1.
Pompeii
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Pompeii was an ancient Roman town-city near modern Naples, in the Campania region of Italy, in the territory of the comune of Pompei. Pompeii, along with Herculaneum and many villas in the area, was mostly destroyed and buried under 4 to 6 m of volcanic ash. Researchers believe that the town was founded in the seventh or sixth century BC by the Osci or Oscans. It came under the domination of Rome in the 4th century BC, by the time of its destruction,160 years later, its population was estimated at 11,000 people, and the city had a complex water system, an amphitheatre, gymnasium, and a port. The eruption destroyed the city, killing its inhabitants and burying it under tons of ash, the site was lost for about 1,500 years until its initial rediscovery in 1599 and broader rediscovery almost 150 years later by Spanish engineer Rocque Joaquin de Alcubierre in 1748. The objects that lay beneath the city have been preserved for centuries because of the lack of air and these artefacts provide an extraordinarily detailed insight into the life of a city during the Pax Romana. During the excavation, plaster was used to fill in the voids in the ash layers that once held human bodies and this allowed archaeologists to see the exact position the person was in when he or she died. Pompeii has been a tourist destination for over 250 years, today it has UNESCO World Heritage Site status and is one of the most popular tourist attractions in Italy, with approximately 2.5 million visitors every year. Pompeii in Latin is a second declension plural, the ruins of Pompeii are located near the modern suburban town of Pompei. It stands on a formed by a lava flow to the north of the mouth of the Sarno River. Today it is some distance inland, but in ancient times was nearer to the coast, Pompeii is about 8 km away from Mount Vesuvius. It covered a total of 64 to 67 hectares and was home to approximately 11,000 to 11,500 people on the basis of household counts and it was a major city in the region of Campania. Three sheets of sediment have been found on top of the lava that lies below the city and, mixed in with the sediment, archaeologists have found bits of bone, pottery shards. Carbon dating has placed the oldest of these layers from the 8th–6th centuries BC, the other two strata are separated either by well-developed soil layers or Roman pavement, and were laid in the 4th century BC and 2nd century BC. It is theorized that the layers of the sediment were created by large landslides. The town was founded around the 7th-6th century BC by the Osci or Oscans and it had already been used as a safe port by Greek and Phoenician sailors. According to Strabo, Pompeii was also captured by the Etruscans, and in recent excavations have shown the presence of Etruscan inscriptions. Pompeii was captured for the first time by the Greek colony of Cumae, allied with Syracuse, in the 5th century BC, the Samnites conquered it, the new rulers imposed their architecture and enlarged the town
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Atrium (architecture)
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In architecture, an atrium is a large open air or skylight covered space surrounded by a building. Atria were a feature in Ancient Roman dwellings, providing light. Modern atria, as developed in the late 19th and 20th centuries, are several stories high and having a glazed roof or large windows. Atria are a design feature because they give their buildings a feeling of space. The atrium has become a key feature of buildings in recent years. Atria are popular with building users, building designers and building developers, users like atria because they create a dynamic and stimulating interior that provides shelter from the external environment while maintaining a visual link with that environment. Designers enjoy the opportunity to new types of spaces in buildings. Fire control is an important aspect of contemporary atrium design due to criticism that poorly designed atria could allow fire to spread to a buildings upper stories more quickly. The Latin word atrium referred to the central court from which enclosed rooms led off. The impluvium was a shallow pool sunken into the floor to catch rainwater from the roof, some surviving examples are beautifully decorated. The opening in the ceiling above the pool called for some means of support for the roof, as the centrepiece of the house, the atrium was the most lavishly-furnished room. Also, it contained the chapel to the ancestral spirits. The term was used for a variety of spaces in public and religious buildings, mostly forms of arcaded courtyards. Byzantine churches were often entered through such a space, the 19th century brought the industrial revolution with great advances in iron and glass manufacturing techniques. Courtyards could then have horizontal glazing overhead, eliminating some of the elements from the space. One of the public spaces at Federation Square, in Melbourne, Australia, is called The Atrium and is a street-like space, five storeys high with glazed walls. The structure and glazing pattern follow the system of fractals used to arrange the panels on the rest of the facades at Federation Square, as of 2016, the Burj Al Arab hotel in Dubai, has the worlds tallest atrium at 590 feet. The Luxor Hotel, in Las Vegas, Nevada, has the largest atrium in the world at 29 million cubic feet, cavaedium Courtyard Quadrangle Roth, Leland M. Understanding Architecture, Its Elements History and Meaning
3.
Peristyle
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In Hellenistic Greek and Roman architecture a peristyle is a continuous porch formed by a row of columns surrounding the perimeter of building or a courtyard. Tetrastoon is a rarely used term for this feature. In the Christian ecclesiastical architecture that developed from Roman basilica, a courtyard peristyle, in rural settings a wealthy Roman could surround a villa with terraced gardens, within the city Romans created their gardens inside the domus. Sometimes the lararium, a shrine for the Lares, the gods of the household, was located in this portico, the courtyard might contain flowers and shrubs, fountains, benches, sculptures and even fish ponds. No new peristyle houses were built after A. D.550
4.
Lares
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Lares, were guardian deities in ancient Roman religion. Their origin is uncertain, they may have been hero-ancestors, guardians of the hearth, fields, boundaries or fruitfulness, Lares were believed to observe, protect and influence all that happened within the boundaries of their location or function. The statues of domestic Lares were placed at the table during meals, their presence, cult. Roman writers sometimes identify or conflate them with ancestor-deities, domestic Penates, because of these associations, Lares are sometimes categorised as household gods but some had much broader domains. Roadways, seaways, agriculture, livestock, towns, cities and those who protected local neighbourhoods were housed in the crossroad shrines which served as a focus for the religious, social and political life of their local, overwhelmingly plebeian communities. Their cult officials included freedmen and slaves, otherwise excluded by status or property qualification from most administrative, compared to Romes major deities Lares had limited scope and potency but archaeological and literary evidence attests to their central role in Roman identity and religious life. By analogy, a homeward-bound Roman could be described as returning ad Larem, despite official bans on non-Christian cults from the late 4th century AD onwards, unofficial cults to Lares persisted until at least the early 5th century AD. Archaic Romes Etruscan neighbours practiced domestic, ancestral or family cults very similar to those offered by later Romans to their Lares, the word itself seems to derive from the Etruscan lar, lars, or larth, meaning lord. Weinstock proposes a more ancient equivalence of Lar and Greek hero, Lares are represented as two small, youthful, lively male figures clad in short, rustic, girdled tunics – made of dogskin, according to Plutarch. They take an attitude, tiptoed or lightly balanced on one leg. One arm raises a drinking horn aloft as if to offer a toast or libation, Compitalia shrines of the same period show Lares figures of the same type. Painted shrine-images of paired Lares show them in mirrored poses to the left and right of a central figure, Lares belonged within the bounded physical domain under their protection, and seem to have been as innumerable as the places they protected. Some appear to have had overlapping functions and changes of name, likewise those invoked along with other deities by the consul Publius Decius Mus as an act of devotio before his death in battle are simply Lares. The titles and domains given below cannot therefore be taken as exhaustive or definitive, official Cult to the Lares Augusti continued from their institution through to the 4th century AD. They are identified with the Lares Compitalicii and Lares Praestites of Augustan religious reform, Lares Compitalicii, the Lares of local communities or neighbourhoods, celebrated at the Compitalia festival. The Lares Compitalicii are synonymous with the Lares Augusti of Augustan reform, Augustus institution of cult to the Lares Praestites was held at the same Compitalia shrines, but on a different date. Lares Domestici, Lares of the house, probably identical with Lares Familiares, Lares Familiares, Lares of the family, probably identical with the Lares Domestici. Lares Grundules, the thirty grunting Lares or Lares of the eaves, supposedly given an altar, according to Dionysius of Halicarnassus the place where the sow bore the piglets and Aeneas made the sacrifice was sacred, and forbidden to foreigners
5.
National Archaeological Museum, Naples
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The Naples National Archaeological Museum is a museum in Naples, southern Italy, at the northwest corner of the original Greek wall of the city of Neapolis. The museum contains a collection of Roman artifacts from Pompeii, Stabiae. The collection includes works of the highest quality produced in Greek, Roman and it is the most important Italian archaeological museum and is considered one of the most important in the world. Charles of Bourbon founded the museum in the 1750s, the building he used for it had been erected as a cavalry barracks and during its time as the seat of the University of Naples was extended, in the late 18th century. The museum hosts extensive collections of Greek and Roman antiquities and their core is from the Farnese Collection, which includes a collection of engraved gems and the Farnese Marbles. Among the notable works found in the museum are the Herculaneum papyri, carbonized by the eruption of Mount Vesuvius, many of these works, especially the larger ones, have been moved to the Museo di Capodimonte for display in recent years. The Farnese Hercules, which fixed the image of Hercules in the European imagination, a major collection of ancient Roman bronzes from the Villa of the Papyri is housed at the museum. These include the Seated Hermes, a sprawling Drunken Satyr, a bust of Thespis, another variously identified as Seneca or Hesiod, the museums Mosaic Collection includes a number of important mosaics recovered from the ruins of Pompeii and the other Vesuvian cities. This includes the Alexander Mosaic, dating from circa 100 BC and it depicts a battle between the armies of Alexander the Great and Darius III of Persia. Another mosaic found is that of the gladiatorial fighter depicted in a found from the Villa of the Figured Capitals in Pompeii. With 2,500 objects, the museum has one of the largest collection of Egyptian artifacts in Italy after the Turin, Florence and Bologna ones. It is made up primarily of works from two collections, assembled by Cardinal Stefano Borgia in the second half of the 18th century. In its new layout the collection provides both an important record of Egyptian civilization from the Old Kingdom up to the Ptolemaic-Roman era, access was limited to only persons of mature age and known morals. The rooms were also called Cabinets of matters reserved or obscene or pornographic, the highlight of the censorship occurred in 1851 when even nude Venus statues were locked up, and the entrance walled up in the hope that the collection would vanish from memory. In September 1860, when the forces of Garibaldi occupied Naples, since the Royal Butler was no longer available, they broke into the collection. Limiting viewership and censorship have always been part of the history of the collection, censorship was restored during the era of the Kingdom of Italy, and peaked during the Fascist period, when visitors to the rooms needed the permission of the Minister of National Education in Rome. Censorship persisted in the period up to 1967, abating only after 1971 when the Ministry was given the new rules to regulate requests for visits. Completely rebuilt a few years ago with all of the new criteria, visitors under the age of 14 can tour the exhibit only with an adult
6.
Pompeian Styles
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The Pompeian Styles are four periods which are distinguished in ancient Roman mural painting. In the succession of styles, there is a reiteration of stylistic themes, the paintings also tell a great deal about the prosperity of the area and specific tastes during the times. The main purpose of these frescoes was to reduce the claustrophobic interiors of Roman rooms, the paintings, full of color and life, brightened up the interior and made the room feel more spacious. The First style, also referred to as structural, incrustation or masonry style, was most popular from 200 BC until 80 BC. It is characterized by the simulation of marble, with other simulated elements, mural reproductions of Greek paintings are also found. This style divided the wall into various, multi-colored patterns that took the place of extremely expensive cut stone, the First Style was also used with other styles for decorating the lower sections of walls that were not seen as much as the higher levels. An example would be the painting in the Samnite House in Herculaneum. The Second style, architectural style, or illusionism dominated the 1st century BC, early on, elements of this style are reminiscent of the First Style, but this slowly starts to be substituted element by element. It is characterized by use of perspective to create trompe loeil in wall paintings. The picture plane was pushed back into the wall by painted architectonic features such as Ionic columns or stage platforms. These wall paintings counteracted the claustrophobic nature of the small, windowless rooms of Roman houses, images and landscapes began to be introduced to the first style around 90 BC, and gained ground from 70 BC onwards, along with illusionistic and architectonic motives. Decoration had to give the greatest possible impression of depth, imitations of images appeared, at first in the higher section, then in the background of landscapes which provided a stage for mythological stories, theatrical masks, or decorations. During the reign of Augustus, the style evolved, false architectural elements opened up wide expanses with which to paint artistic compositions. A structure inspired by stage sets developed, whereby one large central tableau is flanked by two smaller ones, in this style, the illusionistic tendency continued, with a breaking up of walls with painted architectural elements or scenes. The landscape elements eventually took over to cover the wall, with no framing device. Basically, the more developed Second Style was the antithesis of the First Style, instead on confining and strengthening the walls, the goal was to break down the wall to show scenes of nature and the outside world. Much of the depth of the mature Second Style comes from the use of perspective that blurred the appearance of objects further away. Thus, the foreground is rather precise while the background is somewhat indistinctly purple, blue, one of the most recognized and unique pieces representing the Second Style is the Dionysiac mystery frieze in the Villa of the Mysteries
7.
Tessera
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A tessera is an individual tile, usually formed in the shape of a cube, used in creating a mosaic. It is also known as an abaciscus or abaculus, in early antiquity, mosaics were formed from naturally formed colored pebbles, but by 200 BCE cut stone tesserae were being used in Ancient Roman decorative mosaic panels and floor mosaics. Marble or limestone were cut into cubes and arranged into representational designs. Later, tesserae were made from colored glass, or clear glass backed with metal foils, the Byzantines used tesserae with gold leaf, in which case the glass pieces were flatter, with two glass pieces sandwiching the gold. This produced a golden reflection emanating from in between the tesserae as well as their front, causing a far richer and more effect than even plain gold leaf would create. Vitreous glass These are manufactured glass tiles made to a uniform shape and they are made by molten glass being poured into trays and fired. An imprint of grooves is made on their underside for help with adhesion to cement when fixing, ceramic tesserae These are the cheapest range of bought materials and can be glazed or unglazed. The glazed ceramic tiles have the color painted onto the top of the clay, the unglazed or body glazed version has the color mixed into the wet clay so the color runs through them. Smalti This is the classic mosaic material and it is opaque glass fired in large slabs in a kiln and then hand cut with a hammer and hardy chisel into small cubes. Their irregular finish makes them a wonderful reflector of light and this material is best used working straight into cement and it is produced in Venice and sold by colour and weight. Gold smalti This tile is made with gold and silver leaf sandwiched between two layers of glass and fired twice in the kiln to embed in the metal. Mirror Mirror adds great depth and sparkle to a mosaic and it is cheap as offcuts from a glass cutting shop are often free. Use mirror glue as this protects the silver on the back of the mirror, stained glass Known for its translucent qualities stained glass is also available in opaque form. It comes as large sheets that can be cut into sections with a glasscutter. It can provide areas of larger pieces for variety and contrast. Household ceramic tiles & china Colours and surfaces are limitless and can add wonderful texture, tessellation — describes tessellation patterns Mosaic — describes techniques for assembling tesserae into a design Mosaic Glass Tile – Terms and Definitions
8.
Zeus
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Zeus /ˈzjuːs/ is the sky and thunder god in ancient Greek religion, who ruled as king of the gods of Mount Olympus. His name is cognate with the first element of his Roman equivalent Jupiter and his mythologies and powers are similar, though not identical, to those of the Indo-European deities such as Indra, Jupiter, Perun, Thor, and Odin. Zeus is the child of Cronus and Rhea, the youngest of his siblings to be born, in most traditions, he is married to Hera, by whom he is usually said to have fathered Ares, Hebe, and Hephaestus. At the oracle of Dodona, his consort was said to be Dione, Zeus was also infamous for his erotic escapades. These resulted in many godly and heroic offspring, including Athena, Apollo, Artemis, Hermes, Persephone, Dionysus, Perseus, Heracles, Helen of Troy, Minos, and the Muses. He was equated with many foreign weather gods, permitting Pausanias to observe That Zeus is king in heaven is a common to all men. His symbols are the thunderbolt, eagle, bull, and oak, in addition to his Indo-European inheritance, the classical cloud-gatherer also derives certain iconographic traits from the cultures of the Ancient Near East, such as the scepter. Zeus is frequently depicted by Greek artists in one of two poses, standing, striding forward with a thunderbolt leveled in his right hand. The gods name in the nominative is Ζεύς Zeús and it is inflected as follows, vocative, Ζεῦ Zeû, accusative, Δία Día, genitive, Διός Diós, dative, Διί Dií. Diogenes Laertius quotes Pherecydes of Syros as spelling the name, Ζάς, Zeus is the Greek continuation of *Di̯ēus, the name of the Proto-Indo-European god of the daytime sky, also called *Dyeus ph2tēr. The god is known under this name in the Rigveda, Latin, Zeus is the only deity in the Olympic pantheon whose name has such a transparent Indo-European etymology. The earliest attested forms of the name are the Mycenaean Greek
9.
Hera
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Hera is the goddess of women and marriage in Greek mythology and religion. She is the daughter of the Titans Cronus and Rhea, Hera is married to her brother Zeus and is titled as the Queen of Heaven. One of her characteristics is her jealous and vengeful nature against Zeuss other lovers and offspring, Hera is commonly seen with the animals she considers sacred including the cow, lion and the peacock. Scholar of Greek mythology Walter Burkert writes in Greek Religion, Nevertheless, there are memories of an aniconic representation, as a pillar in Argos. Her counterpart in the religion of ancient Rome was Juno, According to Plutarch, Hera was an allegorical name and an anagram of aēr. So begins the section on Hera in Walter Burkerts Greek Religion, in a note, he records other scholars arguments for the meaning Mistress as a feminine to Heros, Master. John Chadwick, a decipherer of Linear B, remarks her name may be connected with hērōs, ἥρως, hero, a. J. van Windekens, offers young cow, heifer, which is consonant with Heras common epithet βοῶπις. R. S. P. Beekes has suggested a Pre-Greek origin and her name is attested in Mycenaean Greek written in the Linear B syllabic script as
10.
Judgement of Paris
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The Judgement of Paris is a story from Greek mythology, which was one of the events that led up to the Trojan War and to the foundation of Rome. As with many tales, details vary depending on the source. The later writers Ovid, Lucian, The Bibliotheca and Hyginus, retell the story with skeptical and it appeared wordlessly on the ivory and gold votive chest of the 7th-century BC tyrant Cypselus at Olympia, which was described by Pausanias as showing. It is recounted that Zeus held a banquet in celebration of the marriage of Peleus, however, Eris, goddess of discord was not invited, for it was believed she would have made the party unpleasant for everyone. Angered by this snub, Eris arrived at the celebration with an apple from the Garden of the Hesperides. According to some versions, upon the apple was the inscription καλλίστῃ. Three goddesses claimed the apple, Hera, Athena and Aphrodite, thus it happened that, with Hermes as their guide, the three candidates bathed in the spring of Ida, then confronted Paris on Mount Ida in the climactic moment that is the crux of the tale. After failing to judge their beauty with their clothing on, the three goddesses stripped nude to convince Paris of their worthiness and this was Helen of Sparta, wife of the Greek king Menelaus. Paris accepted Aphrodites gift and awarded the apple to her, receiving Helen as well as the enmity of the Greeks, the Greeks expedition to retrieve Helen from Paris in Troy is the mythological basis of the Trojan War. The bribery involved is ironic and a late ingredient, according to a tradition suggested by Alfred J. Van Windekens, objectively, cow-eyed Hera was indeed the most beautiful, not Aphrodite. However, Hera was the goddess of the order and of cuckolded wives. She was often portrayed as the shrewish, jealous wife of Zeus and she had fidelity and chastity in mind and was careful to be modest when Paris was inspecting her. Aphrodite, though not as beautiful as Hera, was the goddess of sexuality. Thus, she was able to sway Paris into judging her the fairest, athenas beauty is rarely commented in the myths, perhaps because Greeks held her up as an asexual being, being able to overcome her womanly weaknesses to become both wise and talented in war. Her rage at losing makes her join the Greeks in the battle against Paris Trojans, the subject became popular in art from the late Middle Ages onwards. All three goddesses were usually shown nude, though in ancient art only Aphrodite is ever unclothed, the opportunity for three female nudes was a large part of the attraction of the subject. It appeared in illuminated manuscripts and was popular in art, including 15th-century Italian inkstands and other works in maiolica. As a subject for paintings, it was more common in Northern Europe
11.
Achilles
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In Greek mythology, Achilles was a Greek hero of the Trojan War and the central character and greatest warrior of Homers Iliad. His mother was the immortal nymph Thetis, and his father, Achilles’ most notable feat during the Trojan War was the slaying of the Trojan hero Hector outside the gates of Troy. Although the death of Achilles is not presented in the Iliad, other sources concur that he was killed near the end of the Trojan War by Paris, later legends state that Achilles was invulnerable in all of his body except for his heel. Alluding to these legends, the term Achilles heel has come to mean a point of weakness, Achilles name can be analyzed as a combination of ἄχος grief and λαός a people, tribe, nation. In other words, Achilles is an embodiment of the grief of the people, Achilles role as the hero of grief forms an ironic juxtaposition with the conventional view of Achilles as the hero of κλέος kleos. Laos has been construed by Gregory Nagy, following Leonard Palmer, to mean a corps of soldiers, a muster. With this derivation, the name would have a meaning in the poem, when the hero is functioning rightly, his men bring grief to the enemy. The poem is in part about the misdirection of anger on the part of leadership, R. S. P. Beekes has suggested a Pre-Greek origin of the name. The name Achilleus was a common and attested name among the Greeks soon after the 7th century BC. It was also turned into the female form Ἀχιλλεία attested in Attica in the 4th century BC and, in the form Achillia, Achilles was the son of the Nereid Thetis and Peleus, the king of the Myrmidons. Zeus and Poseidon had been rivals for the hand of Thetis until Prometheus, for this reason, the two gods withdrew their pursuit, and had her wed Peleus. Thetis, although a daughter of the sea-god Nereus, was brought up by Hera. According to the Achilleid, written by Statius in the 1st century AD, and to no surviving previous sources, however, he was left vulnerable at the part of the body by which she held him, his heel. It is not clear if this version of events was known earlier, in another version of this story, Thetis anointed the boy in ambrosia and put him on top of a fire, to burn away the mortal parts of his body. She was interrupted by Peleus and abandoned both father and son in a rage, however, none of the sources before Statius makes any reference to this general invulnerability. To the contrary, in the Iliad Homer mentions Achilles being wounded, in Book 21 the Paeonian hero Asteropaeus, son of Pelagon and he cast two spears at once, one grazed Achilles elbow, drawing a spurt of blood. Peleus entrusted Achilles to Chiron the Centaur, on Mt. Pelion, Achilles consuming rage is at times wavering, but at other times he cannot be cooled. Thetis foretold that her sons fate was either to gain glory and die young, or to live a long, Achilles chose the former, and decided to take part in the Trojan war
12.
Helen of Troy
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In Greek mythology, Helen of Troy, also known as Helen of Sparta, or simply Helen, was the daughter of Zeus and Leda, and was a sister of Castor, Pollux, and Clytemnestra. In Greek myths, she was considered the most beautiful woman in the world, by marriage she was Queen of Laconia, a province within Homeric Greece, the wife of King Menelaus. Her abduction by Prince Paris of Troy brought about the Trojan War, elements of her putative biography come from classical authors such as Aristophanes, Cicero, Euripides and Homer. In her youth, she was abducted by Theseus, a competition between her suitors for her hand in marriage sees Menelaus emerge victorious. An oath sworn beforehand by all the suitors requires them to military assistance in the case of her abduction. When she marries Menelaus she is very young, whether her subsequent involvement with Paris is an abduction or a seduction is ambiguous. The legends recounting Helens fate in Troy are contradictory, Homer depicts her as a wistful figure, even a sorrowful one, who comes to regret her choice and wishes to be reunited with Menelaus. Other accounts have a treacherous Helen who simulates Bacchic rites and rejoices in the carnage, ultimately, Paris was killed in action, and in Homers account Helen was reunited with Menelaus, though other versions of the legend recount her ascending to Olympus instead. A cult associated with her developed in Hellenistic Laconia, both at Sparta and elsewhere, at Therapne she shared a shrine with Menelaus and she was also worshiped in Attica and on Rhodes. Her beauty inspired artists of all time to represent her, frequently as the personification of ideal beauty, Christopher Marlowes lines from his tragedy Doctor Faustus are frequently cited, Was this the face that launchd a thousand ships/And burnt the topless towers of Ilium. However, in the play this meeting and the ensuing temptation are not unambiguously positive, closely preceding death, images of her start appearing in the 7th century BC. In classical Greece, her abduction by—or elopement with—Paris was a popular motif, in medieval illustrations, this event was frequently portrayed as a seduction, whereas in Renaissance painting it is usually depicted as a rape by Paris. The fact that rape and kidnapping were interchangeable terms lends additional ambiguity to the story, the etymology of Helens name continues to be a problem for scholars. Georg Curtius related Helen to the moon, Émile Boisacq considered Ἑλένη to derive from the noun ἑλένη meaning torch. It has also suggested that the λ of Ἑλένη arose from an original ν. Linda Lee Clader, however, says none of the above suggestions offers much satisfaction. Inversely, others have connected this etymology to a hypothetical proto-indo-european sun goddess, in particular, her marriage myth may be connected to a broader indo-european marriage drama of the sun goddess, and she is related to the divine twins, just as many of these goddesses are. The origins of Helens myth date back to the Mycenaean age, the first record of her name appears in the poems of Homer, but scholars assume that such myths invented or received by the Mycenaean Greeks made their way to Homer
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