<P> The abduction by Paris was another popular motif in ancient Greek vase - painting; definitely more popular than the kidnapping by Theseus . In a famous representation by the Athenian vase painter Makron, Helen follows Paris like a bride following a bridegroom, her wrist grasped by Paris' hand . The Etruscans, who had a sophisticated knowledge of Greek mythology, demonstrated a particular interest in the theme of the delivery of Helen's egg, which is depicted in relief mirrors . </P> <P> In Renaissance painting, Helen's departure from Sparta is usually depicted as a scene of forcible removal (rape) by Paris . This is not, however, the case with certain secular medieval illustrations . Artists of the 1460s and 1470s were influenced by Guido delle Colonne's Historia destructionis Troiae, where Helen's abduction was portrayed as a scene of seduction . In the Florentine Picture Chronicle Paris and Helen are shown departing arm in arm, while their marriage was depicted into Franco - Flemish tapestry . </P> <P> In Christopher Marlowe's Doctor Faustus (1604), Faust conjures the shade of Helen . Upon seeing Helen, Faustus speaks the famous line: "Was this the face that launch'd a thousand ships, / And burnt the topless towers of Ilium ." (Act V, Scene I .) Helen is also conjured by Faust in Goethe's Faust . </P> <P> In Pre-Raphaelite art, Helen is often shown with shining curly hair and ringlets . Other painters of the same period depict Helen on the ramparts of Troy, and focus on her expression: her face is expressionless, blank, inscrutable . In Gustave Moreau's painting, Helen will finally become faceless; a blank eidolon in the middle of Troy's ruins . </P>

The face that launched a thousand ships greek mythology