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Tiresias: The Ancient Mediterranean Religions Source Database



9458
Pliny The Elder, Natural History, 35.102-35.103
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Intertexts (texts cited often on the same page as the searched text):

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

2. Livy, History, 45.35.3 (1st cent. BCE - 1st cent. BCE)

3. Strabo, Geography, 7.6.1 (1st cent. BCE - 1st cent. BCE)

7.6.1. Pontic seaboard The remainder of the country between the Ister and the mountains on either side of Paeonia consists of that part of the Pontic seaboard which extends from the Sacred Mouth of the Ister as far as the mountainous country in the neighborhood of the Haemus and as far as the mouth at Byzantium. And just as, in traversing the Illyrian seaboard, I proceeded as far as the Ceraunian Mountains, because, although they fall outside the mountainous country of Illyria, they afford an appropriate limit, and just as I determined the positions of the tribes of the interior by these mountains, because I thought that marks of this kind would be more significant as regards both the description at hand and what was to follow, so also in this case the seaboard, even though it falls beyond the mountain-line, will nevertheless end at an appropriate limit — the mouth of the Pontus — as regards both the description at hand and that which comes next in order. So, then, if one begins at the Sacred Mouth of the Ister and keeps the continuous seaboard on the right, one comes, at a distance of five hundred stadia, to a small town, Ister, founded by the Milesians; then, at a distance of two hundred and fifty stadia, to a second small town, Tomis; then, at two hundred and eighty stadia, to a city Callatis, a colony of the Heracleotae; then, at one thousand three hundred stadia, to Apollonia, a colony of the Milesians. The greater part of Apollonia was founded on a certain isle, where there is a sanctuary of Apollo, from which Marcus Lucullus carried off the colossal statue of Apollo, a work of Calamis, which he set up in the Capitolium. In the interval between Callatis and Apollonia come also Bizone, of which a considerable part was engulfed by earthquakes, Cruni, Odessus, a colony of the Milesians, and Naulochus, a small town of the Mesembriani. Then comes the Haemus Mountain, which reaches the sea here; then Mesembria, a colony of the Megarians, formerly called Menebria (that is, city of Menas, because the name of its founder was Menas, while bria is the word for city in the Thracian language. In this way, also, the city of Selys is called Selybria and Aenus was once called Poltyobria). Then come Anchiale, a small town belonging to the Apolloniatae, and Apollonia itself. On this coast-line is Cape Tirizis, a stronghold, which Lysimachus once used as a treasury. Again, from Apollonia to the Cyaneae the distance is about one thousand five hundred stadia; and in the interval are Thynias, a territory belonging to the Apolloniatae (Anchiale, which also belongs to the Apolloniatae), and also Phinopolis and Andriake, which border on Salmydessus. Salmydessus is a desert and stony beach, harborless and wide open to the north winds, and in length extends as far as the Cyaneae, a distance of about seven hundred stadia; and all who are cast ashore on this beach are plundered by the Astae, a Thracian tribe who are situated above it. The Cyaneae are two islets near the mouth of the Pontus, one close to Europe and the other to Asia; they are separated by a channel of about twenty stadia and are twenty stadia distant both from the sanctuary of the Byzantines and from the sanctuary of the Chalcedonians. And this is the narrowest part of the mouth of the Euxine, for when one proceeds only ten stadia farther one comes to a headland which makes the strait only five stadia in width, and then the strait opens to a greater width and begins to form the Propontis.
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, 34.55, 34.57-34.60, 34.62, 34.84, 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, 35.100, 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, 35.157, 36.58 (1st cent. CE - 1st cent. CE)

7. Plutarch, Moralia, None (1st cent. CE - 2nd cent. CE)

8. 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.
9. Suetonius, Augustus, 29.2 (1st cent. CE - 2nd cent. CE)

10. Cassius Dio, Roman History, 54.8.3, 55.10.3 (2nd cent. CE - 3rd cent. CE)

54.8.3.  Indeed, in honour of this success he commanded that sacrifices be decreed and likewise a temple to Mars Ultor on the Capitol, in imitation of that of Jupiter Feretrius, in which to dedicate the standards; and he himself carried out both decrees. Moreover he rode into the city on horseback and was honoured with a triumphal arch. 55.10.3.  that the senate should take its votes there in regard to the granting of triumphs, and that the victors after celebrating them should dedicate to this Mars their sceptre and their crown; that such victors and all others who receive triumphal honours should have their statues in bronze erected in the Forum;
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.
12. Obsequens, De Prodigiis, 50, 57, 44 (3rd cent. CE - 4th cent. CE)



Subjects of this text:

subject book bibliographic info
accius, l. Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 30
aemilius paullus, m., and persues royal galley Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
aeneas, ship preserved Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
alexander the great, and apelles Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
alexander the great, and the alexander mosaic Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
alexander the great Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
antigonus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
apelles, conservation methods of Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
artworks Jażdżewska and Doroszewski,Plutarch and his Contemporaries: Sharing the Roman Empire (2024) 226
attalus i of pergamum Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
attius priscus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
augustus, and mars ultor Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
augustus, retrieves parthian standards Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
augustus, writes an ajax Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 30
augustus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 30
beauty Jażdżewska and Doroszewski,Plutarch and his Contemporaries: Sharing the Roman Empire (2024) 226
boëthius, his hercules Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
caecilia, gaia Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
carrhae Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
colour, and restoration Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
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
dalmatia Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
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
dickens, charles Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
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
encolpius Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
ennius, his aiax mastigophorus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 30
eumenes i of pergamum Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
evander, king Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
gauls, invade asia minor Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
gauls, the capitoline gaul Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
gorgasus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
helena, and alexander at the issus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
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
isigonus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
jewish war Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
lucilius Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
ludi, apollinares Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
lysippus, and alexander the great Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
magic Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
martial, on realism Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
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
nicomachus, his apollo and artemis Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
nicomachus, his bacchants Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
nicomachus, his magna mater Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
nicomachus, his scylla Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
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
pacuvius Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 30
painters Jażdżewska and Doroszewski,Plutarch and his Contemporaries: Sharing the Roman Empire (2024) 226
painting, restoration of Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
painting Jażdżewska and Doroszewski,Plutarch and his Contemporaries: Sharing the Roman Empire (2024) 226
parrhasius, and realism Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
pausanias, and ritual-centered visuality Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
pergamum, neros attempted looting of Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
pergamum, school Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
phidias Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
place among ancient artists, his realism Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
pliny the elder, on realism Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
possis Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
preference for realism Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
procopius, on aeneas ship Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
protogenes, his ialysus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275, 297
protogenes (painter) Jażdżewska and Doroszewski,Plutarch and his Contemporaries: Sharing the Roman Empire (2024) 226
pyromachus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
realism Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
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, forum of augustus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
rome, forum of peace, and the domus aurea Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
rome, forum of peace, boëthius works in Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
rome, forum of peace, gauls depicted in Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
rome, forum of peace, its collection Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
rome, forum of peace, nile depicted in Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
rome, forum of peace, protogenes works in Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
rome, forum of peace, spoils of jewish war adorn Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
rome, forum of peace Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
rome, navalia Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
rome, portico of octavia, gabinius deposits standards in Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
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) 30
rome, temple of fortuna huiusce diei Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
rome, temple of honos et virtus, painting restored Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
rome, temple of mars ultor Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
rome, temple of mars ultor in capitolio Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
rome Jażdżewska and Doroszewski,Plutarch and his Contemporaries: Sharing the Roman Empire (2024) 226
sculptures Jażdżewska and Doroszewski,Plutarch and his Contemporaries: Sharing the Roman Empire (2024) 226
ships, displayed as spoils Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
similitudo Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
standards Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
statuary, restoration of Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
statues' Jażdżewska and Doroszewski,Plutarch and his Contemporaries: Sharing the Roman Empire (2024) 226
stratonicus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
templum pacis Jażdżewska and Doroszewski,Plutarch and his Contemporaries: Sharing the Roman Empire (2024) 226
tiber Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
timanthus of cynthus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
trimalchio, his house Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
trojans, as romes ancestors Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
troy Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132
tullius cicero, m. Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
valerius publicola, p., on realism Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
vespasian, and nero Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
vespasian, declared emperor in egypt Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
vespasian, fights northern barbarians Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
vespasian, restores temple of honos et virtus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297
vespasian Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 132, 275
zeuxis, and realism Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 99
zeuxis Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 297