316:, 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."
232: – 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
874:"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.
208:
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
1043:, 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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377:, 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
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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
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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
290:. 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
801:. 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
1171:
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
634:, 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.
450:. 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
812:, 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.
212:, 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
344:, 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,
352:
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.
592:, 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
181:
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.
927:. 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.
305:, 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-
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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, particularly the families of the captured women, also migrated to Rome.
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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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wrote a short story called "The Sobbin' Women" that parodied the legend. Later adapted into the 1954 musical
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216:. 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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1501:"The Abduction of the Sabine Women in Context: The Iconography on Late Antique Contorniate Medallions"
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245:(according to Livy, the first temple dedicated in Rome) and offered the spoils of the enemy king as
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512:. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the
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painted the other end of the story, when the women intervene to reconcile the warring parties.
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1990:
1018:). 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.
368:) believed that the story was likely spread during the later fourth century BC after the
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1673:"Peter Paul Rubens | The Rape of the Sabine Women | NG38 | National Gallery, London"
1649:"Peter Paul Rubens | The Rape of the Sabine Women | NG38 | National Gallery, London"
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1079:(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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157:
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162:, in Italian, meaning "bride kidnap") is the conventional translation of the
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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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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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1020:
1002:(first attested in 1624) portrays the story as part of a war between the
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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
1227:
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994:
470:
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255:, Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC.
220:, many people from Rome's neighboring towns – including
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1991:"The Rape of the Sabine Women: Present at an Empire's Corrupted Birth"
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278:. Tatius almost succeeded in capturing Rome, thanks to the treason of
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262:, Romulus celebrated a second triumph in 752 BC over the Antemnates.
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were fused only after a war between the first two against the third.
852:("Crown and Anchor", a common English pub sign in seafaring towns).
1574:
De la Croix, Horst; Tansey, Richard G.; Kirkpatrick, Diane (1991).
1477:
797:, during which David himself had been imprisoned as a supporter of
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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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1789:"The Rape of the Sabines (after Poussin) – Norton Simon Museum"
808:
The painting depicts Romulus's wife Hersilia – the daughter of
1336:"Titus Livius (Livy), The History of Rome, Book 1, chapter 13"
1312:"Titus Livius (Livy), The History of Rome, Book 1, chapter pr"
1765:"The Rape of the Sabines – Edgar Degas – www.edgar-degas.org"
940:
The episode of the rape of the Sabine women is recounted by
1737:
1735:
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painted a version of the rape of the Sabine women entitled
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At this point in the story, the Sabine women intervened:
2013:
Tarpeia: Book Two in The First Vestals of Rome Trilogy
581:
This version of the painting currently resides at the
1466:
Transactions of the American Philological Association
834:'s satirical version of The Rape of the Sabine Women
1575:
1086:The latest adaptation is a film without dialogue,
1058:the film was released in the USA under the titles
919:visited this theme in his several versions of the
454:, decreed that it be put on public display in the
67:, minted by Lucius Titurius Sabinus in 89 BC. The
2010:Macleod, Debra May; Macleod, Scott (2022-04-11).
1272:"Rape and consequences in the Latin declamations"
1031:'s short story "The Schartz-Metterklume Method".
2121:Italian High Renaissance & Baroque Sculpture
1297:. New York: Oxford University Press. p. 60.
1050:" film based on the story was made, directed by
896:painted the subject in a trio of works entitled
199:, the abduction of Sabine women occurred in the
1554:The English Mannerist Poets and the Visual Arts
1169:
314:
980:The Sabine women are mentioned in Canto VI of
465:The proposed site for the sculpture, opposite
452:Francesco I de' Medici, Grand Duke of Tuscany
32:The Rape of the Sabine Women (disambiguation)
8:
1099:The rape of the Sabine women is depicted in
673:The Rape of the Sabine Women (Luca Giordano)
1582:(9th ed.). Thomson/Wadsworth. p.
838:The English 19th-century satirical painter
815:The rocky outcrop in the background is the
706:painted a version of this subject entitled
167:
110:
1083:, to the disgust of the title characters.
2085:, Cambridge University Press, 1974–2001.
1812:La tomba del principe sabino – Glossario
442:The 16th-century Italo-Flemish sculptor
1972:"Rosencrantz and Guildenstern Are Dead"
1276:Scholia: Studies in Classical Antiquity
1249:
659:Rape of the Sabines (Pietro da Cortona)
286:, Roman governor of the citadel on the
782:) was completed in 1799. It is in the
677:There are at least eight paintings by
630:around 1635–40. It now resides in the
569:The Rape of the Sabine Women (Poussin)
496:("The work of Johannes of Boulogne of
1716:"The Rape of the Sabines (y1967-102)"
1459:
1457:
1455:
1306:
1304:
1076:Rosencrantz and Guildenstern Are Dead
619:The Rape of the Sabine Women (Rubens)
504:featuring only two figures is in the
494:OPVS IOANNIS BOLONII FLANDRI MDLXXXII
357:(as well as later historians such as
236:War with the Sabines and other tribes
104:
7:
1745:The Intervention of the Sabine Women
1696:Schönfeld, Johann Heinrich (1630s).
779:The Intervention of the Sabine Women
759:The Intervention of the Sabine Women
2160:8th century BC in the Roman Kingdom
1989:Roberta Smith (February 21, 2007).
1609:"The Abduction of the Sabine Women"
1135:painted the subject at least twice.
588:Poussin's second version, entitled
923:(1962–63), one of which is in the
516:, London. The artist's full-scale
389:in intensely passionate struggle.
25:
2210:Wartime sexual violence in Europe
1270:Packman, Zola M. (January 1999).
681:or his workshop on this subject.
578:The Abduction of the Sabine Women
553:The Abduction of the Sabine Women
403:was afforded by the theme of the
2137:
2059:
1499:Holden, Antonia (January 2008).
1092:, which was produced in 2005 by
889:by Charles Christian Nahl (1871)
50:
41:
2100:In Search of the Indo-Europeans
2093:Nicolas Poussin: A New Approach
1505:American Journal of Archaeology
1210:Seven Brides for Seven Brothers
1040:Seven Brides for Seven Brothers
731:Princeton University Art Museum
500:, 1582"). An early preparatory
301:. The Roman advance was led by
1698:"The Rape of the Sabine Women"
1626:Poussin, Nicolas (1637–1638),
1578:Gardner's Art Through the Ages
1163:". Regarding these parallels,
1066:The Shame of the Sabine Women.
931:Literature and performing arts
506:Museo Nazionale di Capodimonte
144:The word "rape" (cognate with
131:kidnapping of the Sabine women
1:
195:According to Roman historian
191:Abduction of the Sabine women
127:abduction of the Sabine women
1742:Jacques-Louis David (1799),
1629:The Rape of the Sabine Women
1360:"Plutarch • Life of Romulus"
1202:The Rape of the Sabine Women
1103:’s historical fiction novel
1089:The Rape of the Sabine Women
1081:The Rape of the Sabine Women
1061:The Rape of the Sabine Women
708:The Rape of the Sabine Women
694:The Rape of the Sabine Women
628:The Rape of the Sabine Women
610:The Rape of the Sabine Women
590:The Rape of the Sabine Women
106:[saˈbiːnae̯ˈraptae̯]
18:The rape of the Sabine women
1293:Mathisen, Ralph W. (2019).
1180:Proto-Indo-European society
1096:and the Rufus Corporation.
925:Museum of Fine Arts, Boston
438:Abduction of a Sabine Woman
421:Abduction of a Sabine Woman
299:Battle of the Lacus Curtius
243:Temple of Jupiter Feretrius
27:Incident in Roman mythology
2231:
1867:Dionysius of Halicarnassus
1677:www.nationalgallery.org.uk
1653:www.nationalgallery.org.uk
1295:Ancient Roman Civilization
1155:, providing support for a
1120:
1114:
950:Dionysius of Halicarnassus
670:
656:
616:
583:Metropolitan Museum of Art
566:
561:Metropolitan Museum of Art
514:Victoria and Albert Museum
481:. The respective rapes of
435:
334:Dionysius of Halicarnassus
120:the kidnapped Sabine women
29:
2205:Sexuality in ancient Rome
2190:Mythological rape victims
2095:(New York: Abrams), 1964.
845:The Comic History of Rome
704:Johann Heinrich Schönfeld
698:Johann Heinrich Schönfeld
685:Johann Heinrich Schönfeld
405:Massacre of the Innocents
2185:Marriage in ancient Rome
2165:Ancient Roman erotic art
2144:Rape of the Sabine Women
2083:Roman Republican Coinage
1905:III (Kalends of March);
1258:Roman Republican Coinage
1131:The 18th-century artist
1056:El Rapto de las Sabinas,
921:Rape of the Sabine Women
647:Rape of the Sabine Women
381:Artistic representations
87:rape of the Sabine women
1943:Beasts and Super-Beasts
1890:, "Life of Romulus" IX.
1720:artmuseum.princeton.edu
865:The Rape of the Sabines
742:The Rape of the Sabines
727:The Rape of the Sabines
626:painted his version of
522:Galleria dell'Accademia
79:by the Sabines (right).
2098:Mallory, J. P (2005).
1184:
1136:
894:Charles Christian Nahl
890:
878:Charles Christian Nahl
835:
766:
734:
700:
654:
614:
613:, by Peter Paul Rubens
564:
433:
318:
168:
94:
2215:Women in ancient Rome
1947:(1914), available at
1517:10.3764/aja.112.1.121
1364:penelope.uchicago.edu
1340:www.perseus.tufts.edu
1316:www.perseus.tufts.edu
1194:Il ratto delle sabine
1130:
1035:Stephen Vincent Benét
885:
830:
795:Thermidorian Reaction
756:
721:
692:
645:
607:
551:
460:Piazza della Signoria
418:
201:early history of Rome
125:), also known as the
2180:Kidnappings in Italy
2146:at Wikimedia Commons
2016:. Debra May Macleod.
1046:In 1962, a Mexican "
729:, mid-17th century (
534:Laocoön and His Sons
178:is usually implied.
30:For other uses, see
2117:Pope-Hennessy, John
2104:Thames & Hudson
2089:Walter Friedlaender
2026:Mallory (2005:139).
1793:www.nortonsimon.org
1769:www.edgar-degas.org
1388:Book 1 Ch. 9, p. 15
1157:Proto-Indo-European
770:Jacques-Louis David
749:Jacques-Louis David
492:The work is signed
340:. In Cicero's work
327:Historical analysis
251:. According to the
1996:The New York Times
1958:2009-01-06 at the
1909:II (February 15);
1817:2011-01-02 at the
1607:Poussin, Nicolas.
1233:Stockholm syndrome
1137:
891:
836:
767:
735:
701:
655:
615:
585:in New York City.
565:
434:
307:the Roman God Jove
2142:Media related to
1949:Project Gutenberg
1870:Roman Antiquities
1562:978-0-8386-3759-3
1101:Debra May Macleod
1006:, descended from
871:), c. 1861–1862.
850:Corona et Anchora
803:French Revolution
651:Pietro da Cortona
638:Pietro da Cortona
624:Peter Paul Rubens
600:Peter Paul Rubens
495:
467:Benvenuto Cellini
260:Fasti Triumphales
253:Fasti Triumphales
16:(Redirected from
2222:
2141:
2079:Michael Crawford
2063:
2027:
2024:
2018:
2017:
2007:
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1986:
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1953:Read book online
1934:
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1598:
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1571:
1565:
1552:Liam E. Semler,
1550:
1544:
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1539:
1496:
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1461:
1450:
1435:
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1323:
1322:
1308:
1299:
1298:
1290:
1284:
1283:
1267:
1261:
1254:
1123:Bride kidnapping
1111:Cultural context
1048:sword and sandal
1010:, and the Roman
962:shield of Aeneas
956:. The poetry of
842:included in his
632:National Gallery
493:
456:Loggia dei Lanzi
430:Loggia dei Lanzi
373:made during the
367:
303:Hostus Hostilius
284:Spurius Tarpeius
214:Neptune Equester
173:
124:
121:
118:
115:
112:
108:
103:
62:Roman Republican
54:
45:
21:
2230:
2229:
2225:
2224:
2223:
2221:
2220:
2219:
2195:Roman mythology
2150:
2149:
2134:
2075:
2050:Ab urbe condita
2041:
2039:Ancient sources
2036:
2031:
2030:
2025:
2021:
2009:
2008:
2004:
1988:
1987:
1983:
1970:
1969:
1965:
1960:Wayback Machine
1935:
1931:
1923:
1919:
1898:
1894:
1880:
1876:
1865:
1861:
1854:Ab urbe condita
1847:
1843:
1829:
1825:
1819:Wayback Machine
1810:
1806:
1797:
1795:
1787:
1786:
1782:
1773:
1771:
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1762:
1758:
1750:
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1733:
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1714:
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1709:
1702:hermitagemuseum
1695:
1694:
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1647:
1646:
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1605:
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1572:
1568:
1551:
1547:
1537:
1535:
1498:
1497:
1493:
1463:
1462:
1453:
1443:Ab urbe condita
1436:
1432:
1423:Ab urbe condita
1419:
1415:
1405:Ab urbe condita
1398:
1394:
1384:Ab Urbe Condita
1381:
1377:
1368:
1366:
1358:
1357:
1353:
1344:
1342:
1334:
1333:
1329:
1320:
1318:
1310:
1309:
1302:
1292:
1291:
1287:
1269:
1268:
1264:
1255:
1251:
1246:
1219:
1189:
1153:Greek mythology
1145:Norse mythology
1133:Niccolò Bambini
1125:
1119:
1113:
978:
938:
933:
914:
880:
858:
825:
791:Reign of Terror
776:(also known as
751:
716:
687:
675:
669:
661:
640:
621:
602:
574:Nicolas Poussin
571:
546:
544:Nicolas Poussin
440:
413:
383:
361:
355:Theodor Mommsen
349:the abduction.
329:
288:Capitoline Hill
269:Roman colonists
238:
193:
188:
150:in Portuguese,
122:
119:
116:
113:
98:
83:
82:
81:
80:
57:
56:
55:
47:
46:
35:
28:
23:
22:
15:
12:
11:
5:
2228:
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2212:
2207:
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2197:
2192:
2187:
2182:
2177:
2172:
2167:
2162:
2152:
2151:
2148:
2147:
2133:
2132:External links
2130:
2129:
2128:
2114:
2096:
2086:
2074:
2073:Modern sources
2071:
2070:
2069:
2040:
2037:
2035:
2032:
2029:
2028:
2019:
2002:
1981:
1963:
1929:
1917:
1892:
1887:Parallel Lives
1874:
1859:
1841:
1823:
1804:
1780:
1756:
1731:
1707:
1688:
1664:
1640:
1618:
1599:
1592:
1566:
1545:
1491:
1478:10.2307/284357
1451:
1430:
1413:
1392:
1375:
1351:
1327:
1300:
1285:
1262:
1260:, pp. 352–356.
1248:
1247:
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1240:
1235:
1230:
1225:
1218:
1215:
1214:
1213:
1206:
1198:
1188:
1185:
1141:Æsir–Vanir War
1115:Main article:
1112:
1109:
1016:Jasher 17:1–15
999:Sefer haYashar
977:
974:
937:
934:
932:
929:
913:
910:
879:
876:
857:
854:
824:
821:
750:
747:
738:Jacques Stella
723:Jacques Stella
715:
714:Jacques Stella
712:
686:
683:
671:Main article:
668:
665:
657:Main article:
639:
636:
617:Main article:
601:
598:
567:Main article:
545:
542:
436:Main article:
412:
409:
382:
379:
359:Jacques Poucet
328:
325:
282:, daughter of
237:
234:
192:
189:
187:
184:
176: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:
2227:
2216:
2213:
2211:
2208:
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2203:
2201:
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2178:
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2112:0-500-27616-1
2109:
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2062:
2058:
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2043:
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2033:
2023:
2020:
2015:
2014:
2006:
2003:
1998:
1997:
1992:
1985:
1982:
1977:
1973:
1967:
1964:
1961:
1957:
1954:
1950:
1946:
1944:
1939:
1936:H. H. Munro (
1933:
1930:
1927:
1921:
1918:
1914:
1913:
1908:
1904:
1903:
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1893:
1889:
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1875:
1871:
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1863:
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1856:
1855:
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1838:
1837:
1836:De re publica
1832:
1827:
1824:
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1813:
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1784:
1781:
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1650:
1644:
1641:
1631:
1630:
1622:
1619:
1614:
1610:
1603:
1600:
1595:
1593:0-15-503769-2
1589:
1585:
1580:
1579:
1570:
1567:
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1559:
1555:
1549:
1546:
1534:
1530:
1526:
1522:
1518:
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1414:
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1407:
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1401:
1396:
1393:
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1337:
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1234:
1231:
1229:
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1224:
1221:
1220:
1216:
1212:
1211:
1207:
1205:
1203:
1199:
1196:
1195:
1191:
1190:
1186:
1183:
1181:
1177:
1176:
1168:
1166:
1165:J. P. Mallory
1162:
1158:
1154:
1150:
1146:
1142:
1134:
1129:
1124:
1118:
1110:
1108:
1106:
1102:
1097:
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1090:
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1042:
1041:
1036:
1032:
1030:
1025:
1023:
1022:
1017:
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1009:
1005:
1001:
1000:
996:
991:
989:
988:
983:
975:
973:
971:
967:
963:
959:
955:
951:
947:
943:
936:Ancient works
935:
930:
928:
926:
922:
918:
917:Pablo Picasso
912:Pablo Picasso
911:
909:
907:
903:
902:The Captivity
899:
898:The Abduction
895:
888:
884:
877:
875:
872:
870:
866:
862:
855:
853:
851:
847:
846:
841:
833:
829:
822:
820:
818:
817:Tarpeian Rock
813:
811:
806:
804:
800:
796:
792:
787:
785:
784:Louvre Museum
781:
780:
775:
771:
765:
761:
760:
755:
748:
746:
743:
739:
732:
728:
724:
720:
713:
711:
709:
705:
699:
695:
691:
684:
682:
680:
679:Luca Giordano
674:
667:Luca Giordano
666:
664:
660:
652:
648:
644:
637:
635:
633:
629:
625:
620:
612:
611:
606:
599:
597:
595:
594:Louvre Museum
591:
586:
584:
579:
575:
570:
562:
558:
554:
550:
543:
541:
538:
536:
535:
529:
527:
523:
519:
515:
511:
507:
503:
499:
490:
488:
484:
480:
476:
472:
469:'s statue of
468:
463:
461:
457:
453:
449:
445:
439:
431:
427:
423:
422:
417:
410:
408:
406:
402:
401:New Testament
398:
397:
390:
388:
380:
378:
376:
371:
365:
360:
356:
350:
347:
343:
342:De re publica
339:
335:
326:
324:
321:
317:
313:
310:
308:
304:
300:
295:
293:
292:Tarpeian Rock
289:
285:
281:
277:
272:
270:
266:
263:
261:
256:
254:
250:
249:
244:
235:
233:
231:
227:
223:
219:
215:
211:
206:
202:
198:
190:
185:
183:
179:
177:
172:
171:
165:
161:
160:
155:
154:
149:
148:
142:
140:
136:
132:
128:
107:
101:
96:
92:
88:
78:
74:
70:
66:
63:
53:
44:
33:
19:
2120:
2099:
2092:
2082:
2056:Book 1, 9–13
2055:
2048:
2034:Bibliography
2022:
2012:
2005:
1994:
1984:
1975:
1966:
1941:
1932:
1926:Aeneid. 635.
1925:
1920:
1912:Ars Amatoria
1910:
1906:
1900:
1895:
1885:
1877:
1869:
1862:
1852:
1844:
1834:
1826:
1807:
1796:. Retrieved
1792:
1783:
1772:. Retrieved
1768:
1759:
1749:, retrieved
1744:
1723:. Retrieved
1719:
1710:
1701:
1691:
1680:. Retrieved
1676:
1667:
1656:. Retrieved
1652:
1643:
1633:, retrieved
1628:
1621:
1612:
1602:
1577:
1569:
1553:
1548:
1536:. Retrieved
1508:
1504:
1494:
1469:
1465:
1441:
1433:
1421:
1416:
1403:
1395:
1383:
1378:
1367:. Retrieved
1363:
1354:
1343:. Retrieved
1339:
1330:
1319:. Retrieved
1315:
1294:
1288:
1279:
1275:
1265:
1257:
1252:
1223:Amazonomachy
1208:
1201:
1197:(1961, film)
1192:
1173:
1170:
1159:"war of the
1138:
1104:
1098:
1088:
1085:
1080:
1074:
1071:Tom Stoppard
1069:
1065:
1059:
1055:
1052:Alberto Gout
1045:
1038:
1033:
1026:
1019:
997:
992:
985:
979:
976:Modern works
939:
920:
915:
906:The Invasion
905:
901:
897:
892:
887:The Invasion
886:
873:
864:
859:
849:
843:
837:
814:
810:Titus Tatius
807:
788:
777:
773:
768:
757:
741:
736:
726:
707:
702:
693:
676:
662:
646:
627:
622:
608:
589:
587:
577:
572:
552:
539:
532:
530:
491:
464:
462:, Florence.
441:
419:
394:
391:
387:nude figures
384:
370:Samnite Wars
351:
341:
330:
322:
319:
315:
311:
296:
276:Titus Tatius
273:
267:
264:
259:
257:
248:spolia opima
246:
239:
226:Crustumerium
194:
180:
158:
156:in Spanish,
152:
146:
143:
130:
126:
86:
84:
73:Titus Tatius
2175:Iconography
2066:Book 1 9–13
1472:: 291–319.
1204:(1962 film)
1187:Adaptations
1094:Eve Sussman
861:Edgar Degas
856:Edgar Degas
799:Robespierre
653:, 1627–1629
559:, 1634–35 (
444:Giambologna
426:Giambologna
411:Giambologna
362: [
139:Renaissance
2170:Concubines
2154:Categories
2123:, London:
2064:(Latin),
1798:2016-03-26
1774:2016-03-26
1751:2020-02-11
1725:2020-03-21
1682:2020-02-12
1658:2020-02-11
1635:2020-03-07
1511:(1): 126.
1369:2020-03-07
1345:2022-12-27
1321:2020-02-07
1256:Crawford,
1244:References
1238:Ukuthwalwa
1147:, and the
1121:See also:
840:John Leech
832:John Leech
823:John Leech
483:Proserpina
432:, Florence
375:Social War
2068:(English)
1533:162253485
1161:functions
1054:. Titled
475:Andromeda
100:Classical
1956:Archived
1945:: Beasts
1924:Virgil.
1882:Plutarch
1815:Archived
1564:, p. 34.
1538:June 19,
1525:40037246
1217:See also
1167:states:
1073:'s play
1021:Yosippon
987:Paradiso
954:Plutarch
863:painted
793:and the
526:Florence
498:Flanders
230:Antemnae
2200:Sabines
2127:, 1996.
2125:Phaidon
1951:and at
1857:I.9–13.
1839:II.7–8.
1613:The Met
1228:Lapiths
1105:Tarpiea
1004:Sabines
995:midrash
869:Poussin
867:(after
557:Poussin
479:Phineus
471:Perseus
396:cassoni
280:Tarpeia
222:Caenina
210:Sabines
205:Romulus
129:or the
114:
77:Tarpeia
65:denarii
2110:
1976:Shmoop
1899:Ovid,
1872:II.30.
1831:Cicero
1590:
1560:
1556:1998,
1531:
1523:
1486:284357
1484:
1420:Livy,
1382:Livy,
1117:Raptio
1012:Kittim
970:Aeneid
966:Virgil
952:, and
942:Cicero
904:, and
510:Naples
502:bronze
448:marble
338:Cicero
228:, and
170:raptio
69:Sabine
1907:Fasti
1902:Fasti
1529:S2CID
1521:JSTOR
1482:JSTOR
1282:: 34.
1175:Iliad
1149:Iliad
1008:Tubal
982:Dante
555:, by
518:gesso
487:Helen
366:]
186:Story
166:word
164:Latin
159:ratto
153:rapto
147:rapto
91:Latin
71:king
2108:ISBN
2045:Livy
1938:Saki
1915:I.4.
1849:Livy
1588:ISBN
1558:ISBN
1540:2021
1448:1:33
1438:Livy
1427:1.13
1410:1.10
1400:Livy
1064:and
1029:Saki
993:The
958:Ovid
946:Livy
764:1799
485:and
346:Ovid
218:Livy
197:Livy
111:lit.
85:The
60:Two
1940:),
1584:673
1513:doi
1509:112
1474:doi
1470:125
1151:of
1143:in
984:'s
968:'s
964:in
696:by
649:by
524:in
508:in
477:by
458:in
424:by
2156::
2119:,
2106:.
2102:.
2091:,
2081:,
2053:,
2047:,
1993:.
1974:.
1884:,
1851:,
1833:,
1791:.
1767:.
1734:^
1718:.
1700:.
1675:.
1651:.
1611:.
1586:.
1527:.
1519:.
1507:.
1503:.
1480:.
1468:.
1454:^
1446:,
1440:,
1408:,
1402:,
1386:,
1362:.
1338:.
1314:.
1303:^
1278:.
1274:.
1107:.
1024:.
990:.
972:.
948:,
944:,
908:.
900:,
819:.
805:.
786:.
762:,
725:,
537:.
528:.
428:,
407:.
364:fr
294:.
224:,
141:.
109:;
97:,
93::
1999:.
1978:.
1821:.
1801:.
1777:.
1728:.
1704:.
1685:.
1661:.
1615:.
1596:.
1542:.
1515::
1488:.
1476::
1390:.
1372:.
1348:.
1324:.
1280:8
1014:(
733:)
563:)
123:'
117:'
89:(
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
