ABSTRACT
The previous Passage (“Art, religion, and the parallax of gender”), dealt in part with a complex multidimensional and multitemporal wall painting on the walls of the most celebrated picture gallery in antiquity, the lesche or club-house of the citizens of the city-state of Knidos, in the Greek sanctuary of Delphi on the slopes of Mount Parnassos. The large mural spread over the four walls of the gallery depicted on one side the destroyed city of Troy, the Iliupersis, and on the other side the aftermath of the Trojan War as seen through the eyes of Odysseus, one of that band of conquering Greeks traveling westward across the Aegean (and through the underworld) on his way home on the island of Ithaca, on the west coast of mainland Greece.
