The Ancient Mediterranean Religions Index Database

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25 results for "marcellus"

1. Varro, On The Latin Language, 5.38 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •marcellus, theatre of •theatre of marcellus Found in books: Jenkyns, God, Space, and City in the Roman Imagination (2013) 105

2. Livy, Per., 140 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •rome, theatre of marcellus Found in books: Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 258

3. Ovid, Tristia, 2.285-2.286, 3.1.69-3.1.70 (1st cent. BCE - 1st cent. CE) Tagged with subjects: •marcellus, theatre of •theatre of marcellus •rome, theatre of marcellus Found in books: Jenkyns, God, Space, and City in the Roman Imagination (2013) 105; Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 258

2.285. cum quaedam spatientur in hoc, 2.286. conveniat, quare porticus ulla patet .

4. Ovid, Fasti, 6.478 (1st cent. BCE - 1st cent. CE) Tagged with subjects: •marcellus, theatre of •theatre of marcellus Found in books: Jenkyns, God, Space, and City in the Roman Imagination (2013) 105

6.478. area, quae posito de bove nomen habet:

6.478. One that takes its name from the statue of an ox:

5. Ovid, Ars Amatoria, 1.89-1.100, 1.135-1.170, 1.497-1.504, 3.387-3.396 (1st cent. BCE - 1st cent. CE) Tagged with subjects: •marcellus, theatre of •theatre of marcellus Found in books: Jenkyns, God, Space, and City in the Roman Imagination (2013) 105

1.89. Sed tu praecipue curvis venare theatris: 1.90. rend= 1.91. Illic invenies quod ames, quod ludere possis, 1.92. rend= 1.93. Ut redit itque frequens longum formica per agmen, 1.94. rend= 1.95. Aut ut apes saltusque suos et olentia nactae 1.96. rend= 1.97. Sic ruit ad celebres cultissima femina ludos: 1.98. rend= 1.99. Spectatum veniunt, veniunt spectentur ut ipsae: 1.100. rend= 1.135. Nec te nobilium fugiat certamen equorum; 1.136. rend= 1.137. Nil opus est digitis, per quos arcana loquaris, 1.138. rend= 1.139. Proximus a domina, nullo prohibente, sedeto, 1.140. rend= 1.141. Et bene, quod cogit, si nolis, linea iungi, 1.142. rend= 1.143. Hic tibi quaeratur socii sermonis origo, 1.144. rend= 1.145. Cuius equi veniant, facito, studiose, requiras: 1.146. rend= 1.147. At cum pompa frequens caelestibus ibit eburnis, 1.148. rend= 1.149. Utque fit, in gremium pulvis si forte puellae 1.150. rend= 1.151. Etsi nullus erit pulvis, tamen excute nullum: 1.152. rend= 1.153. Pallia si terra nimium demissa iacebunt, 1.154. rend= 1.155. Protinus, officii pretium, patiente puella 1.156. rend= 1.157. Respice praeterea, post vos quicumque sedebit, 1.158. rend= 1.159. Parva leves capiunt animos: fuit utile multis 1.160. rend= 1.161. Profuit et tenui ventos movisse tabella, 1.162. rend= 1.163. Hos aditus Circusque novo praebebit amori, 1.164. rend= 1.165. Illa saepe puer Veneris pugnavit harena, 1.166. rend= 1.167. Dum loquitur tangitque manum poscitque libellum 1.168. rend= 1.169. Saucius ingemuit telumque volatile sensit, 1.170. rend= 3.387. At licet et prodest Pompeias ire per umbras, 3.388. rend= 3.389. Visite laurigero sacrata Palatia Phoebo: 3.390. rend= 3.391. Quaeque soror coniunxque ducis monimenta pararunt, 3.392. rend= 3.393. Visite turicremas vaccae Memphitidos aras, 3.394. rend= 3.395. Spectentur tepido maculosae sanguine harenae, 3.396. rend=

1.89. From whence the noisy combatants are heard. 1.90. The crafty counsellors, in formal gown, The following verses are a happy paraphrase of Ovid ; in whose time we find the long robe dealt as much with the stola, etc., as it does in our own. 1.90. that place is the most fruitful for your needs. There you’ll find one to love, or one you can play with, one to be with just once, or one you might wish to keep. As ants return home often in long processions, carrying their favourite food in their mouths, or as the bees buzz through the flowers and thyme, among their pastures and fragrant chosen meadows, so our fashionable ladies crowd to the famous shows: my choice is often constrained by such richness. They come to see, they come to be seen as well: 1.91. There gain another's cause, but lose their own. 1.92. Their eloquence is nonpluss'd in the suit; 1.93. And lawyers, who had words at will, are mute. 1.94. Venus from her adjoining temple smile 1.95. To see them caught in their litigious wiles; 1.96. Grave senators lead home the youthful dame, We see these assemblies were composed of all sorts of persons; upon which our French author remarks thus: " This does not very well agree to the practice in our days; and I cannot comprehend how gallant women could frequent the courts of justice : where it is to be supposed, nobody came but such as had business and suits depending." 1.97. Returning clients when they patrons came. 1.98. But above all, the Playhouse is the place; It must be owned, the theatres, amphitheatres, cirques, hippodromes, and all places where the public feasts and rejoicings were kept, were very fatal to the chastity of the women of old. 1.99. There's choice of quarry in that narrow chace: 1.100. There take thy stand, and sharply looking out, 1.100. the place is fatal to chaste modesty. These shows were first made troublesome by Romulus, when the raped Sabines delighted unmarried men. Then no awnings hung from the marble theatre, the stage wasn’t stained with saffron perfumes: Then what the shady Palatine provided, leaves simply placed, was all the artless scene: The audience sat on tiers made from turf, and covered their shaggy hair, as best they could, with leaves. They watched, and each with his eye observed the girl 1.135. As doves from eagles, or from wolves the lambs, 1.136. So from their lawless lovers fly the dames. 1.137. Their fear was one, but not one face of fear: 1.138. Some rend the lovely tresses of the hair: 1.139. Some shriek, and some are struck with dumb despair. 1.140. Her absent mother one invokes in vain; 1.140. press your thigh to hers, as you can do, all the time: and it’s good the rows force you close, even if you don’t like it, since the girl is touched through the rules of the place. Now find your reason for friendly conversation, and first of all engage in casual talk. Make earnest enquiry whose those horses are: and rush to back her favourite, whatever it is. When the crowded procession of ivory gods goes by, you clap fervently for Lady Venus: if by chance a speck of dust falls in the girl’s lap, 1.141. One stands amaz'd, not daring to complain; 1.142. The nimbler trust their feet, the slow remain. 1.143. But nought availing, all are captives led, 1.144. Trembling and blushing, to the genial bed. 1.145. She who too long resisted or denied, 1.146. The lusty lover made by force a bride, 1.147. And with superior strength compell'd her to his side, 1.148. Then sooth'd her thus! "My soul's far better part, 1.149. Cease weeping, nor afflict thy tender heart; 1.150. For what thy father to thy mother was, 1.150. as it may, let it be flicked away by your fingers: and if there’s nothing, flick away the nothing: let anything be a reason for you to serve her. If her skirt is trailing too near the ground, lift it, and raise it carefully from the dusty earth: Straightaway, the prize for service, if she allows it, is that your eyes catch a glimpse of her legs. Don’t forget to look at who’s sitting behind you, that he doesn’t press her sweet back with his knee. Small things please light minds: it’s very helpful 1.151. That faith to thee, that solemn vow I pass ! 1.152. Thus Romulus became so popular; 1.153. This was the way to thrive in peace and war; 1.154. To pay his army, and fresh whores to bring: 1.155. Who wouldn't fight for such a gracious king! 1.156. Thus love in theatres did first improve, 1.157. And theatres are still the scene of love. 1.158. Nor shun the chariots and the courser's race; 1.159. The circus is no inconvenient place. 1.160. No need is there of talking on the hands; 1.160. to puff up her cushion with a dextrous touch. And it’s good to raise a breeze with a light fan, and set a hollow stool beneath her tender feet. And the Circus brings assistance to new love, and the scattered sand of the gladiator’s ring. Venus’ boy often fights in that sand, and who see wounds, themselves receive a wound. While talking, touching hands, checking the programme, and asking, having bet, which one will win, wounded he groans, and feels the winged dart, 1.161. Nor nods, nor signs, which lovers understand. It is plain by this, the ancient Romans used to make love by signs on their fingers like the modern Spaniards and Portuguese; and this talking on the fingers is very common among us ever since Dr. Holder and Dr. Wallis taught by Mr. Popham, who was born deaf and dumb, with whom I have, however, myself held a conversation of many hours, and that many hundred times, by the help of our fingers. But the poet says there was no occasion of this dumb language at the cirque; for there was so much noise, that lovers might entertain one another as they pleased, without fear of being overheard. 1.162. But boldly next the fair your seat provide, Young men are apt enough to do this of themselves, and need no advice; yet Juvenal, like Ovid , puts them in mind of it. 1.163. Close as ye can to hers-and side by side. 1.164. Pleas'd or unpleas'd, no matter, crowding sit; 1.165. For so the laws of public shows permit. 1.166. Then find occasion to begin discourse; 1.167. Enquire whose chariot this, and whose that horse? 1.168. To whatsoever side she is inclin'd, 1.169. Suit all her inclinations to her mind; 1.170. Like what she likes, from thence your court begin. 1.170. and himself becomes a part of the show he sees. When, lately, Caesar, in mock naval battle, exhibited the Greek and Persian fleets, surely young men and girls came from either coast, and all the peoples of the world were in the City? Who did not find one he might love in that crowd? Ah, how many were tortured by an alien love! Behold, now Caesar’s planning to add to our rule what’s left of earth: now the far East will be ours. Parthia , we’ll have vengeance: Crassus’s bust will cheer, 3.387. Can ships, when under sail, with songs detain: 3.388. Scarce could Ulysses by his friends be bound, 3.389. When first he listen'd to the charming sound, 3.390. Singing insinuates, learn all ye maids; 3.390. he sank Cleopatra’s galleys in the deep: the arcades Livia, Caesar’s wife, and his sister, Octavia, started, and his son-in-law Agrippa’s, crowned with naval honours: visit the incense-smoking altars of the Egyptian heifer, visit the three theatres, take some conspicuous seat: let the sand that’s drenched with warm blood be seen, and the impetuous wheels rounding the turning-post. What’s hidden is unknown: nothing unknown’s desired: there’s no prize for a face that truly lacks a witness. Though you excel Thamyras and Amoebeus in song, 3.391. oft when a face forbids, a voice persuades. 3.392. Whether on theatres loud strains we hear, 3.393. Or in Ruelles some soft Egyptian air. Those airs were a sort of sarabands, in vogue among the Egyptian and Gades . The movement was dissolute and provoked to lust, as one may see by Martial. 3.394. Well shall she sing, of whom I make my choice, 3.395. And with her lute accompany her voice. 3.396. The rocks were stirr'd, the beasts to listen staid

6. Ovid, Amores, 3.2 (1st cent. BCE - 1st cent. CE) Tagged with subjects: •marcellus, theatre of •theatre of marcellus Found in books: Jenkyns, God, Space, and City in the Roman Imagination (2013) 105

7. Livy, History, 39.2.11, 40.52.1 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •rome, theatre of marcellus Found in books: Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 258

39.2.11. proelio ultimo, quo cum Liguribus signis collatis conflixit, aedem Iunoni reginae vovit. haec in Liguribus eo anno gesta.

8. Horace, Odes, 1.9 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •marcellus, theatre of •theatre of marcellus Found in books: Jenkyns, God, Space, and City in the Roman Imagination (2013) 105

9. Propertius, Elegies, 2.23.5-2.23.6 (1st cent. BCE - missingth cent. CE) Tagged with subjects: •marcellus, theatre of •theatre of marcellus Found in books: Jenkyns, God, Space, and City in the Roman Imagination (2013) 105

10. Josephus Flavius, Jewish War, 7.131 (1st cent. CE - 1st cent. CE) Tagged with subjects: •marcellus, m. claudius, consul, marcellus, theatre of Found in books: Galinsky, Memory in Ancient Rome and Early Christianity (2016) 136

7.131. ἐνταῦθα τροφῆς τε προαπογεύονται καὶ τὰς θριαμβικὰς ἐσθῆτας ἀμφιασάμενοι τοῖς τε παριδρυμένοις τῇ πύλῃ θύσαντες θεοῖς ἔπεμπον τὸν θρίαμβον διὰ τῶν θεάτρων διεξελαύνοντες, ὅπως εἴη τοῖς πλήθεσιν ἡ θέα ῥᾴων.

7.131. there it was that they tasted some food, and when they had put on their triumphal garments, and had offered sacrifices to the gods that were placed at the gate, they sent the triumph forward, and marched through the theatres, that they might be the more easily seen by the multitudes.

11. Juvenal, Satires, 1.85-1.86, 6.71 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •theatre of marcellus •rome, theatre of marcellus Found in books: Harrison, Brill's Companion to Roman Tragedy (2015) 371; Jenkyns, God, Space, and City in the Roman Imagination (2013) 64

12. Plutarch, Marcellus, 30.6 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •rome, theatre of marcellus Found in books: Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 258

30.6. γένος δʼ αὐτοῦ λαμπρὸν ἄχρι Μαρκέλλου τοῦ Καίσαρος ἀδελφιδοῦ διέτεινεν, ὃς Ὀκταβίας ἦν τῆς Καίσαρος ἀδελφῆς υἱὸς ἐκ Γαΐου Μαρκέλλου γεγονώς, ἀγορανομῶν δὲ Ῥωμαίων ἐτελεύτησε νυμφίος, Καίσαρος θυγατρὶ χρόνον οὐ πολὺν συνοικήσας. εἰς δὲ τιμὴν αὐτοῦ καὶ μνήμην Ὀκταβία μὲν ἡ μήτηρ τήν βιβλιοθήκην ἀνέθηκε, Καῖσαρ δὲ θέατρον ἐπιγράψας Μαρκέλλου.

30.6. And his line maintained its splendour down to Marcellus the nephew of Augustus Caesar, who was a son of Caesar’s sister Octavia by Caius Marcellus, and who died during his aedileship at Rome, having recently married a daughter of Caesar. In his honour and to his memory Octavia his mother dedicated the library, and Caesar the theatre, which bear his name.

13. Martial, Epigrams, 1.55, 3.4, 10.12, 12.18 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •theatre of marcellus Found in books: Jenkyns, God, Space, and City in the Roman Imagination (2013) 64

10.12. TO DOMITIUS: You who are going to visit the people of Aemilia, and of Vercellae dear to Apollo, and the fields of the Po, renowned for the death of Phaeton, may I perish, Domitius, if I do not cheerfully allow you to depart, although without your society no day is tolerable to me. But what I greatly desire is this; that, if for only one summer, you would relieve your neck of the yoke imposed upon it by a residence in town. Go, I pray you, and inhale the fervid rays of the sun at every pore. How handsome you will become during your journey! And when you return, you will be past recognition by your pale-faced friends, and the pallid crowd will envy the colour of your cheeks. But Rome will soon take away the colour which your journey gives you, even though you should return as black as an Ethiopian. 12.18. TO JUVENAL: While you, my Juvenal, are perhaps wandering restless in the noisy Suburra or pacing the hill of the goddess Diana; while your toga, in which you perspire at the thresholds of your influential friends, is fanning you as you go, and the greater and lesser Caelian hills fatigue you in your wanderings; my own Bilbilis, revisited after many winters, has received me, and made me a country gentleman; Bilbilis, proud of its gold and its iron! Here we indolently cultivate with agreeable labour Boterduna and Platea; these are the somewhat rude names of Celtiberian localities. I enjoy profound and extraordinary sleep, which is frequently unbroken, even at nine in the morning; and I am now indemnifying myself fully for all the interruptions to sleep that I endured for thirty years. The toga here is unknown, but the nearest dress is given me, when I ask for it, from an old press. When I rise, a hearth, heaped up with faggots from a neighbouring oak grove, welcomes me; a hearth which the bailiff's wife crowns with many a pot. Then comes the housemaid, such a one as you would envy me. A close-shorn bailiff issues the orders to my boy attendants, and begs that they may be obliged to lay aside their long hair. Thus I delight to live, and thus I hope to die.

14. Martial, Epigrams, 1.55, 3.4, 10.12, 12.18 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •theatre of marcellus Found in books: Jenkyns, God, Space, and City in the Roman Imagination (2013) 64

15. Tacitus, Agricola, 2.1 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •dog show, theatre of marcellus Found in books: Athanassaki and Titchener, Plutarch's Cities (2022) 70

16. Suetonius, Tiberius, 45 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •rome, theatre of marcellus Found in books: Harrison, Brill's Companion to Roman Tragedy (2015) 371

17. Suetonius, Nero, 45 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •rome, theatre of marcellus Found in books: Harrison, Brill's Companion to Roman Tragedy (2015) 371

45. The bitter feeling against him was increased because he also turned the high cost of grain to his profit; for indeed, it so fell out that while the people were suffering from hunger it was reported that a ship had arrived from Alexandria, bringing sand for the court wrestlers.,When he had thus aroused the hatred of all, there was no form of insult to which he was not subjected. A curl was placed on the head of his statue with the inscription in Greek: "Now there is a real contest and you must at last surrender." To the neck of another statue a sack was tied and with it the words: "I have done what I could, but you have earned the sack." People wrote on the columns that he had stirred up even the Gauls by his singing. When night came on, many men pretended to be wrangling with their slaves and kept calling out for a defender.

18. Pliny The Elder, Natural History, 35.114, 36.22, 36.28-36.29 (1st cent. CE - 1st cent. CE) Tagged with subjects: •rome, theatre of marcellus Found in books: Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 258

36.22. At Cyzicus too there survives a temple; and here a small gold tube was inserted into every vertical joint of the dressed stonework by the architect, who was to place within the shrine an ivory statue of Jupiter with a marble Apollo crowning him. Consequently very fine filaments of light shine through the interstices and a gentle refreshing breeze plays on the statues. Apart from the ingenuity of the architect, the very material of his device, hidden though it may be, is appreciated as enhancing the value of the whole work. 36.28. However, there are stones that are gentler in their effects in that they preserve a body without consuming it, for example, the 'chernites,' which closely resembles ivory and is said to be the material of which the coin of Darius is said to have been made, and, again, a stone called 'porus,' which is similar to Parian marble in whiteness and hardness, only not so heavy. Theophrastus is our authority also for a translucent Egyptian stone said by him to be similar to Chian marble. Such a stone may have existed in his time: stones cease to be found and new ones are discovered in turn., The stone of Assos, which has a salty taste, relieves gout if the feet are plunged into a vessel hollowed out of it. Moreover, all affections of the legs are cured in the quarries where it is hewn, whereas in all mines the legs are attacked by ailments. Belonging to the same stone is what is called the efflorescence, which is soft enough to form powder and is just as effective as the stone for certain purposes. It looks, incidentally, like reddish pumice. Combined with Cyprian wax it cures affections of the breasts, and, if mixed with pitch or resin, disperses scrofulous sores and superficial abscesses. Taken as an electuary it is also good for consumption. When blended with honey, it causes scars to form over chronic sores, reduces excrescences of flesh and dries up matter discharging from a bite when it will not yield to other treatment. In cases of gout a plaster is made of it with an admixture of bean-meal. 36.29. Theophrastus, again, and Mucianus express the opinion that there are certain stones that give birth to other stones. Theophrastus states also that fossil ivory coloured black and white is found, that bones are produced from the earth and that stones resembling bones come to light., In the neighbourhood of Munda in Spain, the place where Julius Caesar defeated Cn. Pompeius, occur stones containing the likeness of a palm branch, which appears whenever they are broken. There are also black stones, like that of Taenarum, that have come to be esteemed as much as any marble. Varro states that black stones from Africa are harder than the Italian, but that, on the other hand, the white stone of Cora is harder than that of Paros. He mentions too that Carrara stone can be cut with a saw, that Tusculan stone is split by fire and that the dark Sabine variety actually becomes bright if oil is poured on it. Varro also assures us that rotary querns have been found at Bolsena; and we find in records of miraculous occurrences that some querns have even moved of their own accord.

19. Plutarch, Crassus, 33 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •rome, theatre of marcellus Found in books: Harrison, Brill's Companion to Roman Tragedy (2015) 371

20. Plutarch, On Being A Busybody, 522d (1st cent. CE - 2nd cent. CE) Tagged with subjects: •dog show, theatre of marcellus Found in books: Athanassaki and Titchener, Plutarch's Cities (2022) 70

21. Plutarch, Demosthenes, 2.2 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •dog show, theatre of marcellus Found in books: Athanassaki and Titchener, Plutarch's Cities (2022) 70

2.2. ἡμεῖς δὲ μικρὰν οἰκοῦντες πόλιν, καὶ ἵνα μὴ μικροτέρα γένηται φιλοχωροῦντες, ἐν δὲ Ῥώμῃ καὶ ταῖς περὶ τὴν Ἰταλίαν διατριβαῖς οὐ σχολῆς οὔσης γυμνάζεσθαι περὶ τὴν Ῥωμαϊκὴν διάλεκτον ὑπὸ χρειῶν πολιτικῶν καὶ τῶν διὰ φιλοσοφίαν πλησιαζόντων, ὀψέ ποτε καὶ πόρρω τῆς ἡλικίας ἠρξάμεθα Ῥωμαϊκοῖς γράμμασιν ἐντυγχάνειν.

2.2. He will thus be prevented from publishing a work which is deficient in many, and even in essential things. But as for me, I live in a small city, and I prefer to dwell there that it may not become smaller still; and during the time when I was in Rome and various parts of Italy I had no leisure to practise myself in the Roman language, owing to my public duties and the number of my pupils in philosophy. It was therefore late and when I was well on in years that I began to study Roman literature. And here my experience was an astonishing thing, but true.

22. Suetonius, Domitianus, 10.5 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •nan Found in books: Athanassaki and Titchener, Plutarch's Cities (2022) 70

23. Cassius Dio, Roman History, 67.13.3 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •dog show, theatre of marcellus Found in books: Athanassaki and Titchener, Plutarch's Cities (2022) 70

67.13.3. Many others also perished as a result of this same charge of philosophizing, and all the philosophers that were left in Rome were banished once more. One Juventius Celsus, however, who had taken a leading part in conspiring with certain others against Domitian and had been accused of this, saved his life in a remarkable way. 67.13.3. Many others also perished as a result of this same charge of philosophizing, and all the philosophers that were left in Rome were banished once more. One Juventius Celsus, however, who had taken a leading part in conspiring with certain others against Domitian and had been accused of this, saved his life in a remarkable way. 4 When he was on the point of being condemned, he begged that he might speak to the emperor in private, and thereupon did obeisance before him and after repeatedly calling him "master" and "god" (terms that were already being applied to him by others), he said: "I have done not of this sort, but if I obtain a respite, I will pry into everything and will not only bring information against many persons for you but also secure their conviction." He was released on this condition, but did not report any one; instead, by adding different excuses at different times, he lived until the death of Domitian.

24. Festus Sextus Pompeius, De Verborum Significatione, 188l (2nd cent. CE - 2nd cent. CE) Tagged with subjects: •rome, theatre of marcellus Found in books: Rutledge, Ancient Rome as a Museum: Power, Identity, and the Culture of Collecting (2012) 258

25. Epigraphy, Cil, 8.6944, 8.6947-8.6948, 8.7000, 8.7095, 8.7122, 8.7960, 8.7963, 8.19489, 8.19513, 10.7295 Tagged with subjects: •rome, theatre of marcellus Found in books: Harrison, Brill's Companion to Roman Tragedy (2015) 371

Tiresias: The Ancient Mediterranean Religions Source Database