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Jianing LI. See Welters, Prostitutes Agrigento We Prostitutes Agrigento a tour of the facility, whose visitor center was still Prostitutes Agrigento construction, but we Prostitutes Agrigento able to taste her Occhipinti Frappato and Siccagno under the Prostitutess by the winery, Prostitutes Agrigento Prostitutes cool breeze swept by us while we Prostitutes Agrigento.

Prostitutes Agrigento the list of prostitute names, see RE, s. The fabric was made between these bars. Evidence that prostitutes worked wool Prostitutes Agrigento braiding or sprang frames was shown on a hydria by Hephaistos Painter, which illustrates this point clearly. Stettin depicts a woman holding both a cup and a wool-basket while Eros approaches with a sprang frame and a flute-case. At the same time, a youth is leaning on his staff, holding a purse Prostitutes Agrigento looking towards the woman.

At first glance, it appears that Eros is bringing the frame and the case to the woman. Similarly, New York vase in a private collection51 shows a seated woman with a sakkos headdress holding a sprang frame in her hand, extending it towards the man leaning on his staff in front of her.

Behind her is Prostitutes Agrigento man holding a staff. Next, Agrigento AG depicts a woman with a headdress seated on a chair, holding a braiding frame. Another sakkos headdress hangs on the wall behind her. In front, a wool-basket is Prostitutes Agrigento the floor, and the woman faces a youth leaning on the staff. To the left, three 46 Milne, Welters ed. The final example, Chicago It portrays three women and two men intermingling. The other three figures are turned towards Prostitutes Agrigento watching.

A woman on the right is Prostitutes Agrigento a sprang frame while lifting up the skirt of her himation; her breast are fully drawn. Wool-Basket A kalathos or Prostitutes Agrigento wool-basket is the most controversial object linked with prostitutes.

Traditionally, it was seen as a sign of an industrious wife yet it has also been suggested that it connoted a subtle sexual symbolism. The scene on Cambridge A kalathos is placed Prostitutes Agrigento them and red wool is overflowing out of the basket. A confirmation that this is not a domestic scene is found in the inscriptions, stating kalos beautiful next to the man and kale referring to the woman.

A kalathos appears to be an ambiguous symbol for female sexuality. For instance, Vatican portrays Poseidon pursuing Aithra, who is running away while holding a kalathos. Petersburg Sackler Museum: In addition, this notion is confirm by an image of Poseidon about to rape Amymone, who is running away while holding a Prostitutes Agrigento hydria New York NYMetropolitan Museum: This argument does not claim that every kalathos occurrence indicates a woman of a questionable Prostitutes Agrigento status, but points to a multi-levelled symbolism inherent in this object and its surrounding.

Brothels: Textiles and Sex The above Prostitutes Agrigento scenes of spinning or braiding hetairai brought attention to images of prostitutes working wool. Most of these depicted women were upper-class courtesans or successful prostitutes, but I believe Prostitutes Agrigento kinds of prostitutes were involved in the textile industry, to some degree. The grand courtesans may have sought an appearance of respectability, while their middle- to lower-class equivalents worked between customers for their own needs as well as Prostitutes Agrigento supplement their earnings.

The bottom ranks of prostitutes, such as pornai, were forced to work in brothels plus perhaps to produce textiles for their owners. What follows is an examination of brothel slaves pornaiand their freed counterparts paides in relation to wool-working. Paides are particularly notable as they represented the most interesting example of wool-working prostitutes. Aleria Prostitutes Agrigento The tondo depicts a seated woman admiring her finished work Prostitutes Agrigento a sprang headdress, surrounded by a kalathos and a mirror.

Notably, the fabric appears elastic and the cloth is patterned with Prostitutes Agrigento horizontal lines and zig-zag motifs linked with braiding on frames. The headdress has the loop or the tassel on the top, positively identifying the technique of its making. The woman is moderately dressed with a bordered himation and her hair is short and unsightly.

Prostitutes Agrigento is unlikely that she is a courtesan or any kind of successful prostitute, but more probably a common one or possibly a pais. Accordingly, a damaged inscription pais kal[…] was indicated in the tondo. Poseidon rescued her from the satyr, but then raped her himself and showed her a well as compensation for her virginity. Even though the hydria may symbolize the plot of the myth, it still alludes to the real-life women responsible for the water-carrying task.

Ho pais kalos inscriptions were common, regardless of the gender of a depicted figure; however, he pais kale does not occur in representations of male figures. A porne was a brothel Prostitutes Agrigento, while a pais was a freed prostitute, most likely a former porne, or possibly a household slave who was available to her owner and his Prostitutes Agrigento.

They were often recruited from the slave market or were abandoned children taken in by the brothel keepers. Interestingly, even the most skilled and educated slaves in charge of prominent duties also performed household labours. This pattern of multiple tasking provides the explanation for a division of labour in which some female slaves worked both as prostitutes and Prostitutes Agrigento wool-workers. Cohen ed.

Golden states that the word usually implied relationship, but not an intense emotional one p. For the use of pais to indicate a subordinate member of a male homosexual couple, see K. Dover, Greek Homosexuality London: Duckworth, For the argument on cropped hair, see Lewis, ; M. Sickinger eds. James Davidson states that the location was a cloth factory during at least one of its three phases. The artistic link already exists and was established in the sections on the sprang frames and spinning prostitutes.

In contrast, the textual evidence from the 6th and 5th centuries BCE is Prostitutes Agrigento non-existent, thus forcing the inclusion of later sources as secondary evidence, which, if carefully applied, can bring new light to yet unfamiliar territories, as the lives of Athenian women do not appear to have changed so Prostitutes Agrigento over the period of a few centuries.

For slave workers see T. Numerous lyres and flutes auloi and their cases were dedicated to Athena over the centuries e. Some women were listed by first name only; they were most likely low-class, which is supported by a 6th century BCE fragment from Acropolis naming women by their first name together with their occupation, see IG ii2, p.

Der Athener Bau Prostitutes Agrigento und die bei Isaios 6,20f. Also, besides the freedom payments, these women offered additional costly gifts for this occasion, which indicated their good standing and possible prosperity. Consequently, many freed slaves carried names that are typical for prostitutes, e.

Glykera Sweetie and Malthake Softie. Since these freed women were not pornai any longer, but continued to engage in sexual activities at the request of a paying customer, they were now called paides. Prostitutes Agrigento women possessed a valuable skill, yet their freedom was attainable due to their wages from sexual services.

Fittingly, Prostitutes Agrigento vase-painting offers a plethora of images linking prostitution and wool-working, occasionally including the pais affection declarations he pais kale applied to female 82 Mostly, they offered a drachma silver bowl, phiale. Interestingly, Rosivach lists 52 freedwomen of which Prostitutes Agrigento were talasiougoi see V. The Prostitutes Agrigento skilled at wool-working was worth twice the price of an untrained one Oeconomicus 7.

Athens ,90 Bologna PU,91 Boston For example, the Kerameikos alabastron Prostitutes Agrigentodated ca. The second part of the scene illustrates a youth and a woman dressed in a transparent tunic in a passionate embrace.

Neither of the women, who may be the same person, has an air of luxury or vanity; to the contrary, both appear crude and unattractive. The second woman is aggressively embracing the youth by placing her arm tightly around his head, pushing it for a kiss. Not surprisingly, the image appears on an alabastron, an oil container, which was often used for the lubricating oil.

The woman is enjoying a flower in her hand and is dressed in a chiton, a bordered himation and a patterned headdress. The bordered himation was commonly worn by prostitutes, and the flower is a symbol of female sexuality and a common courting gift. This tondo also Prostitutes Agrigento the he pais kale inscription, possibly identifying her as a prostitute.

This vase painting is more subtle in its connotations, yet equality clear in its subject matter. At first glance, the vase-painting appears as a usual rendition of a spinning female figure; however, a thorough analysis reveals curious details. First, the Prostitutes Agrigento is lavishly dressed in a delicate voluminous Prostitutes Agrigento chiton made of ornate fabric with a light border, and over it she wears a heavier luxurious cloak himation decorated with a corner ornament and two types of borders, a fine one at the bottom and a solid chunky one around the torso.

Her hair is carefully coiffured and contained in a bun adorned with a red fillet. She has sandals on her feet, is wears jewelry two bracelets and earrings Prostitutes Agrigento, and even though she is toiling, the air of vanity and sophistication is present. The vase includes three he pais kale inscriptions. She is standing rather than sitting, and the expected Prostitutes Agrigento working paraphernalia is absent. This setting separates the figure from other spinning women, and thus possibly represents either a grand courtesan the megalomisthos hetaira or the goddess Aphrodite.

The link between the declaration and the Prostitutes Agrigento has never been related before, to my knowledge. It is only in light of Prostitutes Agrigento novel meaning of pais as a prostitute that associations with the courtesan Prostitutes Agrigento the goddess seem Prostitutes Agrigento.

In sum, the spinning figure on London D13 could, though unlikely, represent a pais, essentially a very successful one, or more likely Aphrodite herself, who was the patroness of paides, in their role as prostitutes. Based on this analogy, it would be expected that Aphrodite be also linked with wool-working and textiles.

Surviving depictions of spinning Aphrodite could validate this notion. A few statues, which have unfortunately lost their arms, were reconstructed in spinning gestures e. Prostitutes Agrigento de Milo and Aphrodite of Capuayet such interpretations still remain controversial. For example, a St. Petersburg kylix shows Aphrodite nude to the waist adorned with jewels looking off into a mirror held by her attendant.

The spinning equipment is clearly visible, held out in both hands, and below the spindle is the wool-basket. She is in a company of a number of divinities, including Eros and Dionysos. For his detailed Prostitutes Agrigento of this vase, see D. Suhr, The Spinning Aphrodite.

Suhr based his reconstruction of damaged Aphrodite statues Prostitutes Agrigento complete representations of the goddess, concluding that she was occupied by spinning yarn. Petersburg, State Hermitage Museum. Behind is the Prostitutes Agrigento moon, identifying Prostitutes Agrigento as the Heavenly Aphrodite or Aphrodite Ourania. Again, the goddess is half-nude and bejewelled.

Her arms are outstretched, and she is holding a distaff and the extended fibers. Then, Berlin askos portrays Aphrodite riding over the sea with her arms and hands extended in a spinning gesture.

Finally, London D2, a well-known Red-figure cup, illustrates Aphrodite with the headdress riding on a goose. Her hands are active with the left palm upward and the forefinger held against Prostitutes Agrigento thumb in a position of drawing the fibers from the distaff.

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This activity is also seen on her Eastern predecessors, as the whirling swindle can be traced back to the East, where these goddesses were depicted creating the cosmos.

By tradition, Athena, the virginal goddess, has been linked with spinning and wool-working, and all such depictions are automatically assigned to her. Prostitutes Agrigento, her constant companion Eros Prostitutes Agrigento also Prostitutes Agrigento spinning; his identity is undisputed due to his genitals, nudity and wings, and in such an example on a gem in Berlin, he is notably wearing a headdress and is accompanied by a goose.

This sacred sash in a shape Prostitutes Agrigento a saltire kestos himas alludes to the use of belts and amulets in ancient love magic, Suhrpl. Berlin, Antikensammlung. Berlin, Antikensammlung F Aphrodite was allowed to keep her spinning attribute and Prostitutes Agrigento she remained a powerful divinity she was pushed aside in Athens by Athena. Even more curious is the depiction of a woman in Athens Vlasto vessel Prostitutes Agrigento a cross-shaped adornment over her chest.

She is placed in front of a door carrying a mirror and an alabastron; unfortunately, due to damage, her head is missing.

It's a wonderful Island with great wine, plus brothels - how did I find out? une maison close est aussi appelé un bordel ou un lupanar Agrigento. Sicily Sex Guide advises where to find sex, working girls, prostitution, Agrigento - The archaeological remains of Greek antiquity here are among the.

The ornament consists of two bands, each of which C. Docurnenta et Monuinenta Orienlis Antiqtti, vol. I Leiden: Brill, For the illustration, see D. See Welters, Vlasto ; Beazley Archive Database No. Due to its magical properties, especially in regards Prostitutes Agrigento sexuality, the ornament would be appropriate on Prostitutes Agrigento, who were known for using magic for attracting and retaining their customers and lovers.

She is depicted in front of a door, as if she has just exited the symposion, the banquet held at the andron, where she has serviced the symposiasts. In summary, Aphrodite, the goddess of prostitutes, was unquestionably associated with textiles through her sacred sash, depictions of spinning and adornment of the headdresses. Nevertheless, she was never linked with weaving and elaborate textiles to the same degree as Athena and her Panathenaic peplos ritual. This Athenian festival was celebrated in honour of Athena and involved bringing a new cloak or peplos to the ceremonial statue of the goddess inside the Erechtheum, as depicted on the Parthenon sculptural frieze.

Both peploi were decorated with intricate Prostitutes Agrigento depicting Olympian Prostitutes Agrigento. See, for example, J. University of California: Berkeley Liddell, H. Scott eds. Kroll eds. Metzler, Blundell, S. London: Duckworth Publishing, Prostitutes Agrigento, J. Bonner, C. Brenk, F. Prostitutes Agrigento, R. Carpenter, R. Clark, L.

Cohen, E. Boegehold on the Occasion of his Retirement and his Seventy-fifth Birthday. Oxford: Oxbow Books, Crome, Prostitutes Agrigento. Davidson, J. Prostitutes Agrigento University Press, New York: Harper Perennial, Dover, K.

Greek Homosexuality. Leiden: Brill, Faraone, C. Prostitutes Agrigento Greek Love Magic. Harvard University Press, Ferrari, G. University of Chicago Press, Fischer, M.

MA Thesis, University of Calgary, Follman, B. Der Pan-Maler. Bonn: Bouvier, Garlan, Y. Slavery in Ancient Greece. Garrison, D. Sexual Culture in Ancient Greece.

Prostituzione nel centro storico di Agrigento News Agrigento Tv

University of Oklahoma Press, Golden, M. Halperin, D. NY: Routledge, Harris, D. The Treasures of the Parthenon and Erechtheion.

Oxford, Hirschon, R. Jenkins, I. Kapparis, K. Berlin: Walter de Gruyter, Keuls, E. Berkeley: University of California Press, Madison: University of Wisconsin Press, Kilmer, M. London: Duckworth, Der Kerameikos von Athens. Athens, Lind, H. Lee, M. Review of S. A headdress is hanging Prostitutes Agrigento the wall and an empty wool- basket is about to be refilled by a third woman. This container was exclusively Prostitutes Agrigento with women and, as explained by Judith Sebesta, became a symbolic metaphor for wifehood.

The fact that prostitutes did indeed work wool and were acknowledged doing so is further confirmed Prostitutes Agrigento an example of a vessel given as a prize in Prostitutes Agrigento textile contest.

Prostitutes Agrigento Attic Black-figure kylix dated ca. Most of these women appear well dressed and successful, but I believe prostitutes classified as both free and slaves were involved in the textile industry. The free ones, such as courtesans, may have sought an appearance of respectability through wool-working, while their low-class equivalents worked in-between customers to supplement their earnings.

This pattern of multiple tasking provides an explanation for the Prostitutes Agrigento of labor in which some female slaves worked both as prostitutes and as wool-workers. James Davidson states that the location was a cloth factory during at least one of its three phases.

This would also explain why Athena, the goddess of the wool-working craft, received a large number of dedications and offerings from prostitutes, and why numerous lyres, flutes and Prostitutes Agrigento cases were dedicated to her over the centuries.

In addition to their freedom payments, these women also offered additional costly gifts for this occasion, a clear indication of their good standing and possible prosperity. Records note that Neaira was at one point owned by Prostitutes Agrigento unrelated men. Indeed, Okimon, a freed slave listed in the Attic Manumissions, was owned by three Prostitutes Agrigento men. It is not surprising, then, that many freed slaves carried names that were typical for prostitutes, such as Glykera Prostitutes Agrigento and Malthake Softie.

For example, a Kerameikos alabastron dated ca. The second part of the scene illustrates a youth, and a woman dressed in a transparent tunic, engaged in a passionate embrace.

Neither of the women, who may or may not be the same person, has an air of luxury or vanity about them; to the contrary, they both appear crude and unattractive. Last, an excellent example of a wool-working prostitute is found on a little known vase from Corsica. This Attic kylix dated to the mid-fifth century B. Notably, the fabric appears elastic and the cloth is patterned with the familiar horizontal lines and zig-zag motifs associated with the braiding done on frames.

The headdress has the loop or the tassel on the top, positively identifying the technique of its making. This connection could explain the statement in the Prostitutes Agrigento Anthology which declares that Philainion, the Prostitutes Agrigento, made herself a gray coat while sleeping in the embrace of Agamedes Anth. For example, in the Judgment of Paris portrayed on a Red-figure in London we find Hera with her veil, Athena with her armor and Aphrodite with her headdress Figure 6. The London vase is not an exceptional case; there are at Prostitutes Agrigento another five vases, Prostitutes Agrigento to the author, with the same iconography: a Black-figure lekythos in Berlin, a Red-figure oinochoe in New York, a White-ground fragment in Cincinnati, a Red-figure hydria in Karlsruhe and an Etruscan amphora in Munich.

Interestingly, these vases come from different periods and locations, yet they all depict the goddess wearing the headdress. The first example, a St. Petersburg kylix, shows Aphrodite nude to her waist and adorned with jewels, looking Prostitutes Agrigento into a mirror held by her attendant. Her spinning equipment is clearly visible, held out in both hands, and below the spindle is the wool-basket.

Second, a Berlin lekythos Prostitutes Agrigento Aphrodite riding above the waves of the sea on the back of a swan, or a Prostitutes Agrigento, and Prostitutes Agrigento by Ares and winged Eros. Similar to the St.

Petersburg kylix, the goddess is Prostitutes Agrigento and bejewelled, her arms are outstretched, and she is holding a distaff and its extended fibers. Third, a Berlin askos portrays Aphrodite riding over the sea with her arms and hands extended in a spinning gesture.

Her hands are active with the left palm upward and the forefinger held against the thumb in a position of drawing the fibers Prostitutes Agrigento the distaff. Indeed, spinning, and its associated symbolism, is an activity Aphrodite shares with her Eastern predecessors- Inanna, Ishar and Astarte, who were depicted spinning in a gesture of creating the cosmos.

There have also been a few statues with the missing arms that have been reconstructed to show spinning gestures e. Venus de Milo and Aphrodite of Capua. Such interpretations, however, remain controversial. His identity in these portrayals is undisputed since they include his symbolic attributes of nudity, wings, and genitalia. In one such example on a gem in Berlin he is notably wearing a headdress and is accompanied by a goose. Ox-eyed queen Hera smiled, and, as she did so, put the garment round her breasts.

This concept existed throughout the Mediterranean in ancient Prostitutes Agrigento. In Greece today, a Prostitutes Agrigento is considered to be an apotropaic object due to its sprang texture. Regarding the sacred chest ornament depictions in vase-painting, a curious image on a Red-figure vessel shows a woman, in Prostitutes Agrigento of the door, wearing a cross-shaped adornment over her chest Figure 7.

She is one of nine women depicted: some are spinning; others are holding various objects such as a sprang frame, a necklace, a head-band, a box, an alabastron, a Prostitutes Agrigento, and an unidentified item resembling a spindle or a flute.

All of the women are wearing jewellery and two are wearing headdresses. Interestingly, in the two vase examples, a Red-figure pyxis in the Louvre and a similar one by the Phiale Painter, beds with pillows can be seen through the open doors, covered in Eastern patterns as on sympotic couches. We know from literary sources that only prostitutes and slaves opened the door Prostitutes Agrigento person Thphr. The woman in front, however, is depicted carrying a mirror and an alabastron, as if she has just Prostitutes Agrigento the banquet.

The ornament itself consists of Prostitutes Agrigento bands, each passing over a shoulder and under the opposite arm, crossing the other band between the breasts and on the back. Due to its magical properties, specifically in regards to sexuality, this Prostitutes Agrigento ornament would be appropriate on prostitutes, who, as already mentioned, were known for using magic to attract and retain their customers and lovers.

The third century B. In conclusion, I have demonstrated that both the prostitutes and their patron goddess Aphrodite were strongly associated with wool-working and textiles. The common links were spinning and the particular Eastern Prostitutes Agrigento depicted on prostitutes and the goddess Prostitutes Agrigento Attic vase-painting. The prostitutes made these head coverings on small portable frames during their spare time.

The prostitutes of a free status sought Prostitutes Agrigento appearance of respectability or needed to supplement their earnings while the enslaved ones were forced to work in both professions producing for their owners.

The freed slave prostitutes were able to buy their freedom due to their supplemented income, and then continued to practice the craft and the trade in order to support Prostitutes Agrigento. Prostitutes from all ranks and social standing were involved in the textile industry, and were thus depicted Prostitutes Agrigento wool on Attic pottery.

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Marina Fischer University of Calgary m. I would also like to thank Michelle Mann-Donegan for her generous help with editing, and Tina Ross for her drawings. See also E. Bakewell and J. Sickinger, eds. Edward Cohen brought to light written contracts of prostitution for the free citizens in the 4th Prostitutes Agrigento B. Athens thus proving the existence of citizen prostitutes; see Cohen, Written Contracts above, n. Paul Getty Museum Prostitutes Agrigento and M. Henry, eds.

Famous examples of flute players are Lamia and Nanno who became highly accomplished prostitutes. Melander, eds. For prostitution contracts, Prostitutes Agrigento Cohen, Written Contracts above, n. Gordon, eds. See J. Boardman and D. Paul Getty Museum 3 50; H. Brandenburg, Studien zur Mitra Muenster 57; and Fischer above, n.

In conclusion, I have demonstrated that both the prostitutes and their patron goddess Aphrodite were strongly associated with wool-working and textiles.

Sakkos; Intermediate Greek-English Lexicon s. Headgear, Kekryphalos; L. Dover, Greek Homosexuality London Bonfante, Etruscan Dress Baltimore, n. Krypto; Phalos 40 Chantraine above, n. Unless otherwise stated, all images can be found on the Beazley Archive Digital Prostitutes Agrigento www. See also Kilmer above, n.

Neiiendam, The Art of Acting in Antiquity. Prostitutes Agrigento Jr. University of North Carolina at Chapel Hill Follman, Der Pan-Maler Bonn 67, n. Moon, ed. The author disagrees since the idea of eroticism is relative and depends on cultural and other different factors; e.

The vase is located in Munich, private collection. Chapin, ed. Hesperia Supp 33fig. Detroit MIInstitute of Arts: Skowronski, and M. Welters, ed. For the illustration, see Jenkins and Williams Prostitutes Agrigento, n. Prostitutes Agrigento the illustration, see L. Braccesi et al. An illustration of Athena, the inventor of the Prostitutes Agrigento in Greek myth, shows her casting the instrument away because her face was disfigured when she played Prostitutes Agrigento Berlin, Antikensammlung F; Beazley Archive Database No.

For the illustration, see also Bundrick above, n. Sgourou, Attic Lebetes Gamikoi Ph. University of Cincinnati For the argument Prostitutes Agrigento cropped hair, see Lewis above, n. Clouds for the apple spell; Theok. Llewellyn-Jones, ed. Baptai fr. For the illustration, see J. The author believes the scene setting is a brothel due to a presence of a male figure which intimately interacts with a seated female figure, leaning into her personal space and grabbing her shoulder.

Sackler Museum In addition, this notion is confirm by an image of Poseidon about to rape Amymone, who is running away while holding a large hydria New York [NY], Metropolitan Museum: The Prostitutes Agrigento depicts the myth in which Amymone was searching for the well when she was molested by a satyr. Poseidon rescued her from the satyr, but Prostitutes Agrigento raped her himself and showed her a well as compensation for her virginity.

Even though the story is a myth, it still alludes to the real-life women Prostitutes Agrigento for the water-carrying task. For the list of prostitute names, see RE s.

See Rodenwaldt above, n. These documents Prostitutes Agrigento been published in IG2 2 Velissaropoulos- Karakostas, eds. Symposion Koln Golden states that the word usually implied relationship, but not an intense emotional Prostitutes Agrigento Frogs ; Lys. For slave workers, see T. This is supported by a 6th century B. See D. The slaved skilled at wool-working was worth twice the price of an untrained one Prostitutes Agrigento. See also Cohen above, n.

Berlin, Antikensammlung. Berlin, Antikensammlung F Suhr based his reconstruction of damaged Aphrodite statues on complete representations of the goddess, concluding that she was occupied by spinning yarn. I Leiden For the illustration, see D. Vlasto ; Beazley Archive Database No. For the illustration, see Clark above, n. I do not believe this vase depicts Prostitutes Agrigento bride, since the elements used for this reading could also be interpreted as the indicators of a prostitute: a bird, a column, an open door with a bed, an alabastron, Prostitutes Agrigento mirror, a sprang frame and a chest; Prostitutes Agrigento Fischer above, n.

For the illustration, see N. Kaltsas, Prostitutes Agrigento. For Prostitutes Agrigento illustration, see Lewis above, n. Koch, Comicorum Atticorum Fragmenta Leipzig fr. See, J. University of California, Berkeley Oakley ed. Schierup - V. Sabetai eds. Geese Prostitutes Agrigento Goddesses in Classical Greece Blondell and K.

Ormand, eds. The politics of weddings at Athens: an iconographic assessment. Performative and ritualized character of the Dionysian cult in Archaic and Classical Greece as represented in vase painting. Courtesans Revisited: Women in Aristophanes' Lysistrata. Schierup, V. SabetaiAarhus Attic Pinakes. Votive Images in Clay. British Archaeological Reports International Series no.