As all earthly fire was thought to have come from heaven, Hephaestus has been identified with the lightning.
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.
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.
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.
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.
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.
They are seven in number - Lipari (Lipara, pop. in 1901, 15,290), Stromboli (Strongyle), Salina (Didyme, pop. in 1901, 4934), Filicuri (Phoenicusa), Alicuri (Ericusa), Vulcano (Hiera, Therasia or Thermissa), the mythical abode of Hephaestus, and Panaria (Euonymus).
474) where he describes Hephaestus as throwing into his furnace copper, tin, silver and gold to make the shield of Achilles, so that it is not always possible to know whether when he uses the word XaXKOs he means copper pure or alloyed.
Apollo, Helios, and Hephaestus were fire, Hera was air, Poseidon was water, Artemis was the moon, Kai Ta Xoora 6Aoiws.
Stated in the barest form, these results do not differ greatly from the conclusions of Theagenes of Rhegium, who held that " Hephaestus was fire, Hera was air, Poseidon was water, Artemis was the moon, Kai ra Xoura bµoiws."
Ptah is the Egyptian Hephaestus; he is represented as a dwarf; men are said to have come out of his eye, gods out of his mouth - a story like that of Purusha in the Rig Veda.
927), of Hera alone, is Hephaestus, the lame craftsman and artificer.
Zeus or Hera throws Hephaestus or Ate out of heaven, as in the Iroquois myth of the tossing from heaven of Ataentsic. There is, as usual, no agreement as to the etymology of the name of Hephaestus.
About the close relations of Hephaestus with fire there can be no doubt.
Originally the Cabeiri were two in number, an older identified with Hephaestus (or Dionysus), and a younger identified with Hermes, who in the Samothracian mysteries was called Cadmilus or Casmilus.
Their cult at an early date was united with that of Demeter and Kore, with the result that two pairs of Cabeiri appeared, Hephaestus and Demeter, and Cadmilus and Kore.
The substitution of Hades for Hephaestus is due to the fact that Hades was regarded as the husband of Persephone.
Cabeiro, who is mentioned in the logographers Acusilaus and Pherecydes as the wife of Hephaestus, is identical with Demeter, who indeed is expressly called Kaaeipia in Thebes.
P. 473, that the father of the Cabeiri was Camillus, a son of Hephaestus, the Cabeiri have been thought to be, like the Corybantes, Curetes and Dactyli, demons of volcanic fire.
In the later story, Erichthonius (son of Hephaestus and Atthis or Athena herself) was handed over by Athena to the three daughters of Cecrops - Aglauros (or Agraulos), Hen and.