Xenia (Greek)

[5] These stories caution mortals that any guest should be treated as if potentially a disguised divinity, due to both a deity's capacity to instill punishment or grant reward for their behavior, who highly valued generosity and welcoming attitudes towards strangers.

Deities were looked up to as symbols of virtuosity, and thus they were often depicted as performing theoxenia amongst themselves, reinforcing the established idea of xenia as a fundamental Greek custom.

Herman goes on to analyze instances of xenia in political and social relations:"...No less important an element in forging the alliance was the exchange of highly specialized category of gifts, designated in our sources as xénia (as distinct from xenía, the term of the relationship itself) or dora.

He points to the account of Odysseus giving Iphitos a sword and spear after having been given a formidable bow while saying they were "the first token of loving guest-friendship".

Xenia as a custom appears to have been a critical factor that helped determine layouts of homes and of common areas.

[13] In the classical work De Architectura, the Roman architect Vitruvius comments on how xenia was expressed in ancient Greek home layout and decoration.

In particular, he emphasizes the decorative paintings of food in guest apartments of Greek homes:"...When the Greeks became more luxurious, and their circumstances more opulent, they began to provide dining rooms, chambers, and storerooms of provisions for their guests from abroad, and on the first day they would invite them to dinner, sending them on the next chickens, eggs, vegetables, fruits, and other country produce.

[1] Displays of wealth in decoration and in parting gifts for guests likewise serve as both a status symbol and as a demonstration of xenia.

[13] Architectural theorist Simon Weir explained how Vitruvius refers to xenia at the beginning of Book 6 of De Architectura, in the anecdote of Aristippus shipwrecked and receiving hospitality from the Rhodians.

[15] In particular, Architectural historian, Lisa Landrum has also revealed the presence of Xenia in Greek theatre onstage and offstage.

Jupiter and Mercurius in the House of Philemon and Baucis (1630–33) by the workshop of Rubens : Zeus and Hermes, testing a village's practice of hospitality, were received only by Baucis and Philemon , who were rewarded while their neighbors were punished.
A renaissance painting displaying traditional exchanges of gifts between gods. This represents the material and social exchanges involved with Xenia.
The School of Athens 1509-1511 by Raffaello Sanzio da Urbino depicts Plato discussing philosophy.
Relief of King Xerxes I of Persia, who engaged in xenia with Pythios the Lydian.
Aristippus and His Companions after Being Shipwrecked, Seeing Mathematical Diagrams, Realize the Land Was Inhabited (1726-1796 by Antiono Zucchi shows Aristippus at the shipwreck site prior to aid by the Rhodians.
The Abduction of Helen 1628-1629 is an oil painting by Guido Reni: it depicts the forceful seizure of Helen of Troy by the hero Paris. The kidnapping of Helen, who was already married, was a violation of the domain of Zeus Xenios that prompted the start of the Trojan War.
Hermes Ordering Calypso to Release Odysseus (1670) is a painting by Gerad de Lairesse shows the god Hermes intervening & forcing Calypso to free Odysseus from her island.
Jason displaying the golden fleece, which he found with the aid of Meidea.