By Clytaemnestra, Agamemnon had three daughters, Iphigeneia (Iphianassa), Electra (Laodice), Chrysothemis, and a son, Orestes.
Her wrath at the sacrifice of Iphigeneia, and her jealousy of Cassandra, are said to have been the motives of her crime.
IPHIGENEIA, or Iphianassa, in Greek legend, daughter of Agamemnon and Clytaem(n)estra.
Orestes and Iphigeneia fled, takini with them the image; at Delphi they met Electra, the sister of Orestes, who having heard that her brother had been sacrificed by the Tauric priestess, was about to tear out the eyes of Iphigeneia.
The brother and sister returned to Mycenae; Iphigeneia deposited the image in the deme of Brauron in Attica, where she remained as priestess of Artemis Brauronia.
Attica being one of the chief seats of the worship of Artemis, this explains why Iphigeneia is sometimes called a daughter of Theseus and Helen, and thereby connected with the national hero.
The grave of Iphigeneia was shown at Brauron and Megara.
According to other versions of the legend, when saved from sacrifice Iphigeneia was transported to the island of Leuke, where she was wedded to Achilles under the name of Orsilochia (Antoninus Liberalis 27); or she was transformed by Artemis into the goddess Hecate (Pausanias _i.
According to the Spartans, the image of Artemis was transported by Orestes and Iphigeneia to Laconia, where the goddess was worshipped as Artemis Orthia, the human sacrifices originally offered to her being abolished by Lycurgus and replaced by the flogging of youths (diamastigosis, Pausan.
At Hermione, Artemis was worshipped under the name of Iphigeneia, thus showing the heroine in the last resort to be a form of that goddess (Pausanias ii.
Originally, Iphigeneia, the "mighty born," is probably merely an epithet of Artemis, in which the notion of a priestess of the goddess had its origin.
Iphigeneia is a favourite subject in Greek literature.
They were famous in the ancient world for their maiden goddess, identified by the Greeks with Artemis Tauropolos or Iphigeneia, whom the goddess was said to have brought to her shrine at the moment when she was to have been sacrificed at Aulis.
Later stories say that Thetis snatched his body from the pyre and conveyed it to the island of Leuke, at the mouth of the Danube, where he ruled with Iphigeneia as his wife; or that he was carried to the Elysian fields, where his wife was Medea or Helen.
Between these dates Houdon had not been idle; busts of Catharine II., Diderot and Prince Galitzin were remarked at the Salon of 1773, and at that of 1775 he produced, not only his Morpheus in marble, but busts of Turgot, Gluck (in which the marks of small-pox in the face were reproduced with striking effect) and Sophie Arnould as Iphigeneia (now in the Wallace Collection, London), together with his well-known marble relief, "Grive suspendue par les pattes."
The story of Orestes was the subject of the Oresteia of Aeschylus (Agamemnon, Choephori, Eumenides), of the Electra of Sophocles, of the Electra, Iphigeneia in Tauris, and Orestes, of Euripides.
Parnassus becomes the holy mountain of Apollo, and Orestes himself an hypostasis of Apollo "of the mountain," just as Pylades is Apollo "of the plain" similarly Electra, Iphigeneia and Chrysothemis are hypostases of Artemis.
The custom of flogging youths at the altar of Artemis Orthia 1 at Limnaeum in Laconia, and the legend of Iphigeneia, herself another form of Artemis, connected with Artemis Taurica of the Tauric Chersonese, are usually supposed to point to early human sacrifice (but see Farnell).