Tiresias: The Ancient Mediterranean Religions Source Database

9458

Pliny The Elder, Natural History, 35.4-35.5
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Intertexts (texts cited often on the same page as the searched text):

20 results
1. Cicero, Letters To His Friends, 7.23 (2nd cent. BCE - 1st cent. BCE)
2. Cicero, Philippicae, 9.14 (2nd cent. BCE - 1st cent. BCE)
3. Varro, On Agriculture, 1.59.2 (2nd cent. BCE - 1st cent. BCE)
4. Ovid, Tristia, 3.1.34 (1st cent. BCE - missingth cent. CE)
5. Vitruvius Pollio, On Architecture, 6.5.2 (1st cent. BCE - 1st cent. BCE)
6. Dio Chrysostom, Orations, 31.48, 31.71, 31.155 (1st cent. CE - missingth cent. CE) 31.48.  Moreover, the plea that they stand on public property is most absurd, if this is really held to be an indication that they do not belong to those who received them, but to the city. Why, if that be true, it will be possible to say that also the things which are on sale in the centre of the market-place belong to the commonwealth, and that the boats, no doubt, do belong, not to their possessors, but to the city, just because they are lying in the harbours. Then, too, an argument which I heard a man advance, as a very strong one in support of that position, I am not disposed to conceal from you: he said that you have made an official list of your statues. What, pray, is the significance of that? Why, the country lying opposite us, Carpathos yonder, the mainland, the other islands, and in general many possessions can be found which the city has listed in its public records, but they have been parcelled out among individuals. 31.71.  Come, then, if any one were to question the magistrate who is set over you, who commands that the inscription be erased and another man's name engraved in its place, asking: "What does this mean? Ye gods, has this man been found guilty of having done the city some terrible wrong so many years after the deed?" In heaven's name, do you not think that he would be deterred, surely if he is a man of common decency? For my part I think that even the mason will blush for shame. And then if children or kinsmen of the great man should happen to appear, what floods of tears do you think they will shed when some one begins to obliterate the name? 31.155.  For instance, many people assert that the statues of the Rhodians are like actors. For just as every actor makes his entrance as one character at one time and at another as another, so likewise your statues assume different rôles at different times and stand almost as if they were acting a part. For instance, one and the same statue, they say, is at one time a Greek, at another time a Roman, and later on, if it so happens, a Macedonian or a Persian; and what is more, with some statues the deception is so obvious that the beholder at once is aware of the deceit. For in fact, clothing, foot-gear, and everything else of that kind expose the fraud.
7. Martial, Epigrams, 9.59 (1st cent. CE - 2nd cent. CE)
8. Martial, Epigrams, 9.59 (1st cent. CE - 2nd cent. CE)
9. Pliny The Elder, Natural History, 34.30, 34.55, 34.57-34.60, 34.62, 35.2-35.3, 35.5-35.15, 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, 36.28-36.29 (1st cent. CE - 1st cent. CE)
10. Plutarch, Lucullus, 39 (1st cent. CE - 2nd cent. CE)
11. Plutarch, Tiberius And Gaius Gracchus, 13.2 (1st cent. CE - 2nd cent. CE)
12. 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.
13. Suetonius, Augustus, 16.2 (1st cent. CE - 2nd cent. CE)
14. Suetonius, Caligula, 5 (1st cent. CE - 2nd cent. CE)
15. Tacitus, Annals, 1.74, 2.73.1, 3.5, 3.76, 4.9.2 (1st cent. CE - 2nd cent. CE) 1.74.  Before long, Granius Marcellus, praetor of Bithynia, found himself accused of treason by his own quaestor, Caepio Crispinus, with Hispo Romanus to back the charge. Caepio was the pioneer in a walk of life which the miseries of the age and effronteries of men soon rendered popular. Indigent, unknown, unresting, first creeping, with his private reports, into the confidence of his pitiless sovereign, then a terror to the noblest, he acquired the favour of one man, the hatred of all, and set an example, the followers of which passed from beggary to wealth, from being despised to being feared, and crowned at last the ruin of others by their own. He alleged that Marcellus had retailed sinister anecdotes about Tiberius: a damning indictment, when the accuser selected the foulest qualities of the imperial character, and attributed their mention to the accused. For, as the facts were true, they were also believed to have been related! Hispo added that Marcellus' own statue was placed on higher ground than those of the Caesars, while in another the head of Augustus had been struck off to make room for the portrait of Tiberius. This incensed the emperor to such a degree that, breaking through his taciturnity, he exclaimed that, in this case, he too would vote, openly and under oath, — the object being to impose a similar obligation on the rest. There remained even yet some traces of dying liberty. Accordingly Gnaeus Piso inquired: "In what order will you register your opinion, Caesar? If first, I shall have something to follow: if last of all, I fear I may inadvertently find myself on the other side." The words went home; and with a meekness that showed how profoundly he rued his unwary outburst, he voted for the acquittal of the defendant on the counts of treason. The charge of peculation went before the appropriate commission. 2.73.1.  His funeral, devoid of ancestral effigies or procession, was distinguished by eulogies and recollections of his virtues. There were those who, considering his personal appearance, his early age, and the circumstances of his death, — to which they added the proximity of the region where he perished, — compared his decease with that of Alexander the Great: — "Each eminently handsome, of famous lineage, and in years not much exceeding thirty, had fallen among alien races by the treason of their countrymen. But the Roman had borne himself as one gentle to his friends, moderate in his pleasures, content with a single wife and the children of lawful wedlock. Nor was he less a man of the sword; though he lacked the other's temerity, and, when his numerous victories had beaten down the Germanies, was prohibited from making fast their bondage. But had he been the sole arbiter of affairs, of kingly authority and title, he would have overtaken the Greek in military fame with an ease proportioned to his superiority in clemency, self-command, and all other good qualities." The body, before cremation, was exposed in the forum of Antioch, the place destined for the final rites. Whether it bore marks of poisoning was disputable: for the indications were variously read, as pity and preconceived suspicion swayed the spectator to the side of Germanicus, or his predilections to that of Piso. 3.5.  There were those who missed the pageantry of a state-funeral and compared the elaborate tributes rendered by Augustus to Germanicus' father, Drusus:— "In the bitterest of the winter, the sovereign had gone in person as far as Ticinum, and, never stirring from the corpse, had entered the capital along with it. The bier had been surrounded with the family effigies of the Claudian and Livian houses; the dead had been mourned in the Forum, eulogized upon the Rostra; every distinction which our ancestors had discovered, or their posterity invented, was showered upon him. But to Germanicus had fallen not even the honours due to every and any noble! Granted that the length of the journey was a reason for cremating his body, no matter how, on foreign soil, it would only have been justice that he should have been accorded all the more distinctions later, because chance had denied them at the outset. His brother had gone no more than one day's journey to meet him; his uncle not even to the gate. Where were those usages of the ancients — the image placed at the head of the couch, the set poems to the memory of departed virtue, the panegyrics, the tears, the imitations (if no more) of sorrow? 3.76.  Junia, too, born niece to Cato, wife of Caius Cassius, sister of Marcus Brutus, looked her last on life, sixty-three full years after the field of Philippi. Her will was busily discussed by the crowd; because in disposing of her great wealth she mentioned nearly every patrician of note in complimentary terms, but omitted the Caesar. The slur was taken in good part, and he offered no objection to the celebration of her funeral with a panegyric at the Rostra and the rest of the customary ceremonies. The effigies of twenty great houses preceded her to the tomb — members of the Manlian and Quinctian families, and names of equal splendour. But Brutus and Cassius shone brighter than all by the very fact that their portraits were unseen.
16. Tacitus, Dialogus De Oratoribus, 28.5-28.6 (1st cent. CE - 2nd cent. CE)
17. Cassius Dio, Roman History, 43.45.3-43.45.4, 55.8.2, 55.9.6, 60.25.2-60.25.3 (2nd cent. CE - 3rd cent. CE) 43.45.3.  Another likeness they set up in the temple of Quirinus with the inscription, "To the Invincible God," and another on the Capitol beside the former kings of Rome. 43.45.4.  Now it occurs to me to marvel at the coincidence: there were eight such statues, — seven to the kings, and an eighth to the Brutus who overthrew the Tarquins, — and they set up the statue of Caesar beside the last of these; and it was from this cause chiefly that the other Brutus, Marcus, was roused to plot against him. 55.8.2.  After assigning to himself the duty of repairing the temple of Concord, in order that he might inscribe upon it his own name and that of Drusus, he celebrated his triumph, and in company with his mother dedicated the precinct called the precinct of Livia. He gave a banquet to the senate on the Capitol, and she gave one on her own account to the women somewhere or other. 55.9.6.  He made the journey as a private citizen, though he exercised his authority by compelling the Parians to sell him the statue of Vesta, in order that it might be placed in the temple of Concord; and when he reached Rhodes, he refrained from haughty conduct in both word and deed. 60.25.2.  Accordingly, as in earlier times, one of the praetors, one of the tribunes, and one of each of the other groups of officials recited the oaths for their colleagues. This practice was followed for several years. In view of the fact that the city was becoming filled with a great multitude of images (for any who wished were free to have their likenesses appear in public in a painting or in bronze or marble) 60.25.3.  Claudius removed most of them elsewhere and for the future forbade that any private citizen should be allowed to follow the practice, except by permission of the senate or unless he should have built or repaired some public work; for he permitted such persons and their relatives to have their images set up in the places in question.
18. Gellius, Attic Nights, 6.1.6 (2nd cent. CE - 2nd cent. CE)
19. 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.
20. Various, Anthologia Latina, 9.730

Subjects of this text:

subject	book bibliographic info
alexander the great,and apelles	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
alexander the great,repatriates greek art from persia	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
arcesilaus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
artist,as critics	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
artist,treatises by	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
asia	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
augustus,c. iulius caesar octavianus	Romana Berno (2023), Roman Luxuria: A Literary and Cultural History, 137
augustus,cleans capitoline of statues	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
augustus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
authentic versus copy,and education	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
authentic versus copy,and pleasure	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
avianius evander,c.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
banquets	Romana Berno (2023), Roman Luxuria: A Literary and Cultural History, 137
claudius,t. caesar augustus germanicus	Romana Berno (2023), Roman Luxuria: A Literary and Cultural History, 137
clothing	Romana Berno (2023), Roman Luxuria: A Literary and Cultural History, 137
corinthian bronze	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
cornelius scipio nasica,p.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
cubiculum	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
cult images,danger of	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
cynicism	Romana Berno (2023), Roman Luxuria: A Literary and Cultural History, 137
damasippus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
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
demetrius the cynic	Romana Berno (2023), Roman Luxuria: A Literary and Cultural History, 137
dreams,and images	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
edwards,c.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
elsner,j.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
euphranor,his de symmetria et coloribus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
euphranor,portrait of theseus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
flower,h.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
fool	Romana Berno (2023), Roman Luxuria: A Literary and Cultural History, 137
funeral speech	Papaioannou et al. (2021), Rhetoric and Religion in Ancient Greece and Rome, 154; Papaioannou, Serafim and Demetriou (2021), Rhetoric and Religion in Ancient Greece and Rome, 154
germanicus caesar	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
greek,art	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
herculaneum	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
holliday,p. j.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
hölscher,t.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
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
impietas against,veneration of	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
impietas against,viewer response to	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
lares	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
licinius lucullus,l.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
lucian	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
lysippus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
magic	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
megabyzus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
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
mummius achaicus,l.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
museum,the capitoline museum	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
museum,the vatican museum	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
myron,his bull	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
neptune	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
offering,art work as	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
orneatai,offering at delphi	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
painting,in roman education	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
palladium,as talisman	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
parrhasius,his theseus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
pausanias,and ritual-centered visuality	Elsner (2007), Roman Eyes: Visuality and Subjectivity in Art and Text, 42
pausanias	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
persia	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
phidias	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
philip ii of macedon	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
pinacothecae	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
pliny the elder	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83, 303
pliny the younger,on artists	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
pompeii,house of the vettii	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
popilius laenas,m.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
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
rome,forum of julius caesar	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
rome,forum of peace,and venus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
rome,palatine hill	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
rome,portico of octavia	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
rome,roma quadrata	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
rome,saepta julia,statues of achilles and chiron in	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
rome,saepta julia,statues of olympus and pan in	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
rome,temple of apollo palatinus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
rome,temple of apollo sosianus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
rome,temple of divus augustus,victoria in	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
rome,temple of fortuna primigenia	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
rome,temple of fortuna publica citerior	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
rome,temple of fortuna publica populi romani	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
rome,temple of venus genetrix	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
rome,tres fortunae	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
rome	Papaioannou et al. (2021), Rhetoric and Religion in Ancient Greece and Rome, 154; Papaioannou, Serafim and Demetriou (2021), Rhetoric and Religion in Ancient Greece and Rome, 154
sempronius gracchus,ti.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
semproniusgracchus,c.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
statuary,over-population of	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
statuary,problems of identification	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 303
sthenius of thermae	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
thompson,m. l.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
tiberius,iulius caesar augustus'	Romana Berno (2023), Roman Luxuria: A Literary and Cultural History, 137
tiberius	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
tullius cicero,m.,on artists	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
valerius publicola,p.,as collector	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
verres,c.,looting of sicily	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 83
verres,c.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
viewers,elite versus non-elite	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
viewers,shared values of	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 105
vipsanius agrippa,m.,on public art	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
vitruvius,on houses	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58
vitruvius	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 58