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Additional info for Captive Gods: Romans and Athenian Religion from 229 B.C. to the Age of Augustus (PhD UVA)

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31 Still, the iconography of the paintings is hardly unambiguous and often cannot be conclusively identified as "Roman" or "Greek" in inspiration. Thus, like the inscriptions, the Delian paintings (to which we will return shortly) can be problematic. 29 See Bulard 1926, a discussion of 27 painting "ensembles" from Delian houses. Around the same time Bulard published these paintings in the Delos excavation series (E AD IX). His ideas about them had been presented in a preliminary form in 1908 (Peinhtres murales et mosaiques de Delos).

On the idea of "captive gods" see Dumezil1970, 427: "The scruples mentioned by Macrobius and Servius as the origin of the evocatio - quod nefas aestimarent deos habere captivos; propter vitanda sacrilegia -are belied by one actuality: the sacellum Minervae captae ... " Ovid (Fast. " His final suggestion, quia perdomitis ad nos captiva Faliscis I venit, seems the most plausible, and Ovid says that there was evidence for this perhaps an inscription? - in his day (hoc ipsum littera prisca docet). , through evocatio) from her city before its destruction.

Even more important, however, is the influence of the Greek pantheon on the Roman one; quite early on, various indigenous Italian deities had been assimilated to Greek deities in various ways, so that the associations of the sort found on Delos were anticipated and facilitated. In fact, many Roman and Greek deities were so closely associated that in the case of the inscriptions and paintings from Delos it is often difficult to determine the "nationality" of gods. Thus, an Italian dedication written in Greek, calling the deity by his Greek name, cannot be taken as definitive evidence for worship of a Greek god or for participation in Greek cults.

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