Tuccia and Her Sieve: the Nachleben of the Vestal in Art
KU LEUVEN FACULTY OF ARTS BLIJDE INKOMSTSTRAAT 21 BOX 3301 3000 LEUVEN, BELGIË Tuccia and her sieve: The Nachleben of the Vestal in art. Sarah Eycken Presented in fulfilment of the requirements for the degree of Master of Arts in Art History Supervisor: prof. dr. Barbara Baert Lector: Katlijne Van der Stighelen Academic year 2017-2018 371.201 characters (without spaces) KU LEUVEN FACULTY OF ARTS BLIJDE INKOMSTSTRAAT 21 BOX 3301 3000 LEUVEN, BELGIË I hereby declare that, in line with the Faculty of Arts’ code of conduct for research integrity, the work submitted here is my own original work and that any additional sources of information have been duly cited. I! Abstract This master dissertation on the Nachleben in art of the Vestal Tuccia and her sieve, tries to chart the motif’s course throughout the history of art, using a transhistorical approach excluding an exhaustive study which lies outside the confines of this paper. Nevertheless, different iconographical types of the representations of Tuccia, as well as of their relative importance, were established. The role of Tuccia in art history and, by ex- tension, literature, is not very substantial, but nonetheless significant. An interdisciplinary perspective is adopted with an emphasis on gender, literature, anthropology and religion. In the Warburgian spirit, the art forms discussed in this dissertation are various, from high art to low art: paintings, prints, emblemata, cas- soni, spalliere, etc. The research starts with a discussion on the role of the Vestal Virgins in the Roman Re- public. The tale of the Vestal Virgin Tuccia and her paradoxically impermeable sieve, which was a symbol of her chastity, has spoken to the imagination of artists throughout the ages.
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