293:, 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."
41:
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209: – 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
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851:"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.
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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
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1020:, 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.
354:, 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
267:. 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
778:. 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
1148:
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
611:, 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.
427:. 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
789:, 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.
189:, 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
321:, 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,
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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.
569:, 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
158:
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.
904:. 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.
282:, 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-
235:
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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20:
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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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450:, 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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193:. 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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1478:"The Abduction of the Sabine Women in Context: The Iconography on Late Antique Contorniate Medallions"
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222:(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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489:. 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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1560:
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1967:
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995:). 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.
345:) believed that the story was likely spread during the later fourth century BC after the
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122:, was an incident in the legendary history of Rome in which the men of Rome committed a
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1650:"Peter Paul Rubens | The Rape of the Sabine Women | NG38 | National Gallery, London"
1626:"Peter Paul Rubens | The Rape of the Sabine Women | NG38 | National Gallery, London"
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1056:(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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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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979:(first attested in 1624) portrays the story as part of a war between the
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775:
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1501:
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1441:
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
1214:
459:
363:
197:, many people from Rome's neighboring towns – including
1968:"The Rape of the Sabine Women: Present at an Empire's Corrupted Birth"
1925:
1462:
255:. Tatius almost succeeded in capturing Rome, thanks to the treason of
392:
239:, Romulus celebrated a second triumph in 752 BC over the Antemnates.
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Romulus celebrated a triumph over the Caeninenses on 1 March 752 BC.
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were fused only after a war between the first two against the third.
829:("Crown and Anchor", a common English pub sign in seafaring towns).
1858:
1551:
De la Croix, Horst; Tansey, Richard G.; Kirkpatrick, Diane (1991).
1454:
997:
930:
774:, 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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1766:"The Rape of the Sabines (after Poussin) – Norton Simon Museum"
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The painting depicts Romulus's wife Hersilia – the daughter of
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1313:"Titus Livius (Livy), The History of Rome, Book 1, chapter 13"
1289:"Titus Livius (Livy), The History of Rome, Book 1, chapter pr"
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1742:"The Rape of the Sabines – Edgar Degas – www.edgar-degas.org"
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The episode of the rape of the Sabine women is recounted by
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1825:
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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:
1709:
212:
1990:
Tarpeia: Book Two in The First Vestals of Rome Trilogy
558:
This version of the painting currently resides at the
1443:
Transactions of the American Philological Association
811:'s satirical version of The Rape of the Sabine Women
1718:
1552:
1063:The latest adaptation is a film without dialogue,
1035:the film was released in the USA under the titles
896:visited this theme in his several versions of the
431:, decreed that it be put on public display in the
56:, minted by Lucius Titurius Sabinus in 89 BC. The
1987:Macleod, Debra May; Macleod, Scott (2022-04-11).
1249:"Rape and consequences in the Latin declamations"
1008:'s short story "The Schartz-Metterklume Method".
907:
2128:
2098:Italian High Renaissance & Baroque Sculpture
1274:. New York: Oxford University Press. p. 60.
1246:
1027:" film based on the story was made, directed by
873:painted the subject in a trio of works entitled
176:, the abduction of Sabine women occurred in the
167:
1531:The English Mannerist Poets and the Visual Arts
1986:
957:The Sabine women are mentioned in Canto VI of
442:The proposed site for the sculpture, opposite
1965:
429:Francesco I de' Medici, Grand Duke of Tuscany
21:The Rape of the Sabine Women (disambiguation)
1602:
1076:The rape of the Sabine women is depicted in
661:
650:The Rape of the Sabine Women (Luca Giordano)
1559:(9th ed.). Thomson/Wadsworth. p.
815:The English 19th-century satirical painter
792:The rocky outcrop in the background is the
683:painted a version of this subject entitled
357:
144:
99:
1997:
1672:
1060:, to the disgust of the title characters.
854:
2062:, Cambridge University Press, 1974–2001.
1789:La tomba del principe sabino – Glossario
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1103:
858:
803:
729:
694:
665:
618:
580:
524:
419:The 16th-century Italo-Flemish sculptor
391:
1949:"Rosencrantz and Guildenstern Are Dead"
1253:Scholia: Studies in Classical Antiquity
636:Rape of the Sabines (Pietro da Cortona)
263:, Roman governor of the citadel on the
2129:
1475:
759:) was completed in 1799. It is in the
725:
654:There are at least eight paintings by
607:around 1635–40. It now resides in the
546:The Rape of the Sabine Women (Poussin)
473:("The work of Johannes of Boulogne of
303:
1693:"The Rape of the Sabines (y1967-102)"
1440:
1436:
1434:
1432:
1283:
1281:
1053:Rosencrantz and Guildenstern Are Dead
596:The Rape of the Sabine Women (Rubens)
481:featuring only two figures is in the
471:OPVS IOANNIS BOLONII FLANDRI MDLXXXII
334:(as well as later historians such as
213:War with the Sabines and other tribes
93:
1722:The Intervention of the Sabine Women
1673:Schönfeld, Johann Heinrich (1630s).
756:The Intervention of the Sabine Women
736:The Intervention of the Sabine Women
614:
576:
2137:8th century BC in the Roman Kingdom
1966:Roberta Smith (February 21, 2007).
1586:"The Abduction of the Sabine Women"
1583:
1112:painted the subject at least twice.
1087:
565:Poussin's second version, entitled
13:
2015:
1429:
1278:
900:(1962–63), one of which is in the
520:
493:, London. The artist's full-scale
366:in intensely passionate struggle.
14:
2203:
2187:Wartime sexual violence in Europe
2108:
2049:
1247:Packman, Zola M. (January 1999).
690:
658:or his workshop on this subject.
555:The Abduction of the Sabine Women
530:The Abduction of the Sabine Women
380:was afforded by the theme of the
2114:
2036:
1476:Holden, Antonia (January 2008).
1069:, which was produced in 2005 by
912:
888:
866:by Charles Christian Nahl (1871)
643:
39:
30:
2077:In Search of the Indo-Europeans
2070:Nicolas Poussin: A New Approach
2010:
1980:
1959:
1941:
1907:
1895:
1870:
1852:
1837:
1819:
1801:
1782:
1758:
1734:
1685:
1666:
1642:
1618:
1596:
1577:
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1482:American Journal of Archaeology
1469:
1408:
1187:Seven Brides for Seven Brothers
1017:Seven Brides for Seven Brothers
952:
708:Princeton University Art Museum
477:, 1582"). An early preparatory
278:. The Roman advance was led by
1675:"The Rape of the Sabine Women"
1603:Poussin, Nicolas (1637–1638),
1555:Gardner's Art Through the Ages
1391:
1370:
1353:
1329:
1305:
1263:
1240:
1227:
1163:
1140:". Regarding these parallels,
1043:The Shame of the Sabine Women.
908:Literature and performing arts
832:
483:Museo Nazionale di Capodimonte
387:
133:The word "rape" (cognate with
120:kidnapping of the Sabine women
1:
1220:
799:
172:According to Roman historian
168:Abduction of the Sabine women
116:abduction of the Sabine women
1719:Jacques-Louis David (1799),
1606:The Rape of the Sabine Women
1337:"Plutarch • Life of Romulus"
1179:The Rape of the Sabine Women
1080:’s historical fiction novel
1066:The Rape of the Sabine Women
1058:The Rape of the Sabine Women
1038:The Rape of the Sabine Women
685:The Rape of the Sabine Women
671:The Rape of the Sabine Women
605:The Rape of the Sabine Women
587:The Rape of the Sabine Women
567:The Rape of the Sabine Women
95:[saˈbiːnae̯ˈraptae̯]
7:
1270:Mathisen, Ralph W. (2019).
1193:
1157:Proto-Indo-European society
1073:and the Rufus Corporation.
902:Museum of Fine Arts, Boston
415:Abduction of a Sabine Woman
398:Abduction of a Sabine Woman
276:Battle of the Lacus Curtius
220:Temple of Jupiter Feretrius
16:Incident in Roman mythology
10:
2208:
1844:Dionysius of Halicarnassus
1654:www.nationalgallery.org.uk
1630:www.nationalgallery.org.uk
1272:Ancient Roman Civilization
1132:, providing support for a
1097:
1091:
927:Dionysius of Halicarnassus
647:
633:
593:
560:Metropolitan Museum of Art
543:
538:Metropolitan Museum of Art
491:Victoria and Albert Museum
458:. The respective rapes of
412:
311:Dionysius of Halicarnassus
109:the kidnapped Sabine women
18:
2182:Sexuality in ancient Rome
2167:Mythological rape victims
2072:(New York: Abrams), 1964.
822:The Comic History of Rome
681:Johann Heinrich Schönfeld
675:Johann Heinrich Schönfeld
662:Johann Heinrich Schönfeld
382:Massacre of the Innocents
2162:Marriage in ancient Rome
2142:Ancient Roman erotic art
2121:Rape of the Sabine Women
2060:Roman Republican Coinage
1882:III (Kalends of March);
1235:Roman Republican Coinage
1108:The 18th-century artist
1033:El Rapto de las Sabinas,
898:Rape of the Sabine Women
624:Rape of the Sabine Women
358:Artistic representations
162:
76:rape of the Sabine women
1920:Beasts and Super-Beasts
1867:, "Life of Romulus" IX.
1697:artmuseum.princeton.edu
842:The Rape of the Sabines
719:The Rape of the Sabines
704:The Rape of the Sabines
603:painted his version of
499:Galleria dell'Accademia
68:by the Sabines (right).
2075:Mallory, J. P (2005).
1161:
1113:
871:Charles Christian Nahl
867:
855:Charles Christian Nahl
812:
743:
711:
677:
631:
591:
590:, by Peter Paul Rubens
541:
410:
295:
145:
83:
2192:Women in ancient Rome
1924:(1914), available at
1494:10.3764/aja.112.1.121
1341:penelope.uchicago.edu
1317:www.perseus.tufts.edu
1293:www.perseus.tufts.edu
1171:Il ratto delle sabine
1146:
1107:
1012:Stephen Vincent Benét
862:
807:
772:Thermidorian Reaction
733:
698:
669:
622:
584:
528:
437:Piazza della Signoria
395:
291:
178:early history of Rome
114:), also known as the
2157:Kidnappings in Italy
2123:at Wikimedia Commons
1993:. Debra May Macleod.
1023:In 1962, a Mexican "
706:, mid-17th century (
511:Laocoön and His Sons
155:is usually implied.
19:For other uses, see
2094:Pope-Hennessy, John
2081:Thames & Hudson
2066:Walter Friedlaender
2003:Mallory (2005:139).
1770:www.nortonsimon.org
1746:www.edgar-degas.org
1365:Book 1 Ch. 9, p. 15
1134:Proto-Indo-European
747:Jacques-Louis David
726:Jacques-Louis David
469:The work is signed
317:. In Cicero's work
304:Historical analysis
228:. According to the
1973:The New York Times
1935:2009-01-06 at the
1886:II (February 15);
1794:2011-01-02 at the
1584:Poussin, Nicolas.
1210:Stockholm syndrome
1114:
868:
813:
744:
712:
678:
632:
592:
562:in New York City.
542:
411:
284:the Roman God Jove
2119:Media related to
1926:Project Gutenberg
1847:Roman Antiquities
1539:978-0-8386-3759-3
1078:Debra May Macleod
983:, descended from
848:), c. 1861–1862.
827:Corona et Anchora
780:French Revolution
628:Pietro da Cortona
615:Pietro da Cortona
601:Peter Paul Rubens
577:Peter Paul Rubens
472:
444:Benvenuto Cellini
237:Fasti Triumphales
230:Fasti Triumphales
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2056:Michael Crawford
2040:
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1984:
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1100:Bride kidnapping
1088:Cultural context
1025:sword and sandal
987:, and the Roman
939:shield of Aeneas
933:. The poetry of
819:included in his
609:National Gallery
470:
433:Loggia dei Lanzi
407:Loggia dei Lanzi
350:made during the
344:
280:Hostus Hostilius
261:Spurius Tarpeius
191:Neptune Equester
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43:
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2172:Roman mythology
2127:
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2027:Ab urbe condita
2018:
2016:Ancient sources
2013:
2008:
2007:
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1937:Wayback Machine
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1413:
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1361:Ab Urbe Condita
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1122:Norse mythology
1110:Niccolò Bambini
1102:
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835:
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753:(also known as
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579:
551:Nicolas Poussin
548:
523:
521:Nicolas Poussin
417:
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360:
338:
332:Theodor Mommsen
326:the abduction.
306:
265:Capitoline Hill
246:Roman colonists
215:
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2017:
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2012:
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1864:Parallel Lives
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976:Sefer haYashar
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648:Main article:
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389:
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359:
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336:Jacques Poucet
305:
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259:, daughter of
214:
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169:
166:
164:
161:
153:sexual assault
124:mass abduction
91:pronunciation:
84:Sabinae raptae
48:
47:
38:
37:
29:
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15:
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1813:De re publica
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1142:J. P. Mallory
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913:Ancient works
905:
903:
899:
895:
894:Pablo Picasso
889:Pablo Picasso
886:
884:
880:
879:The Captivity
876:
875:The Abduction
872:
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852:
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843:
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824:
823:
818:
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797:
795:
794:Tarpeian Rock
790:
788:
783:
781:
777:
773:
769:
764:
762:
761:Louvre Museum
758:
757:
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720:
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709:
705:
701:
697:
688:
686:
682:
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672:
668:
659:
657:
656:Luca Giordano
651:
644:Luca Giordano
641:
637:
629:
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621:
612:
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606:
602:
597:
589:
588:
583:
574:
572:
571:Louvre Museum
568:
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531:
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446:'s statue of
445:
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378:New Testament
375:
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367:
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348:
342:
337:
333:
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324:
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319:De re publica
316:
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287:
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269:Tarpeian Rock
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85:
81:
77:
67:
63:
59:
55:
52:
42:
33:
22:
2097:
2076:
2069:
2059:
2033:Book 1, 9–13
2032:
2025:
2011:Bibliography
1999:
1989:
1982:
1971:
1961:
1952:
1943:
1918:
1909:
1903:Aeneid. 635.
1902:
1897:
1889:Ars Amatoria
1887:
1883:
1877:
1872:
1862:
1854:
1846:
1839:
1829:
1821:
1811:
1803:
1784:
1773:. Retrieved
1769:
1760:
1749:. Retrieved
1745:
1736:
1726:, retrieved
1721:
1700:. Retrieved
1696:
1687:
1678:
1668:
1657:. Retrieved
1653:
1644:
1633:. Retrieved
1629:
1620:
1610:, retrieved
1605:
1598:
1589:
1579:
1554:
1546:
1530:
1525:
1513:. Retrieved
1485:
1481:
1471:
1446:
1442:
1418:
1410:
1398:
1393:
1380:
1372:
1360:
1355:
1344:. Retrieved
1340:
1331:
1320:. Retrieved
1316:
1307:
1296:. Retrieved
1292:
1271:
1265:
1256:
1252:
1242:
1234:
1229:
1200:Amazonomachy
1185:
1178:
1174:(1961, film)
1169:
1150:
1147:
1136:"war of the
1115:
1081:
1075:
1065:
1062:
1057:
1051:
1048:Tom Stoppard
1046:
1042:
1036:
1032:
1029:Alberto Gout
1022:
1015:
1010:
1003:
996:
974:
969:
962:
956:
953:Modern works
916:
897:
892:
883:The Invasion
882:
878:
874:
869:
864:The Invasion
863:
850:
841:
836:
826:
820:
814:
791:
787:Titus Tatius
784:
765:
754:
750:
745:
734:
718:
713:
703:
684:
679:
670:
653:
639:
623:
604:
599:
585:
566:
564:
554:
549:
529:
516:
509:
507:
468:
441:
439:, Florence.
418:
396:
371:
368:
364:nude figures
361:
347:Samnite Wars
328:
318:
307:
299:
296:
292:
288:
273:
253:Titus Tatius
250:
244:
241:
236:
234:
225:spolia opima
223:
216:
203:Crustumerium
171:
157:
135:
132:
119:
115:
75:
73:
62:Titus Tatius
2152:Iconography
2043:Book 1 9–13
1449:: 291–319.
1181:(1962 film)
1164:Adaptations
1071:Eve Sussman
838:Edgar Degas
833:Edgar Degas
776:Robespierre
630:, 1627–1629
536:, 1634–35 (
421:Giambologna
403:Giambologna
388:Giambologna
339: [
128:Renaissance
2147:Concubines
2131:Categories
2100:, London:
2041:(Latin),
1775:2016-03-26
1751:2016-03-26
1728:2020-02-11
1702:2020-03-21
1659:2020-02-12
1635:2020-02-11
1612:2020-03-07
1488:(1): 126.
1346:2020-03-07
1322:2022-12-27
1298:2020-02-07
1233:Crawford,
1221:References
1215:Ukuthwalwa
1124:, and the
1098:See also:
817:John Leech
809:John Leech
800:John Leech
460:Proserpina
409:, Florence
352:Social War
2045:(English)
1510:162253485
1138:functions
1031:. Titled
452:Andromeda
89:Classical
1933:Archived
1922:: Beasts
1901:Virgil.
1859:Plutarch
1792:Archived
1541:, p. 34.
1515:June 19,
1502:40037246
1194:See also
1144:states:
1050:'s play
998:Yosippon
964:Paradiso
931:Plutarch
840:painted
770:and the
503:Florence
475:Flanders
207:Antemnae
2177:Sabines
2104:, 1996.
2102:Phaidon
1928:and at
1834:I.9–13.
1816:II.7–8.
1590:The Met
1205:Lapiths
1082:Tarpiea
981:Sabines
972:midrash
846:Poussin
844:(after
534:Poussin
456:Phineus
448:Perseus
373:cassoni
257:Tarpeia
199:Caenina
187:Sabines
182:Romulus
118:or the
103:
66:Tarpeia
54:denarii
2087:
1953:Shmoop
1876:Ovid,
1849:II.30.
1808:Cicero
1567:
1537:
1533:1998,
1508:
1500:
1463:284357
1461:
1397:Livy,
1359:Livy,
1094:Raptio
989:Kittim
947:Aeneid
943:Virgil
929:, and
919:Cicero
881:, and
487:Naples
479:bronze
425:marble
315:Cicero
205:, and
147:raptio
58:Sabine
1884:Fasti
1879:Fasti
1506:S2CID
1498:JSTOR
1459:JSTOR
1259:: 34.
1152:Iliad
1126:Iliad
985:Tubal
959:Dante
532:, by
495:gesso
464:Helen
343:]
163:Story
143:word
141:Latin
136:rapto
80:Latin
60:king
2085:ISBN
2022:Livy
1915:Saki
1892:I.4.
1826:Livy
1565:ISBN
1535:ISBN
1517:2021
1425:1:33
1415:Livy
1404:1.13
1387:1.10
1377:Livy
1041:and
1006:Saki
970:The
935:Ovid
923:Livy
741:1799
462:and
323:Ovid
195:Livy
174:Livy
100:lit.
74:The
49:Two
1917:),
1561:673
1490:doi
1486:112
1451:doi
1447:125
1128:of
1120:in
961:'s
945:'s
941:in
673:by
626:by
501:in
485:in
454:by
435:in
401:by
2133::
2096:,
2083:.
2079:.
2068:,
2058:,
2030:,
2024:,
1970:.
1951:.
1861:,
1828:,
1810:,
1768:.
1744:.
1711:^
1695:.
1677:.
1652:.
1628:.
1588:.
1563:.
1504:.
1496:.
1484:.
1480:.
1457:.
1445:.
1431:^
1423:,
1417:,
1385:,
1379:,
1363:,
1339:.
1315:.
1291:.
1280:^
1255:.
1251:.
1084:.
1001:.
967:.
949:.
925:,
921:,
885:.
877:,
796:.
782:.
763:.
739:,
702:,
514:.
505:.
405:,
384:.
341:fr
271:.
201:,
130:.
98:;
86:,
82::
1976:.
1955:.
1798:.
1778:.
1754:.
1705:.
1681:.
1662:.
1638:.
1592:.
1573:.
1519:.
1492::
1465:.
1453::
1367:.
1349:.
1325:.
1301:.
1257:8
991:(
710:)
540:)
112:'
106:'
78:(
23:.
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