Athena Shrine

Phineus turned to Stone and Minerva visiting the Muses Pl. from the series Ovid's Metamorphoses. Amsterdam, 1683. Phineus and his followers interrupted the wedding feast of Perseus and Andromeda. Perseus turns Phineus to stone by means of the Gorgon's head. Minerva, wearing a helmet and a spear visits the Muses. Home » Museum » Paintings Gallery » Perseus Turning Phineus to Stone and Minerva Visiting the Muses

Phineus and his Followers turned to Stone Painted by Flemalle, 1640-1675. London, The National Gallery. Phineus and his followers interrupted the wedding feast of Perseus and Andromeda, Perseus turned them to stone by means of the Gorgon's head. Athena, wearing a helmet and brandishing a spear and shield, looks on. Home » Museum » Paintings Gallery » Perseus Turning Phineus to Stone by Flemalle

Perseus armed by Mercury and Minerva Painted by Bordono Paris, 1545-1555. Home » Museum » Paintings Gallery » Perseus Armed by Mercury and Minerva by Bordono Paris

Perseus fleeing after slaying the Gorgon Medusa Perseus, the hero of Argolis, makes off towards the left, his head turned to look at the decapitated body of the Gorgon which sinks to the ground behind him. Perseus, the hero of Argolis, makes off towards the left, his head turned to look at the decapitated body of the Gorgon which sinks to the ground behind him. The Goddess Athena follows behind him. Home » Museum » Paintings Gallery » Perseus Fleeing After Slaying the Gorgon Medusa

The stalk of the sleeping Medusa Nausicaa Painter, c. 450-440 BCE. Virginia Museum 62.1.1, Richmond. Perseus, harpe in one hand, kibisis in the other, stalks the sleeping Medusa under the tutelage of Athena and Hermes. The bearded figure seated to the left may be king Akrisios who is later turned to stone. Home » Museum » Paintings Gallery » Athena, Perseus and Medusa by Nausicaa Painter

Athena's Epiphany Bulfinch's Mythology, The Age of Fable, Chapter XIV, Minerva Niobe. Source: Ovid's Metamorphoses, Book VI, Pallas et Arachne, lines 1-137. Drawing by Jean-Jacques-François Le Barbier, 1738-1826. «There was a contest, in which a mortal dared to come in competition with Minerva. That mortal was Arachne, a maiden who had attained such skill in the arts of weaving and embroidery that the nymphs themselves would leave their groves and fountains to come and gaze upon her work. It was not only beautiful when it was done, but beautiful also in the doing. To watch her, as she took the wool in its rude state and formed it into rolls, or separated it with her fingers and carded it till it looked as light and soft as a cloud, or twirled the spindle with skillful touch, or wove the web, or, after it was woven, adorned it with her needle, one would have said that Miner...

Minerva and Arachne Engravings by Johannes Baur, 1703. The Metamorphoses by Ovid. Bk VI: 1-145. «Arachne filled her canvas with similar subjects, wonderfully well done, but strongly marking her presumption and impiety. Minerva could not forbear to admire, yet felt indignant at the insult. She struck the web with her shuttle and rent it in pieces; she then touched the forehead of Arachne and made her feel her guilt and shame. She could not endure it and went and hanged herself. Minerva pitied her as she saw her suspended by a rope. " Live, " she said, " guilty woman! and that you may preserve the memory of this lesson, continue to hang, both you and your descendants, to all future times. " She sprinkled her with the juices of aconite, and immediately her hair came off, and her nose and ears likewise. Her form shrank up, and her head grew smaller ...

Athena strikes Arachne Bulfinch's Mythology, The Age of Fable, Chapter XIV, Minerva Niobe. Source: Ovid's Metamorphoses, Book VI, Pallas et Arachne, lines 214-244. Engraving from 1677. Arachne filled her canvas with similar subjects, wonderfully well done, but strongly marking her presumption and impiety. Minerva could not forbear to admire, yet felt indignant at the insult. She struck the web with her shuttle and rent it in pieces; she then touched the forehead of Arachne and made her feel her guilt and shame. She could not endure it and went and hanged herself. Minerva pitied her as she saw her suspended by a rope. " Live, " she said, " guilty woman! and that you may preserve the memory of this lesson, continue to hang, both you and your descendants, to all future times. " She sprinkled her with the juices of aconite, and immediately her hair ca...

Judgment of Paris Painted by Rubens, 1638-1639. Oil on canvas, 1,99 x 3,79 m. Museo del Prado No. 1669, Madrid. This is one of the numerous mythological subjects that Rubens painted for King Philip IV and one of his last works, as it was made one year before the painter's death when he was already ill with painful gout. Home » Museum » Paintings Gallery » Judgment of Paris by Rubens (1638-1639)

Judgment of Paris Painted by Rubens, 1632-1635. Wood (oak). 144.8 x 193.7 cm. National Gallery NG194, London. Rubens follows the story of the Judgment of Paris as told by Lucian in the Judgment of the Goddesses. Paris awards the golden apple to Venus, who stands between Minerva and Juno, Mercury stands behind Paris, above is the Fury, Alecto. Home » Museum » Paintings Gallery » Judgment of Paris by Rubens (1632-1635)

Judgment of Paris Painted by Rubens. Oil on canvas, 49 x 63 cm. Gemäldegalerie, Alte Meister, Dresden. Alterations to the Judgment of Paris show that Rubens first painted this earlier moment in the story when Mercury ordered the Goddesses to undress. The final stage shows Paris awarding the golden apple to Venus, who stands between Minerva and Juno. Mercury stands behind Paris. Above is the Fury, Alecto. Home » Museum » Paintings Gallery » Judgment of Paris by Rubens at Dresden

Judgment of Paris Painted by Wtewael, 1615. The National Gallery, London. Jupiter sent Strife, in the person of Eris, to the wedding of Peleus and Thetis (right background), causing a quarrel between Juno, Minerva and Venus as to who was the most beautiful. Mercury brought the Goddesses to the shepherd Paris to judge between them. His award of the golden apple to Venus led to the the Trojan war. Paris is seated in the center with Mercury behind him. Minerva, with helmet and spears, stands to the right, Juno to the left. Home » Museum » Paintings Gallery » Judgment of Paris by Wtewael

Judgment of Paris Painted by Rubens, 1600. The National Gallery NG6379, London. Mercury greets Venus, who stands with her son Cupid at her side between Juno and Minerva, as Paris hands her the golden apple, and putti descend to award her a victor's crown and palms. Home » Museum » Paintings Gallery » Judgment of Paris by Rubens

Judgment of Queen Elizabeth I 16th century, Hampton Court. Home » Museum » Paintings Gallery » Judgment of Queen Elizabeth I

Judgment of Paris Flemish School, 16th century. Udine, Italy. Paris is seated to the right while Minerva with spear, Venus with arrow and Juno stands to the left. Home » Museum » Paintings Gallery » Judgment of Paris by the Flemish School

Judgment of Paris Painted by Ippolito Scarsella (Scarsellino), 1551-1620. Galleria degli Uffizi, Firenze. Home » Museum » Paintings Gallery » Judgment of Paris by Ippolito Scarsella

Judgment of Paris Painted by Girolamo Benvenuto, 1470-1524. Louvre, Paris. Paris is seated to the left with Eros over him. Venus, Minerva with book(?), and Juno stands to the right. Home » Museum » Paintings Gallery » Judgment of Paris by Girolamo Benvenuto

Judgment of Paris Painted by Lucas Cranach, 1508. Home » Museum » Paintings Gallery » Judgment of Paris by Lucas Cranach

Judgment of Paris Marsyas Painter, 340-330 BCE. National Museum, Athens. Paris is seated on a rock on Mount Ida in Troas, dressed in Phrygian costume. At his shoulder a small Eros tries to give him encouragement. Hermes who brought the three divinities to Mount Ida stands nearby. Behind Hermes is Athena, seated wearing her helmet and with her shield. Home » Museum » Paintings Gallery » Judgment of Paris by Marsyas Painter

Judgment of Paris Painter of the Carlsruhe Paris, c. 400 BCE. Badisches Landesmuseum 259, Karlsruhe. An Eros leans on the shoulder of Paris, who is dressed in oriental grab, while Hermes stands in front of him. Hera and Athena stand to the left of him. Aphrodite accompanied by an Eros sits to the right. Zeus, seated with scepter and thunderbolt, and Muses observe. In the center, above Paris, Eris (Strife) stands behind a hill. To the far right Helios (Sun) drives his chariot up into the Sky. The painter has abandoned the traditional ground-line and has placed his figures at various levels on the vase attempting to give the illusion of space and depth. Home » Museum » Paintings Gallery » Judgment of Paris by Carlsruhe Paris Painter

Judgment of Paris Herron Painter. Hermes leads the three contending Goddesses into the presence of Paris who is seated on the left guarding his father's flocks and playing the lyre. Behind the messenger of the Gods in his winged sandals comes Athena, armed with her helmet and spear, followed by Hera, with her staff, and Aphrodite, who is accompanied by Erotes and carries a dove. Home » Museum » Paintings Gallery » Judgment of Paris by Herron Painter

Judgment of Paris Attic red figure hydria, from Capua, Campania. H 0.330m. Attributed to the Painter of the Yale Oinochoe, 500-450 BCE. British Museum E 178, London. On the right Paris sits, holding a chelys (lyre) on a rocky outcrop, rather like a natural throne. He is beardless with long hair and a fringe of curls round his forehead. He wears a fillet and a himation which is draped over his arms. At his feet a mountain ram faces right, its fleece indicated with arrow-shaped marks. Three Goddesses enter the scene, approaching him in single file from the left. First and closest to him is Hera in a bordered chiton with long sleeves and a himation with a sakkos and earrings on her head. She extends an apple to him with her left hand and holds the scepter of authority, surmounted with a honeysuckle flower, in her right. Following behind her comes Athena, in a long chiton, with her mant...

Judgment of Paris Berlin Painter 2536, 480-470 BCE. A bearded Paris holding a scepter waits sited on a throne between columns as Hermes and the three Goddesses approach him. Aphrodite holds Eros. Athena wears her snaky aegis and holds her helmet. Hera comes in third place. Home » Museum » Paintings Gallery » Judgment of Paris by Berlin Painter

Judgment of Paris Antimenes Painter, c. 530 BCE. Antikensammlungen 1722, Munich. A bearded Paris holding a scepter moves away from Hermes and the three Goddesses who greet him. Hera and Aphrodite are not identified. Athena wears her snaky aegis and holds her helmet. The deer beside her would more appropriately accompany Artemis. Home » Museum » Paintings Gallery » Judgment of Paris by Antimenes Painter

Hermes Leading the Goddesses By Workshop of Nearchus Painter, c. 560 BCE. Home » Museum » Paintings Gallery » Hermes Leading the Goddesses by Workshop of Nearchus Painter

Judgment of Paris Ivory relief, comb from Sparta, c. 600 BCE. L. 8 cm. National Museum 507, Athens. A bearded Paris sits on a throne as the three Goddesses approach him. The first, with a bird on her arm, could be Hera with her cuckoo. The second is Athena who may be wearing a helmet. The third, followed by a bird, could be Aphrodite with her goose. Home » Museum » Paintings Gallery » Judgment of Paris, Ivory Comb

The combat of Minerva and Mars Joseph-Benoît Suvée, 1743-1807. Palais des Beaux-arts, Lille. Home » Museum » Paintings Gallery » The combat of Minerva and Mars by Suvée

The Combat of Mars and Minerva Painted by David, 1771. Home » Museum » Paintings Gallery » The Combat of Mars and Minerva by David

Self Portrait by Francesco de Mura Oil on canvas, H.51 x W.40 in. overall. Self Portrait painted by Francesco de Mura, about 1740. The Minneapolis Institute of Arts, Minneapolis. In making commissioned portraits, artists must satisfy their clients' demands. With self-portraits, however, they can freely choose how to show themselves. Wearing an aristocrat's wig, embroidered waistcoat, lace-trimmed shirt, and velvet jacket, Francesco de Mura presents himself here as a man of elegance and means. Indeed, he reinforced the grandeur of his image by inventing an opulent setting with billowing drapery, a colossal colonnade, and a marble-topped gold table. De Mura emphasized his intellect by showing himself with his drawing instruments. Traditionally, drawing symbolized the cerebral and inventive qualities of an artist's conceptions, as opposed to the messy manual work of applying pigm...

The Glorification of Minerva Jan van Orly 1665-1735, Augustin Coppens 1668-1740. Museum voor schone kunsten, Gent. Home » Museum » Paintings Gallery » The Glorification of Minerva by Orly

Minerva and Saturn protecting Art and Science Minerva und Saturn beschützen Kunst und Wissenschaft. Painting by Joachim van Sandart, 1644. Künsthistorische Museum, Wien. Home » Museum » Paintings Gallery » Minerva and Saturn Protecting Art and Science by Sandart

Minerva protects Pax from Mars Painted by Rubens, 1629-1630. The National Gallery, London. The central figure represents Pax - peace - in the person of Ceres, Goddess of the earth, sharing her bounty with the group of figures in the foreground. To the right of Pax, Minerva, Goddess of wisdom, drives away Mars, God of war. Home » Museum » Paintings Gallery » Minerva Protecting Pax from Mars by Rubens

Minerva victorious over Ignorance Painted by Bartholomeus Spranger, c. 1591. Künsthistorische Museum, Wien. Ignorance is at Athena's feet (bottom right). More Views Detail Home » Museum » Paintings Gallery » Minerva Victorious over Ignorance by Bartholomeus Spranger

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Orestes at trial with Apollo, Athena, and the Erinyes Engraving from G. Schwab's Die schönsten Sagen, 1912. The Erinyes of Clytaemnestra pursue Orestes. Beside Athena, who presides the court, sits Apollo. Home » Museum » Paintings Gallery » Orestes at Trial with Apollo, Athena, and the Erinyes

Blind Fortuna Painted by Kuntz Konicz, 1754. National Museum, Warsaw. Fortuna is depicted holding a cornucopia, or horn of plenty, in one hand. The cornucopia signifies that she is the provider of abundance. Athena leaves towards the left, head leaned down not to look at Blind Fortuna behind her. On the ground lie the deserted of Blind Fortuna. Home » Museum » Paintings Gallery » Blind Fortuna by Kuntz Konicz

Athena and Envy Pallas and Envy, Picart et al., 1673-1733. Metamorphoses Bk II: 760-786. Athena, who had not forgotten Aglaurus's betrayal and kept an eye on her, could not accept that the same girl who had uncovered her secret, contrary to her command, would now be in favour with Hermes and with her sister, and besides rich in gold. So Athena decided to visit Envy in her cave. Her home, filthy with black gore, is hidden in a valley where no sun shines and no breeze blows. When Athena came through the thick black fog that wrapped the place she beat upon the door with end of spear, and when the doors opened she stood without, not wishing to enter so disgraceful abode. Envy sat within eating her usual food, snakes' flesh; but when she saw the Goddess she came out with her teeth foul with mould, her venom dripping down from her tongue, and looking at her with her awry eyes. A...

Minerva, History and Time Painted by Solimena, 1700. The National Gallery, London. Minerva, Goddess of wisdom, is seated on a recumbent lion at the left. She indicates an empty medallion to the winged figure of History, whose book is supported on the back of Time. Home » Museum » Paintings Gallery » Minerva, History and Time by Solimena

Athena and Envy Pallas Athena visits Envy, 1652. Painting by Karel Dujardin. Gemäldegalerie der Akademie der bildende Künste, Wien. Athena, who had not forgotten Aglaurus's betrayal and kept an eye on her, could not accept that the same girl who had uncovered her secret, contrary to her command, would now be in favour with Hermes and with her sister, and besides rich in gold. So Athena decided to visit Envy in her cave. Her home, filthy with black gore, is hidden in a valley where no sun shines and no breeze blows. When Athena came through the thick black fog that wrapped the place she beat upon the door with end of spear, and when the doors opened she stood without, not wishing to enter so disgraceful abode. Envy sat within eating her usual food, snakes' flesh; but when she saw the Goddess she came out with her teeth foul with mould, her venom dripping down from her tongue, and ...

Hero abandoning Venus Painted by Pietro da Cortona, 1641. Pitti Palace, Florence. The prince (Ferdinand II) abandons Venus and is carried by Pallas towards Hercules. Caption I: ADOLESCENTIAM PALLAS A VENERE AVELLIT (PALLAS DRAWS ADOLESCENT FROM VENUS). Caption II: RADIX AMARA VIRTVTIS FRUCTUS SVAVIS (THE ROOT IS BITTER, THE FRUIT IS SWEET). More Views Detail Home » Museum » Paintings Gallery » Hero Abandoning Venus by Pietro da Cortona

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The Triumph of Divine Providence Pietro da Cortona, 1633-39. Home » Museum » Paintings Gallery » The Triumph of Divine Providence by Pietro da Cortona

Minerva and Mercury Conduct to the Temple of Virtue Painted by Rubens, before 1625. The National Gallery, London. The Duke of Buckingham is borne upwards by Minerva and Mercury to a marble Temple before which are Virtue and Abundance. The Three Graces offer a crown of flowers. Envy seeks to pull him down. A lion challenges him. Home » Museum » Paintings Gallery » Minerva and Mercury Conduct to the Temple of Virtue by Rubens

On a scholar, overcome by Love Immersed in his studies, skilled in oratory and law, the most distinguished notary loves Helianira even more than the Thracian king ever loved the concubine he took in her sister's place. O Cyprian, why have you vanquished Pallas, with another judge? Is it not enough to conquer below Mount Ida? Andrea Alciato, 1531. Book of Emblems, Emblem 109. Home » Museum » Paintings Gallery » Pallas, a Scholar and Venus by Alciato

Wise men abstain from wine Branches, why do you bother me? I am the tree of Pallas. Away with your grape-clusters! The virgin shuns Bromius. Andrea Alciato, 1531. Book of Emblems, Emblem 24. Home » Museum » Paintings Gallery » The Tree of Pallas by Alciato

That foresight is improved by wine Father Bacchus and Pallas, both true children of Jupiter, hold this Temple jointly. She was freed from her father's head, he from his thigh; to Pallas is due the use of the olive, while Bacchus first discovered wine. Justly are they joined; for if an abstemious man hates wine, he'll have no help from the Goddess. Andrea Alciato, 1531. Book of Emblems, Emblem 23. Home » Museum » Paintings Gallery » Pallas and Bacchus by Alciato

Virgins must be protected This is a true picture of unwed Pallas: here is her dragon, standing before the feet of its mistress. Why is this animal companion to the Goddess? The protection of things was given to it. Thus it cares for sacred groves and temples. It must watch unwed maidens with especially vigilant care: Love sets his traps everywhere. Andrea Alciato, 1531. Book of Emblems, Emblem 22. Home » Museum » Paintings Gallery » Pallas Unwed by Alciato

The Triumph of Virtue Andrea Mantegna, c. 1540. Louvre, Paris. Athena as moral guardian expelling the Vices from the garden. More Views Detail Home » Museum » Paintings Gallery » The Triumph of Virtue by Mantegna

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Pallas Athena and the Centaur A Civilizing Force. Painted by Botticelli, 1482. Galleria degli Uffizi, Firenze. Pallas Athena, the chaste Goddess of wisdom and patron of the arts, holds a guard's halberd and has captured a centaur - a symbol of lust and aggression. Home » Museum » Paintings Gallery » Athena and Centaur by Botticelli