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Athena Scorning the Advances of Hephaestus, Paris Bordone, between c. 1555~1560. According to the Bibliotheca, Athena visited the smith-god Hephaestus to request some weapons, but Hephaestus was so overcome by desire that he tried to seduce her in his workshop. Determined to maintain her virginity, Athena fled, pursued by Hephaestus.
The offerings recorded for each day were always for Athena, not her male counterpart. Also, the main focus of the festival (the sacred peplos) was for Athena, while Hephaestus wasn't given any gifts. [5] 'Athena Hephaista' was the epithet given to Athena in this context as a special association with Hephaestus, the god of the smiths.
Athena Scorning the Advances of Hephaestus by Paris Bordone (between c. 1555 and c. 1560) Hephaestus is to the male gods as Athena is to the female, for he gives skill to mortal artists and was believed to have taught men the arts alongside Athena. [43] At Athens, they had temples and festivals in common.
In one tradition, Athena repulsed an attempt by Hephaestus to force himself upon her, and sent him fleeing. [iii] [8] Callimachus and the Pseudo-Apollodorus relate a myth that Teiresias was blinded after witnessing Athena naked in her bath; [iv] a similar tradition was attached to Artemis and the hunter Actaeon.
Athena eventually used her spear and shield, banging them together to give her father a headache. Soon, he could not take his headache anymore and had the smith god Hephaestus, one of his sister-wife Hera's sons, cut his head open to let out whatever was in there on the river Trito's banks. Athena emerged from Zeus's mind full grown, wearing ...
Polynices offering Eriphyle the necklace of Harmonia; Attic red-figure oenochoe ca. 450–440 BC. Louvre museum. The Necklace of Harmonia, also called the Necklace of Eriphyle, was a fabled object in Greek mythology that, according to legend, brought great misfortune to all of its wearers or owners, who were primarily queens and princesses of the ill-fated House of Thebes.
This vase painting clearly depicts Hephaestus and Athena putting the finishing touches on the first woman, as in the Theogony. Written above this figure (a convention in Greek vase painting) is the name Anesidora. More commonly, however, the epithet anesidora is applied to Gaea or Demeter. In view of such evidence, William E. Phipps has pointed ...
Most ancient Greeks recognized the twelve major Olympian gods and goddesses—Zeus, Hera, Poseidon, Demeter, Athena, Ares, Aphrodite, Apollo, Artemis, Hephaestus, Hermes, and either Hestia or Dionysus—although philosophies such as Stoicism and some forms of Platonism used language that seems to assume a single transcendent deity.