User:Paul August/Enceladus (Giant)

Enceladus (Giant)

To Do

• Stewart, pp. 86-87 ISBN 978-0300040722

• Add "Asteropus" [= cylcops Steropes?] buried under Etna, according to Euphorion of Chalcis

See fragment 71 Lightfoot (Lightfoot, pp. 300–303), Knox, p. 69; Ogden 2013b, p. 69

• Add Naples 2664

• Add Naples 81521

• Incorporate Cook's "Zeus and Earthquakes".

• Oxford Classical Dictionary
• Brill's New Pauly Online
• Parada
• Smith
• Hard
• Fowler
• Loeb search
• LIMC

New Text

Mythology

Enceladus was one of the Giants, who (according to Hesiod) were the offspring of Gaia, born from the blood that fell when Uranus was castrated by their son Cronus. The Giants fought Zeus and the other Olympian gods in the Gigantomachy, their epic battle for control of the cosmos. A Giant named Enceladus, fighting Athena, is attested in art as early as an Attic black-figure pot dating from the second quarter of the sixth century BC (Louvre E732). In literature, references to the Giant occur as early as the plays of the fifth-century BC Greek tragedian Euripides, where, for example, in Euripides' Ion, the chorus describes seeing on the late sixth-century Temple of Apollo at Delphi, Athena "brandishing her gorgon shield against Enceladus". Although traditionally opposed by Athena, Virgil and others have Enceladus being struck down by Zeus. In Euripides' comic satyr play Cyclops, Silenus, the drunken companion of the wine god Dionysus, boasts of having killed Enceladus with his spear.

The third-century BC poet Callimachus has Enceladus buried under the island of Sicily, and according to the mythographer Apollodorus, Athena hurled the island of Sicily at the fleeing Enceladus during the Gigantomachy. The Latin poets Virgil, Statius and Claudian all locate his burial under Mount Etna, although other traditions had the monster Typhon or the Hundred-Hander Briareus buried under Etna. For some Enceladus was instead buried in Italy.

Ancient art

The battle between Athena and Enceladus was a popular theme in Greek vase paintings, with examples from as early as the middle of the sixth century BC. From the description given in Euripides' Ion, the battle was apparently depicted on the late sixth-century BC Temple of Apollo at Delphi.

The east pediment of the Old Temple of Athena on the Acropolis of Athens, dating from the late sixth century, prominently displayed Athena standing over a fallen giant, possibly Enceladus. The battle was probably also depicted on the new peplos (robe) presented to Athena on the Acropolis of Athens as part of the Panathenaic festival.

Sources

Ancient

Apollodorus

1.6.2

But in the battle Porphyrion attacked Hercules and Hera. Nevertheless Zeus inspired him with lust for Hera, and when he tore her robes and would have forced her, she called for help, and Zeus smote him with a thunderbolt, and Hercules shot him dead with an arrow.1 As for the other giants, Ephialtes was shot by Apollo with an arrow in his left eye and by Hercules in his right; Eurytus was killed by Dionysus with a thyrsus, and Clytius by Hecate with torches, and Mimas by Hephaestus with missiles of red-hot metal.2 Enceladus fled, but Athena threw on him in his flight the island of Sicily3; and she flayed Pallas and used his skin to shield her own body in the fight.4 Polybotes was chased through the sea by Poseidon and came to Cos; and Poseidon, breaking off that piece of the island which is called Nisyrum, threw it on him.5 And Hermes, wearing the helmet of Hades,6 slew Hippolytus in the fight, and Artemis slew Gration. And the Fates, fighting with brazer clubs, killed Agrius and Thoas. The other giants Zeus smote and destroyed with thunderbolts and all of them Hercules shot with arrows as they were dying.

Batrachomyomachia

277–283 (pp. 560–561)

So said son of Cronus; but Hera answered him: "Son of Cronos, neither the might of Athena nor of Ares can avail to deliver the Frogs from utter destruction. Rather, come and let us all go to help them, or else let loose your weapon, the great and formidable Titan-killer with which you killed Capaneus, that doughty man, and great Enceladus and the wild tribes of Giants;

Callimachus

fragment 117 (382), pp. 342–343

The three-forked island^a (that lies) upon deadly Enceladus.

Schol. Pind. : Pindar says that Aetna lies upon Typhon, Callimachus says upon Enceladus

^a Sicily, under which is buried the giant Enceladus

Hymn 4 (to Delos) 141–146, pp. 96–97

And even as when the mount of Aetna smoulders with fire and all its secret depths are shaken as the giant under earth, even Briares, shifts to his other shoulder,^a and with the tongs of Hephaestus roar furnaces and handiwork withal;

Claudian

Gigantomachia

32–33 (pp. 282–283)

[Gaia:] "... Let Typhoeus seize the thunderbolt and the sceptre; Enceladus, rule the sea, and another in place of the sun guide the reins of dawn's coursers. ..."

Rape of Proserpine

1.153–159 (pp. 304–305) (see Mayor p. 262)

In the midst of the island rise the charred cliffs of Aetna, eloquent monument of Jove’s victory over the Giants, the tomb of Enceladus, whose bound and bruisèd body breathes forth endless sulphur clouds from its burning wounds. Whene’er his rebellious shoulders shift their burden to the right or left, the island is shaken from its foundations and the walls of tottering cities sway this way and that.

2.151–162 (pp. 328–331)

But while the maidens so disport themselves, wandering through the fields, a sudden roar is heard, towers crash and towns, shaken to their foundations, totter and fall. None knows whence comes the tumult; Paphus’ goddess alone recognized the sound that set her companions in amaze, and fear mixed with joy fills her heart. For now the king of souls was pricking his way through the dim labyrinth of the underworld and crushing Enceladus, groaning beneath the weight of his massy steeds. His chariot-wheels severed the monstrous limbs, and the giant struggles, bearing Sicily along with Pluto on his burdened neck, and feebly essays to move and entangle the wheels with his weary serpents; still o’er his blazing back passes the smoking chariot.

3.179–191 (pp. 358–359)

Ceres approached her, and when at length her grief allowed her sighs free rein: “What ruin is here?” she said. “Of what enemy am I become the victim? Does my husband yet rule or do the Titans hold heaven? What hand hath dared this, if the Thunderer be still alive? Have Typhon’s shoulders forced up Inarime or does Alcyoneus course on foot through the Etruscan Sea, having burst the bonds of imprisoning Vesuvius? Or has the neighbouring Etna oped her jaws and expelled Enceladus? Perchance Briareus with his hundred arms has attacked my house? Ah, my daughter, where art thou now? Whither are fled my thousand servants, whither Cyane? What violence ahs driven away the winged Sirens? Is this your faith? Is this the way to guard another’s treasure?”

3.332–356 (pp. 368–371)

There was a wood, hard by the stream of Acis, which fair Galatea oft chooses in preference to Ocean and cleaves in swimming with her snowy breast – a wood dense with foliage that closed in Etna’s summit on all sides with interwoven branches. ‘Tis there that Jove is said to have laid down his bloody shield and set his captured spoil after the battle. The grove glories in trophies from the plain of Phlegra and signs of victory clothe its every tree. Here hang the gaping jaws and monstrous skins of the Giants; affixed to trees their faces still threaten horribly, and heaped up on all sides bleach the huge bones of slaughtered serpents. Their stiffening sloughs smoke with the blow of many a thunderbolt, and every tree boasts some illustrious name. This one scarce supports on its down-bended branches the naked swords of hundred-handed Aegaeon; that glories in the murky trophies of Coeus; this bears up the arms of Mimas; spoiled Ophion weighs down those branches. But higher than all the other trees towers a pine, its shady branches spread wide, and bears the reeking arms of Enceladus himself, all powerful king of the Earth-born giants; it would have fallen beneath the heavy burden did not a neighbouring oak-tree support its wearied weight. Therefore the spot winds awe and sanctity; none touches the aged grove, and ‘tis accounted a crime to violate the trophies of the gods. No Cyclops dares pasture there his flock nor hew down the trees, Polyphemus himself flies from the hallowed shade.

Euripides

Cyclops 1–9

Silenus: O Bromius, labors numberless have I had because of you, now and when I was young and able-bodied! First, when Hera drove you mad and you went off leaving behind your nurses, the mountain-nymphs; [5] next, when in the battle with the Earthborn Giants I took my stand protecting your right flank with my shield and, striking Enceladus with my spear in the center of his targe, killed him. (Come, let me see, did I see this in a dream? No, by Zeus, for I also displayed the spoils to Dionysus.）

Heracles 906–908

Oh, oh! what are you doing, Pallas, child of Zeus, to the house? You are sending hell's confusion against the halls, as once you did on Enceladus.

Ion 205–218

I am glancing around everywhere. See the battle of the giants, on the stone walls.

I am looking at it, my friends.

Do you see the one [210] brandishing her gorgon shield against Enceladus? 565

I see Pallas, my own goddess.

Now what? the mighty thunderbolt, blazing at both ends, in the far-shooting hands of Zeus?

I see it; [215] he is burning the furious Mimas to ashes in the fire.

And Bacchus, the roarer, is killing another of the sons of Earth with his ivy staff, unfit for war.

Horace

Odes 3.4.49–51

Yet Jove had fear'd the giant rush,

Their upraised arms, their port of pride,

And the twin brethren bent to push

Huge Pelion up Olympus' side.

But Typhon, Mimas, what could these,

Or what Porphyrion's stalwart scorn,

Rhoetus, or he whose spears were trees,

Enceladus, from earth uptorn,

As on they rush'd in mad career

'Gainst Pallas' shield?

Lucilius Junior

Aetna (?)

71–73 (pp. 8–9)

In Trinacrian waters Enceladus dies and is buried under Aetna by Jove's decree; with the ponderous mountain above him he tosses restlessly, and defiantly breathes from his throat a penal fire.

Nonnus

Dionysiaca

25.85–97 (II, pp. 256–259)

No, Bacchos reaped the stubble of snakehaired giants, a conquering hero with a tiny manbreaking wand, when he cast the battling ivy against Porphyrion, when he buffelted Encelados and drove Alcyoneus with a volley of leaves: then the wands flew in showers, and brought the Gegenees (Earthborn) down in defence of Olympos, when the coiling sons of Earth with two hundred hands, who pressed the starry vault with manynecked heads, bent the knee before a flimsy javelin of vineleaves or a spear of ivy. Not so great a swarm fell to the fiery thunderbolt as fell to the manbreaking thyrsus.

48.7–30 (III, pp. 424–427)

She [Hera] addressed her deceitful prayers to Allmother Earth, crying out upon the doings of Zeus and the valour of Dionysos, who had destroyed that cloud of numberless earthborn Indians; and when the lifebringing mother heard that the son of Semele had wiped out the Indian nation with speedy fate, she groaned still more thinking of her children. Then she armed all around Bacchos the mountainranging tribes of Giants, earth's own brood, and goaded her own sons to battle:

"My sons, make your attack with hightowering rocks against clustergarlanded Dionysos—catch this Indianslayer, this destroyer of my family, this son of Zeus, and let me not see him ruling with Zeus a bastard monarch of Olympos! Bind him, bind Bacchos fast, that he may attend in the chamber when I bestow Hebe on Porphyrion as a wife, and give Cythereia [Aphrodite] to Chthonios, when I sing Brighteyes [Athene] the bedfellow of Encelados, and Artemis of Alcyoneus. Bring Dionysos to me, that I may enrage Cronion [Zeus] when he sees Lyaios [Dionysos] a slave and the captive of my spear. Or wound him with cutting steel and kill him for me like Zagreus, that one may say, god or mortal, that Earth in her anger has twice armed her slayers against the breed of Cronides—the older Titans against the former Dionysos [Zagreus], the younger Giants against Dionysos later born."

48.63–86 (III, pp. 428–431)

There was infinite tumult. Bacchos raised himself and lifted his fighting torch over the heads of his adversaries, and roasted the Giants’ bodies with a great conflagration, an image on earth of the thunderbolt cast by Zeus. The torches blazed: fire was rolling all over the head of Encelados and making the air hot, but it did not vanquish him--Encelados bent not his knee in the steam of the earthly fire, since he was reserved for the thunderbolt. Vast Alcyoneus leapt upon Lyaios armed with his Thracian crags; he lifted over Bacchos a cloudhigh peak of wintry Haimos--useless against that mark, Dionysos the invulnerable. He there the cliff, but when the rocks touched the fawnskin of Lyaios, they could not tear it, and burst into splinters themselves. Typhoeus towering high had stript the mountains of Emathia (a younger Typhoeus in all parts like the older, who once had lifted many a rugged strip of his mother earth), and cast the rocky missiles at Dionysos. Lord Bacchos pulled away the sword of one that was gasping on the ground and attacked the Giants' heads, cutting the snaky crop of poison-spitting hair; even without weapon he destroyed the selfmarshalled host, fighting furiously, and using the treeclimbing longleaf ivy to strike the Giants.

Pausanias

8.47.1

The present image at Tegea was brought from the parish of Manthurenses, and among them it had the surname of Hippia （Horse Goddess）. According to their account, when the battle of the gods and giants took place the goddess drove the chariot and horses against Enceladus. Yet this goddess too has come to receive the name of Alea among the Greeks generally and the Peloponnesians themselves.

Philostratus

Life of Apollonius of Tyana 5.16

Perhaps I have done a foolish thing," went on Apollonius, "for it was my intention to recall you to more scientific and truer explanations than the poetical myths given by the vulgar of Etna; and I have let myself be drawn into a eulogy of myths. However, the digression has not been without a charm of its own, for the myth which we repudiate is not one of Aesop's stories, but belongs to the class of dramatic stories which fill the mouths of our poets. For they say that a certain Typho or Enceladus lies bound under the mountain, and in his death agony breathes out this fire that we see.

Now I admit that giants have existed, and that gigantic bodies are revealed all over earth when tombs are broken open; nevertheless I deny that they ever came into conflict with the gods; at the most they violated their temples and statues, and to suppose that they scaled the heaven and chased away the gods therefrom - this it is madness to relate and madness to believe.

Nor can I any more respect that other story, though it is more reverent in its tone, to the effect that Hephaestus attends to his forge in Etna, and that there is there an anvil on which he smites with his hammer; for there are many other mountains all over the earth that are on fire, and yet we should never be done with it if we assigned to them giants and gods like Hephaestus.

On Heroes 8.15–16

The Neapolitans living in Italy consider the bones of Alkyoneus a marvel. They say that many giants were thrown down there, and Mount Vesuvius smolders over them. Indeed in Pallênê, which the poets call "Phlegra," the earth holds many such bodies of giants encamped there, and rainstorms and earthquakes uncover many others.

Philostratus of Lemnos (?)

Imagines 2.17.5 pp. 198–201

[199] The neighbouring island, my boy, we may consider a marvel;¹ for fire smoulders under the whole of it, having worked its way into underground passages and cavities of the island, through which as though ducts the flames break forth and produce terrific torrents from which pour mighty rivers of fire² that run in billows to the sea. If one wishes to speculate about such matters, the island provides natural bitumen and sulphur; and when these are mixed by the sea, the island is fanned into flame by many winds, drawing from the sea that which sets the fuel aflame. But the painting, following the accounts given by the poets,³ goes farther and ascribes a myth to the island. A giant, namely, was once struck down there, and upon his as he struggled in the death agony the island was placed as a bond to hold him down, and he doest not yet [201] yield but from beneath the earth renews the fight and breathes forth this fire as he utters threats. Yonder figure, they say, would represent Typho in Sicily or Enceladus here in Italy,¹ giants that both continents and island are pressing down, not yet dead indeed but always dying.² And you, yourself, my boy, will imagine that you have not been left out of the contest, when you look at the peak of the mountain; for what you see there are thunderbolts which Zeus is hurling at the giant, and the giant is already giving up the struggle but still trusts in the earth, but the earth has grown weary because Poseidon does not permit her to remain in place. Poseidon ahs spread a mist over the contest, so that it resembles what has taken place in the past rather than what is taking place now.

Propertius

Elegies

2.1.39–40 (pp.82–83)

But Callimachus, with narrow chest, does not thunder out

the Phlegraean uproars of Jove and Enceladus,

Quintus Smyrnaeus

Posthomerica (or Fall of Troy),

5.641–643 (pp. 252–253)

as when

Enceladus by Zeus' levin was consumed

Beneath Thrinacia, when from all the isle

Smoke of his burning rose

14.582–585 (pp. 606–607)

As in the old time Pallas heaved on high

Sicily, and on huge Enceladus

Dashed down the isle, which burns with the burning yet

Of that immortal giant, as he breathes

Fire underground;

Statius

Thebaid

11.8 (pp. 390–391)

The gods welcome him [Jove], as though he were breathless and weary after Phlegra’s fight, or had piled smoking Aetna upon Enceladus.

Virgil

Aeneid 3.570–587

A spreading bay is there, impregnable

to all invading storms; and Aetna's throat

with roar of frightful ruin thunders nigh.

Now to the realm of light it lifts a cloud

of pitch-black, whirling smoke, and fiery dust,

shooting out globes of flame, with monster tongues

that lick the stars; now huge crags of itself,

out of the bowels of the mountain torn,

its maw disgorges, while the molten rock

rolls screaming skyward; from the nether deep

the fathomless abyss makes ebb and flow.

Enceladus, his body lightning-scarred,

lies prisoned under all, so runs the tale:

o'er him gigantic Aetna breathes in fire

from crack and seam; and if he haply turn

to change his wearied side, Trinacria's isle

trembles and moans, and thick fumes mantle heaven.

That night in screen and covert of a grove

we bore the dire convulsion, unaware

whence the loud horror came. For not a star

its lamp allowed, nor burned in upper sky

the constellated fires, but all was gloom,

and frowning night confined the moon in cloud.

Other?

see Theoi

Modern

Arafat

p 16

In passage 1 [Apoll. 1.6.1] Porphryrion and Enkelados [Alcyones!?] are the supreme giants. Enkelados is also named as Zeus' opponent (passage 6 [should be passage 7 Batrachomyomachia?] , although in passage 1 Athena kills him as she does on, for example, several black-figured amphoras¹⁸ and on the sacred Peplos presented in the Panatheniac procession to the ancient wooden image of Athena.¹⁹ In Euripides' Cyclops 5–8 a satyr claims to have killed Enkelados, which Carpenter is probably right to see as a detail added for 'the humour of its obvious untruth', ²⁰ although satys do assist Dionysos in the Gigantomachy (cf. 1.61, reverse). The Caeretan vase noted above has names for all three opponents of Zeus which we do not hear of elsewhere in that role (Hyperbios, Ephialtes, and Agasthenes), whereas Athena fights her usual opponent, Enkelados. The tradition regarding Athena's opponent was stronger than that of Zeus'.

Boardman

p. 137

Cook 1925

p. 909

Zeus is indeed sometimes said to have piled Aitne on Typhon (Aisch. P.v. 351 ff., Pind. Pyth. I. 13 ff., cp. Strab. 626 f.) or on Enkelados (Lucilius (?) Aetna 71 ff., Stat. Theb. 11. 8, cp. Verg. Aen. 3.578 ff., Opp. [Oppian] de venat. I. 273 ff.); but Typhon is more properly located in the land of Arima (supra p. 826) or in the Corycian Cave (supra p. 448 n. 2), and Enkelados is commonly described as the victim of Athena, not of Zeus.

Ely

[In folder]

p. 69

Frazer

II p. 576

... a statue of a thoroughly archaic type wearing a robe embroidered with the very scenes which are known from ancient writers to have been wrought on the robe which was periodically placed on Athena's image on the Acropolis.²

² The scenes represented the wars of the gods and giants; Athena's triumph over Enceladus is mentioned in particular. See the passages collected by Prof. A Michaels, Der Parthenon, p. 328.

IV p. 431

47. I. Enceladus. The combat of Athena with Enceladus is very often represented in ancient art, particularly on vases. See A. H. Smith, 'Athene and Enceladus,' Journal of Hellenic Studies, 4 (1883), pp. 90–95 ; M. Mayer, Die Giganten und Titanen, p. 309 sqq.

Gantz

p. 448

In the Ion the chorus sees on the walls of a temple at Delphi Athena battling Enkelados

p. 451

But an (Attic? local?) amphora from Caere of this period, ... Athena against Enkelados, ... (Louvre E732).

Hard

p. 86

Typhon's connection with Etna ... Other mythical explanations were also offered for the flame and smoke of Etna, for some claimed that the Giant Enkelados was buried under it.

p. 90

[Apollodorus' version:] in their ... Athena killed the fleeing Enkelados by hurling the island of Sicily on top of him, ...

Neils

[In folder]

p. 301

The one narrative episode in which a large number of gods par- ticipate is the gigantomachy, a theme that first occurs in the early sixth century on large Attic vases dedicated on the Acropolis and continues until the Hellenistic period in relief sculpture. Its most famous mani- festation may have been in textiles, for the subject was woven into the peplos or woolen robe presented to Athena Polias at her major Athe- nian festival, the Panathenaia. The central figures in most of the fuller versions of this battle are Zeus, Athena, Heracles, and Ge, but even deities from an earlier generation, such as Themis, can take part, as on the north frieze of the Siphnian Treasury. Thereafter, and on smaller fields such as amphorae and metopes, individual duels are depicted, the most popular being Athena versus Enceladus. That this theme could also allude to the Persian Wars is perhaps indicated by the red-figure lekythos in Cleveland of ca. 480 BC (Figure 11), where the giant’s shield device is a centaur brandishing a tree.

FIGURE 11. Battle of Athena and a Giant. Attic red-figure lekythos attributed to Douris, ca. 490 BC. Cleveland Museum of Art 1978.59. Purchase from the J. H. Wade Fund, 1978. (Photo: Cleveland Museum of Art.)

OCD

OCD search

Giants
George M. A. Hanfmann
Published online:22 December 2015
Subjects:Greek Myth and Religion
Porphyrion who attempted to ravish Hera; Athena killed Pallas or Enceladus; Poseidon crushed Polybotes under the rock that became the island of Nisyros (Strabo 489); Apollo shot Ephialtes; Hermes slew Hippolytus; Dionysus killed Eurytus and many other Giants besides who were caught in his vine; and Hephaestus aided the gods, throwing red-hot iron as missiles. The Giants were defeated and were believed to be buried under the volcanoes in various parts of Greece and Italy, e.g. Enceladus under Aetna ( 1 ). Bones of prehistoric animals were occasionally

Article

Aetna (1), volcano of Sicily
Arthur Geoffrey Woodhead and R. J. A. Wilson
Published online:22 December 2015
Subjects:Ancient Geography
Tauromenium and Catana in eastern Sicily. The lower slopes are remarkably fertile, principally today in vines, olives, lemons, and oranges, and are thickly populated; woods and scrub cover the middle slopes; the upper are desolate. Eruptions were attributed to a giant ( Typhon or Enceladus) beneath the mountain. The Sicans traditionally transferred westwards because of them. Few ancient eruptions are recorded, those of 475 , 396 , and 122 bce. being the most notable; Etna has apparently been more active in modern times. The mountain is the subject of an anonymous

Article
Batrachomyomachia
A. Sens
Published online:22 December 2015
Subjects:Greek Literature
weaponry of Homeric warriors). Indeed, the narrative itself regularly calls attention to the incongruity of style and theme, as in the comparison of the conflict to the Gigantomachy or the failure of Zeus’s thunderbolt to have the same effect that it had against enemies like Capaneus, Enceladus, or the Giants (ll. 282–284). In this sense, the poem resembles epic parodies like the Attic Dinner-Party of Matro of Pitane, though it differs from those works in its linguistic strategies. Like them, the BM is heavily indebted to the formulaic language of epic, bu ... Show More

Parker

[In folder]

p. 201

Schefold

[In folder]

p. 315

Simpson

p. 30 note 22

"Virgil Aeneid 3.578–82 tells of Enceladus, struck by Zeus' thunderbolt, buried beneath the volcano, Mount Aetna.

Tripp

s.v. Enceladus

A giant. In the war between gods and GIANTS, Enceladus fought against Athena. After fleeing to Sicily, he was struck down and either Zeus or Athena piled Mount Aetna, or perhaps the entire island, on his body. He still breathed flames through the volcano. A similar story is told of Typhöeus.

Vian

p. 219

170 ...

Weller

[In folder]

p. 315

Iconographic

Athens 5983A-B

Beazley Archive 9024688 [No image]

Named: ENKELADOS (?)

Berlin F 2293

• Cohen, Beth, The Colors of Clay: Special Techniques in Athenian Vases Getty Publications, 2006.

• Cohen, pp. 177–178

47

RED-FIGURE CUP OF TYPE B

Attributed to the Brygos Painter, ca. 490-485 B.C.

...

Berlin Antikensammlung ... F 2293

From Vulci. ...

...

Enmelados has fallen under the cups' A/B handle:

• Vian, p. 228 (Gigantes 303)

pe. Berlin-Quest, Staatl. Mus. F 2293. De Vulci. ARV? 370, 10: P. de Brygos; Para 365, 10; Add 111; Rép. n° 334 pl. 35; CVA 2, pls. 67-68 (996-997); 71 (1000), 8; Maffre, 0. c. 302, 227 fig. 3-4; Schefold, SB Ill 94 figs 121-122. - 490-480. - I. Séléné (et non Nyx: of. 302) sortant des eaux (ou plongeant dans les eaux) sur un bige aux chevaux ailés. A. Vers la dr., Zeus (foudre, sceptre) monte en char; au second plan, Héraclès archer; puis, devant lui, Athéna (lance, égide) achève un G. terrassé en avant des chevaux. Une colonne devant Zeus figure Olympe. B. Héphaistos en hoplite (tenailles, uööpoı) vers la g. contre un CG: derrière lui, vers la dr., Poseidon (trident, Nisyros où court un renard) et Hermès (épée non visible) luttent chacun contre un G. Tous les G. sont nus et armés. La frise doit être lue de g. à dr. à partir de Poseidon.

• Digital LIMC 1156, scene 11842

• LIMC IV-2, p. 139 (Gigantes 303)

Berlin F 2531

• Vian, p. 230 (Gigantes 318)

• Beazley Archive 220533

Technique: RED-FIGURE

Shape Name: CUP

Provenance: ITALY, ETRURIA, VULCI

Date: -450 to -400

Attributed To: ARISTOPHANES by SIGNATURE

AVI Web: https://www.avi.unibas.ch/DB/searchform.html?ID=2532

LIMC Web: http://ark.dasch.swiss/ark:/72163/080e-743a4d0d2fb5e-a

CAVI Inscriptions: Int.: In the exergue, in BG: Εργινος εποιεσ[ε]ν. Αριστοφανες : εγραφε{1}. Γε. Ποσειδω̣ν. Πολυβωτες. A: Γαιων. Αρτεμις. Ζευς. Πορφ[υ]ριων. Αθ̣εναια{2}. Ε[ν]κελαδος. B: Μιμων. Αρες. Εφιαλτες. Απολλων. hερ[α]. Φοιτος.

Named: Ephialtes, Enceladus, Gaion, Phoitos, Polybotes, Porphyrion, Mimon

Detail: Athena v. Enceladus

LIMC Gigantes 318

= LIMC Ephialtes II 6

Gaia, Posidon and Polybotes: LIMC Gigantes 318: Image 3/4

Ares attacking fallen Mimon with spear: LIMC Gigantes 318: Image 2/4

Ares v. Mimon, Apollo v. Ephialtes, Hera v. Phoitos: LIMC Gigantes 318: Image 4/4

Arafat

p. 24

The exterior duels [on Berlin F2531] are symmetrically arranged in threes: on one side, from left, Artemis fights Gaion, Zeus Porphyrion and Athena Enkelados; on the other Ares fights Mimon (cf. p. 16 above), Apollo Ephialtes and Hera Phoitos.

p. 186

c.420-400

Cook

p. 56

(1) a kylix by the potter Erginos and the painter Aristophanes, found at Vulci and now at Berlin ...

Plate VI

(A) Poseidon attacks Polybotes in the presence of Ge

(B) Ares v. Mimon, Apollo v. Ephialtes, Hera v. Phoitos

(C) Artemis v. Gaion, Zeus v. Porphyrion, Athena v. Enkelados.

Perseus Berlin F 2531 (Vase)

Sides A and B: gigantomachy. Six figures battle on side A, six on side B. ... Athena battles Enkelados on the right. He has fallen onto one knee, his sword still sheathed and his shield on the wrong side. His head is turned toward Athena as she advances toward him, spear raised. Her left arm, covered by her aegis, is extended. She wears a chiton, bracelets and a crested helmet as well as the aegis.

Cleveland 78.59

• Vian, p. 232 Gigantes 350

Beazley Archive 5168

LIMC Gigantes 350 [no image]

Perseus Cleveland 78.59 (Vase)

480 BC

Getty 82.AE.26

• Vian, p. 317 (Gigantes 116)

• Beazley Archive 10148

-575 to -525

Named: ENKELADOS (also PORPHYRION)

Fragment: Heracles, Athena, horses of Zeus' chariot, Porphyrion and Enceladus

• Digital LIMC [* http://ark.dasch.swiss/ark:/72163/080e-75415b891aabe-6 29188]

• LIMV IV.2 [

Lourve CA3662

Athena (left) fighting Enceladus (inscribed retrograde) on an Attic red-figure dish, c. 530 BC (Louvre CA3662)

• Vian, p. 232 (Gigantes 342)

Se Plat à pied. Paris, Louvre CA 3662.- ARV² 12, 11; Mertens, J. R, AntK 22, 1979, 33-34 pl. 13, 3. - Vers 530. - Athena (Α]ΘΕΝΑΑΣ) vers la dr. (casque, égide, bouclier) pointe sa lance contre un G. (ΕΝΚΕΛΑΔΟΣ) nu et armé qui tombe à genou.

Se Plat on foot. Paris, Louvre CA 3662.- ARV² 12, 11; Mertens, J. R, AntK 22, 1979, 33-34 pl. 13, 3. - Around 530. - Athena (Α]ΘΕΝΑΑΣ) to the right (helmet, aegis, shield) points her lance at a naked and armed G. (ΕΝΚΕΛΑΔΟΣ) who falls to his knees.

• Beazley Archive 200059

-550 to -500

Named: ATH]ENAAS, ENKELADOS

SHIELD DEVICE, SATYR

• Digital LIMC 29890, scene 31348

• LIMC IV-2 p. 147 (Gigantes 342)

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Louvre E732

• Gantz, p. 451

But an (Attic? local?) amphora from Caere of this period, ... Athena against Enkelados, ... (Louvre E732).

• Arafat, p. 16

The Caeretan vase noted above [Louvre E732] has names for all three opponents of Zeus which we do not hear of elsewhere in that role (Hyperbios, Ephialtes, and Agasthenes), whereas Athena fights her usual opponent, Enkelados.

• Vian, p. 219 (Gigantes 170)

170.* (= Athena 381*, = Hera 377) Amphore à col. Paris, Louvre E 732. De Caeré. - Rép. n° 96 pl. 22; MonInst VI-VII, 1857-1863, pl. 78; Cook, Zeus I 712 pl. 30; Pottier, Vases Louvre If 68 pl. 54.- 2° quart-VI s. (travail local influencé par l'art I'art ionien et attique ou plutôt vase attique selon v. Bothmer et M. Moore). A. ... B Vers la g., ... Athéna (ΑΘΕΝΑΗ) assène un coup d'épée à Encelade (ΗΕΚΗΕΛΑΔΟΣ) dont elle a saisi le cimier; ...

170.* (= Athena 381*, = Hera 377) Amphora with neck. Paris, Louvre E 732. De Caeré. - Rep. n° 96 pl. 22; MonInst VI-VII, 1857-1863, pl. 78; Cook, Zeus I 712 pl. 30; Pottier, Vases Louvre If 68 pl. 54.- 2nd quarter-VI century (local work influenced by Ionian and Attic art or rather Attic vase according to v. Bothmer and M. Moore). A. ... B Towards the left, ... Athena (ΑΘΕΝΑΗ) strikes Enceladus (ΗΕΚΗΕΛΑΔΟΣ) with a sword, whose crest she seizes; ...

• Beazley Archive 14590 [No images]

-575 to -525

Named: HYPERBIOS, EPHIALTES, AGASTHENES, ENKELADOS, POLYBOTES

LIMC Web: http://ark.dasch.swiss/ark:/72163/080e-73a49a0ddfe9b-f

• Digital LIMC 52, Scene 252

• LIMC IV-2, p. 125 (Gigantes 170)

Munich 1612

(Athena and Enceladus?) Attic black-figure neck amphora, c. 550–500 BC (Munich 1612)

Vian, p. 224 (Gigantes 243a)

243.* Vases du P. d’Edimbourg ou de son entourage: vers 500. - a) Amphore è col. Munich, Antikenslg. 1612 (J. 1200). - ABV 484, 7; Rép. n° 272. - Guerrier vaincu par une femme ceinte d’un bandeau et n'ayant ni bouclier ni égide: Amazonomachie?

Vases of the Edinburgh Painter or his entourage: around 500. - a) Amphora è col. Munich, Antikenslg. 1612 (J. 1200). - ABV 484, 7; Rép. n° 272. - Warrior defeated by a woman wearing a headband and having neither shield nor aegis: Amazonomachy?

• Beazley Archive 303466 [No images]

-550 to -500

Decoration: A: GIGANTOMACHY, ATHENA AND GIANT FALLING, SHIELD DEVICE, LION PROTOME

B: DIONYSOS AND SATYRS

• Digital LIMC 29504, scene 30952

Object: neck amphora

Artist: Edinburgh Painter

Catalogue LIMC: Gigantes 243a

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Naples 81521 (H2883) Red-Figure Calyx Krater

Beazley Archive 217517

-425 to -375

Named: Enceladus, [Porphyr]ion

Previously Naples H2883

LIMC Gigantes 316

Stewart, Andrew, Greek Sculpture: An Exploratio Volume II:Plates [1]

368. Attic red-figured calyx-krater from Ruvo, ca, 400: Gigantomachy, Naples, Museo Nationale 2883. Original ht. ca. 31 cm.

Arafat

pp. 25–26

The one on the left-hand corner [of Naples 81521] with the shield is named Enkeledos and the [p. 26] one between the two rock-holding giants is named Porphyrion. These names are by now long familiar, and suggest that the divine opponents would have been Athena and Zeus respectively. The presence of Zeus would confirm the idea suggested by the chariot-team. These two giants are worthy of such divine opponents, a rank emphasized by their shields which both have relief bosses; that of Enkelados has a painted battle scene on the interior. Enkelados also has a helmet.

p. 186

c. 420-400

Perseus: Naples 81521 (Vase)

Named: Enceladus, Mimas

ca. 410 BC - ca. 400 BC

A (Gigantomachy): Enkelados (labelled above his head), crouched profile to the right, both legs bent, wearing an Attic helmet, and a shield shown in 3/4-inside-view on his bent left arm; Mimas (labelled in red wash, below his rock), leaning 3/4-view to the right, with his head frontal, both legs bent, holding a large rock (shaped like a wine skin!) in both arms, wearing a nebris on his left arm; above him, two nude men, of whom only the legs are preserved; a giant (labelled above his head), lunging 3/4-back-view to the right, both legs bent, with weight on his left leg, wearing a nebris over his left arm, and holding an unidentifiable object in his right hand, extended to the right; another male figure above him, crouching near profile to the right, with his bent, left leg raised on a rock, holds a short spear in his lowered right hand, and raises his left hand on top of a rock; another male figure, standing 3/4-view to the left, with his weight on his bent, right leg, wearing a nebris over his left arm, raises a large rock in both arms; a female figure, probably Attika or Ge, shown only above her hips, standing 3/4-view to the left, wearing a belted peplos, and long hair, raises both bent arms, and looks up; Helios (shown from his hips up; the tops of the four horses also shown) riding a quadriga 3/4-view to the left; another quadriga (?).

Selinus Temple E

Athena and Giant (presumably Enceladus), Temple E (Selinus).

• Vian, p. 200 (Gigantes 15)

15.* (= Athena 393) Métope en calcaire du temple E (Héraion?) de Sélinonte. Palerme, Mus. Reg. 3921.- Rép. n° 29 pl. 4; Kähler o. £ 13, pl. 54; Villard, ac 13, pls. 158-159; Fuchs, W., RM 63, 1956, 102-118; Langlotz, B./Hirmer, M., Art of Magna Graecia (1965) pl. 104; Tusa, 0. c. 13, 122 pl. 21. - 2° quart du V° s. - Athéna (égide à gorgoneion) frappe vers la dr. de sa lance un G. qu’elle saisit par le cou dela main g.; le G. tombe obliquement en essayant de fuir, la tête tournée à g.

15.* (= Athena 393) Limestone metope from the E temple (Heraion?) of Selinunte. Palermo, Mus. Reg. 3921.- Rep. n° 29 pl. 4; Kähler o. £ 13, pl. 54; Villard, ac 13, pls. 158-159; Fuchs, W., RM 63, 1956, 102-118; Langlotz, B./Hirmer, M., Art of Magna Graecia (1965) pl. 104; Tusa, 0. c. 13, 122 pl. 21. - 2nd quarter of the 5th century - Athena (aegis with gorgoneion) strikes a G. to the right with her lance, seizing it by the neck with her left hand; G. falls obliquely while trying to flee, his head turned to the left

• Digital LIMC 29025, scene 30446

Findspot: Selinus, Selinunte, Temple E

• LIMC IV-2, p. 111 (Gigantes 15)

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