Athena Αθηνα אתנה

1. Athena Αθηνα אתנה מצגת שלישית Tondo with Athena and aegis. Roman mosaic from Tusculum, the 3rd century CE framed with a modern mosaic from the 18th century, Vatican Museums

2. Telestes, Fragment 805 (from Athenaeus, Scholars at Dinner) (trans. Campbell, Vol. Greek Lyric V) (B.C.) : "Why should a keen yearning for lovely beauty distress her [Athena], to whom Klotho [one of the Fates] had assigned a marriageless and childless virginity." Detail of an Athena Parthenos. Roman artwork sculpted in marble between 130 and 150 AD. It's a copy of a 11 metres-high Greek original of gold and ivory, sculpted by Phidias for the Parthenon (Athens) between 447 and 438 BC. The helmet crest is the result of a 17th-century restoration. Prado Museum, Madrid

3. אריכתוניוס אתנה שמרה בקנאות על בתוליה. הפייסטוס ניסה לאנסה אך כשל. זרעו נשפך על האדמה וכך נולד אריכתוניוס. אתנה אימצה וגידלה אותו, למרות שלא היה בנה. לפי גירסה אחרת, טיפת זרע נחתה על ירכה של אתנה. האלה הנגעלת ניגבה אותה בפיסת צמר ( ביוונית- אריון) והשליכה אותה ארצה. הזרע נספג בקרקע (ביוונית- כתון), אריכתוניוס נולד מהאדמה ופיסת הצמר. גירסה שלישית גורסת שהפייסטוס רצה להינשא לאתנה, אולם היא נעלמה ממיטת הכלולות, ולכן הוא פלט את זרעו על האדמה. אתנה נתנה לשלוש אחיות, הרסה, פנדרוסוסואגלאולוס, בנותיו של קפרוקס ,את התינוק בקופסא קטנה, והזהירה אותן שלא לפתוח אותה לעולם. אגלאולוס והרסה פתחו את הקופסא אשר הכילה את המלך לעתיד של אתונה, אריכתוניוס. המראה גרם לשתיהן להשתגע ולבסוף שתיהן התאבדו בקפיצה מהאקרופוליס. גירסה אלטרנטיבית של אותו הסיפור גורסת שבזמן שאתנה הלכה להביא הר כדי להשתמש בו באקרופוליס, שתי האחיות פתחו את הקופסא. עורב שצפה בנעשה עף לאתנה וסיפר לה זאת. האחרונה התכעסה מאוד והפילה את ההר (כיום הר ליקבטוס). גם כאן, הרסה ואגלאולוס השתגעו, והתאבדו על ידי קפיצה מעל צוק. אריכתוניוס הפך מאוחר יותר למלך אתונה, והביא לשינויים מועילים רבים בתרבות אתונה. בזמן שלטונו, אתנה הגנה עליו באדיקות Athéna à la ciste, Roman copy maybe after Athena Hephæstia of Alcamenes Musée du Louvre, Paris

4. Pseudo-Hyginus, Fabulae 166 (trans. Grant) (Roman mythographer C2nd A.D.) : "When Vulcanus [Hephaistos] had made golden [thrones or sandals] for Jove [Zeus] and for the other gods, he made one of adamant [for Juno or Hera], and as soon as she sat down she suddenly found herself hanging in the air. When Vulcanus [Hephaistos] was summoned to free his mother whom he had bound, in anger because he had been thrown from Heaven, he denied that he had a mother. When Father Liber [Dionysos] had brought him back drunk to the council of the gods, he could not refuse this filial duty. Then he obtained freedom of choice from Jove [Zeus], to gain whatever he sought from them. Therefore Neptunus [Poseidon], because he was hostile to Minerva [Athena], urged Vulcanus [Hephaistos] to ask for Minerva [Athena] in marriage. This was granted, but Minerva [Athena], when he entered her chamber, defended her virginity with arms. As they struggled, some of his seed fell to earth, and from it a boy was born, the lower part of whose body was snake-formed. They named him Erichthonius, because eris in Greek means ‘strife’, and khthon means ‘earth’. When Minerva [Athena] was secretly caring for him, she gave him in a chest to Aglaurus, Pandrosus, and Herse, daughters of Cecrops, to guard. A crow gave the secrete away when the girls opened the chest, and they, driven made by Minerva [Athena], threw themselves into the sea." Jacopo Zucchi (c.1542–1596) Minerva at the Forge of Vulcan National Galleries of Scotland

5. Giorgio Vasari, Minerva in the Forge of Vulcan, c. 1540-60 Museo degli Uffizi, Florence

6. Pseudo-Hyginus, Astronomica 2. 13 : "Euripides [Greek tragedian C5th B.C.] gives the following account of his [Erikhthonios’] birth. Volcanus [Hephaistos], inflamed by Minerva’s [Athene’s] beauty, begged her to marry him, but was refused. She hid herself in the place called Hephaestius [sanctuary in Athens?], on account of the love of Volcanus. They say that Volcanus [Hephaistos], following her there, tried to force her, and when, full of passion he tried to embrace her, he was repulsed, and some of his seed fell to the ground. Minverva [Athene], overcome by shame, with her foot spread dust over it. From this the snake Erichthonius was born, who derives his name from the earth and their struggle." Paris Bordone Athena Scorning the Advances of Hephaestus, c. 1555 – c.1560 Museum of Art and Archaeology, University of Missouri

7. The Birth of Erichthonius, Early 2nd century AD after a 5th-century BC work

8. Birth of Erichthonius Athena receives the baby Erichthonius from the hands of the earthmother Gaia. Attic red-figure stamnos, 470/60 BC.Staatliche Antikensammlungen, Munich, Germany

9. Peter Paul Rubens, The daughters of Cecrops finding the infant Erichthonius of Athens, 1616, Liechtenstein Museum, Vienna

10. Callimachus, Hecale Fragment 1. 2 (from Papyri) (trans. Trypanis) (Greek poet C3rd B.C.) : "Pallas laid him [Erikhthonios], the ancient seed of Hephaistos within the chest, until she set a rock in Akte (Attika) for the sons of Kekrops; a birth mysterious and secret, whose lineage I neither knew nor learnt, but they themselves [the daughters of Kekrops] declared, according to report among the primeval birds, that Gaia (earth) bare him to Hephaistos." Jacob Jordaens, Daughters of Cecrops finding Erichthonios, 1635-1640, Kunsthistorisches Museum, Vienna

11. Pseudo-Apollodorus, Bibliotheca 3. 14. 6 (trans. Frazer) (Greek mythographer C2nd A.D.) : "Some say that this Erikhthonios was a son of Hephaistos and Atthis, daughter of Kranaus, and some that he was a son of Hephaistos and Athena, as follows: Athena came to Hephaistos, desirous of fashioning arms. But he, being forsaken by Aphrodite, fell in love with Athena, and began to pursue her; but she fled. When he got near her with much ado (for he was lame), he attempted to embrace her; but she, being a chaste virgin, would not submit to him, and he dropped his seed on the leg of the goddess. In disgust, she wiped off the seed with wool and threw it on the ground; and as she fled and the seed fell on the ground, Erikhthonios was produced. Him Athena brought up unknown to the other gods, wishing to make him immortal; and having put him in a chest, she committed it to Pandrosos, daughter of Kekrops, forbidding her to open the chest. But the sisters of Pandrosos opened it out of curiosity, and beheld a serpent coiled about the babe; and, as some say, they were destroyed by the serpent, but according to others they were driven mad by reason of the anger of Athena and threw themselves down from the acropolis. Having been brought up by Athena herself in the precinct, Erikhthonios expelled Amphiktyon and became king of Athens; and he set up the wooden image of Athena in the acropolis, and instituted the festival of the Panathenaia." Willem van Herp The finding of the infant Erichthonius by Cecrops's daughters, c. 1650

12. Jacob Jordaens , The daughters of Cecrops finding Erichthonius, 1617, Royal Museum of Fine Arts Antwerp

13. כשגדל והיה למלך הציב אריכתוניוס על האקרופוליס פסל עץ גדול של האלה , וייסד לכבודה את חגיגות הפנאתנאיה . בנו פנליון מלך אחריו , ובימיו ביקרו את הארץ למטר ודיוניסוס . דמטר אלת היבולים ייסדה את מקדשה באלאוסיס , ואילו דיוניסוס מסר את הגפן לאיקאריוס . וכך למדו האתונאים את מלאכת עשיית היין . Giani, Felice Athena sending the Furies to punish the daughters of Cecrops with madness for opening the basket containing the infant Erichthonius The Fitzwilliam Museum

14. הארכתאון על האקרופוליס באתונה ארכתאון Eerechtheon, Erechtheum) ) מקדש עתיק בצפונה של האקרופוליס באתונה, שנבנה לכבודו של ארכתוניוס. הארכתאון הוא המקדש היחיד שידוע כי היה בעל 3 מפלסים. להבדיל משאר המקדש, בו משמשים עמודים יוניים גג המרפסת הדרומית נתמך על ידי שש קריאטידות (פסלי נשים ששימשו כעמודי תמך). אחת מהן הועברה על ידי הלורד אלגין לבריטניה ומוצגת כיום במוזיאון הבריטי. לאחר הקמת מוזיאון האקרופוליס בשנת 2009, הועברו חמש הקריאטידות הנותרות לתוך מבנה המוזיאון ובאתר הוצבו העתקים.

15. אתנה תרמה רבות לבני האדם: היא יצרה עבורם את עץ הזית, היא נתנה בידיהם את הרסן שעזר לאלף את הסוסים, היא לימדה אותם כיצד לחרוש, כל בעלי המלאכה נחשבו לבני חסותה (בעיקר נפחים, ארכיטקטים, פסלים, אורגים וטווים), לעיתים היא הוצגה אף כאלת הרפואה, היא פטרונית העיר אתונה ובנוסף היא מייצגת את החכמה והצדק האלוהיים והטהורים. Joachim van Sandart Minerva and Saturn protect art and science, 1644 Künsthistorische Museum, Wien

16. ATHENA E′RGANE (Erganê) or E′RGATIS The worker, a surname of Athena, who was believed to preside over and instruct man in all kinds of arts

17. Johann Heiss, Minerva goddess of the arts, c. 1704

18. A new peplos was woven for Athena and ceremonially brought to dress her cult image Fragment from the east frieze of the Parthenon, 447–433 BC British Museum, London, United Kingdom

19. מינרווה, אלת החוכמה, בליוויו של מרקורי, (המעופף מעליה) מפקידה את מפתח הידע בידי הבינה, שלידה כורעת הדמות העירומה של האמת. משמאל הזאבה הקפיטולינית עם התינוקות רומולוס ורמוס. מינרווה מעניקה פטיש מיומנות לתעשייה שלרגליה מבחר כלי עבודה. ברקע אמפיון או אמנות הדיבור, מנגן בויולה כשסביבו חגות ציפורים. Luca GiordanoMinerva as Protectress of the Arts and Science , early 1680 The National Gallery, London

20. ניצחונה של מינרווה מוצג בחלקה העליון של היצירה: מינרווה ניצבת במרכז על מרכבה רתומה לסוסים משמאל קבוצה של משוררים ושופטים מימין נשים עוסקות במרכז זה יש את האלה, בצד שמאל קבוצת משוררי משפט שלום, מימין נשים טוות, רוקמות ואורגות. בפנל המרכזי סמלו של החודש טלה ובפנל התחתון סצינת ציד COSSA, Francesco delAllegory of March: Triumph of Minerva, \1476-84Fresco, Palazzo Schifanoia, Ferrara

21. The upper scene depicts the Triumph of Minerva as an allegory of March.

23. אובידיוס מספר במטמורפוזות על ארכנה, נערה בממלכת לידיה שהצטיינה בטוויה. שמעה הגיע למרחוק. אתנה הסקרנית בקרה אותה כשהיא מחופשת לזקנה, כדי לתהות על קנקנה. ארכנה, מוכת ההיבריס (חטא הגאווה), התהללה באזני האלה שהיא האורגת הטובה ביותר בתבל ועולה בכשרונה גם על האלה אתנה (מינרווה בגירסה הרומית), בכבודה ובעצמה. או אז, הזדהתה האלה והוחלט לארגן תחרות בין השתיים. אתנה תארה בטווייתה את אלי האולימפוס בעוד שארכנה תיארה בפרטי פרטים ובדיוק רב את זאוס עם מאהבותיו. ארכנה ניצחה. אתנה הזועמת קרעה את יצירתה של הנערה וזאת מתוך צער התאבדה. מצפונה של אתנה נקף אותה, לכן החליטה להעניק ליריבתה חיים נוספים והפכה אותה לעכביש הטווה את קוריו. Jacopo Robusti called Tintoretto Athene and Arachne, 1543-44. Palazzo Pitti, Galleria Palatina,

24. VELÁZQUEZ The Fable of Arachne (Las Hilanderas( 1657Museo del Prado, Madrid

25. בחדר שברקע התמונה, המוצף אור מספר נשים לבושות בהידור. האישה משמאל קסדה לראשה והיא מניפה את ידה מעלה זוהי אתנה. מולה ניצבת ארכנה על רקע חלק מן השטיח שטוותה המתאר את חטיפת אירופה. ולסקז מצטט נושא זה מתמונה מפורסמת של טיציאן. לא ברור מיהן ארבע הנשים האחרות הניצבות אולי כשופטות? אולי אלו אלגוריות של ארבע האמנויות היפות. Titian's Rape of Europa is seen in the background of the painting

26. Ovid, Metamorphoses 6. 1 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) : "Then to herself [Athena said] - ‘To praise is not enough; I should have praise myself, not suffer my divinity to be despised unscathed.’ She had in mind Arachne's doom, the girl of Lydia, who in the arts of wool-craft claimed renown (so she had heard) to rival hers. The girl had no distinction in her place of birth or pedigree, only that special skill. Her father was Idmon Colophonius, whose trade it was to dye the thirsty wool with purple of Phocaea. She had lost her mother, but she too had been low-born and matched her husband. Yet in all the towns of Lydia Arachne's work had won a memorable name, although her home was humble and Hypaepae where she lived was humble too. To watch her wondrous work the Nymphae would often leave their vine-clad slopes of Tmolus, often leave Pactolus' stream, delighted both to see the cloth she wove and watch her working too; such grace she had. Forming the raw wool first into a ball, or fingering the flock and drawing out again and yet again the fleecy cloud in long soft threads, or twirling with her thumb, her dainty thumb, the slender spindle, or embroidering the pattern - you would know Pallas [Athena] had trained her. Arachne weaving, 1574 Herzog August Bibliothek Wolfenbüttel

27. Yet the girl denied it [all such gifts were god-given so her denial was blasphemous], a teacher so distinguished hurt her pride, and said, ‘Let her contend with me. Should I lose, there’s no forfeit that I would not pay.’ Pallas [Athena] disguised herself as an old woman, a fringe of false grey hair around her brow, her tottering steps supported by a stick, and speaking to the girl, ‘Not everything that old age brings’, she said, ‘we'd wish to avoid. With riper years we gain experience. Heed my advice. Among the world of men seek for your wool-craft all the fame you will, but yield the goddess place, and humbly ask pardon for those rash words of yours; she'll give you pardon if you ask.’ With blazing eyes Arachne stared at her and left her work. She almost struck her; anger strong and clear glowed as she gave the goddess (in disguise) her answer: ‘You’re too old, your brain has gone. You've lived too long, your years have done for you. Talk to your daughters, talk to your sons' wives! My own advice is all I need. Don’t think your words have any weight. My mind's unchanged. Why doesn't Pallas come herself? Why should she hesitate to match herself with me?’ Then Pallas said, ‘She's come!’ and threw aside the old crone's guise and stood revealed. Herman Posthumus Arachne, 1542 Minerva walking into the building where Arachne weaves while in the background Arachne speaking to an older woman who, in poem, is Minerva in disguise.

28. The Nymphae and Lydian women knelt in reverence. Only Arachne had no fear. Yet she blushed all the same, a sudden colour tinged her cheeks against her will, then disappeared; so when Aurora [Eos] rises in the dawn, the eastern sky is red and, as the sun climbs, in a little while is pale again. She stood by her resolve, setting her heart, her stupid heart, on victory, and rushed to meet her fate. Nor did the child of Jove [Zeus] refuse or warn her further or postpone the contest. Then, with no delay, they both, standing apart, set up their separate looms and stretched the slender warp. The warp is tied to the wide cross-beam; a cane divides the threads; the pointed shuttles carry the woof through, sped by their fingers. When its through the warp, the comb's teeth, tapping, press it into place. Both work in haste, their dresses girdled tight below their breasts; the movements of their arms are skilled and sure; their zeal beguiles their toil. Here purple threads that Tyrian vats have dyed are woven in, and subtle delicate tints that change insensibly from shade to shade. So when the sunshine strikes a shower of rain, the bow's huge arc will paint the whole wide sky, and countless different colours shine, yet each gradation dupes the gaze, the tints that touch so similar, the extremes so far distinct. Threads too of golden wire were woven in, and on the loom an ancient tale was traced [Athena depicted her contest with Poseidon for Athens] . . . Rusconi, Giovanni Antonio Pallas et Arachné, 1553

29. Yet to provide examples to instruct her rival what reward she should expect for her insensate daring, she designed in each of the four corners four small scenes of contest, brightly coloured miniatures . . . That was the end, and she finished her picture with her own fair tree. Maeonis [Arakhne] shows [in her weaving the seduction of various mortals by gods in animal disguise] . . . Round the edge a narrow band of flowers she designed, flowers and clinging ivy intertwined. In all that work of hers Pallas could find, envy could find, no fault. Incensed at such success the warrior goddess, golden-haired, tore up the tapestry, those crimes of heaven, and with the boxwood shuttle in her hand (box of citrus) three times, four times, struck Arachne on her forehead. The poor wretch, unable to endure it, bravely placed a noose around her neck; but, as she hung, Pallas in pity raised her. ‘Live!’ she said, ‘Yes, live but hang, you wicked girl, and know you’ll rue the future too: that penalty your kin shall pay to all posterity!’ And as she turned to go, she sprinkled her with drugs of Hecate, and in a trice, touched by the bitter lotion, all her hair falls off and with it go her nose and ears. Her head shrinks tiny; her whole body's small; instead of legs slim fingers line her sides. The rest is belly; yet from that she sends a fine-spun thread and, as a spider, still weaving her web, pursues her former skill. All Lydia rang; the story raced abroad through Phrygia’s towns and filled the world with talk." Johannes Baur Minerva & Arachne 1703

30. René Antoine Houasse Minerva And Arachne, 1706 Versailles musée national du château et des Trianons,

31. Luca GiordanoMinerva and Arachne, 1695, El Escorial

32. Peter Paul Rubens Athena attacking Arachne, after the contest, 1636/37 Virginia Museum of Fine Arts, Richmond

33. Herman Postumus, Minerva and Arachne's transformation into a spider, 1542 Herman Postumus, Arachne commit Suicide , 1542

34. Paolo Veronese , Arachne or Dialects, 1520, Fresco, Palazzo Ducale, Venice

35. אתנה המציאה את האאולוס (החליל הדו-קני) אך כיוון שנוכחה לדעת שפניה מתעוותות שעה שהיא מנגנת בו זרקתו בשאט נפש מידיה תוך שהיא מקללת את מי שירימו. הסאטיר מארסיאס מיהר לחטוף את האאולוס ולמד את אומנות הנגינה בו. Pseudo-Hyginus, Fabulae 165 (trans. Grant) (Roman mythographer C2nd A.D.) :"Minerva [Athena] is said to have been the first to make pipes from deer bones and to have come to the banquet of the gods to play. Juno [Hera] and Venus [Aphrodite] made fun of her because she was grey-eyed and puffed out her cheeks, so when mocked in her playing and called ugly she came to the forest of Ida to a spring, as she played she viewed herself in the water, and saw that she was rightly mocked. Because of this she threw away the pipes and vowed that whoever picked them up would be punished severely. Marsyas, a shepherd, son of Oeagrus, one of the satyrs, found them, and by practicing assiduously kept making sweeter sounds day by day, so that he challenged Apollo to play the lure in a contest with him." The classic sculpture "Athene and Marsyas“ a copy of a bronze sculpture made by Myron of Eleutherae , ca. 480-440 BC At The Botanical Garden, Copenhagen, Denmark.

36. Ovid, Fasti 6. 697 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) : "I [Athene] first enabled the long flute to produce notes through spaced holes in perforated boxwood. The sound pleased; but the limpid waters reflected my face, and I glimpsed puffed virgin cheeks. ‘Art is not worth this to me; farewell, my flute,’ I said. The bank receives my cast-off on its turf. A Satyrus [Marsyas] finds it and marvels at first, ignorant of its use. He learns that breath creates sound; and, fingering the pipe, he blows and draws in air. And now boasted of his art to the Nymphae. He challenges Phoebus [Apollon], too. Phoebus won, he hung. His flayed limbs separated from their skin." Athena sits beneath a tree playing the flute. A youth holds a mirror up to her face to reveal the unsightly bloating of the cheeks. To the far right stands Marsyas ready to recover the discarded instrument. To her left is the old satyr Seilenos, a Bakkhante, and a god (probably Zeus). Apulian Red Figure, Bell krater, ca 370 - 360 BC Museum of Fine Arts, Boston

37. מקורות: עריכה:אסף פלר http://www.theoi.com//AthenaCult http://www.artcyclopedia.com/Athena http://www.mlahanas.de//AthenaGallery http://www.maicar.com/Athena http://www.goddess-athena.org http://www.artcyclopedia.com./Minerva http://commons.wikimedia.org//Athena Raised-relief image of Minervaon a Roman gilt silver bowl, 1st century BC Antikensammlung Berlin

38. שלום לך, אני מזמין אותך לבקר באתר המצגות שליולהנות ממצגות נוספותלהתראות, אסף פלרhttp://assaffeller.com A head of Minerva found in ruins of Roman baths in Bath, England