alternative interpretation of Pandora’s curiosity makes it merely an extension of childish innocence. This comes out in portrayals of Pandora as a young girl, as in Walter Crane’s “Little Pandora” spilling buttons while encumbered by the doll she is carrying, in Arthur Rackham’s book illustration and Frederick Stuart Church’s etching of an adolescent girl taken aback by the contents of the ornamental box she has opened. The same innocence informs Odilon Redon’s 1910/12 clothed figure carrying a box and merging into a landscape suffused with light, and even more the 1914 version of a naked Pandora surrounded by flowers, a primaeval Eve in the Garden of Eden. Such innocence, “naked and without alarm” in the words of an earlier French poet, portrays Pandora more as victim of a conflict outside her comprehension than as temptress. Between Eve and Pygmalion Early dramatic treatments of the story of Pandora are works of musical theatre. La Estatua de Prometeo (1670) by Pedro Calderón de la Barca is made an allegory in which devotion to learning is contrasted with the active life. Prometheus moulds a clay statue of Minerva, the goddess of wisdom to whom he is devoted, and gives it life from a stolen sunbeam. This initiates a debate among the gods whether a creation outside their own work is justified; his devotion is in the end rewarded with permission to marry his statue. In this work, Pandora, the statue in question, plays only a passive role in the competition between Prometheus and his brother Epimetheus (signifying the active life), and between the gods and men. Another point to note about Calderón's musical drama is that the theme of a statue married by her creator is more suggestive of the story of Pygmalion. The latter is also typical of Voltaire’s ultimately unproduced opera Pandore (1740). There too the creator of a statue animates it with stolen fire, but then the plot is complicated when Jupiter also falls in love with this new creation but is prevented by Destiny from consummating it. In revenge the god sends Destiny to tempt this new Eve into opening a box full of curses as a punishment for Earth’s revolt against Heaven. If Pandora appears suspended between the roles of Eve and of Pygmalion’s creation in Voltaire’s work, in Charles-Pierre Colardeau’s erotic poem Les Hommes de Prométhée (1774) she is presented equally as a love-object and in addition