The Pictures on Juno's Temple in the "Aeneid"

Abstract

Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. Classical Association of the Atlantic States is collaborating with JSTOR to digitize, preserve and extend access to The Classical World. http://www.jstor.org Vergil's description of the pictures on the Temple of Juno in Carthage (Aen. 1.453-493) has increasingly attracted attention, but commentators have often focused less on the actual depictions than on Aeneas' emotional response to them.' An important step in the analysis of this ecphrasis was taken over twenty-five years ago when G. N. Knauer and Keith Stanley independently connected the pictures on the temple with specific scenes in the latter half of the Aeneid;2 and, more recently, Diskin Clay has pursued these parallels. Nevertheless, questions still remain. First, are the temple reliefs related to the later narrative scenes in subject only or also in diction?3 Stanley and Clay have observed parallels in language, but a complete analysis on l Reference to the following works is made by author's name and date of publication (when necessary): W.

Style and Personhood: The Case of the Amasis Painter

“…66 This interpretation has been criticised by both Lowenstam and Giuliani. 67 Lowenstam provides a point-for-point rebuttal of Friis Johansen's (and von Bothmer's) original argument to the effect that these scenes must reflect the first arming at Phthia rather than the second before Troy. Lowenstam's view is that no particular mythological eventneither the first arming, nor the one in book 19 of the Iliadcan positively be identified on any of these generic arming scenes.…”

‘Unbounded Views’: Incomplete Ekphrasis and the Visual Imagination in Virgil

“…A much discussed passage: see (inter al.) Johnson (1976), 99-105;Segal (1981); Clay (1988); Fowler (1991); Lowenstam (1993); Putnam (1998), 23-54;Beck 2007;Farrell (2012), 294-304. 94. Smith (2005), 71-77, examines the role of sight and the visible (or the ekphrastic) in this episode.…”

“…93.A much discussed passage: see ( inter al .) Johnson (1976), 99-105; Segal (1981); Clay (1988); Fowler (1991); Lowenstam (1993); Putnam (1998), 23-54; Beck 2007; Farrell (2012), 294-304.…”

(MIS)READING THE GNAT: TRUTH AND DECEPTION IN THE PSEUDO-VIRGILIANCVLEX

“…Cf. Lowenstam (1993), 43: they are ordered according to Virgil's corresponding Latian war scenes. The Iliadic scenes assimilate to the Aeneid ; Aeneas becomes an internal parallel for the external reader.…”