Chapter
4. Une Cible de la Satire: Le locus amoenus
5. Skiagraphia once again
7. The happy Ending: Classical Tragedy and Apulian funerary Art
8. Aeschylus’ Niobe and Apulian funerary Symbolism
9. Rhetoric and visual Aids in Greece and Rome
10. The Hetaera and the Housewife: The Splitting of the female Psyche in Greek Art
11. The Brink of Death in Classical Greek Painting
12. Patriotic Propaganda and counter-cultural Protest in Athens as evidenced by Vase Painting
13. The gentle Satire of the Penthesileia Painter: A new Cup with Dionysiac Motifs
14. The social Position of Attic Vase Painters and the Birth of Caricature
15. The Corpus Vasorum Antiquorum, the Lexicon Iconographicum Mythologiae Classicae and the Beazley Archive Project: Different Databases for the Study of Greek Iconography
16. Clytemnestra and Telephus in Greek Vase-Painting
17. The feminist View of the Past: A Comment on the ‘Decentering’ of the Poems of Ovid
18. Rembrandt’s Use of Classical Motifs
19. The Greek medical Texts and the sexual Ethos of ancient Athens
20. Scenes from Attic Tragedy on Vases found in Sicily and Lipari
Bibliography of original Publications