Greco-Roman Bronze Chimera’s Foot, 2nd Century BC/AD
This impressive fragment of a foot was probably part of a monumental bronze statue of a Chimera, a most monstrous creature in Classical art. Greek mythology imagined the beast as a full lion’s body with the tail which ends with the snake’s head and the additional goat head arising from its back. Homer described the Chimera as “a thing of immortal make, not human, lion-fronted and snake behind, a goat in the middle, and snorting out the breath of the terrible flame of bright fire” (Iliad 6, 179-182). At the command of King Iobates of Lycia, Bellerophon, the Corinthian hero, with the help of the winged horse, Pegasus, defeated the Chimera. Since Pegasus could fly, Bellerophon shot the Chimera from the air, safe from her heads and breath.
It may well be that the sculpture was not a single figure but made part of the group which included Chimera, Bellerophon and Pegasus. Examples from Greek vase painting, mosaic, engraved gems and terracotta reliefs help to visualize two major variants of the composition: Bellerophon opposing the attacking Chimera or the hero on the horseback smashing the squat beast. As it seems, the sharply bent bronze leg corresponds better to the last variant.
In Greco-Roman mythology, Arachne (/əˈrækniː/; from Greek: ἀράχνη, cognate with Latin araneus) is a talented mortal weaver who challenged Athena, goddess of wisdom and crafts, into a weaving contest; this hubris resulted in her being transformed into a spider.
Following the team’s motif, Astrology(Moon, Stars, Jupiter and Mars, respectively), Team VCTA’s weapons are all named after Constellations.
Viola’s is named the constellation of Lyre a musical instrument.
Balthazar’s after the Cross constellation, a religious symbol and former part of the constellation of Centaur. Balthazar is a Horse Faunus(Human and Horse).
Ferdinand’s is the constellation of Eagle. Zeus/Jupiter was said to possess an eagle that would carry his thunderbolts in Greco-Roman Mythology.
Ajax’s arms are named after the constellations of Hercules and Perseus, both mythological heroes. Legend has it that Perseus was given a polished shield by the Goddess Athena and used it to defeat the Gorgon.
That the world of Oberon and Titania is disrupted by a lovers’ quarrel of course links the fairy world with the human world—desire is disruptive in both realms, and an ideology of patriarchy rules in both as well. At the same time, however, the humanized Oberon and Titania control the forces of nature and live in a fairy paradise of rare beauty distinct from the human world and with its own poetic stylization. They are personifications of the natural world even as they display human foibles. This is not an unfamiliar combination. Shakespeare (and all educated Elizabethans) had seen something very similar in Ovid and other sources of Greco-Roman mythology. The Greek and Roman gods had exactly this combination of qualities—embodying and controlling powerful natural forces but still subject to human emotions and weaknesses, desire and jealousy prominent among them. At one level, the fairy realm is thus a mirror of human society, but at another level it is far superior to it. It is neither heaven nor Eden; it is more like Olympus
Hugh Grady, Shakespeare and Impure Aesthetics: The Case of ‘a Midsummer Night’s Dream’
A Priestess of Apollo, c.1888, by Sir Lawrence Alma-Tadema
In Greco-Roman mythology, Apollo was the sun god who lived on Mount Olympus, and who, in the guise of the sun, rode his chariot drawn by four horses across the sky each day. In this painting one of the priestesses stands barefoot inside the temple of Apollo looking up towards the sky, perhaps awaiting Apollo’s return in the evening. She wears a spectacular leopard skin tunic and has a wreath of ivy in her hair. These symbolic ornaments, as well as her business in serving wine, suggest her licentious behaviour in the temple.