Plate 14: Erichthonius Released from his Basket (Erichtonius cistella laxata cernitur), from Ovid's 'Metamorphoses' 1606

Editor: So, here we have Antonio Tempesta’s engraving, “Erichthonius Released from his Basket” from 1606, part of his Ovid’s *Metamorphoses* series. The three figures seem to be reacting with such shock, while this tiny being emerges from the basket! What stands out to you? Curator: Immediately, the gaze is drawn to the reaction of the women. Considering this was produced in 1606, think about the role of women, the secrets they are meant to safeguard, and what the revealing of the 'monstrous' Erichthonius truly signifies. Editor: That's a great point! Is this about power? The monstrous birth subverts the normal generative narrative and places power elsewhere, perhaps? Curator: Exactly! Consider the legend itself: Erichthonius is the son of Gaia and Hephaestus, yet raised in secret by the daughters of Cecrops. What does it mean when the earth, a traditionally feminized entity, births something 'monstrous?' How does that disrupt the patriarchal control of narratives surrounding creation and motherhood? Editor: So it's not just about shock, but about the anxieties surrounding female knowledge and the disruption of established patriarchal stories? Curator: Precisely. And consider how this imagery would be received then versus now, regarding ideas around monstrosity, the female body, and the control of knowledge. It’s about power dynamics and the fear of the unknown. The revealing of Erichthonius is about confronting uncomfortable truths. Editor: It completely reframes the initial impression of simple shock. Now, I see layers of social and political commentary embedded in this seemingly simple scene. Thank you! Curator: It is important that art history helps us engage critically with present cultural assumptions.