Abstract

Approaching the Ovidian story of Pygmalion, scholars mainly focus on the moment in which the artist carves his ideal woman out of ivory. But the reasons that led him to sculpt the statue tend to remain in the background. Ovid informs us that, before giving toeburthe shape of auirgo, the ‘Paphian hero’ (Met. 10.290), shocked by the lascivious conduct of the Propoetides, had declared war on the whole of womankind (Met. 10.238–46):sunt tamen obscenae Venerem Propoetides ausaeesse negare deam; pro quo sua numinis iracorpora cum forma primae uulgasse feruntur;utque pudor cessit, sanguisque induruit oris,in rigidum paruo silicem discrimine uersae.quas quia Pygmalion aeuum per crimen agentesuiderat, offensus uitiis, quae plurima mentifemineae natura dedit, sine coniuge caelebsuiuebat thalamique diu consorte carebat.