Text (available online as e-reserve, and on reserve in library)

N 7760/K55/1985 K. Kilinski, Classical Myth in Western Art: Ancient through Modern (1985); on e-reserve and regular, hard-copy reserve

Due dates for assignments:
 
Tuesday, January 19:  class meeting with Marilyn Healey in Main Library, Lab A (turn right just before elevators); at this required meeting, Marilyn will explain online databases on GALILEO , and introduce you to how to use three most important sources for examples of mythological representations:

Main Ref NX650 .M9L40 vols. 1-8 Lexicon Iconographicum Mythologiae Classicae (1981 ff.)

N6250 .W436 and ND2930 .W415 1984 K. Weitzmann, Greek Mythology in Byzantine Art (1951 & 1984)

Main Ref NX650 .M9 R45 1993 J.D. Reid, The Oxford Guide to Classical Mythology in the Arts: 1300-1990s (1993)

Reading and test schedule:

Weeks 1-5: Greek and Etruscan Art

Classical Myth in Western Art, pp. 1-14, 22-25, 32-35 and frontispiece, 46-49, 58-61, 68-71, 80-83, 90-93, 100-103.

First Midterm.
 

Week 6-8: Roman and Medieval Art

Classical Myth in Western Art, pp. 14-16, 50-51, 84-85.

Second Midterm.
 

Weeks 9-11: Renaissance Art

Classical Myth in Western Art, pp. 16-18, 36-39, 52-55, 94-95 and pl. p. 2, 104-105.

Weeks 12-13: Baroque and Rococo Art

Classical Myth in Western Art, pp. 18-20, 26-29, 40-43, 72-75 and pl. p. 4, 96-97, 106-107.

Weeks 14-15: 19th and 20th Century Art

Classical Myth in Western Art, pp. 20-21, 30-31, 44-45, 56-57, 62-67, 76-79, 86-89, 98-99, 108-109.
 

Final Exam (at scheduled time for class; see online Final Exam Schedule):  Spring 2010 exam will be on Thursday, May 6, 2010, 3:30 to 6:30 pm.

Office Hours:  Tuesdays and Thursdays, 3:30-4:30 PM, or by appointment
 

Attic statuettes once flanking ring handle from rim of a cauldron from a tripod showing Minotaur and Theseus or one of Athenian youths ( link to pertinent text from Hesiod, Theogony).  

Greek Orientalizing Period, 700-600 B.C.

Fragment of Cycladic relief vase (pithos or amphora) showing Europa riding bull ( link to pertinent text from Catalogue of Women, believed to have been composed in the 6th century B.C.) .

Cycladic relief vase (pithos or amphora) showing Minotaur in form of human-headed bull, Theseus, Ariadne and four Athenian youths and maidens ?; six human figures hold Ariadne's thread and rocks (link to pertinent fragment from poetess Sappho, believed to have been writing in early 6th century B.C.).

Cycladic relief vase (pithos or amphora) showing Perseus beheading Medusa in form of clothed Centauress link to pertinent text from Hesiod, Theogony, and link to pertinent text from Shield of Heracles, believed to have bene composed ca. 580-570 B.C.).

Proto-Attic or Aeginetan vase (neck-amphora) showing Medusa beheaded, her two Gorgon sisters in pursuit, Athena and Perseus (see link to two passages for previous item).

Attic black-figure vase (neck-amphora by Nessos Painter) showing beheaded Medusa and her two pursuing Gorgon sisters (see link to two passages for previous two items) .

Attic black-figure vase (spouted crater by Nessos Painter) showing Athena and fleeing Perseus (see link to two passages for previous three items) .
 

Caeretan black-figure vase (hydria) showing Europa riding bull and crowned by Nike ?, accompanied by dolphins, fish and a bird.

Attic black-figure oinochoe near workshop of Athena Painter showing Europa riding bull over water; Kilinski cat. #1.

Attic red-figure vase (calyx crater by Triptolemos Painter) showing Danae and shower of gold (one side), and carpenter, Danae, Perseus, Acrisius, and chest (2nd side; see link to summary of account of myth by Pherecydes of Athens, a work of ca. 456 B.C.)

Argive-Corinthian shieldband relief from Olympia showing Heracles strangling lion (see link to Ode by Bacchylides, written ca. 480 B.C.) 

Argive-Corinthian shieldband relief from Olympia showing Heracles stabbing lion.

Attic black-figure amphora by Group E showing Heracles stabbing the lion, flanked by two sphinxes on columns; Kilinski cat. #11.

Attic black-figure vase (oinochoe by Amasis Painter) showing Heracles suffocating lion or forcing open his jaws, in presence of Iolaus and Athena.

Attic black-figure vase (amphora by Psiax) showing Heracles wrestling with lion in presence of Iolaus ? and Athena.

Attic red-figure vase (amphora by Andokides Painter) showing Heracles throwing the lion, in presence of Athena and Iolaus.

Metope from Athenian treasury, Delphi, showing Heracles strangling or stabbing lion.

Argive-Corinthian shieldband relief from Olympia showing Theseus about to stab Minotaur.

Argive-Corinthian shieldband relief from Olympia showing Theseus about to stab Minotaur, in presence of Ariadne with luminous wreath or victory wreath (see link to Epimenides' Cretica, a poem of 6th century B.C., with mention of Ariadne's luminous crown)

Corinthian black-figure vase (cup) showing Theseus piercing neck of Minotaur with sword, in presence of bird.

Boeotian black-figure vase (skyphos) showing Ariadne with thread, Theseus stabbing Minotaur, and 7 Athenian youths and 7 Athenian maidens.

Cypriote scarab showing Theseus stabbing Minotaur in presence of Ariadne.

Attic black-figure vase (cup by Archikles and Glaukytes) showing Theseus about to stab Minotaur, in presence of Athena with lyre, Ariadne with thread and wreath, clapping nurse, and 6 youths and 6 maidens (see link to summary of Pherecydes's account).

Attic black-figure neck-amphora by Group of Würzburg 199, showing Theseus stabbing Minotaur in presence of female (Ariadne or Athenian maiden) and male ( probably Athenian youth); Kilinski cat. # 16.

Attic red-figure vase (cup by Epiktetos) showing Theseus in pursuit or Minotaur, who holds large rock, and two excited females (Ariadne and nurse or two Athenian maidens).

Metope from Athenian treasury, Delphi, showing Theseus about to drive a sword (to be restored) into Minotaur.

Attic black-figure vase (cup by Boston Polyphemus Painter) showing nude Circe offering potion = cup to companion of Odysseus who has been transformed into a swine; behind this creature, a transformed ram and dog, and on far right, a fleeing man (Eurylochus ?); behind Circe, a transformed swine, Odysseus advancing with sword drawn, and a fleeing transformed lion (see link to the passage from Homer's Odyssey, an epic of ca. 725 B.C.)

Attic black-figure vase (lekythos by Phanyllis Painter) showing Circe stirring potion and in presence of transformed swine, dog, lion and bull.

Attic black-figure vase (lekythos at Heidelberg) showing a lyre player, probably Orpheus, drowning out the song of two Sirens with his lyre-playing see link to passage from Apollonius Rhodius' Argonautica, a work from 3rd century B.C.)

Metope from Sicyonian treasury, Delphi, showing Argo with mounted Castor and Pollux on left and right and Orpheus (inscribed) and another lyre-player in center; Orpheus may be playing to drown out Sirens (not shown).

Attic red-figure vase (amphora by Eucharides Painter) showing Artemis inciting four dogs to attack Actaeon, who is draped with deerskin and who has been brought to his knees (see link to passage from Euripides' Bacchae, a tragedy performed between 408 and 406 B.C.) 

Chalcidian black-figure vase (amphora in British Museum) showing Perseus with unarmed Athena receiving winged shoes, cap of darkness and bag for Medusa's head from three nymphs.

Metope from temple C (a Pantheon ?), Selinus, showing Athena, Perseus beheading Medusa and Medusa's offspring Pegasos.

Attic black-figure vase (olpe by Amasis Painter) showing Perseus beheading Medusa in presence of Hermes.

Attic black-figure vase (dinos by Gorgon Painter) showing Hermes, Athena, beheaded Medusa collapsing, two Gorgon sisters of Medusa in pursuit, and Perseus in flight.

Attic red-figure vase (amphora by Berlin Painter) showing Perseus with bag (one side) and Gorgon in pursuit (second side).
 

Greek Classical Period, 480-330 B.C.
 

Attic white-ground vase (cup by Pistoxenos Painter from temple of Aphaia, Aigina) showing Europa riding bull (see link to passage from Catalogue of Women).

Paestan red-figure vase (calyx crater by Assteas), showing (below) Europa riding a bull, with Pothos (Desire) flying above and Scylla to left and Triton behind and fish and octopus below; and (above left) Zeus, Crete personified and Hermes, and (above right) winged white figure (identified in LIMC as Eros), Adonis and Aphrodite (see link to passage from Homer's Odyssey on Scylla).

Boeotian red-figure vase (bell crater at Louvre) showing semi-nude Danae reclining on couch and receiving golden rain.

Attic red-figure lekythos by Providence Painter showing Danae beside chest, inside of which is young Perseus; on the right, a commanding Acrisius; Kilinski cat. #5.

Attic red-figure vase (lekythos by Icarus Painter and at RISD) showing Danae and Perseus floating in chest, with four birds above (see link to fragment of a poem by Simonides, 556-467 B.C.).

Attic red-figure vase (pyxis by Wedding Painter) showing Dictys leading off Danae; then Perseus following Danae and standing with back to fisherman, who holds open lid of chest, which is enclosed in a net; on the right, two more fishermen hold rope attached to net (see link to fragment from Aeschylus' Dictyoulcoi, a satyr play perhaps as early as 490s B.C.).

Metope from temple of Zeus, Olympia, showing exhausted Heracles propping his leg up on dead lion, in presence of Athena and Hermes (see link to passsage from Pausanias' Description of Greece, a work of 2nd century A.D., that describes the metopes from the temple of Zeus).

Metope from temple of Hephaestus, Athens, showing Theseus wrestling with Minotaur and probably originally with sword in drawn-back right hand.

Attic red-figure vase (stamnos by Kleophrades Painter) showing Theseus stepping on Minotaur and about to stab him.

Lucanian red-figure vase (bell crater by Pisticci Painter) showing Theseus with sword chasing Minotaur, in presence of Ariadne with thread and King Minos.

Attic red-figure vase (cup by Aison) showing triumphant Theseus dragging dead Minotaur out of Labyrinth, in presence of armed Athena.

Attic red-figure calyx crater by Persephone Painter showing (on one side) Odysseus with sword chasing Circe, who drops her potion-cup; behind Odysseus, transformed swine and mule; (on second side), four excited maids of Circe ?, and unidentified male (her father Helius ?); Kilinski cat. #20.

Attic red-figure vase (amphora by Phiale Painter) showing one of Odysseus' men in process of transformation and in flight from Circe, who sits  holding wand and potion cup.

Roman copies (in Naples and Rome) of Greek relief flanking entrance to enclosure wall of Altar of Twelve Gods, Athens; shown are Hermes leading Eurydice away from Orpheus as the couple say their last goodbyes (see link to Euripides' Alcestis, a tragedy of 438 B.C., and to Virgil's Georgics, a work of 29 B.C.).

Attic red-figure vase (column crater by Orpheus Painter) showing Orpheus playing to four Thracian men.

Attic red-figure column crater by Painter of Tarquinia 707 showing Orpheus playing to Thracian, horse and satyr; Kilinski cat. #25.

Attic red-figure vase (bell crater by Painter of London E 497) showing Orpheus playing, and Thracian man attempting to halt approach of Thracian woman with knife (see link to Conon [30 B.C.-17 A.D.], Narratives).

Attic red-figure vase (amphora by Niobid Painter) showing Thracian woman wounding Orpheus with spit.

Attic red-figure vase (cup at Cambridge) showing oracular head of Orpheus, scribe taking down utterances, and Apollo beckoning that oracle is to cease.

Apulian red-figure situla near Hippolyte Painter showing (below) Actaeon sprouting stag's horns, which attracts his dog's curiosity, while his mother Autonoe gestures anxiously from left and Artemis stands on right with second dog; and (above) Apollo (father of Aristaeus and grandfather of Actaeon), satyr or Actaeon's father Aristaeus, and Pan; Kilinski cat. #29.

Attic black-figure vase (alabastron by Painter of Two Circles) showing Actaeon (sprouting horns ?) attempting to defend himself with sword from attack by eight dogs.

Attic red-figure vase (bell crater by Pan Painter) showing Artemis urging dogs against Actaeon with her arrows while he collapses under the attack of the four dogs.

Metope from temple of Hera (= temple E), Selinus, showing Artemis inciting three dogs to attack Actaeon, who is draped with a stag's skin and who tries to defend himself with a sword.

Apulian red-figure vase (situla by Perseus and Athena Painter) showing Athena handing curved sword to Perseus.

Attic red-figure vase (pyxis lid in Athens) showing Perseus stealing eye from three Graeae; Athena, Poseidon, Hermes, and Phorcys (father of Graeae and Gorgons) are present.

Attic red-figure hydria by Nausicaa Painter showing Perseus about to behead sleeping Medusa, with help of Athena and Hermes, and with place personification present (Atlas or Zeus ?); Kilinski cat. #33.

Attic black-figure vase (lekythos by Diosphos Painter) showing Perseus flying off with Medusa's head in pouch while Pegasus springs forth from Medusa's beheaded corpse.

Campanian red-figure vase (hydria in British Museum) showing Perseus with Medusa's head, pursued by her Gorgon sister.

Attic red-figure vase (bell crater by Polydectes Painter) showing Perseus turning Polydectes to stone, in presence of Athena; slides.

Attic red-figure vase (hydria, Berlin F 2377) showing Athena reaching for Medusa's head (to put it on her aegis), which is held by Perseus.
 

Greek Hellenistic Period, 330-30 B.C.
 

Alexandrian ? glass beaker showing Europa riding on bull, with Eros leading way; below, two shields (see link to passages from Moschus' Europa, a work of ca. 150 B.C.).

Greek and Roman copies showing Heracles wrestling with upright Nemean lion, apparently based on one of bronze statue groups by Lysippus depicting labors of Heracles that were originally located in Heracles sanctuary, Alyzia (see link to description by Strabo [c. 64 B.C.-21 A.D.] of the fate of the sculptural groups).

Statuette group of Theseus leaping on Minotaur, believed to have been made in Asia Minor.

Roman copies (from Herculaneum and Pompeii) based on early Hellenistic painting showing Theseus as liberator, standing outside the Labyrinth with dead Minotaur, in presence of grateful Cretan children (see link to passage from Plato's Phaedo, of 360 B.C.)

Late Hellenistic original or copy, one of Odyssey Landscapes from house in Rome, showing Circe letting Odysseus into her palace, and supplicating him after failure of her magic.

Painting from Pompeii copying Hellenistic prototype with Orpheus playing to Muses and Herakles.
 

Painting from house (of Jason), Pompeii, showing semi-nude Europa sitting on bull in presence of three anxious companions (see link for Ovid's Metamorphoses, composed before Ovid's exile in 8 A.D.)

Ivory casket attachment showing semi-nude Europa with billowing cape sitting on bull.

Mosaic from villa, Lullingstone (Kent), showing semi-nude Europa riding on bull, with one Eros flying ahead and a second one behind ? this one holds bull's tail (see link to translation of inscription on this mosaic, and to passage from Vergil's Aeneid , apparently left unfinished at time of poet's death in 19 B.C.; click here for article on the mosaic by Martin Henig, from Mosaic 24, 1997).

Mosaic from house (of Europa), Djemila (Algeria), showing semi-nude Europa with billowing cape offering basket of flowers to bull; in front, Eros with flower-basket; behind, second Eros with wreath, about whose neck is looped bull's tail; below, the sea with dolphins and fish.

Painting from house (of Ancient Hunt), Pompeii, showing semi-nude, standing Danae, who receives golden rain from amphora on shoulder of flying Eros in upper left field; on the right, Zeus' thunderbolt (see link to Horace, Odes, written after battle of Actium of 31 B.C.).

Painting from house (of Regina Margherita), Pompeii, showing Danae seated on couch and catching golden rain in her drapery, next to beardless Zeus in human form.

Mosaic from house (of Horses) Carthage showing semi-nude Danae in front of horse wearing palm branch; she catches golden rain, which emanates from a cloud ? in her drapery.

Painting from house (of the Bear), Pompeii, showing seated Danae holding swaddled Perseus next to empty chest.

Painting from house (of Epigrams), Pompeii, showing seated Danae nursing infant Perseus; to the right, the chest, near which stand Dictys with fishing-rod and second fisherman.

Sarcophagus (in Rome) showing Heracles holding hind leg of dead lion with lowered left hand, and club in raised right hand.

Mosaic from Liria (Spain), showing Heracles wrestling with lion; club is poised above the contest.

Mosaic from villa (of Emperor Maximianus Herculeus or his son Maxentius, or eminent Sicilian Proculus Populonius), Piazza Armerina (Sicily), showing dying lion without Heracles (see link to passage from Ovid's Metamorphoses in which Hercules remembers all his opponents).

Three ink sketches from papyrus fragment found at Oxyrhynchus, Egypt, of a text describing Heracles' contest with lion: (1) Heracles, with club, advances towards lion's lair; (2) Heracles strangles lion, which stands on a platform; and (3) Heracles wears lion's skin.

Two mosaics from Pompeii (click here for color image of one; other from house of Labyrinth), both copies of same lost wall painting, showing Theseus and Minotaur wrestling on ground; also on ground, bones of Minotaur's previous victims; spectators in background.

Mosaic from palace or public building of some type at Kato Paphos (Cyprus), showing Labyrinth with thread, in center of which Theseus raises club over fallen Minotaur; on lower left of central scene, Labyrinth personified and on upper right, Crete personified; on upper left, Ariadne (see link to passage from Pliny the Elder's Natural History, written before his death from the eruption of Vesuvius in 79 A.D.).

Mosaic from villa at Gurgi (Libya), showing Theseus with club dragging Minotaur out of Labyrinth, while Araiadne looks on.

18^th-century copy (in Warsaw) of marble relief believed to copy an illustrated text of Homer's Odyssey in form of a papyrus roll, showing ship of Odysseus in lower left, next to which is Hermes giving Odysseus the moly; surrounding the rest of figures, walls of Circe's palace; inside walls at lower right, Odysseus threatens kneeling Circe with sword; on upper left, Odysseus stands next to Circe who holds wand while both watch four of Odysseus' men emerge from a shed ? the men have heads of (r. to l.) an ass, swine, ram and bull.

Lamp from Pozzuoli showing Odysseus standing with left hand on sheathed sword handle and with moly ? in right hand; seated is Circe, who holds a long wand.

Mosaic from house in Palermo showing Orpheus playing to animals that are (from upper r.) an ostrich, tiger, antelope, peacock, stork, hare, dog or fox, lizard, tortoise, stag, leopard, snake, lion, bull, parrot, monkey, ass and three small birds (see link to passage from Virgil's Georgics on Orpheus playing his lament to animals).

Marble openwork relief (at Athens) showing Orpheus playing to animals that include elephant, dogs, sphinx, eagle, monkey, owl, stag, and lion bringing down ox.

Painting from house (of Sallustio/Actaeon), Pompeii, showing Actaeon looking at bathing Artemis, and Actaeon with stag's horns attacked by two dogs (see link to passage from Ovid's Metamorphoses on Diana's punishment of Actaeon because he stumbled upon her bath).

Sarcophagus found near Rome (in Paris) showing (right relief on front) Artemis bathing with two boys assisting while Actaeon, in upper right, looks on, with his right hand raised in surprise; on upper left, spring deity with water vase, whose contents provides Artemis' bath water; (left relief on front) Actaeon with stag's horns is attacked by four dogs, while a mountain deity reclines on upper right and and a servant of Actaeon prepares to throw a rock at the attacking dogs from the upper left; (relief on right short side) body of Actaeon with stag's horns is discovered by Autonoe, mother of Actaeon, and nurse, while one of Actaeon's dogs looks on; (relief on left short side) two servants of Acteaon leash up three of Actaeon's dogs before a cult image of a Satyr (or heroized Actaeon ?; see link to passage from Apollodorus' Library, a mythological compilation of the 1st or 2nd century A.D.).

Sarcophagus (in Budapest) showing Perseus beheading Medusa while looking at shield held up for him by Athena (see link to passage from Apollodorus' Library).

Sarcophagus (in Florence) showing (in center) large winged Medusa head, with serpentine locks; on left, Perseus wearing cap of darkness and winged boots; on right, helmeted Athena with right hand raised in cautioning gesture.
 

Medieval Art, 330-1400 A.D.
 

Two Middle Byzantine ivory caskets (in London), probably executed in Constantinople, showing Europa riding on bull over water, while two companions reach out for her from the shore ? on one example, a torch-bearing Eros swims in front and leads the way; one of two caskets is decorated with second figure of Europa, who is viewed from the back as bull rides over the waves (see link to passages from Moschus' Europa).

Ivory panel from Carolingian chair (of Emperor Charles the Bald) from St. Peter's, Rome, showing Hercules wrestling with lion, which clasps him around waist (see link to Boethius' Consolation of Philosophy, a work composed ca. 520-526 A.D.).

Middle Byzantine ivory caskets (at Xanten and Paris), probably executed in Constantinople, showing Hercules pressing neck of upright lion under Hercules' arm; on one of the caskets (at Paris), a second group with lion's neck under Hercules' arm (see link to passage from Apollodorus' Library).

Middle Byzantine ivory casket (in Arezzo), probably executed in Constantinople, showing Hercules wearing lion's skin as he presses the neck of the lion under his arm in the presence of Iolaus.

Sardonyx cameo (in Washington) depicting Hercules wrestling with lion and lifting him off ground, while Hercules steps on a monstrous basilisk ?, a composite of a cock and a serpent (see link to Psalm 90, verse 13, where basilisk goes back to Jerome's Latin Vulgate translation, accomplished 382-390 A.D.); Kilinski cat. # 12.

Illustration from manuscript of Ovid (at Bergamo) showing (on the left) bull of Poseidon mating with Pasiphae (mother of Ariadne) inside hollow wooden cow; (in center) Minos; and (on the right) Pasiphae giving birth to Minotaur (see link to passage from Ovid's Metamorphoses).

Illustration from manuscript with church history (at Admont) showing horned and hooved Minotaur in Labyrinth, who attempts to flee from club-wielding Theseus.

Left archivolt relief from central tympanum at entrance to nave, Romanesque church of Ste. Madeleine, Vézelay, France; theme of tympanum is Mission of Apostles and/or Pentecost; shown are two dog-headed men (of India), one with a sword, symbolizing muteness of people from exotic realms; these monsters are believed to have been derived from representations of Odysseus' transformed men (see link to passage re Pentecost from the Acts of the Apostles, composed ca. 64 A.D.; to the passage about the dog-headed men of India in Pliny's Natural History; and to Ps lam 21, about being surrounded by dogs).

Early Christian painting from catacomb (of Domitilla), Rome, showing Orpheus-like Christ sitting on a rock and holding a syrinx; on the left, a ram and two ewes (see link to passages from Psalm 22 and Gospel of John about Good Shepherd).

Fragment of a Coptic tunic (from Art Museum, Princeton) showing seated Orpheus playing lyre, surrounded by (counterclockwide from upper left to upper right) a lion, a Satyr with syrinx, a dog, a panther ?, a Centaur with thyrsus, and a serpent entwined about a tree ?; in corners, "demonic-looking dolphins"; Kilinski cat. # 26 (see link to passage from Eusebius' Oration in Praise of the Emperor Constantine, composed before 339 A.D.).

Middle Byzantine ivory casket (in Paris), probably executed in Constantinople, showing semi-nude and booted Orpheus (or Apollo ?) playing lyre.

Illumination from Middle Byzantine manuscript, probably executed in Constantinople, of Pseudo-Nonnus (at Mt. Athos) showing clothed and haloed Orpheus playing lyre with mouse on top and surrounded by (clockwise from upper right) leopard, deer, rabbit, lion, upright bear, dog, serpent entwined around tree, and lynx (see link to passage from Peudo-Nonnus' 6th-century Commentaries on Gregory of Nazianus' Sermons, written in 4th century A.D.)

Illumination from Middle Byzantine manuscript, probably executed in Constantinople, of Pseudo-Nonnus (in Rome) showing (on left) nude Artemis wearing quiver and holding bow and arrow; (on right) Actaeon, with human head and arms dangling down from stag's body, moves left as three large dogs attack him; Actaeon's riderless horse on the right; a mountain on left and right border (see link to passage from Peudo-Nonnus' 6th-century Commentaries).

Carolingian manuscript of Aratea (at Leiden), probably illuminated at Reims and copying a Roman prototype, one of manuscripts called Aratea by Aratus; manuscript has illustrations of the constellations; illumination of Perseus constellation shows hero flying while holding sword and Medusa head, which he grasps by serpentine locks; Perseus has winged feet and cap of darkness (see link to passage from Aratus' Phaenomena, a poem of 3rd century B.C.)

Illustration from manuscript of Hyginus, Fabularum liber (Book of Tales; located at Leiden) showing Perseus flying while holding hairy Medusa head; he wears wings on feet and cap of darkness and holds sword (see link to passage from Fabularum liber, a work of 2nd century A.D.).

Renaissance Art, ca. 1400-1600 A.D.
 

Woodcut from Italian edition of Ovid's Metamorphoses (published at Venice in 1509) showing (in upper left) Zeus and Hermes, (in foreground) Europa climbing on bull and Europa riding on bull, and (in background) Europa at sea on bull and approaching Crete (see link for the accompanying passage from Ovid's Metamorphoses).

Engraving after painting by Raphael showing (in foreground) Europa climbing on bull in presence of companions and herdsmen, (in middle ground), Europa at sea on bull with Poseidon on the left, and (in background) Crete.

Painting by Veronese (in Venice), painting copy and etching after painting showing (in foreground) Europa climbing on bull with companions, (in middle ground) Europa riding on bull, and (in background) Europa on bull in the sea.

Painting by Titian (at Boston), painting copy by Rubens (in Madrid) and engraving and etching after painting, showing Europa at sea on bull, in presence of three Erotes; on shore, her distraught companions (click here for an essay I wrote on Titian's painting; see link for a passage from Achilles Tatius' 2nd-century A.D. description of a painting similar to Titian's)

Titian's Europa

Rubens' copy of Titian's Europa

Engraving after Hendrik Goltzius from a series illustrating Ovid's Metamorphoses showing Zeus and eagle in clouds looking down at Hermes as he drives cattle to shore; in foreground, distraught companions of Europa on shore, and Europa at sea on bull (see link for translation of inscription on engraving).

Engraving after Hendrik Goltzius from a series of illustrations of Loves of the Gods showing (in background) the sea and the bull carrying Europa onto Crete, and (in foreground) Zeus in human form embracing Europa, in presence of his eagle and thunderbolt (see link for translation of inscription on engraving) .

Woodcut from Swiss book (Franciscus de Retza's Defensorium Inviolatae Virginitatis Mariae, Defense of the Inviolate Virginity of Mary, published in 1490 at Basel), showing clothed Danae with hands pressed to chest standing in tower as rays of Zeus/sun = golden rain radiate towards her (see link for a quotation from de Retza).

Painting by Jan Gossaert (in Munich) showing Danae in blue garment sitting on cushion in an apse; she catches golden rain in her drapery, which falls from above; visible through windows, domed, church-like structures; with inscription at base of painting: IOANNES MALBODIUS PINGEBAT 1527 (Jan Mabuse [from Maubeuge] painted it in 1527).

Painting by Correggio (in Rome) and engraving after it, showing nearly-nude Danae on a couch uncovering herself with help of an Eros to receive gold coins ?, which fall on her from a cloud above; in the foreground, two Erotes test the gold against a touchstone; on the left, a window (see link to French commentary on engraving).

Painting by Titian (in Naples) showing nearly-nude Danae reclining on a bed and receiving gold coins from a cloud; on the right, an Eros with bow looks up at cloud.

Gilded bronze plaquette (in New York), probably by Pompeo Leoni, showing nearly-nude Danae reclining on a bed; she receives droplets of gold emanating from Zeus who rides on the back of an eagle; behind Danae, an aged attendant, who tries to catch some of gold with her drapery; Kilinski cat. # 6.

Engraving by Hieronymus Wierix showing nearly-nude Danae reclining on a bed and pushing aside curtain, with help of an attendant, as gold coins radiate out along with rays of light from Zeus head; Kilinski cat. #7 (see link for a translation of the Latin inscription at the base of the print).

Relief by Antonio Federighi from octagonal baptismal font, Cathedral, Siena, showing beardless Hercules (or Samson or David) stepping on lion and prying open his jaws; part of a program of eight reliefs that includes six scenes from Genesis featuring Adam and Eve, concluding with their Expulsion from the Garden of Eden, and a seventh relief with a pagan hero (Hercules or Theseus?) battling a Centaur (see link for passage from Book of Judges about Samson and the lion).

Drawing by Circle of Andrea Mantegna (at Oxford) and engraving after Mantegna showing bearded Hercules straddling lion and prying open his jaws.

Italian bronze statuette (from New Orleans) showing bearded Hercules straddling lion and prying open his jaws; Kilinski cat. # 14.

Engraving by Heinrich Aldegrever showing (foreground) bearded Hercules forcing open lion's jaws; (middle ground) dead lion: and (background) Hercules skinning lion (see link for translation of Latin inscription on the engraving).

Bronze relief plaque by L'Antico (= Pier Jacopo Alari-Bonacolsi; from Houston) showing beardless Hercules leaning on his club while dead lion lies at his feet; Kilinski ca. # 13.

Illustration from 15th-century manuscript of Epistle of Othea (goddess of wisdom) to Hector (by Christine de Pisan, located at Brussels) showing Minotaur in form of Centaur, and bull nuzzling Pasiphae (see link to English translation of pertinent part of Epistle).

Italian painted chest by Florentine artist Cima (in Paris).
One panel shows the story of Minotaur on Crete: (in center) Theseus' boat arriving; (on left background and foreground) Theseus addressing Ariadne and nurse; (right of boat) Theseus striding towards Labyrinth; (on upper right, behind Labyrinth) Mintotaur attacking victims and capture of Minotaur; (on right) Labyrinth, with Ariadne and nurse sitting at entrance and Theseus stabbling Minotaur as Centaur in center; (in center, middle ground) Theseus departs with Ariadne and nurse; and (right background) Theseus' ship departs from Crete.
Second panel shows two later scenes on the island of Naxos: (on left) Theseus abandoning sleeping Ariadne and her nurse; (on right) Dionysos and company finding Ariadne on shore; and (right background) King Aegeus, Theseus' father, throws himself from ramparts of Athens.

Woodcut from Italian book (Plutarch's Lives, published in 1496 at Venice) showing pen, in which Theseus with sword attacks Minotaur as Centaur, who raises branch; Ariadne and companions on upper left (see link to pertinent passage from Plutarch's Theseus).

Painting by Dosso Dossi entitled Circe and her Lovers in a Landscape (in Washington) showing nearly-nude Circe holding a large tablet and with an open book at her feet; around her, evidently her transformed lovers, (on the left) a spoonbill, [human-faced lion--painted over by Dossi,] doe and owl; (on the right) a falcon, buck, and two dogs.

Detail of fresco entitled Ulisse e Circe by Pellegrino Tibaldi from Palazzo Poggi, Bologna, showing Odysseus drawing sword against Circe (out of view on the left); at his feet, transformed men with head of lion and snout of dog?; in foreground, writhing man about to be transformed.

Engraving by Marcantonio Raimondi showing long-haired Orpheus playing viola in a landscape setting to a bear and a dog.

Painting formerly attributed to Giovanni Bellini or his school or influence (in Washington) showing Orpheus playing viola and Circe ? with wand in center of grassy park with stream; on left, Pan presents syrinx or conch shell to nymph; around these figures, peacocks and in background, leopard.

Engraving believed to be based on lost painting by Mantegna showing Orpheus kneeling on ground, with lute on ground in front; a toddler flees as two women beat Orpheus with poles; in background, hill with walled city (see link to text from Ovid's Metamorphoses that may have been misinterpreted and used as basis for this engraving and the next item, Dürer's drawing).

Drawing by Albrecht Dürer showing Orpheus kneeling on ground, with lyre in front of him; a toddler flees as two women beat Orpheus with poles; in background, tress, in which are an open book with musical notes and a banner (with words Orpheus, der erst Puseran, meaning "Orpheus, the first pederast").

Maiolica dish probably by Master F.R. (from New York) showing Actaeon with head of stag attacked by two dogs, next to fountain in which are Artemis and four nymphs; Kilinski cat. # 30.

Painting by Titian (in Edinburgh) and engraving after it showing human-formed Actaeon recoiling at sight of stag's skull, five bathing nymphs, Artemis, black servant ? and dog; bath takes place at a fountain; link to article in New York Times, March 17, 2010, on this painting and musical and literary works on the Actaeon theme.

Painting by Titian (in London) and engraving after it showing Artemis with bow urging on four dogs, who attack stag-headed and collapsing Actaeon.

Painting by Veronese (in Philadelphia) showing stag-headed Actaeon recoiling from his view of nude, bathing Artemis in a pool; she is accompanied by two nymphs, one of whom holds a bow and incites two of Actaeon's dogs.

Engraving after Bartholomeus Spranger showing Hermes putting winged sandals on Perseus' feet and Athena putting shield on his arm; on upper right, river god and three nymphs (see link with a translation of the Latin inscription on the engraving).

Bronze statue of Perseus (in Florence) by Benvenuto Cellini; Perseus raises Medusa' head in one hand, holds his sword in his other hand, and steps on beheaded Medusa; in niches of base, smaller figures of Zeus, Danae and young Perseus, Athena and Hermes; beneath base, bronze relief with Perseus rescuing Andromeda from sea monster, in presence of Andromeda's parents Ethiopian King Cepheus and Queen Cassiopeia (see link with translations of Latin inscriptions on the chest of Perseus and on the base).

Bronze plaquette by Guglielmo della Porta (from New York) showing (in upper right) miniature figures of Perseus, sea monster and Andromeda; in foreground, wedding feast of Perseus and Andromeda, disrupted by attack of Phineus (Andromeda's uncle), whom Perseus turns to stone with Medusa's head, along with his men; Kilinski cat. # 34 (see link with pertinent passage from Ovid's Metamorphoses).

Reliefs showing Pegasus and Perseus constellations from San Domenico Maggiore, Naples, where Perseus holds bearded Medusa head.
 

1600-1800:  Baroque, Rococo, Neo-Classical and Early Romantic Periods
 

Baroque painting by Guido Reni (in London) showing clothed Europa riding over water on garlanded bull; in the air, an Eros, who shoots an arrow at a questioning Europa; in the right distance, shore with tiny figures of Europa's companions.

Etching after Baroque work by Guido Reni showing clothed Europa with arms raised riding garlanded bull on sea, while two Erotes, riding dolphins, lead the way; on the right, empty Phoenician shore.

Rococo painting by François Boucher (in Paris) showing (in center) bare-breasted Europa sitting on garlanded bull, surrounded by friends and an Eros; on the right, two Tritons and a Nereid in water; above, Zeus' eagle and eight Erotes holding canopy and wreaths; Crete in distance.

Rococo painting by Corrado Giaquinto (in Milwaukee) showing clothed Europa sitting on or near garlanded bull in presence of her companions; in air, two Erotes, one of whom prepares to shoot his arrow at Europa and other of whom holds a torch; in right background, amorous couple; on the left, vase on pedestal and statue; Kilinski cat. #2.

Neo-Classical painting by Benjamin West (in Raleigh) showing Europa, sitting dejectedly on Crete after her rape by Zeus; she is approached by Aphrodite and Eros with an unstrung bow; on the right, garlanded Zeus/bull moves away, but looks back; in air, Zeus' eagle with thunderbolts; Kilinski cat. #3.

Pen and drawing-ink sketch in Early Romantic style by Henry Fuseli (in London) showing completely nude Europa with billowing drapery and outstretched arm riding on back of bull.

Baroque painting by Joachim Wtewael (in Paris) and engraving after it showing (in upper left) eagle, Zeus in human form, cloud and coins which rain down on nearly-nude Danae, who writhes in terror on her bed; beside Danae, aged, nearly-nude attendant who holds spindle and skein-winder and who has dropped second spindle and distaff; in front of her bed, Eros with bow.

Baroque painting by Rembrandt (in Leningrad) showing nearly-nude Danae on bed receiving Zeus in the form of sunlight; her aged attendant opens the curtain; above her head, a weeping Eros with bound wrists (symbolizing her enforced chastity previous to Zeus' visit).

Rococo painting by Paolo de Matteis (at Detroit) showing nude Danae on bed receiving Zeus' golden coins, which fall from a cloud outside window; next to her bed, an aging attendant catches coins with platter, and above her, an Eros pulls curtain aside; Kilinski cat. #8.

Rococo painting by Tiepolo (in Stockholm) showing crowned but aging Zeus seated on cloud and dispensing a few coins, some of which are caught in platter by aged attendant; a jaded Danae, with bare bottom, looks at viewer as Eros pulls up her gown; on the right, eagle with thunderbolts, at which Danae's dog barks; architecture in background.

Rococo drawing with brown washes by Fragonard (once at Fort Worth) showing Danae on bed on left, holding up her skirt to receive golden rain, which takes form of haze, except for area in front of bed, where coins are gathered up by aging attendant; on upper right, Zeus cloud, surmounted by eagle; and on right below, five agitated companions of Danae; Kilinski cat. #9.

Baroque painting by Francisco de Zurbaran (in Madrid) showing Hercules clasping neck of upright lion in his arms; on the right, the lion's cave.

Baroque tapestry made at Brussels showing bearded Hercules in armor clasping neck of rampant lion in both arms; this takes places in lush landscape setting.

Two Baroque engravings by François Chauveau from edition on Ovid's Metamorphoses (published in 1676 in Paris) showing (1) Daedalus opening hollow cow for Pasiphae; in air, a recoiling Eros; in right background, a herd of cattle; and (2) armed Theseus receiving ball of thread from Ariadne at entrance to Labyrinth.

Neo-Classical sketch and marble statuary group by Antonio Canova (in London) showing youthful Theseus with club sitting on dead Minotaur.

Baroque wall painting by Annibale Carracci in Palazzo Farnese, Rome, showing Circe on throne holding wand and offering potion to Odysseus; Odysseus, wearing a cuirass and holding spear, accepts potion while Hermes drops moly into it; in right foreground, companion of Odysseus, with swine head, lies on ground; this takes place in loggia.

Baroque painting by Wilhelm Schubert van Ehrenberg (in Malibu) showing landscape with (foreground) trees inhabited by various animals; (middle ground) semi-nude Circe with wand offering Odysseus potion; Odysseus extends his hand towards Circe, while holding up plant (moly ?); behind him, transforming man with antlers and another with boar head; (background) Circe's palace; Kilinski cat. #21.

Engraving by James Parker after Neo-Classical drawing by John Flaxman (to illustrate Pope's Homer) showing dejected Odysseus, mourning the transformation of his men; near him sits Circe with wand, who offers him water; standing behind Circe, her maid; Kilinski cat. #22.

Baroque painting by Nicolas Poussin (in Paris) showing landscape with kneeling Eurydice in center, who has been bitten by snake; on right, Orpheus plays his lyre to spectators; in left background, castle with smoke pouring from it.

Baroque painting by Rubens (in Madrid) showing Orpheus with lyre leading Eurydice away from rulers of Underworld, Hades with scepter and Persephone.

Two Neo-Classical marble statues by Antonio Canova (in Venice) showing vanishing Eurydice, engulfed by flames of Hades and grasped by hand of Fury; and Orpheus, tragically looking back at her.

Drawing of Rococo fan (in New York) showing (in center) Artemis, whom two nymphs attempt to cover with drapery; (on left) five additional nymphs; and (on right) Actaeon with stag's horns, at whom two of his dogs growl; Kilinski cat. # 31.

Neo-Classical marble sculpture by Antonio Canova (in Rome) showing nude Perseus with sword holding head of Medusa.

Baroque drawing by studio of Nicolas Poussin (at Sacramento) showing (in right foreground) Eros cleansing Perseus' hands, Pegasus, and nymphs observing miraculous transformation by Medusa's head of seaweed into coral; (in left foreground and background) water deity and nymphs with water vessels; (above) Victory tearing off palm frond; and (right background) head of sea monster, Andromeda chained to rock, and (in clouds) Hermes and Athena; Kilinski cat. #35.

Baroque painting by Annibale Carracci in Palazzo Farnese, Rome, showing Perseus with hideous Medusa head turning Phineus' men to stone, while behind him Phineus attempts to flee but his head is pulled back by one of Perseus' allies so it can be petrified.

Baroque painting by Luca Giordano (in London) showing Perseus with fearful Medusa head turning Phineus' men to stone.
 

Modern:  19th and 20th Centuries, including Late Romantic, Pre-Raphaelite, Symbolist and Surrealist Movements
 

19th-century Romantic painting and drawing by Gustave Moreau (both at Paris) showing Zeus on Crete; he has the form of a man-headed bull and is in the process of transformation from bull to man; nearly-nude Europa reclines fondly on bull; on drawing, Zeus' flying eagle is also present.

19th-century Romantic watercolor by Gustave Moreau (in Paris) showing nearly-nude Europa on bull arriving on Crete; this occurs at sunset.

20th-century painting by Ludwig von Hofmann (in Hannover) showing bull standing in shallow water while Europa is helped up onto bull's back; in front of bull, second companion of Europa squats in water and strokes bull's chin.

20th-century marble fountain group by Carl Milles (in Bloomfield Hills) showing terrified, nude Europa climbing up on neck and nose of bull, whose forepart surges through the water; Kilinski cat. #4.

20th-century painting by André Lhote (in Paris) showing nude Europa lying on back of bull and holding one of his horns; dark-faced bull snorts as he swim; in upper left, water patterns.

20th-century watercolor by Max Beckmann (in private collection) showing brutal bull (=? Nazi party) on shore who raises his head and lashes his tail; on his back is thrown, face-down, a semi-nude and screaming figure of Europa (=? Europe).

20th-century bronze sculpture by Jacques Lipschitz (in London) showing bull with fish's tail (=? Nazi party) biting into head of Europa (=? Europe), also with fish's tail, who hangs onto bull for dear life.

19th- or 20th-century painting by Leon Comerre (in Paris) showing an erotic, nearly-nude Danae sprawled on bed next to her jewelry-box while gold coins of Zeus rain down on her from a cloud.

20th-century painting by Symbolist Gustav Klimt (in private collection) showing an erotic, nude Danae lying on bed with knees drawn up receiving a stream of gold from Zeus.

20th-century photograph by George Platt Lynes of Zeus with gold foil attachments descending on Danae.

20th-century painting by Jack Beal (in New York) showing nude, short-haired Danae lying on mat covered with quilt and cushions and flooded with light = Zeus' golden rain; light streams through window in which is a potted plant; to the right, older attendant sits on chair; Kilinski cat. #10.

20th-century mixed-media drawing by Phyllis McGibbon called Panning for Gold (Did Danaë really yearn for the Passion of Zeus?).

20th-century bronze statuette by Arturo Martini (in estate of W.R. Valentiner) showing Hercules standing on hind legs of apparently dead lion and letting lion down while holding both forelegs.

20th-century gilt bronze statuette by Paul Manship (in Washington, D.C.) showing Hercules in sandles and loin-cloth carrying lion on his back to Mycenae; Kilinski cat. #15.

19th-century Romantic bronze groups by Antoine-Louis Barye (at Bordeaux and McNay Art Museum) showing youthful Theseus grapping with and preparing to stab Minotaur; slides and Kilinski cat. #17.

19th-century painting by George Frederic Watts (in London) showing cruel Minotaur standing on balcony and crushing bird under one hand.

20th-century marquette by Pablo Picasso for cover of Minotaure showing Minotaur seated and holding dagger.

20th-century etching by Pablo Picasso showing blind Minotaur as wanderer with sack; he reaches out for candle held by girl who faces him and also holds a bouquet of flowers; between the two, a mare with guts spilling out, over whose back is draped a female, bare-breasted matador who points sword at head of mare; on the left, a bearded figure in lion-cloth flees up ladder but looks back; in left background, two girls at window with doves; in right background, water with sailboat, over which is a cloud pouring out rain; Kilinski cat. #18.

20th-century Surrealist cover by Salvador Dali for Minotaure showing Minotaur posing like model and exhibiting lobster-claw genitals and drawer on chest with clothes spilling out; bomb-clouds in four corners and pen-nibs on right edge.

20th-century painting by Joe Shannon called Pink Minotaur Monitor: Night Guests (in New York) showing nude girl standing next to nude Minotaur with tongue hanging out; Minotaur's face is reflected in television screen; in room are vase of flowers and table; Kilinski cat. #19.

20th-century watercolor by George Grosz (in Washington, D.C.) showing a cafe, at which a modern blond-haired woman = Circe sits cross-legged at a table with a drink on it, smokes, and reaches out towards her seated companion, a swine-headed man in a coat and a top-hat, who also sits cross-legged and leers at woman; Kilinski cat. #23.

20th-century lithograph entitled Circe, made for James Joyce's Ulysses (New York, 1935); artist is Henri Matisse; shown is a sequence of female forms, central one hanging upside-down; Kilinski cat. #24 .

20th-century mosaic by Marc Chagall in Nice showing seated Circe trying to entice a standing and resistant Odysseus; behind him, transformed companion with a swan's head; at their feet, a temple of gods.

19th-century Romantic painting by Delacroix (in São Paulo) showing Eurydice bitten by snake as she gathers flowers with two friends; on left, Orpheus with lyre watches.

19th-century Romantic painting by Gustave Moreau (in Paris) showing young Thracian girl standing and tenderly holding head of Orpheus on lyre; Hebrus River is in background.

19th-century Romantic drawing by Puvis de Chavannes (in New Haven) showing a grieving Orpheus, stretched out on ground in rocky landscape; he covers his face with one hand and holds his lyre with the other, while his discarded laurel-wreath lies on ground; Kilinski cat. #27.

20th-century bronze statuette called the Joy of Orpheus by Jacques Lipchitz (in Washington, D.C.); shown is either Orpheus' lyre (Kilinski's interpretation) or Eurydice and Orpheus embracing, with lyre in-between (Van Keuren's and Bernstock's interpretation); Kilinski cat. #28.

20th-century bronze figures by Nathaniel Choate (in Brookgreen Gardens, S.C.) showing Orpheus with lyre looking back at Eurydice, who is swept back to the Underword.

20th-century engraving by Marc Dautry (in Athens, GA) showing Orpheus playing lyre, with skeleton in upper left (=? Eurydice), Siren in upper right, and animals around.

19th-century Romantic painting by Delacroix (in São Paulo) showing Actaeon at stream bank with three dogs; he recoils at sight of Artemis and sprouts stag's horns; Artemis sits on opposite bank of stream pointing vindictively at Actaeon; three nymphs surround her, and more swim in background.

20th-century life-sized bronze figures by Paul Manship (at unknown location and Yonkers) showing nude Artemis with dog bounding left but looking right at flight of the arrow she has just released from her bow; and nude Actaeon with stag's horns and ears running right while holding onto the wound from Artemis' arrow; he is attacked by two dogs; slides and Kilinski cat. #32.

20th-century Abstract Expressionist painting by Fritz Bultman entitled The Hunter (in the Met) that shows red Actaeon/Diana and black dog/Actaeon.

19th-century Pre-Raphaelite drawing by Elihu Vedder (in Yonkers) showing beheaded Medusa lying on shore over a mirror, and Perseus, with his traditional attributes, fleeing with Medusa's snake-entwined, shocked head into the "starry night"; Kilinski cat. #36.

19th-century Pre-Raphaelite cartoons by Edward Burne-Jones (in Stuttgart) showing Perseus looking at beautiful, standing Medusa in mirror and preparing to kill her; her two winged Gorgon sisters squat on ground; and Medusa beheaded on ground while two confused Gorgon sisters try to find invisible Perseus, who puts Medusa head in bag and prepares to depart.