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Image Index > Sex Acts > 3 Stages Of Intimacy, With Penetration At End

Three man-youth pairs. the ithyphallic man on the left strokes the chin of a youth who carries off a deer, an apparent love gift of his suitor. The youth turns around to reciprocate the man's gaze. The youth in the middle pair holds a crown and stares straight ahead as the taller man crouches down in a rather uncomfortable posture to penetrate his thighs. A dancing man gazes into this youth's eyes, as if to attract his attention, perhaps in hopes of the same gratification. The ithyphallic man on the right offers a fighting cock to a youth, while fondling his genitals and drawing his face near for a kiss. The youth stands stiffly and avoids direct eye-contact. The three pairs represent different stages in the process of seductoin: (1) the man on the left gains the youth's attnetion with a gift, (2) the man on the right prepares the youth for sexual contact, and (3) the middle pair consummate the act.

Artist Painter Of Berlin 1686
Date 6th Century BCE
Museum and Inventory Number British Museum W39
References and Publications ABV 297.16
K. Schauenberg, "Erastes und Eromenos auf einer Schale des Sokles." Archaologisher Anzeiger (1965) 863-64
John Boardman, Athenian Black Figure Bases (London, 1974) no. 136
Dover, K. J. 1978. Greek Homosexuality. London. B250
E.C. Keuls, The Reign of the Phallus (New York 1985) fig. 252-3
H. A. Shapiro, "Eros in Love: Pederasty and Pornography in Greece," In A. Richlein, ed. Pornography and Representation in Greece and Rome (Oxford 1992) 56-57.
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This website makes available to the public the first two chapters of Homosexuality in Greece and Rome: A Sourcebook of Basic Documents, edited by Thomas K. Hubbard and published by University of California Press in April 2003. The index also lists the rest of the sourcebook's contents; the book may be ordered at, list price $34.95 paperback. In addition, a file of close to 200 pertinent artistic images is assembled, including those published in the sourcebook and many others. Acknowledgement is made to University of California Press for permission to reproduce this material, as well as to the various museums that have granted permission to use their photographic images. Comments may be directed to Prof. Hubbard at