Omnia Vincit Amor Ovid Illustrated: The Reception of Ovid's
Metamorphoses in Image and Text

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Though our site now extends to a wide range of Metamorphoses editions and interpretations in more than one language and in more than one medium from Lactantius, Berchorius, and Caxton to Sandys, Garth, Banier and beyond, the old centerpiece of this part of the site is a remarkable illustrated recasting of Ovid from 1563, text by Johann or Johannes Spreng (1524-1601), now online and available in its entirety (apart from some early ink-blot bowdlerizations1) in digitized form:
METAMORPHOSES OVIDII, ARGVMENTIS QUI//dem soluta oratione, Enarrationibus autem & Allegoriis Elegiaco uersu accuratissime expositae, summaque diligentia ac studio illustratae, per M. IOHAN. SPRENGIVM AVGVSTAN. una cum uiuis singularum transformationum Iconibus a Virgilio Solis, eximio pictore, delineatis. Frankfurt: G. Coruinus, S. Feyerabent, & haeredes VVygandi Galli, 1563.
In the same year, the same group of publishers issued another, this time bilingual popularization of Ovid (Johann Posthius' TETRASTICHA IN OVIDII METAM. LIB. XV), which was graced with the same illustrations; thus this series of woodcuts by noted engraver Virgil Solis (1514-1562) may be said to have had two, or perhaps even three2 first editions, of which ours is one. The renown of this brilliant Ovidian series is surely well-earned, although Solis often borrows designs (as do other Renaissance illustrators of Ovid3) from the cycle of 178 woodcuts produced by Bernard Salomon for a French (and Dutch) simplified Ovid, the Métamorphose Figurée (Lyon, 1557).4 Spreng's allegorical commentary in Latin elegiacs is arguably just as important as Solis' illustrations, even though Spreng's discussion has probably not been reprinted since 1587; by that time it had gone through an expanded German rendering (Frankfurt: G. Raben, 1564, 1571) and, with Salomon's woodcuts, at least three Parisian editions (Paris: H. de Marnef and the widow of G. Cavellat, 1570, 1583, 1587). Spreng appends to each image a prose summary drawn from the work of "Luctatius" or "Lactantius Placidus" (a writer occasionally confused with Lactantius the Christian apologist), and to these summaries he then appends his own verse "expositions" and "allegories"; in this way Spreng's text actually serves up four Ovid recastings in one. With page-links to several parallel cycles of Ovid-illustrations by Salomon (1557), "CM" (1582), and Pieter van der Borcht (1591), among numerous others, our own Site-map/Search page affords easy access to both textual and pictorial reworkings of Ovid's transformative epic, the "bible of painters and poets," an unequalled compendium of classical myth and a narrative word-painter's tour de force in its own right.
1Click this link for the one missing leaf (11/12; also censored?) in our volume, and these links for the bowdlerized woodcuts, with the undamaged versions for comparison: 1/14, 2.4, 4/3, 4/11, 10/8, 14/1. For an unusual instance of Solis' (imperfect) self-censorship, see 4/4 (the Sun-God and Leucothoe). According to Julie Coleman, Solis' woodcuts were reissued in 25 editions in various languages continuing till 1652; they are also reproduced (without Johann Spreng's text) from the 1563 Metamorphoses Illustratae in The Illustrated Bartsch, 165 vols. (New York, 1978-), 19/1, 7.0-178. We have now posted one later state of Solis' woodcuts from a 1612 Metamorphoses edition; these pages reward close comparison with large-format scans of the woodcuts from 1563. (Also see the versions featured in linked Spanish- and Dutch-language renderings of 1595.) Many of Solis' cuts were incorporated in Nicolaus Reusner's Picta Poesis Ovidiana (Frankfurt, 1580) and thence also in Reusner's Emblemata (Frankfurt, 1581); for the latter see the roster in Arthur Henkel and Albrecht Sch÷ne's Emblemata: Handbuch zur Sinnbildkunst des xvi. und xvii. Jahrhunderts (Stuttgart: Metzler Verlag, 1967), L-LI. Not to mention various other lesser decorative pieces (cf. Notes, with P. Weiner as cited in R. Baron's Salomon bibliography), Solis' cuts also yielded designs for the biblical south-wall and mythological north-wall ornamentation of the stunning Sgraffitohaus in Retz, Austria, built in 1576; with our notes on "poetical history" see Guthmüller (1986) 104-05 and pl. 14, picturing a Sgrafittohaus rendering of Solis' own Circe (14/3).
2Solis' woodcuts were also included in multiple Frankfurt reimpressions of Jakob Moltzer or
Micyllus' Metamorphoses (1st ed. Basel, 1543), including the rare 1563 princeps of these Frankfurt reprints of Micyllus (Henkel 88-89; our own union index supplies links to a page-linked reprint of Micyllus' edition [Leipzig, 1582], with a different set of cuts by "CM" [Henkel 92-93]). As for which of the three 1563 releases came first, Posthius' title-page mentions Solis' woodcuts as "never before printed," but as Guthmüller notes ([1986] n. 40), Spreng's signed dedication (February 22) slightly antedates Posthius' (March 1).
3Click here for 40+ page-linked cycles of Ovid-illustrations, and click here for additional mythological galleries which include still more varied depictions of Ovid's great scenes.
4Salomon's 1557 cycle may be viewed page-linked here (first editions, with French and Dutch verses), and elsewhere in a reprint from 1583; though this 1583 reprint replaces two images (7/7 and 9/3) with new versions from Simeoni's Vita et metamorfoseo d'Ovidio (Lyon, 1559 [now online, repr. 1584, the text U.Va. owns]), it does not accept Simeoni's own topic-additions (Salomon's "extra-series," 1/0, 2/4a, 2/10a, 3/6c, 4/4a, 5/2b, 5/4a, 5/7b, 5/7c, 6/0, 8/10a, 13/10b, 14/1a, 14/1c, 14/4b, 14/4c) or his outright deletions (6/4, 6/5, 6/7, 8/11, 9/7, 10/1).

Contact us with questions / suggestions.

Further Reading:
Allen, Christopher. "Ovid and Art." In The Cambridge Companion to Ovid, ed. Philip Hardie. Cambridge, 2002, 336-67.
Allen, D. C. Mysteriously Meant: The Rediscovery of Allegory and Pagan Symbolism in the Renaissance. Baltimore, 1940.

Alpers, Svetlana. The Decoration of the Torre de la Parada, Corpus Rubenianum Ludwig Burchard 9. London and New York, 1971 (Chapter 2: "The tradition of the illustrated Ovids and Rubens's sketches for the
Torre de la Parada"; Catalogue Raisonnée pp. 54-66, 174-271).
Amiel, Ghislaine. Recherches sur des traductions françaises des "Metamorphoses" d'Ovide illustrées et publiées en France à la fin du xve siècle et au xvie siècle. Paris, 1989.
Bailey, Colin B. The Loves of the Gods: Mythological Painting from Watteau to David. New York, 1992.
Barchiesi, Alessandro. The Poet and the Prince: Ovid and Augustan Discourse. Berkeley, 1997.
Barkan, Leonard. The Gods Made Flesh: Metamorphosis and the Pursuit of Paganism. New Haven, 1986.
Barolsky, Paul. "As in Ovid, So in Renaissance Art." Renaissance Quarterly, 51/2 (1998), 451-474.
----. "Botticelli's Primavera and the Poetic Imagination of Italian Renaissance Art." Arion, 8/2 (2000), 5-35.
Blattner, Evamarie. Holzschnittfolgen zu den "Metamorphosen" des Ovid, Venedig 1497 und Mainz 1545, Beiträge zur Kunstwissenschaft 72. Munich, 1998.
Blühm, Andreas. Pygmalion: die Ikonographie eines Künstlermythos zwischen 1500 und 1900. Frankfurt am Mein, 1988.
Bredt, E. W. Der Götter Verwandlungen. 3 vols. Munich, 1920.
Brumble, H. David. Classical Myths and Legends in the Middle Ages and Renaissance: A Dictionary of Allegorical Meanings. Westport, CT, 1998.
Bull, Malcolm. The Mirror of the Gods: Classical Mythology in Renaissance Art. New York, 2005.
Cameron, Alan. Greek Mythography in the Roman World. Oxford, 2004 ((Chapter 1: "An Anonymous Ancient Commentary on Ovid's Metamorphoses?" on the early reception and the summaries or narrationes of Ovid traditionally assigned to "Lactantius").
Cartari, Vincenzo. Le immagini degli dèi, from the ed. of 1586, ed. and comm. Caterina Volpi. Rome, 1996.
Chance, Jane. Medieval Mythography, 2 vols. to date. Gainesville, FL, 1994-.
Cieri Via, Claudia. (See also the ICONOS project) L'arte delle metamorfosi: decorazioni mitologiche nel Cinquecento. Rome, 2003.
----, ed. Immagini degli dei: mitologia e collezionismo tra '500 e '600. Lecce, 2000.
Costello, J. "Poussin's drawings for Marino and the new classicism." JWCI, 18 (1955), 296-317 (cycle of Ovid drawings ca. 1623, for which see A. Blunt's Nicolas Poussin [New York, 1967], 39-49, and French site Utpictura18).
Coulson, Frank T., and Bruno Roy. Incipitarium Ovidianum: a Finding Guide for Texts in Latin Related to the Study of Ovid in the Middle Ages and Renaissance.. Turnhout, 2000.
Doran, Madeleine. "Some Renaissance 'Ovids.'" In Literature and Society, ed. Bernice Slote. Lincoln, NE, 1964, 44-62.
Due, O. S. Changing Forms: Studies in the "Metamorphoses" of Ovid. Copenhagen, 1974.
Dunand, Louis, et Philippe Lemarchand. Les amours des dieux [Giulio Romano, Titian, Agostino Carracci ...]. 3 vols. Lausanne, 1977-1990.
Eisler, William. Jean Dassier, Medal Engraver: Geneva, Paris and London, 1700-1733, Vol. I of The Dassiers of Geneva: 18th-Century European Medallists, 2 vols. (Lausanne, 2002-; Ovid-cycle depicted and ably discussed in 1.39-84 and Plates 1-6).
Forbes Irving, P. M. C. Metamorphosis in Greek Myths. Oxford, 1990.
Freedman, Luba, and Gerlinde Huber-Rebenich, eds. Ikonographische Repertorien zur Rezeption des antiken Mythos in Europa, 3 vols. Berlin, 1995- .
Friedman, John B., and Jessica M. Wegmann. Medieval Iconography: A Research Guide. New York, 1998.
Galinsky, G. Karl. Ovid's "Metamorphoses": An Introduction to the Basic Aspects. Oxford, 1975.
Goldsmith-Philipps, J. "Giuglielmo della Porta, his Ovid plaquettes," Bulletin of the Metropolitan Museum of Art, 34 (1939), 148-151.
Grose, Christopher. Ovid's "Metamorphoses": An Index to the 1632 Commentary of George Sandys. Malibu, 1981.
Guthmüller, Bodo. "Picta poesis Ovidiana." In Renatae Litterae: Studien zum Nachleben der Antike und zur europäischen Renaissance: August Buck zum 60. Geburtstag, ed. K. Heitmann und E. Schroeder. Frankfurt, 1973, 171-192; rev. version in Studien zur antiken Mythologie in der italienischen Renaissance. Weinheim, 1986, 101-15, 181-89; Italian version with other pertinent essays in Mito, poesia, arte: saggi sulla tradizione ovidiana nel Rinascimento. Roma, 1997.
----. Ovidio Metamorphoseos Vulgare: Formen und Funktionen der sprachlichen Wiedergabe klassischer Dichtung in der italienischen Renaissance. Boppard am Rhein, 1981.
Hardie, Philip, et al., eds. Ovidian Transformations: Essays in the "Metamorphoses" and its Reception. Cambridge, 1999.
Henkel, Max D. "Illustrierte Ausgaben von Ovids Metamorphosen im XV., XVI. und XVII. Jahrhundert." Vorträge der Bibliothek Warburg, 6 (1926-1927), 58-144.
Hexter, Ralph. "Ovid's Metamorphoses Metamorphosed," Bancroftiana 113 (Fall 1998), 3-5, on Spreng's text in a 1583 Paris reprint, with a portrait of Spreng from his Ilias (1610 ed.).
Horn, Hans-Jürgen. "Die Tetrasticha des Johannes Posthius zu Ovids Metamorphosen und ihre Stellung in der Überlieferungsgeschichte," in Walter-Horn, 214-224.
De Houtsneden van Mansion's Ovide moralisé, Bruges 1484, intr. M. D. Henkel. Amsterdam, 1922.
Huber-Rebenich, Gerlinde. Metamorphosen der 'Metamorphosen': Ovids Verwandlungssagen in der textbegleitenden Druckgraphik, exhibition catalog with valuable commentary. Rudolstadt, 1999.
Hulse, Clark. Metamorphic Verse: The Elizabethan Minor Epic. Princeton, 1981 (pp. 244-51, on allegorical, rhetorical, and structural approaches to metamorphic Ovidian fiction).
Keiner, Marion, et al. Der verblümte Sinn: Illustrationen zu den Metamorphosen des Ovid ... Ausstellung 19 Oktober 1997 - 5 Januar 1998. [Kornwestheim,] 1997.
Kühlmann, Wilhelm. "Sinnbilder der Transmutationskunst: Einblicke in die mythoalchemische Ovidrezeption von Petrus Bonus bis Michael Maier." In Metamorphosen: Wandlungen und Verwandlungen in Literatur, Sprache und Kunst von der Antike bis zur Gegenwart, Festschrift für Bodo Guthmüller zum 65. Geburtstag. Wiesbaden 2002, 163-176.
Laupichler, F., and R. von Straten, Virgil Solis and his Time: An Iconographic Index to Bartsch (ICONCLASS Indexes, Early German Prints, Vol. IV). Leiden, 1999.
Levine, Robert. "Exploiting Ovid: Medieval Allegorizations of the Metamorphoses." Medioevo Romanzo, 14 (1989), 197-213.
Lexicon Iconographicum Mythologiae Classicae, ed. H. C. Ackermann and J.-R. Gisler. 8 vols. in 16. Zurich, 1981-.
Lyne, Raphael. Ovid's Changing Worlds: English Metamorphoses, 1567-1632. Oxford, 2001 (pp. 29-53: "Ovid Moralized and Unmoralized").
Majoliques européennes: Reflets de l'estampe lyonnaise, XVIe-XVIIe siècles. Dijon, 2003.
Marolles, Michel de.
Tableaux du Temple des Muses. Paris, 1655 (repr. New York, 1976, with a 1709 London version of C. Ripa's Iconologia; an English revised version of The Temple of the Muses [Amsterdam, 1733] is included in the ECCO database).
Les Métamorphoses illustrées par la peinture baroque, tr. Georges Lafaye, comm. R. Mussapi, P. Rosenberg, C. Falciani, and J.-P. Néraudau. Paris, 2003.
Masson, Jean (Johannes). P. Ovidii Nasonis Vita. Amsterdam, 1708.
Moss, Ann, tr. Latin Commentaries on Ovid from the Renaissance. Signal Mountain, TN, 1998.
----. Ovid in Renaissance France. London, 1982.
Myers, K. Sara. Ovid's Causes: Cosmology and Aetiology in the "Metamorphoses." Ann Arbor, 1994.
O'Dell-Franke, Ilse. Kupferstiche und Radierungen aus der Werkstatt des Virgil Solis. Wiesbaden, 1977.
Paas, John Roger, The Sandrarts. Hollstein's German Engravings, Etchings and Woodcuts, vols. 38-41 (vol. 40: Joachim von Sandrart, Johann Jacob von Sandrart et al. [Ovid prints in index under "Engelbrecht"]). Rotterdam, 1994-1997.
Pansa, Giovanni. Ovidio nel Medioevo e nella Tradizione Popolare. Sulmona, 1924.
Pigler, A. Barockthemen: Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18. Jahrhunderts. 2 vols. Budapest, 1959 (vol. 2: "Profane Darstellungen").
Reid, Jane Davidson. Oxford Guide to Classical Mythology in the Arts, 1300-1900. 2 vols. New York and Oxford, 1993.
Rubin, Deborah. "Ovid's Metamorphoses Englished": George Sandys as translator and mythographer. New York and London, 1985.
Sabinus, Georg. Metamorphosis: seu Fabulae Poeticae. Frankfurt, 1589 (repr. New York, 1976; = Fabularum Ouidii Interpretatio . . . Tradita in Academia Regiomontana, Cambridge, 1584; cf. Google Books version of
1698).
Sandys, George, tr. and comm. Ovid's Metamorphosis. Englished, mythologized, and represented in figures, ed. K. K. Hulley and S. T. Vandersall. Lincoln, NE, 1970.
Seznec, Jean. The Survival of the Pagan Gods: The Mythological Tradition & Its Place in Renaissance Humanism & Art. Tr. Barbara F. Sessions. New York, 1953.
Sharratt, Peter. Bernard Salomon, illustrateur lyonnais. Geneva, 2005; click here for an online Salomon bibliography and here for an additional Salomon "suite," the Chateau de Montbras, with its ceiling of forty-two metamorphoses based on Salomon's illustrations of Ovid.
Simonds, Peggy Munoz. Iconographic Research in English Renaissance Literature: A Critical Guide. New York and London, 1995.
Sluijter, Eric Jan. De 'Heydensche Fabulen' in de Noordnederlandse schilderkunst, circa 1590-1670 : een proeve van beschrijving en interpretatie van schilderijen met verhalende onderwerpen uit de klassieke mythologie. English summary. The Hague, 1986. (( Major early Dutch reckonings with Ovid: Metamorphosis (1595), with Solis' illustrations // Van Mander // Vondel 1 & 2))
----. Seductress of Sight: Studies in Dutch Art of the Golden Age. Zwolle, 2000 (Chapter 2: "'Metamorphoses' in Prints by Hendrick Goltzius and his Circle"; click here and here for two online reviews).
Solodow, Joseph B. The World of Ovid's "Metamorphoses." Chapel Hill, 1988.
Stahlberg, Karl. "Virgil Solis und die Holzschnitte zu den Metamorphosen des Ovid." Marginalien, 95 (1984), 29-35.
Straten, R. van, with F. Laupichler. Antonio Tempesta and his Time: an Iconographic Index to Bartsch (ICONCLASS Indexes, Italian Prints, vol. III). Doornspijk, 1987.
----. Hendrik Goltzius and his School: an Iconographic Index to Bartsch (ICONCLASS Indexes, Dutch prints, vol. IV). Leiden, 1994.
Tervarent, Guy de. Attributs et symboles dans l'art profane: dictionnaire d'un langage perdu (1450-1600). 2nd, enlarged ed. Geneva, 1997.
Tissol, Garth. The Face of Nature: Wit, Narrative, and Cosmic Origins in Ovid's "Metamorphoses." Princeton, 1997.
Trapp, Joseph B. "Ovid's Tomb," JWCI, 36 (1973), 35-76.
----. "Portraits of Ovid in the Middle ages and in the Renaissance," in Walter-Horn, 252-278.
Veldman, Ilja M. Profit and Pleasure: Print Books by Crispijn
de Passe, tr. M. Hoyle and C. Klein (Studies in Prints and Printmaking, Vol. IV). Rotterdam, 2001.
Via, Claudia Cieri. See Cieri Via, Claudia.
Walter, H., and H.-J. Horn, eds. Die Rezeption der "Metamorphosen" des Ovid in der Neuzeit: der antike Mythos in Text und Bild. Berlin, 1995.
Wetherbee, Wintrop. Platonism and Poetry in the Twelfth Century: the Literary Influence of the School of Chartres. Princeton, 1972.
Wheeler, Stephen M. A Discourse of Wonders: Audience and Performance in Ovid's "Metamorphoses." Philadelphia, 1999.
Wind, Edgar. Pagan Mysteries in the Renaissance. Revised and enlarged edition. New York, 1968.
Several Renaissance Ovidian commentaries and other pertinent texts were reprinted in two Garland Publishing series unfortunately now out of print: "The Renaissance and the Gods" and "The Philosophy of Images."
Ovid and Single Authors:
Bate, Jonathan. Shakespeare and Ovid. Oxford, 1994 (cf. A. B. Taylor, ed., Shakespeare's Ovid [Cambridge, 2000], and the many verse moralizations accompanying Golding's translation of 1567). (( Perseus version of Golding )) (( The Beatles Perform Pyramus and Thisbe ))
Brown, Sarah A. The Metamorphosis of Ovid: from Chaucer to Ted Hughes. London, 1999.
Candy, Hugh C. H. Some Newly Discovered Stanzas [167!] Written by John Milton [sic] on Engraved Scenes Illustrating Ovid's "Metamorphoses." London [1924; homely English verse renderings ca. 1600 of the Tetrasticha ("Quatrains") of Johann or Johannes Posthius (1537-97), first printed the same year as Spreng's text, in 1563].
Chance, Jane. The Mythographic Chaucer: The Fabulation of Sexual Politics. Minnesota, 1995.
Cheney, Patrick G. Marlowe's Counterfeit Profession: Ovid, Spenser, and Counter-nationhood. Toronto, 1997.
DuRocher, Richard J. Milton and Ovid. Ithaca, 1985.
Enterline, Lynn. The Rhetoric of the Body from Ovid to Shakespeare. Cambridge, 2000.
Fletcher, Angus. The Prophetic Moment: An Essay on Spenser. Chicago [1971].
Fyler, John M. Chaucer and Ovid. New Haven, 1979.
Harding, Davis P. Milton and the Renaissance Ovid. Urbana, 1946.
Krier, Theresa M. Gazing on Secret Sights: Spenser, Classical Imitation, and the Decorums of Vision. Ithaca, 1990.
Martz, Louis L. Milton, Poet of Exile. 2nd ed. New Haven, 1986.
Minnis, Alastair J. Chaucer and Pagan Antiquity. Cambridge, 1982.
----. "Magister Amoris": The "Roman de la Rose" and Vernacular Hermeneutics. Oxford, 2001.
Nohrnberg, James. The Analogy of "The Faerie Queene." Princeton, 1976.
Scott, Kathleen. The Caxton Master and his Patrons. Cambridge, 1976 [specimen illustration from Caxton].
Sowell, Madison U., ed. Dante and Ovid: Essays in Intertextuality. Binghamton, 1991.
Tomiche, Marie. "Ovide et les modernes. └ propos de T.S. Eliot." SÚminaire "ModernitÚs antiques," Fabula 2007.
Treip, Mindele Anne. Allegorical Poetics and the Epic: The Renaissance Tradition to "Paradise Lost". Lexington, KY, 1994.
Click here for one of Thomas Jefferson's copies of the Metamorphoses (for three others, click here), by bequest of Paul Mellon to the University of Virginia.
Links:
The
ICONOS project (in progress; images and a full Latin text); Ovids Metamorphosen, a rich digital archive at the University of Marburg featuring illustrated adaptations-recensions by B. Salomon (1583 ed., 1st sig. misbound), two Dolce engravers (1558 and 1568), CM ([= Christoph Murer?] illust., P. Ovidii Nasonis Metamorphoseon Libri XV, ed. Bersmann-Micyllus, Leipzig, 1582 (another downloadable copy in the Bayerische Staatsbibliothek), and Krauss (1690), among others found elsewhere; five additional early Ovid editions from 1492 ([1] and [2]), 1497, 1518, and 1540, with Berchorius' Ovid moralization from 1509, Salomon's 1557, Simeoni's 1559, Posthius' 1569, and Spreng's 1570 imprints, among other Ovid-recensions, courtesy of the Bibliothèque Nationale; University of Vermont Ovid Project, hosting digitized illustrations of the Metamorphoses (plates only) from Sandys in a later edition (1640) and Baur-Aubry (1703), with selected material by other artists; six additional opulent archives of myth-illustrations, Ovid: Metamorphoses richly illustrated by famous artists in European history (with an 1820 Tauchnitz Latin text and sharp scans of the cuts from a Metamorphosis in German, ill. Solis, from 1581), base Joconda, Utpictura18, insecula.com, Olga's Gallery (myths page), and Die Eichstätter Datenbank zur Antike-Rezeption; the homepage of a 2003 "Metamorfosi del Mito" exhibition, Palazzo Ducale in Genoa; the Potsdam Ovid Project (splendid gilt eighteenth-century reliefs); music, dramatic and dance compositions inspired by the Metamorphoses; Stanford's HDIS Ovid-archive (local-access, but sometimes available); A. S. Kline's new prose Metamorphoses translation, here enhanced with the Latin and other helpful links (compare earlier English versions by Golding, Sandys, Garth, Clarke, anon. (1748/1753), Orger, Riley, Brookes More, and Humphries); Greek, French, Italian, German, Dutch, Spanish and Portuguese translations, the more recent French versions cross-linked with the Latin; Willard McCarty's suggestive introduction to the now-discontinued Ovid Onomasticon project ("Theft of fire: meaning in the markup of names"); Tenerorum lusor amorum, an opulent Ovid links-page, in German, but still handy and helpful for English-speakers; a large Austrian online compendium of Renaissance mythography; Sean Redmond's good basic conspectus of Ovid's life ([1] [2]) and works; the rich website-ancilla to Morford-Lenardon's text survey of Classical Mythology; a web-gallery survey of metamorphosis and the imagery of change, part of Chris Mullen's website devoted to the Visual Telling of Stories; and the ICONCLASS image-classification system (sample ICONCLASS-keyed cycle here). Somewhat more general searches: with the Encyclopedia Mythica, try Perseus and Voice of the Shuttle.

Variation Thematics // All-Change (scene-specific Notes-Links) // Ovid Portraits // Ovid Home // Site-map/Search // Ovid Cycles in Table-Form