“In ancient Greece and Rome, small female figures made of clay, ivory, and even bone had articulated hands and legs fastened using pins or wire so that they could look animated when shaken or moved. In Greece, the figures were often too fragile to be toys; instead, they were used as votives or offerings to the gods placed in household shrines, temples, burial sites, and graves where they could also be protective devices or prized possessions of the deceased. Young girls offered the doll figures to Apollo, Artemis, and Aphrodite before their marriages to ensure that they would attain a healthy, functioning female body that produced and nourished children, the ideal of ancient Greek femininity.
The Idea of automatons – self-moving female and male figures – had been around since ancient times. The ancient Egyptians produced animated, hot air-driven statues used for religious and political purposes, and in Greece some of the oldest female figures were described in Homer’s epic poem The Iliad where Hephaestus, the blacksmith of the gods (later called Vulcan by the Romans) is helped by two maidservants as he goes about making a shield for Achilles. In Homer’s ancient Greece, women (apart from the great goddesses like Aphrodite and Athena) were largely consigned to loom and family, but Homer’s description of these metallic ladies as accomplished, smart, and strong has surprisingly modern ring: they are
all cast in was gold but a match for living breathing girls / Intelligence fills their hearts, voice, and strength their frames, / From the deathless gods they’ve learned their works of hand. “
From My Fair Ladies by Julie Wosk.
[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]
‘For the popularity of Athena among the artisans at this time some verses of Sophocles are characteristic: “Come out in the street you, all the people of the handicraftsmen, who venerate the daughter of Zeus, Ergane, with sacrificial baskets and beside the heavy anvil, beaten with hammers.” Evidently, Sophocles hints at some popular festival of Athena celebrated by the artisans in the streets of the town. There was such a festival, the Chalkeia. The word signifies the festival of the coppersmiths. It belonged to Athena, but at a later date another god of the Athenian artisans, Hephaistos, was associated with Athena. These two even had a common temple. In Homer, Hephaistos is the divine goldsmith. He probably came from the island of Lemnos or, perhaps, from Asia Minor. In origin he was a daemon of fire coming up from the earth. Gas which takes fire and burns is considered by many people to be divine. Later a volcano was considered to be his smithy. He had almost no cults in Greece except in Athens. No doubt the Athenian artisans took up his cult and place him at the side of Athena. He seemed, perhaps, to be nearer to them than the great city goddess. But in the early age it was she who was the protectress of the Athenian craftsmen.’ – Greek Folk Religion, Martin P. Nilsson.
predictions for the number two book in the Thessaly series:
