Preferred Citation: Koortbojian, Michael. Myth, Meaning, and Memory on Roman Sarcophagi.

Berkeley: University of California Press, c1995 1995. htt :!!ark.cdlib.or"!ark:!1#$#$!ft%199n9$$!

Myth, Meaning, and Memory on Roman Sarcophagi

Michael Koortbojian
UNIVERSITY O !"#I ORNI" $RESS

Berkeley Los Angeles London

% &''( The Regent) o* the Uni+er)ity o* !ali*ornia

&'M ()*+,-*'BU.-, */*P)-* M0/)* +MM-)U/MCM1C+2 (')')'3

Preferred Citation: Koortbojian, Michael. Myth, Meaning, and Memory on Roman Sarcophagi. Berkeley: University of California Press, c1995 1995. htt :!!ark.cdlib.or"!ark:!1#$#$!ft%199n9$$!

&'M ()*+,-*'BU.-, */*P)-* M0/)* +MM-)U/MCM1C+2 (')')'3

$re*ace
)his st4dy 5as first 5ritten in 1966, and an earlier version 5as s4b7itted in 1991 as a dissertation to the &e art7ent of -rt 8istory and -rchaeolo"y of Col47bia University. M4ch of it has been re5ritten since that ti7e. 0ne fort4nate conse94ence of this eriod of "estation has been 7y ability to 4tili:e 8. (ichter7ann;s lon"<a5aited st4dy of the *ndy7ion sarco ha"i in the revised series of the Corpus der antiken Sarkophagreliefs; ho5ever, &. =rassin"er;s corres ondin" vol47e, 5hich 5ill incl4de the

-donis reliefs, has not yet a eared. +n "eneral, + have endeavored to kee 4 5ith recent 4blications in the field, a7endin" 7y te>t 5here it see7ed sal4tary. )he Biblio"ra hy, ho5ever, 7akes no clai7s to co7 rehensivity, nor does it reflect all the 7aterials cons4lted? it 7erely collects the f4ll citations of those 5orks act4ally referred to in the notes. +t has been 7y "ood fort4ne to have been able to 5ork in 7any e>cellent libraries, and + "ratef4lly ackno5led"e the assistance + have received fro7 their staffs: the -very -rt /eference 3ibrary, Col47bia University? the British 3ibrary? the Biblioteca - ostolica 2aticana? the Biblioteca 8ert:iana? the Ca7brid"e University 3ibrary? the &e4tsches -rch@olo"isches +nstit4t in /o7e? the +nstit4te of Classical (t4dies, 3ondon? the 3ibrary of the -7erican -cade7y in /o7e? the 3ibrary of the Aac4lty of Classics, Ca7brid"e University? and, above all, the Barb4r" +nstit4te. Aor financial s4 ort of 7y research + thank Col47bia University;s &e art7ent of -rt 8istory and -rchaeolo"y, the (a74el 8. Kress Ao4ndation, and Kin";s Colle"e, Ca7brid"e. -t the University of California Press + 5o4ld like to thank &eborah Kirsh7an, ,ola B4r"er, and es ecially 7y editor, (te hanie Aay, for all their efforts. )o 7any friends and collea"4es + o5e 74ch, and it is 5ith the "reatest leas4re that + thank the7 here: 3eonard Barkan, -ndrea Carlino, =i4se e d;-rcan"elo, =odelieve &enhaene, Melissa &o5lin", 3isa Alor7an, -lfred Ara:er, (i"rid =oldiner, (heree .aros, ,icholas Mann, Constantine Marinesc4, .ane ,ecol, Mark Petrini, *li:abeth Mc=rath, (arah McPhee, .ordana Po7eroy, &avid /osand, /4th /4binstein, Urs4la (d4nn4s, Kerry (hear, 3a4ra (latkin, .ere7y )anner, *li:abeth )eviotdale, .. B. )ra , Mary 2accaro, /4th Bebb, Phili Beller, and 8anneke Birtjes. )o Marie )anner, 7y thanks are s7all reco7 ense for the tr4e friendshi and 5ise co4nsel she has sho5n 7e for so 7any years. )o /ichard BrilliantCmagister et amicusC7y debt is even "reater: for the constancy of his enco4ra"e7ent and s4 ort, and no less for the challen"e of his de7andin" criticis7. )o Christina Corsi"lia, 5hat + o5e kno5s no 5ords. Kings College, Cambridge, 1 !

"bbre+iation)
"" "rch#ologischer "n$eiger "achKbl "achener Kunstbl#tter "Cant "rcheologia Cantiana "cme "cme. "nnali della %acolt& di 'ettere e %ilosofia dell(ni)ersit& degli Studi di Milano "cta""rt*ist "cta ad archaeologiam et artium historiam pertinenta D+nstit4t47 /o7an47 ,orve"iaeE "cta"rch "cta archaeologica. Co enha"en. "cta"rch*ung "cta archaeologica academiae scientiarum hungaricae "d+ "nnali dell+stituto di Corrisponden$a "rcheologica

".+.,.-. ".+.,.-.."nnali dellistituto uni)ersitario orientale di -apoli, se$ione di archeologia e storia antica "/" "merican /ournal of "rchaeology "M Mitteilungen des 0eutschen "rch#ologischen +nstituts, "thenische "bteilung "m-umSocMus"merican -umismatic Society Museum -otes "nn1isa "nnali della Scuola -ormale Superiore di 1isa "-R2 8. )e7 orini, ed., "ufstieg und -iedergang der r3mischen 2elt FBerlin and ,e5 Gork, 19HIJK. "ntCl '"nti4uit5 Classi4ue "ntK "ntike Kunst "nt1 "ntike 1lastik "rchCl "rcheologia Classica "rch6lott+tal "rchi)io 6lottologico +taliano "rt7 8he "rt 7ulletin "rt* "rt *istory "SR C. /obert et al., 0ie antiken Sarkophagreliefs FBerlin, 169$JK. "SR +++.19: C. /obert, 0ie mythologischen Sarkophagen, 2ol. +++, ts. 1J# FBerlin, 169H, 19$%, 19$9K. "SR ;++.< 8. (ichter7ann, 0ie mythologischen Sarkophagen, 2ol. 1++, t. I FBerlin, 199IK. "tti'inc "tti dell"ccademia -a$ionale di 'incei. Classe di scien$e morali, storiche e filologiche 7C* 7ulletin de Correspondance *ell5ni4ue 7d+ 7ullettino dell+stituto di Corrisponden$a "rcheologica 7+CS 7ulletin of the +nstitute of Classical Studies of the (ni)ersity of 'ondon 7/b 7onner /ahrb=cher des Rheinischen 'andesmuseums in 7onn und des >ereins )on "ltertumsfreunden im Rheinlande 7ullComm 7ullettino della Commissione "rcheologica Communale di Roma 7? 7y$antinische ?eitschrift C+'

Corpus +nscriptionum 'atinarum C@ Classical @uarterly 0"+R 0eutsches "rch#ologisches +nstitut, Rome 0ial"rch 0ialoghi di "rcheologia 6aR 6reece and Rome 6ettyMus/ /. 1aul 6etty Museum /ournal 66" 63ttingische 6elehrte "n$eigen 6R7S 6reek, Roman, and 7y$antine Studies 6reek 'yric 6reek 'yric, trans. &. -. Ca7 bell, 3C3 ed., % vols. FCa7brid"e and 3ondon, 196Iff.K. *elbig B. 8elbi", %=hrer durch die 3ffentlichen Sammlungen klassischer "ltert=mer in Rom, % vols. D%th ed., 19L#, 19LL, 19L9, 19HIE. *SC1 *ar)ard Studies in Classical 1hilology *8hR *ar)ard 8heological Re)ieA +CS +llinois Classical Studies /b"Chr /ahrbuch f=r "ntike und Christentum /b7erlMus /ahrbuch der 7erliner Museen /b1reussKul /ahrbuch 1reussischer Kulturbesit$ /d+ /ahrbuch des 0eutschen "rch#ologischen +nstituts /*S /ournal of *ellenic Studies /R" /ournal of Roman "rchaeology /RS /ournal of Roman Studies K3ln/b>%r=h6esch K3lner /ahrbuch f=r >orB und %r=hgeschichte KtCma KtCmaD Ci)ilisations de l,rient, de la 6rCce et de Rome "nti4ues 'C' 'oeb Classical 'ibrary '+MC 'eEikon +conographicum Mythologiae Classicae M""R

Memoirs of the "merican "cademy in Rome Maia Maia. Ri)ista di letterature classiche Marb21r Marburger 2inckelmannB1rogramm MF%R" M5langes de lGcole %ranHaise de Rome. "nti4uit5 M5lRome M5langes d"rch5ologie et d*istoire de lGcole %ranHaise de Rome Mem-ap Memorie dell"ccademia di "rcheologia, 'ettere, e 7elle "rti di -apoli Mon1iot Monuments et M5moires. %ondation F. 1iot M=/b M=nchener /ahrbuch der bildenden Kunst Mus*el) Museum *el)eticum -Sc -oti$ie degli Sca)i di "ntichit& I/h /ahreshefte des Isterreichischen arch#ologischen +nstituts in 2ien 1ap'i)'atSem 1apers of the 'i)erpool 'atin Seminar R" Re)ue "rch5ologi4ue RF 1aulyB2issoAa, RealBFncyclop#die der klassischen "ltertumsAissenschaft RF" Re)ue des Gtudes "nciennes RF' Re)ue des Gtudes 'atines Rend1ont"cc Rendiconti della 1ontificia "ccademia Romana di "rcheologia RhM Rheinisches Museum f=r 1hilologie R'"C RealleEikon f=r "ntike und Christentum RM Mitteilungen des 0eutschen "rch#ologischen +nstituts, R3mische "bteilung R3m@Schr R3mische @uartalschrift f=r christliche "ltertumskunde und Kirchengeschichte RSt1omp Ri)ista di Studi 1ompeiani SpMon Speech Monographs St+t%ilCl Studi +taliani di %ilologia Classica StMisc Studi Miscellanei. Seminario di archeologia di storia dellarte greca e romana dell(ni)ersit& di

Roma 8"1" 8ransactions of the "merican 1hilological "ssociation 2iss?Rostock 2issenschaftliche ?eitschrift der (ni)ersit#t Rostock JCS Jale Classical Studies ?1F ?eitschrift f=r 1apyrologie und Fpigraphik

Introd,ction
+n his descri tion of a recently 4nearthed sarco ha"4s, the "reat si>teenth<cent4ry anti94arian Pirro 3i"orio s ec4lated abo4t the si"nificance of its i7a"ery. )he sc4l ted relief re resented the death of -donis, and 3i"orio reasoned that it co77e7orated one 5ho not only had sho5n 4nda4nted co4ra"e in the face of dan"ers b4t had indeed done so in the ri7e of yo4th, only to be str4ck do5n by a s4dden, violent death: )he e>a7 les for o4r life are fo4nd in conte7 lation of the dan"ers that befall others. Bhoever it 5as 5ho e>hibited the death of -donis on his sarco ha"4sC5hich 5as fo4nd in the 2ia 3atina, and on 5hich 5as de icted that yo4n" 7an 5ho, havin" thro5n aside his 94iver and bo5, 5as killed by the boarCclearly advises 4s that a 7an 5ho 5o4ld be yo4n" and bold in the face of dan"ers co4ld die as -donis, the son of Kin" Cinyras, died. Perha s 5hoever 5as b4ried here died in this fashion. Bhatever befell hi7 on acco4nt of his "reat s irit is th4s e>c4sed, as is his 4ne> ected death, by the e>a7 le of the loss of that hero 5ho did not kno5 ho5 to take advice fro7 2en4s, 5ho loved hi7 so 74ch and 5ho desired that he not set hi7self to so dan"ero4s a deed for the sake of so brief a leas4re.D1E 3i"orio;s brief acco4nt to4ches on the narrative o5er s4ch i7a"es hold, the very h47an desire for e>e7 la, and the ancient enchant for evokin" the7 by 5ay of 7ytholo"ical analo"y. Get 3i"orio 5avered bet5een a realistic and an alle"orical readin" of the sarco ha"4s;s i7a"ery, and 5hen confronted by that of other 7on47ents, he 5as no less e94ivocal: (everal others have 4t chariots on their 7on47ents 5ith 4ndo4bted si"nificance, to de7onstrate that they died 4nfort4nately, havin" been thro5n headlon" 5hen drivin": havin" tr4sted they 5o4ld 5in the al7, they had instead broken their necks. Bhence they co7 ared their death 5ith that of the ancient heroesM5ho, altho4"h they 5ere considered like "ods beca4se of their virt4e, nevertheless had inadvertently lost their lives. )hose to 5ho7 s4ch events occ4rred distin"4ish their to7bs by si7ilar e>a7 les, th4s de7onstratin" the certainty of death and the variety of its occ4rrence, as 5ell as both the vices and the virt4es of those of lon" a"o, by a certain kind of arallel.DIE Bhether he read the i7a"ery of the sc4l ted reliefs realistically or alle"orically, for 3i"orio it 5as the narrative force of the i7a"ery that drove their i7 licit analo"ies. )he corres ondence bet5een the dead and the i7a"ery 5ith 5hich they 5ere celebrated 5as seldo7 neat, and the analo"y bet5een the t5o rarely si7 le. +n the absence of an e> lanatory inscri tion or ortrait, there is nothin" to infor7 the beholder that the deceased, identified 5ith the heroic -donis by Pirro 3i"orio, had died yo4n". -nd indeed, 3i"orio;s analo"y, 5hich ass47es that 5ithin the casket lay another i7 et4o4s yo4th str4ck do5n by an early death, is 4n5arrantedCas an e>a7ination of the f4ll cor 4s of s4rvivin" sarco ha"i reveals.

)hese brief assa"es fro7 3i"orio;s anti94arian treatise s4""est the sco e of this st4dy, 5hich addresses the character and str4ct4re of 7ytholo"ical narratives as they a ear on /o7an sarco ha"i. )his book is abo4t the 7eanin" of these 7on47ents and, in artic4lar, abo4t the si"nificance of their vis4ali:ation of narrative. )he cha ters that follo5, 5hich atte7 t to reconstr4ct the 7eanin" of the 7ytholo"ical sarco ha"iCfor, as 5e shall see, this is a historical roble7 re94irin" reconstr4ctionC 7eas4re the stren"ths and 5eaknesses of s4ch an e>e7 lary res onse as Pirro 3i"orio;s.D#E - series of the7es 5ill be develo ed thro4"ho4t. Airst, that 7ytholo"y is to be re"arded, not 7erely as a re ertory of stories, b4t as an evocative force in ancient life and ancient i7a"ery. )he a eal to 7yth 5as f4nda7ental to an on"oin" rocess of c4lt4ral self<identity, a rocess in 5hich the 7yths evolved alon" 5ith the eo le 5ho had reco4rse to the7. -s ancient heroes 5ere re"arded as e>e7 la for the resent, their e>e7 lary character 5as s4bject to contin4in" elaboration in li"ht of resent needs. )he 7ytholo"ical tradition 5as, in fact, a o5erf4l 7eans by 5hich the co7 licity bet5een the ast and the resent 5as 7anifestCa co7 licity f4nda7ental to the very notion of tradition.D%E (econd, essential to the 7ytholo"ical i7a"ination 5as an ancient enchant to see thin"s in relationshi on the basis of distinctive, s ecific affinities? the technical ter7 elaborated by the =reeks for the a rehension of s4ch rese7blances, and for ar"47ents 7ade on the basis of s4ch inferences, 5as analo"y.D5E -s it likened one thin" to another, analo"y 5as a f4nda7ental tro e for the ancient discovery of order, and one of its ri7ary characteristics 5as that it si"naled the ascendance of si7ilarity over difference.DLE +n the vis4ali:ation of the ancient 7ytholo"ical narratives, artists, no do4bt to"ether 5ith their atrons, evolved a o5erf4l heno7enon of abstraction, 5hich allo5ed for a looser association of ideas and i7a"es on the basis of rese7blances. )he third of this book;s the7es concerns this conco7itant to analo"y, one 7ore s4 le and s4btle, here ter7ed typology. )his re resentational 7ode 5as rooted in the 4se of conventionali:ed vis4al for7s, or 7otifs, for the de iction of artic4lar stories. Aor e>a7 le, a reclinin" 7an is a motif, 5hereas a 7an 5ho reclines in the ose devised s ecifically for *ndy7ion is a ty e.DHE Get as 5e shall see, the characteristics of a ty e 7i"ht be e7 loyed, 5ith 7inor variations, in the re resentation of a series of related tales.D6E )h4s the reco"ni:ability of the basic ty e 7i"ht serve to s4""est f4rther relationshi s bet5een these stories on the basis of their vis4al si7ilarities. +n this 7anner, ty olo"y rovided ancient artists 5ith the vis4al correlative to verbal analo"y and th4s "reatly e> anded their o5ers of all4sion.D9E Ainally, a f4ll 4nderstandin" of the 7ytholo"ical sarco ha"i and their i7a"ery re94ires attention to the role of 7e7ory and its art in the lar"er c4lt4ral fra7e5ork in 5hich these objects fo4nd their lace. /e7e7brance 5as an i7 ortant factor in ancient social life and f4eled the need for s4ch 7on47ents and 7e7orials. +t 5as central as 5ell to the vis4al str4ct4res e7 loyed in the creation of these 7on47ents? the re resentational 7odes of analo"y and ty olo"y de ended on it. (ince, as 5e shall see, /o7an reli"io4s ractices did not de7and s4ch caskets for the inh47ation of the dead, the er et4ation of 7e7ory not only layed a role in the creation of the 7ytholo"ical sarco ha"i b4t 5as 4lti7ately the 7ost si"nificant of their f4nctions. -nd 5hen the ideas that "ave rise to the i7a"ery of s4ch 7e7orials event4ally faded, the 7ost cr4cial and co7 ellin" as ect of that i7a"ery vanished as 5ell. )he first t5o of these the7es, those concernin" 7ytholo"y and analo"y, have had a lon" life and still lay a f4nda7ental role in the vis4al arts. )he osition of ty olo"y in the history of vis4al narration has been less sec4re. - 7ore co7 le> 7ode of all4sion, ty olo"y 7ade lar"er de7ands of its a4dience, as shall beco7e clear, and it 5o4ld see7 that the "reater re94ire7ents for its s4ccess di7inished the ossibilities of its e7 loy7ent. )hese are the to ics, then, that are e>a7ined in the a"es that follo5. )his st4dy concl4des 5ith so7e brief observations on the disa earance of the ty olo"ical 7ode so central to the vis4ali:ation of the

7yths on /o7an sarco ha"i and, by so doin", s4""ests the historical bo4ndaries of this artic4lar as ect of ancient aesthetics. N N N

The problem o* analogy

)he enchant for co7 arison, 5hether to stress si7ilarity or difference, fo4nd no "reater advocate in the ancient 5orld than Pl4tarch. 8is 1arallel 'i)es rovides not only ab4ndant evidence of this ro ensity, b4t a vivid acco4nt of the 4r ose of s4ch a co7 arative 7ode of tho4"ht. +n the roe7 to his 1ericles, he sets o4t the f4nction of his 4ndertakin"Cas 5as only fittin"Cby a broad co7 arison: 04r o4t5ard sense cannot avoid a rehendin" the vario4s objects it enco4nters, 7erely by virt4e of their i7 act and re"ardless of 5hether they are 4sef4l or not: b4t a 7an;s conscio4s intellect is so7ethin" 5hich he 7ay brin" to bear or avert as he chooses, and he can very easily transfer it to another object if he sees fit. Aor this reason 5e o4"ht to seek o4t virt4e not 7erely to conte7 late it, b4t to derive benefit fro7 doin" so. - colo4r, for e>a7 le, is 5ell s4ited to the eye if its bri"ht and a"reeable tones sti74late and refresh the vision, and in the sa7e 5ay 5e o4"ht to a ly o4r intellect4al vision to those 7odels 5hich can ins ire it to attain its o5n ro er virt4e thro4"h the sense of deli"ht they aro4se. Be find these e>a7 les in the actions of "ood 7en, 5hich i7 lant an ea"er rivalry and a keen desire to i7itate the7 in the 7inds of those 5ho have so4"ht the7 o4t.D1$E Aor Pl4tarch, the re resentation of )irtus co4ld itself en"ender virt4e, and co7 arison co4ld breed co7 arison. )he 7ind 5as by nat4re an or"an of discri7ination redis osed to i7itation. Pl4tarch contin4ed: O2irt4e in action i77ediately takes s4ch hold of a 7an that he no sooner ad7ires a deed than he sets o4t to follo5 in the ste s of the doer.PD11E )he resentation of e>e7 la th4s a ealed to 7en and 5o7en at the 7ost f4nda7ental level. 0n the 7ytholo"ical sarco ha"i, s4ch e>e7 la 5ere intended to evoke, by Othe sense of deli"ht they aro4se,P co7 arisons bet5een the dead and the ancient heroes. )hey 5ere heroes of 7any different kinds. Aor e>a7 le, 7any died yo4n" in the /o7an 5orld, and inter retationsCs4ch as Pirro 3i"orio;sCthat identify the deceased 5ith the 7ythical rota"onist that "races his or her to7b certainly corres ond 5ith /o7an ideas concernin" a mors immatura.D1IE - 5ide variety of sarco ha"4s re resentations de7onstrates the readiness 5ith 5hich these ideas 5ere "iven vis4al for7. )hese conce tions a ear erha s 7ost clearly on sarco ha"i of the )ita humana ty e that 5ere ada ted to the life of those 5ho died yo4n". 0n these reliefs, scenes of childbirth and ed4cation necessarily re laced those sy7bols of ad4lt acco7 lish7ent that death had denied, s4ch as 7arria"e, the c4ltivation of the M4ses, or the erfor7ance of reli"io4s rites and sacrifices.D1#E )he 7ytholo"ical re ertory 5as also ada ted s ecifically for the sarco ha"i of the yo4n" dead. )his is a arent in the case of a childQs sarco ha"4s in /o7e that re resents the 7yth of Pro7ethe4s, 5here the dead child is celebrated by analo"y to the 7iniat4re Ofirst 7anP 7olded by the hero and endo5ed 5ith the stolen fire of life.D1%E +n this instance as in others, the analo"y bet5een the individ4al b4ried 5ithin the sarco ha"4s and the 7ytholo"ical rota"onist de icted on its front is 4nderscored by the s7all scale of the casket, lar"e eno4"h solely for the body of a child. (i7ilarly clear vis4al references are 7ade to a mors immatura on other reliefs, 5here 4tti enact the roles of 7ytholo"ical heroesC Melea"er or C4 id and Psyche, for e>a7 le. +n s4ch instances the yo4n" dead are endo5ed, as if by ro>y, 5ith the )irtus that death has ref4sed the7 the o ort4nity to ac94ire in life.D15E .4st as the )irtus of the ancient heroes co4ld be a ro riated for the yo4n", so too co4ld they be for the old. Bhile old a"e, 5ith the infelicities of hysical a earance it brin"s, 7i"ht see7 to render

identification 5ith a yo4thf4l hero less a t, a yo4thf4l the7e 7i"ht nevertheless be chosen even in later years, as can be seen on certain sarco ha"i 5hose 7ytholo"ical rota"onists bear ortraits FAi"s. 1 and IK. +ndeed, one 7i"ht co7 lain that death at any a"e is i77at4ra.D1LE )he 7on47ents the7selves de7onstrate that facile co7 arisons bet5een the real life of the deceased and the 7ythic life of the heroes re resented on the sc4l ted caskets have little to reco77end the7. Aor as 3i"orio hi7self reali:ed, the 7yths f4nctioned on the sarco ha"i as conventional sy7bols of )irtusCand as conventional sy7bols they 5ere available to be a ro riated by one and all. -n old 7an 7i"ht ortray hi7self as the yo4n" &ionysos FAi". #K, or a 5o7an co4ld be b4ried in a sarco ha"4s that ro7inently dis layed the slee in" fi"4re of *ndy7ion Fsee Ai". I9K. )he roble7 of inter retation beco7es 7ore co7 le> in the case of 7yths that resent no obvio4s basis for analo"y. )he tra"ic fi"4res of Medea and Phaedra Fat ti7es bearin" the ortrait feat4res of the deceased or a s o4seK scarcely s4""est a sy7 athetic arallel bet5een the lots of their stories and the lives of those /o7ans 5ho a ro riated these 7yths to co77e7orate the7selves.D1HE )he 4se of these stories 5as 7ore than an a eal to the classical?D16E nor is it likely that the atrons of these intensely ersonal 5orks of art failed to co7 rehend the stories de icted.D19E )he a earance of s4ch stories de7ands a 7ore n4anced acco4nt of all the 7yths e7 loyed on the sarco ha"i and a 7ore erce tive res onse to the co7 le> nat4re of this f4nerary i7a"ery. Aor the sarco ha"i resent analo"ies, not identifications: they do not 7erely e94ate the lives of those co77e7orated 5ith the ancient stories b4t co7 el 4s to conte7 late those lives in ter7s of the f4nda7ental tr4ths the 7yths reveal. Aollo5in" *4ri ides, one sees in Medea a 5o7an torn by conflictin" clai7sCof jealo4sy, desire for reven"e, and love of her childrenC5ho acts, des ite her j4d"7ent, co7 elled by assion FthumosK.DI$E )his 7yth de7onstrated, in e>tre7e for7, 5hat the ancients held to be the essential as ect of 5o7en;s nat4re? so too, the tale of Phaedra and 8i olyt4s. DI1E +n the dra7atic clash of its rota"onists, this 7yth dis layed the basic dichoto7y bet5een 7en and 5o7en so central to the ancient vie5 of the h47an condition: that bet5een amor and )irtus. Aor the heroines of both 7yths, the reali:ation of their nat4re and the f4lfill7ent of its clai7s on their character is ine>tricably bo4nd to the o7ni otence of Aate.DIIE N N N

Te-t and image

)he inter retation and historical st4dy of the sarco ha"4s reliefs and their i7a"ery are "4ided by established criteriaCconcernin" the nat4re of these objects, their f4nction, and their conte>tCseldo7 so foc4sed in the case of other 5orks of art. ,either o4r kno5led"e abo4t these objects nor the establish7ent of these criteria is derived, ho5ever, fro7 ancient co77entaries devoted to these 7on47ents. )here is no s4rvivin" ancient te>t that rovides a OkeyP to the vis4al lan"4a"e 5ith 5hich the 7yths are related on the sarco ha"i. )he st4dy of the sarco ha"i has been forced to roceed in a different fashion.DI#E )o be"in 5ith, the s4bject 7atter of the sarco ha"4s reliefs 5as 5ell kno5n to their a4dience. )he 7yths 5ere once basic to the fabric of life itself, linked to ancient reli"ion and its vision of the cos7os. Aor /o7ans of the +7 erial era, these 7yths 5ere "iven a hi"hly accessible for7 by 0vid in his Metamorphoses, 5hose 5ide disse7ination, at least a7on" the 4 er classes, 7ay be ass47ed.DI%E )he contin4ity of 7ytholo"ical kno5led"e a7on" the literate is also attested by the evidence of the role that kno5led"e layed in "ra77atical ed4cation, 5hose f4nda7ental te>ts a ear to have chan"ed little over the cent4ries fro7 the 8ellenistic a"e 4ntil as late as the si>th cent4ry.DI5E )he role of 7ytholo"ical all4sion in the oetry of the first and second cent4ries, and the contin4in" i7 ortance of this literat4re, rovide both a arallel and a roof of the rece tivity to 7yth in the a"e 5hen the

sarco ha"4s reliefs 5ere rod4ced.DILE (econd, the consistent for7ali:ation of the 7ytholo"ical i7a"es ce7ented the bond bet5een the verbal and the vis4al: readily reco"ni:able for7s facilitated the 7ythsQ identification. +n the vis4al arts the 7yths 5ere codified in standardi:ed desi"ns, and re ertories for each 7yth 5ere established. )he ractice co4ld f4nction at the level of details, s4ch as attrib4tes, as a assa"e fro7 Cicero 7akes clear: OAro7 yo4th 5e have kno5n the re7ainin" "odsC.ove, .4no, Minerva, ,e t4ne, 24lcan, - olloCby the feat4res that the ainters and sc4l tors have 5ished to e7 loy? not only for their faces, b4t also their attrib4tes, their a"e, and their "ar7ents.P DIHE )he sa7e ractice also f4nctioned, as shall beco7e clear, at the level of lot. )he si7ilarity of the s4rvivin" re resentations of the 7yths in a 5ide variety of 7edia de7onstrates a consistent selection and de iction of story ele7ents, and the re etition of these i7a"es led to their fa7iliarity thro4"ho4t the ancient 5orld. )his lon"<standin" ractice, alon" 5ith the strikin" 94ality of i77ediacy it conveyed, 5as ackno5led"ed in late anti94ity by (t. -4"4stine. 8e recalled the story of the sacrifice of -braha7 and ackno5led"ed the o5erf4l effect of its re resentationQs for7ali:ation and 4bi94ito4s re etition: Os4ch a fa7o4s deed co7es stron"ly to 7ind, and it co7es to 7ind as so7ethin" neither st4died nor so4"ht, since it is every5here reco4nted by so 7any ton"4es and de icted in so 7any laces.P DI6E Contin4al e> os4re to s4ch standardi:ed re resentations f4sed i7a"e and story fir7ly to"ether in the 7ind.DI9E Classical literat4re, the 1oetics of -ristotle in artic4lar, s4""ests the essential role layed in the storytellin" of the ancient 5orld by s4ch acts of reco"nition FanagnorisisK. -s a lot device, ana"norisis served not only as a f4nda7ental str4ct4re for narration b4t as a re7inder of the o5er inherent in the dra7atic a rehension of identity and ethos. )o aid in the beholdersQ reco"nitions, each 7ythQs salient e isodes, as 5ell as the identifyin" attrib4tes of its 7ain characters, 5ere treated 5ith re7arkable consistency.D#$E )here is considerable debate abo4t the ori"in of these standardi:ed i7a"es. )hey 7ay have derived fro7 7on47ental 5orks of aintin" or sc4l t4re 5hose fa7e led to their re lication, or fro7 early ill4strated codices and a yri that resented the "reat narrative cycles and the 7ost ro7inent 7yths in e ito7i:in" for7.D#1E )he e7 loy7ent of 7odels is recorded, ho5ever, by Pliny. +n his *istoria -aturalis, he 5rites abo4t Parrhasi4s, 7ost "ifted a7on" the ancients in the dra5in" of o4tlines, and s eaks of the 7any graphidis )estigia a7on" the artist;s anels and arch7ents, fro7 5hose 4se other artists had rofited.D#IE Bhile the re"4lari:ed vis4al re ertories established for the 7yths 5ere often 7odified by different 5orksho s, sc4l tors "enerally re7ained tr4e to the f4nda7ental for74lae.D##E -t ti7es 7ore rofo4nd chan"es 5ere 7ade in addition to these 7inor variations. Get in every instance, artists and atrons 7ade choices, 5hether they e7 loyed standard desi"ns or co7 letely re5orked the7. &iscri7ination and j4d"7ent 5ere al5ays involved, 5hether the "oal 5as confor7ity 5ith established traditions or their rejection for the sake of innovation. (o7e decisions led to 7ore strikin" visible res4lts than others. Aor as artists and atrons e> loited certain vis4al characteristics that res4lted fro7 the standardi:ation of 7ytholo"ical i7a"ery, they transfi"4red the 7anner in 5hich the fables 5ere told 5ith i7a"es. )he si"nificance of s4ch variantsC as those a7on" both the -donis and *ndy7ion sarco ha"i revealCis not only that they altered the a earance of a 7yth;s i7a"ery, b4t that they artic4lari:ed and ersonali:ed its se 4lchral 7essa"e. D#%E +n these innovative re resentations of the 7yths, te>t and i7a"e co7 le7ented one another in a rofo4ndly ne5 fashion. )he standardi:ed icono"ra hies enco4ra"ed vie5ers to re"ard the sc4l ted i7a"es as ill4strations to be reco"ni:ed and th4s accorded an i7 licit ri7acy to those s ecific redactions of the 7yths fro7 5hich the i7a"es 5ere "enerated. By contrast, those sarco ha"4s reliefs that deviated fro7 both the established 7odels and the canonical te>ts asserted the ri7acy of their i7a"es, as they i7 elled their beholders to deci her the lan"4a"e and 7eanin" of their sc4l t4ral

for7s. N N N

",dience, conte-t, interpretation

-nother factor "4idin" the inter retation of these 7on47ents is that the sarco ha"4s reliefs, by definition, 5ere intended for a s ecific conte>t. )hese 5ere 5orks of art to be vie5ed 4nder circ47stances al5ays the sa7e: first at the f4neral and later on visits to the to7b. )heir i7a"ery 5as to be 4nderstood in connection 5ith t5o distinct sets of ractices 5hose relationshi re7ains so7ethin" of a 7ystery: reli"io4s rit4al devoted to the dead and their afterlife, and social ractices dedicated to their co77e7oration. )he recise reli"io4s si"nificance of the sarco ha"i and their i7a"ery has re7ained el4sive on acco4nt of the tre7endo4s variation in beliefs held by the /o7ans, variation that increased d4rin" the +7 erial eriod.D#5E +n the absence of definitive evidence linkin" the Os4rvival of deathP the7e to kno5n reli"io4s beliefs, the role of the sarco ha"i as co77e7orative 7on47ents accr4es added si"nificance.D#LE -5areness of the social classes that co4ld afford to co77ission these 7on47ents, and to dis lay the7 in s4itably s47 t4o4s to7bs, allo5s a de"ree of certainty abo4t the ri7ary a4dience for their i7a"ery. +t has lon" been held that sarco ha"i, 5hich 5ere trans orted to +taly 94ite ossibly fro7 5orksho s in -sia Minor, 5ere 4rchases of considerable e> ense in the /o7an 5orld.D#HE /ecent research has sho5n the sit4ation to have been so7e5hat 7ore co7 le>. )he 4rchase of elaborate sarco ha"i 5as also a cons ic4o4s e> ression of 7iddle<class strivin" to e74late the c4ltivated taste and 7aterial si"ns of affl4ence associated 5ith the /o7an aristocracy.D#6E Get 7on47ents of hi"h<94ality sc4l t4re and so histicated icono"ra hy, 5hich only the 5ell<to<do co4ld afford and only the c4ltivated 5o4ld a reciate, 5ere not the only ones rod4ced by the /o7an 5orksho s. 3ess e> ensive for7s, 5ith decidedly inferior carvin" that feat4red less elevated and co7 le> icono"ra hy, 5ere 7an4fact4red for the o 4lar tastes of the 7iddle class. -t ti7es, e> ense 5as li7ited and hi"h 94ality 7aintained by the e7 loy7ent of an overall attern, as in the Ostri"ilatedP ty e, 5here a re etitive desi"nC5hose carvin" co4ld be rele"ated to the less<skilled hands of 5orksho a renticesC7i"ht fill the 7ajority of the relief.D#9E )hey 5ere at least 7oderately 5ell<to<do eo le, therefore, 5ho ca7e to honor the dead and to re7e7ber their ancestors b4ried in the elaborate 7ytholo"ical sarco ha"i. )he o5er of tradition and the strict4res of reli"io4s ractice re94ired their resence on days rescribed for feasts in celebration of the deceased. A4nds for s4ch cere7onies had often been rovided in be94ests by the dead the7selves. )he fa7ily and close friends ca7e on the ninth day after b4rial for the cena no)endialis, and every year for the dies natalis as 5ell as for the 1arentalia, celebrated d4rin" the latter art of Aebr4ary.D%$E )heir attendance on the dead not only rovided these 5orks of art 5ith an a4dience b4t f4lfilled their 4r ose. Aor as these visitors ca7e and conte7 lated the i7a"ery of the sarco ha"4s reliefs, the le"acy that the dead 5ished forCto be re7e7bered in the "4ise of the rota"onists of 7ythC5as bro4"ht finally to fr4ition. N N N

rom MUTHOS HELLENIKOS to mythologia romana

Classici:in" taste for =reek i7a"ery flo4rished 4nder 8adrian and beca7e 5ides read d4rin" the second and third cent4ries.D%1E )his rovided the overall conte>t for the ada tation of =reek 7ytholo"y to 7eet the ne5 /o7an need for i7a"ery s4ited to the for7 of sarco ha"i. B4t it 5as a chan"e in social ractice, fro7 a reference for cre7ation to one for inh47ation, that "ave rise to the rod4ction of these 7on47ents on a lar"e scale. +nh47ation 5as not a ne5 heno7enon b4t the re<

e7er"ence of a lon" standin" ractice a7on" both the *tr4scans and the eo les of -sia Minor.D%IE )he =reek 7yths de icted on these sarco ha"4s reliefs 4nder5ent a rocess of Romani$ation, 5hich res4lted in the refashionin" of artistic 7odels, and at ti7es of the stories the7selves.D%#E )he cha ters that follo5 de7onstrate that as the 7yths 5ere vis4ali:ed in the for7al lan"4a"e of /o7an art, and as they 5ere inserted into their ne5 se 4lchral conte>t, they ass47ed s ecific si"nificance. +n this 5ay they 5ere transfor7ed to e> ress ne5 /o7an ideas in the f4lfill7ent of ne5 /o7an needs. -n 4nderstandin" of the characteristic rocess by 5hich the =reek 7yths 5ere ada ted for re resentation on the f4nerary reliefs is cr4cial to a f4ll co7 rehension of these 7on47ents. )he choice of 7yths, the selection and co7bination of scenes, their co7 osition, alteration, deliberate o7ission, and even re lace7ent are a7on" the decisive artistic considerations that distin"4ished these reliefs as 7ytholo"ical re resentations of a 7ost sin"4lar kind. -ll of these as ects have been the s4bject of scholarly research.D%%E )he 4r ose of the resent st4dy is to broaden the sco e of s4ch investi"ations and to el4cidate certain other characteristics of the /o7ani:ation of =reek 7ytholo"y on the sarco ha"i. )he airin" of the -donis and *ndy7ion sarco ha"i that is the foc4s of these cha ters resents 7any, if not all, of the inter retive iss4es raised by st4dy of the entire ran"e of 7ytholo"ical sarco ha"i. )he analysis of these t5o 7yths and their vis4al re resentations sho4ld be considered an atte7 t to rovide a fo4ndation for f4rther st4dy, and the 7ethod of investi"ation ro osed here re"arded as "er7ane to the e>a7ination of other 7on47ents as 5ell. )his investi"ation, based on rinci les that can rofitably be a lied in the analysis of other 7yths and their i7a"ery, is th4s offered as a 7odel for the st4dy of 7ytholo"ical sarco ha"i in "eneral. )he follo5in" ara"ra hs s4""est this broader sco e of in94iry and establish the inter retive ara7eters of the cha ters that ens4e. )he a earance of OstockP ty es that res4lted fro7 the standardi:ation of the 7yths; i7a"ery 74st be investi"ated, to"ether 5ith the vis4al conventions they established. +t is only by contrast 5ith s4ch conventions that the f4ll force of the variant co7 ositions e7er"es. )he e7 loy7ent on the sarco ha"i of stock ty es and the invention of variants, 74st be reco"ni:ed, and analy:ed, as co7 le7entary for7s of decision 7akin" that reflect a relationshi bet5een vis4al and verbal thinkin". 0n the sarco ha"i, the 7yths have been refashioned as vis4al i7a"es, and the inter retation of their force and clarity de ends on the ictorial and sc4l t4ral 94alities of their 7edi47 as 5ell as on the te>ts fro7 5hich their stories derive. -nalysis of the individ4al 7otifs 5ith 5hich these stories are vis4ali:ed 7ay be 4rs4ed in ne5 directions. )he st4dy of these 7otifs, so elaborately charted in 7any 4blications of sarco ha"i of diverse icono"ra hies, 7ay be a4"7ented and a7 lified by an e>a7ination of the ty olo"ical relationshi s established in the re resentation of different 7yths. )he 4se of vis4ally related 7otifs, 5hose si"nificances co7 le7ent and f4lfill one another, rovided the artists 5ith one 7eans to e> and the connotations of their i7a"es.D%5E )he si"nificance of individ4al 7otifs in the rivate conte>t of f4nerary 7ytholo"y 7ay be infor7ed by their f4nction in other 7odes of resentation. )h4s a 7otif;s f4nction 5ithin the narrative fra7e5ork of the sarco ha"i 7ay be co7 ared and contrasted 5ith its role in the hieratic for7s of the 4blic art of the *7 ire. )he 4se of 7otifs in the fro:en tablea4> of the sarco ha"4s reliefs 7ay also be co7 ared 5ith their role in other "enres, s4ch as conte7 orary theatrical rod4ctions. )he e>e7 lary nat4re of the vis4al i7a"ery for the 7yths 7ay be linked to corres ondin" literary traditions, and the a earance and f4nction of co77on to oi el4cidated. )he role of the 7ytholo"ical the7es a ro riated and ersonali:ed on the sarco ha"i sho4ld be co7 ared to the art layed by these

sa7e the7es in the 4r ortedly a4tobio"ra hical oetry of s4ch first<cent4ry a4thors as Pro erti4s or )ib4ll4s. Ainally, it is necessary to in94ire f4rther into the 4r ose of ortrait4re on the 7ytholo"ical sarco ha"i. +nvesti"ation 74st not only elaborate this heno7enon fro7 a conventional archaeolo"ical ers ective, collectin" and catalo"4in" e>a7 les, b4t atte7 t to reconstr4ct that c4lt4ral i7a"ination of 5hich the reliefs for7 a 7ost oi"nant e> ression. )he initial sta"e of s4ch a roject has been acco7 lished ad7irably by Brede.D%LE Get the i7 ortance of ortraits in Brede;s 5ork lends his st4dy of the 7ytholo"ical sarco ha"i an 4n5arranted e7 hasis on the relationshi of their i7a"ery to real, historical, life. ,evertheless, as the follo5in" cha ters de7onstrate, all 7ytholo"ical sarco ha"i assert analo"ies? the resence of the ortrait feat4res of the deceased 7erely intensifies and artic4lari:es the 7on47ent;s 7essa"e. Aor as the 7yths de icted on the sarco ha"4s reliefs are conflated 5ith the lives they are 7eant to recall, 5e are confronted by 7ore than the O rivate deificationP of those individ4als 5ho resent the7selves in the "4ise of the "ods. Be 5itness not only the o5er of i7a"es to reserve so7ethin" essential of the dead, b4t the role of 7yth in both the for74lation of those 7e7ories and the creation of a si"nificant and end4rin" 7on47ent.

Note)
1. P. 3i"orio, 0elle antichit& di Roma, ,a les, Bibl. ,a:., Cod. 1+++.B.1$, folio 151: O3;esse7 i della vita nostra, sono i ri"4ardi dell;altr4i eri"li. Col4i il 94ale de7ostro la 7orte di -done nella s4a se 4lt4ra la 94al fR trovata nella via latina ove era 94el "iovane 4cciso dal orco ci"hiaro havendo "ittato via la faretra et l;arco. Ci a77onisce che anchor che l;h4o7o sia "iovane et "a"liando nei ericoli 4S 7orire co7e 7ori -done fi"liolo del re Cynira, della 94al 7orte forse debbe 7orise col4i il 94al vi fR se 4lto, il che "li accade er lo s4o "rande ani7o sc4sando la s4a i7 rovisa 7orte col danno di 94ello 8eroe che non se e i"liar consi"lio, da 2enere che tanto l;a7ava, et che desiderava che non si 7ettese er 4no breve sole::o T si ericoloso fatto.P I. O-lc4ni altri hanno osti i carri nelli 7on47enti con certa ra resentatione, er de7onstrare loro esser 7orti dis"ratiata7ente, et reci itati correndo s4 i carri 7entre credevano ne "i4ochi ac94istar la al7a s;hanno rotto il collo: la onde hanno co7 arata la 7orte loro a"li antichi 8eroi, co7e se detto i4 di so ra. + 94ali 94ant4n94e f4ssero sti7ati co7e &ei er la virt4 loro, nondi7eno hanno sbadata7ente erd4ta la loro vita. - 94ali sono avven4ti tali avveni7enti, con si7ili esse7 i honorarono la se 4lt4ra de7ostrando la certe::a della 7orte e la varieta dell;acaden:a, et li 7ali et le virt4 di 94elli in 4n te7 o er 4n certo 7odo di aralelloP Fibid., folio I%#vK. #. )h4s this book takes its lace in a lon" tradition of co77entary on these 7on47ents? 7ore s ecifically, it takes 4 the challen"e 7ade by ,ock in his ske tical revie5 of C47ont;s 7a"isterial Recherches sur le symbolisme fun5raire des Romains FParis, 19%IK: see -. &. ,ock, O(arco ha"i and (y7bolis7,P "/" KL M1 !NK. Aor a historical overvie5 of the st4dy of the sarco ha"i, see =. Koch and 8. (ichter7ann, R3mische Sarkophage FM4nich, 196IK, . 56#JL1H FO(inn"ehaltPK? for a revie5 of recent 5ork in the field, see &. *. *. Kleiner, O/o7an A4nerary -rt and -rchitect4re: 0bservations on the (i"nificance of /ecent (t4dies,P /R" 1 F1966K. %. (o7e of these ideas are evoked elo94ently by .. =riffin, 8he Mirror of Myth F3ondon, 196LK, . 1H: OMyths are not j4st stories b4t stories of "4aranteed i7 ortance. )he h47an ersons 5ho a ear in the7 ossess a s ecial stat4s, not only beca4se they are e>e7 lary, b4t beca4se they ill4strate and e> lain so7ethin" abo4t the order of the 5orld and the relationshi of "ods and 7en.P 5. )he f4nda7ental st4dy is =. *. /. 3loyd, 1olarity and "nalogyD 8Ao 8ypes of "rgumentation in Farly 6reek 8hought FCa7brid"e, 19LLK, es . . 1HIJ%I$? for the /o7an oint of vie5, see U4intilian, +nstitutio ,ratoria, +.L.#ff. Ffor analogia as the e94ivalent of the 3atin proportioK and

2.11.#% Ffor analogia as 7erely one kind of similiaK. - n47ber of recent 5orks have taken 4 the conce t of analo"y 5ith fr4itf4l res4lts: cf. the essays collected in "nalogie et connaissance, ed. -. 3ichnero5ic:, A. Perro4>, and B. =adoffre, I vols. FParis, 196$K? K. .. =4t:5iller, 8heocritus 1astoral "nalogiesD 8he %ormation of a 6enre FMadison, 1991K, es . . 1#J19 FO-nalo"y as (tr4ct4rePK and assi7? -. (chiesaro, Simulacrum et +magoD 6li argomenti analogici nel O0e Rerum -aturaP FPisa, 199$K? and &. C. Aeeney, O V(hall + Co7 are )heeMW;: Cat4ll4s L6B and the 3i7its of -nalo"y,P in "uthor and "udience in 'atin 'iterature, ed. ). Bood7an and .. Po5ell FCa7brid"e, 199IK. L. 3loyd, 1olarity and "nalogy, . 19Iff., I1$ff. H. )h4s defined by 8. (ichter7ann, Sp#te FndymionBSarkophageD Methodisches $ur +nterpretation FBaden<Baden, 19LLK, . 5JL, 15JI1. 6. 8. (ichter7ann, O&er schlafende =any7ed,P 6ymnasium 6# F19HLK: 5%$f. 9. +n so7e res ects this 5o4ld rese7ble, 74tatis 74tandis, the all4sive o5er of 8o7eric for74lae? for an interestin" elaboration of the ideas develo ed in the 5ork of 3ord and Parry, see (. 3o5ensta7, 8he 0eath of 1atroklosD " Study in 8ypology FKXni"stein, 1961K, 5ho st4dies the all4sions i7 licit in Oa ty olo"ical se94ence of events 5hich is al5ays associated 5ith death in the 8o7eric oe7sP F#6K. )he 4se here of the ter7 typology sho4ld be distin"4ished fro7 the debate concernin" the f4nction of ty es in 0ld and ,e5 )esta7ent relationshi s as 5ell as in other 5orks of ancient literat4re? for a disc4ssion of these narro5er iss4es, see .. =riffin, O)he Creation of Characters in the "eneid,P in 'iterary and "rtistic 1atronage in "ncient Rome, ed. B. K. =old F-4stin, 196IK. Aor so7e ertinent co77ents on the role of ty olo"y in sec4lar literat4re, see /. 8ollander, O)y olo"y and (ec4lar 3iterat4re: (o7e Medieval Proble7s and *>a7 les,P in 'iterary (ses of 8ypology from the 'ate Middle "ges to the 1resent, ed. *. Miner FPrinceton, 19HHK. 1$. Pl4tarch, 1ericles, +.Iff., trans. +. (cott<Kilvert, fro7 Pl4tarch, 8he Rise and %all of "thens F3ondon, 196#K, . 1L5J1LL? cf. the sa7e ar"47ent in Pl4tarch;s 0emetrius, +.1ff. (ee also P. (tadter, O)he Proe7s to Pl4tarch;s 'i)es,P +CS 1: F1966K? for the 4r ose of the 'i)es, see C. P. .ones, 1lutarch and Rome F0>ford, 19H1K, cha ter 1+? and on the role of the co7 arisons, see &. -. /4ssell, 1lutarch F3ondon, 19H#K, . 11$ff. 11. 1ericles, +.I. 1I. (ee .. )er 2r4"t<3ent:, Mors +mmatura F=ronin"en, 19L$K, es . cha ters 2+ and 2++? *. =riess7air, 0as Moti) der Mors +mmatura in den griechischen metrischen 6rabinschriften F+nnsbr4ck, 19LLK. Aor doc47entation of early death in the /o7an 5orld, see K. 8o kins, 0eath and ReneAal FCa7brid"e, 196#K. 0n the i7a"ery of O4nti7ely death,P see A. C47ont, "fter 'ife in Roman 1aganism F,e5 8aven, 19IIK, cha ter 5? (. Balker, OUnti7ely Me7orials: (o7e /o7an Portraits of the Pre7at4rely &ead in the British M4se47 Collections,P in Ritratto ufficiale e ritratto pri)ato F/o7e, 1966K? eade7, O)he (arco ha"4s of Maconiana (everiana,P Roman %unerary Monuments in the /. 1aul 6etty Museum FMalib4, 199$K. Aor the i7a"e of =any7ede in /o7an se 4lchral art and its relationshi to the conce t of the mors immatura, see .. *n"e7ann, (ntersuchungen $ur Sepulkralsymbolik der sp#teren r3mischen Kaiser$eit FM4nich, 19H#K, . 56J59. 1#. -. Bor"hini, O*lo"ia 4eror47: )esti, i77a"ini e 7odelli antro olo"ici,P 1rospetti)a II F196$K? Koch and (ichter7ann, R3mische Sarkophage, . 1$Hff. and lates 11#J11L. Cf. the sarco ha"4s of M. Corneli4s (tati4s, no5 in the 3o4vre: see A. Baratte and C. Met:"er, Mus5e du 'ou)reD Catalogue des sarcophages en pierre d5po4ues romaine et pal5ochr5tienne FParis, 1965K, . I9J#1, no. #? cf. also . #1J#5, nos. % and 5? and, f4rther, 3. Berc:elly, O)he (o4l after &eath: - ,e5 +nter retation of the Aort4nati<(arco ha"4s,P "cta""rt*ist L F196HK. )he sa7e ideas 5ere e> ressed in f4nerary inscri tions: for e>a7 le, that of a /o7an yo4th dead at the a"e of ten, 5ho s eaks fro7 the "rave to

recite the c4rric4l47 vitae of an acco7 lished scholar: O+ had 7astered the doctrines of Pytha"oras, and the st4dy of the ancient sa"es, and + read the lyrics of the oets, + read the io4s son"s of 8o7erP FC+' 1+, L%#5, lines HJ6: &o"7ata Pytha"orae sens4s9D4eE 7eavi so Dhor47E ! et lyricos le"i le"i ia car7ina 8o7eriK. 1%. (ee 8. (ichter7ann and =. Koch, 6riechische Mythen auf r3mischen Sarkophagen F)Ybin"en, 19H5K, . L#f., cat. no. L6, and lates 1L5J1LH. 15. Aor the Melea"er children;s sarco ha"i in Basel and BYr:b4r", see =. Koch, 0ie mythologischen SarkophagenD Meleager DZ "SR 1++.LE FBerlin, 19H5K, nos. HI and H#? for another no5 in the 3o4vre, see Baratte and Met:"er, Catalogue des sarcophages, . 19$J191, no. 96? for a di7in4tive C4 id and Psyche on a child;s sarco ha"4s in 3ondon, see (. Balker, Catalogue of the Roman Sarcophagi in the 7ritish Museum F3ondon, 199$K, . #1, no. #$, and late 11. Cf. also the 4tti 5ho sta"e a lion h4nt on a child;s sarco ha"4s F(an Callisto, /o7eK: see Koch and (ichter7ann, R3mische Sarkophage, late 6H? a chariot race F,a lesK, ibid., late I%5? and bacchanals F/o7eK, ibid., late I%6? for scenes of 4tti in the alaestra, cf. A. Casta"noli, O+l ca itello della i"na vaticana,P 7ullComm H1 F19%#J%5K: I$JI# and fi"s. 1LJ19. 1L. Cf. Scriptores *istoriae "ugustae, O&iv4s Cla4di4s,P ++.1: OBrief 5as his ti7e in o5er, + cannot deny it? b4t it 5o4ld have been brief even if s4ch a 7an had been able to r4le for as lon" as h47an life 7i"ht lastP? this assa"e is follo5ed by a reco4ntin" of the e>e7 l47 of Moses 5ho, des ite his 1I5 years, Oco7 lained that he 5as erishin" in his ri7e.P Cf. also Cicero, 0e Senectute, 1+1.L9: Oto 7e nothin" 5hatever see7s of "reat d4ration to 5hich there is so7e kind of end.P (ee, f4rther, in "eneral, =. Minois, *istory of ,ld "ge from "nti4uity to the Renaissance FCa7brid"e, 1969K, cha ter %. 1H. Aor the Medea sarco ha"i, see Koch and (ichter7ann, R3mische Sarkophage, . 159J1L1, 5ith earlier biblio"ra hy? cf. *. KYn:l, O&er a4"4steische (ilbercalath4s i7 /heinischen 3andes74se47 Bonn,P 7/b 1L9 F19L9K: es . #6$J#9$ FOBe7erk4n"en :47 Medea:ykl4sPK? and, recently, .. Marcad[, O3a olyvalence de l;i7a"e dans la sc4l t4re "rec94e,P in F+0,',1,++" F/o7e, 1965K, es . . #%J #H, for an 4n4s4al version of the story on a sarco ha"4s no5 in -ntalya? for Phaedra and 8i olyt4s, see Koch and (ichter7ann, R3mische Sarkophage, . 15$J15#. )he ortrait heads on the fi"4re of Phaedra have lon" been cited in ar"47ents a"ainst recise arallels bet5een the dead and the 7ytholo"ical fi"4res in 5hose "4ise they are re7e7bered: cf. the early ca4tion voiced by 3. Ariedl@nder F0arstellungen aus der Sittengeschichte Roms in der ?eit )on "ugustus bis $um "usgang der "ntonine D3ei :i", 1919JI1 ed.E, +++, . #1$ and n. 5? cited by ,ock, O(arco ha"i and (y7bolis7,P . 1L5 n. 9I, and Koch and (ichter7ann, R3mische Sarkophage, . L$9? cf. /. )4rcan, O&[for7ation des 7od\les et conf4sions ty olo"i94es dans l;icono"ra hie des sarco ha"es ro7ains,P "nn1isa, ser. +++, 1HDIE F196HK: %#1, 5ho reco"ni:es O94e le d[tail de la l["ende co7 te bea4co4 7oins 94;4ne sorte de va"4e "lorification analo"i94e.P 16. Cf. ,ock, O(arco ha"i and (y7bolis7,P . 1LL. 19. 1ace Pa4l ]anker Flect4re at (ociety for /o7an (t4dies, 3ondon, 199$K, 5ho has s4""ested that the resence on the sarco ha"i of 7yths s4ch as those of Medea or Phaedra sho4ld be constr4ed as evidence that the atrons of these 7on47ents failed to co7 rehend their 7eanin". I$. *4ri ides, Medea, 1$H6ff.? the horrifyin" as ects of the 7yth that take recedence in its re resentation on the sarco ha"i 74st nevertheless be contrasted to those of the for7 established by the fa7o4s aintin" of )i7o7achos: see the analysis in (. (ettis, O+77a"ini della 7edita:ione, dell;incerte::a e del enti7ento nell;arte antica,P 1rospetti)a I F19H5K: 11. I1. Cf. 0vid, "rs "matoria, +.I61ff., on the e>trava"ant assions of 5o7en. II. (i7ilar concl4sions are s4""ested by /. )4rcan, O3es sarco ha"es ro7ains et le robl\7e d4

sy7bolis7e f4n[raire,P in "-R2 ++.1L.I, . 1H#$. I#. Cf. )4rcan, O3es sarco ha"es ro7ains,P . 1H$6f., 5ho cites the sole ancient te>tCan e i"ra7 fro7 the "nthologia 'atina Fed. A. B4echeler and -. /iese D3ei :i", 169%E, . IL#, no. #19KCthat s eaks, albeit va"4ely, abo4t the iss4e of the s4bject 7atter de icted on the sarco ha"i: 8urpia tot tumulo defiEit crimina 7albus, 1ost superos spurco 8artara more premens. 1ro facinusQ finita nihil modo )ita retraEit, 'uEuriam ad Manes moecha sepulchra gerunt. FBalb4s had affi>ed on his to7b so 7any fo4l cri7es, B4rdenin" the infernal re"ions in this filthy 7anner as he had the earthly real7. Bhat an o4tra"e^ 8is life havin" ended, he held back nothin", D-nd th4sE these ad4ltero4s 7on47ents convey his 5antoness to the s irits of the dead.K Aor the idea of a Ovis4al lan"4a"eP of these ancient 7on47ents, cf. the ertinent disc4ssions in P. ]anker, 8he 1oAer of +mages in the "ge of "ugustus F-nn -rbor, 1966K, . #J% and assi7? ). 8Xlscher, R3mische 7ildsprache als semantisches System F8eidelber", 196HK. I%. 0n literacy and the readin" tastes of the /o7an era, see B. 2. 8arris, "ncient 'iteracy FCa7brid"e, 1969K, es . . 16%f.? on the readin" of 0vid in artic4lar as art of the ed4cational c4rric4l47, see the brief co77ents in (. A. Bonner, Fducation in "ncient RomeD %rom the Flder Cato to the Jounger 1liny FBerkeley and 3os -n"eles, 19HHK, . I15JI1H. I5. (ee the disc4ssion in Cha ter I, belo5. IL. (ee P. 2eyne, Roman Frotic FlegyD 'o)e, 1oetry, and the 2est FChica"o, 1966K, cha ter 6, O)he ,at4re and Use of Mytholo"y,P on the role of 7ytholo"ical all4sion in /o7an oetry. Aor an interestin" disc4ssion of the ass47ed kno5led"e of 7yth a7on" the readers of /o7an literat4re Fin this instance, Petroni4sK, see the essay by ,. 8orsfall, O)he Uses of 3iteracy and the Cena 8rimalchionis,P 6aR, ser. ++, #L F1969K: es . 61f. IH. 0e -atura 0eorum, +.I9.61f.? cf. the follo5in" descri tion in Philostrat4s, +magines, +.15: O-nd there are co4ntless characteristics of &ionys4s for those 5ho 5ish to re resent hi7 in aintin" or sc4l t4re, by 5hose de iction, even a ro>i7ately, the artist 5ill have ca t4red the "od. Aor instance, the ivy cl4sters for7in" a cro5n are the clear 7ark of &ionys4s, even if the 5ork7anshi is oorP? trans. -. Aairbanks, in 'C' ed. F3ondon and ,e5 Gork, 19#1K. -s s4ch details convey 7eanin", they are to be distin"4ished fro7 7ere ictorial schemataD see the co77ents of (ettis, O+77a"ini della 7edita:ione,P . 1H n. 5H, citin" 34cian;s 4se of the ter7 schema to connote the for7 alone F34cian, 1hilopseudeis, 12+++K. I6. -4"4stine, Contra %austum, 11++, in Corpus Scriptorum Fcclesiasticorum 'atinorumD Sancti "ureli "ugustini, ed. .. ]ycha FPra"4e, 2ienna, 3ei :i", 1691K, 2+, 1, . LH1: forte non ei veniret in 7ente7 fact47 ita nobile, 4t et non lect47 nec 94aesit47 ani7o occ4reret, 4t deni94e tot lin"4is cantat47, tot locis ict47. I9. )h4s it sho4ld be clear that this for7ali:ation re resents the antithesis of the heno7enon of stereoty in", in 5hich si7 lification and re etition lead to5ard decorative 4se 5itho4t res ect for content: see the disc4ssion of this heno7enon by 2. Macchioro, O+l si7bolis7o nelle fi"4ra:ioni se olcrali ro7ane: (t4di di er7ene4tica,P Mem-ap 1 F1911K: es . 1%ff. #$. (ee -ristotle, 1oetics,, 1%5Ia1Lff., #$ff.? 1%5Ib#ff., #Hff. Fetc.K? the device of ana"norisis is disc4ssed brilliantly by ,. .. /ichardson, O/eco"nition (cenes in the 0dyssey and -ncient 3iterary Criticis7,P 1ap'i)'atSem ! F196#K.

#1. )he "reat ro onent of the OBilderb4chP theory has been (chefold? see K. (chefold, OBilderbYcher als 2orla"en rX7ischer (arko ha"e,P MF%R" 66 F19HLK. Cf., ho5ever, the objections of 8i77el7ann, 5ho re"ards 7on47ental 5orks in sc4l t4re and aintin" as the ri7ary so4rce of the i7a"ery on the sarco ha"i: ,. 8i77el7ann, O(arcofa"i ro7ani a rilievo: Proble7i di cronolo"ia e icono"rafia,P "nn1isa, ser. +++, %?s1 F19H%K? for the trans7ission of these codified i7a"es by 7eans of s7all 5orks in recio4s 7etals, as 5ell as their re rod4ction in casts, see 8. Aronin", O&ie ikono"ra hische )radition der kaiser:eitlichen 7ytholo"ischen (arko ha"reliefs,P /d+ 95 F196$K. #I. Pliny, *istoria -aturalis, 1112.L6. ##. Aor s4ch sc4l t4ral variation, see .. B. Bard<Perkins, OBorksho s and Clients: )he &ionysiac (arco ha"i in Balti7ore,P Rend1ont"cc %6 F19H5JHLK. #%. 1ace )4rcan, O3es sarco ha"es ro7ains,P . 1HI$, 5here he cites M. ,ilsson;s 5arnin" abo4t the inter retation of isolated e>a7 les. Cf. Berc:elly, O)he (o4l after &eath,P . L$: Oand the 7ore 4nconventional the s4bject, the 7ore reason Dthere isE to conject4re an inti7ate collaboration bet5een artist and co77issioner 5ith re"ard to the ictorial renderin".P #5. )he sit4ation 5as s477ari:ed co7 ellin"ly by ,ock: OPa"anis7 had a 4nity of athos and of val4es in h47an di"nity? a 7eas4re also of 4nity in "eneral s4""estion and 7eta hor? not a 4nity of beliefP FO(arco ha"i and (y7bolis7,P . 1L6K. )he diffic4lties concernin" the varied doctrines are set o4t concisely by 8o kins, 0eath and ReneAal, . IILff.? cf. the si7ilar vie5 of .. Aer"4son, 8he Religions of the Roman Fmpire F3ondon, 19H$K, . 1#I? the doctrines the7selves are s4rveyed in C47ont, "fter 'ife; so7e of the back"ro4nd 7aterials for the st4dy of reli"io4s beliefs in the a"e of the sarco ha"i are set o4t by .. 8. B. =. 3iebesch4et:, Continuity and Change in Roman Religion F0>ford, 19H9K, cha ter %, altho4"h his 5ork bears only indirectly on the iss4es raised here. #L. .. -. ,orth, O)hese 8e Cannot )ake,P /RS H# F196#K: 1L9? *. Panofsky, 8omb SculptureD +ts Changing "spects from "ncient Fgypt to 7ernini F3ondon, 19L%K, . #$J#6. #H. Aor an o inion abo4t "reat e> ense, see, for e>a7 le, =. /oden5alt, O/X7ische /eliefs: 2orst4fen :4r ( @tantike,P /d+ 55 F19%$K: 1I Fcited by Koch and (ichter7ann, R3mische Sarkophage, . IIK. Cf. Bard<Perkins, OBorksho s and Clients,P . I$9JI11, on the res47ably hi"h cost of i7 ortin" a sarco ha"4s of )hasian 7arble. #6. K. Aittschen, 0er Meleager Sarkophag FArankf4rt a7 Main, 19H5K, . 15JI$ Fcited by Koch and (ichter7ann, R3mische Sarkophage, . IIK. /ecent research on -thenian "rave 7on47ents has overt4rned the si7ilarly orthodo> vie5 that these too 5ere a rivile"e of the 4 er classes? the evidence for the fo4rth cent4ry B.C. is disc4ssed in ). 8. ,ielsen et al., O-thenian =rave Mon47ents and (ocial Class,P 6R7S #$ F1969K. #9. )he evidence is revie5ed in Koch and (ichter7ann, R3mische Sarkophage, . II, follo5in" M. =Ytscho5, O(arko ha"<(t4dien +,P RM %L F19#1K: es . 1$HJ116? cf. the si7ilar concl4sions of Balker, Catalogue of the Roman Sarcophagi, . #5, and eade7, Memorials to the Roman 0ead F3ondon, 1965K, . #1. Bhile 7on47ents covered 5ith s4ch re etitive desi"ns are fo4nd a7on" the sarco ha"4s re resentations of several 7yths, they do not fi"4re in the st4dy of the -donis and *ndy7ion reliefs that for7 the basis of the resent st4dy. %$. (ee .. M. C. )oynbee, 0eath and 7urial in the Roman 2orld F3ondon, 19H1K, . 5$ff. and L1JL%. Aor the b4rial rites, see (. )re""iari, Roman MarriageD O+usti ConiugesP from the 8ime of Cicero to the 8ime of (lpian F0>ford, 1991K, . %69J%9#? and 8o kins, 0eath and ReneAal, . I$1ff. and I##ff. )he nat4re and stat4s of the cena no)endialis have recently been 94estioned by +. Bra"antini, OCena ,ovendialisWP ".+.,.-. 1# F1991K. (tati4s, Sil)ae, 2.+.I#$ff., describes a sarco ha"4s FmarmorK s4rro4nded by servants and tables set for the feastin"? cf. the le"islation concernin" s4ch feasts that

s4rvives in the 0igest F#%.1.16.5K, 5hich tells of rovision and clothin" left by the deceased to his freed7en for an ann4al celebration in his 7e7ory, ad sarcofagum. Aor a de iction of a cere7onial visit to an early +7 erial to7b, see the frescoed frie:e fro7 a to7b near the Porta Ca ena in /o7e, no5 in the 3o4vre: see 2. )ran )a7 )inh, Catalogue des peintures romaines M'atium et CampanieR du mus5e du 'ou)re FParis, 19H%K, . HIJHH, no. P#H, and fi"s. 56JL1. %1. (ee .. M. C. )oynbee, 8he *adrianic School FCa7brid"e, 19#%K. %I. 0n the co7 le> history of cre7ation and inh47ation in /o7an +taly, see /. )4rcan, O0ri"ines et sens de l;inh47ation T l;[ o94e i7 [riale,P RF" L$ F1956K? cf. -. &. ,ock, OCre7ation and B4rial in the /o7an *7 ire,P *8hR I5 F19#IK? =. &avies, OB4rial in +taly 4 to -4"4st4s,P in 7urial in the Roman 2orld, ed. /. /eece F3ondon, 19HHK. Get a sarco ha"4s Odoes not al5ays i7 ly inh47ation,P as ,ock ointed o4t, citin" e>a7 les of sarco ha"i containin" ashes, or even ash 4rns Fo . cit., . ###? 5ith earlier biblio"ra hyK. %#. K. (chefold, O3a force cr[atrice d4 sy7bolis7e f4n[raire des /o7ains,P R" I F19L1K, treats the roble7 as a 5hole? cf. +. -. /ich7ond, "rchaeology and the "fterB'ife in 1agan and Christian +magery F0>ford, 195$K, . %$, on the &ionysiac sarco ha"i: O-rtistically and intellect4ally Dtheir treat7entE de7onstrates 5hat /o7an humanitas co4ld do 5ith =reek reli"io4s conce tions by resha in" the7 to fit and to e> ress ne5 s irit4al needs and as irations.P (ee also P. Blo7e, O]4r U7"estalt4n" "riechischer Mythen in der rX7ischen (e 4lkralk4nst: -lkestis<, Protesilaos<, 4nd Proser inasarko ha"e,P RM 65 F19H6K? 8. .4n", O]4r 2or"eschichte des s @tantoninischen (til5andels,P Marb21 F196%K: H1 Fcitin" the n47ero4s ertinent st4dies of /oden5alt and Bianchi BandinelliK? and, fro7 another ers ective, K. =alinsky, O2er"il;s /o7anitas and 8is -da tation of =reek 8eroes,P in "-R2 ++.#1.I. (ee, 7ost recently, the a ers fro7 the session OMito "reco nell;arte ro7anoP in the -tti del +1 Con"resso della A.+.*.C. F1969K, 4blished in St+t%ilCl 65 F199IK. %%. (ee the s4rvey of scholarshi resented in Koch and (ichter7ann, R3mische Sarkophage. %5. +t shall beco7e clear in the ens4in" disc4ssion that the conce tion of ty olo"y ro osed here differs fro7 that often e7 loyed by o4r =er7an collea"4es, 5ho narro5ly 4se the ter7 to refer to the re ertory of vis4al 7otifs fo4nd on these 7on47ents? cf. the 7aterials cited in nn. HJ6, above, and see, f4rther, the co77ents of (ichter7ann in "SR 1++.I, . %H and n. I%9? &. Billers, O2o7 *tr4skischen :47 /X7ischen: ,och ein7al :4 eine7 ( ie"elrelief in Malib4,P 6ettyMus/ 1% F196LK: es . #5J#L? and, for a 7ore sy7 athetic acco4nt, )4rcan, O&[for7ation des 7od\les.P %L. 8. Brede, Consecratio in %ormam 0eorumD >erg3ttlichte 1ri)atpersonen in der r3mischen Kaiser$eit FMain:, 1961K. (ee also the trenchant revie5 by )4rcan in 6nommon 5% F196IK: LHLJL6#? and that by ,orth, O)hese 8e Cannot )ake.P

&. The Myth)

/ermogene). B4t 5hat is the 5ord OheroPW Socrate). )hat is easy to 4nderstand? for the na7e has been b4t sli"htly chan"ed, and indicates their ori"in fro7 love.

/ermogene). Bhat do yo4 7eanW Socrate). Bhy, they 5ere all born beca4se a "od fell in love 5ith a 7ortal 5o7an, or a 7ortal 7an 5ith a "oddess.M

3ove affairs bet5een "oddesses and 7ortals 5ere fra4"ht 5ith diffic4lties. Caly so rotests the 7isfort4nes of those "oddesses 5ho fell in love 5ith 7en 5ith the follo5in" 5ords: Cr4el are yo4, 0 "ods, and 94ick to envy above all others, seein" that yo4 be"r4d"e "oddesses that they co4ld 7ate 5ith 7en o enly, if any takes a 7ortal as her dear bed< fello5. )h4s, 5hen rosy<fin"ered &a5n took to herself 0rion, yo4 "ods that live at ease be"r4d"ed her, till in 0rty"ia chaste -rte7is of the "olden throne assailed hi7 5ith her "entle shafts and sle5 hi7. )h4s too, 5hen fair<tressed &e7eter, yieldin" to her assion, lay in love 5ith +asion in the thrice< lo4"hed fallo5 land, ]e4s 5as not lon" 5itho4t kno5led"e of it, b4t s7ote hi7 5ith his bri"ht th4nder<bolt and sle5 hi7. -nd even so a"ain do yo4 no5 be"r4d"e 7e, yo4 "ods, that a 7ortal 7an sho4ld abide 5ith 7e.D1E ]e4s;s 7essen"er has j4st arrived bearin" the co77and that 0dysse4s be allo5ed to contin4e his jo4rney. Caly so be5ails the 4nj4stness of his decree, for the desire of "oddesses 5as contin4ally infla7ed by 7ortal 7enCes ecially those in the ri7e of yo4th. )o the list of love affairs roclai7ed by Caly so, other ancient a4thors added those of - hrodite and -donis as 5ell as (elene and *ndy7ion: -s for the "oddesses, 5ho7 do they carry offW +s it not the 7ost bea4tif4l 7enW Certainly they live to"ether 5ith the7: &a5n 5ith Ce hal4s, Cleit4s, and )ithon4s, &e7eter 5ith +asion, - hrodite 5ith -nchises and -donis.DIE -nd did not -donis, as he fed his shee 4 on the hills, drive the fair Cytherea to s4ch fren:y that even in death she 4ts hi7 not fro7 her breastW Aort4nate in 7y eyes *ndy7ion, 5ho slee s the slee 4nt4rnin".D#E ,ever 5ere "oddesses 7ore stricken than - hrodite and (elene. Get 4nlike the 7any loves of .4 iter, neither affair 5as a violent sed4ction. Both these divinities 5ere char7ed by the bea4ty of a yo4n" she herd: Cy ris lost her 5its for a neatherd and tended herds 4 on the hills of Phry"ia, and loved -donis in the thickets, and in the thickets 7o4rned hi7. Bho 5as *ndy7ionW 5as not he a neatherdC5ho7 (elene loved as he tended his kine, and ca7e fro7 0ly7 4s thro4"h the "lades of 3at74s to lie 5ith her darlin"WD%E Corres ondences are also fo4nd bet5een the t5o bea4tif4l divinities 5ho descended to earth to take their leas4re 5ith these 7ortal yo4ths. Bhile Pl4tarch s eaks elli tically of the Orese7blanceP of (elene and - hrodite,D5E in Macrobi4s one finds an e> licit identification of one 5ith the other.DLE -nd 34cian 7akes lain the si7ilarity of the t5o "oddesses, their desires, and their redica7ents: O(o ho5 can one find fa4lt 5ith - hrodite for bein" 4nfaithf4l to her h4sband, or 5ith (elene for "oin" do5n to

visit *ndy7ion ti7e and a"ain in the 7iddle of her jo4rneyWPDHE Both these Olove<str4ckP deities FpothobletosK are Odyin" of loveP Fapollumai hupo tou erotosK,D6E (elene havin" taken her c4e fro7 - hroditeCindeed she has 7odeled herself on 3ove;s "oddess. -s she is led by erotes to *ndy7ion;s side, she takes on the role of the sed4ctress co77only associated 5ith - hrodite. (elene is also often re resented 5ith one of her breasts bared, a 7otif derived fro7 the ty e of the O2en4s =enetri>P that si"nals her assi7ilation a7on" the follo5ers of - hrodite.D9E Get - hrodite 5as described as bein" adorned in "ar7ents that shone Olike (elene,PD1$E and the -donis tale 7i"ht si7ilarly o5e a debt to that of *ndy7ion, for the t5o heroes; fates have affinities as 5ell. +ndeed, held fast by - hrodite;s e7brace, the 5o4nded -donis Okno5s not that she has kissed hi7P and a ears Olovely in death as if he 5ere aslee .PD11E )he astoral settin" of each of these loves is s4ff4sed 5ith the 94iet lan"4or consonant 5ith s4ch liaisons. Get this tran94illity 5ill be shattered by the s4dden and violent death of -donis, and transfor7ed as *ndy7ion is cons47ed by that endless sl47ber the ancients re"arded as the t5in brother of death. By a slee like death 5as - hrodite;s love for -donis th5arted? by deathlike slee 5as (elene;s allo5ed. 0f the n47ero4s =reek 7yths that reco4nt the loves of fe7ale divinities for 7ortal 7en, only these t5o 5ere ada ted by the /o7ans as s4bjects a7id that "reat re ository of 7ytholo"ical i7a"eryCthe sc4l ted reliefs on 7arble sarco ha"i. =reek 7ytholo"y beca7e a s4bject for the sc4l ted fronts of /o7an sarco ha"i 5hen, beca4se of a chan"e in b4rial ractice, /o7an artists be"an to devise coffins 5ith sy7bolic decoration s4itable for the inh47ation of the dead. )he sarco ha"i resented a rofo4nd inter retation of the 7yths 5ithin a co7 le> 7ode of narration, and the e7 loy7ent of the tales in a se 4lchral conte>t e7 hasi:ed their sy7bolic si"nificance. 0n these 7on47ents, i7a"es of s4dden violent death and endless tran94il slee ass47ed ne5 "rande4r 5hen they served as vehicles to e> ress both a conce tion of death and the 7e7oriali:ation of life. +n this f4nerary conte>t the t5o yo4n" heroesC-donis and *ndy7ionC layed the ri7ary roles in these 7ytholo"ical narratives, since they offered cons ic4o4s analo"ies for the co77e7oration of the dead. -donis rovided a literal heroic i7a"e of death, 5hile *ndy7ion offered an evocative 7eta hor of the afterlife. )he contrast of these t5o distinctive 7odes of all4sion f4rnishes an e ito7e for the 7ytholo"ical sarco ha"i as a 5hole. )he stories of -donis and *ndy7ion also rovide the fo4ndations for a st4dy of the ty olo"ical relationshi s bet5een 7ythsCsince, as s4rvivin" classical te>ts s4""est, the ancients re"arded the t5o heroes, and their "oddesses as 5ell, as co7 le7entary. Get these relationshi s 5ere "iven f4ller elaboration on the sarco ha"i, 5here the vis4ali:ation of the 7yths lent that co7 le7entarity al able for7. -s the follo5in" cha ters de7onstrate, the for7al and icono"ra hic si7ilarities bet5een the re resentations of the 7yths on the sarco ha"i e>tended even to the 7ore idiosyncratic e>a7 les of each ty e, those res47ably ada ted to the s ecific de7ands of individ4al clients. +ndeed, these 4ni94e re resentations not only reveal 4ne> ected affinities bet5een the 7yths and their rota"onists b4t introd4ce ty olo"ical relationshi s 5ith other 7yths that e> and and e>tend the si"nificance of the dra7as they enact.

Note)
1. 8o7er, ,dyssey, 2.116ff., trans. -. ). M4rray F5ith *n"lish 7oderni:edK, 'C' ed. F3ondon and Ca7brid"e, 19L$K? cf. 8esiod, 8heogony, 9L#J1$I$? and see the disc4ssion in &. &. Boedeker, "phrodites Fntry into 6reek Fpic F3eiden, 19H%K, . L6f. I. -thenae4s, 0eipnosophistae, 1+++.5LL&, trans. C. B. =4lick, in 'C' ed. F3ondon and ,e5 Gork,

19IHJ%1K. #. )heocrit4s, +dylls, +++.%6ff., trans. -. (. A. =o5 FCa7brid"e, 195$K. %. )heocrit4s, +dylls, 11.#%ff. 5. Pl4tarch, "matorius DZ Moralia, HL%&E. L. D2enere7E esse l4na7: Macrobi4s, Saturnalia, +++.6.#, citin" the "tthis of Philochor4s Fearly third cent4ry B.C.K. H. 34cian, 0e Sacrificiis, 2++, trans. -. M. 8ar7on, in 'C' ed. F3ondon and Ca7brid"e, 19%HK. 6. ,onnos, 0ionysiaca, +2.II5, trans. B. 8. &. /o4se, in 'C' ed. F3ondon and Ca7brid"e, 19%$K? and 34cian, 0ialogi 0eorum, 1+1 F11K.I#I, trans. M. &. Macleod, in 'C' ed. F3ondon and Ca7brid"e, 1951K. 0n the Olove<str4ckP state of these "oddesses, see 2. Pestalo::a, O(elene e la 7itolo"ia l4nare nel 7ondo reli"ioso reellenico,P "cme L F195#K: #5H? cf. )heocrit4s, +dylls, +++.%6ff. and 11.#%ff. 9. 0n the bare<breasted 2en4s =enetri>, see =. M. -. /ichter, 8hree Critical 1eriods in 6reek Sculpture F0>ford, 1951K, . %%, 51, and 59. 1$. *omeric *ymn to "phrodite, 69. 11. Bion, +.1%, H1, trans. .. M. *d7onds, in 'C' ed. FZ 8he 6reek 7ucolic 1oets D3ondon and ,e5 Gork, 191IEK.

0. "doni)1) Tale
-donis;s tale 5as an old one. )he 7yth, evidently of oriental ori"in, had been told and retold by the =reeks in a variety of for7s. )he /o7ans ado ted and ada ted the tale, and by the 7id second cent4ry C5hen the sarco ha"i that are the foc4s of this st4dy be"an to be rod4cedCthe story a ears to have been a7on" the 7ost vital e>a7 les of 7ytholo"y, one that fo4nd artistic e> ression in a 5ide ran"e of /o7an re resentations, both literary and vis4al.D1E )he ab4ndant literary so4rces that s4rvive testify to the tale;s 5ide disse7ination and its a earance in diverse "enres. )he 7yth co7 rised an elaborate narrative se94ence, 5hose ele7ents 5ere e>tracted, and at ti7es a7 lified, for resentation in ne5 conte>ts. (o7e of the literary so4rces offer 7ere all4sions to the 7yth in the roverbial for7 associated 5ith co77on laces abo4t the affairs of the "ods.DIE -7on" the so4rces are also fo4nd ancient co77entaries on these all4sions, s4ch as the e> lications rovided in the scholia to )heocrit4s.D#E (till others resent atte7 ts at realistic, or Ohistorical,P acco4nts of the 7yth: so7e ancient a4thors reco4nted the "enealo"y of the ancient hero, D%E 5hile others atte7 ted to fi> "eo"ra hically the site of the river into 5hich he 5as 7eta7or hosed. D5E )he 7yth also a ears in ancient te>ts as a sy7bol or 7eta hor, th4s s4""estin" a basic kno5led"e of the tale on the art of the a4thors; a4dience as 5ell as a consens4s abo4t its broad si"nificance and a licability in s4ch a for7.DLE -nd, finally, in so7e instances the tale of - hrodite and -donis for7s a to os that served as the ins iration for literary co7 osition.DHE )he 7ost e>tensive acco4nt of the -donis 7yth is that "iven by 0vid in his Metamorphoses. B4t even this 74st be co7bined 5ith ele7ents fo4nd in vario4s other so4rces to rovide a co7 lete, if synthetic, narrative of the life and death of the hero. )he narrative be"ins 5ith a tale of illicit assion, dece tion and their 4nfort4nate conse94ences.D6E Myrrha, da4"hter of Kin" Cinyras, 5as over5hel7ed 5ith desire for her father. Bith the aid of her n4rse, she contrived to deceive hi7, and, takin" advanta"e of his dr4nkenness, f4lfilled her e>trava"ant assion 4nder the cover of darkness. )he assions of the father once incited, the act 5as re eated a"ain

and a"ain. Ainally, j4st as Psyche;s discovery of C4 id had led to disaster, so the 4n5ittin" kin", ea"er to kno5 his consort, bro4"ht li"ht to his bed and discovered his da4"hter. Chased fro7 the alace by her o4tra"ed father, Myrrha leaded 5ith the "ods to take her fro7 both life and death, and they heard her etition. (he 4nder5ent a 7eta7or hosis, and -donis, the offs rin" of this incest4o4s 4nion of father and da4"hter, 5as born fro7 the 7yrrh tree into 5hich his 7other had been transfor7ed. )his first section of the f4ll vita has the for7al character of an inde endent tale, 5hose central fi"4re is the hero;s 7other, and 5hose real foc4s is her assion, and her fate. -donis;s assion and fateCalon" 5ith the divine ardor he ins iredCe7er"e a7id the story of this 7ortal yo4th beloved by a "oddess: *>cited by the bea4ty of a 7ortal, no 7ore does she D- hroditeE care for the shores of Cythera, nor does she seek a"ain Pa hos s4rro4nded by the ocean dee , nor Cnidos 5ith its ab4ndance of fishes, nor -7ath4s laden 5ith recio4s 7etals. (he avoids even the sky: -donis is referred to heaven. (he binds hi7 to her, she is his co7 anion.D9E B4t the assion of 7ore than one divinity 5as infla7ed by the yo4n" -donis. ,ot only - hrodite 5as overco7e by his bea4ty, b4t Perse hone as 5ell. 0ther ancient so4rces describe ho5 the t5o "oddesses dis 4ted for his co7 anionshi and ho5 .4 iter intervened to resolve their dis 4te by the decree of an ann4al cycle in 5hich -donis assed fro7 the 4 er to the lo5er real7, his life arceled o4t bet5een his t5o ara7o4rs.D1$E - hrodite 5arned -donis of the dan"ers of h4ntin" 5ild beasts, b4t the yo4th failed to heed her co4nsel. +"norin" her 5arnin", -donis 5as dra5n to the h4nt, killed by a 5ild boar, and at his death transfor7ed into a flo5er. -ccordin" to other versions of the 7yth, -donis;s death res4lted fro7 his havin" inc4rred the 5rath of other "ods, and both -rte7is and -res 5ere at ti7es held res onsible for his de7ise.D11E )he f4ll 7ytholo"ical se94ence is closed by the elaborate ann4al rit4al of 7o4rnin" instit4ted by - hrodite in re7e7brance of -donis;s death, the "donaia.D1IE +n this celebration of - hrodite;s love for the 7ortal yo4th, 5o7en reveledCeven if, like the "oddess, only brieflyCin the re<creation of that love;s erotic, sens4al, indeed licentio4s as ects. )here 5ere rites of 4rification, and there 5as feastin", follo5ed by la7entations, for 5hich the 5o7en cli7bed to the roofto s, 5here they san" dir"es over their s7all O"ardens of -donis,P the yo4n" lantin"s 5hose brief life 5o4ld be sy7bolically e>tin"4ished in the heat of the s4n. )h4s, as this botanical sy7bolis7 re<enacted -donis;s brief life, it echoed the 7eta7or hic cycle fro7 tree to flo5er 5ithin 5hich the 7ythic action is set. -ccordin" to le"end, these rites c4l7inated, albeit sy7bolically, in -donis;s res4rrection. N N N

The repertory o* image)

.4st as in the 7ajority of ancient te>ts, 5here ele7ents fro7 the overall vita 5ere e>tracted and re resented on their o5n, so too in the case of the 7on47ents. Most instances of the 7yth in the vis4al arts re resent sin"le e isodes.D1#E (o7eti7es these are characteri:ed by an e i"ra77atic concision si7ilar to that 5hich 7arks 7any literary all4sions to the 7yth.D1%E 0ther i7a"es, isolated fro7 their narrative conte>t, see7 to have been intended to ro7 t one;s recollection of the 7yth as a 5hole.D15E (c4l ted /o7an sarco ha"i foc4s, as is only a ro riate, on -donis;s death, as the cor 4s of s4rvivin" e>a7 les that re resent the 7yth reveals.D1LE Get other as ects of the tale, also ertinent in a f4nerary conte>t, fo4nd no lace in the story told by these 7on47ents. )he ro7ance of the yo4th and the "oddess, the "oddess;s 4r"ent desire, and the i7 licit eroticis7 of the co4 le;s loveCeach so elo94ently e> ressed by 0vidC lay a 7inor role on the sarco ha"4s reliefs. ,or does any reference to -donis;s incest4o4s ori"ins have a art. -nd the the7e of 7eta7or hosis, so f4nda7ental to the

0vidian acco4nt, 7akes no a earance either. 0n the sin"le e>tant e>a7 le that incl4des the Perse hone e isode, one of the 7ajor variants reco4nted by the =reek so4rces, this ele7ent of the fable is rele"ated to the ends of the casket 5here the scene a4"7ents b4t does not alter the si"nificance of the 7yth as it 5as e7 loyed in the se 4lchral conte>t.D1HE Ainally, re resentations of the "donaia, described in "reat detail by Bion and other =reek so4rces s4rely kno5n in the /o7an 5orldCand 5ith their i7a"ery of rebirth, see7in"ly so 5ell s4ited to a f4nerary settin"Cthese too never a ear on the sarco ha"i.D16E )h4s the sarco ha"4s reliefs; re resentation of the 7yth had a 4ni94e character. Aor this selective rendition the artists e>cer ted the three scenes that ertained to the death of -donisChis de art4re for the h4nt des ite - hrodite;s 5arnin"? the 5o4ndin" by the boar? and his death in the "oddess;s ar7sC and resented this ortion of the 7yth in the condensed for7 of an e ito7e. )he tale;s f4ll co7 le>ity, trans7itted by the n47ero4s so4rces, re7ained art of the literary back"ro4nd and layed scarcely any direct role in the for7 the tale ass47ed as it 5as ada ted on the sarco ha"i. Aor it 5as the death of the hero that rovided the ty e: the close of -donis;s lifeCnot the close of the co7 lete 7ytholo"ical narrative in 5hich that life 5as e7beddedC5as linked to the death -donis 5as enlisted to co77e7orate. 0ne of the oldest of the -donis sarco ha"i, a relief that 7ay be dated circa 15$J1L$, is no5 fo4nd at the Casino /os i"liosi in /o7e FAi". %K.D19E 0n its front anel the story is told in the three scenes that co7 rised the standard re ertory, and 5hich follo5 each other across the sarco ha"4s;s front fro7 ri"ht to left. +n the first of these, at the far ri"ht, 5e see -donis abo4t to de art for the h4nt des ite - hrodite;s 5arnin". -t the center, cons ic4o4sly lar"er, is the de iction of the boar h4nt and the 5o4ndin" of -donis. -t the left, finally, -donis lan"4ishes at the oint of death in the ar7s of his "oddess, in the co7 any of her attendants, 5ho stand by hel lessly. )he re resentation of each of these three events is desi"ned so as to a ear se arated fro7 the ne>t. )he t5o scenes at either end are desi"nated as interiors by a parapetasma stretched behind the fi"4res that distin"4ishes the7 fro7 the landsca e settin" of the h4nt scene bet5een the7.DI$E -ll three are fra7ed as 5ell by the oses of the fi"4res, 5ho foc4s their attention, and the beholder;s too, on the individ4ated incidents of the tale de icted side by side. )his effectively rovides a transition bet5een scenes, as the shift fro7 one to another is 7arked by a s4dden reversal of the fi"4res; orientation. *ach of the scenes e7 loyed for the vis4ali:ation of this tale 5as co7 osed on the basis of established fi"4ral 7otifs.DI1E )his ori"in of the i7a"ery acco4nts for both the vis4al and icono"ra hic differences that se arate the three scenes. )h4s, in the contin4ity of the frie:e as a 5hole, each de icted 7o7ent of the tale e>4des the for7al character of an inde endent tablea4. *ach of the scenes is treated as if it 5ere a 4nit self<contained, 5itho4t a necessary relationshi to the others, and this serves to e> lain the s4btle chan"es in scale bet5een the7. -nd in this fashion each of the three scenes is i7b4ed 5ith a for7al clarity that is essential for the evocation of the narrative;s sy7bolis7 and the establish7ent of its f4nerary si"nificance. N N N

The depart,re
+n the first of the three scenes, the de art4re, the lovers confront one another face<to<face FAi". %K. )he distinction bet5een the "oddess and her 7ortal lover is inscribed, in both their oses and their stat4res. - hrodite a ears the taller of the t5o, and th4s able to confront -donis face<to<face, even tho4"h she sits 5hile he stands. )his s4btle distinction in hysical scale s4""ests the 4ne94al relationshi bet5een "oddess and 7an.

Bith si7ilar "est4res they debate the yo4th;s intentions. Get the differences to be read in these "est4res are additional si"ns of their i7 endin" se aration, of the diver"ent nat4re of their assions. -s -donis t4rns back to5ard - hrodite, he si"nals his de art4re 5ith his o4tstretched hand? 5ith hers, the "oddess reaches o4t and enjoins hi7 to stay.DIIE 0n several of the reliefs FAi"s. 5JHK -donis a ears n4de before the dra ed "oddessDI#ECa characteristic reserved on the Casino /os i"liosi sarco ha"4s FAi". %K for the t5o other scenes. Aor altho4"h it is - hrodite 5ho is so often fo4nd n4de in ancient 5orks of art, 5here her hysical bea4ty serves as a fittin" attrib4te for the "oddess of love, here n4dity characteri:es her 7ortal lover. 8ere he is the object of desire and the fi"4re of se>4al all4re, 5ith 5ho7 - hrodite has so ho elessly fallen in love. -donis;s n4dity is another si"n, erha s the clearest, of the artificial, sy7bolic character of the scene. +n the conte>t of the 7yth, n4dity is his ro er costume, and in and aro4nd its cons ic4o4s dis lay are condensed the t5o conflictin" as ects of the tale.DI%E 0n the one hand, this n4dity stands for the erotic nat4re of their divinely "ifted 4nion. +t sy7boli:esCindeed literali:esCthe a eal of kalos "donis, to 5ho7 the "oddess is so assionately dra5n. 0n the other hand, -donis;s n4dity is a si"n of the innately heroic character of the 7ortal yo4th. -s his nakedness distin"4ishes hi7 fro7 the other fi"4res 7ore ro erly attired for the h4nt, it recalls =reek heroic for7s and the ideals they re resent and th4s serves as a vis4al 7eta hor for his heroi:ation.DI5E )hese relations of scale, of ose, and of n4dity and dress are all for7s of abstraction. )hey s4btly divorce the actions and the 7otifs 5ith 5hich they are de icted fro7 the s ecific narrative content of the 7yth. )hey are the st4ff of art, not life? their 4sa"e 4nder7ines a res onse to the i7a"e that is confined to the cate"ories of nat4ralistic re resentation, 5hich s4ch for7s of abstraction so clearly contradict. )hese abstractions enlar"e the i7a"e;s fra7e of reference, for they render the essence of the characters; nat4res and interrelationshi s as "eneral 94alities. (4ch abstractions constit4te a distinctive 7ode of vis4al re resentation, one that di7inishes the roles of the rota"onists as s ecific individ4als and instead e7 hasi:es their roles as ty es.DILE -nd as the ty es e7er"e 5ith "reater clarity, the the7es they are 7eant to evokeCherois7, eroticis7, and above all, )irtusCare 7anifest 5ith corres ondin" force. )h4s these abstractions introd4ce to the i7a"es another 7odality, 5hich itself conveys additional si"nificance. )hese abstractions are not derived fro7 the 7yth, in the sense that they serve as as ects of its re resentation. /ather, they are intended to s4""est those f4nda7ental traits and ideas that the tale and its rota"onists are held to e>e7 lify. )hese abstractions evokeCby association and by analo"yC the "rander sche7e of si"nificance in 5hich the re resentation of the 7yth is 7eant to o erate. By these 7eans the desi"ners of the reliefs have contrived to establish the vis4al co7 osition accordin" to the "eneral str4ct4re of the lot, as o osed to the details of the story. OBhat ha enedP takes recedence over the s ecificity of O5ho did 5hat, and to 5ho7P? the "eneral nat4re of events redo7inates over the s ecific actions of individ4al characters in artic4lar tales.DIHE )he e7 hasis on lot is confir7ed by this for74la of contrastin" fi"4resCfe7ale and 7ale, seated and standin", dressed and n4deC5hich d4 licated the one established for the re ertory of sarco ha"4s reliefs re resentin" 8i olyt4s;s ref4sal of Phaedra, a scene that foc4ses on a si7ilar clash of diver"ent assions. )he a earance of - hrodite, re"ally enthroned, de ended on the role the sa7e 7otif layed in the re resentation of Phaedra, 5ho sits, 5ith an eros in the ose of (ko as;s fa7o4s 1othos at her knee, and declares her love for 8i olyt4s, 5ho stands before her FAi". 6K.DI6E Both 7yths tell of Olove<str4ckP heroinesChel less in the throes of a assion 5hose f4lfill7ent is denied the7C5hose leas to their lovers are i"nored. )his sa7e the7e 4nderlies the 4se of identical i7a"ery in re resentations of the t5o tales.DI9E

/o7an aesthetics 5as 7arked by an a reciation of s4ch borro5in"s, and /o7an art often e> loited s4ch d4 lications of for7 for the 4r ose of dis lay. Characteristic is a cons ic4o4s taste for aired stat4ary, for e>a7 le, the aired stat4es of Merc4ry and Mars fro7 the canopus of 8adrian;s 2illa at )ivoli.D#$E )here the sa7e constit4tive ele7ents of a co77on ose, derived fro7 a fifth<cent4ry rototy eCtorso, le"s, and e>tended ri"ht ar7C5ere e> loited e94ally for i7a"es of the t5o deities. D#1E )he intentio, "iven the conte>t of their discovery, 5as clearly to establish a visible corres ondence bet5een the t5o, 5ho are then distin"4ished by the ro7inent role "iven to their individ4al attrib4tes. B4t in the case of the - hrodite and Phaedra sarco ha"4s reliefs, the inde endence of the i7a"es fro7 a joint conte>t and the absence of individ4atin" attrib4tes s4""est that the intentio of their vis4al si7ilarity 5as to establish an intellect4al corres ondenceCone of analo"y. )he basic ele7ents of the t5o i7a"esCthat co7 le7ent of for7s that constit4te the 7otifs they shareCth4s 5ere held to si"nal, not 7erely one story or the other, b4t the f4nda7ental h47an relations e>e7 lified in each scene and evoked by the fi"4ral ty es.D#IE )his interchan"eability inti7ates the desi"ners; co"ni:ance of a arallel bet5een both the rota"onists and the lots of the t5o 7yths. Moreover, the i7 lied analo"y s4""ests that the cr4cial sense of the scenes transcended the details that distin"4ished the artic4lar stories. N N N

The boar h,nt

)he "est4res of - hrodite and -donis in the first scene on the Casino /os i"liosi sarco ha"4s FAi". %K also s4""est the te7 oral di7ensions of the frie:e as they 94ite literally oint the 5ay to5ard the adjacent de iction of -donis;s s4bse94ent fate. )his is the boar h4nt, 5hich clai7s riority a7id this re resentation of the cycle not only for its centrality b4t for the considerably lar"er ortion of the relief it fills. )he i7a"e conflates a se94ence of 7o7ents and actions: the boar is sho5n attackin" s4ddenly fro7 its lair? -donis has already fallen 5o4nded, "ored in the thi"h? and his co7 anions and their do"s atte7 tCtoo lateCto fi"ht off the beast. )he da7a"e has been done, b4t -donis has not yet been van94ished. -ltho4"h 7ortally 5o4nded, the yo4n" hero is de icted risin" 4 on his knees and raisin" an o4tstretched ar7, as if to 5ard off the final assa4lt of his foe, like 7any another ancient 5arrior s477onin" his re7ainin" stren"th to 7ake a Olast<ditch stand.PD##E &es ite his i77inent death, to 5hich his assion for the h4nt has led hi7, his )irtus shines forth in his ref4sal to s4cc47b 5illin"ly to his fate.D#%E - "ro4 of si> sarco ha"i resents a variation of the h4nt scene. 0n these reliefs -donis lies sl47 ed at the center, his a arently lifeless body s4 orted by the ar7s of his co7 anions, and - hrodite 7akes a frantic a earance at the scene FAi". 5? cf. Ai". 9K.D#5E 8er entrance offers the co4nter art to the char"e of the boar, and to"ether "oddess and beast fra7e the fallen fi"4re of -donis. )he arrival of - hrodite at the side of her dyin" lover e> ands still f4rther the te7 oral di7ensions of this central scene. Aor 0vid tells ho5, havin" learned of -donis;s tra"edy, she h4rried to his side and s ran" fro7 her s5an<dra5n car, in visible a"ony at the si"ht of the yo4th, Ohis lifeless body lyin" a7id his o5n blood.PD#LE 8er intr4sion on these reliefs reclai7s for their vis4al narratives an as ect of the tale that had been i"nored. -s the te>t4al so4rces clearly indicate, - hrodite;s arrival constit4tes the first 7o7ent of a s4bse94ent scene 5hose later 7o7ents 7ay be re resented on those sarco ha"i 5here - hrodite leans over the body of -donis, takin" hi7 in her ar7s for the last ti7e FAi". LK. - hrodite 7akes no s4ch a earance on sarco ha"i of earlier date.D#HE /ather than allo5 her incl4sion to alter the established scene, the artists have erfor7ed an in"enio4s s4bstit4tion, one that 7ay have been ins ired by the si7ilar a earance of the ersonified fi"4re of 2irt4s on the 8i olyt4s sarco ha"i.D#6E )he onr4shin" fi"4re of - hrodite has see7in"ly inherited the osition, the ose, and

the "est4res of one of the h4nters 5ho conventionally a ear on the reliefs Fcf. Ai". % 5ith Ai"s. 5 and 9K. )he si"nificance of his raised ar7, oised to h4rl his 5ea on, 4nder"oes a for7 of inversion, and the "est4re beco7es a si"n of her horror and an e> ression of her "rief.D#9E )he "est4reCthe raised ar7 5ith o en al7C rovided a pathosformula that served as the hysio"no7ic si"nal of her an"4ished 7ental state.D%$E )he dra7atic fi"4re of - hrodite increases the athos of the scene and reinforces the contrast bet5een this i77ortal and her no5<fallen lover. 8er resence i7b4es the scene 5ith the vivid contrast, central to the entire cycle of i7a"ery, bet5een her fate and that of -donis. )he an"4ish of the "oddess at the death of the hero discloses that, des ite her assion, her divine o5ers have failed to save hi7 fro7 the erils of his 7ortality. N N N

Exem l!m "irt!tis

)he foc4s of the h4nt scene is the confrontation bet5een 7an and beast. )he idea of the h4nt as a 7eta hor of battle had a lon" and venerable history.D%1E +t 5as tho4"ht to rovide Oan e>cellent trainin" in the art of 5ar,P as 1eno hon had clai7ed in the fo4rth cent4ry B.C.D%IE +n the sa7e eriod that sa5 the rise of sc4l ted sarco ha"i, the boar h4nt beca7e a sta le of +7 erial icono"ra hy, as it entered the 8adrianic tri47 hal re ertory in the early second cent4ry.D%#E ,ot only did the boar h4nt a ear in the 7on47ental ro4ndels that no5 e7bellish the -rch of Constantine, b4t 8adrian also iss4ed bron:e 7edallions 5ith very si7ilar icono"ra hy.D%%E )hat the h4nt contin4ed to lay this role in se 4lchral sy7bolis7 is attested by the n47ero4s sarco ha"i 5hich "ive ro7inence to si7ilar i7a"es of the 4rs4it of other 5ild beasts, artic4larly the lion, as 5ell as those re resentin" the tales of boar h4nters s4ch as -donis or Melea"er.D%5E )he h4nt 5as not only the foc4s of the 7ytholo"ical re ertories, for its fa7iliar 7otifs 5ere detached fro7 their narrative conte>ts and allo5ed to stand in isolation. +n this sense the dead boar co4ld even serve as a 4nnin" 7eta hor of )irtus on a rivate "ravestone, to all4de to the deceased as alter Meleager FAi". 1$K.D%LE +n all these instances the h4nt served as an e>e7 l47Cas both a si"n of )irtus and a 7odel for cond4ct.D%HE )he consistent and cons ic4o4s 4blic dis lay of these i7a"es s4""ests their f4nction as paradeigmata.D%6E )he o5er of s4ch e>e7 la lay in the ability of individ4al instances to de7onstrate a "eneral r4le, and to acco7 lish this s4fficiently 5ell so that their intended 4blic 7i"ht be ca able of reco"ni:in" the si7ilarity.D%9E )he 7ytholo"ical e>e7 la ill4strate ancient events, 5hich, as they 5ere contin4ally held 4 for e74lation, 5ere contin4ally a ro riated to serve ne5 4r oses in ever ne5 conte>ts. -nd 5hatever the conte>t into 5hich they 5ere inserted, they i7 osed a ne5, s ecific, fra7e of referenceZ7as it 5ere, fro7 5ithin. )h4s these 7ytholo"ical e>e7 la served as aradi"7s for the essentially 7i7etic character of h47an action. 0nly 5hen envisioned in the li"ht of the le"endary e> loits of heroes and "ods can s4ch h47an actions disclose their f4ll si"nificance and take their ri"htf4l lace in the scale of h47an val4es vo4chsafed by hallo5ed traditions.D5$E )he 4se of e>e7 la layed a f4nda7ental role in the rhetorical trainin" of anti94ity, es ecially in the O reli7inary e>ercises,P or progymnasmata, 5hich 5ere the standard co4rse st4died by /o7an yo4ths be"innin" as early as the second cent4ry B.C. and contin4in" 5itho4t interr4 tion into late /o7an ti7es.D51E -7on" these e>ercises the e>e7 lary character of 7ythCand the ers4asive o5er of e>e7 la in "eneralCheld an i7 ortant lace, notably in the e>ercises kno5n as fabella, narratio, chria, and sententia.D5IE )rainin" in s4ch a c4rric4l47 no do4bt rod4ced, in addition to a ready fa7iliarity 5ith the standard rhetorical for74lae, a redis osition to think in ter7s of these for74lae. 0ne 5as trained not only to 4se e>e7 la effectively b4t to reco"ni:e and res ond to the7 5hen they 5ere e7 loyed.D5#E

)he transfer of e>e7 lary rhetoric fro7 the verbal to the vis4al real7 layed an act4al art in the c4rric4l47. FkphrasisCthe rhetorical techni94e of descri tion that 4r orted to resent vis4al i7a"es thro4"h the 7edi47 of 5ordsCa ears a7on" the progymnasmata by the first cent4ry a.d.D5%E B4t descri tions of i7a"es, aintin"s in artic4lar, had layed a cr4cial role in earlier literary for7s. )he 7ost notable is erha s the 8ellenistic ro7ance, 5here the enco4nter 5ith a ainted i7a"e establishes the the7e, if not the lot, that is abo4t to 4nfold.D55E )he vis4al e>e7 la on the 7ytholo"ical sarco ha"i co4ld e94ally lay clai7 to the ers4asive o5er that roficiency in these e>ercises 7i"ht event4ally rovide the 5o4ld<be orators. Aor beyond a s ecific skill in ek hrasis and the techni94es related to it, the orator;s transfor7ation of the verbal to the vis4al lay at the heart of his enter rise. -7on" the "reatest of the rhetorician;s skills 5as his ability to brin" the thin"s of 5hich he 5as s eakin" see7in"ly before the eyes of his listeners, so that these i7a"es 7i"ht be i7 rinted fir7ly on their 7e7ories.D5LE )his 5as no less the concern of the desi"ners of the sarco ha"4s i7a"esCand 5ill be the s4bject of a later cha ter. N N N

2eath in the arm) o* "phrodite

)he third scene on the Casino /os i"liosi sarco ha"4s re resents -donis;s death in the ar7s of - hrodite FAi". %K. 8ere the t5o rota"onists are de icted on the sa7e scale, and si"ns of affection re lace those of se aration. )he co4 le sit, e7bracin", their bodies 7irrorin" one another as they are joined to share a sin"le conto4r. 8ere the "oddess lovin"ly lays her hand 4 on the dyin" yo4th;s breast? on other reliefs she cradles his chin and caresses his cheek.D5HE )here are a n47ber of variants of this scene. )hree of the reliefs lack the calc4lated sy77etry of the end scenes dis layed on the Casino /os i"liosi relief. 0n these sarco ha"i the final 7o7ents of the dra7a a ear to take laceZ7as 5ell they sho4ld, accordin" to the so4rcesZ7o4tdoors Fcf. Ai"s. L and 11K. )hese scenes, as 5as ointed o4t above, confor7 7ore closely to the narrative, artic4larly as it is reco4nted in 0vidQs Metamorphoses. D56E 0n several of the sarco ha"i there are also indications of an atte7 t to tend -donisQs 5o4nds, as on the e>a7 le in Blera FAi". 5K, 5here a 5ashbasin lies at the co4 leQs feet. 0n so7e e>a7 les erotes take 4 the task FAi". 9K.DL$E -ll these i7a"es recall the laintive s irit of Bion;s 'ament for "donis, in 5hich the "oddess leads for a final kiss fro7 the e> irin" yo4th. +n each of these variants of the scene he dies in the ar7s of his divine ara7o4r, 5ho is hel less to 5rest hi7 fro7 his fate.DL1E )h4s the sarco ha"4s i7a"ery for the 7yth dra7ati:es a series of a arent fail4res: -donis;s ref4sal to heed co4nsel, his fail4re to kill the boar, and - hrodite;s inability to save hi7 fro7 death. Get -donis re7ains an eEemplum )irtutis beca4se he re resents a challen"e to the a5eso7e o5ers of inel4ctable Aate.DLIE *ven the desires of the "ods are s4bject to it, as the 7yth so lainly reveals. )he valiant deed of the heroChis bold acce tance of the deadly challen"e of the h4ntCis s4ndered fro7 its s ecific role in the 7ytholo"ical narrative, and stands as a si"n of character.DL#E )he e>e7 lary nat4re of the i7a"ery in its se 4lchral conte>t transfor7s this series of a arent fail4res into a vehicle of heroic sy7bolis7. +n offerin" a heroic i7a"e of death, the sarco ha"i th4s recast the vision of an individ4al;s life. Aor even 8erakles died? e)eryone dies. )hese i7a"es ackno5led"e that in 7e7ory it is the 94ality of lifeCand deathC that s4rvives and is 5orthy of co77e7oration and re7e7brance.DL%E )he a earance of the e7bracin" co4 le constit4tes the only reference on the sarco ha"i to that "reat eros that bo4nd to"ether "oddess and 7ortal. )he i7a"e of the intert5ined airCdes ite differences in its settin", in its ose, and above all in its obvio4s role in the narrativeCendo5s this artic4lar scene 5ith an e7otional tenor not 4nlike that of 0vid;s descri tion. )he oet tells ho5 - hrodite entreated -donis to lie 5ith her, and ho5, O illo5in" her head a"ainst his breast and 7in"lin" kisses 5ith her

5ords,P she tells hi7 the tale of 8i o7enes that concl4des 5ith her 5arnin" abo4t the dan"ers of the h4nt.DL5E )he 7otif re"4larly e7 loyed by the sarco ha"4s desi"ners for the final scene of his death in the "oddess;s ar7s is strikin"ly re7iniscent of scenes de ictin" the love of - hrodite and -donis in other 5orks of ancient art. +n the i7a"es dis layed on vases, in frescoes, and in sc4l t4re, the t5o lovers are often fo4nd 5ra ed in si7ilar e7braces, kno5n as symplegmata.DLLE +t 5as the for74laic 94ality of the 7otif that allo5ed )heocrit4s to ass47e his readers 5o4ld reco"ni:e the scene, in +dyll 12, 5here he s eaks of a ta estry de ictin" - hrodite and -donis as they recline to"ether in l4>4riant re ose.DLHE - very si7ilar scene co4ld be e7 loyed for the de iction of -donis;s final 7o7ents, as in a fresco fro7 Po7 eii FAi". 1#K. ,ot only is - hrodite discovered co4 led 5ith -donis in s4ch a ose, b4t this sa7e "eneric ty e of intert5ined fi"4res 5as also the standard for74la for the re resentation of all of her love affairs, and those of other "oddesses as 5ell.DL6E )h4s as the final e7brace of the t5o lovers de icts -donis;s death and - hrodite;s "rief, it recallsCif only s4btlyCthe i7a"ery of the "reat love they once shared and have lost. )he sarco ha"4s desi"ners clearly related this third and final scene of the cycle to the first of the se94ence. 0n a n47ber of the s4rvivin" -donis sarco ha"i, the first and third scenes are resented as endants that fra7e the scene of the yo4n" hero;s de7ise.DL9E Both re resent interior actions, indicated by the parapetasma stretched across the back of the relief "ro4nd FAi". %K? each de icts one or both of the rota"onists seated and on a lar"er scale than in the scene of the boar h4nt. )his OinventionP of a ne5 settin" for the final scene 7ay be re"arded as one 7ore e>a7 le of the /o7an taste for the dis lay of endants since, as has already been observed, the literary so4rces for the final scene of -donis;s death call for it to occ4r in the "rove 5here he 5as 5o4nded by the boar. )he for7al role of the parapetasma is revealed 7ost clearly on a fra"7ent, no5 in the 2atican, 5here it a ears stretched behind not only the fi"4res b4t the tree that s ecifies their o4tdoor settin" FAi". 11K.DH$E )his vis4al co7 le7entarity of first and final scenes evoked a corres ondin" co7 le7entarity of sense and served to reiterate the si"nificance of the de art4re scene. *ach of these scenes s4""ests the inesca ability of -donis;s fate. .4st as - hrodite 5as 4nable to revent -donis;s de art4re for the h4nt, so too she 5as hel less to revent his Ode art4reP fro7 life. 0nly 5ith the second of these scenes is the si"nificance of the first f4lfilled, as the e> ectations evoked by its i7a"ery are reali:ed. )he artists; OinventedP co7 osition for the final scene i7 osed certain details on the story and sacrificed others to si"nal the analo"y, 5hich reveals the corres ondence of both scenes as ty es of de art4re.DH1E -s in the case of the de art4re scene, here too the i7a"ery evokes the tra"ic reality that even heroes die: to be loved by the "ods is not eno4"h to save the7. N N N

3eginning at the end

)he reco"ni:ed corres ondence bet5een the t5o scenes that o en and close the taleCcorres ondence in sense as 5ell as in for7Ce> lains the 4se of one or the other on the three s4rvivin" reliefs that de ict only t5o of the three scenes of the cycle.DHIE )he vis4al re ertory for the 7yth co4ld be red4ced yet re7ain effective beca4se, des ite de ictin" different narrative 7o7ents, these t5o scenes dis lay the sa7e ty olo"ical character, share the sa7e sy7bolic f4nction, and re resent the sa7e ideaCand therefore roved interchan"eable. Get the eli7ination fro7 the cycle of one scene or the other had a 7arked effect on the 7yth;s re resentation and on that re resentation;s si"nificance. )he final scene 7i"ht be o7itted, as on the sarco ha"4s at the 2illa =i4stiniani, for e>a7 le FAi". 1%K, 5ith a res4ltin" e7 hasis on the t5o re7ainin" i7a"es of -donis;s fail4res: to heed the "oddess;s 5arnin" and to kill the 5ild boar.DH#E )he de art4re scene is "iven ne5 ro7inence by the intr4sion of forei"n ele7ents: -donis is sho5n dressed

and abo4t to leave, leadin" a horse. )he scene is nearly identical to those re resentin" 8i olyt4s;s de art4re fro7 Phaedra FAi". 6K, 5hich the - hrodite and -donis desi"ners borro5ed fro7 the Phaedra re ertoryCj4st as they borro5ed the enthrone7ent 7otif 5ith 5hich this one 5as ori"inally conjoined. Get 5hile 8i olyt4s h4nted on horseback, -donisClike Melea"erCh4nted the boar on foot and th4s e>e7 lified the brave h4nter 5ho stands alone in the face of dan"er. Unlike the re4se of the enthrone7ent 7otif, in 5hich the s ecifics of the 7ytholo"ical narrative 5ere abandoned in favor of the lar"er "eneral si"nificance of the i7a"e, in this instance the e>chan"e of 7otifs "ave ro7inence to details that 4nder7ined the "rander sense of the scene. 0nce clothed FAi". 1%K, the fi"4re of -donis forfeits the heroic connotations of n4dity, as 5ell as its erotic a eal. &e rived of this for7 of ideali:ation and the sche7atic series of contrasts it established on other reliefs Fcf. Ai"s. 5JHK, this re resentation of the -donis 7yth ver"es on the anecdotal. )his Oborro5in"P sho4ld be re"arded, not as another e>ercise in ty olo"y, 7arked by its characteristic 94ality of synthesis, b4t as an instance of conta7inationCone bred by a fail4re to co7 rehend the 7ore rofo4nd connections bet5een the t5o 7yths that had been established on other sarco ha"i.DH%E )he o7ission of the de art4re scene had a rather different effect, as can be seen on the sarco ha"4s in Mant4a FAi". 9K. )he t5o re7ainin" scenes are divided by a ilaster, 5hich 7arks the te7 oral shift and the chan"e in settin" fro7 one to the ne>t. )he boar h4nt here takes recedence, as it is e> anded to fill al7ost t5o<thirds of the frie:e. )he nearly centrali:ed fi"4re of - hrodite, 5ho r4shes frantically to the side of her fallen lover, is the 7ost ro7inent of 7any that cro5d the relief. -7id the 5elter of for7s she is distin"4ished by her naked torso and by her e> ansive "est4re, 5hich, as it crosses in front of the ilaster, see7s to thr4st itself beyond the bo4ndaries of relief and enter real s ace. (he is set a art by the reflective 94ality of her torso;s s7ooth, olished s4rface, 5hich contrasts decidedly 5ith the b4sy inter lay of li"ht and shado5 that characteri:es the relief as a 5hole. )he 7on47ental 94ality of her 4 ri"ht for7, 5hich fills the relief fro7 to to botto7, is f4rther e7 hasi:ed by its contrast 5ith the ilaster, d5arfed alon"side her. (he vis4ally do7inates the frie:e, and it is to her for7 that the vie5er;s eye is i77ediately dra5n and his attention directed. )h4s the fi"4re of - hrodite, as it en"a"es the beholder, effects an OentranceP to the story at its very centerC5ith res ect to the te7 orality of the narrative as 5ell as the co7 osition of the frie:e. )he "oddess arrives dra7atically, b4t too late to save -donisCas the earlier 7o7ent of the disastro4s h4nt, 5ith 5hich her a roach is co4 led, 7akes clear. -s the vie5er scans across the frie:e to5ard the ri"ht end, his eye led by the de icted 7ove7ent of the central "ro4 of fi"4res, he follo5s the story;s 4nfoldin", yet he see7s to 7ove back5ard in narrative ti7e. )he retros ective character of the ri"ht<hand ortion of the relief is reca it4lated by the frie:e as a 5hole. Bith this sarco ha"4s as 5ith others the vie5er;s initial "ras of the relief as an inte"ral for7 is s4 lanted by the erce tion of the 74lti<scened frie:e;s distinct ele7ents. Perce tion oscillates bet5een the oles of 5hole and art: the syno tic vie5 of the 5hole, do7inated by its co7 ositional attern of for7s, dissi ates 5ith the reco"nition of the s4bjects re resented and the individ4ation of distinct scenes. -s the narrative 7ove7ent of each scene;s fi"4res 7er"es into the overall co7 ositional attern, foc4s on the se"7ents "ives 5ay to the erce tion of a sin"le totality.DH5E Co"ni:ance of this heno7enon of erce tion in anti94ity is i7 licit in a celebrated assa"e of Alavi4s .ose h4s. +n his acco4nt of the tri47 hal rocession 4 on the ret4rn to /o7e, .ose h4s describes the h4"e ainted banners, called pegmata, that de icted scenes of the 5ar and O ortrayed the incidents to those 5ho had not 5itnessed the7 as tho4"h they 5ere ha enin" before their eyes.PDHLE Get the descri tion of the de icted s4bjects that follo5s offers 7erely a se94ence of to oi, reco4nted 5itho4t any sense of chronolo"y. )he inte"rity of the individ4al pegmata vanishes as .ose h4s recites their

contents, dis layed in a series of the7atically related fra"7ents, 5hich the readerClike the beholder of the tri47 hC74st reasse7ble into a coherent vision of the 5ar.DHHE )he artists res onsible for the Mant4a sarco ha"4s clearly e> loited this inter lay bet5een syno tic vision and discri7inatin" foc4s. )he initial vie5 of the 5hole is disr4 ted by the ro7inence of - hrodite, 5hose fi"4re co77ands attention. ,evertheless, the "eneral 7ove7ent of the fi"4res in the frie:e dra5s one;s vision a5ay to5ard the ri"ht end. )his 7ove7ent 4nderscores the nat4ral i7 4lse to read the linear ro"ression of the entire narrative, follo5in" the 7odel of 5ritin", fro7 left to ri"ht. -s the beholder be"ins to scr4tini:e the i7a"ery and onder its si"nificance, his scansion of the entire anel be"ins invariably at the left end, and therefore the first scene confronted as he s4rveys the frie:e re resents the end of the story. )he conte7 lation of the i7a"ery th4s e> ands, 5ith res ect to for7 and to content, si74ltaneo4sly for5ard and back5ard, as 5ell as s atially and te7 orally. Aor on the Mant4a sarco ha"4sCj4st as on the 7ajority of the early -donis reliefsC5hile the e> erience of the i7a"ery 7oves fro7 left to ri"ht, the te7 oral se94ence of the 7ytholo"ical narration is dis layed in the o osite direction, fro7 ri"ht to left.DH6E +n their narrative sol4tions, the sarco ha"4s desi"ners de7onstrated "reat ability and 5illin"ness to take advanta"e of this heno7enon of scansion, so f4nda7ental to vis4al narration, 5hich 5as inherent in the ictorial or"ani:ation of the sc4l t4res; for7. 0ne of the 7ost co7 le> of these sol4tions 7ay be discerned on a relief no5 in the 2atican FAi". 15K.DH9E )his sarco ha"4s dis lays in a different for7 the conta7ination of the - hrodite and -donis re ertory by that of the Phaedra and 8i olyt4s sarco ha"i. D6$E 0n the ri"ht is the fa7iliar boar h4nt? on the left, ho5ever, the i7a"ery see7s to have beco7e conf4sed. 0nce a"ain the borro5ed horse7an 7otif a ears? b4t instead of e>tendin" the de art4re scene as it had on the =i4stiniani sarco ha"4s FAi". 1%K, here it is a ended to the 7otif of e7bracin" loversCc4sto7arily the final scene of the cycle. Bhile the inte"rity of the h4nt scene is rendered 5ith "reat clarity, there are no for7al divisions bet5een the t5o ele7ents that 7ake 4 the left<hand side of the frie:e. )he fi"4re 5ho stands at their j4nct4re act4ally see7s desi"ned to link the7. 8e t4rns 5ith his head to5ard one, and 5ith his o4tstretched ar7 he "est4res to5ard the other, insti"atin" a se94ence of i7 lied 7ove7ents that inti7ate a contin4ity of these ele7ents 5ith the scene of the h4nt at the ri"ht side of the frie:e. +n this conflation of scenes, -donis, identifiable by his n4dity, a ears t5ice. )his do4ble resence, as it indicates the contin4ity of the narrative, re resents the first t5o of three distinct 7o7ents de icted on the relief: -donis, first in the ar7s of - hrodite, then leadin" his horse to5ard the h4nt, and finally Fat the other side of the frie:eK 5o4nded by the boar. )h4s the 2atican sarco ha"4s, des ite its for7al si7ilarity to the =i4stiniani e>a7 le, is act4ally another variant of the 7ore c4sto7ary three<scene reliefs. )he very lace7ent on the 2atican sarco ha"4s of the co4 le;s final e7brace i7b4ed it 5ith a certain a7bi"4ity. )he 7otif that had conventionally served to de ict the 5o4nd tendin" is th4s stri ed of both its oi"nancy and inti7acy as its sense is 4nder7ined.D61E +ts vis4al conj4nction 5ith the de art4re 7otif, and the re eated a earance of -donis that res4lts, rod4ce a false sense of the te7 oral relation bet5een the t5o conflated scenes. )he scene that is chronolo"ically first see7s to follo5 vis4ally fro7 that 5hich is chronolo"ically third. +nstalled as on the Mant4a sarco ha"4s FAi". 9K at the left end of the frie:e, 5here scansion of the vis4al narrative be"ins, the 2atican sarco ha"4s;s scene of final e7brace th4s constit4ted both the be"innin" and the end of the tale: the be"innin", as one confronts the narration on this 7on47ent? the end, as one reco"ni:es the s4bject that is narrated FAi". 15K. )his conce tion of the 7yth;s narration on these sarco ha"4s reliefsCsince it a ears on 7ore than one e>a7 leCis 4nlikely to have been the res4lt of a 7istake on the art of the 5orksho s that rod4ced the7. +n the conflation of different scenes, j4st as in the transfer of 7otifs fro7 other

7ytholo"ical s4bjects, one sho4ld reco"ni:e the artists; a5areness that both the de art4re and the final e7brace had 4lti7ately the sa7e si"nificance for the se 4lchral inter retation of the 7yth. +n both scenes, -donis is abo4t to de art fro7 the "oddess 5ho loves hi7, des ite her desire to revent their se aration, a desire 7ade al able on the reliefs by the erotic overtones of the symplegma 7otif. (4ch are the li7its of even divine love? s4ch is the e>tent and the o5er of Aate.D6IE )hat the vis4ali:ation of the story on the sarco ha"i 7i"ht be"in at the end is not in itself s4r risin". )he rhetorical device 7ay be as old as storytellin" itself.D6#E More s ecifically, the artists 5ere free to reorder the ro"ression of scenes on the reliefs beca4se the -donis 7yth, like 7ost 7orali:in" tales, 5as 4nderstood retros ectively, 5ith its concl4sion already established. +ndeed, the i7a"es; 7oral si"nificance and e>e7 lary val4e de end on this, and it is the reason that s4ch fa7iliar 7ythsCand 7oral tales in "eneralCare invoked a"ain and a"ain.D6%E )his conce tion of the 7yth;s character hel s to e> lain the ri"ht<to<left order of the scenes on those sarco ha"i 5here the narrative cycle be"ins at the oint of the frie:e that for the vie5er is ordinarily the end. )he a5k5ardness of this entirely conce t4al order, at odds 5ith the de7ands of the conventional se94ence of the vis4al narrative, 5as 4nderstandably jettisoned and the scenes on the sarco ha"4s reliefs dis layed in chronolo"ical order fro7 left to ri"ht. Get its rea earance on the 2atican sarco ha"4s s4""ests the val4e of s4ch a disr4 tion of c4sto7 as a device to ro7 t rene5ed attention to the 7yth;s si"nificance. -s the rearran"ed scenes are read fro7 left to ri"ht, their distinctive te7 oral disj4nction co7 els a ne5 consideration of the narrativeCand of the 5ay that narrative has been re resented. )he final scene beco7es not 7erely the startin" oint for the tale that is recalled by these i7a"es, b4t the vanta"e oint fro7 5hich the 7yth they relate is to be 4nderstood.D65E N N N

The *orce o* analogy

)he vis4al co7 osition for the three scenes of the cycle established an analo"y bet5een its be"innin" and end. )his the7atic reiteration, in even this abbreviated redaction of the 7yth, recalls the 4se of re etition to bracket e isodes in e ic co7 ositions.D6LE )he e ito7i:ation of the tale is f4lfilled by this i7 lication of clos4re, 5hich endo5s these e>tracts fro7 the 7yth 5ith a sense of 4nity and co7 leteness. Get the sa7e vis4al 7eans that allo5ed the artists to effect this sense of clos4re also served to e> and the connotations of the 7yth;s i7a"ery. Bith the trans osition of co7 ositional 7otifs fro7 the de iction of one 7yth to that of another, the artists "ave "reater e7 hasis to those ele7ental lots that 5ere shared by 7ore than one tale. +n this fashion the artists established vis4al analo"ies a7on" different 7yths based on their narratives; related lot str4ct4res, rather than on their individ4al stories; details. =enerali:ed 7otifs s4ch as the symplegma, fa7iliar fro7 a host of re resentations of related the7es, rovided the sarco ha"4s desi"ners 5ith vis4al for7s that had both their o5n established si"nificance and connotations e>tendin" beyond the story lines of the tale they 5ere enlisted to de ict. )hese are the basic strate"ies by 5hich the sarco ha"4s desi"ners effected the "rand analo"ies that for7ed the raison d;_tre of so 74ch f4nerary sy7bolis7. -nd it 5as by these 7eans that the artists freed the7selves fro7 the bonda"e of the codified vis4al ro"ra7s for their 7yths and allo5ed their o5ers of invention free rein. )hese strate"ies er7itted the artists not only to alter the 5ay a 7yth 5as de icted, b4t to reco7 ose the tale to reflect its insertion in a se 4lchral conte>t. -s the i7a"es the7selves s4""ested associations bet5een tales, they rovided the str4ct4ral "4idelines for their inter retation. +n these ictorial renditions of 7yth one 74st reco"ni:e 5orks of art 4nb4rdened of a s4bservience to te>ts so that they 7i"ht rod4ce ori"inal and rofo4nd effects of their o5n. )hose 5ho vie5ed these i7a"es 5ere intended not 7erely to reco"ni:e the 7yth b4t to "ras that the sc4l ted

fi"4res and their actions e>e7 lified certain ideas and val4es that are the tr4e s4bjects of the se 4lchral sy7bolis7: these are tales told 5ith conce ts as 5ell as 5ith characters. )he three scenes of the - hrodite and -donis re ertory collectively render a story of heroic )irtus, the amor of the "ods, and the con94est of both by the o5er of Aate. )he reliefs 74st be conceived as the 7anifestation of these the7es. )he real si"nificance of their e ito7i:in" for7 of narration is revealed only if their stories are considered as the vehicles, rather than as the content, of the se 4lchral 7essa"e.

Note)
1. (ee the 7aterials collected in the articles by A. &Y77ler, O-donis,P in RF, +? and B. (ervais<(oye:, O-donis,P in '+MC, +. I. Cf. 8y"in4s, %abulae, CC3+, CC311+? -4soni4s, Cupido Cruciatur, 5Lff. #. )heon, Scholia in 8heocritum >etera, +.1$9f., +++.%Hf., 12.6L and 1$$ff. %. 8esiod, Catalogues of 2omen and F,+"F, fra". I1 Fs4rvivin" in - ollodor4s, 7ibliotheca, +++.1%.%K? -nti7ach4s, fra". 1$I. 5. (trabo, 6eographia, 12+.I.16. L. +n the fo4rth cent4ry B.C. Plato 4sed the O=ardens of -donisP as a 7eta hor in the 1haedrus, IHLb? in the late third cent4ry a.d. Por hyry e7 loyed -donis to sy7boli:e the harvest of fr4its at 7at4rity in his 1eri "galmaton, s4rvivin" in *4sebi4s, 1raeparatio F)angelica +++.11.1I FZ fra". H in .. Bide:, >ie de 1orphyreD 'e philosophe n5oplatonicien, I ts. D3ei :i", 191#EK. H. Cf. for e>a7 le, 34cian, 0ialogi 0eorum, 1+1 F11K. 6. 0vid, Metamorphoses, 1.I96ff.? - ollodor4s, 7ibliotheca, +++.1%.%? 8y"in4s, %abulae, 32+++? -ntonin4s 3iberalis, Metamorphoses, 111+2? (ervi4s, +n >ergilii 7ucolica, 1.16. 9. 0vid, Metamorphoses, 1.5I9ff.? cf. )heocrit4s, +dylls, +++.%Lff.? - ollodor4s, 7ibliotheca, +++.1%.%. 1$. )he 7ost i7 ortant of the =reek so4rces for the Perse hone e isode are - ollodor4s, 7ibliotheca, +++.1%.%? Bion, + F8he 'ament for "donisK? and )heocrit4s, +dylls, 12.6Lf. Cf. also the inscri tion fro7 the "rave altar of Pedana FC+' 2+, 1H$5$K, 5ith its all4sion to 2en4s and Perse hone;s ObattleP over a 7ortal;s fate: +n"ratae 2enaeri s ondeba7 74nera s4 le> ere ta coi4> vir"initate tibi Perse hone votis invidit allida nostris et rae7at4ro f4naere te ra 4it.MFO)o 4n"ratef4l 2en4s + 5as 7akin" offerin"s as a s4 liant, on the occasion 5hen yo4 lost yo4r vir"inity, 5ife. Pale Perse hone envied o4r rayers and snatched yo4 a5ay in an 4nti7ely death.MPK? translation fro7 =. B. Bay5ell, O- /o7an =rave -ltar /ediscovered,P "/" 6L F196IK: I%1. 11. Aor -rte7is;s role, see - ollodor4s, 7ibliotheca, +++.1%.%? for -res;s, see (ervi4s, +n >ergilii "eneidos, 2.HI? - thoni4s, 1rogymnasmata, ++.1$ff? ,onnos, 0ionysiaca, 13+.I$%JI11? "nthologia 'atina Fed. B4echeler and /iese, +K, L6 and I5#.#Iff. Aor f4rther references in the 5ritin"s of late anti94ity Fes . Christian a4thorsK, see P. B. 3eh7ann, Roman 2all 1aintings from 7oscoreale in the Metropolitan Museum of "rt FCa7brid"e, 195#K, . %L n. LL. 1I. Aor disc4ssions of the "donaia, see ,. Beill, O-d?afonia:o4sai o4 les fe77es s4r le toit,P 7C* 9$ F19LLK? eade7, O3a f_te d;-donis dans la Samienne de M[nandre,P 7C* 9% F19H$K? and cf. M. &etienne, 8he 6ardens of "donisD Spices in 6reek Mythology F-tlantic 8i"hlands, 19HHK. )hese rites 5o4ld a ear to be the oint of 0vid;s all4sion at Metamorphoses, 1.HI5f. 1#. Cf. the 7aterials resented in the s4rvey by (ervais<(oye:, O-donis.P 1%. Cf., for e>a7 le, ibid., nos. 1I, 15, 19, #5.

15. Cf., ibid., nos. ##, %$. 1L. )he -donis sarco ha"i 5ere collected by C. /obert in "SR +++.1? a revised catalo"4e, by &. =rassin"er, is d4e to a ear as "SR 1++.1. )he follo5in" 7on47ents 7ay be added to those listed by /obert: fra"7ents in Berkeley, Colo"ne, Man:iana, and /o7e and a casket in /ostock? see Koch and (ichter7ann, R3mische Sarkophage, . 1#1J1##, 5ith earlier biblio"ra hy. ,ote that cat. no. 16 in "SR +++.1, listed as -donis Ffollo5in" the 19$% British M4se47 catalo"4e of -. 8. (7ithK, does not re resent this 7yth: cf. no5 Balker, Catalogue of the Roman Sarcophagi, . I#, no. 1L, as O8yas FWKP after /obert;s s4""estion F5hich still re7ains 4nconvincin"K. 1H. )his casket, no5 in /ostock Fsee B. /ichter, O&er -donissarko ha",P %estschrift 6ottfried )on '=cken D/ostock, 19L6EK, is the only e>a7 le a7on" the -donis sarco ha"i on 5hich the end anels lay a clear role in the overall ro"ra7 and e>tend the te7 orality of the narrative dis layed in the scenes of the front anel. )hat on the ri"ht end F/ichter, late #IK recedes the conventional se94ence and de icts - hrodite, holdin" the infant -donis and seated bet5een ]e4s and Perse hone? th4s it re resents the t5o "oddesses; rivalry over the yo4th and the resol4tion of the case by the leader of the "ods Fcf. - ollodor4s, 7ibliotheca, +++.1%.%? Bion, +? )heocrit4s, +dylls, 12.6Lff.K. )he left end F/ichter, late #LK de icts an event s4bse94ent to those on the front anel yet not fo4nd in any of the s4rvivin" so4rces: there Charon, identified by the r4dder he holds, stands before the seated -donis, and the boar;s head han"s fro7 a tree as a tro hy to si"nal the scene;s lace in the narrative. 0n one end anel of another sarco ha"4s a solitary fi"4re is sho5n fi"htin" a boar, a scene that 7ay re resent -donis Fsee "SR +++.1, no. 1%, ri"ht endK. Get this is 7ore likely a O"enericP i7a"e of a h4nter, s4ch as those fo4nd on the end anels of another sarco ha"4s Fcf. "SR +++.1, no. I1K? the si"nificance of a fra"7entary scene F"SR +++.1, no. 1HK is 4nclear? all 5ere robably incl4ded as i7a"es a ro riate to the 7ytholo"ical conte>t. )he re7ainin" end anels of -donis sarco ha"i dis lay i7a"ery derived fro7 the decorative re ertory of /o7an art, s4ch as the 5in"ed "riffin F"SR +++.1, no. 1I? for the si"nificance of 5hich see C. &el lace, 'e 6riffon de larchaSsme & l5po4ue imp5rialeD Gtude iconographi4ue et essai dinterpretation symboli4ue DBr4ssels and /o7e, 196$EK, or C4 id and Psyche F"SR +++.1, no. 1%? for 5hich see Cha ter % belo5K. 16. Aor re resentations of the "donaia in ancient 5orks of art, see (ervais<(oye:, O-donis,P nos. %5J 51. 19. "SR +++.1, no. #. I$. 0n the hi"hly conventionali:ed role of the parapetasma on late anti94e sarco ha"i, see B. 3a7eere, OUn sy7bole Pytha"oricien dans l;art f4n[raire de /o7e,P 7C* L# F19#9K? and cf. *n"e7ann, (ntersuchungen $ur Sepulkralsymbolik, . #9. I1. )hese shall be el4cidated in the ens4in" disc4ssion. II. )his oint is also 7ade by )4rcan, O&[for7ation des 7od\les.P I#. "SR +++.1, nos. 1%, 15, I1? cf. also nos. 1$ and 19. I%. 0n the vario4s si"nificances of n4dity, see 3. Bonfante, O,4dity as Cost47e in Classical -rt,P "/" 9# F1969K. I5. (ee ]anker, 1oAer of +mages, . 5J6, on OheroicP n4dity in early i7 erial art. . 5$ff: O-bstraktion der +nhalt 4nd IL. Cf. the co77ents of 8Xlscher, R3mische 7ildsprache, )y isier4n" der Aor7.P

IH. Cf. -ristotle;s disc4ssion of the lot of the ,dyssey in 1oetics, 1%55b1HJI%? and see the co77ents

of =. *lse, "ristotles 1oeticsD 8he "rgument FCa7brid"e, M-, 195HK,

. 51%J51L.

I6. )he connection bet5een the -donis and Phaedra re ertories is disc4ssed by C. /obert, in "SR +++.1, . 1%f? f4rther ar"47ent for the ri7acy of the Phaedra!8i olyt4s i7a"ery 5ill be advanced belo5. 0n the reco"ni:ability of a O94otationP s4ch as that of (ko as;s 1othos e7 loyed here, see &. Bosch4n", O-obilia ,peraD ]4r Birk4n"s"eschichte "riechischer Meister5erke i7 kaiser:eitlichen /o7,P -ntK #ID1E F1969K. I9. +t is not only these t5o tales that are so conjoined a7id the cor 4s of 7ytholo"ical sarco ha"4s reliefs. 3on" a"o, .. -y7ard FO3a le"ende de Bell[ro hon s4r 4n sarco ha"e d4 M4s[e d;-l"er,P M5lRom 5I D19#5EK ointed o4t the si7ilar conta7ination of the Bellero hon i7a"ery by that of 8i olyt4s. #$. *. Bart7an, O&ecor et &4 licatio: Pendants in /o7an (c4l t4ral &is lay,P "/" 9I F1966K. #1. +bid., II%JII5? .. /aeder, 0ie statuarische "usstattung der >illa *adriana bei 8i)oli FArankf4rt a7 Main, 196#K, . 6HJ66, lates 11J1I cf., f4rther, M. Marvin, OAreestandin" (c4l t4res fro7 the Baths of Caracalla,P "/" 6H F196#K, for the aired stat4es of 8erakles that stood in the Baths of Caracalla. #I. )h4s the t5o variants of the enthroned Phaedra fo4nd on the sarco ha"4s reliefs and else5here sho4ld be distin"4ished: one re resents her confrontation 5ith, and confession to, 8i olyt4s? the other i7a"e, its se94el, de icts Phaedra 5ith head t4rned a5ay in resi"nation at the threshold of doo7. 0n the a7bivalence and 74lti le si"nificances of the Phaedra 7otif, see no5 P. =hiron<Bista"ne, OPh\dre o4 l;a7o4r interdit: *ssai s4r la si"nification d4 V7otif d4 Ph\dre; et son [vol4tion dans l;anti94it[ classi94e,P Klio L% F196IK? ide7, O3e 7otif de Ph\dre: &e4> e>e7 les d;4n sch[7a icono"ra hi94e classi94e 4tilis[ dans l;art hell[nisti94e et ro7ain,P in 1R"K8+K" F-thens, 1966K. ##. Aor the ty e of O7an;s last<ditch stand in the face of ho eless odds,P see B. (. 8eckscher, +magoD "ncient "rt and +ts Fchoes in 1ostBClassical 8imes. " 1ictorial Calendar for 1 N: FUtrecht, 19L#K, . 1%? cf. 8o7er at +liad, 2.#$9ff. Fand see the co77entary on these Ofallin"<to<the<"ro4nd and 7o7ent< of<death for74lasP in =. (. Kirk, 8he +liadD " Commentary. 2ol. ++, Books 5J6 DCa7brid"e, 199$E, . 9If., ad loc.K and 1+.#55ff.? for the ty e;s vis4ali:ation, cf. the Aallen Barrior fro7 &elos or the Bo4nded =a4l in the 3o4vre: see M. Bieber, 8he Sculpture of the *ellenistic "ge F,e5 Gork, 1955K, fi"s. %II and %#1. #%. -donis;s battle 5ith the boar, as a si"n of his )irtus, co4ld even s4 lant the scene of his defeat, as in the fo4rth<cent4ry 7osaic at Carran94e, 5here only his 5o4nded do"s, a broken lance, and the ane7one "ro5in" at his feet s4""est the battle;s final o4tco7e: see the catalo"4e entry in *ispania "nti4uaD 0enkm#ler der R3mer$eit, ed. -. ,Ynnerich<-s74s FMain:, 199#K, . #H#J#H% and late 1L%b. #5. "SR +++.1, nos. 1% and I$. )his ty e incl4des nos. 1#, 19, I1, and the fra"7ent in Berkeley. #L. 0vid, Metamorphoses, 1.HI1? cf. Bion, +.%$ff. #H. "SR +++.1, nos. #, %, 5, and 9. #6. -s ointed o4t recently by P. Blo7e, OA4ner@rsy7bolische Colla"en a4f 7ytholo"ischen (arko ha"reliefs,P St+t%ilCl 65 F199IK: 1$L9. #9. Cf. Bion, +.%$ff.: O(he sa5, she 7arked his irresistible 5o4nd, she sa5 his thi"h fadin" in a 5elter of blood, she lifted her hands and 4t 4 the voice of la7entation.MP %$. Aor the ter7 1athosformel, coined by -by Barb4r" FOPhysio"no7ische =ren:5erte i7 -4"enblick der hXchsten *rre"4n" DpathosE oder tiefster 2ersenk4n" DethosEPK, see, inter alia, his O&Yrer 4nd die italienische -ntike,P D19$5E, in -. M. Barb4r", 6esammelte Schriften, < )ols. M7erlin, 1 :<R, ++; the

passage 4uoted is from a notebook from the years 1 L:9N, cited in F. *. 6ombrich, "by 2arburgD "n +ntellectual 7iography M,Eford, 1 TLR, p. 1T . ,n 2arburgs concept of Oenergetische +n)ersion,P see %. SaEl, O0ie "usdruckgeb#rden der bildenden Kunst,P U1 :<V, in -. B. Barb4r", "usgeA#hlte Schriften und 2=rdigungen, ed. &. B4ttke FBaden<Baden, 199IK, es . %I$ff. - hrodite;s "est4re dis lays recisely the ran"e of si"nificances that ca t4red Barb4r";s attention? for other ossible 4ses of this "est4re, see belo5, Cha ter 5, nn. #$J#1. %1. (ee .. K. -nderson, *unting in the "ncient 2orld FBerkeley and 3os -n"eles, 1965K, es . cha ter 1. %I. )he 94otation is taken fro7 1eno hon, Cynegeticus, 1<.1 Mcited by "nderson, *unting in the "ncient 2orld, . 1Hf.K. Cf. Polybi4s, *istoriae, 111+.I9.1ff. Fibid., . 65K? Pliny;s 1anegyricus of the *7 eror )rajan, 61.1J# Fibid., . 1$1f.K? and the re rise of 1eno hon in -rrian, Cynegeticus, +.1ff. Fibid., . 1$HK. %#. (ee -nderson, *unting in the "ncient 2orld, cha ter L FO84ntin" in the -"e of 8adrianPK, es . 1$1J1$L. %%. Aor the 8adrianic ro4ndels, see, 7ost recently, ,. 8annestad, Roman "rt and +mperial 1olicy F-rh4s, 196LK, . I$%JI$L? see, f4rther, /. Brilliant, 6esture and Rank in Roman "rtD 8he (se of 6estures to 0enote Status in Roman Sculpture and Coinage F,e5 8aven, 19L#K, . 1#$ F5ith earlier biblio"ra hyK. Aor the bron:e 7edallions 5ith the boar h4nt, see A. =necchi, + medaglioni romani, # vols. FMilan, 191IK, +++, late 1%%, 1I. %5. 0n the lion h4nt as an imago )irtutis, see -. 2accaro Mel4cco, O(arcofa"i di caccia al leone,P StMisc 11 F19LLK? B. -ndreae, O+7ita:ione ed ori"inalitT nei sarcofa"i ro7ani,P Rend1ont"cc %1 F19L6JL9K: 1LL. Aor the relationshi of -donis to other Oh4ntersP fro7 7yth, see .. Aontenrose, ,rionD 8he Myth of the *unter and the *unters FBerkeley and 3os -n"eles, 1961K, es . . 1LHJ1H%. 0n the fa7iliarity of the h4nt scene and its e>e7 lary nat4re, cf. also the disc4ssions of Ola belle 7ortP in ..<P. 2ernant, O3a belle 7ort et le cadavre o4tra"[,P in 'a mort, les morts dans les soci5t5s anciennes, ed. =. =noli and ..<P. 2ernant FCa7brid"e, 196IK? ,. 3ora4>, O3a belle 7ort s artiate,P KtCma I F19HHK. Cf. also Brede, Consecratio, . 15$, on the non7ytholo"ical 4se of the lion h4nt on sarco ha"i? and B. -ndreae, 0ie Symbolik der '3AenWagd F0 laden, 1965K. %L. Bhile (tatili4s - er;s "rave 7on47ent de icts hi7 standin" tri47 hantly over the dead beast and th4s likens hi7 4n7istakably to re resentations of Melea"er, the inscri tion, 5ith its 4n on his na7e Faper Z boarK, invokes the arallel in a rather different fashion: +nnoc44s - er ecce iaces non vir"inis ira nec Melea"er atro> erfodit viscera ferro 7ors tacit obre sit s4bito fecit9F4eK r4ina7MFO3o, yo4 lie here, innocent - er^ Go4r side ierced by neither the 5rath of the vir"in nor the s ear of fierce Melea"er. (ilent death cre t 4 s4ddenly, and bro4"ht destr4ctionMPK? see C+' 2+, 19H5? 8elbi"D%E ++ F19LLK, 55JL1, no. 1I1% F5ith a different inter retation of the relationshi bet5een te>t and i7a"eK. Aor the Melea"er ty e all4ded to on this 7on47ent, 5ith the hero in tri47 h over the boar, see 8. (ichter7ann, O&as Motiv des Melea"er,P RM L9 F19LIK and RM H$ F19L#K: 1H%J1HH? for the dead boar as the identifyin" attrib4te of Melea"er, cf. "nthologia 1alatina, 2++, %I1, and the 7otif;s a earance on the 7on47ents s4rveyed by (. Boodford in '+MC 2+, OMelea"ros,P nos. HHJ6#, 91J9H? and, f4rther, the stat4e no5 in the 2atican: see 8elbi"D%E + F19L#K, H%JH5, no. 9H. Cf. also U4intilian;s co77ents on s4ch ono7astic 4ns in the +nstitutio ,ratoria, 1+.I.#$J#1? and the disc4ssions in ). /iti, O3;4so di immagini onomastiche nei 7on47enti se olcrali di etT "reca,P "rchCl I5JIL F19H#JH%K? eade7, O+77a"ini ono7astiche s4i 7on47enti se olcrali di etT i7 eriale,P "tti'inc FMe7orieK, ser. 2+++, I1D%E F/o7e, 19HHK. %H. Rhetorica ad *erennium, +2.%9.LI? Cicero, 0e +n)entione, +.%9. Cf. 8. B. 3itchfield, O,ational *>e7 la 2irt4tis in /o7an 3iterat4re,P *SC1 I5 F191%K. )he traditional role of Melea"er as an .

e>e7 l47 a ears as early as 8o7er, 5here F+liad, +1.5IHff.K he serves as the e>e7 l47 for -chilles? see /. Brilliant, >isual -arrati)esD Storytelling in Ftruscan and Roman "rt F+thaca, 196%K, . 1%5. %6. -ristotle, Rhetorica, +.I.6 and es ecially ++.I$.1ff. Aor disc4ssions of the literary e7 loy7ent of paradeigmata, see belo5, n. H1. %9. (ee the disc4ssion in .. &. 3yons, 8he Rhetoric of FEample in Farly Modern %rance and +taly FPrinceton, 1969K, . 1IJ15, IH. 5$. ..<P. 2ernant, Myth and Society in "ncient 6reece F3ondon, 196$K, . 195. 51. (ee &. Clark, Rhetoric in 6raecoBRoman Fducation F,e5 Gork, 195HK, es . . 1HHJI1I. -n *n"lish translation of the second<cent4ry B.C.1rogymnasmata of 8er7o"enes a ears in C. (. Bald5in, Medie)al Rhetoric and 1oetic F,e5 Gork, 19I6K, . I#J#6? for the si>th<cent4ry version of - thoni4s, see /. ,adea4, O)he Pro"y7nas7ata of - thoni4s, in )ranslation,P SpMon 19 F-nn -rbor, 195IK. 0n the contin4o4s 4se of these te>ts into late anti94ity, see 8. Marro4, *istoire de l5ducation dans lanti4uit5, Lth ed. FParis, 19L5K, . IL$. 5I. 8er7o"enes, 1eri MuthonD OMyth is the a roved thin" to set first before the yo4n", beca4se it can lead their 7inds into better 7eas4resP Ftrans. fro7 Bald5in, Medie)al Rhetoric, . IIJ%$K? cf. U4intilian, +nstitutio ,ratoria, 2.11.19. Aor the 4se of e>e7 la in the chria, see Rhetorica ad *erennium, +2.%%.5H. )he na7es for the vario4s e>ercises, 5hile fi>ed in the =reek ter7inolo"y, have vario4s 3atin translations? those e7 loyed here are taken fro7 U4intilian, +nstitutio ,ratoria, +.9.1ff. and ++.%.1ff. 5#. (ee the disc4ssion of the effects of /enaissance trainin" 5ith these te>ts in M. Ba>andall, 6iotto and the ,rators F19H1? 0>ford, 196LK, es . . #Iff. 5%. -s *. Ke4ls, O/hetoric and 2is4al -ids in =reece and /o7e,P in Communication "rts in the "ncient 2orld, ed. *. -. 8avelock and .. P. 8ershbell F,e5 Gork, 19H6K, 1II and n. I, oints o4t, ho5ever, aintin"s and sc4l t4res do not see7 to have a eared in these handbooks as e> licit the7es 4ntil the fifth cent4ry. 55. +bid? see also M. C. Mittelstadt, O3on"4s: &a hnis and Chloe and /o7an ,arrative Paintin",P 'atomus IL F19LHK? =. (teiner, O)he =ra hic -nalo"4e fro7 Myth in =reek /o7ance,P in Classical Studies 1resented to 7en FdAin 1erry FUrbana, 19L9K. 5L. U4intilian, +nstitutio ,ratoria, 2+.I.#I and 2+++.#.L#. 5H. "SR +++.1, nos. 9, 1I, 1%, 15, and 1H. 56. "SR +++.1, nos. 15 and 1H. Cf. the scene of Ofinal e7braceP on the Casino /os i"liosi sarco ha"4s FAi". LK 5ith a fra"7ent fro7 a 5all aintin", no5 in the 3o4vre: see (ervais<(oye:, O-donis,P fi". #L Fhere Ai". 1IK. )his aintin" e7 loys the sa7e 7otif for the co4 le and incl4des the boar r4nnin" a5ay. )he scene of - hrodite;s last si"ht of the dyin" -donis 5as aired in the ense7ble to 5hich this aintin" belon"ed 5ith one de ictin" 0r he4s;s first "li7 se of *4rydice as he fo4nd her in the Under5orld: cf. P. &eva7be:, OUn fra"7ent de fres94e anti94e a4 3o4vre,P Mon1iot L5 F1951K. 59. Metamorphoses, 1.H1Hff. L$. Cf. also "SR +++.1, no. 5. L1. Bion, +.%Iff? on the 7otif of the dyin" 5ho "ive 4 their so4ls thro4"h the 7o4th, see /. =arland, 8he 6reek 2ay of 0eath F+thaca, 1965K, . 16? for disc4ssion of the /o7an contin4ation of this traditional idea, see )re""iari, Roman Marriage, . %6% and n. L? cf. (tati4s;s 4se of the 7otif at Sil)ae, 2.+.195ff.

LI. )he )irtus of -donis 5as central to the disc4ssion of the 7yth in .. -y7ard, Fssai sur les chasses romaines, dCs origines & la fin du siCcle des "ntonins FParis, 1951K, . 5I$J5II. L#. Cf. Brilliant, >isual -arrati)es, . 159, on the tri47 h of Melea"er and the si7ilar Odetach7ent of the heroic rota"onist fro7 the narrative conte>t.P (ee also ..<P. 2ernant, O&eath 5ith )5o Aaces,P in Mortality and +mmortalityD 8he "nthropology and "rchaeology of 0eath, ed. (. C. 847 hreys and 8. Kin" F3ondon, 1961K, on the =reek conce tion of co77e7oration, es . . I6L: O)he individ4ality of the dead 7an is not connected 5ith his sycholo"ical characteristics or 5ith the ersonal as ect of hi7 as a 4ni94e and irre laceable bein". )hro4"h his e> loits, his brief life and his heroic destiny, the dead 7an e7bodies certain Vval4es;: bea4ty, yo4th, virility, and co4ra"e.P L%. )h4s Patrokl4s dies, and even -chilles: +liad, 11+.1$Lff.? cf. the co77ents of ,ock, O(arco ha"i and (y7bolis7,P . 1%H. Aor the for74laic 4se of the 8erakles roverb in /o7an e ita hs, see /. 3atti7ore, 8hemes in 6reek and 'atin Fpitaphs FUrbana, 19%IK, . I5#JI5%. Cf. 0vid;s e ita h for Phaeton FMetamorphoses, ++.#IHJ#I6K, for even there the 7on47ent recasts the tale: O8ic sit4s est Phaeton c4rr4s a4ri"a aterni!94e7 si non ten4it 7a"nis ta7en e>cidit a4sis.P Aor the si"nificance of Phaeton;s e ita h, cf. /. )4rcan, O3es e>["\ses all["ori94es des sarco ha"es Va4 Pha[thon,; P in /enseits)orstellungen in "ntike und ChristentumD 6edenkschrift f=r "lfred Stuiber F196IK, . I$1f.C 5as this an early instance of the ada"e 0e mortuis nihil nisi bonumX L5. Metamorphoses, 1.5L$ff. LL. (ee the 7aterials collected in (ervais<(oye:, O-donis.P My disc4ssion of the symplegma is infor7ed by a lect4re "iven by -ileen -jootian at the -rchaeolo"ical (e7inar of the Canadian +nstit4te of /o7e, May %, 1966. LH. )heocrit4s, +dylls, 12. Cf the arody of s4ch i7a"es in Pla4t4s, Menaech7i, 1%%ff. L6. (ee the 7aterials collected in -. &elivorrias et al., O- hrodite,P in '+MC, ++? for 2en4s and -nchises, see *. (i7on, OU7"ede4tete Bandbilder des Casa del Citarista :4 Po7 eji,P in M5langes Mansel F-nkara, 19H%K, +, . #LJ#6, and +++, late I$. Aor the sa7e 7otif e7 loyed in the re resentation of the Melea"er 7yth, see the vol4te krater no5 in ,a les, ill4strated in K. (chefold and A. .4n", 0ie Sagen )on den "rgonauten, )on 8heben und 8roia in der klassischen und hellenistischen Kunst FM4nich, 1969K, . 5%, fi". #5. Aor its 4se in the re resentation of -rte7is and 8i olyt4s, see C. /obert, "rchaeologische *ermeneutik FBerlin, 1919K, . IIIJIIH and fi". 1H9. L9. "SR +++.1, nos. #, %, 5 and cf. L, 1$ and 1H. H$. "SR +++.1, no. 1H. H1. Cf. M. M. Billcock, OMytholo"ical Paradei"7a in the +liad,P C@ 1% F19L%K: 1%I, on the invention of si"nificant details by 8o7er to effect analo"ies and to rovide arallels 5ith the paradeigma. (ee also the related disc4ssion in 0. -ndersen, OMyth, Paradi"7, and ( atial Aor7 in the +liad,P in *omerD 7eyond ,ral 1oetry, ed. .. M. Bre77er, +. .. A. &e.on", and .. Ka:loff F-7sterda7, 196HK. HI. "SR +++.1, nos. 1#, 19, and I$. H#. "SR +++.1, no. 1#. H%. (ee above, #%f., and belo5, %%, on the borro5in"s fro7 the Phaedra sarco ha"i. Cf. Brilliant, >isual -arrati)es, . 159, for another a earance of this ele7ent of the 8i olyt4s re ertory on the Melea"er sarco ha"4s no5 in the cortile of the Pala::o 3e ri<=allo in /o7e. 0n the overall roble7 of contaminatio in /o7an sarco ha"i, see )4rcan, O&[for7ation des 7od\les,P . %I9ff.? cf. also the disc4ssion of literary contaminatio 5ith reference to 2er"il, in -. )hill, "lter ab illoD Recherches sur limitation dans la po5sie personnelle & l5po4ue august5enne FParis, 19H9K, . H1J6H.

H5. 0n the interrelation of syno tic and se94ential erce tion of the sarco ha"4s reliefs, see Brilliant, >isual -arrati)es, . 1L1J1LI. - concise disc4ssion of these iss4es, 5ith res ect to the co7 le> or"ani:ation of the i7a"ery of )rajan;s Col47n, is fo4nd in (. (ettis, 'a Colonna 8raiana F)4rin, 1966K. HL. Alavi4s .ose h4s, 7ellum +udaicum, 2++.1#9ff., es . 1%HJ1%6 Ftrans. 8. (t. .. )hackeray, in 'C' ed. DCa7brid"e and 3ondon, 19IH? 19LHEK. HH. (ettis, 'a Colonna 8raiana, *istoriae, +++.9.1I, 2++.I.6. H9. "SR +++.1, no. 1I. 6$. )4rcan, O&[for7ation des 7od\les,P . %#$J%#1. . 1$LHf. 61. )h4s Blo7e, OA4ner@rsy7bolische Colla"en,P . I#IJI#%. Cf. the si7ilar ainted anels 7entioned by 8erodian,

H6. "SR +++.1, nos. #, %, 5, L, 9, 1$, I$, and the sarco ha"4s in /ostock.

6I. Blo7e;s s4""estion FOA4ner@rsy7bolische Colla"en,P . 1$LHf.K that this conflation of scenes re resents a sta"e in the ro"ressive transfor7ation of the 7yth;s narration on the sarco ha"i, 5hen the ri"ht<to<left readin" of the early reliefs is reversed, de ends entirely on his belief that the 2atican relief 74st be dated earlier than the =i4stiniani e>a7 le? both 5orks are, ho5ever, "enerally dated to the sa7e eriod Fca. 1H$J16$WK and the ar"47ent fails to e> lain 5hy s4ch a sta"eCif it is 5itho4t other si"nificanceC5o4ld be re94ired in s4ch a develo 7ent. 6#. (ee *. B. (aid, 7eginningsD +ntentions and Methods FBalti7ore, 19H5K, and, 7ost recently, the vol47e entitled 7eginnings in Classical 'iterature, ed. A. M. &4nn and ). Cole FCa7brid"e, 199IK. 6%. Cf. the related disc4ssion of the historiated bo5ls in (ettis, 'a Colonna 8raiana, . IILJII9, I#5. 65. - 7ore co7 rehensive syste7 of classification than that ro osed by /obert in "SR +++.1 is i7 licit in 7y ar"47ent. )his syste7 5o4ld distin"4ish the er74tations in the order of the scenes on the sarco ha"4s fronts, o7issions fro7 or additions to the basic re ertory of three scenes, as 5ell as the deliberate disr4 tion of a contin4o4s resentation of the narrative se94ence. /obert;s first Oclass,P 5ith its #JIJ1 te7 oral se94ence of the scenes, 5o4ld rovide the lar"est "ro4 in" F"SR +++.1, nos. #, %, 5, L, 9, 1$DWE, I$D#JIE, and /ostockK? its reversal, a 1JIJ# se94ence, or its red4ction to 1JI, for7s another "ro4 Fnos. 1#, 1%, 19, and erha s the fra"7entary no. 1HK? variant orderin"s, s4ch as #J1JI Fno. 1IK or 1J#JI Fno. I1K, are th4s distin"4ished, as are those e>a7 les 5hich introd4ce additional scenes Fno. 15 and erha s /ostockK. 6L. (ee B. -. van =ronin"en, 'a composition litt5raire grec4ue F-7sterda7, 1956K, techni94e of rin" co7 osition. . 51J5L, on the

(. "doni) Redi+i+,)
)he -donis 7yth, as it is re resented on the sarco ha"i, is 7arked by the deliberate o7ission of certain ele7ents of the fa7iliar narrative. )hese o7issions 74st be re"arded as a conse94ence of the 7yth;s vis4ali:ation, its insertion 5ithin the se 4lchral conte>t, and the s4bse94ent e7 hasis of the vis4al i7a"ery on the conce t of heroic death. +n artic4lar, -donis;s botanical 7eta7or hosis, and the sy7bolic rebirth in the "donaia that 5as to co7 le7ent it, are no5here re resented on the 7arble reliefs. Get resonances of these ele7ents of the 7yth, 4ndeniably ertinent to a se 4lchral conte>t, at ti7es e7er"ed a7id the i7a"ery dis layed on the sarco ha"i. )here are t5o variants a7id this "ro4 of s4rvivin" sarco ha"4s reliefs that reflect, albeit di7ly, the

rit4al f4nction and 4r ose of the "donaia. )his cere7ony 5as enacted in the belief that it 5o4ld brin" abo4t -donis;s res4rrection, if only 7o7entarily and only in the fervent i7a"inations of those artici atin" in the c4lt rit4al. Both variant i7a"es dra7atically alter the standardi:ed re resentation of the 7ytholo"ical narrative. )hey chan"e the order of the de icted scenes, and they de rive the re resentation of the boar h4nt of its c4sto7ary riority in scale and osition at the center of the tri artite reliefs. Most si"nificantly, they introd4ce forei"n ele7ents to effect startlin" analo"ies that 5holly transfor7 the sense of the tale and redict a very different c4l7ination of the 7ytholo"ical dra7a. )hese variations on the conventional i7a"ery of the - hrodite and -donis 7yth no lon"er 7erely celebrate the life of the deceased retrospecti)ely, by 7eans of 7ythic analo"y. /ather, the 4ni94e versions of the story they resent offer, in addition, a prospecti)e vision that a4"7ents the 7ytholo"ical analo"y and evokes, alon" 5ith a f4rther e isode of the tale, a ne5 fate for its rota"onist.D1E N N N

"potheo)i)
0n a lar"e early<third<cent4ry sarco ha"4s no5 in the 2atican FAi". HK, are fo4nd all three of the 4s4al scenes of the -donis re ertory: the de art4re, the boar h4nt, and the final e7brace.DIE )he three do not a ear in chronolo"ical order. )he first and second scenes of the cycle, 5hich rese7ble those on the Blera sarco ha"4s FAi". 5K, are laced at either end of the anel. )he scenes have been co7 ressed into s7aller, ti"htly co7 acted versions of the fa7iliar co7 ositions. 0n the left, a7id the cal7 and stable for7s of the de art4re scene, the "est4res of the t5o rota"onists no5 f4se the7 to"ether. )he oi"nancy of the lovers; fare5ell is evoked as - hrodite resses her hand to -donis;s chest and he rests his hand 4 on her knee. -t the ri"ht, in contrast, their tra"ic assion is fi"4red in the co7 osition;s s5irlin" of for7s and its clash of dia"onals. -donis is sho5n fallin" before the char"e of the 5ild boar, and - hrodite r4shes, horror<stricken, onto the scene, led by an eros, her 7antle billo5in", her sce ter in hand. +nstead of the c4sto7ary failin" -donis, sl47 ed and s4 orted by - hrodite, the 2atican sarco ha"4s s4bstit4tes the air of lovers enthroned, their ar7s dra ed abo4t one another. Get the erotic overtones of the symplegma 7otif evoked by other versions of the cycle;s final scene have vanished. 8ere the inj4red -donis is bein" OtendedP by an older, bearded hysician, clearly s7aller in scale. Bhile he dresses the yo4th;s 5o4nd, an eros 5ashes his feet, 5hich are raised fro7 the "ro4nd. B4t there is no si"n of -donis;s lan"4ishin" at the threshold of death: he sits erect, a5ake, the e94al artner of - hrodite.D#E )he standard for74la for the scene of the final e7brace has been strikin"ly transfor7ed. )his is 4n7istakably a 5o4nd tendin", and it has been "iven ne5 riority a7on" the three 7o7ents of the dra7a by its central lace7ent. More i7 ortantly, its co7 osition has been thoro4"hly reconceived. )he seated co4 le are fra7ed architect4rally and distin"4ished by a parapetasma that delineates the scene at the rear? they are lar"er in scale than in the adjacent scenes? and 4nlike the i7a"es of the 7ytholo"ical rota"onists in the scenes to each side, they bear ortraits, 5itho4t do4bt those of the co4 le interred 5ithin the casket;s 7arble 5alls. )hese ortraits introd4ce to this scene a ne5 level of reality, one that distin"4ishes it fro7 the t5o scenes that fra7e it.D%E )he i7a"e of the h4nt, 5ith its evocation of heroic )irtus, no lon"er do7inates the relief? here, the healin" of the yo4n" s4fferin" hero, and the relationshi of the co4 le ortrayed at the center of the anel, have beco7e the foc4s of attention and th4s the key to the 7eanin" of the ne5 co7 osition. )he vis4al ty e is kno5n fro7 other 7on47ents, and its basic ele7ents are reco"ni:able. )he fi"4res are enthroned, their feet elevated fro7 the "ro4nd, 7ortal and divinity thereby re resented as e94als.D5E

)he sarco ha"4s desi"ners have effected the novel co7 osition on the 2atican relief by the a ro riation of this reco"ni:able 7odel, and 5ith it they have recast the i7a"eCand the senseCof -donis dyin" in the ar7s of - hrodite. )he enthroned co4 le confor7 to that s ecial i7a"ery invented by /o7an art that de7onstrated vis4ally the r4ler;s all<enco7 assin" o5er as e94al to that of the "ods. Aor this sa7e 7otif rovided the fo4ndation for the sy7bolic de iction of the e7 eror;s divini:ation. More i7 ortantly, this i7a"ery 5as intended to be seen as the harbin"er of that tri47 hant a otheosis by 7eans of 5hich the e7 eror, like so 7any of the characters of 7yth, 5o4ld beco7e one of the "odsCand th4s tri47 h over death. )o be enthroned not only served to indicate s4 erior stat4s and a4thority Fsince one 5as seated 5hile others stoodK? it also rovided an analo"y to the c4sto7ary re resentations of the "ods, notably the i7a"e of .4 iter enthroned as 5orld r4ler.DLE )o "ras the all4sion, one need only co7 are this i7a"e 5ith that 7iniat4re 7aster iece of /o7an artistic ro a"anda 5hich 7anifested the connection bet5een tri47 h in life and in the hereafter, the 6emma "ugustea FAi". 1LK.DHE )here too, at the center of its co7 le> scene, a "oddess and 7ortal sit side by side, sharin" a throne, 5hile -4"4st4s receives the corona ci)ica, the e7ble7 of 7ilitary valor that do4bles in this instance as the "arland si"nifyin" his a otheosis.D6E )his vis4al for74la of the enthroned co4 le as an i7a"e of divini:ation and a otheosis 5as often re eatedCindeed, it beca7e a vis4al to os. )he 7otif o4tlived its a"an conte>t and 5as ada ted in Christian art for re resentations of the cro5ned 2ir"in enthroned at the side of Christ in 8eaven.D9E )he con"r4ity bet5een these t5o i7a"es FAi"s. H and 1LK, one 4blic and one rivate, testifies to the ability of /o7an artists to translate established co7 ositions and their si"nificance to ne5 for7ats and conte>ts. By these 7eans they conceived ne5 i7a"es fa7iliar in for7 and resonant 5ith the content of the 7ost hi"hly trenchant 5orks of official icono"ra hy. +n this instance, the re resentational for74la for the 7ytholo"i:ation of the e7 eror is Oborro5ed,P not only to rovoke the conscio4s e94ation of this hero of 7yth and the hero of state, b4t to serve as a vis4al 7eta hor that f4nctions here as the si"nal of -donis;s ne5 fate.D1$E )he vis4al i7 lication of the hero;s a otheosis is testi7ony to the o5er of the "ods to revive the dead and to render the7 i77ortal.D11E +n the resence of the bearded O hysician,P the eros 5ho on other reliefs banda"ed -donis;s 5o4nded thi"h here 5ashes his feet. )his is not the rit4al 5ashin" of the cor se in re aration for its inter7ent, b4t, as the refor74lation of the scene s4""ests, the cleansin" of his revivified body for its resence a7on" the "ods.D1IE -ltho4"h the official ideolo"y of the divine princeps 7ay have 7otivated the vis4al for7 ado ted on the 2atican sarco ha"4s, in the 7ytholo"ical conte>t the for7 had additional connotations, hallo5ed by 74ch older traditions. Bhile -donis;s revival 5as not art of the 7ain /o7an version of the 7ythC 0vid;sCit had a definite lace in the fable;s =reek herita"e, and nothin" co4ld be better s4ited to the tellin" of the tale in this se 4lchral settin".D1#E )h4s this artic4lar sarco ha"4s i7a"e tells the tale of - hrodite;s o5ers, if not to forestall Aate, at least to have the final say in the dra7a. N N N

/eroic ),**ering
+n the oi"nancy of his s4fferin", the nat4re of his 5o4nd, andCin this artic4lar versionCthe i7a"e of his s4ccor 5ith its i7 lications of revival, -donis;s li"ht is aralleled by that of other ancient heroes. 0n an ivory la94ette fo4nd at Po7 eii FAi". 1HK, there is an i7a"e strikin"ly si7ilar to the scene on the 2atican sarco ha"4s FAi". HK.D1%E )his 5ork also de icts a hysician 5ho tends a fi"4re 5o4nded in the thi"h? yet here - hrodite stands at the left and "est4res i7 lorin"ly, 5hile an attendant behind the hero steadies hi7. +t has lon" been tho4"ht that this la94ette 5as a re resentation of the 5o4nded -donis,D15E yet -donis 5as not the only ancient hero th4s 5o4nded. -eneas, the beloved son of

- hrodite, 5as also 5o4nded in the thi"h, b4t it 5as his "reat fort4ne to then be saved fro7 death by the "oddess. )he corres ondence bet5een these tales and their de ictions 5as not lost on the ancient artists, as 5e shall see. +n Book 2 of the +liad, 8o7er tells ho5, 5hen -eneas;s thi"h had been cr4shed by the 7i"hty &io7edes, - hrodite, his 7other, s5oo ed do5n into the fray to resc4e hi7.D1LE 2er"il 5as to re4se the the7e and recall the scene in Book 1++ of the "eneid. Bhen an arro5 la4nched Oby an 4nkno5n handP 5o4nds -eneas in the thi"h, the old hysician .a is labors, 4ns4ccessf4lly, to revive hi7: -eneas stood ro ed on his h4"e s ear, ra"in" bitterly, a7id a "reat thron" of 5arriors and "rievin" +4l4s, 4n7oved by their tears. )he old hysician, his cloak 4lled back, and "irt in the Paeonian 7anner, 5ith healin" hand and the otent herbs of - ollo, acts h4rriedly, 5ith "reat a"itation, to no avail.M,o Aort4ne "4ides his 5ay, nor does his 7entor - ollo offer aidM,o5 2en4s, his 7other, str4ck by her son;s 4ndeserved ain, sei:es fro7 Cretan +da so7e dittany, a stalk l4>4riant 5ith do5ny leaves and 4r le flo5er. M)his 2en4s bro4"ht do5n, her face envelo ed in shado5y clo4d? this, 5ith secret science, she di s in 5ater o4red into a shinin" vessel, and s rinkles 5ith beneficial j4ices and fra"rant anacea. Bith that li94id, ancient .a is caressed the 5o4nd, 4nkno5in"ly, and s4ddenly, all ain fled fro7 the body, all blood ceased to flo5 fro7 the 5o4nd. -nd no5 the arro5, follo5in" his hand, 4nforced, fell o4t, and ne5 stren"th ret4rned, as before. OU4ick, s477on ar7s for the 7an^ Bhy stand stillWP cries .a isMO)his arises not fro7 7ortal 7eans, not by the 7aster;s art, nor are yo4, -eneas, saved by 7y hand? a "reater one Ca "odCacts, and sends yo4 back to "reater deeds.PD1HE (ave that the hero does not stand b4t sits, the ivory la94ette;s co7 osition echoes the scene described by 2er"il? it 5as not the only 5ork of art to do so Fcf. Ai". IHK. )he i7a"e on the la94ette;s reverse stron"ly s4""ests this identification of the scene, for other ivory la94ettes of this kind are kno5n, and in all cases the 7ytholo"ical i7a"ery on their t5o sides a ears to be related.D16E 0n the reverse is a scene FAi". 16K derived fro7 the /o7ans; vis4al re ertory for 8o7eric e ic, 5here it re resented Pria7;s ret4rn 5ith the body of 8ector after its ranso7 fro7 -chilles FAi". 19K.D19E )he basic ty e of the dead hero;s body borne by his co7rades 5as 5ell kno5n and 5idely e7 loyed, not only for the re resentation of this 8o7eric scene b4t for the re resentation of a 5hole series of dead heroes, and th4s has a lon" history.DI$E +t has been ointed o4t that this scene, 5ith the t5o 5arriors 5ho carry 8ector;s body, does not act4ally corres ond to 8o7er;s narrative, for Pria7 conveyed the body back to )roy on a 74le<dra5n cart.DI1E +t 5o4ld see7 that an older ty e 5as ada ted for the re resentation of the 8ector scene, and the fi"4re of Pria7 5as a ended to it, an inter retation s4bstantiated by the early 4ses of the vis4al for74la in =reek art and the lack of kno5n early de ictions of the 8ector tale that incl4de the fi"4re of Pria7.DIIE )he association on the ivory la94ette of -eneas 5ith 8ectorCanother ancient hero reno5ned for his s4fferin", altho4"h in this case it 5as s4fferin" end4red after deathC rovided a do4ble i7a"e of the hero as both eEemplum )irtutis and eEemplum dolorisD one resc4ed fro7 death, the other fro7 desecration. )his kind of airin" is not 4nkno5n in the art of anti94ity.DI#E +n fact this sa7e scene of the ranso7 of 8ector is fo4nd yoked 5ith a scene fro7 the life of another fa7o4s hero event4ally delivered fro7 his s4fferin": Philoctetes FAi". I$K.DI%E )his =reek hero, 5ho had n47bered a7on" the -r"ona4ts, had set sail 5ith seven shi s for )roy. 0n ro4te he had been bitten abo4t the foot by a snake, and both his cries a7id the a"ony of his s4fferin" and the stench of his s4 4ratin" 5o4nd led his co7 anions to abandon hi7 on the island of 3e7nos. Get beca4se the oracles had foreseen that victory co4ld not be achieved 5itho4t the bo5 of 8eraklesC5hich Philoctetes had inheritedCdestiny forced

the7 to ret4rn to ac94ire it.DI5E )he tendin" of Philoctetes; 5o4nds 5as a standard scene of that 7yth;s vis4al re ertory and a ears on a variety of ancient 5orks of art: *tr4scan cinerary 4rns FAi". I1K and 7irrors, an ornate silver c4 of the -4"4stan eriod FAi". IIK as 5ell as its re rod4ctions in -rretine 5are, and t5o s4rvivin" /o7an sarco ha"i FAi"s. I$, I#K.DILE )he tra"ic i7a"e of the hero, s4fferin" in isolation yet destined to recover, served as a otent sy7bol of ho e in the face of an 4nfatho7able e>istence after death. )he 7yth no do4bt served as 5ell as an ele"ant re7inder of the 7erit of stoic ideals and the virt4e inherent in the ability to rise above the s4fferin"s of this life for the sake of hi"her val4es.DIHE Bhile the all4sion to stoic ideals had s ecial si"nificance in a se 4lchral conte>t, the inti7ation of s4fferin" transcended had the 7erit of resentin" the deceased to his heirs and descendants as an e>e7 l47 for the end4rance of their sorro5s. )hat a s ecial relationshi bo4nd to"ether the tales of these t5o heroesCPhiloctetes and 8ectorCis de7onstrably ackno5led"ed a"ain on the t5o fa7o4s silver c4 s fro7 8oby, one of 5hich dis lays the ranso7 of 8ector FAi". I%K as a endant to the 5o4nd tendin" of Philoctetes FAi". IIK. )he ty olo"ical affinity bet5een the s4fferin"s of -eneas and 8ector s4""ested by the ,a les ivory la94ette corres onds e>actly 5ith the analo"y bet5een 8ector and Philoctetes established on these 7iniat4re silver 7aster5orks, as 5ell as on the Basel sarco ha"4s FAi". I$K. N N N

The intermingling o* iconographic tradition)

-ll three of these ancient heroesC-eneas, 8ector, and PhiloctetesC5ere related as e>e7 la. )heir arallel stories offered 7odels for the revision of the -donis tale told by the 2atican sarco ha"4s. +f the e7 eror co4ld rovide the analo"y of a otheosis, these other 7yths co4ld rovide analo"ies of s4fferin" overco7e and death con94ered. )he reversal of -donis;s fate, as he is healed 4nder the a4s ices of - hrodite, corres onds to, and a ears to derive fro7, the ty e established by the other three 7ytholo"ical fi"4res, all resc4ed fro7 their a"ony, their 5o4nds healed. )he corres ondence bet5een these stories r4ns dee er still. +n - hrodite;s resc4e of -donis there 7ay be seen, if only 7eta horically, a arallel to the ele7ent of dece tion that 7arks the other t5o tales. Aor j4st as 0dysse4s;s r4se and theft of Philoctetes; bo5 are essential to the s4fferin" hero;s ret4rn to health, and j4st as Pria7;s stealth allo5s hi7 to convey 8ector;s body safely fro7 the =reek ca7 4nder the cover of darknessCso - hrodite here intervenes so that -donis;s life 7i"ht be Ostolen backP fro7 Aate. Bhat is evident at the level of plot is also si"naled vis4ally at the level of form in the 7otifCthe seated hero 5hose 5o4nds are tendedCthat t5o of these other 7yths share 5ith the rendition of -donis;s tale on the 2atican sarco ha"4s FAi". HK. )here can be little do4bt that the Philoctetes 7yth takes recedence in the vis4al tradition: not only does a lar"er re ertory of i7a"ery s4rvive, b4t it 5as PhiloctetesCand Philoctetes aloneC5ho 5as e> licitly described in the ancient so4rces as a seated fi"4re.DI6E )h4s the vis4al for7 of the seated fi"4re of -donis on the 2atican sarco ha"4s, like the seated fi"4re of -eneas on the ,a les la94ette, 5o4ld see7 to have evolved fro7 a co7 ositional ty e devised ori"inally for the Philoctetes re ertory. -nd in the vis4al rese7blances that associate these vario4s 7yths is to be seen evidence of that s4btle for7 of ty olo"ical all4sion that broadened the si"nificance of i7a"es. )he inter7in"lin" of the icono"ra hic tradition of the -donis tale 5ith that of -eneas, 8ector, and Philoctetes is one 7ore facet of the evol4tion of the -donis i7a"ery and the enrich7ent of the 7yth as it 5as ada ted to the se 4lchral conte>t. Aor in the real7 of 7ytholo"ical all4sion, the details that

distin"4ished the e>e7 lary s4fferin" of one hero fro7 that of another 7i"ht 7atter little? that -donis 7i"ht be conceived as yet another of these heroes s4""ests the f4ll di7ensions of his tra"ic story. 3ike the s4fferin" of -eneas, Philoctetes, and 8ector, -donis;s 5o4ld be overco7e. )he 2atican sarco ha"4s, 5ith its foc4s on the 5o4nded yo4th;s s4fferin" and c4re, th4s elaborates f4rther the list of heroic 94alities its i7a"ery be94eathed to the deceased interred 5ithin it. -donis;s ain has assed, b4t in his 4 ri"ht ost4re and cal7 de7eanor can be seen the nobility 5ith 5hich that s4fferin" 5as borneCand th4s it served here as yet another si"n of distin"4ished character. )his sarco ha"4s relief declares that in the end, 5ith the revival of the 5o4nded -donis, - hrodite;s desire 5o4ld revail and, by i7 lication, the 4nbroken contin4ity of their 74t4al love.DI9E N N N

Re+i+ed by "phrodite
3ike the airin" of -eneas 5ith 8ector and 8ector 5ith Philoctetes, the i7 licit ty olo"ical relationshi bet5een the 5o4nded -donis and the 5o4nded -eneas did not esca e the artists of the ancient 5orld. )he inter retation of the 2atican sarco ha"4s and the i7 lications of its i7a"ery are confir7ed by another ancient relief no5 i774red hi"h on the facade of the Casino /os i"liosi in /o7e FAi". LK.D#$E 8ere the "oddess - hrodite;s heroic o5ers to heal her beloved e7er"e even 7ore clearly beca4se of the e> licit evocation of a 7ytholo"ical arallel to -donis;s fate. )his sarco ha"4s is the 7ost 4n4s4al of the entire cor 4s. +ts 7ain relief relates the tale 5ith five distinct scenes rather than the c4sto7ary three. -t the far left is the sa7e leave takin" seen on other reliefs, sho5n here 5ith sli"ht chan"es in the arran"e7ent of the fi"4res and a red4ction in the scale of the "oddess. - ilaster se arates this scene fro7 the ne>t, the de art4re for the h4nt. )his h4nt scene is the 7ost elaborate of all those on the -donis sarco ha"i. 0nce a"ain the horse7en borro5ed fro7 the 8i olyt4s i7a"ery 7ake an a earance, b4t here for the first ti7e the fi"4res of both -donis and - hrodite are re eated as the e isode is "iven the stat4s of an inde endent scene. )he 4n4s4al incident at the center de icts a "ro4 "athered abo4t 5hat a ears to be the standin" fi"4re of -donis, 5hile an old 7an kneels and tends his 5o4nded le" and a fe7ale s4 orts his head and see7s to caress his cheek or chin. ,e>t follo5s the fa7iliar boar h4nt, and finally a version of the c4sto7ary 5o4nd< tendin" scene. )he c4rio4s e isode at the center FAi". I5K not only violates the te7 oral ro"ression of scenes fro7 left to ri"ht b4t has no lace in the story, and nothin" rese7blin" it is to be fo4nd in the 7ytholo"ical so4rces of the -donis tale. )he scene 5as reco"ni:ed and identified by /obert, 5ho, in his disc4ssion of the sarco ha"4s, noted its si7ilarity to a fresco fra"7ent fro7 Po7 eii, no5 in the M4seo ,a:ionale in ,a les FAi". ILK.D#1E Get /obert did not 4rs4e the 94estion of its role here as the central i7a"e a7id the vis4al narrative of the -donis taleCthe 94estion to 5hich 5e no5 t4rn. 3ike the ,a les ivory la94ette FAi". 1HK, the Po7 eian fresco fra"7ent re resents the tendin" of -eneas;s 5o4nd, yet this 5ork is a near<e>act ill4stration of the scene fro7 "eneid 1++.D#IE 0n the sarco ha"4s, the co7 osition is reversed, so7e of the fi"4res are eli7inated, and those re7ainin" are altered sli"htly as they are ada ted to s4it the ne5 story they are enlisted to tell. )he yo4n" +4l4s has disa eared, his lace taken by 2en4s, 5ho is sho5n arrivin" at the scene in the fresco. &es ite the si7ilarities bet5een the t5o 7ythsCboth heroes 5o4nded in the thi"h, both loved by 2en4sCthe scene has no lace in the -donis tale. +t has been borro5ed fro7 the i7a"ery of the -eneas narrative and inserted into that of -donis, at its very center, 5ith al7ost total disre"ard for the story;s inte"rity and co7 rehensibility, in order to effect an analo"y. .4st as -eneas 5as revived by the healin" art of 2en4s, so too 5ill -donis s4rvive the 5o4nd inflicted 4 on hi7.D##E -nd "iven the conte>t in 5hich this analo"y is bro4"ht abo4t, the reason and 7otivation for this 7ytholo"ical invention are

readily a arent: the sarco ha"4s i7a"e declares that the deceased 5ho lies b4ried 5ithin shall be revived. )he s4ccess of this analo"y is conditional 4 on the s ectator;s reco"ni:in" this e isode of the -eneas le"end and "ras in" its si"nificance in this conte>t. - 5ell<established literary 4se of 7ytholo"ical e>e7 la, artic4larly in the 5orks of the "reat first<cent4ry oets, rovided a solid fo4ndation for the e7 loy7ent of s4ch an analo"ical strate"y in the vis4al arts.D#%E )he tradition of ro"ra77atic dis lay of 7ytholo"ical ense7bles in ancient 5all aintin" de7onstrates the fa7iliarity of /o7an beholders 5ith s4ch a 7eanin"f4l j4>ta osition of different 7ytholo"ical i7a"es.D#5E Beca4se the inter olated scene had to be co7 rehensible, it co4ld only be one taken fro7 a tale that 5o4ld be kno5n to all 5ho 5o4ld see it. More i7 ortantly, it had to be )isually fa7iliar, either a scene 5hose re resentation had been codified in ictorial for7 and consistently de icted or one that corres onded recisely to a 5ell<kno5n literary so4rce. )he scene fro7 the fresco re4sed on the sarco ha"4s, as the co7 arison 5ith 2er"il;s te>t has sho5n, is one of the fe5 e>a7 les of /o7an 5all aintin" that f4lfills these criteria and tr4ly f4nctions as an Oill4stration.PD#LE )aken fro7 the "reat e ic of /o7an literat4re, its s4bject 5as s4rely far fro7 recondite. )he e isode fro7 "eneid 1++, ho5ever, does not a ear a7on" the scenes on the s7all "ro4 of s4rvivin" -eneas sarco ha"i, nor is it a7on" those late<anti94e 7an4scri t ill4strations of 2er"il;s oe7 that have co7e do5n to 4s.D#HE +n addition to the ,a les la94ette, the scene of the healin" of -eneas s4rvives only on "e7s or their "lass< aste i7itations FAi". IHK.D#6E )hat this artic4lar scene 5as sin"led o4t for re resentation on s4ch s7all ortable 5orks s4""ests that these "e7s, like other talis7ans, 5ere tho4"ht to ossess a otro aic o5er.D#9E )h4s the f4nction of the "e7;s i7a"e in its conte>t 7ay be considered si7ilar to that of the i7a"e on the -donis sarco ha"4s. +n both instances the e isode is e>tracted fro7 -eneas;s tale, a ro riated as a sy7bolic denial of the o7ni otence of Aate, and ersonali:ed by the bearer of the i7a"eChe 5ho 5ore the carved "e7, or he 5ho 5as b4ried 5ithin the sarco ha"4sCin an i7 licit analo"y bet5een the ancient hero;s fate and his o5n. )h4s this sarco ha"4s FAi". LK, like the 2atican relief FAi". HK, rovides a contrast to the e>a7 les cited in Cha ter I, 5here the i7a"ery of the -donis sarco ha"i foc4sed on the )irtus of the h4nter and the inesca ability of Aate. +n this instance the i7a"ery 5as intended to co7 el a rea raisal of -donis;s fate in li"ht of -eneas;s and, by analo"y, a rea raisal of the fate of the deceased. )he i7a"ery asserts that all threeC-eneas, -donis, and the deceasedCare to be s ared fro7 the finality of death by - hrodite;s love. )h4s the 7yth 5as reinter reted, and its recise si"nificance in the se 4lchral conte>t inverted, in order to convey the idea that for this 7anCthis "donisCas for -eneas, bein" loved by the "ods Aas eno4"h.

Note)
1. (ee Panofsky, 8omb Sculpture, . #$J#6, for the distinction bet5een retros ective and ros ective 7on47ents and other e>a7 les of their sy7boli:ation. )he dichoto7y is taken 4 by *n"e7ann, (ntersuchungen $ur Sepulkralsymbolik, . #6, and a"ain by Brede, Consecratio, . 1#9J15H. I. "SR +++.1, no. I1. #. )he old hysician is identified as Cocyt4s FOin the 7edical arts, the disci le of ChironPK in the sole literary so4rce for this 5o4nd<tendin" scene: Ptole7y 8e haestion Ffl. early second cent4ry a.d.K, s4rvivin" in Photi4s, 7ibliotheca, +++.19$ FZ .. P. Mi"ne, 1atrologia 6raeca, C+++, col. L$HK, cited by P. B. 3eh7ann, Roman 2all 1aintings from 7oscoreale, . 56 n. 1II? B. -tallah, "donis dans la litt5rature et lart grecs FParis, 19LLK, . 6I, th4s identifies the older fi"4re seen at the rear on the 2atican fra"7ent F"SR +++.1, no. 1H? here Ai". 11K.

%. 0n the ortraits, see Brede, Consecratio, . 195, 5ith earlier biblio"ra hy. Cf. also the related heno7enon of stat4ary airs of co4 les in the "4ise of Mars and 2en4s, 5ith their i7 licit evocation of the divination of those so ortrayed: see &. *. *. Kleiner, O(econd<Cent4ry Mytholo"ical Portrait4re: Mars and 2en4s,P 'atomus %$ F1961K. 5. (ee A. &;-ndria, OProble7i icono"rafici nel ciclo di - ollo a 8iero olis di Ari"ia,P in F+0,',1,++" F/o7e, 1965K, . 55f., for a si7ilar air on the - ollo frie:e at 8iero olis Fhis fi". 5K, 5hich he characteri:es as a O ietTP Fthere, ho5ever, -donis;s feet re7ain on the "ro4ndK? &;-ndria co7 ares the co7 osition to that on the 2atican sarco ha"4s and associates both 5ith a /o7an terracotta fra"7ent fo4nd in Britain, no5 in the -sh7olean M4se47, for 5hich see .. M. C. )oynbee and +. ,. 847e, O-n Un4s4al /o7an (herd fro7 the U ch4rch Marshes,P "Cant L9 F195LK: L9JH%. L. (ee Brilliant, 6esture and Rank, . H%JHL? C. Maderna, +uppiter, 0iomedes und Merkur als >orbilder f=r r3mische 7ildnisstatuen F8eidelber", 1966K, . ILJ#1. 0n the codification of s4ch i7a"ery in -4"4stan icono"ra hy, see ]anker, 1oAer of +mages, . IIHff. H. 0n the 6emma "ugustea, see ]anker, 1oAer of +mages, . I#$ff. F5ith earlier biblio"ra hyK. Cf. -ndreae, in 8elbi"% + F19L#K, no. 11I$, 5ho notes ho5 the 2atican sarco ha"4s all4des to this icono"ra hy of a otheosis. 6. 0n the corona ci)ica, see ]anker, 1oAer of +mages, . 9Iff.? and cf. the si7ilar si"nificance of "arlands on the Ca itoline *ndy7ion sarco ha"4s FAi". #I, disc4ssed belo5K? see, f4rther, the disc4ssion in (ichter7ann, Sp#te FndymionBSarkophage, . #$JL5. 9. Cf., inter alia, the a se 7osaic at (anta Maria in )rastevere, /o7e. 1$. 0n the transfer of i7a"ery fro7 the 4blic to the rivate s here in /o7an art, cf. the co77ents in *. B. 3each, 8he Rhetoric of SpaceD 'iterary and "rtistic Representations of 'andscape in Republican and "ugustan Rome FPrinceton, 1966K, es . . 199ff. Aor the the7atics of OPrivata otheosisP on /o7an sarco ha"i, see Brede, Consecratio, assi7. +t is ossible that the ro7inent parapetasma that fra7es and di"nifies the central air 7ay all4de to s4ch a otheosis: cf. the disc4ssion of the related 7otif in 3a7eere, OUn sy7bole Pytha"oricien.P 11. Cf. Pl4tarch, 0e Sera -uminis >indicta, II DZ Moralia, 5L#Bff.E, on the revival of 7ortals by the "ods. 1I. Cf. 0vid, Metamorphoses, 1+2.59Lff., 5here the river ,47ic4s O5ashes a5ay fro7 -eneas all his 7ortal art.P 0n the 5ashin" of the cor se in =reek rit4al, see =arland, 6reek 2ay of 0eath, . I%. Cf. B. Kottin", OA4ss5asch4n",P in R'"C, 2+++, . H%#ff.? Cicero, 0e 'egibus, ++.I%? and see the assa"es collected in Macrobi4s, Saturnalia, +++.1.Lff. 1#. 3ate te>ts Fin artic4lar 34cian, 0ea Syria, LK s4""est -donis;s Ores4rrectionP: cf. P. 3a7brechts, O3a r[s4rrection d;-donis,P in M5langes +sidore 'e)y FBr4ssels, 1955K? earlier /o7an all4sions are not 4nkno5n: cf. Pro erti4s, ++.1#a.5#ff. 1%. )he identification of the scene has lon" been debated: see, 7ost recently, B. (chneider, O]5ei rX7ische *lfenbein latten 7it 7ytholo"ischen (:enen,P K3ln/b>%r=h6esch I# F199$K: es . IL5JILH and fi". 1%, 5here the earlier inter retations are reco4nted. 15. )h4s P. B. 3eh7ann, Roman 2all 1aintings from 7oscoreale, (ervais<(oye:, O-donis,P no. %#. . 5HJ59 and n. 1I1, follo5ed by

1L. +liad, 2.#$Iff. )he scene is ill4strated on an *tr4scan black<fi"4re a7 hora, dated ca. %H$ B.C., no5 in BYr:b4r"? see =. Beckel, 8. Aronin", and *. (i7on, 2erke der "ntike in MartinB)onB2agner Museen der (ni)ersit#t 2=r$burg FMain:, 196#K, cat. no. IH. Cf. 0vid;s all4sion at "mores, +++.9.15f.

1H. 2er"il, "eneid, 1++.#96ff. 16. )hree other ivory la94ettes of this ty eC5hose ori"inal 4r ose and f4nction re7ain a 7atter of s ec4lation Faltho4"h see the a endi> by 8. Berke to the article by (chneider, 199$KCalso dis lay i7a"ery fro7 =reek 7ytholo"y carved on both sides and 7ay be co7 ared to this e>a7 le Fall are re rod4ced and disc4ssed in (chneider, O]5ei rX7ische *lfenbein latten,P 5here the earlier biblio"ra hy is "ivenK: F1K another fro7 Po7 eii that on each of its sides de icts t5o scenes of the /a e of Perse hone? FIK a broken la94ette fo4nd at *i"elstein, 5hose &ionysiac i7a"ery incl4des on one face - hrodite "nadyomene and a cry tic scene 5ith a yo4th, s4 orted by a (ilen4s, 5ho is offered "ra es, and on the other side &ionys4s, a seated 5o7an, and 8er7es? F#K another, also fro7 Po7 eii, fo4nd in fra"7ents that incl4de an eros, a nike, a dancin" 7aenad, and a centa4r. 19. Aor the tabulae iliacae on 5hich the re resentation of the scene is codified, see -. (ad4rska, 'es 8ables +lia4ues FBarsa5, 19L%K? ,. 8orsfall, O(tesichor4s at BovillaeWP /*S 99 F19H9K? cf. f4rther the disc4ssion of the scene, 5hich also a ears on a sarco ha"4s no5 in Basel, in the entry by ,. =7Yr Brian:a in "ntiken KunstAerke aus der Sammlung 'udAig, +++, ed. *. Ber"er FMain:, 199$K, cat. no. I55, es . . %$%J%$L. )he old 7an in this scene 5as identified by 3eh7ann as Cinyras, -donis;s elderly father, an inter retation that de ended entirely on the belief that the other side re resented Othe inj4red h4nter D-donisE attended by t5o co7 anions 5ho atte7 t to care for his 5o4ndP FP. B. 3eh7ann, Roman 2all 1ainting from 7oscoreale, . 5HJ56K. I$. )he 7otif has been st4died recently by 3. M4sso, O+l tras orto f4nebre di -chille s4l rilievo Colonna<=rottaferrata: Una nota di icono"rafia,P 7ullComm 9# F1969J9$K, 5ho believes the scene on the Colonna<=rottaferrata relief Fand, by inference, the other renditions as 5ellK re resents -chillesC even tho4"h no ancient icono"ra hic tradition is attested? cf. -. Kossat:<&eiss7ann, O-chille4s,P in '+MC, +. I1. M4sso, O+l tras orto f4nebre,P . 1L and n. %H. II. )he 7otif of the carryin" of a dead hero 5as re5orked fro7 older =reek 7odels by the artists res onsible for these /o7an re resentations, as a n47ber of early e>a7 les de7onstrate: cf. the British M4se47 O(ar edonP Fsee P. .. Connor, O)he &ead 8ero and the (lee in" =iant by the ,ikosthenes Painter at the Be"innin"s of a Motif,P "" D196%E: #9% and nn. %$J%IK or the Bari vol4te krater de ictin" Makaria Fsee M. (ch7idt, OMakaria +,P in '+MC, 2+, no. #K. -s these older =reek 5orks 7ake clear, the old 7an at the rear of this sceneC5ho ori"inally can have been introd4ced only to re resent Pria7, an identification that the +liac )ablets confir7Cis not an essential ele7ent of the basic sche7e. )here is, ho5ever, no early evidence that the co7 osition 5as desi"ned s ecifically to de ict the ret4rn of 8ector;s body: cf. the a earance of 8ector on the early<fo4rth<cent4ry +taliote vol4te krater in the 8er7ita"e, 5hich e7 loys the sa7e 7otif to ill4strate the scene, 7erely i7 lied by 8o7er at +liad, 11++.#%9J#5I, 5here 8ector;s body is laced on the scales so that he 7ay be ranso7ed for its 5ei"ht in "old? see 0. )o4chefe4, O8ektor,P in '+MC, +2, no. 9I? .. B. =raha7, O)he /anso7 of 8ector on a ,e5 Melian /elief,P "/" LI F1956K. I#. Cf. their evocation by 0vid, 8ristia, 2.%.Hff. I%. )he so4rces of the Philoctetes 7yth are conveniently s477ari:ed by K. Aiehn, OPhiloktetes,P in RF, 1+1? the artistic evidence is disc4ssed in 3. -. Milani, +l mito di %ilottete FAlorence, 16H9K. Aor the Basel sarco ha"4s, see the 7aterials cited in n. IL, belo5. 0ther ancient endants are kno5n: cf., e."., -chilles )ati4s, +++.L, for -ndro7eda and Pro7ethe4s? for -ndro7eda and ,iobe on (o4th +talian vases, see *. Ke4ls, O-eschyl4s; ,iobe and - 4lian A4nerary (y7bolis7,P ?1F #$ F19H6K: L1JL%? for 3eda and =any7ede, see "nthologia 6raeca, 2.L5 FZ 'C' ed., +, . 1L$J1L1K, as 5ell as a no5<lost sarco ha"4s F"SR +++.1, . 5%5K? and for *ndy7ion and 8i olyt4s on an ivory di tych no5 in Brescia, B. A. 2olbach, Flfenbeinarbeiten FMain:, 19H1K, cat. no. LL. Aor the follo5in" disc4ssion of the

Philoctetes 7yth + a7 indebted to the advice of 7y friends 3isa Alor7an and Constantine Marinesc4. I5. Cf., ho5ever, .. Board7an, O8erakles in *>tre7is,P in Studien $ur Mythologie und >asenmalerei, ed. *. BXhr and B. Martini FMain:, 196LK, 1I6, 5ho notes that altho4"h Philoctetes; essential resence for victory at )roy is 7ade clear both by 8o7er and the 'ittle +liad, Othere is no s4""estion in any early so4rce that his ossession of 8erakles; bo5 5as also an essential ele7ent, or even an ele7ent at all, rather than an a ro riate later addition.P IL. Aor a s4bstantial list see the 7aterials cited by Milani, +l mito di %ilottete; and A. Bro77er, 0enkm#lerlisten $ur griechischen *eldensage FMarb4r", 19HLK, +++, . %$HJ%1I. Aor the *tr4scan 4rns F=4arnacci no. ###? Cortona no. I%K, see A.<8. Paira4lt, Recherches sur 4uel4ues s5ries durnes de >olterra & repr5sentations mythologi4ues F/o7e, 19HIK, . I$5JI$6. Aor the 7irror, no5 in Bolo"na, see Milani, . 1$%J1$5 and fi". %9. Aor the 8oby c4 , in Co enha"en, see 2. Po4lsen, O&ie (ilberbecher von 8oby,P "nt1 6 F19L6K? *. KYn:l, in Kaiser "ugustus und die )erlorene Republik Fe>. cat.: Berlin, 1966K, . 5L9J5H1, nos. #9LJ#9H. Aor the -rretine re rod4ction of the 8oby c4 , see K. Ariis .ohansen, O,e5 *vidence abo4t the 8oby (ilver C4 s,P "cta"rch #1 F19L$K? and *. *ttlin"er, O-rretina 4nd a4"4steisches (ilber,P in 6estalt und 6eschichteD %estschrift K. Schefold FBern, 19LHK. Aor one of the sarco ha"i, for7erly in Alorence, see "SR ++, . 1%6J15I, no. 1#9? for the other, for7erly at 8ever Castle and no5 in Basel, see =7Yr Brian:a in "ntiken KunstAerke aus der Sammlung 'udAig, cat. no. I55? 8. 8erdejYr"en, OBeobacht4n"en an den 3Ynettenreliefs 8adrianischer =irlandensarko ha"e,P "ntK #I` F1969K: es . 1HJ19? 8. =. 0ehler, %oto und SkulpturD R3mische "ntiken in englischen Schl3Yern FColo"ne, 196$K, . LL, no. %9 and late? &. (tron", O(o7e Unkno5n Classical (c4l t4reMat 8ever Castle,P 8he Connoisseur 156 F19L5K: II%, cat. no. 11, fi". I1? and Koch and (ichter7ann, R3mische Sarkophage, . 19$ n. 11? . I#1, no. 1$? and late IH1. IH. (ee the s eech of 8erakles in (o hocles; 1hiloktetes, 1%$6ff.? and cf. =riffin, Mirror of Myth, cha ter # FO)he *nd4rance of PainPK, for a disc4ssion of that O"reat nat4re 5hich can s4ffer "reatlyP F . 66K. I6. (ee the 7aterials cited in nn. I% and IL above. I9. Cf. Brede, Consecratio, . 195? see also . 15I. #$. "SR +++.1, no. 15. #1. "SR +++.1, . 16. #I. (ee the assa"e cited at n. 1H, above. )he fresco co7es fro7 Po7 eii;s Casa di (irico F2++, 1, I5 and %H D6E? no5 ,a les, M4seo ,a:ionale, no. 9$$9K. Cf. the co77ents in 3each, Rhetoric of Space, . 9f. Fand notes, 5ith revio4s biblio"ra hyK? and &. =illis, Fros and 0eath in the "eneid F/o7e, 196#K, . 69J9$? see also A. Canciani, O-ineias,P in '+MC, +, no. 1H%. ##. Cf. 0vid, Metamorphoses, 1+2.56Lff.: Oto 7y -eneasM"rantMso7e divinity, ho5ever s7all.P )h4s for the son the "oddess attains 5hat co4ld not be "otten for the father: cf. 2en4s;s desire to restore to -nchises his yo4th, at Metamorphoses, +1.%I%f. #%. C. B. Macleod, O- Use of Myth in -ncient Poetry,P C@ I% F19H%K? see, f4rther, the related disc4ssion in Cha ter L, belo5. #5. )he fa7iliarity of /o7an s ectators 5ith the j4>ta osition of 7ytholo"ical i7a"es can be clai7ed des ite the lon"<standin" dis 4te over the 7eanin" they attached to it. (ee, inter alia, K. (chefold, 'a peinture pomp5ienneD Fssai sur l5)olution de sa signification FBr4ssels, 19HIK, . 1I$ff? M. 3. )ho7 son, O)he Mon47ental and 3iterary *vidence for Pro"ra77atic Paintin" in -nti94ity,P Marsyas 9 F19L$JL1K? Brilliant, >isual -arrati)es, . 59J6I? 3each, Rhetoric of Space, . #L1J%$6? ). Birth, O]47 Bild ro"ra77 der /@47e , 4nd P in der Casa dei 2ettii,P RM 9$ F196#K ? .. Clarke,

8he *ouses of Roman +taly, 1LL 7.C.9a.d. I5$ FBerkeley and 3os -n"eles, 1991K, es . cha ter 5? and see, f4rther, Cha ter 5, belo5. #L. Cf. 3each, Rhetoric of Space, . 9f. #H. (ee Canciani, O-ineiasP? Bro77er, 0enkm#lerlisten, +++, . I$JIH? P. ,oelke, O-eneasdarstell4n"en in der rX7ischen Plastik der /hein:one,P 6ermania 5% F19HLK? Koch and (ichter7ann, R3mische Sarkophage, . 1#%. #6. (ee Canciani, O-ineias,P no. 1HL? P. ]a:off, 0ie antiken 6emmen FM4nich, 196#K, . #I9 n. 15% and late 1$$, no. L? *. ]5ierlein<&iehl, "ntiken 6emmen in deutschen Sammlungen, 7d. ++D 7erlin FM4nich, 19L9K, . 1HL, no. %H5, late 6%? . 155, no. %$%, late H1 Fthe last is incorrectly cited in CancianiK. .. .. Binckel7ann, Monumenti "ntichi +nediti F/o7e, 16I1K, ++, . 1L# and late 1II, re rod4ces a "e7 that de icts the -eneas scene, b4t 5hich is cited by Binckel7ann as a re resentation of -chilles and )ele hos. #9. (ee the 7aterials collected in =. A. K4n:, Rings for the %inger F3ondon, 191HK, cha ter 2++ FOMa"ic and )alis7anic /in"sPK, . I66J##5, and cha ter 2+++ FO/in"s of 8ealin"PK, . ##LJ#5%? and see no5 the s4""estion of a =reek rin";s a otro aic o5er in 8. 8off7ann, OBellero hon and the Chi7aira in Malib4: - =reek Myth and an -rchaeolo"ical Conte>t,P Studia >aria from the /. 1aul 6etty Museum, vol. +? cf., f4rther, C. Bonner, Studies in Magical "mulets, Chiefly 6raecoBFgyptian F-nn -rbor and 3ondon, 195$K, . %5J9%, on a otro aic a74lets.

4. Endymion1) Tale
)he elaborate tale of - hrodite and -donis 5as reco4nted by a "reat 5ealth of te>t4al so4rces 4 on 5hich the sarco ha"4s desi"ners co4ld dra5 as they for"ed their vis4al renditions. Get for *ndy7ion;s tale they co4ld find scarcely 7ore than the bare re7nants of a 7yth 5ith 5hich to 5ork. Aor the 7yth a ears to have s4rvived thro4"h the cent4ries in only fra"7entary for7, and the scanty evidence that re7ains s4""ests that even in anti94ity the tale of (elene and *ndy7ion 7ay have been the s arest of narratives. Bhat has s4rvived is a series of literary fra"7ents, the oldest datin" fro7 the ei"hth cent4ry B.C., that indicate the early e>istence of at least t5o stories, s4bse94ently conflated.D1E Airst<cent4ry scholia s4""est t5o =reek traditions of the 7yth.DIE )he older, Bestern, tradition, 5hich has its ori"ins in 8esiod, 7akes no 7ention of the love of the "oddess and the she herd. 8esiod tells of *ndy7ion;s receivin" as a "ift fro7 ]e4s the ability to choose the for7 of his o5n death. - reference to the yo4th as the son of -ethli4s sets the tale in *lis.D#E +n another fra"7ent 8esiod relates a stran"e tale of *ndy7ion;s trans ort to the heavens, his atte7 ted sed4ction of 8era, and his s4bse94ent banish7ent to 8ades. ,either of these disiecta membraCthe second of 5hich disa ears fro7 the te>t4al tradition alto"etherD%ECis reflected in the re resentations of the 7yth fo4nd on sarco ha"i. -n *astern tradition, 5hose early a earance is re resented by the 5ork of (a ho, reco4nts the tale of (elene and *ndy7ion;s love that event4ally fo4nd vis4al e> ression on the f4nerary reliefs.D5E )his tradition rovided a story of the love of a "oddess for a 7ortal yo4th that, like -donis;s tale, had its ori"ins in -sia Minor. )hese t5o traditions "enerally corres ond to a distinction fo4nd a7id the e>tant literary 7aterial. )he *astern, (a hic, tradition retained a fra"7entary character, 5hich 5as trans7itted by a series of brief te>ts concernin" the beloved of the "oddess and his fate.DLE )he 7yth;s e94ation of slee and death offered an a horis7CO+ndeed, yo4 really see nothin" so si7ilar to death as slee P?DHE O*ndy7ion;s slee , sho4ld s4ch a thin" occ4r, 5e sho4ld re"ard the e94ivalent of deathPD6EC5hich, 5ith its evocative the7e and concise yet ele"ant for74lation of a f4nda7ental si7ilit4de, not only roved a

ersistent to os of the hiloso hical tradition,D9E and a fittin" s4bject for the e i"ra7,D1$E b4t rendered the 7yth a fa7iliar analo"4e for 7any oets; tho4"hts concernin" love and death. )he 7yth;s Bestern strain, by contrast, atte7 ted to f4se the dis arate ele7ents of the tale. By the si>th cent4ry B.C., in the s4rvivin" fra"7ents of the 5orks of +bykos, the *astern ro7ance of (a hic ori"in has been trans orted fro7 its settin" in a "rotto on Mo4nt 3at7os to the historical s here in the 8esiodic kin"do7 of *lis.D11E +n the acco4nts "iven by - ollodor4s in the second cent4ry B.C. and by Pa4sanias in the second cent4ry a.d.Cthe 7ost s4bstantial of the e>istin" so4rcesCcan be seen the contin4ation of this hybrid ty e, 5hich e7 hasi:ed the tale;s historical character and settin" and, by i7 lication, its realistic ori"ins.D1IE N N N

A# $ragmento ad historiam
)he desi"ners of the -donis sarco ha"4s reliefs, in order to tell their story, red4ced the e>tended narrative of their 7yth by e ito7i:ation? the desi"ners of the *ndy7ion sarco ha"i reliefs faced a rather different, co7 le>, roble7. -s they ada ted the s4rvivin" fra"7ents of the (a hic tradition to a narrative 7ode of vis4al re resentation, they 5ere co7 elled to e> and the7 by the i7 eratives of the sc4l t4ral for7 and its conte>t. )he 7yth;s vis4al ada tation reveals the contin4in" infl4ence of the t5o te>t4al traditions. )he tale;s fra"7entary for7 had to be vis4ali:ed in a 7anner that not only s477oned to 7ind a narrative concernin" the love of the "ods b4t evoked f4lly its alle"orical i7 lications.D1#E )o this end the (a hic tradition;s acco4nt of (elene and *ndy7ion;s love layed the cr4cial role and rovided the sc4l tors 5ith their basic 7otif. )he lastin" s4ccess of the artists; f4nda7ental invention can be inferred fro7 the lar"e n47ber of s4rvivin" e>a7 les.D1%E )he vis4al and narrative foc4s of the sarco ha"4s re resentations is the scene of (elene;s noct4rnal arrival before the slee in" she herd.D15E )he 4ncl4ttered si7 licity of t5o of the earliest e>a7 les, a sarco ha"4s in the 3o4vre of circa 1%$J15$ FAi". I6K and one in the Ca itoline M4se47 of circa 1#$J 1%$ FAi". I9K, has been tho4"ht by scholars to reflect the =reek character of the ori"inal ictorial invention. )he 3o4vre e>a7 le 5as in fact discovered near (7yrna in -sia Minor, 5here =reek traditions contin4ed to flo4rish.D1LE )he ithy de iction of the tale on these t5o reliefs reflects, not a sin"le so4rce, b4t a synthesis of n47ero4s as ects conveyed by both the a horistic and e i"ra77atic te>ts of the literary tradition: the bea4ty of the yo4th,D1HE the desire of the "oddess,D16E the eroticis7 of the enco4nter,D19E the si7ilarity of slee and death,DI$E and the sacred nat4re of the 4nion.DI1E -ll these ele7ents 5ere f4sed here in a sin"le, s4ccinct, and trenchant i7a"e. )his co7 osite scene f4nctions effectively as the re resentation of a contin4o4s cycle of ni"hts and visitations, endlessly the sa7e. -7on" the i7 lications of the 7on47ents; i7a"ery is the idea that *ndy7ion, a7id his Odeathlike slee ,P re7ains eternally yo4n" and bea4tif4lCj4st as the sarco ha"i al5ays de ict hi7 Fcf. Ai". #$K.DIIE (elene;s veil billo5s as a si"n of divine e i hany as she ste s fro7 her chariot, dra5n by the fi"4re of -4ra, the ersonification of the bree:e. *rotes li"ht her 5ay 5ith torches and lead her to the rostrate for7 of her bea4tif4l ara7o4r. )he resence of these divinities conveys the 7a"ical nat4re of the yo4th;s sl47ber. 0n the 7ajority of the reliefs, this s4""estion is enhanced as the yo4th re oses in the la of 8y nos, the "od of (lee FAi". I9K. Both the a earance of "enii loci and the tree in 5hose shade the 7eetin" takes lace si"nal the sacred character of the settin" itself. )he 3at7ian "rotto in 5hich (a ho had set the tale a ears here as the sacred "rove, the ha4nt of divinities 5ho take their leas4re sub caelo, and the s are landsca e is s4ff4sed 5ith a 94iet ti7eless lan"4or.DI#E

0n the Ca itoline sarco ha"4s FAi". I9K no other 7ortals a ear, only those attendant deities and ersonifications 5ho aid and abet the "oddess;s desire.DI%E 8y nos is here endo5ed 5ith the beard and a"e of his co77on co7 anion, )hanatos, and th4s reiterates in vis4al for7 the roverbial likeness bet5een the t5o.DI5E 8is actions nevertheless belie this all4sion, as he raises the folds of *ndy7ion;s "ar7ents, 4nveilin" hi7 before the eyes of (elene. )he billo5in" dra ery s4btly echoes that of her o5n 7antle, b4t its f4nction and si"nificance are e>actly the reverse. Bhile her a earance, fra7ed by her veil, is a traditional si"n for the 7a"ical revelation of divinity, the action of 8y nos is intended to convey not 7erely the bea4ty, b4t the hysicalityCand, i7 licitly, the se>4alityCof the 7ortal yo4th 5ho is the object of her assion. *ndy7ion;s lar"e fi"4reCo4t of scale 5ith that of (eleneCto"ether 5ith the ithy hallic her7 j4st behind 8y nos, confir7 this e7 hasis on the yo4th;s se>4ality, f4rther corroborated by the dis lay of *ndy7ion;s "enitalia on the 7ajority of these 7on47ents.DILE )hese sarco ha"i resent 7erely the first hase of an erotic scenario, the se94els to 5hich are easily i7a"ined. )he role tic o5er of s4ch a resentation derives, in lar"e art, fro7 its evocation of a ri7ordial h47an e> erience.DIHE +7a"ination co7 rehends the force and the e>alted, divine character of this 4nion, and this love, all the 7ore effectively beca4se they are de icted in the reco"ni:able and affective for7 of i77inent se>4al con"ress. )h4s, one is able not only to erceive (elene;s desire, b4t to i7a"ine its cons477ation.DI6E )he re etition, thro4"ho4t the cor 4s of the *ndy7ion sarco ha"i, of the basic 7otifC(elene advancin", *ndy7ion reclinin"Ctestifies, des ite co7 ositional chan"es, to the s4ccess of the f4nda7ental invention. -7on" the 7ore si"nificant chan"es is the reversal in direction of the rinci al fi"4res; orientation. 0n the early sarco ha"i, (elene advances fro7 ri"ht to left FAi"s. I6 and I9K. 0nce reversed FAi". #1K, the te7 oral se94ence of events reflects that of the heno7enolo"ical e> erience of the vis4al narration as its ele7ents are read 94ite literally fro7 left to ri"ht: the halted chariot, the e7er"in" "oddess, and the sl47berin" yo4th 5ho a5aits her. )hat this transfor7ation of the co7 osition 5as re"arded as an i7 rove7ent 7ay be inferred fro7 its "rad4al re lace7ent of the earlier ty e, very fe5 e>a7 les of 5hich s4rvive that can be dated later than circa 16$.DI9E )here are, ho5ever, other chan"es. Bhile the arrival 7otif contin4ed to rovide the basic or"ani:ation of the scene, additional i7a"ery often s4 le7ented the e>istin" re ertory. )he n47ber of erotes 5ho acco7 any the "oddess 7i"ht be increased and ne5 ersonifications a ended to s ecify the 7yth;s to o"ra hical settin". )hese acco4tre7ents of the tale are, for the 7ost art, inessential to its reco"nition or its si"nificance. )hey do, ho5ever, 4nderscore the sy7bolis7 or establish in "reater detail the conte>t of the 7ytholo"ical narrative. (4ch additions are a for7 of staffa"eCsta"e dressin" and decorative 5ork that acco7 any the essential vis4ali:ation of the 7yth.D#$E )he a7 lification of the basic vis4al 7otif by the addition of staffa"e and the elaboration of the fra"7entary narrative by the introd4ction of s4ch e7bellish7ents had a literary co4nter art. )here 5as an established tradition in 5hich the for7 and content of the e i"ra7 had been si7ilarly a7 lified. By a series of rhetorical strate"ies, the literary otential of this 7ost ithy and co7 ressed for7 5as enlar"ed.D#1E1rosopopoeia, in 5hich i7a"inary fi"4res or ersonifications address the reader in direct s eech, breathed life into conventional oetic co7 ositions? apodeiEis, the fei"ned e>hibition of the described object to the reader, see7in"ly transfor7ed literary descri tion into i77ediate e> erience? and 5ith apostrophe the a4thor interr4 ted his narration to address the object of his descri tion directly and ointedly. Bhile s4ch devices 7i"ht e> and the sense of a oe7;s conte>t, s ecify its content, or transfor7 its connotations, the res4ltin" literary 5ork nevertheless re7ained fir7ly rooted in its "enre and its to oi. )he character and the traditional s4bject 7atter of the e i"ra7 5ere at ti7es f4rther elaborated in 7ore s4bstantial endeavors co77only associated 5ith the 7ajor oetical for7s.D#IE Aor instance, the a horistic fra"7ents of the *ndy7ion 7yth co4ld be inserted 5ithin a lyric or ele"iac conte>t, as one

e>e7 l47 a7on" 7any. )he *ndy7ion 7yth 5as e7 loyed in this fashion by Pro erti4s and Cat4ll4s, 5ho enlar"ed it by association and analo"y 5ith other, 7ore co7 le>, 7yths.D##E )he brief narrative co4ld also be e> anded, its concision cast aside and its 7atter elaborated, as in the case of 34cian;s dialo"4es, 5here the characters see7in"ly co7e to life and enact the dra7a i7 licit in the early acco4nts of the 7yth.D#%E )he vis4al staffa"e on the sarco ha"i 7ay be re"arded as a correlative to these rhetorical elaborations of the e i"ra77atic for7. 0n these f4nerary 7on47ents the 7ytholo"ical i7a"ery 5as s4bject to si7ilar 7odes of revision in an atte7 t to e> and the *ndy7ion narrative. Certain reliefs dis lay 7ore e>tensive co7 ositional chan"es, and the roliferation of i7a"ery s4""ests that, j4st as in the te>t4al elaborations of - ollodor4s and Pa4sanias, 7ore of a narrativeC7ore of a storyC5as desired. Aor the *ndy7ion sarco ha"i constit4te an e>ce tion a7on" the 7ytholo"ical sarco ha"i, 5hich, as a 5hole, are characteri:ed by the de iction of 74lti le scenes arran"ed across the e> anse of the lon" rectan"4lar for7 of the casket. )5o distinct sol4tions a ear, often si74ltaneo4sly. )hese de end 4 on very different re resentational conventions. 0ne sei:es 4 on the te7 orality inherent in the "oddess;s a earance before the slee in" she herd and, by e> andin" on the scene;s i7 lications, e>tends it narrati)ely. )h4s the arrival 7otif rod4ces its se94el, the de art4re, 7erely by do4blin" the chariots alon" 5ith the fi"4res of (elene and -4ra FAi". #IK.D#5E )he other sol4tion retains the sin"le event as its foc4s and elaborates this basic scene allegorically. Bhile the arrival 7otif re7ains the core of these re resentations, it is a4"7ented by others, and this addition of co7 le7entary i7a"ery si"nals the transfor7ation of the 7yth to s4it the se 4lchral conte>t. N N N

Narrati+e e-ten)ion
0n the basis of a no5<destroyed aintin" fro7 Po7 eii, Karl (chefold ro osed the ori"inal e>istence of a s ecific additional scene in the *ndy7ion 7ythQs re resentational tradition. )his 5all aintin" FAi". ##K re resented *ndy7ion aslee in the ar7s of 8y nos at the center of a landsca e 5hose to o"ra hy is distin"4ished by the col47n and sacred tree characteristic of the Osacral<idyllicP ty e. D#HE Aro7 above (elene descends in her car, 5hile another r4stic fi"4re shields his eyes as he beholds the divine e i hany.D#6E (chefold ass47ed that this fi"4re also re resented *ndy7ionZ7altho4"h no s4ch detail is to be fo4nd in the te>t4al so4rcesZ7and that the aintin" recorded an ori"inal ele7ent of the lost *ndy7ion narrative.D#9E 8e concl4ded, fro7 the evidence of this aintin" and those sarco ha"i de ictin" both an arrival and a de art4re scene, that the =reek vis4al rototy es for these i7a"es 74st have been fo4nd in t5o consec4tive scenes of an ill4strated te>t, or OBilderb4ch.P (chefold even ca7e to re"ard sarco ha"4s reliefs 5ith relatively 4nco7 licated co7 ositions as e>cer ts of 5hat had ori"inally been inde endent scenes in a lar"er narrative FAi". #%K.D%$E +n the absence of either an e>tended narrative in the te>t4al so4rces or a s4rvivin" ancient cycle of scenes de ictin" the 7yth in any 7edi47, (chefold;s conject4ral OBilderb4chP for the *ndy7ion 7yth is scarcely co7 ellin". Moreover, the e>istence of s4ch OBilderbYcherP can be convincin"ly ded4ced on icono"ra hic "ro4nds only in those instances 5here the i7a"ery cannot be derived i7 licitly fro7 the standard scene shared by nearly all the sarco ha"i. )his is a criterion (chefold;s sarco ha"4s e>a7 les frankly cannot be said to 7eet. )he e>tension of the *ndy7ion i7a"ery by the do4blin" of the chariots de icted in the basic scene 7ore la4sibly derives fro7 the essentially decorative conventions that so often "overned the dis lay of sc4l t4re. (4ch e>tensions of the e>istin" i7a"ery fail to add anythin" s4bstantial to either the story or its e>e"esis. )he sa7e 94antity of narrative 7aterial is stretched to rovide 7ore vis4al i7a"ery? a

red4 lication of the basic for7s serves as a s4bstit4te for additional content.D%1E )his assi7ilation of narrative 7aterial to the for7al character and conventions of a revalent stylistic idio7 can also be seen in the case of the Po7 eian 5all aintin" invoked by (chefold. )he co7 osition reflects the transference of the 7yth;s brief narrative to a co7 le> ictorial for7at to 5hich its concision 5as clearly 4ns4ited. B4t not all the s4rvivin" 7ytholo"ical landsca e aintin"s de ict their stories as contin4o4s narratives 5ithin the fra7e5ork of their inte"rally conceived co7 ositions.D%IE -s von Blanckenha"en s4""ested, the 74lti lication of scenes in contin4o4s narrative style in the inde endent anels of the 7ytholo"ical landsca esCin artic4lar those characteri:ed by a bird;s<eye ers ectiveC7ay indeed re resent a O"en4inely /o7an alterationP of the 8ellenistic ori"inals on 5hich they 5ere based.D%#E Bhether or not its 4r orted Osecond sceneP constit4tes evidence of a contin4o4s narrative rototy e, the addition of that scene to the tale layed a role in the transfor7ation of the *ndy7ion 7yth;s i7a"ery as the ainters abandoned the co7 ositional for7 and style of lar"e anels or"ani:ed aro4nd 7on47entali:ed fi"4res in favor of the conventions associated 5ith another ty e of 7ytholo"ical landsca e.D%%E N N N

"llegorical elaboration
)he other Osol4tionP to the roble7 of for"in" a 7ore co7 le> narrative for the fra"7entary tale 5as literally to add 7oreCne5Ci7a"ery. 8ere the sarco ha"4s desi"ners e7 loyed ictorial density as an alternative to lateral, narrative, e>tension. /ather than try to 7ake the story a ear lon"er, indeed 7ore of a story, they condensed 7ore i7a"ery 5ithin the ori"inal fra7e5ork to 7ake the little they had 7ore co7 le> vis4ally. )his sol4tion rod4ced reliefs 5hose sc4l ted s4rfaces 5ere cro5ded 5ith fi"4res and th4s 5holly of a iece 5ith the rise of a ne5 stylistic idio7 in third<cent4ry sc4l t4re.D%5E )hese reliefs are 7arked, beyond the addition of 7ore staffa"e, by ne5 characters 5ho take art in the action and by added ele7ents that lay a 4rely sy7bolic roleCnone of 5hich are derived e> licitly fro7 the 7yth;s te>t4al so4rces.D%LE )he res4ltin" co7 ositions are distin"4ished by their density, 5hich is not 7erely sc4l t4ral b4t intellect4al. )hese reliefs 74st be conceived as asse7bla"es 5hose ele7ents stand in aradi"7atic and vertical relationshi to one another. )he connotations of these s4 le7entary ele7ents serve to elevate the story to a ne5 level of si"nificance? indeed, reliefs s4ch as these e ito7i:e the very rocess by 5hich s4ch stories beco7e 7yths at all. )he h4"e *ndy7ion sarco ha"4s no5 in the Pala::o &oria<Pa7 hili FAi". #1K de7onstrates this ne5 elaboration of the 7ytholo"ical fra"7ent. )his 5as a lar"e anel 5ith si"nificantly 7ore s ace to be filled, and it dis lays the arrival 7otif;s a7 lification in the ne5 style.D%HE - "reat n47ber of characters are added to the scene: the chariots of - ollo and (elene a ear at the 4 er corners? the the ersonification of Mo4nt 3at7os establishes the settin"? 8y nos, leanin" over *ndy7ion, is sho5n in his c4sto7ary yo4thf4l for7?D%6E here 8es eros, the evenin" star, leads the 5ay for (elene 5ith a li"hted torch, takin" the lace of the eros 5ho erfor7ed the sa7e task on the Ca itoline sarco ha"4s FAi". I9K?D%9E three of the 8orae, or seasons, a ear at the event? the ersonification of earth, or =aia, reclines 4nder the horses of (eleneQs chariot? and a sedentary old she herd 5ho tends his flock t4rns his head to 5itness the action. - "reat 5ealth of i7a"ery is j47bled to"ether here, iled 4 and ti"htly acked 5ithin the cra7 ed s ace of the relief. )he for7erly si7 le scene of sed4ction has been transfor7ed into the co7 le> re resentation of a cos7ic event.D5$E +ts te7 oral settin" is established by the chariots at the 4 er corners, 5hich re resent - ollo;s co4rse across the heavens by day and (elene;s by ni"ht? to"ether they sit4ate the scene at the 7o7ent of transition bet5een the t5o. )he erennial cycle is all4ded to by the resence of the 8orae. )he ri7ary effect of this condensation of i7a"ery aro4nd the 7o7ent of the "oddess;s arrival is to de7onstrate the concatenation of forces that

cons ire in the 7ythic event;s reali:ation. -s they are "athered abo4t it, all these fi"4res and sy7bols serve to 4nfold its i7 lications and to elaborate its si"nificance. +n both the alle"orical and narrative Osol4tions,P these transfor7ations of the i7a"ery added nothin" 7aterial to the 7yth er se. )he lateral, narrative, e>tension of the e>istin" i7a"ery sho4ld be re"arded as the e94ivalent of a rhetorical strate"y intended to rod4ce the i7 ression and aesthetic effect of an e> anded narration. +n this sense it constit4tes an e>a7 le of the trans osition to the vis4al arts of the literary device of amplificatio. -n oratorical device of ers4asion, amplificatio 5as a techni94e for 7akin" 7ore of one;s 7aterial by 7eans of ar"47ent, re etition, co7 arison, and acc474lation.D51E +ts "oal 5as the O7ore i7 ressive affir7ationP of the to ic in 94estion so as to rod4ce "reater effect. D5IE -nd it is in recisely this sense that the additional i7a"ery and the s4bse94ent chan"es in the do4ble<chariot co7 ositions of the sarco ha"i reliefs sho4ld be 4nderstood. )he evidence of the s4rvivin" sarco ha"i s4""ests that this a roach to the 7ytholo"ical fra"7ent 5as not e7 loyed very often. Certain ec4liarities of the res4ltin" co7 ositions s4""est one of the reasons: once the chariots and horses 5ere do4bled, they de7anded a very lar"e ortion of the available s ace, and they i7 eded the desi"ners; ability to "ive riority to the f4nda7ental scene of the enco4nter. 0n 7ost of these e>a7 les the essential arrival 7otif 5as 4shed to5ard one of the anel;s ends, and its central osition 5as 4s4r ed by either -4ra or one of the tea7s of horses. )he resence of incidental fi"4res s4ch as these in the ri7ary osition on the central a>is can only be re"arded as a co7 ositional shortco7in", and additional 7otifs see7 to have been introd4ced to balance it. )his a ears to have been the case 5here -4ra, standin" at the center of the relief, holds "arlands si"nifyin" a otheosis, as on another sarco ha"4s no5 in the Ca itoline M4se47 FAi". #IK.D5#E )he alle"orical sol4tion avoided this dile77a. )he additional ele7ents of s4ch a sol4tion co4ld be added aro4nd the central scene 5itho4t alterin" the relief;s basic co7 osition or its foc4s. )his alle"orical 7ode allo5ed the artists to introd4ce, by 7eans of ictorial ele7ents that f4nctioned sy7bolically as 7eta hors and analo"ies, ne5 ideas that infor7ed and str4ct4red the beholder;s res onse to the scene. )he aradi"7atic 94ality of the 7yth is si"naled by these associations and arallels, 5hose relationshi to the 7yth sho4ld be 4nderstood as if they 5ere the vis4al e94ivalents of an interlinear "loss to a te>t. )he alle"orical elaboration th4s not only a7 lified the fra"7entary tale b4t, 7ore i7 ortantly, offered a co77entary on its a ro riateness and si"nificance in the conte>t of se 4lchral art. N N N

%er et!ae n! tiae

)he lar"e 5ine<vat<sha ed sarco ha"4s, or lenos, no5 in ,e5 Gork FAi". #5K, resents one of the 7ost elaborate e>a7 les of the *ndy7ion tale;s alle"orical a7 lification.D5%E )he entire s4rface of the 7arble vatCfront, ends, and backCis covered 5ith fi"4red i7a"ery, 5hich e>tends onto the front ed"e of the lid. Belo5 the lion roto7e at the left, behind the seated for7 of the old she herd, a ear the fi"4res of C4 id and Psyche.D55E (7aller in scale than even the n47ero4s erotes that acco7 any the scene, they are not incor orated into the narrative b4t are resent on the relief as sy7bols.D5LE )hey re resent another co4 leCone of the7 7ortal, the other divineC5hose love 5as also cons477ated ni"htly 4nder the veil of darkness. )heir resence evokes the si7ilarity of their story to the tale told on the sarco ha"4s relief and i7 lies an analo"y bet5een the cycle of endless ni"hts (elene shared 5ith *ndy7ion and the ni"htly rende:vo4s bet5een C4 id and Psyche. )he analo"y rovides a key to 4nderstandin" (elene;s contin4al ret4rn des ite *ndy7ion;s endless sl47ber. Aor C4 id and Psyche;s event4al betrothal, and her s4bse94ent deification, re resent the 4lti7ate re5ard of s4ch constancy in loveCan endless 7arria"e. .4st as the 7arria"e of the 7ytholo"ical rota"onists 5as to be eternal, so

too that of the co4 le 5ho are here co77e7orated in their "4ise. )he i7a"ery roclai7s that this 7arria"e, des ite death, is everlastin", and this co4 le;s endless love, the e94al of one divine.D5HE )he sa7e the7e co4ld be si"naled in another fashion. 0n the relief no5 at (an Paolo f4ori le 74ra in /o7e FAi". #LK, the conventional i7a"ery has been strikin"ly revised.D56E 8ere it is - hrodite 5ho a ears at the center of the scene, seated on a chariot dra5n by o>en. +t is she 5hose naked fi"4re is fra7ed by a billo5in" veil that 7arks her e i hany. )h4s - hrodite si"nals her role as the divinity 5ho resides over the scene of the 7oon "oddess;s enco4nter 5ith the slee in" she herd.D59E (elene, 5earin" the lon" veil of a bride, is led to *ndy7ion;s side, not by erotes, b4t by ,y>, the ersonification of the ni"ht, 4nder 5hose starry sky the event trans ires.DL$E )he inci ient eroticis7 that layed a re"4lar art in the 4s4al arrival scene is reflected in the yo4th;s n4dity, yet it is s4bordinated here to the i7 lications of (elene;s ne5 co7 ort7ent and cost47e. )he astoral ele7ents have been rele"ated to 7inor roles, and the old she herd 5ho often acco7 anies the scene has been eli7inated. )he 7arria"e analo"y si"naled on other reliefs by the resence of C4 id and Psyche has been assi7ilated to the *ndy7ion 7yth itself.DL1E )his inter retation of the *ndy7ion 7yth as a Ocelestial 7arria"eP is corroborated by another series of f4nerary i7a"es that re resent the love of (elene and her she herd. Bhile these do not a ear on the s4rvivin" sarco ha"i, they are fo4nd on a "ro4 of "rave stelai fro7 rovincial areas of the /o7an *7 ire. )hese 7on47ents re resent a f4rther scene in the *ndy7ion narrative: a naked (elene rises fro7 the bed of her slee in" lover, *ndy7ion FAi". #6K.DLIE -ll the kno5n e>a7 les are de icted in the ty7 ana, or edi7ents, at the to of stelai desi"ned in the for7 of te7 les to honor the dead. )h4s the (elene and *ndy7ion narrative a ears in an architect4ral conte>t that 5as traditionally conceived as the rovince of the "ods and as a sy7bol of the celestial real7.DL#E )he i7a"ery of (elene;s love for *ndy7ion s4""ested, on these "ravestones as on the sarco ha"i, a 7eta hor for the blessed life to co7e.DL%E )he the7e of the i7a"ery and the si"nificance of the architect4re on these rovincial reliefs are co7 le7ented on a very si7ilar stele fro7 (avaria by an acco7 anyin" inscri tion: ,ptamus cuncti, sit tibi terra le)is.DL5E )he ho e that the earth 5o4ld not lie heavily on one;s "rave fo4nd a co4nter art in the acco7 anyin" i7a"e of (elene and *ndy7ion, 5ith its s4""estion of an afterlife in the heavens. )he 7yth on these stelai re resents the fate of the dead a7on" those lofty bein"s above 5ho have fo4nd their 5ay to the O rairies of the Moon and 2en4s.PDLLE N N N

Exem l!m #!&oli&!m

0n the sarco ha"i, 5here slee f4nctions so clearly as a sy7bol of the afterlife, the desi"ners have taken ains to "ive a sense of 5hat *ndy7ion;s Odeathlike slee P 5o4ld be like. )he vario4s 94alities of this tale of 7ythical slee have been translated into vis4al for7s: its eroticis7 a ears in the sed4ction scene and the characters; n4dity? its endlessness is fi"4red by the sy7bols of the ni"htly and ann4al cycles? its role as a recondition for the yo4th;s divine O7arria"eP is si"naled by the attendance of 8y nos? and the characteri:ation of the entire e isode as a for7 of deification is heralded by the resence at the scene of C4 id and Psyche. -nother ele7ent 5as a ended to the 7yth;s vis4al re ertory that contin4ed to refine and develo these ideas abo4t the afterlife, altho4"h in a different ictorial "4ise and alon" different 7eta horical lines. )his is the astoral vi"nette that a ears on 7any of the sarco ha"i. +ts central 7otif is a seated she herd, often slee in" and acco7 anied by his do" and his flock, all set 5ithin a s477ary landsca e FAi". #9K. )he traditional identification of *ndy7ion as a she herd rovided the rationale for incl4din"

this i7a"e.DLHE )he fi"4re of the she herd, 5ho a ears so7eti7es yo4n", so7eti7es old, cannot have been intended to re resent an additional e isode in the narrative.DL6E +n al7ost every instance, the she herd is not art of the central scene b4t a ears adjacent to the 7ain action, either aslee or lost in tho4"ht.DL9E Get she herd and flock are not 7erely art of the settin" and its staffa"e. )hey endo5 the sarco ha"4s i7a"ery 5ith another to os, the b4colic idyll, 5hich serves to connect this 7yth to others that si7ilarly invoke a beneficent i7a"e of the afterlife.DH$E )his vi"nette e>4des the 94iet char7 of the )heocritan astoral. +t is the descendant of those 8ellenistic i7a"es that served as the vis4al co4nter arts to )heocrit4s;s +dylls, 5hich raised the "ood life a7id astoral 94iet as an antidote to civic t4r7oil.DH1E +n early i7 erial ti7es the /o7ans had ado ted si7ilar i7a"es that evoked the serenity of astoral life. (4ch b4colic i7a"ery, one as ect of the revival of r4ral val4es, 5as celebrated not only in the verse of the "reat -4"4stan oets b4t in the a earance of sacral<idyllic landsca e aintin" as 5ell.DHIE Moreover, this b4colic i7a"ery held a rivile"ed lace in /o7an tradition, as 2arro had ointed o4t: O+s there anyone 5ho doesn;t kno5 that the /o7an eo le iss4ed fro7 she herdsW 5ho does not kno5 that Aa4st4l4s, the "4ardian 5ho raised /o74l4s and /e74s, 5as a she herdWPDH#E )his vis4al to os took its ri"htf4l lace a7id the re ertory of b4colic i7a"ery. -s 2er"il tells of Ojoyo4s laces, the "reen leasances, and the blessed abode of the fort4nate "roves,PDH%E th4s the i7a"e of the she herd in reverie co4ld serve as a drea7like 7eta hor of the tran94illity 5aitin" after death.DH5E +n the vis4al arts, artic4larly in se 4lchral conte>ts, it flo4rished far lon"er than the literary "enre 5hence it ca7e. 0n these 7on47ents b4colic scenes re7ained a classici:in" all4sion to the ast in a 7ode that 5as no lon"er vital to the oetic re ertory. +ndeed, literary taste for the astoral a ears to have 5aned, if not al7ost to have disa eared, by the late second cent4ry.DHLE /esonant 5ith the val4es and virt4es of the astoral life, this b4colic i7a"e co4ld f4nction se arately as a sy7bol. )he she herd;s inde endent a earance on other sarco ha"i testifies to the vi"nette;s role as a discrete and si"nificant ele7ent in the re ertory of f4nerary i7a"es FAi". %1K.DHHE )he vi"nette and its constit4ent 7otifs co4ld also be re4sed in ne5 conte>ts.DH6E )his a ears to have been the "enesis of a 4ni94e sarco ha"4s, no5 in ,a les FAi". %IK.DH9E 0n this relief the astoral to os is j4>ta osed 5ith an i7a"e of the h4nt, 5hich 5as a ro riated fro7 the Melea"er re ertory. -s the t5o i7a"es carried to their ne5 conte>t their c4sto7ary si"nificance, they th4s served as sy7bolic e> ressions of the active and conte7 lative life.D6$E 0n another sarco ha"4s, no5 in Pisa FAi". %#K, the b4colic idyll 5as si7ilarly re resented side by side 5ith an i7a"e of the M4ses, and th4s, follo5in" 2er"il, these i7a"es served to sy7boli:e t5o ossibilities for ha iness in h47an life.D61E - related 7ode of invention see7s to have been res onsible for the so<called /in4ccini sarco ha"4s, 5here a"ain a reco"ni:able 7otif fro7 another 7ytholo"ical re ertoryCthe Odeath of -donisPC5as e>tracted fro7 its narrative conte>t and re<e7 loyed FAi". %%K in conj4nction 5ith ele7ents of the )ita humana ty e. (et alon"side the bio"ra hical scenes all4din" to concordia and pietas, the 7ytholo"ical i7a"e of )irtus co7 letes the conventional se94ence of virt4es as it 7anifestly f4lfills the alle"orical i7 lications of the series as a 5hole.D6IE +n each of the recedin" e>a7 les, 7otifs 5ere re4sed inde endent of the narrative conte>t in 5hich their vis4al for7s 5ere c4sto7arily e7 loyed. +n their ne5 settin"s these 7otifs Fthe she herd or the entire b4colic vi"nette, the h4nt, or the dyin" heroK f4nction in the "eneric sense f4nda7ental to the very idea of to oi. - "reater "enerality is reflected by the ,a les and Pisa sarco ha"i, 5here their conventional sy7bolis7 does not de7and the reco"nition of their vis4al affinities 5ith, or so4rces in, the standardi:ed 7ytholo"ical re ertories. Get in the case of the /in4ccini sarco ha"4s, so7ethin" of both the literal and 7eta horical si"nificance of the 7otif;s ori"in 5o4ld have been evoked by the sc4l t4ral for7s. Aor the Odeath of -donisP 5o4ld need to be reco"ni:ed, and its si"nificance as an eEemplum )irtutis recalled, if it 5ere to lay a 7eanin"f4l role a7id this co7 le> co7 osition

dedicated to scenes of the )ita humana.D6#E )he co7 ositional rinci le that deter7ines the overall 7ode of resentation on these sarco ha"i is arata>is, the deliberate abandon7ent of the for7al conventions of synta> and the or"ani:in" str4ct4res of s4bordination that synta> entails. Paratactic co7 ositions involve the strin"in" to"ether of discrete ele7ents 5itho4t connectives. +n the absence of inte"rated str4ct4res of s4bordination, the inde endence of these ele7ents is e7 hasi:ed by the for7 itself, and their recise relationshi to one another 74st be for"ed by the vie5er fro7 the inter retation of each in the conte>t of the 5hole.D6%E &ivorced fro7 the central event, s atially, the7atically, and narratively, the b4colic vi"nette 5as laced beside the i7a"e of (elene and *ndy7ion as both a co4nter art and a co7 le7ent. -s a eacef4l addition to the t474lt of (elene;s arrival and *ndy7ion;s sed4ction, the astoral scene has its arallel on the fa7o4s sarco ha"4s of +4li4s -chille4s no5 in the M4seo ,a:ionale /o7ano FAi". %5K, 5here si7ilar i7a"ery serves as an e7ble7 of *lysi47 and sy7boli:es Othe 4navoidability as 5ell as the consolin" re ose of death.PD65E )he b4colic idyll, as a to os, a4"7ented the re ertory for the re resentation of the afterlife fo4nd on the *ndy7ion sarco ha"i and offered another sy7bol for the favor of the "ods. )o the i7a"e of erotic enco4nter 5ith the divinity a7id the 94iet of sl47ber, the b4colic scene adds that of a astoral oasis of eacef4l 7editation. +n the absence of a narrative relationshi , the aratactic resentation of the 7otifs Cand the scr4tiny that resentation rovokesC ro7 ts the reco"nition of a s ecial 7ode of corres ondence.D6LE .4>ta osed, the 7otifs resent a for7 of icono"ra hic sy77etry. )he erotic 7otif literali$es the "ainin" of the "ods; favor, 5hile the b4colic to os metaphori$es the aradise of the afterlife by likenin" it to a reco"ni:able scene of astoral si7 licity and char7. Both of these i7a"es rovide ans5ers to the 94estion of 5hat it is like to be loved by the "ods. )hey 5ere in t4rn a4"7ented by the evocation of (elene and *ndy7ion;s celestial 7arria"eCliterally on the (an Paolo and (assari sarco ha"i FAi"s. #L and #HK, and 7eta horically in the fi"4res of C4 id and Psyche on other reliefs FAi". #5K. )he conj4nction of these ideas on the sarco ha"i 5o4ld have been fa7iliar, for in anti94ity all three conce tions 5ere connected, as Pl4tarch;s 'ife of -uma s4""ests: ,47a, forsakin" the 5ays of city folk, deter7ined to live for the 7ost art in co4ntry laces, and to 5ander there alone, assin" his days in "roves of the "ods, sacred 7eado5s, and solit4des. )his, 7ore than anythin" else, "ave rise to the story abo4t his "oddess. +t 5as not, so the story ran, fro7 any distress or aberration of s irit that he forsook the 5ays of 7en, b4t he had tasted the joy of 7ore a4"4st co7 anionshi and had been honored 5ith a celestial 7arria"e? the "oddess *"eria loved hi7 and besto5ed herself 4 on hi7, and it 5as his co774nion 5ith her that "ave hi7 a life of blessedness and a 5isdo7 7ore than h47an. 8o5ever, that this story rese7bles 7any of the very ancient tales 5hich the Phry"ians have received and cherished concernin" -ttis, the Bithynians concernin" 8erodot4s, the -rcadians concernin" *ndy7ion, and other eo les concernin" other 7ortals 5ho 5ere tho4"ht to have achieved a life of blessedness in the love of the "ods, is 94ite evident.D6HE

Note)
1. Aor the s4rvivin" so4rces see *. Bethe, O*ndy7ion,P in RF, 2.I? 8. =abel7ann, O*ndy7ion,P in '+MC, +++. I. &. Pa"e, Sappho and "lcaeus F0>ford, 1955K, . IH#. #. 8esiod, Catalogues of 2omen and F,+"F, fra". 6 Fs4rvivin" in Scholia in "pollonium Rhodium, +2.5HK? cf. -lcae4s, fra". Fs4rvivin" in - olloni4s &yscol4s, 1ronouns, 1L:"R, no. :1Ta in 6reek 'yric,

+. %. )his stran"e e isode see7s to have been a conflation of the *ndy7ion 7yth 5ith the very si7ilar tale of +>ion: cf. 8esiod, 8he 6reat F,+"F, fra". 11 Fs4rvivin" in Scholia in "pollonium Rhodium, +2.5HK 5ith 0vid, Metamorphoses, +2.%L1ff., 1.%Iff.? cf. +1.1I%ff. 5. (a ho, fra". Fs4rvivin" in Scholia in "pollonium Rhodium, +2.5HK? cited fro7 6reek 'yric, +, no. 199. L. +bid? )heocrit4s, +dylls, +++.%6f.? 8erondas, Mimes, 2+++.1$? - olloni4s /hodi4s, "rgonautica, +2.5H? ,icander, fra". Fs4rvivin" in Scholia in "pollonium Rhodium, +2.5HK? 2arro, fra". 1$5 FFndymiones, fro7 the Saturae MenippeaeK? Cat4ll4s, 312+.5f.? Pro erti4s, ++.15.15f. H. Cicero, 0e Senectute, 11++.61. 6. Cicero, 0e %inibus, 2.55J5L. 9. )he Odeathlike slee P co7 arison is also 7ade by Plato, 1haedo, T<C; Cicero, 8usculanae 0isputationes, +.9I? -ristotle, Fthica -icomachea, 1.6.H? cf. -rte7idor4s, +.61. 0n this to os see P. Boyanc[, O3e so77eil et l;i77ortalit[,P M5lRome %5 F19I6K? M. 0"le, O)he (lee of &eath,P M""R I F19##K. 1$. +sidor4s (cholastic4s of Bolbytine, "nthologia 6raeca, 2+.56? cf., f4rther, the f4nerary inscri tions disc4ssed in Cha ter L, belo5. 11. +bykos, fra". II Fs4rvivin" in Scholia in "pollonium Rhodium, +2.5HK? cited fro7 6reek 'yric, +++, fra". no. I6%. Cf. also 2. Pestalo::a, O-ioleis e Kares nel 7ito di *ndi7ione,P "rch6lott+tal #9 F195%K, on Ola dias ora eolica artita dall; -sia Minore.P 1I. - ollodor4s, 7ibliotheca, +.H? Pa4sanias, 2.1. 1#. Cf. 2eyne, Roman Frotic Flegy, . 11H, on the role of 7yth in the roverb, 5here Okno5led"e of the 7yth is condensed into a sayin"Mthat takes for "ranted a narrative that 5o4ld j4stify it, 5hich readers are to infer.P 1%. (ee no5 the 11$ e>a7 les catalo"4ed in "SR 1++.I, nos. IHJ1#H. 15. Cf. =abel7ann, O*ndy7ion,P . H#9: OKern der &arstell4n"en a4f den (arko ha"en ist die -nk4nft der (elene bei *ndy7ionP? K. Aittschen in 66" II1 F19L9K: %L? (ichter7ann, in "SR 1++.I, . %H. /obert, in "SR +++.1, . 5%, e> anded the definition to incl4de s ecifically (o7n4s, the erotes, and the fi"4re 5ho leads (elene;s horses, 5ho7 he called -4ra? cf., f4rther, Brede, Consecratio, . 15I. )he sole e>a7 le that does not foc4s on the slee in" yo4th as he a5aits (elene;s arrival is the s4bject of the follo5in" cha ter. 1L. Aor the 3o4vre sarco ha"4s, see "SR 1++.I, no. I6. 0n the =reek ori"ins of the 3o4vre sarco ha"4s and its association 5ith the Ca itoline e>a7 le, see A. =erke, 0ie christlichen Sarkophage der )orkonstantinischen ?eit FBerlin, 19%$K, . 1I$f. and n. #? see also . ##1. 0n the Ca itoline sarco ha"4s, see "SR 1++.I, no. IH? for a date ca. 1#$, see Koch and (ichter7ann, R3mische Sarkophage, . IL1? for its si7 licity as a si"n of its O=reekP style, see (chefold, OBilderb4cher,P . HLLf. Cf. the diver"ent o inions e> ressed in (ichter7ann and Koch, 6riechische Mythen auf r3mischen Sarkophagen, . IH, 5here the =reek style of the co7 osition is dis7issed? and Koch and (ichter7ann, R3mische Sarkophage, . IL9 and 5II, 5here the rear face of the 3o4vre sarco ha"4s, 5ith its b4crania and "arlands, is said to reflect 7etro olitan infl4ence? cf. f4rther, ho5ever, the differin" o inion voiced by =abel7ann, O*ndy7ion,P . H%$, 5ho notes that the 3o4vre relief deviates fro7 the 7etro olitan ty e in both its basic si7 licity and *ndy7ion;s ose and sho4ld not be considered as the >orbild of the /o7an ty e.

1H. Cf. 34cian, 0ialogi 0eorum, 1+1 F11K? 8y"in4s, %abulae, CC311+. 16. Cf. - olloni4s /hodi4s, "rgonautica, +2.5H? Cat4ll4s, 312+.5f.? Pro erti4s, ++.15.15f.? 34cian, 0ialogi 0eorum, 1+1 F11K? (eneca, *ippolytus, #$9J#1L? ,onnos, 0ionysiaca, +2.195f.? U4int4s (7yrnae4s, 1ostBhomericorum, 1.1IHJ1#H. 19. Cf. Pro erti4s, ++.15.15f.? 0vid, "rs "matoria, +++.6#, and *eroides, 12+++.LIf.? 34cian, 0ialogi 0eorum, 1+1 F11K, and 0e Sacrificiis, 2++. I$. (ee 7aterials cited in nn. HJ9, above. I1. Pl4tarch, -uma, +2. I, and see 7aterials cited in n. 16, above. II. 0n the ti7eless nat4re of OeternalP death, see =arland, 6reek 2ay of 0eath, . H%? - ollodor4s, 7ibliotheca, +.H? cf. the inversion of the to os in the e i"ra7 by +sidor4s (cholastic4s of Bolbytine, "nthologia 6raeca, 2+.56, 5ho says of *ndy7ion: Ofor "rey hair rei"ns over his 5hole head and no trace of his for7er bea4ty is leftP Ftrans. B. /. Paton, 8he 6reek "nthology, in 'C' ed. DCa7brid"e and 3ondon, 19L9E, +, . #I9K. I#. -7on" the loci classici of the Osacred "roveP to os, cf. Plato;s 1haedrus, II9-ff. 0n the tree as a si"n of the sacred nat4re of the lace, see (chefold, O3a force cr[atrice,P . 16L, and 8. (ichter7ann, OMytholo"ie 4nd 3andschaft,P 6ymnasium 91 F196%K: I9Lf. I%. Aor the "oddess Olove<str4ckP 5ith desire, see the 7aterials cited in Cha ter 1, above, n. 6. I5. Aor the s4bstit4tion of )hanatos for 8y nos on the -riadne sarco ha"i, see K. 3eh7ann<8artleben and *. C. 0lsen, 0ionysiac Sarcophagi in 7altimore FBalti7ore, 19%IK, . #6? cf. (chefold, O3a force cr[atrice,P . I$%. Aor the icono"ra hic tradition of (lee and &eath, see *. 2er7e4le, "spects of 0eath in Farly 6reek "rt and 'iterature FBerkeley and 3os -n"eles, 19H9K, . 1%5J1HH. 0n the older and bearded )hanatos as the co7 anion of a yo4thf4l 8y nos, see Boyanc[, O3e so77eil et l;i77ortalit[,P es . . 1$I? ..<C. *"er, 'e sommeil et la mort dans la 6rCce anti4ue FParis, 19LLK, late ++, for 8y nos and )hanatos carryin" the body of (ar edon on a krater in the 3o4vre, and late +++, for a related scene on a lekythos in the British M4se47. IL. =abel7ann, O*ndy7ion,P . HIH, notes the effect of *ndy7ion;s n4dity and cites the infl4ence of Pro erti4s ++.15.15f. IH. Cf. the co77entary on O* ic4rean leas4reP by .. =riffin, 'atin 1oets and Roman 'ife F3ondon, 1965K, cha ter H Fes . . 1%HK. Aor the role and si"nificance of role sis in ancient art, see (. Aerri, OAeno7eni di role sis,P "tti'inc F/endicontiK, ser. 6, # F19%6K. 3ess 4sef4l are /. =iordani, OAeno7eni di role sis dise"nativa nei 7osaici dell;arco di (anta Maria Ma""iore,P Rend1ont"cc %L F19H#JH%K? and P. 3o reato, OAeno7eni rolettici in dittici tardo<antichi,P "rchCl 1L F19L%K. I6. Cf. 34cian, 0ialogi 0eorum, 1+1 F11K: O)hen + cree do5n 94ietly on ti <toe, so as not to 5aken hi7 and "ive hi7 a fri"ht, and thenCb4t yo4 can "4ess? there;s no need to tell yo4 5hat ha ens ne>tP? trans. M. &. Macleod in 'C' ed. F3ondon and Ca7brid"e, 1951K. Aor the e>tre7es to 5hich eroticis7 7i"ht be taken on f4nerary 7on47ents, cf. the =reek "rave 7on47ent in A. C47ont, OUne ierre to7bale [roti94e de /o7e,P "ntCl 9 F19%$KCe> 4r"ated for 4blication, as ointed o4t by Panofsky, 8omb Sculpture, . 19 n. I. I9. )his analysis finds confir7ation in the 7ost recent classification of the sarco ha"i by (ichter7ann in "SR 1++.I? see the disc4ssion on . #IJ##, 5here (ichter7ann has revised /obert;s ori"inal division F"SR +++.1K into five "ro4 s, 5hich de7onstrate the event4al standardi:ation of the sin"le< scene, left<to<ri"ht ty e F(ichter7ann;s fifth "ro4 K. #$. (ee the disc4ssion of s4ch staffa"e in 0. Pelikan, >om antiken Realismus $ur sp#tantiken

FEpressi)it#t FPra"4e, 19L5K, . 5H? .4n", O]4r 2or"eschichte,P . H1? and the brief re7arks of (ichter7ann in "SR 1++.I, . #9. #1. P. 3a4rens, 'abeille dans lambreD C5l5bration de l5pigramme de l5po4ue aleEandrine & la fin de la Renaissance FParis, 1969K, . %9J51, 5ith e>a7 les fro7 the Casa de"li * i"ra77i, Po7 eii F2, 1, 16K? cf. K. (chefold, 0ie 2#nde 1ompeWisD 8opographisches >er$eichnis der 7ildmoti)e FBerlin, 195HK, . L#JLL, 5ith f4rther biblio"ra hy? see also -. Ao5ler, Kinds of 'iteratureD "n +ntroduction to the 8heory of 6enres and Modes F0>ford, 196IK, . 195JI$I, on Oe i"ra77atic 7od4lationsP that 7i"ht di7inish or e>tend the for7. #I. -. 8ardie, Statius and the OSil)aePD 1oets, 1atrons, and FpideiEis in the 6raecoBRoman 2orld F3iver ool, 196#K, . 119J1I%? =. Billia7s, 8radition and ,riginality in Roman 1oetry F0>ford, 19L6K, es . . 19$ff. and II$JIII. ##. Cf Pro erti4s, ++.15.15f., and Cat4ll4s, 312+.5f. Cf. also the disc4ssion of O7ythic analo"4esP inserted 5ithin the fabric of the ancient ro7ances, in (teiner, O=ra hic -nalo"4e fro7 Myth.P #%. 0ialogi 0eorum, 1+1 F11K. Aor 34cian;s si7ilar trans osition of a )heocritan +dyll into an overtly dra7atic for7, see B. P. /eardon, Courants litt5raires grecs del ++e et +++e siCcles aprCs /.BC. FParis, 19H1K, . 1HL. #5. )he de art4re is fo4nd on the end anels of a n47ber of sarco ha"i F"SR 1++.I, nos. %H, HI, H%, HL, HH, 1$5K, 5here it allo5ed the artists to e>tend the narrative 5itho4t disr4 tin" or dis lacin" the OarrivalP scene at the center of the 7ain anel. #L. K. (chefold, O2orbilder rX7ischer 3andschafts7alerei,P "M H1 F195LK: I15f., a ro os of the lost aintin" fro7 Po7 eii F&o74s 2ol4si Aa4sti: +, I, 1HK? cf. ide7, O0ri"ins of /o7an 3andsca e Paintin",P "rt7 %I F19L$K: 69. #H. (chefold, 'a peinture pomp5ienne, . 11%? (. (ilberber"<Pierce, OPolitics and Private +7a"ery: )he (acral<+dyllic 3andsca es,P "rt* # F196$K? (ichter7ann, OMytholo"ie 4nd 3andschaft,P . I9LJI9H. #6. Aor a lar"e<scale ill4stration recordin" the lost aintin", see P. 8err7ann, 0enkm#ler des Malerei des "ltertums FM4nich, 19$%K, +, . 16L, and fi". 5%. 0n the si"nificance of the "est4re of the r4stic fi"4re 5ho 5itnesses the event, see +. .4cker, 0er 6estus des "poskopein F]4rich, 195LK, . 56. #9. (chefold, O2orbilder rX7ischer 3andschaft7alerei,P . I1L? cf. B. .. ). Peters, 'andscape in RomanoBCampanian Mural 1ainting F=ronin"en, 19L#K, . 6L. %$. (chefold, OBilderbYcher,P . HLL, referrin" to "SR 1++.I, no. ##. %1. 0n the /o7an ada tation of the older =reek ractice of O7irror reversals,P and the role of Odo4blin"P as an inte"ral art of the /o7an aesthetics of dis lay, see C. C. 2er7e4le, 6reek Sculpture and Roman 8asteD 8he 1urpose and Setting of 6raecoBRoman "rt in +taly and the 6reek +mperial Fast F-nn -rbor, 19HHK? Bart7an, O&ecor et &4 licatioP? and cf. the sarco ha"4s, no5 in the 2atican, 5here t5o stat4es FWK re resentin" (lee and &eath flank the door of 8ades: see Panofsky, 8omb Sculpture, . #HJ#6 and fi". 1#5. - f4rther scene fro7 the *ndy7ion tale does a ear, ho5ever, in ancient re resentations of the 7yth? see belo5, as 5ell as Cha ter 5. %I. Aor the differences bet5een the t5o ty es of 7ytholo"ical landsca es, one co7 risin" a sin"le dra7atic action, the other a contin4o4s narration, see P. 8. von Blanckenha"en, O,arration in 8ellenistic and /o7an -rt,P "/" L1 F195HK: 6I? von Blanckenha"en and C. -le>ander, 8he 1aintings from 7oscotrecase F8eidelber", 19LIK, cha ter +++. (ee also the catalo"4e of aintin"s in C. M. &a5son, RomanoBCampanian Mythological 'andscape 1ainting F,e5 8aven, 19%%K, cha ter +++. %#. 2on Blanckenha"en, O,arration,P . 61J6I. Cf. von Blanckenha"en and -le>ander, 8he 1aintings

from 7oscotrecase, . %#f.? and 3each, Rhetoric of Space, . #11J#1I, on the /o7an enchant for verbal anora7ic descri tion as a arallel to the bird;s<eye vie5s e7 loyed in these aintin"s? see also her contrast bet5een landsca e descri tions in 8o7er and 2er"il, and the affinity of the latter;s verbal renderin" of to o"ra hy 5ith the vis4al character of the 0dyssey landsca es, . IHJHI. %%. (ee &a5son, RomanoBCampanian Mythological 'andscape 1ainting, . 1L$, on the differences bet5een 5hat he called the 7e"alo"ra hic style and the landsca e treat7ent of the *ndy7ion fable. %5. (ee /. )4rcan, 'es sarcophages romains & representations dionysia4ues FParis, 19LLK, . 5% and I$9, for the ne5 vertical e>tension of the ictorial field on the sarco ha"i of the (everan style? cf. .. M. C. )oynbee, Roman Medallions F,e5 Gork, 19%%K, . 15#, on the co7 ositional style of third<cent4ry 7edallionsCa Overitable cro5dP of fi"4res and ersonifications. %L. + have in 7ind roced4res si7ilar to 5hat /obert, "rcheologische *ermeneutik, . 1%If., ter7ed Oko7 letives 2erfahrenP? cf. the co77ents of K. Beit:7ann, +llustrations in Roll and CodeED " Study of the ,rigin and Method of 8eEt +llustration FPrinceton, 19%HK, . ##ff. %H. "SR 1++.I, no. 9#? /obert, in "SR +++.1, no. HH, rovides 7ost of the identifications of the characters that follo5. %6. Aor the yo4thf4l for7 of 8y nos, see n. I5 above? for the sc4l t4ral ty e to 5hich this sarco ha"4s 4lti7ately refersCthat of the 2illa Bor"hese 8y nosCsee 8. (chrader, *ypnos FBerlin, 19ILK. %9. (ee no5 P. 3inant de Bellefonds, O8y7[naios: Une icono"ra hie contest[e,P MF%R" 1$# F1991K: es . I1$. 5$. Cf. )4rcan, O3es e>["\ses all["ori94es des sarco ha"es Va4 Pha[ton,; P . I$L, for this as ect of (everan style. 51. 8. 3a4sber", *andbuch der literarischen Rhetorik FM4nich, 19L$K, +, 5#. "SR 1++.I, no. 51. 5%. "SR 1++.I, no. 6$. 55. 0n the o -nteros. osite side, belo5 the other lion roto7e, are fo4nd the corres ondin" air of *ros and . II$JII%. 5I. Cicero, 0e 1artitione 0ratoria, 12.5I? cf. Rhetorica "d *erennium, +2.I6.#6.

5L. Cf. )4rcan, O3es sarco ha"es ro7ains,P . 1H15ff., on the resence of C4 id and Psyche on sarco ha"i re resentin" other 7yths? also Macchioro, O+l si7bolis7o,P . %LJ%H. 0n the for7al character of s4ch sy7bols, see =. /oden5alt, O)he )hree =races on a Al4ted (arco ha"4s,P /RS I6 F19#6K? ide7, O*in )y 4s rX7ischer (arko ha"e,P 7/b 1%H F19%IK? Brilliant, >isual -arrati)es, . 15#, on the si7ilar a earance of the Aates on the Melea"er sarco ha"i? and see, f4rther, the disc4ssion in Cha ter 6, belo5. 5H. (ee - 4lei4s, Metamorphoses, 2+.I#, for C4 id and Psyche;s perpetuae nuptiae; cf. )4rcan, O3es sarco ha"es ro7ains,P . 1H1L. Aor the 4se and si"nificance of the hrase coniugio aeterno, see C47ont, Recherches sur le symbolisme fun5raire des Romains, . 6H, I%H, and cf. ,ock, O(arco ha"i and (y7bolis7,P . 1%% n. I1? for its reference to the -riadne sarco ha"i, see 3eh7ann<8artleben and 0lsen, 0ionysiac Sarcophagi, . %$f. Cf. f4rther the inscri tions that declare the deceased co4 le as in aeterno toro Fe."., C+' 2+,11I5I? 1+,11IIK. 56. "SR 1++.I, no. 96. 59. )he conj4nction here 7ay have its ori"in in astrolo"ical tho4"ht. Aor it 5as the lanet 2en4s, identical 5ith the evenin" star kno5n by the =reeks as 8es eros, by the /o7ans as 2es er4s, 5ho

every ni"ht led the 7oon across the sky. Aor 2es er4s;s association 5ith 7arria"e, see -. 3e Boe4ffle, O2[n4s, V[toile d4 soir,; et les [crivains latins,P RF' %$ F19LIK: 1I%. 2en4s also a eared at da5n, recedin" the (4n: Cicero, 0e -atura 0eorum, ++.5#. Cf. the late<anti94e ivory anel that de icts - hrodite residin" over the scene of (elene;s risin" over the sea in her bi"aCaltho4"h *ndy7ion is no5here to be seen Fsee /. Brilliant, in "ge of Spirituality D,e5 Gork, 19H9E, . 156, cat. no. 1#%K. L$. /obert in "SR +++.1, . 1$I, citin" Cla4dian, 0e raptu 1roserpinae, +++.5LIf., M4sae4s, I6I, and ,onnos, 0ionysiaca, 2++.I95 and 132++.##$. L1. (elene a ears si7ilarly nubentis habitu belo5 the ortrait of a deceased 5o7an on her cli e4s sarco ha"4s, no5 in (assari FAi". #HK, 5here the *ndy7ion 7yth itself f4nctioned as a sy7bol of eternal 7arria"e? see "SR 1++.I, no. 1$6. LI. )he fra"7ents are collected in *. &ie:, O34na 4nd der e5i"e (chl@fer: &as =iebelbild ober annonischer =rabstelen,P "cta"rch*ung %1 F1969K. (elene is clearly identified on the version in (avaria by her crescent 7oon? Ai". #6 is one of t5o e>a7 les in the Poetovio FPetta4<Pt4jK M4se47? see, f4rther, *. &ie:, O(elene<*ndy7ion a4f annonischen 4nd norischen =rabdenk7@lern,P I/h %L F19L1JL#K? =abel7ann, O*ndy7ion,P nos. 6L, 6H, 6Ha, . H#6JH#9? .. M. C. )oynbee, O=reek Myth in /o7an (tone,P 'atomus #L F19HHK: #L$. L#. P. 8o77el, Studien $u den r3mischen %igurengiebeln der Kaiser$eit FBerlin, 195%K, . 6 and assi7. L%. Aor other e>a7 les of the ty7 an47 or edi7ent of si7ilar architect4rally based for7s decorated 5ith sy7bols of the celestial real7, see B. -ndreae, Studien $ur r3mischen 6rabkunst F8eidelber", 19L#K, . L9JH%, on the "ods in the edi7ents of the 2elletri sarco ha"4s. (ee the catalo"4e entry by A. )a"lietti in -. =i4liano, ed., Museo -a$ionale RomanoD 'e Sculture F/o7e, 1965K, +!6 F1K, . L5J L6, on the se 4lchral aedic4la of -ttia +4c4nda, a b4st of 5ho7 is carried aloft by erotes in its ty7 an47. Aor ortraits of the dead in the "ables of sarco ha"4s lids fro7 /o7an (yria, see =. Koch, O(arko ha"e i7 rX7ischen (yrien,P "" F19HHK, fi"s. L%JLH? for related i7a"ery in the edi7ents of cinerary 4rns, see B. -lt7ann, 0ie r3mischen 6rabalt#re der Kaiser$eit FBerlin, 19$5K, . 99 Fcat. no. 61, fi". 6#K, 5ith the ea"le sy7boli:in" a otheosis? A. (inn, Stadtr3mische Marmorurnen FMain:, 196HK, . I%5 Fcat. no. L#%, late 9#bK, for a slee in" ny7 h over 5ho7 an eros hovers 5ith a torch? and for ortraits of the deceased, borne aloft on shells Foften by 4ttiK, cat. no. I99 F late 5#K, no. #H6 F late L$K, no. #6I F late L1K, no. #65 F late LIK, and no. %$L F late L#K. L5. 0n this to os see 3atti7ore, 8hemes in 6reek and 'atin Fpitaphs, . L5JH%? cf. 34creti4s;s 4se of the idea F+++.66HJ69#K and the co77ents of C47ont, "fter 'ife, . %5f. Aor the (avaria relief, see the articles by &ie: cited in n. LI, above. LL. Pl4tarch, "matorius DZ Moralia, HLLCE. Cf. (eneca;s 0e Consolatione ad Marciam, 112.I, 5here he advises her: O(o, Marcia, co7 ort yo4rself as tho4"h 4nder the eyes of yo4r father and yo4r sonC not as yo4 kne5 the7, b4t as no5, so 74ch 7ore s4bli7e and in the heavensP? cf. &io Cassi4s, *istoria Romana, 31+1.11. #J%, for the le"end of 8adrian;s reco"nition of -ntino4s a7on" the stars? and 0vid, Metamorphoses, 12.H%9, for Caesar Oin sid4s vertere nov47 stella794e co7ante7.P Aor f4rther disc4ssion of this translatio ad caelum, see Brede, Consecratio, . 1I#J1I%. LH. *ndy7ion is said, ho5ever, to have been a h4nter in Scholia in 8heocritum, +++.%9J51 Fcited by =abel7ann, O*ndy7ion,P . HIHK? cf. f4rther the all4sion in 34cian, 0ialogi 0eorum, 1+1 F11K. L6. 0n the t5o (elene and *ndy7ion sarco ha"i in ,e5 Gork FAi"s. #5 and %$K are seen clear e>a7 les of each ty e. L9. Get cf. "SR 1++.I, nos. L9 and H#, 5here t5o she herds a ear. .. Bayet, O+d[olo"ie et Plasti94e,

+++: 3es sarco ha"es chr[tiens T V"randes astorales,P ; MF%R" H% F19LIK: 1H#f., follo5s =erke, 0ie christlichen Sarkophage, . #5 and 1$L, 5ho s4""ested that the fi"4re of the she herd 7i"rated fro7 the end anels F5here it is fo4nd on the earlier sarco ha"iK to the front. - b4colic vi"nette, based on the 7otif of the she herd, is in fact the scene de icted 7ost fre94ently on the ends of the *ndy7ion sarco ha"i: 7ost often he is re resented as yo4n" and standin", altho4"h at ti7es he is sho5n seatedCeither a5ake, at rest, or aslee Cand so7eti7es he is sho5n as an older 7an. 0ther reliefs dis lay 7ore conventional sy7bolic i7a"ery: the fi"4res of 0cean4s and the Bind a ear on one e>a7 le F"SR 1++.I, no. 9#K and th4s a4"7ent the cos7ic i7a"ery fo4nd on the front anel? "riffins, j4st as on the -donis sarco ha"i, are fo4nd on 7any e>a7 les F"SR 1++.I, nos. IH, #%, %6J5$, 5L, L#, L9Cfor 5hose si"nificance see &el lace, 'e 6riffonK? on one e>a7 le an e7ble7 of crossed shields and s5ords a ears Fno. 1$IK? and on one is fo4nd a scene of t5o 7oney chan"ers, 7ost likely an all4sion to the occ4 ation of the deceased Fno. 6I? cf. Brede, Consecratio, . LI, 66, 9#ff., on s4ch all4sions to the atron;s occ4 ation? and for the 7oney<chan"in" scene, see no5 /. -7edick, 0ie Sarkophage mit 0arstellungen aus dem MenschlebenD >ita 1ri)ata DZ "SR +.%? Berlin, 1991E, no. 1HIK. Aor the a earance on the end anels of (elene;s de art4re, see n. #5 above. H$. Cf. 8i77el7ann, O(arcofa"i ro7ani a rilievo,P . 1LI, 5ho contends the 7otif is art of the 7yth;s settin". H1. Cf. the 7arble relief no5 in M4nich: see -. =reifenha"en, O]47 (at4rn"la4ben der /enaissance,P 0ie "ntike 11 F19#5K, fi". 1L? 8. von 8esber", O&as MYnchner Ba4ernrelief,P M=/b #H F196LK: I$ and fi". I#? -. -driani, 0i)iga$ioni intorno ad una coppa paesistica del Museo di "llesandria F/o7e, 1959K? and also cf. the relief no5 in (t. 3o4is, 4blished in C. C. 2er7e4le, 6reek and Roman Sculpture in "merica FBerkeley and 3os -n"eles, 1961K, . I#%, cat. no. 195. HI. (ilberber"<Pierce, OPolitics and Private +7a"ery,P H#. 2arro, Res Rusticae, ++.1.9. H%. "eneid, 2+.L#HJL#9. 0n the literary recedents for 2er"il;s characteri:ation of *lysi47, see ). =. /osen7eyer, 8he 6reen CabinetD 8heocritus and 8he Furopean 1astoral 'yric FBerkeley and 3os -n"eles, 19L9K, cha ter 9 FO)he PleasancePK, . 1H9JI$5. H5. Cf. B. (ch47acher, *irt und O6uter *irtP F/o7e, Areib4r", 2ienna, 19HHK, . 155J156. HL. Cf. .. 84ba4>, 'es thCmes bucoli4ues dans la po5sie latine FBr4ssels, 19#$K, . I%I: O0n o4rrait s;[tonner 94e, so4s le r\"ne d;8adrien, la B4coli94e n;ait oint re ar4.P )he astoral "enre 7akes only the sli"htest a earance in the s4rveys of &. -. /4ssell, "ntonine 'iterature FCa7brid"e, 199$K, or &. /o7ano, 'etteratura e storia nellet& tardoromana FPaler7o, 19H9K. )he 7ost note5orthy e>ce tions are the Cynegeticus of ,e7esian4s and the Fclogues of Cal 4rni4s (ic4l4s and of -4soni4s. )he latter have little in co77on the7atically 5ith the )heocritan tradition, and the Cynegeticus is closer to the 6eorgica of 2er"il. (ee, ho5ever, *. Cha7 lin, O)he 3ife and )i7es of Cal 4rni4s (ic4l4s,P /RS L6 F19H6K: 1$9J11$, 5ho redates the Fclogues to the I#$s and s4""ests a contin4o4s b4colic tradition fro7 2er"il to ,e7esian4s? cf., f4rther, *. Ke"el<Brink"reve, 8he Fchoing 2oodsD 7ucolic and 1astoral from 8heocritus to 2ordsAorth F3eiden, 199$K, es . cha ter +2, O)he B4colic =enre after 2ir"ilP? for the rise of Christian astoral, see 84ba4>, 'es thCmes bucoli4ues, . I%6JI5#. HH. (ee the catalo"4e entry by /. Belli in =i4liano, ed., Museo -a$ionale RomanoD 'e Sculture, +!6 F1K, . 15%J15H, for this sarco ha"4s Fca. I5$J#$$K. Aor a si7ilar e>a7 le in Pisa, see P. *. -rias et al., Camposanto Monumentale di 1isaD 'e "ntichit&, + FPisa, 19HHK, . 1%6J1%9 and fi"s. 169J19$. Cf., f4rther, *n"e7ann, (ntersuchungen $ur Sepulkralsymbolik, . H%, and (ch47acher, *irt und O6uter *irt,P . 1L6J1H#, for the she herd 7otif as a sy7bolic all4sion to the ha y life of the deceased in the beyond. . I%%JI%9.

H6. Cf. the disc4ssion of this heno7enon in )4rcan, O&[for7ation des 7od\les,P

. %#9J%%$.

H9. ,a les, M4seo ,a:ionale, +nv. LH19. (ee /obert, in "SR +++.#, no. I#L`, . 5H#? =. Koch, O]47 *berja"dsarko ha" der (a77l4n" 34d5i",P "" F19H%K: L15JL16 and fi". 1? ide7, in 0ie mythologischen SarkophageD Meleager DZ "SR 2+E, . 1$I? B. -ndreae, 0ie Sarkophage mit 0arstellungen aus dem MenschlebenD 0ie r3mischen /agdsarkophage DZ "SR, +.IE FBerlin, 196$K, no. 5L and late 69. 6$. Cf. the re7arks on the Ode7ytholo"i:ationP of 7otifs derived fro7 the re ertories of 7ytholo"ical sarco ha"i in =erke, 0ie christliche Sarkophage, . 1I$ff. and the co77ents of *n"e7ann, (ntersuchungen $ur Sepulkralsymbolik, . #$f. Aor related i7a"ery on the sarco ha"i see 8. =abel7ann, O2ita activa 4nd conte7 lativa a4f eine7 Mail@nder (arko ha",P Marb21r F196%K. 61. 0n the si"nificance of the Pisa sarco ha"4s and its relationshi to 2er"il F6eorgica, ++.%56K, see 8i77el7ann, O(arcofa"i ro7ani a rilievo,P . 15LJ156? cf. -rias, et al., Camposanto, . 5#J5%. Cf., f4rther, the disc4ssion of the she herd;s sy7bolic role on the 2elletri sarco ha"4s, 5here he a ears as the co4nter art to a scene of sacrifice: see -ndreae, Studien $ur r3mische 6rabkunst, . L5JLL, follo5in" )h. Kla4ser, O(t4dien :4r *ntsteh4n"s"eschichte der christlichen K4nst, +P in /b"Chr 1 F1956K: #1, and O++P in /b"Chr # F19L$K: 11Iff. 6I. Aor the O/in4ccini sarco ha"4s,P see the en"ravin" re rod4ced in "SR +++.1, . H, taken fro7 -. A. =ori, +nscriptiones anti4uae 6raecae et Romanae F1H%#K, +++, . I%. )he sarco ha"4s rea eared in 1965, 5hen it 5as 4blished and sold by (otheby;s, ,e5 Gork. - short notice by B. &. 8eil7eyer, O&er (arko ha" /in4ccini: ,e4er5erb4n" fYr des -ntiken74se47,P /b1reussKul I% F196HK, heralded its arrival in =er7any? for a s4bstantial acco4nt see no5 P. Blo7e, O&ie (arko ha" /in4ccini: *ine 4nverhafte Biederentdeck4n",P /b7erlMus #I F199$K? and, 7ost recently, ide7, OA4ner@rsy7bolische Colla"en,P es . 1$L9J1$HI? /. Brilliant, O/o7an Myth!=reek Myth: /eci rocity and - ro riation on a /o7an (arco ha"4s in Berlin,P St+t%ilCl 65 F199IK. 6#. Cf. no5 the si7ilar concl4sions of Brilliant, O/o7an Myth ! =reek Myth,P es . 1$##? Blo7e, OA4ner@rsy7bolische Colla"en,P es . 1$H$. Aor a arallel to the O/in4ccini sarco ha"4s,P cf. the related a earance of Mars and /hea (ilvia on a )ita umana sarco ha"4s fo4nd recently at =rotta erfetta: see "rcheologia a RomaD 'a materia e la technica nellarte antica F/o7e, 199$K, no. LH, . 69J9I F-. BediniK. 6%. 0n arata>is, see van =ronin"en, 'a composition litt5raire grec4ue, . I9J##? .. ,oto o4los, OParata>is in 8o7er: - ,e5 - roach to 8o7eric 3iterary Criticis7,P 8"1" 6$ F19%9K? B. *. Perry, O)he *arly =reek Ca acity for 2ie5in" )hin"s (e arately,P 8"1" L6 F19#HK? and *. -4erbach, MimesisD 8he Representation of Reality in 2estern "rt, trans. B. /. )rask FPrinceton, 19H%K, . 1$1f. and 99ff. 65. (ee the entry by M. (a elli, in =i4liano, ed., Museo -a$ionale RomanoD 'e Sculture, +!1, . #1IJ #15, no. 16H? 8elbi"D%E +++ F19L9K, no. I#19 FB. -ndreaeK? the re7arks 94oted are fro7 Pelikan, >om antiken Realismus, . 1#1, cited in both of these co77entaries on the sarco ha"4s. 6L. 0n the effect of aratactic co7 ositions in the vis4al arts F5ith res ect to =reek vase aintin" and edi7ental sc4l t4reK, see ,oto o4los, OParata>is in 8o7er,P . 11J1#, and the co77ents by Perry, O2ie5in" )hin"s (e arately.P 6H. Pl4tarch, -uma, +2.1JI Ftrans. B. Perrin, in 'C' ed. of >itae D3ondon and Ca7brid"e, 191%JIHE.

5. Endymion1) ate
*omilia, that s ecial for7 of co7 anionshi that bo4nd to"ether ,47a and his "oddess, constit4ted an

enhanced relation 5ith the divine, and rovided a si"nificant arallel to that bet5een *ndy7ion and (elene. +n the e> licitly se>4al nat4re of the co4 le;s inti7acy, and in the fa7o4s kin";s i7 licit elevation beyond the 7erely h47an, the old /o7an le"end and the ancient =reek 7yth s4""est si7ilar beliefs abo4t the conse94ences of the love of the "ods. )hese fort4nate fi"4res of 7yth artake of a 4ni94e fello5shi 5ith divinities and, conse94ently, live 4nder their rotection. -s both tales i7 ly, that fello5shi 5as clearly believed to e>tend beyond the "rave. )o desi"nate s4ch a relationshi 5ith the "ods, the /o7ans often e7 loyed their co77on ter7 for co7 anion, comes, 5hich the ne5 conte>t i7b4ed 5ith s ecial si"nificance. -s Cicero ointed o4t, history told of 7any re7arkable 7enMnot one of 5ho7 is believed to have been so 5itho4t a "od;s aid. )his 5as the reason that drove the oets, and above all 8o7er, to attach to their 7ain heroes, 0dysse4s, &io7edes, -"a7e7non or -chilles, certain "ods as the co7 anions DcomitesE of their trials and trib4lations.D1E (4ch co7 anionshi 5as held to be besto5ed, above all, on the e7 eror and beca7e a central ele7ent in i7 erial icono"ra hy.DIE C4sto7 e>tended the conce t of this s ecial for7 of sodalitas beyond the s here of eril and advent4re, as 5ell as beyond the i7 erial real7. )h4s a 74sician or oet co4ld be held comes Musis, j4st as the follo5ers of the 5ine "od 7i"ht be considered 7acchi comites.D#E Bhile neither homilia nor comes has a recise e94ivalent in the other lan"4a"e, the t5o are si7ilar in sense and 4sa"e.D%E Both co774nicate so7ethin" of the e>alted state of favor that 7i"ht be "ranted to 7en by the "ods. Get the thrall of the divine 5as a rivile"e. (4ch co7 anionshi 7i"ht not al5ays last foreverCnot even the co7 anionshi si"nified by the slee of *ndy7ion. N N N

" Myth tran)*ig,red

- sin"le fra"7ent rovides a si"nificant variant a7id the re ertory of *ndy7ion sarco ha"4s reliefs. )his 5ork, no5 in Berlin FAi". %LK, is different in both style and conce tion fro7 other e>a7 les e>a7ined th4s far.D5E )he relief is 7arked by the stat4es94e verticality of its 7ajor fi"4res. )he cal7 and stability they e>4de are 4nderscored by their dra eries, 5hich fall heavily and clin" to the 7otionless for7s 4nderneath. )heir oses are silho4etted a"ainst the back"ro4nd lane, and there is no ill4sion of de th behind the co7 osition;s fore"ro4nd frie:e. )his relief dis lays little, if any, of the co7 ositional style fo4nd on the other *ndy7ion sarco ha"i and differs 7arkedly fro7 those b4sy, co7 le> renditions of the scene that a ear on other early<third<cent4ry reliefs that have been considered e>a7 les of Oalle"orical elaboration.P )hese characteristics s4""est that this relief 5as i7 orted fro7 the *astern rovinces of the e7 ire or, 7ore likely, had been sc4l ted by an *astern 5orksho trans lanted to /o7e. +ts si7ilarities 5ith other reliefs clearly of -ttic style, s4ch as the fra"7ent of an -chilles sarco ha"4s no5 in Co enha"en FAi". %HK, 5o4ld see7 to confir7 this.DLE +f the Berlin fra"7ent is =reek in style, it nevertheless ada ts conventional ele7ents and characters basic to the /o7an icono"ra hy and for"es a ne5 conce tion of the 7yth. )his ne5 conce tion is, 7oreover, far 7ore co7 le> a revision of the standardi:ed 7etro olitan ty e than the ada tation fi"4red on the sarco ha"4s fro7 (7yrna FAi". I6K. Most i7 ortantly, the fi"4re of Mo4nt 3at7os ersonifies the settin" of the event j4st as it does in the (a hic version of the 7yth and on the vast 7ajority of sarco ha"i that re resent the tale. -t the fra"7ent;s center, seated belo5 the ersonification of 3at7os, is the fi"4re of *ndy7ion, 5ho a ears 5ith his eyes o en, a5ake.DHE 8e raises his ar7 as he "est4res, see7in"ly to5ard the 7oon "oddess. -t the ri"ht stands the dra ed, bearded fi"4re of 8y nos, 5ith his 5in"ed head, 5hile to the

left of *ndy7ion is a yo4th, naked save for the chla7ys, 5ho holds a lo5ered torch? behind hi7 can be seen the bearded and 5in"ed head of a 5ind "od 5ho carries his shell<sha ed horn.D6E -ll eyes t4rn left, res47ably to5ard the fi"4re of (elene, and *ndy7ion see7s to call o4t to her 5ith his "est4re. -t the left ed"e of the fra"7ent stands a fe7ale, 5earin" both chiton and hi7ation, 5hose head has been broken fro7 the relief. )he f4ll sense of the scene is 4nclear and 74st be reconstr4cted, to"ether 5ith the balance of the relief, no5 lost. )he only e> licit indication of the relief;s 7issin" ele7ents is the hand in the 4 er ri"ht corner that intr4des and fir7ly "ras s a leafy stalk. +t has been ass47ed that the leaves 5ere art of the o y stalk conventionally borne by 8y nos, 5ho cl4tches 5ith his left ar7 5hat re7ains of the badly da7a"ed lo5er art of the branch. B4t the leaves cannot be sec4rely identified, nor can the hand that "ras s the7, altho4"h it 7ay be all that re7ains of one of the 8orae, 5ho 7ake a si7ilar a earance on other reliefs.D9E )h4s at least one additional fi"4re once stood beyond the fra"7ent;s broken ri"ht ed"e?D1$E s4rely other fi"4res 5ere re resented on the relief as 5ell. Bhile the *ndy7ion reliefs, on avera"e, have a ratio of len"th to hei"ht of #:1, or erha s #.5:1, those of the -ttic style sarco ha"i are so7e5hat less, ro4"hly bet5een I.5:1 and #:1. Bith even the lesser ratio a considerable ortion of the relief 5o4ld have been lost? at best 5hat is reserved is j4st over half the ori"inal scene FAi". %6K. )he orientation of the fi"4res to5ard the leftC*ndy7ion in artic4larCs4""ests that the b4lk of the 7issin" relief belon"ed at that end. +f a ratio bet5een the len"th and hei"ht of the ori"inal anel is ass47ed to have been a ro>i7ately I.9:1, it is likely that the headless fi"4re at the left ed"e of the fra"7ent 5o4ld have stood near the relief;s center. )his headless fe7ale has often been identified as (elene herself, beca4se all eyes see7 to t4rn to5ard her.D11E Get the torch she holds aloft, 5hose re7ains can be seen at the fra"7ent;s left ed"e, is not one of the "oddess;s attrib4tes fo4nd on other sarco ha"i, nor does she bear a ty olo"ical relation to (elene as she a ears on the other reliefs. (everal other as ects of the scene reveal the nat4re of the event de icted, si"nal the recise 7o7ent re resented, and s4""est another identification for the fe7ale fi"4re at the anel;s left ed"e. +t has al5ays been ass47ed that the scene resented on the Berlin fra"7ent foc4sed on the arrival of (elene, j4st as on all the other sarco ha"i. Conse94ently *ndy7ion;s "est4re, as he raises his ar7 and stretches o4t his o ened al7, has been considered one of s4r rise at his "oddess;s e i hany.D1IE Bhile the inter retation of the "est4re as one of s4r rise is corroborated by its e7 loy7ent in other 5orks of ancient art, the ass47 tion that *ndy7ion is s4r rised by (elene;s arri)al a ears, as 5e shall see, far less sec4re. *ach of the attendant divinities 5ho on the 7etro olitan style sarco ha"i actively artici ated in (elene;s liaison 5ith her slee in" consort a ears on the Berlin fra"7ent in a assive role. 8y nos stands aside, his slee <ind4cin" o y stalk idle, as the sy7bolic correlative to *ndy7ion;s 5akened state.D1#E (i7ilarly assive are the yo4th alon"side *ndy7ion, 5ho stands 5ith lo5ered torch, and the old 5ind "od behind hi7, 5hose shell<sha ed horn rests 4 on his sho4lder. )he yo4th has been identified as either 8es eros, the evenin" star, or 8y7enaios, the atron deity of 7arria"e.D1%E )he latter 5o4ld a ear 7ore likely on ty olo"ical "ro4nds, since 8es eros is 4s4ally identified 5ith a s7all flyin" eros, 5hile this fi"4re corres onds to the ty e often e7 loyed for 8y7enaios on the sarco ha"i, 5here he is si7ilarly de icted as a yo4n", lon"<haired 7an, naked e>ce t for his chla7ys. D15E )he scene is transfor7ed as all these fi"4res cease to lay an active art in the de icted event? they no lon"er erfor7 their 4s4al roles beca4se ni"ht has ended, and in contrast to his c4sto7ary ose on the other sarco ha"i, 5here he lies a7id his sl47ber, here *ndy7ion sits 4 ri"ht and a5ake. )he fi"4re at the center of this scene 74st be -4rora herself, 5ho has j4st infor7ed the lovers that 7ornin"

a roaches, and it is ti7e for (elene to de art. 0ri"inally she 74st have do7inated the scene 5ith her fla7in" torch, sy7bol of the da5n;s arrival. )he scene has its arallel in the icono"ra hy of Phaeton, 5here -4rora b4rsts 4 on the scene to identical 4r ose.D1LE )h4s the inversion of the basic and fa7iliar 7otif c4sto7arily e7 loyed for the fi"4re of *ndy7ionC fro7 a assive slee in" for7 to an active a5ake oneCis echoed by a shift not only in the roles of the attendant fi"4res b4t in the te7 oral foc4s, fro7 before to after. )o co7 lete this series of inversions, the 7issin" ortion of the relief 7ay th4s be constr4ed as havin" re resented (elene ascendin" her chariot, 5hich stood ready to carry her off.D1HE &es ite obvio4s differences in a earance and the different 7o7ent of the enco4nter on 5hich it foc4ses, the Berlin fra"7ent nevertheless s4rvives fro7 a relief that elaborated ele7ents belon"in" to the standardi:ed i7a"ery of the 7etro olitan re ertory that had evolved for the 7yth;s re resentation. Aor by the last 94arter of the second cent4ry, the scene of (elene;s de art4re layed a si"nificant role in the vis4al tradition. )he settin" of the scene on Mo4nt 3at7os re7ains 4nchan"ed, and the sarco ha"4s desi"ners have for74lated the se94el to acco7 any the often<de icted i7a"e of the de artin" "oddess. )hey have 7erely 7oved the foc4s for5ard in ti7e and have re laced the arrival and sed4ction by a fare5ell and 5ithdra5al. )he Berlin relief s4""ests that in this one instance, at least, the artists 5ho desi"ned re resentations of the tale 7i"ht have reinter reted the 7yth by refoc4sin" on 5hat 5as 4s4ally a secondary the7e, (elene;s de art4re.D16E )he chan"e of foc4s transfor7ed both the narrative and its i7 lications. Aor the role tic nat4re of the scene no lon"er directs the beholder;s tho4"hts to5ard the co4 le;s ni"ht of conj4"al bliss b4t no5 roclai7s the visible an"4ish of the yo4th at their i7 endin" se aration. N N N

Endymion a6a7e
)he Berlin fra"7ent is not the only ancient 5ork of art to de ict the yo4n" she herd 5ith his eyes 5ide o en. )his variant of the tale, des ite its obvio4s difference fro7 the conventional rendition, is not 5itho4t its relation to tradition. +n a assa"e ro4"hly conte7 orary 5ith this relief, -thenae4s relates ho5 3icy7ni4s of Chios 5rote that it 5as (lee 5ho 5as in love 5ith *ndy7ion, and that O(lee does not cover the eyes of *ndy7ion 5hen he sl47bers b4t lays his beloved to rest 5ith eyelids 5ide o ened, that he 7ay enjoy the deli"ht of "a:in" 4 on the7 contin4ally.PD19E Bhile s4ch a assa"e 7ay have rovided, in so7e indirect 5ay, the a4thority for re resentin" *ndy7ion 5ith o en eyes, this is not the scene the Berlin fra"7ent de icts? for there is no do4bt that *ndy7ion is a5ake and lays an active role in the scene that 4nfolds. Get on the t5o other sarco ha"i 5here *ndy7ion a ears 5ith eyes o enCone at the Pala::o Braschi FAi". %9K and another in the British M4se47 FAi". 5$KC*ndy7ion a ears assive in his fa7iliar rec47bent ose. )h4s these 7on47ents cannot be considered analo"o4s to the de iction of *ndy7ion on the Berlin fra"7ent. *ndy7ion also a ears a5ake in a "ro4 of Po7 eian 5all aintin"s. -ll these i7a"es for7 art of decorative ro"ra7s, 4 on 5hich their recise si"nificance de ends.DI$E +n one Po7 eian ense7ble, 5here *ndy7ion a ears alon" 5ith ,arciss4s FAi"s. 51 and 5IK, the yo4n" she herd is seated 4 ri"ht and a5ake, therefore rovidin" a 7ore tellin" co7 arison 5ith the relief in Berlin.DI1E +n this ainted roo7 *ndy7ion and ,arciss4s no do4bt served as variant 7eta hors of death, b4t the relationshi bet5een the vis4ali:ations of these tales 5as clearly 7ore co7 le>. )hese i7a"es see7 to have been devised as vis4al endants, 5ith each fi"4re seated on a rock, at rest.DIIE Get there re7ains a f4nda7ental difference bet5een the t5o rota"onists that *ndy7ion;s o en eyes artic4lated. Aor

,arciss4s fades a5ay to his death yearnin" after Oa for7less ho e D5hichE he thinks to be a body,PDI#E 5hile *ndy7ion "reets his "oddess as she arrives to besto5 4 on hi7 her e7braces and her loveCan event that 5ill shortly send hi7 to his Odeathlike slee .P )he t5o i7a"es contrasted the sad end of the over ro4d ,arciss4s 5ith the h47ble *ndy7ion;s ha ier fate as the "oddess;s eternal lover. +t 5as the cr4elty of ,e7esis herself that doo7ed ,arciss4s, 5hile (elene rovided a kinder destiny for *ndy7ion. &es ite the vast difference in circ47stances, both yo4ths died of love: ,arciss4s fro7 an obsessive attraction to his o5n fleetin" i7a"e, *ndy7ion fro7 the divine favor besto5ed 4 on hi7: t5o 4nconventional roofs of the ada"e "mor )incit omnia.DI%E N N N

Endymion abandoned
,one of these co7 arisons, in the conte>t of their decorative ro"ra7s, rovides a ertinent analo"y for the Berlin relief.DI5E +n all the Po7 eian fresco ense7bles the foc4s of the *ndy7ion re resentation re7ains (elene;s arrivalCand it is recisely this that distin"4ishes the7, as 5ell as all the other *ndy7ion sarco ha"i, fro7 this sin"4lar variant a7on" the sarco ha"4s reliefs. )he sole 7on47ent that does de ict *ndy7ion active as 5ell as a5ake is a 7osaic at Pia::a -r7erina FAi". 5#K.DILE )here *ndy7ion;s tale a ears conjoined 5ith the 7yth of -ndro7eda in the redella< like anel belo5 a scene of the =i"anto7achia. )he t5o scenes belo5 rovide e>a7 les of 7ortals 5ho 4nder"o 7eta7or hosis and are translated to the heavens in a for7 of astral i77ortality, th4s in contrast to the "iants above 5ho 5ere defeated in their atte7 t to s4 lant the "ods in the heavens.DIHE *ndy7ion "est4res 5ith his raised ar7, 74ch as he does on the Berlin fra"7ent, b4t (elene is no5here to be seen? -ndro7eda a ears freed fro7 the rock, the 7onster slain alon"side her, yet Perse4s is 7issin". )his O redellaP is 7arked by the absence of the divine fi"4res fro7 each of the de icted tales. DI6E Moreover, that Perse4s has already van94ished his foe and released -ndro7eda s4""ests that the artist decided to de ict the after7ath of the fa7o4s 7ythic event rather than to follo5 conventional re resentations of the tale, 5hich sho5 Perse4s;s arrival to do battle 5ith the 7onster 5hile -ndro7eda re7ains in chains. 0nly one of the t5o other adjacent O redelleP s4rvives in s4fficiently "ood condition to allo5 an inter retation of its i7a"ery. &a hne a ears a7id her 7eta7or hosis into the la4rel, and there too, the 7o7ent de icted follo5s her enco4nter 5ith the divine - ollo? so too Cy ariss4s, 5ho sits beside the dead sta", his ar7s already transfor7ed into the leaves and branches of the cy ress by the sa7e "od.DI9E Perha s this attern of re resentin" the final 7o7ents of the 7yths 7ay be said to hold tr4e for the i7a"e of *ndy7ion as 5ell: the c4sto7ary de iction of the 7yth 5as refor74lated, 5ith *ndy7ion a5ake, (elene havin" de arted, so that it har7oni:e 5ith the other i7a"es to 5hich it is here conjoined. +f, ho5ever, a f4lly confident assess7ent of the 7o7ent de icted on the Pia::a -r7erina 7osaic re7ains el4sive, 7ore 7ay be said concernin" its for7. Aor the 7osaic and the Berlin fra"7ent are f4nda7entally different. )heir re resentations diver"e, not only in *ndy7ion;s ose, b4t in the resence or absence of those attendant deities 5ho, as 5e have seen, have s ecified the Berlin scene as a de art4re. Bhat connects the t5o 5orks is 7erely the si7ilarity of *ndy7ion;s "est4re, and the b4rden of e7 loyin" the 7osaic as a fittin" arallel rests on that "est4re;s inter retation. )he ar7 raised, 5ith o en al7, f4nctioned as a pathosformula and, as s4ch, served to e> ress a series of 7eanin"s in a variety of conte>ts? to associate it 5ith a s ecific sin"le sense is therefore tendentio4s. D#$E )he "est4re does indeed serve as a si"n of s4r rise and as an entreaty to stay an i77inent de art4re, as 5e have seen in the re ertory of - hrodite and -donis Fcf. Ai". %K, 5here the "oddess "est4res in si7ilar fashion to the yo4th at their artin".D#1E Get an identical "est4re and its i7 lications of s4r rise 7i"ht e>tend, in other conte>tsCin the re ertory of one and the sa7e 7yth^Cto an

e> ression of o4tri"ht horror Fcf. Ai"s. 5 and 9 D- hrodite at centerE? cf. Ai"s. % D-donis at centerE? and LK 5hen the de art4re envisa"ed is that of death itself. )his O"est4ral sit4ationPD#IE is 7irrored in other re ertories, as 5hen on the 2atican sarco ha"4s of *4hod4s, for e>a7 le, 8ades ac94iesces to the de art4re of -lkestis.D##E +n fact, beyond the real7 of 7ytholo"ical i7a"ery, this very "est4re 5as enshrined in /o7an i7 erial icono"ra hy as the si"n of Ocle7ent res onse.PD#%E )he elo94ence of this o en, "est4rin" hand served even 7ore broadly to evoke a "enerali:ed sense of disco4rse, as can be seen in s4rvivin" late<anti94e ill4strated books s4ch as the 2atican 2er"il or the Paris )erence.D#5E )h4s this "est4re, as it a ears on the Berlin fra"7ent in the conte>t of (elene;s leave<takin", confor7s to an established ty e and has its co4nter art in a n47ber of other 7yths 5here s4ch a de art4re belon"s, as a conventional lot ele7ent, to the re ertory of other heroic tales. 0n other sarco ha"i one 5itnesses, as 5e have seen, -donis;s de art4re fro7 2en4s FAi"s. %, L, and HK, or 8i olyt4s;s fro7 Phaedra FAi". 6K. )hese 5ere fa7iliar scenes in 5hich a hero abandoned the co7 anionshi of the 5o7an 5ho loved hi7. )hey 5ere, ho5ever, s4bsidiary ele7ents of the lots that set the sta"e for the 7ain acts of both 7ythical dra7as. +n each case the central the7e of the 7yth had yet to e7er"e, and th4s these scenes of de art4re 5ere s4bordinated in the vis4al narration. )he abandon7ent on 5hich the Berlin fra"7ent;s rendition of the *ndy7ion tale foc4ses does have a fittin" arallel, 5hich a ears as the central the7e in the re resentations of a 7yth that rovided a s4bject for both sarco ha"i and 5all aintin"C)hese4s;s abandon7ent of -riadne. 8avin" killed the 7inota4r, )hese4s had esca ed the labyrinth thanks to the c4nnin" of -riadne, and to"ether they fled. Get on ,a>os, -riadne 5oke to find herself O5retched and deserted on the lonely shore,P for Oon that shore D)hese4sE cr4elly abandoned his co7 anionP:D#LE O,ot 94ite 5akin", and lan"4id fro7 slee , + t4rned onto 7y side, abo4t to "ras )hese4s 5ith 7y handsCno one 5as there^PD#HE )his i7a"eC fo4nd in 5all aintin" FAi". 5%K, b4t not on the sarco ha"iCoffers a convincin" ty olo"ical arallel for the Berlin fra"7ent. -riadne;s a5akened state and the si"nificant role of her "est4re in the aintin"s of this scene, as 5ell as in the te>t4al acco4nts, 4nderscore the connection.D#6E (arco ha"i also re resent )hese4s;s de art4reCb4t in these sc4l ted i7a"es he abandons -riadne Ahile she sleeps FAi". 55K. )hese4s is revealed as the ri7ary foc4s by the riority of the central l4nette on the ,e5 Gork "arland sarco ha"4s, 5hich de icts the killin" of the 7inota4r,D#9E and by his 74lti le resence on a sarco ha"4s at Cliveden.D%$E )his characteristic e7 hasis, alon" 5ith the archaeolo"ical discovery of 7ale re7ains in the ,e5 Gork casket and the inscribed lid that for7erly covered the one at Cliveden, s4""ests that the )hese4s le"end 7ay have been e7 loyed artic4larly in the co77e7oration of 7en.D%1E )h4s in this conte>t, the abandon7ent of -riadne a ears 7erely as one event in the hero;s contin4in" sa"a. Get -riadne;s ose 7ay have bro4"ht to 7ind her aro4sal by, and event4al divine 7arria"e 5ith, her ne5 lover, &ionys4s Fcf. Ai"s. 55 and 5LK.D%IE )h4s, j4st as the arrival of (elene before *ndy7ion corres onded to that of &ionys4s before -riadne, so too the res ective abandon7ents: on the Berlin relief the *ndy7ion tale has been transfor7ed accordin" to this 7odel.D%#E M4ch of 5hat is ec4liar to the Berlin relief de ends on this ada tation of the tale of *ndy7ion;s fate to the 7odel rovided by -riadne;s. -lon" 5ith the reversal of the te7 oral foc4s fro7 arrival to de art4re, of *ndy7ion;s state fro7 slee in" to 5akin", and of the attendant divinities; role fro7 that of active artici ants to assive s ectators, the inversion of the standard i7a"ery for the *ndy7ion tale e>tended to the si"nificance of the 7yth as 5ell. (i7ilarly transfor7ed 5ere both the analo"y established bet5een the 7ytholo"ical hero and the deceased and the f4nda7ental 7eta hors e7 loyed to "ive that analo"y vis4al for7. )he conventional 7eta hors of i77ortalityC*ndy7ion;s Oeternal slee P and the "oddess;s ni"htly loveCare s4 lanted by another, less e>alted, 7eta hor as *ndy7ion is de icted abandoned. )he contin4ity of associationCof abandon7ent 5ith eternal slee and th4s 5ith deathCis 7ade clear by -riadne herself, 5ho rotests her fate, cryin": OCr4el sl47bers, 5hy did yo4

hold 7e o5erlessW Better that + had been b4ried once and for all in everlastin" ni"ht.PD%%E -s )hese4s abandoned -riadne, so 8i olyt4s abandoned Phaedra. )hese fa7o4s co7 anions of 7yth Call of the7 7ortalC rovided, by their )irtus, their assions, and their fates, e>e7 la of both noble and i"noble character. )he athos of the ty e is enhanced, and the e>e7 l47 e>alted, 5hen the 7ortal -donis abandons the "oddess 5ho loves hi7.D%5E B4t in the *ndy7ion 7yth the ty e 4nder"oes inversion, as the hero is abandoned by his divine comes. )he /o7ans kne5 celebrated e>a7 les of s4ch a fate. Pl4tarch told of ho5 they reco"ni:ed -ntony;s abandon7ent by &ionys4s in the 7idni"ht t474lt and revelry of a bacchic rocession that traversed the city and assed forth fro7 its "ate. (4etoni4s recorded &o7itian;s o5n drea7 of his abandon7ent by Minerva.D%LE )i7othe4s, 5ho had discredited the role of the "oddess Aort4na in his s4ccessf4l ca7 ai"ns, 5as 4nished by the deity, Oso that fro7 that ti7e on he did nothin" brilliant b4t 7iscarried in all his 4ndertakin"s, "ave offense to the eo le, and 5as finally banished fro7 the city.PD%HE &enied the fello5shi of their s4 ernat4ral allies, these )iri illustres 5ere red4ced to the 7ortality 5hose bo4ndaries they strove to s4r assCand in each instance, death follo5ed s5iftly. +n these O7odernP /o7an 7yths, as in those of the ancient =reeks, to be forsaken by one;s rotective divinity 5as a distinctive 7eta hor for death. N N N

Vi)ion) o* li*e, death, and the beyond

)he (elene and *ndy7ion i7a"e re ertory th4s co7 rises fo4r distinctly different visions of life, death, and the beyond. )hree of these s4""est, each in its o5n 5ay, the eternal love bet5een "oddess and 7ortal that s4rvives his endless slee . 0ne offers a se>4al 7eta hor for the joys of the blessed life to co7e FAi"s. I6, I9K, another reinter rets the liaison of "oddess and 7ortal as a celestial 7arria"e FAi"s. #L, #HK, and a third reflects /o7an ideas of the b4colic *lysi47 FAi"s. #I, #9K. )heir anecdotal nat4res co7 le7ent one another as these i7a"es atte7 t to a5aken in the beholderCby 7eans of analo"yCa sense of the "lorio4s e>istence that a5aits after the close of this life. -ll three visions, des ite their differences, sy7boli:e the con94est of death and the tri47 h of love over Aate. )he fo4rth of these visions of death, that re resented on the Berlin relief FAi". %LK, calls for rather different concl4sions. +n re lacin" the standardi:ed scenes of arrival and sed4ction 5ith those of de art4re and fare5ell, this relief transfor7ed the role tic connotations of the (elene and *ndy7ion i7a"ery fro7 joy to sadness. ,o lon"er destined to enjoy the "oddess;s favor, the yo4n" she herd fears her de art4re. +n its foc4s on *ndy7ion;s abandon7ent by the "oddess the i7a"ery evokes not only the cr4elty of Aate b4t the "reat "4lf that se arates the dead fro7 the livin". +n contrast to the ros ective visions of the three other renditions of the 7yth, 5ith their i7 licit eschatolo"ical clai7s for i77ortality or a otheosis, the Berlin fra"7ent offers a retros ective refashionin" of the 7yth. /ather than drea7s of f4t4re "ains in death;s beyond, this i7a"e e7 hasi:ed the sense of loss that death invariably leaves in its 5ake. )his sin"le si"nificant variant, by the retros ective reflection it evokes, effects the clos4re of the cyclical attern so f4nda7ental to the 7ytholo"ical narrative. )he sco e of the analo"y here a ears far less e>alted than the cos7ic di7ensions ty ically associated 5ith the 7yth and conventionally de icted on the other sarco ha"4s reliefs. )h4s, "iven the 4n4s4ally lar"e n47ber of *ndy7ion sarco ha"i that have s4rvived, this sole e>a7 le of a 7arkedly different co7 osition and conce tion s4""ests 7ore than the likelihood that it 5as a s ecial co77issionCits i7a"ery bes eaks a ske ticis7 antithetical to the conventional renditions. )he re resentation of the narrative by this scene of abandon7ent not only 7akes 7ore vivid the sense of the tale;s end b4t renders 7ore al able its analo"y 5ith the end of life.

Note)
1. Cicero, 0e -atura 0eorum, ++.1L5J1LL? cf. 2en4s as comes of -donis at 0vid, Metamorphoses, 1.5##, in the te>t of Cha ter I, above, at n. 9. I. -. &. ,ock, O)he *7 eror;s &ivine Co7es,P /RS #H F19%HK? for the role layed by this conce t on vis4al 7on47ents s4ch as the so<called Cancelleria reliefs, see es . . 1$L? cf. f4rther P. =. 8a7ber", Studies in Roman +mperial "rt, Aith Special Reference to the State Reliefs of the Second Century FCo enha"en, 19%5K, . 5$J5L. #. (tati4s, 8hebaid, 2+++.5%9? "chilleid, +.L%L. %. (ee ,ock, O*7 eror;s &ivine Co7es,P . 11L and n. 1I$, on the lack of a =reek e94ivalent for comes. )he /o7an conce tion 5as no do4bt indebted, ho5ever, to the =reek notion of theios aner, on 5hich see the 7aterials collected in Brede, Consecratio, . 156 and n. I, 1HI and n. %1. 5. "SR 1++.I, no. 1$$. L. Aor the *astern infl4ence on the Berlin fra"7ent FOst@drX7isch 4nter attische7 *infl4ssPK, see no5 (ichter7ann in "SR 1++.I, . 15I, 5here the earlier literat4re is cited. Aor the fra"7entary -chilles sarco ha"4s in Co enha"en Ffo4nd in the 7a4sole47 on the 2i"na .acobini in /o7eK: see "SR ++, no. I%? Koch and (ichter7ann, R3mische Sarkophage, . #6#J#9$ and %56 Fdated ca. I$$JII$!#$K? and -. =i4liano and B. Pal7a, 'a maniera ateniense di et& romanaD + maestri dei sarcofagi attici F/o7e, 19H6K, . %HJ%6, no. 1IH., and late 3++. Aor disc4ssions of the roble7 of the O*astern styleP sarco ha"i, see Koch and (ichter7ann, art B, cha ters +++J2+? =. Koch, O(tadtrX7isch oder XstlichW Proble7e eini"er kaiser:eitlicher (arko ha"e in /o7,P 7/b 16$ F196$K? P. 3inant de Bellefonds, Sarcophages atti4ues de la -5cropole de 8yrD (ne 5tude iconographi4ue FParis, 1965K? /. /4dolf, "ttische Sarkophage aus Fphesos F2ienna, 1969K. H. Aor other Oa5akeP *ndy7ions, cf. "SR 1++.I, no. 1$I Fhere, Ai". %9K? "SR 1++.I, . 5%f. FZ "SR +++.1, no. 9I? here, Ai". 5$K? both sarco ha"i are disc4ssed f4rther belo5. (ee also the disc4ssions in K. (cha4enb4r", OPortr@ts a4f rX7ischen (arko ha"en,P in F+K,-FSD %estschrift f=r *ans /ucker FBasle, 196$K, es . . 15L? and 8. /. =oette, OBeobacht4n"en :4 rX7ischen Kinder ortraits,P "" F1969K: %L5ff. 6. ). /aff, O&ie +kono"ra hie des 7ittelalterlichen Bind ersonifikationen,P "achKbl> %6 F19H6JH9K? /. )4rcan, O/e r[sentations des 2ents dans l;art f4n[raire et 7ithria94e,P in +conographie classi4ue et identit5s r5gionales F196LK? C47ont, Recherches sur le symbolism fun5raire des Romains, . 15$? ide7, "fter 'ife, . 165. Aor the association of the s iral<sha ed shells of the 5ind "ods 5ith the 5inds they breathed forth, cf. the relief in B4da est ill4strated and disc4ssed in .. Prie4r, 'a mort dans lanti4uit5 romaine F/ennes, 196LK, . 1#IJ1##. 9. *. (i7on, O/X7ische (arko ha"e in .a an,P "" F196IK: 56$, s4""ested that this hand belon"ed to one of the &iosc4ri, 5ho 5ere sho5n leadin" their 7o4nts by the bridle, and 5ho 5o4ld have served on this sarco ha"4s, as on n47ero4s others, as a fra7in" device. )his is hi"hly 4nlikely to have been the case, as the hand clearly "ras s, not the stra s of a bridle, b4t the stalk of the lant, as 5as noted by /obert, in "SR +++.1, . 11$. Aor a sarco ha"4s 5ith one of the 8orae, 5ho carried a si7ilar leafy branch, see "SR 1++.I, nos. HI, 9%. 1$. (ichter7ann, in "SR 1++.I, . 15I, si7ilarly conject4res Oeine ein:elne Ai"4r ohne 5eiteres.P 11. C. &ilthey in 7d+ %1 F16L9K: L5, as (elene, follo5ed by (i7on, O(arko ha"e in .a an,P . 56$ Fidentified as 34na!(eleneK? /obert, in "SR +++.1, . 11$, had identified her as 2en4s and co7 ared her a earance 5ith that of the "oddess on the sarco ha"4s at (an Paolo f4ori le 74ra? see "SR 1++.I, no. 96.

1I. &ilthey in 7d+ %1 F16L9K: L5? Oal:a la 7ano con 7aravi"liaP? /obert in "SR +++.1, . 11$: Odie rechte 8and erhebend, ersta4nt a4f die =XttinP? (ichter7ann in "SR 1++.I, . 15I: O*rschrecken.P 1#. (ichter7ann;s strained e> lanation in "SR 1++.I, . 15I, of ho5 8y nos OabandonsP *ndy7ion as the yo4th a5akens for (elene;s arrival is 4nconvincin"? note that 8y nos is not resent in any of the ainted renditions of the scene that sho5 *ndy7ion a5ake. 1%. +dentified as 8es eros by 0. )h4lin, O&ie Christ4s<stat4ette i7 M4seo ,a:ionale /o7ano,P RM %% F19I9K: I#L? =able7ann, O*ndy7ion,P no. 6I? and no5 (ichter7ann in "SR 1++.I, . 151? &ilthey in 7d+ %1 F16L9K: L5? /obert in "SR +++.1, . 11$. 15. (4ch a 8y7enaios a ears, 5in"ed, on "SR 1++.I, nos. H#, 9#, 9%, 95? he is identified, ho5ever, 5ith a torch<bearin" eros on the -7alfi -res sarco ha"4s Fno. %K. - case 7ay, nevertheless, be 7ade for 8es eros, 5hose a earance in the evenin" 7ade hi7 a traditional co7 anion to (elene. )h4s the lo5ered torch here sy7boli:es 8es eros;s li"ht e>tin"4ished by the co7in" da5n. (ichter7ann;s astrono7ical e> lanation of the Osettin"sP of 8es eros and Phos horos F"SR 1++.I, . 15IK does not corres ond to co77only held /o7an o inion: cf. 8orace, ++.9.1$ff.? on other sarco ha"i 8es eros is seen leadin" the 5ay for (elene;s departure Fcf. "SR 1++.I, nos. 95 and 6$K. +t sho4ld be recalled as 5ell that 8es eros 5as hi7self associated 5ith 8y7enaios Fcf. Cat4ll4s, 31++ and 31+2K. 1L. -s on the Phaeton sarco ha"i in 2erona F"SR +++.#, no. #%5K or in 0kaya7a, .a an Ffor 5hich see no5 (ichter7ann in "SR 1++.I, . 5Lf. and 151f.K. (ei:in" 4 on this si7ilarity bet5een the Berlin fra"7ent and the Phaeton re ertory as 5ell as the er le>in" resence of a fi"4re 5ho a ears to be (elene at the side of 8elios on 7any of the Phaeton reliefs Ffor the sol4tion to 5hich, see ,onnos, 0ionysiaca, 1112+++.1IIf.K, (i7on, O/X7ische (arko ha"e in .a an,P 7istakenly identified the 0kaya7a sarco ha"4s as a variant re resentation of the *ndy7ion 7yth. )he identification 5as reb4tted briefly in =. Koch, O]4r ,e4bearbeit4n" der 7ytholo"ischen (arko ha"e,P Marb21r F196%K: #1, and e>tensively by (ichter7ann, loc. cit. 1H. Cf. /obert, "SR +++.1, . 11$: O34na 5ird 5eiter links "efol"t sein, ver74tlich 5ie sonst von ihre7 Ba"en abstei"end.P - second a earance of (elene on her chariot 5o4ld have been 7otivated by the lack of fa7iliar ele7ents in the refashioned i7a"e: it 5as necessary to ens4re that the 7yth 5o4ld re7ain easily reco"ni:able. 16. Cf. the co77ents of (i7on, O/X7ische (arko ha"e in .a an,P . 56$, on the a earance of this secondary 7otif FO,eben7otivPK d4rin" the 7id<-ntonine eriod. 19. -thenae4s, 0eipnosophistae, 1+++.5L%C. I$. (ee the 7aterials cited in Cha ter #, n. #5, above. I1. Casa dei &iosc4ri, 2+, 9, LJH F#6K. II. (ee (chefold, 0ie 2#nde 1ompeWis, . 11H, 5ith earlier literat4re? and =abel7ann, O*ndy7ion,P no. 1%, for f4rther biblio"ra hy. +7a"es of both *ndy7ion and ,arciss4s, no5 lost 5itho4t vis4al record, are kno5n to have once decorated the Casa dell;-r"entaria, 2+, H, I$ FeK Fbiblio"ra hy in (chefold, . 1$IK. *ndy7ion 5as si7ilarly aired as a vis4al endant to =any7ede in the Casa del =ani7ede, 2++, 1#, % FbK? see belo5, Cha ter 6. A4rther e>a7 les of ainted endants are listed in K. (chefold, >ergessenes 1ompeWiD (n)er3ffentlichte 7ilder r3mishcer 2anddekorationen in geschichtlicher %olge herausgegeben FBerlin and M4nich, 19LIK, a endi> ++ F . 169J19LK. I#. 0vid, Metamorphoses, +++.%1H. I%. +n the tablinum at the Casa dell;-r"enteria, 2+, H, I$ FeK ,arciss4s and *ndy7ion 5ere acco7 anied by i7a"es of 2ictory and -7or Fsee (chefold, 0ie 2#nde 1ompeWis, . 1$IK.

&es ite =abel7ann;s clai7s FO*ndy7ion,P . H%1K, *ndy7ion does not see7 to be de icted 5ith o en eyes in the ense7ble ainted in triclini47 6 in the Casa dell;-ra Massi7a F2+, 1L, 15K. ,or are there icono"ra hic "ro4nds for s4ch a de iction: there is no difference bet5een that i7a"e and those of other ense7bles 5here he is re resented aslee . *ndy7ion lays no active role, and the tale of his sed4ction by (elene takes its lace a7id a "ro4 that roclai7s the o5er of love over even the "ods? "iven the resence of Mars and 2en4s, 2. M. (trocka;s ro osal FO=Xtterliebschaften 4nd =attenliebe: *in verkanntes Bild ro"ra77 in Po7 eji, 2+, 1L, 15,P RSt1omp # D1969E: #6K to rena7e this the O8o4se of Conj4"al 3oveP leaves 74ch to be desired. Cf., f4rther, the related ense7ble in roo7 #% of the Casa di (irico F2++, +, I5 and %HK, 5here once a"ain *ndy7ion lays a assive role? des ite conf4sion over the identification of one of the roo7;s aintin"s, this "ro4 robably also served to re resent the o5er of love. I5. (ichter7ann, in "SR 1++.I, . 15I, also cites as a co7 arison Mielsch;s inter retation of a fresco in 0stia, at the so<called Casa di *rcole Ba7bino F8. Mielsch, O]4r stadtrX7ischen Maleri des %. .ahrh4nderts n. Chr.,P RM 65 D19H6E: 19$ and fi". 6K, 5hich cannot be correct since it a ears to sho5 t5o 5o7en, as &. 2a"lieri;s ori"inal 4blication FO0stia,P -Sc, ser. +2, #6 D191#E: H#ffK ointed o4t? + ho e to disc4ss their identities on another occasion. IL. (ee =. 2. =entili, 'a )illa erculia di 1ia$$a "rmerinaD + mosaici figurati F/o7e, 1959K, a endi>, fi". 1I, 5hich 5as ro osed as a Odirect arallelP by (ichter7ann, in "SR 1++.I, . 15I. IH. (. (ettis, OPer l;inter reta:ione di Pia::a -r7erina,P MF%R" 6H F19H5K: 9LHf. I6. +bid. I9. (ettis, OPer l;inter reta:ioni di Pia::a -r7erina,P . 9L6 and fi". LI? =. 2. =entili;s identification of the fi"4re as a 5o7an FOPia::a -r7erina,P -Sc, ser. 2+++, % D195$E: #$HK 5as s4rely 7istaken. #$. Cf. (ichter7ann, in "SR 1++.I, . 15I, 5ho inter rets both "est4re and ose as e> licit si"ns of a s4r rise arrival FO&ie =este 4nd die 8alt4n" als -4sdr4ck der ersta4nten Be"rYss4n" vXlli" einde4ti" sindPK? cf., f4rther, his earlier disc4ssion of the "est4re in O(arko ha"<Mi:ellen,P "" 19H%: #$9f. 0n the conce t of pathosformula, see above, Cha ter I, n. %$. #1. 0ther e>a7 les of this "est4re;s e7 loy a ear on "SR +++.1, nos. #, 5, Lb. #I. -s defined by Brilliant, 6esture and Rank. ##. (. Bood, O-lkestis on /o7an (arco ha"i,P "/" 6I F19H6K: 5$I. #%. Brilliant, 6esture and Rank, . H#JH5 and 15HJ1L1. #5. Cf. the early<fifth<cent4ry 2atican 2er"il;s ill4stration of 3atin4s "ivin" horses to the )rojans Ffol. L#r Z "eneid 2++.IHLJIHHK, 5here 3atin4s;s Ori"ht hand is held o en in a "est4re of 7a"nani7ity a ro riate both to the s eech that recedes the ill4stration and to the "ift of horses that is narrated belo5 itP F&. 8. Bri"ht, OCo77entari47,P in the facsi7ile edition of >ergilius >aticanus D=ra:, 196%E, ++, . 9$K? for the tenth<cent4ry )erence, see C. /. Morey and 3. B. .ones, Miniatures of the Manuscripts of 8erence FPrinceton, 19#1K. #L. Cat4ll4s, 31+2.5H? 0vid, Metamorphoses, 2+++.1H5J1HL. #H. 0vid, *eroides, 1.9J11. #6. (ee -. =allo, O3e itt4re ra resentanti -rianna abbandonata in a7biente o7 eiano,P RSt1omp I F1966K? and A. Parise Badoni, O-rianna a ,asso: 3a rielabora:ione di 4n 7ito "reco in a7biente ro7ano,P 0ial"rch, ser. #, 6 F199$K, for the cor 4s of -riadne i7a"es. -riadne;s s4r rise at her abandon7ent by )hese4s is si"naled by other "est4res as 5ell: her hand over her 7o4th, as in the Casa dei 2ettii, 2+, 15, 1 FZ =allo, fi". 1IK, or her fin"er raised and ressed to her chin, as in the Casa del

Poeta )ra"ico, 2+, 6, # FZ =allo, fi". 11K or the Casa de"li * i"ra77i, 2, 1, 16 FZ =allo, fi". LK. #9. (ee -. McCann, Roman Sarcophagi in the Metropolitan Museum of "rt F,e5 Gork, 19H6K, I9, cat. no. 1. . I5J

%$. (ee /obert, "SR +++.#, no. %#$? ide7, O- Collection of /o7an (arco ha"i at Cliveden,P /*S I$ F19$$K: es . 6LJ9H? Koch and (ichter7ann, R3mische Sarkophage, . 16H? Blo7e, OA4ner@rsy7bolische Colla"en,P . 1$LIff. %1. (ee McCann, Roman Sarcophagi, . I5, for the re7ains fo4nd in the ,e5 Gork sarco ha"4s? the te>t of the Cliveden lid, no5 lost, is "iven in /obert, O- Collection of /o7an (arco ha"i at Cliveden,P . 9H. %I. 0vid, "rs "matoria, +.55L FOBacchiM4>or erisPK? cf. Brede, Consecratio, . 15#, on Bacch4s as Ohi77lischer Br@4ti"a7 in .enseits.P Aor the &ionysiac character of the decoration on the ,e5 Gork sarco ha"4s, see Panofsky, 8omb Sculpture, . #%? Brilliant, >isual -arrati)es, . 1##. )4rcan, 'es sarcophages romains & repr5sentations dionysia4ues, . #5L F)ableK, s4""ests that the sarco ha"4s does not belon" to the &ionysiac series. Aor sarco ha"i de ictin" -riadne aslee , and her a5akenin" by &ionys4s, see A. Mat:, 0ie dionysischen Sarkophage DZ "SR +2E FBerlin, 19L6ff.K, nos. I$HJII6? Koch and (ichter7ann, R3misches Sarkophage, . 19#? 3eh7ann<8artleben and 0lsen, 0ionysiac Sarcophagi, . #HJ%I. %#. -s the lid of the Cliveden sarco ha"4s 7ade lain, that 7on47ent also foc4sed on Oabandon7ent,P altho4"h in this instance it 5as the abandon7ent of a 7other bro4"ht abo4t by her yo4n" son;s death: see /obert, O- Collection of /o7an (arco ha"i at Cliveden,P . 9H. )his 5o4ld not be the sole conj4nction of the t5o 7yths. +t sho4ld be recalled that t5o sarco ha"i, one re resentin" (elene;s arrival to *ndy7ion, the other -riadne;s discovery by &ionys4s, 5ere discovered in the sa7e to7b cha7ber at the be"innin" of the nineteenth cent4ry. )hese 5ere a arently rod4cts of the sa7e 5orksho , and 5ere conceivably 4rchased as a air to serve as the coffins for a h4sband and 5ife. (ee the s477ary of the archaeolo"ical evidence in Baratte and Met:"er, Mus5e du 'ou)reD Catalogue des sarcophages, nos. I5 and LH. %%. 0vid, *eroides, 1.111J11I. %5. (o7e acco4nts consider )hese4s to have been the son of Poseidon? cf., e."., 0vid;s i7 lication at Metamorphoses, 12.%9Hff. -ll these 7yths F*ndy7ion, )hese4s, -donisK are linked by 0vid for yet another reasonCtheir heroes; r4stic "ood looks, their forma neglecta.see "rs "matoria, +.5$9J51I. %L. Pl4tarch, "ntony, 3112.%JL? (4etoni4s, 0omitian, 12.#? cf., f4rther, ,ock, O)he *7 eror;s &ivine Co7es,P . 1$H. %H. Pl4tarch, Sulla, 2+.#J%? cf., by contrast, (4lla;s o5n drea7, reco4nted by Pl4tarch FSulla, +1.%K, in 5hich his "oddess Ostood by his side and 4t into his hand a th4nderbolt, and na7in" his ene7ies one by one, bade hi7 s7ite the7 5ith it.P (4lla;s "oddess 5as not, ho5ever, (elene, as 7any a4thors 5o4ld have it? this has been sho5n convincin"ly by .. /. Aears, O(4lla or *ndy7ion: /econsideration of a &enari4s of 3. -e7ili4s (4lla,P "m-umSocMus- I$ F19H5K: ##.

8. To Sleep, $erchance to 2ream

.4st as the Cnossian 7aid lay lan"4id on the barren shore 5hen )hese4s;s shi de arted, or as Ce he4s;s -ndro7eda reclined in her first sl47ber no5 freed fro7 the harsh rocks, no less so the bacchante 5eary fro7 endless dances colla ses on the "rass beside the - idan4s, j4st so, it see7ed to 7e, did Cynthia breathe a "entle rest, her head restin" on

4nsettled hands, 5hen.M+ vent4red to a roach her, li"htly ressin" a"ainst her bed. Pro erti4s here evokes a 5ell<established and reco"ni:able for74laCthe very sa7e e7 loyed for the de iction of (elene;s arrival for her ni"htly rende:vo4s 5ith the slee in" *ndy7ion.D1E )his 7otif 5as 4sed in ancient art and literat4re for 7any s4ch erotic scenes, 5hich ran"e fro7 7ere voye4ris7 to the violence of ra e.DIE Pro erti4s;s e>e7 la re resent 7ortals desired by deities or heroes 5ho 4rs4e the7 4ndis"4ised, thanks to the rotection offered by the defenseless sl47ber of their rey. +n its vis4al for7, the -riadne e>e7 l47 is kno5n fro7 the 7any i7a"es that de ict her a roached by &ionys4s FAi". 5LK, and on n47ero4s other 5orks of art a 7aenad is accosted by a satyr.D#E 0nly -ndro7eda, sl47berin" after her resc4e, is 4nfa7iliar a7id the vis4al re ertory the ancients devised for the re resentation of these 7yths. +ndeed, the often<re7arked all4sion of these lines to 5orks of vis4al art dis"4ises the cr4cial as ect of the oetic style at 5ork here. Aor Pro erti4s;s acco4nt of -ndro7eda can only be his o5n felicito4s invention, by 5hich he has transfor7ed the conventional i7a"ery associated 5ith the 7yth so that it not only confor7s to the reco"ni:able for74la b4t evokes the basic 7otif that 4nites these i7a"es by its tri le re etition.D%E +n each instance the essential character of the scene 7ay be ded4ced fro7 this 7otif that airs an active, 4 ri"ht fi"4re, the sed4cer, 5ith the assively rec47bent object of his or her desire.D5E )his sche7atic airin", co77on to these vario4s tales, constit4tes another e>a7 le of the artists; ability to devise a co7 osition based on the "eneral o4tlines of the lot rather than the s ecific details of a sin"le story. 3ike Pro erti4sCb4t to an even "reater de"reeCthe sarco ha"4s desi"ners 5ere able to co774nicate, by the si"nal force of the co7 osition alone, the dyna7ic interrelations that str4ct4red their narratives. - 7otif s4ch as this one 5as s4bject not only to ada tation to different 7ytholo"ical scenes of discovery and sed4ction, and arodies of the7, b4t also to translation into scenes in 5hich its ty ical sense 4nder"oes inversion. 0ne of the effects of the standardi:ation bro4"ht abo4t by the 4se of ty es is the ossibility of their dis lace7ent fro7 their ro er, ty ical conte>t. +n s4ch cases, des ite the e>i"encies of the artic4lar narrative role the 7otif lays in its ne5 conte>t, the ty e retains the traces of its ori"inal sense. )he reco"nition of s4ch all4sions has a rofo4nd effect on o4r 4nderstandin" of i7a"es, and allo5s 4s to "a4"e, in a 7ore enetratin" fashion, the f4ll force of their co7 ositions and conce tions. +t is recisely s4ch an all4sion that joins to"ether the re resentations of these t5o "ro4 s of sarco ha"i 5ith their scenes of (elene;s arrival before the slee in" *ndy7ion and - hrodite;s arrival before the dyin" -donis. )he - hrodite and -donis sarco ha"4s i7a"ery refor"es the for74la of an erotic scene into one of tra"ic athos? the ori"inal si"nificance of the 7otif, 5hile not o4t of lace in a 7yth that tells the tale of t5o lovers, is 7erely o4t of conte>t in this e isode. 3atent in the ada ted vis4al for74la is a reassertion of that eroticis7, so essential to the -donis tale and yet, as disc4ssion of the 7on47ents has sho5n, s4bordinated on the sarco ha"4s reliefs to the the7es of heroic )irtus and the o7ni otence of Aate. N N N

9In a +i)ion o* )leep:;

)he Mars and /hea (ilvia story ill4strates another for7 of inversion, one directly ertinent to the tale of (elene and *ndy7ion beca4se the t5o 7yths 5ere re resented side by side on the sa7e sarco ha"4s FAi". 5HK.DLE 8ere a /o7an 7yth 5as ada ted to the =reek for74la. +n the %asti, 0vid tells ho5 the ra e of /hea (ilvia by the "od of 5ar en"endered the t5in births of /o74l4s and /e74s. 0vid dis atches the violation itself in elli tical fashion, notin" that the "od Oby his divine o5erMhid his stolen leas4res.P )he foc4s of the tale is the drea7 the ra e incites and ho5 this drea7 envisions and inter rets the conse94ences of the sed4ction:

May it be beneficial and fort4nate, + ray, that vision + sa5 a7id sl47ber. 0r 5as it too clear for slee W + 5as a roachin" the +lian fires 5hen the 5oolen fillet, havin" slid fro7 7y hair, fell before the sacred yre. Bhence s ran" to"etherCa 7arvelo4s si"htCt5o al7 trees. 0f these one 5as "reater, and by its 5ei"hty branches s read to cover all the 5orld, and 5ith its folia"e to4ched the hi"hest stars. Behold, 7y 4ncle raised an a>e to the7? + 5as alar7ed by the 5arnin", and 7y heart tre7bled 5ith fear. Mars;s birdCthe 5ood eckerCand a she<5olf battled on behalf of the t5in tr4nks: thanks to the7, both al7s 5ere saved.DHE )he re resentation of the Mars and /hea (ilvia tale de7onstrates that so7e of these slee in" fi"4res 7ay also be erceived as Odrea7ers.P B4t no drea7 is de icted on the Mars and /hea (ilvia sarco ha"4s, 7erely another version of the sa7e arrival scene. )he e>i"encies of the story, ho5ever, force one to reconsider the active and assive roles of the 7otif;s rota"onists, and to invert the7. )h4s the object of the de icted event beco7es the active a"ent of the essential, albeit i7 lied, one.D6E )he si"nificance beco7es clear 5ith the isolation of the slee er ty e fro7 the air that 7ake 4 the 7otif FAi". 56K.D9E +t is, therefore, not the i7a"e that Ae see b4t the one she sees that constit4tes the tr4ly si"nificant i7a"e of the story and bears the f4nda7ental content of the 7yth. Aor it is the drea7, 5ith its i7a"es, that anno4nces in the for7 of a riddle nothin" less than the "lorio4s f4t4re of /o7e.D1$E +n the %asti, 0vid has /hea (ilvia herself, 5hen she a5akens, describe the drea7 she has had, and th4s the oet allo5s his a4dience to share the s4bstance of her interior vision. +n the rhetoric of the descri tion, artic4larly in the sche7atic descri tion of the trees, 0vid en"a"es in a for7 of enargeia, as he atte7 ts 5ith his lan"4a"e to s4""est the 94ality of vis4al e> erience, to render the scene as if it 5ere a ict4re.D11E Aor drea7s are, essentially, thin"s seen, as -ristotle had sho5n? they are e> erienced as a for7 of 7ental i7a"ery.D1IE Bith the ado tion of this rhetorical 7ode, 0vid atte7 ts both to rovoke a res onse in his reader co77ens4rate 5ith the rof4ndity of a drea7<vision, and to evoke a al able i7a"e 5hose o5erf4l i77ediacy rese7bles that of the drea7 itself.D1#E )he vis4al re resentation of drea7s osed roble7s, and to solve the7 artists e7 loyed a series of ictorial devices.D1%E +n narrative cycles, drea7er and drea7 content co4ld be de icted by the conti"4ity of scenes?D15E in a sin"le scene, drea7er and drea7 co4ld be j4>ta osed, and the drea7 content 4nderstood as s4ch fro7 the conte>t?D1LE this j4>ta osition co4ld be el4cidated by the differentiation of levels of reality 5ithin the i7a"e,D1HE or the vis4al s4bordination of the drea7 content as an a ended 7otif, s atially se94estered fro7 the drea7er;s s ace. Get the Mars and /hea (ilvia sarco ha"4s ado ts none of these techni94es, for in it the drea7 is re resented by i7 lication alone. )he sin"le scene of Mars;s a roach to the slee in" 2estal 2ir"in stands for the story as a 5hole, and serves as a catalyst to call forth the re7ainder of the tale fro7 the beholder;s 7e7ory. (4ch a strate"y de ends, of co4rse, on kno5led"e of the 7yth and the vie5er;s ability to reco"ni:e the story fro7 the de iction of a sin"le salient e isode. )he fa7iliarity of the tale is d4e to a series of factors: the 7yth;s f4nda7ental role in the 7ytholo"y of /o7e itself? the 5ide disse7ination of the 0vidian version? the standardi:ed si"nificance of the 7otif that is the vehicle for the story;s de iction? and, the 4n7istakable icono"ra hy of the "od of 5ar. -ll of these facilitate the s4ccess of the ictorial invention. )he role tic nat4re of the i7a"e itself leaves little do4bt as to the se94el and lays 4 on the beholder;s 5illin"ness to contin4e the narration. By recallin" the 7yth, by rehearsin" the actions, not 7erely of the de icted scene b4t of the tale as a 5hole, the vie5er for7s a series of 7ental i7a"es that contin4e the re resentation of the s4bse94ent scene of the action and, 7ost i7 ortantly, of the cr4cial drea7. )he tr4ly rofo4nd as ect of the sc4l ted invention is its ability to allo5 beholders to e> erience that drea7, j4st as /hea (ilvia does, in the 7anner a ro riate to drea7sCas a mental image.D16E )he j4>ta osition of these t5o talesCMars and /hea (ilvia, (elene and *ndy7ionCestablishes an

analo"y, so7ethin" si7ilar to the conflation of the stories of -donis and -eneas on the Casino /os i"liosi sarco ha"4s FAi". LK. 8ere too the analo"y sei:es on the si7ilarity of the t5o stories, their lots, and their shared vis4al 7otif?D19E 7ore i7 ortantly, it calls for the *ndy7ion i7a"e to be considered in a ne5 5ay. )he contrast "4ides inter retation and effectively transfor7s the *ndy7ion 7yth, for the e7 hasis on the /o7an tale 7ay be constr4ed fro7 the co7 arison. )hat /hea (ilvia;s slee is e94ated 5ith death 5as already clear fro7 the i7a"eQs f4nerary conte>t? *ndy7ionQs endless sl47ber, ho5ever, is no5 reconceived accordin" to the i7 lications of a slee filled 5ith drea7s. )h4s the vis4al airin" of the t5o 7yths s4""ests that j4st as /hea (ilvia drea7s in the co4rse of her sl47ber, so too *ndy7ion. (ince a5areness of her drea7in" "enerates those 7ental i7a"es essential to the si"nificance of the storyCi7a"es f4nda7ental to the co7 rehension of that 7yth 5ithin the sarco ha"4s re ertoryCdoes not the airin" of the t5o scenes s4""est *ndy7ionQs drea7in", as 5ellW DI$E N N N

Somnior!m &onie&tio
0n the sarco ha"i, artic4larly 5here *ndy7ion and (elene bear the feat4res of both the casket;s atron and his 5ife, the ersonali:ation of the 7yth inti7ates recisely s4ch an active role for the sl47berin" yo4th. Aor choosin" to re resent this 7yth constit4tes, in itself, a for7 of drea7 or 5ish on the art of the atrons: a drea7 to be identified 5ith the rota"onists into 5hose 7ythic dra7a they are inserted by 7eans of ortrait4re. 0n the sarco ha"4s reliefs these atrons a ro riate the 7yths and th4s act o4t sy7bolically a drea7 of ho5 the f4t4re 5ill re7e7ber the7. )he very er7anence of the sc4l ted identification, of the i7a"e that 7arks the to7b by 5hich these atrons are to be re7e7bered, "4arantees that this 5ish 5ill be f4lfilled, that this drea7 5ill co7e tr4e. )o 4nderstand these f4nerary Odrea7sP re94ires that 5e deter7ine 5ho lay ento7bed in the 7arble coffins on 5hich s4ch ho es are "iven visible for7. )he 7ost obvio4s inter retation of the reliefs identifies *ndy7ion 5ith the deceased, 5hose ortrait feat4res he 5ears on several e>tant e>a7 les, and 5ho therefore 74st have lain b4ried in the casket.DI1E +n lie4 of a ortrait, an inscri tion 7ay reveal for 5ho7 a sarco ha"4s roved the final restin" lace, as on the casket of -4reli4s 3ican4s no5 in Co enha"en.DIIE )he choice of the *ndy7ion 7yth for s4ch sarco ha"i sei:es 4 on the sed4ction that takes lace d4rin" the yo4n" she herd;s Odeathlike slee P as a ositive i7a"e of the afterlife. Aro7 the drea7 literat4re of anti94ity one learns, accordin" to -rte7idor4s, that in a drea7, Oto have se>4al interco4rse 5ith a "od or "oddess or to be ossessed by a "od si"nifies death for a sick 7an. Aor the so4l redicts 7eetin"s and interco4rse 5ith the "ods 5hen it is abo4t to abandon the body in 5hich it d5ells.PDI#E B4t the drea7s -rte7idor4s s eaks of are o en to other inter retations, as he readily ad7its: (o7e are called theore7atic, others alle"orical. )heore7atic drea7s are those 5hich co7e tr4e j4st as they are seen. -lle"orical drea7s are those 5hich disclose their 7eanin" thro4"h riddles. B4t since there is, in this "ro4 , so7e 7ar"in for error in a erson;s decidin" 5hether he sho4ld acce t the drea7s e>actly as they have been seen or if they 5ill co7e tr4e in so7e other 5ay, the ossibility of inter retation is still o en.DI%E -ccordin" to 1eno hon, )here is nothin" in the 5orld 7ore nearly akin to death than slee ? and the so4l of 7an at j4st s4ch ti7es is revealed in its 7ost divine as ect and at s4ch ti7es, too, it looks for5ard to the f4t4re? for then, it see7s, it is 7ost 4ntra77eled by the bonds of the flesh.DI5E Pl4tarch 7akes an even 7ore e> licit clai7 for the val4e of drea7s: O(ince Dthe so4l;sE arrival in the

5orld, it is by 7eans of drea7s that it joyf4lly "reets and "a:es 4 on that 5hich is 7ost bea4tif4l and 7ost divine.PDILE Cicero held the vie5 that the "ods converse 5ith 7en, by 7eans of visions, in their slee ? the sa7e co4ld be said for converse 5ith the dead.DIHE )he literary evocation of this belief 5as nothin" ne5. *4ri ides rovided the classic e>a7 le: Ovisitin" 7e in drea7s, yo4 7i"ht still brin" 7e so7e cheer: for s5eet it is, by ni"ht, to look on loved ones, for as lon" as they 7ay stay.PDI6E -nd 2er"il echoed the the7e 5hen relatin" &ido;s drea7: O(he see7ed to hear so4nds and s eech, of her h4sband callin", 5henever the ni"ht held the earth in darkness.PDI9E )h4s, 5hen a yo4n" /o7an 5o7an b4ried her h4sbandCstolen fro7 her by Oan evil handPCshe 7i"ht declare to the manes her desire for s4ch a re4nion as she s eaks to hi7 beyond the "rave. 8is e ita h reads: 84sband 7ost dear to 7e: + kne5 that as boy and "irl 5e 5ere bo4nd to"ether by love. + lived 5ith yo4 for so short a ti7e, and d4rin" that ti7e 5e 5ere destined to live, 5e 5ere se arated by an evil hand. )h4s + entreat yo4, 7ost sacred so4ls of the dead, that yo4 7i"ht consider 7y dear 7an acce table, and that yo4 7i"ht 5ish to be 7ost ind4l"ent to this 5o7an, so that + 7i"ht see hi7 d4rin" the noct4rnal ho4rs? and he also 5ishes that + co7 el Aate, so that + a7 able, s5eetly and 94ickly, to co7e to hi7.D#$E 0r, in (tati4s;s birthday oe7 co7 osed for Polla -r"entaria in re7e7brance of her dead h4sband, 34can, the deceased is i7 lored to rea ear fro7 beyond the "rave: Oobtain one day, + beseech yo4, fro7 the "ods of silence: the door is o en to h4sbands ret4rnin" to their brides.PD#1E Get 5ives 7i"ht also be "ranted s4ch a re rieve, if only in the "4ise of 7yth. +ndeed, so7e s4rvivin" *ndy7ion and (elene sarco ha"i bear anti94e, if not ori"inal, inscri tions that record their 4se as the caskets of 5o7en. )heir e7 loy7ent for the bodies of 5o7en "ives s ecial si"nificance to one of the for7al feat4res of the reliefs that is seldo7 re7arked 4 on: the ro7inence of the 4 ri"ht, stridin" fi"4re of (elene at the center of the anel. )he inscri tion on the Ca itoline sarco ha"4s FAi". I9K de7onstrates that it 5as 4sedCin anti94ityCas the coffin of a yo4n" 5o7an na7ed =erontia.D#IE )h4s this 7on47ent;s i7a"ery e> loits the 7otif of *ndy7ion;s slee , and a 5ife see7in"ly clai7s a chance to be re4nited 5ith the h4sband 5ho s4rvives her by a visit Oin horis noct4rnisPCas it 5ere, in his drea7s.D##E (4ch an inter retation of these sarco ha"i and this f4nerary inscri tion is fo4nd in a arallel all4sion, a"ain in the oe7s of Pro erti4s. Aor there the sa7e i7a"ery is evoked 5hen yet another fe7ale fi"4re Cthe i7a"e of the deceasedCarrives at the side of her slee in" ara7o4r as the oet drea7s of his lover;s ret4rn fro7 the real7 of the dead: )he shades are no fable: death is not the end of all, and the ale "host esca es the van94ished yre. Aor Cynthia see7ed to bend over 7y co4ch, Cynthia so lately b4ried beside the roarin" road, as fresh fro7 love;s ento7b7ent + sle t a broken slee .MD#%E )hese testi7onials ertain to the f4nerary 4se of the *ndy7ion 7yth beca4se they offer a conte>t for the 7yth;s inter retation. )hey e> ress very h47an fears of death and an e94ally h47an desire to transcend it. )he 7yth rovides tan"ible, reco"ni:ableCand above all, evocativeCi7a"ery in 5hich these f4nda7ental e7otions are condensed and foc4sed? and 5hat is 7ore, the 7yth testifies to a belief that in death one 5ill enjoyC94ite literallyCthe love of the "ods. (o7e of these sarco ha"i 74st also have been intended, re"ardless of 5hether h4sband or 5ife died first, to hold the re7ains of both. )his intention, s4""ested by the resence of do4ble ortraits on the reliefs and the lar"e scale of so7e of the 7on47ents,D#5E is confir7ed by an inscri tion alon" the lid of one of the kno5n e>a7 les. /enaissance dra5in"s record the kline<ty e lid of a (elene and *ndy7ion sarco ha"4s FAi". 59K that carried, alon" 5ith a ortrait of the reclinin" 5ife, the follo5in" inscri tion:

&'-ndiae'Melisae'3'valeri4s'victor'feci'l'sibi'et' coni4"i'carissi7ae'bene'7erentisebib4s'co7 aravit'7'D#LE )his 7yth 5as chosen beca4se, 4nlike the Mars and /hea (ilvia story, it foc4ses solely on the co4 le. )he lovers here cast in 7ytholo"ical roles a arently bore no ro"eny? other5ise their children 5o4ld no do4bt have been incl4ded in the inscri tion accordin" to c4sto7: to the f4t4re this air be94eaths only their 7e7ory.D#HE +t is a 7e7ory of a co4 le 5ho re7ain, even in death, as constant in their 74t4al love as the 7oon "oddess in her endless visits to her yo4n" slee in" she herd. Constancy in love, as in all other as ects of life, co4ld be for the /o7ans, like herois7, a challen"e and a virt4e. /o7an f4nerary 7on47ents and their inscri tions declare their raise for s4ch constancy in love.D#6E 2aleri4s Ma>i74s tells ho5 -ntonia, the 5ife of &r4s4s =er7anic4s, after the death of her h4sband 7oved to the ho7e of her 7other<in<la5 so that she 5o4ld ass her a"ed 5ido5hood in the sa7e bed in 5hich he had s ent his vi"oro4s yo4th.D#9E -nd (tati4s, in his oe7 of consolation to -bascant4s on the death of his 5ife, Priscilla, s eaks of his castissimus ardor, and ho5 concordia had bo4nd the one to the other by an 4nbroken chain, collato pectore. B4t the oetQs hi"hest raise of his friend is reserved for his constancy: OGo4r "reatest honor 5as that yo4 kne5 b4t one 7arria"e bed, that b4t one fire s7oldered 5ithin the secrets of yo4r bones.P D%$E +dentifications 5ith the *ndy7ion 7yth, 5ith its endless ni"hts of assion, i7 ly that to be so chosen by the "ods is to be "ranted the "ift of a love e94ally everlastin", a love that s4rvives death. )he 7on47ent de ictin" a co4 le as "oddess and yo4th elevates their love to the lane of 7yth and reali:es the drea7 of s4ch an eternal 4nion. +ndeed, this is an i7a"e of heroic love. )he se 4lchral i7a"e declares theirs to be that O"reat love that asses beyond the shores of Aate.PD%1E N N N

2ream) o* "doni)
)hese variations 5orked 4 on the *ndy7ion 7yth rovide a arallel to the transfor7ations fo4nd a7on" the -donis sarco ha"i. 0n the t5o 4ni94e -donis reliefs identified in recedin" cha ters FAi"s. L and HK, the standard i7a"es 4sed to re resent the 7yth 5ere altered, its story refor74lated, and its rota"onists si7ilarly reidentified by the i7 osition of ortraits. +t 5as reco"ni:ed that the 7yth no lon"er foc4sed on the )irtus of -donis b4t had been effectively re7ade to tell another tale, one of ho e for revival rather than acce tance of the inevitable finality of death. )here, as 5ith the *ndy7ion 7yth, the res4ltin" i7a"es 7ay be acco4nted the e> ression of drea7s. )hese 7yths reco4nted on the - hrodite and -donis as 5ell as the (elene and *ndy7ion sarco ha"i are like 7any others in 5hich the "ods intervene in 7ortal life, not 7erely to take their transient leas4re b4t to challen"e the o5er and 4bi94ity of Aate to r4le over the lives of their 7ortal loves. 8erakles; retrieval of -lkestis fro7 8ades, a7on" the 7ost reno5ned of the 7yths that tell of s4ch a challen"e, also fo4nd e> ression on sarco ha"i.D%IE )he vol47ino4s 5ritin"s of -eli4s -ristides offer f4rther e>a7 les of 5hat 74st have been a 5ides read belief in the ability and 5illin"ness of the "ods to intervene in the lives of 7ortals. )hese 5ritin"s describe the near<fanatical belief in the o5ers of -esc4la i4s to rotect and intercede on behalf of his disci lesCa belief vo4chsafed by ersonal ass4rances fro7 the divinity hi7self that 5ere co774nicated in drea7s.D%#E -s the -donis sarco ha"i have de7onstrated, the e>e7 lary )irtus of the yo4th co4ld be s4 lanted by a faith in the o5er of - hrodite to heal, to tri47 h over the O5ill of Aate,P and to resc4e her beloved -donisCj4st as she had resc4ed -eneasCfro7 the cl4tches of 7ortality.D%%E )he sa7e conce tion of the "oddess and her healin" o5ers a ears in a "rave inscri tion fro7 the Alavian eriod. - certain O,e os,P havin" died yo4n", s eaks in the inscri tion of ho5 2en4s herself has delivered hi7 fro7 oblivion: OAor &ivine 2en4s decreed that + not kno5 the abode of silence and

led 7e to her shinin" te7 le of the heavens.PD%5E (o7e verses of )ib4ll4s tell of his drea7 to be si7ilarly delivered by the "oddess fro7 the ain of death to the *lysian fields: B4t since + have al5ays been a7enable to tender 3ove, 2en4s herself 5ill lead 7e to the *lysian fields.D%LE +n both instances, 2en4s lays the psychopomp, the cond4ctor of so4ls, a role 4s4ally reserved for 8er7es. 8ere she ass47es res onsibility for deliverin" each of these 7en to the *lysian aradise. +n these i7a"inin"s, her actions assert a belief in the er7anence of her devotion to her disci les? for the7 she tr4ly serves as comes. -nd in the case of - hrodite and -donisCand, by e>tension, of the co4 le 5hose ortraits "race their fi"4res on the sarco ha"iCher role as sycho o7 7akes the clai7 that this 4nion is 4ns4nderable, even by death: "mor )incit omnia.

Note)
1. Pro erti4s, +.#.1J1I. 2eyne, Roman Frotic Flegy, . 1IH, re"ards this assa"e as an e>a7 le of Pro erti4s;s arodic 4se of 7yth? cf. 3each, Rhetoric of Space, . #L1J#L#. Bhile 7any co77entators have re7arked the all4sion to 5orks of vis4al art, to 7y kno5led"e only /. Bhitaker, Myth and 1ersonal FEpression in Roman 'o)eBFlegy F=Xttin"en, 196#K, es . . 9I, has e> licitly ass47ed that Pro erti4s e> ected these i7a"es Oto be resent to his a4dience;s 7ind.P Aor the icono"ra hy of the Oslee in" 7anP ty e in "eneral and the ada tation of the basic ty e to s4it the needs of individ4al tales, see (ichter7ann, O&er schlafende =any7ed,P es . . 5%#. Cf. also the Po7 eian fresco of the enco4nter of ]e hyros and Chloris fro7 the Casa del ,avi"lio Fno5 ,a les, M4seo ,a:ionale, 9I$IK? so too the i7a"es of *ros a roachin" Psyche as 5ell as Psyche a roachin" *ros in C. (chla7, Cupid and 1sycheD "puleius and the Monuments FUniversity Park, 19HLK. I. Aor the 7otif of Othe ra e of the slee in" bea4ty,P see =riffin, 'atin 1oets and Roman 'ife, . 5# n. 9. Cf. (ichter7ann, O&er schlafende =any7ed,P . 5%6, and ide7, OMytholo"ie 4nd 3andschaft,P . I9H, on the series of related fi"4res of slee ers in ancient art? Brede, Consecratio, . 15$J15%? above all, ,onnos, 0ionysiaca, 132++.IH1JI9I: OBhen &ionysos beheld deserted -riadne slee in", he 7in"led love 5ith 5onder.MCan this be (elene, that bri"ht driver of cattle, lyin" on the seashoreW )hen ho5 can she be slee in" a art fro7 her inse arable *ndy7ionW +s it silverfoot )hetis + see on the strandW ,o, it is not naked, that rosy for7. +f + 7ay dare to say so, it is the -rcheress restin" here in ,a>os fro7 her labors of the h4nt, no5 she has 5i ed off in the sea the s5eat of h4ntin" and slayin". B4t 5ho has seen -rte7is in the 5oods 5ith lon" robesW (tay, BacchantsMdance not this 5ayMthat yo4 7ay not dist4rb the 7ornin" slee of -thenaMP Ftrans. B. 8. &. /o4se, in 'C' ed. D3ondon and Ca7brid"e, 19%$EK. #. (ee Mat:, 0ie dionysischen Sarkophage, DZ "SR +2E, +, no. +.1.#, . 1$$f., and a endi>, late I.#: O(ie ist i7 Motiv der jYn"eren von den beiden 4rs rYn"lich hellenistischen )y en -riadnes 5ieder"e"eben.P %. Cf. ho5 different is Pro erti4s;s invocation of -ntio e and 8er7ione at +.%.5JH. 5. Cf. 0. Pecere, O(elene e *ndi7ione,P M"+" I% F19HIK: #$%, on the OstaticP and Odyna7icP attit4des of the t5o rota"onists. L. "SR 1++.I, no. 99. H. 0vid, %asti, +++.IHff. ,47ero4s other so4rces reco4nt the tale in differin" versions, above all, *nni4s, 11+1ff. Fsee 0. (k4tsch, ed., 8he "nnals of @. Fnnius D0>ford, 1965E, ad loc.K. 6. 0n the rhetorical force of inversions, see A. Cairns, 6eneric Composition in 6reek and Roman

1oetry F*dinb4r"h, 19HIK,

. 1IHJ1#H.

9. Aor the f4nerary altar of 3. -4fidi4s - rilis, corinthiarius of the Cry ta Balbi, see &. Manacorda, "rcheologia (rbana a RomaD +l progetto della Crypta 7albi FAlorence, 196IK, . 9# and 9H fi". I$? *. 3issi Caronna, O3;ara f4neraria di 7ar7o s4l basi7ento di travertino,P -Sc, ser. 6, I9 F19H5K? and for the altar;s classici:in" reference to the OBarberini Aa4n,P see Bosch4n", O,obilia 0 era,P . 11J1I. 1$. Aor the f4nda7ental role of this story in the history and 7ytholo"y of /o7e, see K. (chefold, O&ie rX7ische Bolfin 4nd der Urs r4n" der /o7sa"en,P re rinted in ide7, 2ort und 7ildD Studien $ur 6egenAart der "ntike FBasel, 19H5K. Cf. also ide7, O3a force cr[atrice,P . I$1f. 11. 0n enargeia, or e)identia, see U4intilian, +nstitutio ,ratoria, +2.++.L#, 2+.++.#I, and 2+++.+++.L1. Cf. 3a4sber", *andbuch der literarischen Rhetorik, . #99J%$H? =. ]anker, O*nar"eia in the -ncient Criticis7 of Poetry,P RhMus 1I% F1961K? /. Bebb, O+7a"ination and the -ro4sal of the *7otions in =reco</o7an /hetoric,P in 8he 1assions in Roman 8hought and 'iterature FCa7brid"e, forthco7in"K? and the disc4ssion in 3each, Rhetoric of Space, . 1%J16. 1I. -ristotle, 0e 0i)inatione per Somnium DZ 1ar)a -aturalia, %LIBJ%L%BE. 0n drea7s and drea7< visions in anti94ity, see .. (. 8anson, O&rea7s and 2isions in the =raeco</o7an Borld and *arly Christianity,P in "-R2 ++.I#.I? &. &el Corno, O+ so"ni e la loro inter reta:ione nell;eta dell;i7 ero,P in "-R2 ++.1L.I, and ide7, O&rea7s and )heir +nter retation in -ncient =reece,P 7+CS I9 F196IK? -eli4s -ristides, 8he Complete 2ork. >ol. ++, ,rations ;>++9'+++ F3eiden, 1961K? -rte7idor4s, ,neirocritica FPark /id"e, 19H5K. 1#. 2on Blanckenha"en, O)he 0dyssey Arie:e,P RM H$ F19L#K: 1#1, in describin" the 0dyssey landsca es, re7arked their Os4""estivenessP and associated the7 5ith the 94ality of drea7s? in 2on Blanckenha"en and -le>ander, 1aintings from 7oscotrecase, . IL, this 94ality 5as seen in the b4colic landsca e scenes fro7 Boscotrecase, in 5hich 5as reco"ni:ed Oa 5orld of divine stillness, at 7o7ents closeMb4t 4lti7ately 4na roachable, a vision, a drea7, b4t one that s7ilin"ly "ives life a ne5 7eanin" and erha s even eace.P )he so4rce of this idea 5as 5itho4t do4bt Panofsky;s fa7o4s essay O&ie Pers ektive als sy7bolische Aor7,P >ortr#ge der 7ibliothek 2arburg 1 <!91 <K F3ei :i" and Berlin, 19IHK, . IH$, 5here the style of ancient landsca e 5as resented in e>actly these ter7s. 1%. )he sche7a that follo5s is taken fro7 (. /in"bo7, O(o7e Pictorial Conventions for the /eco4ntin" of )ho4"hts and *> eriences in 3ate Medieval -rt,P in Medie)al +conography and -arrati)e F0dense, 196$K. 15. Cf. the "rave stele fro7 the -7 hiaraion Fca. %$$ B.C.K, ill4strated and disc4ssed in =. ,e47ann, 1robleme des griechischen 2eihreliefs F)Ybin"en, 19H9K, . 51 and late I6. 1L. Cf. the ill47ination in the so<called 2atican 2er"il for the a arition of 8ector;s =host F"eneid, ++.I59JILHK? see ). B. (tevenson, Miniature 0ecoration in the >atican >irgilD " Study in 'ate "nti4ue +conography F)Ybin"en, 196#K, . %HJ%6? cf. also the coin of (7yrna re resentin" -le>ander the =reat;s drea7 of the fo4ndin" of (7yrna, ill4strated in =. =4idori::i, ed., +l sogno in 6recia FBari, 1966K, late #, and see Pa4sanias, 2++.5.1JI. 1H. Cf. the Boston 3a7ia relief, 5here the drea7 is enacted and its content distin"4ished by the 4nnat4ralistic attrib4tes of its rota"onist? see M. B. Co7stock and C. C. 2er7e4le, Sculptures in StoneD 8he 6reek, Roman, and Ftruscan Collections of the Museum of %ine "rts, 7oston FBoston, 19HLK, . HIJH#, cat. no. 115. 16. -. -lfXldi;s atte7 t FO&ie =eb4rt der kaiserlichen Bildsy7bolik,P Mus*el) H D195$EK to identify a series of en"raved "e7s as de ictions of /hea (ilvia;s drea7 re7ains 4nconvincin", as the details of their i7a"ery do not corres ond to those re orted in any of the so4rces that reco4nt the drea7. )he

inter retation has been acce ted by M.<3. 2ollen5eider, Mus5e dart et dhistorie de 6enC)eD Catalogue raisonn5 des sceauE, cylindres, intailles et cam5es FMain:, 19H%K, ++, no. %91? and rejected by *. (i7on, 0ie 1ortlandB)ase FMain:, 195HK, . I1JI# and #IJ##, and eade7, "ugustusD Kunst und 'eben in Rom um die ?eitenAende FM4nich, 196LK, . 1L%J1L5. 19. Cf. Pelikan, >om antiken Realismus, . 59: O&ie rX7ische (a"e bildet das =e"enstYck :4r "riechischen beide sind "leich ko7 oniertP? Blo7e, OA4ner@rsy7bolische Colla"en,P . 1$L5. I$. )his s4""estion is i7 licit in a assa"e of Pl4tarch;s 0e %acie in ,rbe 'unam DZ Moralia, 9%5BE: Oso7e ass their ti7e as it 5ere in slee 5ith the 7e7ories of their lives for drea7s as did the so4l of *ndy7ionP Ftrans. 8. Cherniss, in 3C3 ed., vol. 1++ D3ondon and Ca7brid"e, 19L6E, . I1H. Cf. the co77ents in )4rcan, O3es sarco ha"es ro7ains,P . 1H$5. I1. Aor *ndy7ion sarco ha"i 5ith ortraits, see 8. Brede, O&ie -4sstatt4n" stadrX7ischer =rabte7 el 4nd der aber"an" :4r KXr erbestatt4n",P RM 65 F19H6K: %ILf. and n. H6? Brede, Consecratio, . 1%IJ15H and IL5JIL6? *n"e7ann, (ntersuchungen $ur Sepulkralsymbolik, . I6J#1. II. "SR 1++.I, no. #5. I#. -rte7idor4s, +.6$. I%. -rte7idor4s, +2.1. I5. 1eno hon, Cyropaedeia, 2+++.H.I. IL. Pl4tarch, "matorius DZ Moralia, TN!%V, trans. 2. C. *elmbold, in 'C' ed., vol. +1 D3ondon, and Ca7brid"e, 19L9E, . %$1. IH. Cicero, 0e 0i)inatione, ++.L#. )he idea is, of co4rse, 74ch older: cf. the fra"7ent of (a ho s4rvivin" in 8e haestion, O+ talked 5ith yo4 in a drea7, Cy ro"eneiaP Fno. 1#% in 6reek 'yric, +K? f4rther e>a7 les: cf. 0vid, Metamorphoses, 1+.L5$ff., 5here Mor he4s bends over -lcyone;s co4ch and s eaks to her in her drea7s? Marc4s -4reli4s, Meditations, +.1H, +1.IH, 5here "ods hel 7en via drea7s and oracles? - 4lei4s, Metamorphoses, 1+.19. I6. "lcestis, #5%ff.? *4ri ides; O-lcestis,P trans. &. .. Conacher FBiltshire, 1966K. I9. "eneid, +2.%L$f. #$. C+' 2+, 1661H Fas e7endedK: -ni7ae (anctae Colendae &FiisK MFanib4sK (Facr47K. A4ria ( es 3. (e7 ronio Air7o coni4"i carissi7o 7ihi. Ut co"novi, 4er 4ella obli"ati Fs474sK a7orDeE ariter? c47 94o vi>i te7 orDeE 7ini7o, et 94o te7 ore vivere debi74s a 7an4 7ala dis arati s474s. +ta eto vos, 7anes sanctissi7ae, co77endat47 habeatis 7e47 car47 et vellitis h4ic ind4l"entissi7i esse, horis noct4rnis 4t e47 videa7, et etia7 7e fato s4adere

vellit, 4t et e"o ossi7 d4lci4s et celeri4s a 4t e47 ervenire. )he 7ytholo"ical all4sion of these lines has often been re7arked and its arallel 5ith the vis4al re resentation of the *ndy7ion 7yth noted: cf. *. Peterson, O(e olcro sco erto s4lla 2ia 3atina,P "d+ #I F16L$K: #L5? C47ont, Recherches sur la symbolisme fun5raire des Romains, . I%H? )4rcan, O3es sarco ha"es ro7ains,P . 1H1#? 3atti7ore, 8hemes in 6reek and 'atin Fpitaphs, . IHH? and )re""iari, Roman Marriage, . I%H, on the to os here evoked. #1. Sil)ae, ++.H.1I1f.? cf. 8.<.. 2an &a7, Sil)ae 7ook ++D " Commentary F3eiden, 196%K, ad loc. #I. "SR 1++.I, no. IH. Cf. the lar"e lenos in ,e5 Gork, "SR 1++.I, no. 6$ Fhere, Ai". #5K, 5hich bears an inscri tion in 5hich -ninia 8ilara dedicates the sarco ha"4s to her 7other, Cla4dia -rria. ##. )he tale of Protesilaos rovides another 7ytholo"ical analo"y. #%. Pro erti4s, +2.H.1ff.? cf. the 7otif;s inversion in 0vid, Metamorphoses, 1.I6$ff. #5. )4rcan, O3es sarco ha"es ro7ains,P . 1H16f.? *n"e7ann, (ntersuchungen $ur Sepulkralsymbolik, . I6J#1. )he di7ensions of a sarco ha"4s for t5o eo le, 5ith an interior 7arble artition that se arated the t5o bodies, are "iven by 3eh7ann<8artleben and 0lsen, 0ionysiac Sarcophagi, . 11 n. 5. #L. O)o the s irits of the dead: 34ci4s 2aleri4s 2ictor 7ade and rovided this 5hile he lived for hi7self and -ndia Melissa, his dearest 5ife, so 5ell deservin"P FC+' 2+, #%#9$K? the first line of the te>t sho4ld be e7ended to fecit, and the second sho4ld be e7ended to read, se )i)us. Aor the dra5in" re rod4ced in Ai". 59, see -. -. -7adio, O+ codici di antichitT di =iovanni -ntonio &osio in rela:ione ad 4n "r4 o di dise"ni della Biblioteca Co774nale di Aer7o,P ;F-+" 15 F1966K: es . 59f. Aor the sarco ha"4s to 5hich this lid 5as joined, see "SR 1++.I, no. H9. #H. 0n the c4sto7 of referrin" to children in the inscri tions, see 3atti7ore, 8hemes in 6reek and 'atin Fpitaphs, . I5$. #6. +bid., . IH5JI6$? -. B. P4rdie, 'atin >erse +nscriptions F3ondon, 19#5K, . L9, on C+' 2+, I5%IH and 1+, 11II? cf. also Cicero, 0e "micitia, 12+++.L5, and 0e ,fficiis, +.15.%H. #9. 2aleri4s Ma>i74s, %actorum et 0ictorum Memorabilium, O&e -bstinentia et Continentia,P +2.#.#. Cf. O&e -7ore Coni4"ali,P +2.L.#, 5here 2aleri4s tells of the "rave of M. Pla4ti4s and his 5ife, 0restilla, 5ith its inscri tion Z[\ ]^_ `ab_^\Z[\ FOAor the t5o innamoratiPK. %$. (tati4s, Sil)ae, 2.1.%1J5L? cf. Pro erti4s, ++.1.%Hff.: Othere is "lory in dyin" for love? it is yet another "lory to be able to deli"ht in one love aloneP: cf., f4rther, ++.1#a.#5f. )re""iari, Roman Marriage, . I#IJI#5, notes the rare instances of clai7s for a h4sband;s chastity Fand cites C+' 1+, LL$LK. %1. Pro erti4s, +.19.1I? see also =riffin, 'atin 1oets and Roman 'ife, . 1%Hf.? cf. the si7ilar senti7ents in (tati4s, Sil)ae, ++.1.III? and see Brede, Consecratio, . 15#, for a disc4ssion of the *ndy7ion and /hea (ilvia sarco ha"i as e> ressions of conj4"al concordia. Aor f4rther evidence of the belief and ho e that s4rvivors 5ill be re4nited 5ith their lost loved ones in death, see C+' 1+, #HH1, 5here P. )erenti4s U4iet4s "rieves for the loss of his nine<year<old da4"hter, -siatica? cf. also the co77ents of 8o kins, 0eath and ReneAal, . IIH. %I. Bood, O-lkestis on /o7an (arco ha"i.P %#. 8anson, O&rea7s and 2isions,P . 1#9H: O-n individ4al slee s in a te7 le or other sacred recinct in order either to be healed by the "od of the sanct4ary or to obtain a re7edy for s4bse94ent healin", a

re7edy "iven by the "od in a drea7<vision.P Aor -esc4la i4s, see *. .. *delstein and 3. *delstein, "sclepius F3ondon, 19%5K. 0n the re resentation of O-rte7is D5hoE raised 4 the innocent 8i olyt4s 5ith the aid of -skle ios,P see .. M. C. )oynbee, O3ife, &eath, and -fterlife in /o7an<-"e Mosaics,P in /enseit)orstellungen in "ntike und ChristentumD 6edenkschrift f=r "lfred Stuiber F196IK, . I1I. %%. Cf. *. 8ollander, "sk=lap und >enusD Fine KulturB und Sittengeschichte im Spiegel des "rt$es FBerlin, 19I6K. -s 3. (latkin, 8he 1oAer of 8hetisD "llusion and +nterpretation in the O+liadP FBerkeley, 199IK, . %1J%#, oints o4t F5ith reference to +liad, +++.#6$ff. and 2.#1%ff.K, - hrodite OsnatchesP heroes fro7 death and, by so doin", arado>ically denies the7 heroic life? cf., f4rther, =. ,a"y, 6reek Myth and 1oetics F+thaca, 199$K, . I%IJI5H. Aor a 7edallion of Caracalla sho5in" 2en4s and -esc4la i4s to"ether, see ,. A. 8ay7, 0el tesoro britannicoco)ero il museo nummario .M, I vols. F3ondon, 1H19K, . I%L? cf. B. 8olt:7ann, O-skle ios,P in '+MC, ++, no. I9L, for a coin fro7 Kos, ca. 1LLJ66 B.C., 5ith the heads of -skle ios and - hrodite. %5. A. B4echeler, Carmina 'atina Fpigraphia F3ei :i", 1695ff.K, no. 11$9 DZ C+' 2+,I15I1E, lines IHf.: ,a7 7e sancta 2en4s sedes non nosse silenti47 i4ssit!et in caeli l4cida te7 la t4lit? cf. 3atti7ore, 8hemes in 6reek and 'atin Fpitaphs, . #9J%$? *n"e7ann, (ntersuchungen $ur Sepulkralsymbolik, . 5I and n. 56? Brede, Consecratio, . 1$LJ1$H and n. %$#. %L. )ib4ll4s, +.#.5Hf. Cf. the co77entary in =riffin, 'atin 1oets and Roman 'ife, =ri7al, O2[n4s et l;i77ortalit[,P in *ommages & 2. 0eonna FBr4ssels, 195HK. . 151f.? and P.

<. Myth, Image, and Memory

(o7ethin" ensive, s ellbo4nd, and b4t half real, so7ethin" cloistral or 7onastic, as 5e sho4ld say, 4nited to this e>94isite order, 7ade the 5hole lace see7 to Mari4s, as it 5ere, sacell47, the ec4liar sanct4ary, of his 7other, 5ho, still in real 5ido5hood, rovided the deceased Mari4s the elder 5ith that secondary sort of life 5hich 5e can "ive to the dead, in o4r intensely reali:ed 7e7ory of the7Cthe Os4bjective i77ortality,P to 4se a 7odern hrase, for 5hich 7any a /o7an e ita h cries o4t laintively to 5ido5 or sister or da4"hter, still in the land of the livin". )he sarco ha"4s sc4l t4res are vehicles for re7e7brance. )hese i7a"es, the correlatives of drea7s of a ho ed<for f4t4re, reclai7 the ast and kee it alive. +n the7, by 7eans of 7yth, the virt4es and val4es by 5hich the deceased 5ish to be recalled are layed o4t on a heroic scale? by 7eans of ortrait4re, the dead the7selves e7er"e fro7 the shades to serve as the catalyst for the act of re7iniscence. )he o5ers of nostal"ia de end on this co7 licity bet5een ast and resent, bet5een 7yth and reality. )hese o5ers derive fro7 the 7ost "eneral as ects of reli"io4s ractice and are rooted in the belief that the Odead and the livin" can affect one another 74t4ally.PD1E )h4s the 7ytholo"ical i7a"es carved on the sarco ha"i are not 7erely alle"oriesCthey enact 5ith a trenchant realis7 a belief abo4t the relation bet5een death and life that lies at the heart of h47an affairs. .4st as drea7s are kno5n in the for7 of i7a"es, so too 7e7ories. /e7iniscence rovides 4sC94ite literallyC5ith 7ental i7a"es of the ast. )he ancients, ast4tely a5are of the a arent resence of thin"s recalled, did not hesitate to reco"ni:e that 7e7ory f4nctioned by virt4e of Oso7ethin" like a ict4re.PDIE )he ree7inence of si"ht a7on" the senses e7 hasi:ed this vis4al 94ality of 7e7ory as its ri7ary characteristic.D#E )he 4se of i7a"es on the sarco ha"i 74st be re"arded as an a eal to this 94ality, and as an e>e7 lification of the ancient ractice of ro7 tin" and dra7ati:in" the recollection of the ast.

)he ancient 5orld had syste7ati:ed 7e7ory and its 7od4s o erandi as an art in itselfCthe ars memorati)a.D%E )h4s 7e7ory layed a f4nda7ental role in oratorical rhetoric, as the orator de7onstrated asto4ndin" skill 5itho4t the aid of a te>t. )he rhetorical treatise kno5n as the "d *erennium rovides the 7ost co7 lete e> lication of this art and its a lication. -ccordin" to the ancient theories it reco4nts, 7e7ory 5as divided into t5o arts, nat4ral and artificial, 5ith the latter str4ct4red as a co7 le7ent and aid to the for7er. Bhat 5as to be re7e7bered 5as divided into t5o classes, res Fthin"sK and )erba F5ordsK, that is, the orator;s to ics and the recise 5ords of his s eech. ,e5 7ental i7a"es had to be for7ed of those thin"s to be re7e7bered. +7a"es 5ere conceived and arran"ed accordin" to loci F lacesK, often defined as the to o"ra hy of a fa7iliar architect4ral for7 s4ch as a ty ical /o7an ho4se, in order that a ro"ra77atic rehearsal of an entire body of 7aterial co4ld be readily recalled.D5E Bhile the elaborate str4ct4re of this rhetorical syste7 7ay have had little to do directly 5ith the creation of the sarco ha"4s reliefs, certain details of the syste7 of the ars memorati)a hel to e> lain the for7ation of their i7a"ery, the consistency of the established re ertories for the 7yths, and their 4ni94e resentation of lives of the deceased 5ho7 they celebrate.DLE )he 7ytholo"ical sarco ha"4s reliefs clearly 5ere intended to co7 le7ent Onat4ralP 7e7ories of the dead, and in this sense they f4nction as an e>a7 le of memoria artificialis. More i7 ortantly, these hi"hly dra7atic ortrayals of the dead corres ond recisely to the rescri tions of the 7e7ory treatises that detailed the kind of i7a"ery desired for the fr4itf4l a lication of their theoretical rece ts. -bove all, the memoria artificialis re94ired a dra7ati:ation and intensification of the 7aterials to be re7e7bered and to this end 4tili:ed e>ce tionally strikin" i7a"es that 5o4ld easily be called to 7ind. )he a4thor of the "d *erennium 7akes this artic4larly clear: ,o5 nat4re herself teaches 4s 5hat 5e sho4ld do. Bhen 5e see in every day life thin"s that are retty, ordinary, and banal, 5e "enerally fail to re7e7ber the7, beca4se the 7ind is not bein" stirred by anythin" novel or 7arvelo4s. B4t if 5e see or hear so7ethin" e>ce tionally base, dishonorable, 4n4s4al, "reat, 4nbelievable, or ridic4lo4s, that 5e are likely to re7e7ber for a lon" ti7eM,or co4ld this be so for any other reason than that ordinary thin"s easily sli fro7 the 7e7ory 5hile the strikin" and the novel stay lon"er in the 7ind.M Be o4"ht, then, to set 4 i7a"es of a kind that can adhere lon"est in 7e7ory. -nd 5e shall do so if 5e establish si7ilit4des as strikin" as ossible? if 5e set 4 i7a"es that are not 7any or va"4e b4t active Fimagines agentesKMDitE 5ill ens4re o4r re7e7berin" the7 7ore readily.DHE )he rhetorician calls for Oactive i7a"es,P those that 5ork 4 on the 7ind, e>cite tho4"ht 5ith their inherent dra7a, and th4s i7 lant the7selves in that re ository called 7e7ory. Cicero re eats the rescri tion, and e7 hasi:es the i7 licit notion of sycholo"ical effect, 5hen he calls for Oi7a"es that are active, trenchant, and 4n4s4al and ca able of s5iftly strikin" and enetratin" the 7ind.PD6E )hese are the characteristics of the sarco ha"4s reliefs as they have been defined here: novel conce tions of the ancient 7yths dra7atically resented, their vario4s ele7ents and e isodes fra7ed so as to evoke inter retation of their si"nificance in relation to their se 4lchral f4nction and conte>t. )he tra"edy of -donis;s early death des ite - hrodite;s love for hi7, the bitters5eet fate of *ndy7ion, sed4ced by (elene a7id his endless sl47berCthe 7ythic dra7as ca t4red in these i7a"es are offered as memorabilia, aids to recall the 7e7ories that, b4ried like the dead 5hose coffins these i7a"es orna7ent, lie a5aitin" revival.D9E N N N

Tablea,- and ge)t,re

)he relationshi bet5een the sarco ha"4s i7a"es and 7e7ory had its arallels in the other arts.D1$E .4st as their carved reliefs evoked reco"ni:able stories, so too in the literat4re of anti94ity did the recitation of stories evoke reco"ni:able i7a"es. )hese ractices 5ere related as if they 5ere t5o as ects of the sa7e heno7enon. Me7ory lay at the heart of the si"nifyin" rocess of both the vis4al and verbal for7s. )he historiated co7 ositions dis layed on the sarco ha"i 5ere fa7iliar to those 5ho beheld the7. )hat fa7iliarity can be "a4"ed by the fre94ency 5ith 5hich si7ilar tablea4> a ear, not only in other vis4al re resentations of the 7yths, b4t also in literary descri tions. )he acco4nt in )heocrit4s;s +dyll 12 of a ta estry re resentin" - hrodite and -donis derived 74ch of its rhetorical force fro7 its readers; vis4al fa7iliarity 5ith the s4bject fro7 a 5ide variety of 7on47ents.D11E )he oet;s descri tion, or ekphrasis, directs readers; tho4"hts fro7 the real7 of 5ords to the real7 of thin"s, in 5hich his literary i7a"es find their correlative in the reality of vis4al 5orks of art.D1IE Bhile the +magines of Philostrat4s rovide the 7ost e>tensive e>a7 le of the "enre, the sa7e 7ay be said of -chilles )ati4s;s acco4nt of a aintin" of the /a e of *4ro a, - 4lei4s;s descri tion of 34ci4s;s enco4nter 5ith a stat4ary tablea4 re resentin" the &eath of -cteon, or 1eno hon;s 7ention of a bed cano y ainted 5ith a scene of -res disar7ed by - hrodite.D1#E )he o5er of all of these assa"es resides in the reco"ni:ability of the standardi:ed scenes their descri tions evoke, the reader;s ability to vis4ali:e the reality of the de ictions they describe, and the intensity of a res onse that 5elds to"ether these t5o real7s of e> erience. +n 74ch the sa7e fashion that the 7ytholo"ical scenes on the sarco ha"i rovided an analo"y for 7e7ory of the deceased, in these ekphrases 7ytholo"y offered an analo"y that characteri:ed the tale abo4t to 4nfold. )he 7ytholo"ical rota"onists of the i7a"es described in these te>ts served as e>e7 la, and they fi"4red ty olo"ically as the Oheroic analo"4eP for the a4thor;s characters. Kno5led"e of the Ode ictedP 7yth th4s raised the readers; e> ectations, as it rovided, role tically, a foreshado5in" of the events of the narrative.D1%E )he 7ytholo"ical scenes fro7 the literat4re 5ritten for dra7a and anto7i7e rovide a distinctive variation to the c4sto7ary relation bet5een te>t and i7a"eCfor dra7a and anto7i7e 5ere erfor7ed, and their scenes 5ere kno5n in vis4al as 5ell as literary for7.D15E )he desire for vis4al clarity in the erfor7ance of anto7i7e is s ecified by 34cian, 5ho clai7s that it is essential for the 7i7etic art of the dancerCas for the oratorCthat everythin" be intelli"ible 5itho4t an inter reter.D1LE -s an e>a7 le, 34cian tells of &e7etri4s the Cynic, fro7 the ti7e of ,ero, 5ho dis ara"ed the dancer;s anto7i7e as 7eanin"less 7ove7ent. &e7etri4s 5as challen"ed by the leadin" dancer of the a"e to 5itness a erfor7ance 5itho4t the 4s4al acco7 ani7ent of 74sicians before assin" s4ch a j4d"7ent. -ccordin" to 34cian, 8e danced the a7o4rs of - hrodite and -res, 8eli4s tattlin", 8e haest4s layin" his lot and tra in" both of the7 5ith his entan"lin" bonds, the "ods 5ho ca7e in on the7, ortrayed individ4ally, - hrodite asha7ed, -res seekin" cover and be""in" for 7ercy, and everythin" that belon"s to this story, in s4ch 5ise that &e7etri4s 5as deli"hted beyond 7eas4re 5ith 5hat 5as takin" lace and aid the hi"hest ossible trib4te to the dancer? he raised his voice and sho4ted at the to of his l4n"s, O+ hear the story that yo4 are actin", 7an, + do not j4st see it? yo4 see7 to 7e to be talkin" 5ith yo4r very hands^PD1HE +n all ancient dra7atic erfor7ance, hysical, bodily "est4re carried the 7i7etic b4rden, since facial e> ressions 5ere eli7inated by the 7asks 5orn by the actors.D16E Bhile the "ro4 in" of fi"4res on the sta"e in tablea4> co4ld re rod4ce narrative scenes reco"ni:able fro7 5orks of vis4al art, "est4re 5as the chief 7eans by 5hich the actions of the lot 5ere re resented.D19E =est4re, its i7 ortance

accent4ated in anto7i7e by the absence of s eech, layed a far 7ore si"nificant role in a solo erfor7ance, s4ch as the one described by 34cian, than 5hen a "ro4 of actors sta"ed a scene. )he fi>in" of "est4res in vis4al for7 e7 hasi:ed the re resentation;s 7e7orable character and res4lted in a 7ore hi"hly codified re ertory of i7a"es. -s fa7iliar "est4res 5ere transferred fro7 the real7 of everyday life to the sta"e, and then to the vis4al arts, there 5as a ro"ressive O etrificationP of their for7, and conco7itant Ocrystalli:ationP of their content, necessary for their contin4in" intelli"ibility. DI$E )h4s the relationshi bet5een the dyna7ic "estic4lations of individ4als and the static tablea4> effected by the "ro4 5as altered 5hen dra7atic scenes 5ere re rod4ced in conte7 orary aintin"sCj4st as the 7ytholo"ies 5ere altered 5hen re rod4ced on the sarco ha"i. Cr4cial scenes 5ere e>tracted and codified in i7a"es 5hose re etition ens4red their co7 rehensibility. )he affinity bet5een these frescoes and the sarco ha"4s reliefs 7ay be seen in the ainted scenes derived fro7 *4ri ides; Madness of *erakles fro7 the 5alls of both the Casa del Centenario and the Casa dei U4adretti )eatrali in Po7 eii FAi"s. L$ and L1K, as 5ell as in the related 7ytholo"ical scenes fo4nd at the for7er site FAi". LIK.DI1E )hese Oill4strationsP of =reek dra7a s4""est that fa7iliarity 5ith the i7a"ery of the sta"ed tablea4> increased beca4se it 5as ada ted for ainted 5all decoration. Conversely, the scene of the P4nish7ent of &irce in the Casa di =i4lio P4bilio, 5hich ill4strates *4ri ides; "ntiope, indicates one of the 5ays dra7atic i7a"ery 7i"ht rely on the vis4al arts.DIIE )his aintin" de7onstrates as 5ell ho5 the creation of vis4al 5orks of art co4ld be conditioned by one;s ability to vis4ali:e a literary te>t, to call forth fro7 the i7a"ination the vision of a scene re orted by 5ords. Aor &irce;s death 5o4ld have taken lace offsta"e and 5o4ld have been narrated, not enacted. )his artic4lar scene of the aintin";s contin4o4s narrativeCthe cr4cial sceneCth4s corres onds to the 7ental i7a"e an a4dience 5as re94ired to for7 in res onse to, and as a res4lt of, the oet;s ekphrasis and the actor;s rhetoric.DI#E N N N

'ita simia artis

)he fi"4res on the ainted and sc4l ted 7on47ents, stat4es94e in their oses and fro:en in their "est4res, conveyed the antithesis of nat4ral action. Get the clarity and the "ravity of these i7a"esCin fact, their very theatricalityCe> lain not only their co7 rehensibility b4t their desirability as vehicles of sy7bolic e> ression. )he fleetin" i7 ression of thin"s a7id the fl4> of lifeCabove all, the i7 ression of si"nificant actsCco4ld be fi>ed in an i7a"e that 5o4ld s4stain the e>tended en"a"e7ent of the beholder. Conse94ently, the very er7anence of this i7a"e 5o4ld stand as a sy7bol for the eternal character of its si"nificance. )he 7ost rofo4nd ackno5led"7ent of s4ch i7a"ery;s effectiveness 5as its ado tion as a 7odel for real life. )h4s -77ian4s Marcellin4s re orts the ad)entus of Constanti4s ++ at /o7e: 8e hi7self sat alone in a "olden chariot, shinin" 5ith the s lendor of a variety of "e7s, a7id 5hose brilliance another sort of li"ht see7ed to 7in"le.M-nd there 7arched on both sides t5in ranks of soldiers, arrayed in shinin" breast lates, 5ith shields and crests radiant 5ith "lea7in" li"ht.M(4ch 5as his stillness, that he sho5ed hi7self as he 5as seen in his rovinces.DI%E )he theatricality of the event 5as intended to convey its sacral character.DI5E )he e7 eror;s n47ino4s resence 5as rod4ced, as -77ian4s e> lains, by the "listenin" of the re"aliaCthe fo4rth<cent4ry e94ivalent of Os ecial effects.P 8is gra)itas 5as rojected by the ri"idity of his ose: his head never 7oved, his eyes stared strai"ht ahead, Onor 5as he ever seen to s it, or to 5i e or r4b either his face or

his nose, or even to 7ove his handsP? th4s the entirety of his fi"4re resented an icon of dra7atic i77obility.DILE Constanti4s a eared to the /o7ans Oas he 5as seen in his rovincesPCas a statue. Aor the ad)entus n47bered a7on" the standard re ertory of scenes co77on to inn47erable i7 erial 7on47ents. +t 5as a vis4al to os fa7iliar to /o7ans at the center and at the eri hery of the e7 ire: in one instance a celebration of the e7 eror;s tri47 hant ret4rn to the seat of o5er, in the other a de7onstration and accla7ation of his resence and a4thority at the farthest reaches of the state.DIHE -77ian4s;s descri tion ca t4res the reci rocity bet5een the ro74l"ation of an e7 eror;s i7a"e in stat4ary and his i7itation of that i7a"ery in real life. )he e7 eror needed not only to confor7 to his i7a"ery, and the conce tion of his erson it had disse7inated, b4t to confir7 the sense of gra)itas and maiestas it i7 4ted to hi7.DI6E N N N

To 7eep the dead be*ore the eye) o* the li+ing

)his reci rocity bet5een life and art lay at the heart of the e7 loy7ent of 7ytholo"ical i7a"ery on sarco ha"i. Get in contrast to the e7 eror;s effort to roject stabilitas by ass47in" a stat4e;s lifeless ose, f4nerary i7a"ery 5as char"ed 5ith kee in" the dead alive, if only in 7e7ory. )he 7ytholo"ical sarco ha"4s 5as heir to a lon" /o7an tradition that celebrated the ast by reservin" i7a"es of the dead. 8erodian describes the cere7onies that attended the deification of the e7 eror and the rit4al that resa"ed his a otheosis.DI9E - 5a> effi"y 5as fashioned sho5in" the deceased lyin" 4 on an ivory co4ch and 5as dis layed before the i7 erial alace. Aor seven days his death 5as re<enacted in a 4blic s ectacle as the 7o4rners s4rro4nded the i7a"e, and then the effi"y 5as carried to the f4neral yre. )o this 4blic testi7ony of the livin" 5as added that of the dead. )he charioteers 5ho acco7 anied the body to the yre 5ore 7asks, by 7eans of 5hich they ortrayed all the fa7o4s /o7an "enerals and e7 erors. )h4s these heroes of state see7ed to e7er"e fro7 the ast, to "ather as 5itnesses to the ne5ly deceased e7 eror;s )irtus, and to sy7boli:e his ro er role in /o7an history and tradition. )he arade of i7a"es fro7 the ast, as if co7e to life, layed a art in the f4nerary rites for the )iri illustres as 5ell as for the e7 eror. Polybi4s re orts ho5 the body of the deceased 5as carried to the rostra in the for47. 0ften the body 5as dis layed seated 4 ri"ht, as if sy7bolically to deny the reality of his death. )he 7e7bers of his fa7ily re7oved the 5a> ancestor 7asks fro7 their ho4sehold shrines, 4ttin" the7 on 7en 5ho see7 to the7 to bear the closest rese7blance to the ori"inal in stat4re and carria"eM)hey all ride in chariots receded by the fasces, a>es, and other insi"niaMaccordin" to the res ective di"nity of the offices of state held by each d4rin" his life? and 5hen they arrive at the rostra they all seat the7selves in a ro5 on ivory chairs. )here co4ld not easily be a 7ore ennoblin" s ectacle for a yo4n" 7an 5ho as ires to fa7e and virt4e. Aor 5ho 5o4ld not be ins ired by the si"ht of the i7a"es of 7en reno5ned for their e>cellence, all to"ether and as if alive and breathin"W Bhat s ectacle co4ld be 7ore "lorio4s than thisWD#$E )he virt4es and achieve7ents of the deceased 5ere reco4nted for those "athered so that the facts of his life co4ld be Orecalled to their 7inds and bro4"ht before their eyes.PD#1E )he o5er of rhetoric 5as aided by the i7a"e of the deceased hi7self, seated before the cro5d, as if resent at the event. )he oration s ecifically linked hi7 to the ill4strio4s forebears conj4red by the actors 5ith their 5a> 7asks 5ho s4rro4nded hi7. Aollo5in" the f4neral he 5o4ld take his ri"htf4l lace alon"side the7: both sy7bolically, in the atri47 filled 5ith these 5a>en i7a"es of the ancients,

and e> erientially, in the 7e7ories these i7a"es 5o4ld kee alive for those 5ho s4rvived hi7. )his 5as a f4nda7ental 4r ose of these ancestor ortraits: to kee the dead before the eyes of the livin". 0vid declares that the 5a>en i7a"es 5ere ke t Oto "ive back yo4r feat4res to 7y si"ht.PD#IE (tati4s attests the 7i7etic o5er of these Odeceivin" for7s of 5a>, abo4t to s eak.PD##E -nd (all4st roclai7s their e>e7 lary val4e: Oe7inent 7en of o4r co4ntry had the habit of sayin" that 5henever they conte7 lated the imagines of their ancestors, their so4ls b4rned 5ith the 7ost vehe7ent desire for virt4e.PD#%E )he imagines not only took the for7 of 7asks b4t a eared as ortrait b4sts as 5ell.D#5E )hese re resentations of the ancestral )iri illustres 5ere often acco7 anied by their honorific tit4li.D#LE )o"ether te>t and i7a"e declared the "lorio4s history of the fa7ily and anno4nced the standards of acco7 lish7ent a"ainst 5hich f4t4re "enerations 7i"ht 7eas4re the7selves. *choes of this "reat tradition can be fo4nd on even 7odest f4nerary 7on47ents: 8ere lies 2ari4s Arontonian4s 5ho7 his char7in" 5ife, Cornelia =alla, has laced here. )o revive the s5eet solaces of their old life she added his 7arble i7a"e, so that for a lon" ti7e she 5o4ld be able to satisfy her eyes and her 7ind 5ith his dear for7. )his si"ht 5ill be her co7fort. Aor a led"e of love is reserved in the breast by the s5eetness of 7ind? nor 5ill his li s be lost in easy oblivion? b4t 5hile life re7ains, her h4sband is totally 5ithin her heart.D#HE )he a earance of the ancient 7yths on the sarco ha"i, artic4larly in those instances 5here they feat4re the ortrait of the deceased, served a si7ilar 4r ose. )hey rovided a te>t to acco7 any the i7a"e of the deceasedCone that roclai7ed his acco7 lish7ents and his virt4es. 3ocked a5ay in the to7b, j4st as the cerae imagines 5ere 4s4ally sh4ttered 5ithin cabinets, the 7ytholo"ical sarco ha"i contin4ed the tradition of ancestral ortrait4re. )h4s the a4dacity of the sarco ha"4s i7a"eryCthe consecratio in formam deorumC5as j4stified as an innovative contin4ation of a revered ancient c4sto7. )he a ro riation of the 7yths, as it for"ed an identification of conte7 orary individ4als 5ith the ancient heroes, elevated the lives of those 5ho 5ere recalled to the stat4s of 7yth. )he insertion of s4ch individ4als into the 7ytholo"ical fabric transferred to the deceased those ideas and val4es the tales e>e7 lified. B4t in the conte>t of the ancient traditions and c4sto7s the sarco ha"i re rised, the reci rocity bet5een art and life, bet5een 7yth and reality, s4""ests a "rander si"nificance. Aor j4st as the 7ytholo"ies elevated those 5ho 5ere recalled by the7 to the stat4s of 7yth, so the i7 osition of ortraits rationali:ed the 7ytholo"ical heroes and their e> loits. )he e>e7 lary character of real ersons celebrated by co7 arison 5ith the ancient heroes reinvested the 7yths 5ith a ne5 validity and a ne5 i77ediacy. +n the rit4al rocessions of the ancestor 7asks, the actors had ass47ed the roles of those 5hose facial feat4res they bore? on the sarco ha"4s reliefs 7ortals see7 to i7itate heroes? a certain a7bi"4ity and reci rocity bo4nd to"ether heroes and 7ortals at the heart of this tradition. )he force of that a7bi"4ity and reci rocity 7ay be seen in arody, 5here the heroes 5ho have taken on these ortrait feat4res 7ay be seen to i7 ersonate the dead. )h4s in the "mphitryon of Pla4t4s, Merc4ry ass47es the for7 of the slave (osia, and after she has e>a7ined hi7 thoro4"hly, she e>clai7s: Ofor this one ossesses 7y co7 lete likeness, 5hich 5as 7ine till no5. 8e does for 7e 5hile +;7 livin" 5hat no one 5ill do for 7e once +;ve died.PD#6E )he sarco ha"4s i7a"es s4bjected life to a for7 of mythopoesis. /eco"nition of this transfor7ation 5as an act of i7a"ination and belief? it 5as f4eled by 7e7ory and confir7ed the val4e of re7e7berin" itself. ,ot only did it "ive contin4ed 7eanin" to those e>tin"4ished lives, b4t it "ranted to the act of re7e7brance the o5er to transfor7 the lives of one;s ancestorsCit endo5ed the7 5ith the 4n7istakable yet intan"ible a4ra of a livin" tradition. -nd in the celebration of ancestors by s4ch 7ytholo"ical analo"ies, 7e7ory rovided a for7 of a otheosis.

B4t it 5as the 7yths chosen to re resent the deceased to their descendants that anno4nced this fate. +t 5as the 7yths that told the resent and the f4t4re ho5 the ast 5as to be re7e7bered. )he dead, as they selected their o5n OvisionP of their f4t4re and co7 osed it in a 7ytholo"ical key, left behind this ros ective vision as a 7on47ental 7e7ory i7a"e of the ast. +f the osterity to5ard 5hich this vision 5as directed contin4ed to hold to the sa7e beliefs, the drea7s e> ressed by the sarco ha"4s i7a"ery 5o4ld a ear as 5ishes f4lfilled. Posterity;s retros ective re"ard for these i7a"es 5o4ld then confir7 this faith as it carried on the tradition. +f there is any lace for the s irits of the devo4t, if, as the 5ise believe, the "reat so4l is not cons47ed 5ith the body, yo4 sho4ld rest eacef4lly, and call 4s, the 7e7bers of yo4r ho4sehold, a5ay fro7 5eak "rievin" and 5o7anly 5ee in", to the conte7 lation of yo4r virt4es, 5hich by ri"hts sho4ld be neither 7o4rned nor be5ailed. 3et 4s revere yo4, by ad7iration, 5ith never<endin" raises, and, if o4r nat4re enables 4s, even by i7itation: this is tr4e honor? this, the d4ty of one;s kin.D#9E

Note)
1. )oynbee, 0eath and 7urial, . ##f. I. -ristotle, 0e Memoria et Reminiscentia, %5$-. (4ch vis4al 7e7ories are to be distin"4ished, ho5ever, fro7 other for7s of re7iniscence that ersist 5itho4t the aid of 7ental i7a"ery, e."., sensations. #. Cicero, 0e ,ratore, ++.6H.#5. %. (ee A. -. Gates, 8he "rt of Memory FChica"o, 19LLK, cha ters 1 and I, fro7 5hich the s477ary that follo5s is derived? cf. 8. Bl47, 0ie antike Mnemotechnik F8ildeshei7, 19L9K? M. .. Carr4thers, 8he 7ook of MemoryD " Study of Memory in Medie)al Culture FCa7brid"e, 199$K? and, 7ost recently, .. Cole7an, "ncient and Medie)al MemoriesD Studies in the Reconstruction of the 1ast FCa7brid"e, 199#K, es . art + FO)he Critical )e>ts of -nti94ityPK. 5. U4intilian, +nstitutio ,ratoria, 1+.I.19f. Aor a nonto o"ra hical 7e7ory i7a"e, see the f4nerary 7on47ent of 2ari4s Arontonian4s, disc4ssed belo5? cf. the acco4nt of Caesar;s enco4nter 5ith the ortrait of -le>ander in the te7 le of 8erc4les at Cbdi:, in (4etoni4s, 0i)us +ulius, 2++.1. L. )he Rhetorica ad *erennium s4rvived into late anti94ity as the standard handbook for the art of 7e7ory. +t 5as still kno5n and referred to by .ero7e, in the fo4rth cent4ry, and by Martian4s Ca ella in the fifth? see Gates, "rt of Memory, . 5$. H. Rhetorica ad *erennium, +++.II? trans. fro7 Gates, "rt of Memory, 6. Cicero, 0e ,ratore, ++.6H.#56. 9. Aor the connection bet5een memoria and monumentum, 5ith res ect to f4nerary inscri tions, see 8. 8@4sle, 0as 0enkmal als 6arant des -achruhms FM4nich, 196$K, . I9J%$? cf. 0igest, 1+.H.L and %I. 1$. Cf. -. /o4veret, *istoire et imaginaire de la peinture ancienne F>e siCcle a). /.9BC.9+er siCcle ap. /.BC.K F/o7e, 1969K, . #$#J#H9, on the role of memoria artificialis in Po7 eian 5all aintin". 11. (ee above, Cha ter I, at nn. LHJL6 and cf. Ai". 1#. 1I. ). 8aa", -arrati)e 8echni4ue in "ncient 6reek Romances FU sala, 19H1K, . 9%J95. 1#. -chilles )ati4s, 'eucippe and Clitophon, +.If.? - 4lei4s, Metamorphoses, ++.%? 1eno hon, Fphesiaca, +.6. 1%. 8a"", -arrati)e 8echni4ue, . 9#, on Ocharacteri:ationP? (teiner, O=ra hic -nalo"4e fro7 Myth,P . 9J1$.

on heroic analo"4e and role sis? on the role tic 4se of 7yth, see also M. &avies, O-ntici ation and Aoreshado5in": - Use of Myth,P St+t%ilCl, ser. +++, 6I F1969K? /. )h. van der Paardt, O2ario4s -s ects of ,arrative )echni94e in - 4lei4s;s Metamorphoses,P in "spects of "puleiuss 6olden "ss, ed. B. 3. 8ij7ans, .r., and /. )h. van der Paardt F=ronin"en, 19H6K? /. ,isbet, O)he 0ak and the ->e: (y7bolis7 in (eneca, *ercules ,etaeus,P in *omo >iatorD Classical Fssays for /ohn 7ramble, ed. M. Bhitby and P. 8ardie FBristol, 196HK. 15. 0n =reek 7yth in anto7i7e after the late first cent4ry B.C., see M. Bieber, 8he *istory of the 6reek and Roman 8heatre, Ind ed. FPrinceton, 19L1K, . 1L5? on the ra ort bet5een sarco ha"i and anto7i7e, see )4rcan, O3es sarco ha"es ro7ains,P . 1HI1J1HIL. 1L. 34cian, 0e Saltatione, LI. 1H. +bid, L#. 16. (ettis, O+77a"ini della 7edita:ione,P . 15. 19. Cf. the role of both tablea4> and "est4res in - 4lei4s;s acco4nt of a anto7i7e of the .4d"7ent of Paris in Metamorphoses, 1.#$J#I. I$. (ettis, O+77a"ini della 7edita:ione,P . 1L. I1. Aor the scenes fro7 the Madness of *erakles and Medea, see Bieber, *istory of the 6reek and Roman 8heatre, . II9ff, and ide7, OB4rden die )ra"Xdien des (eneca in /o7 a4f"efYhrtWP RM L$!L1 F195#J5%K? for additional e>a7 les, see )4rcan, O3es sarco ha"es ro7ains,P . 1HIIJ1HI5. II. Aor the "ntiope as a so4rce for the &irce aintin", see 3each, Rhetoric of Space, I#. +bid. I%. -77ian4s Marcellin4s, Res 6estae, 12+.1$.LJ9. I5. Brilliant, 6esture and Rank, . 1H%? -. -lfXldi, O&ie -4s"estalt4n" des 7onarchischen ]ere7oniels a7 rX7ischen Kaiserhofe,P RM %9 F19#%K: 66ff. IL. -77ian4s Marcellin4s, Res 6estae, 12+.1$.1$? /. MacM4llen, O(o7e Pict4res in -77ian4s Marcellin4s,P "rt7 %L F19L%K. IH. (ee the s4rvey of 7on47ents in Brilliant, 6esture and Rank Finde>, s.v. Oadvent4sPK. I6. )he sc4l t4ral affinities of Constanti4s;s a earance e>tended also to the clibanarii, his ar7ored cavalry "4ard, of 5ho7 -77ian4s re7arks, Oyo4 7i"ht have s4 osed the7 stat4es olished by the hand of Pra>iteles, not 7en.P )he si"ht of these troo s evoked si7ilar re7arks by Cla4dian and .4lian: see MacM4llen, O(o7e Pict4res,P . %%$? cf. -. Ca7eron, ClaudianD 1oetry and 1ropaganda at the Court of *onorius F0>ford, 19H$K, . IH#. )he inverse sit4ation also occ4rred: in the early si>th cent4ry, Proco i4s delivered a ane"yric of the e7 eror -nastasi4s, addressin" a stat4e of hi7 that had been resented to the city of =a:a Fsee =. -. Kennedy, 6reek Rhetoric under Christian Fmperors DPrinceton, 196#E, . 1H%K. Aor an earlier instance of the fail4re to reco"ni:e the ra7ifications of one;s rojected i7a"e, see ]anker, 1oAer of +mages, . 5HJL5, on O-ntony betrayed by his o5n i7a"e.P I9. 8erodian, *istoriae, +2.I. #$. Polybi4s, *istoriae, 2+.5#? cf. (4etoni4s, 0i)us >espasianus, 1+1.I, on the e7 eror;s f4neral, at 5hich OAavor, a leadin" actor of 7i7esM5ore Dthe e7 eror;sE 7ask and, accordin" to the 4s4al c4sto7, i7itated the actions and 5ords of the deceased d4rin" his lifeti7e.P Aor the ancestor ortraits, s4ch as those de icted in their o ened c4 boards on the relief in Co enha"en DAi". L#E, see -. ,. ]adoks<.itta, "ncestral 1ortraiture in Rome and the "rt of the 'ast Century of the Republic F-7sterda7, 19#IK, es . . I5f. and lates +2 and 2? 8. &rer4 , O)oten7aske 4nd -hnenbild bei den . ##%J##5.

/X7ern,P RM 6H F196$K? A. &4 ont, O3es 7orts et la 7[7oire: 3e 7as94e f4n\bre,P in 'a mort, les morts, et lauBdel& dans le monde romain, ed. A. 8inard FCaen, 196HK. #1. Polybi4s, *istoriae, 2+.5#. #I. *eroides, 1+++.15#. ##. Sil)ae, +2.L.I1. #%. 7ellum +ugurthinum, +2.5JL. (all4st 7ay be referrin" to the cons ic4o4s dis lay of han"in" clipeatae imagines, 5hich also bore ancestral ortraits, yet in the resent conte>t this 7atters little. Aor the distinction bet5een these differin" ty es of ortrait4re and their dis lay, see /. Binkes, OPliny;s Cha ters on /o7an A4neral C4sto7s in the 3i"ht of Clipeatae +magines,P "/" 6# F19H9K: %6I. #5. +n addition to the 7aterials cited in the revio4s note, see M. 8after in Kaiser "ugustus und die )erlorene Republik, cat. no. 19I, for the OBarberini )o"at4s.P Cf. Pliny, *istoria -aturalis, 1112.L, on the c4sto7 of carryin" the 5a> likenesses in f4nerary rocessions. #L. 8orace, Sermonum 'ibri +.L.1H? 0vid, %asti, +.591f.? (eneca, 0e 7eneficiis, +++.I6.I. 0n the i7 ortance of the tituli, see &4 ont, O3es 7orts et la 7[7oire,P . 1H$. #H. C+' 2+++, %#%? B4echeler, Carmina 'atina Fpigraphia, no. %6$: 8ic sit4s est 2ari4s co"no7ine Arontonian4s, 94e7 coni4n> le ida os4it Cornelia =alla, d4lcia restit4ens veteris solacia vitae 7ar7oreos volt4s stat4it, oc4los ani74794e lon"i4s 4t kara osset sat4rare fi"4ra. hoc sola7en erit vis4s. na7 i"n4s a7oris ectore conte"it4r 7e7orDiE d4lcedine 7entis nec oterit facili labi47 oblivione erire, set d47 vita 7anet, toto est in corde 7arit4s. Cf. 3atti7ore, 8hemes in 6reek and Roman Fpitaphs, . I%5. #6. "mphitryon, %56f.? cited by ]adoks<.itta, "ncestral 1ortraiture, . I9? cf. (tati4s, Sil)ae, 2.1.I#%f.: acci i4nt v4lt4s ha4d indi"nata decoros n47ina. #9. )acit4s, "gricola, 132+.

=. The Recognition o* !orre)pondence)

)he 7yths, 5hen they have ta4"ht 4s as 5ell as they can, allo5 the 7an 5ho has 4nderstood the7 to 4t to"ether a"ain that 5hich they have se arated. )he "oddess 5ho revives -donis on the Casino /os i"liosi relief FAi". LK and elevates her 7ortal lover in a otheosis on the 2atican version FAi". HK rovided a strikin" contrast 5ith - hrodite as she a ears on the re7ainin" sarco ha"i. )he 7ajority of the 7on47ents recall ho5 her earthly enco4nter and erotic liaison 5ith the bea4tif4l yo4th 5as interr4 ted by his desire to h4nt, and ho5 their se aration 5as sealed by his tra"ic death. Get on the t5o variant e>a7 les, -donis and - hrodite;s 4nion is ens4red and celebrated, as the yo4th is no5 healed, then divini:ed. N N N

(es &aelestes terrestres)!e

)he "oddess;s contrastin" actions and the different resol4tions of the tale they s4""est reflect a rofo4nd division bet5een the celestial and terrestrial real7s. )his division fi"4red ro7inently in the /o7an 5orld;s rece tion of the =reek heroes and the roble7s they osed.D1E*eroes no lon"er e>isted for the /o7ans in their ori"inal sense as the se7idivine offs rin" of the "ods; interco4rse 5ith 7ortals. )he /o7ans; lan"4a"e lacked an e94ivalent for the =reek ter7, and their c4lt4re lacked the conce tion of se7idivinity.DIE *ven in the =reek 5orld the ter7 OheroP had beco7e deval4ed and often served as the "eneral desi"nation for all valiant rota"onists of 7yth, as 5ell as all those 5hose e> loits 5ere recorded in the e ics of 8o7er and the other ancient oets.D#E -nd as the breadth of s4bjects on the 7ytholo"ical sarco ha"i reveals, in the a"e of the /o7ans all 7ythic all4sion had co7e to serve as a for7 of heroi:ation.D%E By the end of the /e 4blic, a7id the rise of a self<conscio4s classicis7,D5E the recise nat4re of the =reek heroesCand of the /o7an co4nter arts 5ho 5ere heirs to the traditionC resented a dile77a. Cicero 4t the roble7 s4ccinctly: there 5ere t5o kinds of "ods, Othose 5ho have al5ays been considered to d5ell in the heavens, and those 5ho have been installed there on acco4nt of 7erit.PDLE )he distinction acco4nts for the traditional vie5 of the divinity of 8erc4les, 3iber, -esc4la i4s, Castor and Poll4>, as 5ell as /o74l4s.DHE Get Cicero 5as less than certain ho5 s4ch 7erited elevation 5as effected: O-s for those 7en 5ho7 yo4 declare to have attained the state of divinity, yo4 sho4ld e> lain Cand + 5o4ld be "lad to learnCho5 this Da otheosisE co4ld be done, or 5hy it has ceased to be soMPD6E Aor Cicero, to resolve the roble7 5as to reconceive it in 7ore co7 rehensible ter7s. 0ne as ect of his e> lanation had reco4rse to the tradition of the e>e7 l47: O+s it not that these DdivineE honors are "ranted on acco4nt of 7en;s virt4es, not their i77ortalityWPD9E -nother as ect, 5hich reinforced the f4nda7ental belief in the i7 ortant distinction bet5een thin"s terrestrial and celestial, 5as to deny divini:ation to 7ortals 5ho 5ere kno5n to have been laid to rest in to7bs and 5ho re7ained the s4bjects of f4nerary rites. )h4s the cate"ory of the divini:ed co4ld be lo"ically restricted: O+ co4ld not be ers4aded to 4nite any 7ortal 5ith the reli"ion of the i77ortal "ods, so that there 7i"ht e>ist a to7b for one to 5ho7 rayers and sacrifices are 4blicly erfor7ed.PD1$E )he diver"ent actions of - hrodite on the sarco ha"i, and the variant concl4sions of the tale they advance, 5ere easily acco77odated to this terrestrial<celestial dichoto7y. Aor these actions often 7irror the lon"<standin" distinction of the "oddess of love;s co7 le> nat4re.D11E )he "reat a4thority on - hrodite;s 7anifold nat4re 5as Plato. +n his Symposium he declared that she 5as indeed not one, b4t t5o "oddesses: Othere is the elder, of no 7other born, b4t da4"hter of 8eaven, 5hence 5e na7e her ,urania; 5hile the yo4n"er 5as the child of ]e4s and &ione, and her 5e call 1andemos.PD1IE - hrodite 04rania 5as the celestial "oddess O4ntin"ed by 5antonness,P 5ho Oco7 els lover and beloved alike to feel a :ealo4s concern for their o5n virt4e.PD1#E - hrodite Pande7os, conversely, 5as the terrestrial deity of the rando7 and 5anton love that ca4ses those 4nder her s ell to re"ard their desires of the body 7ore than those of the so4l.D1%E By 7eans of this 7ytholo"ical alle"ory Plato 5as to cleave in t5o a basic h47an e7otionCloveCand to elevate one of its as ects as a f4nda7ental tenet of hiloso hy and ethical behavior. )he basic dichoto7y roved decisive. )he doctrine 5as echoed by other ancient a4thors, and the n47ber of - hrodite;s as ects 5as at ti7es e> anded.D15E Plato;s ori"inal dichoto7y 5as "iven its f4llest elaboration in the early third cent4ry, in a len"thy co77entary 5ritten by Plotin4s, the 7ost i7 ortant of the ,eo latonists. -ccordin" to Plotin4s, the 4re so4l re resented by - hrodite 04rania had its ri"htf4l lace in the heavens above. )he love she fostered ta4"ht 7an to as ire to s4ch hei"hts and to find f4lfill7ent in his conte7 lation of the "ods. - hrodite Pande7os, by contrast, 5as a 4niversal deity, 5hose 7anifestation of an earthly love 5as a7on" her res onsibilities as atroness of 7arria"es.D1LE

Pa4sanias attests a si7ilar division in the 7ytholo"y of - hrodite, 5ho 5as 5orshi ed in -ttica as - hrodite Fpistrophia FOshe 5ho t4rns 7en to lovePK and 5as venerated at )hebes as "postrophia FOshe 5ho t4rns one a5ay fro7 lovePK.D1HE )hese contrastin" as ects of the =reek "oddess 5ere echoed by s ecifically /o7an traditions, 7ost strikin"ly in the celebrations 7arkin" the first of - ril in the /o7an calendar that 5ere dedicated to both the c4lt of 2en4s >erticordia and that of Aort4na >irilis.D16E )he for7er c4lt, instit4ted to revive the 7ores of /o7e 5hen they had fallen fro7 their for7er chastity,D19E venerated that as ect of 2en4s 5ho Ot4rns the heartsP of the mulieres honestiores to5ard virt4e.DI$E )he contrastin" celebrations of the c4lt of Aort4na 2irilis, in 5hich the mulieres humilioresCco77on rostit4tesCshared a co77on bath 5ith the 7en, dis layed the7selves naked, and drank a hrodisiacs, 5ere the e> ression of rather different val4es.DI1E N N N

*! lex "phrodite, d! lex Selene

)his air of o osin" alle"ories rovided the str4ct4re reflected in the contrasted - hrodites of the sarco ha"i.DIIE )his tradition allo5ed the "oddess to be easily acco77odated to the /o7ans; distinction bet5een the heavenly and earthly real7s. )he eroticis7 c4sto7arily associated 5ith the -donis 7ythCthe eroticis7 of - hrodite Pande7osC layed little role on the sarco ha"i. Get by the "oddess;s actions as - hrodite 04rania, -donisCthe 7ortal heroC5as revived and elevated as her e94al. (elene and *ndy7ion osed a so7e5hat different roble7. 0n the 7ajority of reliefs (elene a eared as an acolyte of - hrodite, th4s confor7in" to the hei"htened eroticis7 of the 7ytholo"ical narrative. (4rro4nded by erotes, her breast bared, she 5as cast in the role of the sed4cer, and th4s icono"ra hically associated 5ith - hrodite Pande7os. Get the 7yth;s )isual tradition 5as characteri:ed by a see7in" contradiction. (elene co4ld also be re"arded as a reflection of - hrodite 04rania.DI#E )his 5as no do4bt e>a""erated in later eriods by the assi7ilation of the =reek 7oon "oddess to the fa7o4sly chaste fi"4re of /o7an &iana.DI%E -s the essential 7otif of the slee in" *ndy7ion had co7e to be associated 5ith that of the slee in" -riadne and /hea (ilvia, all three 7yths ca7e to serve for the re resentation of a eacef4l rest in death. Beca4se their divine enco4nters, artic4larly those of *ndy7ion and -riadne, 5ere also constr4ed as celestial O7arria"es,P these 7ytholo"ical narratives 5ere re"arded as the e94ivalent of a otheosis.DI5E )he celestial<terrestrial dichoto7y lived on in the =raeco</o7an 5orld;s rece tion and transfor7ation of the ancient =reek 7yths and is fo4nd in the treat7ent of other tales as 5ell. )he sa7e Platonic 7yth 4nderlies -chilles )ati4s;s disc4ssion of the t5o kinds of love and distin"4ishes the s ecial fate of =any7ede fro7 that of ]e4s;s other con94ests.DILE +ts role in other 7yths testifies to its i7 ortance and f4nda7ental si"nificance. Aor it 5as 4ndo4btedly as a descendant of - hrodite Pande7os that 2en4s re5arded the rayers of Py"7alion by transfor7in" =alatea and 5atchin" over Othe 7arria"e she had 7ade.PDIHE )his sa7e conce tion of the "oddess of loveC"leef4lly re5ardin" the baser instinctsCa ears in - 4lei4s;s acco4nt of the .4d"7ent of Paris.DI6E -nd it is s4rely as Pande7os that - hrodite 5as the lover of -donis, an inter retation the eroticis7 of the oets; treat7ent of the 7yth frankly declares, and 5hich is borne o4t, if only s4btly, on the 7ajority of sarco ha"i. )he contrastin" conce tion of - hrodite 04rania contin4ed to lay a role as 5ell, and th4s she a ears as an as ect of +sis in - 4lei4s.DI9E N N N

Mythography and typology

)he a earance of analo"o4s 7yths layed a si"nificant role in the contin4ity of =reek 7ytholo"ical traditions as they 5ere received and transfor7ed at /o7e. )he col47nar ty e of sarco ha"4s in artic4lar lent itself to the de7onstration of these analo"ies, as on the relief at the Pala::o Mattei FAi". L%K.D#$E )here, isolated in their se arate niches, related tales a ear in abbreviated for7 as sy7bols. )he 7yths, j4>ta osed here, red4ced to the resentation of their aired rota"onists, s4""est that the /o7ans re"arded the7 as e94ivalent Osy7bols of love.PD#1E (i7ilarly, on the lid of the ,e5 Gork *ndy7ion and (elene lenos FAi". #5K, a "ro4 of inde endent scenes in s7all anels dis lay a series of variations on the the7e of O4nre94ited love.PD#IE +n this instance *ndy7ion;s assivity rovides the inter retive key. )he slee in" she herd;s lack of res onse to (elene;s sed4ction is likened to the 4n4s4al scene of *ros t4rnin" a5ay fro7 Psyche or, by a s4btle all4sion, to the s 4rnin" of - hrodite in the .4d"7ent of Paris.D##E By yet another for7 of all4sion, to e7 hasi:e the idea of se aration i7 licit in the the7e of O4nre94ited love,P (elene and *ndy7ion are re resented by a vis4al for74la borro5ed fro7 the re ertory of - hrodite and -donis.D#%E )his 5as a arently not the only ancient 5ork to conflate the vis4al ty olo"ies of the - hrodite!-donis and (elene!*ndy7ion tales, for a "e7 recorded in the seventeenth cent4ry sho5s - hrodite arrivin" in her chariot before a rec47bent 5o4nded -donis FAi". L5K.D#5E )hat the sa7e ty e 7i"ht be e7 loyed for different stories is de7onstrated as 5ell by the arallel re resentations of *ndy7ion and =any7ede. +n the Casa di =ani7ede at Po7 eii the t5o 7yths 5ere aired FAi"s. LL and LHK, 5ith =any7ede ada ted to a standard ty e fro7 the *ndy7ion re ertory to effect, once a"ain, a strikin" endant relationshi .D#LE )his heno7enonCthe evocation of analo"iesC5as 7arked by an obvio4s loss of 7ytho"ra hic s ecificity, as the tales 5ere ada ted to ne5 conte>ts and 4r oses. Get this loss 5as balanced by a broadenin" of si"nificances as f4nda7ental as ects of one 7yth 5ere seen to lay a str4ct4ral role in the conce tion of others. +f fro7 a mythographic ers ective the ori"inal si"nificances of the ancient tales 5aned as the tradition evolved, 5hen re"arded typologically, transfor7ations in the 7ytholo"ical tradition, s4ch as those 4nder"one by the 7yths of - hrodite and (elene, a ear to reaffir7 the tales; contin4in" validity: 5hat 7i"ht have been conceived as a si"n of 7ytho"ra hic decline is rather to be constr4ed as evidence of ty olo"ical efficacy. )hese characteristics are evident in the 7eta7or hosis of - hrodite;s essential celestial<terrestrial dichoto7y: as the 7yth evolved fro7 the c4lt 5orshi of the =reeks to that of the /o7ans, the (elene tale ca7e to be assi7ilated to it. +n the recedin" cha ters, ty olo"y has been seen to lay a variety of roles in the re resentation of the 7yths that have been disc4ssed. +t has been sho5n to o erate in the assi7ilation of one 7yth to another, a rocess that de ended 4 on a reco"nition and ackno5led"7ent of erceived sy7 athies bet5een different s4bjects. - 7otif that rendered one ele7ent of a narrative 7i"ht beco7e the central foc4s of a re resentation, so that its affinities 5ith si7ilar 7otifs associated 5ith other 7yths 7i"ht be 4nderscored. )his 5as seen to have occ4rred 5ith the early -donis sarco ha"i, 5here the ro7inence of the h4nt scene likened the de ictions of the 7yth to others associated 5ith the re resentation of )irtus. -t ti7es this assi7ilation 5as acco7 lished and e7 hasi:ed by si"nificant o7issions: in the s4bordination of the -donis tale;s eroticis7 on the sarco ha"4s reliefs and, 7ore i7 ortantly, in the absence of scenes referrin" to the "donaia. A4rther e>a7 les are fo4nd in other 7ytholo"ical re ertories, 5here ele7ents of the 7yth see7in"ly of s ecial ertinence to the f4nerary conte>t are si7ilarly o7itted. 0n the sarco ha"i re resentin" 8i olyt4s, the ortrayal of the hero as an eEemplum )irtutis 5as "iven ro7inence, b4t the le"end of his 7eta7or hosis into 2irbi4sCa le"end 5ell kno5n in the /o7an 5orldC5as al5ays e>cl4ded.D#HE 0n the 7on47ents re resentin" Pelo s, the e isode of

the chariot race rovided the foc4s 5hile his literal reasse7bly and revival by .4 iter 5as for"otten. D#6E +n so7e instances the 7yths 5ere invested 5ith ne5 7eanin"s, as ty olo"ical all4sions transfor7ed the7 to s4it ne5 needs. (4ch 5as the case on the /os i"liosi sarco ha"4s FAi". LK, 5here the likenin" of -donis to -eneas 5as tanta7o4nt to a re7ytholo"i:ation. (o too on the 4n4s4al Berlin fra"7ent re resentin" *ndy7ion abandoned, 5here the corres ondence 5ith -riadne;s fate f4rthered a f4nda7ental likeness bet5een the t5o stories and e> loited the relationshi that connected the7, if only on the basis of their si7ilar vis4al for7s. Ainally, it has been sho5n ho5 re"4lari:ed and reco"ni:able 7ytholo"ical 7otifs 5ere at ti7es e>tracted fro7 their narrative settin"s. &ivorced fro7 s ecific conte>ts, they e>hibited a "eneric si"nificance and 5ere effectively e7 loyed as abstractions. (4ch a re4se of 7otifs 5as "overned, ho5ever, by their f4nction in their ori"inal conte>t? even 5hen re<e7 loyed, the vis4al for7s 7i"ht retain the char"e of their ori"inal 7eanin". )his co4ld occ4r in t5o 5ays. )he 7yth itself 7i"ht be recalled, as is the -donis 7yth on the O/in4ccini sarco ha"4sP FAi". %%K. 0r, conversely, 5hat re7ained si"nificant 7i"ht be the 7eta hor for 5hich the 7yth had served as the vehicle, as in the case of the ,a les sarco ha"4s FAi". %IK, 5here ele7ents fa7iliar fro7 both the *ndy7ion and Melea"er re ertories contrasted the )ita acti)a 5ith the )ita contemplati)a. N N N

rom narrati+e to )ymbol

)5o other reliefs fro7 the *ndy7ion cor 4s resent yet another sta"e in this f4nda7entally ty olo"ical rocess of abstraction that the 7yths 4nder5ent on the sarco ha"i. 0ne e>a7 le is no5 at the Pala::o Braschi in /o7e FAi". %9K,D#9E the other in the British M4se47 FAi". 5$K.D%$E Both 5orks date fro7 the 7id to late third cent4ry and are characteri:ed by the 7arked isolation of the central 7otifCthe rec47bent fi"4re of *ndy7ionCfro7 its narrative conte>t. )he *ndy7ion on the Pala::o Braschi sarco ha"4s is set a"ainst a starkly barren anel, 5itho4t a trace of settin". -n eros hovers above, and the yo4th is flanked by t5o airs of s7aller fi"4res. )o the left are the yo4n" &ionys4s and a satyr, to the ri"ht Mars and 2en4s. )h4s des ite the fi"4re;s dissociation fro7 its c4sto7ary settin" and its detach7ent fro7 its reno5ned narrative, the conte>t re7ains e> licitly 7ytholo"ical. )he central fi"4re bears the ortrait feat4res of a yo4n" 7an, 5hose eyes are 5ide o en. )he *ndy7ion of the British M4se47 sarco ha"4s is also distin"4ished by its ortrait head of a yo4n" 7an. 8e lies in the fa7iliar ose, a"ain 5ith o en eyes, and s4rro4nded by erotes, 5ho cl4tter the s4rface of the s7all lenos<sha ed casket. -s (ichter7ann ointed o4t lon" a"o, the fa7iliar rec47bent fi"4re of -riadne has been rec4t to lay a ne5 role.D%1E )he inele"ance of this transfor7ation fro7 fe7ale to 7ale and the severe 7id third<cent4ry 7ilitary hairstyle of the s4 eri7 osed ortrait clash 5ith the ideali:ed de iction of the 7any erotes, the lan"4oro4s ose, and the overall style of the i7a"e. 0n these reliefs no "oddess arrives to besto5 herself 4 on the slee in" yo4th, and he lacks as 5ell those attrib4tes of the she herd that 5o4ld identify hi7 as *ndy7ion? yet the fi"4ral for7 itself rovides a o5erf4l all4sion. )he selection of this vis4al ty e 5as not only s4ited to the for7 and sha e of the relief b4t had itself accr4ed s ecific connotations in f4nerary conte>ts as a reference to the eace of Oeternal slee .PD%IE 0n the Pala::o Braschi sarco ha"4s, the fra7in" airs at either side of the central 7otifCa lascivio4s satyr 5ith the andro"yno4s "od of into>ication, and 2en4s 5ith the "od of 5arCbelon"ed as 5ell to the established re ertory of f4nerary i7a"es.D%#E Both "ro4 s are linked the7atically to the *ndy7ion

7yth since they all4de to the se>4al leas4res of the "ods. )he for7al role layed by these i7a"es on the Pala::o Braschi sarco ha"4s corres onds to that of si7ilar s7all<scale fi"4re "ro4 s, s4ch as C4 id and Psyche, 5hich acco7 any other narratives and serve as analo"ies.D%%E +n the case of the 2en4s and Mars "ro4 the all4sion is all the 7ore oi"nant in that the co7 osition recalls a fa7o4s sc4l t4ral ty e often a ro riated as a vehicle for ortraits.D%5E -ll three vis4al ele7ents on this sarco ha"4s lack not only an e> licit re resentation of the narrative to 5hich they all4de b4t the conventional settin" and staffa"e associated 5ith those tales. Get these three vi"nettes f4nction to"ether, the art for the 5hole, as 7etony7ic sy7bols: the Mars and 2en4s "ro4 refers to the tale of their fa7o4s assions? &ionys4s and the satyr belon" to a 7ore "eneral set of i7a"es that re resent the dr4nkenness and se>4ality of bacchic revelry? so too the rec47bent fi"4re 5hose for7 they fra7e. &es ite the ortrait feat4res he bears, as 5ell as his o en eyes, in this e> licitly 7ytholo"ical conte>tCconfir7ed by his other5ise indecoro4s and ine> licable n4dityChis for7 alone rovides a s4fficient all4sion to the slee in" fi"4re of *ndy7ion. Aro7 the a arent a"e of the central fi"4re on the British M4se47 sarco ha"4s and the c4rio4s character of its relief, it 7ay be res47ed that this yo4n" 7an;s death 5as 7ost 4ne> ectedCand 5ith res ect to b4rial, certainly 4n re ared for. -n available sarco ha"4s 5as resc4l ted, so as to incl4de his ortrait, on 5hat 74st have been relatively short notice.D%LE )he i77ediate need for the casket 7i"ht see7 to have recl4ded the ac94isition of one in need of s4ch ada tation, yet the choice 5as fort4ito4s. Aor the rec47bent fi"4re of -riadne offered a 7otif that, once re5orked, effected an identification of the deceased 5ith *ndy7ion. )h4s this 7an;s early and 4nfort4nate death 5as transfor7ed into a vision of his blissf4l, endless slee . Bhile there see7 to have been very fe5 of these OabbreviatedP i7a"es of the 7yth, the radical nat4re of these sarco ha"i can be "a4"ed by co7 arin" the7 5ith other 5orks that si7ilarly isolated *ndy7ion. )he *ndy7ion anel of the so<called ( ada reliefs FAi". L9KD%HE si7ilarly lacks the i7a"e of (elene, b4t the anel retains the fa7iliar landsca e settin" andC7ore i7 ortantlyCits narrative 7ode, as the yo4th;s do" looks to the sky and barks to si"nal the "oddess;s arrival.D%6E )he Pia::a -r7erina 7osaic FAi". 5#K offers another variation in 5hich the sole fi"4re of *ndy7ion retains its narrative character. +n each of these i7a"es so7ethin" happens; by contrast, in the Pala::o Braschi or the British M4se47 sarco ha"i, the 7ytholo"ical narrative 5as held in abeyance. (i7ilarly, other re resentations of *ndy7ion alone abandoned the 7ythic event, foc4sin" instead on the fa7iliar 7otif of the slee in" she herd;s o4tstretched for7 FAi". H$? cf. Ai". H1K.D%9E -s on the Pala::o Braschi and British M4se47 reliefs, in all s4ch cases the i7a"ery has relin94ished narrative and ado ted the 7ode of the sy7bol, as the OabbreviationP of 7ytholo"ical content transfor7ed that i7a"ery fro7 literal ill4stration to a vis4al for7 of all4sion. )hese OabbreviatedP reliefs have been the foc4s of a lon"<r4nnin" disc4ssion in the scholarly literat4re, one that can be briefly s477ari:ed here. )hey have been re"arded as e>a7 les of Fntmythologisierung, the Ode7ytholo"i:ationP of 5ell<kno5n s4bjects by the rejection or s4 ression of their standardi:ed de ictions, the si7 lification of their for7, and the o7ission of si"nificant details. )he ar"47ent abo4t Fntmythologisierung has its ori"ins in =erke;s Christlichen Sarkophage der )orkonstantinischen ?eit, 5hich foc4sed on the b4colic 7otif fo4nd on the *ndy7ion sarco ha"i, and the British M4se47 sarco ha"4sQs isolated *ndy7ion.D5$E Bei"and e>tended the consideration of the British M4se47Qs *ndy7ion sarco ha"4s, notin" ho5 the 7yth had been Os4 ressedP Fver"r@n"tK, Ore ressedP F:4rYck"edr@n"tK, or One4trali:edP Fne4tralisiertK by the isolation of the rota"onist.D51E )he disc4ssion 5as elaborated in 7ore "eneral fashion by Mat:, 5ho ar"4ed that the distortion of the 7ytholo"ical ty es res4 osed the loss of both their si"nificance and their affect,D5IE an ar"47ent that is contradicted by the recedin" cha ters of the resent st4dy. (ichter7ann a lied the ar"47ent to these OabbreviatedP *ndy7ion sarco ha"i, 5hich he 4nderstood to de7onstrate a Oloss of feelin"P for

the 7yths and their traditional si"nificance, declarin" i7 la4sible all atte7 ts to see in the abbreviated co7 ositions the 7eanin"f4l e94ivalents of the co7 lete renditions of the 7yth.D5#E *n"e7ann objected to this characteri:ation of the isolated fi"4res on these reliefs, clai7in" that 5hile they indeed s4""ested a ren4nciation of the 7ythic event, this did not e>tend to a ren4nciation of the 7ytholo"ical hero, 5ho not only re7ained reco"ni:able, b4t in this resentational 7ode offered a 7ore direct and forcef4l 7eans of analo"y: the isolated fi"4res on these reliefs re resented an e>tre7e for7 of the atte7 t to identify 5ith those ancient heroes Os ared fro7 death.P D5%E Aittschen has i"nored neither the obvio4s 7ytholo"ical conte>t in 5hich these O*ndy7ionsP are set nor the contin4in" rod4ction of conventional re resentations of the tale thro4"ho4t the third cent4ry.D55E 8e has sensibly ointed o4t that it 5as not j4st the attrib4tes that identified the fi"4re, b4t the ose as 5ell. )his abbreviation of the 7yth, 5ith its foc4s on the fi"4re 5ith 5ho7 the deceased 5as to be identified, 5as th4s a Olo"ical concl4sionP that follo5ed fro7 the a ro riation of the 7yth.D5LE Ainally, Brede, 5ho follo5s in lar"e 7eas4re the lead of (ichter7ann, e7 loys the conce t of Fntmythologisierung in his st4dy;s e7 hasis on the f4nda7ental realis7 i7b4ed by the resence of ortraits on the 7on47ents? the resence and i7 lications of the 7yth di7inish, he concl4des, since self< resentation in formam deorum 5as nonetheless a 7ode of co77e7orative ortrait4re, and th4s de7anded realistic i7a"es.D5HE Get 74ch of this co77entary obsc4res the essential oint: these idiosyncratic re resentations 5ere entirely de endent on both the reco"ni:ability of their central 7otif o4tside its 4s4al narrative conte>t and the inde endent si"nificance the 7yth had ac94ired as a f4nerary sy7bol. )his 5as a fittin" 7ode for the ortrayal of the dead recisely beca4se it 5as associated 5ith *ndy7ion;s deathlike sl47ber? the sa7e 7ay be said, 74tatis 74tandis, for the t5o -riadne reliefs 7entioned above.D56E Moreover, they 5ere a fittin" for7 for 7e7orial of the dead beca4se they 5ere indeed so 7e7orable, not only as vis4al i7a"es b4t, as 5e have seen, fro7 their vivid resence in the literary tradition. Bhile these 5orks are indeed 7arked by a di7in4tion in the ill4stration of 7ytholo"ical content, they s4""est less a Ode7ytholo"i:ationP than a hi"hly so histicated 7ode of 7ytholo"ical all4sion? these i7a"es are the tr4e arallel to the strikin"ly all4sive oetry of Pro erti4s, )ib4ll4s, or Cat4ll4s. +ndeed, the s4rvival of 7ore conventional de ictions thro4"ho4t the third cent4ry testifies to the contin4in" o5er of the vis4al tradition and its si"nificance.D59E +n the absence of the yo4th;s divine ara7o4r, to 5ho7 the all4re of his ose 5as ori"inally directed, *ndy7ion here a eals to the beholder of the i7a"e. -s the arrival of the s ectator before the sarco ha"4s relief re<enacts the fa7o4s and 7ore ro itio4s arrival of the 7yth;s divine heroine,DL$E it s4""ests an additional as ect of this abbreviated for7, one that 7ay hel to define its so histication. Aor the absence of settin", and the foc4s on the sin"le fi"4re, s4""est the encroach7ent on the relief 7edi47 of a re resentational 7ode f4nda7ental to freestandin" sc4l t4re Fcf. Ai"s. H$ and H1K. )his 5as indeed si"naled by the Mars and 2en4s air on the Pala::o Braschi relief, 5ith their all4sion to a fa7o4s stat4ary ty e.DL1E 0n these sarco ha"i, the reclinin" yo4ths, 5hile de rived of so 74ch of the i7a"ery by 5hich they 5ere c4sto7arily acco7 anied, nonetheless evoke their i7 licit narrativeCas did so 7any fa7o4s 5orks of freestandin" ancient sc4l t4re: -lka7enes; Prokne 5ith her son, +tys, in 5hich Prokne;s son 4nkno5in"ly a5aits his fate? Pra>iteles; - hrodite, in 5hich the "oddess is sho5n e7er"in" fro7 her bath? 3ysi os;s OBeary 8erakles,P in 5hich the hero rests fro7 his labors? or, 7ost tellin"ly, the 2atican -riadne FAi". HIK.DLIE

Note)
1. /. (chillin", O3a d[ification T /o7e: )radition latine et interf[rence "rec94e,P RF' 56 F196$K? -. Brelich, 6li eroi greci F/o7e, 1956K, . #1#J#HI? 8. Ba"envoort, Roman 0ynamismD Studies in "ncient Roman 8hought, 'anguage, and Custom F0>ford, 19%HK, . 65J1$#? B. 3io4<=ille, Cultes h5roS4ues romainsD 'es fondateurs FParis, 196$K? -. 3a Penna, OBreve considera:ioni s4lla

divini::a:ione de"li eroi e s4l canone de"li eroi divina::ati,P in *ommages & *enri 'e 7onniecD Res Sacrae FBr4ssels, 1966K. I. ,ock, O(arco ha"i and (y7bolis7,P . 1LL and n. 95. #. B. B4rkert, 6reek ReligionD "rchaic and Classical F0>ford, 1965K, . I$#. %. ,ock, O(arco ha"i and (y7bolis7,P . 1LL. 5. )his is one of the 7ajor theses of ]anker, 1oAer of +mages. L. Cicero, 0e 'egibus, ++.H.19. H. (chillin", O3a d[ification T /o7eP? 3io4<=ille, Cultes h5roS4ues romains; cf. 8orace, Fpistulae, ++.1.5JL, 5here the oet s eaks of /o74l4s, 3iber Pater, and Castor and Poll4>, 5ho Oafter 7i"hty deeds 5ere received in the te7 les of the "ods.P 6. 0e -atura 0eorum, +++.1L.%1. 9. +bid., +++.16.%L. 1$. Cicero, ,rationes 1hilippicae, +.L.1#. 11. (ee the disc4ssion in (. (ettis, C*F',-FD Saggio sull"phrodite (rania di %idia FPisa, 19LLK. 1I. Plato, Symposium, 16$&, trans. B. /. 3a7b, in 'C' ed. F3ondon and Ca7brid"e, 19LHK. 1#. +bid., 161C, 165BJC. 1%. +bid., 161B. 15. 1eno hon, Symposium, 2+++.9ff.? "nthologia 1alatina, 2.95? -4"4stine, 0e Ci)itate 0ei, +2.1$. Aor Cicero, 0e -atura 0eorum, +++.59, see the co77entary in the edition of -. (. Pease FCa7brid"e, 1956K, . 11I5f., and the co77entary in nn. 59ff. 3ess s ecific reflections are fo4nd in Cat4ll4s, +++.1, 1+++.1I? and in Martial, +1.11.9? 1+.1#.L. 1L. Fnneads, +++.5.IJ#. 1H. Pa4sanias, +.%$.L? +1.1L.#. 16. (ee the disc4ssion in /. (chillin", 'a religion romaine de >5nus depuis les origines Wus4uau temps d"uguste FParis, 195%K, . IILJI##, and his "ppendice ++ FO3a si"nification des 2eneralia d4 1er avrilPK, . #69J#95. 19. 0vid, %asti, +2.15H. I$. +bid., +2.159J1L$? (chillin", 'a religion romaine de >5nus, . II6. I1. (chillin", 'a religion romaine de >5nus, . I#1JI##? #91J#95. II. )he relationshi bet5een 7yths ro osed here is infor7ed by 8orsfall;s disc4ssion of 5hat he has ter7ed Osecondary 7ythP: see ,. 8orsfall, OMyth and Mytho"ra hy at /o7e,P in Roman Myth and Mythography, ed. .. ,. Bre77er and ,. M. 8orsfall F3ondon, 196HK, . 5JL: Othe 7ass rod4ction of leasantly fa7iliar "oods by literary asse7bly<line.P Cf., ho5ever, the i7 ortant revie5 by ). P. Bise7an in /RS H9 F1969K, 5ho has taken iss4e 5ith 8orsfall;s overly ro"ra77atic distinction bet5een OoldP 7yths and One5P stories. + have also rofited fro7 vario4s as ects of Cairns, 6eneric Composition, es ecially cha ter %, O0ri"inality in the Use of )o oi.P I#. (ee Boedeker, "phrodites Fntry into 6reek Fpic, . 1%, on the association of - hrodite 04rania 5ith (elene. I%. Perha s 7ost s4btly, by U4int4s (7yrnae4s, 1.1I5ff., 5here (elene is athanatos and F erha sK

akeratos. Get see the 5arnin" abo4t conflatin" (elene and &iana iss4ed by (ichter7ann, in "SR 1++.I, . #5f. I5. Brede, Consecratio, . 15I, and cf., in "eneral, . 156J1H5. IL. -chilles )ati4s, 'eucippe and Clitophon, ++.#L? see the disc4ssion in 3. Barkan, 8ransuming 1assionD 6anymede and the Frotics of *umanism F(tanford, 1991K, . #5f. IH. 0vid, Metamorphoses, 1.I95. I6. - 4lei4s, Metamorphoses, 1.#1? cf. C. (chla7, OPlatonica in the Metamorphoses of - 4lei4s,P 8"1" 1$1 F19H$K. I9. Metamorphoses, 1+.I. #$. "SR 1++.I, no. 1$. #1. )h4s /oden5alt, O*in ty 4s rX7ischer (arko ha"e,P . III? /oden5alt had 7ore "enerally for74lated the idea in O)he )hree =races on a Al4ted (arco ha"4s,P . L#, yet he had i"nored this e>a7 le of ho5 the central "ro4 7i"ht be e>tracted fro7 reliefs of the 7ytholo"ical re ertories? cf. )4rcan, O3es sarco ha"es ro7ains,P . 1H15: OCet e>e7 laire Mattt[i ro4ve 94e l;histoire de /h[a (ilvia valait celles d;- hrodite et de Psych[ a4> ye4> des /o7ains.P #I. (ichter7ann, "SR 1++.I, . 1#6, rovides the basis for 5hat follo5s. ##. )he all4sion 5as ointed o4t by Koch, in Koch and (ichter7ann, R3mische Sarkophage, . 1H#? elaborated no5 by (ichter7ann in "SR 1++.I, . 1#L, 5ho convincin"ly de7onstrates the endant<like relationshi s bet5een the corres ondin" scenes to each side of the central tablet on the lid of the ,e5 Gork sarco ha"4s. )he only e>ce tion in (ichter7ann;s analysis is the - hrodite anel Fcenter of the ri"ht<hand "ro4 K, 5hich sho4ld not corres ond to the .4d"7ent of Paris the7e Fas he see7s to i7 lyK b4t to the *ros and Psyche anel, to 5hich it is sy77etrically aired in the overall sche7e. )he scene 5o4ld a ear to be a variant of the Chastise7ent of *ros, 5hich 5o4ld corres ond 94ite nicely to the s4bse94ent narrative of the Psyche tale, 5hen, as - 4lei4s tells 4s, - hrodite ret4rns to find the 5o4nded *ros and threatens to 4nish hi7 hysically O5ith even harsher 7edicinesP FMetamorphoses, 2.#$: i77o et i s47 cor 4s ei4s acriorib4s re7ediis coerceatK. #%. (ichter7ann in "SR 1++.I, . 1#L? and cf. o4r Ai"s. #5 Fscene on lid, fifth fro7 leftK and L Fscene at ri"ht endK. #5. (ee 8hesaurus 7randenburgicus SelectusD 6emmarum et -umismatumccomment. '. 7egero FColoniae Marchicae, 1L9LK, +, . I$I? the "e7 5as also ill4strated s4bse94ently by B. Montfa4con, 'anti4uit5 eEpli4u5e FParis, 1HI1ff.K, +.I.+++, . 1HI6. #L. (ee (ichter7ann, O&er schlafende =any7ed,P . 5%$J5%#? for the *ndy7ion, see =abel7ann, O*ndy7ion,P no. I5, and for the =any7ede, see (. /einach, R5pertoire des peintures grec4ues et romaines FParis, 19IIK, late 15,1. )he (rbild of this version of the =any7ede 7yth 74st be *ndy7ion, for his is the sole tale of an ancient hero 5hose content re94ires a slee in" ose? for another e>a7 le of the heno7enon, cf. 0vid, "rs "matoria, +++.L95, 5here the oet;s vision of Ce hal4s;s restf4l slee F"rata 94ies Ce haloK can only be 4nderstood as the si7ilar ada tation of that 7yth to the 7odel of the *ndy7ion tale. #H. Aor the 2irbi4s e isode, see 0vid, Metamorphoses, 12.%9HJ5%L? ide7, %asti, 2+.H5L? 2ir"il, "eneid, 2++.HHH? (ervi4s, +n "eneidos, 2++.HL1? Pa4sani4s, ++.IH.%? 8y"in4s, %abulae, CC3+. )he cor 4s of 8i olyt4s sarco ha"i is resented by /obert in "SR +++.I, . 1L9JI19? (ichter7ann and Koch, 6riechische Mythen auf r3mischen Sarkophagen, . ##J#L, cat. nos. ILJ#$? and Koch and (ichter7ann, R3mische Sarkophage, . 15$J15#.

#6. Cf. 0vid, Metamorphoses, 2+.%$#J%11. Aor the Pelo s sarco ha"i, see (ichter7ann and Koch, 6riechische Mythen auf r3mischen Sarkophagen, . 55J5L, cat. nos. 5HJ56? Koch and (ichter7ann, R3mische Sarkophage, . 1H%J1H5. #9. "SR 1++.I, no. 1$I. %$. "SR +++.1, no. 9I? "SR 1++.I, *ndy7ion<(arko ha"e.P . 5%f., a7on" (ichter7ann;s Over7eintliche 4nd :5eifelhafte

%1. (ichter7ann, Sp#te FndymionBSarkophage, . L6JH5. )5o -riadne sarco ha"i s4rvive of the ty e here ada ted: one in ,a les Ffor 5hich see the 7aterials cited by (ichter7ann, . LL n. 1$6K, the other in Co enha"en Fide7, . HI n. 11H? here, Ai". L6K. %I. Brede, Consecratio, . 15$J15#? see also 8. Brandenb4r", OBellero hon christian4sWP R3m@Schr L# F19L6K, . L9 n. %5, on these isolated slee in" fi"4res; reference to a otheosis. %#. Aittschen oints o4t in his revie5 of (ichter7ann;s book F66" II1 D19L9E, . %%K, that these 7ytholo"ical all4sions are 4nderval4ed by (ichter7ann FSp#te FndymionBSarkophage, . LL and n. 1$%K. %%. (ee the disc4ssion in Cha ter %, above? cf. the li7ited co77ents on the sy7bolis7 in (ichter7ann, Sp#te FndymionBSarkophage, . LL, 5here &ionys4s and the satyr are re"arded as a clear O.enseitsbe:4",P the "ro4 of 2en4s and Mars as a 7arria"e sy7bol, 5ith the concl4sion that the fi"4re ortrayed Oein "4ter *he7ann 5ar.P %5. )he derivation is noted by (ichter7ann, Sp#te FndymionBSarkophage, . LL n. 1$%. Aor s4ch all4sions to fa7o4s 5orks of art by s7all<scale re licas on f4nerary 7on47ents, see Bosch4n", O,obilia 0 era.P 0n the Mars and 2en4s ty e in artic4lar, see Kleiner, O(econd<Cent4ry Mytholo"ical Portrait4reP? ). Mikocki, OAa4stine la .e4ne en 2[n4sC7ythes et faits,P in Ritratto ufficiale e ritratto pri)ato F/o7e, 1966K? and Brede, Consecratio, cat. no. 195. %L. 0ther ancient f4nerary 7on47ents dis lay si7ilar revisions, no do4bt rod4ced 4nder si7ilar circ47stances? cf. the sarco ha"4s of 0ctavi4s +sochrysos, no5 in the British M4se47, 5hose ro4"hed<o4t ortrait, ori"inally re ared for the feat4res of a 7at4re 5o7an, 5as rec4t to ortray a yo4n" boy: Os4rely an e>a7 le of a sarco ha"4s bo4"ht fro7 stock and drastically altered to s4it the needs of an infant 5ho died 4ne> ectedlyP F(. Balker, Catalogue of the Roman Sarcophagi, no. #L, . ##f., late 1#K. %H. 0n the *ndy7ion anel of the ( ada reliefs, see 8. (t4art<.ones, " Catalogue of the "ncient Sculptures in the Municipal Collections of Rome, +D 8he Sculptures of the Museo Capitolino F0>ford, 191IK, . I19, no. 9I? and 8elbi"% ++ F19LLK, 15HJ156, no. 1##1 FP. ]ankerK? =abel7ann, O*ndy7ion,P no. H. Aor t5o differin" vie5s on the ori"inal arran"e7ent and si"nificance of the entire "ro4 , see ,. Ka7 en, O0bservations on the -ncient Uses of the ( ada /eliefs,P "ntCl %6 F19H9K? and Brilliant, >isual -arrati)es, . 6#J69. %6. Cf. the co77ents of Brandenb4r", OBellero hon christian4sWP . L6JL9, on the ( ada reliefs as an e>a7 le of the red4ction of 7ytholo"ical narratives to serve as e>e7 la. %9. Aor the 7arble stat4ette in the 2atican FAi". H$K, see =abel7ann, O*ndy7ion,P no. 9%. 8o5ever, not all s4ch i7a"es of the slee in" she herd are convincin"ly inter reted as *ndy7ion: Ai". H1 ill4strates the end anel of a bio"ra hical sarco ha"4s in Badia di Cava, for 5hich see -7edick, 0ie Sarkophage mit 0arstellungen aus dem MenschlebenD >ita 1ri)ata, no. #5 and . 1IH? cf., f4rther, =abel7ann;s nos. # and % for the no5<lost i7a"es recorded at the col47bari47 of the 2illa Pa7 hili and at Po7 ei F+1,#,5 D%EK.

5$. (ee =erke, 0ie christlichen Sarkophage, . 1I, for the introd4ction onto the front anel of the sarco ha"i of b4colic "enre scenes of the she herd that are fo4nd only on the end anels of the early 7on47ents Fdisc4ssed in Cha ter %, aboveK and ibid., . 1HJ16, on the eli7ination of the fi"4re of (elene fro7 the re resentation of the 7yth on the British M4se47 sarco ha"4s Fhere, Ai". 5$K. 51. *. Bei"and, O&ie s @tantike (arko ha"sk4l t4r i7 3ichte ne4erer Aorsch4n"en,P 7? %1 F19%1K: %1#J%15. 5I. A. Mat:, Fin r3misches MeisterAerkD 0er /ahres$eitenBsarkophag 7adminton9-eA Jork F1956? /d+, 1L Frgh.K, . H6: Odie *ntstell4n" bereits eine 2erflYchti"4n" der "e"enst@ndlichen Bede4t4n" seiner )y en 4nd des Be54sstseins von ihr vora4sset:t.P 5#. (ichter7ann, Sp#te FndymionBSarkophage, . 6IJ6H: O&aher 74ss a4ch jeder 2ers4ch scheitern, den Bede4t4n"s"ehalt dieser abbrevierten V*ndy7ion; (arko ha"e 7it de7jeni"en der vollst@ndi"en :4 vereinen, oder "ar ihn daher ab:4leitenP F . 65K. Cf., ho5ever, . 6#, 5here he notes that Odas Bichti"ste des Mythos, das =eschehen, nicht 7ehr dar"estelltMist nicht 7ehr sichtbarP? he also re7arks F . I$K on the absence of *ndy7ion;s other 4s4al attrib4tes. )hese are, for (ichter7ann, si"nificant de art4res fro7 the c4sto7ary icono"ra hy for the tale, and th4s he s4""ests that 5hile the rec47bent fi"4res on these reliefs 7ay all4de to *ndy7ion, neither 5as intended as a re resentation of the 7yth. (ichter7ann concl4des his ar"47ent 5ith a disc4ssion of the ortraits, declarin" Onei7and 5ird sich et5a der Birk4n" des j4"endlichen =esichtes 7it den "rossen -4"en a4f de7 (arko ha" Braschi ent:iehen kXnnen. &as ist nicht *ndy7ionCdas ist ein MenschP F . 6HK. 5%. *n"e7ann, (ntersuchungen $ur Sepulkralsymbolik, . #$: O&ie isolierte 4nd d4rch die :entrale -nbrin"4n" betonte 2er5end4n" der )y en von -riadne 4nd *ndy7ion, deren 8ervorheb4n" de7 antiken Bescha4er "e5iss noch de4tlicher be54sst 5ar als de7 7odernen Betracher, selbst de7 -rch@olo"en, kann als hXchste (t4ffe i7 (treben nach +dentifi:ier4n" 7it de7 vo7 )ode verschonten 8eros an"esehen 5erden.P 55. Aittschen, in 66" II1 F19L9K. 5L. +bid., %5: O&ass er, allein dar"estellt 5ird, ist die fol"erichti"e AortfYhr4n" der 2er5end4n" der "riechischen Mytholo"ie fYr rivate ]5ecke: diese benXti"t nicht 7ehr die a4sfYhrliche 7ytholo"ische *r:@hl4n", sodern n4r die 8a4 t erson, 7it der der )ote identifi:iert 5erden soll.P Get his f4rther s4""estionCthat a for7 of Ode7ytholo"i:ationP did a ear 5hen this 7ost i7 ortant f4nerary sy7bol Fthe central *ndy7ion 7otifK 5as dee7ed ins4fficient by either the artist or atron and 5as for this reason a4"7ented 5ith other sy7bols of "enerally the sa7e si"nificanceCsee7s to 4nder7ine his o5n concl4sion. 5H. Brede, Consecratio, . 1H1. 56. ,. %1 above. 59. Aor e>a7 les of late<third<cent4ry *ndy7ion sarco ha"i 5ith the f4ll ano ly of conventional i7a"ery, see "SR 1++.I, nos. 9#, 9%, and 95. L$. )his as ect has also been observed by (ichter7ann, O&er schlafende =any7ed,P . 5%H, 5ho s4""ests its role in a 7ore "eneral e7 hasis on the beholder FO&ie i77er st@rker 5erdende Beton4n" des -nscha4ensPK in late<anti94e art. L1. )his aesthetic heno7enonCthe re resentation of fa7o4s three<di7ensional sc4l t4ral inventions in t5o<di7ensional for7C layed a traditional role in n47is7atic i7a"ery? see the 7aterials conveniently collected in A. B. +7hoof<Bl47er and P. =ardner, "ncient Coins +llustrating 'ost Masterpieces of 6reek "rtD " -umismatic Commentary on 1ausanias, rev. ed., 5ith co77entary by -. ,. 0ikono7ides FChica"o, 19L%K.

LI. 0n the Prokne and +tys, and this i7 licit 7ode of narration in "eneral, see no5 /. Brilliant, OMar7i classici, storie tra"iche,P 1rospetti)a %L F196LK: IJ%. *ndy7ion also a eared as the s4bject of freestandin" sc4l t4res: see the e>a7 les ill4strated in Bieber, Sculpture of the *ellenistic "ge, fi"s. LI1JLII. )o these e>a7 les 7i"ht be added - 4lei4s;s acco4nt of 34ci4s;s enco4nter 5ith the &iana and -ctaeon "ro4 at Metamorphoses, ++.%. -s .. 8eath has ointed o4t, 34ci4s does not at first notice the fi"4re of -ctaeon, hidden a7id the carved folia"e, and his narration of the scene confor7s recisely to the acco4nt of the *ndy7ion reliefs offered here: Othe do"s are raised 4 , s4 orted by nothin", abo4t to lea o4tMat 34ci4s Dhi7selfEP F"ctaeon, the (nmannerly +ntruder D,e5 Gork, (an Arancisco, Berlin, 199IE, . 1IIK? cf. (ichter7ann, O&er schlafende =any7ed,P . 5%H: O5er be54ndern soll Di.e., abo4t the de icted sceneE, ist in erster 3inie der Betrachter des Bildes.P

Epilog,e
-7on" the 7any records of the art of anti94ity 7ade by Peter Pa4l /4bens d4rin" his +talian jo4rney in the early seventeenth cent4ry is a descri tion of the 4n4s4al - hrodite and -donis sarco ha"4s 5ith the inset scene of the healin" of -eneas;s 5o4nds, no5 at the Casino /os i"liosi Fcf. Ai"s. L and H#K. /4bens recorded the 5ork in his OitineraryP: )he intact relief of -donis: first diss4aded by 2en4s fro7 "oin" on the h4nt, to 5hich he "oes after5ard, assisted by h4nters MpetasatiR, hi7self ar7ed 5ith the h4nter;s s ear Miaculum )enatoriumR. )he co7bat a"ainst the boar, his 5o4ndin" in the thi"h, 5hich so7eone tends 5ith a s on"e, 2en4s holdin" his head. 8is death 5hile C4 id a"ain tends his 5o4nd 5ith the s on"e. 8e e> ires and "ives 4 his so4l as if into the 7o4th of 2en4s, 5ho co7es to his side to receive it.D1E /4bens;s descri tion be"ins 5ith the scene at the far left of the relief, follo5s 5ith the ne>t to its ri"ht, then ski s the central i7a"e only to ret4rn to it o4t of se94ence, as the lo"ical se94el to the e isode of the boar h4nt. 8is "reat stat4re in the history of art, to"ether 5ith his reno5ned trainin" in hilolo"y and his kno5led"e of the classics, 7ade /4bens a7on" the "reatest Oi7a"e readersP of his a"e? nevertheless, he failed to reco"ni:e that the central scene of this relief did not belon" to the 7yth. 8is brief acco4nt not only atte7 ted to incor orate the scene into the fabric of the tale, des ite its obvio4s contradiction of the literary versions of the 7yth, b4t so4"ht as 5ell to reserve in its conventional 7anner the te7 oral se94ence of a vis4al narrative that had been so evidently disr4 ted.DIE )hat /4bens failed to reco"ni:e the -eneas scene on this sarco ha"4s relief is of 7erely anti94arian interest? 5ithin the sco e of the resent 5ork, 5hat is si"nificant is that he 5as 4nable to take his inter retive c4e fro7 the obvio4s distortion of the 7ytholo"ical tale. )he f4ll and si"nificant str4ct4re of this ancient vis4al narrative re7ained o a94e to hi7C/4bens sa5 only the conventional for7 of a contin4o4s narrative series and ass47ed that one scene 5as intended to be follo5ed by the ne>t in the se94ence. )he fle>ibility of the aratactic for7 in 5hich the vario4s scenes 5ere related, allo5in" not only the j4>ta osition of the t5o different stories b4t the evocation of an analo"y bet5een their ty olo"ically related heroesCall of this see7s to have esca ed /4bens;s scr4tiny. Bhat re7ains the 7ost co7 le> and idiosyncratic treat7ent of the -donis 7yth on all the s4rvivin" sarco ha"i 5as for hi7 7erely one 7ore conventional resentation of a fa7iliar story. (4ch an anecdote de7onstrates s4btly yet forcef4lly ho5 so7e characteristics of the art of the distant ast 7ay re7ain rooted in the c4lt4res and ti7es fro7 5hich they s ran". )h4s it confir7s the necessity of a historical reconstr4ction s4ch as the resent one. 04r ho e of co7 rehendin" the objects of c4lt4res lon" ast in the f4llest sense ossible is not, and has never been, o en to any other for7 of detailed scr4tiny.

Bhile the st4dy of the sarco ha"4s reliefs rovides only one a7on" 7any ossible e>a7 les that co4ld be dra5n fro7 the history of vis4al narration, nevertheless it offers rich 7aterial for the e>a7ination of Cand evidence for the i7 ortance ofCthe f4nda7ental vis4al and intellect4al str4ct4res that rovide the fo4ndations 4 on 5hich artists have al5ays b4ilt their vario4s inventions. Aor the for7ative role layed by the 7ain foci of this st4dyCanalo"y, ty olo"y, and 7e7oryCdid live on in the tradition of vis4al narrative. )hese characteristics s4rvived the "reat chan"e fro7 classical to Christian i7a"ery: at ti7es the old a"an for7s 5ere borro5ed and ada ted to rovide the basis of the ne5 Christian i7a"ery? in so7e instances re<Christian 7eta hors served as vehicles for Christian tr4ths, as old ideas 5ere re4sed to ne5 4r ose. Get beyond the obvio4s affinities at the level of either for7 or content, the basic str4ct4res that have been st4died here roved indis ensable, not only for Christianity;s ne5 narratives b4t for its ne5 conce tion of the 5orld. )y olo"y 5as transfor7ed as it beca7e an all< enco7 assin" biblical ty olo"y. Me7ory fo4nd ne5 4r ose in chartin" the history of the Aaith. -bove all, ho5ever, the f4nda7ental i7 ortance of analo"y kne5 no bo4nds, as 5as ointed o4t lon" a"o by Meyer (cha iro: +n the Christian;s effort to co7 rehend the 5hole of his 5orld 5ithin a sin"le syste7 of tho4"ht, every ne5 object and sit4ation 5as s4b7itted to a rocess of analo"ical inter retation. Aor late -nti94ity and the Middle -"es, and artic4larly for reli"io4s tho4"ht, analo"y 5as erha s the 7ost si"nificant relationshi bet5een thin"s.Manalo"y and 4r ose beca7e the key conce ts in e> lainin" the 5orld. - si7ilarity of for7, even a 4rely verbal one in the na7es of thin"s, 5as already a bond bet5een thin"s.M)he discovered analo"ies in t4rn serve a hidden 4r ose of the divine bein". *very event or sta"e is an anno4nce7ent and a re aration of a s4bse94ent sta"e.Mthe 4niverseCnat4re and historyCis sat4rated 5ith Christian finality, everythin" oints beyond itself to a for7al syste7 evident in the analo"ical str4ct4re of thin"s, d4e to a divine intention 5orkin" itself o4t in ti7e.D#E )he history of these narrative str4ct4res and their develo 7ent is, ho5ever, another story, one o4tside the sco e of the resent st4dy. Get it 74st be re7e7bered that Christian theolo"y is rofo4ndly 4nlike classical 7ytholo"yCindeed they are in 7any res ects o osites. Christian theolo"y co4ld not tolerate the consistent resha in" and re<elaboration that lay at the heart of the 7ytholo"ical tradition, as 7yth 4nder5ent 7eta7or hosis a7id the develo 7ent of c4lt4re. ,or co4ld it be served by ty olo"ical a7bi"4ity in the vis4ali:ation of those narratives f4nda7ental to its doctrines. Aor these t5o factors of the narratives fo4nd on so7e of the /o7an sarco ha"iCthe transfor7ation of the 7yths and their re resentation 5ith for7s that all4ded to other, related, storiesCcharacteri:e 7ost vividly the fle>ibility and otency of the classical conce tions and distin"4ish the7 fro7 the Christian. -ll the variations in the 5ay the ancient tales 5ere re resented on the 7ytholo"ical sarco ha"i de7onstrate the so histication that lent contin4al life to the 7ytholo"ical tradition. +ts stories 5ere "iven ne5 vitality as they 5ere reconceived by a creative i7a"ination that "leaned the essence of individ4al 7yths as 5ell as reco"ni:ed the arallels bet5een different tales. )he variants reveal the e>tent to 5hich artists and atrons of the sarco ha"i 7i"ht refashion these fa7o4s tales accordin" to their o5n desires. 0n 7on47ents 7arked by s4ch transfor7ations of the 7yths, atrons 5ere not li7ited to likenin" the7selves to the "ods and heroes of 7yth, consecratin" the7selves in their i7a"es: the 7yths and i7a"es had beco7e, 7ore than ever before, the vehicles that anno4nced a ho e for the f4t4re that lies Obeyond the shores of fate.P )hose f4neral 7on47ents that distin"4ish the7selves a7on" the cor 4s and re ertory of each 7yth by the 4ni94e vis4ali:ations of the tales they reco4nt ill47inate for 4s the real f4nction of sarco ha"4s i7a"ery: to allo5 the beholder to dra5 fro7 these de ictions the 7eanin"s not only of the 7yths b4t of the lives they 5ere 7eant to re resent.

Note)
1. O3a )able entiere d;-donis, re7iere7ent diss4ad[ ar 2en4s d;aller T la chasse, le94el s;en va ara re: adsist[ des Chasse4rs F etasatiK l4y ar7[ d4 +ac4l47 venatori47. 3e Co7bat 9tre le san"lier (a bless4re T la c4isse 94;on l4y ense avec 4ne es on"e 2en4s l4y so4bstenant la teste. (a 7ort tandis9 C4 idon l4y ense encores sa laye avec l;es on"e. 34y e> irant c rendant l;a7e 94asi dans la bo4che de 2en4s 94i s;a roche r la recevoirP: /4bens;s OitineraryP s4rvives in a transcri t 7ade by his friend ,icolas Cla4de Aabri de Peiresc, no5 in Paris FB.,., Ms Ar. 95#$? the descri tion 94oted is fro7 folio I$$rK? the transcri tion 5as 4blished by M. van der Me4len<(chre"ard4s, 1eter 1aulus Rubens "nti4uarius, Collector and Copyist of "nti4ue 6ems F-l hen<on<the</hine, 19H5K, . I$5. 04r Ai". H# ^ is an anony7o4s si>teenth<cent4ry dra5in", no5 at Bindsor, for7erly art of the OM4seo CartaceoP of Cassiano dal Po::o. I. /4bens 7ost certainly kne5 the so4rces, =reek as 5ell as 3atin: cf. his dra5in" of 2en4s la7entin" -donis F rivate collection, 3ondon? see .. 8eld, RubensD Selected 0raAings, I vols. D3ondon, 19L9E, cat. no. I#, late IIK, 5here he has added a 3atin inscri tion that ada ts a hrase fro7 Bion;s 'ament for "donis Fs irit47 7orientis e>ci it ore D(he dra5s o4t the so4l of the dyin" 5ith her 7o4thEK, 5hich re eats in essence /4bens;s inter retation of the final scene on the /os i"liosi sarco ha"4s. #. M. (cha iro, O)he .ose h (cenes on the Ma>i7ian4s )hrone in /avennaP D195IE? re rinted in (cha iro, 'ate "nti4ue, Farly Christian, and Medie)al "rtD Selected 1apers F3ondon, 196$K, %IJ%#.

Selected 3ibliography
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&rer4 , 8. O)oten7aske 4nd -hnenbild bei den /X7ern,P RM 6H F196$K: 61J1I9. &Y77ler, A. O-donis.P +n 1aulys RealBFncyclop#die der klassischen "ltertumsAissenschaft, edited by =. Bisso5a F(t4tt"art, 169%K, Bd. +, cols. #6%J#95. &4 ont, A. O3es 7orts et la 7[7oire: 3e 7as94e f4n\bre.P +n 'a mort, les morts, et lauBdel& dans le monde romain D-ctes d4 collo94e de Caen, I$JII ,ov. 1965E, edited by A. 8inard FCaen, 196HK, 1LHJ 1HI. *delstein, *. .., and 3. *delstein. "sclepius F3ondon, 19%5K. *"er, ..<C. 'e sommeil et la mort dans la 6rCce anti4ue FParis, 19LLK. *lse, =. "ristotles 1oeticsD 8he "rgument FCa7brid"e, M-, 195HK. *n"e7ann, .. (ntersuchungen $ur Sepulkralsymbolik der sp#teren r3mischen Kaiser$eit DZ /b"Chr, *r"., Bd. IE FM4nich, 19H#K. *ttlin"er, *. O-rretina 4nd a4"4steisches (ilber.P +n 6estalt und 6eschichteD %estschrift K. Schefold FBern, 19LHK, 115J1I$. Aears, .. /. O(4lla or *ndy7ion: - /econsideration of a &enari4s of 3. -e7ili4s (4lla,P "m-umSocMus- I$ F19H5K: I9J#H. Aeeney, &. C. O V(hall + Co7 are )heeMW;: Cat4ll4s L6B and the 3i7its of -nalo"y.P +n "uthor and "udience in 'atin 'iterature, edited by ). Bood7an and .. Po5ell FCa7brid"e, 199IK, ##J%%. Aer"4son, .. 8he Religions of the Roman Fmpire F3ondon, 19H$K. Aerri, (. OAeno7eni di role sis,P "tti'inc F/endicontiK, ser. 6, # F19%6K: L1J6$. Aiehn, K. OPhiloktetes.P +n 1aulys RealBFncyclop#die der klassischen "ltertumsAissenschaft, edited by =. Bisso5a F(t4tt"art, 19#6K, Bd. 1+1, cols. I5$$JI5$9. Aittschen, K. D/evie5 of (ichter7ann, 19LLE, 66" II1 F19L9K: %1J%9. CCCCCC. 0er Meleager Sarkophag D3iebie"ha4s Mono"ra hien, +E FArankf4rt a7 Main, 19H5K. Aontenrose, .. ,rionD 8he Myth of the *unter and the *unters FBerkeley and 3os -n"eles, 1961K DZ Univ. of California P4blications in Classical (t4dies, I#E. Ao5ler, -. Kinds of 'iteratureD "n +ntroduction to the 8heory of 6enres and Modes F0>ford, 196IK. Ariedl@nder, 3. 0arstellungen aus der Sittengeschichte Roms in der ?eit )on "ugustus bis $um "usgang der "ntonine F16LIJH1? re rint, 3ei :i", 1919JI1K. Aronin", 8. O&ie ikono"ra hische )radition der kaiser:eitlichen 7ytholo"ischen (arko ha"reliefs,P /d+ 95 F196$K: #IIJ#%1. =abel7ann, 8. O*ndy7ion.P +n '+MC, +++ F196%K, HILJH%#. CCCCCC. O2ita activa 4nd conte7 lativa a4f eine7 Mail@nder (arko ha",P Marb21r F196%K DO(y7 osi47 Yber die antiken (arko ha"ePE: 1H#J16#. =alinsky, =. K. O2er"il;s /o7anitas and 8is -da tation of =reek 8eroes.P +n "-R2 ++.#1.I F1961K, 965J1$1$. =allo, -. O3e itt4re ra resentanti -rianna abbandonata in a7biente o7 eiano,P RSt1omp I F1966K: 5HJ6$. =arland, /. 8he 6reek 2ay of 0eath F+thaca, ,G, 1965K.

=entili, =. 2. OPia::a -r7erina,P -Sc, ser. 2+++, % F195$K: I91J##5. CCCCCC. 'a )illa erculia di 1ia$$a "rmerinaD + mosaici figurati F/o7e, 1959K. =erke, A. 0ie christlichen Sarkophage der )orkonstantinischen ?eit FBerlin, 19%$K. =hiron<Bista"ne, P. OPh\dre o4 l;a7o4r interdit: *ssai s4r la si"nification d4 V7otif d4 Ph\dre; et son [vol4tion dans l;anti94it[ classi94e,P Klio L% F196IK: I9J%9. CCCCCC. O3e 7otif de Ph\dre: &e4> e>e7 les d;4n sch[7a icono"ra hi94e classi94e 4tilis[ dans l;art hell[nisti94e et ro7ain,P in1R"K8+K" D)5elfth +nternational Con"ress of Classical -rchaeolo"y, -thens, 196#E F-thens, 1966K, 6IJ6H. =illis, &. Fros and 0eath in the "eneid /o7e, 196#K. =iordani, /. OAeno7eni di role sis dise"nativa nei 7osaici dell;arco di (anta Maria Ma""iore,P Rend1ont"cc %L F19H#JH%K: II5JI%9. =i4liano, -., ed. Museo -a$ionale RomanoD 'e Sculture, 1$ vols. F/o7e, 19H9J66K. =i4liano, -., and B. Pal7a. 'a maniera ateniense di et& romanaD + maestri dei sarcofagi attici DZ StMisc, I%E F/o7e, 19H6K. =necchi, A. + medaglioni romani, # vols. FMilan, 191IK. =oette, 8. /. OBeobacht4n"en :4 rX7ischen Kinder ortraits,P "" F1969K: %5#J%H1. =o7brich, *. 8. "by 2arburgD "n +ntellectual 7iography 0>ford, 19H$K. =ori, -. A. +nscriptiones anti4uae 6raecae et Romanae,+++ F1H%#K. =raha7, .. B. O)he /anso7 of 8ector on a ,e5 Melian /elief,P "/" LI F1956K: #1#J#19. =reifenha"en, -. O]47 (at4rn"la4ben der /enaissance,P 0ie "ntike 11 F19#5K: LHJ6%. =riess7air, *. 0as Moti) der Mors +mmatura in den griechischen metrischen 6rabinschriften F+nnsbr4ck, 19LLK. =riffin, .. O)he Creation of Characters in the "eneid.P +n 'iterary and "rtistic 1atronage in "ncient Rome, edited by B. K. =old F-4stin, )1, 196IK, 116J1#%. CCCCCC. 'atin 1oets and Roman 'ife F3ondon, 1965K. CCCCCC. 8he Mirror of Myth F3ondon, 196LK. =ri7al, P. O2[n4s et l;i77ortalit[,P in*ommages & 2. 0eonna FBr4ssels, 195H Z Coll. 3ato74s, 112+++K, I56ff. =ronin"en, B. -. van. 'a composition litt5raire grec4ue F-7sterda7, 1956K. =Ytscho5, M. O(arko ha"<(t4dien +,P RM %L F19#1K: 9$J116. =4idori::i, =., ed. +l sogno in 6recia FBari, 1966K. =4t:5iller, K. .. 8heocritus 1astoral "nalogiesD 8he %ormation of a 6enre FMadison, B+, 1991K. 8aa", ). -arrati)e 8echni4ue in "ncient 6reek Romances FU sala, 19H1K. 8a7ber", P. =. Studies in Roman +mperial "rt, Aith Special Reference to the State Reliefs of the Second Century FCo enha"en, 19%5K. 8annestad, ,. Roman "rt and +mperial 1olicy F-rh4s, 196LK. 8anson, .. B. O&rea7s and 2isions in the =raeco</o7an Borld and *arly Christianity.P +n "-R2

++.I#.I F196$K, 1#95J1%IH. 8ardie, -. Statius and the OSil)aePD 1oets, 1atrons, and FpideiEis in the 6raecoBRoman 2orld F3iver ool, 196#K. 8arris, B. 2. "ncient 'iteracy FCa7brid"e and 3ondon, 1969K. 8@4sle, 8. 0as 0enkmal als 6arant des -achruhms FM4nich, 196$K. 8ay7, ,. A. 0el 8esoro 7ritannicoco)ero il museo nummarioc I vols. F3ondon, 1H19K. 8eath, .. "ctaeon, the (nmannerly +ntruder F,e5 Gork, (an Arancisco, Berlin, 199IK. 8eckscher, B. (. +magoD "ncient "rt and +ts Fchoes in 1ostBClassical 8imes. " 1ictorial Calendar for 1 N: FUtrecht, 19L#K. 8eil7eyer, B. &. O&er (arko ha" /in4ccini: ,e4er5erb4n" fYr des -ntiken74se47,P /b1reussKul I% F196HK: I15JII6. 8eld, .. RubensD Selected 0raAings. < )ols.> F3ondon, 19L9K. 8erdejYr"en, 8. OBeobacht4n"en an den 3Ynettenreliefs 8adrianischer =irlandensarko ha"e,P "ntK :<d F1969K: 1HJIL. 8err7ann, P. 0enkm#ler des Malerei des "ltertums FM4nich, 19$%ff.K. 8esber", 8. von. O&as MYnchner Ba4ernrelief,P M=/b #H F196LK: HJ#I. 8i77el7ann, ,. O(arcofa"i ro7ani a rilievo: Proble7i di cronolo"ia e icono"rafia,P "nn1isa, (er. +++, %` F19H%K: 1#9J1H6. *ispania "nti4uaD 0enkm#ler der R3mer$eit. *dited by -. ,Ynnerich<-s74sFMain:, 199#K. 8off7ann, 8. OBellero hon and the Chi7aira in Malib4: - =reek Myth and an -rchaeolo"ical Conte>t,P Studia >aria from the /. 1aul 6etty Museum, vol. + DZ 0ccasional Pa ers on -nti94ities, 6E FMalib4, Calif., 199#K, L#JH$. 8Xlscher, ). R3mische 7ildsprache als semantisches System F8eidelber", 196H DZ -bhandl4n"en der 8eidelber"er -kade7is der BissenschaftenEK. 8ollander, *. "sk=lap und >enusD Fine KulturB und Sittengeschichte im Spiegel des "rt$es FBerlin, 19I6K. 8ollander, /. O)y olo"y and (ec4lar 3iterat4re: (o7e Medieval Proble7s and *>a7 les.P +n 'iterary (ses of 8ypology from the 'ate Middle "ges to the 1resent, edited by *. Miner FPrinceton, ,., 19HHK, #J19. 8olt:7ann, B. O-skle ios.P +n '+MC, ++ F196%K, 6L#J69L. 8o77el, P. Studien $u den r3mischen %igurengiebeln der Kaiser$eit FBerlin, 195%K. 8o kins, K. 0eath and ReneAal Ca7brid"e, 196#K. 8orsfall, ,. O(tesichor4s at BovillaeWP /*S 99 F19H9K: ILJ%6. CCCCCC. OMyth and Mytho"ra hy at /o7e.P +n Roman Myth and Mythography, edited by .. ,. Bre77er and ,. M. 8orsfall F3ondon, 196HK DZ University of 3ondon, 7ulletin of the +nstitute of Classical Studies, (4 le7ent 5IE, 1J11. CCCCCC. O)he Uses of 3iteracy and the Cena 8rimalchionis,P . 6aR, ser. ++, #5 F1969K: H%J69? 19%JI$9.

84ba4>, .. 'es thCmes bucoli4ues dans la po5sie latine FBr4ssels, 19#$K. +7hoof<Bl47er, A. B. and P. =ardner. "ncient Coins +llustrating 'ost Masterpieces of 6reek "rtD " -umismatic Commentary on 1ausanias. /ev. ed., 5ith co77entary by -. ,. 0ikono7ides FChica"o, 19L%K. .ohansen, K. Ariis. O,e5 *vidence abo4t the 8oby (ilver C4 s,P "cta"rch #1 F19L$K: 165J19$. .ones, C. P. 1lutarch and Rome F0>ford, 19H1K. .4cker, +. 0er 6estus des "poskopein F]4rich, 195LK. .4n", 8. O]4r 2or"eschichte des s @tantoninischen (til5andels,P Marb21r F196%K: 59J1$#. Kaiser "ugustus und die )erlorene Republik e>. cat.: Berlin, 1966K. Ka7 en, ,. O0bservations on the -ncient Uses of the ( ada /eliefs,P "ntCl %6 F19H9K: 56#JL$$. Ke"el<Brink"reve, *. 8he Fchoing 2oodsD 7ucolic and 1astoral from 8heocritus to 2ordsAorth F3eiden, 199$K. Kennedy, =. -. 6reek Rhetoric under Christian Fmperors FPrinceton, ,., 196#K. Ke4ls, *. O-eschyl4s; ,iobe and - 4lian A4nerary (y7bolis7,P ?1F #$ F19H6K: %1JL6. CCCCCC. O/hetoric and 2is4al -ids in =reece and /o7eP . +n Communication "rts in the "ncient 2orld, edited by *. -. 8avelock and .. P. 8ershbell F,e5 Gork, 19H6K, 1I1J1#%. Kirk, =. (. 8he +liadD " Commentary. 2ol. ++, Books 5J6 FCa7brid"e, 199$K. Kla4ser, )h. O(t4dien :4r *ntsteh4n"s"eschichte der christlichen K4nst, +,P /b"Chr 1 F1956K: I$J51? and O++,P /b"Chr # F19L$K: 11IJ1##. Kleiner, &. *. *. O(econd<Cent4ry Mytholo"ical Portrait4re: Mars and 2en4s,P 'atomus %$ F1961K: 51IJ5%%. CCCCCC. O/o7an A4nerary -rt and -rchitect4re: 0bservations on the (i"nificance of /ecent (t4dies,P /R" 1 F1966K: 115J119. Koch, =. O]47 *berja"dsarko ha" der (a77l4n" 34d5i",P "" F19H%K: L1%JL#$. CCCCCC. 0ie mythologischen SarkophageD MeleagerDZ "SR 1++.LE FBerlin, 19H5K. CCCCCC. O*in *ndy7ionsarko ha" in -rles,P 7/b 1HH F19HHK: I%5JIH$. CCCCCC. O(arko ha"e i7 rX7ischen (yrien,P "" F19HHK: #66J#95. CCCCCC. O*in *ndy7ionsarko ha" in Malib4,P 6ettyMus/ 6 F196$K: 1I9J1%$. CCCCCC. O(tadtrX7isch oder XstlichW Proble7e eini"er kaiser:eitlicher (arko ha"e in /o7,P 7/b 16$ F196$K: 51J1$%. CCCCCC. O]4r ,e4bearbeit4n" der 7ytholo"ischen (arko ha"e,P Marb21r F196%K DO(y7 osi47 Yber die antiken (arko ha"ePE: IHJ%I. Koch, =., and 8. (ichter7ann. R3mische Sarkophage DZ *andbuch der "rch#ologieE FM4nich, 196IK. Kossat:<&eis7ann, -. O-chille4s.P +n '+MC, + F1961K: #HJI$$. Kottin", B. OA4ss5asch4n".P +n R'"C F19LIK, 2+++, H%#JHHH. K4n:, =. A. Rings for the %inger F3ondon, 191HK. KYn:l, *. O&er a4"4steische (ilbercalath4s i7 /heinischen 3andes74se47 Bonn,P 7/b 1L9 F19L9K:

#I1J#9I. 3a7brechts, P. O3a r[s4rrection d;-donis.P +n M5langes +sidore 'e)y DZ "nnuaire de l+nstitut de philologie et dhistoire orientales et sla)es, 1+++E FBr4ssels, 1955K, I$HJI%$. 3a7eere, B. OUn sy7bole Pytha"oricien dans l;art f4n[raire de /o7e,P 7C* L# F19#9K: %#J65. 3a Penna, -. OBreve considera:ioni s4lla divini::a:ione de"li eroi e s4l canone de"li eroi divina::ati.P +n *ommages & *enri 'e 7onniecD Res Sacrae FBr4ssels, 1966K, IH5JI6H. 3atti7ore, /. 8hemes in 6reek and 'atin Fpitaphs FUrbana, +3, 19%IK. 3a4rens, P. 'abeille dans lambreD C5l5bration de l5pigramme de l5po4ue aleEandrine & la fin de la Renaissance FParis, 1969K. 3a4sber", 8. *andbuch der literarischen Rhetorik. I vols. FM4nich, 19L$K. 3each, *. B. 8he Rhetoric of SpaceD 'iterary and "rtistic Representations of 'andscape in Republican and "ugustan Rome FPrinceton, ,., 1966K. 3e Boe4ffle, -. O2[n4s, V[toile d4 soir,; et les [crivains latins,P RF' %$ F19LIK: 1I$J1I5. 3eh7ann, P. B. . Roman 2all 1aintings from 7oscoreale in the Metropolitan Museum of "rt FCa7brid"e, M-, 195#K. 3eh7ann<8artleben, K., and *. C. 0lsen. 0ionysiac Sarcophagi in 7altimore FBalti7ore, M&, 19%IK. 3iebesch4et:, .. 8. B. =. Continuity and Change in Roman Religion F0>ford, 19H9K. 3i"orio, P. 0elle antichit& di Roma. ,a les, Biblioteca ,a:ionale, Cod. 1+++.B.1$. 3inant de Bellefonds, P. Sarcophages atti4ues de la -5cropole de 8yrD (ne 5tude iconographi4ue FParis, 1965K. CCCCCC. O8y7[naios: Une icono"ra hie contest[e,P MF%R" 1$# F1991K: 19HJI1I. 3io4<=ille, B. Cultes h5roS4ues romainsD 'es fondateurs FParis, 196$K. 3i old, =. 0ie Skulpturen des >aticanischen Museums, vol. # FBerlin, 19#LK. 3issi Caronna, *. O3;ara f4neraria di 7ar7o s4l basa7ento di travertino,P -Sc, ser. 2+++, I9 F19H5K: I$5JI1%. 3itchfield, 8. B. O,ational *>e7 la 2irt4tis in /o7an 3iterat4re,P *SC1 I5 F191%K: 1JH1. 3loyd, =. *. /. 1olarity and "nalogyD 8Ao 8ypes of "rgumentation in Farly 6reek 8hought FCa7brid"e, 19LLK. 3o reato, P. OAeno7eni rolettici in dittici tardo<antichi,P "rchCl 1L F19L%K: #1IJ#1%. 3ora4>, ,. O3a belle 7ort s artiate,P KtCma I F19HHK: 1$5J1I$. 3o5ensta7, (. 8he 0eath of 1atroklosD " Study in 8ypology FKXni"stein, 1961K. 3yons, .. &. 8he Rhetoric of FEample in Farly Modern %rance and +taly FPrinceton, ,., 1969K. Macchioro, 2. O+l si7bolis7o nelle fi"4ra:ioni se olcrali ro7ane: (t4di di er7ene4tica,P Mem-ap 1 F1911K: 9J1%#. Macleod, C. B. O- Use of Myth in -ncient Poetry,P C@ I% F19H%K: 6IJ9#. MacM4llen, /. O(o7e Pict4res in -77ian4s Marcellin4s,P "rt7 %L F19L%K: %#5J%%5. Maderna, C. +uppiter, 0iomedes und Merkur als >orbilder f=r r3mische 7ildnisstatuen F8eidelber",

1966K. Manacorda, &. "rcheologia (rbana a RomaD +l progetto della Crypta 7albi FAlorence, 196IK. Marcad[, .. O3a olyvalence de l;i7a"e dans la sc4l t4re "rec94e.P +n F+0,',1,++" D-ctes d4 Collo94e s4r les robl\7es de l;i7a"e dans le 7onde 7[diterran[en classi94e, 196IE F/o7e, 1965K, IHJ#9. Marro4, 8. *istoire de l5ducation dans lanti4uit5, Lth ed. FParis, 19L5K. Marvin, M. OAreestandin" (c4l t4res fro7 the Baths of Caracalla,P "/" 6H F196#K: #%HJ#6%. Mat:, A. Fin r3misches MeisterAerkD 0er /ahres$eitenBsarkophag 7adminton9-eA Jork FBerlin, 1956K DZ /d+, *r"@n:4n"heft, 19E. CCCCCC. 0ie dionysischen Sarkophage DZ "SR +2E, % vols. FBerlin, 19L6? 19L9? 19H5K. McCann, -. Roman Sarcophagi in the Metropolitan Museum of "rt F,e5 Gork, 19H6K. Me4len<(chre"ard4s, M. van der. 1eter 1aulus Rubens "nti4uarius, Collector and Copyist of "nti4ue 6ems F-l hen<on<the</hine, 19H5K. Mielsch, 8. O]4r stadtrX7ischen Malerei des %. .ahrh4nderts n. Chr.,P RM 65 F19H6K: 151JI$H. Mikocki, ). OAa4stine la .e4ne en 2[n4sC7ythes et faits.P +n Ritratto ufficiale e ritratto pri)ato D-tti della ++ conferen:a interna:ionale s4l ritratto ro7ano, 196%E F/o7e, 1966K, #6#J#69. Milani, 3. -. +l mito di %ilottete FAlorence, 16H9K. Minois, =. *istory of ,ld "ge from "nti4uity to the Renaissance, trans. (. 8. )enison Ca7brid"e, 1969K. Mittelstadt, M. C. O3on"4s: &a hnis and Chloe and /o7an ,arrative Paintin",P 'atomus IL F19LHK: H5IJHL1. Montfa4con, B. '"nti4uit5 FEpli4u5e, 5 vols. FParis, 1H19J1HI%K. Morey, C. /., and 3. B. .ones. Miniatures of the Manuscripts of 8erence FPrinceton, ,., 19#1K. M4sso, 3. O+l tras orto f4nebre di -chille s4l rilievo Colonna<=rottaferrata: Una nota di icono"rafia,P 7ullComm 9# F1969J9$K: 9JII. ,adea4, /. O)he Pro"y7nas7ata of - thoni4s, in )ranslation,P SpMon 19 F-nn -rbor, 195IK: IL%J I65. ,a"y, =. 6reek Myth and 1oetics F+thaca, ,G, 199$K. ,e47ann, =. 1robleme des griechischen 2eihreliefs F)Ybin"en, 19H9K. ,ielsen, ). 8., et al. O-thenian =rave Mon47ents and (ocial Class,P 6R7S #$ F1969K: %11J%I$. ,isbet, /., 3. Bjertr4 , M. 8. 8ansen, 3. /4binstein, and ). 2ester"aard. O)he 0ak and the ->e: (y7bolis7 in (eneca, *ercules ,etaeus.P . +n *omo >iatorD Classical Fssays for /ohn 7ramble, edited by M. Bhitby and P. 8ardie FBristol, 196HK, I%#JI5I. ,ock, -. &. OCre7ation and B4rial in the /o7an *7 ire,P *8hR I5 F19#IK: #I1J#59. CCCCCC. O(arco ha"i and (y7bolis7P . Drevie5 of C47ont, 19%IE, "/" 5$ F19%LK: 1%$J1H$. CCCCCC. O)he *7 eror;s &ivine Co7es,P /RS #H F19%HK: 1$IJ11L. ,oelke, P. O-eneasdarstell4n"en in der rX7ischen Plastik der /hein:one,P 6ermania 5% F19HLK: %$9J %#9.

,orth, .. -. O)hese 8e Cannot )akeP . Drevie5 articleE, /RS H# F196#K: 1L9J1H%. ,oto o4los, .. OParata>is in 8o7er: - ,e5 1JI#. roach to 8o7eric 3iterary Criticis7,P 8"1" 6$ F19%9K:

0ehler, 8. =. %oto und SkulpturD R3mische "ntiken in englischen Schl3bern FColo"ne, 196$K. 0"le, M. O)he (lee of &eath,P M""R I F19##K: 61J11H. Paardt, /. )h. van der. O2ario4s -s ects of ,arrative )echni94e in - 4lei4s; Metamorphoses.P +n "spects of "puleius 6olden "ss, edited by B. 3. 8ij7ans, .r., and /. )h. van der Paardt F=ronin"en, 19H6K, H5J9%. Pa"e, &. Sappho and "lcaeus F0>ford, 1955K. Paira4lt, A.<8. Recherches sur 4uel4ues s5ries durnes de >olterra & repr5sentations mythologi4ues F/o7e, 19HIK. Panofsky, *. O&ie Pers ektive als symbolische %orm,P . >ortr#ge der 7ibliothek 2arburg 19I%J19I5 F3ei :i" and Berlin, 19IHK, . I56J##$. CCCCCC. 8omb SculptureD +ts Changing "spects from "ncient Fgypt to 7ernini F3ondon, 19L%K. Parise Badoni, A. O-rianna a ,asso: 3a rielabora:ione di 4n 7ito "reco in a7biente ro7ano,P 0ial"rch, ser. #, 6 F199$K: H#J69. Pease, -. (., ed. Cicero, 0e -atura 0eorum. I vols. FCa7brid"e, M-, 1955K. Pecere, 0. O(elene e *ndi7ione F-nth. 3at. ## /.K,P M"+" I% F19HIK: #$LJ#1L. Pelikan, 0. >om antiken Realismus $ur sp#tantiken FEpressi)it#t FPra"4e, 19L5K. Perry, B. *. O)he *arly =reek Ca acity for 2ie5in" )hin"s (e arately,P 8"1" L6 F19#HK: %$#J%IH. Pestalo::a, 2. O(elene e la 7itolo"ia l4nare nel 7ondo reli"ioso reellenico,P "cme L F195#K: #%9J#H%. CCCCCC. O-ioleis e Kares nel 7ito di *ndi7ione,P "rch6lott+tal #9 F195%K: IHJ%I. Peters, B. .. ). 'andscape in RomanoBCampanian Mural 1ainting F=ronin"en, 19L#K. Peterson, *. O(e olcro sco erto s4lla 2ia 3atina,P "d+ #I F16L$K: #%6J%15. Po4lsen, 2. O&ie (ilberbecher von 8oby,P "nt1 6 F19L6K: L9JH%. Prie4r, .. 'a mort dans lanti4uit5 romaine F/ennes, 196LK. P4rdie, -. B. 'atin >erse +nscriptions F3ondon, 19#5K. /aeder, .. 0ie statuarische "usstattung der >illa *adriana bei 8i)oli FArankf4rt a7 Main, 196#K. /aff, ). O&ie +kono"ra hie des 7ittelalterlichen Bind ersonifikationen,P "achKbl %6 F19H6JH9K: H1J I16. /eardon, B. P. Courants litt5raires grecs des ++e et +++e siCcles aprCs /.BC. FParis, 19H1K. /einach, (. R5pertoire des peintures grec4ues et romaines FParis, 19IIK. /ichardson, ,. .. O/eco"nition (cenes in the ,dyssey and -ncient 3iterary Criticis7,P 1ap'i)'atSem % F196#K: I19JI#5. /ich7ond, +. -. "rchaeology, and the "fterB'ife in 1agan and Christian +magery F0>ford, 195$K. /ichter, =. M. -. 8hree Critical 1eriods in 6reek Sculpture F0>ford, 1951K.

/ichter, B. O&er /ostocker -donissarko ha",P %estschrift 6ottfried )on '=cken DZ 2iss?Rostock 1H F19L6K: H%HJH5HE. /in"bo7, (. O(o7e Pictorial Conventions for the /eco4ntin" of )ho4"hts and *> eriences in 3ate Medieval -rt.P +n Medie)al +conography and -arrati)e F0dense, &en7ark, 196$K: #6JL9. /iti, ). O3;4so di immagini onomastichi nei 7on47enti se olcrali di etT "reca,P "rchCl I5JIL F19H#J H%K: L#9JLL$. CCCCCC. O+77a"ini ono7astiche s4i 7on47enti se olcrali di etT i7 eriale,P "tti'inc FMe7orieK, ser. 2+++, vol. I1% F/o7e, 19HHK: I5HJ#9L. /obert, C. 0ie antiken Sarkophagreliefs. Bd. ++: Mythologische Cycklen 169$K. CCCCCC. 0ie antiken Sarkophagreliefs. Bd. +++: Fin$elmythen, 1 -bt. FBerlin, 169HK? I -bt. FBerlin, 19$%K? # -bt. FBerlin, 19$9K. CCCCCC. O- Collection of /o7an (arco ha"i at Cliveden,P /*S I$ F19$$K: 61J96. CCCCCC. "rchaeologische *ermeneutik FBerlin, 1919K. /oden5alt, =. O)he )hree =races on a Al4ted (arco ha"4s,P /RS I6 F19#6K: L$JL%. CCCCCC. O/X7ische /eliefs: 2orst4fen :4r ( @tantike,P /d+ 55 F19%$K: 1IJ%#. CCCCCC. O*in )y 4s rX7ischer (arko ha"e,P 7/b 1%H F19%IK: I1HJIIH. /o7ano, &. 'etteratura e storia nellet& tardoromana FPaler7o, 19H9K. /osen7eyer, ). =. 8he 6reen CabinetD 8heocritus and the Furopean 1astoral 'yric FBerkeley and 3os -n"eles, 19L9K. /o4veret, -. *istoire et imaginaire de la peinture ancienne >e siCcle a). /.9BC.9+r siCcle ap. /.BC. K F/o7e, 1969K. /4dolf, /. "ttische Sarkophage aus Fphesos F2ienna, 1969K. /4ssell, &. -. 1lutarch F3ondon, 19H#K. CCCCCC. "ntonine 'iterature FCa7brid"e, 199$K. (ad4rska, -. 'es 8ables +lia4ues FBarsa5, 19L%K. (aid, *. B. 7eginningsD +ntentions and Methods FBalti7ore, M&, 19H5K. (a>l, A. O&ie -4sdr4ck"eb@rden der bildenden K4nstP . D19#IE. +n -. B. Barb4r", "usgeA#hlte Schriften und 2=rdigungen,edited by &. B4ttke FBaden<Baden, 199IK, %19J%#1. (cha iro, M. O)he .ose h (cenes on the Ma>i7ian4s )hrone in /avennaP . D195IE. /e rinted in (cha iro, 'ate "nti4ue, Farly Christian, and Medie)al "rtD Selected 1apers F3ondon, 196$K, #%J%H. (cha4enb4r", K. OPortr@ts a4f rX7ischen (arko ha"en.P +n F+K,-FSD %estschrift f=r *ans /ucker FBasle, 196$K, 15#J159. (chefold, K. O2orbilder rX7ischer 3andschafts7alerei,P "M H1 F195LK: I11JI#1. CCCCCC. 0ie 2#nde 1ompeWisD 8opographisches >er$eichnis der 7ildmoti)e FBerlin, 195HK. CCCCCC. O0ri"ins of /o7an 3andsca e Paintin",P "rt7 %I F19L$K: 6HJ9L. CCCCCC. O3a force cr[atrice d4 sy7bolis7e f4n[raire des /o7ains,P R" I F19L1K: 1HHJI$9. CCCCCC. >ergessenes 1ompeWiD (n)er3ffentlichte 7ilder r3mischer 2anddekorationen in

geschichtlicher %olge herausgegeben FBerlin and M4nich, 19LIK CCCCCC. 'a peinture pomp5ienneD Fssai sur l5)olution de sa signification, trans. ..<M. Croisille, Br4ssels, 19HIK. CCCCCC. O&ie rX7ische Bolfin 4nd der Urs r4n" der /o7sa"enP . D19L6E. /e rinted in K. (chefold,2ort und 7ildD Studien $ur 6egenAart der "ntike FBasel, 19H5K, 1I1J1I%. CCCCCC. OBilderbYcher als 2orla"en rX7ischer (arko ha"e,P MF%R" 66 F19HLK: H59JH96. (chefold, K., and A. .4n". 0ie Sagen )on den "rgonauten, )on 8heben und 8roia in der klassischen und hellenistischen Kunst FM4nich, 1969K. (chiesaro, -. Simulacrum et +magoD 6li argomenti analogici nel 0e Rerum -atura. FPisa, 199$K. (chillin", /. 'a religion romaine de >5nus depuis les origines Wus4uau temps d"uguste FParis, 195%K. CCCCCC. O3a d[ification T /o7e: )radition latine et interf[rence "rec94e,P RF' 56 F196$K: 1#HJ 15I. (chla7, C. OPlatonica in the Metamorphoses of - 4lei4s,P 8"1" 1$1 F19H$K: %HHJ%6H. CCCCCC. Cupid and 1sycheD "puleius and the Monuments FUniversity Park, P-, 19HLK. (ch7idt, M. OMakaria +.P +n '+MC 2+ F199IK: #6LJ#96. (chneider, B. O]5ei rX7ische *lfenbein latten 7it 7ytholo"ischen (:enen,P K3ln/b>%r=h6esch I# F199$K: I55JIHI. (chrader, 8. *ypnos DZ Binckel7anns ro"ra77, 56E FBerlin, 19ILK. (ch47acher, B. *irt und 6uter *irt. DZ R3m@Schr, (4 le7ent #%E F/o7e, Areib4r", 2ienna, 19HHK. (ervais<(oye:, B. O-donis.P +n '+MC, + F1961K, IIIJII9. (ettis, (. C*F',-FD Saggio sull"phrodite (rania di %idia FPisa, 19LLK. CCCCCC. O+77a"ini della 7edita:ione, dell;incerte::a e del enti7ento nell;arte antica,P 1rospetti)a I F19H5K: %J16. CCCCCC. OPer l;inter reta:ione di Pia::a -r7erina,P MF%R" 6H F19H5K: 6H#J99%. CCCCCC. 'a Colonna 8raiana F)4rin, 1966K. (ichter7ann, 8. O&as Motiv des Melea"er,P RM L9 F19LIK: %#J51. CCCCCC. Sp#te FndymionBSarkophageD Methodisches $ur +nterpretation FBaden<Baden, 19LLK. CCCCCC. O(arko ha"<Mis:ellen,P "" F19H%K: #$6J#I#. CCCCCC. O&er schlafende =any7ed,P 6ymnasium 6# F19HLK: 5#%J55$. CCCCCC. OMytholo"ie 4nd 3andschaft,P 6ymnasium 91 F196%K: I69J#$5. (ichter7ann, 8., and =. Koch. 6riechische Mythen auf r3mischen Sarkophagen F)Ybin"en, 19H5K. (ilberber"<Pierce, (. OPolitics and Private +7a"ery: )he (acral<+dyllic 3andsca es,P "rt* # F196$K: I%1JI51. (i7on, *. 0ie 1ortlandB)ase FMain:, 195HK. CCCCCC. OU7"ede4tete Bandbilder des Casa del Citarista :4 Po7 eji.P +n M5langes Mansel F-nkara, 19H%K, +, #1J%#. CCCCCC. O/X7ische (arko ha"e in .a an,P "" F196IK: 5H5J59%.

CCCCCC. "ugustusD Kunst und 'eben in Rom um die ?eitenAende FM4nich, 196LK. (inn, A. Stadtr3mische Marmorurnen FMain:, 196HK. (k4tsch, 0., ed. 8he "nnals of @. Fnnius F0>ford, 1965K. (latkin, 3. 8he 1oAer of 8hetisD "llusion and +nterpretation in the +liad. FBerkeley and 3os -n"eles, 199IK. (tadter, P. O)he Proe7s to Pl4tarch;s 'i)es,P . +CS 1# F1966K: IH5JI95. (teiner, =. O)he =ra hic -nalo"4e fro7 Myth in =reek /o7ance.P +n Classical Studies 1resented to 7en FdAin 1erry DZ +llinois (t4dies in 3an"4a"e and 3iterat4re, 56E FUrbana, 19L9K, 1I#J1#H. (tevenson, ). B. Miniature 0ecoration in the >atican >irgilD " Study in 'ate "nti4ue +conography F)Ybin"en, 196#K. (trocka, 2. M. O=Xtterliebschaften 4nd =attenliebe: *in verkanntes Bild ro"ra77 in Po7 eji 2+, 1L, 15,P RSt1omp # F1969K: I9J%$. (tron", &. O(o7e Unkno5n Classical (c4l t4re. )he Airst P4blished -cco4nt of the (c4l t4re in Billia7 Baldorf -stor;s +talian =ardens at 8ever Castle,P 8he Connoisseur 156 F19L5K: I15JII5. (t4art<.ones, 8. " Catalogue of the "ncient Sculptures in the Municipal Collections of Rome, +D 8he Sculptures of the Museo Capitolino F0>ford, 191IK. )er 2r4"t<3ent:, .. Mors +mmatura F=ronin"en, 19L$K. )hill, -. "lter ab illoD Recherches sur limitation dans la po5sie personnelle & l5po4ue august5enne FParis, 19H9K. )ho7 son, M. 3. O)he Mon47ental and 3iterary *vidence for Pro"ra77atic Paintin" in -nti94ity,P Marsyas 9 F19L$JL1K: #LJHH. )h4lin, 0. O&ie Christ4s<stat4ette i7 M4seo ,a:ionale /o7ano,P RM %% F19I9K: I$1JI59. )o4chefe4, 0. O8ektor.P +n '+MC, +2 F1966K, %6IJ%69. )oynbee, .. M. C. 8he *adrianic School FCa7brid"e, 19#%K. CCCCCC. Roman Medallions F,e5 Gork, 19%%K. CCCCCC. 0eath and 7urial in the Roman 2orld F3ondon, 19H1K. CCCCCC. O=reek Myth in /o7an (tone,P 'atomus #L F19HHK: #%#J%1I. CCCCCC. O3ife, &eath, and -fterlife in /o7an<-"e Mosaics.P +n /enseits)orstellungen in "ntike und ChristentumD 6edenkschrift f=r "lfred Stuiber DZ /b"Chr, *r"., Bd. 9E FM4nich, 196IK, I1$JI1%. )oynbee, .. M. C., and +. ,.847e. O-n Un4s4al /o7an (herd fro7 the U ch4rch Marshes,P "Cant L9 F195LK: L9JH%. )ran )a7 )inh, 2. Catalogue des peintures romaines M'atium et CampanieR du mus5e du 'ou)re FParis, 19H%K. )re""iari, (. Roman MarriageD +usti Coniuges from the 8ime of Cicero to the 8ime of (lpian F0>ford, 1991K. )4rcan, /. O0ri"ines et sens de l;inh47ation T l;[ o94e i7 [riale,P RF" L$ F1956K: #I#J#%H. CCCCCC. 'es sarcophages romains & representations dionysia4ues FParis, 19LLK. CCCCCC. O3es sarco ha"es ro7ains et le robl\7e d4 sy7bolis7e f4n[raire.P +n "-R2 ++.1L.I

F19H6K, 1H$$J1H#5. CCCCCC. Drevie5 of Brede, 1961E. 6nomon 5% F196IK: LHLJL6#. CCCCCC. O3es e>["\ses all["ori94es des sarco ha"es a4 Pha[ton.P +n /enseits)orstellungen in "ntike und ChristentumD 6edenkschrift f=r "lfred Stuiber DZ /b"Chr, *r"., Bd. 9E FM4nich, 196IK, 196J I$9. CCCCCC. O/e r[sentations des 2ents dans l;art f4n[raire et 7ithria94e.P +n +conographie classi4ue et identit5s r5gionales DZ 7C*, (4 le7ent 1+2E FParis, 196LK, 119J1I6. CCCCCC. O&[for7ation des 7od\les et conf4sions ty olo"i94es dans l;icono"ra hie des sarco ha"es ro7ains,P "nn1isa, ser. +++, 1Hd F196HK: %I9J%%L. 2accaro Mel4cco, -. O(arcofa"i di caccia al leone,P StMisc 11 F/o7e, 19LLK: 1#JL$. 2a"lieri, &. O0stia,P -Sc, ser. +2, #6 F191#K: H1J61. 2an &a7, 8. .. Sil)ae 7ook ++D " Commentary F3eiden, 196%K. >ergilius >aticanus, facsi7ile ed., 5ith co77entary by &. 8. Bri"ht, I vols. F=ra:, 196%K. 2er7e4le, C. C. 6reek Sculpture and Roman 8asteD 8he 1urpose and Setting of 6raecoBRoman "rt in +taly and the 6reek +mperial Fast F-nn -rbor, M+, 19HHK. CCCCCC. 6reek and Roman Sculpture in "merica FBerkeley and 3os -n"eles, 1961K. 2er7e4le, *. "spects of 0eath in Farly 6reek "rt and 1oetry FBerkeley and 3os -n"eles, 19H9K. 2ernant, ..<P. Myth and Society in "ncient 6reece, trans. .. 3loyd3ondon, 196$K. CCCCCC. O&eath 5ith )5o Aaces.P . +n Mortality and +mmortalityD 8he "nthropology and "rchaeology of 0eath, edited by (. C. 847 hreys and 8. Kin" F3ondon, 1961K, I65JI91. CCCCCC. O3a belle 7ort et le cadavre o4tra"[.P . +n 'a mort, les morts dans les soci5t5s anciennes, edited by =. =noli and ..<P. 2ernant FCa7brid"e, 196IK, %5JHL. 2eyne, P. Roman Frotic FlegyD 'o)e, 1oetry, and the 2est, trans. &. Pella4erChica"o and 3ondon, 1966K. 2olbach, B. A. Flfenbeinarbeiten, #rd ed. FMain:, 19H1K. 2ollen5eider, M.<3. Mus5e dart et dhistorie de 6enC)eD Catalogue raisonn5 des sceauE, cylindres, intailles et cam5es. I vols. FMain:, 19H%K. Ba"envoort, 8. Roman 0ynamismD Studies in "ncient Roman 8hought, 'anguage, and Custom F0>ford, 19%HK. Balker, (. Memorials to the Roman 0ead F3ondon, 1965K. CCCCCC. OUnti7ely Me7orials: (o7e /o7an Portraits of the Pre7at4rely &ead in the British M4se47 Collections.P +n Ritratto ufficiale e ritratto pri)ato D-tti del ++ Conferen:a +nterna:ionale s4l /itratto /o7ano, /o7e 196%E F/o7e, 1966K, 5%HJ55%. CCCCCC. Catalogue of the Roman Sarcophagi in the 7ritish Museum DZ Corpus Signorum +mperii Romani, 6reat 7ritain, ++, fasc. IE F3ondon, 199$K. CCCCCC. O)he (arco ha"4s of Maconiana (everiana,P Roman %unerary Monuments in the /. 1aul 6etty Museum DZ ,ccasional 1apers on "nti4uities, LE FMalib4, C-, 199$K, 6#J9%. Barb4r", -. M. 6esammelte Schriften. I vols. FBerlin, 19#IK.

Bard<Perkins, .. B. OBorksho s and Clients: )he &ionysiac (arco ha"i in Balti7ore,P Rend1ont"cc %6 F19H5JHLK: 191JI#6. Bay5ell, =. B. O- /o7an =rave -ltar /ediscovered,P "/" 6L F196IK: I#6JI%I. Bebb, /. O+7a"ination and the -ro4sal of the *7otions in =reco</o7an /hetoric.P +n 8he 1assions in Roman 8hought and 'iterature, edited by (. Bra4nd and C. =ill FCa7brid"e, forthco7in"K. Bei"and, *. O&ie s @tantike (arko ha"sk4l t4r i7 3ichte ne4erer Aorsch4n"en,P 7? %1 F19%1K: 1$%J 1L%, %$LJ%%L. Beill, ,. O-d?afonia:o4sai o4 les fe77es s4r le toit,P 7C* 9$ F19LLK: LL%JL96. CCCCCC. O3a f_te d;-donis dans la (a7ienne de M[nandre,P 7C* 9% F19H$K: 591J59#. Beit:7ann, K. +llustrations in Roll and CodeED " Study of the ,rigin and Method of 8eEt +llustration FPrinceton, ,., 19%HK. Bhitaker, /. Myth and 1ersonal FEperience in Roman 'o)eBFlegy F=Xttin"en, 196#K. Billcock, M. M. OMytholo"ical Paradei"7a in the +liad,P C@ 1% F19L%K: 1%1J15%. Billers, &. O2o7 *tr4skischen :47 /X7ischen: ,och ein7al :4 eine7 ( ie"elrelief in Malib4,P 6ettyMus/ 1% F196LK: I1J#L. Billia7s, =. 8radition and ,riginality in Roman 1oetry F0>ford, 19L6K. Binckel7ann, .. .. Monumenti "ntichi +nediti. I vols. F/o7e, 16I1K. Binkes, /. OPliny;s Cha ters on /o7an A4neral C4sto7s in the 3i"ht of Clipeatae +magines,P . "/" 6# F19H9K: %61J%6%. Birth, ). O]47 Bild ro"ra77 der /@47e , 4nd P in der Casa dei 2ettii,P RM 9$ F196#K: %%9J%55. Bise7an, ). P. ODrevie5 of 8orsfall, 196HEP , /RS H9 F1969K: 1I9J1#H. Bood, (. O-lkestis on /o7an (arco ha"i,P "/" 6I F19H6K: %99J51$. Boodford, (. OMelea"ros.P . +n '+MC, 2+ F199IK: %1%J%#1. Brede, 8. O&ie -4sstatt4n" stadrX7ischer =rabte7 el 4nd der aber"an" :4r KXr erbestatt4n",P RM 65 F19H6K: %11J%##. CCCCCC. Consecratio in %ormam 0eorumD >erg3ttlichte 1ri)atpersonen in der r3mischen Kaiser$eit FMain:, 1961K. Gates, A. -. 8he "rt of Memory FChica"o, 19LLK. ]adoks<.itta, -. ,. "ncestral 1ortraiture in Rome and the "rt of the 'ast Century of the Republic F-7sterda7, 19#IK. ]anker, =. O*nar"eia in the -ncient Criticis7 of Poetry,P RhMus 1I% F1961K: I9HJ#11. ]anker, P. 8he 1oAer of +mages in the "ge of "ugustus, trans. -. (ha iro F-nn -rbor, M+, 1966K. ]a:off, P., 0ie antiken 6emmen FM4nich, 196#K. ]5ierlein<&iehl, *. "ntiken 6emmen in deutschen Sammlungen. Bd. ++: Berlin FM4nich, 19L9K.

ig,re)
Ai". 1. 8ylas and the ,y7 hs sarco ha"4s. Pala::o Mattei, /o7e. Ai". I. &etail of Ai". 1. Ai". #. (tri"ilated sarco ha"4s: central anel 5ith detail of &ionys4s and satyr. Praete>tat cataco7bs, /o7e. Ai". %. -donis and - hrodite sarco ha"4s. Casino /os i"liosi, /o7e. Ai". 5. -donis and - hrodite sarco ha"4s. Cathedral sacristy, Blera. Ai". L. -donis and - hrodite sarco ha"4s. Casino /os i"liosi, /o7e. Ai". H. -donis and - hrodite sarco ha"4s. M4seo =re"orio Profano, 2atican. Ai". 6. Phaedra and 8i olyt4s sarco ha"4s. 3o4vre, Paris. Ai". 9. -donis and - hrodite sarco ha"4s. Pala::o &4cale, Mant4a. Ai". 1$. A4neral 7on47ent of ). (tatili4s - er. M4seo Ca itolino, /o7e. Ai". 11. -donis and - hrodite sarco ha"4s Ffra"7entK. M4seo Chiara7onti, 2atican. Ai". 1I. )he death of -donis. Ball aintin" Ffra"7entK. 3o4vre, Paris. Ai". 1#. -donis and - hrodite. Ball aintin". Casa d;-donide ferito, Po7 eii F2+, H, 16K. Ai". 1%. -donis and - hrodite sarco ha"4s. 2illa =i4stiniani, /o7e. Ai". 15. -donis and - hrodite sarco ha"4s. =alleria 3a idaria, 2atican.

Ai". 1L. 6emma "ugustea. Ca7eo. K4nsthistorisches M4se47, 2ienna. Ai". 1H. )he healin" of -eneas;s 5o4nds and - hroditeQs intervention. +vory la94ette . M4seo ,a:ionale, ,a les. Ai". 16. Pria7;s ret4rn 5ith 8ector;s body. +vory la94ette Freverse of Ai". 1HK. Ai". 19. +liac tablet Fdetail: Pria7Qs ret4rn 5ith 8ectorQs bodyK. M4seo Ca itolino, /o7e. Ai". I$. 8o7eric sa"a sarco ha"4s FPhiloctetes and 8ectorK. -ntiken74se47, Basel. Ai". I1. Philoctetes. *tr4scan cinerary 4rn. -ccade7ia, Cortona. Ai". II. Philoctetes. /o7an silver c4 FO8oby C4 PK. ,ational M4se47, Co enha"en. Ai". I#. Philoctetes sarco ha"4s. 3ost: for7erly, Alorence. &ra5in" fro7 the Code> Cob4r"ensis. 2esta Cob4r". Ai". I%. Pria7 before -chilles. /o7an silver c4 FO8oby C4 PK. ,ational M4se47, Co enha"en. Ai". I5. -donis and - hrodite sarco ha"4s Fdetail of Ai". LK: the tendin" of -eneasQs 5o4nds and - hroditeQs interventionK. Casino /os i"liosi, /o7e Fdetail of Ai". LK Ai". IL. -eneas 5o4nded, and healed by 2en4s. Ball aintin" Ffra"7entK, fro7 Casa di (irico, Po7 eii F2++, 1, I5 and %H D6EK. M4seo ,a:ionale, ,a les. Ai". IH. )he tendin" of -eneas;s 5o4nds. =lass aste. -ntikenabteil4n". Ai". I6. *ndy7ion and (elene sarco ha"4s. 3o4vre, Paris. Ai". I9. *ndy7ion and (elene sarco ha"4s. M4seo Ca itolino, /o7e.

Ai". #$. *ndy7ion and (elene sarco ha"4s. 3o4vre, Paris. Fdetail of Ai". I6K Ai". #1. *ndy7ion and (elene sarco ha"4s. Pala::o &oria<Pa7 hili, /o7e. Ai". #I. *ndy7ion and (elene sarco ha"4s. M4seo Ca itolino, /o7e. Ai". ##. *ndy7ion and (elene. Co y after 5all aintin" Ffor7erly Po7 eii, &o74s 2ol4si Aa4sti, +, I, 1HK. &e4tsches -rch@olo"isches +nstit4t, /o7e. Ai". #%. *ndy7ion and (elene sarco ha"4s. Casino /os i"liosi, /o7e. Ai". #5. *ndy7ion and (elene sarco ha"4s. Metro olitan M4se47 of -rt, ,e5 Gork. Ai". #L. *ndy7ion and (elene sarco ha"4s. (an Paolo f4ori le 74ra, /o7e.

Ai". #H. *ndy7ion and (elene on a cli e4s sarco ha"4s FdetailK. M4seo ,a:ionale, (assari.

Ai". #6. =rave stele 5ith scene of *ndy7ion and (elene FdetailK. Petta4<Pt4j, G4"oslavia.

Ai". #9. *ndy7ion and (elene sarco ha"4s. M4seo Ca itolino, /o7e Fdetail of Ai". #IK

Ai". %$. *ndy7ion and (elene sarco ha"4s. Metro olitan M4se47 of -rt, ,e5 Gork.

Ai". %1. B4colic scene on a stri"ilated sarco ha"4s FdetailK. M4seo ,a:ionale /o7ano, /o7e.

Ai". %I. -lle"orical sarco ha"4s FOvita activa and vita conte7 lativaPK. M4seo ,a:ionale, ,a les. Ai". %#. M4ses!B4colica sarco ha"4s. Ca7 osanto, Pisa. Ai". %%. )he O/in4ccini sarco ha"4s.P (taatliche M4seen, Berlin. Ai". %5. (arco ha"4s of +4li4s -chille4s. M4seo ,a:ionale /o7ano, /o7e. Ai". %L. *ndy7ion and (elene sarco ha"4s Ffra"7entK. -ntikensa77l4n". (taatliche M4seen, Berlin. Ai". %H. -chilles sarco ha"4s Ffra"7entK. ,y Carlsber" =ly tothek, Co enha"en. Ai". %6. /econstr4ction of Ai". %L Fa4thor;s dra5in"K

Ai". %9. *ndy7ion sarco ha"4s. Pala::o Braschi, /o7e. Ai". 5$. *ndy7ion sarco ha"4s. British M4se47, 3ondon. Ai". 51. &ra5in" of a 5all aintin" of *ndy7ion fro7 the Casa dei &iosc4ri, Po7 eii F2+, 9, LJHK. Ai". 5I. &ra5in" of a lost 5all aintin" of ,arciss4s fro7 the Casa dei &iosc4ri, Po7 eii F2+, 9, LJHK. Ai". 5#. -ndro7eda and *ndy7ion 7osaic. Pia::a -r7erina. Ai". 5%. -riadne abandoned by )hese4s. Ball aintin". British M4se47, 3ondon. Ai". 55. )hese4s sarco ha"4s. Cliveden. Ai". 5L. &ionys4s and -riadne sarco ha"4s. 3o4vre, Paris. Ai". 5H. Mars and /hea (ilvia ! *ndy7ion and (elene sarco ha"4s. M4seo 3ateranense, 2atican. Ai". 56. =rave altar of 3. -4fidi4s - rilis. M4seo ,a:ionale /o7ano, /o7e. Ai". 59. 3id of sarco ha"4s of -ndia Melissa Fno5 lostK. -nony7o4s dra5in". Biblioteca Co74nale, Aer7o. Ai". L$. *4ri ides; Madness of *erakles. &ra5in" after a lost 5all aintin" fro7 the Casa del Centenario, Po7 eii F+1, 6, # and LK. Ai". L1. *4ri ides; Madness of *erakles. Ball aintin". Casa dei U4adretti )eatrali, Po7 eii F+, L, 11K. Ai". LI. (eneca;s Medea. &ra5in" after a lost 5all aintin" fro7 the Casa del Centenario, Po7 eii F+1, 6L# , # and LK. Ai". L#. (arco ha"4s 5ith ancestor ortraits in cabinets. -ntikensa7lin"en. ,ational M4se47,

Co enha"en. Ai". L%. Col47nar sarco ha"4s FC4 id and Psyche!2en4s and Mars! Mars and /hea (ilviaK. Pala::o Mattei, /o7e. Ai". L5. 2en4s and -donis. *n"ravin" of "e7stone. 8hesaurus 7randenbergicus selectus F1L9LK. Ai". LL. *ndy7ion: &ra5in" after a lost 5all aintin" fro7 the Casa di =ani7ede, Po7 eii F2++, 1#, % DbEK. Ai". LH. =any7ede. &ra5in" after a lost aintin" fro7 the Casa di =ani7ede, Po7 eii F2++, 1#, % DbEK>. Ai". L6. -riadne sarco ha"4s. ,y Carlsber" =ly tothek, Co enha"en. Ai". L9. O( adaP *ndy7ion. M4seo Ca itolino, /o7e. Ai". H$. *ndy7ion stat4ette. 2atican M4se47. Ai". H1. >ita 1ri)ata sarco ha"4s: slee in" she herd Fend anelK. Badia di Cava.

Ai". HI. 2atican -riadne. Cast. M4se47 of Classical -rchaeolo"y, University of Ca7brid"e.

Ai". H#. -nony7o4s dra5in" of a 2atican -donis (arco ha"4s FAi". LK fro7 OM4seo CartaceoP of Cassiano dal Po::o, Bindsor Castle.
Preferred Citation: Koortbojian, Michael. Myth, Meaning, and Memory on Roman Sarcophagi. Berkeley: University of California Press, c1995 1995. htt :!!ark.cdlib.or"!ark:!1#$#$!ft%199n9$$!