1. Hebrew Bible, Deuteronomy, 21.22-21.23, 28.66 (9th cent. BCE - 3rd cent. BCE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70| 21.22. וְכִי־יִהְיֶה בְאִישׁ חֵטְא מִשְׁפַּט־מָוֶת וְהוּמָת וְתָלִיתָ אֹתוֹ עַל־עֵץ׃ 21.23. לֹא־תָלִין נִבְלָתוֹ עַל־הָעֵץ כִּי־קָבוֹר תִּקְבְּרֶנּוּ בַּיּוֹם הַהוּא כִּי־קִלְלַת אֱלֹהִים תָּלוּי וְלֹא תְטַמֵּא אֶת־אַדְמָתְךָ אֲשֶׁר יְהוָה אֱלֹהֶיךָ נֹתֵן לְךָ נַחֲלָה׃ 28.66. וְהָיוּ חַיֶּיךָ תְּלֻאִים לְךָ מִנֶּגֶד וּפָחַדְתָּ לַיְלָה וְיוֹמָם וְלֹא תַאֲמִין בְּחַיֶּיךָ׃ | 21.22. And if a man have committed a sin worthy of death, and he be put to death, and thou hang him on a tree; 21.23. his body shall not remain all night upon the tree, but thou shalt surely bury him the same day; for he that is hanged is a reproach unto God; that thou defile not thy land which the LORD thy God giveth thee for an inheritance. 28.66. And thy life shall hang in doubt before thee; and thou shalt fear night and day, and shalt have no assurance of thy life. |
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2. Hebrew Bible, Genesis, 2.9, 14.14-14.16, 87.2 (9th cent. BCE - 3rd cent. BCE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70| 2.9. וַיַּצְמַח יְהוָה אֱלֹהִים מִן־הָאֲדָמָה כָּל־עֵץ נֶחְמָד לְמַרְאֶה וְטוֹב לְמַאֲכָל וְעֵץ הַחַיִּים בְּתוֹךְ הַגָּן וְעֵץ הַדַּעַת טוֹב וָרָע׃ 14.14. וַיִּשְׁמַע אַבְרָם כִּי נִשְׁבָּה אָחִיו וַיָּרֶק אֶת־חֲנִיכָיו יְלִידֵי בֵיתוֹ שְׁמֹנָה עָשָׂר וּשְׁלֹשׁ מֵאוֹת וַיִּרְדֹּף עַד־דָּן׃ 14.15. וַיֵּחָלֵק עֲלֵיהֶם לַיְלָה הוּא וַעֲבָדָיו וַיַּכֵּם וַיִּרְדְּפֵם עַד־חוֹבָה אֲשֶׁר מִשְּׂמֹאל לְדַמָּשֶׂק׃ 14.16. וַיָּשֶׁב אֵת כָּל־הָרְכֻשׁ וְגַם אֶת־לוֹט אָחִיו וּרְכֻשׁוֹ הֵשִׁיב וְגַם אֶת־הַנָּשִׁים וְאֶת־הָעָם׃ | 2.9. And out of the ground made the LORD God to grow every tree that is pleasant to the sight, and good for food; the tree of life also in the midst of the garden, and the tree of the knowledge of good and evil. 14.14. And when Abram heard that his brother was taken captive, he led forth his trained men, born in his house, three hundred and eighteen, and pursued as far as Dan. 14.15. And he divided himself against them by night, he and his servants, and smote them, and pursued them unto Hobah, which is on the left hand of Damascus. 14.16. And he brought back all the goods, and also brought back his brother Lot, and his goods, and the women also, and the people. |
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| 3. Hebrew Bible, Leviticus, 11.50 (9th cent. BCE - 3rd cent. BCE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 78 |
| 4. Hebrew Bible, Numbers, 21.8.9 (9th cent. BCE - 3rd cent. BCE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70 |
5. Hebrew Bible, Psalms, 1.3, 91.13 (9th cent. BCE - 3rd cent. BCE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70| 1.3. וְהָיָה כְּעֵץ שָׁתוּל עַל־פַּלְגֵי מָיִם אֲשֶׁר פִּרְיוֹ יִתֵּן בְּעִתּוֹ וְעָלֵהוּ לֹא־יִבּוֹל וְכֹל אֲשֶׁר־יַעֲשֶׂה יַצְלִיחַ׃ 91.13. עַל־שַׁחַל וָפֶתֶן תִּדְרֹךְ תִּרְמֹס כְּפִיר וְתַנִּין׃ | 1.3. And he shall be like a tree planted by streams of water, that bringeth forth its fruit in its season, and whose leaf doth not wither; and in whatsoever he doeth he shall prosper. 91.13. Thou shalt tread upon the lion and asp; The young lion and the serpent shalt thou trample under feet. |
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6. Hebrew Bible, Exodus, 25.31 (9th cent. BCE - 3rd cent. BCE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70| 25.31. וְעָשִׂיתָ מְנֹרַת זָהָב טָהוֹר מִקְשָׁה תֵּעָשֶׂה הַמְּנוֹרָה יְרֵכָהּ וְקָנָהּ גְּבִיעֶיהָ כַּפְתֹּרֶיהָ וּפְרָחֶיהָ מִמֶּנָּה יִהְיוּ׃ | 25.31. And thou shalt make a candlestick of pure gold: of beaten work shall the candlestick be made, even its base, and its shaft; its cups, its knops, and its flowers, shall be of one piece with it. |
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7. Homer, Odyssey, 1.1, 10.330 (8th cent. BCE - 7th cent. BCE) Tagged with subjects: •ornamentality Found in books: Greensmith, The Resurrection of Homer in Imperial Greek Epic: Quintus Smyrnaeus' Posthomerica and the Poetics of Impersonation (2021) 109| 1.1. ἄνδρα μοι ἔννεπε, μοῦσα, πολύτροπον, ὃς μάλα πολλὰ 10.330. ἦ σύ γʼ Ὀδυσσεύς ἐσσι πολύτροπος, ὅν τέ μοι αἰεὶ | 1.1. BOOK 1 Tell me, Muse, about the wily man who wandered long and far after he sacked the sacred citadel of Troy. He saw the cities and knew the minds of many men, but suffered at sea many sorrows in his heart, 10.330. Surely you're Odysseus, the wily one that Argeiphontes of the golden wand ever told me would come with a swift black ship on his way back from Troy. But come, put your sword in its sheath, and then let the two of us get in our bed, so, mixing |
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8. Hebrew Bible, 1 Kings, 14.26, 15.18 (8th cent. BCE - 5th cent. BCE) Tagged with subjects: •ornamental objects Found in books: Heymans, The Origins of Money in the Iron Age Mediterranean World (2021) 51| 14.26. וַיִּקַּח אֶת־אֹצְרוֹת בֵּית־יְהוָה וְאֶת־אוֹצְרוֹת בֵּית הַמֶּלֶךְ וְאֶת־הַכֹּל לָקָח וַיִּקַּח אֶת־כָּל־מָגִנֵּי הַזָּהָב אֲשֶׁר עָשָׂה שְׁלֹמֹה׃ | 14.26. and he took away the treasures of the house of the LORD, and the treasures of the king’s house; he even took away all; and he took away all the shields of gold which Solomon had made. |
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9. Hebrew Bible, 2 Kings, 12.13-12.17, 12.19, 14.14, 16.8, 24.13 (8th cent. BCE - 5th cent. BCE) Tagged with subjects: •ornamental objects Found in books: Heymans, The Origins of Money in the Iron Age Mediterranean World (2021) 51| 12.13. וְלַגֹּדְרִים וּלְחֹצְבֵי הָאֶבֶן וְלִקְנוֹת עֵצִים וְאַבְנֵי מַחְצֵב לְחַזֵּק אֶת־בֶּדֶק בֵּית־יְהוָה וּלְכֹל אֲשֶׁר־יֵצֵא עַל־הַבַּיִת לְחָזְקָה׃ 12.14. אַךְ לֹא יֵעָשֶׂה בֵּית יְהוָה סִפּוֹת כֶּסֶף מְזַמְּרוֹת מִזְרָקוֹת חֲצֹצְרוֹת כָּל־כְּלִי זָהָב וּכְלִי־כָסֶף מִן־הַכֶּסֶף הַמּוּבָא בֵית־יְהוָה׃ 12.15. כִּי־לְעֹשֵׂי הַמְּלָאכָה יִתְּנֻהוּ וְחִזְּקוּ־בוֹ אֶת־בֵּית יְהוָה׃ 12.16. וְלֹא יְחַשְּׁבוּ אֶת־הָאֲנָשִׁים אֲשֶׁר יִתְּנוּ אֶת־הַכֶּסֶף עַל־יָדָם לָתֵת לְעֹשֵׂי הַמְּלָאכָה כִּי בֶאֱמֻנָה הֵם עֹשִׂים׃ 12.17. כֶּסֶף אָשָׁם וְכֶסֶף חַטָּאוֹת לֹא יוּבָא בֵּית יְהוָה לַכֹּהֲנִים יִהְיוּ׃ 14.14. וְלָקַח אֶת־כָּל־הַזָּהָב־וְהַכֶּסֶף וְאֵת כָּל־הַכֵּלִים הַנִּמְצְאִים בֵּית־יְהוָה וּבְאֹצְרוֹת בֵּית הַמֶּלֶךְ וְאֵת בְּנֵי הַתַּעֲרֻבוֹת וַיָּשָׁב שֹׁמְרוֹנָה׃ 16.8. וַיִּקַּח אָחָז אֶת־הַכֶּסֶף וְאֶת־הַזָּהָב הַנִּמְצָא בֵּית יְהוָה וּבְאֹצְרוֹת בֵּית הַמֶּלֶךְ וַיִּשְׁלַח לְמֶלֶךְ־אַשּׁוּר שֹׁחַד׃ 24.13. וַיּוֹצֵא מִשָּׁם אֶת־כָּל־אוֹצְרוֹת בֵּית יְהוָה וְאוֹצְרוֹת בֵּית הַמֶּלֶךְ וַיְקַצֵּץ אֶת־כָּל־כְּלֵי הַזָּהָב אֲשֶׁר עָשָׂה שְׁלֹמֹה מֶלֶךְ־יִשְׂרָאֵל בְּהֵיכַל יְהוָה כַּאֲשֶׁר דִּבֶּר יְהוָה׃ | 12.13. and to the masons and the hewers of stone, and for buying timber and hewn stone to repair the breaches of the house of the LORD, and for all that was laid out for the house to repair it. 12.14. But there were not made for the house of the LORD cups of silver, snuffers, basins, trumpets, any vessels of gold, or vessels of silver, of the money that was brought into the house of the LORD; 12.15. for they gave that to them that did the work, and repaired therewith the house of the LORD. 12.16. Moreover they reckoned not with the men, into whose hand they delivered the money to give to them that did the work; for they dealt faithfully. 12.17. The forfeit money, and the sin money, was not brought into the house of the LORD; it was the priests. 14.14. And he took all the gold and silver, and all the vessels that were found in the house of the LORD, and in the treasures of the king’s house, the hostages also, and returned to Samaria. 16.8. And Ahaz took the silver and gold that was found in the house of the LORD, and in the treasures of the king’s house, and sent it for a present to the king of Assyria. 24.13. And he carried out thence all the treasures of the house of the LORD, and the treasures of the king’s house, and cut in pieces all the vessels of gold which Solomon king of Israel had made in the temple of the LORD, as the LORD had said. |
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10. Aristophanes, Women of The Assembly, 732, 730 (5th cent. BCE - 4th cent. BCE) Tagged with subjects: •nan Found in books: Parker, Polytheism and Society at Athens (2005) 225| 730. χώρει σὺ δεῦρο κιναχύρα καλὴ καλῶς | |
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11. Aristophanes, Lysistrata, 643-644, 647, 646 (5th cent. BCE - 4th cent. BCE) Tagged with subjects: •nan Found in books: Parker, Polytheism and Society at Athens (2005) 223, 225| 646. κἀκανηφόρουν ποτ' οὖσα παῖς καλὴ 'χους' | |
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| 12. Isocrates, To Demonicus, 1.22-1.23, 1.32, 1.41 (5th cent. BCE - 4th cent. BCE) Tagged with subjects: •Ornamentation Found in books: Tite, Valentinian Ethics and Paraenetic Discourse: Determining the Social Function of Moral Exhortation in Valentinian Christianity (2009) 223 |
| 13. Hermippus Comicus, Fragments, 25 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •gold ornaments Found in books: Parker, Polytheism and Society at Athens (2005) 225 |
14. Aristophanes, Acharnians, 253 (5th cent. BCE - 4th cent. BCE) Tagged with subjects: •gold ornaments Found in books: Parker, Polytheism and Society at Athens (2005) 225| 253. ἄγ' ὦ θύγατερ ὅπως τὸ κανοῦν καλὴ καλῶς | |
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| 15. Hermippus Comicus, Fragments, 25 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •gold ornaments Found in books: Parker, Polytheism and Society at Athens (2005) 225 |
| 16. Hermippus Comicus, Fragments, 25 (5th cent. BCE - 5th cent. BCE) Tagged with subjects: •gold ornaments Found in books: Parker, Polytheism and Society at Athens (2005) 225 |
| 17. Aristotle, Rhetoric, 1393a (4th cent. BCE - 4th cent. BCE) Tagged with subjects: •ornament Found in books: Clay and Vergados, Teaching through Images: Imagery in Greco-Roman Didactic Poetry (2022) 273 |
| 18. Callimachus, Aetia, 110e (4th cent. BCE - 3rd cent. BCE) Tagged with subjects: •innovation, ornamental Found in books: Castelli and Sluiter, Agents of Change in the Greco-Roman and Early Modern Periods: Ten Case Studies in Agency in Innovation (2023) 47 |
| 19. Hermippus of Smyrna, Fragments, 25 (3rd cent. BCE - 2nd cent. BCE) Tagged with subjects: •gold ornaments Found in books: Parker, Polytheism and Society at Athens (2005) 225 |
| 20. Anon., Testament of Judah, 16 (2nd cent. BCE - 2nd cent. CE) Tagged with subjects: •Ornamentation Found in books: Tite, Valentinian Ethics and Paraenetic Discourse: Determining the Social Function of Moral Exhortation in Valentinian Christianity (2009) 223 |
21. Septuagint, Ecclesiasticus (Siracides), 31.25-31.30 (2nd cent. BCE - 2nd cent. BCE) Tagged with subjects: •Ornamentation Found in books: Tite, Valentinian Ethics and Paraenetic Discourse: Determining the Social Function of Moral Exhortation in Valentinian Christianity (2009) 223 | 31.25. Do not aim to be valiant over wine,for wine has destroyed many. 31.26. Fire and water prove the temper of steel,so wine tests hearts in the strife of the proud. 31.27. Wine is like life to men,if you drink it in moderation. What is life to a man who is without wine?It has been created to make men glad. 31.28. Wine drunk in season and temperately is rejoicing of heart and gladness of soul. 31.29. Wine drunk to excess is bitterness of soul,with provocation and stumbling. |
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22. Cicero, Pro Archia, 14, 22-23, 27, 30, 21 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •nan Found in books: Oksanish, Vitruvian Man: Rome Under Construction (2019) 46, 47| 21. Mithridaticum vero bellum magnum atque difficile et in multa varietate terra marique mari terraque G versatum totum ab hoc expressum est; qui libri non modo L. Lucullum, fortissimum et clarissimum virum, verum etiam populi Romani nomen inlustrant. populus enim Romanus aperuit Lucullo imperante Pontum et regiis quondam opibus et ipsa natura et natura et Mommsen : naturae (-ra eb χς ) codd. regione regionis b χς vallatum, populi Romani exercitus eodem duce non maxima manu innumerabilis Armeniorum copias fudit, populi Romani laus est urbem amicissimam Cyzicenorum eiusdem consilio ex omni impetu regio atque atque GEeb : ac cett. : atque e Halm totius belli ore ac faucibus ereptam esse atque servatam; nostra semper feretur et praedicabitur L. Lucullo dimicante, cum interfectis ducibus depressa hostium classis est est Heumann : et codd. , incredibilis apud Tenedum pugna illa navalis, nostra sunt tropaea, nostra monumenta, nostri triumphi. quae quae G1Ee : quia cett. ( G2 ) quorum ingeniis efferuntur efferuntur Görenz : haec (hec a ς bg ) feruntur codd. : ecferuntur Stürenberg , ab eis populi Romani fama celebratur. | |
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| 23. Cicero, Partitiones Oratoriae, 40 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •ornament Found in books: Clay and Vergados, Teaching through Images: Imagery in Greco-Roman Didactic Poetry (2022) 273, 274 |
| 24. Cicero, Letters, 1.16.15 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •literature, ornament of republic Found in books: Oksanish, Vitruvian Man: Rome Under Construction (2019) 47 |
25. Cicero, De Oratore, 3.37.149-3.37.150, 3.100, 3.202, 3.205 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •ornament Found in books: Clay and Vergados, Teaching through Images: Imagery in Greco-Roman Didactic Poetry (2022) 161, 163, 164, 274| 3.202. Nam et commoratio una in re permultum movet et inlustris explanatio rerumque, quasi gerantur, sub aspectum paene subiectio; quae et in exponenda re plurimum valent et ad inlustrandum id, quod exponitur, et ad amplificandum; ut eis, qui audient, illud, quod augebimus, quantum efficere oratio poterit, tantum esse videatur; et huic contraria saepe percursio est et plus ad intellegendum, quam dixeris, significatio et distincte concisa brevitas et extenuatio et huic adiuncta inlusio a praeceptis Caesaris non abhorrens; | 3.202. For the dwelling on a single circumstance has often a considerable effect; and a clear illustration and exhibition of matters to the eye of the audience, almost as if they were transacted before them. This has wonderful influence in giving a representation of any affair, both to illustrate what is represented, and to amplify it, so that the point which we amplify may appear to the audience to be really as great as the powers of our language can represent it. Opposed to this is rapid transition over a thing, which may often be practised. There is also signification that more is to be understood than you have expressed; distinct and concise brevity; and extenuation, and, what borders upon this, ridicule, not very different from that which was the object of Caesar’s instructions; |
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26. Cicero, On Duties, 1.77 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •literature, ornament of republic Found in books: Oksanish, Vitruvian Man: Rome Under Construction (2019) 47| 1.77. Illud autem optimum est, in quod invadi solere ab improbis et invidis audio: Cedant arma togae, concedat laurea laudi. Ut enim alios omittam, nobis rem publicam gubertibus nonne togae arma cesserunt? neque enim periculum in re publica fuit gravius umquam nec maius otium. Ita consiliis diligentiaque nostra celeriter de manibus audacissimorum civium delapsa arma ipsa ceciderunt. | 1.77. The whole truth, however, is in this verse, against which, I am told, the malicious and envious are wont to rail: "Yield, ye arms, to the toga; to civic praises, ye laurels." Not to mention other instances, did not arms yield to the toga, when I was at the helm of state? For never was the republic in more serious peril, never was peace more profound. Thus, as the result of my counsels and my vigilance, their weapons slipped suddenly from the hands of the most desperate traitors â dropped to the ground of their own accord! What achievement in war, then, was ever so great? < |
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27. Cicero, Philippicae, 2.20 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •literature, ornament of republic Found in books: Oksanish, Vitruvian Man: Rome Under Construction (2019) 47 | 2.20. And yet you are a little to be blamed for your failure in that instance, too. For you might have got some wit from your wife, who was an actress. “Arms to the gown must yield.” Well, have they not yielded? But afterwards the gown yielded to your arms. Let us inquire then whether it was better for the arms of wicked men to yield to the freedom of the Roman people, or that our liberty should yield to your arms. Nor will I make any further reply to you about the verses. I will only say briefly that you do not understand them, nor any other literature whatever. That I have never at any time been wanting to the claims that either the republic or my friends had upon me; but nevertheless that in all the different sorts of composition on which I have employed myself, during my leisure hours, I have always endeavoured to make my labours among my writings such as to be some advantage to our youth, and some credit to the Roman name. But, however, all this has nothing to do with the present occasion. Let us consider more important matters. 9. |
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| 28. Cicero, Orator, 138, 66-67 (2nd cent. BCE - 1st cent. BCE) Tagged with subjects: •nan Found in books: Clay and Vergados, Teaching through Images: Imagery in Greco-Roman Didactic Poetry (2022) 163 |
29. Ovid, Ars Amatoria, 1.289-1.326, 2.123-2.142 (1st cent. BCE - 1st cent. CE) Tagged with subjects: •ornament Found in books: Clay and Vergados, Teaching through Images: Imagery in Greco-Roman Didactic Poetry (2022) 273| 1.289. Forte sub umbrosis nemorosae vallibus Idae 1.290. rend= 1.291. Signatus tenui media inter cornua nigro: 1.292. rend= 1.293. Illum Cnosiadesque Cydoneaeque iuvencae 1.294. rend= 1.295. Pasiphaë fieri gaudebat adultera tauri; 1.296. rend= 1.297. Nota cano: non hoc, centum quae sustinet urbes, 1.298. rend= 1.299. Ipsa novas frondes et prata tenerrima tauro 1.300. rend= 1.301. It comes armentis, nec ituram cura moratur 1.302. rend= 1.303. Quo tibi, Pasiphaë, pretiosas sumere vestes? 1.304. rend= 1.305. Quid tibi cum speculo, montana armenta petenti? 1.306. rend= 1.307. Crede tamen speculo, quod te negat esse iuvencam. 1.308. rend= 1.309. Sive placet Minos, nullus quaeratur adulter: 1.310. rend= 1.311. In nemus et saltus thalamo regina relicto 1.312. rend= 1.313. A, quotiens vaccam vultu spectavit iniquo, 1.314. rend= 1.315. Aspice, ut ante ipsum teneris exultet in herbis: 1.316. rend= 1.317. Dixit, et ingenti iamdudum de grege duci 1.318. rend= 1.319. Aut cadere ante aras commentaque sacra coegit, 1.320. rend= 1.321. Paelicibus quotiens placavit numina caesis, 1.322. rend= 1.323. Et modo se Europen fieri, modo postulat Io, 1.324. rend= 1.325. Hanc tamen implevit, vacca deceptus acerna, 1.326. rend= 2.123. Non formosus erat, sed erat facundus Ulixes, | 1.289. Why name I ev'ry place where youths abound? 1.290. 'Tis loss of time; and a true fruitful ground. 1.290. there was a white bull, glory of the herd, one small black mark set between his horns: it the sole blemish, the rest was milky-white. The heifers of Cnossos and Cydon longed to have him mount up on their backs. Pasiphae joyed in adultery with the bull: she hated the handsome heifers with jealousy. I sing what is well-known: not even Crete, the hundred-citied, can deny it, however much Cretans lie. They say that, with unpractised hands, she plucked 1.291. The Baian baths, where ships at anchor ride, 1.292. And wholesome streams from sulphur fountains glide; 1.293. Where wounded youths are by experience taught, 1.294. The waters are less healthful than they thought, 1.295. Or Dian's fane, which near the suburb lies; This temple was in the neighbourhood of Rome , in a valley, where there is also a sacred wood. There were abundance of candles used in it, as we read in Ovid de Fastis . 1.296. Where priests, for their promotion, fight a prize. The sovereign priest of Diana, Aricina, called himself king, and often got that dignity by gaining the better of his opponent in single combat. 1.297. That maiden goddess is love's mortal foe, 1.298. And much from her his subjects undergo. 1.299. Thus far the sportful muse, with myrtle bound, 1.300. Has sung where lovely lasses may be found, 1.300. fresh leaves and tenderest grasses for the bull. She went as one of the herd, unhindered by any care for that husband of hers: Minos was ousted by a bull. Why put on your finest clothes, Pasiphae? Your lover can appreciate none of your wealth. Why have a mirror with you, when you seek highland cattle? Why continually smooth your hair, you foolish woman? But believe the mirror that denies you’re a heifer. How you wish that brow of yours could bear horns! If you’d please Minos, don’t seek out adulterers: 1.301. Now let me sing, how she who wounds your mind, 1.302. With art, may be to cure your wounds inclined. The celestial Venus is more charming than the terrestrial, and divine love soon extinguishes carnal, which burns with an obscure fire: whereas the divine enlightens those that it warms with holy desires; it leaves no string behind it and never has an end. 1.303. Young nobles, to my laws attention lend, 1.304. And all you vulgar of my school attend. 1.305. First then believe, all women may be won; 1.306. Attempt with confidence, the work is done. 1.307. The grasshopper shall first forbear to sing 1.308. In summer season, or the birds in spring; 1.309. Than women can resist your flatt'ring skill; 1.310. E'en she will yield who swears she never will. 1.310. If you want to cheat your husband, cheat with a man! The queen left her marriage bed for woods and fields, like a Maenad roused by the Boeotian god, they say. Ah, how often, with angry face, she spied a cow, and said: ‘Now, how can she please my lord? Look, how she frisks before him in the tender grass: doubtless the foolish thing thinks that she’s lovely.’ She spoke, and straightaway had her led from the vast herd, the innocent thing dragged under the arching yoke, or felled before the altar, forced to be a false sacrifice, 1.311. To secret pleasures both the sexes move; 1.312. But women most, who most dissemble, love; 1.313. 'Twere best for us, if they would first declare; 1.314. Avow their passion, and submit to prayer. 1.315. The cow by looing tells the bull her flame; 1.316. The neighing mare invites her stallion to the game. 1.317. Man is more temp'rate in his lust than they; 1.318. And more than woman can his passion sway. 1.319. Biblis , we know, did first her love declare, 1.320. And had recourse to death in her despair. 1.320. and, delighted, held her rival’s entrails in her hand. The number of times she killed rivals to please the gods, and said, holding the entrails: ‘Go, and please him for me!’ Now she claims to be Io, and now Europa, one who’s a heifer, the other borne by the bull. Yet he filled her, the king of the herd, deceived by a wooden cow, and their offspring betrayed its breeding. If Cretan Aerope had spurned Thyestes’s love (and isn’t it hard to forego even one man?), the Sun would not have veered from his course mid-way, 1.321. Her brother she, her father Myrrha sought; Myrrha's love of her father Cinyras is not a fable. At least Pliny relates this adventure as a memorable story, and says Cinyras lived two hundred and ten years, and that his daughter took her mother's place, while she was busied about the sacrifices to Ceres . But that her father discovering her insolence, ran after her a long time with a sword in his hand. The fable adds, she got away by favour of the night, and fled to the Sabeans, where she was changed into a tree, which bears her name. See the 10th book of the Metamorphoses. 1.322. And lov'd; but lov'd not as a daughter ought. 1.323. Now from a tree she stills her od'rous tears; 1.324. Which yet the name of her who shed 'em bear. 1.325. In Ida's shady vale a bull appeared, Pasiphae, daughter of the sun, and wife to Minos king of Crete , is fabled to be enamoured of a bull: and Daedalus, the famous mechanic, assisted her to enjoy her detestable desires, by making a machine like a cow; within which she was caressed by her gallant. From this intrigue the Minotaur was born, half man and half bull, who was enclosed in a labyrinth, and by the assistance of Ariadne killed by Theseus. 1.326. White as the snow, the fairest of the herd; 2.123. Yet the wing'd god shall to our rules submit, |
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| 30. Propertius, Elegies, 3.19 (1st cent. BCE - missingth cent. CE) Tagged with subjects: •ornament Found in books: Clay and Vergados, Teaching through Images: Imagery in Greco-Roman Didactic Poetry (2022) 274 |
31. Sallust, Iugurtha, 4 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •literature, ornament of republic Found in books: Oksanish, Vitruvian Man: Rome Under Construction (2019) 46 | 4. But among intellectual pursuits, the recording of the events of the past is especially serviceable; but of that it becomes me to say nothing, 2 both because many men have already spoken of its value, and in order that no one may suppose that I am led by vanity to eulogize my own favourite occupation. 3 I suppose, too, that since I have resolved to pass my life aloof from public affairs, some will apply to this arduous and useful employment of mine the name of idleness, certainly those who regard courting the people and currying favour by banquets as the height of industriousness. 4 But if such men will only bear in mind in what times I was elected to office, what men of merit were unable to attain the same honour and what sort of men have since come into the senate, they will surely be convinced that it is rather from justifiable motives than from indolence that I have changed my opinion, and that greater profit will accrue to our country from my inactivity than from others' activity. 5 I have often heard that Quintus Maximus, Publius Scipio, and other eminent men of our country, were in the habit of declaring that their hearts were set mightily aflame for the pursuit of virtue whenever they gazed upon the masks of their ancestors. 6 of course they did not mean to imply that the wax or the effigy had any such power over them, but rather that it is the memory of great deeds that kindles in the breasts of noble men this flame that cannot be quelled until they by their own prowess have equalled the fame and glory of their forefathers. 7 But in these degenerate days, on the contrary, who is there that does not vie with his ancestors in riches and extravagance rather than in uprightness and diligence? Even the "new men,"8 who in former times already relied upon worth to outdo the nobles, now make their way to power and distinction by intrigue and open fraud rather than by noble practices; 8 just as if a praetorship, a consulship, or anything else of the kind were distinguished and illustrious in and of itself and were not valued according to the merit of those who live up to it. 9 But in giving expression to my sorrow and indignation at the morals of our country I have spoken too freely and wandered too far from my subject. To this I now return. |
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| 32. Anon., Rhetorica Ad Herennium, 2.46, 4.12.17 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •ornament Found in books: Clay and Vergados, Teaching through Images: Imagery in Greco-Roman Didactic Poetry (2022) 160, 161, 273, 274 |
| 33. Vitruvius Pollio, On Architecture, 9.pr.18, 9.pr.16-17 (1st cent. BCE - 1st cent. BCE) Tagged with subjects: •nan Found in books: Oksanish, Vitruvian Man: Rome Under Construction (2019) 46 |
34. Pliny The Elder, Natural History, 34.19 (1st cent. CE - 1st cent. CE) Tagged with subjects: •literature, ornament of republic Found in books: Oksanish, Vitruvian Man: Rome Under Construction (2019) 47 | 34.19. An almost innumerable multitude of artists have been rendered famous by statues and figures of smaller size; but before them all stands the Athenian Pheidias, celebrated for the statue of Olympian Zeus, which in fact was made of ivory and gold, although he also made figures of bronze. He flourished in the 83rd Olympiad [448 BCE], about the 300th year of our city, at which same period his rivals were Alcamenes, Critias, Nesiotes and Hegias; and later, in the 87th Olympiad [432 BCE] there were Hagelades, Callon and the Spartan Gorgias, and again in the 90th Olympiad [420 BCE] Polycleitus, Phradmon, Myron, Pythagoras, Scopas and Perellus. of these Polycleitus had as pupils Argius, Asopodorus, Alexis, Aristides, Phryno, Dino, Athenodorus, and Demeas of Clitor; and Myron had Lycius. In the 95th Olympiad [400 BCE] flourished Naucydes, Dinomenes, Canachus and Patroclus; and in the 102nd [372 BCE] Polycles, Cephisodotus, Leochares and Hypatodorus; in the 104th [364 BCE] Praxiteles and Euphranor; in the 107th [352 BCE] Aetion and Therimachus. Lysippus was in the 113th [328 BCE], the period of Alexander the Great, and likewise his brother Lysistratus, Sthennis, Euphron, Sophocles, Sostratus, Ion and Silanion — a remarkable fact in the case of the last named being that he became famous without having had any teacher; he himself had Zeuxiades as his pupil — and in the 121st [296 BCE] Eutychides, Euthycrates, Laippus, Cephisodotus, Timarchus and Pyromachus. After that the art languished, and it revived again in the 156th Olympiad [156 BCE], when there were the following, far inferior it is true to those mentioned above, but nevertheless artists of repute: Antaeus, Callistratus, Polycles of Athens, Callixenus, Pythocles, Pythias and Timocles., After thus defining the periods of the most famous artists, I will hastily run through those of outstanding distinction, throwing in the rest of the throng here and there under various heads. The most celebrated have also come into competition with each other, although born at different periods, because they had made statues of Amazons; when these were dedicated in the Temple of Artemis of Ephesus, it was agreed that the best one should be selected by the vote of the artists themselves who were present; and it then became evident that the best was the one which all the artists judged to be the next best after their own: this is the Amazon by Polycleitus, while next to it came that of Pheidias, third Cresilas's, fourth Cydon's and fifth Phradmon's., Pheidias, besides the Olympian Zeus, which nobody has ever rivalled, executed in ivory and gold the statue of Athene that stands erect in the Parthenon at Athens, and in bronze, besides the Amazon mentioned above, an Athene of such exquisite beauty that it has been surnamed the 'Fair.' He also made the Lady with the Keys, and another Athene which Aemilius Paulus dedicated in Rome at the temple of Today's Fortune, and likewise a work consisting of two statues wearing cloaks which Catulus erected in the same temple, and another work, a colossal statue undraped; and Pheidias is deservedly deemed to have first revealed the capabilities and indicated the methods of statuary., Polycleitus of Sikyon, a pupil of Hagelades, made a statue of the 'Diadumenos' or Binding his Hair — a youth, but soft-looking — famous for having cost 100 talents, and also the 'Doryphoros' or Carrying a Spear — a boy, but manly-looking. He also made what artists call a 'Canon' or Model Statue, as they draw their artistic outlines from it as from a sort of standard; and he alone of mankind is deemed by means of one work of art to have created the art itself! He also made the statue of the Man using a Body-scraper ('Apoxyomenos') and, in the nude, the Man Attacking with Spear, and the Two Boys Playing Knucklebones, likewise in the nude, known by the Greek name of Astragalizontes and now standing in the forecourt of the Emperor Titus — this is generally considered to be the most perfect work of art in existence — and likewise the Hermes that was once at Lysimachea; Heracles; the Leader Donning his Armour, which is at Rome; and Artemon, called the Man in the Litter. Polycleitus is deemed to have perfected this science of statuary and to have refined the art of carving sculpture, just as Pheidias is considered to have revealed it. A discovery that was entirely his own is the art of making statues throwing their weight on one leg, although Varro says these figures are of a square build and almost all made on one model., Myron, who was born at Eleutherae, was himself also a pupil of Hagelades; he was specially famous for his statue of a heifer, celebrated in some well-known sets of verses — inasmuch as most men owe their reputation more to someone else's talent than to their own. His other works include Ladas and a 'Discobolos' or Man Throwing a Discus, and Perseus, and The Sawyers, and The Satyr Marvelling at the Flute and Athene, Competitors in the Five Bouts at Delphi, the All-round Fighters, the Heracles now in the house of Pompey the Great at the Circus Maximus. Erinna in her poems indicates that he even made a memorial statue of a tree-cricket and a locust. He also made an Apollo which was taken from the people of Ephesus by Antonius the Triumvir but restored to them by his late lamented Majesty Augustus in obedience to a warning given him in a dream. Myron is the first sculptor who appears to have enlarged the scope of realism, having more rhythms in his art than Polycleitus and being more careful in his proportions. Yet he himself so far as surface configuration goes attained great finish, but he does not seem to have given expression to the feelings of the mind, and moreover he has not treated the hair and the pubes with any more accuracy than had been achieved by the rude work of olden days., Myron was defeated by the Italian Pythagoras of Reggio with his All-round Fighter which stands at Delphi, with which he also defeated Leontiscus; Pythagoras also did the runner Astylos which is on show at Olympia; and, in the same place, the Libyan as a boy holding a tablet; and the nude Man Holding Apples, while at Syracuse there is his Lame Man, which actually makes people looking at it feel a pain from his ulcer in their own leg, and also Apollo shooting the Python with his Arrows, a Man a playing the Harp, that has the Greek name of The Honest Man given it because when Alexander took Thebes a fugitive successfully hid in its bosom a sum of gold. Pythagoras of Reggio was the first sculptor to show the sinews and veins, and to represent the hair more carefully., There was also another Pythagoras, a Samian, who began as a painter; his seven nude statues now at the temple of Today's Fortune and one of an old man are highly spoken of. He is recorded to have resembled the above mentioned Pythagoras so closely that even their features were indistinguishable; but we are told that Sostratus was a pupil of Pythagoras of Reggio and a son of this Pythagoras' sister., Lysippus of Sikyon is said by Duris not to have been the pupil of anybody, but to have been originally a copper-smith and to have first got the idea of venturing on sculpture from the reply given by the painter Eupompus when asked which of his predecessors he took for his model; he pointed to a crowd of people and said that it was Nature herself, not an artist, whom one ought to imitate. Lysippus as we have said was a most prolific artist and made more statues than any other sculptor, among them the Man using a Body-scraper which Marcus Agrippa gave to be set up in front of his Warm Baths and of which the emperor Tiberius was remarkably fond. Tiberius, although at the beginning of his principate he kept some control of himself, in this case could not resist the temptation, and had the statue removed to his bedchamber, putting another one in its place at the baths; but the public were so obstinately opposed to this that they raised an outcry at the theatre, shouting 'Give us back the Apoxyomenos' — Man using a Body-scraper — and the Emperor, although he had fallen quite in love with the statue, had to restore it. Lysippus is also famous for his Tipsy Girl playing the Flute, and his Hounds and Huntsmen in Pursuit of Game, but most of all for his Chariot with the Sun belonging to Rhodes. He also executed a series of statues of Alexander the Great, beginning with one in Alexander's boyhood. The emperor Nero was so delighted by this statue of the young Alexander that he ordered it to be gilt; but this addition to its money value so diminished its artistic attraction that afterwards the gold was removed, and in that condition the statue was considered yet more valuable, even though still retaining scars from the work done on it and incisions in which the gold had been fastened. The same sculptor did Alexander the Great's friend Hephaestion, a statue which some people ascribe to Polycleitus, although his date is about a hundred years earlier; and also Alexander's Hunt, dedicated at Delphi, a Satyr now at Athens, and Alexander's Squadron of Horse, in which the sculptor introduced portraits of Alexander's friends consummately lifelike in every ease. After the conquest of Macedonia this was removed to Rome by Metellus; he also executed Four-horse Chariots of various kinds. Lysippus is said to have contributed greatly to the art of bronze statuary by representing the details of the hair and by making his heads smaller than the old sculptors used to do, and his bodies more slender and firm, to give his statues the appearance of greater height. He scrupulously preserved the quality of 'symmetry' (for which there is no word in Latin) by the new and hitherto untried method of modifying the squareness of the figure of the old sculptors, and he used commonly to say that whereas his predecessors had made men as they really were, he made them as they appeared to be. A peculiarity of this sculptor's work seems to be the minute finish maintained in even the smallest details., Lysippus left three sons who were his pupils, the celebrated artists Laippus, Boedas and Euthycrates, the last pre-eminent, although he copied the harmony rather than the elegance of his father, preferring to win favour in the severely correct more than in the agreeable style. Accordingly his Heracles, at Delphi, and his Alexander Hunting, at Thespiae, his group of Thespiades, and his Cavalry in Action are works of extreme finish, and so are his statue of Trophonius at the oracular shrine of that deity, a number of Four-horse Chariots, a Horse with Baskets and a Pack of Hounds. Moreover Tisicrates, another native of Sikyon, was a pupil of Euthycrates, but closer to the school of Lysippus — indeed many of his statues cannot be distinguished from Lysippus's work, for instance his Old Man of Thebes, his King Demetrius (Poliorcetes), and his Peucestes, the man who saved the life of Alexander the Great and so deserved the honour of this commemoration., Artists who have composed treatises recording these matters speak with marvellously high praise of Telephanes of Phocis, who is otherwise unknown, since he lived at ... in Thessaly where his works have remained in concealment, although these writers' own testimony puts him on a level with Polycleitus, Myron and Pythagoras. They praise his Larisa, his Spintharus the Five-bout Champion, and his Apollo. Others however are of opinion that the cause of his lack of celebrity is not the reason mentioned but his having devoted himself entirely to the studios established by King Xerxes and King Darius., Praxiteles although more successful and therefore more celebrated in marble, nevertheless also made some very beautiful works in bronze: the Rape of Persephone, also The Girl Spinning, and a Father Liber or Dionysus, with a figure of Drunkenness and also the famous Satyr, known by the Greek title Periboetos meaning 'Celebrated,' and the statues that used to be in front of the Temple of Felicitas, and the Aphrodite, which was destroyed by fire when the temple of that goddess was burnt down in the reign of Claudius, and which rivalled the famous Aphrodite, in marble, that is known all over the world; also A Woman Bestowing a Wreath, A Woman Putting a Bracelet on her Arm, Autumn, Harmodius and Aristogeiton who slew the tyrant the last piece carried off by Xerxes King of the Persians but restored to the Athenians by Alexander [331 BC] the Great after his conquest of Persia. Praxiteles also made a youthful Apollo called in Greek the Lizard-Slayer because he is waiting with an arrow for a lizard creeping towards him. Also two of his statues expressing opposite emotions are admired, his Matron Weeping and his Merry Courtesan. The latter is believed to have been Phryne and connoisseurs detect in the figure the artist's love of her and the reward promised him by the expression on the courtesan's face. The kindness also of Praxiteles is represented in sculpture, as in the Chariot and Four of Calamis he contributed the charioteer, in order that the sculptor might not be thought to have failed in the human figure although more successful in representing horses. Calamis himself also made other chariots, some with four horses and some with two, and in executing the horses he is invariably unrivalled: but — that it may not be supposed that he was inferior in his human figures — his Alcmena is as famous as that of any other sculptor., Alcamenes a pupil of Pheidias made marble figures, and also in bronze a Winner of the Five Bouts, known by the Greek term meaning Highly Commended, but Polycleitus's pupil Aristides made four-horse and pair-horse chariots. Amphicrates is praised for his Leaena; she was a harlot, admitted to the friendship of Harmodius and Aristogeiton because of her skill as a harpist, who though put to the torture by the tyrants till she died refused to betray their plot to assassinate them. Consequently the Athenians wishing to do her honour and yet unwilling to have made a harlot famous, had a statue made of a lioness, as that was her name, and to indicate the reason for the honour paid her instructed the artist to represent the animal as having no tongue., Bryaxis made statues of Asclepius and Seleucus, Boedas, a Man Praying, Baton, an Apollo and a Hera, both now in the Temple of Concord at Rome. Cresilas did a Man Fainting from Wounds, the expression of which indicates how little life remains, and the Olympian Pericles, a figure worthy of its title; indeed it is a marvellous thing about the art of sculpture that it has added celebrity to men already celebrated. Cephisodorus made the wonderful Athene at the harbour of Athens and the almost unrivalled altar at the temple of Zeus the Deliverer at the same harbour, Canachus the naked Apollo, surnamed Philesius, at Didyma, made of bronze compounded at Aigina; and with it he made a stag so lightly poised in its footprints as to allow of a thread being passed underneath its feet, the 'heel' and the 'toes' holding to the base with alternate contacts, the whole hoof being so jointed in either part that it springs back from the impact. He also made a Boys Riding on Racehorses. Chaereas did Alexander the Great and his father Philip, Ctesilaus a Man with a Spear and a Wounded Amazon, Demetrius Lysimache who was a priestess of Athene for 64 years, and also the Athene called the Murmuring Athene — the dragons on her Gorgon's head sound with a tinkling note when a harp is struck; he likewise did the mounted statue of Simon who wrote the first treatise on horsemanship. Daedalus (also famous as a modeller in clay) made Two Boys using a Body-Scraper, and Dinomenes did a Protesilaus and the wrestler Pythodemus. The statue of Alexander Paris is by Euphranor; it is praised because it conveys all the characteristics of Paris in combination — the judge of the goddesses, the lover of Helen and yet the slayer of Achilles. The Athene, called at Rome the Catuliana, which stands below the Capitol and was dedicated by Quintus Lutatius Catulus, is Euphranor's, and so is the figure of Success, holding a dish in the right hand and in the left an ear of corn and some poppies, and also in the temple of Concord a Leto as Nursing Mother, with the infants Apollo and Artemis in her arms. He also made four-horse and two-horse chariots, and an exceptionally beautiful Lady with the Keys, and two colossal statues, one of Virtue and one of Greece, a Woman Wondering and Worshipping, and also an Alexander and a Philip in four-horse chariots. Eutychides did a Eurotas, in which it has frequently been said that the work of the artist seems clearer than the water of the real river. The Athene and the King Pyrrhus of Hegias are praised, and his Boys Riding on Racehorses, and his Castor and Pollux that stand before the temple of Jupiter the Thunderer; and so are Hagesias's Heracles in our colony of Parium, and Isidotus's Man Sacrificing an Ox. Lycius who was a pupil of Myron did a Boy Blowing a Dying Fire that is worthy of his instructor, also a group of the Argonauts; Leochares an Eagle carrying off Ganymede in which the bird is aware of what his burden is and for whom he is carrying it, and is careful not to let his claws hurt the boy even through his clothes, and Autolycus Winner of the All-round Bout, being also the athlete in whose honour Xenophon wrote his Banquet and the famous Zeus the Thunderer now on the Capitol, of quite unrivalled merit, also an Apollo crowned with a Diadem; also Lyciscus, the Slave-dealer, and a Boy, with the crafty cringing look of a household slave. Lycius also did a Boy Burning Perfumes. There is a Bull-calf by Menaechmus, on which a man is pressing his knee as he bends its neck back; Menaechmus has written a treatise about his own work. The reputation of Naucydes rests on his Hermes and Man throwing a Disc and Man Sacrificing a Ram, that of Naucerus on his Wrestler Winded, that of Niceratus on his Asclepius and his Goddess of Health, which are in the Temple of Concord at Rome. Pyromachus has an Alcibiades Driving a Chariot and Four; Polycles made a famous Hermaphrodite, Pyrrhus, a Goddess of Health and Athene, Phanis, who was a pupil of Lysippus, a Woman Sacrificing. Styppax of Cyprus is known for a single statue, his Man Cooking Tripe, which represented a domestic slave of the Olympian Pericles roasting inwards and puffing out his cheeks as he kindles the fire with his breath; Silanion cast a metal figure of Apollodorus, who was himself a modeller, and indeed one of quite unrivalled devotion to the art and a severe critic of his own work, who often broke his statues in pieces after he had finished them, his intense passion for his art making him unable to be satisfied, and consequently he was given the surname of the Madman — this quality he brought out in his statue, the Madman, which represented in bronze not a human being but anger personified. Silanion also made a famous Achilles, and also a Superintendent Exercising Athletes; Strongylion made an Amazon, which from the remarkable beauty of the legs is called the Eucnemon, and which consequently the emperor Nero caused to be carried in his retinue on his journeys. The same sculptor made the figure rendered famous by Brutus under the name of Brutus's Boy because it represented a favourite of the hero of the battles at Philippi. Theodorus, who constructed the Labyrinth at Samos, cast a statue of himself in bronze. Besides its remarkable celebrity as a likeness, it is famous for its very minute workmanship; the right hand holds a file, and three fingers of the left hand originally held a little model of a chariot and four, but this has been taken away to Praeneste as a marvel of smallness: if the team were reproduced in a picture with the chariot and the charioteer, the model of a fly, which was made by the artist at the same time, would cover it with its wings. Xenocrates, who was a pupil of Tisicrates, or by other accounts of Euthycrates, surpassed both of the last mentioned in the number of his statues; and he also wrote books about his art., Several artists have represented the battles of Attalus and Eumenes against the Gauls, Isigonus, Pyromachus, Stratonicus and Antigonus, who wrote books about his art. Boethus did a Child Strangling a Goose by hugging it, although he is better in silver. And among the list of works I have referred to all the most celebrated have now been dedicated by the emperor Vespasian in the Temple of Peace and his [AD. 75] other public buildings; they had been looted by Nero, who conveyed them all to Rome and arranged them in the sitting-rooms of his Golden Mansion., Besides these, artists on the same level of merit but of no outstanding excellence in any of their works are: Ariston, who often also practised chasing silver, Callides, Ctesias, Cantharus of Sikyon, Dionysius, Diodorus the pupil of Critias, Deliades, Euphorion, Eunicus and Hecataeus the silver chasers, Lesbocles, Prodorus, Pythodieus, Polygnotus, who was also one of the most famous among painters, similarly Stratonicus among chasers, and Critias's pupil Scymnus., I will now run through the artists who have made works of the same class, such as Apollodorus, Androbulus and Asclepiodorus, Aleuas, who have done philosophers, and Apellas also women donning their ornaments, and Antignotus also Man using a Body-scraper and the Men that Slew the Tyrant, above-mentioned, Antimachus, Athenodorus who made splendid figures of women, Aristodemus who also did Wrestlers, and Chariot and Pair with Driver, figures of philosophers, of old women, and King Seleucus; Aristodemus's Man holding Spear is also popular. There were two artists named Cephisodotus; the Hermes Nursing Father Liber or Dionysos when an Infant belongs to the elder, who also did a Man Haranguing with Hand Uplifted — whom it represents is uncertain. The later Cephisodotus did philosophers. Colotes who had co-operated with Pheidias in the Olympian Zeus made statues of philosophers, as also did Cleon and Cenchramis and Callicles and Cepis; Chalcosthenes also did actors in comedy and athletes; Daippus a Man using a Scraper; Daiphron, Damocritus and Daemon statues of philosophers. Epigonus, who copied others in almost all the subjects already mentioned, took the lead with his Trumpet-player and his Weeping Infant pitifully caressing its Murdered Mother. Praise is given to Eubulus's Woman in Admiration and to Eubulides' Person Counting on the Fingers. Micon is noticed for his athletes and Menogenes for his chariots and four. Niceratus, who likewise attempted all the subjects employed by any other sculptor, did a statue of Alcibiades and one of his mother Demarate, represented as performing a sacrifice by torch-light. Tisicrates did a pair-horse chariot in which Piston afterwards placed a woman; the latter also made an Ares and a Hermes now in the Temple of Concord at Rome. No one should praise Perillus, who was more cruel than the tyrant Phalaris, for whom he made a bull, guaranteeing that if a man were shut up inside it and a fire lit underneath the man would do the bellowing; and he was himself the first to experience this torture — a cruelty more just than the one he proposed. Such were the depths to which the sculptor had diverted this most humane of arts from images of gods and men! All the founders of the art had only toiled so that it should be employed for making implements of torture! Consequently this sculptor's works are preserved for one purpose only, so that whoever sees them may hate the hands that made them. Sthennis did a Demeter, a Zeus and an Athene that are in the Temple of Concord at Rome, and also Weeping Matrons and Matrons at Prayer and offering a Sacrifice. Simon made a Dog and an Archer, the famous engraver Stratonicus some philosophers and each of these artists made figures of hostesses of inns. The following have made figures of athletes, armed men, hunters and men offering sacrifice: Baton, Euchir, Glaucides, Heliodorus, Hicanus, Jophon, Lyson, Leon, Menodorus, Myagrus, Polycrates, Polyidus, Pythocritus, Protogenes (who was also, as we shall say later, one of the most famous painters), Patrocles, Pollis and Posidonius (the last also a distinguished silver chaser, native of Ephesus), Periclymenus, Philo, Symenus, Timotheus, Theomnestus, Tiniarchides, Timon, Tisias, Thraso., But of all Callimachus is the most remarkable, because of the surname attached to him: he was always unfairly critical of his own work, and was an artist of never-ending assiduity, and consequently he was called the Niggler, and is a notable warning of the duty of observing moderation even in taking pains. To him belongs the Laconian Women Dancing, a very finished work but one in which assiduity has destroyed all charm. Callimachus is reported to have also been a painter. Cato in his expedition to Cyprus sold all the statues found there except one of Zeno; it was not the value of the bronze nor the artistic merit that attracted him, but its being the statue of a philosopher: I mention this by the way, to introduce this distinguished instance also., In mentioning statues — there is also one we must not pass over in spite of the sculptor's not being known — the figure, next to the Rostra, of Heracles in the Tunic, the only one in Rome that shows him in that dress; the countece is stern and the statue expresses the feeling of the final agony of the tunic. On this statue there are three inscriptions, one stating that it had been part of the booty taken by the general Lucius Lucullus, and another saying that it was dedicated, in pursuance of a decree of the Senate, by Lucullus's son while still a ward, and the third, that Titus Septimius Sabinus as curule aedile had caused it to be restored to the public from private ownership. So many were the rivalries connected with this statue and so highly was it valued. |
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35. Quintilian, Institutio Oratoria, 2.16.10, 5.11.1-5.11.18, 8.3.61, 8.3.70 (1st cent. CE - 1st cent. CE) Tagged with subjects: •ornament Found in books: Clay and Vergados, Teaching through Images: Imagery in Greco-Roman Didactic Poetry (2022) 164, 165, 273 | 5.11.7. from the unlike when we say, "Brutus killed his sons for plotting against the state, while Manlius condemned his son to death for his valour"; from the contrary when we say, "Marcellus restored the works of art which had been taken from the Syracusans who were our enemies, while Verres took the same works of art from our allies." The same divisions apply also to such forms of proof in panegyric or denunciation. |
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36. New Testament, Matthew, 2.11, 13.46, 27.29 (1st cent. CE - 1st cent. CE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70, 78| 2.11. καὶ ἐλθόντες εἰς τὴν οἰκίαν εἶδον τὸ παιδίον μετὰ Μαρίας τῆς μητρὸς αὐτοῦ, καὶ πεσόντες προσεκύνησαν αὐτῷ, καὶ ἀνοίξαντες τοὺς θησαυροὺς αὐτῶν προσήνεγκαν αὐτῷ δῶρα, χρυσὸν καὶ λίβανον καὶ σμύρναν. 13.46. εὑρὼν δὲ ἕνα πολύτιμον μαργαρίτην ἀπελθὼν πέπρακεν πάντα ὅσα εἶχεν καὶ ἠγόρασεν αὐτόν. 27.29. καὶ πλέξαντες στέφανον ἐξ ἀκανθῶν ἐπέθηκαν ἐπὶ τῆς κεφαλῆς αὐτοῦ καὶ κάλαμον ἐν τῇ δεξιᾷ αὐτοῦ, καὶ γονυπετήσαντες ἔμπροσθεν αὐτοῦ ἐνέπαιξαν αὐτῷ λέγοντες Χαῖρε, βασιλεῦ τῶν Ἰουδαίων, | 2.11. They came into the house and saw the young child with Mary, his mother, and they fell down and worshiped him. Opening their treasures, they offered to him gifts: gold, frankincense, and myrrh. 13.46. who having found one pearl of great price, he went and sold all that he had, and bought it. 27.29. They braided a crown of thorns and put it on his head, and a reed in his right hand; and they kneeled down before him, and mocked him, saying, "Hail, King of the Jews!" |
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37. New Testament, John, 1.9, 1.14, 6.53, 8.23, 12.46, 17.14.16, 18.36 (1st cent. CE - 1st cent. CE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70, 77, 78| 1.9. Ἦν τὸ φῶς τὸ ἀληθινὸν ὃ φωτίζει πάντα ἄνθρωπον ἐρχόμενον εἰς τὸν κόσμον. 1.14. Καὶ ὁ λόγος σὰρξ ἐγένετο καὶ ἐσκήνωσεν ἐν ἡμῖν, καὶ ἐθεασάμεθα τὴν δόξαν αὐτοῦ, δόξαν ὡς μονογενοῦς παρὰ πατρός, πλήρης χάριτος καὶ ἀληθείας·?̔ 6.53. εἶπεν οὖν αὐτοῖς [ὁ] Ἰησοῦς Ἀμὴν ἀμὴν λέγω ὑμῖν, ἐὰν μὴ φάγητε τὴν σάρκα τοῦ υἱοῦ τοῦ ἀνθρώπου καὶ πίητε αὐτοῦ τὸ αἷμα, οὐκ ἔχετε ζωὴν ἐν ἑαυτοῖς. 8.23. καὶ ἔλεγεν αὐτοῖς Ὑμεῖς ἐκ τῶν κάτω ἐστέ, ἐγὼ ἐκ τῶν ἄνω εἰμί· ὑμεῖς ἐκ τούτου τοῦ κόσμου ἐστέ, ἐγὼ οὐκ εἰμὶ ἐκ τοῦ κόσμου τούτου. 12.46. ἐγὼ φῶς εἰς τὸν κόσμον ἐλήλυθα, ἵνα πᾶς ὁ πιστεύων εἰς ἐμὲ ἐν τῇ σκοτίᾳ μὴ μείνῃ. 18.36. ἀπεκρίθη Ἰησοῦς Ἡ βασιλεία ἡ ἐμὴ οὐκ ἔστιν ἐκ τοῦ κόσμου τούτου· εἰ ἐκ τοῦ κόσμου τούτου ἦν ἡ βασιλεία ἡ ἐμή, οἱ ὑπηρέται οἱ ἐμοὶ ἠγωνίζοντο ἄν, ἵνα μὴ παραδοθῶ τοῖς Ἰουδαίοις· νῦν δὲ ἡ βασιλεία ἡ ἐμὴ οὐκ ἔστιν ἐντεῦθεν. | 1.9. The true light that enlightens everyone was coming into the world. 1.14. The Word became flesh, and lived among us. We saw his glory, such glory as of the one and only Son of the Father, full of grace and truth. 6.53. Jesus therefore said to them, "Most assuredly I tell you, unless you eat the flesh of the Son of Man and drink his blood, you don't have life in yourselves. 8.23. He said to them, "You are from beneath. I am from above. You are of this world. I am not of this world. 12.46. I have come as a light into the world, that whoever believes in me may not remain in the darkness. 18.36. Jesus answered, "My kingdom is not of this world. If my kingdom were of this world, then my servants would fight, that I wouldn't be delivered to the Jews. But now my kingdom is not from here." |
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38. New Testament, Galatians, 3.13 (1st cent. CE - 1st cent. CE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70| 3.13. Χριστὸς ἡμᾶς ἐξηγόρασεν ἐκ τῆς κατάρας τοῦ νόμου γενόμενος ὑπὲρ ἡμῶν κατάρα, ὅτι γέγραπταιἘπικατάρατος πᾶς ὁ κρεμάμενος ἐπὶ ξύλου, | 3.13. Christ redeemed us from the curse of the law, having become acurse for us. For it is written, "Cursed is everyone who hangs on atree," |
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39. New Testament, Acts, 5.30, 10.39 (1st cent. CE - 2nd cent. CE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70| 5.30. ὁ θεὸς τῶν πατέρων ἡμῶν ἤγειρεν Ἰησοῦν, ὃν ὑμεῖς διεχειρίσασθεκρεμάσαντες ἐπὶ ξύλου· 10.39. καὶ ἡμεῖς μάρτυρες πάντων ὧν ἐποίησεν ἔν τε τῇ χώρᾳ τῶν Ἰουδαίων καὶ Ἰερουσαλήμ· ὃν καὶ ἀνεῖλαν κρεμάσαντες ἐπὶ ξύλου. | 5.30. The God of our fathers raised up Jesus, whom you killed, hanging him on a tree. 10.39. We are witnesses of all things which he did both in the country of the Jews, and in Jerusalem; whom they also killed, hanging him on a tree. |
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40. New Testament, 1 Corinthians, 3.2, 5.7, 15.55 (1st cent. CE - 1st cent. CE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70, 77, 78| 3.2. γάλα ὑμᾶς ἐπότισα, οὐ βρῶμα, οὔπω γὰρ ἐδύνασθε. 5.7. ἐκκαθάρατε τὴν παλαιὰν ζύμην, ἵνα ἦτε νέον φύραμα, καθώς ἐστε ἄζυμοι. καὶ γὰρτὸ πάσχαἡμῶνἐτύθηΧριστός· 15.55. ποῦ σου, θάνατε, τὸ νῖκος; ποῦ σου, θάνατε, τὸ κέντρον; | 3.2. I fed you with milk, not withmeat; for you weren't yet ready. Indeed, not even now are you ready, 5.7. Purge out the old yeast, that you may bea new lump, even as you are unleavened. For indeed Christ, ourPassover, has been sacrificed in our place. 15.55. "Death, where is your sting?Hades, where is your victory?" |
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41. New Testament, 1 Peter, 2.3 (1st cent. CE - 1st cent. CE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70| 2.3. εἰἐγεύσασθε ὅτι χρηστὸς ὁ κύριος. | 2.3. if indeed you have tasted that the Lord is gracious: |
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42. Quintilian, Institutes of Oratory, 2.16.10, 5.11.1-5.11.18, 8.3.61, 8.3.70 (1st cent. CE - 1st cent. CE) Tagged with subjects: •ornament Found in books: Clay and Vergados, Teaching through Images: Imagery in Greco-Roman Didactic Poetry (2022) 164, 165, 273 | 5.11.3. The method of argument chiefly used by Socrates was of this nature: when he had asked a number of questions to which his adversary could only agree, he finally inferred the conclusion of the problem under discussion from its resemblance to the points already conceded. This method is known as induction, and though it cannot be used in a set speech, it is usual in a speech to assume that which takes the form of a question in dialogue. 5.11.4. For instance take the following question: "What is the finest form of fruit? Is it not that which is best?" This will be admitted. "What of the horse? What is the finest? Is it not that which is the best?" Several more questions of the same kind follow. Last comes the question "What of man? Is not he the finest type who is best?" The answer can only be in the affirmative. 5.11.5. Such a procedure is most valuable in the examination of witnesses, but is differently employed in a set speech. For there the orator either answers his own questions or makes an assumption of that which in dialogue takes the form of a question. "What is the finest fruit? The best, I should imagine. What is the finest horse? The swiftest. So too the finest type of man is not he that is noblest of birth, but he that is most excellent in virtue." All arguments of this kind, therefore, must be from things like or unlike or contrary. Similes are, it is true, sometimes employed for the embellishment of the speech as well, but I will deal with them in their proper place; at present I am concerned with the use of similitude in proof. 5.11.6. The most important of proofs of this class is that which is most properly styled example, that is to say the adducing of some past action real or assumed which may serve to persuade the audience of the truth of the point which we are trying to make. We must therefore consider whether the parallel is complete or only partial, that we may know whether to use it in its entirety or merely to select those portions which are serviceable. We argue from the like when we say, "Saturninus was justly killed, as were the Gracchi"; 5.11.7. from the unlike when we say, "Brutus killed his sons for plotting against the state, while Manlius condemned his son to death for his valour"; from the contrary when we say, "Marcellus restored the works of art which had been taken from the Syracusans who were our enemies, while Verres took the same works of art from our allies." The same divisions apply also to such forms of proof in panegyric or denunciation. 5.11.8. It will also be found useful when we are speaking of what is likely to happen to refer to historical parallels: for instance if the orator asserts that Dionysius is asking for a bodyguard that with their armed assistance he may establish himself as tyrant, he may adduce the parallel case of Pisistratus who secured the supreme power by similar means. 5.11.9. But while examples may at times, as in the last instance, apply in their entirety, at times we shall argue from the greater to the less or from the less to the greater. "Cities have been overthrown by the violation of the marriage bond. What punishment then will meet the case of adultery?" "Flute-players have been recalled by the state to the city which they had left. How much more then is it just that leading citizens who have rendered good service to their country should be recalled from that exile to which they have been driven by envy." 5.11.10. Arguments from unlikes are most useful in exhortation. Courage is more remarkable in a woman than in a man. Therefore, if we wish to kindle someone's ambition to the performance of heroic deeds, we shall find that parallels drawn from the cases of Horatius and Torquatus will carry less weight than that of the woman by whose hand Pyrrhus was slain, and if we wish to urge a man to meet death, the cases of Cato and Scipio will carry less weight than that of Lucretia. These are however arguments from the greater to the less. 5.11.11. Let me then give you separate examples of these classes of argument from the pages of Cicero; for where should I find better? The following passage from the pro Murena is an instance of argument from the like: "For it happened that I myself when a candidate had two patricians as competitors, the one a man of the most unscrupulous and reckless character, the other a most excellent and respectable citizen. Ye I defeated Catiline by force of merit and Galba by my popularity." 5.11.12. The pro Milone will give us an example of argument from the greater to the less: "They say that he who confesses to having killed a man is not fit to look upon the light of day. Where is the city in which men are such fools as to argue this? It is Rome itself, the city whose first trial on a capital charge was that of Marcus Horatius, the bravest of men, who, though the city had not yet attained its freedom, was none the less acquitted by the assembly of the Roman people, in spite of the fact that he confessed that he had slain his sister with his own hand." The following is an example of argument from the less to the greater: "I killed, not Spurius Maelius, who by lowering the price of corn and sacrificing his private fortune fell under the suspicion of desiring to make himself king, because it seemed that he was courting popularity with the common people overmuch," and so on till we come to, "No, the man I killed (for my client would not shrink from the avowal, since his deed had saved his country) was he who committed abominable adultery even in the shrines of the gods"; then follows the whole invective against Clodius. 5.11.13. Arguments from unlikes present great variety, for they may turn on kind, manner, time, place, etcetera, almost every one of which Cicero employs to overthrow the previous decisions that seemed to apply to the case of Cluentius, while he makes use of argument from contraries when he minimises the importance of the censorial stigma by praising Scipio Africanus, who in his capacity of censor allowed one whom he openly asserted to have committed deliberate perjury to retain his horse, because no one had appeared as evidence against him, though he promised to come forward himself to bear witness to his guilt, if any should be found to accuse him. I have paraphrased this passage because it is too long to quote. 5.11.14. A brief example of a similar argument is to be found in Virgil, "But he, whom falsely thou dost call thy father, Even Achilles, in far other wise Dealt with old Priam, and Priam was his foe." 5.11.15. Historical parallels may however sometimes be related in full, as in the pro Milone: "When a military tribune serving in the army of Gaius Marius, to whom he was related, made an assault upon the honour of a common soldier, the latter killed him; for the virtuous youth preferred to risk his life by slaying him to suffering such dishonour. And yet the great Marius acquitted him of all crime and let him go scot free." 5.11.16. On the other hand in certain cases it will be sufficient merely to allude to the parallel, as Cicero does in the same speech: "For neither the famous Servilius Ahala nor Publius Nasica nor Lucius Opimius nor the Senate during my consulship could be cleared of serious guilt, if it were a crime to put wicked men to death." Such parallels will be adduced at greater or less length according as they are familiar or as the interests or adornment of our case may demand. 5.11.17. A similar method is to be pursued in quoting from the fictions of the poets, though we must remember that they will be of less force as proofs. The same supreme authority, the great master of eloquence, shows us how we should employ such quotations. 5.11.18. For an example of this type will be found in the same speech: "And it is therefore, gentlemen of the jury, that men of the greatest learning have recorded in their fictitious narratives that one who had killed his mother to avenge his father was acquitted, when the opinion of men was divided as to his guilt, not merely by the decision of a deity, but by the vote of the wisest of goddesses." 8.3.61. The ornate is something that goes beyond what is merely lucid and acceptable. It consists firstly in forming a clear conception of what we wish to say, secondly in giving this adequate expression, and thirdly in lending it additional brilliance, a process which may correctly be termed embellishment. Consequently we must place among ornaments that á¼Î½Î¬Ïγεια which I mentioned in the rules which I laid down for the statement of facts, because vivid illustration, or, as some prefer to call it, representation, is something more than mere clearness, since the latter merely lets itself be seen, whereas the former thrusts itself upon our notice. 8.3.70. And we shall secure the vividness we seek, if only our descriptions give the impression of truth, nay, we may even add fictitious incidents of the type which commonly occur. The same vivid impression may be produced also by the mention of the accidents of each situation: "Chill shudderings shake my limbs And all my blood is curdled cold with fear;" or "And trembling mothers clasped Their children to their breast." |
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| 43. Clement of Alexandria, Extracts From The Prophets, 54.2 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 78 |
| 44. Clement of Alexandria, Excerpts From Theodotus, 42.2, 43.1 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70 |
| 45. Clement of Alexandria, Fragments, 9 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 78 |
| 46. Clement of Alexandria, Christ The Educator, (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •nan Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70 |
| 47. Oppian of Apamea, Cynegetica, 1.47-1.80, 3.170-3.182, 4.140-4.147 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •ornament Found in books: Clay and Vergados, Teaching through Images: Imagery in Greco-Roman Didactic Poetry (2022) 351 |
| 48. Clement of Alexandria, Miscellanies, (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •ornament Found in books: Černušková, Kovacs and Plátová, Clement’s Biblical Exegesis: Proceedings of the Second Colloquium on Clement of Alexandria (2016) 70, 77, 78 |
| 49. Philostratus, Pictures, 1.16.4 (3rd cent. CE - 3rd cent. CE) Tagged with subjects: •ornament Found in books: Clay and Vergados, Teaching through Images: Imagery in Greco-Roman Didactic Poetry (2022) 273, 274 |
| 51. Alberic of Monte Cassino, Flores Rhetorici, 146-147 Tagged with subjects: •nan Found in books: Robbins, von Thaden and Bruehler,Foundations for Sociorhetorical Exploration : A Rhetoric of Religious Antiquity Reader (2006)" 260 |
| 52. Oppian of Anazarbus, Halieutica, 1.8-1.55, 2.241-2.252, 4.640-4.646 Tagged with subjects: •ornament Found in books: Clay and Vergados, Teaching through Images: Imagery in Greco-Roman Didactic Poetry (2022) 351 |
| 53. Epigraphy, Die Inschriften Von Pergamon, 523.10, 2.374 b 13-20 Tagged with subjects: •nan Found in books: Bricault and Bonnet, Panthée: Religious Transformations in the Graeco-Roman Empire (2013) 20 |
| 55. Epigraphy, I.Ephesos, 275 Tagged with subjects: •Ornaments Found in books: Bricault and Bonnet, Panthée: Religious Transformations in the Graeco-Roman Empire (2013) 20 |
| 56. Ps. Callisthenes, Alexander Romance, 839c Tagged with subjects: •gold ornaments Found in books: Parker, Polytheism and Society at Athens (2005) 223 |
58. Epigraphy, Seg, 30.93 Tagged with subjects: •Ornaments Found in books: Bricault and Bonnet, Panthée: Religious Transformations in the Graeco-Roman Empire (2013) 20 | 30.93. For the good fortune of the Council and the People of the Athenians, in the archonship of Apolexis (c. 20/19), in the ninth prytany, of PandionisIII, for which Metrophanes son of Dionysios of Athmonon was secretary. On the twenty-first of Anthesterion, the first of the prytany. (5) Principal Assembly in the theatre. of the presiding committee Menophilos son of Satyros of Berenikidai was putting to the vote, and his fellow presiding committee members. Diotimos son of Diodoros of Halai proposed: concerning those things which the men appointed by the genos of the Kerykes, together with the altar-priest, Epikrates son of Kallimachos of Leukonoion, and the fire-bearer (purphorou) (10) and priest of the Graces and Artemis Epipyrgidia, Leontios son of Timarchos of Kephisia, and the herald (kērukos) of the two goddesses, Dionysios son of Demostratos of Pallene, and the all-holy herald (kērukos), Theophilos son of Menekrates of Cholleidai, and the priest of Hermes Patroos and herald (kērukos) of Apollo (15) Pythios, Gorgippos son of Eudemos of Melite, and the bearer (lithophorou) of the sacred stone and priest of Zeus Horios and Athena Horia and Poseidon Probasterios and Poseidon Themeliouchos, Dositheos son of Kleomenes of Marathon, and the hymn-leaders (humnagōgōn), Aristodemos son of Argeios of Trikorynthos, Menneas son of Menneas of Azenia, Philemon (20) son of Philemon of Melite, Diotimos son of Diodoros of Halai, Apolexis son of Apellikon of Oion, Demochares son of Meder of Azenia, Sarapion and Diokles sons of Diokles of Melite, Architimos son of Architimos of Sphettos, Themistokles son of Xenokles of Hagnous, Dionysodoros son of Dionysodoros of Deiradiotai, Kichesias son of Leon of Aixone, Apollonios son of Ktesikles (25) of Acharnai, Demostratos son of Dionysios of Pallene, Timosthenes son of Timarchos of Kephisia, Medros son of Demochares of Azenia, ristaichmos son of Ammonios of Anaphlystos, Sophokles son of Philotas of Sounion and by birth son of Dionysodoros of Deiradiotai, Iophon son of Dionysodoros of Deiradiotai, Alexandros son of Agathokles of Leukonoion, Euphron son of Euphron of Marathon, (30) Seleukos son of Demeas of Halai, Mikion son of Philokrates of Piraeus, having made an approach to the People, declare that the dadouch Themistokles, son of the dadouch Theophrastos, of Hagnous, being distinguished by excellence and good birth, shows not only that his own life is worthy of the greatest honour, but by his pre-eminence with regard to the dadouchy, (35) enhances the holiness and the honour of the rites (hierōn), as a result of which the grandeur of the Mysteries is accorded greater awe by every man and by the throng of people which comes, having inherited the good-birth, and the priesthood that derives from it, in succession to his father Theophrastos and his grandfather Themistokles, and Sophokles, (40) who was the uncle of his father, and Xenokles his greatgrandfather, who was brother of Leontios and uncle of Sophokles, who were altar-priests, and Philoxenides who had previously been altar-priest and after that dadouch, brother of Kephisodoros the altar-priest, who was in the male line great-grandfather (45) of his (i.e. the honorand’s) father, Theophrastos, and Sophokles, who was his great-grandfather in the female line, and Philistides, who was father of Philoxenides and Kephisodoros and great-grandfather of Themistokles his (i.e. the honorand’s) grandfather, who, having been altar-priest, succeeded to the dadouchy with great distinction, and Antiphon, who was a second cousin (ex anepsiōn paidōn) of (50) Philistides, and having himself held the altar-priesthood, succeeded brilliantly to the dadouchy, and Leontios father of Sophokles, grandfather of Xenokles his (i.e. the honorand’s) great-grandfather, and before all these Hermotimos and Hierokleides, who were dadouchs before the writing-up of the Kerykes in the register, (55) and whose descendants, Semon and Hierokleides and Antiphon, were life-tets of the altar-priesthood, for each of whom honours and consecrated images alongside the goddesses themselves stand as clear proof of the decrees that were voted for them many times by the Council and the People and the genos over this whole period for their piety (eusebeias) towards the (60) goddesses, holiness (semnotētos) in the sacred work (hierourgian), and their love of honour (philotimias) in many great events relating to the genos; and doing everything for the enhancement of the genos and for the honour appropriate to it and each of the priests from the genos, having zealously researched the ancestral traditions and gained knowledge not only from (65) the tenure of the dadouchy by members of his house for many generations, but also from his own honour-loving behaviour as regards the recovery of discontinued traditions, when he was responsible for the investigation of the transcripts (apographas), he accomplished many great things . . . the appropriate . . . . . . text from Attic Inscriptions Online, SEG 30.93 - Honours for the dadouch Themistokles |
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