Images of Ancient Greek Pederasty: Boys Were Their Gods (Classical Studies)
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This lavishly illustrated book brings together, for the first time, all of the different ways in which vase-painting portrays or refers to pederasty, from scenes of courtship, foreplay, and sex, to scenes of Zeus with his boy-love Ganymede, to painted inscriptions praising the beauty of boys. The book shows how painters used the language of vase-painting to cast pederasty in an idealizing light, portraying it as part of a world in which beautiful elite males display praiseworthy attitudes, such as moderation, and engage in approved activities, such as hunting, athletics, and the symposium. The book also incorporates a comprehensive catalogue of relevant vase-paintings, compiled by noted archaeologist Keith DeVries. It is the most comprehensive treatment available of an institution that has few modern parallels.
68–9 Rome 4 sacks 36, 37, 39, 78–86, 191 sado-masochism 121–2, 163 sandal 121–2, 123, 163, 246n16 Satyr scenes: anal intercourse 106–7, 121, 125, 190; Bacchants 165, 180–1; erections 129; fellatio 120; iconography xvi, 64, 118–19; penis-size 25; symbolism 52; Tyrrhenian Group 121, 125 Schauenburg, K. 244n3 Schifanoia Group: (fig. 4.8) 146–7, 148 Schnapp, A. 31, 86, 236–7n28, 238n40 self-control 17, 64, 65, 71–2, 87, 105, 132, 135 sexual conventions 68, 181 sexual intercourse
17–18, 235–6n20 sodomy 8, 20, 190 Solon 14 Sophocles 3–4, 12, 137 Sosias Painter: (fig. 2.2) 99, 101, 101 Sparta 7, 8 spears 28–9 Splanchnopt Painter: (fig. 2.8) 77, 78 Staatliche Antikensammlung und Glyptothek München: (fig. 5.4) 172, 172–3 Staatliche Museen zu Berlin: (fig. 3.4) 53, 64, 65, 110–11, 111 stag 30 State Hermitage Museum, St. Petersburg: (fig. 1.11) 53 statues 15, 24 Stewart, A. 15–16 Strato of Sardis 4–5, 6, 245n2 strigils 39, 46, 47, 48, 77, 78, 92, 178, 180, 187,
team of slave-boys and hetairai. His sexual interest is directed not to one of the latter, but to one of the former, who is adjusting his wreath. While he does so, the symposiast takes advantage of his position to caress his penis. Several things separate this from a respectable courtship scene: in red-figure, an eromenos would probably be at least partly clothed, and whether in red- or black-figure, he would receive a gift before allowing access to his genitalia. However, the slave-boy's muscles
Oxford 1966.511. R-f lekythos, Bowdoin Painter. ARV2 687.22 4, Para 406. Eros pursues y. Hunt: hound. 5.56 Athens 1988. W-g lekythos, Aischines Painter. ARV2 715.186, Add2 282. Type b', y/b (sash, "money-pouch"?). 5.57 Roman market. R-f alabastron, Aischines Painter. ARV2 717.230. Type b', m/b (tainia). 5.58 Basel market. R-f cup, Akestorides Painter. Para 417. Hyakinthos on swan. 5.59 Arezzo 142. Fr. r-f cup, Painter of Munich 2660 (Akestorides Painter—Guy). ARV2 784.19.
"it is said that while the adolescents and the ephebes were exercising together in the middle of the stoa (before a famous earthquake at Sparta) a hare appeared, and the adolescents, although they were oiled-up, ran out excitedly and chased it …" Here hunting is a distraction from duty rather than part of a boy's school lessons. 20 This vase also poses quite interesting questions about gender roles in Greek society. It is not strictly speaking a vase, but a clay ball, with a pebble inside that