Enio

Enio (in greco antico: Ἐνυώ, Enūṓ) è una figura della mitologia greca, personificava l'urlo furioso della battaglia.
Si tratta di una divinità femminile associata ad Ares e perciò alla guerra. Non ha una propria mitologia, anche se il fratello Enialio appare in uno stralcio del libro XX dell'Iliade. V'è anche la possibilità che Enialio sia uno pseudonimo dello stesso Ares.
Enio corrisponde alla dea italico-romana chiamata Bellona.

Image of Enyo the Goddess.

Bellona

Bellona è una dea nella religione dell'antica Roma mitologia romana, divinità della guerra e ha avuto origine con la nascita di Roma. Possedeva un importante tempio ad Aletrium. Si può identificare con la dea greca Enio
A Roma, il suo tempio si trovava a fianco del Teatro di Marcello, all'esterno delle Mura serviane nell'area del Circo Flaminio. In esso il senato romano riceveva gli ambasciatori stranieri. Nelle vicinanze del tempio, si ergeva una piccola colonna, contro la quale il sacerdote di Giove Feretrio gettava la lancia in segno di dichiarazione di guerra: cerimonia passata alla spettanza dei Feziali.
È a volte associata, come moglie, al dio Marte. Veniva rappresentata come un'auriga su d'un carro in atteggiamento bellicoso, con in mano una torcia, una spada od una lancia.
La sua iconografia è simile a quella tradizionale delle Furie.

(LA) « Pollutosque simul multo Bellona penates sanguine perfundit renovataque proelia miscet. »	(IT) « Bellona macchiò gli dei penati con un fiume di sangue e rinnovò scene di battaglia. »
(Publio Ovidio Nasone, Le metamorfosi, V.155)

Krieg Bellona

Creator:Hans Krieg 1620

Enyo

Enyo (/ɪˈnaɪoʊ/; Ancient Greek: Ἐνυώ) was a goddess of war in Classical Greek mythology. She frequently is associated with the war god Ares, as a companion, sister, wife, or perhaps, mother.
She is called the "sister of War" by Quintus Smyrnaeus, in a role closely resembling that of Eris, the embodiment of strife and discord, with Homer, in particular, representing the two as the same goddess. In some myths she is identified as the mother of the war god Enyalius as well, and in these myths, Ares is indicated as the father, however, the masculine name Enyalius or Enyalios also may be used as a title for Ares.
As goddess of war, Enyo is responsible for orchestrating the destruction of cities, often accompanying Ares into battle. She is depicted as "supreme in war". During the fall of Troy, Enyo inflicted terror and bloodshed in the war, along with Eris ("Strife"), Phobos ("Fear"), and Deimos ("Dread"), the latter two being sons of Ares. She, Eris, and the two sons of Ares are depicted on the shield of Achilles.
Enyo was involved in the war of the Seven Against Thebes and in Dionysus's war with the Indians as well. Enyo so delighted in warfare that she even refused to take sides in the battle between Zeus and the monster Typhon:

Eris (Strife) was Typhon's escort in the mellee, Nike (Victory) led Zeus into battle… impartial Enyo held equal balance between the two sides, between Zeus and Typhon, while the thunderbolts with booming shots revel like dancers in the sky.

The Romans identified Enyo with Bellona. She also has similarities with the Anatolian goddess Ma.
At Thebes and Orchomenos, a festival entitled Homolôïa, which was celebrated in honour of Zeus, Demeter, Athena, and Enyo, was said to have received the surname of Homoloïus from Homoloïs, a priestess of Enyo. A statue of Enyo, made by the sons of Praxiteles, stood in the temple of Ares at Athens.
In Hesiod's Theogony (270–273), Enyo also was the name of one of the Graeae, three sisters who shared one eye and one tooth among them; the other sisters were Deino ("Dread") and Pemphredo ("Alarm").

Enyo

Bellona

Bellona [bɛlloːna] was an ancient Roman goddess of war. Her main attribute is the military helmet worn on her head; she often holds a sword, spear, or shield, and brandishes a torch or whip as she rides into battle in a four-horse chariot. Her iconography was extended further by painters and sculptors following the Renaissance.

Cult and temples

Originally named Duellona in the Italic languages, Bellona was an ancient goddess of war. Her first temple in Rome was dedicated in 296 BCE, where her festival was celebrated on 3rd June. Her priests were known as Bellonarii and used to wound their own arms or legs as a blood sacrifice to her. These rites took place on 24th March, called the day of blood (dies sanguinis), after the ceremony. In consequence of this practice, which approximated to the rites dedicated to Cybele in Asia Minor, both Enyo and Bellona became identified with her Cappadocian aspect, Ma.
The Roman Campus Martius area, in which Bellona's temple was sited, had extraterritorial status. Ambassadors from foreign states, who were not allowed to enter the city proper, stayed in this complex. The area around the temple of Bellona was considered to symbolise foreign soil, and there the Senate met with ambassadors and received victorious generals prior to their Triumphs. It was here too that Roman Senate meetings relating to foreign war were conducted. Beside the temple was the war column (columna bellica), which represented the boundary of Rome. To declare war on a distant state, a javelin was thrown over the column by one of the priests concerned with diplomacy (fetiales), from Roman territory toward the direction of the enemy land and this symbolical attack was considered the opening of war.
In her military cult, she was associated with Virtus, the personification of valour. She then travelled outside Rome with the imperial legions and her temples have been recorded in France, Germany, Britain, and North Africa.

In literature

Often in Roman poetry the name Bellona was used simply as a synonym for war, but in the Thebaid of Statius the goddess frequently appears as a character, symbolising the destructive and belligerent aspect of war. There she is represented as carrying a spear and a flaming torch or, waving a blood-stained sword and riding in a chariot.

Reception

Poetry

While she does not figure as a character in Shakespeare's plays, she receives several mentions. In Henry IV, Part I, Hotspur describes her as "the fire-eyed maid of smoky war" (IV.i.119). In The Two Noble Kinsmen, set in pre-Roman Athens, the sister of Hippolyta will solicit her divine aid for Theseus against Thebes (I.iii.13). At the start of the play named after him, Macbeth is introduced as a violent and brave warrior when the Thane of Ross calls him "Bellona's bridegroom" (I.ii.54), that is to say, the equivalent of Mars.
In more modern times, Adam Lindsay Gordon dedicated an energetic Swinburnean evocation of the "false goddess" who leads men astray in his poem "Bellona", published in Australia in 1867. She also figures in Edgell Rickword's World War I poem "The Traveller". There the poet describes himself as marching toward the front line in the company of Art, the god Pan, and the works of Walter Pater. Meeting Bellona as they approach the fighting, one by one the pleasurable companions are forced to flee before the violence of war, until the goddess rejoices in having him to herself.

Cantata and opera

Bellona appears in the prologue of Rameau's opera, Les Indes Galantes (1735), in which the call of love ultimately triumphs over that of war. In a Bach dramma per musica performed two years before, the goddess even quitted her usual ferocity in order to congratulate Maria Josepha of Austria, Princess Elector of Saxony and Queen of Poland, on her birthday.
She retains her harsh aspect in "Prometheus Absolved" by Giovanni Ambrogio Migliavacca (1718–1795), however. In this cantata celebrating the birth of the Archduchess Isabella in 1762, the deities sit in judgement on Prometheus, some arguing for clemency, while Bellona and others demand rigour. She also plays her proper part in the 'heroic cantata' created by the composer Francesco Bianchi and the librettist Lorenzo da Ponte, entitled "The Wedding of the Thames and Bellona" (Le nozze del Tamigi e Bellona). This was performed in London to mark the British naval victory over the Spanish at the Battle of Cape St. Vincent (1797).

Painting and sculpture

Bellona is commonly portrayed wearing a plumed helmet and dressed in armour, or at least a breastplate with a skirt beneath. In her hand she carries a spear, shield, or other weapons, and occasionally, she sounds a trumpet for the attack. Anciently she was associated with the winged Victory holding a laurel crown in her hand, a statue of whom she sometimes carries; when she appears on war memorials she may hold that attribute.
Examples of such an armoured figure appear in the 1633 painting attributed to Rembrandt in the Metropolitan Museum of Art, and statues by Johann Baptist Straub (1770) and Johann Wilhelm Beyer (1773–80). In the latter she appears with the god Janus, since both were associated with the Roman ceremonies of declaring war. In the case of Janus, the doors to his temple were left open during the whole period of hostilities.
Straub's statue has a gorgon head on her shield to instil terror in her enemies, as does the Rembrandt painting, although this was added later, probably as a response to other examples of this new iconographical departure. In the bust by Bertram Mackennal she wears a gorgon mounted on her helmet, while in other depictions it is on the breastplate. Another common innovation was Bellona’s association with cannons, as in the drawing by Hans Krieg (1590–1645) and the 1700 ceiling fresco at Hammerschloss Schmidmühlen by Hans Georg Asam (1649–1711). An early Dutch engraving in a series of prints depicting Personifications of Industrial and Professional Life suggests that it is this goddess who inspires the invention of war materiels, showing her seated in a factory workshop with all manner of arms at her feet (plate 6, see the Gallery below). In the fresco by Constantino Brumidi in the U.S. Capitol (1855–60), her image is updated. There she is shown standing next to an artillery piece and has the stars and stripes on her shield.
Not all representations of Bellona wear armour. The statues by Alvise Tagliapietra at St. Petersburg (c.1710) and that at the J. Paul Getty Museum by Augustin Pajou (1775/85) are largely naked, although otherwise wearing or carrying some of the other attributes of the goddess. There are Classical references that sanction this, however. In Gaius Valerius Flaccus' Argonautica, for example, appears the description "Bellona with bare flank, her brazen weapons clanging as she moved" (3. 60). A further poetic reference taken up by a painter occurs in Louis Jean François Lagrenée's "Bellona Presenting the Reins of his Horses to Mars" (1766). This illustrates a speech from Claudian's In Ruffinum where Mars requests "Let Bellona bring my helmet and Terror guide the reins" (Fer galleam Bellona mihi, nexusque rotarum tende Pavor). Jan van Mieris’ allegorical painting of "Wisdom restraining Bellona" (1685) is also poetic. There the seated figure of Wisdom clasps the right hand of the helmeted goddess, who is turning to leave, her cloak fluttering behind her and her shield held high in her outstretched left hand.

Public statements

As well as having a decorative function, representations of the goddess had a public function too. Batholomaeus Spranger's "Bellona Leading the Imperial Armies against the Turks" (see above) played its part in Austria's anti-Turkish propaganda during the Long Turkish War. A later phase of the continuing conflict, culminating in victory at the battle of Zenta in 1697, is marked by Jean Cosyn's celebratory doorway in Brussels in what now is known as the Maison de Bellone, at the centre of which presides the helmeted bust of the goddess surrounded by military standards and cannons.
A dynastic political statement is made in "Marie de Medici as Bellona" (1622/5), designed by Peter Paul Rubens for her public rooms in the Luxembourg Palace. He represents her there as a wielder of political power at a time when it, in fact, had waned. She is standing with armour, cannons, and muskets at her feet, and her triumphs are underlined by emblems of victory. She carries a small statue of the winged goddess in her right hand, a smaller winged figure is mounted below the plumes of her helmet, while cupids hover above her, holding a laurel crown. Her portrayal contrasts with Rembrandt's depiction of Bellona with the homely features of an ordinary Dutchwoman. This makes an anti-imperial statement, with the assurance that the new Dutch Republic is ready to defend itself, particularly against Spain, during the Thirty Years' War.
Auguste Rodin's sculpture of a head of Bellona (1879) originally was created for a monument to the French Third Republic and shows even more belligerence. Modelled on his mistress Rose Beuret while in a bad mood, the head is drawn back in proud anger, turning in dynamic movement to look along the line of her right shoulder. Defence in war is the message of Georg Kolbe's Bellona fountain in Wuppertal. Originally commissioned in 1915, it depicted the helmeted goddess carrying a sword in her left hand and inspiring a kneeling young man. The statue was not erected until 1922, by which time it functioned as a war memorial.
The use of Bellona in such structures was well established before this, dating back to her prominent use in Jean Cosyn's doorway. The Temple of Bellona, designed by William Chambers for Kew Gardens in 1760, was projected as a celebration of the Anglo-Hanoverian war effort during the Seven Years' War and eventually housed plaques honouring the regiments that served in it. These, however, related primarily to remembrance of victory rather than of the fallen. It was not until a century afterward that the French-Canadian victims of the Seven Years War were commemorated by a monument at Quebec. Atop a tall column on the site of the battlefield, Bellona looks down, carrying a shield and laurel crown in her right hand. The statue was presented by Jérôme-Napoléon in 1862 as a gesture of reconciliation.
The Australian dead from the Gallipoli Campaign were commemorated by a bronze bust of Bellona by Bertram Mackennal, a former student of Rodin. This he presented to the Australian government in Canberra as a memorial in 1916. As in Rodin's bust, the helmeted head is turned to the right, but the breasts are more in evidence. The fallen generally make their appearance later in such structures where Bellona is present. They accompany the sword-wielding goddess in Douglas Tilden's monument to the California Volunteers during the Spanish–American War of 1898; in the Bialystok memorial to the dead in the Polish–Soviet War in 1920, she stands behind a soldier and holds aloft a laurel crown.
The Bellona on the First World War victory archway at Waterloo station is particularly memorable, however. Beneath the demonic sword-brandishing wraith with her gorgon necklace, cower and mourn, not the dead, but the overlooked living victims of war.

Venice Mirror with Bellona

Template:Anobymous - Opera propria

metà del XVIII sec.

Enyo, Goddess of War by TFfan234

Jacek Malczewski - Portret Wojciecha Kossaka z Belloną 1903

Enyo the Goddess of War

Adapted early example of the von Salis family heraldic crest, Bellona

1500

enyo

Alessandro Turchi, called l'Orbetto - Bellona with Romulus and Remus

ENYO

BELLONE, DÉESSE DES COMBATS, BRÛLE AVEC UN FLAMBEAU LE VISAGE DE CYBÈLE ; Salon : Antichambre de la reine, Grands appartements du Château de Versailles Emplacement : vousseur ; sud (partie centrale) 1672

VIGNON, Claude-François (1633-1703)

Enyo

Bellona von Hans Georg Asam, Hammerschloss Schmidmühlen

Klaus Anton Altenbuchner

1899

Enyo Goddess of War and Destruction

Auguste Rodin - Buste de Bellone
1883

Enyo by xBlondieMomentsx

Bellona 1865 - (NB Marking on Silver

Enyo: Goddess of War by yayacosplay

Bellona

Giovanni Antonio Pellegrini

1713-1714 circa

Enyo - The Goddess of War by Mike McMahon

Bellona Presenting the Reins of his Horses to Mars, Louis Jean François Lagrenée, 1766, in the Princeton University Art Museum. Possibly it refers to a passage from the Latin writer Claudian: Fer galleam Bellona mihi, nexusque rotarum tende Pavor

Enyo

Holland, 1574 Series: Personifications of Industrial and Professional Life, pl. 6 Prints; engravings Engraving Gift of David and Frances Elterman through the Graphic Arts Council (M.79.120.2) Prints and Drawings

Phillip Galle (attributed to) (Holland, Haarlem, 1537-1612)

Enyo

Italy, 1540-1563 Prints; etchings Etching Sheet: 9 1/8 x 4 7/8 in. (23.18 x 12.38 cm); image: 8 13/16 x 4 11/16 in. (22.38 x 11.91 cm) Mary Stansbury Ruiz Bequest (M.88.91.178) Prints and Drawings

Andrea Schiavone (Italy, circa 1510-1563)

Bellona - Goddess of War by Anaxi

My photo (R. de SalisRodolph (talk) 00:08, 20 February 2014 (UTC)) of Bellona, & count's coronet, C19th floor tile, in a Wiltshire church, UK (i-phone photo 2014). Probably done to coincide with installation of the Triqueti tarsia panel in same side chapel, see Elizabeth Darby, "A French Sculptor in Wiltshire: Henri de Triqueti's Panel in the Church of St Michael & All Angels, Teffont Evias." The Wiltshire Archaeological and Natural History Magazine. Vol.95 (2002).

Enyo, Goddess of War
© 2015 NightingaleRialion

Bellona, by Rembrandt van Rijn
1633

Enyo Goddess of War by LexiKimble

Bellona

Follower of Francesco Albani - Joconde

Bellona by jeffsimpsonkh

Bellona bemächtigts sich der Waffen Amors. Öl auf Leinwand. 127 x 198 cm. Rechts unten eine erkennbare Signatur „Marché“.

Cerchia di Carlo Cignani - Hampel Auctions

17th or 18th century

Enyo - Goddess of War and Destruction by wesavi

Constantino Brumidi Fresco Date undocumented Senate wing U.S. Capitol The Roman goddess of war stood guard over the door to the room of the Military Affairs Committee. This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov.

USCapitol - Bellona, Roman Goddess of War

Commission- Goddess Enyo by CaiusShinra

Peter Paul Rubens - Marie de Medicis as Bellona2

Pieter Paul RubensCreato: tra il 1621 e il 1625

Enyo

The Proficiency Badge of the Volunteer Training Corps in World War I

Central association volunteer training corps - The official regulations for volunteer training corps and for county volunteer organisations (England and Wales) 1916