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Tiresias: The Ancient Mediterranean Religions Source Database



9458
Pliny The Elder, Natural History, 35.74
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Intertexts (texts cited often on the same page as the searched text):

3 results
1. 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, 35.76-35.77, 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, 35.139, 35.144, 36.58 (1st cent. CE - 1st cent. CE)

2. 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.
3. 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
alexander the great, and the alexander mosaic Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
antigonus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
attalus i of pergamum Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
boëthius, his hercules Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
cult images, danger of Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
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
dreams, and images Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text (2007) 42
eumenes i of pergamum Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
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
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
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
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
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
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
protogenes, his ialysus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
pyromachus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
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 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
stratonicus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
timanthus of cynthus Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275
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 Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 275