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EXILE AFTER OVID

certainly has Senecan analogues. P.’s appreciation of the art of Rubens, ‘Ovidio e Seneca nella Cultura e nell’Arte di Rubens’, is a welcome appendix. As a member of the circle of Lipsius, Rubens knew and appreciated the works of Seneca (cf. M. Morford, Stoics and Neostoics [1991]), and P. points out details from a selection of Rubens’ paintings that derive from a close reading of Seneca and Ovid. While some may quibble that many of these mythological tales would have been known from a variety of sources, artistic as well as poetic, P. acts as a fine tour guide through Rubens’ artistic output highlighting Ovidian and Senecan touches. A final postscript by M.L. Doglio provides an overview of P.’s work on the reception of Senecan tragedy and offers a fitting conclusion to the volume as a whole. Our view of Senecan tragedy has been enormously enriched by P.’s contributions, and this volume exposes how Senecan tragedy reverberates through various eras and genres, provided that we know how to listen for it.