this Ōkeanos, signaled at I.18.607–608, has already been analyzed in the earlier comment on I.18.468–613. Also, as noted in the still earlier comment on I.14.245–246–246a, the Homeric traditions about Ōkeanos coexisted with older traditions attributed to Orpheus, and, already in the ancient world, various interpreters developed various influential theories about the cosmos by viewing such Orphic traditions about the Ōkeanos together with the corresponding Homeric traditions. One such interpreter was Crates of Mallos, for whom the Ōkeanos was an essential part of an allegory about the cosmos: see the comment on I.14.245–246–246a. For Crates, his interpretation of the verses about the Ōkeanos at I.14.245–246–246a as a cosmic allegory was evidently coextensive with his interpretation of the verses about the shield being made for Achilles here at I.18.478–609. And there is a further extension: for Crates, the verses at I.11.032–040 about the images worked into the shield of Agamemnon were likewise a cosmic allegory: see the comment on I.11.032–040.