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Tiresias: The Ancient Mediterranean Religions Source Database



9458
Pliny The Elder, Natural History, 35.100
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Intertexts (texts cited often on the same page as the searched text):

11 results
1. Cicero, On Divination, 1.30-1.31 (2nd cent. BCE - 1st cent. BCE)

1.30. Non igitur obnuntiatio Ateii causam finxit calamitatis, sed signo obiecto monuit Crassum, quid eventurum esset, nisi cavisset. Ita aut illa obnuntiatio nihil valuit aut, si, ut Appius iudicat, valuit, id valuit, ut peccatum haereat non in eo, qui monuerit, sed in eo, qui non obtemperarit. Quid? lituus iste vester, quod clarissumum est insigne auguratus, unde vobis est traditus? Nempe eo Romulus regiones direxit tum, cum urbem condidit. Qui quidem Romuli lituus, id est incurvum et leviter a summo inflexum bacillum, quod ab eius litui, quo canitur, similitudine nomen invenit, cum situs esset in curia Saliorum, quae est in Palatio, eaque deflagravisset, inventus est integer. 1.31. Quid? multis annis post Romulum Prisco regte Tarquinio quis veterum scriptorum non loquitur, quae sit ab Atto Navio per lituum regionum facta discriptio? Qui cum propter paupertatem sues puer pasceret, una ex iis amissa vovisse dicitur, si recuperasset, uvam se deo daturum, quae maxima esset in vinea; itaque sue inventa ad meridiem spectans in vinea media dicitur constitisse, cumque in quattuor partis vineam divisisset trisque partis aves abdixissent, quarta parte, quae erat reliqua, in regiones distributa mirabili magnitudine uvam, ut scriptum videmus, invenit. Qua re celebrata cum vicini omnes ad eum de rebus suis referrent, erat in magno nomine et gloria. 1.31. What ancient chronicler fails to mention the fact that in the reign of Tarquinius Priscus, long after the time of Romulus, a quartering of the heavens was made with this staff by Attus Navius? Because of poverty Attus was a swineherd in his youth. As the story goes, he, having lost one of his hogs, made a vow that if he recovered it he would make an offering to the god of the largest bunch of grapes in his vineyard. Accordingly, after he had found the hog, he took his stand, we are told, in the middle of the vineyard, with his face to the south and divided the vineyard into four parts. When the birds had shown three of these parts to be unfavourable, he subdivided the fourth and last part and then found, as we see it recorded, a bunch of grapes of marvellous size.This occurrence having been noised abroad, all his neighbours began to consult him about their own affairs and thus greatly enhanced his name and fame.
2. Cicero, On Laws, 2.4 (2nd cent. BCE - 1st cent. BCE)

3. Cicero, Philippicae, 9.14 (2nd cent. BCE - 1st cent. BCE)

4. Livy, History, 24.16 (1st cent. BCE - 1st cent. BCE)

5. Petronius Arbiter, Satyricon, 83 (1st cent. CE - 1st cent. CE)

6. Petronius Arbiter, Satyricon, 83 (1st cent. CE - 1st cent. CE)

7. Pliny The Elder, Natural History, 34.55, 34.57-34.60, 34.62, 35.2-35.13, 35.15, 35.18, 35.20, 35.22-35.28, 35.31, 35.34, 35.44, 35.46, 35.49, 35.51-35.52, 35.57-35.58, 35.60, 35.64-35.68, 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, 35.97-35.98, 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, 35.154 (1st cent. CE - 1st cent. CE)

8. Plutarch, Fabius, 22.6 (1st cent. CE - 2nd cent. CE)

22.6. However, he removed the colossal statue of Heracles from Tarentum, and set it up on the Capitol, and near it an equestrian statue of himself, in bronze. He thus appeared far more eccentric in these matters than Marcellus, nay rather, the mild and humane conduct of Marcellus was thus made to seem altogether admirable by contrast, as has been written in his Life. Chapter xxi. Marcellus had enriched Rome with works of Greek art taken from Syracuse in 212 B.C. Livy’s opinion is rather different from Plutarch’s: sed maiore animo generis eius praeda abstinuit Fabius quam Marcellus, xxvii. 16. Fabius killed the people but spared their gods; Marcellus spared the people but took their gods.
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. Valerius Maximus, Memorable Deeds And Sayings, 1.8.11 (1st cent. CE - 1st cent. CE)

11. Pausanias, Description of Greece, 1.14.3, 1.38.7, 4.33.5, 5.27.3, 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; 5.27.3. This is the horse in which is, say the Eleans, the hippomanes (what maddens horses). It is plain to all that the quality of the horse is the result of magic skill. It is much inferior in size and beauty to all the horses standing within the Altis. Moreover, its tail has been cut off which makes the figure uglier still. But male horses, not only in spring but on any day, are at heat towards it. 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.


Subjects of this text:

subject book bibliographic info
apelles, conservation methods of Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
attius priscus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
auctoritas Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 29
colour, and restoration Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
constantinople Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 29
cornelius pinus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
cult images, danger of Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
damophilus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
deity, powers of Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
delphi, offering of the orneatai Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
dominus et deus, equestrian statue of Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
dreams, and images Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
fides, and trebellius Clark, Divine Qualities: Cult and Community in Republican Rome (2007) 179
fides, temple Clark, Divine Qualities: Cult and Community in Republican Rome (2007) 179
gorgasus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
identity, construction of Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 29
identity, roman Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 29
identity, xv–xvi, of prototype and representation Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
image, and ritual Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
image, as ritual Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
image, identified with prototype Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
interactions Clark, Divine Qualities: Cult and Community in Republican Rome (2007) 179
libertas, temple Clark, Divine Qualities: Cult and Community in Republican Rome (2007) 179
ludi, apollinares Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
m. tullius cicero, divine qualities in oratory Clark, Divine Qualities: Cult and Community in Republican Rome (2007) 179
magic Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
mars, father of rome Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 29
mimesis Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
miracles, pagan Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
mnemosyne Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 29
muse Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 29
names, cognomina' Clark, Divine Qualities: Cult and Community in Republican Rome (2007) 179
objects, restoration of Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
offering, art work as Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
orneatai, offering at delphi Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
painting, restoration of Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
pausanias, and ritual-centered visuality Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
protogenes, his ialysus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
res gestae Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 29
ritual, image and Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
ritual, image as Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
rome, temple of ceres, restored after fire Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
rome, temple of divus augustus, victoria in Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 29
rome, temple of honos et virtus, painting restored Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
statuary, restoration of Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
tullius cicero, m. Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
venus, mother of rome Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 29
venus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 29
vespasian, restores temple of honos et virtus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
zeuxis Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297