- Larissa Bonfante –
40 Murlo plaque: Haynes 2000, 121–123, Fig. 103. Bruni 2004, 24–25, No. 15 (pompa
nuptialis), thinks the veiled woman (the bride?), is accompanied by a second fi gure, whose
gender is unspecifi ed (a servant?), holding the parasol.
41 E.g. Haynes 2000, 42; de Grummond 2006, 58–59, Fig. IV.8.
42 Bonfante and Swaddling 2006, 15, Fig. 3.
43 Rome, Villa Giulia. The sphinx swooping down from above represents an epiphany of the
goddess: Erika Simon, Hampe-Simon 1964, 43, Fig. 9. I am grateful to Adriano Maggiani
for this reference.
44 On the prevalence of birth scenes and babies, see Bonfante 1989, 85–106; van der Meer 1995,
119–134; Haynes 2000, 361–363, on babies and small children; and de Grummond 2006,
59–63.
45 The attendants’ dress includes the shoulder tassel, a sign of status and prestige: Bonfante 2003,
- Practical Etruscan artists represented bandaging scenes in surprising circumstances,
perhaps tongue in cheek, as when Asclepius (Esplace) bandages Prometheus (Prumathe) on a
mirror in the Metropolitan Museum (CSE USA 3.11).
46 De Grummond (2006, fi g. IV.11) compares this ritual anointing to a christening, perhaps
giving immortality.
47 De Grummond 2006, 59. Supra, note 25.
48 Tragliatella urn: Giglioli 1929. Haynes 2000, 97–99. The Latin term liberi, used of the
familia’s legitimate children in contrast to the slaves, implies that this was also true in real
life. The Latin term puer, used of a slave, corresponds to calling a slave “boy” in the Old South,
implying his inferior status. For children and servants, see the Tomb of the Painted Vases,
above, note 3.
49 Tomb of the Baron, rear wall: Steingräber 1986, 285, No. 44, with different interpretations
of the scene. Haynes 2000, 224, Fig. 183. François Tomb: Steingräber 1986, 377–378, No.
178, Fig. 185, sees Arnza as the servant of Vel Saties. Haynes 280–281, Fig 227.
50 Still basic is the article on Athenian infanticide by Glotz, who however calls it a universal
custom: Ernout-Meillet, s.v. expositio. Jews (Josephus, Apion 2.202; Diodorus Siculus, 40.3.8),
Egyptians (Diodorus Siculus 1.80.3; Strabo, Geography 17.2.5).
51 Nutt 2011, 17. Lorenzi 2011, 17.
52 De Grummond 2006, 111–112, Fig.V.43.
53 Bartoloni 2006, 16–18; 2008, 30–34, Figs. 2–12.
54 For a detailed discussion of the topic, see Bonfante 1997, 174–196.
55 Budin 2011. Images of the child being bathed are connected with childbirth and illustrated
in the art of Rome, for example Kleiner and Matheson 2000, 57.
56 For their presence in cult, see Burkert 1985, 41, 184. Nursing mothers are conspicuous by
their absence from Greek art; Hadzisteliou Price 1978 includes images of men and animals as
child-care providers in her study of the Greek kourotrophos.
57 Laskaris 2005, 174–189; 2008, 459–464. Review by Horster 2006. The Greek medicinal
use of mother’s milk was adapted from an Egyptian ritual calling for the “milk of one who
has borne a male child,” to be poured from an anthropomorphic vase in the form of a mother
nursing an infant. The Egyptian application was not gender specifi c.
58 Amphiaraos: Bonfante 1989, pl. XLVIII.2. Danae: fresco from Casa dell’Orso, LIMC, s.v.
Perseus, 86.
59 Cohen 1997, 66–92.
60 Bonfante 1989, 85–106.
61 Bonfante 1997, 177–178. Mater Matuta: Haynes 2000, 296–298.
62 Megara Hyblaia: Bonfante 1989, pl. XXXV. Kourotrophos Maffei: Haynes 2000, 357, Fig. - Ranuccio Bianchi Bandinelli’s bon mot about this statue, whose head was missing (it was
later found), was that it showed “a woman who lost her head and found herself with a baby in
her arms.”