Tag: Greek

Perseus and Medusa

Perseus and Medusa

Super Hero and #MeToo

After exploring prophets, sinners, and saints from the Biblical tradition, it’s time to turn back to the world of Greek mythology. Let’s start with two of its most iconic figures: Perseus and Medusa. Her story resonates today as a #MeToo narrative; his tale reads like the script of a modern superhero film. Greek myths may be older than the Bible, but the themes they carry, such as good versus evil, justice for the wronged, and the quest for hope, are timeless. So let’s dive in.

To give some context, I’ll introduce the two main characters, Perseus and Medusa, before following Perseus through his adventures, from his miraculous birth as the child of one of Zeus’ escapades to his dramatic wedding with Andromeda. The topics we’ll explore are:

The recurring theme: a busy life for our superhero and the eternal struggle between good and evil.

The Main Characters: Perseus and Medusa

Perseus is one of the prominent heroes in Greek mythology. Unlike some other Greek heroes, his strength did not rely solely on brute force but also on inner qualities like courage and determination. He was the son of Zeus, king of the gods, and Danaë, a mortal princess. Perseus is best remembered for slaying Medusa and for rescuing Andromeda from a sea monster.

Medusa, once a beautiful priestess in the temple of Athena, is one of the tragic figures in mythology. She was raped by Poseidon in Athena’s sacred temple. Because the act defiled a holy space, and possibly because Medusa had boasted of her beauty, Athena punished her by transforming her flowing hair into venomous snakes. And from that moment on, anyone who looked directly at Medusa would be turned to stone.

Poseidon, the rapist, went unpunished. It was the victim who bore the consequences. We do not know if Poseidon felt guilt or ever faced the weight of what he had done. What we do know is that Medusa became the embodiment of female suffering, even labeled a monster. Her transformation has come to symbolize the way women are punished or demonized. In today’s world, Medusa’s story is often reinterpreted through the lens of the #MeToo movement, challenging us to consider who the real monster truly was.

Perseus, Roman copy after a Greek original of the 5th century BCE, Marble, height 29cm, Centrale Montemartini, Musei Capitolini, Rome. Medusa (c.1646), Gian Lorenzo Bernini (Italian, 1598 – 1680), Marble, height 68cm, Musei Capitolini, Rome.

Danaë, Perseus’ mother; Zeus, his father

Perseus was born under remarkable and mysterious circumstances. His mother was Danaë, a mortal princess and daughter of Acrisius, the king of Argos. Acrisius, obsessed with control and fearful of fate, had received a chilling prophecy: one day, he would be killed by his own grandson. To stop this from happening, he locked Danaë in a bronze chamber, isolated high in a tower, where no man could reach her.

But the gods, as always in Greek myth, find a way. Zeus, king of the gods, saw Danaë and desired her. Taking the form of a shower of gold, he entered her prison and impregnated her. In time, Danaë gave birth to a son, whom she named Perseus.

When Acrisius discovered the child, he was furious and terrified. Yet he couldn’t bring himself to kill his own daughter and her infant directly. Instead, he sealed them in a wooden chest and cast them out to sea, leaving their survival to fate. But Zeus watched over them!

The sea carried Danaë and Perseus safely to the island of Seriphos, where a kind fisherman named Dictys took them in. Dictys raised Perseus as his own, and the boy grew into a brave and spirited young man.

(A note from the future: many years later, when Perseus had grown into a man, he took part in the Olympic Games. During a discus throw, his aim went astray and struck down a spectator. That man was none other than King Acrisius, his own grandfather. The prophecy Acrisius was so afraid of was fulfilled, by a tragic accident. But that lies far ahead in the story. For now, we return to the adventures of Perseus as a youth.)

As Perseus matured, he became fiercely protective of his mother. Her beauty had not faded, and it attracted the unwanted attention of many men, including the island’s ruler, King Polydectes. Polydectes was aggressive and arrogant, and he was determined to marry Danaë, whether she agreed or not. Perseus saw through him immediately and did everything he could to protect his mother.

Danaë locked in the tower, Perseus with his mother Danaë drifting away, the fisherman Dictys who found Perseus and his mother, and King Polydectes who will soon start harassing Danë.
Illustration (c.1470) from Raoul Lefèvre (French, 15th Century) “Recoeil des Histoires de Troyes”, 9x12cm, Koninklijke Bibliotheek KB 78 D 48, National Library of the Netherlands, The Hague. For the full page of the manuscript, with text and illustration, click here.

An impossible task: killing Medusa

Frustrated, Polydectes devised a plan to get Perseus out of the way. He announced he was marrying someone else and demanded that all his subjects bring him wedding gifts. Perseus, relieved that his mother wasn’t the bride, promised to give Polydectes whatever he wanted. The king seized the opportunity and asked for something outrageous: the head of Medusa, whose gaze could turn anyone to stone.

Perseus agreed, though he had no idea how he would complete such an impossible task.

Help from Athena and Hermes

To carry out the impossible task of killing Medusa, Perseus received crucial help from two gods: Athena, goddess of wisdom, and Hermes, the swift messenger of the gods.

Athena gave Perseus a highly polished bronze shield. It would allow him to see Medusa’s reflection without looking directly at her. A pretty vital move, since anyone who met her gaze would instantly turn to stone. Hermes provided him with winged sandals, enabling him to fly, and a sharp curved sword.

With Athena’s guidance and Hermes’s gifts, Perseus was ready to face the deadly Medusa. He flew to her, used the mirror-like shield to watch her movements, and without ever meeting her eyes, struck with precision. In one swift motion, he cut off her head, snakes and all.

Death of Medusa and the birth of Pegasus

As Perseus struck off Medusa’s head, something extraordinary happened. From the blood that poured from her neck, a winged horse sprang forth. This was Pegasus, who became Perseus’s loyal companion.

Perseus now carried two powerful tools. One was the head of Medusa, which still had the power to turn anyone who looked at it into stone. The other was Pegasus, the magical horse who could fly. With these, Perseus began his journey home. He planned to return to Seriphos, confront King Polydectes, and reunite with his mother Danaë.

But the way back would not be simple. Like many heroes, Perseus would face new challenges on the road. Each test would reveal more of his courage, his cleverness, and his sense of justice.

Atlas becomes a mountain

On his journey home, Perseus grew tired and stopped to rest in a distant land. This place was ruled by Atlas, a mighty giant who stood guard over a sacred garden. Perseus asked for shelter, explaining that he was the son of Zeus. But Atlas remembered a prophecy that warned him a son of Zeus would one day steal the golden apples from his garden. Fearing the prophecy, Atlas refused to let Perseus stay.

Perseus did not argue. Instead, he reached into his bag and pulled out the head of Medusa. When Atlas looked upon it, he was instantly turned to stone. His great body became part of the earth. His beard and hair turned into forests. His shoulders and arms became ridges and cliffs. His head rose into the sky as a high mountain. This, according to legend, is how the Atlas Mountains in Morocco originated and came to be named after the giant Atlas.

Perseus and Andromeda

As Perseus traveled home, riding the winged horse Pegasus, he flew over the coastline of ancient Ethiopia. There, he saw a young woman chained to the rocks at the edge of the sea. Her name was Andromeda. She had been left as a sacrifice to a sea monster, sent to punish the land for her mother’s pride. Her mother, Queen Cassiopeia, had once claimed that Andromeda was more beautiful than the sea spirits. This angered Poseidon, god of the sea. In revenge, he sent a terrifying monster to attack the coast. The only way to stop the destruction, the people believed, was to offer Andromeda to the creature.

Perseus was struck by Andromeda’s beauty, and he made a promise to save her. As the sea monster rose from the waves, Perseus flew into action. Riding Pegasus, he waited for the perfect moment. Then, at just the right time, he pulled Medusa’s head from his bag. The monster looked…, and instantly turned to stone.

Andromeda’s parents, the king and queen, were filled with gratitude. Perseus asked for Andromeda’s hand in marriage, and she agreed. Together, they would set off for his homeland. But their story was not over yet.

Wedding of Perseus and Andromeda, and Phineas as unwanted guest

After rescuing Andromeda, Perseus was welcomed as a hero. The wedding was quickly arranged, and the royal palace filled with celebration. But not everyone was pleased. At the height of the feast, an angry voice echoed through the hall. It was Phineus, Andromeda’s former fiancé. He stormed in with a group of armed men, furious that the bride had been given to another. He shouted that Andromeda had been promised to him, and that Perseus had stolen her. Tension rose. The joyful feast turned into chaos. Phineus and his followers attacked. Perseus tried to fight them off, but he was badly outnumbered.

Then, as a last resort, Perseus reached for the most fearsome weapon he had: the severed head of Medusa. Holding it aloft, he turned his gaze away. The attackers, caught mid-charge, had no time to look away. One by one, their bodies froze in place. Faces twisted in rage, weapons raised, they turned to cold, silent stone. The room fell quiet. Phineus was no more. The threat was over. The marriage of Perseus and Andromeda could finally begin in peace.

Saving his mother Danaë, and confronting Polydectes

After his adventures abroad, Perseus returned home to the island where he had grown up. But all was not well there. His mother, Danaë, was still being harassed by King Polydectes, who had never given up his attempts to force her into marriage. She had taken refuge in the temple of Athena, hiding from the king’s relentless advances.

Perseus went straight to the palace and confronted Polydectes. Without a word, Perseus pulled the head of Medusa from his bag. Polydectes and his supporters, unprepared and arrogant, looked straight at it and turned to stone. With justice served and his mother finally safe, Perseus restored peace to the island.

Medusa’s head on Athena’s shield

After the sea monster was killed, Andromeda and his mother Danaë saved, and justice delivered, Perseus fulfilled one last promise. He returned the head of Medusa to Athena, the goddess who had guided him on his quest.

Athena took the powerful object and placed it at the center of her shield. From then on, Medusa’s stony gaze would serve to protect. It would turn away evil, and remind all who saw it of the strength found in wisdom and courage.

Closing Notes

So what do we make of Perseus? Like Daniel from the biblical tradition, he is not a hero of brute force but of cleverness, courage, and integrity. Both are young men who rise to great challenges with the help of higher powers, whether divine faith or Olympian favor. They confront arrogant rulers, monsters in both human and mythic form, and they stand up for those who cannot protect themselves.

The stories of Perseus are older than the Bible, mythological in form, but in essence they tell the same tale: that justice can prevail, and that even in dark times, there is hope for the oppressed. Daniel’s story, though biblical in origin, mirrors these ancient myths in spirit. Both narratives teach us that the powerful who act with pride and hubris will be humbled. Both reveal a world where integrity matters more than might. And both reassure us that in the end, with the help of God or the gods, peace can be restored.

Bonus: Versace!

Now from myth to Milan! The famous fashion house Versace uses the head of Medusa as its logo, a direct nod to Greek mythology. The choice wasn’t random. As children, the Versace siblings played among ancient ruins near Reggio Calabria in southern Italy. There, on an old mosaic floor, they encountered the image of Medusa.

Gianni Versace chose Medusa as the brand’s emblem. In myth, those who looked at her were turned to stone. In fashion, he hoped those who looked at his designs would be equally spellbound and captivated. Unlike Perseus, who avoided her gaze, we are drawn to it willingly, mesmerized. Carefully of course, because style and beauty can petrify!

Zeus and Io

Zeus and Io

“…and Hera, Hermes and Argus”

The story of Zeus and Io is one of the many fascinating tales from Greek mythology. It involves love, deception, and a remarkable transformation. The story is written in various ancient Greek texts, but one of the most well-known versions can be found in Ovid’s “Metamorphoses”. Ovid was a Roman poet who lived during the 1st century AD and wrote a collection of mythical tales, including the story of Zeus and Io.

Here’s the story: Io was a beautiful mortal princess and her radiant beauty caught the attention of Zeus, king of the gods. He became infatuated with her and desired her affection. Zeus, being notorious for his amorous escapades, sought to pursue Io without the knowledge of his jealous wife Hera. To avoid detection, Zeus approached Io in the form of a cloud. It’s Zeus naughty and cunning habit to seduce his amorous victims in disguise, in the form of a cloud this time.

Zeus, disguised as a cloud, seduces the beautiful princess Io. Look at his face and his paw! (c.1530)
Correggio (Italian, c.1489 – 1534), 162×74cm, Kunsthistorisches Museum, Vienna.

Zeus’ wife Hera became enormously suspicious when she saw that cloud hanging above the fields and went to see if her husband Zeus was behind it and maybe after another beautiful girl.

Oops, there is Zeus wife Hera! Catching her husband with Io; Hermes and Argus in the background, but that’s only later in the story… (1619)
Hans Bock the Elder (German, c.1550 – c.1623), 47x62cm, Museum of Fine Arts, Budapest.

Zeus then used his divine powers and transformed Io into a white heifer (a young and fertile cow) to hide their affair from his jealous wife. This transformation allowed Io to live among the other cattle without arousing suspicion.

However, Hera was no fool and soon became suspicious of her husband’s intentions. She suspected that Zeus was up to something and devised a plan to discover the truth.

Hera is now finding out what’s happening, having watched her husband Zeus with the beautiful Io in the body of a cow (c.1656)
Jan Gerritsz. van Bronchorst (Dutch, c.1603 – 1661), 274x176cm, Centraal Museum, Utrecht.

Hera approached Zeus and cunningly expressed her admiration for the cow, suggesting that she would love to have the creature as a gift. Zeus, aware of his wife’s jealousy, could not refuse the request and reluctantly agreed to give the cow to her.

Hera demand Zeus: “Give that cow (Io, that is) to me!” (1638)
David Teniers (Flemish, 1582 – 1649), 47×61cm, Kunsthistorisches Museum, Vienna.

Now, Hera had possession of the transformed Io, but she wasn’t entirely convinced of her husband’s innocence. To keep an eye on the situation, she assigned the many-eyed giant guy Argus Panoptes (the all-seeing Argus) to guard the cow. Argus was an extraordinary creature with hundreds of eyes, and he was capable of keeping watch over Io at all times, even while some of his eyes rested.

Hera tells Argus, the guy with 100 eyes, to guard the cow Io (c.1625)
Printmaker Moyses van Wtenbrouck (Dutch, c.1595 – c.1647), engraving, 13x18cm, Rijksmuseum, Amsterdam.

Zeus was deeply concerned for Io’s safety and well-being. In a desperate attempt to free her, he sought the help of his son Hermes, the messenger of the gods and a skilled trickster.

Zeus instructs Hermes to kill Argus and to free the cow Io (c.1656)
Jan Gerritsz. van Bronchorst (Dutch, c.1603 – 1661), 277x183cm, Centraal Museum, Utrecht.

Hermes devised a clever plan to rescue Io. He played a melodious tune on his flute and began to tell entertaining stories to Argus. As the music and tales enchanted the many-eyed giant, his eyes gradually closed, one by one, until all were shut in a peaceful slumber.

Hermes plays the flute and tells stories, until all the 100 eyes of Argus fell asleep,with the cow Io in the background (c.1592)
Abraham Bloemaert (Dutch, 1566 – 1651), 64x81cm, Centraal Museum, Utrecht.
Argus fell asleep and Hermes is pulling his sword to kill Argus; the cow Io in the background (1610)
Paulus van Vianen (Dutch, 1570 – 1614), Silver Plaquette, 13x16cm, Rijksmuseum, Amsterdam.

Taking advantage of the situation, Hermes swiftly slew Argus with a single stroke of his sword.

Hermes kills the 100-eyed Argus with Io as a cow in the back of the picture, 5th Century BC
Greek Stamnos Vase, 5th Century BC, found in Cerveteri Italy, height 30cm, diameter 25cm, Kunsthistorisches Museum, Vienna.

After Argus’s death, Hera was informed of his demise, and she mourned the loss of her loyal servant. As a tribute to the fallen guardian, Hera transferred Argus’s eyes to the tail of her favorite bird, the peacock, which became a symbol of her power and authority.

The dead Argus on the ground, and Hera placing the eyes of Argus on the tail of a peacock (17th Century)
Deifobo Burbarini (Italian, 1619 – 1680), 159x255cm, Private Collection, latest Christie’s New York 2017.

Io was finally free from her captor, but Hera’s rage did not subside. In her fury, she sent a tormenting gadfly to relentlessly sting and chase Io across the world, making her wander in agony.

Poor Io being pestered by a gadfly sent by Hera; the fly on her ear, she cannot reach it and it makes Io-as-cow running in panic all over the Mediterranean, through the Ionian Sea and over the Bosporus into Egypt (2019)
Olivia Musgrave (Irish, 1958), Bronze, 39x54x26cm, John Martin Gallery, London.

Io’s wanderings led her to Egypt, where she eventually returned to her original human form. In Egypt, she gave birth to a son named Epaphus, who would later become a renowned king and ancestor of various legendary figures.

Io (left, back in human form but still with the cow horns) is welcomed in Egypt by Isis (right) and Io is living happily ever after
fresco from the temple of Isis in Pompeii, Museo Archeologico Nazionale, Naples, Italy.

The story of Io and Zeus is one of the many tales that highlight the complicated relationships among the gods and mortals in Greek mythology. It showcases the consequences of divine infidelity and the lengths to which the gods would go to protect their interests and secrets.

Ionian Sea and Bosporus

After her transformation into a cow and subsequent escape from Argus, Io roamed through various regions, enduring Hera’s torment in the form of a gadfly that continually stung her. Her wandering took her through different lands and over various seas. The Ionian Sea is named after Io and she crossed the Bosporus on her way to Egypt.

The word “Bosporus” does indeed have a connection to the idea of “cow crossing” in its etymology. The Bosporus, the strait that separates the European and Asian parts of Turkey, derives its name from ancient Greek. The Greek word “Βόσπορος” (Bosporos) is a combination of two words: “βοῦς” (bous), which means “cow,” and “πόρος” (poros), which means “crossing” or “passage.” So, the term “Bosporus” can be interpreted as the “Cow Crossing” or the “Cow Passage.” In a similar vein, “Oxford” in England has its name derived from “oxen ford,” which means a place where oxen (and likely other cattle) could cross a river. Same for “Coevorden” in The Netherlands. Place names often carry historical or mythological significance, and they can provide fascinating insights into the cultural heritage and stories of the regions they represent.

Greek and Roman Gods

The three gods involved in the story of Zeus and Io are:

  • Zeus (Ζεύς) is the god of the sky and thunder, and king of the gods, married to Hera. His symbol is the eagle. The Roman equivalent is Jupiter, also knows as Jove. Read more about Zeus in The Twelve Olympians.
  • Hera (Ήρα) is the goddess of marriage, women and family and the queen of gods, wife of Zeus. Her symbol is the peacock. The Roman equivalent is Juno. See Hera in The Twelve Olympians.
  • Hermes (Ἑρμῆς) is the messenger of the gods and the divine trickster. His Roman equivalent is Mercury. More about Hermes in The Twelve Olympians.
Ganymedes

Ganymedes

“Gay Pride”

It’s August, the month of “Pride” in many cities around the world and in Amsterdam today! What started as Gay Pride is now a celebration of LGBTQ+. I take this as an opportunity to speak about the beautiful boy Ganymedes, a hero from Greek mythology and a major symbol of homosexual love in the visual and literal arts.

Homer, who wrote in the 8th Century BC the legendary “Odyssey”, already describes Ganymedes as the most beautiful of mortals. Ganymedes was abducted from earth to become Zeus’s lover on Mount Olympus, serving wine to the Gods and blessed with eternal youth and immortality.

Peter Paul Rubens (1577 – 1640), “The Abduction of Ganymedes” (c.1637), 181x87cm, Museo del Prado, Madrid

Ganymedes (Γανυμήδης) was a young man from Troy and the most stunning guy walking around. Even Zeus, the King of the Gods, couldn’t resist his beauty. Zeus first tried to seduce him in a traditional way as shown on the Greek vase hereunder (from around 480 BC). Zeus pursues Ganymede on one side while the youth runs away on the other side, rolling along a hoop and holding aloft a crowing cock. A cock (the bird, that is!) was a common gift presented by an older man to a younger to indicate romantic interest. This custom took place in ancient Athens where such relationships were widely accepted and depicted many times on the visuals from those days, which was painted pottery as paintings did not exist yet. Considering the connotation of “cock” with penis, the bird nowadays mostly called “rooster”!

This “krater” is an ancient Greek vessel used for diluting wine with water. It’s made in Athens, most likely for the export market as this krater was found in Italy like so many other Greek vases. “Berlin Painter” is the name given to a Greek vase-painter who is widely regarded as one of the most talented vase painters of the early 5th century BC and he got his name after a large vase in the Antikensammlung Berlin.

Julien de Parma (1736 – 1799), “The Abduction of Ganymedes” (1778), 249x128cm, Museo del Prado, Madrid.

Ganymedes was a beautiful and young shepherd boy from the city of Troy. His beauty was so great and “godlike” that Zeus decided that Ganymede was too perfect to walk the earth. One day, when Ganymedes was tending the family flock of sheep, Zeus transformed himself into an eagle and abducted the unsuspected Ganymede, who was then taken to Mount Olympus. There, Zeus made him his cupbearer; it was Ganymedes’ duty to serve cups of wine and the divine drink nectar to Zeus and the other Gods.

Antonio Allegri “Corregio” (c.1492 – 1534), “The Abduction of Ganymedes” (c.1530), 164x72cm, Kunsthistorisches Museum, Vienna.

On Correggio’s painting above, Ganymedes looks rather younger and less flagrantly showing the sensual male body. The boy seems happy to be abducted by an eagle, as if he knows that it’s Zeus who takes him into heaven. Rembrandt hereunder makes it more realistic. No toddler would like to be picked up by such ferocious bird, so Rembrandt has his Ganymedes bawling and urinating in fright.

Rembrandt van Rijn (1606 – 1669), “The Abduction of Ganymedes” (1635), 177x129cm, Gemäldegalerie Alte Meister, Dresden.

Nicolaes Maes, famous for his children portraits, is portraying a child from the Bredehoff de Vicq family as Ganymedes. Guess the boy’s parents thought their son was the most beautiful one ever! 

Nicolaes Maes (1634 – 1693), “Portrait of George Bredehoff de Vicq as Ganymedes” (17th century), 99x85cm, Harvard Art Museums, Cambridge, MA.

Not everyone was pleased with Ganymedes presence at Mount Olympus. Hera, Zeus’ wife and Queen of the Gods, was pretty jealous, certainly when it turned out that Zeus did not only abduct Ganymedes to serve the Gods wine, water and nectar, but also to become his lover. For the sake of family peace, Zeus promoted Ganymedes to an outside post and made him the stars in the sky that are the constellation Aquarius, the Water Bearer. And in post-Medieval times, Ganymedes’ name was given to the largest moon of the planet Jupiter.

Bertel Thorvaldsen (1770 – 1844), “Ganymedes and the Eagle” (c.1823), Marble, 88x118x47cm, Minneapolis Institute of Art, Minneapolis, MN.

Ganymede’s myth was popular amongst the Greeks and the Romans, the Greek version is with Zeus and the Roman version with Jupiter, both being the same King of the Gods. The first recorded mention of Ganymede is found in Homer’s Iliad dating back to the 8th century BC. The Greek vases shown are from around 500 BC and the Thorvaldsen sculpture is from around 1823. Ganymedes intrigues and inspires art and artists already more than 2500 years!

Géras Painter, Red-figure vase with Jupiter and Ganymedes as cup-bearer, c.475 BC, place of creation Athens; found in Vulci, Italy, 36x24cm, Louvre, Paris.

Ganymede’s myth is yet another piece in the history of sexuality, with particular importance for queer history. If the King of the Gods was allowed to have a male lover, then this certainly adds to the joy of all LGBTQ+ people attending Pride festivals this August.

The Olympian Gods

The Olympian Gods

This is a 101 crash course in Greek and Roman gods. In ancient Greek mythology, twelve Olympian gods and goddesses ruled over the affairs of mankind from their palace on Mount Olympus. Besides this canon of major deities, many other gods, half-gods, human offspring and heroes visited the Olympus, and these twelve Olympians descended frequently to earth to have their wars, love affairs, parties and weddings, with other gods and humans. With 2,917 meters, Mount Olympus is the highest mountain in Greece, about 80 km southwest from Thessaloniki.

Cornelis van Poeleburgh (1594 – 1667), “Feast of the Gods” (1623), 32x84cm, Wadsworth Atheneum Museum of Art, Hartford, Connecticut.

Roman mythology draws directly on Greek mythology and the Romans identified their own gods with those of the ancient Greeks. Greek and Roman mythologies are therefore often classified together as Classical mythology. The interpretations of Greek myths by the Romans often had a greater influence on narrative and pictorial representations of “classical mythology” and therefore the twelve Olympians are often known under their Roman or Latin names.

There is a certain hierarchy, with Zeus being the King of the Gods and Hera their Queen. Almost all of these twelve have family relationships, Zeus often is the father although his kids have different mothers. The Olympian Gods and Goddesses have their own field of reign, covering all aspects of antique mankind. They can be recognised by their posture and physics, and by their attributes. Hereunder the Twelve Olympians, also with their Roman names and of course with their attributes. After some practising it becomes an easy and fun task to recognise them. Here is the 101 crash course!

Zeus (Jupiter)

King of the Gods and ruler of Mount Olympus, god of the sky, lightning, thunder, law, order and justice. The Roman equivalent is Jupiter. He is associated with a bundle of thunderbolts and the eagle. Zeus is married to Hera.

Heinrich Friedrich Füger (1751 – 1818), “Jupiter” (c.1800), 103x79cm, Hungarian National Gallery, Budapest.

Zeus (Greek Ζεύς, Roman Jupiter) is the senior god, ruling over the other deities who are living on their divine Mount Olympus. He held dominion over the earth and sky and was the ultimate arbitrator of law and justice. He controls the weather, specifically with thunder and lightning. He married Hera, but he had a wandering eye and a penchant for flings with any and all women and occasionally a man or boy. His romantic interests gave birth to numerous other gods, demi-gods, and mortal heroes on the earth. Many of the myths about Zeus concern his seemingly endless adulterous rapes of mortals and demi-gods. His wife Hera doesn’t like this at all of course. Zeus’ amorous adventures and Hera’s counterattacks and revenge provide an endless source of fun and many of these stories are inspiration for generations of artists. On the painting Zeus (Jupiter) enthroned, with the eagle at his feet and in his hand a bundle of thunderbolts.

Hera (Juno)

Queen of the Gods, Goddess of marriage and family. The Roman equivalent is Juno. Her attribute is the peacock. Hera is the wife of Zeus.

Hendrick Goltzius (1558 – 1617), “Juno” (c.1595), 13x11cm, Drawing on Paper, Rijksmuseum, Amsterdam.

Hera (Greek Ἥρᾱ, Latin Juno) rules as the queen of the gods. As the goddess of marriage and fidelity, she was one of the only Olympians to remain steadfastly faithful to her spouse, Zeus. Though faithful, she was also vengeful, and tormented many of Zeus’s extramarital partners. This has been depicted multiple times throughout history of art and is an endless source of stories and inspiration for painters. Acting as a matronly Queen of the deities of Olympus, she is normally associated with women, marriage and childbirth. Hera’s most usual attribute is her favourite bird, the peacock, as can be seen in-extremis on Glotzius’ drawing from the Rijksmuseum.

Poseidon (Neptune)

The God of the Sea. The Roman equivalent is Neptune. He can be recognised by his trident, horses and dolphins. Poseidon (God of the Sea) is a brother of Zeus (God of the Sky) and Demeter (God of the Land).

John Singleton Copley (1738 – 1815), “Neptune” (c.1754), 70x113cm, The Metropolitan Museum of Art, New York.

When Zeus became king, he divided the universe amongst himself and his two brothers of which Poseidon (Greek Ποσειδῶν, Latin Neptune) received dominion over the seas and waters of the world, its storm and earthquakes. He was the protector of seamen and the god of horses. Poseidon lived with his wife in a magnificent palace under the sea, though he was a frequent visitor on Mount Olympus. On the painting, as usual, Neptune is depicted as an old man with long flowing white hair and beard, riding over the waves of the sea in a coach made of a shell and drawn by his horses. His head crowned as king of the seas, trident in one hand and a big pearl in his other hand.

Demeter (Ceres)

Goddess of the Harvest and Agriculture. The Roman equivalent is Ceres. Her attributes are wheat and the cornucopia, which is the horn of plenty. Demeter is the sister of Zeus and Poseidon.

Antoine Watteau (1684 – 1721), “Ceres” (c.1717), 142x116cm, National Gallery of Art, Washington.

Known as the “good goddess” to the people of the earth, Demeter (Greek Δημήτηρ, Latin Ceres) is the goddess of the harvest, who oversaw farming, agriculture, and the fertility of the earth. Not surprisingly, as she controlled the production of food, she was very highly worshipped in the ancient world. On the paining by Watteau she represents summer. Ceres wields a sickle and sits on clouds among sheaves of wheat. The figures surrounding Ceres — the crayfish, the lion, and the nude blond woman — represent the zodiacal symbols of summer (Cancer, Leo, and Virgo). The name of Ceres comes back in the word “cereal”.

Athena (Minerva)

Goddess of War and Wisdom. The Roman equivalent is Minerva. Her symbols are the owl and the body armour including a helmet. Athena is born out of Zeus’ head.

Rembrandt van Rijn (1606 – 1669), “Minerva” (1635), 138x117cm, The Leiden Collection, New York.

Athena (Greek Ἀθηνᾶ, Latin Minerva), was the daughter of Zeus, born out of his head and already at birth dressed in full armour. Athena’s strength rivaled that of any of the other gods. She refused to take any lovers, remaining determinedly a virgin. She took her place on Mount Olympus as the goddess of justice, strategic warfare, wisdom, rational thought, and arts and crafts. In the Rembrandt painting, Minerva can be seen in her study, looking up from her large folio. Her regal appearance is enhanced by the laurel wreath crowning her head. In the background are more books and parts of her body armour, a golden helmet, a spear and a large shield.

Artemis (Diana)

Goddess of the Moon and the Hunt. The Roman equivalent is Diana. Symbols are the moon, bow and arrow. She is a daughter of Zeus and Apollo is her twin brother.

Pietro Antonio Rotari (1707 – 1762), “Diana” (c.1740), 109x77cm, Private Collection, latest at Sotheby’s.

Artemis (Greek Ἄρτεμις, Latin Diana)  and her twin brother Apollo were children of Zeus. The twins became important Olympians, though they were as different as night and day. Artemis was quiet, dark and solemn, the goddess of the moon, forests, archery, and the hunt. Like Athena, Artemis had no desire to marry. She was the patron goddess of feminine fertility, chastity, and childbirth, and was also heavily associated with wild animals. On the painting she is easily recognised by the crescent moon worn as a tiara, the bow and arrow on her back and a hunting dog at her feet.

Apollo

God of the Sun, Light and Music. His attributes are the lyre, sun and laurel wreath. Apollo is a son of Zeus and Artemis is his twin sister.

Rosalba Carriera (1675 – 1757), “Apollo” (c.1743), 67x52cm, Pastel on Paper, The State Hermitage Museum, St Petersburg.

Artemis’s twin brother Apollo (Greek Ἀπόλλων and the same name in Latin) was the god of the sun, light, music, prophecy, medicine, and knowledge, and thus the exact opposite of Demeter. Zeus may have been the senior of the deities, but among the most important and popular with the Greeks and Romans, and later with artists, is Apollo. He is a beardless young man, and the epitome of male beauty. His most common attribute is the lyre, his constant companion for both music and poetry. Apollo was considered the most handsome of the gods. He was cheerful and bright, enjoyed singing, dancing, and drinking, and was immensely popular among both gods and mortals. He also took after his father in the chasing of mortal women and from time to time a boy. On the painting Apollo is depicted as a male beauty, with his lyre and a laurel wreath on his head.

Ares (Mars)

God of Violent War. The Roman equivalent is Mars. Spear, shield and armour are his symbols. Zeus is Ares’ father.

Hendrick ter Brugghen (1588 – 1629), “Mars” (1629), 107x93cm, Centraal Museum, Utrecht.

The attributes of Ares (Greek Ἄρης, Latin Mars) are any part of arms and armour of a warrior, like a helmet and shield. Where Athena oversaw strategy, tactics, and defensive warfare, Ares revealed in the violence and bloodshed that war produced. Often depicted asleep, as on our painting here, which makes him more sympathetic. The God of War asleep becomes the Good of Peace. His name is still used in “martial arts”.

Hephaestus (Vulcan)

God of Fire and Blacksmith of the Gods. The Roman equivalent is Vulcan. To be recognised by fire and the hammer. He married Aphrodite.

Pompeo Girolamo Batoni (1708 – 1787), “Vulcan” (c.1750), 98x76cm, Pinacoteca Civica, Como.

Hephaestus (Greek Ἥφαιστος, Latin Vulcan) learned the blacksmith’s trade, built himself a workshop, and became the god of fire and metallurgy. His forges produce the fire of volcanoes. Hephaestus was horribly ugly – at least by the standards of gods and goddesses – but he managed to marry the beautiful Aphrodite, goddess of love. His attributes derive from his role, and include the hammer and anvil as used in the working of metals. These tools can be seen on this painting, with fire in the background. The word “volcano” refers to the Roman name of Hephaestus, Vulcan.

Aphrodite (Venus)

Goddess of Love, Beaty and Sexuality. The Roman equivalent is Venus. She can be recognised a dove and beauty aspects like jeweller and flowers. Aphrodite married Hephaestos.

François Boucher (1703 – 1770), “Venus” (1751), 108x85cm, The Metropolitan Museum of Art, New York.

Aphrodite (Greek Ἀφροδίτη, Latin Venus) as the most beautiful woman, was married to the most ugly of the gods, Hephaestus. She enjoyed a number of flings with mortal humans, including an affair with the beautiful young guy Adonis. Aphrodite (mostly as Venus) has proved hugely popular in Western art, all too often as an excuse for painting a classical female nude and in the case of her affair with Adonis, also with a beautiful man. This tradition of depicting Aphrodite largely or completely unclothed dates from classical times, already on some of the wall paintings found in the ruins of Pompeii. The Boucher painting, formally called “The Toilette of Venus” was executed for the bathroom of Madame de Pompadour, the powerful mistress of Louis XV. Boucher devised a summary of the key features: Venus as female beauty, and an unfurling of luxurious furniture, fabric, flowers, and pearls. The name of the goddess still lives on in the words “aphrodisiac” and “venereal”.

Hermes (Mercury)

God of travel, commerce and communication, Messenger of the Gods. The Roman equivalent is Mercury. Attributes are winged sandals, hat with wings, and the caduceus, a rod with two entwined serpents. His father is Zeus.

Peter Paul Rubens (workshop), “Mercury” (c.1637), 180x69cm, Museo del Prado, Madrid.

Hermes (Greek Ἑρμῆς, Latin Mercury) is the god who spends as much time among mortals as he does on Olympus: he’s the divine messenger and emissary. Attributes associated with that role include winged sandals, a distinctive staff with a pair of serpents around it, known as a caduceus, and a hat or helmet which bears wings too. The pair of entwined serpents along the caduceus indicates his swiftness as a messenger. This is where the word “mercurial” comes from. There’s also a touch of mischief about Hermes, which has resulted in him being referred to as the divine trickster. He’s thus seen as the protector of all messengers, travellers, thieves, merchants and orators. On the Prado painting we can see the wings around his feet and on his head, and the two snakes around the rod; and of course the male beauty of Hermes himself.

Dionysus (Bacchus)

God of Wine. The Roman equivalent is Bacchus. As God of Wine he can of course be recognised by the grapevine and a cup. Dionysus is the youngest son of Zeus.

Michelangelo Merisi, known as Caravaggio (1571 – 1610), “Bacchus” (c.1598), 95x85cm, Le Gallerie degli Uffizi, Florence.

As the god of grape harvest, wine and its making and consumption, Dionysus (Greek Διόνυσος, Latin Bacchus) was an easy favourite among Olympians and mortals alike. Dionysus was the only Olympian to be born of a mortal mother, and perhaps that was part of the reason why he spent so much time among mortal men, traveling widely and gifting them with wine. Like on the Caravaggio painting here, he is almost always associated with wine and drunkenness. His most distinctive attributes are grapes, wine leaves and of course a glass of wine. His name lives on in the word “bacchanal”.