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Cambridge University Press 978-1-107-61487-1 - Art in the Era of Alexander the Great: Paradigms of Manhood and their Cultural Traditions Ada Cohen Index More information

INDEX

Abdalonymus, 120, 122–123, 320n6. Aeschylus Alexander Romance, 14, 312n185 See also Alexander Agamemnon, 116 Alexander Sarcophagus, figs. 52–56 Sarcophagus Oresteia,4 analogy and program on, abduction, 51–55, 162, 301 Persians, 170, 172 119–129 abductor dressed as warrior, 175 Seven against Thebes, 181 description of, 119–120 death and, 9–10 Aesop, 4 ideology of, 123, 140 of male by female, 323n42 Agamemnon, 44, 52, 113, 116, 150, parallels to, 126–127 as metaphor for marriage, 207, 181 style and composition of, 120–123 216–217, 223, 229–230, 233, Agamemnon (Aeschylus), 116 Alexander the Great 332nn163–164. See also Agatharchus, 247, 336n43 Amazon connection, 60–61, 167 individual abductions; rape Agios Athanasios, tomb, 5, 28, 244, education of, 131 absolutism, link with rape, 301 262 gaze and, 40 absorption and theatrically, 38–39 Agora of Athens, relief bowls with hunt at Bazaira, 76, 263–264, Abu Ghraib prison, 173 abduction of Persephone, 210, 281–282 Abukir medallions, 23, 71 figs. 98, 99 as lion, 114, 116 Acanthus, animal attacks on coins hunting scene, 263–264, fig. 119 as rider in lion vignette in Tomb II, from, 96, 108, 318n135 Agrigento, red-figure calyx krater, Vergina, 262–264 Achaean, 113–114 Coghill Painter, 219–220 Scythians and, 92 Achaemenid cylinder seal, 84, fig. 29 Agrigento Painter, Attic red-figure sexual restraint of, 166–168, 182, Achaemenid motif, in Attic art, 105 dinos, 274, fig. 122 234–235 Achelous, 230–231 Ajax, 74, 183–184 theatricality and, 29 Achilles, 57, 114, 171, 178, 258 Alberti, Leon Battista, 26 on treatment of barbarians, 5 animal-like qualities of, 71 Aleppo Museum, terracotta mould wives of, 29 as lion, 7–8 from Mari, 309n65 Alexandria, 251, 263–264 and Penthesilea, 23 Alexander I, 31, 88–89, 235 tomb painting from Kom and Polyxena, 178–180 Alexander II (son of Amyntas III), 292 el-Shoqafa, 200. See also and Troilus, 180, 326n90 Alexander IV (posthumous son of Graeco-Roman Museum, Acropolis, Athens, 106–107 Alexander the Great), 265–266 Alexandria Acropolis Museum, Athens, Atarbos’ Alexander Mosaic, 3, 138, 142, Alexandrovo, painting from, base, 292–293 figs. 73, 74 295–297, fig. 133 Actaeon, 9, 160, 274 battle as rape, 162–170 Allard Pierson Museum, Amsterdam Adonis, 274, 286 battle/hunt connection on, fragment from red-figure Apulian Adorno, Theodor, 57 142–143 vase, 225–226, fig. 109 Advice to Bride and Groom (Plutarch), chiaroscuro on, 246 terracotta relief, 274, fig. 121 234 color on, 244 allegory, 180, 217, 286–287, 289 Aegae, 24, 29, 41, 187, 327n3 composition of, 162–163, 251 Alphonse V (king of Aragon, Naples, Aegina (nymph), 176 Darius on, 165–166 and Sicily), 271 Aegisthus, 116 dead tree on, 257–258 Altamura Painter, 183, fig. 80 Aelian, 33, 34 as dramatic image, 38–39 Alte Pinakothek, Munich, Rape of the Aeneid (Vergil), 21, 34, 35, 149, 155, feminization of enemy on, 170–171 Sabine Women (Deruet), 299 172 illusionism on, 251 Amazonomachy, 24, 57, 165, 301

383

© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-61487-1 - Art in the Era of Alexander the Great: Paradigms of Manhood and their Cultural Traditions Ada Cohen Index More information

INDEX

Amazons on identity of young rider in lion Apelles, 32, 80, 246, 300 and Alexander the Great, 60–61, vignette in Tomb II, 262 Aphidna, 46, 48 167 Anglo-Zulu War, 113, 143, 174 Aphrodite, 176–178, 200, 207–208, Antiope, 48–49, 51, 176, 181–182, animal attack motif 221–222, 225, 236. See also 184 apotropaic interpretation of, Venus Herodotus on, 60 111–113 Apollonius of Rhodes, 151, 252 historical basis of, 60–61, Archaic, 106–107 apotropaic interpretation, of animal 312n180 Bronze Age, 105–106, 109–110 attacks, 111–113 Thalestris (Amazon queen), 60. Classical, 111 applique,´ relief, 100–101 See also Pella, House of the on coins at Acanthus, 95–96, 108 Apollodorus, 45, 180, 218, 246 Abduction of Helen cultural valuation of animals and, Apulian red-figure amphora, Amazon Sarcophagus (Etruscan), 116–118 Iliupersis Painter, 338n80 58–60, figs. 15, 16 domestic context of, 95 Apulian red-figure column krater, Amphipolis, Tomb T VI, 197 Egyptian, 107–108 Sisyphus Group, 248–249, amphora Etruscan, 101–102 fig. 115 Apulian red-figure, Iliupersis funerary context of, 96–102 Apulian red-figure fragment, Circle of Painter, 338n80 and ideology, 115–118 the Painter of the Birth of Attic black-figure, Heracles and and immortality, 112 Dionysos, 225–226, fig. 109 golden hind, 33 man as predator and, 113–115 Apulian red-figure hydria, Group of Attic red-figure, Euthymides, and meaning, 111–113 B.M. F308, 224–225, fig. 108 53–54, fig. 13 as metaphor, 115 Apulian red-figure lekythos, Attic red-figure, Myson, 153, 175 Mycenaean, 105–106 Underworld Painter, 184 Attic-red-figure, Phiale Painter, Near Eastern, 107, 109–110 Apulian red-figure volute krater, 153, 175, fig. 70 origins of, 102–103 Iliupersis Painter, 224, black-figure Tyrrhenian, 161 popularity of, 115–116 fig. 107 red-figure Etruscan, 103–104 positive function of, 112 Arafat, Karim, 176 Amyntas I, 25–26, 88, 235, 316n99 protective function of, 115 Archaeological Museum, Çanakkale Amyntas II, 170 Scythian, 102–103, 114, 118 Çan sarcophagus, 123–127, figs. 57, Amyntas III, 70–71, 88, 90, 196, 243, on temples, 106–107 58 267, 292, 338n85, fig. 23 Thracian, 104 Hellenistic marble relief, Troy, 36, Amyntas IV, 132 on tombs in Corinth, 108 fig. 6. anachronism, 11 universalism of, 110 Archaeological Museum, Eretria, 176, Anacreon, 33, 34, 158, 178 animal logos,4 fig. 78 Anacreontea, 178 animals, views of, 4, 117–118 Archaeological Museum, Istanbul analogy, 4–5, 15 animal skins, 4, 74 Alexander Sarcophagus, 119–123, dance/art, 293–294 Animal Style (Scythian art), 102 figs. 52–56 in Herodotus, 22 Annales School, 80–82 Lycian Sarcophagus, 86, fig. 32 hunting animals/hunting friends, Antigonus, 235, 266 relief hydria with boar hunt, 274, 143 Antikenmuseum und Sammlung 276, pl. X rape/predation, 158–160 Ludwig, Basel, terracotta Archaeological Museum, Pella thinking/pictorial representation, relief, 100, fig. 41 Dionysus on panther mosaic, 64, 157 Antikensammlung, Staatliche 75, fig. 20 analogy and program, 22–24, 82–83, Museen, Berlin griffin mosaic, 93, 95, fig. 35 119, 127–129, 131–132, 145, Attic red-figure kylix, 31, fig. 4 lion hunt mosaic, 64–68, fig. 21 147. See also Alexander fragment of abduction frieze from Archaeological Museum, Piraeus, Sarcophagus; analogy Ilissus temple, 228 Neo-Attic marble relief, Ancaeus, 274 funerary stele of Metrodorus, 226–228, fig. 110 Anderson, J. K., 72 255–256, fig. 118 Archaeological Museum, Sofia Andreae, Bernard, 286 “Melian” relief, 274 Loukovit Treasure, 317n109 Andromache, 132, 171, 181 Antiope, 48–49, 51, 53, 60, 152, 175, Archaeological Museum, Thebes, andron, 24, 25, 29–30, 64, 75, 93, 95, 176, 181–182, 184, figs. 12, 133–136, fig. 62 146–147 78 Archaeological Museum, Thessaloniki Andronikos, Manolis, 3, 127, Antipater, 92–93, 252, 268 Derveni Krater, 96–97, pl. V 189–190, 193, 194, 237, 243, Antipatros from Ashkelon, 69–70, kline from Potidaea, 93–94, 97–99, 247, 258, 340n131 fig. 22 figs. 39, 40 on identity of principal lion hunter Antiphilus, 92 Archelaus, 24–25, 170 in Tomb II, 261, 267, 271 Anyte, 50 Archilochus, 150, 178 on identity of woman in Tomb II, Apamea, Syria, 245–246 Cologne Epode, 34, 150, 231–232 266 Maison au Triclinos, 245 Ardener, Edwin, 149

384

INDEX

Argonautica (Apollonius of Rhodes), and Persephone, 207–208, 210, 225. stamnos, abduction of Helen by 252 See also Minerva Theseus, Polygnotos, 48, 51, Arimasps, 95 Athenaeus, 4, 47, 55 175, fig. 11 Aristobulus, 167 on boar hunt, 71 volute krater, labors of Heracles Aristophanes on dance, 291–292, 344n247 Workshop of the Kleophrades Lysistrata, 172–173, 232 on military prowess of women, 132 Painter, 34, fig. 5 Thesmophoriazusae, 169 on restraint of Alexander the Great, Attic vase painting, structural Aristotle 168 analysis of themes, 6 on animal forces in human Athens “attitudes,” 136, 291 behavior, 118 Stoa Poikile, painting of battle of Aurelius, Marcus, 4 on barbarians, 2 Marathon, 60. See also Aurora Painter, 160 on dance, 291 Acropolis Museum; Agora of on deer, 33, 309n74 Athens; National Bacchae (Euripides), 309n74 on difference between men and Archaeological Museum, Bacchylides, 34, 44, 190, 274 animals, 1 Athens Badian, Ernst, 266, 324, 342n170 on hierarchy, 1–2, 4–5, 116 atmospheric perspective, 247 Bakirtzis, Charalambos, 82 Historia Animalium, 116 Atropates, 60 barbarians, 2, 5, 305n21 on hunt/war metaphor, 144 Atthis (Hellanicus of Lesbos), 46 Barringer, Judith, 6 on hunting in context of Attic black-figure hydria, battle of Barthes, Roland, 10, 260, 289 recollecting, 118 Heracles and Geryon, Bartoli, Pietro Santi, engraving after on identification, 269 abduction of Helen by wall painting of abduction of on leopards, 74 Theseus, 165, figs. 75, 76 Persephone, 200, fig. 89 on lion as positive, 116 Attic black-figure lip cup, lion attacks Bartsiokas, Antonis, 196 on lions in Macedonia, 68 bull, 106, fig. 47 Basilica Aemilia, Rome, 299 on lust of horses, 49 Attic red figure Bataille, Georges, 13, 112 on metaphor, 71, 157 amphora, abduction of Corone by battle/hunt relationship, 133–134, Nicomachean Ethics, 212 Theseus, Euthymides, 53–54, 136–143 on place, 259 fig. 13 Baudelaire, Charles, 186 Poetics,62 amphora, pursuit, Phiale Painter, Baudrillard, Jean, 40 Politics, 116, 118 153, 175, fig. 70 Baumer, Lorenz E., 266 on self-control, 168 calyx krater, abduction of the Bazaira, 76, 263–264, 281–282 on sexual misconduct, 169–170 Leucippides, Coghill Painter, bear hunt, Tomb II, Vergina, on simile/metaphor, 21, 62, 119–120, fig. 103 242–243, 277–278 145 calyx krater, fall of Troy, Altamura bears, 63, 284, 342n188 on tragedy, 113 Painter, 183, fig. 80 beauty competitions, male, 294 on treatment of barbarians, 5 calyx krater, murder of Beauvoir, Simone de, 53 on warlike disposition of Sparta, Agamemnon, Dokimasia Beazley, John, 20, 54 300 Painter, 44 Berlin. See Antikensammlung, on zelos, 294–295 cup, abduction of Antiope by Staatliche Museen, Berlin Arkteia, 151 Theseus, Euphronios, 51, Bernini, Gianlorenzo, Pluto and Arretine pottery, 264, fig. 120 fig. 12 Proserpina, 223–224, fig. 106 Arrian, 60, 132, 161, 341 cup, deer hunt, Codrus Painter, 31, Bibliotheque` Nationale, Paris, Attic Ars Amatoria (Ovid), 149, 178 fig. 4 red-figure oinochoe, lion Artaxerxes, 104 dinos, boar hunt, Agrigento attacks horse, 109, 140, Artemis, 133, 200, 207–208, 210, 252, Painter, 274, fig. 122 fig. 49 254. See also Diana hydria, abduction of the binary oppositions, 17–18 Artemis, cult of at Brauron, 151 Leucippides, Meidias Painter, black-and-white mosaic, 203–204, aryballos, 106 54, 220–222, fig. 104 fig. 94 Ashurbanipal, 83, 270, 339n120 hydria, contest between Athena Black Obelisk, 110, fig. 50 Ashurnasirpal II, 83–84, 86, 270, and Poseidon, 53–54 blood thirst, as metaphor of fig. 28 hydria, fall of Troy, Kleophrades masculinity, 13 Asia Minor, Greek-inspired Classical Painter, 183 Bloomfield, M. W., 217 monuments in, 23–24 oinochoe, Eurymedon Vase, boar hunt Assos, 107 Manner of the Triptolemos Apulian red-figure column krater, Assyrian relief art, 83–84 Painter, 168–169, fig. 77 248–249 Atalanta, 133, 151, 248, 274 oinochoe, lion attacks horse, 109, Attic red-figure dinos, 274, fig. 122 Atarbos’ base, Acropolis Museum, fig. 49 Ficoroni cista, 282, fig. 128 292–293 skyphos from Eleusis, abduction of Greco-Persian seal, 84, 289–290, Athena, 132, 176, 184, 200 Persephone, 204–205, 214 fig. 30

385

INDEX

boar hunt (cont.) and abduction scene, 165, parallels to Alexander Lycian Sarcophagus, 86, fig. 32 figs. 75, 76 Sarcophagus, 126–127 “Melian” relief, 274, fig. 121 Attic red-figure cup, abduction of Capitoline Museums, Rome mirror cover, 73, fig. 25 Antiope, 51, fig. 12 black-figure Tyrrhenian amphora, mosaic from Chiusi, 280–281, Attic red-figure hydria, abduction 161 fig. 127 of the Leucippides, 54, polychrome mosaic, 203–204, mosaic from Palermo, 137–140, 285, fig. 105 fig. 93 302, figs. 64–66 Black Obelisk of Shalmaneser III, sarcophagus, abduction of Mycenaean seal, 72, fig. 24 110, fig. 50 Persephone, 208, fig. 96 reliefs from heroon at Greco-Persian stamp seal, boar Carcinus, 45, 205–206 Gjolbaschi-Trysa,¨ 24, 276, hunt, 84, fig. 30 Cartmill, Matt, 16, 35, 148 figs. 123–124 Nereid Monument, 23–24 Carney, Elizabeth, 167, 196, 235 relief hydria, 274, 276, pl. X Protocorinthian aryballos, animal Carroll, Margaret, 223, 307n83 as rite of passage, 71–74 attack motif, 106 Cartledge, Paul, 170 Roman, 137–140, 278–279 terracotta plaque, abduction of Cassander, 71, 92–93, 234–235, 254, sarcophagus from Çan, 125–126, Thetis, 155–156, fig. 72 266–268, 292 figs. 57, 58 wall painting from Tomb of Cassandra, 116, 150, 172, 181, from Vergina, Tomb II, 240. Nasonii, 160, 199, fig. 88 183–184, 189, fig. 80 See also Calydonian boar bronze axe-head from Semna, 108 cassoni, 153, 155 hunt bronze hunting group, dedication by Castiglione, Baldassare, 301 bobbin, white-ground, Sotheby Craterus at Delphi, 76–78, 139, Catalogue of Women,47 Painter, 219, fig. 102 338n94, 339n119 Centauromachy, 276, 301, fig. 124 Boccaccio, Giovanni, 153–154 bronze lid of Ficoroni cista, heroic Centaurs, 4, 15, 24, 184–185 Bonn Painter, red-figure kylix, hunt, 282–284, figs. 128, 129 Ceramicus, funerary stele of 309n70 bronze mirror cover, boar hunt, 73, Antipatros, 69–70, fig. 22 Boorstin, Daniel J., 282 fig. 25 Ceryneia, hind of, 33–34, 150 Boreas, 53, 228 Brownmiller, Susan, 12, 159, 181, chain of being, 1–2, 4–5, 10 Borghini, Raffaello, 55 326–327nn94, 95 Chaniotis, Angelos, 41 Borza, Eugene, 196, 254, 340n132 Bruno, Vincent, 244, 246–247 Chantraine, Pierre, 144 Boscoreale, villa of P. Fannius Bryson, Norman, 300 Charon scenes on Athenian Synistor, architectural façade Bucephalas, 4, 302, 305n109 white-ground lekythoi, 217 with hunting scene, 279–280, Burke, Kenneth, 136 Chatby, Hellenistic mosaic from, 42, fig. 126 Burke, Peter, 82 fig. 9 Boscotrecase, landscape with Burkert, Walter, 34, 106, 110, 159, Chertomlyk burial mound, Ukraine, Polyphemus and Galatea, 252, 161, 169, 174 102–103 fig. 116 Burkitt, Ian, 80 chiaroscuro, 97–99, 138, 245–246 Boston. See Museum of Fine Arts, Butler, Judith, 9, 41, 301–302 Chiusi. See Museo Archeologico Boston Byron, George Gordon (Lord), 114 Nazionale, Chiusi Botticelli, Sandro, 154, fig. 71 Byzantine literature, 13–14, 21. See Chrysostom, Dio, 68–69, 130 Braudel, Fernand, 4 also Digenes Akrites Cilicia, coins from, 95–96 Braund, David, 168 cist tombs Bremmer, Jan, 182 Cabanis, Pierre Jean Georges, 174 at Amphipolis, Tomb T VI, child bride theft, 150, 211, 330n92, Callimachus burial, 197 333n167 Epigram 31, 150 at Derveni, burial of man and British Museum, London Hymn to Demeter, 205 woman, 93–94, 96–97 Achaemenid cylinder seal, lion Callisto, rape of, 156 at Makrigialos, man’s burial, 197 hunt, 84, fig. 29 Calydonian boar hunt, 24, 72–73, 133, at Nea Michaniona, Tumulus A, Apulian red-figure volute krater, 151, 217–218, 248–249, Tomb II, woman’s burial, 197 abduction of Persephone, 224, 273–274, 276 at Palatitsia, Vergina, woman’s fig. 107 calyx krater, Attic red-figure burial, 197 Ashurbanipal relief from Nineveh, abduction of the Leucippides, at Pella, man’s burial, 198 339n120 219–220, fig. 103 at Pella, woman’s burial, 197 Ashurnasirpal II relief from Fall of Troy, 183, fig. 80 at Vergina. See Vergina, Tomb I Nimrud, 110, fig. 28 Cambitoglou, Alexander, 208 Claudian, De Raptu Proserpinae, 178, Attic black-figure amphora, Çanakkale. See Archaeological 187, 205, 207–208, 212 Heracles and golden hind, Museum, Çanakkale Clement of Alexandria, 149 33–34 Çan sarcophagus, 123–127, figs. 57, 58 Cleopatra (daughter of Philip II), 207 Attic black-figure hydria, battle battle scene on, 126 Cleopatra (wife of Philip II), 196, 266 between Heracles and Geryon hunt scene on, 124–126 Clytemnestra, 46, 150

386

INDEX

Codrus Painter, 31, fig. 4 dagger, Shaft Grave IV, Mycenae, Demeter/Ceres, 155, 193, 198, Coetzee, J. M., 145, 298, 300 106, 128 210–211, 214, 225, 231 Coghill Painter, red-figure calyx damazo/damnemi (force/subdue), 6 Diodorus on, 205–206 krater, 219–220, fig. 103 damnatio memoriae, 124 Pausanias on, 205, 328n30 coins Danae, rape of, 56 rape by Zeus, 52–53, 207 animal attack motif on, 95–96, dance, 40, 291–293, 313, 344n247 Roman sarcophagi, 204, 208 108 analogy with art, 293–294 Tomb of Demeter at Kerch, 200 silver stater/didrachm of Amyntas mounted, 291. See also pyrrhic wall painting from Tomb I at III, horseman and lion, 70–71, dance Vergina, 195–196. See also 243, 267, fig. 23 Daphnis and Chloe (Longus), 159 Homeric Hymn to Demeter Cole, Susan G., 45 Darius, name on the Xenophantos Demetrias, painted grave stelae from, Cologne Epode, 34, 231–232 lekythos (son of Artaxerxes 245, 246, 256, 336n40 column krater, Apulian red-figure, II?) Demetrius, On Style, 21, 145 hunt, 248–249, fig. 115 Darius I, lion hunt, 84, 88, fig. 29 Demetrius, Poliorcetes, 310n107 comedy Darius III, 88, 165–166 Demosthenes, 28, 131, 273 Athenian New Comedy, rape plots on the Alexander Mosaic, 162–163, De Raptu Proserpinae (Claudian), 178, in, 56, 233 fig. 74 187, 205 Roman New Comedy, rape plots in, relationship with Alexander, de Romilly, Jacqueline, 18 56 162–170 Deruet, Claude, Rape of the Sabine sexual double entendre in, 175. See Darwinism, 10, 186 Women, Alte Pinakothek, also Aristophanes; Menander David, Ephraim, 150 Munich, 299 Companions (Hetairoi), 130, 197, 260, David, J.-L., 307n83 Derveni Krater, 93, 96–97, pl. V 273 da Vinci, Leonardo, 121 Detienne, Marcel, 71, 74, 151 consent and coercion, 154, 229–232, death Devine, A. M., 141–142 234–235 abduction/rape and, 9–10, 203 diadochi, 92, 130 Corinth, 95, 108, 214 hunt motif as defeat of death, Diana, 208–209, 278. See also Artemis Corone, abduction by Theseus, 53–54, 286 Diderot, Denis, 38–39 fig. 13 as marriage to god of Underworld, Didi-Huberman, Georges, 11, 269 Cortona, Pietro da, 299 328n43 Digenes Akrites, story of, 13–14 Courtier (Castiglione), 301 Decameron (Boccaccio), 153–154 on hunting for women, 148 Crary, Jonathan, 40 de Certeau, Michel, 26 metaphor and, 21 Craterus, 71, 76–78, 80, 139, 338n94, deconstruction, 17 simile and, 114 339n119 deer dinos, Attic red-figure, boar hunt, Crete, 105, 131 and courage, 113–114 274, fig. 122 Cristofani, Mauro, 196 gendering of, 33–35 Diodorus Croesus, 131–132, 240 Mediterranean fallow, 309n70 on abduction of Helen, 48, 52 cults Trojans as, 34 on Cassander, 93, 235, 268 Eleusinian Mysteries, 206, 213 as unwise, 309n74 on Darius, 165 Locrian, 214, 217, 230 deer hunt on Demeter, 205–206 Thesmophoria, 213, 330–331n105 Attic red-figure kylix, 31, fig. 4 on rape, 182 Cumont, Franz, 288 Attic red-figure volute krater, 34, Diogenes Laertius, 1 Curtius, 60, 131, 182, 264 fig. 5 Dion, 213 Cyane (nymph), 190 marble relief from Troy, 36, fig. 6 Granicus Monument, 136 Cyane (spring), 190, 214 in Tomb II, Vergina, 239–240 Soteriadis Tomb, equestrian battle, cylinder seal, Achaemenid, 84, fig. 29 Xenophon on, 32, 309n70. See also 136, fig. 63 Cynane (half-sister of Alexander), 29, stag hunt; Pella, House of the Dionysus, on panther, 64, 75, fig. 20. 61, 132, 292 Abduction of Helen, stag hunt See also Pella, House of Cynegetica (Oppian), 302 mosaic Dionysus Cynegeticus (Xenophon), 130, 309 Deianira (wife of Heracles), 51, 184, Dioscuri, 23–24, 48, 178, 184, Cypria, 218 230–231 217–218, 222 Cyrene, abduction by Apollo, 151, Deianira (companion of Helen on Pella Diphilus, 33 182 abduction mosaic), 44, 50, 51, Discourses (Chrysostom), 68–69 Cyropaedia (Xenophon), 32, 232, 272, 68, 236 Dodds, E. R., 111–112 278 Delphi Domitian, 286 Cyrus, name on the Xenophantos animal attack motif at Temple of double andron, 29 lekythos (Cyrus the Apollo, 106 double axes, 295–296 Younger?), 88 Craterus’ bronze dedication, 76–78, Dougherty, Carol, 173, 182 Cyrus the Great, 32, 87, 130, 139, 338n94, 339n119 Dover, Kenneth, 161, 175 272–273 de Man, Paul, 236, 287 Dropion (king), 75

387

INDEX

Drougou, Stella, 267 Eunuchus (Terence), 56 Freikorps, German, 174, 307n69 duBois, Page, 4–5, 260–261 Euphronios, 51, fig. 12 Fremiet,´ Emmanuel, Gorilla Abducting Dunning, Eric, 130 Euripides aWoman, 184–186, fig. 81 Duris, 132 on abduction of Persephone, 45, Freud, Sigmund, 13 207 Fried, Michael, 38–39 Eclogues (Vergil), 149 Bacchae, 309n74 Frontisi-Ducroux, Françoise, 152 Ecole´ des Beaux-Arts, Paris, rape of Hecuba, 178–180 Frye, Northrop, 160 Persephone (Giulio Romano), Helen, 150, 205, 208 Fuhrmann, Heinrich, 138–140 301 Hippolytus, 133 Fundaçao˜ Calouste Gulbenkian, education on hunter as savage, 38 Lisbon, Attic red-figure calyx of Alexander the Great, 131 Iphigenia Aulidensis, 34, 150 krater, Coghill Painter, dance as, 292 Trojan Women, 150, 181 219–220, fig. 103 hunting as, 130, 132, 272 Eurydice (wife of Philip III funerary associations in Sparta, 18 Arrhidaeus), 29, 132, 266, 292 of animal predation, 96–102 as taming, 18 Eurydice (mother of Philip II), of hunt, 3, 255–258, 285, of warrior, 130–132 99–100, 233, 334n189 288–289 Education of Cyrus (Xenophon), 32, Eurymedon Vase, 168–169, 175, of ribbons, 256 232 fig. 77 funerary hunts, 285–286 Egypt Euthymides, 53–54 funerary stele(ae). See stele(ae) Abukir medallions from, 23 Evans, Arthur, 252 animal attacks, 107–108 Evans, Gareth, 78 Galleria Borghese, Rome, Pluto and funerary hunts, 258, 285–286 Proserpina (Bernini), 223–224, Ehrenreich, Barbara, 174 Fairbairn, Nicholas, 147 fig. 106 ekphrasis, 187. See also Philostratus Faliscan volute krater, Aurora Garland, Robert, 256 Eleusinian Mysteries, 206, 213 Painter, 160 Gautier, Theophile, 146, 148, 150 Eleusis, 190, 204–205, 213, 214, 231 “Falling” (Sharon Paz), 300 gaze theory, 39–40 Elias, Norbert, 80, 110, 260 Fall of Troy, Altamura Painter, gems, Mycenaean, 72, 82–83 Eliot, T. S., 15 171–172, 180, 183–184, fig. 80 Greco-Persian, 84–85 Else, Gerald, 291 family visit to sanctuary, marble gender, 25–26, 33–35, 74–75, 196, enargeia, 187 votive relief, 254, fig. 117 210, 217, 229, 302, 307n83 engraving, after wall painting of Fasti (Ovid), 205 Geste/Gebarde¨ , 215 abduction of Persephone Fedi, Pio, 178–180, fig. 79 gesture, 18, 31–32, 39–41, 44, 61, 79, (Bartoli), 199–200, fig. 89 female companions, 50–51, 53, 54, 81–82, 86, 133, 136, 140, 142, ephebeia, Athenian, 312n167 219 165, 168, 170, 184, 189–190, ephebic hunt, 313n27 female heroism, 57–58 199–200, 212, 215, 219, 222, as rite of passage, 72 femininity, xix, 9, 33, 74–75, 174 224–225, 289–291, 294, 299, Ephorus, 9 feminism, xxii, 12, 53, 181, 301–302 Epigram 31 (Callimachus), 150 326–327n94 Giambologna, Rape of a Sabine, equestrian battle painting, Dion, 136 feminization of enemy, 170–171 54–55, fig. 14 Er, myth of, 116 Ferrari, Gloria, 157, 168 Giordano, Luca, 223 Eratosthenes, on Greek-barbarian Ficoroni Cista, bronze lid, hunt, Giulio Romano, 301 division, 305 282–284, figs. 128, 129 Gleason, Maude, 50 Eretria, House of the Mosaics, 95, Fischl, Eric, 300 Glyptothek, Munich, marble votive fig. 36 Florence, 54, 178–180 relief, 254, fig. 117 Eretria, Temple of Apollo Florence, Archaeological Museum Gnosis, 30, 32, 42 Daphnephorus, 176, fig. 78 Amazon Sarcophagus, 58–60, Goffman, Erving, 40–41 Eros/erotes, 8, 42, 151, 204–205, figs. 15, 16 gold 208–209, 214, 222, 225 Etruscan volute krater, 102 medallion from Abukir, 23, 71 erotic pursuit, red-figure amphora, Forceville, Charles, 165, 306n38, medallion from Tarsus, 71, 338 Phiale Painter, 153, 175–176, 307n5 phiale from Solokha, 103–104 fig. 70 foreshortening, 59, 246 scabbard, 103, fig. 45 Etruscan cinerary urn with hunting Foucault, Michel, 8 seal, 128, fig. 59 scene, 79, fig. 27 four-color painting, 32, 244 golden hind, 33–34 Etruscan sarcophagus, animal attacks, Foxhall, Lin, 17, 61–62 Golgoi, Late Archaic Cypriote 101, fig. 43 Francavilla, Sicily, 214 limestone sarcophagus, Etruscan sarcophagus, felines François Tomb. See Vulci, François 128–129, fig. 60 attacking stag, 101, fig. 42 Tomb Gonzaga, Federigo, 301 Etruscan tombs. See Vulci, François François Vase, 106, 240, 274, 335n12 Goodall, John, 110 Tomb Frazer, James George, 115 Gorgias, 45

388

INDEX

Gorilla Abducting a Woman (Fremiet),´ Hellanicus of Lesbos, Atthis,46 Hippolytus, 133, 151, 274, 286 184–186, fig. 81 Hellanocrates of Larissa Hippolytus (Euripides), 133 Graeco-Roman Museum, Alexandria Helly, Bruno, 69 histoire ev´ enementielle´ ,82 erotes mosaic, 42, 151, fig. 9 Henderson, Jeffrey, 49–50, 172–173, Historia Animalium (Aristotle), 116 hunter or warrior mosaic, 133, 175 Histories (Herodotus), 131–132 fig. 61 Hephaestion, 18, 31, 76, 123, 142, History of Attica (Istrus), 47 Granicus Monument, 136 258 Hoepfner, Wolfram, 29 Greco-Persian gems, 84–85 Hephaestus, 114 Hoffmann, Herbert, 6, 152 Greco-Persian stamp seal, 84, Heracles, 21, 37, 77, 94, 150, 184, 221, Homer 289–290, fig. 30 231, 233, 267 abduction of Helen and, 46 Greek Anthology, 231, 252, 255. See abduction of Iole, 226–228, 231, on city/woman relationship, also Palatine Anthology fig. 110 171 griffin(s), 93–103, 109, 114, 160 battle with Geryon, 165, fig. 75 on color, 339n109 attacking horse, terracotta relief, and golden hind, 33–34, 310n79 Iliad. See Iliad 100, fig. 41 killing of Nemean lion, 151 occurrences of word kredemnon in, attacking stag, pebble mosaic, 93, labors of, 34 171 95, fig. 35 wife of, 51, 68, 230–231 Odyssey. See Odyssey on Derveni krater, 93–94, 96–97, Heracles Cynagidas, 73 warrior/lion simile, 116 pl. V Heraclides Ponticus, 288 Homeric Hymn to Demeter, 191, 192, in funerary context, 112 Hermes 205–207, 210–213, 217, 230, on kline from Potidaea, 93–94, abduction of Iole and, 192, 228 244–245 figs. 39, 40 abduction of Persephone and, 192, anti-rape statement in, 231 on kline in Bella Tumulus, Vergina, 199, 203, 209–210, 212, 214, goddesses as companions in, 207 318n139 215 and Hermes, 192 on kline in Tomb of Eurydice, marble lekythos of Myrrhine, 217 male figures in, 191 Vergina, 99–100 role as psychopompus, 192 on marriage and rape, 230–231 leonine griffin, 53–54, 87–88, wall painting from Tomb I at Ovid and, 15 103–105, 188 Vergina, 192. See also role of Zeus in, 192 in Scythian art, 102–104 Mercury homeristae, 308n42 on throne in Rhomaios Tomb, Hermolaus, 131, 265 homoeroticism, 82 Vergina, 97–100, figs. 37, 38 Hero (Thracian deity/king), 90 hoplite hunt, Cypriote, limestone Grimal, Pierre, 252, 255 Herodotus sarcophagus, 128–129, fig. 60 on abduction, 43 Horace, 159, 178 Hades/Pluto, 9, 52, 178, 187, 198, on abduction of Helen, 46 Horkheimer, Max, 57 215–216, 233. See also on Amazons, 60 horses Vergina, Tomb I, wall painting on boars, 240 biological sex of, 49–50, “Hadra” hydria, 285 on hunt/battle, 131–132 311n148 Hadrian, 286 on incident at Macedonian Bucephalas, 4, 302, 305n19 Hall, Edith, 150, 170 symposium, 25–26 as conferring honor and prestige, Haloa, 330–331n105 on lions in Macedonia, 68 239 Hamburg. See Museum fur¨ Kunst und on military prowess of Sarmatian hero/horse relationship, 50 Gewerbe, Hamburg women, 132 House of Dionysus, Pella. See Pella, Hammond, Nicholas, 167, 196, on Persian attitude to rape, 228 House of Dionysus 338n85, 342n170 on rape as cause for war, 184 House of the Abduction of Helen, hare hunt, mosaic pavement, El Djem, on Scythians, 90 Pella. See Pella, House of the 278, fig. 125 on wartime rape, 182 Abduction of Helen harpazo (seize), 45, 158. See also Heroides (Ovid), 46 House of the Mosaics, Eretria. See abduction heroon Eretria, House of the Mosaics Harrison, Evelyn, 266 at Vergina, 258, 338n95 hunt Hatzopoulos, Miltiades, 271 at Gjolbaschi-Trysa,¨ 23–24, as allegory for defeat of death, 286 Hebrew law, on rape of virgin, 222–223, 276, figs. 105, 123, as communal effort, 274 330 124 as education, 130, 132 Hecate, 225, 330n94, 332n149 Hesiod erotic associations of, 149 Heckel, Waldemar, 29 Shield of Heracles,71 funerary associations of, 3, Hector, 71, 114, 171 Theogony, 205 255–258, 285 Hecuba (Euripides), 178–180 Hesychius, 49–50 likeness to battle, 144–145, 321n22, Heffernan, James, 172 Hetairoi. See Companions 322n80 Helen, 45–47, 50, 51, 52, 55, 150, 160, hind of Ceryneia, 33–34 Macedonian hunting tradition, 165, 252 Hippolyte (sister of Antiope), 51 73–74

389

INDEX

hunt (cont.) Iphigenia, 34, 46 Kissufim, Roman/Byzantine hunt as metaphor, 143, 145 Iphigenia Aulidensis (Euripides), 34, mosaic, 94 negative implications of, 35 150 Kleophrades Painter, 34, 183, fig. 5 patron deity of, 133 Isocrates klinai (dining couches), 25, 28, 95 as rite of passage, 72 on abduction of Helen by Theseus, at House of the Abduction of social significance of, 133. See also 46–47 Helen, 25 sexuality, relationship to on barbarians and animals, 1–2 klinai (funerary) hunt; Pella, House of on just monarch, 273 with griffins, in Bella Tumulus, Dionysus; Pella, House of the on warlike disposition of Sparta, 318n139 Abduction of Helen; Vergina, 300 from Macedonian tomb at Potidaia, Tomb II, wall painting Istanbul, Archaeological Museum. See 93–94, 97–99, figs. 39, 40 hydria Archaeological Museum, koine Apulian red-figure, Group of B.M. Istanbul animal attack as, 100–102, 104, 115 F308, 224–225, fig. 108 Istrus, History of Attica,47 masculine, 295 Attic black-figure, animal attack, ivory, 106, 218–219, 338n102, fig. 101 Kom el-Shoqafa, Alexandria, tomb 106 painting from, 200 Attic black-figure, Heracles and Jamaica Center for the Arts, New Koraes, Adamantios, 162 Geryon and abduction scene, York, “Falling” (Sharon Paz) Kottaridi, Angeliki, 152, 196 165, figs. 75, 76 Jason, 94, 117 Kouklia, sarcophagus with animal Attic red-figure, Kleophrades Jauss, Hans R., 56–57 fight, 313n20 Painter, 183 javelins, 74, 240, 335n13 krater Attic red-figure, Meidias Painter, Johnson, Mark, 7, 157 Apulian red-figure column, 54, 220–222, fig. 104 J. Paul Getty Museum, Los Angeles attributed to the Sisyphus relief, with boar hunt, 274, 276, Attic black-figure lip cup, 106, Group, 248–249, fig. 115 pl. X fig. 47 Apulian red-figure volute, 165 Hymn to Demeter (Callimachus), 205 Hellenistic hunt relief, 36, fig. 7 Attic red-figure, Niobid Painter, Hysmine and Hysminias, 325 red-figure volute krater, 34, fig. 5 293 Derveni Krater, 93, 96–97, pl. V iconography, 24, 28–29, 70–71, 75, Kafka, Franz, 305 Faliscan red-figure volute, 160. 79, 84–85, 89–92, 96, Kahlo, Frida, 34 See also calyx krater; volute 215–216 Kahn, Coppelia,´ 172 krater identity/identification, 55–57, 62, Kamaki, 148 kredemnon, 171–172 269 Kamini Stele, 104–105, fig. 46 Kripke, Saul, 248 at Palermo, 138–139 Kantorowicz, Ernst, 269–270 Kristeva, Julia, 306n60 at Pella, 31, 64–66, 68 Karouzou, Semni, 44 Kubler, George, 15, 306n60 as performance, 40–41 katagrapha, 336n39 Kuhn, Thomas, 13 at Vergina, 261–262, 264–268, Katerini, tomb at, 197 Kunsthistorisches Museum, Vienna 340n31 kausia, 68, 241, 242, 271–272, 295, fragment of abduction frieze from through clothing, 294 309n67, 339n107 the Ilissus temple, 228–229 Iliad (Homer) Kazanlak, tomb at, 295 reliefs from Heroon at on blood lust, 13 Keegan, John, 174 Gjolbaschi-Trysa,¨ 23–24, courage metaphor in, 113 Kerch 222–223, 276, figs. 105, 123, gendering of deer in, 34 Ashik’s Tomb, 146, 151, 200, 124 hero/horse relationship in, 50 fig. 69 kylix, 31, 51, 106, 129, 309n70, figs. on interchangeability of lion/boar, Kul Oba burial mound, 218–219 4, 12, 47 71 Tomb of Alcimus, 200, 202–203, occurrences of word veil in, 171 fig. 90 top Lacan, Jacques, 39, 40 on predator motif, 13 Tomb of Demeter, 200–202, figs. 90 LaCapra, Dominick, 11 on rape and war, 181 bottom, 91 Lakoff, George, 7, 157 Ilissus temple, 228–229 tomb paintings from, 200–203 Lampsacus, 274 Iliupersis Painter, 224, 338n80, vases from, 87, 91. See also Lancaster, C. S., 119, 307n69 fig. 107 Panticapaeum landscape, 238–239, 245, intermarriage, Greek-Persian, Khartoum Museum, bronze openwork 248–259 316n99 axe-head from Semna, 108 Lane Fox, Robin, 285, 289 Interpretations of the Commandments kingship Laws (Plato), 28, 40, 117–118 of Christ (St. Neophytos the big-game hunting as emblem of, Lefkadia Recluse), 150 82–88, 315n69 Great Tomb, 15 Iole, 226–228, 231, 233, 334n182, northern vs. southern Greek views Kinch Tomb, 141–143, fig. 68 fig. 110 on, 93, 273 Lehmann, Phyllis, 251, 340n131

390

INDEX

lekythos Scythian bowl from Solokha, at Potidaia, 93–94, 97–99, Apulian red-figure, 184 91–92, 243, fig. 34 figs. 39, 40 Attic black-figure, from Eretria, stele from Uruk, 270. See also Pella, Rhomaios Tomb at Vergina, 129 House of Dionysus; Vergina, 97–100, 233, fig. 37 marble, of Myrrhine, 217 Tomb II Soteriadis Tomb at Dion, 136, squat red-figure, Xenophantos The Lion Hunt (Vernet), 271 fig. 63 Painter, 83, 87–88, 94, fig. 33 Lisbon. See Fundaçao˜ Calouste Tomb I at Vergina; see Vergina, Lemnos, 182, 327n97 Gulbenkian, Lisbon Tomb I Leochares, 76 The Little Deer (Kahlo), 34 Tomb II at Vergina; see Vergina, leopards Lloyd, G.E.R., 82 Tomb II Aristotle on, 74 Locri, 216, 230 Tomb of Eurydice at Vergina, gendered attributes of, 74, 75 cults of, 214, 217, 230 99–100, 233 in Macedonia, 68 terracotta plaques, abduction Madrid. See Museo del Prado, Madrid, Let´ e,` 131 scenes, 204, 215–216, 233, Makrigialos, 197 Letnitsa Treasure, 317n109 fig. 100 male beauty competitions, 294 Leucippides, abduction by Dioscuri, London. See British Museum, man as predator, 113–115, 159 23–24, 48, 54, 165, 178, 184, London; Wallace Collection, mangas/mangia (macho/machismo), 218 London 36 Attic red-figure calyx krater, longue duree´ , 4, 13, 81–82, 93, 147 manhood, 71–73, 131, 136, 148, 188, Coghill Painter, 219–220, Longus, Daphnis and Chloe, 159 282, 300. See also masculinity fig. 103 Loraux, Nicole, 11 Mannella, Locri 214–217 Attic red-figure hydria, Meidias Louis XVI, 270 man the hunter, modern currency of Painter, 54, 220–222, fig. 104 Loukovit Treasure, 317n109 metaphor, 10–11 Attic white-ground bobbin, Louvre Museum, Paris Mantua. See Palazzo del Te, Mantua attributed to the Sotheby Attic red-figure krater, Niobid Mari, terracotta mould from, Painter, 219, fig. 102 Painter, 293 309n65 ivory fragments from Kul Oba, marble relief, animal attack, Marin, Louis, 270 218–219, fig. 101 108–109 Marissa, Hellenistic tomb, 323n33 reliefs from heroon at marble relief from Messene, 76–78, Markoe, Glenn, 107, 111 Gjolbaschi-Trysa,¨ 23–24, 154, fig. 26 marriage, 229–233 222–223, fig. 105 Lovech, District Museum of History, ambivalence toward, 230–231 Lewis, Bradford, 172 Letnitsa Treasure, 317n109 and bride theft, 150, 211, 330n92, Lincoln, Bruce, 207 Lucian, 150 333n167 lion Lullies, Reinhard, 100, 112 consent of woman to, 333n177 as ambiguous symbol, 74 Lycians, 23–24 Homeric Hymn to Demeter on, biological sex in Aegean art, Heroon of Gjolbaschi-Trysa,¨ 24, 230 105–106 222–223, 276, figs. 103, 123, marriage/abduction metaphor, 48, on Black Obelisk from Nimrud, 110 124 223, 229–230, 331n113, and courage metaphor, 113–114 Nereid Monument at Xanthus, 332nn163–164 as cowardly, 116–117 23–24 Odysseus on, 231 evidence in Greece, 68–71, Lycian Sarcophagus from Sidon, 86, between uncle and niece, 329n77. 313nn10, 12 fig. 32 See also wedding metaphor in Odyssey, 116–117, 158 Lysimachus, 71, 76, 80, 264, 266 masculinity, xix, 9, 12, 17–18, 62, Lion and boar hunt, mosaic from Lysippus, 66, 76, 114, 136 116, 131–132 Piazza della Vittoria, Palermo, Lysistrata (Aristophanes), 172–173, blood thirst as metaphor of, 13 137–140, 285, figs. 64, 65 232 and dance, 294 Lion Attacking a Horse (Stubbs), 116, horse as evocation of, 50 fig. 51 Macedonia in Iliad,13 lion attacking bull, Attic black-figure expansionism of, 15 lion as evocation of, 74 lip cup, 106, fig. 47 rise of, 3–4 as performative, 17 lion attacking horse, Attic red-figure royal/aristocratic women in, 29 and sexuality, 166–167 oinochoe, 109, 140, fig. 49 Macedonian tombs, 196–197, 256, sociobiological view of, 12–13. See lion hunt 307n84 also manhood Achaemenid cylinder seal, 84, at Agios Athanasios, 5, 28, 244, Matheson, Susan, 48, 152 fig. 29 262 Meda, 90, 266 relief from Ashurnasirpal II’s at Finikas, 261–262 medallions palace at Nimrud, 110, fig. 28 Great Tomb at Lefkadia, 15 from Abukir, 23, 71 relief from Messene, 76–78, 154, Kinch Tomb at Lefkadia, 141–143, from Tarsus, 71, 338n102 fig. 26 fig. 68 Medea, as lioness, 117

391

INDEX

Median rider on Greco-Persian stamp Metrodorus, funerary stele of, Museo Nazionale Archeologico, seal, 84, fig. 30 255–256, fig. 118 Taranto, Locrian plaque, 215, “Megarian” relief bowls, 210, Metropolitan Museum of Art, New fig. 100 263–264, figs. 98, 99, 119 York Museo Nazionale Etrusco di Villa Meidias Painter, Attic red-figure Abduction of the Sabine Women Giulia, Rome hydria, abduction of (Poussin), 299, fig. 134 Etruscan cinerary urn, 79, fig. 27 Leucippides, 54, 220–222, Apulian red-figure hydria, Ficoroni Cista, 282–284, figs. 128, fig. 104 224–225, fig. 108 129 Meissonier, Ernest, 300 Cypriote limestone sarcophagus, Museo del Prado, Madrid, story of Melanion, 151, 274 128–129, fig. 60 Nastagio degli Onesti Meleager, 72, 248–249, 274, 286 painting from Boscotrecase, (Botticelli) 154, fig. 71 “Melian” terracotta reliefs, 155–157, Polyphemus and Galatea, 252, Museo Torlonia, paintings from the 274, figs. 72, 121 fig. 116 François Tomb, 101–102, 293, Memorabilia (Xenophon), 143 Sassanian art, 85, fig. 31 figs. 44, 132 Menander, 2, 26, 56 Scythian scabbard sheathing, Museum fur¨ Kunst und Gewerbe, Menelaus, 74, 113–114, 150 102–103, 114, fig. 45 Hamburg, Eurymedon Vase, mentalite´, 81, 82, 93 Miller, Margaret, 88, 105, 140 168–169, fig. 77 Mercury, 203, 209, 210. See also Minerva, 208–210. See also Athena Museum of Fine Arts, Boston Hermes Mitchell, W.J.T., 157 Apulian column krater, Sisyphus Mertens-Horn, Madeleine, 216 mock abduction, 215 Group, 248–249, fig. 115 mesoleukos, 262, 338–339n105 Moi, Toril, 53 Arretine mold fragments, 264, Messene, relief from, 76–78, 154, Montague, Holly, 159 fig. 120 fig. 26 Montaigne, Michel de, 110 Attic red-figure calyx krater, Messenian History (Myron of Priene), monumental time, 306n60 Altamura Painter, 183–184, 4 Moore, Henrietta, 13 fig. 80 Messenian Wars, rape as trigger for, Moralia (Plutarch), 9, 234–235 bronze mirror cover, 73, fig. 25 184 Moran, Richard, 157 Etruscan limestone sarcophagus Metamorphoses (Ovid), 46–47, 149, Moreno, Paolo, 32, 165, 194, 248 from Vulci, 101, fig. 43 159, 190, 205 Morgan, Lyvia, 127 Muth, Susanne, 25, 308 metaphor, 7–8, 21–22, 157, 306nn34, mountain lions, 70 Mycenaean 38 mounted dances, 291 bronze dagger from Shaft Grave IV, abduction/marriage, 229–230, Munich. See Staatliche Mycenae, 106, 128 331n113, 332nn163, 164 Antikensammlung und chalcedony seal from Vaphio, 72, of aggression, 114–115 Glyptothek, Munich fig. 24 aggression/appetite for food, Musee´ des Beaux-Arts, Nantes, gold seal from Shaft Grave III, 158–159 Gorilla Abducting a Woman Mycenae, 128, fig. 59 Aristotle on, 21, 62, 145, 157, (Fremiet),´ 184–186, fig. 81 ivory pyxis from tomb, Athens, 170 Museo Archeologico, Florence, 106 blood thirst/masculinity, 13 Amazon Sarcophagus, 58–60, limestone stelae from Shaft Graves in Byzantine literature, 21 figs. 15, 16 at Mycenae, 105–106, courage, 113–114 Museo Archeologico Nazionale, 285 dead, 7, 144, 322n78 Chiusi, hunt mosaic from Myerowitz, Molly, 149 erotic, 8, 322n91 Monte Venere, 280–281, Myron of Priene, 4 hunting as, 143 fig. 127 Myrrhine, marble lekythos of, 217 of justice, 118 Museo Archeologico Nazionale, of lion, 116–117 Naples Nagler, Michael, 171–172 love as war, 177 Alexander Mosaic, 3, 13, 142, Narcissus, 150 pictorial, 8, 152, 153, 157, 306n38 figs. 73, 74 Nastagio degli Onesti, 153–155, Plato on concept of, 8, 157 painting from Boscoreale, fig. 71 reversibility of, 144–145, 147, 165, architectural façade, 279–280, National Archaeological Museum, 172, 174, 178 fig. 126 Athens sexuality/hunt, 150, 152 red-figure hydria, Kleophrades Attic black-figure lekythos from sexuality/war, 164, 176–178 Painter, rape of Cassandra, Eretria, 129 similarity to simile, 21 183 Attic red-figure dinos, Agrigento in story of Digenes Akrites, 21 Museo Archeologico Nazionale, Painter, 274, fig. 122 thematic connections and, 5–11 Tarquinia, Etruscan Attic red-figure stamnos, woman’s body as fortress, 325n40 sarcophagus, 101, fig. 52 Polygnotos, 48, 51, 175, fig. 11 wrestling as making love, Museo Nazionale, Ostia, Roman hunt Attic white-ground bobbin, 327n115 sarcophagus, 287, fig. 131 Sotheby Painter, 219, fig. 102

392

INDEX

funerary stele of Antipatros, 69–70, Olynthus, 95, 267, 308n26 Parthenon frieze, 50 fig. 22 one-point perspective, 336n43 Pathosformel, 189 Kamini Stele, 104–105, fig. 46 On Style (Demetrius), 21 patriarchy, 148 marble lekythos of Myrrhine, 217 Oplontis, 252 Patroclus, 71, 114, 171, 258 relief with stag hunt, Spata, 36–38, Oppian, Cynegetica, 302 Pausanias fig. 8 Oresteia (Aeschylus), 4 on animal attacks on tombs in stele of Nikias, 321n49 Orion, 274 Corinth, 108 National Gallery of Victoria, Orithyia, 47, 53, 228 on animal forces in human Melbourne, Gorilla Abducting Ortega y Gasset, Jose,´ 38, 270, behavior, 118 aWoman(Fremiet),´ 185 341n147 on Demeter and Persephone, 205, National Museum of Beirut, tomb Ovid, 15, 148 328n30 painting from Tyre, 200 on abduction/rape, 46–47, 298–299 evidence for the existence of lions, naturalism, 83 Ars Amatoria, 149, 178 69 Nausicaa, 50, 158, 231 on border between love/violence, on funerary practices, 255 Nea Michaniona, Tumulus A, Tomb 149 on military prowess of women, 132 II, 197 on erotic associations of hunt, 149 on suicide after rape, 9–10 Nemean Ode 5 (Pindar), 49 Fasti, 205 on Theseus, 49 Neophytos, the Recluse, Saint, 150 Heroides,46 on unheroic hunt, 75 Neoptolemus, 178–180 imagery of predation in, 159 on war as result of rape, 184 Nereid Monument, Xanthus, 23–24 and love/war metaphor, 178 on wartime rape, 182 Nessus (centaur), 51, 184 Metamorphoses, 46–47, 149, 159, Pausanias (assassin of Philip II), 170, Nestor, 181 190, 205 235 nets, for hunting, 242, 266 Oxford Palette, 107–108 Pausias (painter), 336n38 advocates for use of, 72, 75 Paz, Sharon, 300 as detracting from heroism, 71 Padel, Ruth, 7 Peitho (Persuasion), 222, 231, 330n96 Neumann, Gerhard, 215 Paeonian bull, 75 Peleus, 31, 54, 155–157, 176, 233, Nicesipolis (wife of Philip II), 196 Paeonians, 75, 89–90 fig. 72 Nicias (painter), 248 Pages, Royal. See Royal Pages Pella, 24–25, 152 Nicomachus (painter), 193–194, 199, pain, 12 cist tombs, 197, 198 328n25 painted stelae Thesmophorion at, 213 Niobid Painter, Attic red-figure at Demetrias, 245 Pella, House of Dionysus, figs. 17–19 krater, 293 at Vergina, 256 description and plan of house, 64, Nock, Arthur Darby, 287–288 Painter of the Birth of Dionysos, 93 nudity fragment from Apulian Dionysus on panther mosaic, in Aegean iconography, 272 red-figure vase, 225–226, 55–56, 64, fig. 20 female, 40, 189, 190, 235–236, fig. 109 lion hunt mosaic, 64–66, 68, fig. 21 334n199 Palagia, Olga, 76–78, 141, 196, 254, threshold mosaic with scene of male, 31, 236, 243, 272, 276, 282 265–266 predation, 93–94, fig. 35 as marker of vulnerability, 40, 158, Palazzo del Te, Mantua, “Sala delle Pella, House of the Abduction of 236 Aquile” ceiling, 301 Helen, 30, 146, 236, figs. 1, 2 Palatine Anthology, 34. See also Greek abduction mosaic, 25, 43–45, Oakley, John, 194 Anthology fig. 10 Odes (Horace), 178 Palatitsia (Vergina), cist tomb at, 197 Amazonomachy mosaic, 30, 57–58, Odysseus, 35, 50, 113–114, 158, 231 Palermo, Piazza della Vittoria, mosaic, pl. III Odyssey (Homer), 155 137–140, figs. 64–67 description and plan of house, 25, courage metaphor in, 113–114 Panofsky, Erwin, 261, 285 146 deer in, 35 panthers stag hunt mosaic, 30–38, fig. 3 female friendships in, 50 on Alexander Sarcophagus, Pender, Elizabeth E., 8 inferiority of animals in, 4 121–123, fig. 56 Penelope, 74 leonine woman in, 74 gendered attributes of, 74–75 Penthesilea, 23, 57 lion metaphor in, 116–117, 158 in Macedonia, 68 performance, 40–41, 73, 136, 213 on victory/sexual violation, 171 on relief bowl, 152 gender as, 41, 301–302 Oeconomicus (Xenophon), 232 Panticapaeum, 87, 88, 91. See also Greek manliness as, 17, 290–291 oinochoe Kerch identity as, 40–41 Attic red-figure, Eurymedon Vase, paradeisos, 86–87, 88, 94, 123, 254, Perigune, rape of, 47 168–169, fig. 77 264, 284, 337n69 Persephone/Proserpina, abduction by Attic red-figure, lion attacks horse, Paris. See Bibliotheque` Nationale, Hades, 9, 15, 49, 52–53, 55, 109, 140, fig. 49 Paris; Ecole´ des Beaux-Arts, 155, 178, 187–190, 192, Attic red-figure, pursuit, 152 Paris; Louvre Museum, Paris 196–198, 210–212, 214, 233

393

INDEX

Persephone/Proserpina (cont.) Philip II on just monarch, 273 Apulian red-figure hydria, drinking habits, 28 justice metaphor in, 118 224–225, fig. 108 hunt and, 89–90, 92, 130 Laws, 28, 40, 117–118, 143 Apulian red-figure vase fragment, hunt of enemies by, 143 on lion, 116 225–226, fig. 109 as occupant of Tomb I at Vergina, love metaphor in, 8 Apulian red-figure volute krater, 196 on lover’s pursuit as appetite for 224, fig. 107 as occupant of Tomb II at Vergina, food, 158–159 European art and, 223–224, 127, 254, 267 on male genitals, 50 fig. 106 physical appearance of, 338n102 on metaphor, 81, 157 Greek sculpture and, 198–199 as principal hunter in Tomb II, Phaedrus, 158–159 mosaics, 203–204, figs. 93–94 Vergina, 261, 264, 266–268, Protagoras, 144 relief bowl, 210, figs. 98–99 271, 340n131 Republic, 47–48, 114, 116, 117, ritual and, 193, 213–217 Scythians and, 92, 130 118 Roman, 199, 203–205 in Thrace, 90, 92 Symposium, 28, 118 sarcophagi, 192, 204, 208–210, wives of, 29 on tombs, 256 figs. 95, 96, 97 Philip III Arrhidaeus, 92, 127, 252, Plautius, Novius, 282 sixteenth-century relief, 301 265–268, 292 Pliny, 239, 248, 252, 255, 335 wall painting in Ashik’s tomb, Phillicus, 205 Ploutonion at Eleusis, 330–331 Kerch, 146, 200, fig. 69 Philostratus the Elder, 42–43, 61, 150, Plutarch wall painting in Tomb of Alcimus, 284–285, 289 on abduction, 45, 47, 52, 217–218 200, 202–203, fig. 90 top Philotas, 72 Advice to Bride and Groom, 234 wall painting in Tomb of Demeter, Philoxenus of Eretria (painter), 138, on Alexander’s battle as hunt of Kerch, 200–202, figs. 90 247 human beings, 142–143 bottom, 91 Phoebe, 48, 51, 54, 217 on Amazons, 60 wall painting in Tomb of Nasonii, Phorbas, 44, 48–49, 51 on costume of kings, 261 Rome, 160, 199, fig. 88. See Physiognomics (pseudo-Aristotle), 34, on fines for rape, 232 also Vergina, Tomb I, wall 71, 74 on Hellanicus of Lesbos, 46 painting Piazza Armerina, 278–279 on hunting with nets, 72 Persians Picard, Gilbert, 279–280 on Menander’s love plots, 56 Achaemenid hunt reliefs, 84 pinakes from Locri, 204–205, on military prowess of women, 132 attitudes toward rape (Herodotus), 214–216, fig. 100 Moralia, 9, 145, 234–235 228 Pindar, 151 on morality of Alexander the Great, battles with Greeks, 74 on dance, 291 234–235 gems, Greco-Persian, 84–85, on the Dioscuri, 218 on Plato, 1 289–290, fig. 30 Nemean Ode 5,49 on rape, 234 hunting scene, red-figure squat on Persephone, 214 on rationality of animals, 4, 145 lekythos, Xenophantos Pythian Ode 9, 151 on reasons for Alexander the Great Painter, 83, 87–88, 94, fig. 33 Piraeus, 226 to hunt, 282 intermarriage with Greeks, Pirithous, 46, 47, 48–49, 51–52, on suicide after rape, 9 316n99 175 on symposium, 28 Persian on Attic red-figure Pisanello of Verona (artist), 271 Theseus, 46, 47, 48, 51, 217–218 oinochoe, 109, fig. 49 Plato on Theseus, 47–48 Persian kandys, 338n103 on animal forces in human on treatment of barbarians, 5 Persian running away, hunt behavior, 114, 117–118 Pluto and Proserpina (Bernini) 223, mosaic, 140, fig. 67 on being too warlike, 300 224, fig. 106 rape of Persian women by army of on boar hunt, 72 Poetics (Aristotle), 62 Alexander, 182. See also on color, 32 polar/analogical thinking, 4 Alexander Sarcophagus on dance, 291–292 Politics (Aristotle), 116 Persians (Aeschylus), 170, 172 on educational value of hunt, 272 Pollitt, J. J., 41 perspective, 247, 336n43 on educational value of Pollux petasos, 31, 60, 71, 73, 272, 282 symposium, 28 on equipment of huntsmen, 240 Petronius, 52 and gaze, 40 on gender contrasts in deer, 33 Petsas, Photios, 3 on heroes, 260 on Greek dance, 291 Pfrommer, Michael, 163–164, 324n4 and hierarchy, 2, 4–5 Polyaenus, 143 Phaedra, 133 homoeroticism and, 82 Polybius Phaedrus (Plato), 158–159, 228 on hunter’s use of body, 75 on foundation story of Locri, 216 Pherecydes, 49 on hunting as metaphor, 143, 150 on Macedonian hunting tradition, Phiale Painter, Attic red-figure on hunting of different things, 118 73–74 amphora, 153, 175, fig. 70 on hunting/war metaphor, 144 polygamy, 29

394

INDEX

Polygnotan painting scheme, 221, Pyrrhus (Neoptolemus), 178–180 Rissman, Leah, 177 250, 276, 280 Pythian Ode 9 (Pindar), 151 rites of passage Polygnotos (vase painter), 48, 51, 175, Cretan youth, 9 fig. 11 quadriga motif, 58, 210 hunt as, 71, 72 Polygnotus (painter), 222, 250 Quintilian, 3 ritual Polyperchon, 78, 92 and abduction of Persephone by Polyphemus, 116, 252 Rank, Otto, 174 Hades, 193, 213–217 Polyxena, 178–180 rape and art, 213–217 The Rape of Polyxena (Pio Fedi), as allegory for political/military association of bears with, 151, 178–180, fig. 79 struggles, 180 342n188 Pompeii in Athenian New Comedy, 56, Rodenwaldt, Gerhart, 37 House of the Faun, 162–163 233 Rogozen treasure, 90, 104 paradeisos, lost painting from Casa concluding in marriage, 56 role-playing, 136 della Caccia Antica, 94, death and, 9–10, 203 role theory, 40–41 284, fig. 130 diachronic aspect, 12, 45, 311 Roman landscape, 251–253 programs in paintings from, 22 of enemy women, 173–174, Rome Porphyry, on rationality of animals, 181–184 Basilica Aemilia in Forum, 299 4 modern attitudes toward, 232 Casino Rospigliosi, 209–210, Porter, Roy, 12, 186, 230 modern images of, 325–326n50 fig. 97 Posidippus, 114, 116 modern metaphors of, 10 Catacomb of S. Panfilo, 204, 209, Poussin, Nicolas, Abduction of the of Pausanias, as insult, 170, 235 fig. 95 Sabine Women, 299, fig. 134 Persian attitudes to (Herodotus), Columbarium on the Via power, allocation of 228 Portuensis, 203–204, fig. 93 in abduction theme, 16 as punishment, 169–170, 181 funerary art, 286–289 in hunting theme, 18 as response to victory, 166–167 Galleria Borghese, Rome, Pluto and in warfare theme, 40 as result of sack of city, 171 Proserpina (Bernini), 223–224, Praxiteles, 198, 199 of Sabine women, 298–299 fig. 106 predation, 94, 106, 114, 118, 119, 144, sacrifice connection, 180 Mausoleo I, “della Quadriga, 187 theatrical, 56 Vatican Necropolis, 203, and ideology, 115–118 of Thessalonice, 235 fig. 94 imagery in Ovid, 159 of Timoclea, 167, 234 Museo Torlonia, 101–102, rape as, 158, 160 of Trojan women, 181, 183–184 293, figs. 44, 132 predator understanding of, in ancient Tomb of the Nasonii, 160, 199, man as, 113–115, 159 Greece, 9, 229. See also fig. 88 warrior as, 106 abduction Tomb of Vibia, 203, fig. 92. See also Priam, 172, 178, 258 The Rape of Lucrece (Shakespeare), Capitoline Museums, Rome; Priapeia, 326n57 149, 172 Museo Nazionale Etrusco di Procne, 231 The Rape of Polyxena (Pio Fedi), Villa Giulia, Rome program. See analogy and program 178–180, fig. 79 Romulus, 52 Propertius, 178 Rape of a Sabine (Giambologna), Root, Margaret C., 107 prostitute, as hunter, 152 54–55, fig. 14 Roshava Chouka tumulus, Protesilaus, 255, 258 Rape of the Sabine Women, (Deruet), Alexandrovo, Bulgaria, Protocorinthian aryballos, animal 299 295–297, fig. 133 attack motif, 106 rapist, as hero vs. antihero, Rousseau, Jean-Jacques, 174, 326n58 Protogenes (painter), 239 184–186 Roxane (wife of Alexander the Great), pseudo-Aristotle realism, 300, 303 167, 196 on boars, 71 Redfield, James, 50, 231 royal associations, of hunt, 73–74 on lions, 74 Reilly, Linda, 239 in Macedonia, 88–93 Physiognomics, 34, 71, 74 Renaissance, 54–55, 148–149, in Near East, 82–88, 315 psychopompus, 192 153–155, 271 Royal Pages (Basilikoi Paides), Ptolemy I, 92, 317n121 Republic (Plato), 47–48, 114, 130–131, 265, 271 in painting from Tomb II, Vergina, 116–117 royal women, 29, 61, 132, 308n52 266 Rhodogoune, 61 Rubens, Peter Paul, 223 Pulydamas, 69 Rhomaios Tomb, Vergina, 97–100, purple, 193, 261–262, 338n103, 233, figs. 37, 38 Saatsoglou-Paliadeli, Chrysoula, 261, 339n109 ribbons, funerary association of, 266 Pydna, tombs from, 197 256 Sabines, rape of, 52, 54, 159, 173, pyrrhic dance, 291–293, 313n8, Rickert, GailAnn, 50, 212 182, 298–299, 333n167, 344n247 Ricoeur, Paul, 158 fig. 134

395

INDEX

sacro-idyllic landscapes, 251, 254, Shakespeare, William, 149, 171, 172 Trachiniae, 184, 230–231, 259 Shalmaneser III, 110, fig. 50 334n182 Sahlins, Marshall, 14–15 Shapiro, H. Alan, 46 on war as result of rape, 184 St. Petersburg. See State Hermitage Shield of Heracles (Hesiod), 71 on women’s ambivalence toward Museum, St. Petersburg Sicyon, 95 marriage, 230–231 Salzmann, Dieter, 30 Sidonians Soteriades, Georgios, 136 same-sex relationship, 150 Hellenistic tomb at Marissa, Sotheby Painter, white-ground Samothrace, public festivals at, 213 323n33 bobbin, 219, fig. 102 Samothrace, sanctuary of the Great Sarcophagus of the Mourning Sourvinou-Inwood, Christiane, 45, Gods, 266 Women, 87. See also 54, 152, 175, 216, 229–230 Sanday, Peggy Reeves, 12, 29–30 Alexander Sarcophagus; spalliere, 153–155 Santa Maria Capua Vetere, Tomba del Lycian Sarcophagus Sparta, 4, 18, 45, 118, 132, 136, 150, Sacerdote Sannita, 318n144 silver plate, Sassanian king hunting 184, 230, 273, 300 Santa Teresa Longarini, polychrome rams, 289–290, fig. 31 spears, broken, 243 mosaic, 322n64 simile spear-won land, 170 Santoro Bianchi, Sara, 30 of Achilles as lion, 7–8 spectacle, 32, 40, 289–290 Sapir, Edward, 229 of courage, 114 Staatliche Antikensammlungen und Sapir, J. D., 113 Homeric, 34, 115 Glyptothek, Munich Sapir-Whorf hypothesis, 229 of human as carnivore, 113 Attic black-figure hydria, 106 Sappho, and love as war metaphor, similarity to metaphor, 21 Attic red-figure amphora, 53, 177 Trojans as deer, 34 fig. 13 Sarcophagus of Limyra, 86–87 warrior as lion, 116 marble votive relief, 254, fig. 117 Sarcophagus of the Mourning warrior as predator, 106 stag and boar hunt, polychrome Women, 87 Simonides, 291 mosaic, 280–281, fig. 127 Sassanians, 85, 289–290, fig. 31 Siphnian Treasury, Delphi, 327n2 stag hunt Satrap Sarcophagus, 85–86 Sisyphus Group, boar hunt, Alexander Sarcophagus, 122, satyrs, 219–220 248–249, fig. 115 fig. 55 Scarry, Elaine, 212 skenographia, 247, 336n43 Çan sarcophagus, 124, fig. 58 Schapiro, Meyer, 338n93 skiagraphia, 246, 336nn36, 38 erotes mosaic from Alexandria, 42, Schauenburg, Konrad, 168 skyphos, Attic red-figure, abduction 151, fig. 9 Schmitt-Pantel, Pauline, 5 of Persephone, 204–205, 214 pebble mosaic by Gnosis from Schnapp, Alain, 5–6 Snell, Bruno, 8 Pella, 30–33, fig. 3 scientific perspective, 247 sociobiology, 12, 13, 115, 159, 186 red-figure kylix, 31, fig. 4 Scopas, 127 Socrates (Athenaeus), and dance, red-figure volute krater, 34, fig. 5 Scythian art 291–292 relief from Spata, 36–38, fig. 8 Archaemenid influence on, 90–91 Socrates (Plato) Stagira, coins from, 96 hunting themes in, 90–92 on abduction, 228 stamnos, Attic red-figure, abduction relationship with Macedonian art, hunting animals/hunting friends of Helen, 48, 51, 175, 102–104 analogy, 143 fig. 11 scabbard sheathing, 102–103, justice metaphor, 118 stamp seal fig. 45 lover’s pursuit as appetite for food, Greco-Persian, 84, 289–290, fig. 30 silver bowl from Solokha, 91–92, 158–159 Persian, 315n77 fig. 34 negative view of aggressiveness, State Hermitage Museum, St. Thracian influence on, 91 114 Petersburg Second Pompeian Style of Roman Republic, 114, 118 ivory fragments from Kul Oba, painting, 247 on Theseus, 47–48 218–219, fig. 101 self-control, male, 18, 28, 47, 168, Socrates (Xenophon) silver bowl from Solokha, 91–92, 232, 260–261, 291, 294 on superiority of humans over 243, fig. 34 sex, borderline between animals, 1 squat lekythos, Xenophantos violent/consensual, 147, on women hunting men, 143, 150 Painter, 83, 87–88, 94, fig. 33 158–160, 174, 230, 233 Solokha stele(ae) sex strike, by women of Athens, gold phiale from, 103–104 of Antipatros, 69–70, fig. 22 172–173, 232 silver bowl from, 91–92, 243, Kamini, 104–105, fig. 46 sexuality fig. 34 of Metrodorus, 255–256, fig. 118 as modern construct, 8 Solon, 232 of Mnason, 133–134, fig. 62 relationship to hunt, 147–153, 157, Sontag, Susan, 162 of Nikias, 321n49 159–161 The Sophist (Plato), 8 painted, at ancient Demetrias, 245, relationship to war, 162–186 Sophocles 246 as relevant to antiquity, 8–9 Tereus, 231 painted, at Vergina, 256

396

INDEX

with painted taeniae, 256, Theweleit, Klaus, 174, 307n69 identification as Aegae, 327n3 337–338n79 Thompson, Mary Lee, 22–23 Rhomaios Tomb, 97–100, 233, of Rynchon, 135–136 Thracians, 90 figs. 37, 38 of Saugenes, 135–136 animal attack motif, 104 Royal Tombs, model, 237, 258, Theban, 133–136 court art, 90 fig. 111 Stesichorus, 51 influence on Scythians, 91 Vergina, Tomb I, 165, 187–188, 196, Stewart, Andrew, 152, 162, 164–165, painting from Alexandrovo, 290 176 295–297, fig. 133 date, 188–189 Stoa Poikile. See Athens, Stoa Poikile relationship with Macedonians, 90, occupants, 196 Stratiotidae, Women on Campaign 92 wall painting, 3, 188–190, 192, 196, (Theopompus), 132–133 rider motif, 90, 316–317n106 207, 239 Stubbs, George, Lion Attacking a throne from Rhomaios Tomb at author of painting, 193–194 Horse, 116, fig. 51 Vergina, 97–100 companion of Persephone, 190, suicide, after rape, 9–10 throne from Tomb of Eurydice at fig. 84 symposium, 28–29, 30, 55, 56, 244, Vergina, 100, 233, 318n141 Demeter, 195–196, fig. 87 308n39 thunderbolt, 192, 208, 328n21 experimental sketch, 194, fig. 86 Symposium (Plato), 28, 118 Timoclea, 167, 234 Hades, 189–192, 194, fig. 83 Titus Andronicus (Shakespeare), Hermes, 192, fig. 85 Tanagra, terracotta pediment with 149 Persephone, 189–191, 212, fig. 83 abduction of Persephone, Trachiniae (Sophocles), 334 Zeus, 192 198–199 tragedy, 4–5, 7, 113, 172, 193, 273, Vergina, Tomb II Taras 290. See also individual date, 254, 266–269 funerary sculpture at, 24, 36, dramatists description, 237 198–199 trapezophoros, griffins attack deer, identification of occupants, 254, terracotta relief, 100, fig. 41 100–101 261–266, 340n131 Tarquinia, Etruscan sarcophagus traps, Xenophon on, 72, 75 identification of occupants, forensic from, 101, fig. 42 tree imagery, 255, 257–258 evidence, 266–267 Tegea, Temple of Athena, 127 tree worship, 252, 254 wall painting, 76, 237–248, Telesterion at Eleusis, 213, Trendall, A. D., 208 251–258, pl. IX 330–331n105 Trimalchio, 34, 52 age of figures on, 271 Terence, Eunuchus,56 Tripodi, Bruno, 265–266 Alexander the Great as rider in Tereus (Sophocles), 231 Triptolemos Painter, Manner of, lion vignette, 262–264, Thales of Miletus, 1, 19 168–169, 175, fig. 77 fig. 113 Thalestris (Amazon queen), 60 Troilus, 180, 326n90 artist identification, 247–248 theatricality, 29, 40–43, 56, 310n96 Trojan war, and rape, 180–181, bear hunt, 242–243 Thebes, 116, 134–135, 167 183–184 boar hunt, 240 Theocritus, 159, 218 Trojan Women (Euripides), 150, 181 color, 244–245, 248 Theogony (Hesiod), 205 Troy, and city/woman relationship, dead trees, 257–258 Theopompus, 131, 132 171 deer hunt, 239–240 Theseus, 7, 21, 33, 44, 45–49, 52, 54, Tsimbidou-Avloniti, Maria, 261–262 funerary associations, 255–258, 55, 57, 146, 276 “Tumbling Woman” (Eric Fischl), 300 285, 288–289 abduction of Antiope, 51, 60, 176, Tuscania, 101 fur-clad Macedonian, 276, 278 fig. 78 Tyre, tomb painting from, 200 ideology, 282, 289 abduction of Corone, 53–54, fig. 13 landscape, 248–258 as hero/king, 16, 273 Underworld Painter, 184 lion hunt, 240–242 rape of Amazon, 48–49, 51, Ur, Royal Cemetery, 107, fig. 48 location of hunt, 254 181–182 nudity and dress, 239, 271–272, rape of Perigune, 47. See also Pella, Vatican Necropolis, abduction of 282, 294 House of the Abduction of Persephone, black-and-white Phillip II as principal lion Helen mosaic, 203–204, fig. 94 hunter, 261, 264–268, 271 Theseus (Plutarch), 46, 47, 48, 51, Vel Saties, on wall painting from Philip III Arrhidaeus as principal 217–218 François Tomb, Vulci, 293, lion hunter, 266 Thesmophoria, 213, 330–331n105 fig. 132 spectacle, 260–261, 284–285, Thesmophoriazusae (Aristophanes), Venus, 204–205, 208–210. See also 289–294, 297 169 Aphrodite Vergina, Tomb IV (Tomb of the Thessalonice, 29, 235 Vergil, 149, 171 Free-Standing Columns), 127, Thetis, abduction by Peleus, 54, Vergina 258 155–157, 176–177, 233, Bella Tumulus, 318n139 Vergina, Tomb of Eurydice, 99–100, fig. 72 boar hunt sculptural group, 72–73 233

397

INDEX

Vermeule, Emily, 6, 306n25 war, hunt, and women, 132–133 on hunting as metaphor, 143 Vernet, Horace, 271 in literature, 132–133 on hunting by Cyrus the Great, 87, Vibia, 203, fig. 92 in Macedonia, 132 272–273 Vidal-Naquet, Pierre, 72 in myth, 133 on hunting deer, 32, 309n70 Vienna. See Kunsthistorisches Warburg, Aby, 189 on hunting equipment, 72, 75, 240, Museum, Vienna Warner, Marina, 149 335n13 Virginia Museum of Fine Arts, wartime rape, 181–185. See also on lions in Macedonia, 68 Richmond, Apulian red-figure sexuality, relationship to war Memorabilia, 143 lekythos, 184 Washburn, Sherwood L., 119, 307n69 Oeconomicus, 232 virtus, 286–287 Webb, Ruth, 187 on participation of women in hunt, Virtus, 287 Weber, Ursula, 266 132 Vitruvius, 25, 26, 247, 251, wedding, 230 on sexes, 2 336n43 family grief in rituals, 230, 332n165 on women hunting men, 150 volute krater by the Aurora Painter, Faliscan iconography, 215–217. See also Yale University Art Gallery, New red-figure 160 marriage Haven by the Boreas Painter, Attic Weitzmann, Kurt, 263–264 Attic red-figure amphora, Phiale red-figure, 160 Whorf, Benjamin Lee, 229 Painter, 153, 175, fig. 70 by the Iliupersis Painter, Apulian Wittgenstein, Ludwig, 157, 261 Lion Attacking a Horse (George red-figure, 224, fig. 107 Wolfthal, Diane, 152 Stubbs), 116, fig. 51 by the Workshop of the Wollheim, Richard, 8 Yugoslavia, war and rape in, 173 Kleophrades Painter, Attic Wootton, William, 138–139 red-figure 34, fig. 5 Zeitlin, Froma, 6 Derveni Krater, bronze, 93, 96–97, Xanthus, Nereid Monument at, 23–24 zelos (competitive emulation), pl. V Xenophantos Painter, 83, 87–88, 94, 294–295 von Bothmer, Dietrich, 152 fig. 33 Zeus/Jupiter, 176, 178, 218 von Hofsten, Sven 106, 107, 115 Xenophon and Persephone, 192, 206–208, 214, Vulci Cynegeticus, 130, 161, 278, 290, 225, 328n21, 329n77 François Tomb, 101–102, 293, 309n70 pursuit of Aegina, 176 fig. 44 Cyropaedia (Education of Cyrus), 32, rape of Callisto, 156 Tomb of the Tetnie, with 232, 272, 278 rape of Danae, 56 sarcophagus, 101, fig. 43 on dance, 344n247 rape of Demeter, 52–53, 207 on fighters as hunters, 129 and rape of the Leucippides, 222 Wallace Collection, London, The Lion on hunting, 272–273, 278, 290 thunderbolt of, 192, 208, 328n21 Hunt (Vernet), 271 on hunting as education, 130, 132 Zulus, 113, 143, 174

398