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Ketos

Ketos

In Greek mythology, Ceto, or Keto (Greek: Κητος, Ketos, "sea monster") was a hideous aquatic monster, a daughter of Gaia and Pontus. She was the personification of the dangers of the sea, unknown terrors and bizarre creatures. Eventually, the word "ceto" became simple shorthand for any sea monster. It is still used in this way. Her husband was Phorcys and they had many children, collectively known as the Phorcydes. In Greek art Ceta where drawn as a serpentine fish. Ceto also gave name to the constellation Cetus. Consorts/Children # Phorcys ## Echidna ## Gorgons ### Euryale ### Medusa ### Sthenno ## Graeae ### Deino ### Enyo ### Pemphredo ## Hesperides ### Aegle ### Arethusa ### Erytheia ### Hesperia ## Ladon ## Scylla ## Sirens ## Thoosa Category:Sea and river goddesses

Gaia (mythology)

Gaia ("land" or "earth", from the Greek ; variant spelling Gaea—see also also Ge from ) is a Greek goddess personifying the Earth.

In Greek mythology

Hesiod's Theogony (116ff) tells how, after Chaos, arose broad-breasted Gaia the everlasting foundation of the gods of Olympus. She brought forth Uranus, the starry sky, her equal, to cover her, the hills, and the fruitless deep of the Sea, Pontus, "without sweet union of love," out of her own self. But afterwards, Hesiod tells, she lay with Uranus and bore the World-Ocean Oceanus, Coeus and Crius and the Titans Hyperion and Iapetus, Theia and Rhea, Themis and Mnemosyne and Phoebe of the golden crown and lovely Tethys. "After them was born Cronos the wily, youngest and most terrible of her children, and he hated his lusty sire." Hesiod mentions Gaia's further offspring conceived with Uranus, first the giant one-eyed Cyclopes, builders of walls, later assigned individual names: Brontes ("thunderer"), Steropes ("lightning") and the "bright" Arges: "Strength and might and craft were in their works." Then he adds the three terrible hundred-handed sons of Earth and Heaven, the Hecatonchires: Cottus and Briareos and Gyges, each with fifty heads. Uranus hid the Hecatonchires and the Cyclopes in Tartarus so that they would not see the light, rejoicing in this evil doing. This caused pain to Gaia (Tartarus was her bowels) so she created grey flint (or adamantine) and shaped a great flint sickle, gathering together Cronus and his brothers to ask them to obey her. Only Cronos, the youngest, had the daring to take the flint sickle she made, and castrate his father as he approached Gaia to have intercourse with her. And from the drops of blood and semen, Gaia brought forth still more progeny, the strong Erinyes and the armoured Gigantes and the ash-tree Nymphs called the Meliae. From the testicles of Uranus in the sea came forth Aphrodite. For this, a Greek etymologist urged, Uranus called his sons "Titans," meaning "strainers" for they strained and did presumptuously a fearful deed, for which vengeance would come afterwards; for, as Uranus had been deposed by his son Cronus, so was Cronus destined to be overthrown by Zeus, the son born to him by his sister-wife Rhea. In the meantime, the Titans released the Cyclopes from Tartarus, and Cronus was awarded the kingship among them, beginning a Golden Age. After Uranus' castration, Gaia gave birth to Echidna and Typhon by Tartarus. By Pontus, Gaia birthed the sea-deities Nereus, Thaumas, Phorcys, Ceto and Eurybia. Zeus hid Elara, one of his lovers, from Hera by hiding her under the earth. His son by Elara, the giant Tityas, is therefore sometimes said to be a son of Gaia, the earth goddess, and Elara. Gaia also made Aristaeus immortal. Gaia is believed by some sources (Joseph Fontenrose 1959 and others) to be the original deity behind the Oracle at Delphi. She passed her powers on to, depending on the source, Poseidon, Apollo or Themis. Apollo is the best-known as the oracle power behind Delphi, long established by the time of Homer, having killed Gaia's child Python there and usurped the chthonicpower. Hera punished Apollo for this by sending him to King Admetus as a shepherd for nine years.

Gaia in Neopaganism

Many modern Neopagans, particularly Hellenistic Neopagan sects in the United States, actively worship Gaia. Beliefs regarding Gaia vary, ranging from the common Wiccan belief that Gaia is the Earth (or in some cases the spiritual embodiment of the earth, or the Goddess of the Earth), to the broader Neopagan belief that Gaia is the goddess of all creation, a Mother Goddess from which all other gods spring. Gaia is sometimes thought to embody the planets and the Earth, and sometimes thought to embody the entire universe. Worship of Gaia is varied, ranging from prostration to druidic ritual. Unlike Zeus, a roving nomad god of the open sky, Gaia was manifest in enclosed spaces: the house, the courtyard, the womb, the cave. Her sacred animals are the serpent, the lunar bull, the pig, and bees. In her hand the narcotic poppy may be transmuted to a pomegranate. Some who worship Gaia attempt to get closer to Mother Earth by becoming unconcerned with material things and more in tune with nature. Others who worship Gaia recognize Gaia as a great goddess and practice rituals commonly associated with other forms of worship. Many sects worship Gaia, even more than worship Themis, Artemis, and Hera. Some common forms of worship may include prostration, attempting to reach a greater connection to the earth, shamanistic practices, tithing, praising and praying, creating inspired works of art dedicated to the goddess, burning oils and incense, rearing plants and gardens, the creation and maintaining of Sacred Groves, and burning bread or spilling drink as offerings. Other forms of worship may indeed be common, as worship of Gaia is very broad and can take many forms.

Family tree

- Parthenogenesis
- Uranus
- Pontus
- With Elara
- Tityas
- With Oceanus
- Creusa
- Spercheus
- With Pontus
- Ceto
- Eurybia
- Phorcys
- Nereus
- Thaumas
- With Poseidon
- Antaeus
- Charybdis
- With Tartarus
- Echidna
- Typhon
- With Uranus
- Cyclopes
- Arges
- Brontes
- Steropes
- Hecatonchires
- Briareus
- Cottus
- Gyes
- Titans
- Coeus
- Crius
- Cronus
- Hyperion
- Iapetus
- Mnemosyne
- Oceanus
- Phoebe
- Rhea
- Tethys
- Theia
- Themis
- With Hephaestus
- Erichthonius of Athens
- Unknown father
- Mimas
- Pheme
- Python

Interpretations

Some sources, such as authors Marijas Gimbutas and Barbara Walker, claim that Gaia as the Mother Earth is a later form of a pre-Indo-European Great Mother who had been venerated in Neolithic times, but this point is controversial in the academic community. Belief in a nurturing Earth Mother is a feature of modern Neopagan "Goddess" worship, which is typically linked by practitioners of this religion to the Neolithic goddess theory. For more information, see the article Goddess. Hesiod's separation of Rhea from Gaia was not rigorously followed, even by the Greek mythographers themselves. Modern mythographers like Karl Kerenyi or Carl A. P. Ruck and Danny Staples, as well as an earlier generation influenced by Frazer's The Golden Bough, interpret the goddesses Demeter the "mother," Persephone the "daughter" and Hecate the "crone," as understood by the Greeks, to be three aspects of a former Great Goddess, who could be identified as Rhea or as Gaia herself. In Anatolia (modern Turkey), Rhea was known as Cybele. The Greeks never forgot that the Mountain Mother's ancient home was Crete, where a figure some identified with Gaia had been worshipped as Potnia Theron (the "Mistress of the Animals") or simply Potnia ("Mistress"), an appellation that could be applied in later Greek texts to Demeter, Artemis or Athena. In Rome the imported goddess Cybele was venerated as Magna Mater, the "Great Mother" and identified with Roman Ceres, the grain goddess who was an approximate counterpart of Greek Demeter, but with differing aspects and venerated with a different cult.

In other cultures

The idea that the fertile earth itself is female, nurturing mankind, was not limited to the Mediterranean. In Norse mythology the Great Mother, the mother of Thor himself, was known as Jord, Hlódyn, or Fjörgyn. In Lithuanian mythology Gaia - Žemė is daughter of Sun and Moon. Also she is wife of Dangus (Varuna). In Pacific cultures, the Earth Mother was known under as many names and with as many attributes as cultures who revered her for example Maori whose creation myth included Papatuanuku, partner to Ranginui - the Sky Father. In South America in the Andes a cult of the Pachamama still survives (in regions of Bolivia, Peru, Ecuador, Argentina and Chile). The name comes from Pacha (Quechua for change, epoch) and Mama (mother). While ancient mexican cultures referred to mother earth as Tonantzin Tlalli that means "Revered Mother Earth". In Indian religions, the Mother of all creation is called "Gayatri", a surprisingly close form of Gaia.

In modern ecological theory

The mythological name was revived in 1969 by James Lovelock for his Gaia hypothesis, which was later developed by Lynn Margulis into a Gaia theory. The hypothesis proposes that living organisms and inorganic material are part of a dynamic system that shapes the Earth's biosphere. Earth itself is viewed as an organism with self-regulatory functions.

In popular culture

The theme behind the movie Final Fantasy: The Spirits Within adapts Lovelock's philosophy of Gaia, which is also embraced within parts of the New Age movement, and by some environmentalists. In the game Werewolf: The Apocalypse, werewolves are supposed to be Gaia's weapons against the Wyrm, a representation of ecological destruction. The cartoon series Captain Planet and the Planeteers features a personification of Gaia, whose well-being is dependent on the state of the environment worldwide. The game Illusion of Gaia features a large statue-esque entity named Gaia, who guides the hero through the game to save the Earth. The game, as well as its sequel, Terranigma, also feature an enemy named Dark Gaia, an evil opposite to Gaia.

References

- Joseph Fontenrose, Python: A Study of Delphic Myth and its Origins, Berkeley: University of California Press, 1959; reprint 1980
- Karl Kerenyi, The Gods of the Greeks 1951
- Carl A.P. Ruck and Danny Staples, The World of Classical Myth, 1994.

External links

- [http://www.marvunapp.com/Appendix/gaeathor.htm Gaea], a profile of her version in the Marvel Universe Category:Greek goddesses Category:Nature goddesses ja:ガイア

Phorcys

In Greek mythology, Phorcys, or Phorkys was a primeval sea god, son of Pontus and Gaia. His wife was Ceto and together they had many children, all hideous monsters (except for the Hesperides) collectively known as the Phorcydes. Consorts/Children # Ceto ## Echidna ## Gorgons ### Euryale ### Medusa ### Sthenno ## Graeae ### Deino ### Enyo ### Pemphredo ## Hesperides ### Aegle ### Arethusa ### Erytheia ### Hesperia ## Ladon ## Scylla ## Sirens ## Thoosa ----- Also in Greek mythology, Phorcys was the name of a Phrygian leader during the Trojan War. Ajax killed him. Category:Greek gods Category:People who fought in the Trojan War Category:Sea and river gods

Phorcydes

In Greek mythology the Phorcydes were the children of Phorcys and Ceto and include the Hesperides, the Graeae, the Gorgons, Scylla and Charybdis and other nymphs and monsters, mostly associated with the sea. Category:Greek mythology

Greek Art

The art of ancient Greece has exercised an enormous influence on the culture of many countries from ancient times until the present, particularly in the areas of sculpture and architecture. In the West, the art of the Roman Empire was largely derived from Greek models. In the East, Alexander the Great's conquests initiated several centuries of exchange between Greek, Central Asian and Indian cultures, resulting in Greco-Buddhist art, with ramifications as far as Japan. Following the Renaissance in Europe, the humanist aesthetic and the high technical standards of Greek art inspired generations of European artists. Well into the 19th century, the classical tradition derived from Greece dominated the art of the western world.

Definitions

Art historians generally define Ancient Greek art as the art produced in the Greek-speaking world from about 1000 BC to about 100 BC. They generally exclude the art of the Mycenaean and Minoan civilisations, which flourished from about 1500 to about 1200 BC. Despite the fact that these were Greek-speaking cultures, there is little or no continuity between the art of these civilisations and later Greek art. At the other end of the time-scale, art historians generally hold that Ancient Greek art as a distinct culture ended with the establishment of Roman rule over the Greek-speaking world in about 100 BC. After this date they argue, Greco-Roman art, though often impressive in scale, was largely derivative of earlier Greek models, and declined steadily in quality until the advent of Christianity brought the classical tradition to an end in the 5th century AD. (For the later periods, see Roman art and Byzantine art). There is also a question relating to the word "art" in Ancient Greece. The Ancient Greek word τεχνη tekhnê, which is commonly translated as "art," more accurately means "skill" or "craftsmanship" (the English word "technique" derives from it). Greek painters and sculptors were craftsmen who learned their trade as apprentices, often being apprenticed to their fathers, and who were then hired by wealthy patrons. Although some became well-known and much admired, they were not in the same social position as poets or dramatists. It was not until the Hellenistic period (after about 320 BC) that "the artist" as a social category began to be recognised.

Styles/periods

The art of Ancient Greece is usually divided stylistically into three periods: the Archaic, the Classical and the Hellenistic. As noted above, the Archaic age is usually dated from about 1000 BC, although in reality little is known about art in Greece during the preceding 200 years (traditionally known as the Dark Ages). The onset of the Persian Wars (480 BC to 448 BC) is usually taken as the dividing line between the Archaic and the Classical periods, and the reign of Alexander the Great (336 BC to 323 BC) is taken as separating the Classical from the Hellenistic periods. In reality, there was no sharp transition from one period to another. Forms of art developed at different speeds in different parts of the Greek world, and as in any age some artists worked in more innovative styles than others. Strong local traditions, conservative in character, and the requirements of local cults, enable historians to locate the origins even of displaced works of art.

Surviving remnants and artifacts

cult.]] Ancient Greek art has survived most successfully in the forms of sculpture and architecture, as well as in such minor arts as coin design, pottery and gem engraving. From the Archaic period a great deal of painted pottery survives, but these remnants give a misleading impression of the range of Greek artistic expression. The Greeks, like most European cultures, regarded painting as the highest form of art. The painter Polygnotus of Thasos, who worked in the mid 5th century BC, was regarded by later Greeks in much the same way that people today regard Leonardo or Michelangelo, and his works were still being admired 600 years after his death. Today none of his works survives, not even as copies. Greek painters worked mainly on wooden panels, and these perished rapidly after the 4th century AD, when they were no longer actively protected. Today nothing survives of Greek painting, except some examples of painted terra cotta and a few paintings on the walls of tombs, mostly in Macedonia and Italy. Of the masterpieces of Greek painting we have only a few copies from Roman times, and most are of inferior quality. Painting on pottery, of which a great deal survives, gives some sense of the aesthetics of Greek painting. The techniques involved, however, were very different from those used in large-format painting. Even in the fields of sculpture and architecture, only a fragment of the total output of Greek artists survives. For the Christians of the 4th and 5th centuries, smashing a pagan idol was an act of piety. One of the sad facts of ancient history is that when marble is burned, lime is produced, and that was also the fate of the great bulk of Greek marble statuary during the Middle Ages. Likewise, the acute shortage of metal during the Middle Ages led to the majority of Greek bronze statues being melted down. Those statues which had survived did so primarily because they had been buried and forgotten, or as in the case of bronzes having been lost at sea. The great majority of Greek buildings have not survived : they were either pillaged in war, looted for building materials or destroyed in Greece’s many earthquakes. Only a handful of temples, such as the Parthenon and the Temple of Hephaestus in Athens, have been spared. Of the four Wonders of the World created by the Greeks — the Statue of Zeus at Olympia, the Temple of Artemis at Ephesus, the Colossus of Rhodes and Lighthouse of Alexandria) — nothing whatever survives. As for the Archaic period of Greek art, painted pottery and sculpture are almost the only forms of art which have survived in any quantity. Painting was in its infancy during this period, and no examples of it have survived. Although coins were invented in the mid 7th century BC, they were not common in most of Greece until the 5th century.

Pottery

7th century BC The Ancient Greeks made pottery for everyday use, not for display; the trophies won at games, such as the Panathenaic amphorae (wine decanters), are the exception. Most surviving pottery consists of drinking vessels such as amphorae, kraters (bowls for mixing wine and water), hydria (water jars), libation bowls, jugs and cups. Painted funeral urns have also been found. Miniatures were also produced in large numbers, mainly for use as offerings at temples. In the Hellenistic period a wider range of pottery was produced, but most of it is of little artistic importance. In earlier periods even quite small Greek cities produced pottery for their own locale. These varied widely in style and standards. Distinctive pottery that ranks as art was produced on some of the Aegean islands, in Crete, and in the wealthy Greek colonies of southern Italy and Sicily. By the later Archaic and early Classical period, however, the two great commercial powers, Corinth and Athens, came to dominate. Their pottery was exported all over the Greek world, driving out the local varieties. Pots from Corinth and Athens are found as far afield as Spain and Ukraine, and are so common in Italy that they were first collected in the 18th century as "Etruscan vases". Many of these pots are mass-produced products of low quality. In fact, by the 5th century BC, pottery had become an industry and pottery painting ceased to be an important art form. The history of Ancient Greek pottery is divided stylistically into periods:
- the Protogeometric from about 1050 BC;
- the Geometric from about 900 BC;
- the Late Geometric or Archaic from about 750 BC;
- the Black Figure from the early 7th century BC;
- and the Red Figure from about 530 BC. The range of colours which could be used on pots was restricted by the technology of firing: black, white, red, and yellow were the most common. In the three earlier periods, the pots were left their natural light colour, and were decorated with slip that turned black in the kiln. 530 BC by Euerdiges (circa 500 BC) in the British Museum, London.]] The fully mature black-figure technique, with added red and white details and incising for outlines and details, originated in Corinth during the early 7th century BC and was introduced into Attica about a generation later; it flourished until the end of the 6th century BC. The red-figure technique, invented in about 530 BC, reversed this tradition, with the pots being painted black and the figures painted in red. Red-figure vases slowly replaced the black-figure style. Sometimes larger vessels were engraved as well as painted. . During the Protogeometric and Geometric periods, Greek pottery was decorated with abstract designs. In later periods, as the aesthetic shifted and the technical proficiency of potters improved, decorations took the form of human figures, usually representing the gods or the heroes of Greek history and mythology. Battle and hunting scenes were also popular, since they allowed the depiction of the horse, which the Greeks held in high esteem. In later periods erotic themes, both heterosexual and male homosexual, became common. Greek pottery is frequently signed, sometimes by the potter or the master of the pottery, but only occasionally by the painter. Hundreds of painters are, however, identifiable by their artistic personalities: where their signatures haven't survived they are named for their subject choices, as "the Achilles Painter", by the potter they worked for, such as the Late Archaic "Kleophrades Painter", or even by their modern locations, such as the Late Archaic "Berlin Painter".

Sculpture

homosexual Sculpture is by far the most important surviving form of Ancient Greek art, although only a small fragment of Greek sculptural output has survived. Greek sculpture, often in the form of Roman copies, was immensely influential during the Italian Renaissance, and remained the “classic” model for European sculpture until the advent of modernism in the late 19th century. The Greeks decided at a very early period that the human form was the most important subject for artistic endeavour. Since they saw their gods as having human form, there was no distinction between the sacred and the secular in art — the human body was both secular and sacred. A male nude could just as easily be Apollo or Herakles or that year's current Olympic boxing champion. In the Archaic Period the most important sculptural form was the kouros (plural kouroi), the standing male nude (See for example Biton and Kleobis). The kore (plural korai), or standing female figure, was also common, but since Greek society did not permit the public display of female nudity until the 4th century BC, the kore is considered to be of less importance in the development of sculpture. As with pottery, the Greeks did not produce sculpture merely for artistic display. Statues were commissioned either by aristocratic individuals or by the state, and used for public memorials, as offerings to temples, oracles and sanctuaries (as is frequently shown by inscriptions on the statues), or as markers for graves. In the Archaic period, statues were never intended to be representations of actual individuals. They were depictions of an ideal — beauty, piety, honour or sacrifice. They were always depictions of young men, ranging in age from adolescence to early maturity, even when placed on the graves of (presumably) elderly citizens. Kouroi were all stylistically similar. Gradations in the social importance of the person commissioning the statue were indicated by size rather than artistic innovation. oracle In the Classical period there was a revolution in Greek statuary, usually associated with the introduction of democracy and the end of the aristocratic culture associated with the kouroi. The Classical period saw changes in both the style and function of sculpture. Poses became more naturalistic (see the Charioteer of Delphi for an example of the transition to more naturalistic sculpture), and the technical skill of Greek sculptors in depicting the human form in a variety of poses greatly increased. From about 500 BC statues began to depict real people. The statues of Harmodius and Aristogeiton set up in Athens to mark the overthrow of the tyranny were said to be the first public monuments to actual people. In this period, statuary was put to wider uses. The great public buildings of the Classical era, such as the Parthenon in Athens, created the need for decorative statuary, particularly to fill the triangular fields of the pediments: a difficult aesthetic and technical challenge that did much to stimulate sculptural innovation. Unfortunately such sculptures survive only in fragments, the most famous of which are the Parthenon Marbles, now mostly in the British Museum. British Museum Funeral statuary evolved during this period from the rigid and impersonal kouros of the Archaic period to the highly personal family groups of the Classical period. These monuments are commonly found in the suburbs of Athens, which in ancient times were cemeteries on the outskirts of the city. Although some of them depict "ideal" types — the mourning mother, the dutiful son — they increasingly depicted real people, typically showing the departed talking his dignified leave from his family. They are among the most intimate and affecting remains of the Ancient Greeks. In the Classical period for the first time we know the names of individual sculptors. Phidias oversaw the design and building of the Parthenon. Praxiteles made the female nude respectable for the first time in the Late Classical period (mid 4th century): his Aphrodite of Knidos, which survives in copies, was said by Pliny to be the greatest statue in the world. The greatest works of the Classical period, the Statue of Zeus at Olympia and the Statue of Athena Parthenos (both executed by Phidias or under his direction), are lost, although smaller copies and good descriptions of both still exist. Their size and magnificence prompted emperors to seize them in the Byzantine period, and both were removed to Constantinople, where they were later destroyed in fires.

Constantinople

The transition from the Classical to the Hellenistic period occurred during the 4th century. Following the conquests of Alexander the Great (336 BC to 323 BC), Greek culture spread as far as India, as revealed by the excavations of Ai-Khanoum in eastern Afghanistan, and the civilization of the Greco-Bactrians and the Indo-Greeks. Greco-Buddhist art represented a syncretism between Greek art and the visual expression of Buddhism. Greco-Buddhist art with devotees, holding plantain leaves, in Hellenistic style, inside Corinthian columns, 1st-2nd century CE. Buner, Swat, Pakistan. Victoria and Albert Museum.]] Thus Greek art became more diverse and more influenced by the cultures of the peoples drawn into the Greek orbit. In the view of most art historians, it also declined in quality and originality; this, however, is a subjective judgement which artists and art-lovers of the time would not have shared. New centres of Greek culture, particularly in sculpture, developed in Alexandria, Antioch, Pergamum, and other cities. By the 2nd century the rising power of Rome had also absorbed much of the Greek tradition — and an increasing proportion of its products as well. During this period sculpture became more and more naturalistic. Common people, women, children, animals and domestic scenes became acceptable subjects for sculpture, which was commissioned by wealthy families for the adornment of their homes and gardens. Realistic portraits of men and women of all ages were produced, and sculptors no longer felt obliged to depict people as ideals of beauty or physical perfection. At the same time, the new Hellenistic cities springing up all over Egypt, Syria, and Anatolia required statues depicting the gods and heroes of Greece for their temples and public places. This made sculpture, like pottery, an industry, with the consequent standardisation and some lowering of quality. For these reasons many more Hellenistic statues have survived than is the case with the Classical period. Some of the best known Hellenistic sculptures are the Winged Victory of Samothrace (2nd or 1st century BC), the statue of Aphrodite from the island of Melos known as the Venus de Milo (mid 2nd century BC), the Dying Gaul (about 230 BC), and the monumental group Laocoön and his Sons (late 1st century BC). All these statues depict Classical themes, but their treatment is far more sensuous and emotional than the austere taste of the Classical period would have allowed or its technical skills permitted. Hellenistic sculpture was also marked by an increase in scale, which culminated in the Colossus of Rhodes (late 3rd century), which was the same size as the Statue of Liberty. The combined effect of earthquakes and looting have destroyed this as well as other very large works of this period.

Architecture

:Main article: Architecture of Ancient Greece Architecture of Ancient Greece Architecture (building executed to an aesthetically considered design) was extinct in Greece from the end of the Mycenaean period (about 1200 BC) until the 7th century, when urban life and prosperity recovered to a point where public building could be undertaken. But since most Greek buildings in the Archaic and Early Classical periods were made of wood or mud-brick, nothing remains of them except a few ground-plans, and there are almost no written sources on early architecture or descriptions of buildings. Most of our knowledge of Greek architecture comes from the few surviving buildings of the Classical, Hellenistic and Roman periods (since Roman architecture heavily copied Greek), and from late written sources such as Vitruvius (1st century AD). This means that there is a strong bias towards temples, the only buildings which survive in any number. The standard format of Greek public buildings is well known from surviving examples such as the Parthenon, and even more so from Roman buildings built partly on the Greek model, such as the Pantheon in Rome. The building was usually either a cube or a rectangle made from limestone, of which Greece has an abundance, and which was cut into large blocks and dressed. Marble was an expensive building material in Greece: high quality marble came only from Mt Pentelus in Attica and from a few islands such as Paros, and its transportation in large blocks was difficult. It was used mainly for sculptural decoration, not structurally, except in the very grandest buildings of the Classical period such as the Parthenon. There were two main styles (or "orders") of Greek architecture, the Doric and the Ionic. These names were used by the Greeks themselves, and reflected their belief that the styles descended from the Dorian and Ionian Greeks of the Dark Ages, but this is unlikely to be true. The Doric style was used in mainland Greece and spread from there to the Greek colonies in Italy. The Ionic style was used in the cities of Ionia (now the west coast of Turkey) and some of the Aegean islands. The Doric style was more formal and austere, the Ionic more relaxed and decorative. The more ornate Corinthian style was a later development of the Ionic. These styles are best known through the three orders of column capitals, but there are differences in most points of design and decoration between the orders. See the separate article on Classical orders. Most of the best known surviving Greek buildings, such as the Parthenon and the Temple of Hephaestus in Athens, are Doric. The Erechtheum, next to the Parthenon, however, is Ionic. The Ionic order became dominant in the Hellenistic period, since its more decorative style suited the aesthetic of the period better than the more restrained Doric. Some of the best surviving Hellenistic buildings, such as the Library of Celsus, can be seen in Turkey, at cities such as Ephesus and Pergamum. But in the greatest of Hellenistic cities, Alexandria in Egypt, almost nothing survives.

Coin design

:Main article: Greek coins Coins were invented in Lydia in the 7th century, but they were first extensively used by the Greeks, and the Greeks set the canon of coin design which has been followed ever since. Coin design today still recognisably follows patterns descended from Ancient Greece. The Greeks did not see coin design as a major art form, but the durability and abundance of coins have made them one of the most important sources of knowledge about Greek aesthetics. Greek coins are, incidentally, the only art form from the ancient Greek world which can still be bought and owned by private collectors of modest means. Greek designers began the practice of putting a profile portrait on the obverse of coins. This was initially a symbolic portrait of the patron god or goddess of the city issuing the coin: Athena for Athens, Apollo at Corinth, Demeter at Thebes and so on. Later, heads of heroes of Greek mythology were used. Greek cities in Italy such as Syracuse began to put the heads of real people on coins in the 4th century BC, and the Hellenistic kings of Egypt and Syria were soon putting their own heads on their coins. On the reverse of their coins the Greek cities often put a symbol of the city: an owl for Athens, a dolphin for Syracuse and so on. The placing of inscriptions on coins also began in Greek times. All these customs were later refined and developed by the Romans.

Cetus

Cetus (a name from Greek mythology, referring to a Whale or Sea monster, see Ceto) is a constellation of the southern sky, in the region known as the Water, near other watery constellations like Aquarius, Pisces, and Eridanus.

Notable features

This constellation's most notable star is Mira (ο Ceti), the first variable star to be discovered. Over a period of 331.65 days it can reach a maximum magnitude as high as magnitude 2.0, one of the brightest in the sky and easily visible to the unaided eye, to 10.1 and back again. Its discovery in 1596 by David Fabricius further dented the supposed unchangeability of the heavens and lent support to the Copernican revolution. Other stars in the constellation include α Ceti (Menkar); β Ceti (Deneb Kaitos), brightest in the constellation; and τ Ceti, the 17th closest star to Earth. The ecliptic passes close to the constellation boundary of Cetus, and thus planets may be in this constellation for brief periods of time. This is even more true of asteroids, whose orbits usually have a greater inclination to the ecliptic than planets. The asteroid 4 Vesta was discovered in this constellation in 1807.

Notable deep sky objects

Cetus lies far from the galactic plane, so many distant galaxies are visible, unobscured by dust from the Milky Way. Of these, the brightest is M77, a 9th-magnitude spiral galaxy near δ Ceti.

History and Mythology

This constellation has been known since antiquity. In Mesopotamia, it was identified with the primordial cosmic female principle, the sea-monster Tiamat. In Greek mythology, together with the constellations above it, of Andromeda, Cepheus, Perseus, Cassiopeia, and possibly Pegasus), this may be the source of the myth of the Boast of Cassiopeia, with which it is usually identified. In certain earlier Greek mythology, it also represented the gates (and gateposts) of the underworld (considered to be the area under the ecliptic). As such, together with other features in the Zodiac sign of Pisces (including Pisces itself, as well as prominent stars behind Cetus), it may have formed the basis of the myth of the capture of Cerberus in The Twelve Labours of Herakles.

Stars

:Stars with proper names: :
- (92/α Cet) 2.54 Menkar or Menkab [Mekab] or Monkar :
- : < منخر minxar nostril :
- : < منكب minkab shoulder :
- : < (?) منقار minqār peak (snout) :
- (16/β Cet) 2.04 Diphda [Difda al Thani] or Deneb Kaitos or Rana Secunda :
- : < الضفدع الثاني ađ̧-đ̧ifda^{c^aθ-θānī} The second frog :
- : < ذنب ðanab Tail [of Cetus] :
- (86/γ Cet) 3.47 Kaffaljidhmah [Al Kaff al Jidhma] :
- : < الكف الجذماء al-kaf al-jaðmā´ The lepered (?) hand [reaching from the Pleiades] :
- (55/ζ Cet) 3.73 Baten Kaitos :
- : < بطن baţn belly + κήτος whale :
- (31/η Cet) 3.46 Deneb Algenubi [Dheneb, Deneb] :
- : < الذنب الجنوبي að-ðanab al-janūbiyy The southern fluke :
- (8/ι Cet) 3.56 Schemali [Deneb Kaitos Shemali] :
- : < ذنب كايتوس الشمالي ðanab kāytūs aš-šamāliyy The northern fluke of Cetus :
- (91/λ Cet) (or Menkar, see α Cet) 4.71 :
- (68/ο Cet) ~2.00 Mira [Mira Ceti] or Collum Ceti – Mira variable prototype :
- : < stella mīra The wondrous star :
- (89/π Cet) Al Sadr al Ketus :
- : < صدر şadr chest + κήτος Chest of Cetus :
- (52/τ Cet) Tau Ceti 3.49 – nearby; has a circumstellar disk :
- (ψ Cet) Al Nitham :
- : < النظام an-niz̧ām The arrangement/string (of pearls/stones/stars) ::
- 17/ψ^{1^Cet} 4.77 ::
- 19/ψ^{2^Cet} 5.17 ::
- 22/ψ^{3^Cet} 5.35 ::
- 23/ψ^{4^Cet} 5.62 :Stars with Bayer designations: :: 82/δ Cet 4.08; 83/ε Cet 4.83; 45/θ Cet 3.60; 96/κ Cet 4.84 – nearby; 87/μ Cet 4.27; 78/ν Cet 4.87; 65/ξ¹ Cet 4.36; 73/ξ² Cet 4.30; 72/ρ Cet 4.88; 76/σ Cet 4.74; 53/χ Cet 4.66; 59/υ Cet 3.99 :Stars with Flamsteed designations: :: 1 Cet 6.28; 2 Cet 4.55; 3 Cet 4.99; 4 Cet 6.43; 5 Cet 6.18; 6 Cet 4.89; 7 Cet 4.44; 9/BE Cet 6.39 – variable; 10 Cet 6.16; 12 Cet 5.72; 13 Cet 5.20; 14 Cet 5.94; 15 Cet 6.64; 18 Cet 6.15; 20 Cet 4.78; 21 Cet 6.15; 25 Cet 5.40; 26 Cet 6.06; 27 Cet 6.09; 28 Cet 5.58; 29 Cet 6.44; 30 Cet 5.71; 32 Cet 6.40; 33 Cet 5.97; 34 Cet 5.93; 35 Cet 6.55; 37 Cet 5.14; 38 Cet 5.70; 39 Cet 5.42; 40 Cet 6.52; 42 Cet 5.87; 43 Cet 6.50; 44 Cet 6.21; 46 Cet 4.90; 47 Cet 5.51; 48 Cet 5.11; 49 Cet 5.62; 50 Cet 5.41; 54 Cet 5.92; 56 Cet 4.92; 57 Cet 5.43; 58 Cet 6.52; 58 Cet 8.83; 60 Cet 5.42; 61 Cet 5.96; 63 Cet 5.94; 64 Cet 5.64; 66 Cet 5.65; 67 Cet 5.51; 69 Cet 5.29; 70 Cet 5.42; 71 Cet 6.34; 75 Cet 5.36; 77 Cet 5.74; 79 Cet 6.83 – has a planet; 80 Cet 5.53; 81 Cet 5.65; 84 Cet 5.72; 85 Cet 6.32; 93 Cet 5.62; 94 Cet 5.07 – has a planet; 95 Cet 5.62; 97 Cet 5.70 :Other notable stars: :
- Luyten 726-8 – nearby ::
- UV Ceti 12.57 – flare star ::
- BL Ceti 12.70 – variable :
- YZ Ceti 12.05 – variable

External links

- [http://www.allthesky.com/constellations/cetus/ The Deep Photographic Guide to the Constellations: Cetus] ko:고래자리 ja:くじら座 th:กลุ่มดาวซีตัส

Echidna (mythology)

In the most ancient layers of Greek mythology Echidna (ekhis, meaning "she viper") was called the "Mother of All Monsters". Echidna was described by Hesiod (Theogony) as a female monster, who mothered with Typhon every major monster in the entire Greek mythos. Usually considered offspring of Uranus and Gaia, or sometimes Ceto and Phorcys or Chysaor and the naiad Callirhoe. She had the face of a beautiful woman but the body of a serpent (see also Lamia). When she and her mate, Typhon, attacked the Olympians, Zeus beat them back and punished Typhon by sealing him under Mount Etna. However, Zeus allowed Echidna and her children to live as a challenge to future heroes.

Echidna and Typhon's Offspring

The offspring of Typhon and Echidna were: # Nemean Lion # Cerberus # Ladon # Chimera # Sphinx # Lernaean Hydra According to Herodotus ((3, c. 108), Hercules had three children by her: # Agathyrsus # Gelonus # Scytha

Euryale

Euryale ("far-roaming"), in Greek mythology, was one of the immortal Gorgons, vicious female monsters with brass hands, sharp fangs and hair of living, venomous snakes. Her sister Stheno was immortal and sister Medusa was mortal. She was a daughter of Phorcys and Ceto.
- Another Euryale is mother of the hunter Orion.

Sthenno

Stheno ("forceful"), in Greek mythology, was one of the immortal Gorgons, vicious female monsters with brass hands, sharp fangs and hair of living, venomous snakes. Her sister Euryale was immortal and sister Medusa was mortal. Stheno's head was displayed when she died for all the gods to mock at. She was a daughter of Phorcys and Ceto. Category:Greek mythology

Graeae

:This article is about the characters in Greek mythology. For the British theatre company of the same name, see Graeae Theatre Company. ---- The Graeae ("old women" or "gray ones"), were three sisters, one of several trinities of archaic goddesses in Greek mythology. The Graeae were daughters of Phorcys, one aspect of the "old man of the sea," and Ceto, and thus were among the Phorcydes, all of which were archaic beings either of the sea or chthonic deities. The Graeae took the form of three grey-haired old women, though poets might give them the euphemistic designation "beautiful." Their age was so great that a childhood for them was hardly conceivable. Hesiod reports their names as Deino ("dread", the dreadful anticipation of horror), Enyo ("horror" the "waster of cities" who had an identity separate from this sisterhood) and Pemphredo ("alarm") (Theogony, 270 - 74; also Apollodorus,ii.4.2; sometimes spelled Porphredo). Like another set of crones at the oldest levels of both Germanic and Norse mythology, they had but one eye and one tooth among them. These were shared and the sisters took turns in using them. By stealing their eye while they were passing it between them, the hero Perseus forced them to tell the whereabouts of their sisters, the Gorgons, ransoming the seeing eye for the information. Alternative spellings: Graiai, Graiae, Graii. The Graeae can be compared with the three spinners of Destiny (the Moirae), the northern European Norns, or the Baltic goddess Laima and her two sisters.

External links

- [http://www.Theoi.com/Pontos/Graiai.html http://www.Theoi.com/Pontos/Graiai.html] category:Greek mythology category:Greek goddesses

Deino

External links

- [http://www.Theoi.com/Pontos/Graiai.html http://www.Theoi.com/Pontos/Graiai.html] category:Greek mythology category:Greek goddesses

Pemphredo

External links

- [http://www.Theoi.com/Pontos/Graiai.html http://www.Theoi.com/Pontos/Graiai.html] category:Greek mythology category:Greek goddesses

Aegle

In Greek mythology, there were three different people named Aegle. One belonged to the Hesperides, another to the Heliades, and the third was a Naiad occasionally considered the mother of the Charites by Helios. ---- Aegle is also a genus of southern Asian fruit trees, commonly known as the Bael tree. ---- 96 Aegle is an asteroid.

Erytheia

:For the ancient Greek city Hesperides see Benghazi. In Greek mythology, the Hesperides are nymphs who tend a blissful garden in a far west corner of the world, located, according to various sources, in the Arcadian Mountains in Greece, near the Atlas mountains in Libya, or on a distant island at the edge of the ocean. According to the Greek poet Stesichorus, in his poem the "song of Geryon", and the Greek geographer Strabo, in his book Geographika (volume III), the Hesperides are in Tartessos, a location placed to the south of Iberia (Spain). The Greek poet Hesiod said that the ancient name of Cádiz was Erytheia. Additionally, Hesperides (also called Fortunate Isles) is a name given by the ancients to a series of islands located to the extreme west of the then known world. These may have included the Canary Islands, the Madeira Islands, and Cape Verde.

The evening

According to different accounts, there were either three, four, or seven Hesperides, but they are usually numbered three, like the other Greek triads (the Three Graces and the Moirae). Among the names given to them are Aegle ("dazzling light"), Arethusa, Erytheia (or Erytheis), Hesperia (or Hespereia), Hespere (or Hespera), Hestia, and Hesperusa. They are sometimes called the Western Maidens, the Daughters of Evening, or the Sunset Goddesses, all apparently tied to their imagined location in the distant west, and Hesperis is appropriately the personification of the evening (as Eos is of the dawn) and the Evening Star is Hesperus. They are also called the African Sisters, perhaps when thought to be in Libya. In addition to their tending of the garden, they were said to have taken great pleasure in singing. They are sometimes portrayed as the evening daughters of Night (Nyx) and Darkness (Erebus), in accord with the way Eos in the farthermost east, in Colchis, is the daughter of the titan Hyperion. Or they are listed as the daughters of Atlas, or of Zeus and either Hesperius or Themis, or Phorcys and Ceto.

The Garden of the Hesperides

Ceto The Garden of the Hesperides is Hera's orchard in the west, where either a single tree or a grove of immortality-giving golden apples grew. The apples were planted from the fruited branches that Gaia gave to her as a wedding gift when Hera accepted Zeus. The Hesperides were given the task of tending to the grove, but occasionally plucked from it themselves. Not trusting them, Hera also placed in the garden a never-sleeping, hundred-headed, dragon, named Ladon, as an additional safeguard. Although Herakles was supposed to perform only ten labours, Eurystheus discounted those where he was aided or paid, and so two additional labours were given. The first of these (the eleventh overall) was to steal the apples from the garden. Heracles first caught Nereus, the shape-shifting sea god, to learn where the Garden of the Hesperides was located. In some versions of the tale, Herakles did not know where to travel, and so sought help, being directed to Prometheus to ask, and when reaching Prometheus freed him from his torture as payment. This tale is more usually found in the position of the Erymanthian Boar, since it is associated with Chiron choosing to forgoe immortality and taking Prometheus' place. In some variations, Herakles, either at the start or at the end of his task, meets Antaeus, who was invincible as long as he touched his mother, Gaia, the earth. Antaeus was killed by placing him above the earth, suspended in a tree. Occasionally, versions tell that Herakles stopped in Egypt, where King Busiris decided to make him the yearly sacrifice, but Herakles burst out of his chains. Finally making his way to the Garden of the Hesperides, Herakles tricked Atlas into retrieving some of the golden apples for him, by offering to hold the heavens for a little while (Atlas was able to take them as in this version, Atlas was the father of the Hesperides). Upon his return with the apples, Atlas decided not to take the heavens back from Heracles, but Heracles tricked him again by agreeing to take his place on condition that Atlas relieved him temporarily so that Herakles could make his cloak more comfortable. Atlas agreed, Heracles walked away. According to an alternative version, Herakles slew Ladon instead. Herakles was the only person to successfully steal the apples, although Athena later returned the apples to their rightful place, in the garden.

Origin

Directly above Libra is the constellation Ursa Minor. Ursa Minor was considered a constellation only after the 6th century BC, at which point it was thought of as a small bear. Before that time it was considered to be seven sisters, specifically, the Hesperides, who also formed the wing of the constellation Draco (although in since Roman times, the wing has been no longer thought of as part of Draco). The constellation Ursa Major lies between Ursa Minor and the ecliptic of Libra. In ancient times it was thought of as an apple tree, having its three apples, the brightest stars in its constellation, in what is now considered the bear's tail. Between Ursa Minor and Ursa Major is the constellation Draco, the dragon, which appears to be protecting both the tail stars, the apples, of Ursa Major, and sits as the front line behind which are the stars of Ursa Minor. Draco looks menacingly toward the sun when it is in Libra. Intimately associated with this group of constellations is the constellation of Boötes, which is between them and Libra. Early legends concerning the constellation of Boötes reflected the fact that parts of it are close to Polaris, the pole star, and as such, it was considered to be the man who held up the heavens, Atlas. His three sets of seven daughters were considered to be the groups of small constellations of seven stars, the Hespirides, the Hyades, and the Pleiades. Boötes appears to be heading toward Ursa Major and Ursa Minor (which is why it is also known as the Bear Watcher). The Greeks did not consider Libra as a separate constellation (considering it part of Scorpio), it is uncertain as to what took its place, but it may have been Boötes, since it is a large constellation in the approximate area. Since Boötes is not actually on the ecliptic, or part of the zodiac band, the place it should occupy in the zodiac itself is vacant, and thus the sun, when in Libra, can be said to have taken its place. The presence of the giant Antaeus in some tellings of the tale may be indicative of a second application of the constellations, namely a myth concerning Boötes, and how Boötes is not in contact with the ecliptic, though it stands as if it ought to be. Busiris, an Egyptian, is generally thought to be a corruption of the name Osiris, and his myth a corruption of the sacrifice of Osiris (a sun god) by Seth, representative of the apparent freezing of the sun's path on its ecliptic during the two weeks after the solstice (its being bound), and its near death (i.e. the solstice itself). The tale's presence, unconnected with Libra, may have originated when the connection to the Zodiac was lost, and an association was made instead with having to travel to the Atlas mountains via Africa, and hence via Egypt.

External link

- [http://www.liverpoolmuseums.org.uk/picture-of-month/displaypicture.asp?venue=7&id=137 'The Garden of the Hesperides'] in the [http://www.liverpoolmuseums.org.uk/ladylever/index.asp Lady Lever Art Gallery] Category:Nymphs Category:Twelve labours of Herakles

Hesperia

Hesperia may refer to:
- One of the Hesperides in Greek mythology
- Hesperia ("Evening land", or "Western land"), a term sometimes applied to Italy and sometimes to Spain
- Hesperia, also called Asterope, the wife or desired lover of Aesacus and daughter of the river Cebren.
- Hesperia Hotels
- Hesperia, California
- Hesperia, Michigan
- Asteroid 69 Hesperia
- Hesperia (the Branded Skippers) is a genus in the Skippers (Hesperiidae) butterfly family

Ladon

- Ladon is the hundred-headed dragon that guarded the garden of the Hesperides in Greek mythology. He is variously described as the offspring of Phorcys or of Typhon and Echidna. It was said that his heads spoke with a multitude of voices in many languages.
- Ladon is also the name of a river in Arcadia, the father of Metope (who was the wife of Asopus) and of Daphne (beloved of Apollo). Daphne is according to some rather the daughter of the river Peneus.
- Ladon is a commune in the Loiret département, in France Category:Dragons

Scylla

In Greek mythology, Scylla, or Skylla (Greek Σκύλλα) was a name shared by two characters, a female sea monster and a princess.

Sea monster

Greek mythology, depicting the Pharus of Messina and Scylla.]] Scylla is one of the two sea monsters in Greek mythology (the other being Charybdis) which lives on one side of a narrow channel of water. The two sides of the strait are within an arrow's range of each other, so close that sailors attempting to avoid Charybdis will pass too close to Scylla and vice versa. The phrase between Scylla and Charybdis has come to mean being in a state where one is between two dangers and moving away from one will cause you to be in danger from the other. Traditionally the aforementioned strait has been associated with the Strait of Messina between Italy and Sicily but more recently this theory has been challenged and the alternative location of Cape Skilla in north west Greece suggested. Scylla has the face and torso of a woman, but from her flanks grow six long necks equipped with dog heads, each of which contained three rows of sharp teeth. Her body consisted of twelve canine legs and a fish's tail. She was one of the children of Phorcys and either Hecate, Crataeis, Lamia or Ceto (where Scylla would also be known as one of the Phorcydes). Phorcydes In Homer's Odyssey, Odysseus is given advice by Circe to sail closer to Scylla, for Charybdis could drown his whole ship. Odysseus then successfully navigates his ship past Scylla and Charybdis, but Scylla manages to catch six of his men, devouring them alive. As retold by Thomas Bulfinch, Scylla was originally a beautiful nymph. She scorned her many suitors and chose to live among the Nereids instead, until one day Glaucus saw and fell in love with her. Glaucus was a mortal fisherman who had previously been transformed by chewing a plant, gaining the form of a fish from his waist down. When Glaucus declared his love to Scylla she fled, taking him for a monster. Glaucus sought the help of Circe, hoping that this witch could make Scylla to love him with her herbs, but Circe fell in love with Glaucus herself and asked him to forget Scylla. Glaucus rejected her request, declaring that his love for Scylla was eternal. Circe was enraged by Glaucus' refusal, and turned her anger on the girl whom he loved. She went and poisoned the water which Scylla used to bathe with her magical herbs. When Scylla waded into the water, the submerged half of her body was transformed into a combination of fish joined with six ferocious dogs' heads sprouting from around her waist. The dogs attacked and devoured anyone who came near, beyond her ability to control, and Scylla fled to the shore of the strait to live there alone. It is said that by the time Aeneas' fleet came through the strait after the fall of Troy, Scylla had been changed into a dangerous rock outcropping which still stands there to this day. Scylla and Charybdis are believed to have been the entities from which the term, "Between a rock and a hard place" (ie: a difficult place) originated. It has been suggested that the myth of Scylla may have been inspired by real life encounters with giant squid (which are normally dying when near the surface), and she has has some similar features to the kraken in Norse mythology and lusca in Caribbean mythology.

The princess

Scylla was a nymph, daughter of Phorcys. The fisherman-turned-sea-god Glaucus fell madly in love with her, but she fled from him onto the land where he could not follow. Dispair filled his heart. He went to the sorceress Circe to ask for a love potion to melt Scylla's heart. As he told his tale of love to Circe, she herself fell in love with him. She wooed him with her sweetest words and looks, but the sea-god would have none of her. Circe was furiously angry, but with Scylla and not with Glaucus. She prepared a vial of very powerful poison and poured it in the pool where Scylla bathed. As soon as the nymph entered the water she was transformed into a frightful monster with twelve feet and six heads, each with three rows of teeth. Below the waist her body was made up of hideous monsters, like dogs, who barked unceasingly. She stood there in utter misery, unable to move, loathing and destroying everything that came into her reach, a peril to all sailors who passed near her. Whenever a ship passed, each of her heads would seize one of the crew.

External links

- [http://www.bulfinch.org/fables/bull7.html Bulfinch's retelling of the myth of Glaucus and Scylla] category:Greek mythology Category:Mythological dogs http://www.pantheon.org/articles/s/scylla.html

Thoosa

In Greek mythology, Thoosa was a Nereid, one of Poseidon's paramours, and the mother of the Cyclops Polyphemus. Category:Nymphs

Category:Sea and river goddesses

Category:Goddesses by association Category:Sea and river deities

Wikipedia:Café/Mayo de 2005 02

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Nome da Provincia

Mares (Magdalena Medio Santandereano) ou Yariguies

Capital

Barrancabermeja

Xeografia

A provincia de Mares (Magdalena Medio Santandereano) está conformada polos municipios de:
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Ketos

Gaia (mythology)

In Greek mythology

Gaia in Neopaganism

Family tree

Interpretations

In other cultures

In modern ecological theory

In popular culture

References

External links

Phorcys

Phorcydes

Greek Art

Definitions

Styles/periods

Surviving remnants and artifacts

Pottery

Sculpture

Architecture

Coin design

See also

Cetus

Notable features

Notable deep sky objects

History and Mythology

Stars

External links

Echidna (mythology)

Echidna and Typhon's Offspring

See also

External links

Euryale

Sthenno

Graeae

External links

Deino

External links

Pemphredo

External links

Aegle

Erytheia

The evening

The Garden of the Hesperides

Origin

External link

Hesperia

Ladon

Scylla

Sea monster

The princess

External links

Thoosa

Category:Sea and river goddesses

Wikipedia:Café/Mayo de 2005 02

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Xeografia

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Capital

Xeografia