Tiresias: The Ancient Mediterranean Religions Source Database

9458

Pliny The Elder, Natural History, 34.59
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Intertexts (texts cited often on the same page as the searched text):

14 results
1. Horace, Letters, 2.1.248-2.1.249 (1st cent. BCE - 1st cent. BCE)
2. Ovid, Fasti, 1.261-1.262 (1st cent. BCE - missingth cent. CE) 1.261. And how the treacherous keeper, Tarpeia, bribed with bracelets 1.262. Led the silent Sabines to the heights of the citadel.
3. Propertius, Elegies, 2.31.8 (1st cent. BCE - missingth cent. CE)
4. Petronius Arbiter, Satyricon, 83 (1st cent. CE - 1st cent. CE)
5. Petronius Arbiter, Satyricon, 83 (1st cent. CE - 1st cent. CE)
6. Pliny The Elder, Natural History, 7.75, 13.83, 13.92, 33.147, 34.11-34.12, 34.55, 34.57-34.58, 34.60, 34.62, 35.2-35.13, 35.15, 35.18, 35.20, 35.22-35.28, 35.31, 35.34, 35.46, 35.49, 35.51-35.52, 35.57-35.58, 35.64-35.66, 35.70, 35.72, 35.74, 35.76-35.77, 35.81-35.83, 35.85-35.86, 35.88, 35.91, 35.93, 35.95, 35.97, 35.100, 35.102-35.103, 35.108-35.110, 35.114, 35.116-35.117, 35.119-35.120, 35.127-35.128, 35.130-35.133, 35.136, 35.139, 35.144, 36.13 (1st cent. CE - 1st cent. CE)
7. Plutarch, Lucullus, 42.1-42.4 (1st cent. CE - 2nd cent. CE)
8. Plutarch, Sulla, 26.1-26.2 (1st cent. CE - 2nd cent. CE)
9. Quintilian, Institutio Oratoria, 12.10.3-12.10.9 (1st cent. CE - 1st cent. CE) 12.10.3.  The first great painters, whose works deserve inspection for something more than their mere antiquity, are said to have been Polygnotus and Aglaophon, whose simple colouring has still such enthusiastic admirers that they prefer these almost primitive works, which may be regarded as the first foundations of the art that was to be, over the works of the greatest of their successors, their motive being, in my opinion, an ostentatious desire to seem persons of superior taste. 12.10.4.  Later Zeuxis and Parrhasius contributed much to the progress of painting. These artists were separated by no great distance of time, since both flourished about the period of the Peloponnesian war; for example, Xenophon has preserved a conversation between Socrates and Parrhasius. The first-mentioned seems to have discovered the method of representing light and shade, while the latter is said to have devoted special attention to the treatment of line. 12.10.5.  For Zeuxis emphasised the limbs of the human body, thinking thereby to add dignity and grandeur to his style: it is generally supposed that in this he followed the example of Homer, who likes to represent even his female characters as being of heroic mould. Parrhasius, on the other hand, was so fine a draughtsman that he has been styled the law-giver of his art, on the ground that all other artists take his representations of gods and heroes as models, as though no other course were possible. 12.10.6.  It was, however, from about the period of the reign of Philip down to that of the successors of Alexander that painting flourished more especially, although the different artists are distinguished for different excellences. Proto­genes, for example, was renowned for accuracy, Pamphilus and Melanthius for soundness of taste, Antiphilus for facility, Theon of Samos for his depiction of imaginary scenes, known as φαντασίαι, and Apelles for genius and grace, in the latter of which qualities he took especial pride. Euphranor, on the other hand, was admired on the ground that, while he ranked with the most eminent masters of other arts, he at the same time achieved a marvellous skill in the arts of sculpture and painting. 12.10.7.  The same differences exist between sculptors. The art of Callon and Hegesias is somewhat rude and recalls the Etruscans, but the work of Calamis has already begun to be less stiff, while Myron's statues show a greater form than had been achieved by the artists just mentioned. Polyclitus surpassed all others for care and grace, but although the majority of critics account him as the greatest of sculptors, to avoid making him faultless they express the opinion that his work is lacking in grandeur. 12.10.8.  For while he gave the human form an ideal grace, he is thought to have been less successful in representing the dignity of the gods. He is further alleged to have shrunken from representing persons of maturer years, and to have ventured on nothing more difficult than a smooth and beardless face. But the qualities lacking in Polyclitus are allowed to have been possessed by Phidias and Alcamenes. 12.10.9.  On the other hand, Phidias is regarded as more gifted in his representation of gods station of men, and indeed for chryselephantine statues he is without a peer, as he would in truth be, even if he had produced nothing in this material beyond his Minerva at Athens and his Jupiter at Olympia in Elis, whose beauty is such that it is said to have added something even to the awe with which the god was already regarded: so perfectly did the majesty of the work give the impression of godhead. Lysippus and Praxiteles are asserted to be supreme as regards faithfulness to nature. For Demetrius is blamed for carrying realism too far, and is less concerned about the beauty than the truth of his work.
10. Tacitus, Annals, 2.37 (1st cent. CE - 2nd cent. CE) 2.37.  In addition, he gave monetary help to several senators; so that it was the more surprising when he treated the application of the young noble, Marcus Hortalus, with a superciliousness uncalled for in view of his clearly straitened circumstances. He was a grandson of the orator Hortensius; and the late Augustus, by the grant of a million sesterces, had induced him to marry and raise a family, in order to save his famous house from extinction. With his four sons, then, standing before the threshold of the Curia, he awaited his turn to speak; then, directing his gaze now to the portrait of Hortensius among the orators (the senate was meeting in the Palace), now to that of Augustus, he opened in the following manner:— "Conscript Fathers, these children whose number and tender age you see for yourselves, became mine not from any wish of my own, but because the emperor so advised, and because, at the same time, my ancestors had earned the right to a posterity. For to me, who in this changed world had been able to inherit nothing and acquire nothing, — not money, nor popularity, nor eloquence, that general birthright of our house, — to me it seemed enough if my slender means were neither a disgrace to myself nor a burden to my neighbour. At the command of the sovereign, I took a wife; and here you behold the stock of so many consuls, the offspring of so many dictators! I say it, not to awaken odium, but to woo compassion. Some day, Caesar, under your happy sway, they will wear whatever honours you have chosen to bestow: in the meantime, rescue from beggary the great-grandsons of Quintus Hortensius, the fosterlings of the deified Augustus!
11. Cassius Dio, Roman History, 58.7.2 (2nd cent. CE - 3rd cent. CE) 58.7.2.  (for he was wont to include himself in such sacrifices), a rope was discovered coiled about the neck of the statue. Again, there was the behaviour of a statue of Fortune, which had belonged, they say, to Tullius, one of the former kings of Rome, but was at this time kept by Sejanus at his house and was a source of great pride to him:
12. Pausanias, Description of Greece, 1.14.3, 1.38.7, 4.33.5, 10.18.5, 10.32.13 (2nd cent. CE - 2nd cent. CE) 1.14.3. Some extant verses of Musaeus, if indeed they are to be included among his works, say that Triptolemus was the son of Oceanus and Earth; while those ascribed to Orpheus (though in my opinion the received authorship is again incorrect) say that Eubuleus and Triptolemus were sons of Dysaules, and that because they gave Demeter information about her daughter the sowing of seed was her reward to them. But Choerilus, an Athenian, who wrote a play called Alope, says that Cercyon and Triptolemus were brothers, that their mother was the daughter of Amphictyon, while the father of Triptolemus was Rarus, of Cercyon, Poseidon. After I had intended to go further into this story, and to describe the contents of the sanctuary at Athens, called the Eleusinium, I was stayed by a vision in a dream. I shall therefore turn to those things it is lawful to write of to all men. 1.38.7. My dream forbade the description of the things within the wall of the sanctuary, and the uninitiated are of course not permitted to learn that which they are prevented from seeing. The hero Eleusis, after whom the city is named, some assert to be a son of Hermes and of Daeira, daughter of Ocean; there are poets, however, who have made Ogygus father of Eleusis . Ancient legends, deprived of the help of poetry, have given rise to many fictions, especially concerning the pedigrees of heroes. 4.33.5. I may not reveal the rites of the Great Goddesses, for it is their mysteries which they celebrate in the Carnasian grove, and I regard them as second only to the Eleusinian in sanctity. But my dream did not prevent me from making known to all that the brazen urn, discovered by the Argive general, and the bones of Eurytus the son of Melaneus were kept here. A river Charadrus flows past the grove; 10.18.5. The men of Orneae in Argolis, when hard pressed in war by the Sicyonians, vowed to Apollo that, if they should drive the host of the Sicyonians out of their native land, they would organize a daily procession in his honor at Delphi, and sacrifice victims of a certain kind and of a certain number. Well, they conquered the Sicyonians in battle. But finding the daily fulfillment of their vow a great expense and a still greater trouble, they devised the trick of dedicating to the god bronze figures representing a sacrifice and a procession. 10.32.13. About forty stades distant from Asclepius is a precinct and shrine sacred to Isis, the holiest of all those made by the Greeks for the Egyptian goddess. For the Tithoreans think it wrong to dwell round about it, and no one may enter the shrine except those whom Isis herself has honored by inviting them in dreams. The same rule is observed in the cities above the Maeander by the gods of the lower world; for to all whom they wish to enter their shrines they send visions seen in dreams.
13. Lactantius, Divine Institutes, 1.22.13 (3rd cent. CE - 4th cent. CE)
14. Strabo, Geography, 13.1.54 13.1.54. From Scepsis came the Socratic philosophers Erastus and Coriscus and Neleus the son of Coriscus, this last a man who not only was a pupil of Aristotle and Theophrastus, but also inherited the library of Theophrastus, which included that of Aristotle. At any rate, Aristotle bequeathed his own library to Theophrastus, to whom he also left his school; and he is the first man, so far as I know, to have collected books and to have taught the kings in Egypt how to arrange a library. Theophrastus bequeathed it to Neleus; and Neleus took it to Scepsis and bequeathed it to his heirs, ordinary people, who kept the books locked up and not even carefully stored. But when they heard bow zealously the Attalic kings to whom the city was subject were searching for books to build up the library in Pergamum, they hid their books underground in a kind of trench. But much later, when the books had been damaged by moisture and moths, their descendants sold them to Apellicon of Teos for a large sum of money, both the books of Aristotle and those of Theophrastus. But Apellicon was a bibliophile rather than a philosopher; and therefore, seeking a restoration of the parts that had been eaten through, he made new copies of the text, filling up the gaps incorrectly, and published the books full of errors. The result was that the earlier school of Peripatetics who came after Theophrastus had no books at all, with the exception of only a few, mostly exoteric works, and were therefore able to philosophize about nothing in a practical way, but only to talk bombast about commonplace propositions, whereas the later school, from the time the books in question appeared, though better able to philosophise and Aristotelise, were forced to call most of their statements probabilities, because of the large number of errors. Rome also contributed much to this; for, immediately after the death of Apellicon, Sulla, who had captured Athens, carried off Apellicon's library to Rome, where Tyrannion the grammarian, who was fond of Aristotle, got it in his hands by paying court to the librarian, as did also certain booksellers who used bad copyists and would not collate the texts — a thing that also takes place in the case of the other books that are copied for selling, both here and at Alexandria. However, this is enough about these men.

Subjects of this text:

subject	book bibliographic info
aelius sejanus,l.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
aemilius paullus,m.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
ajax	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
andronicus of rhodes	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
antony,marc	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
apelles,the goddess on one knee	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
aphrodite	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
apollo,and hyacinthus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
aristotle	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67; Steiner (2001), Images in Mind: Statues in Archaic and Classical Greek Literature and Thought, 35
augustus,his letters collected	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
augustus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
authentic versus copy,and pleasure	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
corinthian bronze	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
cornelius sulla,l.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
cult images,danger of	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
deity,powers of	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
delphi,offering of the orneatai	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
dreams,and images	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
eiconic function,of statue'	Steiner (2001), Images in Mind: Statues in Archaic and Classical Greek Literature and Thought, 35
encolpius	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
ethos	Steiner (2001), Images in Mind: Statues in Archaic and Classical Greek Literature and Thought, 35
fortuna	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
gegania	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
horace,and realism	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
house,access to	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
hylas	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
idealization	Steiner (2001), Images in Mind: Statues in Archaic and Classical Greek Literature and Thought, 35
identity,xv–xvi,of prototype and representation	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
image,and ritual	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
image,as ritual	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
image,identified with prototype	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
julius caesar,c.,and the civil war	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
julius caesar,c.,and the gallic war	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
julius caesar,c.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
libraries,of apellicon the teian	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
libraries	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
licinius lucullus,l.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
lucilius	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
magic	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
mentor	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
mimesis	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
miracles,pagan	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
offering,art work as	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
olympia,temple of zeus	Steiner (2001), Images in Mind: Statues in Archaic and Classical Greek Literature and Thought, 35
olynthus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
orneatai,offering at delphi	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
parrhasius,his prometheus torments	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
pathe,portrayal of	Steiner (2001), Images in Mind: Statues in Archaic and Classical Greek Literature and Thought, 35
pausanias,and ritual-centered visuality	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
petronius,and realism	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
place among ancient artists,his realism	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
pliny the elder,on realism	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
polygnotos of thasos	Steiner (2001), Images in Mind: Statues in Archaic and Classical Greek Literature and Thought, 35
pomponius secundus,p.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
pythagoras	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
pythagoras of rhegion (sculptor)	Steiner (2001), Images in Mind: Statues in Archaic and Classical Greek Literature and Thought, 35
realism,and eithopoieia	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
realism	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 100
ritual,image and	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
ritual,image as	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
rouveret,agn`es	Steiner (2001), Images in Mind: Statues in Archaic and Classical Greek Literature and Thought, 35
sempronius gracchus,ti.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
semproniusgracchus,c.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
socrates	Steiner (2001), Images in Mind: Statues in Archaic and Classical Greek Literature and Thought, 35
statue making	Steiner (2001), Images in Mind: Statues in Archaic and Classical Greek Literature and Thought, 35
statues,eiconic function of	Steiner (2001), Images in Mind: Statues in Archaic and Classical Greek Literature and Thought, 35
stewart,andrew	Steiner (2001), Images in Mind: Statues in Archaic and Classical Greek Literature and Thought, 35
tarpeia	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
theophrastus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
trees,citrus wood	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
tullius cicero,m.,his letters collected	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
tyrannion the grammarian	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
vergil,his letters collected	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67
vipsanius agrippa,m.,purchases paintings from the cyzicans	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 67