The Pergamon Altar is a monumental construction built during the reign of King Eumenes II in the first half of the 2nd century BC on one of the terraces of the acropolis of the ancient city of Pergamon in Asia Minor [ Pergamon or Pergamum (Ancient Greek: τὸ Πέργαμον, to Pergamon, or ἡ Πέργαμος) was an ancient Greek city in Aeolis, currently located 26 kilometres (16 mi) from the Aegean Sea. ] The structure is 35.64 metres wide and 33.4 metres deep; the front stairway alone is almost 20 metres wide. The base is decorated with a frieze in high relief showing the battle between the Giants and the Olympian gods known as the Gigantomachy. There is a second, smaller and less well-preserved high relief frieze on the inner court walls which surround the actual fire altar on the upper level of the structure at the top of the stairs. In a set of consecutive scenes, it depicts events from the life of Telephus, legendary founder of the city of Pergamon and son of the hero Heracles and Auge, one of Tegean king Aleus’s daughters. In 1878, the German engineer Carl Humann began official excavations on the acropolis of Pergamon, an effort that lasted until 1886. The excavation was undertaken in order to rescue the altar friezes and expose the foundation of the edifice. Later, other ancient structures on the acropolis were brought to light. Upon negotiating with the Turkish government (a participant in the excavation), it was agreed that all frieze fragments found at the time would become the property of the Berlin museums. Read More || Click pictures for more info
Poseidon, trident in hand, duels the Giant Polybotes during the Gigantomachy. Tondo of an Attic red-figure kylix, name-vase of the Painter of the Paris Gigantomachy (circle of the Brygos Painter); ca. 475-450 BCE. Found in Vulci; now in the Cabinet des Médailles, Paris.
The battle of the Gods and the Giants (the east frieze of Great Altar of Zeus at Pergamon; the battle of Zeus and Porphyrion), the first half of the 2nd century B.C. Germany, Berlin, Museum Island, Pergamon Museum
March is Women’s History Month! In honor of lovely ladies, I’m posting solely female musicians this month.
Artist: Cake Bake Betty
Album: To the Dark Tower (2008)
Cake Bake Betty is Lindsay Powell, a multi-instrumental singer-songwriter from Millstone Township, New Jersey. Her other musical projects include Festival (with her sister Lex on Language of Stone Records) and SkyBlazer (with the boys of Jeff on Infinity Cat Recordings). CBB uses piano, violins, synthesizers, and everything in-between to craft original songs which are sometimes quirky, sometimes deeply emotional, but all with an undeniable endearing quality.
Powell is now performing as Fielded, plus as the vocalist of Ga'an and one half of Festival.
The north frieze from the Siphnian Treasury, a building that housed the dedications of Siphnos to the temple of Apollo. It is considered the first building constructed wholy from marble in mainland Greece. (6th century B.C)
The frieze is depicting the much beloved subject of the Gigantomachy, the victorious battle of the gods against the giants. The victory has the symbolic meaning of order and civilization overthrowing the dark rule of savagery and anarchy.
At the top row Hera is depicted stooping for the finishing blow, while Athena is shown in offense. At the second row (possibly) the twins Apollo and Artemis shoot arrows at a group of progressing giants. At the second picture Hephaestus, Demeter and Kore (Persephone) are depicted with perhaps a following Dionysus on his panther. At the bottom row Hercules on foot and Cybele attacking a retreating giant, on a charriot driven by lions.The figures of Zeus, Ares, Hermes, Poseidon and Amphitrite are missing.
As a content creator myself I usually have one basic principle about authenticity and accuracy about works that take place within historically inspired settings. And that principle is; “if a content creator from the timeline and geography you are working with did it, then so can you”. Because you would be artistically accurate and that is pretty important in grasping what the atmosphere of your work should be. That being said there are more women doing battle in this frieze than there have ever been in all major films inspired by Ancient Greece. And obviously we are dealing with goddesses here, not mere mortals, but don’t you think that a form of heroic ethos was not demanded, or expected from women in times of need. Whether these women gathered the finances for equipping an army-or fortifying walls- whether they boosted moral with speeches and songs, whether they took part in devising plans, or deciphering messages, or man themselves the walls, and even ran to battle in aid of the male soldiers when it came to that, they have all been immortalized doing so in both literary sources and artistic representations. The politics behind the representation of women engaging in warfare are in deed time and site specific, but the worship of female deities has always been mainly the worship of women and so when we view these female deities we must keep in mind that at a large percentage this is how women worshipers wanted to see them.
A scene from the Gigantomachy: Ares and another figure (usually identified as Phobos, less often as Hermes) ride into battle in a chariot, trampling a Giant beneath them; Athena fights alongside. Side A of an Attic black-figure amphora, in the manner of the Lysippides Painter; variously dated to ca. 530 or ca. 510 BCE. Found at Vulci; now in the Staatliche Antikensammlungen, Munich.