1.
National Archaeological Museum, Athens
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The National Archaeological Museum in Athens houses some of the most important artifacts from a variety of archaeological locations around Greece from prehistory to late antiquity. It is considered one of the greatest museums in the world, the first national archaeological museum in Greece was established by prime minister of Greece Ioannis Kapodistrias in Aigina in 1829. The initial name for the museum was The Central Museum and it was renamed to its current name in 1881 by Prime Minister of Greece Charilaos Trikoupis. In 1887 the important archaeologist Valerios Stais became the museums curator, during World War II the museum was closed and the antiquities were sealed in special protective boxes and buried, in order to avoid their destruction and looting. In 1945 exhibits were displayed under the direction of Christos Karouzos. The south wing of the houses the Epigraphic Museum with the richest collection of inscriptions in the world. The inscriptions museum expanded between 1953 and 1960 with the designs of Patroklos Karantinos. The museum has an imposing neo-classical design which was popular in Europe at the time and is in accordance with the classical style artifacts that it houses. The initial plan was conceived by the architect Ludwig Lange and it was modified by Panagis Kalkos who was the main architect, Armodios Vlachos. At the front of the museum there is a large neo-classic design garden which is decorated with sculptures, the building has undergone many expansions. These expansions were necessary to accommodate the growing collection of artifacts. The most recent refurbishment of the museum more than 1.5 years to complete. The Minoan frescoes rooms opened to the public in 2005, on May 2008 the Culture Minister Mihalis Liapis inaugurated the much anticipated collection of Egyptian antiquities and the collection of Eleni and Antonis Stathatos. Today, there is a discussion regarding the need to further expand the museum to adjacent areas. A new plan has made for a subterranean expansion at the front of the museum. The museums collections are organised in sections, The prehistoric collection displays objects from the Neolithic era, Early and Mid-Bronze age, objects classified as Cycladic and Mycenaean art. There are ceramic finds from various important Neolithic sites such as Dimini and Sesclo from middle Helladic ceramics from Boeotia, Attica, some objects from Heinrich Schliemann excavations in Troy are also on display. Cycladic collection features the famous marble figurines from the Aegean islands of Delos and Keros including the Lutist, of great interest are the two golden cups from Vafeio showing a scene of the capture of a bull
2.
Sculpture
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Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
3.
Greek mythology
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It was a part of the religion in ancient Greece. Greek mythology is explicitly embodied in a collection of narratives. Greek myth attempts to explain the origins of the world, and details the lives and adventures of a variety of gods, goddesses, heroes, heroines. These accounts initially were disseminated in a tradition, today the Greek myths are known primarily from ancient Greek literature. The oldest known Greek literary sources, Homers epic poems Iliad and Odyssey, focus on the Trojan War, archaeological findings provide a principal source of detail about Greek mythology, with gods and heroes featured prominently in the decoration of many artifacts. Geometric designs on pottery of the eighth century BC depict scenes from the Trojan cycle as well as the adventures of Heracles, in the succeeding Archaic, Classical, and Hellenistic periods, Homeric and various other mythological scenes appear, supplementing the existing literary evidence. Greek mythology has had an influence on the culture, arts. Poets and artists from ancient times to the present have derived inspiration from Greek mythology and have discovered contemporary significance and relevance in the themes, Greek mythology is known today primarily from Greek literature and representations on visual media dating from the Geometric period from c. Mythical narration plays an important role in every genre of Greek literature. Nevertheless, the only general mythographical handbook to survive from Greek antiquity was the Library of Pseudo-Apollodorus and this work attempts to reconcile the contradictory tales of the poets and provides a grand summary of traditional Greek mythology and heroic legends. Apollodorus of Athens lived from c, 180–125 BC and wrote on many of these topics. His writings may have formed the basis for the collection, however the Library discusses events that occurred long after his death, among the earliest literary sources are Homers two epic poems, the Iliad and the Odyssey. Other poets completed the cycle, but these later and lesser poems now are lost almost entirely. Despite their traditional name, the Homeric Hymns have no connection with Homer. They are choral hymns from the part of the so-called Lyric age. Hesiods Works and Days, a poem about farming life, also includes the myths of Prometheus, Pandora. The poet gives advice on the best way to succeed in a dangerous world, lyrical poets often took their subjects from myth, but their treatment became gradually less narrative and more allusive. Greek lyric poets, including Pindar, Bacchylides and Simonides, and bucolic poets such as Theocritus and Bion, additionally, myth was central to classical Athenian drama
4.
Athena
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Athena or Athene, often given the epithet Pallas, is the goddess of wisdom, craft, and war in ancient Greek religion and mythology. Minerva is the Roman goddess identified with Athena, Athena is known for her calm temperament, as she moves slowly to anger. She is noted to have fought for just reasons. Athena is portrayed as a companion of heroes and is the patron goddess of heroic endeavour. She is the patroness of Athens. The Athenians founded the Parthenon on the Acropolis of her city, Athens. Veneration of Athena was so persistent that archaic myths about her were recast to adapt to cultural changes, in her role as a protector of the city, many people throughout the Greek world worshipped Athena as Athena Polias. While the city of Athens and the goddess Athena essentially bear the same name, Athena is associated with Athens, a plural name, because it was the place where she presided over her sisterhood, the Athenai, in earliest times. Mycenae was the city where the Goddess was called Mykene, at Thebes she was called Thebe, and the city again a plural, Thebae. Similarly, at Athens she was called Athena, and the city Athenae, Athena had a special relationship with Athens, as is shown by the etymological connection of the names of the goddess and the city. According to mythical lore, she competed with Poseidon and she won by creating the olive tree, the Athenians would accept her gift and name the city after her. In history, the citizens of Athens built a statue of Athena as a temple to the goddess, which had piercing eyes, a helmet on her head, attired with an aegis or cuirass, and an extremely long spear. It also had a shield with the head of the Gorgon on it. A large snake accompanied her and she held Nike, the goddess of victory, therefore, Mylonas believes that Athena was a Mycenaean creation. On the other hand, Nilsson claims that she was the goddess of the palace who protected the king, a-ta-no-dju-wa-ja is also found in Linear A Minoan, the final part being regarded as the Linear A Minoan equivalent of the Linear B Mycenaean di-u-ja or di-wi-ja. Divine Athena also was a weaver and the deity of crafts, whether her name is attested in Eteocretan or not will have to wait for decipherment of Linear A. Perhaps, however, the name Theonoe may mean she who knows divine things better than others. Thus for Plato her name was to be derived from Greek Ἀθεονόα, Plato also noted that the citizens of Sais in Egypt worshipped a goddess whose Egyptian name was Neith, and which was identified with Athena. Neith was the war goddess and huntress deity of the Egyptians since the ancient Pre-Dynastic period, in addition, ancient Greek myths reported that Athena had visited many mythological places such as Libyas Triton River in North Africa and the Phlegraean plain
5.
Phidias
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Phidias or Pheidias was a Greek sculptor, painter, and architect. His statue of Zeus at Olympia was one of the Seven Wonders of the Ancient World, Phidias was the son of Charmides of Athens. The ancients believed that his masters were Hegias and Ageladas, Phidias is often credited as the main instigator of the Classical Greek sculptural design. Today, most critics and historians consider him one of the greatest of all ancient Greek sculptors, although no original works exist that can be attributed to Phidias with certainty, numerous Roman copies of varying degrees of fidelity are known to exist. Almost all classical Greek paintings and sculptures have been destroyed, and only Roman copies or notes of them exist, the ancient Romans frequently copied and further developed Greek art. In antiquity Phidias was celebrated for his statues in bronze and his chryselephantine works, in the Hippias Major, Plato claims that Phidias seldom, if ever, executed works in marble, though many of the sculptures of his times were executed in marble. Plutarch tells us that he superintended the works ordered by Pericles on the Acropolis. Ancient critics take a high view of the merits of Phidias. What they especially praise is the ethos or permanent moral level of his works as compared with those of the later so called pathetic school, demetrius calls his statues sublime, and at the same time precise. Of his life we know little apart from his works and his first commission created a group of national heroes with Miltiades as a central figure. Pericles used some of the money from the maritime League of Delos, to rebuild, inscriptions prove that the marble blocks intended for the pedimental statues of the Parthenon were not brought to Athens until 434 BC, which was probably after the death of Phidias. It is therefore possible that most of sculptural decoration of the Parthenon was the work of Phidias workshop including pupils of Phidias, such as Alcamenes, the Golden Ratio has been represented by the Greek letter φ, after Phidias, who is said to have employed it. The Golden Ratio is an irrational number approximating 1.6180 which has special mathematical properties, the golden spiral is also said to hold aesthetic values. The earliest of the works of Phidias were dedications in memory of Marathon, at Delphi he created a great group in bronze including the figures of Greek gods Apollo and Athena, several Attic heroes, and General Miltiades the Younger. On the Acropolis of Athens Phidias constructed a bronze statue of Athena, the Athena Promachos. Athena was the goddess of wisdom and warriors and the protector of Athens, at Pellene in Achaea, and at Plataea Phidias made two other statues of Athena, as well as a statue of the goddess Aphrodite in ivory and gold for the people of Elis. Both sculptures belong to about the middle of the 5th century BC, a number of replicas and works inspired by it, both ancient and modern, have been made. Phidias left Athens in about 438 BC, on completion of the Athena Parthenos, accused by a fellow worker of embezzlement, and unable to account for the amount of gold used in separate parts of the statue, he voluntarily underwent exile rather than face public humiliation
6.
Parthenon
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The Parthenon is a former temple, on the Athenian Acropolis, Greece, dedicated to the goddess Athena, whom the people of Athens considered their patron. Construction began in 447 BC when the Athenian Empire was at the peak of its power and it was completed in 438 BC although decoration of the building continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered the zenith of the Doric order and its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an symbol of Ancient Greece, Athenian democracy and western civilization. The Greek Ministry of Culture is currently carrying out a programme of restoration and reconstruction to ensure the stability of the partially ruined structure. The Parthenon itself replaced a temple of Athena, which historians call the Pre-Parthenon or Older Parthenon. The temple is aligned to the Hyades. While a sacred building dedicated to the patron goddess, the Parthenon was actually used primarily as a treasury. For a time, it served as the treasury of the Delian League, in the final decade of the sixth century AD, the Parthenon was converted into a Christian church dedicated to the Virgin Mary. After the Ottoman conquest, it was turned into a mosque in the early 1460s, on 26 September 1687, an Ottoman ammunition dump inside the building was ignited by Venetian bombardment. The resulting explosion damaged the Parthenon and its sculptures. From 1800 to 1803, Thomas Bruce, 7th Earl of Elgin removed some of the sculptures with the alleged permission of the Ottoman Empire. These sculptures, now known as the Elgin Marbles or the Parthenon Marbles, were sold in 1816 to the British Museum in London, since 1983, the Greek government has been committed to the return of the sculptures to Greece. The Liddell–Scott–Jones Greek–English Lexicon states that this room was the western cella of the Parthenon, jamauri D. Christopher Pelling asserts that Athena Parthenos may have constituted a discrete cult of Athena, intimately connected with, but not identical to, that of Athena Polias. According to this theory, the name of the Parthenon means the temple of the virgin goddess and it has also been suggested that the name of the temple alludes to the maidens, whose supreme sacrifice guaranteed the safety of the city. Parthénos has also applied to the Virgin Mary, Parthénos Maria. The first instance in which Parthenon definitely refers to the building is found in the writings of the 4th century BC orator Demosthenes. In 5th-century building accounts, the structure is simply called ho naos, because the Parthenon was dedicated to the Greek goddess Athena, it has sometimes been referred to as the Temple of Minerva, the Roman name for Athena, particularly during the 19th century
7.
Sphinx
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A sphinx is a mythical creature with the head of a human and the body of a lion. In Greek tradition, it has the head of a human, the haunches of a lion and it is mythicised as treacherous and merciless. Those who cannot answer its riddle suffer a fate typical in such stories, as they are killed. This deadly version of a sphinx appears in the myth and drama of Oedipus, unlike the Greek sphinx, which was a woman, the Egyptian sphinx is typically shown as a man. In European decorative art, the sphinx enjoyed a revival during the Renaissance. Sphinxes are generally associated with structures such as royal tombs or religious temples. The oldest known sphinx was found near Gobekli Tepe at another site, Nevali Çori, or possibly 120 miles to the east at Kortik Tepe, Turkey, and was dated to 9,500 BCE. The largest and most famous sphinx is the Great Sphinx of Giza, situated on the Giza Plateau adjacent to the Great Pyramids of Giza on the west bank of the Nile River, the sphinx is located southeast of the pyramids. Although the date of its construction is uncertain, the head of the Great Sphinx now is believed to be that of the pharaoh Khafra, what names their builders gave to these statues is not known. At the Great Sphinx site, a 1400 BCE inscription on a stele belonging to the 18th dynasty pharaoh Thutmose IV lists the names of three aspects of the sun deity of that period, Khepera–Rê–Atum. The theme was expanded to form great avenues of guardian sphinxes lining the approaches to tombs, nine hundred with ram heads, representing Amon, were built in Thebes, where his cult was strongest. Perhaps the first sphinx in Egypt was one depicting Queen Hetepheres II and she was one of the longest-lived members of the royal family of that dynasty. The Great Sphinx has become an emblem of Egypt, frequently appearing on its stamps, coins, from the Bronze Age, the Hellenes had trade and cultural contacts with Egypt. Before the time that Alexander the Great occupied Egypt, the Greek name, the historians and geographers of Greece wrote extensively about Egyptian culture. Herodotus called the ram-headed sphinxes Criosphinxes and called the hawk-headed ones Hieracosphinxes, the word sphinx comes from the Greek Σφίγξ, apparently from the verb σφίγγω, meaning to squeeze, to tighten up. This name may be derived from the fact that the hunters for a pride of lions are the lionesses, There was a single sphinx in Greek mythology, a unique demon of destruction and bad luck. According to Hesiod, she was a daughter of Orthrus and either Echidna or the Chimera, or perhaps even Ceto, according to others, she was a daughter of Echidna and Typhon. All of these are figures from the earliest of Greek myths
8.
Griffin
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The griffin, griffon, or gryphon is a legendary creature with the body, tail, and back legs of a lion, the head and wings of an eagle, and an eagles talons as its front feet. Because the lion was considered the king of the beasts and the eagle the king of birds. The griffin was thought of as king of all creatures. Griffins are known for guarding treasure and priceless possessions, in Greek and Roman texts, griffins and Arimaspeans were associated with gold. Indeed, in later accounts, griffins were said to lay eggs in burrows on the grounds, in antiquity it was a symbol of divine power and a guardian of the divine. The derivation of this remains uncertain. It could be related to the Greek word γρυπός, meaning curved, also, this could have been an Anatolian loan word, compare Akkadian karūbu, and similar to Cherub. A related Hebrew word is כרוב, Most statuary representations of griffins depict them with bird-like talons, although in some older illustrations griffins have a lions forelimbs, they generally have a lions hindquarters. Its eagles head is given prominent ears, these are sometimes described as the lions ears, but are often elongated. Infrequently, a griffin is portrayed without wings, or a wingless eagle-headed lion is identified as a griffin, in 15th-century and later heraldry, such a beast may be called an alce or a keythong. In heraldry, a griffin always has forelegs like an eagles hind-legs, there is evidence of representations of griffins in Ancient Iranian and Ancient Egyptian art dating back to before 3000 BC. In Egypt, a griffin can be seen in a cosmetic palette from Hierakonpolis, known as the Two Dog Palette, which is dated to ca. In Iran, griffins appeared on seals from Susa as early as 3000 BC. Griffin depictions appear in the Levant, Syria. Early depictions of griffins in Ancient Greek art are found in the 15th century BC frescoes in the Throne Room of the Bronze Age Palace of Knossos and it continued being a favored decorative theme in Archaic and Classical Greek art. In Central Asia, the griffin appears about a years after Bronze Age Crete, in the 5th–4th centuries BC. The Achaemenids considered the griffin a protector from evil, witchcraft, the modern generalist calls it the lion-griffin, as for example, Robin Lane Fox, in Alexander the Great,1973,31 and notes p. The Pisa Griffin is a bronze sculpture that has been in Pisa in Italy since the Middle Ages. It is the largest bronze medieval Islamic sculpture known, at three feet tall, and was probably created in the 11th century in Al-Andaluz
9.
Medusa
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In Greek mythology Medusa was a monster, a Gorgon, generally described as a winged human female with living venomous snakes in place of hair. Gazers upon her hideous face would turn to stone, most sources describe her as the daughter of Phorcys and Ceto, though the author Hyginus makes her the daughter of Gorgon and Ceto. According to Hesiod and Aeschylus, she lived and died on an island named Sarpedon, the 2nd-century BCE novelist Dionysios Skytobrachion puts her somewhere in Libya, where Herodotus had said the Berbers originated her myth, as part of their religion. In classical antiquity the image of the head of Medusa appeared in the device known as the Gorgoneion. The three Gorgon sisters—Medusa, Stheno, and Euryale—were all children of the ancient marine deities Phorcys and his sister Ceto, in an ode written in 490 BC Pindar already speaks of fair-cheeked Medusa. In Ovids telling, Perseus describes Medusas punishment by Minerva as just, in most versions of the story, she was beheaded by the hero Perseus, who was sent to fetch her head by King Polydectes of Seriphus because Polydectes wanted to marry his mother. The gods were well aware of this, and Perseus received help and he received a mirrored shield from Athena, gold, winged sandals from Hermes, a sword from Hephaestus and Hadess helm of invisibility. Since Medusa was the one of the three Gorgons who was mortal, Perseus was able to slay her while looking at the reflection from the mirrored shield he received from Athena. During that time, Medusa was pregnant by Poseidon, when Perseus beheaded her, Pegasus, a winged horse, and Chrysaor, a giant wielding a golden sword, sprang from her body. Jane Ellen Harrison argues that her potency only begins when her head is severed, the basis of the Gorgoneion is a cultus object, a ritual mask misunderstood. In the Odyssey xi, Homer does not specifically mention the Gorgon Medusa, Lest for my daring Persephone the dread, harrisons translation states the Gorgon was made out of the terror, not the terror out of the Gorgon. According to Ovid, in northwest Africa, Perseus flew past the Titan Atlas, who stood holding the sky aloft, and transformed him into stone when he tried to attack him. Furthermore, the poisonous vipers of the Sahara, in the Argonautica 4.1515, Ovids Metamorphoses 4.770, the blood of Medusa also spawned the Amphisbaena. Perseus then flew to Seriphos, where his mother was about to be forced into marriage with the king, King Polydectes was turned into stone by the gaze of Medusas head. It is immediately obvious that the Gorgons are not really three but one + two, the two unslain sisters are mere appendages due to custom, the real Gorgon is Medusa. A number of early scholars interpreted the myth of the Medusa as a quasi-historical. According to Joseph Campbell, In 1940, Sigmund Freuds Das Medusenhaupt was published posthumously and this article laid the framework for his significant contribution to a body of criticism surrounding the monster. Medusa is presented by Freud as the supreme talisman who provides the image of castration — associated in the mind with the discovery of maternal sexuality —
10.
Cubit
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The cubit is an ancient unit based on the forearm length from the middle finger tip to the elbow bottom. Cubits of various lengths were employed in many parts of the world in antiquity, during the Middle Ages, the term is still used in hedge laying, the length of the forearm being frequently used to determine the interval between stakes placed within the hedge. The English word cubit comes from the Latin noun cubitus elbow, from the verb cubo, cubare, cubui, cubitum to lie down, the ancient Egyptian royal cubit is the earliest attested standard measure. Cubit rods were used for the measurement of length, a number of these rods have survived, two are known from the tomb of Maya, the treasurer of the 18th dynasty pharaoh Tutankhamun, in Saqqara, another was found in the tomb of Kha in Thebes. Fourteen such rods, including one double cubit rod, were described and compared by Lepsius in 1865. These cubit rods range from 523.5 to 529.2 mm in length, and are divided into seven palms, each palm is divided into four fingers and the fingers are further subdivided. Use of the royal cubit is also known from Old Kingdom architecture, in 1916, during the last years of the Ottoman Empire and in the middle of World War I, the German assyriologist Eckhard Unger found a copper-alloy bar while excavating at Nippur. The bar dates from c.2650 BC and Unger claimed it was used as a measurement standard and this irregularly formed and irregularly marked graduated rule supposedly defined the Sumerian cubit as about 518.6 mm. The Near Eastern or Biblical cubit is usually estimated as approximately 457.2 mm, in ancient Greek units of measurement, the standard forearm cubit measured approximately 0.46 m. The short forearm cubit, from the wrist to the elbow, in ancient Rome, according to Vitruvius, a cubit was equal to 1 1⁄2 Roman feet or 6 palm widths. Other measurements based on the length of the forearm include some lengths of ell, the Chinese chi, the Japanese shaku, the Indian hasta, the Thai sok, the Tamil, the Telugu, a cubit arm in heraldry may be dexter or sinister. It may be vested and may be shown in positions, most commonly erect. It is most often used erect as a crest, for example by the families of Poyntz of Iron Acton, Rolle of Stevenstone, the Encyclopaedia of Ancient Egyptian Architecture. The Cubit, A History and Measurement Commentary, Journal of Anthropology doi,10. 1155/2014/489757,2014 Media related to Cubit arms at Wikimedia Commons The dictionary definition of cubit at Wiktionary
11.
Erichthonius of Athens
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King Erichthonius was a legendary early ruler of ancient Athens, Greece. According to some myths, he was autochthonous and raised by the goddess Athena, early Greek texts do not distinguish between him and Erectheus, his grandson, but by the fourth century BC, during Classical times, they are distinct figures. According to the Bibliotheca, Athena visited the smith-god Hephaestus to request some weapons, determined to maintain her virginity, Athena fled, pursued by Hephaestus. He caught Athena and tried to rape her, but she fought him off, during the struggle, his semen fell on her thigh, and Athena, in disgust, wiped it away with a scrap of wool and flung it to the earth. As she fled, Erichthonius was born from the semen that fell to the earth, Athena, wishing to raise the child in secret, placed him in a small box. Athena gave the box to the three daughters of Cecrops, the king of Athens, and warned never to open it. Overcome with curiosity, Aglaurus and Herse opened the box, which contained the infant and future-king, the sisters were terrified by what they saw in the box, either a snake coiled around an infant, or an infant that was half-man and half-serpent. They went insane and threw themselves off the Acropolis, other accounts state that they were killed by the snake. An alternative version of the story is that Athena left the box with the daughters of Cecrops while she went to fetch a limestone mountain from the Pallene peninsula to use in the Acropolis, while she was away, Aglaurus and Herse opened the box. A crow saw them open the box, and flew away to tell Athena, as in the first version, Herse and Aglaurus went insane and threw themselves to their deaths off a cliff. When he grew up, Erichthonius drove out Amphictyon, who had usurped the throne from Cranaus twelve years earlier and he married Praxithea, a naiad, and had a son, Pandion I. During this time, Athena frequently protected him and he founded the Panathenaic Festival in the honor of Athena, and set up a wooden statue of her on the Acropolis. According to the Parian Chronicle, he taught his people to yoke horses and use them to pull chariots, to smelt silver and it was said that Erichthonius was lame of his feet and that he consequently invented the quadriga, or four-horse chariot, to get around more easily. He is said to have competed often as a driver in games. Zeus was said to have been so impressed with his skill that he raised him to the heavens to become the constellation of the Charioteer after his death, Erichthonius was succeeded by his son Pandion I. The snake is his symbol, and he is represented in the statue of Athena in the Parthenon as the snake hidden behind her shield, smith, William, Dictionary of Greek and Roman Biography and Mythology, London. Erichthonius Images of Erichthonius in the Warburg Institute Iconographic Database
12.
Pandora
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In Greek mythology, Pandora was the first human woman created by the gods, specifically by Hephaestus and Athena on the instructions of Zeus. As Hesiod related it, each god helped create her by giving her unique gifts, Zeus ordered Hephaestus to mold her out of earth as part of the punishment of humanity for Prometheus theft of the secret of fire, and all the gods joined in offering her seductive gifts. Her other name—inscribed against her figure on a white-ground kylix in the British Museum—is Anesidora, the Pandora myth is a kind of theodicy, addressing the question of why there is evil in the world. Hesiod, both in his Theogony and in Works and Days, gives the earliest version of the Pandora story, the Pandora myth first appears in lines 560–612 of Hesiods poem in epic meter, the Theogony, without ever giving the woman a name. After humans received the gift of fire from Prometheus, an angry Zeus decides to give humanity a punishing gift to compensate for the boon they had been given. He commands Hephaestus to mold from earth the first woman, a beautiful evil whose descendants would torment the human race, after Hephaestus does so, Athena dresses her in a silvery gown, an embroidered veil, garlands and an ornate crown of silver. This woman goes unnamed in the Theogony, but is presumably Pandora, whose myth Hesiod revisited in Works, when she first appears before gods and mortals, wonder seized them as they looked upon her. But she was sheer guile, not to be withstood by men, the more famous version of the Pandora myth comes from another of Hesiods poems, Works and Days. In this version of the myth, Hesiod expands upon her origin, finally, Hermes gives this woman a name, Pandora – All-gifted – because all the Olympians gave her a gift. In this retelling of her story, Pandoras deceitful feminine nature becomes the least of humanitys worries, for she brings with her a jar containing burdensome toil and sickness that brings death to men, diseases and a myriad other pains. Prometheus had warned his brother Epimetheus not to accept any gifts from Zeus, but Epimetheus did not listen, he accepted Pandora, who promptly scattered the contents of her jar. As a result, Hesiod tells us, the earth and sea are full of evils, one item, however, did not escape the jar, Hesiod does not say why hope remained in the jar. Hesiod closes with this moral, Thus it is not possible to escape the mind of Zeus, Thus, Pandora was created as the first woman and given the jar which releases all evils upon man. Archaic and Classic Greek literature seem to no further mention of Pandora, though Sophocles wrote a satyr play Pandora. Sappho may have reference to Pandora in a surviving fragment. Later, mythographers filled in minor details or added postscripts to Hesiods account, for example, the Bibliotheca and Hyginus each make explicit what might be latent in the Hesiodic text, Epimetheus married Pandora. They each add that they had a daughter, Pyrrha, who married Deucalion, however, the Hesiodic Catalogue of Women, fragment #5, had made a Pandora one of the daughters of Deucalion, and the mother of Graecus by Zeus. In a major departure from Hesiod, the 6th-century BC Greek elegiac poet Theognis of Megara tells us, in this, he appears to follow a possibly pre-Hesiodic tradition, preserved by the second-century fabulist Babrius, that the gods sent a jar containing blessings to humans
