Information about Rape Of The Sabine Women

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The Rape of the Sabine Women, an episode in the legendary early history of Rome narrated by Livy and Plutarch ('Lives' II, 15 and 19), provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures in intensely passionate struggle.

Comparable themes from Classical Antiquity are the Battle of the Lapiths and Centaurs and the theme of Amazonomachy, the battle of Theseus with the Amazons. A comparable opportunity drawn from Christian legend was afforded by the theme of the Massacre of the Innocents.

Story

The word rape in this context means "abduction" (from the Latin rapere, to grab, later meaning 'steal', and finally to sexually assault, presumably from the idea of stealing virtue). It refers to an event supposed to have occurred in the early history of Rome, shortly after its foundation by Romulus and a group of mostly male followers. Seeking wives in order to found families, the Romans negotiated with the Sabines, who populated the area. The Sabines refused to allow their women to marry the Romans, fearing the emergence of a rival culture. Faced with the extinction of their community, the Romans planned to abduct Sabine women. Romulus invited Sabine families to a festival of Neptune Equester. At the meeting he gave a signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were implored by Romulus to accept Roman husbands.

Livy is clear that no sexual assault took place. On the contrary, Romulus offered them free choice and promised civic and property rights to women. According to Livy he spoke to them each in person, "and pointed out to them that it was all owing to the pride of their parents in denying right of intermarriage to their neighbours. They would live in honourable wedlock, and share all their property and civil rights, and—dearest of all to human nature—would be the mothers of free men."^[1]

The women married Roman men, but the Sabines went to war with the Romans. The conflict was eventually resolved when the women, who now had children by their Roman husbands, intervened in a battle to reconcile the warring parties.

[They] went boldly into the midst of the flying missiles with dishevelled hair and rent garments. Running across the space between the two armies they tried to stop any further fighting and calm the excited passions by appealing to their fathers in the one army and their husbands in the other not to bring upon themselves a curse by staining their hands with the blood of a father-in-law or a son-in-law, nor upon their posterity the taint of parricide. "If," they cried, "you are weary of these ties of kindred, these marriage-bonds, then turn your anger upon us; it is we who are the cause of the war, it is we who have wounded and slain our husbands and fathers. Better for us to perish rather than live without one or the other of you, as widows or as orphans."^[2]

Artistic representations

During the Renaissance the subject was popular as a story symbolising the central importance of marriage for the continuity of families and cultures. As such it was regularly depicted on cassoni.

Several important examples of the subject include:

Giambologna

The sculpture by Giambologna (1579–1583) that was reinterpreted as expressing this theme depicts three figures (a man lifting a woman into the air while a second man crouches) and was carved from a single block of marble. Originally intended as nothing more than a demonstration of the artist's ability to create a complex sculptural group, its subject matter, the mythical rape of the Sabines, had to be invented after Francesco I de' Medici, Grand Duke of Tuscany, decreed that it be put on public display in the Loggia dei Lanzi in Piazza della Signoria. True to mannerist densely-packed, intertwined figural compositions and ambitious overinclusive efforts, the statue renders a dynamic panoply of emotions, in poses that offer multiple viewpoints. When contrasted with the serene single-viewpoint pose of the nearby Michelangelo's David, finished nearly 80 years before, this statue is infused with the dynamics that lead towards Baroque, but the tight, uncomfortable, verticality— self-imposed by the author's virtuosic restriction to a composition that could be carved from a single block of marble— lacks the diagonal thrusts that Bernini would achieve forty years later with his Rape of Proserpine and Apollo and Daphne, both at the Galleria Borghese, Rome.

The proposed site for the sculpture, opposite Benvenuto Cellini's statue of Perseus, prompted suggestions that the group should illustrate a theme related to the former work, such as the rape of Andromeda by Phineus. The respective rapes of Proserpina and Helen were also mooted as possible themes. It was eventually decided that the sculpture was to be identified as one of the Sabine virgins.

The work is signed OPVS IOANNIS BOLONII FLANDRI MDLXXXII ("The work of Johannes of Boulogne of Flanders, 1582"). An early preparatory bronze featuring only two figures is in the Museo Nazionale di Capodimonte in Naples. Giambologna then revised the scheme, this time with a third figure, in two wax models now in the Victoria and Albert Museum, London. The artist's full-scale gesso for the finished sculpture, executed in 1582, is on display at the Accademia Gallery in Florence.

Bronze reductions of the sculpture, produced in Giambologna's own studio and imitated by others, were a staple of connoisseurs' collections into the 19th century.

Nicolas Poussin

Nicolas Poussin produced two major versions of this subject, which enabled him to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter. One, now at the Metropolitan Museum of Art, was executed in Rome, 1634-35. It depicts Romulus at the left giving the signal for the abduction.

The second version, of 1637-38, now at the Louvre Museum, shows that, though some of the principal figures are similar, he had not exhausted the subject. The architectural setting is more developed.

Peter Paul Rubens

Peter Paul Rubens' Rape of the Sabine Women, painted a version of the subject about 1635-40. It is at the National Gallery, London.

Jacques-Louis David

Jacques-Louis David painted the other end of the story, when the women intervene to reconcile the warring parties. The Sabine Women Enforcing Peace by Running Between the Combatants (also known as The Intervention of the Sabine Women) was completed in 1799. It is in the Louvre Museum.

David had worked on it from 1796, when France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David himself had been imprisoned as a supporter of Robespierre. After David’s estranged wife visited him in jail, he conceived the idea of telling the story, to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution.

The painting depicts Romulus's wife Hersilia - the daughter of Titus Tatius, leader of the Sabines - rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. Other soldiers are already sheathing their swords.

The rocky outcrop in the background is the Tarpeian Rock, a reference to civil conflict, since the Roman punishment for treason was to be thrown from the rock. According to legend, when Tatius attacked Rome, he almost succeeded in capturing the city because of the treason of the Vestal Virgin Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for 'what they bore on their arms.' She believed that she would receive their golden bracelets. Instead, the Sabines crushed her to death with their shields, and she was thrown from the rock which since bore her name.

John Leech

The English 19th Century satirical painter John Leech included in his Comic History of Rome a depiction of the Rape of the Sabine Women, where the women are portrayed, with a deliberate anachronism, in Victorian costume and being carried off from the "Corona et Ancora" ("Crown and Anchor", a common English pub sign in seafaring towns).

Pablo Picasso

Pablo Picasso deconstructed this theme in his several versions of the Rape of the Sabine Women (1962-63), one of which is in the Museum of Fine Arts, Boston. These are based on David's version. These conflate the beginning and end of the story, depicting the brutish Romulus and Tatius ignoring and trampling on the exposed figure of Hersilia and her child.^[3]

Literature and performing arts

Stephen Vincent Benét wrote a short story called "The Sobbin' Women" that parodied the legend. Later adapted into the musical Seven Brides for Seven Brothers, it tells the story of seven gauche but sincere backwoodsmen, one of whom gets married, encouraging the others to seek partners. After a barn-raising where they meet girls they are attracted to, they are denied the chance to pursue their courtship by the latter's menfolk. Following the Roman example, they abduct the girls. As in the original tale, the women are at first indignant but are eventually won over.

In 1961 a Spanish "sword and sandal" film based on the story was made, directed by Albert Gout.^[4]

The latest adaptation is an eponymous video film without dialogue produced in 2006 by Eve Sussman.^[5]

A Biblical parallel

The civil war of the tribes of Israel against the tribe of Benjamin, recounted in Chapters 20-21 of the Biblical Book of Judges, ends with an episode reminiscent on the Rape of the Sabine Women recounted above.

As the Bible tells, the other tribes "turned again upon the children of Benjamin, and smote them with the edge of the sword, as well the men of every city, as the beast, and all that came to hand: also they set on fire all the cities that they came to". Following which, a vow was made that "There shall not any of us give his daughter unto Benjamin to wife".

Later, however, they regretted this oath, which would have made it impossible for surviving men of Benjamin to marry and thus made the tribe extinct. Therefore:

"Then they said, Behold, there is a feast of the LORD in Shiloh. (...).Therefore they commanded the children of Benjamin, saying, Go and lie in wait in the vineyards. And see, and, behold, if the daughters of Shiloh come out to dance in dances, then come ye out of the vineyards, and catch you every man his wife of the daughters of Shiloh, and go to the land of Benjamin. And it shall be, when their fathers or their brethren come unto us to complain, that we will say unto them, Be favourable unto them for our sakes: because we reserved not to each man his wife in the war: for ye did not give unto them at this time, that ye should be guilty. And the children of Benjamin did so, and took them wives, according to their number, of them that danced, whom they caught: and they went and returned unto their inheritance, and repaired the cities, and dwelt in them."

At the time when the Book of Judges was compiled, there was hardly any contact between the Hebrews and the Romans - indicating that the custom reflected in both stories was a widespread feature of Mediterranean culture.

References

Sources

• Pope-Hennessy, John (1996). Italian High Renaissance & Baroque Sculpture, London: Phaidon
• Walter Friedlaender, Nicolas Poussin: A New Approach (New York: Abrams), 1964.