<P> On either side of the central group are the rest of the gods engaged in combat with particular Giants . While the gods can be identified by characteristic features, for example Hermes with his hat (petasos) and Dionysus his ivy crown, the Giants are not individually characterized and can only be identified by inscriptions which sometimes name the Giant . The fragments of one vase from this same period (Getty 81. AE. 211) name five Giants: Pankrates against Heracles, Polybotes against Zeus, Oranion against Dionysus, Euboios and Euphorbos fallen and Ephialtes . Also named, on two other of these early vases, are Aristaeus battling Hephaestus (Akropolis 607), Eurymedon and (again) Ephialtes (Akropolis 2134). An amphora from Caere from later in the sixth century, gives the names of more Giants: Hyperbios and Agasthenes (along with Ephialtes) fighting Zeus, Harpolykos against Hera, Enceladus against Athena and (again) Polybotes, who in this case battles Poseidon with his trident holding the island of Nisyros on his shoulder (Louvre E732). This motif of Poseidon holding the island of Nisyros, ready to hurl it at his opponent, is another frequent feature of these early Gigantomachies . </P> <P> The Gigantomachy was also a popular theme in late sixth century sculpture . The most comprehensive treatment is found on the north frieze of the Siphnian Treasury at Delphi (c. 525 BC), with more than thirty figures, named by inscription . From left to right, these include Hephaestus (with bellows), two females fighting two Giants; Dionysus striding toward an advancing Giant; Themis in a chariot drawn by a team of lions which are attacking a fleeing Giant; the archers Apollo and Artemis; another fleeing Giant (Tharos or possibly Kantharos); the Giant Ephialtes lying on the ground; and a group of three Giants, which include Hyperphas and Alektos, opposing Apollo and Artemis . Next comes a missing central section presumably containing Zeus, and possibly Heracles, with chariot (only parts of a team of horses remain). To the right of this comes a female stabbing her spear at a fallen Giant (probably Porphyrion); Athena fighting Eriktypos and a second Giant; a male stepping over the fallen Astarias to attack Biatas and another Giant; and Hermes against two Giants . Then follows a gap which probably contained Poseidon and finally, on the far right, a male fighting two Giants, one fallen, the other the Giant Mimon (possibly the same as the Giant Mimas mentioned by Apollodorus). </P> <P> The Gigantomachy also appeared on several other late sixth century buildings, including the west pediment of the Alkmeonid Temple of Apollo at Delphi, the pediment of the Megarian Treasury at Olympia, the east pediment of the Old Temple of Athena on the Acropolis of Athens, and the metopes of Temple F at Selinous . </P> <P> The theme continued to be popular in the fifth century BC . A particularly fine example is found on a red - figure cup (c. 490--485 BC) by the Brygos Painter (Berlin F2293). On one side of the cup is the same central group of gods (minus Gaia) as described above: Zeus wielding his thunderbolt, stepping into a quadriga, Heracles with lion skin (behind the chariot rather than on it) drawing his (unseen) bow and, ahead, Athena thrusting her spear into a fallen Giant . On the other side are Hephaestus flinging flaming missiles of red - hot metal from two pairs of tongs, Poseidon, with Nisyros on his shoulder, stabbing a fallen Giant with his trident and Hermes with his petasos hanging in back of his head, attacking another fallen Giant . None of the Giants are named . </P>

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