Tiresias: The Ancient Mediterranean Religions Source Database

9573

Plutarch, Fabius, 22.6

οὐ μὴν ἀλλὰ τὸν κολοσσὸν τοῦ Ἡρακλέους μετακομίσας ἐκ Τάραντος ἔστησεν ἐν Καπιτωλίῳ, καὶ πλησίον ἔφιππον εἰκόνα χαλκῆν ἑαυτοῦ, πολὺ Μαρκέλλου φανεὶς ἀτοπώτερος περὶ ταῦτα, μᾶλλον δʼ ὅλως ἐκεῖνον ἄνδρα πρᾳότητι καὶ φιλανθρωπίᾳ θαυμαστὸν ἀποδείξας, ὡς ἐν τοῖς περὶ ἐκείνου γέγραπται. However, he removed the colossal statue of Heracles from Tarentum, and set it up on the Capitol, and near it an equestrian statue of himself, in bronze. He thus appeared far more eccentric in these matters than Marcellus, nay rather, the mild and humane conduct of Marcellus was thus made to seem altogether admirable by contrast, as has been written in his Life. Chapter xxi. Marcellus had enriched Rome with works of Greek art taken from Syracuse in 212 B.C. Livy’s opinion is rather different from Plutarch’s: sed maiore animo generis eius praeda abstinuit Fabius quam Marcellus, xxvii. 16. Fabius killed the people but spared their gods; Marcellus spared the people but took their gods.

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

24 results
1. Cicero, On Divination, 1.30-1.31, 1.101 (2nd cent. BCE - 1st cent. BCE) 1.30. Non igitur obnuntiatio Ateii causam finxit calamitatis, sed signo obiecto monuit Crassum, quid eventurum esset, nisi cavisset. Ita aut illa obnuntiatio nihil valuit aut, si, ut Appius iudicat, valuit, id valuit, ut peccatum haereat non in eo, qui monuerit, sed in eo, qui non obtemperarit. Quid? lituus iste vester, quod clarissumum est insigne auguratus, unde vobis est traditus? Nempe eo Romulus regiones direxit tum, cum urbem condidit. Qui quidem Romuli lituus, id est incurvum et leviter a summo inflexum bacillum, quod ab eius litui, quo canitur, similitudine nomen invenit, cum situs esset in curia Saliorum, quae est in Palatio, eaque deflagravisset, inventus est integer. 1.31. Quid? multis annis post Romulum Prisco regte Tarquinio quis veterum scriptorum non loquitur, quae sit ab Atto Navio per lituum regionum facta discriptio? Qui cum propter paupertatem sues puer pasceret, una ex iis amissa vovisse dicitur, si recuperasset, uvam se deo daturum, quae maxima esset in vinea; itaque sue inventa ad meridiem spectans in vinea media dicitur constitisse, cumque in quattuor partis vineam divisisset trisque partis aves abdixissent, quarta parte, quae erat reliqua, in regiones distributa mirabili magnitudine uvam, ut scriptum videmus, invenit. Qua re celebrata cum vicini omnes ad eum de rebus suis referrent, erat in magno nomine et gloria. 1.101. Saepe etiam et in proeliis Fauni auditi et in rebus turbidis veridicae voces ex occulto missae esse dicuntur; cuius generis duo sint ex multis exempla, sed maxuma: Nam non multo ante urbem captam exaudita vox est a luco Vestae, qui a Palatii radice in novam viam devexus est, ut muri et portae reficerentur; futurum esse, nisi provisum esset, ut Roma caperetur. Quod neglectum tum, cum caveri poterat, post acceptam illam maximam cladem expiatum est; ara enim Aio Loquenti, quam saeptam videmus, exadversus eum locum consecrata est. Atque etiam scriptum a multis est, cum terrae motus factus esset, ut sue plena procuratio fieret, vocem ab aede Iunonis ex arce extitisse; quocirca Iunonem illam appellatam Monetam. Haec igitur et a dis significata et a nostris maioribus iudicata contemnimus? 1.31. What ancient chronicler fails to mention the fact that in the reign of Tarquinius Priscus, long after the time of Romulus, a quartering of the heavens was made with this staff by Attus Navius? Because of poverty Attus was a swineherd in his youth. As the story goes, he, having lost one of his hogs, made a vow that if he recovered it he would make an offering to the god of the largest bunch of grapes in his vineyard. Accordingly, after he had found the hog, he took his stand, we are told, in the middle of the vineyard, with his face to the south and divided the vineyard into four parts. When the birds had shown three of these parts to be unfavourable, he subdivided the fourth and last part and then found, as we see it recorded, a bunch of grapes of marvellous size.This occurrence having been noised abroad, all his neighbours began to consult him about their own affairs and thus greatly enhanced his name and fame. 1.101. Again, we are told that fauns have often been heard in battle and that during turbulent times truly prophetic messages have been sent from mysterious places. Out of many instances of this class I shall give only two, but they are very striking. Not long before the capture of the city by the Gauls, a voice, issuing from Vestas sacred grove, which slopes from the foot of the Palatine Hill to New Road, was heard to say, the walls and gates must be repaired; unless this is done the city will be taken. Neglect of this warning, while it was possible to heed it, was atoned for after the supreme disaster had occurred; for, adjoining the grove, an altar, which is now to be seen enclosed with a hedge, was dedicated to Aius the Speaker. The other illustration has been reported by many writers. At the time of the earthquake a voice came from Junos temple on the citadel commanding that an expiatory sacrifice be made of a pregt sow. From this fact the goddess was called Juno the Adviser. Are we, then, lightly to regard these warnings which the gods have sent and our forefathers adjudged to be trustworthy?
2. Cicero, On Laws, 2.4 (2nd cent. BCE - 1st cent. BCE)
3. Cicero, On Duties, 2.76 (2nd cent. BCE - 1st cent. BCE) 2.76. Laudat Africanum Panaetius, quod fuerit abstinens. Quidni laudet? Sed in illo alia maiora; laus abstinentiae non hominis est solum, sed etiam temporum illorum. Omni Macedonum gaza, quae fuit maxima, potitus est Paulus tantum in aerarium pecuniae invexit, ut unius imperatoris praeda finem attulerit tributorum. At hic nihil domum suam intulit praeter memoriam nominis sempiternam. Imitatus patrem Africanus nihilo locupletior Carthagine eversa. Quid? qui eius collega fuit in censura. L. Mummius, numquid copiosior, cum copiosissimam urbem funditus sustulisset? Italiam ornare quam domum suam maluit; quamquam Italia ornata domus ipsa mihi videtur ornatior. 2.76.  Panaetius praises Africanus for his integrity in public life. Why should he not? But Africanus had other and greater virtues. The boast of official integrity belongs not to that man alone but also to his times. When Paulus got possession of all the wealth of Macedon — and it was enormous — he brought into our treasury so much money that the spoils of a single general did away with the need for a tax on property in Rome for all time to come. But to his own house he brought nothing save the glory of an immortal name. Africanus emulated his father's example and was none the richer for his overthrow of Carthage. And what shall we say of Lucius Mummius, his colleague in the censorship? Was he one penny the richer when he had destroyed to its foundations the richest of cities? He preferred to adorn Italy rather than his own house. And yet by the adornment of Italy his own house was, as it seems to me, still more splendidly adorned.
4. Polybius, Histories, 3.105.9-3.105.10 (2nd cent. BCE - 2nd cent. BCE)
5. Horace, Letters, 2.1.192-2.1.193 (1st cent. BCE - 1st cent. BCE)
6. Livy, History, 27.25.7, 40.29.2-40.29.14 (1st cent. BCE - missingth cent. CE)
7. Livy, Per., 52 (1st cent. BCE - missingth cent. CE)
8. Vitruvius Pollio, On Architecture, 8.2.6 (1st cent. BCE - 1st cent. BCE)
9. Petronius Arbiter, Satyricon, 50 (1st cent. CE - 1st cent. CE)
10. Petronius Arbiter, Satyricon, 50 (1st cent. CE - 1st cent. CE)
11. Pliny The Elder, Natural History, 9.119-9.121, 34.36, 35.6, 35.100, 35.131-35.132, 35.136 (1st cent. CE - 1st cent. CE)
12. Plutarch, Brutus, 1.1 (1st cent. CE - 2nd cent. CE)
13. Plutarch, Julius Caesar, 11.6 (1st cent. CE - 2nd cent. CE)
14. Plutarch, Fabius, 5.3-5.4, 14.1, 17.5, 18.4, 22.5 (1st cent. CE - 2nd cent. CE) 5.3. He, and he alone, comprehended the cleverness of his antagonist, and the style of warfare which he had adopted. He therefore made up his mind that by every possible device and constraint his foe must be induced to fight, or else the Carthaginians were undone, since they were unable to use their weapons, in which they were superior, but were slowly losing and expending to no purpose their men and moneys, in which they were inferior. He therefore resorted to every species of strategic trick and artifice, and tried them all, seeking, like a clever athlete, to get a hold upon his adversary. Now he would attack Fabius directly, now he would seek to throw his forces into confusion, and now he would try to lead him off every whither, in his desire to divorce him from his safe, defensive plans. 14.1. After this, Fabius laid down his office, and consuls were again appointed. The first of these maintained the style of warfare which Fabius had ordained. They avoided a pitched battle with Hannibal, but gave aid and succour to their allies, and prevented their falling away. But when Terentius Varro was elevated to the consulship, a man whose birth was obscure and whose life was conspicuous for servile flattery of the people and for rashness, it was clear that in his inexperience and temerity he would stake the entire issue upon the hazard of a single throw. 17.5. For he who, in times of apparent security, appeared cautious and irresolute, then, when all were plunged in boundless grief and helpless confusion, was the only man to walk the city with calm step, composed countece, and gracious address, checking effeminate lamentation, and preventing those from assembling together who were eager to make public their common complaints. He persuaded the senate to convene, heartened up the magistrates, and was himself the strength and power of every magistracy, since all looked to him for guidance. 18.4. But most of all was the gentle dignity of the city to be admired in this, that when Varro, the consul, came back from his flight, as one would come back from a most ill-starred and disgraceful experience, in humility and dejection, the senate and the whole people met him at the gates with a welcome. 22.5. While everything else was carried off as plunder, it is said that the accountant asked Fabius what his orders were concerning the gods, for so he called their pictures and statues; and that Fabius answered: Let us leave their angered gods for the Tarentines. 22.5. While everything else was carried off as plunder, it is said that the accountant asked Fabius what his orders were concerning the gods, for so he called their pictures and statues; and that Fabius answered:Let us leave their angered gods for the Tarentines.
15. Plutarch, Marcellus, 21.2-21.3, 21.5 (1st cent. CE - 2nd cent. CE) 21.2. but filled full of barbaric arms and bloody spoils, and crowned round about with memorials and trophies of triumphs, she was not a gladdening or a reassuring sight, nor one for unwarlike and luxurious spectators. Indeed, as Epaminondas called the Boeotian plain a dancing floor of Ares, and as Xenophon Hell. iii. 4,17. speaks of Ephesus as a work-shop of war, so, it seems to me, one might at that time have called Rome, in the language of Pindar, a precinct of much-warring Ares. Pyth. ii. 1 f. 21.3. Therefore with the common people Marcellus won more favour because he adorned the city with objects that had Hellenic grace and charm and fidelity; but with the elder citizens Fabius Maximus was more popular. For he neither disturbed nor brought away anything of this sort from Tarentum, when that city was taken, but while he carried off the money and the other valuables, he suffered the statues to remain in their places, adding the well-known saying: 21.5. and was inexperienced in luxury and ease, but, like the Heracles of Euripides, was Plain, unadorned, in a great crisis brave and true, A fragment of the lost Licymnius of Euripides (Nauck, Trag. Graec. Frag. 2 p. 507). he made them idle and full of glib talk about arts and artists, so that they spent a great part of the day in such clever disputation. Notwithstanding such censure, Marcellus spoke of this with pride even to the Greeks, declaring that he had taught the ignorant Romans to admire and honour the wonderful and beautiful productions of Greece.
16. Plutarch, Numa Pompilius, 22.2 (1st cent. CE - 2nd cent. CE) 22.2. They did not burn his body, because, as it is said, he forbade it; but they made two stone coffins and buried them under the Janiculum. One of these held his body, and the other the sacred books which he had written out with his own hand, as the Greek lawgivers their tablets. But since, while he was still living, he had taught the priests the written contents of the books, and had inculcated in their hearts the scope and meaning of them all, he commanded that they should be buried with his body, convinced that such mysteries ought not to be entrusted to the care of lifeless documents.
17. Plutarch, Pompey, 2.2, 46.1 (1st cent. CE - 2nd cent. CE)
18. Plutarch, Romulus, 11.1, 16.8 (1st cent. CE - 2nd cent. CE) 11.1. Romulus buried Remus, together with his foster-fathers, in the Remonia, See chapter ix. 4. and then set himself to building his city, after summoning from Tuscany men who prescribed all the details in accordance with certain sacred ordices and writings, and taught them to him as in a religious rite. A circular trench was dug around what is now the Comitium, A space adjoining the forum where the people met in assembly. The mundus, or augural centre of the city, was really on thePalatine. and in this were deposited first-fruits of all things the use of which was sanctioned by custom as good and by nature as necessary; and finally, every man brought a small portion of the soil of his native land, and these were cast in among the first-fruits and mingled with them. 16.8. Cossus indeed, and Marcellus, already used a four-horse chariot for their entrance into the city, carrying the trophies themselves, but Dionysius Antiq. Rom. ii. 34. is incorrect in saying that Romulus used a chariot. For it is matter of history that Tarquin, the son of Demaratus, was first of the kings to lift triumphs up to such pomp and ceremony, although others say that Publicola was first to celebrate a triumph riding on a chariot. Cf. Publicola, ix. 5. And the statues of Romulus bearing the trophies are, as may be seen in Rome, all on foot.
19. Plutarch, Sulla, 38.4 (1st cent. CE - 2nd cent. CE)
20. Suetonius, Iulius, 7.1 (1st cent. CE - 2nd cent. CE)
21. Tacitus, Annals, 2.73 (1st cent. CE - 2nd cent. CE) 2.73.  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.
22. Cassius Dio, Roman History, 51.17.6, 51.22.1-51.22.3, 68.29.1, 68.30.1 (2nd cent. CE - 3rd cent. CE) 51.17.6.  So much for these events. In the palace quantities of treasure were found. For Cleopatra had taken practically all the offerings from even the holiest shrines and so helped the Romans swell their spoils without incurring any defilement on their own part. Large sums were also obtained from every man against whom any charge of misdemeanour were brought. 51.22.1.  After finishing this celebration Caesar dedicated the temple of Minerva, called also the Chalcidicum, and the Curia Iulia, which had been built in honour of his father. In the latter he set up the statue of Victory which is still in existence, thus signifying that it was from her that he had received the empire. 51.22.2.  It had belonged to the people of Tarentum, whence it was now brought to Rome, placed in the senate-chamber, and decked with the spoils of Egypt. The same course was followed in the case of the shrine of Julius which was consecrated at this time 51.22.3.  for many of these spoils were placed in it also; and others were dedicated to Jupiter Capitolinus and to Juno and Minerva, after all the objects in these temples which were supposed to have been placed there previously as dedications, or were actually dedications, had by decree been taken down at this time as defiled. Thus Cleopatra, though defeated and captured, was nevertheless glorified, inasmuch as her adornments repose as dedications in our temples and she herself is seen in gold in the shrine of Venus. 68.29.1.  Then he came to the ocean itself, and when he had learned its nature and had seen a ship sailing to India, he said: "I should certainly have crossed over to the Indi, too, if I were still young." For he began to think about the Indi and was curious about their affairs, and he counted Alexander a lucky man. Yet he would declare that he himself had advanced farther than Alexander, and would so write to the senate, although he was unable to preserve even the territory that he had subdued. 68.30.1.  Trajan learned of this at Babylon; for he had gone there both because of its fame — though he saw nothing but mounds and stones and ruins to justify this — and because of Alexander, to whose spirit he offered sacrifice in the room where he had died. When he learned of the revolt, he sent Lusius and Maximus against the rebels.
23. Valerius Maximus, Memorable Deeds And Sayings, 1.1.8, 1.1.12, 1.8.11
24. Vergil, Aeneis, 6.836-6.837 6.836. Or smites with ivory point his golden lyre. 6.837. Here Trojans be of eldest, noblest race

Subjects of this text:

subject	book bibliographic info
access	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
achilles	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
alexander the great	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
ambition/ambitious	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
apelles,the birth of venus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
auctoritas	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 29
audience,the subjects interaction with his	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
augustalia	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
biography,biographical	Athanassaki and Titchener (2022), Plutarch's Cities, 66
camillus	Athanassaki and Titchener (2022), Plutarch's Cities, 67
campus martius	Athanassaki and Titchener (2022), Plutarch's Cities, 66
chamberlin,wilt	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
character (plutarchs and readers concern with)	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
clastidium	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
claudius marcellus,m.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
cleopatra,and the spoils of egypt	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
cleopatra,her pearl earrings	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
closure (endings of biographies)	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
cognition	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
community,the subject and his	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
conquers sicily,loots syracuse	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
constantinople	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 29, 38
contrasts,as narrative technique	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
contrasts	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
coriolanus	Athanassaki and Titchener (2022), Plutarch's Cities, 67
cornelius scipio aemilianus,p.,and alexander the great	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
cornelius scipio africanus,p.,rivalry with q. fabius maximus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
cowardice	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
criticism,and counter-suggestibility	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
criticism,contemporary to the story narrated,exercised by onlookers	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
criticism,plutarchs stance towards others	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
criticism	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
explanations	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
fabius maximus,q.,captures tarentum	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
fabius maximus,q.,dedicates colossal hercules on capitoline	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
fabius maximus,q.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
fabius maximus,romans criticism of	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
fabius maximus	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
flamininus,t. quinctius	Athanassaki and Titchener (2022), Plutarch's Cities, 66
germanicus caesar,and alexander	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
greece,culture appropriated by romans	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
greek,art	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
hannibal	Athanassaki and Titchener (2022), Plutarch's Cities, 67; Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
hercules	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
homer,the iliad	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
hooper-greenhill,e.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
identify,identifying	Athanassaki and Titchener (2022), Plutarch's Cities, 67
identity,construction of	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28, 29
identity,roman	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 29
impietas against,and memory	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
inscription	Athanassaki and Titchener (2022), Plutarch's Cities, 66
luxury,attitudes towards	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
lysippus,and alexander the great	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
lysippus,his colossal hercules	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
lysippus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
mars,father of rome	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 29
mnemosyne	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 29
monuments	Athanassaki and Titchener (2022), Plutarch's Cities, 67
moral turnaround	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
muse	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 29
museum,and british identity	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
museum,as an agent for social control	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
museum,the capitoline museum	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
nicias,his portrait of alexander the great	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
objects,access to	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
objects,and context	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
objects,and meaning	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
objects,and power	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
ornamenta,östenberg,i.	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
painting,tarentine	Athanassaki and Titchener (2022), Plutarch's Cities, 67
painting	Athanassaki and Titchener (2022), Plutarch's Cities, 67
perspectives,of the subjects	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
perspectives,presentation of different	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
philotimia (love of honours)	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
philotimia / φιλοτιμία\u200e	Athanassaki and Titchener (2022), Plutarch's Cities, 67
plutarch,on marcellus plundering of sicily	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
polybius,on marcellus plundering of sicily	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
pompey the great,and alexander	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
publicola	Athanassaki and Titchener (2022), Plutarch's Cities, 67
reagan,nancy	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
res gestae	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 29
rite	Athanassaki and Titchener (2022), Plutarch's Cities, 67
romans,and fabius maximus	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
romans	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
rome,access to	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
rome,capitoline hill	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
rome,city	Athanassaki and Titchener (2022), Plutarch's Cities, 66, 67
rome,pantheon	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
rome,temple of divus augustus,victoria in	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28, 29, 38
rome,temple of honos et virtus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
rome,temple of jupiter capitolinus,adorned with spoils of egypt	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
rome	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
romulus	Athanassaki and Titchener (2022), Plutarch's Cities, 66, 67
sicily	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
social/society,dialogue of individual with	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
social/society,plutarchs interest in	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
social/society,plutarchs reconstruction of	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
statuary,colossal	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
statuary,equestrian	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
statue,fabius maximus	Athanassaki and Titchener (2022), Plutarch's Cities, 66
statue,heracles	Athanassaki and Titchener (2022), Plutarch's Cities, 66, 67
statue,iunius brutus,m.	Athanassaki and Titchener (2022), Plutarch's Cities, 66
statue,romulus	Athanassaki and Titchener (2022), Plutarch's Cities, 66
sulla,l. cornelius	Athanassaki and Titchener (2022), Plutarch's Cities, 66
synkrisis,formal	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
tarentum	Athanassaki and Titchener (2022), Plutarch's Cities, 66, 67; Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 38
the preceding lives	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101
topography,topographical	Athanassaki and Titchener (2022), Plutarch's Cities, 67
trajan,and alexander the great	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
trajan	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
varro,m. terentius	Athanassaki and Titchener (2022), Plutarch's Cities, 67
venus,in the pantheon	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
venus,mother of rome	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 29
venus	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 29
vesta,sacred grove of	Rutledge (2012), Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting, 28
violence'	Chrysanthou (2018), Plutarch's 'Parallel Lives': Narrative Technique and Moral Judgement. 101