Nowadays, Lemnian Athena is a topic of great relevance in today's society. For decades, Lemnian Athena has been the subject of interest and debate in different areas, from politics to science. There are many aspects surrounding Lemnian Athena, from its origins to its global implications. In this article, we will explore some of the most relevant facets of Lemnian Athena, addressing its multiple dimensions and impacts today. From its influence on the economy, through its repercussions on daily life, to its relationship with other areas of knowledge, Lemnian Athena is presented as a topic of study and reflection of great importance to understand the current world. Along these lines, we will analyze some of the ideas and theories that have emerged around Lemnian Athena, as well as the perspectives and debates that remain valid today.
The Lemnian Athena, or Athena Lemnia, was a classical Greek statue of the goddess Athena. According to geographer Pausanias (1.28.2), the original bronze cast was created by the sculptor Phidias circa 450–440 BCE, for Athenians living on the island of Lemnos to dedicate on the Acropolis of Athens.
It is unclear whether any copies survived. In 1891, German archaeologist Adolf Furtwängler reconstructed two virtually identical Roman marble statues which he claimed were copies of the original, and identified two Roman marble copies of the head alone. These completed statues were recreated by joining a poorly preserved marble head (kept at Dresden) and a plaster cast of a similar Roman marble head, from the collection of Pelagio Palagi in Bologna, to a pair of identical bodies in Dresden. However, both reconstructions and attributions have been disputed; see below.
The sculptures concerned are:
As reconstructed, the completed statues are pastiches of two Roman marbles, one for the head and the other for the body. In them, Athena wears an unusual, cross-slung aegis decorated with the Gorgon's head. She is bare-headed, without a shield, holding her helmet out in her extended right hand, and with her left grasping her spear near the top of the shaft.
Furtwängler's identification of the original Athena Lemnia with the Dresden statues and Palagi head was based upon study of an engraved gem and by interpretation of the following passages from contemporary reports by Pausanias, Lucian, and Himerius:
Furtwängler's logic has been disputed. "Hartswick has shown that the Palagi head in Bologna cannot have come from Dresden statue B, that the gems Furtwängler employed could be post-antique, and that the sources are impossibly vague." (Stewart) Some of Hartwick's own conclusions have been disputed in turn, i.e., that the head of Dresden A is alien and the entire Palagi type is Hadrianic. Stewart remarks, "So while the type remains intact and looks Phidian, Furtwängler's further hypotheses concerning its identity and date (451-448) remain unproven."