According to Robert Bowie Johnson Jr., all twelve depictions of the labors of Herakles on the temple of Zeus at Olympia chronicle mankind's rebellion after the Flood. In this book, he builds upon his previous books, Athena and Kain: The True Meaning of Greek Myth and/or The Parthenon Code: Mankind's History in Marble
and goes deeper into the what he sees as the true identity of Athena, identifying the real woman she represents-the one who came through the Flood on the ark as Ham's wife. In the early post-Flood world, this woman was so influential in promoting the resurgence of the way of Kain (Cain) that every Mediterranean and Mid-eastern culture idolized her, often using different names for different aspects and achievements of this "goddess."
As the narrative progresses, Johnson shows that Noah was not some vague figure remembered by a few maverick Greek artists. Greek vase-artists and sculptors actually defined the rapid growth and development of their contrary religious outlook in direct relation to Noah and his loss of authority. Greek artists portrayed the victory of their man-centered idolatrous religion as the simultaneous defeat of Noah and his Yahweh-believing children. The twelve labors of Herakles sculpted on the temple of Zeus at Olympia (Section III), in and of themselves, chronicled and celebrated mankind's successful rebellion against Noah and his God after the Flood.
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