0251NOTAthena_Savage

0251NOTAthena_Savage

hi-re study by Savage
ogcma Athena1.0000_Reid
Classical Sources:
Homer, Il. 1.193-218, 5.733ff., 5.875, 9.390, 14.178ff.
Homer, Od. 7.110ff., 20.72ff., and passim
Homeric Hymns "To Athena" 11 and 28
Aeschylus, Eum. 397-1047
Sophocles, Ajax 1-133
Euripides, Suppl. 1183-1226
Euripides, Trojan Women. 48-97
Euripides, Iph. Taur. 1135-1499; Ion 1548-1622; Rhesus 595-674
Orphic Hymns, 32 "To Pallas"
Ap. Rhod., Arg., passim
Diod. Sicul. Bibl., 3.70.1-6
Ovid, Met., 4.790-803, 6.1-145, 8.251ff.
Apollodorus Libr. 3.14.1-7
Hyginus Fabulae 142, 165, 168
Pausanias, 2.1.3, 2.5.1

Eugene Savage, mural of Minerva,1934, main entrance stairs of the Butler Library, Columbia University, New York City.

Click the link for hi-res study for a vibrant image of the whole.

Click here for transcript of the label shown at right in the picture.

Click here for (OGCMA0250Athena_Vedder) Athena by Elihud Vedder, Library of Congress entrance hall (1897 mosaic).

Another, but more kookie, usage: OGCMA0249Athena_Canova, Ferdinand IV in the Museo Nazionale Archeologico di Napoli, main stairs.

"[Light] separates ignorance from enlightenment. It points out the way 'to those who sacrifice and stumble and aspire' to gain the heights.

"A group [struggles] upward from thorny and difficult paths. ... Agri-cultural and industrial labor dominate the group which is led upward by three figures... bearing symbols of the four major phases of human effort, Law, Religion, Art, and Science, historically the guiding spirits of progress. These two groups proceed under the protecting hand of Columbia, represented by her prototype, Athena, who directs their steps as she stands in the center of the composition holding high her sheidl in opposition to the spirits of malignant ignorance and greed...."

OGCMA slides are designed by Roger T. Macfarlane for use in Classical Civilization 241 courses at Brigham Young University and other contexts.
This resource contains information assembled for The Oxford Guide to Classical Mythology in the Arts, and it is used with express permission from Oxford University Press.
Address concerns or inquiries to macfarlane@byu.edu.