ideology, and their intended audience is male. The paintings are important in suggesting how such a Xenophontic child bride, armed with only observation and the testimony of immediate family and friends, might have viewed the same situation in a way that she could accept and even embrace.
The evolution of erotic imagery on Attic pottery from Hippokleidian dance to romantic love in marriage during a century and a half of Athenian history marks a significant change in ideology. Like modern mass-market literature, these mass- market images must have both reflected and shaped the continually evolving self- images of the inhabitants of the Athenian polis. These changes in vase painting reflect both general changes in social ideology and persistent attitudes of particular segments of society that emerge and vanish as painters developed and abandoned (or lost) specialized markets for their products. Yet such changes do not necessarily reflect improvements in the circumstances of women's lives. Thurston's study of the modern romance is remarkable for its inclusion of readers' responses. What we lack, and mourn the loss of, are Athenian women's voices to speak for themselves.
It is a pleasure to acknowledge the following help in preparing this chapter. Research and writing were supported by a grant from the American Council of Learned Societies and a leave from Loyola University of Chicago, with several small grants from the same university. Earlier versions were criticized by Amy Richlin, H. Alan Shapiro, and Keith DeVries. Keith DeVries generously sent me an unpublished manuscript with a catalogue of vases portraying ancient Athenian homosexuality. For the opportunity to consult photographs, I am grateful to Donna Kurtz of the Beazley Archive in Oxford and to Dietrich von Bothmer of the Metropolitan Museum of Art in New York. Additional assistance was provided by David M. Halperin, Kathleen G. Klein, and Stan W. Denski.