Rape in Antiquity by Arafat K. W.;Pierce Karen F.;Deacy Susan.;

Author:Arafat, K. W.;Pierce, Karen F.;Deacy, Susan.; [Arafat, K. W.;Pierce, Karen F.;Deacy, Susan.;]
Language: eng
Format: epub
ISBN: 0715631470
Publisher: ISD Distribution
Published: 1997-12-31T06:00:00+00:00

Fig. 11. J. Paul Getty Museum 83.AE.362, Williams 1991 fig. 8h p. 53;Robertson 1992 fig. 33. Now Rome, Villa Giulia 121110.

Notes

1 This paper is one of a series undertaken in collaboration with my colleague Dr Robert Develin. As is our custom, the first-named author is the one principally to be held responsible for this. I have, as always, benefited from Bob’s percipient comments.

2 Beazley hesitated to assign the exterior of this cup to the Pedieus Painter, though he was confident in attributing the tondo. Paris G13. ARV2 86 (a), Add 170; Kilmer 1990 fig. 29.8 p. 271, idem 1993, R156*.

3 Bothmer (Classical Journal 91 (1995) 83) rightly objects to the tondo’s orientation in the photograph in Kilmer 1993, though he does not inform what change he would make. Orientation with the figures near vertical (as in this volume; and I would take this as Bothmer’s intent) places the cup closer to its companions. It is in fact the orientation I followed in my discussion of the piece at (1993) p. 18. I missed the poising error in proof. I did not misunderstand the painter’s intentions. The floral is an unusual filler on the right, rather than an exergue.

4 The Gondoliers, Act I: the introductory song of the Duke. First produced at the Savoy Theatre on December 7, 1889. In the Macmillan paperback edition 1978 (1926) of the Savoy Operas, the song begins p. 510. [Editors’ note: further on the Eurymedon vase see Arafat, this volume, ch. 5.]

5 I have discussed the Naples hydria at greater length in Kilmer 1990, 272–3. Onesimos’ Malibu cup, which had not yet been published when that paper went to press, has a very similar treatment of the subject, and an equal appeal to the sensibilities of the viewer. Bob Develin remarks (pers. comm., quite informal) ‘...in [Figs. 1–2, 3–4] I think the women look pretty happy (even though it might be professional courtesy).’ I am not certain that I can ‘read’ the emotion of these faces, if any is intended. Tot homines.

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