ATHENA

The Varakion, a Roman marble copy (c. AD 130) of the colossal gold and ivory statue of the also spelled Athene in Greek religion, the city protectress, goddess of war, handicraft, and practical reason, identified by the Romans with Minerva (q.v.). She was essentially urban and civilized, the antithesis in many respects of Artemis, goddess of the outdoors. Athena was probably a pre-Hellenic goddess and was later taken over by the Greeks. Yet the Greek economy, unlike that of the Minoans, was largely military, so that Athena, while retaining her earlier domestic functions, became a goddess of war. Athena's association with the acropolises of various Greek cities probably stemmed from the location of the kings' palaces there. She was thought to have had neither consort nor offspring. She may not have been described as a virgin originally, but virginity was attributed to her very early and was the basis for the interpretation of her epithets Pallas and Parthenos. As a war goddess Athena could not be dominated by other goddesses, such as Aphrodite, and as a palace goddess she could not be violated. In Homer's Iliad, Athena, as a war goddess, inspired and fought alongside the Greek heroes; her aid was synonymous with military prowess. Also in the Iliad, Zeus, the chief god, specifically assigned the sphere of war to Ares, the god of war, and Athena. Athena's moral and military superiority to Ares derived in part from the fact that she represented the intellectual and civilized side of war and the virtues of justice and skill, whereas Ares represented mere blood lust. Her superiority also derived in part from the vastly greater variety and importance of her functions and from the patriotism of Homer's predecessors, Ares being of foreign origin. In the Iliad, Athena was the divine form of the heroic, martial ideal: she personified excellence in close combat, victory, and glory. The qualities that led to victory were found on the aegis, or breastplate, that Athena wore when she went to war: fear, strife, defense, and assault. Athena appears in Homer's Odyssey as the tutelary deity of Odysseus, and myths from later sources portray her similarly as helper of Perseus and Heracles (Hercules). As the guardian of the welfare of kings, Athena became the goddess of good counsel, of prudent restraint and practical insight, as well as of war. In post-Mycenaean times the city, especially its citadel, replaced the palace as Athena's domain. She was widely worshiped, but in modern times she is associated primarily with Athens, to which she gave her name. Her emergence there as city goddess, Athena Polias (Athena, Guardian of the City), accompanied the ancient city-state's transition from monarchy to democracy. She was associated with birds, particularly the owl, which became famous as the city's own symbol, and with the snake. Her birth and her contest with Poseidon, the sea god, for the suzerainty of the city were depicted on the pediments of the Parthenon. Hesiod, in the Theogony, told how Athena, having no known mother, sprang from Zeus's forehead, and Pindar added that Hephaestus struck open Zeus's head with an ax. Athena's birthday festival, the Panathenaea, concerned the growth of vegetation. The similarly purposed Procharisteria celebrated the goddess's rising from the ground with the coming of spring. Athena's connection with vegetation, however, was only a by-product of her general civic duties. Athena became the goddess of crafts and skilled peacetime pursuits in general. She was particularly known as the patroness of spinning and weaving. That she ultimately became allegorized to personify wisdom and righteousness was a natural development of her patronage of skill. Athena was customarily portrayed wearing body armour and a helmet and carrying a shield and a lance. Two Athenians, the sculptor Phidias and the playwright Aeschylus, contributed significantly to the cultural dissemination of Athena's image. She inspired three of Phidias' sculptural masterpieces, including the massive chryselephantine (gold and ivory) statue of Athena Parthenos housed in the Parthenon; and in Aeschylus' dramatic tragedy Eumenides she founded the Areopagus (Athens' aristocratic council), and, by breaking a deadlock of the judges in favour of Orestes, the defendant, she set the precedent that a tied vote signified acquittal.