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Hephaestus

Hephaestus (/hɪˈfiːstəs, hɪˈfɛstəs/; eight spellings; Greek:

Ἥφαιστος Hēphaistos) is the Greek god of blacksmiths, Hephaestus
metalworking, carpenters, craftsmen, artisans, sculptors, God of fire, metalworking, stone
metallurgy, fire (compare, however, with Hestia), and masonry, forges, the art of
volcanoes.[2] Hephaestus' Roman counterpart is Vulcan. In Greek sculpture, technology and
mythology, Hephaestus was either the son of Zeus and Hera or he blacksmiths.
was Hera's parthenogenous child. He was cast off Mount
Olympus by his mother because of his deformity or, in another
account, by Zeus for protecting Hera from his advances.[3][4][5]

As a smithing god, Hephaestus made all the weapons of the gods

in Olympus. He served as the blacksmith of the gods, and was
worshipped in the manufacturing and industrial centres of
Greece, particularly Athens. The cult of Hephaestus was based in
Lemnos.[2] Hephaestus' symbols are a smith's hammer, anvil,
and a pair of tongs.

Contents
Etymology
Epithets
Mythology
Craft of Hephaestus Hephaestus at the Forge by
Parentage Guillaume Coustou the Younger
Fall from Olympus (Louvre)
Return to Olympus Abode Mount Olympus
Consorts and children Symbol Hammer, anvil, tongs,
Hephaestus and Aphrodite Volcano
Hephaestus and Athena Personal information
Volcano god
Parents Zeus and Hera, or Hera
Other mythology
alone
Symbolism Siblings Aeacus, Angelos,
Comparative mythology Aphrodite, Apollo, Ares,
Cities and places Artemis, Athena,
Dionysus, Eileithyia,
Minor planet
Enyo, Eris, Ersa, Hebe,
Sooty grunter
Helen of Troy,
Stones Heracles, Hermes,
See also Minos, Pandia,
Notes Persephone, Perseus,
Rhadamanthus, the
References
Graces, the Horae, the
Citations
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Bibliography Litae, the Muses, the

Moirai
External links
Consort Aphrodite, Aglaea
Children Thalia, Eucleia,
Etymology Eupheme,
Philophrosyne, Cabeiri
Hephaestus is probably associated with the Linear B (Mycenaean and Euthenia
Greek) inscription , A-pa-i-ti-jo, found at Knossos.[6]
The inscription indirectly attests his worship at that time because Roman Vulcan
it is believed that it reads the theophoric name (H)āpʰaistios,[6] equivalent
or Hāphaistion.[7][8] The Greek theonym Hēphaistos is most Canaanite Kothar-wa-Khasis[1]
likely of Pre-Greek origin, as the form without -i- (Attic equivalent
Hēphastos) shows a typical Pre-Greek variation and points to an
original sy.[6]

Epithets
Hephaestus is given many epithets. The meaning of each epithet is:[9]

Amphigýeis "the lame one" (Ἀμφιγύεις)

Kyllopodíōn "the halting" (Κυλλοποδίων)
Khalkeús "coppersmith" (Χαλκεύς)
Klytotékhnēs "renowned artificer" (Κλυτοτέχνης)
Polýmētis "shrewd, crafty" or "of many devices" (Πολύμητις)
Aitnaîos "Aetnaean" (Αἰτναῖος), owing to his workshop being supposedly located below Mount
Aetna.[10]

Mythology

Craft of Hephaestus

Hephaestus had his own palace on Olympus, containing his

workshop with anvil and twenty bellows that worked at his
bidding.[11] Hephaestus crafted much of the magnificent
equipment of the gods, and almost any finely wrought
metalwork imbued with powers that appears in Greek myth
is said to have been forged by Hephaestus. He designed
Hermes' winged helmet and sandals, the Aegis breastplate,
Aphrodite's famed girdle, Agamemnon's staff of office,[12]
Achilles' armour, Diomedes' cuirass, Heracles' bronze
clappers, Helios' chariot, the shoulder of Pelops, and Eros's
bow and arrows. In later accounts, Hephaestus worked with
the help of the Cyclopes—among them his assistants in the Vulcan Presenting the Arms of Achilles to
forge, Brontes, Steropes and Arges.[13][14] Thetis by Peter Paul Rubens.

Hephaestus built automatons of metal to work for him. This

included tripods that walked to and from Mount Olympus. He gave to the blinded Orion his
apprentice Cedalion as a guide. In some versions of the myth,[15] Prometheus stole the fire that he
gave to man from Hephaestus's forge. Hephaestus also created the gift that the gods gave to man, the
woman Pandora and her pithos. Being a skilled blacksmith, Hephaestus created all the thrones in the

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Palace of Olympus.[13]

The Greek myths and the Homeric poems sanctified in

stories that Hephaestus had a special power to produce
motion.[16] He made the golden and silver lions and dogs at
the entrance of the palace of Alkinoos in such a way that they
could bite the invaders.[17] The Greeks maintained in their
civilization an animistic idea that statues are in some sense
alive. This kind of art and the animistic belief goes back to
the Minoan period, when Daedalus, the builder of the
labyrinth, made images which moved of their own accord.[18]
A statue of the god was somehow the god himself, and the Thetis Receiving the Weapons of Achilles
image on a man's tomb indicated somehow his presence.[19] from Hephaestus by Anthony van Dyck
(1630-1632)

Parentage
According to Hesiod (Theogony, 927-928 (http://www.perseus.tufts.edu/hopper/text?doc=Hes.+T
h.+927&fromdoc=Perseus%3Atext%3A1999.01.0130)) Hera gave birth to Hephaestus on her
own as revenge for Zeus giving birth to Athena without her (Zeus lay with Metis).
According to Homer (Iliad, I 571-577 (http://www.perseus.tufts.edu/hopper/text?doc=Hom.+Il.+1.5
71&fromdoc=Perseus%3Atext%3A1999.01.0134)) Hera is mentioned as the mother of
Hephaestus but there is not sufficient evidence to say that Zeus was his father (although he
refers to him in such way).
According to Homer (Odyssey, VIII 306 (http://www.perseus.tufts.edu/hopper/text?doc=Hom.+Od.
+8.306&fromdoc=Perseus%3Atext%3A1999.01.0136)) there is not sufficient evidence to say that
Zeus was the father of Hephaestus (although he refers to him in such way). Hera is not
mentioned as the mother.
According to Pseudo-Apollodorus (Bibliotheca, 1.3.6 (http://www.perseus.tufts.edu/hopper/text?d
oc=Apollod.+1.3.6&fromdoc=Perseus%3Atext%3A1999.01.0022)) Hera gave birth to Hephaestus
alone. Pseudo-Apollodorus also relates that, according to Homer, Hephaestus is one of the
children of Zeus and Hera (consciously contradicting Hesiod and Homer).
Several later texts follow Hesiod's account, including Hyginus and the preface to Fabulae.

In the account of Attic vase painters, Hephaestus was present at the birth of Athena and wields the
axe with which he split Zeus' head to free her. In the latter account, Hephaestus is there represented
as older than Athena, so the mythology of Hephaestus is inconsistent in this respect.

Fall from Olympus

In one branch of Greek mythology, Hera ejected Hephaestus from the heavens because he was
"shrivelled of foot". He fell into the ocean and was raised by Thetis (mother of Achilles and one of the
50 Nereids) and the Oceanid Eurynome.[4]

In another account, Hephaestus, attempting to rescue his mother from Zeus' advances, was flung
down from the heavens by Zeus. He fell for an entire day and landed on the island of Lemnos, where
he was cared for and taught to be a master craftsman by the Sintians – an ancient tribe native to that
island.[5] Later writers describe his lameness as the consequence of his second fall, while Homer
makes him lame and weak from his birth.

Return to Olympus

Hephaestus was one of the Olympians to have returned to Olympus after being exiled.

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In an archaic story,[a][20][21] Hephaestus gained revenge against Hera for rejecting him by making
her a magical golden throne, which, when she sat on it, did not allow her to stand up.[b] The other
gods begged Hephaestus to return to Olympus to let her go, but he refused, saying "I have no
mother".[21]

At last, Dionysus fetched him, intoxicated him with wine,

and took the subdued smith back to Olympus on the back of
a mule accompanied by revelers – a scene that sometimes
appears on painted pottery of Attica and of
Corinth.[22][23][24] In the painted scenes, the padded dancers
and phallic figures of the Dionysan throng leading the mule
show that the procession was a part of the dithyrambic
celebrations that were the forerunners of the satyr plays of
fifth century Athens.[25][26]

The theme of the return of Hephaestus, popular among the

Attic vase-painters whose wares were favored among the The western face of the Doric temple of
Hephaestus, Agora of Athens.
Etruscans, may have introduced this theme to
Etruria.[c][27][28] In the vase-painters' portrayal of the
procession, Hephaestus was mounted on a mule or a horse,
with Dionysus holding the bridle and carrying Hephaestus' tools (including a double-headed axe).

The traveller Pausanias reported seeing a painting in the temple of Dionysus in Athens, which had
been built in the 5th century but may have been decorated at any time before the 2nd century CE.
When Pausanias saw it, he said:

There are paintings here – Dionysus bringing Hephaestus up to heaven. One of the Greek
legends is that Hephaestus, when he was born, was thrown down by Hera. In revenge he
sent as a gift a golden chair with invisible fetters. When Hera sat down she was held fast,
and Hephaestus refused to listen to any other of the gods except Dionysus – in him he
reposed the fullest trust – and after making him drunk Dionysus brought him to heaven.

— Pausanias, 1.20.3

Consorts and children

According to most versions, Hephaestus's consort is Aphrodite, who is unfaithful to Hephaestus with
a number of gods and mortals, including Ares. However, in Book XVIII of Homer's Iliad, the consort
of Hephaestus is a lesser Aphrodite, Charis ("the grace") or Aglaia ("the glorious") – the youngest of
the Graces, as Hesiod calls her.[29]

In Athens, there is a Temple of Hephaestus, the Hephaesteum (miscalled the "Theseum") near the
agora. An Athenian founding myth tells that the city's patron goddess, Athena, refused a union with
Hephaestus. Pseudo-Apollodorus[30] records an archaic legend, which claims that Hephaestus once
attempted to rape Athena, but she pushed him away, causing him to ejaculate on her thigh.[31][32]
Athena wiped the semen off using a tuft of wool, which she tossed into the dust, impregnating Gaia
and causing her to give birth to Erichthonius,[31][32] whom Athena adopted as her own child.[31] The
Roman mythographer Hyginus[30] records a similar story in which Hephaestus demanded Zeus to let
him marry Athena since he was the one who had smashed open Zeus's skull, allowing Athena to be
born.[31] Zeus agreed to this and Hephaestus and Athena were married,[31] but, when Hephaestus
was about to consummate the union, Athena vanished from the bridal bed, causing him to ejaculate
on the floor, thus impregnating Gaia with Erichthonius.[31][33]

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On the island of Lemnos, Hephaestus' consort was the sea nymph

Cabeiro, by whom he was the father of two metalworking gods
named the Cabeiri. In Sicily, his consort was the nymph Aetna,
and his sons were two gods of Sicilian geysers called Palici. With
Thalia, Hephaestus was sometimes considered the father of the
Palici.

Hephaestus fathered several children with mortals and

immortals alike. One of those children was the robber Periphetes.

This is the full list of his consorts and children according to the
various accounts:

1. Aphrodite
2. Aglaea Athena Scorning the Advances of
Hephaestus by Paris Bordone
1. Eucleia (between c. 1555 and c. 1560)
2. Euthenia
3. Eupheme
4. Philophrosyne
3. Aetna
1. The Palici
4. Cabeiro[34]
1. The Cabeiri
2. The Cabeirian nymphs
5. Gaia
1. Erichthonius
6. Anticleia
1. Periphetes
7. by unknown mothers
1. Ardalus
2. Cercyon (possibly)
3. Olenus
4. Palaemonius, Argonauts
5. Philottus
6. Pylius (Πύλιος), he cured the hero Philoktetes at Lemnos.[35][36]
7. Spinter

In addition, the Romans claim their equivalent god, Vulcan, to have produced the following children:

1. Cacus (Cacus was mentioned also as a child of Hephaestus)[37]

2. Caeculus

Hephaestus and Aphrodite

Though married to Hephaestus, Aphrodite had an affair with Ares, the god of war. Eventually,
Hephaestus discovered Aphrodite's affair through Helios, the all-seeing Sun, and planned a trap
during one of their trysts. While Aphrodite and Ares lay together in bed, Hephaestus ensnared them
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in an unbreakable chain-link net so small as to be invisible and

dragged them to Mount Olympus to shame them in front of the
other gods for retribution.

The gods laughed at the sight of these naked lovers, and Poseidon
persuaded Hephaestus to free them in return for a guarantee that
Ares would pay the adulterer's fine. Hephaestus states in The
Odyssey that he would return Aphrodite to her father and
demand back his bride price.

The Thebans told that the union of Ares and Aphrodite produced
Harmonia. However, of the union of Hephaestus with Aphrodite,
there was no issue unless Virgil was serious when he said that
Eros was their child.[38] Later authors explain this statement by
saying that Eros was sired by Ares but passed off to Hephaestus
as his own son.
Mars and Venus Surprised by
Hephaestus was somehow connected with the archaic, pre-Greek Vulcan by Alexandre Charles
Phrygian and Thracian mystery cult of the Kabeiroi, who were Guillemot (1827)
also called the Hephaistoi, "the Hephaestus-men", in Lemnos.
One of the three Lemnian tribes also called themselves
Hephaestion and claimed direct descent from the god.

Hephaestus and Athena

Hephaestus is to the male gods as Athena is to the females, for he gives skill to mortal artists and was
believed to have taught men the arts alongside Athena.[39] He was nevertheless believed to be far
inferior to the sublime character of Athena. At Athens they had temples and festivals in common.[d]
Both were believed to have great healing powers, and Lemnian earth (terra Lemnia) from the spot on
which Hephaestus had fallen was believed to cure madness, the bites of snakes, and haemorrhage,
and priests of Hephaestus knew how to cure wounds inflicted by snakes.[40]

He was represented in the temple of Athena Chalcioecus (Athena of the Bronze House[41]) at Sparta,
in the act of delivering his mother;[42] on the chest of Cypselus, giving Achilles's armour to Thetis;[43]
and at Athens there was the famous statue of Hephaestus by Alcamenes, in which his lameness was
only subtly portrayed.[44] The Greeks frequently placed small dwarf-like statues of Hephaestus near
their hearths, and these figures are the oldest of all his representations.[45] During the best period of
Grecian art he was represented as a vigorous man with a beard, and is characterized by his hammer
or some other crafting tool, his oval cap, and the chiton.

Athena is sometimes thought to be "the 'soul-mate' of [Hephaestus]. Yet a kind of cloudy

mysteriousness shrouds their relationship; no single tradition was ever clearly established on this
subject, and so what confronts us is a blurred image based on rumors and conflicting reports."
Nonetheless, he "seeks impetuously and passionately to make love to Athena: at the moment of
climax she pushes him aside, and his semen falls to the earth where it impregnates Gaia."[46]

Volcano god

Hephaestus was associated by Greek colonists in southern Italy with the volcano gods Adranus (of
Mount Etna) and Vulcanus of the Lipari islands. The first-century sage Apollonius of Tyana is said to
have observed, "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".[47]

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Other mythology

In the Trojan war, Hephaestus sided with the Greeks, but was also worshiped by the Trojans and
saved one of their men from being killed by Diomedes.[48] Hephaestus' favourite place in the mortal
world was the island of Lemnos, where he liked to dwell among the Sintians,[49][50][51] but he also
frequented other volcanic islands such as Lipara, Hiera, Imbros and Sicily, which were called his
abodes or workshops.[52][53][54][55][56][57]

The epithets and surnames by which Hephaestus is known by the poets generally allude to his skill in
the plastic arts or to his figure or lameness. The Greeks frequently placed small dwarf-like statues of
Hephaestus near their hearths, and these figures are the oldest of all his representations.[58][59][60]

At the marriage of Peleus and Thetis he gave a knife as a wedding present.[35][61]

Symbolism
Hephaestus was sometimes portrayed as a vigorous man with a beard and was characterized by his
hammer or some other crafting tool, his oval cap, and the chiton.

Hephaestus is described in mythological sources as "lame" (chōlos), and "halting" (ēpedanos).[62] He

was depicted with crippled feet and as misshapen, either from birth or as a result of his fall from
Olympus. In vase paintings, Hephaestus is usually shown lame and bent over his anvil, hard at work
on a metal creation, and sometimes with his feet back-to-front: Hephaistos amphigyēeis. He walked
with the aid of a stick. The Argonaut Palaimonius, "son of Hephaestus" (i.e. a bronze-smith) was also
lame.[63]

Other "sons of Hephaestus" were the Cabeiri on the island of Samothrace, who were identified with
the crab (karkinos) by the lexicographer Hesychius. The adjective karkinopous ("crab-footed")
signified "lame", according to Detienne and Vernant.[64] The Cabeiri were also lame.

In some myths, Hephaestus built himself a "wheeled chair" or chariot with which to move around,
thus helping him overcome his lameness while demonstrating his skill to the other gods.[65] In the
Iliad 18.371, it is stated that Hephaestus built twenty bronze wheeled tripods to assist him in moving
around.[66]

Hephaestus's misshapen appearance and lameness are taken by some to represent peripheral
neuropathy and skin cancer resulting from arsenicosis caused by arsenic exposure from
metalworking.[67] Bronze Age smiths added arsenic to copper to produce harder arsenical bronze,
especially during periods of tin scarcity. Many Bronze Age smiths would have suffered from chronic
arsenic poisoning as a result of their livelihood. Consequently, the mythic image of the lame smith is
widespread. As Hephaestus was an iron-age smith, not a bronze-age smith, the connection is one
from ancient folk memory.[68]

Comparative mythology
Parallels in other mythological systems for Hephaestus's symbolism include:

The Ugarit craftsman-god Kothar-wa-Khasis, who is identified from afar by his distinctive walk –
possibly suggesting that he limps.[69]
As Herodotus was given to understand, the Egyptian craftsman-god Ptah was a dwarf, naked,
and deformed.[70]
In Norse mythology, Weyland the Smith was a lame bronzeworker.
In Hinduism the artificer god Tvastr fills a similar role, albeit more positively portrayed.[71]
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The Ossetian god Kurdalagon may share a similar origin.[71]

Cities and places

Solinus wrote that the Lycians dedicated a city to Hephaestus and called it Hephaestia.[72] The
Hephaestia in Lemnos was named after the god. In addition, the whole island of Lemnos was sacred
to Hephaestus.[73]

Pausanias wrote that the Lycians in Patara had a bronze bowl in their temple of Apollo, saying that
Telephus dedicated it and Hephaestus made it.[74]

The island Thermessa, between Lipari and Sicily was also called Hiera of Hephaestus (ἱερὰ
Ἡφαίστου), meaning sacred place of Hephaestus in Greek.[75]

Minor planet
The minor planet 2212 Hephaistos discovered in 1978 by Soviet astronomer Lyudmila Chernykh was
named in Hephaestus' honour.[76]

Sooty grunter
The sooty grunter (Hephaestus fuliginosus), a dark, typically sooty-coloured freshwater fish of the
family Terapontidae found in northern Australia, is named after Hephaestus.

Stones
Pliny the Elder wrote that at Corycus there was a stone which was called Hephaestitis or Hephaestus
stone. According to Pliny, the stone was red and was reflecting images like a mirror, and when boiling
water poured over it cooled immediately or alternatively when it placed in the sun it immediately set
fire to a parched substance.[77]

See also
Hephaestus in popular culture

Notes
a. Features within the narrative suggest to Kerenyi and others that it is archaic; the most complete
literary account, however, is a late one, in the Roman rhetorician Libanios, according to Hedreen
(2004).
b. A section "The Binding of Hera" is devoted to this archaic theme in Kerenyi (1951, pp 156–158),
who refers to this "ancient story", which is one of the "tales of guileful deeds performed by
cunning gods, mostly at a time when they had not joined the family on Olympus".
c. The return of Hephaestus was painted on the Etruscan tomb at the "Grotta Campana" near Veii
was identified by Petersen (1902); the "well-known subject" was doubted in this instance by
Harmon (1912).
d. See Dict of Ant. s. v. Hêphaisteia, Chalkeia.

References
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Citations
1. https://www.britannica.com/topic/Kothar
2. Walter Burkert, Greek Religion 1985: III.2.ii; see coverage of Lemnos-based traditions and
legends at Mythic Lemnos
3. Graves, Robert (1955). The Greek Myths:1. Harmondsworth, Middlesex, England: Penguin
Books. p. 51. ISBN 0736621121.
4. Homeric Hymn to Apollo 316–321 (http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Ate
xt%3A1999.01.0138%3Ahymn%3D3%3Acard%3D305); Homer, Iliad 395–405 (http://www.perseu
s.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0134%3Abook%3D18%3Acard%3D38
8).
5. Homer, Iliad 1.590–594 (http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A199
9.01.0134%3Abook%3D1%3Acard%3D568); Valerius Flaccus, ii, 8.5; Apollodorus, i, 3 § 5.
Apollodorus confounds the two occasions on which Hephaestus was thrown from Olympus.
6. Beekes 2009, p. 527.
7. Chadwick, John (1976). The Mycenaean World (https://archive.org/details/mycenaeanworld00cha
d). Cambridge, UK: Cambridge University Press. pp. 99 (https://archive.org/details/mycenaeanwo
rld00chad/page/99). ISBN 0-521-29037-6. At Google Books.
8. Anthology of Classical Myth: Primary Sources in translation (https://books.google.com/books?id=
K4pZr3JfYqcC&pg=PA443). Hackett Publishing. 2004. p. 443. ISBN 0-87220-721-8. At Google
Books
9. Autenrieth, Georg (1891). "Hephaestus". A Homeric Dictionary for Schools and Colleges. United
States of America: Harper and Brothers.
10. Aelian, Hist. An. xi. 3, referenced under Aetnaeus (http://quod.lib.umich.edu/m/moa/acl3129.000
1.001/69?page=root;size=100;view=image) in William Smith's Dictionary of Greek and Roman
Biography and Mythology
11. Il. xviii. 370, &c.
12. The provenance of the staff of office is recounted in Iliad II
13. Graves, Robert (1960). "The Palace of Olympus". Greek Gods and Heroes. United States of
America: Dell Laurel-Leaf. p. 150.
14. Virg. Aen. viii. 416, &c.
15. West (1979). "The Prometheus Trilogy. The Journal of Hellenic Studies" (99): 130–148.
16. Iliad, XVIII 372ff
17. Iliad, VIII: Nigel Spivey (1997): The Greek art. Phaidon Press Limited, p.9
18. Diodorus Siculus, LV 76
19. C.M.Bowra (1957).The Greek experience. The World Publishing company. p.159
20. Guy Hedreen (2004) The Return of Hephaistos, Dionysiac Processional Ritual and the Creation
of a Visual Narrative. The Journal of Hellenic Studies, 124 (2004:38–64) p. 38 and note.
21. Kerényi 1951, p. 156–158.
22. Axel Seeberg (1965) Hephaistos Rides Again. The Journal of Hellenic Studies, 85, pp. 102–109,
describes and illustrates four pieces of Corinthian painted pottery with the theme
23. A black red-figure calpis in the collection of Marsden J. Perry was painted with the return of
Hephaestus (Eldridge, 1917, pp 38–54).
24. L. G. Eldridge (1917) An Unpublished Calpis. American Journal of Archaeology, 21.1, pp 38–54
(January–March 1917).
25. The significance of the subject for the pre-history of Greek drama is argued by Webster (1958,
pp 43ff.) and more recently by Hedreen (2004, pp 38–64).
26. T.B.L. Webster (1958) Some thoughts on the pre-history of Greek drama. Bulletin of the Institute
of Classical Studies, 5, pp 43ff.
27. Petersen (1902) Über die älteste etruskische Wandmälerei, pp 149ff.. Rome.
28. A. M. Harmon (1912) The Paintings of the Grotta Campana. American Journal of Archaeology,
16.1, 1–10 (January–March 1912);
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29. Hesiod, Theogony, 945

30. Kerényi 1951, p. 281.
31. Kerényi 1951, p. 123.
32. Burkert, Walter (1985), Greek Religion, Cambridge, Massachusetts: Harvard University Press,
p. 143, ISBN 0-674-36281-0
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Hephaestus and the Earth-child (chthonios).
34. Strabo, 10.3.21 (http://data.perseus.org/citations/urn:cts:greekLit:tlg0099.tlg001.perseus-eng1:10.
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38. Aeneid i.664
39. Od. vi. 233, xxiii. 160. Hymn. in Vaulc. 2. &c.
40. Philostr. Heroic. v. 2; Eustath. ad Hom. p. 330; Dict. Cret. ii. 14.
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42. Paus. iii. 17. § 3
43. v. 19. § 2
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51. Ovid, Fasti, viii, 82.
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53. Callimachus, Hymn. in Dian. 47
54. Serv. ad Aen, viii, 416.
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56. Pliny, Naturalis Historia, iii, 9.
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58. Heroditus, iii, 37
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Bibliography
Beekes, Robert S. P. (2009). Etymological Dictionary of Greek (https://books.google.com/books?i
d=lw7KxwEACAAJ). Brill. ISBN 978-90-04-32186-1.
Kerényi, Karl (1951). The Gods of the Greeks (https://archive.org/details/godsofgreeks00kerrich).
London: Thames and Hudson. ISBN 0-500-27048-1.
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University Press; London: William Heinemann, Ltd. (1924). LacusCurtis (http://penelope.uchicag
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3Abook%3D6%3Achapter%3D1%3Asection%3D1)

External links
Theoi Project, Hephaestus (http://www.theoi.com/Olympios/Hephaistos.html) in classical literature
and art
Greek Mythology Link, Hephaestus (http://www.maicar.com/GML/Hephaestus.html) summary of
the myths of Hephaestus

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