20:
396:
113:
136:, who knew Alexander well; this survives only in quotations by others, which may not all be accurate. The taking of Thebes took place in the second year of Alexander's reign, and was otherwise a very bloody affair, as the city was the leader in a Greek revolt, taking advantage of Philip's assassination, against the treaties he had enforced. Perhaps 6,000 Thebans died, and 30,000 were enslaved, and the city virtually ceased to exist for some decades. The only other act of clemency recorded is that Alexander ordered the house and descendants of the poet
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149:
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is essentially the same, except that the captain is told that the treasure, of silver bowls, gold and some money, was at the bottom of a dry well, which he climbs down into. When
Timoclea hears that he has reached the bottom, she throws down rocks on him. Alexander dismisses her without punishment
349:
were both captives at
Alexander's conquest of Thebes, and are brought together before Alexander, where Timoclea's aristocratic dignity contrasts with Campaspe's self-description as "a humble handmaid to Alexander". Campaspe was later the mistress of Alexander and his painter
197:(1508–1580), and a total of eleven compositions surviving today are known from surviving paintings or prints or drawings. The cycle showed the life of Alexander, but with little emphasis on his military career. This was one of the three subjects from the cycle
395:
256:. Unlike most depictions, this shows her children prominently. A very different composition, showing only one and a half figures, with the Thracian disappearing upside down into the well, first appears in an
380:
163:
Timoclea was a rare subject in art from the
Renaissance onwards, never becoming a regular subject in the range of incidents showing classical and biblical female violence against men known as the
612:
Supplement au livre de l'antiquité expliquée et représentée en figures: tome quatrième: qui comprend la guerre, les ponts, les aqueducs, la navigation, les phares & les tours octogones
78:
Timocleia. After raping her, the captain asked if she knew of any hidden money. She told him that she did, and led him into her garden, and told him there was money hidden in her
752:
233:
was a popular subject, the story of
Timoclea probably would have been more a popular element if there had not been a grander and less sordid competitor in the form of
109:
but does not set her or her family free. He instead tells his officers to take special care of them and other renowned families, making sure there is no more abuse.
19:
757:
174:, and there was an increasing tendency in court art to depict Alexander as a proxy for the actual monarch, and to emphasize acts of generosity or mercy.
82:. When the Thracian captain stooped to look into the well, Timocleia pushed him down into it, and then hurled heavy stones down until the captain died.
577:
85:
She was then seized by the
Thracian soldiers and brought before Alexander. She comported herself with great dignity and told him that her brother was
595:
101:. Alexander was so impressed with Timocleia that he ordered her and her children released and she was not punished for killing the Thracian captain.
747:
301:
643:
360:
177:
Most depictions show her brought before
Alexander, which might form part of a cycle illustrating his life. This was the case in the cycle of
238:
234:
320:, and from the number of children's gloves paid for may have included twenty four performers. It may not have been a great success, as the
737:
767:
112:
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prepared to follow it, with ladies "with lightes being vj vertues" was "not showen for the
Tediusnesse of the playe that nighte."
722:
686:
566:
530:
506:
482:
459:
455:
67:
624:
244:
The most influential image of
Timoclea's story, judging by copies in prints for two centuries after, was the painting by
241:, which was normally included in cycles, and also showed Alexander being generous to women captives brought before him.
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94:
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Here and in other depictions, the subject was given a composition similar to ones of the much more common
39:
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paired the two stories as his "Examples of the clemency and continence of conquerors" in a book of 1724.
86:
223:
218:; the subject likewise emphasized the magnanimity of the commander. Timoclea sometimes accompanied the
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156:
90:
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317:
285:
636:
475:
Sources for
Alexander the Great: An Analysis of Plutarch's "Life" and Arrian's "Anabasis Alexandrou"
296:
1574, on
February 2 (this was five years before the influential English translation of Plutarch by
190:
117:
59:
132:
Plutarch's main source for the incident, as he mentions in passing elsewhere, was the account by
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371:
261:
27:(adapting Merian's engraving); Timoclea pushing the Thracian captain who raped her into a well.
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98:
24:
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341:
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202:
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in London. The performance and its expenses was recorded in the accounts of the
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121:
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79:
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was published). The author is unknown, and the performers were boys from the
680:, eds. George K. Hunter, David Bevington, 1991, Manchester University Press,
367:
336:
293:
257:
249:
345:, a comedy also performed by boy players. According to this, Timoclea and
666:, University of Melbourne, "Timoclea at the Siege of Thebes", Anon. (1574)
346:
71:
47:
148:
386:
Another adaptation of Merian's print, in a grand Baroque scheme in the
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198:
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of c. 1615, which was in the French royal collection from the time of
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253:
178:
137:
125:
553:
Boorsch, Suzanne, in: Jacobson, Karen (ed), (often wrongly cat. as
147:
111:
18:
205:. Unusually in this subject, but rather typically for the First
75:
409:, 1782. The dead captain has been brought along as evidence.
354:, and is a common story depicted in Alexander's life in art.
329:
Gynaikeion or Nine Books of Various History Concerning Women
264:, a book illustration for a popular German world history by
222:
in a series, and is also capable of being confused with it.
58:("Virtues of Women"). According to Plutarch's biography of
637:
1 "Elisabetta Sirani’s Timoclea and Visual Precedent",
525:, Flammarion Iconographic Guides, pp. 30–31, 1996,
499:Alexander the Great: The Story of an Ancient Life
477:, pp. 154–155, 2007, Cambridge University Press,
74:forces pillaged the city, and a Thracian captain
715:Hall's Dictionary of Subjects and Symbols in Art
268:. This was later adapted in an oil painting by
501:, pp. 48–50, 2012, Cambridge University Press,
209:, Timoclea is naked when brought to Alexander.
676:"Campaspe" and "Sappho and Phao": John Lyly",
578:"Giovanni Battista Gaulli, called Il Baciccio
497:Martin, Thomas R., Blackwell, Christopher W.,
93:, who died "for the liberty of Greece" at the
450:, Ian Worthington, ed, pp. 70–71, Routledge,
8:
561:, pp. 256–257, 1994, Grunwald Center, UCLA,
429:
427:
425:
423:
753:People associated with Alexander the Great
596:British Museum, Drawing Cat. 1860,0616.118
540:
538:
521:Aghion I., Barbillon C., Lissarrague, F.,
189:and his team. This was in the bedroom of
97:in 338 BC, defeated by Alexander's father
659:
657:
655:
419:
356:
523:Gods and Heroes of Classical Antiquity
235:The Family of Darius before Alexander
170:. But she featured in cycles on the
7:
335:, 1624, and as a minor character in
46:) is a woman whose story is told by
140:(died c. 443 BC) to be left alone.
14:
758:Wartime sexual violence in Europe
717:, 1996 (2nd edn.), John Murray,
559:The French Renaissance in Prints
394:
379:
359:
308:. They were one of a number of
302:Merchant Taylor's School, London
282:Timoclea at the Siege of Thebes
54:, and at greater length in his
748:Women in ancient Greek warfare
1:
448:Alexander the Great: A Reader
239:Veronese's painting in London
16:Theban woman (4th century BC)
434:Plutarch – Life of Alexander
155:, Etching, c.1541/45, after
89:, the last commander of the
738:4th-century BC Greek people
407:Jean-Charles Nicaise Perrin
314:English Renaissance theatre
304:, directed by their master
68:Alexander's Balkan campaign
784:
768:4th-century BC Greek women
134:Aristobulus of Cassandreia
43:
327:Timoclea also appears in
292:and the English court at
280:A play, now lost, called
580:The Continence of Scipio
310:companies of boy players
215:The Continence of Scipio
266:Johann Ludwig Gottfried
207:School of Fontainebleau
183:Palace of Fontainebleau
62:, when his forces took
388:Eggenberg Palace, Graz
374:, a book illustration.
195:the Duchess of Étampes
160:
129:
28:
641:, 30, 2011, 37–42 PDF
625:British Museum search
224:Bernard de Montfaucon
187:Francesco Primaticcio
157:Francesco Primaticcio
151:
115:
91:Sacred Band of Thebes
22:
318:Master of the Revels
286:Hampton Court Palace
664:Lost Plays Database
473:Hammond, N. G. L.,
118:Alexander the Great
95:Battle of Chaeronea
60:Alexander the Great
36:Timocleia of Thebes
646:2015-09-11 at the
460:Example 24 in the
237:, best known from
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130:
29:
691:pp. 8–9, 9 quoted
689:, 9780719031007,
509:, 9781139576536,
462:Mulierum virtutes
458:, 9781134435920;
306:Richard Mulcaster
284:was performed at
270:Elisabetta Sirani
231:Life of Alexander
172:Life of Alexander
106:Mulierum virtutes
104:The story in the
99:Philip of Macedon
56:Mulierum virtutes
52:Life of Alexander
25:Elisabetta Sirani
23:1659 painting by
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276:Later literature
185:in the 1540s by
159:. 341 x 231 mm.
116:Timoclea before
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333:Thomas Heywood
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260:of 1629–30 by
201:as a print by
165:Power of Women
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144:In later art
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763:Iconography
615:, Chapter 4
290:Elizabeth I
246:Domenichino
203:LĂ©on Davent
153:LĂ©on Davent
124:, c. 1615,
122:Domenichino
70:of 335 BC,
732:Categories
723:0719541476
708:References
687:0719031001
567:0962816221
531:2080135805
507:1139576534
483:0521714710
456:1134435924
445:Excerpt in
312:active in
220:Continence
193:mistress,
585:Sotheby's
368:engraving
339:'s play
337:John Lyly
294:Candlemas
258:engraving
250:Louis XIV
87:Theagenes
44:Τιμοκλεία
701:Hall, 22
644:Archived
544:Hall, 12
347:Campaspe
342:Campaspe
72:Thracian
48:Plutarch
32:Timoclea
352:Apelles
288:before
229:As the
179:frescos
66:during
50:in his
721:
685:
639:Source
565:
529:
505:
481:
454:
322:masque
254:Louvre
199:etched
138:Pindar
126:Louvre
64:Thebes
598:, by
415:Notes
168:topos
76:raped
719:ISBN
683:ISBN
563:ISBN
527:ISBN
503:ISBN
479:ISBN
452:ISBN
366:The
80:well
557:),
331:by
34:or
734::
654:^
583:,
537:^
422:^
401:A
272:.
42::
128:.
38:(
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