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<p>[QUOTE=&quot;Bronwen, post: 380476, member: 5833&quot;]Then I don&#039;t understand this:</p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>I can never tell a long chiton from a peplos &amp; probably would have used the latter term for this garment because the gathered fabric is so prominent.</p><p><br /></p><p><br /></p><p><br /></p><p>Roman depictions of Victoria are not noticeably different from Greek representations of Nike.&nbsp; I certainly can&#039;t tell them apart by the goddesses&#039; clothing.&nbsp; And, despite translators sometimes preferring to use the Latin names for the characters, they are still all either Greeks or Trojans, so it is natural that the goddess would be dressed à la grecque.</p><p><br /></p><p>In Wedgwood&#039;s day, the influential translations of Homer were the ones by Alexander Pope, who used the Latin names.&nbsp; Fun fact to know &amp; tell is that, based on close examination, Pope believed the Odyssey was written by a woman, who added herself to the tale in the character of</p><p>Nausicäa.</p><p><br /></p><p>Edit: Pope&#039;s translations were illustrated by John Flaxman, who early in his professional career was a modeler for Wedgwood.&nbsp; Another place I looked for Ulysses &amp; Victory is among his <a href="https://www.gutenberg.org/files/6130/6130-h/6130-h.html" target="_blank" class="externalLink ProxyLink" data-proxy-href="https://www.gutenberg.org/files/6130/6130-h/6130-h.html" rel="nofollow">drawings for the Iliad</a>, but, nope.&nbsp; I don&#039;t know if this design is old enough to be one of his.[/QUOTE]</p><p><br /></p>

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