Of that of Hephaestus only two columns remain, while of that of Asclepius, a mile to the south of the town, an anta and two pillars are preserved.
As the chief seat of the worship of Ptah, the artisan god (Hephaestus), Memphis must have existed from a very remote time.
The building has been supposed by Curtius, Wachsmuth and others to be the Heracleum in Melite, but its identification with the temple of Hephaestus and Athena seen in this neighbourhood by Pausanias (i.
A temple of Hephaestus also stood on Pharos at the head of the mole.
Aeetes required of Jason that he should first yoke to a plough his bulls, given him by Hephaestus, which snorted fire and had hoofs of brass, and with them plough the field of Ares.
Hephaestus (or Prometheus) subsequently split open his head with a hatchet, and Athena sprang forth fully armed, uttering a loud shout of victory (Hesiod, Theogony, 886; Pindar, Olympia, vii.
As patroness of the arts, she is associated with Hephaestus (one of her titles is `H4at6Tia) and Prometheus, and in Boeotia she was regarded as the inventress of the flute.
It contained the ancient image of Athena Polias, and three altars, one to Poseidon and Erechtheus, one to Butes and one to Hephaestus; there were portraits of the family of the Butadae on the walls.
Many of the chief characteristics of the ancient Greek heroes are reproduced in those of the Teutonic North, the parallel being in some cases very striking; Siegfried, for instance, like Achilles, is vulnerable only in one spot, and Wayland Smith, like Hephaestus, is lame.
As the lame smith he reminds us of Hephaestus, and in his flight with wings of Daedalus escaping from Minos.
He is a form of the Lemnian Hephaestus, who alighted on the island when flung out of Olympus by Zeus.
Some assume it to be Erichthonius, son of Athena and Hephaestus, who was translated to the skies by Zeus on account of his invention of chariots or coaches.
Another myth has it to be Olenus, a son of Hephaestus, and father of Aega and Helice, two nymphs who nursed Zeus.
40) mentions the divine honours accorded at Chaeroneia to the sceptre of Agamemnon, the work of Hephaestus (cf.
The slaying of Patroclus by the Trojan hero Hector roused Achilles from his indifference; eager to avenge his beloved comrade, he sallied forth, equipped with new armour fashioned by Hephaestus, slew Hector, and, after dragging his body round the walls of Troy, restored it to the aged King Priam at his earnest entreaty.
He accordingly commissioned Hephaestus to fashion a woman out of earth, upon whom the gods bestowed their choicest gifts.
Hephaestus gave her a human voice, Aphrodite beauty and powers of seduction, Hermes cunning and the art of flattery.
In Homer Ares is the lover of Aphrodite, the wife of Hephaestus, who catches them together in a net and holds them up to the ridicule of the gods.
It is said that Pallas, Hephaestus, and Poseidon entered into a competition as to which of them could create the most useful thing.
Hephaestus made a man, Poseidon an ox, Pallas a house.
HEPHAESTUS, in Greek mythology, the god of fire, analogous to, and by the ancients often confused with, the Roman god Vulcan; the derivation of the name is uncertain, but it may well be of Greek origin.
The elemental character of Hephaestus is far more apparent than is the case with the majority of the Olympian gods; the word Hephaestus was used as a synonym for fire not only in poetry (Homer, Il.
As all earthly fire was thought to have come from heaven, Hephaestus has been identified with the lightning.
The connexion, however, though it may be early, is probably not primitive, and it seems reasonable to conclude that Hephaestus was a general fire-god, though some of his characteristics were due to particular manifestations of the element.
The subsequent return of Hephaestus to Olympus is a favourite theme in early art.
The connexion of the rough Hephaestus with these goddesses is curious; it may be due to the beautiful works of the smith-god (xapLEVTa Epya), but it is possibly derived from the supposed fertilizing and productive power of fire, in which case Hephaestus is a natural mate of Charis, a goddess of spring, and Aphrodite the goddess of love.
In Homer, the skill of Hephaestus in metallurgy is often mentioned; his forge was on Olympus, where he was served by images of golden handmaids which he had animated.
In epic poetry Hephaestus is rather a comic figure, and his limping gait provokes "Homeric laughter" among the gods.
814), and possibly no better explanation can be found, though it has been suggested that in an early stage of society the trade of a smith would be suitable for the lame; Hephaestus and the lame Wieland would thus conform to the type of their human counterparts.
The close connexion of Hephaestus with Lemnos and especially with its mountain Mosychlus has been explained by the supposed existence of a volcano; but no crater or other sign of volcanic agency is now apparent, and the "Lemnian fire" - a phenomenon attributed to Hephaestus - may have been due to natural gas (see LeMNos).
The Olympian forge had been transferred to Etna or some other volcano, and Hephaestus had become a subterranean rather than a celestial power.
In the Hephaesteia (the particular festival of the god) there was a torch race, a ceremonial not indeed confined to fire-gods like Hephaestus and Prometheus, but probably in its origin connected with them, whether its object was to purify and quicken the land, or (according to another theory) to transmit a new fire with all possible speed to places where the fire was polluted.
The relation between Hephaestus and Prometheus is in some respects close, though the distinction between these gods is clearly marked.
The fire, as an element, belongs to the Olympian Hephaestus; the Titan Prometheus, a more human character, steals it for the use of man.
Hephaestus is a culture-god mainly in his secondary aspect as the craftsman, whereas Prometheus originates all civilization with the gift of fire.
In archaic art Hephaestus is generally represented as bearded, though occasionally a younger beardless type is found, as on a vase (in the British Museum), on which he appears as a young man assisting Athena in the creation of Pandora.
Some mythologists have compared the hammer of Hephaestus with that of Thor, and have explained it as the emblem of a thunder-god; but it is Zeus, not Hephaestus, who causes the thunder, and the emblems of the latter god are merely the signs of his occupation as a smith.
In art no attempt was made, as a rule, to indicate the lameness of Hephaestus; but one sculptor (Alcamenes) is said to have suggested the deformity without spoiling the statue.
In ancient times the island was sacred to Hephaestus, who as the legend tells fell on Lemnos when his father Zeus hurled him headlong out of Olympus.
273), or the workshop of Hephaestus and the Cyclopes (Cic. De divin.
Later legend transferred their abode to Mt Aetna, the Lipari islands or Lemnos, where they assisted Hephaestus at his forge.
PTAH, the Hephaestus of the Greeks, a demiurgic and creative god, special patron of hand-workers and artisans.
Whether he was also, like Hephaestus, the deity of smiths, is very doubtful; his surname Mulciber may rather be referred to his power to allay conflagrations.
The ancient Chorizontes observed that the messenger of Zeus is Iris in the Iliad, but Hermes in the Odyssey; that the wife of Hephaestus is one of the Charites in the Iliad, but Aphrodite in the Odyssey; that the heroes in the Iliad do not eat fish; that Crete has a hundred cities according to the Iliad, and only ninety according to the Odyssey; that 7rpoirapotOe is used in the Iliad of place, in the Odyssey of time, &c. Modern scholars have added to the list, especially by making careful comparisons of the two poems in respect of vocabulary and grammatical forms. Nothing is more difficult than to assign the degree of weight to be given to such facts.
When Dionysus leaped into the sea to escape from the pursuit of Lycurgus, king of the Thracian Edones, and Hephaestus was flung out of heaven by Zeus, both were kindly received by Thetis.
In the Odyssey, she is the wife of Hephaestus, her place being taken in the Iliad by Charis, the personification of grace and divine skill, possibly supplanted by Aphrodite, the goddess of love and beauty.