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Giants attempt to climb Mt. Olympus (gigantomachy), Gaia is rising from below. As the sun rises (Helios in his quadriga), the gods are readying themselves for battle (legs of horses from chariot of one of the gods). Red figure krater in Naples, National Museum. C. 390 BC.
- ·Separation of realm of gods in heaven and realm of giants
- Trying to climb up to heavens, piling up stones, would hurl as well
- Can see Gaia
- One giant would remain powerful as long as he remained connected to Gaia, so we can see his foot touching her
- On gods’ side see Helios, sun painted towards his head
- See legs of horses of chariot of the gods – readying self for battle
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Siphnian Treasury in the Sanctuary of Apollo at Delphi. Ca. 525 BCE. Such treasuries housed the offerings of ciFes to the gods in major sanctuaries, and also demonstrated the wealth and power of those ciFes. The Treasury is richly decorated with architectural sculptures, and the front porch is carried by maidens instead of columns. The north frieze shows the fight between gods and giants (gigantomachy). The names of the gods and giants were inscribed below them: Hephaistos, Dionysos, Themis, Apollo, Artemis.
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Apollo and Artemis are shooFng their arrows at giants. Detail from gigantomachy frieze of the Siphnian Treasury at Delphi. Ca. 525 BCE
Giants dressed like Hoplites (warriors at the time), helmets, anonymous
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Hephaistos, the divine smith, is operaFng his bellows in the gigantomachy. Detail of frieze from Siphnian Treasury. Ca. 525 BCE.
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Siphnian treasury, north frieze. Themis in her chariot drawn by a lion. Behind her, Dionysos (with animal skin). The lion attacks the Giant/ hoplite whose face is depicted in frontal view. The negative light in which hoplite warfare is shown on the North frieze may have to do with the aristocratic outlook of the Siphnian patrons of the Treasury
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- Athena fighting giant (Alcyoneus?), crowned by a Nike (‘victory’). Gaia/ Ge rising from the earth. Great Altar, East frieze. Berlin, Pergamon-Museum C. 190-150 BC.
- Athena city goddess of Athens and Pergamon
- Moment in which Athena separates giant from the earth contact that gives him strength
- Gaia has cornucopia, symbol of abundance, rising from earth. Had inscription right next to head saying Gaia. Decisive moment. Separation loss of strength
- interest in decisive moment typical of Hellinistic art – reveral of fortune
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- Giant (Alcyoneus?), Athena, Gaia, Nike, from Pergamon altar, east frieze (details).
- A Nike with wings about to crown Athena. About to be crowned victorious while still fighting. City goddess, so big role, probably recipient of altar
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- Zeus (with aegis on left arm) battling giants. On the right Porphyrion, leader of the giants. Above his left arm the wing of Zeus’ eagle. Great Altar, East frieze. Berlin, Pergamon-Museum. C. 190-150 BC.
- Taking on leader and other giants at the same time. Legs turn to snakes. Other giant’s leg pierced with thunderbolt. Drastic realism of suffering. Enhanced by painting
- Zeus has golden fleece (the fleece is a symbol of authority and kingship), usually Athena, but also Zeus has one, like shield, giant has a shield
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- Zeus (with eagle sceptre and thunderbolt) and Hera enthroned, served by Iris. Red figure vase. C. 500 BC.
- Being served by Iris
- Hera childbirth gesture, goddess of childbirth
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Zeus with attributes (eagle, thunderbolt, sceptre, sphere, personification of victory, purple cloak). Watercolor, drawing and original painting in Pompeii, Casa dei Dioscuri. 1st cent. AD
More unusual representation. Roman wall painting. Zeus upper body bare, sceptre. Sacred instruments in background
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- Birth of Athena from head of Zeus, assisted by goddesses of birth (Eileithyiai). Hephaistos (axe) on the left, Poseidon (trident) on the right. Black figure pyxis from Thebes. C. 580-570 BC.
- Gesture of women is gesture of delivering a child. Birth of Athena from Head of Zeus. Hands ready to take child. Profile
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- Birth of Athena from head of Zeus, assisted by Eileithyiai. Hermes on the left, Ares on the right. Black figure amphora. Mid 6th cent. BC.
- Experimental frontal view, goddesses of child birth, Ares, Hermes
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- Birth of Athena. Red figure Pelike in London, British Museum. C. 460 BC.
- Would need to make Zeus small to show Athena, so in Parthenon shows as if having jumped from head already and standing next to him
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- Iris (left), Hera, Zeus. Instruments of Curetes hanging from the column in the background. Pompeii, House of the Tragic poet. AD 62-79.
- More unusual representation. Roman wall painting. Zeus upper body bare, sceptre. Sacred instruments in background. Hera white skin, contemporary hairstyle, like household women could have looked. Zeus holding by wrist, can be seen as taking someone as a wife in antiquity. Hera might be hiding magic girdle given to her by Aphrodite to make self irresistible to Zeus. Or could be during Trojan war where each were on opposing sides. Painting as model of owners of the house, reflected in mythological paintings. Other paintings in the room also show mythological couples
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- Hermes, Argus, Zeus. Io in the background. Red figure stamnos by so-called Argos painter. Vienna, Kunsthistorisches Museum. C. 460 BC.
- Hermes with sword killing Argus, Zeus present in chair with scepter
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- Hermes killing Argus. Io on the right. Amphora by Eucharides painter in Hamburg (Germany), Museum fuer Kunst und Gewerbe. C. 490 BC.
- Only neck painted. Shows on two sides juxtaposition of scnes. Divine punishment. Acteon, punished by Artemis, killed by own hounds. And punishment f Argus by Zeus via Hermes
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- Amphora by Eucharides painter in Hamburg (see previous slide) Front: Hermes, Argus, Io Back: Death of Actaeon
- Only neck painted. Shows on two sides juxtaposition of scenes. Divine punishment. Acteon, punished by Artemis, killed by own hounds. And punishment of Argus by Zeus via Hermes
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- Hermes, Io, Argus. On the column in the centre a statue of Artemis (or Hera?). Roman wall painting from Rome, Villa of Livia (wife of Augustus) on Palatine hill. C. 30 BC.
- Later representation shown in different manner
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- Left: Hermes killing Argus. Io on the right. Amphora by Eucharides painter in Hamburg (Germany), Museum fuer Kunst und Gewerbe. C. 490 BC.
- Right: Hermes, Io, Argus. On the column in the centre a statue of Artemis (or Hera?). Roman wall painting from Rome, Villa of Livia (wife of Augustus) on Palatine hill. C. 30 BC.
- Right: Argus looks quite different. Hera present, importance of landscape. Argus not shown as monstrous. Beautiful, heroic, male. Famous pose that was also used for Alexander the great. Romanticized. Less violent than amphora where see dagger. Argus and Io in foreground, stronger. The men no beards. Male beauty. Hermes no beard, younger generation of gods.
- Left: No matter which myth looking at, shift of emphasis from heroic aspect (killing – warrior scheme) in ancient art (more about infliction of divine punishment/will). Io only there as reminder of mythological context. Undetermined setting
- Right: Emphasis on beauty, beauty of Io. One breast exposed. About act of looking, erotic gaze, as we are gazing. Argus looks at her as well, not guarding but gazing as she shows herself
- Hermes placeholder for ancient viewer who looked at scene, we stumble upon scene of beginning/developing erotic encounter, just as Herms stumbles upon it as well
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- Io and Argus. Roman wall painting from the fish and meat market (macellum) in Pompeii. 1st cent. AD.
- More romanticized. Scheme used for heroic males. Hermes left out. Scheme for gazing.
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- Danae (daughter of Acrisius, king of Argos) receiving Zeus as a shower of gold. From red figure krater by Triptolemos painter. St. Petersburg (Russia), Ermitage. C. 470 BC.
- Princess. Not shown as much in art. Told daughter would give birth to son tha would kill him. Tries to prevemt, self fulfilling prophecy. Locks her away. Either underground chamber made of bronze or bronze tower. No way of keeping Zeus out.
- Couches used in for symposia, foot stool. Elegant princess in beauty routine. Drops of gold raining down into lap. Only see breats under garment, fully dressed.
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- Danae receiving Zeus as a shower of gold. Boeotian red figure krater. C. 410-400 BC.
- later artists go further - upper body undressed
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- Danae/shower of gold Watercolor after wall painting in Pompeii, Casa della Caccia Antica (VII 4, 48) 1st cent. AD.
- Erotic aspect brought out, pose like Aphrodite. Eros pouring shower of gold.
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- Danae and Perseus (already in the chest), Acrisius with sceptre. (Textbook p. 550). Note the correspondence between the oil container (Alabastron) and the function of the Lekythos (also a container for oil) on which the scene is painted. There also is a parallel between the placing of an Alabastron in the chest (myth), and the placement of Lekythoi in tombs (as offerings). Red figure Lekythos. C. 450 BC.
- Perfume oils, not sure why emphasis placing bottle in chest. Understood as as comment on what vase does itself. Different type, but also container for perfume. Many used as funerary gifts.
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* Danae and Perseus. Watercolor after wall painting in Pompeii, Casa dell’Orso. 1st cent. AD. The emphasis is here placed on Danae contemplating her fate (i.e., motherhood, being abandoned, etc.), while looking at the open box.
* Roman adaptation of myth, just looking at the box, not as eroticized. Reflection on motherhood, to be mother, to be abandoned with child.
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* Top: Chest with Danae and Perseus is found by fishermen on the island of Seriphos. Bottom: Dictys (“net”) leads Danae and Perseus away. Note the myth’s relation to the female sphere, and the parallels between the opening of the chest and the object on which it is painted. Pyxis in Bern (Switzerland). 450 BC
* Container for objects of female adornment, like jewelry. Associaed with female realm. Chosen myth for female realm is Danae. Opening of chest mirrors opening of pyxis on which is painted. Gesture indicates surprise.
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* Friend of Europa (left), Europa abducted by Zeus disguised as a bull (right). Bell crater by Berlin painter in Tarquinia (Etruria/Italy), Museum. C. 490 BC.
* Friend tries to catch up. Joke - round vessel, will keep running around vase forver withit catching her. Correspondence between shape and story of vase. Like case of Danae, beautiful female, but beauty expressed through garment - rich mantle
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Bell crater by Berlin painter in Tarquinia (Italy), Museum. C. 490 BC. Detail with Zeus and Europa.
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* Europa. Wall painting in Naples, National Museum. From Pompeii (IX,5,18) C. 10 BC-AD 14.
* Mood has changed. Landscae setting, sanctuary indicated by single pillar – a sacred landscape. Europa already more intimate with bull. Exposed upper body – explain beauty of Europa to beauty. Can understand Zeu’s desire for her. Her gesture understood as unveiling… bridal gesture. Beginning of undressing of bride. Show in marriage scenes. Separated from companios by how intimate.
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* Leda (wife of Tyndareus) and the swan (Zeus). On the right, Eros. The affair results in the birth of Helena and Polydeuces/Pollux (immortal children of Zeus), and Clytemnestra and Castor (mortal children of Leda’ s husband Tyndareus). Drawing (Marsigli) after wall painting in Pompeii, Casa di Meleagro (room 14).
* Throne in back, queen of Sparta, little cupid = love.
* Erotic aspect emphasized
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* Leda and the swan. Drawing (Marsigli) after wall painting in Pompeii, Casa dei Capitelli colorati. 1st cent. AD.
* Scheme used for Aphrodite/Venus, emphasize beauty. Holds mantle. Motif meant to shield from eagle that was attacking swan. Or could be framing motif.
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* Birth of Helena from an egg – a result of the affair of Zeus and Leda. Leda is on the left, her husband Tyndareus (with sceptre) on the right. Above the altar, an Eros with wreath. 4th cent. BCE Pelike in New York, Metropolitan Museum of Art
* Rare representation of egg
* Visual representations not coherent since two from egg. Surprised Leda, surprised husband. On top Eros about to crown Leda. Typical of 4th century vase painting, playful and erotic. Lighhearted, possibly inspired by theatre.
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* Zeus chases Ganymede. Bell krater by Berlin painter in Paris, Louvre. C. 490/80 BC.
* Hold rooster – common attribute of homoerotic courtship. Lighter hair of G. G no beard. Z hold scepter in phallic suggestion. Round vessel, hopeless. Z fully clothed.
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* Zeus and Ganymede. Kylix by Penthesileia painter in Ferrara. C. 450 BCE.
* G lowers head as sign of decency, resisting Z. Use of roundness of vase, foot against it.
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* Zeus and Ganymede. Red figure kantharos. C. 450 BC.
* Kantharos – drinking cup. Relationship between décor and shapre of vase
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* Zeus and Ganymede. Terracotta sculpture from Olympia. Olympia, Museum. C. 470 BC.
* Not sure if from temple, pediment on roof, freesanding. Seen as appropriate dedication in sanctuary of Zeus to express thanks for Zeus abducting G. Z darker skin tone Greek males had, while women lighter skin. G lighter colours.
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* Temple of Zeus in Olympia (471-456 BC). Reconstruction with chryselephantine (=god and ivory) cult statue by Pheidias.
* Also made statue of Athena Parthenos for Partenon in Athens. Athena he made first. Temple already built. Like Athena 12 meters high. Wood scaffolding, then attaching ivory for flesh and gold that had been molded for the mantle. Seated, topped by an eagle, in ahdn Nike (victorios) holding wreath. Throne decorated with reliefs of mythological themes often illustrating Zeus/gods’ power to punsh. Power as father of gods. Nothing left of it, know from description of 2nd century AD. Best soruce for reconstruction
* Zeus turns to Jupiter in Rome. Mortal individuals, not just imperial family, could identify with Roman deities. Women with naked body of Venus and maybe elderly head of woman. Symbolic - but only emperor can be Jupiter
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Top: East pediment of temple of Zeus. In the center Zeus himself, flanked by Pelops and Hippodameia and other figures. Bottom: West pediment of temple of Zeus. In the center Apollo, surrounded by Theseus, Lapiths and centaurs (centauromachy, on occasion of the wedding of the Lapith king Peirithous).
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* Ixion room. Pompeii, House of the Vettii. 1st cent. AD.
* ú Shows Hera seated with Iris (female equivalent of Ganumede), female personification of cloud (Nephele) used to deceive I. Hephasitos (divine smith) tying him to wheel Emphasis on naked Hermes
* Story of Ixiom: King of Lapets. Allowed to live among Olympians because had killed father of woman about to marry. He didn’t want to pay the money demanded. Granted asylum. Doesn’y know limits, falls in love with H, tries to seduce her. Z deceives him by forming cloud in form of H. has sex with her. Result is creature Centauros, father of race of centaurs (myth of Lapeds). Punished by Z bound to fiery wheel, eternally revolves with sky or underworld. Ixion bound to the wheel in the underworld, united with other sinners.
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Ixion, Hephaistos, Hermes (with kerykeion and petasos), Hera. The seated figure on the ground is probably Nephele, the cloud that was substituted for Hera by Zeus in order to deceive Ixion. The figure with halo, standing next to Hera, could be Iris. Wall painting from Pompeii, House of the Vettii, Ixion room. 1st cent. AD.
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Detail: Hephaistos ties Ixion to the wheel. The focus of the image however is on Hermes (center, with caduceus) who was a patron god of the owners of the house. Detail from so-called Ixion room in House of the Vettii in Pompeii.
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Theogony
A poem by Hesiod describing the origins and genealogies of the Greek gods, composed circa 700 B.C. It is written in the Epic dialect of Homeric Greek.
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Titanomachy
* Zeus overthrows Cronus in epic 10 year battle with Titan siblings against Cronus and other Titans. Bans them to underworld
* Weapons forged by Cyclops
* Previous generations have no huge role in art, but serve as later inspiration like Goya’s Saturn (Cronus) Devouring One of his Sons
o Myth represented in 16, 17, 18 centuries
o all images much more positive, erotic, sensual, sometimes didactic, and moralizing
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Gigantomachy
* First story that plays major role in Greek art
* Next test Olympian gods led by Zeus are put to. Have just finished Titanomachy. Now battle against giants.
* Different account to who giants are
* Hesiod: blood from castrated Uranus
* Others: Gaia brought them because offended by Zeus’ arrogant behaviour
* No consensus on uprising
* Gaia gave birth to them, that much known
* Gods won with help of mortals – Herakles -\> Only one that can kill giants – with arrows
* Gigantomachy had added allegorical representation
* Becomes allegory for victory of civilization over barbarism
* Order and rationality over loss of control, primitive urges
* Fights of Greeks over Persians in 4th century, political meaning. Victory over Persians
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Neer interpretation of the Gigantomachy
Gods into battle on chariots – out-dated
* Different ways of fighting
* Hoplites – way of warfare that involved large parts of citizen body and some aristocrats
* Gods fighting like heroes would in Homer
* Seen as negotiation of conflicts between society at conflict between aristocracy and middle class
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Readings of the Gigantomachy in Delphi
* During the 6th century BCE scenes of gigantomachy sees as triumph of the divine order: impious, monstrous giants defeated by the Olympian gods
* Depiction of clashing modes of warfare: Giants as hoplites (foot-soldiers) – gods on chariots
* Symbolic reading of the Gigantomachy: Watrous (1982) interprets the headgear of some giants as representing city-states hostile to Siphnos – depiction seen as an allergory against Athenian politics
* Symbolic readings may rely too heavily on information outside the image – more recent reading by R. Neer, “Framing the Gift: The Politics of the Siphnian Treasury at Delphi.” Classical Antiquity. Vol 10, No. 2 (October 2001) pp. 273-344
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Pergamon
Located on west coast of Asia minor. One of the smaller kingdoms of empire of Alexander the Great. Modeled self on Athens. Athena city goddess of Athens and Pergamon. Decorated library, one of most famous besides Alexandria. Had copy of Athena Parthanos in Parthenon. Compared own local victories against invading Celtic tribes to the great Greek victories against Persian invaders in 5th century BC. Rulers tried to portray as defenders of Greek civilization by using themes from 5th century acropolis of Athens. New Athenians. Rulers are very wealthy. Built huge acropolis into hill on various terraces. Not all built at the same time. Usually altars are smaller than the one at Pergamon, and stand in front of temple, subordinate to other piece of architecture
Great Altar at Pergamon, just monumental altar in itself. Sculptures that decorated found in Pergamon, reused in medieval and byzantine times, brought to Germany. Altar only mentioned in one obscure ancient source, does not play a big role
Steps oriented towards west side, face east side, so to enter need walk around
Second internal frieze, mythological, shows story of Telephos – mythical founder of Pergamon. In classical period, Gigantomachy had only decorated one side, here first time it decorates entire building - first time! Problem: artists had to create new iconography, no precedent, since not as comprehensive representations before. nvent new iconographies for number of mythological figures. Asked scholars at library to sift, especially through Hesiod, go through all the names. Inscriptions actually naming some figures.
When enter terrace, face east side first. That’s where main gods represented (Zeus, Athena, and Herakles), also towards rising sun. South side, sunlit side, divinities of light represented (Helios, Eos). North side darker side so divinities associated with night and darkness goddess (female) (night Knox). West side towards the sea and where staircase is (sea gods represented also Dyonisus). Main panel shows Athena fighting giant (Alcyoneus) also type of bird.
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Io
* A priestess of Hera. Zeus falls in love, approaches in form of cloud. Not represented in ancient art. When cloud represented presented in personification. Ancients did not paint clouds, later phenomenon. Hera not deceived by disguise of Zeus as a cloud. Hera turns Io into a white cow, or Zeus turns her into one to hide and protect. More common version is Hera did it. Places Io under care of Argus (giant of extraordinary strength). Lots of eyes all over body. Can constantly watch over her. Even in sleep never all eyes closed. Zeus sends Hermes to kill Argus and get back Io. First tells stories, plays flute to close all eyes. Then cuts off his head. (Other myth connected - Hera taking eyes from dead Argus and distributing over tail of sacred animal, the peacock). Gives Hermes title of Argushunte, Argus Slayer. Hera gets new way to torture Io. Sends get fly, constantly stinging her. Io tried to escape, across Ionian Sea (named after her), reaches Egypt, transformed back by Zeus, gives birth to son Epaphlos, then she married to a local king.
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Perseus
* Shower of gold results in birth of Perseus. Dad tried to get rid of both, set afloat on sea. Often done to unwanted children – not directly responsible for death – like Romulus and Remus. Chest arrives on shores of Seriphos. Found by Dictys (means net). Fisherman. Good guy. Borther is kinf of the island Polydictys, bad guy. Adnavces on her, but son looks after her (all grown up for some reason). Bad guy send him out to do number of feats to get him away.
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Europa
Europa, young beautiful female princess, daughter of Phoenician king (modern Lebannon), abducted zby Zeus in guise of particularly beautiful bull. Catches her aateention while playing with companions on shore gathering flowers, attracted to it, sits on back, bull escapes with her, brings to crete by swimming across sea, has son with him, Minos (becomes legendary king of islamd of crete)
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Leda
Wife of king of Sparta (Tyndareus). Takes on guise of animal to deceive Hera. Transforms into swan. Bestiality for antiquity not that strange becuause divice between humans and animals not as pronounced. Humans were just another type of animals. Different versions. Same night has sex with Zeus then husband. Results in birth of four children, two boys and two girls. She lays eggs because impregnated by swan. Two mortal and two immortal. The affair results in the birth of Helena and Polydeuces/Pollux (immortal children of Zeus), and Clytemnestra and Castor (mortal children of Leda’s husband Tyndareus). Half borthers called Diosco/uri, literally sons of Zeus, implying both are, they are in Homer. Abcient sources not unanimous on who is immortal. Other sources say both mortal. Common idea one is and one isn’t. All children play important role in Geek mythology.
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Ganymede
Very young prince, beautiful boy, son of a seravant (Tros). Carries G off in guise of eagle, or the eagle (attribute animal, his sacred animal) carries him off for Zeus. Taken to the gods.
Reasons:
* Zeus homoerotic desire for Ganymede. Seen against background of Greek homosexuality. Common, but uneul relations, between older mature male (usually married), and a younger male, about to hit puberty and had not yet become politically and sexually active member of polis himself. Younger male expected to behave in certain ways. Not surrender willingly, resist. Side of intense emotions would be with boys, female for procreation. Give boys gifts to win them over since various suitors. On vases inscriptions praising Greek youth as beautifull. Viewer would not have had trouble understanding
* Wants him to serve as cupbearer on Mt. Olympus
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Zeus statue at Olympia
* Most famous representation of Zeus in antiquity
* Cult state of Z in temple of Z in Olympia
* One of 7 wodners of the wolrd, most famous orks of art in antiquity
Mythology
flashcards
Decks in class (2)
# Cards
