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how
Christian morals could be drawn from such pagan scenes. Additionally, the myth of Proserpina— while technically symbolizing the annual renewal of nature— was linked by Christians to the death and resurrection of Christ. Matthias Winner suggests that Borghese commissioned a statue related to rebirth in hopes of a resurrection of the recently deceased Pope Borghese. Christina Strunck, however, argues that the statue was created as an insult to the Ludovisis; interpreting the myth as the death of vegetation may be a slight at the start of the new, Ludovisi era, and Proserpina's capture may be a warning that the notoriously unhealthy Pope Ludovisi would not live long.
294:, the Roman goddess of agriculture, is gathering flowers when she is seized by the god of the underworld, Pluto. Pluto erupts from the ground in a chariot pulled by four black horses, and forces Proserpina down into the underworld with him, but not before Ceres could hear her daughter scream. Ceres dried the earth and caused harvests to fail, prompting Jupiter to negotiate a deal: Pluto and Ceres would each have Proserpina for half the year. The myth symbolizes the changing of the seasons: when Proserpina is with Pluto, nature dies and winter begins; when she resides with Ceres, the earth is spring.
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485:. Small particles embedded in the surface of the terracotta suggest that a larger clay study existed but was used to make a plaster cast, destroying all but the head. The remaining piece was then fired into terracotta. The fragment, which is nearly identical to the head of the finished sculpture, was long thought to be a preparatory work by Bernini, but scrape marks uncharacteristic of Bernini suggest that it was instead made by a family member. The Head of Proserpina was bought from the Palazzo Bernini by
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372:, had been treated badly during the Borghese papacy and were demanding revenge. The same month that Scipione delivered the Rape of Proserpina to Villa Ludovisi, a judge and close ally of Borghese was imprisoned; the statue therefore may have been tribute to the now-powerful Ludovisi family. Regardless, the Apollo and Daphne likely replaced the Rape of Proserpina, or at least let Scipione believe he could afford to give away the first statue.
535:. Finally, in 1908, the sculpture was bought by the Italian government and returned to the Galleria Borghese, where it was placed in the centre of the Salone degli Imperatori, a room in the museum. The original pedestal, at one point destroyed, has been replaced by a simple white marble base sculpted in 1911 by Pietro Fortunati. During the First World War, the sculpture was protected by a box and sandbags to prevent damage.
552:
hard marble, such as the "texture of the skin, the flying ropes of hair, the tears of
Persephone and above all the yielding flesh of the girl". The choice of incident to depict the story is commonly cited as well: Pluto's hands encircle the waist of Proserpina just as she throws her arms out in an attempt to escape. Bernini's own son and biographer, Domenico, called it "an amazing contrast of tenderness and cruelty".
1585:
585:, Bernini permits the viewer to absorb the scene from one single viewpoint. While other views provide further details, a spectator can see the desperation of Proserpina and the lumbering attempts of Pluto to grab her. This was in contrast to the Mannerist sculpture of Giambologna, which required the spectator to walk around the sculpture to gain a view of each of character's expression.
507:
no
Cerberus, it's possible that the dog was added only when Bernini realized he needed a buttress to support the rest of the sculpture. This helps Bernini achieve a weightlessness akin to flesh. Furthermore, Bernini uses different tools to render the illusion of differing materials. He formulates the softness of flesh with abrasives, foliage with a chisel, and fabric with a rasp.
556:
and its outline bad; the female one no better". Another French visitor to the Villa
Ludovisi was equally critical, stating: "The head of Pluto is vulgarly gay; his crown and beard give him a ridiculous air, while the muscles are strongly marked and the figure poses. It is not a true divinity, but a decorative god..."
435:. In the Abduction of the Sabine woman, the victim is held aloft as she flings her arms out and looks away in despair. Similarly, in the other sculpture, Hercules lifts Antaeus up as Antaeus pushes violently against his head. Both sculptures are similar to how Proserpina attempts to escape Pluto's grasp, but the
477:
Of all the
Bernini works commissioned by Borghese, the only known preparatory material (and Bernini's earliest datable drawing) is a sketch of the Rape of Proserpina. In Bernini's sculpture, Pluto and Proserpina are nearly parallel, but in the drawing, Proserpina forms a diagonal across Pluto's body;
555:
However, in the eighteenth and nineteenth centuries, when
Bernini's reputation was at a low ebb, critics found fault with the statue. The eighteenth-century French visitor Jerome de la Lande allegedly wrote: "Pluto's back is broken; his figure extravagant, without character, nobleness of expression,
506:
is made of high-quality
Carrara marble, which was hard to find in large blocks and highly coveted by 17th-century sculptors. Marble is a very heavy material, but Proserpina is held aloft with apparent ease, and her arm stretches out away from the rest of the group. Given that the original sketch had
375:
Given how closely affiliated
Borghese was with the Church, it could be somewhat puzzling to a casual observer why he chose to commission art depicting pagan mythology; however, statues of this sort were created to display knowledge and culture, and often had a small insignia from the Pope explaining
551:
Most critics have been quick to praise the work. Rudolf
Wittkower noted: "representations of such rape scenes depended on Bernini's new, dynamic conception for the next hundred and fifty years". Howard Hibbard makes similar comments noting the realistic effects that Bernini had achieved via carving
448:
have comparable anatomy to
Proserpina's voluptuous body and her abductor's musculature. Likewise, Pluto's visage is closely related to Carracci's Jupiter, and both the form and facial structure of Proserpina recall Carracci's Andromeda as she flings herself away from Pluto and looks desperately for
384:
Bernini had access to a great deal of works from his time. His connections to Maffeo Barberini and Scipione Borghese in the early part of his career granted him access to the Vatican archives. Combined with Bernini's daily visits to the Vatican's collections as a child, and his tutelage under his
297:
Bernini's statue depicts the climactic moment of the story, when Pluto grabs Proserpina, who struggles against him as he carries her over the border of the underworld, symbolized by a marble Cerberus. The combatants are almost fully nude, though cloth still covers Pluto's thigh and Proserpina's
367:
to the papacy. Alternatively, the sculpture was explicit payment for a political favour done for Scipione. In either case, Scipione was disliked by the Ludovisis due to his pocketing of revenue from Pope Ludovisi's archbishopric of Bologna. Furthermore, the Ludovisi's family ally, the
515:." The inscription, originally created between 1618 and 1620, is Proserpina's anguished warning to others collecting flowers. As flowers are not depicted in the statue, despite being explicitly mentioned in the poem, it's unlikely the poem inspired the commission.
392:
Bernini may have been inspired by Pietro da Barga's mediocre bronze Pluto and Proserpina, which features a Pluto holding a Proserpina parallel to himself and aloft, as well as a Cerberus at his feet. It was likely an attempted reconstructing of
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The sculpture was placed against a wall, upon a now-destroyed pedestal with a poem by Maffeo Barberini inscribed upon it: "Oh you who are bending down to gather flowers, \ behold as I am abducted to the home of the cruel
330:
was commissioned by Cardinal Scipione Borghese, alongside a bust in memory of Scipione's uncle, Pope Paul V, who died in January 1621. The sculpture, the first in a series of major Borghese works including the
362:
It is unclear why Scipione gifted the sculpture to Ludovico, a political rival, though it may have been an attempt to curry favour with the Ludovisis after the death of the Borghese pope and the ascension of
531:, but in the 19th century, the sculpture had returned to the Villa Ludovisi. Between 1895 and 1890, a part of the villa was destroyed, and the sculpture was placed at the foot of the grand staircase of the
257:. It has been praised for its realism, as the marble mimics other materials like flesh. The detail is notable; for instance, a trickle of tears contributes to the expressiveness of Proserpina's face.
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Many sculptures of the time did not have one central perspective from which to view them, instead forcing the observer to see them from many angles before they could understand it in its entirety.
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additionally, the sketch lacks a Cerberus, though there is a vague object at Pluto's leg. And in the drawing, Proserpina's right arm does not lift upwards.
455:(which Bernini had previously restored), and her form mirrors the Niobides. Lastly, Pluto's wide stance and the usage of a buttress bear resemblance to the
422:
in marble. Therefore, despite the work's apparent poor quality, Bernini may have been following Michelangelo's lead and attempting to reproduce Praxiteles.
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343:, whose main facade already had the myth of Proserpina depicted. Bernini received at least three payments for its creation, of the value of at least 450
210:, executed between 1621 and 1622, when Bernini's career was in its early stage. The group, finished when Bernini was just 23 years old, depicts the
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help. Even Cerberus finds analogue to Paris' dog in the Farnese ceiling. Beyond Carracci, the expression of Proserpina resembles the
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Annibale Carracci, a mentor of Bernini, was influential to the form and facial structure of Pluto and Proserpina. Characters in the
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1980:
1861:
1423:
The Rebirth of Rape: Tracing Ovidian Rape Motifs with Respect to Bernini's Pluto and Persephone as a Piece of Classical Reception
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is intended to be viewed from many angles, a key difference from the Rape of Proserpina, which has one predominant perspective.
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A fragment study of Proserpina's head, long thought to be by Bernini but probably created by a related artist, is in the
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237:, possibly as a means of gaining favour. The choice to depict the myth of Proserpina may relate to the recent death of
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Winner, Matthias; Coliva, Anna; Schütze, Sebastien (1998). "Ratto di Proserpina" [Abduction of Proserpina].
305:, however, can be seen in full from one angle, directly in front of the base. All other viewpoints are subordinate.
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is made of rare Carrara marble, and was originally placed on a pedestal, since-destroyed, with a poem by
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Dickerson, Claude Douglas; Bernini, Gian Lorenzo; Sigel, Anthony; Wardropper, Ian (2012).
803:
8:
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347:. Ultimately, the statue was gifted to Cardinal-nephew Ludovico Ludovisi and sent to his
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389:, Gian Lorenzo would have had a great deal of sources of inspiration to draw from.
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for the sculpture, which is the only work for which preparatory material survives.
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to symbolize the border into the underworld that Pluto carries Proserpina into.
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1474:
The Poisoned Present: A New Reading of Gianlorenzo Bernini's Rape of Proserpina
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348:
89:
2493:
2474:
2349:
274:
211:
142:
129:
1347:
Hawley, Henry (April 1971). "A Terra-Cotta Model for Bernini's Proserpina".
1614:
1574:
1043:
561:
415:
804:"A Detailed Look at Bernini's Most Dramatically Lifelike Marble Sculpture"
699:
241:, or to the recent empowerment of Ludovico. Bernini drew inspiration from
1123:"Roma: Galleria Borghese, protezione del Ratto di Proserpina del Bernini"
640:
576:
486:
425:
The elevated position of Proserpina is reminiscent of both Giambologna's
344:
242:
238:
1360:
492:
481:
Additionally, a fragment study of the head of Proserpina resides in the
1627:
1412:
1388:
616:
394:
683:"The Poetics of Legalism: Ovid and Claudian on the Rape of Proserpina"
318:
636:
628:
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sculpture with transparent colour coating and live flowering plants.
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shoulder. The marble Cerberus is joined to Pluto through this cloth.
1404:
682:
1515:
The Sculptor Bernini: the Birth of Baroque in the House of Borghese
279:
219:
411:
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is based on the Latin myth of Proserpina, which is found in both
489:
in 1839, and sold again to the Cleveland Museum of Art in 1968.
1584:
1327:
203:
1517:] (in Italian). Rome: Edizioni de Luca. pp. 180–203.
229:
commissioned the sculpture and gave it to the newly appointed
2505:
Sculptures by Gian Lorenzo Bernini in the Borghese Collection
269:
111:
1511:
Bernini scultore: la nascita del barocco in casa Borghese
1300:. University Park: Pennsylvania State University Press.
1281:. University Park: Pennsylvania State University Press.
729:
727:
1534:
Gian Lorenzo Bernini: The Sculptor of the Roman Baroque
214:, who is seized and taken to the underworld by the god
745:
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1690:
The Goat Amalthea with the Infant Jupiter and a Faun
218:. It features Pluto holding Proserpina aloft, and a
1508:
736:
461:, which had recently been purchased by Scipione.
401:, which has since been lost but was discussed in
2491:
1429:(Master of Arts thesis). University of Waterloo.
907:"The Rape of Proserpina by Gian Lorenzo Bernini"
1214:"Empire style sculptor Vasily Demut-Malinovsky"
1925:Busts of Cardinals Agostino and Pietro Valier
1643:
1389:"Bernini's Borghese Sculptures: Another View"
1321:The Sculptor Bernini: The Executive Technique
801:
339:, was finished in 1622 and delivered to the
322:Bust of Pope Paul V in the Galleria Borghese
2009:Busts of Paolo Giordano and Isabella Orsini
1483:Italy: Rome and Naples; Florence and Venice
1349:The Bulletin of the Cleveland Museum of Art
1237:"Newest Miami Condo Enticement: Modern Art"
326:As with many of Bernini's early works, the
1650:
1636:
1276:
647:, which was slated for completion in 2016.
36:
1531:
1041:
698:
1657:
1438:. Chicago: University of Chicago Press.
1433:
1332:. New York: Metropolitan Museum of Art.
802:Richman-Abdou, Kelly (13 October 2019).
571:pose of the group. While reminiscent of
542:
491:
468:
410:. The same work discusses a lost bronze
353:
317:
1981:Two Busts of Cardinal Scipione Borghese
1862:Bust of Monsignor Pedro de Foix Montoya
1621:Vita del cavaliere Gio. Lorenzo Bernino
1489:
1471:
1386:
1367:
1295:
2492:
1883:Bust of Cardinal Escoubleau de Sourdis
1841:Bust of Alessandro Peretti di Montalto
1610:Vita del Cavalier Gio. Lorenzo Bernino
1346:
1317:Bernini scultore: la tecnica esecutiva
1314:
1234:
1176:
473:Early sketch of the Rape of Proserpina
1631:
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1037:
1035:
1025:
1023:
986:
984:
956:
954:
883:
881:
879:
851:
849:
680:
658:List of works by Gian Lorenzo Bernini
1494:. New Haven: Yale University Press.
1235:Whelan, Robbie (25 September 2013).
779:
777:
767:
765:
763:
761:
759:
757:
755:
559:Others have remarked on the twisted
538:
2259:Equestrian Statue of King Louis XIV
2083:Confessio of Santa Francesca Romana
1988:Tomb of Countess Matilda of Tuscany
1869:Bust of Cardinal Roberto Bellarmine
1455:A Sketch of a Tour on the Continent
13:
2520:Sculptures by Gian Lorenzo Bernini
1323:] (in Italian). Rome: De Luca.
1032:
1020:
981:
951:
890:
876:
846:
609:. The statue currently resides in
206:group sculpture by Italian artist
14:
2551:
2535:Sculptures based on Metamorphoses
2525:Sculptures of classical mythology
2217:Statue of King Philip IV of Spain
1697:Bust of Giovanni Battista Santoni
1552:
1453:Smith, Sir James Edward (2010) .
1298:The Life of Giano Lorenzo Bernini
774:
752:
193:), more accurately translated as
16:Sculpture by Gian Lorenzo Bernini
1876:Bust of Cardinal Giovanni Dolfin
1583:
1565:
1372:. Baltimore, MD: Penguin Books.
1184:"Bernini's Pluto and Proserpina"
605:created a sculpture also titled
588:
547:Detail of Pluto's hair and beard
518:
21:Persephone § Abduction myth
2355:Fountains of St. Peter's Square
2185:Saints Jerome and Mary Magdalen
2062:Memorial to Alessandro Valtrini
1897:Bust of Cardinal Melchior Klesl
1785:Bust of Carlo Antonio del Pozzo
1718:The Martyrdom of Saint Lawrence
1228:
1206:
1167:
1158:
1149:
1140:
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1070:
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993:
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933:
924:
899:
867:
858:
2231:Angel with the Crown of Thorns
1739:Aeneas, Anchises, and Ascanius
1571:Bernini's Pluto and Proserpina
1436:Bernini: His Life and His Rome
1260:Bernini: Genius of the Baroque
821:
795:
786:
715:
674:
601:In 1811, the Russian sculptor
414:statue from Praxiteles, which
379:
1:
2530:Sculptures of Roman goddesses
2426:Self-Portrait as a Mature Man
2419:Saint Andrew and Saint Thomas
2238:Angel with the Superscription
1277:Baldinucci, Filippo (2006) .
1262:. London: Thames and Hudson.
1042:Anonymous (31 October 2018).
663:
635:purchased it to place in the
260:
2405:Self-Portrait as a Young Man
2069:Memorial to Ippolito Merenda
668:
631:developer and art collector
582:The Rape of the Sabine Women
358:Detail of Proserpina's thigh
313:
286:Proserpina, the daughter of
99:225 cm (89 in)
19:For the classical myth, see
7:
2412:Portrait of Pope Urban VIII
1932:Memorial to Carlo Barberini
1911:Bust of Francesco Barberini
1904:Two Angels in Sant'Agostino
1490:Warwick, Genevieve (2012).
1472:Strunck, Christina (2020).
1296:Bernini, Domenico (2011) .
651:
607:The Abduction of Proserpina
464:
437:Abduction of a Sabine Woman
428:Abduction of a Sabine Woman
196:The Abduction of Proserpina
10:
2556:
2510:Marble sculptures in Italy
2345:Palazzo di Propaganda Fide
2284:Tomb of Pope Alexander VII
2277:Blessed Ludovica Albertoni
2143:Bust of Francesco I d'Este
2055:Bust of Cardinal Richilieu
2002:Bust of Costanza Bonarelli
1890:Bust of Antonio Cepparelli
1827:Charity with Four Children
1532:Wittkower, Rudolf (1955).
1330:Bernini: Sculpting in Clay
1250:
308:
18:
2460:
2453:
2399:
2392:
2375:Fontana dei Quattro Fiumi
2320:
2311:
2268:
2194:
2157:The Vision of Constantine
2127:
2046:
2016:Statue of Pope Urban VIII
1974:Statue of Carlo Barberini
1965:
1918:Bust of Antonio Barberini
1776:
1767:Bust of Camilla Barbadoni
1746:Bust of Giovanni Vigevano
1704:A Faun Teased by Children
1681:
1674:
1665:
1564:
1559:
1536:. London: Phaidon Press.
1481:Taine, Hippolyte (1871).
1434:Mormando, Franco (2011).
1076:Dickerson 2012, p. 20-21.
1017:Dickerson 2012, p. 15-17.
639:at his luxury oceanfront
499:, Cleveland Museum of Art
168:
158:
117:
103:
95:
85:
77:
69:
54:
44:
35:
30:
2330:Sant'Andrea al Quirinale
2291:Statue of Pope Clement X
2245:Bust of Gabriele Fonseca
2136:Busts of Pope Innocent X
1855:Busts of Pope Urban VIII
1368:Hibbard, Howard (1990).
1112:Coliva 2002, p. 146-150.
948:Winner 1998, p. 193-194.
2475:Luigi Bernini (brother)
2470:Pietro Bernini (father)
2360:Fontana della Barcaccia
2203:Statue of Alexander VII
2111:Ecstasy of Saint Teresa
2076:Memorial to Maria Raggi
1953:Sleeping Hermaphroditus
1939:Tomb of Pope Urban VIII
1813:Bust of Pope Gregory XV
1593:by Gian Lorenzo Bernini
1492:Bernini: Art as Theatre
1258:Avery, Charles (1997).
1241:The Wall Street Journal
1048:Cleveland Museum of Art
939:Moira 2021, p. 107-109.
911:www.thehistoryofart.org
733:Wittkower 1955, p. 235.
681:Jones, Brandon (2019).
603:Vasily Demut-Malinovsky
596:Cleveland Museum of Art
483:Cleveland Museum of Art
212:abduction of Proserpina
173:Sleeping Hermaphroditus
143:41.914000°N 12.492000°E
2465:Domenico Bernini (son)
2210:Busts of Alexander VII
2171:Habakkuk and the Angel
2097:Truth Unveiled by Time
2023:Bust of King Charles I
1799:The Rape of Proserpina
1485:. Leypoldt & Holt.
1420:Moira, Scully (2021).
1146:Wittkower 1955, p. 14.
960:Hibbard 1990, p 45-48.
792:Dickerson 2012, p. 22.
548:
525:The Rape of Proserpina
504:The Rape of Proserpina
500:
474:
359:
351:in the summer of 1623.
323:
303:The Rape of Proserpina
266:The Rape of Proserpina
251:The Rape of Proserpina
190:
182:The Rape of Proserpina
31:The Rape of Proserpina
1820:St. Peter's Baldachin
1387:Kenseth, Joy (1981).
1315:Coliva, Anna (2002).
1008:Warwick 2012, p. 123.
990:Wittkower 1955, p. 5.
896:Strunck 2020, p. 190.
829:"THE STORY OF WINTER"
783:Strunck 2020, p. 191.
700:10.1353/are.2019.0002
546:
495:
472:
357:
321:
284:De Raptu Proserpinae.
2224:Elephant and Obelisk
2178:Chair of Saint Peter
2030:Bust of Thomas Baker
1659:Gian Lorenzo Bernini
1595:at Wikimedia Commons
1476:. arthistoricum.net.
1173:Taine, 1871, p. 205.
1155:Bernini 2011, p. 18.
1103:Winner 1998, p. 190.
1085:Coliva 2002, p. 158.
1067:Coliva 2002, p. 161.
1044:"Head of Proserpina"
978:Hibbard 1990, p. 63.
969:Winner 1998, p. 192.
930:Warwick 2012, p. 94.
887:Hibbard 1990, p. 48.
873:Hibbard 1990, p. 55.
864:Winner 1998, p. 202.
855:Winner 1998, p. 194.
771:Winner 1998, p. 187.
749:Hibbard 1990, p. 45.
645:Bal Harbour, Florida
621:Pluto and Proserpina
433:Hercules and Antaeus
208:Gian Lorenzo Bernini
148:41.914000; 12.492000
49:Gian Lorenzo Bernini
2365:Fontana del Tritone
2298:Bust of the Saviour
2164:Daniel and the Lion
1732:Bust of Pope Paul V
1279:The Life of Bernini
1164:Smith 2010, p. 238.
1094:Kenseth 1981, p. 1.
623:is an 11-foot-tall
568:figura serpentinata
365:Alessandro Ludovisi
191:Ratto di Proserpina
139: /
2515:Rape of Persephone
2335:Lateran Baptistery
2325:St. Peter's Square
2104:Bust of Pope Leo X
1792:Neptune and Triton
1599:Web Gallery of Art
1591:Rape of Proserpina
1415:– via JSTOR.
1194:on 16 January 2013
1029:Hawley 1971, p. 5.
999:Hawley 1971, p. 4.
633:Eduardo Costantini
549:
501:
497:Head of Proserpina
475:
458:Borghese Gladiator
399:Rape of Proserpina
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328:Rape of Proserpina
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163:Neptune and Triton
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2433:Portrait of a Boy
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2340:Palazzo Barberini
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2252:Bust of Louis XIV
1958:
1806:Apollo and Daphne
1711:Boy with a Dragon
1604:Galleria Borghese
1588:Media related to
1580:
1579:
721:Avery 1997, p. 49
539:Critical reaction
527:was moved to the
337:Apollo and Daphne
247:Annibale Carracci
235:Ludovico Ludovisi
227:Scipione Borghese
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108:Galleria Borghese
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2500:1620s sculptures
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2090:Raimondi Chapel
2042:
1995:Pasce Oves Meas
1961:
1772:
1725:Saint Sebastian
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1656:
1624:at Google Books
1566:
1560:External videos
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1457:. Nabu Press.
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1355:(4): 107–111.
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1668:List of works
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1196:. Retrieved
1192:the original
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914:. Retrieved
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811:. Retrieved
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134:12°29′31.2″E
131:41°54′50.4″N
25:
1753:Damned Soul
577:Giambologna
487:Busiri Vici
380:Inspiration
345:Roman scudi
243:Giambologna
239:Pope Paul V
146: /
120:Coordinates
2540:Proserpina
2494:Categories
1957:(mattress)
1053:27 January
664:References
617:Jeff Koons
395:Praxiteles
261:Background
96:Dimensions
2393:Paintings
1675:Sculpture
1198:5 January
1127:Europeana
709:202374163
693:(1): 71.
669:Citations
637:breezeway
629:Argentine
573:Mannerism
523:In 1750,
397:' bronze
314:Patronage
225:Cardinal
81:Sculpture
70:Catalogue
1361:25152371
1132:19 April
687:Arethusa
652:See also
465:Creation
431:and his
385:father,
335:and the
280:Claudian
220:Cerberus
104:Location
2454:Related
1413:3050112
1370:Bernini
1251:Sources
1220:24 June
838:31 July
813:31 July
452:Laocoön
412:Bacchus
403:Pliny's
309:History
288:Jupiter
201:Baroque
187:Italian
62:1621–22
60: (
58:1621–22
2150:Corpus
2037:Medusa
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418:later
204:marble
86:Medium
45:Artist
2269:1670s
2195:1660s
2128:1650s
2047:1640s
1966:1630s
1834:David
1777:1620s
1682:1610s
1513:[
1427:(PDF)
1409:JSTOR
1357:JSTOR
1319:[
705:S2CID
641:condo
349:villa
333:David
292:Ceres
216:Pluto
1538:ISBN
1519:ISBN
1496:ISBN
1459:ISBN
1440:ISBN
1374:ISBN
1334:ISBN
1302:ISBN
1283:ISBN
1264:ISBN
1222:2021
1200:2013
1134:2013
1055:2019
918:2022
840:2022
815:2022
290:and
278:and
270:Ovid
245:and
112:Rome
78:Type
55:Year
1613:at
1401:doi
695:doi
643:in
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513:Dis
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