Notably Lot's daughters have sons, although their descendants, the Moabites and Ammonites, became persistent enemies of Israel.
The large, half naked woman in the right foreground is one of Lot's daughters; the two small figures resting or sleeping beneath the trees are Lot and his other daughter; the thatched houses in the middle left represent the little town of Segor where Lot first fled; the sheep represent livestock that Lot brought out of Sodom, as do the boar and goat; the boar and goat, however, also serve as symbols of lust and lechery; and the distant city with burning buildings in the city's right quarter is Sodom.
Lot's seduction by his daughters was not a particularly popular theme in medieval art.
Emphasis on the same events appear frequently as a theme in the Speculum humanae salvationis, where Lot's liberation from Sodom is coupled with Abraham's liberation from Ur, the latter an event related by Peter Comestor in his Historia scholastica.
Similar choices appear on a folio in a German Universal Chronicle of about 1375-1380 [ILLUSTRATION FOR FIGURE 4 OMITTED],(16) which displays the novelty of an empty outline to represent Lot's wife as a statue.
Although infrequently portrayed in medieval art, Lot's seduction does indeed turn up.
A different approach to Lot's seduction occurs in the fourteenth-century French Bible of Jean de Sy.(19) Contemporized imagery tells Lot's story, which begins on folio 27 verso where Lot leaves Sodom with his wife and daughters.
A Bavarian version of Lot's seduction occurs in a Weltchronik of about 1405-1410.(20) Lot's flight with his daughters and his wife transformed into a pillar of salt are portrayed on folio 31 verso; then on 32 recto [ILLUSTRATION FOR FIGURE 8 OMITTED], two sequential scenes report Lot's seduction.
His portrayal of Lot and His Daughters Fleeing from Sodom and Gomorrah of about 1498 [ILLUSTRATION FOR FIGURE 9 OMITTED](22) reveals traditional elements of Lot's story in a realistic mode.
Joachim Patinir, for example, though not interested in Lot's seduction, created several versions of the biblical story in dramatic landscape settings.(23) The theme of Lot's seduction, however, did achieve great success in the sixteenth century when decorous treatment of the biblical story moved rapidly toward the sensuous aspects of Lot's seduction.
Lucas Cranach, who repeatedly portrayed biblical women such as Salome and Judith, also produced multiple versions of Lot's seduction, similar to the one reproduced here [ILLUSTRATION FOR FIGURE 11 OMITTED].(25) Cranach relegated most of the biblical story to the distant background - the burning city, tiny figures in flight, and Lot's wife as a statue - and he emphasized the seduction, placing the three main characters in the foreground.
In the Dresden painting [ILLUSTRATION FOR FIGURE 15 OMITTED](29) one of Lot's daughters, seductively naked except for a draped cloth that covers the lower part of her body, extends her arms around her father, who, seated close to her, appears submissive.