General Index

Elsner, Jaś

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General Index

Jaś Elsner

Roman Eyes: Visuality and Subjectivity in Art and Text

General Index

Author

Jaś Elsner

PublisherPrinceton University Press

Stable URL: https://aaeportal.com/?id=-32025

General Index

Acacesium, sanctuary of the Mistress, 289

Achilles Tatius, Leucippe and Clitophon, 5–7, 31, 185, 189, 234

Acropolis: Erechtheum, 36; statue of Athena, 53

Actaeon: and Diana, 291–93, 297; image at Orchomenos, 41

Adam and Eve, 269, 270 (fig. 10.9)

Aegeira, port of, 51–52

Aegeus, 72

Aelius Aristides, Sacred Tales, 18, 30–31, 299

Aeneas, 79–83, 85–86

Aeschylus, Seven against Thebes, 85

agalmatophilia, 1n3

age, of Narcissus, 154–55

agency, female, 129–30, 219n55

Ahl, F., 129n57

Alberti, Leon Battista, 132–33

altars, within Altis of Olympia, 13–17

amateur, Lucian as, 62

Amphissa, temple of Athena, 54–55

Andromeda and Perseus, 3–11, 172n101

Antioch, 162; House of Narcissus, 162–63, 163 (fig. 6.10)

antiquarianism, 247n56

Apelles (artist), 183, 293

Aphrodite, 172. See also Venus

Aphrodite of Cnidos, 25–26, 41, 115, 117–20, 293–94, 293n16, 294–95, 301; Roman version (Colonna Venus), 118 (fig. 5.2), 293

Apollo: at Aegeira, 51–52; at Amyclae, 247; and Daphne, 172; Ismenian (Thebes), 54; Syrian, 60–61, 249–50

Apollonius, Argonautica, 68

Apollonius of Tyana, 225–28

aporia, 186

Apuleius: Florida, 297–98; Golden Ass, 180, 290–302

Arafat, K., 57n24

archaism, 26

architecture of Roman house, 88, 158–62

archival information, and connoisseurship, 52–53

Argus, 74–75

Ariadne: and Bacchus, 73–75; and Dionysus, 88–89; in group depiction, 92–95, 93 (fig. 4.4), 94 (fig. 4.5), 95–96, 95 (fig. 4.6), 96 (fig. 4.7), 97 (fig. 4.8), 98–99, 98 (fig. 4.9), 99 (fig. 4.10); and Theseus, 68–73, 75–77, 80–81, 91–109, 92 (fig. 4.3), 93 (fig. 4.4), 94 (fig. 4.5), 95 (fig. 4.6), 96 (fig. 4.7), 97 (fig. 4.8), 98–99, 98 (fig. 4.9), 99 (fig. 4.10), 101, 101 (fig. 4.11), 102–3, pl. II

Aristocles of Cydonia, 56

ark of the covenant, 273

Arnobius, 120–21

art, and resistance, 253–55

art, Christian, 47–48. See also Dura Europos, Syria

art, Greek, Pausanias’ chronology of, 54–58

art, religious, 29–30

art discourse: art-historical, 33–38, 46–47; ritual-centered, 33–38, 46–47. See also art history; style art history

Artemidorus of Daldis, Oneirocritica, 30, 246–47

Artemis, 153. See also Diana

Artemis Ephesia, 228–37, 230 (fig. 9.2), 231 (fig. 9.3), 236 (fig. 9.5), 242; copies of cult image, 235–37; gems, 238 (fig. 9.7); iconography, 245; statuettes, 239, 239 (fig. 9.8), 240 (fig. 9.9), 241 (fig. 9.10)

Artemisium (Ephesus), 228–35, 236 (fig. 9.4), 237 (fig. 9.6)

Artemis Orthia, sanctuary of (Sparta), 39–41

art expert, in Petronius’ Satyrica, 188–96

art gallery, in Petronius’ Satyrica, 182–96

art history, Petronius’ satire of, 192–96. See also connoisseurship, ancient

artist, 113–15, 193–94; Narcissus as, 133; Pygmalion as, 121–22, 122n34. See also names of artists

arts of memory, 88

art work, as object of gaze, 80–81. See also viewing

Asclepius at Epidaurus, 247

Atargatis, 19–22

Athena, 31, 53, 247; at Amphissa, 54–55; in Ariadne group depiction, 99–100, 99 (fig. 4.10); Polias (Erythrae), 53–54

Attis, 243

attribution, artistic, noted by Pausanias, 51–54

Aurelian, Emperor, 225–28, 252

authenticity, of sacred image, 40

autoeroticism, in myth of Narcissus, 151–52

Bacchante, Ariadne as, 69, 77

Bacchus, 73–75

bas-relief: Narcissus (baths of villa, Stabiae), 165, 166 (fig. 6.13), 170

bathing, 220–24

Beazley, Sir John, 50

Belting, Hans, 51

Berenson, Bernard, 57–58

Berger, John, 117

Boscoreale, 89n83

Boscotrecase: wall painting of Perseus and Andromeda, 3–7, 4 (fig. 1.1), 89

Bouphonia ritual, 35n29

Breasted, James, 260

bronze casting, 54–56

Brown, Peter, 257

Browning, Robert, xi–xiv

Bryson, Norman, 24–25, 144n40

burning, in description of love, 71

Callistratus, 32, 133–35, 138–42, 141n26, 146–52, 189

Campanian wall painting, 88–109

Canachus, 54

Catullus, poem 64, 68–73, 78, 80–82, 88; emulators of, 73–77

Cebes, Tabula, 185–86, 189, 192

Celts, 59–60, 64–65

Chariton, 220–21

chastity, in myth of Narcissus, 153–55

children, Roman, 215–16

Christianity, 227–28, 243, 250, 252, 282–83, 286–87

christianization, resistance to, 286–87

chronology, Pausanias’ interest in, 54–58

Cicero, M. Tullius, 186–87

civic culture, of Ephesus, 232

Clarke, J. R., 181n17

Claudian, 219–20

Claudius, Emperor, 236 (fig. 9.4)

Clearchus of Rhegium, 55

Clement of Alexandria, 120–21, 301

Clonus Eutychides, 85

Code of Justinian, 215

Codex Calendar (Romanus 1 ms, Barb. lat. 2154), 204, 206 (fig. 8.4)

coins, 236 (figs. 9.4 and 9.5), 237–39, 237 (fig. 9.6)

colonialism, Roman, 254

Comaroff, John and Jean, 284

competition, of image with prototype, 140–41

connoisseurship, ancient, 49–51, 65–66

Constantine, Emperor, 252

Constantinople: Hodegetria icon of Virgin and child, 47–48

Corbridge lanx, 205

cult images, 11–13, 25–26, 32, 247–51; danger of, 39–42. See also names of images; statue

cult implements, Jewish, 271–73

cultural resistance, 255–59, 281–83

culture, in Petronius’ Satyrica, 196–99

Cumont, Franz, 243n51

Cybele, 243, 244 (fig. 9.12)

Cyparissus, 163

Daedalus, 26, 82–83, 109

Dalí, Salvador, 132–33, 170

damnatio memoriae, 44

Daphnis and Chloe, 185

David and Goliath, 270

decadence, and satire, 177–81, 192–99

deception: and decadence, 196–99; and naturalism, 125–28, 191–92, 198. See also self-deception

“deductio sponsae,” represented on Project casket, 210

deity: intervention of, 234; powers of, 21, 39–42; presence of, 16–17, 44–45; viewed by human, 290–302; worship of, 38–39. See also cult images; names of gods and goddesses; ritual

Delphi, offering of the Orneatai, 42–43

Demeter, Mycalessian, 41

desire: in myth of Narcissus, 133–34, 139, 141, 146; of Pygmalion for statue, 123–25, 128–29

Diana and Actaeon, 291–93, 297. See also Artemis

Dio Chrysostom, 234–35

Dionysus and Ariadne, 88–89, 101n105, 104–7, 105 (fig. 4.14), 106 (fig. 4.15), 107 (fig. 4.16), 108 (fig. 4.17), 212n34, pl. III

discourses, contradictory, on Projecta casket, 220–24. See also art discourse

display object, adorned woman as, 215–17

Donacon, spring of Narcissus, 150

double portrait, 204

Dover, K. J., 147n50

dreams, and images, 30, 42

dress, female, 218–20

Du Mesnil du Buisson, Robert, 276–77

Dura Europos, Syria, 259–81; Christian house-church, 268–71, 269 (fig. 10.8), 270 (fig. 10.9), 282–83; mithraeum, 266–68, 267 (fig. 10.7); pagan temples, 259–66, 281–82; synagogue, 271–81, 272 (fig. 10.10), 273 (fig. 10.11), 274 (fig. 10.12), 275 (fig. 10.13)–275 (fig. 10.14), 276 (fig. 10.15), 277 (fig. 10.16), 278 (fig. 10.17), 279 (fig. 10.18), 280 (fig. 10.19), 283, pl. X, pl. XI, pl. XII; temple of Adonis, 263; temple of Aphlad, 264, 265 (fig. 10.6); temple of Atargatis, 19, 20 (fig. 1.5); temple of Azzanthkova, 263; temple of Bel, 260–63, 260 (fig. 10.1), 261–62, 261 (fig. 10.2), 262–63, 262 (fig. 10.3), 263 (fig. 10.4), pl. IX; temple of the Gaddé, 263–64, 264 (fig. 10.5); temple of Zeus Theos, 263

East, Roman, 225–28; and visual self-assertion, 251–52. See also Dura Europos, Syria; mystery religions; religions, eastern; romanization, resistance to

Echo and Narcissus, 153, 170–74, 172n101, 173 (fig. 6.16), 174 (fig. 6.17), 175, pl. VI

Egeria, Peregrinatio Egeriae, 48

ekphrasis, 7, 67–68; in Byzantine context, 47n64; in Catullus 64, 68–73, 82; and decadence, 192–96; in Golden Ass, 291–93; of painting, 31–32; in Petronius’ Satyrica, 182–96; in Philostratus and Callistratus, 135, 138–46, 149–50; in Virgil’s Aeneid, 78–87

Elagabal, cult of, 252

Elagabalus, Emperor, 252, 254

Elijah, story of, 278

Eliot, T. S., 132

eloquence, art of, 59–60, 64–65

Endoeus, 53

Endymion, 163

Ephesus, Artemisium, 228–35, 236 (fig. 9.4), 237 (fig. 9.6)

Epidaurus, 247

epiphany, in Golden Ass, 290–302

Erechtheum (Acropolis), 36

Eros, 32; and Ariadne, 92–95, 93 (fig. 4.4), 94 (fig. 4.5), 95 (fig. 4.6), 96 (fig. 4.7); and Narcissus, 153, 155, 157 (fig. 6.4), 165, 166 (fig. 6.13), 172; and Perseus, 10

eroticism, in myth of Narcissus, 153–55. See also autoeroticism; desire; homoeroticism; sexuality

Erythrae, temple of Athena Polias, 53–54

ethnicity, Lucian and, 58–62

eunuchs, 213–14, 214n38

expert empiricism, role in connoisseurship, 54, 188–96

“eye,” role in connoisseurship, 52–53

Faraone, C. A., 43n56

female object, 73–75, 215–17

feminization, of Narcissus, 147–48

festivals, 18–19

financial center, temple as, 235

Fitzgerald, William, 69

floor mosaics: lady at her toilette (from private bath at Sidi Ghrib, Tunis), 212, 213 (fig. 8.11), pl. VIII; Mosaic of the Planetary Deities (Orbe, Switzerland), 163, 164 (fig. 6.11); Narcissus (House of Narcissus, Antioch), 162–63, 163 (fig. 6.10)

Fränkel, Hermann, 128

Freedberg, David, 114n15, 117

frescoes. See wall paintings

frontality, 22, 22n58

Ganymede, 163

gaze, 67–68; aggressive, 136; alienating, 147n52; in Browning, xi–xiv; in Catullus 64, 68–73, 70n17; in ekphrasis, 68–87; female, 68–73, 75–77, 170, 200, 217–20; focused on work of art, 80–81; in Golden Ass, 300; Greco-Roman, xiv–xv; in images of Narcissus, 167–74; male, 73–75; of Narcissus, 147–48; in Ovid’s Heroides, 75–77; paranoiac, 166–67; in Propertius 1.3, 73–75; reciprocal, 23–24; of statue, 21; unfulfilled, 68–73; in Virgil’s Aeneid, 78–87

gazes, interplay of, 88–91, 96–98, 171–72

Geertz, Clifford, 253

gem, of Artemis Ephesia, 238 (fig. 9.7), 239–41

genre, in myth of Narcissus, 152

Gombrich, Ernst, 1n1, 22n59, 48n69, 66n48, 117, 122

Good Shepherd, 269, 270 (fig. 10.9)

Gordon, R., 284n88

Gorgias, 197

Gorgon’s head, 161 (fig. 6.8), 168–70, 172n101

Graces, 56–57

Greek dialects, 26

Griffiths, J., 297n29

Hadad, 19–22

Hadrian, Emperor, 236 (fig. 9.5)

healing, miraculous, 31

Helios, 249

Henderson, John, xi n2

Hera, 19–22; Argive, 247; Syrian, 61, 248–49, 290

Heracles, 38–39; Celtic, 59–60, 64–65

Herculaneum: wall painting of Ariadne and Theseus, 92, 92 (fig. 4.3), pl. II

hermaphrodite, Narcissus as, 147–48

hero, worship of, 38–39

Hero and Leander, 102 (fig. 4.12)

Hierapolis, 19, 23, 60–62, 246, 248–50, 282

Hierocaesareia, 41

Historia Augusta, 225–28, 294

Hodegetria icon of Virgin and child (Constantinople), 47–48

homoeroticism: in Lucian’s Amores, 119–20, 136; in myth of Narcissus, 136, 147–48; in Petronius’ Satyrica, 184–86, 185n36, 190–92

Honorius, Emperor, 219

house, Roman, orchestration of view, 88, 158–62, 175

hunter, Narcissus as, 153–55

Hypaepa, 41

Icarus, 82–83

iconoclasm: ancient, 44; Byzantine, 47, 226

iconography: of Artemis Ephesia, 235, 237, 241, 245; of Attis, 243; in eastern religions, 251; and ethnicity, 59–60; of Mithras, 243; Pausanias on, 56–57; of Projecta casket, 203–4, 207–20; and representation of Greek myth, 248

icons, 225–28; Christian, 22, 47–48, 62–64, 63 (fig. 3.1), 226, pl. I

identities, latent, 285–86, 285n92

identity, xv–xvi; of prototype and representation, 42–48

Ilasamsos, 262

image: identified with prototype, 42–48; and ritual, 38–42; as ritual, 42–45. See also cult images

image-worship, classical and Christian, 47–48

imitation, in myth of Narcissus, 136, 148–50

imperial cult, and eastern religions, 242–46, 251

incest, in myth of Narcissus, 150–51

Ingres, Jean Auguste Dominique: Roger and Angelica, 6, 6n14

initiate mythologies, in Dura Europos images, 266. See also mystery religions

inscription, on Projecta casket, 201

interrelationship of image, temple, and city, 229–35

Isis, 245, 295–97

ivory, as artistic medium, 125–27, 127n50

Jenkyns, R., 68n9

Jesus, 245

Jones, F. M., 196n65

Judaism, 250

Kitzinger, Ernst, 29

Knibbe, D., 232n20

Lacan, Jacques, 81n56, 166–67

Laird, Andrew, 139n20

landscape of memory, in Pausanias and Lucian, 247

Laphaës the Phliasian, 38, 51–52

“latent identities,” 285–86, 285n92

Leach, E. W., 129n57

Leander, 100–101, 102 (fig. 4.12)

Leirope, 172

Leochares, 34–35

Leptis Magna, Libya, 231 (fig. 9.3), 235, 237

Lévi-Strauss, Claude, 253

localism, in eastern religions, 247–51, 281–82, 284, 286–87

“Longinus,” 186–87

Longus, 189

lover, as viewer of erotic art, 184–86. See also viewer-lover

Lucian, 1, 58–62, 64–66; Alexander, 19n51; De Dea Syria, 12–13, 18–23, 26, 45–48, 60–62, 246–51, 282; De Domo, 182; Essay on Images, 61; Heracles, 59–61, 64–65, 189; Peregrinus, 19n51. See also Ps.-Lucian

“Lucius,” 160

Lynn-George, Michael, xi n2

Lysippus, 135n9, 193

Maenad, dancing, 9

Magi, 243, 245 (fig. 9.13)

magic, 39–42

Mareos, 267

Maria, Empress (daughter of Stilicho), 219

marriage, Roman, 215

medallion of Apollonius of Tyana, 226, 227 (fig. 9.1)

megalographic friezes, 89

Meleager plate (Sevso treasure), 205

memory, role in connoisseurship, 52–53

metamorphoses, in Pygmalion story, 128–30

Micon and Pero, 155, 156 (fig. 6.3)

mimesis, 42–45. See also naturalism

miracles: Christian, 269; Jewish, 273–76; pagan, 39–42

Mistress, sanctuary of (Acacesium), 289

mithraeum, 243, 244 (fig. 9.11)

mithraism, 243n51, 266–68, 282–83; tauroctony, 243, 244 (fig. 9.11), 267, 267 (fig. 10.7)

Mithras, iconography of, 243, 244 (fig. 9.11), 245

Momigliano, Arnaldo, 257, 257n37

Monastery of Saint Catherine (Sinai): icon of Saint Peter, 62–64, 63 (fig. 3.1), pl. I

Moon, Warren, 277

Morelli, Giovanni, 52–53

mosaics. See floor mosaics

Moses, 271, 276 (fig. 10.15)

Muse casket, 202n11, 205

Myron, 193

mystery religions, spread of, 242–46, 250–51, 282–83, 285

Narcissism, 175–76

Narcissus, 2–3, 130, 132–46; rationalization of myth, 146–52

Narcissus, depictions of, 152–76, 164 (fig. 6.11); alone, 133–34, 134 (fig. 6.1), 155–60, 159 (fig. 6.6), 160–62, 161 (fig. 6.8), 162–63, 163 (fig. 6.10), 165–66, 165 (fig. 6.12), 168–70, pl. IV; with Echo, 153, 167–68, 169 (fig. 6.14), 170–74, 171 (fig. 6.15), 172, 172n101, 173 (fig. 6.16), 174 (fig. 6.17), 175, pl. VI; with Eros, 153, 154 (fig. 6.2), 155, 157 (fig. 6.4), 158 (fig. 6.5), 165, 166 (fig. 6.13), 167–68, 169 (fig. 6.14), 170–71, 171 (fig. 6.15), 172; reflective, 153–55

narrator, in Virgil’s Aeneid, 78–79

naturalism, 1–2, 115–21, 183–85; and deception, 125–28, 191–92, 198; and desire, 123–25, 128–29, 133–34, 137, 139, 141–46; and reality, 117; and visuality, 2–11, 22, 24–26. See also Narcissus; Pygmalion

nature, transgressed by art, 127–28

Nelson, Robert S., 50

neokoros, 242n46

nude, female, 218–20; Aphrodite of Cnidos as, 293n16; invention of, 56–57; as object of desire, 117–21;Venus as, 172

objectification: in myth of Narcissus, 136, 147–48; of woman as product, 215–17

ocular culture, Roman, 175

Odysseus, 55

offering, art work as, 42–43

Ogmios (Celtic Heracles), 59–60, 64–65

Olympia, 14, 14 (fig. 1.4), 16; altars in Altis, 13–17

onlookers, in Ariadne group depiction, 98–100. See also supernumerary figures

Orbe, Switzerland, 163; Mosaic of the Planetary Deities, 163, 164 (fig. 6.11)

Orchomenos, image of Actaeon, 41

Orneatai, offering at Delphi, 42–43

Orpheus, 113, 122

Ovid (P. Ovidius Naso), 2; Heroides, 75–77, 219n55; Metamorphoses, 87, 113–15, 121–31, 133, 138, 145n45, 149, 154, 169–70

paganism, 284

Paidize (Sicyon), 38–39

Pallas, baldric of, in Virgil’s Aeneid, 85–86

panel paintings, 89–91

Paphos, 162

Parabiago plate, 205

Pasiphaë, 109

pastoral setting, for Narcissus images, 155, 160, 168

Pausanias: as connoisseur, 51–54; project of, 57; rhetoric of, 65–66; and ritual, 234n26; and ritual-centered visuality, 12–17, 26, 32–42, 45–48, 229, 289; and story of Narcissus, 150–52

Pausanias, Description of Greece: and chronology of Greek art, 54–58; as pilgrimage text, 246–51

Peleus and Thetis, 68–73

Pelops, 127

Perkell, C., 86n73

Pero and Micon, 155, 156 (fig. 6.3)

Perseus and Andromeda, 3–11, 172n101

Peter, Saint, icon of, 62–64, 63 (fig. 3.1), pl. I

Petronius, Satyrica, 179–99; Cena Trimalchionis, 179–80; figure of Encolpius, 182–88; figure of Eumolpus, 188–96; Troiae Halosis, 194–99

phantasia, 186–88, 187n42, 188n44, 195

Phidias, 247

philosopher, in Petronius’ Satyrica, 188–96

Philostephanus, 129; Cypriaca, 120

Philostratus, 1–3, 109, 133–35, 167–74, 194, 226; Imagines, 143–52, 182, 189, 192; Life of Apollonius, 18–19, 37–38

Philostratus the Younger, 2–3, 9–10, 46–47, 91, 197

Philotheos, Kterologion, 214n38

physiognomics, ancient science of, 65n46

pilgrimage, 246–51

Pindar, First Olympian Ode, 127

Platonic philosophy, 192

Pliny the Elder, Natural History, xiii n4, 125, 144, 182–83

Plotina, Empress, 232

Polyclitus, 247

Pompeii, 88–109, 94 (fig. 4.5), 170–71, 171 (fig. 6.15);V.1.18, 93n93;V.3.4, 93n93; VI.8.3, 93n93; VI.9.2, 93n93; VII.12.26, 93n93; VIII.5.5, 93n93; IX.2.5, 96 (fig. 4.7); IX.5.11, 93 (fig. 4.4); Casa dei Capitelli Colorati (VII.4.31.51), 104, 105 (fig. 4.14), 106 (fig. 4.15), pl. III; Casa dei Dioscuri (VI..9.6.7), 172, 173 (fig. 6.16); Casa dei Vettii (VI.15.1/2), 101, 101 (fig. 4.11), 102 (fig. 4.12), 103 (fig. 4.13); Casa della Fortuna (IX.7.20), 104–7, 107 (fig. 4.16), 108 (fig. 4.17); Casa dell’Ara Massima (VI.16.15), 156–60, 159 (fig. 6.6)–159 (fig. 6.7), pl. IV, pl. V; Casa dell’ Argenteria (VI.7.20/22), 167–68, 169 (fig. 6.14), 171; Casa della Soffitta (V.3.4), 95–96, 98 (fig. 4.9); Casa dell’Efebo (I.7.10-12), 172, 172n101, 174 (fig. 6.17), 175, pl. VI; Casa delle Vestali (VI.1.7/25), 158 (fig. 6.5); Casa del Marinaio (VII.15.2), 153, 154 (fig. 6.2); Casa di Cornelius Diadumenus (VII.12.26), 98–99, 99 (fig. 4.10), 100; Casa di Gavius Rufus (VII.2.16), 90–91, 91 (fig. 4.2); Casa di M. Loreius Tiburtinus (II.2.2), 160–62, 161 (fig. 6.8), 162 (fig. 6.9), 168–70, 290; Casa di M. Lucretius Fronto (V.4.a), 133–34, 134 (fig. 6.1), 155, 156 (fig. 6.3); Casa di Meleagro (VI.9.2.13), 93, 97 (fig. 4.8); Casa di Poeta Tragico (VI.8.3.5), 102–3; Casa di Sacerdos Amandus (I.7.7), 8 (fig. 1.3), 8n18, 89; Temple of Isis (VIII.7.28), 165–66, 165 (fig. 6.12); Villa di Diomede, 157 (fig. 6.4); Villa of the Mysteries, 88–89, 90 (fig. 4.1)

popular religion, 257–58

Poseidon, 36

Posidippus, 121

Praxiteles, 115, 117–20, 135n9, 293

Procopius, Secret History, 180

progymnasmata (rhetorical handbooks), 67, 79

Projecta casket, 200–204, 202 (fig. 8.1), 203 (fig. 8.2), 205 (fig. 8.3), 207 (fig. 8.5), 208 (fig. 8.6), 209 (figs. 8.7 and 8.8), 210 (fig. 8.9), 211 (fig. 8.10), 214 (fig. 8.12), pl. VII; iconography of, 203–4, 207–14; interpretation of, 214–20; value, 204–7; as wedding gift, 204

Propertius, poem 1.3, 73–76

Propoetides, 123

prothysis, 15

Protogenes, 183

prototype, in realistic art, 117

Prudentius, Peristephanon, 189

Ps.-Lucian, Amores, 41, 117–20, 119n26, 136, 189, 294

Psyche, 294–95

purple textiles: in Catullus 64, 70–73; in Propertius 1.3, 74

Pygmalion, 113–15, 117, 120, 145n45, 215n39; as artist, 121–22, 122n34; as viewer-lover, 115, 115n19, 122–25, 122n34

Pyramus and Thisbe, 160

Quintilian, 183, 186–87

reader, 122; in Ovid’s Heroides, 76; and Pygmalion story, 130–31

reading, viewing as, 82, 86

“reading in,” 7, 10–11

realism. See naturalism

reflection, in depictions of Narcissus, 152–55

relief panels: Atargatis and Hadad (from temple of Atargatis, Dura Europos, Syria), 19, 20 (fig. 1.5); Dura Europos, 263–64, 264 (fig. 10.5), 265 (fig. 10.6); Perseus and Andromeda, 3, 5 (fig. 1.2), 9–11, 22

religion, 3. See also Christianity; cult images; Judaism; mithraism; mystery religions; religions, eastern; ritual

religions, eastern, 243n50, 250–51; and cultural resistance, 257–59; spread of, 242–46

religious art, xv–xvi

representations, competing, in naturalistic art, 139–41

resistance to romanization, 228, 242–46, 243n50, 247–51, 253–55, 283–86; and art of Dura Europos, 281–83; cultural, 255–59, 281–83; problem of evidence, 255–59

response, emotional, to work of art, in Virgil’s Aeneid, 79–80

reverentia, 124, 124n42

Rhea (Magna Mater, Cybele), 61–62

rhetoric, ekphrastic, 149–50

rhetorical handbooks, 67, 79

Rhoecus, 54–55

Richter, Ludwig, 49–50

Riegl, Alois, 64

Rimell, V., 194n62

ritual, 11–22; of Artemis Ephesia, 229–33; described by Pausanias, 34–36; as focus of art discourse, 33–38, 46–47; image and, 38–42; image as, 42–45; personal aspects, 18; setting for, 13–19; use of images in, 32; and vision of deity, 22–24

ritual-centered visuality, 16, 22–26

Robertson, Martin, 1n2, 115

Rodin, Auguste, 115–17

romanization, resistance to, 228, 242–46, 243n50, 247–51, 253–59, 281–86

Rome, Farnesina villa, 89

rules, in Greek religious practice, 234

sacred, and visuality, 22–26

sacred space, 24

sacrifice, 268, 282; in Dura Europos images, 260–66, 260 (fig. 10.1), 261 (fig. 10.2), 262 (fig. 10.3), 263 (fig. 10.4), 264 (fig. 10.5), 265 (fig. 10.6), pl. IX; Jewish, 281

sacrifice of Isaac, 274 (fig. 10.12), 279–80, 280 (fig. 10.19)

saints, Christian, 226; Peter, 62–64; Stylite, 48

Samaritan woman at well, 270

sarcophagi, fourth-century, 204, 211

sarcophagus of Adelphia, 243, 245 (fig. 9.13)

satire, Roman, 177–78; and decadence, 177–81, 192–99; and ekphrasis, 182–88

Scopas, 38, 135n9

Scott, James, 283, 285

Second Sophistic, xvi n11, 30, 33, 37, 46–47, 135, 135n7, 227

self-consciousness, Narcissus and, 144n42

self-deception, Narcissus and, 136–37, 149

self-definition, 284–87; and cultural resistance, 258–59; silent resistance as, 253–55

Seneca, 194

Seneca the Younger, Natural Questions, 178–79

Septimius Severus, Emperor, 237 (fig. 9.6)

Serapis, 245

Seroux d’Agincourt, J., 202

Sevso casket, 202n11, 221–24, 222 (fig. 8.13), 223 (fig. 8.14)

sexuality, xv–xvi, 136; female, 218–20. See also autoeroticism; desire; homoeroticism

Shelton, Kathleen, 201–2

shields, Virgil’s descriptions of, 83–85

Shiff, Richard, 50

Sicyon, Paidize, 38–39

silverware, 200–214

Skoptic epigram, xiv n7

Sémeion, 249

Sol Invictus, cult of, 252

sophisma, 43n56

Spada reliefs, 9

Sparta, sanctuary of Artemis Orthia, 39–41

Stabiae, baths of villa, 165, 166 (fig. 6.13), 170

statue: of deity, 11–12, 30, 39–48 (See also cult images); female, as object of desire, 113–15, 117–20, 123–25, 128–29 (See also Pygmalion); living person as, 297–98

statuette, of Artemis Ephesia, 239–41, 239 (fig. 9.8), 240 (fig. 9.9), 241 (fig. 9.10)

Stoic philosophy, 186–88, 192

Strzygowski, Josef, 64

style art history, 49–51; Pausanias and, 51–58; and rhetoric, 64–66

subjectivism, in Petronius’ Satyrica, 184–88

subjectivities, multiple, and cultural resistance, 258

subjectivity, xvi, xvii; female, 215–20; in myth of Narcissus, 146–52

supernumerary figures, 175

supernumerary figures, in wall paintings, 89–91

syncretism, 249, 251–52

tapestry, of Dionysus and Ariadne, 212n34

Tate Gallery, 133

tauroctony, 243, 244 (fig. 9.11), 267, 267 (fig. 10.7)

temple of Aaron, 271, 275 (fig. 10.13)

temple of Dagon, 273, 276, 277 (fig. 10.16), pl. XI

temple of Solomon, 271, 275 (fig. 10.14)

temporal progression, in Campanian wall painting, 103

Theagenes of Thasos, 44–45

theater, Roman, 158–60, 175, 177n5

Thebes, temple of Ismenian Apollo, 54

Theodorus, 54–55

theology, Christian, 39, 47

theoria, 24

Theseus, 75–76; return of, 72; triumphant, 90–91, 91 (fig. 4.2). See also Ariadne

Thetis and Peleus, 68–73

Thisbe and Pyramus, 160

topography, sacred, 14–17, 229

Trajan, Emperor, 232

triangulation of viewing, in images of Narcissus, 168–70

Trojan War: frescoes described in Virgil’s Aeneid, 79–82; in Petronius’ Satyrica, 194–99

truth-value, in connoisseurship, 65–66

Turnus, 84, 86

Tyana, shrine of Apollonius, 226

universalism, 251; Christian, 270; and imperial cult, 243n50; mithraic, 268

Vasari, Giorgio, 11, 113

Venus, 172, 208, 211–12, 218–20, 293–95. See also Aphrodite

Venus Anadyomene (Apelles), 293

Venus dei Medici (Roman copy), 115–17, 116 (fig. 5.1)

Venus Pudica, 293–94

Veyne, Paul, 247n56

view, within Roman house, 88, 158–62, 175

viewer: male, of Projecta casket, 215–17; Narcissus as, 133; as voyeur, 130–31

viewer-lover, Pygmalion as, 115, 115n19, 122–25, 122n34

viewing: art historical, 289; of deity by human, 290–302; and desire, 133–34; in images of Narcissus, 152–55, 167–74; in myth of Narcissus, 136–37, 149; ritual-centered, 16, 22–26, 289; in Virgil’s Aeneid, 78–87, 103. See also gaze

viewing context: for images of Ariadne, 88–91; for images of Narcissus, 155–67

Vinge, L., 140n23, 144n42

Virgil: Aeneid, 78–87, 194–95; Georgics, 127

Virgin and child (Hodegetria icon, Constantinople), 47–48

“virtual reality,” in naturalistic art, 139, 139n20

Visconti, Ennio Quirino, 201

visuality, xvii, 1; and literary genre, 12–13; and naturalism, 2–11; ritual-centered, 13–19, 22–26; vertical vs. horizontal, 289–90

votive objects, 43

voyeurism, 293; and decadence, 177–81; in images of Narcissus, 170–72; in myth of Narcissus, 152; in Pygmalion story, 130–31

wall paintings, xiv n8, xv, 88–109, 271–81; Ariadne and Theseus (Casa dei Vettii, Pompeii), 101, 101 (fig. 4.11); Ariadne and Theseus (Casa della Soffitta, Pompeii), 95–96, 98 (fig. 4.9); Ariadne and Theseus (Casa di Cornelius Diadumenus, Pompeii), 98–99, 99 (fig. 4.10); Ariadne and Theseus (Casa di Meleagro, Pompeii), 97 (fig. 4.8); Ariadne and Theseus (Herculaneum), 92, 92 (fig. 4.3), pl. II; Ariadne and Theseus (Pompeii), 94 (fig. 4.5), 95 (fig. 4.6); Ariadne and Theseus (Pompeii IX.2.5), 96 (fig. 4.7); Ariadne and Theseus (Pompeii IX.5.11), 93 (fig. 4.4); Dionysus and Ariadne (Casa dei Capitelli Colorati, Pompeii), 104, 105 (fig. 4.14), 106 (fig. 4.15), pl. III; Dionysus and Ariadne (Casa dei Vettii, Pompeii), 101n105; Dionysus and Ariadne (Casa della Fortuna, Pompeii), 104–7, 107 (fig. 4.16), 108 (fig. 4.17); Dionysus and Ariadne (Villa of the Mysteries, Pompeii), 88–89, 90 (fig. 4.1); Dura Europos, 260–63, 260 (fig. 10.1), 261 (fig. 10.2), 262 (fig. 10.3), 263 (fig. 10.4), pl. IX; Narcissus (Casa del Marinaio, Pompeii), 153, 154 (fig. 6.2); Narcissus (Casa dell’Ara Massima, Pompeii), 156–60, 159 (fig. 6.6), pl. IV; Narcissus (Casa dell’Argenteria, Pompeii), 167–68, 169 (fig. 6.14), 171; Narcissus (Casa di M. Loreius Tiburtinus, Pompeii), 160–62, 161 (fig. 6.8), 168–70; Narcissus (Casa di M. Lucretius Fronto, Pompeii), 133–34, 134 (fig. 6.1), 155; Narcissus (Temple of Isis, Pompeii), 165–66, 165 (fig. 6.12); Narcissus and Echo (Casa dei Dioscuri, Pompeii), 172, 173 (fig. 6.16); Narcissus and Echo (Casa dell’Efebo, Pompeii), 172, 172n101, 174 (fig. 6.17), 175, pl. VI; Narcissus and Eros (Casa delle Vestali, Pompeii), 158 (fig. 6.5); Narcissus and Eros (Villa di Diomede, Pompeii), 157 (fig. 6.4); Narcissus with Eros and Echo (Pompeii), 170–71, 171 (fig. 6.15); Pero and Micon (Casa di M. Lucretius Fronto, Pompeii), 155, 156 (fig. 6.3); Perseus and Andromeda (Casa di Sacerdos Amandus, Pompeii), 8 (fig. 1.3), 8n18; Perseus and Andromeda, from Boscotrecase (MMA), 3–7, 4 (fig. 1.1); Theseus triumphant (Casa di Gavius Rufus, Pompeii), 90–91, 91 (fig. 4.2)

Wheeler, S., 131n61

Wilkinson, L. P., 113n1

Winckelmann, 11

Wind, Edgar, 52–53

wish-fulfillment, in Pygmalion story, 128–30

Wölfflin, Heinrich, 49–50

wonder, inspired by gazing at work of art, 80–81

Xenophon of Ephesus, Ephesian Tale of Anthia and Habrocomes, 233

xoanon, 40, 235, 249

Zeus, 34–36; Most High, 55; Olympian, 15–16, 247; Polieus, 34–36; Syrian, 61, 248–49

Zeuxis, 183–84

zodiac, 242

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