• Date of Birth: August 16, 1937
  • Born City: Providence
  • Born State/Country: RI
  • Parents: Lloyd Moulton & Ruth Evans Winsor
  • Date of Death: February 16, 2018
  • Death City: Bloomington
  • Death State/Country: IN
  • Married: Peter John Leach, 15 November 1962.
  • Education:

    A.B. Bryn Mawr, 1959; Woodrow Wilson fell., 1959-60; M.A. Yale, 1960; Ph.D., 1963; Carnegie Teaching fell., CCNY, 1961. 

  • Dissertation:

    "A Study in the Sources and Rhetoric of Chaucer's "Legend of Good Women" and Ovid's Heroides" (Yale, 1963).

  • Professional Experience:

    Instr. to asst. prof. (English), Bryn Mawr, 1962-6; asst. prof. to asso. prof. class. langs., Villanova (PA), 1966-71; vis. asso. prof., U. of Texas, Austin, 1972-4; Wesleyan U (CT), 1974-6; Guggenheim Fell., 1976-7; NEH Sr. Res. Fell., 1983-4; res. Scholar class. stud., AAR, Fall 1983; asso. prof. class. studies, Indiana U., 1977—80; prof., 1980-2018; chair, classical studies, 1978-85; dir. grad. Studies, 1997-2018; vis. prof. Barnard Coll., 1981-2; Center for Renaissance & Baroque Studies, U. Maryland, spring 1990; resident scholar AAR, 1983-4; dir. NEH Summer sem. For college teachers, 1986; 1989; Blegen Dist. Prof., Vassar, 1987-8; vis fell., Wolfson Coll., 1996; pres. Virgilian Soc. Am., 1991-3; ACLS Sr. Res. Fell., 1992-3; National Humanities Center fell., 1992-3; John & Penelope Biggs Res. Scholar in Classics, Washington University (St. Louis), March 2000.Freese Sr. fell., Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC, Spring 2004; pres. APA, 2005; vis. fell. Magdalen Coll. (Oxford U.), 2010.

  • Publications:

    “Georgic Imagery in the Arsamatoria,” TAPA95 (1964) 142-54; “Propertius I.17. The Experimental Voyage,” YCS19 (1966) 209-32; “Nature and Art in Vergil's Second Eclogue,” AJP87 (1966) 427-45; “The Unity of EclogueVI,” Latomus27 (1968) 13-32; “Meam quom formam noscito.Language and Characterization in the Menaechmi,” Arethusa2 (1969) 30-45; “De exemplo meo ipse aedificato. An Organizing Idea in the Mostellaria,” Hermes97 (1969) 318-32; “Ergasilus and the Ironies of the Captivi,” C&M30 (1969) 263-96; “The Blindness of Mezentius (Aeneid10.762-768),” Arethusa4 (1971) 83-9; “EclogueIV. Symbolism and Sources,” Arethusa4 (1971) 167-84; “Horace's pateroptimusand Terence's Demea. Autobiographical Fiction and Comedy inSermoI.4,” AJP92 (1971) 616-32; “Corydon Revisited. An Interpretation of the Political Eclogues of Calpurnius Siculus,” Ramus2 (1973) 53-97; “Ekphrasisand the Theme of Artistic Failure in Ovid's Metamorphoses,”Ramus3 (1974) 102-142; “Plautus' Rudens. Venus Born from a Shell,” Texas Stud. in Lit. & Lang 15 (1974) 915-31; Vergil's Eclogues. Landscapes of Experience(Ithaca: Cornell U. Press, 1974). REVS: Latomus XXXIV 1975 1160-1162 Soubiran | Phoenix XXIX 1975 409-410 Smith | AUMLA XLV 1976 98-99 O'Connor | CW LXIX 1976 391 Fantazzi | CR XXVII 1977 111 Lee | CJ LXXII 1977 271-272 Tracy | CP LXXIII 1978 57-60 Betensky; “Neronian Pastoral and the World of Power,” Ramus4 (1975) 204-30; “Sedes apibus. From the Georgicsto the Aeneid,” Vergilius23 (1977) 2-16; “Parthenian Caverns. Remapping of an Imaginative Topography,” JHI39 (1978) 539-60; “Vergil, Horace, Tibullus. Three Collections of Ten,” Ramus7 (1978) 79-105; “The Soldier and Society: Plautus' Miles Gloriosusas Popular Drama,” RSC27 (1979) 185-209; “Poetics and Poetic Design in Tibullus' First Elegiac Book,” Arethusa13 (1980) 79-96; “Sacral-Idyllic Landscape Painting and the Poems of Tibullus' First Book.” Latomus39 (1980) 47-69; “GeorgicsII and the Poem,” Arethusa14 (1981) 35-48; “Metamorphoses of the Actaeon Myth in Campanian Painting,” MDAI(R) 88 (1981) 307-27; “Patrons, Painters, and Patterns. The Anonymity of Romano-Campanian Painting and the Transition from the Second to the Third Style,” in Literary and Artistic Patronage in Ancient Rome, ed. B.K. Gold (Austin: U. of Texas Press, 1982) 135-73; “ ‘Morwe of May’: A Season of Feminine Ambiguity,” in Acts of Interpretation: The Text in Its Context 700-1600. Essays on Medieval and Renaissance Literature in Honor of E. Talbot Donaldson, ed. Carruthers & Kirk  (Norman: U. of Oklahoma Press, 1982) 299-310; “Illustration as Interpretation in Brant’s and Dryden’s Editions of Vergil,” in The Early Illustrated Book: Essays in Honor of Lessing J. Rosenwald, ed. S. Hindman(Washington, DC: Library of Congress, 1982) 175-210; “Transformations in the Georgics. Vergil's Italy and Varro's, I,” in Atti del Convegno mondiale scientifico di studi su Virgilio. Mantova, Roma, Napoli 19-24 settembre 1981, I, ed. Accademia Nazionale Virgiliana (Milan: Mondadori, 1985) 85-109; “Landscape and the Prosperous Life. The Discrimination of Genre in Augustan Literature and Painting,” in The Age of Augustus. Interdisciplinary Conference Held at Brown University, April 30-May 2, 1982, ed. Rolf Winkes (Providence, RI: Brown U. ; Louvain-la-Neuve: Collège Érasme, 1985) 189-95;  “The Punishment of Dirce. A Newly Discovered Painting in the Casa di Giulio Polibio and Its Significance within the Visual Tradition,” MDAI(R)93 (1986) 157-82;The Rhetoric of Space. Literary and Artistic Representations of Landscape in Republican and Augustan Rome (Princeton: Princeton U. Press, 1988). REVS: G&R XXXVI 1989 418-419 Sparkes | CR XL 1990 306-307 Hardie | Ph&Lit XIV 1990 163-164 Prier | AJP CXI 1990 115-117 Laidlaw | AJA XCV 1991 179-181 Bergmann | CPh LXXXVI 1991 158-163 Adams | JRA IV 1991 262-267 Ross | Phoenix XLV 1991 278-282 Kuttner | Vergilius XXXV 1989 124-127 Cleary | CompLit XLIV 1992 84-86 Hurwit | Gnomon LXIV 1992 637-638 R. Jenkyns | Latomus LI 1992 231-234 J.-M. Croisille; “The Implied Reader and the Political Argument in Seneca's Apocolocyntosisand DeClementia,” Arethusa22 (1989) 197-230 (repr. Oxford Readings in Seneca, ed. John Fitch (Oxford: Oxford U. Press, 2008), 264-98)“Some Recent Work on Roman Wall-Painting,”  JRA3 (1990) 255-260; “The Politics of Self-Presentation: Pliny's Letters and Roman Portrait Sculpture,” ClAnt9 (1990) 14-39; “The Iconography of the Black Salonein the Casa di Fabio Rufo,” KJ  24 (1991) 105-12; “Polyphemus in a Landscape: Traditions of Pastoral Courtship,” in The Pastoral Landscape, ed. John Dixon Hunt Studies in the History of Art 36 (Washington, DC: National Gallery of Art, 1992) 63-88; “Reading Signs of Status: Recent Books on Roman Art in the Domestic Sphere,” AJA96 (1992)  551-7; “The Entrance Room in the House of Julius Polibius and the Nature of the Roman Vestibulum,” StichtungBABesch (Leiden: Dutch Institute in Rome, 1992) 23-28; “Absence and Desire in Cicero's De amicitia,” CW87 (1993-4) 3-20; “Horace's Sabine Topography in Lyric and Hexameter Verse,” AJP114 (1993) 271-302; “Horace Carmen1.8: Achilles, the Campus Martius, and the Articulation of Gender Roles in Augustan Rome,” CP89 (1994) 334-43; “Roman Painting,” in Oxford Companion to Archaeology ed. B.M. Fagan (Oxford: Oxford U. Press, 1996) 603-5; “Cicero Decorates a Gymnasium,” Omnibus(1997) 13-16; “Venus, Thetis and the Social Construction of Maternal Behavior,” CJ92 (1997-8) 347-71; “Horace and the Material Culture of Augustan Rome: A Revisionary Reading,” in The Roman Cultural Revolution, ed. Thomas Habinek  & Alessandro Schiesaro (Cambridge: Cambridge Philological Society, 1997) 105-21; “Oecus on Ibycus: Investigating the Vocabulary of the Roman House,” in Sequence and Space in Pompeii,ed. Sara E. Bon and Rick Jones (Oxford: Oxbow Books, 1997) 50-72; “Satyrs and Spectators: Reflections of Theatrical Settings in Third Style Mytholological Continuous Narrative Painting,” in I temi figurative nella pittura parietale antica (IV sec. a.C.-IV sec. d.C.) ed. D. Scagliarini Coriàta, Atti del VI Convegna Internazionale sulla Pittura Parietale Antica(Bologna, 1998) 81-5, 335-6“Personal and Communal Memory in the Reading of Horace's Odes, Books 1-3,” Arethusa31 (1998) 43-74; “Ciceronian Bi-Marcus: Correspondence with M. Terentius Varro and L. Papirius Paetus in 46 B.C.E.,” TAPA129 (1999) 139-79;  “Viewing the spectacula of Aeneid 6,” in Reading Virgil’s Aeneid, ed. Christine Perkell (Norman: U. of Oklahoma Press, 1999) 111-27; “Reconstructing Discourse: Readings of Gender, Identity, and Ideology in Ancient Art: Review Article,” CP94 (1999) 89-98; “Socially Responsible Books on Roman Architecture: Review Article,” CP95 (2000) 77-87; “Cicero’s Pro Sestio:Spectacle and Performance” in Rome and Her Monuments; Essays on the City and Literature of Rome in Honor of Katherine A. Geffcken, ed. J.P. Hallett & S. Dickinson (Urbana: U. of Illinois Press, 2000) 369-97; “Gendering Clodius,” CW94 (2000-1) 335-59; “Narrative Space and the Viewer in Philostratus' Eikones,” MDAI(R) 107 (2000) 237-51; “G.P. Bellori and the Sepolcro de Nasoni: Writin a Poet’s Tomb,” in La peinture funéraire antique IV siècle av. J.-C. -IV siècle apr. J.-C., ed. Alix Arbet (Paris, 2001) 69-77; “Otiumas luxuria: Economy of Status in the Younger Pliny's Letters,” Arethusa36 (2003) 147-65; The Social Life of Painting in Ancient Rome and on the Bay of Naples(Cambridge & New York: Cambridge U. Press, 2004). REVS: ABull 2007 89 (2): 360-364 Ann Lill Kuttner | AJPh 2005 126 (4): 626-629 Katharina Lorenz | BMCRev 2004 (12): n.p. Jas Elsner | CP 2005 100 (4): 369-372 Eve D'Ambra | CR 2006 N. S. 56 (1): 212-213 Roger Ling | JRA 2005 18 (2): 599-603 Zahra Newby | JRS 2007 97 : 345-346 Peter Stewart | Latomus 2006 65 (3): 784-789 Jean-Michel Croisille | Mouseion (Canada) 2005 5 (3): 346-349 Zografia Welch | Phoenix 2006 60 (3-4): 391-393 Katherine M. D. Dunbabin | Altertum 2008 53 (2-3): 229-230 Peter Habermehl; “Doctus spectare lacunar: Roman Ceilings in Verbal Contexts,” in Plafonds e voûtes à l’époque antique (Budapest, 2004) 55-60; “Constructing Identity: Q. Haterius and C. Trimalchio Decorate Their Tombs, in The Art of Citizens, Soldiers, and Freedmen in the Roman World, ed. E.V. D’Ambra & Guy Metraux (Archeo Press, 2006) 1-18; “An gravius aliquid scribam: Roman senioresWrite to iuvenes,”  TAPA136 (2006) 247-67; “Hypermestra's querela: Coopting the Danaids in Horace Ode3.11 and in Augustan Rome,” CW102 (2008-9) 13-32; Harry Berger’s Sprezzatura  and the Rhetorical Poses of Cicero’s de Oratore, inA Touch More Rare: Harry Berger’s Art of Interpretation, ed. D. Miller & N. Levene (New York: Fordham U. Press, 2009) 182-96; “Litora picta…nativis lapillis:Campanian Mosaic Fountains and Their Contexts,” in Proceedings of the 11thCongress of the Association Internationale pour l’Étude de la Peinture Antique (Naples: University Press, 2010) 65-76;  “Fortune's Extremities: Q. Lutatius Catulus and Largo Argentina Temple B: A Roman Consular and His Monument,” MAAR55 (2010) 111-34; “Rhetorical Inventioand the Expectations of Roman Continuous narrative Painting,” in Contested Spaceed. D. Balch & A. Weissenreider (Tübingen: Mohr-Siebeck, 2011) 109-27; “Rome’s Elegiac Topography: The View from the Via Sacra,” in Blackwell’s Elegiac Poetry, ed. B. Gold (Wiley-Blackwell Press, 2012) 134-52; “Pliny's Diffident Suetonius: A Profile in Five Epistulae,” NECJ39 (2012) 87-98; “Response Essay: What Has Pliny To Say,” in Free at Last: The Impact of Freed Slaves on the Roman Empire, ed. Ramsby & Bell (Bristol: Bristol Classical Press, 2012) 196-210;“Pliny’s Epistolary Re-Inscription: Writing the Tombs of Verginius Rufus and Pallas the Claudian Secretary a rationibus,” SyllClass24 (2013) 125-144; “M. Atiliuis Regulus: Turning Defeat into Victory: Diverse Values in an Ambivalent Story,” in Valuing the Past in the Greco-Roman World, ed. C. Pieper & J. Ker (Leiden, 2014) 243-68.

  • Notes:

    It was characteristic of Eleanor Winsor Leach’s indomitable spirit and absolute commitment to her field that she remained active as teacher and scholar up until the very end of her life. She will be remembered as an innovative scholar, a dedicated teacher and mentor, and a major contributor to her profession.

    Although her career ultimately brought her to the Midwest, she remained a New Englander at heart who was undaunted by Bloomington winters as a veteran of many a nor’easter. Her undergraduate years at Bryn Mawr College not only laid the foundation for her future vocation but steeled her to enter a discipline and profession dominated at that time by men; when she moved to Indiana University, Bloomington, she was the only tenured woman in the Department of Classical Studies. She served as chair (1978-1985) and for nearly twenty years was Director of Graduate Studies (1997-2016).

    The wide scope of Ellie’s scholarship is attested by the titles of her four books. She sought to read Latin texts against their contemporary social, political, and cultural background. Her subtle analyses of an astonishing range of Latin authors led to new ways of looking at literary texts—at once closely tied to particular authors, yet at the same time reflecting in complex ways various aspects of a broader cultural mentalité. Starting in the 1980’s, Ellie also began to integrate the study of Roman painting, monuments, and topography into her work on ancient literature, bringing insights to visual narrativity in particular that complemented her explorations of textual narrative. While she eventually won widespread acceptance as a leading exponent of form and meaning in these fields, courage and persistence were required for her to continue these studies, as she met a good deal of resistance from some established figures in the field. Ellie set forth her ideas not only through her books but in over fifty articles and over a hundred invited lectures in the US and the UK, including numerous titled lectures. Her original and creative work won her ACLS, NEH, and Guggenheim fellowships, and many other awards and distinctions.

    As teacher and mentor, Ellie had a huge impact on her students, especially on the twenty-six graduate students who wrote dissertations under her guidance at Indiana University. As a classroom instructor, Ellie conveyed her love of ideas, whether in the year-long graduate survey of Latin Literature she taught in alternate years or her introduction to literary criticism for classicists; she encouraged her students to test out new approaches to classical texts, and took great pleasure in the discoveries they made and their pursuit of these in professional papers, dissertations, articles, and books. Her commitment to her students did not stop when they received their degrees, as she supported and mentored them as they pursued their own careers in classics; she regarded her students as part of her extended family and took great pleasure in hearing of their personal and professional adventures after leaving Indiana University. Ellie’s personal touch was also evident in the way she cultivated a community among graduate students, whom she entertained frequently in her home (her annual celebration of Horace’s birthday was a major event). As one current graduate student put it, “She was just an absolute treasure.”

    Ellie’s service to her profession was remarkable. While her contributions to the Society for Classical Studies (formerly, the American Philological Association) culminated in her presidency in 2005, as Vice-President for the Program Division (1991-94), she helped usher in a new, more open process for members to participate in, and organize panels, for the annual program. She was a trustee of the Vergilian Society (1978-93) and second and then first vice-president of it (1989-92). Ellie’s association with, and deep affection for, the American Academy in Rome, began with service on the Classical Jury (1980-82) and a stay as Resident (Fall 1983).  Her three NEH summer seminars at the Academy in many cases proved seminal for the work of the students and faculty who took part in them. In recent years, she was a familiar presence at the annual Classical Summer School, frequently accompanying the group on site visits and generously volunteering to give guest lectures on monuments, wall painting, and Roman topography. She was active in regional classical associations, especially CAMWS, and closer to home, was a great supporter of the Indiana Classical Conference.

    Although Ellie’s vocation as classicist occupied her seven days a week, she had many other interests and passions. She was an avid reader of literature, ancient and modern; a devotee of NPR (she never owned a TV); a lover of opera (every Saturday afternoon, she listened to the Metropolitan Opera on her radio at her office); and a fan of baseball, which she regarded as a more cerebral sport than football. Ellie loved to travel, especially to Italy, where work and pleasure came together for her almost every summer. Her many students, friends, colleagues, and peers all over the world are very sorry for her passing, and will long remember her. She was a consummate scholar and teacher, and an inspiration to all who knew her. 



  • Sources:

    WhAm Midwest 25 (1996-7) 375.

  • Author: Matthew R. Christ with contributions from Ann Vasaly & Teresa Ramsby