But an 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.