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118, 121–29 Access to Texts by Artists: Greek Plays, 47, 60, 70–71 Cambridge University Press 978-0-521-81522-2 - The Parallel Worlds of Classical Art and Text Jocelyn Penny Small Index More information Index A Agamemnon (Aeschylus), 46, 159 241 abstract figures (diagrams), 118, 121 –29 agon (competition), 159 access to texts by artists: Greek plays, 47, 60, Agrippa, 111, 112, 120, 133 70–71, 77–78, 88–89, 193n85; illuminated Aithiopis, 16 manuscripts, 152; literacy of artists Ajax Painter, 190n41 generally, 172–73 Ajax (Sophocles), 46, 187n10 accuracy. see also stockorgeneric Akkadian tablets, 119 components: contradiction of story by Alcaeus, 72 discrepancies in illustration, 24, 33–36, Alcibiades, 4, 20 109–10, 148–53, 155; contradictory versions “Alexander” sarcophagus, 64 of same story, 43–45, 71, 78; copies of Alexander the Great, 120 illustrations, 134; criteria for, 152–53; gist Alexandria, 79, 89, 155, 175 vs. accuracy, 71, 157–64; mimetic fidelity Alice in Wonderland, Tenniel’s illustrations vs. variation, 158–64; simple vs. complex for, 8, 22–24, 36, 48, 173, 175 illustrations, 116–17, 143–47, 154;story Altamura Painter, 185n77, 197n135 rather than text as subject of illustration, 6, Altar of Zeus, Pergamon, 90–91 36, 143–53, 157; text, 79, 137–38 Amasis Painter, 73 Achaeus, 43 Amazons, sculptures of, 172 Actius Anicetus, House of (Casa della pittura amphitheater riot, Pompeii, 112–14, 157 dell’anfiteatro), Pompeii, 112–14 Amucus (Sophocles), 43 actors and acting, influence on art of, 37–40, anachronistic details, 29, 33–35 46, 48, 74–76. see also Greek plays Anacreon, 110 added details, use of, 33–36 Anaglypha Traiani, 114 Aelian, 20 Anatomies (Aristotle), 123 Aemilia (Basilica), 206 Anaximander, 119 Aemilius Paullus monument, Delphi, 112, 113, Andokides Painter, 161–64 114, 116, 157 Andromeda (Sophocles), 40–42, 77 Aeneid (Vergil), 111, 130, 133, 137, 143–53, 156 Antigonas Gonatas (Macedonia), 89 Aeschylus: Agamemnon, 46, 159; Isthmiastae, Antioch, House of Narcissus mosaic, 101 43; Persians, 38, 84; Prometheus plays, 43; Antony, Mark, 111 Psychostasia, 189n32; repeated Apollo and Daphne in Pompeiian wall performances in Athens, 190n43; Seven paintings, 103–4 against Thebes, 26–27, 171; source for Apollo Lykeios, 161 Sophocles and Euripides, 171; Sphinx, 73; appearance of texts in Hellenistic period, 89, Telephos and Orestes, 66; Theoroi, 43 198n3 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-81522-2 - The Parallel Worlds of Classical Art and Text Jocelyn Penny Small Index More information Index Ara Pacis, 112, 180n12 astronomical data, 122 Arch of Constantine (Great Trajanic Frieze), Astydamas, 43 Rome, 157 Athenaeus, 215n120 Archaic and early Classical periods of Greek Athla/Athloi (Achaeus), 43 art, 3, 8–36, 155–56; analysis of depictions Attic Nights (Aulus Gellius), 121, 132 of the dragging of Hektor (Iliad), 31 –36; Attic vases: Archaic and early Classical bilingual vases, 161–64; dependence of periods (see Archaic and early Classical pictures on text, what constitutes, 21–26; periods of Greek art); Greek plays (see Homer/epic vs. dramatic sources, 44; Greek plays) Homer, influence of, 20, 21–22, 44; labels Atticus, 131 –32, 135 and captions, 9–21, 36; literacy, orality, and Auge (Euripides), 43 memory, 9, 20–21, 36; placement of text Augustine of Hippo, 137, 191 n59 and pictures, development of concept of, Augustus, 111, 112, 120, 136, 180n12 9–12; pornographic art, 140; salient details, Aule Meteli, 178n6 significance of depiction of, 29–31;stockor aulists (pipers), 37–39, 45, 73, 76, 193n87 242 generic components vs. illustrations, Aulus Gellius, 121, 132 12–21, 36; texts deliberately ignored by Aurelius, Marcus, 114, 135, 136 artists, 26–29; titles, use of, 82–85 Aurelius Victor, 114 Archelaos relief, 91 –93 author portraits, 110, 129–31 Archimedes, 124 Autun mosaics, France, 110 architecture, 6, 110, 121 Ayer papyrus, 209n33 Argonautica, 13, 19 Aristagoras, 120 B Aristophanes: Birds, 46; Clouds, 46; Frogs, Bacchae (Euripides), 46 198n5; Thesmophoriazusae, 42, 64–68, 164, Baltimore Painter, 183n60 175 Basilica Aemilia frieze, 206 Aristotle: Anatomies, 123; diagrams and Baton, 85 figures, 122–25; epeisodion, meaning of, Beard, Dan, 23–24 142; History of Animals, 123; inscriptions, Berlin Ganymede Group, 59 20; invention, 170; maps, 119; Meteorology, Berlin, Painter of, 37–38, 52 208n11, 209n39; On the Heavens, 209n38; Bible, 2, 174 Parts of Animals, 209n40, 209n41; plot vs. Biclinium, tomb of (Tarquinia), 138 character, 52; Poetics, 170, 215n127; bilingual vases, 161–64 Rhetoric, 208n11; Topics, Cicero’s Birds (Aristophanes), 46 translation of, 159–60, 175 Birds, chorus of, 44–46 Aristoxenus, 124 bird’s eye view, 112 ArtofLove(Ovid), 140 Boedas,¨ 85 Artemidorus of Ephesus, 121 booties, wineskin with, 64, 66–68, 77, 155 artists. see also individual names: Greek Boscotrecase, Villa of Agrippa at, 133 plays, access to, 47, 60, 70–71, 77–78, botanical illustrations, 135–37, 153 88–89, 193n85; identification of, 10–12; Briseis Painter, 16–17, 22 illuminated manuscripts, access to texts of, Bryaxis, 85 152; literacy of, 172–73; nationalities of, Brygos Painter, 196n125, 220n35 202–3n70; oral transmission as source for, Buffet Supper, House of (Daphne, 7; same person, artist and scribe as, 122; Antioch-on-the-Orontes, Syria), 204n84 scribe, relationship with, 122, 152–53; buskins, 60 sources, 6–7, 156, 158, 164–72, 175; texts deliberately ignored by, 26–29;work C methods, 170–71 Cabezon´ de Pisuerga mosaic, Spain, 110 Asteas, 70 Cacus, 137 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-81522-2 - The Parallel Worlds of Classical Art and Text Jocelyn Penny Small Index More information Index Caedmaon Manuscript, 221 n57 color, 133, 134, 136–38, 213n98 Capitoline Tablet, 93–96, 116, 142, 156 Columns of Trajan and Marcus Aurelius, 114, Capodarso Painter, 54–57 142, 211n58 captions. see labels and captions comedies vs. tragedies: depiction of, 70, Carcinus, 43 71–76; South Italian vases, 65, 68, 76; Carroll, Lewis (Tenniel’s illustrations for survival of, 53 Alice in Wonderland), 8, 22–24, 36, 48, 173, competition (agon), 159 175 complex vs. simple illustrations, 116–17, Castellani Painter, 181 n19 143–47, 154 CAT scans (computerized axial computerized axial tomography (CAT tomography), 72 scans), 72 Catiline, 111, 212n78 Conon, 102, 117 Catius Lepidus, 134 consistency and accuracy. see accuracy Catius, Titus, 134 Constantine, 157 Cato, 111 Copeland, Aaron, 200n25 Censorinus (L. Marcus Censorinus), 114 copies, 134–38, 159–61 243 Centenario, Casa del (Pompeii), 205n103 Coptic textile depicting Narcissus, 203n80 chad, 158 Cornelius Fronto, 121, 139 chariot races, depictions of, 12–16, 24, 25, 29 Cornelius Nepos, 131, 134 chariot wheels, 29–31 costume: heroic nudity, 48, 54, 69, 77; period charioteer of Delphi, 12 costume, concept of, 29, 35; Persian Charis, 65 costume, 41 –42; theatrical costume, 42, charts and graphs, 207n1 56–57, 60–63, 65, 69, 77 Chase, George Henry, 27–28 cranes, 127 Chicago Painter, near the, 194n101 Crateuas, 135, 136 Chigi Vase, 20 Cresilas, 85, 172 chorographic maps, 121 Creusa, 150–52 choruses of Greek plays, 37–40, 44–46, 52, Croesus, 72 71–76 Cryptoporticus, House of (Pompeii), 202n56 chronological order from left to right, 80–82, cupids, 73 87, 189n7, 200n35 cutaways, 126, 127 Cicero: Aristotle’s Topics, translation of, Cyclops (Euripides), 54 159–60, 175; Letters, use of terms tabella Cydon, 172 and signum in, 212n78; libraries of, 172; On Cypselus, chest of, 13, 142, 164, 165 Invention, 170–71; Orator describing lost painting by Timanthes of Cynthus, 201 n39 D Cicero, Villa of (Pompeii), 205n98 D. Octavius Quarto, House of (Casa circus reliefs, 110 Omerica), Pompeii, 202n56, 204n87 Citarista, Casa del (Pompeii), 205n103 Dante, 137 City of God (St. Augustine), 137, 191 n59 Daphne and Apollo in Pompeiian wall Cleomenes, 120 paintings, 103–4 Cleveland Painter, 29–31 Daphne, Antioch-on-the-Orontes, Syria, clothing. see costume House of Buffet Supper, 204n84 Clouds (Aristophanes), 46 Darius Painter: funeral games of Patroklos codex form, 130–33, 141 –43, 174 and dragging of Hektor, 34, 35, 186n82; Codex Romanus of Vergil (Vergilius literary influences, 168–70; multiple Romanus), 130, 216n134, 216n141 Andromeda motifs used by, 42; name vase, Coghill Painter, Workshop of, 40, 188n12 57, 58; titles, use of, 82–84 coins, Roman, 114–16, 132, 136, 137 date of first examples of pictures with full Coleridge, Samuel Taylor, 69 text, 53–154, 81, 133–34, 156 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-81522-2 - The Parallel Worlds of Classical Art and Text Jocelyn Penny Small Index More information Index De antidotis (Galen), 214n102 Eclogues (Vergil), 130, 217n155 De viris illustribus (Hebdomanes), Varro, 132, Egypt: diagrams and figures, 121 –22, 127; 135, 153 maps and plans, 119, 120; speaking figures, dedicatory inscriptions, 9 10; technical writings, 6, 118 Deepdene Painter, 185n77 ekphrasis, 26 Delphi: Aemilius Paullus monument (Battle Electra and Orestes, Attic tragedies about, of Pydna), 112, 113, 114, 116, 157; charioteer, 159, 164 12; Lesche of the Knidians, 51, 142, 164–72; elevations (orthographia), 121, 127 “Seven Against Thebes” statue group Elizabeth II, portrayals of, 136 described by Pausanias, 183n59; Siphnian Emerson, Ralph Waldo, 79 Treasury, 15–16 entasis, 125 Demetrios, 76, 193n87 Ephesus, 110 dependence of pictures on text, what Ergotimos, 11 constitutes: Archaic and early Classical Errera Painter, School of, 54, 56 periods of Greek art,
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