More important than any of the other Olympian deities, for the part she plays in vase-paintings, is Athena, the great goddess of the Ionic race, and especially of Athens. Of her birth from the head of Zeus we have already spoken, as also of the part she plays in the Gigantomachia (p. [15]). The separate episode of her combat with Enkelados (her invariable opponent) is frequently depicted on B.F. vases[[336]]; but in one instance she tears off the arm of another giant, Akratos.[[337]] We have also seen her assisting at the creation of Pandora,[[338]] and contending with Poseidon for Attica.[[339]] She receives the infant Dionysos at the time of his birth,[[340]] and is also generally present at that of Erichthonios,[[341]] and once with Leto at that of Apollo and Artemis.[[342]] She is, of course, an invariable actor in Judgment of Paris scenes, in one of which she is represented washing her hands at a fountain in preparation for the competition.[[343]]
From assemblies of the gods she is rarely absent, and she is also associated with smaller groups of divinities, such as Apollo and Artemis (p. [31]), with Ares or Hephaistos,[[344]] or with Hermes,[[345]] or in Eleusinian[[346]] or Dionysiac scenes.[[347]] Thus she assists at the slaying of the Niobids,[[348]] and on one vase is confronted with Marsyas, before whom she has just dropped the flutes.[[349]] Scenes in which she appears receiving a libation from Nike are extremely common[[350]]; and she is also found with Iris and Hebe.[[351]] In one instance she herself pours a libation to Zeus.[[352]]
Generally the companion of princes and patroness of heroes, she protects especially Herakles, whom she aids in his exploits and conveys finally in her chariot to Olympos, where he is introduced by her to Zeus.[[353]] Some scenes represent the two simply standing together[[354]]; in others she welcomes and refreshes him after his labours,[[355]] and in one case he is supposed to be represented pursuing her.[[356]] It is unnecessary to particularise here the various scenes in which she attends Herakles (see p. [95] ff.); but one may be mentioned as peculiar, where she carries him off in her chariot with the Delphic tripod which he has just stolen.[[357]] Another rare scene connected with the Herakles myths is one in which, after the fight with Kyknos (see p. [101]), Zeus protects her from the wrath of Ares.[[358]] Another of her favourite heroes is Theseus,[[359]] and she is even more frequently associated with Perseus, whom she assists to overcome and escape from the Gorgons.[[360]] She gives Kadmos the stone with which to slay the dragon,[[361]] and is also seen with Bellerophon,[[362]] Jason and the Argonauts,[[363]] and Oedipus.[[364]] She is present at the rape of Oreithyia by Boreas,[[365]] at the punishment of Ixion,[[366]] and at the setting out of Amphiaraos[[367]]; at the stealing of Zeus’ golden dog by Pandareos[[368]]; also at the rape of the Leukippidae by the Dioskuri,[[369]] and of Basile by Echelos (see p. [140]),[[370]] and in a scene from the tragedy of Merope.[[371]]
The scenes where she is assisting the Greek heroes in the Trojan War are almost too numerous to specify, her favourite being of course Achilles; her meeting with Iris (Il. viii. 409) is once depicted,[[372]] and she also appears in connection with the dispute over Achilles’ arms.[[373]] She is not so frequently seen with her other favourite, Odysseus, but in one instance she is present when he meets with Nausikaa,[[374]] and also when he blinds Polyphemos.[[375]] On the numerous vases representing Ajax and Achilles (or other heroes) playing at draughts, the figure or image of the goddess is generally present in the background.[[376]] The same type on B.F. vases is adopted for the subject of two heroes casting lots before her statue[[377]]; lastly, she appears as the friend and patron of Orestes when expiating the slaying of his mother.[[378]]
As a single figure Athena is represented under many types and with various attributes, seated with her owl[[379]] or in meditation,[[380]] writing on tablets[[381]] or holding the ἀκροστόλιον of a ship[[382]]; playing on a lyre[[383]] or flutes,[[384]] or listening to a player on the flute or lyre[[385]]; with a man making a helmet,[[386]] or herself making the figure of a horse,[[387]] and in a potter’s workshop.[[388]] On an early vase she appears between two lions[[389]]; or she is accompanied by a hind (here grouped with other goddesses).[[390]] She is depicted running,[[391]] and occasionally is winged[[392]]; or she appears mounting a chariot, accompanied by various divinities.[[393]] As the protecting goddess of Attica she watches a combat of Greeks and Amazons[[394]]; she also attends the departure or watches combats of ordinary warriors,[[395]] or receives a victorious one.[[396]] In one instance she carries a dead warrior home.[[397]]
There are many representations of her image, either as a ξόανον or cultus-statue, or recalling some well-known type of later art. Among the former may be mentioned her statue at Troy, whereat Kassandra takes refuge from Ajax,[[398]] and the Palladion carried off by Odysseus and Diomede.[[399]] Among the latter, three can be traced to or connected with creations of Pheidias: viz. the chryselephantine Parthenos statue[[400]]; the Lemnian type, holding her helmet in her hand (Plate [XXXVI].)[[401]]; and the Promachos, in defensive attitude, with shield and spear.[[402]] The last-named type (earlier, of course, than the famous statue on the Acropolis) is that universally adopted for the figure of Athena on the obverse of the Panathenaic amphorae, on which she is depicted in this attitude between two Doric columns surmounted by cocks (on the later examples by figures of Nike or Triptolemos).[[403]] Her statue is also represented as standing in a shrine or heroön[[404]]; or as the recipient of a sacrifice or offering.[[405]] Her head or bust alone appears on several vases.[[406]]
Ares, in the few instances in which he appears on vases, is generally in a subordinate position; he is a spectator at the birth of Athena[[407]]; and appears twice on the François vase, at the wedding of Peleus and Thetis, and again in an attitude of shame and humility, to indicate the part he played in the story of Hephaistos and Hera; of his combat with the former god mention has already been made (p. [16]). In the Gigantomachia his opponent is Mimas, with whom he also appears in single combat[[408]]; and he aids his son Kyknos against Herakles and Athena.[[409]] He is seen in several of the large groups of Olympian deities,[[410]] or in smaller groups, e.g. with Poseidon and Hermes,[[411]] with Apollo, Artemis, and Leto,[[412]] or with Athena[[413]] or his spouse Aphrodite[[414]]; also with Dionysos, Ariadne, and Nereus.[[415]] He also receives a libation from Hebe.[[416]] He is seen at the birth of Pandora,[[417]] the punishment of Ixion,[[418]] the slaying of the Niobids,[[419]] the apotheosis of Herakles,[[420]] and the contest of that hero with the Nemean lion.[[421]] In some cases his type is not to be distinguished from that of an ordinary warrior or hero, as in one case where he or a warrior is seen between two women.[[422]]
Aphrodite seldom appears as a protagonist on vases, and in fact plays a small personal part in mythology. Apart from scenes of a fanciful nature she is usually a mere spectator of events; but as she is not often characterised by any distinctive attribute, there is in many cases considerable difficulty in identifying her personality. This is especially the case on B.F. vases, on which her appearances are comparatively rare. One vase represents her at the moment of her birth from the sea in the presence of Eros and Peitho[[423]]; she also appears (on late vases only) with Adonis,[[424]] embracing him, and in two instances mourning for him after his death[[425]]; but caution must be exercised in most cases in identifying this subject, which is but little differentiated from ordinary love scenes. One scene apparently represents Zeus deciding a dispute between her and Persephone over Adonis.[[426]]