304:, from the outrage on whom the war originated, with hair dishevelled and garments rent, the timidity of their sex being overcome by such dreadful scenes, had the courage to throw themselves amid the flying weapons, and making a rush across, to part the incensed armies, and assuage their fury; imploring their fathers on the one side, their husbands on the other, "that as fathers-in-law and sons-in-law they would not contaminate each other with impious blood, nor stain their offspring with parricide, the one their grandchildren, the other their children. If you are dissatisfied with the affinity between you, if with our marriages, turn your resentment against us; we are the cause of war, we of wounds and of bloodshed to our husbands and parents. It were better that we perish than live widowed or fatherless without one or other of you."
220: – attended the festival along with the Sabines, eager to see the newly established city for themselves. At the festival, Romulus gave a signal by "rising and folding his cloak and then throwing it round him again," at which the Romans grabbed the Sabine women and fought off the Sabine men. Livy does not report how many women were abducted by the Romans at the festival, he only notes that it was undoubtedly many more than thirty. All of the women abducted at the festival were said to have been virgins except for one married woman, Hersilia, who became Romulus's wife and would later be the one to intervene and stop the ensuing war between the Romans and the Sabines. The indignant abductees were soon implored by Romulus to accept the Roman men as their new husbands.
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offered the Sabine women free choice as well as civic and property rights. According to Livy, Romulus spoke to each of them in person, declaring "that it was all owing to the pride of their parents in denying right of intermarriage to their neighbours. They would live in honourable wedlock, and share all their property and civil rights, and – dearest of all to human nature – would be the mothers of freemen." Scholars like
862:"The masters must be copied over and over again", Degas said, "and it is only after proving yourself a good copyist that you should reasonably be permitted to draw a radish from nature." Degas first received permission to copy paintings at the Louvre in 1853 when he was eighteen. He was most interested in the great works of the Italian Renaissance and of his own classical French heritage, hence this detailed copy of Poussin's painting.
196:
city's strength. His main concern was that with few women inhabitants there would be no chance of sustaining the city's population, without which Rome might not last longer than a generation. On the advice of the Senate, the Romans then set out into the surrounding regions in search of wives to establish families with. The Romans negotiated unsuccessfully with all the peoples that they appealed to, including the
1031:, it tells the story of seven gauche but sincere backwoodsmen, one of whom gets married, encouraging the others to seek partners. After a social where they meet girls they are attracted to, they are denied the chance to pursue their courtship by the latter's menfolk. Following the Roman example, they abduct the girls. As in the original tale, the women are at first indignant but are eventually won over.
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365:, a conflict between Rome and its Italian allies over their status and whether they deserved Roman citizenship. A story from Rome's past wherein Rome came into conflict with its neighbors, showed a capacity for brutal violence, but ultimately avoided a war after the Sabines submitted to unification with Rome, would have been powerful one for Rome to send at the time.
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The subject was popular during the
Renaissance as symbolising the importance of marriage for the continuity of families and cultures. It was also an example of a battle subject in which the artist could demonstrate his skill in depicting female as well as male figures in extreme poses, with the added
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and his predominantly male followers; it is said that after the foundation of the city, the population consisted solely of Latins and other Italic peoples, in particular male bandits. With Rome growing at such a steady rate in comparison to its neighbors, Romulus became concerned with maintaining the
228:
Outraged at what had happened, the king of the
Caeninenses entered upon Roman territory with his army. Romulus and the Romans met the Caeninenses in battle, killed their king, and routed their army. Romulus later attacked Caenina and took it upon the first assault. Returning to Rome, he dedicated a
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sees the abduction of the Sabine as an avenue for the men of Rome to fulfill their sexual desires rather than an attempt at taking wives to produce children for the city. While he does make note of the issue surrounding Rome's lack of women, he does not make it out to be a factor in the planning of
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The motivation behind the abduction of the Sabine women is contested among ancient sources. Livy writes that Rome's motivation for abducting the Sabine women was solely to increase the city's population and claims that no direct sexual assault took place during the abduction. Livy says that
Romulus
568:
and was most likely completed around 1633–1634. The painting depicts
Romulus giving the signal to the Romans for the abduction. According to the Met, the subject matter of Poussin's work allowed him to highlight his understanding of pose and gesture as well as his knowledge of Roman architecture.
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as a tale to explain the assimilation of
Samnites into Rome after a combination of wars and alliances, and sending similar events into the distant past. The story likely gained relevance again during the time period where the coins depicting the event were minted, in 89 BC. This would have been
278:. She opened the city gates for the Sabines in return for "what they bore on their arms", thinking she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and her body was buried on or thrown from a rock known ever since by her name, the
789:. After David's estranged wife visited him in jail, he conceived the idea of telling the story to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the French people to reconcile their differences after the bloodshed of the
1159:
Basically, the parallels concern the presence of first-(magico-juridical) and second-(warrior) function representatives on the victorious side of a war that ultimately subdues and incorporates third function characters, for example, the Sabine women or the Norse Vanir. Indeed, the
622:, London. The painting depicts the moment Romulus gave the signal for the Romans to abduct the Sabine women. Rubens emphasizes the violence of the abduction and sexualizes it by depicting women with exposed breasts and a soldier lifting up a woman's skirt.
438:. This sculpture is considered Giambologna's masterpiece. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the legendary rape of the Sabines, had to be invented after
800:, leader of the Sabines – rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords.
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in the mid-17th century. Stella's depiction of the scene is said to have so closely resembled
Nicholas Poussin's works that following his death his version was mistaken for a Poussin. This work now resides at Princeton University's Art Museum.
200:, who populated the neighboring areas. The Sabines feared the emergence of a rival society and refused to allow their women to marry the Romans. Consequently, the Romans devised a plan to abduct the Sabine women during the festival of
332:, he reiterates Livy's view that the plan to abduct the Sabine women at the festival was done in order "to strengthen the new state" and "safeguard the resources of his kingdom and people." Unlike Livy, Cicero, and Dionysius,
340:
While it is clear that the story was part of the founding mythology of Rome, its historicity is disputed and considered unlikely to have happened by many historians, or at least not to have happened in the way described.
580:, is essentially a recreation of his original work and was likely completed around 1637–1638. The architectural setting of this work is more developed than in the original. This painting currently resides in the
169:
Although the rape of the Sabine women is believed to be a myth, several of Rome's ancient noble families were of Sabine origin, suggesting that Rome had a significant Sabine population since its early history.
915:. These are based on David's version. These conflate the beginning and end of the story, depicting the brutish Romulus and Tatius ignoring and trampling on the exposed figure of Hersilia and her child.
293:, the Sabine defence by Mettus Curtius. Hostus fell in battle, and the Roman line gave way. The Romans retreated to the gate of the Palatium. Romulus rallied his men, promising to build a temple to
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argue that it was an attempt to secure an alliance with the
Sabines through the women's newly founded relationships with Roman men. Livy's account is reinforced in some ways through the works of
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Many treatments of the legend combined a suitably inspiring example of the hardiness and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-
246:
At the same time, the army of the
Antemnates invaded Roman territory. The Romans retaliated, and the Antemnates were defeated in battle and their town captured. According to the
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were subsequently sent to
Antemnae and Crustumerium by Romulus, and many citizens of those towns also migrated to Rome (particularly the families of the captured women).
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The battle came to an end, and the
Sabines agreed to unite in one nation with the Romans. Titus Tatius jointly ruled with Romulus until Tatius's death five years later.
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Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century.
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a depiction of the rape of the Sabine women, where the women are portrayed, with a deliberate anachronism, in Victorian costume and being carried off from the
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sculpted a representation of this theme with three figures (a man lifting a woman into the air while a second man crouches), carved from a single block of
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David had begun work on it in 1796, when France was at war with other European nations, after a period of civil conflict culminating in the
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used in the ancient accounts of the incident. The Latin word means "abduction" or "kidnapping", but when used with women as its object
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were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins.
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on the site. He then led them back into battle. Mettus Curtius was unhorsed and fled on foot, and the Romans appeared to be winning.
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of young women from the other cities in the region. It has been a frequent subject of painters and sculptors, particularly since the
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is portrayed on both obverses. The reverses depict the abduction of the Sabine women by Roman soldiers (left) and the punishment of
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in Paris. According to the Louvre, painting multiple versions of one subject was not uncommon throughout Poussin's career.
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itself has also been examined in a similar light. The ultimate structure of the myth, then, is that the three estates of
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461:, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of
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wrote a short story called "The Sobbin' Women" that parodied the legend. Later adapted into the 1954 musical
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1959:
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204:. They planned and announced a festival of games to attract people from all the nearby towns. According to
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The new Sabine residents of Rome settled on the Capitoline Hill, which they had captured in the battle.
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1489:"The Abduction of the Sabine Women in Context: The Iconography on Late Antique Contorniate Medallions"
17:
2162:
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233:(according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as
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in Portuguese and other Romance languages, meaning "kidnap") is the conventional translation of the
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500:. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the
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1983:
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painted the other end of the story, when the women intervene to reconcile the warring parties.
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1978:
1006:). A more detailed version of this narrative is found in the earlier mediaeval rabbinic work
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The Romans attacked the Sabines who now held the citadel, in what would become known as the
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The Crustumini also started a war, but they too were defeated and their town was captured.
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in the late 1630s. His work now resides at the State Hermitage Museum in St. Petersburg.
356:) believed that the story was likely spread during the later fourth century BC after the
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133:, was an incident in the legendary history of Rome in which the men of Rome committed a
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1661:"Peter Paul Rubens | The Rape of the Sabine Women | NG38 | National Gallery, London"
1637:"Peter Paul Rubens | The Rape of the Sabine Women | NG38 | National Gallery, London"
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1067:(1966) features a group of all-male players offering to put on a performance of
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advantage of a sexual theme. It was depicted regularly on 15th-century Italian
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produced two major versions of this subject. His initial version was entitled
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The woman and the kneeling man reference figures from the ancient sculpture
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The Sabines themselves finally declared war, led into battle by their king,
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shortly after its founding in the mid-8th century BC and was perpetrated by
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1504:
1015:
The story was parodied by Lady Carlotta, the mischief-making character in
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also contains several allusions to this episode and it is included on the
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1008:
990:(first attested in 1624) portrays the story as part of a war between the
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513:
485:
217:
1512:
1488:
1452:
Brown, Robert (1995). "Livy's Sabine Women and the Ideal of Concordia".
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Scholars have cited parallels between the rape of the Sabine women, the
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991:
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208:, many people from Rome's neighboring towns – including
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1979:"The Rape of the Sabine Women: Present at an Empire's Corrupted Birth"
1936:
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266:. Tatius almost succeeded in capturing Rome, thanks to the treason of
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929:
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325:
250:, Romulus celebrated a second triumph in 752 BC over the Antemnates.
243:
Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC.
157:
1170:
were fused only after a war between the first two against the third.
840:("Crown and Anchor", a common English pub sign in seafaring towns).
1562:
De la Croix, Horst; Tansey, Richard G.; Kirkpatrick, Diane (1991).
1465:
785:, during which David himself had been imprisoned as a supporter of
651:
Pietro da Cortona depicted the rape of the Sabines at least twice.
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for the finished sculpture, executed in 1582, is on display at the
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The Sabine Women Enforcing Peace by Running Between the Combatants
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and later in larger paintings. A comparable opportunity from the
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1777:"The Rape of the Sabines (after Poussin) – Norton Simon Museum"
796:
The painting depicts Romulus's wife Hersilia – the daughter of
1324:"Titus Livius (Livy), The History of Rome, Book 1, chapter 13"
1300:"Titus Livius (Livy), The History of Rome, Book 1, chapter pr"
1753:"The Rape of the Sabines – Edgar Degas – www.edgar-degas.org"
928:
The episode of the rape of the Sabine women is recounted by
1725:
1723:
728:
painted a version of the rape of the Sabine women entitled
300:
At this point in the story, the Sabine women intervened:
2001:
Tarpeia: Book Two in The First Vestals of Rome Trilogy
569:
This version of the painting currently resides at the
1454:
Transactions of the American Philological Association
822:'s satirical version of The Rape of the Sabine Women
1563:
1074:The latest adaptation is a film without dialogue,
1046:the film was released in the USA under the titles
907:visited this theme in his several versions of the
442:, decreed that it be put on public display in the
67:, minted by Lucius Titurius Sabinus in 89 BC. The
1998:Macleod, Debra May; Macleod, Scott (2022-04-11).
1260:"Rape and consequences in the Latin declamations"
1019:'s short story "The Schartz-Metterklume Method".
2109:Italian High Renaissance & Baroque Sculpture
1285:. New York: Oxford University Press. p. 60.
1038:" film based on the story was made, directed by
884:painted the subject in a trio of works entitled
187:, the abduction of Sabine women occurred in the
1542:The English Mannerist Poets and the Visual Arts
1157:
302:
968:The Sabine women are mentioned in Canto VI of
453:The proposed site for the sculpture, opposite
440:Francesco I de' Medici, Grand Duke of Tuscany
32:The Rape of the Sabine Women (disambiguation)
8:
1087:The rape of the Sabine women is depicted in
661:The Rape of the Sabine Women (Luca Giordano)
1570:(9th ed.). Thomson/Wadsworth. p.
826:The English 19th-century satirical painter
803:The rocky outcrop in the background is the
694:painted a version of this subject entitled
155:
110:
1071:, to the disgust of the title characters.
2073:, Cambridge University Press, 1974–2001.
1800:La tomba del principe sabino – Glossario
430:The 16th-century Italo-Flemish sculptor
1960:"Rosencrantz and Guildenstern Are Dead"
1264:Scholia: Studies in Classical Antiquity
1237:
647:Rape of the Sabines (Pietro da Cortona)
274:, Roman governor of the citadel on the
770:) was completed in 1799. It is in the
665:There are at least eight paintings by
618:around 1635–40. It now resides in the
557:The Rape of the Sabine Women (Poussin)
484:("The work of Johannes of Boulogne of
18:Rape of the Sabine Women (Giambologna)
1704:"The Rape of the Sabines (y1967-102)"
1447:
1445:
1443:
1294:
1292:
1064:Rosencrantz and Guildenstern Are Dead
607:The Rape of the Sabine Women (Rubens)
492:featuring only two figures is in the
482:OPVS IOANNIS BOLONII FLANDRI MDLXXXII
345:(as well as later historians such as
224:War with the Sabines and other tribes
104:
7:
1733:The Intervention of the Sabine Women
1684:Schönfeld, Johann Heinrich (1630s).
767:The Intervention of the Sabine Women
747:The Intervention of the Sabine Women
2148:8th century BC in the Roman Kingdom
1977:Roberta Smith (February 21, 2007).
1597:"The Abduction of the Sabine Women"
1123:painted the subject at least twice.
576:Poussin's second version, entitled
911:(1962–63), one of which is in the
504:, London. The artist's full-scale
377:in intensely passionate struggle.
25:
2198:Wartime sexual violence in Europe
1258:Packman, Zola M. (January 1999).
669:or his workshop on this subject.
566:The Abduction of the Sabine Women
541:The Abduction of the Sabine Women
391:was afforded by the theme of the
2125:
2047:
1487:Holden, Antonia (January 2008).
1080:, which was produced in 2005 by
877:by Charles Christian Nahl (1871)
50:
41:
2088:In Search of the Indo-Europeans
2081:Nicolas Poussin: A New Approach
1493:American Journal of Archaeology
1198:Seven Brides for Seven Brothers
1028:Seven Brides for Seven Brothers
719:Princeton University Art Museum
488:, 1582"). An early preparatory
289:. The Roman advance was led by
1686:"The Rape of the Sabine Women"
1614:Poussin, Nicolas (1637–1638),
1566:Gardner's Art Through the Ages
1151:". Regarding these parallels,
1054:The Shame of the Sabine Women.
919:Literature and performing arts
494:Museo Nazionale di Capodimonte
144:The word "rape" (cognate with
131:kidnapping of the Sabine women
1:
183:According to Roman historian
179:Abduction of the Sabine women
127:abduction of the Sabine women
1730:Jacques-Louis David (1799),
1617:The Rape of the Sabine Women
1348:"Plutarch • Life of Romulus"
1190:The Rape of the Sabine Women
1091:’s historical fiction novel
1077:The Rape of the Sabine Women
1069:The Rape of the Sabine Women
1049:The Rape of the Sabine Women
696:The Rape of the Sabine Women
682:The Rape of the Sabine Women
616:The Rape of the Sabine Women
598:The Rape of the Sabine Women
578:The Rape of the Sabine Women
106:[saˈbiːnae̯ˈraptae̯]
1281:Mathisen, Ralph W. (2019).
1168:Proto-Indo-European society
1084:and the Rufus Corporation.
913:Museum of Fine Arts, Boston
426:Abduction of a Sabine Woman
409:Abduction of a Sabine Woman
287:Battle of the Lacus Curtius
231:Temple of Jupiter Feretrius
27:Incident in Roman mythology
2219:
1855:Dionysius of Halicarnassus
1665:www.nationalgallery.org.uk
1641:www.nationalgallery.org.uk
1283:Ancient Roman Civilization
1143:, providing support for a
1108:
1102:
938:Dionysius of Halicarnassus
658:
644:
604:
571:Metropolitan Museum of Art
554:
549:Metropolitan Museum of Art
502:Victoria and Albert Museum
469:. The respective rapes of
423:
322:Dionysius of Halicarnassus
120:the kidnapped Sabine women
29:
2193:Sexuality in ancient Rome
2178:Mythological rape victims
2083:(New York: Abrams), 1964.
833:The Comic History of Rome
692:Johann Heinrich Schönfeld
686:Johann Heinrich Schönfeld
673:Johann Heinrich Schönfeld
393:Massacre of the Innocents
2173:Marriage in ancient Rome
2153:Ancient Roman erotic art
2132:Rape of the Sabine Women
2071:Roman Republican Coinage
1893:III (Kalends of March);
1246:Roman Republican Coinage
1119:The 18th-century artist
1044:El Rapto de las Sabinas,
909:Rape of the Sabine Women
635:Rape of the Sabine Women
369:Artistic representations
87:rape of the Sabine women
1931:Beasts and Super-Beasts
1878:, "Life of Romulus" IX.
1708:artmuseum.princeton.edu
853:The Rape of the Sabines
730:The Rape of the Sabines
715:The Rape of the Sabines
614:painted his version of
510:Galleria dell'Accademia
79:by the Sabines (right).
2086:Mallory, J. P (2005).
1172:
1124:
882:Charles Christian Nahl
878:
866:Charles Christian Nahl
823:
754:
722:
688:
642:
602:
601:, by Peter Paul Rubens
552:
421:
306:
156:
94:
2203:Women in ancient Rome
1935:(1914), available at
1505:10.3764/aja.112.1.121
1352:penelope.uchicago.edu
1328:www.perseus.tufts.edu
1304:www.perseus.tufts.edu
1182:Il ratto delle sabine
1118:
1023:Stephen Vincent Benét
873:
818:
783:Thermidorian Reaction
744:
709:
680:
633:
595:
539:
448:Piazza della Signoria
406:
189:early history of Rome
125:), also known as the
2168:Kidnappings in Italy
2134:at Wikimedia Commons
2004:. Debra May Macleod.
1034:In 1962, a Mexican "
717:, mid-17th century (
522:Laocoön and His Sons
166:is usually implied.
30:For other uses, see
2105:Pope-Hennessy, John
2092:Thames & Hudson
2077:Walter Friedlaender
2014:Mallory (2005:139).
1781:www.nortonsimon.org
1757:www.edgar-degas.org
1376:Book 1 Ch. 9, p. 15
1145:Proto-Indo-European
758:Jacques-Louis David
737:Jacques-Louis David
480:The work is signed
328:. In Cicero's work
315:Historical analysis
239:. According to the
1984:The New York Times
1946:2009-01-06 at the
1897:II (February 15);
1805:2011-01-02 at the
1595:Poussin, Nicolas.
1221:Stockholm syndrome
1125:
879:
824:
755:
723:
689:
643:
603:
573:in New York City.
553:
422:
295:the Roman God Jove
2130:Media related to
1937:Project Gutenberg
1858:Roman Antiquities
1550:978-0-8386-3759-3
1089:Debra May Macleod
994:, descended from
859:), c. 1861–1862.
838:Corona et Anchora
791:French Revolution
639:Pietro da Cortona
626:Pietro da Cortona
612:Peter Paul Rubens
588:Peter Paul Rubens
483:
455:Benvenuto Cellini
248:Fasti Triumphales
241:Fasti Triumphales
16:(Redirected from
2210:
2129:
2067:Michael Crawford
2051:
2015:
2012:
2006:
2005:
1995:
1989:
1988:
1974:
1968:
1967:
1956:
1950:
1941:Read book online
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1916:
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1904:
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1611:
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1569:
1559:
1553:
1540:Liam E. Semler,
1538:
1532:
1531:
1529:
1527:
1484:
1478:
1477:
1449:
1438:
1423:
1417:
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1338:
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1334:
1320:
1314:
1313:
1311:
1310:
1296:
1287:
1286:
1278:
1272:
1271:
1255:
1249:
1242:
1111:Bride kidnapping
1099:Cultural context
1036:sword and sandal
998:, and the Roman
950:shield of Aeneas
944:. The poetry of
830:included in his
620:National Gallery
481:
444:Loggia dei Lanzi
418:Loggia dei Lanzi
361:made during the
355:
291:Hostus Hostilius
272:Spurius Tarpeius
202:Neptune Equester
161:
124:
121:
118:
115:
112:
108:
103:
62:Roman Republican
54:
45:
21:
2218:
2217:
2213:
2212:
2211:
2209:
2208:
2207:
2183:Roman mythology
2138:
2137:
2122:
2063:
2038:Ab urbe condita
2029:
2027:Ancient sources
2024:
2019:
2018:
2013:
2009:
1997:
1996:
1992:
1976:
1975:
1971:
1958:
1957:
1953:
1948:Wayback Machine
1923:
1919:
1911:
1907:
1886:
1882:
1868:
1864:
1853:
1849:
1842:Ab urbe condita
1835:
1831:
1817:
1813:
1807:Wayback Machine
1798:
1794:
1785:
1783:
1775:
1774:
1770:
1761:
1759:
1751:
1750:
1746:
1738:
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1729:
1728:
1721:
1712:
1710:
1702:
1701:
1697:
1690:hermitagemuseum
1683:
1682:
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1669:
1667:
1659:
1658:
1654:
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1556:
1539:
1535:
1525:
1523:
1486:
1485:
1481:
1451:
1450:
1441:
1431:Ab urbe condita
1424:
1420:
1411:Ab urbe condita
1407:
1403:
1393:Ab urbe condita
1386:
1382:
1372:Ab Urbe Condita
1369:
1365:
1356:
1354:
1346:
1345:
1341:
1332:
1330:
1322:
1321:
1317:
1308:
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1290:
1280:
1279:
1275:
1257:
1256:
1252:
1243:
1239:
1234:
1207:
1177:
1141:Greek mythology
1133:Norse mythology
1121:Niccolò Bambini
1113:
1107:
1101:
966:
926:
921:
902:
868:
846:
813:
779:Reign of Terror
764:(also known as
739:
704:
675:
663:
657:
649:
628:
609:
590:
562:Nicolas Poussin
559:
534:
532:Nicolas Poussin
428:
401:
371:
349:
343:Theodor Mommsen
337:the abduction.
317:
276:Capitoline Hill
257:Roman colonists
226:
181:
176:
122:
119:
116:
113:
98:
83:
82:
81:
80:
57:
56:
55:
47:
46:
35:
28:
23:
22:
15:
12:
11:
5:
2216:
2214:
2206:
2205:
2200:
2195:
2190:
2185:
2180:
2175:
2170:
2165:
2160:
2155:
2150:
2140:
2139:
2136:
2135:
2121:
2120:External links
2118:
2117:
2116:
2102:
2084:
2074:
2062:
2061:Modern sources
2059:
2058:
2057:
2028:
2025:
2023:
2020:
2017:
2016:
2007:
1990:
1969:
1951:
1917:
1905:
1880:
1875:Parallel Lives
1862:
1847:
1829:
1811:
1792:
1768:
1744:
1719:
1695:
1676:
1652:
1628:
1606:
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1554:
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1479:
1466:10.2307/284357
1439:
1418:
1401:
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1363:
1339:
1315:
1288:
1273:
1250:
1248:, pp. 352–356.
1236:
1235:
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1228:
1223:
1218:
1213:
1206:
1203:
1202:
1201:
1194:
1186:
1176:
1173:
1129:Æsir–Vanir War
1103:Main article:
1100:
1097:
1004:Jasher 17:1–15
987:Sefer haYashar
965:
962:
925:
922:
920:
917:
901:
898:
867:
864:
845:
842:
812:
809:
738:
735:
726:Jacques Stella
711:Jacques Stella
703:
702:Jacques Stella
700:
674:
671:
659:Main article:
656:
653:
645:Main article:
627:
624:
605:Main article:
589:
586:
555:Main article:
533:
530:
424:Main article:
400:
397:
370:
367:
347:Jacques Poucet
316:
313:
270:, daughter of
225:
222:
180:
177:
175:
172:
164:sexual assault
135:mass abduction
102:pronunciation:
95:Sabinae raptae
59:
58:
49:
48:
40:
39:
38:
37:
36:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2215:
2204:
2201:
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2176:
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2169:
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2164:
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2159:
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2149:
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2145:
2143:
2133:
2128:
2124:
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2119:
2114:
2110:
2106:
2103:
2101:
2100:0-500-27616-1
2097:
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2072:
2068:
2065:
2064:
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2055:
2050:
2046:
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2039:
2034:
2031:
2030:
2026:
2021:
2011:
2008:
2003:
2002:
1994:
1991:
1986:
1985:
1980:
1973:
1970:
1965:
1961:
1955:
1952:
1949:
1945:
1942:
1938:
1934:
1932:
1927:
1924:H. H. Munro (
1921:
1918:
1915:
1909:
1906:
1902:
1901:
1896:
1892:
1891:
1884:
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1871:
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1863:
1859:
1856:
1851:
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1838:
1833:
1830:
1826:
1825:
1824:De re publica
1820:
1815:
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1808:
1804:
1801:
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1793:
1782:
1778:
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1769:
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1656:
1653:
1642:
1638:
1632:
1629:
1619:
1618:
1610:
1607:
1602:
1598:
1591:
1588:
1583:
1581:0-15-503769-2
1577:
1573:
1568:
1567:
1558:
1555:
1551:
1547:
1543:
1537:
1534:
1522:
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1514:
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1459:
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1209:
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1204:
1200:
1199:
1195:
1193:
1191:
1187:
1184:
1183:
1179:
1178:
1174:
1171:
1169:
1165:
1164:
1156:
1154:
1153:J. P. Mallory
1150:
1146:
1142:
1138:
1134:
1130:
1122:
1117:
1112:
1106:
1098:
1096:
1094:
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1079:
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1066:
1065:
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1050:
1045:
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1037:
1032:
1030:
1029:
1024:
1020:
1018:
1013:
1011:
1010:
1005:
1001:
997:
993:
989:
988:
984:
979:
977:
976:
971:
963:
961:
959:
955:
951:
947:
943:
939:
935:
931:
924:Ancient works
923:
918:
916:
914:
910:
906:
905:Pablo Picasso
900:Pablo Picasso
899:
897:
895:
891:
890:The Captivity
887:
886:The Abduction
883:
876:
872:
865:
863:
860:
858:
854:
850:
843:
841:
839:
835:
834:
829:
821:
817:
810:
808:
806:
805:Tarpeian Rock
801:
799:
794:
792:
788:
784:
780:
775:
773:
772:Louvre Museum
769:
768:
763:
759:
753:
749:
748:
743:
736:
734:
731:
727:
720:
716:
712:
708:
701:
699:
697:
693:
687:
683:
679:
672:
670:
668:
667:Luca Giordano
662:
655:Luca Giordano
654:
652:
648:
640:
636:
632:
625:
623:
621:
617:
613:
608:
600:
599:
594:
587:
585:
583:
582:Louvre Museum
579:
574:
572:
567:
563:
558:
550:
546:
542:
538:
531:
529:
526:
524:
523:
517:
515:
511:
507:
503:
499:
495:
491:
487:
478:
476:
472:
468:
464:
460:
457:'s statue of
456:
451:
449:
445:
441:
437:
433:
427:
419:
415:
411:
410:
405:
398:
396:
394:
390:
389:New Testament
386:
385:
378:
376:
368:
366:
364:
359:
353:
348:
344:
338:
335:
331:
330:De re publica
327:
323:
314:
312:
309:
305:
301:
298:
296:
292:
288:
283:
281:
280:Tarpeian Rock
277:
273:
269:
265:
260:
258:
254:
251:
249:
244:
242:
238:
237:
232:
223:
221:
219:
215:
211:
207:
203:
199:
194:
190:
186:
178:
173:
171:
167:
165:
160:
159:
153:
149:
148:
142:
140:
136:
132:
128:
107:
101:
96:
92:
88:
78:
74:
70:
66:
63:
53:
44:
33:
19:
2108:
2087:
2080:
2070:
2044:Book 1, 9–13
2043:
2036:
2022:Bibliography
2010:
2000:
1993:
1982:
1972:
1963:
1954:
1929:
1920:
1914:Aeneid. 635.
1913:
1908:
1900:Ars Amatoria
1898:
1894:
1888:
1883:
1873:
1865:
1857:
1850:
1840:
1832:
1822:
1814:
1795:
1784:. Retrieved
1780:
1771:
1760:. Retrieved
1756:
1747:
1737:, retrieved
1732:
1711:. Retrieved
1707:
1698:
1689:
1679:
1668:. Retrieved
1664:
1655:
1644:. Retrieved
1640:
1631:
1621:, retrieved
1616:
1609:
1600:
1590:
1565:
1557:
1541:
1536:
1524:. Retrieved
1496:
1492:
1482:
1457:
1453:
1429:
1421:
1409:
1404:
1391:
1383:
1371:
1366:
1355:. Retrieved
1351:
1342:
1331:. Retrieved
1327:
1318:
1307:. Retrieved
1303:
1282:
1276:
1267:
1263:
1253:
1245:
1240:
1211:Amazonomachy
1196:
1189:
1185:(1961, film)
1180:
1161:
1158:
1147:"war of the
1126:
1092:
1086:
1076:
1073:
1068:
1062:
1059:Tom Stoppard
1057:
1053:
1047:
1043:
1040:Alberto Gout
1033:
1026:
1021:
1014:
1007:
985:
980:
973:
967:
964:Modern works
927:
908:
903:
894:The Invasion
893:
889:
885:
880:
875:The Invasion
874:
861:
852:
847:
837:
831:
825:
802:
798:Titus Tatius
795:
776:
765:
761:
756:
745:
729:
724:
714:
695:
690:
681:
664:
650:
634:
615:
610:
596:
577:
575:
565:
560:
540:
527:
520:
518:
479:
452:
450:, Florence.
429:
407:
382:
379:
375:nude figures
372:
358:Samnite Wars
339:
329:
318:
310:
307:
303:
299:
284:
264:Titus Tatius
261:
255:
252:
247:
245:
236:spolia opima
234:
227:
214:Crustumerium
182:
168:
146:
143:
130:
126:
86:
84:
73:Titus Tatius
2163:Iconography
2054:Book 1 9–13
1460:: 291–319.
1192:(1962 film)
1175:Adaptations
1082:Eve Sussman
849:Edgar Degas
844:Edgar Degas
787:Robespierre
641:, 1627–1629
547:, 1634–35 (
432:Giambologna
414:Giambologna
399:Giambologna
350: [
139:Renaissance
2158:Concubines
2142:Categories
2111:, London:
2052:(Latin),
1786:2016-03-26
1762:2016-03-26
1739:2020-02-11
1713:2020-03-21
1670:2020-02-12
1646:2020-02-11
1623:2020-03-07
1499:(1): 126.
1357:2020-03-07
1333:2022-12-27
1309:2020-02-07
1244:Crawford,
1232:References
1226:Ukuthwalwa
1135:, and the
1109:See also:
828:John Leech
820:John Leech
811:John Leech
471:Proserpina
420:, Florence
363:Social War
2056:(English)
1521:162253485
1149:functions
1042:. Titled
463:Andromeda
100:Classical
1944:Archived
1933:: Beasts
1912:Virgil.
1870:Plutarch
1803:Archived
1552:, p. 34.
1526:June 19,
1513:40037246
1205:See also
1155:states:
1061:'s play
1009:Yosippon
975:Paradiso
942:Plutarch
851:painted
781:and the
514:Florence
486:Flanders
218:Antemnae
2188:Sabines
2115:, 1996.
2113:Phaidon
1939:and at
1845:I.9–13.
1827:II.7–8.
1601:The Met
1216:Lapiths
1093:Tarpiea
992:Sabines
983:midrash
857:Poussin
855:(after
545:Poussin
467:Phineus
459:Perseus
384:cassoni
268:Tarpeia
210:Caenina
198:Sabines
193:Romulus
129:or the
114:
77:Tarpeia
65:denarii
2098:
1964:Shmoop
1887:Ovid,
1860:II.30.
1819:Cicero
1578:
1548:
1544:1998,
1519:
1511:
1474:284357
1472:
1408:Livy,
1370:Livy,
1105:Raptio
1000:Kittim
958:Aeneid
954:Virgil
940:, and
930:Cicero
892:, and
498:Naples
490:bronze
436:marble
326:Cicero
216:, and
158:raptio
69:Sabine
1895:Fasti
1890:Fasti
1517:S2CID
1509:JSTOR
1470:JSTOR
1270:: 34.
1163:Iliad
1137:Iliad
996:Tubal
970:Dante
543:, by
506:gesso
475:Helen
354:]
174:Story
154:word
152:Latin
147:rapto
91:Latin
71:king
2096:ISBN
2033:Livy
1926:Saki
1903:I.4.
1837:Livy
1576:ISBN
1546:ISBN
1528:2021
1436:1:33
1426:Livy
1415:1.13
1398:1.10
1388:Livy
1052:and
1017:Saki
981:The
946:Ovid
934:Livy
752:1799
473:and
334:Ovid
206:Livy
185:Livy
111:lit.
85:The
60:Two
1928:),
1572:673
1501:doi
1497:112
1462:doi
1458:125
1139:of
1131:in
972:'s
956:'s
952:in
684:by
637:by
512:in
496:in
465:by
446:in
412:by
2144::
2107:,
2094:.
2090:.
2079:,
2069:,
2041:,
2035:,
1981:.
1962:.
1872:,
1839:,
1821:,
1779:.
1755:.
1722:^
1706:.
1688:.
1663:.
1639:.
1599:.
1574:.
1515:.
1507:.
1495:.
1491:.
1468:.
1456:.
1442:^
1434:,
1428:,
1396:,
1390:,
1374:,
1350:.
1326:.
1302:.
1291:^
1266:.
1262:.
1095:.
1012:.
978:.
960:.
936:,
932:,
896:.
888:,
807:.
793:.
774:.
750:,
713:,
525:.
516:.
416:,
395:.
352:fr
282:.
212:,
141:.
109:;
97:,
93::
1987:.
1966:.
1809:.
1789:.
1765:.
1716:.
1692:.
1673:.
1649:.
1603:.
1584:.
1530:.
1503::
1476:.
1464::
1378:.
1360:.
1336:.
1312:.
1268:8
1002:(
721:)
551:)
123:'
117:'
89:(
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
