and that the latter's desertion of David at the time of Absalom's rebellion was in revenge for David's conduct toward Bathsheba. Kenneth E. Bailey interprets the passage from a different perspective: he says that David's Jerusalem was tightly packed and Bathsheba's house may have been as close as twenty feet away from David's rooftop; people in ancient times were exceptionally modest about their bodies, so he suggests that Bathsheba displayed herself deliberately, so that instead of being an innocent victim, it was actually she who seduced David in order to rid herself of Uriah, and move in with King David. David summoned Bathsheba for sex. Lawrence O. Richards states that the biblical text supports the innocence of Bathsheba, that David took the initiative to find out her identity and summon her, and that she was alone at the time and had no way to refuse the requests of a King. David J. Zucker writes that "[s]he is a victim of 'power rape'". Andrew J. Schmutzer stated that "David's 'taking' Bathsheba makes him responsible for her coming to him." Antony F. Campbell states "The 'violation of Bathsheba' may be the least unsatisfactory terminology, especially given the ambivalence of the text's storytelling." According to Michael D. Coogan, the faulting of David is made clear in the text from the very beginning: "It was springtime, the time when kings go forth to war... but David remained in Jerusalem" (); if David had been away at war, the incident would not have taken place. The Bathsheba incident leads to a shift in the book's perspective; afterwards David "is largely at the mercy of events rather than directing them". He is no longer able to control his family, and ends up being overthrown by Absalom. And in the story of David's son Amnon's rape of his sister Tamar, told so soon after the incident of Bathsheba, seems to draw a parallel between the sexual misconduct of father and son. Cultural references Art – Bathsheba in her bath Along with Eve, Bathsheba was almost the only female whose nude depiction could easily and regularly be justified in Christian art, and she is therefore an important figure in the development of the nude in medieval art. Though sometimes shown clothed at other points in her story, the most common depiction, in both medieval and later art, was Bathsheba at her Bath, the formal name for the subject