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Aglaonike. 2Nd Century BC Thessaly. Cited As the First Female Astronomer

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Aglaonike. 2Nd Century BC Thessaly. Cited As the First Female Astronomer sciencechicks: Aglaonike. 2nd century BC Thessaly. Cited as the first female astronomer in Greece. People thought she was a sorceress for her ability to make the moon disappear when she really was just predicting the time and area when a lunar eclipse would occur. A number of female astronomers associated with Aglaonike during this time were referred to as “the witches of Thessaly”. ancientpeoples: Faience vase in the form of a duck Greek, perhaps made on Rhodes, 600-550 BC From Amathus, Cyprus This plump little duck, made from pale blue faience, may have been the product of the faience industry flourishing on the island of Rhodes. The pouring spout on the duck’s back indicates that it was intended for use as a perfume bottle. The duck was placed as a grave offering in the tomb numbered 201 at Amathus on the island of Cyprus. Charites (Χάριτες: “Graces”) In Greek mythology, the three goddesses of joy, charm, and beauty. The daughters of the god Zeus and the nymph Eurynome, though they were also said to be daughters of Dionysus and Aphrodite or of Helios and the naiad Aegle. From youngest to oldest: Aglaia (Splendor), Euphrosyne (Mirth), and Thalia (Good Cheer). The Graces presided over banquets, dances, and all other pleasurable social events, and brought joy and goodwill to both gods and mortals. They were the special attendants of the divinities of love, Aphrodite and Eros, and together with the Muses they sang to the gods on Mount Olympus, and danced to beautiful music that the god Apollo made upon his lyre. In some legends Aglaia was wed to Hephaestus, the craftsman among the gods. Their marriage explains the traditional association of the Graces with the arts; like the Muses, they were believed to endow artists and poets with the ability to create beautiful works of art. The Graces were rarely treated as individuals, but always together as a kind of triple embodiment of grace and beauty. In art they are usually represented as lithe young maidens, dancing in a circle. Image: The Three Graces, Antonio Canova (1814-1817), The Hermitage Museum ancientpeoples: Bowl with a Gorgon’s Head Greek, Archaic period, about 625-600 BC Made in Corinth, Greece; from Kamiros, Rhodes A frieze of panthers, deer, two sphinxes and a siren surround the frontal, staring face of the gorgon Medusa. According to Greek legend, anyone who looked upon the face of the Gorgon was instantly turned to stone. The hero Perseus succeeded in chopping off her head, which he handed to the goddess Athena to set in the centre of her shield. Gorgon heads are quite often found in the centre of cups and bowls at this time. Their shape is suited to the circular field available, and their design is usually both decorative and eye-catching. It seems likely that they also fulfilled an apotropaic function: warding off the ‘evil eye’ from the user of the vase. By the late seventh century BC, Corinthian pots were popular throughout the Mediterranean. As production increased to meet demand, new and larger shapes of pot appeared alongside the still popular perfume bottles. The fine workmanship of the Protocorinthian style was gradually replaced by a slightly cruder black-figure style. In the sixth century BC real and mythological animals, which remained the basic subject for Corinthian vase painters, gradually became longer and their details more sketchily incised; at the same time the filling ornament through which they prowl became denser and less carefully executed. This bowl was made early in the Archaic period, and the painting and incision are still quite careful. Previous Next collective-history: A hoplite was a citizen-soldier of the Ancient Greek city-states. Hoplites were primarily armed as spearmen and fought in a phalanx formation. The word “hoplite“ derives from “hoplon”, the type of the shield used by the soldiers, although, as a word, “hopla” could also denote weapons held or even full armament. In later texts, the term hoplite is used to denote any armoured infantry, regardless of armament or ethnicity. A hoplite was primarily a free citizen who was usually individually responsible for procuring his armour and weapon. In most Greek city-states, citizens received at least basic military training, serving in the standing army for a certain amount of time. They were expected to take part in any military campaign when they would be called for duty. The Lacedaemonian citizens (Sparta) were renowned for their lifelong combat training and almost mythical military prowess, while their greatest adversaries, the Athenians, were exempted from service only after the 60th year of their lives. The exact time when hoplitic warfare was developed is uncertain, the prevalent theory being that it was established sometime during the 8th or 7th century BC, when the “heroic age was abandoned and a far more disciplined system introduced” and the Argive shield became popular. Peter Krentz argues that “the ideology of hoplitic warfare as a ritualized contest developed not in the 7th century, but only after 480, when non-hoplite arms began to be excluded from the phalanx”. Anagnostis Agelarakis based on recent archaeo-anthropological discoveries of the earliest monumental polyandrion (communal burial of male warriors) at Paros Island in Greece, unveils a last quarter of the 8th century BC date for a hoplitic phalangeal military organization. The Snake Goddess Previous Next historicaldetailsandstuff: Minoan Snake Goddess ca. 1700 – 1600 BC This small glazed earthenware statuette is one of the most frequently reproduced images of ancient religious art.The object was discovered in the early20th century during the excavations undertaken by the British archaeologist, Sir Arthur Evans (1851–1941), at the site of the great Palace of Knossos on the island of Crete. Evans’s pioneering work at Knossos, his nomenclature of the Minoan civilization (after the legendary King Minos of Knossos), the chronology he developed for the various phases of this civilization (ca. 3500/3000 – ca. 1050 bc ), and his theories about and reconstructions of Minoan art and architecture have provided the foundations for subsequent scholarly work as well as intense dispute about this ancient culture. The Minoans appear to have been a prosperous and peaceful civilization who engaged in trade and commerce with other ancient peoples in the Aegean and Mediterranean world, notably the Egyptian, Syrian, and Cycladic cultures. The Minoans were great builders, and a number of impressive residential and ceremonial centres (or palaces, Knossos being the largest) were constructed beginning ca. 2000 bc. Frescoes, pottery, metalwork, engraved seals, figurines of animals and humans in clay and ivory, jewellery of gold, bronze, and gemstones all survive in abundance and give evidence of a high degree of sophistication and skill with art production in a wide range of media. Much scholarship has been devoted to the topic of Minoan religion, based on numerous representations in Minoan art of scenes involving god and goddess figures, priest and priestess figures, worshippers, ritual offerings, and processions. Objects that appear to be cultic/ceremonial in nature have been found in abundance not only in the several palaces but also in caves and sanctuaries located in the hills and mountains. Altars and offering tables, votive figurines, ritual libation vessels, and symbols such as double-axes, bull’s horns, and heraldic animals are the most common forms in the artistic vocabulary of Minoan ritual practices. Some scholars believe that Minoan palaces were deliberately laid out and oriented toward the peak sanctuaries in the neighbouring mountains where caves devoted to worship of a nature or fertility goddess were located. Whether as Mistress of the Animals, Goddess of Nature, Fertility Goddess, Bird Goddess, or Water Goddess—solo or accompanied by a Warrior/Hunter God—the female goddess figure dominates the imagery of Minoan religious art. Whether she is one goddess with several different aspects or several different goddesses is unclear. The glazed earthenware statuette of the Snake Goddess in the Archaeological Museum in Heraklion, Crete, demonstrates many aspects of her traditional imagery. On engraved seals, wall paintings, and in other media, the same forms appear: the long flounced skirt, narrow waist, tall silhouette, and bared breasts. When the figurine was found in the early excavations at Knossos, it was broken in several places. The head of the figure and the head of the one original snake were missing as well as most of the figure’s left arm. These missing pieces were created and attached to the figurine by an early 20th-century artist/conservator employed by Sir Arthur Evans. Although the head is not original, the beret/cap and cat/feline form atop the beret were found in the excavations (although not with the figurine) and were attached to the reconstructed head to make up the ensemble as it exists today. In spite of the frequency with which this image is reproduced, the Snake Goddess per se is otherwise a relatively rare subject in Minoan art. Several other statuettes do exist of similar figures with outstretched arms twined with snakes, but several of these are modern forgeries loosely based on this one reconstructed example and a few other examples with secure ancient origin. Although there seems “ample archaeological evidence for a predominant female deity (or deities) on Crete,” the attention given to the cult of the Snake Goddess in particular has tended to overshadow and dominate the discussion. It is wise to remember that for the periods of prehistory without written sources, much remains a matter of speculation. Indeed, “until Minoan writing is deciphered, the precise nature of early Cretan religion must remain uncertain.” (Kenneth Lapatin) 7 Wonders of the Ancient World The Temple of Artemis at Ephesus Let me set the scene, Ancient Ephesus, one of the greatest harbours on the Eastern Aegean, served as a major link on the chief line of communication between the East and Greece and Rome.
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