Marissa Yesnik December 7, 2016 CMRS 110 Zachary Yuzwa Research Arc. <> The Making of a Goddess <> By Marissa Yesnik

Transcription

1 Marissa Yesnik December 7, 2016 CMRS 110 Zachary Yuzwa Research Arc <> The Making of a Goddess <> By Marissa Yesnik

2 Research Arc Marissa Yesnik 2 Companion Piece: No one really knows what the goddess Athena truly looks like. The only hints to her appearance are from art forms left behind by people who celebrated the goddess. In these art forms there are many versions of the same goddess made by different artists with these different versions there can be differences in their features. Which brings up the question, should there be one common image of what Athena should look like? Especially since Athena is a being who was originally created by someone s imagination, should her appearance be open to ones interpretation? I believe so, so with this project I will celebrate the fact that there are so many interpretations of the goddess through the ages by creating a costume that represents my own vision of the goddess Athena. It is crucial to note that the components of this depiction of Athena will be heavily based and/or inspired by classical Greek sources and should by no means be considered all my original ideas. For this project I will be focusing on one single art form, which is statues. This is because there are so many different art forms that display Athena and it is impossible to examine all of them. One statue in particular would have been a prime example and one of the earliest renditions of Athena, the wooden statue Athena Polias 1. This is due to it being one of the main statues constructed by the Greeks and used in their celebrations, and thus its one of the earliest constructed images of Athena. 2 Unfortunately, with the statue being made of wood it did not survive the years of weathering which leaves to debate what the creation actually looked like. Because of this, scholars have debated the appearance of this particular statue. Yet for all its primacy in the state religion of Athens, Pausanias says nothing about the image's

3 Research Arc Marissa Yesnik 3 appearance and thus has left us to reconstruct it from a number of scattered references and possible reflections in the minor visual arts. 3 Certain points of debate include whether the image was unarmed or armed, sitting or standing and what main elements were a part of the statues appearance. 4 It is important to understand that I am not simply reconstructing what the Athena Polias statue looks like; rather I am using the Athena Polias as a starting point/skeleton for developing my own rendition of Athena. From that, I will use other Greek statues or reconstructions of Athena that were created around the same time period to fill in the blanks of what was not discussed or made clear about Athena Polias' features. With all of this information I will leave myself room for creative expression of the costume s elements. The two other statues I will be focusing on will be the bronze Piraeus Athena 5 and the Athena Parthenos reconstruction of the original Greek Parthenos statue. 6 Using these other Greek statues as a reference while examining what is discussed about Athena Polias will help act as a visual aid to particular commonalities discussed between any of them. In turn this will also guide me with reflecting the aesthetic conventions of classical Greek statuary for this costume. The goal of this project is to explore the question of the goddess Athena s appearance by merging similarities and commonalities presented by, or discussed about these statues in correlation to the statue Athena Polias. These statues are just a few of the many diverse representations of Athena in the context of Greek religion. 7 So while making this costume, it seems natural to honor the fact that there are so many other renditions of the same goddess aside from the statues I examined. Thus by

4 Research Arc Marissa Yesnik 4 creating a costume as my own rendition based on classical renditions or recreations of the original artists and creators of the goddess, I will also honor the diversity of Athena s appearance present throughout the ages.

5 Research Arc Marissa Yesnik 5 Full list of items in the inventories : Inventories that list the treasures that adorned the Athena Polias statue were recorded by the Treasurers of Athena in many inscriptions of the late 370s and early 360s. 8 In these inscriptions, they listed these items in a fixed order, a diadem that the goddess wears, the earrings that the goddess wears, a band that the goddess wears on her neck, five necklaces, a gold owl, a gold aegis, a gold gorgoneion and a gold phiale that she holds in her hand. 9 These inventories are listed here for the reader s convenience and will be a key element in both explaining and constructing my Athena costume.

6 Research Arc Marissa Yesnik 6 The Athena Polias and introducing the other statues: The Athena Polias was a statue made from olive wood and resided in the Erechtheion of Athens. 10 It was seen as a protective talisman of Athens and played a primary part in their religion. 11 Even though it was important to Athens, Pausanias, who wrote The Description of Greece 12 never talked about what that statue looks like. This leaves us to construct what it may have looked like by looking at references to the image in the arts or grasping at small pieces of information dispersed among other sources. 13 As a result there has been quite the debate on the physical appearance of the statue Athena Polias. Earlier scholars believed the statues image showed an Athena standing ready for battle and dressed in armor. 14 But other scholars such as A. Furtwangler and A. Frickenhaus, argue that the statue was unarmed and seated. 15 This was because there are inscriptions that serve as evidence, such as the inventories, of the image wearing a diadem on her head and a gold phiale in her hand. 16 There are also four Archaic portrayals 17 of Athena that show her seated and holding a phiale in her hand. This is where Frickenhaus derives his argument from. Of these four portrayals, two of them have a removed helmet and many others such as Archaic terracottas 18 from the Acropolis present an unarmed and seated Athena. He believes that these statues in particular were based from the original ancient Athena Polias statue. 19 But not all scholars agree because they believe Frickenhaus argument depends heavily on arguments from the minor arts of a period when most of the minor artists were more likely to reproduce living, or immortal, goddess as their contemporaries felt her than a statue only a decade or two old 20 This is interesting because this argument ties to my argument where Athena s appearance can often be

7 Research Arc Marissa Yesnik 7 left to ones own interpretation of the goddess. But since this statue is only one rendition of Athena s image, Athena Polias true appearance should not be considered as fully open to one s interpretation. This is because of the inventories 21 and few inscriptions that exist to paint a fragmented picture of its appearance, so some information to its true appearance remains. 22 But for the sake of my project, while there is pieces of evidence of what the Athena Polias looks like, I will have to allow myself creative freedom of expression of whatever features are not made clear about the statue s image. As discussed earlier these unclear features, such as the physical appearance of the treasures of this statue listed in the inventories 23, will be created based and inspired by other sources. Frickenhaus, after discussing these inventories, brought to light the obvious fact that a goddess with a phiale in her and a tiara/diadem on her head cannot be of the fully-armed Palladion type. 24 With all the evidence brought forth I am going to side with Frickenhaus for this project, and believe the Athena Polias was an unarmed and seated goddess. Therefore along with making my Athena unarmed, I will include the details and ornaments that are listed in the inventories 25 in this costume. Since the inventories 26 do not clearly discuss the physical details about the Athena Polias ornaments I am left to look at other sources to develop my own version of what each of the decorations/elements of the statue would have looked like. For this I will turn to two statues in particular, the bronze Piraeus Athena 27 and the Athena Parthenos reconstruction of the original Greek Parthenos statue. 28

8 Research Arc Marissa Yesnik 8 The bronze Piraeus Athena statue is considered an original statue of 4 th century Athens. 29 It was buried along with a cache of other bronze works after the destruction of the city and is almost complete other than a part of one foot that is missing. 30 It features a peplos open on her right side as well as a band-like aegis. 31 This aegis features a gorgoneon portrayed as medusa just like the Athena Polias Piraeus Athena Image credit: iraeus_athena did and included snakes on its borders. 32 For my project I will rely specifically on the appearance of this statue s peplos/dress as a reference as I create my own peplos for this costume. For example, I will make my peplos open to one side and have a piece of fabric draped around me just like this statue does. All the other features present on this statue (such as the spear and shield that was said to be once part of this statue) 33 will not be involved with the making of my costume. This is because the rest of the features involve an armed Athena and does not follow the argument Frickenhaus supports about Athena Polias being unarmed. 34 The Athena Parthenos is a cult statue just like the Athena Polias was. It was originally built between 447 and 432 BCE and resided in Athens. 35 It remained there for around a thousand Athena Parthenos Image credit: years until it disappeared from recorded history with no trace of it remaining

9 Research Arc Marissa Yesnik 9 anywhere. 36 Thankfully there are many representations and copies of Athena Parthenos that exist, this includes the most complete statue called the Varvakeion statuette. 37 With these remaining statues and some descriptions provided by Pausanias and Plutarch, scholars were able to materialize the original appearance of this statue. 38 The appearances of both the Athena Parthenos and Athena Polias are mainly connected with the commonalities of their appearance. 39 But unlike the Athena Polias and similar to the Piraeus Athena, this statue was fully armed and stood on its two feet. 40 There were also other differences between the Parthenos and Polias statues. As the book Athena Parthenas and Athena Polias explains, The Parthenas statue extended a Victory towards the spectator, the Polias held a libation bowl Frickenhaus notes in his article that both of these statues hold an object of The Varvakeion Athena Image credit: e/785/ some kind in their hand. 42 Some commonalities between the two statues include that they both may have had an owl, they both have a peplos and display similar jewelry. 43 There are many differences between these two statues and only few of the features seem to connect them. But their differences may run deeper than just the physical appearance. This idea is explained in the book Athena Parthenas and Athena Polias, It is possible that they (the differences) result from the improvement in the sculptors technique over a period of a century or more; or that they only reflect the different visions of two widely separated generations about the same goddess. Or, on the other hand, they may go back to a persisting tradition that there was some difference in

10 Research Arc Marissa Yesnik 10 function between the dwellers in the Erechtheum and in the Parthenon. It is easy to guess what the difference in function was: the goddess of the Erechtheum was a goddess of peace, caring for the agriculture and arts of the land: the other was a warrior maiden, protector of the city.. 44 This argument makes sense considering the appearances of both statues and each seem to reflect the opposite sides to the Athena Polias argument that was discussed earlier; the armed Athena versus the peaceful goddess. But perhaps these two sides of the argument are mere reflections of the two sides of the goddess Athena; both her appearance and purpose to her people. So its impossible to conclude that one side is incorrect about Athena Polias image since each argument validly describes one side of Athena, either the warrior or a goddess of peace. 45 However my costume will be focusing on the peaceful side of Athena in reflection to Frickenhaus argument. In conclusion, both the Piraeus Athena and Athena Parthenos offer great visual aids for my reconstruction of the features discussed about the Athena Polias statue. I will connect these commonalities between the three in regards to the items listed in the inventories 46 and assemble my own version of Athena Polias. During construction I will be incorporating my own artistic expression of these commonalities while following in line with Frickenhaus argument about the appearance of the Athena Polias being a reflection of a peaceful goddess. 47

11 Research Arc Marissa Yesnik 11 Athena s eyes and hair: There is no description of the hairstyle of the Athena Polias statue. Not only is there no description of the Athena Polias hairstyle, there is no discussion about Athena s hairstyle in general. So for this project, the way I style my hair will be inspired by the two Athena statues; Piraeus Athena and the Nashville reconstruction of the Athena Parthenos statue. Therefore my hair will be let down and curly for the style. The statues have shorter hair though, and since I am not going to cut my hair short for the sake of a project, it will be long curly hair for my Athena. General hair color of the gods is briefly discussed in the Journal of Hellenic Studies. They describe the color as..golden 48 The closest thing we have to this is blonde hair. Since I naturally have this hair color I did not purchase a wig for this project. The discussion about her eyes is more complex, being described as Glaukos 49 or blue-green in color. Even her golden Aegis, which will be discussed in detail later, is compared to her flashing eyes 50 Thankfully I also have natural bluegreen eyes so I will not be investing in color contacts. This research on Athena s eyes had to be done outside of examining statues since there is no evidence of the eyes having color or being painted on any of the statues I am examining. Including the Athena Polias statue. Athena s Aegis: This golden piece of armor was worn by the Athena Polias statue as well as the other statues being examined. 51 Unfortunately there is not much discussion about the appearance of Athena Polias aegis other than it was golden and had a golden

12 Research Arc Marissa Yesnik 12 gorgonion adorning it. 52 Therefore I will have to base its appearance both on the Nashville reconstruction of Athena Parthenos 53 statue and what is discussed about Athena s aegis from other sources. 54 All that s important to note is that scholars on both sides of the argument agree that Athena Polias had an aegis. 55 This is because the aegis was mentioned among the inventories. 56 On the aegis and also listed in the inventories was the golden gorgoneon. This gorgoneon was most likely Medusa, this was because Athena s gaze itself has the potential to destroy, an ability that finds its most powerful manifestation in connection with the Gorgon Medusa. 57 Connecting these two immortal beings on a deeper level, so its My gorgoneon vs. the Parthenos Athena statues gorgoneon. Snake hair was added to make my gorgoneon appear more like medusa. placement on the aegis is relevant. For the aegis I will be adding this Medusa gorgoneon as well as painting it gold. Since the Nashville reconstruction of Athena Parthenos has a gorgoneon on its aegis, even though it is not golden, I will use this as a visual aid when creating my medusa gorgoneon. However since the gorgoneon on this reconstruction doesn t clearly portray itself as Medusa, I will add snake hair to help make this more evident as it is an identifying trait for Medusa. 58 The aegis was thought to be adorned by snakes 59 and framed by golden snakes 60 We can really see this in the Nashville recreation of the Athena Parthenos

13 Research Arc Marissa Yesnik 13 statue. So for my aegis I will add these snakes and paint them gold. However the appearance of the snakes I put on my aegis, even though they are based/inspired on the Athena Parthenos aegis, are not a copy of the original Parthenos aegis and are a result of my own artistic expression. The aegis is sometimes thought to possess scales like a snake. 61 Perhaps paying tribute to the snakes that she is often compared to and the snakes adorning the aegis. As mentioned here;..the snake, her companion on the Athenian akropolis from the Archaic period. Like Athena, the snake has a piercing stare 62 These scales are also seen in the reconstruction of Athena Parthenos, so I will incorporate this detail in the aegis I am creating. It is important to note that the appearance of the scales on the aegis has not been strictly described other than the fact that they were likely present. So I will be Front and back view of my aegis adorned with golden snakes and sporting a scaled pattern. using the aegis of Nashville Athena Parthenos reconstruction as a visual aid and leave the rest of the design up to my own artistic interpretation based on the limited materials I have. To create the scales I used dry leaves and painted them gold. The layering of these leaves gave a nice streamlined scaly look that I am very pleased with.

14 Research Arc Marissa Yesnik 14 Athena s dress/ Peplos : This dress, more specifically the peplos, was not carved into the actual wood of the Athena Polias statue but instead draped around it. 63 This garment was changed every 4 years in the pinnacle of the Greater Panathenaia. 64 (pg.65 The Ancient Image of Athena Polias) It was made from beautiful saffron dyed wool and featured additional purple decoration. 65 This was because purple was a rare and valuable dye which symbolized high status. Therefore it s a very fitting color for a goddess to possess. 66 I will be adding small bits of purple ribbon on my Athena costume, but the amount present will appear very subtle in an attempt to not let the ribbon be the primary focus of the peplos. The golden saffron color of the dress is thought to represent both fire and light or the warm living Piraeus Athena Back Image credit: p?s=1,4,11,35,591&img=gaapim U11 body. 67 This golden color and symbolism reflects the golden aegis Athena wears. 68 This is an important detail of the peplos and therefore will be incorporated in my project. I chose to use a different kind of fabric other than the wool that the Athena Polias would have worn because of financial reasons. But the color of the fabric remains of the same type, the color of saffron. The design of my peplos is inspired by the bronze Piraeus Athena statue 69 because I really liked how the peplos draped around her body as well as how graceful the folds of the fabric looked. I did not simply replicate this statues peplos, but I did borrow some of the statue s design to

15 Research Arc Marissa Yesnik 15 incorporate into my costume. The rest of my peplos is both inspired by the Piraeus statue and was left up to my own artistic expression. For example, my peplos includes a train to trail behind me when I walk. The Piraeus Athena did not have this feature and there is no discussion of any other Athena statues, including the Athena Polias, having this feature also. I included it only because I felt it gave an elegant look to the peplos as I walked. Athena s jewelry: There was lots of jewelry mentioned in the inventories of the Athena Polias statue. The inventories 70 however only give away the placement of the ornaments and nothing much about their appearance. There is not even anything mentioned in regards to the material used for them. So I will base the appearance of the jewelry on the reconstructed Athena Parthenos statues jewelry. However, since I am not creating a replica of the Athena Parthenos statue I will only base the appearance of the Close up on Athena Parthenos jewelry Image credit: /2012/10/21/refrain-on-theroad-nashvilletennessee/nash54/ jewelry on the statue and leave the rest of the design up to my own artistic expression according to the resources I have to my disposal. The jewelry listed in the inventories included a diadem, earrings, neckband, and five necklaces (not including neckband). However the Athena Parthenos statue does not possess some of the jewelry like the Athena Polias did, which is the diadem and five necklaces. So I will have no choice but to be creative in the construction of these elements.

16 Research Arc Marissa Yesnik 16 Athena s Diadem: This diadem was listed in the inventories 71, which state it was a part of the Athena Polias statue. There is not any specific description on what this diadem looks like, nor could I find any discussion on its appearance even outside this subject of statuary. So I am giving myself room to be creative with its appearance. What I chose to do was base its appearance on the aegis I created, which was an item based heavily on research and academic discussion examined earlier. This diadem is of my own creation and should by no means be considered accurate to the original diadem worn by the original Athena Polias. Gold Phiale: Libation bowl According to the inventories 72, the gold phiale was said to be present with the Athena Polias statue. Unfortunately I will not be able to add this gold phiale to my project. This is due to financial reasons as well as a lack of time to construct this as a prop measuring up to my personal standards of its quality. So even though this gold phiale is not present in my project, it is important to note that s it is a vital part of the Athena Polias as its one of its objects listed in the inventories. 73 Gold phiale (libation bowl) Image credit: g/art/collection/search/

17 Research Arc Marissa Yesnik 17 Athena s owl: The golden owl was listed among the treasures in the inventories 74 for the Athena Polias, which makes sense since it is a creature often associated with the goddess. 75 Therefore I understood that it was important to include this creature into my project. The placement of this golden owl is uncertain, but scholars believe its placement is hinted in the order of the items listed in the inventories. 76 Based on this order, the items are listed from the diadem down and with the owl being listed in between the necklaces and aegis, it is predicted that the owl is at shoulder level. 77 With this in mind I put my owl on the shoulder of my aegis or keep it around shoulder height when holding it. There is no particular discussion on the species of owl as well as the physical description of its appearance other than the fact that the ornament was gold. 78 So I will create this golden owl based on the resources available to me. It is important to note that since I will be designing this owl, its appearance is not based on academic research or ancient records (Other than the fact that is golden) and therefore should not be regarded as accurate to the original owl of Athena.

18 Research Arc Marissa Yesnik 18 Bibliography: "Medusa, in Greek mythology." Columbia Electronic Encyclopedia, 6Th Edition (April 2016): 1. Academic Search Complete, EBSCOhost. &db=a9h&an= &site=ehost-live Cartwright, Mark. Athena Parthenos by Pheidias. Ancient History Encyclopedia. (25 January 2015). Crane, Gregory. Piraeus Athena (sculpture). Perseus Digital Library. ure. Deacy, Susan, and Alexandra Villing. "WHAT WAS THE COLOUR OF ATHENA'S AEGIS?" The Journal of Hellenic Studies 129 (2009): Fowler, Harold N. "Pausanias's Description of Greece." American Journal of Archaeology 2, no. 5 (1898): doi: / Herington, C. J. Athena Parthenas and Athena Polias: a study in the religion of Periclean Athens. Oxford Road, Manchester: the University of Manchester The University Press, (1955). Kroll, John H. "The Ancient Image of Athena Polias." Hesperia Supplements 20 (1982): doi: /

19 Research Arc Marissa Yesnik 19 1 C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), 2 John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page Gregory Crane, Piraeus Athena (sculpture), Perseus Digital Library, ure. 6 Mark Cartwright, Athena Parthenos by Pheidias, Ancient History Encyclopedia, 25 January 2015, 7 C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page Harold Fowler, Pausanias s Description of Greece, American Journal of Archaeology 2, 1898, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page 65.

20 Research Arc Marissa Yesnik John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page Gregory Crane, Piraeus Athena (sculpture), Perseus Digital Library, ure.

21 Research Arc Marissa Yesnik Mark Cartwright, Athena Parthenos by Pheidias, Ancient History Encyclopedia, 25 January 2015, 29 Gregory Crane, Piraeus Athena (sculpture), Perseus Digital Library, ure. 30 Gregory Crane, Piraeus Athena (sculpture), Perseus Digital Library, ure. 31 Gregory Crane, Piraeus Athena (sculpture), Perseus Digital Library, ure. 32 Gregory Crane, Piraeus Athena (sculpture), Perseus Digital Library, ure. 33 Gregory Crane, Piraeus Athena (sculpture), Perseus Digital Library, ure. 34 C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page Mark Cartwright, Athena Parthenos by Pheidias, Ancient History Encyclopedia, 25 January 2015, 36 Mark Cartwright, Athena Parthenos by Pheidias, Ancient History Encyclopedia, 25 January 2015, 37 Mark Cartwright, Athena Parthenos by Pheidias, Ancient History Encyclopedia, 25 January 2015, 38 Mark Cartwright, Athena Parthenos by Pheidias, Ancient History Encyclopedia, 25 January 2015, 39 C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page 26.

22 Research Arc Marissa Yesnik C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009, page Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009, page Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009, 122.

23 Research Arc Marissa Yesnik C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page Mark Cartwright, Athena Parthenos by Pheidias, Ancient History Encyclopedia, 25 January 2015, 54 Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009, page C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009,page "Medusa, in Greek mythology." Columbia Electronic Encyclopedia, 6Th Edition, April 2016: page 1. Academic Search Complete, EBSCOhost. &db=a9h&an= &site=ehost-live 59 Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009, page Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009, page Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009, page 116.

24 Research Arc Marissa Yesnik Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009, page C. J. Herington, Athena Parthenas and Athena Polias: a study in the religion of University of Manchester The University Press, 1955), page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009, page Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009, page Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009, page Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009, page Gregory Crane, Piraeus Athena (sculpture), Perseus Digital Library, ure. 70 John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page 68.

25 Research Arc Marissa Yesnik Susan Deacy, Villing Alexandra, WHAT WAS THE COLOUR OF ATHENA S AEGIS, The Journal of Hellenic Studies, 2009, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page John H. Kroll, The Ancient Image of Athena Polias, Hesperia Supplements 20, 1982, page 68.