Word of the Day

Gigantomachy, n. /jī’gan’to-ma’kē/ - In classic mythology, a war of giants; specifically, the fabulous war of the giants against heaven.

       Source: Webster’s Unabridged New Twentieth Century Dictionary, 1956

Cake Bake Betty

March is Women’s History Month! In honor of lovely ladies, I’m posting solely female musicians this month.

  • Artist: Cake Bake Betty
  • Song: “Gigantomachy”
  • 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.

You can follow her tumblr here.

anonymous asked:

Hello, so i just have a question about why we call it mythology. Example is we call it greek mythology. Well how do we know the gods are not real? Why call it a myth instead of an actual religion? My knowledge on any mythology is slim but i am just wondering. Not intending any of this to come off rude.

That’s a super interesting question and one that I love partially because of the complexities surrounding it, but also just because words and their connotations are fascinating. So, from the digging I’ve done in the past and now, mythology has two definitions: it can refer to collections of myths or it can refer to the study of myths.

Now, to define myths clearly, they mean traditional stories that explain a particular phenomenon, and that’s often quite clear. Take almost any myth and it will end up explaining something: Arachne explains the creation of spiders, Leuce of the polar tree, the Titanomachy and Gigantomachy explain the presence of the gods. However, apparently in Greek times, mythos meant basically any tale or narrative, true or not.

Now that we have that clear, if we look at religion, religion is a system of faith that is practiced and involves a belief in a God or gods (though then Buddhism gets murky so we really just define it as a system of faith). Now, myth and religion can be one and the same - the book of Genesis can be considered a myth: large parts of it are explaining phenomena, of how the world came to be and the like. Similarly, those who are Hellenistic polytheistic follow it as a religion, and their knowledge of their gods come from the myths. However, the parts of the bible that don’t explain things are not myths, but are probably called something else (no idea what though).

So, essentially, in its sense, calling something a myth does not mean we presume it is not real, but rather that it is a story being used to explain something. You may very well base your religion off of myths, and many do - Hinduism is perhaps the most notable example of a religion that uses myths for the foundation of the religion. They are not necessarily disconnected.

I’m presuming that this distinction between mythology and religion came from when pagan religions were considered sacrilegious and unholy. What better way to stamp out a religion than to label it a ‘myth’ or something that is believed to be true, but isn’t (another definition of myth)? If you talked to many religious people and called one of the parts of their holy book, at least some would be offended due to the ‘negative’ connotations we have surrounding that word. For some reason we can label other people’s beliefs as make-believe but not our own. Funny that.

tl;dr Hellenistic polytheism is the religion, the myths are the stories. The Bible, Quran, and Tanach (to name a few major religions) too have myths, but I doubt people would be happy for you to call them that. I have noticed on tumblr (myself included) like to call edits around the bible ‘biblical mythology’, which I don’t know if you’ve noticed. Not always accurate, though you could say it is because we’re ‘studying’ it by making… aesthetic edits of it… we’re kind of studying it. Kind of.

I hope that cleared up somethings, though remember this is both theory and fact.

some lame af sources: x x x x x

P.S. I can’t find this website that I visited that said myth is what is considered untrue and religion is what is considered true, but I find that debatable especially considering: a) many polytheistic religions’ stories are considered myth and people who believe in them think they are (duh) true and b) that’s more on connotations we have built up


[FAVORITE WORKS IN ART HISTORY] The Altar of Zeus at Pergamon

Unknown artist. White marble. Pergamon Museum. Berlin, Germany. Reconstructed west front of the Altar of Zeus. Featuring a 70 foot long staircase and peristyle colonnade in the Ionic order. The Altar’s formidable size does not take away from it’s extreme attention to detail. Following the trends of the Hellenistic period, dramatic expressions and extreme naturalism is seen in the high relief narrative frieze wrapping around the entire building. The frieze depicts the Gigantomachy to symbolically allude to the Greek Victory over the Gauls. 

anonymous asked:

So there was a football ad in the tv that said "GIANTS VS IMMORTALS" and i screamed IS THAT THE GIGANTOMACHY and laughed a lot completely alone. My family is still staring. Rip.

omg but what if tv was around then and it literally was the gigantomachy



Hekate’s precise nature has been chewed over and contorted since antiquity, when mortals first looked up at the new moon and felt a shiver lick down their spines as dogs howled at the dark. She is, for all intents and purposes, a liminal thing; intrinsically ambivalent, occupying the fringes of Greek polytheism more than it’s nexus. Like so many of the antique deities, Hekate is more celestial matter than organic; cosmic darkness and divine magic given skin by a goddess of nocturnal oracles and falling stars and her dog-star god of destruction husband. In the end her father was sealed in the depths of Tartarus like all the rest and her mother became an island that Zeus’ lust sent tumbling into the sea. Only Hekate then, favored by the new Lord of Olympus; she who slew Clytius during the Gigantomachy. Hekate, who led Demeter through the night to find her abducted daughter Persephone and later ministered to the young queen in how to love the dark. This was second nature, it’s what she did; arcane patroness of the moonless night whose shrine was placed before doorways and crossroads to protect against malignant spirits. Divorced from her own parents as she was, Hekate wouldn’t understand what family meant until the first time she wrapped her white arms around a mortal girl and exhaled power into her like wine from carafe to cup. The first sorceress, the first of many women who would enter her service and work her magic; her great and terrible daughters. 

Her nature has always been mutable, fluid and consequently continued to transcend the geographic boundaries of her origin, even after the proclamation in Rome of the Christian Faith began a tradition of shallow graves and high pyres for her worshipers. The new world rolled in and the Grecian pantheon faded into disuse, but humanity has never fully relinquished their fascination with the occult and Hekate would feel a delicious little surge of power every time her name was sang by pagan women dancing in secret across the terrified grass or when The Bard trotted her likeness out onto the Round to misguide the ambitious Macbeth. The explosion of New Age spiritualism in the 1970s brought her roaring back into popular consciousness after decades of the modern era’s devotion to rhyme and reason had dulled superstition. She moved across the globe, lingering in places for years and setting up shops and spawning covens as she went; pagan rituals in Lancashire’s lush countryside, New Orleans and it’s french quarter all pregnant with foreign arcanum, New York with it’s trendy vegan wiccans. Its a wide new world of crossroads and phantoms and neon sign psychics around every bend. ■



King of the Thracian giants who was known to be immortal as long as he stayed with the confines of his homeland, Pallene. He was the son of Gaia, formed from the blood of the castrated Ouranos, although one myth believes he may have been the son of Tartarus.

During the Gigantomachy, he fought against Dionysus for the hand of Artemis but could not defeat the Olympian even with the mountains he wielded as weapons. 

Another myth stated that he fought against Athena with his large pair of wings. His downfall would come when, upon meeting the legendary Heracles, he crushed twelve of the hero’s wagons and slew twenty-four of Heracles’s men with a large slab of stone. With his club and a volley of arrows, Heracles deflected the slab and wounded Alcyoneus. With the advice of Athena, Heracles dragged the giant away from Pallene where he finally died.

There is also a possibility that Heracles injured Alcyoneus whilst he was sleeping.

After his death, his daughters, the Alkyonides, threw themselves into the sea, whereupon Amphitrite turned them into kingfishers, also known to the Greeks as Halcyons.

He may have also been the giant, Eurymedon whose daughter was Periboea. At some point, he brought doom upon himself and his people.

S H E W O L F ; a dahlia hawthorne mix - [listen]

look out young son grand ole party || guillotine yadi || ipswich georgi kay || blood on my hands danielle parente || goat shepherd mirah || beggin for thread BANKS || mz. hyde (piano cover) cherrychu || pretty little head eliza rickman || shoot the water austra || heart killer gossling || up in flames sam tinnesz ft. maggie eckford || poison cocorosie || yellow flicker beat (cover) maddi jane || empire alpines || the snake shivaree || get away with murder (cover) the difference || gigantomachy cake bake betty || the moon asked the crow cocorosie || special death mirah || visitation of the ghost the brobecks || the devil within digital daggers || the rest for the wicked the sohodolls || black eyes radical face || host alex winston || tristan patrick wolf || wow and flutter april smith and the great picture show || (if) you want trouble nick waterhouse || just desserts marina & the diamonds ft. charli xcx

Roman Intaglio of an Anguiped Giant, 1st Century BC/AD

In Greek mythology, the Giants (or Gigantes) were a race of great strength and aggression, though not necessarily of great size, known for the Gigantomachy, their battle with the Olympian gods. According to Hesiod, the Giants were the offspring of Gaia (Earth), born from the blood that fell when Uranus (Sky) was castrated by their Titan son Cronus.

Archaic and Classical representations show Giants as man-sized hoplites (heavily-armed ancient Greek foot soldiers) fully human in form. Later representations (after c. 380 BC) show Giants as anguipedes, having snakes for legs. In later traditions, the Giants were often confused with other opponents of the Olympians, particularly the Titans, an earlier generation of large and powerful children of Gaia and Uranus.

The vanquished Giants were said to be buried under volcanoes, and to be the cause of volcanic eruptions and earthquakes.


Cocytus or Kokytos, meaning “the river of wailing” (from the Greek Κωκυτός, “lamentation”), is a river in the underworld in Greek mythology. Cocytus flows into the river Acheron, across which is the underworld, the mythological abode of the dead. There are five rivers encircling Hades. The River Styx is perhaps the most famous; the other rivers are Phlegethon, Lethe, and Acheron.The Cocytus river was one of the rivers that surrounded Hades. Cocytus, along with the other rivers related to the underworld, was a common topic for ancient authors. Of the ancient authors, Cocytus was mentioned by Vergil, Homer, Cicero, Aeschylus and Plato, among others. Cocytus also makes an appearance in John Milton’s epic poem Paradise Lost. In Book Two, Milton speaks of “Cocytus, named of lamentation loud / Heard on the rueful stream”. It is also mentioned in William Shakespeare’s Titus Andronicus and in Rick Riordan’s The House of Hades. In Inferno, the first cantica of Dante’s Divine Comedy, Cocytus is the ninth and lowest circle of The Underworld. Dante and Virgil are placed there by the giant Antaeus. There are other Giants around the rim that are chained; however Antaeus is unchained as he died before the Gigantomachy. Cocytus is referred to as a frozen lake rather than a river, although it originates from the same source as the other infernal rivers, the tears of a statue called The Old Man of Crete which represents the sins of humanity. Dante describes Cocytus as being the home of traitors and those who committed acts of complex fraud. Depending on the form of their treachery, victims are buried in ice to a varying degree, anywhere from neck-high to completely submerged in ice. [source]

Roman Luna on a Globe Statuette, 2nd-3rd Century AD

Luna was the personification of the moon, equivalent to Greek Selene, often shown as an aspect of the Roman triple goddess (diva triformis), along with Proserpina and Hecate. Her billowing robes represent the endless forward motion of the goddess in her celestial chariot, while the silver detailing of the figure evokes moonlight.  Her chief temple was on the Aventine Hill in Rome.

Her Greek name means “light’ or radiance” and she was the daughter of the Titans Hyperion and Theia, and sister to Helios, the sun god, and Eos, goddess of the dawn. Several lovers are attributed to her in various myths, including Zeus, Pan, and the mortal Endymion. In classical times, Selene was often identified with Artemis, much as her brother, Helios, was identified with Apollo. The poet Aeschylus calls Selene “the eye of the night” and other ancient literary references describe her the “bright and beautiful haired.” The Orphic Hymns give Selene horns and a torch, describing her as “all-seeing”, “all-wise”, a lover of horses and of vigilance, and a “foe of strife” who “gives to Nature’s works their destined end”. Paired with her brother Helios, Selene adorned the east pediment of the Parthenon, where the two framed a scene depicting the birth of Athena, with Helios driving his chariot rising from the ocean on the left, and Selene and her chariot descending into the sea on the right.

From Pausanias, we learn that Selene and Helios also framed the birth of Aphrodite on the base of the Statue of Zeus at Olympia. There are indications of a similar framing by Selene and Helios of the birth of Pandora on the base of the Athena Parthenos. Selene also appears on horseback as part of the Gigantomachy frieze of the Pergamon Altar. Due to her association with the moon she was the tutelary deity of magicians and sorcerers.


Pallas Athena

In Greek mythology, Athena was the goddess of wisdom and war. She was born when her father Zeus, scared that his children would overthrow him, swallowed his wife, the titan Metis. Metis would give birth inside Zeus’s body, giving him a terrible headache until the axe of Hephaestus split his head in half, releasing the fully formed Athena, who was already clad in armour.

She gained the name Pallas in various differing tales. In one, a nymph named Pallas was the daughter of Triton and was Athena’s childhood friend or adopted sister. The duo practiced the art of war together but one day began a heavy dispute, where Pallas gained the upper hand. Just as she was about to kill Athena, Zeus appeared and held forth the Aegis, distracting Pallas and letting Athena fatally wound her. Athena was so distraught by this however, she took the name Pallas so that she would never forget what had happened.

In another tale, Athena was the daughter of the giant Pallas, who tried to rape her, whereupon she flayed him alive and used his skin to fashion the Aegis. Yet another story says that he was not related to Athena at all, but was her enemy during the Gigantomachy, where he met the same fate.

Like her fellow Olympians, Artemis and Hestia, Athena had taken a vow of chastity and was known as a virgin goddess. She was also responsible for turning Medusa into a vile monster and cursing Arachne into the form of a spider and fought with Poseidon for control of the then unnamed city of Athens. She had a foster son named Erichthonius, who was born from the earth when Hephaestus’s semen dripped to the ground after he tried to rape her.

One of her symbols was the wise owl and she was identified as Minerva in Roman myth.

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.