Home About Network of subjects Linked subjects heatmap Book indices included Search by subject Search by reference Browse subjects Browse texts

Tiresias: The Ancient Mediterranean Religions Source Database



9458
Pliny The Elder, Natural History, 35.139
NaN


Intertexts (texts cited often on the same page as the searched text):

6 results
1. Homer, Iliad, 9.423-9.424, 16.684-16.685, 22.395-22.396, 24.349-24.351, 24.476-24.477 (8th cent. BCE - 7th cent. BCE)

9.423. /hold forth his hand above her, and her people are filled with courage. But go ye your way and declare my message to the chieftains of the Achaeans—for that is the office of elders—to the end that they may devise some other plan in their minds better than this, even such as shall save their ships, and the host of the Achaeans 9.424. /hold forth his hand above her, and her people are filled with courage. But go ye your way and declare my message to the chieftains of the Achaeans—for that is the office of elders—to the end that they may devise some other plan in their minds better than this, even such as shall save their ships, and the host of the Achaeans 16.684. /and anointed him with ambrosia, and clothed him about with immortal raiment, and gave him to swift conveyers to bear with them, even to the twin brethren, Sleep and Death, who set him speedily in the rich land of wide Lycia.But Patroclus with a call to his horses and to Automedon 16.685. /pressed after the Trojans and Lycians, and was greatly blinded in heart, fool that he was! for had he observed the word of the son of Peleus, he would verily have escaped the evil fate of black death. But ever is the intent of Zeus stronger than that of men, for he driveth even a valiant man in rout, and robbeth him of victory 22.395. /He spake, and devised foul entreatment for goodly Hector. The tendons of both his feet behind he pierced from heel to ankle, and made fast therethrough thongs of oxhide, and bound them to his chariot, but left the head to trail. Then when he had mounted his car and had lifted therein the glorious armour 22.396. /He spake, and devised foul entreatment for goodly Hector. The tendons of both his feet behind he pierced from heel to ankle, and made fast therethrough thongs of oxhide, and bound them to his chariot, but left the head to trail. Then when he had mounted his car and had lifted therein the glorious armour 24.349. /With this in his hand the strong Argeiphontes flew, and quickly came to Troy-land and the Hellespont. Then went he his way in the likeness of a young man that is a prince, with the first down upon his lip, in whom the charm of youth is fairest.Now when the others had driven past the great barrow of Ilus 24.350. /they halted the mules and the horses in the river to drink; for darkness was by now come down over the earth. Then the herald looked and was ware of Hermes hard at hand, and he spake to Priam, saying:Bethink thee, son of Dardanus 24.351. /they halted the mules and the horses in the river to drink; for darkness was by now come down over the earth. Then the herald looked and was ware of Hermes hard at hand, and he spake to Priam, saying:Bethink thee, son of Dardanus 24.476. /waited busily upon him; and he was newly ceased from meat, even from eating and drinking, and the table yet stood by his side. Unseen of these great Priam entered in, and coming close to Achilles, clasped in his hands his knees, and kissed his hands, the terrible, man-slaying hands that had slain his many sons. 24.477. /waited busily upon him; and he was newly ceased from meat, even from eating and drinking, and the table yet stood by his side. Unseen of these great Priam entered in, and coming close to Achilles, clasped in his hands his knees, and kissed his hands, the terrible, man-slaying hands that had slain his many sons.
2. 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, 35.100, 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, 35.144, 36.14, 36.22, 36.24, 36.28, 36.35, 36.42 (1st cent. CE - 1st cent. CE)

3. 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.
4. Pausanias, Description of Greece, 1.14.3, 1.38.7, 4.33.5, 5.27.3, 9.27.3, 10.18.5, 10.19.2, 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. 9.27.3. Sappho of Lesbos wrote many poems about Love, but they are not consistent. Later on Lysippus made a bronze Love for the Thespians, and previously Praxiteles one of Pentelic marble. The story of Phryne and the trick she played on Praxiteles I have related in another place. See Paus. 1.20.1 . The first to remove the image of Love, it is said, was Gaius the Roman Emperor; Claudius, they say, sent it back to Thespiae, but Nero carried it away a second time. 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. 10.19.2. When the fleet of Xerxes was attacked by a violent storm off Mount Pelion, father and daughter completed its destruction by dragging away under the sea the anchors and any other security the triremes had. In return for this deed the Amphictyons dedicated statues of Scyllis and his daughter. The statue of Hydna completed the number of the statues that Nero carried off from Delphi . Only those of the female sex who are pure virgins may dive into the sea. This sentence is probably a marginal note which has crept into the text. 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.
5. Various, Anthologia Palatina, 6.246

6. Velleius Paterculus, Roman History, 2.1.2



Subjects of this text:

subject book bibliographic info
achilles Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
alcibiades, and eros Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
antiphilus, his alexander, philip, and athena Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
antiphilus, his hesione Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
apollonides, of nicaea Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
argentarius, marcus Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
artemis Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
artemon, works in portico of octavia Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
caecilius metellus macedonicus, q. Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
cephisodotus, his aesculapius Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
cephisodotus, his diana Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
cinyras Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
cornelia Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
cult images, danger of Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
danaë Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
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
dining Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
dionysius, his zeus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
dionysus Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
doidalses, his venus at bath Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
dreams, and images Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
epigram, erotic' Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
eros, god Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
evening Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
frescoes Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
ganymede Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
hebe Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
hector Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
heracles/hercules Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
heracles Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
hercules, and deianira Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
hesiod Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
his pan and olympus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
homer, iliad Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
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
laomedon Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293; Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
leonidas, of tarentum Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
lysippus, his granicus group Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
magic Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
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
neptune Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
night/nighttime, experience of Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
obsequens, octavius quartio, house of Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
odysseus Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
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 Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
paris/alexander Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
pausanias, and ritual-centered visuality Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
philip ii, of macedon, greek world Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
philip ii, of macedon, philip, garland of Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
philip ii of macedon Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
philiscus of rhodes, his aphrodite Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
phoenix Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
polycharmus, his aphrodite Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
polycles, his zeus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
pompeii Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
porticus of octavia Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
poseidon Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
praxiteles, eros Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
priam Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
priapus Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
rhodes Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
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, portico of octavia, a famous eros in Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
rome, portico of octavia, and athena Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
rome, portico of octavia, and phidias aphrodite Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
rome, portico of octavia, and the granicus group Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
rome, portico of octavia, gabinius deposits standards in Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
rome, portico of octavia, its collection Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
rome, portico of octavia, its scholae Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
rome, portico of octavia, praxiteles works in Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
rome, portico of octavia Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
rome, temple of jupiter stator, junos statue in Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
scopas, cupid attributed to Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
semele Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
serapis Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
stratonice Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 259
tiberius Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381
trojan war Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
troy/trojans Ker and Wessels, The Values of Nighttime in Classical Antiquity: Between Dusk and Dawn (2020) 293
xerxes Bowie, Essays on Ancient Greek Literature and Culture, Volume 2: Comedy, Herodotus, Hellenistic and Imperial Greek Poetry, the Novels (2023) 381