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Classical Mythology (7th edition), Morford and Lenardon, p. 25
[Mircea Eliade. Towards a definition of myth] as posted by Carlos Parada
[H. J. Rose, in The Oxford Classical Dictionary]
As posted by Carlos Parada
See Ovid’s Metamorphoses 4.55ff for the story of Pyramus and Thisbe
Photo: from http://www.forestryimages.org/browse/detail.cfm?imgnum=0008230
[T. B. L. Webster, Everyday Life in Classical Athens (quoted by G. S. Kirk)]
As collected by Carlos Parada:
[William Bascom, The Forms of Folklore (quoted by J. Fontenrose)]
As posted by Carlos Parada:
[Pierre Grimal, Dictionnaire de la Mythologie Grecque et Romaine].
French as posted by Carlos Parada, translated into English by Nikole Robinson
[James G. Frazer, Introduction to the Library of Apollodorus]
As posted by Carlos Parada
Palaephatus, a rationalizer of mythology in the style of Euhemerus, explains that centaurs do not exist – when early Greeks saw men on horseback for the first time, they were surprised and at first thought they were bi-form creatures…this early Mycenean pottery piece seems to support such a reading…
Image credit: postcard (credits to follow)
picture on baked earth: metope (workshop in Corinth). in the Athens Nat Museum 13410. From Thermon (Etolie?), doric temple; Date: 3rd quarter of 7th century BC. “Two women face to face are leaning forward toward each other. The one on the right (with headband, hair distributed on the breast and back) wears an embroidered chiton; the other on the left, very dim, is coiffed and dressed in the same manner. Above the right, reads the inscription CHELIDON (in Greek). In the middle was probably the dead body of Itys and the preparation of the horrible meal.” Information from LIMC. Photo credit: Janice Siegel
Etruscan Mirror: image from LIMC
Fragment of a cup from Basel (Switz)
Date: 500-490 BC
A woman leans forward across the right over a child (inscription: ITYS, in Greek) who, with feet slipping, falls on another woman at the right of which we can only see the foot and, partially, the chest of the clothes.
Image and information: LIMC
Attic Vase: a cup (Munich).
Date: 510-500 BC   6th century BC
A woman standing up (inscribed as AEDONAI), holds Itys by the hair with her left hand, and prepares with her right hand to plunge her sword into his throat. The boy (waering a Phrygian cap), lies on a bed, and raises his right hand to demand pity; beneath is a cauldron, on the wall a lyre, cup and scabbard for a sword. Image from LIMC.
cup. Paris. Louvre  from Etruria
Date: 490-480 BC
At the left, Philomela (string fillet in her hair, and fastener of gold, a chiton doubly banded) advances towards the right while gesticulating, her hands raised, a sword at her side. On the right, Procne, from the front, with head turned to the left (hair waved, locks on her shoulders, same clothes), holds, by heaving him by the shoulders, a nude Itys, facing front (hair short, string fillet).
Image and information: LIMC
The Alkemenes marble group - mentioned by Pausanias: (give quote) 1, 24, 3
Date: 430-420 BC  "Procne, clothed, the weight of her body on her left leg, must have been holding a knife in her bent right hand (some say her knife was in her right hand), the right hand next to her body, lowered to a nude Itys, cowering (snuggled) against the dress of his mother.” Description from LIMC
Photo credit: Janice Siegel
There is little Roman art on this theme (although one of the best finds is this Roman sarcophagus dated to the 2nd century AD which possibly show Tereus running from the banquet table, on which can be seen the remains of his terrible meal, and chasing the women with a bone in his hand) LIMC 16 - Budapest, Mus. Nat. D' Intercisa (Pannonie). Image from LIMC. Ah, the irony. This scene of the apres-child-feast is carved into a sarcophagus (“flesh-eater”).
However, the influence of the Roman writers was keenly felt by the artists of the Renaissance. This is the Renaissance-era Villa Farnesina in Rome.
1512 AD: Lunette in the Villa Farnesina (Rome) by Sebastiano del Piombo
1563 AD: Vergilius Solis (1514-1562) Illustrated Ovid: rape/detonguing
1703 AD: Wilhelm Baur woodcuts: Illustrated Ovid
In 1636, Ovid's version of the story became the model for a painting by Peter Paul Rubens, which he entitled "The Feast of Tereus", in which the artist pays homage to both Ovid's vision of this myth. This painting is remarkable in comparison to the Greek artistic representations of this myth for its emphasis on Tereus, without whom none of the subsequent horror of this story would have unfolded. This scene is indeed the crux of the play - it bridges the crimes and punishment of the barbarian king. By choosing to depict this scene of Tereus' just desserts, both Rubens, the artist, and Ovid, the poet he honors, redirect our attention to the very cause of all the ill fortune in this myth: Tereus' insatiable appetite for power at the expense of an innocent victim.
His wife furnishes the ignorant Tereus with this meal and,
lying about a sacred fatherly ritual at which it is right
for a man to sit alone, she removes the attendants and slaves.
Sitting high on his ancestral throne, Tereus eats and
piles his own flesh into his stomach,
and so unaware is he that he says "Bring Itys here!"
Procne is unable to disguise her cruel joy and,
desiring to be the messenger of his destruction, now says
655 "You have him, whom you seek, inside." He looks around
and asks where he is; and as he asks and calls,
Philomela, just as she was with hair bespattered by the furious slaughter,
springs forth and shoves the bloody head of Itys into his father's face.
Never was there a time when she wished she could speak more,
660 so that she could show testament to her joy with deserved words.
The Thracian overturns the table with a great shout
and calls the snaky sisters forth from the Stygian valley
and now he longs to expel from his opened breast, if he could,
the horrible meal inside him, his own flesh immersed.
665 And he cries and calls himself the miserable tomb of his own son,
and now, with sword drawn, he pursues the daughters of Pandion.
from Ovid’s Met. Book 6, tr: Janice Siegel
1703 AD: Wilhelm Baur woodcuts: Illustrated Ovid: (child-feast)
1930 Picasso: Lutte entre Teree et sa Belle-Soeur Philomele
Robert Graves, The Greek Myths, as posted by Carlos Parada
From Robert Graves’ Greek Myths, page 46