greek myth and western art - cambridge university...

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Greek Myth and Western Art

Greek myth has played an unparalleled role in the formation of Western visual traditions, for which it has provided a nearly inexhaustible source of forms, symbols, and narratives. This richly illustrated book examines the legacy of Greek mythology in Western art from the Classical era to the pres ent. It reveals the range and variety with which individual Greek myths, motifs, and characters have been treated throughout the history of the visual arts in the West. Tracing the emergence, survival, and transformation of key mythological figures and motifs from ancient Greece through the modern era, it explores the enduring importance of such myths for artists and view-ers in their own time and over the millennia that followed.

Karl Kilinski II (1946–2011) was the University Distinguished Teaching Professor of Art History at Southern Methodist University. He received grants from the Samuel H. Kress Foundation, the National Endowment for the Humanities, and the Ford Foundation. He was the author of Boetian Black Figure Vase Painting of the Archaic Period (1990) and The Flight of Icarus through Western Art (2002) and served as a guest curator for several exhibitions at the Kimbell Art Museum and SMU’s Meadows Museum.

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Cambridge University Press978-1-107-01332-2 - Greek Myth and Western Art: The Presence of the PastKarl Kilinski IIFrontmatterMore information

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Greek Myth and Western Art

The Presence of the Past

Karl Kilinski II

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cambridge university press

Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City

Cambridge University Press32 Avenue of the Americas, New York, NY 10013-2473, USA

www.cambridge.orgInformation on this title: www.cambridge.org/9781107013322

© Karl Kilinski II 2013

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2013

Printed in the United States of America

A catalog record for this publication is available from the British Library.

Library of Congress Cataloging in Publication DataKilinski, Karl.

Greek myth and Western art : the presence of the past / Karl Kilinski II.pages cm

Includes bibliographical references and index.ISBN 978-1-107-01332-21. Art and mythology. 2. Mythology, Greek, in art. I. Title.N7760.K555 2013704.9’489213–dc23 2012004193

ISBN 978-1-107-01332-2 Hardback

Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet Web sites referred to in this publication and does not guarantee that any content on such Web sites is, or will remain, accurate or appropriate.






To Gunnie Corbett, my personal warrior and worrier

An old story is like the wind. It comes from far away

and yet we feel it as it touches us. It is fresh yet familiar.

It changes direction and demeanor at will, appearing out of nowhere and going somewhere else.

Its force and features are always in flux, yet we know it for what it is.






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vii

List of Figures and Plates page ixPreface xviiAcknowledgments xxi

one The Nature and Origins of Greek Myth 1

Modern Minds on Ancient Myth 2Roots and Near Eastern Affinities of Greek Myth 5

two Survival and Revival: Motives for and Means of Myth Transmission 26

Myth and Mortals 26Artistic Survivals and Their Applications 29Texts, Transmissions, and Translations 56

three Form and Fashion of Myth in Art 94

Communicating Visual Narrative 94Myth, Genre, and Pluralism 96

Contents






viii mmm Contents

Visual Assimilations 103Forms of Visual Narrative 105Myth in Visual Relation to Reality 116Transforming and Reforming Mythic Imagery 133Myth as Cultural Commentary 143Myth in Commercial Advertisements 152Myth in Television, Theater, and Film 156

four Iconography and Iconology: The Metamorphosis of Greek Myth 161

Danaë and the Golden Rain 163The Flight of Icarus 173Circe the Sorceress 182Perseus Rescuing Andromeda 193The Death of Actaeon 201Continuity and Change 209

Abbreviations 213Greek and Latin Glossary of Mythical Characters 215Notes 217Bibliography 241Index 269






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ix

Figures1. Hittite Gods, Hittite rock relief, c. 1400 BCE. Yasilikaya,

Turkey page 82. Attributed to the Pan Painter, Perseus and Medusa with Athena,

Attic red-figure kalpis, c. 470 BCE. London, British Museum E 181 9

3. Helios, metope from Troy, c. 280 BCE. Berlin, Staatliche Museen 11

4. Re in His Solar Barque, Egyptian papyrus of Ani, c. thirteenth century BCE. London, British Museum 11

5. Ninurta (?) and a lion-bird, Assyrian cylinder seal (impression), c. 750–650 BCE. New York, The Morgan Library & Museum. Morgan Seal 689 16

6. Bellerophon and the Chimaera, Apulian situla, attributed to the Group of the Dublin Situlae, c. 350 BCE. Red-figure terra-cotta, rim: 24.5 cm. Cleveland, Cleveland Museum of Art 17

7. Heracles and the Hydra and The Trojan Horse, Boeotian bronze fibula, c. 700–675 BCE. London, British Museum 3205 18

8. Ninurta (?) and a multiheaded monster, Mesopotamian cylinder seal (impression), c. 3000–2350 BCE. Chicago, Oriental Institute 18

9. Tarhunt (Neo-Hittite sky god), stone relief stele, c. ninth century BCE. Istanbul, Istanbul National Museum 20

Figures and Plates






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10. Zeus with Lightning Bolts, cornelian intaglio, first century BCE. St. Petersburg, State Hermitage Museum, Inv. no. G-1223 21

11. Painter of Berlin 2536, The Judgment of Paris, drinking cup from Nola, Italy, 450–440 BCE. Berlin, Staatliche Museen 22

12. Medusa Head, relief sculpture, c. first century BCE. Temple of Apollo, Didyma, Turkey 23

13. Oedipus and the Sphinx, Attic red-figure cup, c. 470 BCE. Vatican, Vatican Museums 16541 28

14. Jean-Auguste-Dominique Ingres, Oedipus Explains the Riddle of the Sphinx, oil on canvas, c. 1808–1827. Paris, Musée du Louvre 29

15. Greeks Fighting Amazon, Halicarnassus relief, c. 350 BCE. London, British Museum 30

16. Lion Hunt, floor mosaic, c. 300 BCE. Pella, Greece 3017. Tyrannicides, sculptural group, original c. 470s BCE. Roman

copy. Naples, Museo Archeologico Nazionale 3118. Salvage of a Greek Statue, Roman relief from Ostia, Republican

Period. Scavi di Ostia, Italy 3319. Three Graces (Charités), sculptural group, original c. first

century BCE. Roman copy. Paris, Musée du Louvre 3420. Three Graces (Charités), fresco, c. first century. Naples, Museo

Archeologico Nazionale 9236 3521. Three Graces (Charités), center of a Roman sarcophagus, c.

225. Pittsburgh, Carnegie Institute 3522. Heracles and the Nemean Lion, Greek coin of Heraclea, c.

390–380 BCE. London, British Museum 3723. Poseidon and Athena, cameo, Roman imperial or medieval (?).

Paris, Bibliothèque Nationale de France 4024. Apollo and Daphne, medieval cameo, seventh century.

Washington, DC, Dumbarton Oaks 4125. Laocoön, sculptural group, perhaps c. 20–40. Vatican City,

Vatican Museums 4626. Laocoön, Vatican Virgil, c. 400. Vatican City, Vatican Library

cod. lat. 3225, folio 18v 4827. Borghese Hermaphroditus, original c. 150 BCE. Roman copy.

Paris, Musée du Louvre 5028. Palace of Circe, Vatican Virgil, c. 400. Vatican, Vatican Library

cod. lat. 3225, folio 58r 58






Figures and Plates mmm xi

29. Europa and the Bull, Greek metope from Temple Y, Selinus, c. 560–550 BCE. Palermo, Museo Archeologico 70

30. Death of Actaeon, Attic black-figure cup, from Bomarzo, c. 560–550 BCE (lost) 71

31. Diana and Actaeon, fresco from the House of Sallust, Pompeii, c. 30–10 BCE. Naples, Museo Archeologico Nazionale (drawing) 72

32. Master F.R. (?), Diana and Actaeon, majolica dish, c. 1525–1530. New York, The Metropolitan Museum of Art, no. 41.49.3 73

33. Triptolemus Painter, Danaë and the Shower of Gold, Attic red-figure crater, c. 490 BCE. St. Petersburg, The State Hermitage Museum 74

34. Triptolemus Painter, Danaë and Perseus, Attic red-figure crater, c. 490 BCE. St. Petersburg, The State Hermitage Museum 75

35. Theseus and Ariadne, Attic red-figure lekythos, c. 460 BCE. Taranto, Museo Archeologico Nazionale 4545 76

36. Odysseus Tied to the Mast, bronze group, fourth century. Richmond, Virginia Museum of Fine Arts 77

37. Seated Figure Before a Winged Entity, glass bowl, tenth century. Venice, Treasury of San Marco 78

38. Jean Mielot, Ulysses Blinding Polyphemus, in Christine de Pisan, Epître d’Othéa, c. 1461. Brussels, Bibliothèque Royale de Belgique, MS fr. 9392, fol. 22v 79

39. Orpheus Among the Animals, Roman mosaic, fourth century. Palermo, Museo Archeologico 80

40. Good Shepherd, mosaic, Galla Placidia mausoleum, c. 425. Ravenna 80

41. Sol Invictus, mosaic, Julii mausoleum, from the pre-Constantinian necropolis below St. Peter’s, c. late third century. Vatican City, St. Peter’s Basilica 81

42. God Enlivening Adam, Moutier-Grandval Bible, ninth century. London, British Library, Cod. Add. 10546, fol. 5v 82

43. Prometheus Enlivening Man, Roman sarcophagus, c. 300. Naples, Museo Archeologico Nazionale 6705 83

44. Jonah, Roman sarcophagus, late third century. Vatican City, Vatican Museums 31448 83






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45. Fall of Icarus, House of the Priest Amandus, c. 60. Pompeii, Italy 84

46. Gislebertus, Flight of Simon Magus, capital relief, c. 1130. St. Lazare, Autun 85

47. Gislebertus, Fall of Simon Magus, capital relief, c. 1130. St. Lazare, Autun 86

48. Lamentation for Actaeon, Roman sarcophagus, c. 140. Paris, Musée du Louvre 87

49. Judgment of Paris, in Raoul Lefèvre, Histoires de Troyes, 1495. Paris, Bibliothèque Nationale MS fr. 22552, fol. 214v 90

50. Couple at Embarkation, Geometric basin, c. 725 BCE. London, British Museum, 1899, 2–19.1 96

51. Euphronius, Death of Sarpedon, Attic red-figure crater, c. 515 BCE. Rome, Villa Giulia 97

52. Trojan Horse, terra-cotta relief amphora, c. 675–650 BCE. Mykonos, Archaeological Museum of Mykonos 104

53. Painter of the Boston Polyphemus, Circe and Odysseus, Attic black-figure cup, c. 560–550 BCE. Boston, Museum of Fine Arts 107

54. Theseus, Ariadne, and the Minotaur, detail from the floor mosaic from a Roman villa, Loigersfelder near Salzburg, fourth century. Vienna, Kunsthistorisches Museum 109

55. Circe and Odysseus, marble relief plaque, c. early first century. Warsaw, National Museum, no. 147975MN 111

56. Liberale da Verona, The Rape of Europa, oil on cassone panel, c. 1470. Paris, Musée du Louvre 112

57. Diana and Actaeon, Roman sarcophagus, c. 140. Paris, Musée du Louvre 116

58. Lavinia Fontana, Minerva Dressing, oil on canvas, c. 1613. Rome, Galleria Borghese 117

59. Titian, Danaë, oil on canvas, c. 1554. Madrid, Museo del Prado 121

60. Artus Quellien, Fall of Icarus, marble relief, c. 1655. Amsterdam Town Hall (Royal Palace) 123

61. Perseus Dispatching Medusa, terra-cotta relief, fifth century BCE. London, British Museum 129

62. Perseus Rescuing Andromeda, Corinthian black-figure amphora, c. 560 BCE. Berlin, Pergamon Museum F 1652 130






Figures and Plates mmm xiii

63. Bronze statuette of Icarus, likely fouth century BCE. Location unknown (formerly Edward Merrin Gallery, New York) 131

64. Pablo Picasso, Fall of Icarus, mosaic, c. 1958. Paris, UNESCO Building 132

65. Bellerophon Dispatching the Chimaera, terra-cotta relief, fifth century BCE. London, British Museum 136

66. Niccolo Boldrini, after Titian, caricature of the Laocoön in the form of apes, woodcut, c. 1540–1545. London, British Museum 146

67. William Blake, Jehovah & His Two Sons Satan and Adam as They Were Copied from the Cherubim of Solomon’s Temple by three Rhodians & Applied to Natural Fact or History of Ilium, line engraving, c. 1820. Cambridge, Fitzwilliam Museum 148

68. Medusa Head Logo, Sandusky Portland Cement Co. logo, 1920s 153

69. Danaë in a Tower, woodcut, in Franciscus de Retza, De generatione Christi, sive defensorium inviolatae castitatis B.V.M. [Basel: Lienhart Isenhut, c. 1487–1488], fol. 12r 165

70. Phyllis McGibbon, Panning for Gold (Did Danaë Really Yearn for the Passion of Zeus?), preparatory drawing for the installation “Incubating Shadows” built at the Orange County Center for Contemporary Art in Santa Ana, CA, 1992. Collection of the artist 171

71. George Grosz, Circe, watercolor on paper, c. 1925. Washington, DC, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution 190

72. Henri Matisse, The Circe Episode, soft-ground etching, signed proof for James Joyce’s Ulysses, 1934–1935. Dallas, TX, Bridwell Library, Southern Methodist University 192

73. Hiram Powers, The Greek Slave, marble sculpture, 1851, after an original of 1844. New Haven, CT, Yale University Art Gallery 198

74. Artemis and Actaeon, Greek metope from Temple E, Selinus, c. 470 BCE. Palermo, Museo Archeologico 202

75. Paul Howard Manship, Actaeon, bronze group, c. 1925. Yonkers, NY, Collection of the Hudson River Museum, no. 48.17.2 208






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PlatesColor plates follow page xvi.

I. Attributed to the Amasis Painter, Perseus and Medusa with Hermes, Attic black-figure olpe, c. 550 BCE. London, British Museum

II. Heracles and the Nemean Lion, sardonyx cameo, c. 1220–1240. Washington, DC, Dumbarton Oaks

III. Perseus Rescuing Andromeda, in Christine de Pisan, “The Book of the Queen,” c. 1410–1415. London, British Library, MS Harley 4431, fol. 98v

IV. Helios, Greek coin replica, original c. 300 BCE. Collection of the author

V. Titian, Diana and Actaeon, oil on canvas, c. 1556–1559. London, National Gallery, NG6611

VI. Bacchus and Ariadne, Italian painted cassone panel, c. 1500–1510. Avignon, Musée du Petit-Palais MI 529

VII. Herbert Draper, Lament for Icarus, oil on canvas, c. 1898. London, Tate Gallery

VIII. Thanos Boulougras, Icarus, mixed media, c. 1990. Collection of the artist

IX. Lucas Cranach the Elder, The Judgment of Paris, oil on panel, c. 1512. Fort Worth, TX, Kimbell Art Museum

X. Diego Velázquez, Venus and Cupid, oil on canvas, c. 1648. London, National Gallery

XI. The Siren Painter, Odysseus and the Sirens, Attic red-figure stamnos, c. 490 BCE. London, British Museum

XII. Sir Edward Burne-Jones, The Depths of the Sea, watercolor and gouache on wove paper mounted on panel, 1887. Cambridge, MA, Harvard Art Museums/Fogg Museum, 1943.462

XIII. Theseus, Ariadne, and the Minotaur, Italian painted cassone panel, c. 1500–1510. Avignon, Musée du Petit-Palais, MI 528

XIV. Gustav Klimt, Danaë, oil on canvas, 1907–1908. Vienna, Galerie Würthle

XV. Andrea del Sarto, Icarus, oil on panel, c. 1507–1508. Florence, Palazzo Davanzati

XVI. Perseus Rescuing Andromeda, fresco, c. 60. House of the Priest Amandus, Pompeii

XVII. Piero de Cosimo, Liberation of Andromeda, oil on panel, c. 1513–1514. Florence, Galleria degli Uffizi






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XVIII. François Clouet, The Bath of Diana, oil on panel, c. 1558–1559. Rouen, Musée des Beaux-Arts

XIX. Gerrit van Honthorst, Merry Flea Hunt, oil on canvas, 1628, 52¼ x 78½ in. (132.7 x 199.4 cm). Dayton, OH, Dayton Art Institute

XX. Harald Giersing, The Judgment of Paris, oil on canvas, c. 1909. Copenhagen, National Gallery of Denmark

XXI. John William Waterhouse, Ulysses and the Sirens, oil on canvas, 1891. Melbourne, National Gallery of Victoria

XXII. Joachim Anthonisz. Wtewael, Jupiter and Danaë, oil on copper, c. 1606–1610. Paris, Musée du Louvre

XXIII. Pieter Bruegel the Elder, The Fall of Icarus, oil on canvas, c. 1553–1555. Brussels, Musées Royaux des Beaux-Arts

XXIV. Titian, Diana and Callisto, oil on canvas, c. 1556–1559. London, National Galleries of London, and Edinburgh, National Gallery of Scotland

XXV. Giovanni Bellini, Orpheus and Circe, oil on canvas, c. 1500–1510. Washington, DC, National Gallery of Art

XXVI. Joachim Anthonisz. Wtewael, Mars and Venus Surprised by Vulcan, oil on copper, unframed dimensions 8 x 6 1/8 in. (20.3 x 15.5 cm), c. 1606–1610. Los Angeles, The J. Paul Getty Museum

XXVII. John Cowan, Caricature of the Laocoön in the form of cowboys, poster for The Texas College Art Show, April 4, 1976

XXVIII. Jack Beal, Danaë II, oil on canvas, c. 1972, 68 x 68 in.(172.72 x 172.72 cm). New York, Whitney Museum of American Art

XXIX. John William Waterhouse, Circe Offering the Cup to Odysseus, oil on canvas, c. 1891. Oldham, UK, Oldham Art Gallery

XXX. Jean-Auguste-Dominique Ingres, Ruggiero Delivering Angelica, oil on canvas, c. 1819. Paris, Musée du Louvre

XXXI. Paolo Uccello, St. George and the Dragon, oil on panel, c. 1470 London, National Gallery

XXXII. John Everett Millais, Knight Errant, oil on canvas, 1870 London, The Tate Gallery






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Although it is behind us, the past is inescapable. It is essential for the living to acknowledge the presence of the past, as it is just as much a living part of the present as the thoughts and creations experienced today are destined to stimulate and imprint the future. Although we may not be fully cognizant of the past, we are inevitably influenced, if not fortified and rejuvenated, by it. Greek myth has had a special role in this process of shaping and defining what was (and is) present in Western art due to its acknowledgment and application of common truths in human affairs despite its frequent dressing in implausible description. It is perhaps the charming furnishings of mythi-cal narrative, imbued with adventure and danger and charged with tragedy and romance, that contribute to the allure that Greek myths have enjoyed since their inception. But it is also their elastic ability in application, thereby contributing to their universal value, that has made them the time-honored vehicles of expression and commentary that have repeatedly drawn us to them.

This thematic study is offered as an analysis and a guide for those inter-ested in the visual representations of Greek myth in Western art. It is not meant as an introduction to a history of Western art but rather as a supple-ment to it, and by nature it is greatly dependent in many respects on the publications of others who have contributed in greater or lesser extent to an understanding of Greek myth, its forms and functions, interpretations and applications in the arts at times ranging from antiquity to the present. Interest in these phenomena originated in the studies of two German giants

Preface






xviii mmm Preface

of the later nineteenth century, scholars in the fields of Classical archae-ology and philology and Renaissance art history. These were Carl Robert (1850–1922), whose Bild und Lied (Berlin, 1881) sought a clearer understand-ing of ancient visual narrative compared with traditional text that he applied primarily to Roman relief sarcophagi, and Abraham (Aby) Warburg (1866–1929), whose shift from stylistic analysis to iconographical and iconological studies in art led to the library that now supports the research institute of the University of London that bears his name and focuses on the resur-gence of Classical culture into the eighteenth century. And yet twentieth-century scholarship often treated myth in art as merely illustrative, while in the hands of a growing number of scholars pictorial renditions of myth “are increasingly being seen as symbolic statements in their own right.”1

Whereas there exist a substantial number of worthy studies delving into the nature of Greek myth in terms of its literary values and broad cultural meanings, both as applied to antiquity and in more modern assessments of ancient myth, there are somewhat fewer studies focused on the appli-cation and expression of Greek myth in ancient art, and much fewer still encompassing the well-endowed heritage of the subject at various periods of Western art. Rare is the book that presents a succinct study of this phe-nomenon over the scope of Western culture, such as Philip Mayerson’s Classical Mythology in Literature, Art, and Music (1971), albeit with its emphasis on literature. Therefore, it is deemed prudent here to focus more on the appearance and employment of Greek myth in art from antiquity to the present than to overindulge in recasting the often eloquent and lucid anal-yses of myth’s treatment in ancient art alone. And yet to comply with the parameters expected of a work focused on the topic of Greek myth in art over extensive time, a certain amount of the latter information is necessarily included.

My aim here is not to provide a comprehensive narration of the vast assemblage of Greek myths in art or to make any attempt at tracing the full assortment of renditions any one of these tales has received in the visual arts over time. The first is far beyond the capacity of any single volume, and the second has been attempted from time to time by myself and many others. Instead, the task here is to demonstrate the range in composition and appli-cation that individual Greek myths and Greek mythology as a whole have enjoyed throughout the history of the visual arts in Western culture. The purpose, therefore, is to acquaint the reader with a clear sense of the tenacity of Greek myths as well as the variances of their elasticity, applicability, and






Preface mmm xix

hermeneutics in art and also to address a sufficient selection of these myths to appreciate the diversity in form and scope of their visual metamorphoses. This also applies to the various means of myth representation in pictorial form and the measures artists in various eras used to communicate mythic narrative. To this end, the diverse aspects of this history are largely allo-cated to different chapters so as to more fully explain the various facets of its nature, which are important factors contributing to the enticing displays of kaleidoscopic compositions and metamorphic interpretations that primarily arrest our attention. We are charged, then, with seeking an understanding of Greek myth as applied through the visual arts not only to the Greeks, but also to that horde of humanity that followed in their wake. Bill Calder saw the motivation for tracking the various applications of Classical culture into the modern era when he addressed the issue in his foreword to Meyer Reinhold’s Classica Americana: The Greek and Roman Heritage in the United States (Detroit, 1984) as he wrote, “The Aeneid does not only mean what Vergil intended it to mean. . . . Each generation interprets the classics in their own terms and our task is sine ira et studio to determine how and why each did.”

Greek myth comprises the lion’s share of what we call Classical myth. Classical myth is an amalgam of Greek myths, Etruscan and Roman ver-sions of those tales, and myths indigenous to Etruscan and Roman cultures. Although certain myths that we refer to as Greek only appear in extant lit-erary sources starting from the Roman era, these seem to have had an earlier pedigree, now mostly lost, in the literary tradition, as evidenced either by extant earlier artworks or from indicators that they were referenced in some form by the Hellenistic mythographers or possibly earlier. Even Aeneas, we recall, despite being renowned from Virgil’s epic, has his heritage in Greek art and literature. Lacking an Etruscan literature that might elucidate their myths and acknowledging that the Romans readily embraced histori-cal events in their expressions as opposed to the Greeks, who freely avoided them, largely shapes the Hellenic nature of Classical myth. As the recur-rence and application of Greek myths in Western art far outweigh the range and resurgence of specifically Etruscan or Roman myths, it is the former that defines the scope and explains the title of this book. However, the names of Greek mythical characters frequently underwent transformation to their Roman equivalents in time, a process stemming from their reiter-ation in Latin texts that proliferated in the postantique West before most Greek ones. These designations will be maintained where tradition dictates, for artwork titles and other accepted references, throughout the course of






xx mmm Preface

Western history. Furthermore, the spelling of these names follows in most cases the Latin versions as exemplified in the Oxford Classical Dictionary. Abbreviations for ancient authors and their works also follow those pre-scribed in the Oxford Classical Dictionary. Dates before the Common Era are signified as “BCE,” while those in it go without any signifying abbreviation.






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I wish here to express my gratitude to Gunnie Corbett, enthusiast, advocate, and confidant, without whose perpetual support this work would still be on the road to fruition. Students in my seminars on myth in art have contrib-uted regularly over the years to my enlightenment on this topic while often bringing a genuine sense of joy to the pursuit in making new discoveries. A number of these students have successfully engaged mythic topics of their own in departmental theses, allowing me to pass the torch through their endeavors. I am also indebted to several scholars of art history who have shared their knowledge with me regarding specific artworks or themes with mythological subjects. Of these I need mention Tom Carpenter (Athens, Ohio), Kasper Monrad (Copenhagen), and Alessandra Comini (Dallas). Billie Stovall, as with past projects, once again proved indispensable in fer-reting out obscure publications through SMU’s interlibrary loan system.

Karl Kilinski IIDallas, Texas,

December 2010

Preparers’ note: Karl Kilinski passed away just as this book was on the point of final submission to Cambridge University Press. The acquisition of images and the few other preparations still required by the manuscript were under-taken by a team of Karl’s SMU colleagues, Janis Bergman-Carton, Britten LaRue, Pamela A. Patton, Lisa Pon, and Eric Marshall White. The team benefited from the expert guidance of Beatrice Rehl at Cambridge University

Acknowledgments






xxii mmm Acknowledgments

Press as well as the assistance and insights of John Walton Brookman, Megan Burns-Smyth, Melissa Barden Dowling, Fred S. Kleiner, Jennifer Jocelyn Lee, Phyllis McGibbon, Jenifer Neils, and Joy Richardson. Funding for illustra-tions was provided by the Dean of Graduate Studies at Southern Methodist University.

Dallas, Texas, October 2011






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